Outside/Inside Paris Streetcar - Day - 1919
Raoul POV
My car stops in traffic. I come out of my memories to notice... A young couple, deeply in love, look longingly in the windows of an elegant jewelry store. I remember my own young love, even though it was not Jamila or Christine as the couple moves along, revealing a dazzling display of expensive jewels.
My sight moves closer and closer to the rings, and as its zeros into the flashy gems, hit by the late afternoon light, my eyes fill out of focus.
Outside Paris Sky 1870 - Night
Logan POV
I sigh as I go inside the Opera Populaire. A spectacular explosion of fireworks in the starry sky. I see Erik and wave as usual, it now being a glittering opera house. It is New Year's Eve, the night of the Gala Masked Ball.
I am a U.S. soldier in the Vietnam War, stationed in France for a while. I am Meg's teacher. She's more assertive, and much braver than she's been. She guilted her mother into giving me a job as a stagehand. During that time, I teach her to fight, but she also uses the agility and grace of a ballerina, as well as her smaller size, to dodge my attacks quickly. I still continue to work as a stagehand, even though my brother and fellow soldier Victor scoffs at the idea. During that time, I start to fall for Meg, and she for me. However, I had to pull her off another ballerina for saying she's thinking of asking "that handsome stagehand" to a hotel for the night, and Meg loses her temper, screams and knocks the air out of the other ballerina's lungs when she knocks her to the floor, and starts punching her backstage. I see and quickly swings down using the ropes, pulling Meg off of the other girl before Meg's claws come out and she kills the girl, which would have all of Paris looking for the witch who killed that girl. I couldn't let that happen to Meg, so I stopped her. Not even Madam Giry was able to make her daughter stop attacking the other girl until I pulled her off of the ballerina and carried her, kicking and screaming, down to Erik's lair, which I knew how to navigate thanks to my superhuman senses. I, Jamila and Erik have to calm Meg down, and she realizes that she almost lost control and exposed herself, which would put a target on her back.
Opera Populaire - Night
Andre POV
Watched by a large crowd of onlookers held back by gendarmes, the magnificently costumed guests step out of their carriages and make their way up to the main entrance.
The stairs are lined with guardsmen. Photographers take pictures of the guests. The flash powder bursts. The onlookers applaud the most lavish costumes. With its torchlight facade, the whole building glitters.
Opera Populaire - Night
Firmin and I greet guests as they mount the steps and take champagne from a silver tray.
"Monsieur Andre." Firmin tells me.
"Monsieur Firmin." I tell Firmin.
"Dear Andre, what a splendid party!" Firmin tells me.
"The prologue to a bright New Year!" I tell Firmin.
"Quite a night! I'm impressed!" Firmin tells me.
"Well, one does one's best..." I tell Firmin.
They are joined by the toothsome Ballet Tart, spilling out of her bodice and an equally Sexy girl from the Chorus.
"Here's to us!" We say, raising our glass.
"The toast for the city!" I tell Firmin.
"What a pity that Phantom can't be here." Firmin tells me.
We follow walk into the Foyer.
Inside, Foyer - Night
Jamila POV
The spectacular opera Ball is in full swing. This sequence is more of a promenade than a dance, the guests reveling in their own magnificence. For all this, there is a strangely eerie aspect to the crowd, too many Phantom look-alikes and skeletons for comfort for me as I want Erik, not these, look a like. There is a general movement up and down the central horseshoe staircase, a grandiose spectacle with the music.
"Masquerade! Paper faces on parade! Masquerade! Hide your face, so the world will never find you! Masquerade! Every face a different shade... Masquerade! Look around - there's another mask behind you!" the chorus sings.
My ears pick out individual guests.
"Flash of mauve... Splash of puce... Fool and king... Ghoul and goose... Green and black... Queen and priest... Trace and rouge... Face of beast... Faces... Take your turn, take a ride on the merry-go-round... in an inhuman race... Eye of gold... Thigh of blue... True is false... Who is who? Curl of lip... Swirl of gown... Ace of hearts... Face of clown..." the chorus sings.
I see Firmin and Andre toasting each other.
