Love Never DiesNo copyright infringement is intended - the entirety of this show is copyrighted by TheReally Useful Group and Andrew Lloyd Webber. Annotations were written by lekass.Some additional details provided by sebrandt.Lyrics as of November 16, 2010.

Updates:5/30/10 to include major changes to the opening of the show6/02/10 to edit some lines in the final scene and the Phantom's presence in "ChristineDisembarks."6/26/10 with minor details added to Prologue and "Only for You" (Meg's exit with Mr.Thompson removed).7/4/10 with minor details to opening7/17/10 lyrics added to "Only for You" and "Backstage of Phantasma" by sebrandt7/18/10 with minor lyrics added to "Heaven by the Sea (Reprise)" that weren't knownand slight change to "Ladies... Gents!" lyrics11/16/10 minor lyrics changed in "Devil Take the Hindmost," "Till I Hear You Sing"11/27/10 MAJOR REWORKING OF SHOW. New opening, different song order, new lyrics,new plot. New everything.

Summary of the New Version of "Love Never Dies", as of November 27, 2010

These details are being compiled from various first hand accounts of the new show. I'llkeep updating as more comes in, but it'll probably take a while since so much isdifferent. For now, I'm keeping the rest of the annotated libretto in the form it hadbefore the November re-working so that people can still have it for reference. I'll gothrough and make some notes in red, so you can see what's been cut and such.

The show opens very differently - with a projected video of the Paris Opera House,burning. The original prologue is completely gone - it cuts straight to the automatonwalking to the front of the stage, then over to the piano, and then the Phantom sings"Till I Hear You Sing." "Coney Island Waltz" is still there, but it's after TIHYS. "Heaven bythe Sea" is combined with "Only For You" (with a changed tempo), and there are manymore moments with Gangle, Fleck and Squelch. Meg and Mme Giry have a scene wherethey discuss the fact that Christine will be singing for Oscar Hammerstein at theManhattan Opera House. More of the original melodies from "Phantom of the Opera"have been included.

The Phantom, of course, wants Christine to sing for him instead, so he threatens toreveal Gustave's parentage if she doesn't. "Mme Giry Confronts the Phantom" is nowonly a song between Meg and Mme. Giry about what's been happening for the past tenyears, and how they helped the Phantom, more of a set up for Meg's actions in Act II.When she is confronted with the Phantom again the scene is not only emotional, butchilling - the lighting effects are darker, more haunting.

"Dear Old Friend" is pretty much the same, but now there's more of an undertone toChristine's presence since she's being blackmailed and Meg gets even more upset aboutlosing the spotlight. The rest of Act I is basically the same. Gangle, Fleck and Squelchstill take Gustave to the Aerie and the "come along and follow us" bit is included again.

The bar scene is basically the same, but instead of the beach scene there's now a scenecalled "Onstage at Phantasma" with "Invitation to the Concert" performed by Gangle,Fleck and Squelch, plus the ensemble. The balloon doesn't show up until Meg's numberbegins, and she still gets out of it as "Invitation" ends and "Bathing Beauty" begins. Thenext few scenes are basically the same - Meg's performance, her dressing room, then

Christine's dressing room. The difference is that this time Raoul leaves a note forChristine saying that he's leaving her for good. "Devil Take the Hindmost: Quartet" is thesame, as is "Love Never Dies." They go back to Christine's dressing room and discoverGustave's absence.

The ending of the show is very different as well. After Christine is shot the Phantomscreams at the Girys to go get help, and Meg is dragged offstage by Mme. Giry. Christinereveals to Gustave that the Phantom is his father, but Gustave rejects him and runs offthe stage. The Phantom and Christine have a short duet together, alone. Raoul hasn'tgone - in fact, Gustave returns with him so that Raoul can kiss Christine goodbye. ThePhantom turns away and moves to the side of the stage, although he still gets to kissher (and of course, he cries). When she dies, Gustave hugs Raoul, who speaks quietlywith him and gestures once towards the Phantom and nods. Gustave walks over to thePhantom, whose back is turned, and holds his hand out to the Phantom. They embrace.Fade to black.

Prologue (SONG ENTIRELY CUT)

The set is an abandoned Coney Island at night and we can hear the ocean and seagullsin the background. To the right is a curtain representing the park wall withadvertisements from the park on it – there are some from Phantasma and some fromother shows. To the left is the railing of the pier and a lump of rags is laying next to it. Afull moon is visible in the sky over the ocean, and over the curtain wall you can seesome of the park’s attractions – a Ferris wheel and roller coasters. Giry walks on, herhead covered, rubbing her arms for warmth. She stops and stares at theadvertisements.

Giry: (holding out her arms)Phantasma! City of wonders.Mister Y presents marvels, astonishments, human prodigies.The ooh la la girl, 5 performances daily.Christine Daaé, the soprano of the century. (looking at a flier for Christine’s performanceat Phantasma)Gone. All gone. (turning away)

Fleck: (rising from the floor where she was laying next to the pier. Gangle and Squelchare present as well, but do not say anything. They rise from the floor where they werealso laying)Yes, there’s nothing left.Nothing left but ghosts.But I knew you’d come back, Madame Giry.

Giry:You... still here?

Fleck: (she’s using a crutch and limping towards Giry)Of course we’re still here!The freaks, the monstrous, the bizarre – (walking over to the advertisements)Where else could we exist but here?Remember how it was? (turning to Giry)Remember? (she grabs Giry’s arm)

Coney Isle, glistening and glimmering

Rising bright, drenched with lightSee it smile, beckoning and shimmeringAll agleam, like a dream

Both: (staring off into the distance)Every fantasy set freeSodom rising by the sea

Giry: (Fleck is limping over to the posters and reading them, Giry holds out her hand,reminiscing)Coney Isle, miracle on miracleSpeed and sound, whirling ‘roundMile by mile, loud and lewd and lyricalThrill on thrill, never still

All America was there,Beggar next to billionaire

(Fleck lifts up the tattered remains of her bird costume which she is wearing and turns toGiry, grabbing her arm)

Fleck:In they came

Giry:Chasing sensation and romance

Fleck:Eyes aflame

Giry:Desperate for pleasures yet unknown

Fleck:Night and day, pouring in by the hundreds of thousands

Giry: (Fleck, Gangle and Squelch leave the stage, ducking under the curtain)Swept away as their every desire was made real

Fleck: (eerie voice-over)Don’t you remember what happened back then?When we, even we, dared to walk among men?When even a Phantom could dream his dark dreams once again?

The Coney Island Waltz (SONG MOVED - NOW AFTER "TILL I HEAR YOU SING")

Giry turns towards the curtain which begins blowing with an eerie wind and she shieldsher eyes. As she watches, she sees a vision of ocean waves crashing on the shore andthe image of horses in them. She turns left and sees that the moon has become a Ferriswheel, which floats back over to the park. She looks at the curtain and Uncle Sam onstilts emerges; they bow to each other and he walks to the centre of the stage andraises his arms, lighting up the sign over the gates of Phantasma on the projectionscreen and then walking off stage. Giry walks over and pushes open the gates, and wesee the park as it once was – roller coasters, rides – all lit up. At one point we can seethe Phantom on the stage, laughing maniacally, and holding his staff with a skull on topwhich spits fire at Giry (think Wandering Child from "Phantom of the Opera"). As Giry

stands in the middle of the stage, various performers emerge in a rotating circle aroundher and she opens her arms, pointing at each in turn as they take their places, each intheir own spotlight – an acrobatic, a balancing couple, a fire thrower, three strongmenwho will spot Fleck, and finally Squelch, carrying a metal hoop, and Fleck. Madame Giryruns stage right, twirling her arms to make way for the performers. Squelch attaches thehoop to a hanging line, and Fleck walks to the stage, throws out her “wings,” turnsaround, and is raised on the hoop. Her “wings” are stretched out by two men, then takenoff and her long “tail” is removed as well. She does flips while two trapeze artists swingto either side. The gates come down and the acrobats are hidden behind, now back inPhantasma. A crowd emerges and gathers around the gates, and the lights rise. The newversion is entirely footage of the events in Paris 10 years ago - it shows the burning ofthe Paris Opera House.

Coney Island Introduction (CUT)

The lights go up and the crowd backs away from the gate as it opens and the threefreaks come out. Fleck has a leg brace now, Gangle is speaking through a horn which istied to his neck with a string, and Squelch has tattoos all over his face and a brace onhis torso. The entire "Heaven By the Sea" song has been deleted from the show andreplaced with another scene. Three banners are carried onto the stage advertising thefreaks and the Phantasma show, then two belly dancers walk on the stage and have aroutine. Two more people walk on in costumes similar to those worn in "Don JuanTriumphant" - both have long hair and are covering their faces with fans, being featuredas "The Almost Twins." One removes the fan and is clearly a woman - the other does thesame but is a bearded woman. There are no spectators at this point.

Only For You (SONG MOVED - NOW AFTER "TILL I HEAR YOU SING" AND "CONEYISLAND WALTZ")

The three freaks introduce Meg, who comes out and performs for the spectators now onstage.

Squelch:Mr. Y welcomes you to Phantasma!

Fleck:Featuring Dr. Gangle, master o' ceremonies!

Squelch:Miss Fleck, aerialist extraordinaire!

Fleck:The amazing Squelch, world's strongest man!

Gangle:And direct from Paris, France...

Fleck:It's Coney Island's Ooh La La Girl...

All three:Meg Giry!

Meg:

Welcome each and everyoneto our firmament of fun!

All: (Meg, freaks, dancers, and acrobats)A buffet of Ballyhoo!It’s where Coney comes to playAnd it’s opening today!And it's only for you!

Entertainment day and night,sure to dazzle and delight!

Meg:A big kind of whoopty do, yoo-hoo!

(more lyrics to be added)

All:And of course we'll be there too!And it's all presented by the amazing Mr. YAnd it's only for you!

(Everyone gets in a big triangle on stage with Meg up front - slower tempo)

Welcome one and welcome allWe've got wonders wall to wallAnd today's out big debut!Entertainments now are hereLet the spactacle beginAnd it's only for you!

If your heels are rather rawHere at Coney's newest parkWe'll be here all summer too!Mr. Y is all we needSatisfaction guaranteedAnd it's only for you!

Backstage of Phantasma (THIS SONG STILL FOLLOWS THE CONEY ISLAND INTRO,WHICH HAS BEEN MOVED)

Gangle: (in the background facing "audience" - think curtain call of "Think of Me" from"Phantom of the Opera")That was Meg Giry, the Ooh La La girl! Five shows daily only here at Phantasma! Andnow...

Giry: (clapping here hands to get people moving)Hurry up people, we have four more shows to do, no time to dawdle!

Meg:Mother what a crowd!

Giry:Oh my little Meg! (they embrace)Nervous?

Meg:

Oh it will pass!Do you think they liked me?

Giry:Dear I have to sayYour proper training in balletAdds some much needed class!

Woman: (walking by with her "almost twin" - the bearded woman)She's right!

Bearded woman:You can say that again! (they walk off stage)

Meg:Wonder what he thought

Giry:You mean Mr. Y?

Meg:If he's even here

Giry:Trust me Meg he's hereLook what’s on the lineTen years of workIt’s yours and mineHe won't miss our premiere

(spoken) Hurry along now, we'll see Mr. Y later (she walks off stage)

Meg: (alone on stage looking off in the distance) (THIS IS NOW INCORPORATED INTO"ONLY FOR YOU" AND THE INTRODUCTION TO CONEY)I hope you sawI hope you're thereGazing from the crowd somewhereListening as I singWatching everything

And if you are I hope you'll seeThe best of what's inside of mePassion to be shapedGrace to be refinedTalent to be usedPolished up and shined

Leave the rest behind

Meg leaves

The Aerie (THE NEW OPENING OF THE SHOW BEGINS HERE)

The lights rise and we see a figure at the back of the stage – as she steps forward she isrevealed to be Christine Daaé, dressed in a gold dress and wrap with her hair down. Shesteps forward somewhat mechanically and we realize that she is an automaton. Ashadowy figure is prowling behind her and holds his arms out as the music climaxes and

she holds her arms out – her wrap blows up and away. She turns stiffly and the Phantomruns out, throwing a rope around her neck – his hands are trembling, head thrown backand mouth open in ecstasy. As the music grows softer he fastens the rope, which isrevealed to actually be a necklace. He gently brushes her hair over her shoulder andgrabs a case which he rolls over and places her into. Then he walks over to the pianoand picks up the gun as the projection screen rises from the front of the stage, makingthe scene clear. The Phantom is wearing a knee-length black jacket over his white shirt(similar to the one he wore in "Stranger than you Dreamt It" in Phantom) The doll walksout into the center of the stage, then over to the piano when the Phantom emerges.

Till I Hear You Sing

Phantom: (bracing his hands on the piano)Ten long yearsLiving a mere facade of life (he crumples some of the sheet music)Ten long years (picking up the gun)Wasting my time on smoke and noise (he points the gun at his own head, handstrembling, then puts it back down)

In my mind I hear melodies pure and unearthly (holding his hands over the piano keys)But I find I can't give them a voice without you (he looks over at the automaton andholds out his hand to it)

My Christine, my ChristineLost and gone, lost and gone

(he walks to the automaton, lovingly folding its arms and tilting its head down, thenwalking back towards the piano)

The day starts, the day endsTime crawls byNight steals in, pacing the floorThe moments creep,Yet I can’t bear to sleepTill I hear you sing...

(He walks away from the automaton towards the front of the stage)

And weeks pass, and months passSeasons flyStill you don’t walk through my doorAnd in a hazeI count the silent daysTill I hear you sing once more. (turning back toward the automaton)

And sometimes in darknessI dream that you are thereBut wake holding nothing but the cold, night air (he hds his arms out to the automaton)

And years come, and years goTime runs dryStill I ache deep in my coreMy broken soul (turning and putting his hand on the container, gesturing frustratedlywhile looking at the automaton)Can’t be alive and whole

Till I hear you sing once more

And music, your musicIt teases at my ear (he crumples the music on the piano)I turn and it fades awayand you’re not here (walking to the front of the stage, arms out)

Let hopes pass, let dreams passLet them die (he clenches his fists)Without you, what are they for?I’ll always feelNo more than halfway realTill I hear you sing once more

Giry and Meg come onto the stage, and the Phantom hurriedly closes the curtain overthe doll, but Giry has seen it and looks disturbed. Meg rushes over to the piano wherethe Phantom is now standing, rustling his sheet music and writing notation, occasionallyplinking out a silent melody on the piano or waving his hand in time with a melody. He’signoring her and keeps sneaking glances at Giry, who is circling the automaton’scontainer warily.

