К сожалению, ссылка не открывается, как ни копировал. Прошу, если не трудно, запихнуть скрипт под кат.

Павел Понятов

Проверь, там слово "sсriрt" в ссылке должно выглядеть как "sсriрt" а не "s?ript" -- phantommovie.com/sсriрt1.htm Если не выйдет, попробую под кат - но там многовато...



Видимо, с этим словом глюк какой-то - то ли часть программы, то ли еще что.

Слово не меняется. Адрес остаётся. Но просто браузер показывает, что страницы нема...

Меняется, на кириллицу - просто незаметно, так как буква выглядит одинаково ("с"). У меня тоже самое, только кириллица не установлена, поэтому высвечивается "?". Явно глюк какой-то на дайри. Ну, ничего не поделаешь - буду потихоньку выкладывать текст. Там, правда, есть еще картинка с обложки скрипта, но обойдемся без нее. Ничего интересного, просто написано что студия Warner Bros представляет фильм Уэберра и Шумахера, в главных ролях Кроуфорд и Брайтман.



Скрипт представлен кусками, не целиком, поэтому первым делом следует оглавление:



The Beginning

The Beginning Cont'd

That Night

In the Dressing Room

The Lair

Meg's Discovery

One Last Chance

Il Muto

Buquet's Demise

On the Opera Roof

Masquerade

Flashback

At the Cemetery

Point of No Return

It's Over Now the Music of the Night



Буду выкладывать попорядку.





FADE IN:



EXT. OPERA POPULAIRE. DAY. (1919)



We have faded into black and white film, grainy and bleak.

Establishing shot of the opera house (matte shot). The air is dank, the

building grey and crumbling. There is very little activity in front. A once

glorious monument shunned by the modern world. We MOVE closer;

we take in statues with limbs missing, the great chipped pillars.

A lackluster sign reads "Public Auction". We continue to close in; the

stairs leading up to the main entrance are filthy. The place seems

abandonned. We HEAR the noise of traffic; klaxons, horses but, as we

MOVE closer towards the open main doors we then Hear the

AUCTIONEER'S GAVEL.



AUCTIONEER (O.S)

Sold. Your number, sir?

Thank you.





INT. OPERA POPULAIRE. DAY. (CONTINUOUS SHOT)



In one movement, the camera glides through the main entrance into

the deserted hall revealing the vast, cracked stairway leading up to

the various levels of the foyer, scarred by a terrible fire long ago.

There is rubbish everywhere. Dust floats through the shafts of grey

light coming through the broken windows.



AUCTIONEER (O.S)

Lot 663, then, ladies and gentlemen:

A poster for this house's production

Of Hannibal" by Chalumeau.



PORTER (O.S)

Showing here.



We continue to move up the stairs, through a set of doors…





INT OPERA POPULAIRE. DAY. (CONTINUOUS SHOT)



…into the stalls of the auditorium. The seats are torn, even uprooted

and piled on top of each other. Shafts of daylight cut through the

darkness from traps in the leaking ceiling. At the far end of the

stalls in a clear space, we see a DOZEN PEOPLE grouped around THE

PORTLY AUCTIONEER on an improvised podium. Next to the

AUCTIONEER stands a PORTER holding the poster for "Hannibal"; a diva,

"La Carlotta", holding a severed head. The BIDDERS are mainly seedy,

dusty men in heavy coats; junk dealers. There is one old woman,

MME. GIRY, who stands a little apart. She is dressed in black, her hat

covered in black veiling, like a widow.



AUCTIONEER

Do I have ten francs? Five then. Five I am bid.

Six, seven. Against you, sir, seven. Eight.

Eight once. Selling twice. Sold..



The blow of the gavel echoes around the space. The AUCTIONEER

unsuccessfully tries to cover his disdain for the JUNK DEALER.



AUCTIONEER

to Monsieur Deferre. Thank you very much, sir.



The contents of the opera house are being auctioned off. We see

statues, some covered with huge canvases, there are boxes, trunks,

props and opera memorabilia. MME. GIRY remains stoic, mysterious.

She turns and sees and old MAN (RAOUL) in a wheelchair being

wheeled in by a NURSE.



AUCTIONEER

Lot 664: a wooden pistol and three human skulls

From the 1831 production of "Robert le Diable"

By Meyerbeer. Ten francs for this. Ten, thank you.

Ten still. Fifteen, thank you. Fifteen I am bid.

Going at fifteen.



MME GIRY watches as RAOUL approaches in his wheelchair. He looks

up and sees her. There is much unsaid between them, bearers of dark secrets.

The GAVEL ECHOES AGAIN around the hall.



AUCTIONEER

Your number, sir? Lot 665, ladies and gentlemen:

A papeir-mache musical box in the shape of a

Barrel-organ. Attached, the figure of a monkey

In Persian robes, playing the cymbals. This item,

Discovered in the vaults of the theatre, still in

Working order, ladies and gentlemen.



PORTER

(Holding it up)

Showing here.

(He sets it in motion)



The simple yet haunting tune plays as both RAOUL and MME. GIRY

stare at the musical box. It has great meaning for them both.



AUCTIONEER

May I commence at twenty francs? Oh come,

Come, ladies and gentlemen. Fifteen, then?



MME. Giry raises her hand.



AUCTIONEER

Fifteen, thank you.



The NURSE raises her hand

.

AUCTIONEER

Yes, twenty from you sir,

Thank you very much.



MME. GIRY

Twenty-five



AUCTIONEER

Twenty-five on my left, thank you madam.

Twenty-five I am bid.



Again the NURSE raises her hand.



AUCTIONEER

Thirty?



MME. GIRY stares at RAOUL, her expression seems to soften. She

realizes how much this means to the sickly, old man.



AUCTIONEER

Selling at thiry francs, then.

MME. GIRY looks away.



AUCTIONEER

Thirty once, thirty, twice,

(gavel down)

sold for thirty francs.

To the Vitcomte de Chagny. Thank you, sir.



The box is handed across to RAOUL. He thanks MME. GIRY

with his eyes, then studies the papier mache monkey.



RAOUL (V.O)



A COLLECTOR'S

PIECE INDEED........

EVERY DETAIL

EXACTLY AS SHE SAID.......



SHE OFTEN

SPOKE OF YOU, MY FRIEND

YOUR VELVET LINING

AND YOUR FIGURINE OF LEAD



WILL YOU STILL PLAY, WHEN

ALL THE REST OF US ARE DEAD?



We cut to the AUCTIONEER as he resumes:



AUCTIONEER

Lot 666 then, a chandelier.



All attention turns to a mammoth chandelier resting on the floor of

the auditorium covered in canvas. Eerie music creeps in.



AUCTIONEER

Some of you may recall the strange affair

Of the Phantom of the Opera; a mystery never

Fully explained. We are told, ladies and

Gentleman, that this is the very chandelier

Which figures in the famous disaster.

Our workshops have repaired it and wired

Parts of it for the new electric light,

Perhaps we may frighten away

The ghost of so many years ago with a little

Illumination. Gentlemen?



The PORTERS whip off the canvas. The AUCTIONEER switches on

the chandelier. There is an enormous flash and the thunderous organ

OVERTURE begins. The CHANDELIER, immense and glittering, begins

to rise above the stalls. At the same time, a gust of wind whips up the dust

and rubbish of the auditorium, blowing away the years of neglect. As

the chandelier rises, we INTERCUT with the faces of GIRY and RAOUL.

The years are falling away; their features and skin are clearing: their

eyes are brightening. And our film, we realize, is steadily GAINING

COLOUR. The gas lights all along the stage come on. The red velvet

seats are restored, the marble and the statues gleam, the paint

glistens. The winds of time are restoring the once magnificent

theatre. The chandelier is still rising, rising. We are now in FULL

TECHNICOLOR. The date is 1880.

THE BEGINNING, cont.







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.

THAT NIGHT









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.

DRESSING ROOM



INT. OPERA POPULAIRE/UPSTAIRS CORRIDOR. NIGHT.



MEG is still searching for CHRISTINE.



MEG



CHRISTINE…….CHRISTINE….



She sees the little stairway leading to the chapel.





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



PHANTOM'S VOICE (O.S)



CHRISTINE……..



But MEG has arrived in the chapel, giving CHRISTINE a start.



MEG



(Enthusiastic)



WHERE IN THE WORLD

HAVE YOU BEEN HIDING….

(Libretto missing by repost design)

.....WHO IS THIS NEW TUTOR?



CHRISTINE



(Distracted)



FATHER ONCE SPOKE

OF AN ANGEL……

…SOMEHOW, I KNOW

HE'S ALWAYS WITH ME…

HE - THE UNSEEN

GENIUS….



Meg moves towards her and begins to lead her out of the chapel.



MEG



CHRISTINE YOU MUST HAVE

BEEN DREAMING……..

….IN RIDDLES

AND IT'S NOT

LIKE YOU……





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



MEG is leading CHRISTINE down the corridor.



CHRISTINE



(not hearing her, ecstatic)



ANGEL OF MUSIC!

GUIDE AND GUARDIAN!

GRANT TO ME YOUR GLORY!



We see the rafters above them.



MEG



(To herself)



WHO IS THIS ANGEL?

THIS……





INT. UPSTAIRS CORRIDORS/FLIES. ANOTHER ANGLE. NIGHT. (CONTINUOUS)



Flats raise and lower as BUQUET, busy securing ropes, watches them, lecherously.

They are unaware of his presence.



BOTH



ANGEL OF MUSIC!

HIDE NO LONGER!

SECRET AND STRANGE

ANGEL…….



CHRISTINE

(Darkly)



HE'S WITH ME EVEN NOW…..



MEG

(Bewildered)



YOUR HANDS ARE COLD……



CHRISTINE



ALL AROUND ME…..



MEG



YOUR FACE CHRISTINE IT'S WHITE…..



CHRISTINE



IN FRIGHTENS ME…..



MEG



DON'T BE FRIGHTENED…..





INT. OPERA POPULAIRE/DRESSING ROOM CORRIDOR. NIGHT. (CONTINUOUS)



They arrive in the corridor and find an adoring crowd of fans. They move through

the crowds towards CHRISTINE's dressing room amid bravos and flowers. RAOUL

sees them but cannot reach them. Meanwhile, FIRMIN and ANDRE are making their

way towards CHRISTINE, in high spirits, bearing champagne. FIRMIN grabs the

bottle from ANDRE and swigs from it. CHRISTINE and MEG look at one another.

The moment is broken by the arrival of MME. GIRY.



