Untitled Screenplay Script

THE PHANTOM OF THE OPERA

Written by

Andrew Lloyd Webber

Joel Schumacher

Lyrics by

Charles Hart

Richard Stilgoe

Based on the stage musical by

Andrew Lloyd Webber

And the Novel by

Gaston Leroux

EXT. OPERA POPULAIRE - (1919) - DAY1

We have faded into black and white film, grainy and bleak.

Establishing shot of the opera house (matte shot). It is

raining. The air is dank, the building grey and crumbling.

There is very little activity in front. A once glorious

monument shunned by the modern world.

A 1919 version of a very rich man’s car pulls up in front of

the threatre an aristocrats family crest on the door -

liveried chauffeur, a dark figure in the passengers

compartment, accompanied by a nurse/nun.

CUT TO:

a custom made, beautifully crafted, caned wheelchair is

extricated from the car.

CUT TO:

the hand made boot prints of the dark figure as they are

adjusted into the foot rests of the wheelchair.

CUT TO:

BACK OF NURSE ... as she pushes the wheelchair toward the

entrance. CAMERA goes past them and becomes their POV as we

moved toward the theatre. We MOVE closer; we take in statues

with limbs missing, the great chipped pillars. A lackluster

sign reads “Public Auction”. We continue to close in; the

stairs leading up to the main entrance are filthy. The place

seems abandoned. We HEAR the noise of traffic; klaxons,

horses but, as we MOVE closer toward the open main doors we

then HEAR the AUCTIONEER’S GAVEL.

AUCTIONEER (O.S.)

Sold. Your number, sir? Thank

you.

INT. FOYER - DAY2

In one movement, the camera glides through the main entrance

into the deserted hall revealing the vast, cracked stairway

leading up to the various levels of the foyer, scarred by a

fire long ago. There is rubbish everywhere. dust floats

through the shafts of grey light coming through the broken

windows.

AUCTIONEER (O.S.)

Lot 663, then, ladies and

gentlemen: a poster for this

house's production of

Hannibal

Chalumeau.

PORTER (O.S.)

Showing here.

We continue to move through a set of doors ...

INT. AUDITORIUM - DAY3

Also ravaged by a fire long ago ... into the stalls of the

auditorium. The seats are torn, even uprooted and piled on

top of each other. Shafts of daylight cut through the

darkness from the traps in the leaking ceiling. At the far

end of the stalls in a clear space, we see a DOZEN PEOPLE

grouped around the PORTLY AUCTIONEER on an improvised podium.

Next to the AUCTIONEER stands a PORTER holding the poster for

Hannibal

: a diva holding a severed head.

The bidders are mainly seedy, dusty men in heavy coats; junk

dealers. There is one old woman, Mme. Giry, who stands a

little apart. She is dressed in black, her hat covered in

black veiling like a widow. Her years as a dancer and Ballet

Mistress assist her elegant and perfect posture.

AUCTIONEER

Do I have ten francs? Five then.

Five I am bid. Six, seven.

Against you, sir, seven. Eight?

Eight once. Selling twice. Sold...

The blow of the gavel echoes around the space. The

AUCTIONEER unsuccessfully tries to cover his disdain for the

JUNK DEALER.

AUCTIONEER (CONT’D)

...to Monsieur Deferre. Thank you

very much, sir.

The contents of the opera house are being auctioned off. We

see statues, some covered with huge canvases. There are

boxes, trunks, props and opera memorabilia. M

. GIRY remains

stoic - mysterious; barely needing the black cane by her

side. She turns to see whose POV she is.

RAOUL, the Vicomte de Chagny in the wheelchair, guided by his

NURSES/NUN. Although fifteen years younger than M

. GIRY,

he does not enjoy her good health. He seems small and

fatigued in his beautifully tailored clothes, a cashmere

throw around his barely functioning legs.

AUCTIONEER (CONT’D)

Lot 664: a wooden pistol and three

human skulls from the 1831

production of

Robert le Diable

Meyerbeer. Ten francs for this.

Ten, thank you. Ten still.

Fifteen, thank you. Fifteen I am

bid. Going at fifteen.

. GIRY watches as RAOUL approaches in his wheelchair. He

looks up and sees her. There is much unsaid between them,

bearers of dark secrets. The GAVEL ECHOES AGAIN around the

hall.

AUCTIONEER (CONT’D)

Your number sir? Lot 665, ladies

and gentlemen: a papier-mache

musical box in the shape of a

barrel-organ. Attached, the figure

of a monkey in Persian robes,

playing the cymbals. This item,

discovered in the vaults of the

theatre, still in working order,

ladies and gentlemen.

PORTER

(Holding it up)

Showing here.

(He sets it in motion)

The simple, yet haunting tune plays as both RAOUL and M

GIRY stare at the musical box. It has great meaning for them

both.

AUCTIONEER

May I commence at fifteen francs?

. GIRY raises her hand.

AUCTIONEER (CONT’D)

Fifteen, thank you.

The NURSE raises her hand.

AUCTIONEER (CONT’D)

Yes, twenty from you, sir, thank

you very much.

. GIRY

Twenty-five.

AUCTIONEER

Twenty-five on my left, thank you

madam, Twenty-five I am bid.

Again, the NURSE raises her hand.

AUCTIONEER (CONT’D)

Thirty.

. GIRY stares at RAOUL, her expression seems to soften.

She realizes how much this means to the sickly man.

AUCTIONEER (CONT’D)

Selling at thirty francs, then.

. GIRY looks away.

AUCTIONEER (CONT’D)

Thirty once, thirty twice...

(GAVEL DOWN)

Sold for thirty francs. To the

Vicomte de Chagny. Thank you sir.

The box is handed to RAOUL. He thanks M

. GIRY with his

eyes, then studies the paper mache monkey.

RAOUL (V.O.)

A collector's piece indeed...

every detail exactly as she said...

will you still play, when all the

rest of us are dead...?

INT. AUDITORIUM - DAY5

We CUT BACK to the AUCTIONEER as he resumes:

AUCTIONEER

Lot 666 then, a chandelier in

pieces.

All attention turns to a mammoth chandelier resting on the

floor of the auditorium covered in canvas. Eerie music

creeps in. M

. GIRY and RAOUL can barely look to each

other.

AUCTIONEER (CONT’D)

Some of you may recall the strange

affair of the Phantom of the Opera:

a mystery never fully explained.

We are told, ladies and gentlemen,

that this is the very chandelier

which figures in the famous

disaster. Our workshops have

repaired it and wired parts of it

for the new electric light.

Perhaps we can frighten away the

ghost of so many years ago with a

little illumination. Gentlemen.

The PORTERS whip off the canvas. The AUCTIONEER switches on

the chandelier by igniting a huge battery. There is an

enormous flash and the thunderous organ overture begins. The

CHANDELIER, immense and glittering, begins to rise above the

stalls. At the same time, a gust of wind whips up the dust

and rubbish of the auditorium, almost blowing away time.

CAMERA MOVES into RAOUL’s eyes and we realize that the story

we are about to see is in his mind.

INT. AUDITORIUM - (1919-1870) - DAY6

As the chandelier rises, we intercut with the faces of M

GIRY and RAOUL. The years are falling away: their features

and skin are clearing, their eyes are brightening. We

realize the film is GAINING COLOUR all the time. The gas

lights all along the stage come on.

The red velvet seats are restored, the marble and the statues

gleam, the paint glistens. The winds of time are restoring

the once magnificent theatre. The chandelier is still

rising, rising. We are now in FULL TECHNICOLOR. The date

1870. FULL ORCHESTRA JOINS ORGAN: We INTERCUT the

chandelier rising with:

EXT. OPERA POPULAIRE - DAY (1870)7

Establishing shot (matte) of the theatre in 1870. There is a

huge activity in front of the main entrance. People queuing,

milling about, staring at the vast posters for

Hannibal’

starring LA CARLOTTA, the reigning diva. There are TICKET

TOUTS, STREET TRADERS, BICYCLES, PEOPLE OF ALL CLASSES.

LEFEVRE, the retiring manager, arrives with M. FIRMIN and M.

ANDRE, the new owners, in their carriage. They are

overdressed, overfed and quite full of themselves.

INT. BACKSTAGE - DAY9

The following montage introduces the thriving world backstage

and our stock company of players. Occasionally, we see

LEFEVRE, ANDRE and FIRMIN walking through. CARPENTERS and

PAINTERS are preparing sections of the set in the SCENERY

DOCKS. A SMALL PERSON in costume steals bread from a GYPSY

and runs off. A piece of the set is rolled past on castors.

Behind it TWO TUMBLERS are practicing their tricks. A bevy

of BALLET GIRLS run through and up some stairs, watched

closely by ANDRE and FIRMIN being shown around by LEFEVRE.

Below the stairway a COSTUMED COUPLE are kissing. Above near

the door an OLD MAN is sitting fast asleep. We see the

COSTUME SHOPS, WIGMAKERS, PROPS, REHEARSAL HALLS, etc. The

whole population of the opera house is in movement;

MUSICIANS, SINGERS, DANCERS, STAGEHANDS.

INT. ORCHESTRA PIT - DAY10

The MUSICIANS are grumbling into the ORCHESTRA PIT.

INT. BACKSTAGE - DAY11

We see a group of SPEAR CARRIERS eating a meal around a pot.

They throw food out to the DOGS waiting at the door. TWO

DOGS chase each other down the corridor and crash through a

half-open door watched by JOSEPH BUQUET, a sinister scene

shifter in overalls. He leers as he peers through a hole in

the wall; unaware of him, the youngest BALLET GIRLS are

getting changed. SEAMSTRESSES and WIGMAKERS work. GROOMS

tend horses. STAGEHANDS and CARPENTERS share a bottle in the

crowded BACKSTAGE AREA. BUQUET follows as a few BALLET

GIRLS, including MEG GIRY - M

. GIRY’s daughter - and

CHRISTINE DAAE, push past him to join other girls being

assembled by M

. GIRY, the severe ballet mistress, in the

BACKSTAGE AREA. They are obviously late. The two young

women are beautiful and innocent.

INT. STAGE - FLIES - DAY12

We cut to a flat rising through the ropes and pulleys of the

FLIES to pick up BUQUET on a ramp as a CAT runs from him,

high above the stage of the opera house.

INT. AUDITORIUM - DAY13

This entire montage of the coming to life of the 1870 Opera

Populaire has been continually INTERCUT with shots of the

HUGE CHANDELIER continuing to rise. Now it finds its

destination, centered high above the magnificent theatre,

surrounded by a painted ceiling.

INT. STAGE - DAY14

OVERTURE ENDS as CARLOTTA’s PIERCING HIGH NOTE (O.S.) crowns

the moment and we CUT TO: CLOSE-UP of a dummy’s severed head,

mouth wide-open. CARLOTTA, in full voice, full glory and

full bosom, with the rest of the COMPANY, is in mid-rehearsal

for the elaborate new Meyerbeer-like production of

Hannibal.

Too much armour, fabric, glitz - all over-designed.

CARLOTTA

This trophy from our saviours, from

our saviours, from the enslaving

force of Rome!

She is holding the severed head while her MAID and SEAMSTRESS

still work on her over-designed costume. The set is still

under construction, PAINTERS re-touching. STAGEHANDS walk

through with ladders. CARPENTERS are hammering. The

conductor, M. REYER, strongly resembling Lizst, is directing

her from the orchestra pit. M

. GIRY sends her BALLET GIRLS

on stage. MEG and CHRISTINE among them. They are scantily

and provocatively dressed.

GIRL’S CHORUS

With feasting and dancing and song,

tonight in celebration, we greet

the victorious throng, returned to

bring salvation!

The MEN’S CHORUS enters. Now the full cast is marching and

singing triumphantly.

INT. BELOW STAGE - DAY15

We INTERCUT with the horse-driven gears below stage.

INT. STABLES16

As the JUBILANT CHORUS rings through the entire building,

FIRMIN and ANDRE excitedly rush to greet a newly arriving

carriage with the D

CHAGNY family crest on the side.

RAOUL (early twenties), dashing and handsome, stands in the

open carriage bringing his FINE WHITE HORSES to a halt - his

LIVERIED MANSERVANT jumps from his standing position on the

back of the carriage as RAOUl leaps off to be fawned on and

admired by the obsequious FIRMIN and ANDRE.

INT. STAGE - DAY17

MEN’S CHORUS

The trumpets of Carthage resound!

Hear, Romans, now and tremble!

Hark to our step on the ground!

Hear the drums - Hannibal comes!

The MEN’s CHORUS goes backstage, changes helmets and circles

back to give the appearance of a larger army. PIANGI, a

puffed pigeon of a baritone, enters as HANNIBAL.

PIANGI

Sad to return to find the land we

love threatened once more by Roma's

far-reaching grasp.

REYER

(TO ORCHESTRA)

Er, er, gentlemen, gentlemen, er...

INT. STAGE (ANOTHER ANGLE) - DAY18

LEFEVRE leads FIRMIN and ANDRE toward the stage. They

continue to fawn over RAOUL.

LEFEVRE

This way. Rehearsals, as you see,

are under way for a new production

of Chalumeau's

Hannibal

The cast and stagehands turn to look at them.

REYER

Monsieur Lefevre, I am rehearsing!

LEFEVRE

Monsieur Reyer, Madam Giry, ladies

and gentlemen, thank you - may I

have your attention, please? As

you know, for some weeks there have

been rumours of my imminent

retirement. I can now tell you

that these were all true and... it

is my pleasure to introduce to you

the two gentlemen who now own the

Opera Populaire: Monsieur Richard

Firmin and Monsieur Gilles Andre.

I'm sure you've read of their

recent fortune in the junk business

ANDRE

Scrap metal actually.

During this, we have cut to a moving POV from high up in the

FLIES. We see people on the stage below. SOMEONE is

watching. DARK SHADOWS move. Polite applause. Some bowing.

We CUT back to the STAGE.

FIRMIN

And we're deeply honoured to

introduce our new patron.

ANDRE

(beside himself)

The Vicomte de Chagny!!!

This is big news... ooohs, aahs, applause, bowing.

CHRISTINE unseen by RAOUL, goes pale.

ANDRE

(to FIRMIN)

You know I still can’t believe we

managed to get him. It’s such a

coup for us my dear.

CHRISTINE

(to MEG)

It's Raoul...!

Meg turns, looks at her.

CHRISTINE

Before my father died... at the

house by the sea... I guess you

could say we were childhood

sweethearts... He called me

“Little Lotte”.

MEG

Oh Christine... he's so handsome!

. GIRY shushes them as RAOUL, still unaware of CHRISTINE,

embarrassed by the impressed, overly adoring crowd, speaks.

RAOUL

My parents and I are honoured to

support all the arts, especially

the world renowned Opera Populaire.

Carlotta moves forward aggressively.

LEFEVRE

Vicomte, Gentlemen, Signora

Carlitta Guidicelli, our leading

soprano for five seasons now.

Polite bow from ANDRE and FIRMIN. We can sense CARLOTTA is

not popular with her co-workers and performers.

Carlotta curtsies.

MAID/SEAMSTRESS

Brava! Brava!

Seeing that CARLOTTA is flirting with RAOUL, PIANGI asserts

himself.

LEFEVRE

And Signor Ubaldo Piangi.

Another bow.

10.

RAOUL

An honour, signor... I believe

I'm keeping you for your rehearsal.

I will be here this evening to

share your great triumph.

(to REYER)

My apologies Monsieur.

More excited reactions as RAOUL dashes off with LEFEVRE.

INT. STAGE - DAY19

REYER

(with attitude)

Thank you, Monsieur Le Vicomte.

(to PIANGI)

Er, once more, if you please,

signor.

The rehearsal continues.

CARLOTTA

(to MAID)

He love me. He love me.

ANDRE

(to RAOUL)

Thank you, sir, thank you indeed

for the wonderful words, so

inspiring and encouraging.

Everyone’s going to great

encouragement from that. We’ll do

our very best, I promise...

CHRISTINE and MEG still in the midst of the waiting BALLET

GIRLS.

CHRISTINE

(blowing off her

disappointment)

He wouldn't recognize me...

MEG

He didn't see you.

. GIRY

If you please.

11.

The BALLET CORPS, including MEG and CHRISTINE, dressed

scantily as slave girls, begin their dance, sure to be a

crowd pleaser. ANDRE and FIRMIN move closer - they are

almost hanging over M

. GIRY, leering at the ballet girls.

. GIRY

(to FIRMIN)

Monsieur.

. GIRY

We take a particular pride here in

the excellence of our ballets,

Messrs.

ANDRE

I see why. Especially that little

blonde angel?

(indicating MEG)

. GIRY

My daughter: Meg Giry.

ANDRE has an “oops” moment as FIRMIN leers on... CHRISTINE

becomes prominent among the DANCERS.

FIRMIN

And that exceptional beauty? No

relation, I trust?

. GIRY

Christine Daae. Promising talent.

Monsieur Firmin, very promising.

ANDRE

Daae, did you say? No relation to

the famous Swedish violinist?