Giry Confronts the Phantom (DRASTICALLY CHANGED)

The Phantom is no longer in this song. Meg and Mme. Giry use it to discuss the fact thatChristine will be singing in New York soon, for Hammerstein, and discuss how they gotthe Phantom out of France ten years ago.

Meg: (circling the piano desperately, following the Phantom as he moves)Tell me, did you watch?Tell me that you saw.Did you hear the crowd, the way they cheered? (she gestures off the stage)I hope you’re proud!

Did you like the new routine? (hopefully)Was it passable, I mean?I could change a thing or two – what should I do?No, don’t say it, I can guess. (looking away, disappointed with herself)But I promise, I’ll progress

Phantom: (distractedly, waving her off)Yes, of course, Meg. Whatever you feel is best. (still looking at Giry warily)

Meg:Did the costume look okay?Too revealing, would you say?People seemed to like the view (looking thoughtful)

Giry: (circling the automaton’s container, then walking back towards the piano to standbehind the Phantom)Meg...

Meg:I could show a bit more skin – that would surely bring them in. (she raises her skirts alittle to demonstrate)

Giry:

Meg! (Meg startles, and drops her skirt)(waving her hand sarcastically) Can’t you see that the master’s at work?Can’t you see that his mind’s somewhere else?Can’t you see that obviously he’s thinking of things more important than you? (nearlyspitting out the words)

Phantom: (turning and grabbing Giry’s arm, hissing in her ear)Careful, Madame. You’re forgetting yourself.

Giry: (wrenching her arm away)Don’t you see he forgot what this is?Opening day, big deal. What’s the fuss?Our success means naught I guess compared to the things that the master must do.(She walks over to the container and rips open the curtain to the container, revealingthe automaton)Christine, Christine! (She grabs the doll’s arm, breaking it – the Phantom bolts over andgrabs the broken arm)

Phantom:That’s enough! (Exploding in anger – he grabs Giry’s arm, and then turns to examine thebroken doll, furious over its injury)

Meg: (appalled, staring at the doll)Christine...

Giry: (not taking her eyes off the Phantom, who looks ready to commit murder over thedoll’s broken arm)Meg, leave now

Meg: (pointing)But that’s Christine –

Giry:I said leave. (Meg leaves quickly)

(The Phantom heads back over to the piano, determined to ignore Giry. He goes back towriting music. Giry walks over and stands behind him.)

In Paris when the mob surrounded youWho was there? We were thereWhere was she when the lawmen hounded you? (pointing at the automaton)Gone, long gone. We stayed on.

Who concealed you safe away?Smuggled you up to Calais?Found a freighter out of France?

Phantom: (whirling and pointing at Giry, almost yelling)I don’t see the problem – this is ancient history.

Giry:And once here, when the sideshow hired youWho stood by? Meg and I! (he waves his hand at her to go away like a recalcitrant child)While they kept you on displayWho kept working night and day?Who gave you their very lives? (the Phantom is back to playing on the piano and writingnotes down)

And who helped you buy that sideshow?Who helped you finance your scheme?Who wouldn’t quit till your act was a hitAnd your hit could become your dream?

(The Phantom comes to stand to the right of the piano and is writing on the papers. Giryis standing behind him.)

Who plied the politicians?Lured investors and the press?No, not her. (Gesturing to Christine – the Phantom freezes and looks up, but doesn’tturn around, then goes back to work)And who stayed with you?Helped you and advised you?We stayed with youLoved and idolized you (Giry reaches her hand out as if to touch the Phantom’s back, butnot quite doing so)

She betrayed you (Giry points at the doll, and the Phantom looks up and clenches hisfists, growing angrier)Shunned you and despised youShe chose Raoul – chose his beauty and youth (The Phantom has had enough – he grabsthe gun on the piano and is shaking, still not facing Giry)It’s long past time you faced up to –

Phantom:(yelling furiously, he spins around and grabs Giry’s arm, pulling her close and pointingthe gun in her face with a shaking hand)Enough! You’ll be repaid as I promised you would! (Giry stares him down and slowlytakes the gun away, placing it back on the piano)Now, if you’ve anything else left to say? (the Phantom won't look at Giry, who is staringat him furiously)

Giry leaves in a huff stage right, not looking back

Till I Hear You Sing (Reprise)

The Phantom turns angrily back to the piano and moves the music around, then picks upthe score to "Love Never Dies" and gets an idea. He snaps his fingers and the 3 freaksenter the stage from the left – Squelch and Gangle stand at the back of the stage andFleck walks over to the automaton and stares at it with a slightly worried expression.

Phantom:Oh Christine, my Christine (looking at the automaton again)Though I swore our goodbye meant goodbyeStill Christine, I must know what we shared was no lie (he begins writing on a piece ofpaper)My Christine,This shall return you to me (putting the paper in an envelope)Here where you know you should beMy sweet Christine! (he holds up the envelope, addressed to Christine)

Fleck walks over and she and the Phantom move to the front of the stage – theprojection screen and curtain come down, shielding the back of the stage. The Phantomgives her the envelope and she runs off stage right. The screen now shows the skyline of

New York City and the Statue of Liberty, and the Phantom holds his arms out as thoughbeckoning to Christine.

And come what may if just for one sweet dayI will hear you sing once more!

(the Phantom exits stage left as the curtain rises)

Christine Disembarks

A ship horn sounds. It’s Pier 69 and a crowd has gathered to greet those arriving on therecently docked ship. There are reporters and people hoping to get a glimpse of thefamous passengers from first class. There's a gate at the back of the stage that thepassengers are coming through and the crowd stands on either side. Stage right is asmall band playing music in the background. At one point a shadowy figure is visible inthe crowd, wearing a trench coat and a hat pulled low over his face - the Phantom ishere, waiting unnoticed.

Crowd:Have the passengers disembarked yet?Yeah, they’re going through customs now.Here they come!Hey, it’s Mrs. Astor! (Mrs. Astor and her maid exit the pier and walk downstage)Hey Mrs. Astor, over here!How was your trip?

Mrs. Astor: (ignoring the crowd and walking to the side of the stage, directing her maid,a demurely dressed woman managing Mrs. Astor's luggage)Over here, Lucille

Crowd:Is that the latest Paris style?

Reporter:That’s Oscar Hammerstein!

Reporter:Hey, Mr. H. I hear Christine Daaé’s on board. She here for one of your operas?

Oscar Hammerstein:I tried, believe me, I tried. But that new fellow on Coney Island doubled my offer!(yelling furiously) Where’s my coach? (two women wave flirtatiously at him, and the restof the crowd jumps as he yells angrily)

Crowd:I Bet she ain't got it no more, not like the old days. (smiling snarkily, two women arewhispering this to each other)They say she’s still pitch perfect, but it’s like the flame went out.Hey, there she is!

The crowd parts as the music swells, revealing Christine standing at the gate. She turnsslowly, taking in the sight of New York, and walks forward through the awe-struck crowdwhich she barely notices. She can't seem to take her eyes off the New York sights andshe has a dreamy look on her face. Then she turns and smiles widely as a small boywalks out of the gate and runs into her arms - they spin, hugging each other. Raoulenters next, forgotten by both of them. The reporters push forward, asking her

questions, and Raoul elbows his way through. The Phantom has broken away from thecrowd and is standing to the side, watching from a distance and then slowly walking offthe stage.

Raoul: (the moment is broken as he pushes through)Her name is Madame de Chagny, now stand aside, stand aside. (reaching Christine'sside)No pictures. Do you hear? No pictures of my wife. And no pictures of the boy. (One ofthe reporters takes a picture anyway, and Christine and Gustave flinch. Raoul tries tousher them away, but more reporters are there)

Woman:Christine, sing something! (Christine and Gustave turn in the other direction, trying toget away and are again confronted)

Reporters:Hey Christine, why Coney Island?The first concert in the years, why ain’t you singing at the Met?

Raoul: (condescendingly, sounding rehearsed)The Comtesse has been engaged by a well known impresario -

Reporters: (being pushed back by a policeman)Well known! Mr. Y?

Policeman: (turning around and sounding astonished, as though wondering how dumbRaoul could be)No one’s ever really seen the guy!

Reporter:How do you lure the great Christine Daaé over here anyway?It's the money rightAll that American mooh-la?Hey that’s what she should sing! Yankee doodle moo-la!(laughter and jeers - Christine is still barely paying attention, she and Gustave arestanding hand in hand and looking around)

Raoul: (indignantly)My wife is an artist, sir

Reporters:And her art is paying off your gambling debt. (the crowd ooooh's)That's what they're saying in FranceIs it true you left your entire fortune on a roulette table in Monte Carlo? (Christine stopslooking around and looks worriedly at her husband, who is getting angry and startingforward)

Raoul:How dare you! (He lunges for the reporter)

Gustave:Father... (Trying to distract Raoul by stepping in front of him)

Raoul: (angrily, pushing Gustave aside)Not now Gustave

Reporters: (Swarming around Gustave and Christine, who places her hand on her son’sshoulder and smiles fondly. Raoul is again pushed aside. The reporters kneel in front ofGustave.)Hey kid, how's it feel to have a famous mother?This your first time in America?What do you plan here at Coney?

Gustave:I... I want to learn how to swim (Mother and son smile at each other)

Raoul: (pushing through and grabbing Christine's arm)I said leave the child alone

Gustave: (pointing upstage right)Father look, right over there. Across the square – what is it?

Stage right a glass carriage pulled by a mechanical unicorn has rolled on and stops. Thedriver is cloaked in black and has a clear skull for a head, and climbs down, walking tothe front of the carriage. The crowd pulls back and separates, and everyone beginswhispering to each other as the driver steps down from the carriage. He is an imposingfigure wearing a black robe with a clear, glass skull for a head. He is carrying a whip andwalking slowly. Christine's eyes are wide, Gustave looks excited, and Raoul appearscurious.

Arrival of the Trio

Crowd:What on Earth could it be?That’s the damndest thing I’ve ever seen!It’s empty!How’s it work?Is it made of glass?It’s a machine!There’s something inside it!

(The driver taps his whip against the carriage which turns opaque, then clears as theelectric guitars sound to reveal the 3 freaks sitting inside of it. Squelch opens the doorand emerges first.)

Squelch: (peering out, looking eerie)Are you ready to begin?Are you ready to get on?You're about to start out on the journey of your lives. (climbing down and walking to thede Chagnys)

(Raoul starts forward to shake his hand, but Squelch lets a spark come out of his handand Raoul starts back, alarmed.)

Raoul:Is this some kind of joke?

Reporter 1:Nah, it's a publicity stunt for that freak show on Coney.

Reporter 2: (Squelch walks over towards him menacingly and the photographer takes apicture)

It's a front-page feature is what it is. You gettin' this, Smitty?

Photographer:You betcha.

Gangle: (climbing out)If you're ready then get in,Once you're in then we'll get goneand who knows once it goes where you'll be when it arrives?

(He steps forward and takes Raoul’s walking cane as Raoul protests impotently, which hesnaps in two and turns into a red handkerchief. The crowd applauds)

Raoul: (beginning to look very annoyed)This is outrageous! (no one is paying attention and it seems to annoy him more -Christine and Gustave are smiling and enjoying the spectacle)

Crowd:It's amazing!Brilliant!I'm telling you, that Mr. Y 's an absolute genius.

Fleck: (Emerging from the carriage and walking over to the other two freaks)It's a funhouse where the mirrors all reflect what's real

Fleck and Gangle: (the freaks link arms and begin to step backward towards thecarriage)And reality's as twisted as the mirrors reveal

GFS:And the fun is finding out what the mirrors show (All three bow to Christine, Gustave andRaoul and motion towards the carriage)

(Gustave immediately runs for the carriage despite Raoul’s calling to him. Christine goesnext, and Raoul calls out to her but she ignores him, taking Fleck’s hand and steppinginside the carriage, looking curious. Raoul follows reluctantly. Gustave stands on theback of the carriage with the driver.)

Raoul:This is unacceptable! Do you hear me? I will be taking this up with your employer,whoever he is. (he says this to Squelch as he gets in - Squelch is impassive. Raoul getsin the carriage and the door closes - you can see him gesturing wildly inside)

Gustave: (as the carriage begins to move away upstage)Everything and everyone, it's all just how I dreamedAll the freaks and all the fun, exactly how I dreamedAnd Phantasma still awaitsI wonder what's behind its gates

The projection screen comes down as the carriage moves upstage and showsthe paththe carriage takes – we see it crossing a bridge, then a red line is traced on a map as itgoes through New York and goes to Coney Island. The screen raises, revealing a hotelroom with a piano stage left, a music box of a pianist playing a spinet sitting next to it,and stage right there is a chaise lounge and a table with a decanter and glass. There is abalcony door in the center. A maid emerges to take the de Chagny’s baggage andgestures Gustave towards the music box, which he immediately runs to and beginsexamining. Christine walks to the piano which has the sheet music for “Love Never Dies”sitting on it and picks it up, examining it.

What a Dreadful Town

Raoul: (Stalking over to the table near the chaise and pouring himself a glass of alcohol– Christine notices and looks upset but Raoul continues)What a dreadful town, what a vulgar placeWhat an awful mistake to have come hereTo be on display in that shameless wayFor the crude, common lower-class scum hereHow do they dare to treat us so? (pointing at Christine, who glances up briefly and thenlooks back down - clearly this is not new)

Gustave: (looking up at Raoul excitedly)Father dear, come play with me.Come and see this toy I’ve got.

