In this episode, we delve into the thrilling world of the Luxe Radio Theater's rendition of "The Phantom of the Opera." Set in the grandeur of the Paris Opera House, the story unfolds with the mysterious disappearance of a master key, leading to a series of dramatic events. As the opera prepares for a new season, tensions rise with the introduction of Christine Dubois, a talented understudy who finds herself at the center of a deadly intrigue. The legendary Nelson Eddy, Susanna Foster, and Basil Rathbone bring this classic tale to life with their captivating performances.
The narrative takes a dark turn as the shadowy figure of Eric Claudin, a former violinist, emerges from the depths of the opera's cellars. Driven by madness and a deep obsession with Christine, Claudin's actions threaten the lives of those at the opera. Amidst the chaos, Inspector Daubert and Anatole Garin work to unravel the mystery and protect Christine from the phantom's grasp. This episode captures the essence of suspense and drama, with a haunting musical score that echoes the tragic tale of love and madness.
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Unknown:
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[00:00:31] Unknown:
Luxe presents Hollywood. The Luxe Radio Theater brings you Nelson Eddy, Susanna Foster, and Basil Rathbone in the Phantom of the Opera with Edgar Barry. Ladies and gentlemen, your producer, mister Cecil b DeMille.
[00:01:06] Unknown:
Greetings from Hollywood, ladies and gentlemen. A Broadway First night drills with a few hundred people who can enjoy the play. A Hollywood premiere is exciting for the few thousands who gather to see the stars. But opening night in the Luxe Radio Theater belongs to the millions, the millions in American homes and camps from coast to coast, and it belongs to our boys in uniform beyond the seas who join us for the first performance of our tenth season. The real adventure is not in the lights of the crowds, but in the historic privileges of the theater, in hearing a famous star score again in a brand new role, and in the joy of discovering a new star.
All that is yours tonight when we present Nelson Eddy and Susanna Foster in their new universal technicolor success, the Phantom of the Opera. And with them, in one of the theater's most interesting parts, we bring you Basil Rathbone. It's the first of a big parade of stars and plays that will challenge your attention and our ingenuity. Tonight's play has the thrill of mystery, the gaiety of comedy, and to stop everything else, one of the great singing voices of our day, the romantic baritone of Nelson Eddy. And if that isn't the right way to start the Luxe Radio Theater off on another season, I don't know how to find it.
We hope to make this season the best in our history, and we're counting on you to help us make it the best. By help, I don't mean just buying luxe toilet soap. I I think you'll do that anyway because you know how good it is. But backstage in this theater, we need your help in selecting plays. We want you to tell us what stars you'd like to hear. Everybody has a personal preference, and you give all the orders for our command performances. Your loyalty to Luxe toilet soap has kept this curtain going up for nine years. Your award has been a fine product and the finest plays and stars we could discover.
And now the thrill of another opening night as the curtain rises on the first act of the Phantom of the Opera, starring Nelson Eddy as Anatole, Susanna Foster as Christine, and Basil Rathbone as Claudette, with Edgar Barriere as Raoul. In the year 1880, the old Paris Opera stood like a giant torch in the heart of the city. A thousand windows ablaze with lights, but there were shadows too. Shadows that flitted high in the gallery over the great stage. Shadows that lingered in the upstairs bar beneath the street where the black sewers of Paris ran sluggishly in the dark. But we were not concerned with these things or so we thought at the time.
We of the opera knew only the light of the dressing rooms, the bright gay at the of the stage. I suppose it all began the night we sang Martha. The house was crowded, enthusiastic. There were no shadows for us that night. No. There was no warning that night, no hint of the strange things that were about to happen. But I noticed at the finale that Christine was not on stage for the curtain call. Christine Dubois who sang the role of Nancy. It was not like her to miss the finale of the action. Next stage, when the curtain had fallen, I saw Christine hurrying to her dressing.
Christine. Christine, wait. Yes, Donna. What is it? What happened to you? You weren't on stage? What? I You weren't ill, were you? Oh, no. No. You're alright? You sure? Of course, hon. Do I look alright? Oh, you look lovely. What happened?
[00:06:57] Unknown:
Well, I had a visitor. Somebody wanted to see me. Oh? Mademoiselle DuBois. Oh, good evening, my son. Mademoiselle,
[00:07:04] Unknown:
I understand that you were entertaining a gentleman backstage during a performance. Is that true? Yes, maestro. You are not the greatest soprano in the world, mademoiselle. Not yet. So please not take liberty. See me later in my office. Yes, maestro.
[00:07:18] Unknown:
All at all, what will he do? Don't worry. He's just barking again. Who, who is the gentleman? Well, he's he's an old friend of mine. But not so very old. No. He's inspector Dovell, just your state. Inspector? You mean a policeman? Well, he's not an ordinary policeman. Oh, did he sing? No. He's a graduate of the military academy at Pau Center. How much does this man mean to you? Well, I'm not sure. Christine,
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it's it's not like me to preach. But someday, you'll have to choose between your career and what's called a normal life that can't do justice to both. I think you'll find that music has its compensation.
[00:07:59] Unknown:
In other words, you don't think I ought to have supper tonight as well. No. But if you want it all, that would be alright?
[00:08:09] Unknown:
Definitely. We'll see.
[00:08:18] Unknown:
There was another man that night who missed Christine's appearance during the finale. His name was Eric Rodin, a violinist. He was a strange man, miss Rodin. Quiet, almost shy, what a brilliant musician. When Christine came from Villeneuve's office, Rodin was waiting in the passage.
[00:08:38] Unknown:
Good evening, ma'am Jose. Good evening, Rodin. Mister Villeneuve is seeing now. Thank you, ma'am Jose. Good night. Oh, ma'am Jose,
[00:08:45] Unknown:
may I speak to you for a moment? You, you weren't on the stage tonight with curtain calls. Everyone in the theater seems to have noticed that. It's really quite flattering. Why weren't you there? What? Oh, please forgive me, but I I've been here so long with you that everybody, everything connected with the opera is so much a part of my life. Of course. But you you doing it a week? Yes. You weren't over, you. You're not in any trouble. Oh, it's deep. I'm not in any trouble. Oh, it's deep. I'm not in any trouble. Oh, it's deep. I'm not in any trouble. I know, but No. I isn't.
[00:09:16] Unknown:
You're very kind, and I'm not in trouble. Good night. Christine.
[00:09:21] Unknown:
Oh, oh, I'm so sorry. I I shouldn't have called you Christine. I'm sorry.
[00:09:27] Unknown:
Good night. Good night, ma'am Jose.
[00:09:32] Unknown:
Come in.
[00:09:33] Unknown:
Oh, Claudine. Yes, my scroll. Close the door.
[00:09:37] Unknown:
Do you know why I sent for you, Claudine? I think so, my scroll. I have caught my violin. Take it out of the case, please. Hey, Claudette. For some time now, I have sensed discord in the violin section. It was not until tonight that I definitely located the source of the trouble. Let me hear you play, Claudette. Yes, my stow. What shall I play? Anything you please. Yes, my
[00:10:10] Unknown:
Wait a moment.
[00:10:11] Unknown:
What is
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that? A little song.
[00:10:14] Unknown:
A lullaby from Provence where I was born. Oh, it is very nice, very charming. I've written a concerto on the TV. Yes. Yes. Charming, Claudette. But too simple. Suppose instead you let me hear the opening movement in the third act of Martha. Well, it's no use, my scroll. Something's happened to the fingers of my left hand. I see. Perhaps it's only temporary, my scroll. Perhaps it will get better. I hope so. In the meantime, I'm sorry, Claud. I'm very sorry. You've been with us a long time. Twenty years. What am I to do, Maestro? I know it's hard, but no doubt you've saved enough to retire on. Yes. Yes. Of course. And in appreciation of your long service, I shall arrange with the directors to have a season ticket issued to you.
Thank you, Maestro. There are things I can tell you now. Things I didn't learn until months, even years later. Rodin had no money put aside. He lived in a miserable garret in the Paris slums. He was cold in the winter and often hungry. What money he earned was used for just one purpose, to provide singing lessons for Christine Dubois.
[00:11:29] Unknown:
She knew nothing of his sacrifice for her. It was a secret known only to Claudin himself and Signor Paretsky, the singing master. My dear Claudin, if you don't mind my saying so, you're approved. Signor Floretti. For three years, I've taught Christine Dubois, and you have failed. Why? How can a man of your age hope to interest a girl as young as he please. We agreed never to discuss my motives. Very well.
[00:11:54] Unknown:
So now you have been dismissed from the office. You can no longer pay for her letter. Is that it? Yes, senor. But I I hope that you would continue to instruct her. Hold on just for a while. I'll have money soon. I can check to buy for you. I
[00:12:14] Unknown:
Then you'll go on with the lesson, sign off? Why should I? Why should I assume your burden?
[00:12:19] Unknown:
The girl means nothing to me. But her career means a great deal to me, signotte,
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more than anything else. I'm sorry for that. Really, sir. I will, let her come a few times, then I will tell her she no longer needs But that isn't true. The hot slut. Signor, if you will give me just a little more time. You will have time, Claudin, when you have money.
[00:12:39] Unknown:
Come back when mister Lehel has bought your pork hair. For weeks, Claudin haunted the publisher's office, but always it was the same story. Monsieur Pleil was too busy to see him. One evening, just at dusk, Claudin forced his way past the manager, up the stairs, and to Pleil's study. Who is that? Richard Payer. What are you doing here? I've been waiting to see you since the morning. Did they tell you I was dizzy? George, more acid, please. Is this a bottle? The blue one, dear. Origin tray and the kettle, dear. Mister Payer. This could be the best etching I've ever made, Monsieur. Monsieur. Would you please be careful? Those plates contain itching acid. Would you like to burn the skin from your hands? I'm sorry, monsieur, but my manuscript. I must find out about my chateau.
Georges, would you mind giving us colorless manuscript? You won't find it on the table if it's anywhere. What is your name? Eddy Claudine. Claudine? I don't see it. No. No. No. It wouldn't be there. It's a large manuscript in a portfolio.
[00:13:40] Unknown:
Well, I'm sorry. But I don't know where it is. But it must be here. Well, if it isn't fair enough, you might call again at a few days. But you don't at this time, Hamold.
