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PROLOGUE -

THE STAGE OF THE PARIS OPERA, 1919  

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(FADE IN: [NOTE: The Prologue is filmed in dull colors, giving a bit of gloom.]

The Warner Bros. logo appears. It fades as the sky behind it begins to move. We move down, viewing the Paris Opera House and the streets of Paris in 1919. Scene fades into the steps and we move up the steps and into the Opera House. Then we move inside the building. Below the screen, the words “PARIS 1919” appear for a few seconds, then fade.

Scene fades into the stage of the Paris Opera. As we move up the steps and into the Opera House, the credits “WARNER BROS. PRESENTS… A REALLY USEFUL FILM . . . ” Scene fades into the stage of the opera house.

The contents of the opera house are being auctioned off. An AUCTIONEER, PORTERS, BIDDERS, and MME. GIRY, eighty-five now, but still very vibrant. MME GIRY watches as RAOUL, now in his late sixties, approaches in his wheelchair, led by a NURSE. He looks up and sees her. There is much unsaid between them, bearers of dark secrets. The action commences with a blow from the AUCTlONEER's gavel.)  

AUCTIONEER

Sold. Your number, sir? Thank you. Lot 664, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by Chalumeau.  

PORTER

Showing here.  

AUCTIONEER

Do I have ten francs for this? Five then. Five I am bid. Six, seven. Against you, sir, at seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny. 665, ladies and gentlemen: a papier-mâché 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.  

PORTER (holding it up)

Showing here.   

(RAOUL and MME. GIRY look at the musical box from the box’s POV.  The PORTER sets it in motion. The simple yet haunting tune plays as both RAOUL and MME. GIRY stare at the musical box. It has great meaning for them both.) 

(CUT to MME. GIRY and RAOUL’S NURSE) 

MME. Giry raises her hand.  

AUCTIONEER

Fifteen, thank you.  

(RAOUL’S NURSE raises her hand) 

AUCTIONEER

Yes, twenty from you sir, thank you very much.  

MME. GIRY

Twenty-five.  

AUCTIONEER

Twenty-five on my left, thank you madame. Twenty-five I am bid.  

(Again the NURSE raises her hand.)  

AUCTIONEER

Thirty?  

( [WIDESHOT] MME. GIRY stares at RAOUL, [CLOSE-UP of MME. GIRY] her statement seems to soften. She realizes how much this means to the sickly, old man.)  

AUCTIONEER

Selling at thirty francs, then. Going once, twice...  

(MME. GIRY looks away.)

Sold, for thirty francs to the Vicomte de Chagny. Thank you once again, sir.  

(The box is handed across to RAOUL. He studies it, as attention focuses on him for a moment.)  

(WIDESHOT) RAOUL (very quietly, to the music box)

A collector's piece indeed . . .

every detail exactly as she said . . .

She often spoke of you, my friend ....  

(CLOSE-UP of the musical box in RAOUL’S hands.) 

Your velvet lining, and your figurine of lead...

Will you still play when all the rest of us are dead? 

(CLOSE-UP of the skull used in the production of “HANNIBAL.”)

(Attention returns to the AUCTIONEER, as he resumes.)   

AUCTIONEER

Lot 666, then: a chandelier in pieces. 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 restored it and fitted up parts of it with wiring for the new electric light, so that we may get a hint of what it may look like when re-assembled. Perhaps we may 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. There is an enormous flash and the thunderous organ OVERTURE begins. Jagged pieces of glass fly onto the black screen to form the TITLE LOGO in the same blue used for the original stage logo, only more metallic. After the logo fades, we see the OPENING CREDITS in white.

We are circling the CHANDELIER, immense and glittering, as the credits appear. As the song comes to a climax, we pan out.  The CHANDELIER is now positioned in its rightful place above the auditorium. The gas lights all along the stage come on. The red velvet seats are restored, the marble and the statues gleam, the paint glistens. Words at the bottom of the screen say “Paris, 1881.”  We intercut the restoration scenes with a MONTAGE of the busy backstage of the Paris Opera House. We see MEG and CHRISTINE rushing to a ballet rehearsal; LEFEVRE, ANDRE, and FIRMIN walking about; JOSEPH BUQUET changing scenes; CARLOTTA vainly preparing for rehearsal while PIANGI practices his singing; MME. GIRY bringing in the BALLET GIRLS to the stage; STAGE HANDS carrying props and such.  As the song ends, we arrive on stage from the wings.  As the last note plays, we CUT and land on Carlotta’s face!)

