LND Lyrics with changes -part 1

For those who believe, or want to, that there was more to the story...

LND Lyrics with changes -part 1

Postby honeyphan » Sat Sep 21, 2013 9:59 pm

This thread was originally created by Ppandora321, but I don't want to lose it and am bringing it over here. Since with her post, I don't have the edit feature, I can't put this in html, so will slowly go through and put in red the new lyrics and bold the replaced as she did. Also it is necessary to split this in two posts since it exceeds the size limit.

*

This starts the thread where we can keep track of the LND lyrics and the changes, as we learn of them.
I'm starting with posting both BaMS and Beautiful, which have changes that have occurred since the CD release, but will be posting all lyrics to the songs, so we can easily make the changes as they come along.
(it may take me a little time to get them all posted, though!)

I've posted the new lyrics in red,
the lyrics being replaced are bold,
and I've tried to credit members who contributed the changes in italics.

If the way I'm posting it is too confusing and/or anyone has suggestions as to how it will be easier to follow, just let me know!

***EDITED TO ADD:
This is essentially the entire libretto, so don't read if you haven't heard LND yet and want to be surprised! 8)

** I've also used "Erik" rather than "The Phantom", since we are in the Hidden Plot forum and this is how we tend to refer to his character; hope that's okay with everyone.

Again, with the exceptions of the changes noted, this is all taken from the libretto, so here are
the proper credits:

    LOVE NEVER DIES
    Music by Andrew Lloyd Webber
    Lyrics by Glenn Slater
    Book by Andrew Lloyd Webber & Ben Elton, with Glenn Slater & Frederick Forsythe
    WORLD PREMIERE 09-03-10 ADELPHI THEATRE LONDON
    RECORDED DRAFT


**As of 5/15/10**
Changes appear in the following songs:
    Beautiful
    Beneath a Moonless Sky

**As of 5/19/10**
Changes and additions to stage action, as mentioned in some great reviews on phantomoftheopera.com


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ACT ONE

Prologue

(The sound of seagulls cawing forlornly as the tide rolls relentlessly in. Lights
slowly rise to reveal the boardwalk at Coney Island, in winter.
Againt a dull grey sky, we see the abandoned frames of Coney’s famous
attractions: A skeletal roller coaster… A frost-covered Ferris Wheel… A
decrepit steeplechase track. They rise behind a weathered wooden fence pasted
with old and tattered show posters, advertising the now-forgotten performers
who once delighted millions.
A woman enters, wrapped in a ragged coat. She is not old, but has clearly been
ill-used by time. She stops to gaze at the posters.)

MADAME GIRY “Phantasma. City of Wonders… Mr Y. Presents… Marvels, astonishments…
Human prodigies. The Ooh La La Girl, five performances daily… Christine
Daaé, the soprano of the century.” Gone. All gone.
(As she trails off, a voice addresses her.)
FLECK Yes…there’s nothing left. Nothing but ghosts. But I knew you’d come
back… Madame Giry.
(As the voice speaks, its source unfolds itself from the seaside debris: A woman, ageless and odd, with a pale face, sunken eyes, and a bizarre manner.)
MADAME GIRY You…still here.
FLECK Of course we’re still here. The freaks, the monstrous, the bizarre… Where else could we exist but here? And after the tragedy… After the master
disappeared with the child… After the fire that consumed everything…
MADAME GIRY His dream. Our dream…
FLECK Remember how it was? Remember? (Crooning, half-mad)
Coney Isle…
Glistening and glimmering!
Rising bright,
drenched with light…
(As she sings, ghostly fireworks explode overhead)
See it smile,
beckoning and shimmering!
All agleam…
Like a dream..!
FLECK & MADAME GIRY Every fantasy set free!
Sodom rising by the sea!
(The dilapidated seaside world begins to transform before our eyes, bursting into light and color.)MADAME GIRY Coney Isle!
Miracle on miracle!
Speed and sound
all around.
Mile by mile,
loud and lewd and lyrical.
Thrill on thrill,
never still.
All America was there.
Beggar next to billionaire!
In they came,
chasing sensation and romance…
Eyes aflame,
desperate for pleasures yet unknown.
Night and day,
pouring in by the hundreds of thousands
Swept away,
as their every desire was made real!
(The sound of the sea remains for a few moments, then the Coney Island Waltz
slowly starts up. A vision of the past manifests itself – Coney Island in its heyday. At the height of the reverie…)

The Coney Island Waltz

That’s The Place You Ruined


(This song has been cut from recent performances)


FLECK That’s the place that you ruined, you fool!
MADAME GIRY (Shocked out of her reverie.) Wh…what? What do you mean?
FLECK That’s the world you destroyed with your greed!
MADAME GIRY It wasn’t my fault! I couldn’t have known..!
FLECK Don’t you remember what happened back then,
when we… Even we!... Dared to walk among men
(Whispered, softly, gently)
When even a Phantom could dream his dark dreams once again…
(Suddenly, ragtime Music sweeps up, obliterating the two women from the future…)


A Little Slice of Heaven

(The grounds of an ornate amusement park, thronged with delighted holiday
makers.)
BYSTANDER 1 Hurry up!
BYSTANDER 2 You won’t believe it!
BYSTANDER 3 Take a look what’s over here!
BYSTANDER 4 Who imagined just how big the place would be?
BYSTANDERS 2 & 3 The man called Mr Y put it up in just a year.
ALL BYSTANDERS It’s a little slice of Heaven by the sea!
(More onlookers enter, gazing around in amazement.)
ONLOOKER 1 Look, there’s restaurants!
ONLOOKER 2 A midway!
ONLOOKER 3 A gigantic concert hall!
BYSTANDER 1 The biggest funhouse ever seen!
ONLOOKER 4 A volcano that erupts each day at three!
BYSTANDER 2 Wonders brought from ‘round the world!
ONLOOKERS 1 & 2 The season’s just begun, but Mr Y has got it all!
BYSTANDER 1 Crystal fountains!
BYSTANDER 2 Grand pavillions!
BYSTANDER 3 & 4 Hell, it musta cost him millions!
BYSTANDERS/ONLOOKERS It’s a little slice of Heaven by the sea!
(The crowd gets bigger, and more festive.)
ONLOOKER 1 Over here!
CROWD (ALL) The sights! The sounds! The lights! The smells!
The wonder wheels! The carousels!
The gardens and arcades,
the marble colonnades!
CROWD 1 The rides!
CROWD 2 (Echoing.) The rides!
CROWD 1 The shows!
CROWD 2 (Echoing.) The shows!
CROWD 1 & 2 The games of chance!
CROWD 1 The rush!
CROWD 2 (Echoing.) The rush!
CROWD 1 The whirl!
CROWD 2 (Echoing.) The whirl!
CROWD 1 The sheer romance!
CROWD 2 The sheer romance!
BYSTANDER 1 And the rumours…
BYSTANDER 2 What about ‘em?
BYSTANDER 3 & 4 Things so odd you daren’t doubt ‘em…
ONLOOKER 1 Freaks and monsters…
ONLOOKER 2 Aberrations…
ONLOOKERS 3 & 4 Weird mechanical creations…
PASSERBY 1 And the Genius who designed it wears a mask!
CROWD (Whispers.) A mask? A mask?
PASSERBY 2 But what’s behind it?
BYSTANDERS What’s behind it?
SPECTATORS What’s behind it?
OBSERVERS What’s behind it?
FULL CROWD What’s behind it?
(The crowd erupts in a burst of exitement, fanning out through the park,
chattering and pointing.)
PASSERBY 1 Fancy ballrooms!
PASSERBY 2 Vaulted spaces!
ONLOOKERS 1 & 2 Shoot-the-chutes and steeplechases!
ONLOOKERS 3 & 4 A casino!
SPECTATORS A museum!
PASSERBY Look! A Roman colosseum!
BYSTANDER 1 And a concert hall that’s bigger than the Met!
ALL BYSTANDERS (First singly, then building to the full group.)
What’s inside it?
What’s inside it?
What’s inside it?
What’s inside it?
(The façade of the amusement park bleeds through whilst the ensemble
freeze, and we see, behind the vast posters, MEG and two other chorines, peeking through a hole and surveying the crowd.)

