_______________________________________

Scene 8

CHRISTINE’S DRESSING ROOM

_______________________________________

(MUSIC INSERT: a little bit of the background music from when Christine wakes up ... “I remember there was mist...”[NOTE:  for this scene, refer to “Labyrinth” when Sarah discovers Toby missing.] ) 

(MEG is looking for CHRISTINE. The building is deserted, shadows everywhere. MEG is a tiny figure in the darkness, vulnerable and frightened.)

(CUT to CLOSE-UP of MEG seen from her waist up.) 

MEG

Christine..  

(CUT to CLOSE-UP of MEG seen from her waist up, back to camera as she slowly opens door.)  

(MEG steps into the dressing room. [CUT to WIDESHOT of inside of dressing room] 

The gaslight has been turned down low. She moves towards the dressing table covered in flowers. Next to it, we see her reflection in the full-length mirror. Suddenly, the gaslight goes out. [CLOSE-UP of MEG looking from her right shoulder, eyes looking to left, then CUT to CLOSE-UP of MEG facing the camera.]  

The room is plunged into darkness. Startled, she turns to the mirror and glimpses a shadow behind her reflection.  

[CUT to mirror, where camera move slowly to left as MEG’S 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. (ie. We see the mechanics of what seemed at first magic.)

(CUT to other side of mirror) MEG has found CHRISTINE's route to the PHANTOM's world. 

MEG comes into shot and sees the dressing room on the other side of the mirror.

[From MEG’S POV probably by handheld camera] She turns and is immediately confronted by a moving AUTOMAT. Courageously, she walks down the corridor with the moving AUTOMATS.  

[Again from MEG’S POV by handheld camera] Shadows seem to follow. It is dark, damp and dangerous. A rat scampers through.  

[CUT to side view of MEG] A shadow appears directly behind MEG. A hand reaches out and grabs her shoulder. MEG turns in terror. It is her mother, MME. GIRY.)  

(CUT to Scene 9- BACKSTAGE)

___________________________________________

Scene 9

BACKSTAGE

___________________________________________

(BUQUET [with back to camera] mysteriously appears.  

[CUT to front of BUQUET and BALLET GIRLS], a length of fabric serving as a cloak, and a piece of rope as the Punjab lasso. He is showing off to the BALLET GIRLS.)  

BUQUET

Like yellow parchment is his skin . . .

a great black hole is half the nose that never grew . . .

(Demonstrating his method of self-defense against the Punjab lasso, he inserts his hand between his neck and the noose, and then pulls the rope taut. With a mixture of horror and delight, the BALLET GIRLS applaud this demonstration.)  

You must be always on your guard, or he will catch you with his magical lasso!  

(Behind BUQUET, MME. GIRY comes into shot [at right of screen] with MEG.)  

GIRY

Those who speak of what they know find, too late, that prudent silence is wise.  

(CUT to BUQUET and MME. GIRY in same frame.) 

Joseph Buquet, hold your tongue! He will burn you with the heat of his eyes . . .  

([CUT to MEG] MEG is at the window of the dormitory.  

[CUT to window where the opera roof is seen] It overlooks a section of the opera roof. MEG screams as she sees the specter of the PHANTOM leading CHRISTINE across the roof.)  

(move camera to CLOSE-UP of MEG) 

MEG

He’s here- the Phantom of the Opera...  

(CUT to WIDESHOT of BALLET GIRLS, BUQUET, MME. GIRY, and MEG.) 

(The other ballet girls scream. MME. GIRY claps her hands to order the girls to bed.)  

MME GIRY

Au lit! Au lit!  

(MME. GIRY walks out.)  

([CUT to WIDESHOT of MME. GIRY in corridor] In another part of the corridor, MME. GIRY looks up and [CUT to CHRISTINE seen above from MME. GIRY’S POV] sees at the top of a staircase, CHRISTINE, backlit by the moon.  

CHRISTINE walks down towards her and [CUT to WIDESHOT of CHRISTINE walking to MME. GIRY seen from top of staircase] almost faints into MME. GIRY's arms as she reaches her. MME. GIRY leads her away.  

