Angel of Music

Angel Of Music
The Untold Musical Prequel To, “The Phantom Of The Opera”
A New Musical Written By:
ANDREW NEAL
Music By:
JENNY SUH
Based on Characters from: The Phantom Of The Opera
Written By:
GASTON LEROUX
“The Story of A Boy, Who Became A Phantom”
Cast of Characters
Erik – Title character, born with a disfigured face. Constantly hated and feared he longs for a
normal life, but as the play progress he himself becomes consumed by the very things he strove
to escape. Progresses from age 18 to mid-30s throughout the play.
Old Erik – Old man in his late 50s. The shell that is left 10 years after the ‘Phantom of the
Opera’ incident.
Young Erik – Erik at age nine. A sad boy, who longs to be loved
Emmanuelle – Erik’s mother, who loathes Erik and blames him for ruining her life
Arthur – Erik’s father, dies soon after Erik’s birth
Father Erik – Priest and family friend to Emmanuelle and Arthur. Becomes teacher and
mentor to young Erik.
Mary – A nurse and friend to Father Erik.
Montclair Mifroid – Circus owner. Slimy and manipulative.
Naser al-din Shah – Ruler of Persia. Proud, cunning and deceptive.
Nabir – The Shah’s chief assassin
Hooded Man – Mysterious man who works for the Shah
Debienne and Poligny – The original owners of the Paris Opera House
Madame Giry – Lead chorus instructor
Miriam – Erik’s blind wife, after the Paris Opera incident.
Raoul, Vicomte de Changy – Husband to the late Christine, now old and determined to learn
the truth about Erik
Christine Daae – Erik’s love interest, seen at age 16
Ensemble Roles
Ubaldo Piangi and Carlotta – Opera singers
Meg Giry - Madame Giry’s daughter.
Pierre and Gustav– Construction workers
Gypsies (Head Gypsy, Sword Swallower, Juggler, Strong Man, Belly Dancer and
Musicians)
Woman
Nurse
Police Officers #1 and #2
Carnival Workers #1 and #2
Villagers (Head Villager, Villager #1 and #2
Carnival performers and workers
Palace dancers, guards and servants
Opera patrons
Mob of angry civilians
Musical Numbers
Act One
1. A Mask/Overture - Old Erik, Raoul

2. You Are Not Alone – Father Erik
3. The Child Must Die – Ensemble
4. Learn to Love Him – Mary, Emmanuelle
5. The Musical Box – Young Erik
6. You’ll Be Famous – Mifroid
7. The Living Corpse/You Are Not Alone (Reprise)/Musical Box (1st Reprise)/Death of
Mifroid – Mifroid, Erik, Little Girl
8. Escape from the Punjab Lasso – Instrumental
9. The Shah – Ensemble
10. The Shah (Reprise) – Ensemble
11. Stranger to Hate – Naser al-din Shah
12. Tricks and Traps – Erik
13. We are Betrayed/Stranger to Hate (Reprise) – Erik
Act Two
1. Entr'acte - Instrumental
2. No One Would Remember – Erik
3. The Paris Opera House – Debienne, Poligny
4. Down In This Labyrinth Below – Erik
5. Opening of the Paris Opera House/The Paris Opera House Reprise – Debienne,
Poligny
6. This Monster Must be Found – Ensemble
7. Cast Back Down/Musical Box (2nd Reprise) – Erik
8. Forever in Shadow – Erik
9. The Opera Ghost – Erik
10. No One Would Remember (Reprise)/Realm Of The Night - Erik, Madame Giry
11. I Remember – Old Erik
12. The Phantom Laid To Rest – Instrumental
13. Don Juan - Instrumental
14. Whose is that Voice?/Here With Me/(I Am Your) Angel of Music/Finale – Erik,
Christine
PROLOGUE
[1897, the outskirts of Paris, France]
[Lights up on a large bedroom, with bed, desk, and chair. A set of large windows overlooks
a random city street. Amidst various bookcases and paintings, a statue stands alone in a
corner, with a black drape covering the top. An old man in his late fifties, sits reading by
the window. This is OLD ERIK, who was once known as “The Phantom of The Opera”. It
has been 10 years since the incident at the Paris Opera House. He now spends his final
resting days in the solitude of his home.]
[After a moment, a woman in her thirties enters the room. She is dressed in period specific
clothing. She wears dark glasses and carries a cane. She makes her way partially into the
room before speaking.]
Miriam – Erik, there is a man here who wishes to speak with you. He says that he is an old
acquaintance of yours.
Old Erik – A man? What is his name?
Miriam – It is the Vicomte De Chagny himself.
[pause]
Old Erik – Raoul….
Miriam – Do you know him?

Old Erik – [beat] My dear, would you send him in, please?
Miriam – Yes…yes of course. Right away.
Old Erik – Thank you.
[Exit Miriam]
[Erik gets up from his desk and puts on a dressing gown hanging from a hanger and
looks in the mirror, as if to inspect his appearance. As he turns we can see the right side of
face is still horribly disfigured, yet he wears no mask. He sets up a screen in front of his
desk and stands behind it when Miriam re-enters, followed by Raoul.]
Miriam – The Vicomte De Chagny, Erik.
Old Erik – Thank you dearest.
Miriam – Would the monsieur care for some tea? Or maybe some coffee?
Old Erik – No, my dear. The count will not be staying long. Would you kindly leave us now?
Miriam – Yes, of course love.
[Exit Miriam]
[There is an awkward silence between the two. It has been 10 years since they had last seen
each other. And not exactly on the best of terms.]
Old Erik – Raoul Vicomte De Chagny. After all these years you have finally managed to find
my sanctuary.
Raoul – She is a beautiful woman, Erik. A beautiful, blind woman.
Old Erik – She sees in me the true beauty, the beauty that lies beneath under the skin.
Raoul – I have never thought that you would be able to….after Christine…
Old Erik – Never have I thought I would ever care for another woman until I met Miriam. She
has shown me love and compassion when no one else would, regardless of my monstrous
deformity. It is the world that is blind, Raoul, not my Miriam.
Raoul - How did you meet a blind woman such as herself?
Old Erik - She was merely a servant. No more. Till, one day upon accident, her gentle hands
touched my face, and she drew not back in fear, rather…she felt pity and compassion. That is
when I fell in love with her. [Pauses] How did you find me, after all this time?
Raoul – There are rumors in the local villages about the man living in this Chateau. A former
musician and architect. No one has ever seen his face. His wife is blind, as well as all of his
servants.
Old Erik – [Dryly] Bravo! Monsieur… [crosses out from behind the screen so Raoul can see
his face. Raoul flinches slightly] Now you can see the face of the monster that lives within.
[beat] Is it as hideous as you remember? [pause] Why have you come here?
Raoul – I had to find you, Erik. It was Christine’s last dying wish that I do so.
[long pause]
Old Erik – How long ago?
Raoul – Just last spring.
[pause]
Old Erik – Why did she send you to find me?
Raoul – She wanted to see you personally, but when the illness took hold of her, she was too
weak to go anywhere, to do anything. I lay by her side for 3 years all the while she was sick.
All she could talk about was you. She wanted to see you one last time. She made me promise
to find you when she passed on.
Old Erik – And now that you have found me, what is it that this poor, old soul can do for you
now?
Raoul – [pause] I need…..I need to know…
Old Erik – Know? All that is known to you now is all you need to know.
Raoul – No, that is not it. Or else Christine would not have sent me to find you. I have
questions in need of answers. I want to understand…
Old Erik – [interrupting] No one will ever understand. Neither the world, nor you will ever
understand. Only Christine did.
Raoul – Then help me to understand. So that I may help the world to…. [pause] Christine
wanted me to do this.
Old Erik – [pause] Raoul, I am dying….dying from love. I loved Christine more than words
one could utter. She was the first woman who I had ever kissed. When I first heard her voice,
that is when I truly heard the music. When she left, the music died, and I have been slowly
dying ever since. I still love her….
Raoul – As I loved her…
Old Erik – Men such as you know not of true love! You are but mere slaves of feminine
manner, basking in their innocence, their inculpable beauty. You praise and shower them with
champagne, money and clothes to win their love. And know this, Vicomte! In our last
encounter, I had your life in my hands, and it was because of my love for Christine, that I
chose NOT to end it. This meeting is over. Good day, monsieur. [he turns away]
[After a beat, Raoul turns to leave, when the door opens and Miriam appears]
Miriam – Please forgive my husband, Vicomte. He has not been well. I invite you to please
stay.
Old Erik – My dear, I am rather busy and the count is NOT staying…
Miriam – Erik, on that day when we first met I knew from the beginning that you lived a
tortured life, and that you had lost someone. Someone so very dear to you. And though you
were reluctant to talk about her, I still knew that your heart ached for her with each day. I
accepted your silence through all these years because I care for you and love you. Now I
finally hear her name and I for one would like to know more about why you have been in pain
from the day I met you.
Old Erik – [after a pause] My dear, you know how fond I am of you. But there are events
from my past that I wish to protect you from.
[Miriam crosses and takes his hand]
Miriam – I do not need protection, if we can face it together. [turns to Raoul] Please
continue, Monsieur. What is it you need to know?
[SONG – “Prologue/A Mask”]
Raoul –
I was at her side all these years…
But knew I never had all of her heart.
And what was a mere fog to me became clear,
For her love for you never did depart…..
[speaking] Things have changed...
Old Erik – No, Raoul. I learned long ago that people never change. The world will always
remain the same. Man will always kill, hate, and make war with one another. Nothing ever
changes.
Raoul –
Please…
I need to know…
For Christine…
It is all she would have wanted…..
[After a moment, Old Erik lets out a sigh and gestures for Raoul to sit. Raoul sits down on
a nearby chair. Old Erik peers outside his window at the world.]
Old Erik –
Would God show no pity on this innocent soul?
For what crimes did he commit to pay this toll?
Without a face, the child would never be whole...
From the moment he was born,

To the moment they laid their eyes upon his face,
His ghastly appearance they did scorn,
Looked upon not in love, but utter disgrace…
From the moment he was born…
Old Erik – Before the mask, before the phantom that you have known of all these years, there
was a boy. A boy, who from the time he was born, was hated and feared.
[The lights quickly cut to black and there is a bloodcurdling scream amidst the darkness.
Lightning can be seen, and thunder can be heard amongst the dark.]
[The lights shift to another part of the stage to reveal the inside of another bedroom. It the
bedroom of a small country house in a remote area of Paris.]
[It is night, the year is 1841]
[A woman, EMMANUELLE, lies in the bed screaming as she is about to give birth. In the
room are FATHER ERIK and his wife MARY who are family friends, and a NURSE.
Outside the room is ARTHUR, the husband and a male servant. Arthur paces back and
forth anxiously.]
Nurse – I can see the head, dear. We are almost there. Just do exactly as I say, all right miss?
[Emmanuelle nods but continues to scream to scream in pain.]
Father Erik – Nurse, will she be all right? The child?
Nurse – Both will be fine I assure you, Father. Now Emmanuelle, on the count of three, I need
you to push for me? Ready? One…two…three!
[Emmanuelle pushes, screaming loudly. The sound of a baby crying is heard.]
Nurse – Miss Emmanuelle, congratulations it’s a…
[The nurse is suddenly paused with a sudden expression of shock on her face.]
Nurse – Oh….oh my goodness.
Father Erik – What? What is it? What is wrong?!
Emmanuelle - What is it? What has happened?
Nurse – The child, it….I’ve never seen anything like it.

[Arthur, fearing that something may be wrong, bursts into the room, followed by the
servant.]
Arthur – What is going on? What is this all about? I heard yelling.
[Arthur sees the child and draws back in horror.]
Arthur – Oh my god…my god!
Emmanuelle – Someone tell me what is wrong with my child!
Nurse – The child it…it is deformed.
[The nurse hands the child to Emmanuelle. She holds it and screams in fright.]
Emmanuelle – Take it away, I can’t bear to look at it!
Father Erik – But Emmanuelle, it is just a child. YOUR child.
Emmanuelle – I do not care. Take it away!
Nurse – What about a name miss? Shan’t we even give him a name?
Emmanuelle – You name it, Father. I do not care to give it a name.
[The nurse hands the child to Father Erik who cradles the baby in his arms. Arthur
rushes to Emmanuelle to comfort her. Father Erik hesitantly moves to the side, and the
lights fade to a single spotlight as he looks at the baby. Lights also shift to reveal Old Erik,
looking at the action as if remembering.]
Father Erik – [After a moment] Do not worry my son. I will give you a name. I shall name you
after myself. Erik. I shall name you Erik.
[Lights fade on Father Erik and shift back to Old Erik and Raoul. Old Erik turns from
the window and as he speaks slowly crosses the room to the statue covered by a veil.]
Old Erik – What should have been a joyous celebration of birth turned out to be a nightmarish
solemnization of parturition. The strain on my parents was tremendous, and nearly a week
after I was born, my father suffered a fatal heart attack. My mother never forgave me for his
death. [pause] When I was five years old, on my birthday I would receive the only present that
I would ever receive from my mother. A mask.
[Old Erik unravels the veil to reveal a statue of a man. Over one side of the statue’s face
hangs the half of a mask. Lights fade to a single spotlight on the statue as the overture
plays.]
[SONG - “Overture”]
ACT 1 – SCENE 1
[Lights shift back to the country house. Nine years have passed.]
[Emmanuelle is re-arranging furniture around the living room. She pauses several times to
look up at a picture of her late husband Arthur hanging on the wall. A knock on the door
is heard. She goes to the door and opens it and Father Erik enters.]
Father Erik – Good afternoon, Madame Emmanuelle.
Emmanuelle – Good afternoon, father. Here for his lesson?
Father Erik – Yes Madame. Today we are discussing the book, “Arabian Nights”. I think he
will be fascinated by it.
Emmanuelle – If you say so, Father. I have no interest in such things of that nature.
Father Erik – Sorry, forgive me Madame. Where is young Erik now?
Emmanuelle – The child is in his room. He knows you’re coming. He will be down shortly.
[Long pause]
Father Erik – So, Emmanuelle are you still wanting to sing for the church choir? The choir
could use your voice. I know it’s been a long time.
Emmanuelle – [quietly] Nine years.
Father Erik – Yes, nine years since…
Emmanuelle – [gazing at the picture]…since Arthur’s passing.
Father Erik – Yes, I had forgotten that was the reason. I am sorry.
Emmanuelle – You speak as if it is your fault.
Father Erik – It is no one’s fault. It is all in God’s plan.
Emmanuelle – Was it in God’s plan to bestow upon me a demon child?
Father Erik – Emmanuelle …
Emmanuelle – Where is that boy? [yells] Erik!
[Enter YOUNG ERIK, now a boy of nine years, as he rushes down the stairs, buttoning
his shirt]
Emmanuelle – Where were you?