Only for Him/Only for You

MEG Jesus, what a crowd.
SHOWGIRL 1 Nervous?
MEG Just a bit.
SHOWGIRL 1 Kid, look who you are!
SHOWGIRL 2 The headline act!
SHOWGIRL 1 A major star!
SHOWGIRL 2 You’re already a hit.
(To SHOWGIRL 1.) Got a match?
MEG (To herself.) Wonder what he’ll think…
SHOWGIRL 1 (to SHOWGIRL 2.) The boss?
MEG if he’s even here.
SHOWGIRL 1 Honey please… He’s here.
SHOWGIRL 2 And in just two days,
he’ll be there tossing you bouquets.
At our gala premiere. Picture it!
SHOWGIRL 1 The cream of Manhattan!
SHOWGIRL 2 Celebrities! Millionaires!
SHOWGIRL 1 Watching you!
MEG (In a private reverie.) I’ll be waiting in the wing,
wound up tighter than a spring,
as the house begins to dim.
And I’ll practice every line,
hoping desperately to shine.
Shining only for him.
SHOWGIRLS Just imagine how they’ll cheer
At the moment you appear.
MEG Stepping out before the scrim..!
Let ‘em whoop and let ‘em call,
I won’t hear the crowd at all…
SHOWGIRLS No, it’s only for him.
MEG (Suddenly self-conscious.) Tell me how I look.
SHOWGIRL 2 Fine.
MEG (Worried.) Just fine?
What about my hair?
SHOWGIRL 2 Beautiful.
MEG You swear?
SHOWGIRL 1 Trust me, once the boss
sees how you put that song across
SHOWGIRL 2 Hell, he ain’t got a prayer
MEG (Hopefully.) You mean it?.
SHOWGIRLS You’ll step out into the light.
SHOWGIRL 1 Looking lovely!
SHOWGIRL 2 Burning bright!
SHOWGIRLS All vitality and vim!
MEG (Losing herself in the vision.) Ah-Ahh..!
And I’ll rapturously float
through the melody he wrote,
singing only for him.
SHOWGIRLS And before the music dies,
up the audience will rise,
nearly bursting at the brim!
And you’ll stand there in the glow…
MEG (Wishful.) And perhaps, at last he’ll know…
(Another SHOWGIRL peeks out of the stage door)
SHOWGIRL 3 Girls! Hurry up! We’re on!
(And as the company begin to move again and the girls rush to make an
entrance, the Gates to PHANTASMA swing open and the girls come out, now in
the company of the speciality acts – MS FLECK, as an aerialist, GANGLE, the
barker, and the strongman SQUELCH.)
BYSTANDER Where is she?
ONLOOKER 1 Look! There!
ONLOOKER 2 In the center!
PASSERBY 1 Just like in the posters!
PASSERBY 2 it’s the Ooh La La Girl!
ONLOOKER 3 & 4 Meg Giry!
MEG Welcome each and everyone
to our firmament of fun!
SHOWGIRLS A buffet of Ballyhoo!
MEG & SHOWGIRLS It’s where Coney comes to play
and it’s opening today!
MEG And it’s only for you!
SHOWGIRL 1 And you!
SHOWGIRL 2 And you!
SHOWGIRL 3 And you!
SHOWGIRLS & MEG Entertainment day and night,
sure to dazzle and delight!
MEG And of course we’ll be there too!
SHOWGIRLS (Waving and flirting with the crowd.) Yoo hoo!
SHOWGIRLS & MEG We’re so happy that you’re here,
for the season’s big premiere!
And it’s only for you!
(MEG does a little curtsey to the audience and runs off. As the SHOWGIRLS
continue to dance, the stage revolves again so that we’re backstage.)
GANGLE Ladies and Gentlemen, Miss Meg Giry, the Ooh La La Girl! Five shows daily, only here at Phantasma.
(Begins to cross fade to MEG.)
And now the aerial exoticism of the fabulous Miss Fleck – half bird, half
woman, all for only 10 cents a ticket…
(MADAME GIRY is waiting there, and MEG runs over to her.)
MEG How was I? Tell me?
MADAME GIRY Delightful, Meg. Just perfect. And I say that not only as your mother… But as your producer.
MEG Was he watching?
MADAME GIRY I’m sure he was. I’m sure he’ll have much to say about how much you’ve progressed.
(They begin to exit. Then she pauses offhandedly.)
By the way, it seems you have an admirer. A certain Mr. Thompson.
MEG (Hesitantly.) Is he important?
Oh, from the Mayor's office. I remember.
(Man appears and leads her away. Lights dim)
[/color]
(They exit as the stage darkens until…)


SCENE 2

The Aerie


(In the darkness, the glowing figure of a beautiful woman suddenly appears.
She is ravishing, breathtaking, alive. Behind her circles a man in a mask – THE
PHANTOM. He embraces her from behind, and their bodies entwine, but at the height of the ecstatic moment, we realize that the woman is not in fact real… But a cleverly devised automaton.
THE PHANTOM pulls back, breaking the spell. The lights rise, revealing the
Phantom’s workroom.)

Til I Hear You Sing

(E now wears dark jacket in this scene...)

