The PHANTOM freezes for a moment and then suddenly
seizes a pike upon which is impaled a skull. At a
movement from him a flash of fire streaks from the
gaping mouth of the skull and lands at RAOUL’s feet)
Such spirited words!
More tricks, monsieur?
Let’s see, monsieur
how far you dare go!
More deception? More violence?
CHRISTINE (to RAOUL)
Raoul, no . . .
(RAOUL has begun to walk slowly and resolutely
towards the PHANTOM the fireballs always landing
just ahead of him)
That’s right, that’s right,
keep walking this way!
(Two more fireballs)
You can’t win her love by making her your prisoner.
Raoul, don’t . . .
RAOUL (to CHRISTINE)
I’m here, I’m here,
the angel of death!
Come on, come on,
Don’t stop, don’t stop!
(Three more fireballs.
RAOUL. is almost at the PHANTOM’s feet. A
confrontation is imminent when CHRISTINE
suddenly rushes across to RAOUL)
Raoul! Come back . . .
(She pulls him away)
(As they are exiting, the PHANTOM declaims
So be it! Now let it be war upon you both!
(At a gesture from the PHANTOM, there is a flash of
lighting and the stage erupts into flame)
BEFORE THE PREMIERE
THE OPERA HOUSE ON THE NIGHT OF THE
PREMIERE OF “DON JUAN TRIUMPHANT”
(The orchestra is tuning. A whistle soundsQthe
CHIEF FIRE OFFICER is reviewing two FIRE
MARSHALLS in tin helmets. A worklight on a
stand illuminates them. Also present are RAOUL,
ANDRE and FIRMIN, supervising the proceedings, and a
MARKSMAN, at present hidden in the pit)
You understand your instructions?
When you hear the whistle, take up your positions.
I shall then instruct you to secure the doors. It is
essential that all doors are properly secured.
Are we doing the right thing, Andre?
Have you got a better idea?
Monsieur le Vicomte, am I to give the order?
Give the order.
(The CHIEF blows his whistle. The FIREMEN fan
out, leaving RAOUL, the CHIEF and the
MANAGERS on stage)
RAOUL (to the MARKSMAN)
You in the pit – do you have a clear view of this
MARKSMAN (appearing from the pit)
Remember, when the time comes, shoot. Only if
you have to – but shoot. To kill.
How will I know, sir?
Monsieur le Vicomte, are you confident that this
will work? Will Miss Daae sing?
Don’t worry, Firmin. Andre?
We’re in your hands, sir.
My men are now in position, sir.
Go ahead, then.
(Sounding his whistle again, the CHIEF shouts
into the auditorium):
Are the doors secure?
(Exit doors are slammed all over the building, The
FIREMEN answering one by one: “Secure.”‘
The orchestra falls silent. Very quietly from
nowhere, we hear the VOICE of the PHANTOM)
I’m here: The Phantom of the Opera . . .
(ALL look around apprehensively. FIREMEN start to run
in the direction of the VOICE)
PHANTOM’S VOICE (from somewhere else)
I’m here: The Phantom of the Opera . . .
(Again, they follow the VOICE. This happens several
times, the PHANTOM’S VOICE darting more and more
bewilderingly from place to place. Finally it is heard
from Box Five, and in the confusion the
MARKSMAN fires a shot. RAOUL rounds on the
Idiot! You’ll kill someone. I said: only when the
But, Monsieur le Vicomte . . .
(The PHANTOM’S VOICE cuts in, filling the
building. All look up)
No “buts”! For once, Monsieur le Vicomte is
right . . .
fate tonight – I
hate to have to
cut the fun short
but the joke’s
wearing thin . . .
Let the audience in . . .
Let my opera begin!
“DON JUAN TRIUMPHANT”
(The set of the final scene of “Don Juan
TRIUMPHANT” A huge hall with an arch. Behind the
arch, which has curtains, is a bed. A fine table, laid for
two. PASSARINO, DON JUAN’S servant, is
directing the STAFF as they make the room ready.
They are a crowd of sixteenth century ruffians and
hoydens, proud of their master’s reputation as a
Here the sire may serve the dam,
here the master takes his meat!
Here the sacrificial lamb
utters one despairing bleat!
CARLOTTA AND CHORUS
Poor young maiden! For the thrill
on your tongue of stolen sweets
you will have to pay the bill –
tangled in the winding sheets!
Serve the meal and serve the maid!
Serve the master so that, when
tables, plans and maids are laid,
Don Juan triumphs once again!
(SIGNOR PIANGI, as Don Juan, emerges from behind the
arch. MEG, a gypsy dancer pirouettes coquettishly for
him.He throws her a purse. She catches it and leaves)
Passarino, faithful friend,
once again recite the plan.
Your young guest believes I’m you –
I, the master, you, the man.
When you met you wore my cloak,
with my scarf you hid your face.
She believes she dines with me,
in her master’s borrowed place!
Furtively, we’ll scoff and quaff,
stealing what, in truth, is mine.
When it’s late and modesty
starts to mellow, with the wine . . .
You come home! I use your voice –
slam the door like crack of doom!
I shall say: “come – hide with me!
Where, oh, where? Of course – my room!”
Poor thing hasn’t got a chance!
Here’s my hat, my cloak and sword.
Conquest is assured,
if I do not forget myself and laugh . . .
(DON JUAN puts on PASSARINO’s cloak and goes into
the curtained alcove where the bed awaits.
Although we do not yet know it, the Punjab Lasso has
done its work, and SIGNOR PIANGI is no more. When
next we see DON JUAN, it will be the PHANTOM.
Meanwhile, we hear AMINTA (CHRISTINE) singing
happily in the distance)
AMINTA (CHRISTINE – offstage, entering)
“. . . no thoughts
within her head,
but thoughts of joy!
within her heart
but dreams of love!”