"Faces... drink it in, drink it up, till you've drowned in the light... in the sound..." the chorus sings.
Hakon and Christine have arrived in the foyer to see me. A Phantom look-alike whizzes past.
"But who can name the face..." the chorus sings.
"Masquerade! Grinning yellows, spinning reds... Masquerade! Take your fill - let the spectacle astound you! Masquerade! Burning glances, turning heads... Masquerade! Stop and stare at the sea of smiles around you! Masquerade! Seething shadows, breathing lies... Masquerade! You can fool any friend who ever knew you! Masquerade! Leering satyrs, peering eyes... Masquerade! Run and hide - but a face will still pursue you!" the chorus sings.
Carlotta and Piangi make a grand entrance, joined by Andre, Firmin, Meg, Madame Giry, glasses in hand.
"What a night!" Carlotta sings.
"What a crowd!" Piangi sings.
"Makes you glad!" Andre sings.
"Makes you proud! All the creme de la creme..." Firmin sings.
They have been joined by Hakon and Christine. We can see Carlotta does not appreciate Christine's costume.
"...Watching us, watching them!" Carlotta sings.
"And all our fears are in the past!" Hakon sing to Christine.
Andre is leading us through the foyer toward the auditorium.
"Three months..." Andre sings.
"...of relief!" Piangi sings.
"...of delight!" Carlotta sings.
"Of love." I silently sing, but I am by Carlotta, but she looks at me in a sisterly way and she hugs me.
"...of Elysian peace!" Andre sings.
"And we can breathe at last!" Firmin sings.
"No more notes!" Carlotta sings.
"No more ghosts!" Piangi sings.
Grand Foyer - Night
We have arrived in the festively decorated auditorium.
"Here's a health!" Raoul sings before Hakon can toast; Raoul has nothing to toast for.
"Here's a toast: to a prosperous year!" Andre sings.
"To our friends who are here." Firmin sings.
"And may our splendor never fade!" Carlotta and Piangi sing.
"Three months!" Firmin sings.
"What a joy!" Carlotta sings.
"What a change!" Piangi sings.
"What a blessed release!" Andre and Firmin sing.
Andre leads us back into the foyer.
"And what a masquerade!" Andre sings.
Backstage - Night
Logan POV
We workers enjoy our own party.
Stables - Night
Third Person POV
The Workers enjoy their own drunken dance.
Inside, Foyer - Night
Hakon POV
Christine and I, however, have found a corner to share a moment alone together. Christine is admiring a new acquisition an engagement ring from me which she has attached to a gold chain around her neck.
"Think of it!" Christine sings. "A secret engagement! Look - your future bride! Just think of it!" Christine tells me.
"But why is it secret? What have we to hide? You promised me." I tell Christine.
"No, Hakon. Please don't. They'll see..." Christine tells me nervously.
"Well, then let them see. It's an engagement, not a crime! Christine what are you afraid of?" I ask her.
"Let's not argue..." We sing.
Christine takes me by the arm.
"Please pretend..." Christine and I sing.
"I can only hope I'll..." I sing.
"You will..." Christine sings.
"...understand in time..." we both sing.
Inside, Foyer - Night
Jamila POV
Christine pulls Hakon into the dance to find the guests in the midst of a frenzied waltz. Christine and Hakon join the dance which becomes increasingly intense. As she spins, I see flashes of skull-like faces. The guests, spin within them and around them. The guests are dancing up the horseshoe staircase into the upper foyers. Christine is dancing excitedly, but she keeps on glimpsing the vision of the fearful masks. She stops and leans on Hakon's arm as the guests march majestically back down either side of the staircase, converging in the center, and down into the main foyer. Hakon and Christine remain upstairs. The movement of the guests is magnificent and a little eerie.
"Masquerade! Paper faces on parade! Masquerade! Hide your face, so the world will never find you! Masquerade! Every face a different shade... Masquerade! Look around -there's another mask behind you! Masquerade! Burning glances, turning heads... Masquerade! Stop and stare at the sea of smiles around you! Masquerade! Grinning yellows, spinning reds... Masquerade! Take your fill - let the spectacle astounds you!" the Chorus sings.
