The Mask of the Red Death: Click here to go to The Phantom of the Opera 1925 home page.
The Phantom of the Opera 1925


Main Phantom Page | Watch Film | Buy Phantom Merchandise | Contact Opera Ghost

IMPORTANT NOTES: The source of this text was gathered from and can be printed through the link HERE. That text was then compared to the published facsimile in Philip J. Riley's book The Phantom of the Opera (Hollywood Archives Series) (v. 1), making minor corrections to the text so that it is now accurate with the original. Misspellings have [sic] following the word. Not all scene numbers are shown in Mr. Riley's book so I have added them where it looked like they should go (camera shot lines in all CAPS). Each of these numbers (without the period) is a bookmark on the page so it can be specifically linked to from another Web page. Small images from the film are inserted in their appropriate scenes and can be viewed larger by clicking on them. Any text in brackets [ ] is not in the original script.

 

An eleven page treatment was proposed on October 12th, 1923, with the first draft of the script finished on August 22nd, 1924.

The 173 page Fifth Revised Shooting Script, circa October-November 1924 is published here:


[COVER]

 

"THE PHANTOM OF THE OPERA"

BY

GASTON LEROUX

ADAPTATION AND SCENARIO

BY

RAYMOND L. SCROCK
[The original script leaves out the H in his name and it is written in pen above the C and R showing that it should be spelled SCHROCK]

AND

ELLIOT CLAWSON

 


[PAGE 1]

 

THE PHANTOM OF THE OPERA

(The following foreword is to be presented on a moving scroll that moves up)

FOREWORD          Dear patrons of the Silent Drama...
In this present era of discovery and invention Spiritualism and other psychic phenomena are scoffed at by the masses in general. Therefore, we ask you to bear with us while we unfold for your entertainment, the story of the "Opera Ghost" which really did exist according to the memoirs of the late M. Faure, Chief of the Paris Secret Police, whose weird tale of a criminal investigation which lead him to an opaque veil that cloaked the supernatural now lies in the archives of the National Academy of Music in the French Capitol.

FADE OUT

 

1. FADE IN
CLOSE SHOT on a volume which rests on a rich velvet table scarf-- on the book is the title in French --MEMOIRS OF M. FAURE?[sic] CHIEF OF THE PARIS SECRET POLICE. As the French letters disolve[sic] into English and we play long enough to identify, a hand enters scene and opens the volume to the preface.

 

2. CLOSE VIEW of the first page of the Preface which reads:
          To whom it may concern:-
Before unfolding my hair-raising experience in
making an investigation of the murdurous[sic] crimes attributed to the "Opera Ghost" it will be necessary for me to relate a few interesting facts concerning the Paris Opera house, where the Ghost existed.
          The Paris Opera house was conceived by Louis Napolean[sic] III, after an unsusccesful[sic] attempt to duplicate the world power of his illustrious uncle, the great Napolean[sic], as a sop to his suffering and war-ridden subjects.
(a[sic] hand turns the page over revealing a picture of
Louis Napolean[sic] III, as the military emporer[sic])
          It was designed and executed by that celebrated architect, Jean Louis Charles Garnier, who later built the Forum of Trajan and the Temple of Vesta in Rome--and the Casino at Monte Carlo.
( A hand turns the page over revealing a picture of
Jean Louis Charles Garnier)

 


[PAGE 2]

 

2 (CONTINUED)
          No European capital possesses an opera house so comprehensive in plan and execution, nor can boast an edifice so vast and splendid.
(A hand turns the page over revealing a picture of
the Paris Opera House to show it's[sic] magnitude and decorative desing[sic].)
          It's[sic] construction began in 1951[sic], and was estimated to cost thirty-five million francs, and it required twelve years for completion. It contains 583 dressing rooms, 2551 doors and 7893 keys; 14 furnaces and 450 grates; 16 miles of gas pipe, 9 reservoirs and two tanks holding 22, 222[sic] gallons of water.
( A hand turns the page over and we read further)
          During the revolution of 1870, the construction was halted for a time, when Napolean[sic] III lost his throne and the present Replublic[sic] of France was declared.
          It was during those dark days of bloodshed that the building was used as a military headquarters. It's[sic] vast collars[sic] turned into dungeons for prisoners, and secret passages and torture chambers installed to satisfy the blood lust of a crazed populace.
( A hand turns the page over revealing the first
page of M. Faure's memoirs.)
          Many were the skeptics who scoffed at the idea of the "Opera Ghost" but the few upon whose word I could rely believed in it's[sic] existence; vowing that the opera house bore a curse, dating back to the time when the Second Commune carried on.[sic] a wholesale massacre of the Nobility in the dark cellars.     LAP. DISSOLVE INTO:

 

3. EXT. PARIS OPERA HOUSE.

It is night and under the gas lights we see the arrival of the bobility[sic] and the elite of Paris in carriages. There are a throng of curious bystanders of both sexes eager to see the aristocracy.

[CORRECTED UP TO THIS POINT - JANUARY 13, 2009]


[PAGE 3]

4. INT GRAND STAIRCASE #1. . . AMBER

This is a cross shot of the staircase, something of the view shows in the first illustration in the book. The scene presents a gorgeous picture. Circulating on the stairway are the elite, the wealthy, the aristocratic, the military, the fashionable of Paris. The carriage and general manner of the people is very light and informal. Some wear opera hats tilted at an angle, and others not. The men, women, officers and attendants of the opera are dressed for the period of approximately 1890. The women are beautifully gowned as the Paris Grand Opera is the show place of the fashionable world. The number of people will be governed by what is required to comfortably fill the big set. Crowds will also be seen moving in the four galleries, while others will circulate upon the staircases which lead downward at either side of the main stairs. It is a scene of gaiety and laughter.

5. INT. GRAND STAIRCASE #2. . AMBER.

This is a longer shot taking in the set -- up to and including the third gallery. This is as high up as the cornice. In this shot the galleries are seen filled with a gay throng. A general movement of exit toward the auditorium begins.

6. INT GRAND STAIRCASE #3 . .AMBER

This is the entire grand staircase set, including the dome. There are people now seen in the fourth gallery. The general movement of the crowd toward the auditorium continues.

7. INT. AUDITORIUM.

LONG SHOT. . AMBER.

It is the hour before the overture and first curtain of the opera Faust --The curtain is down and people are entering from both side entrances, and the entrance below the Portierre. The aisles are crowded, not only with those seeking their seats, but also with groups. All are laughing and talking. The atmosphere is free and informal. Many are standing or lounging against the seats, gossiping with acquaintances a few seats distant. The chandelier is a blaze of light. The musicians (71 including the director) are filling in and taking their places in the orchestra pit. There is life and a fluttering of motion in all of the boxes except Box Five and one on the opposite side.

8. A LONG SHOT. .AMBER

As people are seen from high, shooting down upon the orchestra and stage and is calculated to show the great chandelier to best advantage. The audience is slowly being seated.

9. AN INTIMATE SHOT IN THE PORTIERRE

As people are being seated and chat with one another.

10. INTIMATE SHOT OF THE BOXES ON ONE SIDE.

General atmosphere scenes to show the nobility and the gorgeous gowns worn by the women.

11. INT. ON BACK STAGE. . AMBER

This is a general shot of the backstage before the rise of the curtain and must be most interesting and picturesque. THE GENERAL ATMOSPHERE IS ONE OF CHAOS and confusion. Sixty stage hands are moving about the large pieces of scenery. They are putting up the set for the first scene, the home of Faust the aged alchemist. In evidence are carpenters, florists, drapers, curtain hangers, firemen, call-boys and property men. In the rear of the stage is the dressing room corridor leading to the numerous dressing rooms.

TITLE M. DEBIENNE AND M. POLIGNY, MANAGERS OF THE OPERA HOUSE.

12. INT. MANAGER'S OFFICE.

FULL SHOT

Discovered M. Debienne, M. Poligny and M. Lavelle, Secretary. The corpulent M. Debienne and the slender M. Poligny appear to be in the throes of a great mental stress - Debienne mops his perspiring forehead and exhales deep sighs of despair while Poligny stares into space with a gloomy expression -- at his desk nearby sits M. Lavelle, their secretary, a bright dapper fellow, whose whistling at such a trying moment grates on the managers' nerves-- every now and then he glances with contempt and annoyment at the others' discomfiture--Debienne glances despairingly at a large volume which lies before them on the table open.

INSERT OF VOLUME:

IT WILL BE BEST FOR YOU TO PERSUADE MME. CARLOTTA NOT TO SING THE ROLE OF MARGUERITE ON PRESIDENT'S NIGHT AND GIVE THE OPPORTUNITY TO CHRISTINE DAAE HER UNDERSTUDY.

(Signed) THE GHOST

BACK:

Debienne's face shows his terror - he looks ap-

pealingly toward Poligny, who shrugs his shoulders

hopelessly. Lavelle laughs heartily, then says

with contempt:

TITLE "WHAT COULD BE MORE RIDICULOUS THAN

ANYONE BELIEVING IN GHOSTS?"

BACK:

Debienne and Poligny sit up with frightened and

amazed starts - then look toward Lavelle who

laughs in scorn --suddenly all three start and look

toward the door.

13. CLOSE UP of outside of heavy carved door.

A thin, bony and wrinkled hand is knocking.

14. INT. MANAGER'S OFFICE.

Debienne cowers in alarm and Poligny clutches the

arms of his chair for support - then Lavelle arises

with a contemptuous snort and strides to the door.

15. SEMI C.V. INSIDE HEAVY CARVED DOOR.

As Lavelle enters scene and then opens the door

with a look of contempt -- the corridor is empty.

Lavelle looks out, up and down -- then he recoils

and the contempt turns to terror - he closes the door

and bolts it - then stands there listening and

paralyzed with terror.

16. INT. CARLOTTA'S DRESSING ROOM.

We see the voluptuous Carlotta being dressed for

the part of "Marguerite" by her maid.

TITLE MME. CARLOTTA, PRIMA DONNA OF THE PARIS

OPERA COMPANY.

16-A. SEMI C.V. OF CARLOTTA (before mirror.)

This is the character study of a vain, temperamental

creature, who surveys herself in the mirror --

suddenly she starts and stares into the mirror --in

the mirror's reflection can be seen the door to the

corridor and underneath the door an envelope is

being slipped --she calls her maid and directs her

to get the letter.

17 INT CARLOTTA'S DRESSING ROOM.

As the maid gets the letter from under the door

and delivers it to Carlotta.

17-A. SEMI C.V. OF CARLOTTA (Before mirror)

As she opens the letter with a vain smile, thinking

it from some admirer-- then as she reads, she gasps:

INSERT OF LETTER: "If you sing tonight, you will be

doing so in a house with a curse on it."

(signed) THE GHOST

BACK:

Carlotta looks up from the letter in amazement--the

bitter rage fills her--she is furious and she tears

the letter in pieces and hurls them over her shoulder

in contempt as she talks to herself.

18. INT CHRISTINE DAAE'S DRESSING ROOM.

Discovered Christine also dressing for the part

of Marguerite, but all alone --she appears sad and

wistful.

CHRISTINE DAAE, A WISTFUL LITTLE

CREATURE WITH A MARVELOUS VOICE.

AND THE UNDERSTUDY TO THE DYNAMIC

CARLOTTA, WHOSE PERFECT HEALTH

HAS KEPT CHRISTINE WAITING IN

VAIN FOR THE BIG OPPORTUNITY.

SEMI C.V. OF CHRISTINE.

This is a character study of a wistful, sad-eyed

creature, who dresses listlessly because she

has about given up hope--a couple of tears roll

down her cheeks, though she strives bravely to

keep them back --then she dashes them away with her

sleeve, angry at her weakness--all of a sudden she

starts and listens.

INT. BEHIND MIRROR IN CORRIDOR...FAINT GREEN

Upon the wall is a shadow. It is shooting over a

man's shoulder against which is a violin which is

being played.

MED SHOT IN CHRISTINE'S DRESSING ROOM

As she slowly arises and crossing to the mirror

kneels before it in an attitude of prayer.

SEMI C.V. BEFORE MIRROR

As Christine finishes her silent prayer, crosses

herself then raises her face which now registers

exaltation--she begins to sing and act the part of

Marguerite before the mirror.

YEARS BEFORE, CHRISTINE'S FATHER

PROMISED HER THAT WHEN HE DIED, HE

WOULD SEND THE "ANGEL OF MUSIC" FROM

HEAVEN TO TRAIN HER VOICE--AND HER

SIMPLE SOUL BELIEVED THAT HE HAD.

BACK:

Christine continues to sing with increasing exaltation.

INT. IN CORRIDOR BACK OF MIRROR. .FAINT GREEN.

The shadow of the violin is still playing.

 

 

INT. CHRISTINE'S DRESSING ROOM. . AMBER

Christine is singing exultantly before the mirror.

She comes to the end of her song and listens in

the direction of the mirror with a faraway look in

her eyes, then holding out her hands toward the

mirror, she says pleading:

 

"OH ANGEL OF MUSIC! I'VE STUDIED

SO HARD. WILL I EVER GET THE CHANCE

TO SING THE ROLE OF MARGUERITE?"

 

 

INT. BEHIND MIRROR IN CORRIDOR. . FAINT GREEN

 

The shadowy violin strikes the last note. The

shadowy violinist now assumes a profile position

and reveals an outline of a head, face, neck and

shoulders in shadow--it speaks: Then a mysterious

voice, as if from Heaven, sounded in her ears:

 

 

"MY CHILD, DO NOT LOSE HOPE--

YOUR GREAT DESIRE IS SOON TO BE

REALIZED."

 

SEMI C.V. OF CHRISTINE BEFORE MIRROR.

She is overcome with great happiness--her eyes

dance--her bosom heaves--she clasps and unclasps

her hands with joy.

 

NOT FAR FROM THE PARIS OPERA

HOUSE -- THE CAFE EPINARD.

 

EXT. PARIS BOULEVARD. - NIGHT

FADE IN:

 

This is a picture of what people imagine the fashion-

able night life of Paris to be. The scene is an

open boulevard cafe. These tables are sheltered by

ornate awnings. The period of 1890. The cafe and

street are electric lighted.

It is a scene of laughter and gaiety. The women

are dressed in the evening dress of the period.

The large windows facing the sidewalk are open and

all is lightness and merriment inside. The sidewalk

tables are filled. Fashionably dressed people are

promenading up and down the sidewalk. Carriages are

drawing up and departing, parties are bidding

each other goodbye.

 

SEMI C.V. AT ONE OF THE TABLES.

 

Discovered Capt. Raoul de Chagny, wearing a dress

uniform of the French army. He has a beautiful

girl beside him and across from them are seated the

Vicomte Philippe, Raoul's brother and the Comtess,

his wife. It is easy to see that Raoul is the life

of the party and that his brother is proud of him--

also that the girl beside him is smitten on him.

 

CAPTAIN RAOUL DE CHAGNY, OF THE OLD

ARISTOCRATIC HOUSE OF CHAGNY, ENVIED

BY ALL THE YOUTH OF PARIS, BECAUSE OF

HIS WAY WITH WOMEN.

 

 

C.V. OF RAOUL

 

This is a character study of a light hearted, witty

young Lothario, who apparently doesn't take anything

seriously - not even life.

 

SEMI C.V. RAOUL - and his companion, the beautiful

girl.

 

He leans toward her and there is a look of deviltry

in his dancing eyes, as he whispers:

 

"YOU'RE INTOXICATING, MARIE. .I LIKE

TO MAKE LOVE TO YOU SOMETIME. . IN

THE MOONLIGHT!"

 

BACK:

The girl is all thrilled and quivers with delight

at his flattery--his hand moves down under the

table.

 

 

CLOSE UP UNDER TABLE.

 

As Raoul's hand searches and finds Marie's hand

giving it a squeeze - the way she starts indicates

how she is thrilled.

 

 

SEMI C.V. PHILIPPE AND THE COMTESS

They are watching, with looks of satisfaction.

 

RAOUL'S BROTHER, THE VISCOUNT

PHILIPPE AND HIS WIFE THE

COMTESS.

 

 

BACK:

The Comtess whispers behind her fan to her husband:

 

"MARIE AND RAOUL SHOULD MAKE A

GREAT MATCH. I'M THANKFUL YOU

BROKE UP THAT SILLY INFATUATION

HE HAD FOR THAT CHRISTINE DAAE

PERSON."

 

BACK:

Philippe nods and a worried sort of expression

comes over his face--He replies:

 

"HE HASN'T FORGOTTEN HER. I

FIND HE'S BEEN HUNTING ALL

OVER PARIS FOR HER."

 

BACK:

The Comtess shows displeasure and contempt.

 

SEMI C.V. OF TABLE

 

Raoul is still playing up to Marie and she is simply

wild about him--then Philippe produces his watch

and says with a start:

 

"WE'LL BE LATE FOR THE OPERA

IF WE DON'T HURRY!"

 

BACK:

This brings Raoul and Marie back to earth - he

springs up to help Marie into her wrap and Philippe

does likewise for his wife- then the party moves

out toward the boulevard.

 

MED. SHOT OF BOULEVARD AT CAFE CURB.

 

As a footman calls for a carriage - Raoul and party

as they get in and are driven off.

 

BACK STAGE.

LONG SHOT

Showing that the set for the first act is almost

ready.

 

SEMI C.V. ON STAGE --near dressing room corridor.

 

A burly type is directing the movement of scenery

and close beside him stands another type who is

stitching some canvas rip in a wing -- behind them

is another type, a clownish fellow pretending to be

sweeping, but with his eyes on the ballet girls in

corridor entrance, who taunt him by kicking up their

legs at him.

 

SIMON BUQUET, HEAD SCENE SHIFTER

 

 

CLOSE UP OF SIMON BUQUET.

 

This is a character study of a radical type who

issues orders in a sharp, domineering manner.

 

SIMON'S BROTHER, JOSEPH.

 

CLOSE UP OF JOSEPH

 

This is a character study of an opposite type to

Simon--a slow, lymphatic temperament - the type to

be pitied- he finishes mending the torn canvas

and straightens up, wincing at his cramped back

and making agonized faces.

 

 

SEMI C.V. JOSEPH BUQUET.

 

As Simon enters scene and affectionately rubs his

back for him - Buquet accepts his brother's aid

in a manner that shows he is accustomed to being

petted by Simon and he likes it. Simon puts his

arm about his brother's shoulder and says:

 

"A COLD GLASS OF BEER WOULD DO WONDERS

FOR YOUR ACHING BACK, TAKE A SNEAK."

 

BACK:

Joseph rewards Simon with a grateful smile - smacks

his lips and ambles off with Simon watching after

him, with brotherly interest and affection. When

Simon turns casually and looks toward dressing room

corridor, he starts in annoyance, as he sees:

 

 

INTIMATE SHOT OF FLORINE AND SOME BALLET GIRLS. AMBER.

 

Florine, through his long association with the Opera

has never lost his appreciation of beautiful limbs.

He cannot keep his mind on his business. The girls,

of course, all know Florine. The girls tickle and

otherwise make sport with Florine. He has a smile

for each of them. One of them makes a broad sweep

with her legs and just touches him in the back of

the cap - tilting the visor of the cap over his eyes.

 

EVERY STAGE CREW HAS ITS CLOWN

AND THE PARIS OPERA HAD FLORINE PAPILION.

 

C.V. OF FLORINE

 

As he raises the visor of his cap and makes silly

faces at the girls, using his broom as a sword at

his side.

 

C.V. OF SIMON

 

He frowns savagely and strides toward Florine who

is off scene.

 

INTIMATE SHOT OF FLORINE AND SOME BALLET GIRLS

 

Florine is clowning and does not see Simon who

enters scene behind him --then as Florine stoops in

a low bow, Simon kicks him in the pants. Florine

becomes rigid, but does not look around. He knows

that this is not a woman's kick. Without looking

around he steps upon a scene elevator and disappears

below with a piece of scenery.

 

39. INT. MANAGER'S OFFICE.

 

The corpulent Debienne is seated in chair in a

state bordering on collapse - his partner the slim

Poligny, paces the floor in agony--both start as

the door opens and their secretary M. Lavelle enters,

wringing his hands and all upset. His face is

severely scratched, showing where finger nails have

left their marks as they clawed down his face --the

managers gasp at the sight of his face. He chokes

as he says:

 

"CARLOTTA'S IN A TERRIBLE TEMPER!

SHE SAYS THAT CHRISTINE DAAE WILL

SING HER ROLE TONIGHT,--OVER HER

DEAD BODY!"

 

BACK:

Debienne gasps in agony and sinks back in his chair--

Poligny almost collapses and Lavelle grabs his

wounded face with his kerchief.

 

40. INT. CARLOTTA'S DRESSING ROOM

 

A maid is completing her for the part of

Marguerite -- she is boiling over with rage which

makes it difficult for the maid to dress her. She

talks excitedly to her personal manager, a type,

saying:

 

"A GHOST DOESN'T WANT ME TO SING!

IMAGINE ANY THING SO RIDICULOUS!"

 

BACK:

Carlotta bursts into scornful laughter - she'll

show them --they won't put anything over on her

so clumsy as all that.

 

41. INT. AUDITORIUM - from rear toward stage.

This shows the house nearly filled and the orchestra

starts the overture.

 

42. CLOSE UP IN ONE BOX.

 

Two young ladies and their parents are seated in

the box- the one girl is looking the house over

with her opera glasses, suddenly she turns them

toward the opposite tier of boxes and a happy smile

appears on her face as she sees:

 

43. CLOSE UP IN PHILIPPE'S BOX.

 

Philippe, the Comtess, Raoul and Marie are just

being seated. Raoul always extending himself to

be attentive to Marie.

 

44. CLOSE UP IN BOX AS IN SCENE 42.

 

The girl lowers the opera glasses and her heart

beats fast - her eyes dance-- she nudges her

girl companion and says:

 

 

"OVER THERE IS THAT HANDSOME CAPT.

RAOUL DE CHAGNY. LUCKY GIRL TO BE

WITH HIM."

 

BACK:

The girl finishes speech and lends the glasses to

her eager and interested companion who looks as

directed by the other.

 

45. AN INTIMATE SHOT (CLOSE UP) RAOUL AND MARIE.

 

He is bending close to her, a mischievous smile

on his face and whispering sweet words of flattery

into her ears -- she is all thrills and emotion.

 

46. CLOSE UP IN BOX AS IN SCENE 44.

 

The second girl still looks thru the glasses - her

bosom rising and falling with emotion, her expression

one of envy - the first girl thinks she has had a

long enough look, as she takes another look herself.

The other sighs deeply and says enviously:

 

"WHAT COULD BE MORE HEAVENLY

THAN TO BE LOVED BY A MAN

LIKE HIM?"

 

BACK:

Without removing the glasses from her eyes, the

first girl also sighs and nods in the affirmative.

 

 

BOX #5 IN THE GRAND TIER WAS

NEVER PUT ON SALE, BECAUSE THE

OPERA GHOST HAD DEMANDED IT FOR

HIS PERSONAL USE.

 

47. INT. BOX CORRIDOR. . . AMBER.

At the end of this corridor is a door to the

stage and in the foreground is the entrance to

Box #5, so designated plainly above the door.

The door from the stage opens and Meg Giry, an old

hag enters, carrying a footstool and a vase of

flowers--she talks to herself and walks with an

unfirm tread to the door to box 5, where she enters.

 

INTERIOR ANTE ROOM TO BOX 5.

 

As Meg Giry enters and selects a program from a

pile on a small table -- then proceeds into the

box through door also marked #5

 

INTERIOR BOX 5.

 

As Meg Giry enters, there is a motherly attitude

about her as she carefully arranges the flowers in

the vase on a small stand--places the footstool

before one of the chairs and places the program

on the same chair.

 

 

MOTHER MEG GIRY, EMPLOYED BY

THE THEATRE TO KEEP CLEAN

THE BOXES ON THE GRAND TIER.

TO HER THE GHOST IS A FINE

GENTLEMAN, WHO LEAVES LARGE

TIPS FOR HER SERVICES.

 

 

BACK:

Mother Giry surveys her work critically, then

changes the position of the chair and footstool a

trifle-- picks up a few bits of lint, then exits

with a satisfied smile.

 

 

MED. SHOT IN DRESSING ROOM CORRIDOR.

 

In f.g. are a number dandies of the time with

flowers and candies, quarreling for first place

outside of a dressing room door - then one knocks

and a maid opens the door from within revealing

the dressing room of La Sorelli, leader of the

ballet and the lovely ballet queen herself - the

dandies are admitted.

 

LA SORELLI, LEADER OF THE BALLET.

 

SEMI CLOSE UP AT A COUCH BEFORE A DRESSING TABLE.

La Sorelli is just dressing for the ballet - she

turns and smiles as the dandies crowd about her

with their gifts, eager for her favor.

 

INT. DRESSING ROOM CORRIDOR.

 

Another section of same corridor as in 13. Here we see a

general commotion of ballet girls, some in pink

tights and others partly dressed running in and

out of dressing rooms buying and drinking cassaie

and beer from a vendor. Some are singing - some

dancing and some quarreling.

 

AN INTIMATE SHOT OF GROUP OF BALLET GIRLS.

They are having a serious confab - one of the

girls eyes are dilated to a great size as she

tells the others

 

"MOTHER GIRY SAYS SOMETHING

TERRIBLE IS GOING TO HAPPEN TO-

NIGHT -- CAUSE THE GHOST ORDERED

THE MANAGERS TO LET CHRISTINE

DAAE SING MARGUERITE INSTEAD OF

CARLOTTA."

 

BACK:

The other ballet girls laugh in derision and dis-

belief. Then one bold girl says with a laugh:

 

"YOU TALK LIKE THAT CRAZY SCENE

SHIFTER, JOSEPH BUQUET. LET'S

GO DOWN IN THE CELLARS AND

HAVE HIM INTRODUCE US TO THE

GHOST."

 

 

BACK:

The other girls excepting the one who spoke first

agree it will be a great lark - they try to

pull the frightened one along, but she fights loose

and runs away.

 

 

MED. SHOT OF DRESSING ROOM CORRIDOR (toward stage.)