Young Erik – Forgive me mother, I was just putting on my new set of clothes. They did not
fit.
Emmanuelle – I have no time for your excuses. [Turns Erik around and starts to roughly
adjust his clothes]
Father Erik – Oh, that is a shame, Erik. Why don’t your clothes fit?
Emmanuelle – I had the tailor guess his sizes.
Father Erik – Uh….guess?
Emmanuelle – [scornfully] Well I could not have him come here and do it in person.
Father Erik – Ah, yes. Of course.
[Emmanuelle turns Erik around and recoils when she sees his face]
Emmanuelle – Where is your mask? Did I not tell you that you are not allowed to speak nor
look at me without it on?
Young Erik – I’m sorry, mother. I seem to have misplaced it.
Emmanuelle – Then FIND it and make sure you put it on! Do you understand me?
Young Erik – Yes, mother. I’m sorry. What is to be my punishment?
Emmanuelle – [exasperated] I.....I will have to think of one later. Get out of my sight! And
you are NOT to call me ‘Mother’. I am no mother to a child like you. Father Erik, you may
have him now.
[She roughly pushes Young Erik towards Father Erik and leaves]
[Young Erik scuffles around the room looking for his mask. Father Erik sees it over on a
night stand and hands it to Young Erik.]
Father Erik – There is no need to wear it while I am here, little Erik. I prefer to see you as God
made you.
Young Erik – But Mother says I must have it on at all times.
[Young Erik puts on his mask, which covers his entire face except for his mouth]
Father Erik – [sighs heavily] You seem pensive today Erik. I have a great story planned for us.
One of Ali Baba and the Forty Thieves. It has everything you enjoy; Arabian Nights, magic,
wizards.
[Young Erik says nothing and just sits on the couch. Father Erik decides to try another
tactic]
Father Erik – Also, have you forgotten what day it is? It is your birthday, Erik. I got you
something.
Young Erik – A present?
Father Erik – Yes a present. I hope you will like it.
[Father Erik reveals a box to Young Erik who quickly unwraps it. Inside is a musical box,
with a monkey dressed in Persian robes on top, holding a pair of cymbals]
Father Erik – It is a musical box. With the figure of a monkey dressed in Persian robes playing
the cymbals. I know you love music, so I thought you might like this.
[He winds it and the musical box begins to play a melody. Young Erik is astonished by his
new present.]
Young Erik – I love it. [pause] It is the only real thing I have ever gotten. Mother did not get
me anything this year…again.
Father Erik – Erik, though your mother may not show it, deep down within all the anger and
the frustration, is a woman who loves you. Maybe someday the Lord will show her the way.
Young Erik – Father, [pause] why did God make me this way?
Father Erik – [pause] I do not know Erik. God has a plan for everyone, and a purpose for
everything. Maybe this deformity of yours is a good thing and not necessarily a bad thing.
Young Erik – I wish I was normal like everybody else.
Father Erik – Erik, you are normal. Everyone is different. You are not just different though,
you are special.
[SONG - “You Are Not Alone”]
Father Erik :
My dear child, why do you fret?
God made you for a reason, don’t you forget.
You have much to offer in this life,

so take away all thoughts of woe, and free your mind of strife.
You are not alone

many talents you have that are yet to be unfurled.
Even though, the world may think of you as diverse,

and that this deformity is just a curse.
You must lift your head, and think instead of what you have.
My child don’t be weary, because in theory,

the ones who are happy are really, the ones who live life content and freely.
You’re not alone

for what is just the beginning, lies just around the bend.
Even though there is pain, things will never stay the same. For things will change for the
better, cause nothing bad ever lasts forever.
[Young Erik plays his musical box again, and for the first time in his life, smiles]
[Lights fade out]
ACT 1 – SCENE 2
[A town hall where a large number of villagers are gathered. They are all arguing amongst
each other when the head villager bangs the gavel, attempting to get everyone’s attention.]
Head Villager – Order! Order! I will have order in this hall!
Villager 1 – This child is an abomination to the world and to this village. He must not be
allowed to live amongst us!
[All the villagers begin to argue amongst each other again. The noise level increasing
louder and louder.]
Head Villager – Order! Order I said!
Villager 2 – This is no child my good people, it is a demon! We must not allow it to live
amongst us! We will never be safe as long as he is alive!
[The ranting increases even louder.]
[SONG - “The Child Must Die”]
Villager 1 –
He’s a monster, he’s a fiend
He’s the epitome of human nature that I’ve seen
And I’ve had a premonition
that this very definition
of a boy will grow to be a spectre
and lesser we are careful
we must do something before it’s too late
before we bestow upon our children a tragic fate
This child must die!
Company –
This child must die! This child must die!
He must not live another day
And before it’s too late, in the blink of an eye
he will hunt us like an animal and we will all fall to his prey
The child must die!
Villager 2 –
Listen my good people very well
as I begin to tell
that this is no ordinary spectre we have here
this is just the beginning I fear.
I have seen this creature and by far
I have never seen anything so bizarre
which is why we must do something now
because putting our family’s lives in danger is something that we cannot allow
This child must die!
[Father Erik enters discreetly behind the crowd and listens]
Company –
This child must die! The child must die!
he will hunt us like an animal and we will all fall to his prey.
The child must die!
Father Erik – Good people!
[The town’s people divert their attention to Father Erik who is among the villagers.]
Father Erik – You should be ashamed of yourselves. All of you. Threatening a child. A
harmless, innocent child. This is not the way the lord would want us to behave!
Villager 3 – Father Erik! Is it not true that you are this things teacher!?
[The villagers look at Father Erik in shock, and start to exchange comments under their
breath.]
Father Erik – Of what concern is it to you if I am his teacher or not?
Villager 1 – It is a concern to ALL of us, father. To our women and our children. To every
villager amongst us, and I believe I speak for all.
Villager 2 – Is it true father?

Father Erik – [After a long pause] Yes…yes it is true.
[There is a large uproar amongst the villagers. Father Erik looks on in horror and then
flees the room]
Villager 1 – Well? What are we waiting for then!? Kill the monster!
Company – [yelling] Kill the monster!

[sings]This monster must die! This monster must die!
he will hunt us like an animal and we will all fall to his prey
This monster must die!
[They continues to yell as the lights fade out]
ACT 1 – SCENE 3
[Lights up on Mary, Father Erik’s wife and Emmanuelle are sitting on a sofa in
Emmanuelle’s house.]
Mary – Emmanuelle, I know it has been hard for you. I insist though, that you think about it.
Emmanuelle – There is nothing to think about, Mary. Everything that I had is gone. My life.
My family. My Arthur. I am all alone in this world.
Mary – You have your son, Erik.
Emmanuelle – He is the Devil’s son. NOT my son. I have NO son.
Mary – Emmanuelle, Arthur’s passing was neither yours nor Erik’s fault. You must
understand, he is just a child. He has done no harm.
Emmanuelle – When Arthur passed, I was left alone. I lost everything taking care of that child.
I gave it all up and for what? So I can raise a monster?
Mary – He is ALL you have in this world now, whether you accept it or not. He will always be
your son. You gave birth to him. The Lord taught us all to love and accept one another,
regardless of our flaws and our differences. Emmanuelle, you must learn to love him.
[SONG - “Learn To Love Him”]
Mary:
Nine years have passed and you must decide
How long will hate consume you inside?
I can’t believe the sound of his tears
fail to meet his beloved mother’s ears
Learn to love him

Should a child die alone?
Learn to love him
Is your heart still made of stone?
Learn to care…
That child needs a love that two can share…..
Learn to love him
He can’t go play with other boys his age

All he has is to suffer under your rage
How long will you keep laying the blame
and hide behind your shame?
Learn to love him

To dry his tears and have him smile at you
Learn to love him
To feel his arms around you
Learn to share….
A feeling of love and care.
Learn to love him
You can’t hide it, that child comes from you

You can’t fight it, that child yearns love from you
The angels cry from the clouds above
For a mother to deny a child her own love
Mary - Learn to love him
Emmanuelle - How can I learn to love him?
Mary - For he has done no wrong, Learn to love him
Emmanuelle - Will I ever learn to love him?
Mary - For he has yearned for love’s touch for so long, Learn to care…
Emmanuelle - Can I learn to care?
Mary - That child needs a love that two can share…..
Emmanuelle - Can I?
Mary & Emmanuelle - Learn to love him
Emmanuelle - Mary…..what have I done?
Mary - Tell him that you love him. It’s not too late to make it better.
Emmanuelle - You’re right. I will make things better.
[Enter Father Erik]

Father Erik- Emmanuelle! Mary, thank Goodness you are here. Where is Erik?
Emmanuelle - He is in his room, why? What is wrong, father?
Father Erik - I overheard the villagers talking at the town hall meeting. They are going to kill
Erik. We have to get him to safety!
Mary - Oh my word.
Emmanuelle - Erik! [Father Erik, Emmanuelle and Mary all run out of the room.]
[Lights shift to reveal Young Erik’s bedroom. A bare setting, with a wooden bed, chair and
table, with a lantern on it]
[Young Erik, wearing his mask is sitting on the floor of his bedroom, playing with his
musical box. Erik sings.]
[SONG – “The Musical Box/Erik Runs Away” ]
Young Erik - I can hear, the music in my mind. Growing near, to its notes my soul is bind.
Have I found, what my heart was looking for? The sweet sound, of music that I adore.
[Song continues to play as Young Erik plays with his musical box. Unseen by him, a
villager quietly sneaks into his room through the window. He draws a dagger and slowly
approaches Young Erik. He steps in front of the lantern, casting his shadow on the wall in
front of Young Erik. He raises the dagger just as Young Erik sees the villager’s shadow.
The villager brings down the dagger and Young Erik quickly rolls to the side. He gets up
and runs for the door, but the villager blocks his way. Young Erik picks up the chair and
knocks the knife out of villager’s hand. He throws the chair at the villager and runs to pick
up knife. Villager ducks the chair and as Young Erik picks up knife, the villager tackles
him and they both fall to the ground. After a brief pause, Young Erik pushes the villager
off of him and we see knife sticking out of the villager. Young Erik backs away in shock,
then picks up his musical box and escapes out the window.]
[Enter Father Erik, Emmanuelle and Mary]
Emmanuelle - Erik!? Erik!?
[Emmanuelle screams as she sees the villager’s body.]
Father Erik- Oh no, Erik…..
Mary - Where is he? What has happened to him? My goodness!
Father Erik – What has he done?
Emmanuelle - Erik!!!
[The three furiously search the room for him. He is nowhere to be found.]
Emmanuelle – Where did he go? [runs to the window] Erik!!
[In the distance the villagers can be heard.]
Mob - The child must die, the child must die!!
Father Erik - Quick, Emmanuelle! We must get you out of here! Mary, take her away from
here, I will handle the villagers.
Mary – Emmanuelle, we have to leave!
Emmanuelle - Wait, wait! What about my Erik? Erik!!
[She continues to scream for Erik as Father Erik and Mary push her out of the room]
[Lights fade out as the last ‘Erik!’ echoes]
ACT 1 - SCENE 4
[Lights up showing a back road behind carnival tents. On the upstage side of the tents are
posters advertising attractions along with performers walking back and forth. At Center
Stage, various steamer trunks and boxes are placed along with a large empty cage. Around
the boxes are a few performers talking, or taking a smoke break. Those performers finish
their break and return upstage. A roadie emerges, carrying a box marked ‘FOOD –
PERISHABLE’. He puts the box down with the others and leaves. Young Erik wanders
onstage with a bundle under his arm and sees the carnival. He slowly approaches the
boxes and starts searching them for food. Just as he opens the FOOD box, Montclair
Mifroid enters lighting a cigar. Then he sees Young Erik]
Montclair - Hey! Hey you! What are you doing here?
[Young Erik grabs his bundle and starts to run, but Montclair chases him and grabs him
by the collar]
Montclair - Well, well, well…..we got a thief have we? That’s one hell of a mask, I’ll tell ya.
Thought you could steal from me, huh? Do you know what the punishment is for stealing?
Take off your mask!
[Montclair goes and rips off the mask from Erik’s face and is shocked by what he sees.]
Montclair - Good Lord! What are you?!! What has happened to your face?
Young Erik - This IS my face. This is the way I was born.
Montclair - My GOD, look at that! It‘s as if the devil himself has bestowed his son upon me.
And I thought here that you were a thief. Ha!
Young Erik - I am sorry, sir. What is to be my punishment?
Montclair - Child! Do not speak so foolishly. We just had a misunderstanding, that’s all.
[He hands Young Erik back his mask and watches as Erik hastily puts it on.]
Montclair - So…….what are you doing back here anyway?
Young Erik - I was looking for some food, sir.
Montclair - Where are your parents? Have you got any?
Young Erik - No, sir. I have no parents. They are…..dead.
Montclair - Hmmm, interesting…..convenient…… [smiling] I am sorry we got off on the

wrong foot, boy. My name is Montclair Mifroid. I own this carnival. What is your name?
Young Erik - Erik, sir.
Montclair - Erik! Say Erik, I have a little proposition for you. How would you like to be a
performer here?
Young Erik - I…I……
Montclair – You’ll have a place to stay…..a place to sleep…foooooood to eat?
Young Erik – I……I should go….
Montclair - Hold on there for a second, boy. Before you say anything, think about the
opportunities that could await you. Why, with a little help from me, I could make you
FAMOUS!! You will have fans, you will get to see the world. And it is a pretty big world
Erik, let me tell you.
[SONG – “You‘ll Be Famous”]
Montclair –
My child, many a countless years
Have I waited for a face like yours to appear
Why with a face like yours my boy there is a chance
You’ll be the most famous act throughout all of France
And the entire world itself indeed.
And the world is a pretty big place don’t you agree?
You’ll be famous, you’ll be famous

You be as big as Napoleon the king
And what a profit you will bring
When you’re famous
You’ll be famous, you’ll be famous
When the crowd knows your name
Your life will never be the same
Montclair - So Erik, what do you think?
Young Erik - I…I don’t…..
Montclair – [interrupts] Hold that thought! Hold that thought! Let me tell you a little more,
about a life of fame and fortune.
My child, let me tell you all the more

About the things that lie in store
You’ll be the talk of the crowd
They’ll scream your name out loud
My child, let me tell you all the why

You shouldn’t let this opportunity pass you by
When your famous my friend
Countless money you’ll have to spend
And furthermore my child, let me tell you now

How I can make it all happen right now
Just sign this contract here
And you’ll be more than near
To being famous, to being famous
So what are you waiting for?