MME GIRY



Meg Giry. Are you a dancer?



Then go and practice.



Meg leaves and rejoins the DANCERS.



MME GIRY (TO CHRISTINE)



My dear, you did very well. HE will be

Pleased with you.





INT. CHRISTINE (CARLOTTA) DRESSING ROOM. NIGHT. (CONTINUOUS)



CHRISTINE enters. The room is filled with flowers.





INT. DRESSING ROOM CORRIDOR. NIGHT. (CONTINUOUS)



RAOUL finally joins ANDRE and FIRMIN near

CHRISTINE's dressing room.



FIRMIN

Vicomte, I think we've made quite

A discovery in Miss Daae!



ANDRE

Allow us to present you, dear Vicomte.



RAOUL

Gentleman, if you wouldn't mind. This is one

Visit I should prefer to make unaccompanied.



He takes the champagne from FIRMIN.



ANDRE

As you wish, Vicomte.



They bow and move off.



FIRMIN



They appear to have met before…..





INT. DRESSING ROOM. NIGHT. (CONTINUOUS)



CHRISTINE is sitting at her mirror. It is surrounded by roses.

There are candles around her. RAOUL enters:



RAOUL



"LITTLE LOTTE LET HER MIND WANDER……



(More of the Libretto we all know so well…………..)



CHRISTINE



"NO - WHAT I LOVE BEST, LOTTE SAID…..

….AND THE ANGEL OF MUSIC SINGS SONGS IN MY HEAD!…



BOTH



"…..THE ANGEL OF MUSIC SINGS SONGS IN MY HEAD!"



During this, we have seen various episodes in FLASHBACK. These appear in

the mirror over CHRISTINE and RAOUL's reflections; the scarf in the sea,

YOUNG RAOUL emerging from the water to return it to YOUNG CHRISTINE;

the picnic in the attic; her FATHER playing violin, wearing a cape. The clear and

innocent adoration of a little girl for her talented, loving father.



CHRISTINE

(Turning in her chair to look at him)

Father said, "When I am in Heaven child……



RAOUL

No doubt of it. And now we go to supper!



CHRISTINE

(Firmly)

No Raoul; the Angel of Music is very strict.



RAOUL

I shan't keep you up late!



CHRISTINE



No, Raoul……



RAOUL



You must change. I'll order

My carriage. Two minutes - Little Lotte.



He hurries out, closing the door.



CHRISTINE

(Calling after him)

Raoul! No, wait!

Things have changed, Raoul!



CHRISTINE has started changing into her dressing gown.

Tremulous music. CHRISTINE turns and hears the

PHANTOMS VOICE, seemingly through the timbers

of the theatre.



PHANTOM'S VOICE (O.S)



INSOLENT BOY!………….

……..SHARING IN MY TRIUMPH!





INT. OPERA HOUSE. NIGHT. (CONTINOUS)



Various shots of the emptying opera house. The angry sound of the

PHANTOM'S voice is heard by some; MEG, MME GIRY, BUQUET.





INT. CHRISTINE (CARLOTTA) DRESSING ROOM. NIGHT. (CONTINUOUS)



CHRISTINE

(Spellbound)



ANGEL! I HEAR YOU

SPEAK…………….

……ENTER AT LAST,

MASTER!



PHANTOM'S VOICE



FLATTERING CHILD,

YOU SHALL KNOW ME……..

………I AM THERE INSIDE!



Very dimly, behind the mirror, we begin to glimpse the white of the PHANTOM's

mask over CHRISTINE's reflection. Slowly, through the following, the shape

becomes more and more defined.



CHRISTINE

(Ecstatic)



ANGEL OF MUSIC!

GUIDE AND GUARDIAN!……….

…..COME TO ME, STRANGE ANGEL…..



Meanwhile, the PHANTOM makes a movement with his hand and the key

turns in the lock of CHRISTINE's dressing room door.



PHANTOM



I AM YOUR ANGEL OF MUSIC……

COME TO ME: ANGEL OF MUSIC…..



CHRISTINE walks towards the glass.





INT. OPERA POPULAIRE/DRESSING ROOM CORRIDOR. NIGHT. (CONTINUOUS)



RAOUL has returned. He hears the VOICES and is puzzled.

He tries the door. It is locked.



RAOUL



WHOSE IS THAT VOICE…..?

WHO IS THAT IN THERE…..?





INT. DRESSING ROOM. NIGHT. (CONTINUOUS)



Inside the room, the PHANTOM beckons to CHRISTINE from

inside the mirror.



PHANTOM



I AM YOUR ANGEL OF MUSIC…….

COME TO ME: ANGEL OF MUSIC…..



Spellbound, CHRISTINE magically and incredibly glides through the mirror.



RAOUL (O.S.)



Christine! Angel![/MORE]

THE LAIR









INT. LOCK/PHANTOM'S LAIR. NIGHT. (CONTINUOUS)



They seem to have reached a wall, the end of the canal. The PHANTOM

turns to CHRISTINE.



PHANTOM



Sing, my Angel of Music!



And we realize the water level is slowly descending, that we have

reached a lock, one of the PHANTOM's devices.



CHRISTINE



HE'S THERE, THE PHANTOM OF THE OPERA…



PHANTOM



Sing! Sing for me! (etc.)



She begins to vocalize strangely, her song climbing higher and higher

in pitch. The water and the boat descend as her voice ascends. The

PHANTOM's lair is revealed to us. It is a fantastic grotto shaped like

harbour. As she reaches her final climactic note, candles magically

rise through the water, already alight. The boat glides through the

harbor. Behind it a portcullis descends and a curtain closes in front

of it. The lair surrounds the harbour. On one side we see the PHANTOM's

pipe organ, all around there are huge mirrors covered in dust sheets. We

will also notice the PHANTOM's model of the opera house. The

PHANTOM steps onto the shore, leaving CHRISTINE in the boat.

He begins to light candles.



PHANTOM



I HAVE BROUGHT YOU

TO THE SEAT OF SWEET

MUSIC'S THRONE...

TO THIS KINGDOM

WHERE ALL MUST PAY

HOMAGE TO MUSIC...



YOU HAVE COME HERE,

FOR ONE PURPOSE,

AND ONE ALONE...

SINCE THE MOMENT

I FIRST HEARD YOU SING,

I HAVE NEEDED

YOU WITH ME,

TO SERVE ME, TO SING,

FOR MY MUSIC...

MY MUSIC...



The Phantom begins to lead the boat gently by a rope around the lair.

He is lighting candles as he does so.



(NIGHT-TIME..(missing Libretto)

...... ABANDON THEIR DEFENCES...)



The PHANTOM lights more candles revealing more of the lair. With the

rope, he continues gently to guide CHRISTINE and the boat from the

shore.



PHANTOM



(SLOWLY, GENTLY....(missing Libretto by repost design)

.......AS YOU'VE NEVER LIVED BEFORE...)



The Phantom has stepped into the water and walks towards the boat

and CHRISTINE.



PHANTOM



(SOFTLY, DEFTLY, MUSIC SHALL CARESS YOU.....THE DARKNESS

OF THE MUSIC OF THE NIGHT...)



He lifts CHRISTINE out of the boat, her arms are around his neck, and

he is carrying her towards the shore. Their faces are very close.



PHANTOM



(LET YOUR MIND START A JOURNEY THROUGH......

.......ONLY THEN CAN YOU BELONG TO

ME.......)



They reach the shore and the PHANTOM puts her down. He lets her caress

his mask, his hand reaches out to her face. They turn and together walk

up steps leading to a second grotto.





INT. BEDROOM. NIGHT. (CONTINUOUS)



They step through into the second grotto.

It is dominated by a huge bed in the shape of a black swan. CHRISTINE

walks through. She turns and is confronted by an AUTOMAT. This one

is a life-size duplicate of herself in a wedding gown, surrounded by a mirror.

The dummy lurches forward. It's too grotesque and bizarre.

CHRISTINE faints and falls back into the PHANTOM's arms.

He carries her to the bed where he lays her down.



PHANTOM



YOU ALONE

CAN MAKE MY SONG TAKE FLIGHT -

HELP ME MAKE

THE MUSIC OF THE NIGHT.......



The PHANTOM has slowly been drawing down a series of sheer curtains

around the bed until, as the music resolves, the curtains obscure both

him and CHRISTINE and we.......



FADE TO BLACK.



(Everyone still breathing here? Quite a shocker isn't it? Looks like

Andrew Lloyd Webber just MAY have been planning the sequel

even back then......)





INT. PHANTOM'S LAIR. LATER THAT NIGHT.



The PHANTOM is seated at the organ, playing with furious concentration.

He breaks off occasionally to write the music down.





INT. BEDROOM. NIGHT.



CHRISTINE is asleep. Beside the bed there is the musical box; THE

MONKEY AND THE BARREL ORGAN. Mysteriously, it plays as

CHRISTINE wakes up. The music keeps her in a half-trance as she steps

out of the bed and walks towards the mouth of the grotto.



CHRISTINE



I REMEMBER

THERE WAS MIST.....



AND IN THE BOAT

THERE WAS A MAN.....





INT. PHANTOM'S LAIR. NIGHT. (CONTINUOUS)



She sees the PHANTOM sitting at his organ. He is trying to finish a

melody ("POINT OF NO RETURN"). As she approaches, she takes

over the melody and, vocalizing, finds a solution to it. He then plays the

middle section as she listens. She is behind him, very close. Together

they complete the song, musically as one. The melody continues

on the violin as Phantom notates it on his score. It seques into:



CHRISTINE



WHO WAS THAT SHAPE

IN THE SHADOWS.....?

WHOSE IS THE FACE

IN THE MASK.....?



She lovingly caresses his face. He responds deeply to her touch.

Almost like a lover, removing a veil, CHRISTINE takes off the mask.

The PHANTOM springs up, throwing her violently to the ground and

turns on her furiously. We see only part of his rotting face. In his wrath,

he runs to the huge mirrors around the lair, tearing off the dust covers.

CHRISTINE is surrounded by a hundred reflections of the PHANTOM.



PHANTOM



DAMN YOU!

YOU LITTLE PRYING PANDORA....



BUT SECRETLY YEARNS FOR HEAVEN,

SECRETLY...

SECRETLY...



BUT, CHRISTINE....



CHRISTINE is near tears. Her heart is moved by this poor man.



PHANTOM



FEAR CAN TURN TO LOVE

YOU'LL LEARN TO SEE, TO

FIND THE MAN....



SECRETLY...

