"AMADEUS"
by
Peter Shaffer
Final Draft
INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823
Total darkness. We hear an old man's voice, distinct and in
distress. It is OLD SALIERI. He uses a mixture of English
and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me!
Forgive your assassin! Mozart!
A faint light illuminates the screen. Flickeringly, we see
an eighteenth century balustrade and a flight of stone stairs.
We are looking down into the wall of the staircase from the
point of view of the landing. Up the stair is coming a
branched candlestick held by Salieri's VALET. By his side is
Salieri's COOK, bearing a large dish of sugared cakes and
biscuits. Both men are desperately worried: the Valet is
thin and middle-aged; the Cook, plump and Italian. It is
very cold. They wear shawls over their night-dresses and
clogs on their feet. They wheeze as they climb. The candles
throw their shadows up onto the peeling walls of the house,
which is evidently an old one and in bad decay. A cat scuttles
swiftly between their bare legs, as they reach the salon
door.
The Valet tries the handle. It is locked. Behind it the voice
goes on, rising in volume.
OLD SALIERI
Show some mercy! I beg you. I beg
you! Show mercy to a guilty man!
The Valet knocks gently on the door. The voice stops.
VALET
Open the door, Signore! Please! Be
good now! We've brought you something
special. Something you're going to
love.
Silence.
VALET
Signore Salieri! Open the door. Come
now. Be good!
The voice of Old Salieri continues again, further off now,
and louder. We hear a noise as if a window is being opened.
OLD SALIERI
Mozart! Mozart! I confess it! Listen!
I confess!
The two servants look at each other in alarm. Then the Valet
hands the candlestick to the Cook and takes a sugared cake
from the dish, scrambling as quickly as he can back down the
stairs.
EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT
The street is filled with people: ten cabs with drivers,
five children, fifteen adults, two doormen, fifteen dancing
couples and a sled and three dogs. It is a windy night. Snow
is falling and whirling about. People are passing on foot,
holding their cloaks tightly around them. Some of them are
revelers in fancy dress: they wear masks on their faces or
hanging around their necks, as if returning from parties.
Now they are glancing up at the facade of the old house.
The window above the street is open and Old Salieri stands
there calling to the sky: a sharp-featured, white-haired
Italian over seventy years old, wearing a stained dressing
gown.
OLD SALIERI
Mozart! Mozart! I cannot bear it any
longer! I confess! I confess what I
did! I'm guilty! I killed you! Sir
I confess! I killed you!
The door of the house bursts open. The Valet hobbles out,
holding the sugared cake. The wind catches at his shawl.
OLD SALIERI
Mozart, perdonami! Forgive your
assassin! Pietˆ! Pietˆ! Forgive your
assassin! Forgive me! Forgive!
Forgive!
VALET
(looking up to the
window)
That's all right, Signore! He heard
you! He forgave you! He wants you to
go inside now and shut the window!
Old Salieri stares down at him. Some of the passersby have
now stopped and are watching this spectacle.
VALET
Come on, Signore! Look what I have
for you! I can't give it to you from
down here, can I?
Old Salieri looks at him in contempt. Then he turns away
back into the room, shutting the window with a bang. Through
the glass, the old man stares down at the group of onlookers
in the street. They stare back at him in confusion.
BYSTANDER
Who is that?
VALET
No one, sir. He'll be all right.
Poor man. He's a little unhappy, you
know.
He makes a sign indicating 'crazy,' and goes back inside the
house. The onlookers keep staring.
CUT TO:
INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT
The Cook is standing holding the candlestick in one hand,
the dish of cakes in the other. The Valet arrives, panting.
VALET
Did he open?
The Cook, scared, shakes his head: no. The Valet again knocks
on the door.
VALET
Here I am, Signore. Now open the
door.
He eats the sugared cake in his hand, elaborately and noisily.
VALET
Mmmm - this is good! This is the
most delicious thing I ever ate,
believe me! Signore, you don't know
what you're missing! Mmmm!
We hear a thump from inside the bedroom.
VALET
Now that's enough, Signore! Open!
We hear a terrible, throaty groaning.
VALET
If you don't open this door, we're
going to eat everything. There'll be
nothing left for you. And I'm not
going to bring you anything more.
He looks down. From under the door we see a trickle of blood
flowing. In horror, the two men stare at it. The dish of
cakes falls from the Cook's hand and shatters.
He sets the candlestick down on the floor. Both servants run
at the door frantically - once, twice, three times - and the
frail lock gives. The door flies open.
Immediately, the stormy, frenzied opening of Mozart's Symphony
No. 25 (the Little G Minor) begins. We see what the servants
see.
INT. OLD SALIERI'S SALON - NIGHT
Old Salieri lies on the floor in a pool of blood, an open
razor in his hand. He has cut his throat but is still alive.
He gestures at them. They run to him. Barely, we glimpse the
room - an old chair, old tables piled with books, a forte-
piano, a chamber-pot on the floor - as the Valet and the
Cook struggle to lift their old Master, and bind his bleeding
throat with a napkin.
INT. BALLROOM - NIGHT
Twenty-five dancing couples, fifty guests, ten servants,
full orchestra.
As the music slows a little, we see a Masquerade Ball in
progress. A crowded room of dancers is executing the slow
portion of a dance fashionable in the early 1820's.
EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT
As the fast music returns, we see Old Salieri being carried
out of his house on a stretcher by two attendants, and placed
in a horse-drawn wagon under the supervision of a middle-
aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in
beside his patient. The driver whips up the horse, and the
wagon dashes off through the still-falling snow.
MONTAGE:
EXT. FOUR STREETS OF VIENNA AND
INT. THE WAGON - NIGHT
The wagon is galloping through the snowy streets of the city.
Inside the conveyance we see Old Salieri wrapped in blankets,
half-conscious, being held by the hospital attendants. Doctor
Gulden stares at him grimly. The wagon arrives outside the
General Hospital of Vienna.
CUT TO:
INT. A HOSPITAL CORRIDOR - LATE AFTERNOON
A wide, white-washed corridor. Doctor Gulden is walking down
it with a priest, a man of about forty, concerned, but
somewhat self-important. This is Father VOGLER, Chaplain at
the hospital. In the corridor as they walk, we note several
patients -- some of them visibly disturbed mentally. All
patients wear white linen smocks. Doctor Gulden wears a dark
frock-coat; Vogler, a cassock.
DOCTOR GULDEN
He's going to live. It's much harder
to cut your throat than most people
imagine.
They stop outside a door.
DOCTOR GULDEN
Here we are. Do you wish me to come
in with you?
VOGLER
No, Doctor. Thank you.
Vogler nods and opens the door.
INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON
A bare room - one of the best available in the General
Hospital. It contains a bed, a table with candles, chairs, a
small forte-piano of the early nineteenth century. As Vogler
enters, Old Salieri is sitting in a wheel-chair, looking out
the window. His back is to us. The priest closes the door
quietly behind him.
VOGLER
Herr Salieri?
Old Salieri turns around to look at him. We see that his
throat is bandaged expertly. He wears hospital garb, and
over it the Civilian Medal and Chain with which we will later
see the EMPEROR invest him.
OLD SALIERI
What do you want?
VOGLER
I am Father Vogler. I am a Chaplain
here. I thought you might like to
talk to someone.
OLD SALIERI
About what?
VOGLER
You tried to take your life. You do
remember that, don't you?
OLD SALIERI
So?
VOGLER
In the sight of God that is a sin.
OLD SALIERI
What do you want?
VOGLER
Do you understand that you have
sinned? Gravely.
OLD SALIERI
Leave me alone.
VOGLER
I cannot leave alone a soul in pain.
OLD SALIERI
Do you know who I am? You never heard
of me, did you?
VOGLER
That makes no difference. All men
are equal in God's eyes.
OLD SALIERI
Are they?
VOGLER
Offer me your confession. I can offer
you God's forgiveness.
OLD SALIERI
I do not seek forgiveness.
VOGLER
My son, there is something dreadful
on your soul. Unburden it to me. I'm
here only for you. Please talk to
me.
OLD SALIERI
How well are you trained in music?
VOGLER
I know a little. I studied it in my
youth.
OLD SALIERI
Where?
VOGLER
Here in Vienna.
OLD SALIERI
Then you must know this.
He propels his wheelchair to the forte-piano, and plays an
unrecognizable melody.
VOGLER
I can't say I do. What is it?
OLD SALIERI
I'm surprised you don't know. It was
a very popular tune in its day. I
wrote it. How about this?
He plays another tune.
OLD SALIERI
This one brought down the house when
we played it first.
He plays it with growing enthusiasm.
