CAPTAIN AMERICA: MV1 #485
Written by Jeff Melton
JULY, YEAR THREE
"THE PHANTOM RETURNS TO PARIS!"

captain america created by joe simon and jack kirby

PHANTOM OF THE OPERA CREATED BY GASTON LEROUX

"Everybody knows the Paris Opera, at least by reputation. It is with regret that I assure you it hasn't changed at all; for the sake of the passerby who hasn't been warned, let me say that it looks like a railway station. But once you're inside you'll be more likely to mistake it for a Turkish bath."

Debussy

The Paris Opera House stands as a living testament to the wonder of music. Completed in1875, the Opera House is beautifully ornate, with wondrous feasts for the eyes, including a stunning staircase leading to a series of levels overlooking the action below.

In its distinguished career, the Opera House has had many distinguished visitors, from royal dignitaries, ambassadors, world leaders, to wealthy citizens who are taking in a show. Today, however, it has a very special guest...Captain America!

In the office of the opera house manager, Captain America stands across the desk from a visibly worried elderly man of approximately 5’6" and 130 pounds, who is pacing back and forth across the floor on his side of the desk, as Cap looks on with concern.

"I thank you for coming this distance," the frazzled manager says in a very pronounced French accent, while wiping the sweat from his brow. "I have not forgotten your assistance to the French Underground during the war, my friend. Those were truly dark days for France."

"Citizens such as yourself, Monsieur Ferrier," Cap replies, leaning onto the desk, his gloved hands pushing against scattered papers, "deserve the real credit. It took a great deal of courage to overcome the German invaders after your government fell so quickly."

"Yes," Ferrier replies in disgust, as images flash in his mind. "And those scum in the Vichy government...who would turn against their own people for personal gain...!" He shakes his head, and turns back to Captain America, seeking to regain control of his emotions, although the memories of those times have left an indelible impression on him. "But, you did not come here to discuss those times, my friend."

"Believe me," Cap replies sympathetically, "there are many times when I’ve felt like I belonged there. My strongest—and sometimes best—memories come from that time. And those are things we’ll never forget."

"Thank you for indulging the whims of an old man," Ferrier replies, nodding his head. "It seems Mademoiselle Carter* was right in suggesting that I contact you about this...problem."

[*Peggy Carter fought with the French resistance during World War II, and was Captain America’s girlfriend for a time during the war.]

"Needless to say, I’ll do whatever I can to help," Cap offers, letting his own thoughts drift back to the darkest days of World War II, when he fought with Peggy and her band of French Resistance agents to help drive off the German army. "Especially where Peggy is involved," he adds mentally.

"But the story I have heard..." Cap says, looking across the table, as he lifts his hands from the table, standing straight.

"I know," Ferrier interjects, looking out the window of his office at the crowded streets below. "The story is incredible, even fantastic...but I assure you it is true!"

"Let’s start from the top, then," Cap suggests, as Ferrier turns around to face him once more.

"Very well," Ferrier replies, exasperated.

"How long has this been going on?" Cap asks, noticing that Ferrier has his forehead in his right hand, running his fingers through his balding hair.

"The terror began two months ago," Ferrier replies, turning to face Cap with widened eyes. "The demands were unusual, but we have dealt with this thing before...certainly before my time."

"Yes," Cap agrees. "When the Opera House was much younger...which makes this story all the more fantastic."

"I do not deny that," Ferrier agrees, leaning against the wall, directly beside the window he was looking out of moments earlier. "The demands are identical to those of nearly a century ago. This was not lost on us, Captain. We laughed the demands off at first, but they continued, with more forceful tones. The demands seem almost absurd. This Opera House takes in a great deal of money every year, and its publicity and history would make more serious demands likely. Yet, his demands are meager by comparison—a certain box, number 5 to be precise. Under no circumstances can we sell box #5 to anyone. In addition, he has demanded an allowance of nearly 240,000 francs per year."

"None of this has been in the news," Cap points out. "And Peggy was the first I heard of it."

"That was the decision of the authorities," Ferrier explains. "They decided it would be best if the madman’s demands were not known to the public. The owners agreed...after it, it would be bad for business!"

Cap makes no reply, but his face contorts angrily at the suggestion of putting "business" above human lives. It is something he has seen before, but the twisted "logic" of this supposition has always been a source of disgust to him.

