Date: Mon, 02 Nov 1998 16:35:23 -0600 Subject: Call Me Ishmael Title: Call Me Ishmael Author: Luan D. Lascy Rating: PG, for language. Classification: CR Spoilers: none, maybe "Fire", if you're being picky. Ditto "Syzyrgy", Maybe "Dod Kalm". Keywords: Phantom of the Opera/XF Crossover Summary: An Angel of Music visits Scully on the anniversary of her father's passing. Then they go to a carbon copy of the Paris Opera House on a case. Scully sings "Phantom". An X-file in itself. Disclaimer: Mulder & Co. aren't mine, they're CC's, yadda yadda yadda. Christine, Raoul, Phantom, etc. are Gaston Leroux's he wrote the original book "Phantom of the Opera". Songs are courtesy Andrew Lloyd Webber I won't even try to mess with them. He's the real Angel of Music in my eyes. Columbus Opera House isn't real, I've never been to Columbus, if there's a real C.O.H. I apologize. Author's Note: There have been about as many movies and books on POTO as there are actors who play the title role. I'm using the Webber musical. I saw it in June and fell in love. Second Note: I'm not a singer, I've only acted in a few school plays, and though I aspire to be Meg in "Phantom" some day, I have no clue how rehearsals operate for sure. Don't quote me on anything I say. Any mistakes in terminology are my own if there is an actor/actress who actually did "Phantom" and would like to correct me, feel free. Dedication: to Michael Crawford, I guess, who was the first Phantom I heard. God, was he good. Also to Jeanne, who went to Phantom with me. @@@@@@@@@@@@@@@@@@@@@@ December 25 9:26 PM It seemed pointless to put up the tree, nobody would see it anyway except for her mother. And her brothers, if they could bother themselves enough to come up to see her. But it seemed an intrinsic part of the Christmas ceremony, like going to Mass, and watching "It's A Wonderful Life" for the tenth time. She was engaged in the latter at the moment. Curled up in a chenille afghan, eating M&M's out of the bag and watching Jimmy Stewart threaten to throw himself off the bridge. She fell asleep with the final strains of "Auld Lang Syne". @ @ @ @ @ dark a dressing room. a mirror. a man rising out of it, like a shadow peeling itself from the wall. dana. who are you? your father told me you'd always wanted to sing. he couldn't come himself, so i'm delivering his christmas present for him. that was a long time ago. i'm with the fbi now. so? sing anyway. the offer was tempting, she had tried to be a singer when she was younger, but found herself utterly tone-deaf. i can't carry a tune to save my life. does that mean you can't, or you don't want to? pity, your father thought you would enjoy this. i guess not. guilt. all right, i'll bite. what do i do? are you familiar with the phantom of the opera? vaguely. i remember a song here or there. all right. the song when they're going into the basement of the opera house. she opened her mouth and began singing -- a cracking wavering tune, but a good start. @ @ @ @ @ Her eyes opened stiffly a few hours later. Her throat hurt from singing - that or it was a sore throat coming on. She stretched and remembered the last seconds of the dream: She experimentally sang a few bars of "Phantom": "You alone can make my song take flight. Help me make the music of the night." Her voice was surprisingly clear, not scratchy as it tended to be when she woke up. Was it her imagination, or did she really sound better? Imagination. Had to be. Watch it, Dana, you're turning into Mulder. She laughed at the thought of herself asking green agents if they believed in the existence of extraterrestrials, and rolled over to catch up on the rest of the night's sleep. @@@@@@@@@@@@@@@@ Mulder looked into the file folder Skinner had given him, and groaned with distaste. How was it the Assistant Director *always* managed to give them the boring assignments, right when he was thinking about starting on another X-file? The man must be psychic, Mulder decided. Great, now they could open an X-file on Skinner. He wasn't far from the door when he heard somebody singing in the office: "In sleep he sang to me, in dreams he came That voice which calls to me and speaks my name And do I dream again? For now I find The Phantom of the Opera is there, inside my mind. Sing once again with me our strange duet My power over you grows stronger yet And though you turn from me to glance behind The Phantom of the Opera is there inside your mind Mulder quietly opened the door to see Scully stuffing file folders into cabinets, singing as she worked. Singing? Scully *singing*? Now there was an X-file. She had a nice voice, though. . . "Those who have seen your face draw back in fear I am the mask you wear. It's me they hear." Mulder joined her in the next line. "Your spirit and my voice in one combined The Phantom of the Opera is there, inside my mind." Scully whirled around to see Mulder standing in the doorway. "Geez, Mulder, you almost gave me a heart attack! So what did Skinner want to see you for?" "'He's sending us to *Ohio*," Mulder announced with a measure of distaste. "To investigate the death of an actor who was hanged." "Let me guess - by the understudy, who wanted to play the role instead?" Scully asked. "Nope. The deceased *is* the understudy. And here's the freaky part - he was understudying the Count de Chagny in 'Phantom of the Opera'. That's supposedly a cursed part because the Phantom had a grudge against the Coun-- hey, you all right? You look like you've seen a ghost." Scully had blanched at the name of the musical. No. That was too much of a coincidence. "Doesn't the play have a guy who was hung?" Mulder thought a moment. "No, that was in the book. Why, you being visited by an Angel of Music or something?" Scully appeared to be in serious confusion. Mulder thought, mentally kicking himself. "Tell me." "It's just weird . . . since Christmas I've been having these weird dreams about somebody named Ishmael who gives me singing lessons. Odd coincidence, that's all." She appeared to be trying to convince herself more than Mulder. "Really?" "Spooky, huh?" "That's my name, isn't it?" @@@@@@@@@@@@@@@@@@ "They say it's a carbon copy of the Paris Opera House," Mulder told her from the bottomless depths of his photographic memory. "Complete with the basement and trapdoors. That's why the Gilman Acting Company's so worried -- there's about two miles of tunnel for a killer to hide in, and about ten million places he can pop up." "Lovely," Scully grimaced. "I pity the actors." "Amen to that." The gilded, molded-plaster interior of the Columbus Opera House was even more impressive than the outside. She'd been in the theater once before, when visiting an old friend from Quantico who'd left to get married in Ohio. They'd gone to see *Faust*, and Scully had been more impressed with the show than with the theater. The actors weren't rehearsing yet, so Mulder and Scully began inspecting the stage. Scully was busy with the trapdoors when she heard a few chords struck on the piano. Whirling around, she saw Mulder in the orchestra pit, playing a song on the piano. "In all your fantasies you always knew, that man and mystery were both in you. . . Come on, Scully, help me out." "Huh-uh. No free encores. Did you find anything?" "Not a thing." Mulder was now plucking out "Chopsticks". "Mulder, stop playing on the piano and help me out." "You're no fun." Nonetheless "Chopsticks" ended abruptly. @@@@@@@@@@@@@@@@ Scully had wrapped up the body to send to a lab, and she had autopsied it that afternoon. For now she just wanted to sit down in the auditorium