The Phantom of the Opera
Chapter 1
(As the Overture continues to play, time pasts. The Opera House has been busy throughout the years with a lot of drama and mysterious things happening. One beautiful summer day, everything is crazy as usual. The current manager, Lefevre, is waiting outside when a carriage is pulled up in front of the building. Two men come out as Lefevre greets them.)
Lefevre:
Gentlemen! Welcome. Come, this way if you would.
(The three men go inside the building. Inside, everyone is in a hurry to get ready for the opera performing that night: "Hannibal". Sets are being set, costumes are getting fitted, and the chorus is rehearsing. Madame Giry is making sure everyone is there while the dancers are stretching.)
Giry:
(Counts them off to herself.) 2, 4, 6, 8, 10, 12- (Notices two are missing.)
(She shakes her head and sighs.) I thought so.
(The two dancers missing were her daughter, Meg Giry, and her best friend, Christine Daae. They hurry down the stairs.)
Meg:
Hurry up, Christine! You're late.
Christine:
Yes, as usual.
(Both giggle.)
(There, the Overture end. Carlotta bangs a staff with a "dead head" on it.)
Carlotta:
This trophy . . . from our saviours,
From our saviours . . .
From the enslaving force of Rome . . .
Women Chorus:
With feasting and dancing and song, tonight in celebration,
We greet the victorious throng, returned to bring salvation!
Men Chorus:
The trumpets of Carthage resound!
Hear, Romans, now and tremble!
Hark to our step on the ground!
All:
Hear the drums, Hannibal comes!
(They all bow to Hannibal, who is played by Piangi. He walks down stage.)
Piangi:
Sad to return to find the land we love
threatened once more by Roma's far-reaching grasp
Reyer:
No! No! No! No! Stop! Stop! Stop! (Everyone groans as music stops.) (Sighs.) Signor. It's Rome. Not Roma! Rome.
Piangi:
Oh! Si! Si! Of course, it is . . . very difficult for me. (Clears throat.) Rome. Rome. I think I got it!
Reyer:
Splendid! "Sad to return", please.
(Music starts again.)
Piangi
Sad to return to find the land we love
Threatened once more by Rome . . . far-reaching grasp
Tomorrow we shall brake the chains of Rome
Tonight rejoice. Your army has come-
Lefevre:
Thank you so much, gentlemen. As you can see, rehearsals are under way, for Chalumeau's "Hannibal".
Reyer:
Stop! Stop! Stop! (Music stops.)
Piangi:
I said "Rome" this time.
Reyer:
Signor! Please! (Walks over to Lefevre.) Monsieur Lefevre, if you please-
Lefevre:
Ah, yes. Gentlemen, this is Monsieur Reyer, our conductor.
Reyer:
Monsieur Lefevre, if you would please wait for a moment. We are rehearsing and the gala is tonight.
Lefevre:
Yes, of course, monsieur, but I have an important announcement to make, so you would let me?
Reyer:
Fine, fine. I have nothing better to do.
Lefevre:
Thank you, monsieur, Ladies and gentlemen!
Ladies and gentlemen! May I have your attention, please. Thank you.
Now, as you may or may not know, for some weeks there have been rumors of my imminent retirement. Well, I here to tell all you that these rumors were indeed true. Now, it is my pleasure to introduce you to the two gentlemen who now own the Opera Populaire. (Gentlemen step forward.) Please welcome Monsieur Richard Firmin and Monsieur Gilles Andre.
(Applause.)
(Carlotta walks to them.)
Carlotta:
(Clears throat.)
Lefevre:
Oh! Gentlemen, this is Signora Carlotta Giudicelli, our leading soprano for five seasons now.
Andre:
Of course it is. I have experienced all of your latest roles. (Kiss her hand.)
Carlotta:
Oh, why thank you, monsieur!
Lefevre:
And here is our leading tenor: Signor Ubaldo Piangi.
Firmin:
An honor, signor.
Piangi:
Likewise.
(Lefevre sees Reyer showing him his watch.)
Lefevre:
Ah, yes, well. Everyone back to work. For Monsieur Reyer's sake. (Chuckles.)