Sign right now, for this is the chance you’ve been dying for
To be famous, to be famous.
[Near the end of the song, unseen by Young Erik, Montclair guides him closer to the cage
and opens it]
Montclair - So, do we have a deal?
Young Erik – Yes, sir! When do we get started?
Montclair – How about now? [Throws Erik into cage and slams the door]
Young Erik – HEY! What are you doing? Let me out of here!
Montclair – [bursts out laughing] Do not worry, Erik. I am not going to hurt you. You are
going to make me RICH! You and that FACE of yours!
Young Erik – SOMEONE HELP ME!!
Montclair – Go on, shout all you want. No one is going to rescue you! You signed a contract,
so you are MINE now! [Laughs] I am going to be rich, rich, rich! [he continues to laugh
and disappears among the carnival tents]
Young Erik – LET ME OUT OF HERE!! PLEASE!! I BEG YOU!! HELP!!!
[Lights cross fade as Young Erik continues to scream. Old Erik enters and sadly looks on
as Young Erik starts to cry.]
[Lights fade on Young Erik as Old Erik speaks and slowly crosses the stage]
Old Erik – For nine, dreadful years I endured pain and torture. They treated me as a wild beast.
Caged me and displayed me as an attraction, for curious eyes to gaze upon. They all began to
truly fear me. They always looked, but they never managed to truly see, see the boy behind the
monster.
ACT 1 - SCENE 5
[He turns and exits and the lights shift focus back on the cage. During his speech the
steamer trunks and other boxes have been removed and a large drape now covers it. On
the drape are the words reading “The Living Corpse” Carnival goers enter from upstage
on both sides and surround the cage]
[Enter Montclair, now dressed in a shoddy ringmaster suit. He takes the front, getting the
audience’s attention].
Montclair - Messieurs et Mademoiselle, garcons et filles! The world is filled with wonders and
mysteries! Some of those mysteries remain unexplained, and untold. Such as a tale as I am
about to tell you now. The tale of the one we call, “The Living Corpse”.
[Montclair pulls the curtain off to reveal the now ADULT ERIK in the cage. His clothes are
torn and he is tied to the neck by a rope to the cage.]
[SONG - “The Living Corpse”]
Montclair –
Come my friends and you shall see
the most hideous thing there ought to be
Come, gather round and feast your eyes
On this devil that makes angel’s cry
The living corpse, the living corpse
[During the verse, Montclair reaches into the cage and knocks the mask off of Erik’s face,
revealing it to the audience.]
Montclair - Behold! A demon so repulsive that hell spat it back and denied its place
among fires and fiends for the atrociousness of its apparent face!
[The audience gasps and they begin to point and exchange comments between each other]
Yes my friends there is such a thing

as a plague which this creature brings
a deformity which infects its face
rejected by the feel of one’s embrace
The living corpse, the living corpse
But be weary of this beast you see

for its next victim may be you, even me
This creature is no mere man at all
but that of a creature which we call
The Living Corpse, The Living Corpse
[Montclair bows as the audience applauds and tosses money onto the ground and in the
cage.. Montclair then escorts the audience out, leaving Erik alone in the cage. Only a little
girl is left behind.]
[SONG - “You Are Not Alone (Reprise”]
Little Girl - Who’s is that face cowered in darkness? The one who shuns away from light?
Is it true what they all say? Are you a truly a monster…..or just a man?
Are you a beast? Or is it all lies? For I see nothing but the light in your eyes.
In your face I know there is no sin, for your true beauty lies within…..
[She looks at Erik, walking closer and closer to his cage and holds her hand out towards
him. Erik holds his hand out to her but the little girl’s mother comes in.]
Mother - Come child, Get away from that filthy monster! I won’t have you touching
something as horrid as THAT! Come along now.
[Exit Mother and Little Girl]
[Erik looks on hopelessly as the girl is led away. He then reaches and picks up a bundle
from the corner of the cage. He carefully unwraps it and holds up his musical box and
winds it. He gently weeps as the melody plays.]
st
[SONG – “Musical Box, 1 Reprise”]
Erik - Play for me, an angelic melody. Take me away, to music‘s sweet array. Let me hear,
the sweet sound of music in my ears, so I may, let my spirit drift away.
[Enter Montclair, counting his money]

Montclair - Ha ha ha, not bad not bad, Erik. You are quite an asset I might say. I told you that
you would be famous! [laughs] Now get up!
[Montclair cracks his whip at Erik, who runs into the corner of the cage holding his
musical box.]
Montclair- Hey! I said get over here!
[He hits Erik with his whip, who falls to the floor]
Montclair- That’ll teach ya to be disobedient! [He unties Erik’s rope and opens the cage. He
pulls Erik out] Now get out here and help me get all the money.
[Erik gets on his hands and knees and begins to pick up money]
Montclair – And do not even THINK about keeping any for yourself this time, unless you
want more of THIS. [Shakes the whip at Erik.]
[Erik continues to pick up money. Montclair drops the whip and also gets on his knees to
pick up money. While he is busy, Erik turns and sees the whip lying on the ground. He
looks at Montclair, who is still counting money. Erik slowly reaches for the whip and picks
it up]
Montclair – [kissing a coin] Ah, Erik, I was right, was I not? [sings]‘Oh, what a profit you’ll
bring’ [laughs]
[INSTRUMENTAL- “The Death Of Montclair”]
[Erik sneaks up from behind Montclair and strangles him with the whip. Montclair’s
screams are cut off as Erik strangles harder. Montclair finally goes limp and Erik removes
the rope from his neck and throws it at Montclair’s body, picks up his musical box and his
mask and runs away.]
[Enter Carnival worker 1 and 2]
Carnival Worker 2 –Montclair? Montclair? [sees Montclair’s body] Oh my god!
Carnival Worker 1 – [pointing to the open cage] The beast! The beast has escaped and killed
Montclair! [To Carnival Worker 2] Find the others and tell them what has happened. We will
find this beast and kill him!!
[Old Erik enters and watches Carnival workers 1 and 2 run offstage. He looks at
Montclair’s body with disdain and shakes his head. Lights change and focus on Old Erik
as he continues his story.]
Old Erik – I had killed another man and was once again an outcast. I ran for days, through
darkened woods without food or water. I was alone again. An animal. Hunted by man for the
death of another. I ran for days not knowing where I was, until I crossed paths with a traveling
gypsy troupe. At first they were afraid of me, but then they began be view me as someone
who had been enchanted by spirits, a subject they were VERY interested in. They decided to
take me under their wing and were the first people to show me kindness in a very long time.
They taught me how to fight and how to survive off the land. They also taught me the art of
music and dance, and eventually the art of magic and mysticism. I spent the next few years
performing with them and it wasn’t long before I had a magic act of my own. By the time I was
an adult, I had performed with them throughout all of the Middle East. I eventually became
famous for my tricks and magical performance. Little did I know that one day, my magical
tricks would catch the eye of someone who would end up to be a very large influence on my
life. The eye of the Mighty Shah of Persia.
[Blackout]
ACT 1 – SCENE 6
[Lights up on a Persian street market. There are multiple stalls with various goods and
shopkeepers trying to sell their wares. At center stage, a large cart has been turned into a
makeshift stage with poles, pulleys and bright curtains crudely sewn together. In front of
the stage is a group of gypsies playing music. On the stage, a belly dancer dances to the
music. A large man wows a group of people by swallowing a sword. A strong man flexes
his muscles to impress a group of young women, and a third man juggles and entices
people passing by to drop coins in a basket.]
[After a moment, the music ends, and all three performers take their bows. Then one of the
musicians gets up on the stage and raises his hands to quiet the crowd.
Head Gypsy - And now, good people, we shall conclude our show with another presentation
of magic. Only earlier today he wowed audiences with his ability to pull coins from a
donkey’s ear; to escape from within a locked chest; and he shocked us all by walking on a bed
of hot coals, without being burned. Now, good people, behold! As we present to you, Erik
the Enchanted, and his miraculous Escape from the Punjab Lasso!
[The gypsies and crowd members applaud. The bulk of the gypsies move away from the
stage and musicians start to play]
[INSTRUMENTAL – “Escape from the Punjab Lasso”]
[The strong man helps the belly dancer back into the cart. She gracefully takes down the
curtains, leaving bare poles, and gathers them in a heap at her feet and briefly dances on
them. Meanwhile, the juggler dances all around the cart and even under it, to show there
is nothing underneath. Then the strong man helps the belly dancer down and she and the
juggler grab tambourines from the musicians. They shake their tambourines in a mock
drum roll then stop.]
[After a brief moment, a large shape appears from beneath the heap of curtains. They rise
up higher and higher and the crowd ooo’s and ahh’s. Finally the juggler and belly dancer
grab the curtains and pull them down to reveal ERIK, dressed in colored robes, complete
with mask on his face. The crowd cheers and applauds]
Head Gypsy – And now….the PUNJAB LASSO!!!
[The juggler holds up the large Punjab lasso and walks around showing it to the audience.
Meanwhile the strong man helps the belly dancer onto the stage and she brandishes a pair
of shackles. She dramatically puts the shackles on Erik’s wrists and he pulls at them to
show the crowd they are real. The juggler returns to the stage and loops one end through
one of the pulleys at the top of one of the poles and tosses the rope to the strong man. The
belly dancer takes the noose and seductively places it around Erik’s neck and slowly
tightens it. The sword swallower places a crate with a long rope tied to it in the center of the
stage, and Erik stands on it. The strong man takes up the slack on the rope, and the sword
swallower does the same with his, while the juggler encourages men from the crowd to help
hold the ropes.]
[Everyone except Erik then gets off the stage. The juggler and belly dancer grab their
tambourines and stand by the stage. The sword swallower and crowd members take a
ready position with his rope (to the box Erik stands on) while the strong man and crowd
members get ready with their rope (the one around Erik’s neck).]
Head Gypsy – [to sword swallower] Ready?
Sword Swallower – Ready!
Head Gypsy – [to strong man] Ready?
Strong Man – Ready!
[The Head Gypsy waves to the juggler and belly dancer, who shake their tambourines in a
mock drum roll. He waves to another gypsy by the stage, who pulls a rope and raises the
curtains to obscure Erik from view. The Head Gypsy waves to the crowd and gets everyone
to count all together slowly and exaggeratedly.]
Everyone – ONE………….TWO………THREE!!!!!!
[The sword swallower and his group pull and the box flies out from stage. The strong man
grimaces and exaggeratedly tugs on his rope, along with his group. His rope shakes and
wild movement is seen behind the curtains. Suddenly the rope stop moving and the
curtains become still. The Head Gypsy looks worried and all the gypsies start to act
concerned. The Head Gypsy waves his hand and the curtains are lowered partially. Erik
hangs, supposedly dead, from the noose. His mask is off and everyone can see his
grotesque face. The belly dancer screams. The Head Gypsy waves frantically and the
curtains are raised again. All the gypsies start to panic and the crowd starts to act
concerned. Suddenly the rope flies out from behind the curtains and the strong man and
his group fall backward. The Head Gypsy goes and picks up the end of the rope to reveal
an empty pair of shackles tied to it. All the gypsies look at each other in surprise and the
Head Gypsy orders the curtains lowered. The curtains are lowered only to
reveal………..an empty stage. The crowd gasps in astonishment. Suddenly a robed figure
runs out from the crowd and stands in front of the stage. The juggler and sword
swallower reach up and pull off the robe to reveal Erik, with his mask back on, perfectly
unharmed. The crowd bursts into cheers and applause and the gypsy company takes their
final pose and bow]
[The crowd dissipates and slowly exits while the gypsies hold out baskets for coins. A
HOODED MAN steps away from the crowd and watches. A few people graciously put
coins in Erik’s basket, and he bows in gratitude. As they leave, he surreptitiously counts
the money as the Hooded Man walks up to him.]
Hooded Man – [beckoning] Excuse me, sir, may I have the attention of your ear for a moment?
Erik – [after taking a moment to look him up and down] Certainly, monsieur.
[He hands off his basket to one of the gypsies, who are in the process of taking down their
stage and packing things up. He and the Hooded Man walk off a short distance before
speaking]
Hooded Man – Your performance was most impressive. From what great master does one
learn such fascinating magic such as yours?
Erik – I had no such mentor to teach me. All you see is all that I have learned on my own over
the years. [indicating gypsies] With a little help from my friends.
Hooded Man – None the less, I must say I am impressed. What do you call yourself, stranger?
Erik – I have been known by many names. The gypsies call me, Erik the Enchanted.
Hooded Man – Then you must be quite famous, no?
Erik –. Well, I wouldn’t go as far as to say….
Hooded Man – [interrupting] Oh, no need to be modest. Many tribes of the Middle East are
familiar with the name Erik the Enchanted. Funny, there’s something about you that I can’t put
my finger on, but something about you is familiar. Are you sure I have not seen you
somewhere before?
Erik –It is possible, I have performed in many lands.
Hooded Man – Yes of course. However, what I meant is, it is that MASK you wear. I swear I
have seen it before, but worn by someone else.
Erik – Perhaps you mistake me for another masked man you know so well?
Hooded Man - It was worn by someone I once saw at a carnival many years ago, in France.
What was it? I remember it so well because it is not often one sees a mask like that….and the
face concealed behind it? Who could ever forget a face like that…..the face, of a “Living
Corpse”?
[Erik is frozen. He says nothing.]
Hooded Man – [laughs] Do not worry my friend. Your secret is safe with me.
Erik – What do you want of me?
Hooded Man - Well stranger, I presume you do not know who I am?
Erik – Your presumption is correct.
Hooded Man – I work for a great and powerful man. You have traveled all over Persia, no?
Then I assume you know of the great Naser al-din shah of Persia.
Erik – What man does not know of the great Shah of Persia?
Hooded Man – Then you will know that the Shah has a great eye for talents such as yours?
Erik – What use would the Shah have for my talents?
Hooded Man – Why don’t we go and meet the Shah, and you can ask him that of yourself?
Erik – As gracious as your request is, I cannot accept.
Hooded Man – It would be most foolish to not accept a request such as this.
Erik – I am afraid I have…..other obligations, I have to attend to.
[Erik turns and looks at the gypsies who are all packed. The Head Gypsy indicates that
they are waiting for him.]
Hooded Man – Oh….You mean the gypsies? Ah well…that is perfectly understandable.
Erik – Thank you for understanding. [turns to leave]
Hooded Man – You know there was ONE more thing about the Living Corpse that I just
remembered. I seem to recall that there was a story in a newspaper about how the carnival was
looking for him. See, apparently he had killed……murdered……one of their own. Even the
police joined the search but they never did find the killer. [pause] And your gypsy friends,
you all seem pretty close, almost like a family. So, I’m assuming then that you have told them?
[Erik says nothing]
Hooded Man – Ohhhh…..I see you HAVEN’T told them. [shrugs his shoulders]
Well…..here then lies a quandary.
[There is a long pause. Then Erik turns and waves to the Head Gypsy, indicating that he
won’t be going with them.]
Erik – Very well. I will accept your request.
[The Hooded Man leads him offstage as the lights go out.]

