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Act Two 
Six Months Later

Scene 1
MASQUERADE
THE STAIRCASE OF THE OPERA HOUSE 
(A gauze half conceals the tableau of guests at the 
opera ball. The guests (whom we cannot yet see 
clearly) are in fancy dress, a peacock, a lion, a 
dragon, Mephistopheles, a highwayman, a clown, 
knights, ladies, an executioner. M. ANDRE enters. 
He is dressed as a skeleton in an opera cape. Almost 
immediately M. FIRMIN arrives.He is also dressed 
as a skeleton in an opera cape. The two skeletons see 
each other and approach nervously) 
ANDRE 
M'sieur Firmin? 
FIRMIN 
M'sieur Andre? 
(Each raises his mask to the other. They recognise each 
other.) 
FIRMIN 
Dear Andre 
what a splendid party! 
ANDRE 
The prologue 
to a bright new year! 
FIRMIN 
Quite a night! 
I'm impressed! 
FIRMIN 
Well, one does 
one's best . . . 
ANDRE/FIRMIN (raising their glasses) 
Here's to us! 
A toast to all the city! FIRMIN 
Such a pity 
that the Phantom can't 
be here! 
(The gauze lifts fully to reveal the staircase of the 
opera house. The opera ball begins. Among the 
GUESTS are four carrying strange percussion 
instruments: a monkey with cymbals, a toy soldier 
with a drum, a triangle, bells. Together they play 
weirdly throughout) 
CHORUS 
Masquerade! 
Paper faces on parade . . . 
Masquerade! 
Hide your face, 
so the world will 
never find you! 
Masquerade! 
Every face a different shade . . . 
Masquerade! 
Look around - 
there's another 
mask behind you! 
Flash of mauve . . . 
Splash of puce . . . 
Fool and king . . . 
Ghoul and goose . . . 
Green and black . . . 
Queen and priest . . . 
Trace of rouge . . . 
Face of beast . . . 
Faces . . . 
Take your turn, take a ride 
on the merry-go-round . . . 
in an inhuman race . . . 
Eye of gold . . . 
Thigh of blue . . . 
True is false . . . 
Who is who . . .? 
Curl of lip . . . 
Swirl of gown . . . 
Ace of hearts . . . 
Face of clown . . . 
Faces . . . 
Drink it in, drink it up, 
till you've drowned 
in the light . . . 
in the sound . . . 
RAOUL/CHRISTINE 
But who can name the face . . .? 
ALL 
Masquerade! 
Grinning yellows, 
spinning reds . . . 
Masquerade! 
Take your fill - 
let the spectacle 
astound you! 
Masquerade! 
Burning glances, 
turning heads . . . 
Masquerade! 
Stop and stare 
at the sea of smiles 
around you! 
Masquerade! 
Seething shadows 
breathing lies . . . 
Masquerade! 
You can fool 
any friend who 
ever knew you! 
Masquerade! 
Leering satyrs, 
peering eyes . . . 
Masquerade! 
Run and hide - 
but a face will 
still pursue you! 
(The ENSEMBLE activity becomes background, as 
ANDRE, FIRMIN, MEG, GIRY, PIANGI and CARLOTTA 
come to the fore, glasses in hand) 
GIRY 
What a night 
MEG 
What a crowd! 
ANDRE 
Makes you glad! 
FIRMIN 
Makes you proud! 
All the creme 
de la creme! 
CARLOTTA 
Watching us watching them! 
MEG/GlRY 
And all our fears 
are in the past! 
ANDRE 
Six months... 
PIANGI 
Of relief! 
CARLOTTA 
Of delight! 
ANDRE/FIRMIN 
Of Elysian peace! 
MEG/GIRY 
And we can breathe at last! 
CARLOTTA 
No more notes! 
PIANGI 
No more ghost! 
GIRY 
Here's a health! 
ANDRE 
Here's a toast: 
to a prosperous year! 
FIRMIN 
To the new chandelier! 
PIANGI/CARLOTTA 
And may its 
splendour never fade! 
FIRMIN 
Six months! 
GIRY 
What a joy! 
MEG 
What a change! 
FIRMIN/ANDRE 
What a blessed release! 
ANDRE 
And what a masquerade! 
(They clink glasses and move off RAOUL and 
CHRISTINE emerge. She is admiring a new acquisition: 
an engagement ring from RAOUL, which she has 
attached to a gold chain around her neck.) 
CHRISTINE 
Think of it! 
A secret engagement! 
Look - your future bride! 
Just think of it! 
RAOUL 
But why is it secret? 
What have we to hide? 
CHRISTINE 
Please, let's not fight . . . 
RAOUL 
Christine, you're free! 
CHRISTINE 
Wait till the time is right . . . 
RAOUL 
When will that be? 
It's an engagement, 
not a crime! 
Christine, 
What are you 
afraid of? 
CHRISTINE 
Let's not argue . . . 
RAOUL 
Let's not argue . . . 
CHRISTINE 
Please pretend . . . 
RAOUL 
I can only hope I'll . . . 
CHRISTINE 
You will . . . 
BOTH 
. . . understand 
in time . . . 
(Dance section, in which CHRISTINE, almost 
coquettish almost jittery, goes from man to man. But too 
many of her partners seem to be replicas of the 
PHANTOM, and each spins her with increasing force. 
Eventually RAOUL rescues her and holds her tightly. He 
whirls her back into the dance, as the music heads 
towards its climax.) 
ALL 
Masquerade! 
Paper faces on parade! 
Masquerade! 
Hide your face, 
so the world will 
never find you! 
Masquerade! 
Every face a different shade! 
Masquerade! 
Look around - 
There's another 
mask behind you! 
Masquerade! 
Burning glances, 
turning heads . . . 
Masquerade! 
Stop and stare 
at the sea of smiles 
around you! 
Masquerade! 
Grinning yellows, 
spinning reds . . . 
Masquerade! 