SECRETLY...



OH CHRISTINE......



Pitifully, he holds out his hand for the mask, and filled with sympathy

she gives it to him. (ALW'S NOTE: same music as "Bravi, Bravi,

Bravissimi"). He puts on the mask.



PHANTOM



COME, WE MUST RETURN -

THOSE TWO FOOLS

WHO RUN MY THEATRE

WILL BE MISSING YOU.

DISCOVERY







INT. DRESSING ROOM HALLWAY. NIGHT.



MEG is looking for CHRISTINE. The building is deserted, shadows

everywhere. MEG is a tiny figure in the darkness, vulnerable and

frightened.



MEG



Christine..



INTERCUT WITH:





INT. OPERA HOUSE. NIGHT.



Shots showing the opera house closing down for the night; the

LAMPLIGHTER extinguishing the lights along the stage, doors

closing etc..





INT. CHRISTINE/CARLOTTA DRESSING ROOM. NIGHT. (CONTINUOUS)



MEG steps into the 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. The room is plunged into darkness. Startled, she

turns to the mirror and glimpses a shadow behind her reflection. Her

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). MEG has

found CHRISTINE's route to the PHANTOM's world.





INT. CORRIDOR. NIGHT. (CONTINUOUS)



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

mirror. She turns and is immediately confronted by a moving AUTOMAT.

Courageously, she walks down the corridor with the moving AUTOMATS.

Shadows seem to follow. It is dark, damp and dangerous. A rat scampers

through. A shadow appears directly behind MEG. A hand reaches out and

grabs her shoulder. MEG turns in terror. It is her mother, MME. GIRY.





INT. BALLET GIRLS' DORMITORY. NIGHT. (TEN MINUTES LATER)



BUQUET is showing off to the BALLET GIRLS, who are dressed for bed,

aping the PHANTOM. A length of fabric serves as his clock and a piece

of rope as the Punjab lasso.



BUQUET



LIKE YELLOW PARCHMENT

IS HIS SKIN…….



Demonstrating the PHANTOM'S method, he lassoes one of the girls.

With a mixture of horror and delight, the BALLET GIRLS applaud this

demonstration. BUQUET is clearly enjoying this.



BUQUET



YOU MUST BE ALWAYS

ON YOUR GUARD….



Behind BUQUET, MME. GIRY has entered with MEG.



MME GIRY



THOSE WHO SPEAK

OF WHAT THEY KNOW.



She takes the noose from his hand, drops it around his head, and

inserts his hand between the rope and his neck.



MME GIRY



JOSEPH BUQUET,

HOLD YOUR TONGUE.



She pulls the rope taut. BUQUET's hand saves him from being strangled.

MEG is at the window of the dormitory. It overlooks a section of the

opera roof. MEG screams as she sees the specter of the PHANTOM

leading CHRISTINE across the roof.



MEG



HE'S THERE THE PHANTOM OF THE OPERA.



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

girls to bed.



MME GIRY



Au lit! Au lit!





INT. CORRIDOR/STAIRCASE. NIGHT. (CONTINUOUS)



Another part of the corridor. MME. GIRY looks up and sees at the top of

a staircase, CHRISTINE, backlit by the moon. CHRISTINE walks down

towards her and almost faints into MME. GIRY's arms as she reaches her.

MME. GIRY leads her away. BUQUET has been watching them. And

unknown to BUQUET, from a skylight above, the PHANTOM has been

watching him.

ONE LAST CHANCE







INT. FIRMIN'S OFFICE. DAY. (CONTINUOUS)



RAOUL, CARLOTTA, ANDRE & PIANGI



LET ME SEE IT!



FIRMIN

(Snatching it)

Please!



He opens the letter and reads. The PHANTOM's voice gradually

takes over.



FIRMIN

"Gentlemen, I have now sent you several notes

of the most amiable nature…

…I shall give you on last chance…"



We intercut with:





INT. PHANTOM'S LAIR. DAY. (CONTINUOUS)



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 (O.S.)



….shall give you one last chance….

(Taking over)

CHRISTINE DAAE HAS RETURNED TO YOU,

AND I AM ANXIOUS HER CAREER SHOULD

PROGRESS….



…..THE ROLE OF THE PAGEBOY IS SILENT -

WHICH MAKES MY CASTING, IN A WORD, IDEAL.



We also see Box Five within the model:



PHANTOM (O.S.)

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.



We INTERCUT this with:





INT. OPERA POPULAIRE/AUDITORIUM. DAY.



The real chandelier tinkles as is disturbed by a gust of wind.



CUT TO:





INT. FIRMIN's OFFICE. DAY.



EVERYONE looks up as if they heard the distant sound of the chandelier.



FIRMIN

(Taking over)

"…I remain, gentleman, your obedient servant, O.G."

IL MUTO





TIME CUT



INT. CARLOTTA'S DRESSING ROOM. THAT NIGHT.



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.



ANDRE & FIRMIN



PRIMA DONNA, FIRST LADY FOR THE STAGE….



We intercut this with;





INT. OPERA POPULAIRE/DRESSING ROOM CORRIDOR. NIGHT.



…..Raoul searching for CHRISTINE.



We also INTERCUT with:





INT. HUMBLE DRESSING ROOM. NIGHT



MME. GIRY is preparing a very nervous CHRISTINE as the PAGEBOY.

MEG is with them.



(Note: There is a lot of Libretto here guys,

the Prima Donna lines………………………)





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



CARLOTTA, followed by her RETINUE and ANDRE and FIRMIN,

PIANGI now carrying two little dogs, is now moving towards the wings.

She travels past the COSTUME and PROP SHOPS, the SCENERY

DOCKS while ANDRE and FIRMIN encourage other SINGERS and

DANCERS to follow and SING her praises. CARLOTTA is continuously

spraying her mouth with the little crystal bottle.





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



Shots which show the theatre coming to life for the evening performance;

the LAMPLIGHTER lighting the gas lamps along the Stage; MUSICIANS

arriving in the PIT; BUQUET directing operations up in the FLIES;

The huge bed of "Il Muto" being wheeled onstage.

(Note: More Prima Donna here………….. Finally)



ALL



LIGHT UP THE STAGE

WITH THAT AGE-OLD

RAPPORT!

SING, PRIMA DONNA,

ONCE MORE!





INT. OPERA POPULAIRE/BACKSTAGE WINGS. NIGHT. (CONTINUOUS)



CARLOTTA and her RETINUE, ANDRE and FIRMIN, have arrived on the

edge of the opera stage. They are now accompanied by other SINGERS,

DANCERS and STAGEHANDS. The huge set beckons as the music rises

and EVERYONE's eyes are on CARLOTTA.



PHANTOMS VOICE (O.S)



So, it is to be war between us! If these demands are not met,

A disaster beyond your imagination will occur!



ALL



ONCE MORE!





INT. OPERA HOUSE/AUDITORIUM. NIGHT



We see the stage of the opera house. The red house curtains are in. The house is packed.





INT. UPSTAIRS FOYER. NIGHT



RAOUL



Gentleman, if you would care to take

Your seats? I shall be sitting in Box Five.



ANDRE



Do you really think that's wise, Vitcomte?



RAOUL



My dear Andre, there would appear to be no seats available

Other than Box Five…..



They watch him march off.



(Note: OVERTURE TO BE EXTENDED TO ALLOW FOR)





INT. BACKSTAGE /WINGS/STAGE. NIGHT. (CONTINUOUS)



The PERFORMERS waiting for the opera to begin. Meanwhile, in the wings,

the PHANTOM's hand comes into shot. Unseen by all, it reaches for

CARLOTTA's throat spray and swaps it for an identical crystal flask.

The overture comes to an end and…….





INT. OPERA HOUSE/AUDITORIUM. NIGHT. (CONTINUOUS)



…..the curtains rise for the beginning of the opera.





A PERFORMANCE OF "IL MUTO" INT. STAGE NIGHT.



The set is an 18th Century salon, a canopied bed center stage. The COUNTESS

is played by CARLOTTA. SERAFIMO, the pageboy, 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. We see them waiting for their cue. In the room are

TOW EPICENE MEN: one a HAIRDRESSER and one a JEWELLER. The

JEWELLER is attended by MEG. Ther is also an OLDER WOMAN, the

COUNTESS'S CONFIDANTE. ALL, apart from MEG, are gossiping with

relish about the COUNTESS'S current liason with SERAFIMO.



CONFIDANTE



THEY SAY THAT THIS YOUTH

HAS SET MY LADY'S

HEART AFLAME!……..

…….SHAME! SHAME! SHAME!



The canopy drapes part and we see the COUNTESS kissing SERAFIMO

passionately. As the recitative begins, our attention turns to the MANAGERS

in their box. As the recitative begins, our attention turns to the MANAGERS

in their box.



(More Libretto)



COUNTESS & CHORUS



POOR FOOL, HE DOESN'T KNOW!

HOHO HOHO! Etc.

IF HE KNEW THE TRUTH, HE'D NEVER EVER GO!

Suddenly, from nowhere, we hear the VOICE of the PHANTOM.



PHANTOM'S VOICE (O.S.)



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



MEG

(Terrified)



HE'S HERE: THE PHANTOM OF THE OPERA…..



And high above the stage, on a catwalk running along the top of the proscenium

arch, we can make out the shadowy figure of the PHANTOM. General reaction

of bewilderment. EVERYONE stops. AUDIENCE reaction. CHRISTINE

looks fearfully about her.



CHRISTINE



It's him……I know it…….It's him



CARLOTTA



(Finding a scapegoat in CHRISTINE,

hisses at her: )



Your part is silent, little toad!



She walks of stage into the WINGS. There, her MAID hands her throat spray.

CARLOTTA sprays herself liberally. But the PHANTOM has heard her last

remark.



PHANTOM (O.S)



A toad, madam? Perhaps it is you

Who are the toad…



Again general unease, this time turning to alarm. CARLOTTA comes back onstage.



CARLOTTA (to REYER in the pit)



Maestro……..da capo…..per favore……



SERAFIMO, AWAY THIS THIS PRETENCE!

YOU CANNOT SPEAK, BUT KISS ME IN

MY HUSBAND'S CROAK………



Instead of singing, she emits a great croak, like a toad. A stunned silence.

CARLOTTA is as amazed as anyone, but she 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



POOR FOOL, HE MAKES ME LAUGH!

HAHA

HAHA

CROAK, CROAK, CROAK etc.



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:





INT. AUDITORIUM/DOME. NIGHT.



