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Lux Radio Theatre - "The Phantom of the Opera" (Old Time Radio, 1943) · Lux Radio Theater | Old Time Radio

0:00
Speaker 1: On September 13, 1943, Lux Radio Theater opened its tenth
0:05
Speaker 1: season on CBS with broadcast number 405. The presentation was
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Speaker 1: The Phantom of the Opera, adapted from Universal's 1943 film,
0:16
Speaker 1: itself drawn from Gaston Leroux's novel. In Paris, 1880, unsettling
0:22
Speaker 1: incidents disrupt performances and backstage life at the opera as
0:27
Speaker 1: aspiring soprano Christine Dubois, baritone Anatole Garin, and inspector Raoul
0:33
Speaker 1: Daubert move through its stages, corridors, and underground reaches. Susanna Foster,
0:39
Speaker 1: Nelson Eddy, Edgar Barrier, and Basil Rathbone head the cast.
0:44
Speaker 1: Cecil B. DeMille produced and hosted for Lux Toilet Soap. Now,
0:49
Speaker 1: back to the golden age of radio.
0:52
Speaker 2: Lux presents Hollywood. The Lux Radio Theater brings you Nelson Eddy,
1:09
Speaker 2: Susanna Foster, and Basil Rathbone in The Phantom of the
1:14
Speaker 2: Opera with Edgar Barriere. Ladies and gentlemen, your producer, Mr.
1:19
Speaker 2: Cecil B.
1:20
Speaker 3: DeMille.
1:27
Speaker 4: Greetings from Hollywood, ladies and gentlemen. A Broadway first night
1:31
Speaker 4: thrills the few hundred people who can enjoy the play.
1:34
Speaker 4: A Hollywood premiere is exciting for the few thousands who
1:37
Speaker 4: gather to see the stars. But opening night in the
1:40
Speaker 4: Lux Radio Theater belongs to the millions. the millions in
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Speaker 4: American homes and camps from coast to coast, and it
1:48
Speaker 4: belongs to our boys in uniform beyond the seas who
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Speaker 4: join us for the first performance of our tenth season.
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Speaker 4: The real adventure is not in the lights or the crowds,
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Speaker 4: but in the historic privileges of the theater, in hearing
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Speaker 4: a famous star score again in a brand new role,
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Speaker 4: and in the joy of discovering a new star. All
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Speaker 4: that is yours tonight. when we present Nelson Eddy and
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Speaker 4: Susanna Foster in their new universal technicolor success, The Phantom
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Speaker 4: of the Opera. And with them, in one of the
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Speaker 4: theater's most interesting parts, we bring you Basil Rathbone. It's
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Speaker 4: the first of a big parade of stars and plays
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Speaker 4: that will challenge your attention and our ingenuity. Tonight's play
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Speaker 4: has the thrill of mystery, the gaiety of comedy, and
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Speaker 4: to stop everything else, one of the great singing voices
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Speaker 4: of our day, the romantic baritone of Nelson Eddy. And
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Speaker 4: if that isn't the right way to start the Lux
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Speaker 4: Radio Theater off on another season, I don't know how
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Speaker 4: to find it. We hope to make this season the
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Speaker 4: best in our history, and we're counting on you to
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Speaker 4: help us make it the best. By help, I don't
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Speaker 4: mean just buying Lux toilet soap. I think you'll do
3:02
Speaker 4: that anyway, because you know how good it is. But
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Speaker 4: backstage in this theater, we need your help in selecting plays.
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Speaker 4: We want you to tell us what stars you'd like
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Speaker 4: to hear. Everybody has a personal preference, and you give
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Speaker 4: all the orders for our command performances. Your loyalty to
3:19
Speaker 4: Lux Toilet Soap has kept this curtain going up for
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Speaker 4: nine years. Your award has been a fine product, and
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Speaker 4: the finest plays and stars we could discover. And now,
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Speaker 4: the thrill of another opening night, as the curtain rises
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Speaker 4: on the first act of The Phantom of the Opera.
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Speaker 4: starring Nelson Eddy as Anatole, Susanna Foster as Christine, and
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Speaker 4: Basil Rathbun as Tordamp, with Edgar Barrier as Raoul.
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Speaker 5: In the year 1880, the old Paris Opera stood like
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Speaker 5: a giant torch in the heart of the city. A
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Speaker 5: thousand windows ablaze with light. But there were shadows, too.
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Speaker 5: Shadows that flitted high in the gallery over the great stage.
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Speaker 5: Shadows that lingered in the sub-cellars far beneath the street
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Speaker 5: where the black sewers of Paris ran sluggishly in the dark.
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Speaker 5: But we were not concerned with these things, or so
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Speaker 5: we thought at the time. We of the opera knew
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Speaker 5: only the light of the dressing rooms, the bright gaiety
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Speaker 5: of the stage. I suppose it all began the night
4:29
Speaker 5: we sang Martha. The house was crowded, enthusiastic. There were
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Speaker 5: no shadows for us that night.
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Speaker 6: Vous verrez bien que la raison pour la gaieté de
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Speaker 6: nos chansons, si plein de d'emprunts, que je sois un refrain,
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Speaker 6: c'est là, par terre.
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Speaker 7: Et à nos cœurs si chers.
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Speaker 8: Le Thank you.
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Speaker 6: Thank you.
6:00
Speaker 5: No, there was no warning that night. No hint of
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Speaker 5: the strange things that were about to happen. But I
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Speaker 5: noticed at the finale that Christine was not on stage
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Speaker 5: for the curtain call. Christine Dubois, who sang the role
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Speaker 5: of Nancy. It was not like her to miss the
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Speaker 5: finale of the act.
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Speaker 9: Oh, what a day! Oh, what a day! Oh, what
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Speaker 9: a day!
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Speaker 5: Oh, Backstage, when the curtain had fallen, I saw Christine
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Speaker 5: hurrying to her dressing room. Christine, Christine, wait.
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Speaker 10: Yes, Anatole, what is it?
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Speaker 5: What happened to you? You weren't on stage.
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Speaker 11: Well, I.
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Speaker 5: You weren't ill, were you?
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Speaker 12: Oh, no, no.
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Speaker 5: You all right? You sure?
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Speaker 10: Of course, Anatole. Do I look all right?
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Speaker 5: Oh, you look lovely. What happened?
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Speaker 10: Well, I had a visitor. Somebody wanted to see me.
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Speaker 7: Oh?
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Speaker 8: Mademoiselle Dubois.
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Speaker 10: Oh, good evening, maestro.
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Speaker 8: Mademoiselle, I understand that you were entertaining a gentleman backstage
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Speaker 8: during a performance. Is that true?
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Speaker 10: Yes, maestro.
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Speaker 8: You are not the greatest soprano in the world, mademoiselle.
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Speaker 8: Not yet. So you please not take liberties. See me
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Speaker 8: later in my office.
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Speaker 10: Yes, maestro. Anatole, what will he do?
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Speaker 5: Don't worry, he's just barking again. Who was the gentleman?
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Speaker 10: Well, he's an old friend of mine.
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Speaker 5: But not so very old.
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Speaker 11: No.
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Speaker 10: He's Inspector d'Aubert, Monsieur T.
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Speaker 5: Inspector? You mean a policeman?
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Speaker 10: Well, he's not an ordinary policeman.
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Speaker 5: Oh, does he sing?
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Speaker 13: No.
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Speaker 10: He's a graduate of the military academy at Sancerre.
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Speaker 5: How much does this man mean to you?
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Speaker 10: Well, I'm not sure.
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Speaker 5: Christine, it's not like me to preach. But someday you'll
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Speaker 5: have to choose between your career and what's called a
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Speaker 5: normal life. You can't do justice to both. I think
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Speaker 5: you'll find that music has its compensations.
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Speaker 14: In other words, you don't think I ought to have
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Speaker 14: supper tonight with Raoul?
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Speaker 5: No.
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Speaker 10: But if you want it all, that would be all right?
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Speaker 5: Definitely.
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Speaker 10: We'll see.
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Speaker 5: There was another man that night who missed Christine's appearance
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Speaker 5: during the finale. His name was Eric Claudin, a violinist.
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Speaker 5: He was a strange man, this Claudin. Quiet, almost shy,
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Speaker 5: but a brilliant musician. When Christine came from Villeneuve's office,
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Speaker 5: Claudin was waiting in the passage.
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Speaker 11: Good evening, mademoiselle.
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Speaker 10: Good evening, Claudin. Monsieur Villeneuve will see you now.
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Speaker 11: Thank you, mademoiselle.
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Speaker 10: Good night.
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Speaker 11: Mademoiselle, may I speak to you for a moment?
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Speaker 10: Certainly.
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Speaker 11: You weren't on the stage tonight for the curtain call.