and listen to the actors practicing. Ever since Ishmael had begun his singing lessons with her, she'd had a strange fascination with 'Phantom'. She'd requested that they work on the songs, in fact. The woman playing Christine Daae was currently in the middle of the "Angel of Music" duet with Meg Giry. "I watched your face from the shadows, Distant through all the applause. . ." Onstage, Christine was going into a solo. "Angel of Music, guide and guardian Grant to me your glory. Angel of Music, hide no long--" A croak emerged from her throat rather than "longer" "What the hell was that?" the director shouted from the front row of seats. "The techies got it wrong," "Meg" said to nobody in particular. "That's Carlotta's sound effect, not Christine's." Christine was white as a sheet. "It wasn't the techies." "Then *what*?" "I don't know!" The director sighed and threw his hands in the air. "All right. Take it from 'Angel of Music'. And no frogs, please," he added pointedly. "Angel of Mus-" CROAK! "Guide and guard-" CROAK! Poor "Christine" seemed about to cry. "I'm sorry, Jack, really I am, I don't know what happened. . ." "All right, all right. Where's the understudy?" Ishmael threw in. <*You're* doing all this?> The director sighed. "All right, Julia, take over for Christine's part." Julia/Meg sighed and rolled her eyes, but positioned herself in front of the mirror. "Angel of Music, guide and guardian Grant to me your glory. Angel of Music, hide no longer Come to me, strange angel!" The Phantom, minus hideous makeup, mask, and cape appeared in the empty space where the mirror would later be placed, and began his solo: "I am your Angel Come to me Angel of Music" Julia/Meg extended her arms, trancelike, and walked through the space where the mirrors would be. "LIGHTS!" The room stage went dark for a while. "Come on, hurry up. In the real thing you have three seconds max to get to the catwalks," the director's voice called out. A popping sound, and suddenly Scully was being dragged up a short flight of stairs in the wings. " 'Kay, we're ready," the man playing the Phantom called down. Lights went up, revealing a twisting catwalk that was used in the next scene. Scully stared down at the intimidating stage. [What the hell,] she decided, and began singing. @@@@@@@@@@@@@@@@@@ Mulder had been going over the autopsy reports in the seat in front of Scully, listening to her hum the music along with the singers. She really was getting better. This Ishmael must be pretty good. The singers had begun the title song, "Phantom of the Opera", the song in which Mulder had discovered Scully's talent. The singer sounded an awful lot like Scully, in fact. Small world. He turned around to comment on this to her, and discovered with a shock that she was on stage, singing and making her way down the catwalk with the "Phantom", where the Julie girl should have been. His mouth dropped open with astonishment. Dr. Dana Scully the Enigmatic, the Ice Queen, singing "Phantom"? No way. And how the hell did she get up on the stage so fast? He hadn't heard her pass by him on the way to the stage. Must be an X-file. He stopped thinking about how or why and listened to the song. She had improved significantly since he'd heard the song last. When the song was done, the director looked at Scully carefully and asked, "You feeling all right, Julia?" *Julia?* It had surprised Scully as well, but she quickly recovered and said, "No, I feel fine, why?" "You sounded. . .different, that's all. Like your voice was lower. You haven't gotten a sore throat or anything?" "No," Scully repeated, raising her eyebrows. The director shrugged. " 'Kay, people, let's call it a night." Scully slowly got off the stage, looking shell-shocked. She slowly made her way to where Mulder was sitting. "Remind me to get in touch with you when I need to get somewhere fast," he said softly. "How did you get onstage so fast?" "Ishmael." They both knew what she meant. "Your singing instructor from a dream teleported you onstage?" He couldn't keep the incredulity from his voice. "Well, how else could I have gotten onstage so fast? How else could I know when, where, and how to step? How else could I have been called Julia by everybody but you? I was surprised you knew it was me onstage. I thought you might assume I was Julia." She had him there and he knew it. "So you not only have an Angel of Music, you have a *psychic* Angel." "Angels by definition tend to be psychic," Scully informed him. "And I'd like to get out of here before Ishmael decides to display some more angelic talents." He agreed immediately, seeing the strange look in her eyes, and the clock - it was 9:30. They gathered the abandoned autopsy report and briefcases and walked out to the car. Outside it was still chilly, being March, but it wasn't freezing -- in fact, it was relatively warm, even for Ohio. Nonetheless Scully got the shivers the minute they exited the building and never lost them the whole way to the hotel, even though Mulder had the heater on. He wondered briefly if she was catching the flu - the bug had been circulating in the VC unit, anyway. But something told him it was deeper than a virus. He tucked her into bed as though she was a six-year-old child and sat by her until she fell asleep and the shivers subsided. As he closed the door connecting their rooms, he thought he heard her humming "Phantom". @@@@@@@@@@@@@@@@ "I am your Angel of Music. Come to me, Angel of Music." The low, hypnotic voice startled Mulder from his light doze. It sounded eerily familiar from the rehearsal he and Scully had sat in on. And it was coming from Scully's room, no less. . . Things were adding up in a way he didn't like. He threw off the covers and opened the connecting door in time to see Scully's arms, extended in zombie fashion in front of her, passing *through* the full-length mirror. For a sickening second, it was not Scully and a mirror, but a black- haired eight-year-old child and a window illuminated from the outside by eerie colored lights. Would Scully, too, disappear too, never to be seen again except in hellish nightmares? He lunged after Scully, and was suddenly thrown off balance. He saw not one Scully, but two, three, five, a dozen, all mocking his impotence. Then they were all gone. Mulder was left with nothing but an empty mirror, reflecting his own anguish back at him. @@@@@@@@@@@@@@ His eyes snapped open, and he stared around the room wildly for a second before remembering. He had not awakened to the mesmerizing tones of Scully's Ishmael, his own nightmare had woken him. He looked at the clock - 1:36 AM. She was probably still asleep, out like a light. . . He agonized for exactly eight minutes and 36 seconds before getting up to make sure. He slowly opened the connecting door to Scully's room, trying not to disturb the silence with a creak from the hinges. Scully's bed was empty. No. He was still dreaming. He closed his eyes a moment, and opened them again. Still empty. Oh God. Was it true, then? Had this Ishmael, her Angel of Music, stolen her like the Phantom in the play? The cell phone rang shrilly, startling him. Hope surged through him, and he groped in his jacket pocket for the phone. It took four rings with his shaking hands. "Mulder." "It's me." "Oh my God, Scully, where are you? You know how much you freaked me out?" he asked sharply, relief giving his voice an edge. "I'm in the Theater basement. Under the stage." "What - how did you get there?" "I don't know, Mulder." There was fear in her voice that he'd only heard a few times, and it chilled him