CUT TO:
INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S
We see the pretty soprano KATHERINA CAVALIERI, now about
twenty-four, dressed in an elaborate mythological Persian
costume, singing on stage. She's near the end of a very florid
aria by Salieri. The audience applauds wildly.
INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823
OLD SALIERI
(taking his hands off
the keys)
Well?
VOGLER
I regret it is not too familiar.
OLD SALIERI
Can you recall no melody of mine? I
was the most famous composer in Europe
when you were still a boy. I wrote
forty operas alone. What about this
little thing?
Slyly he plays the opening measure of Mozart's Eine Kleine
Nachtmusik. The priest nods, smiling suddenly, and hums a
little with the music.
VOGLER
Oh, I know that! That's charming! I
didn't know you wrote that.
OLD SALIERI
I didn't. That was Mozart. Wolfgang
Amadeus Mozart. You know who that
is?
VOGLER
Of course. The man you accuse yourself
of killing.
OLD SALIERI
Ah - you've heard that?
VOGLER
All Vienna has heard that.
OLD SALIERI
( eagerly)
And do they believe it?
VOGLER
Is it true?
OLD SALIERI
Do you believe it?
VOGLER
Should I?
A very long pause. Salieri stares above the priest, seemingly
lost in his own private world.
VOGLER
For God's sake, my son, if you have
anything to confess, do it now!
Give yourself some peace!
A further pause.
VOGLER
Do you hear me?
OLD SALIERI
He was murdered, Father! Mozart!
Cruelly murdered.
Pause.
VOGLER
(almost whispering)
Yes? Did you do it?
Suddenly Old Salieri turns to him, a look of extreme
innocence.
OLD SALIERI
He was my idol! I can't remember a
time when I didn't know his name!
When I was only fourteen he was
already famous. Even in Legnago -
the tiniest town in Italy - I knew
of him.
CUT TO:
EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S
There are twelve children and twenty adults in the square.
We see the fourteen-year-old Salieri blindfolded, playing a
game of Blindman's Bluff with other Italian children, running
about in the bright sunshine and laughing.
OLD SALIERI (V.O.)
I was still playing childish games
when he was playing music for kings
and emperors. Even the Pope in Rome!
CUT TO:
INT. A SALON IN THE VATICAN - DAY - 1780'S
We see the six-year-old MOZART, also blindfolded, seated in
a gilded chair on a pile of books, playing the harpsichord
for the POPE and a suite of CARDINALS and other churchmen.
Beside the little boy stands LEOPOLD, his father, smirking
with pride.
OLD SALIERI (V.O.)
I admit I was jealous when I heard
the tales they told about him. Not
of the brilliant little prodigy
himself, but of his father, who had
taught him everything.
The piece finishes. Leopold lowers the lid of the harpsichord
and lifts up his little son to stand on it. Mozart removes
the blindfold to show a pale little face with staring eyes.
Both father and son bow. A Papal Chamberlain presents Leopold
with a gold snuff box whilst the cardinals decorously applaud.
Over this scene Old Salieri speaks.
OLD SALIERI (V.O.)
My father did not care for music. He
wanted me only to be a merchant,
like himself. As anonymous as he
was. When I told how I wished I could
be like Mozart, he would say, Why?
Do you want to be a trained monkey?
Would you like me to drag you around
Europe doing tricks like a circus
freak? How could I tell him what
music meant to me?
CUT TO:
EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S
Serene music of the Italian Baroque - Pergolesi's Stabat
Mater - sung by a choir of boys with organ accompaniment.
We see the outside of the 17th-century church sitting in the
wide landscape of Lombardy: sunlit fields, a dusty, white
road, poplar trees.
INT. THE CHURCH AT LEGNAGO - DAY - 1780'S
The music continues and swells. We see the twelve-year-old
Salieri seated between his plump and placid parents in the
congregation, listening in rapture. His father is a heavy-
looking, self-approving man, obviously indifferent to the
music. A large and austere Christ on the cross hangs over
the altar. Candles burn below his image.
OLD SALIERI (V.O.)
Even then a spray of sounded notes
could make me dizzy, almost to
falling.
The boy falls forward on his knees. So do his parents and
the other members of the congregation. He stares up at Christ
who stares back at him.
OLD SALIERI (V.O.)
Whilst my father prayed earnestly to
God to protect commerce, I would
offer up secretly the proudest prayer
a boy could think of. Lord, make me
a great composer! Let me celebrate
your glory through music - and be
celebrated myself! Make me famous
through the world, dear God! Make me
immortal! After I die let people
speak my name forever with love for
what I wrote! In return I vow I will
give you my chastity - my industry,
my deepest humility, every hour of
my life. And I will help my fellow
man all I can. Amen and amen!
The music swells to a crescendo. The candles flare. We see
the Christ through the flames looking at the boy benignly.
OLD SALIERI (V.O.)
And do you know what happened? A
miracle!
INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S
CU, a large cooked fish on a thick china plate. Camera pulls
back to show the Salieri family at dinner. Father Salieri
sits at the head of the table, a napkin tucked into his chin.
Mother Salieri is serving the fish into portions and handing
them round. Two maiden aunts are in attendance, wearing black,
and of course the young boy. Father Salieri receives his
plate of fish and starts to eat greedily. Suddenly there is
a gasp - he starts to choke violently on a fish bone. All
the women get up and crowd around him, thumping and pummeling
him, but it is in vain. Father Salieri collapses.
INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823
OLD SALIERI
Suddenly he was dead. Just like that!
And my life changed forever. My mother
said, Go. Study music if you really
want to. Off with you! And off I
went as quick as I could and never
saw Italy again. Of course, I knew
God had arranged it all; that was
obvious. One moment I was a frustrated
boy in an obscure little town. The
next I was here, in Vienna, city of
musicians, sixteen years old and
studying under Gluck! Gluck, Father.
Do you know who he was? The greatest
composer of his time. And he loved
me! That was the wonder. He taught
me everything he knew. And when I
was ready, introduced me personally
to the Emperor! Emperor Joseph - the
musical king! Within a few years I
was his court composer. Wasn't that
incredible? Imperial Composer to His
Majesty! Actually the man had no ear
at all, but what did it matter? He
adored my music, that was enough.
Night after night I sat right next
to the Emperor of Austria, playing
duets with him, correcting the royal
sight-reading. Tell me, if you had
been me, wouldn't you have thought
God had accepted your vow? And believe
me, I honoured it. I was a model of
virtue. I kept my hands off women,
worked hours every day teaching
students, many of them for free,
sitting on endless committees to
help poor musicians - work and work
and work, that was all my life. And
it was wonderful! Everybody liked
me. I liked myself. I was the most
successful musician in Vienna. And
the happiest. Till he came. Mozart.
CUT TO:
INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY -
1780'S
A grand room crowded with guests. A small group of Gypsy
musicians is playing in the background. Thirteen members of
the Archbishop's orchestra - all wind players, complete with
18th-century wind instruments: elaborate-looking bassoons,
basset horns, etc. and wearing their employer's livery - are
laying out music on stands at one end of the room. At the
other end is a large gilded chair, bearing the arms of the
ARCHBISHOP OF SALZBURG. A throng of people is standing,
talking, and preparing to sit upon the rows of waiting chairs
to hear a concert.
OLD SALIERI (V.O.)
One day he came to Vienna to play
some of his music at the residence
of his employer, the Prince-Archbishop
of Salzburg. Eagerly I went there to
seek him out. That night changed my
life.
We see Salieri, age thirty-one, a neat, carefully turned-cut
man in decent black clothes and clean white linen, walking
through the crowd of guests. We follow him.
OLD SALIERI (V.O.)
As I went through the salon, I played
a game with myself. This man had
written his first concerto at the
age of four; his first symphony at
seven; a full-scale opera at twelve.
Did it show? Is talent like that
written on the face?
We see shots of assorted young men staring back at Salieri
as he moves through the crowd.
OLD SALIERI (V.O.)
Which one of them could he be?
Some of the men recognize Salieri and bow respectfully. Then
suddenly a servant bearing a large tray of cakes and pastries
stalks past. Instantly riveted by the sight of such delights,
Salieri follows him out of the Grand Salon.
INT. A PALACE CORRIDOR - DAY - 1780'S
The servant marches along bearing his tray of pastries aloft.
Salieri follows him.
The servant turns into:
INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S
Salieri's POV: several tables, dressed to the floor with
cloths are loaded with many plates of confectionery. It is,
in fact, Salieri's idea of paradise! The servant puts his
tray down on one of the tables and withdraws from the room.
INT. A PALACE CORRIDOR - DAY - 1780'S
Salieri turns away so as not to be noticed by the servant.