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ACT 1 - Paris, November, 1881  

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Scene 1

REHEARSALS FOR "HANNIBAL" BY CHALUMEAU

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(Scene opens with a TOO-CLOSE-FOR-COMFORT SHOT of CARLOTTA’S face.)  

CARLOTTA (at the climax of an extravagant cade.) 

This trophy from our saviors, from the enslaving force of Rome!  

(We zoom out to a WIDESHOT of CHORUS, STAGE HANDS, and OTHERS.) 

(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing parts of the scenery.)  

GIRLS' CHORUS

With feasting and dancing and song, tonight in celebration we greet the victorious throng, returned to bring salvation!  

MEN'S CHORUS

The trumpets of Carthage resound!

Hear, Romans, now and tremble!

Hark to our step on the ground!  

ALL

Hear the drums - Hannibal comes!  

(PIANGI comes into shot.) 

(PIANGI enters, as HANNIBAL)  

PIANGI (HANNIBAL)

Sad to return to find the land we love threatened once more by Roma's far-reaching grasp.  

(REYER comes into shot from orchestra pit.) 

REYER (interrupting him)

Signor . . . if you please: "Rome." We say "Rome' not "Roma."  

(CUT to: PIANGI) 

PIANGI

Si, si, Rome, not Roma. Is very hard for me.

(practicing) Rome . . . Rome . . .  

(CUT to: WIDESHOT of LEFEVRE, M. FIRMIN, and M. ANDRE)

(Enter LEFEVRE, the retiring manager of the Opera, with M. FIRMIN and M. ANDRE, to whom he has just sold it.)  

REYER (to PIANGI)

Once again, then, if you please, Signor: "Sad to return . . ."  

(LEFEVRE, ANDRE, and FIRMIN wander onto the stage at the left of the screen, getting in the way of everything else going on there.) 

LEFEVRE (to ANDRE and FIRMIN)

This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeau's "Hannibal." 

(seeing a hiatus in the rehearsal, LEFEVRE attempts to attract attention.)  

LEFEVRE

Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin ...  

(The new managers are politely bowing, when REYER interrupts.) 

(CUT to: WIDESHOT of REYER, LEFEVRE, & MANAGERS) 

REYER

I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting a moment?

LEFEVRE

My apologies, M. Reyer. Proceed, proceed ...  

REYER

Thank you, monsieur (turning back to PIANGI).

"Sad to return..." Signor ...  

LEFEVRE (sotto voce to ANDRE and FIRMIN)

M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid.  

(CUT to: WIDESHOT of PIANGI)

(the rehearsal continues)  

PIANGI (HANNIBAL)

Sad to return to find the land we love threatened once more by Rome's far-reaching grasp. Tomorrow we shall break the chains of Rome. Tonight, rejoice - your army has come home.  

(CUT to: BALLET GIRLS at CLOSE-UP, then pull back to show LEFEVRE, ANDRE and FIRMIN with their backs to the camera at WIDESHOT.) 

BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand center-stage watching the ballet. They are in the way. The ballet continues under the following dialogue.)  

(CUT to WIDESHOT of PIANGI and CARLOTTA when LEFEVRE mentions PIANGI’S name.) 

LEFEVRE (indicating PIANGI)

Signor Piangi, our principal tenor. He does play so well opposite La Carlotta.  

(CUT to MME. GIRY as she bangs her cane.) 

GIRY (exasperated by their presence, bangs her cane angrily on the stage.)

Gentlemen, please! If you would kindly stand to one side?  

(CUT to: LEFEVRE, FIRMIN, and ANDRE)

LEFEVRE

My apologies, Mme. Giry. 

(leading ANDRE and FIRMIN aside)  

Mme. Giry, our ballet mistress. I don't mind confessing, M. Firmin, I shan't be sorry to be rid of the whole blessed business.  

FIRMIN

I keep asking you, monsieur, why exactly are you retiring?  

LEFEVRE (ignoring this, calls his attention to the continuing ballet.)

We take a particular pride here in the excellence of our ballets.  

