138 INT.- LAIR- NIGHT
The Phantom and Christine move into the lair. Like a well mannered school boy, the Phantoms offers every simple, subtle courtesy—opens doors, offers his arm, fluffs a pillow etc.
The Phantom keeps an honorable arm’s length distance. Now that he has what he wants, he is afraid to clutch it too soon or too tightly. But Christine’s fear and fascination will not allow her to draw away.
Christine moves about her surroundings. The room is a sharp contrast with the long decent. Marked by heavy, finished wood beams, the lair is completely paneled. There are even books.
Just short of being friendly, it is nonetheless, livable. Furnishings reflect more than a little taste and ingenuity. Stores of provisions are set off in one corner near the improvised, but fully functional kitchen area.
(In this sequence, we play the Phantom’s face in moving shadow, never lingering too long—never showing too much—unless otherwise noted.)
Moving in the shadow, the Phantom takes a bottle form a formidable collection. He speaks as he moves to open it and pour
PHANTOM: Up there they see the actors—the costumes—the scenery.But they don’t know the soul of the opera.
Christine takes a nervous sip, never taking her eyes off of the Phantom. She is frightened and fascinated.
CHRISTINE:Did you know my father? (a long beat)
PHANTOM:Through a mutual acquaintance…
He moves closer, but she edges away. We play the visual threat of rape. She moves to the organ and figures the fresh manuscript that stands open above the keyboard.
Flipping over the first page, she reacts to the name there. We tighten on the name: ERIK DESTLER.
139 OMITTED
140 BACK TO SCENE
Christine pulls back as if burned. The Phantom reaches to turn the pages back to where they were. A hard look from him- then concern.
PHANTOM: What’s the matter?
CHRISTINE:Nothing, I…(beat; edgy) Is your name – Erik?
Uneasy he figures his face, checking.
PHANTOM:(beat) That name – that man is long dead.
CHRISTINE:But you wrote this…
PHANTOM:It is –incomplete. (beat) You will be my inspiration to finish it. (a long beat)
CHRISTINE:Play it.
She slides off the bench.
CHRISTINE:Play.
A long beat and the Phantom sits before the organ
PHANTOM:There is nothing you could ask that I could refuse.
A beat and the organ comes alive. First the wheezing of the bellows-then music.
Christine eyes the Phantom closely as the music begins. Simple at first the melody builds. Gradually, Christine becomes aware, reacting subtly-déjà vu. (This is the melody we heard earlier-in he opening- Don Juan Triumphant)
The surprise is the Phantom’s as Christine begins to sing.
* * * * * *
SKIP TO
148 INT-PHANTOM’S LAIR-ON PHANTOM-NIGHT
The song continued. Candlelight dances off the tears on his cheeks. Angle adjust to Christine. She finishes her song, the lyric exhausted. She has the tears to match his, moving close as he plays the last instrumental bars.
The music ends. The wheez of the bellows and there is silence. He turns to her-emotional
PHANTOM:The libretto-the words. How do you know the words?
CHRISTINE:I-I sang it before-I don’t remember where…
(beat) You ARE the Angel of Music.
PHANTOM:You’re the angel, Christine.(beat) Together we’ll have London at our feet…
CHRISTINE:No- I can’t do it anymore. Carlotta will always be the Diva.
The critic hated me. Richard wants me to give up the opera…
PHANTOM: (pressing close: invading her space)Quit? Did your father quit when he fiddled in the cold until his nails
cracked-with nothing to show but the broth he brought you for supper?
(beat) I will take care of your little problems for you.
He moves closer. The faces come together, cheek to cheek-their tears meeting. A beat and he pulls away, sensing.
Partially in shadow, the Phantom’s face is different, his makeup running a bit. His expression is slightly askew.
CHRISTINE:Your face…
He quickly stands and moves away. Christine is the only thing in the world he is afraid of.
PHANTOM:The devil has his price.
CHRISTINE:For what…?
PHANTOM:The music…immortality.
He wraps his bony hands around her neck.
CHRISTINE:(struggling) Please-let me go.
The Phantom eases, then pulls away. Hurriedly, he wraps a silk sash around his face-only the eyes show
PHANTOM:If I let you go, you won’t come back…
CHRISTINE:I will. I swear. (beat, thinking) I have to sing I know that now.
PHANTOM:Yes-you must sing. (beat) Come to me.
She moves to him, still frightened. He takes off his tight, black leather glove and holds out his bare hand. A simple ring is visible on his little finger.
PHANTOM:I will give you everything Christine. You love the music. I am the music…
He slips off his ring and quickly slides it onto her finger. As she stares into his eyes, she is almost unaware of the gesture.
PHANTOM:You are married to the music and you cannot serve two masters
(beat; cold) Do not see another.
CHRISTINE:No-I promise
He considers for a beat
PHANTOM:Then come. I will show you home.
The Phantom leads her away by the hand.