More info about this =
movie on=20
IMDb.com1 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=20
SALIERI. He uses a mixture of English and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! =20
Mozart!
A faint light illuminates the screen. Flickeringly, we see an =
eighteenth century=20
balustrade and a flight of stone stairs. We are looking down into the =
wall of the=20
staircase from the point of view of the landing. Up the stair is coming =
a branched=20
candlestick held by Salieri's VALET. By his side is Salieri's COOK, =
bearing a=20
large dish of sugared cakes and biscuits. Both men are desperately =
worried: the=20
Valet is thin and middle-aged; the Cook, plump and Italian. It is very =
cold. They=20
wear shawls over their night-dresses and clogs on their feet. They =
wheeze as they=20
climb. The candles throw their shadows up onto the peeling walls of the =
house,=20
which is evidently an old one and in bad decay. A cat scuttles swiftly =
between=20
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=20
volume.
OLD SALIERI
Show some mercy! I beg you. I beg you! Show mercy to a guilty=20
man!
The Valet knocks gently on the door. The voice stops.
VALET
Open the door, Signore! Please! Be good now! We've brought=20
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=20
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=20
to the Cook and takes a sugared cake from the dish, scrambling as =
quickly as he=20
can back down the stairs.
2 EXT. THE STREET OUTSIDE SALIERI =D4S HOUSE - VIENNA - NIGHT 2
The street is filled with people: ten cabs with drivers, five children, =
fifteen adults,=20
two doormen, fifteen dancing couples and a sled and three dogs. It is =
a windy=20
night. Snow is falling and whirling about. People are passing on foot, =
holding=20
their cloaks tightly around them. Some of them are revelers in fancy =
dress: they=20
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=20
the street is open and Old Salieri stands there calling to the sky: a =
sharp-featured,=20
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=20
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=20
cake. The wind catches at his shawl.
OLD SALIERI
Mozart, perdonami! Forgive your assassin! Piet=88! Piet=88! Forgive=20
your assassin! Forgive me! Forgive! Forgive!
VALET
(looking up to the window)
That's all right, Signore! He heard you! He forgave you! He=20
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=20
watching this spectacle.
VALET
Come on, Signore! Look what I have for you! I can't give it to=20
you from down here, can I?
Old Salieri looks at him in contempt. Then he turns away back into the =
room,=20
shutting the window with a bang. Through the glass, the old man stares =
down at=20
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,=20
you know.
He makes a sign indicating =D4crazy,' and goes back inside the house. =
The onlookers=20
keep staring.
CUT TO:
3 INT. LANDING OUTSIDE OLD SALIERI =D4S SALON - NIGHT 3
The Cook is standing holding the candlestick in one hand, the dish of =
cakes in the=20
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=20
ate, believe me! Signore, you don't know what you're missing! =20
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. =20
There'll be nothing left for you. And I'm not going to bring you=20
anything more.
He looks down. From under the door we see a trickle of blood flowing. =
In horror,=20
the two men stare at it. The dish of cakes falls from the Cook =D4s =
hand and shatters.=20
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=20
=D2Little 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=20
cut his throat but is still alive. He gestures at them. They run to =
him. Barely, we=20
glimpse the room - an old chair, old tables piled with books, a =
forte-piano, a=20
chamber-pot on the floor - as the Valet and the Cook struggle to lift =
their old=20
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=20
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=20
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=20
in beside his patient. The driver whips up the horse, and the wagon =
dashes off=20
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=20
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=20
man of about forty, concerned, but somewhat self-important. This is =
Father=20
VOGLER, Chaplain at the hospital. In the corridor as they walk, we note =
several=20
patients -- some of them visibly disturbed mentally. All patients wear =
white linen=20
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=20
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,=20
a table with candles, chairs, a small forte-piano of the early =
nineteenth century. As=20
Vogler enters, Old Salieri is sitting in a wheel-chair, looking out the =
window. His=20
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=20
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=20
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=20
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=20
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,=20
dressed in an elaborate mythological Persian costume, singing on stage. =
She's near=20
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=20
alone. What about this little thing?
Slyly he plays the opening measure of Mozart's Eine Kleine Nachtmusik. =
The priest=20
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=20
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=20
world.
VOGLER
For God's sake, my son, if you have anything to confess, do it=20
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=20
name! When I was only fourteen he was already famous. Even in=20
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=20
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=20
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=20
pile of books, playing the harpsichord for the POPE and a suite of =
CARDINALS=20
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. =20
Not of the brilliant little prodigy himself, but of his father, who=20
had taught him everything.
The piece finishes. Leopold lowers the lid of the harpsichord and lifts =
up his little=20
son to stand on it. Mozart removes the blindfold to show a pale little =
face with=20
staring eyes. Both father and son bow. A Papal Chamberlain presents =
Leopold=20
with a gold snuff box whilst the cardinals decorously applaud. Over =
this scene Old=20
Salieri speaks.
OLD SALIERI
(V.O.)
My father did not care for music. He wanted me only to be a=20
merchant, like himself. As anonymous as he was. When I told=20
how I wished I could be like Mozart, he would say, =D2Why? Do=20
you want to be a trained monkey? Would you like me to drag=20
you around Europe doing tricks like a circus freak? How could I=20
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=20
of boys with organ accompaniment. We see the outside of the =
17th-century church=20
sitting in the wide landscape of Lombardy: sunlit fields, a dusty, =
white road,=20
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=20
his plump and placid parents in the congregation, listening in rapture. =
His father is=20
a heavy-looking, self-approving man, obviously indifferent to the music. =
A large=20
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=20
to falling.
The boy falls forward on his knees. So do his parents and the other =
members of=20
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=20
would offer up secretly the proudest prayer a boy could think of. =20
=D2Lord, make me a great composer! Let me celebrate your glory=20
through music - and be celebrated myself! Make me famous=20
through the world, dear God! Make me immortal! After I die let=20
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=20
humility, every hour of my life. And I will help my fellow man=20
all I can. Amen and amen!
The music swells to a crescendo. The candles flare. We see the Christ =
through the=20
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=20
Salieri family at dinner. Father Salieri sits at the head of the table, =
a napkin tucked=20
into his chin. Mother Salieri is serving the fish into portions and =
handing them=20
round. Two maiden aunts are in attendance, wearing black, and of course =
the=20
young boy. Father Salieri receives his plate of fish and starts to eat =
greedily. =20
Suddenly there is a gasp - he starts to choke violently on a fish bone. =
All the=20
women get up and crowd around him, thumping and pummeling him, but it is =
in=20
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, =D2Go. Study music if you really want to. =20
Off with you! And off I went as quick as I could and never saw=20
Italy again. Of course, I knew God had arranged it all; that was=20
obvious. One moment I was a frustrated boy in an obscure little=20
town. The next I was here, in Vienna, city of musicians, sixteen=20
years old and studying under Gluck! Gluck, Father. Do you=20
know who he was? The greatest composer of his time. And he=20
loved me! That was the wonder. He taught me everything he=20
knew. And when I was ready, introduced me personally to the=20
Emperor! Emperor Joseph - the musical king! Within a few=20
years I was his court composer. Wasn't that incredible? Imperial=20
Composer to His Majesty! Actually the man had no ear at all,=20
but what did it matter? He adored my music, that was enough. =20
Night after night I sat right next to the Emperor of Austria,=20
playing duets with him, correcting the royal sight-reading. Tell=20
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=20
of virtue. I kept my hands off women, worked hours every day=20
teaching students, many of them for free, sitting on endless=20
committees to help poor musicians - work and work and work,=20
that was all my life. And it was wonderful! Everybody liked me. =20
I liked myself. I was the most successful musician in Vienna. =20
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=20
in the background. Thirteen members of the Archbishop's orchestra - all =
wind=20
players, complete with 18th-century wind instruments: elaborate-looking =
bassoons,=20
basset horns, etc. and wearing their employer's livery - are laying out =
music on=20
stands at one end of the room. At the other end is a large gilded =
chair, bearing the=20
arms of the ARCHBISHOP OF SALZBURG. A throng of people is standing,=20
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. =20
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=20
clothes and clean white linen, walking through the crowd of guests. We =
follow=20
him.
OLD SALIERI
(V.O.)
As I went through the salon, I played a game with myself. This=20
man had written his first concerto at the age of four; his first=20
symphony at seven; a full-scale opera at twelve. Did it show? Is=20
talent like that written on the face?
