Phantom of the Opera (Barnes & Noble Classics Series) Page 17

  “He is my rival. And, if he’s not dead, it’s a pity.”

  He dismissed the servants with a wave of the hand and the two Chagnys were left alone. But the men were not out of earshot before the count’s valet heard Raoul say, distinctly and emphatically:

  “I shall carry off Christine Daaé tonight.”

  This phrase was afterward repeated to M. Faure, the examining-magistrate. But no one ever knew exactly what passed between the two brothers at this interview. The servants declared that this was not their first quarrel. Their voices penetrated the wall; and it was always an actress called Christine Daaé that was in question.

  At breakfast—the early morning breakfast, which the count took in his study—Philippe sent for his brother. Raoul arrived silent and gloomy. The scene was a very short one. Philippe handed his brother a copy of the Epoque and said:

  “Read that!”

  The viscount read:

  “The latest news in the Faubourg is that there is a promise of marriage between Mlle. Christine Daaé, the opera-singer, and M. le Vicomte Raoul de Chagny. If the gossips are to be credited, Count Philippe has sworn that, for the first time on record, the Chagnys shall not keep their promise. But, as love is all-powerful, at the Opera as—and even more than—elsewhere, we wonder how Count Philippe intends to prevent the viscount, his brother, from leading the new Margarita to the altar. The two brothers are said to adore each other; but the count is curiously mistaken if he imagines that brotherly love will triumph over love pure and simple.”

  “You see, Raoul,” said the count, “you are making us ridiculous! That little girl has turned your head with her ghost-stories.”

  The viscount had evidently repeated Christine’s narrative to his brother, during the night. All that he now said was:

  “Goodbye, Philippe.”

  “Have you quite made up your mind? You are going tonight? With her?”

  No reply.

  “Surely you will not do anything so foolish? I shall know how to prevent you!”

  “Goodbye, Philippe,” said the viscount again and left the room.

  This scene was described to the examining-magistrate by the count himself, who did not see Raoul again until that evening, at the Opera, a few minutes before Christine’s disappearance.

  Raoul, in fact, devoted the whole day to his preparations for the flight. The horses, the carriage, the coachman, the provisions, the luggage, the money required for the journey, the road to be taken (he had resolved not to go by train, so as to throw the ghost off the scent): all this had to be settled and provided for; and it occupied him until nine o’clock at night.

  At nine o’clock, a sort of travelling-barouchen with the curtains of its windows close-down, took its place in the rank on the Rotunda side. It was drawn by two powerful horses driven by a coachman whose face was almost concealed in the long folds of a muffler. In front of this travelling-carriage were three broughams, belonging respectively to Carlotta, who had suddenly returned to Paris, to Sorelli and, at the head of the rank, to Comte Philippe de Chagny. No one left the barouche. The coachman remained on his box, and the three other coach-men remained on theirs.

  A shadow in a long black cloak and a soft black felt hat passed along the pavement between the Rotunda and the carriages, examined the barouche carefully, went up to the horses and the coachman and then moved away without saying a word. The magistrate afterward believed that this shadow was that of the Vicomte Raoul de Chagny; but I do not agree, seeing that that evening, as every evening, the Vicomte de Chagny was wearing a tall hat, which hat, besides, was subsequently found. I am more inclined to think that the shadow was that of the ghost, who knew all about the whole affair, as the reader will soon perceive.

  They were giving Faust, as it happened, before a splendid house. The Faubourg was magnificently represented; and the paragraph in that morning’s Epoque had already produced its effect, for all eyes were turned to the box in which Count Philippe sat alone, apparently in a very indifferent and careless frame of mind. The feminine element in the brilliant audience seemed curiously puzzled; and the viscount’s absence gave rise to any amount of whispering behind the fans. Christine Daaé met with a rather cold reception. That special audience could not forgive her for aiming so high.

  The singer noticed this unfavourable attitude of a portion of the house and was confused by it.

