Lux Radio Theatre was a classic radio anthology series, was broadcast on the NBC Blue Network (1934–35) (owned by the National Broadcasting Company, later predecessor of American Broadcasting Company [ABC] in 1943–1945); CBS Radio network (Columbia Broadcasting System) (1935–54), and NBC Radio (1954–55). Initially, the series adapted Broadway plays during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. The series became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s. The primary sponsor of the show was Unilever through its Lux Soap brand.
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00:00Lux presents Hollywood
00:14The Lux Radio Theatre brings you Nelson Eddy, Susanna Foster and Basil Rathbone in
00:20The Phantom of the Opera with Edgar Barrier
00:24Ladies and gentlemen your producer, Mr. Cecil B. DeMille
00:30Thank you
00:34Greetings from Hollywood ladies and gentlemen a Broadway first night
00:38Thrills the few hundred people who can enjoy the play a Hollywood premiere is exciting for the few thousands who gather to see the stars
00:47But opening night in the Lux Radio Theatre belongs to the millions
00:51The millions in American homes and camps from coast to coast and it belongs to our boys in uniform beyond the seas
00:58Who join us for the first performance of our tenth season
01:03The real adventure is not in the lights of the crowds
01:07But in the historic privileges of the theater in hearing a famous star
01:11Score again in a brand new role and in the joy of discovering a new star
01:16All that is yours tonight when we present
01:20Nelson Eddy and Susanna Foster in their new universal Technicolor success The Phantom of the Opera and
01:27With them in one of the theater's most interesting parts. We bring you Basil Rathbone
01:42In the year 1880 the old Paris Opera stood like a giant torch in the heart of the city a
01:49thousand windows ablaze with light
01:51But there were shadows too
01:54Shadows that flitted high in the gallery over the great stage
01:57Shadows that lingered in the sub cellars far beneath the street where the black sewers of Paris ran sluggishly in the dark
02:04But we were not concerned with these things or so. We thought at the time
02:09We of the opera knew only the light of the dressing rooms the bright gaiety of the stage. I
02:15Suppose it all began the night. We sang Martha. The house was crowded
02:19Enthusiastic there were no shadows for us that night
02:236.
02:25I
02:27ask you my dear friends
02:29What could fill the life
02:31Of such an immense pleasure
02:33You will see that the reason
02:35For the gaiety of our songs
02:37Is filled with a prayer
02:39That be a chorus
02:41That be the wind on earth
02:43And the rain on the lake
02:45And the flowers on the grass
02:47And the birds on the trees
02:49And the flowers on the trees
03:21all
03:47although there was no warning that night
03:50no hint of the strange things that were about to happen
03:53but i noticed at the finale that christine was not on stage for the
03:56curtain call
03:57christine dubois who sang the role of nancy
04:00it was not like her to miss the finale of the act
04:20uh...
04:41backstage when the curtain had fallen
04:44i saw christine hurrying to address
04:51christine
04:52christine right
04:53uh... what is it what happened to you want on stage
04:56well i don't want to know what you all know you're all right you're sure
04:59of course i don't know if i look all right
05:01how you look lovely
05:04i had a visit
05:05somebody wanted to see you know
05:07that was uh...
05:09good evening mysterious
05:11i understand that you were entertaining a gentleman backstage during a
05:14performance
05:15is that true
05:16yes master you are not the greatest soprano in the world that was uh...
05:19not yet
05:20so you'll please not take liberties
05:22see me later in my office
05:24yes maestro
05:25aren't you
05:26what will he do don't worry he's just barking again
05:29who uh...