. GIRY

His only child... orphaned at seven

when she came to live and trained

in the ballet dormitories...

They admire Christine’s dancing and revealing costume.

FIRMIN

(salivating)

An orphan, you say...?

12.

. GIRY

I think of her as a daughter also.

Gentlemen, if you would kindly

stand to one side?

They turn their attention to a flirtatious, toothy BALLET

TART, as the ballet continues to its climax and ends. The

CHORUS resumes.

CHORUS

Hannibal’s friends!

CARLOTTA is getting angry. The ELEPHANT, a life-size,

mechanical replica, is wheeled on. PIANGI is lifted (not

easily) in triumph onto its back. The elephant’s trunk

suddenly rears and almost hits him. The trunk falls back

down. PIANGI almost falls off. CARLOTTA steams because the

new managers pay no attention to her.

CHORUS

The trumpeting elephants sound -

hear, Romans, now and tremble!

Hark to their step on the ground -

hear the drums! Hannibal comes!

Furious, CARLOTTA almost screams her final note in their

faces.

CARLOTTA

All that they want is the dancing!

INT. STAGE - DAY20

ANDRE, suddenly aware of CARLOTTA’s rage, elbows FIRMIN, who

is all over the BALLET TART, and they applaud loudly.

LEFEVRE returns to join them as TWO STAGEHANDS are revealed

operating the ELEPHANT from within.

LEFEVRE

(to the company)

Well, the Vicomte is very excited

about tonight's gala!

CARLOTTA

As, ah-ha-ha. Allora, allora,

allora.

13.

CARLOTTA

I hope he is excited by dancing

girls as your new managers...

because I will not be singing!!!

She seeps up grandly, followed by PIANGI and her entourage.

ANDRE

Lefevre... what do we do?

LEFEVRE

Grovel. Grovel - grovel.

ANDRE

Right

ANDRE and FIRMIN dash across the stage.

FIRMIN

Signora please.

CARLOTTA

See you later because I'm going

now. It is finished.

FIRMIN

World renowned artist and great

beauty...

She slows down.

ANDRE

Principessa! Bella diva...

CARLOTTA

Si, si, si...

FIRMIN

Goddess of song!

CARLOTTA

Evello.

14.

ANDRE

(an idea)

Monsieur Reyer... isn't there a

rather marvelous aria for Elissa in

Act Three of

Hannibal

? Perhaps the

Signora...

CARLOTTA

(petulant)

Yes, yes, yes! Ma, no! Because I

have not my costume for Act Three.

Because somebody not finish it!

She glares at the Russian COSTUME DESIGNER.

CARLOTTA

And, I hate my hat!

FIRMIN

But I wonder, signora, if as a

personal favour if, you would

oblige us with a private rendition?

Unless, of course, Monsieur Reyer

objects...

CARLOTTA

(flattered)

If my managers command.

FIRMIN

(to CARLOTTA)

Ah.

REYER

(a sarcastic bow to

CARLOTTA)

My diva commands.

CARLOTTA

Yes I do. Everybody, very quiet.

Sshhh!

ANDRE

(starting to realize what

they’ve gotten into)

Monsieur, why exactly are you

retiring?

15.

LEFEVRE

(coughing and lying)

My health.

ANDRE

I see.

CARLOTTA

(to CHORUS)

Sshh, sshh. You as well!

REYER

Signora?

CARLOTTA

Maestro.

The introduction is played on the piano. CARLOTTA is

performing solely for FIRMIN and ANDRE’s benefit, who are

relieved and pretend to hang on every word.

CARLOTTA (CONT’D)

Think of me, think of me fondly,

when we've said goodbye. Remember

me once in a while - please promise

me you'll try.

During this we INTERCUT between the stage and POV’s from the

FLIES. We see the ropes starting to twitch and the pulleys

slowly loosening. There is a movement, a shadow on the ramp.

CARLOTTA (CONT’D)

When you find, that once again you

long to take your heart back and be

free. If you...

MEG screams. In the flies, a pulley suddenly gives. BUQUET

comes out of a shadow a look of horror on his face. He

rushes forward.

INT. STAGE ROOF - FLIES - DAY21

The camera is plunging towards the stage. The ropes and

pulleys are whirring madly and the counterweights shooting up

towards FLIES. The counterweights hit the ramp knocking

BUQUET off his feet and grabbing a rope, he also plummets

downwards.

16.

INT. STAGE - DAY22

Camera still plunges towards CARLOTTA’s head. The backdrop

crashes an inch behind her.

PIANGI

Idiot! Oh my God, signora...

(to PERFORMERS)

Lift it up! Lift it up!

Meanwhile, M

. Giry looks up. She alone sees a WHITE

ENVELOPE RIMMED IN BLACK fall out of the darkness above. It

lands at her feet. She picks it up. She knows who it is

from.

MEG

(to CHRISTINE)

He's here... the Phantom of the

Opera...

LEFEVRE

Signora! Are you all right?

The drop is raised high enough to reveal upstage JOSEPH

BUQUET, holding a length of rope, which looks almost like a

noose.

LEFEVRE (CONT’D)

Buquet! For God's sake, man,

what's going on there?

BUQUET

(spoken)

Please, Monsieur, don't look at me:

as God's my judge, I wasn’t at my

post. Please, Monsieur, there's no

one there: or if there is, well

then, it must be a ghost...

He smirks unpleasantly.

CARLOTTA’s entourage try to calm her.

ANDRE

(to CARLOTTA)

Signora, please... These things do

happen...

17.

CARLOTTA

For the past years these things do

happen.

(to LEFEVRE)

And did you stop them from

happening? No!

(to FIRMIN and ANDRE)

And you two - you’re as bad as him.

”These things do happen!“ Ma...

until you stop these things from

happening, this thing does not

happen! Ubaldo! Andiamo! Bring

my doggy and my boxy

PIANGI

Amateurs!

CARLOTTA

Bye-bye and ciao.

CARLOTTA

Now you see. Bye-bye, I’m really

leaving.

CARLOTTA storms out, seeping up her fluffy lapdog. She is

followed by PIANGI and her retinue (SEAMSTRESS, HAIRDRESSER,

MAID). PIANGI is caught by his cape but undoes it.

LEFEVRE

(after a pause)

Gentlemen. Good luck. If you need

me I should be in Australia!

He leaves. The COMPANY looks anxiously at the NEW MANAGERS.

FIRMIN looks accusingly at ANDRE.

ANDRE

(weakly to REYER)

Signora Guidicelli, she will be

coming back, won't she?

. GIRY

You think so, messieurs? I have a

message, sir, from the Opera Ghost.

She reveals the letter with the black border. The GIRLS

twitter and twirl in fear.

18.

FIRMIN

Oh God in heaven, you're all

obsessed!

. GIRY

He welcomes you to his opera house-

FIRMIN

His opera house?

. GIRY

- and commands that you continue to

leave Box Five empty for his use

and reminds you that his salary is

due.

FIRMIN

His salary?

. GIRY

Well, Monsieur Lefevre paid him

twenty thousand francs a month.

FIRMIN

Twenty thousand francs?

. GIRY

Perhaps you can afford more, with

the Vicomte de Chagny as your

patron?

Reaction to this from the BALLET GIRLS. CHRISTINE, we see,

is comforting MEG.

FIRMIN

(to M

. GIRY)

Madame, I had hoped to make that

announcement public tonight

when the Vicomte was to join us at

the gala. Obviously we shall now

have to cancel as it appears we

have lost our star!

ANDRE

(the optimist)

Yeah, but surely there should be a,

um...

19.

SINGER

(to ANDRE)

Understudy!

ANDRE

...understudy?

REYER

(a cry)

Understudy? There is no understudy

for “La Carlotta”!

FIRMIN

(to ANDRE)

A full house, Andre. We shall have

to refund a full house!

Pause.

. GIRY

Christine Daae could sing it, sir.

All attention turns to CHRISTINE.

ANDRE

What, a chorus girl? Don't be

silly.

. GIRY

She has been taking lessons from a

great teacher.

CHRISTINE looks terrified. The older BALLET GIRLS are

glaring at her.

POV from the FLIES. Someone is still watching.

ANDRE

(to CHRISTINE)

Who?

CHRISTINE

(uneasily)

I don't know his name, Monsieur.

. GIRY knows.

20.

. GIRY

Let her sing for you, monsieur.

She has been well taught.

ANDRE

All right.

(to CHRISTINE)

Come on, don't be shy... Come on.

Come along. Just, just...

REYER

(after a pause)

From the beginning of the aria

then, mam’selle.

The entire company watches as Christine nervously move centre

stage:

FIRMIN

Andre, this is doing nothing for my

nerves.

ANDRE

Oh, she's very pretty.

Reyer gives Christine two bars then:

CHRISTINE

Think of me, think of me fondly,

when we've said goodbye. Remember

me once in a while - please promise

me you'll try.

Again, here, we see the stage from high up in the flies. The

Phantom’s POV. Someone is watching.

CHRISTINE (CONT’D)

When you find that, once again, you

long to take your heart back and be

free if you ever find a moment

spare a thought for me...

As she sings, we see everyone’s reactions; REYER, M

. GIRY

and MEG encouraging, ANDRE and FIRMIN beginning to smile, the

STAGEHANDS, CHIPPIES and PAINTERS downing tools to listen,

and some of the older BALLET GIRLS gnashing their teeth.

Other STAGEHANDS and PERFORMERS appear in the wings to listen

to CHRISTINE. The entire population of the opera house is

spellbound by CHRISTINE’s voice.

21.

INT. STAGE - AUDITORIUM - NIGHT23

The magic, glamour and majesty of a gala performance. We are

moving around CHRISTINE and , as we move behind her, the

light changes. we come around the other side to reveal the

packed gala auditorium. REYER is conducting a full

orchestra, the gas lights are flickering.

CHRISTINE is revealed in a dazzling white costume backed by a

lavish Meyerbeer-like set (moon, stars, moving clouds, a

waterfall) and WHITE HORSES adorned with white wings, tended

by two boys - turbaned with silver masks.

CHRISTINE

We never said our love was

evergreen, or as unchanging as the

sea - but if you can still remember

stop and think of me... Think of

all the things we've shared and

seen - don't think about the way

things might have been... Think of

me, think of me waking silent and

resigned.

INT. AUDITORIUM - NIGHT24

We see dozens of opera glasses raised to watch CHRISTINE.

INT. STAGE - NIGHT25

CHRISTINE

Imagine me, trying too hard to put

you from my mind

Camera travels from CHRISTINE to REYER - down past the

musicians, through the orchestra pit...

INT. PHANTOM’S WORLD - PHANTOM’S LAIR - NIGHT26

Down through the underbelly of the stage. Down, down, ever

downward - into the very bowels of the ancient stone

structure which is part of the canals and locks, symbiotic

with the Seine river. Somewhere in the rippling watery light

- a DARK CREATURE of the night thrills to her voice - he is

hidden by shadows, but we know he’s there.

22.

INT. STAGE - NIGHT27

CHRISTINE

Recall those days, look back on all

those times, think of the things,

we'll never do. There will never be

a day when I won't think of you...

INT. AUDITORIUM - NIGHT28

During this, we see the audience. The men in tailcoats and

gloves, the women in dazzling gowns and jewellery. The whole

of the French aristocracy is here in the boxes, the stalls

and circles. In THE ROYAL BOX sit EMPEROR LOUIS NAPOLEON

III, THE EMPRESS and THEIR ENTOURAGE.

In another, we see FIRMIN, ANDRE and young RAOUL. They are

all delighted, looking at the audience and CHRISTINE on

stage. THE EMPEROR claps in mid-aria, giving permission to

the rest of the glittering crowd. Applause, bravos.

Prominent among the bravos, those of young RAOUL in Box Five.

He leaps up.

RAOUL

Can it be? Can it be Christine?

(shouting)

Bravo!

We follow him as he leaves the box.

INT. HALLWAY OUTSIDE BOX FIVE - NIGHT29

RAOUL rushes out of the box, past M

. GIRY who has been

standing near it. As she closes the door, we see the number

on the door: Box Five. She watches him run toward the

stairs.

INT. FOYER - NIGHT30

The foyers are empty apart from a few guards at ease and the

USHERETTES waiting.

RAOUL

Long ago, it seem so long ago, how

young and innocent we were. She

may not remember me, but I remember

her.

We INTERCUT this with CHRISTINE on stage:

23.

INT. STAGE - AUDITORIUM - NIGHT31

CHRISTINE

Flowers fade, the fruits of summer

fade. They have their seasons. So

do we. But please promise me that

sometimes you will think...

(cadenza)

...of me!

There is a pause. Camera circles CHRISTINE’s face and then

cranes to reveal the huge audience waiting. Then, we see the

EMPEROR applauding and, suddenly the whole house erupts.

This continues over:

ANDRE

(to CHRISTINE)

Brava! Magnifica! Stupenda!

REYER

(to CHRISTINE)

Bravo.

EXT. OPERA POPULAIRE - NIGHT32

A MAID, CARLOTTA’s maid, runs out of a door into the

courtyard toward a waiting closed carriage. CARLOTTA leans

into the window. The MAID report’s CHRISTINE’s triumph.

CARLOTTA collapses back into the carriage against PIANGI. He

tries to console her but she slaps him.

INT. BACKSTAGE - CORRIDOR - NIGHT33

The audience is crowding into the backstage corridors. Among

them, RAOUL trying to find CHRISTINE. There is a crush on

the stairs leading up to the dressing rooms, a mixture of

ARISTOCRATS (some flirting with the BALLET GIRLS),

STAGEHANDS and SINGERS. Bottles of champagne are popping,

flowers are being delivered. RAOUL is trying to fight his

way through. Camera follows MEG, also looking for CHRISTINE,

she moves into...

INT. BACKSTAGE - UPSTAIRS CORRIDOR - NIGHT34

...a deserted part of the building. Eerie. Meg goes out of

shot and the camera goes down a small STONE STAIRWAY. It

leads to a small set of doors. We go through to find...

24.

INT. CHAPEL - NIGHT35

...CHRISTINE, in costume, kneeling in a tiny chapel. She is

lighting a candle which she places in front of a plaque.

Fixed to the plaque is a daguerreotype of her FATHER. There

is a sculpted violin in front. (NB. Her FATHER should vaguely

resemble the PHANTOM when disguised). We notice that there

are plaques all along the wall, each with a little sculpture

describing the profession of the deceased member of the Opera

Populaire: ballet shoes, instruments, etc. CHRISTINE kneels

to pray. She hears:

PHANTOM’S VOICE (O.S.)

Brava, Brava, Bravissima...

And a phrase on the violin. CHRISTINE looks up, drawn to the

sound.

INT. BACKSTAGE - UPSTAIRS CORRIDOR - NIGHT36

MEG is still searching for CHRISTINE.

MEG

Christine... Christine...

She sees the little stairway leading to the chapel.

INT. CHAPEL - NIGHT37

PHANTOM’S VOICE (O.S.)

Christine...

But MEG has arrived in the chapel, giving CHRISTINE a start.

MEG

(enthusiastic)

Where in the world have you been

hiding? Really you were perfect!

I only wish I knew your secret!

Who is your great tutor?

CHRISTINE

(slowly)

Meg... When your mother brought me

here to live...

25.

INT. OPERA POPULAIRE, FOYER - FLASHBACK - NIGHT38

Dark. Empty. A seven-year old CHRISTINE, accompanied by

. Giry, arrives at the Opera House. They are both in

black. Someone is watching from the shadows.

CHRISTINE (V.O.)

Whenever I would come here alone to

light a candle for my father...

INT. CHAPEL - NIGHT39

Young CHRISTINE on her knees lighting the candle in the

chapel. When she hears a haunting voice.

CHRISTINE (V.O.)(CONT’D)

A voice from above...

CAMERA TRAVELS above the small chapel to see a shape of a

shadow singing to CHRISTINE through an elaborate filigreed

grill.

CHRISTINE (V.O.)(CONT’D)

And in my dreams... he was always

there

INT. BALLET DORM - NIGHT - FLASHBACK40

THE YOUNG CHRISTINE sleeps in the BALLET DORM - the bed next

to YOUNG MEG’s. She wakes to a MAGICAL VOICE. She is

enthralled and inspired. CAMERA TRAVELS through a small

round window that leads...

EXT. OPERA ROOF - NIGHT - FLASHBACK41

...to the MAGNIFICENT STATUES ON THE ROOF that overlooks all

of Paris. The dark silhouette sings and plays the violin...

CHRISTINE (V.O.)(CONT’D)

You see... When my father lay

dying...

INT. SMALL BEDROOM/SEASIDE COTTAGE FLASHBACK - DAWN42

CHRISTINE’s FATHER dying in his small bed, whispering to the

YOUNG CHRISTINE. A YOUNGER M

. GIRY catches sadly, from a

distance.

26.

CHRISTINE (V.O.)

He told me I would be protected by

an Angel... an Angel of Music...

INT. CHAPEL - NIGHT43

MEG

Christine... do you believe? ...Do

you think the spirit of your father

is coaching you?