We see shots of assorted young men staring back at Salieri as he moves =
through the=20
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=20
bearing a large tray of cakes and pastries stalks past. Instantly =
riveted by the sight=20
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. =20
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=20
plates of confectionery. It is, in fact, Salieri's idea of paradise! =
The servant puts his=20
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=20
particular by a huge pile of dark chocolate balls arranged in the shape =
of a=20
pineapple. He reaches out a hand to steal one of the balls, but at the =
same moment=20
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=20
hides herself behind one of the tables.
After a beat of total silence, MOZART runs into the room, stops, and =
looks=20
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=20
all fours and starts crawling across the floor, meowing and hissing like =
a naughty=20
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=20
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=20
and bangs his staff on the floor for attention. Immediately COLLOREDO,=20
Prince-Archbishop of Salzburg enters. He is a small self-important =
figure of fifty=20
in a wig, surmounted by a scarlet skullcap. He is followed by his =
Chamberlain, the=20
Count ARCO. Everyone stands. The Archbishop goes to his throne and =
sits. His=20
guests sit also. Arco gives the signal to start the music. Nothing =
happens. Instead,=20
a wind musician gets up, approaches the Chamberlain and whispers in his =
ear. Arco=20
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=20
watching. There is puzzlement and a murmur of comment. The Archbishop=20
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=20
Constanze. We hear her giggling as he talks.
MOZART
Miaouw! Miaouw! Mouse-wouse? It's Puss-wuss, fangs-wangs. =20
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=20
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=20
about this man.
MOZART
Go ahead, tell him. Tell them all. They won't understand you=20
anyway.
CONSTANZE
Why not?
MOZART
Because here everything goes backwards. People walk backwards,=20
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. =D2Sra-I'm-sick Say it=20
backwards!
CONSTANZE
(working it out)
Sra-I'm-sick. Sick - =D2kiss I'm - =D2my =D2Kiss my! Sra-I'm-
sick - =D2Kiss 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 - =D2marry Em - =D2marry me! No, no! You're a fiend. =20
I'm not going to marry a fiend. A dirty fiend at that.
MOZART
Ui-vol-i-tub!
CONSTANZE
Tub - =D2but i-tub - =D2but I vol - =D2love =D2But I love ui -=20
=D2you. I love you!
The mood becomes suddenly softer. She kisses him. They embrace. Then =
he=20
spoils it.
MOZART
Tish-I'm tee. What's that?
CONSTANZE
What?
MOZART
Tish-I'm-tee.
CONSTANZE
=D2Eat
MOZART
Yes.
CONSTANZE
Eat my - ah!
Shocked, she strikes at him. At the same moment the music starts in the =
salon=20
next door. We hear the opening of the Serenade for Thirteen Wind =
Instruments, K.=20
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=20
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=20
wind-musicians. Guests turn around as Mozart appears - bowing to the=20
Archbishop - and walks with an attempt at dignity to the dais where the =
wind=20
band is playing. The leader yields his place to the composer and Mozart =
smoothly=20
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. =20
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=20
wind instrumentalists. The =D2squeezebox opening of the movement =
begins. =20
Salieri appears at the door at the back of the salon. He stares in =
disbelief at=20
Mozart.
OLD SALIERI
(V.O.)
So that was he! That giggling, dirty-minded creature I'd just seen=20
crawling on the floor. Mozart. The phenomenon whose legend=20
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=20
changes into applause. Salieri opens his eyes.
The audience is clearly delighted. Mozart bows to them, also delighted. =
=20
Colloredo rises abruptly, and without looking at Mozart or applauding =
and leaves=20
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=20
fascination. As they disappear, he steals toward the music stands, =
unable to help=20
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=20
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=20
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=20
waiting for you there patiently. I will speak to you further when I=20
come.
MOZART
No, Your Grace! I mean with all humility, no. I would rather=20
you dismissed me. It's obvious I don't satisfy.
COLLOREDO
Then try harder, Mozart. I have no intention of dismissing you. =20
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=20
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=20
standing outside the private apartment. At sight of the composer they =
break into=20
sustained applause. Mozart is suddenly delighted. He throws the door =
wide open=20
so that the guests can see into the private apartment where the =
Archbishop sits -=20
and he can see them. Colloredo is clearly discomfited by this reception =
of his=20
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=20
giggling, and encouraging the applause for the Archbishop with =
conducting ges-
tures. Suddenly irritated, Colloredo signs to Arco, who steps forward =
and shuts=20
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. =20
He turns the pages back to the slow movement. Instantly, we again hear =
its lyrical=20
strains.
CU, Salieri, reading the score of the Adagio in helpless fascination. =
The music is=20
played against his description of it.
OLD SALIERI
(V.O.)
Extraordinary! On the page it looked nothing. The beginning =20
simple, almost comic. Just a pulse - bassoons and basset horns -=20
like a rusty squeezebox. Then suddenly - high above it - an=20
oboe, a single note, hanging there unwavering, till a clarinet took=20
over and sweetened it into a phrase of such delight! This was no=20
composition by a performing monkey! This was a music I'd never=20
heard. Filled with such longing, such unfulfillable longing, it had=20
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=20
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? =20
It was not to be believed! This piece had to be an accident. It=20
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=20
goat's milk. He is an intelligent, dapper man of forty, wearing a =
military uniform. =20
Around him but standing, are his Chamberlain, JOHANN VON STRACK: stiff=20
and highly correct. COUNT ORSINI-ROSENBERG: a corpulent man of sixty,=20
highly conscious of his position as Director of the Opera. BARON VON=20
SWIETEN, the Imperial Librarian: a grave but kindly and educated man in =
his=20
mid-fifties. FIRST KAPELLMEISTER GIUSEPPE BONNO: very Italian,=20
cringing and time-serving, aged about seventy. And Salieri, wearing =
decorous=20
black, as usual.
At a side-table, two Imperial secretaries, using quill pens and =
inkstands, write down=20
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=20
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=20
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. =20
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=20
is still in the pay of the Archbishop.
JOSEPH
Very small pay, I imagine. I'm sure he could be tempted with the=20
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. =20
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=20
art, solamente. German is - scusate - too bruta for singing, too=20
rough.
JOSEPH
Ah-ha. Court Composer, what do you say?
SALIERI
I think it is an interesting notion to keep Mozart in Vienna,=20
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=20
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=20
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=20
desk, on which stands a pile of music paper, quill pens and ink. On one =
side of=20
him is an open forte-piano on which he occasionally tries notes from =
the march he=20
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=20
which is a box covered with a napkin. She has just come from the =
baker's shop.
SALIERI
Ah! Here she comes. Fra=9Flein 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=20
to the baker.
LORL
I will, sir.
He takes a biscuit and eats.
SALIERI
Thank you. Are you well today, Fra=9Flein Lorl?
LORL
Yes, thank you, sir.
SALIERI
Bene! Bene!
She gives a little curtsey, flattered and giggling and is shown out. =
Salieri turns back=20
to his work, chewing. He plays through a complete line of the march. =
He smiles,=20
pleased with the result.
SALIERI
Grazie, Signore.
He inclines his head to the Christ above the fireplace, and starts to =
play the whole=20
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=20
of them holding another wig, equally extravagant. Mozart takes off the =
first wig,=20
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=20
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=20
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=20
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=20
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, =D2Good 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=20
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=20
he comes in?
SALIERI
You do me too much honour, Sire.
JOSEPH
Let's have some fun. (to the waiting Majordomo) Bring in Herr=20
Mozart, please. But slowly, slowly. I need a minute to practice.
The Majordomo bows and goes. The Emperor addresses himself to the =
march. =20
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=20
the salon door. He is followed by a bewildered Mozart, dressed very =
stylishly and=20
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. =20
All the courtiers stand, listening with admiration. Joseph plays well, =
but applies=20
himself fiercely to the manuscript. Mozart, still bewildered, regards =
the scene, but=20
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=20
and holds it in his hand for the rest of the scene.
JOSEPH
Gentlemen, gentlemen, a little less enthusiasm, I beg you. Ah,=20
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=20
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=20
giving the most brilliant little concert here. As he got off the=20
stool, he slipped and fell. My sister Antoinette helped him up=20
herself, and do you know what he did? Jumped straight into her=20
arms and said, =D2Will 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=20
that March of Welcome for you.
MOZART
(speaking expertly)
Really? Oh, grazie, Signore! Sono commosso! E un onore per mo=20
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=20
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=20
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=20
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=20
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=20
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=20
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=20
highly moral, Majesty. It's full of proper German virtues. I swear=20
it. Absolutely!
JOSEPH
Well, I'm glad to hear that.
SALIERI
Excuse me, Sire, but what do you think these could be? Being a=20
foreigner, I would love to learn.