thoroughly. "I honestly don't know." @@@@@@@@@@@@@@@@ Mulder took the stairs up to the entrance of the Theater by twos and knocked heavily on the door. After a second, a harried-looking Scully opened the door. Mulder rushed in and grabbed Scully by the shoulders, as though to reassure himself that she was really there. "Mulder, calm down, I'm not going to disappear anytime soon," she said, freeing her shoulders from his iron grip. He sighed and released her. "Sorry. I had an awful nightmare about Ishmael taking you in Phantom-style, and then I woke up and you weren't in your room. I nearly had a heart attack." Scully's eyes clouded momentarily. "I'm still not sure how I got out of there. All I know is that I dreamed that I was getting another singing lesson, and suddenly I'm under the trapdoor for the stage. I found a quarter on the floor and called you from a pay phone." "You have any ideas?" "I thought about it while I was waiting for you to come. You must have driven like a Indy-500 racecar driver; you barely gave me any time." "Something like that." He was sure he'd broken every traffic regulation in the book, and then some. They were silent all the way to the hotel, when Scully suddenly turned to Mulder and asked with curious intensity, "Mulder, you really think it was Ishmael?" Mulder had been mulling over the same thing. "The thought had crossed my mind. I mean, if he could teleport you onto stage and put the - whammy, for lack of a better word - on everybody except me, why not?" "But *why*? I can't remember even dreaming about him, much less going anywhere with him." "Maybe he's in love with you. Dana and Ishmael, sittin' in a tree. . ." Mulder ducked as the contents of the glove compartment went flying towards his head. @@@@@@@@@@@@@@@@ Mulder had just gotten into bed when Scully opened the connecting door again. "When I went to the bathroom, I found this in my pocket. She gave him a piece of folded creamy white stationary, red ink bleeding through the paper. He warily opened it, and read it out loud. The note was written in red script, in an old-fashioned hand. "So, it is to be war between us? If these demands are not met, then a disaster beyond your imagination will occur!" "From 'Prima Dona'," Scully identified. "It's a line from the song." "So are we dealing with a psycho, or are we dealing with a psycho?" Mulder joked nervously. @@@@@@@@@@@@@@@@ "What the HELL is this? Is this some kind of sick joke?" Mulder and Scully jumped at the director's irate tone echoing through the theater. They had decided that there would be less chance of foul play if they stayed in the theater during rehearsals, and were seated in the auditorium a few rows away from the stage, looking out of place in their business suits among the casual jeans and T-shirts the actors wore for rehearsals. The only thing remotely resembling a costume were the pointe shoes worn by the "dancers" in the play, and occasionally the Phantom's mask in significant scenes, like the ones where Christine would try to tear it off. "Raoul" had jumped down from the stage and was looking at the piece of paper the director held in one hand. Mulder went to take a look at it. The paper held the same formal red script Mulder had seen on last night's note. The director read it out loud: "First of all, the FBI agents are to remain for the duration of the show. Second, Dana must play Christine at least five times. Third, I must have $500 dollars in cash - convincing you skeptics is an expensive task. "I advise you to comply, my instructions should be clear Remember, there are worse things than a shattered chandelier! Yours truly, the Opera Ghost" Unconsciously everybody reading the note looked up at the ornate crystal chandelier with some trepidation. They breathed a collective sigh of relief as the fixture appeared stable. "Whose sick idea of humor is this?" the director repeated, with less bluster than before. "Who's this Dana? And Opera Ghost?" Mulder realized. Things were falling into place with sickening regularity. Scully's Ishmael had somehow transported her onstage last night, and had gotten everybody to think Scully was this Julia character. He'd probably gotten Scully to the Theater in the dead of the night, too. Now the notes quoting the play, and the strange demands. It sounded almost exactly like the play itself, in fact. "Maybe there's a real Phantom of the Opera," "Carlotta" said with a smile. "This *is* 'Phantom' anyway." "Not funny," the man playing Raoul said nervously. "Oh stop being superstitious. It was just a joke." "Sure, fine, whatever." Scully's trademark line made him stop and look for her, half-expecting to see her on the rafters, transported there by Ishmael. She was safely ensconced in her seat, eyes glazed over, staring straight ahead. "You all right?" he asked, walking over to her. "Fine," she answered. "Just talking to Ishmael." "Talking to him?" "He's a telepathic angel." "Ah." He didn't question her. "The note was written by the Opera Ghost," he told her, changing the subject. "He wants us to have tickets for every 'Phantom' show while Gilman Company's acting in Columbus, and he wants $500 in cash. Oh, and you have to play Christine in at least five of the shows." Scully's eyes opened wide. "That would be Ishmael again. I just talked to him and he made noises about getting me in the play." "Getting you in the play? I think it'd be a tough order even for an angel." Scully shrugged. "He'll probably find a way." Mulder shuddered inwardly. @@@@@@@@@@@@@@ It was the final scene of Act I, where the Prima Donna Carlotta continued to sing the part Phantom wanted for Christine, despite various threats made by the Phantom. The techs were supposedly still getting the lighting effects right - a man's silhouette in a spotlight was needed above the chandelier, and they were improvising with a plain spotlight. However, a few times a real silhouette was seen above the real chandelier. A few of the dancers had given it a nervous glance, and "Raoul" had become paper-white, but the general assumption was that somebody with the lights had gotten creative and tried to help out, so rehearsal proceeded without a hitch. "Carlotta" had sung the solo, complete with croaks in the right places, no more or less than needed. The Phantom was supposed to call, "She is singing to bring down the chandelier!" However, when the cue came for the "Phantom", an expectant silence hung over the theater. "Hey! Phantom!" somebody hissed. "Damn!" the director swore. "First Christine starts croaking, now this?!" Julia, who played Meg, stomped into the wings. A few seconds later a scream echoed through the theater. Mulder and Scully climbed onto stage and went with the director to see what had startled Julia. Mulder's eyes opened wide, and Scully said, "Oh my God." The "Phantom", complete with mask and cape, lay unconscious and suspended five feet above the floor. Mulder was reminded a moment of Samantha, lying motionless in midair in the Chilmark house, and wondered fleetingly if aliens had plans for the "Phantom". The director, who had caught up to them by then, came up to the "Phantom". When the director touched him, the actor fell to the floor with a sickening thump and awoke, groaning from the fall. "Jesus, Mike! What happened?" the director asked, kneeling by the man. Scully hurried over to check him for broken bones. Mike waved Scully away, gasping for breath. "I'm okay, just winded," he wheezed after a second. "Can you tell us what happened?" Mulder asked. The actor shook his head. "One second I'm waiting for Carrie's