Take your fill - 
let the spectacle 
astound you! 
(At the height of the activity a grotesque figure suddenly 
appears at the lop of the staircase. Dressed all in 
crimson, with a death's head visible inside the hood of 
his robe, the PHANTOM has come to the party. With 
dreadful wooden steps he descends the stairs and takes the 
centre of the stage) 
PHANTOM 
Why so silent, good messieurs? 
Did you think that I had left you for good? 
Have you missed me, good messieurs? 
I have written you an opera! 
(He takes from under his robe an enormous bound 
manuscript) 
Here I bring the finished score - 
"Don Juan Triumphant" ! 
(He throws it to ANDRE) 
I advise you 
to comply - 
my instructions 
should be clear - 
Remember 
there are worse things 
than a shattered chandelier . . . 
(CHRISTlNE, mesmerized, approaches as the 
PHANTOM beckons her. He reaches out, grasps the 
chain that holds the secret engagement ring, and rips it 
from her throat) 
Your chains are still mine - 
you will sing for me! 
(ALL cower in suspense as the music crescendos, until 
suddenly, his figure evaporates) 

Scene 2
BACKSTAGE
(GIRY is hurrying across. RAOUL appears and calls 
after her) 
RAOUL 
Madame Giry. Madame Giry . . . 
GIRY 
Monsieur, don't ask me - I know no more than 
anyone else. 
(She moves off again. He stops her) 
RAOUL 
That's not true. You've seen something, haven't 
you ? 
GIRY (uneasily) 
I don't know what I've seen . . . Please don't ask me, 
monsieur . . . 
RAOUL (desperately) 
Madame, for all our sakes . . . 
GIRY (She has glanced nervously about her and 
suddenly deciding to trust him, cuts in): 
Very well. It was years ago. There was a travelling 
fair in the city. Tumblers, conjurors, human 
oddities . . . 
RAOUL 
Go on . . . 
GIRY (trance-like, as she retraces the past) 
And there was . . . I shall never forget him: a man . . 
Iocked in a cage . . . 
RAOUL 
In a cage . . ? 
GIRY 
A prodigy, monsieur! Scholar, architect, musician . 
RAOUL (piecing together the jigsaw) 
A composer . . . 
GIRY 
And an inventor too, monsieur. They boasted he 
had once built for the Shah of Persia, a maze of 
mirrors . . . 
RAOUL (mystified and impatient, cuts in) 
Who was this man . . .? 
GIRY (with a shudder) 
A freak of nature . . . 
more monster 
than man . . . 
RAOUL (a murmur) 
Deformed . . .? 
GIRY 
From birth, it seemed . . . 
RAOUL 
My God . . . 
GIRY 
And then . . . he went missing. He escaped. 
RAOUL 
Go on. 
GIRY 
They never found him 
it was said he 
had died . . . 
RAOUL (darkly) 
But he didn't die, did he? 
GIRY 
The world forgot him, 
but I never can . . . 
For in this darkness 
I have seen him again . . . 
RAOUL 
And so our 
Phantom's this man . . . 
GIRY (starts from her daze and turns to go) 
I have said too much, monsieur. 
(She moves off into the surrounding blackness) 
And there have been too many accidents . . . 
RAOUL (ironical) 
Accidents?! 
GIRY 
Too many . . . 
(And, before he can question her further, she has 
disappeared) 
RAOUL (running after her) 
Madame Giry . . .! 

Scene 3
THE MANAGERS ' OFFICE
(The PHANTOM'S score lies open on the desk. 
ANDRE is impatiently flicking through it) 
ANDRE 
Ludicrous! 
Have you seen the score? 
FIRMIN (entering) 
Simply ludicrous! 
ANDRE 
It's the final straw! 
FIRMIN 
This is lunacy! 
Well, you know my views . . . 
ANDRE 
Utter lunacy! 
FIRMIN 
But we daren't refuse . . . 
ANDRE (groans) 
Not another 
chandelier . . . 
FIRMIN 
Look, my friend, what 
we have here . . . 
(He has two notes from the PHANTOM, one of which he 
hands to ANDRE, who opens it and reads): 
ANDRE 
"Dear Andre, 
Re my orchestrations: 
We need another first bassoon. 
Every note's overblown- 
and that third trombone 
has to go! 
The man could not be deafer, 
so please preferably one 
who plays in tune!" 
FIRMIN (reading his letter) 
"Dear Firmin, 
vis a vis my opera: 
some chorus-members must be sacked. 
If you could, find out which 
has a sense of pitch - 
wisely, though, 
I've managed to assign a 
rather minor role to those 
who cannot act! " 
(They are interrupted by the arrival of CARLOTTA and 
PIANGI both furiously brandishing similar notes) 
CARLOTTA 
Outrage! 
FIRMIN 
What is it now? 
CARLOTTA 
This whole affair is 
an outrage! 
FIRMIN 
Signora, please . . . 
ANDRE 
Now what's the matter? 
CARLOTTA 
Have you seen 
the size of my part? 
ANDRE 
Signora, listen . . . 
PIANGI 
It's an insult! 
FIRMIN 
Not you as well! 
PIANGI 
Just look at this - 
it's an insult! 
FIRMIN 
Please, understand . . . 
ANDRE 
Signor! Signora! 
CARLOTTA 
The things I have 
to do for my art! 
PIANGI (stabbing a finger at the open score) 
If you .an call 
this gibberish "art" ! 
(RAOUL and CHRISTINE enter: CARLOTTA bristles) 
CARLOTTA (dryly) 
Ah! Here's our little flower! 
FIRMIN 
Ah Miss Daae 
quite the lady 
of the hour! 
ANDRE (explaining) 
You have 
secured the largest role 
in this "Don Juan". 
CARLOTTA (half to herself) 
Christine Daae? 
She doesn't have 
the voice! 
FIRMIN (hearing this, to CARLOTTA) 
Signora, please! 
RAOUL (to the MANAGERS) 
Then I take it 
you're agreeing. 