"Things gradually got far worse," Ferrier continues. "When we did not meet his demands, he started taking matters into his own hands. He murdered the first five people who had the misfortune of purchasing box #5 on five consecutive nights. On the last night, he threw his hapless victim onto the stage for all to see. Since that time, box #5 has remained open to him."

Cap shakes his head, disturbed to hear the details of these crimes. He motions for Ferrier to continue.

"Soon, he turned his attention to the matter of his allowance," Ferrier explains, returning to his pacing. "He sent letters to my office, demanding that the allowance be met immediately. He left indications that the money should be left in the box on a weekly basis. When I did not comply with his demands, he sabotaged the stage, causing a large chandelier to collapse on stage during a performance of Don Juan Triumphant. Ten people died, including two of our leading actors, some extras, and two unfortunate spectators. The next night, we started leaving the payments for him."

"If you know where he will be during the performances, why can’t you catch him?" Cap asks.

"We have tried!" Ferrier exclaims, turning to face Cap once again. "On numerous occasions, the guards, and the police, have attempted to capture him at various stages of the opera...only to find him gone when they arrived...only greeted by his trailing, insane laughter. Perhaps he truly is a Phantom!"

"I’ve dealt with ‘phantoms’ before," Cap replies, shaking his head. "They are seldom what the seem."

"Undoubtedly," Ferrier replies. "But, this is a different matter. And, last night, things became worse."

"The disappearance of Simone Bouchez?" Cap asks.

"Yes, that is correct," Ferrier replies. "Just like when the Phantom first appeared, nearly a century before, he started making demands on the cast. He took an interest in Mademoiselle Bouchez, and demanded that she be given the lead singing role. When this was denied, our lead actress was found behind the stage, her throat slit from one ear to the other. Mademoiselle Bouchez has been performing the lead role for the past week. But now, she has disappeared, after the performance last evening."

"There must be a connection between the Phantom and Miss Bouchez," Cap says to himself, although he speaks aloud.

"Indeed," Ferrier agrees. "And her abilities have improved significantly in the past two months. She is very young, only nineteen years old, but her voice is now that of a highly trained operatic singer. I would have never thought it possible."

"I need a look at the layout of the opera house," Cap says.

Ferrier takes down a rolled-up map, and places it on the table. It is a diagram of the building, showing the several levels. Ferrier points to the bottom of the diagram, which shows the area beneath the surface. "We believe he is hiding somewhere down there, in the basement—or perhaps the sub-basement. However, he has complete access to the entire opera house, including the top floor, where he has sabotaged various objects, including the chandelier."

"I think you’re right," Cap agrees, studying the diagram. "The Phantom probably has a network of tunnels that allow him access to all parts of the opera house very quickly. It would explain the ease in eluding authorities, and in doing damage to various parts of the opera house."

"Perhaps," Ferrier replies. "But, we have found no evidence of tunnels. The police have searched the opera house, and the basement, but have found no evidence of any tunnels."

"That just means he’s good at what he does," Cap replies with a slight smile. "Do you remember the prisoners of war, who could create a network of tunnels underground with the slightest of materials, and in defiance of all kinds of equipment designed to detect them?"

"That is true," Ferrier agrees, nodding his head. "Regardless of how he is doing what he is doing, I would like to see him stopped! There is too much blood that has stained this opera house. There is talk of closing the opera house down, burning it...! If this was known by the general public, I shudder to think of the outcry!"

"I’m more interested in seeing that no more people die," Cap replies, rolling the diagram back up as it was before. "And in seeing that Miss Bouchez is returned safely. I’m certain that her grandfather is very concerned."

"General Bouchez?" Ferrier asks, surprised. "You know the general?"

"He wasn’t a general when I met him," Cap replies, smiling. "But, yes, I met him during the war. That’s just one more reason to find the Phantom, and put him out of business."

"You can have whatever assistance you require from my guards," Ferrier offers. "If there is anything you need, let me know."

"I’d like a look at box #5 first," Cap says, putting the rolled-up diagram under his arm. "I have some ideas I’d like to explore."

As Cap and Ferrier leave the office, they do not notice a small panel midway up the east wall of the office as it slides over, revealing piercing eyes in the darkness...eyes that quickly turn from interest to rage.