05:30was the gentleman
05:32he's an old friend of mine
05:34but not so very often you know
05:36he's inspected of the other stuff inspector
05:39you mean a policeman
05:40well he's not an ordinary police
05:42all of these things
05:44he's a graduate of the military academy at sunset
05:47how much does this man mean to you
05:49well
05:50i'm not sure christine
05:52it it's
05:53not like me to preach
05:56but someday you'll have to choose between your career and what's called
05:59a normal life
06:01you can't do justice to both
06:03i think you'll find that music has its compensations
06:06in other words you don't think i ought to have supper tonight with raoul
06:11no
06:12but if you want to
06:13that would be all right
06:16definitely
06:17we'll see
06:25there was another man that night who missed christine's appearance during the
06:28finale
06:29his name was eric clodin a violinist
06:33he was a strange man this clodin
06:35quiet almost shy
06:37but a brilliant musician
06:39when christine came from villeneuve's office clodin was waiting in the passage
06:46good evening mademoiselle good evening clodin
06:48monsieur villeneuve will see you now thank you mademoiselle
06:51mademoiselle
06:52may i speak to you for a moment
06:55you weren't on the stage tonight for the curtain call
06:58everyone in the theater seems to have noticed that
07:01it's really quite flattering why weren't you there
07:04please forgive me but i
07:06i've been here so long that you that
07:09everybody everything connected to the opera is so much a part of my life
07:17yes you weren't ill were you
07:18you're not in any trouble oh it's impertinent of me i know but
07:23no it isn't you're very kind
07:25and i'm not in trouble
07:27christine
07:30oh i'm so sorry i shouldn't have
07:32called you christine
07:33i'm sorry
07:35good night mademoiselle
07:41oh clodin
07:42yes maestro
07:44you know why i sent for you clodin i think so maestro
07:48i have brought my violin
07:49take it out of the case please
07:51eh clodin
07:52for some time now i have sensed discord in the violin section
07:55it was not until tonight that i definitely located the source of the trouble
07:59let me hear you play clodin
08:01yes maestro
08:03what shall i play anything you please
08:05yes maestro
08:18wait a moment
08:19what is that
08:20a little song
08:22a lullaby from provence where i was born it is very nice very charming
08:26i've written a concerto on the theme yes yes charming clodin but too simple
08:30suppose instead you let me hear the opening movement in the third act of
08:33martha
08:36it's no use maestro
08:38something's happened to the fingers of my left hand i see perhaps it's only
08:42temporary maestro
08:43perhaps it will get better i hope so
08:45in the meantime
08:47i'm sorry clodin very sorry
08:49you've been with us a long time twenty years
08:52what am i to do maestro i know it's hard but no doubt you've saved enough to
08:55retire on
08:56yes
08:57yes of course and in appreciation of your long service i shall arrange with the
09:01directors to have a season ticket issued to you
09:04thank you maestro
09:15there are things i can tell you now
09:17things i didn't learn until months
09:19even years later
09:21clodin had no money put aside
09:23he lived in a miserable garret in the paris slums
09:26he was cold in the winter and often hungry
09:29what money he earned was used for just one purpose
09:33to provide singing lessons for christine dubois
09:37she knew nothing of his sacrifice for her
09:39it was a secret known only to clodin himself and signor ferretti the singing
09:43master
09:44my dear clodin
09:45if you don't mind my saying so you're a fool signor ferretti for three years i've
09:49taught christine dubois and you have paid
09:52why
09:53how can a man of your age hope to interest a girl as young as you are
09:56please
09:57we agreed never to discuss my motives
10:00very well
10:02so now you have been dismissed from the orchestra
10:05you can no longer pay for her lessons
10:07is that it? yes signor but i
10:09i hope that you would continue to instruct her
10:11just for a while
10:13i'll have money soon a concerto i've written
10:15i've taken it to monsieur playel it's going to be published
10:18yes yes i know
10:20every violinist has written a concerto
10:22then you'll go on with the lessons signor?
10:24why should i?
10:26why should i assume your burden?
10:28the girl means nothing to me but her career means a great deal to me signor
10:32more than anything else i'm sorry clodin
10:34really sorry
10:36i will uh...
10:37let her come a few times
10:39then i will tell her she no longer needs you but that isn't true
10:42perhaps not signor if you will give me just a little more time you will have time
10:45clodin when you have money
10:47come back when monsieur playel has bought your concerto
10:57for weeks clodin haunted the publisher's office
11:00but always it was the same story
11:02monsieur playel was too busy to see him
11:05one evening just at dusk
11:06clodin forced his way past the manager up the stairs into playel's study
11:12who's that? monsieur playel what are you doing here? i've been waiting to see you since this morning
11:15didn't they tell you i was busy?