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Speaker 10: Everyone in the theater seems to have noticed that. It's
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Speaker 10: really quite flattering.
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Speaker 11: Why weren't you there?
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Speaker 6: What?
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Speaker 11: Oh, please forgive me, but I... I've been here so
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Speaker 11: long that you, that everybody, everything connected to the opera
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Speaker 11: is so much a part of my life.
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Speaker 15: Of course.
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Speaker 10: But Monsieur Villeneuve is waiting.
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Speaker 11: Yes. You weren't ill, were you? You're not in any trouble. Oh,
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Speaker 11: it's impertinent of me, I.
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Speaker 14: Know, but.
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Speaker 10: No, it isn't. You're very kind. And I'm not in trouble.
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Speaker 10: Good night.
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Speaker 11: Christine. It's you. Oh, I'm so sorry. I shouldn't have
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Speaker 11: called you Christine. I'm sorry.
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Speaker 10: Good night.
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Speaker 11: Good night, mademoiselle.
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Speaker 8: Come in. Oh, Claudel.
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Speaker 11: Yes, maestro.
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Speaker 8: Close the door, please. You know why I sent for you, Claudin?
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Speaker 11: I think so, maestro. I have brought my violin.
10:02
Speaker 8: Take it out of the case, please. Claudin, for some
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Speaker 8: time now I have sensed discord in the violin section.
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Speaker 8: It was not until tonight that I definitely located the
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Speaker 8: source of the trouble. Let me hear you play, Claudin.
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Speaker 11: Yes, maestro. What shall I play?
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Speaker 8: Anything you please.
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Speaker 11: Yes, maestro.
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Speaker 8: Wait a moment. What is that?
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Speaker 11: A little song. A lullaby from Provence, where I was born.
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Speaker 8: Oh, it is very nice, very charming.
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Speaker 11: I've written a concerto on the theme.
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Speaker 8: Yes, yes, charming, Claude Amber, too simple. Suppose instead you
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Speaker 8: let me hear the opening movement in the third act
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Speaker 8: of Martha.
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Speaker 16: Well?
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Speaker 11: It's no use, maestro. Something's happened to the fingers of
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Speaker 11: my left hand.
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Speaker 16: I see.
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Speaker 11: Perhaps it's only temporary, maestro. Perhaps it will get better.
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Speaker 8: I hope so. In the meantime, I'm sorry, Claude. I'm
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Speaker 8: very sorry. You've been with.
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Speaker 5: Us a long time.
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Speaker 11: Twenty years. What am I to do, maestro?
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Speaker 8: I know it's hard, but no doubt you've saved enough
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Speaker 8: to retire on.
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Speaker 17: Yes.
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Speaker 5: Yes, of course.
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Speaker 8: And in appreciation of your long service, I shall arrange
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Speaker 8: with the directors to have a season ticket issued to you.
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Speaker 5: Thank you, maestro. There are things I can tell you now.
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Speaker 5: Things I didn't learn until months, even years later. Flaudin
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Speaker 5: had no money put aside. He lived in a miserable
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Speaker 5: garret in the Paris slums. He was cold in the
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Speaker 5: winter and often hungry. What money he earned was used
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Speaker 5: for just one purpose... to provide singing lessons for Christine Dubois.
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Speaker 5: She knew nothing of his sacrifice for her. It was
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Speaker 5: a secret known only to Claudin himself and Signor Ferretti,
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Speaker 5: the singing master.
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Speaker 16: My dear Claudin, if you don't mind my saying so,
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Speaker 16: you're a fool.
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Speaker 11: Signor Ferretti.
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Speaker 16: For three years I've taught Christine Dubois and you have failed. Why?
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Speaker 16: How can a man of your age hope to interest
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Speaker 16: a girl as young as.
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Speaker 11: Signor, please. We agreed never to discuss my motives.
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Speaker 8: Very well.
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Speaker 16: So now you have been dismissed from the orchestra. You
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Speaker 16: can no longer pay for her lessons.
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Speaker 10: Is that it?
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Speaker 11: Yes, Signor, but I hope that you would continue to
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Speaker 11: instruct her. Just for a while. I'll have money soon.
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Speaker 11: A concerto I've written. I've taken it to Monsieur Playel.
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Speaker 11: It's going to be published.
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Speaker 16: Yes, yes, I know. Every violinist has written a concerto.
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Speaker 11: Then you'll go on with the lessons, Signor?
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Speaker 16: Why should I? Why should I assume your burden? The
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Speaker 16: girl means nothing to me.
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Speaker 5: But her career means a great deal to me, Signor.
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Speaker 5: More than anything else.
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Speaker 16: I'm sorry, Claudin.
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Speaker 11: Really sorry.
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Speaker 18: I will let her come a few times. Then I
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Speaker 18: will tell her she no longer needs me.
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Speaker 11: But that isn't true.
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Speaker 12: Perhaps not.
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Speaker 11: Signor, if you will give me just a little more time.
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Speaker 18: You will have time, Claudin, when you have money. Come
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Speaker 18: back when Monsieur Pleyel has bought your concierge.
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Speaker 5: For weeks, Claudin haunted the publisher's office. But always it
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Speaker 5: was the same story. Monsieur Pleyel was too busy to
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Speaker 5: see him. One evening, just at dusk, Claudin forced his
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Speaker 5: way past the manager, up the stairs into Pleyel's study.
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Speaker 11: Who's that? Monsieur Pleyel.
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Speaker 8: What are you doing here?
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Speaker 11: I've been waiting to see you since this morning.
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Speaker 8: Didn't I tell you I was busy?
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Speaker 11: Georgette, more acid, please.
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Speaker 10: Is this the bottle?
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Speaker 8: The blue one, dear. Pour it in the tray and
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Speaker 8: be careful, dear. Monsieur Pleyel.
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Speaker 16: This should be the best etching I've ever made, Josette.
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Speaker 11: Monsieur. Will you please be careful?
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Speaker 8: Those trays contain etching acid. Would you like to burn
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Speaker 8: the skin from your hands?
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Speaker 5: I'm sorry, monsieur, but my manuscript.
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Speaker 11: I must find out about my concerto.
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Speaker 16: Josette, would you mind giving the fellow his manuscript?
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Speaker 11: You'll find it on the table if it's anywhere.
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Speaker 10: What is your name?
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Speaker 11: Claudin. Eric Claudin. Claudin?
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Speaker 19: I don't see it.
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Speaker 6: No, no.
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Speaker 11: No, it wouldn't be there. It's a large manuscript in
14:01
Speaker 11: a portfolio.
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Speaker 10: Well, I'm sorry, but I don't know where it is.
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Speaker 11: Oh, but it must be here.
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Speaker 5: Well, if it.
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Speaker 19: Isn't, turn up.
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Speaker 10: You might call again in a few days.
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Speaker 20: But you don't understand, mademoiselle. It's the only copy I have.
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Speaker 20: It represents two years' work. You heard what the lady said.
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Speaker 12: Get out.
14:14
Speaker 11: But it was brought into this office. It must be here.
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Speaker 5: It must be found.
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Speaker 16: Did we ask you to bring your manuscript to us, Clardin?
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Speaker 5: Perhaps some employee has thrown it.
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Speaker 21: Into the waste paper basket where it probably belongs.
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Speaker 8: Good night.
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Speaker 20: Listen.
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Speaker 11: That piano. That's my music. Someone's playing my music.
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Speaker 8: I thought I told you to get out.
14:31
Speaker 12: Thief.
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Speaker 11: You stole my music.
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Speaker 8: Thief.
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Speaker 5: Help.
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Speaker 10: Let him go.
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Speaker 5: Let him go.
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Speaker 16: You stole my music.
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Speaker 11: Thief.
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Speaker 9: Thief.
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Speaker 19: You're choking him. Stay here.
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Speaker 9: Let him alone.
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Speaker 19: I'll burn you if you don't let him go.
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Speaker 11: This is acid.
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Speaker 9: I'll burn you.
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Speaker 13: Thief.
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Speaker 8: My work. My music. My music.
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Speaker 11: It was mine.
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Speaker 16: He had no rights.
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Speaker 22: Kill him!
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Speaker 5: Kill him!
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Speaker 23: My eyes! My eyes!
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Speaker 5: In that room, a man lay dead on the floor.
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Speaker 5: And Claudine stumbled down the steps, screaming in agony, the
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Speaker 5: acid burning into his face. Into the street he ran
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Speaker 5: with his hands before him. groping his way blindly through
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Speaker 5: the darkness. He was seen once on the Rue du
15:24
Speaker 5: Jardin and again in a dim street near the opera.
