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The Phantom of the Opera (Work in Progress, Scene Thirteen Completed)
by Smileyman457 (thedailypunctilliodottk@yahoo.com)

Rated: PG-13   Genre: Drama   User Review:
NOT YET
RATED

A disfigured man stalks the woman he loves by giving her singing lessons in 1911 France, while the woman and her love interest try to dodge him. Based on the book by Gaston Leroux.


This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author. This screenplay is based on the book of the same name by Gaston Leroux.



THE PHANTOM OF THE OPERA (WORK IN PROGRESS,
SCENE THIRTEEN COMPLETED)


FADE IN:

EXT. CITY STREET - DAY
                                                            
SCENE ONE
                                                            
CHRISTINE REMEMBERS
                                                            
(THIS HAS NOTHING TO DO WITH THE MOVIE, BUT WILL SOMEONE
PLEASE REVIEW THIS SCREENPLAY! I NEED OPINONS! Thank you.)
                                                            
(CAMERA OPENS ON A BUSY CITY STREET. 1940-STYLE CARS RUSH
BACK AND FORTH IN FRONT OF THE CAMERA. IT IS A HEAVY RAIN. A
TITLE CARD FLASHES UP: 'LONDON, 1948'.)
                                                            
(CUT TO A WOMAN, Christine's Daughter,AND HER TWO KIDS,
Chuck AND Caleine. THEY HOP OUT OF A CAR AND Christine's
Daughter RUSHES THEM ALONG THE STREET AND HURRIES THEM UP
THE FRONT STEPS OF A CITY HOUSE.)
                                                            
(CUT INSIDE THE HOUSE. A WOMAN WHO LOOKS IN HER FIFITES IS
SITTING IN A ROCKING CHAIR PLAYING THE PIANO. THIS WOMAN IS
Old Christine, REFERENCED IN THE SCRIPT AS, 'Grammy
Christine'. SHE HEARS A KNOCK ON THE DOOR AND IMMEDIATLEY
STOPS PLAYING AND STANDS UP.)
                                                            
                       GRAMMY CHRISTINE
That'll be Chuck and Caleine!
                                                            
(SHE BUSTLES OVER TO THE DOOR AND FLINGS IT OPEN. Chuck,
Caleine, AND Christine's Daughter HURRIEDLY STEP INSIDE AS
Old Christine SHUTS THE DOOR. THE NEWCOMERS TAKE OFF THEIR
WET RAINCOATS AND HANG THEM UP. EACH PERSON, IN TURN, GIVES
Old Chris. A HUG.)
                                                            
                       GRAMMY CHRISTINE
      (TO Caleine)
My dear, you've grown so much!
                                                            
                       CALEINE
Thank you Grammy Chris!
                                                            
                       GRAMMY CHRISTINE
      (TO Chuck)
My darling! You grow more handsome
every time I see you!
                                                            

2.

                       CHRISTINE'S DAUGHTER
      (SARCASTICALLY)
Hi, Mother!
                                                            
                       GRAMMY CHRISTINE
My dear, I wouldn't forget you!
      (SHE SIGHS)
Well, what do you kids want to do
now?
                                                            
                       CHUCK
Can we listen to the radio?
                                                            
                       GRAMMY CHRISTINE
Of course! The set is in there!
      (SHE POINTS OFF
       SCREEN, AND Chuck
       AND Caleine RUN
       OFF.)
                                                            
                       CHRISTINE'S DAUGHTER
      (TO HER MOTHER)
So, Mother, how have you been?
      (SHE STARTS TO
       WALK WITH Old
       Chris. INTO THE
       ROOM WHERE THE
       CHIDLREN ARE. THE
       CMAERA FOLLOWS
       FROM THE SIDE.)
                                                            
                       GRAMMY CHRISTINE
Oh, I've been well. Ever since
your father died I just haven't
been felling all that well. And I-
      (Old Chris. GASPS)
CHUCK DEAR!
                                                            
(THE CAMERA CUTS TO A SHOT OF Chuck IN THE LIVING ROOM,
REACHING UP TO A SHELF THAT IS TIPPING PRECARIOUSLY. Old
Chris. RUSHES IN AND PICKS Chuck UP, SETTING HIM DONW ON THE
COUCH. Old Chris. PRIES A VIOLIN BOW OUT OF Chuck's HAND,
AND PLACES IT GENTLY ON THE SHELF.)
                                                            
                       CHUCK
      (HE STUTTERS,
       LOOKING VERY
       NERVOUS)
I-I'm sorry, Grammy Chris-I-I-
                                                            

3.

                       GRAMMY CHRISTINE
You're fine, dear. Just please
don't touch this shelf.
      (SHE POINTS TO THE
       SHELF.)
                                                            
                       CALEINE
What for, Grammy?
                                                            
                       GRAMMY CHRISTINE
      (SHE LOOKS
       NERVOUSLY OVER TO
       HER Daughter.)
May I-?
                                                            
(CAMERA CUTS TO A NORMAL SHOT OF Christine's Daughter's
FACE. SHE NODS.)
                                                            
                       GRAMMY CHRISTINE
      (SHE SHUTS OFF THE
       RADIO SET.)
Well, children, please sit down.
                                                            
                       CHUCK
      (WHINY)
I a-
                                                            
                       GRAMMY CHRISTINE
I meant your sister, dear. I know
you're already sitting.
                                                            
(Caleine SITS DOWN ON THE COUCH. CAMERA CUTS BACK TO Old
Chris., WHO GINGERLEY PICKS UP ONE OF THE OBJECTS OFF OF THE
SHELF: IT IS AN OLD VIOLIN AND BOW. THE CAMERA ZOOMS ALL THE
WAY IN ON IT.)
                                                            
(WHEN THE CAMERA PULLS OUT, THE LIVING ROOM IS NO LONGER
THERE. THE SCENE IS A WIDE SHOT OF A MAN PLAYING A VILOIN
ON A STAGE IN FRONT OF A SMALL CROWD.)
                                                            
                       GRAMMY CHRISTINE (VO)
My father and mother were both
from Sweden. My mother-as far as I
remember-was kind and beautiful.
My father was strong and handsome,
and played the violin everyday.
But nobody wanted to hire him. He
got a few small jobs here and
there. But our big break came when
Father was playing in the Limby
Fair.
                                                            

4.

(THE MAN STOPS PLAYING, AND THE SMALL CROWD CLAPS. THE MAN
EXTIS THE STAGE, WHERE HE MEETS A PRETTY YOUNG GIRL AT THE
BOTTOM OF THE STEPS. THIS GIRL IS Christine at the age of
Eight.)
                                                            
                       CHRISTINE @ EIGHT
Oh, Father! You did wonderfully!
                                                            
                       MR. DAAE`
Thank you, my dear.
      (HE HUGS Christine
       @ Eight.)
                                                            
(Mr. Daae AND Christine @ Eight WALK ARM-IN-ARM TOWARDS THE
EXIT. HALFWAY THERE, A MAN AND WOMAN STEP IN FRONT OF THEM.
THIS MAN IS Professor Valerius, THE WOMAN, HIS WIFE, Mama
Valerius.)
                                                            
                       PROF. VALERIUS
      (TO Mr. Daae.)
Hello, sir. My name is Professor
Jacques Valerius, and this is my
wife, Suzane Foster Valerius.
                                                            
                       MR. DAAE`
      (SHAKING EACH'S
       HAND)
Hello, Professor, hello Madame
Valerius. Did you see me perform?
                                                            
                       CHRISTINE
Yes, sir. And that is why I needed
to speak with you.
                                                            
                       GRAMMY CHRISTINE (VO)
And listen to this! Mr. Valerius
wanted to hire my father!
                                                            
                       CHUCK (VO)
Hire? You mean he was going to
give him a job?
                                                            
                       GRAMMY CHRISTINE (VO)
Yes! He would provide me with free
schooling and we could stay with
him at his house!
                                                            

5.

                       MR. DAAE`
Well, your offer is very tempting,
monsieur.

      (LOOKING DOWN TO
       Christine @ Eight)
Should I, dear?
                                                            
                       CHRISTINE @ EIGHT
Yes, Father!
                                                            
(AS Old Chris. NARRATES, THE EVENTS ARE SHOWN ON SCREEN.)
                                                            
                       GRAMMY CHRISTINE (VO)
And so, my father did. The nice
man Valerius took us to live with
him in France, and Father became
famous!

Mama Valerius was like a mother to
me. My mother had died when I was
very young, just when I was
turning six years old.

But Father did not completely
enjoy France...
                                                            
(CUT TO Mr. Daae IN HIS BEDROOM, PLAYING A SAD CHORD ON HIS
VIOLIN AND CRYING A LITTLE. CUT TO THE HALLWAY. Mama
Valerius IS HURRYING UP THE HALLWAY WITH A TRAY OF FOOD FOR
Mr. Daae. SHE ENTERS HIS ROOM AND SETS THE TRAY DOWN, THEN
SEES HIM CRYING. SHE HURRIES OVER TO HIM AND PUTS HER ARMS
AROUND HIS NECK.)
                                                            
                       MAMA VALERIUS
Charles? What is it?
                                                            
                       MR. DAAE`
I don't know. I just-I miss
Sweden.
                                                            
                       MAMA VALERIUS
Oh, my son!
      (SHE HUGS HIM AS
       Mr. Daae CRIES
       DEEPLY.)
                                                            
(CUT BACK TO THE LIVING ROOM. THE KIDS ARE STUNNED BY ALL
THIS INFORMATION. Old Chris. SIGHS.)
                                                            

6.

                       GRAMMY CHRISTINE
My father went on like this for
several years. So Valerius took us
all on a trip to Perros, near the
beach. I was around sixteen.
During this trip, my father became
very sick, and began to die.
                                                            
                       CALEINE
Oh!
                                                            
                       GRAMMY CHRISTINE
Yes, it was very sad. But, before
he died, he told me one thing:
                                                            
(CUT BACK TO Mr. Daae IN A BED, WITH Christine SITTING BY
HIS SIDE.)
                                                            
                       MR. DAAE`
When I die, my child-
      (HEAVY COUGH)
When I die, I will send to you
from heaven the Angel of Music.
All great musicians meet him. He
will guide you.
                                                            
                       CHRISTINE
Really?
                                                            
                       MR. DAAE`
Yes, but you will most likely not
see him. He rarely shows himself,
even to his greatest charges.
                                                            
(CUT BACK TO THE LIVING ROOM.)
                                                            
                       CHUCK
The Angel of Music?
                                                            
                       GRAMMY CHRISTINE
Yes, the Angel of Music!

But a good thing came out of all
of this. My neighbor, Mr. Giry,
had seen me dancing, and now that
I had no parents, took me to where
he worked.
                                                            
                       CALEINE
Where?
                                                            

7.

                       GRAMMY CHRISTINE
The Opera Garneir!
                                                            
                       CHUCK
That big theater in Paris!
                                                            
                       GRAMMY CHRISTINE
Yes! Mr. Valerius gave him
permission, and I was off.

And that is where this-
      (SHE REPLACES THE
       VIOLIN ON THE
       SHELF AND TOOK A
       YELLOWED PIECE OF
       PAPER OFF OF THE
       SHELF.)
-Comes in.
                                                            
(THE CAMERA SLOWLY ZOOMS IN ON THE PAPER. ON IT IS WRITTEN,
'OPERA GHOST, THE PHANTOM OF THE OPERA'. THE CAMERA THEN
RUSHES FORWARD AND THE SCREEN GOES BLACK, AND THE TITLE,
'THE PHANTOM OF THE OPERA' ROLLS.)
                                                            
 
EXT. OUTSIDE OF OPERA GARNIER - DAY
                                                            
SCENE TWO
                                                            
PARIS, 1911
                                                            
(Mr. Giry AND Christine STAND ON THE FRONT STEPS OF THE
OPERA GARNIER. Christine CARRIES TWO MEDIUM SIZED SUITCASES.
CAMERA SHOWS THEM FROM THE BACK FOR A MOMENT. A CARRIAGE
RUSHES BY AND BRIEFLY OBSCURES THE CAMERA. WHEN THE SCENE IS
VISIBLE AGAIN, IT IS SHOWN FROM THE FRONT. TITLE CARD COMES
UP, 'PARIS, 1911'.)
                                                            
                       MR. GIRY
      (LOOKS DOWN AT
       Christine)
Are you ready, my dear?
                                                            
                       CHRISTINE
      (Nods)
Yes, Monsieur Giry.
                                                            
                       MR. GIRY
      (LAUGHS)
Good girl!
                                                            
(THEY HEAD UP THE STAIRS, THE CAMERA FOLLOWING THEM FROM THE

8.

FRONT. IT THEN MOVES TO THE SIDE AS Mr. Giry AND Christine
ENTER THE MAGNIFICENT OPERA HOUSE. THE FOYER IS MAGNIFICENT.
IT IS ALL GOLD GILDED, AND CANDELABRAS HOLD HUNDREDS OF
CANDLES, NONE LIT YET. PEOPLE RUN BACK AND FORTH ACROSS THE
HALLWAY. CAMERA CUTS TO AN OLD WOMAN-Madame Giry-WHO IS
CLEANING THE STAIRCASE. CUT BACK TO Mr. Giry. HE SEES HER.)
                                                            
                       MR. GIRY
Mother!
                                                            
(Mr. Giry AND Christine TROT OVER TO THE Madame Giry. CAMERA
FOLLOWS FROM SIDE.)
                                                            
                       MR. GIRY
      (TAPS THE WOMAN ON
       HER SHOUDLER.)
Mother!
                                                            
                       MME. GIRY
      (SHE TURNS AROUND.
       SHE IS VERY OLD
       AND RATHER UGLY.
       SHE WEARS A SMALL
       BLACK HAT WITH
       FEATHERS STICKING
       OUT FROM ALL
       SIDES. HER DRESS
       IS SMEARED FROM
       DIRT, BUT THE RED
       OF THE DRESS IS
       STILL VISIBLE)
Yes, my son?
      (SEES Christine.)
Who is this?
                                                            
                       MR. GIRY
This is our new charge, little
Miss Christine Daae.
                                                            
                       MME. GIRY
      (GASPS)
My dear! My dear! As in-Charles
Daae?
      (Christine NODS)
Oh, my dear! My dear! That is
great! I saw him perform once! I
loved him! Can you give him this-
      (Madame Giry
       FISHES FOR
       SOMETHING IN HER
       POCKET)
                                                            

9.

                       CHRISTINE
      (LOOKS DOWN A THE
       GROUND)
I can't, mademoiselle. He's--he
has--died.
                                                            
(Madame Giry IMMEDITALEY STOPS FIDGETING.)
                                                            
                       MME. GIRY
      (WHEN SHE SAYS
       THIS, SHE SOUNDS
       MORE
       COMPASSIONATE
       THAN WHEN SHE
       SAID IT EARLIER)
Oh, my dear. I-I'm so sorry for
your loss.
                                                            
                       MR. GIRY
Thanks you, Mother. We will be
going now.
      (TO Christine)
Come, my dear. I will take you to
the dancer's dormitories.
                                                            
(THEY START UP THE MAGNIFICENT STAIRCASE.)
                                                            
                       CHRISTINE
Mr. Giry?
                                                            
                       MR. GIRY
Yes, my friend?
                                                            
                       CHRISTINE
Will I be a dancer or a singer?
      (Mr. Giry STOPS
       WALKING AND
       STARES DOWN AT
       HER)
Because I like dancing, but I've
always wanted to be a singer.
                                                            
                       MR. GIRY
Well, can you sing?
                                                            
                       CHRISTINE
      (SHE NODS, THEN
       STRAIGHTENS UP.
       SHE SINGS THE
       FOLLOWING SONG
       FAIRLY WELL, BUT
       NOT BEAUTIFULLY.)
            (MORE)

10.

                       CHRISTINE (cont'd)
In this dream
I live in this dream
Will it ever pass?
How many times
Can man survive
On sadness and heartache alone?
In this dream,
In this dream,
I feel that I am alone.
In this dream,
In this dream,
Darling, I feel that I'm alone.
                                                            
                       MR. GIRY
      (SLIGHTLY
       IMPRESSED)
Well, maybe with some work you
will be able to sing in an opera.
But for now, you will stay in the
dormitories. You will have your
own
dressing space, and your own bed.
The dormitories are down that--
      (HE POINTS DOWN
       THE HALLWAY)
--hallway. I will be Archives on
the third floor if you need me. Au
revoir, Christine!
                                                            
(Mr. Giry KISSES Christine ON THE HEAD, AND THEN EXITS.
Christine IS LEFT ALONE. THE CAMERA FOLLOWS HER FROM THE
BACK AS SHE WALKS DOWN THE HALLWAY, QUIETLEY SINGING.)
                                                            
                       CHRISTINE
In this dream
I live in this dream
Will it ever pass?
How many times
Can man survive
On sadness and heartache alone?
In this dream,
In this dream,
I feel that I am alone.
In this dream,
In this dream,
Darling, I feel that I'm alone.
      (SPOKEN)
I'm so alone!
                                                            
(SUDDENLY, TWO MEN ERUPT FROM A DOOR ABOUT HALFWAY DOWN THE
HALLWAY. THEY ARE FIERCLEY ARGUING.)
                                                            

11.