11:17georgette more acid please is this the bottle? the blue one dear
11:20pour it in the tray and be careful dear
11:25monsieur playel this should be the best etching i've ever made georgette
11:29monsieur will you please be careful those trays contain etching acid
11:32would you like to burn the skin from your hands? i'm sorry monsieur but my manuscript
11:35i must find out about my concerto
11:37georgette would you mind giving the fellow his manuscript you can find it on the table if it's anywhere
11:41what is your name? clodin
11:43eddie clodin
11:45i don't see it no no no it wouldn't be there
11:47it's a large manuscript in a portfolio
11:49well i'm sorry but i don't know where it is oh but it must be here
11:52well if it is it'll turn up
11:54you might call again in a few days but you don't understand mademoiselle
11:57it's the only copy i have it represents two years work you heard what the lady said
12:01get out but it was brought into this office it must be here
12:04it must be found
12:05did we ask you to bring your manuscript to us clodin?
12:08perhaps some employee has thrown it into the waste paper basket where it probably belongs
12:11good night listen
12:13that piano
12:15that's my music
12:16someone's playing my music i thought i told you to get out
12:19thief! you stole my music
12:21thief!
12:22let him go! let him go!
12:23you stole my music! thief! thief!
12:27you're choking him!
12:29do you hear? let him alone!
12:30i'll burn you if you don't let him go!
12:32this is acid! i'll burn you! thief! my work! my music!
12:39you killed him! my music!
12:41it was mine! he had no right!
12:43you killed him!
12:55in that room a man laid dead on the floor
12:58and clodin stumbled down the steps
13:00screaming in agony
13:01the acid burning into his face
13:04into the street he ran with his hands before him
13:07groping his way blindly through the darkness
13:11he was seen once on the rue de jardin and again in a dim street near the opera
13:15and then he was gone
13:17lost in the black of the night
13:29there was a search of course
13:31but he was never found
13:33it was not a thing that was close to any one of us
13:36it was something you read about in the newspaper
13:38shudder over for a moment
13:39and then try to forget
13:41in a few days it was out of our minds completely
13:44for christine and i were rehearsing a new opera
13:47one morning we were sitting at the piano in her home
13:56that's very nice
13:58what is it christine?
13:59it's a lullaby of provence
14:00provence?
14:01i was born there you know
14:03i've known it for years ever since i can remember
14:05sing it for me
14:08hear those bells ringing soft and low
14:16bringing peace through the twilight glow
14:23calling to everyone
14:27night has begun
14:31turn from the weary toil
14:38of this world to dawn
14:44hear them ring while i love and die
14:54drift and dream to their lullaby
15:08well
15:09oh it's lovely christine
15:11yes ancestor
15:12didn't you hear the door? monsieur d'aubert is here
15:15good morning
15:17they call this rehearsing
15:18rehearsing
15:21well i'm sorry to intrude but i must speak to you christine
15:24but you see i'm busy right now raoul
15:27anatole has been helping me
15:28yes to rehearse
15:31monsieur is very kind
15:32not at all monsieur i find it a pleasure
15:34i'm anatole garron of the opera
15:37this is inspector d'aubert monsieur
15:39oh the policeman
15:41police inspector monsieur
15:42yes of course
15:43i've heard of you inspector your work must be very exciting
15:46oh not half so exciting as yours monsieur
15:49it doesn't lend itself to self-expression
15:52christine i'd like to see you alone please i'm here on business
15:56with me? what business could mademoiselle have with monsieur d'aubert?
15:59what is it raoul?
16:00if you don't mind i'd rather anatole stayed very well
16:04christine do you know eric clodin? why yes. how well?
16:08i knew him as the violinist in the orchestra
16:10well i met him a few times in the foyer on the stage or outside the opera but
16:14that's all
16:16he acted a little strangely. strangely how do you mean?
16:20i don't know he just
16:21he just seemed eccentric
16:23but harmless
16:25i thought he was a rather kindly fellow
16:27until i read of the murder
16:28what is it raoul? he was a kindly fellow until he thought pliel was robbing him of his work
16:33then something snapped
16:34and he became a homicidal maniac
16:36but what has all this to do with me?
16:38well we found something in his room christine that connects you with him
16:41no doubt you can explain. what is it?
16:43this statuette
16:45as you can see christine it's the image of you
16:48so that's what became of it. be good enough to explain yourself monsieur. certainly
16:51that statuette is mine. yours? definitely i made it i intended to make you a
16:55present of it christine. how nice of you anatole. unfortunately it disappeared from my
16:58dressing room
17:00it's an extraordinary likeness
17:03my compliments on your versatility monsieur
17:05christine must have posed for this many times. i never posed for it not once
17:09you did this from drawings monsieur?