ACT 1 - SCENE 7
[Light up on the Shah’s throne room, which is filled with lots of ivory columns adorned
with gold statues. The room is filled with a variety of musicians, fan-bearers, guards
holding oversized spears, bearers holding trays of food, and costumed dancers. The Shah
sits on a giant golden throne watching dancers commence their celebrations.]
[SONG - “The Shah”]
Company –
Here on this day we celebrate, the coming of a new delegate
There is not one ruler far more grand, he is the greatest in all the land
He’s a man of the people who gives back to them often, A bearer of knowledge long since
forgotten
A man of the arts, in painting and photography, Yet a scholar at heart in history and
geography
Hail to the Shah! Praise to the Shah!

We sing and we feast and we dance in song
And pray that his honorable reign be strong
For many a day our love for him has grown,
Since his sudden rise to the Peacock Throne
All good people, pay attention, We honor a new king’s ascension

Behold the rising sun! For the rein of our new leader has begun!
A man well deserving the people’s adoration, Allah chose the best to take his father’s
station
Defender of the Realm, Upholder of the Law! Make way for the honorable Shah!

The time has come for our mighty land
The future of Persia is now close at hand
We give many thanks and may Allah hear our prayer
For this righteous leader to save us from our despair
He has promised all people, young and bold, To make Persia a safe place to grow old, To
seek out new horizons all during his rule, while fighting all things greedy, evil and cruel!
To be fair and kind, yet firm, Make the hardest man squirm
See all criminals’ burn, He the shah from which we will all LEARN!


The future of Persia is now close at hand
We give many thanks and may Allah hear our prayer


[The dancers and bearers move to the side as the Hooded Man enters, followed by Erik]
Hooded Man – His majesty, the mighty Naser al-din shah!
[The Hooded Man kneels in front of the Shah]
Hooded Man – Oh, great and powerful Shah! I have brought unto you a person of the utmost
importance! I have finally found the man you have sought.
Naser al-din shah –Who have you brought to me?
Hooded Man – Your majesty, I bring to you the man known as, ERIK THE ENCHANTED!
[Everyone in the palace including the shah. react in amazement]
[The Shah gets up from his throne and crosses down to Erik. He slowly walks around him
looking him up and down.]
Naser al-din shah – Are you truly the one they call, “Erik the Enchanted?
Erik – That is the name given to me by my gypsy companions, your highness. I am deeply
honored to grant you my presence.
Naser al-din shah – And I am honored by yours, my son. Long have I heard of your amazing
capabilities, that you are talented in fields of the mind as well as the arts. A musician, an
architect, a ventriloquist, a magician, the list goes on. And that your ability to escape from death
is due to skills that are, not of this world.
Erik – Some tales tend to be rather….…exaggerated.
Naser al-din shah – Hmm, something tells me they are more than mere ramblings heard from
the local street market. And is the other part true?
Erik – Other part?
Naser al-din shah – Well, one particular rumor, is that you made a deal with the devil himself.
And that in exchange for your mystical powers, he took…half of your face.
Erik – That is a falsehood, your majesty. I made no such deal.
Naser al-din shah – So then your face is not…hideously disfigured? It is not…deformed as if

cursed by the gods?
[Erik hesitates and says nothing.]
Naser al-din shah – I see...... [pause] Why don’t you remove your mask then, and show me?
[Erik doesn’t move. He is unsure of what to do.]
Naser al-din shah – Do not worry, it is not a command. However, if you so wish, I could
make it one.
[Erik still does nothing. The Shah calmly returns to his throne and sits]
Naser al-din shah – Please do not misunderstand me, I am not trying to make an enemy of you.
But rumor has it that your face, is not the face of a man, but of a monster. And before going
any further, I would very much like to know which one of them you happen to be.
[There is a quiet pause. Then very slowly, Erik reaches up and removes his mask.
Everyone in the room gasps, and some of the dancers collapse in faint. The Shah does not
visibly react, but after a moment he gestures.]
Naser al-din shah – Thank you, you may put it back on. [To the Hooded Man] For your
services, you shall be rewarded.
[He looks to his servant and nods at him. The servant goes to the Hooded Man and throws
him a small bag of gold coins.]
Hooded Man – We are most grateful, your majesty.
[The Hooded Man bows and leaves]
Naser al-din shah – [gesturing] Come closer, Erik. May I call you Erik?
[Erik takes a few steps closer]
Naser al-din shah – So, it is true then. You are indeed “The Living Corpse”
Erik – That part of my life is far behind me, your majesty. And I would prefer it to remain so.
Naser al-din shah – As you wish. However that is not the reason I had you brought here.
How would you like to join my staff of advisors, Erik? I could always use a man of your
talents and skills. You would live here in the palace and have anything your heart desires. Of
course you would serve me. But to serve me, is to receive glorious benefits. Food, Wine,
Women, Luxury beyond your wildest dreams. I could give you everything. I could make you
one of the most famous men in Persia, under me of course. What do you say Erik?
Erik – [slowly] It is very tempting, your majesty. It is almost too wonderful to resist.
Naser al-din shah – Yet I see you DO resist. May I ask why?
Erik – Well, your majesty. It is just I have had a rather…difficult past. I have had offers of
fame, fortune, and a better life before, and there are certain…mistakes I would rather not repeat.
Naser al-din shah – That is very wise of you to say. [takes a deep breath] Then let me offer
you something else. Something that most men would die for.
Erik – And what is that?
Naser al-din shah – Power. All your life you have been stared and laughed at. Taunted and
treated like an animal, with your head bowed and your eyes low. Join me and I shall have men
bowing to YOU. No longer will you be the one cowering in fear while others laugh at your
expense. Under me, you shall have men showering you with praise and women swooning and
both of them cheering YOUR name. Erik, you have no idea just how much your life is going
to change by joining me. So, what is your answer?
Erik – It would be most foolish to not accept.
Naser al-din shah - So then, we are agreed?
[Naser holds out his hand. After a moment, Erik shakes it and bows]
Erik - I am at your service.
Naser al-din shah - Excellent! [He claps his hands] Let the dancing and the festivities
commence. In honor of our guest, Erik! [Bearers and dancers run back on]
[SONG – “The Shah – Reprise”]
Company –
The nation of Persia is now close at hand
We give many thanks and prayer
Hail to the Shah!!!!
ACT 1 - SCENE 8
[Lights come up to show a workroom deep within the palace. It looks more like a dungeon
but in one corner there is a large architect’s drawing board with a design on it. Other
designs hang from the wall, others are crumpled in a heap on the floor. In another corner
a servant sweeps the floor. Off to the side are smaller magical devices in various stages of
development. In the center, Erik is building a large magic device and is making
adjustments. The Shah enters and takes a moment to look around before speaking]
Naser al-din shah – A museum of marvels in the midst of my palace. Such wonders you have
created over the last year, Erik. Your talents speak for themselves.
Erik – [bowing] Your majesty. You grace me with your honorable presence. How may I serve
thee?
Naser al-din shah – [walks over to a device in a corner] What do you call this contraption
here?
Erik – Something has caught your eye, your highness?
Naser al-din shah – Oh, a marvelous contraption it is. What does it do?
Erik – I just put the finishing touches on it yesterday. [Gesturing to various parts of the
device] I would enter this booth and proceed to be strapped to that back panel. On both sides
are these boards that are studded with long sharp spikes, controlled by this crank handle, here.
Once I am strapped to the back panel, an assistant turns the crank handle and would wind the
wheels to pull the spiked boards back. The assistant would set the brake, the curtain would be
drawn to conceal me from view, and then the brake released. The wheels would slowly turn
and bring the spiked boards closer and closer until they penetrate the booth. Any normal man
would be killed, but once the curtain is pulled back I would have disappeared and appeared
elsewhere.
Naser al-din shah – [laughing] Magnificent! Would you oblige me by giving me a

demonstration?
Erik – Of course, your majesty.
[Erik gestures to the servant, who crosses over to him as he enters the booth. The servant
straps Erik down and then crosses to the crank handle. He proceeds to wind the crank
handle and the spiked boards are drawn away from the booth. After the boards a drawn
back some distance, the servant sets the brake. He crosses and draws the curtain, fully
concealing Erik. Then the servant goes to the crank handle, take a nervous deep breath,
and then releases the break.]
[The Shah watches as the boards slowly move back towards the booth, every two feet a loud
click is heard. The boards finally penetrate the booth with a loud CLACK! The servant
frantically runs to the booth and pulls back the curtain. The booth is empty.]
[The Shah looks in amazement and Erik enters from behind him.]
Erik – I take it that his majesty is pleased with what he has seen?
[The Shah turns around rapidly, and seeing Erik, begins to laugh]
Naser al-din shah – Ha ha ha, whatever dark forces exist in this world, they surely have
granted you powers untold. This device is both marvelous and pestilent, and masterfully
crafted. [pause] I wonder, if I may, Erik, if I could….borrow…this very device?
Erik – For what purpose, your majesty?
Naser al-din shah – These are trial times. And in such a times as these, desperate measures
need to be taken. You understand?
Erik – The meaning of your words are filled with subtlety, your majesty.
Naser al-din shah – Erik, the world is filled with liars, thieves and criminals. In my time of
power I have seen to it that criminals such as these are put down for good. Recently I
discovered that a man who works for me has been devoting information to others who are out
to kill me. He is but a furtive chameleon who camouflages himself behind a fassad of lies.
Before I have him executed, I first need to know what he has been saying. However, he has
proven to be a most stubborn man, and my patience is tiring. Perhaps, your contraption will
help….persuade him in to sharing his information with me.
Erik – You intend to do harm to him?
Naser al-din shah – Not….necessarily. It will just…help convince him to talk.
Erik – Such a device could kill a man, your highness.
Naser al-din shah – But you could prevent it from doing so, couldn’t you?
Erik – [thinking out loud] Well, I suppose….I guess I could adjust one of the gears to make
the spikes move even slower,.….
Naser al-din shah – See? So it IS possible.
Erik – But the torture would only be the beginning. With the potential damage this could cause,
death would surely take them in the end.
Naser al-din shah – Then, perhaps he will talk. So he will not have to die.
[Erik looks slightly uncomfortable, and the Shah notices it]
Naser al-din shah – Do you think you could you use your device for such a purpose as this?
Could you….make more such as these? If I were to desire such things?
Erik – Your wish is my command, your highness. [pause] However, when it comes to
death…it is something I would prefer not to inflict upon people.
Naser al-din shah – But they are not just people, Erik, they are EVIL. Yes, they are men, but
they are men who lie, cheat, steal, and kill; all purposefully causing harm to the innocent.
Would you know what to do with such a man? If someone so full of hatred and evil were at
your mercy, do you know what you would do to him? [long pause] Have you ever killed a
man, Erik?
[Erik is silent and does not answer.]
Naser al-din shah – You do not need to answer for me to know. I can see it in your eyes. And
it is nothing to be ashamed of.
[Erik looks slightly surprised]
Naser al-din shah – My son, there are many times in life, when a man must draw on a deeper
part of him, in order to survive. A deeper part that most rarely see, but do not realize its true
power.
[SONG – “Stranger to Hate”]
Naser al-din shah –

Inside every powerful man, a plethora of emotion
A constant wrath of malefic notion
A motive anyone can demand
But one only a master can understand
And no one but me can and will

For there is no wish that I cannot fulfill
Take a look at the iniquity within

It’s not as bad as one would think
When you grasp the iniquity within
It can take you to the brink
As long as you control it and shun away your grief

It will give you strength beyond belief
I can see in your eyes that you are no stranger to hate

And that it has led you to a spiteful fate
And I can see you have lived your entire life
To diminish this heinous strife
You show great talent and skill

Like a hunter who hunts for the kill
And it always lives within you and keeps you alive inside
You can soar to new heights from what you learn from pain, anguish and pride
In every man is a side the world seldom sees

A dark ambition, that can infect you like a disease
Some men rarely let it see the light of day
But do not keep it at bay
For it drives us onward

It drives us upward
It keeps us thriving
Keeps us surviving
It keeps the fire within burning
And keeps the soul always yearning
For more…
Take a look at the iniquity within

