Phantom of the Opera (Barnes & Noble Classics Series)

by Gaston Leroux

  Closing the door, the Persian went to a very thin partition that separated the dressing-room from a big lumber-room next to it. He listened and then coughed loudly.

  There was a sound of some one stirring in the lumber-room; and, a few seconds later, a finger tapped at the door.

  “Come in,” said the Persian.

  A man entered, also wearing an astrakhan cap and dressed in a long overcoat. He bowed and took a richly carved case from under his coat, put it on the dressing-table, bowed once again and went to the door.

  “Did no one see you come in, Darius?”

  “No, master.”

  “Let no one see you go out.”

  The servant glanced down the passage and swiftly disappeared.

  The Persian opened the case. It contained a pair of long pistols.

  “When Christine Daaé was carried off, sir, I sent word to my servant to bring me these pistols. I have had them a long time and they can be relied upon.”

  “Do you mean to fight a duel?” asked the young man.

  “It will certainly be a duel which we shall have to fight,” said the other, examining the priming of his pistols. “And what a duel!” Handing one of the pistols to Raoul, he added, “In this duel, we shall be two to one; but you must be prepared for everything, for we shall be fighting the most terrible adversary that you can imagine. But you love Christine Daaé, do you not?”

  “I worship the ground she stands on! But you, sir, who do not love her, tell me why I find you ready to risk your life for her! You must certainly hate Erik!”

  “No, sir,” said the Persian sadly, “I do not hate him. If I hated him, he would long ago have ceased doing harm.”

  “Has he done you harm?”

  “I have forgiven him the harm which he has done me.”

  “I do not understand you. You treat him as a monster, you speak of his crime, he has done you harm and I find in you the same inexplicable pity that drove me to despair when I saw it in Christine!”

  The Persian did not reply. He fetched a stool and set it against the wall facing the great mirror that filled the whole of the wall-space opposite. Then he climbed on the stool and, with his nose to the wallpaper, seemed to be looking for something.

  “Ah,” he said, after a long search, “I have it!”

  And, raising his finger above his head, he pressed against a corner in the pattern of the paper. Then he turned round and jumped off the stool:

  “In half a minute,” he said, “we shall be on his road!” and crossing the whole length of the dressing-room he felt the great mirror.

  “No, it is not yielding yet,” he muttered.

  “Oh, are we going out by the mirror?” asked Raoul. “Like Christine Daaé.”

  “So you knew that Christine Daaé went out by that mirror?”

  “She did so before my eyes, sir! I was hidden behind the curtain of the inner room and I saw her vanish not by the glass, but in the glass!”

  “And what did you do?”

  “I thought it was an aberration of my senses, a mad dream ...”

  “Or some new fancy of the ghost’s!” chuckled the Persian. “Ah, M. de Chagny,” he continued, still with his hand on the mirror, “would that we had to do with a ghost! We could then leave our pistols in their case ... Put down your hat, please ... there ... and now cover your shirtfront as much as you can with your coat ... as I am doing ... Bring the lapels forward ... turn up the collar ... We must make ourselves as invisible as possible ...”

  Bearing against the mirror, after a short silence, he said:

  “It takes some time to release the counterbalance, when you press on the spring from the inside of the room. It is different when you are behind the wall and can act directly on the counterbalance. Then the mirror turns at once and is moved with incredible rapidity.”

  “What counterbalance?” asked Raoul.

  “Why, the counterbalance that lifts the whole of this wall on to its pivot. You surely don’t expect it to move of itself, by enchantment! If you watch, you will see the mirror first rise an inch or two and then shift an inch or two from left to right. It will then be on a pivot and will swing round.”

  “It’s not turning!” said Raoul impatiently.

  “Oh, wait! You have time enough to be impatient, sir! The mechanism has obviously become rusty, or else the spring isn’t working ... Unless it is something else,” added the Persian anxiously.

  “What?”

  “He may simply have cut the cord of the counterbalance and blocked the whole apparatus.”