CHRISTINE

Who else, Meg? Who...???

(Distracted)

Father once spoke of an angel... I

used to dream he'd appear... Now,

as I sing, I can sense him... and

I know he's here...

(trance-like)

Here in this room he calls me

softly... somewhere inside...

hiding... Somehow, I know he's

always with me... He - the unseen

genius...

MEG moves toward her and begins to lead her out of the

chapel.

MEG

Christine, you must have been

dreaming. Stories like this can't

come true... Christine, you’re

talking in riddles and it's not

like you...

INT. BACKSTAGE CORRIDOR - NIGHT44

[This is actually part of the stage] Me is leading CHRISTINE

down the corridor.

CHRISTINE

(not hearing her,

ecstatic)

Angel of Music! Guide and

guardian! Grant to me your glory!

We see the rafters above them.

27.

MEG

Who is this angel?

INT. STAGE - FLIES - NIGHT45

Flies raise and lower as BUQUET, busy securing ropes, watches

them, lecherously. They are unaware of his presence.

INT. BACKSTAGE CORRIDOR - NIGHT46

BOTH

Angel of Music! Hide no longer!

Secret and strange angel...

CHRISTINE

(darkly)

He's with me even now...

MEG

(bewildered)

Your hands are cold...

CHRISTINE

All around me...

MEG

Your face, Christine, it’s white...

CHRISTINE

It frightens me...

MEG

Don't be frightened...

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - NIGHT47

They arrive in the corridor and find an adoring crowd of

FANS. They move through the crowd toward CHRISTINE’s

dressing room amid bravos and flowers... RAOUL sees them but

cannot reach them. Meanwhile, FIRMIN and ANDRE are trying to

make their way toward CHRISTINE, in high spirits, bearing

champagne, and fawned over by the TOOTHY BALLET TART and an

equally available CHORUS GIRL.

ANDRE

A tour de force! No other way to

describe it!

28.

FIRMIN

What a relief! Not a single

refund.

ANDRE

(to FIRMIN)

You know it’s opera tradition to

drink champagne from your star’s

slipper.

FIRMIN

I’ve never been one for tradition.

He grabs the bottle from ANDRE and swigs from it.

INT. CARLOTTA’S DRESSING ROOM - NIGHT48

. GIRY ushers CHRISTINE into the room. It is filled with

flowers.

. GIRY (CONT’D)

(to CHRISTINE)

You did very well, my dear. He is

pleased with you.

She hands CHRISTINE a SINGLE RED rose with a black ribbon

obviously from HIM.

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - NIGHT49

RAOUL finally joins ANDRE and FIRMIN near the dressing room.

FIRMIN

Ah, Vicomte, I think we've made

quite a discovery with Miss Daae!

ANDRE

Perhaps we can present her to you,

dear Vicomte.

RAOUL

Gentlemen, if you wouldn't mind.

This is one visit I should prefer

to make unaccompanied..

He takes the champagne from FIRMIN.

29.

RAOUL

But thank you.

They bow and move off.

FIRMIN

It would appear they've met

before...

ANDRE

Yes.

INT. BACKSTAGE - CARLOTTA’S DRESSING ROOM - NIGHT50

CHRISTINE is sitting at her mirror. It is surrounded by

roses. There are candles around her. RAOUL enters:

RAOUL

(spoken)

“Little Lotte let her mind

wander...”

CHRISTINE is puzzled.

RAOUL

“Little Lotte thought: am I fonder

of dolls... or of goblins... of

shoes...”

CHRISTINE

Raoul.

RAOUL

“...Or of riddles, of

frocks...”

CARLOTTA

Those picnics in the attic...

RAOUL

“...Or of chocolates...”

CHRISTINE

Father playing the violin...

RAOUL

As we read to each other dark

stories of the North...

They embrace and laugh.

30.

CHRISTINE

“No - What I love best, Lottie

said, is when I'm asleep in my bed,

(sung)

And the angel of music sings songs

in my head!”

BOTH

“...The Angel of Music sings songs

in my head!”

CHRISTINE

(turning in her chair to

look at RAOUL)

Father said, “When I'm in heaven,

child, I will send the Angel of

Music to you.” Well, father is

dead, Raoul, and I have been

visited by the Angel of Music.

RAOUL

No doubt of it. And now we go to

supper!

CHRISTINE

(firmly)

No, Raoul; the Angel of Music is

very strict!

RAOUL

I shan't keep you up late!

CHRISTINE

No, Raoul...

RAOUL

You must change. I'll order my

carriage. Two minutes - Little

Lotte.

He hurries out, closing the door.

CHRISTINE

(calling after him)

Raoul! No, wait!

31.

EXT. CORRIDOR - NIGHT57

We are close on her DRESSING ROOM DOOR - A PERFECTLY GLOVED

HAND turns the key in the outside door. Removing the key,

the hand disappears. CAMERA TRACKS to find M

. GIRY

watching from the shadows.

INT. CARLOTTA’S DRESSING ROOM - NIGHT58

Unaware of this, and while thunderous music swells, CHRISTINE

has started changing into her dressing gown. Tremulous

music. CHRISTINE turns and hears the PHANTOM’S VOICE,

seemingly through the timbers if the theatre.

PHANTOM’S VOICE (O.S.)

Insolent boy! This slave of

fashion, basking in your glory!

Ignorant fool! This brave, young

suitor, sharing in my triumph!

INT. BACKSTAGE - NIGHT59

The angry sound of the PHANTOM’s voice is heard by some; MEG,

. GIRY, BUQUET.

INT. FOYER - NIGHT60

Dark. Empty.

INT. AUDITORIUM - STAGE - NIGHT60A

Shots showing the opera house closed down for the night; the

LAMPLIGHTERS extinguishing the lights along the stage, doors

closing etc...

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - SAME61

Dark. Empty.

32.

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - SAME62

CHRISTINE

(spellbound)

Angel! I hear you! speak - I

listen... stay by my side, guide

me! Angel, my soul was weak -

forgive me... Enter at last,

Master!

PHANTOM’S VOICE

Flattering child, you shall know

me, see why in shadow I hide! Look

at your face in the mirror - I am

there inside!

Very dimly, behind the mirror, we begin to glimpse the white

of the PHANTOM’s mask over CHRISTINE’s reflection. Slowly,

through the following, the shape becomes more and more

defined.

CHRISTINE

(ecstatic)

Angel of Music! Guide and

guardian! Grant to me your glory!

Angel of Music, hide no longer!

Come to me, strange angel...

PHANTOM

I am your Angel of Music... Come

to me Angel of Music...

CHRISTINE, mesmerized in a Svengali/Trilby-like hypnotic

trance, is drawn towards the glass.

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - NIGHT63

RAOUL has returned. He hears the voices and is puzzled. He

tries the door. It is locked.

RAOUL

(spoken)

Whose is that voice...? Who is

that in there...?

33.

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - NIGHT64

Inside the room, the PHANTOM beckons to CHRISTINE from inside

the mirror. She is in such a TRANCE, all we see is like a

dream. He extends his hand through the mirror.

PHANTOM

I am your Angel of Music...

RAOUL

Christine! Christine!

PHANTOM

Come to me: Angel of Music...

Spellbound, CHRISTINE magically takes his hand and glides

through the mirror.

INT. PHANTOM’S WORLD/CORRIDOR - NIGHT65

Led by the PHANTOM, CHRISTINE has stepped into the PHANTOM’s

world. We are in CHRISTINE’s mind now, and we experience his

world from her POV. This is not the same way this world

would look when MEG and the lynch mob at the end of the film

see it. In her mind, it’s all magic. The narrow HALLWAY

they enter first is SHIMMERING, REFLECTIVE and lit by TORCHES

held by HUMAN HANDS.

CHRISTINE

In sleep, he sang to me. In

dreams, he came... That voice

which calls to me and speaks my

name...

INT. PHANTOM’S WORLD/STAIRCASE - NIGHT66

CHRISTINE and the PHANTOM are moving down a voluptuous,

spiral staircase down into the belly of the building. The

walls here are covered with huge opera posters. The PHANTOM

carries a torch.

CHRISTINE

And do I dream again? For now I

find the Phantom of the Opera is

there - inside my mind...

34.

INT. PHANTOM’S WORLD/UNDERGROUND TUNNELS/RAMPS - NIGHT68

The PHANTOM is leading CHRISTINE, dressed in white, on the

black horse. The architecture is steadily becoming more

voluptuous and fantastic as they descend. Open-mouthed

gargoyles stare from the walls.

PHANTOM

Sing once again with me our strange

duet... My power over you grows

stronger yet...

INT. PHANTOM’S WORLD/STAIRCASE/LAGOON - NIGHT69

They arrive at the top of a wide staircase which leads

straight down to the lagoon and a moored boat. The PHANTOM

leads the horse down the staircase.

PHANTOM

And though you turn from me, to

glance behind. the Phantom of the

Opera is there - inside your

mind...

The PHANTOM and CHRISTINE step into the boat and set off.

INT. PHANTOM’S WORLD/UNDERGROUND CANAL - NIGHT70

The boat, guided by the PHANTOM, is gliding along the canal.

Gargoyles and torches along the walls.

CHRISTINE

Those who have seen your face draw

back in fear... I am the mask you

wear...

PHANTOM

It's me they hear...

BOTH

Your/My spirit and my/your voice,

in one combined: the Phantom of the

Opera is there - inside your/my

mind...

The gargoyles seem to sing as CHRISTINE stares at them.

35.

INT. PHANTOM’S WORLD/LOCK/PHANTOM’S LAIR71

They seem to have reached a wall, the end of the canal. The

PHANTOM turns to CHRISTINE.

And we realize the water level is slowly descending, that we

have reached a lock, one of the PHANTOM’s devices.

CHRISTINE

He's there, the Phantom of the

Opera...

PHANTOM

Sing for me! Sing, my angel of

music... Sing, my angel...

Sing

my angel! Sing for me! (etc.)

She begins to vocalize strangely, her song climbing higher

and higher in pitch. The water and the boat descend as her

voice ascends. A curtain of water parts.

INT. PHANTOM’S WORLD - PHANTOM’S LAIR - NIGHT72

The PHANTOM’s lair is revealed to us. It is a fantastic

grotto shaped like a harbour. As she reaches her final

climatic note, candles magically rise through the water,

ALREADY ALIGHT. The boat glides through the harbour.

Behind it a portcullis descends and a curtain closes in front

of it. The lair surrounds the harbour. On one side we see

the PHANTOM’s pipe organ; all around are huge mirrors covered

in dust sheets. We will also notice the PHANTOM’s model of

the opera house. The PHANTOM steps onto the shore, leaving

CHRISTINE in the boat. He begins to light candles.

PHANTOM

I have brought you to the seat of

sweet music's throne... to this

kingdom where all must pay homage

to music... music... You have come

here, for one purpose, and one

alone... Since the moment I first

heard you sing, I have needed you

with me, to serve me, to sing, for

my music... my music...

36.

The PHANTOM begins to lead the boat gently by a rope around

the lair. He is lighting candles as he does so.

PHANTOM (CONT’D)

(Changing mood)

Night-time sharpens, heightens each

sensation... Darkness stirs and

wakes imagination... Silently the

senses abandon their defences...

The PHANTOM lights more candles revealing more of the lair.

With the rope, he continues gently to guide CHRISTINE and the

boat from the shore. She is in a trance. Mesmerized and

hypnotized by this stunning, sexual master.

PHANTOM (CONT’D)

Slowly, gently night unfurls its

splendour... Grasp it, sense it -

tremulous and tender... Turn your

face away from the garish light of

day, turn your thoughts away from

cold, unfeeling light - and listen

to the music of the night. Close

your eyes and surrender to your

darkest dreams! Purge your

thoughts of the life you knew

before! Close your eyes, let your

spirit start to soar! And you'll

live as you've never lived

before...

The PHANTOM has stepped into the water and walks toward the

boat and CHRISTINE. This is highly sexual. She is

completely in his spell.

PHANTOM (CONT’D)

Softly, deftly, music shall caress

you... Hear it, feel it secretly

possess you... Open up your mind,

let your fantasies unwind in this

darkness that you know you cannot

fight - the darkness of the music

of the night...

He lifts CHRISTINE out of the boat, her arms are around his

neck, and is carrying her toward the shore. Their faces are

very close. His love for her has consumed him.

37.

PHANTOM (CONT’D)

Let your mind start a journey

through a strange, new world!

Leave all thoughts of the life you

knew before! Let your soul take

you where you long to be! Only

then can you belong to me...

They reach the shore and the PHANTOM carries her toward a

carved staircase. He lets her caress his mask, his hand

reaches out to her face, travels down her neck and breasts.

He carries her up the staircase which leads to a second

grotto.

PHANTOM (CONT’D)

Floating, falling... sweet

intoxication! Touch me, trust

me... savour each sensation! Let

the dream begin, let your darker

side give in to the power of the

music that I write - the power of

the music of the night...

INT. PHANTOM’S LAIR/BEDROOM - NIGHT73

They step through into the second grotto. It is dominated by

a huge bed in the shape of a black swan. The PHANTOM puts

her down. She turns and is confronted by an AUTOMAT. This

one is a life-sized duplicate of herself in a wedding gown,

surrounded by a mirror. It’s too bizarre. CHRISTINE faints

and falls back where he lays her down, tenderly and

sensuously.

PHANTOM

You alone can make my song take

flight - help me make the music of

the night...

The PHANTOM has slowly been drawing a series of sheer

curtains around the bed until, as the music resolves, the

curtains obscure both him and CHRISTINE and we...

FADE TO BLACK

38.

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - NIGHT74

Out of the blackness steps MEG GIRY. She is looking for

CHRISTINE. The building is deserted, shadows everywhere.

MEG is a tiny figure in the darkness, vulnerable and

frightened.

MEG

(whispers)

Christine...

INT. THEATRE - SAME75

Dark. Empty.

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - NIGHT76

MEG steps into the dressing room. The gas light has been

turned down low. She moves toward the dressing table covered

in flowers. Next to it, we see her reflection in the full-

length mirror. Suddenly, the gas light goes out. The room

is plunged into darkness. Startled, she turns to the mirror

and glimpses a shadow behind her reflection. Her hand

reaches up, she steps to one side and suddenly the panel NEXT

to the mirror swivels silently and gathers her through to the

other side (i.e. we see the mechanics of what seemed at first

magic). MEG has found CHRISTINE’s route to the PHANTOM’s

world.

INT. PHANTOM’S WORLD/CORRIDOR - NIGHT77

MEG comes into shot and sees the dressing room on the other

side of the mirror. Shadows seem to follow. It is dark,

damp and dangerous. A rat scampers through. A shadow

appears directly behind MEG. A hand reaches out and grabs

her shoulder. MEG turns in terror. It is her mother, M

GIRY.

INT. BALLET GIRL’S DORMITORY - NIGHT78

Ten minutes later, BUQUET, showing off, is aping the PHANTOM,

to the BALLET GIRLS (older ones included), who are dressed

for bed. A length of fabric serves as his cloak and a piece

of rope as the Punjab lasso. The toothy older BALLET TART

and her CHORUS GIRL buddy, arrive home after a wild night

with her bosses.

39.

BUQUET

Like yellow parchment is his

skin... A great black hole served

as the nose that never grew

Demonstrating the PHANTOM’s method, he lassoes one of the

girls. With a mixture of horror and delight, the BALLET

GIRLS applaud this demonstration. BUQUET is clearly enjoying

this.

BUQUET (CONT’D)

You must be always on your guard,

or he will catch you with his

magical lasso!

Behind BUQUET, M

. GIRY has entered with MEG.

. GIRY

Those who speak of what they know

find, too late, that prudent

silence is wise.

She takes the noose from his hand, drops it around his head,

and inserts his hand between the rope and his neck.

. GIRY (CONT’D)

Joseph Buquet, hold your tongue -

keep your hand at the level of your

eyes...

She pulls the rope taunt. BUQUET’s hand saves him from being

strangled.

INT. PHANTOM’S LAIR/LATER THAT NIGHT79

The PHANTOM is seated at the organ, playing with furious

concentration. He breaks off occasionally to write the music

down. He stills wears his evening trousers, but a loose

velvet robe hangs open, revealing his well developed

physique.

CHRISTINE is asleep. Beside the bed there is the musical

box; THE MONKEY AND THE BARREL ORGAN. Mysteriously, it plays

as CHRISTINE wakes up. The music keeps her in a half-trance

as she steps out of the bed and walks toward the mouth of the

grotto.

40.

CHRISTINE

I remember there was mist...

swirling mist upon a vast, glassy

Lake... there were candles all

around and on the lake there was a

boat, and in the boat there was a

man...

She sees the PHANTOM sitting at his organ. His mask and hair

perfect, bare chested in the flowing robe, he is once again a

strong sexual presence CHRISTINE is attracted to. He is

trying to finish a melody (”POINT OF NO RETURN”). As she

approaches, she takes over the melody and, vocalizing, finds

a solution to it. He then plays the middle section as she

listens. She is behind him, very close. Together they

complete the song, musically as one. The melody continues on

the violin as the PHANTOM notates it on his score.