Raoul: (ignoring Gustave, who goes back to playing)What a snub, at most, from our so-called hostDid he think sending freaks would be funny?Could the fool have thought that our pride was bought by his filthy American money?What a farce, what an outright slap in the faceIt’s an utter disgraceI’ve got a mind to pack and go (Christine starts towards Raoul, but stops when he saysthis)Never you mind the debts we oweWho could believe we’ve sunk this low? (Raoul takes a drink and Christine walks backtowards the piano, shaking her head)

Gustave:Father, please come play with me

Raoul:Please, tell the boy the answer’s no. (Christine turns, smiling at her son in appeasement,and motions for Gustave to be quiet – she’ll take care of it. Gustave goes back toplaying, and Christine walks to the piano and begins playing the melody for Love NeverDies. Raoul is contemplating his drink.)Must you make that racket? (sounding exasperated)

Christine: (looking up, surprised)It’s the aria I’m to sing at the concert -

Raoul: (glaring and sounding as though he's talking to a recalcitrant child)It hurts my head

Christine: (Walking towards Raoul, nervously. She puts her hands out comfortingly)Please let’s not fight, dearI’m sure that no one intended a slight, dear

Raoul: (standing by the table, pointing at Christine rudely)Don’t you patronize me; it’s your fault we came here

Christine: (looking furtively at Gustave, who she wants to remain unaware of theirtroubles and moving forward towards Raoul, away from the piano)We need the money, that’s all. (her voice is low, and Raoul scoffs and takes anotherdrink)That’s why things haven’t been right, dear

Raoul: (glaring and laughing snidely)Why doesn’t it surprise me that I get the blame here?

Christine: (smiling soothingly and walking to Raoul – she places her hands on hisshoulders comfortingly)Let’s leave tonight dear, if that would serve to ease your troubled mindLeave the hurt behind (Raoul kisses Christine’s hand, softening)

Gustave:Father, dear, come over here and look at what they gave to meWind it up, Father see, and look it plays a melody (he winds the toy)

Raoul smiles until he hears the music box playing the same melody played by the bandat the pier earlier that day. He frowns and walks over to the music box and kicks it – itstops playing, and Gustave looks down. Christine looks upset.

Raoul: (walking back over to the chaise, grabbing his jacket and slinging it over hisshoulder)I need some air

Christine: (starting towards him)Raoul, please -

Raoul: (turning and giving her a sarcastic smile)Please what? Hmmm?

Christine:(backing down)Nothing. Only... Raoul, don’t drink anymore

(Raoul smirks, downs the rest of the drink in one gulp, and hands Christine the emptyglass which she looks at in surprise, then places on the table. Raoul stalks off stage leftand Christine looks after him sadly)

Gustave: (still looking down at the music box)Father never plays with me. Doesn’t he love me?

Look with your Heart

(Christine looks surprised for a moment, and then smiles slightly and motions forGustave to come over to her.)

Christine: (looking over at Gustave sadly)Love's a curious thingIt often comes disguisedLook at love the wrong wayIt goes unrecognized

So look with your heartAnd not with your eyesThe heart understandsThe heart never lies

(Christine has walked to the chaise and laid back on it – Gustave walks over and crawlsin her lap, and she holds him close)

Believe what it feelsAnd trust what it showsLook with your heartThe heart always knows

Love is not always beautifulNot at the start...

(Gustave sits up and looks at Christine, who is smiling softly)

So open your armsAnd close your eyes tight (Gustave does so)Look with your heartAnd when it finds loveYour heart will be right (Christine is smiling slightly and holding Gustave closethroughout this - he looks up at her adoringly, and it is clear that Mother and son arevery close)

(Gustave stands up to leave, walking behind the chaise, but Christine takes his arm toprevent him from exiting, not looking at him - her expression grows serious)

Learn from someone who knowsMake sure you don't forgetLove you misunderstandIs love that you'll regret... (Christine trails off, looking stage left where Raoul exited)

Gustave:(spoken, concernedly - he walks back to her and looks anxiously into her eyes)Mother... (Christine comes back to herself and smiles - Gustave takes her hands)Look with your heartAnd not with your eyesThe heart can't be fooled

Christine:The heart is too wise

Gustave: (sitting down again)Forget what you think

Christine:Ignore what you hear

Both:Look with your heartIt always sees clear

Gustave: (Christine holds out her arms as though conducting a symphony, and Gustavecontinues - Christine smiles delightedly as he sings)Love is not always beautifulNot at the start

Christine: (pulling Gustave close and smiling)But open your armsand close your eyes tightLook with your heartAnd when it finds loveYour heart will be right.

(Gustave stands and bows to Christine, who smiles prettily, stands, curtsies, and placesher hand in his. They waltz as the music ends, bow and curtsy to each other, andChristine kisses Gustave's forehead and sends him off to bed as the maid enters andtakes him. She turns off the lamp on the side table and walks over to the music box,picking it up. As she does, however, it begins playing – after three notes she recognizesthat the music is from Don Juan Triumphant and her eyes grow wide with realization.She puts the box on the piano abruptly and backs away, looking frantically off whereGustave just exited and then looking at the balcony doors as a figure becomes clearthrough the glass and mist)

Beneath a Moonless Sky

As the music crashes the doors open and the Phantom steps through the mist and intothe hotel room – Christine is clearly shocked and backs away from him towards thepiano with wide eyes and a horrified look on her face – the Phantom walks slowly over towhere she was standing downstage of the chaise, clearly in awe of the woman he’smissed for 10 years - he doesn't take his eyes off her for a single instant. He slowlyraises his arms, holding them out to her, and Christine, after pausing for the briefest ofseconds, runs into them, embracing him tightly and smiling. He holds her tightly, alsosmiling, and for a moment the reunion is sweet before Christine pulls back and slaps himacross the face, backing away towards the piano. He puts his hand up to his cheek, andthen starts towards her, arm outstretched, but she holds out her hand, palm outward, totell him to stop. This scene is still present, but changed a little. There are darkerundertones, and the Phantom uses this opportunity to tell Christine that if she doesn'tsing for him instead of Hammerstein then he will tell Raoul about her infidelity. Christineagrees.

Christine: (walking behind the piano and upstage, practically spitting the words at times)I should have known that you’d be hereI should have known it all alongThis whole arrangement bears your stampYou’re in each measure of this song. (She looks down at the sheet music and growsangrier)How dare you try and claim me now?How dare you come invade my life? (Christine is furious – she walks around the piano,stalks over to the Phantom and raises her hand to slap him again, but he catches her bythe wrist)

Phantom: (still in awe, looking into her eyes)Oh Christine, my Christine.In that time when the world thought me dead (Christine's eyes grow wide)My Christine,On that night just before you were wed (Christine breaks free with a jerk of her arm andwalks stage right, facing away)Ah, Christine,You came and found where I hid (Christine is shaking her head in denial, franticallytrying to deny it)Don’t you deny that you did, (he points at her)That long ago night

Christine: (closing her eyes, unwillingly remembering and still facing away)That night... (her voice is low and quiet)

Phantom: (Walking towards her, he stands about two feet away and watches her)Once there was a night,

Beneath a moonless skyToo dark to see a thing,Too dark to even try

Christine: (her hand stretched out in front of her, remembering)I stole to your sideTormented by my choiceI couldn’t see your face,But trembled at your voice

And I touched you

Phantom: (staring off into the distance stage left)And I felt you

Both:And I heard those ravishing refrains

Christine:The music of your pulse

Phantom:The singing in your veins

Christine: (raising her hand, reminiscently)And I held you

Phantom:And I touched you

Christine:And embraced you

Phantom:And I felt you

Both:And with every breath and every sigh

Christine: (looking less afraid now that she remembers)I felt no longer scared

Phantom: (looking amazed)I felt no longer shy

Both: (They turn to face each other, reaching for each other but not touching)At last our feelings bared beneath a moonless sky

Christine: (walking towards the piano, gazing off into the distance)And blind in the dark,As soul gazed into soulI looked into your heart (she looks at the Phantom)And saw you pure and whole (he looks surprised at this)

Phantom: (Coming to stand behind her – both now facing the audience)Cloaked under the night, (clenching his fists)With nothing to suppress,A woman and a man (he gestures to Christine and then himself)

No more, and yet no less

And I kissed you (he puts his arms around her, still not touching her, palms facing heron either side)

Christine:And caressed you (she reaches out her right hand to his right palm shakily, lookingfrightened at how she is reacting)

Both:And the world around us fell awayWe said things in the dark (she does the same with her left hand so now her arms arecrossed in front of her)We never dared to say (he guides their hands above Christine’s head – she spins andfaces him. She is now standing near the chaise and he is by the piano)

Phantom:And I caught you (he points at her)

Christine: (desperately)And I kissed you

Phantom:And I took you (he clenches his fist)

Christine:And I begged you (she throws her arms out)

Both:With a need too urgent to deny (they circle and then face each other. They are nowstanding close to each other – the Phantom has his hands around Christine’s face andneck, and she has her hands on his jacket; their faces are inches apart. The tension istangible, and each is practically vibrating with the memory of that night)And nothing mattered thenExcept for you and IAgain and then againBeneath a moonless sky (they stand still for a moment, remaining close, almost kissing)

Phantom: (slowly pulling away)And when it was doneBefore the sun could riseAshamed of what I was, (he gestures to his face)Afraid to see your eyes (Christine is nearly in tears, finally understanding)I stood while you sleptAnd whispered a goodbye (he reaches out, almost caressing Christine’s cheek, butmoves back)And slipped into the dark (he turns away)Beneath a moonless sky

Christine: (taking a step forward)And I loved you, (the Phantom looks up and out over the audience, shocked andhorrified)Yes I loved you (she moves towards him)I’d have followed anywhere you led (The Phantom is shaking his head in denial, suddenlyrealizing what he did)I woke to swear my love

and found you gone instead (Christine reaches out to the Phantom, putting her hand onhis arm but he wrenches himself away, still looking shocked, and walks upstage, thenturns back)

Phantom: (pointing at her)And I loved you –

Christine:And I loved you

Phantom:And I left you

Christine: (moving closer)How I loved you!

Phantom:And I had to, both of us knew why (he gestures angrily)

Christine:We both knew why

Both: (facing each other, moving closer)And yet I won’t regret (Suddenly, the Phantom pulls Christine close and she gasps)From now until I dieThe night I can’t forget (they clasp hands, leaning close and staring into each other'seyes and)Beneath a moonless sky

(They are so close now that it almost seems as if they will kiss. The Phantom’s handcaresses Christine’s cheek and he leans in.)

Phantom:And now?

Christine: (slowly pulls away, remembering herself)How can you talk of now?For us there is no now.

Once Upon Another Time

Christine walks over to the balcony door and leans against it, closing her eyes andalmost crying. The Phantom turns and watches her as she walks through to the balconyand follows – the set turns and the skyline of Coney Island is now visible and the hotelroom disappears. He follows her and stands in the doorway of the balcony, watchingsilently.

Christine: (staring out over Coney Island wistfully)Once upon another timeOur story had only begunYou chose to turn the pageAnd I made choices too (she looks briefly over at the Phantom)

Once upon that other timeWe did what we thought must be done (she twists her wedding ring)And now we have no choice

We do what we must do

We love, we liveWe give what we can giveAnd take what little we deserve (smiling, resolute)

Phantom: (walking to her side)Once upon another timeI knew how our story would end (he’s also playing with his ring)And maybe I was wrongBut now the moment's gone

(He puts his hand next to Christine’s on the balcony railing and she turns and looks athim)

Were it still that other timeI'd make time itself somehow bend (he gestures with his hand and Christine smiles)But now I'm not that strong (Christine's smile fades)And time keeps moving on (he moves away to her other side and they look away fromeach other)

Both:We love, we livewe give what we can giveand take what little we deserve

(They walk back through the doors into the hotel room)

We love, we live (they turn and smile at each other)We give what we can giveAnd take what little we deserve

Once upon another time (they face each other and slowly take hold of each other’shands, gazing into eachother's eyes as the image of the New York skyline fades and themist disappears – we’re back in the hotel room)

Mother, Please, I’m Scared

(The moment is ruined as a scream sounds offstage and Gustave comes running in. ThePhantom spins around and faces away, leaning over the right side of the piano. Christinetakes Gustave into her arms, looking worriedly at the Phantom as well as Gustave.)

Gustave: (frantic)Mother, please, I'm scared.What a dream - an awful dream.Someone strange and madStealing me and drowning me.

(The Phantom is touching the forgotten music box on the piano, looking intrigued, likehe has an idea)

Christine:Shhh, Gustave, it's all right. (patting his back - she looks up and over at the Phantom)This, Gustave, is – (she falters, unsure what to say)

Phantom:

(The Phantom turns around, suddenly interrupting) Mr. YAnd this must be (he looks at Christine, who has stood and now has her hands onGustave’s shoulders) the Vicomte's boy... (Christine looks down for a moment)

Gustave: (in awe)This place is yours? (He moves towards the Phantom)

Phantom:Oh, yes, little Vicomte. (laughing chillingly) You're in my world now. (Christine is clearlydisturbed)Tell me where you'd like to go, tell me what you want to see (turning to the balcony andgesturing out to the park. Christine moves forward to protest)Madame, please, I insist (silencing her with a gesture)

Gustave: (moving towards the Phantom excitedly, intent - he is looking right into thePhantom's eyes without any sign of fear)Could you show me if you pleaseAll Phantasma's mysteries?All that's strange and wild and darkIn the shadows of the park? (Christine is looking distinctly worried at the way thatGustave is talking and the Phantom looks curious)

Phantom: (laughing eerily)You shall see it all tomorrow. (he glances at Gustave, considering)In fact, I will show you myself. (He tilts the boy’s chin up and examines his face, thenlooks over at Christine, then back at Gustave)I promise. (Touching the boy’s nose affectionately, then walking through the balconydoors, which close behind him, and disappearing)

Christine:Back to sleep, Gustave.

Gustave:Yes, Mother.

The maid enters, takes Gustave’s hand and they both leave.