And make it apart of you
When you grasp the iniquity within
There is nothing that you can’t do
Naser al-din shah – With your hands Erik, we will create wonders beyond your imagination.
And with your hands, we will destroy the foul wretchedness of criminals that infest this land.
Erik – My lord commands.
[Lights fade out]
ACT 1 – SCENE 9
[Lights up on the same dungeon, five years later. The walls are covered in cobwebs and
there’s a lot more dust. Some of the devices seen earlier are now shown as more complete,
while in a corner is a large pile of random pieces and junk. More designs are seen on the
walls and the pile of crumpled designs is now replaced by a large bin, overflowing with
discarded designs. Erik is seen center stage working on another device.]
[SONG – “Tricks and Traps”]
Erik –
Tricks and traps to daunt the soul
Amidst the fear I control
Deep in the heart of man
I have found the span
That binds the body and soul
And through these tricks and traps I’ve cut a hole
Inside their mind, inside their mind
Tricks and traps to feed the urge

Of impurities I cannot purge
Deep within my heart
A dark force has taken part
And so long as I am here
They will all live in fear
Of my tricks and traps, my tricks and traps
Tricks and traps I have made

Trap doors and pendulum blades
Master of a maligned trade
Butcher of the highest grade
Tricks and traps I’ve built within

The walls of my heinous sins
And with these blood stained hands
I have come to understand
That these acts I do convey
Cannot not be washed away
They will forever stay, forever stay
The heart is hard

The blood is cold
A face that’s scarred
From which the devil did mold
The monster he did create

Is what they knew I would become
There are no means to change fate
For these sins cannot be undone
[Erik stops working on his device and crosses to his drawing board. On a table next to it
sits his musical box. Erik gently winds it and the musical box starts to play a melody. Erik
gently holds it in his hands and is entranced by the melody.]
[Suddenly the moment is broken by a noise. Erik turns to see two guards bringing in a
prisoner. Erik nods, gives a last look at the musical box and then crosses over to a nasty
looking device that resembles something from the Spanish Inquisition. He beckons the
guards to bring the man forward. The guards drag the prisoner forward and the prisoner
begins to scream as he is put into the device. Eric activates the machine and the screams get
louder as the lights fade to black]
ACT 1 - SCENE 10
[Lights come up on the Shah’s private bedroom, where the Shah and his court assassin
Nabir are conversing]
Naser al-din shah - Nabir, do you know why I have called you here?
Nabir - I am as puzzled as one can be your majesty. How may I serve thee?
Naser al-din shah – For many countless nights I have become restless and tiresome. I feel a
sense of uneasiness overcoming me. I awake every night from nightmarish images of death.
Images I cannot erase from my mind.
Nabir – How may I be of service your majesty? What is the source of your discomfort and
would you like me to dispatch of him for you?
Naser al-din shah – I feel a great disturbance among us. It is Erik. After five years, I feel that
he now knows too much. The nightmares I feel are not only nightmares, but premonitions of
what is about to come. My death, by Erik’s hand. He has become too powerful, even so much
as to nearly surpassing me and I feel my control over him slipping. His very existence is but
poison now to my wellbeing. And therefore I have decided that Erik must not live. [pause]
Nabir, I want you to kill Erik. I want you to do this for me.
Nabir - Without question, your wish is my command, your highness.
Naser al-din shah - Nabir, do not let him get away. He must be killed. You must be
EXTREMELY cautious Nabir, he is not as human as you may think he is. Over the last five
years he has amassed a great deal of incredible skills and is NOT to be underestimated.
Nabir – Duly noted, your highness. You have my solemn vow that he will not leave this
palace alive.
Naser al-din shah - Good. And when you are done, see to it that his head is brought to me. So
I know he is dead, and that I may rest in peace.
Nabir - As you wish. [he exits]
ACT 1 – SCENE 11
[Back in his workroom, Erik continues to work on one of his trap devices. He pauses for a
moment and plays his musical box.]
[Nabir slowly creeps up from behind Erik with a blade in his hand. raises the knife high
but Erik quickly grabs Nabir before he can strike.]
Erik - Nabir!! To what do I owe this pleasure?
[Erik quickly disarms Nabir and throws him across the room. Nabir tries to run, but Erik
catches him and pins him into a corner]
Erik – Now what is the Shah’s chief assassin doing sneaking around MY workroom? And
furthermore, what is he doing sneaking up behind someone like ME?
Nabir - Erik….I…..
Erik - So, he has finally sent you to kill me has he?
[Nabir again tries to run, but Erik stops him and throws him back into the corner]
Nabir - No…..
Erik - Yes!! Yes Nabir!! But the one thing I cannot seem to figure out, maybe you can assist
me with this one... Why, after ALL these years, after letting me live in his palace, setting up
my workshop and indulging my every whim…why would he wish me dead? WHY, after
using me and my creations to eliminate his enemies and extract information to help HIM
increase his power…..WHY, after turning me into the man that I am now, would he NOW
decide to end my life? Would it be because I’ve now grown TOO powerful? Because I know
too much?
[Nabir frantically shakes his head ‘no’]
Erik –YES, Nabir. You cannot hide the truth. For I can see it through your eyes and deep
within your soul.
[As Erik speaks he casually pulls a lever on the wall. Nabir backs into the corner, a
Punjab Lasso drops from the ceiling, behind Nabir, who does not see it.]
Erik - There once were whispers that I received my powers from the devil himself. Well, let
me extend to you an invitation to hell, so that you may ask of it from himself!
[Erik grabs Nabir and loops the Punjab Lasso around his neck and tightens it. Nabir
struggles and Erik lets out a maniacal laugh]
[SONG – “Stranger to Hate – Reprise”]
Erik - Nabir you insolent fool, did you think that you would or could ever outsmart me?
Nabir best you be cautious or lest it be you who suffers from the hand of the angel of
death!
[Erik pulls the lever and the noose tightens and jerks Nabir up into the air. He lets out a
blood-curdling scream as he dangles]
Erik - So now we are betrayed! You will rue this day, for now the trap has been laid!
[The Shah runs into the room, followed by four palace guards. They see Nabir’s dead
body dangling in the air and gasp in horror. The Shah points an accusing finger at Erik]
Naser al-din Shah - Erik! What have you done?!!
Erik – What have I done? Only what YOU have taught me to do!
Naser al-din Shah - Guards!!! Seize that creature!!!
Erik - Seize me! If you can!
[The guards all rush at Erik, who wraps his cloak around him and vanishes in a puff of
smoke. The guards look around in confusion. Just then the candles in the room all begin
to flicker and Erik’s hysterical and insane laughter is heard from all sides of them. They
look around in confusion, desperately trying to find him.]
Naser al-din Shah - Where did he go?
Guard - I do not know, sir!

Naser al-din Shah - Find him!!
Erik – [voice] What is the matter your majesty? Afraid of what you’ve created?
Naser al-din Shah – I had NO part in turning you into THIS!
Erik – [voice] Do not deny, what your eyes can clearly see, your highness!
[As Erik sings, various shadowy figures appear throughout the room making the guards
and the Shah jump]
Erik -
Gaze into your soul, see the fear I’ve instilled
My powers have amassed beyond your will
See now as this room becomes your tomb
Alas now you send your men to their doom!!!
[The guards are backed into a corner and the Shah is up against a wall, looking around
frantically. A shadow of Erik appears behind the guards. The Shah points at the shadow
and the guards turn around.]
Naser al-din shah – There he is!!
Erik - [voice] Fall!!!!!! Ha ha ha ha ha!
[A trap door opens up and the guards are plummeted down the deep dark hole. Erik
continues to laugh hysterically as the Shah cowers in fear]
END OF ACT 1
[SONG – “Entr'acte”]
ACT 2 - SCENE 1
[Lights up on Old Erik’s bedroom in the present day. Raoul sits calmly at a nearby table
listening to Old Erik’s story. Old Erik faces his window looking outside, holding his
mask.]
Old Erik - All the time I was working for the Shah, I had become consumed by all the terrible
traps and torture devices I had created. Devices that were used to kill people. I had no soul, no
remorse for anyone or anything. And….all the hate had made me into what I had been feared
for all those years. A monster. After the incident with the Shah, I ran away as far as I could. I
didn’t know where to go. I only had the clothes on my back, some money, and my musical
box. So, I took all I had, and began the long journey back. Back to the one place I thought I
could be normal again. Home, to where I was born.
[Blackout]
ACT 2 - SCENE 2
[1871, Paris countryside]
[Lights shift to show Adult Erik approaching his family home, with a bag on his back. His
face wears the mask, but is covered by a cloak. Long abandoned, it stands covered in
cobwebs and snow. It was his home. Erik stops and looks forlornly at the house for a
moment, then wanders around aimlessly, as if looking for something.. A VILLAGER
enters and crosses the stage.]
Erik - Excuse me monsieur, does anyone occupy this house?
Villager - I Cannot say that anyone does. That house has been abandoned for 5 years now.
Ever since Madame Emmanuelle died. Are you from around here?
Erik - No……no I am not. [he sadly looks at the house]
Villager – [After a moment] Can I help you with something?
Erik - Where is Madame Emmanuelle now?
Villager - Cemetery. Down the road. The headstone with the angel and harp.
Erik - Thank you, monsieur. [Villager turns to leave] Oh, one more thing, monsieur. Madame
Emmanuelle. Do you know how she died?
Villager – No one really knows, but some say it had to do with the death of her son. Some say
she died of a broken heart.
Erik – I see. Thank you, monsieur.
[The Villager nods and exits. Erik looks again at the abandoned house.]
[SONG – “No One Would Remember”]
Erik –
Long since I remember last
The memories of my bitter past
No one would remember
[As he sings the scenery shifts from the abandoned house to a section of a cemetery. Erik
walks among the headstones and finally stops in front of his mother’s tombstone. Next to it
lies another headstone, this one reading his father’s name, Arthur]
Erik –
Who would remember well
This angel destined for hell?
No one would remember
[He reaches out and sadly but lovingly touches the headstones]
You were my mother, my friend

But if you could see me again
Could you ever remember?
The beast they feared me to be

Is all their eyes could see
They would see me as a whole
If only they looked deep into my soul
All I had ever longed for

Was to be heard and seen for
The man behind the monster
Yet no one would remember
Too long in dark, I have been distraught

Lingering far from the light I had sought
[Erik pauses, and then reaches into the bag and takes out his musical box, which starts to
play a tune]
Erik – [looking at his parents headstones] I swear to you this day, that my mind will forever
touch the hearts of mortal men and will reach ever far towards one’s embrace. There is nothing
that lies beyond my knowledge and inclusion, no art or trade that lies beyond the supremacy of
my skill, for which man can question. They will know, and they will finally see the man
behind the monster.
[Lights fade to black]
ACT 2 - SCENE 3
[A street in Paris France]
[Lights come up on the unfinished Paris Opera House. A weathered sign in front reads
“UNDER CONSTRUCTION” and above those words is a crudely painted, “STILL”. A
workman is trying to wipe off the STILL. In front of the building stand the owners,
Debienne and Poligny. They are once again suffering because of recurring construction
problems.]
[SONG = “The Paris Opera House”]
Debienne - 7 years working day and night
Poligny - 7 years building on this site
Debienne - 7 years and without progress
Poligny - 7 years still cleaning up this mess.
Debienne - What will become of all this? Surly, and not at all bliss
Poligny - Damnable! This whole projects gone, nothing but obscenely wrong!
Debienne & Poligny - All those years of splitting headaches, hasn’t got us anywhere
Debienne - Will we ever get a break?
Poligny - Not even a prayer, will repair
Debienne & Poligny - All the damage we have succumbed to, hard to believe that’s it’s come
to, this!!!
[Enter Construction Worker Pierre]
Pierre - Messieurs Debienne and Poligny?!!!
Debienne - What is it now!?
Poligny - More bad news I presume?
Pierre - Pardon me, messieurs, but the water level in the cellars of the opera house keep rising.
There’s nothing we can do and our pumps are not strong enough to facilitate and pump the
water out.
Debienne - Lord spare us all!
Poligny - There must be SOMETHING one of you fools can do!
Pierre - I’m sorry sir. [he exits]
Debienne – This cannot be happening, where is that architect? Gustav?! Gustav?!
[Gustav, an architect, comes running in. As the action continues, Erik wanders onstage,
clad in a wide brimmed hat and veil. He cannot help but be fixated with the grand
architecture of the Paris Opera House.]
Gustav – Yes, Messieurs?

Poligny – What is this nonsense about the pumps?
Gustav – I am sorry, messieurs, but I had no idea that the man I hired to lend me the pumps
would send an insufficient number of them.
Debierne - With all the money we have granted you, one would think you could get the job
done!
Poligny - How much longer until we can fix this matter?
Gustav - Monsieur’s, as it turns out, I have a contact that could get us exactly what we need.
Of course, this would require more franks.
Debierne - How much this time!?
Gustavo - I can arrange to have them here tomorrow for the price of……10,000 francs.
Debierne - [Sputtering] - TEN THOUSAND FRANCS!?
Poligny - This is absurd!
Gustav – Messieurs, I am sorry but surely you can understand my position. I cannot get the job
done without all necessary items.
Debierne - Oh of all the blasted….
Poligny - ALL RIGHT, Gustav, here is your money. The pumps better be in place by
tomorrow morning, understood?
Gustav - Of course messieurs, of course.
[Gustav exits while counting the money and snickering. Madame Giry enters right after he
exits]
Madame Giry – Messieurs, I wish to speak with the both of you. You may call me Madame
Giry. I am the ballet instructor whose school you promised exclusive patronage for the Palais
Garnier.
Debienne – [throwing up his hands] As if we didn’t have enough problems.
Poligny – Madame, please…
Madame Giry – How am I expected to make sure my girls are going to be ready for the
opening when we have not had a chance to practice inside?
Poligny – You see, Madame, we keep running into…difficulties. We just need you to be
patient…
Madame Giry – I have been patient for far too long messieurs. My ballet school is on the
verge of closing, and if you and Monsieur Debienne are unable to follow through with your
promises, then I will have to seek patronage elsewhere. Good day, monsieur’s.
[Exit Madame Giry]
Debienne & Poligny – Far too much stress on our part, and all because of this damn place.
If we had been more smart, we’d have torn it down, and sold the space.
Debienne - And now were running low on money.
Poligny - It’s nothing short of funny
Debienne - And to top it were all jaded
Poligny - this calamity has inflated
Debienne & Poligny- As before we have stated, we would have best been much more elated
had we just conjugated and just gone on and sold or traded the deeds to this place!
Debienne - We should have opened up a textile factory! Saved us the grief.
Poligny – I say… Who is that curious fellow wandering around over there?
Debienne - Is he from the bank?
Poligny - I do not think so.
Debienne - Excuse me? Monsieur?
Erik – Yes, Monsieur?
Debienne - May I ask, what in blazes you are doing here??
Erik - Forgive me, I was just admiring this remarkable architecture. This is the Palais Garnier,
is it not?
Debienne - Was the Palais Garnier. Soon be reduced to scrap if we don’t fix that damn flood!
Erik – Flood, Monsieur?
Debienne – Oh….. Dare I need to explain it again and strain my nerves even more?
Poligny - Not that it matters anymore, but beneath the opera house is a rather large series of
ancient catacombs. And in those catacombs, there is a flood that we cannot seem to dispose of.
We have neither the technology nor the man power to fix the matter. And our pumps are
proven to be useless. We just sent our architect to buy more pumps.
Erik - Pardon me Messieurs, but maybe I can be of some assistance?