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Speaker 5: And then he was gone, lost in the black of
15:30
Speaker 5: the night. There was a search, of course, but he
15:44
Speaker 5: was never found. It was not a thing that was
15:46
Speaker 5: close to any one of us. It was something you
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Speaker 5: read about in the newspaper, shut her over for a moment,
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Speaker 5: and then try to forget. In a few days, it
15:54
Speaker 5: was out of our minds completely, for Christine and I
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Speaker 5: were rehearsing a new opera. One morning, we were sitting
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Speaker 5: at the piano in her.
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Speaker 24: Hall.
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Speaker 5: That's very nice. What is it, Christine?
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Speaker 10: It's a lullaby of Provence.
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Speaker 5: Provence?
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Speaker 10: I was born there, you know. I've known it for years,
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Speaker 10: ever since I can remember it.
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Speaker 5: Sing it for me.
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Speaker 14: Would you like?
16:21
Speaker 23: Hear those bells ringing soft.
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Speaker 24: And low Bringing peace to the twilight.
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Speaker 23: I know everyone's night has begun. Turn from the weary toil.
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Speaker 24: This will choose dawn.
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Speaker 23: Hear them ring while my love and I.
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Speaker 24: Drift and dream to their long abode.
17:21
Speaker 10: Well?
17:21
Speaker 5: Oh, it's lovely, Christine.
17:23
Speaker 19: Christine!
17:24
Speaker 10: Yes, Aunt Bertha? Didn't you hear the door? Monsieur Daubert
17:26
Speaker 10: is here.
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Speaker 8: Good morning, Christine.
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Speaker 3: Oh, good morning.
17:29
Speaker 10: You see, Monsieur, they call this rehearsing. Rehearsing, huh?
17:33
Speaker 12: Well... I'm sorry to intrude, but I must speak to you, Christy.
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Speaker 14: But, you see, I'm busy right now, Raoul. Anatole has
17:40
Speaker 14: been helping me.
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Speaker 12: Yes, to rehearse. Monsieur is very kind.
17:44
Speaker 5: Not at all, monsieur. I find it a pleasure. I'm
17:47
Speaker 5: Anatole Garon of the opera.
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Speaker 14: Oh, I'm so sorry. This is Inspector d'Aubert. This is
17:51
Speaker 14: your take.
17:52
Speaker 12: Oh, the policeman. Police inspector, monsieur.
17:54
Speaker 5: Yes, of course. I've heard of you, inspector. Your work
17:57
Speaker 5: must be very exciting.
17:59
Speaker 12: Oh, not half so exciting as yours, monsieur. It doesn't
18:02
Speaker 12: lend itself to self-expression. Christine, I'd like to see you alone, please.
18:07
Speaker 12: I'm here on business.
18:08
Speaker 10: With me?
18:09
Speaker 5: What business could Mademoiselle have with a surety?
18:11
Speaker 10: What is it, Raoul?
18:13
Speaker 14: If you don't mind, I'd rather Anatole stayed.
18:15
Speaker 12: Very well. Christine, do you know Eric Clodin?
18:18
Speaker 10: Why, yes.
18:19
Speaker 5: How well?
18:20
Speaker 10: I knew him as a violinist in the orchestra. Well,
18:23
Speaker 10: I met him a few times in the foyer on
18:25
Speaker 10: the stager outside the opera, but that's all.
18:28
Speaker 14: He acted a little strangely.
18:30
Speaker 12: Strangely?
18:30
Speaker 11: How do you mean?
18:31
Speaker 14: Well, I don't know. He just He just seemed eccentric,
18:35
Speaker 14: but harmless. I thought he was a rather kindly fellow
18:39
Speaker 14: until I read of the murder. What is it, Raoul?
18:42
Speaker 12: He was a kindly fellow until he thought Playel was
18:44
Speaker 12: robbing him of his work. Then something snapped, and he
18:47
Speaker 12: became a homicidal maniac.
18:48
Speaker 10: But what has all this to do with me?
18:50
Speaker 12: Well, we found something in his room, Christine, that connects
18:53
Speaker 12: you with him. No doubt you can explain.
18:55
Speaker 10: What is it?
18:56
Speaker 12: This statuette. As you can see, Christine, it's the image
18:59
Speaker 12: of you.
19:00
Speaker 5: So that's what became of it.
19:01
Speaker 12: Be good enough to explain yourself, monsieur.
19:03
Speaker 5: Certainly, that statuette is mine.
19:05
Speaker 12: Yours?
19:05
Speaker 5: Definitely, I made it. I intended to make you a
19:07
Speaker 5: present of it, Christine.
19:08
Speaker 10: How nice of you on a tool.
19:09
Speaker 5: Unfortunately, it disappeared from my dressing room.
19:12
Speaker 12: It's an extraordinary likeness. My compliments on your versatility, monsieur.
19:17
Speaker 12: Christine must have posed for this many times.
19:19
Speaker 10: I never posed for it, not once.
19:21
Speaker 12: You did this from drawings, monsieur?
19:23
Speaker 5: And from memory, monsieur.
19:25
Speaker 12: Extraordinary memory.
19:27
Speaker 5: Thank you. But it's a simple matter to recall Christine's
19:30
Speaker 5: face and figure. I'm sure you have found it so, monsieur.
19:33
Speaker 3: Mm-hmm.
19:37
Speaker 12: But what was the statuette doing in Clodagh's room?
19:39
Speaker 5: He must have stolen it. It's obvious.
19:41
Speaker 11: Is it?
19:42
Speaker 12: Speaking purely as an inspector of the Sûreté, I'm afraid
19:44
Speaker 12: even the obvious needs confirmation.
19:46
Speaker 5: But as a man, monsieur, I'm sure you can understand.
19:49
Speaker 5: Sitting there in the office... pit, night after night, looking
19:51
Speaker 5: at Christine, Claudin probably fell in love with her. You
19:54
Speaker 5: admit that is possible, no?
19:57
Speaker 12: Uh-huh. Christine, did Claudin ever seek more than a casual
20:02
Speaker 12: acquaintance with you?
20:03
Speaker 10: No, never.
20:04
Speaker 12: Can you imagine so diffident a lover, monsieur? Claudin was
20:06
Speaker 12: barely 50.
20:07
Speaker 5: No doubt he lacked Fire?
20:11
Speaker 12: No doubt. Christine, this statuette is yours. I give it
20:16
Speaker 12: to you.
20:16
Speaker 5: You'll give it to her?
20:17
Speaker 12: Yes.
20:18
Speaker 5: Well, that's interesting.
20:20
Speaker 10: I'll accept it as a gift from both of you.
20:22
Speaker 10: Thank you.
20:23
Speaker 12: Oh, you're quite welcome.
20:25
Speaker 5: It seems I have the worst of this bargain. In
20:27
Speaker 5: the future, Monsieur Inspector, I detect you model. In any case,
20:32
Speaker 5: that was a bad clue.
20:33
Speaker 12: Oh, not so bad as it seems. It enabled me
20:35
Speaker 12: to recover Mademoiselle's statuette. Is, uh, Is that your carriage
20:39
Speaker 12: at the door, monsieur?
20:41
Speaker 6: Yes.
20:41
Speaker 12: Would you be good enough to give me a lift?
20:44
Speaker 5: Well, which way are you going?
20:46
Speaker 12: Oh, it doesn't matter. As inspector of police, I have
20:49
Speaker 12: business all over Paris.
20:51
Speaker 5: Well, in that case, au revoir, Christine.
20:53
Speaker 10: Au revoir.
20:54
Speaker 12: You've been most helpful, Christine. Most helpful.
20:57
Speaker 10: I hope you catch Claudin.
20:58
Speaker 12: Thank you. Well, you ready, monsieur?
21:02
Speaker 5: At your service.
21:03
Speaker 12: After you, monsieur. After you, monsieur. Thank you, monsieur.
21:16
Speaker 5: We could laugh then, because the horror had not touched us.
21:20
Speaker 5: We didn't know that in the cabins of the sewer
21:22
Speaker 5: beneath the opera there was a shadow, darker than the
21:25
Speaker 5: surrounding gloom. The shadow of a man in a black cloak,
21:29
Speaker 5: his face hidden behind a mask. This was the man
21:33
Speaker 5: whose features had been burned and whose mind was on fire.
21:37
Speaker 5: Before long, that shadow was to envelop all of us.
21:58
Speaker 5: In a few moments, Mr.
21:59
Speaker 2: DeMille and our stars, Nelson Eddy, Susanna Foster, Basil Rathbone,
22:04
Speaker 2: and Edgar Barrier, will return in Act II. of the
22:07
Speaker 2: Phantom of the Opera. One way you can be sure
22:11
Speaker 2: of having a last word in an argument is to
22:13
Speaker 2: have an argument with yourself, as this young lady is doing,
22:16
Speaker 2: for instance.
22:17
Speaker 14: I don't see anything the matter with my skin, really.
