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

1