Debienne - And just how do YOU think YOU can be of assistance to us in a crisis such as
this?
Poligny - Debienne, your nerves.
[Debienne pulls out a handkerchief and wipes his forehead, sighing.]
Erik - I think I may be able to help. The problem may not be in the number of pumps, but the
direction of the water flow. If the water flow can be properly directed, then the water can be
drained with less risk of flooding.
[Debienne and Poligny look at each other.]
Poligny – You, um, have experience in these matters?
Erik - I do have experience in architecture. I guess you can say I have been fascinated with this
elegant monument of the arts for some time now. When I heard of its construction, I came to
France to witness it for myself.
Debienne - Fascinated, HA!
Poligny – Debienne, please! What type of credentials or experience do you have?
Erik – Well…..I am mostly self-instructed.
Debienne - Self-instructed?!! I cannot believe this….
Poligny - You NEVER attended any universities?
Erik - I am afraid not, messieurs. But I do think I may be able to help.
[Debienne and Poligny exchange looks of confusion, and then quietly move off to the side
to confer]
Debienne & Poligny - Seems to us this strange encounter, could be the answer that we need.
Poligny - With his help indeed, we could very well succeed
Debienne - But who the hell is he?
Debienne & Poligny - All we know
Debienne - Is that this sudden stranger
Poligny - Could save us from this danger
Debienne - And well soon be back on top
Poligny – just as long as we don’t stop

Debienne & Poligny - and fall back down the ladder, so let’s no more of this chatter and
this bitter and this batter, let us finally fix this matter before it gets back out of control.
[They both turn and go back over to Erik]
Poligny - Ahem, monsieur…?
Erik - Erik, sir.
Poligny - Erik, yes…uhm, well I don't see why we cannot at least let you try to help. The
current architect has been spending way too much time and money, so we feel we can extend
you an invitation…
Debienne – A TEMPORARY invitation…
Poligny – …to work with him to get the work done.
Debienne - That is, IF you can manage it…
Poligny – …AND keep the cost down.
Erik - I will not disappoint you, monsieur’s.
Poligny - There is one thing I would like to ask you though, Erik. There is the question of the
uh….the uh…
[Poligny nervously indicates the veil that covers Erik’s face]
Erik - The veil?
Poligny - Yes. Yes. As you can understand if one takes on a complete stranger who covers his
face and not know anything about him, one has to ask questions. You understand?
Erik - I understand completely, monsieur. [pauses] There was a fire….five years ago. I lost
my home, and unfortunately half of my face as well. I now wear this veil because my
appearance now tends to cause…discomfort in others.
Debienne - What an unfortunate mishap.
Erik - It is in the past.
Poligny - Well, no sense in dwelling in the past anymore, right?! Ha ha. Now that we have Erik
here, we just might get out of this little slum, eh Debienne?
Debienne - I hope you are right. My nerves cannot take it anymore.
Poligny - So, we have a deal? Erik?

[He hold out his hand. Erik pauses for a moment, looking at Poligny’s hand. He
reminisces about Montclair, the carnival, and the Shah…All men that have offered their
hand only to betray them later. After an uncomfortable pause, Erik shakes Poligny’s hand
anyway, clearly trying to forget his past.]
Erik - I am…at your service.
Poligny – Excellent!
Debienne – You shall start working with Gustav, immediately!
[Gustav enters talking to a worker]
Debienne - Speaking of which…Gustav, come meet Erik.
Poligny - Erik, may we introduce to you, Gustav Boudreaux
[Gustav and Erik shake hands]
Gustav - Always a pleasure to meet a friend of Messieurs Debienne and Poligny. Are you to
invest as well?
Debienne- No, monsieur Poligny and I have hired him to help you fix the flood problem.
[Gustav drops Erik’s hand]
Gustav - Uhm, pardon, did you say you have “hired” him, messieurs?
Debienne - Well, we feel this, uh, gentleman could be of assistance to you, and we feel he
might actually help get this project completed.
Gustav - Uhm, Messieurs there is no need to bring on anyone else. I can assure you that I am
completely capable of finishing the Palais Garnier for Monsieur Charles Garnier. I just need a
little more time.
Poligny - Yes, yes, yes we know, but we feel that…um….
Erik - Erik, monsieur.
Poligny - Right, Erik. That Erik can help solve some of the problems that you have come
across.
Debienne - You should hear what he has to say about fixing the flood problem.
Gustav - Gentleman, I cannot believe you would give away my job to some unknown veiled
man.
Erik - Forgive me, monsieur. I was injured in a fire when I was young. I do not wish to hide
intentionally. I just do not wish to cause any uneasiness or discomfort.
Gustav - Messieurs, what will the investors say? I am sure they will want to meet this new
“architect”. After all I have done for you gentleman and for this project, you wish to just cast
me aside?
Debienne - He does have a point, Poligny.
Erik - Messieurs, it is clear Monsieur Gustav knows the opera populair better than anyone.
Rather than replace him, I would be honored to work at his side.
Poligny - What an splendid idea! Gustav could tend to any public or personal relations and Erik
can do…the rest.
Erik - When am I to start, messieurs?
Poligny - Immediately! Gustav, would you kindly give the 10,000 francs here?
Gustav - [reluctantly takes out the money] But monsieur’s, this money was to be for the
pumps.
Debienne - Yes, yes, but Erik here has an idea that would eradicate the entire flood without the
use of anymore pumps. [takes the money from Gustav and gives it to Erik.]
The opera populair is now in your hands, Erik.
Erik - Messieurs, this is too much. I have not done anything yet.
Poligny - Nonsense! We have complete faith that you will fix the matter at hand in a timely
manner. Of course, if all goes well there will be much more where that came from.
Erik - I shall not disappoint you, messieurs.
Poligny - Splendid!
Debienne & Poligny- What a way to start things anew, leave those troubled times behind.
Debienne - Soon we’ll have our first opera debut
Poligny - Only in a matter of time
Debienne & Poligny - How divine!
Debienne - It’s all so benign
Poligny - That we won’t have to break our spines
Debienne - Stressing over this architectural design
Poligny - So let’s crack open a bottle of wine

Debienne & Poligny - Cause we’ll soon be back in business, so let’s drink to success and
progress!
[They exit as lights fade to black]
ACT 2 - SCENE 4
[The inside of the opera populair. 7 years has past. The construction workers and Gustav
are busy building platforms for the stage.]
Construction Worker 1 - [To Construction Workers 2 and 3] - So word around the site is that
Gustav has it in for that mysterious masked man, Erik was his name?
Construction Worker 2 - [To Construction Workers 1 and 3] - The one who nearly got
Gustav sacked?
Construction Worker 3 - [To Construction Workers 1 and 2] - They say that NEVER shows
his face and that he is the genius behind this place.
Construction Worker 1 - [To Construction Workers 2 and 3] - I guess we should not worry,
we still get paid after all.
[All the construction workers laugh as Gustav and Pierre enter]
Gustav - I am sorry, but it is not my problem and furthermore I wish to not hear about it.
Pierre - But Monsieur, Erik has stated we cannot proceed without your decision about
entrances to the catacombs.
Gustav - For the past 7 years since Debienne and Poligny brought him on, all that fool has
been doing is drawing up maps and charts of those dammed catacombs. I could care less about
what he is doing down there and more about boarding up those entrances. After 14 years of
one disaster after another we are finally close to finishing construction and we cannot have the
patrons or the opera singers wandering off in those secret entrances and getting lost now, do
we?
Pierre - Yes, but Erik feels keeping some of the entrances open would….
Gustav - I have had it with this man and his precious catacombs. Where is that fool!? Probably
playing down there in that abysmal and disgusting dungeon. Pierre, find him.
Pierre - Monsieur, I would rather not go down there. It is dark and one could get lost. No one
goes down there but Erik.
[In an empty dressing room where only a large mirror rests against a wall, Erik cautiously
and secretively makes his way into the room, looking around to see if anybody has seen
him. He approaches the mirror and observes it. The mirror slowly opens up and Erik
enters through the mirror, down into his labyrinth below.]
[Deep inside the catacombs beneath the Paris Opera house, Erik rows a boat to his home
he has made.]
[SONG - “Down In This Labyrinth Below”]
Erik –
7 years, here in this lair I’ve built these walls
7 years, kept in secret from man’s eyes
In this place, I feel the dark’s warm embrace
I can sense it drawing near, it’s so clear
As dark cloud’s falling tears
7 years, in shadow I have lived my days

7 years, concealed in a shrouded haze
In my mind, my thoughts begin to unwind
And for once I have found, that sweet sound
Here underneath high ground
Down in these benighted halls

No one will find me
Free from the world that has confined me
To live in darkness
[He gets out of the boat and looks all around at his creation; a collection of old theater
furniture and props. Old curtains, sporting freshly sewn patches and strung between the
wall amidst giant mirrors, candelabras and chandeliers of all sizes.]
Down in this labyrinth below

Dammed as a monstrous sight
Banished from living amongst man in light
Forever for my days
[As he continues to sing, he pulls a large sheet off an extremely large and old pipe organ.]
Here in these darkened catacombs

I have made my home
With no one ever to know
The beast that lives below
Here my song will reign

In music’s sweet domain
And forever more
Will it soar
Down in this labyrinth below

Will I remain here
For no mortal man to fear
Forever eternally
[He crosses back to the boat and retrieves a bundle wrapped in cloth. He carries it over to a
table and clears it. He gently unwraps the bundle to reveal his musical box, which he
carefully places on the table. As it starts to play a musical tune he reaches out a hand and
carefully touches it as the lights fade to black]
ACT 2 - SCENE 5
[Lights up on the front of the Paris Opera house on opening night. A large banner is
stretched across the front of the building reading “GRAND OPENING” and a very wide
ribbon is stretched across the main doors. A well-dressed crowd is gathered around the
entrance.]
[INSTRUMENTAL - “The Opening Of The Paris Opera House”]
[Enter Debienne & Poligny, Carlotta, Piangi, and Madame Giry. The crowd starts to
applaud and cheer. Debienne holds up his hands]
Debienne - Ladies and gentleman! It has been a trying 14 years, but alas, we have finally we
have finished.
[The crowd cheers.]
Poligny - Feast your eyes ladies and gentleman on the Paris Opera Populair.
[The crowd cheers.]
Debienne - And may I introduce, our star diva who will be performing in our first opera here,
Madame Carlotta and her husband Ubaldo Piangi!
[The crowd cheers.]
Debienne - Madame? Would you have the honor?
Carlotta - Si! Si, Seniore’. Grazie.
[Debienne hands Carlotta a pair of scissors. In excitement she hurriedly cuts the ribbon.
The crowd cheers some more.]
Poligny - The Palais Garnier is now open!
[Carlotta, Piangi, Madame Giry and the crowd excitedly files into the opera house.
Debienne and Poligny move off to the side and wave to the crowd.]
Debienne - By the way, have you caught sight of Erik at all tonight?
Poligny - Haven’t seen him since we finished construction. It’s as he vanished without a trace.
Debienne - What a pity. I figured he would have anticipated seeing this just as much as we.
Poligny - Well, no matter. Let us go entertain our guests shall we?
[SONG - “The Paris Opera House - Reprise”]
Debienne & Poligny - Seems to us that strange encounter, was indeed the answer that we
did need.
Poligny - With his Erik’s help, we very did succeed
Debienne - But where the hell is he?
Debienne & Poligny - All we know
Debienne - Was that sudden stranger
Poligny - Saved us from this danger
Debienne - And now were back on top
Poligny – For as long as we don’t stop
Debienne & Poligny - and fall back down the ladder, so let’s no more of this chatter and
this bitter and this batter, let’s go in and flatter and smatter to all of our honorable guests.
Debienne - After you, monsieur.
[The two laugh as they make their way into the opera house, and the lights fade, but a
single spotlights rests on a heavily veiled Erik appearing on the roof, looking down at the
action below.]
[The stage revolves to reveal backstage of the inside of the opera house. Actors are running
around frantically trying to get ready. Stage hands are working to get things in order.
Enter Company, Carlotta, Piangi, Madame Giry, Debienne & Poligny. Erik watches
discreetly from the shadows up on the scaffolding as the action is happening.]
Carlotta - No! No! No! I refusa to go out a there! Look at me! I looka like a bull frog ina dis
stupid outafit! And thisa wig make a my head looka like a pineapple!
Debienne - Seniora, please!
Poligny - This is an important night for all of us, seniora.
Carlotta - Notta for me! Because I refusa to go out on stage unlessa you fix dis stupid outfit!
Poligny - Madame, the alterations made were necessary considering your….size.

