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Scene 12

A PERFORMANCE OF IL MUTO BY ALBRIZZI0

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(CUT TO WIDESHOT in same frame of BOX from FRONT VIEW. RAOUL approaches ANDRE and FIRMIN from BACK. CUT to shot of RAOUL behind ANDRE and FIRMIN.) 

RAOUL

Gentlemen, if you would care to take your seats? I shall be sitting in Box Five.  

(CUT to CLOSE UP of ANDRE) 

ANDRE

Do you really think that's wise, monsieur?  

(CUT to CLOSE UP of RAOUL) 

RAOUL

My dear Andre, there would appear to be no seats available, other than Box Five . . .  

([CUT to WIDESHOT of BOX] RAOUL leaves to go to his box.) (CUT to WIDESHOT of stage) (The front cloth rises to reveal an 18th Century salon, a canopied bed centre-stage. The COUNTESS is played by CARLOTTA. SERAFIMO, the page boy, 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. In the room are TWO EPICENE MEN: one a HAIRDRESSER and one a JEWELER. The JEWELER is attended by MEG. There is also an OLDER WOMAN, the COUNTESS' confidante. All a part from MEG are gossiping with relish about he COUNTESS' current liaison with SERAFIMO.)  

CONFIDANTE

They say that this youth has set my Lady's heart aflame!

 This faithless lady's bound for Hades! Shame! Shame! Shame!  

(The canopy drapes part and we see the COUNTESS kissing SERAFlMO passionately. As the recitative begins, our attention turns to the MANAGERS in their box.)  

(CUT to ANDRE and FIRMIN, IN THE BOX)  

ANDRE

Nothing like the old operas!  

FIRMIN

Or the old scenery . . .  

ANDRE

The old singers . . .  

FIRMIN

The old audience . . .  

ANDRE

And every seat sold!  

FIRMIN

Hardly a disaster beyond imagination!  

(They chuckle and nod to RAOUL [who comes into view] in the opposite box. He acknowledges them.)  

(CUT to COUNTESS [CARLOTTA] ) 

COUNTESS (CARLOTTA)

Serafimo - away with this pretence!  

(She rips off SERAFIMO'S skirt to reveal his manly breeches.)  

You cannot speak, but kiss me in my husband's absence!

Poor fool, he makes me laugh! Haha, Haha! etc.

Time I tried to get a better better half!  

COUNTESS AND CHORUS

Poor fool, he doesn't know! Hoho, Hoho! etc.

If he knew the truth, he'd never, ever go!  

(CUT to: CHRISTINE and MEG suddenly looking up when the PHANTOM’S VOICE is heard. Suddenly from nowhere, we hear the voice of the PHANTOM.)  

PHANTOM'S VOICE

Did I not instruct that Box Five was to be kept empty?  

MEG (terrified)

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

([CUT to: backs of AUDIENCE’S heads] General reaction of bewilderment.  

[CUT to: CLOSE-UP of CHRISTINE with CARLOTTA slightly blurred in the background] CHRISTINE looks fearfully about her.)  

CHRISTINE

It's him . . . I know it . . . it's him . . .  

(Camera focuses on CARLOTTA who comes clearly on screen.)

CARLOTTA (Finding a scapegoat in CHRISTINE, hisses at her.)

Your part is silent, little toad!  

(She walks of stage into the WINGS. [CUT to WINGS where CARLOTTA’S MAID gives CARLOTTA her throat spray.]  

There, her MAID hands her throat spray. CARLOTTA sprays herself liberally. But the PHANTOM has heard her last remark.)  

PHANTOM'S VOICE

A toad, Madame? Perhaps it is you who are the toad . . .

(CUT to: WIDESHOT of stage when CARLOTTA returns to the stage. Move camera when she comes to the stage, with the CONDUCTOR’S back to the camera. Again general unease. CARLOTTA and the CONDUCTOR confer and pick up from the opening of the scene.)  

