Amadeus (1984) Shooting Script

"AMEDEUS"

Screenplay by

Peter Shaffer

Based on the play "Amedeus" byPeter Shaffer

Shooting Script, 1984

Copyright 1984The Saul Zaentz CompanyOrion Pictures, Inc.

FADE IN:

1 1INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT -

Total darkness. We hear an old man's voice, distinct and indistress. It is OLD SALIERI. He uses a mixture of Englishand occasionally Italian.

OLD SALIERIMozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart!

A faint light illuminates the screen. Flickeringly, we seean eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from thepoint of view of the landing. Up the stair is coming abranched candlestick held by Salieri's VALET. By his side isSalieri's COOK, bearing a large dish of sugared cakes andbiscuits. Both men are desperately worried: the Valet isthin and middle-aged; the Cook, plump and Italian. It isvery cold. They wear shawls over their night-dresses andclogs on their feet. They wheeze as they climb. The candlesthrow their shadows up onto the peeling walls of the house,which is evidently an old one and in bad decay. A cat scuttlesswiftly between their bare legs, as they reach the salondoor.

The Valet tries the handle. It is locked. Behind it the voicegoes on, rising in volume.

OLD SALIERIShow some mercy! I beg you. I begyou! Show mercy to a guilty man!

The Valet knocks gently on the door. The voice stops.

VALETOpen the door, Signore! Please! Begood now! We've brought you somethingspecial. Something you're going tolove.

Silence.

VALETSignore Salieri! Open the door. Comenow. 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 SALIERIMozart! Mozart! I confess it! Listen! I confess!

(CONTINUED)

2.

1 CONTINUED: 1

The two servants look at each other in alarm. Then the Valethands the candlestick to the Cook and takes a sugared cakefrom the dish, scrambling as quickly as he can back down thestairs.

2 2EXT. 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 dancingcouples and a sled and three dogs. It is a windy night. Snowis falling and whirling about. People are passing on foot,holding their cloaks tightly around them. Some of them arerevelers in fancy dress: they wear masks on their faces orhanging 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 standsthere calling to the sky: a sharp-featured, white-hairedItalian over seventy years old, wearing a stained dressinggown.

OLD SALIERIMozart! Mozart! I cannot bear it anylonger! I confess! I confess what Idid! I'm guilty! I killed you! Sir Iconfess! 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 SALIERIMozart, perdonami! Forgive yourassassin! Piet! Piet! Forgive yourassassin! Forgive me! Forgive! Forgive!

VALET(looking up to thewindow)

That's all right, Signore! He heardyou! He forgave you! He wants you togo inside now and shut the window!

Old Salieri stares down at him. Some of the passersby havenow stopped and are watching this spectacle.

VALETCome on, Signore! Look what I havefor you! I can't give it to you fromdown here, can I?

Old Salieri looks at him in contempt. Then he turns awayback into the room, shutting the window with a bang. Throughthe glass, the old man stares down at the group of onlookersin the street. They stare back at him in confusion.

(CONTINUED)

3.

2 CONTINUED: 2

BYSTANDERWho is that?

VALETNo one, sir. He'll be all right. Poor man. He's a little unhappy, youknow.

He makes a sign indicating 'crazy,' and goes back inside thehouse. The onlookers keep staring.

CUT TO:

3 3INT. 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.

VALETDid he open?

The Cook, scared, shakes his head: no. The Valet again knockson the door.

VALETHere I am, Signore. Now open thedoor.

He eats the sugared cake in his hand, elaborately and noisily.

VALETMmmm - this is good! This is themost delicious thing I ever ate,believe me! Signore, you don't knowwhat you're missing! Mmmm!

We hear a thump from inside the bedroom.

VALETNow that's enough, Signore! Open!

We hear a terrible, throaty groaning.

VALETIf you don't open this door, we'regoing to eat everything. There'll benothing left for you. And I'm notgoing to bring you anything more.

He looks down. From under the door we see a trickle of bloodflowing. In horror, the two men stare at it. The dish ofcakes falls from the Cook's hand and shatters.

(CONTINUED)

4.

3 CONTINUED: 3

He sets the candlestick down on the floor. Both servants runat the door frantically - once, twice, three times - and thefrail lock gives. The door flies open.

Immediately, the stormy, frenzied opening of Mozart's SymphonyNo. 25 (the Little G Minor) begins. We see what the servantssee.

4 4INT. OLD SALIERI'S SALON - NIGHT

Old Salieri lies on the floor in a pool of blood, an openrazor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse theroom - an old chair, old tables piled with books, a forte-piano, a chamber-pot on the floor - as the Valet and theCook struggle to lift their old Master, and bind his bleedingthroat with a napkin.

5 5INT. BALLROOM - NIGHT

Twenty-five dancing couples, fifty guests, ten servants,full orchestra.

As the music slows a little, we see a Masquerade Ball inprogress. A crowded room of dancers is executing the slowportion of a dance fashionable in the early 1820's.

6 6EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT

As the fast music returns, we see Old Salieri being carriedout of his house on a stretcher by two attendants, and placedin a horse-drawn wagon under the supervision of a middle-aged doctor in a tall hat. This is DOCTOR GULDEN. He gets inbeside his patient. The driver whips up the horse, and thewagon dashes off through the still-falling snow.

MONTAGE:

7 7EXT. FOUR STREETS OF VIENNA AND

8 8INT. 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. DoctorGulden stares at him grimly. The wagon arrives outside theGeneral Hospital of Vienna.

CUT TO:

9 9INT. A HOSPITAL CORRIDOR - LATE AFTERNOON

A wide, white-washed corridor. Doctor Gulden is walking downit with a priest, a man of about forty, concerned, butsomewhat self-important. This is Father VOGLER, Chaplain at

(CONTINUED)

5.

9 CONTINUED: 9

the hospital. In the corridor as they walk, we note severalpatients -- some of them visibly disturbed mentally. Allpatients wear white linen smocks. Doctor Gulden wears a darkfrock-coat; Vogler, a cassock.

DOCTOR GULDENHe's going to live. It's much harderto cut your throat than most peopleimagine.

They stop outside a door.

DOCTOR GULDENHere we are. Do you wish me to comein with you?

VOGLERNo, Doctor. Thank you.

Vogler nods and opens the door.

10 10INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON

A bare room - one of the best available in the GeneralHospital. It contains a bed, a table with candles, chairs, asmall forte-piano of the early nineteenth century. As Voglerenters, Old Salieri is sitting in a wheel-chair, looking outthe window. His back is to us. The priest closes the doorquietly behind him.

VOGLERHerr Salieri?

Old Salieri turns around to look at him. We see that histhroat is bandaged expertly. He wears hospital garb, andover it the Civilian Medal and Chain with which we will latersee the EMPEROR invest him.

OLD SALIERIWhat do you want?

VOGLERI am Father Vogler. I am a Chaplainhere. I thought you might like totalk to someone.

OLD SALIERIAbout what?

VOGLERYou tried to take your life. You doremember that, don't you?

OLD SALIERISo?

(CONTINUED)

6.

10 CONTINUED: 10

VOGLERIn the sight of God that is a sin.

OLD SALIERIWhat do you want?

VOGLERDo you understand that you havesinned? Gravely.

OLD SALIERILeave me alone.

VOGLERI cannot leave alone a soul in pain.

OLD SALIERIDo you know who I am? You never heardof me, did you?

VOGLERThat makes no difference. All menare equal in God's eyes.

OLD SALIERIAre they?

VOGLEROffer me your confession. I can offeryou God's forgiveness.

OLD SALIERII do not seek forgiveness.

VOGLERMy son, there is something dreadfulon your soul. Unburden it to me. I'mhere only for you. Please talk tome.

OLD SALIERIHow well are you trained in music?

VOGLERI know a little. I studied it in myyouth.

OLD SALIERIWhere?

VOGLERHere in Vienna.

OLD SALIERIThen you must know this.

(CONTINUED)

7.

10 CONTINUED: (2) 10

He propels his wheelchair to the forte-piano, and plays anunrecognizable melody.

VOGLERI can't say I do. What is it?

OLD SALIERII'm surprised you don't know. It wasa very popular tune in its day. Iwrote it. How about this?

He plays another tune.

OLD SALIERIThis one brought down the house whenwe played it first.

He plays it with growing enthusiasm.

CUT TO:

11 11INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S

We see the pretty soprano KATHERINA CAVALIERI, now abouttwenty-four, dressed in an elaborate mythological Persiancostume, singing on stage. She's near the end of a very floridaria by Salieri. The audience applauds wildly.


OLD SALIERI(taking his hands offthe keys)

Well?

VOGLERI regret it is not too familiar.

OLD SALIERICan you recall no melody of mine? Iwas the most famous composer in Europewhen you were still a boy. I wroteforty operas alone. What about thislittle thing?

Slyly he plays the opening measure of Mozart's Eine KleineNachtmusik. The priest nods, smiling suddenly, and hums alittle with the music.

VOGLEROh, I know that! That's charming! Ididn't know you wrote that.

(CONTINUED)

8.

12 CONTINUED: 12

OLD SALIERII didn't. That was Mozart. WolfgangAmadeus Mozart. You know who thatis?

VOGLEROf course. The man you accuse yourselfof killing.

OLD SALIERIAh - you've heard that?

VOGLERAll Vienna has heard that.

OLD SALIERI( eagerly)

And do they believe it?

VOGLERIs it true?

OLD SALIERIDo you believe it?

VOGLERShould I?

A very long pause. Salieri stares above the priest, seeminglylost in his own private world.

VOGLERFor God's sake, my son, if you haveanything to confess, do it now! Give yourself some peace!

A further pause.

VOGLERDo you hear me?

OLD SALIERIHe was murdered, Father! Mozart! Cruelly murdered.

Pause.

VOGLER(almost whispering)

Yes? Did you do it?

Suddenly Old Salieri turns to him, a look of extremeinnocence.

(CONTINUED)

9.


