| Nelson Eddy / as Anatole Garron in "Phantom of the Opera (1943 film)" | |
| 1 | Thank you, Marcel. | ありがとう |
| 2 | Christine! Why weren't you on the stage for the end of the act? | カーテンコールに 出てなかったな！ |
| 3 | You're all right, aren't you? | 具合が 悪いのか？ |
| 4 | Don't worry. | 大丈夫さ |
| 5 | That's lovely. | いいね |
| 6 | What is it? | 何て曲？ |
| 7 | Not at all, monsieur. I find it a pleasure. | いいえ 楽しんでますから |
| 8 | I'm Anatole Garron of the Opera. | オペラ座の アナトールです |
| 9 | I've heard of you, Monsieur Inspector. | お話しは 伺ってます |
| 10 | Your work must be very exciting. | ご活躍だとか |
| 11 | Well, you see, Monsieur Inspector, | そうですねぇ～ |
| 12 | a song is capable of many interpretations, | それぞれですから |
| 13 | by a musician. | 人によって |
| 14 | What business could mademoiselle have with the Surete? | 警察が 何の用で？ |
| 15 | So that's what became of it! | こんなところに！？ |
| 16 | Certainly. That statuette is mine. | 私のだ |
| 17 | Definitely. I made it. | 私が 作ったものだ |
| 18 | I intended to make you a present of it, Christine. | 君への 贈り物にしようと |
| 19 | Unfortunately, it disappeared from my dressing room. | それを 無くしてたんだ |
| 20 | And from memory, Monsieur Inspector. | 心に 焼き付いてるんですよ |
| 21 | To see Christine is to carry her image in your heart and mind forever. | 見るたびに 刻み付けてるんだ |
| 22 | That old scoundrel Claudin must've stolen it. | あいつが 盗んだに 違いない |
| 23 | Isn't it obvious? | はっきりしてる |
| 24 | But as a man, Mr Daubert, | でも 人としては |
| 25 | you can understand that sitting there in the orchestra pit night after night and looking at Christine, | わかるだろう 舞台の下で演奏しながら 見とれてたんだ |
| 26 | Claudin probably fell in love with her. | 想いを 寄せてたのさ |
| 27 | You admit that is possible, no? | ありうるだろう？ |
| 28 | No doubt he lacked... | きっと なかったのさ・・・ |
| 29 | assurance. | 自信が |
| 30 | Well, I seem to have got the worst of this bargain. | それは 割に合わないな |
| 31 | In the future, Monsieur Inspector, I detect, | そのうちに きっと |
| 32 | you model. | お前が作れよ |
| 33 | In any case, Monsieur, | いずれにしても |
| 34 | that was a bad clue. | とんだ 手がかりでしたな |
| 35 | Why, yes. | そうですが |
| 36 | Which way are you going, Monsieur? | どちらまで？ |
| 37 | Yes, well, in that case... | そうれなら・・・ |
| 38 | Au revoir, Christine. | 失敬する |
| 39 | At your service. | 仰せの通りに |
| 40 | After you, monsieur. | どうぞ お先に |
| 41 | Marcel, | マルセル |
| 42 | do you think I lead an enviable life? | 人もうらやむ 人生を 送ってるだろう |
| 43 | Well, I do, but not for reasons you're probably thinking. | でも その訳は 想像もできまい |
| 44 | I'm a very happy man | 幸せ一杯さ |
| 45 | because I'm having supper tonight with Mademoiselle DuBois. | だって 今夜は デートだ |
| 46 | Christine, | クリスティーン |
| 47 | you're going to be a great and famous singer. | 君は 一流の歌い手になる |
| 48 | I'll help you. | 私が 手助けする |
| 49 | Why? What's the matter? | どうした？ |
| 50 | Someone? Who? | 誰だ？ |
| 51 | I knew you'd hear me sooner or later. | 俺の気持ちが やっと届いたのさ |
| 52 | Of course. | もちろん |
| 53 | I don't mean actually, but I've been saying that to you ever since I saw you and heard you sing. | 声にはしてないが ずっと思ってたことさ |
| 54 | At last you heard me. | やっと 届いたんだ |
| 55 | I'll tell you again tonight at supper. | 続きは デートのときに |
| 56 | Certainly, Monsieur Inspector. | えぇ 確かに |
| 57 | We all did. | 誰にでも |
| 58 | Madame is in good voice... | 婦人の声は よく通って |
| 59 | and most explicit. | はっきり聞いた |
| 60 | I deny madame's accusation. | 言いがかりです |
| 61 | I deny that I drugged her. | 私じゃない |
| 62 | I won't permit it. | 許さん！ |
| 63 | I'll not stand for such an outrage! | 横暴だ！ |
| 64 | If any such arrangement is made, I'll... | そんなことを するなら・・・ |