ERIK (to automaton)Ten long years,
living a mere façade of life.
Ten long years,
wasting my time on smoke and noise.
In my mind,
I hear melodies pure and unearthly,
but I find,
I can’t give them a voice without you!
My Christine..!
My Christine..!
Lost and gone…
Lost and gone…

The day starts.
The day ends.
Time crawls by.
Night steals in, pacing the floor.
The moments creep,
yet I can’t bear to sleep
Til I hear you sing…
And weeks pass.
And months pass.
Seasons fly.
Still you don’t walk through the door.
And in a haze
I count the silent days
Til I hear you sing once more.
And sometimes,
at night time,
I dream that you are there - -
But wake holding nothing
but the empty air…
And years come.
And years go.
Time runs dry.
Still I ache, down to the core.
My broken soul
can’t be alive and whole,
Til I hear you sing once more.
And music--
Your music! --
It teases at my ear.
I turn - - and it fades away
And you’re not here!
Let hopes pass,
let dreams pass!
Let them die!
Without you, what are they for?
I’ll always feel
no more that halfway real,
Til I hear you sing once more!

(Gently and lovingly, he covers up the lifeless mannequin. Suddenly MEG and
MADAME GIRY burst in. MEG rushes over to him.)

Giry Confronts The Phantom

(At some point during this confrontation, E threatens M.GIRY with a gun...)


MEG Tell me, did you watch?
Tell me that you saw!
Did you hear the crowd?
The way they cheered?
I hope you’re proud !
Did you like the new routine?
Was it passable, I mean?
I can change a thing or two,
what should I do?
No, don’t say it - - I can guess,
but I promise, I’ll progress - -
ERIK (Distracted.) Yes, of course. Whatever you feel is best…
MEG Did the costume look OK?
Too revealing, would you say?
People seemed to like the view.
MADAME GIRY Meg, please!
MEG I could show a bit more skin - -
That would surely bring ‘em in - -
MADAME GIRY (Exploding.) Meg!
(MEG stops, wary.)
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!
PHANTOM (Warningly.) Careful, Madame. You’re forgetting yourself.
MADAME GIRY Don’t you see he forgot what this is?
Opening day, big deal, what a fuss.
Our success
means naught, I guess,
compared to the things that the master must do.
ERIK That’s quite enough.
(MADAME GIRY rips the cover off of the mannequin.)
MADAME GIRY (Contemptuously.) Christine! Christine!
MEG (Disappointed.) Christine.
MADAME GIRY Meg. Leave. Now.
(Without another word, MEG turns and exits.)
(Continues, once MEG is gone.)
In Paree,
when the mob surrounded you,
who was there?
We were there!
Were was she,
when the lawmen hounded you?
Gone, long gone.
We stayed on.
Who concealed you safe away?
Smuggled you up to Calais?
Found a freighter out of France - -
ERIK (Assertive.) I don’t see the problem. This is ancient history.
MADAME GIRY And once here,
when the sideshow hired you,
who stood by?
Meg and I.
While they kept you on display,
Who kept working night and day?
Who gave your their very lives?
And who helped you buy that sideshow?
Who helped you finance your scheme?
Who wouldn’t quit
‘till your act was a hit.
And your hit could become your dream?
Who plied the politicians?
Lured investors and the press?
No, not her!
And who stayed with you,
Helped you and advised you?
We stayed with you,
loved and idolized you!
She betrayed you,
shunned you and despised you!
She chose Raoul, chose his beauty and youth!
It’s long past time you faced up to - - !
ERIK Enough!
(Coldly.) You’ll be repaid, as I promised you would.
Now, if you’ve anything else left to say..?
(Without another word, MADAME GIRY exits. For a moment, ERIK is
thrown. Then he turns back to the automaton, almost as if for support.)
Oh Christine!
My Christine!
Yes, you fled from my face once before,
but Christine,
what we shared, even you can’t ignore,
my Christine.
I’ll be no longer denied!
I’ll have you back by my side,
my sweet Christine!
(He breaks off, overcome. Then, back in control of himself.)
And come what may,
I swear somehow, someway,
If just for one more day,
I will hear you sing once more!


SCENE 3 – Pier 69, Manhattan.
Outside the custom house Gates


Christine Disembarks


(…and we are suddenly dockside at the disembarking of a massive ocean liner.
A little welcome band sits nearby, playing loudly. Reporters, photographers, well-wishers and gawkers form an aisle to greet the disembarking passengers. A latecomer rushes in.)
LATECOMER Has the Persephone docked yet?
Has the Mauretania docked yet?
ONLOOKER 1 Yeah, the passengers are going through customs now.
ONLOOKER 2 Here they come!
(The first passengers come through the gate: a portly lady wearing an
enormous plumed hat, escorted by a dapper gentleman.)
REPORTER 1 It’s Mrs Astor!
PHOTOGRAPHER 1 Hey, Mrs Astor! Over here!
(MRS ASTOR turns, and flashbulbs go off.)
REPORTER 2 How was your trip?
REPORTER 3 Is that the latest Paris style?
(She blows them a kiss and is escorted to her waiting carriage.
The crowd is already looking past her.)
ONLOOKER 2 Look, there’s Colonel Vanderbilt!
REPORTER 1 Hey, Colonel, enjoyed those French pastries, didja?
COLONEL VANDERBILT (Smiles broadly.) There’s nothing there we don’t have bigger and better over here, I assure you.
PHOTOGRAPHER 2 Thanks Colonel!
(The Colonel smiles indulgently, pats his ample waistline lightly as the
flashbulbs go off, then moves on.)
REPORTER 2 Over there, that’s Oscar Hammerstein, ain’t it?
PHOTOGRAPHER 1 Hey, Mr H, over here, this way!
(HAMMERSTEIN approaches the press line.)
REPORTER 3 How was Europe?
ONLOOKER 1 Hey, there she is!
(HAMMERSTEIN is forgotten. All eyes turn. Suddenly, framed in the gateway,
clutching the hand of a Young boy, stands CHRISTINE DAAÉ. She is nearly
obscured by veils and cloche hat, but she is gorgeous, iconic - - every inch a star. There is a moment of awed silence as the onlookers take in this vision… Then pandemonium. Flashbulbs explode, as the crowd surges around her.)
REPORTERS & PHOTOGRAPHERS Christine Daaé! Christine Daaé
Over here! This way!
(CHRISTINE, still silent, pulls the boy closer, protectively, then - - )
RAOUL Her name is Madame de Chagny! Stand aside! Stand aside, please!
(Her husband appears. Dapper and handsome, brusque, irate.)
No pictures, do you hear? No pictures of my wife, no pictures of the boy!
(But he is ignored in the frenzy.)
(some accounts say that the crowd is very rude toward C & E, and pushy, and Raoul's words/actions come across as reasonably protective)
REPORTER 1 Hey Christine, why Coney Island?
REPORTER 2 Your first concert in years, why ain’tcha singin’ at the Met?
RAOUL The Vicomtesse has been engaged by the well-known impresario –
REPORTER 3 Well-known?!
REPORTER 1 No one’s ever seen the guy!
REPORTER 3 How’d he lure the great Christine Daaé over here, anyways?
REPORTER 2 It’s the money, right?
REPORTER 3 All that American moolah!
REPORTER 1 Hey Christine, whatcha gonna sing, “Yankee Doodle Moolah”?
(The crowd guffaws.)
RAOUL (Heatedly.) My wife is an artist, sir - - !
REPORTER 2 Yeah, and her art is payin’ off your gambling debts, is what they’re sayin’ in France.
REPORTER 3 Is it true you left your entire fortune on a roulette table in Monte Carlo?
RAOUL Why, you insolent jackal! How dare you - -
GUSTAVE Father –
RAOUL (Snapping.) Not now, Gustave!
REPORTER 1 Hey kid, how does it feel to have a famous mother?
REPORTER 2 Is this your first time in America?
REPORTER 3 What do you plan to do here at Coney?
GUSTAVE (Shy.) I… want to learn how to swim.
(The crowd hoots and laughs, and the boy shrinks back against CHRISTINE.)
RAOUL I said, leave the child alone! (He looks around anxiously.) For God’s sake, didn’t this Mr Y send someone to receive us?
(Suddenly animated, the boy steps forward.)
GUSTAVE (Pointing.) Mother, look..?
Right over there…
Across the square..
What is it?
(All eyes turn as a strange carriage appears, fancifully designed. The horses
appear to be mechanical, and the driver’s face seems to be completely obscured. Driver's head appears to be a transparent glass skull.)
ONLOOKERS (Muttering amongst themselves.) What on earth could it be? I’ve never seen such a thing before in my life! Damn strange, that’s what it is! The most peculiar conveyance! Etc.

