[Music] Broadcasting from the KTWU studios.

The Air Command presents theater of the mind.

Radio you can see.

Now turn out your lights and move in close to the glow of your radio dial and come with us to those thrilling days of yesteryear.

The golden age of radio and terror on the air with the Phantom of the Opera.

The year is 1880.

The manager of the Paris Opera House Monsieur Debienne, guides the new goverment overseer, Madame Moncharmin on a tour of the building.

It is an hour before a private performance for benefactors of scenes from Faust to open the following week.

And here is the machinery below the stage.

You know, you haven't said a word about the new electric lighting.

Expensive.

Well, that is a word.

But it will save money over time.

And it's much safer than the old cold gas system.

And once we're up on the main floor, I light the chandelier.

It is very impressive.

I shall await that adventure with bated breath.

The.

The stage is raked.

Which means?

it constructed on a slope with a 5% angle upward from the front to the back to make the farthest part more visible.

Now, I've asked our technical assistant, Albert, to meet us so that he.

Oh, and here he is.

Good evening, Albert.

And good evening to you, director.

Oh, and, to you, Patronne.

Yes, yes.

Fine.

Madam Moncharmin, do you see this metal frame?

I am not blind.

Within is an elevator which ascends to a trap door on the stage above.

Albert controls both the elevator and the trap door.

Ready, Albert.

Ready?

Good.

Now the performer steps on the trap.

Albert triggers a smoke load above.

He cranks the elevator down, and the moment the performer clears the stage floor, a metal piece painted to mimic the stage slides in place to cover the opening.

Voila!

Now, why is the second covering made of metal, you asked?

I didn't.

Well because a thicker wooden trap laid in place would make the opening lower than the stage by perhaps an inch.

That could cause set pieces to drop and catch singers and dancers to stumble.

The metal is thinner than the wood.

But.

But it's strong.

Exactly.

So it can slide into place from a higher, thinner slot and meet closer to the stage floor.

Fascinating.

However, it may be useful for my plans to bring in more income.

More opera patronne?

No.

More ballet.

Psh!

Ballet!

A story is told.

It ends.

Everybody leaves the stage, and everybody comes back and dances for another hour for no reason whatsoever.

Well, that's not exactly the way you've been talking to a man named Oscar Maetenier.

I don't believe I know that name.

He writes short plays, violent, bloody torture, horror, gouged eyes, severed limbs, you know, that sort of thing.

Yes the Theatre Libre!

Popular with the lower classes.

The upper classes as well.

He calls it Grand Guignol.

His theater seats about 300, but if he had a larger stage.

Oh, surely not our stage.

I believe we could bring serious money into the opera Well, money isn't everything, It is if you want to generate a decent profit.

Oh.

You artistic peole.

You know nothing about the cost of doing... The Opera Ghost would never allow it.

Oh, don't imagine.

I haven't heard stories about your Phantom of the opera.

Oh, just think another Penny Dreadful along with Sweeney Todd and spring heel Jack.

The Phantom is real.

Indeed.

We've dealt with him.

Oh, how happy you simple people must be with your charming superstition.

It wouldn't be wise to anger him.

He is an imaginary ghost.

A spurious specter, a fictitious phantom.

Let a shelf give way or shutter bang in a storm and... Oh, it's the ghost.

It's romantic.

It's mysterious.

It is theatrical.

It is fakery with a flourish.

And starting now, your your phantom is evicted!

[Music] Yes.

Carlotta Castafiori?

How could you doubt?

I'm sorry.

Ah, you are young.

Yes, I... The world knows my name.

It is because of your tragic youth that you don't.

Poets have written odes to me.

Composers have composed songs about me.

Would you care for a glass of champagne?

I always have a pre-show flute of champagne.

Sometimes two flutes.

I have a letter for you.

Oh, another proposal of marriage, no doubt.

Very well.

I shall take it.

Run along now and tell the world that you have met me.

It is customary to offer a letter.

A letter!

Well, perhaps a desperate billet doux from an ardent admirer.

Red ink.

Red.

The color of passion.

If you appear tonight, you must be prepared for a great misfortune.

The moment you open your mouth to sing.

A misfortune worse than death.

Signed.

O.G.

I shall require more champagne.

[Music] Oh, have you an invitation, monsieur?

I do.

I am Phillippe Auguste de Brienn the Comte de Chagny and my brother, Vicomte Raoul de Chagny.

How do you do?

Forgive me for not recognizing your Comte.

Come right in.

Merci.

So, Raoul, I'm hearing that Christine Daae is seeing seeing a new lover.

She's seeing a teacher to strengthen her voice.

She calls him he Angel of Music.

In only a few months her voice has ascended to the heavens!

Think of it Philippe an understudy to Carlotta Castafiori.

One day she will replace her.

Confidence is a wonderful thing.

Oh, look at the time.

I shall make certain of our seating, and I shall see to Christine before the performance.

[Music] In going through the books, Monsieur Debienne I notice that box five generates no income.

It is kept empty for every performance.

Box five is not altogether empty.

And why altogether is that?

Oh, well,it... It belongs to the ghost.