CHRISTINE

Who was that shape in the

shadows...? Whose is the face in

the mask...?

She lovingly caresses his face. He responds deeply to her

touch. Almost like a lover, removing a veil, CHRISTINE takes

off the mask. The PHANTOM springs up, throwing her violently

to the ground and turns on her furiously. We see only a

flash of his rotting face. In his wrath, he runs to the huge

mirrors around the lair, tearing off the dust covers.

CHRISTINE is surrounded by a hundred reflections of the

PHANTOM.

PHANTOM

Damn you! You little prying

Pandora! You little demon - is

this what you wanted to see? Curse

you! You little lying Delilah!

You little viper - now you cannot

ever be free!

(weakening)

Damn you... curse you...

(a pause)

Stranger than you dreamt it... can

you even dare to look or bear to

think of me: this loathsome

gargoyle, who burns in bell, but

41.

(MORE)

secretly yearns for heaven,

secretly... Christine...

CHRISTINE is near tears. Her heart is moved by this poor man.

PHANTOM (CONT’D)

Fear can turn to love - you'll

learn to see, to find the man

behind the monster, this...

repulsive carcass, who seems a

beast, but secretly dreams of

beauty, secretly... secretly...

Oh, Christine...

Pitifully, he holds out his hand for the mask, and filled

with sympathy, she gives it to him. He puts on the mask.

PHANTOM (CONT’D)

Come we must return - those two

fools who run my theatre will be

missing you.

INT./EXT. ROOF (MEG’S POV) - NIGHT80

...sees the spectre of the Phantom leading Christine across

the roof.

INT. BALLET GIRL’S DORMITORY - NIGHT81

MEG

He’s there - the Phantom of the

Opera!

The other BALLET GIRLS scream. M

. GIRY claps her hands to

order the girls to bed.

. GIRY

Au lit! Au lit!

INT. BACKSTAGE/CORRIDOR - NIGHT82

. GIRY locks the doors of the dormitory. She looks up and

sees at the top of a staircase, CHRISTINE, backlit by the

moon, still deep in a trance. CHRISTINE walks down towards

her and almost faints into M

. GIRY’s arms as she reaches

her. M

. GIRY leads her away. Unknown to both, BUQUET has

42.

PHANTOM (CONT'D)

been watching them. And unknown to BUQUET, from the doorway

above, the PHANTOM has been watching him.

DISSOLVE TO:

EXT. OPERA POPULAIRE / BACK TO 1919

(BLACK AND WHITE GRAINY FOOTAGE AGAIN)

The NURSE/NUN and the LIVERIED CHAUFFEUR assist the frail

RAOUL into the back of his elegant car. As the NURSE and

DRIVER get seated, RAOUL looks up to see M

. GIRY leaving

the theatre. As his car moves away slowly, they both look to

each other - two old friends that have shared many dark

secrets - who know they will probably never see each other

again. With great effort, RAOUL makes a chivalrous gesture.

He raises his silk top hat and places it over his heart.

. GIRY is moved, and does a tiny, elegant curtsy. RAOUL

leaving his hat off, rests back in the expensive leather

seat. His mind once again fills with haunted dreams of the

past. He looks in the SIDE MIRROR.

His POV. The old, SCARRED THEATRE disappearing in the

distance. CAMERA moves in closer to his EYES as rear view

BLACK AND WHITE SIDE MIRROR fills the screen and it ONCE

AGAIN bursts into COLOUR and we are:

EXT. OPERA POPULAIRE - 1870 - MORNING84

FIRMIN walks hurriedly toward the theatre, carrying a

newspaper, LARGE QUEUES outside the theatre. Everybody wants

a ticket.

INT. GRAND FOYER - DAY86A

Passing CLEANERS with mops, FIRMIN enters, reading:

FIRMIN

"Mystery after gala night" it says,

"Mystery of soprano's flight!"

"Mystified,” all the papers say,

“We are mystified - we suspect foul

play!"

(he lowers the paper)

Bad news on soprano scene - first

Carlotta, now Christine! Still at

43.

(MORE)

least the seats get sold - gossip's

worth its weight in gold...

He strides towards ANDRE’s office at the other end.

FIRMIN

What a way to run a business!

Spare me these unending trials.

Half your cast disappears, but the

crowd still cheers! Opera! To

hell with Gluck and Handel - Have a

scandal and you're sure to have a

hint!

ANDRE bursts out of his office, in a temper, confronting

FIRMIN in the busy corridor.

ANDRE

Damnable? will they all walk out?

this is damnable!

FIRMIN

Andre, please don't shout... it's

publicity! And the take is vast!

Free publicity!

ANDRE

(groans)

But we have no cast...

FIRMIN

(calmly)

But, Andre, have you seen the

queue?

FIRMIN is now leading him back to his office ANDRE produces a

black bordered letter.

FIRMIN (CONT’D)

Oh, it seems you've got one too...

INT. GRAND FOYER - DAY88

As they march in. ANDRE opens the letter and reads:

44.

FIRMIN (CONT'D)

ANDRE

"Dear Andre, what a charming gala!

Christine was, in a word, sublime.

We were hardly bereft when Carlotta

left - on that note, the diva’s a

disaster, must you cast her when

she's seasons past her prime?”

Meanwhile, FIRMIN has picked up another letter from his desk.

It also has a black border. He reads it out:

FIRMIN

"Dear Firmin, just a quick

reminder: my salary has not been

paid. Send it care of the ghost,

by return of post - P.T.O.: no one

likes a debtor, so it's better if

my orders are obeyed!"

BOTH

Who would have the gall to send

this? Someone with a puerile

brain!

FIRMIN

(studying both notes)

These are both signed "O.G."...

ANDRE

Who the hell is he?

BOTH

(immediately realizing)

“Opera ghost!”

And back down the corridor.

FIRMIN

It's nothing short of shocking

ANDRE

He's mocking our position

FIRMIN

In addition he wants money!

ANDRE

What a funny aberration...

45.

BOTH

...to expect a large retainer!

Nothing plainer - he is clearly

quite insane!

They are interrupted by the arrival from the stairs of RAOUL,

who brandishes another of the PHANTOM’s notes.

RAOUL

Where is she?

ANDRE

You mean Carlotta?

RAOUL

I mean Miss Daae - where is she?

FIRMIN

Well, how should we know?

RAOUL

I want an answer - I take it that

you sent me this note?

FIRMIN

What's all this nonsense?

ANDRE

Of course not!

FIRMIN

Don't look at us!

All three start off back towards FIRMIN’s office.

RAOUL

She's not with you, then?

FIRMIN

Of course not!

ANDRE

We're in the dark...

RAOUL

Monsieur, don't argue - isn't this

the letter you wrote?

46.

FIRMIN

And what is it, that we're meant to

have wrote?

(Realizing his mistake)

Written!

RAOUL hands the note to ANDRE who reads it:

ANDRE

"Do not fear for Miss Daae. The

Angel of Music has her under his

wing. Make no attempt to see her

again."

The mangers look mystified.

RAOUL

Well, if you didn't write it, who

did?

INT. GRAND FOYER - DAY90

They are just about to go into FIRMIN’s office when CARLOTTA,

closely followed by PIANGI and her retinue (SEAMSTRESS, MAID,

HAIRDRESSER) explodes into the foyer and heads up the grand

staircase. She, too, has a letter, which has cheered her no

more than the others.

CARLOTTA

Where is he?

ANDRE

(delighted)

Ah, welcome back!

CARLOTTA

Your precious patron - where is he?

RAOUL

What is it now?

They all go toward FIRMIN’s office, as CARLOTTA confronts

RAOUL.

47.

INT. GRAND FOYER - DAY91

CARLOTTA

I have your letter - a letter which

I rather resent!

FIRMIN

(to RAOUL)

And did you send it?

RAOUL

Of course not!

ANDRE

As if he would!

CARLOTTA AND PIANGI

You didn't send it?

RAOUL

Of course not!

FIRMIN

What's going on...?

CARLOTTA

(to RAOUL)

You dare to tell me that this is

not the letter you sent?

RAOUL

And what is it that I'm meant to

have sent?

RAOUL takes the letter and reads it:

RAOUL

"Your days at the Opera Populaire

are numbered. Christine Daae will

be singing on your behalf tonight.

Be prepared for a great misfortune,

should you attempt to take her

place. "

The MANAGERS are beginning to tire of the intrigue. They

escort CARLOTTA toward the grand staircase. EVERYONE has

followed them.

48.

ANDRE AND FIRMIN

Far too many notes for my taste -

and most of them about Christine!

All we've heard since we came is

Miss Daae's name...

And walk straight into M

. GIRY accompanied by MEG.

. GIRY

Miss Daae has returned

FIRMIN

(looking at RAOUL)

I hope no worse for wear as we're

concerned

ANDRE

Where precisely is she now?

. GIRY

I thought it best that she was

alone...

MEG

She needed rest...

RAOUL

May I see her?

. GIRY

No, monsieur, she will see no-one.

CARLOTTA AND PIANGI

Will she sing? Will she sing?

ANDRE and FIRMIN try to escape up the stairs. EVERYONE

follows.

. GIRY

Here, I have a note...

They all groan.

RAOUL/CARLOTTA/ANDRE/PIANGI

Let me see it!

49.

FIRMIN

(snatching it)

Please!

He opens the letter and reads. The PHANTOM’s voice gradually

takes over.

FIRMIN

"Gentlemen, I have now sent you

several notes of the most amiable

nature, detailing how my theatre is

to be run. You have not followed

my instructions. I shall give you

one last chance..."

We INTERCUT with:

INT. PHANTOM’S LAIR - DAY 94

The PHANTOM’s model of the Opera Populaire. We see in

particular the stage of the opera house with the set for I

Muto

. Figurines, exact reproductions of the cast, IN WAX,

CARLOTTA and CHRISTINE included, populate the stage.

The PHANTOM’s hand, in a white glove, comes into shot. It

removes the head from the CHRISTINE figurine and swaps it

with that of CARLOTTA’s.

PHANTOM’S VOICE (O.S.)

(taking over)

Christine Daae has returned to you,

and I am anxious her career should

progress. In the new production of

Il Muto, you will therefore cast

Carlotta as the pageboy, and put

Miss Daae in the role of Countess.

The role which Miss Daae plays

calls for charm and appeal, the

role of the Pageboy is silent -

which makes my casting, in a word,

ideal.

We also see Box Five within the model:

PHANTOM (O.S.)

I shall watch the performance from

my normal seat in Box Five, which

50.

(MORE)

will be kept empty for me. Should

these commands be ignored, a

disaster beyond your imagination

will occur...

The PHANTOM’s hand taps the miniature chandelier of the model

opera house. We INTERCUT this with:

INT. AUDITORIUM - DAY95

The real chandelier tinkles as if disturbed by a gust of

wind.

INT. BACKSTAGE - SAME95A

Workers look up and react to tinkling chandelier.

INT. GRAND FOYER - DAY96

EVERYONE looks up as if they heard the distant sound of the

chandelier.

FIRMIN

(taking over)

"...I remain, Gentlemen, Your

obedient servant, O.G."

CARLOTTA

Christine

CARLOTTA barrels towards the grand staircase. EVERYONE

follows.

ANDRE

Whatever next...?

CARLOTTA

It's all about a ploy to help

Christine!

FIRMIN

This is insane...

CARLOTTA plunges down the stairs followed by EVERYONE.

CARLOTTA

I know who sent this:

(pointing an accusing

51.

PHANTOM (O.S.) (CONT'D)

(MORE)

finger)

The Vicomte - her lover!

RAOUL

(ironical)

Indeed?

(to the others)

Can you believe this?

FIRMIN

(to Carlotta, in protest )

Signora!

She heads for the DOORS TO THE THEATRE.

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - DAY98

AS EVERYONE races down the corridor, other SINGERS, DANCERS,

HAIR and MAKEUP ARTISTS appear out of the dressing rooms to

watch.

CARLOTTA

(half to the MANAGERS,

half to herself)

O traditori!

ANDRE

This changes nothing!

CARLOTTA

O mentitori!

FIRMIN

Signora!

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - DAY99

And they all arrive in CARLOTTA’s dressing room. She is like

a whirlwind: trunks and cases appear, dresses, boas, wigs,

furs, shoes, fly through the air into the trunks. She is

packing to leave.

ANDRE

You are our star!

FIRMIN

And always will be!

52.

CARLOTTA (CONT'D)

ANDRE

Signora...

FIRMIN

The man is mad!

ANDRE

We don't take orders!

FIRMIN

(announcing it to

everyone)

Miss Daae will be playing the

Pageboy - the silent role...

ANDRE AND FIRMIN

Carlotta will be playing the lead!

CARLOTTA

(waxing melodramatic)

it's useless trying to

appease me... you're only

saying this to please me! I

will not listen! You thus

insult the honour of your

prima donna? Padre mio!

Dio!

PIANGI

... appease her ... to please

... her ... padre mio! ...

dio!

Who scorn his word, beware to those... The angel sees, the

angel knows

You have reviled me!

You have rebuked me!

Signora, pardon us...?

You have replaced me!

Please, Signora, we beseech you...

This hour shall see your darkest fears...

Signora, sing for us!

Don't be a martyr

53.

What new surprises lie in store?

Our star...!

Would you please give this to Miss Daae?

INT. FOYER - DAY105

ANDRE and FIRMIN steal behind her, close the doors and stand

with their backs to them. All look at CARLOTTA, as the

MANAGERS approach her lovingly.

ANDRE

Your public needs you!

FIRMIN

We need you, too!

CARLOTTA

(unassuaged)

Would you not rather have your

precious little ingenue?

ANDRE AND FIRMIN

Signora, no! the world wants you!

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - NIGHT106

CARLOTTA is preparing for the evening performance of

Il Muto

She is surrounded by her SEAMSTRESS, WIGMAKER, MAID and

PIANGI.

Through the following, she is strapped into her corset,

bosoms heaving, perfume, powdered, wigs and beauty spots are

applied. Most importantly, she is constantly spraying her

throat from a crystal bottle. Meanwhile, ANDRE and FIRMIN

fawn magnificently; they have brought her bonbons, oysters,

huge flowers, another nasty little dog. PIANGI groans. They

drink champagne from her slipper, FIRMIN a little disgusted

by this, and grovel like pros.

ANDRE AND FIRMIN

Prima Donna, First Lady of the

stage! Your devotees are on their

knees to implore you!

We INTERCUT this with:

54.

INT. BACKSTAGE/DRESSING ROOM CORRIDOR - NIGHT107

...RAOUL searching for CHRISTINE. We also intercut with:

INT. BACKSTAGE/HUMBLE DRESSING ROOM - NIGHT108

. GIRY is preparing a very nervous CHRISTINE as the

PAGEBOY. MEG is with them.

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - NIGHT109

ANDRE

Can you bow out when they're

shouting your name?

FIRMIN

Think of how they all adore you!

BOTH

Prima Donna, enchant us once again!

ANDRE

Think of your muse...

FIRMIN

And of the queues round the

theatre!

BOTH

Can you deny us the triumph in

store!

ANDRE/FIRMIN/PIANGI

Sing, Prima Donna, once more!

INT. BACKSTAGE/CORRIDORS - NIGHT110

We continue intercutting with RAOUL searching for CHRISTINE.

RAOUL

Christine spoke of an angel...

55.

INT. BACKSTAGE/CARLOTTA’S DRESSING ROOM - NIGHT111

CARLOTTA

(to herself in triumph)

Prima Donna, your song shall live

again!

ANDRE/FIRMIN/PIANGI

(to CARLOTTA)

Think of your public!

CARLOTTA

You took a snub, but there's a

public who needs you!

. GIRY

(referring to CHRISTINE)

She has heard the voice of the

angel of music...

ANDRE/FIRMIN/PIANGI

(to CARLOTTA)

Those who hear your voice liken you

to an angel!

CARLOTTA

Think of their cry of undying

support!

CONTINUE INTERCUTS (CONTINUOUS MUSIC)

INT. BACKSTAGE - DRESSING ROOM CORRIDOR - NIGHT112

RAOUL is making his way to Box Five.

INT. BACKSTAGE - NIGHT113

CARLOTTA, followed by her RETINUE and ANDRE and FIRMIN,

PIANGI now carrying two little dogs, is now moving toward the

wings. She travels past the COSTUME and PROP SHOPS, the

SCENERY DOCKS, while ANDRE and FIRMIN encourage other SINGERS

and DANCERS to follow and SING her praises. CARLOTTA is

continuously spraying her mouth with the little crystal

bottle.

56.

INT. STAGE - PIT - FLIES - NIGHT114

Shots which show the theatre coming to life for the evening

performance; MUSICIANS arriving in the PIT; BUQUET directing

operations up in the FLIES; the huge bed of

Il Muto

being

wheeled on stage.

ANDRE

(to FIRMIN)

We get our opera...

FIRMIN

(to ANDRE)

She gets her limelight!