[move closer to BUQUET] BUQUET has been watching them. And unknown to BUQUET, [move camera to above] from a skylight above, the PHANTOM has been watching him.) [fade to black)

___________________________________________

Scene 10

THE MANAGERS' OFFICE

___________________________________________

(CUT to WIDESHOT view of a corner of the Paris Opera House, then fade to the doors of the Manager’s office, then fade to inside of office where FIRMIN is at his desk. Desk, chairs, papers. FIRMIN is scornfully eyeing a newspaper article.)  

(CUT to CLOSE-UP of FIRMIN) 

FIRMIN

"Mystery after gala night," it says, "Mystery of soprano's flight!"

 “Mystified” baffled Surete say, “we are mystified - we suspect foul play!"  

(CUT to WIDESHOT of FIRMIN) 

(He lowers the paper.)  

Bad news on soprano scene - first Carlotta, now Christine!  

Still, at least the seats get sold; gossip's worth its weight in gold . . .  

“Diva tenders resignation!” “Cover does a moonlight flit!”

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 hit!  

(CUT to ANDRE)  

(ANDRE bursts in, in a temper.)  

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

But we have no cast . . .  

FIRMIN (calmly)

But Andre, have you seen the queue?

(He has been sorting mail on his desk. Finding the two letters from the PHANTOM.) 

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

(He hands the letter to ANDRE, who opens it and reads [NOTE: if we see the writing in the notes, the writing should be clumsy and in red ink, according to the book.) 

ANDRE

"Dear Andre what a charming gala! Christine enjoyed a great success!

We were hardly bereft when Carlotta left -

Otherwise, the chorus was entrancing, but the dancing was a lamentable mess!"  

(CUT to FIRMIN) 

FIRMIN (reading his)

"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!"  

(CUT to FIRMIN and ANDRE) 

FIRMIN

Who would have the gall to send this?  

ANDRE

Someone with a puerile brain!  

FIRMIN (examining both letters)

These are both signed "O.G." . . .  

ANDRE

Who the hell is he?  

BOTH (immediately realizing)

Opera ghost!  

(CUT to FIRMIN) 

FIRMIN (not amused)

It's really not amusing!  

(CUT to ANDRE) 

ANDRE

He's abusing our position! 

(CUT to FIRMIN) 

FIRMIN

In addition he wants money!  

(CUT to ANDRE) 

ANDRE

He's a funny sort of spectre . . .  

(CUT to FIRMIN and ANDRE with doors behind them.) 

BOTH

. . . to expect a large retainer!

Nothing plainer - he is clearly quite insane!  

([WIDESHOT] They are interrupted by the arrival of RAOUL, who brandishes another of the PHANTOM'S notes and walks towards to the managers.)  

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!  

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?  

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 MANAGERS look mystified.)  

RAOUL

If you didn't write it, who did?  

(CUT to: CARLOTTA and PIANGI coming in.  CARLOTTA, too has a letter, which has cheered her no more than the others.)  

CARLOTTA

Where is he?  

ANDRE

Ah, welcome back!  

(move camera from right to left when CARLOTTA and PIANGI approach ANDRE.)

CARLOTTA

Your precious patron -  

CARLOTTA/PIANGI

Where is he?  

(CUT to: RAOUL with CARLOTTA’S back to the camera at right of screen.)

RAOUL

What is it now?  

(CUT to: CLOSE-UP of CARLOTTA with RAOUL’s back to left of screen.) 

CARLOTTA (to RAOUL)

I have your letter - a letter which I rather resent!  

(FIRMIN comes into shot.) 

FIRMIN (to RAOUL)

And did you send it?  

RAOUL

Of course not!  

(ANDRE comes into shot.) 

ANDRE

As if he would!  

CARLOTTA

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. CUT to: RAOUL reading the letter.) 

"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."  

(CUT to: MANAGERS. The MANAGERS are beginning to tire of the intrigue.)  

ANDRE/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 . . .

 (GIRY suddenly appears, accompanied by MEG CUT to: MME. GIRY and MEG.) 

GIRY

Miss Daae has returned.  

(CUT to: FIRMIN, ANDRE)

FIRMIN (dryly)

In which case, I think our meeting is adjourned!  