As soon as the man disappears, Salieri sneaks into the buffet
room.
INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S
Salieri enters the room and looks about him cautiously. He
is salivating with anticipation as he stares at the feast of
sweet things. His attention is attracted in particular by a
huge pile of dark chocolate balls arranged in the shape of a
pineapple. He reaches out a hand to steal one of the balls,
but at the same moment he hears giggling coming toward him.
He ducks down behind the pastry table.
A girl - CONSTANZE - rushes into the room. She runs straight
across it and hides herself behind one of the tables.
After a beat of total silence, MOZART runs into the room,
stops, and looks around. He is age twenty-six, wearing a
fine wig and a brilliant coat with the insignia of the
Archbishop of Salzburg upon it. He is puzzled; Constanze has
disappeared.
Baffled, he turns and is about to leave the room, when
Constanze suddenly squeaks from under the cloth like a tiny
mouse. Instantly Mozart drops to all fours and starts crawling
across the floor, meowing and hissing like a naughty cat.
Watched by an astonished Salieri, Mozart disappears under
the cloth and obviously pounces upon Constanze. We hear a
high-pitched giggle, which is going to characterize Mozart
throughout the film.
CUT TO:
INT. PALACE GRAND SALON - DAY - 1780'S
The throng is mostly seated. The musicians are in their
places, holding their various exotic-looking wind instruments;
the candles are all lit. A Majordomo appears and bangs his
staff on the floor for attention. Immediately COLLOREDO,
Prince-Archbishop of Salzburg enters. He is a small self-
important figure of fifty in a wig, surmounted by a scarlet
skullcap. He is followed by his Chamberlain, the Count ARCO.
Everyone stands. The Archbishop goes to his throne and sits.
His guests sit also. Arco gives the signal to start the music.
Nothing happens. Instead, a wind musician gets up, approaches
the Chamberlain and whispers in his ear. Arco in turn whispers
to the Archbishop.
ARCO
Mozart is not here.
COLLOREDO
Where is he?
ARCO
They're looking for him, Your Grace.
INT. A PALACE CORRIDOR - DAY - 1780'S
Three servants are opening doors and looking into rooms going
off the corridor.
CUT TO:
INT. PALACE GRAND SALON - DAY - 1780'S
The guests are turning around and looking at the Archbishop.
The musicians are watching. There is puzzlement and a murmur
of comment. The Archbishop tightens his lip.
COLLOREDO
(to Arco)
We'll start without him.
INT. PALACE BUFFET ROOM - DAY - 1780'S
Mozart is on his knees before the tablecloth, which reaches
to the floor. Under it is Constanze. We hear her giggling as
he talks.
MOZART
Miaouw! Miaouw! Mouse-wouse? It's
Puss-wuss, fangs-wangs. Paws-claws.
Pounce-bounce!
He grabs her ankle. She screams. He pulls her out by her
leg.
CONSTANZE
Stop it. Stop it!
They roll on the floor. He tickles her.
CONSTANZE
Stop it!
MOZART
I am! I am! I'm stopping it - slowly.
You see! Look, I've stopped. Now we
are going back.
He tries to drag her back under the table.
CONSTANZE
No! No! No!
MOZART
Yes! Back! Back! Listen - don't you
know where you are?
CONSTANZE
Where?
MOZART
We are in the Residence of the
Fartsbishop of Salzburg.
CONSTANZE
Fartsbishop!
She laughs delightedly, then addresses an imaginary
Archbishop.
CONSTANZE
Your Grace, I've got something to
tell you. I want to complain about
this man.
MOZART
Go ahead, tell him. Tell them all.
They won't understand you anyway.
CONSTANZE
Why not?
MOZART
Because here everything goes
backwards. People walk backwards,
dance backwards, sing backwards, and
talk backwards.
CONSTANZE
That's stupid.
MOZART
Why? People fart backwards.
CONSTANZE
Do you think that's funny?
MOZART
Yes, I think it's brilliant. You've
been doing it for years.
He gives a high pitched giggle.
CONSTANZE
Oh, ha, ha, ha.
MOZART
Sra-I'm-sick! Sra-I'm sick!
CONSTANZE
Yes, you are. You're very sick.
MOZART
No, no. Say it backwards, shit-wit.
Sra-I'm-sick Say it backwards!
CONSTANZE
(working it out)
Sra-I'm-sick. Sick - kiss I'm - my
Kiss my! Sra-I'm-sick - Kiss my arse!
MOZART
Em iram! Em iram!
CONSTANZE
No, I'm not playing this game.
MOZART
No, this is serious. Say it backwards.
CONSTANZE
No!
MOZART
Just say it - you'll see. It's very
serious. Em iram! Em iram!
CONSTANZE
Iram - marry Em - marry me! No, no!
You're a fiend. I'm not going to
marry a fiend. A dirty fiend at that.
MOZART
Ui-vol-i-tub!
CONSTANZE
Tub - but i-tub - but I vol - love
but I love ui - You. I love you!
The mood becomes suddenly softer. She kisses him. They
embrace. Then he spoils it.
MOZART
Tish-I'm tee. What's that?
CONSTANZE
What?
MOZART
Tish-I'm-tee.
CONSTANZE
Eat
MOZART
Yes.
CONSTANZE
Eat my - ah!
Shocked, she strikes at him. At the same moment the music
starts in the salon next door. We hear the opening of the
Serenade for Thirteen Wind Instruments, K.
MOZART
My music! They've started! They've
started without me!
He leaps up, disheveled and rumpled and runs out of the room.
Salieri watches in amazement and disgust.
CUT TO:
INT. PALACE CORRIDOR - DAY - 1780'S
The music is louder. Mozart hastens towards the Grand Salon
away from the buffet room, adjusting his dress as he goes.
INT. GRAND SALON - DAY - 1780'S
The opening of the Serenade is being tentatively conducted
by the leader of the wind-musicians. Guests turn around as
Mozart appears - bowing to the Archbishop - and walks with
an attempt at dignity to the dais where the wind band is
playing. The leader yields his place to the composer and
Mozart smoothly takes over conducting.
Constanze, deeply embarrassed, sneaks into the room and seats
herself at the back.
INT. PALACE BUFFET ROOM - DAY - 1780'S
The music fades down. Salieri stands shocked from his
inadvertent eavesdropping. After a second he moves almost in
a trance toward the door; the music dissolves.
INT. GRAND SALON - DAY - 1780'S
Mozart is conducting the Adagio from his Serenade (K. 361),
guiding the thirteen wind instrumentalists. The squeezebox
opening of the movement begins. Salieri appears at the door
at the back of the salon. He stares in disbelief at Mozart.
OLD SALIERI (V.O.)
So that was he! That giggling, dirty-
minded creature I'd just seen crawling
on the floor. Mozart. The phenomenon
whose legend had haunted my youth.
Impossible.
The music swells up and Salieri listens to it with eyes closed -
amazed, transported - suddenly engulfed by the sound. Finally
it fades down and away and changes into applause. Salieri
opens his eyes.
The audience is clearly delighted. Mozart bows to them, also
delighted. Colloredo rises abruptly, and without looking at
Mozart or applauding and leaves the Salon. Count Arco
approaches the composer. Mozart turns to him, radiant.
ARCO
Follow me, please. The Archbishop
would like a word.
MOZART
Certainly!
He follows Arco out of the room, through a throng of admirers.
INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S
Mozart and Arco walk side by side. They pass Salieri who is
staring at Mozart in fascination. As they disappear, he steals
toward the music stands, unable to help himself.
MOZART
Well, I think that went off remarkably
well, don't you?
ARCO
Indeed.
MOZART
These Viennese certainly know good
music when they hear it.
ARCO
His Grace is very angry with you.
MOZART
What do you mean?
They arrive at the door of Colloredo's private apartment.
ARCO
You are to come in here and ask his
pardon.
Arco opens the door.
INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S
The Archbishop is sitting, chatting to quests. Among them
are several ladies. Arco approaches him obsequiously.
ARCO
Your Grace.
COLLOREDO
Ah, Mozart. Why?
MOZART
Why what, sir?
COLLOREDO
Why do I have to be humiliated in
front of my guests by one of my own
servants?
MOZART
Humiliated?
COLLOREDO
How much provocation am I to endure
from you? The more license I allow
you, the more you take.
The company watches this scene, deeply interested.
MOZART
If His Grace is not satisfied with
me, he can dismiss me.
COLLOREDO
I wish you to return immediately to
Salzburg. Your father is waiting for
you there patiently. I will speak to
you further when I come.
MOZART
No, Your Grace! I mean with all
humility, no. I would rather you
dismissed me. It's obvious I don't
satisfy.