CARLOTTA (aside) 
She's behind this . . . 
ANDRE 
It appears we have 
no choice. 
CARLOTTA (unable to contain herself any longer, 
points accusingly) 
She's the one 
behind this! 
Christine Daae! 
CHRISTINE (who has been silent till now, incensed at 
this) 
How dare you! 
CARLOTTA 
I'm not a fool! 
CHRISTINE 
You evil woman! 
How dare you! 
CARLOTTA 
You think I'm blind? 
CHRISTINE 
This isn't my fault! 
I don't want any 
part in this plot! 
FIRMIN 
Miss Daae, surely . . . 
ANDRE 
But why not? 
PIANGI (baffled, to CARLOTTA) 
What does she say? 
FIRMIN (reasonably) 
It's your decision - 
(Suddenly rounding on her) 
But why not? 
CARLOTTA (to PIANGI) 
She's backing out! 
ANDRE 
You have a duty! 
CHRISTINE 
I cannot sing it, 
duty or not! 
RAOUL (comforting) 
Christine . . . 
Christine . . . 
You don't have to . . . 
they can't make you . . . 
(MEG and GlRY arrive, the latter bearing another note 
from the PHANTOM) 
GIRY 
Please, monsieur: 
another note. 
(The MANAGERS gesture: "read it". As she reads, ALL 
react variously, as they are singled out) 
GIRY 
"Fondest greetings 
to you all ! 
A few instructions 
just before 
rehearsal starts: 
Carlotta must be 
taught to act . . . ," 
(The PHANTOM'S voice gradually takes over 
from her) 
PHANTOM'S VOICE 
. . . not her normal trick 
of strutting round the stage. 
Our Don Juan must 
lose some weight - 
it's not healthy in 
a man of Piangi's age. 
And my managers 
must learn 
that their place is in 
an office, not the arts. 
As for Miss Christine Daae . . . 
No doubt she'll 
do her best - it's 
true her voice is 
good. She knows, though, 
should she wish to excel 
she has much still 
to learn, if pride will 
let her 
return to me, her 
teacher, 
her teacher . . . 
Your obedient friend . . . 
(The PHANTOM'S voice fades out and GIRY takes over) 
GIRY 
". . . and Angel . . ." 
(Attention now focuses on RAOUL whose eyes are 
suddenly bright with a new thought) 
RAOUL 
We have all been 
blind - and yet the 
answer is staring us 
in the face . . . 
This could be the 
chance to ensnare our 
clever friend . . . 
ANDRE 
We're listening . . . 
FIRMIN 
Go on. 
RAOUL 
We shall play his 
game - perform his 
work - but remember we 
hold the ace . . . 
For, if Miss Daae 
sings, he is certain 
to attend . . . 
ANDRE (carried along by the idea) 
We make certain 
the doors are barred . . . 
FIRMIN (likewise) 
We make certain 
our men are there . . . 
RAOUL 
We make certain 
they're armed . . . 
RAOUL/ANDRE/FIRMIN (savouring their victory) 
The curtain falls - 
his reign will end! 
(ALL have been listening intently. GIRY is the first to 
express a reaction. CHRISTINE remains silent and 
withdrawn) 
GIRY 
Madness! 
ANDRE 
I'm not so sure . . . 
FIRMIN 
Not if it works . . . 
GIRY 
This is madness! 
ANDRE 
The tide will turn! 
GIRY 
Monsieur, believe me - 
there is no way of 
turning the tide! 
FIRMIN (to GIRY) 
You stick to ballet! 
RAOUL (rounding on GIRY) 
Then help us! 
GIRY 
Monsieur, I can't . . . 
RAOUL 
Instead of warning us . . . 
RAOUL/ANDRE/FIRMIN 
Help us! 
GIRY 
I wish I could . . . 
RAOUL/ANDRE/FIRMIN 
Don't make excuses! 
RAOUL 
Or could it be that 
you're on his side? 
GIRY (to RAOUL) 
Monsieur, believe me, 
I intend no ill . . . 
(to ANDRE and FIRMIN) 
But messieurs, be careful - 
we have seen him kill . . . 
ANDRE/FIRMIN (to GIRY) 
We say he'll fall 
and fall he will! 
CARLOTTA 
She's the one behind this! 
Christine! 
This is all her doing! 
PIANGI 
This is the truth! 
Christine Daae! 
RAOUL 
This is his undoing! 
ANDRE/FIRMIN (to RAOUL) 
If you succeed 
you free us all - 
this so called "angel" 
has to fall! 
RAOUL 
Angel of music, 
fear my fury - 
Here is where you fall! 
GIRY (to RAOUL) 
Hear my warning! 
Fear his fury! 
CARLOTTA 
What glory can 
she hope to gain? 
It's clear to all 
the girl's insane! 
ANDRE (to FIRMIN) 
Christine sings 
We'll get our man . . . 
PIANGI 
She is crazy! 
She is raving! 
FIRMIN (to ANDRE) 
If Christine helps 
us in this plan . . . 
RAOUL 
Say your prayers, 
black angel of death! 
CHRISTINE (vainly pleading amidst the tumult) 
Please don't . . . 
ANDRE (to FIRMIN) 
If Christine won't, 
then no-one can . . . 
GIRY (to RAOUL) 
Monsieur, I beg you, 
do not do this . . . 
PIANGI/CARLOTTA 
Gran Dio! 
Che imbroglio! 
ANDRE/FIRMIN 
This will seal his fate! 
CHRISTINE (bursting through the hubbub with a 
great cry) 
If you don't stop, 
I'll go mad! ! ! 
(to RAOUL, pleading) 
Raoul, I'm frightened - 
don't make me do this . . . 
Raoul, it scares me - 
don't put me through this 
ordeal by fire . . . 
he'll take me, I know . . . 
we'll be parted for ever . . . 
he won't let me go . . . 
