- 3 months ago
Raoul de Chagny falls for the stunning Christine Daae as he he watches her perform in Paris Opera House. But he must pursue her through its backdoors and stage rooms while he his heart becomes heavy with the presence of a disfigured spirit. The spirit wields unimaginable power over the singer and Raoul must compete with him to win her heart and overcome her fears.
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00:00Blackmail is an ugly word, and when one of the blackmailer's victims sincerely insists that he's an angel, while another swears he's a devil, and still others are convinced he's a ghost, the problem of dealing with him becomes Herculean.
00:30My name is Robert Gros. I'm a 38-year-old bachelor. Music is my life and my love. And it was all I needed until now. Now I'm driven to tell this story, which happened exactly as I will describe it to you.
00:54It started on the day when I took over the management of the great Paris Opera House from the elderly and famous René Costolo.
01:03And last, Robert, but certainly not least, is this contract.
01:08A contract in a memorandum book? Why, René?
01:12Because that's the way the ghost wants it.
01:17I never knew that the revered opera manager René Costolo had such a delightful sense of humor. Contract with a ghost? Surely you're not serious?
01:30The opera ghost professes to be primarily concerned that the management give to every performance the splendor that belongs on what he calls the premier lyric stage of France.
01:43And of course this ghost will be the sole judge of the artistic splendor of a performance?
01:49Of course. However, there are two other conditions on which he places equal importance.
01:56Any attempt to perform an opera will meet with disaster if my allowance of 20,000 francs a month is more than ten days late.
02:07Well, let me see. That monthly figure would amount to 240,000 francs a year. And this joker has further conditions?
02:19Oh, yes. If you'll allow me. Box five on the Grand Tierra shall be placed at my disposal for every performance.
02:29Surely you don't mean to tell me that you took these ridiculous demands seriously?
02:33I observed them scrupulously.
02:35You never defied him or threatened to have him arrested?
02:39How does one arrest a ghost?
02:41Well, when he comes to take his seat in box five.
02:43He never occupied box five.
02:45And you still kept it vacant?
02:48Certainly.
02:49Well, you won't find me wasting a box that way. I intend to sell it.
02:54Well, that's your privilege as the new manager. But if you will take my advice, you'll never sell box five.
03:05I didn't know whether to laugh at Castillo's foolishness or to cry because such a brilliant impresario had obviously fallen victim to some hoax.
03:15However, more immediate problems were demanding my attention.
03:19My soprano sent word that she was too ill to appear that evening in the role of Marguerite in Faust.
03:26I replaced her with a young girl named Christine Donat, who to mine and everyone else's amazement, gave a performance which brought down the house.
03:35Bravo! Bravo! Bravo!
03:41Marvellous! Superb! Christine!
03:44Oh! Oh, Durek!
03:46I thought you were in charge with your brother.
03:48I was until I heard that Christine was to sing tonight and then I rushed to Paris.
03:52Forgive my rudeness. I didn't mean to congratulate you upon your appointment as the manager of the opera.
03:57Now I must congratulate you on choosing Christine.
03:59I never heard her sing like this before.
04:01Nor have I.
04:03What a triumph!
04:04Look at her!
04:05She seems quite overcome.
04:07Overcome?
04:08Nothing. She's ill.
04:10She's fainted.
04:11I led Paul Durenne quickly backstage to Christine Donat's dressing room.
04:20A crowd had gathered outside her door.
04:22I made my way through with Paul by my side.
04:25I opened the door and saw that the house physician was by her side.
04:30To my surprise, Paul Durenne walked swiftly to the couch on which Christine was lying and knelt down beside her.
04:36She turned her head, opened her eyes, and said,
04:40Monsieur, who are you?
04:42Mademoiselle, when we were little children playing together at Perrault,
04:46I was the little boy who went into the sea to rescue your scarf.
04:50How amusing, monsieur.
04:52Mademoiselle, since it pleases you enough to recognize me,
04:56I should like to say something to you in private.
04:59Something very important.
05:02When I'm better, please.
05:03And now I should very much like to be alone.
05:07I want all of you to go away.
05:09Please.
05:14I wasn't aware that you knew Christine.
05:16Oh, I've known her for a long time, Robert.
05:18Ever since we were children.
05:20But we are no longer children, my friend.
05:23So why should we hang about outside her dressing room door like a pair of...
05:26And I know her well enough to understand that she asked to be alone
05:30because she wanted the chance to talk to me privately.
05:33I didn't get that impression.
05:35But if you're convinced...
05:36Look, I'll prove it to you.
05:38Come on, let's go back and knock at her door, and you'll see.
05:41I don't know what you want of me.
05:42Oh, she seems to have someone in there with her.
05:45But that's impossible.
05:46We saw everyone leave when we did.
05:49Christine, you must love me.
05:51I do, I do.
05:52You know I sing only for you.
05:54Nevertheless, someone must have stayed behind.
05:57Maybe we can learn something.
05:59I do not listen at doors.
06:00I'm going in.
06:01No, no, no.
06:01Wait, wait.
06:02For my sake.
06:03Are you very tired?
06:05Tonight I gave you my soul, and I am exhausted.
06:09Your soul is beautiful, child, and I thank you.
06:13The angels wept tonight.
06:15I must go home.
06:17Of course.
06:18They're sure to catch us each.
06:19No, no, no, no, no.
06:20Come here.
06:21Quickly.
06:21They'll never see us in this corner.
06:23She's, she's, she's alone.
06:29There's no one with her.
06:31He must have remained in her dressing room.
06:33And she didn't lock her door.
06:34I'm going in and find out who was with her.
