Chapter 4

From the first entry to the last, my discoveries have proven successful. My brain is flooded with knowledge and theories to the utmost extent and has nearly breached the barrier of my brain's capacity to hold information.

Within days of studying, I have been able to produce a rough duplicate of my great great great great grand mere's diary, listing any and all important factors and events that went on throughout the date on which she wrote, and have kept a separate list of names and characters she had listed so long ago.

I even went as far as to sketch an image of everything she described, including the opera house, her dorm, and bed, the view outside her window, her best friend, Madame Giry, the rooms among the opera house, even the streets she walked when she longed to escape the confinements of the opera.

She visited the Notre Dame church often to pray for her father, and light a candle in his honor. Even the priest knew her personally and would often pray with her.

But what had caught my special interest was her talk of the phantom of the opera.

It wasn't just a suspicion that he may have existed, or that she may or may not have seen him, but her personal relationship with this masked character. Every detail was personal to the core, each experience described as if she was there.

The horrors and passion, the moments of safety and fear, when she was treated as an angel, then frightened to obedience.

Even his face was so intricately detailed, and her script seemed sloppy at this part as if she could not hold in what she had seen, but it frightened her to recall the memory of this distorted face.

My thoughts have taken me back to the bias of my family, and how they expect me to bring honor back to the name of Nicollette. They had only heard one sector of the story, that being her assumptions and accusations of seeing the phantom. But it was all here. Every last piece of evidence, the reality in her writing and the detail she so carefully implemented... it's all here.

This makes me wonder, does evidence still exist of the opera ghost in the opera house itself?

If it is this superstition that has lead people to avoid the chapel of music, it would only make sense that my great great great great grand' mere was not the only one to have known of this dark character or to have known his existence.

Therefore my grand'mere's apparent disgrace would be lifted, and honor would be restored to the name where it didn't need to be.