To the ghost?

And does the ghost pay for it?

Well, no.

It is a significant fee, but it's not substantial.

Fine.

I'll pay it myself.

Is a significant loss.

And look here in your memorandum book, there's an entire paragraph written in red ink.

Yes, I can explain.

You see... It stipulates that the manager must make a monthly payment of 20,000 francs to the opera ghost.

Oh, please tell me you're not doing this.

Its a form of insurance.

Without it, the Phantom plays tricks.

Well, he certainly has tricked us out of a prize box.

Oh, I wouldn't say that.

Sell the box.

Canceled the payment.

But the opera ghost will do terrible things you wouldn't believe.

I believe in income.

I do not believe in ghosts.

Now you sell that box, or you look for new employment.

[Music] Monsieur Buquet.

Oh yes, Meg Giry?

We young ladies of the ballet have questions.

The Opera Ghost.

Yes?

You actually saw him?

As clearly as I see you now Meg!

A question Monsieur?

Yes, Cecile.

Did he have a face?

Of course he has a face.

The face of death.

His skin on his face is tight, stretched across his bones.

It's yellow, like a creature long dead.

And his nose.

Two craters, cavities.

Oh!

Horrible sight!

Papin saw a ghost.

Where Cecile?

In the cellar, with a head made of fire When?

This morning.

Yesterday.

The ghost has claws.

Look there, in the shadows.

It's the Phantom.

He's gone like a ghost.

That was not our ghost.

What was it?

And where did it go?

And where is it now?

I am right behind you.

[Screams] You should be careful what you say, Joseph.

You know this man?

I do.

The person works with the Paris Surete.

You have said too much, Joseph.

Ladies, rehearsal is nearly over and the audience will be here soon.

You are safe for the moment.

I don't feel safe.

I don't either.

Carlotta's dressing room.

She has a lock on her door.

That would be safe.

It's the best dressing room.

Because Carlotta Castafiori is the star of the opera.

Come on.

You must be careful, Joseph, about telling secrets.

The blueprints have always been in my care.

The secrets of the opera house are the secrets of the Phantom.

One secret in particular.

The generous space between the inner and outer walls.

Ten stories of hidden passages above ground.

Seven more beneath.

Who did this?

The construction plans were made with modifications by the draftsman, a man named Erik Rouen.

I don't know that name.

Banished from home at a very early age by his family.

Well, because?

Because he was a monster.

Erik Rouen was born with Parry-Romberg Syndrome.

The face shrinks against the skull and wastes away, day by day, year by year.

So, Erik Rouen is the Phantom.

But he was also born with genius.

The Sorbonne accepted him.

He was their most brilliant student and most hideous... Progressively.

Towards the end, he took to wearing a gauze mask.

A mask?

It was in the time of the Cholera epidemic.

Many wore masks.

Ah!

He traveled to Persia to become a political assassin and chief architect in the service to the Shah.

He designed a magnificent palace with deadly hidden traps.

Once it was finished, the Shah had Erik kill the workers to preserve its secrets.

It was planned to eliminate Erik as well, but he escaped to Paris.

The Shah knew the disease would eventually do the work for him, but he sent a policeman to watch the progress and report You.

Me.

There is an old saying in my country, if you wish to kill the beast, you must do it with your first shot.

For if you do not, an angry beast will be coming for you.

The Shah feared Erik.

Erik's plan divided the builders into teams, with each getting only a portion of the drawings.

So that the secrets would remain so.

And this is how the opera ghost appears and disappears.

I have been foolish.

The few stories I have told you about the opera ghost have put you in danger.

You are a target of the Phantom.

[Music] Carlotta!

Madam Castafiori!

Let us in!

Oh, go away!

The doors will open [hic]for the audience any minute [hic] I am preparing to perform with my (hic) traditional glass of champagne.

Let us in.

I have received a terrible (hic) letter, but but the show must go (hic) on.

And I must be brave, therefore I. Oh, I have decided.

I shall fortify my bravery with 4 or 5 flukes of champagne.

The opera ghost is chasing us.

He'll eat us.

Good.

You'll have to get new ballerina and train them all over again.

Oh.

Very well.

We saw the opera ghost.

You saw him?

Well, we felt him.

We heard him.

Did he mention my name?

I should have demanded a larger dressing room.

Come in!

A delivery, Madame.

Another magnet of champagne.

And it is from, hmm no card.

An anon... An anomalous admirer!

(hic) Good!

I shall soon have finished this one.

Yes, madame.

What are you waiting around for?

Go, go!

It is customary to.

Go!

Yes, madame.

I don't exactly, (hic) remember, but I must have ordered more champlain.

Good.

Here, small dancing person, take this maggot of champion and put it over there.

Yes, Madame.

And pour (hic) the last of my old boggle.

Boggle?

Boggle into the flume.

Are you sure?

You've had... Pour!

Yes, Madame Carlotta.

Oh!

Faster!

This isn't the damned Götter-dammer-rug.

That's all.

I shall never be ready in time.

They'll simply have to (hic) hold the curtain.

I must find the directumor... Or, Director.

