Okay, I lied....
...I thought I would be posting this tomorrow, but since it's ready now, why should you wait? So, here it is--my draft of "Il Muto" and Buquet's death. There's a lot of additional dialogue here--mostly filling in stuff we don't get to see onstage. It was a fun scene to write--lots of comic moments juxstaposed against Erik in full assassin mode. Hope it's fun to read.
~LCD
P.S.--My current music selection=highly recommended. Eleven tracks worth of Phantom-actor goodness :-)
INT-BACKSTAGE CORRIDOR-EVENING
Christine emerges, dressed as a maid. She is agitated, speaking to someone behind her.
CHRISTINE
The performance is about to begin, monsieur…I don’t have time…
Her pursuer comes into view-it is Buquet, who seizes her arm roughly.
BUQUET
You’d best make time, if you know what’s good for you. I know where you were last night…and who you were with.
CHRISTINE
(feigning offense, but terrified)
I was with no one, monsieur; do not presume…
BUQUET
Don’t talk down to me! Just like that bitch Giry with her airs, thinks she’s the only one who knows what’s going on around here…well, I know all about him too, this so-called ghost. Oh yes, I know plenty, plenty that could make trouble for both him and you, if I told it to certain parties…the Surete, for example, or the Vicomte de Chagny…
Christine backs away from him, into a wall. Buquet leers at her unpleasantly.
BUQUET (Con’t)
‘Course, I’m a reasonable man, I see no harm in keeping a secret…if it’s worth my while…
CHRISTINE
(desperately trying to keep face)
Monsieur, I…
Fortunately, the Reyer enters at this moment.
REYER
Places! Places, Mlle. Daaé!
Gratefully, Christine runs in the direction of the stage. Buquet shouts after her.
BUQUET
I won’t be ignored, mam’selle!
The camera pans up into the rafters, revealing the Phantom, poised like a bird of prey about to swoop. We only need to see the murderous fury in his eyes to know he’s heard the entire conversation.
INT-OUTSIDE BOX FIVE-EVENING
Firmin, André, and Raoul make their way to their seats, escorted by a box-keeper. Raoul pauses outside the door to Box Five.
RAOUL
Gentlemen, if you would care to take your seats…I shall be sitting in Box Five.
The box-keeper, on hearing this, starts with fright. André cannot resist mocking her agitation.
ANDRÉ
(with exaggerated concern)
Do you really think that’s wise, monsieur?
RAOUL
(playing along)
My dear André, there would appear to be no seats available other than Box Five.
They laugh heartily as the first strains of the “Il Muto” overture are heard. The box-keeper is clearly not pleased, but she unlocks the box for Raoul to step inside.
IN BOX FIVE
Raoul takes his seat in the forbidden box. His face is set in an expression of willful defiance.
INT-AUDITORIUM-CONTINUOUS
The curtain rises on the opening scene of “Il Muto”-an 18th century boudoir. CS there is a canopied bed, curtains drawn, SL a curtained alcove partially visible to the audience. Seated DSR are the Countess’ CONFIDANTE, and two FOPS, laughing gaily as the scene opens. The Confidante leans in conspiratorially to the two men, fan a-flutter, a gossip if there ever was one with an audience to match. The staging of the ensuing scene is very farcical, lots of exaggerated gestures and bawdy humor.
CONFIDANTE
They say that this new youth
Has set my Lady’s heart aflame!
FIRST FOP
His Lordship, sure,
Would die of shock!
SECOND FOP
His Lordship is
A laughing stock!
CONFIDANTE
Should he suspect her,
God protect her!
ALL THREE
Shame! Shame! Shame!
They rise and tiptoe up to the bed slyly.
ALL THREE (Con’t)
This faithless Lady’s
Bound for Hades!
Shame! Shame! Shame!
The Confidante pulls back the drapes to reveal Carlotta as the Countess, in a compromising position with Christine as the pageboy Serafimo, currently disguised as the household’s new chambermaid. They leap apart, prompting a laugh from the audience.
MANAGER’S BOX
As the performance continues, Firmin and André watch smugly.
ANDRÉ
A classic! Nothing like the old operas!
FIRMIN
No, indeed. Every seat sold!
He hands the receipts to André, who examines them with delight.
ANDRÉ
(laughing)
Hardly a disaster beyond imagination!
CARLOTTA (COUNTESS) (O.S)
Serafimo, your disguise is perfect.
