Okay the beginning continued.......

FULL ORCHESTRA JOINS ORGAN:

We INTERCUT the chandelier rising with:

EXT. OPERA POPULAIRE. DAY.  (1880)

Establishing shot (matte) of the theatre in 1880.  There is huge
activity in front of the main entrance.  People queuing, milling about,
staring at vast posters for "Hannibal" starring LA CARLOTTA, the
reigning diva.  There are TICKET TOUTS, STREET TRADERS,
PEOPLE OF ALL CLASSES.  LEFEVRE, the retiring manager,
arrives with M. FIRMIN and M. ANDRE, the new owners,
in their carriage.

EXT. OPERA POPULAIRE. DAY.

A STABLE BOY ushers their grand carriage into the OPERA
STABLES.  GROOMS, TRAINERS, HORSES, yapping DOGS.

INT. OPERA POPULAIRE. DAY.

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 DWARF in costume steals
bread from a GIPSY 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 iron stairs, watched closely by ANDRE and
FIRMIN being shown around by LEFEVRE.  Below the stairway a
COSTUMED COUPLE is 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. 
THE MUSICIANS are grumbling into the ORCHESTRA PIT.  We see a
group of SPEAR CARRIERS eating a meal around a pot in their dressing room. 
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 GREEN ROOM.  BUQUET follows as a few ballet girls,
including MEG GIRY and CHRISTINE DAAE, push past him to join other
girls being drilled by MME. GIRY, the severe ballet mistress, in the
REHEARSAL STUDIO.  They are obviously late.  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.  This entire
MONTAGE of the coming to life of the 1880 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.

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.