DON JUAN (PHANTOM - behind the curtain)
Passarino - go away!
For the trap is set and waits for its prey . . .
(PASSARINO leaves. CHRISTINE (AMINTA) enters. She
takes off her cloak and sits down. Looks about her. No-
one. She starts on an apple. The PHANTOM, disguised as
DON JUAN pretending to
be PASSARINO, emerges. He now wears PASSARINO's
robe, the cowl of which hides his face. His first words
startle her)
DON JUAN (PHANTOM)
You have come here
in pursuit of
your deepest urge,
in pursuit of
that wish,
which till now
has been silent,
silent . . .
I have brought you,
that our passions
may fuse and merge -
in your mind
you've already
succumbed to me
dropped all defences
completely succumbed to me -
now you are here with me:
no second thoughts,
you've decided,
decided . . .
Past the point
of no return -
no backward glances:
the games we've played
till now are at
an end . . .
Past all thought
of "if" or "when" -
no use resisting:
abandon thought,
and let the dream
descend . . .
What raging fire
shall flood the soul?
What rich desire
unlocks its door?
What sweet seduction
lies before
us . . .?
Past the point
of no return,
the final threshold -
what warm,
unspoken secrets
will we learn?
Beyond the point
of no return . . .
AMINTA (CHRISTINE)
You have brought me
to that moment
where words run dry,
to that moment
where speech
disappears
into silence,
silence . . .
I have come here,
hardly knowing
the reason why . . .
In my mind,
I've already
imagined our
bodies entwining
defenceless and silent -
and now I am
here with you:
no second thoughts,
I've decided,
decided . . .
Past the point
of no return -
no going back now:
our passion-play
has now, at last,
begun . . .
Past all thought
of right or wrong -
one final question:
how long should we
two wait, before
we're one . . .?
When will the blood
begin to race
the sleeping bud
burst into bloom?
When will the flames,
at last, consume
us . . .?
BOTH
Past the point
of no return
the final threshold -
the bridge
is crossed, so stand
and watch it burn . . .
We've passed the point
of no return . . .
(By now the audience and the POLICE have realised
that SIGNOR PIANGI is dead behind the curtain, and it is
the PHANTOM who sings in his place. CHRISTINE
knows it too. As final confirmation, the PHANTOM
sings):
PHANTOM
Say you'll share with
me one
love, one lifetime . . .
Lead me, save me
from my solitude . . .
(He takes from his finger a ring and holds it out to her.
Slowly she takes it and puts it on her finger.)
Say you want me
with you,
here beside you . . .
Anywhere you go
let me go too -
Christine
that's all I ask of . . .
(We never reach the word 'you', for CHRISTINE quite
calmly reveals the PHANTOM'S face to the audience. As
the FORCES OF LAW close in on the horrifying skull,
the PHANTOM sweeps his cloak around her and
vanishes.
MEG pulls the curtain upstage, revealing PIANGI'S
body garotted, propped against the bed, his head
gruesomely tilted to one side. She screams.)
TRANSFORMATION TO:
REVERSE VIEW OF THE STAGE
(POLICE, STAGEHANDS, etc. rush onto the stage in
confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY,
CARLOTTA and MEG)
CARLOTTA
What is it? What has happened? Ubaldo!
ANDRE
Oh, my God . . . my God . . .
FIRMIN
We're ruined, Andre - ruined!
GIRY (to RAOUL)
Monsieur le Vicomte! Come with me!
CARLOTTA (rushing over to PIANGI's body)
Oh, my darling, my darling . . . who has done
this ...?
(hysterical, attacking ANDRE)
You! Why did you let this happen?
(She breaks down, as PIANGI's body is carried off on a
stretcher)
GIRY
Monsieur le Vicomte, I know where they are.
RAOUL
But can I trust you?
GIRY
You must. But remember: your hand at the level of
your eyes!
RAOUL
But why . . .?
GIRY
Why? The Punjab lasso, monsieur. First Buquet.
Now Piangi.
MEG (holding up her hand)
Like this, monsieur. I'll come with you.