A knock at the door.
CARLOTTA (COUNTESS) (O.S.)
Who can this be?
FONTA (DON ATTILIO) (O.S.)
Gentle wife, admit your loving husband.
STAGE
We return to the performance in time to see the entrance of CAROLUS FONTA, the Opera’s principal bass, as Don Attilio, a stereotypical cuckold. Fonta is a solidly-built man in his 40s.
FONTA (DON ATTILIO)
My love, I am called to England on affairs of State,
And must leave you with your new maid.
(to Serafimo, lustfully)
Though I’d happily take the maid with me!
He flirts with the “maid;” Christine pulls a disgusted face, inspiring another hearty laugh from the audience. This irritates Carlotta, and she makes sure she’s blocking Christine from the audience’s view as she delivers her next line.
CARLOTTA (COUNTESS)
(aside)
The old fool’s leaving!
FONTA (DON ATTILIO)
(aside)
I suspect my young bride is untrue to me.
I shall not leave, but hide over there,
(indicating alcove)
And observe her…
Fonta extends this last low note; he’s prepared to hold it for a good deal longer, but Carlotta is determined that no-one will upstage her, and she cuts him off by quickly and not-so-discreetly smacking him with her fan.
CARLOTTA (COUNTESS)/FONTA (DON ATTILIO)
Addio!
Fonta pretends to go, hiding himself in the alcove. Carlotta and Christine take center stage.
CARLOTTA (COUNTESS)
Serafimo, away with this pretense!
She rips away Christine’s skirt and mob cap to reveal masculine breeches and hairstyle. Exaggerated gasps of shock from Confidante, fops, and Fonta.
CARLOTTA (COUNTESS)
(thrusting her arm in front of Christine, again blocking her)
You cannot speak,
But kiss me in my husband’s absence.
As Carlotta sings, Christine does her best to play the ardent and attentive suitor. But Carlotta is playing to the audience and paying Christine no heed; in fact, she is going out of her way to upstage her young rival.
CARLOTTA (COUNTESS)
Poor fool, he makes me laugh!
Ah ha ha, etc.
Time I tried to get
A better better half!
CARLOTTA/CONFIDANTE/FOPS
Poor fool, he doesn’t know!
Oh ho ho, etc.
If he knew the truth,
He’d never ever go!
Suddenly, coming from both nowhere and everywhere, we hear the Phantom’s voice.
PHANTOM (V/O)
Did I not instruct that Box Five was to be kept empty?
General reaction of confusion and nervousness; “The Phantom!” can be heard whispered among the company. Raoul half-rises in his seat, tensed as if for a fight. Christine pales.
CHRISTINE
It’s him…I know it, it’s him!
Carlotta rounds on Christine, striking her with her fan.
CARLOTTA
Your part is silent, little toad!
PHANTOM (V/O)
(dangerously calm)
A toad, madame? Perhaps it is you who are the toad…
Carlotta fumes as she looks about her, trying to discover the source of the voice. Then, abruptly, she seizes Christine’s hand and drags her back into position for the opening of the aria.
CARLOTTA
(to the conductor)
Maestro, da capo!
The flustered conductor flips back through his score, then gives the opening chord of the aria.
CARLOTTA (COUNTESS)
Serafimo, away with this pretense!
She makes to rip off the skirt and cap-which, of course, Christine is no longer wearing. Improvising clumsily, Carlotta darts over to where these articles fell when she tossed it aside, picks them up, and discards them again.
CARLOTTA (COUNTESS)
You cannot speak,
But kiss me in my croak!
Indeed, true to the Phantom’s words, Carlotta’s voice is suddenly transformed to that of a toad, rendering the auditorium silent with shock. Almost silent-the Phantom can be heard chuckling softly. Carlotta is perturbed, but bravely continues.
CARLOTTA (COUNTESS)
Poor fool, he makes me laugh!
Ah ha ha croak, croak, etc.
Instead of subsiding, the croaking only grows more frequent. The audience is in disarray-some boo, some snicker, most are just perplexed and aghast. The Phantom’s laughter rings through the hall. Firmin and André beat a hasty retreat from their box and Carlotta, humiliated, claps one hand to her mouth and flees the stage sobbing as the curtain is dropped.
BEHIND THE CURTAIN
Everything is in disarray here too, the company members amazed and bewildered. Reyer strides through the chaos, ushering Christine in the direction of the dressing rooms.