What I once used to dream 
I now dread . . . 
if he finds me, it won't 
ever end . . . 
and he'll always be there, 
singing songs in my head . . . 
he'll always be there, 
singing songs in my head . . . 
(ALL stare at her) 
CARLOTTA 
She's mad . . . 
RAOUL (to CHRISTINE) 
You said yourself 
he was nothing 
but a man . . . 
Yet while he lives, 
he will haunt us 
till we're dead . . . 
(CHRISTINE turns away unhappily) 
CHRISTINE 
Twisted every way, 
what answer can I give? 
Am I to risk my life, 
to win the chance to live? 
Can I betray the man 
who once inspired my voice? 
Do I become his prey? 
Do I have any choice? 
He kills without a thought, 
he murders all that's good . . . 
I know I can't refuse 
and yet, I wish I could . . . 
Oh God - if I agree, 
what horrors wait for me 
in this, the Phantom's opera . . .? 
RAOUL (to CHRISTINE, very tenderly) 
Christine, Christine, 
don't think that I don't care - 
but every hope 
and every prayer 
rests on you now . . . 
(CHRISTINE, overcome by her conflicting emotions 
turns away and hurries out. RAOUL strides forward and 
addresses an imaginary PHANTOM) 
RAOUL 
So, it is to be war between us! But this time, clever 
friend, the disaster will be yours! 
(As lights fade, ATTENDANTS stretch a red, velvet rope 
across the downstage area. OTHERS bring on gilt chairs. 
CARLOTTA PIANGI and GIRY move downstage to take 
their places for the next scene) 

Scene 4
A REHEARSAL FOR DON JUAN TRIUMPHANT
(REYER supervises the learning of the new piece from 
the piano. Present are PIANGI, CHRISTINE, 
CARLOTTA, GlRY and CHORUS) 
CHORUS 
Hide our sword now wounded knight! 
Your vainglorious gasconnade 
brought you to your final fight 
for your pride, high price you've paid! 
CHRISTINE 
Silken couch and hay-filled barnQ 
both have been his battlefield. 
PIANGI (wrong) 
Those who tangle with Don Juan . . . 
REYER (stopping him) 
No, no, no! ChorusQrest, please. 
Don Juan, Signor Piangi - here is the phrase. 
(He demonstrates it) 
"Those who tangle with Don Juan . . ." 
If you please? 
PIANGI (still wrong) 
Those who tangle with Don Juan . . . 
REYER 
No, no. Nearly - but no. 
"Those who tan, tan, tan . . ." 
PIANGI (still wrong) 
Those who tangle with Don Juan . . . 
CARLOTTA (to the OTHERS) 
His way is better. At least he make it sound like 
music! 
GIRY (to CARLOTTA) 
Signora - would you speak that way in the 
presence of the composer? 
CARLOTTA (deaf to the implications of this remark) 
The composer is not here. And if he were here, I 
would . . . 
GIRY (cutting in, ominous) 
Are you certain of that, Signora . . .? 
REYER 
So, once again - after seven. 
(He gives the note and counts in) 
Five, six, seven . . . 
PIANGI (wrong again) 
Those who tangle with Don Juan . . . 
(Gradually EVERYONE starts either to talk or to 
practice the phrase simultaneously) 
CARLOTTA 
Ah, piu non posso! What does it matter what notes 
we sing? 
GIRY 
Have patience, Signora. 
CARLOTTA 
No-one will know if it is right or if it is wrong. 
No-one will care if it is right, or if it is wrong. 
CARLOTTA (mocking) 
Those who tangle 
with Don Juan! 
PIANGI (trying again) 
Those who tan . . . tan . . . 
(to CHRISTINE) 
Is right? 
CHRISTINE (to PIANGI) 
Not quite, Signor: 
Those who tan . . . tan . . . 
REYER (attempting lo restore order) 
Ladies . . . Signor Piangi . . . if you please . . . 
(REYER thumps the piano keys, then leaves the piano, 
and attempts to attract attention using signals. Al the 
height of the mayhem, the piano suddenly begins to 
demonstrate the music unaided. It plays with great force 
and rhythm. ALL fall silent and freeze then suddenly start 
to sing the piece robotically and accurately. As they 
continue to sing, CHRISTINE moves away from the 
group.) 
ALL EXCEPT CHRISTINE 
Poor young maiden! For the thrill 
on your tongue of stolen sweets 
you will have to pay the bill - 
tangled in the winding sheets! 
(As the ENSEMBLE becomes background, CHRISTINE, 
transfixed, sings independently): 
CHRISTINE 
In sleep 
he sang to me, 
in dreams 
he came . . . 
that voice 
which calls to me 
and speaks 
my name . . . 
(The scene begins to change. Trance-like, CHRISTINE 
moves slowly upstage. We hear the distant sound of 
bells) 
Little Lotte 
thought of everything and nothing . . . 
Her Father promised her 
that he would send her the Angel of Music . . . 
Her father promised her . . . 
Her father promised her . . . 

Scene 5
WISHING YOU WERE SOMEHOW HERE AGAIN
A GRAVEYARD 
(A mausoleum with hanging moss. In the centre a 
pyramid of skulls in front of a cross.) 
CHRISTINE 
You were once 
my one companion . . . 
you were all 
that mattered . . . 
You were once 
a friend and father - 
then my world 
was shattered . . . 
Wishing you were 
somehow here again . . . 
wishing you were 
somehow near . . . 
Sometimes it seemed 
if I just dreamed, 
somehow you would 
be here . . . 
Wishing I could 
hear your voice again . . . 
knowing that I 
never would . . . 
Dreaming of you 
won't help me to do 
all that you dreamed 
I could . . . 
Three long years 
I knelt in silence, 
held your memory near me, 
Three long years, 
of morbid sorrow- 
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. 
(The PHANTOM emerges from behind the cross) 
PHANTOM (very soft and enticing) 
Wandering child . . . 
so lost . . . 
so helpless . . . 
yearning for my 
guidance . . . 