 

As frightened ballet girl runs toward rear while

the bold group led by the one who made the dare

leads the way forward -- all are laughing in

scorn of such a thing as a Ghost. They reach

head of cellar steps and pause. Each wants the

other to go first - they tug at each other and

one girl is pushed ahead. Then the others follow

down the steps.

 

BENEATH THE OPERA. . . THE CELLARS,

ONE BENEATH THE OTHER, ARE FIVE DEEP

AND IN THE LOWEST THERE IS A LAKE.

 

IT IS AN UNDERGROUND CITY . . A

CITY OF ROMANCE AND TRAGEDY. .

HOUSING A MYSTERIOUS PEOPLE WHO

LIVE FOREVER IN DIM LIGHT. .

AMIDST OLD SHADOWS OF STRANGE

PLACES.

 

 

INT. FIRST CELLAR. . FAINT GREEN.

 

Florine enters from beyond the arched doorway in

the rear. He starts up the step toward the

dressing room corridor. The six ballet girls,

holding each other by the arms and huddled together,

enter to the landing in the stairs. They pretend

great fright. They cluster around Florine and

bowl him down the stairs again. They are not going

to be left alone.

 

A LONGER SHOT. . FAINT GREEN

The ballet girls run in to the landing upon the

stairs. They call to Florine and he meets them at

the foot of the stairs.

 

 

MED. CLOSE UP AT FOOT OF STAIRS. . FAINT GREEN

 

The girls want him to lead them to Joseph Buquet.

He is proud of their confidence and he beams.

The girls surround him and each takes hold of his

arm or his belt and the group moves through the

arch and exits to the right.

 

INT. CELLAR SHOT. .#4. . FAINT GREEN

This is the set in which there is a headless statue.

In this scene, however, the light is not on the

headless statue and it can hardly be seen. Joseph

Buquet is at work under a shaded gas jet, sewing up

the cheek of John the Baptist. Florine and the ballet

girls enter. The girls huddle around Buquet as

if they found protection in his presence. They begin

to question the glassy eyed man, he looks around

apprehensively as if all the shadows might be

inhabited. As Buquet talks he switches the head

around, sometimes holding it by the hair. This

head has practical eyes that open and close. Buquet

tells them:

 

"HIS EYES ARE SO DEEP THAT YOU

CAN HARDLY SEE THE PUPILS. .

JUST TWO BLACK HOLES IN A DEAD

MAN'S SKULL."

 

BACK:

The girls show horror and fascination. A pained

expression comes over Florine's face. Buquet con-

tinues:

 

"HIS SKIN IS A NASTY YELLOW AND

STRETCHED ACROSS HIS BONES LIKE

A DRUMHEAD. HIS NOSE. . THERE

IS NO NOSE!"

 

BACK:

The girls are held spell bound. Florine shivers

and tells Buquet with apprehensiveness:

 

 

"YOU KNOW THE GHOST DOESN'T

LIKE BEING TALKED ABOUT."

 

BACK:

Buquet looks into Florine's face with his big

hollow eyes as if he had not heard him. Then he

tells the girls:

 

 

"I'LL SHOW YOU WHERE I SAW HIM . .

BETWEEN THE SCENE OF A FARM HOUSE

AND THE "KING OF LAHORE" SET."

 

 

BACK:

This is too much for Florine. He decides not to go

with them and begins to walk away, but the girls

grab him. They are not going to be left alone

with Buquet after what he has said. Buquet leads

them down a flight of stairs; after he has care-

fully laid the head aside. Florine keeps his eye

on the head until he is out.

 

 

CELLAR SET #5. . FAINT GREEN

This is the "King of Lahore" set. On the left is

a suggestion of a farm house scene, the elaborate

piece of "King of Lahore" scenery, then a circular

staircase, and on the right, a scene rack which is

moved by a hand switch. In front of the "King of

Lahore" scenery is a concealed trap in the floor

and back of the set is a dark opening.

 

Joseph Buquet leads the girls and Florine down the

circular staircase to a position before the "Lahore"

set.

 

INT. CLOSE UP OF GROUP. .FAINT GREEN.

 

Buquet points his skinny finger at the dark

column of the "Lahore" set and begins to explain

that it was in that shadow that he saw the Ghost.

The girls are looking into the shadow, fascinated,

as if the Ghost might appear there again. But

Florine is looking at the dark opening in the wall

behind the set. His eyes are fixed upon something

and he stands stiff and paralyzed.

 

 

CLOSE UP FLORINE. .FAINT GREEN

He stares with a fixed expression of frozen horror.

 

 

CLOSE UP THE DARK OPENING IN WALL. . FAINT GREEN

There is a motion in the dark opening - something

undefined, but plainly a motion of a dark shadow

shape - the gas light goes down and then up.

 

 

CLOSE UP FLORINE. . FAINT GREEN

 

Florine gives one terrific scream, as if his heart

would break with terror.

 

A LONGER SHOT. . FAINT GREEN

 

The girls almost die of fright, genuine fright this

time. There is a frightened clamor on the part of

the girls and Florine to be the first to reach the

circular staircase. Buquet stands quietly looking

at them with his hollow, glassy eyes. The girls

reach the stairs and run up the circular stairs

laughing at each other and screaming. Florine

tears up the staircase to the first landing when

his momentum carries him out of the opening and

upon the floor at his starting point. He tears

up the stairs again.

 

CELLAR #4. . FAINT GREEN.

 

This set is now seen in another lighting so that

the big headless statue with outstretched arms

stands in bold relief. The girls fleeing in

terror, followed by Florine, run up the stairs into

the picture and almost into the arms of the headless

statue. They break away from the statue and

run out the right. Florine takes a short cut,

running out the right, back of the pile of prop-

erties.

 

CELLAR #3. . FAINT GREEN

 

This is the Sigfried dragon's head. The girls

run in from the left, get their reaction of fright

from the dragon and run off to the right. Florine

runs in and stops to get his breath. He knows all

about the ordinary props down here and is not

afraid. Door in dragon's mouth opens and in-

definite shadowy figure is seen in back. He gives

one sickly look of terror and runs out to the right.

 

CELLAR #2. . FAINT GREEN.

This is the dummy set. The girls run in and shrink

from the dummies which are hanging in insane

postures, one up-side down, another with a broken

back. One of the girls gets tangled up in the

ropes which hold the dummies and they begin to

jerk up and down and their arms flap. The other

girl rescues the one in the ropes and they run out.

 

CELLAR BRIDGE SET. . FAINT GREEN

At the right of this set is a trap-door elevator.

Florine runs in, jumps on the elevator and pulls a

lever. This makes the elevator shoot upward.

 

EXT. ON BACK STAGE. .AMBER

 

This shot is back of the scene. Simon is peeping

through the scenery and talking to a stage hand.

A couple of feet from him a trap falls open and

Florine shoots up into the air about four feet,

lights on his feet, nonchalantly tries to appear

that he is doing his regular work, picks up a

prop and walks off. Simon looks after him with

suspicious exasperation.

 

INT. LA SORELLI'S DRESSING ROOM. . AMBER

 

This is a conventional dressing room, such as

would be furnished to a star, or to La Sorelli, who

is the head of the ballet. She is also the

friend of the younger dancers. The scene is one

of languor, a little of what people expect of Parisian

naughtiness. A beautifully formed, languorous

creature is reclining upon a couch and is being

entertained by two or three smartly dressed young

Parisians. La Sorelli is before the mirror with

an admirer and her maid. The admirer playfully

takes the place of the maid and is allowed to

fasten the top button in the back of her dress.

Their playful pastimes are interrupted by a violent

knocking at the door.

 

INT. DRESSING ROOM CORRIDOR. .AMBER.

This is a close up of the other side of La

Sorelli's door. Twelve little hands are pounding

upon it.

 

INT. LA SORELLI'S DRESSING ROOM . . AMBER

 

The maid opens the door and the six ballet girls

burst in. One of them closes and locks the door.

They all cluster around La Sorelli and cry out

together:

 

"WE SAW THE GHOST!

THE OPERA GHOST!"

 

BACK:

La Sorelli is superstitious concerning the ghost

and she shudders. She of all in the room takes it

seriously. The dandies laugh at the idea, as if

it were some new trick the girls were playing.

The girls all continue talking at once to La Sorelli

who tries to conceal her growing fright by laughing.

 

CLOSE UP FIRST BALLET GIRL. . AMBER

With wide eyes, but pretending, she exclaims:

 

"HE APPEARED BEFORE US. . OUT

OF NOTHING. . A SKELETON IN

A DRESS SUIT AND THEN HE WAS

GONE!"

 

 

CLOSE UP SECOND BALLET GIRL. . AMBER

 

With assumed terror, she whispers, touching her

nose:

 

"HE HAD NO NOSE. . NO EYES. .

JUST TWO BLACK HOLES IN A

DEAD MAN'S SKULL."

 

MED. SHOT IN LA SORELLI'S DRESSING ROOM . . AMBER.

 

La Sorelli is still trying to conceal her terror,

but cannot repress shivering - the dandies are

laughing - the girls terrified. Suddenly La Sorelli

starts and listens - all see her attitude and

listen:

 

MED. SHOT IN DRESSING ROOM CORRIDOR.

 

A strange shadow moves along the wall.

 

MED. SHOT IN DRESSING ROOM . . AMBER.

FLASH of everyone listening tensely.

 

C.V. LATCH INSIDE DRESSING ROOM DOOR

 

It is lifted and dropped three times.

 

MED. SHOT IN DRESSING ROOM . .AMBER.

 

Everyone staring in horror toward door - the ballet

girls cling to La Sorelli in terror.

 

SEMI C.V. LA SORELLI

 

The girls cling to her in terror - then with a

courage born of fear, she produces a dagger and

throwing off the detaining hands, moves toward the

door -- the girls gasp as they watch after her.

 

 

SEMI C.V. INSIDE DRESSING ROOM DOOR.

 

As La Sorelli enters scene and moves close to

door with dagger ready but trembling body. She

screams:

 

"WHO'S THERE!"

 

BACK:

She listens a few seconds, then turning the lock

jerks open the door.

 

MED. SHOT IN CORRIDOR OUTSIDE LA SORELLI'S DRESSING

ROOM.

 

As La Sorelli opens door and looks out - the

corridor is empty. She appears startled - then re-

covering her poise, she steps back in and closes

the door.

 

MED. SHOT IN DRESSING ROOM.

 

As La Sorelli returns to the frightened ballet

girls - and dandies who seeing there is no danger,

again smile and laugh to show how brave they are -

La Sorelli tosses the dagger on her dresser top

and shrugging her shoulders indicates there is

nothing to worry about.

 

 

SHOOTING FROM THE STAGE. .AMBER.

 

This shot shows the vast audience from this angle,

settled in their seats for the performance, but in

the f.g. is the prompter's box. The prompter is

arranging his papers. He is a dapper, grouchy little

fellow. He bends down until he is almost out of

sight, the opening from the stage to the prompter's

box must be large enough to admit a person through it.

 

LONG SHOT FROM REAR OF AUDITORIUM TOWARD STAGE.

The curtain rises on the home of Faust the aged

German alchemist. We see the aged alchemist

working with his chemicals striving to find the

Elixir of Life.

 

 

BACK STAGE.

 

Florine is peeping through one of the stage en-

trances at the first scene of Faust. When a good

looking ballet girl passes him - he cranes his

neck to admire her -- then decides to follow her.

 

 

SHOOTING DOWN ON STAGE FROM ABOVE.

 

Florine following the ballet girl -- there is an open

trap in the floor which she steps over - he steps

into it and falls through.

 

 

CELLAR UNDER STAGE.

 

As Florine falls through trap above and lands on

the floor, where he winces with pain and curses

his luck.

 

 

MED. SHOT ON STAGE.

 

Scene where Mephistopheles is tempting Faust --

shows him a vision of Marguerite (Carlotta). The

vision fades and Faust weakens.

 

INT. LIGHT CONTROL ROOM. .AMBER

 

We have an illustration of the light control room

and machinery. This room is under the stage and

in it is a short flight of steps leading to the

platform upon which the prompter is standing. The

light control man is standing near his levers but

has evidently neglected to watch the time. The

prompter, who can be seen bending down from his

box, calls the man's attention to the time. The

control man looks at his watch which is hanging in

front of him and immediately begins to pull two

levers, each in an opposite direction. Aside from

the interesting nature of this shot it seems to

plant the scenery for future situation.

 

 

INT. AUDITORIUM. .AMBER.

 

This is a long shot taken from high up in the back

of the auditorium, showing the chandelier and

stage. Gently the lights die out in the chan-

delier, and at the same time the footlights

come on, leaving the house in semi-darkness.

 

INTIMATE SHOT OF ORCHESTRA PIT. . AMBER.

 

The leader is holding his baton aloft. He strikes

the air with it and seventy bows strike the strings

in one sweeping motion.

 

CLOSE UP IN PHILIPPE'S BOX.

 

Raoul is paying but little attention to the

opera - he is toying with Marie's stray curl.

 

LONG SHOT FROM REAR OF AUDITORIUM TO STAGE.

 

Mephistopheles transforms Faust from age to youth -

Then curtain falls amidst applause.

 

FADE OUT . . .

 

 

DURING THE INTERMISSION BEFORE THE

BALLET.

 

 

FADE IN:

LONG SHOT OF THE GRAND STAIRCASE

 

A general promenade of the audience - meeting

acquaintances, etc.

 

 

MED. CLOSE SHOT GRAND STAIRCASE.

 

As Philippe comes down the stairs into f.g.

with the Comtess and Marie on his arm - Marie

keeps looking about anxiously - then she turns

to Philippe with a look of disappointment and

says:

 

"WHERE DO YOU SUPPOSE RAOUL WENT!"

 

BACK:

Philippe frowns darkly and he replies:

 

 

"HE'S PROBABLY IN THE FOYER DE DANCE

LOOKING UP SOME OF HIS COMMON AC-

QUAINTANCES."

 

BACK:

Marie is hurt and disappointed - they move on.

 

91. MED. SHOT ON SECOND LANDING OF GRAND STAIRCASE.

 

The eyes of all the promenaders suddenly focus

on the Persian who comes down a flight of stairs

to the landing where he stops and looks about

casually.

 

 

A MYSTERIOUS CHARACTER WAS THE PERSIAN

A REGULAR PATRON OF THE OPERA AND

ALWAYS ALONE, WHOSE SOURCE OF INCOME

WAS AS MUCH OF AN ENIGMA AS THE MAN

HIMSELF.

 

C.V. OF THE PERSIAN.

 

This is a character study of a strange type -

he wears a dress suit and carries an astrachan cap.

He has olive skin, appears greatly interested in

his surroundings but never smiles.

 

MED. SHOT ON SECOND LANDING - AS IN 91.

 

The Persian moves down the steps off scene and

the promenaders watch after him, then whisper

curiously about him.

 

INT. CORNER FOYER DE DANCE. . AMBER.

 

This is located in the rear of the stage.

The richness of this room is executed principally

upon glass. It is a place of reunion between the

ballet girls and their admirers. In special prom-

inence are the dancers' practicing bars. They hold

to those bars while standing upon their toes or

place one ankle upon the bar while they stand upon

one toe and while they are doing these things

they are talking to their admirers. This is a gen-

eral entrance scene of the ballet girls and thirty

or more young and old Parisian dandies, patrons of

the opera, who are allowed in the foyer de dance

during the intermissions. It is a picture of pink

tights, fluffy lace skirts and Parisian dandies.

There is a flirting air of lightness, merriment

and laughter about. Some are practicing their

steps, others are flirting. Capt. Raoul is notice-

able, carrying on a familiar conversation with

La Sorelli, the ballet queen.

 

SEMI C.V. LA SORELLI AND RAOUL

 

Raoul is kidding her along and it is noticeable

that she is fascinated by his personality. Several

of the dandies we saw previously in her dressing

room come up and seek to draw her attention but

she pays them no heed and they are greatly ex-

asperated.

 

 

BACK STAGE. . FULL SET.

 

As workmen finish setting scene for the ballet -

in b.g. Christine appears in entrance to dressing

room corridor.

 

SEMI C.V. OF CHRISTINE.

As she looks on with that same wistful expression.

 

 

SEMI C.V. OF SORELLI AND RAOUL.

 

Raoul suddenly looks at his watch - is startled -

indicates he must get back to his box - he leans

close and whispers something in her ear with a

devilish smile on his face. Her eyes light up with

delight - she nods her head in the affirmative -

he exits laughing, she waving after him.

 

 

BACK STAGE. (AT SIDE)

 

As Raoul enters still laughing to himself, he

chances to look at a big mirror and stops aghast

as he sees:

 

 

C.V. RAOUL BY BIG MIRROR.

 

In the mirror's reflection can be seen Christine

Daae standing in entrance to dressing room corridor -

Raoul gasps and whirls around.

 

 

C.V. CHRISTINE

 

As she suddenly sees Raoul off scene and her eyes

dilate in amazement.

 

 

C.V. OF RAOUL.

 

He staring in surprise - then starts forward with

a happy smile.

 

MED. SHOT OF STAGE NEAR ENTRANCE TO DRESSING ROOM

CORRIDOR.

 

As Raoul starts toward Christine, she turns and

flees - and as he gets near the door, he is

suddenly blocked for the whole ballet comes

tearing out for their places - he is compelled to

wait.

 

 

INT. CHRISTINE'S DRESSING ROOM.

 

She bursts in the door - closes and locks it,

leaning against it with madly beating heart.

 

 

INT. DRESSING ROOM CORRIDOR.

 

As few last of ballet hurry past camera - then

Raoul hurries in from behind camera and looks

madly about - he runs to the cross corridor where

he looks up and down.

 

C.V. OF RAOUL

 

His face falls in disappointment - his shoulders

droop - then a look of determination comes into

his eyes. He smiles as he has an idea - he exits.

 

A LONG SHOT FROM REAR OF AUDITORIUM.

 

The curtain rises and the "Faust" ballet begins.

From data that we have in the office 150 ballet

girls (dancers) are used in the "Faust" ballet.

 

INT. BOX CORRIDOR.

 

As Raoul opens door and enters from the stage -

he wears a grim look and he enters the box.

 

INT. PHILIPPE'S BOX.

 

As Raoul returns - Philippe and the Comtess glower

at him and Marie playfully scolds him - Raoul is

too filled with emotion to pay her any attention.

She is amazed at his sudden indifference.

 

INT. AUDITORIUM. . AMBER.

This is the Long Shot. It is a short scene of the

falling of the curtain upon the grand ballet. The

auditorium is flooded with light and a flutter of

relaxation runs over the audience.

 

CLOSE UP IN PHILIPPE'S BOX.

 

Raoul will not look at Marie - he keeps looking

at Philippe becoming more angry every minute - then

arising he moves to the door to ante-room and

motions for Philippe to follow. Philippe does so

in wonder at Raoul's strange behavior.

 

 

ANTE ROOM OF PHILIPPE'S BOX

 

As Raoul and Philippe come out of box and into f.g. -

here Raoul faces his brother angrily and he says:

 

"YOU LIED TO ME, PHILIPPE!

YOU TOLD ME CHRISTINE DAAE HAD

LEFT PARIS--ANOTHER OF YOUR

CHEAP TRICKS! -- I JUST SAW

HER -- BACK ON THE STAGE!"

 

BACK:

Philippe gasps in surprise first - then he too

becomes angry and he answers:

 

"I THOUGHT YOU'D COME TO YOUR

SENSES, BUT I SEE YOU'RE DETER-

MINED TO DRAG THE NAME OF

CHAGNY IN THE MUD."

 

BACK:

Raoul's eyes light up with a dangerous light -

Philippe sees this and shrugging his shoulders, goes

back into the box. Raoul hesitates for a second,

to cool down, then follows.

 

SEMI C. V. OF PHILIPPE'S BOX

 

As Philippe seats himself and Raoul does likewise -

Marie sensing some sort of trouble places her

hand over Raoul's in sympathy - he gives her a mean

look - she withdraws her hand gasping in amazement.

 

130. INT. CELLAR #5. (RIO DE LAHORE) FAINT GREEN.

 

Florine is discovered at the hand winch on the

right. The turning of this winch lifts and lowers

the scene frames on the right. Florine is turning

this winch. He is frightened stiff, frightened at

the black opening in the wall where sometime before

he saw a movement. As he turns winch his

frightened eyes, therefore, are upon the black

opening.

 

130-A FLASH OF BLACK OPENING. . WITHOUT MOVEMENT IN IT.

 

130-B A LONGER SHOT. . FAINT GREEN.

 

As Florine turns the winch two scene frames move

upward and one downward. The movement of these

discovers the shadow upon the center wall of

a man, hanging, gently swinging. As the frames

move both ways, all or any part of the hanging man may

be shown. Florine does not see either the hanging

man or the shadow at first, so intent is he upon

the black opening. He now turns and through the

framework in front of him he is confronted by the

hanging man. The audience cannot see this, only

the shadow. Florine is paralyzed with fear and his

knees knock together. He backs away from the ap-

parition and turns to escape up the stairs. But he

is now confronted with the shadow. He is in utmost

distress. He is surrounded with hanging men. After an

instant of confusion, Florine runs the gauntlet

through the hanging men and tears on in his fright

up the circular steps.

 

 

130-C INT. CELLAR #4 (HEADLESS STATUE). . FAINT GREEN

 

Discovered a variety of cellar hands, a fireman, a

groom and a couple a scene-shifters. They are

sitting upon the floor gossiping. Simon enters from

the right, looking for somebody when Florine runs

in from the cellar below. Any attempt at comedy is

avoided. Florine becomes a whimpering, pathetic

figure. He tries to explain to Simon in pantomime

what he has seen.

 

130-D ANOTHER PART OF CELLAR #5 or #6 IF WE HAVE THE SET.

MED. SHOT NEAR THE BIG OPERA HOUSE FORGE.

 

A groom currying a great white stallion while a

Hercules of a smithy is preparing to put new shoes

on the stallion. We plant the stallion fastened to

a ring bolt in the stone wall by a strap and is

parallel with the wall. The blacksmith is holding

up the hoof of the great white stallion to measure

a shoe, then he moves over to the forge and with

his back to the horse pumps the bellows and sings

to himself -- then a strange thing happens, a section

of the wall and floor upon which the white stallion

stands suddenly turns as if upon an axle and the white

stallion vanishes leaving apparently the same

wall floor and ring bolt - the smithy lifts the red

hot shoe from the forge and prepares to hammer it.

He casually looks around toward the place where the

horse was, gasps and drops the hammer. Then thinking

perhaps one of the stablemen played a joke, he calls

to them - they join him and he asks them about the

horse.

 

130-E C. V. SMITHY AND STABLEMEN.

 

As he tells them about the horse, they deny having

seen it or taken it -- he scratches his head in

perplexity.

 

130-F INT. CELLAR #4 (HEADLESS STATUE SET) . FAINT GREEN

 

Florine is shaking and stammering his story. Two

other scene shifters are attracted and drift in.

Simon thinks that maybe Florine is out of his head

but all are impressed. They begin to move down the

steps leading to the "Roi de Lahore" set. Florine

will not go. He can't stand it. Simon tells him with

force to "Go." Whimpering Florine precedes

Simon down the stairs.

 

130-G INT. CELLAR #5. ("ROI DE LAHORE" SET). FAINT GREEN

 

The group from above are seen coming down the

circular staircase. The shadow of a hanging man

is no longer there. There is something in the f.g.

so placed and lighted that the audience cannot

discern what it is. The party of men enter from

the staircase and look around in a hushed way.

Florine looks for the shadow - then he looks for

the body. Both are gone. His mind seems to be

helpless to grasp the situation. By one second all

eyes center upon the object in the f.g., in a

hushed, awed manner they move to the object. Simon

looks down upon it with big, wondering eyes. All

are fascinated by it. Simon kneels down beside the

object.

 

 

130-H SEMI C.V. SIMON AND BODY OF JOSEPH BUQUET.

 

Simon who is kneeling turns the body over and

gasping recoils in horror for it is his brother.

Then in a quick agony he listens at the breast

and lifting a face of terrible agony he cries:

 

 

"GOD HELP ME! MY BROTHER! . DEAD!"

 

 

130-I MED. SHOT . .CELLAR #5 . (ROI DE LAHORE SET.)

 

Simon bursts into heavy sobs that rack his frame

the others recoil in horror. Simon throws himself

across his brother's body in his grief.

 

 

130-J ANOTHER PART OF CELLAR #5 OR #6. .AS IN 30-D

 

The perplexed Smithy and stablemen who are ponder-

ing over the mysterious disappearance of Caesar the

White Stallion now hear Simon's sobbing - they

are amazed. The Smithy picks up his hammer and leads

the way to find out what is the matter - the others

follow but with reluctance.

 

130-K MED. SHOT. .CELLAR #5. (ROI DE LAHORE SET.)

Simon is lamenting with the others looking on in

horror and pity as the Blacksmith and stablemen

come up -- they stare aghast as some about explain

about the tragedy.

 

130-L SEMI CLOSE SHOT SIMON AND BROTHER'S BODY.

 

Simon raises up and in doing so discovers something

beside his brother's body - he picks it up - it

is a strangler's lasso - as he looks at it, his

eyes glare with sudden understanding and fury -

he half snarls and sobs:

 

"A STRANGLER'S LASSO? . MY

BROTHER'S BEEN MURDERED!"

 

130-M C.V. OF GROUP

They all recoil in horror - Florine trembles

like a leaf. Suddenly all back off scene with a

start - the Blacksmith grips his hammer.

 

 

130-N ANOTHER SECTION OF CELLAR #6. (ROI DE LAHORE SET)

As the Persian now wearing his astrachan cap comes

toward camera.

 

130-O SEMI C.V. OF GROUP . . AS IN 30-M

 

As the Persian comes up - a strange contrast in

his dress clothes, he sees the tragedy - then shakes

his head sadly and says:

 

"POOR DEVIL - HE MUST HAVE

OFFENDED THE OPERA GHOST!"

 

BACK:

Everyone recoils in horror and dismay - the Persian

lets out a deep sigh and exits - they all look

after him curiously.