solo to finish," he jerked his chin towards Carlotta, "and the next I'm down on the ground, hurting like hell." "No memory of levitating?" "Not a one." "Ishmael," Scully whispered. Mulder raised his eyebrows. "You mortals," a sepulchral voice scoffed, echoing through the theater. "You're so damn hard to convince. You wouldn't know a divine hint if one bit you on the ass. Especially *you*, Fox. Dana tells me you want to believe, but you evidently don't want to believe that *she is singing to bring down the chandelier*!" A *clink* of metal. Mulder looked over to the auditorium to see the chandelier wobbling ominously. The dancers screamed shrilly and the chandelier came crashing down on the empty seats, where Mulder and Scully had been sitting less than a minute ago. @@@@@@@@@@@@@@@ Scully had been within an ace of bursting into tears all day after the chandelier incident. The theater had been closed for repairs and would be for at least a week. Mulder and Scully had been ordered to come back to DC and declare the case unsolved. Scully felt partially responsible for the whole fiasco. And the other thing was that she'd actually been hoping Ishmael could persuade the director to let her play Christine. Ishmael seemed to have no lack of confidence in this matter he'd even begun teaching her the spoken lines along with the songs. So far she had the lines up to the "Music of the Night" scene down cold. She hadn't told Mulder any of this; she saw no reason to, and if he noticed Ishmael was speaking to her more often, he didn't let on. She made no objection to going back to DC, though Ishmael had fumed about it for an hour. Luckily she was able to block him out on the way home and make small talk with Mulder. @@@@@@@@@@@@@@@@ and in this labyrinth where night is blind. . . dana, i thought we'd finished with the cracking on the high notes. sorry. my mind's been wandering. look, i know you think the chandelier business is your fault. it's not. don't worry, i had the thing under control. what do you mean? did you really think i would inflict damage like that on a beautiful theater like the columbus opera house without some sort of backup? please, i have some sort of aesthetic appreciation, too. the chandelier will be cleaned up by tomorrow morning, and the seats, etc. will be repaired by the next day. by tomorrow mulder and i are back in dc. i'll find a way to take care of that, too. you don't get angelic powers for nothing. now, what say we try that last verse again? and in this labyrinth where night is blind, the phantom of the opera is there, inside my mind. . . excellent! sing, my angel of music! he's there, the phantom of the operaaaaaaaaa. . . @@@@@@@@@@@@@@@@@ "Hey, Scully!" Pounding on the connecting door. She groaned loudly and croaked, "What is it?" Mulder opened the door and stopped short when he saw the covers pulled up to Scully's chin. "Skinner called." "How the hell does he know you're up at this ungodly hour of" she squinted at the clock "five-thirty?" "Great minds think alike." She shielded her eyes from the harsh sun and raised herself on an elbow. "So what, my mind is plain-Jane average because I get more than four hours of sleep a night?" "Something along those lines." He dodged the pillow-turned-ballistic missile. "Well, don't you want to hear what Skinner called for before you kill me?" Her ears perked up at this. "What'd he say?" "Orders from higher powers. We're supposed to stay in Columbus to find the killer. Somebody at Gilman protested. Actor's guild something-or- other." Scully closed her eyes briefly. "Ishmael again," Mulder said, guessing the reason for Scully's silence. "Right." "And why do I get the feeling that's a bad thing?" @@@@@@@@@@@@@@@@@@@ Sure enough, construction workers found absolutely no trace of a shattered chandelier in the Opera House the next morning. They let the actors back into the theater, albeit after admonishing them not to step inside the roped-off areas, as they had no idea how strong the floor would be after a few hundred kilograms of gold and crystal had been dropped from a height of a few hundred feet. Neither Christine nor her understudy had come in that morning they both complained they didn't feel safe now that this Opera Ghost had threatened them. The director had cursed briefly at the nonexistent actors. She gave up trying to convince the angel and sat back to see how Ishmael would handle this one. The director seemed to be thinking about something. "Agent Scully, this Opera Ghost seems to favor you. You know how to sing?" "Ah, yes," Scully answered. "You know the words to the songs for this?" "Um, almost all of them." " 'Kay, would you want to take over for Christine for today? Just until we get the understudy?" "Would I!" Scully replied, ecstatic. "All right, let's run through the whole thing, no frills yet. Add the lighting later." @@@@@@@@@@@@@@@ Mulder came back from the men's room to find Scully in the middle of Christine's first solo, "Think Of Me". He was astonished by the sight, but remembered Ishmael. Scully had improved dramatically from the time Ishmael had gotten her onstage disguised as Julia. She hardly sounded like herself, in fact. Grinning, he took a seat in one of the undamaged velvet seats and watched the show. @@@@@@@@@@@@ The basement scene had some complicated footwork that nearly resembled a tango, and Ishmael was trying to help Scully through it, though the director had said she could just walk through it. Ishmael had insisted that she go through the steps full-out, as practice. She thanked her stars for the five years of ballet that had been forced upon her by a father trying to instill some grace in his tomboyish daughter. "Those who have seen your face draw back in fear I am the mask you wear. . ." Mike chimed in. "It's me they hear. My spirit and your voice, in one combined The Phaaaantom of the Opera is there, inside your mind." Out of the corner of her eye she saw Mulder grin at the verse they'd sung together in the X-files office a week ago. Had it been so short a time since they'd sung it in the basement of FBI Headquarters? It seemed a lifetime. She made it through the complicated, ultra-high solos without breaking any windows, and she felt Ishmael's glow of approval in her mind. The lines she'd stumbled over earlier in her dreams were sung perfectly. Ishmael had taught her the remainder of Act I, for which she felt immensely grateful now. She thought she knew "Masquerade", but Ishmael promised to go over it with her in the next break. "Masquerade" went all right, though she had a temporary memory lapse during "Wishing You Were Somehow Here Again". The rest of the songs went all right, though she stumbled during the final number, which was long and had several themes going at the same time. At one point, Raoul, Christine, and Phantom were all singing different songs at the same time, at different tempos. That section was a flop, and the director finally said to skip it and move on. Overall, not bad for her first rehearsal. @@@@@@@@@@@@@@@@@ "So Ishmael managed to get you to sing after all," Mulder grinned as he drove in lieu of an exhausted Scully. "I don't know if it was worth it," she replied hoarsely. She was sure to wake up with no voice tomorrow. Then she'd really sound like Carlotta's croaking frog. Then again, "Christine" might be back tomorrow. Except for guiding Scully along the more difficult bits of songs and dialogue, Ishmael had kept to the sidelines. Maybe that would convince the actresses to come back to work. @@@@@@@@@@@@@@@@ Mulder was poking around the