The Phantom of the Opera Part 18

"Listen," he said. "Will you promise never to meddle with my affairs again, if I prove to you that I am loved for my own sake?"

"Yes, I promise you," I replied, without hesitation, for I felt convinced that for such a monster the proof was impossible.

"Well, then, it's quite simple....Christine Daae shall leave this as she pleases and come back again!...Yes, come back again, because she wishes...come back of herself, because she loves me for myself!..."

"Oh, I doubt if she will come back!...But it is your duty to let her go." "My duty, you great b.o.o.by!...It is my wish... my wish to let her go; and she will come back again...for she loves me!...All this will end in a marriage...a marriage at the Madeleine, you great b.o.o.by! Do you believe me now? When I tell you that my nuptial ma.s.s is written...wait till you hear the KYRIE. ..."

He beat time with his heels on the planks of the boat and sang: "KYRIE!...KYRIE!...KYRIE ELEISON!...Wait till you hear, wait till you hear that ma.s.s."

"Look here," I said. "I shall believe you if I see Christine Daae come out of the house on the lake and go back to it of her own accord."

"And you won't meddle any more in my affairs?"

"No."

"Very well, you shall see that to-night. Come to the masked ball. Christine and I will go and have a look round. Then you can hide in the lumber-room and you shall see Christine, who will have gone to her dressing-room, delighted to come back by the Communists' road. ...And, now, be off, for I must go and do some shopping!"

To my intense astonishment, things happened as he had announced. Christine Daae left the house on the lake and returned to it several times, without, apparently, being forced to do so. It was very difficult for me to clear my mind of Erik. However, I resolved to be extremely prudent, and did not make the mistake of returning to the sh.o.r.e of the lake, or of going by the Communists' road. But the idea of the secret entrance in the third cellar haunted me, and I repeatedly went and waited for hours behind a scene from the Roi de Lah.o.r.e, which had been left there for some reason or other. At last my patience was rewarded. One day, I saw the monster come toward me, on his knees. I was certain that he could not see me. He pa.s.sed between the scene behind which I stood and a set piece, went to the wall and pressed on a spring that moved a stone and afforded him an ingress. He pa.s.sed through this, and the stone closed behind him.

I waited for at least thirty minutes and then pressed the spring in my turn. Everything happened as with Erik. But I was careful not to go through the hole myself, for I knew that Erik was inside. On the other hand, the idea that I might be caught by Erik suddenly made me think of the death of Joseph Buquet. I did not wish to jeopardize the advantages of so great a discovery which might be useful to many people, "to a goodly number of the human race," in Erik's words; and I left the cellars of the Opera after carefully replacing the stone.

I continued to be greatly interested in the relations between Erik and Christine Daae, not from any morbid curiosity, but because of the terrible thought which obsessed my mind that Erik was capable of anything, if he once discovered that he was not loved for his own sake, as he imagined. I continued to wander, very cautiously, about the Opera and soon learned the truth about the monster's dreary love-affair.

He filled Christine's mind, through the terror with which he inspired her, but the dear child's heart belonged wholly to the Vicomte Raoul de Chagny. While they played about, like an innocent engaged couple, on the upper floors of the Opera, to avoid the monster, they little suspected that some one was watching over them. I was prepared to do anything: to kill the monster, if necessary, and explain to the police afterward. But Erik did not show himself; and I felt none the more comfortable for that.

I must explain my whole plan. I thought that the monster, being driven from his house by jealousy, would thus enable me to enter it, without danger, through the pa.s.sage in the third cellar. It was important, for everybody's sake, that I should know exactly what was inside. One day, tired of waiting for an opportunity, I moved the stone and at once heard an astounding music: the monster was working at his Don Juan Triumphant, with every door in his house wide open. I knew that this was the work of his life. I was careful not to stir and remained prudently in my dark hole.

He stopped playing, for a moment, and began walking about his place, like a madman. And he said aloud, at the top of his voice: "It must be finished FIRST! Quite finished!"

This speech was not calculated to rea.s.sure me and, when the music recommenced, I closed the stone very softly.

On the day of the abduction of Christine Daae, I did not come to the theater until rather late in the evening, trembling lest I should hear bad news. I had spent a horrible day, for, after reading in a morning paper the announcement of a forthcoming marriage between Christine and the Vicomte de Chagny, I wondered whether, after all, I should not do better to denounce the monster. But reason returned to me, and I was persuaded that this action could only precipitate a possible catastrophe.

