The Phantom of the Opera, Page 4

  What happened was this: MM. Debienne and Poligny, sitting at the center of the table, had not seen the man with the death’s head. Suddenly he began to speak.

  “The ballet-girls are right,” he said. “The death of that poor Buquet is perhaps not so natural as people think.”

  Debienne and Poligny gave a start.

  “Is Buquet dead?” they cried.

  “Yes,” replied the man, or the shadow of a man, quietly. “He was found, this evening, hanging in the third cellar, between a farm-house and a scene from the Roi de Lahore.”

  The two managers, or rather ex-managers, at once rose and stared strangely at the speaker. They were more excited than they need have been, that is to say, more excited than any one need be by the announcement of the suicide of a chief scene-shifter. They looked at each other. They, had both turned whiter than the table-cloth. At last, Debienne made a sign to MM. Richard and Moncharmin; Poligny muttered a few words of excuse to the guests; and all four went into the managers’ office. I leave M. Moncharmin to complete the story. In his Memoirs, he says:

  “MM. Debienne and Poligny seemed to grow more and more excited, and they appeared to have something very difficult to tell us. First, they asked us if we knew the man, sitting at the end of the table, who had told them of the death of Joseph Buquet; and, when we answered in the negative, they looked still more concerned. They took the master-keys from our hands, stared at them for a moment and advised us to have new locks made, with the greatest secrecy, for the rooms, closets and presses that we might wish to have hermetically closed. They said this so funnily that we began to laugh and to ask if there were thieves at the Opera. They replied that there was something worse, which was the ghost. We began to laugh again, feeling sure that they were indulging in some joke that was intended to crown our little entertainment. Then, at their request, we became ‘serious,’ resolving to humor them and to enter into the spirit of the game. They told us that they never would have spoken to us of the ghost, if they had not received formal orders from the ghost himself to ask us to be pleasant to him and to grant any request that he might make. However, in their relief at leaving a domain where that tyrannical shade held sway, they had hesitated until the last moment to tell us this curious story, which our skeptical minds were certainly not prepared to entertain. But the announcement of the death of Joseph Buquet had served them as a brutal reminder that, whenever they had disregarded the ghost’s wishes, some fantastic or disastrous event had brought them to a sense of their dependence.

  “During these unexpected utterances made in a tone of the most secret and important confidence, I looked at Richard. Richard, in his student days, had acquired a great reputation for practical joking, and he seemed to relish the dish which was being served up to him in his turn. He did not miss a morsel of it, though the seasoning was a little gruesome because of the death of Buquet. He nodded his head sadly, while the others spoke, and his features assumed the air of a man who bitterly regretted having taken over the Opera, now that he knew that there was a ghost mixed up in the business. I could think of nothing better than to give him a servile imitation of this attitude of despair. However, in spite of all our efforts, we could not, at the finish, help bursting out laughing in the faces of MM. Debienne and Poligny, who, seeing us pass straight from the gloomiest state of mind to one of the most insolent merriment, acted as though they thought that we had gone mad.

  “The joke became a little tedious; and Richard asked half-seriously and half in jest:

  “‘But, after all, what does this ghost of yours want?’

  “M. Poligny went to his desk and returned with a copy of the memorandum-book. The memorandum-book begins with the well-known words saying that ‘the management of the Opera shall give to the performance of the National Academy of Music the splendor that becomes the first lyric stage in France’ and ends with Clause 98, which says that the privilege can be withdrawn if the manager infringes the conditions stipulated in the memorandum-book. This is followed by the conditions, which are four in number.

  “The copy produced by M. Poligny was written in black ink and exactly similar to that in our possession, except that, at the end, it contained a paragraph in red ink and in a queer, labored handwriting, as though it had been produced by dipping the heads of matches into the ink, the writing of a child that has never got beyond the down-strokes and has not learned to join its letters. This paragraph ran, word for word, as follows:

  “‘5. Or if the manager, in any month, delay for more than a fortnight the payment of the allowance which he shall make to the Opera ghost, an allowance of twenty thousand francs a month, say two hundred and forty thousand francs a year.’