[00:13:48] Unknown:
It's It's the only copy I have. It represents two years' work. You heard what the lady said. Get out. But it was brought into this office. It must be here. It must be found. Did we ask you to bring your manuscript to us further? Perhaps some employers honed it into the waste paper basket where it probably belonged. Good night. Listen.
[00:14:04] Unknown:
The kettle. That's my music. Someone play my music. I thought I told you to get out of here. Goose, throw out my music. Thief. Help. Let it go. Let it go. Throw out my music.
[00:14:46] Unknown:
In that room, a man lay dead on the floor, and Claudine stumbled down the steps screaming in agony, the acid burning into his face. Into the street, he ran with his hands before him, groping his way blindly through the darkness. He was seen once on a Rue De Jardin and again in a dim street near the opera. And then he was gone, lost in the black of the night. There was a search, of course, but he was never found. It was not a thing that was close to any one of us. It was something you read about in a newspaper, shutter over for a moment, and then try to forget. In a few days, it was out of our minds completely, for Christine and I were rehearsing a new opera.
One morning, we were sitting at the piano in her home. That's very nice. What is it, Christine? It's a lullaby of Provence. Provence?
[00:15:51] Unknown:
I was born there, you know. I've known it for years, ever since I can remember. Sing it for me. Would you like?
[00:16:58] Unknown:
Well?
[00:16:59] Unknown:
Oh, it's lovely, Christine. Christine. Yes, Anthera. Didn't you hear the door? Monsieur Gilbert is here. Morning, Christine. Oh, good morning. You see, monsieur? They call this rehearsing.
[00:17:08] Unknown:
Rehearsing. Well,
[00:17:11] Unknown:
I'm sorry to intrude, but I must speak to you, Christine.
[00:17:14] Unknown:
But but you see, I'm busy right now, Raul. Anatole has been helping me. Yes. To rehearse.
[00:17:20] Unknown:
That monsieur is very kind. Well, not at all, monsieur. I find it a pleasure. I'm Anatold Garen of the Opera. Oh, I'm so sorry. This is inspector Daubert that's your case. Oh, the policeman. Police inspector, monsieur. Yes. Of course. I've heard of you, inspector. Your work must be very exciting. Oh, not half so exciting as yours, monsieur. It doesn't lend itself to self expression.
[00:17:42] Unknown:
Christine, I'd like to see you alone, please. I'm here on business. With me. What business good man was all happy with a certainty? What is it, Raul?
[00:17:50] Unknown:
If you don't mind, I'd rather Anatole stayed. Very well.
[00:17:53] Unknown:
Christine,
[00:17:54] Unknown:
do you know Eric Clodin? Why, yes. How well? I knew him as a violinist in the orchestra. Well, I met him a few times in the foyer on the stage or outside the opera, but but that's all. He he acted a little strangely. Strangely? How do you mean? Well, I I don't know. He just he just seemed eccentric, but but harmless. I thought he was a rather kindly fellow until I read of the murder.
[00:18:18] Unknown:
What is it, Raul? He was a kindly fellow until he thought Pleyel was robbing him of his work. Then something snapped, and he became an homicidal maniac. But what is all this to do with me? Well, we found something in his room, Christine, that connects you with him. No doubt you can explain. What is it? This statuette.
[00:18:35] Unknown:
As you can see, Christine, it's the image of you. So that's what became of it. Be good enough to explain yourself, monsieur? Certainly. That statuette is mine. Yours? Definitely. I made it. I intended to make you a present of it, Christine. How nice of you on a tone? Unfortunately, it disappeared from my dressing room.
[00:18:49] Unknown:
It's an extraordinary likeness. My compliments on your versatility, monsieur. Christine must have posed for this many times. I never posed for it that once. You did this from drawings, monsieur? And from memory, monsieur.
[00:19:02] Unknown:
Extraordinary memory. Thank you. But it's a simple matter to recall Christine's face and figure. I'm sure you have found it so, monsieur.
[00:19:11] Unknown:
Mhmm. But what was the statuette doing in Claudine's room? He must have stolen it. It's obvious. Is it? Speaking purely as an inspector of the sieur pays, I'm afraid even the obvious needs confirmation.
[00:19:23] Unknown:
What is a man, monsieur? I'm sure you can understand. Sitting there in the orchestra pit night after night looking at Christine, Rodin probably fell in love with her. You admit that is possible. No? Mhmm.
[00:19:35] Unknown:
Christine, did Claudine ever seek more than a casual acquaintance with you? No. Never. Can you imagine so diffident a lover, monsieur? Rodin was barely 50. No doubt he lacked
[00:19:46] Unknown:
fire.
[00:19:47] Unknown:
No doubt. Christine, this statuette is yours. I give it to you. You'll give it to her? Yes. Well, that's interesting.
[00:19:56] Unknown:
I'll accept it as a gift from both of you. Thank you. Oh, you're quite welcome.
[00:20:01] Unknown:
It seems I have the worst of this problem. In the future, mister Inspector, I detect you, model.
[00:20:07] Unknown:
In any case, that was a bad cue. Oh, not so bad as it seems. It enabled me to recover Mademoiselle's statuette. Is, is that your carriage at the door, monsieur? Yes. Would you be good enough to give me a lift?
[00:20:20] Unknown:
Well,
[00:20:22] Unknown:
which way are you going? Oh, it doesn't matter. As inspector of police, I have business all over Paris.
[00:20:27] Unknown:
Well, in that case, oh, what, Christine? Oh, what? You've been most helpful, Christine. Most helpful. I I hope you catch Claudine. Thank you. Well, you ready, monsieur? At your service. Or after you, monsieur. Or after you, monsieur. Thank you, monsieur. We could laugh then because the horror had not touched us. We didn't know that in the cabins of the sewer beneath the opera, there was a shadow darker than the surrounding gloom. The shadow of a man in a black cloak, his face hidden behind a mask. This was the man whose features had been burned and whose mind was on fire. Before long, that shadow was to envelop all of us.
[00:21:34] Unknown:
In a few moments, mister DeMille and our stars, Nelson Eddy, Susanna Foster, Basil Rathbone, and Edgar Barriere will return in act two of the Phantom of the Opera. One way you can be sure of having a last word in an argument is to have an argument with yourself as this young lady is doing for instance.
[00:21:51] Unknown:
I don't see anything the matter with my skin really. Doesn't look as nice as it used to look. It does so. It's just that the light over this mirror is so bright. Well, doesn't Johnny Brooks always tell me I have a complexion like a million? Hadn't said so for a good long time. Well, he's been away at camp, Marty. That's why. He's due for a furlough almost any time now. Maybe you'd better start doing something about your skin. How about some real beauty care instead of that deep, damp looking promise kind of treatment you've been giving it lately? Maybe I better.
Yes. I will. I'll try those beauty facial screen stars used, Active lather facials with luxe toilet soap every single day. If it works for the screen stars, it ought to work for me too. Well, she'll find it does work. This gentle complexion care used by nine out of 10 Hollywood stars.
[00:22:47] Unknown:
You see, lux toilet soap is a real beauty soap with lather so rich and smooth and super fine, it feels like a caress on the skin. Lovely screen stars tell you they take their luxe soap beauty facials this way. They smooth lots of the creamy active bladder well in. They rinse with warm water and splash with cold. Then they pat their skin dry with a soft towel. Now that's a very simple easy care, but if you use it every day, you'll find that soon your skin feels softer, smoother, takes on a fresher, lovelier look. Why not get some Luxe garlic soap tomorrow? You'll notice each satiny white cake is hard milled. That means it lasts and lasts.
And remember, it's patriotic not to waste soap. Use only what you need. Don't leave your cake of Luxe toilet soap standing in water, and be sure always to put it in a soap dish that's dry. And now, mister DeMille returns to the microphone.
[00:23:43] Unknown:
Act two of the Phantom of the Opera, starring Nelson Eddy as Anatole, Susanna Foster as Christine, and Basil Rathbone as Claudine, Edgar Barrias as Raul. There was a master key at the opera house. And the night we were to sing Amour de Guar, the key disappeared. Other things had been stolen, costumes, masks, but now the shadow had entrance to 2,500 doors. He could roam at will from the subcellus to the very top of the auditorium where the great chandelier swung over the audience. There were some who swore they had seen this shadow flung on the walls of dim corridors or crouching like a grip on on the high balconies over the street.
And there were some who swore they had heard mutterings in the deep cellars where the sewers ran flat. And tonight,
[00:25:04] Unknown:
We shall see.
[00:25:14] Unknown:
It was strange the way it happened. In the third act, the libretto called for me to give Bianca Rolli a cup of wine. When she had drunk it, I thought for a moment that her face paled. She finished her aria and left the stage, but she was late for her next entrance. There was a wait. And then came a pajenda from off stage. I knew that boy, but it was not Bianca Roli who was making the entrance. It was her understudy, Christine Dubois.
[00:29:56] Unknown:
Tell you I was drugged. I was perfectly well during the second act. You saw me myself. Madame Bianca Rori, we realized If you didn't realize I was drugged, then tell that police inspector there to arrest the man who did it. We all know who it was. Anatol got all. I know nothing of the sort, madame. I am a police officer, not a psychic. It is my duty to collect evidence without prejudice. Haven't you evidence enough? Everyone knows Madame, will you be seated, please?
[00:30:20] Unknown:
Monsieur Gao, is it true that you had the opportunity during tonight's performance to place the drug in Madame Bianca Roly's class? Certainly, monsieur inspector. We all did. It becomes then a question of motive. The motive is very simple. Guerin wanted to get me out of the way to make room for that Are you referring to Christine DuPont? I am.
[00:30:37] Unknown:
You heard, monsieur Garonne? Oh, yes. Madame is in good voice and most explicit. Have you anything to say, monsieur? I deny madame's accusation.
[00:30:46] Unknown:
Do you deny, monsieur, that you have any motive in drugging madame?