theater, looking for these legendary secret tunnels that he'd heard about. There was supposed to be a tunnel in Christine's dressing room - it was in the book, anyway so he was looking in all the dressing rooms. Dimly he heard the singers rehearsing a scene: "Say you'll share with me your life, your lifetime. Lead me, save me from my solitude. Say you'll want me with you, here, beside you Anywhere you go, let me go, too. Christine, that's all I ask of . . . " A scream he recognized as Scully's, which never failed to remind him of the fateful message left on his answering machine when Duane Barry took her. However, he knew she was in no danger here - it was part of the scene. "Christine" and her understudy had called in to say they weren't coming back to the play. This left the role open for Scully, who gladly took it. Her lack of experience didn't matter with Ishmael around, they would have taken her even if she couldn't sing to save her life. She'd called the Bureau and taken a leave of absence for "personal reasons", which nobody questioned either Skinner had more prescience than they gave him credit for, or it was Ishmael again. Mulder was still ambiguous about Ishmael. Part of him was happy for Scully, and even slightly jealous of the talent that had appeared almost overnight due to the angel's lessons. He didn't sit in on all the rehearsals, he complained that it ruined the magic of the real thing, but he didn't even attempt to solve the case that had brought them out here to begin with, the murder of the Count de Chagny understudy. When Scully had called in to take the leave of absence, the Bureau had tacitly given Mulder the same privilege. "Down once more to the dungeon of my black despair, Down we plunge to the prison of my mind. Down that path into darkness deep as hell . . . " Mulder walked out of the dressing room and into another, slightly closer to the stage. He could hear Scully's voice, somewhat softer: "Have you gorged yourself at last in your lust for blood?" Am I now to be prey for your lust for flesh?" Nothing in this dressing room. It was monotonous as hell. Lace dresses for Christine's costume, tutus for the "corps de ballet", about thirty masks for the Phantom, but that was all. No secret passages, no hidden tunnels, no trap-doors, no nothing. He went into the last room of the row, the Phantom's dressing room. "The face, which earned a mother's fear and loathing My mask, my first unfeeling scrap of glory Pity comes too late, turn around and face your fate An eternity of this before your eyes." The dressing room had a tuxedo and mask draped across a chair. In a closet, he found a nearly-hidden door in the back of the closet. It gave way with a touch, gliding smoothly as though across oil. It was pitch-black, as though somebody had hung a black velvet curtain across the doorway. Feeling like Theseus in the Greek labyrinth, Mulder turned on a flashlight and began walking the length of the passage. He must have been somewhere behind the stage, because Scully's voice came through the stone walls much more clearly now: "This haunted face holds no horror for me now. It's in your soul that the true distortion lies." He'd turned a corner when the flashlight blinked and dimmed to black. "Damn batteries." His voice echoed in the claustrophobic stone tunnel. He turned around to go back, and found himself face-to-face with a head of fire.It resembled a skull that had been dipped in kerosene and lit on fire. Amazingly, it was not attached to a body. The flaming skull sat suspended in midair as Mike the man playing "Phantom" had been before the chandelier fell. Mulder froze where he stood. He thought he'd gotten over the damn phobia after Cecil L'Ively. Obviously not. Fire still brought back too many memories of burning houses, nights spent in the smoking ruins, of pyrokinetics, of railcars in New Mexico. . . He stopped his train of thought before he panicked entirely and lost his head. He stood staring into the death's head, the empty eyes. Was this Ishmael? he wondered, then dismissed the thought. Hadn't Scully said something about dress clothes and a cape? Almost like the Phantom, in fact. . . The photographic memory, alternately a curse and a blessing, dredged up a detail in "Phantom Of The Opera". The fireman had seen a floating head of fire in the Opera House. Yup, this time it was definitely a curse. "Ishmael?" he asked the head, feeling a little foolish. The head never moved, but the voice boomed like a rock concert in his mind. It moved out of the way, almost as if bowing, and Mulder was too glad to oblige. "Have to tell Scully to pass on the message - *I hate fire*," he murmured to himself as he edged along the darkened passage to the bright dressing room. @@@@@@@@@@@@@@@@@ After rehearsal, Scully saw an irate Mulder waiting by the theater door. "When did you tell Ishmael I hate fire?" he asked sharply. She looked at him, confused. "What are you talking about? I never told him anything about fire." "Well, I found a secret passage in one of the dressing rooms, and when my flashlight went out, up pops this flaming skull. Took about ten years off my life. Sound familiar?" "Mulder, Ishmael's just real protective, that's all." "Of a theater?" he objected. "No, Scully, there's something going on with Ishmael that he's not telling us." "Why would he do that?" "You tell me. Who is he? *What* is he?" Mulder fired the questions at her. "I told you, he's an angel." "Right. An angel that goes around dropping chandeliers and scaring actresses out of their wits so you can play Christine? An angel that knows I hate fire and takes advantage of it?" He shook his head. "Scully, there's more to this than you know. I think you should cut Ishmael loose." They were on the steps to the Opera House now, Scully walking a little in front of Mulder so he couldn't see her smoldering expression. Now she whirled around to face him. "You know what? I think you're jealous." "Jealous?" Mulder laughed harshly. "What's there to be jealous of?" "You tell me," Scully snapped. "I think you're jealous of Ishmael." "Jealous of someone looking over my shoulder, critiquing everything I say? Hell, no. I'm just worried that Ishmael, if that's his real name, is going to get you in trouble sometime in the near future." "If he does, there'll be a way out." "How can you be so sure? He knows everything about you, but you know next to nothing about him," Mulder objected. "He'll tell me when he's good and ready." "And you talk about *me* being too gullible." "Can't you just accept this on faith? That Ishmael may just be an angel that wanted to help?" Scully suggested, continuing down the stairs. "He's got a weird way of showing it. Who sent him, anyway?" Scully sighed and rubbed her eyes. "My father." "You know for sure? How do you know this isn't some telepathic psycho who's messing with your head?" Her head snapped up, eyes blazing with chilled blue fire, and he instantly knew that was a mistake. "Don't you *ever* doubt my father again, damn it! If Ishmael says he came because of Ahab, he's coming because of Ahab." "All right, all right!" he said finally, to shut her up. He was getting a monster headache from this argument. "Let me drive." "I'm driving. Why do you always have to drive? Because you're the guy? Because you're the macho man?" she spat snappishly. That was the final straw. "No, I was never sure your little feet would reach the pedals." He all but threw the car keys at her. "You want to drive? Be my guest." He stalked off to find a cab. @@@@@@@@@@@@@@@@@ Scully jammed the keys into the ignition