(CUT to: CARLOTTA and CHRISTINE) 

CARLOTTA (As the COUNTESS)

Serafimo, away with this pretence! You cannot speak, but kiss me in my croak!  

(Instead of singing she emits a great croak like a toad. A stunned silence. [CUT to: CARLOTTA at CLOSE-UP, then CUT to stunned AUDIENCE, then CUT back to CARLOTTA at CLOSE-UP.] 

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.)  

CARLOTTA (as the COUNTESS)

Poor fool, he makes me laugh - Hahahahaha!

Croak, croak, croak, croak, croak, croak, etc.  

(During the croaking and the PHANTOM’S laughter, have camera shots that look frantic. We CUT between shots rapidly.) 

(As before. The PHANTOM'S laughter rises. The croaking continues as the chandelier's lights blink on and off. The PHANTOM'S laughter, by this time overpowering, now crescendos into a great cry.) 

PHANTOM'S VOICE

Behold! She is singing to bring down the chandelier!  

(And with this, he seizes a guide rope and begins to rock the chandelier perilously. BUQUET appears on the other side of the ramp. He sees the PHANTOM. The PHANTOM sees him. CARLOTTA looks tearfully up at the MANAGERS ' box and shakes her head.)  

CARLOTTA

Non posso piu . . . I cannot . . . I cannot go on . . .  

PIANGI (rushing on)

Cara, cara . . . I'm here . . . is all right . . . Come . . . I'm here . . .  

(CUT to: WIDESHOT of MANAGERS running out of box and move camera from their box to the stage. ANDRE and FIRMIN hurry out of the box onto the stage. PIANGI ushers the now sobbing CARLOTTA offstage, while the MANAGERS tackle the audience.)  

(CUT to: WIDESHOT of MANAGERS on stage seen from AUDIENCE’S POV.) 

FIRMIN

Ladies and gentlemen, the performance will continue in ten minutes' time . . .  

(He addresses Box Five, keeping one eye on the chandelier as it returns to normal.)  

. . . when the role of the Countess will be sung by Miss Christine Daae.  

(CUT to: CLOSE-UP of MANAGERS)

ANDRE (improvising)

In the meantime, ladies and gentlemen, we shall be giving you the ballet from Act Three of tonight's opera.  

(CONDUCTOR comes into shot with his back to the camera.) 

(to the CONDUCTOR)

Maestro bring the ballet forward. 

(Turns, sees no reaction from the maestro, turns to audience.) 

The ballet! Maestro - now!  

(The MANAGERS leave, the stage is cleared and music starts again. As ANDRE, leaves the stage, he bumps into one of the BALLET GIRLS and lets out a slight yelp as he leaves the stage. The BALLET GlRLS enter as a sylvan glade flies in. They begin the Dance of the Country Nymphs.) 

(We INTERCUT the Dance with events up in the flies. The flats from the previous scene continue to move up. BUQUET is 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. Every way BUQUET runs he is cut off by the PHANTOM who has used the ropes to swing across from ramp to ramp. 

(MEG is aware of the events going on above her and dances out of step. The garroted body of JOSEPH BUQUET falls and hangs center stage, causing the sylvan glade to fly out. Pandemonium. [To heighten the pandemonium, there should be shots done by tilted angles.] )  

CHRISTINE (calling for help)

Raoul! Raoul!  

(CHRISTINE is running through backstage, terrified. RAOUL runs towards her, she falls into his arms.)  

RAOUL (to CHRISTINE, leading her away)

Christine, come with me . . .  

CHRISTINE

No. . . up to the roof. We'll be safe there.  

(CHRISTINE and RAOUL hurry off.)  

FIRMIN (Attempting to placate the audience as STAGE- HANDS and POLICEMEN crowd onto the stage.)  

Ladies and gentlemen, please remain in your seats. Do not panic. It was an accident . . . simply an accident . . .