Ha ha ha!

Oh, do not drink that second bundle of shampoo, for I shall be back for it.

And do not smoke my cigars.

No, no, Madame.

Here.

Sit down.

We need coffee.

Coffee?

Fresh pot over there.

(hic) Drink all you want.

Oh, I believe I'll have a cup, too.

I believe you'll have more than a cup.

Madame Carlotta, may I come in?

Why not join the party?

We're going to... It's Monsieur Debbie Ann!

Did I say “Debbie Ann”?

I meant “Debbie Ann”!

Come in.

Have some chatelaine!

Oh, my.

I'm not sure Madame Carlotta will be... She's to sing the Jewel Song.

I don't know if... I can do that!

[sings drunkenly] Oh no!

I will try to get Madame Carlotta presentable, but I haven't any guarantees.

Oh, this has been just the worst day.

[Music] Albert!

Monsieur Buqet!

I asked you to fly this drop.

I did Monsieur It's still on the floor.

I shouldn't be, I tied it... What in the... Bring it down Ill tie it myself.

Give me a moment Monsieur Buquet.

A batten coming down.

Got it!

I'll take her back up when I'm done!

Merci, boss!

Albert!

Is this your idea of a joke, a hangman's noose?

Albert, why did you... You are entirely too predictable Monsieur Buquet!

[Music] So, Madame Marcharmin, you've seen almost everything.

But through here is the auditorium.

And the piece de resistance.

Entre!

Very well.

Look!

What, pray tell, am I supposed to see... Look up.

Oh, that is impressive.

It's the most beautiful chandelier in all of France.

In all the world.

Converted to electricity.

Seven tons of bronze and crystal prisms and drops.

Reflecting and refracting and creating a symphony of light and color.

All secured with a wrought iron chain with a length diameter of an inch and a half, it is in fact the most spectacular.

Madam Moncharmin.

Yes?

A letter for you.

I will give the girl of Frank Debienne.

Oh, Well, yes, a franc.

Here you are.

Oh.

Thank you.

Oh, you are very welcome.

Now you run along.

Yes, madame.

Thank you.

I'm surprised the messenger service knew you were here.

Oh, like they always know.

Well, I suppose important government officers.

This is outrageous.

What?

“Madame Moncharmin.

Congratulations your new responsibilities.” “If you still care for peace, then here is my ultimatum.” Ultimatum?

Who is this person?

“Christine Daae will sing the selection from Faust tonight.” Who is?...well, she won't!

Carlotta Castafiori will become ill.

Refusal will assure you of a house with a curse upon it.

Be warned.

And it's signed, O. G. The Opera Ghost!

I do not believe in ghosts and pray, who is Christine Daae?

A member of the chorus.

Well, it's unacceptable!

Madame, the Opera Ghost is dangerous!

I am more dangerous.

Now, Carlotta Castafiori will sing...tonight.

[Music] Excuse me.

Yes?

I'm looking for Christine Daae's dressing room.

Oh, certainement.

Down that hallway, last door on the left.

Oh, thank you.

And, last door.

You must sing now and forever.

Only for me.

Yes, dear angel, only you.

Remember that, only for me.

Christine, it's Raoul.

May I come in?

No.

Go away.

Please Christine, I want to see you before... Raoul, I... Now, who are you talking to?

No one.

There was someone with you.

I heard another voice.

There's no one else here.

You can see the whole room.

It sounded like a man.

You don't trust me,.

I trust you, I just... Then trust that I am the only living.

Human.

Soul.

In the room Yes, yes.

I'm just too jealous.

Oh, Raoul do you remember the stories my father told us when we were children?

About the angel of music?

He said that no one ever sees the angel.

But some are chosen to hear him.

And when does the angel come?

In times of sorrow and despair.

And in times of sorrow and despair I mourn the death of my dear father.

And father told me that one day, when he is in heaven, he will send an angel to me, and he will teach me to sing as he sings.

Raoul, my teacher, he is the angel of music.

It was his voice you heard.

What?

Which is why you found no mortal being in the room.

The angel comes to me as a voice.

A voice from heaven.

I have never seen him, but I owe him for my voice.

And I must obey him.

Christine, someone is playing an elaborate joke.

There is no angel.

Christine.

Is Raoul with you?

He is.

Raoul.

It's nearly time for the performance.

He's coming.

Go!

But we... Raoul, Christine must be left to prepare.

Yes, Philippe.

How stupid of me.

Come with me now.

I love you, Christine, I love you.

What a fool!

My angel of music.

I thought you'd gone.

Oh, I shall never leave you, my Christine.

I shall place the world at your feet.

You will replace Madame Carlotta.

You will sing Marguerite in Faust.

How shall I ever repay you?

One day, Christine, this spirit will take form and will demand your love.

But you must love only me.

I sing only for you to sing is love.

Then sing.

Christine, sing for me.

Oh, sing, oh love.

Why was I summoned?

What's going on?

There's been a murder,.

A murder.

Who?

Our stage manager, in the flies.

Hanging by the neck.

It's my fault.

Are you confessing, then?

Oh, no.