17:11and from memory monsieur
17:13extraordinary memory
17:15but it's a simple matter to recall christine's face and figure
17:19i'm sure you'll found it so monsieur
17:24but what was the statuette doing in claudin's room?
17:27he must have stolen it. it's obvious. is it?
17:29speaking purely as an inspector of the cirte i'm afraid even the obvious needs
17:33confirmation. but as a man monsieur i'm sure you can understand
17:36sitting there in the orchestra pit night after night looking at christine
17:40claudin probably fell in love with her
17:41you admit that is possible no?
17:46christine
17:48did claudin ever seek more than a casual acquaintance with you? no never
17:52can you imagine so diffident a lover monsieur? claudin was barely fifty
17:55no doubt he lacked fire
17:58no doubt
18:01christine
18:02this statuette is yours i give it to you. you'll give it to her? yes. well that's
18:06interesting. i'll accept it as a gift from both of you
18:10thank you. oh you're quite welcome
18:12it seems i have the worst of this bargain
18:15in the future monsieur inspector i detect
18:17you model
18:18in any case
18:19that was a bad clue. oh not so bad as it seems
18:22it enabled me to recover mademoiselle's statuette
18:25is uh...
18:26is that your carriage at the door monsieur?
18:29would you be good enough to give me a lift
18:31well uh...
18:33which way are you going? oh it doesn't matter as inspector of police i have
18:36business all over paris
18:39in that case
18:40au revoir christine. au revoir
18:42you've been most helpful christine most helpful
18:45i hope you catch claudin. thank you
18:48you ready monsieur? at your service
18:50well after you monsieur. after you monsieur
18:53thank you monsieur
18:55ha ha ha
19:03we could laugh then
19:05because the horror had not touched us
19:08we didn't know that in the cabins of the sewer beneath the opera there was a
19:11shadow
19:12darker than the surrounding gloom
19:15the shadow of a man in a black cloak his face hidden behind a mask
19:20this was the man whose features had been burned and whose mind was on fire
19:24before long that shadow was to envelop
19:28all of us
19:55there
20:00there was a master key at the opera house
20:03and the night we were to sing amour et gloire
20:05the key disappeared
20:07other things had been stolen
20:09costumes, masks
20:11but now the shadow had entrance to twenty five hundred doors
20:16he could roam at will from the sub cellars to the very top of the auditorium
20:20where the great chandelier swung over the audience
20:23there were some who swore they had seen this shadow
20:26flung on the walls of dim corridors
20:28or crouching like a griffon on the high balconies over the street
20:32and there were some who swore they had heard mutterings in the deep cellars
20:36where the sewers ran black
20:39and tonight
20:41so tonight
20:42it is amour et gloire
20:44amour et gloire with Anatole Garand
20:47and the soprano Biancaroli
20:49Biancaroli sings tonight
20:52not Christine Dubois
20:53well we shall see
20:55we shall see
21:05it was strange the way it happened
21:07in the third act the libretto called for me to give Biancaroli a cup of wine
21:12when she had drunk it I thought for a moment that her face paled
21:16she finished her aria and left the stage
21:18but she was late for her next entrance
21:20there was a wait
21:22and then came the cadenza from off stage
21:26I knew that voice
21:28but it was not Biancaroli who was making the entrance
21:31it was her understudy
21:33Christine Dubois
21:50Christine Dubois sings
22:20Christine Dubois sings
22:51Christine Dubois sings
22:58Christine Dubois sings
23:07Christine Dubois sings
23:15Christine Dubois sings
23:26Christine Dubois sings
23:36Christine Dubois sings
23:45Christine Dubois sings
23:55Christine Dubois sings
24:02Christine Dubois sings
24:10Christine Dubois sings
24:19Christine Dubois sings
24:27Christine Dubois sings
24:40Christine Dubois sings
24:48Christine Dubois sings
25:01Christine Dubois sings
25:09I love you!
25:13I love you!
25:20I love you!
25:39I love you!
25:49I love you!
25:59I love you!
26:07I love you!
26:17I love you!
26:27I love you!
26:37I love you!
26:47I love you!
26:57I love you!
27:07I love you!
27:17I love you!
27:27I love you!
27:37I love you!
27:47I love you!
27:57I love you!
28:07I love you!
28:17I love you!