GIRY
No, Meg! No, you stay here!
(to RAOUL)
Come with me, monsieur. Hurry, or we shall be too
late . . .
(The set of the final scene of 'Don Juan TRIUMPHANT' A huge hall with an arch. Behind the arch, which has curtains, is a bed. A fine table, laid for two. PASSARINO, DON JUAN'S servant, is directing the STAFF as they make the room ready. They are a crowd of sixteenth century ruffians and hoydens, proud of their master's reputation as a libertine)
CHORUS
Here the sire may serve the dam,
here the master takes his meat!
Here the sacrificial lamb
utters one despairing bleat!
CARLOTTA AND CHORUS
Poor young maiden! For the thrill
on your tongue of stolen sweets
you will have to pay the bill -
tangled in the winding sheets!
Serve the meal and serve the maid!
Serve the master so that, when
tables, plans and maids are laid,
Don Juan triumphs once again!
(SIGNOR PIANGI, as Don Juan, emerges from behind the arch. MEG, a gypsy dancer pirouettes coquettishly for him.He throws her a purse. She catches it and leaves)
DON JUAN
Passarino, faithful friend,
once again recite the plan.
PASSARINO
Your young guest believes I'm you -
I, the master, you, the man.
DON JUAN
When you met you wore my cloak,
with my scarf you hid your face.
She believes she dines with me,
in her master's borrowed place!
Furtively, we'll scoff and quaff,
stealing what, in truth, is mine.
When it's late and modesty
starts to mellow, with the wine . . .
PASSARINO
You come home! I use your voice -
slam the door like crack of doom!
DON JUAN
I shall say: 'come - hide with me!
Where, oh, where? Of course - my room!'
PASSARINO
Poor thing hasn't got a chance!
DON JUAN
Here's my hat, my cloak and sword.
Conquest is assured,
if I do not forget myself and laugh . . .
(DON JUAN puts on PASSARINO's cloak and goes into the curtained alcove where the bed awaits. Although we do not yet know it, the Punjab Lasso has done its work, and SIGNOR PIANGI is no more. When next we see DON JUAN, it will be the PHANTOM. Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)
AMINTA (CHRISTINE - offstage, entering)
'. . . no thoughts
within her head,
but thoughts of joy!
No dreams
within her heart
but dreams of love!'
PASSARINO (onstage)
Master?
DON JUAN (PHANTOM - behind the curtain)
Passarino - go away!
For the trap is set and waits for its prey . . .
(PASSARINO leaves. CHRISTINE (AMINTA) enters. She takes off her cloak and sits down. Looks about her. No one. She starts on an apple. The PHANTOM, disguised as DON JUAN pretending to be PASSARINO, emerges. He now wears PASSARINO's robe, the cowl of which hides his face. His first words startle her)
DON JUAN (PHANTOM)
You have come here
in pursuit of
your deepest urge,
in pursuit of
that wish,
which till now
has been silent,
silent . . .
I have brought you,
that our passions
may fuse and merge -
in your mind
you've already
succumbed to me
dropped all defences
completely succumbed to me -
now you are here with me:
no second thoughts,
you've decided,
decided . . .
Past the point
of no return -
no backward glances:
the games we've played
till now are at
an end . . .
Past all thought
of 'if' or 'when' -
no use resisting:
abandon thought,
and let the dream
descend . . .
What raging fire
shall flood the soul?
What rich desire
unlocks its door?
What sweet seduction
lies before
us . . .?
Past the point
of no return,
the final threshold -
what warm,
unspoken secrets
will we learn?
Beyond the point
of no return . . .
AMINTA (CHRISTINE)
You have brought me
to that moment
where words run dry,
to that moment
where speech
disappears
into silence,
silence . . .
I have come here,
hardly knowing
the reason why . . .
In my mind,
I've already
imagined our
bodies entwining
defenceless and silent -
and now I am
here with you:
no second thoughts,
I've decided,
decided . . .
Past the point
of no return -
no going back now:
our passion-play
has now, at last,
begun . . .
Past all thought
of right or wrong -
one final question:
how long should we
two wait, before
we're one . . .?