CHRISTINE
(protesting)
But, monsieur-
REYER
Please do not argue, Mlle. Daaé. Now go change, quickly!
As he sends her off, he speaks to Mme. Giry in passing.
REYER
You’d best get the ballet ready.
Mme. Giry nods, and goes off on this errand just as Firmin and André enter, bolting for the stage. Mme. Giry cannot resist an “I told you so!” glance as they pass her.
BEFORE THE CURTAIN
Firmin and André emerge, and, trying to look calm and in control, address the audience.
FIRMIN
Ladies and gentlemen, the performance will continue in ten minutes time…
Another croak comes from offstage, causing both managers to jump.
FIRMIN
(through gritted teeth)
…when the role of the Countess will be sung by Miss Christine Daaé.
He storms off, on the way motioning to Raoul, indicating for him to vacate Box Five. Raoul doesn’t look pleased at the idea of a retreat, but he accedes.
ANDRÉ
(extemporizing)
In the meantime, ladies and gentlemen, we shall…we shall be giving you…
BEHIND THE CURTAIN
Reyer leans against the curtain, prompting André.
REYER
Ballet…the ballet!
BEFORE THE CURTAIN
ANDRÉ
…the ballet, from…ah, act…
Again he’s lost, thumbing through his program hastily.
BEHIND THE CURTAIN
Reyer sighs with exasperation, and stomps the ground three times.
BEFORE THE CURTAIN
ANDRÉ
Three! Act three of tonight’s opera…Maestro…
The conductor is hastily turning to the ballet in his score.
BEHIND THE CURTAIN
The ballet chorus, some of them still adjusting their shepherdess costumes, run to the stage; Mme. Giry ushers them, calling “Allez! Allez!” The stagehands are racing to change the scene-one of them drops a chair in his haste, causing a loud thump.
MATCH CUT:
BEFORE THE CURTAIN
André jumps at the sound.
ANDRÉ
Er, yes, the ballet…the, ah, Dance of the Country Nymphs…now!
The curtain rises, and André retreats, running into several members of the ballet chorus in his flight. The ballet begins, the girls making a valiant attempt to conceal their fear.
IN THE FLIES
Buquet leans over the edge of the catwalk, eyeing the ballet chorus lustfully. A noise behind him-he tenses, looks about nervously, perhaps sensing he is not alone. He begins to back away toward the exit…but he only gets a couple of steps before the Phantom leaps onto the catwalk, blocking his path
ONSTAGE
Oblivious to all this, the ballet continues.
IN THE FLIES
The Phantom advances on Buquet, slow and cruel, a cat playing with its prey. Buquet makes a break for it, but the Phantom seizes a rope and swings around to the other end of the catwalk, heading him off. Panicking now, Buquet darts in another direction, knocking a limelight askew in his flight…
ONSTAGE
The swinging light casts the Phantom’s shadow across the stage for a moment, an enormous, imposing silhouette. The audience gasps. Meg glances up and sees the chase above her. She stumbles, but continues to dance, forcing a smile on her face.
IN THE FLIES
Buquest is cornered, and he knows it. So does the Phantom, and he stands almost idly, twisting the rope in his hands.
BUQUET
Please, please don’t…I swear, I won’t tell anyone…
PHANTOM
(with dreadful finality)
No…you won’t.
With a cold smile, he spreads his hands to reveal he’s tied the rope into a noose. Buquet’s eyes widen with terror, he tries to run…but the Phantom deftly flips the rope around Buquet’s neck and pulls it tight. Choking, Buquet gets a brief glimpse into his killer’s eyes before the Phantom hurls him over the edge of the catwalk. The camera follows Buquet as he falls…
ONSTAGE
…into the view of the audience, the rope going taut with an awful snap. Panic erupts-screaming, dancers fleeing, the audience in an uproar. Firmin runs to the edge of the stage, his voice barely audible in the chaos:
FIRMIN
Ladies and gentlemen, remain in your seats! Do not panic, it was simply an accident…
As he speaks, Christine-wearing the Countess' dress, but with her hair unbound-runs into the wings, looking up to see Buquet…and above him, the Phantom’s figure disappearing into the shadows. A look of horror crosses her face, and she runs out into the hall.
INT-BACKSTAGE CORRIDOR-CONTINUOUS
Christine tries to make her way through the frightened throng.
CHRISTINE
Raoul! Raoul!
RAOUL
Christine!