JOSEPH
Cattivo again, Court Composer. Well, tell him, Mozart. Name=20
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=20
male sopranos screeching. Stupid fat couples rolling their eyes=20
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=20
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=20
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=20
forte-piano and seats himself. The others, except for Salieri, gather =
around the=20
manuscript held by the King. Mozart plays the first half of the march =
with deadly=20
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=20
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=20
celebrated march to be used later in The Marriage of Figaro, =D2Non Piu =
Andrai. He=20
plays it with increasing abandon and virtuosity. Salieri watches with a =
fixed smile=20
on his face. The court watches, astonished. He finishes in great =
glory, takes his=20
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,=20
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=20
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=20
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=20
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=20
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=20
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=20
of taste.
He strikes the chord again, firmly. Cavalieri sings her next scale, =
then another one,=20
and another one, doing her exercises in earnest. As she hits a =
sustained high note=20
the orchestral accompaniment in the middle of =D2Martern Aller Arten =
from Il=20
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=20
merely turbaned, but painted and dressed totally in a Turkish manner, =
and we are=20
on:
50 INT. OPERA STAGE - VIENNA - 1780's 50
The heroine of the opera (Cavalieri) is in full cry addressing the Pasha =
with scorn=20
and defiance.
The house is full. Watching the performance - which is conducted by =
Mozart=20
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=20
another box we see an overdressed, middle-aged woman and three girls, =
one of=20
whom is Constanze. This is the formidable MADAME WEBER and her three=20
daughters, Constanze, JOSEFA and SOPHIE. All are enraptured by the =
spectacle=20
and Madame Weber is especially enraptured by being there at all. Not =
so, Salieri,=20
who sits in another box, coldly watching the stage.
Cavalieri is singing =D2Martern aller Arten from the line Doch du bist =
entschlossen.
CAVALIERI
=D2Since 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=20
at each other - he conducting elaborately for her benefit, and she =
following his=20
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=20
there she stood on stage for all to see. Showing off like the=20
greedy songbird she was. Ten minutes of ghastly scales and=20
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=20
to my vow. I swear to you I never laid a finger on her. All the=20
same, I couldn't bear to think of anyone else touching her - least=20
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=20
stage. Mozart is conducting with happy excitement.
CAST OF SERAGLIO
(singing)
=D2Pasha 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=20
his lead - so do the courtiers. The curtains part. Mozart applauds the =
singers who=20
applaud him back. He skips up onto the stage amongst them. The =
curtains fall=20
again as they all bow. In the auditorium, the chandeliers descend, =
filling it with=20
light.
53 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 53
The curtains are down, and an excited hubbub of singers in costume =
surround=20
Mozart and Cavalieri, all excited and chattering. Suddenly a hush. The =
Emperor=20
is seen approaching from the wings, lit by flunkies holding candles. =
Von Strack,=20
Orsini-Rosenberg and Von Swieten, amongst others, follow him. Also =
Salieri. The=20
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=20
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=20
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=20
insupportable!
CONSTANZE
Mother, please!
MADAME WEBER
Go ahead, Constanze. Just ignore this fellow. (pushing her) Go=20
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=20
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=20
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=20
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=20
stops in difficulty; to Orsini-Rosenberg) How shall one say,=20
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=20
required. Neither more nor less.
JOSEPH
My dear fellow, there are in fact only so many notes the ear can=20
hear in the course of an evening. I think I'm right in saying that,=20
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,=20
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=20
Weber floods onto the stage, followed by her daughters. All turn to =
look at this=20
amazing spectacle.
MADAME WEBER
Wolfi! Wolfi, my dear!
She moves toward Mozart with arms outstretched in an absurd theatrical =
gesture,=20
then sees the Emperor. She stares at him, mesmerized, her mouth open, =
unable=20
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=20
daughters. This is Constanze. She is the fiancee of Herr Mozart.
Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of =
Salieri,=20
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=20
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=20
with us in Vienna.
MADAME WEBER
You see? You see? I've told him that, Your Majesty, but he won't=20
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 -=20
such royal advice. I - I - May I?
She attempts to kiss the royal hand, but faints instead. The Emperor =
contemplates=20
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,=20
to her dressing room, tossing her plumed head. Salieri watches. Mozart =
stays for a=20
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=20
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=20
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=20
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. =20
We see all the turmoil of backstage after a performance. A fireman =
passes Mozart=20
carrying a small bucket of water. Mozart snatches it from him and =
pushes his way=20
through the crowd to Madame Weber, who still lies prone on the stage. =
Mozart=20
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. =20
Oh, my children! (with sudden, hard briskness) Now I want you to=20
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=20
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=20
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=20
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=20
now?
MOZART
Of course.
CAVALIERI
No, no, no, no. You can't take him away now. This is his night. =20
Won't you introduce us, Wolfgang?
MOZART
Excuse us, Fra=9Flein. Good night, Signore.
Mozart hurries Constanze out of the door. Cavalieri looks after them as =
they go,=20
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=20
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=20
denying all my natural lust in order to deserve God's gift and=20
there was Mozart indulging his in all directions - even though=20
engaged to be married! - and no rebuke at all! Was it possible I=20
was being tested? Was God expecting me to offer forgiveness in=20
the face of every offense, no matter how painful? That was very=20
possible. All the same, why him? Why use Mozart to teach me=20
lessons in humility? My heart was filling up with such hatred for=20
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=20
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=20
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. =20
Some little Viennese slut is trying to trick him into marriage. I=20
know my son. He is too simple to see the trap - and there is no=20
one there who really cares for him.
COLLOREDO
I'm not surprised. Money seems to be more important to him=20
than loyalty or friendship. He has sold himself to Vienna. Let=20
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. =20
I was too indulgent with him. But not again. Never again, I=20
promise! I implore you - let me bring him back here. I'll make=20
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,=20
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. =20
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=20
anxious, but impressive.
LEOPOLD
(V.O.)
I write to you with urgent news. I am coming to Vienna. Take=20
no further steps toward marriage until we meet. You are too=20
gullible to see your own danger. As you honour the father who=20
has devoted his entire life to yours, do as I bid, and await my=20
coming.
MOZART
I will.
The camera pulls back to see that he is in fact kneeling beside =
Constanze. A=20
PRIEST faces them. Behind them are Madame Weber, Josefa and Sophie =
Weber,=20
and a very few others. Among them, a merry looking lady in bright =
clothes: the=20
BARONESS WALDSTADTEN.
PRIEST
And will you, Constanze Weber, take this man, Wolfgang to be=20
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=20
kiss. They are in tears. Madame Weber and her daughters look on =
approvingly. =20
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=20
reading a letter from Wolfgang. At his feet are his trunks, half-packed =
for the=20
journey he will not now take. We hear Mozart's voice reading the =
following letter=20
and we see, as the camera roves around the room, mementos of the young =
prodi-
gy's early life: the little forte-piano made for him; the little violin =
made for him; an=20
Order presented to him. We see a little starling in a wicker cage. And =
we see por-
traits of the boy on the walls, concluding with the familiar family =
portrait of=20
Wolfgang and his sister Nannerl seated at the keyboard with Leopold =
standing,=20
and the picture of their mother on the wall behind them.
MOZART
(V.O.)
Most beloved father, it is done. Do not blame me that I did not=20
wait to see your dear face. I knew you would have tried to dis-
suade me from my truest happiness and I could not have borne it. =20
Your every word is precious to me. Remember how you have al-
ways told me Vienna is the City of Musicians. To conquer here is=20
to conquer Europe! With my wife I can do it. I vow I will be-
come regular in my habits and productive as never before. She is=20
wonderful, Papa, and I know that you will love her. And one day=20
soon when I am a wealthy man, you will come and live with us,=20
and we will be so happy. I long for that day, best of Papas, and=20
kiss your hand a hundred thousand times.
The music of the Mass fades as Leopold crumples the letter in his hand.
65 EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780's 65
Salieri stands waiting, hat in hand. Beside him stands a royal servant. =
Behind him,=20
gardeners are glimpsed tending the shrubs and bushes along a grassy =
ride. Down=20
this ride are seen cantering two people on horseback: the Emperor Joseph =
and his=20
niece, the PRINCESS ELIZABETH. They are mounted on glossy horses. The=20
Princess rides side-saddle. Running beside her is a panting groom. The =
Emperor=20
rides elegantly; his niece, a dumpy little Hapsburg girl of sixteen, =
like a sack of=20
potatoes. As they draw level with Salieri they stop, and the groom =
holds the head=20
of the Princess' horse. Salieri bows respectfully.
JOSEPH
Good morning, Court Composer. This is my niece, the Princess=20
Elizabeth.
