Meg dismisses her claims, but after Christine's disappearance, comes to believe in the Phantom's powers, in part due to her mother's experiences with the Phantom as a young man.
At the end of the musical, Meg finds the Phantom's mask that he had used to cover his disfigured face resting on his chair in his abandoned underground lair, suggesting a romance between the two, or at least a deep connection.
This was taken from Frederick Forsyth's sequel, The Phantom of Manhattan.
Even in the extended scene she does not give any indication why she is working for the Phantom (other than sympathy and her appreciation for his genius), unlike the reasons given in the novel.
This article will deal with both versions separately.
Madame Giry is also a character in the musical Love Never Dies, a sequel to The Phantom of the Opera.
The managers, Firmin Richard and Armand Moncharmin, remove Madame Giry from her post, finding her troublesome.
She is a fairly intermediate character in the novel, although her role is much increased in the Andrew Lloyd Webber musical.
Placing the duplicate in Box Five, she slips the real one into the back pocket of a manager's dress-coat while he is wearing it.
The Ghost later retrieves the money from this pocket when the managers are back in the office, using a trapdoor built into the floor.
One of her little tasks is to collect the monthly "salary" of 20,000 francs owed to the "Opera Ghost." The Ghost instructs the managers of the Opera to hand Madame Giry a sealed envelope containing the money.
The Ghost has provided her with a duplicate that contains play money; she knows nothing of the contents of either envelope.