[00:30:50] Unknown:
I deny that I drugged her. Monsieur inspector, I do not understand your reluctance to make an arrest. You are not an examining magistrate. Can you substantiate your charge that Anatole Gauron had a motive in drugging you and that the motive was Christine DuBois? Why anybody would have and I would be able to take it. Piersay is not evident. Then I'll go over your head. I have influence at the shoot table. I was drugged tonight to the point of death, and I insist upon the arrest of the criminal and his accomplice. And if you don't One moment, madame, Please. You've heard their own deny that he drugged you. As the inspector says, there is no evidence to warrant an arrest. If you insist upon it and failed to gain a conviction, you will find yourself in a very difficult predicament. Yes. Quite right. And no matter what the outcome, don't forget the dears down to the palace opera. Whatever scandal injures us or any member of the company will injure you as well. Are you suggesting that I forget the whole affair? Yes. For your own sake as well as ours.
[00:31:42] Unknown:
Very well. That is under certain conditions. I want a new understudy. Christine DuBois goes back to the course and stays for the two years my contract has to run. No. I won't permit it. If any such arrangement is made, I'm dear Anatole, I have not finished. I go as their father. I suggest that we all forget that anything happened afterwards.
[00:32:03] Unknown:
For once, madame.
[00:32:05] Unknown:
I don't understand you. Oh, but it's so simple. Nothing happened tonight. I was not drugged, and Christine Dubois did not sing. What Madame? There are always critics in the house. You will send word to the papers that no mention of her is to be made. You'll do nothing of the sort. It's ridiculous.
[00:32:21] Unknown:
Besides, what about the public? Shall we send word to the public to forget that man was El Du Bois was a sensation? If you are willing to ruin the opera for the sake of Christine Du Bois, that's your affair.
[00:32:31] Unknown:
But you either do as I say or I will charge both of you with trying to murder me. Do you understand that? Murder. Madam Bianca Rolling. Good evening, Maria. Oh, madam. You were magnificent tonight. My dear sweetie, you really thought so, Maria? Oh, yes, madame. The best I'd ever heard you, especially in the part of Garonne. The cadenza from offstage, it was so Oh, you liked that, did you? Why, yes, madame. Yes. Yes. I was. Very good tonight. My dressing down, Maria? Yes, madame. Maria. Madam. Madam. What's the matter with you? A man, madame. Outside the window on the balcony. Don't be a fool. How could
[00:33:22] Unknown:
Good evening.
[00:33:24] Unknown:
What do you want here?
[00:33:26] Unknown:
I'm sorry. I cannot let you see my face.
[00:33:29] Unknown:
You would not be pleased. Take off that mask, Anatol Garo. You do not frighten me. Madam, it is Anatol Gharau. I did not come here to frighten you unnecessarily,
[00:33:39] Unknown:
only to tell you that Christine Dubois will sing
[00:33:44] Unknown:
tomorrow night. Oh, yes. You will leave Paris, madam. Leave Paris. You will see to it, of course. Yes.
[00:33:51] Unknown:
I will see to it, madam.
[00:33:53] Unknown:
Get back, madam.
[00:33:55] Unknown:
Do you force me to reason with you, madam? I will not leave. Get away from me. I am sorry, madam.
[00:34:03] Unknown:
I am very sorry. And then from somewhere within the darkened building, a note was written to the directors.
[00:34:33] Unknown:
Gentlemen, the opera must open very soon. Christine Dubois will replace Bianca Rowley who chose to ignore my advice.
[00:34:57] Unknown:
Good morning. Yes? Is is Christine at home? Yes. Well, may I see her, please? Come in. I'll tell her you're here. Thank you. Oh, I didn't see you, inspector. Good morning. How's the opera business, monsieur? Very poor at the moment. How's the inspecting? Very good. Splendid. Glad to hear it. Thank you. Not at all.
[00:35:31] Unknown:
Good morning.
[00:35:32] Unknown:
Oh, good morning, Christina.
[00:35:33] Unknown:
Hertford, I told you you were waiting to get it. Did you amuse each other?
[00:35:38] Unknown:
Good. May I have a
[00:35:41] Unknown:
sorry, monsieur. After you, monsieur. After you. Thank you. But I hope that I can only
[00:35:47] Unknown:
Not at a time, please. Anatole?
[00:35:51] Unknown:
They're going to open the opera, Christine. You and I are going to sing together. You are wrong, monsieur.
[00:35:55] Unknown:
I'm sorry, Christine. They are going to reopen the opera, but without you. Circumstances connected with the murder of Bianca Rolle demand that someone else sing the leading role in your place. Really? You may be interested to know, monsieur Daubert, that circumstances connected with the murder of Bianca Rolle demand that Christine does sing. Well, the police have changed that plan somewhat. We are going to draw the door out of the open by defying his warning. My men will be posted at every entrance and exit. And probably miss him.
[00:36:23] Unknown:
Monsieur, I am aware that your profession requires a certain self assurance, but aren't you going too far? Not at all. I happen to have a plan of my own for trapping a murderer. So you've sent detective, monsieur? I have? Well, very well if it amuses you. I might add that my plan is strictly confidential.
[00:36:40] Unknown:
All I can tell you is that Lorenzie is the single role, and I am not in the least interested in your plan.
[00:36:46] Unknown:
May I have a word with you alone, Christine? Yes. That's what I came for. May I speak to you alone, Christine? But I I'm going out. Well, my carriage is just outside.
[00:36:54] Unknown:
I'm not going right now. I mean, I'm going later.
[00:36:58] Unknown:
I'll wait.
[00:37:01] Unknown:
Yes. Yes. We'll both wait. We were certain now that the murderer was Eddie Claudin. The plan I had worked out took me to the home of a great pianist and composer. On the night before we were to open, I went to see Franz Liszt. Very nice. But do you really think this blowback could be tempted to leave his hiding place and risk his life merely to give his own concerto played by Franz Liszt himself? Do you doubt it, Maestro? Now my plan is for you to play the concerto be between the second and third acts, then it's Well, so many crimes have been committed in the name of music. It seems only fair to use it now to avert one. I am at your service, miss Judith. Oh, thank you, Maestro. The most exciting this detective detective work. Most exciting. Alright. It's more than exciting to me. I have the honor of being suspected of the crime.
[00:38:03] Unknown:
Gentlemen, I have been very patient. Now I learn that Christine Dubois will not sing. Gentlemen, if Madame Lorenzay sings in her place, you will be responsible. Two are dead now. Only two. There will be more, gentlemen. Many, many more.
[00:38:36] Unknown:
Florenzys sang that night. Through two acts, we waited and nothing happened. An old worker at the opera house, Dottishaw, figure on the catwalk leading to the dome of the theater. It was the old man's duty to light the monster chandelier, a great heavy thing of glass and bronze held in place by chains. When the police searched the catwalk high over the audience, there was no one there. We began to feel secure. Christine had come to the theater, but she was safe in her dressing room. When I entered from the wings at the finale of the second act, I was thinking only of the opera. And then it happened.
I saw the great chandelier begin to sway high above. It swung cool and fro like a giant pendulum. Others had seen it cool. A woman in the audience screamed. There was no time to get out of the way. The audience below was frozen, staring up at a monster of glass in France. And then it came hurtling down through space. Get doctors. Doctors. Get every doctor you can find in power. Watch every entrance. Put no one in or hardly put doctors in the engine. Christine. Christine, where are you? She's in her dressing room. No. She's not in her dressing room. I've been there. I saw her, monsieur. She went down the steps. You saw Christine Du Bois? Yes,
[00:43:06] Unknown:
monsieur. She was going down the steps to meet the stroller. I called to her, but she did not answer. Which way are the steps? Half of them, monsieur. And there was a man with her. A man on a cloak with a mask covering your face. Miss Claudine.
[00:43:18] Unknown:
She's with Claudine. Christine.
[00:43:33] Unknown:
We'll call now for a statement identification. This is the Columbia Broadcasting System.
[00:43:44] Unknown:
After a brief intermission, mister DeMille presents Nelson Eddy, Susanna Foster, and Basil Rathbone in act three of the Phantom of the Opera. And now, our Hollywood Reporter, Libby Collins, with a fashion tip. Well, and mister Kennedy,
[00:43:59] Unknown:
I thought our listeners would be interested in this little example of resourcefulness on the part of one of our famous stars. Screen stars must have chic and glamorous always, you know, but they are subject to the same wartime limitations as the rest of us. Take hairpins, for instance. Why, Libby, even a mere man has heard that hairpins are almost as scarce as nylon. Alas, that's true, mister Kennedy. But I, Lupino, found some wooden ones that were lacquered in bright colors. Much too pretty to cover up, I'd have thought. So she parted her hair in back, pulled it up on top of her head, and on each side of the part, set a row of the colored pins to make a crisscross pattern. Looked cute as could be too. That sounds like Ida Libby. She's as smart and bright as Quicksilver. Yes, mister Kennedy. And she darts around Hollywood almost as fast. She has to what with her studio work and the hours of war work she puts in.
Not much time for beauty care either. That's why she depends more than ever on Luxe toilet soap for complexion loveliness. My daily active lather facials are such a wonderful beauty aid, she says. Busy women everywhere find that's true, Libby. Those luxe soap beauty facials take just a few minutes a day, yet the creamy lather gives skin gentle thorough care it must have to be soft and lovely. Yes. A few minutes every day to smooth a rich lather in and you can just feel your skin taking on new freshness and beauty. No wonder Luxe toilet soap is the beauty soap of the star.
[00:45:21] Unknown:
Reason enough why every woman owes it to herself to try it. Luxe toilet soap is as fine a soap as money can buy. It's hard milk. That means it lasts and lasts. Each cake is satin smooth and fine. And if your dealer is temporarily out of stock due to wartime conditions, please be patient. He'll have more very shortly. Remember, Luxe toilet soap is worth waiting for. Start your Hollywood beauty care soon. Now our producer, mister DeMille.
[00:45:51] Unknown:
There's always excitement backstage after an opening. And you're invited to join us for a chat with our stars when the curtain falls. But now here's act three of the Phantom of the Opera, starring Nelson Eddy, Susanna Foster, and Basil Rathbone with Edgar Barriere. Christine had gone with Claudin. The chorus that night had worn masks, and D'Auber had arranged for the police to wear masks too so they might mingle with the crowd backstage. That was the way Claudin had enticed her. Thinking he was one of D'Auber's men who had come to protect her, Christine followed him down the steps to the cavernous cellars.