Carlotta - I knew it! I was a too fat! That is why they make it a bigga. (Cries)
Debienne - (Whispering to Poligny) What do we do now!?
Poligny - (Whispering) - We grovel, now! Uh, prima donna bella diva!
Debienne - Devine goddess of music!
[Carlotta continues to sob while blowing her nose obnoxiously loud]
Poligny - Uhm, sweet angel of song!
Debienne - la equiseta bella bella principessa!
Piangi - You will have to do a lot better than that, seniors‘.
[As Debienne and Poligny continue desperately to appease Carlotta and Piangi humorously
snickering at their efforts, the lights shift to the other side of the stage to reveal Madame
Giry rounding up her dancers.]
[Enter Madame Giry and dancers.]
Madame Giry - I want all my girls lined up and ready for the first act. (She walks down the
line, inspecting her girls.) You! Stand up straight! Shoulders back and out! Chin up! (As she
is inspecting her girls, Meg Giry creeps her way to the end of the line without her mother
noticing.) Meg Giry! What are you doing here in line?
Meg Giry - I am ready to perform mother…in the opera.
Giry - Meg, you are only 12 years old. You are not ready yet! You still have much to learn.
Meg Giry - But mother…
Giry - But nothing.
Meg Giry - [Sad] It is because I am not pretty enough, is it? That is what all the other girls
have said to me.
[The girls all start to giggle and Madame Giry silences them by stomping her cane on the
ground.]
Giry - Enough! [To Meg] Meg, you are too young right now. You have a lot to learn before
you can dance with the other girls. But, after much practice, one day you will be ready. And
Meg, do not forget that your true beauty lies within.
Meg - Yes…..yes, mother.
Giry - Good. Now go back to your room. [Meg Exits] And as for the rest of you! Take your
positions, now! I want perfect posture from all of you!
ACT 2 - SCENE 6
[The lights follow Erik’s movement as the scenery shifts from the opera house to a foggy
back alley behind the building. After glancing over his shoulder, Erik puts his hands out
and starts touching the brick wall, trying to get to the secret passage that leads to his
underground lair.]
[Unseen by him, GUSTAV enters, and cautiously approaches Erik. Erik suddenly feels
that he is being watched, and turned around to face Gustav.]
Erik – Forgive me, sir. But is there a reason as to why you are following me?
Gustav - Where are we off to tonight, Erik?
Erik – Pardon me, monsieur?
Gustav - Off to your home?
Erik – [pausing] Yes…..
Gustav - And where IS home, Erik?
Erik – I’m sorry, monsieur, but you seem to have me at a disadvantage.
Gustav - Thought you were clever didn’t you?
[Erik finally realizes who it is.]
Erik - Monsieur Boudreaux…what is it I can do for you?
Gustav - I know everything, Erik. I know all about your little sanctuary underneath the opera
house. Your little home you’ve made for yourself. All those comings and goings. I’ve been
watching you. You thought no one would notice?
[Erik pauses. He knows he’s been caught.]
Erik – [quietly] What is it that you want?
Gustav - Oh I do not want anything. I just want to see the look on everyone’s face when they
see you for who you REALLY are. You see, I KNOW who you really are.
Erik - And what is it that I am, monsieur?
Gustav – I know that you are not who you say, that is for sure. A man who conceals his
identity and lives beneath an opera house….. I wonder how the police would feel about all of
this.
Erik - I’m afraid that I don’t understand. I have done no wrong towards you, monsieur.
Gustav - You stole my construction contract from me. I had plans for the opera populair, and
you, an unknown, came in and took it all from me! I wanted to be remembered for my hard
work and contribution to the opera popular, and I was robbed of it all!
Erik - Forgive me, monsieur. It was not my intention to rob you of anything.
Gustav - But you did. And now I am going to reveal you for the real man, or THING that you
are. A THIEF and a LIAR.
Erik - Monsieur, please…. I do not wish to quarrel with you.
Gustav - You know, I’ve always been a little curious, about that mask that you hide underneath
that veil.
Erik – [warning] Monsieur….
Gustav – You thought I could not see that mask, could you? Why don’t you show me that little
mask underneath your veil? Why don’t you show me just how much damage that fire
REALLY caused?
Erik - No.
Gustav - Well, I guess I will just have to take it off MYSELF then!!
[SONG - “This Monster Must Be Found”]
[Gustav lunges at Erik and they start wrestling with each other. In the struggle the veil is
pulled off. Erik tries to prevent Gustav from pulling off his mask. The struggle continues
and suddenly both men are thrown to the ground. Gustav gets on top of Erik and grabs the
mask. Erik puts his hands on the mask in a last attempt to keep it on. Finally Gustav’s
strength snaps the mask in half and he falls backward. He sits up for a moment, and looks
at the two pieces of the mask in his hands, then he looks up at Erik, gets a good look at his
face and he is horrified.]
Gustav – Good Lord… …what in God’s name are you?
Erik – The last thing that your eyes will ever see!!
[Erik jumps onto Gustav and starts to strangle him. Unseen by him a woman walks into
the alley. She sees Erik as Gustav falls dead, clutching one half of Erik’s mask in his
hands. As soon as the woman sees Erik’s face, she lets out a loud scream. Erik grabs the
mask from the dead Gustav and hastily looks for the other half. The woman screams
again, and Erik turns and disappears into smoke. Two police officers run onstage towards
the woman.]
Police Officer #1 - What is it? What has happened? [Police Officer #2 leans down to inspect
the Gustav’s body]
Woman - This man was murdered sir! Right before my very eyes!
Police Officer #2 – I know this man….his name is Gustav. This man has been murdered! [To
Woman] What man has done this!?
Woman - No! Not a man. It was no man, but a….a monster! With the death’s head sir, and
eyes that burn like the fires of hell!!!
Police Officer #1 - Which way did he go?
Woman – [pointing offstage] He…he went that way!
[Police officers look around and one of them finds the other half of the mask]
Police Officer #2 – Sir! Look what I have found!
Police Officer #1 – A mask?
Police Officer #2 – He must be using it to conceal himself.
Police Officer #1 – [to other police officer] Spread the word to everyone in the city to be on
the lookout for a masked man. Round up every officer you can, and anyone that can help. We
will find whoever has done this.
[They all exit as the lights shift to reveal more dark alleys. Erik runs among them, trying to
stay out of sight. He finally comes to the entrance to the catacombs. He takes one good last
look at the world above, then plunges into the bottom of the opera house.]
[The light shift again to reveal the mob, carrying torches, pitchforks and other weapons as
they furiously search for Erik.]
Company –
Let it be known from every city to every town
This monster must be found
We will seek out this monster who bears the death’s head
And not rest until he is dead
We’ll search from up on land to under ground

Beat and bruise him and make him pay
For the sins he has brought upon us today
[The mob continues to look for Erik as the street ‘rises’ into the air to reveal Erik below.]
ACT 2 - SCENE 7
[The lights change again to reveal Erik paddling his boat down the underground lake to
his home]
[SONG - “Cast Back Down”]
Erik –
Cast back down to this lightless refuge
Cast back down by the merciless world above
Cast back down to this infernal throne, that lies in this hellish lair of sin!
[Erik arrives at his home. He goes to his organ and pounds it furiously. The strange notes
echo throughout the darkened cavern.]
Erik –
A mother’s fear and hate, hath bread a child’s presage fate
A mask to which he is bound by regret, as a malicious threat
Forever scarred among the obscene, a wicked and unholy being

Creature of the darkened night, purged away from pale, illuminating light!
[He starts to play at the organ again, and the melody becomes disjointed and sour. He
eventually just pounds at the keys in anger before falling to his knees sobbing. His musical
box begins to play, and he looks up anxiously. In the middle of the melody, the musical box
suddenly stops. Erik gently coaxes it and it resumes playing.]
nd
[SONG – “Musical Box – 2 Reprise”]
Erik – Play for me, an angelic melody. Take me away, to music‘s sweet array. Let me hear,
the sweet sound of music in my ears, so I may, let my spirit drift away.
I can hear, the music in my mind. Growing near, to its notes my soul is bind. Have I found,
what my heart was looking for? The sweet sound, of music that I adore.
[SONG - “Forever In Shadow”]
Erik - Born into loneliness, shunned into emptiness

Plunged into darkness, by a world of hatefulness
Long have I dreamed of beauty, yet the world could not see
Past the ugliness, they only saw wickedness
I had longed for my song to be heard, reach out to the world with my words
They would not hear me, only to fear me
Cast into this darkened maze, to live out my final days

Alone in shadow, in this labyrinth below
And when I’m laid to rest, my death they will not protest
No one will bid farewell, to this angel destined for hell
Forever in shadow I will remain subdued

Forever will I live in darkened solitude
[The musical box starts to play again, and Erik hangs his head in sorrow as the lights shift
to the next scene]
ACT 2 - SCENE 8
[1897, Old Erik’s bedroom]
[Old Erik is now in bed, and Raoul sits in the same chair. There is a moment of silence
between the two. Finally Erik gets up out of bed and slowly goes to Raoul.]
Old Erik - On that day, I had become what everyone had always feared me to be. The one thing
I tried to not become in their eyes. I was…..a monster. And on that day, I stayed buried
underneath the Opera Populair. So that I could live my life in shadow, away from the cruelty of
man. I had begun working on my opera, “Don Juan Triumphant” at the time and since I could
not go out, I had to find some way of getting food and money. So I decided to become what
they had come to fear. I became the Opera Ghost. The stage hands, the chorus girls, the
managers, they all began to fear me. They gave me anything I desired.
[Lights fade on the bedroom]
ACT 2 - SCENE 9
[Lights shift from the previous scene to reveal Debienne’s and Poligny’s office within the
Opera house. It has been three months after the Opera’s first opening. Debienne and
Poligny are celebrating, with champagne.]
Debienne - Who would have thought Poligny? A Full house for three months straight! Not
ONE empty seat in the house!
Poligny - And not to mention, front page of “Le Croix”.
Debienne - Looks like business has paid off after all.
Poligny - I’ll say.
[They share a toast and drink. Poligny casually looks on his office desk and sees a letter.
He picks it up to read it.]
Poligny - Debienne? Did you notice this letter here?
Debienne - What letter?

Poligny – [holds it up] This letter.
Debienne - Well? What does it say? Ha! Maybe an invitation to Parliament?
Poligny - I don’t think so……O.G? What is that?
Debienne - O.G? I haven’t a clue. Well open it and see what it says.
Poligny - “Dear Messieurs Debienne and Poligny, Bravisimo to a successful three months of
sold out performances.”
Debienne - Ohhhh I knew it!
Poligny - Great beginnings for the Opera Populair. I am most pleased. I have great faith
knowing that my opera house is in your capable hands.
Debienne - Whose opera house?
Poligny - “As I am your faithful servant and obedient friend, “The Opera Ghost“, Postscript: I
expect…” [Poligny begins to read to himself.]
Debienne - What? What!? Expect what!?
Poligny - This is obviously some malicious attempt at a prank. Someone claiming to be a ghost
wants money from us.
Debienne - What?
Poligny - “The Opera Ghost.”
Debienne - Let me see that. [He takes the letter and skims it] Ha! What a funny sort of fellow.
Poligny - You don’t say.
Debienne – I say, you are not going to take this seriously, are you?
Poligny – Of course not. [tosses the letter aside] Let us have another toast.
[They raise their glasses to toast when the lights in the room begin to flicker on and off,
which startles the two. Suddenly the lights are dimmed and Erik’s voice is heard from all
around the room.]
Erik – [voice] Behold and fear me!
[Debienne and Poligny turn to each other in confusion.]
Debienne and Poligny – What the devil?
Poligny – Did you hear that??

Debierne – Who is there?
Erik - [voice] It is I! The Opera Ghost!
Debienne and Poligny – [disbelief]Opera Ghost?? [realization]Opera Ghost!!?
Erik - [voice] It appears as though my letter has not convinced you of my intentions messieurs.
Allow me to reiterate my words to you.
Debierne - Where is that coming from?
Poligny - I do not know. What is it that you want from us? Just what exactly are you?
[SONG - “The Opera Ghost”]
Erik – [voice]
I am not living nor dead
But a morbid spectre who bears the death’s head
A fiend that carries no name
Whose eyes burn with a fiery flame
The Opera Ghost, The Opera Ghost

But, messieurs heed these words of warning
There are certain things that I require

A sum of 20,000 francs per month to feed my desire
And all orchestrations must see to my approving
With some slight chances of improving
By The Opera Ghost, The Opera Ghost

And, furthermore messieurs
Should you choose not to obey

There will be a price to pay
And if you refuse to take heed messieurs
A disaster beyond your imagination will occur
From The Opera Ghost, The Opera Ghost.
Erik - [voice] I expect payment every month, messieurs. And one more demand for the opera
ghost. I wish to have Box Five left vacant for my use at all times. No exceptions. Until next
time, messieurs.
[The lights resume to normal. Debienne and Poligny are visibly shaken by this incident.
They are barely able to move.]
Debienne - Poligny…should we take this seriously?