He shoulders his way through the mob to her. Christine almost throws herself into his arms.
RAOUL (Con’t)
Come with me…
CHRISITNE
No…this way, quickly!
She leads him to an ascending staircase.
~LCD
P.S.--My current music selection=highly recommended. Eleven tracks worth of Phantom-actor goodness :-)
INT-BACKSTAGE CORRIDOR-EVENING
Christine emerges, dressed as a maid. She is agitated, speaking to someone behind her.
CHRISTINE
The performance is about to begin, monsieur…I don’t have time…
Her pursuer comes into view-it is Buquet, who seizes her arm roughly.
BUQUET
You’d best make time, if you know what’s good for you. I know where you were last night…and who you were with.
CHRISTINE
(feigning offense, but terrified)
I was with no one, monsieur; do not presume…
BUQUET
Don’t talk down to me! Just like that bitch Giry with her airs, thinks she’s the only one who knows what’s going on around here…well, I know all about him too, this so-called ghost. Oh yes, I know plenty, plenty that could make trouble for both him and you, if I told it to certain parties…the Surete, for example, or the Vicomte de Chagny…
Christine backs away from him, into a wall. Buquet leers at her unpleasantly.
BUQUET (Con’t)
‘Course, I’m a reasonable man, I see no harm in keeping a secret…if it’s worth my while…
CHRISTINE
(desperately trying to keep face)
Monsieur, I…
Fortunately, the Reyer enters at this moment.
REYER
Places! Places, Mlle. Daaé!
Gratefully, Christine runs in the direction of the stage. Buquet shouts after her.
BUQUET
I won’t be ignored, mam’selle!
The camera pans up into the rafters, revealing the Phantom, poised like a bird of prey about to swoop. We only need to see the murderous fury in his eyes to know he’s heard the entire conversation.
INT-OUTSIDE BOX FIVE-EVENING
Firmin, André, and Raoul make their way to their seats, escorted by a box-keeper. Raoul pauses outside the door to Box Five.
RAOUL
Gentlemen, if you would care to take your seats…I shall be sitting in Box Five.
The box-keeper, on hearing this, starts with fright. André cannot resist mocking her agitation.
ANDRÉ
(with exaggerated concern)
Do you really think that’s wise, monsieur?
RAOUL
(playing along)
My dear André, there would appear to be no seats available other than Box Five.
They laugh heartily as the first strains of the “Il Muto” overture are heard. The box-keeper is clearly not pleased, but she unlocks the box for Raoul to step inside.
IN BOX FIVE
Raoul takes his seat in the forbidden box. His face is set in an expression of willful defiance.
INT-AUDITORIUM-CONTINUOUS
The curtain rises on the opening scene of “Il Muto”-an 18th century boudoir. CS there is a canopied bed, curtains drawn, SL a curtained alcove partially visible to the audience. Seated DSR are the Countess’ CONFIDANTE, and two FOPS, laughing gaily as the scene opens. The Confidante leans in conspiratorially to the two men, fan a-flutter, a gossip if there ever was one with an audience to match. The staging of the ensuing scene is very farcical, lots of exaggerated gestures and bawdy humor.
CONFIDANTE
They say that this new youth
Has set my Lady’s heart aflame!
FIRST FOP
His Lordship, sure,
Would die of shock!
SECOND FOP
His Lordship is
A laughing stock!
CONFIDANTE
Should he suspect her,
God protect her!
ALL THREE
Shame! Shame! Shame!
They rise and tiptoe up to the bed slyly.
ALL THREE (Con’t)
This faithless Lady’s
Bound for Hades!
Shame! Shame! Shame!
The Confidante pulls back the drapes to reveal Carlotta as the Countess, in a compromising position with Christine as the pageboy Serafimo, currently disguised as the household’s new chambermaid. They leap apart, prompting a laugh from the audience.
MANAGER’S BOX
As the performance continues, Firmin and André watch smugly.
ANDRÉ
A classic! Nothing like the old operas!
FIRMIN
No, indeed. Every seat sold!
He hands the receipts to André, who examines them with delight.
ANDRÉ
(laughing)
Hardly a disaster beyond imagination!
CARLOTTA (COUNTESS) (O.S)
Serafimo, your disguise is perfect.
A knock at the door.
CARLOTTA (COUNTESS) (O.S.)
Who can this be?
FONTA (DON ATTILIO) (O.S.)
Gentle wife, admit your loving husband.