06:38Are you with me?
06:39Of course, Paul.
06:40Come on.
06:42But there's no light in here.
06:44He must be hiding.
06:46Strike a match, please.
06:48Hiding isn't going to help you.
06:50We know you're here.
06:51We heard you.
06:52Now come out.
06:53Can you see anyone?
06:54No.
06:56Well, he must be here somewhere.
06:57And we'll find him wherever he's hiding.
07:00You may as well come out now and save us trouble.
07:03I intend to find out who you are.
07:06There's no one here.
07:08And no place to hide.
07:10We're talking to the walls.
07:17Robert, you know my family goes back to the days of Napoleon.
07:21And I'm sure you feel I lied to you when I said I knew Christine Donat.
07:26Certainly you had every right to...
07:27What is it about Donat?
07:29Well, this letter will prove to you that I wasn't lying.
07:32You see, she says right here,
07:33I have not forgotten the little boy who went into the sea to rescue my scarf.
07:39Then you know where she is.
07:41Of course.
07:42She is in Perrault.
07:43And she is inviting me there too because it is the anniversary of her father's death.
07:48Her father and I were friends.
07:50Do you mind if I go with you?
07:52How do you know I am going?
07:54Oh, don't talk nonsense.
07:55You're going because you're in love.
07:57And I'm going to bring back a singing sensation
08:00who hasn't been heard since the night of her triumph.
08:07So you came after all.
08:10I was thinking while I was at mass,
08:12will he come and will he remember the end of the setting sun?
08:16You knew I would come.
08:18And you knew I would remember, Christine.
08:21Oh, I also brought Monsieur Grand.
08:24Well, how nice.
08:25But why did you...
08:25I am here to ask you to return to the opera, Mademoiselle.
08:29And to ask you to sing other roles.
08:31Well, you will have to excuse me, Monsieur Grand,
08:33but I cannot talk of singing other roles now.
08:37But I have come all this way, Mademoiselle, just to...
08:40I did not ask you to come.
08:42Or you either, Paul.
08:43You asked me to come, Christine.
08:45Christine, you knew your letter would bring me here to Perrault
08:48as surely as the sun shines.
08:49Well, that may have been a mistake on my part.
08:56There was no point in my remaining
08:57as it was obvious that there was a lover's quarrel brewing.
09:01So I told Paul he could find me in my room.
09:04What you hear now is what Paul told me happened
09:07after I left them in the sitting room.
09:11Why do you say mistake, Christine?
09:13I don't know.
09:15When I wrote the letter, I was thinking of my childhood
09:18and my father and the games we played as children.
09:22I think I wrote to you as the little girl I was then
09:25and not the woman I am now.
09:28When I came to you in your dressing room the other night,
09:31was that the first time you noticed me?
09:33No.
09:34I'd seen you in your box.
09:36I knew you were in the audience.
09:38Oh, good.
09:40Then why, when you saw me in the dressing room
09:42and I reminded you about the scarf,
09:45why did you pretend not to know me and laugh at me?
09:49All right, all right.
09:51I know it was because there was someone in your dressing room, Christine.
09:55What are you talking about?
09:56The man to whom you said I sing only for you tonight.
09:59I give you my soul and I am exhausted.
10:02You were listening at the door.
10:04That's the most...
10:05I listened, Christine, because I love you.
10:09Yes.
10:09Yes, I heard everything.
10:12All right, Paul.
10:14Tell me what else you heard.
10:16I heard him reply that your soul is beautiful, child,
10:20and I thank you.
10:22The angels wept tonight.
10:25Oh, Paul.
10:27You should not have heard that.
10:29You shouldn't.
10:31You shouldn't.
10:36And where is Christine now?
10:38Oh, I assume she went to her room.
10:41She ran from me, Robert.
10:44Why would she run from me?
10:46Don't ask me to explain why women do the things they do.
10:51Why would she flee the opera after the triumph she had?
10:53There must be some explanation.
10:56There must be.
10:57I can give you one you won't like.
11:00The voice we heard was the voice of Christine's lover.
11:05He didn't know about you,
11:07nor were you aware of his existence.
11:09She ran away to try to get things straightened out.
11:13That's why she wrote you.
11:14She knew you'd come here,
11:16and she'd be able to speak to you away from her lover.
11:19I won't believe it.
11:20Don't forget,
11:21we checked,
11:22and there was no one in her dressing room.
11:24And don't forget,
11:25we both distinctly heard a man's voice.
11:28He had to be her lover.
11:29Or someone who's been giving you problems,
11:34Monsieur Manager.
11:36Someone who calls himself
11:38the Opera Ghost.
11:40At this point,
11:46I think I can say
11:47that I've become an authority
11:49on ghosts
11:50and their habits.
11:52Now,
11:53I've heard of ghosts
11:54who clank,
11:55ghosts who moan,
11:57ghosts who scream,
11:58wail,
11:59and even gnash their teeth.
12:01But this is the first time
12:02I've encountered
12:03a lovesick ghost
12:04who's also
12:06an opera lover.
12:08I'll be back shortly
12:09with Act Two.
12:21From time immemorial,
12:23out-of-the-way places
12:25have been favorite meeting spots
12:27for young lovers.
12:29And when a quarrel
12:30interrupts the course of true love,
12:32it's a common occurrence
12:33to find one of the unhappy pairs
12:36sitting and waiting
12:37at their favorite
12:38trysting place,
12:39certain that the other
12:40must turn up.
12:42A cemetery, however,
12:44would seem a most unlikely place
12:47for a girl
12:47to expect to find her lover.
12:50Christine.