INTERLUDE

Tomales Point, California is a small coastal community known for its fishing. Today, right off the coast, fishing vessels venture forth to supply the busy restaurants to the south. On the docks, two fishing vessels prepare to disembark, and some elderly men are sitting on the pier, watching the younger fisherman start their day.

Today, however, this quiet community is in for a surprise. Five heavily armed and armored men rush down the pier, forcing fisherman aside, many of whom fall off the pier and into the cold water.

"Come on!" the group leader commands, as he raises his gun, gesturing for the others to follow. "He should be at the end of the pier, judging by the information from the sensors!"

The group leader stops about 12 feet from the end of the pier, as the others rush past him. He looks through his visor at the fishermen, who have stopped what they were doing, and turned to look at he and his men.

"Hey!" a burly dockhand proclaims, stepping forward. He is wearing an old T-shirt, which has holes around the shoulders and stomach, and an old pair of jeans. He is holding a large club in his right hand, and he appears to have not seen a razor in a week. "Who are ya, and what’re ya doin’ here?"

"That is none of your concern," the group leader responds coldly, as he turns his attention away from the dock hand, back to his men. "Have you found our objective yet?" he asks.

"Yes, group leader," one of the armored men replies, as he inserts a staff into the brackish water. Small lights turn on at the top of the staff. "Our sensor indicate that he is just below the surface."

"Pull him up," the group leader commands. "I want to finish this mission before we attract undue attention."

"I’m talkin’ to you, buster!" the dockhand demands, visibly irritated. He swings the large stick at the group leader, who easily sidesteps it. The group leader then turns and fires his weapon at the dockhand, striking him in the mid-section with a tight laser blast that sends him off the dock and into the water 15 feet in the distance.

"Fool," the group leader snaps. Then, he turns to address the other fishermen and dockhands who were inching forward before the blast, but have since frozen in their tracks. "An example has been made. If the rest of you will stay where you are, and not interfere, you will remain alive. If not, you can join your friend."

"Group leader!" the armored man with the staff calls out, pulling a body out of the water, as two others lean over to help, each grabbing an arm. "We have found our objective!"

"Excellent!" the group leader says, walking over to the others. As he looks down, he sees the figure of Nomad, his long brown hair soaked along with his costume, no signs of life coming from him. One of the armored soldiers tosses him over his shoulder, and they prepare to leave. "Come," the group leader says in an ordered tone. "It is time to collect our payment."

"How long’s this guy been in the water?" one of the armored men asks. "He’s still warm."

"He said that we could expect that," another of the armored men replies. "It doesn’t matter, though...he never was really alive!"

END OF INTERLUDE

Meanwhile, in Paris, Captain America and Ferrier stand in a small opera box, as two theatre guards watch with interest from behind the tapestry at the back of the opera box. There are two chairs in the opera box, which are bolted to the floor.

"As you can see, Captain," there is no way for the Phantom to leave this opera box."

"But he does," Cap says, looking around. "He gets out somehow, and he does so quickly...without being spotted. Have you ever gotten a sight of him?"

"There are those who claim to have seen the Phantom," Ferrier responds, as Cap taps the walls around the box. "They say he wears a mask, but they cannot say much else. No one has gotten a good look at the fiend." Ferrier walks forward, to the "window" of the opera box, pulling the curtains, sealing the opera box off from the stage below and the other boxes across the way. "When the Phantom is in the box, these curtains are closed. He peers out to see the show when it is dark."

Cap pushes one of the seats, and it gives slightly. Cap then feels around the back of the seat, and underneath it, where he finds a small button, hidden underneath the vinyl beneath the seat. When he pushes the button, the seat pushes back, startling Ferrier, and revealing a tunnel leading down, directly under the seat.

"I think I’ve discovered his secret," Cap comments.

"So you have," Ferrier says, motioning towards one of the guards, who quickly supplies him a flashlight. He gives it to Cap, who nods in appreciation.

When Cap shines the flashlight into the tunnel, it reveals a series of stairs leading down into the darkness. "I see why he picked this particular box," Cap offers. "There are no boxes under it, and he has a bird’s eye view of the opera...as well as a way to make a quick escape when the need arises."

"Astounding!" Ferrier exclaims, shaking his head in amazement. Then, noticing that Cap has started to descend the stairs leading downward, he grows more excited and fearful. "Wait!" he exclaims. "Where are you going?"

"I’m going to find your killer," Cap replies, as he disappears beneath the floor, making his way down the stairs into the darkness, his flashlight illuminating the way.