                       RICHARD
Armand, do you really think that
some ghost is running around the
opera?
                                                            
                       MONCHARMIN
Firmin, all I'm saying is that
maybe we should just give the Giry
woman the money, and then spy on
her!
      (NOTICES
       Christine.)
Who are you, little girl?
                                                            
                       CHRISTINE
I'm Christine Daae. I've just come
here because my father died.
                                                            
                       RICHARD
I'm sorry my dear.
      (LOOKS BACK OVER
       AT Mr.
       Moncharmin, THEN
       CONTINUES HIS
       CONVERSATION)
So, anyway, just give Giry the
francs, and then we will be-
                                                            
                       CHRISTINE
I know the Girys. Would you like
me to tell them something?
                                                            
(THE MANAGERS EXCHANGE GLANCES, THEN Mr. Moncharmin SPEAKS.)
                                                            
                       MONCHARMIN
Well, you see, we--
      (POINTS TO HIMSELF
       AND Mr. Richard)
--Are the new managers of the
Opera Garnier. And the old
managers told us of something
slightly disturbing.
                                                            
                       RICHARD
You see, the Opera is supposed to
be haunted.
                                                            
                       CHRISTINE
Haunted?
                                                            
                       MONCHARMIN
Yes, haunted. By the Phantom of
the Opera.
                                                            

12.

                       RICHARD
He's supposed to be very ugly--no
hair, noe eyes, just yellow slits.
He always wears a black mask, and
it is rumored t hat he stlaks the
Opera through secret passageways.
                                                            
                       MONCHARMIN
But that's all very much besides
the point. The Phantom demans that
we--being Mr. Richard and
myself--have to pay him 20, 000
francs every other month!
                                                            
                       CHRISTINE
20, 000 francs?
                                                            
                       RICHARD
That's what I said.
                                                            
                       MONCHARMIN
And the old managers said it too.
Unfortunately, bad things happen
if you don't pay the Phantom.
                                                            
                       RICHARD
And that is where Giry comes in.
We give her the money, and she
pays the Phantom...somehow.
      (LAUGHS)
But I think it is all a ruse for
that ugly, old woman to get money!
                                                            
(A LOUD CRASH ECHOES DOWN THE HALLWAY. ALL THREE TURN TO
LOOK, AND FIND THAT A CANDELABRA HAS BEEN PUSHED OVER. THE
THREE WALK OVER TO IT.)
                                                            
                       RICHARD
It was probably just...something.
                                                            
                       CHRISTINE
But look!
      (SHE POINTS TO THE
       WALL)
It was bolted to the wall! Someone
cut it off!
                                                            
                       RICHARD
Pish-posh, little girl! Go to the
dormitories!
                                                            

13.

(Christine PICKS UP HER TWO BAGS AND HURRIES DOWN THE
HALLWAY.)
                                                            
                       MONCHARMIN
They told you! And I told you!
                                                            
(CUT TO THE INSIDE OF A COMMON ROOM. GIRLS BETWEEN THE AGES
OF TEN AND TWENTY FIVE ARE TALKING, LAUGHING, AND WALKING
AROUND. CUT TO THE DOOR. IT OPENS, AND Christine ENTERS.
EVERYTHING GOES SILENT.)
                                                            
                       CHRISTINE
Um...hello. My name is Christine
Daae. I--I'm coming to the Opera
to dance. Is this the dormitory?
                                                            
                       JAMMES
      (WALKS OVER TO
       CHRISTINE)
No. It’s the Moulin Rouge.
                                                            
                       LITTLE DANCING GIRL
Jammes, leave her alone!
                                                            
                       MEG
      (RUNS OVER TO
       CHRISTINE)
My name is Meg Giry. I'm Mr.
Giry's cousin. He's told me all
about how well you can dance. Come
over here and play cards with me
and one of my friends.
                                                            
(Meg LEADS Christine OVER TO A SMALL TABLE WITH SOME CARDS
ON IT. THEY BEGIN TO PLAY.)
                                                            
(DISSOLVE TO...)
                                                            
                       MEG
      (SHOWING HER
       AROUND)
...And this is where we sleep.
                                                            
(THEY ARE IN A ROOM WITH LOTS OF COTS SET UP, AND TEN DOORS
ALL AROUND.)
                                                            
                       MEG
And we change in those rooms.
      (SMILES AT
       Christine)
Cheer up! It's not so bad here!
                                                            

14.

(Meg EXITS. Christine IS LEFT ALONE. SHE LOOKS AROUND THE
ROOM, THEN DECIDES TO ENTER A DRESSING ROOM. IT IS A SPARSE
ROOM, WITH A TABLE, A CHAIR, AND A SMALL DRESSER. Christine
SITS IN THE CHAIR AND SINGS TO HERSELF.)
                                                            
(CUT TO THE WALL. A SMALL SECTION MOVES AWAY, AND TWO YELLOW
POINTS OF LIGHT ARE SEEN. THE LIGHTS MOVE CLOSER, REVEALING
THEM TO BE THE PUPILS IN SOMEONE'S EYE. CUT BACK OUT TO
Christine.)
                                                            
                       ERIK, THE PHANTOM
      (NOT SEEN, BUT
       HEARD)
Hello.
                                                            
                       CHRISTINE
      (JUMPS UP IN
       SURPRISE)
Who's there?
                                                            
                       ERIK, THE PHANTOM
You can sing fairly well. But with
my help, you can become a star.
                                                            
                       CHRISTINE
Who's there?
      (COMPREHENSION
       DAWNS ON
       Christine's FACE.)
Are you the Angel of Music?
                                                            
                       ERIK, THE PHANTOM
Er...yes. Yes, I am.
                                                            
                       CHRISTINE
      (WITH GLEE)
I knew my father would send you!
He would never lie! Oh, Angel! Can
you help me sing? I want to sing
more than dance! Please?
                                                            
                       ERIK, THE PHANTOM
Yes. Meet me in this dressing room
at eight o'clock every night, lock
the door, and I will give you
lessons, and soon, you will be the
greatest singer in Paris!
                                                            
                       GRAMMY CHRISTINE (VO)
I was faithful. Every night, at
eight o'clock, I entered dressing
room number eight, and the Angel
of Music gave me wings!
                                                            
 

15.

INT. THE STAGE OF THE OPERA GARNIER - DAY
                                                            
SCENE THREE
                                                            
CHRISTINE'S BREAKOUT
                                                            
(ALL THE DANCING GIRLS ARE ON THE STAGE. THEY ARE REHEARSING
FOR A PRODUCTION OF 'FAUST', AND Carlotta PLAYS MARGARET,
THE LEAD FEMALE.)
                                                            
                       MONCHARMIN
Carlotta, can you do that piece
once more?
                                                            
                       CARLOTTA
Why? This is stupid! I am the lead
singer, and I should be able to
sing when and where and how I
want!
                                                            
                       RICHARD
Please, Carlotta, just once more!
                                                            
                       CARLOTTA
Fine!
                                                            
(SHE SINGS VERY WELL, BUT IN A VERY HIGH REGISTER. AS SHE IS
SINGING, SHE SUDDENLY STOPS TO CATCH HER BREATH. SHE
CONTINUES, THEN STOP, THEN CONTINUES, THEN STOPS ONCE MORE,
BREATHING HEAVILY. SHE STARTS TO COUGH, AND COUGHS BLOOD ALL
OVER THE STAGE.)
                                                            
(CUT TO A FLEETING GLIMPSE OF THE CATWALK ABOVE THE STAGE. A
MAN IN A SUIT AND MASK RUSHES AWAY, SMILING.)

(CUT BACK TO THE STAGE. THE MANAGERS RUSH OVER.)
                                                            
                       RICHARD
      (LEANIG OVER TO
       THE VOMITING
       Carlotta)
Mademoiselle Guidacelli, are you
alright?
                                                            
                       CARLOTTA
Does it look like I'm alright?
                                                            
(TWO STAGEHANDS CARRY Carlotta AWAY.)
                                                            
                       RICHARD
What are we going to do now,
Armand? Who will be our lead? We
open tomorrow, for lord's sake!
                                                            

16.

(Mr. Richard THROWS HIS HAT DOWN IN DISGUST.)
                                                            
                       MONCHARMIN
      (POINTING TO HAT)
Firmin, look!
                                                            
(INSIDE THE HAT IS AN ENVELOPE. ON IT IS WRITTEN THE NAMES
OF THE MANAGERS IN A CHILDLIKE HANDWRITING. Mr. Richard
NERVOUSLY OPENS THE ENVELOPE, AND THEN READS IT TO Mr.
Richard:)
                                                            
                       RICHARD
'To My Kind Managers: Carlotta is
ill, I know. What to do now? The
answer is simple: Mademoiselle
Daae will play the role of
Margaret. She can sing
beautifully. If you refuse my
request, you will pay. Your
humble, obedeiant, servant:
Phantom of the Opera.'
      (GRUNTS IN
       FRUSTRATION)
DAAE! COME OVER HERE!
      (Christine WALKS
       OVER)
DID YOU WRITE THIS?
                                                            
                       CHRISTINE
      (LOOKS AT NOTE)
No, sir!
                                                            
                       MONCHARMIN
      (KINDER)
Can you sing the part of Margaret
tomorrow?
                                                            
                       CHRISTINE
Would you like to hear me sing
now, just to make sure I'm good
enough?
                                                            
                       RICHARD
Yes.
                                                            
(Christine SINGS. SHE CAN SING THE PART BEAUTIFULLY.)
                                                            
                       RICHARD
STOP! You're hired!
                                                            
                       CHRISTINE
Really?
                                                            

17.

                       MONCHARMIN
Yes. Please go to the wardrobe
woman and get fitted for the
dress.
                                                            
(Christine HURRIES OFF. DISSOLVE TO HER IN HER DRESSING
ROOM, GETTING FIT FOR THE DRESS. THE WARDROBE WOMAN LEAVES
FOR A MOMENT.)
                                                            
                       ERIK, THE PHANTOM
Hello, my pretty!
                                                            
                       CHRISTINE
Oh, Angel! I am singing the lead
tomorrow! Isn't it marvelous?
                                                            
                       ERIK, THE PHANTOM
      (HE SAYS THIS
       KNOWINGLY)
Yes. It is marvelous.
                                                            
(THE WARDROBE WOMAN ENTERS AGAIN.)
                                                            
(CUT TO THE OUTSIDE OF THE OPERA GARNIER. IT IS NOW NIGHT,
AND CARRIAGES ROLL UP AND DOWN THE STREET. MANY STOP IN
FRONT OF THE OPERA HOUSE. CUT TO A POSTER THAT READS, 'FAUST
OPENING NIGHT TONIGHT!')
                                                            
(CUT TO THE USHER HELPING TWO MEN OUT OF A CARRIAGE. THESE
TWO MEN ARE THE Comte Philippe AND Vicomte Raoul de Chagny.
Philippe IS THE OLDEST, AND IS RUGGED AND DASHING IN HIS
SUIT. Raoul IS THE YOUNGER, AND HAS A WIDE EYED, CHILDLIKE
INTEREST ABOUT EVERYTHING.)
                                                            
                       USHER
Good evening, Comte Philippe. Good
evening, Vicomte.
                                                            
                       RAOUL
      (WITH A CURT NOD)
Good evening, sir.
                                                            
                       USHER
You hear about the new singer?
                                                            
                       PHILIPPE
No. Who is it?
                                                            
                       USHER
Some kid-Christine Day or
something. She’s supposed to be
rather good.
                                                            

18.

                       PHILIPPE
What happened to Carlotta?
                                                            
                       USHER
Apparently, she fell ill. Started
vomiting blood or something.
                                                            
                       RAOUL
What is the singer’s name?
                                                            
                       USHER
Die-Day-Doe-something with the
letter ‘D’ at the start.
                                                            
                       RAOUL
      (WITH MOUNTING
       EXCITEMENT)
It wouldn’t happen to be ‘Daae’,
would it?
                                                            
                       USHER
      (SNAPS HIS FINGERS)
That’s it, sir! Christine Daae!
                                                            
(CUT TO Rude Man in Carriage.)
                                                            
                       RUDE MAN IN CARRIAGE
HELLO! PLEASE MOVE!
                                                            
                       RAOUL
Thank you for the information,
sir.
      (HE PRESSES A COIN
       INTO THE Usher’s
       HAND.)
                                                            
(CUT BACK TO THE Raoul, Philippe, AND Usher.)
                                                            
                       USHER
Thank you, sir! Enjoy the show!
                                                            
(Raoul and Philippe enter the opera house. THEY WALK UP THE
STEPS INTO THE THEATRE.)

(CUT BACKSTAGE. Christine IS PREPARING TO SING. Meg COMES UP
TO HER.)
                                                            
                       MEG
      (PATS Christine ON
       THE BACK)
You’ll do great, my friend!
                                                            

19.

                       CHRISTINE
Thank you, Meg!
                                                            
(THEY HUG EACH OTHER. Mr. Moncharmin BUSTLES OVER TO THEM.)
                                                            
                       MONCHARMIN
Are you ready, Mademoiselle Daae?
                                                            
                       CHRISTINE
Yes, sir.
                                                            
(Christine MENTALLY PREPARES. SHE WALKS AROUND BACKSTAGE,
AND FINALLY SITS DOWN IN A CHAIR, ALONE.)
                                                            
                       ERIK, THE PHANTOM (SEEN, BUT NOT HEARD)
Are you ready, dear Christine?
                                                            
                       CHRISTINE
Angel? Angel of Music? What are
you doing here?
                                                            
                       ERIK, THE PHANTOM
I am an angel, so I am everywhere!
                                                            
                       CHRISTINE
Oh, but I am ready! Ready to
perform at last!
                                                            
                       ERIK, THE PHANTOM
I am glad.
                                                            
(THE AUDIENCE APPLAUDS. Christine JUMPS UP.)
                                                            
                       CHRISTINE
Goodbye, Angel!
                                                            
(CUT TO A WIDE SHOT OF THE AUDIENCE SETTLING INTO THEIR
SEATS; CUT THEN TO A SHOT OF Mr. Richard AND Mr. Moncharmin
ENTERING THEIR BOX.)
                                                            
                       RICHARD
Armand, why is that box open?
                                                            
                       MONCHARMIN
What box?
                                                            
                       RICHARD
That one. Box Five, I believe.
                                                            
                       MONCHARMIN
Oh. That is the Opera Ghost’s box.
                                                            

20.

                       RICHARD
What?!?
                                                            
                       MONCHARMIN
The ghost instructs that we keep
it open always.
                                                            
                       RICHARD
That’s utterly stupid! Sell it!
Right away!
                                                            
                       MONCHARMIN
But, Armand!
                                                            
                       RICHARD
Next performance, make sure that
it is sold!
                                                            
(CUT TO Raoul AND Philippe. THEY ARE SETTLING INTO THEIR
BOX.)
                                                            
                       RAOUL
My dear, Philippe, this is taking
an awfully long time to start.
We’ve already applauded twice!
                                                            
                       PHILIPPE
Why so eager, Raoul?
                                                            
                       RAOUL
      (COVERING UP HIS
       EMOTIONS)
Er...no reason.
                                                            
(Philippe LOOKS OVER AT Raoul SUSPICIOUSLY. CUT BACK TO A
WIDE SHOT OF THE THEATRE. THE AUDIENCE APPLAUDS AGAIN, AND
THE CURTAIN FINALLY OPENS. CUT TO BOX FIVE. A SHADOWY FIGURE
IS SEEN SETTLING INTO THE BOX.)
                                                            
(Christine SINGS, AND THE AUDIENCE LOVES HER.)
                                                            
(CUT TO THE LOBBY OF THE OPERA. IT IS PACKED AS PEOPLE LEAVE
AFTER THE OPERA. CUT TO A COUPLE TALKING.)
                                                            
                       KIND MAN
That girl was marvelous! Who was
she?
                                                            
                       KIND WOMAN
Christine Daae. She’s brand new to
the opera. She started out as a
dancer in Roi de Lahore.
                                                            

21.

                       KIND MAN
Well, I do hope that she performs
again. She was simply marvelous!
                                                            
(CUT TO THE FRONT DOORS. THE SINGERS ARE GREETING PEOPLE AS
THEY LEAVE, AND THERE IS A GREAT CONGESTION OF PEOPLE AROUND
Christine.)
                                                            
                       CHRISTINE
      (TO THE PEOPLE
       FILING PAST HER)
Thank you very much for the money,
but I really don’t do private
parties...yes, sir. Thank you very
much.
                                                            
(CUT TO Raoul AND Philippe. THEY ARE IN THE CROWD, AND Raoul
IS FIDGETING ANXIOUSLY.)
                                                            
                       PHILIPPE
Raoul? What is it?
                                                            
                       RAOUL
      (TURNING TO
       Philippe.)
Let’s go see her.
                                                            
                       PHILIPPE
Who?
                                                            
                       RAOUL
Chris-I mean-Mademoiselle Daae.
                                                            
                       CHRISTINE
      (LAUGHING)
In due time, Raoul. Everyone wants
to see Mademoiselle Daae tonight!
                                                            
(CUT TO Christine. Raoul FINALLY ARRIVES BY HER.)
                                                            
                       RAOUL
Mademoiselle Daae?
                                                            
                       CHRISTINE
Yes, sir.
                                                            
                       RAOUL
Do you remember me?
                                                            
                       CHRISTINE
      (SUDDENLY EXCITED)
I-
            (MORE)

22.