Arrival of Trio/Are You Ready to Begin?

(Suddenly the doors of the carriage open, revealing… A completely empty
interior. And then, three figures extricate themselves from the empty space.
They bow in unision at the crowd, then approach CHRISTINE and family with
bizarre yet oddly beautiful motions.)
SQUELCH Are you ready to begin?
Are you ready to get on?
You’re about to start out
on the journey of your lives.
(With a flourish, he reaches behind GUSTAVE’s ear and pulls out a colored
handkerchief, which he then lets go.)
RAOUL (Bewildered, outraged.) Is this some kind of joke?
ONLOOKER 1 No, it’s a publicity stunt for that freakshow on Coney!
REPORTER 1 It’s a front page feature, is what it is! You getting this, Smitty?
PHOTOGRAPHER 1 (Snapping pictures.) You betcha!
(The thin one speaks next.)
GANGLE If you’re ready, then get in.
Once you’re in, then we’ll get gone.
And who knows, once it goes,
Where you’ll be when it arrives?
(With one fluid motion, he removes RAOUL’s top hat… And suddenly makes it
vanish into thin air.)
RAOUL This is outrageous!
ONLOOKER 2 It’s amazing!
ONLOOKER 3 Brilliant!
ONLOOKER 4 I’m telling ya, that Mr Y is an absolute genius!
(GANGLE and SQUELCH flank the family and walk them towards the carriage as
the bird-like FLECK beckons them forward.)
FLECK It’s a fun house where the mirrors
all reflect what’s real.
FLECK & GANGLE (Whispered.) And reality’s as twisted
as the mirrors reveal.
FLECK, GANGLE & SQUELCH And the fun is finding out
what the mirrors show…
(The Group is now at the door of the carriage. CHRISTINE is led inside, then RAOUL, protesting.)
RAOUL This is unacceptable, do you hear me? I will be taking this up with your
employer! Whoever he is!
(Only GUSTAVE, the boy, remains outside the carriage.)
GUSTAVE (Excited.) Everything
and everyone - -
It’s all just how I dreamed…
All the freaks,
and all the fun,
exactly how I dreamed…
And Phantasma still awaits…
Wonder what’s behind its gates…
(The boy climbs in. Silently, the carriage rolls off as onlookers watch, speechless, until it disappears.
The welcome band bursts back into song.)
REPORTER 1 That was somethin’, wasn’t it?
ONLOOKER 1 I was hoping she’d sing. Caruso sang half of Pagliacco for us when he got off the boat.
REPORTER 2 Eh, I bet she ain’t got it no more, not like the old days. Sure, she’s pitch perfect… But empty inside. Like the flame went out or somethin’.
(Someone points to the arrival Gates.)
ONLOOKER 2 Look! It’s the Rockefellers!
(The band keeps playing as we transition to…)

SCENE 4 – The hotel.
A hotel suite. Evening.


(RAOUL, CHRISTINE and GUSTAVE settle into a spacious hotel suite.
There is a huge window with ornate drapes, a chaise, some chairs and tables,
and a piano upon which rests some sheet music.
As the family enters, GUSTAVE runs to the piano and snatches an object frrom
it. He sits with his back to us, preoccupied with his find.
RAOUL immediately goes to the table and pours himself a brandy.)

What a Dreadful Town

RAOUL What a dreadful town!
What a vulgar place!
What an awful mistake to have come here!
To be on display
in that shameless way
for the crude, common, lower-class scum here.
How do they dare to treat us so!
GUSTAVE Father dear,
come play with me,
come and see
this toy I’ve got –
(RAOUL takes a slug of brandy, slams down his glass.)
RAOUL What a snub, at most.
From our so-called host –
Did 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 face –
It’s an utter disgrace –
I’ve got a mind to pack and go,
never you mind the debts we owe –
Who would believe we’ve sunk this low?
GUSTAVE Father, please, come play with me –
RAOUL Please tell the boy the answer’s no!
(In the moment of silence that follows, CHRISTINE idly plays a few notes from
the sheet Music on the piano.)
RAOUL (Through gritted teeth.) Must you make that racket?
CHRISTINE It’s the aria I’m to sing tomorrow.
RAOUL It hurts my head.
CHRISTINE Please let’s not fight, dear…
I’m sure that no one intended a slight, dear…
RAOUL Don’t you patronize me,
it’s your fault we came here.
CHRISTINE We need the money, that’s all.
That’s why things haven’t been right, dear…
RAOUL Why doesn’t it surprise me
that I get the blame here?
CHRISTINE Let’s leave tonight, dear…
If that would serve to ease your troubled mind…
Leave the hurt behind.
(His anger subsides as she soothes him. Then...)
GUSTAVE Father dear,
come over here,
and look at what they gave to me,
wind it up, and father, see –
Look, it plays a melody
(The wind-up toy plays the same little tune that the marching band played at
the dockside… Until RAOUL, unable to bear it, smashes it down.)
RAOUL I need some air. (He moves to the door.)
CHRISTINE Raoul, please..!
RAOUL (Turns at door, roughly.) Please what?
CHRISTINE Nothing. Only… Raoul, don’t drink any more.
(He hesitates a moment, then leaves, slamming the door behind him.)