No, I. I hung the drop, but somebody brought the batten down and untied it.

Wait, where's Christine?

In her dressing room.

Ah, Debienne.

I expected you sooner.

Well, I only just.

It appears he was knocked unconscious.

The rope was put around his neck, then he was hoisted up.

We'd better call the police.

I am the police.

The chief of police to the Shah of Persia and detail officer attached to the Paris Surete.

Oh, yes, well... Eh bien.

I'm suitably impressed.

Nothing to do about it now, we have a program to present.

Hide that man where he will not frighten the ballet girls and get on with it.

We can take care of all of it later.

What?

Oh, we have a full house coming with very, very important people.

That is outrageous.

Man is dead.

I'm sorry.

Who are you gentlemen?

And why are you here?

I am Philippe Georges Marie Comte de Chagny And this is my brother.

Vicomte Raoul de Chagny.

Forgive me, I was not aware of your presence here tonight.

Of course.

Now that we have introductions out of the way, did anyone observe anyone or anything suspicious?

We will have to question everyone, including our audience.

No no no no no no no no, you cannot question our guests.

It would be outrageous.

It would be a scandal.

They are very... Very important people.

Yes.

It is simply unacceptable.

We have a program.... Program to present to the very important people.

But no, I need not question everyone.

Who do... I shall immediately contact the Surute have guards posted and the body removed.

Since word has not passed to the audience, the very important people have no idea what has happened.

That's exactly what I was going to say it your program, Present your program, but you may not leave the building.

As for solving this murder, I assure you we are very close to achieving that end.

[Music] More coffee?

Any more coffee And I won't sleep for years.

I'm sorry.

Too much champagne, I think.

Definitely too much champagne.

I always have a single flute before going on to relax.

Tradition.

You drink a whole bottle and two pots of coffee.

You know what I need, Meg?

What?

A flute of champagne?

No.

Just one to relax.

Tradition.

Then I shall go out and stun the audience with my splendor.

Oh, I shall take this fresh and mysterious Magnum with me.

No, We told Debienne and he's making an announcement that you're ill.

I see.

And that Christine Daae will sing the aria.

She will not!

Hand me that champagne flute.

You shouldn't.

The audacity.

I quaff from this new and mysterious Magnum and then join in battle.

Le nectar des dieux.

A bientot!

Oh, my.

[Music] Thank you.

Thank you, ladies and gentlemen, for your patience.

I am the directeur, Claude Debi and I wish to welcome you to the Paris Opera for our special program to honor you, our benefactors, and to welcome our new government overseer, Madame Ermelinda Moncharmin.

[Applause] If you will look at your programs, you'll see that our beloved prima donna, Carlotta Castafiori was scheduled to sing the Jewel song from Faust.

But, she's come down with, fever and cannot sing.

But but I am happy to announce that the Jewel song will be sung by Madame Carlotta's talented understudy, Christine Daae.

Please welcome her to our stage.

Thank you, dircteur.

[Sings in French] Stop!

Stop!

Madame Carlotta, I was told you were ill.

Back to the chorus, you counterfeit.

Ladies and gentlemen, prima donna Carlotta Castafiori who is, apparently, will be singing the Jewel song from Faust Maestro, if you please.

[Singing badly in French] Keep singing.

Sing!

She is singing to bring down the chandelier.

The chandelier?

The chandelier!

Oh, my!

Ladies and gentlemen, run!

Everybody out!

Ah, Mademoiselle Daae!

What are you... Not now Albert.

I need to be alone.

[Sobs] You will never be alone, Christine.

Angel of music.

I have come for you, Christine, as I have promised.

Now walk to the mirror.

Walk to....Yes.

Trust your angel of music.

Walk to the mirror.

It's its opening.

The mirror is opening.

Come to me, Christine.

Yes, yes, I will come inside.

Inside.

Oh, it's so dark.

Where is my angel of music?

I am here, Christine.

Turn around.

Oh.

[Screams] Who are you?

You see, it is I. You're angel of music.

Look not upon my mask.

Your voice.

It is the voice of my angel.

I never thought, oh, you're the phantom.

I am your angel.

Come.

Follow me.

I don't know.

Trust me, Christine, trust me.

Love me Christine, you must love me.

Yes, Yes, down these steps.

Come, come, come.

[Horse whinnies] Your steed awaits, my queen.

I lift you up.

The queen upon her royal mount.

I will lead you.

Where are we going?

What is to happen?

We are descending to the subterranean kingdom, my queen.

Where you will rule forever.

We have finished the first leg of our journey, milady.

I must have slept.

Where are we?

On a ship, to our palace.

Floating on the Black lake.

Seven levels underground.

I have told you that the day would come when your angel of music would take form and demand your love.

Yes.

Yes.

That day is here.

I don't know... Now, you must love only me.

I have loved my angel.

Ah, we have arrived at our palace.

Take my hand and step onto the quay.

The door is open to you.

Oh, it's.

The furnishings are from the opera stores above.

And here, my concert organ taken from the Salle le Peletier Opera House.

But the Salle le Peletier burned to the ground.