OLD SALIERIHe was my idol! I can't remember atime when I didn't know his name! When I was only fourteen he wasalready famous. Even in Legnago -the tiniest town in Italy - I knewof him.

CUT TO:

13 13EXT. 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 agame of Blindman's Bluff with other Italian children, runningabout in the bright sunshine and laughing.

OLD SALIERI (V.O.)I was still playing childish gameswhen he was playing music for kingsand emperors. Even the Pope in Rome!

CUT TO:

14 14INT. A SALON IN THE VATICAN - DAY - 1780'S

We see the six-year-old MOZART, also blindfolded, seated ina gilded chair on a pile of books, playing the harpsichordfor the POPE and a suite of CARDINALS and other churchmen. Beside the little boy stands LEOPOLD, his father, smirkingwith pride.

OLD SALIERI (V.O.)I admit I was jealous when I heardthe tales they told about him. Notof the brilliant little prodigyhimself, but of his father, who hadtaught him everything.

The piece finishes. Leopold lowers the lid of the harpsichordand lifts up his little son to stand on it. Mozart removesthe blindfold to show a pale little face with staring eyes. Both father and son bow. A Papal Chamberlain presents Leopoldwith 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. Hewanted me only to be a merchant,like himself. As anonymous as hewas. When I told how I wished I couldbe like Mozart, he would say, Why? Do you want to be a trained monkey?

(MORE)

(CONTINUED)

10.

14 CONTINUED: 14

OLD SALIERI (V.O.) (CONT'D)Would you like me to drag you aroundEurope doing tricks like a circusfreak? How could I tell him whatmusic meant to me?

CUT TO:

15 15EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S

Serene music of the Italian Baroque - Pergolesi's StabatMater - sung by a choir of boys with organ accompaniment. We see the outside of the 17th-century church sitting in thewide landscape of Lombardy: sunlit fields, a dusty, whiteroad, poplar trees.

16 16INT. THE CHURCH AT LEGNAGO - DAY - 1780'S

The music continues and swells. We see the twelve-year-oldSalieri seated between his plump and placid parents in thecongregation, listening in rapture. His father is a heavy-looking, self-approving man, obviously indifferent to themusic. A large and austere Christ on the cross hangs overthe altar. Candles burn below his image.

OLD SALIERI (V.O.)Even then a spray of sounded notescould make me dizzy, almost tofalling.

The boy falls forward on his knees. So do his parents andthe other members of the congregation. He stares up at Christwho stares back at him.

OLD SALIERI (V.O.)Whilst my father prayed earnestly toGod to protect commerce, I wouldoffer up secretly the proudest prayera boy could think of. Lord, make mea great composer! Let me celebrateyour glory through music - and becelebrated myself! Make me famousthrough the world, dear God! Make meimmortal! After I die let peoplespeak my name forever with love forwhat I wrote! In return I vow Iwill give you my chastity - myindustry, my deepest humility, everyhour of my life. And I will help myfellow man all I can. Amen and amen!

The music swells to a crescendo. The candles flare. We seethe Christ through the flames looking at the boy benignly.

(CONTINUED)

11.

16 CONTINUED: 16

OLD SALIERI (V.O.)And do you know what happened? Amiracle!

17 17INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S

CU, a large cooked fish on a thick china plate. Camera pullsback to show the Salieri family at dinner. Father Salierisits at the head of the table, a napkin tucked into his chin. Mother Salieri is serving the fish into portions and handingthem round. Two maiden aunts are in attendance, wearing black,and of course the young boy. Father Salieri receives hisplate of fish and starts to eat greedily. Suddenly there isa gasp - he starts to choke violently on a fish bone. Allthe women get up and crowd around him, thumping and pummelinghim, but it is in vain. Father Salieri collapses.


OLD SALIERISuddenly he was dead. Just like that! And my life changed forever. My mothersaid, Go. Study music if you reallywant to. Off with you! And off Iwent as quick as I could and neversaw Italy again. Of course, I knewGod had arranged it all; that wasobvious. One moment I was a frustratedboy in an obscure little town. Thenext I was here, in Vienna, city ofmusicians, sixteen years old andstudying under Gluck! Gluck, Father. Do you know who he was? The greatestcomposer of his time. And he lovedme! That was the wonder. He taughtme everything he knew. And when Iwas ready, introduced me personallyto the Emperor! Emperor Joseph - themusical king! Within a few years Iwas his court composer. Wasn't thatincredible? Imperial Composer to HisMajesty! Actually the man had no earat all, but what did it matter? Headored my music, that was enough. Night after night I sat right nextto the Emperor of Austria, playingduets with him, correcting the royalsight-reading. Tell me, if you hadbeen me, wouldn't you have thoughtGod had accepted your vow? And believeme, I honoured it. I was a model ofvirtue. I kept my hands off women,worked hours every day teachingstudents, many of them for free,

(MORE)

(CONTINUED)

12.

18 CONTINUED: 18

OLD SALIERI (CONT'D)sitting on endless committees tohelp poor musicians - work and workand work, that was all my life. Andit was wonderful! Everybody likedme. I liked myself. I was the mostsuccessful musician in Vienna. Andthe happiest. Till he came. Mozart.

CUT TO:

19 19INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY -1780'S

A grand room crowded with guests. A small group of Gypsymusicians is playing in the background. Thirteen members ofthe Archbishop's orchestra - all wind players, complete with18th-century wind instruments: elaborate-looking bassoons,basset horns, etc. and wearing their employer's livery - arelaying out music on stands at one end of the room. At theother end is a large gilded chair, bearing the arms of theARCHBISHOP OF SALZBURG. A throng of people is standing,talking, and preparing to sit upon the rows of waiting chairsto hear a concert.

OLD SALIERI (V.O.)One day he came to Vienna to playsome of his music at the residenceof his employer, the Prince-Archbishopof Salzburg. Eagerly I went there toseek him out. That night changed mylife.

We see Salieri, age thirty-one, a neat, carefully turned-cutman in decent black clothes and clean white linen, walkingthrough the crowd of guests. We follow him.

OLD SALIERI (V.O.)As I went through the salon, I playeda game with myself. This man hadwritten his first concerto at theage of four; his first symphony atseven; a full-scale opera at twelve. Did it show? Is talent like thatwritten on the face?

We see shots of assorted young men staring back at Salierias 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. Thensuddenly a servant bearing a large tray of cakes and pastries

(CONTINUED)

13.

19 CONTINUED: 19

stalks past. Instantly riveted by the sight of such delights,Salieri follows him out of the Grand Salon.

20 20INT. A PALACE CORRIDOR - DAY - 1780'S

The servant marches along bearing his tray of pastries aloft. Salieri follows him.

THE SERVANT TURNS INTO:

21 21INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S

Salieri's POV: several tables, dressed to the floor withcloths are loaded with many plates of confectionery. It is,in fact, Salieri's idea of paradise! The servant puts histray down on one of the tables and withdraws from the room.


Salieri turns away so as not to be noticed by the servant. As soon as the man disappears, Salieri sneaks into the buffetroom.

23 23INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S

Salieri enters the room and looks about him cautiously. Heis salivating with anticipation as he stares at the feast ofsweet things. His attention is attracted in particular by ahuge pile of dark chocolate balls arranged in the shape of apineapple. 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 straightacross 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 afine wig and a brilliant coat with the insignia of theArchbishop of Salzburg upon it. He is puzzled; Constanze hasdisappeared.

Baffled, he turns and is about to leave the room, whenConstanze suddenly squeaks from under the cloth like a tinymouse. Instantly Mozart drops to all fours and starts crawlingacross the floor, meowing and hissing like a naughty cat. Watched by an astonished Salieri, Mozart disappears underthe cloth and obviously pounces upon Constanze. We hear ahigh-pitched giggle, which is going to characterize Mozartthroughout the film.

CUT TO:

14.

24 24INT. PALACE GRAND SALON - DAY - 1780'S

The throng is mostly seated. The musicians are in theirplaces, holding their various exotic-looking wind instruments;the candles are all lit. A Majordomo appears and bangs hisstaff 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 scarletskullcap. 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, approachesthe Chamberlain and whispers in his ear. Arco in turn whispersto the Archbishop.

ARCOMozart is not here.

COLLOREDOWhere is he?

ARCOThey're looking for him, Your Grace.


Three servants are opening doors and looking into rooms goingoff the corridor.

CUT TO:


The guests are turning around and looking at the Archbishop. The musicians are watching. There is puzzlement and a murmurof comment. The Archbishop tightens his lip.

COLLOREDO(to Arco)

We'll start without him.

27 27INT. PALACE BUFFET ROOM - DAY - 1780'S

Mozart is on his knees before the tablecloth, which reachesto the floor. Under it is Constanze. We hear her giggling ashe talks.

MOZARTMiaouw! Miaouw! Mouse-wouse? It'sPuss-wuss, fangs-wangs. Paws-claws. Pounce-bounce!

He grabs her ankle. She screams. He pulls her out by herleg.

(CONTINUED)

15.

27 CONTINUED: 27

CONSTANZEStop it. Stop it!

They roll on the floor. He tickles her.

CONSTANZEStop it!

MOZARTI am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now weare going back.

He tries to drag her back under the table.

CONSTANZENo! No! No!

MOZARTYes! Back! Back! Listen - don't youknow where you are?

CONSTANZEWhere?

MOZARTWe are in the Residence of theFartsbishop of Salzburg.

CONSTANZEFartsbishop!

She laughs delightedly, then addresses an imaginaryArchbishop.

CONSTANZEYour Grace, I've got something totell you. I want to complain aboutthis man.

MOZARTGo ahead, tell him. Tell them all. They won't understand you anyway.

CONSTANZEWhy not?

MOZARTBecause here everything goesbackwards. People walk backwards,dance backwards, sing backwards, andtalk backwards.

CONSTANZEThat's stupid.

(CONTINUED)

16.


MOZARTWhy? People fart backwards.

CONSTANZEDo you think that's funny?

