INT. OPERA POPULAIRE. THAT NIGHT.

The magic, glamour and majesty of a gala performance. We are moving around
CHRISTINE and, as we move behind her, the light changes. We come round
the other side to reveal the packed gala auditorium. REYER is conducting a full
orchestra, the prompter is in his box, the gas lights are flickering. CHRISTINE
is revealed in a dazzling white costume backed by a lavish meyerbeer-like set
(moon, moving clouds, a waterfall) ; HORSES, CHORUS.

WE NEVER SAID OUR LOVE…….. 
(There will be portions of the Libretto missing in the following
as it follows the play version exactly)

THINK OF ME,
THINK OF ME WAKING
SILENT AND RESIGNED.

INT. AUDITORIUM. NIGHT. (CONTINUOUS)

We see dozens of opera glasses raised to watch CHRISTINE.

INT. STAGE. NIGHT. (CONTINUOUS)

CHRISTINE

IMAGINE ME

TRYING TO HARD….
THERE WILL NEVER BE
A DAY WHEN
I WON'T THINK
OF YOU……

INT. AUDITORIUM. NIGHT. (CONTINUOUS)

During this, we see the audience. The men in tailcoats and gloves, the women
in dazzling gowns and jewelry. The whole of the French aristocracy is here in
the boxes, the stalls and circles. In one of the boxes the sits the ROYAL FAMILY,
their faces hidden from the audience by the shadows. In another, we see FIRMIN
and MME. FIRMIN, ANDRE and young RAOUL. They are all delighted, looking
at the audience and CHRISTINE onstage. The audience sees the ROYAL HANDS
clap in mid-aria, giving permission to the rest of the glittering crowd. Applause,
bravos. Prominent among the bravos, those of young RAOUL in the
MANAGER's box.

RAOUL

CAN IT BE?
CAN IT BE CHRISTINE?
Bravo!

We follow him as he leaves the box.

INT. OPERA POPULAIRE/UPSTAIRS FOYER. NIGHT, (CONTINUOUS)

RAOUL rushes out of the box, past MME. GIRY who has been standing near it.
As she closes the door, we see the number on the door: Box Five. She watches
him run towards the stairs. The foyers are empty apart from a few GUARDS at
easeand the USHERETTES waiting.

RAOUL

WHAT A CHANGE….
BUT I REMEMBER HER….

We INTERCUT this with CHRISTINE onstage:

INT. OPERA POPULAIRE/STAGE. NIGHT. (CONTINUOUS)

CHRISTINE

WE NEVER SAID
OUR LOVE WAS
EVERGREEN………
YOU WILL THINK………..

(Cadenza)

…….OF ME!

There is a pause. Camera circles CHRISTINE's face and then CRANES to
reveal the huge audience waiting. Then, we see the EMPEROR'S HANDS
applauding and, suddenly, the whole house erupts. The applause continues over:

EXT. OPERA POPULAIRE/COURTYARD. NIGHT.

A MAID, CALOTTA's maid, runs out of a door into the courtyard towards a waiting
carriage. CARLOTTA leans into the window. The MAID reports CHRISTINE's
triumph. CARLOTTA collapses back into the carriage against PIANGI. He tries to
console her but she slaps him.

INT. OPERA POPULAIRE/DRESSING ROOM CORRODOORS. NIGHT.

The audience is crowding into the backstage corridors. Among them, RAOUL trying
to find CHRISTINE. There is a crush on the stairs leading up to the dressing rooms, a
mixture of ARISTOCRATS (some flirting with the BALLET GIRLS), STAGEHANDS
and SINGERS. Bottles of champagne are popping, flowers are being delivered.
RAOUL is trying to fight his way through. Camera follows MEG, also looking for
CHRISTINE, she moves into….

(ALW NOTE: party music which will seque later into eerieness)

INT. OPERA POPULAIRE/UPSTAIRS CORRIDOR. NIGHT. (CONTINUOUS)

…. A deserted part of the building. Eerie. She goes out of shot and the camera
advances to find another smaller stairway. It leads to a small set of doors. We go
through to find….

INT. OPERA POPULAIRE/CHAPEL. NIGHT.

….CHRISTINE, in costume, standing in a tiny chapel. She is lighting a candle which she
places in front of a plaque. Fixed to the plaque is a daguerrotype of her father. There is a
sculpted violin in front. (NB. Her father should resemble the PHANTOM when disguised).
We notice that there are plaques all along the wall, each with a little sculpture describing
the profession of the deceased member of the Opera Populaire; ballet shoes, instruments
etc. CHRISTINE kneels to pray. She HEARS:

PHANTOM'S VOICE (O.S)

BRAVI, BRAVI, BRAVISSIMI……

And a phrase on the violin.

CHRISTINE looks up, drawn to the sound.