The PHANTOM is up on a ramp at the top of the dome of the opera house.



PHANTOM



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.

BUQUET'S DEMISE











INT. STAGE. NIGHT.



CARLOTTA looks tearfully up at the MANAGER's 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….



ANDRE and FIRMIN hurry onto the stage. PIANGI ushers the now

sobbing CARLOTTA offstage, while the MANAGERS tackle the audience,

the chandelier still swaying wildly.



FIRMIN



Ladies and gentleman, we apologize. The performance will continue

In ten minutes time….



He addresses Box Five which is now empty, keeping one eye on the

chandelier as it returns to normal.



FIRMIN



When the role of the Countess will be

Sung by Miss Christine Daae.



Meanwhile, we see BACKSTAGE, the STAGEHANDS working frantically

lowering the curtain and changing the set.



ANDRE



(Improvising)

In the meantime, ladies and gentleman we shall

Be giving you the ballet from Act Three of tonight's Opera.



(To REYER)

Maestro - bring the ballet forward. The ballet - now!



The MANAGERS leave, the stage is cleared fast and music starts up again.

The BALLET GIRLS enter as a sylvan glade flies in. They begin the

Dance of the Country Nymphs.





INT. STAGE/FLIES. NIGHT.



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.



Continue INTERCUTS with:





INT. STAGE. NIGHT. (CONTINUOUS)



MEG is aware of the events above her head and dances out of step.





INT. STAGE/FLIES. NIGHT. (CONTINUOUS)



Finally, BUQUET turns to run from the PHANTOM but a rope like a flash

catches him by the neck. Then very fast, we see the PHANTOM leap off the ramp

holding a rope, BUQUET is suddenly raised straight off his feet, the noose around

his neck; a pulley whirls madly; the PHANTOM lands on a lower ramp, releases

the rope. BUQUET plummets.





INT. STAGE. NIGHT. (CONTINUOUS)



The garrotted body of JOSEPH BUQUET falls on the stage with a sickening thud

(or stays suspended center stage) causing the sylvan glade to fly out.

Pandemonium.





INT. BACKSTAGE/WINGS. NIGHT. (CONTINUOUS)



CHRISTINE is running through backstage, terrified. RAOUL runs towards her,

she falls into his arms.

ON THE OPERA ROOF









EXT. OPERA ROOF. NIGHT.



They emerge onto the roof. The huge statue of “La Victoire Ailee”,

vast gargoyles dominates and look out over a surreal panorama of Paris.



CHRISTINE



(Calming a little but intense)

RAOUL, I’VE BEEN THERE-

TO HIS WORLD OF ………

IN THAT DARKNESS……..

DARKNESS…….



And we realize the PHANTOM is right there with them on the roof. He

watches from the top of a statue. We INTERCUT continuously between

the lovers and him.



CHRISTINE



(Trance-like, them becoming

more and more ecstatic)

BUT HIS VOICE

FILLED MY SPIRIT….



RAOUL



WHAT YOU HEARD

WAS A DREAM

AND NOTHING MORE…..



CHRISTINE



(Still abstracted)

FLOATING, FALLING….

SAVOR EACH SENSATION



(ALW NOTE: lyric change from

Sarah’s version of

Music of the Night. ALSO,

She takes the melody further

Than the PHANTOM)



(Okay, okay we just HAVE to say it, we just KNEW that

Sarah Brightman would find a way to sing Music of the Night!!!!!!)





The PHANTOM sees and hears this. He leans back, moved.



RAOUL



(Irritated)

CHRISTINE…

CHRISTINE…



PHANTOM



(Unseen, a ghostly echo of

love)

CHRISTINE…



RAOUL



(Almost interrupting)

NO MORE TALK …

LET DAYLIGHT

DRY YOUR TEARS.



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.



RAOUL (Continued)



I’M HERE,

WITH YOU, BESIDE YOU….

YOUR FEARS ARE FAR BEHIND YOU…..



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



CHRISTINE



ALL I WANT IS FREEDOM…..

TO HOLD ME AND TO HIDE ME…..



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



RAOUL



THEN SAY YOU’LL SHARE WITH ME ONE LOVE,

ONE LIFETIME….



The Phantom silently mouths RAOUL’s words of love,

his heart broken.



RAOUL



SAY YOU NEED ME

WITH YOU……..



CHRISTINE



SAY YOULL SHARE

WITH ME ONE.



BOTH



SHARE EACH DAY



CHRISTINE



SAY YOU LOVE ME



RAOUL



YOU KNOW I DO



BOTH



LOVE ME

THATS ALL I ASK

OF YOU.



They kiss. The PHANTOM is watching, heartbroken.

Their intertwining shadows are next to him and in the snow.



BOTH



ANYWHERE YOU GO.

THATS ALL I ASK

OF YOU



(And so on)



CHRISTINE



YOULL GUARD ME, AND YOULL GUIDE ME..



They disappear down the iron staircase back into the opera house.

The PHANTOM has emerged from behind a statue where he casts

a vast shadow in the fresh snow.



PHANTOM



(Very quiet and plaintive)

I GAVE YOU MY MUSIC..

WHEN HE HEARD YOU SING

Christine Christine..



He looks down through a glass dome and sees the distant figures of

CHRISTINE and RAOUL descending the iron staircase. He HEARS:



RAOUL & CHRISTINE (O.S)



SAY YOULL SHARE WITH

ME ONE..



PHANTOM



(With sudden and terrifying fury)

YOU WILL CURSE..

ALL THAT THE PHANTOM ASKED OF

YOU.!



He runs across and wrenches open two huge iron doors in the roof,

releasing DOZENS OF PIGEONS into the air. He jumps into the darkness

below, FILLED WITH HUGE BELLS and opens a second set of iron doors.

Revealing THAT WE ARE DIRECTLY ABOVE THE CHANDELIER WITH

THE WHOLE OPERA HOUSE BELOW.





INT. STAGE. NIGHT. (CONTINUOUS)



The opera curtains open and IL Muto begins again. CHRISTINE is

conspicuously dressed in CARLOTTAS costume.





INT. AUDITORIUM/DOME/CHANDELIER. NIGHT. (CONTINUOUS)



Simultaneously, the PHANTOM leaps right onto 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 orchestra pit. The

AUDIENCE screams and both ORCHESTRA and AUDIENCE scramble

out of the way.





INT. STAGE. NIGHT. (CONTINUOUS)



CHRISTINE pushes the OTHERS to safety as the PHANTOM swings on the

chandelier.





INT. AUDITORIUM/DOME/CHANDELIER. NIGHT. (CONTINUOUS)



It is as if the PHANTOM and she are looking at each other. The PHANTOM

seems to aim the huge chandelier as it swings, then suddenly leaps off

hanging on to an elaborate system of ropes and pulleys which projects

him up into the inner workings of THE BELFRY: MASSIVE BELLS TOLL.



PHANTOM



Go!!!



He disappears into the darkness as WITH A BLINDING FLASH, THE

CHANDELIER CRASHES TO THE STAGE AT CHRISTINES FEET.

MASQUERADE





ACT TWO



THE ENTR'ACTE OVERTURE BEGINS AS THE AUDIENCE REGAIN

THEIR SEATS.



IMAGE OF THE MASK ON THE SCREEN



FADE TO:



EXT. SKY/OPERA HOUSE. NIGHT. (THREE MONTHS LATER)



A spectacular explosion of fireworks in the starry sky. We descend to

reveal (MATTE) a glittering opera house. It is the night of the Gala

Masked Ball. (ALW Note: Possible brass fanfare version of "Masquerade"

verse).





EXT. OPERA HOUSE. NIGHT. (CONTINUOUS)



Watched by a LARGE CROWD OF ONLOOKERS held back by

GENDARMES, the magnificently COSTUMED GUESTS step out of their

CARRIAGES and make their way up to the main entrance. (Note: The Ball

could have a color theme eg. Black and white/silver and gold). The stairs

are lined with GUARDSMEN. PHOTOGRAPHERS take pictures of the guests.

The flash powder burst. The ONLOOKERS applaud the most lavish costumes.

With its torchlight faзade, the whole building, cleaned and restored, seems

reborn after the disaster of the chandelier. Banners proclaim the grand

re-opening and the new season.





EXT. OPERA HOUSE/STABLE YARD. NIGHT. (CONTINUOUS)



A MAN dressed as a skeleton in an opera cape gets out of his carriage

which is led away. He walks towards the street and bumps right into a

SHADOWY FIGURE which turns, also dressed as a skeleton in an

opera cape. They look at each other nervously.



ANDRE

M'sieur Firmin?



FIRMIN

M'sieur Andre?



Each raises his mask to the other. ANDRE has walked into FIRMIN.

Relief and laughter. The set off towards the …..





EXT. OPERA HOUSE/STREET/MAIN ENTRANCE. NIGHT. (CONTINUOUS)



FIRMIN



DEAR ANDRE

WHAT A SPLENDID PARTY!



ANDRE



A PROLOGUE

TO A BRIGHT NEW YEAR!



FIRMIN



QUITE A NIGHT!

I'M IMPRESSED!



ANDRE



WELL, ON DOES

ONE'S BEST…..





INT. OPERA HOUSE/ENTRANCE. NIGHT. (CONTINUOUS)



They are greeting GUEST as they go up the steps and take champagne

from a silver tray.



BOTH

(Raising their glasses)



HERE'S TO US!



ANDRE



THE TOAST OF

ALL THE CITY!



FIRMIN



SUCH A PITY THAT THE

PHANTOM CAN'T BE THERE!



We follow them as they walk into..





INT. OPERA HOUSE/MAIN FOYER/STAIRCASE. NIGHT. (CONTINUOUS)



..and CRANE up to reveal the spectacular Opera Ball in full swing.

This sequence is more of a promenade than a dance, the GUESTS

reveling in their own magnificence. For all this there is a strangely eerie

aspect to the crowd, too many PHANTOM LOOK-ALIKES and

SKELETONS for comfort. There is general movement up and down

the central horseshoe staircase; a grandiose spectacle with the music.

(ALW's note: Cut music as on record).



CHORUS



MASQUERADE!

ACE OF HEARTS

FACE OF CLOWN



We see FIRMIN and ANDRE toasting each other.



CHORUS



FACES..

IN THE LIGHT

IN THE SOUND



RAOUL and CHRISTINE have arrived in the main foyer.

A PHANTOM LOOKALIKE whizzes past.



RAOUL & CHRISTINE



BUT WHO CAN NAME THE FACE..?