MOZARTYes, I think it's brilliant. You'vebeen doing it for years.

He gives a high pitched giggle.

CONSTANZEOh, ha, ha, ha.

MOZARTSra-I'm-sick! Sra-I'm sick!

CONSTANZEYes, you are. You're very sick.

MOZARTNo, 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 - myKiss my! Sra-I'm-sick - Kiss my arse!

MOZARTEm iram! Em iram!

CONSTANZENo, I'm not playing this game.

MOZARTNo, this is serious. Say it backwards.

CONSTANZENo!

MOZARTJust say it - you'll see. It's veryserious. Em iram! Em iram!

CONSTANZEIram - marry Em - marry me! No, no! You're a fiend. I'm not going tomarry a fiend. A dirty fiend at that.

MOZARTUi-vol-i-tub!

(CONTINUED)

17.


CONSTANZETub - but i-tub - but I vol - lovebut I love ui - You. I love you!

The mood becomes suddenly softer. She kisses him. Theyembrace. Then he spoils it.

MOZARTTish-I'm tee. What's that?

CONSTANZEWhat?

MOZARTTish-I'm-tee.

CONSTANZEEat

MOZARTYes.

CONSTANZEEat my - ah!

Shocked, she strikes at him. At the same moment the musicstarts in the salon next door. We hear the opening of theSerenade for Thirteen Wind Instruments, K.

MOZARTMy music! They've started! They'vestarted without me!

He leaps up, disheveled and rumpled and runs out of the room. Salieri watches in amazement and disgust.

CUT TO:

28 28INT. PALACE CORRIDOR - DAY - 1780'S

The music is louder. Mozart hastens towards the Grand Salonaway from the buffet room, adjusting his dress as he goes.

29 29INT. GRAND SALON - DAY - 1780'S

The opening of the Serenade is being tentatively conductedby the leader of the wind-musicians. Guests turn around asMozart appears - bowing to the Archbishop - and walks withan attempt at dignity to the dais where the wind band isplaying. The leader yields his place to the composer andMozart smoothly takes over conducting.

Constanze, deeply embarrassed, sneaks into the room and seatsherself at the back.

18.

30 30INT. PALACE BUFFET ROOM - DAY - 1780'S

The music fades down. Salieri stands shocked from hisinadvertent eavesdropping. After a second he moves almost ina trance toward the door; the music dissolves.

31 31INT. GRAND SALON - DAY - 1780'S

Mozart is conducting the Adagio from his Serenade (K. 361),guiding the thirteen wind instrumentalists. The squeezeboxopening of the movement begins. Salieri appears at the doorat 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 crawlingon the floor. Mozart. The phenomenonwhose 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. Finallyit fades down and away and changes into applause. Salieriopens his eyes.

The audience is clearly delighted. Mozart bows to them, alsodelighted. Colloredo rises abruptly, and without looking atMozart or applauding and leaves the Salon. Count Arcoapproaches the composer. Mozart turns to him, radiant.

ARCOFollow me, please. The Archbishopwould like a word.

MOZARTCertainly!

He follows Arco out of the room, through a throng of admirers.

32 32INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S

Mozart and Arco walk side by side. They pass Salieri who isstaring at Mozart in fascination. As they disappear, he stealstoward the music stands, unable to help himself.

MOZARTWell, I think that went off remarkablywell, don't you?

ARCOIndeed.

MOZARTThese Viennese certainly know goodmusic when they hear it.

(CONTINUED)

19.

32 CONTINUED: 32

ARCOHis Grace is very angry with you.

MOZARTWhat do you mean?

They arrive at the door of Colloredo's private apartment.

ARCOYou are to come in here and ask hispardon.

Arco opens the door.

33 33INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S

The Archbishop is sitting, chatting to quests. Among themare several ladies. Arco approaches him obsequiously.

ARCOYour Grace.

COLLOREDOAh, Mozart. Why?

MOZARTWhy what, sir?

COLLOREDOWhy do I have to be humiliated infront of my guests by one of my ownservants?

MOZARTHumiliated?

COLLOREDOHow much provocation am I to endurefrom you? The more license I allowyou, the more you take.

The company watches this scene, deeply interested.

MOZARTIf His Grace is not satisfied withme, he can dismiss me.

COLLOREDOI wish you to return immediately toSalzburg. Your father is waiting foryou there patiently. I will speak toyou further when I come.

(CONTINUED)

20.

33 CONTINUED: 33

MOZARTNo, Your Grace! I mean with allhumility, no. I would rather youdismissed me. It's obvious I don'tsatisfy.

COLLOREDOThen try harder, Mozart. I have nointention of dismissing you. Youwill remain in my service and learnyour place. Go now.

He extends his hand to be kissed. Mozart does it with afurious grace, then leaves the room. As he opens the door wesee:

34 34INT. PALACE CORRIDOR - DAY - 1780'S

A group of people who have attended the concert, among themConstanze, are standing outside the private apartment. Atsight of the composer they break into sustained applause. Mozart is suddenly delighted. He throws the door wide openso that the guests can see into the private apartment wherethe Archbishop sits - and he can see them. Colloredo isclearly discomfited by this reception of his employee. Hesmiles and bows uneasily, as they include him in the smallovation.

Mozart stands in the corridor, out of the Archbishop's lineof sight, bowing and giggling, and encouraging the applausefor the Archbishop with conducting gestures. Suddenlyirritated, Colloredo signs to Arco, who steps forward andshuts the door, ending the applause.


Salieri, in this vast room, is standing and looking at thefull score of the Serenade. He turns the pages back to theslow movement. Instantly, we again hear its lyrical strains.

CU, Salieri, reading the score of the Adagio in helplessfascination. The music is played against his description ofit.

OLD SALIERI (V.O.)Extraordinary! On the page it lookednothing. The beginning simple, almostcomic. Just a pulse - bassoons andbasset horns - like a rustysqueezebox. Then suddenly - highabove it - an oboe, a single note,hanging there unwavering, till aclarinet took over and sweetened itinto a phrase of such delight!

(MORE)

(CONTINUED)

21.

35 CONTINUED: 35

OLD SALIERI (V.O.) (CONT'D)This was no composition by aperforming monkey! This was a musicI'd never heard. Filled with suchlonging, such unfulfillable longing,it had me trembling. It seemed to methat I was hearing a voice of God.

Suddenly the music snaps off. Mozart stands before him as helays down the score.

MOZARTExcuse me!

He takes the score, bows, and struts briskly out of the room. Salieri stares uncomprehendingly after the jaunty littlefigure.

OLD SALIERI (V.O.)But why?

36 36INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT -

OLD SALIERIWhy? Would God choose an obscenechild to be His instrument? It wasnot to be believed! This piece hadto be an accident. It had to be!

37 37INT. PALACE DINING ROOM - DAY - 1780'S

At the table sits the EMPEROR JOSEPH II, eating his frugaldinner and sipping goat's milk. He is an intelligent, dapperman of forty, wearing a military uniform. Around him butstanding, are his Chamberlain, JOHANN VON STRACK: stiff andhighly correct. COUNT ORSINI-ROSENBERG: a corpulent man ofsixty, highly conscious of his position as Director of theOpera. BARON VON SWIETEN, the Imperial Librarian: a gravebut kindly and educated man in his mid-fifties. FIRSTKAPELLMEISTER GIUSEPPE BONNO: very Italian, cringing andtime-serving, aged about seventy. And Salieri, wearingdecorous black, as usual.

At a side-table, two Imperial secretaries, using quill pensand inkstands, write down everything of importance that issaid.

JOSEPHHow good is he, this Mozart?

VON SWIETENHe's remarkable, Majesty. I heard anextraordinary serious opera of hislast month. Idomeneo, King of Crete.

(CONTINUED)

22.

37 CONTINUED: 37

ORSINI-ROSENBERGThat? A most tiresome piece. I heardit, too.

VON SWIETENTiresome?

ORSINI-ROSENBERGA young man trying to impress beyondhis abilities. Too much spice. Toomany notes.

VON SWIETENMajesty, I thought it the mostpromising work I've heard in years.

JOSEPHAh-ha. Well then, we should makesome effort to acquire him. We coulduse a good German composer in Vienna,surely?

VON STRACKI agree, Majesty, but I'm afraidit's not possible. The young man isstill in the pay of the Archbishop.

JOSEPHVery small pay, I imagine. I'm surehe could be tempted with the rightoffer. Say, an opera in German forour National Theatre.

VON SWIETENExcellent, sire!

ORSINI-ROSENBERGBut not German, I beg your Majesty! Italian is the proper language foropera. All educated people agree onthat.

JOSEPHAh-ha. What do you say, Chamberlain?

VON STRACKIn my opinion, it is time we had apiece in our own language, sir. PlainGerman. For plain people.

He looks defiantly at Orsini-Rosenberg.

JOSEPHAh-ha. Kapellmeister?

(CONTINUED)

23.


BONNO(Italian accent)

Majesty, I must agree with HerrDirretore. Opera is an Italian art,solamente. German is - scusate - toobruta for singing, too rough.

JOSEPHAh-ha. Court Composer, what do yousay?

SALIERII think it is an interesting notionto keep Mozart in Vienna, Majesty. It should really infuriate theArchbishop beyond measure - if thatis your Majesty's intention.

JOSEPHYou are cattivo, Court Composer.

(briskly, to Von Strack)I want to meet this young man. Chamberlain, arrange a pleasantwelcome for him.

VON STRACKYes, sir.

JOSEPHWell. There it is.

38 38INT. 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 abovewhich hangs a handsome cross in olivewood, bearing the figureof a severe Christ. Opposite this image sits Salieri at hisdesk, on which stands a pile of music paper, quill pens andink. On one side of him is an open forte-piano on which heoccasionally 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.

SALIERISi.

A servant admits LORL, a young lower-class girl, who appearscarrying a basket in which is a box covered with a napkin. She has just come from the baker's shop.