28:28Ah, Madame Biancaroli.
28:30Good evening, Maria.
28:31Oh, madame, you were magnificent tonight.
28:34Oh, my dress, please.
28:36You really thought so, Maria?
28:37Oh, yes, madame.
28:38The best I've ever heard you.
28:40Especially in the part with Garon.
28:42The cadenza from offstage, it was so...
28:44Oh, you liked that, did you?
28:46Why, yes, madame, it did.
28:48Yes.
28:49Yes, I was very good tonight.
28:51My dressing gown, Maria.
28:53Yes, madame.
28:54Ah!
28:55Maria!
28:56Maria!
28:57Madame!
28:58Madame!
28:59What's the matter with you?
29:00A man, madame.
29:01Outside the window on the balcony.
29:02Oh, don't be a fool.
29:03How could a man...
29:04Madame.
29:05Good evening.
29:06What do you want here?
29:08I'm sorry.
29:09Oui.
29:10I cannot let you see my face.
29:12You would not be pleased.
29:13Take off that mask, Anatole Garon.
29:15You do not frighten me.
29:16Madame, it is not Anatole Garon.
29:18I did not come here to frighten you unnecessarily.
29:22Only to tell you that Christine Dubois will sing tomorrow night.
29:28Oh, yes.
29:29You will leave Paris, madame.
29:31Leave Paris.
29:32You will see to it, of course.
29:34Yes, I will see to it, madame.
29:36Get back.
29:37Madame.
29:38Do you force me to reason with you, madame?
29:41I will not leave.
29:42Get away from me.
29:43I am sorry, madame.
29:44Ah!
29:45I am very sorry.
29:48Ah!
29:53Anatole.
29:54Anatole.
29:55What is it?
29:56Madame Biancaroli and Hamed.
29:58They have been murdered.
30:04The opera was closed for almost a week.
30:07And then, from somewhere within the darkened building, a note was written to the directors.
30:13Gentlemen, the opera must open very soon.
30:18Christine Dubois will replace Biancaroli, who chose to ignore my advice.
30:36Good morning.
30:37Yes.
30:38Is Christine at home?
30:39Good morning.
30:40Yes.
30:41Is Christine at home?
30:42Yes.
30:43Well, may I see her, please?
30:45Come in.
30:46I'll tell her you're here.
31:01Oh, I didn't see you, inspector.
31:03Good morning.
31:04How's the opera business, monsieur?
31:06Very poor at the moment.
31:07How's the inspecting?
31:08Very good.
31:09Splendid.
31:10Glad to hear it.
31:12Not at all.
31:13Good morning.
31:14Oh, good morning, Christine.
31:15Aunt Bertha told me you were waiting together.
31:17Did you amuse each other?
31:19Good.
31:20May I have a word with you, Christine?
31:22Sorry, monsieur.
31:24After you, monsieur.
31:25After you.
31:27But I was going to sing with her.
31:29One at a time, please.
31:31Anatole.
31:32They're going to open the opera, Christine.
31:34You and I are going to sing together.
31:35You are wrong, monsieur.
31:37I'm sorry, Christine.
31:38They are going to reopen the opera, but without you.
31:41Circumstances connected with the murder of Biancaroli
31:43demand that someone else sing the leading role in your place.
31:46Really?
31:47You might be interested to know, monsieur Daubert,
31:49that circumstances connected with the murder of Biancaroli
31:51demand that Christine does sing.
31:53Well, the police have changed that plan somewhat.
31:55We are going to draw the murderer out into the open
31:57by defying his warning.
31:59My men will be posted at every entrance and exit.
32:01And probably miss him.
32:03Monsieur,
32:05I am aware that your profession requires a certain self-assurance,
32:08but aren't you going too far?
32:10Not at all.
32:11I happen to have a plan of my own for trapping the murderer.
32:14So you've turned detective, monsieur?
32:15I have.
32:16Oh, very well, if it amuses you.
32:18I might add that my plan is strictly confidential.
32:21All I can tell you is that Lorenzi is to sing the role,
32:24and I am not in the least interested in your plan.
32:27May I have a word with you alone, Christine?
32:29Yes, that's what I came for.
32:30May I speak to you alone, Christine?
32:32But I'm going out.
32:35I'm not going right now.
32:37I mean, I'm going later.
32:39I'll wait.
32:41Yes.