COLLOREDO
Then try harder, Mozart. I have no
intention of dismissing you. You
will remain in my service and learn
your place. Go now.
He extends his hand to be kissed. Mozart does it with a
furious grace, then leaves the room. As he opens the door we
see:
INT. PALACE CORRIDOR - DAY - 1780'S
A group of people who have attended the concert, among them
Constanze, are standing outside the private apartment. At
sight of the composer they break into sustained applause.
Mozart is suddenly delighted. He throws the door wide open
so that the guests can see into the private apartment where
the Archbishop sits - and he can see them. Colloredo is
clearly discomfited by this reception of his employee. He
smiles and bows uneasily, as they include him in the small
ovation.
Mozart stands in the corridor, out of the Archbishop's line
of sight, bowing and giggling, and encouraging the applause
for the Archbishop with conducting gestures. Suddenly
irritated, Colloredo signs to Arco, who steps forward and
shuts the door, ending the applause.
INT. PALACE GRAND SALON - DAY - 1780'S
Salieri, in this vast room, is standing and looking at the
full score of the Serenade. He turns the pages back to the
slow movement. Instantly, we again hear its lyrical strains.
CU, Salieri, reading the score of the Adagio in helpless
fascination. The music is played against his description of
it.
OLD SALIERI (V.O.)
Extraordinary! On the page it looked
nothing. The beginning simple, almost
comic. Just a pulse - bassoons and
basset horns - like a rusty
squeezebox. Then suddenly - high
above it - an oboe, a single note,
hanging there unwavering, till a
clarinet took over and sweetened it
into a phrase of such delight! This
was no composition by a performing
monkey! This was a music I'd never
heard. Filled with such longing,
such unfulfillable longing, it had
me trembling. It seemed to me that I
was hearing a voice of God.
Suddenly the music snaps off. Mozart stands before him as he
lays down the score.
MOZART
Excuse me!
He takes the score, bows, and struts briskly out of the room.
Salieri stares uncomprehendingly after the jaunty little
figure.
OLD SALIERI (V.O.)
But why?
INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823
OLD SALIERI
Why? Would God choose an obscene
child to be His instrument? It was
not to be believed! This piece had
to be an accident. It had to be!
INT. PALACE DINING ROOM - DAY - 1780'S
At the table sits the EMPEROR JOSEPH II, eating his frugal
dinner and sipping goat's milk. He is an intelligent, dapper
man of forty, wearing a military uniform. Around him but
standing, are his Chamberlain, JOHANN VON STRACK: stiff and
highly correct. COUNT ORSINI-ROSENBERG: a corpulent man of
sixty, highly conscious of his position as Director of the
Opera. BARON VON SWIETEN, the Imperial Librarian: a grave
but kindly and educated man in his mid-fifties. FIRST
KAPELLMEISTER GIUSEPPE BONNO: very Italian, cringing and
time-serving, aged about seventy. And Salieri, wearing
decorous black, as usual.
At a side-table, two Imperial secretaries, using quill pens
and inkstands, write down everything of importance that is
said.
JOSEPH
How good is he, this Mozart?
VON SWIETEN
He's remarkable, Majesty. I heard an
extraordinary serious opera of his
last month. Idomeneo, King of Crete.
ORSINI-ROSENBERG
That? A most tiresome piece. I heard
it, too.
VON SWIETEN
Tiresome?
ORSINI-ROSENBERG
A young man trying to impress beyond
his abilities. Too much spice. Too
many notes.
VON SWIETEN
Majesty, I thought it the most
promising work I've heard in years.
JOSEPH
Ah-ha. Well then, we should make
some effort to acquire him. We could
use a good German composer in Vienna,
surely?
VON STRACK
I agree, Majesty, but I'm afraid
it's not possible. The young man is
still in the pay of the Archbishop.
JOSEPH
Very small pay, I imagine. I'm sure
he could be tempted with the right
offer. Say, an opera in German for
our National Theatre.
VON SWIETEN
Excellent, sire!
ORSINI-ROSENBERG
But not German, I beg your Majesty!
Italian is the proper language for
opera. All educated people agree on
that.
JOSEPH
Ah-ha. What do you say, Chamberlain?
VON STRACK
In my opinion, it is time we had a
piece in our own language, sir. Plain
German. For plain people.
He looks defiantly at Orsini-Rosenberg.
JOSEPH
Ah-ha. Kapellmeister?
BONNO
(Italian accent)
Majesty, I must agree with Herr
Dirretore. Opera is an Italian art,
solamente. German is - scusate - too
bruta for singing, too rough.
JOSEPH
Ah-ha. Court Composer, what do you
say?
SALIERI
I think it is an interesting notion
to keep Mozart in Vienna, Majesty.
It should really infuriate the
Archbishop beyond measure - if that
is your Majesty's intention.
JOSEPH
You are cattivo, Court Composer.
(briskly, to Von Strack)
I want to meet this young man.
Chamberlain, arrange a pleasant
welcome for him.
VON STRACK
Yes, sir.
JOSEPH
Well. There it is.
INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S
A somber room which serves both as a bedroom and a study.
We see a four-poster bed. Also, a marble mantelpiece above
which hangs a handsome cross in olivewood, bearing the figure
of a severe Christ. Opposite this image sits Salieri at his
desk, on which stands a pile of music paper, quill pens and
ink. On one side of him is an open forte-piano on which he
occasionally tries notes from the march he is composing,
with some difficulty. He scratches notes out with his quill,
and ruffles his hair - which we see without a powdered wig.
There is a knock at the door.
SALIERI
Si.
A servant admits LORL, a young lower-class girl, who appears
carrying a basket in which is a box covered with a napkin.
She has just come from the baker's shop.
SALIERI
Ah! Here she comes. Fraulein Lorl,
good morning.
LORL
Good morning, sir.
SALIERI
What have you got for me today? Let
me see.
Greedily he unwraps the napkin and lifts the lid on the box.
SALIERI
Ah-ha! Siena macaroons - my
favourites. Give my best thanks to
the baker.
LORL
I will, sir.
He takes a biscuit and eats.
SALIERI
Thank you. Are you well today,
Fraulein Lorl?
LORL
Yes, thank you, sir.
SALIERI
Bene! Bene!
She gives a little curtsey, flattered and giggling and is
shown out. Salieri turns back to his work, chewing. He plays
through a complete line of the march. He smiles, pleased
with the result.
SALIERI
Grazie, Signore.
He inclines his head to the Christ above the fireplace, and
starts to play the whole march, including the phrase which
pleased him.
INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S
The march continues on the forte-piano as we see Mozart,
seated in front of a mirror, wearing an extravagant wig. On
either side of him stands a SALESMAN, one of them holding
another wig, equally extravagant. Mozart takes off the first
wig, to reveal his own blonde hair, of which he is extremely
proud, and hands it back.
MOZART
And the other one?
The Salesman puts the second wig on his head. Mozart pulls a
face of doubt in the mirror.
MOZART
And the other one?
He takes it off and the other Salesman replaces it with the
first wig on his head.
MOZART
Oh, they're both so beautiful, I
can't decide. Why don't I have two
heads?
He giggles. The music stops.
INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S
A door opens. We glimpse in the next room the Emperor Joseph
bidding goodbye to a group of military officers standing
around a table.
JOSEPH
Good, good, good.
He turns and comes into the salon, where another group awaits
him. It consists of Von Strack, Orsini-Rosenberg, Bonno, Von
Swieten and Salieri. The room contains several gilded chairs
dotted about, and a forte-piano.
JOSEPH
Good morning, gentlemen.
All bow and say, Good morning, Your Majesty!
JOSEPH
(to Von Strack)
Well, what do you have for me today?
VON STRACK
Your Majesty, Herr Mozart -
JOSEPH
Yes, what about him?
VON STRACK
He's here.
JOSEPH
Ah-ha. Well. There it is. Good.
SALIERI
Majesty, I hope you won't think it
improper, but I have written a little
March of Welcome in his honour.
He produces a paper.
JOSEPH
What a charming idea. May I see?
SALIERI
(handing it over)
It's just a trifle, of course.
JOSEPH
May I try it?
SALIERI
Majesty.
The Emperor goes to the instrument, sits and plays the first
bars of it. Quite well.
JOSEPH
Delightful, Court Composer. Would
you permit me to play it as he comes
in?
SALIERI
You do me too much honour, Sire.
JOSEPH
Let's have some fun.
(to the waiting
Majordomo)
Bring in Herr Mozart, please. But
slowly, slowly. I need a minute to
practice.
The Majordomo bows and goes. The Emperor addresses himself
to the march. He plays a wrong note.