SALIERIAh! Here she comes. Fraulein Lorl,good morning.

(CONTINUED)

24.

38 CONTINUED: 38

LORLGood morning, sir.

SALIERIWhat have you got for me today? Letme see.

Greedily he unwraps the napkin and lifts the lid on the box.

SALIERIAh-ha! Siena macaroons - myfavourites. Give my best thanks tothe baker.

LORLI will, sir.

He takes a biscuit and eats.

SALIERIThank you. Are you well today,Fraulein Lorl?

LORLYes, thank you, sir.

SALIERIBene! Bene!

She gives a little curtsey, flattered and giggling and isshown out. Salieri turns back to his work, chewing. He playsthrough a complete line of the march. He smiles, pleasedwith the result.

SALIERIGrazie, Signore.

He inclines his head to the Christ above the fireplace, andstarts to play the whole march, including the phrase whichpleased him.

39 39INT. 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. Oneither side of him stands a SALESMAN, one of them holdinganother wig, equally extravagant. Mozart takes off the firstwig, to reveal his own blonde hair, of which he is extremelyproud, and hands it back.

MOZARTAnd the other one?

The Salesman puts the second wig on his head. Mozart pulls aface of doubt in the mirror.

(CONTINUED)

25.

39 CONTINUED: 39

MOZARTAnd the other one?

He takes it off and the other Salesman replaces it with thefirst wig on his head.

MOZARTOh, they're both so beautiful, Ican't decide. Why don't I have twoheads?

He giggles. The music stops.

40 40INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S

A door opens. We glimpse in the next room the Emperor Josephbidding goodbye to a group of military officers standingaround a table.

JOSEPHGood, good, good.

He turns and comes into the salon, where another group awaitshim. It consists of Von Strack, Orsini-Rosenberg, Bonno, VonSwieten and Salieri. The room contains several gilded chairsdotted about, and a forte-piano.

JOSEPHGood morning, gentlemen.

All bow and say, Good morning, Your Majesty!JOSEPH

(to Von Strack)Well, what do you have for me today?

VON STRACKYour Majesty, Herr Mozart -

JOSEPHYes, what about him?

VON STRACKHe's here.

JOSEPHAh-ha. Well. There it is. Good.

SALIERIMajesty, I hope you won't think itimproper, but I have written a littleMarch of Welcome in his honour.

He produces a paper.

(CONTINUED)

26.

40 CONTINUED: 40

JOSEPHWhat a charming idea. May I see?

SALIERI(handing it over)

It's just a trifle, of course.JOSEPH

May I try it?

SALIERIMajesty.

The Emperor goes to the instrument, sits and plays the firstbars of it. Quite well.

JOSEPHDelightful, Court Composer. Wouldyou permit me to play it as he comesin?

SALIERIYou do me too much honour, Sire.

JOSEPHLet's have some fun.

(to the waitingMajordomo)

Bring in Herr Mozart, please. Butslowly, slowly. I need a minute topractice.

The Majordomo bows and goes. The Emperor addresses himselfto the march. He plays a wrong note.

SALIERIA-flat, Majesty.

JOSEPHAh-ha!

41 41INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S

Taking his instructions literally, the Majordomo is marchingvery slowly toward the salon door. He is followed by abewildered Mozart, dressed very stylishly and wearing one ofthe wigs from the perruqier.

42 42INT. ROYAL PALACE GRAND SALON - DAY - 1780'S

Joseph finishes the march. The door opens.

MAJORDOMOHerr Mozart.

(CONTINUED)

27.

42 CONTINUED: 42

Mozart comes in eagerly. Immediately the march begins, playedby His Majesty. All the courtiers stand, listening withadmiration. Joseph plays well, but applies himself fiercelyto the manuscript. Mozart, still bewildered, regards thescene, but does not seem to pay attention to the music itself. It finishes and all clap obsequiously.

ORSINI-ROSENBERGBravo, Your Majesty!

VON STRACKWell done, Sire!

The Emperor rises, pleased with himself. He snatches themanuscript off the stand and holds it in his hand for therest of the scene.

JOSEPHGentlemen, gentlemen, a little lessenthusiasm, I beg you. Ah, Mozart.

He extends his hand. Mozart throws himself to his knees, andto Joseph's discomfort kisses the royal hand with fervour.

MOZARTYour Majesty!

JOSEPHNo, no, please! It is not a holyrelic.

(raising Mozart up)You know we have met already? Inthis very room. Perhaps you won'tremember it, you were only six yearsold.

(to the others)He was giving the most brilliantlittle concert here. As he got offthe stool, he slipped and fell. Mysister Antoinette helped him upherself, and do you know what hedid? Jumped straight into her armsand said, Will you marry me, yes orno?

Embarrassed, Mozart bursts into a wild giggle. Joseph helpshim out.

JOSEPHYou know all these gentlemen, I'msure.

Von Strack and Bonno nod.

(CONTINUED)

28.


JOSEPHThe Baron Von Swieten.

VON SWIETENI'm a great admirer of yours, youngman. Welcome.

MOZARTOh, thank you.

JOSEPHThe Director of our Opera. CountOrsini-Rosenberg.

MOZART(bowing excitedly)

Oh sir, yes! The honour is mine. Absolutely.

Orsini-Rosenberg nods without enthusiasm.

JOSEPHAnd here is our illustrious CourtComposer, Herr Salieri.

SALIERI(taking his hand)

Finally! Such an immense joy. Dilettostraordinario!

MOZARTI know your work well, Signore. Doyou know I actually composed somevariations on a melody of yours?

SALIERIReally?

MOZARTMio caro Adone.

SALIERIAh!

MOZARTA funny little tune, but it yieldedsome good things.

JOSEPHAnd now he has returned thecompliment. Herr Salieri composedthat March of Welcome for you.

(CONTINUED)

29.


MOZART(speaking expertly)

Really? Oh, grazie, Signore! Sonocommosso! E un onore per moeccezionale. Compositore brilliantee famossissimo!

He bows elaborately. Salieri inclines himself, dryly.

SALIERIMy pleasure.

JOSEPHWell, there it is. Now to business. Young man, we are going to commissionan opera from you. What do you say?

MOZARTMajesty!

JOSEPH(to the courtiers)

Did we vote in the end for German orItalian?

ORSINI-ROSENBERGWell, actually, Sire, if you remember,we did finally incline to Italian.

VON STRACKDid we?

VON SWIETENI don't think it was really decided,Director.

MOZARTOh, German! German! Please let it beGerman.

JOSEPHWhy so?

MOZARTBecause I've already found the mostwonderful libretto!

ORSINI-ROSENBERGOh? Have I seen it?

MOZARTI - I don't think you have, HerrDirector. Not yet. I mean, it's quiten - Of course, I'll show it to youimmediately.

(CONTINUED)

30.


ORSINI-ROSENBERGI think you'd better.

JOSEPHWell, what is it about? Tell us thestory.

MOZARTIt's actually quite amusing, Majesty. It's set - the whole thing is setin a - in a -

He stops short with a little giggle.

JOSEPHYes, where?

MOZARTIn a Pasha's Harem, Majesty. ASeraglio.

JOSEPHAh-ha.

ORSINI-ROSENBERGYou mean in Turkey?

MOZARTExactly.

ORSINI-ROSENBERGThen why especially does it have tobe in German?

MOZARTWell not especially. It can be inTurkish, if you really want. I don'tcare.

He giggles again. Orsini-Rosenberg looks at him sourly.

VON SWIETEN(kindly)

My dear fellow, the language is notfinally the point. Do you reallythink that subject is quiteappropriate for a national theatre?

MOZARTWhy not? It's charming. I mean, Idon't actually show concubinesexposing their! their! It's notindecent!

(MORE)

(CONTINUED)

31.


MOZART (CONT'D)(to Joseph)

It's highly moral, Majesty. It'sfull of proper German virtues. Iswear it. Absolutely!

JOSEPHWell, I'm glad to hear that.

SALIERIExcuse me, Sire, but what do youthink these could be? Being aforeigner, I would love to learn.

JOSEPHCattivo again, Court Composer. Well,tell him, Mozart. Name us a Germanvirtue.

MOZARTLove, Sire!

SALIERIAh, love! Well of course in Italy weknow nothing about that.

The Italian faction - Orsini-Rosenberg and Bonno - laughdiscreetly.

MOZARTNo, I don't think you do. I meanwatching Italian opera, all thosemale sopranos screeching. Stupid fatcouples rolling their eyes about! That's not love - it's just rubbish.

An embarrassed pause. Bonno giggles in nervous amusement.

MOZARTMajesty, you choose the language. Itwill be my task to set it to thefinest music ever offered a monarch.

Pause. Joseph is clearly pleased.

JOSEPHWell, there it is. Let it be German.

He nods - he has wanted this result all the time. He turnsand makes for the door. All bow. Then he becomes aware ofthe manuscript in his hand.

JOSEPHAh, this is yours.

(CONTINUED)

32.


Mozart does not take it.

MOZARTKeep it, Sire, if you want to. It isalready here in my head.

JOSEPHWhat? On one hearing only?

MOZARTI think so, Sire, yes.

Pause.

JOSEPHShow 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 theKing. Mozart plays the first half of the march with deadlyaccuracy.

MOZART(to Salieri)

The rest is just the same, isn't it?He plays the first half again but stops in the middle of aphrase, which he repeats dubiously.

MOZARTThat really doesn't work, does it?

All the courtiers look at Salieri.

MOZARTDid you try this? Wouldn't it bejust a little more -?

He plays another phrase.

MOZARTOr this - yes, this! Better.

He plays another phrase. Gradually, he alters the music sothat it turns into the celebrated march to be used later inThe Marriage of Figaro, Non Piu Andrai. He plays it withincreasing abandon and virtuosity. Salieri watches with afixed smile on his face. The court watches, astonished. Hefinishes in great glory, takes his hands off the keys with agesture of triumph - and grins.

33.

43 43INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S

We see the olivewood cross. Salieri is sitting at his desk,staring at it.