Meanwhile, several floors below box #5, a lovely young woman wanders aimlessly through the ancient catacombs beneath the ornate opera house. She walks along a walkway, illuminated by a series of torches, perched along poles at the edge of the walkway. Water from the Seine River makes its way through the catacombs to her right, cresting only a few feet beneath the walkway. She is wearing a low-cut evening gown, and her long dark hair is put up in the back, although a few random strands curl down the side of her head, and along her face.

"I do not even know where I am," she thinks.* "There is no way to leave this place. I keep walking in circles."

[*Translated from the French.]

In the distance, she hears the enchanting sound of music—a pipe organ played by a master to the haunting tune of "Moonlight Sonata". She shakes her head, fearful, as she walks towards the sound of the music.

As she walks along the walkway, nearing the sound of the organ, she is startled by a small rat that scurries in front of her, looking at her for a brief moment, before it scatters into the darkness. She shakes involuntarily.

"Get away, you creature!" she calls out, but the rat has long since disappeared from view. She soon realizes that she is walking once more towards the sound of the playing organ, although her pace has quickened substantially after her encounter with the rat.

She soon finds herself in front of an ornately-adorned archway that has lost much of its beauty to the ravages of time. As she walks into the room, she is greeted by the sight of a thin man, dressed completely in black. He is facing away from her, his thin fingers gliding expertly across the pipe organ that takes up a large section of the wall directly in front of her.

"I have never heard such beautiful playing!" she thinks to herself, as she stands transfixed for a moment, as the figure in black continues to play the instrumental piece. Soon, he is finished, and she stands silent for a moment, gathering up the courage to ask this man for assistance. "Sir," she says in a low voice, barely audible. She realizes that she needs to speak louder, and forces herself to do so. "Can you help me? I have come to this place...I know not where. I cannot tell if it is night or day, and I cannot find a way to leave." She looks at the man, who is still facing the organ, waiting for his response. All is quiet for a moment, and she grows more fearful.

"I have been expecting you, my dear," the man in black responds, as he slowly turns around. As he does so, he reveals a face covered by a metal mask, leaving only his mouth and chin exposed. He is wearing a black suit, one that has not been in style for over a century, with a finely-tailored black cape. She noticed that, propped against the side of the organ is a cane.

"You see," he offers, getting to his feet, gently pushing the organ bench to one side. "I am the reason you are here. I have paid close attention to the development of your career, and assisted in its development...providing (shall we say) certain opportunities that have helped you achieve your current status."

"You mean...!" the young woman says, shocked and terrified, as she backs up quickly. "You are the one....!"

"Yes, my dear," the Phantom replies, walking towards her, as she continues to back up, until she backs into a wall, trapped as the Phantom steps in between her and the doorway out. "I am the one who has been dubbed the Phantom."

As he reaches out to touch her on her shoulder, she lashes out, striking his face, as the mask flips away from his face, landing on the floor, where it bounces away from them. When she does so, she is overcome with fear at the sight of the Phantom’s full face. She lets out a loud, chilling scream, as she faints into his arms.

The Phantom looks down at the lovely young singer, running his index finger along her cheeks, as he shakes his head, a sad _expression appearing on his gruesome face. He lifts her up and takes her to a small cot placed against the wall adjacent to the organ, and gently places her on the cot, lifting the covers over her body with surprising gentleness.

Meanwhile, Cap has found his way through the tunnel, and realizes that he is several levels below the opera box. "This is an amazing patchwork of tunnels," Cap thinks to himself. "I have no doubt that he has tunnels to virtually everywhere in the opera house, allowing him instant access to the entire facility. Despite his obvious madness, he has a genius for architecture."

Cap is suddenly caught off-guard by the sound of a terrified scream, as he finds himself at the end of a tunnel. "That scream!" he exclaims. He realizes that he has reached a dead end in the tunnel, and pushes his feet against the end of the large pipe that makes up the circumference of the tunnel in which he finds himself. "No time to be gentle," he says, kicking the end off of the pipe. As he does so, he immediately hears the sound of running water outside of the tunnel just before it collapses, causing him to fall.

Cap falls twenty feet before his descent is halted by standing water. He slowly stands in a dimly-lit pit. As he looks up, he can make out lights at the top of the pit. From the flickering, he can tell that it is candlelight that is illuminating the room outside of the pit. As he looks around for a way out of the large pit, he can hear the sound of footsteps above.