and turned on the car with a jerk. Sometimes Mulder could be such a possessive bastard! Why would Ishmael stoop to playing petty pranks like scaring Mulder with the flaming skull? There was no reason to. And if Ishmael was indeed behind it, then it was just a harmless joke. Mulder was blowing it way out of proportion. As always when she had a problem, she began talking to the empty car. "He probably is jealous. Of what, I have no clue. I like him as a partner, but it's not like we're supposed to be joined at the hip. Along comes Ishmael, who makes me Christine in the play, and Mulder immediately goes into Alpha Male mode. Geez, it's like he's afraid Ishmael will abduct me in the dead of the night. He'd never do that." Her voice trailed off. The phrase seemed a blatant lie somehow. Something about it didn't ring true. She went back to her thoughts of the dressing room Mulder had been exploring. Mike's from the way he'd described it, with the costume laid out on the chair, the floor-to-ceiling mirrors, which gleamed in the candle-light. Very charming in the middle of the night. . . What? Mulder never said anything about candles or mirrors. For that matter, he never said he was in Mike's dressing-room at all, just that he was in one of the dressing rooms. So how had she known? On impulse she swung the car in a U-turn, checking furtively for patrol cars, and went back to the theater. She went to the dressing rooms and stood outside them for a moment. The sterile fluorescent lights made Ishmael and Phantoms seem insubstantial, almost comical. Now the auditorium, that was a horse of a different color. In there she was almost ready to believe that Elvis haunted the place, or whatever X-file Mulder threw her way. She ducked into the first dressing room she saw. Mike's, from the costume on the chair. Everything was exactly as she'd imagined it. "I've been in here before." Her voice was a harsh whisper, echoed by the mirrors. She poked her finger at a white mass on the dressing table. It had the consistency of a crayon. Candle wax. Unbidden, another image swam to the surface of her mind. The room was darkened, lit by myriad candles. A man in a tuxedo, cape, mask, in Phantom garb, she realized. A red-haired pupil parroting the man in Phantom dress, eager to master her vocal cords . . . A flash of the mirror in her mind's eye made her gasp. The student was herself. The teacher. . . *Who was he?* She stared into the mirror a moment longer, hardly seeing her own shocked, frightened eyes, before grabbing her purse and running out of the theater. @@@@@@@@@@@@@@@ Scully pounded on Mulder's door. "Please, God, don't let him still be pissed at me, *please*. . ." He opened the door, started to say something, then closed his mouth in a hurry when he saw Scully's expression. "Come in, come in." He shut the door behind her and remained standing by it awkwardly. Scully sat down on the bed and looked at the hardcover book lying open on the bed. *Phantom of the Opera*, by Gaston Leroux. Oh God. . . No. Don't even start, Dana. Not now. "Mulder, how did you find out about Samantha? Not the abduction part, I know you were hypnotized for that one, but what convinced you to go for help?" He took a breath and let it out slowly. "Well, I'd always had a feeling that there was more to it than the, shall we say, accepted story that she just disappeared. And I'd been remembering images that I knew were somehow connected to Samantha, but I couldn't tell how or why." She nodded slowly. "And the images? Did they occur for any reason in particular?" "A lot of them would come right after I'd argue with anybody who'd listen that Samantha wasn't gone and I'd find her some day." He sat down in the chair across from Scully. "Why?" "Okay, promise not to say a word until I'm done?" He nodded. "After you walked off to find another way back to the hotel, I was driving home and . . . I got some of those images you mentioned. Mulder, I knew exactly which dressing-room you went into, and you never said a word about which one it was." He raised his eyebrows. Scully knew he was itching to say something, but decided to torture him a moment longer. "I saw it clearly in my mind before I was even in the room. In my head, it was midnight and there were candles all around the room. And somebody was giving me a singing lesson. Before you ask, I don't know who it was, and I don't know if it was Ishmael." "And you think these are repressed memories?" he asked. "Yes. Why I would repress them, I have no idea." He nodded again. He had a vague idea of what her purpose was in coming to him after their argument (pride would not have allowed Dana Scully to touch him with a ten-foot pole for a day or two under normal circumstances)and waited for her to suggest it first. He didn't have long to wait. "Mulder, you mentioned once that you took a course in hypnosis. Do you still remember it?" @@@@@@@@@@@@@@@@@@@ "Where are you?" Mulder inquired of Scully, after regressing her to the night she'd disappeared from the hotel room. He sat on the bed, across from Scully in the chair. "I'm in the Opera House. Ishmael brought me." he thought wryly. "Actually yes," Scully said out of the blue. Mulder raised his eyebrows in surprise, then remembered that a few people, when hypnotized, could telepathically pick up what the hypnotist was going to say next and beat him/her to the punch. "Does Ishmael live there?" "Yes." "Where are you in the Opera House? Dressing room, basement, auditorium?" he prompted "I - I'm not sure where exactly it is. It's a large room with stone on all sides. Ishmael is there, dressed like the phantom. He likes doing that for some reason." She listened for a minute. "What do mean, I must love you? I barely even know you! "He's saying I know him much better than I think." After a pause she continued. "It seems he's brought me quite a few times, but he's had to - make me forget about it each time." "How's he do that?" "I don't know, one of those angelic powers, I guess." There was this angel business again. "Scully, is Ishmael really an angel?" he asked seriously. Scully sighed. "No," she admitted. "He wants me to believe it. And I want to believe it. He has - powers that he knows I wouldn't accept unless he says he's an angel, or something else I *do* accept, because of religion." "Powers?" Mulder's interest rose sharply. "Your standard psychic abilities - telekinesis, telepathy, a little mind control. Oh, and teleporting. That's how he got me on stage a few days ago." "So he made you forget. Does he tell you how many times he's brought you?" "Almost every time he visits me, which is at night so nobody notices." "Has he ever done the mind-control bit on you?" "Only enough to bury the memories when I come to the Opera House to visit him. He tries not to use his powers on me. He says he loves me, but he's got a weird way of showing it." She suddenly stiffened and shrieked. "Oh my God! Stop! Ishmael please! Stop!" Her hands clutched the sides of the seat so hard her knuckles were white. In a very different voice, lower and more masculine, she spat out, "Damn you! You prying Pandora! You little demon - is this what you wanted to see? "No! Stop! Please, Ishmael, let me go - ow! Stop!" She turned her head from an invisible horror, raised her hands over her eyes to block it. "Damn it, you're not taking this one away from me like the others! Stop!" She reverted back to the masculine voice, sound like Melissa Reedell switching from Sydney to Sarah Kavanaugh and back again. "Curse you! You little Delilah! You little viper! Damn you. . . curse