SALIERIGrazie, Signore.

There is a knock at the door. He does not hear it, but sitson. Another knock, louder.

SALIERIYes?

Lorl comes in.

LORLMadame Cavalieri is here for herlesson, sir.

SALIERIBene.

HE GETS UP AND ENTERS:

44 44INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S

KATHERINA CAVALIERI, a young, high-spirited soprano of twentyis waiting for him, dressed in a fashionable dress and wearingon her head an exotic turban of satin, with a feather. Lorlexits.

CAVALIERI(curtseying to him)

Maestro.

SALIERIGood morning.

CAVALIERI(posing, in her turban)

Well? How do you like it? It'sTurkish. My hairdresser tells meeverything's going to be Turkishthis year!

SALIERIReally? What else did he tell youtoday? Give me some gossip.

CAVALIERIWell, I heard you met Herr Mozart.

SALIERIOh? News travels fast in Vienna.

(CONTINUED)

34.

44 CONTINUED: 44

CAVALIERIAnd he's been commissioned to writean opera. Is it true?

SALIERIYes.

CAVALIERIIs there a part for me?

SALIERINo.

CAVALIERIHow do you know?

SALIERIWell even if there is, I don't thinkyou want to get involved with thisone.

CAVALIERIWhy not?

SALIERIWell, do you know where it's set, mydear?

CAVALIERIWhere?

SALIERIIn a harem.

CAVALIERIWhat's that?

SALIERIA brothel.

CAVALIERIOh!

SALIERIA Turkish brothel.

CAVALIERITurkish? Oh, if it's Turkish, that'sdifferent. I want to be in it.

SALIERIMy dear, it will hardly enhance yourreputation to be celebrated throughoutVienna as a singing prostitute for aTurk.

(CONTINUED)

35.


He seats himself at the forte-piano.

CAVALIERIOh. Well perhaps you could introduceus anyway.

SALIERIPerhaps.

He plays a chord. She sings a scale, expertly. He strikesanother chord. She starts another scale, then breaks off.

CAVALIERIWhat does he look like?

SALIERIYou might be disappointed.

CAVALIERIWhy?

SALIERILooks and talent don't always gotogether, Katherina.

CAVALIERI(airily)

Looks don't concern me, Maestro. Only talent interests a woman oftaste.

He strikes the chord again, firmly. Cavalieri sings her nextscale, then another one, and another one, doing her exercisesin earnest. As she hits a sustained high note the orchestralaccompaniment in the middle of Martern Aller Arten from IlSeraglio comes in underneath and the music changes fromexercises to the exceedingly florid aria.

We DISSOLVE on the singer's face, and she is suddenly notmerely turbaned, but painted and dressed totally in a Turkishmanner, and we are on:

45 45INT. OPERA STAGE - VIENNA - 1780'S

The heroine of the opera (Cavalieri) is in full cry addressingthe Pasha with scorn and defiance.

The house is full. Watching the performance - which isconducted by Mozart from the clavier in the midst of theorchestra - we note Von Strack, Orsini-Rosenberg, Bonno andVon Swieten, all grouped around the Emperor, in a box.

In another box we see an overdressed, middle-aged woman andthree girls, one of whom is Constanze. This is the formidableMADAME WEBER and her three daughters, Constanze, JOSEFA and

(CONTINUED)

36.

45 CONTINUED: 45

SOPHIE. All are enraptured by the spectacle and Madame Weberis 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 Dochdu bist entschlossen.

CAVALIERISince you are determined, Since youare determined, Calmly, with noferment, Welcome - every pain andwoe. Bind me then - compel me! Bindme then - compel me! Hurt me. Breakme! Kill me! At last I shall be freedby death!

After a few moments of this showy aria, with the composerand the singer staring at each other - he conductingelaborately for her benefit, and she following his beat withrapturous eyes - the music fades, and Salieri speaks overit.

OLD SALIERI (V.O.)There she was. I had no idea wherethey met - or how - yet there shestood on stage for all to see. Showingoff like the greedy songbird shewas. Ten minutes of ghastly scalesand arpeggios, whizzing up and downlike fireworks at a fairground.

Music up again for the last 30 bars of the aria.

CAVALIERI(singing)

Be freed at last by death! Be freedat last by death! At last I shall befreed By! Death!

Before the orchestral coda ends, CUT TO:


Through the window we see that night has fallen.

OLD SALIERIUnderstand, I was in love with thegirl. Or at least in lust. I wasn'ta saint. It took me the mosttremendous effort to be faithful tomy vow. I swear to you I never laida finger on her. All the same, Icouldn't bear to think of anyone

(MORE)

(CONTINUED)

37.

46 CONTINUED: 46

OLD SALIERI (CONT'D)else touching her - least of all theCreature.

CUT BACK TO:

47 47INT. 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 withhappy excitement.

CAST OF SERAGLIO(singing)

Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour tohis regal name! Honour to his regalname! May his noble brow emblazonGlory, fortune, joy and fame! Honourbe to Pasha Selim Honour to his regalname! Honour to his regal name!

The curtains fall. Much applause. The Emperor claps vigorouslyand - following his lead - so do the courtiers. The curtainspart. Mozart applauds the singers who applaud him back. Heskips up onto the stage amongst them. The curtains fall againas they all bow. In the auditorium, the chandeliers descend,filling it with light.

48 48INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S

The curtains are down, and an excited hubbub of singers incostume surround Mozart and Cavalieri, all excited andchattering. Suddenly a hush. The Emperor is seen approachingfrom the wings, lit by flunkies holding candles. Von Strack,Orsini-Rosenberg and Von Swieten, amongst others, followhim. Also Salieri. The singers line up. Joseph stops atCavalieri who makes a deep curtsey.

JOSEPHBravo, Madame. You are an ornamentto our stage.

CAVALIERIMajesty.

JOSEPH(to Salieri)

And to you, Court Composer. Yourpupil has done you great credit.

38.

49 49INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S

MADAME WEBERLet us pass, please! Let us pass atonce! We're with the Emperor.

FLUNKYI am sorry, Madame. It is notpermitted.

MADAME WEBERDo you know who I am?

(pointing to Constanze)This is my daughter. I am Frau Weber. We are favoured guests!

FLUNKYI am sorry, Madame, but I have myorders.

MADAME WEBERCall Herr Mozart! You call Herr Mozartimmediately! This is insupportable!

CONSTANZEMother, please!

MADAME WEBERGo ahead, Constanze. Just ignorethis fellow.

(pushing her)Go ahead, dear!

FLUNKY(barring the way)

I am sorry, Madame, but no! I cannotlet anyone pass.

MADAME WEBERYoung man, I am no stranger totheatres. I'm no stranger toinsolence!

CUT BACK TO:


All are applauding Cavalieri. The Emperor turns to Mozart.

JOSEPHWell, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite newtoday.

(CONTINUED)

39.

50 CONTINUED: 50

Mozart bows frantically: he is over-excited.

MOZARTIt is new, it is, isn't it, Sire?

JOSEPHYes, indeed.

MOZARTAnd German?

JOSEPHOh, yes. Absolutely. German. Unquestionably!

MOZARTSo then you like it? You really likeit, Your Majesty?

JOSEPHOf course I do. It's very good. Ofcourse now and then - just now andthen - it gets a touch elaborate.

MOZARTWhat do you mean, Sire?

JOSEPHWell, I mean occasionally it seemsto have, how shall one say?

(he stops indifficulty; to Orsini-Rosenberg)

How shall one say, Director?

ORSINI-ROSENBERGToo many notes, Your Majesty?

JOSEPHExactly. Very well put. Too manynotes.

MOZARTI don't understand. There are justas many notes, Majesty, as arerequired. Neither more nor less.

JOSEPHMy dear fellow, there are in factonly so many notes the ear can hearin the course of an evening. I thinkI'm right in saying that, aren't I,Court Composer?

(CONTINUED)

40.


SALIERIYes! yes! er, on the whole, yes,Majesty.

MOZART(to Salieri)

But this is absurd!

JOSEPHMy dear, young man, don't take ittoo hard. Your work is ingenious. It's quality work. And there aresimply too many notes, that's all. Cut a few and it will be perfect.

MOZARTWhich few did you have in mind,Majesty?

Pause. General embarrassment.


Into this uncomfortable scene bursts a sudden eruption ofnoise and Madame Weber floods onto the stage, followed byher daughters. All turn to look at this amazing spectacle.

MADAME WEBERWolfi! Wolfi, my dear!

She moves toward Mozart with arms outstretched in an absurdtheatrical gesture, then sees the Emperor. She stares athim, mesmerized, her mouth open, unable even to curtsey.

MADAME WEBEROh!

Mozart moves forward quickly.

MOZARTMajesty, this is Madame Weber. Sheis my landlady.

JOSEPHEnchanted, Madame.

MADAME WEBEROh, Sire! such an honour! And, and,and these are my dear daughters. This is Constanze. She is the fianceeof Herr Mozart.

Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri, watching her receive it.

(CONTINUED)

41.


JOSEPHReally? How delightful. May I askwhen you marry?

MOZARTWell - Well we haven't quite receivedmy father's consent, Your Majesty. Not entirely. Not altogether.

He giggles uncomfortably.

JOSEPHExcuse me, but how old are you?

MOZARTTwenty-six.

JOSEPHWell, my advice is to marry thischarming young lady and stay with usin Vienna.

MADAME WEBERYou see? You see? I've told him that,Your Majesty, but he won't listen tome.

Cavalieri is glaring at Mozart. Mozart looks hastily awayfrom her.

MADAME WEBEROh, Your Majesty, you give suchwonderful - such impeccable - suchroyal advice. I - I - May I?

She attempts to kiss the royal hand, but faints instead. The Emperor contemplates her prone body and steps back apace.

JOSEPHWell. There it is. Strack.

He nods pleasantly to all and leaves the stage, with hisChamberlain. All bow.

