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Scene 2

IN THE CELLARS

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([CLOSE-UP of RAOUL, then CUT to trap door seen from his POV] [MUSIC INSERT: Fast version of “Phantom of the Opera” played by an electric guitar (its only appearance besides the title song) backed up by the entire string section playing many variations on it.  A horrific, but wonderful, jumble of sound]. The trap door snaps shut above RAOUL. [switch between RAOUL’s POV, CLOSE-UPS of RAOUL, left, right, front, and back views of RAOUL. For RAOUL’S POV, do in handheld camera] 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. (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. His limbs whirr like a machine. RAOUL is staring at the AUTOMAT 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 the empty air. RAOUL turns to see who has saved him. [in same frame at CLOSE-UP, move camera from RAOUL to MME. GIRY.] It is MME. GIRY. MME GIRY is hurrying RAOUL through a more illuminated part of the corridor. [CUT to WIDE SHOT of corridor where MME. GIRY and RAOUL head out].  Small gas lamps flicker in the gloom.)  

RAOUL

Madame Giry….What…  

MME GIRY

Monsieur, don't ask me - I know no more than anyone else.  

RAOUL

That's not true. You know something, don't you?  

MME GIRY (uneasily)

Please don't ask me, monsieur…  

RAOUL (Desperately)

Madame, for all our sakes…  

(They have reached a door. [CUT to: MME. GIRY and RAOUL] MME GIRY stops and looks at RAOUL. She looks back down the corridor. She is very frightened. But she decides to tell him.)  

MME GIRY

Very well.  

(She turns and opens the door.)  

(CUT to: WIDE SHOT of inside of MME. GIRY’S apartment with the door seen at the left of the screen as RAOUL and MME. GIRY enter.)

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Scene 3

MME. GIRY’S APARTMENT

_______________________________________________

(Move camera 90 degrees right to WIDE SHOT of MME. GIRY’S little flat inside.   As she closes the doors in the back, MME. GIRY walks to a chair and sits down as RAOUL walks to her.)

(This is MME 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 MME GIRY sits down and nervously begins telling her story.) 

(CUT to MME. GIRY and RAOUL with photo of YOUNG GIRY above and between them.) 

GIRY

It was the autumn of 1865.   I was only thirty and a widow with a baby girl.  I had just become the new ballet mistress.   

RAOUL

Go on…  

 [move camera upward to photo of YOUNG GIRY. The photo would be on a wall above between MME. GIRY and RAOUL] 

GIRY

Sorry, Monsieur.  That autumn, there was a carnival in the city . . .Gypsies. I was young then….  

(We are closing in on an old photograph of YOUNG GIRY.

[Film now in dull colors, slightly tinted in orange.]

(…..We see YOUNG GIRY as a young ballet mistress accompanied by a dozen giggling BALLET GIRLS moving through a fair in a park. [The displays would be seen in CLOSE-UPS, WIDE SHOTS at different angles. We would CUT between the displays and the BALLET GIRLS with YOUNG GIRY]) 

(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 impression is one of innocence walking through a grotesque kind of hell. They walk through a corridor lined with AUTOMATS, not unlike those we have already seen in the PHANTOM's corridor. However, here they are dressed and painted in bright colors. 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 bullwhip. Outside FIRE EATERS, spit fire into the air. Some of the BALLET GIRLS are enjoying themselves. [CUT to YOUNG GIRY]

Not YOUNG GIRY.  To her, the place is grotesque, a nightmare.  They approach one particular banner; [WIDE SHOT, then zoom in] "ERIK: THE LIVING CORPSE" it announces. The vicious OWNER waves them to come in. His smile is disgusting. The BALLET GIRLS drag in YOUNG GIRY. [CUT to: inside of tent] Inside, other CLIENTS, are waiting. The BALLET GIRLS push to the front. [CUT to: YOUNG GIRY] YOUNG GIRY sees a CAGE. [CUT to: YOUNG ERIK, then slowly zoom into cage.]) 

GIRY (V.O.)

There was a young man locked in a cage . . . I shall never forget him.  His name was Erik.  He was a prodigy.  A genius . . . a master musician, architect, illusionist . . . 

RAOUL (V.O.)

A composer? 

GIRY (V.O.)

Yes.  And an inventor, too.  They said he had once built secret passages, a maze of mirrors, and torture chambers for the Shah of Persia. He would’ve easily been one of history’s greatest men except . . . 