ALL



MASQUERADE!

GRINNING YELLOWS.........



.......BUT A FACE WILL

STILL PURSUE YOU!



We pick up ANDRE, FIRMIN, MEG, MME GIRY, PIANGI and

CARLOTTA glasses in hand.



CARLOTTA



WHAT A NIGHT!



PIANGI



WHAT A CROWD!



ANDRE



MAKES YOU GLAD!



FIRMIN



MAKES YOU PROUD!

ALL THE CRИME

DE LA CRИME



They have been joined by RAOUL and CHRISTINE.

We can see CARLOTTA does not appreciate

CHRISTINE's costume.



CARLOTTA



..WATCHING US WATCHING THEM!



RAOUL (To CHRISTINE)



AND OUR FEARS

ARE IN THE PAST!



ANDRE is leading them through the foyer towards

the auditorium.



ANDRE



THREE MONTHS.ETC.





INT. OPERA HOUSE/AUDITORIUM. NIGHT. (CONTINUOUS)



They have arrived in the refurbished auditorium. A glorious

new chandelier hangs over the empty space.



RAOUL



HERE'S A HEALTH!..ETC



FIRMIN & ANDRE



WHAT A BLESSED RELEASE!



ANDRE is leading them back into the foyer:



ANDRE



AND WHAT A MASQUERADE!



RAOUL and CHRISTINE, however, have remained to share a

moment alone together. CHRISTINE is admiring a new acquisition:

an engagement ring form RAOUL, which she has attached to a gold

chain around her neck.



CHRISTINE



THINK OF IT!

A SECRET ENGAGEMENT



RAOUL



BUT WHY IS IT SECRET.



CHRISTINE



(Nervously)

PLEASE LET'S NOT FIGHT



RAOUL



(Taking hold of the ring and holding

it up to her face)

CHRISTINE, YOU'RE FREE



CHRISTINE



UNTIL THE TIME IS RIGHT



RAOUL



WHEN WILL THAT BE?.



CHRISTINE



LET'S NOT ARGUE.



RAOUL



LET'S NOT ARGUE



CHRISTINE takes him by the arm to lead him out.



CHRISTINE



PLEASE PRETEND



RAOUL



IN CAN ONLY HOPE I'LL



CHRISTINE



YOU WILL



BOTH



UNDERSTAND IN TIME.





INT. FOYER/STAIRCASE. NIGHT. (CONTINUOUS)



They arrive back in the foyer to find the GUESTS in the midst of a vast

waltz. CHRISTINE and RAOUL join the dance which becomes

increasingly intense. As she spins, we see her POV, flashes of skull-like

faces. The camera swoops down and over the GUEST, spins within them

(LOUMA/STEADICAM) and around them. The GUESTS are dancing

up the horseshoe staircase into the upper foyers. CHRISTINE is dancing

excitedly, but she keeps on glimpsing the vision of the FEARFUL MASKS.

he stops and leans on RAOUL's arm as the GUESTS march majestically

back down either side of the staircase, converging in the center, and down

through the main foyer. RAOUL and CHRISTINE remain upstairs. The

movement of the GUESTS is magnificent and a little eerie.



ALL



MASQUERADE!

PAPER FACES ON PARADE!..



.LET THE SPECTACLE

ASTOUND YOU!



But, at the height of the activity, MEG looks up and suddenly sees the

terrifying reflection of the HUGE RED PHANTOM in the mirrored doors

of the LOGE. She SCREAMS. A GROTESQUE FIGURE suddenly

appears on the upper balcony, ten feet tall, dressed all in crimson, with a

death's head. The PHANTOM has come to the party. CHRISTINE

and RAOUL, standing on the other end of the balcony, are mesmerized.



PHANTOM



WHY SO SILENT, GOOD MESSIEURS?

DID YOU THINK THAT I HAD LEFT YOU FOR GOOD?

HAVE YOU MISSED MY, GOOD MESSIEURS?

I HAVE WRITTEN YOU AN OPERA!



He brandishes an enormous bound manusсriрt.



PHANTOM



HERE I BRING THE FINISHED SCORE -

"DON JUAN TRIUMPHANT"!



And he throws it to ANDRE down below.



PHANTOM



I ADVISE YOU TO COMPLY -

MY INSTRUCTIONS

SHOULD BE CLEAR -

REMEMBER, THERE ARE WORSE THINGS

THAN A SHATTERED CHANDELIER.



(Note: new last two lines needed)



(ALW's note: new music, a further anticipation of "POINT OF NO

RETURN")



Magically, the lights dim, isolating the PHANTOM and

CHRISTINE. Spellbound, the GUESTS below watch as CHRISTINE

and the PHANTOM descent their respective staircases, united by their

music, moving ever closer towards each other until they arrive face to face

on the mezzanine. The PHANTOM reaches out, grasps the chain that holds

the secret engagement ring, and rips it from CHRISTINE's throat. RAOUL

interposes. The PHANTOM turns on him furiously.



PHANTOM



HER CHAINS ARE STILL MINE -

SHE BELONGS TO ME!



There is a FLASH AND A PUFF OF SMOKE. The PHANTOM has

disappeared down a trap door in the center of the mezzanine. But RAOUL

has seen the door in the smoke. In an instant, he leaps in after the

PHANTOM.





INT. TRAP. NIGHT. (CONTINUOUS)



The trap door snaps shut above him. RAOUL has landed in a box, a

painted magic box and the walls are closing in on him. Just when it

seems the may crush him, they fall away. RAOUL is in almost total

darkness in a BRILLIANT AND FIENDISHLY DESIGNED MAZE.





INT. MAZE. NIGHT. (CONTINUOUS)



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. MME GIRY.

FLASHBACK







INT. NARROW CORRIDOR. NIGHT. (CONTINUOUS)



MME GIRY is hurrying RAOUL through a more illuminated part of

the corridor. Small gaslamps 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. 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.





INT. MME GIRY'S ROOM. NIGHT. (CONTINUOUS)



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.



MME GIRY

It was years ago. There was a

Travelling fair in the city. Gypsies.

I was very young….



RAOUL

Go on…



We are closing in on an old photograph of MME GIRY as a seventeen year old girl..



FLASHBACK

(ALW note: new music)





EXT. FAIR. NIGHT.



…..and see YOUNG GIRY accompanied by a dozen giggling BALLET GIRLS and escorted by a BALLET MISTRESS moving through a fair in a park under the shadow (MATTE) of the old opera house. (It is currently being renovated and covered in scaffolding.) 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 a SIAMIESE TWIN. 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 bull whip. Outside FIRE EATERS, spit fire into the air. Some of the BALLET GIRLS are enjoying themselves. Not YOUNG GIRY, the place is grotesque, a nightmare. They approach one particular banner; "THE DEVILS CHILD" it announces.The vicious OWNER waves them to come in. His smile is disgusting. The BALLET GIRLS drag in YOUNG GIRY. Inside, other CLIENTS, are waiting. The BALLET GIRLS push to the front. YOUNG GIRY sees a CAGE. Inside, his head covered in a sack, a BOY 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 the BOY through the cage. The BOY 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 the BOY's model and rips the sack off his head. We see the BOY's hands rise to his face, but the OWNER is still whipping him. Pathetically, the BOY's hands descend from his face. We do not see it. Instead, we see a look of shock and immense pity on YOUNG GIRY'S face. 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 other BALLET GIRLS and their MISTRESS. But YOUNG GIRY lingers. She looks back at the tent. Something draws her to it.She peers in.And sees, inside the tent, the OWNER, kick the BOY out of the way and pick the money off the floor of the cage. Suddenly, the BOY, with a Punjab Lasso fashioned with the ropes that bound him, strangles the OWNER. YOUNG GIRY watches the BOY garrot his torturer. As the evil man fall dead, the BOY looks up and sees YOUNG GIRY, 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. She runs out after him. Behind them, DOZENS OF PEOPLE arrive in the tent. YOUNG GIRY turns and sees, hiding in the shadows, the BOY breathless and terrified. He is clutching the little MONKEY. POLICEMEN with lanterns are closing in through the fair. Quickly, YOUNG GIRY tugs open a trap door at the foot of the opera house wall.



With one final look to YOUNG GIRY, the BOY leaps in, carrying his MONKEY AUTOMAT. The trap slams shut over him leaving YOUNG GIRY alone with the light of the POLICEMEN's lanterns sweeping across her.



END OF FLASHBACK





INT. MME GIRY'S APARTMENT. NIGHT.



MME GIRY stands up.



MME GIRY



I have said too much, monsieur.



She moves towards the door.





INT. CORRIDOR. NIGHT. (CONTINUOUS)



And comes out into the hall, followed by RAOUL.



RAOUL

Wait!



MME GIRY

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. At the other end, the

PHANTOM emerges out of the shadows.

AT THE CEMETERY







EXT. PARIS STREETS. DUSK



An open topped carriage races down the snow-covered streets. It is cold and

foggy. The horse's hooves beat on the cobblestones. The DRIVER swathed in

black drives them on. CHRISTINE sits in the back, the wind presses her veil

to her face like a mask.



(ALW note: more music here)



CHRISTINE (V.O)



In sleep he sang to me….

…and speaks my name…





EXT. CEMETERY GATES. DUSK.



The carriage arrives at the gates of the cemetery. CHRISTINE steps down

and lets the carriage go. The great cemetery overlooks the whole of Paris.





EXT. CEMETERY. DUSK.



Close on a bell tolling. We WIDEN to find CHRISTINE, bearing a bouquet of

red roses, gliding past towering MAUSOLEUMS and CROSSES. Great

GARGOYLES and ANGELS stare down at her.



CHRISTINE



YOU WERE ONCE

MY ONE CAMPANION….

(Missing Libretto by repost design)



….DREAMING OF YOU

WON'T HELP ME TO DO

ALL THAT I DREAMED

I COULD….



PASSING BELLS…

….YOU WERE WARM AND GENTLE.



CHRISTINE is arriving at the foot of the mausoleum steps.



CHRISTINE (CONT.)



TOO MANY YEARS

FIGHTING BACK TEARS…



…TEACH ME TO LIVE…

GIVE ME THE STRENGTH

TO TRY….



The camera swoops down and up over CHRISTINE.

(SKYCAM/LOUMA).



CHRISTINE (CONT.)



NO MORE MEMORIES,

NO MORE SILENT TEARS…

…HELP ME SAY

GOODBYE.



She kneels down and lays the red roses on the snow-covered steps. High above

her, the gates at the top of the steps begin go open. NIGHT HAS FALLEN as

we HEARthe PHANTOM's VOICE.