SALIERI
Your Highness.
Out of breath, the Princess nods nervously.
JOSEPH
She has asked me to advise her on a suitable musical instructor. I=20
think I've come up with an excellent idea.
He smiles at Salieri.
SALIERI
Oh, Your Majesty, it would be such a tremendous honour!
JOSEPH
I'm thinking about Herr Mozart. What is your view?
Salieri's face falls, almost imperceptibly.
SALIERI
An interesting idea, Majesty. But -
JOSEPH
Yes?
SALIERI
You already commissioned an opera from Mozart.
JOSEPH
And the result satisfies.
SALIERI
Yes, of course. My concern is to protect you from any suspicion=20
of favouritism.
JOSEPH
Ah-ha. Favouritism. But I so want Mozart.
SALIERI
I'm sure there is a way, Majesty. Some kind of a little contest. I=20
could perhaps put together a small Committee, and I could see to=20
it naturally that it will select according to Your Majesty's wishes.
JOSEPH
You please me, Court Composer. A very clever idea.
SALIERI
(bowing)
Sire.
JOSEPH
Well. There it is.
He rides on. The groom releases her horse's head, and runs on after the =
Princess.
CUT TO:
66 INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780's 66
Von Strack sits stiffly behind his gilded desk. Mozart stands before =
him, trem-
bling with anger.
MOZART
What is this, Herr Chamberlain?
VON STRACK
What is what?
MOZART
Why do I have to submit samples of my work to some stupid=20
committee? Just to teach a sixteen-year-old girl.
VON STRACK
Because His Majesty wishes it.
MOZART
Is the Emperor angry with me?
VON STRACK
On the contrary.
MOZART
Then why doesn't he simply appoint me to the post?
VON STRACK
Mozart, you are not the only composer in Vienna.
MOZART
No, but I'm the best.
VON STRACK
A little modesty would suit you better.
MOZART
Who is on this committee?
VON STRACK
Kapellmeister Bonno, Count Orsini-Rosenberg and Court=20
Composer Salieri.
MOZART
Naturally, the Italians! Of course! Always the Italians!
VON STRACK
Mozart -
MOZART
They hate my music. It terrifies them. The only sound Italians=20
understand is banality. Tonic and dominant, tonic and domi-
nant, from here to Resurrection! (singing angrily) Ba-ba! Ba-ba! =20
Ba-ba! Ba-ba! Anything else is morbid.
VON STRACK
Mozart -
MOZART
Show them one interesting modulation and they faint. =D2Ohime! =20
Morbidezza! Morbidezza! Italians are musical idiots and you=20
want them to judge my music!
VON STRACK
Look, young man, the issue is simple. If you want this post, you=20
must submit your stuff in the same way as all your colleagues.
MOZART
Must I? Well, I won't! I tell you straight: I will not!
CUT TO:
67 INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780's 67
The room is very small and untidy. Constanze is marching up and down =
it, upset. =20
Mozart is lying on the bed.
CONSTANZE
I think you're mad! You're really mad!
MOZART
Oh, leave me alone.
CONSTANZE
One royal pupil and the whole of Vienna will come flocking. =20
We'd be set up for life!
MOZART
They'll come anyway. They love me here.
CONSTANZE
No, they will not. I know how things work in this city.
MOZART
Oh yes? You always know everything.
CONSTANZE
Well, I'm not borrowing any more money from my mother, and=20
that's that!
MOZART
You borrowed money from your mother?
CONSTANZE
Yes!
MOZART
Well, don't do that again!
CONSTANZE
How are we going to live, Wolfi? Do you want me to go into the=20
streets and beg?
MOZART
Don't be stupid.
CONSTANZE
All they want to see is your work. What's wrong with that?
MOZART
Shut up! Just shut up! I don't need them.
CONSTANZE
This isn't pride. It's sheer stupidity!
She glares at him, almost in tears.
CUT TO:
67A INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780's 67A
Salieri is giving a lesson to a girl student, who is singing the Italian =
art song, Caro=20
Mio Ben.
There is a knock on the door.
SALIERI
Yes.
A SERVANT enters.
SERVANT
Excuse me, sir, there is a lady who insists on talking to you.
SALIERI
Who is she?
SERVANT
She didn't say. But she says it's urgent.
SALIERI
(to the pupil)
Excuse me, my dear.
Salieri goes into the salon.
CUT TO:
68 INT. THE SALON - LATE AFTERNOON - 1780's 68
Constanze stands, closely veiled, holding a portfolio stuffed with =
manuscripts. =20
The singing lesson ends, with two chords on the instrument. Salieri =
enters the sa-
lon. Constanze drops him a shy curtsey.
CONSTANZE
Excellency!
SALIERI
Madame. How can I help you?
Shyly, she unveils.
SALIERI
Frau Mozart?
CONSTANZE
That's right, Your Excellency. I've come on behalf of my hus-
band. I'm - I'm bringing some samples of his work so he can be=20
considered for the royal appointment.
SALIERI
How charming. But why did he not come himself?
CONSTANZE
He's terribly busy, sir.
SALIERI
I understand.
He takes the portfolio and puts it on a table.
SALIERI
I will look at them, of course, the moment I can. It will be an=20
honour. Please give him my warmest.
CONSTANZE
Would it be too much trouble, sir, to ask you to look at them=20
now? While I wait.
SALIERI
I'm afraid I'm not at leisure this very moment. Just leave them=20
with me. I assure you they will be quite safe.
CONSTANZE
I - I really cannot do that, Your Excellency. You see, he doesn't=20
know I'm here.
SALIERI
Really?
CONSTANZE
My husband is a proud man, sir. He would be furious if he knew=20
I'd come.
SALIERI
Then he didn't send you?
CONSTANZE
No, sir. This is my own idea.
SALIERI
I see.
CONSTANZE
Sir, we really need this job. We're desperate. My husband spends=20
far more than he can ever earn. I don't mean he's lazy - he's not=20
at all - he works all day long. It's just! he's not practical. =20
Money simply slips through his fingers, it's really ridiculous, Your=20
Excellency. I know you help musicians. You're famous for it. =20
Give him just this one post. We'd be forever indebted!
A short pause.
SALIERI
Let me offer you some refreshment. Do you know what these=20
are?
He indicates a dish piled high with glazed chestnuts.
SALIERI
Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in=20
brandied sugar. Won't you try one? They're quite surprising.
He offers her the dish. She takes one and puts it in her mouth. He =
watches=20
carefully.
CONSTANZE
Oh! They're wonderful.
He takes one himself. We notice on his finger a heavy gold signet-ring.
CONSTANZE
Thank you very much, Your Excellency.
SALIERI
Don't keep calling me that. It puts me at such a distance. I was=20
not born a Court Composer, you know. I'm from a small town,=20
just like your husband.
He smiles at her. She takes another chestnut.
SALIERI
Are you sure you can't leave that music, and come back again? I=20
have other things you might like.
CONSTANZE
That's very tempting, but it's impossible, I'm afraid. Wolfi=20
would be frantic if he found those were missing. You see, they're=20
all originals.
SALIERI
Originals?
CONSTANZE
Yes.
A pause. He puts out his hand and takes up the portfolio from the =
table. He=20
opens it. He looks at the music. He is puzzled.
SALIERI
These are originals?
CONSTANZE
Yes, sir. He doesn't make copies.
CUT TO:
69 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 69
The old man faces the Priest.
OLD SALIERI
Astounding! It was actually beyond belief. These were first and=20
only drafts of music yet they showed no corrections of any kind. =20
Not one. Do you realize what that meant?
Vogler stares at him.
OLD SALIERI
He'd simply put down music already finished in his head. Page=20
after page of it, as if he was just taking dictation. And music fin-
ished as no music is ever finished.
70 INT. SALIERI'S SALON - LATE AFTERNOON - 1780's 70
CU, The manuscript in Mozart's handwriting. The music begins to sound =
under=20
the following:
OLD SALIERI
(V.O.)
Displace one note and there would be diminishment. Displace=20
one phrase, and the structure would fall. It was clear to me. That=20
sound I had heard in the Archbishop's palace had been no acci-
dent. Here again was the very voice of God! I was staring=20
through the cage of those meticulous ink-strokes at an absolute,=20
inimitable beauty.
The music swells. What we now hear is an amazing collage of great =
passages from=20
Mozart's music, ravishing to Salieri and to us. The Court Composer, =
oblivious to=20
Constanze, who sits happily chewing chestnuts, her mouth covered in =
sugar, walks=20
around and around his salon, reading the pages and dropping them on the =
floor=20
when he is done with them. We see his agonized and wondering face: he =
shudders=20
as if in a rough and tumbling sea; he experiences the point where beauty =
and great=20
pain coalesce. More pages fall than he can read, scattering across the =
floor in a=20
white cascade, as he circles the room.