Look With Your Heart

(In recent performances, Gustave bows to Christine and leads her into dance, and they waltz around a bit during some of this song. )


GUSTAVE (Crestfallen.) Father never plays with me,
doesn’t he love me?
CHRISTINE Love’s a curious thing,
it often comes disguised.
Look at love the wrong way,
it goes unrecognized…
So look with your heart,
and not with your eyes.
The heart understands,
the heart never lies.
Believe what it feels,
and trust what it shows.
Look with your heart - -
The heart always knows.
Love is not always beautiful,
not at the start…
So open your arms,
and close your eyes tight,
look with your heart,
and when it finds love,
your heart will be right.
(Suddenly serious.)
Learn from someone who knows…
Make sure you don’t forget.
Love you misunderstand is love that you’ll regret…
(She trails off… Lost, perhaps, in memory. After a long moment…)
GUSTAVE Mother..?
(Prompting her.) Look with your heart…
And not with your eyes…
The heart can’t be fooled.
CHRISTINE The heart is too wise.
GUSTAVE Forget what you think - -
CHRISTINE Ignore what you hear –
GUSTAVE & CHRISTINE Look with your heart
It always sees clear.
GUSTAVE Love is not always beautiful,
not at the start…
CHRISTINE But open your arms…
And close your eyes tight…
Look with your heart…
And when it finds love…
Your heart will be right.
(GUSTAVE exits, attended by a nanny. As the music continues under, she hums
the melody to herself as she picks the toy up off the floor where the boy has
left it. She winds it and lets it play. Instead of the marching band music, the toy
plays a different melody.
She freezes. Then whirls around. And CHRISTINE and THE PHANTOM gaze at one
another for the first time in ten years. A long, lingering gaze. Then…)


Beneath a Moonless Sky


Recent change on stage: When E arrives, C runs to him, embraces him, then slaps him across the face.

CHRISTINE I should have known that you’d be here…
I should have known it all along.
This whole arrangement bears your stamp.
You’re in each measure of that song.
How dare you try and claim me now!
How dare you come invade my life!
ERIK Oh Christine…
My Christine..!
In that time when the world thought me dead,
my Christine,
on that night just before you were wed,
ah, Christine!
You came and found where I hid,
don’t you deny that you did,
that long ago night..!
CHRISTINE (Remembering.) That night…
ERIK Once, there was a night,
beneath a moonless sky,
too dark to see a thing,
too dark to even try –
CHRISTINE I stole to your side
to tell you I must go.
I couldn’t see your face,
but sensed you even so.

I strode to your side, tormented by my choice
I couldn’t see your face, but trembled at your voice

And I touched you –
ERIK And I felt you –
CHRISTINE & ERIK And I heard those ravishing refrains…
CHRISTINE The music of your pulse –
ERIK The singing in your veins –
CHRISTINE And I held you –
ERIK And I touched you –
CHRISTINE And embraced you –
ERIK And I felt you –
CHRISTINE & ERIK And with every breath and every sigh –
CHRISTINE I felt no longer scared…
ERIK I felt no longer shy…
CHRISTINE & ERIK At last, our feelings bared,
beneath the moonless sky.
CHRISTINE And, blind in the dark,
as soul gazed into soul,
I looked into your heart,
and saw you pure and whole.
ERIK Cloaked under the night,
with nothing to suppress,
a woman and a man,
no more and yet… No less.
And I kissed you –
CHRISTINE And caressed you –
ERIK & CHRISTINE And the world around us fell away.
We said things in the dark
we never dared to say.
ERIK And I caught you –
CHRISTINE And I kissed you –
ERIK And I took you –
CHRISTINE And caressed you –
ERIK & CHRISTINE With a need to urgent to deny.
And nothing mattered then,
except for you and I,
again and then again,
beneath a moonless sky.
ERIK And when it was done,
before the sun could rise,
ashamed of what I was,
afraid to see your eyes,
I stood while you slept,
and whispered a goodbye.
And slipped into the dark
beneath the moonless sky.
CHRISTINE And I loved you.
Yes, I loved you!
(C grabs E by the arms here.)
I’d have followed anywhere you led.
(E rips himself away from her, looking "like someone had sucker-punched him")
I woke to swear my love,
and found you gone instead.
ERIK And I loved you!
CHRISTINE Oh, I loved you!
ERIK And I left you!
CHRISTINE How I loved you!
ERIK And I had to - -
Both of us knew why…
CHRISTINE We both knew why…
ERIK & CHRISTINE And yet I won’t regret,
from now until I die,
the night I can’t forget
beneath a moonless sky.
ERIK And now?
CHRISTINE How can you talk of now?
For us –There is…no now.

* Thank you to C&E4eva for changes mentioned at beginning of song.
** Thank you to Persephone, honeyphan, and XxBrlyxX for the lyric change.
Thank you to lekass at POTO.com, whose review of the show describes the stage action during C's declaration, and who I've quoted above.

Once Upon Another Time

(Christine sweeps out onto the balcony, and he follows. Together, against the night
sky, with the world at their feet… And yet irreparably apart.)

CHRISTINE Once upon another time,
our story had only begun.
You chose to turn the page,
and I made choices too.
Once upon that other time,
we did what we thought must be done.
And now, we have no choice.
We do what we must do…
We love.
We live.
We give what we can give.
And take what little we deserve.
ERIK Once upon another time,
I knew how our story would end,
and maybe I was wrong,
but now the moment’s gone.
Were it still that other time,
I’d make time itself somehow bend!
But now I’m not that strong,
and time keeps moving on…
ERIK & CHRISTINE We love.
We live.
We give what we can give.
And take what little we deserve.
We love.
We live.
We give what we can give.
And take what little we deserve…
Once upon another time.
(**As shared by Godzuki/Honeyphan/XxBrlyxX -- E leans toward C as though for a kiss, when they are suddenly interrupted when Gustave runs in...)

Mother Please, I'm Scared

(GUSTAVE runs in wildly, breaking the mood, and buries his face in his mother’s
dress.)
GUSTAVE (Apprehensive.) Mother, please - - I’m scared!
What a dream - - An awful dream!
Someone strange and mad,
seizing me, and drowning me…
(The boy, sensing another presence in the room, turns from his mother to look,
and sees ERIK.)
CHRISTINE Shh… Gustave, it’s all right.
Come and meet a friend of mine…
ERIK (With a courtly flourish.) Welcome to my world, my friend.
(sneering) And this must be the vicomte's son...
CHRISTINE Gustave, this is… Mr Y.
GUSTAVE (Eyes widening.) This place… is yours?
ERIK Every inch of it.
(Leaning closer, conspiratorially.) Tell me where you’d like to go…
Tell me what you want to see…
I can grant any wish…
GUSTAVE (Shyly.) Could you show me, if you please,
all the island’s mysteries?
All that’s strange and wild and dark
in the shadows of the park?
ERIK You shall see it all tomorrow. I promise.
(And suddenly he vanishes!)
CHRISTINE Back to sleep now, Gustave.
GUSTAVE Yes, mother.
(He exits to the bedroom. Alone, CHRISTINE begins to undress in front of the
mirror. She gazes at her own reflection… Seeing herself as she was ten years
ago. The wishful moment is shattered as we transition to the next scene.)