PHANTOM (O.S.)

(Very soft and enticing)



WANDERING CHILD….

SO LOST…

SO HELPLESS…

YEARNING FOR MY

GUIDANCE….



Bewildered, CHRISTINE looks up. She sees that the mausoleum's inner

gates are open, a strange glow emanates from the interior. Light spills

down the steps. She murmurs breathlessly:



CHRISTINE



ANGEL…. OR FATHER…

FRIEND…OR PHANTOM..

WHO IS IT THERE

STARING?



PHANTOM (O.S)

(More and more hypnotic)



HAVE YOU FORGOTTEN

YOUR ANGEL…..?



CHRISTINE



ANGEL…OH, SPEAK…

WHAT ENDLESS

LONGINGS

ECHO IN THIS WHISPER!



PHANTOM (O.S)

(Now drawing CHRISTINE towards him)



TOO LONG YOU'VE WANDERED

IN WINTER…

FAR FROM MY

FATHERING GAZE…



CHRISTINE is slowly ascending the steps towards the inner doors

and the light.



CHRISTINE

(Increasingly mesmerized)



WILDLY MY MIND

BEATS AGAINST YOU…



PHANTOM (O.S)



YOU RESIST….



BOTH



….YET THE SOUL

OBEYS…



….COME TO ME (YOUR)



STRANGE ANGEL….



We have begun to discern a dark form within the light of the mausoleum.



PHANTOM (O.S)

(Beckoning her)



I AM YOUR ANGEL OF MUSIC…

COME TO ME: ANGEL OF MUSIC…



But, just as CHRISTINE reaches the last few steps, RAOUL, on a magnificent

white charger, leaps over the wall of the cemetery with a great cry:



RAOUL



ANGEL OF DARKNESS!

CEASE THIS TORMENT!



Inexorably, the PHANTOM continues to beckon CHRISTINE.



PHANTOM (O.S)



I AM YOUR ANGEL OF MUSIC…

COME TO ME: ANGEL OF MUSIC…



CHRISTINE is now at the entrance to the mausoleum. RAOUL meanwhile is

galloping and jumping through the crosses and over the monuments.

Snow and dirt fly.



RAOUL

(In desperation)



Christine! Christine, listen to me!

Whatever you may believe, this man…this thing..

Is not your father!



Coming our of her trance, CHRISTINE turns:



CHRISTINE



Raoul….



And sees RAOUL arriving on the white charger. At last, the PHANTOM

appears up on the top of the mausoleum behind the huge stone cross.



PHANTOM



BRAVO, MONSIEUR!

SUCH SPIRITED WORDS!



He throws the Punjab Lasso at RAOUL but RAOUL grabs it and uses it to drag

the PHANTOM off the mausoleum. What ensues is a spectacular fight through the

cemetery. It is important to realize that RAOUL and the PHANTOM are equally

matched. (ALW note: new music for the fight) The result will be that RAOUL

rescues CHRISTINE and takes her out of the cemetery on horseback.

We end with these lines:



PHANTOM



So be it! Now let it be war upon you both!



RAOUL



But this time the disaster

Will be yours!



They ride off leaving BLOOD RED ROSE PETALS SCATTERED IN THE SNOW.

POINT OF NO RETURN









INT. OPERA HOUSE/FOYER/AUDITORIUM/BACKSTAGE. NIGHT.



(ALW note; martial introduction)



The AUDIENCE are taking their seats for the premiere of "Don Juan Triumphant".

MONTAGE to show that armed SOLDIERS and GENDARMES have taken

over the building. Supervised by RAOUL, ANDRE and FIRMIN, all exits from

the opera house are barred and sealed as the last of the audience filters into the

auditorium. The AUDIENCE is locked in. SOLDIERS guard all exits.

BACKSTAGE, STAGEHANDS, SINGERS and DANCERS are preparing for

the impending performances, watched by the SOLDIERS.





INT. AUDITORIUM/PIT. NIGHT. (CONTINUOUS)



Meanwhile, the orchestra has been tuning up. REYER takes his bow on his

podium to polite applause. He raises his baton. The OVERTURE begins.

(ALW note; Overture to be extended) It is incredibly dissonant, a cacophony

of sound; the AUDIENCE has never heard anything like it before. People are

horrified, consult their programmes, cough and whisper, fidget uncomfortably.

SOMEONE tries to leave but the doors are locked. REYER, pained by the

music he is forced to conduct, stuffs cotton plugs into his ears.

The CURTAIN rises.





INT. STAGE. NIGHT. (CONTINUOUS)



The awesome set, modern and severe, is dominated by two Moorish pillars with

spiraling stairs supporting a high balcony. Below, a pit of fire. Scrims hang from

the flies. CHORUS, including MEG as a GIPSY BOY and CARLOTTA as a

HAG, and DANCERS (8 MEN/8 WOMEN), dressed in an austere flamenco

style. The atmosphere is dark and erotic.



CHORUS



HERE THE SIRE MAY SERVE THE DAM,

HERE THE MASTER TAKES HIS MEAT!….

….SERVE THE MEAL AND SERVE THE MAID!

SERVE THE MASTER SO THAT, WHEN

TABLES, PLANS AND MAIDS ARE LAID,

DON JUAN TRIUMPHS ONCE AGAIN!





SIGNOR PIANGI as DON JUAN appears from behind the arch.



DON JUAN (PIANGI)



PASSARINO, FAITHFUL FRIEND,

ONCE AGAIN RECITE THE PLAN.



PASSARINO



YOUR YOUNG GUEST BELIEVES I'M YOU -

I, THE MASTER, YOU, THE MAN.



DON JUAN (PIANGI)



WHEN YOU MET, YOU WORE MY CLOAK…

WHEN IT'S LATE AND MODESTY

STARTS TO MELLOW, WITH THE WINE…



PASSARINO



….I COME HOME! I USE YOUR VOICE -

SLAM THE DOOR LIKE CRACKOF DOOM!



DON JUAN (PIANGI)



I SHALL CRY "COME HIDE WITH ME!

WHERE, OH, WHERE, OF COURSE - MY ROOM!"



PASSARINO



POOR THING HASN'T GOT A CHANCE!



DON JUAN (PIANGI)



HERE'S MY HAT, MY CLOAK AND SWORD.

CONQUEST IS ASSURED,

IF I DO NOT FORGET MYSELF

AND LAUGH…..



Laughing, DON JUAN puts on PASSARINO's clothes, wrapping the cloak

around him and covering his head with the hood. He strides upstage and

disappears behind the scrims. Although we do not know it yet, the Punjab

Lasso does its work and SIGNOR PIANGI is no more. When we next see

DON JUAN, it will be the PHANTOM. Meanwhile, AMINTA

(CHRISTINE) enters.



AMINTA (CHRISTINE)



"….NO THOUGHTS

WITHIN HER HEAD,

BUT THOUGHTS OF JOY!

NO DREAMS

WITHIN HER HEART,

BUT DREAMS OF LOVE!"



PASSARINO



MASTER?



DON JUAN replies upstage:



DON JUAN (PHANTOM)



PASSARINO - GO AWAY!

FOR THE TRAP IS SET AND WAITS FOR ITS PREY…



PASSARINO exits.



The PHANTOM, disguised as DON JUAN pretending to be PASSARINO,

is standing downstage. He now wears PIANGI's robe, the cowl of which

hides his face. The scrims lift as he moves downstage towards CHRISTINE.

CHORUS and DANCERS leave the stage.



DON JUAN



YOU HAVE COME HERE

IN PURSUIT OF

YOUR DEEPEST URGE,

IN PURSUIT OF

THAT WISH,

WHICH TILL NOW

HAS BEEN SILENT,

SILENT…

I HAVE BROUGHT YOU,

THAT OUR PASSIONS

MAY FUSE AND MERGE -

IN YOUR MIND

YOU'VE ALREADY

SUCCUMBED TO ME,

DROPPED ALL DEFENCES,

COMPLETELY SUCCUMBED TO ME -

NOW YOU ARE HERE WITH ME:

NO SECOND THOUGHTS,

YOU'VE DECIDED,

DECIDED…



DON JUAN is now half-way towards AMINTA. The SILHOUETTES

of MALE DANCERS appear behind him.



DON JUAN



PAST THE POINT

OF NO RETURN…

…WHAT WARM

UNSPOKEN SECRETS

WILL WE LEARN?

BEYOND THE POINT

OF NO RETURN…



DON JUAN has arrived downstage right. The MALE DANCERS disappear.

He slowly begins to ascend the stairs leading up to the balcony. AMINTA,

downstage left, now sings alone.



AMINTA (CHRISTINE)



YOU HAVE BROUGHT ME

TO THAT MOMENT

WHERE WORDS RUN DRY,

TO THAT MOMENT

WHERE SPEECH

DISAPPEARS …….

….AND NOW I AM

HERE WITH YOU:

NO SECOND THOUGHTS

I'VE DECIDED,

DECIDED…..



The SILHOUETTES of VOLUPTUOUS FEMALE DANCERS

appear behind her.



AMINTA



PAST THE POINT

OF NO RETURN -

NO GOING BACK NOW:

OUR PASSION-PLAY

HAS NOW, AT LAST,

BEGUN…



She starts up the stairs on her side.



AMINTA



PAST ALL THOUGHT

OF RIGHT OR WRONG -

ON FINAL QUESTION:

HOW LONG SHOULD WE

TWO WAIT, BEFORE

WE'RE ONE?



Both AMINTA and DON JUAN are on the balcony.

Slowly they walk towards each other.



AMINTA



WHEN WILL THE BLOOD

BEGIN TO RACE,

THE SLEEPING BUD

BURST INTO BLOOM?



WHEN WILL THE FLAMES

AT LAST CONSUME

US…?



The pillars of the set swivel isolating CHRISTINE and DON JUAN

from the ground. The PHANTOM's trap is sprung. RAOUL and

SOLDIERS appear in the WINGS. There is no way of reaching

the balcony. The PHANTOM and CHRISTINE are face to face.



BOTH



PAST THE POINT

OF NO RETURN,

THE FINAL THRESHOLD -

THE BRIDGEIS CROSSED, SO STAND

AND WATCH IT BURN…

WE'VE PASSED THE POINT

OF NO RETURN…



Very slowly, the entire set starts to REVOLVE. Up on the set balcony,

the PHANTOM is holding and caressing CHRISTINE.