Christine looks towards the balcony, smiling, then off towards where Gustave exited. Sheraises her hand to her neck as though remembering the Phantom’s touch. Then sheshakes her head as though pulling herself out of a dream and exits stage right just asMeg comes on for the next scene.

Dear Old Friend

Meg dances on from stage right just as Christine is exiting and the scene transitions. Thescene is backstage at Coney Island. There’s a piano stage left, giant stage doors in thecenter, and in front of them are Meg and her dancers rehearsing a scene from BathingBeauty. The girls are dancing and Meg is using parasols to complete her part. All arewearing corsets, shorts and stockings in black and bright colors – apparently basicrehearsal dress, but it looks pretty racy compared to what Christine was wearing earlier.The director and pianist are over by the piano, watching the rehearsal. This scene is stillbasically the same - Meg is more desperate, Christine more nervous and scared now thatshe's being blackmailed.

Director:Five... six... a five, six, seven, eight!

Girls:Bathing beautyon the beach,see her practic’ly glow!Wearing a smile andgiving Coney Islanda bathing beaut of a show!Bathing beauty, say…

Meg:Hello! (she finishes with a flourish)

Director:Alright, Meg, take five. Let’s hear those lyrics again, girls.

The girls go off towards the piano to rehearse, gossiping, and then singing BathingBeauty as the pianist plays quietly. Meg walks over to Giry, who has entered from theright.

Giry:Very nice, Meg

Meg:Do you think so, Mother, really? (She’s unsure about the quality of this music andsounds skeptical)

Giry:I’m sure the audiences here at Coney Island will appreciate it. (she turns to talk to thedirector)

Meg: (not placated)What about him? Does he agree? (trying to get Giry's attention)It’s been three months – he never comes to see the show.Even a word from him, just one. (the director walks away and Giry finally turns back toher daughter)

Giry: (pulls her to the front of the stage and talking furtively)You may get more than that. He’s been composing again. (Meg looks over at the pianorehearsal, unimpressed)Not this cheap, vaudeville trash. Something marvellous. An aria.

Meg: (looking hopeful and gesturing to herself)For me?

Giry:Continue to work hard. (She begins to walk away, and then turns back) Make yourselfuseful to him. (Giry says this in a significant tone, and Meg nods and walks back over tothe piano to rehearse with the girls)

The doors at the back of the stage slide open revealing Christine, Raoul and Gustavesilhouetted against a blue sky and the Coney Island pier in the distance. All are dressedin modest, white clothes and the very picture of a titled family. Raoul remains standingat the doors looking around. Christine and Gustave walk forward, holding hands.Gustave is excited and tugging on his mother’s hand, while Christine looks slightlydistracted.

Gustave:

Mother –

Christine:Patience, Gustave. First I must find my dressing room, the conductor – (she’s lookingaround at the backup dancers who are now walking past her having finished with theirrehearsal and looks slightly repulsed at their scanty clothing)

Gustave:Then we'll go find Mr Y? And go see the island?

Christine: (distractedly)I'm sure he'll send for you when he's ready. (she walks over to the piano and taps Megon the shoulder)Excuse me, miss, would you mind?

(Meg turns around and realizes immediately who it is - she takes a step back, shocked.)

Meg:Heaven help me, could it be? (she pauses and puts her hand to her neck in surprise)No, it couldn't possibly! (leaning forward to look closely)

Christine: (stepping back, shaking her head)Sorry, do I?

Meg: (nodding)Yes, I think you do.

Christine:Have we?

Meg: (stepping back and holding her arms out)Go on, take a guess!

Christine: (slowly realizing, stepping forward)Wait it can't be, is it?

Meg: (nodding)Yes!

Christine:Oh my God, I can't believe it's you!

The two old friends take a step back and look at each other.

Meg: (gesturing to Christine, smiling broadly)Look at you Christine, regal as a queen and beautiful!

Christine:Meg, and you as well (she shakes her head in amazement)I could hardly tell it's you! (they hug quickly, but not very tightly – it’s more polite thanaffectionate)

Both:My dear old friend,Can’t believe you're here old friend (they take hands and turn around, examining eachother)

Christine:

After all this time

Meg:So glad you came

Christine:You look... sublime (she looks Meg up and down, clearly appalled by Meg’s clothes buttrying to sound polite)

Meg:You look the... same (insincerely, a little disturbed by how modest Christine appears)

Both:My sweet old friendNever thought we'd meet old friend

Christine:Look at you... a star. (she smiles insincerely and gestures to Meg’s outfit)

Meg:And you... a wife! (Meg does the same – she says ‘wife’ like it’s a curse word)

Both:And isn't life a splendid thing! (both turn away from each other and gaze off into thedistance, losing their insincere smiles for a brief moment)

Christine: (turning back, her polite smile back)And here we are

Meg: (questioningly)To see the sights?

Christine: (holding her arms out)And sing!

Meg: (her smile fades, she takes a step back)To sing?

Christine:And of course as a treat for my son. Meg, meet Gustave. (gesturing to Gustave who isupstage right, exploring the stage)

Meg: (looking perturbed)But - who hired you to sing here?

They walk over to Gustave, who has been looking at posters advertising Meg and Fleck’srespective performances next to the doors and talking to the dancers (who have beencooing over the cute little boy). They stand in the back talking, shaking hands and such.Meg coos over him and brings the director over so he can be introduced. All this occursin the background while…Raoul has walked in, in the meantime, and is now noticing Madame Giry – he does adouble take, then follows her as she walks upstage left. Giry sees him and walks quicklyaway but Raoul grabs her arm and spins her around.

Raoul:You!

Giry: (spinning around)

It can't be you

Raoul:Is this a jest?

Giry:How can this be?

Raoul: (defensively)We've come to work

Giry:At whose request?

Raoul:The contract's here (he pulls it out and holds it out to Giry)

Giry:I want to see. (she snatches the paper and unfolds it, reading it)My God, the price! (looking up, horrified)

Raoul: (turning away and smiling smugly as he removes his gloves)It's rather high

Giry:Why, it's absurd!

Raoul: (smirking)Oh yes, I know.Inform your boss, that by the by, (Giry begins smirking when she realized that Raouldoesn’t know who her boss is)The fee goes up (he snatches back the paper)Or else we go

Both: (they smile at each other insincerely and with thinly veiled hostility)My dear old friend,here’s how things appear old friend

Giry: (she begins walking away)He who pays the bill

Raoul:Times two or three

Giry: (turning back for a moment, then continuing)Be sure he will

Raoul:And handsomely

Both: (Giry turns back and points at Raoul, who is glaring now)And dear old friend,now that we are clear old friend

Giry:That's all very well,But ‘till you're gone

You’ll wait upon my boss' whim (she begins to walk away to talk to the director, brushingoff Raoul)

Raoul: (smiling snidely, standing center stage)Ah yes, your boss.And who is that? (he looks down at the contract, still smiling)

Giry: (turning back and smiling cruelly)It's him.

Raoul’s head snaps up and his expression grows horrified as he immediately realizes whoshe means. He runs over to Giry and tries unsuccessfully to get her attention while shetalks to the director – she’s given him the brush off.

Meg: (she and Christine walk downstage left – Christine towards the piano, Megfollowing and frantically trying to get an explanation)Sorry, did I hear you right?Here to sing

ChristineTomorrow night.

Meg:I'm afraid there must be some mistake.You can't be performing-

Christine: (pausing, looking up from the music, amused and beginning to realize thatMeg is jealous)Why?

Meg: (losing patience)Mainly, dear, 'cause so am I.I'm in fact the star for heaven's sake. (laughing as though this should be obvious)What are you to sing?

Christine:Just one little thing: an aria. (she holds out the sheet music for “Love Never Dies” andMeg takes it and looks horrified)

Meg:No...

Christine:Please you needn't fret,I'm sure you will get your due. (Christine’s smile is rather condescending and they movetowards the piano as Raoul and Giry take centre stage)

Raoul has managed to chase down Giry and grabs her arm, hissing in her ear.

Raoul:Him?

Giry: (turning away)That's what I said

Raoul: (not letting her go)You work for him?

Giry: (pointing in his face)Now so do you

Raoul: (in Giry’s ear)But my poor wife.We thought him dead.She'll be appalled. (looking over at Christine, worried)

Giry: (tapping him with the contract, with a knowing smile)Unless she knew.

Raoul looks shocked again, and turns to look at Christine who is walking towards him.Giry walks center stage and Meg walks over to her – they trade so that Meg is looking atthe contract and Giry at the sheet music, and each examines the papers, theirexpressions growing more and more upset.

Christine: (warily)Darling, please are you alright?

Raoul: (grabbing her arm and pulling her to the side – Christine realizes that he knowsand looks worried)Tell me now, that music –who was its creator?

Christine: (trying to keep a smile, but starting to get panicked – Raoul has hold of herarm)Darling, please don't squeeze so tight

Raoul: (hissing in her ear)Something's going on here –I'll deal with you later (they argue silently)

Meg: (aside, to Giry)Did you know?

Giry: (glaring at Raoul and Christine)How could I know?Why would they come?

Meg: (grimly)Why won't they go?

All turn suddenly towards each other as the music changes, wearing large, patentlyinsincere smiles and wide open arms in stark contrast to their previous words.

All:My dear old friend (dear old friends)Can’t believe you’re here, old friends (such good friends)

Giry: (she opens her arms invitingly)Speaking as your host

Meg: (bowing)As an artiste

Christine:What a surprise! (looking askance at Raoul)

Raoul: (glaring at Christine)To say the least

All: (Christine moves to Giry, Raoul over to Meg)Yes dear old friend,That’s a happy tear old friend. (Giry is touching Christine’s cheek maternally, Raoul andMeg are smiling and shaking hands)I can't conceal, try though I maythe way I feel, so why pretend?I'm sure it's clear to such a dear old friend (nodding and smiling at each other)

In the background we can see that Gustave has been approached by the three freaks,who introduce themselves and lead him off the back of the stage.

Giry: (Christine turns to walk towards the piano, but Giry grabs her arm and looks grim)You mustn't stay

Christine: (defensively)Why would I leave?

Raoul: (to Meg)Why are we here?

Meg: (scornfully)Don't play naive.

All: (turning to each other again - the insincere smiles are back)What dear old friends,don't we all revere old friends?

Raoul: (frustrated)Nothing has been changed

Meg: (looking out at the audience, glaring)And never will

Giry and Christine:Just rearranged, and yet we're still

All: (smiling at each other again)Such grand old friends,Such devoted and old friends.Words cannot suggest what's in my heart,As for the restWhy even start? (all look forward suddenly out at the audience, dropping their masks fora moment and looking grim, and then smiling insincerely again as the next verse startsand they turn back to each other)

You’re dear old friends (dear old friends)So much more than mere old friends (such true friends)Back again at last (back again)With everyone (everyone)Isn’t this great (God it’s great)Won’t this be fun? (so much fun) (Raoul and Christine, and then Giry and Meg, look ateach other, clearly annoyed - it will not be fun)

With dear old friendsUtterly sincere old friends

(Meg has been holding the sheet music, which Christine plucks from her hands and holdsdefensively behind her back, smiling all the while)

Meg: (snidely)Honey, break a leg

Raoul: (bowing sarcastically to Giry)Madame good day

Giry: (To Raoul, smirking)Enjoy your stay

Christine: (looking down at the sheet music with a smug grin)Hope it extends (everyone turns and looks at her, horrified and shocked. Christine jumpsand folds up the music)No! (In an attempt to cover up her statement – she looks rather surprised at what shehas said herself)

All:So glad you're here,our lovely dear old friends (they begin to walk away, the Girys to the right and Raouland Christine to the left where Christine sets down the sheet music on the piano, then allturn back as an afterthought, holding their arms out to each other)Old friends! (Giry and Meg turn away, disgusted. Christine looks around realizingGustave isn't there)

Christine:Gustave? Gustave?

Raoul: (angrily)Must we always be chasing after the boy? I promise you, when I find him – (stalkingtowards Christine)

Christine: (realizing that Gustave has probably gone to the Phantom, she turns toMadame Giry – they head off to look for him)No! I'll find him

(Raoul leaves stage left, Giry and Christine exit stage right. The dancers come back andget in formation behind Meg.)

Director:Alright, break’s over Meg. Back to work!

Cast:Bathing beauty on the beach,bathing beauty say helloWhat a cutie, what a peachBathing beauty, watch her go...

Meg starts dancing halfheartedly, but stops quickly and storms off the stage in anger andthe dancers die off, looking confused

Beautiful

The projection screen lowers, shows a spiral staircase and moves up it as the sceneshifts to the Phantom’s workroom by zooming in on the eyes of the skull at the top ofthe Phantasma tower as it raises.

Phantom: (eerie voice-over as the staircase is on the screen)Bring the child here to meIt is time that I repaid him his debtIf it’s dark he wants to seeThen dark is what he’ll get

THESE CHANGES HAVE BEEN REVOKED - THE 3 FREAKS ARE BRINGING GUSTAVE ONAGAIN, AND THE "COME ALONG AND FOLLOW US" BIT IS INCLUDED AGAIN.

The screen lifts revealing a strange room filled with odd inventions. To the right is alarge object covered in a tarp which the Phantom is tinkering with - an organ played by askeletal figure, rather a large and macabre version of Gustave's music box. The piano(with a gold chandelier over it) and the automaton’s container are stage left. There’s astaircase coming up from the middle of the floor with a railing around it. The back of thestage are the windows which are the eyes we've seen at the top of the Phantasma tower.Over the windows are spread the wings of a large gold statue of a woman with flowinghair and jewels in her torso. The three freaks and Gustave come up the stairs and intothe workroom. Fleck walks over to the Phantom and taps his shoulder, letting him knowthat Gustave has arrived, and he turns around, gesturing for the freaks to leave - theydo so, down the stairs. From stage right a cart rolls out, pushed by a pair of human legswith a skeleton torso and head.

Gustave: (looking around)What is this place?

Gustave looks amazed, but not frightened. The Phantom walks over to him and places atool on the cart which is walking past. Gustave watches intently.

Phantom:This is my realm, illusion's domain.Where music and beauty and artifice reign. (he motions in turn to the piano, gold angelstatue, and the cart)Go look around while I finish my work.