  The regular frequenters of the Opera, who pretended to know the truth about the viscount’s love-story, exchanged significant smiles at certain passages in Margarita’s part; and they made a show of turning and looking at Philippe de Chagny’s box when Christine sang:

  “I wish I could but know who was he

  That addressed me,

  If he was noble, or, at least, what his name is.”

  The count sat with his chin on his hand and seemed to pay no attention to these manifestations. He kept his eyes fixed on the stage; but his thoughts appeared to be far away.

  Christine lost her self-assurance more and more. She trembled. She felt on the verge of a breakdown ... Carolus Fonta wondered if she was ill, if she could keep the stage until the end of the Garden Act. In the front of the house, people remembered the catastrophe that had befallen Carlotta at the end of that act and the historic “co-ack” which had momentarily interrupted her career in Paris.

  Just then, Carlotta made her entrance in a box facing the stage, a sensational entrance. Poor Christine raised her eyes upon this fresh subject of excitement. She recognized her rival. She thought she saw a sneer on her lips. That saved her. She forgot everything, in order to triumph once more.

  From that moment, the prima donna sang with all her heart and soul. She tried to surpass all that she had done till then; and she succeeded. In the last act when she began the invocation to the angels, she made all the members of the audience feel as though they too had wings.

  In the centre of the amphitheatre a man stood up and remained standing, facing the singer. It was Raoul.

  “Holy angel, in Heaven blessed ...”

  And Christine, her arms outstretched, her throat filled with music, the glory of her hair falling over her bare shoulders, uttered the divine cry:

  “My spirit longs with thee to rest!”1

  It was at that moment that the stage was suddenly plunged in darkness. It happened so quickly that the spectators hardly had time to utter a sound of stupefaction, for the gas at once lit up the stage again. But Christine Daaé was no longer there!

  What had become of her? What was that miracle? All exchanged glances without understanding, and the excitement at once reached its height. Nor was the tension any less great on the stage itself. Men rushed from the wings to the spot where Christine had been singing that very instant. The performance was interrupted amid the greatest disorder.

  Where had Christine gone? What witchcraft had snatched her away before the eyes of thousands of enthusiastic onlookers and from the arms of Carolus Fonta himself? It was as though the angels had really carried her up “to rest.”

  Raoul, still standing up in the amphitheatre, had uttered a cry. Count Philippe had sprung to his feet in his box. People looked at the stage, at the count, at Raoul, and wondered if this curious event was connected in any way with the paragraph in that morning’s paper. But Raoul hurriedly left his seat, the count disappeared from his box and, while the curtain was lowered, the subscribers rushed to the door that led behind the scenes. The rest of the audience waited amid an indescribable hubbub. Every one spoke at once. Every one tried to suggest an explanation of the extraordinary incident.

  At last, the curtain rose slowly and Carolus Fonta stepped to the conductor’s desk and, in a sad and serious voice, said:

  “Ladies and gentlemen, an unprecedented event has taken place and thrown us into a state of the greatest alarm. Our sister-artist, Christine Daaé, has disappeared before our eyes and nobody can tell us how!”

  14

  THE SINGULAR ATTITUDE OF A SAFETY-PIN

  Behind the
curtain, there was an indescribable crowd. Artists, scene-shifters, dancers, supers,o choristers, subscribers were all asking questions, shouting and hustling one another.

  “What became of her?”

  “She’s run away.”

  “With the Vicomte de Chagny, of course!”

  “No, with the count!”

  “Ah, here’s Carlotta! Carlotta did the trick!”

  “No, it was the ghost!”

  And a few laughed, especially as a careful examination of the trap-doors and boards had put the idea of an accident out of the question.

  Amid this noisy throng, three men stood talking in a low voice and with despairing gestures. They were Gabriel, the chorus-master ; Mercier, the acting-manager; and Rémy, the secretary. They retired to a corner of the lobby by which the stage communicates with the wide passage leading to the foyer of the ballet. Here they stood and argued behind some enormous “properties.”

  “I knocked at the door,” said Rémy. “They did not answer. Perhaps they are not in the office. In any case, it’s impossible to find out, for they took the keys with them.”