  “Why should he? He does not know that we are coming this way!”

  “I dare say he suspects it, for he knows that I understand the system.”

  “It’s not turning! ... And Christine, sir, Christine?”

  The Persian said coldly:

  “We shall do all that it is humanly possible to do! ... But he may stop us at the first step! ... He commands the walls, the doors and the trap-doors. In my country, he was known by a name which means the ‘trap-door lover.’ ”

  “But why do these walls obey him alone? He did not build them!”

  “Yes, sir, that is just what he did!”

  Raoul looked at him in amazement; but the Persian made a sign to him to be silent and pointed to the glass ... There was a sort of shivering reflection. Their image was troubled as in a rippling sheet of water and then all became stationary again.

  “You see, sir, that it is not turning! Let us take another road!”

  “Tonight, there is no other!” declared the Persian, in a singularly mournful voice. “And now, look out! And be ready to fire.”

  He himself raised his pistol opposite the glass. Raoul imitated his movement. With his free arm, the Persian drew the young man to his chest and, suddenly, the mirror turned, in a blinding daze of cross-lights: it turned like one of those revolving doors which have lately been fixed to the entrances of most restaurants, it turned, carrying Raoul and the Persian with it and suddenly hurling them from the full light into the deepest darkness.

  20

  IN THE CELLARS OF THE OPERA

  Your hand high, ready to fire!” repeated Raoul’s companion quickly. The wall, behind them, having completed the circle which it described upon itself, closed again; and the two men stood motionless for a moment, holding their breath.

  At last, the Persian decided to make a movement; and Raoul heard him slip on his knees and feel for something in the dark with his groping hands. Suddenly, the darkness was made visible by a small dark lantern and Raoul instinctively stepped backward as though to escape the scrutiny of a secret enemy. But he soon perceived that the light belonged to the Persian, whose movements he was closely observing. The little red disk was turned in every direction and Raoul saw that the floor, the walls and the ceiling were all formed of planking. It must have been the ordinary road taken by Erik to reach Christine’s dressing-room and impose upon her innocence. And Raoul, remembering the Persian’s remark, thought that it had been mysteriously constructed by the ghost himself. Later, he learned that Erik had found, all prepared for him, a secret passage, long known to himself alone and contrived at the time of the Paris Commune to allow the jailers to convey their prisoners straight to the dungeons that had been constructed for them in the cellars; for the Federates had occupied the opera-house immediately after the eighteenth of March and had made a starting-place right at the top for their Mongolfier balloons, which carried their incendiary proclamations to the departments, and a state prison right at the bottom.1

  The Persian went on his knees and put his lantern on the ground. He seemed to be working at the floor; and suddenly he turned off his light. Then Raoul heard a faint click and saw a very pale luminous square in the floor of the passage. It was as though a window had opened on the Opera cellars, which were still lit. Raoul no longer saw the Persian, but he suddenly felt him by his side and heard him whisper:

  “Follow me and do all that I do.”

  Raoul turned to the
luminous aperture. Then he saw the Persian, who was still on his knees, hang by his hands from the rim of the opening, with his pistol between his teeth, and slide into the cellar below.

  Curiously enough, the viscount had absolute confidence in the Persian, though he knew nothing about him. His emotion when speaking of the “monster” struck him as sincere; and, if the Persian had cherished any sinister designs against him, he would not have armed him with his own hands. Besides, Raoul must reach Christine at all costs. He therefore went on his knees also and hung from the trap with both hands.

  “Let go!” said a voice.

  And he dropped into the arms of the Persian, who told him to lie down flat, closed the trap-door above him and crouched down beside him. Raoul tried to ask a question, but the Persian’s hand was on his mouth and he heard a voice which he recognized as that of the commissary of police.

  Raoul and the Persian were completely hidden behind a wooden partition. Near them, a small staircase led to a little room in which the commissary appeared to be walking up and down, asking questions. The faint light was just enough to enable Raoul to distinguish the shape of things around him. And he could not restrain a dull cry: there were three corpses there.