                       CHRISTINE (cont'd)
      (SUBDUES HERSELF)
I...can’t say that I can, sir.
                                                            
                       RAOUL
Don’t you remember? I met you on
the beach? It was over a year ago
now, but-
                                                            
                       CHRISTINE
Sir, I have met many people at the
beach.
      (SHE LOOKS AROUND
       FOR A WAY TO GET
       OUT.)
If you will excuse me...
      (SHE PUSHES
       THROUGH THE
       CROWD. CUT TO A
       CLOSE UP OF HER
       FACE. SHE IS
       EXCITED, BUT IS
       TRYING TO HIDE
       IT. SHE SPRINTS
       UP THE STAIRCASE.)
                                                            
(CUT BACK TO Raoul AND Philippe.)
                                                            
                       RAOUL
I have to follow her!
                                                            
                       PHILIPPE
Raoul, you’re being crazy! She’s
just some singer!
                                                            
                       RAOUL
Philippe, get in the carriage and
wait for me.
                                                            
                       PHILIPPE
Raoul!
                                                            
                       RAOUL
Please, Philippe.
                                                            

23.

(Philippe SHRUGS, THEN HEADS OUT TO HIS CARRIAGE. Raoul
PUSHES THROUGH THE CROWD AND RUNS UP THE STAIRCASE. HE
FOLLOWS Christine FROM A DISTANCE. SHE DOES NOT ENTER THE
DANCER’S DORMITORY; INSTEAD, SHE ENTERS HER OWN DRESSING
ROOM WITH A PLAQUE THAT SAYS, ‘CHRISTINE DAAE’ ON THE DOOR.
Raoul PUTS HIS HAND UP TO KNOCK, BUT STOPS. FAINTLY, A VOICE
CAN BE HEARD.)

(CUT TO THE INSIDE OF THE DRESSING ROOM. Christine is
CHANGING OUT OF HER ELABORATE ‘MARGARET’ COSTUME.)
                                                            
                       ERIK, THE PHANTOM (SEEN, BUT NOT HEARD)
      (STERNLY)
Hello.
                                                            
                       CHRISTINE
Oh, Angel! I did so well!
                                                            
                       ERIK, THE PHANTOM
Yes, you did wonderfully. But I
have to discuss something with
you. Who was that man?
                                                            
                       CHRISTINE
      (NERVOUSLY, TRYING
       TO BE NONCHALANT)
What man?
                                                            
                       ERIK, THE PHANTOM
The one who was speaking to you
earlier. You tried to avoid him.
                                                            
                       CHRISTINE
He was no one.
                                                            
                       ERIK, THE PHANTOM
      (HIS VOICE RISES;
       HE IS GETTING
       ANGRY)
I know that you met someone
tonight; someone that could take
my place.
                                                            
                       CHRISTINE
No, Angel! I-
                                                            
                       ERIK, THE PHANTOM
Christine, you must love me! And
ONLY ME!
                                                            
                       CHRISTINE
I do-! I-I-I-how can you say that,
when I sing to you and only you!
                                                            

24.

                       ERIK, THE PHANTOM
Ah, my dear! But do you?
                                                            
                       CHRISTINE
      (SHE BEGINS TO CRY)
Angel, I-I-I do sing for you
alone!
                                                            
(CUT BACK TO Raoul STANDING OUTSIDE THE ROOM, HIS HAND STILL
HALFWAY THROUGH THE AIR. A FAINT CRY IS HEARD, AND Raoul
THROWS OPEN THE DOOR AND RUSHES INTO THE ROOM. IT IS
COMPLETELY DARK.)
                                                            
                       RAOUL
CHRISTINE! CHRISTINE!
                                                            
(Raoul FEELS ALONG THE WALL FOR THE GAS LAMP. HE FINDS IT,
AND THEN TURNS IT UP. THE LIGHT ILLUMINATES THE ROOM.
EVERYTHING LOOKS EXACTLY THE SAME AS IT DID A MOMENT AGO,
WHEN Christine WAS THERE. THE ONLY DIFFERENCE IS THAT THE
LARGE MIRROR ON THE BACK WALL HAS A HANDPRINT ON IT. CAMERA
CUTS TO HANDPRINT. CAMERA CUTS OUT TO THE HALLWAY. IT SHOWS
A VIEW OF Raoul STANDING IN THE DOORWAY, LOOKING AROUND.
Raoul ALSO NOTICES THE FIGURE OF A MAN OTHER THAN HIMSELF
REFLECTED IN THE MIRROR. THIS MAN WILL LATER BE REVEALED TO
BE The Persian. The Persian IS DRESSED IN A SUIT, BUT THE
ONLY ODD THING IS THE FEZ HAT HE WEARS ON HIS HEAD. Raoul
SPINS AROUND. CUT TO A VIEW OF Raoul FRAMED IN THE DOORWAY,
BUT THIS TIME A VIEW LOOKING OUT OF THE DRESSING ROOM. The
Persian IS JUST STANDING THERE, STARING AT Raoul.)
                                                            
                       RAOUL
Do you know where Christine is?
                                                            
(The Persian WALKS AWAY. Raoul RUNS OUT OF THE DRESSING ROOM
AND LOOKS UP AND DOWN THE HALLWAY. The Persian IS NOWHERE TO
BE SEEN. Raoul RUSHES UP THE HALLWAY. HE BUMPS INTO TWO MEN
CARRYING A STRETCHER WITH AN OBJECT COVERED BY A SHEET. THE
TWO MEN STUMBLE, THEN FALL OVER, DROPPING THE STRETCHER. A
BODY FALLS OFF IT. Raoul STOPS IN HIS TRACKS, HORRIFIED.)
                                                            
                       RAOUL
What is that?
                                                            
                       MEN ONE
‘That’, monsieur, is Josef Buquet,
a stagehand.
                                                            
                       MEN TWO
He was found in the cellars.
                                                            
                       RAOUL
How--how did he die?
                                                            

25.

                       MEN ONE
Hanged by the neck off the bow of
a ship set we used in Helena
d’Troy.
                                                            
                       MEN TWO
I’ll bet anyone anything it was
the Opera Ghost.
                                                            
                       RAOUL
Oh...
                                                            
(Raoul RUNS DOWN THE HALLWAY AND OUT THE FRONT DOORS,
VAULTING INTO HIS BROTHER’S CARRIAGE.)
                                                            
                       PHILIPPE
Raoul, you look deadly pale!
                                                            
                       RAOUL
      (CHOKING ON HIS
       WORDS)
Christine is gone, Philippe!
                                                            
                       PHILIPPE
What?
                                                            
                       RAOUL
Christine is gone!
                                                            
                       PHILIPPE
      (HE WAVES HIS HAND
       OUT THE WINDOW TO
       HIS DRIVER)
Go, sir!
      (TO Raoul)
Calm down, Raoul. I’m sure she’ll
turn up!
                                                            
 
INT. THE EMPTY OPERA HOUSE - NIGHT
                                                            
SCENE FOUR
                                                            
THE MYSTERY OF BOX FIVE
                                                            
(Mr. Richard AND Mr. Moncharmin ARE CLOSING UP FOR THE
NIGHT.)
                                                            
                       MONCHARMIN
      (CLOSING THE FRONT
       DOORS)
Well, I think Mademoiselle Daae
did marvelously tonight!
                                                            

26.

                       RICHARD
I do, too.
                                                            
                       MONCHARMIN
      (HE BEGINS TO
       LEAVE)
Au revoir, Firmin!
                                                            
                       RICHARD
      (GRABBING HIS
       COLLAR)
Don't leave yet!
                                                            
                       MONCHARMIN
Why not?
                                                            
                       RICHARD
We need to straighten something
out before the night is over.
                                                            
                       MONCHARMIN
What?
                                                            
                       RICHARD
We need to pay a visit to box
five.
                                                            
(THE TWO MANAGERS HEAD UP THE GRAND STAIRCASE AND INTO THE
HOUSE. THE STAGE IS STILL LIT, BUT THAT IS ALL. Richard
LIGHTS A GAS LAMP, THEN CONTINUES THE TRIP THROUGH THE
HOUSE. THEY MOUNT THE STAIRCASE THAT LEADS TO THE ROW OF
BOXES. THEY HASTILY MAKE THEIR WAY TO BOX NUMBER FIVE.)
                                                            
                       RICHARD
So, this box looks normal.
      (PAUSE)
Sell it. Now.
                                                            
                       MONCHARMIN
But, Firmin-
                                                            
(UNEXPECTEDLY, THE BOX LIGHTS UP. THE TWO TURN AROUND TO SEE
Madame Giry STANDING IN THE ENTRANCE OF THE BOX, HER HAND ON
THE GAS LAMP KNOB. APPARENTLY, SHE IS AS SURPRISED TO SEE
THE MANAGERS AS THE MANAGERS ARE TO SEE HER.)
                                                            
                       RICHARD
      (SARCASTICALLY)
Madame Giry. What are you doing
here?
                                                            

27.

                       MME. GIRY
I have come to clean Box Five.
                                                            
                       RICHARD
Oh, so you’re not here to steal
20, 000 francs!
                                                            
                       MME. GIRY
Steal-?
      (COMPREHENSION
       DAWNS)
You think I steal the Opera
Ghost’s 20, 000 francs? I am
deeply offended, Monsieur Richard.
It is not even the first of the
month! That is tomorrow! Why would
I steal 20, 000 francs that are
not even here yet?
                                                            
                       MONCHARMIN
      (GLARING AT Mr.
       Richard)
Armand, please! The woman is only
doing her job!
                                                            
                       RICHARD
Well, I want her fired! And put to
court for thievery!
                                                            
                       MME. GIRY
I-I-Please, sir! I-
                                                            
                       MONCHARMIN
Firmin, you’re being unreasonable!
Miss Giry, please tell us what you
know.
                                                            
                       MME. GIRY
This is what I know. On the first
of the month, every month, the
Opera Phantom collects his money
from that little tray-
      (SHE POINTS TO A
       SMALL CIGAR ASH
       TRAY. CAMERA CUTS
       TO IT)
The previous managers would give
me the money, and I would put it
there, and the next day, it would
be gone.
                                                            

28.

                       MONCHARMIN
How do you know that the Opera
Ghost takes the money? How do you
know that it is not some clever
trick?
                                                            
                       MME. GIRY
Because I have seen the Ghost do
it.
                                                            
(AS Mme. Giry RECOLLECTS, THE EVENTS ARE PLAYED OUT ON THE
SCREEN.)
                                                            
                       MME. GIRY (VO)
On the first of May two years ago,
I was cleaning this box after a
performance. I noticed that the
white envelope that I had placed
there earlier that day was still
sitting in the ash tray. I opened
it and looked inside, seeing that
the money was still there. I
counted it, checked it, and found
20, 000 francs. I moved to the
other side of the box to change
the cushions on an arm chair, and
as I leaned over, I heard a voice
say:
                                                            
                       ERIK, THE PHANTOM
      (IN MME. GIRY’S
       RECOLLECTION)
I have my money. Thank you very
much, kind woman.
                                                            
                       MME. GIRY (VO)
I was quite frightened, and stood
up immediately. The white envelope
had been replaced by a blood red
envelope, which I opened. Inside
was a yellow piece of paper that
read, ‘Your obedient Servant, OG’.
Oh yes, and he left me a box of
English sweets. A personal touch
from the ghost.
                                                            
(DISSOLVE BACK TO THE MANAGERS AND Mme. Giry IN BOX FIVE.)
                                                            
                       MME. GIRY
And that is how it happened.
                                                            

29.

                       MONCHARMIN
So, the ghost is defiantly the
spirit of a man?
                                                            
                       MME. GIRY
Man, yes. Spirit, no.
                                                            
                       MONCHARMIN
What?
                                                            
                       MME. GIRY
You see, he sits in the corner arm
chair. I’ve seen his figure
before. I’ve felt him tap me on
the back with very solid fingers.
I cannot imagine a spirit having
solid fingers.
                                                            
                       RICHARD
But you said that the Opera Ghost-
                                                            
                       MME. GIRY
A ghost does not have to be dead.
Any man can haunt a place.
                                                            
                       MONCHARMIN
But how can he move about so? I’ve
heard stories that at seven
o’clock he was seen in the foyer,
and not ten minutes later, he was
seen descending from the rooftop!
                                                            
                       MME. GIRY
Those things I cannot explain. But
I have explained as much as in
know.
                                                            
                       RICHARD
Well, we appreciate it, but you’re
still fired!
                                                            
                       MME. GIRY
WHY?
                                                            
                       RICHARD
Because we don’t trust you.
                                                            
                       MONCHARMIN
We?
                                                            

30.

                       RICHARD
Yes. I decided that you are fired.
And Armand agrees with me. Don’t
you, Armand?
                                                            
                       MONCHARMIN
No.
                                                            
                       MME. GIRY
See!
                                                            
                       RICHARD
      (YELLING FIERCELY)
LEAVE!
                                                            
(Mme. Giry LEAVES, DROPPING THE FEATHER DUSTER SHE HAD IN
HAND.)
                                                            
                       MONCHARMIN
Firmin, you have been drastically
unfair to that poor old maid!
                                                            
                       RICHARD
      (WITH CHILDLIKE
       STUBBORNNESS)
I don’t care. I don’t trust her,
and neither should you!
                                                            
                       MONCHARMIN
But-
                                                            
                       RICHARD
Hush, my friend! It is finished.
                                                            
 
INT. THE COMTE’S CARRIAGE - NIGHT
                                                            
SCENE FIVE
                                                            
RAOUL WRITES TO CHRISTINE, AND WHAT HAPPENS BECAUSE HE DID
                                                            
(CUT TO Raoul AND Philippe IN THEIR CARRIAGE)
                                                            
                       RAOUL
But, Philippe! We need to notify
the police!
                                                            
                       PHILIPPE
Raoul, I’m sure it is not all that
bad.
                                                            

31.

                       RAOUL
But she’s GONE. She went into her
dressing room, then
simply--disappeared!
                                                            
                       PHILIPPE
Why do you even care?
                                                            
                       RAOUL
We met several years ago at
Perros. Do you remember when I
took a trip there?
                                                            
                       PHILIPPE
Yes.
                                                            
                       RAOUL
We met, and then fell in love. And
when I had to leave, the both of
us were saddened greatly.
                                                            
                       PHILIPPE
I'm sorry you miss her.
                                                            
                       RAOUL
Yes. And then when I saw her at
the Opera, I was overjoyed! But,
for some reason, she--she ignored
me!
                                                            
(CUT TO THE INSIDE OF THE de Chagny HOUSEHOLD. IT IS A PLACE
OF OPULENCE, WITH NO EXPENSE SPARED TO MAKE ONE COMFORTABLE.
CUT TO THE FRONT DOORS. Raoul AND Philippe ENTER.)
                                                            
                       PHILIPPE
If you miss her so much, drop her
a line. Write her a letter. She
may answer.
                                                            
                       RAOUL
Good idea.
                                                            
(CUT TO Raoul SITTING AT HIS DESK. HE HAS A PEN IN HAND,
READY TO WRITE A LETTER ON THE PAPER IN FRONT OF HIM. HE
PAUSES TO THINK, THEN SPEAKS AS HE WRITES.)
                                                            
                       RAOUL
My dear Christine: I write to you
to inquire as to your coldness at
the Opera house the other night.
When you get this letter, please
respond. I would like to meet you
            (MORE)

32.

                       RAOUL (cont'd)
again. Your dear friend, Vicomte
Raoul de Chagny.
                                                            
(Raoul SEALS THE LETTER IN AN ENVELOPE, ADDRESSES IT, AND
EXITS HIS ROOM. HE FINDS HIS VALET.)
                                                            
                       RAOUL
      (TO HIS VALET)
Send this letter as soon as you
can, and report to me when I
receive a reply.
                                                            
(THE VALET TAKES THE LETTER, NODS, AND LEAVES.)
                                                            
(CUT TO Raoul EATING BREAKFAST THE NEXT MORNING. THE Valet
ENTERS THE DINING ROOM.)
                                                            
                       RAOUL
Any word from Christine yet?
                                                            
                       VALET
No, monsieur. Not today.
                                                            
(CUT TO Raoul WALKING THROUGH A GARDEN. HE HAILS HIS Valet.)
                                                            
                       VALET
Yes, Monsieur Vicomte.
                                                            
                       RAOUL
Any word from Christine yet?
                                                            
                       VALET
No, monsieur. Not today.
                                                            
(CUT TO Raoul IN A SWIMMING POOL. HE PUSHES HIMSELF UP ON
THE EDGE OF THE POOL AND HAILS HIS Valet.)
                                                            
                       VALET
      (BEFORE Raoul CAN
       ASK)
No word from Mademoiselle
Christine today, sir.
                                                            
                       RAOUL
But it has been two weeks! How can
she not have answered yet?
                                                            
                       VALET
Maybe it got lost in the mail,
monsieur.
                                                            
                       RAOUL
Should I write her another letter?
                                                            

33.