  “They” were obviously the managers, who had given orders, during the last entr’acte, that they were not to be disturbed on any pretext whatever. They were not in to anybody.

  “All the same,” exclaimed Gabriel, “a singer isn’t run away with, from the middle of the stage, every day!”

  “Did you shout that to them?” asked Mercier, impatiently.

  “I’ll go back again,” said Rémy, and disappeared at a run.

  Thereupon the stage-manager arrived.

  “Well, M. Mercier, are you coming? What are you two doing here? You’re wanted, Mr. Acting-Manager.”

  “I refuse to know or to do anything before the commissary arrives,” declared Mercier. “I have sent for Mifroid. We shall see when he comes!”

  “And I tell you that you ought to go down to the organ at once.

  “Not before the commissary comes.”

  “I’ve been down to the organ myself already.”

  “Ah! And what did you see?”

  “Well, I saw nobody! Do you hear—nobody!”

  “What do you want me to go down there for?”

  “You’re right!” said the stage-manager, frantically pushing his hands through his rebellious hair. “You’re right! But there might be some one at the organ who could tell us how the stage came to be suddenly darkened. Now Mauclair is nowhere to be found. Do you understand that?”

  Mauclair was the gas-man, who dispensed day and night at will on the stage of the Opera.

  “Mauclair is not to be found!” repeated Mercier, taken aback. “Well, what about his assistants?”

  “There’s no Mauclair and no assistants! No one at the lights, I tell you! You can imagine,” roared the stage-manager, “that that little girl must have been carried off by somebody else: she didn’t run away by herself! It was a calculated stroke and we have to find out about it ... And what are the managers doing all this time? ... I gave orders that no one was to go down to the lights and I posted a fireman in front of the gas-man’s box beside the organ. Wasn’t that right?”

  “Yes, yes, quite right, quite right. And now let’s wait for the commissary.”

  The stage-manager walked away, shrugging his shoulders, fuming, muttering insults at those milk-sops who remained quietly squatting in a corner while the whole theatre was topsyturvy.

  Gabriel and Mercier were not so quiet as all that. Only they had received an order that paralyzed them. The managers were not to be disturbed on any account. Rémy had violated that order and met with no success.

  At that moment he returned from his new expedition, wearing a curiously startled air.

  “Well, have you seen them?” asked Mercier.

  “Moncharmin opened the door at last. His eyes were starting out of his head. I thought he meant to strike me. I could not get a word in; and what do you think he shouted at me? ‘Have you a safety-pin?’ ‘No!’ ‘Well, then, clear out!’ I tried to tell him that an unheard-of thing had happened on the stage, but he roared, ‘A safety-pin! Give me a safety-pin at once!’ A boy heard him—he was bellowing like a bull—ran up with a safety-pin and gave it to him; whereupon Moncharmin slammed the door in my face, and there you are!”

  “And couldn’t you have said, ‘Christine Daaé.”’

  “I should like to have seen you in my place. He was foaming at the mouth. He thought of nothing but his safety-pin. I believe, if they hadn’t brought him one on the spot, he would have fallen down in a fit! ... Oh, all this isn’t natural; and our managers are going mad! ... Besides, it can’t go on like this! I’m not used to being treated in that fashion!”

  Suddenly Gabriel whispered:

  “It’s another trick of O.G.’s.”

  Rémy gave a grin, Mercier a sigh and seemed about to speak ... but, meeting Gabriel’s eyes, said nothing.

  However, Mercier felt his responsibility increased as the minutes passed without the managers’ appearing; and, at last, he could stand it no longer.

  “Look, here, I’ll go and hunt them out myself!”

  Gabriel, turning very gloomy and serious, stopped him.

  “Be careful what you’re doing, Mercier! If they’re staying in their office, it’s probably because they have to! O.G. has more than one trick in his bag!”

  But Mercier shook his head.

  “That’s their lookout! I’m going! If people had listened to me, the police would have known everything long ago!”

  And he went.