12:51I knew you'd come
12:52to pay your respects
12:53to my father
12:54at his grave, Paul.
12:55And I waited here
12:56to tell you something
12:57very serious.
12:59Paul,
13:00do you remember
13:01the Angel of Music?
13:02Oh, yes.
13:03your father
13:04never told a story
13:05without mentioning him.
13:08I remember him saying
13:09that at least once
13:10in every great musician's life,
13:12the artist receives
13:14a visit
13:14from the angel.
13:16Yes.
13:17And sometimes,
13:18Paul,
13:19the angel
13:20leans over
13:21an infant's cradle,
13:22and that infant
13:23then has heard
13:24the angel,
13:25and the infant
13:26becomes a child prodigy.
13:28Yes, I remember...
13:29And when I asked father
13:30if he had ever heard
13:31the angel of music himself,
13:33he shook his head sadly.
13:36But, Paul,
13:37he told me that
13:38I would hear
13:39the angel one day.
13:40He said,
13:41when I'm in heaven,
13:43I shall send him to you.
13:46Paul,
13:47I have been visited
13:49by the angel of music.
13:52I don't doubt it.
13:54How is it that today
13:55you understand so well?
13:57You forget that
13:57I've heard you sing
13:58many times.
14:00And I never heard you sing
14:02the way you sang
14:03the other night.
14:04You were touched
14:05by genius.
14:06Yes.
14:07The angel of music.
14:09He comes every day
14:11to give me lessons
14:12in my dressing room.
14:13In your dressing room?
14:15The angel of music.
14:17What does he look like?
14:19You should know better
14:20than to ask that, Paul.
14:22I've never seen him.
14:23I only hear his voice.
14:25He speaks to me,
14:26and it's like in a dream.
14:29Are you sure you didn't
14:30dream all of this, Christine?
14:32How could I?
14:34I'm not the only one
14:35who heard the voice
14:36of the angel.
14:37Someone else
14:38has heard this voice?
14:39You, Paul.
14:41It was his voice
14:42you heard
14:42when you listened
14:43outside my dressing room door.
14:45Oh, Christine.
14:46You needn't have gone
14:47to such an elaborate lie
14:48to try to deceive me
14:50about the voice I heard.
14:51You think I lied?
14:52After all,
14:53I know what I heard.
14:54I'm beginning
14:55to understand.
14:57You think that
14:58that was a real man's voice.
15:02Well, if you had
15:02opened the door,
15:03you would have seen
15:03that there was no one
15:04in my dressing room.
15:05After you left,
15:06I did open the door,
15:07and there was no one there.
15:09And you still don't believe?
15:10I do not.
15:11Oh, how could I have
15:12ever loved you?
15:14Go away.
15:15I never want
15:16to see you again.
15:22The return trip
15:23to Paris
15:24wasn't pleasant.
15:26Paul Duren
15:26wanted so desperately
15:28to believe
15:28that his darling Christine
15:29was the victim
15:30of some cruel hoax,
15:32while I was convinced
15:33that Christine
15:34was an artful minx
15:35who was trying
15:36to keep two men
15:37on the string.
15:38This belief
15:39was strengthened
15:40by a telephone call
15:41I received
15:41the following day
15:42at my office.
15:43Grand speaking.
15:47Carlotta Sorelli.
15:48Oh, good day, madame.
15:50What can I do today
15:51for my beautiful prima donna?
15:53First, my dear monsieur Grand,
15:55you must learn
15:56that I am not
15:56a woman easily intimidated.
15:58I'm sure you're not.
15:59But why do you call me?
16:00I intend to sing
16:02the role of Marguerite
16:03in Faust Thursday night.
16:05Well, of course you do.
16:07Why would you call
16:08and tell me
16:08what has already
16:09been announced?
16:10Because of a note
16:11I received this morning.
16:12It reads,
16:13If you dare to appear
16:15as Marguerite
16:16next Thursday evening,
16:17be prepared
16:18for a gigantic misfortune.
16:20Oh, a prank.
16:22A jokester.
16:23Surely you're not
16:24going to take that seriously.
16:25That's exactly
16:26what I called to tell you.
16:28And I'm pleased
16:28you're taking it so well.
16:31Even if I were dying,
16:33I would sing
16:34the role of Marguerite
16:35next Thursday night.
16:37Before that Thursday night,
16:43I had to face
16:44the problem
16:45of the first masked ball
16:47to be held
16:47in the opera house
16:48under my direction.
16:50This was to be
16:50a truly gala affair
16:52with everyone
16:53in fancy dress.
16:55I knew from experience
16:56that every artist
16:57would be there
16:58hoping to meet
16:59and fascinate
17:00a masked member
17:01of the upper crust.
17:02I, of course,
17:04attended unmasked.
17:08Robert!
17:10Robert!
17:11Oh, Paul!
17:13Is that you
17:14behind this
17:15black domino?
17:16Yes.
17:17I suppose
17:18you're seeking Christine,
17:19hoping to discover
17:20what masquerade
17:21she uses tonight.
17:22I don't have to, Paul.
17:23My Christine
17:24is behind that
17:24white domino over there
17:26and we have a tryst
17:26in Box 17
17:27on the Grand Tier
17:28at midnight.
17:29And you're no longer
17:30concerned about
17:31that voice you heard
17:32in her dressing room?
17:33In her note
17:34making this assignation
17:35she as much as admitted
17:36that she'd made
17:36a dreadful mistake
17:37about that voice.
17:39I see.
17:40Monsieur Director,
17:42what?
17:42What?