When, my cab set me down before the Opera, I was really almost astonished to see it still standing! But I am something of a fatalist, like all good Orientals, and I entered ready, for anything.

Christine Daae's abduction in the Prison Act, which naturally surprised everybody, found me prepared. I was quite certain that she had been juggled away by Erik, that prince of conjurers. And I thought positively that this was the end of Christine and perhaps of everybody, so much so that I thought of advising all these people who were staying on at the theater to make good their escape. I felt, however, that they would be sure to look upon me as mad and I refrained.

On the other hand, I resolved to act without further delay, as far as I was concerned. The chances were in my favor that Erik, at that moment, was thinking only of his captive. This was the moment to enter his house through the third cellar; and I resolved to take with me that poor little desperate viscount, who, at the first suggestion, accepted, with an amount of confidence in myself that touched me profoundly. I had sent my servant for my pistols. I gave one to the viscount and advised him to hold himself ready to fire, for, after all, Erik might be waiting for us behind the wall. We were to go by the Communists' road and through the trap-door.

Seeing my pistols, the little viscount asked me if we were going to fight a duel. I said: "Yes; and what a duel!" But, of course, I had no time to explain anything to him. The little viscount is a brave fellow, but he knew hardly anything about his adversary; and it was so much the better. My great fear was that he was already somewhere near us, preparing the Punjab la.s.so. No one knows better than he how to throw the Punjab la.s.so, for he is the king of stranglers even as he is the prince of conjurors. When he had finished making the little sultana laugh, at the time of the "rosy hours of Mazenderan," she herself used to ask him to amuse her by giving her a thrill. It was then that he introduced the sport of the Punjab la.s.so.

He had lived in India and acquired an incredible skill in the art of strangulation. He would make them lock him into a courtyard to which they brought a warrior--usually, a man condemned to death-- armed with a long pike and broadsword. Erik had only his la.s.so; and it was always just when the warrior thought that he was going to fell Erik with a tremendous blow that we heard the la.s.so whistle through the air. With a turn of the wrist, Erik tightened the noose round his adversary's neck and, in this fashion, dragged him before the little sultana and her women, who sat looking from a window and applauding. The little sultana herself learned to wield the Punjab la.s.so and killed several of her women and even of the friends who visited her. But I prefer to drop this terrible subject of the rosy hours of Mazenderan. I have mentioned it only to explain why, on arriving with the Vicomte de Chagny in the cellars of the Opera, I was bound to protect my companion against the ever-threatening danger of death by strangling. My pistols could serve no purpose, for Erik was not likely to show himself; but Erik could always strangle us. I had no time to explain all this to the viscount; besides, there was nothing to be gained by complicating the position. I simply told M. de Chagny to keep his hand at the level of his eyes, with the arm bent, as though waiting for the command to fire. With his victim in this att.i.tude, it is impossible even for the most expert strangler to throw the la.s.so with advantage. It catches you not only round the neck, but also round the arm or hand. This enables you easily to unloose the la.s.so, which then becomes harmless.

After avoiding the commissary of police, a number of door-shutters and the firemen, after meeting the rat-catcher and pa.s.sing the man in the felt hat unperceived, the viscount and I arrived without obstacle in the third cellar, between the set piece and the scene from the Roi de Lah.o.r.e. I worked the stone, and we jumped into the house which Erik had built himself in the double case of the foundation-walls of the Opera. And this was the easiest thing in the world for him to do, because Erik was one of the chief contractors under Philippe Garnier, the architect of the Opera, and continued to work by himself when the works were officially suspended, during the war, the siege of Paris and the Commune.

I knew my Erik too well to feel at all comfortable on jumping into his house. I knew what he had made of a certain palace at Mazenderan. From being the most honest building conceivable, he soon turned it into a house of the very devil, where you could not utter a word but it was overheard or repeated by an echo. With his trap-doors the monster was responsible for endless tragedies of all kinds. He hit upon astonishing inventions. Of these, the most curious, horrible and dangerous was the so-called torture-chamber. Except in special cases, when the little sultana amused herself by inflicting suffering upon some unoffending citizen, no one was let into it but wretches condemned to death. And, even then, when these had "had enough," they were always at liberty to put an end to themselves with a Punjab la.s.so or bowstring, left for their use at the foot of an iron tree.