  “What’s everything?” asked Rémy. “What was there to tell the police? Why don’t you answer, Gabriel? ... Ah, so you know something! Well, you would do better to tell me, too, if you don’t want me to shout out that you are all going mad! ... Yes, that’s what you are: mad!”

  Gabriel put on a stupid look and pretended not to understand the private secretary’s unseemly outburst.

  “What ‘something’ am I supposed to know?” he said. “I don’t know what you mean.”

  Rémy began to lose his temper.

  “This evening, Richard and Moncharmin were behaving like lunatics, here, between the acts.”

  “I never noticed it,” growled Gabriel, very much annoyed.

  “Then you’re the only one! ... Do you think that I didn’t see them? ... And that M. Parabise, the manager of the Credit Central, noticed nothing? ... And that M. de La Borderie, the ambassador, has no eyes to see with? ... Why, all the subscribers were pointing at our managers!”

  “But what were our managers doing?” asked Gabriel, putting on his most innocent air.

  “What were they doing? You know better than any one what they were doing! ... You were there! ... And you were watching them, you and Mercier! ... And you were the only two who didn’t laugh ...”

  “I don’t understand!”

  Gabriel raised his arms and dropped them to his sides again, which gesture was meant to convey that the question did not interest him in the least. Rémy continued:

  “What is the sense of this new mania of theirs? Why won’t they have any one come near them now?”

  “What? Won’t they have any one come near them?”

  “And they won ’t let any one touch them!”

  “Really? Have you noticed that they won’t let any one touch them? That is certainly odd!”

  “Oh, so you admit it! And high time, too! And then, they walk backwards!”

  “Backwards! You have seen our managers walk backwards? Why, I thought that only crabs walked backwards!”

  “Don’t laugh, Gabriel; don’t laugh!”

  “I’m not laughing,” protested Gabriel, looking as solemn as a judge.

  “Perhaps you can tell me this, Gabriel, as you’re an intimate friend of the management: When I went up to M. Richard, outside the foyer, during the Garden interval, with my hand out before me, why did M. Moncharmin hurriedly whisper to me, ‘Go away! Go away! Whatever you do, don’t touch M. le directeur
!’ Am I supposed to have an infectious disease?”

  “It’s incredible!”

  “And, a little later, when M. de La Borderie went up to M. Richard, didn’t you see M. Moncharmin fling himself between them and hear him exclaim, ’M. l‘ambassadeur, I entreat you not to touch M. le directeur’?”

  “It’s terrible! ... And what was Richard doing meanwhile?”

  “What was he doing? Why, you saw him! He turned about, bowed in front of him, though there was nobody in front of him, and

  withdrew backwards.”

  “Backwards?”

  “And Moncharmin, behind Richard, also turned about; that is, he described a semicircle behind Richard and also walked backwards! ... And they went like that to the staircase leading to the managers’ office: backwards, backwards, backwards! ... Well, if they are not mad will you explain what it means?”

  “Perhaps they were practising a figure in the ballet,” suggested Gabriel, without much conviction in his voice.

  The secretary was furious at this wretched joke, made at so dramatic a moment. He knit his brows and contracted his lips. Then he put his mouth to Gabriel’s ear:

  “Don’t be so sly, Gabriel. There are things going on for which you and Mercier are partly responsible.”

  “What do you mean?” asked Gabriel.

  “Christine Daaé is not the only one who suddenly disappeared tonight.”

  “Oh, nonsense!”

  “There’s no nonsense about it. Perhaps you can tell me why, when Mother Giry came down to the foyer just now, Mercier took her by the hand and hurried her away with him?”

  “Really?” said Gabriel, “I never saw it.”

  “You did see it, Gabriel, for you went with Mercier and Mother Giry to Mercier’s office. Since then, you and Mercier have been seen, but no one has seen Mother Giry.”

  “Do you think we’ve eaten her?”

  “No, but you’ve locked her up in the office; and any one passing the office can hear her yelling, ‘Oh, the scoundrels! Oh, the scoundrels! ”’