PHANTOM



SAY YOU'LL SHARE

WITH ME ONE

LOVE, ONE LIFETIME…

LEAD ME, SAVE ME

FROM MY SOLITUDE…

SAY YOU WANT ME

WITH YOU

HERE BESIDE YOU…

ANYWHERE YOU GO

LET ME GO TOO -

CHRISTINE,

THAT'S ALL I ASK OF…



We never reach the word "you", for CHRISTINE quite calmly removes the

PHANTOM's cowl, mask and wig. For the first time, EVERYONE sees the

whole of the PHANTOM's horrifying skull. At the same time, the REVOLVE,

has revealed PIANGI hanging by the neck from the set. Screams. POLICEMEN,

STAGEHANDS, rush onto the stage in confusion. Also: ANDRE, FIRMIN,

RAOUL, MME GIRY, CARLOTTA and MEG. Screams and gunshots.

Very fast: the PHANTOM grabs CHRISTINE and jumps from the balcony.

They swing from a rope into darkness. In the confusion and unnoticed, a scrim

catches fire. PIANGI is cut down from his gibbet.



ANDRE



Oh, my God…my God

We're ruined, Andre - ruined!



CARLOTTA runs on with her little dogs.



CARLOTTA



What is it? What has happened? Ubaldo!



(Rushing over to PIANGI's body)



Oh my darling, my darling… Who has

Done this….?



We notice the two little dogs sniffing PIANGI's corpse.

FIRMIN kicks one of them out of the way.



CARLOTTA



(Hysterical, attacking ANDRE)



You! Why did you let this happen?



MME GIRY



(To RAOUL)



Monsieur le Vicomte! Come with me!

I know where they are! But remember:

Keep your hand at the level of your eyes!



MEG demonstrates:



MEG



Like this, monsieur - I'll come with you.



MME GIRY



No, Meg! No, you stay here!



(To RAOUL)



Come with me, monsieur, do as I say.

But hurry or we shall be too late…



They rush off. MEG stares after them. She rushes off too.

Behind her, the scrim erupts into flames. Pandemonium.

IT'S OVER NOW, THE MUSIC OF THE NIGHT









INT. UNDERGROUND LOCK. NIGHT.



The PHANTOM has CHRISTINE in the boat. The lock which leads

down to the PHANTOM's lair descends, revealing the portcullis and the

lagoon.



PHANTOM



DOWN ONCE MORE

TO THE DUNGEON

OF MY BLACK DESPAIR!

DOWN WE PLUNGE

TO THE PRISON

OF MY MIND!

DOWN THAT PATH

INTO DARKNESS

DEEP AS HELL!



(He pauses for a moment, rounding

on her bitterly)



WHY, YOU ASK,

WAS I BOUND AND CHAINED

IN THIS COLD AND DISMAL PLACE?

NOT FOR ANY

MORTAL SIN, BUT THE

WICKEDNESS OF

MY ABHORRENT FACE!





INT. OPERA. NIGHT. (CONTINUOUS)



MONTAGE of shots showing the chaos in the opera house. The whole

of the stage set is collapsing in flames onto the stage and into the pit.

FIREFIGHTERS desperately try to control the blaze. SOLDIERS and

STAGEHANDS are rushing down corridors, up and down staircases.



CHORUS



TRACK DOWN THIS MURDERER!

HE MUST BE FOUND!





INT. PHANTOM'S LAIR. NIGHT. (CONTINUOUS)



The portcullis comes down behind the boat. The curtain closes. The

PHANTOM guides the boat to the shore.



PHANTOM



HOUNDED OUT BY

EVERYONE!

MET WITH HATRED

EVERYWHERE!

NO KIND WORDS FROM

ANYONE!

NO COMPASSION

ANYWHERE!



He drags CHRISTINE out of the boat and throws her to the ground.



CHRISTINE, CHRISTINE

WHY, WHY…..?





INT. CORRIDOR/STAIRCASE/BRIDGE. NIGHT. (CONTINUOUS)



RAOUL and MME GIRY are making their way down the corridor lined with

AUTOMATS. They follow the staircase down past the stables. A pack of

rats slithers over their feet. MME GIRY screams and lowers her guard.

She raises her hand again.



MME GIRY



YOUR HAND AT THE LEVEL OF YOUR EYES!



RAOUL



…AT THE LEVEL OF YOUR EYES…



The gargoyles seem to sing mockingly:



VOICES (O.S.)



YOUR HAND AT THE LEVEL OF YOUR EYES



MME GIRY

This is as far as I dare go.



They have reached a bridge which stretches out into the gloom.

It has no sides.



RAOUL

Madame Giry, thank you.



She goes. RAOUL gingerly steps onto the bridge. Half-way across, the

stones under his feet suddenly give way. RAOUL plummets downwards.

He falls and falls through the darkness





INT. UNDERGROUND CANAL. NIGHT. (CONTINUOUS)



and lands in the water of the canal. (POSS. POV INTO WATER?)

Twisting and turning, he drops down into the murky depths. He

re-surfaces gasping for air. He looks up and, to his horror, a grill

is descending towards him.





INT. OPERA HOUSE. BACKSTAGE/FLIES/CORRIDORS. NIGHT. (CONTINUOUS)



MONTAGE of shots showing the chaos still reigning in the opera house.

The fire rages. Flats in the flies are in flames. SOLDIERS rush

through the backstage areas past panicking DANCERS and SINGERS.



CHORUS



TRACK DOWN THIS

MURDERER..............



THE PHANTOM OF THE OPERA

IN THERE,

DEEP DOWN BELOW



(ALW note: lyric rewrite)



HE'S HERE: THE PHANTOM OF THE OPERA

HE'S HERE: THE PHANTOM OF THE OPERA





INT. UNDERGROUND CANAL. NIGHT. (CONTINUOUS)



RAOUL cannot find any escape form the grill which is now pushing his

head down into the water. His fingers clutch the ironwork and

disappear into the depths. He is going to die. We see him struggling

underwater with the grill above. He swims desperately to find a way out.

Suddenly, an iron wall appears in the gloom. Next to it, fixed to the

brick wall of the canal, RAOUL finds a gear. He wrenches it down.

Above we see the water level subside. RAOUL has found the gear of

the PHANTOM's lock. His head re-appears above the water.

INT. PHANTOM'S LAIR. NIGHT. (CONTINOUS)



CHRISTINE rounds fiercely on the PHANTOM. The PHANTOM

tears her dress off, the costume from "Don Juan".



CHRISTINE



HAVE YOU GORGED YOURSELF

AT LAST, IN YOUR

LUST FOR BLOOD?



(No reply)



AM I NOW TO BE

PREY TO YOUR

LUST FOR ALL FLESH?



PHANTOM



(Coldly)

THAT FATE WHICH

CONDEMNS ME

TO WALLOW IN BLOOD

HAS ALSO DENIED ME

THE JOYS OF THE FLESH

THIS FACE -

THE INFECTION

WHICH POISONS OUR LOVE



He takes the bridal veil from her automat and moves slowly towards her.

She turns away.



PHANTOM (Continued)



(Very quietly and darkly)

THIS FACE WHICH EARNED

A MOTHER'S FEAR

AND LOATHING

A MASK, MY FIRST

UNFEELING SCRAP

OF CLOTHING



And places the veil on her head.



PHANTOM (Continued)



PITY COMES

TOO LATE -

TURN AROUND

AND FACE YOUR FATE:



He turns her round.



PHANTOM (Continued)



AN ETERNITY OF THIS

BEFORE YOUR EYES!



CHRISTINE rips the veil from her head and throws it to the ground.

She then proceeds to tear the canvas covers off the mirrors surrounding

them, revealing hundreds of reflections of her and the PHANTOM.



CHRISTINE



THIS HAUNTED FACE

HOLDS NO HORROR

FOR ME NOW

IT'S IN YOUR SOUL

THAT THE TRUE

DISTORTION LIES



A stunned silence. Meanwhile, the curtains which hide the portcullis

have parted to reveal RAOUL behind, knee deep in water.

The PHANTOM turns:



PHANTOM



WAIT! I THINK, MY DEAR,

WE HAVE A GUEST!



CHRISTINE

(Seeing RAOUL, stunned)

Raoul!



PHANTOM



(To RAOUL, with a mock-courteous bow)

SIR, THIS INDEED

AN UNPARALLELED DELIGHT!

I HAD RATHER HOPED

THAT YOU WOULD COME.

AND NOW, MY WISH COMES TRUE -

YOU HAVE TRULY MADE MY NIGHT!



RAOUL

(Pleading, grasping the bars of the gate)



FREE HER! DO WHAT YOU LIKE

ONLY FREE HER!

HAVE YOU NO PITY?



PHANTOM

(To CHRISTINE dryly)



YOUR LOVER MAKES

A PASSIONATE PLEA!



CHRISTINE



PLEASE, RAOUL, IT'S USELESS



RAOUL



I LOVE HER!

DOES THAT MEAN NOTHING?

I LOVE HER!

SHOW SOME COMPASSION



PHANTOM

(Snarls furiously at RAOUL)



THE WORLD SHOWED NO

COMPASSION TO ME!



RAOUL

(Calming)



CHRISTINE

CHRISTINE

(To the PHANTOM)

LET ME SEE HER



PHANTOM

(Dry again)



BE MY GUEST, SIR



The PHANTOM pulls a lever and the portcullis rises enough to

allow RAOUL to stagger in.



PHANTOM (Continued)



MONSIEUR, I BID YOU WELCOME!

DID YOU THINK THAT

I WOULD HARM HER?



WHY WOULD I MAKE

HER PAY FOR THE SINS WHICH

ARE YOURS?



Like lighting, the Punjab Lasso cracks through the air and, before

RAOUL has a chance to move, catches him by the neck. He is jerked

high into the air and down onto a stool. All the PHANTOM has to

do is kick the stool away.



PHANTOM

(Tauntingly)



ORDER YOUR FINE HORSE NOW!

RAISE UP YOUR HAND TO THE LEVEL OF YOUR EYES!

NOTHING CAN SAVE YOU NOW -

EXCEPT PERHAPS CHRISTINE -



He turns to her and thrusts the veil and wedding gown into her hands.



PHANTOM



START A NEW LIFE WITH ME -

BUY HIS FREEDOM WITH YOUR LOVE!

REFUSE ME, AND YOU SEND YOUR LOVER TO HIS DEATH!

THIS IS THE CHOICE -

THIS IS THE POINT OF NO RETURN!