you. . ." "Scully! Scully, wake up, it's okay, you're all right. . ." Mulder assured her, touching her on the arm. She jerked away from his touch and opened her eyes with a gasp, returning to the present. "Oh my God-" she swallowed hard, running a shaky hand over her face, "I'm never doing that again." "What did you see?" Mulder asked when she'd calmed down considerably. "I-I pulled off his mask. I don't know why," Scully said softly. "His face- it looked like worms had been crawling through it." She shuddered at the memory. "No wonder he wore the mask." "You mentioned him telling you to love him?" Mulder prompted. "He said 'You must love me'." "Oh great," her groaned. He'd been joking when he'd teased Scully about Ishmael being in love with her, but somebody Upstairs with a sick sense of humor had made it true. "Exactly. I think he's been hiding down there for a while. He knows all the secret passages and trapdoors - I guess that *was* him with the fiery skull in Mike's dressing room. With his face and living in the theater, he's obsessed with 'Phantom of the Opera'." "And with the show in town he couldn't resist," Mulder finished. "And I'm Christine. I have been since Christmas," she added, face turning dead white. "If he thinks of you as Raoul-" She didn't have to finish the thought; they both knew that if that was the way Ishmael thought of Mulder, her partner wouldn't live very long. "Scully, you can't sing in the show. You have to call the director and quit." Scully nodded mutely and fumbled in her coat for her cel phone. "Damn. The battery's out." Mulder pulled out his and found it useless as well. "Weird coincidence." Scully picked up the phone on the night stand. At that same moment, a pop echoed through the room. The lights blinked, dimmed, and went out. "That's not a coincidence, that's Ishmael." Scully's voice sounded small and frightened in the sudden dark. "If I knew where the director lived, I'd suggest you drive over and tell him in person," Mulder said. "Except Ishmael would probably make the car break down," she objected. "True." "Mulder," she said suddenly, "would you let me sleep in here tonight? I'm afraid of what Ishmael might do to me if I was alone." He was stunned for a brief second, then readily agreed. (AUTHOR'S NOTE: SORRY, ALL YOU 'SHIPPERS, YOU'RE READING THE WORK OF A HARD-CORE NOROMO, AND YOU'RE NOT GOING TO GET ANY DETAILS OF THIS NIGHT OUT OF ME. THAT'S MY CHALLENGE, ACTUALLY: TAKE THIS NIGHT IN THE HOTEL, COMPLETE WITH THE THREAT OF ISHMAEL, AND FIND A WAY TO WRITE A *FRIEND- SHIPPER* VIGNETTE - NO SLASH!!! REPEAT, *FRIENDSHIPPER*, NO MSR.) @@@@@@@@@@@@ It was a long night for both agents, broken by repeated nightmares of Scully being taken by her "Angel of Music". By five-thirty, they'd given up all pretense of sleep. Scully drove to the theater and went into the auditorium to tell the director she wouldn't be able to sing in "Phantom". However, even at ten - a half-hour after rehearsal was supposed to start - she found the theater empty. No guards, no techies, no actors, nobody. A chill crawled up her spine and she turned to exit the theater, but a figure in Phantom costume blocked her way. She barely stifled a scream, thinking it was Ishmael. "Dana! What's the matter?" she heard Mike's voice from under the mask. Filled with relief, she began laughing. "Sorry. I - had a nightmare of the Phantom last night and I guess I didn't quite shake it off," she told him. It was only a partial lie. Mike laughed. "There seems to be an epidemic of that in here. You should have heard the ballet girls. They were swapping stories back there like Girl Scouts around a campfire." "Back there?" Scully echoed. "Yeah, didn't you hear? We're getting measured for costumes." He turned and led Scully back through the theater, to one of the dressing rooms. Scully followed him, thinking about the scare she'd gotten when nobody was in the auditorium. So that's where everybody was, getting measured for costumes. she thought. It was the last thing she heard before she sank into black oblivion. @@@@@@@@@@@@@@@@@@@@@ Mulder paced the room impatiently. What was taking her so long? She should have been able to drive over, tell the director, listen to him rant for a few minutes, then get back to the motel an hour ago. For what seemed like the hundredth time in twenty minutes, he checked his watch. 11:21. Damn, how did time move so slowly all of a sudden? It was like being stuck on that Norwegian ship again. He gave up trying to control his impatience and grabbed his coat to begin walking to Columbus Opera House. On the way he tried to call Scully, but her phone still wasn't working. An empty cab stopped at the red light. He got in and told the driver to go to the Opera House. He stayed tensed the whole ride, hoping Scully was all right. @@@@@@@@@@@@@@@@@@@@@@ "Down once more to the dungeon of my glad despair Down we plunge to the prison of my mind Down that path into darkness, deep as hell. . ." Scully was quite far from all right. She had a splitting headache, her eyes seemed stuck shut - it took her a second to realize that she was blindfolded. She tried to raise a hand to her aching head, and found her hands were tied up as well. Her legs were also lashed to the chair she was sitting on. Something ice-cold touched her forehead, tugging at the blindfold. It soon came off and Scully saw a caped figure staring at her. It donned a mask and top hat. The mask gleamed in the myriad candles that were set up all around the room, which seemed to have walls of stone. "Ishmael?" Scully sighed. "That *is* Ishmael, isn't it? No more mind games, please." "Of course, Dana. And yes, this *is* Ishmael. Care to have me prove it?" "No, that's all right," Scully said quickly. "I believe you." Ishmael drew a knife out of his cape. Scully flinched back, thinking he was going to kill her. "Relax, it's for the rope," he assured her. With a flick of the blade, her hands were freed. "So why did you bring me down here - again?" Scully asked. "Again? Oh yes, you remembered last night, didn't you? Pity. I went to all that trouble to bury the memory each time, and it's all undone by an amateur hypnotist. Every time you came down here, I wanted you to experience it as the first time." "Why?" "It's more fun that way. You have a movie, I believe, that used the advertising gimmick 'See It Again For The First Time'?" " 'Men In Black'," Scully agreed. "Yes. Same thing. Much more fun to see a movie several times, but forget what happens, than to see it several times and remember what happens. Of course, there are drawbacks. Like the mask. Almost every time you would try to remove it. More often than not I stopped you. Though I believe you remembered a certain time when I didn't stop you?" Scully shuddered. "I wish you had." "Me too, but oh well. You wouldn't have remembered - if it weren't for this Fox character. What is it between you and him, anyway? You aren't involved in any way, are you?" "Of course not! We're partners, and that's all." "Excellent. I want you all for myself," Ishmael announced dramatically. She groaned inwardly and tried to look for a way out of the room without seeming too conspicuous - it might rub him the wrong way, and if Mulder was correct about this guy being psychotic, that was the last thing Scully wanted to do. "Why do you stay with this Fox anyway? He's estranged you from everybody, he's made you as paranoid as himself, and for what? A file cabinet of yellowed files of little green men and flukeworm hybrids. He's killed off your sister. . ." "That's not true! Melissa