When will the blood
begin to race
the sleeping bud
burst into bloom?
When will the flames,
at last, consume
us . . .?
BOTH
Past the point
of no return
the final threshold -
the bridge
is crossed, so stand
and watch it burn . . .
We've passed the point
of no return . . .
(By now the audience and the POLICE have realised that SIGNOR PIANGI is dead behind the curtain, and it is the PHANTOM who sings in his place. CHRISTINE knows it too. As final confirmation, the PHANTOM sings)
PHANTOM
Say you'll share with
me one
love, one lifetime . . .
Lead me, save me
from my solitude . . .
(He takes from his finger a ring and holds it out to her. Slowly she takes it and puts it on her finger.)
Say you want me
with you,
here beside you . . .
Anywhere you go
let me go too -
Christine
that's all I ask of . . .
(We never reach the word 'you', for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience. As the FORCES OF LAW close in on the horrifying skull, the PHANTOM sweeps his cloak around her and vanishes.
MEG pulls the curtain upstage, revealing PIANGI'S body garotted, propped against the bed, his head gruesomely tilted to one side. She screams.)
TRANSFORMATION TO:
REVERSE VIEW OF THE STAGE
(POLICE, STAGEHANDS, etc. rush onto the stage in confusion. Also: ANDRE, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG)
CARLOTTA
What is it? What has happened? Ubaldo!
ANDRE
Oh, my God . . . my God . . .
FIRMIN
We're ruined, Andre - ruined!
GIRY (to RAOUL)
Monsieur le Vicomte! Come with me!
CARLOTTA (rushing over to PIANGI's body)
Oh, my darling, my darling . . . who has done
this ...?
(Hysterical, attacking ANDRE)
You! Why did you let this happen?
(She breaks down, as PIANGI's body is carried off on a stretcher)
GIRY
Monsieur le Vicomte, I know where they are.
RAOUL
But can I trust you?
GIRY
You must. But remember: your hand at the level of
your eyes!
RAOUL
But why . . .?
GIRY
Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.
MEG (holding up her hand)
Like this, monsieur. I'll come with you.
GIRY
No, Meg! No, you stay here!
(To RAOUL)
Come with me, monsieur. Hurry, or we shall be too
late . .
Chamillionaire
They see me rollin';
They hatin'.
Patrollin'
And tryin. to catch me ridin. dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
My music so loud;
I'm swangin'.
They hopin'
That they gon' catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin'
Tryin' to catch me ridin' dirty.
Police think they can see me lean;
I'm tint so it ain't easy to be seen.
For me to see me ride by, they can see the glean
And my shine on the deck and the TV screen.
Ride with a new chick, she like "Hold up."
Next to the Playstation controller
There's a full clip in my pistola;
Turn a jacker into a coma.
Girl, you ain't know, I'm crazy like Krayzie Bone;
Just tryin' to bone, ain't tryin' to have no babies.
Ride clean as hell so I pull in ladies.
Law's on patrol; you know they hate me.
Music turned all the way up and to the maximum;
I can speak for some niggas tryin' to jack for some.
But we packin' somethin' that we have
And, um, will have a nigga locked up in the maximum
Security cell. I'm grippin' oak.
Music loud and I'm tippin' slow.
Twins steady twistin' like hit this dough;
Pull up from behind and it's in his throat.
Windows down, gotta stop pollution.
CDs change; niggas like "Who is that producin'?"
This the Play-N-Skillz when we out and cruisin'
Got warrants in every city except Houston
But I still ain't losin'.
They see me rollin';
They hatin'.
Patrollin'
And tryin. to catch me ridin. dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
My music so loud;
I'm swangin'.
They hopin'
That they gon' catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
I been drinkin' and smokin'; holdin' shit
'Cause a brother can't focus.
I gotta get to home 'fore the po-po's scope
This big ol Excursion
Swervin',
All up in the curve, man.
Nigga been sippin' on that Hennessey
And the gin again
Is in again;
We in the wind.
Doin' a hundred while I come from the block
And rollin another one up;
We livin' like we ain't givin' a fuck.