 

131. INT. AUDITORIUM . . AMBER.

 

This is the long shot from high up with the chan-

delier showing the audience and showing full stage.

The third act of "Faust." It might be a good idea in

this shot to show the back of some heads in the

bottom f.g. to suggest that this is looking down

from the highest gallery. That portion of the

third act is in progress in which Marguerite

opens the casket left by Mephistopheles and dis-

plays the costly jewels which it contains.

 

MED. CLOSE UP CARLOTTA AS MARGUERITE. . AMBER

 

She is looking into the casket, dazzled by the

beautiful jewelry. She drops the simple bouquet

which Siebel has left for her and as she begins

to adorn herself with earrings and bracelets,

admiring herself in mirror, she sings the Jewel song.

 

EXT. BOX #5 and #4. SHOOTING TOWARD THEM.

 

All of a sudden a match is lit in box #5 --

this lights up the box for an instant - then goes out.

The occupants of box four have seen and they are

amazed - as they look smoke comes floating out as

if someone in the back of the box were smoking.

 

SEMI C.V. ON STAGE.

Carlotta singing.

 

C.V. ON INSIDE BOX #5.

 

On one of the chairs lies a violin - a haze of

smoke drifts about - then suddenly a violin bow

enters scene and scrapes over the cat gut strings.

 

 

SHOOTING DOWN ON AUDIENCE.

 

They hear sound and look up toward Box #5 in con-

sternation.

 

LONG SHOT . . AMBER

 

This is shooting from high up in the balcony down

upon the stage. This shot takes the chandelier.

The lights in the chandelier are not on but its

crystals sparkle. Carlotta is singing but nervously.

The lights in the big chandelier come on dimly -

and die out and at the same time the other lights

in the house go on and off and flicker.

 

MED. CLOSE UP CARLOTTA. . AMBER

 

The footlights are flickering - she continues her

part in the duet but looks from side to side

angrily. Somebody is spoiling her act.

 

 

FLASH OF PROMPTER'S BOX FROM STAGE. AMBER.

 

The light flickering - Prompter ducks downward

toward light control room.

 

 

136. INT. LIGHT CONTROL ROOM. .AMBER.

The Prompter is calling the light control man

down for not attending to do his work - the man

is protesting that he has nothing to do with it.

 

 

137. MED. CLOSE UP OF CHANDELIER. .AMBER

 

The lights are not lit in the big chandelier but the

whole chandelier begins to shake and quiver -

the motion multiplied by the many crystals upon it.

 

138. MED. C. V. OF BOX #5. FROM OUTSIDE

Suddenly up from below the balustrade appears

a death's head -- the bony jaws move in speech.

 

"SHE'S SINGING TONIGHT TO

BRING DOWN THE CHANDELIER."

 

BACK:

The skull disappears below the balustrade.

 

139. SHOOTING DOWN ON AUDITORIUM.

 

They have heard and are terrified - they glance

upward and point toward the quivering chandelier.

 

140. SHOOTING UP AT CEILING AND CHANDELIER.

As it sways and quivers.

 

141. SEMI C.V. IN PHILIPPE'S BOX.

All are gazing in horror and fascination at the

swinging chandelier.

 

142. THE VERY LONG SHOT OF THE AUDITORIUM. .AMBER.

 

The whole house is thrown into confusion. The

morale of the singers is gone and they are milling

around trying to finish the act.

 

The chandelier becomes a blaze of light and falls

upon the heads of those in the orchestra. As it

strikes, its lights go out. An instant afterwards -

the general house lights flash on.

 

143. SHOOTING INTO CENTER SHOT OF ORCHESTRA . AMBER.

 

The chandelier - a blaze of light, falls on those

of the terrified audience who were sitting under it.

The effect is that it crushes and maims those

whom it strikes. The injured painfully try to crawl

out from under the great weight. The audience sur-

rounding the chandelier are thrown into a panic.

Women scream and begin to fight their way toward the

exits. Some of the men run to the aid of the

injured. The chandelier is blazing with light.

When it strikes the lights are instantly extinguished,

and an instant later the general house lights are

flashed on.

 

144. SHOT OF STAGE . .AMBER.

 

All is confusion on the stage - stage hands -

firemen - ballet girls and Christine run out

from the wing onto the stage. Carlotta faints.

 

145. SHOT OF BOXES. .AMBER.

 

Confusion - Women are fainting and screaming. The

general movement is to get out of the boxes. The

President in his box tries to speak to the crowd

to preserve order but all in vain -- nothing could

stop the panic.

 

146. SHOT AT ORCHESTRA EXIT UNDER PORTIERRE. .AMBER.

 

The panic-stricken people are fighting to get out of

the exit.

 

147. A CLOSE VIEW . .AMBER.

 

Beautiful gowns are torn from the shoulders of

screaming, frightened women.

 

 

148. SHOOTING INTO ORCHESTRA PIT. .AMBER.

 

The excited musicians are standing and facing the

audience, playing "Marseillaise."

 

149. SHOOTING INTO PHILIPPE'S BOX. .AMBER.

 

The Comtess and Marie are cowering against Philippe.

Raoul is standing with his hands clutching the box

rail, looking at the scene of panic in the orchestra.

He is excited and horrified. He looks toward the

stage and sees:

 

150. ON STAGE. . AMBER.

 

This is a Medium Close Up of Christine. She is

horrified. She shields her eyes from the sight and

backs out through the wings.

 

151. SHOOTING INTO PHILIPPE'S BOX. AMBER

 

Raoul is anxious for Christine's safety. He

runs to go out of the box toward the corridor.

Philippe bars his way knowing what he has in

mind -- demanding that he remain. A dangerous

light gleams in Raoul's eyes. He tosses his

brother aside and exits. The women gasp

and Philippe is furious and aghast.

 

152. INT. BOX CORRIDOR. AMBER

 

The corridor is a wild jam of people moving in

a panic and in excitement toward the front of

the house. Raoul enters from the ante-room

door and starts in the opposite direction. He

has to fight his way against the onrush in

the opposite direction.

 

153. CLOSE UP IN BOX 5.

A figure in a dress suit with a death's

head laughs in fiendish glee.

 

154. INT. GRAND STAIRCASE #2. AMBER

 

The panic stricken people are flooding into the set

from every direction. There is a great jam at the

point where the two side-staircases meet. As the

people fight their way down the stairs, twenty

policemen are fighting their way up the stairs.

 

155. A MORE INTIMATE SHOT . AMBER

 

Beautiful gowns are torn from the women in the

mad rush to get out. Women faint and are carried

along with the jam.

 

 

156. BACK STAGE.

 

There is another panic going on. Stage hands,

principals and ballet corps are in a mad rush

to get out, knocking over scenery and props. Sud-

denly Raoul appears...fighting his way and

looking extremely anxiously for Christine. His

clothing is nearly torn from his body. He fights

his way to the dressing room corridor.

 

157. INT. DRESSING ROOM CORRIDOR . AMBER.

 

Attendants, stage hands, ballet girls are

running about and are collected in groups,

excitedly discussing the tragedy. One

group is gathering about Christine who has

fainted. Raoul enters from stage, disheveled

as a result of his battle to get there. As he

comes forward, he sees Christine, and with a

cry, he pushes thru the group and stooping,

lifts her into his arms. Then demanding the

location of her dressing room, he follows,

carrying her after the frightened group.

 

 

158. ENTRANCE CARLOTTA'S DRESSING ROOM (FLASH)

She is weeping hysterically on her couch. While

her maid and her manager are rubbing her hands

and face.

 

159. INT. CHRISTINE'S DRESSING ROOM

 

As the door opens and Raoul enters carrying

Christine. He deposits her tenderly on her

couch. Then turns upon the curious group

that followed and who would enter, he says:

 

TITLE: "FIND THE DOCTOR!"

 

 

BACK: Then he drives out the group and closing

the door, crosses to Christine's side.

 

160. SEMI CLOSE UP AT COUCH

As Raoul kneels beside Christine, stroking her

hands and calling upon her to speak to him.

He is greatly worried over her condition.

 

160-A C.V. OF CHRISTINE.

 

As she slowly opens her eyes ... then starts

in amazement as she sees:

 

160-B C.V. OF RAOUL.

As he looks down at Christine with a tender

yearning expression.

 

CLOSE UP AT COUCH.

 

Raoul seeing Christine is conscious, carries

her hand to his lip. She is thrilled by the

contact. He pleads earnestly:

 

"CHRISTINE, MY DARLING ....

WHY DID YOU RUN AWAY FROM ME?"

 

BACK: Christine is too confused for words.

She just stares at him with trembling lips.

 

 

C.V. OF RAOUL

 

As he smiles down at her with a love hunger

that shows in his eyes. Then he continues:

 

"THEY TOLD ME YOU HAD LEFT PARIS ...

THAT YOU NEVER WISHED TO SEE ME

AGAIN...BUT I KNEW THEY LIED! TELL

ME THEY DID, DARLING!"

 

C.V. OF CHRISTINE.

 

Fear suddenly shows in her eyes. She chokes

up. She attempts to arise.

 

CLOSE UP AT COUCH

 

Christine in her terror, tries to push Raoul

away as she pleads:

 

 

"MONSIEUR! HOW DARE YOU! WHY,

I DON'T EVEN KNOW YOU!"

 

 

BACK: Raoul gasps in amazement for the moment.

Then the tender look comes back into his eyes.

He believes she is delirious. He captures her

hands and gently forces her back, saying,

pleadingly:

 

 

"YOU'RE DELIRIOUS, DARLING....DON'T

YOU KNOW ME! .....I'M RAOUL.......

YOUR SWEETHEART?"

 

BACK: Christine blinks curiously, as if dazed

and confused....her eyes still show fear. Raoul

bends over to kiss her.

 

 

C.V. INSIDE DRESSING ROOM DOOR.

 

As a doctor arrives with several of the curious

stage folk.

 

 

CLOSE UP AT COUCH.

Hearing sounds, Raoul straightens up with a

start and looks toward the door. Then worried

and perplexed, gets to his feet.

 

MED. SHOT IN DRESSING ROOM.

 

As the doctor asks the curious stage folk to

withdraw and they do so. The doctor then goes

over to the couch.

 

SEMI C.V. AT COUCH.

 

As the doctor feels Christine's pulse and

gives Raoul a curious look. Raoul drops his

eyes but remains standing there, a prey to

his confused emotions. The doctor feels

Christine's forehead and then as he is about

to open his case, Christine glances up and

sees Raoul. At that moment, Raoul looks at

her. His eyes plead. Fear returns to Christine's

eyes. She touches the doctor's arm and entreats

him:

 

"PLEASE ASK THE MONSIEUR TO WITHDRAW"

 

BACK:

The doctor turns toward Raoul whose face

shows pain. Raoul bows politely and exits and

Christine watches him go with madly beating heart.

 

 

DRESSING ROOM CORRIDOR.

MED. CLOSE VIEW OUTSIDE CHRISTINE'S DRESSING

ROOM DOOR.

 

As Raoul comes out filled with disappointment

and anguish. He looks about with unseeing eyes.

Then one of the ballet girls passes. Seeing the

handsome chap in evening clothes, she flirts

boldly, but Raoul doesn't even see her. Then

she turns up her nose and exits. As great as

his hurt is, Raoul cannot go even though he

makes several attempts.

 

LONG SHOT FROM REAR OF AUDITORIUM TOWARD STAGE.

 

The curtain is down. The auditorium looks like

a pouie had occurred. Scattered about are various

articles of masculine and feminine wear, buttons,

sashes, slippers, spectacles, cigarettes, cigars,

canes, boxes and flowers. There beneath the place

where the great chandelier hung is the wreckage

of the chandelier, dead and injured and smashed

seats. The dead are covered with sheets and a

hospital corps are rendering first aid to the

injured. Only a few men of the press are allowed

on the scene while a number of gendarmes hold back

a curious crowd. In one of the upper boxes a

man appears.

 

C.V. IN UPPER BOX.

 

The man is mysterious. He is the Persian.

He looks down on the scene of the tragedy.

 

SHOOTING DOWN FROM BOX ON SCENE OF TRAGEDY.

 

This is a flash on the Persian as he sees it

from box.

 

 

C.V. IN UPPER BOX.

 

The Persian shakes his head gravely at what

he sees. Then he turns and exits from box.

 

173. INT. MANAGER'S OFFICE.

MED. SHOT.

 

Debienne and Poligny are crushed and prostrated

over the tragedy. M. Lavelle, their Secretary,

who is likewise upset, is compelled to minister

to them.

 

 

SEMI C.V. OF GROUP & BLACKSMITH.

 

As the blacksmith, still carrying his hammer and

waving it for emphasis, says:

 

"CAESAR THE BIG WHITE STALLION YOU

USE IN "THE PROPHET" HAS VANISHED AS

IF THE EARTH SWALLOWED HIM."

 

SEMI C.V. OF GROUP & FLORINE.

As Florine shivering with terror, shakes:

 

"AND TH-T-THE GHOST! ---H-H-HAS

MURDERED JOSEPH BUQUET!"

 

INT. MANAGER'S OFFICE. . AS IN 173.

Both the managers gasp in horror and collapse

limply in their chairs.

 

INT. DRESSING ROOM CORRIDOR. AMBER

 

The corridor is now empty except for Raoul. He is

pacing the corridor in agony of mind. Something

terrible has happened to Christine. He hears a

movement and disappears around the corner of the

corridor just as the physician enters from

Christine's dressing room and exits. Raoul

immediately re-appears and hurries to the dressing

room with the intention of waiting for Christine

and getting an explanation of her strange attitude

toward him.

 

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

 

As Raoul approaches the door, intending to go in

and demand an explanation. However, as his hand

is about to close about the latch, something

halts him. He just stands there in an attitude

of hopelessness and despair.

 

INT. CHRISTINE'S DRESSING ROOM.

SEMI C.V. OF CHRISTINE.

 

relaxing on couch before large mirror. She,

too, is sad and upset. There are tears in her

eyes.

 

INT. PASSAGEWAY BEHIND MIRROR.

Suddenly a shaft of light appears. It grows

wider, revealing a sliding door. Then a figure

in evening dress, wearing a black mask, enters

carrying a candelabra and a violin. He

comes to the foreground where he manipulates some

machinery on the wall and presses close to the wall

with his masked face.

 

SEMI C.V. CHRISTINE ON COUCH.

Suddenly part of the mirror behind her becomes

transparent, revealing the upper portion of the

masked face.

 

INT. PASSAGEWAY BEHIND MIRROR.

 

The masked man is looking thru the reverse of

mirror. He then operates the machinery and the

transparent space thru which can be seen Christine

on her couch, becomes opaque. The figure lifts

his violin and starts to play.

 

SEMI C.V. CHRISTINE ON COUCH.

 

She hears the music and listens enchanted. Then

she smiles thru her tears.

 

INT. PASSAGEWAY BEHIND MIRROR (FLASH)

The masked man is playing the violin.

 

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

 

Raoul too has heard the music. He listens with

growing perplexity. Yet he is fascinated.

 

 

INT. PASSAGEWAY BEHIND MIRROR.

The masked man stops playing. Then he says:

 

 

"SING FOR ME AGAIN CHRISTINE-SING

ME A SONG OF LOVE!"

 

SEMI C.V. OF CHRISTINE ON COUCH.

She lifts a radiant face as though hypnotized.

Then she arises and starts to sing.

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

Raoul is amazed by the sound of Christine's

voice and that of a man inside her dressing room.

He listens intently.

 

CLOSE UP OF CHRISTINE.

As she sings with all of her being.

 

 

INT. PASSAGEWAY BEHIND MIRROR.

 

The masked man who is playing violin, stops

playing and says:

 

 

"NO PRESIDENT EVER RECEIVED SO FAIR

A GIFT. WHEN YOU SING, THE ANGELS WEEP."

 

 

C.V. CHRISTINE.

 

Her whole being is warmed and elated by the

praise. She says:

 

 

"WHEN I SING FOR YOU, I GIVE YOU

MY SOUL."

 

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

 

Raoul's eyebrows arch with a sudden surprised

understanding, having heard a man's voice. He is

astonished and curious. He had left the room an

instant before and no man except the physician was

there. He draws closer to the door and as he

continues to hear, he shows more astonishment and

bewilderment. Then afire with jealous suspicion,

he is about to put his hand on the latch to

confront Christine and the unknown man when some-

thing he hears halts him.

 

INT. PASSAGEWAY BEHIND MIRROR.

The masked man speaks:

 

"CHRISTINE, YOU MUST LOVE ME! ....

I HAVE DECREED THAT YOU SHALL BE

THE PRIMA DONNA...FROM THIS NIGHT

ON."

 

C.V. OF CHRISTINE (FLASH)

She is all aglow with a divine feeling and

happiness.

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

 

Raoul is wild with jealous rage. He will burst

in the door and cause a scene He draws back to

leap at the door. Then his heart sinks. His

shoulders sag. He turns away and moves down the

corridor. He is in the depths of despair.

 

 

MOVING SHOT DOWN CORRIDOR.

 

Raoul is in close up as he walks...aprey to

jealousy and rage. As he gets to the cross

corridor, a wild idea registers in his expression.

He glances back toward dressing room door. Then

toward shadows. He will watch and see. PAN as

Raoul ducks around corner of corridor.

 

 

INT. CELLAR #4 (FAINT GREEN)

 

As the Persian enters scene from rear behind

some obstacles and comes toward camera, looking

behind curiously and furtively.

 

 

DRESSING ROOM CORRIDOR.

 

At the cross corridor in foreground waits Raoul

in a jealous rage as he watches up corridor toward

Christine's dressing room. Then he is rewarded

for Christine, wrapped in her fur cloak and her

face covered with a veil, comes out of her dressing

room and hurries toward camera. Raoul ducks back

and watches as Christine passes his place of hiding

without seeing him. She passes corner and he

watches after her. Then filled with a jealous rage,

he darts out and dashes toward her dressing room.

 

SEMI C.V. OUTSIDE DRESSING ROOM DOOR.

As Raoul dashes up. There is murder in his heart.

He draws his sword (for he has been in full military

dress) and bursts upon the door.

 

INT CHRISTINE'S DRESSING ROOM. AMBER

 

A gas light is burning near the closet door. Raoul

rushes into the room. It is empty. He supposes

that the man is there. He looks under the couch

and sees no one is there. He looks into the closet.

He feels the walls as if they hold some secret.

Then he pauses to think.

 

 

C.V. OF RAOUL.

 

He has paused in the midst of his blind rage

to wonder. Is he losing his mind...has his ear

deceived him? He suffers chagrin and sheathes

his sword. Then the thought occurs to him that

he will overtake Christine and demand an

explanation.

 

 

INT. CHRISTINE'S DRESSING ROOM.

 

As Raoul puts his thoughts into action and rushes out.

 

 

INT. DRESSING ROOM CORRIDOR. AMBER

 

As Raoul runs into the scene from Christine's

dressing room, a solemn procession enters from

the stairs leading to the first cellar. Two men

are carrying the body of Joseph Buquet upon a

stretcher. Buquet's face is covered with a handker-

chief which has been dampened and will cling closely

to his face. There are five other stage hands and

the procession including Simon and Florine.

Simon leans heavily on two companions-stage hands and

sobs silently. All have their heads down. As

procession comes from the cellar, moves toward the

stage, interrupts Raoul's hasty exit and delays

him. He slows up his pace and bows his head in

the presence of death.

....FADE OUT.

 

RAOUL HAD FOUND CHRISTINE ONLY TO

LOSE HER AGAIN....FOR THE OPERA

HOUSE HAD CLOSED FOR TWO WEEKS

AND HE KNEW NOT WHERE SHE LIVED.

 

 

EXT. OF OPERA HOUSE..REAR STAGE DOOR

 

On the stage door is a sign in French which reads,

"Closed for repairs" nearby waits a barouche and

in it sits Raoul. A gendarme passes casually, looks

at Raoul and moves on.

 

 

C.V. IN BAROUCHE

 

Raoul is waiting impatiently and filled with despair.

His eyes have a haunted look.

 

C.V. OF STAGE DOOR

 

It opens and M. Lavelle, secretary to the managers,

comes out with a portfolio and starts off.

 

 

C.V. IN BAROUCHE

Raoul's eyes light up with a start of hope. He

hails Lavelle who is off scene and hurries to get

out of the barouche.

 

 

SEMI C.V. BY WALL OF OPERA HOUSE.

 

Lavelle has halted and is waiting with a knowing

look and somewhat annoyed. Then Raoul enters

scene with a hopeful look. He produces a letter

and hands it to the other. Lavelle shakes his

head in the negative and refuses to take it.

Raoul pleads and the other still refuses.

Then Raoul produces money. Lavelle weakens.

Raoul chooses a large note and places it with

the letter, forces it into Lavelle's hand, gives

him a smile and a pat and exits. Lavelle

looks after him, still undecided, then he

shrugs his shoulders and pockets the money,

exits.

 

 

SEMI C.V. OF BAROUCHE.

 

As Raoul climbs back in and with a happy smile,

orders driver to drive off. They drive off scene.

 

FADE OUT

 

 

FADE IN.

EXT. IN PARIS STREET. BLUE. QUICK FADE IN.

 

This is the night life section of the Quarter. It

is a public corner in front of an old workingman's

cafe. Aside from the night life on the street,

parties of men and women (principally men) are

entering and leaving cafe. Beggars and thieves

and characters. There is a group of about fourteen

working men upon the corner. Simon and Florine

are in the center of group. The group is

listening to Simon who is haranguing them and the

smaller section listening to Florine who is describing

the discovery of the body.

 

MED. CLOSE UP SIMON AND HIS GROUP. BLUE

 

The working men, interesting characters, are

listening intently to Simon. They are his friends.

The speaker is excited and emphatic. As he

speaks others join the group. Simon is saying

emphatically:

 

"THE POLICE ARE BAFFLED AND THE

MANAGERS BELIEVE THERE IS A GHOST.

I TELL YOU...SEE GHOSTS DON'T

CARRY STRANGLER'S LASSOS!"

 

BACK: The men listen and show by their manners

that there is logic in his statement.

 

MED. CLOSE UP FLORINE'S GROUP. BLUE

 

Florine has become quite an important person.

From a mere assistant scene shifter, he has become

the man who first discovered the body. Florine

is pantomiming his discovery of the body, miming

some of the harrowing details. He goes thru this

with an air of sweeping bravado. The others

are listening in childlike wonder. They envy him.

 

MED. CLOSE UP SIMON'S GROUP. BLUE

 

Simon is trying to get over to the others the

importance of their own danger. He tells them:

 

"HOW ARE WE GOING TO PROTECT

OURSELVES AGAINST THE MONSTER....

WHO KNOWS WHICH ONE OF US WILL BE

HIS NEXT VICTIM?"

 

MED. CLOSE UP SIMON AND HIS GROUP. BLUE.

Florine is in the act of making an extravagant

gesture but when he hears that last line he stops,

his gesture half completed. All look towards

Simon, Florine holding his gesture.

 

 

CLOSE UP FLORINE. BLUE.

A silent shiver runs thru him. A sickly look

comes over his face.

 

QUICK FADE OUT.

 

QUICK FADE IN.

INTERIOR CHRISTINE'S BEDROOM.

 

She is seated near the window, in the depths of

despair and melancholia. As she breaks into sobs,

Mme. Valerius enters the door and stands looking

with sympathy and pity at her.

 

MME. VALERIUS, CHRISTINE'S GRANDMOTHER

 

C.V. OF MME. VALERIUS.

 

As she looks with pity and understanding, then

starts toward Christine.

 

INTERIOR CHRISTINE'S BEDROOM.

 

As Mme. Valerius crosses to Christine and seating

herself beside her, pulls her over on her breast.

Then she pats and comforts her, stretching her hair

and wiping the tears from the corners of her eyes

and speaking words of cheer. Christine looks up in-

to her grandmother's eyes and with an expression

of intense agony and pleading, she sobs:

 

"I LOVE HIM, GRANDMA.... I'M SURE OF

IT BUT...TELL ME...IS IT WORTH IT...

THIS SACRIFICE I HAVE MADE?"

 

 

BACK: Her grandmother hugs her tightly - then

lifting up her chin and facing her with a serious

pity expression, says:

 

"IF YOU WERE OF THE NOBILITY, YOU

COULD GIVE RAOUL THE LOVE OF A WIFE....

WOULD YOU BE CONTENT TO GIVE HIM THE

LOVE OF A MISTRESS?"

 

 

BACK: Her grandmother - as Christine shudders in

horror and shaking her head in the negative, clings

to her grandmother in terror. The latter whose heart

yearns for the welfare of the sweet young girl

continues to comfort her. Suddenly both start as they

hear:

 

 

EXT. MME VALERIE HOME

Showing Lavelle knocking on door.

 

 

C.V. OF LAVELLE

As he produces Raoul's letter and looks at the

letter with a knowing grin.

 

INT. LIVING ROOM. MME. VALERIUS

Mme. Valerius is just in the act of opening the

door and M. Lavelle enters with a cheery smile.

 

SEMI C.V. NEAR DOOR.

 

As Mme. Valerius greets Lavelle. The latter

produces Raoul's letter and hands it to the

woman. As he starts to explain about it,

Mme. Valerius places her finger to her lips

quickly to caution him. Then shaking her head

in the negative with a warning expression that

Christine must not know, she quickly hides the

letter in her bodice.

 

 

INT. CHRISTINE'S BEDROOM.

 

Christine has heard voices and curious, she arises

and exits.

 

MED. SHOT IN LIVING ROOM.

 

Mme. Valerius and Lavelle hear Christine coming.

The woman again registers a look of warning. Then

Christine enters. She greets Lavelle who is very

nervous and uncomfortable and anxious to get away.

Her wistful look is suddenly illuminated by a

hopeful smile. She presses her hands together and

says:

 

 

"YOU BROUGHT ME SOME MAIL."

 

 

BACK: He is confused and tongue-tied: he looks

toward Mme. Valerius whose eyes show warning.