SALIERI
A-flat, Majesty.
JOSEPH
Ah-ha!
INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S
Taking his instructions literally, the Majordomo is marching
very slowly toward the salon door. He is followed by a
bewildered Mozart, dressed very stylishly and wearing one of
the wigs from the perruqier.
INT. ROYAL PALACE GRAND SALON - DAY - 1780'S
Joseph finishes the march. The door opens.
MAJORDOMO
Herr Mozart.
Mozart comes in eagerly. Immediately the march begins, played
by His Majesty. All the courtiers stand, listening with
admiration. Joseph plays well, but applies himself fiercely
to the manuscript. Mozart, still bewildered, regards the
scene, but does not seem to pay attention to the music itself.
It finishes and all clap obsequiously.
ORSINI-ROSENBERG
Bravo, Your Majesty!
VON STRACK
Well done, Sire!
The Emperor rises, pleased with himself. He snatches the
manuscript off the stand and holds it in his hand for the
rest of the scene.
JOSEPH
Gentlemen, gentlemen, a little less
enthusiasm, I beg you. Ah, Mozart.
He extends his hand. Mozart throws himself to his knees, and
to Joseph's discomfort kisses the royal hand with fervour.
MOZART
Your Majesty!
JOSEPH
No, no, please! It is not a holy
relic.
(raising Mozart up)
You know we have met already? In
this very room. Perhaps you won't
remember it, you were only six years
old.
(to the others)
He was giving the most brilliant
little concert here. As he got off
the stool, he slipped and fell. My
sister Antoinette helped him up
herself, and do you know what he
did? Jumped straight into her arms
and said, Will you marry me, yes or
no?
Embarrassed, Mozart bursts into a wild giggle. Joseph helps
him out.
JOSEPH
You know all these gentlemen, I'm
sure.
Von Strack and Bonno nod.
JOSEPH
The Baron Von Swieten.
VON SWIETEN
I'm a great admirer of yours, young
man. Welcome.
MOZART
Oh, thank you.
JOSEPH
The Director of our Opera. Count
Orsini-Rosenberg.
MOZART
(bowing excitedly)
Oh sir, yes! The honour is mine.
Absolutely.
Orsini-Rosenberg nods without enthusiasm.
JOSEPH
And here is our illustrious Court
Composer, Herr Salieri.
SALIERI
(taking his hand)
Finally! Such an immense joy. Diletto
straordinario!
MOZART
I know your work well, Signore. Do
you know I actually composed some
variations on a melody of yours?
SALIERI
Really?
MOZART
Mio caro Adone.
SALIERI
Ah!
MOZART
A funny little tune, but it yielded
some good things.
JOSEPH
And now he has returned the
compliment. Herr Salieri composed
that March of Welcome for you.
MOZART
(speaking expertly)
Really? Oh, grazie, Signore! Sono
commosso! E un onore per mo
eccezionale. Compositore brilliante
e famossissimo!
He bows elaborately. Salieri inclines himself, dryly.
SALIERI
My pleasure.
JOSEPH
Well, there it is. Now to business.
Young man, we are going to commission
an opera from you. What do you say?
MOZART
Majesty!
JOSEPH
(to the courtiers)
Did we vote in the end for German or
Italian?
ORSINI-ROSENBERG
Well, actually, Sire, if you remember,
we did finally incline to Italian.
VON STRACK
Did we?
VON SWIETEN
I don't think it was really decided,
Director.
MOZART
Oh, German! German! Please let it be
German.
JOSEPH
Why so?
MOZART
Because I've already found the most
wonderful libretto!
ORSINI-ROSENBERG
Oh? Have I seen it?
MOZART
I - I don't think you have, Herr
Director. Not yet. I mean, it's quite
n - Of course, I'll show it to you
immediately.
ORSINI-ROSENBERG
I think you'd better.
JOSEPH
Well, what is it about? Tell us the
story.
MOZART
It's actually quite amusing, Majesty.
It's set - the whole thing is set
in a - in a -
He stops short with a little giggle.
JOSEPH
Yes, where?
MOZART
In a Pasha's Harem, Majesty. A
Seraglio.
JOSEPH
Ah-ha.
ORSINI-ROSENBERG
You mean in Turkey?
MOZART
Exactly.
ORSINI-ROSENBERG
Then why especially does it have to
be in German?
MOZART
Well not especially. It can be in
Turkish, if you really want. I don't
care.
He giggles again. Orsini-Rosenberg looks at him sourly.
VON SWIETEN
(kindly)
My dear fellow, the language is not
finally the point. Do you really
think that subject is quite
appropriate for a national theatre?
MOZART
Why not? It's charming. I mean, I
don't actually show concubines
exposing their! their! It's not
indecent!
(to Joseph)
It's highly moral, Majesty. It's
full of proper German virtues. I
swear it. Absolutely!
JOSEPH
Well, I'm glad to hear that.
SALIERI
Excuse me, Sire, but what do you
think these could be? Being a
foreigner, I would love to learn.
JOSEPH
Cattivo again, Court Composer. Well,
tell him, Mozart. Name us a German
virtue.
MOZART
Love, Sire!
SALIERI
Ah, love! Well of course in Italy we
know nothing about that.
The Italian faction - Orsini-Rosenberg and Bonno - laugh
discreetly.
MOZART
No, I don't think you do. I mean
watching Italian opera, all those
male sopranos screeching. Stupid fat
couples rolling their eyes about!
That's not love - it's just rubbish.
An embarrassed pause. Bonno giggles in nervous amusement.
MOZART
Majesty, you choose the language. It
will be my task to set it to the
finest music ever offered a monarch.
Pause. Joseph is clearly pleased.
JOSEPH
Well, there it is. Let it be German.
He nods - he has wanted this result all the time. He turns
and makes for the door. All bow. Then he becomes aware of
the manuscript in his hand.
JOSEPH
Ah, this is yours.
Mozart does not take it.
MOZART
Keep it, Sire, if you want to. It is
already here in my head.
JOSEPH
What? On one hearing only?
MOZART
I think so, Sire, yes.
Pause.
JOSEPH
Show me.
Mozart bows and hands the manuscript back to the Emperor.
Then he goes to the forte-piano and seats himself. The others,
except for Salieri, gather around the manuscript held by the
King. Mozart plays the first half of the march with deadly
accuracy.
MOZART
(to Salieri)
The rest is just the same, isn't it?
He plays the first half again but stops in the middle of a
phrase, which he repeats dubiously.
MOZART
That really doesn't work, does it?
All the courtiers look at Salieri.
MOZART
Did you try this? Wouldn't it be
just a little more -?
He plays another phrase.
MOZART
Or this - yes, this! Better.
He plays another phrase. Gradually, he alters the music so
that it turns into the celebrated march to be used later in
The Marriage of Figaro, Non Piu Andrai. He plays it with
increasing abandon and virtuosity. Salieri watches with a
fixed smile on his face. The court watches, astonished. He
finishes in great glory, takes his hands off the keys with a
gesture of triumph - and grins.
INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S
We see the olivewood cross. Salieri is sitting at his desk,
staring at it.
SALIERI
Grazie, Signore.
There is a knock at the door. He does not hear it, but sits
on. Another knock, louder.
SALIERI
Yes?
Lorl comes in.
LORL
Madame Cavalieri is here for her
lesson, sir.
SALIERI
Bene.
He gets up and enters:
INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S
KATHERINA CAVALIERI, a young, high-spirited soprano of twenty
is waiting for him, dressed in a fashionable dress and wearing
on her head an exotic turban of satin, with a feather. Lorl
exits.
CAVALIERI
(curtseying to him)
Maestro.
SALIERI
Good morning.
CAVALIERI
(posing, in her turban)
Well? How do you like it? It's
Turkish. My hairdresser tells me
everything's going to be Turkish
this year!
SALIERI
Really? What else did he tell you
today? Give me some gossip.
CAVALIERI
Well, I heard you met Herr Mozart.
SALIERI
Oh? News travels fast in Vienna.
CAVALIERI
And he's been commissioned to write
an opera. Is it true?
SALIERI
Yes.
CAVALIERI
Is there a part for me?
SALIERI
No.
CAVALIERI
How do you know?
SALIERI
Well even if there is, I don't think
you want to get involved with this
one.
CAVALIERI
Why not?
SALIERI
Well, do you know where it's set, my
dear?
CAVALIERI
Where?
SALIERI
In a harem.
CAVALIERI
What's that?
SALIERI
A brothel.
CAVALIERI
Oh!
SALIERI
A Turkish brothel.
CAVALIERI
Turkish? Oh, if it's Turkish, that's
different. I want to be in it.