(Inside, his head covered in a sack, a boy, YOUNG ERIK, is completing a beautifully delicate housing for a model monkey (the monkey we have already seen on the music box). The OWNER cracks his whip and is shouting at YOUNG ERIK through the cage. YOUNG ERIK is chained. He is obviously terrified, scrambling into the corner of his cage. The OWNER, letting fly with the whip, has entered the cage. He kicks YOUNG ERIK's model and rips the sack off his head. [CUT to the back of YOUNG ERIK then CUT to front of YOUNG ERIK’s, making sure never to show his face].  We see YOUNG ERIK's hands rise to his face, [CUT to the OWNER at CLOSE-UP, then CUT to WIDE SHOT of OWNER whipping YOUNG ERIK at front] but the OWNER is still whipping him. Pathetically, YOUNG ERIK's hands descend from his face. [CUT to whipping seen at back.]

We do not see it. [CUT to CLOSE-UP of YOUNG GIRY’S face] Instead, we see a look of shock and immense pity on YOUNG GIRY'S face. [CUT to WIDE SHOT of YOUNG GIRY and BALLET GIRLS].  Some of the other BALLET GIRLS are giggling inanely. The CLIENTS throw coins, which land on the floor of the cage. We see the BOY crawl in the straw to retrieve the sack, which he pulls back over head.  

YOUNG GIRY emerges from the tent and is hurried on by the BALLET GIRLS. But YOUNG GIRY lingers for a second. It begins to rain.  She looks back at the tent. Something draws her to it.  She peers in. [We close in what she sees inside.] And sees, inside the tent, the OWNER, kick YOUNG ERIK out of the way and pick the money off the floor of the cage. Suddenly, YOUNG ERIK, with a Punjab Lasso fashioned with the ropes that bound him, strangles the OWNER. YOUNG GIRY watches the boy garrote his torturer. As the evil man falls dead, ERIK looks up and sees YOUNG GIRY [CUT to side-profile of YOUNG ERIK, making sure not to show disfigurement], just as SOMEONE coming into the tent SCREAMS. He knows she won't turn him in. He frees himself of his chains and runs out of the tent.  CUT to WIDE SHOT of mass hysteria in the fair as we hear:) 

GIRY (V.O.)

And then . . . he went missing.  He escaped.  They never found him.  It was said he had died . . .  

RAOUL (V.O.) (darkly)

But he didn’t die, did he? 

(YOUNG GIRY runs out after YOUNG ERIK. Behind them, DOZENS OF PEOPLE arrive in the tent. YOUNG GIRY turns and sees, hiding in the shadows, YOUNG ERIK breathless and terrified. He is clutching the little MONKEY. POLICEMEN with lanterns are closing in through the fair.

The YOUNG and YOUNG GIRY run out of the fair.  The rain is now a furious storm.  All of a sudden, ERIK stops and looks up.  [Cut to front view of YOUNG ERIK and GIRY, with only half of ERIK’s face on screen, the disfigured side not shown] YOUNG GIRY stops behind him.  We then CUT to the BOY’s POV.  It is the incomplete skeleton of the new Opera house, towering eerily above the square, in the darkness of the storm, with lightning flashing over it.  [CUT to: CLOSE-UP of YOUNG ERIK turning towards YOUNG GIRY, his disfigurement in shadow.) ERIK looks back one final time at GIRY and then runs towards the building.) [CUT to: WIDE SHOT of YOUNG GIRY’S back to the camera as she sees ERIK run to the building]  (YOUNG GIRY runs to the left of the screen, then CUT to the Opera substructure at evening.)   

(CUT to WIDE SHOT of YOUNG GIRY returning to the Opera substructure then CUT to another WIDE SHOT of YOUNG GIRY walking to a post where she hides and sees what’s going on.) 

GIRY (V.O.)

I had to know what happened to him.  So later that evening, I came back . . . I found him deep within the structure talking to a man . . . a very famous man . . . 

(YOUNG GIRY’s POV from behind a post in the Opera’s substructure.  We see YOUNG ERIK, wearing his brand new white plaster mask now, in a dark corner of the Opera skeleton with the famous architect GARNIER.  They are standing at a table with a small candle on it, engaged in conversation.  On the table is spread out the architectural designs for the new Opera.  [Zoom in on architectural designs for the new opera when YOUNG ERIK points at something on the designs] ERIK is pointing out some sort of idea on them.  GARNIER turns to him and nods.   [CUT to WIDE SHOT of YOUNG ERIK and GARNIER, then CUT to CLOSE-UP of YOUNG GIRY standing behind the beam].  The candlelight flickers on YOUNG GIRY’s face.  The shot then fades, the face of YOUNG GIRY becoming the face of the older Mme. GIRY.  [END OF FLASHBACK] She turns towards RAOUL.) 