Finally, we hear the tremendous =D2Qui Tollis from the Mass in C Minor. =
It seems=20
to break over him like a wave and, unable to bear any more of it, he =
slams the port-
folio shut. Instantly, the music breaks off, reverberating in his head. =
He stands=20
shaking, staring wildly. Constanze gets up, perplexed.
CONSTANZE
Is it no good?
A pause.
SALIERI
It is miraculous.
CONSTANZE
Oh yes. He's really proud of his work.
Another pause.
CONSTANZE
So, will you help him?
Salieri tries to recover himself.
SALIERI
Tomorrow night I dine with the Emperor. One word from me=20
and the post is his.
CONSTANZE
Oh, thank you, sir!
Overjoyed, she stops and kisses his hand. He raises her - and then =
clasps her to=20
him clumsily. She pushes herself away.
SALIERI
Come back tonight.
CONSTANZE
Tonight?
SALIERI
Alone.
CONSTANZE
What for?
SALIERI
Some service deserves service in return. No?
CONSTANZE
What do you mean?
SALIERI
Isn't it obvious?
They stare at one another: Constanze in total disbelief.
SALIERI
It's a post all Vienna seeks. If you want it for your husband, come=20
tonight.
CONSTANZE
But! I'm a married woman!
SALIERI
Then don't. It's up to you. Not to be vague, that is the price.
He glares at her.
SALIERI
Yes.
He rings a silver bell for a servant and abruptly leaves the roam. =
Constanze stares=20
after him, horrified.
The servant enters. Shocked and stunned, Constanze goes down an her =
knees and=20
starts picking up the music from the floor.
CUT TO:
71 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 71
CU, Father Vogler, horrified.
OLD SALIERI
Yes, Father. Yes! So much for my vow of chastity. What did it=20
matter? Good, patient, hard-working, chaste - what did it mat-
ter? Had goodness made me a good composer? I realized it ab-
solutely then - that moment: goodness is nothing in the furnace=20
of art. And I was nothing to God.
VOGLER
(crying out)
You cannot say that!
OLD SALIERI
No? Was Mozart a good man?
VOGLER
God's ways are not yours. And you are not here to question Him. =20
Offer him the salt of penitence. He will give you back the bread=20
of eternal life. He is all merciful. That is all you need to know.
OLD SALIERI
All I ever wanted was to sing to Him. That's His doing, isn't it? =20
He gave me that longing - then made me mute. Why? Tell me=20
that. If He didn't want me to serve Him with music, why im-
plant the desire, like a lust in my body, then deny me the talent? =20
Go on, tell me! Speak for Him!
VOGLER
My son, no one can speak for God.
OLD SALIERI
Oh? I thought you did so every day. So speak now. Answer me!
VOGLER
I do not claim to unravel the mysteries. I treasure them. As you=20
should.
OLD SALIERI
(impatiently)
Oh yes, yes, yes, yes, yes! Always the same stale answers!=20
(intimately to the priest) There is no God of Mercy, Father. Just a=20
God of torture.
CUT TO:
72 INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780's 72
Salieri sits at his desk, staring up at the cross.
OLD SALIERI
(V.O.)
Evening came to that room. I sat there not knowing whether the=20
girl would return or not. I prayed as I'd never prayed before.
SALIERI
Dear God, enter me now. Fill me with one piece of true music. =20
One piece with your breath in it, so I know that you love me. =20
Please. Just one. Show me one sign of your favour, and I will=20
show mine to Mozart and his wife. I will get him the royal posi-
tion, and if she comes, I'll receive her with all respect and send her=20
home in joy. Enter me! Enter me! Please! Te imploro.
A long, long silence. Salieri stares at the cross. Christ stares back =
at him impas-
sively. Finally in this silence we hear a faint knocking at the door. =
Salieri stirs him-
self. A servant appears.
SERVANT
That lady is back, sir.
SALIERI
Show her in. Then go to bed.
The Servant bows and leaves. We follow him through:
73 INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780's 73
The Servant crosses it and enters:
74 INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780's 74
Constanze is sitting on an upright chair, veiled as before, the =
portfolio of music on=20
her lap. Through the far door leading from the hall, another servant is =
peering at=20
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. We hear an old =
carriage=20
pass in the street below. Nervously she lifts her veil and looks about =
her.
Suddenly Salieri appears from the music room. He is pale and very =
tight. They=20
regard each other. She smiles and rises to greet him, affecting a =
relaxed and warm=20
manner, as if to put him at his ease.
CONSTANZE
Well, I'm here. My husband has gone to a concert. He didn't=20
think I would enjoy it.
A pause.
CONSTANZE
I do apologize for this afternoon. I behaved like a silly girl. =20
Where shall we go?
SALIERI
What?
CONSTANZE
Should we stay here? It's a charming room. I love these candle-
sticks. Were they here earlier? I didn't notice them I suppose I=20
was too nervous.
As she talks, she extinguishes the candles in a pair of Venetian =
candelabra and sub-
sequently other candles around the room.
CONSTANZE
Wolfgang was given some candlesticks by King George in=20
England, but they were only wood. Oh, excuse me. Let's not=20
talk about him. What do you think of this? It's real lace. =20
Brussels.
She turns and takes off her shawl.
CONSTANZE
Well, it's much too good for every day. I keep saying to Wolfi,=20
=D2don't be so extravagant. Presents are lovely, but we can't afford=20
them. It doesn't do any good. The more I tell him, the more he=20
spends. Oh, excuse me! There I go again.
She picks up the portfolio.
CONSTANZE
Do you still want to look at this? Or don't we need to bother=20
anymore? I imagine we don't, really.
She looks at him inquiringly, and drops the portfolio on the floor; =
pages of music=20
pour out of it. Instantly we hear a massive chord, and the great =D2Qui =
Tollis from=20
the Mass in C Minor fills the room. To its grand and weighty sound, =
Constanze=20
starts to undress, watched by the horrified Salieri. Between him and =
her, music is=20
an active presence, hurting and baffling him. He opens his mouth in =
distress. The=20
music pounds in his head. The candle flickers over her as she removes =
her clothes=20
and prepares for his embrace. Suddenly he cries out.
SALIERI
Go! Go! Go!
He snatches up the bell and shakes it frantically, not stopping until =
the two servants=20
we saw earlier appear at the door. The music stops abruptly. They =
stare at the ap-
palled and frightened Constanze, who is desperately trying to cover her =
nakedness.
SALIERI
Show this woman out!
Constanze hurls herself at him.
CONSTANZE
You shit! You shit! You rotten shit!
He seizes her wrists and thrusts her back. Then he leaves the room =
quickly, slam-
ming the door behind him. Constanze turns and sees the two servants =
goggling at=20
her in the room.
CONSTANZE
What are you staring at?
Wildly, she picks up the candelabrum and throws it at them. It shatters =
on the=20
floor.
75 INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780's 75
CU, Salieri standing, his eyes shut, shaking in distress. He opens them =
and sees=20
Christ across the room, staring at him from the wall.
OLD SALIERI
(V.O.)
From now on, we are enemies, You and I!
CUT TO:
76 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 76
The old man is reliving the experience. Vogler looks at him, horrified.
OLD SALIERI
Because You will not enter me, with all my need for you; because=20
You scorn my attempts at virtue; because You choose for Your in-
strument a boastful, lustful, smutty infantile boy and give me for=20
reward only the ability to recognize the Incarnation; because You=20
are unjust, unfair, unkind, I will block You! I swear it! I will hin-
der and harm Your creature on earth as far as I am able. I will=20
ruin Your Incarnation.
CUT BACK TO:
76A INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780's 76A
CU, the fireplace. In it lies the olive wood Christ on the cross, =
burning.
OLD SALIERI
(V.O.)
What use after all is Man, if not to teach God His lessons?
The cross flames up and disintegrates. Salieri stares at it.
CUT TO:
77 INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780's 77
The front door bursts open. Mozart stumbles in, followed by EMMANUEL=20
SCHIKANEDER, three young actresses, and another man, all fairly drunk. =20
Schikaneder (who appears everywhere accompanied by young girls) is a =
large,=20
fleshy, extravagant man of about thirty-five.
MOZART
Stanzi! Stanzi! Stanzi-Manzi!
The others laugh.
MOZART
Sssh!