STAGE
We return to the performance in time to see the entrance of CAROLUS FONTA, the Opera’s principal bass, as Don Attilio, a stereotypical cuckold. Fonta is a solidly-built man in his 40s.
FONTA (DON ATTILIO)
My love, I am called to England on affairs of State,
And must leave you with your new maid.
(to Serafimo, lustfully)
Though I’d happily take the maid with me!
He flirts with the “maid;” Christine pulls a disgusted face, inspiring another hearty laugh from the audience. This irritates Carlotta, and she makes sure she’s blocking Christine from the audience’s view as she delivers her next line.
CARLOTTA (COUNTESS)
(aside)
The old fool’s leaving!
FONTA (DON ATTILIO)
(aside)
I suspect my young bride is untrue to me.
I shall not leave, but hide over there,
(indicating alcove)
And observe her…
Fonta extends this last low note; he’s prepared to hold it for a good deal longer, but Carlotta is determined that no-one will upstage her, and she cuts him off by quickly and not-so-discreetly smacking him with her fan.
CARLOTTA (COUNTESS)/FONTA (DON ATTILIO)
Addio!
Fonta pretends to go, hiding himself in the alcove. Carlotta and Christine take center stage.
CARLOTTA (COUNTESS)
Serafimo, away with this pretense!
She rips away Christine’s skirt and mob cap to reveal masculine breeches and hairstyle. Exaggerated gasps of shock from Confidante, fops, and Fonta.
CARLOTTA (COUNTESS)
(thrusting her arm in front of Christine, again blocking her)
You cannot speak,
But kiss me in my husband’s absence.
As Carlotta sings, Christine does her best to play the ardent and attentive suitor. But Carlotta is playing to the audience and paying Christine no heed; in fact, she is going out of her way to upstage her young rival.
CARLOTTA (COUNTESS)
Poor fool, he makes me laugh!
Ah ha ha, etc.
Time I tried to get
A better better half!
CARLOTTA/CONFIDANTE/FOPS
Poor fool, he doesn’t know!
Oh ho ho, etc.
If he knew the truth,
He’d never ever go!
Suddenly, coming from both nowhere and everywhere, we hear the Phantom’s voice.
PHANTOM (V/O)
Did I not instruct that Box Five was to be kept empty?
General reaction of confusion and nervousness; “The Phantom!” can be heard whispered among the company. Raoul half-rises in his seat, tensed as if for a fight. Christine pales.
CHRISTINE
It’s him…I know it, it’s him!
Carlotta rounds on Christine, striking her with her fan.
CARLOTTA
Your part is silent, little toad!
PHANTOM (V/O)
(dangerously calm)
A toad, madame? Perhaps it is you who are the toad…
Carlotta fumes as she looks about her, trying to discover the source of the voice. Then, abruptly, she seizes Christine’s hand and drags her back into position for the opening of the aria.
CARLOTTA
(to the conductor)
Maestro, da capo!
The flustered conductor flips back through his score, then gives the opening chord of the aria.
CARLOTTA (COUNTESS)
Serafimo, away with this pretense!
She makes to rip off the skirt and cap-which, of course, Christine is no longer wearing. Improvising clumsily, Carlotta darts over to where these articles fell when she tossed it aside, picks them up, and discards them again.
CARLOTTA (COUNTESS)
You cannot speak,
But kiss me in my croak!
Indeed, true to the Phantom’s words, Carlotta’s voice is suddenly transformed to that of a toad, rendering the auditorium silent with shock. Almost silent-the Phantom can be heard chuckling softly. Carlotta is perturbed, but bravely continues.
CARLOTTA (COUNTESS)
Poor fool, he makes me laugh!
Ah ha ha croak, croak, etc.
Instead of subsiding, the croaking only grows more frequent. The audience is in disarray-some boo, some snicker, most are just perplexed and aghast. The Phantom’s laughter rings through the hall. Firmin and André beat a hasty retreat from their box and Carlotta, humiliated, claps one hand to her mouth and flees the stage sobbing as the curtain is dropped.
BEHIND THE CURTAIN
Everything is in disarray here too, the company members amazed and bewildered. Reyer strides through the chaos, ushering Christine in the direction of the dressing rooms.
CHRISTINE
(protesting)
But, monsieur-
REYER
Please do not argue, Mlle. Daaé. Now go change, quickly!
As he sends her off, he speaks to Mme. Giry in passing.