GIRY

The world forgot him, but I never can

For in this darkness, I’ve seen him again ... 

[CUT to RAOUL] 

RAOUL

And so our Phantom’s this man?
[CUT to MME. GIRY seen over RAOUL’S shoulder.] 

GIRY

Hush!  [puts finger to her lips] Don’t let him hear you!  His ears are everywhere.

(pausing and looking about very paranoid.)

I have said too much, monsieur.  

[Move view from right to left of screen when MME. GIRY walks to the door as RAOUL follows her.]

(She moves towards the door, and [CUT to hall at WIDE SHOT] comes out into the hall, followed by RAOUL.)  

RAOUL

Wait!  

MME GIRY [looking back at RAOUL in fear and worry.]

Too much, and there have been too many accidents.  

RAOUL

Accidents?!  Madame Giry!  

(But she moves quickly away. RAOUL pursues her.)  

RAOUL

Madame Giry!  

(They disappear down the corridor. [pull back slowly]  At the other end, the PHANTOM emerges out of the shadows. Start music for “NOTES II”, then just before ANDRE’S first line is spoken, CUT to Manager’s office in next scene.) 

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Scene 4

THE MANAGERS ' OFFICE

___________________________________________

(The PHANTOM'S score lies open on the desk. ANDRE is impatiently flicking through it.)  

ANDRE

Ludicrous! Have you seen the score?  

FIRMIN (entering)

Simply ludicrous!  

ANDRE

It's the final straw!  

FIRMIN

This is lunacy! Well, you know my views . . .  

ANDRE

Utter lunacy!  

FIRMIN

But we daren't refuse . . .  

ANDRE (groans)

Not another chandelier . . .  

FIRMIN

Look, my friend, what we have here . . .  

(He has two notes from the PHANTOM, one of which he hands to ANDRE, who opens it and reads:) 

(CUT to: ANDRE) 

ANDRE

"Dear Andre, Re my orchestrations: We need another first bassoon.

Every note's overblown- and that third trombone has to go!

The man could not be deafer, so please preferably one who plays in tune!"  

(CUT to: FIRMIN) 

FIRMIN (reading his letter)

"Dear Firmin, vis a vis my opera: some chorus-members must be sacked.

If you could, find out which has a sense of pitch - wisely, though,

I've managed to assign a rather minor role to those who cannot act!"  

(CUT to: CARLOTTA and PIANGI entering. Move camera when CARLOTTA and PIANGI walk to the MANAGERS) (They are interrupted by the arrival of CARLOTTA and PIANGI both furiously brandishing similar notes.) 

CARLOTTA

Outrage!  

FIRMIN

What is it now?  

CARLOTTA

This whole affair is an outrage!

FIRMIN

Signora, please . . .  

ANDRE

Now what's the matter?  

CARLOTTA

Have you seen the size of my part?  

ANDRE

Signora, listen . . .  

PIANGI

It's an insult!  

FIRMIN

Not you as well!  

PIANGI

Just look at this - it's an insult!  

FIRMIN

Please, understand . . .  

ANDRE

Signor! Signora!  

CARLOTTA

The things I have to do for my art!  

PIANGI (stabbing a finger at the open score.)

If you can call this gibberish "art"!  

(CUT to: RAOUL and CHRISTINE entering, then CUT to: WIDESHOT of CARLOTTA, PIANGI, and MANAGERS.) (RAOUL and CHRISTINE enter: CARLOTTA bristles.)  

CARLOTTA (dryly)

Ah! Here's our little flower!  

(CHRISTINE and RAOUL come into shot with the back of their heads to the camera.) 

FIRMIN

Ah, Miss Daae quite the lady of the hour!  

ANDRE (explaining)

You have secured the largest role in this "Don Juan." 

CARLOTTA (half to herself)

Christine Daae? She doesn't have the voice!  

FIRMIN (hearing this, to CARLOTTA)

Signora, please!  

(CUT to: front of RAOUL facing the MANAGERS while CHRISTINE has her head down with apprehension.) 