  The first lay on the narrow landing of the little staircase; the two others had rolled to the bottom of the staircase. Raoul could have touched one of the two poor wretches by passing his fingers through the partition.

  “Silence!” whispered the Persian.

  He too had seen the bodies and he gave one word in explanation:

  “He.!”

  The commissary’s voice was now heard more distinctly. He was asking for information about the system of lighting, which the stage-manager supplied. The commissary therefore must be in the “organ” or its immediate neighbourhood.

  Contrary to what one might think, especially in connection with an opera-house, the “organ” is not a musical instrument. At that time, electricity was employed only for a very few scenic effects and for the bells. The immense building and the stage itself were still lit by gas; hydrogen was used to regulate and modify the lighting of a scene; and this was done by means of a special apparatus which, because of the multiplicity of its pipes, was known as the “organ.” A box beside the prompter’s box was reserved for the chief gas-man, who from there gave his orders to his assistants and saw that they were executed. Mauclair stayed in this box during all the performances.

  But now Mauclair was not in his box and his assistants not in their places.

  “Mauclair! Mauclair!”

  The stage-manager’s voice echoed through the cellars. But Mauclair did not reply.

  I have said that a door opened on a little staircase that led to the second cellar. The commissary pushed it, but it resisted.

  “I say,” he said to the stage-manager, “I can’t open this door: is it always so difficult?”

  The stage-manager forced it open with his shoulder. He saw that, at the same time, he was pushing a human body and he could not keep back an exclamation, for he recognized the body at once:

  “Mauclair! Poor devil! He is dead!”

  But Mr. Commissary Mifroid, whom nothing surprised, was stooping over that big body.

  “No,” he said, “he is dead-drunk, which is not quite the same thing.”

  “It’s the first time, if so,” said the stage-manager.

  “Then some one has given him a narcotic. That is quite possible.”

  Mifroid went down a few steps and said:

  “Look!”

  By the light of a little red lantern, at the foot of the stairs, they saw two other bodies. The stage-manager recognized Mauclair’s assistants. Mifroid went down and listened to their breathing.

  “They are sound asleep,” he said. “Very curious business! Some person unknown must have interfered with the gas-man and his staff ... and that person unknown was obviously working on behalf of the kidnapper ... But what a funny idea to kidnap a performer on the stage! ... Send for the doctor of the theatre, please.” And Mifroid repeated, “Curious, decidedly curious business!”

  Then he turned to the little room, addressing the people whom Raoul and the Persian were unable to see from where they lay.

  “What do you say to all this, gentlemen? You are the only ones who have not given your views. And yet you must have an opinion of some sort.”

  Thereupon, Raoul and the Persian saw the startled faces of the joint managers appear above the landing—and they heard Moncharmin’s excited voice:

  “There are things happening here, Mr. Commissary, which we are unable to explain.”

  And the two faces disappeared.

  “Thank you for the information, gentlemen,” said Mifroid, with a jeer.

  But the stage-manager, holding his chin in the hollow of his right hand, which is the attitude of profound thought, said:

  “It is not the first time that Mauclair has fallen asleep in the theatre. I remember finding him, one evening, snoring in his little recess, with his snuff-box beside him.”

  “Is that long ago?” asked M. Mifroid, carefully wiping his eye-glasses.

  “No, not so very long ago ... Wait a bit! ... It was the night ... of course, yes ... It was the night when Carlotta—you know, Mr. Commissary—gave her famous ‘co-ack’!”

  “Really? The night when Carlotta gave her famous ‘co-ack’?”

  And M. Mifroid, replacing his gleaming glasses on his nose, fixed the stage-manager with a contemplative stare.

  “So Mauclair takes snuff, does he?” he asked carelessly.

  “Yes, Mr. Commissary ... Look, there is his snuff-box on that little shelf ... Oh, he’s a great snuff-taker!”