He recovers his poise, a bit, and shakes his head

in the negative, Christine's face falls and she

swallows hard. Lavelle takes the chance to get

away. He places his hand on the door latch and says:

 

"I CAME TO TELL YOU, THE OPERA HOUSE

WILL RE-OPEN A WEEK FROM TODAY."

 

 

BACK: Christine nods but her mind is far away.

Lavelle bows, then exits.

 

SEMI C.V. CHRISTINE & GRANDMOTHER.

 

Two tears roll down Christine's cheeks. The other

swallows hard. She just cannot be cruel. She

pulls the letter from her bodice and pushes it

up with Raoul's letter. As Christine sees it, her

face is transfigured with joy. She seizes it

eagerly. Then is swept into her grandmother's

arms. When the other releases her, Christine

hungrily tears open the envelope and reads:

 

INSERT LETTER

MY DARLING CHRISTINE:

 

WOULD YOU BREAK THE HEART OF ONE WHO

LOVES YOU DEVOTEDLY? CAN YOU DENY

HIM THE MEMORY OF YOUR SWEET PERFUME?

CAN YOU FORBID HIM THE WONDER OF YOUR

VOICE?

 

PLEASE SEE ME!

 

YOUR IMMEDIATE SLAVE

RAOUL..

 

 

BACK: Christine looks up from the letter, all

thrilled with the wonder of it. She is wild with

joy. She cries out her joy, then runs from the scene.

 

 

INT. CHRISTINE'S BEDROOM

 

As she runs in simply overcome with joy and prepares

to answer Raoul's letter.

 

 

CLOSE UP OF CHRISTINE AT DESK.

As she starts to write the letter.

LAP DISSOLVE INTO

 

INSERT OF LETTER

DEAREST RAOUL: I feel that I must

answer you today, as I'm going

to Perros to fulfill a sacred duty.

Tomorrow, is the anniversary of my

father's death. He is buried on the

slopes where we played together as

children and not far from the spot

where we said good-bye for the last time.

 

Hopefully

Christine.

FADE OUT.

 

 

AT PERROS, BY THE SEA

 

FADE IN.

EXT. GARDEN AT PERROS. QUICK FADE IN.

 

The location is a quaint little garden in Brittany.

In the b.g. looking over a low garden wall is the

ocean. Upon the left is a little Inn. The Inn of

the Setting Sun. On the right there is a little

arbor. Christine is discovered, occupied with

thoughts of long ago. Christine's dress is so

conceived that it will lend to the spiritual quality

of her character. She is sad and passive and looks

a frail little figure.

 

MED. CLOSE UP CHRISTINE.

 

Her spirituality and the mystery surrounding her are

brought out. She sees someone approaching and is

enveloped in a complexity of emotions. She loves

Raoul and her eyes twinkle. She fears the meeting

and her heart aches, yet she yearns for it and she

runs toward the wall.

 

A LONGER SHOT.

 

With glad anticipation - Christine runs to the

low wall. Raoul runs in and jumps over the wall

and starts panting before her.

 

MED. CLOSE UP RAOUL AND CHRISTINE.

 

Eagerly he devours her with his eyes and is about to

take her into his arms. It is plain to be seen

that she is his for the taking. However, he is

suddenly choked by an onrush of jealousy and his

arms drop to his side. He speaks to her

impetuously:

 

"WHY DIDN'T YOU WISH TO RECOGNIZE

ME IN YOUR DRESSING ROOM?... WHY

WERE YOU SO ANXIOUS FOR ME TO GO?"

 

 

BACK: The bright eagerness dies out of her eyes.

She stands staring at Raoul without replying.

She cannot answer because there is too much to

explain. 'You don't answer' he indicates

unhappily. Then with an outburst of jealousy

and suspicion, he exclaims:

 

"I'LL ANSWER FOR YOU! ..IT WAS

BECAUSE THERE WAS ANOTHER WITH YOU...

A MAN FROM WHOM YOU MUST HIDE OUR

ROMANCE!"

 

BACK: Christine's eyes dilate wider in

horror and amazement.

 

 

C.V. OF RAOUL.

 

As he raves on with jealous suspicion:

 

 

"DON'T FEIGN SURPRISE! ...I HEARD

HIS VOICE!...I HEARD YOU SAY 'TONIGHT

I SING ONLY FOR YOU ...I GAVE YOU MY

SOUL'".

 

 

CLOSE UP RAOUL & CHRISTINE.

 

At these words from Raoul, a deathly pallor spreads

over Christine's face...she almost faints. Raoul

becomes conscious of his odious behavior and seeks

to apologize. Then suddenly her eyes moisten and

two great tears roll down her cheeks. Raoul tries

to take her in his arms, but she escapes and flees

in great disorder. Raoul calls after her, then

angry at himself...turns and gazes, gloomily out

over the sea.

 

ANOTHER SECTION OF THE LITTLE GARDEN.

 

As Christine flees into scene from behind camera.

Then she steps and turns around revealing that she

is sorry she ran away. She makes up her mind

to explain everything to him...exits back behind

camera.

 

 

SEMI C.V. AT GARDEN WALL

 

Raoul is gazing despondently out to sea when Christine

slips up behind him. She is smiling again. She

touches his shoulder. He turns with a start, then

smiles and captures her hands. He starts to pull

her to him, when she says:

 

"I WANT TO EXPLAIN EVERYTHING TO YOU"

 

BACK: Raoul is at once interested. He releases

her hands and permits her to tell him of the past.

She leads him off scene.

 

A LONGER SHOT.

Christine leads Raoul to the little arbor on the

right. Both sit down upon the moss covered bench.

 

MED. CLOSE UP RAOUL AND CHRISTINE.

 

He is sorry for the pain he has caused her. He

begs her forgiveness and tries to take her into

his arms. She repulses him gently. The moment is

too serious for this. The tears trickle down her

cheek as she begins to speak:

 

"YOU REMEMBER THAT WHEN WE WERE

CHILDREN, MY FATHER TOLD US OF THE

ANGEL OF MUSIC...HOW WHEN HE VISITED

PEOPLE, THOSE PEOPLE HAD GENIUS?"

 

BACK: Raoul nods in the affirmative and listens.

 

C.V. OF CHRISTINE

 

She continues in an exalted manner:

 

"RAOUL, MY FATHER PROMISED TO SEND

ME THE ANGEL OF MUSIC FROM HEAVEN

AND HE HAS!"

 

SEMI CLOSE UP OF CHRISTINE & RAOUL.

Raoul is startled and looks at her stupidly, then

incredulously - then suspiciously. Christine does

not observe the reaction in him. She continues

more lightly than before.

 

 

"IT WAS HIS VOICE YOU HEARD. HE

VISITS ME NIGHTLY IN MY DRESSING

ROOM TO GIVE ME MUSIC LESSONS."

 

BACK: Raoul bursts out laughing - a mad laugh -

and to Christine, a rude, insulting laugh. She

draws away from him with a hostile air. He tells

her with intensity:

 

"CHRISTINE SOMEBODY IS MAKING A

GAME OF YOU."

 

 

BACK: She cries out at him and her eyes flash.

She is deeply hurt. She thinks that he does not

believe she is an honest girl. Then she leaps to

her feet and runs away. Raoul pursues.

 

LONGER SHOT OF GARDEN.

 

As Raoul pursues Christine to the Inn door where

he grabs and detains her.

 

 

SEMI C.V. OUTSIDE INN DOOR.

 

As Raoul tries to placate Christine. He releases

his hold on her arm, whereupon she gives him an

angry look and without replying, enters the

Inn door and slams it in his face. Raoul is

chagrined and disappointed. He curses the luck

then moves away sadly.

 

......FADE OUT.

 

FADE IN

EXT IN GARDEN AT PERROS. BLUE SLOW FADE IN.

 

It is night of the same day. The play of light

and shadow makes a beautiful but depressing scene.

There is a stage background. At first, the heaven

is filled with stars. Then as the full moon

begins to rise over the horizon, the stars begin

to fade and long shadows creep out into the garden.

Raoul is sitting in the little alcove just where

he was left. He is downcast and gloomy. His

attention suddenly becomes centered. The door

opens - The door to the Inn and he arises. Slowly

the door opens and Christine enters, dressed all in

white. Her eyes are fixed and look into space. She

moves like one walking in her sleep. Raoul

who is in foreground, watches Christine exit with

growing suspicion. Then he follows her with

caution.

 

 

EXT. IN GRAVEYARD AT PERROS. BLUE

 

This is a country graveyard beside a little church

in Brittany and it must be so conceived that it

will seem reasonable to appear it joins the

garden. Skeletons and skulls by the hundreds are

heaped against the wall of the church. The full

moon throws its light upon the scene. Christine

enters like a sleeping walker and picks her way

amongst the graves. Raoul enters a short distance

behind and follows her at a distance. Christine

finally stops before a grave with a moss covered

headstone and kneels.

 

 

MED. CLOSE UP CHRISTINE. BLUE

 

In this shot a part of the inscription upon the

headstone may be read:

HENRIK DAAE

and under this 182... (and the last

numeral obliterated and entire death data

obliterated.)

 

Christine makes the sign of the cross and begins

to pray.

 

MED. CLOSE UP RAOUL. BLUE.

 

He is watching her intently. He feels a tender

pang of sympathy for this lone girl praying at

her father's grave. Suddenly Raoul raises his

head in an attitude of listening. He is puzzled.

He can't locate the source of the sound.

 

 

BEHIND THE WALL OF THE SACRISTY.

Discovered the Phantom wearing his mask and

long cloak. He is playing his violin.

 

 

CLOSE UP OF CHRISTINE AT GRAVE.

 

She slowly raises her head. Her face is trans-

formed and transfigured with awe and ecstasy

as she listens.

 

 

BEHIND WALL OF SACRISTY. (FLASH)

The Phantom playing the violin.

 

 

SEMI C.V. OF RAOUL.

 

He is startled and dismayed for he hears the

same strange melody that he had heard outside

Christine's dressing room door. Then as he

listens, his passion arises - in a jealous frenzy.

 

BEHIND WALL OF SACRISTY (FLASH)

The Phantom stops playing and peers over the

wall of the sacristy.

 

245. SHOT OF CHRISTINE AND RAOUL BLUE.

 

Christine's face is radiant. She turns and winds

her way out of the graveyard and she is in the same

mood that she entered. Raoul's eyes follow Christine

for a second. Then again he begins to search for

the source of the music with his eyes. He

thinks he hears a noise in the direction of the bone

heap and he takes two or three steps in this

direction.

 

246. ANOTHER SHOT. BLUE.

This is shooting upon Raoul's back with the bone-

heap in the near background. Raoul is walking

toward the bone heap when he comes to a sudden stop.

 

247. C.V. BEHIND SACRISTY WALL.

 

The Phantom laughs a fiendish laugh.

 

 

248. SEMI C.V. NEAR SACRISTY WALL AS IN 46

 

Raoul suddenly draws his sword and advances

toward the wall. As he does so, one skull rolls

from the bone heap and topples along the ground to

his feet. Then two more tumble toward him in

the same fashion

 

249. CLOSE UP RAOUL. BLUE.

He is puzzled and in a measure horrified. A

half dozen skulls roll in and increase the pile

at his feet. He takes a step backward as if

they were obnoxious to him. Then with a start

he glances offscene at his right.

 

250. MED SHOT OF GRAVEYARD.

As a strange shadow moves rapidly thru the

grave stones.

 

251. C.V. RAOUL.

 

He is startled but brave. He starts in pursuit.

 

 

252. MED. SHOT OF GRAVE YARD.

 

As Raoul pursues the moving shadow.

 

 

253. ALLEY SHOT AROUND CHURCH

As we follow Raoul with camera - as he rounds

corner of church, he sees the Phantom in

the long cloak, just about to enter the church door.

Raoul halts.

 

 

253-A C.V. OF RAOUL.

He shouts:

 

"STOP! OR I'LL CLEAVE YOU IN TWO!"

 

253-B C.V. OF THE PHANTOM

His back to camera. He suddenly turns, revealing

a skull for a head.

 

254. SEMI C.V. AT CHURCH DOOR.

 

Raoul gasps and the sword drops from his hand.

The Phantom turns and vanishes inside the church.

Raoul stares in dismay and horror.

 

FADE OUT.

 

 

TITLE WHEN THE OPERA HOUSE REOPENED, IT

WAS CHRISTINE DAAE SINGING MARGUERITE

AS THE GHOST HAD PROMISED. FOR THE

DYNAMIC CARLOTTA WAS TOO UPSET TO

APPEAR.

 

255. MED CLOSE UP CHRISTINE. AMBER

 

There is an ecstatic expression upon her face.

She is experiencing a great sequence. She begins

to sing, looking afar off. She is singing to her

good genius.

 

256. MED. CLOSE UP LOOKING TO STAGE. AMBER

 

The house is dark. The footlights are lit and

the orchestra is playing while the audience waits

in suspense. The Curtain rises, disclosing

Christine as Marguerite kneeling before the Shrine

in the Church.

 

257. SEMI C.V. IN RAOUL'S BOX.

 

He is all alone. Raoul is leaning forward,

watching her as if hypnotized and filled with

strange emotions. There is no doubt but that

he loves her intensely and though thrilled

by her singing, he suffers from the memory

of their parting at Perros.

 

258. MED. CLOSE UP OF CHRISTINE. AMBER

 

She is singing in the same strange way, as if

she were hypnotized.

 

259. SEMI C.V. IN RAOUL'S BOX

 

As Raoul watches intently, he is suddenly

interrupted by the appearance of an usher who

hands him a card and exits. Raoul's eyes

light up with hope as he looks on the card.

 

 

INSERT CARD (IN RAOUL'S FINGERS)

 

WEARING THE DE CHAGNY CREST AND

UPON WHICH IS ENGRAVED "COUNT

RAOUL DE CHAGNY" BELOW HIS NAME IS

WRITTEN "PLEASE SEE ME?,

RAOUL."

 

 

RAOUL'S fingers turn the card over impatiently,

revealing on the other side, Christine's answer.

 

NOTE ON BACK OF CARD.

 

If you love me you must never see

me again.

 

BACK: Raoul starts in dismay and looks out toward

the stage. Then a look of jealous rage fills him.

His jaw set with determination, he arises and

exits from the box.

 

260. INT. BOX CORRIDOR

As Raoul comes out of his box and exits through

door to stage at rear.

 

261. LONG SHOT OF CHRISTINE. AMBER

 

It is evident that Christine has finished her aria.

The audience is a tumult of applause.

 

262. INT. DRESSING ROOM. CORRIDOR TOWARD STAGE.

 

As Raoul enters in a blind, jealous anger. At

that moment the Persian comes by ext of the

cellar. The two almost collide, then stop and

look at each other.

 

 

MED CLOSE UP RAOUL & PERSIAN AMBER.

The two men stop and look at each other, just for

an instant, one look, but in that look the Persian

expresses a friendly compassion for Raoul. The

Persian then passes on toward the stage; Raoul

looks after him. It strikes Raoul with sudden

force that perhaps this Persian is Christine's

Angel of Music. Raoul shows his suspicions and

again turns toward Christine's dressing room.

 

 

INT. DRESSING ROOM CORRIDOR...AMBER.

 

Raoul raps at Christine's door. As there is no

response, he tries the knob. The door is unlocked

and he exits...into the dressing room.

 

 

INT. CHRISTINE'S DRESSING ROOM AMBER

Raoul enters and finds a gas light burning but

the room is empty. He still holds the suspicion

occasioned by his meeting with the Persian. He

looks about the room angrily, then sits down

on the edge of the couch to wait.

 

 

INT. AUDITORIUM...SHOOTING STAGE ONLY. AMBER

It is a beautiful tableau - of the angel bearing

Marguerite up to heaven. Faust is on his knees

praying, Mephistopheles is crouching as the

Archangel confronts him with the flaming sword of

the cross. The scene is ended and the curtain falls.

 

 

SHOOTING PROM STAGE...AMBER

This is a shot of the entire orchestra. The

lights are flashed on. The vast audience responds

in a great emotion for the new Marguerite. After

the French style, they are wild with acclaim.

 

 

INT. AUDITORIUM AMBER

 

This is a very long shot. The curtains at the

corner are drawn back for a curtain call. Christine

Daae appears alone, a diminutive little figure

upon which thousands of eyes are focused. The

audience is giving her a great ovation.

 

FULL FIGURE OF CHRISTINE. IN CLOSE UP

 

As she acknowledges the applause in a nervous

bewildered sort of way Then she vanishes

through the edge of curtain out of sight.

 

INT. CHRISTINE'S DRESSING ROOM

 

Raoul becoming angrier every moment. Then he

arises. He will go. As he moves to the door, he

stops as he hears:

 

DRESSING ROOM CORRIDOR.

 

As Christine comes happily down the corridor,

her arms laden with flowers and accompanied

by a group of admiring ballet girls who shower

her with praise.

 

INT. CHRISTINE'S DRESSING ROOM.

 

Raoul looks about in a panic. Then he decides

he will hide. He conceals himself in her closet

just in time, for the door opens and Christine

enters. She waves good-bye to the ballet girls

and closing the door, crosses quietly to her

mirror, where she hugs the flowers happily.

 

MED. CLOSE UP AT CLOSET DOOR. AMBER.

 

Raoul is looking at her from the closet. He takes

a step forward to go to her, then sees a change in

her which causes him to pause.

 

MED. CLOSE UP CHRISTINE...AMBER

 

A strangeness has come over Christine. She

raises her head in an attitude of listening. Her

eyes seem to be fixed upon space.

 

PASSAGE WAY BACK OF MIRROR.

As the masked Phantom plays his violin.

 

 

CLOSE SHOT IN CLOSET.

 

Raoul is suspicious yet puzzled. He feels that he

is about to witness the proof of her perfidy.

He watches intently.

 

 

CLOSE UP OF CHRISTINE BEFORE MIRROR.

 

She stretches out her arms toward the mirror and

with an exalted look, says:

 

"I AM HERE, ANGEL OF MUSIC."

 

BACK: The glass begins to quiver. A dozen images

of Christine are seen, all quivering. Christine

herself is terrified. She gropes blindly at

a long white drape hanging beside the mirror.

The terrified Christine disappears through the mirror

and is gone with the mirror hanging and the

torn drape with her.

 

 

A LONGER SHOT AMBER

 

Raoul runs into the room from the closet. He

pounds at the glass with his fists. He tries to

move it. He strikes at the walls wildly. Then,

worn out, empty-brained, he takes up a chair and

with all his strength, hurls it at the mirror.

The chair is shattered and the mirror uninjured.

Then exhausted, he sinks down upon the couch and

buries his face in his hands.

 

INT. PASSAGEWAY. BACK OF MIRROR (FAINT GREEN)

 

Christine finds herself in a gloomy passage

lighted by a single ray of light which comes

from some unseen source. Christine clutches the

drapes - bewildered and terrified - but she does

not cry out. She looks ahead of her in the

direction of the improvised runway, but she does

not look directly downward. Then she turns to

the mysterious door thru which she has just

entered. Near her from below a long arm is

extended into the scene. The fingers of the hand

are held close together, stiff and straight. The

hand itself is not made up for a skeleton's hand,

but merely to suggest one slightly. Then, without

a step, the figure of Erick moves upward into

scene, without motion on his part as if he were

being lifted upon an elevator. Erick wears

a black mask covering his eyes and nose. The

eyes seem to be two black holes. The part of

the face that is visible, the chin and the

mouth, is hideous. There is practically no

hair on the head. He is dressed all in black,

his own peculiar fashion of evening

clothes. The whole is covered by a long black

cloak.

 

Erick extends his hand and grasps Christine by

the wrist. She stands motionless, burned to

stone, but does not turn her eyes upon him yet.

 

A STONE COLD HAND THAT

SMELLED OF DEATH!

 

 

BACK: Christine screams in sudden hysterical

terror and looks up into his face. She screams

and begins to fight him hysterically. This

scene is played very rapidly.

 

 

A LONGER SHOT. FAINT GREEN

This shot shows an improvised runway with the

exit in the left f.g. In the b.g. can be seen

the machinery of the mirror, the two counter-

pieces, etc. One of Erick's feet is still

resting upon one of the counterpieces to explain

how he came to be elevated into the picture.

He rode up upon the moving counterpiece.

Christine is fighting him hysterically. He takes

her bodily in his arms. The drape is partially

folded about her.

 

 

CLOSE UP ERICK & CHRISTINE. FAINT GREEN

 

As Christine struggles and screams, Erick's

skeleton hand closes over her mouth. When her

horrified eyes catch sight of Erick's face

close to hers, she partially swoons but does not

entirely lose consciousness. (This screaming is

employed to key the scene down so that it can

again be keyed up when Christine enters Erick's

abode.) There must be this transition here,

because if Christine continues to oppose

Erick, she would not sit willingly upon the

white stallion nor row quietly in his arms in

the boat.

 

A LONGER SHOT. FAINT GREEN.

Christine in his arms, Erick sweeps over the

improvised runway with her and exits to the left.

The long drape is floating after them.

 

 

INT. BRIDGE IN CELLAR. FAINT GREEN.

 

Erick swoops in on the bridge from the right,

carrying Christine, the drape floating behind

them. Christine is pliable in his arms,

half in a swoon. Christine is reluctant. Erick exits

with her to the left. The scene changes by employ-

ing a traveling iris. As one picture irises out

of one corner,

the next simultaneously irises in another.

Thus there is not an instant of blank screen.

These irises should always travel in the

direction of the action. (It is suggested

that in each of these lapses, the fade-outs

be taken three ways, by lap dissolving, fading

and the moving iris.)

 

INT. CELLAR BLANK CORRIDOR. FAINT GREEN.

MOVING IRIS IN

 

Caesar, the great white stallion is tethered

here and beside him upon the floor is a lantern.

With a gliding motion, Erick, Christine in his

arms, moves to the horse. As he lifts her upon

the horse's back, Christine mildly resists, but

fixes herself upon the horse, and remains there.

Erick takes up the lantern and leads the horse

out, the long drape making a picture.

 

MOVING IRIS OUT

 

CONCAVE WALL SET FOR SHADOW EFFECT. FAINT GREEN

MOVING IRIS IN

 

A distorted shadow of Christine upon the horse

and Erick leading it. While the horse and Erick

are walking the shadow does not move off the screen.

The shadow stays in one spot.

 

KEY SET FOR EXPLANATION SHADOW EFFECT. FAINT GREEN

 

This is shooting through a doorway upon a circular

corridor showing how the distorted shadow effect is

produced by the lantern Erick carries.

 

MOVING IRIS OUT.

 

 

CROSS SECTION SHOT OF THREE CELLARS. FAINT GREEN.

MOVING IRIS IN.

 

This shows diagonal runways leading from one

cellar to another. Erick leading the horse

carrying Christine, is in the middle cellar

of the three. He leads the horse around the

turn and starts down the runway toward the

bottom cellar. MOVING IRIS OUT.

 

 

INT. ON LAKE #1 FAINT GREEN

 

This first shot is looking from the distance

over the still waters to the approach in the

b.g. Behind the boat and the landing place,

there is quite a deep view into the cellar

approach. This is for the end drama with the

mob. A boat, moored in front of this approach,

has a fantastic shape, say a Venetian line, and

is painted black.

 

Erick enters leading horse. This is all in b.g.

He places the light in the boat, takes Christine

in his arms and as he does so, the horse exits as

if by habit. Erick steps into the boat with

Christine and the drape. With his free hand, he

takes a long pole and gives the boat one shove. He

glides toward the camera into the darkness, the

drape floating upon the water in its wake.

 

LAKE SHOT NO.2 FAINT GREEN

 

This is the big lake shot. This shoots from the

light into the darkness. The boat glides in from

the darkness, the figure in it motionless. The

boat glides up to two or three stone steps before

a deep stone casemented door in the masonry on

the left. The boat comes to a stop before the

steps. Erick pulls a ring attached to a heavy

chain, hanging from a hole in the masonry. The

heavy door swings open and Erick and Christine

is lying in his arms as a flood of dazzling light

shows she is in his arms limply and without any

movement of resistance. She is like one in a dream or

stupor. Erick carries her from the boat through

the door.

 

INT. ERICK'S DRAWING ROOM. AMBER

Following are the elements in this room for

the action:

 

1- Opening from it thru a bread vaulted opening

is a music room in which is an organ, violin,

musician's composing stand.

 

2- The door to the lake landing.

 

3- The door to Erick's bedroom.

 

4- A short flight of steps leading up to a

screened opening leading to the torture chamber.

 

5 - A Spanish chest which contains: the Cricket

and the Grasshopper.

 

6 - A trap door on the floor opening upon steps

leading into the cellar.

7 - The hidden opening to Erick's secret passage

and stairs by which Erick leaves the house by a

route other than by the lake.

8 - A sounding device upon the wall.

 

This room is artistically arranged.

This suite of rooms is in the very foundation of

the opera house. Thousands of tons of masonry is

above and are being upheld by the arches and walls

of the room. There is nothing of fantasy in the

actual lines and construction of the suite. The

fantastic is applied by Erick's hand in the

lighting, furnishings and draperies.

 

Artistically arranged with many variations of

freshly cut flowers. Each of the furnishings

is old-fashioned, the idea being that it belonged

to Erick's mother. The couch is very light,

much higher than an ordinary couch.

 

Erick enters carrying Christine. He crosses the

room to the high couch and gently places her upon

it. He then returns to the door and closes it.

Christine's stupor is giving way to astonishment

and bewilderment. She begins to look at the

strange room when Erick returns to her. She still

is not sufficiently recovered from her stupor to

be startled and shocked by Erick's approach. He

observes her for an instant with folded arms in an

attitude of humility.

 

MED. CLOSE UP ERICK & CHRISTINE AMBER

Slowly Erick sinks to his knees upon a footstool.

He is most abject and humble. He touches the

fold of her dress. He presses it to his breast

and then to his lips. Christine is watching him

as one hypnotized. Then she screams a sudden

and terrified scream. She springs from the couch.

 

 

A LONGER SHOT. AMBER

 

In the center of the room Christine hesitates,

then wildly runs out through the door leading

to Erick's bed chamber. Without haste and in

humility, he moves after her.

