| J. Edward Bromberg / as Amiot in "Phantom of the Opera (1943 film)" | |
| 1 | Lecours. | リクール |
| 2 | How could we ever have been induced to accept the management of this place? | どうして こんな仕事を請けたんだ |
| 3 | It's not an opera house. | 劇場とは言えない |
| 4 | It's a madhouse. | お化け屋敷だ |
| 5 | And now this: | さらに こんな物も |
| 6 | Wanted for murder: | 指名手配 |
| 7 | Erique Claudin, former violinist, Paris Opera House. | エリック クロダーン 元オペラ座楽員 |
| 8 | Age 48 years, height 5 feet 8 inches. | ４８歳 １７３センチ |
| 9 | The face has recently been disfigured by acid. | 顔面に 硫酸による火傷 |
| 10 | It's an outrage. | ひどい話しだ |
| 11 | After 20 years with the Paris Opera, this miserable Claudin has the insolence to commit a murder. | ２０年勤めた挙句に 殺人とは |
| 12 | Come in, come in, come in! | 入って来い |
| 13 | Thief? | 泥棒？ |
| 14 | That's impossible. The fool of wardrobe woman must have lost them. | まさか 衣装係が 失くしたのさ |
| 15 | She should have been dismissed long ago. | さっさと 首にしておくべきだった |
| 16 | The restaurant? | 食堂に？ |
| 17 | Call the police at once. This must be stopped. | 警察を呼べ |
| 18 | Who? | 誰だ？ |
| 19 | Please don't start that nonsense again, Vercheres. | バカを言うな |
| 20 | At your age, you ought to know that there aren't any ghosts. | その年で 信じてるのか |
| 21 | Oh, our... | そのぉ・・・ |
| 22 | brilliant stage manager insists there's a malicious ghost prowling about the opera. | オペラ座には 幽霊がでると言うんです |
| 23 | If anything goes wrong, he thinks this ghost did it. | 幽霊が 悪さをすると |
| 24 | Ha, ha, ha, ha, ha, ha, ha. | ハハハ・・・ |
| 25 | It's gone! | ない！ |
| 26 | Did you hear that, Lecours? | 聞いてるのか？ |
| 27 | My master key is gone. | マスターキーがない |
| 28 | Do you realise what that means, Lecours? | 一大事だ！ |
| 29 | With that key in his possession, the thief can open 2500 doors, | オペラ座中の 部屋のカギだ |
| 30 | to say nothing of thousands of closets and cabinets. | それに 収納庫や 戸棚も |
| 31 | Oh, you don't seem to understand. | 冗談じゃないです |
| 32 | Why, he can hide everywhere. | どこにでも 入り込める |
| 33 | The entire police force couldn't find him here. | パリ中の警官だって 見つけられない |
| 34 | You don't seem to realise the extent of this place. Lecours, you have never troubled to find out. | 劇場は 広大なんですよ * 人事じゃない |
| 35 | What are you waiting for? | 何を ぼぉーっとしてる |
| 36 | Get the police! | 警察を呼べ |
| 37 | A pate, a ham, | パイ、ハム |
| 38 | pickled pigs' feet and 2500 rooms! | 豚足、マスターキー |
| 39 | What is the Opera coming to? | オペラ座は どうなる！？ |
| 40 | Now, who the devil would want to drug her? | 誰が そんなことを？ |
| 41 | You're certain she'll recover, Dr Lefours? | 直りますか？ |
| 42 | Madame... | 大丈夫？ |
| 43 | Please Madame, control yourself. | どうか 落ち着いて |
| 44 | I assure you... | 決して・・・ |
| 45 | Madame, consider what you're saying, Madame. | そんなことを 言っては いけない |
| 46 | Madame, please | どうか |
| 47 | compose yourself. | 気を 静めて |
| 48 | Madam... | どうか・・・ |
| 49 | Madame, consider our position. | ここの立場も 考えて |
| 50 | One moment, madame, please. | お待ちください |
| 51 | You've heard Monsieur Garron deny that he drugged you. | お聞きの通り 否認してます |
| 52 | As the inspector says, there is no evidence to warrant an arrest. | それに 確たる証拠もない |
| 53 | And remember... | いいですか・・・ |
| 54 | And remember, Madam. | いいですか |
| 55 | If you insist upon his arrest and fail to obtain a conviction, | 逮捕させて 有罪でなければ |
| 56 | you will find yourself in a very very difficult predicament. | 困るのは あなたですよ |
| 57 | And no matter what the outcome, | どうなるにせよ |
| 58 | don't forget | いいですか |
| 59 | that your career is bound to the Paris Opera. | オペラ座で 仕事をしてるんだ |
| 60 | Whatever scandal injures us, or any member of the company, | スキャンダルになれば みんな 困る |
| 61 | will injure you as well. | あなたにも 降りかかる |
| 62 | Yes. | あぁ |
| 63 | For your own sake, as well as ours, | 君とみんなのためだ |
| 64 | and purely as a matter of business expediency if nothing else, | とにかく ビジネス優先で行こうよ |
| 65 | That is exactly what we propose, madame. | これが 経営方針だ |
| 66 | Madame. | えぇ |
| 67 | Madam, there are always critics in the house. | だって オペラ批評が 出るじゃないか |
| 68 | Listen to this, monsieur. | お聞きください |
| 69 | Christine DuBois must replace Biancarolli, who chose to ignore my warning. | 代役は クリスティーヌにしろ |
| 70 | I found this mysteriously placed on my desk | この机に 置いてあった |
| 71 | after we got back from supper. | 夕食後のことだ |
| 72 | But Monsieur, your order... | でも あなたが・・・ |
| 73 | Of course! That should pacify this madman. | 当たり前だ |
| 74 | And if he doesn't harm anybody, his being in the building doesn't matter. | 害がなければ 問題ない |
| 75 | What? | えっ？ |
| 76 | I don't understand. | どういうことだか？ |
| 77 | Please, Lecours... | まあまあリクール・・・ |
| 78 | But, monsieur, our reputation... | でも 風評が・・・ |
| 79 | Madame Lorenzi. | ロレンジだな |
| 80 | She has nerve, that woman. | 度胸が 据わっている |
| 81 | Yes, monsieur. | かしこまりました |
| 82 | Monsieur Daubert, please. | 警部 こちらへ |
| 83 | Listen to this, monsieur. | こんなものが |
| 84 | How this, this phantom knows everything is beyond me. | なんと 手の内を 知られてる！ |
| 85 | If Madame Lorenzi sings, you will be responsible for what happens. | 別人に歌わせれば 責任を取らせる |
| 86 | This is your last warning. | これは 最後通牒だ |
| 87 | I don't like it, monsieur. I don't like it. | どうにも 心配だ |
| 88 | What is to become of the Paris Opera? | オペラ座は どうなる？ |
| 89 | Policemen everywhere! It's worse than a race track. | 警官だらけじゃないか |
| 90 | Well, you know how opera singers are. | オペラ歌手と言うものは |
| 91 | What with your matron from the Surete in her dressing room and that sphinx like fellow of yours | 楽屋では 大物扱いで 守られ |
| 92 | waiting to escort her to the stage, | 舞台まで 警護が付いてて |
| 93 | she feels quite important. | 女王になった 気分でしょう |
