It seems that the Don Juan from Innsbruck was performed with puppets until the middle of the 19th century by an amateur theatre of the region. The text was published for the first time in 1897 by Eric Schmidt, then in 1905 by Rudolf Jenewein – this last version, based on another manuscript, was probably rewritten. The play is written entirely in verse, with many passages using a local dialect. Don Juan’s servant – named Hans here – plays a central role, as he often replaces his master in decisive scenes. For instance, he is the one who first speaks to Anna. At the end of the play, he is so afraid of preparing dinner for the dead commander that Don Juan must take care of it himself, while Hans stays and speaks with the ghost. He also sends off his master’s creditor during a scene that may have been borrowed from Molière’s Dom Juan – an occurrence rare enough in the traditional repertory to be noted. In Molière’s play, Dom Juan himself, of course, ushered Monsieur Dimanche out.

Don Juan murders Don Pietro, who came running to his daughter Anna’s aid for a villain had tried to seduce her by night and, failing to do so, attempted to abduct her. In the following scene, Don Juan receives two successive visits. His servant Hans turns out the first visitor – a creditor asking for his money – while his master hides. Then a judge with a court clerk comes to investigate the death of Don Pietro. Don Juan pretends to be someone else. He then undertakes to leave town incognito by changing clothes with Hans, who boasts about his new role as the master. As the judge nearly recognises them, Don Juan kills him. The two fugitives reach the cemetery, where Don Juan asks Hans to invite Don Pietro’s statue. The ghost agrees and comes over. Don Juan refuses to repent. Hans, to whom the ghost assured there was nothing to fear, follow them to the cemetery out of curiosity, and he sees his master walk into hell.