  “M. Poligny pointed with a hesitating finger to this last clause, which we certainly did not expect.

  “‘Is this all? Does he not want anything else?’ asked Richard, with the greatest coolness.

  “‘Yes, he does,’ replied Poligny.

  “And he turned over the pages of the memorandum-book until he came to the clause specifying the days on which certain private boxes were to be reserved for the free use of the president of the republic, the ministers and so on. At the end of this clause, a line had been added, also in red ink:

  “‘Box Five on the grand tier shall be placed at the disposal of the Opera ghost for every performance.’

  “When we saw this, there was nothing else for us to do but to rise from our chairs, shake our two predecessors warmly by the hand and congratulate them on thinking of this charming little joke, which proved that the old French sense of humor was never likely to become extinct. Richard added that he now understood why MM. Debienne and Poligny were retiring from the management of the National Academy of Music. Business was impossible with so unreasonable a ghost.

  “‘Certainly, two hundred and forty thousand francs are not be picked up for the asking,’ said M. Poligny, without moving a muscle of his face. ‘And have you considered what the loss over Box Five meant to us? We did not sell it once; and not only that, but we had to return the subscription: why, it’s awful! We really can’t work to keep ghosts! We prefer to go away!’

  “‘Yes,’ echoed M. Debienne, ‘we prefer to go away. Let us go.’

  “And he stood up. Richard said: ‘But, after all, it seems to me that you were much too kind to the ghost. If I had such a troublesome ghost as that, I should not hesitate to have him arrested.’

  “‘But how? Where?’ they cried, in chorus. ‘We have never seen him!’

  “‘But when he comes to his box?’

  “‘We have never seen him in his box.’

  “‘Then sell it.’

  “‘Sell the Opera ghost’s box! Well, gentlemen, try it.’

  “Thereupon we all four left the office. Richard and I had ‘never laughed so much in our lives.’”

  Chapter IV

  Box Five

  ARMAND MONCHARMIN WROTE SUCH voluminous Memoirs during the fairly long period of his co-management that we may well ask if he ever found time to attend to the affairs of the Opera otherwise than by telling what went on there. M. Moncharmin did not know a note of music, but he called the minister of education and fine arts by his Christian name, had dabbled a little in society journalism and enjoyed a considerable private income. Lastly, he was a charming fellow and showed that he was not lacking in intelligence, for, as soon as he made up his mind to be a sleeping partner in the Opera, he selected the best possible active manager and went straight to Firmin Richard.

  Firmin Richard was a very distinguished composer, who had published a number of successful pieces of all kinds and who liked nearly every form of music and every sort of musician. Clearly, therefore, it was the duty of every sort of musician to like M. Firmin Richard. The only things to be said against him were that he was rather masterful in his ways and endowed with a very hasty temper.

  The first few days which the partners spent at the Opera were given over to the delight of finding them
selves the head of so magnificent an enterprise; and they had forgotten all about that curious, fantastic story of the ghost, when an incident occurred that proved to them that the joke—if joke it were—was not over. M. Firmin Richard reached his office that morning at eleven o’clock. His secretary, M. Remy, showed him half a dozen letters which he had not opened because they were marked “private.” One of the letters had at once attracted Richard’s attention not only because the envelope was addressed in red ink, but because he seemed to have seen the writing before. He soon remembered that it was the red handwriting in which the memorandum-book had been so curiously completed. He recognized the clumsy childish hand. He opened the letter and read:

  DEAR MR. MANAGER:

  I am sorry to have to trouble you at a time when you must be so very busy, renewing important engagements, signing fresh ones and generally displaying your excellent taste. I know what you have done for Carlotta, Sorelli and little Jammes and for a few others whose admirable qualities of talent or genius you have suspected.