[00:46:39] Unknown:
This great mademoiselle
[00:46:40] Unknown:
pulled tight to my hand. The steps are quite steep.
[00:46:43] Unknown:
Are you one of the police? Where is inspector Dobert? He's investigating
[00:46:47] Unknown:
the cause of the accident. I look after him.
[00:46:50] Unknown:
Why do we have to come down here? Why?
[00:46:52] Unknown:
Don't you like it down here? It's very lovely.
[00:46:55] Unknown:
Once you get used to it
[00:46:57] Unknown:
Wait. Please. Yes? Let let me see your face.
[00:47:01] Unknown:
Take off your mask. No. No. No. No, my dear. I must never do that. Never.
[00:47:06] Unknown:
Oh,
[00:47:06] Unknown:
don't have one of the police. Don't you fight me. I'll watch over you. I've always watched over you, Christine. No.
[00:47:15] Unknown:
No. No. You must not do that.
[00:47:18] Unknown:
You stay here with me, Chinese. Won't you? It's been so lonely without you. You come to me at last, haven't you? Sing it to me, and I'll play. We'll be together forever. It's beautiful down here. Beautiful. Come now. I'll show you. Come with me. It is the last turn just through the tunnel. Thank you. Do not fight me, darling. Thank you. You know I'll not harm you, don't you? How could I harm you? I've always helped you, haven't I? Yes. Yes, Watts. You you helped me. Of course, I have. Bianca ruined you. She wouldn't let you sing. She didn't know how much I love you, but now she knows. But it doesn't matter anymore. Nothing matters except you and me. Now you'll sing all you want to, but only for me. You will sing and want to, won't you, madame?
[00:48:17] Unknown:
There's a piano we have before you. We'll we'll go up then if you you can play it, and I'll sing for you. But you don't understand.
[00:48:24] Unknown:
We can't go back. Ever. It was I who made the chant of the apple. I, for you, Christine. But I warned them. I told them to be death and destruction if they wouldn't let you send. Oh, come. Come, my child. Isn't far now? There. Look. Didn't I tell you it was fumed from here? You didn't know we had a lake all to ourselves? Look at your lake, Christine. You'll love it. You'll love it when you get used to the dark. It's frenemies and peaceful, brings rest and relief and pain. It's right under the opera house, and the music comes down and the darkness distills it, cleanses it of the suffering that made it. Then it's all beauty, and life here is like a resurrection.
I came here when my face was on fire. I found calmness in that dark water and comfort in the blackness over it. Then I heard you sing, Lord, I died and that you'd come to me. And the others sang and destroyed my heaven, so I destroyed them.
[00:49:29] Unknown:
You heard me from here? Yes.
[00:49:32] Unknown:
I guess, just my my private auditorium. Strange air currents circle these passages. They catch the music as it fudders down like a living bird in a minute. You can hear the opera almost as well as from the highest darkness. I heard it. Yes. Just as I heard it, well, when I first came to Paris. You're not afraid anymore, are you? No. Of course, you are not. Then come with me. Come. Christine.
[00:50:13] Unknown:
You have another lantern, inspector? This is the only one left. You better stay with me. You seem to have come to the end of the passage. No, we haven't.
[00:50:23] Unknown:
Isn't that an opening in a wall there to our left? Yes.
[00:50:26] Unknown:
Yes. It's a tunnel. Keep close to the wall. Feel your way along.
[00:50:31] Unknown:
There's just a narrow ledge. The sewer must run through here. There it is, just ahead of us. Do you suppose he might have doubled back? He might be upstaying. Why should he be? Lisk will be playing the concerto. He should be starting now. Oh, yes. Yes. A brilliant plan of yours. Christine. I touched the side of the wall. The rock came away in my hand. The whole place down here is ready to crumble. Look. Look up there, just ahead. Yeah. It looks almost like a lake.
[00:51:01] Unknown:
Come on. Christine. Pristine. Pristine. My child, this is my home. Furniture from this tall room and the piano. Do you like it, my dear? Would you please? Come give me your kiss, my child, and then I'll show you where you will sleep. Listen. Do you hear?
[00:51:29] Unknown:
My concerto. They're playing my concerto. I'm the stage of the ombre. My concerto. I'll play two chrysantimes.
[00:51:38] Unknown:
It's for you. Here it is for you.
[00:51:47] Unknown:
Do not get my child.
[00:51:49] Unknown:
I wrote it only for you. Who are you? That is what I have done has been to
[00:52:54] Unknown:
Christine, are you alright? Inspector? Alright. Claudine, he's still in there under the rock. My shot must have started the cave in. Come, Christine. We better start back. But Claudine It's no use. It would take days to get him out. He's dead, Christine.
[00:53:10] Unknown:
It's it's so strange. He said he said he wrote the concerto for me, a song I've known since I was a child. Who was he? He came from your district in Provence. Everybody there must have known that old folk song. He he was almost a stranger to me. And yet, somehow, I I almost felt drawn to him with with a kind of pity and understanding.
[00:53:35] Unknown:
His suffering and his madness will be forgotten.
[00:53:39] Unknown:
But his music, his
[00:53:40] Unknown:
concerto, that will remain. Christine went on to a great career and great fame. The night we sang together for the first time, the card outside of a dressing room was jammed with admirers. I had to force my way to a door. Excuse me. Excuse me. Thank you. Not at all. Oh, you are magnificent, Christine. Incomparable, beautiful sensation. Is that all? I've just begun. It would take days and years to tell you how wonderful you were. We're having supper tonight at the Cafe de l'Operat.
[00:54:17] Unknown:
Well, I'm terribly sorry, Anatol, but but I can't tonight. Why not?
[00:54:23] Unknown:
Have you another engagement? Well, yes. With whom?
[00:54:28] Unknown:
With me, monsieur.
[00:54:30] Unknown:
Oh. Oh, that policeman? Inspector of police, monsieur. How soon will you be ready, Christine? The carriage is waiting. I know monsieur Garand will excuse me. How do you know? I have an idea.
[00:54:41] Unknown:
Why can't we three have supper together? Mm-mm. I am not in the habit of taking paratons to supper. And I don't care to be seen in public with the police. Christine, you'll have to make up your mind finally and irrevocably between the two of us. Exactly.
[00:54:54] Unknown:
Very well. Will you gentlemen
[00:54:56] Unknown:
hear me? Of course. Thanks.
[00:54:59] Unknown:
Good night. What?
[00:55:04] Unknown:
What did she mean good night? Well, something tells me, monsieur,
[00:55:09] Unknown:
that she has gone to meet her public.
[00:55:12] Unknown:
Mhmm. Monsieur Garand,
[00:55:14] Unknown:
would you join me for a bit of supper at the Cafe de l'Opera?
[00:55:18] Unknown:
With pleasure, monsieur. Think we can get through that crowd? Certainly. After all, who'd pay any attention to a baritone and a detective? Quite right. Where should we go? After you, missus. Oh, no. After you, missus. A new season of the Luxe Radio Sierra has had a gala logic. And the first curtain calls of this season have been beautifully earned by Nelson Fonetti, Susanna Foster, and Basil Ratzl. Thank you, CP. Our congratulations to you on the beginning of the tenth year of this theater. Do you remember what Tennyson wrote? Men may come and men may go, but the mill goes on forever or something. My recollection is it with a brook.
[00:56:16] Unknown:
But as long as we have stars like you three, I'd like to go out forever. Let's hope luck soaked as you're saying. See, I really couldn't get along without it, mister Deville. A wonderful complexion here.
[00:56:26] Unknown:
Luck certainly cares for a lovely complexion in your case, Suzette.
[00:56:29] Unknown:
Thank you. Incidentally, mister Dunnell, has Nelson told you about the chicken he has that lays the golden egg? No. But I like about a dozen. That'll be a 20
[00:56:40] Unknown:
please. That's pretty high for just ordinary old golden eggs, isn't it? For what kind of hints, sir? Who dons. Who what? Who dons. They're a rather scarce breed. Someone gave me two hands and a rooster, and now they're all over the place. Well, if the eggs are worth $10 a piece, doesn't it kind of choke you to eat one for breakfast? Eat them. Tell you, the hens won't let an egg out of their sight. They won't spit right away. No. I hardly blame them. At that price, even a radio comedian wouldn't mind laying an egg. Where where are the hens come from, though? Somewhere around New Orleans. I plan to cross breed the Houdon's with my New Hampshire Reds and see what happens. When you become the Houdini of the Houdon's, I suppose you'll get up singing. The way those hen's are eating now, I'm going to have to sing loud and often.
What's your play next week, CB? Well, it's a drama of adventure in the air. The RKO screenplay, Fight for Freedom, and our stars will be Rosalind Russell, George Brent, and Chester Maris. Rosalind Russell played the same part on the screen with brilliant success, a world famous woman choir whose career comes to a climax in a mysterious trip across the Pacific. So don't miss Pike for Freedom with the takeoff at our usual time next Monday. Sounds like a direct hit, CB, tonight.
[00:57:55] Unknown:
Good night. Good night. Good night. You made me leave it at the bus service tonight. Our
[00:58:03] Unknown:
sponsors, the makers of bus service, folks, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Rosalind Russell, George Brent, and Chester Morris in fight for freedom. The success will be DeMille saying good night to you, Bram Hollywood.
[00:58:25] Unknown:
The universal screen production of the Phantom of the Opera in Technicolor starring Nelson Eddy, Susanna Foster, and Claude Rains with Edgar Barriere will have its New York premiere on October 14. Fansville Rathbone appeared tonight through the courtesy of Metro Goldwyn Mayer's studio. Our music was directed by Louis Silvers. And this is your announcer, John n Kennedy, reminding you to tune in next Monday night to hear Rosalind Russell, George Brent, and Chester Morris in life for freedom. Food shortages need not deprive your family of their vitamins and minerals.
Just get BIMS. They're new and different. BIMS are pleasant to taste whether chewed or swallowed whole. Bims give you all the vitamins government experts say are essential, balanced in the formula doctors endorse. Three vital minerals too. Get Bims from your druggist, the qualified vitamin dealer. V I for vitamins, double m s for minerals. Get that BIMS feeling. This is the Columbia Broadcasting System. See vital minerals too. Get BIMS from your druggist, the qualified vitamin dealer. BI for vitamins, double MS for minerals. Get that BIMS feeling.