(CUT to MEG) 

(MEG becomes prominent among the dancers.)  

(CUT to ANDRE and LEFEVRE) 

ANDRE

Who's that girl, Lefevre?  

(CUT to MEG) 

LEFEVRE

Her? Meg Giry, Madame Giry's daughter. Promising dancer, M. Andre, most promising. 

(MOVE VIEW to CHRISTINE) 

(CHRISTINE becomes prominent. She has absent-mindedly fallen out-of-step)  

GIRY (off-screen, spotting her, bangs her cane again.)

You! Christine Daae! Concentrate, girl!  

MEG (quietly, to CHRISTINE)

Christine . . . What's the matter?  

FIRMIN (to LEFEVRE)

Daae? Curious name.  

LEFEVRE

Swedish.  

(CUT to: ANDRE and LEFEVRE)

ANDRE

Any relation to the violinist?  

LEFEVRE

His daughter, I believe. Always has her head in the clouds, I'm afraid.  

(CUT to: WIDESHOT of CHORUS)

(The ballet continues to its climax and ends. The CHORUS resumes.)  

CHORUS

Bid welcome to Hannibal's guests - the elephants of Carthage! As guides on our conquering quests, Dido sends Hannibal's friends!  

(The ELEPHANT, a life-sized mechanical replica, enters [at center stage]. PIANGI is lifted, in triumph, onto its back.)  

(CUT to: WIDESHOT of CARLOTTA and PIANGI) 

CARLOTTA (ELISSA)

Once more to my welcoming arms my love returns in splendour!  

PIANGI (HANNIBAL)

Once more to those sweetest of charms my heart and soul surrender!  

(CUT to: CHORUS seen at left view and right view.) 

CHORUS

The trumpeting elephants sound hear, Romans, now and tremble! Hark to their step on the ground hear the drums! Hannibal comes!

( [WIDESHOT] At the end of the chorus LEFEVRE walks to front of the stage with his back to the camera claps his hands for silence. The elephant is led off. Two stage-hands are revealed operating it from within.)  

(CUT to WIDESHOT of LEFEVRE at front.) 

LEFEVRE

Ladies and gentlemen - Madame Giry, 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,

(M. FIRMIN and M. ANDRE walk forward.)

M. Richard Firmin and M. Gilles Andre. (both bow)  

(Polite applause. Some bowing.

[CUT to shots of CHORUS, then CARLOTTA) CARLOTTA makes her presence felt by straightening her posture, smile lightly, and tilting her head in the air, overdramatically, and stands there, ready to be noticed.)  

Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now.  

ANDRE (in front of CARLOTTA)

Of course, of course. I have experienced all your greatest roles, Signora.  

LEFEVRE

And Signor Ubaldo Piangi. (MOVE VIEW from CARLOTTA to PIANGI)  

FIRMIN (bows from right of screen)

An honour, Signor.  

(CUT to ANDRE, LEFEVRE, and FIRMIN) 

ANDRE

If I remember rightly, Elissa has a rather fine aria in Act Three of "Hannibal." I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition?

(Somewhat acerbic) (REYER seen in back)

Unless, of course, M. Reyer objects . . .  

(CUT to CARLOTTA) 

CARLOTTA

My manager commands . . .

M. Reyer?  

(CUT to CLOSE-UP of REYER) 

REYER

My diva commands. Will two bars be sufficient introduction?  

(CUT to FIRMIN looking back at REYER)

FIRMIN

Two bars will be quite sufficient  

(CUT to REYER)

REYER (ensuring that CARLOTTA is ready)

Signora?  

(CUT to CARLOTTA) 

CARLOTTA

Maestro.  

(The introduction is played on the piano.)  

CARLOTTA

Think of me, think of me fondly, when we've said goodbye.

Remember me every so often-promise me you'll try.  

On that day that not so distant day when you are far . . .  

([CUT to: backdrop when it crashes to the floor, then move camera rapidly to MEG, BALLET GIRLS, and CHORUS] As CARLOTTA is singing a backdrop crashes to the floor cutting her off from half the cast.)  

MEG/BALLET GIRLS/CHORUS

He's here: the Phantom of the Opera . . .

He is with us . . . It's the ghost . . .  