  Of course, when I use these words, I do not mean to apply them to La Carlotta, who sings like a squirt and who ought never to have been allowed to leave the Ambassadeurs and the Cafe Jacquin; nor to La Sorelli, who owes her success mainly to the coach-builders; nor to little Jammes, who dances like a calf in a field. And I am not speaking of Christine Daae either, though her genius is certain, whereas your jealousy prevents her from creating any important part. When all is said, you are free to conduct your little business as you think best, are you not?

  All the same, I should like to take advantage of the fact that you have not yet turned Christine Daae out of doors by hearing her this evening in the part of Siebel, as that of Margarita has been forbidden her since her triumph of the other evening; and I will ask you not to dispose of my box to-day nor on the following days, for I can not end this letter without telling you how disagreeably surprised I have been once or twice, to hear, on arriving at the Opera, that my box had been sold, at the box-office, by your orders.

  I did not protest, first, because I dislike scandal, and, second, because I thought that your predecessors, MM. Debienne and Poligny, who were always charming to me, had neglected, before leaving, to mention my little fads to you. I have now received a reply from those gentlemen to my letter asking for an explanation, and this reply proves that you know all about my Memorandum-Book and, consequently, that you are treating me with outrageous contempt. If you wish to live in peace, you must not begin by taking away my private box.

  Believe me to be, dear Mr. Manager, without prejudice to these little observations,

  Your Most Humble and Obedient Servant,

  Opera Ghost.

  The letter was accompanied by a cutting from the agony-column of the Revue Theatrale, which ran:

  O. G.—There is no excuse for R. and M. We told them and left your memorandum-book in their hands. Kind regards.

  M. Firmin Richard had hardly finished reading this letter when M. Armand Moncharmin entered, carrying one exactly similar. They looked at each other and burst out laughing.

  “They are keeping up the joke,” said M. Richard, “but I don’t call it funny.”

  “What does it all mean?” asked M. Moncharmin. “Do they imagine that, because they have been managers of the Opera, we are going to let them have a box for an indefinite period?”

  “I am not in the mood to let myself be laughed at long,” said Firmin Richard.

  “It’s harmless enough,” observed Armand Moncharmin. “What is it they really want? A box for to-night?”

  M. Firmin Richard told his secretary to send Box Five on the grand tier to MM. Debienne and Poligny, if it was not sold. It was not. It was sent off to them. Debienne lived at the corner of the Rue Scribe and the Boulevard des Capucines; Poligny, in the Rue Auber. O. Ghost’s two letters had been posted at the Boulevard des Capucines post-office, as Moncharmin remarked after examining the envelopes.

  “You see!” said Richard.

  They shrugged their shoulders and regretted that two men of that age should amuse themselves with such childish tricks.

  “They might have been civil, for all that!” said Moncharmin. “Did you notice how they treat us with regard to Carlotta, Sorelli and Little Jammes?”

  “Why, my dear fellow, these two are mad with jealousy! To think that they went to the expense of an advertisement in the Revue Theatrale! Have they nothing better to do?”

  “By the way,” said Moncharmin, “they seem to be greatly interested in that little Christine Daae!”

  “You know as well as I do that she has the reputation of being quite good,” said Richard.

  “Reputations are easily obtained,” replied Moncharmin. “Haven’t I a reputation for knowing all about music? And I don’t know one key from another.”

  “Don’t be afraid: you never had that reputation,” Richard declared.

  Thereupon he ordered the artists to be shown in, who, for the last two hours, had been walking up and down outside the door behind which fame and fortune—or dismissal—awaited them.

  The whole day was spent in discussing, negotiating, signing or cancelling contracts; and the two overworked managers went to bed early, without so much as casting a glance at Box Five to see whether M. Debienne and M. Poligny were enjoying the performance.