32:43Yes, we'll both wait.
32:51We were certain now that the murderer was Eric Clodin.
32:55The plan I had worked out took me to the home of a great pianist and composer.
32:59On the night before we were to open, I went to see Franz Liszt.
33:04Ah, very nice.
33:06But do you really think this Clodin could be tempted to leave his hiding place
33:09and risk his life merely to hear his own concerto?
33:11Played by Franz Liszt himself?
33:13Do you doubt it, maestro?
33:15Now, my plan is for you to play the concerto between the second and third acts,
33:19and then when the...
33:20Well, so many crimes have been committed in the name of music,
33:23it seems only fair to use it now to avert one.
33:25I am at your service, monsieur.
33:27Oh, thank you, maestro.
33:28Most exciting, this detective work, most exciting.
33:31It's more than exciting to me.
33:33I have the honour of being suspected of the crime.
33:43Gentlemen, I have been very patient.
33:46Now I learn that Christine Dubois will not sing.
33:50Gentlemen, if Madame Lorenzi sings in her place,
33:54you will be responsible.
33:57Two are dead now, only two.
34:00There will be more, gentlemen.
34:02Many, many more.
34:16Lorenzi sang that night.
34:18Through two acts we waited, and nothing happened.
34:21An old worker at the opera house thought he saw a figure on the catwalk
34:24leading to the dome of the theatre.
34:26It was the old man's duty to light the monster chandelier.
34:29A great heavy thing of glass and bronze held in place by chains.
34:34When the police searched the catwalk high over the audience,
34:37there was no one there.
34:39We began to feel secure.
34:41Christine had come to the theatre, but she was safe in her dressing room.
34:44When I entered from the wings at the finale of the second act,
34:47I was thinking only of the opera.
35:30We love beautiful girls,
35:35But we cut the enemy with a sickle.
35:39Hey, pour us some vodka,
35:43Soak our throats.
35:48Wine, give us some wine.
35:56Wine, give us some wine.
36:12Hey, pour us some vodka,
36:16Soak our throats.
36:20Wine, give us some wine.
36:25Wine, give us some wine.
36:30Wine, give us some wine.
36:43What do I see before me?
36:48I weep for her beauty,
36:54I dreamed of her only in a dream,
37:00When I did not sleep at night.
37:06Her eyes are like the sun,
37:12There is no such beauty in the world.
37:18My whole life is full of you,
37:23Only you,
37:32Oh, me!
37:54And then it happened.
37:56I saw the great chandelier begin to sway high above.
38:00It swung to and fro like a giant pendulum.
38:03Others had seen it, too.
38:05A woman in the audience screamed.
38:10There was no time to get out of the way.
38:12The audience below was frozen,
38:14staring up at the monster of glass in front.
38:16And then it came hurtling down through space.
38:23And then it came hurtling down through space.
38:30Get doctors.
38:31Doctors.
38:32Get every doctor you can find in Paris.
38:34Watch every entrance.
38:35Let no one in or out except doctors and the injured.
38:37Christine, Christine, where are you?
38:38She's in her dressing room.
38:39No, she's not in her dressing room.
38:40I've been there.
38:41I saw her, monsieur.
38:42She went down the steps.
38:43You saw Christine Dubois?
38:44Yes, monsieur.
38:45Yes, monsieur.
38:46She was going down the steps beneath the storeroom.
38:47I called to her, but she did not answer.
38:49Which way are the steps?
38:50Over there, monsieur.
38:51And there was a man with her.
38:52A man in a cloak with a mask covering his face.
38:55It's Claudin.
38:56She's with Claudin.
38:58Christine, where are you?
39:20Christine had gone with Claudin.
39:22The chorus that night had worn masks.
39:24And Dubois had arranged for the police to wear masks, too,
39:27so they might mingle with the crowd backstage.
39:30That was the way Claudin had enticed her.
39:33Thinking he was one of Dubois' men who had come to protect her,
39:36Christine followed him down the steps to the cavernous cellars.
39:42This way, mademoiselle.
39:44Hold tight to my hand.
39:45The steps are quite steep.
39:46Are you one of the police?
39:48Where is Inspector Dubois?
39:49He's investigating the cause of the accident.
39:51I'll look after you.
39:53Why do we have to come down here?
39:54Why?
39:55Don't you like it down here?
39:57It's very lovely.