My alarm, therefore, was great when I saw that the room into which M. le Vicomte de Chagny and I had dropped was an exact copy of the torture-chamber of the rosy hours of Mazenderan. At our feet, I found the Punjab la.s.so which I had been dreading all the evening. I was convinced that this rope had already done duty for Joseph Buquet, who, like myself, must have caught Erik one evening working the stone in the third cellar. He probably tried it in his turn, fell into the torture-chamber and only left it hanged. I can well imagine Erik dragging the body, in order to get rid of it, to the scene from the Roi de Lah.o.r.e, and hanging it there as an example, or to increase the superst.i.tious terror that was to help him in guarding the approaches to his lair! Then, upon reflection, Erik went back to fetch the Punjab la.s.so, which is very curiously made out of catgut, and which might have set an examining magistrate thinking. This explains the disappearance of the rope.

And now I discovered the la.s.so, at our feet, in the torture-chamber! ... I am no coward, but a cold sweat covered my forehead as I moved the little red disk of my lantern over the walls.

M. de Chagny noticed it and asked: "What is the matter, sir?"

I made him a violent sign to be silent.

Chapter XXII.

In the Torture Chamber.

THE PERSIAN'S NARRATIVE CONTINUED.

We were in the middle of a little six-cornered room, the sides of which were covered with mirrors from top to bottom. In the corners, we could clearly see the "joins" in the gla.s.ses, the segments intended to turn on their gear; yes, I recognized them and I recognized the iron tree in the corner, at the bottom of one of those segments...the iron tree, with its iron branch, for the hanged men.

I seized my companion's arm: the Vicomte de Chagny was all a-quiver, eager to shout to his betrothed that he was bringing her help. I feared that he would not be able to contain himself.

Suddenly, we heard a noise on our left. It sounded at first like a door opening and shutting in the next room; and then there was a dull moan. I clutched M. de Chagny's arm more firmly still; and then we distinctly heard these words: "You must make your choice! The wedding ma.s.s or the requiem ma.s.s!" I recognized the voice of the monster.

There was another moan, followed by a long silence.

I was persuaded by now that the monster was unaware of our presence in his house, for otherwise he would certainly have managed not to let us hear him. He would only have had to close the little invisible window through which the torture-lovers look down into the torture-chamber. Besides, I was certain that, if he had known of our presence, the tortures would have begun at once.

The important thing was not to let him know; and I dreaded nothing so much as the impulsiveness of the Vicomte de Chagny, who wanted to rush through the walls to Christine Daae, whose moans we continued to hear at intervals.

"The requiem ma.s.s is not at all gay," Erik's voice resumed, "whereas the wedding ma.s.s--you can take my word for it--is magnificent! You must take a resolution and know your own mind! I can't go on living like this, like a mole in a burrow! Don Juan Triumphant is finished; and now I want to live like everybody else. I want to have a wife like everybody else and to take her out on Sundays. I have invented a mask that makes me look like anybody. People will not even turn round in the streets. You will be the happiest of women. And we will sing, all by ourselves, till we swoon away with delight. You are crying! You are afraid of me! And yet I am not really wicked. Love me and you shall see! All I wanted was to be loved for myself. If you loved me I should be as gentle as a lamb; and you could do anything with me that you pleased."

Soon the moans that accompanied this sort of love's litany increased and increased. I have never heard anything more despairing; and M. de Chagny and I recognized that this terrible lamentation came from Erik himself. Christine seemed to be standing dumb with horror, without the strength to cry out, while the monster was on his knees before her.

Three times over, Erik fiercely bewailed his fate: "You don't love me! You don't love me! You don't love me!"

And then, more gently: "Why do you cry? You know it gives me pain to see you cry!"

A silence.

Each silence gave us fresh hope. We said to ourselves: "Perhaps he has left Christine behind the wall."

And we thought only of the possibility of warning Christine Daae of our presence, unknown to the monster. We were unable to leave the torture-chamber now, unless Christine opened the door to us; and it was only on this condition that we could hope to help her, for we did not even know where the door might be.

Suddenly, the silence in the next room was disturbed by the ringing of an electric bell. There was a bound on the other side of the wall and Erik's voice of thunder: "Somebody ringing! Walk in, please!"

A sinister chuckle.

"Who has come bothering now? Wait for me here....I AM GOING TO TELL THE SIREN TO OPEN THE DOOR."

Steps moved away, a door closed. I had no time to think of the fresh horror that was preparing; I forgot that the monster was only going out perhaps to perpetrate a fresh crime; I understood but one thing: Christine was alone behind the wall!

The Vicomte de Chagny was already calling to her: "Christine! Christine!"

As we could hear what was said in the next room, there was no reason why my companion should not be heard in his turn. Nevertheless, the viscount had to repeat his cry time after time.