This is the Columbia Broadcasting System.
From taco night in Tulum to sushi in Tokyo, every bite is rewarding and pulse worthy with MX Gold's four times membership rewards points at restaurants worldwide. Wherever you dine, points are piling up. So bring your friends along for your next course because it's not all about the posts. It's about the company and the memories. How can gold from Amex sweeten your next food moment? Learn more at AmericanExpress.com/explore-gold. Terms and points cap apply.
[00:00:31] Unknown:
Luxe presents Hollywood. The Luxe Radio Theater brings you Nelson Eddy, Susanna Foster, and Basil Rathbone in the Phantom of the Opera with Edgar Barry. Ladies and gentlemen, your producer, mister Cecil b DeMille.
[00:01:06] Unknown:
Greetings from Hollywood, ladies and gentlemen. A Broadway First night drills with a few hundred people who can enjoy the play. A Hollywood premiere is exciting for the few thousands who gather to see the stars. But opening night in the Luxe Radio Theater belongs to the millions, the millions in American homes and camps from coast to coast, and it belongs to our boys in uniform beyond the seas who join us for the first performance of our tenth season. The real adventure is not in the lights of the crowds, but in the historic privileges of the theater, in hearing a famous star score again in a brand new role, and in the joy of discovering a new star.
All that is yours tonight when we present Nelson Eddy and Susanna Foster in their new universal technicolor success, the Phantom of the Opera. And with them, in one of the theater's most interesting parts, we bring you Basil Rathbone. It's the first of a big parade of stars and plays that will challenge your attention and our ingenuity. Tonight's play has the thrill of mystery, the gaiety of comedy, and to stop everything else, one of the great singing voices of our day, the romantic baritone of Nelson Eddy. And if that isn't the right way to start the Luxe Radio Theater off on another season, I don't know how to find it.
We hope to make this season the best in our history, and we're counting on you to help us make it the best. By help, I don't mean just buying luxe toilet soap. I I think you'll do that anyway because you know how good it is. But backstage in this theater, we need your help in selecting plays. We want you to tell us what stars you'd like to hear. Everybody has a personal preference, and you give all the orders for our command performances. Your loyalty to Luxe toilet soap has kept this curtain going up for nine years. Your award has been a fine product and the finest plays and stars we could discover.
And now the thrill of another opening night as the curtain rises on the first act of the Phantom of the Opera, starring Nelson Eddy as Anatole, Susanna Foster as Christine, and Basil Rathbone as Claudette, with Edgar Barriere as Raoul. In the year 1880, the old Paris Opera stood like a giant torch in the heart of the city. A thousand windows ablaze with lights, but there were shadows too. Shadows that flitted high in the gallery over the great stage. Shadows that lingered in the upstairs bar beneath the street where the black sewers of Paris ran sluggishly in the dark. But we were not concerned with these things or so we thought at the time.
We of the opera knew only the light of the dressing rooms, the bright gay at the of the stage. I suppose it all began the night we sang Martha. The house was crowded, enthusiastic. There were no shadows for us that night. No. There was no warning that night, no hint of the strange things that were about to happen. But I noticed at the finale that Christine was not on stage for the curtain call. Christine Dubois who sang the role of Nancy. It was not like her to miss the finale of the action. Next stage, when the curtain had fallen, I saw Christine hurrying to her dressing.
Christine. Christine, wait. Yes, Donna. What is it? What happened to you? You weren't on stage? What? I You weren't ill, were you? Oh, no. No. You're alright? You sure? Of course, hon. Do I look alright? Oh, you look lovely. What happened?
[00:06:57] Unknown:
Well, I had a visitor. Somebody wanted to see me. Oh? Mademoiselle DuBois. Oh, good evening, my son. Mademoiselle,
[00:07:04] Unknown:
I understand that you were entertaining a gentleman backstage during a performance. Is that true? Yes, maestro. You are not the greatest soprano in the world, mademoiselle. Not yet. So please not take liberty. See me later in my office. Yes, maestro.
[00:07:18] Unknown:
All at all, what will he do? Don't worry. He's just barking again. Who, who is the gentleman? Well, he's he's an old friend of mine. But not so very old. No. He's inspector Dovell, just your state. Inspector? You mean a policeman? Well, he's not an ordinary policeman. Oh, did he sing? No. He's a graduate of the military academy at Pau Center. How much does this man mean to you? Well, I'm not sure. Christine,
[00:07:45] Unknown:
it's it's not like me to preach. But someday, you'll have to choose between your career and what's called a normal life that can't do justice to both. I think you'll find that music has its compensation.
[00:07:59] Unknown:
In other words, you don't think I ought to have supper tonight as well. No. But if you want it all, that would be alright?
[00:08:09] Unknown:
Definitely. We'll see.
[00:08:18] Unknown:
There was another man that night who missed Christine's appearance during the finale. His name was Eric Rodin, a violinist. He was a strange man, miss Rodin. Quiet, almost shy, what a brilliant musician. When Christine came from Villeneuve's office, Rodin was waiting in the passage.
[00:08:38] Unknown:
Good evening, ma'am Jose. Good evening, Rodin. Mister Villeneuve is seeing now. Thank you, ma'am Jose. Good night. Oh, ma'am Jose,
[00:08:45] Unknown:
may I speak to you for a moment? You, you weren't on the stage tonight with curtain calls. Everyone in the theater seems to have noticed that. It's really quite flattering. Why weren't you there? What? Oh, please forgive me, but I I've been here so long with you that everybody, everything connected with the opera is so much a part of my life. Of course. But you you doing it a week? Yes. You weren't over, you. You're not in any trouble. Oh, it's deep. I'm not in any trouble. Oh, it's deep. I'm not in any trouble. Oh, it's deep. I'm not in any trouble. I know, but No. I isn't.
[00:09:16] Unknown:
You're very kind, and I'm not in trouble. Good night. Christine.
[00:09:21] Unknown:
Oh, oh, I'm so sorry. I I shouldn't have called you Christine. I'm sorry.
[00:09:27] Unknown:
Good night. Good night, ma'am Jose.
[00:09:32] Unknown:
Come in.
[00:09:33] Unknown:
Oh, Claudine. Yes, my scroll. Close the door.
[00:09:37] Unknown:
Do you know why I sent for you, Claudine? I think so, my scroll. I have caught my violin. Take it out of the case, please. Hey, Claudette. For some time now, I have sensed discord in the violin section. It was not until tonight that I definitely located the source of the trouble. Let me hear you play, Claudette. Yes, my stow. What shall I play? Anything you please. Yes, my
[00:10:10] Unknown:
Wait a moment.
[00:10:11] Unknown:
What is
[00:10:13] Unknown:
that? A little song.
[00:10:14] Unknown:
A lullaby from Provence where I was born. Oh, it is very nice, very charming. I've written a concerto on the TV. Yes. Yes. Charming, Claudette. But too simple. Suppose instead you let me hear the opening movement in the third act of Martha. Well, it's no use, my scroll. Something's happened to the fingers of my left hand. I see. Perhaps it's only temporary, my scroll. Perhaps it will get better. I hope so. In the meantime, I'm sorry, Claud. I'm very sorry. You've been with us a long time. Twenty years. What am I to do, Maestro? I know it's hard, but no doubt you've saved enough to retire on. Yes. Yes. Of course. And in appreciation of your long service, I shall arrange with the directors to have a season ticket issued to you.
Thank you, Maestro. There are things I can tell you now. Things I didn't learn until months, even years later. Rodin had no money put aside. He lived in a miserable garret in the Paris slums. He was cold in the winter and often hungry. What money he earned was used for just one purpose, to provide singing lessons for Christine Dubois.
[00:11:29] Unknown:
She knew nothing of his sacrifice for her. It was a secret known only to Claudin himself and Signor Paretsky, the singing master. My dear Claudin, if you don't mind my saying so, you're approved. Signor Floretti. For three years, I've taught Christine Dubois, and you have failed. Why? How can a man of your age hope to interest a girl as young as he please. We agreed never to discuss my motives. Very well.
[00:11:54] Unknown:
So now you have been dismissed from the office. You can no longer pay for her letter. Is that it? Yes, senor. But I I hope that you would continue to instruct her. Hold on just for a while. I'll have money soon. I can check to buy for you. I
[00:12:14] Unknown:
Then you'll go on with the lesson, sign off? Why should I? Why should I assume your burden?
[00:12:19] Unknown:
The girl means nothing to me. But her career means a great deal to me, signotte,
[00:12:23] Unknown:
more than anything else. I'm sorry for that. Really, sir. I will, let her come a few times, then I will tell her she no longer needs But that isn't true. The hot slut. Signor, if you will give me just a little more time. You will have time, Claudin, when you have money.
[00:12:39] Unknown:
Come back when mister Lehel has bought your pork hair. For weeks, Claudin haunted the publisher's office, but always it was the same story. Monsieur Pleil was too busy to see him. One evening, just at dusk, Claudin forced his way past the manager, up the stairs, and to Pleil's study. Who is that? Richard Payer. What are you doing here? I've been waiting to see you since the morning. Did they tell you I was dizzy? George, more acid, please. Is this a bottle? The blue one, dear. Origin tray and the kettle, dear. Mister Payer. This could be the best etching I've ever made, Monsieur. Monsieur. Would you please be careful? Those plates contain itching acid. Would you like to burn the skin from your hands? I'm sorry, monsieur, but my manuscript. I must find out about my chateau.
Georges, would you mind giving us colorless manuscript? You won't find it on the table if it's anywhere. What is your name? Eddy Claudine. Claudine? I don't see it. No. No. No. It wouldn't be there. It's a large manuscript in a portfolio.
[00:13:40] Unknown:
Well, I'm sorry. But I don't know where it is. But it must be here. Well, if it isn't fair enough, you might call again at a few days. But you don't at this time, Hamold.
[00:13:48] Unknown:
It's It's the only copy I have. It represents two years' work. You heard what the lady said. Get out. But it was brought into this office. It must be here. It must be found. Did we ask you to bring your manuscript to us further? Perhaps some employers honed it into the waste paper basket where it probably belonged. Good night. Listen.