 

 

INT. ERICK'S BED CHAMBER. AMBER

 

The walls and the low ceiling are hung in black.

In the middle of the room there is a canopy from

which hangs curtains of red brocaded stuff. Under

this canopy there is an open coffin, an elaborate

affair lined with wuffed silk. It is fantastic

but must look like a coffin - the lid is open.

When Christine enters the coffin is not seen.

She enters and stands frozen to the spot. Her

wildness gives way to a dumb terror. The

camera pans revealing the coffin and the canopy,

but keeping Christine in the scene. Erick enters

to her side in a quiet humble way. Indicating

the coffin, he tells her in a matter-of-fact way:

 

"THIS IS WHERE I SLEEP."

 

 

BACK: She looks at him with quiet horror and

incredulity. She begins to get an idea. It begins

to force itself upon her. Erick continues:

 

"ONE HAS TO GET USED TO EVERYTHING

IN LIFE, NEVER TO ETERNITY."

 

MED. CLOSE UP CHRISTINE AND ERICK. AMBER

The shot cuts out the coffin. Christine's

terrified eyes are now fastened intently upon

Erick's face. The thought that has forced

itself upon her, is a revelation to her. She

cries at him with loathing:

 

"YOU ARE NOT THE ANGEL OF MUSIC....

YOU ARE THE OPERA GHOST!"

 

BACK: Erick ignores this. He indicates toward

the coffin, "This is not a pleasant sight for you.

You had better go into the next room."

Christine here begins a transition. From the

positive, assuming attitude, one of hopelessness

and fear begins to envelope her. She begins

to tremble and without removing her eyes from

his face, backs into the drawing room.

 

INT. ERICK'S DRAWING ROOM AMBER.

 

Christine enters from Erick's bed chamber to the

center of the room. She is now a pathetic,

helpless little figure, hopeless, without under-

standing of what is to happen to her and trembling

with fear. Erick enters from his bedchamber and

goes to her with a humble stoop of the shoulders.

He stands before her an instant in an abject attitude.

 

 

INT. ERIK'S DRAWING ROOM AMBER

Erick seems to fully understand her attitude. He

tells her humbly:

 

"CHRISTINE, YOU MUST KNOW THE TRUTH.

I'M NOT A GHOST...NOR AN ANGEL OF

MUSIC..."

 

BACK: She is wide-eyed and motionless and remains

this way throughout the scene. Erick continues

sadly:

 

"JUST A MAN OF FLESH AND BLOOD....

I AM ERICK!"

 

 

BACK: Christine is stunned by this knowledge

for she recognizes the voice. She says angrily

though frightened:

 

"IF YOU ARE HUMAN, REMOVE THAT MASK

SO THAT I MAY SEE YOUR FACE."

 

BACK: Erik recoils in alarm and takes a step

backward.

 

C.V. ERIK.

 

His face and frame tremble with emotion as he answers

 

"YOU SHALL NEVER SEE ERIK'S FACE...

UNLESS YOU RESIGN YOURSELF TO THE

FATE OF NEVER AGAIN SEEING THE

LIGHT OF DAY"

 

INT ERIK'S DRAWING ROOM.

 

Christine is terrified...she becomes hysterical

and sinking to her knees, pleads with him to

release her - to take her home. Instead, Erik

gazes at her with folded arms and he says with

tragic sadness:

 

"I LOVE YOU CHRISTINE....I HAVE

BROUGHT YOU HERE A PRISONER..."

 

 

BACK: There is a movement of Christine's eyes,

something to indicate terrible suspense...He

continues the title, humbly:

 

 

"...FOR LOVE!"

 

BACK: Christine's hands go to her temples. She

totters an instant - then swoons. As she falls,

he catches her in his arms and allows her to

sink gently to the floor. He kneels beside her

and sways and moans and beats his chest and

groveling, he kisses the hem of her garment.

Slowly then Christine regains consciousness. She

is at first terrified; then as he sees the

tragic outpouring of a sublime love, she can only

feel pity for the strange creature who weeps and

beats his breast. When Erik sees she is

conscious, he seizes her hands and covers them

with burning kisses. Christine draws away and

says:

 

"I CAN ONLY DESPISE YOU, IF YOU

HOLD ME HERE AGAINST MY WILL."

 

 

C.V. OF ERIK

As he realizes that there is truth in her

statement. The fear of losing her is as

great as his love. He grovels at her feet and

pleads:

 

 

"AT THE END OF FIVE DAYS, YOU SHALL

BE FREE....FEAR NOT. FOR HE WHO

WORSHIPS YOU I AS I DO, ALSO RESPECTS!"

 

 

INT. ERIK'S DRAWING ROOM.

Christine sinks back with a hopeless sigh and

offers no resistance, when he tenderly picks her

up in his arms.

 

A LOWER SHOT...AMBER.

 

Erik takes Christine in his arms and carries

her into her bedroom.

 

 

INT CHRISTINE'S BEDROOM...AMBER

 

The room is dimly lighted and all that is seen

is the dim outline of a bed and a door. This is

an extraordinary bed, a something dramatic, something

that does not exist. Erik enters with Christine

and places her gently upon the bed. He stands

for an instant in the doorway in silhouette and

looks at her, then exits and closes the door.

Christine arises to a sitting position.

 

C.V. OF CHRISTINE.

 

The reaction to her various emotions comes over

her. She bursts into tears and buries her

head in the silken pillow.

 

...FADE OUT.

 

THE FOLLOWING MORNING

 

FADE IN.

EXT. PARIS NEWSPAPER OFFICE " THE EPOQUE "

 

This can easily be filmed on the Notre Dame street

with appropriate signs and reveals a small crowd in

costume of the time interested in a bulletin board.

 

 

INSERT OF BULLETIN BOARD

 

CHRISTINE DAAE OPERA SINGER DISAPPEARS

FOUL PLAY SUSPECTED UNDERSTUDY TO MLLE

CARLOTTA FAILS TO RETURN AFTER PERFORM-

ANCE LAST NIGHT.

 

 

BACK TO SCENE:

 

As the crowd discusses the affair in awe and wonder --

At this juncture Simon Buquet and Florine join the

crowd--As Simon reads the bulletin his features

convulse with grief and rage -- he starts to tell

the crowd what he knows about it.

 

 

EXT REAR OF PARIS OPERA HOUSE

 

A curious crowd are gathered near the stage door kept in

check by a gendarme - in the crowd is Raoul who wears

a haunted look of anguish -- an employee comes out of

the stage door and speaking to the gendarme, goes back

inside. - Raoul crowds forward and makes an anxious

inquiry of the gendarme, who replies with a negative

shake of the head----Raoul sinks back in gloom and

disappointment.

 

 

INT RECEPTION ROOM OF THE CHATEAU DE CHAGNY

 

There is a fussy type middle aged man waiting with a

huge portfolio across his lap - he rises and bows

as Philippe de Chagny enters and crosses to him in

cold dignified manner.

 

 

SEMI C.V. IN RECEPTION ROOM

 

As Philippe very stiffly draws up a chair and taking

a pinch of snuff faces the other inquiringly.

 

M. CARTIER, THE VICOMTE'S ATTORNEY

 

 

C.V. OF CARTIER AND PHILIPPE

He smiles a queer sort of a smile and he says looking

over the top of his nose glasses:

 

"THE POLICE ARE UNABLE TO FIND A CLUE

TO CHRISTINE DAAE'S WHEREABOUTS. YOUR

BROTHER DOES NOTHING BUT HAUNT THE OPERA

HOUSE."

 

 

BACK: Philippe snorts angrily as he answers:

 

 

"I KNOW ALL THAT! BUT WHAT HAVE YOU

DONE ABOUT RAOUL?"

 

BACK: The attorney swallows hard as he explains with

a triumphant smile -- Philippe listens with growing

satisfaction, then springs up with a real sincere

human smile-- to offer his hand to Cartier and the

other takes it all swelled up with pride -- at that

instant both turn as--

 

LONGER SHOT IN CHATEAU LIVING ROOM

The Comtess enters and offers her hand to Cartier.

He carries it to his lips with a bow- she wonders

what has been accomplished.

 

SEMI C.V. OF THE THREE

 

Philippe with a great display of self satisfaction

turns to hs wife and says:

 

"MY DEAR WE SHALL YET SAVE RAOUL FROM

HIMSELF. M. CARTIER IS ARRANGING TO

HAVE RAOUL TRANSFERRED TO THE FOREIGN

LEGION...IN MONACO.

 

 

BACK: The Comtess smiles happily- it is easy to

see that both Philippe and his wife are doing with

sincerity what they think will be the best for Raoul.

 

FADE OUT.

 

INT. ERICK'S MUSIC ROOM AMBER

Erick is sitting at the organ in half silhouette,

playing the organ. There must be something weird

and wild in the picture. Perhaps some of the objects

surrounding him can lend to the effect.

 

INT. CHRISTINE'S BEDROOM ....AMBER

 

Christine is calm, hypnotized by the powerful music

she is hearing. She is marveling at the genius of this

man and is touched by his music.

 

IT WAS THE STRANGEST MOST BEAUTIFUL

MUSIC SHE HAD EVER HEARD. IT WAS A

SYMPHONY OF LOVE TRIUMPHANT

 

 

BACK: PRIZMA - Fascinated by the music, Christine

opens the door and steps out into the drawing room.

 

 

INT. ERICK'S MUSIC ROOM PRIZMA

MED. CLOSE UP ERICK PLAYING ON THE ORGAN

FROM HIS MANUSCRIPT

 

Upon the organ side rack is another thick manuscript

open. This is entitled "Don Juan Triumphant"

Upon the organ is a violin. Erick is seated upon an

elevated bench so that when Christine enters he will

be about as high as she is. Christine enters back

of Erick and stands spellbound in wonderment at the

music and at the man's genius. Erick senses her

presence there and plays all the more wildly.

 

C.V. OF ERICK'S FACE (MASKED) PRIZMA

As he bursts into a wild song and plays furiously.

 

 

C.V. OF CHRISTINE'S FACE

awed and hypnotized by the fury in the voice and the

music.

 

 

SEMI C.V. AT THE ORGAN Prizma.

 

As Erick suddenly stops singing and playing and he

swings to face her- he cries out in great rage and

emotion.

 

 

PRIZMA CURTAIN ANIMATED

"NOW YOU KNOW THE TEMPER OF MY JEALOUSY

FOR RAOUL DE CHAGNY. I COULD HAVE KILLED

HIM LAST NIGHT."

 

BACK: Christine gasps in horror and recoils before

the menace in Erick's every movement--he follows her,

backing her in a corner, his chest heaving wildly.

 

SEMI C.V. IN CORNER

 

As Erick backs Christine against the wall and

towering over her, he screams:

 

"OH HOW I HATE RAOUL. BUT HE'LL NEVER

HAVE YOU CHRISTINE****NOT IN THIS LIFE!"

 

BACK: Erick moves closer to Christine as if he is

going to take her in his arms--she throws up her

hands to warn him off. This brings Christine to

herself. Somethings has been revealed and it sha-

dows the tone of the scene. Up to this moment Chris-

tine had been hypnotized by his music. The spell

of the music now dispelled and she begins to look

at the man with curiosity and increasing antagonism--

then as his horrid face comes closer and closer, she

suddenly seizes the mask and tears it from his face--

then repelled against the wall with a scream of terror

and revulsion. Facing Christine is a death's head

that is alive with four black holes for its eyes,

nose and mouth, a skin pallid and yellow--Erick utters

a terrible cry of grief, despair and rage, then towers

over her, hissing words and curses upon her.

 

 

CLOSE UP OF ERICK. AMBER

 

He wags the terrible thing that is the head upon

his shoulders and hisses incoherent curses at her.

 

LONGER SHOT...AMBER

 

Christine shrinks from him and falls, upon her knees.

Erick follows her, towers over her and cries:

 

"FEAST YOUR EYES, GLUT YOUR SOUL ON MY

CURSED UGLINESS!"

 

BACK: Christine lifts her arms and begs for mercy.

He grabs her and draws her to him, brutally, twist-

ing the dead fingers in her hair.

 

CLOSE UP OF CHRISTINE AMBER

His fingers twisting himself in her hair.

She wildly begging for mercy.

 

 

A LONGER SHOT ...AMBER

Holding her by the hair, and bending near to her, he

hisses.

 

"PERHAPS YOU THINK THAT I HAVE ANOTHER

MASK? WELL, TEAR IT OFF AS YOU DID THE

OTHER ONE."

 

BACK: He seizes her by the hands and digs them into

his awful face. He tears his flesh with her hands

and cries:

 

"KNOW THAT I AM BUILT OF DEATH FROM

HEAD TO FOOT.. THAT IT IS A CORPSE

THAT LOVES AND ADORES YOU!"

 

 

BACK: Christine is so horrified and aghast that, though

she speaks, her words are sobs, heaving sobs. Erick

releases her and goes down at her with his terrible face

contorted with a hideous grin, then he stops,

pulls backward laughing wildly. Her hair is lopsided

and streaming over her shoulder. Torn by uncontrolled

hysteria, tears, she raises to him appealing and makes

two steps forward, upon her knees, begging forgiveness

for the terrible thing she has done. He is towering

over her with folded arms, his face slowly loosing

his hideous grin and mourning convulsively as the

tragedy of his love comes over him. Then he sobs

piteously.

 

"NOW THAT YOU KNOW MY HIDEOUSNESS,

YOU WOULD NEVER COME BACK, IF I LET

YOU GO FREE --THEREFORE I CRY FOR YOU---

BECAUSE YOU CAN NEVER LEAVE ME AGAIN."

 

 

BACK: Erick finishes speech and staggers away off the

scene-- Christine simply collapses in a heap and sobs

out her anguish and despair.

 

FADE OUT.

 

AT THE END OF FIVE LONG DAYS OF

HOPELESS SEARCH AND GROWING DESPAIR.

 

FADE IN

LIVING ROOM OF THE CHATEAU DE CHAGNY

 

Discovered Raoul seated before the fire place holding

his head in his hands in the depth of despair---not

far away sits his brother Philippe, glowering at his

brother in contempt for his weak and silly infatuation.

The door opens and a servant with a message enters

and carries it to Raoul --Raoul takes it without

interest as the servant exits. Then as Raoul unfolds

and reads the message his whole being is transfigured

with a great joy - he leaps to his feet and reads the

message again.

 

 

INSERT MESSAGE

GO TO MASKED BALL AT THE OPERA TONIGHT

WEAR YOUR FAVORITE FLOWER AND AS YOU

LOVE ME * DO NOT LET YOUR SELF BE

RECOGNIZED.

 

CHRISTINE

 

 

BACK: Raoul turns to his brother and indicates in

triumph that Christine has been found. Philippe

gasps in dismay.

 

 

SEMI C.V. AT THE DOOR TO THE HALL

 

As the servant enters and ushers in a soldier

orderly, who crosses the room.

 

INT CHATEAU LIVING ROOM

SEMI C.V.

 

As the orderly crosses to Raoul, salutes and hands him

an army order. Raoul is surprised--he opens it and

gasps as he reads--then lowering the message he nods

to the orderly who does an about face and exits. Raoul

crumples the message in his fist---a look of intense

anger spreads over his face--he strides over to his

brother and faces him in a fury--Raoul displays the

crumpled message and says:

 

"THIS IS SOME OF YOUR WORK."

 

 

BACK: Philippe smiles triumphantly with that sit-

uation an attitude that registers "Well, what are you

going to do about it?" Raoul continues to storm.

 

"YOU THINK I'M GOING INTO THE FOREIGN

LEGION * DON'T YOU***IF I DO, IT'LL BE

IN CHAINS"

 

 

BACK: As Philippe gasps in alarm and horror--Raoul

turns and exits.

 

MED SHOT IN THE LIVING ROOM OF THE CHATEAU.

As Raoul storms out of the room--Philippe is alarmed

and calls after him but Raoul pays no heed, slamming

the door after him.

 

FADE OUT.

 

THE GAYEST...THE NOISIEST, THE MOST

BOHEMIAN AFFAIR OF THE YEAR...THE

MASKED BALL AT THE OPERA

 

 

INTIMATE SHOT OF GROUP. PRIZMA

 

This is some bohemian group to show the noise

and gaiety.

 

 

INT GRAND STAIRCASE NO 2 PRIZMA

 

The grand staircase and the galleries above it

present a gorgeous array of funny dress costumes,

silks and satins, all sorts of picturesque and

interesting creations. The staircase and galleries

are so filled up with people that it is almost a

jam--Although most of the people are costumed,

many are in evening dress and wear opera masks.

It is a scene of noise, laughter and color, gaiety

and emotion. On the left side of the staircase,

where it takes a left angle turn, Raoul is walking.

He is masked in evening dress and wears a black

costume. Christine is presumably on her way down

the left staircase. She is dressed in modest

evening dress and is masked.

 

INTIMATE SHOT OF ANOTHER GROUP...PRIZMA

An interesting noisy group.

 

MED CLOSE UP OF RAOUL PRIZMA

 

He is looking for anyone who might be Christine.

Christine, masked, enters from the staircase behind him

and touches him upon the arm. Her motions are hurried

and nervous. He turns upon her and she raises a warn-

ing finger to her lips. He understands and follows

her up the left staircase.

 

 

SHOOTING AGAINST LEFT STAIRCASE PRIZMA

 

Raoul hurries through the crowd following Christine

and they exit. The moment they are out of the picture

all of the people begin to look in the direction of

the right staircase. All gaiety and motion slowly

dies down. People crane their necks forward in a

hushed way.

 

 

INT. GRAND STAIRCASE NO 1 PRIZMA

 

This is a crop shot at the right staircase. The hush

has extended to all the people in the scene. All

motion has died out except at the entrance to the

right of the staircase. There is a stir, a shrinking

away of the people, there. The Red Death creeps into

the picture from the corridor. It is a man dressed in

all scarlet, with a huge hat and feathers, on the top

of a wonderful death's head. From his shoulder hangs

an immense red velvet cloak, which trails along the

floor like a King's train. It is plainly to be seen

that the death's head the man is wearing is a mask.

In all the Phantom's scenes here, he is in sweeping

graceful motion.

 

 

A MED SHOT LOOKING UP RIGHT STAIRCASE. PRIZMA

 

The people on the staircase shrink back, horrified

and leave a broad aisle for the figure which sweeps

down the steps.

 

SHOOTING UPON THE PHANTOM'S BACK PRIZMA

On the back of his cloak is embroidered in bold

gold letters: DO NOT TOUCH ME! I AM RED DEATH

 

CLOSE UP GROUP ON STAIRCASE....PRIZMA

 

This is a long shot without a dome. The Red Death

sweeps across the landing in the center of the

staircase and a broad aisle is left for him down

the center of the main staircase.

 

CLOSE SHOT CROUP ON STAIRCASE PRIZMA

 

Men and women shudder and shrink in disgust & horror.

 

INT. GRAND STAIRCASE PRIZMA

MED. CLOSE UP CENTER DOOR LEADING TO LANDING

 

The noise and the gaiety is at its height. A number of

masked ballet girls are in evidence. Florine enters

from the center door. He is costumed as a swash-

buckling pirate, the terror of the spanish Main. We

see he wears a broadsword and all the other finery.

His mask has the habit of falling off. Sometimes

it is on his chin like a beard and at other times on

his forehead. He enters swaggering and his broad

sword gets mixed up in his legs thereby attracting

attention.

 

MED. CLOSE UP OF FLORINE...PRIZMA

 

As he untangles his broadsword his masked face

falls off and he quietly fastens it on again.

 

 

MED. CLOSE UP CENTER DOOR LEADING TO LANDING OF STAIRS

 

Florine has not been quick enough with his mask how-

ever. The ballet girls have recognized him. They all

are friends of his and like teasing and playing around

with him. Two of them take him, each by the arm and

lightly kid with him for an instant, then leads him

out to the left. All the while Florine is swashing

buckling, taking joy in enacting the role of a cut

throat.

 

MED CLOSE UP OF RED DEATH..AND SHRINKING PEOPLE

As the Red Death comes into scene. Florine enters

with a ballet girl. They call his attention to the Red

Death and his warning sign "Don't touch me." They

taunt him about his courage, he squares his back and

shoulders and strides over to the Red Death.

 

MED C.V. RED DEATH AND FLORINE

 

As Florine reaches out to touch the Red Death,

a skeleton hand shoots out of a crimson sleeve, vio-

lently seizes the rash one's wrist and he, feeling

furious gasps, cries out in pain and terror and is

flung onto the crowd.

 

MED C.V. IN CROWD

 

As Florine lands on the floor- he picks himself up---

his dignity has suffered, he will have revenge---

he draws his sword and taking off his mask challenges

him to come out and fight like a man. He fights the

air with his sword...at that instant a man costumed

as a jester steps up and taps Florine's shoulder.

As Florine turns, the jester takes off his mask re-

vealing the funeral face of the Persian, who in a

hushed voice of horror indicates "Do you know what

this is?" Florine is very sober. He answers "No

Sir." The hushed voice tells him:

 

"THAT WAS THE OPERA GHOST!"

 

BACK: Florine stands perfectly still and his eyes

widen. Florine gives a low moan and swoons. All is

excitement - some run out. The girls fan him with

their skirts, smelling salts are produced and they

try to revive him. Someone enters with a glass of

water.

 

 

MED CLOSE UP OF GROUP AND FLORINE AMBER

 

The glass of water is dashed in his face. Florine

opens his eyes and shakes his head to shake off the

water. He looks around the room. Florine gets to

his feet, looks quickly and tears out of the picture

down the stairs.

 

 

INT GRAND STAIRCASE #1 PRIZMA

This is the same shot of the staircase. The crowd

is gayer and noisier than before. There is a commotion

at the upper left hand entrance to the staircase.

An aisle is made and Florine runs in fleeing for his

life. When he reaches the turn on the platform, he

gets his legs tangled up with his broadsword and he

falls, but quickly regains his feet and dashes down

the stairs. It is suggested that this scene be not

under speed. About 12.

 

 

SHOOTING INTO GALLERY ...PRIZMA

 

This is the first opening on the left of the second

gallery. There in the gallery all are looking down

at the ghost. Raoul, following Christine, passes

through from left to right. Christine looks down

and sees the ghost, then she clutches at Raoul to

keep him from looking down on the staircase. They

pass out to the right.

 

SHOOTING INTO GALLERY PRIZMA

 

This is the second opening of the second gallery.

The onlookers are motionless looking down over the

rail. Raoul and Christine enter from the Left.

Raoul's curiosity overcomes Christine's apprehension

although she is pulling at his sleeve. Raoul leans over

the rail and looks down. Christine is terrified that

the Phantom will recognize Raoul with her.

 

SHOOTING AGAINST THE GRAND STAIR CASE PRIZMA

 

The Red Death has almost reached the foot of the

front grand staircase, when, as if by magic, he

suddenly turns and looks upward.

 

CLOSE UP OF RED DEATH LOOKING UPWARD PRIZMA

 

 

MED CLOSE UP OF RAOUL AND CHRISTINE PRIZMA

 

They are at the rail in the center opening in

the second gallery. Christine sees that the Red Death

has seen her and Raoul. Her action shows that there

is fear and excitement. She clutches him by the sleeve

and half drags him through the door in the rear which

reveals a stairway going upward.

 

 

GRAND STAIRCASE #2 PRIZMA

The Red Death is looking upward. We now see him

creep up the grand staircase, much more rapidly than

he came down, the crowd parting before him, making

an aisle. When he reaches the landing he turns to

the left.

 

SHOOTING REVERSE DOWN UPON GRAND STAIRCASE PRIZMA

 

This shows all eyes looking toward the left staircase.

There is a beginning of fluttering relief and relax-

ation. Then the crowd begins to mix and the gaiety

is resumed.

 

 

INT FIRST CORRIDOR AMBER

 

This is an overhead corridor. A flight of stairs in

the f.g. leads from below. In the b.g. is a single

staircase leading upward. The entrance to the stair

case is a high area, almost into the top of the ceiling

so that the camera while taking in the people looks a

long distance up the stairs. If a person were coming

down these stairs, their lower extremities would be

seen some time before the full figure. In the f.g.

there is a door covered with a portierre. Immediately

beyond this portierre is a full sized mirror. There

is a door and number of other exits. Raoul and

Christine enter from below. She has Raoul by the arm

and almost drags him along. Raoul is extrapolating

with her excitedly - He wants to know what all the

mad rushing about is for.

 

Christine has the manner of a hunted person. Hardly

listening to Raoul's excited cry for an explanation

she pauses at the portierres and listens.

 

MED CLOSE UP CHRISTINE AND RAOUL AMBER

 

She listens pushes aside the portierres and peers

up the stairs then she whispers:

 

 

"HE MUST HAVE GONE HIGHER UP."

 

 

BACK: Raoul is baffled, amazed, impatient for an ex-

planation. Christine listens at the portierre, this

time with sudden alarm. This time she speaks directly

at Raoul.

 

"HE IS COMING DOWN AGAIN."

 

BACK: She grabs Raoul's arm and pulls him up the steps.

 

INT OVER HEAD CORRIDOR #2 AMBER

 

A flight of stairs leads into this from below and

another flight leads upward. There are three or

four exits in this set. Christine and Raoul enter

from below. Christine is still pulling at his arm.

He will go no further. He glances down the steps that

they have just mounted.

 

SHOOTING DOWN NARROW STAIRWAY

 

This is shooting in the corridor number one. The

camera sees a crimson cloak and a slippered foot

disappear around the corner of the passage. Sug-

gesting that the phantom has seen Raoul's movement and

is dodging out of sight.

 

INT. CORRIDOR #2 AMBER

MED CLOSE UP RAOUL AND CHRISTINE

 

So this is the sum of Christine's fears. This is

an object for Raoul's anger. He moves towards the stair

with a purpose of provoking this phantom and laying

hands upon him. Christine is thrown into near

hysterics. She clutches at Raoul's arm. He now has

one foot upon the stairs. He is drawing away from

her and in so doing he pulls her to her knees.

Pleading she cries at him.

