Phantom Of The Opera: Bravo Monsier

She turns lo RAOUL who embraces her protectively.The PHANTOM freezes for a moment and then suddenlyseizes a pike upon which is impaled a skull. At amovement from him a flash of fire streaks from thegaping mouth of the skull and lands at RAOUL's feet)PHANTOMBravo, monsieur!Such spirited words!(Another fireball)RAOULMore tricks, monsieur?PHANTOMLet's see, monsieurhow far you dare go!(Another fireball)RAOULMore deception? More violence?CHRISTINE (to RAOUL)Raoul, no . . .(RAOUL has begun to walk slowly and resolutelytowards the PHANTOM the fireballs always landingjust ahead of him)PHANTOMThat's right, that's right,monsieurkeep walking this way!(Two more fireballs)RAOULYou can't win her love by making her your prisoner.CHRISTINERaoul, don't . . .RAOUL (to CHRISTINE)Stay back!PHANTOMI'm here, I'm here,monsieur:the angel of death!Come on, come on,monsieurDon't stop, don't stop!(Three more fireballs.RAOUL. is almost at the PHANTOM's feet. Aconfrontation is imminent when CHRISTINEsuddenly rushes across to RAOUL)CHRISTINERaoul! Come back . . .(She pulls him away)PHANTOMDon't go!(As they are exiting, the PHANTOM declaimsin fury):So be it! Now let it be war upon you both!(At a gesture from the PHANTOM, there is a flash oflighting and the stage erupts into flame)BEFORE THE PREMIERETHE OPERA HOUSE ON THE NIGHT OF THEPREMIERE OF "DON JUAN TRIUMPHANT''(The orchestra is tuning. A whistle soundsQtheCHIEF FIRE OFFICER is reviewing two FIREMARSHALLS in tin helmets. A worklight on astand illuminates them. Also present are RAOUL,ANDRE and FIRMIN, supervising the proceedings, and aMARKSMAN, at present hidden in the pit)CHIEFYou understand your instructions?FIREMEN (severally)Sir!CHIEFWhen you hear the whistle, take up your positions.I shall then instruct you to secure the doors. It isessential that all doors are properly secured.FIRMIN'Are we doing the right thing, Andre?ANDREHave you got a better idea?CHIEFMonsieur le Vicomte, am I to give the order?RAOULGive the order.(The CHIEF blows his whistle. The FIREMEN fanout, leaving RAOUL, the CHIEF and theMANAGERS on stage)RAOUL (to the MARKSMAN)You in the pit - do you have a clear view of thisbox?MARKSMAN (appearing from the pit)Yes, sir.RAOULRemember, when the time comes, shoot. Only ifyou have to - but shoot. To kill.MARKSMANHow will I know, sir?RAOULYou'll know.FIRMINMonsieur le Vicomte, are you confident that thiswill work? Will Miss Daae sing?RAOULDon't worry, Firmin. Andre?ANDREWe're in your hands, sir.CHIEFMy men are now in position, sir.RAOULGo ahead, then.(Sounding his whistle again, the CHIEF shoutsinto the auditorium):CHIEFAre the doors secure?(Exit doors are slammed all over the building, TheFIREMEN answering one by one: "Secure."'The orchestra falls silent. Very quietly fromnowhere, we hear the VOICE of the PHANTOM)PHANTOM'S VOICEI'm here: The Phantom of the Opera . . .(ALL look around apprehensively. FIREMEN start to runin 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 severaltimes, the PHANTOM'S VOICE darting more and morebewilderingly from place to place. Finally it is heardfrom Box Five, and in the confusion theMARKSMAN fires a shot. RAOUL rounds on theMARKSMAN furiously)RAOULIdiot! You'll kill someone. I said: only when thetimes comes!MARKSMANBut, Monsieur le Vicomte . . .(The PHANTOM'S VOICE cuts in, filling thebuilding. All look up)PHANTOM'S VOICENo "buts"! For once, Monsieur le Vicomte isright . . .Seal myfate tonight - Ihate to have tocut the fun shortbut the joke'swearing thin . . .Let the audience in . . .Let my opera begin!"DON JUAN TRIUMPHANT"(The set of the final scene of "Don JuanTRIUMPHANT" A huge hall with an arch. Behind thearch, which has curtains, is a bed. A fine table, laid fortwo. PASSARINO, DON JUAN'S servant, isdirecting the STAFF as they make the room ready.They are a crowd of sixteenth century ruffians andhoydens, proud of their master's reputation as alibertine)CHORUSHere the sire may serve the dam,here the master takes his meat!Here the sacrificial lambutters one despairing bleat!CARLOTTA AND CHORUSPoor young maiden! For the thrillon your tongue of stolen sweetsyou will have to pay the bill -tangled in the winding sheets!Serve the meal and serve the maid!Serve the master so that, whentables, plans and maids are laid,Don Juan triumphs once again!(SIGNOR PIANGI, as Don Juan, emerges from behind thearch. MEG, a gypsy dancer pirouettes coquettishly forhim.He throws her a purse. She catches it and leaves)DON JUANPassarino, faithful friend,once again recite the plan.PASSARINOYour young guest believes I'm you -I, the master, you, the man.DON JUANWhen 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 modestystarts to mellow, with the wine . . .PASSARINOYou come home! I use your voice -slam the door like crack of doom!DON JUANI shall say: "come - hide with me!Where, oh, where? Of course - my room!"PASSARINOPoor thing hasn't got a chance!DON JUANHere'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 intothe curtained alcove where the bed awaits.Although we do not yet know it, the Punjab Lasso hasdone its work, and SIGNOR PIANGI is no more. Whennext we see DON JUAN, it will be the PHANTOM.Meanwhile, we hear AMINTA (CHRISTINE) singinghappily in the distance)AMINTA (CHRISTINE - offstage, entering)". . . no thoughtswithin her head,but thoughts of joy!No dreamswithin her heartbut dreams of love!"PASSARINO (onstage)Master