(CUT to WIDESHOT of LEFEVRE, ANDRE, FIRMIN, CARLOTTA, and PIANGI) 

PIANGI (looking up, furiously.)

You idiots!  

(He rushes over to CARLOTTA)

Cara! Cara! Are you hurt?  

LEFEVRE

Signora! Are you all right? Buquet! Where is Buquet?  

PIANGI

Is no one concerned for our prima donna?  

LEFEVRE

Get that man down here!  

(to ANDRE and FIRMIN)

Chief of the flies. He's responsible for this.  

(CUT to: BUQUET seen from below. The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a length of rope, which looks almost like a noose.)  

(CUT to: LEFEVRE, FIRMIN and ANDRE seen from BUQUET’S POV below.) 

LEFEVRE

Buquet! For God's sake, man, what's going on up there?  

(CUT to BUQUET seen from LEFEVRE’s POV above.) 

BUQUET

Please monsieur don't look at me: as God's my witness, I was not at my post. Please monsieur there's no one there: and if there is, well then, it must be a ghost . . .  

(CUT to: MEG)

MEG (looking up)

He's there; the Phantom of the Opera ...  

(CUT to: ANDRE and FIRMIN)

ANDRE

Good heavens! Will you show a little courtesy?  

(CUT to: ANDRE, FIRMIN, and LEFEVRE facing MEG, CARLOTTA and OTHERS.) 

FIRMIN (to MEG and the OTHERS)

Mademoiselle, please!  

ANDRE (to CARLOTTA)

These things do happen.  

CARLOTTA

Si! These things do happen! Well, until you stop these things happening, this thing does not happen! Ubaldo! Andiamo! 

(PIANGI dutifully fetches her furs from the wings.)  

PIANGI

Amateurs!  

LEFEVRE

I don't think there's much more to assist you, gentlemen. Good luck. If you need me, I shall be in Frankfurt .  

(He leaves at right of screen. The camera moves to The COMPANY looking anxiously at the NEW MANAGERS.  CUT to shot of MANAGERS.)  

ANDRE

La Carlotta will be back.  

(Mme. GIRY comes into shot as she walks towards the MANAGERS.) 

GIRY

You think so, messieurs? I have a message, sir, from the Opera Ghost.  

(The GIRLS twitter and twirl in fear [CUT to GIRLS then CUT back to ANDRE, FIRMIN, and GIRY.) 

FIRMIN

God in Heaven, you're all obsessed!  

GIRY

He merely welcomes you to his opera house, commands that you to continue to leave Box Five empty for his use.. and reminds you that his salary is due.  

FIRMIN

His salary?  

GIRY

Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more, with the Vicomte de Chagny as your patron.  

(CUT to the BALLET GIRLS, MEG, and CHRISTINE) 

(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously.)  

(CUT to: MANAGERS and GIRY) 

ANDRE (to GIRY)

Madame, I had hoped to have made that announcement myself.  

GIRY (to FIRMIN)

Will the Vicomte be at the performance tonight, monsieur?  

FIRMIN

In our box.  

ANDRE

Madame, who is the understudy for this role?  

REYER

There is no understudy, monsieur - the production is new.  

(ANDRE and FIRMIN look back as they move aside when REYER speaks. MEG comes into shot between the MANAGERS and GIRY) 

MEG

Christine Daae could sing it, sir.  

(Move camera from MEG to FIRMIN) 

FlRMIN

The chorus girl ?  

MEG (to FIRMIN)

She's been taking lessons from a great teacher.  

ANDRE

From whom ?  

(CHRISTINE comes into shot between the MANAGERS and GIRY) 

CHRISTINE (uneasily. She steps forward reluctantly.)

I don't know, sir . . .  

FIRMIN

Oh, not you as well! 

(turning to ANDRE) 

Can you believe it? A full house - and we have to cancel!  

GIRY

Let her sing for you, monsieur. She has been well taught.  

REYER (after a pause.)

From the beginning of the aria then, mam'selle.  

CHRISTINE

Think of me think of me fondly, when we've said goodbye. 

Remember me every so often - promise me you'll try.  

On that day, that not so distant day, when you are far away and free,

if you ever find a moment, spare a thought for me.  

(End with a WIDESHOT of CHRISTINE, then zoom in on her and then zoom out to reveal her in full costume in Scene 2- THE GALA.)