(Bewildered, CHRISTINE looks up, and murmurs 
breathlessly): 
CHRISTINE 
Angel . . . or father . . . 
friend . . . or 
Phantom . . . ? 
Who is it there, 
staring . . . ? 
PHANTOM (more and more hypnotic) 
Have you 
forgotten your Angel . . .? 
CHRISTINE 
Angel . . . oh, speak . . . 
What endless 
longings 
echo in this 
whisper . . .! 
(RAOUL appears in the shadows and watches for a 
moment transfixed) 
PHANTOM (now drawing CHRISTINE towards him) 
Too long you've wandered 
in winter . . . 
RAOUL (to himself a murmur) 
Once again 
she is his . . . 
PHANTOM 
Far from my 
far-reaching gaze . . . 
RAOUL 
Once again 
she returns . . . 
CHRISTINE (increasingly mesmerized) 
Wildly my mind 
beats against you . . . 
PHANTOM 
You resist . . . 
PHANTOM/CHRISTINE 
Yet your/the soul 
obeys . . . 
RAOUL 
. . . to the arms 
of her angel . . . 
angel or demon . . . 
still he calls her . . . 
luring her back, from the grave . . . 
angel or dark seducer . . .? 
Who are you, strange 
angel . . .? 
PHANTOM 
Angel of Music! 
You denied me, 
turning from true beauty . . . 
Angel of Music! 
Do not shun me . . . 
Come to your strange 
Angel . . . 
CHRISTINE 
Angel of Music! 
I denied you, 
turning from true beauty . . . 
Angel of Music! 
My protector . . . 
Come to me, strange 
Angel . . . 
(CHRISTINE moves towards the figure of the 
PHANTOM) 
PHANTOM (beckoning her) 
I am your Angel of Music . . . 
Come to me: Angel of Music . . . 
RAOUL (suddenly calling out) 
Angel of darkness! 
Cease this torment! 
(Inexorably the PHANTOM continues to beckon 
CHRISTINE) 
PHANTOM 
I am your Angel of Music . . . 
Come to me: Angel of Music . . . 
RAOUL (in desperation) 
Christine! Christine listen to me! 
Whatever you may believe, this man . . . 
this thing . . . is not your father! 
(to the PHANTOM) 
Let her go! For God's sake, let her go! Christine ! 
(Coming out of her trance CHRISTINE turns and 
mouths the words): 
CHRISTINE 
Raoul . . . 
(She turns lo RAOUL who embraces her protectively. 
The PHANTOM freezes for a moment and then suddenly 
seizes a pike upon which is impaled a skull. At a 
movement from him a flash of fire streaks from the 
gaping mouth of the skull and lands at RAOUL's feet) 
PHANTOM 
Bravo, monsieur! 
Such spirited words! 
(Another fireball) 
RAOUL 
More tricks, monsieur? 
PHANTOM 
Let's see, monsieur 
how far you dare go! 
(Another fireball) 
RAOUL 
More deception? More violence? 
CHRISTINE (to RAOUL) 
Raoul, no . . . 
(RAOUL has begun to walk slowly and resolutely 
towards the PHANTOM the fireballs always landing 
just ahead of him) 
PHANTOM 
That's right, that's right, 
monsieurQ 
keep walking this way! 
(Two more fireballs) 
RAOUL 
You can't win her love by making her your prisoner. 
CHRISTINE 
Raoul, don't . . . 
RAOUL (to CHRISTINE) 
Stay back! 
PHANTOM 
I'm here, I'm here, 
monsieur: 
the angel of death! 
Come on, come on, 
monsieur 
Don't stop, don't stop! 
(Three more fireballs. 
RAOUL. is almost at the PHANTOM's feet. A 
confrontation is imminent when CHRISTINE 
suddenly rushes across to RAOUL) 
CHRISTINE 
Raoul! Come back . . . 
(She pulls him away) 
PHANTOM 
Don't go! 
(As they are exiting, the PHANTOM declaims 
in fury): 
So be it! Now let it be war upon you both! 
(At a gesture from the PHANTOM, there is a flash of 
lighting and the stage erupts into flame) 

Scene 6
BEFORE THE PREMIERE
THE OPERA HOUSE ON THE NIGHT OF THE 
PREMIERE OF "DON JUAN TRIUMPHANT'' 
(The orchestra is tuning. A whistle soundsQthe 
CHIEF FIRE OFFICER is reviewing two FIRE 
MARSHALLS in tin helmets. A worklight on a 
stand illuminates them. Also present are RAOUL, 
ANDRE and FIRMIN, supervising the proceedings, and a 
MARKSMAN, at present hidden in the pit) 
CHIEF 
You understand your instructions? 
FIREMEN (severally) 
Sir! 
CHIEF 
When you hear the whistle, take up your positions. 
I shall then instruct you to secure the doors. It is 
essential that all doors are properly secured. 
FIRMIN' 
Are we doing the right thing, Andre? 
ANDRE 
Have you got a better idea? 
CHIEF 
Monsieur le Vicomte, am I to give the order? 
RAOUL 
Give the order. 
(The CHIEF blows his whistle. The FIREMEN fan 
out, leaving RAOUL, the CHIEF and the 
MANAGERS on stage) 
RAOUL (to the MARKSMAN) 
You in the pit - do you have a clear view of this 
box? 
MARKSMAN (appearing from the pit) 
Yes, sir. 
RAOUL 
Remember, when the time comes, shoot. Only if 
you have to - but shoot. To kill. 
MARKSMAN 
How will I know, sir? 
RAOUL 
You'll know. 
FIRMIN 
Monsieur le Vicomte, are you confident that this 
will work? Will Miss Daae sing? 
RAOUL 
Don't worry, Firmin. Andre? 
ANDRE 
We're in your hands, sir. 
CHIEF 
My men are now in position, sir. 
RAOUL 
Go ahead, then. 