SCENE 5 – Backstage.
Backstage at the theatre. The next day.


Dear Old Friend


(MEG and the other dancers are rehearsing their big number. We see them
upstage, from the back, going through their routine.)

DANCE CAPTAIN 5, 6… A 5, 6, 7, 8!
MEG & SHOWGIRLS Bathing beauty
on the beach,
bathing beauty,
say hello!
What a cutie!
What a peach!
Bathing beauty!
Watch her go!
STAGE MANAGER (From onstage.) All right, Meg, take five.
Girls, take it one more time.
MEG & SHOWGIRLS (Under dialogue.) Bathing beauty
on the beach,
bathing beauty,
say hello!
What a cutie!
What a peach!
Bathing beauty!
What her go!
Posing under her parasol
she is whatcha call a real spectacle.
Prim and proper,
with class and poise,
but she’s got the boys apoplectical!
Bathing beauty
on the beach,
see her practic’lly glow
Wearing a smile
and giving Coney Island
a bathing beaut of a show!
Wearing a smile
and giving Coney Island
a bathing beaut of a show!
(MEG finds MADAME GIRY waiting for her.)
MADAME GIRY Very nice, Meg.
MEG (Anxiously.) Do you think so, mother? Really?
MADAME GIRY (Smiling.) You’ve come a long way since the beginning of the season.
MEG Does he agree? It’s been three months, he never comes to see the show.
Even a word from him, just one…
MADAME GIRY You may get more than that. (Leaning closer.) He has been composing again, late at night. Not this cheap vaudeville trash. Something glorious.
MEG (Not daring to hope.) …for me?
MADAME GIRY Continue to work hard. Make yourself useful to him.
(MADAME GIRY exits. Once she’s gone MEG practically vibrates with happiness.
She is in her own private World as CHRISTINE and GUSTAVE enter.)
GUSTAVE Mother!
CHRISTINE (Laughing.) Patience, Gustave! First I must find the stage manager, my dressing room, the musical director –
GUSTAVE And then we’ll go look for our friend? And go see the island?
CHRISTINE I’m sure he’ll send for you when he’s ready. (To the oblivious MEG.) Excuse me, Miss, would you mind –
(MEG stops short, looks up, stares.)
MEG Heaven help me, could it be - - ?
No, it couldn’t possibly –
CHRISTINE Sorry, do I - - ?
MEG Yes, I think you do!
CHRISTINE Have we - - ?
MEG Go on, take a guess!
CHRISTINE Wait - - It can’t be! - - Is it - - ?
MEG Yes!
CHRISTINE Oh my God, I can’t believe it’s you!
MEG Look at you, Christine!
Regal as a Queen, and beautiful!
CHRISTINE Meg, and you as well!
I could hardly tell it’s you - - !
(They embrace.)
MEG & CHRISTINE My dear old friend!
Can’t believe you’re here old friend!
CHRISTINE After all this time!
MEG So glad you came!
CHRISTINE You look… Sublime!
MEG You look the same!
MEG & CHRISTINE My sweet old friend,
never thought we’d meet, old friend!
CHRISTINE Look at you, a star!
MEG And you a wife!
MEG & CHRISTINE And isn’t life
a splendid thing?
CHRISTINE And here we are - -
MEG To see the sights?
CHRISTINE And sing.
MEG (Taken aback.) To… Sing?
CHRISTINE And of course as a treat for my son. Meg, meet Gustave…
MEG (Ignoring the boy.) Who hired you to sing here?
(RAOUL enters and walks, stunned, toward MEG…)
RAOUL You!
(…and right past her, astonished at another figure who has just appeared.)
MADAME GIRY (Stunned.) It can’t be you!
RAOUL Is this a jest?
MADAME GIRY How can this be?
RAOUL We’ve come to work.
MADAME GIRY At whose request?
RAOUL (Producing an envelope.) The contract´s here.
MADAME GIRY (Snatching it from him.) I want to see.
(Opens, skims.) My God, the price.
RAOUL It’s rather high.
MADAME GIRY Why, it´s absurd!
RAOUL Oh, yes, I know.
Inform your boss
that, by the by,
the fee goes up,
or else we go.
RAOUL & MADAME GIRY My dear old friend,
here´s how things appear, old friend –
MADAME GIRY He who pays the bill –
RAOUL Times two or three.
MADAME GIRY Be sure he will.
RAOUL And handsomely.
RAOUL & MADAME GIRY And dear old friend,
now that we are clear, old friend –
MADAME GIRY That´s all very well,
but ´till you´re gone
you´ll wait upon
my boss´s whim.
RAOUL Ah yes, your boss - -
And who is that?
MADAME GIRY It´s him.
(The focus turns back to MEG and CHRISTINE)
MEG Sorry, did I hear you right?
Here to sing?
CHRISTINE Tomorrow night.
MEG I’m afraid there must be some mistake.
You can’t be performing.
CHRISTINE Why?
MEG Mainly, dear, ‘cause so am I.
I’m in fact the star, for heaven’s sake!
What are you to sing?
CHRISTINE Just one little thing - - An aria.
MEG (Reeling.) No…
CHRISTINE Please, you needn’t fret,
I’m sure you will get your due…
(Back to MADAME GIRY and RAOUL)
RAOUL Him!
MADAME GIRY That’s what I said.
RAOUL You work for him!
MADAME GIRY Now so do you.
RAOUL And my poor wife - -
We thought him dead!
She’ll be appalled!
MADAME GIRY Unless she knew.
(RAOUL is thunderstruck. He storms over to CHRISTINE.)
CHRISTINE Darling… Please… Are you all right?
(RAOUL seizes her roughly.)
RAOUL Tell me now! That music!
Who was it’s creator?
CHRISTINE Darling, please… Don’t squeeze so tight.
RAOUL Something’s going on here - -
I’ll deal with you later…
(As they confer, MEG and MADAME GIRY have their own whispered colloquy.)
MEG (Sotto voce.) Did you know?
MADAME GIRY (Sotto voce.) How could I know?
Why would they come?
MEG (Sotto voce.) Why won’t they go?
(All four catch each others’ eyes and immediately regain their social graces.)
MEG/MADAME GIRY/CHRISTINE/RAOUL
My dear old Friends! Dear old friends!
Can’t believe you’re here, Such good friends!
old friends!
MADAME GIRY Speaking as your host –
MEG As an artiste –
CHRISTINE What a surprise –
RAOUL To say the least.
MEG/MADAME GIRY/CHRISTINE/RAOUL Yes, dear old friend,
that’s a happy tear, old friend!
I can’t conceal,
try though I may,
the way I feel
so why pretend?
I’m sure it’s clear,
to such a dear old friend!
MADAME GIRY (Sotto voce to CHRISTINE.) You mustn’t stay!
CHRISTINE (Sotto voce to MADAME GIRY.) Why would I leave?
RAOUL (Sotto voce to MEG.) Why are we here?
MEG (Sotto voce to RAOUL.) Don’t play naive!
MEG/MADAME GIRY/CHRISTINE/RAOUL What dear old friends!
Don’t we all revere old friends!
RAOUL Nothing has been changed.
MEG And never will.
MADAME GIRY & CHRISTINE Just rearranged.
MEG/MADAME GIRY/CHRISTINE/RAOUL And yet we’re still
such grand old friends,
such devoted and old friends!
Words could not suggest
what’s in my heart - -
And for the rest,
why even start?
You’re dear old friends, Dear old friends!
so much more than mere Such true friends!
old 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!
With dear old friends - -
Utterly sincere old friends!
MEG (To CHRISTINE, smiling, with venom.) Honey, break a leg.
RAOUL (Overly polite, to MADAME GIRY.) Madame, good day.
MADAME GIRY (Pointedly, to RAOUL.) Enjoy your stay.
CHRISTINE (With too much charm.) Hope it extends.
MEG/MADAME GIRY/CHRISTINE/RAOUL So glad you’re here, our lovely dear old friends!
Old friends!
(As CHRISTINE and RAOUL turn to leave, she calls out to her child…)
CHRISTINE Gustave?
(The boy has vanished.)
(A bit more insistently.) Gustave..? (Puzzled.) Gustave..?
RAOUL (Irritated.) Must we always be chasing after the boy? I promise you, when I find him - -
CHRISTINE (Too quickly.) No!
(They all turn to look at her.)
I’ll look for him.
(RAOUL and MADAME GIRY exit. CHRISTINE waits until they are gone, then
wordlessly races off in the other direction. Only MEG is left.
The STAGE MANAGER enters and rushes past her, followed by
a gaggle of girls.)
STAGE MANAGER Break’s over, Meg. Back to work.
MEG And 5, 6, 7, 8!
(MEG doesn’t move. We see her mind working.)
SHOWGIRLS Bathing beauty
on the beach,
bathing beauty,
say hello!
What a cutie!
What a peach!
Bathing beauty!
Watch her go!
(Finally, she turns and exits.)