Well, first I have removed the concert organ.

Am I your prisoner?

You are my queen.

You will return to the world above and perform.

This I will allow with only a few more days of lessons.

You will reach perfection.

Then you will return in triumph.

I will triumph.

You are my Persephone goddess of my world.

And you will always, always return to me.

How can you demand that?

You are my angel.

Do not defy me, for I am an avenging angel.

[Music] Oh.

Well, here's a fine mess.

Oh!

My beautiful Chandelier!

No sense of mourning the people killed.

Best to mourn the light fixture.

Oh, oh, the chairs smashed and my floors.

My floors scratched and gouged.

And oh, blood look blood soaking into the floors.

It will ruin the parquet.

The depth of your humanity is stunning.

Thank you but, we must clean off this blood while it's still wet.

It's been two days.

It's not still wet.

Oh, my beautiful opera house.

The opera house can be repaired.

The dead are dead.

You don't think they'll haunt the opera house, do you?

The opera house is already haunted.

True.

Well, we must work to have the opera house finished before the masked ball in just a fortnight.

[Music] Wake up Christine.

Where?

Oh!

You have been sleeping.

You frightened me.

The mask.

May I not see the face of my angel of music?

Come, let me play for you.

There's music here written out.

Yes, it is my opera, “Don Juan triumphant.” Da da da da da da da da da.

But, but this music is Faust.

Our own opera by Charles Gounod.

Gounod is a thief.

I sent him my music years ago, seeking his sponsorship.

I never heard from him again until he premiered his Faust.

He took away my words and kept my music, my music from my soul.

I am Don Juan triumphant.

I have continued to work on it, adding more music, more words.

A new title and I will see it premiered with you, you, Christine, singing my music, my words.

Please play more for me.

He plays this much passion.

Surely beneath the mask his face is as beautiful as his music.

I must see his face carefully, Christine.

Carefully and... [Screams] You wanted to see!

Well, glut your soul on my cursed ugliness.

Look upon the black holes of my eyes and nose.

My slash of a mouth with its rotting teeth.

Now you know the face of the voice.

Stay away.

I am built of death.

And it is a corpse that loves you.

That owns, you!

And you will love me forever.

Come here.

No, no!

My hair!

Let go!

You feel my hot breath on your face?

I hold you against the rot that is Erik and then I toss you away!

In two more weeks I will release you to the world above.

If you are to be my primadonna, you must be part of that world.

But if you refuse to return at any time, I beckon.

I will kill everyone you love.

And I will soon show you a sample of it.

[Music] One more chair to bolt down, Albert, and then the aisles must be scrubbed to wipe out the last of the... Blood.

the sawdust from the reconstruction, and the bits of... Blood.

and also the... Blood.

Oh, you needn't remind me.

The newspapers is a reminder enough.

For two weeks now.

Yes.

Well, it wasn't exactly your typical evening at the theater.

Oh, it was horrible.

People died.

Don't remind me.

Injuries.

Many, many, many and... Blood.

I have been cleared personally.

As my late mother used to say you're off the hook.

Your mother is still alive.

But she's never on time.

Ah...I see you have managed to repair the damage.

Madame Moncharmin, Yes, large crew, a good deal of work.

More expense.

Well, we've nearly finished before people come in tomorrow.

Yes.

The masked ball will be in the large room.

Very popular.

So I've heard.

Dancing, revelry, misbehavior and masks to avoid responsibility.

It's all very gay.

And debauched.

But you'd never know what tragedy happened here.

Except for the blood.

That's enough Albert.

I am slave to accuracy.

We'll clean away the... Blood.

The masked ball will be not held in the theater, of course, but it's good that it's ready in any case.

We're just putting on the final touches... and scrubbing away... I noticed your prima donna an understudy have both disappeared And Carlotta is hiding at her home.

Croaking like a frog is never a career enhancement.

She'll be back.

She lives to be noticed.

But you'll never be the prima donna again.

Especially if Christine returns and Carlotta will be secondary characters.

Mothers and sisters.

Furniture.

Albert.

Christine?

I'm praying she's back so that we can open Faust.

We've had to postpone it.

No leading lady.

We're hoping to perhaps borrow someone from another opera company.

As I came in, I noticed the youn Vicomte de Chagny at Christine Daae's dressing room.

He's come every day hoping she'll return.

Oh, how pathetic and childish.

How appropriate.

And Human.

Well, I'm glad to see you here.

Standing on the stage we were standing under not so long ago.

Yes, it's all still very impressive.

And you may remember, you saw how the trap doors operate.

In fact, you're standing on one now.

See how nearly invisible it is?

No danger.

Of course.

There's no one on crew beneath the stage.

Well, it will be useful for our Grand Guignol productions Speaking of blood.

Yes, you've mentioned that.

And perhaps doing less opera.

I'm not sure our audience would be happy with that.

This is how we grow your audience Not sure the opera ghost would like it either.

Opera ghost.

Opera ghost.

I am so sick and tired of hearing about that opera ghost.

Now there is no such creature.

The chandelier!

A faulty chain.

It was a faulty chain.

