Disclaimer: "The Phantom of the Opera" was written by Gaston Leroux. This
fan fiction story is based on the musical "The Phantom of the Opera" by
Andrew Lloyd Webber and Charles Hart. It is also based on the book
"Phantom" by Susan Kay. I have no permission to use the characters. No
money is being made from the works of Leroux, Webber/Hart and Kay.
Anything that appears in '' is remembered dialogue by Carlotta.
Note: This chapter was going to be bigger but I've decided to break it down into smaller ones.
There was to be no investigation into the incident. No one could prove that anyone had tampered with the chandelier and the government did not want tales of a ghost appearing in the press.
The man responsible for the maintenance of the chandelier lost his job on grounds of incompetence. No one else would hire him as the reason for his dismissal spread to potential employers. Three days later the police recovered his body from the Seine. The ballet rats took great delight in attributing his death to the ghost. Those of us with half a brain knew better. He had committed suicide. According the press, the stress of the whole events had driven him to take his own life. How tragic to end up committing the ultimate sin because of a cruel conspiracy of which he was an innocent victim. Though I did not know him personally, I prayed for his soul and for his wife and two young children when I heard of his death. It was Madame Giry's idea to donate a sum to pay for the funeral and other expenses. Being a widow herself, she probably knew what was best or perhaps she was under orders from her master.
If his death bothered the conscience of Monsieur André or Monsieur Firmin, it did not show. The managers went about their daily business as though nothing had happened. They decided that, until the installation of the new chandelier was complete, the opera house would remain closed to the public. However, that did not mean that we were to idly waste the six months it would take for repairs to be finished. No, we were to rehearse for a new production that would announce our triumphant return from disaster. In the days that followed the disaster a number of dancers left. A few stagehands and chorus members deserted the company too. Those of us who had not left the opera house after the incident were half-hearted in our enthusiasm for the new production. The curse, foretold by the Phantom, occupied the thoughts of every employee of the opera and prevented even the most hardened of performers like myself from giving our total commitment to the management.
As for Christine, she remained quiet taking the role of my understudy to much disapproval. Although I never spoke of it openly, for once, I resented it. To me, it seemed that the little culprit had escaped punishment for her crime. However, my original understudy left the managers with little choice. Marie-Therese had always been a flighty little thing and her departure was of no great surprise. To me, though, it was a personal insult and a great loss. I thought she was my friend. I was mistaken.
The Vicomte de Changy went to London at the request of his brother. Officially, it was to conduct "family business" but, personally, I think it was to separate the boy from his precious little Christine. All parties linked to the two lovers agreed it was for the best that the two remained away from each other. From the accounts I had heard, it had almost killed the Vicomte to say goodbye to her as he left on a ship bound for England. She talked to no one, after his departure, except to little Meg. The ballet rats' conversations, which I had overheard now and then, spoke of Christine's sadness over her great tragedy. Her Angel of Music had not appeared to her since the incident. I worried, perhaps needlessly, not for her but for him.
The management, that is to say Monsieur André for Monsieur Firmin had lost all interest in anything to do with the opera, allowed me a brief absence. In light of the stress and public humiliation I had endured, it was felt that a rest would do me the world of good. Either that or rumours of my plans to leave had spread to the offices of the management. For the most, the rumour was just dreaming on the part of those who did not like me. Had it been true I am sure that they would have raised the sum to pay for my journey and wished me all the luck in the world while silently praying that I never reappeared in their lives. I did not wish to leave but I did not have the energy to argue or reassure them of my intent to stay. If I had not had a personal stake in the whole Opera Ghost affair, I would have left. It was not that I wished to save face or play the role of victim but for Erik, the poor boy I had hurt so many years ago, that I stayed. Guilt is a very powerful emotion but one that I was well acquainted. From the day I drew my first breath, I had committed a sin. The victim, the culprit - I was both. The note he had left for me in Venice still haunted me. Hate.
Note: This chapter was going to be bigger but I've decided to break it down into smaller ones.
There was to be no investigation into the incident. No one could prove that anyone had tampered with the chandelier and the government did not want tales of a ghost appearing in the press.
The man responsible for the maintenance of the chandelier lost his job on grounds of incompetence. No one else would hire him as the reason for his dismissal spread to potential employers. Three days later the police recovered his body from the Seine. The ballet rats took great delight in attributing his death to the ghost. Those of us with half a brain knew better. He had committed suicide. According the press, the stress of the whole events had driven him to take his own life. How tragic to end up committing the ultimate sin because of a cruel conspiracy of which he was an innocent victim. Though I did not know him personally, I prayed for his soul and for his wife and two young children when I heard of his death. It was Madame Giry's idea to donate a sum to pay for the funeral and other expenses. Being a widow herself, she probably knew what was best or perhaps she was under orders from her master.
If his death bothered the conscience of Monsieur André or Monsieur Firmin, it did not show. The managers went about their daily business as though nothing had happened. They decided that, until the installation of the new chandelier was complete, the opera house would remain closed to the public. However, that did not mean that we were to idly waste the six months it would take for repairs to be finished. No, we were to rehearse for a new production that would announce our triumphant return from disaster. In the days that followed the disaster a number of dancers left. A few stagehands and chorus members deserted the company too. Those of us who had not left the opera house after the incident were half-hearted in our enthusiasm for the new production. The curse, foretold by the Phantom, occupied the thoughts of every employee of the opera and prevented even the most hardened of performers like myself from giving our total commitment to the management.
As for Christine, she remained quiet taking the role of my understudy to much disapproval. Although I never spoke of it openly, for once, I resented it. To me, it seemed that the little culprit had escaped punishment for her crime. However, my original understudy left the managers with little choice. Marie-Therese had always been a flighty little thing and her departure was of no great surprise. To me, though, it was a personal insult and a great loss. I thought she was my friend. I was mistaken.
The Vicomte de Changy went to London at the request of his brother. Officially, it was to conduct "family business" but, personally, I think it was to separate the boy from his precious little Christine. All parties linked to the two lovers agreed it was for the best that the two remained away from each other. From the accounts I had heard, it had almost killed the Vicomte to say goodbye to her as he left on a ship bound for England. She talked to no one, after his departure, except to little Meg. The ballet rats' conversations, which I had overheard now and then, spoke of Christine's sadness over her great tragedy. Her Angel of Music had not appeared to her since the incident. I worried, perhaps needlessly, not for her but for him.
The management, that is to say Monsieur André for Monsieur Firmin had lost all interest in anything to do with the opera, allowed me a brief absence. In light of the stress and public humiliation I had endured, it was felt that a rest would do me the world of good. Either that or rumours of my plans to leave had spread to the offices of the management. For the most, the rumour was just dreaming on the part of those who did not like me. Had it been true I am sure that they would have raised the sum to pay for my journey and wished me all the luck in the world while silently praying that I never reappeared in their lives. I did not wish to leave but I did not have the energy to argue or reassure them of my intent to stay. If I had not had a personal stake in the whole Opera Ghost affair, I would have left. It was not that I wished to save face or play the role of victim but for Erik, the poor boy I had hurt so many years ago, that I stayed. Guilt is a very powerful emotion but one that I was well acquainted. From the day I drew my first breath, I had committed a sin. The victim, the culprit - I was both. The note he had left for me in Venice still haunted me. Hate.