INT. BACKSTAGE - NIGHT115

BALLET GIRLS and the CHORUS dress. PROPS are readied. MEG

and M

. GIRY attend CHRISTINE. (All INTERCUT with CARLOTTA

and COMPANY getting ready.)

CARLOTTA

Follow where the limelight leads

you!

ANDRE AND FIRMIN

(aside)

Leading ladies are a trial!

CARLOTTA

Prima Donna, your song shall never

die!

PIANGI

When she sing, we see heaven!

CARLOTTA

You'll sing again, and to unending

ovation!

RAOUL

Orders! Warnings! Lunatic

demands!

57.

ANDRE AND FIRMIN

Lunatic demands are regular

occurrences

CARLOTTA

Think how you'll shine in that

final encore!

ANDRE AND FIRMIN

Surely there'll be further scenes -

worse than this!

RAOUL

... I must see these demands are

rejected!

ANDRE AND FIRMIN

Who'd believe a diva happy to

relieve a chorus girl, who's gone

and slept with the patron? Raoul

and the soubrette, entwined in

love's duet! Although he may

demur, he must have been with her!

ANDRE AND FIRMIN

You'd never get away with all this

in a play, but if it's loudly sung,

and in a foreign tongue, it's just

the sort of story audiences adore,

in fact a perfect opera!

. GIRY

For, if his curse is on the

opera...

MEG

But if his curse is on this

opera...

ANDRE AND FIRMIN

Prima Donna the world is at your

feet! A nation waits, and how it

hates to be cheated!

58.

ALL

Light up the stage with that age-

old rapport! Sing, Prima Donna,

once more!

INT. WINGS/STAGE - NIGHT116

CARLOTTA and her RETINUE, ANDRE and FIRMIN, have arrived on

the edge of the opera stage. They are now accompanied by

other SINGERS, DANCERS, STAGEHANDS. The huge set beckons as

the music rises and EVERYONE’s eye are on CARLOTTA.

THE OVERTURE TO

Il Muto

INT. AUDITORIUM - NIGHT117

We see the stage of the opera house. The red house curtains

are in. The house is packed.

INT. WINGS/STAGE - NIGHT119

The PERFORMERS waiting for the opera to begin. Meanwhile, in

the wings, the PHANTOM’s hand comes into shot. Unseen by

all, it reaches for CARLOTTA’s throat spray and swaps it for

an identical crystal flask. The overture comes to an end...

INT. AUDITORIUM - NIGHT120

The curtains rise for the beginning of the opera.

A PERFORMANCE OF

Il Muto

INT. STAGE - NIGHT121

The set is an eighteenth century salon, a canopied bed centre

stage. The COUNTESS is played by CARLOTTA. SERAFIMO, the

pageboy, is disguised as her maid and is played by CHRISTINE.

At this point, they are hidden behind the drapes of the bed,

which are drawn. We see them waiting for their cue.

CARLOTTA yanks the cap on CHRISTINE’s head, trying to cover

part of her face. In the room are TWO EPICENE MEN: one a

HAIRDRESSER and one a JEWELLER. The JEWELLER is attended by

MEG dressed as a MAID. There is also an OLDER WOMAN, the

COUNTESS’s CONFIDANTE. ALL, apart from MEG, are gossiping

with relish about the COUNTESS’s current liaison with

SERAFIMO.

59.

CONFIDANTE

They say that this youth has set my

lady's heart aflame!

1ST FOP

His Lordship, sure, would die of

shock!

2ND FOP

His Lordship is a laughing-stock!

CONFIDANTE

Should he suspect her, God protect

her!

ALL THREE

(INSINCERELY)

Shame! Shame! Shame! This

faithless lady's bound for Hades!

Shame! Shame! Shame!

The AUDIENCE is amused as the canopy drapes part and we see

the COUNTESS kissing SERAFIMO passionately. As the

recitative begins, the lights and the music dim on stage, and

our attention turns to the MANAGERS in their box.

INT. AUDITORIUM/MANAGERS’ BOX - NIGHT ON STAGE122

COUNTESS

Serafimo! Your disguise is

perfect!

(a knock on the door)

Why, who can this be?

DON ATTILIO

(outside)

Gentle wife, admit your loving

husband.

ANDRE and FIRMIN chuckle and nod to RAOUL in the opposite

box. He acknowledges them.

ANDRE

(to FIRMIN)

Now that's exactly something the

public loves.

60.

INT. STAGE - NIGHT123

The COUNTESS admits PIANGI as DON ATTILIO, an old fool.

DON ATTILIO

My love - I am called to England on

affairs of state, and must leave

you with your new maid.

(aside)

Though I'd happily take the maid

with me.

COUNTESS

(ASIDE)

The old fool is leaving!

ANDRE

(to FIRMIN)

It’s the Countess de Cherbourg!

She's invited us to her salon, you

know.

FIRMIN

(to ANDRE)

Nothing like that ever happened to

us in the junk business.

ANDRE

(to FIRMIN)

Scrap metal.

COUNTESS (CARLOTTA)

Serafimo - away with this pretence!

She rips off SERAFIMO’s skirt to reveal his manly breeches.

COUNTESS (CONT’D)

You cannot speak, but kiss me in my

husband's absence! Poor fool, he

makes me laugh! Hahaha haha! Time

I tried to get a better better

half!

COUNTESS/CHORUS

Poor fool, he doesn't know! Hoho,

hoho, ho! If he knew the truth,

he'd never, ever go!

61.

Suddenly, from nowhere, we hear the VOICE of the PHANTOM.

PHANTOM’S VOICE (O.S.)

Did I not instruct that Box Five

was to be kept empty?

MEG

(terrified, whispered)

He's here, the Phantom of the

Opera...

And high above the stage, on a catwalk running along the top

of the proscenium arch, we can make out the shadowy figure of

the PHANTOM. General reaction of bewilderment. EVERYONE

stops. AUDIENCE reaction. CHRISTINE looks fearfully about

her.

CHRISTINE

It's him.

CARLOTTA

(finding a scapegoat in

CHRISTINE, hisses at her)

Your part is silent, little toad!

She walks off stage into the WINGS. There, her MAID hands

her throat spray. CARLOTTA sprays herself liberally. But

the PHANTOM has heard her last remark.

PHANTOM (O.S.)

A toad, madame? Perhaps it is you

who are the toad...

Again general unease, this time turning to alarm. CARLOTTA

comes back on stage.

CARLOTTA

(to MAID)

Why you spray on my chin all the

time, huh?

CARLOTTA

(to REYER in the pit)

Maestro... da capo... Per favore...

Serafimo, away with this pretence!

You cannot speak, but kiss me in my

husband’s croak...

62.

Instead of singing, she emits a great croak, like a toad. A

stunned silence. CARLOTTA is as amazed as anyone, but

regains herself and continues. More perturbing, however, is

a new sound: the PHANTOM is laughing - quietly at first, then

more and more hysterically. The entire AUDIENCE howls.

REYER

(to ORCHESTRA)

Gentlemen, please, please. Now,

come along.

CARLOTTA

Poor fool, he makes me laugh!

Haha, haha, croak, croak, croak.

STAGEHAND

She’s lost her voice.

As before, the PHANTOM’s laughter rises. The croaking

continues as the chandelier’s lights flicker on and off. The

PHANTOM’s laughter, by this time overpowering, now crescendos

into a great cry.

INT. AUDITORIUM DOME - NIGHT124

Unseen by the audience, the PHANTOM is in the dark belfry of

the opera house dome.

And with this, he toys perilously with the chandelier.

INT. AUDITORIUM - NIGHT124A

The AUDIENCE gasps.

INT. AUDITORIUM DOME - NIGHT124B

BUQUET appears from a trap door. He sees the PHANTOM. The

PHANTOM sees him. BUQUET disappears in terror.

INT. STAGE - NIGHT125

CARLOTTA looks tearfully up at the MANAGER’s box and shakes

her head.

ANDRE and FIRMIN hurry onto the stage. PIANGI ushers the now

sobbing CARLOTTA off stage, while the MANAGERS tackle the

audience, the chandelier still swaying wildly.

63.

FIRMIN

Er Ladies and gentlemen, we

apologize. Er, the performance

will continue in ten minutes'

time...

He addresses Box Five which is now EMPTY, keeping one eye on

the chandelier as it returns to normal.

FIRMIN (CONT’D)

When the role of the Countess will

be played by Miss Daae. Thank you.

(to CHRISTINE)

Go, go, hurry up, hurry up.

FIRMIN

(to AUDIENCE)

Until then, we would crave your

indulgence for a few moments.

Meanwhile, we see BACKSTAGE the STAGEHANDS working

frantically lowering the curtain and changing the set.

ANDRE

(improvising)

Meanwhile, ladies and gentlemen, we

shall be giving you the ballet from

Act Three of tonight's opera.

REYER

What?!

ANDRE

(to REYER)

Er, maestro...

(stutters)

...the, the, the ballet - bring it

forward please.

The MANAGERS leave, the stage is cleared fast and the music

starts up again. The BALLET GIRLS enter as a sylvan glade

flies in. They begin the Dance of the Country SHEPHERDESSES

complete with swings, a shepherd and a real sheep.

INT. STAGE - FLIES - NIGHT126

We INTERCUT the Dance with the events up in the flies. The

flats from the previous scene continue to move up. BUQUET is

64.

supervising from the main ramp. As one flat rises out of

shot, he sees the PHANTOM on another ramp. The PHANTOM grabs

a rope and leaps across towards BUQUET. We see this from

both the stage below and through POV’s of the stage way below

us. BUQUET runs down his ramp chased by the PHANTOM who has

used the ropes to swing across from ramp to ramp. Continue

INTERCUTS with:

INT. CARLOTTA’S DRESSING ROOM - NIGHT127

. GIRY helps CHRISTINE into CARLOTTA’s costume.

INT. STAGE - NIGHT128

MEG is aware of the events above her head and dances out of

step.

INT. CARLOTTA’S DRESSING ROOM - NIGHT129

CHRISTINE notices the SINGLE RED ROSE with the BLACK RIBBON.

INT. STAGE - FLIES - NIGHT130

Finally, BUQUET turns to run from the PHANTOM but a rope like

a flash catches him by the neck. Then very fast, we see the

PHANTOM leap off the ramp holding a rope. BUQUET is suddenly

raised straight off his feet, the noose around his neck; a

pulley whirls madly; the PHANTOM lands on a lower ramp,

releases the rope. BUQUET plummets.

INT. STAGE - NIGHT131

The garrotted body of JOSEPH BOQUET falls on the stage with a

sickening thud (or stays suspended on centre stage) causing

the sylvan glade to fly out. Pandemonium.

INT. BACKSTAGE/WINGS - NIGHT132

CHRISTINE is running through the backstage terrified. RAOUL

runs towards her, she grabs him. She still grasps the

PHANTOM’s rose.

INT. STAGE - NIGHT133

Firmin is attempting the impossible:

65.

FIRMIN

(trying to placate the

audience)

Ladies and gentlemen, please remain

in your seats. Er, do not panic.

It is simply an accident... an

accident...

INT. BACKSTAGE/IRON STAIRCASE - NIGHT134

CHRISTINE is leading RAOUL up a spiralling iron staircase

which leads vertiginously out onto the roof. CHRISTINE is

racing up, in a frenzy of terror.

RAOUL

Why have you brought us here?

CHRISTINE

We can’t go back there!

RAOUL

We must return!

CHRISTINE

He'll kill you! His eyes will find

us there!

RAOUL

Christine, don't say that...

CHRISTINE

Those eyes that burn!

RAOUL

Don't even think it...

CHRISTINE

And if he has to kill a thousand

men -

RAOUL

Forget this waking nightmare...

66.

CHRISTINE

The Phantom of the Opera will

kill and kill again!

(to herself)

My god, who is this man who

hunts to kill...? I can't

escape from him... I never

will!

RAOUL

This phantom is a fable...

Believe me, there is no

Phantom of the Opera...

(to himself)

My god, who is this man this

mask of death...? Whose is

this voice you hear with

every breath...?

BOTH

And in this labyrinth, where night

is blind the Phantom of the Opera

is here: inside your/my mind...

RAOUL

There is no Phantom of the Opera...

INT./EXT. ROOF - NIGHT135

They emerge onto the roof. The huge statue of “La Victoire

Ailee”, vast gargoyles dominate and look out over a surreal

panorama of Paris.

CHRISTINE

(calming a little bit but

intense)

Raoul, I've been there - to his

world of unending night... to a

world with the daylight dissolves

into darkness... Darkness...

Raoul, I've seen him! Can I ever

forget that sight...? Can I ever

escape from that face?

distorted, deformed, it was hardly

a face, in that darkness...

darkness...

And we realize the PHANTOM is right there with them on the

roof. He watches from the top of a statue. We INTERCUT

continuously between the lovers and him.

CHRISTINE

(trance-like, then

becoming more and more

ecstatic)

But his voice filled my spirit with

67.

(MORE)

a strange, sweet sound...

In that night there was music in my

mind...

And through music my soul began to

soar!

And I heard as I'd never heard

before...

RAOUL

What you heard was a dream and

nothing more...

CHRISTINE

(still abstracted)

Yet in his eyes all the sadness of

the world, those pleading eyes that

both threaten and adore...

CHRISTINE is spellbound by the PHANTOM’s rose. The PHANTOM

sees and hears this. He leans back, moved.

RAOUL

(irritated)

Christine... Christine...

PHANTOM

(unseen, a ghostly echo of

love)

Christine...

RAOUL takes the rose from her.

RAOUL

(almost interrupting)

No more talk of darkness, forget

these wide-eyed fears. I'm here:

nothing can harm you - my words

will warm and calm you. Let me be

your freedom, let daylight dry your

tears.

Snowflakes begin to fall on the opera roof. And, as the snow

slowly covers the roof and the statues, we INTERCUT between

the lovers, their shadows, and the PHANTOM and his shadow to

the point where the PHANTOM’s shadow replaces RAOUL’s.

68.

CHRISTINE (CONT'D)

RAOUL

I'm here with you, beside you, to

guard you and to guide you...

CHRISTINE

Say you love me every waking

moment, turn my head with talk of

summertime... Say you need me with

you, now and always... Promise me

that all you say is true - that's

all I ask of you...

RAOUL

Let me be your shelter, let me be

your light. You're safe: No one

will find you - your fears are far

behind you...

The lovers move perilously close to the edge of the roof.

CHRISTINE

All I want is freedom, a world with

no more night... and you, always

beside me, to hold me and to hide

me...

A shadow. Perhaps the PHANTOM will send them to their

deaths?

RAOUL

Then say you'll share with me one

love, one lifetime... let me lead

you from your solitude...

The PHANTOM silently mouths RAOUL’s words of love, his heart

broken.

RAOUL (CONT’D)

Say you need me with you here,

beside you... anywhere you go...

let me go too - Christine, that's

all I ask of you...

69.

CHRISTINE

Say you'll share with me one love,

one lifetime... Say the word, and

I will follow you...

BOTH

Share each day with me, each night,

each morning...

CHRISTINE

Say you love me...

RAOUL

You know I do...

BOTH

Love me - That's all I ask of

you...

They kiss. The PHANTOM is watching, heartbroken. Their

intertwining shadows are next to him and in the snow.

BOTH

Anywhere you go, let me go too...

Love me - that's all I ask of

you...

CHRISTINE starts from her reverie.

CHRISTINE

(moving off)

I must go - they'll wonder where I

am... Come with me, Raoul!

RAOUL

(following)

Christine, I love you!

CHRISTINE

Order your fine horses! Be with

them at the door!

RAOUL

And soon you'll be beside me!

70.

CHRISTINE

You'll guard me, and you'll guide

me...

They disappear down the iron staircase back into the opera

house. The PHANTOM has emerged from behind a statue where he

casts a vast shadow in the fresh snow. CHRISTINE has dropped

his RED ROSE with the BLACK RIBBON in the snow.

PHANTOM

(very quiet and plaintive)

I gave you my music... made your

song take wing... And now, how

you've repaid me: denied me and

betrayed me... He was bound to

love you when he heard you sing...

Christine...

He sinks to his knees holding the RED ROSE.

INT./EXT. ROOF - NIGHT137

The PHANTOM hears the lovers’ duet fading away below...

RAOUL AND CHRISTINE (O.S.)

Say you'll share with me one love,

one lifetime... Say the word, and

I will follow you...

(softer, more distant)

Share each day with me, each night,

each morning...

He sinks to his knees as he crushes the rose in his hands.

PHANTOM

(with sudden and

terrifying fury)

You will curse the day you did not

do all that the Phantom asked of

you...!

CAMERA pulls higher and higher.

FADE TO BLACK

71.

FADE INTO: EXT./INT. PARIS STREET CAR - DAY - 1919 138

(BLACK AND WHITE)

RAOUL’s car stops in traffic. RAOUL comes out of his

memories to notice...

RAOUL’s POV. A young couple, deeply in love, look longingly

in the windows of an elegant jewellery store. RAOUL

remembers his own young love as the couple moves along,

revealing a dazzling display of expensive jewels.