[00:14:04] Unknown:
The kettle. That's my music. Someone play my music. I thought I told you to get out of here. Goose, throw out my music. Thief. Help. Let it go. Let it go. Throw out my music.
[00:14:46] Unknown:
In that room, a man lay dead on the floor, and Claudine stumbled down the steps screaming in agony, the acid burning into his face. Into the street, he ran with his hands before him, groping his way blindly through the darkness. He was seen once on a Rue De Jardin and again in a dim street near the opera. And then he was gone, lost in the black of the night. There was a search, of course, but he was never found. It was not a thing that was close to any one of us. It was something you read about in a newspaper, shutter over for a moment, and then try to forget. In a few days, it was out of our minds completely, for Christine and I were rehearsing a new opera.
One morning, we were sitting at the piano in her home. That's very nice. What is it, Christine? It's a lullaby of Provence. Provence?
[00:15:51] Unknown:
I was born there, you know. I've known it for years, ever since I can remember. Sing it for me. Would you like?
[00:16:58] Unknown:
Well?
[00:16:59] Unknown:
Oh, it's lovely, Christine. Christine. Yes, Anthera. Didn't you hear the door? Monsieur Gilbert is here. Morning, Christine. Oh, good morning. You see, monsieur? They call this rehearsing.
[00:17:08] Unknown:
Rehearsing. Well,
[00:17:11] Unknown:
I'm sorry to intrude, but I must speak to you, Christine.
[00:17:14] Unknown:
But but you see, I'm busy right now, Raul. Anatole has been helping me. Yes. To rehearse.
[00:17:20] Unknown:
That monsieur is very kind. Well, not at all, monsieur. I find it a pleasure. I'm Anatold Garen of the Opera. Oh, I'm so sorry. This is inspector Daubert that's your case. Oh, the policeman. Police inspector, monsieur. Yes. Of course. I've heard of you, inspector. Your work must be very exciting. Oh, not half so exciting as yours, monsieur. It doesn't lend itself to self expression.
[00:17:42] Unknown:
Christine, I'd like to see you alone, please. I'm here on business. With me. What business good man was all happy with a certainty? What is it, Raul?
[00:17:50] Unknown:
If you don't mind, I'd rather Anatole stayed. Very well.
[00:17:53] Unknown:
Christine,
[00:17:54] Unknown:
do you know Eric Clodin? Why, yes. How well? I knew him as a violinist in the orchestra. Well, I met him a few times in the foyer on the stage or outside the opera, but but that's all. He he acted a little strangely. Strangely? How do you mean? Well, I I don't know. He just he just seemed eccentric, but but harmless. I thought he was a rather kindly fellow until I read of the murder.
[00:18:18] Unknown:
What is it, Raul? He was a kindly fellow until he thought Pleyel was robbing him of his work. Then something snapped, and he became an homicidal maniac. But what is all this to do with me? Well, we found something in his room, Christine, that connects you with him. No doubt you can explain. What is it? This statuette.
[00:18:35] Unknown:
As you can see, Christine, it's the image of you. So that's what became of it. Be good enough to explain yourself, monsieur? Certainly. That statuette is mine. Yours? Definitely. I made it. I intended to make you a present of it, Christine. How nice of you on a tone? Unfortunately, it disappeared from my dressing room.
[00:18:49] Unknown:
It's an extraordinary likeness. My compliments on your versatility, monsieur. Christine must have posed for this many times. I never posed for it that once. You did this from drawings, monsieur? And from memory, monsieur.
[00:19:02] Unknown:
Extraordinary memory. Thank you. But it's a simple matter to recall Christine's face and figure. I'm sure you have found it so, monsieur.
[00:19:11] Unknown:
Mhmm. But what was the statuette doing in Claudine's room? He must have stolen it. It's obvious. Is it? Speaking purely as an inspector of the sieur pays, I'm afraid even the obvious needs confirmation.
[00:19:23] Unknown:
What is a man, monsieur? I'm sure you can understand. Sitting there in the orchestra pit night after night looking at Christine, Rodin probably fell in love with her. You admit that is possible. No? Mhmm.
[00:19:35] Unknown:
Christine, did Claudine ever seek more than a casual acquaintance with you? No. Never. Can you imagine so diffident a lover, monsieur? Rodin was barely 50. No doubt he lacked
[00:19:46] Unknown:
fire.
[00:19:47] Unknown:
No doubt. Christine, this statuette is yours. I give it to you. You'll give it to her? Yes. Well, that's interesting.
[00:19:56] Unknown:
I'll accept it as a gift from both of you. Thank you. Oh, you're quite welcome.
[00:20:01] Unknown:
It seems I have the worst of this problem. In the future, mister Inspector, I detect you, model.
[00:20:07] Unknown:
In any case, that was a bad cue. Oh, not so bad as it seems. It enabled me to recover Mademoiselle's statuette. Is, is that your carriage at the door, monsieur? Yes. Would you be good enough to give me a lift?
[00:20:20] Unknown:
Well,
[00:20:22] Unknown:
which way are you going? Oh, it doesn't matter. As inspector of police, I have business all over Paris.
[00:20:27] Unknown:
Well, in that case, oh, what, Christine? Oh, what? You've been most helpful, Christine. Most helpful. I I hope you catch Claudine. Thank you. Well, you ready, monsieur? At your service. Or after you, monsieur. Or after you, monsieur. Thank you, monsieur. We could laugh then because the horror had not touched us. We didn't know that in the cabins of the sewer beneath the opera, there was a shadow darker than the surrounding gloom. The shadow of a man in a black cloak, his face hidden behind a mask. This was the man whose features had been burned and whose mind was on fire. Before long, that shadow was to envelop all of us.
[00:21:34] Unknown:
In a few moments, mister DeMille and our stars, Nelson Eddy, Susanna Foster, Basil Rathbone, and Edgar Barriere will return in act two of the Phantom of the Opera. One way you can be sure of having a last word in an argument is to have an argument with yourself as this young lady is doing for instance.
[00:21:51] Unknown:
I don't see anything the matter with my skin really. Doesn't look as nice as it used to look. It does so. It's just that the light over this mirror is so bright. Well, doesn't Johnny Brooks always tell me I have a complexion like a million? Hadn't said so for a good long time. Well, he's been away at camp, Marty. That's why. He's due for a furlough almost any time now. Maybe you'd better start doing something about your skin. How about some real beauty care instead of that deep, damp looking promise kind of treatment you've been giving it lately? Maybe I better.
Yes. I will. I'll try those beauty facial screen stars used, Active lather facials with luxe toilet soap every single day. If it works for the screen stars, it ought to work for me too. Well, she'll find it does work. This gentle complexion care used by nine out of 10 Hollywood stars.
[00:22:47] Unknown:
You see, lux toilet soap is a real beauty soap with lather so rich and smooth and super fine, it feels like a caress on the skin. Lovely screen stars tell you they take their luxe soap beauty facials this way. They smooth lots of the creamy active bladder well in. They rinse with warm water and splash with cold. Then they pat their skin dry with a soft towel. Now that's a very simple easy care, but if you use it every day, you'll find that soon your skin feels softer, smoother, takes on a fresher, lovelier look. Why not get some Luxe garlic soap tomorrow? You'll notice each satiny white cake is hard milled. That means it lasts and lasts.
And remember, it's patriotic not to waste soap. Use only what you need. Don't leave your cake of Luxe toilet soap standing in water, and be sure always to put it in a soap dish that's dry. And now, mister DeMille returns to the microphone.
[00:23:43] Unknown:
Act two of the Phantom of the Opera, starring Nelson Eddy as Anatole, Susanna Foster as Christine, and Basil Rathbone as Claudine, Edgar Barrias as Raul. There was a master key at the opera house. And the night we were to sing Amour de Guar, the key disappeared. Other things had been stolen, costumes, masks, but now the shadow had entrance to 2,500 doors. He could roam at will from the subcellus to the very top of the auditorium where the great chandelier swung over the audience. There were some who swore they had seen this shadow flung on the walls of dim corridors or crouching like a grip on on the high balconies over the street.
And there were some who swore they had heard mutterings in the deep cellars where the sewers ran flat. And tonight,
[00:25:04] Unknown:
We shall see.
[00:25:14] Unknown:
It was strange the way it happened. In the third act, the libretto called for me to give Bianca Rolli a cup of wine. When she had drunk it, I thought for a moment that her face paled. She finished her aria and left the stage, but she was late for her next entrance. There was a wait. And then came a pajenda from off stage. I knew that boy, but it was not Bianca Roli who was making the entrance. It was her understudy, Christine Dubois.
[00:29:56] Unknown:
Tell you I was drugged. I was perfectly well during the second act. You saw me myself. Madame Bianca Rori, we realized If you didn't realize I was drugged, then tell that police inspector there to arrest the man who did it. We all know who it was. Anatol got all. I know nothing of the sort, madame. I am a police officer, not a psychic. It is my duty to collect evidence without prejudice. Haven't you evidence enough? Everyone knows Madame, will you be seated, please?
[00:30:20] Unknown:
Monsieur Gao, is it true that you had the opportunity during tonight's performance to place the drug in Madame Bianca Roly's class? Certainly, monsieur inspector. We all did. It becomes then a question of motive. The motive is very simple. Guerin wanted to get me out of the way to make room for that Are you referring to Christine DuPont? I am.
[00:30:37] Unknown:
You heard, monsieur Garonne? Oh, yes. Madame is in good voice and most explicit. Have you anything to say, monsieur? I deny madame's accusation.
[00:30:46] Unknown:
Do you deny, monsieur, that you have any motive in drugging madame?
[00:30:50] Unknown:
I deny that I drugged her. Monsieur inspector, I do not understand your reluctance to make an arrest. You are not an examining magistrate. Can you substantiate your charge that Anatole Gauron had a motive in drugging you and that the motive was Christine DuBois? Why anybody would have and I would be able to take it. Piersay is not evident. Then I'll go over your head. I have influence at the shoot table. I was drugged tonight to the point of death, and I insist upon the arrest of the criminal and his accomplice. And if you don't One moment, madame, Please. You've heard their own deny that he drugged you. As the inspector says, there is no evidence to warrant an arrest. If you insist upon it and failed to gain a conviction, you will find yourself in a very difficult predicament. Yes. Quite right. And no matter what the outcome, don't forget the dears down to the palace opera. Whatever scandal injures us or any member of the company will injure you as well. Are you suggesting that I forget the whole affair? Yes. For your own sake as well as ours.
