After the spectacle in her father's grave, Christine is awakened to a new possibility in her life.

Disclaimer: The Phantom of the Opera does not belong to me. The book was written by a certain Gaston Leroux and the musical was made by someone named Andrew Lloyd Webber. All other songs featured here were also made by the latter.

No more memories

No more silent tears

No more gazing across the wasted years

Help me say goodbye.

Back from the cemetery, in her quarters at the Opera House, Christine mulled over the realization she had from her little excursion.

(Sung to the tune of "Learn to Be Lonely")

I should've learned long ago

To embrace my sorrow

Learn to be lonely

And maybe I'll gain my independence

Forget these fantasies

Focus on reality

Learn to be lonely

Plow on ahead

This time I'll take stead

Of my own life

Free from the dark

…

No one to help me now

Oh God, I need to grow!

Christine had no clear plans yet for her future. Should she decide to leave the Opera House, where would she go? However, there was one thing firmly planted in her mind now. She would not participate in "Don Juan Triumphant" just so that the Phantom would be baited.

The young maiden called Raoul, Madam Giry and Meg to inform them of her decision. Raoul tried once more to reason with her but she was adamant in her decision. "Why, Christine?" Raoul asked, on the verge of losing his temper. "Surely you are not picking him over me?" Christine's eyes flashed in defiance. "So it has come to this," she declared.

(In a room with Madam Giry, Meg and Raoul, Christine is at first addressing the two Giry's. The Phantom is lurking somewhere.)

Christine Decides

(sung to the tune of "Don't Cry for Me, Argentina")

Why is it I must choose

Between Raoul or him?

There should be another option—this!

My mind is made up

I choose Christine.

(Christine faces the audience.)

I long for freedom

Not just from ghosts

(She looks at a point above the audience, presumably where the Phantom is.)

But from friends who mean well

(She looks back at Raoul and Madam Giry.)

Who still think of me as a child.

Now I've decided to go say goodbye.

(Meg begins to sob.)

Don't cry for me dear Meg Giry

(Christine moves to comfort her friend, then addresses the trio.)

Though yes I've decided to leave you.

I'm tired of wild days

This mad existence.

I'll break my promise

(She takes of her engagement ring to Raoul and hands it back to him.)

And keep my distance.

(Meg implores her friend to stay, singing to her these words to the tune of "Angel of Music".)

Christine, dear friend, stop this hiding

Where in the world would you go?

Don't leave us, please, I am begging.

The Opera needs you now!

(The Phantom starts calling Christine.)

I am your Angel of Music!

Come to me Angel of Music!

The Phantom's voice rang throughout the room, rooting everyone to the spot. Christine took a deep breath and painfully, she broke herself free from his spell. She couldn't love both him and Raoul in the way they wanted her to. One was her Angel, and the other her childhood friend. Going beyond those lines made her life hell.

(sung to the tune of Don't Cry for me Argentina, continued from previous lines)

Have I not made myself clear?

I choose neither Raoul nor you.

And if you are truly listening,

You will hear,

That every word is true.

The Phantom was taken aback and—what was this?—was he slightly afraid of his Angel's newfound boldness? "Christine, Christine, why?" he asked, while Raoul begged, for the last time, "Christine, Christine, don't think that I don't care."

(Christine continues Raoul's tune, that of "Prima Donna")

I know you care (to Raoul)

But you don't know (to Raoul and the Phantom)

What I feel now

Christine sighed. What were the right words to say when she couldn't explain these things even to herself?

(Sung to the tune of "I Remember/Stranger than You Dreamt It")

Oh don't you see now what you've done?

Where is the triumph in this poor thing, "Don Juan"?

A great masterpiece indeed,

But you've reduced it to nothing but a trap!

A travesty!

It's a travesty to me,

And a shame to the one thing that I love,

Which is music… music.

(Sung to the tune of "Music of the Night")

And through music my soul began to soar!