The inquest made that very clear.

Oh my, whats going... The trap door, that can't happen because... Oh!

Its dropped her into the trap.

Not all the way.

It stopped.

can still see your head is leve I can still see her head at stage level.

Get me out of here!

Yes, yes yes, yes.

[Screams] Oh, the metal slide its... It's beheaded her.

And thanks to the 5% rake it is excuse the expression, headed into the orchestra pit.

Oh, my.

I hope the instruments aren't harmed.

No, no.

How could this happen?

I have a feeling the opera ghost isn't happy about her plans for our future.

Oh, this is horrible.

It does solve the Grand Guignol problem.

We can't have the police poking about.

We have a masked ball to present.

Let's not tell them.

But what do we do about the body under the stage?

Not to mention the head in the orchestra.

Of course!

I know a couple of very competent resurrection men who can quietly remove the body.

And the head?

Well, of course.

All right.

Good!

Then all we have to deal with will be... The blood.

[Music] Oh, Christine.

Christine, may I come in?

Are you there?

Vicomte de Chagny.

Oh, you startled me.

You are seeking Christine, Daae?

She's not here.

Perhaps she is sleeping.

No, she's just disappeared.

Besides, the door's locked.

Let me try.

Ah, It is open.

How did you get... There is an old Persian saying, wanting is being able.

Please come in.

Well, all right.

We should leave.

Another Persian saying.

Stick the bread into the oven while it is hot.

Look here on the dressing table, an envelope with your name.

And it is perfumed.

Oh, let me see.

And it says...?

Go to the masked ball at the opera.

Don't mention this to anyone.

Oh, well, I am discreet.

Wear a white domino mask.

Mine will be black.

We must meet.

Signed,Christine.

She wants to see me.

[Music] Welcome.

Welcome all to the Paris Opera.

Shrovetide masked ball.

Oh, well, it seems to be starting out nicely.

You'll note that some of the attendees have disappeared into the niches and shrubbery.

Yes, well.

And some of the masks have been discarded.

I see that,.

As have some of the costumes.

I believe I shall mix in.

And I believe I shall go to the buffet for another cognac.

Uh, excuse me, excuse me.

Oh, Black mask.

Christine?

Salut mon beau' Veux-tu venir avec moi?

No thank you.

I'm looking for someone.

Raoul!

Oh.

There's my uh, there she is.

No offense meant.

Pouah!

Cest dommage!

Christine!

Raoul.

Oh, look!

Look upon me!

But touch me not, for I am the Red Death!

It is the devilin his red cloak mask of death!

You are dancing over the graves of men.

The Red death rebukes your merriment.

Do not touch me or you will die.

I know that voice of the opera ghost, your angel of music.

I am death that all men dreadeth.

For every man I come.

And no man do I spareth.

For it is God's commandment that all to me shall be obedient Raoul, we must go!

You cannot escape me.

I am in the marketplace and I am in Samarra.

For I am become death, the destroyer of worlds.

I shall unmask him and see the face of the man that you love more than you love me.

In the name of my love for you.

You must not.

I come like a thief in the night.

And I walk amongst you always.

I am in the castellated abbeys and I am in the colored chambers, but I out Herod, Herod, and I am the Red death.

I will...You don't love me.

You love your angel, and you only stopped me to give your red death time to escape.

You have taken advantage of my love to deceive me.

Raoul, for your sake, for all of our sakes, I must leave you.

Let me go.

And I swear this proud death shall die.

No, no!

Please don't let him see us.

Come.

We must find a place where he cannot hear us.

The roof!

Come!

[Music] He can't hear us up here, Raoul.

Where have you been for two weeks?

Christine?

Who is this red death?

I thought he was an angel.

He is not of heaven, but of hell.

He has told me that I must return to him when he commands or he would...he would... What, Christine?

He would kill everyone I love.

Oh, Raoul, take me away from here.

Take me somewhere he could never find me.

[The Phantom groans] Oh, what was that?

It is he.

It comes from everywhere and nowhere.

Above us.

It's above us.

There's nothing above us save for the colossus, Apollo.

The great statue.

And we're sheltered against the great pedestal.

Debienne says I am to sing in Faust inn a week.

We rehearse fully tomorrow night.

I will have barouche waiting at the westgate of the opera house.

The moment you have sung your last note, we will flee to England.

He'll never find us there.

Come, we have much to do.

Quickly, Christine.

No no no no no, she has betrayed me.

Apollo!

She has betrayed me.

Oh, she will pay.

[Music] It's all going very well out there.

And Mademoiselle Daae in good voice.

I don't want her to overtax herself.

She'll have the whole opera to do next week.

Oh, she's finished with her aria, and it's gone to change.

Ah, good.

Have some of our best champagne sent to her.

Oh, and those flowers I ordered.

Now is the time to deliver them before she gets to her dressing room.

Then, give her perhaps half an hour and ask her if she'd like to dine with me at Lapérouse.

Oh, you're thinking to rival the young vicomte?

Oh, don't be silly, Albert.

I'm old enough to be her older brother.

Ah, Monsieur Debienne!

Comte de Chagny!