CAMERA moves closer and closer to the RINGS, and as it zero’s

into the FLASHY GEMS, hit by the late afternoon light, SCREEN

fills out of focus, EYE-POPPING brilliance which DISSOLVES

into INCANDESCENT FIREWORKS in SPECTACULAR TECHNICOLOR.

EXT. PARIS SKY 1870 - NIGHT139

CAMERA moves down to include the OPERA POPULAIRE. A

spectacular explosion of fireworks in the starry sky. We

descend to reveal (MATTE) a glittering opera house. It is

New Year’s Eve; the night of the Gala Masked Ball.

EXT. OPERA POPULAIRE - NIGHT140

Watched by a LARGE CROWD OF ONLOOKERS held back by GENDARMES,

the magnificently COSTUMED GUESTS step out of their CARRIAGES

and make their way up to the main entrance. (Note: the Ball

has a colour theme: Black and White/Silver and Gold).

The stairs are lined with GUARDSMEN. PHOTOGRAPHERS take

pictures of the GUESTS. The flash powder bursts. The

ONLOOKERS applaud the most lavish costumes. With its

torchlight facade, the whole building glitters.

EXT. OPERA POPULAIRE - NIGHT142

FIRMIN and ANDRE greet guests as they mount the steps and

take champagne from a silver tray.

FIRMIN

(to ANDRE)

Monsieur Andre.

ANDRE

Monsieur Firmin.

72.

FIRMIN

Dear Andre, what a splendid party!

ANDRE

The prologue to a bright New Year!

FIRMIN

Quite a night! I'm impressed!

ANDRE

Well, one does one's best...

They are joined by the TOOTHSOME BALLET TART, spilling out of

her bodice and an equally SEXY GIRL from the CHORUS.

BOTH

(raising their glasses)

Here's to us!

ANDRE

The toast for the city!

FIRMIN

What a pity that Phantom can't be

here.

We follow them as they walk into...

INT. FOYER - NIGHT143

...and CRANE up to reveal the spectacular opera Ball in full

swing. This sequence is more of a promenade than a dance,

the GUESTS revelling in their own magnificence. For all

this, there is a strangely eerie aspect to the crowd, too

many PHANTOM LOOK-ALIKES and SKELETONS for comfort. There is

a general movement up and down the central horseshoe

staircase; a grandiose spectacle with the music.

CHORUS

Masquerade! Paper faces on parade!

Masquerade! Hide your face, so the

world will never find you!

Masquerade! Every face a different

shade... Masquerade! Look around -

there's another mask behind you!

The CAMERA picks out individual GUESTS.

73.

CHORUS

(variously)

Flash of mauve... Splash of

puce... Fool and king... Ghoul

and goose... Green and black...

Queen and priest... Trace and

rouge... Face of beast...

Faces... Take your turn, take a

ride on the merry-go-round... in

an inhuman race... Eye of gold...

Thigh of blue... True is false...

Who is who? Curl of lip... Swirl

of gown... Ace of hearts... Face

of clown...

We see FIRMIN and ANDRE toasting each other.

CHORUS (CONT’D)

Faces... drink it in, drink it up,

till you've drowned in the light...

in the sound...

RAOUL and CHRISTINE have arrived in the foyer. A PHANTOM

LOOK-ALIKE whizzes past.

MASKED COUPLE

But who can name the face...

ALL

Masquerade! Grinning yellows,

spinning reds...

Masquerade! Take your fill -

let the spectacle astound you!

Masquerade! Burning glances,

turning heads...

Masquerade! Stop and stare at the

sea of smiles around you!

Masquerade! Seething shadows,

breathing lies...

Masquerade! You can fool any

friend who ever knew you!

Masquerade! Leering satyrs,

peering eyes...

Masquerade! Run and hide -

but a face will still pursue you!

74.

CARLOTTA and PIANGI make a grand entrance, joined by ANDRE,

FIRMIN, MEG, M

. GIRY, glasses in hand.

CARLOTTA

What a night!

PIANGI

What a crowd!

ANDRE

Makes you glad!

FIRMIN

Makes you proud! All the creme de

la creme...

They have been joined by RAOUL and CHRISTINE. We can see

CARLOTTA does not appreciate CHRISTINE’s costume.

CARLOTTA

...Watching us, watching them!

RAOUL

(to CHRISTINE)

And all our fears are in the past!

ANDRE is leading them through the foyer toward the

auditorium.

ANDRE

Three months...

PIANGI

...of relief!

CARLOTTA

...of delight!

ANDRE

...of Elysian peace!

FIRMIN

And we can breathe at last!

CARLOTTA

No more notes!

75.

PIANGI

No more ghosts!

INT. GRAND FOYER - NIGHT144

They have arrived in the festively decorated auditorium.

RAOUL

Here's a health!

ANDREW

Here's a toast: to a prosperous

year!

FIRMIN

To our friends who are here.

CARLOTTA AND PIANGI

And may our splendour never fade!

FIRMIN

Three months!

CARLOTTA

What a joy!

PIANGI

What a change!

ANDRE AND FIRMIN

What a blessed release!

ANDRE leading them back into the foyer.

ANDRE

And what a masquerade!

INTERCUTS TO...

INT. BACKSTAGE - NIGHT145

The WORKERS enjoy their own party.

INT. STABLES - NIGHT146

The WORKERS enjoy their own drunken dance.

76.

INT. FOYER - NIGHT147

RAOUL and CHRISTINE, however have found a corner to share a

moment alone together. CHRISTINE is admiring a new

acquisition an engagement ring from RAOUL which she has

attached to a gold chain around her neck.

CHRISTINE

Think of it!

(Spoken)

A secret engagement! Look - your

future bride! Just think of it!

RAOUL

But why is it secret? What have we

to hide? You promised me.

CHRISTINE

(nervously)

No, Raoul. Please don't. They’ll

see...

RAOUL

Well, then let them see. It's an

engagement, not a crime!

Christine

what are you afraid of?

CHRISTINE/RAOUL

Let's not argue...

CHRISTINE takes him by the arm.

CHRISTINE/RAOUL

Please pretend...

RAOUL

I can only hope I'll...

CHRISTINE

You will...

BOTH

...understand in time...

77.

INT. FOYER - NIGHT148

She pulls him into the dance to find the GUESTS in the midst

of a frenzied waltz. CHRISTINE and RAOUL join the dance

which becomes increasingly intense. As she spins, we see her

POV, flashes of skull-like faces. The camera swoops down and

over the GUESTS, spins within them and around them. The

GUESTS are dancing up the horseshoe staircase into the upper

foyers. CHRISTINE is dancing excitedly, but she keeps on

glimpsing the vision of the fearful masks. She stops and

leans on RAOUL’s arm as the GUESTS march majestically back

down either side of the staircase, converging in the centre,

and down into the main foyer. RAOUL and CHRISTINE remain

upstairs. The movement of the GUESTS is magnificent and a

little eerie.

ALL

Masquerade! Paper faces on parade!

Masquerade! Hide your face, so the

world will never find you!

Masquerade! Every face a different

shade... Masquerade! Look around -

there's another mask behind you!

Masquerade! Burning glances,

turning heads... Masquerade! Stop

and stare at the sea of smiles

around you! Masquerade! Grinning

yellows, spinning reds...

Masquerade! Take your fill - let

the spectacle astound you!

But, at the height of the activity, MEG looks up and suddenly

sees the terrifying refection of the HUGE RED PHANTOM in the

mirrored doors of the loge. She SCREAMS. A GROTESQUE FIGURE

suddenly appears on the upper balcony, seven feet tall,

dressed all in crimson, with a death’s head. The PHANTOM has

come to the party. CHRISTINE and RAOUL, standing the other

end of the balcony, are mesmerized. All are stunned and

silent.

PHANTOM

Why so silent, good messieurs? Did

you think that I had left you for

good? Have you missed me, good

messieurs? I have written you an

opera!

78.

He brandishes an enormous bound manuscript.

PHANTOM (CONT'D)

Here I bring the finished score -

"Don Juan triumphant"!

And he throws it to Andre down below. Some pages fly.

Besides MUSIC there are COSTUME and SET SKETCHES and

PAINTINGS.

PHANTOM (CONT'D)

Fondest greetings to you all, a few

instructions just before rehearsal

starts: Carlotta must be taught to

act...

CARLOTTA fumes.

PHANTOM (CONT'D)

...Not her normal trick of

strutting round the stage.

(looking down at Piangi)

Our Don Juan must lose some weight -

it's not healthy in a man of

Piangi's age!

PIANGI fumes.

PHANTOM (CONT'D)

(to the managers)

And my managers must learn that

their place is in an office - not

the arts!

ANDRE and FIRMIN fume.

He has reached the top of the grand staircase. On the same

level, but far on the other side, stand RAOUL and CHRISTINE.

PHANTOM (CONT'D)

As for our star, Miss Christine

Daae...

(slow and sinister)

No doubt she'll do her best - it's

true her voice is good. She knows,

79.

(MORE)

though, should she wish to excel,

she has much still to learn, if

pride will let her return to me,

her teacher, her teacher...

Magically, the lights dim, isolating the PHANTOM and

CHRISTINE. Spellbound, the guests below watch as CHRISTINE

and the PHANTOM descend their respective staircases, united

by their music, moving ever closer towards each other until

they arrive face to face on the mezzanine. She is mesmerized

by him. The PHANTOM reaches out, grasps the chain that holds

the secret engagement ring, and rips it from CHRISTINE’s

throat. RAOUL jumps between them. The PHANTOM turns on him

furiously.

PHANTOM (CONT'D)

(to CHRISTINE)

Your chains are still mine - you

belong to me!

There is a FLASH AND A CLOUD OF SMOKE. The PHANTOM has

disappeared down a trap door in the centre of the mezzanine.

But RAOUL has seen the door in the smoke. In an instant, he

leaps in after the PHANTOM as FIRMIN quips to ANDRE...

INT. PHANTOM’S WORLD/TRAP - NIGHT149

The trap door snaps shut above him. RAOUL has landed in a

box, a painted magic box and the walls are closing in on him.

Just when it seems they may crush him, they fall away. RAOUL

is in almost total darkness in a BRILLIANT and FIENDISHLY

DESIGNED MAZE.

INT. PHANTOM’S WORLD/MAZE - NIGHT150

We can make out a DEMONIC LABYRINTH. RAOUL catches a glimpse

of a red cloak. He races after it, only to face A MIRROR.

Shafts of light seep through cracks in the brickwork of the

corridor. In each of these, RAOUL sees the red cloak whip

through.

RAOUL is catching up. ANOTHER MIRROR. He turns a corner,

the PHANTOM is standing in front of him. RAOUL reaches him

and touches the PHANTOM’s shoulder. The PHANTOM swivels.

RAOUL is staring at the MANNEQUIN OF THE RED DEATH PHANTOM.

He is unaware, however, that the noose of the Punjab Lasso is

now hovering behind him. A hand reaches out and pulls RAOUL

violently out of the way. The lasso whips harmlessly through

80.

PHANTOM (CONT'D)

the empty air. RAOUL turns to see who has saved him, M

GIRY.

INT. PHANTOM’S WORLD/NARROW CORRIDOR - NIGHT151

. GIRY is hurrying RAOUL through a more illuminated part

of the corridor. Small gas lamps flicker in the gloom.

RAOUL

Madame Giry... Wait...!

. GIRY

Please, Monsieur, I know no more

than anyone else.

RAOUL

That's not true.

. GIRY

(uneasily)

Monsieur, don't ask... There have

been too many accidents.

RAOUL

Accidents? Please, Madame Giry,

for all our sakes...

They have reached a door M

. GIRY stops and looks at RAOUL.

She looks back down the corridor. She is very frightened.

But decides to tell him.

. GIRY

Very well.

She quickly opens the door.

INT. M

. GIRY’S ROOM - NIGHT152

This is M

. Giry’s little flat within the opera house. The

furniture is tatty but there are posters of performances,

ballet and opera memorabilia all around, the memories of her

years at the Opera Populaire. She double-locks the door.

RAOUL listens as M

. GIRY nervously begins telling her

story.

81.

. GIRY

It was years ago. There was a

travelling fair in the city.

Gypsies. I was very young.

RAOUL

Go on...

We are closing in on an old SEPIA PHOTOGRAPH of M

. GIRY as

a twelve year old girl...

EXT. /INT. FAIR - NIGHT (SEPIA) - FLASHBACK153

...and see YOUNG GIRY accompanied by a dozen giggling BALLET

GIRLS and escorted by a BALLET MISTRESS moving through a fair

in a park under the shadow (MATTE) of the old opera house.

(It is currently being renovated and is covered in

scaffolding.)

The FAIR is a shabby, grimy affair, teeming with loutish,

leering MEN, WHORES, GYPSIES and DRUNKS who pester the BALLET

GIRLS as they walk past. The tents and the banners

proclaiming the various attractions flap in an eerie wind.

The general impression is one of innocence walking through a

grotesque kind of hell. A LIVE MONKEY in PERSIAN dress plays

tin cymbals as he scampers through the carnival delighting

the young girls.

In one tent, they see a FORTUNE TELLER, a horrid TOOTHLESS

WOMAN beckoning CLIENTS. A banner announces the “INCREDIBLE

MAN-WOMAN”.

In another tent, a flap is raised to reveal SIAMESE TWINS.

YOUNG GIRY turns and sees a CONTORTIONIST, his back arched

right back and his face, upside down, between his legs. He

is laughing. They pass some horrible FREAKS abused by a

huge, bearded OWNER with a bull-whip. Outside, FIRE EATERS,

spit fire into the air. Some of the BALLET GIRLS are

enjoying themselves. Not YOUNG GIRY; the place is grotesque,

a nightmare. They approach one particular banner; “THE

DEVIL’S CHILD” it announces. The MONKEY disappears under

this banner as the vicious OWNER waves them to come in. His

smile is disgusting. The BALLET GIRLS drag in YOUNG GIRY.

Inside, other CLIENTS are waiting. The BALLET GIRLS push to

the front. YOUNG GIRY sees a cage. Inside, his head covered

in a sack, a nine-year old BOY is completing a beautifully

82.

delicate housing for a model monkey (a cruder version of the

monkey we have already seen on the music box and who dances

LIVE around him). The OWNER cracks his whip and is shouting

at the BOY through the cage. The BOY is tied by ropes like a

dog. He is obviously terrified, scrambling into the corner

of his cage. The OWNER, letting fly with the whip, has

entered the cage. He kicks the BOY’s model and rips the sack

off his head. We see the BOY’s hand rise to his face, but

the OWNER is still whipping him. Pathetically, the BOY’s

hands descend from his face. We do not see it. Instead, we

see a look of shock and immense pity on YOUNG GIRY’s face.

Some of the BALLET GIRLS are giggling insensitively.

The CLIENTS throw coins which land on the straw floor of the

cage. We see the BOY crawl through the straw to retrieve the

sack which he pulls back over his head.

YOUNG GIRY emerges from the tent and is hurried on by the

other BALLET GIRLS and their MISTRESS. But YOUNG GIRY

lingers. She looks back at the tent. Something draws her to

it. She peers in, past the flapping canvas, and sees, inside

the tent, the OWNER kicks the BOY out of the way and picks

the money off the floor of the cage. The LIVE MONKEY shrieks.

Suddenly, the BOY, with a Punjab Lasso fashioned with the

ropes that bound him, strangles the OWNER. YOUNG GIRY

watches the BOY garrotte his torturer. The evil man falls

dead. The BOY looks up and sees YOUNG GIRY, just as a client

coming into the tent screams. He frees himself and runs out

of the tent. The two young people look at each other.

Behind them, DOZENS OF PEOPLE arrive in the tent. YOUNG GIRY

and the BOY hide in the shadows, breathless and terrified.

He is clutching the CRUDE TOY MONKEY.

POLICEMEN with lanterns and GYPSIES with torches are closing

in through the fair. She could turn him in but quickly,

YOUNG GIRY tugs open a trap door at the foot of the opera

house wall. She jumps in and the BOY leaps in after her,

carrying his MONKEY AUTOMAT. The trap slams shut as

POLICEMEN and GYPSIES run past them above.

INT. CHAPEL - NIGHT154

YOUNG GIRY and the BOY jump into the tiny chapel. There is a

second of gratitude in the YOUNG BOY’s eyes but the

aggressive shouting and running above forces YOUNG GIRY to

push him into the safety of the bowels of the theatre. As he

disappears into his new subterranean home, YOUNG GIRY kneels

to pray.

83.

END OF FLASHBACK (SEPIA SEQUENCE ENDS - BACK TO COLOUR)

INT. M

. GIRY’S ROOM - NIGHT155

And we are back with M

. GIRY in her room with RAOUL.

. GIRY

He has known nothing else of life

since then, except this Opera

House. It was his playground and

now his artistic domain... He's a

genius! He's an architect and

designer, he's a composer and a

magician... A genius, Monsieur.

RAOUL

But, clearly, Madame Giry... genius

has turned to madness.