The Phantom walks back towards his project, pulling the sheet back over it, and Gustavewalks over to the piano and picks up the gun which was lying on top of the sheet musicwhere the Phantom left it after "Till I Hear You Sing." The Phantom runs over and takesit from him, shouting “no!” and then walks back to the organ while still holding the gun.Gustave wanders to the piano and puts his hand on the keys.

Gustave:May I?

Phantom: (glancing over for a second, barely paying attention)Does the young Vicomte play?

(Gustave sits and plays a simple but haunting melody)

Phantom: (freezing, still facing the sheet covered organ)What's this?

Gustave:Just a song in my head

Phantom: (sounding nervous, but intrigued, turns towards him now fully payingattention)Go on.

Gustave: (playing the piano)I think it's beautiful. (The Phantom looks at some of his own music lying on the pianothen walks up behind Gustave, downstage left near the automaton's container, settingthe gun down and watching him play, and then turning away)Hear how each note seems to floatHear how they all die and fallJust like the night (on the word night the Phantom freezes and turns sharply, lookingback at Gustave, who has turned and looked at him)It's beautiful... (Gustave turns back to the piano)

Phantom:This boy... (walking away behind the piano, which Gustave is still playing)

Gustave:So very beautiful

Phantom:This music... (he looks around, holding his arms out)

Gustave:Music that comes uncontrolled

Phantom: (walking over to the organ)He plays like me

Gustave:Haunting and lovely and bold

Phantom:He’s just ten years old (the Phantom turns to the organ, rearranging the cover)Ten years old! (He suddenly spins around, realizing what he’s just said)

Gustave has stood up and walked to the center of the stage, looking around in awe at allof the inventions. He walks over to the automaton’s cage and pulls the curtain back, andthe Phantom yells “NO” so Gustave spins around before seeing the doll of Christine.

Phantom:Play that! (Yelling and motioning to the sheet covered organ which Gustave goes toexplore)

The Phantom spins the container around so the doll is no longer visible, turns aroundquickly to look back at Gustave, turns and looks at the container of the Christine doll,and then walks back towards Gustave, watching as the boy explores the invention. Hehas an amazed and bewildered look on his face. At the Phantom’s urging, Gustave pullsthe lever on the side of the object, which turns out to be a large organ played by askeletal figure with multiple hands that is playing the Phantom's music. Instead of beingfrightened, Gustave begins laughing, pulls the rest of the tarp off, and then runs aroundit in excitement. He tries to touch one of the mechanisms on the side but the Phantompulls him back and has him sit in front of it. At one point Gustave crawls forward,peering inside the organ. The Phantom is clearly thrilled with Gustave’s reaction - hekeeps watching him, looking over at the automaton case, and then looking back inamazement. As he begins singing, the Phantom grabs Gustave’s arm and spins himaround, questioning him.

The Beauty Underneath

Phantom: (pulling Gustave to his feet and grabbing his arm – he sings intently andalmost desperately)Have you ever yearned to goPast the world you think you know?Been enthralled to the callof the beauty underneath? (he gestures around the room)

(The Phantom leads Gustave upstage)

Have you let it draw you in?Past the place where dreams begin?Felt the full breathless pull (he motions for Gustave to pull a hanging cord upstage right)of the beauty underneath?

Gustave pulls the cord, and the replica of Fleck begins to operate, revealing a birdlikefigure with wings which fan out – the Phantom holds his hands up towards it, andGustave is enthralled, reaching for it.

When the dark unfolds its wingsDo you sense the strangest things?Things no one would ever guess?Things mere words cannot express?

Gustave: (spinning around and facing the Phantom, delighted)Yes!

Phantom: (backing up, heading stage left)Do you find yourself beguiledBy the dangerous and wild?Do you feed on the needfor the beauty underneath? (he leads Gustave to the piano and shows him a replica ofSquelch’s tattooed head standing on the top of the piano – Gustave reaches for it infascination)

Have you felt your senses surge?And surrendered to the urge?Have been hooked as you lookedat the beauty underneath?

He holds his hands up to the chandelier, which comes to life at his commanding gesture– the medusa heads begin singing along with the song and Gustave grows more excited,reaching for it eagerly

When you stare behind the nightCan you glimpse its primal might?Might you hunger to possess?Hunger that you can't repress?

Gustave: (turning around and looking at the Phantom, amazed at this revelation)Yes!It seems so beautifulSo strange yet beautiful

Everything's just as you say (he places his hand on the Phantom’s arm before walkingaway to the right to examine the organ again and the Phantom looks down in shock atthe place where the boy has just touched him and then follows him)

Phantom:And he's so beautifulPerhaps too beautifulWhat I suspect cannot be (looking at the automaton case again)And yet somehow, we both seeThe very same way

Gustave has walked over to a cloth covered figure now standing near the organ – hepulls off the covering and it is a strange statue of a man wearing a costume similar toSquelch’s with half a mask on. He runs to the Phantom and takes his hand, pulling himover to it excitedly. The Phantom looks amazed at Gustave’s enthusiasm.

Gustave: (ecstatic)Is there music in your head?Have you followed where it led?And been graced with a tasteof the beauty underneath

Does it fill your every sense?Is it terribly intense?Tell me you need it too (he looks desperately at the Phantom, grabbing his arm)Need the beauty underneath

Both:When it lifts its voice and sings (The Phantom gestures Gustave forward)Don't you feel amazing things? (Gustave runs his hands over the statue and adisembodied hand with long fingers springs out of its torso, surprising him so hestumbles backward into the Phantom’s arms. Gustave looks up at the Phantom, and hegestures comfortingly for him to move forward again. He does.)Things you know you can't confessThings you thirst for nonetheless

Gustave grasps the thing’s hand in a handshake, and it takes hold of his - they spinaround – the statue walks away and Gustave turns to the Phantom.

Gustave:It seems so beautiful

Phantom:Can it be?

Gustave:Almost too beautiful

Both: (looking at each other in awe, their hands reach out toward each other – thePhantom gestures stage left and the skeleton cart comes back out at his beckoning)Do you see what I see?

Gustave:Heavenly! (noticing the cart with the skeleton torso coming back across the stage andrunning to it)

Phantom: (gesturing to Gustave and his own inventions)To him it's beautiful... my world is beautiful

Gustave: (examining the cart, peering underneath it and looking closely at it)How can this be what it seems?

Both:All of my most secret dreams somehow set free! (they face each other and grasp handsin a moment of revelation)

Gustave grows excited and runs around in circles, spreading his jacket like wings. Hetakes it off and swings it over his head, leaving it by the stairs and continues to runexcitedly in circles around the room, going back to each invention and rejoicing in theirbeauty.

Phantom: (watching Gustave from downstage)You can feel it, (yes)come closer (yes)You’ve no fear of the beauty underneathYou can face it (yes),you can take it (yes)You see through to the beauty underneath

(The Phantom has an idea – he puts his hand on his mask and is suddenly wondering ifGustave will be able to appreciate this too)

To the splendor (to the splendor),and the glory (to the glory)To the truth of the beauty underneathYou'll accept it (yes),you'll embrace it (yes)Let me show you the beauty underneath

(he takes Gustave to the piano and the boy jumps on the piano bench, reaching onehand to the chandelier and the other hand out toward the Phantom.

To the splendor (to the splendor),and the glory (to the glory)To the truth of the beauty underneath (we can see Christine and Giry beginning to comeup the stairs, facing away from the piano)You'll accept it (yes)you'll embrace it (yes)Let me show you the beauty under -

(The Phantom stands in front of Gustave, who is still on the piano bench, and takes offhis mask and wig with a smooth gesture, looking hopefully up at Gustave. Gustavescreams frantically at the sight of the Phantom’s face, jumps off the bench, and runs toChristine, who has just come up the stairs with Giry. The Phantom shrinks back andcovers his face with his hand, turning away from the others and running upstage towardthe other side of the piano as though hiding)

The Phantom Confronts Christine

Christine: (realizing quickly what happened, she holds Gustave close)Gustave, it’s all right! It’s me!

Gustave: (hiding in her arms and yelling the words)It’s horrible! Horrible!

Christine:Gustave! (to Giry) Please, take him away. (Giry and Gustave leave quickly down thestairs and Christine turns toward the Phantom)I’m so sorry, please forgive him. He meant no harm. (Christine approaches the Phantomwho is still turned away and covering his face – she reaches out to him)

Phantom: (pounds his fist on the piano, still covering the deformed side of his face withone hand. It’s clear he’s barely hanging on to his temper)How could you think I wouldn’t guess?

Christine:What do you mean?

Phantom:(he turns around, now advancing on Christine) How could you think I wouldn’t know?

Christine:(panicked, turning away – she realizes exactly what he’s figured out) No!

Phantom:(pressing her, growing angrier) Do you have something to confess?

Christine:(backing away, shaking her head) Please don’t make me!

Phantom:(he wraps his left hand around her neck with force and shakes her, surprising Christine)I want the truth right now if so!

Christine doesn’t look scared, and slowly takes her hand and removes the Phantom’sfrom her neck. She doesn’t break eye contact with him, and seems to regain hercomposure.

Christine:Once upon another timeYou went off and left me alone (he grabs her by the arm, annoyed and turning away, butChristine puts her hand on top of his and stops him)But that’s not all you didYou left me with a son

It’s clear the Phantom didn’t really comprehend until now – he staggers back, turningaway from Christine, shaking his head and hunching over. He moves stage left.

Ever since that other timeI wish – how I wish you’d have known (stepping toward him, intently)I kept the secret hid,The secret my marriage forbid (twisting her wedding ring)What else could I have done? (looking off into the distance)

Just love...

Phantom: (quietly, still looking away stage left. He lowers his hand from his face)Our son...

Christine:Just live...

Phantom: (gesturing to himself, clenching his fists)My son...

Christine:Just give what I can giveAnd take what little I deserve

Phantom:My own flesh and blood (he turns to Christine, who starts in surprise when she sees hisface. The Phantom turns away again, not surprised but still hurt. Christine looks horrifiedwith herself and reaches out to the Phantom with an apologetic look on her face, but thePhantom shakes her off)and even he recoils in horror from me. (he walks to the piano, then turns back slightly)Just like his mother. (The Phantom sits on the piano bench, facing away and hunchedover)

Christine: (tearfully)Forgive me, I beg you, if you can.I’ve brought you nothing but woeTomorrow night I’ll sing with all my might (The Phantom sits up and turns to look atChristine over the piano, hopeful)Sing for you againThen we’ll go(Christine leaves down the stairs, pausing once to look back at the Phantom and thenleaving. The Phantom stands, then slowly walks to the staircase and picks up Gustave’sjacket from where it was lying, holding it close rather like a certain veil from 10 yearsago)

Phantom: (in awe)From out of ugliness, such lightFrom out of darkness, such a flameIn him my wrongness is made right (his tone suddenly turns dark)And yet he loathes me just the same

So let him shun me in disgust (growing in confidence)Let him flee this cursed faceIf I must hide from him I mustYet shall he be my saving grace!

(Walking to the piano)

For Christine, my Christine (looking at the automaton container)If it’s true I’ve no reason to liveThen Christine, then our boy shall have all I can give (spinning towards the staircase)Ah, ChristineAll I create on this Earth (gesturing around the room)All that I’ll never be worthAll shall be his!

The Phantom picks up the sheet music on his piano and throws it up into the air as hesings the last word. He turns to the gold angel statue at the back of the room and raiseshis hands to it worshipfully, and the stones on it light up. He begins to laugh darkly and,rolling up his sleeves, walks slowly down the staircase. The lights dim, and Giry entersstage right, where she has been standing in the shadows. Meg is visible standing thereas well, although she doesn’t move forward. Giry stands over the staircase and picks upGustave’s jacket - a light shines up from the staircase, giving her an eerie look. The lowmusic that begins her song is reminiscent of the “All I Ask of You Reprise” beginning.

Giry: (in a low, dark voice)Ten long years and he casts us asideTen whole years, this is how we’re repaidTen dark years of toil and tears and now what we’ve worked for will go to that child(nearly spitting out the words)

All our hopes were at last in our graspAll the dreams and the plans that we laidEverything is vanishing and we get discarded, rejected, reviledAll of the bonds in-between us now torn (growing more desperate)All of the love that we gave him forswornAll would be ours if that bastard had never been born!

(Giry picks up Gustave’s abandoned coat, crumples it and throws it down the stairs,leaning over to watch it fall. She walks around the staircase holding onto the railing,then looks up at the gold angel statue and raises a hand toward it, and then walks slowlydown the stairs. As the music dies Meg runs out from the side of the stage, grasping atthe stair rail and reaching a hand down towards her mother, then straightens resolutely,looking out over the audience with a grim expression on her face)

Entr’acte

Meg walks across the dark stage, her hair down and wearing a bathing suit. She isstopped in the middle by her mother, who hands her a letter and turns to walk away.Meg stops and says something to her, but Giry glares and motions for her to go and thenleaves. Meg looks worried, then quickly walks off the stage as the set rolls on.

The scene is a bar underneath the pier. Raoul is sitting on a bar stool, his suit wrinkled.The mirror is dirty, and there are bottles sitting out.

Why Does She Love Me?

Raoul: (motioning to the bartender who is wiping down the counter)One more.

Bartender:Oh, buddy, don't you think you've had enough? It's practically morning already. (thebartender is clearly annoyed)

Raoul: (angrily)One more, I said!

Bartender:All right, all right. My shift’s over anyway, so let's settle the bill. (Raoul stands, puts hishand in his pocket and slaps a handful of coins on the counter swaying)Jeez, you're in a bad way ain't you? Worse than most that end up here. (the door opensand a man walks in and stands by the door)Here's the morning shift - maybe he'll know what to do with you. (the bartender walks tohis replacement and they talk for a moment before he leaves. The new bartender headsto his position and begins cleaning the bar)

Raoul: (laughing bitterly)

Yes, what to do with me. That's the question, isn't it? That's always been the question.Ever since the beginning.

Raoul is still sitting but swaying slightly, and his gestures are exaggerated – he’s verydrunk.