                       VALET
No. I think you should stop
worrying and carry on with your
life. But that’s just my opinion,
monsieur.
                                                            
(CUT TO Raoul IN HIS ROOM. HE IS LYING ON HIS BED, READING A
BOOK. A KNOCK COMES AT THE DOOR.)
                                                            
                       RAOUL
Come in.
                                                            
(THE Valet ENTERS. HE IS HOLDING AN ENVELOPE. Raoul SEES
THIS, AND THROWS THE BOOK AWAY, JUMPING UP. HE GRABS THE
ENVELOPE. CUT TO A CLOSE UP OF IT. WRITTEN ON IT IN A
FEMININE HANDWRITING IS, ‘TO THE VICOMTE de CHAGNY’. CUT
BACK OUT TO Raoul AND HIS Valet. Raoul SMILES APPRECIATIVELY
AT THE Valet.)
                                                            
                       RAOUL
Thank you, Valet. You are
dismissed.
                                                            
(THE Valet EXITS AS Raoul TEARS OPEN THE ENVELOPE.)
                                                            
(CAMERA CUTS TO THE LETTER. IT READS:)
                                                            
                       CHRISTINE (VO AS Raoul READS THE LETTER TO HIMSELF)
MONSIUER-Do not think that I have
forgotten my dear friend and
playmate from years ago. If you
are hasty, you may catch me, for
today I leave for Perros by way of
train. Tomorrow is the anniversary
of the death of my dear father,
and I feel that I must visit his
grave, for he is buried there. He
is buried at the bottom of the
slope where we first met several
years ago.
                                                            
(Raoul PLACES THE LETTER ON HIS DESK AND GRABS SOME FRESH
CLOTHES OUT OF HIS DRESSER. CUT TO THE EXTERIOR OF THE HOUSE
AS Raoul RUSHES DOWN THE FRONT STEPS. HIS VALET FOLLOWS HIM
IN A RUSH.)
                                                            
                       VALET
Monsieur Vicomte, where are you
going?
                                                            

34.

                       RAOUL
Tell Philippe I will be back in a
day or two. I am going to Perros.
Goodbye, my valet.
                                                            
(Raoul RUNS TO THE STABLES, SADDLES A HORSE, AND RIDES AWAY.
CUT TO Raoul ARRIVING AT THE TRAIN STATION. HE TIES UP HIS
HORSE AND RUSHES TO THE TICKET COUNTER.)
                                                            
                       RAOUL
One ticket to Perros.
                                                            
(Raoul RECEIVES THE TICKET, SHOVES A FIFTY AT THE AGENT, AND
RUNS INTO THE STATION. HE GETS ON THE TRAIN JUST AS IT IS
LEAVING. CUT TO Raoul SITTING ON THE TRAIN. HE IS ALONE IN
HIS COMPARTMENT. HE HOLDS THE LETTER IN HIS HANDS, SMILING
WITH JOY AS HE READS IT OVER AND OVER AGAIN. AS THE TICKET
CHECKER COMES THOUGH HIS COMPARTMENT, HE ASKS:)
                                                            
                       RAOUL
Sir, did a French girl board this
train earlier?
                                                            
                       TICKET DUDE
Why, yes. Yes, she did.
                                                            
                       RAOUL
May I inquire as to where she is
staying the night?
                                                            
                       TICKET DUDE
I believe...yes, she said at an
inn called the ‘Setting Sun’.
                                                            
(THE TRAIN JERKS TO A STOP. Raoul EXITS THE TRAIN AT A RUN.
TO HIS LUCK, THE ‘SETTING SUN’ IS RIGHT ACROSS FORM THE
TRAIN STATION. HE RUNS INTO THE INN, AND STRAIGHT INTO A
YOUNG WOMAN. IT IS Christine, BUT Raoul DOES NOT REALIZE
IT.)
                                                            
                       RAOUL
      (LOOKING AROUND)
I’m sorry, mademoiselle.
                                                            
                       CHRISTINE
Little Lotte thought of everything
and nothing. Her hair was gold as
the sun’s rays...
                                                            
(Raoul SUDDENLY REALIZES WHO IT IS.)
                                                            

35.

                       RAOUL
      (PICKING UP THE
       STANZA)
...And her soul as clear and blue
as her eyes.
      (HUGS Christine)
                                                            
                       CHRISTINE
I knew you would be here. Someone
told me so at mass.
                                                            
                       RAOUL
Who?
                                                            
                       CHRISTINE
My cherished Father!
                                                            
                       RAOUL
Your father?
                                                            
                       CHRISTINE
Yes, Raoul. My dearest Father.
                                                            
(THERE IS A BRIEF SILENCE.)
                                                            
                       RAOUL
And did your ‘father’ tell you
that I love you, Christine, and
cannot live without you?
                                                            
                       CHRISTINE
      (SHE BLUSHES AND
       LOOKS AWAY)
Well, he didn’t quite say that.
                                                            
                       RAOUL
But I do, Christine! I do!
                                                            
                       CHRISTINE
      (ON THE VERGE OF
       TEARS, TRYING TO
       HOLD IT BACK)
You are dreaming my friend. Love?
Me?
      (Christine LAUGHS
       JOVIALLY, TRYING
       TO MAKE HER FACE
       STRAIGHT AND
       TEARLESS)
                                                            

36.

                       RAOUL
Please do not laugh, my dear
Christine. I am quite serious.
                                                            
                       CHRISTINE
      (STOPS LAUGHING
       VERY SUDDENLY;
       TOO SUDDENLY, IN
       FACT, AND Raoul
       FEELS PUT OFF BY
       THE ODD GRAVENESS
       OF THE FOLLOWING
       STATEMENT)
I did not send for you to tell me
such things!
                                                            
                       RAOUL
You knew I would come, Christine.
How could you not know? And since
you knew, you must have also known
that I love your exceedingly.
                                                            
                       CHRISTINE
I thought that maybe you would
come for old time’s sake...you
know, to remember our fun we had,
the games we played that Father
often joined in...This combined
with the anniversary and your
sudden appearance at the Opera the
other evening...oh, I just wrote
as the little girl that I was when
we first met! I wanted us to be
children again! To play, to laugh,
to dance...
                                                            
                       RAOUL
Are you alright? You seem quite
nervous!
                                                            
                       CHRISTINE
I-I-
                                                            
(THERE IS ANOTHER BRIEF SILENCE.)
                                                            
                       RAOUL
Answer me in honesty, Christine.
Was the other night the first time
you noticed me at the Opera?
                                                            
                       CHRISTINE
      (LOOKING Raoul
       STRAIGHT IN THE
            (MORE)

37.

                       CHRISTINE (cont'd)
       FACE.)
No. I have seen you many times
before, when you sat with your
brother in his box.
                                                            
                       RAOUL
I thought so! If you did, then
why, when I questioned you at the
Opera, did you pretend not to know
me?
                                                            
(Raoul AND Christine STARE AT ONE ANOTHER. THEY ARE BOTH
SHOCKED THAT THEY ARE ARGUING. Raoul DOES NOT KNOW WHAT TO
DO, SO HE GOES ON ANGRILY.)
                                                            
                       RAOUL
You are not answering! I know the
answer. It is because you had
someone in your dressing room who
was jealous--afraid I could take
his place!
                                                            
                       CHRISTINE
      (COLDLY, RUDELY,
       VERY OFFENDED)
If anyone was jealous, it would be
you!
                                                            
                       CHRISTINE
      (SARCASTICALLY)
Oh, yes! Because you know how much
I love men!
      (GRABBING HER BY
       THE SHOUDLERS)
Now tell me, Christine. Who else
was in your room?
                                                            
                       CHRISTINE
Else-?
                                                            
                       RAOUL
Yes! The one to whom you said, 'I
sing to you and only you'!
                                                            
                       CHRISTINE
      (GRABBING Raoul
       FIERCELEY BY THE
       ARM)
You were listening behind the
door?
                                                            
                       RAOUL
Yes! Because I LOVE YOU.
                                                            

38.

                       CHRISTINE
What-what did you hear?
                                                            
                       RAOUL
Almost all of it. He said,
'Christine, you must love me! And
only me!' and 'I know that you met
someone
tonight; someone that could take
my place.'

                                                            
(BOTH RELEASE THE OTHER. Christine SWOONS, AND THEN TOPPLES
OVER. Raoul CATCHES HER AND STANDS HER BACK UP. Christine
COMES TO. CUT TO A CLOSE UP OF HER FACE. HER EYES ARE WIDE,
HER MOUTH HANGS OPEN SLIGHTLY. CUT TO HER EYE. A TEAR
FALLS.)

(CUT BACK OUT TO BODY SHOT OF THE TWO.)
                                                            
                       RAOUL
Christine!
                                                            
                       CHRISTINE
Raoul! I-I-
                                                            
(SHE HASTILY RUNS AWAY. Raoul FOLLOWS HER. Christine ARRIVES
AT HER ROOM, OPENS THE DOOR, AND SLAMS IT IN Raoul's FACE.
HE TRIES THE HANDLE, BUT THE ROOM IS LOCKED.)

(Raoul SLOWLY MAKES HI WAY TO THE FRONT DESK.)
                                                            
                       RAOUL
A room for one, please. Right next
to Mademoiselle Daae's, please.
                                                            
 
EXT. GRAVEYARD - DAY
                                                            
SCENE SIX
                                                            
'THE ANGEL OF MUSIC!'
                                                            
(Raoul IS WALKING AROUND THE GRAVEYARD. HE STOPS BY Mr.
Daae’s TOMB.)
                                                            
                       RAOUL
      (KNEELING IN
       PRAYER)
Oh, God the Father, Have mercy on
Monsieur Daae’s soul. And Lord,
bless Christine. Keep her safe.
            (MORE)

39.

                       RAOUL (cont'd)
      (CROSSING HIMSELF)
In the name of the Father, the
Son, and the Holy Spirit. Amen.
                                                            
(Raoul STANDS UP. HE WALKS AROUND THE GRAVES.)
                                                            
                       RAOUL
      (QUIETLY)
What pretty flowers!
                                                            
(Raoul WALKS OVER A NEARBY LOW WALL AND SITS ON IT. THE SUN
IS STARTING TO SET. A HAND COMES DOWN ON HIS SHOUDLER. HE
TURNS AROUND TO SEE Christine STANDING BEHIND HIM, SMILING.)
                                                            
                       CHRISTINE
Any korrigans out tonight?
                                                            
                       RAOUL
Beg pardon?
                                                            
                       CHRISTINE
Remember the story Father told us,
about the little people who live
in the moss?
                                                            
                       RAOUL
Yes. I used to look for them, and-
      (HAPPILY,
       REGAINING HIS
       COMFORT WITH
       Christine)
You used to pretend to see them
all the time!
                                                            
                       CHRISTINE
Only to please Father.
                                                            
                       RAOUL
And it was here that he told us of
the Angel of Music.
                                                            
                       CHRISTINE
      (SIGHS)
Raoul, I must tell you something.
About the Angel of Music.
                                                            
                       RAOUL
Go on.
                                                            
(Christine SITS DOWN ON THE WALL BESIDE Raoul.)
                                                            

40.

                       CHRISTINE
On his deathbed, Father told me,
‘When I die, I will send to you
from heaven the Angel of Music.
All great musicians meet him. He
will guide you.’
      (PAUSE)
Well, Raoul, my Father is now in
heaven, and I have been visited by
the Angel of Music.
                                                            
                       CHRISTINE
      (HE SAYS THIS JUST
       TO MAKE GO ALONG
       WITH Christine)
Oh, I have no doubt of it.
                                                            
                       CHRISTINE
Raoul-
      (SHE BRINGS HER
       FACE CLOSE TO
       Raoul’s)
How do you understand it?
                                                            
                       RAOUL
      (GOING TO KISS HER)
Because no human can sing as you
can without a miracle.
      (Christine MOVES
       HER FACE AWAY)
                                                            
                       CHRISTINE
Oh, Raoul!
                                                            
                       RAOUL
I know that no human professor can
teach you the perfect pitch and
tones that you sang at the Opera!
You have heard the Angel of Music.
                                                            
                       CHRISTINE
Yes, Raoul! I have! In my dressing
room! In my own dressing room!
Everyday, at eight o’clock, he
gives me my lesson!
                                                            
                       RAOUL
In you dressing room?
                                                            

41.

                       CHRISTINE
Yes, that is where I hear him. And
I have not been the only one to
hear him!
                                                            
                       RAOUL
Who else has heard him?
                                                            
                       CHRISTINE
Why, you my friend!
                                                            
                       CHRISTINE
I-I-I have heard the Angel of
Music?
                                                            
                       CHRISTINE
Yes, it was he who was talking the
other night! It was he who said,
‘Christine, you must love me and
only me.’ I thought that I was the
only one who could hear him, and
imagine my surprise when I found
that you could also hear him!
                                                            
                       RAOUL
I-I-
                                                            
(Raoul SUDDENLY BURSTS OUT LAUGHING.)
                                                            
                       CHRISTINE
      (SUDDENLY VERY
       FIERCE AND
       DEFENSIVE)
What are you laughing at? You
think that you heard the voice of
a man, don’t you?
                                                            
                       RAOUL
      (STILL LAUGHING,
       BUT GRADUALLY
       STOPPING)
Well...!
                                                            
                       CHRISTINE
Raoul! You, my friend? You, who
knew my father and befriended him,
too?
                                                            

42.

                       RAOUL
      (STRAIGHTENS UP
       AND STOPS
       LAUGHING)
I’m sorry! I did not mean to mock
you!
                                                            
                       CHRISTINE
But the fact is you did! How dare
you think that! What kind of a
girl do you think I am? I don’t
just lock myself up with men’s
voices! If you had opened the
door, you would have seen that
there was no one there!
                                                            
                       RAOUL
But I did open the door! And no
one was there!
                                                            
                       CHRISTINE
So, you see! Well, Raoul!
                                                            
                       RAOUL
      (HESITANTLY)
Well, Christine-I think-someone is
making of you a game.
                                                            
                       CHRISTINE
What?
                                                            
                       RAOUL
Some is playing a game of
cat-and-mouse with you, and you
are the mouse.
                                                            
                       CHRISTINE
      (SHE STANDS UP)
Well, if you don’t believe me, I
don’t fell that we should carry on
the conversation.
                                                            
(Christine WALKS AWAY, THEN BREAKS INTO A RUN TO THE INN.)
                                                            
                       RAOUL
      (STANDING UP TO
       FOLLOW HER)
Christine!
                                                            
                       CHRISTINE
Leave me! Go and leave me!
                                                            

43.

(CUT TO A BACK SHOT OF Raoul WATCHING Christine RUNNING TO
THE INN. WHEN SHE ENTERS, Raoul BREAKS INTO A FIERCE RUN TO
CATCH UP TO HER. HE THROWS OPEN THE DOOR OF THE INN AND
WALKS TO THE COUNTER.)
                                                            
                       RAOUL
Where is Mademoiselle Daae?
                                                            
(THE MAN AT THE COUNTER SLIDES A NOTE TO Raoul. CUT TO THE
NOTE. IT READS:
I WILL NOT BE DOWN TO DINNER. I WILL BE IN MY ROOM, WHICH
WILL BE LOCKED.)
                                                            
(Raoul ENTERS THE DINING ROOM SILENTLY AND EATS ALONE.
DISSOLVE TO HIM IN HIS ROOM. HE IS LYING ON HIS BED,
READING. HE CANNOT CONCENTRATE, SO HE THROWS THE BOOK AWAY.)
                                                            
                       RAOUL
      (ANGRILY)
What is going on?
                                                            
 
INT. RAOUL'S ROOM - NIGHT
                                                            
SCENE SEVEN
                                                            
THE UNSEEN VIOLINIST
                                                            
(CUT INTO Raoul’s ROOM. HE IS ASLEEP ON HIS BED. CUT TO A
SHOT OF FEMININE FEET TIP-TOEING FORWARD. THIS IS Christine.
CUT BACK TO Raoul’s ROOM. HE STIRS, BUT DOES NOT WAKE. CUT
TO Christine. SHE IS SHOWN IN HER NIGHTGOWN, TIP-TOEING
TOWARDS THE DOOR. SHE OPENS IT, AND IT CREAKS. CUT BACK TO
Raoul’s ROOM. HE AWAKES AS THE DOOR IS HEARD TO SHUT. HE
LOOKS HURRIEDLY AROUND THE ROOM, GRABS A SMALL HAND MIRROR,
AND RUNS TO THE DOOR. HE SHOVES THE MIRROR OUT OF THE CRACK
AT THE BOTTOM OF THE DOOR AND TILTS IT UP. HE SEES Christine
WALKS PAST THE DOOR. HE GRABS A LONG SLEEVED SHIRT AND
Christine. SHE LOOKS BEHIND HER, SEES NOTHING, AND THEN
CONTINUES DOWN THE HALLWAY. Raoul HIDES BEHIND THE LARGE
COLUMN THAT EXTENDS UP FROM THE BANNISTER. Christine PRESSES
THE DESK BELL HURRIEDLY. A TIRED LOOKING WOMAN RUSHES UP.
THE CONVERSATION IS INDISTINCT, AND ENDS WITH Christine
RECEIVING THE KEY OF THE INN. SHE EXITS THE FRONT DOOR.)

(Raoul RUSHES BACK TO HIS ROOM. HIS ROOM OVERLOOKS THE FRONT
OF THE INN. HE THROWS BACK THE CURTAINS AND SEES Christine
HASTILY WALKING TOWARDS THE CEMETERY.)
                                                            

44.