INT./EXT. RAOUL/CAR - 1919 - BLACK AND WHITE - DUSK166

RAOUL still in his car, breaks from his reverie to see his

destination. His POV in the distance, A LEGENDARY OLD

CEMETERY, in the fading light. HAUNTING MUSIC begins as we

dissolve to:

INT. BALLET DORMITORY - 1870 - DAWN167

AS THE FIRST RAY OF DAWN comes through CHRISTINE’s transom

window. CHRISTINE, in a robe, having not slept all night,

makes a decision. She slowly opens the dressing room door.

INT. DORMITORY CORRIDOR - DAWN168

RAOUL sleeps in a chair outside her door, his sword across

his lap. CHRISTINE quietly tip-toes past him: careful not to

wake him.

INT. STABLES - MOMENTS LATER - DAY169

As the HAUNTING music builds, she quickly wakes one of the

SLEEPING, DRUNKEN STABLE HANDS. But SOMEONE watches from the

shadows, as CHRISTINE gives the STABLEMAN some money and

leaves quickly.

STABLEMAN

Where to, mademoiselle?

84.

CHRISTINE

The cemetery.

INT. VAST COSTUME DEPARTMENT - DAY170

Empty at dawn. CHRISTINE finds a black velvet dress and

throws off her robe as her eyes focus on a vase of DARK RED

ROSES.

INT. STABLES - DAY171

The weary, bleary eyed, hungover STABLEMAN hitches horses to

a carriage. As he finishes... THE DARK SHADOW moves swiftly

and with one blow knocks him unconscious. As the STABLEMAN

falls to the stable floor...

INT. DORMITORY CORRIDOR - DAY172

RAOUL, outside CHRISTINE’s door. Almost like a premonition,

wakes.

INT. STABLES - SAME173

CHRISTINE, dressed in a black velvet dress and cape, carrying

the RED ROSES, gets in the OPEN CARRIAGE. She is unaware

that the DRIVER, swathed in his black cloak, is not the

STABLEMAN.

INT. DORMITORY (OR EXT. ROOFTOP) - DAY174

RAOUL, holding his sword, hears the sound of the horse’s

hooves on the cobbled streets and rushes to the window. He

sees CHRISTINE’s carriage disappearing into the grey dawn as

snowflakes begin to fall.

INT. STABLES - DAY175

RAOUL dashes into the stables to find the STABLEMAN starting

to come to. He leaps bareback onto a WHITE STALLION.

EXT. PARIS STREETS - DAY176

The OPEN CARRIAGE races down the snow-covered streets. It is

cold and foggy. The horses hooves beat on the cobblestones,

their nostrils smoke. The DRIVER swathed in black drives

them on. CHRISTINE sits in the back, the wind presses her

veil to her face like a mask.

85.

CHRISTINE (V.O.)

In sleep he sang to me, in dreams

he came... That voice which calls

to me and speaks my name...

EXT. PARIS STREETS - DAY176A

Raoul with sword riding white charger.

EXT. CEMETERY - DAY177

A sweeping shot of the huge LEGENDARY CEMETERY shrouded in

mist. CLOSE on a bell tolling. We WIDEN to find CHRISTINE,

bearing the bouquet of red roses, gliding past towering

MAUSOLEUMS and CROSSES. Great GARGOYLES and ANGELS stare

down at her. In the distance, the carriage and horses

disappear into the fog.

CHRISTINE

Little Lotte thought of everything

and nothing... Her father promised

her that he would send her the

Angel of Music... Her father

promised her... Her father

promised her

In the distance, we see a large mausoleum on a ridge.

CHRISTINE is clearly moving toward it. We see her through

the passing statues and crosses. She lowers her hood and

veil.

CHRISTINE (CONT’D)

You were once my one companion...

You were all that mattered... You

were once a friend and father -

then my world was shattered...

Wishing you were somehow here

again... Wishing you were somehow

near... Sometimes it seemed, if I

just dreamed, somehow you would be

here...

CHRISTINE is unaware of the LONG DARK SHADOWS sweeping across

the snow towards her.

CHRISTINE (CONT’D)

Wishing I could hear your voice

again... knowing that I never

86.

(MORE)

would... Dreaming of you won't

help me to do all that you dreamed

I could... Passing bells and

sculpted angels cold and monumental

seem, for you, the wrong companions

- you were warm and gentle.

CHRISTINE is arriving at the foot of the mausoleum steps.

CHRISTINE (CONT’D)

Too many years fighting back

tears... Why can't the past just

die...? Wishing you were somehow

here again... Knowing we must say

goodbye... Try to forgive...

Teach me to live... Give me the

strength to try...

The camera swoops down and up over CHRISTINE.

CHRISTINE (CONT’D)

No more memories, no more silent

tears... no more gazing across the

wasted years... Help me say

goodbye. Help me say goodbye.

She kneels down and lays the red roses on the snow-covered

steps. High above her, the gates at the top of the steps

begin to open. We HEAR the PHANTOM’S VOICE from deep within

the candlelit crypt.

PHANTOM (O.S.)

(very soft and enticing)

Wandering child... so lost... so

helpless... yearning for my

guidance...

Bewildered, CHRISTINE looks up. She sees that the

mausoleum's inner gates are open; a strange glow emanates

from the interior. Light spills down the steps. She murmurs

breathlessly:

CHRISTINE

Angel... or father... friend or

Phantom...? Who is it there

staring...?

87.

CHRISTINE (CONT’D)

PHANTOM (O.S.)

(more and more hypnotic)

Have you forgotten your Angel...?

CHRISTINE

Angel... oh, speak... what

endless longings echo in this

whisper!

She rises slowly, drawn to the light above her.

PHANTOM (O.S.)

Too long you've wandered in

winter... far from my fathering

gaze...

CHRISTINE is slowly ascending the steps towards the inner

doors and light.

CHRISTINE

(increasingly mesmerized)

Wildly my mind beats against you...

PHANTOM (O.S.)

You resist...

CHRISTINE

...yet the soul obeys...

Angel of Music I denied

you... turning from true

beauty... Angel of Music!

My protector Come to me

strange Angel...

PHANTOM

yet the soul obeys... Angel

of Music! You denied me...

turning from true beauty...

Angel of Music! Do not shun

me... Come to your strange

Angel...

We have begun to discern a dark form within the light of the

mausoleum.

PHANTOM (O.S.)

(beckoning her)

I am your Angel of Music... Come

to me: Angel of Music...

EXT. CEMETERY - DAY178

But, just as CHRISTINE reaches the last few steps, RAOUL, on

the magnificent white charger, leaps over the wall of the

cemetery with a great cry.

88.

Inexorably, the PHANTOM continues to beckon CHRISTINE.

CHRISTINE is now at the entrance to the mausoleum. RAOUL

meanwhile is galloping and jumping through the crosses and

over the monuments. Snow and dirt fly.

RAOUL

(shouting)

Whatever you believe, this man...

this thing... is not your father!

Coming out of her trance, CHRISTINE turns:

CHRISTINE

Raoul...

And sees RAOUL arriving on the white charger. At last, the

PHANTOM appears up on the top of the mausoleum behind the

huge stone cross.

The PHANTOM flies at RAOUL, his sword drawn. What ensues is

a spectacular fight through the cemetery. RAOUL fights

desperately, managing to match the PHANTOM in swordplay,

displaying bravery, skill and courage... Christine screams

as the PHANTOM forces RAOUL back. The PHANTOM laughs as he

slashes at RAOUL, cutting him on the shoulder. But RAOUL is

a fine swordsman and fights on, parrying the PHANTOM’s blows

and gradually forcing the PHANTOM back, the PHANTOM falls

against the stone side of the mausoleum. RAOUL is close to

having the opportunity to run the PHANTOM through with his

sword. He looks into the PHANTOM’s eyes - they burn with

hatred.

CHRISTINE

No!! Raoul... no... Not like this.

RAOUL looks to CHRISTINE for a split second. RAOUL remounts

his horse and sweeps CHRISTINE up onto the saddle beside him.

PHANTOM

Now, let it be war upon you both!

As they ride off, we notice a trail of blood red rose petals

scattered in the snow. WE DISSOLVE TO:

EXT. SAME CEMETERY - 1919 - DUSK (BLACK AND WHITE)179

RAOUL reaches for the spot on his arm where the memory of the

OLD WOUND still exists. He looks up to see a LEGION OF

89.

GENDARME MARCHING PAST. As he watches them march away, we

stay with their BACKS as they MORPH INTO.

EXT. OPERA POPULAIRE - NIGHT180

GENDARMES from 1870 (BACK TO COLOUR) They hurry up the OPEN

STEPS, past large posters announcing “GRAND PREMIERE - DON

JUAN TRIUMPHANT!”

INT. STABLES/BACKSTAGE - SAME181

More GENDARMES enter the backstage area via the stables,

shouldering weapons. They march through the chaotic

preparations for the show as REYER rehearses PIANGI and

CARLOTTA.

RAOUL

We have all been blind. And yet

the answer is staring us in the

face. This could be the chance to

ensnare our clever friend.

ANDRE

We're listening...

FIRMIN

go on...

RAOUL

We shall play his game - perform

his work - but remember we hold the

ace... For, if Miss Daae sings, he

is certain to attend...

ANDRE

(carried along by the

idea)

We are certain the doors are

barred...

FIRMIN

(likewise)

We are certain the police are

there... we are certain they're

armed...

90.

RAOUL/ANDRE/FIRMIN

(savouring their victory)

The curtain falls, his reign will

end!

RAOUL notices CHRISTINE watching from the wings. Her look;

accusation and fear. She turns and runs from him.

RAOUL follows to...

THE CHAPEL (OR THE WINGS-NEED TO REHEARSE) - CONTINUOUS181A

Where he finds her kneeling near her father’s memorial.

Candles burn on the altar, bathing her in a soft light.

CHRISTINE

(spoken)

Raoul, I'm frightened - don't make

me do this... Raoul, it scares me -

don't put me through this ordeal by

fire... He'll take me, I know...

We'll be parted forever... He

won't let me go... What I once

used to dream I now dread... If he

finds me, it won't ever end.

(sung)

And he'll always be there, singing

songs in my head... He'll always

be there, singing songs in my

head...

RAOUL

(to CHRISTINE)

You said yourself he was nothing

but a man... Yet while he lives,

he will haunt us 'till we're

dead...

CHRISTINE turns away, unhappily.

CHRISTINE

Twisted every way, what answer can

I give? Am I to risk my life, to

win the chance to live? Can I

betray the man

who

once inspired my

voice? Do I become his prey? Do I

have any choice? He kills without

a thought, he murders all that's

91.

(MORE)

good... I know I can't refuse, and

yet, I wish I could. Oh God - if I

agree, what horrors wait for me in

this - the Phantom's Opera...?

RAOUL

(very tenderly)

Christine, Christine, don't think

that I don't care - but every hope

and every prayer rests on you

now...

CHRISTINE, overcome by her conflicting emotions, buries her

head in her hands. We see the picture of CHRISTINE’s FATHER

on his memorial. RAOUL takes her hand and kisses her as we

dissolve through CANDLE FLAME TO...

INT. PHANTOM’S LAIR - NIGHT155A

Surrounded by drawings and paintings of CHRISTINE, the

PHANTOM sings of loneliness and unrequited love.

INT. PHANTOM’S LAIR - CONTINUOUS155B

By candlelight, the PHANTOM prepares for his finale: we see

INTIMATE extreme CLOSE-UPS of his elaborate MAQUILLAGE.

Without revealing what he looks like underneath, WE SEE THE

BLACK WIG secured from the back. THE MASK in place. STILL

FROM THE BACK... Elaborate stage makeup covers what the mask

doesn’t.

PHANTOM (V.O.)

Seal my fate tonight - I hate to

have to cut the fun short, but the

joke's wearing thin... Let the

audience in... Let my opera begin!

He rises now. Ready for his “PREMIERE”... As he passes his

MINIATURE THEATRE with the MINIATURE SET he has designed for

“Don Juan”... He snatches CHRISTINE’s figure into his grasp.

PHANTOM

Let the audience in...!

He throws one of his many CANDLES into the SMALL STAGE and it

bursts into FLAME. The other WAX FIGURES MELT.

PHANTOM (CONT’D)

Let my opera begin!!!

92.

CHRISTINE (CONT'D)

Camera moves into THE MOLTEN FIGURES ... as we DISSOLVE TO:

INT. AUDITORIUM - NIGHT183

Painted FLAMES on red velvet curtains of the real theatre.

CAMERA WIDENS to reveal ... The AUDIENCE are taking their

seats for the premiere of “Don Juan Triumphant”.

INT. FOYER - NIGHT184

MONTAGE to show that the armed SOLDIERS and GENDARMES have

taken over the building. Supervised by RAOUL, ANDRE and

FIRMIN, all exits from the opera house are barred and sealed

as the last of the audience filters into the auditorium.

INT. BACKSTAGE - NIGHT185

The AUDIENCE is locked in. SOLDIERS guard all exits.

Backstage, STAGEHANDS, SINGERS and DANCERS are preparing for

the impending performance, watched by the SOLDIERS. (Just

another chance for young people to flirt - especially TOOTHY

TART and SEXY CHORUS GIRL.)

INT. AUDITORIUM - NIGHT186

Meanwhile, the ORCHESTRA has been tuning up. REYER takes his

bow on his podium to polite applause. He raises his baton.

The overture begins.

It is incredibly dissonant, a cacophony of sound; the

AUDIENCE has never heard anything like it before. People are

horrified, consult their programmes, cough and whisper,

fidget uncomfortably. SOMEONE tries to leave but the doors

are locked. REYER, pained by the music he is forced to

conduct, stuffs cotton plugs into his ears. The RED CURTAIN

rises.

INT. STAGE - NIGHT187

The awesome set, modern and severe, is dominated by two

Moorish pillars with stairs supporting a high balcony.

Below, a pit of silk flames. Scrims hang from the flies.

CHORUS, including MEG as a gypsy whore and CARLOTTA as a hag,

and DANCERS(EIGHT MEN/EIGHT WOMEN), dressed in gypsy peasant,

lusty style. The atmosphere is dark and erotic. MEG

disappears into DON JUAN’s bedroom (part of the inn on

stage).

93.

CHORUS

Here the sire may serve the dam,

here the master takes his meat!

Here the sacrificial lamb utters

one despairing bleat!

CARLOTTA moves centre stage dressed and made-up like a

whorish hag: tatty clothes, bad wig, a wart with hair growing

from it. However, she is still the reigning diva of the

Opera Populaire and makes the most of her bit part.

CARLOTTA AND CHORUS

Poor young maiden! For the thrill

on your tongue of stolen sweets,

you will have to pay the bill -

tangled in the winding sheets!

Serve the meal and serve the maid!

Serve the master so that, when

tables, plans and maids are laid

Don Juan triumphs once again!

MEG is supposed to enter from the inn with a purse of money

earned from DON JUAN. But, CARLOTTA, milks her only moment

(”AGAIN!”) for as long as possible, keeping MEG half-coming

and half-going. Finally, CARLOTTA finishes and MEG skips

across the stage as SIGNOR PINAGI as DON JUAN appears from

the inn and grabs his servant.

DON JUAN (PIANGI)

Passarino, faithful friend, once

again recite the plan.

PASSARINO

Your young guest believes I'm you -

I, the master, you, the man.

DON JUAN (PIANGI)

When you met, you wore my cloak,

she could not have seen your face.

She believes she dines with me in

her master's borrowed place!

Furtively, we'll scoff and quaff,

stealing what, in truth, is mine.

When it's late and modesty starts

to mellow, with the wine...

94.

PASSARINO

You come home! I use your voice -

slam the door like crack of doom!

DON JUAN (PIANGI)

I shall cry, "Come, hide with me!

Where, oh, where? Of course - my

room!"

PASSARINO

Poor thing hasn't got a chance!

DON JUAN (PIANGI)

Here's my hat, my cloak and sword.

Conquest is assured, if I do not

forget myself and laugh...

Laughing, DON JUAN puts on PASSARINO’s clothes, wrapping the

cloak around him and covering his head with the hood. (NOTE:

more Goya than Grim Reaper). He strides upstage and

disappears behind the scrims. BUT HE IS NOT ALONE. When we

next see DON JUAN, it will be the PHANTOM. Meanwhile, a

sensual gypsy-girl, AMINTA (CHRISTINE), enters.

AMINTA (CHRISTINE)

“...no thoughts within her head,

but thoughts of joy! no dreams

within her heart, but dreams of

love!”

PASSARINO

Master?

DON JUAN replies upstage:

DON JUAN (PHANTOM)

Passarino - go away! For the trap

is set and waits for its prey...

PASSARINO exits.

The PHANTOM, disguised as DON JUAN pretending to be

PASSARINO, is standing downstage. He now wears PIANGI’s

robe, his face hidden by the cowl. The scrims lift as he

moves downstage toward CHRISTINE. CHORUS and DANCERS leave

the stage.

95.