17:43When Soreri
17:44fails to appear
17:45for Faust
17:46next Thursday,
17:48you'll replace her
17:50with the magnificent
17:51Christine.
17:53Who said that?
17:54It came from
17:55the white domino.
17:55Nonsense!
17:56Christine is wearing
17:57the white domino.
17:57Then Christine
17:58is using some trick
17:59to make sure
18:00she sings Marguerite again.
18:01There's where it came from.
18:02From the center
18:03of that crowd.
18:04The man in the scarlet cape
18:05and the death's head mask.
18:06You think so?
18:07Well, it's almost positive.
18:09Come, let's unmask him.
18:10Read what it says
18:11on his cloak.
18:12Don't touch me
18:13for I am the red death
18:15stalking abroad.
18:16He's leaving.
18:16Hold that man
18:17in the scarlet cloak.
18:18Quickly.
18:19After him.
18:19Stop that man.
18:20No, no, don't touch him.
18:22He wears the mask of death.
18:24Who was that man?
18:32Why did you tell everyone
18:33not to touch him?
18:34Please, Paul.
18:35Please keep your voice down.
18:36You shouldn't have come here.
18:37All right.
18:38All right, but you were
18:39the one who asked me
18:39to meet you here
18:40in this box on the Grand Tire,
18:41remember?
18:42I know.
18:43But that was before
18:44you started to chase
18:45the red death mask.
18:46And why did you stop us?
18:47What is that masquerader
18:48to you?
18:49Maybe nothing.
18:50Maybe everything.
18:51Oh, Paul, you were right.
18:53The voice I hear
18:54is not an angel
18:56but a human voice.
18:57Belonging to...
18:58I don't know.
18:59I still haven't seen him.
19:01But what made you
19:02change your mind
19:02about the angel of music?
19:04Because he forbade me
19:05to see you.
19:06How did he know about me?
19:08I told him.
19:09The first time I saw you
19:10in your box,
19:11I rushed back
19:11to my dressing room.
19:13The voice immediately
19:14noticed that I was elated
19:15and when he asked me why,
19:17I saw no reason
19:19not to tell him about you.
19:20Yes, and...
19:21The voice spoke to me
19:22with great sadness
19:23and said that
19:25if I were to give
19:26my heart on earth,
19:27there was nothing
19:28for the angel of music
19:29to do but go back
19:31to heaven and leave me.
19:33Leave me without
19:34any more lessons.
19:36And that was a thought
19:36I couldn't bear.
19:38I knew what the lessons
19:39had done for me
19:40in a few weeks' time.
19:42How did the voice
19:42do this?
19:43What is the secret?
19:45Believe me,
19:45when I tell you
19:46I wondered myself,
19:47I even thought
19:49perhaps there might be
19:50witchcraft involved.
19:52Oh, ridiculous.
19:53You could never be
19:54caught up with
19:54the forces of evil.
19:55Well, then what
19:56is the voice?
19:58A man.
19:59Someone who...
20:00Yes.
20:03I confess
20:04I am jealous.
20:06That's why I stopped.
20:08There is no angel
20:09of music
20:10but there is
20:11a man.
20:12A man who must
20:13love you
20:13and want you
20:14as I want you.
20:16And I mean
20:17to find out
20:18who he is.
20:19No.
20:19No, you mustn't.
20:21That's why
20:22I had to see you
20:23tonight
20:23to warn you.
20:24Promise me that you...
20:25I'll promise nothing.
20:27I am not afraid
20:28of this voice
20:28even if you are.
20:29Paul, you must listen
20:31and try to hear
20:32how I discovered
20:33the voice was human.
20:35Listen.
20:36And if I have
20:37any power
20:38to transmit emotion
20:39you will hear him
20:41as I heard him
20:42and you will know
20:43why I am frightened.
20:45You have lied
20:47to me, my child
20:48because you love
20:50Paul Duran.
20:51Why should my love
20:53for Paul distress
20:54you so?
20:54I have already
20:55told you.
20:57If you love him
20:58then you do not
20:59believe in me.
21:01Believe in me,
21:03my child.
21:04Whoso believes
21:05in me
21:06shall live
21:07and sing.
21:07whoso believeth
21:09in me
21:10shall also
21:10reach the heights.
21:12But I shall
21:13bring down
21:14those who
21:15oppose me.
21:16All of them.
21:18And don't think
21:19Eric cannot
21:20do that.
21:21Eric?
21:23That's your name
21:24and you're...
21:24you're not...
21:25Your angel
21:26of music?
21:28Most certainly,
21:29my child.
21:30I have proven
21:31that to you.
21:32I am your angel,
21:34Christine.
21:35But I warn you
21:37that I have
21:38an evil side
21:39and I have
21:40power.
21:42How is it
21:42that Sorelli
21:43fell ill
21:44the other night?
21:45How does it
21:46happen that
21:46all the directors
21:47of the opera
21:48have taken
21:49orders from me?
21:50Who are you?
21:52And why did you
21:53choose me
21:53as a pupil?
21:55Because of your
21:56purity,
21:57child.
21:58And your
21:59beauty.
22:00Your gracious
22:01beauty.
22:02Where are you?
22:03Here.
22:04This is a childish
22:06game you're playing.
22:07Let me see.
22:08Never.
22:10The day you see
22:11my face will be
22:12doomsday for you,
22:13me, and everyone
22:14connected with the
22:15opera.
22:16And let me repeat
22:17my warning.
22:18If you want
22:19Paul Duran
22:20to live,
22:22you'll be very
22:23careful about
22:24seeing him.
22:25Who are you
22:26to give me
22:26orders?
22:27I rule here.