ANDRE

Where precisely is she now?  

(CUT to: side view of MME. GIRY and MEG walking towards the MANAGERS.) 

GIRY

I thought it best that she went home . . .  

MEG

She needed rest.  

(RAOUL comes into shot, walking towards MME. GIRY and MEG.) 

RAOUL

May I see her?  

GIRY

No, monsieur, she will see no-one.  

(CARLOTTA and PIANGI come into shot.)

CARLOTTA/PIANGI

Will she sing? Will she sing?  

(MME. GIRY and MEG)

GIRY

Here, I have a note . . .  

(RAOUL, CARLOTTA, ANDRE, and PIANGI come into shot as they try to get the note.) 

RAOUL/CARLOTTA/ANDRE/PIANGI

Let me see it!  

(Move camera to FIRMIN when he snatches the letter.) 

FIRMIN (snatching it)

Please!  

FIRMIN (Opens the letter and reads. The PHANTOM'S voice gradually lakes over.)

"Gentlemen, I have now sent you several notes of the most amiable nature, detailing how my theatre is to be run.  

(CUT to: ANDRE, RAOUL, ETC., then CUT back to: FIRMIN, then when the PHANTOM’S VOICE gradually comes in, FADE to the PHANTOM’S model of the Opera Populaire.) 

You have not followed my instructions.  I shall give you one last chance . . ."  

(The PHANTOM'S model of the Opera Populaire. We see in particular the stage of the opera house with the set for "Il Muto". Figurines, exact reproductions of the cast, CARLOTTA and CHRISTINE included, populate the stage. The PHANTOM'S hand, in a white glove, comes into shot. It removes the head from CHRISTINE figurine and swaps it with that of CARLOTTA's.)  

 PHANTOM'S VOICE (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:)  

I shall watch the performance from my normal seat in Box Five, which 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, as the real chandelier tinkles as if disturbed by a gust of wind.)  

(FADE to: WIDESHOT of FIRMIN, then pull back to see ANDRE and EVERYONE’S backs to the camera.) 

FIRMIN (taking over)

"I remain, Gentlemen, Your obedient servant, O.G."  

(CUT to: ANDRE, MEG and CARLOTTA) 

MEG

Christine, Christine.... 

CARLOTTA

Christine!  

ANDRE

Whatever next . . .?

CARLOTTA

It's all a ploy to help Christine!  

(CUT to: FIRMIN and ANDRE) 

FIRMIN

This is insane . . .  

(CUT to: CARLOTTA, MEG, ANDRE, and FIRMIN) 

CARLOTTA

I know who sent this: 

(move camera from CARLOTTA to RAOUL when she points to him) (pointing an accusing finger.) 

The Vicomte - her lover!  

RAOUL (ironical)

Indeed?

(to the OTHERS)

Can you believe this?  

(CUT to: MANAGERS and CARLOTTA.  ANDRE and FIRMIN walk towards CARLOTTA and PIANGI) 

ANDRE (to CARLOTTA, in protest)

Signora!  

PIANGI

How can you do this?  

CARLOTTA (half to the MANAGERS, half to herself.)

I am unwanted!  

FIRMIN (to CARLOTTA)

This is a joke!  

ANDRE

This changes nothing!  

CARLOTTA

I am unwelcomed!  

(CUT to: FIRMIN and ANDRE seen over CARLOTTA’S shoulder.) 

FIRMIN

Signora!  

ANDRE

You are our star!  

FIRMIN

And always will be!  

ANDRE

Signora . . .  

FIRMIN

The man is mad!  

ANDRE

We don't take orders!  

(CUT to: FIRMIN and ANDRE facing EVERYONE.) 

FIRMIN (announcing it to EVERYONE.)

Miss Daae will be playing

the Pageboy - the silent role . . .  

ANDRE/FIRMIN

Carlotta will be playing the lead!  

(PIANGI comes into shot.)

PIANGI

You don't deserve her!  

(CARLOTTA comes into shot.) 

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 honor of your prima donna. Padre mio! Dio!  

(CUT to GIRY, CARLOTTA, and MANAGERS.  During this, RAOUL comes into shot, then MEG.) 

GIRY

Who scorn his word, beware to those . . .  