SCHIKANEDER
(imitating Mozart)
Stanzi-Manzi-Banzi-Wanzi!
MOZART
Sssh! Stay here.
He walks unsteadily to the bedroom door and opens it.
SCHIKANEDER
(to the girls, very tipsy)
Sssh! You're dishgrashful!
78 INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780's 78
Constanze lies in bed, her back turned to her husband, who comes into =
the room=20
and shuts the door.
MOZART
(playfully)
Stanzi? How's my mouse? Mouse-wouse? I'm back - puss-wuss=20
is back!
She turns around abruptly. She looks dreadful; her eyes red with =
weeping. Mozart=20
is shocked.
MOZART
Stanzi!
He approaches the bed and sits on it. Immediately she starts crying =
again,=20
desperately.
MOZART
What's the matter? What is it? Stanzi!
He holds her and she clings to him in a fierce embrace, crying a flood =
of tears.
MOZART
Stop it now. Stop it. I've brought some friends to meet you. =20
They're next door waiting. Do we have anything to eat? They're=20
all starving.
CONSTANZE
Tell them to go away. I don't want to see anybody.
MOZART
What's the matter with you?
CONSTANZE
Tell them to go!
MOZART
Sssh. What is it? Tell me.
CONSTANZE
No!
MOZART
Yes!
CONSTANZE
I love you! I love you!
She starts crying again, throwing her arms around his neck.
CONSTANZE
I love you. Please stay with me. I'm frightened.
81 INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780's 81
Joseph sits eating. A butler serves him goat's milk to drink. Joseph =
is holding a=20
memorandum from Salieri in his hand. Salieri stands before him.
JOSEPH
I don't think you understand me, Court Composer.
SALIERI
Majesty, I did. Believe me, it was a most agonizing. decision. =20
But finally, I simply could not recommend Herr Mozart.
JOSEPH
Why not?
SALIERI
Well, Sire, I made some inquiries in a routine way. I was curious=20
to know why he had so few pupils. It is rather alarming.
JOSEPH
Oh?
With a gesture Joseph dismisses the butler, who bows and leaves the =
room.
SALIERI
Majesty, I don't like to talk against a fellow musician.
JOSEPH
Of course not.
SALIERI
I have to tell you, Mozart is not entirely to be trusted alone with=20
young ladies.
JOSEPH
Really?
SALIERI
As a matter of fact, one of my own pupils - a very young=20
singer - told me she was - er - well!
JOSEPH
Yes?
SALIERI
Molested, Majesty. Twice, in the course of the same lesson.
A pause.
JOSEPH
Ah-ha. Well. There it is.
81A INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780's 81A
Salieri has just returned from the palace and is coming up the =
staircase. He is met=20
by his servant.
SERVANT
Sir, there is a Herr Mozart waiting for you in the salon.
Salieri is plainly alarmed.
SALIERI
What does he want?
SERVANT
He didn't say, sir. I told him I didn't know when you would be=20
back, but he insisted on waiting.
SALIERI
Come with me. And stay in the room.
He mounts the stairs.
82 INT. SALIERI'S APARTMENT - SALON - DAY - 1780's 82
Mozart is waiting for Salieri, holding a portfolio. Salieri approaches =
him nervously. =20
Mozart stands not belligerently, but humbly.
SALIERI
Herr Mozart, what brings you here?
MOZART
Your Excellency, you requested some specimens of my work. =20
Here they are. I don't have to tell you how much I need your=20
help. I truly appreciate your looking at these. I have pressures on=20
me - financial pressures. As you know, I'm a married man now.
SALIERI
So you are. How is your pretty wife?
MOZART
She is well. She is - well, actually, I'm about to become a father! =20
She only told me last night. You are the first to know.
SALIERI
I'm flattered. And congratulations to you, of course.
MOZART
So you see, this post is very important to me right now.
Salieri looks at him in distress.
SALIERI
Why didn't you come to me yesterday, Mozart? This is a most=20
painful situation. Yesterday I could have helped you. Today, I=20
can't.
MOZART
Why? Here is the music. It's here. I am submitting it humbly. =20
Isn't that what you wanted?
SALIERI
I have just come from the palace. The post has been filled.
MOZART
Filled? That's impossible! They haven't even seen my work. I=20
need this post. Please, can't you help me? Please!
SALIERI
My dear Mozart, there is no one in the world I would rather help,=20
but now it is too late.
MOZART
Whom did they choose?
SALIERI
Herr Sommer.
MOZART
Sommer? Herr Sommer? But the man's a fool! He's a total=20
mediocrity.
SALIERI
No, no, no: he has yet to achieve mediocrity.
MOZART
But I can't lose this post, I simply can't! Excellency, please. Let's=20
go to the palace, and you can explain to the Emperor that Herr=20
Sommer is an awful choice. He could actually do musical harm=20
to the Princess!
SALIERI
An implausible idea. Between you and me, no one in the world=20
could do musical harm to the Princess Elizabeth.
Mozart chuckles delightedly. Salieri offers him a glass of white =
dessert and a=20
spoon. Mozart takes it absently and goes on talking.
MOZART
Look, I must have pupils. Without pupils I can't manage.
SALIERI
You don't mean to tell me you are living in poverty?
MOZART
No, but I'm broke. I'm always broke. I don't know why.
SALIERI
It has been said, my friend, that you are inclined to live somewhat=20
above your means.
MOZART
How can anyone say that? We have no cock, no maid. We have=20
no footman. Nothing at all!
SALIERI
How is that possible? You give concerts, don't you? I hear they=20
are quite successful.
MOZART
They're stupendously successful. You can't get a seat. The only=20
problem is none will hire me. They all want to hear me play, but=20
they won't let me teach their daughters. As if I was some kind of=20
fiend. I'm not a fiend!
SALIERI
Of course not.
MOZART
Do you have a daughter?
SALIERI
I'm afraid not.
MOZART
Well, could you lend me some money till you have one? Then I'll=20
teach her for free. That's a promise. Oh, I'm sorry. I'm being=20
silly. Papa's right - I should put a padlock on my mouth. =20
Seriously, is there any chance you could manage a loan? Only for=20
six months, eight at most. After that I'll be the richest man in=20
Vienna. I'll pay you back double. Anything. Name your terms. =20
I'm not joking. I'm working on something that's going to ex-
plode like a bomb all over Europe!
SALIERI
Ah, how exciting! Tell me more.
MOZART
I'd better not. It's a bit of a secret.
SALIERI
Come, come, Mozart; I'm interested. Truly.
MOZART
Actually, it's a big secret. Oh, this is delicious! What is it?
SALIERI
Cream cheese mixed with granulated sugar and suffused with=20
rum. Crema al Mascarpone.
MOZART
Ah. Italian?
SALIERI
Forgive me. We all have patriotic feelings of some kind.
MOZART
Two thousand, two hundred florins is all I need A hundred? =20
Fifty?
SALIERI
What exactly are you working on?
MOZART
I can't say. Really
SALIERI
I don't think you should become known in Vienna as a debtor,=20
Mozart. However, I know a very distinguished gentleman I could=20
recommend to you. And he has a daughter. Will that do?
84 INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780's 84
Hysterical barking and howling. The hall is full of dogs, at least =
five, all jumping=20
up and dashing about and making a terrific racket. Mozart, dandified in =
a new=20
coat and a plumed hat for the occasion, has arrived to teach at the =
house of a pros-
perous merchant, MICHAEL SCHLUMBERG. Bluff, friendly and coarse-look-
ing, he stands in his hall amidst the leaping and barking animals, =
greeting Mozart.
SCHLUMBERG
Quiet! Quiet! Quiet! Down there, damn you. (to Mozart)=20
Welcome to you. Pay no attention, they're impossible. Stop it,=20
you willful things! Come this way. Just ignore them. They're=20
perfectly harmless, just willful. I treat them just like my own=20
children.
MOZART
And which one of them do you want me to teach?
SCHLUMBERG
What? Ha-ha! That's funny - I like it. Which one, eh? You're a=20
funny fellow. (shouting) Hannah! Come this way.
He leads Mozart through the throng of dogs into a salon furnished with =
comfort-
able middle-class taste.
SCHLUMBERG
Hannah!
FRAU SCHLUMBERG appears: an anxious woman in middle life.
SCHLUMBERG
(to Mozart)
You won't be teaching this one either. She's my wife.
MOZART
(bowing)
Madame.
SCHLUMBERG
This is Herr Mozart, my dear. The young man Herr Salieri rec-
ommended to teach our Gertrude. Where is she?
FRAU SCHLUMBERG
Upstairs.
