The Phantom of the Opera
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 entertain-
ment, 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 --MEMOIRES OF M. FAURE, CHIEF OF THE PARIS
SECRET POLICE. As the French letters dissolve into
English and we play long enough to identify, a
hand enters scene and opens 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 murderous crimes at-
tributed 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
Napoleon III, after an unsuccessful attempt to
duplicate the world power of his illustrious uncle,
the great Napoleon, as a sop to his suffering and
war-ridden subjects.
(a hand turns the page over revealing a picture of
Louis Napoleon III, as the military emperor)
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)
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 its magnitude and
decorative design.)
Its construction began in 1851, and was es-
timated 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 gallons of
water.
(A hand turns the page over and we read further)
During the revolution of 1870, the con-
struction was halted for a time, when Napoleon III
lost his throne and the present Republic of France
was declared.
It was during those dark days of bloodshed
that the building was used as a military head-
quarters. Its vast cellars 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 its existence;
vowing that the opera house bore a curse, dating
back to the time when the Second Commune carried on
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 nobility and the elite of Paris in
carriages. There are a throng of curious bystanders
of both sexes eager to see the aristocracy.
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 aris-
tocratic, 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 hund-
dred strong. They are still in groups, still con-
cealing 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 con-
cealed 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 spec-
tral 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
Fifth Revised Shooting Script (circa October-November 1924)
Adaptation and Scenario by Elliot Clawson and Raymond L. Schrock