"I see you have found your way into my domain," a voice from above sounds. As Cap looks up, he sees the Phantom looking down at him. The Phantom is once more wearing his metal mask. "I was aware that you found my tunnel in my opera box. Certainly an inconvenience that will cause me irritation later, but it is of no immediate concern.."

"You know why I’m here, Phantom!" Cap calls out. As he does so, he cannot help but notice that the water has risen from just below his knees to a two inches under his waist. He also hears a familiar "hissing" sound. Looking around, he notices that the small cracks that are letting in the water are also letting in deadly vipers, which are swimming around in the water around him. He holds his shield tightly, preparing to ward off any that try to strike.

"Yes, I am aware of Ferrier’s treachery," the Phantom replies calmly. "We had a deal, but he chose to break it by calling you in. I will deal with him as well. For now, though, I am certain you realize the nature of your predicament."

"You must know that you will never get away with this mad scheme, Phantom!" Cap replies, calling up to the Phantom over the increasing roar of the water coming into the pit. Cap makes note of the fact that the water has now risen above his waist, and the snakes are growing in number. "I’ve already discovered your tunnel system, and the authorities will do whatever they have to do to flush you out."

"That is where you are mistaken," the Phantom replies calmly, speaking over the roar of the water as well. "I have already re-routed many of the tunnels—a process I will finish long before the authorities arrive. After all, did you think it a coincidence that you were led to this very spot?"

Cap makes no reply, but realizes that he will soon need to tread water, and knows too that when the water rises, the uncovered areas of his body will be easier prey to the deadly vipers that are even now circling his location.

"The water flowing into the pit is from the Seine River," the Phantom explains, "tributaries of which flow under this opera house...although that fact is unknown to the fools who live above. You will either perish from drowning...or suffer a deadly bite from the vipers that are continuing to flow into with the river. Previous examples have not served to convince Ferrier. Your death will put things in the proper perspective, I believe."

To be continued...

NEXT ISSUE: Cap tries to get out of the Phantom’s trap and save the girl! Meanwhile, we learn more about the mystery surrounding Nomad and the armored men! Don’t miss it!

LETTERS TO THE LIVING LEGEND

Welcome, one and all, to my first issue of CAPTAIN AMERICA. I’d like to thank Bob for giving me the opportunity to write Captain America—a character who has always been a favorite of mine.

In recent years, there has been a lot of flack about Cap. Due to the move toward more violent characters, such as Wolverine and Punisher, many comic readers just aren’t interested in reading about a character who is noble, honest, and doesn’t kill. With me, it’s the other way around. I think Cap is a character who has stood the test of time and, like Superman, is an American icon who will always have a place. Whereas Wolverine or Punisher may appeal to some prurient interest of instant gratification, Cap is more who we should strive to be. Besides, who would you rather meet—a bloodthirsty killer who might just as soon slit your throat, or a good, noble, honorable man?

I’ve been reading Cap as long as I’ve been reading comics—and that’s a long time, believe me. :) I’ve seen good stories, and I’ve seen plenty of bad ones as well. Lately, there has been a move to turn Cap more brutal. I’ll take no part in that. If you’re wondering where I plan to go with the character, rest assured that I will respect who the character has always been, and will write him in character during my tenure on this title. Cap has a lot of views that I agree with, and some that I don’t, but Cap’s views are his views and it’s important to write these characters in character, not just try to make their opinions mirror your own. I think a lot of writers fall into that trap. I’ll be vigilant not to do so.

Cap has a history, and I plan to respect that history. Cap has made a lot of friends and enemies over the years, and took part in the greatest armed conflict in the history of mankind. Don’t be surprised to see references made to that time period.

The next question you may ask is, "why the Phantom?" Well, Cap has always lent himself well to horror themes, as shown by many of the original Simon/Kirby stories with the characters. For myself, I’ve always enjoyed the old horror movies, and think this is a good theme for a Cap story. Let me know if you agree...or disagree, for that matter.

As always, I look forward to your comments and suggestions. Feel free to let me know what you think of my direction for this title, or anything else you’d like to talk about concerning Cap or Golden Age characters in general. My e-mail address is jx2melton@aol.com. I look forward to hearing from you, and I hope I can make Captain America fun for both of us.

Jeff Melton