Have you seen Raoul?

Oh, I have not.

I saw him come in through the stage door.

Ah, and I suspect I know where he will be.

[Music] Christine?

Christine, are you here?

We meet again under startling similar circumstances.

Oh, yes.

But please don't pick the lock as she might be... I will not pick the lock, I promise.

Good... Because it is already open.

Please step in.

Close the door behind us.

You were remarkable, Miss Daae!

Thank you, Monsieur!

She's here.

Quick, behind the drape.

To spy on her, Would you rather she finds us standing here?

Excellent point.

Quickly.

Oh, flowers and champagne.

Perhaps I could have a tiny glass.

She talks to herself.

All geniuses do.

I certainly do.

Now.

Quiet.

And so.

Yes!

Oh, Philippe.

My brother.

Quiet!

I have lost Raoul.

Perhaps you've seen him.

He needs to stop worrying about me.

Does he?

No, Im sorry, I havent.

Then I ask that you forgive me for intruding.

Forgiven!

Bonne journee.

And now, Christine... Champagne.

Christine.

The mirror!

It's a secret door!

Quiet!

Come with me.

I promised to... You know what will happen if you do not obey.

I can't.

You must.

[Music] I must.

Come with me.

I will come with you.

Yes, come.

Yes, yes, I will come with you.

He's taken her.

It won't open.

Help me break it.

There is an old person saying, my friend.

"A believer is the mirror to his If he sees an error in it, he makes a correction.” Give it a few moments to put some distance between us.

Then we follow.

Acting on impulse may lead you to seven years of bad luck.

There is wisdom in knowing that any door has a way of opening.

If this were not so, it would not be a door.

Another old Persian saying?

No, I just thought of it.

Now let us find the way of opening.

Aha!

A secret latch!

Behold!

Now we go quickly before we lose them.

Mademoiselle, if you should happen to... Raoul!

Raoul!

He doesn't hear me.

Raoul!

Wait!

[Music] You lied to me.

Only you thought to cheat the phantom.

Please.

You were my angel of music.

My good angel.

Dont... Angel of music.

I am now your devil of discord.

I bring none of your heaven and all of your hell.

no place.

Now No!

Please!

You shall see the evil spirit that matches my evil face.

And yet you shall love me.

Me, only me.

For if you do not, I will blow the opera house apart and kill everyone and everything you ever loved.

[Sobs] [Music] Well, did you find her?

She's nowhere in the building.

The dressing room?

Well, of course I checked her dressing room.

There was a broken champagne flute on the floor.

What?

And a face mask.

The opera ghost!

The opera ghost has her!

Oh, quickly.

I'll call the Sureté.

We'll scour the cellars and surround the building.

He can't escape.

I'll rally the cast and crew.

We'll head down through the cellar.

We must save Mademoiselle Daae!

[Music] We should be nearing his hiding place now.

I never imagined so much.

Miles of hidden passages.

And traps.

How could the builders not know?

Buquet knew, and it got him killed.

Construction was suspended for two years during the Franco-Prussian War.

But Erik continued to work by himself, building more secret tunnels and traps.

The war ended, and a new crew was hired.

They knew only of A few of the cellars.

And these were used for gunpowder storage torture chambers.

Prisoners were chained down here, including Erik himself.

Walk carefully.

This is a particularly.... Oh!

What happened?

One of those traps I was telling you about.

Well, where are we?

We have dropped into a small room.

No doors.

Look at the walls.

Reflections.

Millions and millions of reflections.

Mirrors.

We have fallen into an old torture chamber built here during the war.

How do we get out?

We do not.

Not without their miracle.

[Music] Please.

Please.

I have given you the kingdom, Christine.

I am the king of all I survey.

And you shall be my wife.

Your...your wife?

You want me to be your wife?

If you refuse our kingdom and everything around and above, it will be destroyed.

Blow to the heavens.

What's that?

Oh, we have a visitor who has tripped this signal.

I see from the high window here he is at the far shore of my lake, preparing to board one of my boats.

Well, I must go to greet our guest, and I will take this with me.

Oh.

What is it?

It's a breathing tube for swimming unseen.

I shall return Christine!

Raoul!

Where are you?

Here, on the other side of this door in a chamber.

A chamber?

A room of mirrors.

The door is locked on this side.

On this side too.

The Persian is with me.

He's a friend.

There is a barred window on the door with a cover.

Can you help?

It's locked as well.

There must be a key to this door.

Yes, I see it hanging from a hook.

It's high on the wall beyond my reach.

I'll need to climb onto something.

[Music] Raoul!

Hello!

It is Philippe!

Raoul, where are you?

Raoul?

What the devil is that?

A reed growing out of the water.

Moving.

Coming close...Auugh!

You thought to be a hero oh, Comte de Chagny!

Your money and title count for nothing in my kingdom!

And now you die.

Die, die!

[Music] Raoul.

You say you're in a chamber?

We are Mademoiselle.

I have the key.

Oh!

He is returning.

Quiet!

Well, our guest has decided to spend his time at the bottom of the lake.

Oh!

Oh, you seem unsettled.