Poligny - I’m afraid so. Whatever this person…err….thing is, we shant disobey it. Whatever it
requires we will give it what it wants. We must not tell a soul though.
[Enter Madame Giry]
Giry – Messieurs?
[The two shriek in horror.]
Debierne - Madame, please!
Poligny - Ever heard of knocking!?
Giry - Forgive me, Messieurs. I heard a loud voice echoing from this room. A strange voice.
Debienne - Should we tell her?
Poligny - Well, it appears now we have no choice. Madame, can you keep a secret?
Giry - Of course, monsieur.
Poligny - You must not tell a soul no matter the cause. Madame, there is a ghost among us.
Giry - A ghost, monsieur?
Debienne - “The Opera Ghost“.
Giry - I do not understand, monsieur.
Poligny - Some sort of spectre has inhabited the opera house and is threatening us if we do not
pay him 20,000 francs a month.
Debienne - And reserve Box Five for his use.
Giry - Monsieur’s…I do not know what to say. Is this really true?
Debienne – Of course it’s true. And you must not tell a soul! Lord knows this is the last thing
we need especially after a successful grand opening.
Poligny - You promise us, Madame?
Giry - Of course, monsieur’s.
Poligny - Good. Now, you may go back to your ballet lessons now, Madame.
Giry - Messieurs.
[Madame Giry’s exits the room and the lights follow her as she walks down a darkened
hallway. She suddenly stops looks all around as if something is watching her. Suddenly
Erik’s voice echoes from the shadows]
Erik – [voice] Forgive me, Madame Giry. But I must speak with you.
[Madame Giry lets out a cry and backs against the wall]
Giry – Who is there?
Erik – [voice] Forgive me, Madame. It was not my intent to frighten you, but I am afraid that I
tend to have that effect.
Giry – Who are you?
Erik – [voice] Who I am is not important. But you may refer to me…..as the Opera Ghost.
Giry - Opera Ghost…..
Erik – [voice] Yes….I have been watching you, Madame. For the last three months I have
watched you. And only recently have I come to realize who you really are.
Giry – Who I am?
[Erik slowly emerges from the shadows, but his face is shielded]
Erik - A carnival…a little girl…..a caged monster….would no one be merciful to this strange
being? No one. No one but a little girl who reached out to this poor creature. No one but her.
You were that little girl, Madame Giry. And I…..was that monster..[He lowers his cloak to
reveal his face covered now by only half a mask. There is a pause as Madame Giry looks at
Erik in horror. Then it turns into recognition]
[SONG – “No One Would Remember (Reprise)/Realm Of The Night”]
Giry - Long since I have seen that face

That only longed for love’s embrace
I do remember
Long since I remember well

That broken soul, a bodiless shell
I do remember
Erik/Giry - The beast they feared me to be/I saw you as a whole
Erik/Giry - Was all their eyes could see/For I looked deep into your soul
Erik/Giry - And now that you’ve seen me again/I was that child, you’re only friend
Erik/Giry - Could you ever remember?/I do remember.
Giry - Have you long since embraced the night? Have you since lingered from the light? In
your eyes now I see the light has long gone, and now from the world you are withdrawn.
Erik - In my realm of unending night, I have seen it’s true face. In my realm of the night,
long I have dwelled in its place.
When your eyes meet the moon, You can hear the nocturnal tune, and to its notes your
soul is drawn, in this realm of night have I found my song.
In my realm of forbidden light, I have seen all its grace. In my realm of the night, my open
arms feel it’s cold embrace.
You can hear the sound, of the benighted call all around, as the wind begins to string
along, here in this realm of night I have found my song.
Giry - Have you known only sorrow and pain? What has man done to earn your disdain?
Under that tainted mask, all I see, is a man whose longed to be….
[As Madame Giry gets closer to Erik, he quickly turns around and hold his cape up in
front of him, shielding his face from Madame Giry’s far reaching hand]
Giry - So, it is you.
Erik - From a little girl, you have grown to be a fine woman, Madame Giry.
Giry – That was so very long ago. They say you had escaped….What has brought you here?
Erik - The hate and fear of man has brought me here. To live in seclusion forever. For no one
could ever understand. Except for you.
[He pauses a few feet from Madame Giry. She stares at him and he looks at her in silence.
She finally musters up the courage to raise a hand and reach towards his mask, but Erik
flinches back]
Giry - That mask…I remember that mask, and the face behind it.
Erik - The face of a monster.
Giry - The face of a man.
Erik - The man that you remember so well died long ago. Nothing more now than a ghost. A
memory.
Giry - And what now? What becomes of the ghost now?
Erik - My home lies here now. Beneath the opera house. In shadow and in eternal darkness.
Where no man can peer into the eyes of this evil, where I may live out my days alone in
solitude. Now that I have revealed myself to you, can this poor, lonesome soul confide unto
you this secret, to keep it forever hidden?
[Madame Giry nods. A tear falls down her cheek. Erik reach out as if to wipe it, but then
brings his hand back.]
Erik - Where ever you may be, I will be among you in shadow. Behind every wall and every
curtain, and forever there inside your mind.
[There is a puff of smoke. When the smoke clears, Madame Giry realizes she is alone. She
looks around and then sighs sadly. She then looks up at the shadows]
Giry - Then I will see you soon again, Opera Ghost.
ACT 2 - SCENE 10
[Back in Old Erik’s bedroom. Erik is now back in bed, and Raoul now sits closer to him.
Miriam stands by the door.]
Old Erik - They believed me to be a ghost, and so a ghost I was. They would soon bestow
upon me a name. They called me, “The Phantom Of The Opera”. After that, there was no more
Erik. That name had died, along with the child whom he once was. [long pause] Have you
now heard what you wanted to hear?
Raoul – Yes, I have…. [pause] But, why murder all those people? Buquet? Ubaldo?
Old Erik - Christine…..I wanted Christine. I knew she could never love me. So I killed to get
what I wanted. In the end though, I did not get what I wanted. On that day when she left, I
knew I would always be alone. [pause] You must forgive me monsieur, I grow tired and
weary. The years have not been kind to me.
Raoul - There is another reason why I have come here today.
Old Erik - What other reason would Raoul Vicomte De Chagny have for coming to my home,
other than to ask questions?
[Raoul opens up his handbag to reveal Erik’s musical box. Raoul puts it on his desk. It
begins to play a sweet melody.]
Old Erik - My, my musical box. I thought after all these years, it had been lost.
Raoul - I purchased it, at the auction at the opera house. I promised Christine I would bring it to
you.
[Old Erik slowly gets out of bed and makes his way over to the desk. He places his hands
on either side of the box and closes his eyes]
Old Erik - I remember, when I first heard this melody. It was the day I first heard the music in
my mind.
[SONG – “I Remember”]
Old Erik –
That sound which I first heard long ago,
Till now I had not remembered it so
I thought you to be lost, yet you return,
To ignite the fires in me that had once burned
Was it so long since we did last see,
When all that was the world was you and me?
[The lights and sets shift, leaving Old Erik alone onstage with his musical box]
On that fateful the day when I heard that sound

My heart was lifted from the ground
While all the world saw me in disgrace
The music stayed blind to my deformed face
We sought out love, only to find hate.

Met with fear, and met with blame.
We Tried to build, tried to create,
Only to have people curse our name.
Many men promised, many men lied

Many men challenged, many men tried
All filled with greed, lust for power and pride
And in the very end, so many men died.
We accepted this face, accepted this blame,

Accepted this curse, accepted this shame…
Accepted the monster that we became
[The musical box suddenly starts to play its melody, which catches the attention Erik. He
watches it play for a moment]
And….yet…only one thing, helped keep…us…sane.
Those melodic tones….

that touched my soul
And took us far away....

Would that they stay…
And last forever…
Nothing ever lasts forever…
[The musical box continues to play its melody. Old Erik then looks at the half of the mask
in his hand, then at the musical box.]
A woman’s love I was denied,

And on that day your music died
Yet here you are again,
Now we are reunited my old friend
And music’s voice I can here once more,
And now my soul may once again soar
[The lights and set shifts again, and Old Erik’s bedroom appears, with Raoul still looking
on. Erik glances again at the half of the mask, then casually lets it fall from hand. Then
he grasps the musical with both hands and then sings]
In music’s wondrous grace,

So here now it is to be, the phantom’s final resting place
[Carefully taking the musical box, Old Erik staggers back to the bed. He manages to climb
in and lets out a long, tired breath as he lies down, holding the musical box on his lap.]
Raoul - Shall I leave you, now?
[SONG – “The Phantom Laid To Rest”]
Erik - Before I die, Raoul…..Miriam……my love.
Miriam - Yes? Erik?
[Miriam, with the aid of Raoul, goes towards Erik and holds his hand.]
Erik - For all these years, I never had the strength to tell you the truth. And I hope that you can
forgive me.
Miriam - Of course, my love.
Erik - Miriam….despite my love for Christine……I want you to know….that I never…

stopped…loving….you……Raoul?
Raoul - Yes, Erik? Shall I leave you?
Erik – [taking another deep breath] Yes, Raoul….go……go tell the world what you have
heard here today…….tell them about the child…..the ghost……the phantom……tell them
about the life of the monster they had feared for so long…..go Raoul, go and tell my story….so
that….they will understand…the man…behind…the…mask…. Now Raoul……I may
finally…….die……in…..peace. [He lets out a long final breath as the life passes from him]
Raoul – [after a moment] Erik? Miriam, could you please call upon a doctor right away?
Miriam -Of course.
[Miriam hurriedly exits. Raoul walks up to Erik, and places a hand on his neck, and lightly
grasps a wrist. He then bows his head in sorry, now knowing that Erik, the once famed
“Phantom Of The Opera” has died. Raoul turns to leave, but suddenly stops. He reaches
into a pocket and takes out a ring. The same ring Erik had given to Christine so many
years ago. Raoul returns to the bed and puts it on Erik’s finger.]
Raoul – You once gave this ring to Christine as a symbol of your love. She would have
wanted you to have this as well.
[Raoul reaches up and closes Erik’s eyes.]
Raoul - Goodnight……Angel of Music.
[He turns to leave, but when he reaches the door he stops and looks at the half of the mask
lying on the floor. He carefully picks it up and places it on the table. Then he exits as the
lights fade to black].
EPILOGUE
[Lights come up to reveal the phantom’s lair. The year is 1881, Adult Erik is sitting at his
organ, wearing his half mask. He is furiously playing strange notes while taking short
pauses to write down notes for “Don Juan Triumphant”. He is suddenly halted by the
sound of a woman singing. The sound is coming from up above him. He is quickly
mesmerized by the voice. He follows it closely. ]
[SONG – “Whose is that Voice?”]
Erik - Whose’ is that voice high above me? Whose is that voice that I hear? Whose is that
voice that sounds like an angel? Angel……
[The lights follow him and the scene shifts to show a young Christine Daae, now only 16,
kneeling down and praying in a dressing room.]
[SONG – “Here With Me”]
Christine
As I sleep, your voice I hear
Your soul is always, always near
Through the laughter, and the tears

You were there for all the years
And though as I lay awake

This heart of mine begins to ache
This empty hole in my heart may never mend
Till once more I may touch your face again
As your body now lays to rest

Your soul is still here with me
I know in time we’ll meet again
But until then
I can only dream
In my dreams you’re so far away

But as I sleep, your song still plays
Through the many darkened days

Your light has kept the dark at bay
You once were the one I could hold

When the nights were dim and cold
Now as I reach for your embrace
I feel nothing in my arms but an empty space
The love you did give

Gave me the strength to live
How can I live now, without you?
As your body now lays to rest

Your soul is still here with me
I know in time we’ll meet again
But until then
I can only dream
Dream….
Dream….
Christine - Dear father, it is I, Christine.
[Erik appears from behind the mirror in the room. His eyes are fixated on her. He listens to
her sweet voice.]
Erik - Christine……
Christine - Father, when I was a little girl, before you died, you said you would send the angel
of music to me. Well, it has been 8 years father, and the angel of music has not appeared to me.
Erik - Christine…..Christine.
[This time, Christine hears Erik’s voice calling her name. It frightens her.]
Christine - Who is there?
Erik - Do not be frightened my child. Do not be afraid. I will not harm you.
Christine – What…..what do you want?
Erik - Trust me, my child. Give to me your voice and I shall give you the gift of music.
Christine - Who….who are you?

Erik – I…..I am your angel……your angel of music.
[INSTRUMENTAL – “(I Am Your) Angel of Music/Finale”]
[Christine finally glances towards the mirror as she follows his voice. She then slowly
extends a hand towards the mirror. And Erik reaches out from the other side and reaches
out towards Christine. Both fingers touch the mirror as if touching each other. Lights
fade to black]
THE END

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Angel of Music - The Untold Musical Prequel To "The Phantom of The Opera"

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The Untold Musical Prequel To, “The Phantom Of The Opera”

A New Musical Written By:

Based on Characters from: The Phantom Of The Opera

“The Story of A Boy, Who Became A Phantom”

Arthur – Erik’s father, dies soon after Erik’s birth

Mary – A nurse and friend to Father Erik.

Montclair Mifroid – Circus owner. Slimy and manipulative.

Naser al-din Shah – Ruler of Persia. Proud, cunning and deceptive.

Nabir – The Shah’s chief assassin

Hooded Man – Mysterious man who works for the Shah

Madame Giry – Lead chorus instructor

Miriam – Erik’s blind wife, after the Paris Opera incident.

Christine Daae – Erik’s love interest, seen at age 16

Ubaldo Piangi and Carlotta – Opera singers

Meg Giry - Madame Giry’s daughter.

Pierre and Gustav– Construction workers

Carnival Workers #1 and #2

Villagers (Head Villager, Villager #1 and #2

Carnival performers and workers

Palace dancers, guards and servants

Mob of angry civilians

1. A Mask/Overture - Old Erik, Raoul

[1897, the outskirts of Paris, France]

Old Erik – A man? What is his name?

Miriam – It is the Vicomte De Chagny himself.

Old Erik – Raoul….

Miriam – Do you know him?

Miriam – Yes…yes of course. Right away.

Old Erik – Thank you.

Miriam – The Vicomte De Chagny, Erik.

Old Erik – Thank you dearest.

Miriam – Yes, of course love.

Raoul – She is a beautiful woman, Erik. A beautiful, blind woman.

Raoul - How did you meet a blind woman such as herself?

Old Erik – How long ago?

Raoul – Just last spring.

Old Erik – Why did she send you to find me?

Raoul – [pause] I need…..I need to know…

Raoul – As I loved her…

[Miriam crosses and takes his hand]

[SONG – “Prologue/A Mask”]

From the moment he was born,

[It is night, the year is 1841]

[Emmanuelle nods but continues to scream to scream in pain.]

Father Erik – Nurse, will she be all right? The child?

[Emmanuelle pushes, screaming loudly. The sound of a baby crying is heard.]

Nurse – Miss Emmanuelle, congratulations it’s a…

Nurse – Oh….oh my goodness.

Father Erik – What? What is it? What is wrong?!

Emmanuelle - What is it? What has happened?

Nurse – The child, it….I’ve never seen anything like it.

[Arthur sees the child and draws back in horror.]

Arthur – Oh my god…my god!

Emmanuelle – Someone tell me what is wrong with my child!

Nurse – The child it…it is deformed.

Emmanuelle – Take it away, I can’t bear to look at it!

Father Erik – But Emmanuelle, it is just a child. YOUR child.