Cavalieri turns with a savage look at Mozart and leaves thestage the opposite way, to her dressing room, tossing herplumed 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.

42.

51 51INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S

Katherina sits fuming at her mirror. A dresser is taking thepins out of her wig as she stares straight ahead of her. Mozart sticks his head round the door.

MOZARTKatherina! I'll tell you what I'mgoing to do. I'm going to writeanother aria for you. Something evenmore amazing for the second act. Ihave to get some water. Her motheris lying on the stage.

CAVALIERIDon't bother!

MOZARTWhat?

CAVALIERIDon't bother.

MOZARTI'll be right back.

He dashes off.


Constanze and Mozart make their way quickly through a crowdof actors in turbans and caftans, and stagehands carryingbits of the dismantled set of Seraglio. We see all the turmoilof backstage after a performance.

A fireman passes Mozart carrying a small bucket of water. Mozart snatches it from him and pushes his way through thecrowd to Madame Weber, who still lies prone on the stage.

Mozart pushes through the crowd surrounding her and throwswater on her face. She is instantly revived by the shock. Constanze assists her to rise.

CONSTANZEAre you all right?

Instead of being furious, Madame Weber smiles at themrapturously.

MADAME WEBERAh, what an evening! What a wise manwe have for an Emperor. Oh, mychildren!

(MORE)

(CONTINUED)

43.

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MADAME WEBER (CONT'D)(with sudden, hardbriskness)

Now I want you to write your fatherexactly what His Majesty said.

The activity continues to swirl around them.

MOZARTYou should really go home now, FrauWeber. Your carriage must be waiting.

MADAME WEBERBut aren't you taking us?

MOZARTI have to talk to the singers.

MADAME WEBERThat's all right; we'll wait foryou. Just don't take all night.

53 53INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S

Cavalieri, still in costume, is marching up and down, veryagitated.

CAVALIERIDid you know? Had you heard?

SALIERIWhat?

CAVALIERIThe marriage!

SALIERIWell, what does it matter to you?

CAVALIERINothing! He can marry who he pleases. I don't give a damn.

She catches him looking at her and tries to compose herself.

CAVALIERIHow was I? Tell me honestly.

SALIERIYou were sublime.

CAVALIERIWhat did you think of the music?

(CONTINUED)

44.

53 CONTINUED: 53

SALIERIExtremely clever.

CAVALIERIMeaning you didn't like it.

Mozart comes in unexpectedly.

MOZARTOh - excuse me!

CAVALIERIIs her mother still lying on thefloor?

MOZARTNo, she's fine.

CAVALIERII'm so relieved.

She seats herself at her mirror and removes her wig.

SALIERIDear Mozart, my sincerecongratulations.

MOZARTDid you like it, then?

SALIERIHow could I not?

MOZARTIt really is the best music one canhear in Vienna today. Don't you agree?

CAVALIERIIs she a good fuck?

MOZARTWhat??

CAVALIERII assume she's the virtuoso in thatdepartment. There can't be any otherreason you'd marry someone like that.

Salieri looks astonished. There is a knock on the door.

CAVALIERICome in!

The door opens. Constanze enters.

(CONTINUED)

45.


CONSTANZEExcuse me, Wolfi. Mama is not feelingvery well. Can we leave now?

MOZARTOf course.

CAVALIERINo, no, no, no. You can't take himaway now. This is his night. Won'tyou introduce us, Wolfgang?

MOZARTExcuse us, Fraulein. Good night,Signore.

Mozart hurries Constanze out of the door. Cavalieri looksafter them as they go, her voice breaking and rising out ofcontrol.

CAVALIERIYou really are full of surprises,aren't you? You are quiteextraordinary, you little shit!

She turns and collapses, crying with rage, into Salieri'sarms. We focus on him.

OLD SALIERI (V.O.)At that moment I knew beyond anydoubt. He'd had her. The Creaturehad had my darling girl.

54 54INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S

The old man speaks passionately to the priest.

OLD SALIERIIt was incomprehensible. What wasGod up to? Here I was denying allmy natural lust in order to deserveGod's gift and there was Mozartindulging his in all directions -even though engaged to be married! -and no rebuke at all! Was it possibleI was being tested? Was God expectingme to offer forgiveness in the faceof every offense, no matter howpainful? That was very possible. Allthe same, why him? Why use Mozart toteach me lessons in humility? Myheart was filling up with such hatredfor that little man. For the firsttime in my life I began to know really

(MORE)

(CONTINUED)

46.

54 CONTINUED: 54

OLD SALIERI (CONT'D)violent thoughts. I couldn't stopthem.

VOGLERDid you try?

OLD SALIERIEvery day. Sometimes for hours Iwould pray!

55 55INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S

The young Salieri is kneeling in desperation before the Cross.

SALIERIPlease! Please! Send him away, backto Salzburg. For his sake as well asmine.

CU, Christ staring from the Cross.

CUT BACK TO:

56 56INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY -1780'S

We see Leopold kneeling now not to the Cross but to ArchbishopColloredo, sitting impassively on his throne. Count Arcostands beside him. Leopold is a desperate, once-handsome manof sixty, now far too much the subservient courtier.

COLLOREDONo! I won't have him back.

LEOPOLDBut he needs to be here in Salzburg,Your Grace. He needs me and he needsyou. Your protection, yourunderstanding.

COLLOREDOHardly.

LEOPOLDOh sir, yes! He's about to make theworst mistake of his life. Some littleViennese slut is trying to trick himinto marriage. I know my son. He istoo simple to see the trap - andthere is no one there who reallycares for him.

(CONTINUED)

47.

56 CONTINUED: 56

COLLOREDOI'm not surprised. Money seems to bemore important to him than loyaltyor friendship. He has sold himselfto Vienna. Let Vienna look out forhim.

LEOPOLDSir -

COLLOREDOYour son is an unprincipled, spoiled,conceited brat.

LEOPOLDYes, sir, that's the truth. But don'tblame him. The fault is mine. I wastoo indulgent with him. But not again. Never again, I promise! I imploreyou - let me bring him back here. I'll make him give his word to serveyou faithfully.

COLLOREDOAnd how will you make him keep it?

LEOPOLDOh, sir, he's never disobeyed me inanything. Please, Your Grace, givehim one more chance.

COLLOREDOYou have leave to try.

LEOPOLDOh, Your Grace - I thank Your Grace! I thank you!

In deepest gratitude he kisses the Archbishop's hand. Hemotions Leopold to rise. We hear the first dark fortissimochord which begins the Overture to Don Giovanni: the themeassociated with the character of the Commendatore.

LEOPOLD (V.O.)My dear son.

The second fortissimo chord sounds.

57 57INT. 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 voiceover this image, no longer whining and anxious, butimpressive.

(CONTINUED)

48.

57 CONTINUED: 57

LEOPOLD (V.O.)I write to you with urgent news. Iam coming to Vienna. Take no furthersteps toward marriage until we meet. You are too gullible to see your owndanger. As you honour the father whohas devoted his entire life to yours,do as I bid, and await my coming.

MOZARTI will.

The camera pulls back to see that he is in fact kneelingbeside Constanze. A PRIEST faces them. Behind them are MadameWeber, Josefa and Sophie Weber, and a very few others. Amongthem, a merry looking lady in bright clothes: the BARONESSWALDSTADTEN.

PRIESTAnd will you, Constanze Weber, takethis man, Wolfgang to be your lawfulhusband?

CONSTANZEI will.

PRIESTI 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 Weberand her daughters look on approvingly. The music swells andcontinues under the following:

58 58INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S

There is a view of a castle in background. Leopold sits alonein his room. He is reading a letter from Wolfgang. At hisfeet are his trunks, half-packed for the journey he will notnow take. We hear Mozart's voice reading the following letterand we see, as the camera roves around the room, mementos ofthe young prodigy's early life: the little forte-piano madefor him; the little violin made for him; an Order presentedto him. We see a little starling in a wicker cage. And wesee portraits of the boy on the walls, concluding with thefamiliar family portrait of Wolfgang and his sister Nannerlseated at the keyboard with Leopold standing, and the pictureof their mother on the wall behind them.

MOZART (V.O.)Most beloved father, it is done. Donot blame me that I did not wait tosee your dear face. I knew you wouldhave tried to dissuade me from my

(MORE)

(CONTINUED)

49.

58 CONTINUED: 58

MOZART (V.O.) (CONT'D)truest happiness and I could nothave borne it. Your every word isprecious to me. Remember how youhave always told me Vienna is theCity of Musicians. To conquer hereis to conquer Europe! With my wife Ican do it. I vow I will becomeregular in my habits and productiveas never before. She is wonderful,Papa, and I know that you will loveher. And one day soon when I am awealthy man, you will come and livewith us, and we will be so happy. Ilong for that day, best of Papas,and kiss your hand a hundred thousandtimes.

The music of the Mass fades as Leopold crumples the letterin his hand.

59 59EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S

Salieri stands waiting, hat in hand. Beside him stands aroyal servant. Behind him, gardeners are glimpsed tendingthe shrubs and bushes along a grassy ride. Down this rideare seen cantering two people on horseback: the Emperor Josephand his niece, the PRINCESS ELIZABETH. They are mounted onglossy horses. The Princess rides side-saddle. Running besideher is a panting groom. The Emperor rides elegantly; hisniece, a dumpy little Hapsburg girl of sixteen, like a sackof potatoes. As they draw level with Salieri they stop, andthe groom holds the head of the Princess' horse. Salieribows respectfully.

JOSEPHGood morning, Court Composer. Thisis my niece, the Princess Elizabeth.

SALIERIYour Highness.

Out of breath, the Princess nods nervously.

JOSEPHShe has asked me to advise her on asuitable musical instructor. I thinkI've come up with an excellent idea.

He smiles at Salieri.

SALIERIOh, Your Majesty, it would be such atremendous honour!

(CONTINUED)

50.

59 CONTINUED: 59

JOSEPHI'm thinking about Herr Mozart. What is your view?