22:19
Speaker 25: Doesn't look as nice as.
22:22
Speaker 10: It used to look. It does so.
22:24
Speaker 14: It's just that the light over this mirror is so bright. Hmm.
22:29
Speaker 10: Well, doesn't Johnny Brooks always tell me I have a
22:31
Speaker 10: complexion like a million?
22:32
Speaker 25: Hasn't said so for a good long time.
22:36
Speaker 10: Well, he's been away at camps, Marty. That's why.
22:39
Speaker 25: He's due for a furlough almost any time now. Maybe
22:43
Speaker 25: you'd better start doing something about your skin. How about
22:46
Speaker 25: some real beauty care instead of that dip, dab, lick,
22:49
Speaker 25: and promise kind of treatment you've been giving it lately?
22:53
Speaker 10: Maybe I'd better. Yes, I will.
22:57
Speaker 14: I'll try those beauty facial screen stars you use.
22:59
Speaker 13: Active lather facials with luxe toilet soap every single day.
23:03
Speaker 10: If it works for the screen stars, it ought to
23:05
Speaker 10: work for me, too.
23:06
Speaker 2: Well, she'll find it does work. This gentle complexion care
23:10
Speaker 2: used by nine out of ten Hollywood stars. You see,
23:13
Speaker 2: Luxe toilet soap is a real beauty soap. With lather
23:17
Speaker 2: so rich and smooth and super fine, it feels like
23:20
Speaker 2: a caress on the skin. Lovely screen stars tell you
23:23
Speaker 2: they take their Luxe soap beauty facials this way. They
23:26
Speaker 2: smooth lots of the creamy active lather well in. They
23:29
Speaker 2: rinse with warm water and splash with cold. Then they
23:32
Speaker 2: pat their skin dry with a soft towel. Now, that's
23:35
Speaker 2: a very simple, easy care, but if you use it
23:38
Speaker 2: every day, you'll find that soon your skin feels softer, smoother,
23:42
Speaker 2: takes on a fresher, lovelier look. Why not get some
23:45
Speaker 2: Luxe Toilet Soap tomorrow? You'll notice each satiny white cake
23:49
Speaker 2: is hard-milled. That means it lasts and lasts. And remember,
23:54
Speaker 2: it's patriotic not to waste soap. Use only what you need.
23:58
Speaker 2: Don't leave your cake of Luxe Toilet Soap standing in water.
24:01
Speaker 2: and be sure always to put it in a soap
24:03
Speaker 2: dish that's dry.
24:06
Speaker 5: And now, Mr.
24:07
Speaker 2: DeMille returns to the microphone.
24:09
Speaker 4: Act II of The Phantom of the Opera, starring Nelson
24:12
Speaker 4: Eddy as Anatole, Susanna Foster as Christine, and Basil Rathbun as.
24:17
Speaker 12: Claudette, with Edgar Barrier as Raoul.
24:35
Speaker 5: There was a master key at the opera house, and
24:38
Speaker 5: the night we were to sing Amour et Gloire, the
24:40
Speaker 5: key disappeared. Other things had been stolen, costumes, masks, but
24:47
Speaker 5: now the shadow had entrance to 2,500 doors. He could
24:51
Speaker 5: roam at will from the sub-cellars to the very top
24:53
Speaker 5: of the auditorium where the great chandelier swung over the audience.
24:58
Speaker 5: There were some who swore they had seen this shadow
25:01
Speaker 5: flung on the walls of dim corridors or crouching like
25:04
Speaker 5: a griffon on the high balconies over the street. And
25:07
Speaker 5: there were some who swore they had heard mutterings in
25:10
Speaker 5: the deep cellars where the sewers ran black.
25:14
Speaker 20: And tonight, so tonight, it is amour et gloire Amour
25:19
Speaker 20: et gloire with Anatole Garand. And the soprano, Biancaroli. Biancaroli
25:25
Speaker 20: sings tonight.
25:26
Speaker 11: Not Christine Dubois. Well, we shall see. We shall see.
25:40
Speaker 5: It was strange the way it happened. In the third act,
25:43
Speaker 5: the libretto called for me to give Biancaroli a cup
25:46
Speaker 5: of wine. When she had drunk it, I thought for
25:48
Speaker 5: a moment that her face paled. She finished her aria
25:52
Speaker 5: and left the stage. But she was late for her
25:54
Speaker 5: next entrance. There was a wait. And then came the
25:58
Speaker 5: cadenza from offstage. I knew that voice. But it was
26:03
Speaker 5: not Biancaroli who was making the entrance. It was her understudy,
26:08
Speaker 5: Christine Dubois.
26:11
Speaker 9: La vie joie les deux, c'est la vie, la vie,
26:17
Speaker 9: la vie.
26:42
Speaker 23: Thank you.
27:06
Speaker 22: Thank you.
27:21
Speaker 23: Mais pourquoi vous plonger dans de si.
28:23
Speaker 11: Oh, baby.
28:24
Speaker 12: Oh, baby.
28:25
Speaker 23: Oh, my. And you, my.
28:53
Speaker 6: Where to.
29:05
Speaker 11: Go?
29:05
Speaker 3: Where to go?
29:07
Speaker 23: Where to go?
29:35
Speaker 22: Good day.
29:40
Speaker 3: Good night.
29:43
Speaker 23: Good night.
30:20
Speaker 19: I tell you, I was drugged. I was perfectly well
30:22
Speaker 19: during the second act. You saw me, maestro.
30:24
Speaker 8: Madame Biancaroli, we realize that you.
30:26
Speaker 19: If you realize I was drugged, then tell that police
30:28
Speaker 19: inspector there to arrest the man who did it. We
30:30
Speaker 19: all know who it was, Anatole Garon.
30:32
Speaker 12: I know nothing of the sort, madame. I am a
30:34
Speaker 12: police officer, not a psychic. It is my duty to
30:36
Speaker 12: collect evidence without prejudice.
30:38
Speaker 19: Haven't you evidence enough?
30:39
Speaker 3: Everyone knows that.
30:40
Speaker 12: Madame, will you be seated, please? Monsieur Garon. Is it
30:44
Speaker 12: true that you had the opportunity during tonight's performance to
30:46
Speaker 12: place the drug in Madame Biancaroli's glass?
30:48
Speaker 5: Certainly, Monsieur Inspector. We all did.
30:51
Speaker 12: It becomes, then, a question of motive.
30:52
Speaker 19: The motive is very simple. Garon wanted to get me
30:55
Speaker 19: out of the way to make room for that.
30:56
Speaker 12: Are you referring to Christine Dubois?
30:58
Speaker 10: I am.
30:59
Speaker 12: You heard, Monsieur Garon.
31:00
Speaker 5: Oh, yes. Madame is in good voice and most explicit.
31:04
Speaker 12: Have you anything to say, Monsieur?
31:06
Speaker 5: I deny Madame's accusation.
31:08
Speaker 12: Do you deny, Monsieur, that you had any motive in
31:10
Speaker 12: drugging Madame?
31:12
Speaker 5: I deny that I drugged her.
31:13
Speaker 19: Monsieur Inspector, I do not understand your reluctance to make
31:16
Speaker 19: an arrest. You are not an examining magistrate.
31:18
Speaker 12: Can you substantiate your charge that Anatole Garand had a
31:21
Speaker 12: motive in drugging you and that the motive was Christine Dubois?
31:23
Speaker 19: Why, anybody with half an eye would be able to
31:25
Speaker 19: tell you.
31:26
Speaker 12: Hearsay is not evidence, Madame.
31:27
Speaker 19: Then I'll go over your head. I have influence at
31:29
Speaker 19: the sureté. I was drugged tonight to the point of death,
31:32
Speaker 19: and I insist upon the arrest of the criminal and
31:34
Speaker 19: his accomplice.
31:35
Speaker 8: And if you don't... One moment, Madame, please. You've heard
31:38
Speaker 8: Garand deny that he drugged you. As the inspector says,
31:41
Speaker 8: there is no evidence to warrant an arrest. If you
31:43
Speaker 8: insist upon it and fail to gain a conviction, you
31:45
Speaker 8: will find yourself in a very difficult predicament.
31:48
Speaker 12: Yes, quite right.
31:48
Speaker 8: And no matter what the outcome, don't forget that your
31:51
Speaker 8: career is bound to the Paris Opera. Whatever scandal injures
31:54
Speaker 8: us or any member of the company will injure you
31:56
Speaker 8: as well.
31:57
Speaker 19: Are you suggesting that I forget the whole affair?
32:00
Speaker 6: Yes.
32:01
Speaker 8: For your own sake as well as ours.
32:03
Speaker 19: Very well. That is, under certain conditions. I want a
32:08
Speaker 19: new understudy. Christine Dubois goes back to the course and
32:11
Speaker 19: stays for the two years my contract has to run.