22:30The opera house
22:31is my kingdom.
22:34Kingdom.
22:36And all of you
22:37are my
22:38subjects.
22:42Paul,
22:43dearest,
22:44did I succeed
22:45at all in
22:46recreating the
22:47power of that
22:47voice and the
22:49terror he
22:49inspired in me?
22:50Whoever or
22:51whatever he is,
22:52he must be
22:53completely mad.
22:54Perhaps.
22:55But nevertheless,
22:56he does have
22:57power.
22:57What does it
22:58matter?
22:59You've told me
23:00that you love
23:00me and now
23:02all you have
23:02to do is
23:02leave the
23:03opera,
23:04marry me,
23:04and we'll
23:04go away
23:05together.
23:05I cannot.
23:07I dare not.
23:16That's the
23:16most fantastic
23:17tale I've
23:18ever heard,
23:19Paul.
23:20And you
23:20believe it?
23:21Every word.
23:23It's obvious
23:23that someone
23:24doesn't want
23:25Sorelli to sing
23:26Marguerite tonight.
23:27This whole
23:28rigmarole of
23:29not seeing
23:30the voice.
23:31This nonsense
23:32I don't believe.
23:33Then what do
23:34you intend
23:35to do
23:36about that
23:36note?
23:37It was
23:38Sorelli's
23:38decision to
23:39ignore this
23:40second threat
23:40and my
23:41decision to
23:42ignore the
23:43opera ghost.
23:44I ask you
23:45to join me
23:46tonight in
23:46Box 5 on
23:48the Grand
23:48Tier, where
23:49we will both
23:50enjoy a
23:50marvellous
23:51performance of
23:52Faust.
23:53The first
24:06act of
24:06Faust went
24:07very well
24:08and as the
24:08curtain fell
24:09for the
24:09intermission,
24:10I allowed
24:11myself to
24:11relax in
24:12Box 5 where
24:13I was sitting
24:14with Paul.
24:16Well,
24:16Paul,
24:17what do you
24:17say now?
24:18Do you still
24:18think we could
24:19have used the
24:20police?
24:20The police
24:21would have
24:22been useless,
24:23Monsieur Grand.
24:25Did you say
24:26that, Paul?
24:26I didn't say a
24:27word.
24:27But you heard
24:28it.
24:29Tell me you
24:29heard it.
24:30Yes, I did
24:30hear it.
24:31Where is that
24:31voice coming
24:32from?
24:32Not from
24:32this box.
24:33We're alone
24:33in it.
24:34You are
24:34not alone.
24:36This is
24:37Box 5,
24:38my box.
24:39Show yourself
24:39whoever you
24:40are.
24:41I must leave
24:42now because
24:42the house
24:43lights are
24:44dimming for
24:44the second
24:45act and
24:46there will be
24:47a terrible
24:47calamity.
24:49Now, listen,
24:49you...
24:50raise your
24:51eyes to
24:52heaven and
24:52see and
24:54pray.
24:54The voice is
24:55coming from
24:55our left.
24:56Two boxes
24:56down.
24:56No, no, no.
24:57I thought
24:57it was on
24:57the right.
24:58The lights
24:59are dimming.
25:00The chandelier.
25:01Look, Robert.
25:02Robert, what's
25:03swaying?
25:03It's going to
25:04fall right
25:04into the
25:05orchestra.
25:05Oh, no.
25:06Get out.
25:06Get out.
25:07Get out.
25:07Get out.
25:07Get out.
25:08Get out.
25:08Get out.
25:09Get out.
25:10Get out.
25:10Get out.
25:11Get out.
25:11Get out.
25:12Get out.
25:12Get out.
25:13Get out.
25:13Get out.
25:14Get out.
25:14Get out.
25:15Get out.
25:15Get out.
25:20A natural
25:22accompaniment of
25:22any catastrophe
25:23is an attempt
25:25to discover
25:26the cause.
25:27And so it
25:28was with the
25:29collapse of
25:29the chandelier
25:30in the Paris
25:30Opera House.
25:32The newspapers
25:33speculated wildly
25:34as to the
25:35possible cause
25:36of the fall.
25:37But strangely,
25:39there was not
25:39one word
25:40printed about
25:41the opera
25:42ghost.
25:43I'll be back
25:44with Act
25:44Three shortly.
25:45No opera
25:50manager ever
25:51faced the
25:52problems that
25:52beset Robert
25:53Grand,
25:54newly appointed
25:55director of
25:56the Paris
25:56Opera House.
25:58How does
25:59one deal
25:59with something
26:00that no one
26:02has ever seen,
26:03but whose
26:04voice has
26:05been heard
26:05and whose
26:06presence has
26:07been accepted
26:07as a fact
26:08by opera
26:09workers and
26:11by your
26:11predecessor?
26:13A thing
26:13that called
26:14itself the
26:15opera ghost
26:16and who
26:17took credit
26:17for the
26:18catastrophic
26:18fall of
26:19the great
26:20chandelier
26:20which took
26:21the lives
26:21of three
26:22people and
26:23injured many
26:24more.
26:25Robert Grand
26:26made his
26:27decision.
26:28If I can
26:28have your
26:29attention,
26:29ladies and
26:29gentlemen,
26:30please,
26:30I will
26:31explain the
26:32reason I
26:32summoned you
26:33to my
26:33office.
26:35I have
26:36decided to
26:37make my
26:37peace with
26:38the opera
26:39ghost.
26:40This
26:41envelope on
26:42my desk
26:43will be
26:43placed in
26:44box five
26:45on the
26:45grand
26:45tier at
26:46tonight's
26:47performance.