39:58Once you get used to it.
40:00Wait.
40:01Please.
40:02Yes?
40:03Let me see your face.
40:04Take off your mask.
40:05Oh, no, no, no, my dear.
40:06I must never do that.
40:07Never.
40:08You're not one of the police.
40:10Don't be frightened.
40:11I'll watch over you.
40:13I've always watched over you, Christine.
40:16No.
40:17No.
40:18No.
40:19No, you must not do that.
40:20You'll stay here with me, child, won't you?
40:23It's been so lonely without you.
40:25But you've come to me at last, haven't you?
40:28Sing to me, and I'll play.
40:30We'll be together forever.
40:31It's beautiful down here.
40:33Beautiful.
40:34Come now.
40:35I'll show you.
40:36Come with me.
40:37This is the last turn, just through the tunnel.
40:48Monsieur.
40:49You're not frightened, are you?
40:50Monsieur.
40:51You know I'll not harm you, don't you?
40:53How could I harm you?
40:55I've always helped you, haven't I?
40:58Yes.
40:59Yes, what?
41:00You've helped me.
41:01Of course I have.
41:02Bianca only knew she wouldn't let you sing.
41:05She didn't know how much I love you.
41:07But now she knows.
41:09But it doesn't matter anymore.
41:11Nothing matters except you and me.
41:13Now you'll sing all you want to, but only for me.
41:16You will sing and want to, won't you, my darling?
41:19There's a piano in the opera foyer.
41:21We'll go up there and you can play, and I'll sing for you.
41:24But you don't understand.
41:26We can't go back, ever.
41:28It was I who made the chandelier fall.
41:30I.
41:31For you, Christine.
41:33But I warned them.
41:34I told them there'd be death and destruction
41:36if they wouldn't let you sing.
41:38Oh, come.
41:39Come, my child.
41:40It isn't far now.
41:42Look there.
41:43Look.
41:44Didn't I tell you it was beautiful here?
41:47You didn't know we had a lake all to ourselves?
41:50Look at your lake, Christine.
41:52You'll love it.
41:53You'll love it when you get used to the dark.
41:55It's friendly and peaceful.
41:57Brings rest and relief from pain.
42:00It's right under the opera house.
42:02And the music comes down and the darkness distills it.
42:05Cleanses it of the suffering that made it.
42:08Then it's all beauty.
42:10And life here is like a resurrection.
42:13I came here when my face was on fire.
42:17I found calmness in that dark water
42:20and comfort in the blackness over it.
42:22Then I heard you sing.
42:24I thought I'd died and that you'd come to me.
42:26And the others sang and destroyed my heaven,
42:29so I destroyed them.
42:31You heard me from here?
42:33Oh, yes.
42:34Why, this is my private auditorium.
42:37Strange air currents circle these passages.
42:39They catch the music as it flutters down like a living bird in a net.
42:42You can hear the opera almost as well as from the highest balcony.
42:46I heard it.
42:47Yes, just as I heard it when I first came to Paris.
42:50You're not afraid anymore, are you?
42:52No.
42:53Of course you're not.
42:54Then come with me.
42:55Come.
43:02Christine.
43:03Christine, where are you?
43:04Gerard, bring a lantern here.
43:05Yes, Monsieur, Inspector.
43:06Here, Monsieur.
43:07Christine!
43:08One day take four men, search the passage to the left.
43:10Be careful now.
43:11Do you have another lantern, Inspector?
43:12This is the only one left.
43:13You'd better stay with me.
43:18We seem to have come to the end of the passage.
43:20No, we haven't.
43:21Isn't that an opening in the wall there to our left?
43:23Yes.
43:24Yes, it's a tunnel.
43:26Keep close to the wall.
43:28Yes, it's a tunnel.
43:29Keep close to the wall.
43:31Feel your way along.
43:32There's just a narrow ledge.
43:34The sewer must run through here.
43:36There it is, just ahead of us.
43:38Do you suppose he might have doubled back?
43:40He might be upstairs.
43:41Why should he be?
43:42Liszt will be playing the concerto.
43:43He should be starting now.
43:44Oh, yes, yes, that brilliant plan of yours.
43:46Christine!
43:49What happened?
43:50I touched the side of the wall.
43:51A rock came away in my hand.
43:53The whole place down here is ready to crumble.
43:55Look.
43:56Look up there, just ahead.