32:13
Speaker 5: No, I won't permit it. If any such arrangement is made,
32:16
Speaker 5: I'll go.
32:16
Speaker 19: My dear Anatole, I have not finished. I go a
32:18
Speaker 19: step farther. I suggest that we all forget that anything
32:22
Speaker 19: happened afterwards.
32:24
Speaker 5: For once, madame, I don't understand you.
32:27
Speaker 19: Oh, but it's so simple. Nothing happened tonight. I was
32:31
Speaker 19: not drunk. And Christine Dubois did not sing.
32:33
Speaker 11: What?
32:34
Speaker 8: Madame, there are always critics in the house.
32:36
Speaker 19: You will send word to the papers that no mention
32:38
Speaker 19: of hers to be made.
32:39
Speaker 5: You'll do nothing of the sort. It's ridiculous. Besides, what
32:42
Speaker 5: about the public? Shall we send word to the public
32:44
Speaker 5: to forget that Mademoiselle Dubois was a sensation?
32:46
Speaker 19: If you are willing to ruin the opera for the
32:48
Speaker 19: sake of Christine Dubois, that's your affair. But you'll either
32:51
Speaker 19: do as I say, or I will charge both of
32:53
Speaker 19: you with trying to murder me. Do you understand that?
32:56
Speaker 6: Murder!
33:04
Speaker 10: Ah, Madame Biancaroli.
33:06
Speaker 19: Good evening, Maria.
33:07
Speaker 10: Oh, Madame, you were magnificent tonight.
33:10
Speaker 19: Oh, my dress, please. You really thought so, Maria?
33:13
Speaker 16: Oh, yes, Madame.
33:14
Speaker 10: The best I've ever heard you.
33:16
Speaker 13: Especially in the part with Garon.
33:18
Speaker 14: The cadenza from offstage, it was so.
33:20
Speaker 19: Oh, you liked that, did you?
33:22
Speaker 10: Why, yes, Madame, it.
33:24
Speaker 19: Yes. Yes, I was very good tonight. My dressing gown, Maria.
33:29
Speaker 16: Yes, Madame.
33:29
Speaker 11: Ah!
33:31
Speaker 13: Maria!
33:32
Speaker 15: Madame!
33:33
Speaker 11: Madame!
33:33
Speaker 19: What's the matter with you?
33:34
Speaker 16: A man, madame.
33:36
Speaker 10: Outside the window, on the balcony.
33:37
Speaker 19: Oh, don't be a fool. How could a man... Madame.
33:41
Speaker 11: Good evening.
33:43
Speaker 19: What do you want here?
33:44
Speaker 5: I'm sorry.
33:46
Speaker 11: I cannot let you see my face. You would not
33:48
Speaker 11: be pleased.
33:49
Speaker 19: Take off that mask, Anatole Garon. You do not frighten me.
33:52
Speaker 10: Madame, it is not Anatole Garon.
33:54
Speaker 26: I did not come here to frighten you unnecessarily. Only
33:58
Speaker 26: to tell you that Christine Dubois... We'll sing tomorrow night.
34:04
Speaker 19: Oh, yes.
34:05
Speaker 11: You will leave Paris, madame.
34:06
Speaker 10: Leave Paris.
34:07
Speaker 19: You will see to it, of course.
34:09
Speaker 11: Yes, I will see to it, madame.
34:12
Speaker 19: Get back, madame.
34:14
Speaker 11: Do you force me to reason with you, madame?
34:16
Speaker 19: I will not leave.
34:17
Speaker 10: Get away from me.
34:18
Speaker 5: I am sorry, madame.
34:21
Speaker 11: I am very sorry.
34:30
Speaker 26: Anatole!
34:31
Speaker 11: Anatole!
34:32
Speaker 12: What is it? Madame Biancaroli and her maid, they have
34:34
Speaker 12: been murdered.
34:41
Speaker 5: The opera was closed for almost a week. And then
34:44
Speaker 5: from somewhere within the darkened building, a note was written
34:47
Speaker 5: to the directors. Gentlemen, the opera must open.
34:55
Speaker 26: Very soon, Christine Dubois will replace Biancaroli, who chose to
35:01
Speaker 26: ignore my advice.
35:14
Speaker 5: Good morning.
35:15
Speaker 16: Yes?
35:16
Speaker 5: Is Christine at home?
35:18
Speaker 16: Yes.
35:19
Speaker 5: Well, may I see her, please?
35:20
Speaker 19: Come in.
35:21
Speaker 10: I'll tell her you're here.
35:22
Speaker 5: Thank you. Oh, I didn't see you, Inspector. Good morning.
35:40
Speaker 5: How's the opera business, Monsieur? Very poor at the moment.
35:43
Speaker 5: How's the inspecting?
35:44
Speaker 12: Very good.
35:45
Speaker 5: Splendid. Glad to hear it.
35:46
Speaker 12: Thank you.
35:46
Speaker 5: Not at all.
35:48
Speaker 10: Good morning.
35:49
Speaker 12: Oh, good morning, Christine.
35:50
Speaker 10: Aunt Berta told me you were waiting together. Did you
35:53
Speaker 10: amuse each other?
35:54
Speaker 7: Mm-hmm.
35:55
Speaker 13: Good.
35:55
Speaker 8: May I have a word with you, Christine?
35:58
Speaker 5: Sorry, monsieur.
35:59
Speaker 12: After you, monsieur.
36:01
Speaker 5: After you.
36:01
Speaker 12: Thank you. Christine, if you and I could only.
36:03
Speaker 10: One at a time, please. Anatole?
36:07
Speaker 5: They're going to open the opera, Christine. You and I
36:10
Speaker 5: are going to sing together.
36:11
Speaker 12: You are wrong, monsieur. I'm sorry, Christine. They are going
36:14
Speaker 12: to reopen the opera, but without you. The circumstances connected
36:17
Speaker 12: with the murder of Biancaroli demand that someone else sing
36:20
Speaker 12: the leading role in your place.
36:21
Speaker 6: Really?
36:22
Speaker 5: You may be interested to know, Monsieur Daubert, that circumstances
36:25
Speaker 5: connected with the murder of Biancaroli demand that Christine does sing.
36:28
Speaker 12: Well, the police have changed that plan somewhat. We are
36:30
Speaker 12: going to draw the murderer out into the open by
36:32
Speaker 12: defying his warning. My men will be posted at every
36:35
Speaker 12: entrance and exit.
36:37
Speaker 5: And probably miss him.
36:40
Speaker 12: Monsieur, I am aware that your profession requires a certain self-assurance,
36:44
Speaker 12: but aren't you going too far?
36:45
Speaker 5: Not at all. I happen to have a plan of
36:48
Speaker 5: my own for trapping the murderer.
36:49
Speaker 12: So you've turned detective, monsieur?
36:50
Speaker 11: I have.
36:51
Speaker 5: Well, very well, if it amuses you. I might add
36:54
Speaker 5: that my plan is strictly confidential.
36:56
Speaker 12: All I can tell you is that Lorenzi is to
36:58
Speaker 12: sing the role. And I am not in the least
37:00
Speaker 12: interested in your plan.
37:02
Speaker 5: May I have a word with you alone, Christine?
37:05
Speaker 12: Yes, that's what I came for. May I speak to
37:06
Speaker 12: you alone, Christine?
37:07
Speaker 11: But I.
37:08
Speaker 10: I'm going out.
37:09
Speaker 5: My carriage is just outside.
37:11
Speaker 10: I'm not going right now.
37:12
Speaker 14: I mean, I'm going later.
37:15
Speaker 18: I'll wait.
37:17
Speaker 7: Yes.
37:18
Speaker 5: Yes, we'll both wait. We were certain now that the
37:28
Speaker 5: murderer was Eric Claudin. The plan I had worked out
37:32
Speaker 5: took me to the home of a great pianist and composer.
37:35
Speaker 5: On the night before we were to open, I went
37:36
Speaker 5: to see Franz Liszt. Very nice.
37:41
Speaker 21: But do you really think this Claudin could be tempted
37:43
Speaker 21: to leave his hiding place and risk his life merely
37:45
Speaker 21: to hear his own concerto?
37:47
Speaker 5: Played by Franz Liszt himself? Do you doubt it, maestro? Now,
37:50
Speaker 5: my plan is for you to play the concerto between
37:53
Speaker 5: the second and third acts, and then.
37:55
Speaker 21: Well, so many crimes have been committed in the name
37:57
Speaker 21: of music. It seems only fair to use it now
37:59
Speaker 21: to avert one. I am at your service, monsieur. Oh,
38:02
Speaker 21: thank you, maestro.