(Sounding his whistle again, the CHIEF shouts 
into the auditorium): 
CHIEF 
Are the doors secure? 
(Exit doors are slammed all over the building, The 
FIREMEN answering one by one: "Secure."' 
The orchestra falls silent. Very quietly from 
nowhere, we hear the VOICE of the PHANTOM) 
PHANTOM'S VOICE 
I'm here: The Phantom of the Opera . . . 
(ALL look around apprehensively. FIREMEN start to run 
in the direction of the VOICE) 
PHANTOM'S VOICE (from somewhere else) 
I'm here: The Phantom of the Opera . . . 
(Again, they follow the VOICE. This happens several 
times, the PHANTOM'S VOICE darting more and more 
bewilderingly from place to place. Finally it is heard 
from Box Five, and in the confusion the 
MARKSMAN fires a shot. RAOUL rounds on the 
MARKSMAN furiously) 
RAOUL 
Idiot! I said: only when the 
times comes! 
MARKSMAN 
But, Monsieur le Vicomte . . . 
(The PHANTOM'S VOICE cuts in, filling the 
building. All look up) 
PHANTOM'S VOICE 
No "buts"! For once, Monsieur le Vicomte is 
right . . . 
Seal my 
fate tonight - I 
hate to have to 
cut the fun short 
but the joke's 
wearing thin . . . 
Let the audience in . . . 
Let my opera begin! 

Scene 7
"DON JUAN TRIUMPHANT"
(The set of the final scene of "Don Juan 
TRIUMPHANT" A huge hall with an arch. Behind the 
arch, which has curtains, is a bed. A fine table, laid for 
two. PASSARINO, DON JUAN'S servant, is 
directing the STAFF as they make the room ready. 
They are a crowd of sixteenth century ruffians and 
hoydens, proud of their master's reputation as a 
libertine) 
CHORUS 
Here the sire may serve the dam, 
here the master takes his meat! 
Here the sacrificial lamb 
utters one despairing bleat! 
CARLOTTA AND CHORUS 
Poor young maiden! For the thrill 
on your tongue of stolen sweets 
you will have to pay the bill - 
tangled in the winding sheets! 
Serve the meal and serve the maid! 
Serve the master so that, when 
tables, plans and maids are laid, 
Don Juan triumphs once again! 
(SIGNOR PIANGI, as Don Juan, emerges from behind the 
arch. MEG, a gypsy dancer pirouettes coquettishly for 
him.He throws her a purse. She catches it and leaves) 
DON JUAN 
Passarino, faithful friend, 
once again recite the plan. 
PASSARINO 
Your young guest believes I'm you - 
I, the master, you, the man. 
DON JUAN 
When you met you wore my cloak, 
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 use your voice - 
slam the door like crack of doom! 
DON JUAN 
I shall say: "come - hide with me! 
Where, oh, where? Of course - my room!" 
PASSARINO 
Poor thing hasn't got a chance! 
DON JUAN 
Here's my hat, my cloak and sword. 
Conquest is assured, 
if I do not forget myself and laugh . . . 
(DON JUAN puts on PASSARINO's cloak and goes into 
the curtained alcove where the bed awaits. 
Although we do not yet know it, the Punjab Lasso has 
done its work, and SIGNOR PIANGI is no more. When 
next we see DON JUAN, it will be the PHANTOM. 
Meanwhile, we hear AMINTA (CHRISTINE) singing 
happily in the distance) 
AMINTA (CHRISTINE - offstage, entering) 
". . . no thoughts 
within her head, 
but thoughts of joy! 
No dreams 
within her heart 
but dreams of love!" 
PASSARINO (onstage) 
Master? 

THE POINT OF NO RETURN
DON JUAN (PHANTOM - behind the curtain) 
Passarino - go away! 
For the trap is set and waits for its prey . . . 
(PASSARINO leaves. CHRISTINE (AMINTA) enters. She 
takes off her cloak and sits down. Looks about her. No- 
one. She starts on an apple. The PHANTOM, disguised as 
DON JUAN pretending to 
be PASSARINO, emerges. He now wears PASSARINO's 
robe, the cowl of which hides his face. His first words 
startle her) 
DON JUAN (PHANTOM) 
You have come here 
in pursuit of 
your deepest urge, 
in pursuit of 
that wish, 
which till now 
has been silent, 
silent . . . 
I have brought you, 
that our passions 
may fuse and merge - 
in your mind 
you've already 
succumbed to me 
dropped all defences 
completely succumbed to me - 
now you are here with me: 
no second thoughts, 
you've decided, 
decided . . . 
Past the point 
of no return - 
no backward glances: 
the games we've played 
till now are at 
an end . . . 
Past all thought 
of "if" or "when" - 
no use resisting: 
abandon thought, 
and let the dream 
descend . . . 
What raging fire 
shall flood the soul? 
What rich desire 
unlocks its door? 
What sweet seduction 
lies before 
us . . .? 
Past the point 
of no return, 
the final threshold - 
what warm, 
unspoken secrets 
will we learn? 
Beyond the point 
of no return . . . 
AMINTA (CHRISTINE) 
You have brought me 
to that moment 
where words run dry, 
to that moment 
where speech 
disappears 
into silence, 
silence . . . 
I have come here, 
hardly knowing 
the reason why . . . 
In my mind, 
I've already 
imagined our 
bodies entwining 
defenceless and silent - 
and now I am 
here with you: 
no second thoughts, 
I've decided, 
decided . . . 
Past the point 
of no return - 
no going back now: 
our passion-play 
has now, at last, 
begun . . . 
Past all thought 
of right or wrong - 
one final question: 
how long should we 
two wait, before 
we're one . . .? 
When will the blood 
begin to race 
the sleeping bud 
burst into bloom? 
When will the flames, 
at last, consume 
us . . .? 
BOTH 
Past the point 
of no return 
the final threshold - 
the bridge 
is crossed, so stand 
and watch it burn . . . 