[00:31:42] Unknown:
Very well. That is under certain conditions. I want a new understudy. Christine DuBois goes back to the course and stays for the two years my contract has to run. No. I won't permit it. If any such arrangement is made, I'm dear Anatole, I have not finished. I go as their father. I suggest that we all forget that anything happened afterwards.
[00:32:03] Unknown:
For once, madame.
[00:32:05] Unknown:
I don't understand you. Oh, but it's so simple. Nothing happened tonight. I was not drugged, and Christine Dubois did not sing. What Madame? There are always critics in the house. You will send word to the papers that no mention of her is to be made. You'll do nothing of the sort. It's ridiculous.
[00:32:21] Unknown:
Besides, what about the public? Shall we send word to the public to forget that man was El Du Bois was a sensation? If you are willing to ruin the opera for the sake of Christine Du Bois, that's your affair.
[00:32:31] Unknown:
But you either do as I say or I will charge both of you with trying to murder me. Do you understand that? Murder. Madam Bianca Rolling. Good evening, Maria. Oh, madam. You were magnificent tonight. My dear sweetie, you really thought so, Maria? Oh, yes, madame. The best I'd ever heard you, especially in the part of Garonne. The cadenza from offstage, it was so Oh, you liked that, did you? Why, yes, madame. Yes. Yes. I was. Very good tonight. My dressing down, Maria? Yes, madame. Maria. Madam. Madam. What's the matter with you? A man, madame. Outside the window on the balcony. Don't be a fool. How could
[00:33:22] Unknown:
Good evening.
[00:33:24] Unknown:
What do you want here?
[00:33:26] Unknown:
I'm sorry. I cannot let you see my face.
[00:33:29] Unknown:
You would not be pleased. Take off that mask, Anatol Garo. You do not frighten me. Madam, it is Anatol Gharau. I did not come here to frighten you unnecessarily,
[00:33:39] Unknown:
only to tell you that Christine Dubois will sing
[00:33:44] Unknown:
tomorrow night. Oh, yes. You will leave Paris, madam. Leave Paris. You will see to it, of course. Yes.
[00:33:51] Unknown:
I will see to it, madam.
[00:33:53] Unknown:
Get back, madam.
[00:33:55] Unknown:
Do you force me to reason with you, madam? I will not leave. Get away from me. I am sorry, madam.
[00:34:03] Unknown:
I am very sorry. And then from somewhere within the darkened building, a note was written to the directors.
[00:34:33] Unknown:
Gentlemen, the opera must open very soon. Christine Dubois will replace Bianca Rowley who chose to ignore my advice.
[00:34:57] Unknown:
Good morning. Yes? Is is Christine at home? Yes. Well, may I see her, please? Come in. I'll tell her you're here. Thank you. Oh, I didn't see you, inspector. Good morning. How's the opera business, monsieur? Very poor at the moment. How's the inspecting? Very good. Splendid. Glad to hear it. Thank you. Not at all.
[00:35:31] Unknown:
Good morning.
[00:35:32] Unknown:
Oh, good morning, Christina.
[00:35:33] Unknown:
Hertford, I told you you were waiting to get it. Did you amuse each other?
[00:35:38] Unknown:
Good. May I have a
[00:35:41] Unknown:
sorry, monsieur. After you, monsieur. After you. Thank you. But I hope that I can only
[00:35:47] Unknown:
Not at a time, please. Anatole?
[00:35:51] Unknown:
They're going to open the opera, Christine. You and I are going to sing together. You are wrong, monsieur.
[00:35:55] Unknown:
I'm sorry, Christine. They are going to reopen the opera, but without you. Circumstances connected with the murder of Bianca Rolle demand that someone else sing the leading role in your place. Really? You may be interested to know, monsieur Daubert, that circumstances connected with the murder of Bianca Rolle demand that Christine does sing. Well, the police have changed that plan somewhat. We are going to draw the door out of the open by defying his warning. My men will be posted at every entrance and exit. And probably miss him.
[00:36:23] Unknown:
Monsieur, I am aware that your profession requires a certain self assurance, but aren't you going too far? Not at all. I happen to have a plan of my own for trapping a murderer. So you've sent detective, monsieur? I have? Well, very well if it amuses you. I might add that my plan is strictly confidential.
[00:36:40] Unknown:
All I can tell you is that Lorenzie is the single role, and I am not in the least interested in your plan.
[00:36:46] Unknown:
May I have a word with you alone, Christine? Yes. That's what I came for. May I speak to you alone, Christine? But I I'm going out. Well, my carriage is just outside.
[00:36:54] Unknown:
I'm not going right now. I mean, I'm going later.
[00:36:58] Unknown:
I'll wait.
[00:37:01] Unknown:
Yes. Yes. We'll both wait. We were certain now that the murderer was Eddie Claudin. The plan I had worked out took me to the home of a great pianist and composer. On the night before we were to open, I went to see Franz Liszt. Very nice. But do you really think this blowback could be tempted to leave his hiding place and risk his life merely to give his own concerto played by Franz Liszt himself? Do you doubt it, Maestro? Now my plan is for you to play the concerto be between the second and third acts, then it's Well, so many crimes have been committed in the name of music. It seems only fair to use it now to avert one. I am at your service, miss Judith. Oh, thank you, Maestro. The most exciting this detective detective work. Most exciting. Alright. It's more than exciting to me. I have the honor of being suspected of the crime.
[00:38:03] Unknown:
Gentlemen, I have been very patient. Now I learn that Christine Dubois will not sing. Gentlemen, if Madame Lorenzay sings in her place, you will be responsible. Two are dead now. Only two. There will be more, gentlemen. Many, many more.
[00:38:36] Unknown:
Florenzys sang that night. Through two acts, we waited and nothing happened. An old worker at the opera house, Dottishaw, figure on the catwalk leading to the dome of the theater. It was the old man's duty to light the monster chandelier, a great heavy thing of glass and bronze held in place by chains. When the police searched the catwalk high over the audience, there was no one there. We began to feel secure. Christine had come to the theater, but she was safe in her dressing room. When I entered from the wings at the finale of the second act, I was thinking only of the opera. And then it happened.
I saw the great chandelier begin to sway high above. It swung cool and fro like a giant pendulum. Others had seen it cool. A woman in the audience screamed. There was no time to get out of the way. The audience below was frozen, staring up at a monster of glass in France. And then it came hurtling down through space. Get doctors. Doctors. Get every doctor you can find in power. Watch every entrance. Put no one in or hardly put doctors in the engine. Christine. Christine, where are you? She's in her dressing room. No. She's not in her dressing room. I've been there. I saw her, monsieur. She went down the steps. You saw Christine Du Bois? Yes,
[00:43:06] Unknown:
monsieur. She was going down the steps to meet the stroller. I called to her, but she did not answer. Which way are the steps? Half of them, monsieur. And there was a man with her. A man on a cloak with a mask covering your face. Miss Claudine.
[00:43:18] Unknown:
She's with Claudine. Christine.
[00:43:33] Unknown:
We'll call now for a statement identification. This is the Columbia Broadcasting System.
[00:43:44] Unknown:
After a brief intermission, mister DeMille presents Nelson Eddy, Susanna Foster, and Basil Rathbone in act three of the Phantom of the Opera. And now, our Hollywood Reporter, Libby Collins, with a fashion tip. Well, and mister Kennedy,
[00:43:59] Unknown:
I thought our listeners would be interested in this little example of resourcefulness on the part of one of our famous stars. Screen stars must have chic and glamorous always, you know, but they are subject to the same wartime limitations as the rest of us. Take hairpins, for instance. Why, Libby, even a mere man has heard that hairpins are almost as scarce as nylon. Alas, that's true, mister Kennedy. But I, Lupino, found some wooden ones that were lacquered in bright colors. Much too pretty to cover up, I'd have thought. So she parted her hair in back, pulled it up on top of her head, and on each side of the part, set a row of the colored pins to make a crisscross pattern. Looked cute as could be too. That sounds like Ida Libby. She's as smart and bright as Quicksilver. Yes, mister Kennedy. And she darts around Hollywood almost as fast. She has to what with her studio work and the hours of war work she puts in.
Not much time for beauty care either. That's why she depends more than ever on Luxe toilet soap for complexion loveliness. My daily active lather facials are such a wonderful beauty aid, she says. Busy women everywhere find that's true, Libby. Those luxe soap beauty facials take just a few minutes a day, yet the creamy lather gives skin gentle thorough care it must have to be soft and lovely. Yes. A few minutes every day to smooth a rich lather in and you can just feel your skin taking on new freshness and beauty. No wonder Luxe toilet soap is the beauty soap of the star.
[00:45:21] Unknown:
Reason enough why every woman owes it to herself to try it. Luxe toilet soap is as fine a soap as money can buy. It's hard milk. That means it lasts and lasts. Each cake is satin smooth and fine. And if your dealer is temporarily out of stock due to wartime conditions, please be patient. He'll have more very shortly. Remember, Luxe toilet soap is worth waiting for. Start your Hollywood beauty care soon. Now our producer, mister DeMille.
[00:45:51] Unknown:
There's always excitement backstage after an opening. And you're invited to join us for a chat with our stars when the curtain falls. But now here's act three of the Phantom of the Opera, starring Nelson Eddy, Susanna Foster, and Basil Rathbone with Edgar Barriere. Christine had gone with Claudin. The chorus that night had worn masks, and D'Auber had arranged for the police to wear masks too so they might mingle with the crowd backstage. That was the way Claudin had enticed her. Thinking he was one of D'Auber's men who had come to protect her, Christine followed him down the steps to the cavernous cellars.
[00:46:39] Unknown:
This great mademoiselle
[00:46:40] Unknown:
pulled tight to my hand. The steps are quite steep.
[00:46:43] Unknown:
Are you one of the police? Where is inspector Dobert? He's investigating
[00:46:47] Unknown:
the cause of the accident. I look after him.
[00:46:50] Unknown:
Why do we have to come down here? Why?
[00:46:52] Unknown:
Don't you like it down here? It's very lovely.