 

"DON'T DON'T DON'T AS I LOVE YOU,

RAOUL. IT WILL MEAN YOUR LIFE AND MINE"

 

 

BACK: Raoul undergoes a complete transition. What

she has said hits him violently and with great weight.

He sees her before him a helpless pathetic little

figure. He feels the utmost pity and love for her.

Gently he takes her by the elbow and lifts her to her

feet. She indicates to him weakly "Come"

 

A LONGER SHOT AMBER

 

This time he follows her willingly and she hastily

leads the way still upward.

 

INT GARRET SET ADJOINING ROOM ROOF BLUE

 

This is a Ben Carre set. It is lighted by bars of

moonlight which penetrate through an overhead lattice.

Christine and Raoul silently run through this set.

 

EXT AT ENTRANCE ON ROOF...BLUE

Christine and Raoul enter from garret set. Christine

is greatly relieved. She breathes in the freedom of

the night air and as she removes her mask Raoul

removes his mask and she tells him:

 

"BELOW IS HIS WORLD ABOVE IT OURS."

 

BACK: In a gray way Raoul pauses and presses her for

an explanation. She becomes at once tragic and appre-

hensive. She indicates for him to come. He follows

her out.

 

 

EXT ROOF AT FOOT OF APOLLO'S LYRE...BLUE

 

The lights of Paris sparkle far below and black birds

of ill omen fly through the sky. Raoul and Christine

enter and sit down at the foot of Apollo's Lyre.

 

SEMI CLOSE UP OF RAOUL AND CHRISTINE...BLUE

 

Both indicate that they feel safe here. Raoul

faces her questioningly. He is waiting for her

to answer the many doubts that trouble on his lips.

She draws close to him, confident that he will

believe him. She begins:

 

"I WILL TELL YOU EVERYTHING RAOUL.

PITY ME PRAY FOR ME."

 

 

BACK: Raoul gasps in amazement and suspicion

and softens as she begins to cry gently. She continues:

 

"WHEN I FIRST HEARD THE VIOLIN AND

THE BEAUTIFUL VOICE IN MY DRESSING ROOM

I BELIEVED IT TO BE THE ANGEL OF MUSIC."

 

BACK: Christine hesitates and looks up at him for

encouragement. Raoul smiles sympathetically at her.

 

A LONGER SHOT BLUE

 

Directly above Raoul and Christine is the Red Death

clung to Apollo's Lyre, like an enormous bat, black

birds fly by.

 

CLOSE UP OF DEATH'S HEAD MASK BLUE

Death head is looking down.

 

SEMI CLOSE UP OF RAOUL AND CHRISTINE.

 

Christine gains the courage to continue.

She says brokenly with great terror in

her eyes:

 

"THE NIGHT I DISAPPEARED

I LEARNED THAT HE WAS A MONSTER."

 

BACK: Raoul gazes in horror. Christine as she

remembers - then Raoul puts an arm about her to com-

fort her and encourage her - she goes on brokenly.

 

FADE OUT

 

THEN CHRISTINE RELATED THE EXPERIENCES

WITH THE HIDEOUS MAN OF THE OPERA CELLAR

AND RAOUL WAS SPELL BOUND.

 

 

FADE IN

SEMI CLOSE UP OF RAOUL AND CHRISTINE.

 

Raoul is aghast. Christine's tears have dried up. With

horror she brings her narration to a close with the

words:

 

 

"FOR FIVE DAYS UNTIL THIS AFTER NOON

I WAS HELD PRISONER IN HIS CHAMBER OF

HORROR."

 

BACK: Christine continues in the sense that she does

not understand herself or her emotions. Erick's hold

on her is a mystery to herself.

 

 

"HE FILLS ME WITH HORROR YET I CANNOT

HATE HIM."

 

 

BACK: Then in a hushed way as if she were hardly speak-

ing to Raoul she continues:

 

 

"HE MADE ME PROMISE THAT I WOULD NEVER

FORSAKE HIM. THAT I WOULD ALWAYS COME

BACK TO HIM."

 

BACK: Raoul is moody and depressed. He is keeping

his eyes averted. Where one might expect to see anger

there is none. Raoul is burning up inside with

jealousy - guilty jealousy. Christine has been so

engrossed in her terrible story that she has not

understood his attitude. She is shocked now as an

understanding of Raoul's suspicions comes to her.

Her lips tremble and she feels helpless and alone.

She is almost at the point of tears. She tries to get

his eyes but he averts them. She touches him upon

the arm and speaks with appeal:

 

"RAOUL DO YOU THINK THAT I AM NOT

A GOOD WOMAN? DO YOU NOT LOVE ME?"

 

BACK: This challenge startles Raoul. He is

ashamed of himself. He takes both of her hands and

speaks with fervor:

 

"I LOVE YOU CHRISTINE..I WANT YOU TO

GO AWAY WITH ME TONIGHT WHERE WE CAN

BE MARRIED AND ENJOY OUR LOVE."

 

BACK: The tremble vanishes from her face and her

eyes twinkle laughingly and excitedly. She

looks up into his face and tells him appealingly:

 

"TAKE ME WITH YOU SWEET HEART. TONIGHT

BEFORE IT IS TOO LATE."

 

BACK: Raoul holds her in his arms impetuously

and presses his lips against hers.

 

OMITTED

 

 

A LONGER SHOT BLUE

 

Above the lovers a figure of Erick clinging to

the statue bends out towards them. It towers over

them like an evil spirit.

 

A LONGER SHOT

Raoul releases Christine from his passionate embrace

then they exit in the direction from which they came.

 

ERICK is out of sight but the moment they are out of

scene, he crawls into view and like a monkey

swiftly climbs from the statue and exits in

pursuit of the lovers.

 

 

LONG SHOT OF THE GRAND STAIRCASE

 

Suddenly the crowd of merry makers are thrown into a

minor panic by the sudden entrance of the body

of military police. The Sergeant leading them

calls for silence, and produces an official looking

document.

 

SEMI CLOSE UP OF SERGEANT OF MILITARY POLICE

Behind him are the soldiers with guns, he speaks

loudly referring to the document in his hand:

 

"I HAVE HERE A WARRANT FOR THE ARREST

OF CAPT. RAOUL DE CHAGNY, ARMY DESERTER.

EVERYBODY UNMASK."

 

 

BACK: The sergeant gives an order to his soldiers

and they rush forward.

 

 

MED SHOT OF GRAND STAIR CASE.

As soldiers rush among the guests looking for

Raoul, tearing off the masks of those who did not

hear his summons, every one is panic stricken.

 

 

SEMI CLOSE UP OF SERGEANT OF MILITARY POLICE

 

His back to camera. Suddenly the Red Death steps into

scene and touches his shoulder. The sergeant turns and

stares in awe as he faces Red Death. The latter

says bitterly:

 

"IF YOU'LL FOLLOW ME AND ASK NO QUESTIONS

I'LL SHOW YOU WHERE TO FIND RAOUL DE

CHAGNY."

 

 

BACK: The sergeant smiles with delight and indicates

that he will.

 

 

LONG SHOT GRAND STAIR CASE.

 

The Sergeant gives a command and his soldiers rejoin him.

Then all follow off scene after the Red Death.

QUICK FADE OUT

 

QUICK FADE IN

INT CHRISTINE'S DRESSING ROOM

 

Christine is packing her effects and Raoul helps.

He pauses to put his arm about her and kiss her.

 

INT DRESSING ROOM CORRIDOR

 

As the Red Death enters followed by the soldiers.

With a mocking smile, the Red Death points to

Christine's room, then as the soldiers move in that

direction he laughs a fiendish laugh.

 

INT CHRISTINE'S DRESSING ROOM

Raoul holding Christine close to him and telling her

of his love. Then the door bursts open and the soldiers

enter. Raoul releases Christine who gasps in dismay.

 

 

CLOSE UP OF SERGEANT OF MILITARY POLICE

As he says gruffly "You are under arrest, Capt Chagny."

 

SEMI CLOSE UP OF SERGEANT OF MILITARY POLICE

 

He says the end of line as Raoul realizes what it means

and his shoulders droop in hopelessness. Christine

clings to him in terror and begs to know what it

means. He comforts her and tells her:

 

 

"SOME OF MY BROTHER'S DOING TO SEPARATE

US. HE HAD ME TRANSFERRED TO THE FOREIGN

LEGION IN MOROCCO, I WAS TO REPORT TODAY."

 

BACK: Christine gasps in horror and anguish and

starts to cry. Raoul pets her with tenderness.

 

INT. CHRISTINE'S DRESSING ROOM

 

The rough sergeant who has no sentiment taps

Raoul on the shoulder and indicates for him to come.

Raoul frowns darkly then releasing Christine and

kissing her on the forehead gently disengaging her

and moves into the center of the military police.

 

 

CLOSE UP OF CHRISTINE

 

As she sobs bitterly.

 

 

"I LOVE YOU RAOUL. I WILL WAIT FOR

YOU TILL ETERNITY."

 

 

CLOSE UP OF RAOUL IN THE CENTER OF MILITARY POLICE

 

He looks towards Christine with a happy smile

and throws her a kiss.

 

INT CHRISTINE'S DRESSING ROOM

As the sergeant gives a crisp military command and

the military police march Raoul away leaving Christine

on her couch sobbing as if her heart would break.

FADE OUT

 

FADE IN

INT CORRIDOR OF CELL OF MILITARY PRISON

 

Discovered Raoul sitting on a cot. He is in

the depth of despondency and filled with all

sorts of worries and fears. Outside his cell

paces a guard. He frets over his hopeless position.

Then a guard arrives in the corridor outside with

Philippe and the latter is admitted to Raoul's cell.

The two brothers face each other coldly then Raoul

arises and turning his back on his brother looks

out of the window of his cell. Philippe's face

softens and turning he shows he loves his brother

devotedly and is sincere in what he has done to thwart

Raoul's love affair with Christine. He pulls an

official document from his pocket and coughing

nervously says:

 

 

"I HAVE HERE THE PRESIDENT'S ORDER

FOR YOUR RELEASE, PROVIDED YOU

WILL REPORT IMMEDIATELY FOR FOREIGN

SERVICE."

 

 

BACK: Raoul does not turn-- he continues to stare

out of the window.

 

 

C.V. OF RAOUL

 

His back is to Philippe- he is thinking hard and

scheming. His eyes light up as a plan enters his brain.

 

INT CELL

 

Philippe getting no reply, goes up behind Raoul

and putting his hand affectionately on Raoul's

shoulder, pleads for him to come to his senses

and accept--finally Raoul straightens up and

turning faces his brother, says:

 

"I'LL ACCEPT ON ONE CONDITION ***THAT

I MAY HAVE A LAST FAREWELL GLIMPSE OF

CHRISTINE. TONIGHT AT THE OPERA YOU

CAN GO WITH ME."

 

BACK: Philippe gasps in dismay, and refuses, whereupon

Raoul shrugs his shoulders and turns his back to gaze

out of the window. Philippe pauses to think and he

weakens then again putting his hand on Raoul

affectionately he indicates that he will agree

to Raoul's condition--Raoul shows his gratitude,

then follows after Philippe who shows the official

order to the waiting guard.

 

FADE OUT

 

THAT NIGHT AT EIGHT O'CLOCK

 

FADE IN

EXT PARIS OPERA HOUSE

 

There is a drizzling rain - carriages are stopping

before the opera house to discharge opera patrons.

 

SEMI C.V. AT THE CURB

 

As a traveling barouche drives up and stops and

Philippe and Raoul emerge. Raoul moves to pay the

driver and Philippe hurries off scene to get to

shelter. As Raoul pays the driver, he whispers

something to the driver and the latter nods his head -

it is evident that Raoul has planned something. Raoul

exits after Philippe.

 

 

INT AUDITORIUM LONG SHOT FROM REAR OF THE

AUDITORIUM TOWARDS THE STAGE

 

The audience is being seated.

 

 

BACK STAGE LONG SHOT (A FLASH)

 

Atmosphere shot of stage at work under Simon Buquet's

orders.

 

 

INT BOX CORRIDOR

NEAR RAOUL'S BOX

Raoul and Philippe follow an usher to scene from

behind camera---The usher opens the door to box and

Philippe enters first. Raoul quietly produces a note

and some money - slips it to the usher and with his

finger to his lips for caution exits into the box.

The usher nods after Raoul and exits through door

to the stage.

 

 

INT RAOUL'S BOX

 

As Philippe and Raoul are seated. Raoul is very

nervous and excited and Philippe watches him

closely.

 

INT. CHRISTINE'S DRESSING ROOM

 

Christine is nearly dressed for the part of Mar-

guerite, a maid is assisting her--she is listless

and sad because Raoul been taken from her.

 

 

PASSAGE WAY BACK OF MIRROR.

 

The Phantom is looking into Christine's dressing room

thru the trick mirror. Christine can be seen with her

maid dressing her-- the Phantom grins with satisfaction.

Suddenly Christine and the maid start and look toward

the door, then the maid exits from the scene.

 

INT. CHRISTINE'S ROOM

 

The maid has the door open and receives from the

usher Raoul's note- she closes the door and carries

the message to Christine.

 

 

383. C.V. OF CHRISTINE

 

As she opens the message and reads it

 

 

INSERT OF MESSAGE

DARLING CHRISTINE

I AM HERE TONIGHT IN BOX THREE

BE READY TO LEAVE AS YOU ARE DRESSED AT

THE FINAL CURTAIN. I'LL BE WAITING AT

THE STAGE DOOR IN A CLOSED BAROUCHE.

 

I LOVE YOU

RAOUL.

 

BACK: Christine looks up from her note with her face

transfigured with joy- then she laughs from happiness

the gloom has vanished from her face.

 

PASSAGEWAY BACK OF MIRROR

 

As the phantom with a grave face sees the effect of

the note on Christine, he suspects that it is

from Raoul and is furious- as he watches Christine

look about for a place to hide the note and he smiles

with satisfaction as he sees her hide it in one of

her slippers. Which she shoves under the couch

 

INT DRESSING ROOM CORRIDOR AMBER

CLOSE UP CALL BOY AT CHRISTINE'S DOOR

 

He announces "First act" and exits.

 

 

INT. CHRISTINE'S DRESSING ROOM

As Christine gives her face a final powdering and

exits with her maid.

 

 

DRESSING ROOM CORRIDOR

 

As Christine and maid come out of dressing room and

move toward corridor.

 

 

INT. CHRISTINE'S DRESSING ROOM

 

The mirror begins to quiver and the reflection of the

room dances about-- then the phantom appears as if

through the mirror-- he looks about and then moves

out of her mirror and goes to the couch where he

secures the note from Raoul out of her slipper.

He reads it.

 

INSERT OF NOTE

INSERT FEW FEET OF RAOUL'S NOTE AS IN

SCENE 383

 

BACK: The phantom looks up with rage trembling his

lips and hands, then he laughs in triumph and put-

ting the note where he found it-he returns to the

mirror and vanishes thru it in the same mysterious

manner.

FADE OUT

 

TO RAOUL IT SEEMED LIKE HOURS OF WAITING

YET IT WAS ONLY THE SECOND ACT

 

FADE IN

INT. RAOUL'S BOX

 

As Raoul watches with feverish anxiety- now and then

bites his finger nails because he is so restless.

Philippe watches him closely and really sympathizes

with him.

 

 

ON BACK STAGE AMBER

 

The curtain is up and the second act is in progress.

It is the country fair scene. Upon the stage are

Faust, Mephistopheles, Wagner and his fellow students,

Seibel, soldiers, maidens and matrons. Faust, Meph-

istopheles and Seibel are waiting to catch sight of

Marguerite as she returns from church. In the wings

are the scene shifters - ballet girls, and attendants

of the opera. However, all this is only general back-

ground. Christine appears ready for her entrance.

 

INT. LIGHT CONTROL ROOM AMBER

 

Upon the table is the night lunch of the light

control men and a bottle of wine. The table is near

an open door opening into darkness. This light control

man is reading a newspaper. His assistant is busy at

the switches. The feet of the prompter, sitting in

his box, can be seen. The black cloaked figure of

Erick moves in, his back to the camera. He hovers near

over the table, for an instant his body screens what he

is doing. Then, as silently he disappears, his back to

the camera. The light control men looks up from his

paper as if he felt a draught. Then he resumes his

reading.

 

STAGE FROM AUDIENCE

As Christine makes her entrance.

 

 

INT RAOUL'S BOX

As Raoul sighs deeply at the sight of Christine

and leans forward watching her hungrily.

Philippe seems more human and sympathetic.

 

 

MED. SHOT OF STAGE AMBER

 

The situation upon the stage is at the beginning of

the duet between Faust and Marguerite, near the close

of the second act.

 

 

SHOOTING THRU WINGS TO OPERATIC ACTION UPON STAGE AMBER

 

Simon enters and comes to a sudden stop and tension

as he looks towards the footlights.

 

CLOSE UP OF SIMON

He is perplexed- looking at something trying to

figure it out.

 

CLOSE UP OF PROMPTER'S BOX SHOOTING FROM STAGE AMBER

 

A peculiar, startled expression is upon the prompter's

face- his eyes bulge. He is drawn downward by an

unseen hand.

 

BEHIND THE SCENE AMBER

MED CLOSE UP OF SIMON

 

Watching the disappearance of the prompter. He is

excited. It is more work of the opera ghost.

He runs off excitedly to investigate.

 

 

MED. CLOSE UP OF PROMPTER'S BOX FROM STAGE AMBER

 

Erick's mask face appears for an instant in the

prompter's box, then it disappears.

 

MED CLOSE UP CHRISTINE AMBER

 

She has seen Erick and while she is struck in terror

she tries to keep up her part in the duet.

 

LONG SHOT AUDITORIUM AMBER

 

This is the longest shot that has been taken without

showing the chandelier. The action on the stage is

followed for an instant and then the house is plunged

into darkness. This is held for 20 feet so that the

proper period of darkness can be timed in the cutting.

The house is again illuminated and Christine has

disappeared from the stage. All upon the stage

are bewildered, confused.

 

INT RAOUL'S BOX AMBER

This is a flash of Raoul staring at the stage wild

eyed and bewildered--Philippe also stares to the stage.

Raoul turns to Philippe and gasps in horror.

 

"SHE'S GONE."

 

BACK: Philippe as horrified as Raoul nods in the

affirmation.

 

MED SHOT ON THE STAGE INCLUDING CHANDELIER AMBER

The singers and cast are milling about in utter

bewilderment. The musicians are just as confused, and

the conductor signals for them to stop playing.

The curtain drops rapidly.

 

INT AUDITORIUM SHOOTING FROM REAR TO STAGE.

The audience are in the hubbub of excitement.

 

INT LIGHT CONTROL ROOM AMBER

 

The two light control men are doped. Knocked out.

One is over the table and the other has fallen from

his stool to the floor. The prompter is lying on

the floor bound and gagged, over his head is a

black bag. Simon runs in at high pitch of excitement.

This is exactly what he has expected. He shakes one

of the light control men and then the other Then

he excitedly calls for help and begins to unbind the

prompter. A scene shifter and a fireman runs in.

Simon tells them excitedly with blood in his eye,

that this is more of the ghost's work.

 

The gag is removed from the prompter's mouth, the

bewildered man begins to indicate that he saw nothing

but was just jerked down.

 

MED LONG SHOT OF STAGE AND AUDIENCE AMBER....

Most of these in the orchestra and chorus are standing

and the house is buzzing with excitement. The curtain

pulled back to one side and then the man playing

Faust steps forth- the audience is instantly hushed.

 

SEMI C.V. OF FAUST

 

He holds up his hand for silence, then he says:

 

 

"LADIES AND GENTLEMEN I DO NOT WISH TO

ALARM YOU. BUT WHEN THE LIGHTS WERE OUT

CHRISTINE DAAE DISAPPEARED. THE POLICE

HAVE BEEN SUMMONED AND THE OPERA WILL

PROCEED WITH AN UNDERSTUDY IN HER ROLE."

 

 

BACK: The curtain is again pulled back and Faust

backs off.

 

 

INT RAOUL'S BOX

Both Raoul and Philippe gazing in horror-then the two

brothers face each other--In Raoul's eyes a look of

pleading--Philippe suddenly extends his hand and with

a sincere look says:

 

 

"YOU CAN COUNT ON ME RAOUL"

 

BACK: Raoul's answer is a grateful look and a hearty

clasp of his brother's hand- then Raoul arises and

starts out of the box. Philippe follows.

 

 

VIEW OF AUDIENCE AND STAGE

The audience are in a hubbub of excitement- then

the curtain rises again and an understudy starts to sing

the duet of Faust---the audience quiets down.

 

 

INT DRESSING ROOM CORRIDOR

 

From stage door. As Raoul and Philippe come out

of box - as they come into f.g. Raoul stops and

grabbing Philippe's arm says:

 

 

"GET A COUPLE OF GUNS AND COME TO

CHRISTINE'S DRESSING ROOM. I'LL BE

THERE."

 

 

BACK: Philippe nods agreement and exits back past box,

toward rear of opera house, while Raoul plunges on

past camera.

 

INT FIRST CELLAR

 

Discovered Simon talking excitedly to his army

of scene shifters and crew - indications are that

he is stirring them to a mob frenzy and they

are all for him.

 

 

INT DRESSING ROOM CORRIDOR AMBER

 

Attendants of the opera and a gathering of ballet

girls are discovered excitedly discussing the

mysterious happening. Some are looking into

Christine's dressing room with awed curiosity.

Raoul enters from the direction of the stage and

like a madman hurries toward Christine's dressing

room. As he nears the door those who are peering

into the room fall back. An instant before Raoul

exits into the room the Persian enters to corridor

from cellar. He catches sight of Raoul and glides

swiftly after him.

 

 

INT. CHRISTINE'S DRESSING ROOM AMBER

 

Raoul enters and finds the room empty. Raoul is

filled with oaths and insults. He pounds upon the

mirror with his hand, as if he were challenging the

phantom behind it. The Persian enters swiftly and

closes the door but does not lock it. From this

moment the Persian takes command. His movements are

definite and direct. He indicates in an authoritative

way for Raoul to calm himself and tells him:

 

"I CAN HELP YOU SAVE CHRISTINE DAAE FROM ERICK...

IF YOU'LL DO EXACTLY AS I SAY."

 

BACK: The Persian faces Raoul in a manner deliberate

and cold though not unfriendly -- Raoul is dis-

pleased by his interruption and he says angrily:

 

"WHO ARE YOU AND WHAT DO YOU

KNOW ABOUT ERICK?"

 

 

BACK: The Persian commands Raoul with his eyes and

there is a pause. He tells him coldly and

without excitement:

 

"I AM THE PERSIAN ... ONCE HIS

FRIEND. YOU'LL REALIZE HER DANGER

WHEN I TELL YOU SHE'S IN THE HANDS

OF A DANGEROUS MANIAC WHO ESCAPED

FROM A PARIS ASYLUM!"

 

 

BACK: Raoul gasps in horror and alarm - he bids the

other tell him more - he is impatient - the

Persian continues:

 

"ERICK WAS BORN IN FRANCE...SUCH

A HIDEOUS MONSTROSITY THAT EVEN

HIS OWN MOTHER COULDN'T BEAR HIM

WITHOUT A MASK."

 

BACK: Raoul is horrified yet fascinated - he begs the other

to continue - the Persian does so. The Persian pauses.

Raoul is filled with horror - the Persian continues:

 

"DURING THE SECOND COMMUNE, HE

SUDDENLY APPEARED TO JOIN THE PARIS

REVOLUTIONISTS. HE WAS THE

CHIEF EXECUTIONER OF THE NOBILITY

IN THE TORTURE CHAMBERS UNDER THESE

VERY CELLARS."

 

Raoul can stand no more - his fears for Christine's

safety have become a frenzy - he pleads for the

Persian to help him do something - the Persian

surveys him calmly, then he drops to his knees

and begins feeling along the baseboard for the

hidden control of the trick mirror.

 

INT DRESSING ROOM CORRIDOR

 

As Philippe enters from the stage, carrying two

large pistols - he pauses then passes camera.

 

 

INT CHRISTINE'S DRESSING ROOM AMBER

The Persian is now standing upon a stool and

is running his fingers along the picture molding.

He indicates to Raoul that he has found what he

is looking for. He pulls at the molding and

a section of it comes out, lever-like, revealing

a steel draw bar behind it.

The Persian jumps from the stool, grasps Raoul by the

arm and moves him to the position in front of the

mirror. This shot is taken as at a different angle than

the mirror shot in which Christine disappeared so that

the audience will be let in on the trick nature of the

contrivance. The mirror opens and Raoul and the Persian

pass through it - that instant Philippe enters to catch

a fleeting glimpse of Raoul as he vanishes thru the

mirror and it closes after him-- he hurries forward

in dismay and feels the glass.

 

 

INT CORRIDOR BACK OF MIRROR...FAINT GREEN

 

Raoul and the Persian are discovered back of mirror.

The Persian motions Raoul to do exactly as he

tells him. He pantomimes to Raoul to hold up his hand,

Raoul is mystified as to the reason for this but obeys.

The Persian tells Raoul hurriedly:

 

"I HAVE BEEN TO THIS HOME ON THE LAKE

BEFORE BUT NOT BY THIS ROAD...AND THIS

IS THE ONLY ROAD TONIGHT."

 

BACK: Both men, holding up their right hands and

hugging the wall, exit along Erick's trail.

 

 

INT CHRISTINE'S DRESSING ROOM

 

As Philippe pounds on the glass and calls out Raoul's

name. Then hurries out of the dressing room.

 

 

INT CELLARS THE SWINGING BRIDGE SET FAINT GREEN

 

The Persian and Raoul holding their right hands

pass over bridge into the same direction that Erick

carried Christine.

 

INT CHRISTINE'S DRESSING ROOM

 

As Philippe returns with several ballet girls and

several supers of the opera. He explains in pantomime

how Raoul vanished through the mirror. The others

stare at him in amazement--they look at each

other and grin. They think that he is crazy and

exit. Philippe stares after them angrily, then

attacks the mirror with the butt of his pistol.