| 65 | You'll do nothing of the sort. | そんなことは させない |
| 66 | It's ridiculous. | ばかげている |
| 67 | Besides, what about the public, madame? | それに 観客が見てた |
| 68 | Shall we send word to the public to forget that Mademoiselle DuBois was a sensation? | クリスティーヌのすごさを 忘れろと？ |
| 69 | I was chasing him. | 追ってたんだ |
| 70 | The murderer, of course. | 犯人さ |
| 71 | Certainly. Everyone must have seen... | あぁ みんな 見ただろう？ |
| 72 | You saw him yourself, didn't you? | 君も 見ただろう？ |
| 73 | After you, monsieur. | お先に |
| 74 | They're going to reopen the Opera, Christine. | 劇場が 再開される |
| 75 | At last, you and I are going to sing... | 一緒に 歌える・・・ |
| 76 | Really? | 本当か？ |
| 77 | You may be interested to know, monsieur Daubert, that circumstances connected with the murder of Biancaraolli demand that Christine does sing. | 犯人は 彼女が歌うように 要求してるんだぞ |
| 78 | Not at all. | 全然 |
| 79 | I have a plan of my own for apprehending the murderer. | 策があるのさ |
| 80 | I have. | そうだ |
| 81 | Now, let's not waste words, monsieur. | 言い合いは よそう |
| 82 | I've been assured by Messrs Amiot and Lecours that as soon as the Opera reopens, Mademoiselle DuBois will sing. | 支配人が クリスティーヌが歌うと決めたんだ |
| 83 | And I might add that my plan is strictly confidential. | それに 極秘作戦があるのさ |
| 84 | May I have a word with you alone, Christine? | 彼女と 二人きりで 話したい |
| 85 | Monsieur Villeneuve suggested you might be willing to perform this service in the cause of justice. | 指揮者も 協力すべきと おっしゃてましたよ |
| 86 | Played by Franz Liszt himself? | あのリストが 弾くんですよ！ |
| 87 | Do you doubt it, Maestro? | 出て来ないはず ありません |
| 88 | Thank you, Maestro. | 感謝します |
| 89 | Thank you. | 助かります |
| 90 | It's more than exciting to me. | 私には それ以上です |
| 91 | I had the honour of being suspected of the crime. | 嫌疑を 晴らさなければ |
| 92 | Probably after the opera. | オペラの後でしょう |
| 93 | Inspector Daubert has a plan of his own, | 警部の 考えです |
| 94 | and we must give it every chance. | それに 従いましょう |
| 95 | Thank you again, Maestro. | よろしく お願いします |
| 96 | Gentlemen, | みなさん |
| 97 | this is more than just a performance of a new concerto. | 協奏曲を 披露します |
| 98 | The whole future of the Paris Opera may depend upon it. | オペラ座の 命運を賭けた 曲です |
| 99 | No, she's at home. | 家に居る |
| 100 | Play, Maestro. | 先生 弾いて |
| 101 | Play. | 弾いて |
| 102 | Christine? | クリスティーヌ |
| 103 | Christine! | クリスティーヌ |
| 104 | Christine! | クリスティーヌ |
| 105 | Christine! | クリスティーヌ |
| 106 | Liszt is playing. | リストが弾いてる |
| 107 | It is in front of us. | 前から聞こえる |
| 108 | The whole place is caving in. | 崩壊するぞ |
| 109 | He came from your district, in Provence. | 君と同じ プロバンス出身だ |
| 110 | Everybody there must have known that old folk song. | 地元の 歌なんだろう |
| 111 | His suffering in madness will be forgotten. | 彼の凶行は 忘れ去られても |
| 112 | His music, his concerto, | 曲は |
| 113 | will remain. | 残るだろう |
| 114 | You were magnificent, Christine! | とても すばらしかった |
| 115 | Incomparable, beautiful, a sensation! | 空前絶後 すばらしい 感動的だった |
| 116 | I've just begun. It would take days and years to tell you how superb you were. | 褒めだしたら 止まらないくらいだよ |
| 117 | We're having supper tonight at the Cafe de L'Opera. | 食事に 行こう |
| 118 | Why not? | どうして？ |
| 119 | Have you another engagement? | 先約でも？ |
| 120 | With whom? | 誰と？ |
| 121 | That policeman? | あの警官とか？ |
| 122 | Oh. | おや |
| 123 | And I do not care to be seen in public with the police. | 警官と一緒なんて ご免だ |
| 124 | Precisely. | そうだ |
| 125 | With pleasure, monsieur. | よろこんで |
| 126 | Certainly, after all, who'd pay any attention to a baritone and a detective? | 大丈夫 我々には 関心なさそうだ |
| 127 | After you, monsieur. | お先に |