38:03
Speaker 5: Most exciting, this detective work. Most exciting. Well, it's more
38:07
Speaker 5: than exciting to me. I have the honor of being
38:10
Speaker 5: suspected of the crime.
38:19
Speaker 11: Gentlemen, I have been very patient.
38:22
Speaker 26: Now I learn that Christine Dubois will not sing.
38:26
Speaker 20: Gentlemen, if Madame Lorenzi sings in her place, you will
38:30
Speaker 20: be responsible.
38:32
Speaker 11: Two are dead now. Only two. There will be more, gentlemen. Many,
38:39
Speaker 11: many more.
38:51
Speaker 5: Lorenzi sang that night. Through two acts we waited, and
38:55
Speaker 5: nothing happened. An old worker at the opera house thought
38:58
Speaker 5: he saw a figure on the catwalk leading to the
39:00
Speaker 5: dome of the theater... It was the old man's duty
39:03
Speaker 5: to light the monster chandelier, a great heavy thing of
39:07
Speaker 5: glass and bronze held in place by chains. When the
39:10
Speaker 5: police searched the catwalk high over the audience, there was
39:13
Speaker 5: no one there. We began to feel secure. Christine had
39:17
Speaker 5: come to the theater, but she was safe in her
39:19
Speaker 5: dressing room. When I entered from the wings at the
39:22
Speaker 5: finale of the second act, I was thinking only of
39:24
Speaker 5: the opera.
39:25
Speaker 9: La, la, la, la, la.
39:39
Speaker 8: The brave troops are approaching.
39:42
Speaker 6: They took everything from the enemies. Who will be with
39:54
Speaker 6: us for us? There is no one else, you know
40:00
Speaker 6: for yourself. We love beautiful women, but.
40:08
Speaker 9: We cut our enemies with a knife.
40:11
Speaker 6: Hey, give us some vodka, soak our mouths in it.
40:42
Speaker 6: Thank you.
41:13
Speaker 9: BF-WATCH TV 2021.
41:38
Speaker 6: All my life I've been full of you, of you alone.
42:29
Speaker 5: And then it happened. I saw the great chandelier begin
42:33
Speaker 5: to sway high above. It swung to and fro like
42:37
Speaker 5: a giant pendulum. Others had seen it, too. A woman
42:40
Speaker 5: in the audience screamed. There was no time to get
42:46
Speaker 5: out of the way. The audience below was frozen, staring
42:50
Speaker 5: up at the monster of glass and bronze. And then
42:52
Speaker 5: it came hurtling down through space.
43:06
Speaker 12: Get doctors.
43:07
Speaker 19: Doctors.
43:08
Speaker 8: Get every doctor you can find in Paris.
43:09
Speaker 12: Watch every entrance. Let no one in or out except
43:11
Speaker 12: doctors and the injured. Christine.
43:12
Speaker 5: Christine, where are you?
43:13
Speaker 12: She's in her dressing room.
43:14
Speaker 5: No, she's not in her dressing room. I've been there.
43:16
Speaker 14: I saw her, monsieur.
43:17
Speaker 16: She went down the steps.
43:18
Speaker 5: You saw Christine Dubois?
43:19
Speaker 12: Yes, monsieur.
43:20
Speaker 5: Yes, monsieur.
43:20
Speaker 16: She was going down the steps beneath the storeroom.
43:22
Speaker 10: I called to her, but she did not answer.
43:24
Speaker 5: Which way are the steps?
43:25
Speaker 10: Over there, monsieur.
43:26
Speaker 16: And there was a man with her. A man in
43:28
Speaker 16: a cloak with a mask covering his face.
43:30
Speaker 5: It's Claudin. She's with Claudin.
43:33
Speaker 12: Christine!
43:33
Speaker 14: Christine!
43:36
Speaker 23: Where are you?
43:39
Speaker 2: We pause now for station identification. This is the Columbia
43:51
Speaker 2: Broadcasting System. After a brief intermission, Mr. DeMille presents Nelson Eddy,
44:18
Speaker 2: Susanna Foster, and Basil Rathbone in Act Three. of the
44:22
Speaker 2: Phantom of the Opera. And now, our Hollywood reporter, Libby Collins, with.
44:28
Speaker 5: A fashion tip.
44:29
Speaker 10: Why, Mr.
44:29
Speaker 13: Kennedy, I thought our listeners would be interested in this
44:32
Speaker 13: little example of resourcefulness on the part of one of
44:34
Speaker 13: our famous stars. Screen stars must look chic and glamorous always,
44:38
Speaker 13: you know, but they're subject to the same wartime limitations
44:42
Speaker 13: as the rest of us. Take hairpins, for instance.
44:44
Speaker 2: Why, Libby, even a mere man has heard that hairpins
44:47
Speaker 2: are almost as scarce as nylon.
44:49
Speaker 10: Alas, that's true, Mr.
44:50
Speaker 8: Kennedy.
44:51
Speaker 13: But Ida Lupino found some wooden ones that were lacquered
44:54
Speaker 13: and bright colors. Much too pretty to cover up, Ida thought.
44:58
Speaker 13: So she parted her hair in back, pulled it up
45:00
Speaker 13: on top of her head, and on each side of
45:02
Speaker 13: the part set a row of the colored pins to
45:04
Speaker 13: make a crisscross pattern.
45:05
Speaker 10: Looked cute as could.
45:06
Speaker 21: Be, too.
45:07
Speaker 2: That sounds like Ida Libby. She's as smart and bright
45:10
Speaker 2: as Quicksilver.
45:11
Speaker 10: Yes, Mr.
45:11
Speaker 13: Kennedy. And she darts around Hollywood almost as fast. She
45:15
Speaker 13: has to, what with her studio work and the hours
45:17
Speaker 13: of war work she puts in. Not much time for
45:20
Speaker 13: beauty care, either. That's why she depends more than ever
45:23
Speaker 13: on Luxe Toilet Soap for complexion loveliness. My daily active
45:27
Speaker 13: lather facials are such a wonderful.
45:28
Speaker 10: Beauty aid, she says.
45:30
Speaker 2: Busy women everywhere find that's true, Libby. Those Luxe Soap
45:33
Speaker 2: beauty facials take just a few minutes a day. Yet
45:36
Speaker 2: the creamy lather gives skin gentle, thorough care it must
45:40
Speaker 2: have to be soft and lovely.
45:41
Speaker 13: Yes, a few minutes every day to smooth the rich
45:44
Speaker 13: lather in, and you can just feel your skin taking
45:46
Speaker 13: on new freshness and beauty. No wonder Lux Toilet Soap
45:50
Speaker 13: is the beauty soap of the stars.
45:52
Speaker 2: Reason enough why every woman owes it to herself to
45:54
Speaker 2: try it. Lux Toilet Soap is as fine a soap
45:57
Speaker 2: as money can buy. It's hard milled. That means it
46:00
Speaker 2: lasts and lasts. Each cake is satin smooth and fine.
46:05
Speaker 2: And if your dealer is temporarily out of stock due
46:07
Speaker 2: to wartime conditions, please be patient. He'll have more very shortly. Remember,
46:12
Speaker 2: Lux Toilet Soap is worth waiting for. Start your Hollywood
46:16
Speaker 2: beauty care soon. Now, our producer, Mr.
46:20
Speaker 11: DeMille.
46:21
Speaker 4: There's always excitement backstage after an opening. You're invited to
46:25
Speaker 4: join us for a chat with our stars when the
46:28
Speaker 4: curtain falls. But now here's Act Three of The Phantom
46:31
Speaker 4: of the Opera, starring Nelson Eddy, Susanna Foster, and Basil
46:35
Speaker 4: Rathbone with Edgar Barrier.
46:46
Speaker 5: Christine had gone with Claudin The chorus that night had
46:50
Speaker 5: worn masks, and Daubert had arranged for the police to
46:53
Speaker 5: wear masks, too, so they might mingle with the crowd backstage.
46:58
Speaker 5: That was the way Claudin had enticed her. Thinking he
47:01
Speaker 5: was one of Daubert's men who had come to protect her,
47:03
Speaker 5: Christine followed him down the steps to the cavernous cellars.
47:09
Speaker 11: This way, mademoiselle. Hold tight to my hand. The steps
47:12
Speaker 11: are quite steep.
47:13
Speaker 10: Are you one of the police? Where is Inspector Daubert?
47:16
Speaker 11: He's investigating the cause of the accident. I'll look after him.
47:20
Speaker 10: Why do we have to come down here?
47:21
Speaker 11: Why? Don't you like it down here? It's very lovely.
47:25
Speaker 11: Once you get used to it.
47:27
Speaker 19: Wait, please.
47:28
Speaker 11: Yes?
47:29
Speaker 10: Let me see your face. Take off your mask.
47:32
Speaker 11: Oh, no, no, no, my dear. I must never do that. Never.