Salieri's face falls, almost imperceptibly.

SALIERIAn interesting idea, Majesty. But -

JOSEPHYes?

SALIERIYou already commissioned an operafrom Mozart.

JOSEPHAnd the result satisfies.

SALIERIYes, of course. My concern is toprotect you from any suspicion offavouritism.

JOSEPHAh-ha. Favouritism. But I so wantMozart.

SALIERII'm sure there is a way, Majesty. Some kind of a little contest. Icould perhaps put together a smallCommittee, and I could see to itnaturally that it will selectaccording to Your Majesty's wishes.

JOSEPHYou please me, Court Composer. Avery clever idea.

SALIERI(bowing)

Sire.


He rides on. The groom releases her horse's head, and runson after the Princess.

CUT TO:

51.

60 60INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S

Von Strack sits stiffly behind his gilded desk. Mozart standsbefore him, trembling with anger.

MOZARTWhat is this, Herr Chamberlain?

VON STRACKWhat is what?

MOZARTWhy do I have to submit samples ofmy work to some stupid committee? Just to teach a sixteen-year-oldgirl.

VON STRACKBecause His Majesty wishes it.

MOZARTIs the Emperor angry with me?

VON STRACKOn the contrary.

MOZARTThen why doesn't he simply appointme to the post?

VON STRACKMozart, you are not the only composerin Vienna.

MOZARTNo, but I'm the best.

VON STRACKA little modesty would suit youbetter.

MOZARTWho is on this committee?

VON STRACKKapellmeister Bonno, Count Orsini-Rosenberg and Court Composer Salieri.

MOZARTNaturally, the Italians! Of course! Always the Italians!

VON STRACKMozart -

(CONTINUED)

52.

60 CONTINUED: 60

MOZARTThey hate my music. It terrifiesthem. The only sound Italiansunderstand is banality. Tonic anddominant, tonic and dominant, fromhere to Resurrection!

(singing angrily)Ba-ba! Ba-ba! Ba-ba! Ba-ba! Anythingelse is morbid.

VON STRACKMozart -

MOZARTShow them one interesting modulationand they faint. Ohime! Morbidezza! Morbidezza! Italians are musicalidiots and you want them to judge mymusic!

VON STRACKLook, young man, the issue is simple. If you want this post, you must submityour stuff in the same way as allyour colleagues.

MOZARTMust I? Well, I won't! I tell youstraight: I will not!

CUT TO:

61 61INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S

The room is very small and untidy. Constanze is marching upand down it, upset. Mozart is lying on the bed.

CONSTANZEI think you're mad! You're reallymad!

MOZARTOh, leave me alone.

CONSTANZEOne royal pupil and the whole ofVienna will come flocking. We'd beset up for life!

MOZARTThey'll come anyway. They love mehere.

(CONTINUED)

53.

61 CONTINUED: 61

CONSTANZENo, they will not. I know how thingswork in this city.

MOZARTOh yes? You always know everything.

CONSTANZEWell, I'm not borrowing any moremoney from my mother, and that'sthat!

MOZARTYou borrowed money from your mother?

CONSTANZEYes!

MOZARTWell, don't do that again!

CONSTANZEHow are we going to live, Wolfi? Doyou want me to go into the streetsand beg?

MOZARTDon't be stupid.

CONSTANZEAll they want to see is your work. What's wrong with that?

MOZARTShut up! Just shut up! I don't needthem.

CONSTANZEThis isn't pride. It's sheerstupidity!

She glares at him, almost in tears.

CUT TO:

62 62INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S

Salieri is giving a lesson to a girl student, who is singingthe Italian art song, Caro Mio Ben.

There is a knock on the door.

SALIERIYes.

(CONTINUED)

54.

62 CONTINUED: 62

A SERVANT enters.

SERVANTExcuse me, sir, there is a lady whoinsists on talking to you.

SALIERIWho is she?

SERVANTShe didn't say. But she says it'surgent.

SALIERI(to the pupil)

Excuse me, my dear.

Salieri goes into the salon.

CUT TO:

63 63INT. THE SALON - LATE AFTERNOON - 1780'S

Constanze stands, closely veiled, holding a portfolio stuffedwith manuscripts. The singing lesson ends, with two chordson the instrument. Salieri enters the salon. Constanze dropshim a shy curtsey.

CONSTANZEExcellency!

SALIERIMadame. How can I help you?

Shyly, she unveils.

SALIERIFrau Mozart?

CONSTANZEThat's right, Your Excellency. I'vecome on behalf of my hus band. I'm -I'm bringing some samples of hiswork so he can be considered for theroyal appointment.

SALIERIHow charming. But why did he notcome himself?

CONSTANZEHe's terribly busy, sir.

SALIERII understand.

(CONTINUED)

55.

63 CONTINUED: 63

He takes the portfolio and puts it on a table.

SALIERII will look at them, of course, themoment I can. It will be an honour. Please give him my warmest.

CONSTANZEWould it be too much trouble, sir,to ask you to look at them now? While I wait.

SALIERII'm afraid I'm not at leisure thisvery moment. Just leave them withme. I assure you they will be quitesafe.

CONSTANZEI - I really cannot do that, YourExcellency. You see, he doesn't knowI'm here.

SALIERIReally?

CONSTANZEMy husband is a proud man, sir. Hewould be furious if he knew I'd come.

SALIERIThen he didn't send you?

CONSTANZENo, sir. This is my own idea.

SALIERII see.

CONSTANZESir, we really need this job. We'redesperate. My husband spends farmore than he can ever earn. I don'tmean he's lazy - he's not at all -heworks all day long. It's just! he'snot practical. Money simply slipsthrough his fingers, it's reallyridiculous, Your Excellency. I knowyou help musicians. You're famousfor it. Give him just this one post. We'd be forever indebted!

A short pause.

(CONTINUED)

56.


SALIERILet me offer you some refreshment. Do you know what these are?

He indicates a dish piled high with glazed chestnuts.

SALIERICappezzoli di Venere. Nipples ofVenus. Roman chestnuts in brandiedsugar. Won't you try one? They'requite surprising.

He offers her the dish. She takes one and puts it in hermouth. He watches carefully.

CONSTANZEOh! They're wonderful.

He takes one himself. We notice on his finger a heavy goldsignet-ring.

CONSTANZEThank you very much, Your Excellency.

SALIERIDon't keep calling me that. It putsme at such a distance. I was notborn a Court Composer, you know. I'm from a small town, just likeyour husband.

He smiles at her. She takes another chestnut.

SALIERIAre you sure you can't leave thatmusic, and come back again? I haveother things you might like.

CONSTANZEThat's very tempting, but it'simpossible, I'm afraid. Wolfi wouldbe frantic if he found those weremissing. You see, they're alloriginals.

SALIERIOriginals?

CONSTANZEYes.

A pause. He puts out his hand and takes up the portfoliofrom the table. He opens it. He looks at the music. He ispuzzled.

(CONTINUED)

57.


SALIERIThese are originals?

CONSTANZEYes, sir. He doesn't make copies.

CUT TO:


The old man faces the Priest.

OLD SALIERIAstounding! It was actually beyondbelief. These were first and onlydrafts of music yet they showed nocorrections of any kind. Not one. Do you realize what that meant?

Vogler stares at him.

OLD SALIERIHe'd simply put down music alreadyfinished in his head. Page afterpage of it, as if he was just takingdictation. And music finished as nomusic is ever finished.

65 65INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S

CU, The manuscript in Mozart's handwriting. The music beginsto sound under the following:

OLD SALIERI (V.O.)Displace one note and there would bediminishment. Displace one phrase,and the structure would fall. It wasclear to me. That sound I had heardin the Archbishop's palace had beenno accident. Here again was the veryvoice of God! I was staring throughthe cage of those meticulous ink-strokes at an absolute, inimitablebeauty.

The music swells. What we now hear is an amazing collage ofgreat passages from Mozart's music, ravishing to Salieri andto us. The Court Composer, oblivious to Constanze, who sitshappily chewing chestnuts, her mouth covered in sugar, walksaround and around his salon, reading the pages and droppingthem on the floor when he is done with them. We see hisagonized and wondering face: he shudders as if in a roughand tumbling sea; he experiences the point where beauty andgreat pain coalesce. More pages fall than he can read,

(CONTINUED)

58.

65 CONTINUED: 65

scattering across the floor in a white cascade, as he circlesthe room.

Finally, we hear the tremendous Qui Tollis from the Mass inC Minor. It seems to break over him like a wave and, unableto bear any more of it, he slams the portfolio shut. Instantly, the music breaks off, reverberating in his head. He stands shaking, staring wildly. Constanze gets up,perplexed.

CONSTANZEIs it no good?

A pause.

SALIERIIt is miraculous.

CONSTANZEOh yes. He's really proud of hiswork.

Another pause.

CONSTANZESo, will you help him?

Salieri tries to recover himself.

SALIERITomorrow night I dine with theEmperor. One word from me and thepost is his.

CONSTANZEOh, thank you, sir!

Overjoyed, she stops and kisses his hand. He raises her -and then clasps her to him clumsily. She pushes herself away.

SALIERICome back tonight.

CONSTANZETonight?

SALIERIAlone.

CONSTANZEWhat for?

SALIERISome service deserves service inreturn. No?

(CONTINUED)

59.


CONSTANZEWhat do you mean?

SALIERIIsn't it obvious?

They stare at one another: Constanze in total disbelief.

SALIERIIt's a post all Vienna seeks. If youwant it for your husband, cometonight.

CONSTANZEBut! I'm a married woman!

SALIERIThen don't. It's up to you. Not tobe vague, that is the price.

He glares at her.

SALIERIYes.

He rings a silver bell for a servant and abruptly leaves theroam. Constanze stares after him, horrified.

The servant enters. Shocked and stunned, Constanze goes downan her knees and starts picking up the music from the floor.

CUT TO:


CU, Father Vogler, horrified.