SCHLUMBERG
Gertrude!
FRAU SCHLUMBERG
You can't be Herr Mozart!
MOZART
I'm afraid I am.
SCHLUMBERG
Of course, it's him. Who do you think it is?
FRAU SCHLUMBERG
I've heard about you for ages! I thought you must be an old man.
SCHLUMBERG
Gertrude!
FRAU SCHLUMBERG
It's such an honour for us to have you here, Herr Mozart. And for=20
Gertrude.
SCHLUMBERG
People who know say the girl's got talent. You must judge for=20
yourself. If you think she stinks, say so.
FRAU SCHLUMBERG
Michael, please! I'm sure you will find her most willing, Herr=20
Mozart. She's really very excited. She's been preparing all=20
morning.
MOZART
Really?
FRAU SCHLUMBERG
Ah, now! Here she comes.
GERTRUDE SCHLUMBERG appears in the doorway: an awkward girl of fifteen=20
in her best dress, her hair primped and curled. She is exceedingly =
nervous.
MOZART
Good morning, Fra=9Flein Schlumberg.
SCHLUMBERG
Strudel, this is Herr Mozart. Say good morning.
Gertrude giggles instead.
FRAU SCHLUMBERG
(to Mozart)
Perhaps a little refreshment first? A little coffee, or a little choco-
late?
MOZART
I'd like a little wine, if you have it.
FRAU SCHLUMBERG
Wine?
SCHLUMBERG
Quite right. He's going to need it. (calling and clapping his hands)=20
Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been=20
waiting all day for this.
He leads the way into:
85 INT. MUSIC ROOM - DAY - 1780's 85
A forte-piano is open and waiting. All the dogs follow him. After them =
come=20
Mozart Frau and Fra=9Flein Schlumberg. To Mozart's dismay, husband and =
wife=20
seat themselves quite formally on a little narrow sofa, side by side.
SCHLUMBERG
(to the dogs)
Now sit down all of you and behave. Zeman, Mandi, absolutely=20
quiet! (to a young beagle) Especially you, Dudelsachs - not one=20
sound from you.
The dogs settle at their feet. Husband and wife smile encouragingly at =
each other.
SCHLUMBERG
Come on, then. Up and at it!
Mozart gestures to the music bench. Reluctantly, the girl sits at the =
instrument. =20
Mozart sits beside her.
MOZART
Now, please play me something. Just to give me an idea. =20
Anything will do.
GERTRUDE
(to parents)
I don't want you to stay.
FRAU SCHLUMBERG
That's all right, dear. Just go ahead, as if we weren't here.
GERTRUDE
But you are here.
SCHLUMBERG
Never mind, Strudel. It's part of music, getting used to an audi-
ence. Aren't I right, Herr Mozart?
MOZART
Well, yes! on the whole. I suppose. (to Gertrude) How long=20
have you been playing, Fra=9Flein?
FRAU SCHLUMBERG
Just one year.
MOZART
Who was your teacher?
FRAU SCHLUMBERG
I was. But she quite outgrew the little I could show her.
MOZART
Thank you, Madame. (to Gertrude) Come on now - courage. =20
Play me something you know.
In response the wretched girl just stares down at the keyboard without =
playing a=20
note. An awkward pause.
MOZART
Perhaps it would be better if we were left alone. I think we're=20
both a little shy.
Husband and wife look at each other.
SCHLUMBERG
Nonsense. Strudel's not shy. She's just willful! You give into her=20
now, you'll be sorry later. Strudel - play.
Silence. The girl sits unmoving. Schlumberg bellows:
SCHLUMBERG
I said play!
FRAU SCHLUMBERG
Michael!
MOZART
Perhaps if I were to play a little first, it might encourage the=20
Fra=9Flein. (to the girl) Why don't you let me try the instrument? =20
All right?
Suddenly the girl rises. Mozart smiles at the parents. They smile =
nervously back. =20
Mozart slides along the bench, raises his hands and preludes over the =
keys. =20
Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps =
to his feet=20
and goes over to the beagle.
SCHLUMBERG
Stop that, Dudelsachs! Stop it at once! (to Mozart) Don't let him=20
disturb you. He'll be all right. He's just a little willful too. =20
Please, please - play. I beg you.
Mozart resumes playing. This time it is a lively piece, perhaps the =
Presto Finale=20
from the K. 450. The dog howls immediately.
SCHLUMBERG
Stop it! STOP!
Mozart stops.
SCHLUMBERG
No, not you. I was talking to the dog. You keep playing. It's=20
most important. He always howls when he hears music. We've=20
got to break them of the habit. Play, please. Please!
Amazed, Mozart starts to play the Rondo again. The dog howls louder.
SCHLUMBERG
That's it. Now keep going, just keep going. (to the beagle) Now=20
you stop that noise, Dudelsachs, you stop it this instant! This in-
stant, do you hear me? Keep going, Herr Mozart, that's it. Go=20
on, go on!
Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles =
broadly.
SCHLUMBERG
Good, good, good! Very good dog! Very, very good=20
Dudelsachs. (to his wife, snapping his fingers) Quick, quick, dear,=20
bring his biscuit.
The wife scurries to get a jar of biscuits. A servant brings in an open =
bottle of wine=20
and a full glass on a tray. He puts it down beside Mozart as Schlumberg =
addresses=20
the silent dog with deepest affection.
SCHLUMBERG
Now guess who's going to get a nice reward? Clever, clever Dudi.
He gives the biscuit to the dog who swallows it greedily. Mozart stops =
playing and=20
stands up.
SCHLUMBERG
It's a miracle, Herr Mozart!
MOZART
(barely controlling himself)
Well, I'm a good teacher. The next time you wish me to instruct=20
another of your dogs, please let me know. Goodbye, Fra=9Flein,=20
goodbye, Madame! goodbye, Sir!
He bows to them and leaves the room. They look after him in puzzled=20
astonishment.
FRAU SCHLUMBERG
What a strange young man.
SCHLUMBERG
Yes. He is a little strange.
86 EXT. A BUSY STREET IN VIENNA - DAY - 1780's 86
A cheerful scene. We see Mozart strutting and beaming, making his way =
through=20
the crowd of porters, carriers and hawkers, sellers of sausages and =
pastries, vendors=20
of hats and ribbons. Horses and carriage clatter past him. His mood is =
best ex-
pressed by a bubbling version of Non piu Andrai played on the =
forte-piano.
Still in the same mood, he enters the door of his own house.
87 INT. MOZART'S HOUSE - HALLWAY - DAY - 1780's 87
Suddenly, he stops. He looks up the stairs. The grim opening chords =
from the=20
Overture to Don Giovanni cut across the march from Figaro. What he =
sees, looking=20
up the stairs, is a menacing figure in a long, grey cape and dark grey =
hat, standing=20
on the landing. The light comes from behind the figure so that we see =
only its sil-
houette as it unfolds its arms towards Mozart in an alarming gesture of =
possession. =20
It takes a beat in which the air of sinister mystery is held before =
Mozart realizes=20
who it is. Then, as the music continues, he hastily sets down the =
bottle of wine and=20
rushes joyfully up the stairs and hurls himself into the figure's arms.
MOZART
Papa! PAPA!
Both men embrace. The music slowly fades.
88 INT. MOZART'S LIVING ROOM - DAY - 1780's 88
A cramped, low-ceilinged little room which nobody has tidied for ages. =
We see=20
music lying everywhere. Also there are many empty wine bottles; musical =
instru-
ments - among them a mandolin, a viola, a forte-piano with the black and =
white=20
keys reversed - books and abandoned plates of food. Mozart clasps his =
father's=20
arms. Leopold is now seen as an aging, travel-stained man in clothes =
that need re-
pair. His face is lined, and he is obviously not in perfect health.
MOZART
Why are you here?
LEOPOLD
Am I not welcome?
MOZART
Of course, welcome! Welcome ten thousand times. Papa! my=20
Papa!
He kisses his hands.
LEOPOLD
You're very thin. Does she not feed you, this wife of yours?
Mozart ducks away and fetches his father's bags from the landing.
MOZART
Feed? Well, of course she feeds me. She stuffs me like a goose all=20
day long. She's the best cook in the world. I mean, since Mama. =20
Just wait, you'll see.
LEOPOLD
Is she not here?
MOZART
I don't know. Stanzi? Stanzi!
Leopold looks about him at the mess in the room.
LEOPOLD
Do you always live like this?
MOZART
Oh, yes. Oh, I mean no - not exactly like this. I mean today -=20
just today, Stanzi - I remember now. She had to go - yes! She=20
had to help her mother. Yes, she's like that. Her mother's a very=20
sweet woman, you'll see.