                       RAOUL
I must follow her! But how? She
has the only key back in...
      (Raoul OPENS THE
       WINDOW AND PEEKS
       HIS HEAD OUT. HE
       LOOKS BOTH WAYS,
       SEEING A TREE ON
       THE RIGHT SIDE)
Aha!
      (HE THRUSTS
       HIMSELF OUT THE
       WINDOW, GRABS THE
       TREE, AND CLIMBS
       DOWN)
                                                            
(Raoul FOLLOWS BEHIND HER, MAKING NO EFFORT TO HIDE HIS
FOOTSTEPS. THEY ARRIVE AT THE GRAVEYARD BY THE CHURCH. THE
CLOCK STRIKES. CUT TO THE CLOCK TOWER. IT SHOWS A QUARTER
UNTIL TWELVE. CUT BACK TO THE TWO. THE MOON IS VERY FULL,
AND CUT TO THE MOON AS CLOUDS MOVE AWAY TO BATHE THE
GRAVEYARD IN LIGHT. CUT BACK TO Christine. SHE KNEELS BY HER
FATHER’S GRAVE AND CROSSES HERSELF. SHE MURMURS PRAYER.
Raoul STANDS ALMOST DIRECTLY BEHIND HER, BUT SHE DOES NOT
SEE HIM. THE CLOCK STRIKES TWELVE. Christine LIFTS HER EYES
TO THE SKY, HER HANDS EXTEND AS IF PRAISING GOD. Raoul LOOKS
UP ALSO, AND AS HE DOES, A BEAUTIFUL STRAIN OF VIOLIN MUSIC
PLAYS. THE SONG IS THE ‘RESURRECTION OF LAZARUS’.)

(A SORT OF ‘DREAM SCENE’ IS SHOWN, WHERE Raoul REMEMBERS
THAT MR. Daae USED TO PLAY THAT SAME SONG. THE ‘DREAM SCENE’
BREAKS APART AS THE MUSIC ENDS.)

                                                            
                       ERIK, THE PHANTOM (HEARD, BUT NOT SEEN)
      (LAUGHS)
                                                            
(Christine STANDS UP. Raoul MOVES TO THE BEHIND AS SHE
LEAVES THE GRAVEYARD. THEY PASS A TALL PILE OF BONES.
Christine EXITS, BUT Raoul STOPS TO EXAMINE THE BONES.)
                                                            
                       ERIK, THE PHANTOM (HEARD, BUT NOT SEEN; COMES FROM BEHIND THE PILE OF BONES)
      (LAUGHS)
                                                            
(Raoul LOOKS UP THE PILE OF BONES. AGAINST THE WALL, A
SHADOW IS SEEN. THE CAMERA TILTS UP TO SHOW THAT A SKULL
ROLLS TO Raoul’s FEET, THEN ANOTHER, THEN ONE MORE. SEVERAL
MORE BONES ROLL DOWN AS THE PILE BEGINS TO FALL.)
                                                            

45.

                       RAOUL
The man who played the music
behind the pile must have knocked
it over!
                                                            
(HE RUNS TO THE BACK OF THE PILE AND SEES Phantom WALKING
AWAY. Phantom IS OBSCURED IN THE DARK, AND LOOKS VERY MUCH
LIKE A WALKING SHADOW. THE ONLY THREE-DIMENSIONAL ASPECT IS
THE CAPE, WHICH BLOWS IN THE WIND. Phantom WALKS FASTER,
Raoul RUSHING BEHIND. Phantom WALKS UP THE STEPS OF THE
CHURCH. Raoul FOLLOWS AND GRABS HIS CAPE.)
                                                            
                       ERIK, THE PHANTOM
I’m warning you, let go!
                                                            
                       RAOUL
WHO ARE YOU?
                                                            
                       ERIK, THE PHANTOM
No one!
                                                            
(AS HE SAYS THIS, Phantom TURNS AROUND VICIOUSLY. THE CAMERA
SWIRLS UPWARD AS Raoul SCREAMS, THEN CUT TO BLACK.)

(THE CAMERA BLINKS UP AGAIN. Raoul IS LYING ON A SOFA IN THE
FRONT ROOM OF THE INN. CUT OUT TO Christine AND THE LANDLADY
STARING OVER HIM. THE LANDLADY SHAKES HER HEAD, AND THEN
WALKS AWAY.)

                                                            
                       RAOUL
What happened?
                                                            
                       CHRISTINE
You were found on the steps of the
church. You fainted.
                                                            
(Christine TURNS TO WALK AWAY FROM Raoul. SHE HAS HER BAGS
READY, AND GRABS THEM AND LEAVES THE INN. Raoul JUMPS UP AND
FOLLOWS HER, BUT SHE IS RUNNING DOWN THE STREET BY THE TIME
HE LOOKS OUT THE DOOR. HE STEPS FORWARD AND STEPS ON
SOMETHING, HE LOOKS DOWN AND SEES A NOTE FROM Christine. HE
READS IT OUT LOUD:)
                                                            
                       RAOUL
'My dear Friend, If you love me
even a little, you must not try to
see me again. Your life, as well
as mine, depends on it. Your dear
Friend, Christine.'
                                                            
(SCENE FADES OUT.)
                                                            
 

46.

INT. OUTSIDE MANAGER'S OFFICE - DAY
                                                            
SCENE EIGHT
                                                            
THREATS
                                                            
(CAMERA FADES UP TO THE DOOR LEADING TO THE MANAGER’S
OFFICE. THE MANGERS ARRIVE AT THE SAME TIME, ONE ON EITHER
SIDE OF THE DOOR.)
                                                            
                       RICHARD
Good morning, Armand!
                                                            
                       MONCHARMIN
      (WITH LITTLE
       ENTHUSIASM)
Good morning.
                                                            
                       RICHARD
      (UNLOCKS THE DOOR
       TO THE OFFICE)
Why so glum?
                                                            
                       MONCHARMIN
      (ENTERING BEHIND
       Mr. Richard)
Because I disagree with your
decision yesterday.
                                                            
                       RICHARD
      (CLOSES DOOR)
On what?
                                                            
(AS THEY SPEAK, THEY CONTINUE TO WALK FORWARD.)
                                                            
                       MONCHARMIN
Your firing of Madame Giry.
                                                            
                       RICHARD
Oh wel-
      (HE TRIPS AND
       FALLS OVER A
       MUSIC STAND THAT
       IS PLACED RIGHT
       BETWEEN THE TWO
       MANAGER’S DESKS)
Who put this thing here?
                                                            
                       MONCHARMIN
      (ICKS UP THE STAND
       AND HELPS Mr.
       Richard STAND UP)
I don’t know. I didn’t.
                                                            

47.

                       RICHARD
Then put it away! I don’t want it
here!
                                                            
(Mr. Moncharmin GRABS THE STAND AND MOVES IT AWAY. THEN Mr.
Moncharmin NOTICES AN ENVELOPE STUCK INTO THE STAND.)
                                                            
                       MONCHARMIN
Look at this!
                                                            
(Mr. Moncharmin OPENS IT.)
                                                            
                       MONCHARMIN
This looks like to Phantom’s
handwriting!
                                                            
                       CHRISTINE
What?
      (HE GRABS THE
       NOTE. CAMERA CUTS
       TO IT BRIEFLY,
       AND THEN HE READS
       IT ALOUD:)
‘My Dear Managerial Friends...
So, you want a war? If you would
like peace at all, here is my
ultimatum. These are the terms:
One: Box Five must be given back
to me. Do not sell it.
Two: Christine Daae will return
today; he will sing the part of
Margaret. Do not bother with
Carlotta. She is ill.
Three: Madame Giry should get her
job back.
Four: Tell Madame Giry if you
accept the terms of payment laid
out in the contract.
If you refuse, you will show Faust
tonight in a cursed house.
Take my advice and be warned in
time-
Phantom of the Opera.’
                                                            
                       MONCHARMIN
Do you think it is really from the
ghost?
                                                            

48.

                       RICHARD
No!
      (SLAMS HIS FIST ON
       HIS DESK)
I am sick of him! Dead sick!
                                                            
(A KNOCK UPON THE DOOR.)
                                                            
                       MONCHARMIN
Come in.
                                                            
(Lachchnel, THE HEAD STABLEMAN, ENTERS, LOOKING VERY
IRRITATED.)
                                                            
                       LACHCHNEL
I have to tell you something about
one of the horses.
                                                            
                       RICHARD
Horses?
                                                            
                       MONCHARMIN
No! What secrets this Opera holds!
                                                            
                       LACHCHNEL
Yes. There is a stable in the
cellars. There are twelve horses
there. Didn't you know that?
                                                            
                       LACHCHNEL
Apparently, it is not a secret.
Because one of the horses has been
stolen.
                                                            
                       RICHARD
What!
                                                            
                       LACHCHNEL
Yes. Cesar, one of the horses from
The Prophet, has disappeared. So
fire all the stableman as a
precaution.
                                                            
                       MONCHARMIN
Don’t we have a horse understudy
or something?
                                                            
                       LACHCHNEL
No. which is why you need to fire
all the stableman, except me.
                                                            
                       RICHARD
Who are you, anyway?
                                                            

49.

                       LACHCHNEL
My name is Rydel Lachchnel, and I
am the head stable man. So don’t
fire me.
                                                            
                       MONCHARMIN
Have you any idea how the horse
disappeared?
                                                            
                       LACHCHNEL
There are many rumors. It could
have wandered off and drowned in
the lake.
                                                            
                       MONCHARMIN
There’s a lake?
                                                            
                       RICHARD
Where?
                                                            
                       LACHCHNEL
Yes. The Opera was built over a
lake--sort of. It is a long story.
Anyway, one of the cellars is
completely flooded. Hence, a lake.
                                                            
                       MONCHARMIN
Wow!
                                                            
                       LACHCHNEL
But--and this is between you and
me and this other fellow--
      (HE BECKONS THE
       TWO MANAGERS
       CLOSER. THEY LEAN
       IN TO HEAR)
It was the Phantom.
                                                            
                       RICHARD
Oh, God in heaven, you’re all
obsessed!
                                                            
                       MONCHARMIN
Firmin, calm down!
      (CALMER; TO
       Lachchnel)
How do you know it was, 'The
Phantom'?
                                                            
                       LACHCHNEL
Because, in the distance, I saw a
black dot riding away on a white
dot!
                                                            

50.

                       RICHARD
      (SARCASTICALLY)
And the only thing a black dot on
a white dot could be is the Opera
Ghost riding Cesar!
                                                            
                       LACHCHNEL
      (VERY SERIOUSLY)
Yes.
                                                            
(Madame Giry BARGES IN.)
                                                            
                       MME. GIRY
Monsieur Richard, Monsieur Armand,
the Phantom said you needed to
tell me-
                                                            
(Mr. Richard LETS OUT A FIERCE YELL. HE GRABS Madame Giry
AND SPINS HER AROUND, PUSHING HER OUT THE DOOR AND THEN
SLAMMING THE DOOR. CAMERA FOLLOWS HER TO THE HALLWAY.)

(PAUSE.)
                                                            
                       MME. GIRY
Hey!
      (SHE TRAMPS
       FURIOUSLY DOWN
       THE HALL)
                                                            
(CUT BACK TO THE DOOR. IT IS FLUNG OPEN, AND Lachchnel COMES
SPINNING OUT OF THE DOOR.)
                                                            
                       LACHCHNEL
So, are they all fired?
                                                            
                       RICHARD
      (STICKING HIS HEAD
       OUT THE DOOR)
NO!
                                                            
(DOOR SLAMS. CUT BACK INTO THE OFFICE. MR. Moncharmin SITS
DOWN AT HIS DESK, AND SO DOES Mr. Richard. THEY DESKS ARE
ARRANGED SO THAT WHEN THEY SIT, THE TWO MANAGERS ARE FACING
EACH OTHER.)
                                                            
                       RICHARD
What in the world is happening?
Horses diassapear, singers
disappear, soon money will be
disappearing right out of our
pockets!
      (HE PAUSES, AND
            (MORE)

51.

                       RICHARD (cont'd)
       QUICKLY RECOVERS
       FROM THIS
       OUTBURST)
So, who to replace Madame Giry?
                                                            
                       MONCHARMIN
So, Madame Giry really is fired?
      (Mr. Richard NODS)
Well, since that is the case, I
have an idea. I have a cousin in
London--
                                                            
                       RICHARD
So? I do, too!
                                                            
                       MONCHARMIN
Armand, let me finish! I have a
cousin in London who worked at His
Majesty’s Theatre as a concierge.
She can come--
                                                            
                       RICHARD
Perfect! She’s hired!
                                                            
                       MONCHARMIN
Good! I'll telegram her right
away!
                                                            
(CUT TO AN OPULENT BEDROOM. IT IS Carlotta’s ROOM. SHE SITS
UP IN THE BED, STRETCHES, AND THEN COUGHS VIOLENTLY.)
                                                            
                       CARLOTTA
Maid! Maid!
                                                            
(Maid ENTERS WITH A TRAY OF FOOD.)
                                                            
                       MAID
      (SHE PLACES THE
       TRAY OF FOOD ON
       Carlotta's BED)
Yes, Senora Guidacelli?
                                                            
                       CARLOTTA
      (OVERLY DRAMATIC)
I feel terribly sick! That
vomiting just hasn’t gone away!
                                                            
                       MAID
I’m sorry, Senora.
                                                            

52.

                       CARLOTTA
      (STUFFING HER
       MOUTH WITH FOOD)
Have I any mail, Maid?
                                                            
                       MAID
      (CLEARLY DISGUSTED
       BY Carlotta's
       GLUTTONY)
Actually, you have only one piece
of mail: it is this.
      (SHE HANDS HER A
       PIECE OF PAPER
       THAT IS FOLDED
       OVER TWO TIMES)
                                                            
(CAMERA CUTS TO IT AS Carlotta OPENS IT. THE NOTE IS WRITTEN
BY Phantom. IT READS:
Do not perform tonight. If you do, a fate worse than death
awaits you.)
                                                            
                       CARLOTTA
      (DARKLY)
Daae...
      (SHE PUSHES HER
       TRAY OF FOOD AWAY)
Maid! Help me get dressed!
                                                            
                       MAID
But I thought you said that you
were sick!
                                                            
                       CARLOTTA
      (SHE VERITABLY
       JUMPS OUT OF HER
       BED)
Well, I feel better now! So HELP!
                                                            
                       MAID
      (HELPING Carlotta)
Why so eager?
                                                            
                       CARLOTTA
Because Christine Daae is trying
to knock me off of my pedestal!
She thinks that just because she
sang well one night means that she
can take over the whole Opera
Garnier! Well, she is wrong!
      (SHE IS NOW
       DRESSED. SHE
       GRABS AND COMB
       AND VISCIOUSLY
            (MORE)

53.

                       CARLOTTA (cont'd)
       COMBS HER HAIR,
       AS IF EACH STRAND
       WAS A LITTLE
       Christine THAT
       SHE WANTED TO
       'STRAIGHTEN OUT')
Herself and her little friend, the
Vicomte de Chagny are trying to
overthrow me! A cabal! A fight!
But they won't win! I'll show
them! Even if my last breath would
be breathed tonight, I would use
it to sing the role of MARGARET!
      (SHE STORMS OUT OF
       HER ROOM. THE
       MAID IS LEFT
       ALONE)
                                                            
                       MAID
      (BEGINNING TO MAKE
       THE BED; SHE IS
       NOW TALKING TO
       HERSELF)
Well, Carlotta, if anyone started
a cabal, it would be you and your
friends!
                                                            
(CUT TO THE OUTSIDE OF THE OPERA GARNIER. Carlotta DRIVES UP
IN HER COACH, JUMPS OUT, AND STALKS INTO THE BUIDLING. SHE
HURRIEDLY WALKS TO HER DRESSING ROOM AND OPENS THE DOOR.
WHEN SHE ARRIVES, A GROUP IS WAITING FOR HER. IT IS TEN OR
FIFTEEN WOMAN. THESE ARE Carlotta's Friends.)
                                                            
(Carlotta SITS DOWN AT THE HEAD OF THE GROUP. THEY CROWD
AROUND HER EXPECTANTLY.)
                                                            
                       CARLOTTA'S FIRST FRIEND
So...?
                                                            
                       CARLOTTA
      (AFTER A DRAMATIC
       PAUSE)
I'm in!
                                                            
(THE WOMEN GIGGLE AND LAUGH WITH JOY.)
                                                            
                       CARLOTTA
Now, my friends, remember the
plan. Tonight, when you arrive,
where are you to sit?
                                                            
                       CARLOTTA'S SECOND FRIEND
In the center stalls!
                                                            

54.

