The Phantom of the Opera movie - Don Juan lyrics

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<br>

(The set of the final scene of "Don Juan TRIUMPHANT" A huge hall with an arch. <br>

Behind the arch, which has curtains, is a bed. <br>

A fine table, laid for two. PASSARINO, DON JUAN'S servant, <br>

is directing the STAFF as they make the room ready. <br>

They are a crowd of sixteenth century ruffians and hoydens, <br>

proud of their master's reputation as a libertine)<br>

<br>

CHORUS<br>

<br>

Here the sire may serve the dam,<br>

here the master takes his meat!<br>

Here the sacrificial lamb<br>

utters one despairing bleat!<br>

<br>

CARLOTTA AND CHORUS<br>

<br>

Poor young maiden! For the thrill<br>

on your tongue of stolen sweets<br>

you will have to pay the bill -<br>

tangled in the winding sheets!<br>

<br>

Serve the meal and serve the maid!<br>

Serve the master so that, when<br>

tables, plans and maids are laid,<br>

Don Juan triumphs once again!<br>

<br>

(SIGNOR PIANGI, as Don Juan, emerges from behind the arch. <br>

MEG, a gypsy dancer pirouettes coquettishly for him.<br>

He throws her a purse. She catches it and leaves)<br>

<br>

DON JUAN<br>

<br>

Passarino, faithful friend,<br>

once again recite the plan.<br>

<br>

PASSARINO<br>

<br>

Your young guest believes I'm you -<br>

I, the master, you, the man.<br>

<br>

DON JUAN<br>

<br>

When you met you wore my cloak,<br>

with my scarf you hid your face.<br>

She believes she dines with me,<br>

in her master's borrowed place!<br>

Furtively, we'll scoff and quaff,<br>

stealing what, in truth, is mine.<br>

When it's late and modesty<br>

starts to mellow, with the wine . . .<br>

<br>

PASSARINO<br>

<br>

You come home! I use your voice -<br>

slam the door like crack of doom!<br>

<br>

DON JUAN<br>

<br>

I shall say: "come - hide with me!<br>

Where, oh, where? Of course - my room!"<br>

<br>

PASSARINO<br>

<br>

Poor thing hasn't got a chance!<br>

<br>

DON JUAN<br>

<br>

Here's my hat, my cloak and sword.<br>

Conquest is assured,<br>

if I do not forget myself and laugh . . .<br>

<br>

(DON JUAN puts on PASSARINO's cloak <br>

and goes into the curtained alcove where the bed awaits. <br>

Although we do not yet know it, the Punjab Lasso has done its work, <br>

and SIGNOR PIANGI is no more. <br>

When next we see DON JUAN, it will be the PHANTOM.<br>

Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)<br>

<br>

AMINTA (CHRISTINE - offstage, entering)<br>

<br>

". . . no thoughts<br>

within her head,<br>

but thoughts of joy!<br>

No dreams<br>

within her heart<br>

but dreams of love!"<br>

<br>

PASSARINO (onstage)<br>

<br>

Master?<br>

<br>

DON JUAN (PHANTOM - behind the curtain)<br>

<br>

Passarino - go away!<br>

For the trap is set and waits for its prey . . .<br>

<br>

(PASSARINO leaves. CHRISTINE (AMINTA) enters. <br>

She takes off her cloak and sits down. Looks about her. No one. <br>

She starts on an apple. <br>

The PHANTOM, disguised as DON JUAN pretending to be PASSARINO, <br>

emerges. <br>

He now wears PASSARINO's robe, the cowl of which hides his face. <br>

His first words startle her)<br>

<br>

DON JUAN (PHANTOM)<br>

<br>

You have come here<br>

in pursuit of<br>

your deepest urge,<br>

in pursuit of<br>

that wish,<br>

which till now<br>

has been silent,<br>

silent . . .<br>

<br>

I have brought you,<br>

that our passions<br>

may fuse and merge -<br>

in your mind<br>

you've already<br>

succumbed to me<br>

dropped all defences<br>

completely succumbed to me -<br>

now you are here with me:<br>

no second thoughts,<br>

you've decided,<br>

decided . . .<br>

<br>

Past the point<br>

of no return -<br>

no backward glances:<br>

the games we've played<br>

till now are at<br>

an end . . .<br>

Past all thought<br>

of "if" or "when" -<br>

no use resisting:<br>

abandon thought,<br>