Allow me to play you some soothing music.

[Music] Where are my keys?

They were hanging on that hook.

You have betrayed me.

Give me my keys.

I don't, I don't.

Very well, I shall take him from you.

No!

Let go!

Let go!

Traitor!

Recreant!

Stop it!

Stop it!

I'll kill you!

I... Oh!

Do you hear voices?

I hear nothing.

Well, it seems we have more visitors.

I will take those keys.

Now let's see this one.

Yes.

Unlocks the spy wicket.

And let's see.

Oh!

Ah, Vicomte du Chagny.

Oh.

I have only recently, visited with your brother.

Oh, and Hafez Daroga.

It seems you are always turning up.

Sticking your Persian nose where it's not wanted.

I warn you, Erik Rouen It would go hard on you should you cause harm to either of us.

Well, I will bear that in mind.

Oh, I will bear that in mind.

Are you warm enough in there?

It gets very cold sometimes in these catacombs.

Allow me to warm you up.

He is aiming concentrated beams of light on the mirror.

Heat.

I'm on fire!

From mirror to mirror to mirror!

You monster.

Come, Christine, come and see your heroes as they catch fire.

Well, what do you offer for their life?

Anything.

I'll do anything you ask.

Be my bride then.

The queen of the Phantoms kingdom!

Raoul, another trap door.

Where?

Here.

Here.

On the floor.

Help me!

Help me pry it up.

It is coming.

It's open!

Quickly!

Jump down!

Jump down!

Where are we now?

It's too dark to see.

Here are matches and a lantern.

Let us see what is in these.

Gunpowder.

Barrels stored during the war.

Quickly move the lantern away.

He plans to destroy the opera house.

There are wires through each barrel, the touch of a switch... Then tear them out.

I cannot reach them.

This is your last chance, Christine.

To save your precious Raoul.

Come here.

Let me go!

Look into this wooden chest.

You see, there are two bronze beasties, a scorpion and a grasshopper, each on a controlling gear.

Well, turn the grasshopper and the opera house is blown into a thousand bits, but turned the scorpion.

And you save your precious Raoul.

But you must then marry me.

Choose.

Choose.

[Music] I could never marry you.

Then turn the grasshopper.

I have no choice.

I must turn the scorpion.

Oh!

Ha ha ha ha ha ha ha ha!

Foolish girl.

Turning the scorpion drains the water from my lake into the chamber holding your beloved.

He will drown at your hands.

He's flooding the room.

Quickly climb on to the There's no way out.

Oh, the mirror opens.

Let's bring torches.

This way.

We're at the ceiling.

The water's coming fast.

Look!

An opening.

Pound!

Push!

It won't.

It won't.

Prefect.

Have your men surround You men surround to the north.

The rest of you, to the south.

Cover every door and window.

Christine, shall I open the trap here on the floor?

They are beneath, groaning.

Decide now.

Yes, yes.

Anything.

Save them.

Very well.

Raoul!

Oh, Raoul!

Help me get him out!

Is he.

No, no.

Just unconscious.

And now that I have saved your lover, you must.

What?

What's that?

They are coming for you.

Phantom, you have foolishly drained your lake.

They arrive at your door.

Oh, Christine.

Raoul!

Oh, Raoul!

No!

My satchel!

Give me my satchel, girl!

Here, but... Come with me.

Let go!

Release me!

Oh, Christine!

He's taking Christine!

I'm going after them.

Go, go!

All of you!

Bring your torches.

Follow me!

Let me go!

Where?

Where are we?

Outside the opera house.

Your lover has provided a means of escape.

A barouche!

Youll never get away with this.

But I will.

We won't need the driver.

You shot him!

Inside, my queen.

[Screams] And I shall take the reins.

and hyaa!

There they are.

Horses!

After them!

Debienne!

Albert!

Down the alley!

Cut him off!

We won't let him escape.

Faster, faster, you wretched nags!

Faster!

Oh!

Look out!

Look out!

We're going over!

Oh!

My satchel.

Here it is.

I leave you here, my queen, until we meet again.

Christine?

Are you.

I'm fine.

He's getting away.

There he goes!

Toward the river!

The bridge.

After him.

In the name of the law!

Stop!

Arrêt !

You're under arrest!

Drop the bag!

Police in front of me!

Coming for me!

Erik!

Surrender!

And behind me!

You'll never take me!

You're finished.

Eric!

No!

You are finished!

Behold!

He's reaching into his bag!

Stay steady, everyone.

Everyone stop!

The gunpowder.

He must have a bomb!

Stay back, stay back!

For within this I have.

Ha ha ha ha ha ha ha!

Paper!

Oh, nothing but paper.

[Laughs and screams] [Throw him in the Seine] All this paper coming down.

What,what is it?

Here, let me see if, got it.

It's, it's music.

A whole opera!

Here is a cover page.

What does it say?

The title is crossed out.

A new one written in.

The new title,what is it?

It is,” For love of,Christine.” [Theme music] You've been listening to the radio dramatization The Phantom of the opera.

A presentation of the Air Command and produced by KTWU Television.