REYER
You’d best get the ballet ready.
Mme. Giry nods, and goes off on this errand just as Firmin and André enter, bolting for the stage. Mme. Giry cannot resist an “I told you so!” glance as they pass her.
BEFORE THE CURTAIN
Firmin and André emerge, and, trying to look calm and in control, address the audience.
FIRMIN
Ladies and gentlemen, the performance will continue in ten minutes time…
Another croak comes from offstage, causing both managers to jump.
FIRMIN
(through gritted teeth)
…when the role of the Countess will be sung by Miss Christine Daaé.
He storms off, on the way motioning to Raoul, indicating for him to vacate Box Five. Raoul doesn’t look pleased at the idea of a retreat, but he accedes.
ANDRÉ
(extemporizing)
In the meantime, ladies and gentlemen, we shall…we shall be giving you…
BEHIND THE CURTAIN
Reyer leans against the curtain, prompting André.
REYER
Ballet…the ballet!
BEFORE THE CURTAIN
ANDRÉ
…the ballet, from…ah, act…
Again he’s lost, thumbing through his program hastily.
BEHIND THE CURTAIN
Reyer sighs with exasperation, and stomps the ground three times.
BEFORE THE CURTAIN
ANDRÉ
Three! Act three of tonight’s opera…Maestro…
The conductor is hastily turning to the ballet in his score.
BEHIND THE CURTAIN
The ballet chorus, some of them still adjusting their shepherdess costumes, run to the stage; Mme. Giry ushers them, calling “Allez! Allez!” The stagehands are racing to change the scene-one of them drops a chair in his haste, causing a loud thump.
MATCH CUT:
BEFORE THE CURTAIN
André jumps at the sound.
ANDRÉ
Er, yes, the ballet…the, ah, Dance of the Country Nymphs…now!
The curtain rises, and André retreats, running into several members of the ballet chorus in his flight. The ballet begins, the girls making a valiant attempt to conceal their fear.
IN THE FLIES
Buquet leans over the edge of the catwalk, eyeing the ballet chorus lustfully. A noise behind him-he tenses, looks about nervously, perhaps sensing he is not alone. He begins to back away toward the exit…but he only gets a couple of steps before the Phantom leaps onto the catwalk, blocking his path
ONSTAGE
Oblivious to all this, the ballet continues.
IN THE FLIES
The Phantom advances on Buquet, slow and cruel, a cat playing with its prey. Buquet makes a break for it, but the Phantom seizes a rope and swings around to the other end of the catwalk, heading him off. Panicking now, Buquet darts in another direction, knocking a limelight askew in his flight…
ONSTAGE
The swinging light casts the Phantom’s shadow across the stage for a moment, an enormous, imposing silhouette. The audience gasps. Meg glances up and sees the chase above her. She stumbles, but continues to dance, forcing a smile on her face.
IN THE FLIES
Buquest is cornered, and he knows it. So does the Phantom, and he stands almost idly, twisting the rope in his hands.
BUQUET
Please, please don’t…I swear, I won’t tell anyone…
PHANTOM
(with dreadful finality)
No…you won’t.
With a cold smile, he spreads his hands to reveal he’s tied the rope into a noose. Buquet’s eyes widen with terror, he tries to run…but the Phantom deftly flips the rope around Buquet’s neck and pulls it tight. Choking, Buquet gets a brief glimpse into his killer’s eyes before the Phantom hurls him over the edge of the catwalk. The camera follows Buquet as he falls…
ONSTAGE
…into the view of the audience, the rope going taut with an awful snap. Panic erupts-screaming, dancers fleeing, the audience in an uproar. Firmin runs to the edge of the stage, his voice barely audible in the chaos:
FIRMIN
Ladies and gentlemen, remain in your seats! Do not panic, it was simply an accident…
As he speaks, Christine-wearing the Countess' dress, but with her hair unbound-runs into the wings, looking up to see Buquet…and above him, the Phantom’s figure disappearing into the shadows. A look of horror crosses her face, and she runs out into the hall.
INT-BACKSTAGE CORRIDOR-CONTINUOUS
Christine tries to make her way through the frightened throng.
CHRISTINE
Raoul! Raoul!
RAOUL
Christine!
He shoulders his way through the mob to her. Christine almost throws herself into his arms.
RAOUL (Con’t)
Come with me…
CHRISITNE
No…this way, quickly!
She leads him to an ascending staircase.