26:48It contains
26:49the 20,000
26:50francs which
26:51the ghost
26:52or whatever
26:53he is
26:54demands
26:54monthly,
26:56but I
26:57intend to
26:58reassign your
26:59locations so
27:00that box five
27:01will not be
27:02unwatched by
27:03less than
27:04three pairs
27:05of eyes for
27:06one single
27:07second.
27:08And I
27:09insist on an
27:10immediate report
27:11to me when
27:11and if you
27:12see anyone
27:13entering or
27:13leaving box
27:14five.
27:17Robert
27:17Grand?
27:18Where have
27:18you been,
27:19Robert?
27:19I've called
27:20you home,
27:20your club,
27:21even the
27:21Café de
27:22L'Opera,
27:22and I
27:23could not
27:23reach you.
27:24Is there
27:24something
27:24important?
27:26Your ghost
27:27bleeds,
27:28Robert.
27:29Your opera
27:30ghost bleeds
27:31real blood.
27:32Are you
27:33drunk or
27:34just raving?
27:35And if he
27:36bleeds, as I
27:36know he does,
27:37then he's no
27:38ghost at all,
27:39but real flesh
27:40and blood.
27:40Isn't that so,
27:41Robert?
27:41What are you
27:41talking about?
27:43What makes
27:43you so certain
27:44that he
27:44bleeds?
27:45Because I've
27:46shot him.
27:46Yes, come to
27:47my apartment.
27:48I'll show you
27:49the blood
27:50stain.
27:56Robert, you're
27:57here, and now I
27:58will free you from
27:59your ghost forever.
28:00I've already
28:01called the police.
28:03Here, come, let
28:03me show you the
28:04balcony.
28:04I don't want to
28:05see anything until
28:07you calm down and
28:08explain what
28:09happened.
28:09His eyes.
28:11You have to see
28:12those eyes to
28:13understand, Robert.
28:14You have to see
28:15them.
28:16Are you trying to
28:16tell me the ghost
28:17was here?
28:18Exactly.
28:19And I know how
28:20to get him here.
28:21I played on his
28:22weakness, Robert.
28:23His human weakness.
28:25His love for
28:26Christine.
28:27I told you that,
28:28but you wouldn't
28:28listen.
28:29I can't make
28:29head or tail out
28:30of what you're
28:30trying to tell me.
28:32Now, I'm
28:32willing to listen,
28:33but only if you
28:34calm down.
28:35All right.
28:36All right, Robert.
28:37everything I
28:39suspected is
28:41true.
28:42Now, I'll try to
28:43give you an exact
28:44picture of what
28:45happened.
28:47It started when I
28:49saw Christine
28:50yesterday.
28:51Where?
28:51At her mother's.
28:52She didn't go to
28:53the opera.
28:54I went to tell
28:55her mother that I
28:57wanted to marry
28:58her and take her
28:59away.
28:59What did Christine
29:00think about this?
29:01She was frightened,
29:02terrified by this
29:03man posing as a
29:05ghost.
29:05Well, I left
29:07after telling her
29:08I would expose
29:09him.
29:10And I came home
29:10here and it was
29:12very late and
29:12prepared to go to
29:13bed.
29:14Come, let me show
29:15you.
29:16Let me show you
29:17my bedroom.
29:18Oh, I'll admit.
29:19I'll admit that my
29:20mind was filled with
29:21wild thoughts that
29:23night.
29:24Well, I turned out
29:24the light and as I
29:26climbed into bed,
29:28suddenly, at the
29:29foot of my bed, I
29:30saw two eyes, red
29:33and glowing like
29:34cold, just the
29:35eyes.
29:37I switched on the
29:37light, leapt out of
29:38bed.
29:39The room was empty,
29:40but I saw a shadow
29:41on the balcony.
29:42I ran to the bureau,
29:43opened the drawer,
29:45and took out this
29:45revolver, and I
29:47fired twice.
29:50You see?
29:51Look, here.
29:52There are two empty
29:53chambers in my gun.
29:55Now, come.
29:56Come to the balcony,
29:57and I'll show you,
29:59I'll show you the
30:00blood.
30:00Where the doors open?
30:01Yes, yes, of course.
30:02Here, here.
30:04Now, look.
30:05Is that blood?
30:08Yes.
30:09Yes, it is blood.
30:10Yes, of course.
30:11Now, a ghost who
30:12bleeds can be found.
30:14A wounded ghost can
30:15be traced, huh?
30:16Huh?
30:17Well?
30:18I see the blood.
30:21I also see a cat.
30:23Oh, there was no cat.
30:24Not on the balcony,
30:25but limping along the
30:26roof, trying to find a
30:27gutter to climb down.
30:30Oh, my dear Paul,
30:31I don't know about
30:32the eyes you think
30:34you saw glaring at
30:35you, but I'm afraid
30:37you've shot a cat.
30:44The next 48 hours
30:46will live forever
30:48in my memory.
30:49I expected that the
30:51envelope containing
30:52the 20,000 francs
30:53which I had left in
30:54the well-guarded
30:54box five would
30:56somehow disappear.
30:57It did.
30:59But as I also feared,
31:02all three persons
31:03assigned to watch
31:04the box swore no one
31:07had entered or left
31:08the box.
31:10Far more disturbing
31:11was an unannounced
31:13visit from a dangerously
31:14quiet Paul Duren
31:16on the following day.
31:18Robert, I need your
31:20help.
31:21Of course, Paul.
31:22I'll do anything
31:22in my power, but
31:24don't you think that
31:26you'd better see a
31:27physician?