 

INT ROI DE LAHORE SET. FAINT GREEN

 

Two shadows are seen on the wall where the shadow of

Joseph Buquet's figure was seen. It is Raoul and the

Persian approaching from the right, holding up their

hands. They enter and Raoul follows the Persian to a

little cupboard fastened to the wall. The cupboard

contains an emergency outfit consisting of a dark

lantern, a hatchet, an ax, a saw and a coil of rope.

The cupboard door is removed by the Persian who takes

the lantern and lights it.

 

 

MED CLOSE UP OF RAOUL AND THE PERSIAN FAINT GREEN.

 

The mystery is now upon Raoul as it was upon

Christine. He would like to help but he senses his

total helplessness. Raoul drops his hand. The Persian

turns on him and tells him in a startled way:

 

"YOUR HAND UP! IT IS

A MATTER OF LIFE OR DEATH!"

 

 

A LONGER SHOT...FAINT GREEN

 

Raoul is puzzled and senses his dependency. He

raises his hand. The Persian moves quickly

followed by Raoul to a pin rail in the left b.g.

With some effort the Persian twists one of these

large pins. As he does a trap opens in the floor

in the identical spot where the body of Joseph

Buquet was found. The Persian and Raoul go to the

open trap and the Persian flashes on the lantern

and indicates for Raoul to hold him by the wrists

and drop him - Raoul holds the Persian by the wrists

and drops him - (This scene will be more effective

if played in semi-darkness)

 

 

INT CORRIDOR LOOKING AT BLANK WALL FAINT GREEN

(This blank wall can be doubled for another location)

This source of light here is the Persian's lantern.

Couple of counter poise weights are hanging from above.

The Persian falls into the scene and lights on

his feet. Raoul drops in after him. The Persian pulls

the counter-poise weight.

 

 

INT ROI DE LAHORE SET FAINT GREEN.

This is a flash of the trap closing.

 

 

INT CORRIDOR LOOKING AT BLANK WALL FAINT GREEN

 

Raoul and Persian exit - guided by the rays from

the dark lantern.

 

INT CHRISTINE'S DRESSING ROOM

 

Philippe has smashed the trick mirror revealing

the secret passageway behind it - gripping a gun

in each hand and with a triumphant smile he steps

into the passageway and exits from sight.

 

 

INT CELLAR SHOOTING AGAINST BLANK WALL #2 FAINT GREEN

 

Raoul and the Persian enter - They look off and stop

-both transfixed with terror - They flatten themselves

against the wall as the Persian makes his lantern

dark. A fiery face - not more than three feet from

the ground approaches, a red handkerchief - Handschiegel

Process - is around the neck giving the impression

that it is a decapitated head. When the terrible

face reaches a point opposite Raoul and the Persian

it cries out at them:

 

"DON'T MOVE...WHATEVER YOU DO...

I'M THE RAT CATCHER. LET ME PASS

WITH MY RATS."

 

 

BACK: The face exits. The light upon the face is

caused by a dark lantern which the rat catcher holds

turned upon himself. The Persian turns on his lantern

and he and Raoul exit, looking back with terrified

eyes, their right hands up in the air.

 

MED CLOSE UP ERICK (FULL FIGURE) AND CHRISTINE

 

Erick stands upon the steps back of the couch - folds

his arms - towers over her and addresses her:

 

"YOU MUST NOW MAKE YOUR CHOICE!

...THE WEDDING MASS OR THE REQUIEM

MASS?"

 

BACK: Christine breaks into tears, repeating, "No!

No! No!" Her tears touch Erick. He cannot stand them.

Erick leaves the steps and goes to the other side of

side of the couch.

 

 

ANOTHER MEDIUM CLOSE UP ERICK AND CHRISTINE. AMBER

Erick kneels and appeals to her:

 

"DON'T CRY...IT GIVES ME PAIN!

 

BACK: This causes Christine to cry all the more-

bitterly - then he tells her in a pathetic reasoning

way:

 

"I WANT TO HAVE A WIFE LIKE EVERYBODY

ELSE AND TAKE HER OUT ON SUNDAYS."

 

 

BACK: Christine cowers away from him like a broken

spirited animal as far away as the couch will allow.

His mood changes again - he rises in a rage - He is

infuriated at himself and his position.

 

A LONGER SHOT...AMBER:

 

He beats his chest and cries at her:

 

 

"I AM SICK AND TIRED OP LIVING

LIKE A MOUNTEBANK IN A HOUSE

WITH A FALSE BOTTOM."

 

 

BACK: Erick continues to violently bemoan his

fate and threaten Christine.

 

 

INT LAST CELLAR FAINT GREEN

This is a low massive chamber. It is almost at the

bottom of the opera foundations, leading from it is

a long narrow corridor, wide enough only for two

men to walk abreast. This first shot does not reveal

the narrow corridor. Raoul and the Persian enter.

The Persian stops and listens. Raoul tiredly lets

down his right hand. In a startled way, the Persian

grabs Raoul's wrist and raises his right arm for

him, with a certain horror in his look.

 

"KEEP YOUR HANDS UP! THIS IS THE ONLY

WAY TO THROW OFF THE STRANGLER'S LASSO."

 

 

BACK: Raoul is henceforth careful to keep his hand

raised. They exit. The Persian with increased caution.

 

 

ANOTHER SHOT...REVEALING NARROW CORRIDOR FAINT GREEN

 

Raoul and Persian enter - The Persian again stops

and listens - Then he whispers to Raoul.

 

"WE ARE NEAR HIS HOUSE NOW."

 

BACK: The Persian cautions Raoul to move quietly.

They reach a point just inside the corridor.

Without any anticipation a trap gives under their

feet and they shoot downwards out of the picture.

The picture is held on an instant and the trap closed.

 

 

INT TORTURE CHAMBER. ...FAINT GREEN

 

The source of light is the Persian's lantern.

In relation to Erick's living room this chamber is

to the left. It is a six-cornered room, the sides

of which are covered with mirrors from top to

bottom. The chamber is very high and the ceiling

never seen. In one corner is an iron tree with

an iron branch. Upon the branch is hanging a

strangler's lasso. The multiple reflections of the

tree gives the effect of a forest, in the mirrors.

Out of reach of anyone is the torture chamber and

out of the picture in the right top wall is an

aperture opening into Erick's living room, an opening

through which a person in the living room can see into

the torture chamber. Ben Carre is working out the

details of this chamber.

 

There is no effect of a reflected forest until

Erick turns on the overhead lights. The dark lantern

would not cause those multiple reflections. The

Persian gets to his feet, turns lantern to

mirrors and feels them. Then examines iron tree and

lasso - turns to Raoul, recovering from fall and says:

 

"WE HAVE DROPPED INTO ONE OF THE

TORTURE CHAMBERS OF THE OLD COMMUNE.

IF ERICK DISCOVERS US, MAY GOD HAVE

MERCY ON OUR SOULS!"

 

BACK: Raoul's reaction is horror. Suddenly both men

are startled and look up and to the right. They

hear Erick's voice. Raoul is thrown into great

terror and opens his mouth to cry out but the Persian

grabs Raoul and puts his hand over Raoul's mouth.

 

INT ERICK'S LIVING ROOM...AMBER C.V. CHRISTINE

 

standing upon second step of stair at back of couch

leading to the screen which connects with torture

chamber. This screen is concealed by a drape. It is

of heavy material closely woven from wire and

locked with a fancy weird sort of padlock. Erick is

standing below Christine, Erick is making love to

her, in his way, and Christine is flattened against

the wall crying hysterically.

Erick is not touching her but close to and below

her he tells her:

 

"YOU SHALL BE THE HAPPIEST OF

WOMEN...WE WILL SING BY OURSELVES

UNTIL WE SWOON WITH DELIGHT."

 

BACK: Christine shrinks from him, shrinks away

from the idea, then she runs down the steps.

 

ANOTHER SHOT AMBER

 

Christine runs to a position before the center

pillar and sobbing, hides her face against the pillar.

Erick goes to her dejectedly and appeals to her.

 

"ALL THAT I HAVE WANTED WAS TO

BE LOVED FOR MYSELF."

 

 

CLOSE UP CHRISTINE ... AMBER

 

She is moaning and crying. She wails, but not to

Erick.

 

 

"I WANT TO DIE!...I WANT TO DIE!"

 

INT. TORTURE CHAMBER. FAINT GREEN

CLOSE UP RAOUL AND THE PERSIAN

Raoul is in agony and struggles with the Persian

who tries to get it over to him that it will mean his

death if their presence becomes known. The Persian

now begins to feel the walls for the hidden spring

that will release them.

 

INT. ERICK'S LIVING ROOM ...AMBER...MED. CLOSE UP

OF ERICK AND CHRISTINE

 

Christine looks up terribly startled at a resounding

clang. Erick too is startled into a dramatic tension.

 

 

CLOSE OF QUEER SOUNDING DEVICE...AMBER

This is a weird, oriental, beautifully tooled

affair. There are three bars such as are used in

chimes. An arm about 18 inches long systematically

strikes the chimes - all three at once. This

sounding device is placed in a prominent place in

the room and continues striking regularly through

the next number of scenes. This is for the dramatic

affect of its stopping at the proper moment.

 

CLOSE UP CHRISTINE AND ERICK. AMBER

 

Erick, realizes that opposition is now at hand and

a satanic smile overspreads his horrible face,

mockingly he tells Christine:

 

 

"SOMEBODY IS RINGING! WE

HAVE CALLERS!"

 

 

BACK: Christine's first reaction is one of relief.

Help is at hand. Then almost instantly she is

thrown into anguish. Her lips form the name "Raoul"

Erick studies her for an instant and then moves out.

Swiftly.

 

A LONGER SHOT...AMBER

 

The arm is rhythmically falling upon the chime.

Erick moves to a beautiful throw hanging over the

back of a chair, sweeps it off. Swiftly he begins

to bind Christine to the center pillar.

 

MED CLOSE UP ERICK AND CHRISTINE...AMBER

 

She offers no resistance. The throw passes around

Christine's waist and is tied on the side of the pillar

opposite Christine. Erick tells her hurriedly:

 

 

"FORGIVE ME...THIS IS TO SAVE YOU

FROM HARMING YOURSELF."

 

A LONG SHOT. AMBER

The chimes are sounding. Erick now sweeps from the

room, leaving by the door which leads to the lake.

He closes the door.

 

 

LAKE SET LOOKING FROM ERICK'S ROOM FAINT GREEN

 

The boat is discovered here. Erick enters from

his drawing room. From a rack he takes up a metal

tube, the shape of a reed, about four feet long

and less than half an inch in diameter. Erick

puts one end of this tube in his mouth and swiftly

walks down into the water. As he walks he goes down

and down until his head disappears and only the

ripple caused by the end of the gliding reed is

seen. This ripple moves away with remarkable swiftness.

 

 

THE FIRST LAKE SET...FAINT GREEN

 

Philippe is standing at the boat landing. He has

found the way to the lake. He holds his lantern up

and peers out into the darkness. Philippe is stand-

ing upon the board which has a connection with the

chimes.

 

 

INT TORTURE CHAMBER...FAINT GREEN

 

Raoul and the Persian are listening to make sure

that Erick has gone, then, before the Persian can

stop him, Raoul cries out "Christine! Christine!

It is I, Raoul!"

 

 

INT ERICK'S LIVING ROOM...AMBER

CLOSE UP CHRISTINE LASHED TO THE CENTER PILLAR

Christine hears Raoul's agonized cry, answers it

and gives away to fear for Raoul.

 

INT TORTURE CHAMBER...FAINT GREEN.

 

Raoul is crying out - wild inarticulate things

to Christine - The Persian grasps him by the

wrist and sternly indicates for him to keep

quiet. The Persian addresses himself toward

the overhead window:

 

"WE ARE IN THE TORTURE CHAMBER.

THE DOOR IS IN THE WALL FROM WHICH

OUR VOICES COME."

 

 

INT RICK'S LIVING ROOM...AMBER

A shot of Christine taking in the drape at the

head of the little stairs behind the couch.

Christine hears this title and fires her gaze

upon the drape. She cries out that she is bound

and begins to struggle with her bonds.

 

INT THE FIRST LAKE SET...FAINT GREEN

 

This is medium closeup of Philippe at the boat landing.

Philippe is kneeling, holding up the lantern, peering

into the darkness. He shouts Raoul's name. Unseen by

Philippe and directly in front of him there is a dis-

turbance in the water. The reed-like tube glides in

making a V-shaped line of ripples. Then Erick's

long arm shoots out of the water and grasps Philippe's

wrist of the hand that holds the lantern, and the

scene is plunged into darkness.

 

INT. ERICK'S LIVING ROOM...MED CU CHRISTINE

 

She has worked around to the rear of the pillar within

reach of the knot. She unloosens the knot

sufficiently to allow her to slip under the throw

which has held her prisoner.

 

 

LONGER SHOT AMBER

 

Christine flies across the room and runs up the few

steps to the door to the torture chamber.

 

CLOSE UP CHRISTINE BEFORE DOOR...AMBER

Christine parts the drapes and tries to look

through the heavy mesh, but evidently can see

nothing. She shakes the door and registers that it

is locked. She cries out in distress to the men in

the torture chamber that the door is locked.

 

INT. TORTURE CHAMBER FAINT GREEN

 

The Persian is listening to Christine intently.

At the same time he is forcing Raoul to be quiet.

The Persian tells Christine:

 

"THE KEYS ARE IN A CHAMOIS BAG HANGING

NEAR THE ENTRANCE DOOR."

 

 

INT ERICK'S LIVING ROOM AMBER

This is a shot taking in the entrance door.

Christine is before the door to the torture chamber,

and the sounding device rhythmically beating. Christine

runs down the steps and approaches the entrance door,

looking for the chamois bag. This bag is not in plain

view, so that she cannot locate it at a glance.

 

CLOSE UP SOUNDING DEVICE. AMBER

 

It continues to strike twice and stops.

 

A LONGER SHOT AMBER.

 

Christine is looking at the sounding device.

With dread anticipation she senses that Erick

is returning. She flies back to the center

pillar and slips under the throw. She is now

apparently in the position that Erick left her.

From this moment Christine begins to act a

double role. She is now matching her wits against

Erick's...Above all things she must keep Raoul's

presence in the torture chamber from Erick.

 

The entrance door opens and Erick enters

dripping wet. He closes the door goes to

Christine and tells her sardonically:

 

"MY DEAR. IT IS RAINING CATS

AND DOGS OUTSIDE."

 

 

A LONGER SHOT AMBER

 

Christine is looking at the sounding device

with dread anticipation - it is still. Her fear

is just as apparent as her pretense. She does not

fail to notice his wet clothes and the mystery

behind his absence. Erick now drops his sardonic

mood which caused the last title. As he releases her

he tells her:

 

 

"COME I WILL PLAY YOU OUR WEDDING MASS.

YOU CAN TAKE MY WORD FOR IT, IT IS MAG*

NIFICENT."

 

BACK: From this point, Erick seems to forget Christine's

presence, so absorbed is he in his new purpose. Erick

turns away from her toward the organ and Christine

registers her involved complexity, fear that Erick

may discover her intention, eagerness to possess the

chamois bag.

 

 

A LONGER SHOT AMBER.

 

Erick sits down at the organ and begins to play

seeming almost wholly to have forgotten Christine.

She works her way toward the entrance door and

when Erick does glance her way, she pauses and

pretends that she is listening.

 

CLOSE UP CHRISTINE AT ENTRANCE DOOR AMBER

 

Christine discovers the chamois bag partly concealed

behind a drape, up in a little recess. She is at

a high tension, she gives Erick a frightened look,

then snatches the little bag from its hiding place.

Instantly she looks back at Erick in terror.

 

A LONG SHOT AMBER

 

Erick has stopped playing and is looking at Christine

in an attitude of alarm. He rises and swiftly strides

to her. In an hysterical way she tries to conceal the

bag.

 

 

MED CLOSE UP CHRISTINE & ERICK

He cries at her in anger:

 

"WHAT HAVE YOU DONE WITH MY BAG? DON'T

YOU KNOW THAT IS THE BAG OF LIFE AND

DEATH!"

 

 

BACK: Erick forces the bag away from her and she

gives a cry of dismay.

 

INT TORTURE CHAMBER FAINT GREEN

 

Raoul and the Persian are listening at a great tension.

Raoul gives an unexpected cry of rage - This startles

the Persian, who indicates with certain horror,

"He has heard you!"

 

 

INT ERICK'S LIVING ROOM AMBER

MED CLOSE UP ERICK AND CHRISTINE

 

Erick is listening. He has heard Raoul's cry of rage.

He now understands why Christine wanted the keys.

He also knows that only for Raoul would Christine

do as she has. From this moment Erick becomes cruel

and Christine combats him on the verge of hysterics.

He asks her in a quiet but very dangerous manner:

 

 

"DID YOU HEAR, CHRISTINE?

 

 

BACK: "No" she cries "no, I heard nothing."

Erick tells her quietly but pointedly:

 

"YOU ARE LYING."

 

A LONGER SHOT

 

Erick moves swiftly up the few steps to the screened

opening.

 

MED CLOSE UP ERICK AMBER

 

He brushes aside the drapery and discloses the window.

But he does not so much as look thru it. The screen

is set back somewhat and there is an open space between

the screen and the wall of the room. Erick puts his

hand out of sight in this opening and turns something.

 

 

INT TORTURE CHAMBER FAINT GREEN

From semi-darkness the chamber is flooded with

a brilliant, dazzling light from overhead.

Under the overhead light the single iron tree

is multiplied into thousands of trees, into a

forest. Raoul's reaction is astonishment, be-

wilderment, the Persian's horror - for he knows

what this means. The torture has begun. The

sudden flood of brilliant light causes them to blink.

Then Raoul tries to hide his eyes from the brilliant,

blinding light. The Persian now realizes the necessity

of searching for the secret spring which he knows

to be in the floor. Excitedly he begins to feel over

the floor with the tips of his fingers, to feel the

joints in the glass. Raoul watches him in excited

bewilderment. This is a short scene.

 

INT ERICK'S ROOM AMBER

 

Erick is now coming down the steps leading to the

screened opening. Christine senses that Erick

has put into effect some of his cruel mechanisms.

She is becoming frantic in her attempt to carry

on her acting. Her composure is palpably nervous

and forced. Erick pantomimes for her to go up

and look thru the screen. She moves mechanically

up the steps. Her attitude is entirely false to him.

In a mechanical way she parts the drapes concealing

the opening. A strong light is apparent back of

screen.

 

CLOSE UP CHRISTINE AMBER

 

She peers through the screen. There is just the

slightest fleeting tremor about her eyes. She

turns to him with poorly affected surprise and

tells him:

 

"WHY...THERE IS NO ONE THERE!"

 

 

A LONGER SHOT AMBER

 

Christine comes down the steps, trying to affect

an air of being nonchalant. Erick steps up to her

and takes her by the wrist, asking her:

 

"NOT EVEN THE LITTLE CHAP YOU

WERE GOING TO RUN AWAY WITH?"

 

MED CLOSE UP ERICK AND CHRISTINE AMBER.

 

He holds her with his hollow eye. The terrible

realization comes over her that Erick knows that

Raoul is in the torture Chamber. In a helpless

automatic way, knows that he knows she is lying.

She repeats "No! No! Nobody is there!"

 

INT. TORTURE CHAMBER AMBER

 

The heat in the chamber has now become intense.

Both men are perspiring profusely. Excitement

approaching panic is overtaking the Persian

as he continues his search for the secret spring.

They are mopping their faces with their handker-

chiefs. Raoul tears off his collar and flings it

from him. He wants air. He begins to beat at

the mirrors with his fists and the Persian shows

his apprehension for Raoul. He tries to quiet

Raoul.

 

INT GRAND STAIRCASE #2 AMBER

 

The audience with hats and wraps is leaving the

theatre. The grand staircase is filled and the

general tone is one of lightness and gaiety.

 

EXT IN PARIS STREET BLUE

 

(In this scene begins the gathering of the mob, it

must not have the appearance of an open revolt against

constituted authority. It is rather the quiet myster-

ious gathering of about five hundred men, under the

very eyes of the police. Until they begin rushing

wild in the opera, they must do everything to con-

ceal their designs from the police. Mob psychology

is only suggested here and allowed to grow to

dramatic proportions later.)

This is a general view of the street. The streets

are wet. It has just stopped raining. The streets

glisten from the lights reflected on the pavement.

Only about half the mob is shown here. The men are

gathering in small groups, not more than ten in a

group. The groups are so placed as to be near exits

for a sudden disappearance effect. A nervous buzz

of suppressed excitement prevails. The center of

the scene is a dark doorway around which the largest

group is gathered. Beside the door is a flight of

steps leading down into a dark cellar. Standing

beside this door is Simon with Florine. Mysterious

packages (torches) the contents of which are not shown

to the audience, are passed out of the doorway and

instantly secreted under the coats of the receivers.

The mysterious packages are being distributed among

the other groups, and in each case are instantly

secreted.

 

 

MED CLOSE UP CENTER GROUP BLUE

 

A fanatical fire shines from Simon's eyes, as he

directs the distribution of the mysterious packages.

The packages are passed out of the doorway. Florine's

attention is concentrated upon a deaf man. He is

shouting in the man's ear, trying to make him under-

stand something.

 

 

ANOTHER SHOT BLUE

 

This is shooting down the street upon the mob.

In the f.g. is a cross-road. One of the mob is

picketed on the corner to keep an eye out for

the police. A gendarme approaches upon the cross

street. He will not be in a position to catch

sight of the mob until he reaches the corner.

The picket spots him.

 

CLOSE UP FLASH OF PICKET BLUE

He puts two fingers in his mouth and whistles

a warning signal.

 

MED CLOSE UP CENTRAL GROUP BLUE

 

Simon and the others, except Florine, who is

yelling at the deaf man, get the signal.

 

SHOOTING DOWN STREET TOWARD CROSS ROAD BLUE

 

The mob melts and disappears - vanishes. The

door through which the packages were being passed

closes. This leaves Florine alone yelling at the

deaf man. The deaf man sees and he too disappears.

Florine looks around and finds himself all alone.

He runs down into the cellar just as the gendarme

rounds the corner and takes a diagonal course

across the street. Florine fairly bounces, flies

out of the cellar. The idea is that he has been

confronted by something terrible in the

cellars - just as rapidly as he comes out. The

gendarme, however, does not see him and exits. The

door opens, Simon enters and the mob reappears, just

as rapidly as it faded away. Florine enters

from the cellar, sort of creeping up backwards

looking into the dark hole with fright. Simon gives

an order to move. He conceals a package and gives it

to Florine. Florine's package sticks up about a

foot back of his head in plain sight. The mob moves.

 

INT ERICK'S DRAWING ROOM AMBER

 

Christine is in the position now that one false

step will cause Raoul's death. If Erick makes love

to her she cannot tell him flatly "No"

Therefore she continues her acting, depending upon

evasions. At the same time she is in trembling

and fear for Raoul. What is being done to him?

Erick is frenzied and insistent. Christine is hard

pressed. He follows her into a corner and is telling

her with frenzied pain:

 

"I WILL KILL EVERYBODY AND MYSELF

IF YOU DO NOT CONSENT TO BECOME

MY WIFE."

 

 

MED CLOSE UP CHRISTINE AND ERICK AMBER

 

Christine pleads with him, "Don't talk like

that." Then she runs her hand across her

brow and tells him evasively:

 

"IT'S VERY HOT IN HERE."

 

BACK: Erick laughs wildly - he knows why it is so

very hot.

 

INT TORTURE CHAMBER AMBER

 

The two men are undergoing terrible torture.

They are almost burning up. Their coats are off

and their shirts have been torn open at the neck.

They are drenched with perspiration. Raoul is be-

coming delirious. The Persian himself almost crazy

and is mechanically searching for the secret

spring. If the forest from the reflected iron

trap is seen here, it is just as it was when first

seen. A terrible hallucination begins to overtake

Raoul and with startling eyes he begins to crawl

away from the section of mirrors into which he is

looking.

 

CLOSE UP RAOUL AMBER

 

With an expression of utmost fear and terror he

shrinks away - he cringes away from the terrifying

product of his delirium.

 

SHOOTING INTO MIRRORS RED.

 

The reflected forest has assumed the aspect of

a real tropical forest. A forest fire is raging

and is being blown by a strong wind which is

driving the animals of the forest about it, lions

and tigers and any other animals that are available.

CLOSE LION...RED

It leaps up to the immediate f.g. and roars, as if at Raoul.

CLOSE UP RAOUL AMBER

He gives a cry of terror and of fear, as if his heart would break.

A LONGER SHOT AMBER

The Persian is startled at this cry and his eye follows the direction of Raoul's eyes. But the forest is just as it was before, a reflection of the single iron tree.

INT. ERICK'S LIVING ROOM AMBER

Christine is frantic. She is listening to Raoul's agonized cries. She is beside herself. She moans and clutches at his cloak, crying, "What are you doing to him! What are you doing to him!" With a sweeping motion Erick points to the screened opening indicating, "Go and see!" Christine runs up the steps - draws aside the drapes and looks through the screen.

INT TORTURE CHAMBER. AMBER

FLASH CLOSE UP OF RAOUL IN AGONY

INT. LIVING ROOM AMBER

Christine is looking through the screen. She turns upon Erick, maddened. She runs down the steps to him. She first reviles him - then hysterically appeals to him. He grasps her by the wrist with such unconscious force that it brings her to her knees. He cries at her:

"TELL ME THAT YOU LOVE ME!"

CLOSE UP FLASH OF THE TWO AMBER

Her first reaction is one of repulsion and anger. This almost instantly gives way to the thought of sacrifice - to sacrifice herself to save Raoul. However, the scene is out before she comes to any decision.

INT TORTURE CHAMBER AMBER

The Persian is fighting to keep away the delirium. He is more undecided now in his search for the secret spring. Raoul has undergone a transition.

CLOSE UP RAOUL AMBER

His face lights up wildly - there is hope - "Water? Water! Water!"

SHOOTING INTO SECTION OF MIRROR AMBER.