But, at the height of the activity, Meg looks up and suddenly sees the terrifying refection of the huge red Phantom, for her maybe, but I smile in the mirrored doors of the loge. She screams. A grotesque figure suddenly appears on the upper balcony, seven feet tall, dressed all in crimson, with a death's head. The Phantom, my Erik has come to the party. Christine and Hakon, standing the other end of the balcony, and by me, are mesmerized. All are stunned and silent.
"Why so silent, good messieurs? Did you think that I had left you for good? Have you missed me, good messieurs? I have written you an opera!" Erik sings, his voice mesmerizing me. He brandishes an enormous bound manuscript.
"Here I bring the finished score - "Don Juan triumphant"!" Erik sings. And he throws it to Andre down below. Some pages fly. Besides music there are costume and set sketches and paintings.
"Fondest greetings to you all, a few instructions just before rehearsal starts: Carlotta must be taught to act..." Erik sings.
Carlotta fumes.
"...Not her normal trick of strutting round the stage." Erik sings. Erik looks down at Piangi.
"Our Don Juan must lose some weight - it's not healthy in a man of Piangi's age!" Erik sings.
Piangi fumes.
"And my managers must learn that their place is in an office - not the arts!" Erik sings.
Andre and Firmin fume.
He has reached the top of the grand staircase. On the same level, but far on the other side, stand Hakon, Christine, and I.
"As for our star, Miss Jamila Daae..." Erik starts to sing. "No doubt she'll do her best - it's true her voice is good. She knows, though, should she wish to excel, she has much still to learn, if pride will let her return to me, her teacher, her teacher..." Erik sings.
Magically, the lights dim, isolating the Phantom and I. Spellbound, the guests below watch as Erik and I descend their respective staircases, united by our music, moving ever closer towards each other until we arrive face to face on the mezzanine. I am mesmerized by him. The Phantom reaches out, grasps my face and kisses me with passion, I kiss him back as passionately.
Raoul jumps between us, angry that I chose someone else. The Phantom turns on him furiously.
"You are mine my love - you will always belong to me." the Phantom sings softly to me. There is a flash and a cloud of smoke. The Phantom has disappeared down a trap door in the center of the mezzanine. But Raoul has seen the door in the smoke. In an instant, he leaps in after the Phantom as Firmin makes a quip to Andre.
Inside Phantom's World/Trap - Night
Raoul POV
The trap door snaps shut above me. I have landed in a box; a painted magic box and the walls are closing in on me. Just when it seems they may crush me, they fall away. I am in almost total darkness in a brilliant and fiendishly designed maze.
Inside Phantom's World/Maze - Night
I can make out a demonic labyrinth. I catch a glimpse of a red cloak. I race after it, only to face a mirror. Shafts of light seep through cracks in the brickwork of the corridor. In each of these, I see the red cloak whip through. I am catching up. Another mirror. I turn a corner; the Phantom is standing in front of him. I reach him and touch the Phantom's shoulder. The Phantom swivels. I am staring at the mannequin of the red death Phantom. I am unaware, however, that the noose of the Punjab Lasso is now hovering behind me. A hand reaches out and pulls me violently out of the way. The lasso whips harmlessly through the empty air. I turn to see who has saved me, Madame Giry.
Inside Phantom's World/Narrow Corridor - Night
Madame Giry POV
I am hurrying Raoul through a more illuminated part of the corridor. Small gas lamps flicker in the gloom.
"Madame Giry... Wait...!" Raoul tells me.
"Please, Monsieur, I know no more than anyone else." I tell him.
"That's not true." Raoul tells me.
"Monsieur, don't ask... There have been too many accidents." I tell him uneasily.
"Accidents? Please, Madame Giry, for all our sakes..." Raoul tells me.
We have reached a door I stop and look at Raoul. I look back down the corridor. I am very frightened. But I decide to tell him.
"Very well." I tell Raoul. I quickly open the door.