was mistaken for me!" Scully objected vehemently. "Which never would have happened if you hadn't been working for him," Ishmael continued without missing a beat. "And in return, he's ditched you a few dozen times. Arecibo? Tunguska? Why do you stay? Dana, you were meant for more than what he can ever give you. If you stay with me, I can promise you work in any musical you want, and my undying love. That's more than your Agent Mulder can promise you. . .isn't that right, Fox?" he added over his shoulder. Scully whirled around to see Mulder standing behind her, aiming his gun at point-blank range. "Scully, don't move," he ordered, staring at Ishmael as if he intended to burn a hole through the masked man. Ishmael laughed. "You really think that BB gun is going to make a difference?" "Give it up," Mulder said as if he hadn't heard Ishmael. "We've got a few dozen police officers outside this passageway." Scully raised her eyebrows in surprise, wondering if Mulder was bluffing. With his reputation as Spooky Mulder, it would be a wonder if he convinced anybody to keep an eye on the Opera House. . . "Hmm. Good point, Dana," Ishmael said. Scully groaned again, kicking herself for forgetting about Ishmael's telepathy. "How do I know you're telling the truth, Agent Mulder?" he continued, strolling casually towards Mulder with utter disregard for the gun that remained trained on Ishmael's skull. "If you've got these federal officers outside, will they care if I do this?" He stared intensely into Mulder's eyes. For a second nothing happened, then Mulder yelped and dropped the gun, clutching his hand as if he'd been burned. "Mulder!" Scully shouted. "What did you do to him?" she demanded of Ishmael. "Nothing," he said, all innocence. "I just burned a good layer of skin off. What's so bad about that?" Scully mentally cursed him out, then tried her luck against the rope holding her legs. The knots were too tight, and she broke a nail or two before giving up. Ishmael walked up to Mulder and touched a cold finger to Mulder's temple. Mulder knocked away the "Phantom's" hand, then fell to the floor in an apparent faint. Darkness claimed her for the second time in an hour. @@@@@@@@@@@@@@@@@ She woke blearily to hear Ishmael singing the song silently, substituting her name for "Christine". Anger waking her fully, she fired back a response in like manner: "Why, Dana, that's not very nice," Ishmael answered absently, as if distracted by something. "Especially since I'm about to make you an offer. You stay with me, and I'll let your partner live. If not. . ." He flicked on a light switch and she saw that she was again tied up in a chair, close to a window. Through the window she saw Mulder lying on the floor of another room, gagged and tied up. "I've rigged the whole room with kerosene. Your partner will either burn to death or, if I choose to let him live, he will spend the rest of his life in a mental hospital raving about fire. So, Dana, which will it be? 'Do you end your days with me, or do you send him to his grave?'" he quoted. Scully stared out at Mulder's grim face in horror. "You wouldn't!" "I most certainly would. He's the only thing standing between you and me, Dana, and I don't like that. I will gladly kill him. Don't look so shocked. Who was it that said 'All you need is love'? Oh yes, John Lennon." "I told you already, I don't love you!" "You'll learn to. We have all the time in the world. 'Fear can turn to love - you'll learn to see the man behind the monster.'" "You're all monster," Scully spat. Ishmael's eyes narrowed. "So you've made your choice? Him over me? All right, join him in the hereafter." His gloved hand wandered over to a lever in the wall. "I push this, the walls go up in flame. Then the floor. I've left a small space around your partner - if he stays still, he might live longer. But I doubt it'll be long enough to make a difference." "Scully!" she heard him shout through the wall. "Get out of here! Forget about me! Save yourself!" " 'Bravo, monsieur! Such spirited words!" Ishmael called through the glass. "Thought I made that wall soundproof," Ishmael added, as if to himself. "Oh well. You can hear his screams better this way." His hand pushed the lever slowly, but not enough to set the walls on fire - yet. "Wait," Scully said suddenly. "Pity comes too late, turn around and face your fate, an eternity of *this* before your eyes," Ishmael sang tunelessly, pushing up his mask to show the deformed face underneath. Scully forced herself not to close her eyes at the sight. It was a long shot, but it might have worked. "Pitiful creature of darkness, What kind of life have you known? God give me courage to show you, You are not alone!" She pushed the mask off his face and kissed him on the lips. The mask clattered to the floor as Ishmael, stunned for a moment, began to kiss back. When they finally broke off the kiss to gasp for breath, Ishmael turned to look at Mulder. The gag untied on its own, and the knots loosened enough for Mulder to struggle out of them. Another mind-pulse and Mulder was on the floor in the room with Scully and Ishmael. That was when they heard the shouts. @@@@@@@@@@@@@@@@ "Federal agents! Freeze!" came shouts down a stone passage, sounding surprisingly close. Ishmael's head snapped up and he looked around, panicked. "Oh God, they've found us." Scully turned to Mulder in surprise, who shrugged. So he hadn't been lying about the backup! "Mulder, you never cease to amaze me," she called loudly through the glass. "Amaze her somewhere else," Ishmael said tensely, pressing another button to open a door in the wall. Mulder and Scully gratefully ran out of it. "Take her and go. Forget about me," Ishmael called after. "This leads to the stage. I love you Dana!" he yelled. "I love you!" As they left, Scully and Mulder both heard Ishmael's last telepathic transmission: <"You alone can make my song take flight. It's over now, the music of the night. . ."> @@@@@@@@@@@@@@@@ ". . . And all they found was his mask?" Scully said dubiously in the motel room. "That's all. Never heard from him again. They're going through the Opera House with a fine-toothed comb now, and as you know they've moved the rehearsals to another theater." "And how," Scully groaned. "Did you hear that place? You can barely hear anybody in the place, and the lights are awful." "At least they'll be done with the theater by the time "Phantom" starts," Mulder pointed out. "You sure you still want to sing in that?" "Positive," Scully assured him. "I still love the musical, I wouldn't miss this one for the world. As long as I'm on leave, I'm going to take advantage of it. Besides," she added teasingly, "seeing you in a tuxedo is an X-file in and of itself, and I wouldn't miss *that* either!" @@@@@@@@@@@@@@ "He is not a ghost, only a man of Heaven and Earth. . ." -Christine Daae, "Phantom of the Opera" (book) "Perhaps we may frighten away the ghost of so many years with a little illumination, gentlemen?" -Auctioneer, "Phantom of the Opera" (musical) "Charming evening. Daae exquisite. Choruses want waking up. Carlotta a splendid commonplace instrument. -- O.G." -Opera Ghost, "Phantom of the Opera" (book) "You're obsessed!" -my brother's reaction to my wanting to see "Eve" again. Obsessed and proud of it. If you know of a good psychiatrist, tell me, I'll need it, especially when David Duchovny leaves the "X-Files" cast in the near future. Don't send me feedback, please. I'd love to receive it, but being only 14, I'm not allowed to get E-mail from unknown persons. Rats. Ah well, c'est la vie.