I got a revolver in my right hand;
40 oz on my lap, freezing my balls
Roll a nigga tree, green leaves and all.
Comin' up pretty deep, me and my do-jo.
I gotta get to backstreets;
Wanted by the six-pounds
And I got heat.
Glock glock shots to the block;
We creep-creep. Pop-pop.
Hope cops don't see me;
On a low key.
With no regard for the law,
We dodge 'em like fuck-'em-all.
But I won't get caught up
And brought up
On charges for none of y'all.
Keep a gun in car
And a blunt to spark,
But, well, if you want,
Nigga,poppin'y
Ready or not, we gon' bust shots off in the air
Krayzie Bone and Chamillionaire
They see me rollin';
They hatin'.
Patrollin'
And tryin. to catch me ridin. dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
My music so loud;
I'm swangin'.
They hopin'
That they gon' catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Do what you thinkin' so,
I tried to let you go.
Turn on my blinker light
And then I swang it slow.
And they upset for sure
'Cause they think they know
That they catchin me with plenty of the drinkin' drough.
So they get behind me,
Tryin' to check my tags.
Look at my rearview and they smilin',
Thinkin' they'll catch me on the wrong; keep tryin'
'Cause they denyin' it's racial profilin'.
Houston, TX, you can check my tags;
Pull me over, try to check my slab.
Glove compartment, gotta get my cash
'Cause the crooked cops'll try to come up fast.
And bein' the baller that I am, I talk to them,
Givin' a damn 'bout not feeling my attitude.
When they realize I ain't even ridin' dirty
Bet you'll be leavin' with an even madder mood.
I'ma laugh at you
And then I have to cruise.
You're a number two
On some old DJ Screw.
You can't arrest me plus you can't sue.
This a message to the law; tells 'em "We hate you."
I can't be touched and tell 'em that they shoulda known.
Tippin' down; I'm sittin' crooked on my chrome.
Bookin' my phone; findin' a chick I wanna bone.
Like they couldn't stop me I'mma bout to pull up at your home
And it's on.
They see me rollin';
They hatin'.
Patrollin'
And tryin. to catch me ridin. dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
My music so loud;
I'm swangin'.
They hopin'
That they gon' catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
They see me rollin';
They hatin'.
Patrollin'
And tryin. to catch me ridin. dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
My music so loud;
I'm swangin'.
They hopin'
That they gon' catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Tryin' to catch me ridin' dirty.
Night-time Sharpens,
heightens each sensation
Darkness stirs and
wakes imagination
Slowly the senses
abandon thier defenses...
Slowly, gently
night unfurls its splendour...
Grasp it, sense it--
tremulous and tender...
Turn your face away
from the garish light of day,
turn your thoughts away
from cold, unfeeling light--
and listen to the music of the night...
Close your eyes
and surrender to your
Darkest dreams!
Purge you thoughts
of the life you knew before!
Close your eyes,
let you spirit
start to soar!
And you'll
live as you've never
lived...
...before ...
Softly, deftly,
music shall surround you ...
Feel it, hear it,
closing in around you ...
Open up your mind,
let your fantasies unwind,
in this darkness which
you know you cannot fight -
the darkness of the music of the night ...
Let your mind start a journey
through a strange new world!
Leave all thoughts
of the world you knew before!
Let your soul take you where you
long to be !
Only then can you belong to me ...
Floating, falling, sweet intoxication!
Touch me, trust me savour each sensation!
Let the dream begin,
let your darker side give in
to the power of the music that I write -
the power of the music of the night ...
You alone can make my song take flight -
help me make the music of the night . . .
The Phantom Of The Opera
he is a genius whos rapturous music fills the opera populaire of 1870 paris- and a solitary soul hiding his disfigurment behind a mask and dewelling in the catacombs below.but he can no longer hide his love for young saprano christine.and the phantom may emerge from the shadows past the point of no return.
the stage musical sensation magiclly and hauntingly comes to the screen in director Joel Schumacher's lavish production sweeping audiences aloft to new cinematic heights of sight-sound grandeur.Gerar