At last, a faint voice reached us.

"I am dreaming!" it said.

"Christine, Christine, it is I, Raoul!"

A silence.

"But answer me, Christine!...In Heaven's name, if you are alone, answer me!"

Then Christine's voice whispered Raoul's name.

"Yes! Yes! It is I! It is not a dream!...Christine, trust me!...We are here to save you...but be prudent! When you hear the monster, warn us!"

Then Christine gave way to fear. She trembled lest Erik should discover where Raoul was hidden; she told us in a few hurried words that Erik had gone quite mad with love and that he had decided TO KILL EVERYBODY AND HIMSELF WITH EVERYBODY if she did not consent to become his wife. He had given her till eleven o'clock the next evening for reflection. It was the last respite. She must choose, as he said, between the wedding ma.s.s and the requiem.

And Erik had then uttered a phrase which Christine did not quite understand: "Yes or no! If your answer is no, everybody will be dead AND BURIED!"

But I understood the sentence perfectly, for it corresponded in a terrible manner with my own dreadful thought.

"Can you tell us where Erik is?" I asked.

She replied that he must have left the house.

"Could you make sure?"

"No. I am fastened. I can not stir a limb."

When we heard this, M. de Chagny and I gave a yell of fury. Our safety, the safety of all three of us, depended on the girl's liberty of movement.

"But where are you?" asked Christine. "There are only two doors in my room, the Louis-Philippe room of which I told you, Raoul; a door through which Erik comes and goes, and another which he has never opened before me and which he has forbidden me ever to go through, because he says it is the most dangerous of the doors, the door of the torture-chamber!"

"Christine, that is where we are!"

"You are in the torture-chamber?"

"Yes, but we can not see the door."

"Oh, if I could only drag myself so far! I would knock at the door and that would tell you where it is."

"Is it a door with a lock to it?" I asked.

"Yes, with a lock."

"Mademoiselle," I said, "it is absolutely necessary, that you should open that door to us!"

"But how?" asked the poor girl tearfully.

We heard her straining, trying to free herself from the bonds that held her.

"I know where the key is," she said, in a voice that seemed exhausted by the effort she had made. "But I am fastened so tight....Oh, the wretch!"

And she gave a sob.

"Where is the key?" I asked, signing to M. de Chagny not to speak and to leave the business to me, for we had not a moment to lose.

"In the next room, near the organ, with another little bronze key, which he also forbade me to touch. They are both in a little leather bag which he calls the bag of life and death. ... Raoul! Raoul! Fly! Everything is mysterious and terrible here, and Erik will soon have gone quite mad, and you are in the torture-chamber!...Go back by the way you came. There must be a reason why the room is called by that name!"

"Christine," said the young man. "we will go from here together or die together!"

"We must keep cool," I whispered. "Why has he fastened you, mademoiselle? You can't escape from his house; and he knows it!"

"I tried to commit suicide! The monster went out last night, after carrying me here fainting and half chloroformed. He was going TO HIS BANKER, so he said!...When he returned he found me with my face covered with blood....I had tried to kill myself by striking my forehead against the walls."

"Christine!" groaned Raoul; and he began to sob.

"Then he bound me....I am not allowed to die until eleven o'clock to-morrow evening."

"Mademoiselle," I declared, "the monster bound you...and he shall unbind you. You have only to play the necessary part! Remember that he loves you!"

"Alas!" we heard. "Am I likely to forget it!"

"Remember it and smile to him...entreat him...tell him that your bonds hurt you."

But Christine Daae said: "Hush!...I hear something in the wall on the lake!...It is he!...Go away! Go away! Go away!"

"We could not go away, even if we wanted to," I said, as impressively as I could. "We can not leave this! And we are in the torture-chamber!"

"Hush!" whispered Christine again.

Heavy steps sounded slowly behind the wall, then stopped and made the floor creak once more. Next came a tremendous sigh, followed by a cry of horror from Christine, and we heard Erik's voice: "I beg your pardon for letting you see a face like this! What a state I am in, am I not? It's THE OTHER ONE'S FAULT! Why did he ring? Do I ask people who pa.s.s to tell me the time? He will never ask anybody the time again! It is the siren's fault."

{two page color ill.u.s.tration} Another sigh, deeper, more tremendous still, came from the abysmal depths of a soul.

"Why did you cry out, Christine?"

"Because I am in pain, Erik."

"I thought I had frightened you."

"Erik, unloose my bonds....Am I not your prisoner?"