SALIERI
My dear, it will hardly enhance your
reputation to be celebrated throughout
Vienna as a singing prostitute for a
Turk.
He seats himself at the forte-piano.
CAVALIERI
Oh. Well perhaps you could introduce
us anyway.
SALIERI
Perhaps.
He plays a chord. She sings a scale, expertly. He strikes
another chord. She starts another scale, then breaks off.
CAVALIERI
What does he look like?
SALIERI
You might be disappointed.
CAVALIERI
Why?
SALIERI
Looks and talent don't always go
together, Katherina.
CAVALIERI
(airily)
Looks don't concern me, Maestro.
Only talent interests a woman of
taste.
He strikes the chord again, firmly. Cavalieri sings her next
scale, then another one, and another one, doing her exercises
in earnest. As she hits a sustained high note the orchestral
accompaniment in the middle of Martern Aller Arten from Il
Seraglio comes in underneath and the music changes from
exercises to the exceedingly florid aria.
We DISSOLVE on the singer's face, and she is suddenly not
merely turbaned, but painted and dressed totally in a Turkish
manner, and we are on:
INT. OPERA STAGE - VIENNA - 1780'S
The heroine of the opera (Cavalieri) is in full cry addressing
the Pasha with scorn and defiance.
The house is full. Watching the performance - which is
conducted by Mozart from the clavier in the midst of the
orchestra - we note Von Strack, Orsini-Rosenberg, Bonno and
Von Swieten, all grouped around the Emperor, in a box.
In another box we see an overdressed, middle-aged woman and
three girls, one of whom is Constanze. This is the formidable
MADAME WEBER and her three daughters, Constanze, JOSEFA and
SOPHIE. All are enraptured by the spectacle and Madame Weber
is especially enraptured by being there at all. Not so,
Salieri, who sits in another box, coldly watching the stage.
Cavalieri is singing Martern aller Arten from the line Doch
du bist entschlossen.
CAVALIERI
Since you are determined, Since you
are determined, Calmly, with no
ferment, Welcome - every pain and
woe. Bind me then - compel me! Bind
me then - compel me! Hurt me. Break
me! Kill me! At last I shall be freed
by death!
After a few moments of this showy aria, with the composer
and the singer staring at each other - he conducting
elaborately for her benefit, and she following his beat with
rapturous eyes - the music fades, and Salieri speaks over
it.
OLD SALIERI (V.O.)
There she was. I had no idea where
they met - or how - yet there she
stood on stage for all to see. Showing
off like the greedy songbird she
was. Ten minutes of ghastly scales
and arpeggios, whizzing up and down
like fireworks at a fairground.
Music up again for the last 30 bars of the aria.
CAVALIERI
(singing)
Be freed at last by death! Be freed
at last by death! At last I shall be
freed By! Death!
Before the orchestral coda ends, cut to:
INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823
Through the window we see that night has fallen.
OLD SALIERI
Understand, I was in love with the
girl. Or at least in lust. I wasn't
a saint. It took me the most
tremendous effort to be faithful to
my vow. I swear to you I never laid
a finger on her. All the same, I
couldn't bear to think of anyone
else touching her - least of all the
Creature.
CUT BACK TO:
INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780'S
The brilliant Turkish finale of Seraglio bursts over us.
All the cast is lined up on stage. Mozart is conducting with
happy excitement.
CAST OF SERAGLIO
(singing)
Pasha Selim May he Live forever!
Ever, ever, ever, ever! Honour to
his regal name! Honour to his regal
name! May his noble brow emblazon
Glory, fortune, joy and fame! Honour
be to Pasha Selim Honour to his regal
name! Honour to his regal name!
The curtains fall. Much applause. The Emperor claps vigorously
and - following his lead - so do the courtiers. The curtains
part. Mozart applauds the singers who applaud him back. He
skips up onto the stage amongst them. The curtains fall again
as they all bow. In the auditorium, the chandeliers descend,
filling it with light.
INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S
The curtains are down, and an excited hubbub of singers in
costume surround Mozart and Cavalieri, all excited and
chattering. Suddenly a hush. The Emperor is seen approaching
from the wings, lit by flunkies holding candles. Von Strack,
Orsini-Rosenberg and Von Swieten, amongst others, follow
him. Also Salieri. The singers line up. Joseph stops at
Cavalieri who makes a deep curtsey.
JOSEPH
Bravo, Madame. You are an ornament
to our stage.
CAVALIERI
Majesty.
JOSEPH
(to Salieri)
And to you, Court Composer. Your
pupil has done you great credit.
INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S
MADAME WEBER
Let us pass, please! Let us pass at
once! We're with the Emperor.
FLUNKY
I am sorry, Madame. It is not
permitted.
MADAME WEBER
Do you know who I am?
(pointing to Constanze)
This is my daughter. I am Frau Weber.
We are favoured guests!
FLUNKY
I am sorry, Madame, but I have my
orders.
MADAME WEBER
Call Herr Mozart! You call Herr Mozart
immediately! This is insupportable!
CONSTANZE
Mother, please!
MADAME WEBER
Go ahead, Constanze. Just ignore
this fellow.
(pushing her)
Go ahead, dear!
FLUNKY
(barring the way)
I am sorry, Madame, but no! I cannot
let anyone pass.
MADAME WEBER
Young man, I am no stranger to
theatres. I'm no stranger to
insolence!
CUT BACK TO:
INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S
All are applauding Cavalieri. The Emperor turns to Mozart.
JOSEPH
Well, Herr Mozart! A good effort.
Decidedly that. An excellent effort!
You've shown us something quite new
today.
Mozart bows frantically: he is over-excited.
MOZART
It is new, it is, isn't it, Sire?
JOSEPH
Yes, indeed.
MOZART
And German?
JOSEPH
Oh, yes. Absolutely. German.
Unquestionably!
MOZART
So then you like it? You really like
it, Your Majesty?
JOSEPH
Of course I do. It's very good. Of
course now and then - just now and
then - it gets a touch elaborate.
MOZART
What do you mean, Sire?
JOSEPH
Well, I mean occasionally it seems
to have, how shall one say?
(he stops in
difficulty; to Orsini-
Rosenberg)
How shall one say, Director?
ORSINI-ROSENBERG
Too many notes, Your Majesty?
JOSEPH
Exactly. Very well put. Too many
notes.
MOZART
I don't understand. There are just
as many notes, Majesty, as are
required. Neither more nor less.
JOSEPH
My dear fellow, there are in fact
only so many notes the ear can hear
in the course of an evening. I think
I'm right in saying that, aren't I,
Court Composer?
SALIERI
Yes! yes! er, on the whole, yes,
Majesty.
MOZART
(to Salieri)
But this is absurd!
JOSEPH
My dear, young man, don't take it
too hard. Your work is ingenious.
It's quality work. And there are
simply too many notes, that's all.
Cut a few and it will be perfect.
MOZART
Which few did you have in mind,
Majesty?
Pause. General embarrassment.
JOSEPH
Well. There it is.
Into this uncomfortable scene bursts a sudden eruption of
noise and Madame Weber floods onto the stage, followed by
her daughters. All turn to look at this amazing spectacle.
MADAME WEBER
Wolfi! Wolfi, my dear!
She moves toward Mozart with arms outstretched in an absurd
theatrical gesture, then sees the Emperor. She stares at
him, mesmerized, her mouth open, unable even to curtsey.
MADAME WEBER
Oh!
Mozart moves forward quickly.
MOZART
Majesty, this is Madame Weber. She
is my landlady.
JOSEPH
Enchanted, Madame.
MADAME WEBER
Oh, Sire! such an honour! And, and,
and these are my dear daughters.
This is Constanze. She is the fiancee
of Herr Mozart.
Constanze curtsies. CU, of Cavalieri, astonished at the news.
CU, of Salieri, watching her receive it.
JOSEPH
Really? How delightful. May I ask
when you marry?
MOZART
Well - Well we haven't quite received
my father's consent, Your Majesty.
Not entirely. Not altogether.
He giggles uncomfortably.
JOSEPH
Excuse me, but how old are you?
MOZART
Twenty-six.
JOSEPH
Well, my advice is to marry this
charming young lady and stay with us
in Vienna.
MADAME WEBER
You see? You see? I've told him that,
Your Majesty, but he won't listen to
me.
Cavalieri is glaring at Mozart. Mozart looks hastily away
from her.
MADAME WEBER
Oh, Your Majesty, you give such
wonderful - such impeccable - such
royal advice. I - I - May I?
She attempts to kiss the royal hand, but faints instead.
The Emperor contemplates her prone body and steps back a
pace.