RAOUL (to the MANAGERS)

Then I take it you're agreeing.  

CARLOTTA (aside)

She's behind this . . .  

ANDRE

It appears we have no choice.  

(CUT to: CARLOTTA) 

CARLOTTA (Unable to contain herself any longer, points accusingly.)

She's the one behind this! 

(Move camera to CHRISTINE who suddenly snaps her head up when she is accused.) 

Christine Daae!  

CHRISTINE (Who has been silent till now, incensed at this.)

How dare you!  

CARLOTTA

I'm not a fool!  

CHRISTINE

You evil woman! How dare you!  

CARLOTTA

You think I'm blind?  

CHRISTINE

This isn't my fault! I don't want any part in this plot!  

(CUT to: RAOUL, MANAGERS, PIANGI, and CARLOTTA) 

FIRMIN

Miss Daae, surely . . .  

ANDRE

But why not?  

PIANGI (baffled, to CARLOTTA)

What does she say?  

FIRMIN (reasonably)

It's your decision - (Suddenly rounding on her) But why not?  

CARLOTTA (to PIANGI)

She's backing out!

ANDRE

You have a duty!  

(CUT to: CHRISTINE) 

CHRISTINE

I cannot sing it, duty or not!  

(CUT to: RAOUL with MANAGERS, CARLOTTA, and PIANGI in background.) 

RAOUL (comforting)

Christine . . . Christine . . .

You don't have to . . . they can't make you . . .  

(Move camera to MEG and MME. GIRY when they arrive. EVERYONE turns to MEG and MME. GIRY. MME. GIRY is bearing another note from the PHANTOM.)  

GIRY

Please, monsieur: another note.  

(The MANAGERS gesture: "read it". As she reads, ALL react variously, as they are singled out.)  

GIRY

"Fondest greetings to you all! A few instructions just before rehearsal starts:  

(Move camera from MME. GIRY to CARLOTTA.) 

Carlotta must be taught to act . . . ,"  

(The PHANTOM'S voice gradually takes over from GIRY.  CARLOTTA twitches her face and looks arrogant.)  

PHANTOM'S VOICE

. . . not her normal trick of strutting round the stage.  

(Move camera from CARLOTTA to PIANGI.) 

Our Don Juan must lose some weight - it's not healthy in a man of Piangi's age.  

(PIANGI looks insulted and glances down at his bulging belly, then tries to cover it with his coat. Move camera from PIANGI to ANDRE and FIRMIN.) 

And my managers must learn that their place is in an office, not the arts.  

(MANAGERS gaze at each other blankly.  Move camera from ANDRE and FIRMIN to CHRISTINE, who now looks uncomfortable, almost frightened. During this, RAOUL looks at her, sensing her unease. He touches her gently on the shoulder.)

As for Miss Christine Daae . . . No doubt she'll do her best - it's true her voice is good. She knows, though, should she wish to excel she has much still to learn, if pride will let her return to me, her teacher, her teacher . . .  

Your obedient friend . . .  

(The PHANTOM'S voice fades out and [at CLOSE-UP from an angle] GIRY takes over.)  

GIRY

". . . and Angel . . ."  

(GIRY looks toward RAOUL [OFF-SCREEN], then CUT to front of GIRY and EVERYONE looking at camera. CUT to CHRISTINE.) 

CHRISTINE

I . . .  I can’t do it.  I won’t do it! 

(Then CUT to RAOUL and [seen partially ON-SCREEN] FIRMIN. Attention now focuses on RAOUL whose eyes are suddenly bright with a new thought.)  

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 . . .  

(CUT to: MANAGERS) 

ANDRE

We're listening . . .  

FIRMIN

Go on.  

(CUT to: RAOUL) 

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 comes into shot with RAOUL) 

ANDRE (carried along by the idea.)

We make certain the doors are barred . . .  

(FIRMIN comes into shot with RAOUL) 

FIRMIN (likewise)

We make certain our men are there . . .  

RAOUL

We make certain they're armed . . .  

RAOUL/ANDRE/FIRMIN (savouring their victory.)

The curtain falls - his reign will end!  

(ALL have been listening intently. GIRY is the first to express a reaction. [CUT to: GIRY with CHRISTINE in the background but clearly seen. Move camera as GIRY walks towards RAOUL and MANAGERS] CHRISTINE remains silent and withdrawn.)  

GIRY

Madness!  

ANDRE

I'm not so sure . . .  

FIRMIN

Not if it works . . .  