31:27Christine Dona will
31:29be appearing tonight
31:30in Faust.
31:32Yes, but not in the
31:34leading role.
31:35I've decided...
31:36That's not important.
31:39I think you should know,
31:40Robert, that she's
31:40agreed to go away
31:41with me.
31:43My carriage and
31:44coachman will be at
31:45the stage door
31:45promptly at 11.
31:46What I need from you
31:49is a way that she
31:51can slip out
31:52unobserved.
31:53Well, the whole
31:54backstage is
31:55honeycombed with
31:56trap doors, but
31:58I don't know
31:59any that would
32:00lead out of the
32:01opera house
32:02itself.
32:04Perhaps
32:04Rene
32:05Castellow might.
32:07He was the
32:07manager for 17
32:08years before he
32:09retired.
32:10I'd appreciate it
32:10if you check with
32:11him and...
32:11And also one
32:13other favor.
32:14I don't want to be
32:16seen myself.
32:18I wonder if you'd
32:19be kind enough to
32:20let me use your
32:21office tonight while
32:22the performance is
32:22in progress.
32:23Certainly.
32:24But isn't this
32:25flight a sudden
32:26decision?
32:27It's the only way.
32:29I've spoken with
32:30Christine and she
32:31agrees that our
32:32only hope lies in
32:33getting out of
32:33Paris, even out of
32:35France.
32:35That may be
32:36wisest, but why
32:38leave from here?
32:39Christine absolutely
32:40refuses to give up
32:41tonight's performance.
32:43Not only does she
32:44feel obligated to
32:45you, but she also
32:46believes that Eric
32:47would somehow find
32:49out that she wasn't
32:50going to appear.
32:51Yes, she may have
32:52a point.
32:53The opera ghost, or
32:55Eric, as you call
32:57him, seems to know
32:58more about what goes
32:59on than I do.
33:01We'll meet back here
33:02in my office at
33:048 sharp.
33:09May I thank you,
33:10Monsieur Castellot,
33:12for taking the
33:12trouble to come here
33:13to tell me about
33:14the special exit.
33:15It hasn't been used
33:16in years, but I
33:18think the door still
33:18works.
33:19What time is it?
33:20Oh, relax.
33:21It's only 9.40.
33:22Plenty of time.
33:23She's disappeared.
33:24What?
33:25What's happened?
33:26I'd better get out
33:27and see what's
33:27happening.
33:28I'll be right back.
33:31By God, there must
33:32have been another
33:33accident.
33:33From my experience,
33:35it sounds like
33:36something's happened
33:36on Steve.
33:37Paul, Paul.
33:38I have terrible
33:39news, Paul.
33:40Christine has
33:41disappeared.
33:42Oh, no, that's
33:42impossible.
33:43That was the reason
33:44for the commotion.
33:44In the middle of a
33:46scene, she seemed to
33:47be lifted straight up
33:48into the air and then
33:50disappeared as the
33:52lights went out.
34:02Christine, my love,
34:03please tell me you're
34:05not hurt.
34:07Well, who are you?
34:09And why are you, why
34:11are you masked?
34:12I'm sorry that I was
34:14so clumsy and made you
34:15strike your head when
34:16I...
34:16Eric!
34:17Eric, what have you
34:18done?
34:19Only what you made me
34:20do, Christine.
34:21I told you that if
34:23you'd continue to see
34:24Paul Duran, things
34:25would end badly.
34:26Where am I?
34:27In my house.
34:29It's my dearest wish
34:31that you'll grow to
34:32like it.
34:32You intend to keep
34:35me here?
34:35I cannot allow you
34:36to run off with
34:37Paul Duran as you
34:38planned.
34:38But they will look
34:39for me.
34:40And they will not
34:41find you.
34:43Have they ever
34:44found me?
34:46Why do you cry?
34:48You know, it pains
34:49me to see you cry.
34:51I would never keep
34:53you here against
34:54your will, but I
34:55warn you, if you
34:55leave, you'll sign
34:58Paul Duran's
34:59death warrant.
35:00You're afraid even
35:01to let me look at
35:02your face.
35:03Careful, Christine.
35:04But I shall...
35:05I will tear that
35:07mask off.
35:12You're in no
35:13danger, Christine.
35:14I will not hurt you.
35:16So long as you do
35:18not touch the mask.
35:19And you expect me
35:20to believe that?
35:21You have no better
35:23friend in the world
35:24than myself.
35:30It took all the
35:31strength that both I
35:32and René Castellot
35:33possessed to hold
35:35Paul Duran in his
35:36chair in my office
35:37after he learned of
35:38Christine's
35:38disappearance.
35:39This would never
35:40have happened if I
35:41hadn't asked her to
35:42come away with me.
35:43I'm convinced she's
35:45still in the opera
35:46house.
35:46I've seen the
35:48thing, whatever it
35:49is that calls itself
35:50the opera ghost.
35:51Where?
35:52When?
35:52Why didn't you tell
35:53us before?
35:53I tried to warn you.
35:55Well, never mind that.
35:56Where is he?
35:57And where is Christine?
35:58Well, I can tell you
36:00what I suspect.
36:03About a year ago, I
36:04worked late and I
36:06decided to go
36:06backstage.
36:08There was only a
36:09work light.
36:10And as I stumbled
36:11around in the dark, I
36:12suddenly felt myself
36:14falling.
36:15And I landed in, well,
36:17in some sort of tunnel
36:19under the stage.
36:21Someone caught my arm
36:22and broke my fall and
36:23a voice said, careful.
36:26I looked around and saw
36:28only two fiery red eyes
36:30glaring at me out of
36:31the mask.