43:57Yeah.
43:58It looks almost like a lake.
44:01Come on.
44:03Christine!
44:04Christine!
44:06Christine!
44:12Christine, my child, this is my home.
44:15Furniture from this tour room, even a piano.
44:18Do you like it, my dear?
44:19Yes, yes.
44:20Come, give me your cake, my child,
44:22and then I'll show you where you will sleep.
44:27Listen.
44:28Do you hear?
44:30My concerto.
44:32They're playing my concerto on the stage of the ombre.
44:36My concerto.
44:38I'll play it too, listen, child.
44:40It's for you.
44:41Yes, yes, for you.
44:49Do you like it, my child?
44:51I wrote it only for you.
44:53Everything I have done has been for you.
44:56You understand that, don't you?
44:57Where are you?
44:58Take off your mask.
44:59No, child, no.
45:00Listen to that music.
45:01Listen.
45:02Take off the mask or I'll take it off for you.
45:05Why didn't you do it?
45:07Now you see my face.
45:09Oh, look at it, look.
45:11No, no.
45:12You'll never live here now, will you?
45:15You'll hate me.
45:16A lowly creature.
45:18Hateful, repulsive.
45:20And I wanted you to love me.
45:21Don't come near me.
45:22You'll see, you'll destroy everything.
45:24Go away from me.
45:25Go away.
45:27Christine, there he is.
45:28Get back, Christine.
45:29Stand back.
45:32You fools.
45:33You cannot kill me.
45:35Nothing can kill me.
45:37Artur.
45:38The walls.
45:39They're crumbling.
45:40They're going to fall.
45:41Come over here, quick.
45:42Look out.
45:43Get out in the passage, under the archway in the passage.
45:55Christine, are you all right?
45:57Inspector.
45:58All right.
45:59Claudin.
46:00He's still in there under the rock.
46:01My shot must have started the cave in.
46:03Come, Christine.
46:04We'd better start back.
46:05But Claudin.
46:06It's no use.
46:07It would take days to get him out.
46:09He's dead, Christine.
46:11It's so strange.
46:13He said he wrote the concerto for me.
46:15The song I've known since I was a child.
46:17Who was he?
46:19He came from your district in Provence.
46:21Everybody there must have known that old folk song.
46:24He was almost a stranger to me.
46:27And yet, somehow, I always felt drawn to him with a kind of pity and understanding.
46:35His suffering and his madness will be forgotten.
46:39But his music, his concerto, that will remain.
46:44Christine went on to a great career and great fame.
46:53The night we sang together for the first time,
46:55the corridor outside of a dressing room was jammed with admirers.
46:58I had to force my way to a door.
47:00Excuse me.
47:02Excuse me.
47:06Boneteau.
47:07Oh, you were magnificent, Christine.
47:09Incomparable, beautiful, a sensation.
47:11Is that all?
47:12I've just begun.
47:13It took days and years to tell you how wonderful you were.
47:15We're having supper tonight at the Café de l'Opéra.
47:17Well, I'm terribly sorry, Anatole, but I can't tonight.
47:22Why not?
47:23Have you another engagement?
47:26Well, yes.
47:27With whom?
47:29With me, monsieur.
47:30Oh, that policeman?
47:32Inspector of police, monsieur.
47:34How soon will you be ready, Christine?
47:36The carriage is waiting.
47:37I know Monsieur Garon will excuse me.
47:39How do you know?
47:40I have an idea.
47:41Why can't we three have supper together?
47:43I am not in the habit of taking baritones to supper.
47:46And I don't care to be seen in public with a police.
47:49Christine, you'll have to make up your mind finally and irrevocably between the two of us.
47:53Exactly.
47:54Very well.
47:55Will you gentlemen excuse me?
47:57Of course.
47:59Good night.
48:00What?
48:04What did she mean, good night?
48:06Well, something tells me, monsieur, that she has gone to meet her public.
48:11Hmm.
48:12Monsieur Garon, would you join me for a bit of supper at the Café de l'Opéra?
48:17With pleasure, monsieur.
48:19Think we can get through that crowd?
48:21Certainly.
48:22After all, who'd pay any attention to a baritone and a detective?
48:25Quite right.
48:26Shall we go?
48:28After you, monsieur.
48:31Oh, no.
48:32After you, monsieur.
48:36After you, monsieur.