Second
actPage two
| I remember/ Damn you | Opera Owner's Song | Prima Donna | Poor fool, he makes me laugh! | All I Ask of You |
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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) |
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There were candles all around and on the lake there was a boat, and in the boat there was a man . . .
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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) |
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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 . . .
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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 . . . |
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(He holds out his hand for the mask, which she gives to him. He puts it on, turning towards the audience as he sings): |
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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)
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Scene 7 BACKSTAGE (BUQUET mysteriously appears, a length of fabric serving as a cloak, and a piece of rope as the Punjab lasso. He is showing off to the BALLET GIRLS) BUQUET Like yellow parchment is his skin . . . a great black hole served as the nose that never grew . . . |
(Demonstrating his method of self-defense against the
Punjab lasso, he inserts his hand between his neck and
the noose, and then pulls the rope taut. With a mixture of
horror and delight, the BALLET GIRLS applaud this
demonstration)
(explaining to them)
You must be always
on your guard,
or he will catch you with his
magical lasso!
(A trap opens up center stage casting a shadow of the
PHANTOM as he emerges. The GIRLS, linking hands,
run off terrified. The PHANTOM, leading CHRISTINE,
fixes his stare on BUQUET. Sweeping his cape around
CHRISTINE, he exits with her But before they go GIRY
has entered, observing. She turns on BUQUET)
GIRY
Those who speak
of what they know
find, too late, that prudent
silence is wise.
Joseph Buquet,
hold your tongue
he will burn you with the
heat of his eyes . . .
Scene 8
THE 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 sold
gossip's worth
its weight in gold . . .
What a way to
run a business!
Spare me these
unending trials!
Half your cast disappears,
but the crowd still cheers!
Opera!
To hell with Gluck and Handel -
It's a scandal that'll
pack 'em in the aisles!
(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 post
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 (un-amused)
It's really not amusing!
ANDRE
He's abusing
our position!
FIRMIN
In addition
he wants money!
ANDRE
He's a funny
sort of specter . . .
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 Daaé -
where is she?
FIRMIN
Well, how should we know?
RAOUL
I want an answer -
I take it that you sent me this note?
FIRMIN
What's all this nonsense?
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 Daaé.
The Angel of Music
has her under his wing.
Make no attempt to see her again."
(The MANAGERS look mystified)
RAOUL
If you didn't write it, who did?
(CARLOTTA bursts in. She too has a letter, which has
cheered her no more than the others)
CARLOTTA
Where is he?
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 Daaé
will be singing on your behalf tonight.
Be prepared
for a great misfortune,
should you attempt
to take her place."
(The MANAGERS are beginning lo tire of the intrigue)
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ANDRE/FIRMIN Far too many notes for my taste - and most of them about Christine! All we've heard since we came is Miss Daaé's name . . . |
(GIRY suddenly appears, accompanied by MEG)
GIRY
Miss Daaé has returned.
FIRMIN (dryly)
I trust her midnight oil
is well and truly burned.
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 . . ."
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PHANTOM'S VOICE (taking over) Christine Daaé has returned to you, and I am anxious her career should progress. In the new production of "Il Muto", you will therefore cast Carlotta as the Pageboy, and put Miss Daaé in the role of Countess. The role which Miss Daaé plays calls for charm and appeal. The role of the Pageboy is silent - which makes my casting, in a word ideal. |
I shall watch the performance from my normal seat in
Box Five, which will be kept empty for me. Should
these commands be ignored, a disaster beyond your
imagination will occur.
FIRMIN (taking over)
"I remain, Gentlemen,
Your obedient servant, O.G."
CARLOTTA
Christine!
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 Daaé 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!
(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
ingénue?
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 . . .
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CARLOTTA (to herself, in triumph) Prima donna your song shall live again! ANDRE/FIRMIN (to CARLOTTA) |
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 . . .
Lunatic demands
are regular occurrences!
MEG
Bliss or damnation?
Which has claimed her . . .?
CARLOTTA
Think how you'll shine
in that final encore!
Sing, prima donna,
once more!
GIRY
Oh fools, to have flouted his warnings!
RAOUL
Surely, for her sake . . .
MEG
Surely he'll strike back . . .
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 . . .
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ANDRE/FIRMIN Prima donna the world is at your feet! A nation waits, and how it hates to be cheated! CARLOTTA |
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!
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(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. |
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ATTENTION BACK ON STAGE (The COUNTESS admits DON ATTILI0. He is an old fool)
DON ATTILI0 |
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!
COUNTESS AND CHORUS |
(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 Daaé.
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
His eyes will find me there!
RAOUL
Christine, don't say that . . .
CHRISTINE
Those eyes that burn!
RAOUL
Don't even think it . . .
CHRISTINE
And if he has to kill
a thousand men -
RAOUL
Forget this waking nightmare . . .
CHRISTINE
The Phantom of the Opera will kill . . .
RAOUL
This phantom is a fable . . .
Believe me . . .
CHRISTINE
. . . and kill again!
RAOUL
There is no Phantom of the Opera . . .
CHRISTINE
My God, who is this man . . .
RAOUL
My God, who is this man . . .
CHRISTINE
. . . who hunts to kill . . .?
RAOUL
. . . this mask of death . . .?
CHRISTINE
I can't escape from him . . .
RAOUL
Whose is this voice you hear . . .
CHRISTINE
. . .I never will!
RAOUL
. . . with every breath . . .?
BOTH
And in this
labyrinth,
where night is blind
the Phantom of the Opera
is here:
inside your/my mind . . .
|
RAOUL There is no Phantom of the Opera . . .
CHRISTINE |
Raoul, I've seen him!
Can I ever
forget that sight?
Can I ever
escape from that face?
So distorted,
deformed, it
was hardly a face,
in that darkness . . .
darkness . . .
(trancelike, then becoming more and more ecstatic)
But his voice
filled my spirit
with a strange, sweet sound . . .
In that night
there was music
in my mind . . .
And through music
my soul began
to soar!
And I heard
as I'd never
heard before . . .
RAOUL
What you heard
was a dream
and nothing more . . .
CHRISTINE
Yet in his eyes
all the sadness
of the world . . .
Those pleading eyes,
that both threaten
and adore . . .
RAOUL (comforting)
Christine . . .
Christine . . .
PHANTOM (unseen, a ghostly echo of RAOUL's words)
Christine . . .
CHRISTINE
What was that?
(A moment, as their eyes meet. The mood changes.)
| 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 |
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)
END OF ACT 1