PHANTOM

You have come here in pursuit of

your deepest urge, in pursuit of

that wish, which till now has been

silent, silent... I have brought

you, that our passions may fuse and

merge - in your mind you've already

succumbed to me, dropped all

defences, completely succumbed to

me - now you are here with me: no

second thoughts, you've decided,

decided...

The PHANTOM is now half-way towards CHRISTINE. The

SILHOUETTES of MALE DANCERS appear behind him. Moving

erotically in shadow and silhouette.

PHANTOM

Past the point of no return - no

backward glances: our games of make-

believe are at an end... Past all

thought of "if" or "when" - no use

resisting: abandon thought and let

the dream descend... What raging

fire shall flood the soul? What

rich desire unlocks its door? What

sweet seduction lies before us?

Past the point of no return, the

final threshold - what warm

unspoken secrets will we learn

beyond the point of no return...

The PHANTOM has arrived downstage right. The MALE DANCERS

disappear. He slowly begins to ascend the stairs leading up

to the balcony. CHRISTINE, downstage left, now sings alone.

CHRISTINE

You have brought me to that moment

when words run dry, to that moment

when speech disappears into

silence, silence... I have come

here, hardly knowing the reason

why... In my mind I've already

imagined our bodies entwining,

defenceless and silent - Now I am

here with you: no second thoughts,

I've decided, decided...

96.

The SILHOUETTES of VOLUPTUOUS FEMALE DANCERS appear behind

her, moving erotically in shadow.

CHRISTINE

Past the point of no return - no

going back now: Our passion-play

has now, at last, begun...

She starts up the stairs on her side.

CHRISTINE (CONT’D)

Past all thought of right or wrong -

one final question: how long should

we two wait, before we're one...?

Both CHRISTINE and the PHANTOM are on the balcony. Slowly

they walk toward each other.

CHRISTINE (CONT’D)

When will the blood begin to race,

the sleeping bud burst into bloom?

When will the flames at last

consume us...?

INT. WINGS/STAGE - NIGHT188

The pillars of the set swivel isolating CHRISTINE and the

PHANTOM from the ground. The PHANTOM’s trap is sprung.

RAOUL and soldiers appear in the WINGS. There is no way of

reaching the balcony. The PHANTOM and CHRISTINE are face to

face.

BOTH

Past the point of no return, the

final threshold - the bridge is

crossed, so stand and watch it

burn... We've passed the point of

no return...

Very slowly, the entire set starts to REVOLVE. Up on the set

balcony, the PHANTOM is holding and caressing CHRISTINE.

PHANTOM

Say you'll share with me one love,

one lifetime... Lead me, save me

from my solitude... Say you want

me with you here beside you...

97.

(MORE)

Anywhere you go, let me go too -

Christine, that's all I ask of...

We never reach the word “you”, for CHRISTINE quite calmly

removes the PHANTOM’s cowl, mask and wig. For the first

time, everyone sees the whole of the PHANTOM’s horrifying

skull. At the same time, the REVOLVE has revealed PIANGI

hanging by the neck from the set. Screams.

POLICEMEN, STAGEHANDS, rush onto the stage in confusion.

Also: ANDRE, FIRMIN, RAOUL, M

. GIRY. CARLOTTA and MEG.

Screams and gunshots. The PHANTOM CUTS one of the many

massive TASSELLED ROPES that are part of the set design.

INT. STAGE - AUDITORIUM - NIGHT189

THE HUGE CHANDELIER CRASHES TO THE STALLS BELOW. Mass

DEVASTATION and PANDEMONIUM... the theatre bursts into flame.

The AUDIENCE stampedes for the doors.

INT. WINGS/STAGE - NIGHT190

Very fast: the PHANTOM grabs CHRISTINE and jumps from the

balcony into the fire below. In the confusion, a scrim

catches fire. PIANGI is cut down from his gibbet.

ANDRE

Oh my God!

FIRMIN

We’re ruined, Andre - ruined!

INT. PHANTOM’S WORLD/UNDERGROUND LOCK - NIGHT191

The PHANTOM has CHRISTINE in the boat. The lock which leads

down to the PHANTOM’s lair descends, revealing the portcullis

and the lagoon.

PHANTOM

Down once more to the dungeons of

my black despair! Down we plunge

to the prison of my mind! Down

that path into darkness, deep as

hell!

(He pauses for a moment,

rounding on her bitterly)

Why, you ask, was I bound and

chained in this cold and dismal

place? Not for any mortal sin, but

98.

PHANTOM (CONT'D)

(MORE)

the wickedness of my abhorrent

face!

INT. STAGE/AUDITORIUM - NIGHT192

MONTAGE of shots showing the chaos in the opera house.

GENDARMES and BACKSTAGE CREW trying to put out the fire.

INT. BACKSTAGE - NIGHT193

Through the smoke, SOLDIERS and STAGEHANDS are rushing down

corridors, up and down staircases.

CHORUS

Track down this murderer! He must

be found! Track down this

murderer! He must be found

INT. PHANTOM’S LAIR - NIGHT194

The portcullis comes down behind the boat. The curtain

closes. The PHANTOM guides the boat to the shore.

PHANTOM

Hounded out by everyone! Met with

hatred everywhere! No kind words

from anyone

No compassion

anywhere!

He drags CHRISTINE out of the boat and throws her to the ground.

PHANTOM (CONT’D)

Christine, Christine, why, why...?

INT. PHANTOM’S WORLD - CORRIDOR - NIGHT195

RAOUL and M

. GIRY are making their way down the corridor.

INT. PHANTOM’S WORLD - NIGHT195A

RAOUL and M

. GIRY follow the staircase down past the

stables.

INT. PHANTOM’S WORLD - CORRIDOR/BRIDGE - NIGHT195B

A pack of rats slithers over RAOUL and M

. GIRY’s feet. She

raised her hands again.

99.

PHANTOM (CONT'D)

. GIRY

Your hand at the level of your

eyes!

RAOUL

...at the level of your eyes...

The gargoyles seem to sing mockingly:

VOICE (O.S.)

Your hand at the level of your

eyes...

. GIRY

This is as far as I dare go.

They have reached a bridge which stretches out into the

gloom. It has no sides. RAOUL rips off his tailcoat and

neckwear. The shoulder wound begins to bleed through his

white shirt.

RAOUL

Thank you.

She makes the sign of a cross and goes. RAOUL gingerly steps

onto the bridge. Half-way across, the stones under his feet

suddenly give way. RAOUL plummets downward. He falls and

falls through the darkness...

INT. PHANTOM’S WORLD/UNDERGROUND CANAL - NIGHT196

RAOUL lands in the water of the canal. (Poss. POV INTO

WATER?) Twisting and turning, he drops down into the murky

depths. He re-surfaces gasping for air. He looks up and, to

his horror, a grill is descending towards him.

INT. BACKSTAGE/FLIES/CORRIDORS - NIGHT197

MONTAGE of shots showing the chaos still reigning in the

opera house. Smoke and flames everywhere. SOLDIERS rush

through the backstage areas past panicking DANCERS and

SINGERS.

INT. PHANTOM’S WORLD/UNDERGROUND CANAL - NIGHT198

RAOUL cannot find any escape from the grill which is now

pushing his head down into the water. His fingers clutch the

ironwork and disappear into the depths. He is going to die.

100.

We see him struggling underwater with the grill above. He

swims desperately to find a way out.

Suddenly, an iron wall appears in the gloom. Next to it,

fixed to the brick wall of the canal, RAOUL finds a gear. He

wrenches it down. Above, we see the water level subside.

RAOUL has found the gear of the PHANTOM’s lock. His head re-

appears above the water.

INT. PHANTOM’S LAIR - NIGHT199

CHRISTINE rounds fiercely on the PHANTOM. The PHANTOM tears

her dress off, the costume from “Don Juan”.

CHRISTINE

Have you gorged yourself at last,

in your lust for blood?

(no reply)

Am I now to be prey to your lust

for flesh?

PHANTOM

(coldly)

That fate which condemns me to

wallow in blood, has also denied me

the joys of the flesh... This face

- the infection which poisons our

love...

He takes the bridal veil from her MANNEQUIN and moves slowly

toward her. She turns away.

PHANTOM (CONT’D)

(very quietly and darkly)

This face which earned a mother's

fear and loathing... A mask, my

first unfeeling scrap of

clothing...

And places the veil on her head.

PHANTOM (CONT’D)

Pity comes too late - turn around

and face your fate:

He turns her round.

101.

PHANTOM (CONT’D)

An eternity of this before your

eyes!

CHRISTINE rips the veil from her head and throws it to the

ground. She then proceeds to tear the canvas covers off the

mirrors surrounding them, revealing hundreds of reflections

of her and PHANTOM.

CHRISTINE

This haunted face holds no horror

for me now... It's in your soul

that the true distortion lies.

INT. PHANTOM’S LAIR - NIGHT200

A stunned silence. Meanwhile, the curtains which hide the

portcullis have parted to reveal RAOUL behind, knee deep in

water. The PHANTOM turns:

PHANTOM

Wait! I think, my dear, we have a

guest! Sir!

CHRISTINE

(seeing Raoul, stunned)

Raoul...!

PHANTOM

(to RAOUL, with a mock-

courteous bow)

...this is indeed an unparalleled

delight! I had rather hoped that

you would come. And now, my wish

comes true - you have truly made my

night!

CHRISTINE

(to PHANTOM)

Let me go.

RAOUL

(pleading, grasping the

bars of the gate)

Free her! do what you like, only

free her! have you no pity?

102.

PHANTOM

(to CHRISTINE dryly)

Your lover makes a passionate plea!

CHRISTINE

Please, Raoul, it's useless...

RAOUL

I love her! Does that mean

nothing? I love her! Show some

compassion...

PHANTOM

(snarls furiously at

RAOUL)

The world showed no compassion to

me!

RAOUL

Christine... Christine...

(to the PHANTOM)

Let me see her.

PHANTOM

(dry again)

Be my guest, sir...

The Phantom pulls a lever and the portcullis rises enough to

allow RAOUL to stagger in.

PHANTOM

Monsieur, I bid you welcome! Did

you think that I would harm her?

Why would I make her pay for the

sins which are yours...?

Like lightning, the Punjab Lasso cracks through the air and,

before RAOUL has a chance to move, catches him by the neck.

He is jerked high into the air and down onto a stool. All

the PHANTOM has to do is kick the stool away.

PHANTOM (CONT’D)

(taunting)

Order your fine horses now! Raise

up your hand to the level of your

eyes! Nothing can save you now -

except perhaps Christine -

103.

He turns to her and thrusts the veil and wedding gown into

her hands.

PHANTOM (CONT’D)

Start a new life with me - buy his

freedom with your love! Refuse me,

and you send your lover to his

death! This is the choice - this

is the point of no return!

CHRISTINE

(to the PHANTOM)

The tears I might have shed for

your dark fate grow cold and turn

to tears of hate...

Looking at RAOUL, she places the veil on her head and begins

putting on the wedding gown. ALL THREE pause for a moment.

RAOUL breaks the moment with:

RAOUL

Christine, forgive me, please

forgive me... I did it all for

you... and all for nothing...

CHRISTINE

(looking at the PHANTOM

but to herself)

Farewell, my fallen idol and false

friend... We had such hopes, and

now those hopes are shattered...

PHANTOM

(to CHRISTINE)

Too late for turning back, too late

for prayers and useless pity...

RAOUL

Say you love him, and my life is

over!

PHANTOM

All hope of cries for help: no

point in fighting... For either

way you choose, You cannot win!

104.

RAOUL

Either way you choose, he has to

win...

PHANTOM

So do you end your days with me, or

do you send him to his grave?

RAOUL

(to PHANTOM)

Why make her lie to you to save me?

PHANTOM

Past the point of no return -

CHRISTINE

Angel of Music...

RAOUL

For pity’s sake, Christine say no!

CHRISTINE

...Who deserved this?

PHANTOM

...the final threshold...

RAOUL

Don't throw your life away for my

sake!

PHANTOM

His life is now the prize which you

must earn!

CHRISTINE

Why do you curse mercy?

RAOUL

I fought so hard to free you...

CHRISTINE

Angel of Music...

PHANTOM

You've passed the point of no

return...

105.

CHRISTINE

...you deceived me - I gave you my

mind blindly...

A pause. The PHANTOM looks coldly at CHRISTINE. She is now

standing in her wedding gown.

PHANTOM

You try my patience - Make your

choice!

He holds up the ring he tore from her neck. It is on the

stem of a RED ROSE with BLACK RIBBON.

CHRISTINE

(quietly at first, then

with growing emotion)

Pitiful creature of darkness...

what kind of life have you

known...? God give me courage to

show you you are not alone!

She calmly puts the ring on her finger and kisses him full on

the lips. She pulls away, tears streaming down her cheeks.

The PHANTOM is stunned. Then, she leans toward him and

embraces him again. But this time the kiss is long and deep.

A lover’s kiss. As it ends, they look straight into each

other’s eyes. The PHANTOM is crying, devastated. He has

never known human love. CHRISTINE’s gesture - her sacrifice

and at the same time commitment - are too much much for this

tragic man to bear. Suddenly, he moves. The rope suspending

RAOUL falls harmlessly to the ground. He addresses RAOUL as

he jerks the lever which raises the portcullis.

CHORUS

(out of shot)

Track down this murderer - he must

be found! Hunt out this animal,

who runs to ground! Too long he’s

preyed on us - but now we know: the

Phantom of the Opera is there, deep

down below... Who is this monster,

this murdering beast? Revenge for

Piangi! Revenge for Buquet! This

creature must never go free...

106.

PHANTOM

Take her - forget me - forget all

of this... Leave me alone - forget

all you've seen... Go now - don't

let them find you! Take the

boat - swear to me, never to tell

the secret you know of the angel in

hell - go... go now... go now and

leave me!

And he runs up into the BLACK SWAN bedroom.

We INTERCUT with:

INT. PHANTOM’S WORLD - CORRIDOR - NIGHT201

MEG is leading the torch-carrying MOB down into the PHANTOM’s

lair.

INT. PHANTOM’S WORLD - CORRIDOR/BRIDGE - NIGHT201B

Flaming timbers and hot coals fall from the opera house above

into the underground canal. They are getting closer and

closer.

INT. PHANTOM’S LAIR/BEDROOM - NIGHT202

The phantom looks at the monkey musical box and listens.

PHANTOM

(to the musical box)

Masquerade... Paper faces on

parade... Masquerade... Hide your

face, so the world will never find

you...

PHANTOM

(whispered)

Christine, I love you...

She stands before him and we think she’s going to stay but

instead she takes off her ring and places it on his finger.

She hurries off. The PHANTOM stares at the ring on his

finger. We stay on him as her hears:

107.

CHRISTINE

(in the distance)

Say you'll share with me one love,

one lifetime

RAOUL

Say the word, and I will follow

you...

INT. PHANTOM’S LAIR/CANAL - NIGHT203

The PHANTOM comes out of the bedroom and sees, through the

descending grill, the boat disappearing into the darkness of

the underground canal. CHRISTINE is looking back at him.

She seems to be singing for him.

CHRISTINE

Share each day with me... each

night... each morning...

She disappears still looking at him.

PHANTOM

(looking after her)

You alone can make my song take

flight - it's over now, the music

of the night...

He smashes all the mirrors around the lair and sets fire to

his world. He turns and sees the MOB with their torches

approaching along the CANAL. The PHANTOM walks slowly

towards his throne and sits on it, gathering his cloak around

him, surrounded by shattered images and the burning lair.

The MOB stops at the portcullis. MEG dives down into the

water and comes up the other side. The PHANTOM has entirely

covered himself with the cloak. MEG crosses to the throne

and, tentatively but courageously, pulls the cloak away

revealing empty air. The PHANTOM has vanished, leaving only

his WHITE MASK. In wonder, she reaches out and picks up the

mask in her small hand.

CAMERA moves into the BLACK EYE HOLE OF THE MASK as we

DISSOLVE to RAOUL’S EYE... 1919 (BLACK AND WHITE)

EXT. CEMETERY 1919 - DUSK204

CAMERA widens to see the NURSE and DRIVER wheeling RAOUL

through. They stop. With great effort and the assistance of

108.

his companions RAOUL stands and slowly takes a few steps to a

MAGNIFICENT MONUMENT. EMBEDDED in the MARBLE is an oval

PORTRAIT OF CHRISTINE at her peak. The stone reads:

CHRISTINE: THE COUNTESS OF CHANGY. BELOVED WIFE AND MOTHER.

RAOUL shakes off his companions as he takes the MONKEY and

slowly places it amid the beautiful flowers at her grave. He

begins to turn away, when something catches his eye.

Although the film remains BLACK AND WHITE - IN VIVID COLOR A

SINGLE RED ROSE lies at the foot of the monument, with a

BLACK RIBBON. RAOUL’s face pales as the mystery continues...

for as the camera ZOOMS SLOWLY to the RED ROSE... we see THE

RING that CHRISTINE gave the PHANTOM years ago. IT SPARKLES

ON THE STEM.

THE END

109.