CARLOTTA (to MANAGERS)

You have reviled me!  

GIRY

The angel sees, the angel knows . . .  

RAOUL

Why did Christine fly from my arms . . .?  

CARLOTTA

You have rebuked me!    

ANDRE/FIRMIN

Signora, pardon us . . .  

CARLOTTA

You have replaced me!  

ANDRE/FIRMIN

Please, Signora, we beseech you . . .  

GIRY

This hour shall see your darkest fears . . .  

MEG/RAOUL

I must see her . . .  

CARLOTTA

This is uncalled for! This is unfounded! This is unheard of!  

GIRY

The angel knows, the angel hears . . .  

RAOUL

Where did she go . . .?  

CARLOTTA

You are unthinking! You are unfeeling!  

ANDRE/FIRMIN

Signora, sing for us! Don't be a martyr . . .  

(CUT to: WIDESHOT of EVERYONE)

RAOUL/GIRY/MEG

What new surprises lie in store . . .?  

ANDRE/FIRMIN

Our star . . .!  

CARLOTTA/PIANGI

You go too far!  

(On this note, the prelude to “Prima Donna” begins, and we CUT to busy backstage area of the Opera, we close in on FIRMIN and ANDRE as they bow down to CARLOTTA.)

___________________________________________

Scene 11

CARLOTTA’S DRESSING ROOM

___________________________________________

(Backstage, 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 onto her corset, bosoms heaving, perfume, powder, wigs and beauty spots are applied, the dress is lowered down on her by pulleys from the ceiling. 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 as she hands it to him. They drink champagne from her slipper, Firmin swallowing his disgust, and grovel like pros.)  

(The MANAGERS adopt their most persuasive attitudes.  CUT to: MANAGERS) 

ANDRE/FIRMIN

Prima donna first lady of the stage! Your devotees are on their knees to implore you!  

ANDRE

Can you bow out when they're shouting your name?  

FIRMIN

Think of how they all adore you!     

(CUT to: CARLOTTA seen from below with the MANAGER’S backs to the camera below screen.) 

BOTH

Prima donna, enchant us once again!  

ANDRE

Think of your muse . . .  

FIRMIN

And of the queues round the theatre!  

(CUT to: MANAGERS seen from above with CARLOTTA’s back to the camera.) 

BOTH

Can you deny us the triumph in store? Sing, prima donna, once more!  

(CUT to: CARLOTTA seen from below with the MANAGER’S backs to the camera below screen. CARLOTTA registers her acceptance as the MANAGERS continue to cajole.)   

(CUT between left and right side views, CLOSE-UPS, WIDESHOTS of CARLOTTA as she walks about her dressing room in an overdramatic fashion.) 

CARLOTTA (to herself, in triumph)

Prima donna your song shall live again! You took a snub but there's a public who needs you!

Think of their cry of undying support! Follow where the limelight leads you!

 Prima Donna, Your song shall never die. You'll sing again, and to unending ovation!

Think how you'll shine in that final encore! Sing, prima donna, once more!  

(As CARLOTTA walks about vainly, the MANAGERS look on.) 

ANDRE/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!  

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!  

Prima donna the world is at your feet! A nation waits, and how it hates to be cheated!  

(CUT to: WIDESHOT of MANAGERS and CARLOTTA) 

ALL

Light up the stage with that age old rapport! Sing, prima donna, once more!  

(We pull pack to see CARLOTTA, FIRMIN, and ANDRE from above A CLOSE-UP of the PHANTOM’s face appears [overlapping] over the figures of CARLOTTA, FIRMIN and ANDRE.  They do not hear it, and CARLOTTA is standing, ready to go out.  The PHANTOM fades as the shot changes to the next.) 

PHANTOM'S VOICE

So, it is to be war between us! If these demands are not met, a disaster beyond your imagination will occur!  

ALL

Once more!  

(CUT to BACKSHOT of Carlotta, exiting her room through doors held open by FIRMIN and ANDRE.) 

(As they exit, we close in on the doors closing and they suddenly become [FADE TECHNIQUE] curtains pulling back to reveal FIRMIN and ANDRE entering their box in WIDESHOT from BACK.)