She looks for sympathyI give her sorrowShe asks for honestyI've none to borrow

She needs my tender kissShe begs it of meI give her uglinessWhy does she love me?

She yearns for higher thingsThings I can't give herThe rush that music bringsI can't deliver

And even when she singsAnd soars above meI try to clip her wingsWhy does she love me? (he turns back to the bar, quickly going from melancholy tosarcastic)

One more drink, sir. That's what I need don't you think, sir?Leave the hurt behind. (the bartender hasn’t heard him – he’s cleaning the mirror)Do you hear me? Another drink! (the bartender turns around and picks up a bottle)

She wants the man I was (talking to the bartender who is watching silently, smilingslightly)Husband and fatherAt least she thinks doesShe needn't bother

The bartender pours Raoul a drink and goes to move away, but Raoul stops him andpresses down on the bottle, forcing the bartender to empty it into his glass.

Beneath this mask I wear (he holds the glass up to the light)There's nothing of meJust horror, shame, despairWhy does she love me?

How 'bout you, sir? (he pats the bartender’s cheek)Tell me what am I to do, sir?Leave the hurt behind. (Raoul stands and moves away from the bar, looking out over theaudience)

Meg: (rushes through the doors stage right – her hair is wet and she’s carrying a bagwhich she places on the bar)Morning, Bernie, coffee please! (Raoul quickly holds his glass behind his back once herecognizes Meg’s voice, trying to hide the alcohol)Hurry up before I freeze.I'll just take it black. (she turns and looks at Raoul, slowing down)Mother said I'd find you here.

Raoul:Miss Giry... (he tries to bow, but stumbles and catches himself on the chair)

Meg: (sighing, looking a little concerned but also a little amused)Do you know where you are?

Raoul:Um... (he looks around sheepishly)Hell, I imagine

Meg: (she laughs)Around here they call it suicide hall. It's where people end up when they don't knowwhere else to go. The hopeless, the desperate. Good place to step off the side of the pierand quietly vanish.

Raoul:You seem to be a regular.

Meg:Me? I come here to swim (Raoul walks back over to the bar, no longer hiding his drink)

This town is coarse and cold and mean (Meg sits at the bar)It's hard to keep your conscience cleanFaceless in the crowdAnything's allowed (Meg takes a bottle of alcohol and pours a little into her coffee)

And so I come at dawn each dayCome to wash it all awaySink into the seaBlue and cool and kindLet it set me freeLet the past unwind (she takes a drink)Leave the hurt behind (she stands and sets down the mug of coffee)

You should never have come to America. It's not a place for people like you andChristine. It's too easy to forget who you are and where you belong. (she opens her bagand removes the envelope)That's why Mother says you must leave. Now. Take your wife and the boy and go. (shehands Raoul the envelope Giry gave her and he opens it, reading the letter)

(The bartender ducks down behind the counter, and a new one stands up in his place,never facing the audience, and begins to polish the mirror...)

Raoul: (looking at the tickets in the envelope and scoffing)Passage to France? What about tonight? The concert, the money? Am I to just run awayfrom him?

Meg: (nodding emphatically)Yes. When the sun rises tomorrow we can all start again. Clean. (she looks out over theaudience dreamily)

Sail across the seaPut us out of mindClose your eyes and fleeLet yourself stay blind (looking at Raoul)Leave this place behind (harshly)

Meg quickly shakes her head, coming back to reality, and grabs her bag and bolts outthe door. Raoul goes after her, yelling out the door. As he does, the bartender turnsaround, revealing that it is the Phantom - Raoul hasn't seen him yet. The Phantom leansagainst the bar with a smirk on his face, watching Raoul stagger. He in unmasked, butstill wearing his wig. The smirk on his face contrasts eerily with the horror of hisdeformity.

Devil Take the Hindmost

Raoul:Miss Giry, I'm not afraid of him. (yelling angrily out the door, an effect which is ruined bythe fact that he has to grip it to stay upright)I've bested him before and if he ever had the courage to meet me face to face, man toman... (Raoul turns around grimly and realizes that the man leaning casually against thebar is actually the Phantom, who is smiling broadly and gives him a sarcastic wave)No, no it can't be. (backing up and shaking his head in horror)

Phantom: (standing upright, still smirking)Not afraid of me, you say? (tilting his head and waggling his finger like he's talking to achild)

Raoul:Stay back or I'll kill you, I promise you! (backing up in fear, then going to the left side ofthe bar away from the Phantom)

Phantom: (coming around the bar and removing his apron)Of course. As you say, you've beaten me before, (playfully)but that was a long time ago, Vicomte. (now serious, glaring)And we were playing a different game. (now at the front of the bar - he looks at Raoul asthough inspecting him)

Look at you, deep in debt (gesturing disparagingly to Raoul)Stinking drunk - pitifulShall we two make a bet? (he points at Raoul)Devil take the hindmost (he spreads his arms out invitingly)

(Raoul spins around)

Raoul:Look at you, foul as sin (the Phantom begins laughing, making disparaging noises atRaoul’s attempts at insults and crossing over to the left side of the bar)Hideous - horribleCall the stakes, deal me inDevil take the hindmost

Phantom: (turning to look at Raoul)Our Christine shall choose tonight

Raoul:Let her choose

Phantom:Is she yours or mine? (gesturing at Raoul then himself)

Raoul:Draw the line

Phantom:If she sings you lose tonight

Raoul:I won't lose

Phantom:You leave from here (pointing)

Raoul: (spitting it out)Fine!

Phantom: (waving his hand)Disappear

Raoul:Fine! And if she won't, if I win

Phantom:All your debts wiped away (he waves his hand in front of Raoul’s face and moves to theright side of the bar)

Raoul: (still facing left)Very well, let's begin

Both: (facing each other)Devil take the hindmost

Raoul holds out his hand and they shake hands, holding extremely tightly and for awhole verse. It looks like they’re trying to break bones.

Raoul: (simultaneous)You think you have the oddsYou think you're in controlYou think you've fixed the diceWell I will gladly rollI'll bet against the houseI'll even double down

Phantom: (simultaneous)Our game,it's been changedEvery throw riskierAll the rules rearrangedFate has redesigned us

Raoul: (simultaneous)Fortune's on my sideI won her long ago, I won her from you thenI wager even now, I'll win her back again

Phantom: (simultaneous)Cut the deck,Let us playYou and IOnce againIn the end

Raoul:And when the game is done,

Phantom:either way,

Both: (facing each other, glaring)Devil take the hindmostNow Christine shall choose at lastIs she yours or mine?

Raoul: (smugly, turning away and waving his hand)We've a son –our bond's secure

Phantom: (mockingly and tapping Raoul on the shoulder)Are you sure?

Raoul: (his head snaps up)What?

Phantom: (pointing in Raoul’s face)Are you so sure?

Raoul: (blankly)What do you mean?

Phantom: (walking to the right side of the bar and singing in an almost teasing voice –Raoul is still facing left)Such a child, strange to seeTalented (Raoul is starting to look perturbed)Musical (The Phantom stretches out the word mockingly, and Raoul’s eyes widen as hegrabs the back of the chair for support)Is he more you or me? (The Phantom spins around and smiles cruelly)Which one do you find most? (almost whispering in Raoul's ear)

Raoul:You lie! (turning around)

Phantom: (The Phantom backs up towards the door as Raoul advances on him and theydance around each other as the Phantom avoids Raoul, who is continuing to advance onhim)Deal the cards, let them fallChoose your hand, try your bestHe who wins, wins it all

Raoul: (simultaneous)I call your bluff - the game is onAnd we will see who wins outOnce and for all wins it all

Both:Devil take the hindmost

Phantom: (Raoul takes a swing at the Phantom who ducks it easily, then grabs him bythe neck and pins him against the bar)Deal the cards, let them fall

Choose your hand, try your bestHe who wins, wins it all

Raoul: (simultaneous)I call your bluff - the game is onAnd we will see who wins out

Both:Once and for all wins it allDevil take the hindmost!

Phantom: (he lets Raoul up for a moment, then grabs him by the neck again and slamshim back against the bar violently, holding him there while he yells in his face)She walks,You leave togetherPockets fullDebts paidShe sings – (The Phantom straightens, letting Raoul up, and walks toward the door)You leave alone. (He opens the door and turns back to peer around it, almost singing thelast word in a taunting manner, and then finally leaving while still laughing to himself)Devil take the hindmost (eerie voiceover)

Raoul: (walking downstage)Oh, God. What have I done? I could lose her forever – my Christine. Look at me - theconcert's only hours away. (he runs off the stage)

Heaven by the Sea (Reprise) (THIS SONG HAS BEEN ENTIRELY CUT)

The screen shows a beach on a clear day, and a crowd is sitting in front of it. Many areholding bottles, picnic baskets, and umbrellas. All are dressed in beach costumes inshades of blue and white.

Crowd: (dressed in bathing costumes, lounging in front of a beach)It’s the last day of the seasonAnd the sun is winding downHere at Coney to enjoy a final spree (one man does a handstand and the crowdapplauds)In just a few short hours we’ll be heading back to town (a child runs off the stage)To the officeTo the sweatshopTo the millThe dockThe pet shopBut for now we’re still in heaven by the sea

And for just a little moreWe will sprawl along the shoreSpread out comfortably at lastAnd although we may commandJust a tiny patch of sandStill it’s only for us

In the distance of the beach set movement is visible – it’s the image of a hot air balloonslowly coming closer.

Soon the sun will start to set

And who knows, perhaps we’ll getOne last wonder to discussOne last thrill to top them allThen it’s time to face the fall

It’s the last day of the season -

Child: (running onto the stage and pointing over the audience)Look! Look over there, everyone!

They all gasp and point at an invisible object which is moving over the audience andthen above the stage.

Ladies... Gents! (THIS SONG IS DRASTICALLY CHANGED)

The scene now takes place in Phantasma, not the beach, and the freaks invite everyoneto come see the new show. The balloon doesn't come on until the end, when it seguesstraight into "Bathing Beauty"

A hot air balloon basket lowers from the top of the stage containing the freaks, who areleaning out, holding fliers and pointing to the crowd. The crowd walks around below thebasket, chattering to each other and pointing excitedly at the freaks.

Squelch:Ladies, gents

Gangle: (pointing)You, good sir!

Fleck: (pointing)And you my friend!

GFS:Everyone...

Gangle: (he throws up his hands)Time for fun!

Squelch:Here tonight

Gangle:Ringing in the season’s end

Fleck: (she waves her hands mysteriously)Mr. Y’s last surprise

GFS:Starting soon upon our stageThe performance of the age

Squelch:Wonders and astonishments for your delectation

Gangle:

Marvelous automatons of his own creation

Squelch:Plus a finale to sweep you away

Fleck and Squelch:Brought from Paris to perform just one day

GFS:Come see the breathtaking Christine Daaé! (they scatter the fliers advertising Christine’sperformance over the crowd, which runs around to pick them up)

The crowd leaves the stage and the balloon lowers to the stage. The freaks exit theballoon and walk to the front of the stage, standing in a line facing the audience, andwe’re now on the Phantasma stage. When one of the freaks talks the other two will turndramatically and look at them.

Squelch:Sirs and Madams … Mr. Y is pleased to present to you his final surprise of the season...

Gangle:A command performance by Christine Daaé, the most heavenly Diva of this or any age…

Fleck:But first, for those of you whose taste is a little more earthbound…

Squelch:The Sweetheart of the Midway… (he motions to Gangle)

Gangle:The Ooh La La Girl… (motioning to Fleck)

Fleck:The incomparable…

GFS: (they take hands and raise them up)Meg Giry!

The freaks run off the stage, still holding hands and in line

Bathing Beauty

Several wicker trunks are thrown out of the basket of the hot air balloon which is stillsitting center stage. Meg rises from it and leans on the doors dressed in a modestdressing gown with a sweet smile on her face and a white bow on her head.

Meg:I took a little trip to Coney Island,To get away from all the city sprawl.I couldn’t bear to choosewhich bathing suit to use,so goodness me, I guess I brought ‘em all! (Meg leaves the balloon and closes thebasket doors behind her)But when at last I got to Coney Island (she shakes her shoulder flirtatiously)and found myself a spot upon the sand, (she traces a circle on the stage with her foot)I noticed something strange

There was no place to change – (comical gasp)And so I asked my friends to lend a hand. (walking stage right, she puts her hand on herhip and smiles flirtatiously)Girls?

Girls: (rising from the basket of the balloon and leaning over the sides)AaaaaaahOoooooohBathing beauty take a look at you!

Meg removes her dressing gown to reveal a modest bathing costume and hands it to oneof the girls, who puts it in the basket.

Meg & Girls: (dancing across the stage)Bathing beauty,on the beach,bathing beauty,say hello! (they wave at the audience)What a cutie!What a peach!Bathing beauty!Watch her go! (one of the girls tosses Meg a parasol, which she twirls)Posing under her parasol,she is whatcha calla real spectacle.Prim and proper, with class and poise,but she’s got the boysapoplectical!

(A few of the girls pick up one of the baskets and open it, taking out a towel, as Meghands the parasol to a girl who puts it back in the balloon)

Bathing beautyon the beach,see her practic’ly glow!Wearing a smile andgiving Coney Islanda bathing beaut of a show!

Girls: (raising a towel, which Meg walks behind)Bathing beauty,on the beach!

Meg: (emerging from behind the towel, now in a new bathing costume)Stripes!

Girls: (raising another towel – Meg walks behind)What a cutie,what a peach!

Meg: (emerging – this costume is shorter)Checks!

Girls:Bathing beautyBathing beauty

Meg: (going behind the towel)

Dots?

Girls:Dots? Dots? Dots? (Meg emerges in an even shorter costume)Dots!