36:31The same eyes I saw.
36:33Although I was afraid, I
36:34asked the apparition his
36:36name.
36:37And he laughed and said,
36:39I am Eric and you've
36:41invaded my domain.
36:44But since it was an
36:45accident, there will be
36:46no punishment this time.
36:48But, Mr. Manager, I
36:51warn you, Eric's secrets
36:53must remain.
36:55Eric's secrets.
36:56Whatever that may have
36:57meant.
36:59Well, after the meeting,
37:00I was convinced that
37:01Eric, or the opera ghost,
37:04lived or haunted the
37:05subterranean cellars and
37:07caverns beneath the
37:08opera.
37:08Incredible.
37:09I investigated all the
37:11trap doors, looking for
37:13the one through which
37:13I'd fallen.
37:15And one day, I found
37:17it.
37:19I'll show you where it
37:20is.
37:21And here is the key to
37:24Eric's house, where I
37:26believe you'll find
37:27Christine Donner.
37:35Wait.
37:35I see something.
37:38It's a door.
37:39Robert, we found it.
37:40We found his house.
37:42What's the matter?
37:43I just remembered what
37:44Rene said about the
37:45key and opening the
37:47door.
37:47Well, you can do as you
37:48like, but I am going in.
37:52What's the matter?
37:53I don't know.
37:54It's tricky.
37:56Maybe it's the wrong key.
37:57I don't know.
37:58It fits.
37:58But the tumblers seem to
38:00be stuck.
38:01Oh, is that you?
38:02Yes, yes, Christine.
38:04It's me.
38:04I must be dreaming.
38:06No, it's no dream.
38:07Can you help me open
38:08the door?
38:09He's tied me up.
38:10Damn him.
38:14Oh, Christine.
38:15Oh, my darling.
38:15What has he done to
38:16you?
38:16I'm all right.
38:17But untie me quickly.
38:19We must get out of here
38:20before he comes back.
38:26Where are we going?
38:27As high up as we can
38:28get.
38:29Faster, Paul, faster.
38:30Shouldn't we have
38:30tried to get out?
38:31We don't have time.
38:32He's due back at 11.
38:34We're trapped.
38:35No.
38:36No, push this door.
38:37It opens onto the roof.
38:40The sky.
38:43The blessed sky.
38:44And the stars.
38:46It is only up there
38:47on the stars
38:49that you can escape me.
38:51Eric!
38:51Show your face, you coward.
38:53Where are you?
38:54Look for me.
38:56Behind all the smoke stacks.
38:58But you won't find me.
39:00You're a coward.
39:01You're a liar.
39:01You think so?
39:03Then I show myself.
39:06Here.
39:08Here I am.
39:10At last.
39:12Here.
39:13I raise my mask a little.
39:15Only a little,
39:16but you can see my lips.
39:18Such lips as I have.
39:21And let you hear my voice.
39:23You are a coward.
39:25Show your full face.
39:26My face.
39:27You shall see my face.
39:30And then you shall die.
39:32No.
39:33No, Eric.
39:33I beg you.
39:34My face that even the mother
39:36who bore me
39:36wouldn't bear to look at.
39:39Here.
39:40Now.
39:41Look at my face.
39:43Good Lord in heaven.
39:45You wanted to see it.
39:46You wanted to see it.
39:47You wanted to see a face
39:50without a nose
39:52with dead eyes
39:55and the lips of a corpse.
40:00Now.
40:02Look.
40:02As I come,
40:07Rosa,
40:09the horror that is my face
40:12will drive you over the edge.
40:17Oh, my poor,
40:17my poor, poor Eric.
40:21Christine,
40:22you are crying.
40:25You are weeping.
40:28And for me,
40:29a woman,
40:31a beautiful woman
40:33waits for me.
40:35If it were tears you wanted,
40:37you could have showed your face
40:39and the world would have worked for you.
40:41I set you free
40:44and in freeing you,
40:47I free myself.
40:50Here.
40:51I leave you my mask.
40:53Eric.
40:54Eric, don't show me.
40:55I love you, Christine,
40:57as no other man
40:58could ever
40:59have loved you.
41:03Even today,
41:12there are those people
41:13who say that the phantom
41:15of the opera
41:15was a ghost.
41:17But the story of Eric
41:18was manufactured
41:19to appease
41:20a frightened public.
41:22There are others
41:23who say it never happened.
41:24And perhaps it didn't.
41:28But to those
41:29who say it never happened,
41:30I say,
41:32perhaps not.
41:34But it could have.
41:37I'll be back shortly.
41:39In looking back
41:39over the story
41:40of the opera ghost,
41:42I think I've made
41:43a discovery
41:44of some importance.
41:45If you recall,
41:47Eric,
41:48or the ghost,
41:49wrote threatening letters
41:50to the manager
41:51of the opera house
41:52when he felt slighted.
41:54He also wrote
41:55contracts in red ink
41:57in a memorandum book.
41:59Now,
42:00if he really were a ghost,
42:02and he did write
42:04these documents,
42:05could we say
42:06that he was the first
42:07ghost writer?
42:11Our cast included
42:12Gordon Gould,
42:14Court Benson,
42:15Carol Teitel,
42:16and Paul Hecht.
42:17The entire production
42:18was under the direction
42:19of Hyman Brown.
42:20This is E.G. Marshall
42:22inviting you
42:23to return
42:24to our mystery theater
42:25for another adventure
42:27in the macabre.
42:29Until next time,
42:32pleasant dreams.
42:34the ہے
42:40of the Earth.
42:40the
42:41of the Earth.
42:42The End
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