JOSEPH
Well. There it is. Strack.
He nods pleasantly to all and leaves the stage, with his
Chamberlain. All bow.
Cavalieri turns with a savage look at Mozart and leaves the
stage the opposite way, to her dressing room, tossing her
plumed head. Salieri watches. Mozart stays for a second,
indecisive whether to follow the soprano or help Madame Weber.
CONSTANZE
(to Mozart)
Get some water!
He hurries away. The daughters gather around Madame Weber.
INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S
Katherina sits fuming at her mirror. A dresser is taking the
pins out of her wig as she stares straight ahead of her.
Mozart sticks his head round the door.
MOZART
Katherina! I'll tell you what I'm
going to do. I'm going to write
another aria for you. Something even
more amazing for the second act. I
have to get some water. Her mother
is lying on the stage.
CAVALIERI
Don't bother!
MOZART
What?
CAVALIERI
Don't bother.
MOZART
I'll be right back.
He dashes off.
INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S
Constanze and Mozart make their way quickly through a crowd
of actors in turbans and caftans, and stagehands carrying
bits of the dismantled set of Seraglio. We see all the turmoil
of backstage after a performance.
A fireman passes Mozart carrying a small bucket of water.
Mozart snatches it from him and pushes his way through the
crowd to Madame Weber, who still lies prone on the stage.
Mozart pushes through the crowd surrounding her and throws
water on her face. She is instantly revived by the shock.
Constanze assists her to rise.
CONSTANZE
Are you all right?
Instead of being furious, Madame Weber smiles at them
rapturously.
MADAME WEBER
Ah, what an evening! What a wise man
we have for an Emperor. Oh, my
children!
(with sudden, hard
briskness)
Now I want you to write your father
exactly what His Majesty said.
The activity continues to swirl around them.
MOZART
You should really go home now, Frau
Weber. Your carriage must be waiting.
MADAME WEBER
But aren't you taking us?
MOZART
I have to talk to the singers.
MADAME WEBER
That's all right; we'll wait for
you. Just don't take all night.
INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S
Cavalieri, still in costume, is marching up and down, very
agitated.
CAVALIERI
Did you know? Had you heard?
SALIERI
What?
CAVALIERI
The marriage!
SALIERI
Well, what does it matter to you?
CAVALIERI
Nothing! He can marry who he pleases.
I don't give a damn.
She catches him looking at her and tries to compose herself.
CAVALIERI
How was I? Tell me honestly.
SALIERI
You were sublime.
CAVALIERI
What did you think of the music?
SALIERI
Extremely clever.
CAVALIERI
Meaning you didn't like it.
Mozart comes in unexpectedly.
MOZART
Oh - excuse me!
CAVALIERI
Is her mother still lying on the
floor?
MOZART
No, she's fine.
CAVALIERI
I'm so relieved.
She seats herself at her mirror and removes her wig.
SALIERI
Dear Mozart, my sincere
congratulations.
MOZART
Did you like it, then?
SALIERI
How could I not?
MOZART
It really is the best music one can
hear in Vienna today. Don't you agree?
CAVALIERI
Is she a good fuck?
MOZART
What??
CAVALIERI
I assume she's the virtuoso in that
department. There can't be any other
reason you'd marry someone like that.
Salieri looks astonished. There is a knock on the door.
CAVALIERI
Come in!
The door opens. Constanze enters.
CONSTANZE
Excuse me, Wolfi. Mama is not feeling
very well. Can we leave now?
MOZART
Of course.
CAVALIERI
No, no, no, no. You can't take him
away now. This is his night. Won't
you introduce us, Wolfgang?
MOZART
Excuse us, Fraulein. Good night,
Signore.
Mozart hurries Constanze out of the door. Cavalieri looks
after them as they go, her voice breaking and rising out of
control.
CAVALIERI
You really are full of surprises,
aren't you? You are quite
extraordinary, you little shit!
She turns and collapses, crying with rage, into Salieri's
arms. We focus on him.
OLD SALIERI (V.O.)
At that moment I knew beyond any
doubt. He'd had her. The Creature
had had my darling girl.
INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S
The old man speaks passionately to the priest.
OLD SALIERI
It was incomprehensible. What was
God up to? Here I was denying all my
natural lust in order to deserve
God's gift and there was Mozart
indulging his in all directions -
even though engaged to be married! -
and no rebuke at all! Was it possible
I was being tested? Was God expecting
me to offer forgiveness in the face
of every offense, no matter how
painful? That was very possible. All
the same, why him? Why use Mozart to
teach me lessons in humility? My
heart was filling up with such hatred
for that little man. For the first
time in my life I began to know really
violent thoughts. I couldn't stop
them.
VOGLER
Did you try?
OLD SALIERI
Every day. Sometimes for hours I
would pray!
INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S
The young Salieri is kneeling in desperation before the Cross.
SALIERI
Please! Please! Send him away, back
to Salzburg. For his sake as well as
mine.
CU, Christ staring from the Cross.
CUT BACK TO:
INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY -
1780'S
We see Leopold kneeling now not to the Cross but to Archbishop
Colloredo, sitting impassively on his throne. Count Arco
stands beside him. Leopold is a desperate, once-handsome man
of sixty, now far too much the subservient courtier.
COLLOREDO
No! I won't have him back.
LEOPOLD
But he needs to be here in Salzburg,
Your Grace. He needs me and he needs
you. Your protection, your
understanding.
COLLOREDO
Hardly.
LEOPOLD
Oh sir, yes! He's about to make the
worst mistake of his life. Some little
Viennese slut is trying to trick him
into marriage. I know my son. He is
too simple to see the trap - and
there is no one there who really
cares for him.
COLLOREDO
I'm not surprised. Money seems to be
more important to him than loyalty
or friendship. He has sold himself
to Vienna. Let Vienna look out for
him.
LEOPOLD
Sir -
COLLOREDO
Your son is an unprincipled, spoiled,
conceited brat.
LEOPOLD
Yes, sir, that's the truth. But don't
blame him. The fault is mine. I was
too indulgent with him. But not again.
Never again, I promise! I implore
you - let me bring him back here.
I'll make him give his word to serve
you faithfully.
COLLOREDO
And how will you make him keep it?
LEOPOLD
Oh, sir, he's never disobeyed me in
anything. Please, Your Grace, give
him one more chance.
COLLOREDO
You have leave to try.
LEOPOLD
Oh, Your Grace - I thank Your Grace!
I thank you!
In deepest gratitude he kisses the Archbishop's hand. He
motions Leopold to rise. We hear the first dark fortissimo
chord which begins the Overture to Don Giovanni: the theme
associated with the character of the Commendatore.
LEOPOLD (V.O.)
My dear son.
The second fortissimo chord sounds.
INT. A BAROQUE CHURCH - DAY - 1780'S
We see a huge CU, of Mozart's head, looking front and down,
as if reading his father's letter. We hear Leopold's voice
over this image, no longer whining and anxious, but
impressive.
LEOPOLD (V.O.)
I write to you with urgent news. I
am coming to Vienna. Take no further
steps toward marriage until we meet.
You are too gullible to see your own
danger. As you honour the father who
has devoted his entire life to yours,
do as I bid, and await my coming.
MOZART
I will.
The camera pulls back to see that he is in fact kneeling
beside Constanze. A PRIEST faces them. Behind them are Madame
Weber, Josefa and Sophie Weber, and a very few others. Among
them, a merry looking lady in bright clothes: the BARONESS
WALDSTADTEN.
PRIEST
And will you, Constanze Weber, take
this man, Wolfgang to be your lawful
husband?
CONSTANZE
I will.
PRIEST
I now pronounce you man and wife.
The opening kyrie of the great Mass in C Minor is heard.
Mozart and Constanze kiss. They are in tears. Madame Weber
and her daughters look on approvingly. The music swells and
continues under the following:
INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S
There is a view of a castle in background. Leopold sits alone
in his room. He is reading a letter from Wolfgang. At his
feet are his trunks, half-packed for the journey he will not
now take. We hear Mozart's voice reading the following letter
and we see, as the camera roves around the room, mementos of
the young prodigy's early life: the little forte-piano made
for him; the little violin made for him; an Order presented
to him. We see a little starling in a wicker cage. And we
see portraits of the boy on the walls, concluding with the
familiar family portrait of Wolfgang and his sister Nannerl
seated at the keyboard with Leopold standing, and the picture
of their mother on the wall behind them.
MOZART (V.O.)