47:35
Speaker 10: You... You're not one of the police.
47:37
Speaker 11: Don't be frightened. I'll watch over you. I've always watched
47:41
Speaker 11: over you, Christine. No!
47:43
Speaker 14: No.
47:44
Speaker 20: No, you must not do that. You'll stay here with me, child,
47:49
Speaker 20: won't you? It's been so lonely without you. But you've
47:53
Speaker 20: come to me at last, haven't you?
47:55
Speaker 11: Sing to me, and I'll play. We'll be together forever.
47:58
Speaker 11: It's beautiful down here. Beautiful. Come now. I'll show you.
48:03
Speaker 22: Come with me.
48:04
Speaker 24: Come with me.
48:12
Speaker 11: This is the last turn, just through the tunnel.
48:15
Speaker 19: Monsieur.
48:15
Speaker 11: You're not frightened, are you?
48:17
Speaker 12: Monsieur.
48:18
Speaker 11: You know I'll not harm you, don't you? How could
48:21
Speaker 11: I harm you? I've always helped you, haven't I?
48:24
Speaker 10: Yes.
48:25
Speaker 11: Yes, what?
48:27
Speaker 10: You've helped me.
48:28
Speaker 11: Of course I have.
48:28
Speaker 5: Bianca rolling you.
48:31
Speaker 11: She wouldn't let you sing. She didn't know how much
48:33
Speaker 11: I love you.
48:34
Speaker 5: But now she knows.
48:36
Speaker 20: But it doesn't matter anymore. Nothing matters except you and me.
48:40
Speaker 20: Now you'll sing all you want to, but only for me.
48:43
Speaker 20: You will sing and want to, won't you, my darling?
48:46
Speaker 10: There's a piano in the opera for you.
48:49
Speaker 14: We'll go up then if you can play it and I'll.
48:51
Speaker 10: Sing for you.
48:51
Speaker 11: But you don't understand.
48:53
Speaker 20: We can't go back ever. It was I who made
48:56
Speaker 20: the chandelier fall. I. For you, Christine.
49:00
Speaker 11: But I warned them.
49:01
Speaker 20: I told them there'd be death and destruction if they
49:03
Speaker 20: wouldn't let you sing.
49:04
Speaker 11: Oh, come now. Come, my child. Isn't far now. Look there. Look.
49:11
Speaker 11: Didn't I tell you it was beautiful here?
49:14
Speaker 20: You didn't know we had a lake all to ourselves?
49:17
Speaker 11: Look at your lake, Christine. You'll love it. You'll love
49:21
Speaker 11: it when you get used to the dark. It's friendly
49:23
Speaker 11: and peaceful. Brings rest and relief from pain. It's right
49:28
Speaker 11: under the opera house.
49:29
Speaker 20: And the music comes down and the darkness distills it.
49:32
Speaker 20: Cleanses it of the suffering that made it. Then it's
49:35
Speaker 20: all beauty. And life here is like a resurrection. I
49:40
Speaker 20: came here when my face was on fire. I found
49:44
Speaker 20: calmness in that dark water and comfort in the blackness
49:48
Speaker 20: over it.
49:48
Speaker 11: Then I heard you sing.
49:50
Speaker 20: I thought I died and that you'd come to me.
49:53
Speaker 20: And the others sang and destroyed my heaven, so I
49:56
Speaker 20: destroyed them.
49:58
Speaker 14: You heard me from here?
50:00
Speaker 9: Oh, yes.
50:01
Speaker 11: Why, this is my private auditorium. Strange air currents circle
50:05
Speaker 11: these passages. They catch the music as it flutters down
50:08
Speaker 11: like a living bird in a net.
50:09
Speaker 5: You can hear the opera almost as well as from
50:11
Speaker 5: the highest balcony.
50:13
Speaker 11: I heard it.
50:14
Speaker 20: Yes, just as I heard it when I first came
50:16
Speaker 20: to Paris.
50:17
Speaker 11: You're not afraid anymore, are you? No. Of course you're not.
50:21
Speaker 11: Then come with me. Come.
50:23
Speaker 12: Come.
50:33
Speaker 11: Christine.
50:34
Speaker 27: Christine, where are you?
50:35
Speaker 18: You're right.
50:35
Speaker 8: Bring a lantern here. Yes, Monsieur, Inspector.
50:37
Speaker 5: Here, Monsieur. Christine!
50:38
Speaker 6: Someday, take four men, search the passage to the left.
50:40
Speaker 10: Be careful, now.
50:41
Speaker 5: Do you have another lantern, Inspector?
50:42
Speaker 12: This is the only one left. You'd better stay with me.
50:49
Speaker 12: We seem to have come to the end of the passage.
50:51
Speaker 11: No, we haven't.
50:52
Speaker 5: Isn't that an opening in the wall there, to our left?
50:54
Speaker 22: Yes.
50:55
Speaker 11: Yes, it's a tunnel, Inspector.
50:57
Speaker 12: Keep close to the wall. Feel your way along.
50:59
Speaker 5: There's just a narrow ledge. The sewer must run through here.
51:03
Speaker 12: There it is, just ahead of us.
51:05
Speaker 5: Do you suppose he might have doubled back? He might
51:07
Speaker 5: be upstairs.
51:07
Speaker 12: Why should he?
51:08
Speaker 5: Liszt will be playing the concerto. He should be starting now.
51:11
Speaker 12: Oh, yes, yes, that brilliant plan of yours.
51:13
Speaker 10: Christine!
51:16
Speaker 12: What happened?
51:17
Speaker 5: I touched the side of the wall. The rock came
51:19
Speaker 5: away in my hand. The whole place down here is
51:21
Speaker 5: ready to crumble.
51:22
Speaker 11: Look.
51:23
Speaker 12: Look up there, just ahead.
51:25
Speaker 11: Yes.
51:26
Speaker 5: It looks almost like a lake.
51:29
Speaker 11: Come on. Christine!
51:32
Speaker 27: Christine!
51:34
Speaker 12: Christine!
51:35
Speaker 9: Christine!
51:40
Speaker 11: My child, this is my home. Furniture from the storeroom,
51:45
Speaker 11: even a piano. Do you like it, my dear?
51:47
Speaker 10: You think.
51:48
Speaker 11: Come, give me your cake, my child. And then I'll
51:50
Speaker 11: show you where you sleep.
51:54
Speaker 20: Listen!
51:55
Speaker 11: Do you hear... My concerto.
51:59
Speaker 15: They're playing my concerto on the stage of the opera.
52:03
Speaker 11: My concerto. I'll play it, tourism child. It's for you. Yes, yes,
52:09
Speaker 11: for you. You like it, my child. I wrote it
52:19
Speaker 11: only for you.
52:19
Speaker 19: Who are you?
52:20
Speaker 11: Everything I have done has been for you. You understand that,
52:23
Speaker 11: don't you?
52:24
Speaker 6: Who are you?
52:25
Speaker 3: Take off your mask.
52:25
Speaker 11: No, child, no. Listen to that music.
52:28
Speaker 12: Listen.
52:29
Speaker 3: Take off the mask. I'll take it off for you.
52:32
Speaker 11: Why did you do it?
52:33
Speaker 8: Now you see my face.
52:36
Speaker 11: Oh, look at it. Look. No, no. You'll never live
52:40
Speaker 11: here now, will you? You'll hate me. A lowly creature. Hateful, repulsive.
52:47
Speaker 11: And I wanted you to love me.
52:48
Speaker 9: Don't come near me.
52:49
Speaker 11: You'll see, you'll be squirreled everything.
52:51
Speaker 7: Don't leave me.
52:52
Speaker 24: Don't leave me.
52:53
Speaker 19: Christine, there he is.
52:55
Speaker 12: Get back, Christine.
52:55
Speaker 13: Stand back.
52:59
Speaker 5: You fools!
53:00
Speaker 11: You cannot kill me!
53:02
Speaker 5: Nothing can kill me!
53:04
Speaker 22: Arato!
53:05
Speaker 11: The wall!
53:06
Speaker 15: They're coming!
53:06
Speaker 23: They're going to fall!
53:07
Speaker 9: Come over here, quick!
53:08
Speaker 3: Look out!
53:09
Speaker 15: Get out from the passage under the archway in the passage!
53:22
Speaker 5: Christine, are you all right?
53:23
Speaker 20: Yes.
53:24
Speaker 5: Inspector?
53:25
Speaker 10: All right.
53:26
Speaker 5: Slow down. He's still in there under the rock.
53:28
Speaker 12: My shot must have started. They gave him.
53:30
Speaker 11: Come, Christine.
53:31
Speaker 5: We'd better start back.
53:32
Speaker 10: But Clotin.
53:33
Speaker 5: It's no use. It would take days to get him out.
