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[416.] 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."

[448.] 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."

[454.] INT. TORTURE CHAMBER FAINT GREEN The Persian is listening to Christine quietly. 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."

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 strong 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.

[171.] C.V. IN UPPER BOX The man is mysterious. He is the Persian. He looks down on the scene of the tragedy. [172.] SHOOTING DOWN FROM BOX ON SCENE OF TRAGEDY This is a flash on the Persian as he sees it from box. [172A.] C.V. IN UPPER BOX The Persian shakes his head gravely at what he sees. Then he turns and exits from box.

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. [263.] 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.

[413.] 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 displeased 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!"

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.

[519.] 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.

[532.] 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!"

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. NARRATION 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. [92.] 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.

[341.] 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 of his mask revealing 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!"

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• theory 1: he saw erik, listened calmly and quietly to all he had to say, then immediately went on a nice long vacation to mentally prepare himself for cleaning up whatever mess erik was about to get himself into
• theory 2: he spent the party fuming at erik over the fondue, with plans to talk to him in private later about the whole "murder and extortion" thing. unfortunately, erik is a master awkward conversation wriggler
• theory 3: he didn't notice and/or care. he was too busy stuffing breadsticks into his purse

ALT

1. present the story as a frame narrative, the way the book did
2. deviate from the book a bit and give him slightly more to do at the start, have us actually see him doing helpful things outside of all the white characters' sphere of knowledge so we have another perspective to draw upon. it doesn't need to reveal everything about him yet (we still want suspense, after all), but should still make it clear that he is not a bad guy, just misunderstood by the people around him