Most beloved father, it is done. Do
not blame me that I did not wait to
see your dear face. I knew you would
have tried to dissuade me from my
truest happiness and I could not
have borne it. Your every word is
precious to me. Remember how you
have always told me Vienna is the
City of Musicians. To conquer here
is to conquer Europe! With my wife I
can do it. I vow I will become
regular in my habits and productive
as never before. She is wonderful,
Papa, and I know that you will love
her. And one day soon when I am a
wealthy man, you will come and live
with us, and we will be so happy. I
long for that day, best of Papas,
and kiss your hand a hundred thousand
times.
The music of the Mass fades as Leopold crumples the letter
in his hand.
EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S
Salieri stands waiting, hat in hand. Beside him stands a
royal servant. Behind him, gardeners are glimpsed tending
the shrubs and bushes along a grassy ride. Down this ride
are seen cantering two people on horseback: the Emperor Joseph
and his niece, the PRINCESS ELIZABETH. They are mounted on
glossy horses. The Princess rides side-saddle. Running beside
her is a panting groom. The Emperor rides elegantly; his
niece, a dumpy little Hapsburg girl of sixteen, like a sack
of potatoes. As they draw level with Salieri they stop, and
the groom holds the head of the Princess' horse. Salieri
bows respectfully.
JOSEPH
Good morning, Court Composer. This
is my niece, the Princess Elizabeth.
SALIERI
Your Highness.
Out of breath, the Princess nods nervously.
JOSEPH
She has asked me to advise her on a
suitable musical instructor. I think
I've come up with an excellent idea.
He smiles at Salieri.
SALIERI
Oh, Your Majesty, it would be such a
tremendous honour!
JOSEPH
I'm thinking about Herr Mozart.
What is your view?
Salieri's face falls, almost imperceptibly.
SALIERI
An interesting idea, Majesty. But -
JOSEPH
Yes?
SALIERI
You already commissioned an opera
from Mozart.
JOSEPH
And the result satisfies.
SALIERI
Yes, of course. My concern is to
protect you from any suspicion of
favouritism.
JOSEPH
Ah-ha. Favouritism. But I so want
Mozart.
SALIERI
I'm sure there is a way, Majesty.
Some kind of a little contest. I
could perhaps put together a small
Committee, and I could see to it
naturally that it will select
according to Your Majesty's wishes.
JOSEPH
You please me, Court Composer. A
very clever idea.
SALIERI
(bowing)
Sire.
JOSEPH
Well. There it is.
He rides on. The groom releases her horse's head, and runs
on after the Princess.
CUT TO:
INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S
Von Strack sits stiffly behind his gilded desk. Mozart stands
before him, trembling with anger.
MOZART
What is this, Herr Chamberlain?
VON STRACK
What is what?
MOZART
Why do I have to submit samples of
my work to some stupid committee?
Just to teach a sixteen-year-old
girl.
VON STRACK
Because His Majesty wishes it.
MOZART
Is the Emperor angry with me?
VON STRACK
On the contrary.
MOZART
Then why doesn't he simply appoint
me to the post?
VON STRACK
Mozart, you are not the only composer
in Vienna.
MOZART
No, but I'm the best.
VON STRACK
A little modesty would suit you
better.
MOZART
Who is on this committee?
VON STRACK
Kapellmeister Bonno, Count Orsini-
Rosenberg and Court Composer Salieri.
MOZART
Naturally, the Italians! Of course!
Always the Italians!
VON STRACK
Mozart -
MOZART
They hate my music. It terrifies
them. The only sound Italians
understand is banality. Tonic and
dominant, tonic and dominant, from
here to Resurrection!
(singing angrily)
Ba-ba! Ba-ba! Ba-ba! Ba-ba! Anything
else is morbid.
VON STRACK
Mozart -
MOZART
Show them one interesting modulation
and they faint. Ohime! Morbidezza!
Morbidezza! Italians are musical
idiots and you want them to judge my
music!
VON STRACK
Look, young man, the issue is simple.
If you want this post, you must submit
your stuff in the same way as all
your colleagues.
MOZART
Must I? Well, I won't! I tell you
straight: I will not!
CUT TO:
INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S
The room is very small and untidy. Constanze is marching up
and down it, upset. Mozart is lying on the bed.
CONSTANZE
I think you're mad! You're really
mad!
MOZART
Oh, leave me alone.
CONSTANZE
One royal pupil and the whole of
Vienna will come flocking. We'd be
set up for life!
MOZART
They'll come anyway. They love me
here.
CONSTANZE
No, they will not. I know how things
work in this city.
MOZART
Oh yes? You always know everything.
CONSTANZE
Well, I'm not borrowing any more
money from my mother, and that's
that!
MOZART
You borrowed money from your mother?
CONSTANZE
Yes!
MOZART
Well, don't do that again!
CONSTANZE
How are we going to live, Wolfi? Do
you want me to go into the streets
and beg?
MOZART
Don't be stupid.
CONSTANZE
All they want to see is your work.
What's wrong with that?
MOZART
Shut up! Just shut up! I don't need
them.
CONSTANZE
This isn't pride. It's sheer
stupidity!
She glares at him, almost in tears.
CUT TO:
INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S
Salieri is giving a lesson to a girl student, who is singing
the Italian art song, Caro Mio Ben.
There is a knock on the door.
SALIERI
Yes.
A SERVANT enters.
SERVANT
Excuse me, sir, there is a lady who
insists on talking to you.
SALIERI
Who is she?
SERVANT
She didn't say. But she says it's
urgent.
SALIERI
(to the pupil)
Excuse me, my dear.
Salieri goes into the salon.
CUT TO:
INT. THE SALON - LATE AFTERNOON - 1780'S
Constanze stands, closely veiled, holding a portfolio stuffed
with manuscripts. The singing lesson ends, with two chords
on the instrument. Salieri enters the salon. Constanze drops
him a shy curtsey.
CONSTANZE
Excellency!
SALIERI
Madame. How can I help you?
Shyly, she unveils.
SALIERI
Frau Mozart?
CONSTANZE
That's right, Your Excellency. I've
come on behalf of my hus band. I'm -
I'm bringing some samples of his
work so he can be considered for the
royal appointment.
SALIERI
How charming. But why did he not
come himself?
CONSTANZE
He's terribly busy, sir.
SALIERI
I understand.
He takes the portfolio and puts it on a table.
SALIERI
I will look at them, of course, the
moment I can. It will be an honour.
Please give him my warmest.
CONSTANZE
Would it be too much trouble, sir,
to ask you to look at them now?
While I wait.
SALIERI
I'm afraid I'm not at leisure this
very moment. Just leave them with
me. I assure you they will be quite
safe.
CONSTANZE
I - I really cannot do that, Your
Excellency. You see, he doesn't know
I'm here.
SALIERI
Really?
CONSTANZE
My husband is a proud man, sir. He
would be furious if he knew I'd come.
SALIERI
Then he didn't send you?
CONSTANZE
No, sir. This is my own idea.
SALIERI
I see.
CONSTANZE
Sir, we really need this job. We're
desperate. My husband spends far
more than he can ever earn. I don't
mean he's lazy - he's not at all -
he works all day long. It's just!
he's not practical. Money simply
slips through his fingers, it's really
ridiculous, Your Excellency. I know
you help musicians. You're famous
for it. Give him just this one post.
We'd be forever indebted!
A short pause.
SALIERI
Let me offer you some refreshment.
Do you know what these are?
He indicates a dish piled high with glazed chestnuts.
SALIERI
Cappezzoli di Venere. Nipples of
Venus. Roman chestnuts in brandied
sugar. Won't you try one? They're
quite surprising.
He offers her the dish. She takes one and puts it in her
mouth. He watches carefully.
CONSTANZE
Oh! They're wonderful.
He takes one himself. We notice on his finger a heavy gold
signet-ring.
CONSTANZE
Thank you very much, Your Excellency.
SALIERI
Don't keep calling me that. It puts
me at such a distance. I was not
born a Court Composer, you know.
I'm from a small town, just like
your husband.
He smiles at her. She takes another chestnut.
SALIERI
Are you sure you can't leave that
music, and come back again? I have
other things you might like.
CONSTANZE
That's very tempting, but it's
impossible, I'm afraid. Wolfi would
be frantic if he found those were
missing. You see, they're all
originals.
SALIERI
Originals?
CONSTANZE
Yes.
A pause. He puts out his hand and takes up the portfolio
from the table. He opens it. He looks at the music. He is
puzzled.
SALIERI
These are originals?
CONSTANZE
Yes, sir. He doesn't make copies.
CUT TO:
INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823
The old man faces the Priest.
OLD SALIERI
Astounding! It was actually beyond
belief. These were first and only
drafts of music yet they showed no
corrections of any kind. Not one.
Do you realize what that meant?
Vogler s