**(Recent reviews mention C holding her music during DOF - presumably, the aria -- and Meg grabs it to look at, and C takes it from her and puts it behind her back. :D)

Scene 6
The Aerie

(Behind a scrim we are aware of the TRIO of FLECK, SQUELCH and GANGLE,
leading the boy GUSTAVE in a circular pattern as they appear to be climbing up,
up, up through an impossibly high series of staircases until they arrive at the
Aerie.
The TRIO lead GUSTAVE high above.)

(During recent performances, the trio do not sing the following lines, instead just leading Gustave to the Aerie...)

GUSTAVE Who are you? Where are you taking me?
FLECK I am Miss Fleck.
SQUELCH The Mighty Squelch.
GANGLE Dr Gangle.
TRIO At your service.
FLECK And… His.
GANGLE Come along and follow us.
FLECK Come and follow faster.
SQUELCH Come along and follow us.
TRIO Come and meet the master.
Hurry up and follow us,
hurry if you care to…
Soon the dark will swallow us,
follow if you dare to..!
(They arrive now at the top of the Park, a place of mannequins and masks,
where, in a corner THE PHANTOM is at work on a bizarre table, out of which
seems to grow half a human being with five arms. This is a magical construct of THE PHANTOM’s, designed to produce his music.)
GUSTAVE (Looking around.) Is this where Mr Y lives?
GANGLE This where he works.
FLECK Step lively, child.
SQUELCH He is waiting.

Beautiful

Added line:
ERIK: 'Bring the child up here to me, it is time I repaid him his debt, if it's dark he wants to see, then dark is what he'll get.'

GUSTAVE (Gazing about, enchanted.)What is this place?
(THE PHANTOM ceases his working on one of the musical contraptions.)
ERIK This is my realm, illusion’s domain,
where music and beauty and artifice reign.
Go, look around while I finish my work.
(GUSTAVE is drawn, as if by some mysterious yearning, to a piano nearby.)
GUSTAVE May I..?
(GUSTAVE begins to play. A simple yet eerie tune.)
ERIK (Intrigued.) What’s this?
GUSTAVE Just a song in my head…
ERIK Go on…
(GUSTAVE begins to tune again.)
GUSTAVE I think it’s beautiful.
Beautiful, beautiful notes.
Beautiful, beautiful sounds,

don’t you agree?
I think it's beautiful
Hear how each note seems to float
Hear how they all rise and fall
Just like the night!

It's beautiful!
ERIK (Mesmerized.) This boy…
GUSTAVE So very beautiful!
ERIK This music…
GUSTAVE Music that comes uncontrolled…
ERIK He plays like me…
GUSTAVE Haunting and lovely and bold…
ERIK He’s just ten years old…
(ERIK listens, enraptured, as the boy’s melody becomes richer and
more impassioned. And then, suddenly…)
Ten years old!
(Thunderstruck.) My God!
(With mounting exitement.) My God!

* Thank you to honeyphan & XxBrlyxX for addition at beginning of song.
**Thank you to C&E4eva for lyric change. :)

The Beauty Underneath


(Suddenly ERIK signals to the TRIO, and FLECK runs to a lever and
pulls down a beautiful prototype of the half bird/half creature she performs in
her act. She, herself, is transfixed by it’s beauty as is the boy.
Pulling GUSTAVE off the piano bench, ERIK questions him.)