GIRY

This is madness!  

ANDRE

The tide will turn!  

GIRY

Monsieur, believe me - there is no way of turning the tide!  

(CUT to: MANAGERS and RAOUL) 

FIRMIN (to GIRY)

You stick to ballet!  

RAOUL (rounding on GIRY)

Then help us!  

(CUT to: GIRY) 

GIRY

Monsieur, I can't . . .  

(CUT back to MANAGERS and RAOUL) 

RAOUL

Instead of warning us . . .  

RAOUL/ANDRE/FIRMIN

Help us!  

(CUT to: GIRY) 

GIRY

I wish I could . . .  

(CUT to: MANAGERS and RAOUL) 

RAOUL/ANDRE/FIRMIN

Don't make excuses!  

RAOUL

Or could it be that you're on his side?  

(CUT to: GIRY seen over RAOUL’S shoulder at the left of the screen.) 

GIRY (to RAOUL)

Monsieur, believe me, I intend no ill . . .  

(Move camera from RAOUL to ANDRE and FIRMIN) 

(to ANDRE and FIRMIN)

But messieurs, be careful - we have seen him kill . . .  

(We CUT between CLOSE-UPS and WIDESHOTS at different angles of EVERYONE and CHRISTINE.) 

ANDRE/FIRMIN (to GIRY)

We say he'll fall and fall he will!  

CARLOTTA

She's the one behind this! Christine! This is all her doing!  

PIANGI

This is the truth! Christine Daae!  

RAOUL

This is his undoing!  

ANDRE/FIRMIN (to RAOUL)

If you succeed you free us all - this so called "angel" has to fall!

RAOUL

Angel of music, fear my fury - Here is where you fall!  

GIRY (to RAOUL)

Hear my warning! Fear his fury!  

CARLOTTA

What glory can she hope to gain? It's clear to all the girl's insane!  

ANDRE (to FIRMIN)

Christine sings, we'll get our man . . .  

PIANGI

She is crazy! She is raving!  

FIRMIN (to ANDRE)

If Christine helps us in this plan . . .  

RAOUL

Say your prayers, black angel of death!  

(CUT to CHRISTINE at WIDESHOT) 

CHRISTINE (vainly pleading amidst the tumult.)

Please don't . . .  

(CUT to CLOSE-UPS of EVERYONE) 

ANDRE (to FIRMIN)

If Christine won't, then no-one can . . .  

GIRY (to RAOUL)

Monsieur, I beg you, do not do this . . .  

ANDRE/FIRMIN

This will seal his fate!  

(CUT to CLOSE-UP of CHRISTINE) 

CHRISTINE (bursting through the hubbub with a great cry.)

If you don't stop, I'll go mad! ! !  

(CUT to EVERYONE stopping what they’re doing and looking at CHRISTINE. CUT to WIDESHOT of CHRISTINE walking to RAOUL.) 

(to RAOUL, pleading)

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 for ever . . . he won't let me go . . .  

(CUT to CLOSE-UP of CHRISTINE with RAOUL almost OFF-SCREEN) 

What I once used to dream I now dread . . . if he finds me, it won't ever end . . .  

(CUT to EVERYONE staring at CHRISTINE)

 And he'll always be there, singing songs in my head . . .

he'll always be there, singing songs in my head . . .  

(ALL stare at her)  

CARLOTTA

She's mad!  

(CUT to RAOUL and CHRISTINE with her back to the camera.) 

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 in profile, then CUT to CHRISTINE at a lower then CUT to CHRISTINE at a high angle, then slowly close in on her.)  

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 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 . . .?  

(CUT to low angle of RAOUL and CHRISTINE) 

RAOUL (to CHRISTINE, very tenderly)

Christine, Christine, don't think that I don't care - but every hope and every prayer rests on you now . . .  

([WIDESHOT] CHRISTINE, overcome by her conflicting emotions turns away and [CUT to hall at WIDESHOT] hurries out. RAOUL goes after her but stops at the doorway. Then CUT to CLOSE-UP of RAOUL at front, then CUT to RAOUL seeing CHRISTINE from back. [“NOTES / TWISTED EVERY WAY” would end before RAOUL [in the original London recording] would say “So it is to be war between us…” Instead, the last notes of “Sing Prima Donna one more . . .” would fade into the first few notes of “LITTLE LOTTE.”] We FADE to the next scene at the sky and move down to see an open-topped carriage.)