[00:46:55] Unknown:
Once you get used to it
[00:46:57] Unknown:
Wait. Please. Yes? Let let me see your face.
[00:47:01] Unknown:
Take off your mask. No. No. No. No, my dear. I must never do that. Never.
[00:47:06] Unknown:
Oh,
[00:47:06] Unknown:
don't have one of the police. Don't you fight me. I'll watch over you. I've always watched over you, Christine. No.
[00:47:15] Unknown:
No. No. You must not do that.
[00:47:18] Unknown:
You stay here with me, Chinese. Won't you? It's been so lonely without you. You come to me at last, haven't you? Sing it to me, and I'll play. We'll be together forever. It's beautiful down here. Beautiful. Come now. I'll show you. Come with me. It is the last turn just through the tunnel. Thank you. Do not fight me, darling. Thank you. You know I'll not harm you, don't you? How could I harm you? I've always helped you, haven't I? Yes. Yes, Watts. You you helped me. Of course, I have. Bianca ruined you. She wouldn't let you sing. She didn't know how much I love you, but now she knows. But it doesn't matter anymore. Nothing matters except you and me. Now you'll sing all you want to, but only for me. You will sing and want to, won't you, madame?
[00:48:17] Unknown:
There's a piano we have before you. We'll we'll go up then if you you can play it, and I'll sing for you. But you don't understand.
[00:48:24] Unknown:
We can't go back. Ever. It was I who made the chant of the apple. I, for you, Christine. But I warned them. I told them to be death and destruction if they wouldn't let you send. Oh, come. Come, my child. Isn't far now? There. Look. Didn't I tell you it was fumed from here? You didn't know we had a lake all to ourselves? Look at your lake, Christine. You'll love it. You'll love it when you get used to the dark. It's frenemies and peaceful, brings rest and relief and pain. It's right under the opera house, and the music comes down and the darkness distills it, cleanses it of the suffering that made it. Then it's all beauty, and life here is like a resurrection.
I came here when my face was on fire. I found calmness in that dark water and comfort in the blackness over it. Then I heard you sing, Lord, I died and that you'd come to me. And the others sang and destroyed my heaven, so I destroyed them.
[00:49:29] Unknown:
You heard me from here? Yes.
[00:49:32] Unknown:
I guess, just my my private auditorium. Strange air currents circle these passages. They catch the music as it fudders down like a living bird in a minute. You can hear the opera almost as well as from the highest darkness. I heard it. Yes. Just as I heard it, well, when I first came to Paris. You're not afraid anymore, are you? No. Of course, you are not. Then come with me. Come. Christine.
[00:50:13] Unknown:
You have another lantern, inspector? This is the only one left. You better stay with me. You seem to have come to the end of the passage. No, we haven't.
[00:50:23] Unknown:
Isn't that an opening in a wall there to our left? Yes.
[00:50:26] Unknown:
Yes. It's a tunnel. Keep close to the wall. Feel your way along.
[00:50:31] Unknown:
There's just a narrow ledge. The sewer must run through here. There it is, just ahead of us. Do you suppose he might have doubled back? He might be upstaying. Why should he be? Lisk will be playing the concerto. He should be starting now. Oh, yes. Yes. A brilliant plan of yours. Christine. I touched the side of the wall. The rock came away in my hand. The whole place down here is ready to crumble. Look. Look up there, just ahead. Yeah. It looks almost like a lake.
[00:51:01] Unknown:
Come on. Christine. Pristine. Pristine. My child, this is my home. Furniture from this tall room and the piano. Do you like it, my dear? Would you please? Come give me your kiss, my child, and then I'll show you where you will sleep. Listen. Do you hear?
[00:51:29] Unknown:
My concerto. They're playing my concerto. I'm the stage of the ombre. My concerto. I'll play two chrysantimes.
[00:51:38] Unknown:
It's for you. Here it is for you.
[00:51:47] Unknown:
Do not get my child.
[00:51:49] Unknown:
I wrote it only for you. Who are you? That is what I have done has been to
[00:52:54] Unknown:
Christine, are you alright? Inspector? Alright. Claudine, he's still in there under the rock. My shot must have started the cave in. Come, Christine. We better start back. But Claudine It's no use. It would take days to get him out. He's dead, Christine.
[00:53:10] Unknown:
It's it's so strange. He said he said he wrote the concerto for me, a song I've known since I was a child. Who was he? He came from your district in Provence. Everybody there must have known that old folk song. He he was almost a stranger to me. And yet, somehow, I I almost felt drawn to him with with a kind of pity and understanding.
[00:53:35] Unknown:
His suffering and his madness will be forgotten.
[00:53:39] Unknown:
But his music, his
[00:53:40] Unknown:
concerto, that will remain. Christine went on to a great career and great fame. The night we sang together for the first time, the card outside of a dressing room was jammed with admirers. I had to force my way to a door. Excuse me. Excuse me. Thank you. Not at all. Oh, you are magnificent, Christine. Incomparable, beautiful sensation. Is that all? I've just begun. It would take days and years to tell you how wonderful you were. We're having supper tonight at the Cafe de l'Operat.
[00:54:17] Unknown:
Well, I'm terribly sorry, Anatol, but but I can't tonight. Why not?
[00:54:23] Unknown:
Have you another engagement? Well, yes. With whom?
[00:54:28] Unknown:
With me, monsieur.
[00:54:30] Unknown:
Oh. Oh, that policeman? Inspector of police, monsieur. How soon will you be ready, Christine? The carriage is waiting. I know monsieur Garand will excuse me. How do you know? I have an idea.
[00:54:41] Unknown:
Why can't we three have supper together? Mm-mm. I am not in the habit of taking paratons to supper. And I don't care to be seen in public with the police. Christine, you'll have to make up your mind finally and irrevocably between the two of us. Exactly.
[00:54:54] Unknown:
Very well. Will you gentlemen
[00:54:56] Unknown:
hear me? Of course. Thanks.
[00:54:59] Unknown:
Good night. What?
[00:55:04] Unknown:
What did she mean good night? Well, something tells me, monsieur,
[00:55:09] Unknown:
that she has gone to meet her public.
[00:55:12] Unknown:
Mhmm. Monsieur Garand,
[00:55:14] Unknown:
would you join me for a bit of supper at the Cafe de l'Opera?
[00:55:18] Unknown:
With pleasure, monsieur. Think we can get through that crowd? Certainly. After all, who'd pay any attention to a baritone and a detective? Quite right. Where should we go? After you, missus. Oh, no. After you, missus. A new season of the Luxe Radio Sierra has had a gala logic. And the first curtain calls of this season have been beautifully earned by Nelson Fonetti, Susanna Foster, and Basil Ratzl. Thank you, CP. Our congratulations to you on the beginning of the tenth year of this theater. Do you remember what Tennyson wrote? Men may come and men may go, but the mill goes on forever or something. My recollection is it with a brook.
[00:56:16] Unknown:
But as long as we have stars like you three, I'd like to go out forever. Let's hope luck soaked as you're saying. See, I really couldn't get along without it, mister Deville. A wonderful complexion here.
[00:56:26] Unknown:
Luck certainly cares for a lovely complexion in your case, Suzette.
[00:56:29] Unknown:
Thank you. Incidentally, mister Dunnell, has Nelson told you about the chicken he has that lays the golden egg? No. But I like about a dozen. That'll be a 20
[00:56:40] Unknown:
please. That's pretty high for just ordinary old golden eggs, isn't it? For what kind of hints, sir? Who dons. Who what? Who dons. They're a rather scarce breed. Someone gave me two hands and a rooster, and now they're all over the place. Well, if the eggs are worth $10 a piece, doesn't it kind of choke you to eat one for breakfast? Eat them. Tell you, the hens won't let an egg out of their sight. They won't spit right away. No. I hardly blame them. At that price, even a radio comedian wouldn't mind laying an egg. Where where are the hens come from, though? Somewhere around New Orleans. I plan to cross breed the Houdon's with my New Hampshire Reds and see what happens. When you become the Houdini of the Houdon's, I suppose you'll get up singing. The way those hen's are eating now, I'm going to have to sing loud and often.
What's your play next week, CB? Well, it's a drama of adventure in the air. The RKO screenplay, Fight for Freedom, and our stars will be Rosalind Russell, George Brent, and Chester Maris. Rosalind Russell played the same part on the screen with brilliant success, a world famous woman choir whose career comes to a climax in a mysterious trip across the Pacific. So don't miss Pike for Freedom with the takeoff at our usual time next Monday. Sounds like a direct hit, CB, tonight.
[00:57:55] Unknown:
Good night. Good night. Good night. You made me leave it at the bus service tonight. Our
[00:58:03] Unknown:
sponsors, the makers of bus service, folks, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Rosalind Russell, George Brent, and Chester Morris in fight for freedom. The success will be DeMille saying good night to you, Bram Hollywood.
[00:58:25] Unknown:
The universal screen production of the Phantom of the Opera in Technicolor starring Nelson Eddy, Susanna Foster, and Claude Rains with Edgar Barriere will have its New York premiere on October 14. Fansville Rathbone appeared tonight through the courtesy of Metro Goldwyn Mayer's studio. Our music was directed by Louis Silvers. And this is your announcer, John n Kennedy, reminding you to tune in next Monday night to hear Rosalind Russell, George Brent, and Chester Morris in life for freedom. Food shortages need not deprive your family of their vitamins and minerals.
Just get BIMS. They're new and different. BIMS are pleasant to taste whether chewed or swallowed whole. Bims give you all the vitamins government experts say are essential, balanced in the formula doctors endorse. Three vital minerals too. Get Bims from your druggist, the qualified vitamin dealer. V I for vitamins, double m s for minerals. Get that BIMS feeling. This is the Columbia Broadcasting System. See vital minerals too. Get BIMS from your druggist, the qualified vitamin dealer. BI for vitamins, double MS for minerals. Get that BIMS feeling.
This is the Columbia Broadcasting System.
Introduction to Luxe Radio Theater
Opening Night of the Tenth Season
The Phantom of the Opera Begins
Christine's Mysterious Absence
Claudin's Desperation
The Tragic Incident
The Phantom's Shadow
The Accusation
The Opera Reopens
The Chandelier Falls
Christine's Abduction
The Aftermath