We've passed the point 
of no return . . . 
(By now the audience and the POLICE have realised 
that SIGNOR PIANGI is dead behind the curtain, and it is 
the PHANTOM who sings in his place. CHRISTINE 
knows it too. As final confirmation, the PHANTOM 
sings): 
PHANTOM 
Say you'll share with 
me one 
love, one lifetime . . . 
Lead me, save me 
from my solitude . . . 
(He takes from his finger a ring and holds it out to her. 
Slowly she takes it and puts it on her finger.) 
Say you want me 
with you, 
here beside you . . . 
Anywhere you go 
let me go too - 
Christine 
that's all I ask of . . . 
(We never reach the word 'you', for CHRISTINE quite 
calmly reveals the PHANTOM'S face to the audience. As 
the FORCES OF LAW close in on the horrifying skull, 
the PHANTOM sweeps his cloak around her and 
vanishes. 
MEG pulls the curtain upstage, revealing PIANGI'S 
body garotted, propped against the bed, his head 
gruesomely tilted to one side. She screams.) 
TRANSFORMATION TO: 
REVERSE VIEW OF THE STAGE 
(POLICE, STAGEHANDS, etc. rush onto the stage in 
confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY, 
CARLOTTA and MEG) 
CARLOTTA 
What is it? What has happened? Ubaldo! 
ANDRE 
Oh, my God . . . my God . . . 
FIRMIN 
We're ruined, Andre - ruined! 
GIRY (to RAOUL) 
Monsieur le Vicomte! Come with me! 
CARLOTTA (rushing over to PIANGI's body) 
Oh, my darling, my darling . . . who has done 
this ...? 
(hysterical, attacking ANDRE) 
You! Why did you let this happen? 
(She breaks down, as PIANGI's body is carried off on a 
stretcher) 
GIRY 
Monsieur le Vicomte, I know where they are. 
RAOUL 
But can I trust you? 
GIRY 
You must. But remember: your hand at the level of 
your eyes! 
RAOUL 
But why . . .? 
GIRY 
Why? The Punjab lasso, monsieur. First Buquet. 
Now Piangi. 
MEG (holding up her hand) 
Like this, monsieur. I'll come with you. 
GIRY 
No, Meg! No, you stay here! 
(to RAOUL) 
Come with me, monsieur. Hurry, or we shall be too 
late . . . 

Scene 8
DOWN ONCE MORE.../TRACK DOWN THIS MURDERER
THE LABYRINTH UNDERGROUND 
(Meanwhile, down below, we see the PHANTOM and 
CHRISTINE in the boat, crossing the underground 
lake) 
PHANTOM (furiously propelling the boat onwards) 
Down once more 
to the dungeon 
of my black despair! 
Down we plunge 
to the prison 
of my mind! 
Down that path 
into darkness 
deep as hell! 
(He rounds on her, bitterly) 
Why, you ask, 
was I bound and chained 
in this cold and dismal place? 
Not for any 
mortal sin, but the 
wickedness of 
my abhorrent face! 
(He hears the offstage voices of the pursuing MOB) 
MOB (offstage) 
Track down this murderer! 
He must be found! 
PHANTOM (moving off again) 
Hounded out by 
everyone! 
Met with hatred 
everywhere! 
No kind words from 
anyone! 
No compassion 
anywhere! 
Christine, Christine . . . 
Why, why . . .? 
(RAOUL and GIRY appear above. They make their way 
down, meeting a pack of rats. GlRY screams and lowers 
her guard. The rats and the RATCATCHER pass them. 
GIRY raises her hand again) 
GIRY 
Your hand at the level of your eyes! 
RAOUL 
. . . at the level of your eyes . . . 
MOB (offstage) 
Your hand at the level of your eyes! 
GIRY 
He lives across the lake, monsieur. This is as far as 
I dare go. 
RAOUL 
Madame Giry, thank you. 
(She turns to go back up the slope. RAOUL looks at the 
water. He removes his coat and plunges in. The MOB 
appears at the top of the slope. They come 
down to the lake edge, their torches flickering.) 
MOB 
Track down this 
murderer - 
He must be found! 
Hunt out this 
animal, 
who runs to ground! 
Too long he's 
preyed on us - 
but now we know: 
the Phantom of the Opera 
is there 
deep down below . . . 
He's here: the Phantom of the Opera . . . 
(They turn back up the slope. Perhaps there is another 
way in. The gate to the lair descends, as the rest of the 
lair appears.) 

Scene 9
BEYOND THE LAKE
(The dummy of CHRlSTlNE sits crumpled on a large 
throne. The PHANTOM drags CHRISTINE roughly out of 
the boat. She frees herself and backs away as he stares 
blackly out front. Braving her terror, she addresses him 
fiercely). 
CHRISTINE 
Have you gorged yourself 
at last, in your 
lust for blood? 
(no reply) 
Am I now to be 
prey to your 
lust for flesh? 
PHANTOM (Coldly) 
That fate, which 
condemns me 
to wallow in blood 
has also 
denied me 
the joys of the flesh . . . 
this face - 
the infection 
which poisons our love . . . 
(He lakes the bridal veil from the dummy, and moves 
slowIy towards her) 
This face, 
which earned 
a mother's fear 
and loathing . . . 
A mask, 
my first 
unfeeling scrap 
of clothing . . . 
(He places the veil on her head) 
Pity comes 
too late - 
turn around 
and face your fate: 
an eternity of this 
before your eyes! 
(They are almost touching. She looks calmly and coldly 
into his face) 
CHRISTINE 
This haunted face 
holds no horror 
for me now . . . 
It's in your soul 
that the true 
distortion lies . . . 
(The PHANTOM suddenly senses RAOUL'S presence. 
Behind the portcullis, RAOUL climbs out of the water) 
PHANTOM 
Wait! I think, my dear, 
we have a guest! 
(to RAOUL) 
Sir, this is indeed 
an unparalleled delight! 
