The Phantom of the Opera, Gaston Leroux [primary phonics books txt] 📗

the privilege can be withdrawn if the manager infringes the conditions stipulated in the memorandum-book. This is followed by the conditions, which are four in number.

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

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

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

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

“Yes, he does,” replied Poligny.

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

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

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

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

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

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

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

“But when he comes to his box?”

“We have never seen him in his box.”

“Then sell it.”

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

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

IV Box Five

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

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

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

Dear Mr. Manager:

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

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