Meg and Girls: (two men have entered and are opening a basket and taking out a towel)Bathing beautyon the beach,see her practic’ly glow! (Meg goes behind a towel held up by two men)Takin’ the sun in

Meg:‘till all the boys are runnin’! (she pops up and strokes their cheeks, then disappearsagain)

Girls:Rollin’ in clover

Meg:And gettin’ tan all over! (Meg takes off her costume – we can see her bare shouldersover the top of the towel - and puts her arms over the towel)

Girls:Wearing a smile andgiving Coney Islanda bathing beaut of a show! (Meg takes two parasols from the dancers and walks outfrom behind the towel, holding them in front of her to hide her chest. She turns aroundso she’s not facing the audience, holding out the parasols to either side and swinging herhips, and then spins around and into a towel)Bathing beauty, say…

Meg:Hello! (she holds the towel with one hand and waves with the other for a dramatic finish)

Gangle:Ladies and Gentlemen, Miss Meg Giry, the Ooh La La Girl! In just a fewmoments, Christine Daaé, the world’s most celebrated songbird, will bemaking her American debut here at Phantasma… But first, performing featsof miraculous mascular strength… The Mighty Squelch!

(The girls come over and help Meg get into a dressing gown and clear off the boxes andtowel. The balloon basket disappears, and the people clear off the stage)

Mother, did you Watch?

Meg walks stage right over to her dressing room which is fairly shabby looking comparedto Christine’s. The walls are peeling and her table is tiny, decorated with pictures of realactresses. Meg quickly ties her dressing gown and turns to her mother who isapproaching.

Meg: (tying her dressing gown, speaking excitedly)Mother, did you watch?Everything is solved! (laying a hand on Giry's arm)Mother, can’t you tell,the new routineIt went so well!

I was worried, just a touch, (turning to her dressing room table)that it might’ve been too much,just a bit, well, rather free (waving her hand)But just listen to that crowd!Why, they’ve never been so loud (gesturing towards the audience)Screaming only for me!

Giry:Meg –

Meg: (sitting and unpinning her hair bow, not listening to Giry)And the Master must have heardevery note and every wordMother, tell me, did he see?

Giry: (looking annoyed)Meg, stop it

Meg:Even he will now concede,I’m the only one he’ll need (finally noticing her Mother’s expression)Mother what’s wrong?

Giry: (shaking her head)Meg, sweet fool, you did all that you could.Charming, brightAnd yet still not enough…

Meg: (Meg is taking a drink of water and not listening closely)Hmm? What do you mean?

Giry:How you danced!They’re all entranced! (waving back at the audience)Yes, all but the one whoseentrancement we sought. (bitterly)

Meg: (freezing)He wasn’t there?

Giry:Where, poor girl, do you think that he was? (sounding patronizing)Yes, that’s right, in with her all along! (she gestures stage left)

Meg:With Christine? (outraged)

Giry:Dreaming of their son, their love…Too smitten to spare you one moment of thought.

Meg: (standing)But you said –

Giry: (grabbing Meg by the shoulders)Al that you gave him, it’s all been a waste.

Meg:

You’re wrong…

Giry: (shaking her slightly)All that you’ve done, it has all been erased…

Meg: (growing hysterical)Don’t say that!

Giry:Now he has them (letting go of Meg and gesturing offstage)As for us…We have both been replaced. (she stalks off the stage angrily)

Meg: (screaming desperately)No! (she puts her hands on the dressing room table and leans forward, crying)

The dressing room set spins around and we can see Meg’s face in her mirror as sheslowly looks up and goes from desperately upset to cold and resigned. She walks off thestage resolutely.

Before the Performance (DRASTICALLY CHANGED)

Christine’s dressing room is a vanity table stage left with a mirror which we can seethrough. Christine is sitting at it, patting her hair and powdering her face. Gustave iswandering around stage right. There’s a door at the back of the stage which is closed.

Gustave: (singing “Beautiful” and wandering over to Christine)ooooooh

Christine: (sitting at her dressing room table)Gustave, would you hand me those earrings? The diamond ones on the left? (he doesso)How do I look? (smiling at Gustave)

Gustave: (adoringly, standing next to her)You look so beautifulSo very beautifulLike a queen in a book

Christine: (she turns and takes Gustave’s hands)You too are beautifulSo very beautifulOnce this performance is throughWe’ll spend some time, just us twoWon’t that be fun? (Gustave smiles and nods - they hug)

Raoul walks in the door suddenly, dressed in a tuxedo and looking much improved sincewe last saw him. Instead of begging her to leave, Raoul will decide to leave Christine forgood.

Gustave: (stepping back)Father, doesn’t mother look lovely tonight?

Raoul: (still standing in the doorway, only looking at Christine who is smiling at him)

Indeed she does. As lovely as she looked the very first time I came to her dressing roomdoor.

Christine:And look at you, Raoul. You look just like the handsome boy in the opera box. The onewho would always toss me a single red rose. (Raoul looks nervous and puts his hand onGustave’s shoulder)

Raoul:Please, Gustave, if you don’t mind would you wait outside a while?

Gustave: (moving forward toward Christine)May I go exploring? By myself?

Christine: (patting his cheek)Yes, but stay backstage my dear. When I’m finished meet me here.

Gustave: (distractedly)I will.

Gustave leaves and Raoul shuts the door behind him, not quite able to look straight athim. Christine goes on getting ready.

Raoul: (looking serious, still standing by the door)Since our wedding day things have gone astray

Christine: (looking up, surprised)Raoul...

Raoul:I’m not proud of the way that I’ve acted

Christine:We’ve both been –

Raoul:All the plans we’ve madeAll the hopes mislaidI’m aware of the price they’ve exacted (Christine stands and walks over to him)Though I’ve no right to ask you toThere’s one thing left I’d have you do (Raoul takes her hands)If you love me as I love you

Christine: (putting her hands on Raoul’s cheeks)Anything, darling

Raoul: (taking her hands)Don’t sing the song, dear

Christine: (backing up, surprised, and wrenching her hands away)What?

Raoul:You have to know something’s terribly wrong, dear

Christine: (she turns away to go back to her table)But I have to do this,it’s what we agreed to

Raoul:That hell spawned demon (Christine gasps in anger, shaking her head and continues towalk away)he’s had us playing his game all along, dear

Christine: (rushing to her table, she sits back down)Let me just get through this.Listen, please – I need to (almost in tears, she puts her head in her hands)

Raoul:You need so much, it’s trueAnd I’ve denied youYou need the man you knewBack here beside you

Raoul walks over to her and Christine stands. Raouls takes her hands.

You’ll have him back I vowJust ask it of meBut we must leave here nowIf you still love me (he takes her hands and holds them to his face)

Christine: (looking hopeful, she looks into his eyes)Do you mean it, Raoul? Truly?

Raoul:I have passage for three to Cherbourg on the Atlantic QueenIt leaves tonight.Let’s be on it for both our sakes. And the child’s.Leave this place behind.

They kiss gently and Raoul walks to the door. He opens it and steps through, then looksback and smiles at Christine before leaving and closing the door behind him. Christineruns over to her dressing room table and sits down, pulling off her earrings and her scarfand standing suddenly as the music climaxes. She freezes, though, with her hands stillon the table and slowly sits back down, looking tormented. As the door behind her opensshe freezes, aware of who it is. There’s mist, and the Phantom walks in.

Phantom: (walking slowly towards Christine, who is still sitting and staring ahead intoher mirror)He knows his love is not enoughHe knows he isn’t what you needHe knows you’re made of finer stuffI think on that we’re both agreed (he walks up behind her and opens his hands,revealing a necklace which he drapes around her neck - Christine's face remainsnervous)

It’s time to leave him in the dustIt’s time to be who you should beIt’s time to do now as you must (he puts his hands on her shoulders)And set the music in you free (Christine closes her eyes, almost in ecstasy)

In moments, mere moments (he leans back)Drums will rollThere you’ll stand just like beforeThe crowd will hush, and then in one sweet rush (The Phantom puts his hands on eitherside of Christine and whispers in her ear, her head lolls back dreamily)

I will hear you sing once more (The Phantom runs his hands up Christine’s arms, holdingher close)

Standing and holding his hand out to her as he backs away a bit

And music, our musicWill swell and then unwindLike two strands of melody at last entwined

Fulfil us, complete usMake us whole (the Phantom puts his left arm around Christine’s neck, and she holds itwith her left hand rather like the famous "Music of the Night" pose. His other hand is onher right shoulder and she raises her left hand up to his face, almost kissing him, but hemoves away and instead her hand trails down her own face and neck)Seal our bond forevermoreTonight, for me, embrace your destiny (he begins backing away - Christine is still trailingher hand down her neck)Let me hear you sing once more!

The Phantom backs out of the door, and Christine still under his spell is startled whenthe director knocks a moment later and she suddenly puts her hands on the table,leaning over.

Director:Miss Daaé? It’s time.

Christine: (hunched over the table)Twisted every wayWhat answer can I give?

She stands slowly, takes off her dressing gown and laying it on the chair, and movestoward the center of the stage.

I know I can’t refuseAnd yet... I wish I couldOh, God!

Raoul: (voiceover)Christine, Christine, don’t think that I don’t care

Phantom: (voiceover)But every hope and every prayer rests on you now

Christine moves to the center of the stage and the wings of the Phantasma stage are oneither side. She remains there until her performance, looking nervous and twisting herwedding ring in low lighting. A stagehand enters downstage left and sets down a ladder,which Gustave approaches as he wanders in stage right and climbs up.

Devil Take the Hindmost (Quartet)

(Gustave hums “Beautiful”)

Stagehand: (calling out, standing near the ladder)Ready on the rail?Ready on the rail!

Raoul: (walking out in front of the right set of wings)Will she sing? Will she flee?What is she thinking now? (turning to look at Christine)Is it him? Is it me?Devil take the hindmost (he moves to the other side)

Stagehand:Ready on the floor!

Raoul: (simultaneous)Will she stay? Will she go?Does she know even now?Please Christine, stop the showDevil take the hindmost

Phantom: (simultaneous) (enters and moves to the opposite set of wings, leaningaround them)Obey your heartAnd sing for meYou want it soStay and be mine, eternallyDevil take the hindmost

Both: (facing Christine from either side - the wings are now turned so the audience cansee straight into the back of the right set where the Phantom is standing)Now it's time so make your choiceDo it for our son

Phantom:Use your head

Raoul:No time to wait

Both:Hesitate, we're all undone

Stagehand:Ready in the pit?Ready in the pit!

Giry: (simultaneous) (entering stage right and lurking around behind the wings)Perhaps she won't go onPerhaps she loose her nervePerhaps her voice won't serveAnd she will fail him nowAnd then my child and I will get what we deserveDevil take the hindmost

Raoul: (simultaneous)Will she stay? Will she go?Does she know? Even now?Please Christine, stop the showDevil take the hindmost

Phantom: (simultaneous)

Obey your heartAnd sing for meAnd sing for meYou, me, the child, eternallyDevil take the hindmost

Raoul and the Phantom approach each other behind the stage which is facing frontagain, but Giry stands between them and holds her hands out to stop a confrontation -the Phantom points at Raoul as he sings. Raoul and the Phantom switch sides, walkingpast each other.

Giry: (simultaneous)Perhaps she won't go onPerhaps she loose her nervePerhaps her voice won't serveAnd she will fail him nowI'll bet my child and I will get what we deserveDevil take the hindmost

Raoul: (simultaneous) (in the right wings)Will she stay? Will she go?Does she know? Even now?Please Christine, stop the showDevil take the hindmost

Phantom: (simultaneous) (in the left wings)Obey your heartAnd sing for meAnd sing for meYou, me, the child eternallyDevil take the hindmost

All:Now it's timeNo turning backAll is on the linehere it is the final danceone last chanceto get what's mine

Giry: (walking over to the Phantom and speaking to him in the left wings)I hope Christine is worthy of youI hope her singing makes up for what your blindness has done to Meg and me (she turnsand exits in a huff. The Phantom looks after her briefly, then turns back to the stage)

Meg: (walks on and hands Gustave a mask of a smiling man with devil horns. He holds itup to his face and wanders off stage left. Meg follows him, looking back at the stage)Devil take the hindmost

Stagehand:And curtain!

Love Never Dies

Christine is in the center of the stage and looks tormented. She looks right towardsRaoul, who motions for her to come with him. She looks left at the Phantom who holdshis hand out to tell her to stay. She closes her eyes and puts out both of her hands,palms facing the men, to tell them to stand down. Each man moves back into the wings,folds his hands, and waits.

Christine: (her voice is shaking slightly)Who knows when love begins?Who knows what makes it start?One day it's simply there:Alive inside your heart

It slips into your thoughtsIt infiltrates your soulIt takes you by surpriseThen seizes full control

(she looks at Raoul apologetically)

Try to deny it,And try to protestBut love won't let you goOnce you've been possessed (looking at the Phantom)

(looking forward)

Love never dies,love never faltersOnce it has spoken love is yoursLove never fades,love never altersHearts may get broken, love enduresHearts may get broken, love endures

(the stage begins to turn clockwise, and Christine has gained confidence – she’s startingto gesture with her hands and is absorbed by the music)

And soon as you submit,Surrender flesh and bone,That love takes on a life much bigger than your own (she places her hands over herabdomen)It uses you at whim,And drives you to despairAnd forces you to feel more joy than you can bear

Love gives you pleasure and love brings you painAnd yet, when both are gone,love will still remain

Raoul is defeated, and exits the wings, walking downstage right. The Phantom alsoleaves, exiting the left wigs and walking a ways. Both men stop before exiting the stage

Love never dies,Love never faltersOnce it has spoken,Love is yours (Christine holds out her arms towards Raoul who doesn’t look back at herand the Phantom quietly exits stage left)Love never fades,

Love never alters (Raoul pulls himself together and leaves)Hearts may get broken,Love enduresHearts may get broken (Christine turns to look at the Phantom but realizes he’s goneand trails off, looking back and forth to either side, confused, and then starts againstronger than before)

Love never dies, (holding out her arms, triumphant, moving forward)Love will continueLove keeps on beating when you're gone

Love never dies,Once it is in youLife may be fleeting,Love lives onLife may be fleeting,Love lives on

Christine finishes beautifully and triumphantly. She moves to the front of the stage forher bows with a joyful, almost astonished look on her face. We can hear the Phantasmaaudience applauding, and Christine remains in her bow. The scene switches back to herdressing room. The table is now stage right and facing away from the audience so wecan see the mirror and the bottles that are sitting on it. There’s a screen to the right,and assistants are setting out clothes for Christine.