I had rather hoped 
that you would come. 
And now my wish comes true - 
you have truly made my night! 
RAOUL (pleading, grasping the bars of the gate) 
Free her! 
Do what you like 
only free her! 
Have you no pity? 
PHANTOM (to CHRISTINE, dryly) 
Your lover makes 
a passionate plea! 
CHRISTINE 
Please, Raoul, it's useless . . . 
RAOUL 
I love her! 
Does that mean nothing? 
I love her! 
Show some compassion . . . 
PHANTOM (snarls furiously at RAOUL) 
The world showed no 
compassion to me! 
RAOUL 
Christine . . . 
Christine . . . 
(to PHANTOM) 
Let me see her . . . 
PHANTOM (drily) 
Be my guest, sir . . 
(He gestures, and the fence rises. RAOUL enters) 
Monsieur, I 
bid you welcome! 
Did you think that 
I would harm her? 
Why should I make 
her pay 
for the sins which 
are yours? 
(So saying, he takes the Punjab lasso and, before RAOUL 
has a chance to move, catches him by the neck. The end 
of the rope, of which the PHANTOM has let go, remains 
magically suspended in mid-air) 
(taunting) 
Order your fine horses now! 
Raise up your hand to the level of your eyes! 
Nothing can save you now - 
except perhaps Christine . . . 
(He turns to her) 
Start a new life with me - 
Buy his freedom with your love! 
Refuse me, and you send your lover to his 
death! 
This is the choice - 
This is the point of no return! 
CHRISTINE (to the PHANTOM) 
The tears I might have shed 
for your dark fate 
grow cold, and turn to tears 
of hate . . . 
RAOUL (despairing) 
Christine, forgive 
me please forgive me . . . 
I did it all 
for you, and all for 
nothing . . . 
CHRISTINE (looking at the PHANTOM but to 
herself) 
Farewell 
my fallen idol 
and false friend . . . 
PHANTOM 
Too late for turning back, 
Too late for prayers and useless pity... 
CHRISTINE 
One by one 
I've watched 
illusions shattered . . . 
PHANTOM 
Past all hope 
of cries for help: 
no point in fighting - 
RAOUL 
Either way 
you choose, 
he has to win . . . 
PHANTOM 
For either way 
you choose, 
you cannot win! 
So, do you end 
your days with me, 
or do you send 
him to his grave? 
RAOUL (to PHANTOM) 
Why make her lie 
to you, to save 
me? 
CHRISTINE 
Angel of Music . . . 
PHANTOM 
Past the point 
of no return - 
RAOUL 
For pity's sake, 
Christine, say no! 
CHRISTINE 
. . . why this torment? 
PHANTOM 
. . . the final threshold . . . 
RAOUL 
Don't throw your life 
away for my sake . . . 
CHRISTINE 
When will you see 
reason . . .? 
PHANTOM 
His life is now the prize 
which you must earn! 
RAOUL 
I fought so hard 
to free you . . . 
CHRISTINE 
Angel of Music . . . 
PHANTOM 
You've passed the point 
of no return . . . 
CHRISTINE 
. . . you deceived me - 
I gave my mind 
blindly . . . 
PHANTOM (to CHRISTINE) 
You try my patience - 
make your choice! 
(She reflects for a moment, then with resolution moves 
slowly towards the PHANTOM) 
CHRISTINE (quietly at first, then with growing 
emotion) 
Pitiful creature 
of darkness . . . 
What kind of life 
have you known . . .? 
God give me courage 
to show you 
you are not 
alone . . . 
(Now calmly facing him, she kisses him long and full on 
the lips. The embrace lasts a long time. RAOUL watches 
in horror and wonder. 
The PHANTOM lakes a lighted candle and holds it 
above RAOUL's head. A tense moment. But the 
suspended rope suddenly falls harmlessly - the 
PHANTOM has burned the thread by which the noose was 
held. Resigned, he addresses RAOUL, as we hear the 
offstage voices of the approaching MOB) 
MOB 
Some: 
Track down this 
murderer - 
he must be found! 
Hunt out this 
animal, 
who runs to ground! 
Too long he's 
preyed on us - 
but now we know: 
the Phantom of the Opera 
is there 
deep down below . . 
Others: 
Who is this monster, 
this murdering beast? 
Revenge for Piangi! 
Revenge for Buquet! 
This creature 
must never go free . . . 
PHANTOM 
Take her - forget me - forget all of this . . . 
Leave me behind - forget all you've seen . . . 
Go now - don't let them find you! 
Take the boat -swear to me, 
never to tell 
the secrets you know,. 
of the angel in hell.. 
Go . . . 
Go now - go now and leave me! 
(RAOUL and CHRISTINE move off towards the boat. 
The PHANTOM looks mockingly at his mask. The 
musical box starts up magically, and he listens to it) 
Masquerade . . . 
Paper faces on parade . . . 
Masquerade . . . 
Hide your face 
so the world will 
never find you . . . 
(CHRISTINE re-enters and walks slowly towards him. 
She takes off her ring and gives it to the PHANTOM) 
PHANTOM 
Christine, I love you . . . 
(She hurries off The PHANTOM puts the ring on his 
finger) 
CHRISTINE (In the distance, to RAOUL, as the boat 
pulls away in the shadow) 
Say you'll share with 
me, one 
love, one lifetime . . . 
say the word 
and I will follow you . . 
RAOUL 
Share each day with me . . . 
CHRISTINE 
. . . each night . . . 
BOTH 
. . . each morning . . . 
PHANTOM (looking after her) 
You alone 
can make my song take flight - 
it's over now, the music of the night . . . 
(The PHANTOM walks slowly towards the throne. He 
takes his place on it, sitting on his cloak. 
The MOB including MEG, appears above, climbing 
down the portcullis. As the MOB enters the lair, the 
PHANTOM wraps his cloak around himself and 
disappears. 
MEG crosses to the throne and picks up his mask in her 
small hand)