and let the dream<br>

descend . . .<br>

<br>

What raging fire<br>

shall flood the soul?<br>

What rich desire<br>

unlocks its door?<br>

What sweet seduction<br>

lies before<br>

us . . .?<br>

<br>

Past the point<br>

of no return,<br>

the final threshold -<br>

what warm,<br>

unspoken secrets<br>

will we learn?<br>

Beyond the point<br>

of no return . . .<br>

<br>

AMINTA (CHRISTINE)<br>

<br>

You have brought me<br>

to that moment<br>

where words run dry,<br>

to that moment<br>

where speech<br>

disappears<br>

into silence,<br>

silence . . .<br>

<br>

I have come here,<br>

hardly knowing<br>

the reason why . . .<br>

In my mind,<br>

I've already<br>

imagined our<br>

bodies entwining<br>

defenceless and silent -<br>

and now I am<br>

here with you:<br>

no second thoughts,<br>

<br>

<br>

I've decided,<br>

decided . . .<br>

<br>

Past the point<br>

of no return -<br>

no going back now:<br>

our passion-play<br>

has now, at last,<br>

begun . . .<br>

Past all thought<br>

of right or wrong -<br>

one final question:<br>

how long should we<br>

two wait, before<br>

we're one . . .?<br>

<br>

When will the blood<br>

begin to race<br>

the sleeping bud<br>

burst into bloom?<br>

When will the flames,<br>

at last, consume<br>

us . . .?<br>

<br>

BOTH<br>

<br>

Past the point<br>

of no return<br>

the final threshold -<br>

the bridge<br>

is crossed, so stand<br>

and watch it burn . . .<br>

We've passed the point<br>

of no return . . .<br>

<br>

(By now the audience and the POLICE have realised <br>

that SIGNOR PIANGI is dead behind the curtain, <br>

and it is the PHANTOM who sings in his place. <br>

CHRISTINE knows it too. As final confirmation, the PHANTOM sings)<br>

<br>

PHANTOM<br>

<br>

Say you'll share with<br>

me one<br>

love, one lifetime . . .<br>

Lead me, save me<br>

from my solitude . . .<br>

<br>

(He takes from his finger a ring and holds it out to her. <br>

Slowly she takes it and puts it on her finger.)<br>

<br>

Say you want me<br>

with you,<br>

here beside you . . .<br>

Anywhere you go<br>

let me go too -<br>

Christine<br>

that's all I ask of . . .<br>

<br>

(We never reach the word 'you', <br>

for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience. <br>

As the FORCES OF LAW close in on the horrifying skull, <br>

the PHANTOM sweeps his cloak around her and vanishes.<br>

<br>

MEG pulls the curtain upstage, revealing PIANGI'S body garotted, <br>

propped against the bed, his head gruesomely tilted to one side. <br>

She screams.)<br>

<br>

TRANSFORMATION TO:<br>

<br>

REVERSE VIEW OF THE STAGE<br>

(POLICE, STAGEHANDS, etc. rush onto the stage in confusion. <br>

Also: ANDRE, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG)<br>

<br>

CARLOTTA<br>

<br>

What is it? What has happened? Ubaldo!<br>

<br>

ANDRE<br>

<br>

Oh, my God . . . my God . . .<br>

<br>

FIRMIN<br>

<br>

We're ruined, Andre - ruined!<br>

<br>

GIRY (to RAOUL)<br>

<br>

Monsieur le Vicomte! Come with me!<br>

<br>

CARLOTTA (rushing over to PIANGI's body)<br>

<br>

Oh, my darling, my darling . . . who has done<br>

this ...?<br>

<br>

(Hysterical, attacking ANDRE)<br>

<br>

You! Why did you let this happen?<br>

<br>

(She breaks down, as PIANGI's body is carried off on a stretcher)<br>

<br>

GIRY<br>

<br>

Monsieur le Vicomte, I know where they are.<br>

<br>

RAOUL<br>

<br>

But can I trust you?<br>

<br>

GIRY<br>

<br>

You must. But remember: your hand at the level of<br>

your eyes!<br>

<br>

RAOUL<br>

<br>

But why . . .?<br>

<br>

GIRY<br>

<br>

Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.<br>

<br>

MEG (holding up her hand)<br>

<br>

Like this, monsieur. I'll come with you.<br>

<br>

GIRY<br>

<br>

No, Meg! No, you stay here!<br>

<br>

(To RAOUL)<br>

<br>

Come with me, monsieur. Hurry, or we shall be too<br>

late . . .<br>

<br>

<br>