Amadeus
(1984)
by Peter Shaffer.
Based on the play by Peter Shaffer.
1 INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823 1
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.
2 EXT. THE STREET OUTSIDE SALIERI ? HOUSE - VIENNA - NIGHT 2
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 par-
ties. 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! Piet? Piet? 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 ?razy,' and goes back inside the house. The onlookers
keep staring.
CUT TO:
3 INT. LANDING OUTSIDE OLD SALIERI ? SALON - NIGHT 3
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 ? hand and shatters.
He sets the candlestick down on the floor. Both servants run at the door franti-
cally - 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
?ittle G Minor) begins. We see what the servants see.
4 INT. OLD SALIERI'S SALON - NIGHT 4
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.
5 INT. BALLROOM - NIGHT 5
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.
6 EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT 6
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 supervi-
sion 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.
7- MONTAGE: 7-
EXT. FOUR STREETS OF VIENNA AND
11 INT. THE WAGON - NIGHT 11
The wagon is galloping through the snowy streets of the city. Inside the con-
veyance we see Old Salieri wrapped in blankets, half-conscious, being held by the
hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives out-
side the General Hospital of Vienna.
CUT TO:
12 INT. A HOSPITAL CORRIDOR - LATE AFTERNOON 12
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.
13 INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON 13
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 ex-
pertly. 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:
14 INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780's 14
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.
15 INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 15
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 com-
poser 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:
16 EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780's 16
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:
17 INT. A SALON IN THE VATICAN - DAY - 1780's 17
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, smirk-
ing 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, ?hy? 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:
18 EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780's 18
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.
19 INT. THE CHURCH AT LEGNAGO - DAY - 1780's 19
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.
?ord, 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 re-
turn 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!
19A INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780's 19A
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.
20 INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823 20
OLD SALIERI
Suddenly he was dead. Just like that! And my life changed for-
ever. My mother said, ?o. 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 ac-
cepted 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:
21 INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - 21
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 resi-
dence 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.
22 INT. A PALACE CORRIDOR - DAY - 1780's 22
The servant marches along bearing his tray of pastries aloft. Salieri follows him.
The servant turns into:
23 INT. BUFFET ROOM IN THE PALACE - DAY - 1780's 23
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.
24 INT. A PALACE CORRIDOR - DAY - 1780's 24
Salieri turns away so as not to be noticed by the servant. As soon as the man disap-
pears, Salieri sneaks into the buffet room.
25 INT. BUFFET ROOM IN THE PALACE - DAY - 1780's 25
Salieri enters the room and looks about him cautiously. He is salivating with antic-
ipation 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 in-
signia of the Archbishop of Salzburg upon it. He is puzzled; Constanze has disap-
peared. Baffled, he turns and is about to leave the room, when Constanze sud-
denly 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 ob-
viously pounces upon Constanze. We hear a high-pitched giggle, which is going to
characterize Mozart throughout the film.
CUT TO:
26 INT. PALACE GRAND SALON - DAY - 1780's 26
The throng is mostly seated. The musicians are in their places, holding their vari-
ous 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.
27 INT. A PALACE CORRIDOR - DAY - 1780's 27
Three servants are opening doors and looking into rooms going off the corridor.
CUT TO:
28 INT. PALACE GRAND SALON - DAY - 1780's 28
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.
29 INT. PALACE BUFFET ROOM - DAY - 1780's 29
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. ?ra-I'm-sick Say it
backwards!
CONSTANZE
(working it out)
Sra-I'm-sick. Sick - ?iss I'm - ?y ?iss my! Sra-I'm-
sick - ?iss 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 - ?arry Em - ?arry 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 - ?ut i-tub - ?ut I vol - ?ove ?ut I love ui -
?ou. 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
?at
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.
361.
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:
30 INT. PALACE CORRIDOR - DAY - 1780's 30
The music is louder. Mozart hastens towards the Grand Salon away from the buf-
fet room, adjusting his dress as he goes.
31 INT. GRAND SALON - DAY - 1780's 31
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.
32 INT. PALACE BUFFET ROOM - DAY - 1780's 32
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.
33 INT. GRAND SALON - DAY - 1780's 33
Mozart is conducting the Adagio from his Serenade (K. 361), guiding the thirteen
wind instrumentalists. The ?queezebox 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, trans-
ported - 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.
34 INT. ANOTHER PALACE CORRIDOR - DAY - 1780's 34
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.
39 INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780's 39
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 li-
cense 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:
40 INT. PALACE CORRIDOR - DAY - 1780's 40
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 ges-
tures. Suddenly irritated, Colloredo signs to Arco, who steps forward and shuts
the door, ending the applause.
41 INT. PALACE GRAND SALON - DAY - 1780's 41
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 uncom-
prehendingly after the jaunty little figure.
OLD SALIERI
(V.O.)
But why?
41A INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 41A
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!
42 INT. PALACE DINING ROOM - DAY - 1780's 42
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 lan-
guage 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 mea-
sure - 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 wel-
come for him.
VON STRACK
Yes, sir.
JOSEPH
Well. There it is.
43 INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780's 43
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 olive-
wood, 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 ruf-
fles 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. Fra?lein 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, Fra?lein 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.
44 INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780's 44
The march continues on the forte-piano as we see Mozart, seated in front of a mir-
ror, 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.
45 INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780's 45
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 con-
tains several gilded chairs dotted about, and a forte-piano.
JOSEPH
Good morning, gentlemen.
All bow and say, ?ood 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!
46 INT. PALACE CORRIDOR - VIENNA - DAY - 1780's 46
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.
47 INT. ROYAL PALACE GRAND SALON - DAY - 1780's 47
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 obse-
quiously.
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 discom-
fort 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 re-
member 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, ?ill 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 com-
posed 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 concu-
bines 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, ?on 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.
48 INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780's 48
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:
49 INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780's 49
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 ?artern Aller Arten from Il
Seraglio comes in underneath and the music changes from exercises to the exceed-
ingly 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:
50 INT. OPERA STAGE - VIENNA - 1780's 50
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 ?artern aller Arten from the line Doch du bist entschlossen.
CAVALIERI
?ince 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:
51 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 51
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 was-
n'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:
52 INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780's 52
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)
?asha 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.
53 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 53
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.
54 INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780's 54
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:
55 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 55
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 inge-
nious. 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.
56 INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780's 56
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 sec-
ond 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.
57 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 57
Constanze and Mozart make their way quickly through a crowd of actors in tur-
bans 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 in-
stantly 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.
59 INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780's 59
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, Fra?lein. 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 extraor-
dinary, 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.
60 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820's 60
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 re-
ally violent thoughts. I couldn't stop them.
VOGLER
Did you try?
OLD SALIERI
Every day. Sometimes for hours I would pray!
61 INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780's 61
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:
62 INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - 62
DAY - 1780's
We see Leopold kneeling now not to the Cross but to Archbishop Colloredo, sit-
ting impassively on his throne. Count Arco stands beside him. Leopold is a des-
perate, 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.
63 INT. A BAROQUE CHURCH - DAY - 1780's 63
We see a huge CU, of Mozart's head, looking front and down, as if reading his fa-
ther'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:
64 INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780's 64
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 prodi-
gy's early life: the
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