Inside Madame Giry's Room - Night
This is my little flat within the opera house. The furniture is tatty but there are posters of performances, ballet and opera memorabilia all around, the memories of my years at the Opera Populaire. I double-lock the door. Raoul listens as I nervously begin telling my story.
"It was years ago. There was a travelling fair in the city. Gypsies. I was very young." I tell Raoul.
"Go on..." Raoul tells me.
I am closing in on an old Sepia Photograph of me as a twelve-year-old girl...
Fair - Night - Flashback
I am accompanied by a dozen giggling Ballet girls and escorted by a ballet mistress moving through a fair in a park under the shadow of the old opera house. As it is currently being renovated and is covered in scaffolding. The fair is a shabby, grimy affair, teeming with loutish, leering men, working women, gypsies and drunks who pester the Ballet girls as we walk past. The tents and the banners proclaiming the various attractions flap in an eerie wind. The general impression is one of innocence walking through a grotesque kind of hell. A live monkey in Persian dress plays tin cymbals as he scampers through the carnival delighting the young girls. In one tent, they see a fortune teller, a horrid toothless woman beckoning clients. A banner announces the "Incredible Man-Woman".
In another tent, a flap is raised to reveal Siamese twins. I turn and see a contortionist, his back arched right back and his face, upside down, between his legs. He is laughing. They pass some horrible freaks abused by a huge, bearded owner with a bullwhip. Outside, fire eaters, spit fire into the air. Some of the Ballet girls are enjoying themselves. Not me; the place is grotesque, a nightmare. We approach one particular banner; "THE DEVIL'S CHILD" it announces. The Monkey disappears under this banner as the vicious owner waves them to come in. His smile is disgusting. The Ballet girls drag me in.
Inside, other clients are waiting. The Ballet girls push to the front. I see a cage. Inside, his head covered in a sack, a nine-year old Erik is completing a beautifully housing for a model monkey, a cruder version of the monkey we have already seen on the music box and who dances live around him. The owner cracks his whip and is shouting at Erik through the cage. Erik is tied by ropes like a dog. He is obviously terrified, scrambling into the corner of his cage. The owner, letting fly with the whip, has entered the cage. He kicks Erik's model and rips the sack off his head. We see Erik's hand rise to his face, but the owner is still whipping him. Pathetically, Erik's hands descend from his face. We do not see it. Instead, there is a look of shock and immense pity on my face.
Some of the Ballet girls are giggling insensitively. The clients throw coins which land on the straw floor of the cage. I see Erik crawl through the straw to retrieve the sack which he pulls back over his head. I emerge from the tent and is hurried on by the other Ballet girls and our mistress. But I linger. I look back at the tent. Something draws me to it. I peer in, past the flapping canvas, and see, inside the tent, the owner kicks Erik out of the way and picks the money off the floor of the cage. The live monkey shrieks. Suddenly, Erik with a Punjab Lasso fashioned with the ropes that bound him, strangles the owner. I watch Erik garrote his torturer. The evil man falls dead.
Erik looks up and sees me, just as a client coming into the tent screams. He frees himself and runs out of the tent. The two young people look at each other. Behind them, dozens of people arrive in the tent. Erik and I hide in the shadows, breathless and terrified. He is clutching the crude toy monkey. Policeman with lanterns and gypsies with torches are closing in through the fair. I could turn him in but quickly, I tug open a trap door at the foot of the opera house wall. I jump in and Erik leaps in after me, carrying his monkey automat. The trap slams shut as Policemen and gypsies run past them above.
Inside the Chapel - Night
I and Erik jump into the tiny chapel. There is a second of gratitude in Erik's eyes but the aggressive shouting and running above forces me to push him into the safety of the bowels of the theatre. As he disappears into his new subterranean home, I kneel to pray.
Inside Madame Giry's Room - Night
And we are back with Raoul in her room with me in the present.
"He has known nothing else of life since then, except this Opera House. It was his playground and now his artistic domain... He's a genius! He's an architect and designer, he's a composer and a magician... A genius, Monsieur." I tell Raoul.
"But, clearly, Madame Giry... genius has turned to madness. Thinking he can take Jamila!" Raoul tells me but I know Jamila and Erik love each other.