Ah, Christine

Phantom: (enters stage left holding a bouquet of white roses, which he hands toChristine who is now standing up, smiling widely)Ah, Christine. My Christine.What a triumph you gave me tonightMy ChristineAll the long silent years now set right!Ah, Christine (reaching out, caressing her cheek)

Christine:The song was beautiful,it sounded beautiful (the Phantom nods)Every note, every word (she looks at the roses)And it felt beautiful (looking up at the Phantom)And I felt beautiful

Both: (taking each other’s hands and standing close)Lost in the music once moreFeeling it rise up and soarAlive once again!

Christine smiles, then goes over to the right where her assistants are standing. Theyapplaud her, one takes the roses, and she goes behind a screen to change. The Phantomwalks over to her dressing table and notices an envelope and red rose left by Raoulwhich he picks up and examines – Christine emerges, walks over, smiling, and takesthem from him. Raoul enters stage left in a spotlight and his voice echoes to show thathe’s long gone.

Christine: (reading from the letter)My dearest wife...

Raoul:Little Lotte, I beg you – forgive me

Christine: (putting her hand to her throat)Raoul, no...

Raoul:Little Lotte, what fools we once more

Both:Long ago in our youth

Christine:In Paris, at the opera (Christine and the Phantom turn and look at each other,remembering)

Raoul:Romantic idiots

Christine:Those two people are gone

Both:Now I must go,our choices are madeThe opera is done;the last notes have been played

Raoul:May your angel of music watch over you now (the Phantom looks up, surprised andpleased)And give you what I wish I gave you, somehowYours with regret (he steps out of the spotlight and disappears)

Christine:Raoul.

She sets down the envelope and puts the rose in a vase. The Phantom turns off thelights on the table mirror and picks up her handbag. They start to move away.

Gustave, Gustave!

Christine: (freezing after a few steps, remembering)Gustave...

Phantom: (looking up, standing by the dressing table)What is it?

Christine:Gustave...

Phantom: (walking to her, worriedly)What’s wrong?

Christine: (putting her hand on the Phantom’s arm)He should be here. He was meant to be here!

Phantom: (he puts the handbag down, picks up Raoul’s letter and crumples it.)It’s that idiot RaoulWhy I’ll kill that drunken fool.That he’d dare take a child, a child that isn’t his. (Christine runs off the stage)Mr. Squelch? (Squelch and Gangle enter stage left)

Squelch: (the Phantom grabs his arm)The Vicomte de Chagny left here in a carriage.Saw it with my own eyes sir.There was no one with him.Was there anyone else here backstage?

Phantom:Madame Giry, she was here with her vicious little sneer. (He snaps his fingers, andGangle exits stage left)And that comment she made, the ungrateful backbiting snake.Go now, quickly; bring her ‘round. (pointing off the stage)Bring the boy back safe and sound. (He shakes Squelch viciously who looks quitedisturbed)Then I’ll tear her limb from limb!

Gangle enters, dragging Giry, who he pushes forward towards the Phantom

Giry:What is the meaning of this?How dare your minions manhandle me in this fashion?I demand an answer!

Phantom: (grabs Giry’s arm violently, pulling her to him)The boy, woman!

Christine: (re-entering and rushing over, standing next to the Phantom and looking intoGiry’s face)Gustave!

Phantom: (shaking her)What have you done with him?

Giry: (stepping back, astonished)You think I took the boy? Why would I do such a thing?Do you think I don’t know who he is? (with a significant glance at the Phantom)

Phantom:Giry – (he yells this and raises his hand to strike her, but Fleck enters and interrupts)

Fleck:Sir - I just passed Meg’s dressing room.It was silent as a tomb.But her mirror was smashed and in pieces on the floor (everyone looks around,surprised)

Giry:God, I left her so destroyed. (realizing – looking out over the audience)Please who knows just what she thought.I’m afraid she’s come undone.

But she won’t hurt him, (to the Phantom, who ignores her)Meg would never hurt him. (she turns to Christine, who looks horrified)

Phantom: (confers with the freaks)I know where she’s going. But we must hurry.

Giry: (waving out to the audience)In that crowd? It’s madness out there!

Christine: (to the Phantom)Gustave. My poor Gustave!

Phantom: (grabbing Giry by the arm and dragging her off)There’s no time to waste!

(They go outside – you can hear the sound of roller coasters. There’s a massive crowd inthe park, as well as performers – the Uncle Sam and fire twirlers are there - and visibleare the three freaks searching it with flashlights. The set is red and eerie. The Phantom,Christine and Giry run on, searching the crowd)

Christine: (running on the stage)Gustave? Gustave!

Gustave: (as Meg drags him off the stage)Mother!

Phantom: (holding Christine’s hand)To the pier, now! Hurry!

They all run off the stage

Please, Miss Giry

Meg walks on from the back of the stage, dragging Gustave. They walk downstage left toa break in the pier railing, and she wraps her arms around him. The light is eerie andlow, and nothing is visible except some mist on the stage and broken pier railingsdownstage right and left.

Gustave: (struggling slightly)Please, Miss Giry, I want to go back. I want my mother.

Meg: (rocking Gustave, almost like a lullaby)The sea is calm, the sea is gray. It washes everything away.

Gustave:Please, you're hurting me! I can't swim!

Meg:Don't worry, it's almost over. (staring into the distance)Sink into the deep,Blue and cool and kind.Then drift off to sleep,Let the past unwind.Leave the hurt behind...

Meg gets ready to toss Gustave off the pier (into the orchestra pit), but the others rushon from the left)

Christine:Gustave!

Gustave:Mother!

Meg:No, I'm not done yet!

Phantom: (starting towards her)Let go of the boy now!

Gustave slips out of Meg’s grasp and runs straight to Christine Meg pulls the gun outfrom her skirt pocket and points it at the Phantom, who puts his hands up and stands infront of Christine and Gustave protectively. Giry stands next to Christine.

Meg:Not another step.

Phantom:Let go of it, girl, or I promise you –

Meg:Not another word!Always wondered how to make you watch - well watch me now!

The Phantom is moving slightly, trying to get away from Christine and Gustave but keepMeg’s attention on himself so the gun isn’t pointing towards them.

I took a little trip to Coney IslandI took a little trip because of you (pointing at the Phantom with the gun and waving it toemphasize her words)I did as Mother said and followed where you ledAnd tried to do what little I could do

Meg moves the gun and the Phantom quickly moves in front of Christine, stretching outhis hands.

Well, here's the way it works on Coney IslandThey make you pay for every little crumbI gave what they would takeI gave it for your sakeNow look at me and see what I've become

Bathing beauty on the beachBathing beauty in her dressing roomBathing beauty in the darkOn their laps in their arms in their beds

Giry: (she puts one hand over her mouth and the other over her stomach, turning awayin horror. The Phantom continues to stare at Meg, listening intently)Meg, my little Meg

Meg: (waving the gun around to emphasize her words)Who helped you raise the money?

Who helped the permits come through?Who greased the wheels of your high flying deals?Bought you time when the bills came due?

(Meg is now standing stage left and facing stage right, pointing the gun at the Phantomwho is standing in front of her. Giry is to his right slightly upstage, and Christine andGustave are behind him stage right)

Who swayed the local bosses?Curried favor with the press? (The Phantom turns and looks at Giry questioningly)No, not her (she points the gun at Giry, then back at the Phantom)And who kept singing, desperate for your favor? (increasingly desperate)Who kept dancing, hoping you would save her?Who kept dying and this is what you gave her? (Looking despairingly at the gun, whichshe holds out in front of her)

Now that I've got you attention at last (pointing the gun back up)Here's the big finish and then you can go

Meg points the gun at her own head and gasps, saying “oh my God” in a horrified toneas she realizes what she’s doing. Christine pulls Gustave in so he can’t see what ishappening. Giry starts forward towards Meg, but the Phantom pushes her back.

Giry: (crying)God, oh God...

Meg has lowered the gun slightly, looking at it in horror, but as the Phantom movesforward she puts it back up against her head and continues crying.

Phantom: (moving forward slowly with his hands outstretched)Give me the gun, MegGive me the hurt and the pain and the gun MegGive me the blame for not seeing the things that you've done, Meg.Give me the gun, MegGive me the chance to see you clear at last (he’s slowly inching forward)

Meg: (lowering the gun slightly, watching him intently)See me clear at last...

Phantom:You feel ugly, you feel used,You feel broken, you feel bruised.Ah, but me, I can see all the beauty underneath (gesturing to himself)

Meg: (lowering the gun a little more)Yes...

Phantom:You've been robbed of love and prideBeen ignored and pushed asideEven so, I still know there is beauty underneath

The Phantom has reached her and put his hands on her shoulders comfortingly, standingto her left.

Meg: (the gun is pointing downwards now, hanging limply in her right hand and Meg islooking raptly at the Phantom)Yes...

Phantom: (in a sympathetic tone)Diamonds never sparkle brightIf they aren't set just rightBeauty sometimes goes unseen (he gestures to his own mask)We can't all be like Christine

Meg: (pulls away from his hands angrily, bringing the gun back up and waving it towardsChristine)Christine. Christine.Always Christine!

The gun goes off unexpectedly and the music crashes. Christine puts her hands over herabdomen and staggers towards Giry – the Phantom screams and rushes over to her,catching her as she collapses so that he’s sitting and she’s laying in his lap with her headon his left shoulder. He puts his hands over the wound, trying to stop the bleeding. Megis panicking, looking frantically at the gun and crying. Gustave runs stage left, lookingaround for help.

Phantom:NO!Giry! Go get help! NOW!

Giry rushes off stage left. Meg runs upstage left and collapses, crying. She’s nearlyhidden by the fog. Madame Giry drags Meg off the stage.

Gustave: (standing stage left and frantically yelling)Where's Papa? He should be here? Where's Papa?

Christine: (clutching at the Phantom and trying to sit up – he’s trying to hold her downand continue pressing on the wound)Your father... your real father... (She says this desperately and tries to sit uprightweakly, but the Phantom holds his arms around her. Gustave looks up, shocked, and heand the Phantom stare at each other. He walks over to Christine)Look with your heart, (weakly)And not with your eyes (Gustave kneels, and he and Christine hold hands)The heart understands,The heart never lies

Believe what it feels (Gustave is crying and listening closely)and trust what it showsLook with your heart,the heart always knows

Love is not always beautifulNot at the startSo open your armsAnd close your eyes tight (grasping at his hands)

Gustave:Look with your heart

Christine:And when you find love (her voice trails off and her head lolls back – Gustave stands andbacks up)

Gustave:

NO! (He rushes over to the pier barrier and clings to the post, crying and not looking atthe Phantom and Christine) He runs off the stage, rejecting the Phantom.

Phantom: (The Phantom is holding Christine on his lap now and taking handfuls of hercoat to try to staunch the bleeding)Once upon another time our story had only begunI had a taste of joy, the most I ever knewNow there isn't any time (inspecting the wound and it seems to finally hit him that shewon’t recover)And somehow our story is doneAnd what about the boy? What am I to do? (he looks over at Gustave, who looks up athim)

Christine: (putting her hand on the Phantom’s cheek)Just love, just liveJust give what you can giveAnd take the love that you deserve

Both: (looking at each other)Just love, just live

Phantom:I’ll give all that I haveAnd take what little I deserve (he looks again at Gustave)

Christine:Come closer, I beg you (the Phantom leans in)Closer still (he puts his ear close to her mouth)Remember: love never diesKiss me one last time... (she smiles slightly)

The Phantom leans in slowly, and Christine puts her left hand on the lapel of his jacketand pulls him in. Their kiss is hesitant at first and he freezes just as he did at the end of“Phantom of the Opera,” with his hands splayed out, but then he pulls her in tightly andthey cling frantically to each other. However, soon Christine’s hand begins to fall andlimply hits the floor – she is dead. The Phantom catches her hand as it falls and slowlylowers her to the ground, his shoulders shaking. He holds up his hands and looks atthem, horrified at the blood on them, and then fists them in his hair and breaks down.His hands lower slowly, and then he has an idea. He takes the ring off his left hand,picks up Christine’s left hand, and puts his ring on her finger next to her wedding ring.Then he folds her hands on her stomach, slowly stands and begins to take off his jacket.Meg rushes over and kneels next to Christine, grasping hold of the jacket which thePhantom is holding and pressing her forehead into the Phantom’s hand. He refuses tolook at Meg but lets her take it and she folds it into a pillow for Christine, and then pullsher body onto her lap. Meg holds Christine, crying for the rest of the scene and neverlooking up. The Phantom walks towards Gustave but stops center stage, looking back atChristine.

Gustave stands and walks over, looking down at his mother and crying. Then he turnsand looks at the Phantom who is rather at a loss and appears horrified. Gustave walksover to the Phantom and reaches up for the mask, but the Phantom grabs his wrist andturns away, shaking his head to say no. Gustave nods, so the Phantom kneels in front ofhim and removes the mask and wig, looking up at Gustave, and then stands, clearlyexpecting to be rejected. Gustave looks more curious than anything and raises his hand,placing it on the Phantom’s deformity, causing him to jump and then put his own handover Gustave’s. Gustave takes a step back, looks up at his father, and then as the fluteenters to play the last melody quickly throws his arms around the Phantom, embracinghim. The Phantom is startled at first, but then slowly wraps his arms around Gustave

and holds him close. However, as the curtain begins to fall, we can see that despite thefact that he’s still holding Gustave with his left hand, his right is outstretched longinglytowards the body of Christine Daaé.

Gustave returns with Raoul, who kisses Christine goodbye. The Phantom also kisses hergoodbye, and she dies. The Phantom walks to the side of the stage, away from Raouland Gustave, and turns his back on them (think "you try my patience, make yourchoice."). Raoul converses quietly with Gustave, nods his head, and gestures towardsthe Phantom. Gustave walks over to the Phantom and holds out his hand - Father andson embrace. Fade to black.

CURTAIN