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Scene 13

THE ROOF OF THE OPERA HOUSE

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(FADE to: PANORAMA shot of roof of opera house.  CUT to: WIDESHOTS of “Apollo’s Lyre” and gargoyles, then CUT to the roof seen from above.)

(The roof of the opera. The huge statue of “Apollo’s Lyre”, vast gargoyles dominates and look out over a surreal panorama of Paris. It is twilight. [We see CHRISTINE and RAOUL coming onto the roof] CHRISTINE and RAOUL rush on. CUT to: WIDESHOT of RAOUL and CHRISTINE.) 

RAOUL

Why have you brought us here?  

CHRISTINE

Don't take me back there!  

RAOUL

We must return!  

CHRISTINE

He'll kill me!  

RAOUL

Be still now . . .  

(CUT to: CHRISTINE coming towards camera with RAOUL in the back.) 

CHRISTINE

His eyes will find me there!  

RAOUL

Christine, don't say that . . .  

CHRISTINE

Those eyes that burn!  

RAOUL

Don't even think it . . .  

CHRlSTlNE

And if he has to kill a thousand men -  

RAOUL

Forget this waking nightmare . . .  

(CUT to: CHRISTINE at CLOSE-UP) 

CHRISTINE

The Phantom of the Opera will kill . . .  

(CUT to: RAOUL seen from CHRISTINE’S POV) 

RAOUL

This phantom is a fable . . . Believe me . . .  

CHRISTINE

. . . and kill again!  

RAOUL

Who is this Phantom of the Opera?  

(CUT to: CLOSE-UP of RAOUL and CHRISTINE) 

CHRISTINE

My God, who is this man . . .  

RAOUL

My God, who is this man . . .  

CHRISTINE

. . . who hunts to kill . . .?  

RAOUL

. . . this mask of death . . .?  

CHRISTINE

I can't escape from him . . .  

RAOUL

Whose is this voice you hear . . .  

CHRISTINE

. . .I never will!  

RAOUL

. . . with every breath . . .?  

BOTH

And in this labyrinth, where night is blind,

The Phantom of the Opera is here: inside your/my mind . . .  

RAOUL

Forget the Phantom of the Opera . . .  

(CUT to: CHRISTINE seen over RAOUL’S shoulder.) 

CHRISTINE

Raoul, I've been there - to his world of unending night . . .

To a world where the daylight dissolves into darkness . . . darkness . . .  

(CUT to the APOLLO’s LYRE. We realize the PHANTOM is right there with them on the roof. He watches from the statue. We CUT continuously between the lovers and him.)  

Raoul, I've seen him! Can I ever forget that sight? Can I ever escape from that face?

So distorted, deformed, it was hardly a face, in that darkness . . . darkness . . .  

(reflecting differently) 

But his voice filled my spirit with 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

Yet in his eyes- all the sadness of the world . . .

Those pleading eyes, that both threaten and adore . . .  

RAOUL (comforting)

Christine . . . Christine . . .  

PHANTOM (unseen, a ghostly echo of RAOUL's words.)

Christine . . .  

CHRISTINE

What was that?  

(A moment, as their eyes meet. The mood changes.)  

RAOUL

No more talk of darkness, Forget these wide-eyed fears.  

(Snowflakes begin to fall on the opera roof. And, as the snow slowly covers the roof and the statues, we INTERCUT between, the lovers, the PHANTOM’s shadow replaces RAOUL’s.)  

I'm here, nothing can harm you - my words will warm and calm you.  

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

Let me be your freedom, let daylight dry -your tears.

I'm here, with you, beside you, to guard you and to guide you . . .  

CHRISTINE

Say you’ll love me every waking moment, turn my head with talk of summertime . . .  

(A shadow. Perhaps the PHANTOM will send them to their deaths?)  

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 . . .

CHRISTINE

All I want is freedom,a world with no more night . . .

and you always beside me to hold me and to hide me . . .  