                       CARLOTTA
Good job! And when I finish my two
lines in Act Two...
                                                            
(THE WOMAN STAND UP AND CHEER LOUDLY. Carlotta QUIETS THEM.)
                                                            
                       CARLOTTA
Good job, my friends! We’ll show
Daae who is boss!
                                                            
                       CARLOTTA'S FIRST FRIEND
Yes! The Carlotta Cabal strikes
again!
                                                            
                       CARLOTTA
      (STERNLY TO HER
       FRIEND)
It is not a cabal, Piette. It is
an uprising.
                                                            
                       CARLOTTA'S FIRST FRIEND
Whatever you say! The Carlotta
Uprising will rise up!
                                                            
(CUT TO THE HALLWAY OUTSIDE Carlotta's DRESSING ROOM. CHEERS
AND LAUGHTER COME FROM Carlotta’s DRESSING ROOM. Christine
ENTERS THE FRAME, CARRYING HER SMALL BAG FROM PERROS. SHE
HEARS THE CHEERS, SIGHS, AND ENTERS HER OWN DRESSING-ROOM.
SHE PLACES HER BAGS DOWN, SITS IN A CHAIR, AND SIGHS.)
                                                            
                       CHRISTINE
Well, I guess no more ‘Margaret’
for me!
                                                            
                       ERIK, THE PHANTOM
      (HEARD, BUT NOT
       SEEN)
No, my dear! You will play
Margaret! I have already made sure
of it!
                                                            
                       CHRISTINE
Oh, Angel! Thank you!
                                                            
 
INT. OPERA HOUSE THEATRE - NIGHT
                                                            
SCENE NINE
                                                            

55.

FATAL FOUST
                                                            
(CUT TO THE THEATRE OF THE OPERA HOUSE. PEOPLE FILE IN. CUT
TO AN ENORMOUSLY FAT WOMAN DRESSED IN A GAUDY ORANGE DRESS.
THIS IS Moncharmin's Cousin, THE CONCIERGE FROM ENGLAND.
Moncharmin's Cousin STICKS OUT FROM EVERYONE IN THE OPERA
BECAUSE OF HER CRAZY DRESS. SHE ENTERS AND SITS IN THE
CENTER STALLS. CAMERA PANS DOWN THE ROW TO SHOW THAT
Carlotta's Friends ARE ALSO SITTING IN THESE STALLS.)

(CUT TO A BOX. Raoul AND Phillipe ENTER. Raoul LOOKS AROUND
SADLY, THEN SITS DOWN.)
                                                            
(CUT TO BACKSTAGE. Christine IS DRESSED IN THE MARGARET
COSTUME. SHE IS PRACTISING HER SCALES OR SOMETHING OF THAT
NATURE. Mr. Moncharmin AND Mr. Richard HURRY AROUND
BACKSTAGE, CHECKING ON PEOPLE. THEY NOTICE Christine, AND
RUN OVER TO HER.)
                                                            
                       RICHARD
Mademoiselle Daae, what are you
doing?
                                                            
                       MONCHARMIN
Take that dress off and give it to
Senora Guidacelli!
                                                            
                       CHRISTINE
I thought that I was going to play
Margaret tonight.
                                                            
(Carlotta WALKS UP BEHIND Christine WITH A LOOK OF MINGLED
DISGUST AND TRIUMPH ON HER FACE.)
                                                            
                       RICHARD
Well, you were wrong!
                                                            
                       CARLOTTA
Yes, very wrong!
      (SHE GRABS
       Christine's
       SHOULDER AND
       SPINS Christine
       AROUND TO FACE
       HER)
Give me that dress!
                                                            
                       RICHARD
Well, go to the dressing room and
give it to her!
                                                            
(Carlotta AND Christine HEAD AWAY.)

56.


(CUT TO Phantom LURKING ABOVE THE STAGE ON A ROPE BRIDGE. HE
SEES THIS AND HURRIES OFF. CAMERA FOLLOWS HIM. AS HE IS
LEAVING, HE GRABS A LONG, SHARP KNIFE OR SOMETHING TO THAT
EFFECT OFF OF A TABLE.)

(CUT TO Carlotta WALKING AWAY WITH Christine.)
                                                            
                       CARLOTTA
      (SARCASTICALLY)
Thank you for the kind notes,
Christine.
                                                            
                       CHRISTINE
What do you mean? I never sent you
a note!
                                                            
                       CHRISTINE
But I promise, I didn't write
those notes!
                                                            
                       CARLOTTA
Don't pretend you don't know,
Daae! I got your note this
morning! The one that basically
told me not to sing tonight, and
the other note that I received
just a minute ago!
      (SHE WHIPS THE
       NOTE OUT OF HER
       BOUSTIER AND
       READS IT TO
       Chrisinte)
'You have a terrible cold. You
would see that it is madness to
try to sing tonight!'
                                                            
(Mr. Richard AND Mr. Moncharmin PASS THE FRONT OF THE
ORCHESTRA PIT AS THEY GREET PEOPLE. Mr. Richard NOTICES THE
GAUDY DRESS OF Moncharmin's Cousin. Mr. Richard POINTS TO
HER.)

                                                            
                       RICHARD
Who is that ghastly woman?
                                                            
                       MONCHARMIN
That is my cousin, the concierge
from England. She's never been to
the Opera before!
                                                            

57.

(THE LIGHTS DIM. THE MANAGERS HURRY OFF.)

(CUT TO BOX FIVE. Kind Man AND Kind Woman ARE SITTING IN THE
BOX. THE MANAGERS ENTER FROM THE BACK. THEY GREET THE TWO
INDIVIDUALLY. THE MANAGERS SIT DOWN, Mr.Richard SITTING IN
'THE GHOST'S CHAIR', THE CORNER ARM CHAIR. Mr. Moncharmin
SITS NEXT TO HIM.)
                                                            
                       RICHARD
This chair is rather comfortable,
though it may be haunted!
      (LAUGHS HEARTILY)
                                                            
(CUT TO THE STAGE. THE CURTAIN RISES.)
                                                            
                       'DR. FAUST'
      (SINGING)
Vain! In vain do I call, through
my vigil weary,
On creation and its Lord!
Never reply will break the silence
dreary!
No sign! No single word!
                                                            
(CUT TO Mr. Richard AND Mr. Moncharmin IN BOX FIVE.)
                                                            
                       RICHARD
      (LEANS OVER TO Mr.
       Moncharmin;
       WHISPERS)
So, has the ghost said anything to
you yet?
                                                            
                       MONCHARMIN
      (ASSURINGLY)
Don't be in such a hurry, friend!
      (HE THINKS UP A
       JOKE OF HIS OWN)
But, you know, the ghost does not
usually come until the middle of
the first act!
                                                            
(DISSOLVE TO A WIDE SHOT OF THE STAGE. THE FIRST ACT
FINISHES, AND THE CURTAIN CLOSES. A TITLE CARD COMES UP:
'Act One
Finished'.)

(CUT TO BOX FIVE.)
                                                            
                       RICHARD
Well, one is finished! The ghost's
watch must have stopped!
                                                            

58.

                       MONCHARMIN
Yes, he is late!
                                                            
                       RICHARD
      (HE SURVEYS THE
       HOUSE)
It reall isn't that bad of a
house--
      (IN UNISON WITH
       Mr. Moncharmin)
For a house with a curse on it!
                                                            
                       MONCHARMIN
      (IN UNISON WITH
       Mr. Richard)
For a house with a curse on it!
                                                            
(CUT TO THE STAGE. THE CURTAIN RAISES, AND Carlotta SINGS
HER ONLY LINE IN ACT TWO:)
                                                            
                       CARLOTTA
      (SUNG)
No, my lord, not a lady am I, nor
yet a beauty, And do not need an
arm to help me on my way!
                                                            
(A LOUD APPLAUSE IS HEARD FROM THE AUDIENCE. CUT TO THE
CENTER STALLS TO SHOW Carlotta's Friends STANDING UP AND
CHEERING LOUDLY. CUT BACK UP TO THE STAGE. Carlotta BOWS
AND RECEIVES HER APPLAUSE. SHE TURNS TO Christine, WHO PLAYS
A VERY SMALL PART, AND Christine BEGINS TO SING HER LINES.)
                                                            
                       CHRISTINE
      (SUNG)
My lady, but you are so beautiful!
You-
      (SHE LOOKS UP AND
       SEES Raoul IN HIS
       BOX. CUT TO THE
       BOX TO SHOW Raoul
       AND Phillipe
       WATCHING THE
       SHOW. Christine
       SEES Raoul, AND
       HER VOICE BECOMES
       SOFTER, AND SHE
       BASCIALLY SPEAKS
       THE NEXT LINE)
Do not need an arm, I agree.
                                                            
(CUT TO Raoul's BOX. HE BEGINS TO CRY AND COVERS HIS FACE
WITH HIS HANDS.)

59.


(CUT TO KIND WOMAN SITTING IN BOX FIVE. SHE IS THOROUGHLY
ENJOYING THE PERFORMANCE. SUDDENLY, A PAIR OF WHITE LIPS
APPEAR BEHIND HER, AND THEY WHISPER TO HER.)
                                                            
                       ERIK, THE PHANTOM
My dear, you really should leave.
                                                            
                       KIND WOMAN
      (SHE BELIEVES IT
       TO BE HER HUSBAND)
What, my husband?
                                                            
                       KIND MAN
I did not say anything!
                                                            
                       ERIK, THE PHANTOM
That was me.
                                                            
(THE COUPLE TURNS AROUND TO SEE THE DISEMBODIED LIPS. THEY
JUMPS UP IN SURPRISE AND QUICKLY LEAVE THE BOX.)
                                                            
                       MONCHARMIN
      (TO Kind Woman)
Where are you going?
                                                            
                       KIND WOMAN
Leaving!
                                                            
(THE TWO MANAGERS ARE NOW LEFT ALONE. A FAINT CHUCKLE IS
HEARD BEHIND THEM.)
                                                            
                       RICHARD
Was that you, Armand?
                                                            
                       MONCHARMIN
No! I thought it was--
      (SUDDENLY REALISES
       WHAT HAS HAPPENED)
It is the Ghost!
                                                            
                       RICHARD
Oh, please!
                                                            
                       MONCHARMIN
Phantom! Is that really you?
                                                            
                       ERIK, THE PHANTOM
Remember my note? Prepare!
                                                            
(CUT TO THE STAGE. Carlotta IS SINGING.)
                                                            

60.

                       CARLOTTA
      (SUNG)
Oh, how strange! Like a spell does
the evening bind me! And a deep
languid cha--
      (SUDENLY, HER
       VOICE CRACKS. SHE
       LOOKS APALLED)
                                                            
(CUT TO THE AUDIENCE. THEY GASP SLIGHTLY. CUT TO Carlotta's
FRIENDS. THEY LOOK AT EACHOTHER, THEN STAND UP AND CLAP
LOUDLY. CUT TO THE STAGE. Carlotta GESTURES FOR THEM TO BE
QUIET, THEN BEGINS THE LINE AGAIN.)
                                                            
                       CARLOTTA
Oh, how strange! Like a spell does
the evening--
      (CRACK!)
                                                            
(CUT TO BOX FIVE. THE TWO MANAGERS ARE SLOWLY SINKING DOWN
IN THEIR SEATS. A CHUCKLE COMES FROM BEHIND THEM. A
WHOOSHING NOISE IS HEARD, AND THE CAMERA FOLLOWS A DARK
FIGURE--Phantom--AS HE LEAVES THE BOX. CUT TO THE CHANDELIER
RIGGINGS. Phantom BEGINS TO SAW AWAY AT ONE OF THE METAL
PARTS THAT HOLDS IT. THE PARTS WOBBLE, AND Phantom LEAVES.
CUT BACK TO BOX FIVE.)
                                                            
                       RICHARD
      (VERY FRIGHTENED)
So there i-i-is Phantom!
                                                            
(CUT BACK TO THE STAGE. Carlotta CONTINUES TO TRY, BUT
FINALLY GIVES UP AND, IN EXTREME EMBARESSMENT. CUT BACK TO
BOX FIVE. THE TWO MANAGERS ARE TREMBLING IN THEIR SEATS.
Richard MOANS.)
                                                            
                       ERIK, THE PHANTOM
      (ONLY HIS WHITE
       LIPS ARE SEEN)
Well, my friends! Carlotta is
singing tonight to bring the house
down! Or, at least, the
chandelier!
      (A SMALL CLAP, AS
       THE TRAPDOOR
       Phantom USES
       SHUTS. THE DOOR
       IS NOT SEEN.)
                                                            
(THE MANAGERS LOOK UP IN FRIGHT TO THE CHANDELIER, AND THE
CAMERA FOLLOWS THEIR GAZE UPWARD.)


61.

(CUT TO A CLOSE UP OF THE CHANDELIER RIGGINGS. THEY CREAK,
TOTTER, AND--WITH A LITTLE COAXING FROM Phantom's
HAND--FINALLY SNAP.)

(CUT A WIDE SHOT OF THE CHANDELIER. IT SHAKES AND JIGGLES,
THE CRYSTALS AND LIGHTS RATTLING.)

(CUT TO THE HOUSE. PEOPLE LOOK AROUND TO SEE WHY THE LIGHTS
ARE DIMMING AND LIGHTING.)

(CUT BACK TO THE CHANDELIER. IT WOBBLES, THEN TIPS SIDEWAYS
SO THAT THE SHARP, ROUNDNED END IS POINTED DOWN.)
                                                            
                       RICHARD
      (FROM BOX FIVE)
LOOK OUT!
                                                            
(THE CHANDELIER FALLS STRAIGHT DOWN. THE AUDIENCE RUSH FOR
THEIR LIVES. THE AREA WHERE IT FALLS IS RIGHT IN THE CENTER
OF THE STALLS, WHERE Carlotta's Friends AND Moncharmin's
Cousin ARE SITTING.)

(CUT TO Moncharmin's Cousin. SHE LOOKS UP IN FRIGHT. CUT TO
AN OVERHEAD SHOT AS THE CHANDELIER PLUNGES DOWNWARD. CUT TO
A SHOT OF Phantom LOOKING DOWN FROM THE RIGGING AREA AND
LANDING.

(CUT BACK TO CHANDELIER. IT HEADS STRAIGHT FOR Moncharmin's
Cousin, AND JUST WHEN IT WOULD HIT Moncharmin's Cousin, THE
CAMERA CUTS OUT IN A FLASH OF RED AND A LOUD CRASH AND
Phantom LAUGHING.)
                                                            
 
EXT. OUTSIDE OPERA HOUSE - DAY
                                                            
SCENE TEN
                                                            

62.

MANAGERS, MIFROID, AND MAMA
                                                            
(CUT TO THE OUTSIDE OF THE OPERA HOUSE. THE CAMERA ZOOM IN
ON THE 'FAUST' POSTER. A 'CANCELLED' SIGN HAS BEEN PASTED
OVER IT.)

(CUT TO THE MANAGER'S OFFICE. A NEWSPAPER SLAMS DOWN ON THE
DESK. THE HEADLINE, 'MANY INJURED AND THREE DEAD! A
CHANDELIER ON THE HEAD OF A CONCIERGE!')

(CUT OUT TO SHOW Mr. Richard, Mr. Moncharmin, AND THREE
OTHER MEN. TWO ARE THE OLD MANGERS OF THE OPERA, Mr. Poligny
AND Mr. Debienne. THE OTHER IS Mr. Mifroid, THE HEAD OF
POLICE.)

(ALSO OF NOTE IS THE FACT THAT Mr. Moncharmin AND Mr.
Richard LOOK ENTREMLEY HARRIED, CONFUSED, AND UNKEMPT. THEY
HAVE NOT COMBED THEIR HAIR OR CHANGED CLOTES SINCE THE
CHANDELIER CRASH THE PREVIOUS DAY. THEY HAVE LOCKED
THEMSELVES IN THE OFFICE TO ESCAPE THE PRESS.)
                                                            
                       MIFROID
Gentlemen, it is a shame! A shame,
I tell you!
                                                            
                       POLIGNY
Yes, Monsieur Mifroid! We know it.
But what could have caused it?
                                                            
                       MIFROID
Mr. Poligny and Mr. Debienne--you
are the previous managers of the
Opera. Why was the chandelier not
secured?
                                                            
                       DEBIENNE
We had the chandelier checked
every single month! When we left
the position of joint-manager and
gave it to Armand and Firmin--
      (HE GESTURES TO
       Mr. Moncharmin
       AND Mr. Richard)
It was the first of the month of
September. They shoudl have
checked the chandelier that month!
                                                            

63.

                       MONCHARMIN
But Mr. Mifroid! We did check it!
That very day, a stage hand
checked the chandelier to make
sure the riggings were placed
correctly! Mr. Buquet told me
eveything was in order!
                                                            
                       MIFROID
Isn't he the one that died shortly
thereafter?
                                                            
                       MONCHARMIN
Well, yes. But--
                                                            
                       MIFROID
Did you check the chandelier in
the month of October?
                                                            
                       RICHARD
Yes! And it was in fine order!
                                                            
                       MIFROID
And were you planning on checking
it tomorrow, which is the first of
November?
                                                            
                       RICHARD
      (IN UNISON WITH
       Mr. Moncharmin)
YES!
                                                            
                       MONCHARMIN
      (IN UNISON WITH
       Mr. Richard)
YES!
                                                            
                       MIFROID
      (CLOSING THE
       NOTEBOOK HE WAS
       TAKING NOTES IN)
Well, I have my case, then!
                                                            
                       POLIGNY
You mean, that is it?
                                                            
                       MIFROID
      (STRARTING TOWARDS
       THE DOOR)
Yes. I have concluded it was an
accident.
      (NOTE THE LOOK OF
       STUPEFICATION ON
            (MORE)

64.