  “So am I,” said Mifroid and put the snuff-box in his pocket.

  Raoul and the Persian, themselves unobserved, watched the removal of the three bodies by a number of scene-shifters, who were followed by the commissary and all the people with him. Their steps were heard for a few minutes on the stage above. When they were alone the Persian made a sign to Raoul to stand up. Raoul did so; but, as he did not lift his hand in front of his eyes, ready to fire, the Persian told him to resume that attitude and to continue it, whatever happened.

  “But it tires the hand unnecessarily,” whispered Raoul. “If I do fire, I shan’t be sure of my aim.”

  “Then shift your pistol to the other hand,” said the Persian.

  “I can’t shoot with my left hand.”

  Thereupon, the Persian made this queer reply, which was certainly not calculated to throw light into the young man’s flurried brain:

  “It’s not a question of shooting with the right hand or the left; it’s a question of holding one of your hands as though you were going to pull the trigger of a pistol with your arm bent. As for the pistol itself, when all is said, you can put that in your pocket!” And he added, “Let this be clearly understood, or I will answer for nothing. It is a matter of life and death. And now, silence and follow me!”

  The cellars of the Opera are enormous and they are five in number. Raoul followed the Persian and wondered what he would have done without his companion in that extraordinary labyrinth. They went down to the third cellar; and their progress was still lit by some distant lamp.

  The lower they went, the more precautions the Persian seemed to take. He kept on turning to Raoul to see if he was holding his arm properly, showing him how he himself carried his hand as if always ready to fire, though the pistol was in his pocket.

  Suddenly, a loud voice made them stop. Some one above them shouted:

  “All the door-shutters on the stage! The commissary of police wants them!”

  Steps were heard and shadows glided through the darkness. The Persian drew Raoul behind a set piece. They saw passing before and above them old men bent by age and the past burden of opera-scenery. Some could hardly drag themselves along; others, from habit, with stooping bodies and outstretched hands, looked for doors to shut.

  They were the door-shutters, the old, worn-out sc
ene-shifters, on whom a charitable management had taken pity, giving them the job of shutting doors above and below the stage. They went about incessantly, from top to bottom of the building, shutting the doors; and they were also called “The draught-expellers,” at least at that time, for I have little doubt that by now they are all dead. Draughts are very bad for the voice, wherever they may come from.q

  The Persian and Raoul welcomed this incident, which relieved them of inconvenient witnesses, for some of those door-shutters, having nothing else to do or nowhere to lay their heads, stayed at the Opera, from idleness or necessity, and spent the night there. The two men might have stumbled over them, waking them up and provoking a request for explanations. For the moment, M. Mifroid’s inquiry saved them from any such unpleasant encounters.

  But they were not left to enjoy their solitude for long. Other shades now came down by the same way by which the door-shutters had gone up. Each of these shades carried a little lantern and moved it about, above, below and all around, as though looking for something or somebody.

  “Hang it!” muttered the Persian. “I don’t know what they are looking for, but they might easily find us ... Let us get away, quick! ... Your hand up, sir, ready to fire! ... Bend your arm ... more ... that’s it! ... Hand at the level of your eye, as though you were fighting a duel and waiting for the word to fire! ... Oh, leave your pistol in your pocket. Quick, come along, down-stairs. Level of your eye! Question of life or death! ... Here, this way, these stairs!” They reached the fifth cellar. “Oh, what a duel, sir, what a duel!”

  Once in the fifth cellar, the Persian drew breath. He seemed to enjoy a rather greater sense of security than he had displayed when they both stopped in the third; but he never altered the attitude of his hand. And Raoul, remembering the Persian’s observation—“I know these pistols can be relied upon”—was more and more astonished, wondering why any one should be so gratified at being able to rely upon a pistol which he did not intend to use!

  But the Persian left him no time for reflection. Telling Raoul to stay where he was, he ran up a few steps of the staircase which they had just left and then returned.