RAOUL

Then say you'll share with me one love, one lifetime . . .

Let me lead you from your solitude . . .  

(CUT to: The Phantom silently mouths RAOUL’s words of love, his heart broken.)  

Say you need me with you here, beside you . . . anywhere you go, let me go too -

Love me, that's all I ask of you . . .  

(CUT back to CHRISTINE and RAOUL) 

CHRISTINE

Say you'll share with me one love, one lifetime . . .  

BOTH

say the word and I will follow you . . . 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.)  

Anywhere you go let me go too . . . Love me - that's all I ask of you . .  

(CHRISTINE starts from her reverie.)  

CHRISTINE

I must go - they'll wonder where I am . . . wait for me, Raoul!  

RAOUL

Christine, I love you!  

CHRISTINE

Order your fine horses! Be with them at the door!  

RAOUL

And soon you'll be beside me!  

CHRISTINE

You'll guard me, and you'll guide me . . .  

(They disappear down the iron staircase back into the opera house. [Pull back up to where we see partially the back of Apollo’s Lyre] The PHANTOM has emerged from behind the statue where he casts a vast shadow in the fresh snow.)  

(CUT to: WIDESHOT of the PHANTOM at the top of the statue.)

PHANTOM

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 ... Oh, Christine ...  

(He looks down through a glass dome and sees the distant figures of CHRISTINE and RAOUL descending the iron staircase. He HEARS:)  

([CUT to: front view of the PHANTOM seen at a low right angle] During RAOUL and CHRISTINE’S duet, the PHANTOM cringes and cries upon hearing their words, tears flooding from his eyes. We almost hear him weep.) 

RAOUL/CHRISTINE

Say you'll share with me one love, one lifetime . . .

say the word and I will follow you . . .  

(Suddenly the look on the Phantom’s face goes from despair to furious rage. His moan of agony become a growl of hate.) 

Share each day with me, each night, each morning . . .  

(CUT to: CLOSE-UP of PHANTOM, still at side view, then cut to CLOSE-UP at front view.) 

PHANTOM (With sudden and terrifying fury.)

You will curse the day you did not do...

All that the Phantom asked of you . . .!  

( [CUT to: WIDESHOT from statue’s POV] He runs across and [CUT to: WIDESHOT of PHANTOM at the door] wrenches open two huge iron doors in the roof, releasing dozens of pigeons into the air. He jumps into the darkness below, [CUT to: inside of darkness] filled with huge bells and opens a second set of iron doors, revealing that we are directly above the chandelier with the entire opera house below. [CUT to: opera stage seen from the PHANTOM’s POV above] The opera curtains open and IL Muto begins again. [CUT to: WIDESHOT of CHRISTINE] CHRISTINE is conspicuously dressed in CARLOTTA'S costume. CUT to: CHANDELIER seen from above the stage.  Simultaneously, we hear the maniacal laughter of the PHANTOM and [CUT to: WIDESHOT of the PHANTOM] see him high above the stage, perilously rocking the chandelier. The lights of the chandelier begin flickering and, at a great cry from him, it descends, swinging more and more madly over the audience. We realize it is over the place where Raoul now sits. [CUT to: AUDIENCE  seen above, then CUT to: RAOUL seen above at WIDESHOT but ALMOST CLOSE-UP] CUT to: the PHANTOM jumping out of the CHANDELIER and releasing the CHANDELIER as he yells…) 

PHANTOM

Go! !  

(CUT to: CHANDELIER dropping from AUDIENCE’S POV, CUT to: CHRISTINE at CLOSE-UP screaming, and CUT to: RAOUL and AUDIENCE moving out, seen from falling CHANDELIER’S POV. Have CHANDELIER’S POV zoom down quickly to RAOUL and the AUDIENCE.  RAOUL moves just in time as the CHANDELIER falls into the audience.  Suddenly, GO BLACK.) 

END OF ACT ONE