CHRISTINE

(to the PHANTOM)



THE TEARS I MIGHT HAVE SHED

FOR YOUR DARK FATE

GROW COLD AND TURN TO TEARS

OF HATE



Looking at RAOUL, she places the veil on her head and begins putting on

the wedding gown. ALL THREE pause for a moment. RAOUL breaks the

moment with:



RAOUL



CHRISTINE, FORGIVE ME,

PLEASE FORGIVE ME

I DID IT ALL FOR YOU,

AND ALL FOR NOTHING



CHRISTINE

(Looking at the PHANTOM

but to herself)



FAREWELL, MY FALLEN IDOL

AND FALSE FRIEND

WE HAD SUCH HOPES,

AND NOW THOSE HOPES

ARE SHATTERED



PHANTOM

(To CHRISTINE)



TOO LATE FOR TURNING BACK,

TOO LATE FOR PRAYERS AND

USELESS PITY



RAOUL

(To CHRISTINE)



SAY YOU LOVE HIM,

AND MY LIFE IS OVER!





(Okay guys we are going to skip some Libretto here,

we all know it by heart)



CHRISTINE



YOU DECEIVED ME -

I GAVE YOU MY MIND

BLINDLY



A pause. The PHANTOM looks coldly at CHRISTINE.

She is now standing in her wedding gown.



PHANTOM



YOU TRY MY PATIENCE -

MAKE YOUR CHOICE!



He holds up the wedding ring.



CHRISTINE

(Quietly at first, then with

growing emotion)



PITIFUL CREATURE

OF DARKNESS

WHAT KIND OF LIFE

HAVE YOU KNOWN?



GOD GIVE ME COURAGE

TO SHOW YOU

YOU ARE NOT ALONE!



She calmly puts the ring on her finger and kisses him full on the lips.

She pulls away, tears streaming down her cheeks. The PHANTOM

is stunned. Then, she leans towards him and embraces him again.

But this time the kiss is long and deep. A lover's kiss. As it ends,

they look straight into each other's eyes. The PHANTOM is crying,

devastated. Suddenly, he moves. The rope suspending RAOUL falls

harmlessly to the ground. He addresses RAOUL as he jerks the lever

which raise the portcullis.



PHANTOM



TAKE HER - FORGET ME - FORGET ALL OF THIS

LEAVE ME ALONE - FORGET ALL YOU'VE SEEN

GO NOW - DON'T LET THEM FIND YOU!

TAKE THE BOAT - SWEAR TO ME NEVER TO TELL

THE SECRET YOU KNOW OF THE ANGEL IN HELL -

GO GO NOW GO NOW AND LEAVE ME!



And he runs up into bedroom.



We INTERCUT with:





INT. AUTOMAT CORRIDOR/STAIRCASE/BRIDGE. NIGHT. (CONTINUOUS)



MEG is leading the MOB down into the PHANTOM's lair. Flaming

timbers, and hot coals fall from the opera house above into the

underground canal. They are getting closer and closer.



CHORUS



TRACK DOWN THIS

MURDERER



REVENGE FOR BUQUET!

THIS CREATURE

MUST NEVER GO FREE





INT. PHANTOM'S LAIR/BEDROOM. NIGHT. (CONTINUOUS)



The PHANTOM looks at the musical box and listens to it as, magically,

it starts up.



PHANTOM

(To the musical box)



MASQUERADE

PAPER FACES ON PARADE

MASQUERADE

HIDE YOUR FACE,

SO THE WORLD WILL

NEVER FIND YOU



He turns and sees CHRISTINE standing in the bedroom door. His look

is of immense longing and helplessness. She walks slowly towards him.



PHANTOM



CHRISTINE, I LOVE YOU



She stands before him and we think she is going to stay but instead

she takes off her ring and places it on his finger.



(ALW note: extend music)



She hurries off. The PHANTOM stares at the ring on his finger.

We stay on him as he HEARS:



CHRISTINE

(In the distance)



SAY YOU'LL SHARE WITH

ME ONE

LOVE, ONE LIFETIME



RAOUL



SAY THE WORD,

AND I WILL FOLLOW YOU





INT. PHANTOM'S LAIR/CANAL. NIGHT. (CONTINUOUS)



The PHANTOM comes out of the bedroom and sees, through the

descending grill, the boat disappearing into the darkness of the underground

canal. CHRISTINE is looking back at him. She seems to be singing for him.



CHRISTINE



SHARE EACH DAY WITH ME

EACH NIGHT

EACH MORNING



She disappears.



PHANTOM

(Looking after her)



YOU ALONE

CAN MAKE MY SONG TAKE FLIGHT -

IT'S OVER NOW,

THE MUSIC OF THE NIGHT



He smashes all the mirrors around the lair. He turns and sees the Mob

with their torches approaching along the CANAL. The PHANTOM walks

slowly towards the throne and sits on it, gathering his cloak around

him, surrounded by shattered images. The MOB stops at the portcullis.

MEG dives down into the water and comes up the other side. The PHANTOM

has entirely covered himself with the cloak. MEG crosses to the throne

and, tentatively but courageously, pulls the cloak away revealing empty

air. The PHANTOM has vanished, leaving only his white mask. In wonder,

she reaches out and picks up the mask in her small hand. We END on the

MASK.



END TITLES OVER MASK.



(ALW note: play-out music, violin intro to graveyard scene)

Дурни, могли бы вместо получившейся пародии на Зорро вставить хотя бы это!

He throws the Punjab Lasso at RAOUL but RAOUL grabs it and uses it to drag

the PHANTOM off the mausoleum. What ensues is a spectacular fight through the

cemetery. It is important to realize that RAOUL and the PHANTOM are equally

matched. (ALW note: new music for the fight) The result will be that RAOUL

rescues CHRISTINE and takes her out of the cemetery on horseback.



Танго, благодарю за ссылку!

Могли-бы, но мне кажется, это бы выглядило довольно глупо. Вся фишка в том, что Призрак умеет орудовать этим лассо с необыкновенной скоростью - и как это Рауль просто возьмет и поймает?

Вот именно. Он бы 100% его поймал. Поэтому драка на шпагах выглядит ещё несуразнее—зачем браться за то, чего не умеешь??

He smashes all the mirrors around the lair. He turns and sees the Mob

with their torches approaching along the CANAL. The PHANTOM walks

slowly towards the throne and sits on it, gathering his cloak around

him, surrounded by shattered images. The MOB stops at the portcullis.

MEG dives down into the water and comes up the other side. The PHANTOM

has entirely covered himself with the cloak. MEG crosses to the throne

and, tentatively but courageously, pulls the cloak away revealing empty

air. The PHANTOM has vanished, leaving only his white mask. In wonder,

she reaches out and picks up the mask in her small hand. We END on the

MASK.



А концовка-то намного лучше была сначала....как и в спектакле почти-таинственное исчезновение, а не бегство за зеркала

Павел Понятов

Поэтому драка на шпагах выглядит ещё несуразнее—зачем браться за то, чего не умеешь??

Ну, тут опять можно дольго беседовать на тему театральности, и образа Эрика в фильме. Меня фехтование устраивает именно как выражение театральности, но спорить на эту тему еще раз неохота.



.:Angel of music:.

Мне кажется, тут представлено нечто среднее между спектаклем и фильмом -- многое осталось от спектакля, включая концовку, но многое и изменено. Но видно в каком направлении они шли, поэтому меня не удивляет, что они и далее продолжили развитие в том же духе, делая упор на то, что Эрик - человек. Таинственности в фильме определенно меньше, чем в спектакле. Философски, он скорее ближе к Леру: Эрик - человек, все его трюки обьясняются довольно логично, и любви и понимания он хочет, как человек. Мне обе трактовки нравятся, по-разному. Но на вкус и на цвет, итд.

Посуди сама. Эрик—профессиональный удушитель. Зачем ему лезть к Раулю со шпагой, орудуя ей, как дубиной? Да и то, что он, профессиональный убийца, проигрывает... Ещё более странно.

В своём фике, который выйдёт через месяц примерно (пишется по моему сценарию) я детально рассмотрел эту точку зрения. Там увидите хороший бой без ударов по логике .

Убийца - несомненно, но не профессиональный. По Леру - да, было дело. Но по фильму, это скорее так, хобби. А зачем лезть со шпагой - номер раз, так в театре делается, а у него понятия "жизнь" и "театр" слегка переплелись. А номер два - мне кажется, он все-таки не собирается Рауля всерьез душить, а только так, пугнуть маленько. Он ведь и огненными шарами в спектакле орудует по той же причине - мог бы задушить, никто и не сомневается, но он старается отпугнуть, а не убить. Вот поэтому-то мне и не нравится идея с веревкой - если бы дошло дело до веревок, Раулю был бы конец. (Что, собственно, и происходит в подвале).

По фильму он вообще из театра не вылазил. Но если бы он делал так, как положено в театре—он бы носил цилиндр . Кстати, серьёзная ошибка в фильме—без цилиндра в Опере ходить было моветоном.

Да ладно, у Рауля вон тоже цилиндра нет. Зато кожаное пальто есть (которое, мякго сказать, в период не вписывается ). Но это скорее не ошибка, а так, дух современности. С этим ничего не поделаешь, это четко по закону жанра. Типа как в исторических фильмах у всех зубы красивые.



А Эрику цилиндр не нужен, он ведь на людях не появляется. О! Может, он оттого и не появляется, что цилиндра нет?

Так вот я и про упущения с Раулем тоже говорю. Ни директора, ни Рауль. Вообще никто (на скринах со спектакля цилиндры в основном есть).

Рауля в фильме, похоже, тщетно старались изобразить этаким крутым парнем. Типа, сам коляску ведёт (за что над ним весь город бы смеялся), в кожаном пальто (у мну ктати тож есть, только чёрное и фасоном получше ), на верёвке спускается в зал... А получилось довольно жалко. Лучше бы сделали ему нормальную причёску (в те времена молодые люди так не стриглись) и не выставляли постоянно этаким нежным мальчиком, то мокреньким, то злым-сердитым-раненым-но-забавным (видимо, надеялись, что кому-то такая смазливость а-ля ди Каприо понравится). Забыли, что он, несмотря на внешность, был явно неслабый физически и морально молодой человек (в полярные экспедиции не всякий ходит).

Ну-ну, у директоров цилиндры как раз есть, только они их постоянно снимают. А про Рауля не надо, я его люблю и жалею и в обиду не дам. Кстати, насчет кареты - в "Scarlet Pimpernel", главный герой (аристократ) тоже сам каретой правит.