Carlotta:
(Getting make-up on.) Oh, did you see their faces? (Sighs.) They love me.
(The music starts again and the ballet starts.)
Firmin:
Monsieur, I keep asking you: Why are you retiring so soon?
Lefevre:
Well, I-
Giry:
Gentlemen! If you kindly stand aside, please. My dancers are trying to practice.
Lefevre:
Oh! Giry. Gentlemen, Madame Giry is the ballet mistress here at the Opera Populaire
Giry:
Yes. We take a particular pride here in the excellence of our ballets, monsieur.
(Dancing continues.)
Andre:
What magnificent dancers you have. Oh! (Points to Meg.) I like that little blonde one over there.
Giry:
That's Meg Giry, my daughter. Very well dancer, I assure you.
Lefevre:
Hmm. Just like her mother.
(Men Chuckle.)
(There, Christine misses a step. Firmin sees the mistake.)
Firmin:
Seems that one there is out of step.
Giry:
That is Miss Christine Daae, monsieur.
Lefevre:
Yes, she always has her head stuck to the clouds it seems.
(Firmin and Andre look at one another.)
Firmin:
Daae, it is?
Lefevre:
Yes.
Andre:
Any relations to the famous Swedish violinist? Gustave Daae?
GIRY:
His only child. (The men look at her in shock.) She came to live at the Opera House when her father pasted away years ago. But I promise you, she is very talented young girl.
(They look at one another as the song continues.)
Chorus:
Bid welcome to Hannibal's guests,
The elephants of Carthage
As guides on our conquering quests,
Dido sends Hannibal's friends!
(There, a elephant is wheeled out for Piangi to get on, but he has trouble getting on it.)
All:
The trumpeting elephants sound,
Hear, Romans, now and tremble
Hark to their step on the ground,
Hear the drums!
Hannibal comes!
(Song ends. Applause.)
Lefevre:
Bravo! Well done!
Andre:
Miss Carlotta! I understand that there's a rather marvelous aria in Act Three of "Hannibal". I was wondering, as a personal favor, you would perform it-
Reyer:
But monsieur-
Firmin:
Unless, of course, Monsieur Reyer says otherwise.
Carlotta:
Well, I normally don't perform for any request before a show, but you are the managers. Don't you agree, Monsieur Reyer?
REYER:
(Stammers, but seeing the glare on her face. He gives up.) If my DIVA commands.
Carlotta:
(Grins.) Perfect.
(Reyer goes to the pit as Carlotta gets in the spotlight. Everyone is quiet as the music starts.)
Carlotta:
Think of me, think of me fondly,
when we've said goodbye.
Remember me once in a while -
please promise me you'll try.
When you find that, once again, you long
to take your heart back and be free –
(At this point, someone in black cuts some rope, which causes multiple sand bags to fall on stage.)
(Meg screams.)
(Everyone start to scream and yell.)
Meg:
(To Giry.) Mother, he's here. The Phantom of the Opera.
Woman 1:
The Phantom?
Woman 2:
He's here?
(From there, everyone starts to whisper to one another. Giry looks up and sees the figure disappear. She walks off stage.)
Lefevre:
Signora, are you all right? Buquet. Get that man down here, now!
(A man, Buquet, comes out of the crowd.)
Buquet! For God's sake, man, what's going on up there?
Buquet:
Please, monsieur, don't look at me!
As God's my judge, I was not at my post!
Please, monsieur,
there's no one there!
Or if there is, well then, it must be . . . a ghost
(People gasps.)
Andre:
Signora, these things do happen.
Carlotta:
These things do happen? He. He. YOU'VE BEEN HERE FOR FIVE MINUTES! WHAT DO YOU KNOW? Si. These things do happen.
For the past THREE YEARS, these things do happen.
(Turns to Lefevre.) And did you stop them from happening? No!
(Turns back to Firmin and Andre.) And you two! You are as bad as him! "These things do happen." Well, until you stop these things from happening, THIS THING does not happen! (Walks away and bumps Andre.) Ubaldo! Andiamo!