                       MIFROID (cont'd)
       THE FACE OF THE
       FOUR OTHER MEN)
An accident. Goodbye!
      (HE EXITS)
                                                            
                       POLIGNY
Was it really an accidnet, Armand?
                                                            
                       MONCHARMIN
      (SLIGHTLY CRAZED)
No, Mr. Poligny. It was the
Phantom. The Opera Ghost. He
whispered to us.
                                                            
                       POLIGNY
I knew it. Oh, and don't forget!
Tomorrow you must fulfill your
part of the lease with the Ghost!
                                                            
(Mr. Poligny AND Mr. Debienne NOD IN AGREEMENT, THEN EXIT.)
                                                            
                       RICHARD
      (HE WALKS OVER TO
       HIS DESK AND
       RUMMAGES THROUGH
       A DRAWER)
I assume so--
      (HE TAKES OUT
       SEVERAL PIECES OF
       PAPER AND FLIPS
       THROUGH THEM)
I guess...look here!
                                                            
                       MONCHARMIN
The lease? The one we signed that
made us official managers?
                                                            
(CAMERA CUTS TO THE LEASE. IN RED, Phantom HAS WRITTEN: 'ON
THE FIRST OF EVERY OTHER MONTH, THE GHOST SHALL RECEIVE A
PAYMENT OF 20, 000 FRANCS.' CUT BACK OUT.)
                                                            
                       RICHARD
That is tomorrow!
                                                            
(A KNOCK ON THE DOOR. Raoul ENTERS THE ROOM. HE WALKS UP TO
THE MANAGERS SOLEMNLY AND SHAKES EACH MANAGER'S HAND.)
                                                            
                       RAOUL
Where is Christine Daae?
                                                            
                       MONCHARMIN
She has requested a leave of
health.
                                                            

65.

                       RAOUL
So, she's sick?
                                                            
                       RICHARD
I assume so.
                                                            
                       RAOUL
Did the Opera doctor visit her?
                                                            
                       RICHARD
      (FIERCLEY)
She did not ask for him. And
because we trust, unlike you, Mr.
l'Vicomte, we took her word!
                                                            
                       RAOUL
But--just tell me where she is!
                                                            
                       MONCHARMIN
We don't know! Now, please leave!
                                                            
(Raoul LEAVES, HIS HEAD HANGING IN SADNESS.)
                                                            
(CUT TO THE BED OF A VERY OLD WOMAN. TWO PAINTINGS HANG OVER
THE BED, ONE OF Prof. Valerius, AND THE OTHER OF Charles
Daae. THEY ARE DENTOED BY BRONZE PLATES UNDERNEATH EACH
PAINTING.)

(THIS OLD WOMAN IS Mama Valerius, MANY YEARS OLDER THAN WHEN
SEEN EARLIER IN THE FILM.SHE IS PLAYING WITH A DOLL OR
SOMETHING LIKE THAT. THOUGH AGED IN YEARS, SHE STILL HAS THE
HEART OF A TEN YEAR OLD GIRL. HER MAID ENTERS HER ROOM.)
                                                            
                       MAMA'S MAID
Madame Valerius, a young man is
here to see you. Ralph or
something.
                                                            
                       MAMA VALERIUS
Ralph...I don't think...Oh! That
is Raoul! I remember! He met dear
Christine several years ago! Send
him in straightaway!
                                                            
(Mama's Maid EXITS, AND RETURNS IN A MOMENT WITH Raoul.)
                                                            

66.

                       MAMA VALERIUS
Raoul! Oh, Raoul! Come and embrace
me, my dear! I remember you from
Perros! It was a short visit, bu
memorable! Remember when
Charles--I mean, Monsieur Daae, of
course--told us about the Angel of
Music? Do you remember?
                                                            
                       RAOUL
      (SITS DOWN IN A
       CHAIR)
I am not going to beat around the
bush: Where is Christine?
                                                            
(Mama Valerius PUSHES BACK THE COVERS OF HER BED AND GENTLY
GETS OUT. SHE HOBBLES OVER TO A CHAIR NEXT TO Raoul AND LOOK
AT HIM SWEETLY, POKING HIS SHOULDER IN A PLAYFUL MANNER.)
                                                            
                       MAMA VALERIUS
      (SHE SINGS THE
       LAST THREE WORDS)
Silly boy! She is with the Angel
of Music!
                                                            
                       RAOUL
      (DUMBFOUNDED)
She really is?
                                                            
                       MAMA VALERIUS
Why of course, boy! Hahaha! Her
godd genius takes her and trains
her! He lives--everywhere! Because
he is an angel!
                                                            
(CUT TO TH EDOOR OF Mama Valerius's APARTMENT. Raoul COMES
OUT THE DOOR, HIS HANDS SHOVED SADLY IN HIS POCKETS.)
                                                            
                       RAOUL
Angel of Music--sheesh!*
      (*OR SOME SIMILAR
       EXCLAMATION)
                                                            
(A SORT OF 'DREAM BUBBLE' APPEARS OVER HIS HEAD AS HE WALKS
DOWN THE ROAD. IN IT IS A HANDSOME MAN SITS ON THE GROUND
WITH A HARP. Christine SITS ON HIS LAPS, STOKING HIS HAIR.)
                                                            
                       HOT GUY RAOUL THINKS IS ANGEL OF MUSIC
      (ROMANTICALLY)
Sing for me, Christine.
                                                            
                       CHRISTINE
Anything for you, my Angel!
                                                            

67.

(THE 'DREAM BUBBLE' FADES AWAY AS Christine LEANS IN TO KISS
THE MAN.)
                                                            
                       RAOUL
Mama told me the Angel forbids her
to marry!
      (SARCASTICALLY)
I wonder why!
                                                            
 
INT. MANAGER'S OFFICE - DAY
                                                            
SCENE ELEVEN
                                                            
THE FIRST PAYMENT
                                                            
(CUT TO THE MANAGER'S OFFICE. THIS IS A CONTINUATION OF THE
EARLIER SCENE.)
                                                            
                       RICHARD
Armand, what should we do about
the masked ball?
                                                            
                       MONCHARMIN
Firmin, how can you thing of the
stupid masked ball at a time like
this!
                                                            
                       RICHARD
Like what?
                                                            
                       MONCHARMIN
      (COUNTING ON HIS
       FINGERS)
Carlotta has developed a very bad
sickness, Christine Daae has
dissapeared--again, may I add--and
a chandelier fell and killed three
people1 THREE PEOPLE DIED, AND ALL
YOU CAN THINK ABOUT IS THAT MASKED
BALL?
                                                            
                       RICHARD
Well, it is in five days and I
just wanted to let the subscribers
know!
                                                            
                       MONCHARMIN
      (SIGHS)
I guess--I guess we should stil
have it. Tell the acting
manager--oh, what is his name?--to
put the sign up!
                                                            

68.

                       RICHARD
His name is Monsiuer Remy, and I
will tell him. Happy now?
                                                            
(CUT TO OUTSIDE THE DOOR TO THE MANAGER'S OFFICE. THE
MANAGERS ARRIVE AT THE SAME TIME AND ENTER TOGETHER.)
                                                            
                       MONCHARMIN
      (DRYLY)
Hello, Firmin.
                                                            
                       RICHARD
      (VERY HAPPILY)
Hello, Arma--
      (RUNNING HEADLONG
       INTO AN ENVELOPE
       HANGING FROM THE
       CEILING)
WHO IN GOD'S NAME PUT THIS HERE!?!
      (HE RIPS THE
       ENVELOPE OFF OF
       THE CEILING AND
       TEARS IT OPEN)
'Dear Sirs, It is time for you to
pay. Put 20, 000 francs in this
same envelope and give it to
Madame Giry, who I have reinstated
in her functions. Thank you and
have a pleasent day, The Ph. of
the Op.'
      (HE THROWS THE
       LETTER TO THE
       GROUND AND STOMPS
       ON IT FURIOUSLY)
I WILL NOT BE MADE A FOOL OF! WILL
NOT! WILL NOT! WILL NOT! WILL NO--
                                                            
(Moncharmin SLAPS HIM ON THE FACE.)
                                                            
                       MONCHARMIN
Firmin! Think of it this way! We
can capture the man in the act if
we do this! Come on!
                                                            
                       RICHARD
Well--okay.
      (HE TAKES OUT HIS
       WALLET)
Call Madame Giry right away!
                                                            

69.

(CUT TO THE OPERA THEATER. Madame Giry PLACES THE ENVELOPE
IN BOX FIVE ON THE SHELF. THE MANAGERS CONCEAL THEMSELVES
BEHIND A PILLAR, AND THE PERFORMANCE BEGINS. CUT TO THE
CRAMPED MANAGERS.)
                                                            
                       RICHARD
Fantastic idea, Armand! We
will--ow, get off my arm!--we will
watch the envelop carefully from
this spot--
                                                            
                       MONCHARMIN
We are going to stay here all
through Faust? That is
three--ow!--hours!
                                                            
                       RICHARD
Yes--And you will like it.
                                                            
(SLOWLY PAN AWAY TO THE ENVELOPE. ZOOM IN ON IT, AND THEN
ZOOM BACK OUT. THE LIGHTS HAVE COME BACK UP. 'FAUST' IS
OVER.)
                                                            
(THE TWO MANAGERS TUMBLE OUT FROM BEHIND THE PILLAR. Richard
GREEDILY RIPS OPEN THE ENVELOPE AND COUNTS THEM UNDER HIS
BREATH. Madame Giry ENTERS THE BOX.)
                                                            
                       RICHARD
Good! Very good! They are all
here!
      (HE SHOVES THE
       MONEY INTO HIS
       POCKET.)
                                                            
(CUT TO A POLICE STATION DESK. Moncharmin IS SIGNING A PAPER
AS Richard STANDS NEARBY, LOOKING ASHAMED.)
                                                            
                       MONCHARMIN
      (TO THE CONSTABLE)
Here you go.
      (HE HANDS HIM THE
       PAPER AND LEADS
       Richard OUT.)
Richard--you used counterfeit
money? You used COUNTERFEIT
MONEY?!?
                                                            
                       RICHARD
      (HAILS A TAXI; THE
       TWO ENTER.)
I didn't know--
                                                            

70.

                       MONCHARMIN
YOU USED COUNTERFEIT MONEY!
                                                            
                       RICHARD
I'm sorry! It was the money in the
envelope!
      (HE HANDS THE
       MONEY TO
       Moncharmin)
See? 'Bank of St. I Tricked You'!
Right there!
                                                            
(CUT TO THE MONEY; IT IS TRUE! WHERE 'BANK OF FRANCE' SHOULD
BE ON THE MONEY, 'BANK OF I TRICKED YOU' IS CLEARLY
PRINTED.)
                                                            
 
EXT. HOME OF THE DE CHAGNYS - DAY
                                                            
SCENE TWELVE
                                                            
MASKED BALL
                                                            
(Raoul SITS ON THE FRONT STEPS OF HIS HOUSE, APPARENTLY
WAITING FOR SOMETHING. THE MAILMAN TURNS A CORNER AND BEGINS
TO WALK UP THE PATH. Raoul RUNS DOWN THE STAIRS AND MEETS
THE MAILMAN.)
                                                            
                       RAOUL
      (BEFORE THE MAN
       CAN ANSWER)
Is this our mail? Really?
Good--thanks--goodbye.
      (Raoul TURNS THE
       MAN AROUND AND
       PUSHES HIM A BIT,
       AS IF TO SAY,
       'GOODBYE!'; THE
       MAILMAN LEAVES.)
                                                            
(Raoul LOOKS THROUGH THE MAIL, FINDS WHAT HE WANTS, AND
ANXIOUSLY TEARS OPEN THE LETTER.)
                                                            
                       RAOUL
I knew that she would write!
      (HE READS ALOUD)
'My Dear Friend--'
                                                            
                       CHRISTINE (VO)
      (VOICE FADES IN
       OVER Raoul's AS
       HE CONTINUES TO
       MOUTH THE WORDS)
            (MORE)

71.

                       CHRISTINE (cont'd)
‘--If you wish to see me again,
come to the Bal Masque at the
Opera House next week. I will be
dressed as a black domino, and you
should come as the top half of a
pantomime horse so I can recognize
you easily. I know it sounds
silly, but please be well
disguised. With Much Love--’
                                                            
                       RAOUL
      (HE CONCLUDES THE
       LETTER.)
'Christine.'
                                                            

(CUT TO THE OUTSIDE OF THE OPERA HOUSE. IT IS NEARING NIGHT
TIME. PEOPLE DRESSED IN FLAMBOYANT OUTFITS ENTER THE OPERA
HOUSE. THE CAMERA FLIES INTO THE FOYER AND SCANS AND PANS
AROUND TO SHOW THE CROWD DRINKING, TALKING, AND DANCING.
MANNEQUINS LINE THE STAIR CASE, EACH ONE DRESSED IN THE
LATEST FASHION, WITH A TAG HANGING FROM THE NECK TO EXPLAIN
IT.)

(CUT ONCE MORE TO OUTSIDE THE OPERA HOUSE. Raoul ARRIVES,
WEARING LEIDERHOSEN AND A PANTOMIME HORSE HEAD. HE
HESITATES, THEN ENTERS THE OPERA HOUSE.)
                                                            
(A WHITE DOMINO BRUSHES BY AND SQUEEZES Raoul's HAND.)
                                                            
                       RAOUL
Christ--
                                                            
                       CHRISTINE
      (SHE PLACES HER
       FINGERS ON HER
       LIPS AND TURNS
       AROUND TO HIM.)
Quiet--but yes.
                                                            
(Christine LEADS Raoul THROUGH THE FOYER, WHERE HE GETS
TURNED AROUND BY A BUNCH OF DANCERS. A VERY FAT WOMAN BEGINS
TO DANCE WITH HIM.)
                                                            
                       FAT DANCER LADY
Hey, sweetie. Wanna--
                                                            
(Christine PULLS Raoul AWAY AND RUNS WITH HIM UP THE STAIRS.
THEY PASS THROUGH A ROOM WITH A MULTITUDE OF PEOPLE CROWDING
AROUND A MAN IN A LONG RED CLOAK, A RED SUIT, AND A HAT WITH
A PLUME OF RED, AT THE END OF WHICH IS A PAPIER MACHE

72.

DAGGER.Raoul IS DISTRACTED BY THE MAN, AND PUSHES THROUGH
THE CROWD TO GET A LOOK AT HIM. THE CLOAK TRAILS BEHIND THE
MAN. THE CAMERA PANS UP THE CLOAK. EMBROIDERRED ON IT IS,
'BEWARE! I AM DEATH, DRESSED BY BLOOD! DO NOT TOUCH, OR YOU
MAY JOIN ME!')

(THE CAMERA PANS UP TO THE BACK OF HIS HEAD. THE MAN TURNS
AORUND. HE IS WEARING A SKULL MASK, WITH FAKE BLOOD DRIPPING
OUT OF THE MOUTH. IT IS Phantom. HE LOOKS AT Raoul, WHO
TUNRS ON HEEL AND FOLLOWS Christine OUT OF THE ROOM AND UP
SEVERAL FLIGHTS OF STAIRS.)

(CUT BACK TO THE ROOM. Phantom EXCUSES HIMSELF AND WALKS UP
THE STAIRS SLOWLY.)

(CUT TO AN EMPTY ROOM. Raoul AND Christine BURST INTO IT.
Christine LOOKS OUT THE DOOR, THEN QUICKLY SHUTS IT AND
LOCKS IT.)
                                                            
                       CHRISTINE
I love you Raoul.
                                                            
                       RAOUL
      (COMPLETLEY
       DISTRACTED)
Death dressed by Blood! I know who
he is! It is the demon at the
Church in Perros! It is--is--
                                                            
                       CHRISTINE
I love you Raoul.
                                                            
                       RAOUL
      (CONTINUES)
It is you Angel of Music,
Christine! Don't you see? He has
been trying to keep me from you!
But now I shall find him, and kill
him, and tear off his Skull Mask,
and see who he really is!
      (HE MOVES TOWARDS
       THE DOOR.)
                                                            
                       CHRISTINE
      (THROWS HERSELF IN
       FRONT OF THE
       DOOR.)
In the name of our love! I love
you! Don't leave!
                                                            
                       RAOUL
Love? I--you--love?
      (FIERCLEY)
I don't believe it!
                                                            

73.

                       CHRISTINE
What?
                                                            
                       RAOUL
I don't believe you! You have lied
to me before! You have kept things
from me! I don't believe you!
I--I--
                                                            
(Christine WAVES HER HAND AT HIM.)
                                                            
                       CHRISTINE
Shh!
      (SHE OPENS THE
       DOOR AND LOOKS
       OUT QUICKLY.
       GASPS, AND THEN
       SHUTS THE DOOR,
       LOCKING IT ONCE
       MORE)
Raoul! Quick! Get under that
chair! Hide!
                                                            
(Raoul AND Christine HIDE UNDER A TABLE AND PULL THE THE
CLOTH OVER THEIR FACES. THE DOOR JIGGLES, STOPS, AND THEN
BURSTS OPEN. Phantom, STILL DRESSED AS DEATH DRESSED BY
BLOOD, ENTERS THE ROOM. HE LOOKS AROUND, AND THEN,
APPARENTLY SATISFIED, LEAVES.)

(Christine AND Raoul EMERGE FROM UNDER THE TABLE.)
                                                            
                       CHRISTINE
One day, Raoul, I will forgive you
for these words! And you will
forgive me! But until then--
                                                            
                       RAOUL
You are nothing but a tramp,
Christine, for leading me on like
this! You are--are--a whore! You
give love to your 'Angel of
Music', who has stalked me to keep
me away, while you try make me
believe in the 'Angel'!
                                                            
                       CHRISTINE
Raoul! If that is really what you
think--leave me! Leave me alone!
      (SHE BURSTS INTO
       TEARS AND RUNS
       FROM THE ROOM)
                                                            

74.