The scene is changed to a beautiful cool water fall in a shady forest. The water falls into a shady pool then runs between grassy banks to the very floor of the torture chamber. Raoul crawls into the picture. He bends over thirstily and just before he reaches the Water, within six inches of the water, he is stopped by the glass. He puts his hand to his throat and begins to choke.

EXT. REAR OF OPERA BLUE

(The pavement and sidewalk are still glistening wet - for effect) This is at the stage entrance. The action here is rapid and an atmosphere of silence prevails. Simon cautions everyone to be quiet and not to talk. The traveling barouche is the only vehicle in evidence. The mob has finished gathering here, now five hundred strong. They are still in groups, still concealing the mysterious packages under their coats.

MED CLOSE GROUP AROUND STAGE DOOR BLUE

Simon, at a high pitch of excitement, is ringing the night bell. Florine is standing nearby with the concealed packages sticking up under the back of his coat It is evident that all in the picture are concealing something. The door is opened from the inside by a night watchman carrying a lantern. He is startled by the crowd before him, startled by their mysterious menacing faces. Simon gives the word and although the night watchman tries to close the door, the mob sweeps past him carrying him along with them.

A LONGER SHOT BLUE

The mob swarming into the stage door - a general movement.

INT ON BACKSTAGE AMBER

The curtain is up upon an empty stage. A few dim work lights are burning. About thirty men run in and all begin lighting torches, which throw a spectral glow over the stage. The torches light almost all together with a big flare.

INT FIRST CELLAR AMBER

The mob, led by Simon - Florine in evidence - all carrying lighted torches - pour down the stairs from the dressing room corridor. Some men run away from the camera through the arches, others into the left hall exit. Everything that can be used as a weapon, fireman's axes, clubs, etc., is picked up and carried along. Simon and Florine are temporarily left in this set. Simon is the general, giving excited directions, and Florine, too, is frightened and officious.

INT AUDITORIUM AMBER

This is a long shot shooting toward the stage. In the distance the stage is filled with men with torches, all moving - some in this direction, some in that. A glow is thrown over the empty seats. Suddenly six or eight torches and the arms that are holding them sweep into the f.g.

INT GRAND STAIRCASE #4 AMBER

The staircase is illuminated and empty, save for about four scrub women who are washing it down, the mob who - some of them have lights, torches, others not, flood in first from below and then from above. They circulate, excitedly and aimlessly. In the melee the scrub water is turned over and runs down the staircase.

INT GRAND STAIRCASE #2 AMBER

This shows the mob in the balconies - as well as on

the staircase.

INT BOX FIVE AMBER

This is a safety scene. Four or five of the mob are

discovered exploring the box with torches. Others

are in the ante-room. One man lifts a rug - another

begins to tap the big pillar with a small iron bar.

He suddenly cries out that it is hollow. He taps it

and all listen to the hollow sound. One man with a

fireman's ax ruthlessly pries at a square ornament

on the pillar. The ornament gives way - revealing

a passageway down thru the pillar. They peer down.

INT ERICK'S LIVING ROOM AMBER

Erick is still in the midst of his terrible scene with

Christine. He is thundering at her. "Tell me that you

love me!" Christine is groggy - she has the intention

of telling Erick, "Take me!" but her emotions have

exhausted her. She is almost out of her mind. Her

eyes are wild and she sways groggily, staggers to the

couch and sinks down upon it. Erick bends over her

in an ecstasy. He bends within a short distance of

her white face and tells her: "You are as beautiful

as if you were dead!" Erick continues along the

same line.

INT TORTURE GARDEN AMBER

Raoul is lying upon the floor, panting, exhausted,

crazed. The Persian, who himself is beginning to

grow wild, is feeling aimlessly about the floor for

the hidden spring. His finger touches something

that gives, a nail head, which slightly protrudes

above the floor...which responds to his touch.

In his semi-delirium, he cries out in exultation.

INT ERICK'S LIVING ROOM AMBER

A shot including screened opening. Erick is bending

over Christine declaiming, bemoaning her beauty.

This scene is instantly broken when Erick hears the

Persian's cry of exultation. He is thrown out of his

wild ecstatic mood and moves swiftly up the steps,

draws back the drape and looks through the screened

opening.

INT TORTURE CHAMBER AMBER

The Persian is crying out in mad exultation that he

has found it. - But Raoul is too far gone to hear him.

The Persian takes the nail head between his fingers

and pulls it up about an inch. There is an instant

of suspense in which nothing transpires. Then a

section of the floor about three by five, falls about

two inches. -then slides away horizontally, and

reveals a wooden stair leading downward. The Persian

inhales the cool air from below, then drags Raoul to

the opening. Raoul drinks of the cool air as if water.

INT ERICK'S LIVING ROOM ERICK LOOKING THRU OPENING

He is not the least perturbed. He is amused.

INT CELLAR #2 AMBER

This is the dummy set. The mob, led by Simon, are

waving torches and exploring, pulling down dummies

and exploring dark recesses. This is sort of a pro-

perty room and members of the mob pick up spears,

bludgeons, and executioner's axes, which they brand-

ish. Mob psychology is beginning to manifest itself.

The men stab the dummies with their spears, while

Florine is active in giving directions. He is afraid

and like a child keeps near and clings to Simon. In

the scenes to follow he always manages to keep be-

tween two strong men with bludgeons and spears.

(These cellar scenes may be cut in at will, may be

used as flashes or in whole.)

INT CELLAR #3 AMBER

This is the dragon set. The mob sweeps in led by

Simon, and again all stage properties in the nature

of weapons are appropriated. It will be especially

good if there are lots of spears. In passing the

dragon Florine clings very closely to Simon. There

is a reason for not having Florine point out here

what he sees in the dragon's mouth.

INT CELLAR #4 AMBER

This is the headless statue set. The mob, led by

Simon sweeps in, appropriates any properties that

are valuable and pass out down the stairs leading to

the Roi de Lahore set. Florine is especially fearful

of going down these stairs.

INT CELLAR BRIDGE SET AMBER

Another portion of the mob, in which Simon and Florine

are absent, passes over the bridge, while others

with torches, run over the bridge.

INT TORTURE CHAMBER AMBER

The cool air has revived Raoul and his senses have

returned to him. The Persian holds his dark lantern

in his hand and is urging Raoul to follow him down-

ward. They exit down the steps. The steps leading

downward go off in the direction of Erick's living room.

INT ERICK'S LIVING ROOM AMBER

CLOSE UP ERICK LOOKING THROUGH SCREEN

He laughs like a demon - lending to the suggestion

that what he has now prepared for them is worse than

the torture chamber.

INT BOTTOM CELLAR FAINT GREEN

The source of light is from the torture chamber.

The location of cellar is directly under Erick's

living room. A set of wooden steps lead up to

a trap opening in the floor of the living room.

This is a very low cellar and enough barrels of

all sizes are stacked about to give the appearance

of a big wine cellar. The ceiling of this cellar

is necessary for the action. The Persian, carrying

his dark lantern, and Raoul enter down the stairway

leading from the torture chamber. They are looking

back apprehensively because a grating of heavy

bars descends behind them, cutting off their retreat

to the torture chamber, and by no action of their

own. While they are most dying of thirst, they

still are mystified at the great number of barrels.

They run to the barrels and each kneels at the one

he has chosen. They kneel and begin to pull at

the bungs, long enough to take hold of and pull out.

INT ERICK'S LIVING ROOM AMBER

Erick is in the act of sweeping down the steps from

the screened opening. In a sardonic, demoniacal manner

he begins to sing:

"BARRELS! BARRELS! ANY BARRELS TO SELL?"

BACK: This singing revives Christine - she gathers her

scattered senses, and shrinks from Erick as if he

were crazy. He strides up and down the room singing

his strange song.

INT BOTTOM CELLAR FAINT GREEN

MED C.V. RAOUL & PERSIAN

This strange song coming directly from above their

heads diverts their attention for an instant. They

look upward with new dread then back to the bungs.

C.V. RAOUL KNEELING BEFORE BARREL FAINT GREEN

Raoul pulls the bung, cups his hands to catch the

precious water, but instead of a fluid running into

his hands, it is filled with something that looks

like black sand. Raoul looks at it stupidly as it

runs through his fingers.

A LONGER SHOT FAINT GREEN

The Persian pulls the bung stopper of his barrel

and the same black powder flows into his hand. He

looks at the material in horror, empties it out of

his hand and removes the lantern to a safe distance.

He then tells Raoul with dread:

"IT IS GUNPOWDER!"

BACK: Raoul is bewildered but the Persian flies into

action.

A LONGER SHOT FAINT GREEN

The Persian runs around the cellar experimenting

and examining it with his dark lantern. He is

followed by Raoul. They pause at the steps which

lead to Erick's voice above. They then go up the

steps as far as they can go and listen.

INT ERICK'S LIVING ROOM AMBER

Erick is striding down the room toward the camera

singing in his demoniacal manner, "Barrels, Barrels

Any Barrels to sell?" Christine has risen from the

couch and is crouching against the wall. She believes

Erick has turned maniac. Erick stops singing, turns

and takes a step toward her. There is a lightning

transition in his manner. Pointing at her, he hurls

the final threat:

"SHALL YOU BE ERICK'S BRIDE OR NOT?"

BACK: He strides over to her without waiting for her.

MED CLOSE UP ERICK AND CHRISTINE AMBER

Erick is becoming rapidly carried away by his own

weird madness. Still without waiting for a reply

from Christine he pantomimes something being blown

up and continues:

"IF NOT, EVERYBODY WILL BE DEAD AND BURIED

BENEATH THE RUINS OF THE PARIS GRAND

OPERA."

INT BOTTOM CELLAR FAINT GREEN CLOSE UP RAOUL & PERSIAN

Their lantern is upon the highest step. The two

men are listening, their ears are close against the

trap. They turn horrified eyes to each other. They

understand that Erick will ignite the tons of

gunpowder.

INT ERICK'S

Erick continues in his mad wild ecstasy. Without

waiting for Christine's reply - he grabs her by the

wrist and drags her across the room to a Spanish

chest on the left.

MED CLOSE UP ERICK AND CHRISTINE AMBER

From his chamois bag he takes a key and unlocks

the chest. He opens the chest revealing the

following contrivance:

Upon a piece of plate glass are two objects - a grass

hopper and a scorpion, both made of Japanese bronze.

From each of these objects a rod runs downward out

of sight. Coming up thru the glass is a liquid, watery

light effect. Coming up thru the glass is light.

Christine feels an unaccountable dread at the sight

of the little bronze objects. Erick tells her:

"IF YOU TURN THE SCORPION AROUND

IT WILL MEAN THAT YOU HAVE SAID 'YES'

THE GRASSHOPPER WILL MEAN 'NO'!"

LONGER SHOT AMBER

Erick turns and walks wildly and rapidly toward

the music room. Upon the steps leading to this

room, he turns upon Christine and in a demoniacal

manner tells her:

"BE CAREFUL OF THE GRASSHOPPER.

IT HOPS...AND IT HOPS JOLLY HIGH"

BACK: With this he swings into the music room, sits

down at the organ and begins to play wildly,

a skeleton gone mad. Christine stands in terror,

fascinated by the scorpion and the grasshopper.

INT CELLAR #5 AMBER

This is Roi de Lahore set. The mob is sweeping

down the circular staircase. Florine very much

frightened - is talking, telling where the body

of Buquet was hanging and where he saw the move-

ment in the dark opening - some of the mob runs

out toward the spot of the hanging while others

begin to break down the door in the dark opening.

Simon herds the men out toward the camera. These

cellar scenes are wild and rapid and are not held

up by individuals, closeups, business, so that the effect

will be the that of the menace sweeping downward like a

great wave.

CLOSE VIEW CHRISTINE BENDING OVER CABINET

She puts her hand toward one - then the other. Which

shall it be, the scorpion or the grasshopper? Which

of these will mean life and which death. She sways.

INT BOTTOM CELLAR FAINT GREEN RAOUL & PERSIAN

Raoul hears her calling him, senses her agony, pounds

at the trap and cries: "Christine! Christine!"

INT ERICK'S DRAWING ROOM AMBER

This is a long shot showing Erick playing madly upon

the organ and Christine struggling with herself.

CLOSE UP CHRISTINE AMBER.

Almost out of her head, Christine places her fingers

upon the scorpion.

INT BOTTOM CELLAR FAINT GREEN

CLOSE UP RAOUL AND THE PERSIAN UNDER TRAP

A new thought suddenly forces itself upon the

Persian and he cries upward with great force:

"DON'T TOUCH THE SCORPION!"

INT ERICK'S DRAWING ROOM AMBER C.V. CHRISTINE

As she jerks her hand away from the scorpion as if it

had stung her. Christine's indecision and agony

leave her. It is as if her mind suddenly cleared.

She becomes very calm. It is here that she makes her

her decision that she will become Erick's wife. She is in

the spirit of a nun taking her final orders that will

forever remove her from society. With quiet delib-

ration she turns toward Erick.

LONGER SHOT AMBER

Erick is playing wildly upon the organ. But this

is held only for a few feet. Erick senses the change

of atmosphere, stops playing, turns toward Christine

and rises. This places him at the top of the two steps

between the two rooms. Christine walks toward him,

quietly and with deliberation and pauses at the bot-

tom of the steps.

MED CLOSE UP ERICK AND CHRISTINE AMBER

Christine gazes up at him earnestly and the picture

is held for an instant. Erick realizes that the

final moment is at hand and there is a sense of

terror in his manner. She asks him in a trembling

voice:

"DO YOU SWEAR TO ME THAT THE

SCORPION IS THE ONE TO TURN?"

BACK: For the first time Erick shows fear. In a

hushed way he answers her:

"YES...IF YOU WISH TO BE MY BRIDE"

BACK: Quietly she turns from him.

CLOSE UP CHRISTINE AMBER

Without an instant's hesitation, but with

thorough consciousness of what she is doing

she turns the scorpion.

A LONGER SHOT AMBER

Erick walks toward her - a man crushed. Christine

in this instant has become his master. Christine

turns calmly to meet him.

INT BOTTOM CELLAR FAINT GREEN A FLASH CU RAOUL &

PERSIAN UPON THE STEPS UNDER THE TRAPS.

They are looking toward the cellar floor in fright.

A LONGER SHOT FAINT GREEN

A tremendous volume of water is rushing into the

cellar. To make this effective it must be arranged

so that this cellar can be completely filled in

twenty feet of film. As the water reaches the barrels

they float and spin around, but they float like filled

barrels not like empty ones.

INT ON LAKE #2 FAINT GREEN

This is the lake shot outside of the door to

Erick's drawing room. The water is receding.

This can be controlled by undercranking. The

water should recede rapidly.

INT BOTTOM CELLAR FAINT GREEN

Raoul and the Persian are hugging the trap.

The water is within two feet of the ceiling.

The barrels are floating around, the rats are

swimming for points of safety.

INT ERICK'S DRAWING ROOM CU ERICK & CHRISTINE

Erick is standing before her trembling from head to

feet. There is a resigned serenity about Christine.

She has sacrificed herself to save Raoul.

INT CELLAR CROSS SECTIONAL SHOT AMBER

The three levels are filled with the mob.

Torches are aflame. Hundreds of spears are in the

air, until the mob looks like an army of crusaders.

Many jump from one level to another. Others slide

down pipes. The general effect is of a multitude

pouring downward.

INT. ERICK'S DRAWING ROOM

Erick is discovered as he was left, cringing before

Christine, afraid. She lays a hand upon his shoulder

and reminds him of those whose cries for help

both can hear. Like a dog, Erick obeys her. He throws

back a rug, revealing a trap door. This he throws

open. Raoul and the Persian are discovered, half

drowned in the water which has risen to within a few

inches of the floor. The two men are so far gone that

they are in do condition to engage Erick in battle.

Erick, aided by Christine, drags both of the men out

of the water. The trap is left open.

MED. CLOSE UP OF GROUP AMBER

Raoul is still alive and conscious. He is saved.

Christine is calm and very sad. Erick steps back

and tells the two men:

"I HAVE SAVED YOU TO PLEASE MY WIFE."

BACK: Raoul's eyes, dread and questioning, are upon

Christine. Very quietly and sadly, she indicates

"Yes, it is true." Slowly the arm of the sounding

device rises, unseen by those in the picture and

falls with a clang. All are checked at this un-

suspected interruption. The arm continues falling.

INT ON LAKE #1 AMBER

The water has receded almost two feet. The action

in these scenes is swift. Simon and Florine are

standing on the spot where Philippe was strangled.

Simon is beckoning the mob toward him. The first of

the mob is running down a runway thru a distant

arch. Spears and weapons are flourishing, torches

flaring. As the first of the mob reaches the boat

landing, the rest of the mob continues to bank up

the background.

A CLOSE SHOT OF FLORINE AMBER

The mob is behind him and no one is paying the least

attention to him. Simon is doing all of the talking.

Florine indicates "Follow me" Florine plants the

idea that he is going to jump into the water about

three feet deep. Florine jumps and lights stiff

legged in the water about six inches deep. (The

audience will think that he is going right out of

sight) Florine shows quick surprise "This is easy."

He beckons to the others, "Come in" - takes a step and

disappears, shoots straight out of sight. Without any

attempt to save himself. Still no one pays any

attention to his disappearance.

THE LONG SHOT AMBER

The first of the mob wades into the water. They

continue wading, shouting, waving their torches and

spears, until the entire set, water and back of boat

landing is filled. The mob is still pouring in from

the distant background. Florine comes up to the sur-

face blundering and spitting water. He swims out of

the little hole he has fallen into and follows the

others.

INT LAKE #2 AMBER

The mob is approaching. Hundreds of torches appear.

The mob does not move directly to Erick's door, but

does some exploring. Erick swiftly enters from the

door in the f.g., runs along the shelf, looks at the

mob and swiftly moves back into the drawing room.

MED. CLOSE UP FLORINE AMBER

He is somewhat apart from the others who are wading

waist deep. Florine is swimming dog fashioned. A

peculiar expression comes over his face as he stops

swimming and feels under the water. Then he stands up.

The water is only to his knees.

A LONGER SHOT AMBER

A number or the mob catches sight of the door to

Erick's living room. News of the discovery travels

quickly and this is a general wild movement in

that direction.

INT ERICK'S DRAWING ROOM AMBER

Raoul and the Persian are still upon the floor,

but are rapidly regaining their strength. Christine

is in misery, half in tears, explaining to him that

someday he will understand. Erick swiftly enters

from Christine's bedroom carrying a cloak. Erick

throws the cloak over her shoulders. He indicates

for Christine to come. She does not wish to but

she is willing to live up to her promise. She allows

Erick to sweep her out of the room into his bedroom.

This is all very flat. Raoul is very weak but he will

fight for Christine. Raoul staggers to his feet.

INT ON LAKE #2 AMBER

The space around the door and the lake are filled

with the mob. They begin to pound upon the door

with their weapons.

INT. ERICK'S DRAWING ROOM

The Persian staggers to his feet and goes toward

the door of the lake. Raoul drags himself towards

Erick's bedroom. Both men are very worn and weak.

INT ERICK'S BED CHAMBER AMBER

The action here is swift. Erick jerks down one

of the black velvet drapes in the f.g. revealing

a door and a staircase leading upwards. The drape

that Erick jerks partly falls obliquely across

the coffin. The coffin is hidden from the entrance

view but not from the camera view. The moment the

door is opened, a draft comes down the stairs

corridor and causes all of the draperies in the

room to shimmer. Erick softly leads Christine up

these stairs closing the door after him. Raoul

drags himself in and reels towards the door.

INT ERICK'S LIVING ROOM AMBER

The Persian unlocks the door leading to the

lake. The mob led by Simon, floods in and fills

the room. The mob is wet. Florine is still in

evidence. The Persian indicates Erick's bed

chamber. He and Simon and others run toward the

chamber.

INT ERICK'S BEDCHAMBER AMBER

Raoul has opened the door leading to the stair

corridor, and all of the draperies are shimmering.

He is looking up the stairs. Simon, the Persian

and the others rush in. Simon excited sees the

coffin in only passing image. It is apparent

the direction Erick has fled. Simon gives the

Persian an order, Simon and about twenty others run up

the stairs, sweeping Raoul along with them.

The others all exit swiftly to the drawing room,

led by the Persian. When the last man has left the

room Florine enters. The coffin is not visible to

him, while it is to the audience. Florine is

a forlorn figure. He calls:

"SIMON! SIMON!"

BACK: The audience first sees what is happening.

There is a gust of wind from the corridor stairs.

It blows the drape which is lying obliquely over

the coffin in such a manner that it looks like a man's

head moving behind it. Florine now sees this.

But he is tired of being afraid. He picks up a club

which one of the mob left. He sneaks up to the

imaginary head, takes aim and gives it a terrible

whollop. The blow reveals the coffin and knocks

it over. It reels over twice and comes to rest face

up. Florine drops the club and tears out of the room.

INT ERICK'S DRAWING ROOM AMBER

The room is empty. Florine tears in, running, looking back at the coffin room. He pauses on the very edge of the open trap. He stands, his back to the trap, looking toward the coffin room as if he anticipated someone to come out and attack him. Then he backs, steps over the missing trap, paying no attention to it. He backs until his heels hits the first step of the entrance door. Then he turns and flies for his life.

INT ROI DE LAHORE SET...AMBER

This is played very swift and is made as short as possible. Christine and Erick enter through the dark opening, the door to which has now been battered down, like two swiftly moving shadows. Erick sweeps her along. They pass across the set and exit to the right. The set is lighted by torches of the approaching mob. The moment that Erick and Christine are out, the mob enters from the left, Simon and Raoul in evidence, and exit on the run up the circular stair case. Another section of the mob continues to enter thus making it impossible for Erick to return.

INT CROSS SECTIONAL SET...AMBER

This is showing the Persian's section of the mob running upwards. Florine's is about ten feet behind the rest - trying to catch up.

INT HEADLESS STATUE SET...AMBER

Erick and Christine come in from camera. Erick takes a step toward stairs leading below. He hears the mob coming up circular stairs. Sweeps Christine to the right.

INT DRAGON SET AMBER

Erick sweeps in with Christine - comes to a sudden stop looking to the right.

INT DUMMY SET AMBER

Erick affects a panic. He turns to retrace his steps and again stops. A section of the mob runs in from the right. They spot Erick, and point, begin to run left.

INT HEADLESS SET . . .AMBER

Led by Simon, Raoul in evidence, the mob surges up the circular staircase. Simon sees Erick out right and raises a great cry. He and the others run out to the right.

INT DRAGON SET . . .AMBER

An instant before the mob enters from right and left. Erick sweeps Christine through the mouth of the dragon and out of sight. The mob rushes in from both directions. Simon yells some directions and runs out the right with Raoul and some others. Those of the mob remaining pull the dragon apart. (It is built in two sections) revealing a closed, barred door. They begin to batter down this door.

REAR OF OPERA HOUSE

The time is four o'clock. It is in the grey haze before sunrise. In the following scenes such street activities are shown must conform with the hour. The coachman upon the traveling barouche is asleep upon the driver's seat. Other than the coachman the street is deserted. Erick enters from the opera house, through hitherto non-conspicuous little door that bears evidence of little use. He is holding Christine by the arm. He gives a swift glance around and swiftly moves with Christine toward the barouche. At this moment the mob begins pouring in from the stage in the entrance. As the coach is the only object in the picture, it instantly attracts their attention. They point.

CLOSE UP FLASH OF SIMON AND RAOUL

He points, wildly excited and shouts.

570 THE LONGER SHOT

This shouting awakens the coachman. Erick is in the act of helping Christine into the barouche. The mob is chasing them. The coachman begins to remonstrate with Erick. Christine inside. Erick slams the door. The mob is almost on them. Erick jerks the coachman from the seat to the pavement, then springs into the coachman's seat.

571 A MORE INTIMATE SHOT

Of Erick lashing the horses and of the barouche raking a sharp wheel.

572 THE LONG SHOT

As the horses plunge forward, a number who have gained a hold on the horses and on the barouche are thrown to the ground. Others are knocked down by the plunging horses. The barouche dis-appears - the mob, all the time growing larger in pursuit. As the members of the mob enter from the opera house, most of them throw away their torches and weapons accumulated in the opera.

573 EXT FRENCH STREET

This is a running insert of Erick lashing the tearing horses and of the mob in distant pursuit.

574 SHOOTING STREET INTERSECTION

The horses run into the field of the camera and almost knock down people going to market with carts. Erick tries to take the turn. The barouche turns over and is dragged a short distance. The mob is some distance behind.

575 EXT PARIS STREET

RUNNING SHOT OF THE MOB

Simon leading as they rush toward camera.

576 STREET INTERSECTION.

Erik is scrambling out of the overturned barouche - as he starts to help Christine out, he turns and sees the mob coming. He flees up the street -- the mob rush in from behind camera in close pursuit.

577 MED. CLOSE UP AT OVERTURNED BAROUCHE

As Christine still dazed, climbs out of the wreck - she looks off scene in horror as she sees:

578 LONG SHOT UP STREET

The mob pursuing Erick overtakes him - the pursuit halts as the mob close around him.

579 MED C.V. OF CHRISTINE

She covers her face with her hands and begins to sob.

580 MED C.V. OF MOB IN STREET

The mob moves back on all sides revealing Erick on the ground - dead. Simon crosses himself and the mob remove their hats as they look on in awe.

LAP DISSOLVE INTO:

581 C.V. LAST PAGE OF M. FAURE'S MEMOIRS

----and thus ended my investigation of the Opera Ghost, a strange creature of flesh and blood with a warped mind; and in spite of his horrible crimes I was moved to pity him, for he knew not what he did.

M. FAURE.

P.S. As for Christine and Raoul, the . . . .

582 EXT CHURCH AT PERROS

As the wedding procession of Raoul and Christine comes out of the church door - close behind them are Philippe and the Comtess. It is a scene of happiness --in the foreground, Raoul stops to kiss Christine.

FADE OUT. . . .

T H E E N D

The Mask of the Red Death: Click here to go to The Phantom of the Opera 1925 home page.

 

A BETTER SURFACE. All rights reserved.