53:36
Speaker 5: He's dead, Christine.
53:38
Speaker 14: It's so strange. He said he wrote the concerto for me,
53:43
Speaker 14: a song I've known since I was a child. Who
53:45
Speaker 14: was he?
53:46
Speaker 5: He came from your district in Provence. Everybody there must
53:49
Speaker 5: have known that old folk song.
53:52
Speaker 14: He was almost a stranger to me, and yet somehow I...
53:56
Speaker 14: I always felt drawn to him with a kind of
53:59
Speaker 14: pity and understanding.
54:02
Speaker 5: His suffering and his madness will be forgotten. But his music,
54:08
Speaker 5: his concerto, that will remain. Christine went on to a
54:18
Speaker 5: great career and great fame. The night we sang together
54:21
Speaker 5: for the first time, the corridor outside of a dressing
54:24
Speaker 5: room was jammed with admirers. I had to force my
54:26
Speaker 5: way to a door. Excuse me. Excuse me. Thank you. Anatole! Oh,
54:35
Speaker 5: you were magnificent, Christine. Incomparable, beautiful, a sensation.
54:38
Speaker 10: Is that all?
54:39
Speaker 5: I've just begun. It would take days and years to
54:41
Speaker 5: tell you how wonderful you were. We're having supper tonight
54:43
Speaker 5: at the Café de l'Opéra.
54:44
Speaker 14: Well, I'm terribly sorry, Anatole, but I can't tonight.
54:49
Speaker 5: Why not? Have you another engagement?
54:53
Speaker 10: Well, yes.
54:54
Speaker 5: With whom?
54:56
Speaker 12: With me, monsieur.
54:57
Speaker 5: Oh, that policeman?
55:00
Speaker 12: Inspector of police, monsieur. How soon will you be ready, Christine?
55:03
Speaker 12: The carriage is waiting. I know Monsieur Garand will excuse me.
55:06
Speaker 5: How do you know?
55:07
Speaker 10: I have an idea. Why can't we three have supper together?
55:11
Speaker 12: I am not in the habit of taking baritones to supper.
55:14
Speaker 5: And I don't care to be seen in public with
55:16
Speaker 5: the police.
55:16
Speaker 12: Christine, you'll have to make up your mind finally and
55:18
Speaker 12: irrevocably between the two of us.
55:20
Speaker 5: Exactly.
55:21
Speaker 13: Very well.
55:22
Speaker 14: Will you gentlemen excuse me?
55:24
Speaker 5: Of course.
55:25
Speaker 10: Thank you. Good night.
55:27
Speaker 11: What?
55:32
Speaker 5: What did she mean, good night?
55:34
Speaker 12: Well, something tells me, monsieur, that she has gone to
55:37
Speaker 12: meet her public. Hmm. Monsieur Garon, would you join me
55:42
Speaker 12: for a bit of supper at the Café de l'Opéra?
55:45
Speaker 5: With pleasure, monsieur.
55:47
Speaker 12: Think we can get through that crowd?
55:49
Speaker 5: Certainly. After all, who'd pay any attention to a baritone
55:52
Speaker 5: and a detective?
55:53
Speaker 12: Quite right. Well, shall we go?
55:55
Speaker 11: Huh.
55:57
Speaker 12: After you, monsieur.
55:59
Speaker 17: Oh, no.
56:00
Speaker 5: After you, monsieur. Thank you.
56:18
Speaker 4: A new season of the Lux Radio Theater has had
56:21
Speaker 4: a gala launching. And the first curtain calls of this
56:24
Speaker 4: season have been beautifully earned by Nelson Eddy, Susanna Foster.
56:27
Speaker 11: And Basil Rathbun.
56:28
Speaker 5: Thank you, C.B. Our congratulations to you on the beginning
56:32
Speaker 5: of the tenth year of this theater.
56:34
Speaker 17: Remember what Tennyson wrote? Men may come and men may go,
56:37
Speaker 17: but the mill goes on forever. My recollection is it
56:41
Speaker 17: was a brook. But as long as we have stars
56:44
Speaker 17: like you three, I'd like to go on forever.
56:46
Speaker 14: Let's hope Lux Hope does the same. See, I really
56:49
Speaker 14: couldn't get along without it, Mr.
56:50
Speaker 10: DeMille. It's a wonderful complexion care.
56:53
Speaker 4: Luck certainly cares for a lovely complexion in your case, Susanna.
56:56
Speaker 10: Thank you. Incidentally, Mr. DeMille, has Nelson told you about
56:59
Speaker 10: the chicken he has that lays the golden eggs?
57:02
Speaker 8: No, but I'd like about a dozen.
57:04
Speaker 5: That'll be $ 120, please.
57:06
Speaker 11: That's pretty high for just ordinary old golden eggs, isn't it?
57:11
Speaker 11: What kind of hens are these?
57:12
Speaker 5: Houdons?
57:13
Speaker 14: Houdons?
57:14
Speaker 5: Houdons. They're a rather scarce breed. Someone gave me two
57:17
Speaker 5: hens and a rooster, and now they're all over the place.
57:20
Speaker 10: Well, if the eggs are worth $ 10 apiece, doesn't it
57:23
Speaker 10: kind of choke you to eat one for breakfast?
57:25
Speaker 5: Eat them? Say, the hens won't let an egg out
57:27
Speaker 5: of their sight. They want it set right away.
57:29
Speaker 4: No, I hardly blame them. At that price, even a
57:31
Speaker 4: radio comedian wouldn't mind laying an egg. Where'd the hens
57:36
Speaker 4: come from, Nelson?
57:37
Speaker 5: Somewhere around New Orleans. I plan to crossbreed the Houdons
57:40
Speaker 5: with my New Hampshire Reds and see what happens. And
57:42
Speaker 5: when you become the Houdini of the Houdons, I suppose
57:44
Speaker 5: you'll give up singing. The way those hens are eating now,
57:46
Speaker 5: I'm going to have to sing loud and often. What's
57:50
Speaker 5: your play next week, CB? Well, it's a drama of
57:52
Speaker 5: adventure in the air. The RKO screenplay, Flight for Freedom.
57:57
Speaker 4: And our stars will be Rosalind Russell, George Brent, and
58:01
Speaker 4: Chester Morris. Rosalind Russell played the same part on the
58:05
Speaker 4: screen with brilliant success. A world-famous woman flyer whose career
58:10
Speaker 4: comes to a climax in a mysterious trip across the Pacific.
58:14
Speaker 4: So don't miss Flight for Freedom. with the takeoff at
58:17
Speaker 4: our usual time next Monday.
58:18
Speaker 5: Sounds like a direct hit, C.B. Good night.
58:22
Speaker 8: Good night.
58:22
Speaker 11: Good night.
58:24
Speaker 21: We made music at the box office tonight.
58:29
Speaker 4: Our sponsors, the makers of Lux Toilet Soap, join me
58:32
Speaker 4: in inviting you to be with us again next Monday
58:34
Speaker 4: night when the Lux Radio Theater presents Rosalind Russell, George Brent,
58:39
Speaker 4: and Chester Morris in Flight for Freedom. This is Cecil B.
58:43
Speaker 4: DeMille saying goodnight to you from Hollywood.
58:51
Speaker 2: The universal screen production of The Phantom of the Opera
58:54
Speaker 2: in Technicolor, starring Nelson Eddy, Susanna Foster, and Claude Rains
58:57
Speaker 2: with Edgar Barrier, will have its New York premiere on
59:00
Speaker 2: October 14th. Basil Rathbone appeared tonight through the courtesy of
59:03
Speaker 2: Metro-Goldwyn-Mayer Studios. Our music was directed by Louis Silvers, and
59:08
Speaker 2: this is your announcer, John M. Kennedy, reminding you to
59:10
Speaker 2: tune in next Monday night to hear Rosalind Russell, George Brant,
59:13
Speaker 2: and Chester Morris in Flight for Freedom. Food shortages need
59:19
Speaker 2: not deprive your family of their vitamins and minerals.
59:23
Speaker 27: Just get VIMS. They're new and different. VIMS are pleasant
59:26
Speaker 27: to taste whether chewed or swallowed whole. VIMS give you
59:30
Speaker 27: all the vitamins government experts say are essential, balanced in
59:33
Speaker 27: the formula doctors endorse. Three vital minerals, too. Get VIMS
59:38
Speaker 27: from your druggist, the qualified vitamin dealer. VI for vitamins,
59:42
Speaker 27: double MS for minerals. Get that VIMS feeling. This is
59:47
Speaker 27: the Columbia Broadcasting System.
59:49
Speaker 1: Our presentation of Lux Radio Theater's The Phantom of the Opera.
59:52
Speaker 1: Follow Lux Radio Theater for more classic broadcasts.