  Next morning, the managers received a card of thanks from the ghost:

  DEAR, MR. MANAGER:

  Thanks. Charming evening. Daae exquisite. Choruses want waking up. Carlotta a splendid commonplace instrument. Will write you soon for the 240,000 francs, or 233,424 fr. 70 c., to be correct. MM. Debienne and Poligny have sent me the 6,575 fr. 30 c. representing the first ten days of my allowance for the current year; their privileges finished on the evening of the tenth inst.

  Kind regards. O. G.

  On the other hand, there was a letter from MM. Debienne and Poligny:

  GENTLEMEN:

  We are much obliged for your kind thought of us, but you will easily understand that the prospect of again hearing Faust, pleasant though it is to ex-managers of the Opera, can not make us forget that we have no right to occupy Box Five on the grand tier, which is the exclusive property of him of whom we spoke to you when we went through the memorandum-book with you for the last time. See Clause 98, final paragraph.

  Accept, gentlemen, etc.

  “Oh, those fellows are beginning to annoy me!” shouted Firmin Richard, snatching up the letter.

  And that evening Box Five was sold.

  The next morning, MM. Richard and Moncharmin, on reaching their office, found an inspector’s report relating to an incident that had happened, the night before, in Box Five. I give the essential part of the report:

  I was obliged to call in a municipal guard twice, this evening, to clear Box Five on the grand tier, once at the beginning and once in the middle of the second act. The occupants, who arrived as the curtain rose on the second act, created a regular scandal by their laughter and their ridiculous observations. There were cries of “Hush!” all around them and the whole house was beginning to protest, when the box-keeper came to fetch me. I entered the box and said what I thought necessary. The people did not seem to me to be in their right mind; and they made stupid remarks. I said that, if the noise was repeated, I should be compelled to clear the box. The moment I left, I heard the laughing again, with fresh protests from the house. I returned with a municipal guard, who turned them out. They protested, still laughing, saying they would not go unless they had their money back. At last, they became quiet and I allowed them to enter the box again. The laughter at once recommenced; and, this time, I had them turned out definitely.

  “Send for the inspector,” said Richard to his secretary, who had already read the report and marked it with blue pencil.

  M. Remy, the secretary, had foreseen the order and called the inspector at once.

  “Tell us what happened,” said Richard bluntly.

  The i
nspector began to splutter and referred to the report.

  “Well, but what were those people laughing at?” asked Moncharmin.

  “They must have been dining, sir, and seemed more inclined to lark about than to listen to good music. The moment they entered the box, they came out again and called the box-keeper, who asked them what they wanted. They said, ‘Look in the box: there’s no one there, is there?’ ‘No,’ said the woman. ‘Well,’ said they, ‘when we went in, we heard a voice saying that the box was taken!’”

  M. Moncharmin could not help smiling as he looked at M. Richard; but M. Richard did not smile. He himself had done too much in that way in his time not to recognize, in the inspector’s story, all the marks of one of those practical jokes which begin by amusing and end by enraging the victims. The inspector, to curry favor with M. Moncharmin, who was smiling, thought it best to give a smile too. A most unfortunate smile! M. Richard glared at his subordinate, who thenceforth made it his business to display a face of utter consternation.

  “However, when the people arrived,” roared Richard, “there was no one in the box, was there?”

  “Not a soul, sir, not a soul! Nor in the box on the right, nor in the box on the left: not a soul, sir, I swear! The box-keeper told it me often enough, which proves that it was all a joke.”

  “Oh, you agree, do you?” said Richard. “You agree! It’s a joke! And you think it funny, no doubt?”

  “I think it in very bad taste, sir.”

  “And what did the box-keeper say?”

  “Oh, she just said that it was the Opera ghost. That’s all she said!”

  And the inspector grinned. But he soon found that he had made a mistake in grinning, for the words had no sooner left his mouth than M. Richard, from gloomy, became furious.

  “Send for the box-keeper!” he shouted. “Send for her! This minute! This minute! And bring her in to me here! And turn all those people out!”