(And I heard as I'd never heard before.)

The Phantom heard the caress in Christine's voice as she said the word music. Alas! He not only knew but also understood how she felt, for before she came along, was music not his only solace? That was how he knew that every word she had said was true. How terrifying! Was it he who had driven her into this state?

"Everything will be as you wish," he echoed into the room. She did not love him but he was glad, little comfort that it was, in knowing she did not love Raoul, too. And after all, they both had music. "That will be enough," the Phantom told himself, barring the niggling thought of taking her away from the world above and bringing her into his lair.

"No!" He stopped himself, remembering the strange new quality in her voice. He should not think of that. He would lose her completely if he forced her to do something against her will and he would not bear to lose Christine, her voice, her music.

(Taken from "'til I Hear You Sing Once More")

Let hopes pass, let dreams pass
Let them die
Without you, what are they for?

My broken soul

Can't be alive and whole,

'til I hear you sing once more.

He closed his eyes to hold back tears that threatened to fall, "Yes, this should be enough."

"Was that your tutor, the Opera Ghost?" a wide-eyed Meg asked Christine.

"Yes," Christine answered but her look was far away. Once again, only the Phantom had understood.

"We have nothing to fear for the production," Madam Giry spoke. For while the Phantom may have understood Christine; it was still the elder Giry who "knew" him best.

"You may lift the order on the guards, Raoul," Christine told her ex-fiance. "Trust us, " she pleaded. But it was evident that Raoul did not believe her. He was hurt, that she knew. Christine shook her head sadly. It was wrong for her to have lead him on but, it had felt right that night—she, the damsel in distress, running into the arms of her knight in shining armor, who vowed to destroy the magician that wanted to capture her. Raoul was a chivalrous man, a good man. She hoped that one day he would understand why she made this choice. She was still young, and only newly awakened to the wide world around her, a world she had every right to explore.

The full regiment of guards was not deployed around the Opera House on the opening night of "Don Juan Triumphant". Raoul only ordered that a few be posted at the entrance and exit "just in case another disaster happens."

The opera itself received mixed reactions from the critics but a lot of great interest from the rest of the crowd. It was all in all a success and Christine Daae played the role of the poor young maiden for the whole season.

There was a noticeable change in the young star. Her active participation in matters concerning her music and career gave her confidence. She was in love with music, and thankfully, it embraced her wholly and loved her back. She had a larger share of admirers now whom she could not completely ignore, being the kind soul that she was, but she really did not allow them to lose her focus. She had a goal, which she could not bring herself to anyone, just yet.

Nothing was heard of the Opera Ghost except for a note reminding the managers of his pay check. Vicomte Raoul de Chagny, after a heated discussion with Monsieurs Andre and Firmin, agreed to send the Phantom his salary, for after all, "Don Juan Triumphant" caused a great amount of money to flow into their accounts. The managers noted that the Vicomte, though still the patron of the Opera House, would only occasionally venture to go inside its halls. He made them keep Opera Box 5 empty at all times, though.

All in all, these were peaceful times, but it was a tenuous peace for no one knew when the Phantom of the Opera would strike again.

Author's Notes:

This is what I get for watching the Royal Albert Hall 25th anniversary special of "The Phantom of the Opera"; he's back again playing songs in my head! He's there, inside my mind!

Anyway, I was compelled to write something after watching Sierra Bogess' rendition of "Wishing You Were Somehow Here Again". I saw Christine in a whole new light.

I tried writing prose but the words always got stuck, and so here I am, feeding you readers bad poetry, or rather, alternative lyrics to existing theater songs. (Taken from, of course, "The Phantom of the Opera," "Evita," and "Love Never Dies.") I have to uploaded a musical version of this on YouTube so that you may have a better idea of how they're supposed to sound. (http : / youtu. be / 92qz-ghWEe0 - Remove the spaces.)

Please review or leave a little note for me. Thank you!