Piangi:
Amateurs! Hmpt! (Bumps Firmin and follows Carlotta out.)
(Door slams.)
(Meanwhile, Madame Giry finds a letter on the floor. She reads the stamp: O.G.)
Lefevre:
Well, I believe there's nothing I can do for you, gentlemen. Good luck. If you need me, I shall be in Spain. Good day. (He leaves and slams the door.)
(The two new managers turn to the cast, who stare at them, waiting for an answer.)
Andre:
Signora Carlotta . . . will be coming back! Will she?
Giry:
I don't think so, monsieur.
I have a message, sir, from the Opera Ghost.
Firmin:
God in heaven, you're all obsessed!
Giry:
(Reads the letter.) "Welcome, gentlemen, to my opera house."
Firmin:
(To Andre.) His opera house?
Giry:
"My commands are few. I would appreciate it if you would continue to leave Box Five empty for my use and as a sight reminder, my salary is due."
Firmin:
Salary? His salary?
(Andre takes the letter and reads it.)
Giry:
Yes, his salary. He is paid twenty
thousand francs monthly. I'm sure that won't be a problem
Firmin:
Twenty thousand francs?
Andre:
A month?
Giry:
Well, perhaps you can afford more, with the Vicomte de Chagny as your patron.
Christine:
(Whispers to herself.) Rauol!
Andre:
Madame, I had hoped to make that announcement myself, tonight-
Giry:
(To Firmin.) Will he not join us at the gala, this evening?
Firmin:
Madame? Who is the understudy for La Carlotta?
Andre:
Yes, the understudy!
Reyer:
Understudy? There is no understudy for La Carlotta! The production is new! NO ONE COULD TAKE HER PLACE!
Meg:
Christine Daae could sing it . . . sir.
(Everyone turns to Christine.)
Andre:
What? A chorus girl? (Scoffs) Ridiculous.
Meg:
She's been taking lessons from a great teacher.
Firmin:
From whom?
Christine:
I-I don't know, monsieur.
Firmin:
Well, Andre. This is great. Just great! On the first day of the job, we shall have to cancel tonight's gala and refund a full house. A FULL HOUSE!
(Giry walks over to Christine.)
Giry:
Let her sing for you, monsieur. She has been well taught.
Andre:
Very well. (Turns to Christine.) My dear, if you would, please.
(Christine steps forward.)
Let's just get this over with.
Reyer:
From the beginning of the aria, mademoiselle. (Gets the pit ready.)
Firmin:
Andre, this is doing nothing for my nerves.
Andre:
Don't fret, Firmin. Besides, she's rather pretty.
(Music Starts)
Christine:
Think of me, think of me fondly,
when we've said goodbye.
Remember me once in a while -
please promise me you'll try.
When you find that, once again, you long
to take your heart back and be free -
if you ever find a moment,
spare a thought for me
(The song continues to that night of the gala. She's in a beautiful white dress with with flowers on it.)
We never said our love was evergreen,
or as unchanging as the sea -
but if you can still remember
stop and think of me . . .
Think of all the things
we've shared and seen -
don't think about the way things
might have been . . .
Think of me, think of me waking,
silent and resigned.
Imagine me, trying too hard
to put you from my mind.
Recall those days
look back on all those times,
think of the things we'll never do -
there will never be a day,
when I won't think of you . . .
(As the crowd applauses, Raoul is sitting in a box.)
Raoul:
Can it be? Can it be Christine?
Bravo!
Long ago, it seems so long ago
How young and innocent we were...
She may not remember me,
but I remember her...
Christine:
Flowers fades,
The fruits of summer fade,
They have their seasons, so do we
but please promise me, that sometimes
you will think . . .
Ah . . . . . . . . . etc.
Of . . . Me!
(Gala ends. Loud applause from the audience. The curtains close. Meg hugs her as Madame Giry walks to her.)
Giry:
(Smiles.) You did very well, my dear. Your father would have been proud. (Turns to her dancers and begins to scold them.) You! You were a disgrace tonight. I thought I taught you good dancing! Come, we are rehearsing right now! (Dancers run off stage as Christine heads in the other direction. Meg follows her.)