                       RAOUL
Fine! Leave!
      (THE DOOR SLAMS.
       HE IS LEFT ALONE.)
Oh...what have I done...I've
driven her away. Maybe even for
good! Oh, Christine! Christine...
      (HE BURSTS INTO
       TEARS AND
       CONTINUES TO
       MUTTER)

Christine...Christine...Christine...Christine...
      (HE STANDS UP
       ABRUPTLY AND RUNS
       OUT OF THE ROOM,
       DESCENDING THE
       STAIRS TO
       Christine's
       DRESSING ROOM.)
                                                            
(HE ENTERS THE DRESSING ROOM. Christine DOES NOT NOTICE. HE
REACHES OUT TO TOUCH HER, BUT CHANGES HIS MIND. Raoul
DECIDES TO HIDE BEHIND A PARTITION AND WATCH.)
                                                            
 
INT. CHRISTINE'S DRESSING ROOM - NIGHT
                                                            
SCENE THIRTEEN
                                                            
BELOW THE OPERA HOUSE
                                                            
(Christine SITS IN HER DRESSING ROOM, BEMOANING HER SAD
FATE.)
                                                            
                       CHRISTINE
Why? I didn't mean to be so
hard...why? Why?
                                                            
                       ERIK, THE PHANTOM
      (AS A SOFT VIOLIN
       PLAYS)
Christine...Christine! My dear, it
is I!
                                                            
(Raoul IS SURPRISED. THE SAME VOICE FROM PERROS!)
                                                            
                       CHRISTINE
I won't fall for your tricks
again! Leave me alone, Erik! Where
ever you are, go away!
                                                            

75.

                       ERIK, THE PHANTOM
      (HE SINGS TO HER
       AS THE VIOLIN
       PLAYS)
My dear,
My sweet,
I love forever!

My star,
My gem
Don't leave me again!

I love you!
Oh, how I love you!
                                                            
(Christine TURNS TOWARD THE MIRROR. MESMERIZED, SHE SINGS
ALONG.)
                                                            
                       CHRISTINE
      (IN UNISON WITH
       Phantom)
I love you!
I'll never leave you!
I love you!
I love you!
                                                            
                       ERIK, THE PHANTOM
      (IN UNISON WITH
       Christine)
I love you!
I'll never leave you!
I love you!
I love you!
                                                            
(Raoul FOLLOWS ALONG THE WALL, KEEPING AWAY FROM THE SIGHT
RANGE OF ANYONE BEHIND THE MIRROR. Christine STRETCHES HER
HAND OUT TO THE MIRROR, AND Raoul STRETCHES HIS HAND TO
Chistine.)
                                                            
                       RAOUL
CHRISTINE!
                                                            

76.

(Christine SNAPS HE HEAD IN Raoul's DIRECTION, AND
IMMEDIATLEY AS SHE DOES, THERE IS A BRIGHT FLASH OF LIGHT,
AND Christine IS STANDING IN A DIM, GRIMY HALLWAY.)

(A MAN STANDS IN HTE HALLWAY, HOLDING A TORCH. HE WEARS A
BLACK MASK THAT COVERS HIS ENTIRE FACE, AND A HIS MOUTH. THE
MOUTH AREA HAS A HOLE, SO THAT HIS VOICE CAN BE HEARD. THIS
MAN IS, OF COURSE, Erik, The Phantom of the Opera.)

(Erik, the Phantom STRETCHES OUT HIS HAND. Christine GENTLY
TAKES HIS HAND, AND THEY WALK FORWARD.)
                                                            
(CUT TO A LAKE. A BOAT EMERGES OUT OF THE FOG. Christine
SITS AT THE FRONT OF THE BOAT LIKE THAT THING ON THE TOP OF
A PIRATE SHIP. Erik, the Phantom ROWS ONWARD. THEY PASS THE
CAMERA, AND IT ROTATES AND FOLLOWS THE BOAT'S MOVEMENT FROM
THE BACK. THIS REVEALS AN ISLAND, ON WHICH IS A TALL, NARROW
HOUSE THAT EXTENDS UP TO THE LOW CEILING. THE BOAT DOCKs,
AND Erik, the Phantom LEADS HER OUT OF THE BOAT AND INTO THE
HOUSE.)
                                                            
(THEY ARE IN A SMALL ANTECHAMBER.)
                                                            
                       CHRISTINE
Erik, everyone time I try to
resist you--
                                                            
                       ERIK, THE PHANTOM
      (HE SINGS TO HER)
If this is the only way to get you
to stay,
I will sing to you everyday moment
of every day!
                                                            
                       CHRISTINE
No! Erik, please!
                                                            
(Erik, the Phantom TAKES HER BY THE HAND AND LEADS HER
FORWARD, CONTINUING TO SING.)
                                                            
                       ERIK, THE PHANTOM
Come with me to my music room,
We will sing a tune
Of my own invention.
A selection from my, 'Don Juan
Triumphant'!
                                                            
(Erik, the Phantom LEADS Christine TO A SMALL ROOM,
FURNISHED ONLY WITH AN ORGAN AND TWO CHAIRS. Erik, the
Phantom SITS DOWN AT THE OGNA AND BASHES OUT A TUNE, LOUDLY
AND WITH NO SHAME, SINGING ALONG.)
                                                            

77.

                       ERIK, THE PHANTOM
      (SINGING)
I am Don Juan,
The greatest lover of them all!
I am Don Juan!
My love affairs shall take no toll
on me! On me! On me!
      (YELLS)
Now, you sing, Christine! Follow
the words on the music sheet!
                                                            
                       CHRISTINE
No! I will not sing! No! Stop,
Erik! Stop!
      (SHE BREAKS DOWN
       IN TEARS)
Stop...
                                                            
(Erik, the Phantom STOPS PLAYING THE ORGAN AND LEANS DOWN
NEXT TO Christine.)
                                                            
                       ERIK, THE PHANTOM
      (SINGING SOFTLY)
If this is what you want to do,
You can do this for ever more.!
I sing softly to you,
So that you will be calmned.
      (HE HUGS HER; SHE
       PUSHES HIM AWAY)
                                                            
                       CHRISTINE
Oh, I'm sorry. I just need some
rest, I guess. Where was
my--er--bedchamber?
                                                            
                       ERIK, THE PHANTOM
      (SADLY POINTING IT
       OUT)
Down the hall, to the right. I'm
sorry to dissapoint you, my dear.
                                                            
(Christine LEAVES THE ROOM, SHUTTING THE DOOR BEHIND HER AS
SHE LEAVES.)

(CUT TO THE BEDROOM. Christine IS FAST ASLEEP. SHE STIRS,
AND THEN WAKES UP. Erik, the Phantom IS HEARD PLAYING THE
ORGAN. Christine GETS OUT OF THE BED AND LOOKS AROUND THE
ROOM. ON A BESIDE TABLES LAYS A PHOTOGRAPH ALBUM.)
                                                            
                       CHRISTINE
This wasn't here before...
                                                            

78.

(Christine PICKS IT UP INNOCENTLY LOOKS THROUGH IT. IT SHOWS
Erik, the Phantom STANDING AMONG A GROUP OF CIRCUS FREAKS,
AS WELL AS HIM IN A CAGE, BILLED AS 'DEATH--ALIVE!' IN BOTH,
HE HAS HIS MASK ON, AND IN THE SECOND PHOTOGRAPH HE IS
TAKING IT OFF. THIS CAUSE A BLUR OF THE PHOTO. Christine
LEANS IN TO TRY AND MAKE OUT A FACE ON THE PHOTO, BUT
CANNOT.)
                                                            
                       CHRISTINE
What is under that mask?
                                                            
                       ERIK, THE PHANTOM
What, my dear?
                                                            
(Christine TURNS AROUND AND FINDS Erik STANDING BEHIND HER.)
                                                            
                       CHRISTINE
Oh--nothing.
      (SHE TRIES TO HIDE
       THE ALBUM BEHIND
       HER)
                                                            
                       ERIK, THE PHANTOM
My photo album? You were looking
at my album?
                                                            
                       CHRISTINE
I--
                                                            
                       ERIK, THE PHANTOM
I had hoped that you would. That
is why I left it out for you to
look at, so you could understand
me better.

Do you?
      (HE TURNS TO LEAVE)
It is dinner time. After we eat
and sing a song, I shall return
you to the theater.
                                                            
(Christine GRABS SOME SCISSORS OUT OF A DRAWER, HIDES THEM,
AND THEN FOLLOWS Erik.)
                                                            
(CUT TO THE TWO EATING DINNER.)
                                                            
                       CHRISTINE
Erik, I have a question about the
album. Why were you--a circus
performer?
                                                            

79.

                       ERIK, THE PHANTOM
Because I had nowhere else to go.
My parents abandoned me when I was
only eight years old, so I had no
other place to go.
                                                            
                       CHRISTINE
That is terrible. Why were you
left alone?
                                                            
                       ERIK, THE PHANTOM
I would rather not talk about it,
if you don't mind.
      (HE PLACES HIS
       FORK DOWN)
Now we shall sing.
                                                            
(THEY LEAVE THE ROOM. THEY WALK DOWN THE HALL--THIS IS SHOWN
IN SLOW MOTION PHOTOGRAPHY.)
                                                            
                       CHRISTINE (VO)
What is under that mask? I simply
must know! For months he has told
me never to look but--tonight, I
look.
                                                            
(CUT TO THE MUSIC ROOM. Christine AND Erik ARE SINGING
TOGETHER. Christine SILENTLY REMOVES THE SCISSORS AND--AFTER
SOME HESITATION-- CAREFULLY CUTS THE BLACK BAND THAT HOLDS
THE MASK IN PLACE.)

(CUT TO THE KEYBOARD. Erik's GLOVED HANDS STUMBLE ON IT AS
HE PLAYS. HE SLOWS, AND THEN PICKS UP THE MASK. HE SHAKILY
REACHES FOR HIS FACE. HE FINDS NO MASK THERE.)

(CUT TO OVERLOOKING Christine's SHOULDER.)
                                                            
                       ERIK, THE PHANTOM
Christine, do you really wish to
know why I was in the circus?
      (Christine DROPS
       THE SCISSORS)
It was because I was born as a
freak. I have a terrible face
deformity. Would you like to see
it?
      (Christine
       STUTTERS)
I thought so.
                                                            
(HE TURNS AROUND AND LOOKS Christine STRAIGHT IN THE EYES,
GRABBING HER FACE WITH HIS HANDS. SHE SCREAMS.)
                                                            

80.

                       ERIK, THE PHANTOM
Surprise!
                                                            
(HIS FACE IS TERRIBLY UGLY. HE HAS NO EYES; ONLY YELLOW
PUPILS SET IN CAT-LIKE SLITS. HE HAS HARDLY ANY NOSE, ONLY A
LEFT NOSTRIL. HIS MOUTH IS SMALL, THING, AND WHITE. HIS SKIN
IS YELLOW, LIKE AGED PAPER. HE HAS TEN OR FIFTEEN THIN
STRANDS OF GRAY HAIR ON HIS HEAD. HIS VEINS ARE CLEARLY
VISIBLE ON HIS SKULL.)
                                                            
                       ERIK, THE PHANTOM
You couldn't just sing with me,
could you? You had to see my face!
Touch me, why don't you? TOUCH ME!
      (HE FORCES
       Christine's HANDS
       ONTO HIS FACE)
Feast your eyes, glut your soul on
my accursed ugliness! They say
nations will be humbled at the
sight of beauty--
      (VERY QUIETLEY,
       BUT FIERCELY)
--but what of the beast?
                                                            
(HE SCREAMS, AND THROWS Christine INTO THE HALLWAY, SLAMMING
THE DOOR. Christine CRIES.)
                                                            
(CUT BACK TO THE MUSIC ROOM. Erik, the Phantom SIGHS. HE
PLACES HIS MASK BACK ON HIS FACE, HOLDING THE RIBBON IN THE
BACK. HE OPENS THE DOOR.)
                                                            
                       ERIK, THE PHANTOM
I suppose they will want you back
now. Come. We shall return.
                                                            
 
INT. MAMA VALERIUS' HOUSE - DAY
                                                            
SCENE FOURTEEN
                                                            
INVESTIGATION/SECRET ENGAGEMENT
                                                            
(Christine AND Mama Valerius SIT TOGETHER IN Mama's HOUSE.
Mama's Maid ENTERS WITH Raoul.)
                                                            
                       MAMA'S MAID
The Vicomte de Chagny to see you
again, Mama.
                                                            
                       MAMA VALERIUS
Vicomte! Oh, Raouly, come! Do sit
down and talk!
                                                            

81.

                       RAOUL
Hello, Mama Valerius.
      (COLDLY)
Christine.
                                                            
                       CHRISTINE
      (RISES TO SHAKES
       HIS HAND)
Pleasure.
                                                            
(Raoul SITS DOWN ON THE OPPOSITE SIDE OF Mama Valerius’ BED.
Christine AND Raoul DO NOT LOOK AT ONE ANOTHER.)
                                                            
                       MAMA VALERIUS
So, Raoul—are you not happy that
Christine has been returned to us?
                                                            
                       RAOUL
Oh, yes. Her ‘Angel’.
                                                            
                       CHRISTINE
Mama! I told you five times
already: there is no Angel!
                                                            
                       MAMA VALERIUS
      (TEASINGLY)
Oh! So I suppose you taught
yourself how to sing, then!
                                                            
                       RAOUL
Oh, on the very contrary. It
interests me deeply. To see you
back here only a day after you
disappeared in a flash of light
from your dressing room!
                                                            
                       CHRISTINE
Oh, Mama! This can’t be of any
interest to Monsieur Raoul.
      (SHE SHOOTS HIM A
       COLD LOOK)
                                                            
                       MAMA VALERIUS
You also promised to stay with me
forever! But have you kept that?
Hmmm?
                                                            
                       CHRISTINE
Mama—I told you that I would
explain everything when the time
came. I promised, and I intend to
keep my promise. Until then—
                                                            

82.

                       CHRISTINE
You saw that?
                                                            
                       RAOUL
Yes! I called your name and you
turned to look at me!
                                                            
                       CHRISTINE
I--I did?
                                                            
                       RAOUL
You did, Christine. You saw me, I
saw you, and the mirror proceeded
to engulf you. You said, "Erik--!"
                                                            
                       CHRISTINE
      (SHE SCREAMS
       FAINTLY)
Raoul, put on your hat--no. Wait,
let me put his on--
      (SHE GRABS Mama's
       WIG OFF OF HER
       HEAD)
If I may borrow this, Mama.
                                                            
(Christine GRABS Raoul'S HAND AND LEADS HIM OUT OF THE HOUSE
FRANTICALLY.)
                                                            
                       CHRISTINE
      (AS SHE ADJUSTS
       HER WIG TO MAKE
       SURE IT FALLS
       OVER HER FACE)
YOUR HAT, RAOUL! PULL IT DOWN!
      (THEY ARRIVE ON
       THE PARIS
       SIDEWALK)
Raoul, I will talk you about this
now and only now--FORGET IT. All
of what you have seen or heard or
thought you have heard about Erik.
I want to you to even forget his
voice--his name even! YOU HAVE
NEVER HEARD HIM. EVER. Do I make
myself undeniably clear?
                                                            
                       RAOUL
Yes. Christine, I love you.
                                                            
                       CHRISTINE
      (SHEEPISHLY, LIKE
       A CHILD)
Stop it.
            (MORE)

83.

                       CHRISTINE (cont'd)
      (SHE GIVES HIM A
       QUICK KISS)
I love you, Raoul. Goodbye.
      (SHE QUICKYL
       RETURNS TO Mama
       Valerius' HOUSE)
                                                            
                       RAOUL
People come and go so quickly
here.
                                                            
(CUT TO A LONG RECEPTION DESK AT THE OPERA. Raoul
IMPATIENTLY RINGS A BELL THAT SITS ON THE DESK. Mr. Giry
WLKS BEHIND THE DESK.)
                                                            
                       MR. GIRY
Yes, young man?
                                                            
                       RAOUL
Do you have any information on
someone by the name of Erik?
                                                            
                       MR. GIRY
Let me check--come this way.
                                                            
(Mr. Giry LIFTS UP A SECTION OF THE COUNTER AND LEADS Raoul
INTO A ROOM WITH LONG ROWS OF WOODEN FILING CABINETS. HE
STOPS AT E .)
                                                            
 
INT. OPERA THEATER - NIGHT
                                                            
SCENE FIFTEEN
                                                            
"FOLLOW ME!"
                                                            
 
INT. OPERA CELLARS - NIGHT
                                                            
SCENE SIXTEEN
                                                            
THE PERSIAN AND ERIK
                                                            
 
INT. OPERA CELLARS - NIGHT
                                                            
SCENE SEVENTEEN
                                                            
HALL OF MIRRORS
                                                            
 

84.

INT. LOUIS PHILLIPE ROOM, OUTSIDE HALL OF MIRRORS - NIGHT
                                                            
SCENE EIGHTEEN
                                                            
"THESE INSECTS DO MORE THAN BITE!"
                                                            


THE END


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