OLD SALIERIYes, Father. Yes! So much for my vowof chastity. What did it matter? Good, patient, hard-working, chaste -what did it matter? Had goodnessmade me a good composer? I realizedit absolutely then - that moment:goodness is nothing in the furnaceof art. And I was nothing to God.

VOGLER(crying out)

You cannot say that!

OLD SALIERINo? Was Mozart a good man?

(CONTINUED)

60.

66 CONTINUED: 66

VOGLERGod's ways are not yours. And youare not here to question Him. Offerhim the salt of penitence. He willgive you back the bread of eternallife. He is all merciful. That isall you need to know.

OLD SALIERIAll I ever wanted was to sing toHim. That's His doing, isn't it? Hegave me that longing - then made memute. Why? Tell me that. If He didn'twant me to serve Him with music, whyimplant the desire, like a lust inmy body, then deny me the talent? Goon, tell me! Speak for Him!

VOGLERMy son, no one can speak for God.

OLD SALIERIOh? I thought you did so every day. So speak now. Answer me!

VOGLERI do not claim to unravel themysteries. I treasure them. As youshould.

OLD SALIERI(impatiently)

Oh yes, yes, yes, yes, yes! Alwaysthe same stale answers!

(intimately to thepriest)

There is no God of Mercy, Father. Just a God of torture.

CUT TO:

67 67INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S

Salieri sits at his desk, staring up at the cross.

OLD SALIERI (V.O.)Evening came to that room. I satthere not knowing whether the girlwould return or not. I prayed as I'dnever prayed before.

SALIERIDear God, enter me now. Fill me withone piece of true music. One piece

(MORE)

(CONTINUED)

61.

67 CONTINUED: 67

SALIERI (CONT'D)with your breath in it, so I knowthat you love me. Please. Just one. Show me one sign of your favour, andI will show mine to Mozart and hiswife. I will get him the royalposition, and if she comes, I'llreceive her with all respect andsend her home in joy. Enter me! Enterme! Please! Te imploro.

Long, long silence. Salieri stares at the cross. Christ staresback at him impassively. Finally in this silence we hear afaint knocking at the door. Salieri stirs himself. A servantappears.

SERVANTThat lady is back, sir.

SALIERIShow her in. Then go to bed.

The Servant bows and leaves. We follow him through:

68 68INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S

The Servant crosses it and enters:

69 69INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S

Constanze is sitting on an upright chair, veiled as before,the portfolio of music on her lap. Through the far doorleading from the hall, another servant is peering at her. The first servant joins him and shuts the door on the girl,leaving her alone.

We stay with her. The clock ticks on the mantelpiece. Wehear an old carriage pass in the street below. Nervously shelifts her veil and looks about her.

Suddenly Salieri appears from the music room. He is pale andvery tight. They regard each other. She smiles and rises togreet him, affecting a relaxed and warm manner, as if to puthim at his ease.

CONSTANZEWell, I'm here. My husband has goneto a concert. He didn't think I wouldenjoy it.

A pause.

CONSTANZEI do apologize for this afternoon.

(MORE)

(CONTINUED)

62.

69 CONTINUED: 69

CONSTANZE (CONT'D)I behaved like a silly girl. Whereshall we go?

SALIERIWhat?

CONSTANZEShould we stay here? It's a charmingroom. I love these candlesticks. Were they here earlier? I didn'tnotice them I suppose I was toonervous.

As she talks, she extinguishes the candles in a pair ofVenetian candelabra and subsequently other candles aroundthe room.

CONSTANZEWolfgang was given some candlesticksby King George in England, but theywere only wood. Oh, excuse me. Let'snot talk about him. What do you thinkof this? It's real lace. Brussels.

She turns and takes off her shawl.

CONSTANZEWell, it's much too good for everyday. I keep saying to Wolfi, don'tbe so extravagant. Presents arelovely, but we can't afford them. It doesn't do any good. The more Itell him, the more he spends. Oh,excuse me! There I go again.

She picks up the portfolio.

CONSTANZEDo you still want to look at this? Or don't we need to bother anymore? I imagine we don't, really.

She looks at him inquiringly, and drops the portfolio on thefloor; pages of music pour out of it. Instantly we hear amassive chord, and the great Qui Tollis from the Mass in CMinor fills the room. To its grand and weighty sound,Constanze starts to undress, watched by the horrified Salieri. Between him and her, music is an active presence, hurtingand baffling him. He opens his mouth in distress. The musicpounds in his head. The candle flickers over her as sheremoves her clothes and prepares for his embrace. Suddenlyhe cries out.

(CONTINUED)

63.


SALIERIGo! Go! Go!

He snatches up the bell and shakes it frantically, notstopping until the two servants we saw earlier appear at thedoor. The music stops abruptly. They stare at the appalledand frightened Constanze, who is desperately trying to coverher nakedness.

SALIERIShow this woman out!

Constanze hurls herself at him.

CONSTANZEYou shit! You shit! You rotten shit!

He seizes her wrists and thrusts her back. Then he leavesthe room quickly, slamming the door behind him. Constanzeturns and sees the two servants goggling at her in the room.

CONSTANZEWhat are you staring at?

Wildly, she picks up the candelabrum and throws it at them. It shatters on the floor.


CU, Salieri standing, his eyes shut, shaking in distress. He opens them and sees Christ across the room, staring athim from the wall.

OLD SALIERI (V.O.)From now on, we are enemies, You andI!

CUT TO:


The old man is reliving the experience. Vogler looks at him,horrified.

OLD SALIERIBecause You will not enter me, withall my need for you; because Youscorn my attempts at virtue; becauseYou choose for Your instrument aboastful, lustful, smutty infantileboy and give me for reward only theability to recognize the Incarnation;because You are unjust, unfair,unkind, I will block You!

(MORE)

(CONTINUED)

64.

71 CONTINUED: 71

OLD SALIERI (CONT'D)I swear it! I will hinder and harmYour creature on earth as far as Iam able. I will ruin Your Incarnation.

CUT BACK TO:


CU, the fireplace. In it lies the olivewood Christ on thecross, burning.

OLD SALIERI (V.O.)What use after all is Man, if not toteach God His lessons?

The cross flames up and disintegrates. Salieri stares at it.

CUT TO:

73 73INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S

The front door bursts open. Mozart stumbles in, followed byEMMANUEL SCHIKANEDER, three young actresses, and anotherman, all fairly drunk. Schikaneder (who appears everywhereaccompanied by young girls) is a large, fleshy, extravagantman of about thirty-five.

MOZARTStanzi! Stanzi! Stanzi-Manzi!

The others laugh.

MOZARTSssh!

SCHIKANEDER(imitating Mozart)

Stanzi-Manzi-Banzi-Wanzi!

MOZARTSssh! Stay here.

He walks unsteadily to the bedroom door and opens it.

SCHIKANEDER(to the girls, verytipsy)

Sssh! You're dishgrashful!

74 74INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S

Constanze lies in bed, her back turned to her husband, whocomes into the room and shuts the door.

(CONTINUED)

65.

74 CONTINUED: 74

MOZART(playfully)

Stanzi? How's my mouse? Mouse-wouse? I'm back - puss-wuss is back!

She turns around abruptly. She looks dreadful; her eyes redwith weeping. Mozart is shocked.

MOZARTStanzi!

He approaches the bed and sits on it. Immediately she startscrying again, desperately.

MOZARTWhat's the matter? What is it? Stanzi!

He holds her and she clings to him in a fierce embrace, cryinga flood of tears.

MOZARTStop it now. Stop it. I've broughtsome friends to meet you. They'renext door waiting. Do we have anythingto eat? They're all starving.

CONSTANZETell them to go away. I don't wantto see anybody.

MOZARTWhat's the matter with you?

CONSTANZETell them to go!

MOZARTSssh. What is it? Tell me.

CONSTANZENo!

MOZARTYes!

CONSTANZEI love you! I love you!

She starts crying again, throwing her arms around his neck.

CONSTANZEI love you. Please stay with me. I'mfrightened.

66.

75 75INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S

Joseph sits eating. A butler serves him goat's milk to drink. Joseph is holding a memorandum from Salieri in his hand. Salieri stands before him.

JOSEPHI don't think you understand me,Court Composer.

SALIERIMajesty, I did. Believe me, it was amost agonizing. decision. But finally,I simply could not recommend HerrMozart.

JOSEPHWhy not?

SALIERIWell, Sire, I made some inquiries ina routine way. I was curious to knowwhy he had so few pupils. It is ratheralarming.

JOSEPHOh?

With a gesture Joseph dismisses the butler, who bows andleaves the room.

SALIERIMajesty, I don't like to talk againsta fellow musician.

JOSEPHOf course not.

SALIERII have to tell you, Mozart is notentirely to be trusted alone withyoung ladies.

JOSEPHReally?

SALIERIAs a matter of fact, one of my ownpupils - a very young singer - toldme she was - er - well!

JOSEPHYes?

(CONTINUED)

67.

75 CONTINUED: 75

SALIERIMolested, Majesty. Twice, in thecourse of the same lesson.

A pause.

JOSEPHAh-ha. Well. There it is.

76 76INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S

Salieri has just returned from the palace and is coming upthe staircase. He is met by his servant.

SERVANTSir, there is a Herr Mozart waitingfor you in the salon.

Salieri is plainly alarmed.

SALIERIWhat does he want?

SERVANTHe didn't say, sir. I told him Ididn't know when you would be back,but he insisted on waiting.

SALIERICome with me. And stay in the room.

He mounts the stairs.

77 77INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S

Mozart is waiting for Salieri, holding a portfolio. Salieriapproaches him nervously. Mozart stands not belligerently,but humbly.

SALIERIHerr Mozart, what brings you here?

MOZARTYour Excellency, you requested somespecimens of my work. Here they are. I don't have to tell you how much Ineed your help. I truly appreciateyour looking at these. I havepressures on me - financial pressures. As you know,

Documents

Amadeus (1984) Shooting Script