ERIK: Have you ever yearned to go
past the world you think you know?
Been in thrall
to the call
of the beauty underneath?
Have you let it draw you in,
past the place where dreams begin?
Felt the full
breathless pull
of the beauty underneath?
When the dark unfolds its wings,
do you sense the strangest things?
Things no-one would ever guess?
Things mere words cannot express?
GUSTAVE (Hypnotized.) Yes!
(Now, ERIK signals to GANGLE, who reaches over the piano and pulls
away a cloth, revealing a chandelier made almost entirely of beautiful heads. As
if by magic, the heads sing an ehtereal accompaniment as the boy watches in
wonder. ERIK signals now to SQUELCH, who brings from the
background a magnificent figure of a warrior, and when the boy is close, the
figure seems to come to life frighteningly, but the boy continues to be both
brave and utterly enchanted by the fabulous creatures everywhere.)
ERIK Do you find yourself beguiled
by the dangerous and wild?
Do you feed
on the need
for the beauty underneath?
Have you felt your senses surge
and surrendered to the urge?
And been hooked
as you looked
at the beauty underneath?
When you stare behind the night,
can you glimpse it’s primal might,
might you hunger to posess?
Hunger that you can’t repress?
GUSTAVE (In ecstasy.) Yes!
It seems so beautiful!
So strange yet beautiful!
Everything’s just as you say!
ERIK And he’s so beautiful…
Perhaps too beautiful.
What I suspect cannot be…
And yet somehow we both see
the very same way!
(Now GUSTAVE takes the lead, pulling ERIK to him in excitement.)
GUSTAVE Is there music in your head?
Have you followed where it led?
And been graced
with a taste
of the beauty underneath?
Does it fill your every sense?
Is it terribly intense?
Tell me you
need it too,
need the beauty underneath!
(Ecstatic, the boy and ERIK look with amazement at each other and
sing together.)
ERIK & GUSTAVE When it lifts it’s voice and sings,
don’t you feel amazing things?
Things you know you can’t confess?
Things you thirst for nonetheless?
(The boy lies on the piano reaching up to the magical singing heads as THE
ERIK stares at him in disbelief.)
GUSTAVE It’s all so beautiful!
ERIK Can it be?
GUSTAVE Almost too beautiful!
ERIK & GUSTAVE Do you see what I see?
(And yet another wondrous sight…)
GUSTAVE Heavenly!
ERIK To him, it’s beautiful - -
My world is beautiful!
GUSTAVE How can this be what it seems?
ERIK & GUSTAVE All of my most secret dreams,
somehow set free!
ERIK You can feel it…
GUSTAVE Yes…
ERIK Come closer…
GUSTAVE Yes!
ERIK You’ve no fear of the beauty underneath…
GUSTAVE Ah!
ERIK You can face it,
GUSTAVE Yes..!
ERIK you can take it,
GUSTAVE Yes..!
ERIK You see through to the beauty underneath!
To the splendour!
GUSTAVE To the splendour!
ERIK And the glory!
GUSTAVE Glory!
ERIK To the truth of the beauty underneath.
GUSTAVE The beauty underneath!
(ERIK spreads his arms to embrace the child.)
ERIK You’ll accept it!
GUSTAVE Yes!
ERIK You’ll embrace it!
GUSTAVE Yes!
ERIK Let me show you the beauty underneath.
GUSTAVE The beauty underneath!
ERIK To the splendour!
GUSTAVE Splendour!
ERIK And the glory!
GUSTAVE And the glory!
ERIK To the truth of the beauty underneath!
GUSTAVE The beauty underneath!
ERIK You’ll accept it!
GUSTAVE Yes!
ERIK You’ll embrace it!
GUSTAVE Yes!
(As GUSTAVE comes face to face with him, ERIK pulls away the
mask.)
ERIK Let me show you the beauty under - -
(GUSTAVE beholds ERIK’s face, and screams in terror. In some performances, he does NOT wordlessly scream, instead yells "It's horrible, horrible!".....The moment is shattered.
ERIK turns quickly away, hiding his face. GUSTAVE turns and runs…
…straight into the arms of CHRISTINE.)
CHRISTINE Gustave! It’s all right! It’s me! (horrified.) Gustave!
(GUSTAVE pulls away, and we can see that he is petrified.)
CHRISTINE (to TRIO.) Please take him away.
(FLECK takes the boy by the hand, and, with the other two, leads GUSTAVE
away.
Now ERIK and CHRISTINE are alone. He has put his mask back on.)
(Before replacing his mask, E sees C flinch to see his face, too...she tries to apologize, but he turns away.)

The Phantom Confronts Christine

CHRISTINE I’m so sorry. Please, forgive him. He meant no harm.
ERIK (Stepping towards her, intense.)
How could you think I wouldn’t guess?
CHRISTINE What do you mean..?
ERIK How could you think I wouldn’t know?
CHRISTINE (Panicked.) Oh no..!
ERIK (Pressing her.) Do you have something to confess?
CHRISTINE (Backing away.) Please, don’t make me…
ERIK (Grabbing her, brutal.) (Reviews of the show state that during this part of the scene, E is rather violent toward C, at one point even putting his hands around her neck. Once she says, "You left me with a son," he backs off, shocked.) I want the truth, right now, if so..!
(CHRISTINE pulls away, looks him full in the face.)
CHRISTINE Once upon another time,
you went off and left me alone.
But that’s not all you did…
You left me with a son.
Ever since that other time,
I wish, how I wish, you’d have known!
I kept the secret hid - -
The secret my marriage forbid - -
What else could I have done?
Just love…
ERIK (In wonder.) A son…
CHRISTINE Just live…
ERIK My son..!
CHRISTINE Just give what I could give, and take what little I deserve…
ERIK My own flesh and blood. (In anguish.) And even he recoils in horror from me. Just like his mother.
CHRISTINE Forgive me…
I beg you…
If you can.
I’ve brought you nothing but woe.
Tomorrow night,
I’ll sing with all my might…
Sing for you again…
Then we’ll go.
(She turns and is gone. ERIK watches her vanish. Then, lost in
thought…)
ERIK From out of ugliness, such light!
From out of darkness, such a flame!
In him my wrongness is made right…
And yet he loathes me, just the same…
So let him shun me in disgust!
Let him flee this cursed face!
If I must hide from him, I must…
Yet shall he be my saving grace…
For Christine –
My Christine –
If it’s true I’ve no reason to live,
then, Christine…
Then our boy shall have all I can give
ah, Christine!
All I create on this earth,
all that I’ll never be worth,
all shall be his!
(In triumph, he turns, and vanishes upstage. Suddenly, out of the depths of the
edges of the Aerie comes MADAME GIRY – twisted, furious. She has seen it all.
Behind her, in the shadows, is MEG.)

MADAME GIRY Ten long years, and he casts us aside!
Ten whole years, this is how we’re repaid!
Ten dark years of toil and tears
and now what we’ve worked for will go to that child!
All our hopes were at last in our grasp!
All the dreams and the plans that we laid!
Everything is vanishing –
And we get discarded, rejected, reviled!
All of the bonds in between us, now torn!
All of the love that we gave him, forsworn!
All would be ours –
If that bastard had never been born!

(In a rage, she seizes the nearest thing at hand - - the small coat of GUSTAVE,
and with one gesture, she rips it in two. She storms out.
In the fading light, MEG picks up half of the coat, looks down the stairs where
her mother has just disappeared, and in the fading light, stares out at the
audience.)
CURTAIN

continued in another post...

viewtopic.php?f=6&t=56

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Image E/C manip made by me
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honeyphan
 
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