He carries the bag across the room and opens the door of the bedroom. =
Constanze=20
lies in bed. She sits up, startled.
MOZART
Oh! I didn't know you were home. Stanzi, this is my father.
Constanze, who looks ill and tired, stares at Leopold. Leopold stares =
back from=20
the doorway.
MOZART
We'll wait, we'll wait. Why don't you get up now, darling?
He closes the door again.
MOZART
She's very tired, poor creature. You know me: I'm a real pig. It's=20
not so easy cleaning up after me.
LEOPOLD
Don't you have a maid?
MOZART
Oh we could, if we wanted to, but Stanzi won't hear of it. She=20
wants to do everything herself.
LEOPOLD
How is your financial situation?
MOZART
It couldn't be better.
LEOPOLD
That's not what I hear.
MOZART
What do you mean? It's wonderful. Really, it's - it's marvelous! =20
People love me here.
LEOPOLD
They say you're in debt.
MOZART
Who? Who says that? Now that's a malicious lie!
LEOPOLD
How many pupils do you have?
MOZART
Pupils?
LEOPOLD
Yes.
MOZART
Yes.
LEOPOLD
How many?
MOZART
I don't know. It's not important. I mean, I don't want pupils. =20
They get in the way. I've got to have time for composition.
LEOPOLD
Composition doesn't pay. You know that.
MOZART
This one will.
He picks up some pages of manuscript.
LEOPOLD
What's that?
MOZART
Oh, let's not talk about it.
LEOPOLD
Why not?
MOZART
It's a secret.
LEOPOLD
You don't have secrets from me.
MOZART
It's too dangerous, Papa. But they're going to love it. Ah, there=20
she is!
Constanze comes into the room. She is wearing a dressing gown and has =
made a=20
perfunctory attempt to tidy her hair. We see that she is clearly =
pregnant.
MOZART
My Stanzi - look at her! Isn't she beautiful? Come on now, con-
fess, Papa. Could you want a prettier girl for a daughter?
CONSTANZE
Stop it, Wolfi. I look dreadful. Welcome to our house, Herr=20
Mozart.
MOZART
He's not Herr Mozart. Call him Papa.
LEOPOLD
I see that you're expecting.
CONSTANZE
Oh, yes.
LEOPOLD
When, may I ask?
CONSTANZE
In three months! Papa.
MOZART
Isn't that marvelous? We're delighted.
LEOPOLD
Why didn't you mention it in your letters?
MOZART
Didn't I? I thought I did. I'm sure I did.
He gives a little giggle of embarrassment.
CONSTANZE
May I offer you some tea, Herr Mozart?
MOZART
Tea? Who wants tea? Let's go out! This calls for a feast. You=20
don't want tea, Papa. Let's go dancing. Papa loves parties, don't=20
you?
CONSTANZE
Wolfi!
MOZART
What? How can you be so boring? Tea!
CONSTANZE
Wolfi, I think your father's tired. I'll cook us something here.
LEOPOLD
Thank you. That'll be fine. Don't spend any money on me.
MOZART
Why not? Oh, come, Papa! What better way could I spend it=20
than on you? My kissable, missable, suddenly visible Papa!
The jaunty tune of Ich Mochte Wohl Der Kaiser sein (K.539) sounds =
through all the=20
following. This is an alternate song from Il Seraglio: a very =
extroverted tune for=20
baritone and orchestra and a prominent part for bass drum. The vocal =
part should=20
be arranged for trumpet.
89 EXT. STREET IN VIENNA - DAY - 1780's 89
Mozart and Constanze with Leopold between them. We see couples =
shopping.
90 INT. A COSTUME SHOP - VIENNA - DAY - 1780's 90
This is a shop where one can buy costumes for masquerades. It is filled =
with ex-
travagant costumes of various kinds. Wolfgang is wearing a costume, a =
mask=20
pushed up on his forehead; Constanze is wearing a little white velvet =
mask. Amidst=20
the merriment, Leopold is helped by two assistants to put on a dark grey =
cloak and=20
a dark grey tricorne hat, to which is attached a full mask of dark grey. =
Its mouth is=20
cut into a fixed upward smile.
He turns and looks at his son through this mask.
CUT STRAIGHT TO:
91 INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780's 91
We are in the full whirl of a Masquerade Ball. Couples are dancing =
around dressed=20
in fantastic costumes. The music of Ich Mochte Wohl Der Kaiser sein =
increases in=20
volume and persists. We see the musicians thumping it out on a =
balustrade above=20
the dancers. A steer is being roasted. Through the bobbing crowd we =
see a group,=20
headed by the figure of Bacchus: this is Schikaneder in a Greek =
costume, wearing=20
vine leaves in his hair. He is accompanied by his usual trio of =
actresses and three=20
other men. Constanze as Columbine and Mozart as Harlequin are pulling =
Leopold=20
by the hand of his dark cloak and smiling mask. This whole group =
threads its way=20
across the crowded room and disappears through a door. As they go, they =
are=20
watched by Salieri, standing alone in a corner, wearing ordinary evening =
clothes. =20
He turns away hastily to avoid being seen by them.
As soon as they disappear into the far room, Salieri goes quickly to a =
lady in the=20
corner who is giving guests domino masks off a tray. He quickly takes a =
small=20
black mask and puts it on.
CUT TO:
92 INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780's 92
A fantastic room designed as a rocky grotto, lit by candles. A =
forte-piano to one=20
side is being played by Schikaneder: the music of Ich Mochte Wohl Der =
Kaiser sein=20
cross-fades to another tune. This is Vivat Bacchus from Il Seraglio =
which=20
Schikaneder, dressed as Bacchus, is humming as he plays. The music is =
actually ac-
companying a game of Forfeits, which has begun. Five couples (the group =
we have=20
just seen) are dancing in the middle of a ring made by nine chairs. =
When the mu-
sic stops they will each have to find a chair, and the one who fails =
must pay a=20
forfeit.
Constanze is dancing with Leopold; Mozart is dancing with one of the =
actresses;=20
the two other actresses are dancing with two other gentlemen; and two =
children=20
dance together - a little boy and a little girl. The scene is watched =
by a circle of=20
bystanders; among them - from the doorway - is Salieri.
Schikaneder stops playing. Immediately the couples scramble for the =
chairs. =20
Leopold and Constanze meet on the same chair, bumping and pushing at =
each=20
other to get sole possession of it. To the amusement of the people =
around, the=20
chair over-balances and they both end up on the floor. Constanze =
immediately=20
gets up again, sets the chair on its feet, and tries to pretend she was =
sitting in it all=20
the time. But Schikaneder calls out from the forte-piano.
SCHIKANEDER
No, no! You both lost. You both lost. =CAYou both have to forfeit. =20
And the penalty is! you must exchange your wigs.
People are delighted by the idea of this penalty. The children jump up =
and down=20
with excitement. The three actresses immediately surround Leopold, =
reaching for=20
his hat and mask and wig, whilst he tries to hold on to them. Mozart =
takes off=20
Constanze's wig - an absurd affair with side-curls. Constanze =
laughingly surren-
ders it.
LEOPOLD
No, please! This is ridiculous! No, please!
Despite his protests an actress takes off his hat, to which the smiling =
mask is at-
tached, to reveal his outraged face showing a very different expression =
underneath. =20
Another actress snatches off his wig to reveal very sparse hair on the =
old man's=20
head. The third actress takes Constanze's wig from Mozart and attempts =
to put it=20
on his father's head.
LEOPOLD
No, really!
MOZART
(calling to him)
This is just a game, Papa.
Constanze echoes him with a touch of malice in her voice.
CONSTANZE
=D2This is just a game, Papa!
Laughingly, the bystanders take it up, especially the children.
BYSTANDERS
=D2This is just a game, Papa!
As Leopold glares furiously about him, the actress succeeds in getting =
Constanze's=20
wig firmly onto his head. Everybody bursts into applause. Delightedly, =
Constanze puts on Leopold's wig, hat and mask: from the waist up she =
now looks=20
like a weird parody of Leopold in the smiling grey mask, and he looks =
like a weird=20
parody of her in the silly feminine wig. Schikaneder starts to play =
again, and the=20
couples start to dance. Leopold angrily takes off Constanze's wig and =
leaves the=20
circle; his partner, Constanze, is left alone. Seeing this, Mozart =
leaves his partner=20
and catches his father entreatingly by the arm.
MOZART
Oh no, Papa, please! Don't spoil the fun. Come on. Here, take=20
mine.
He takes off his own wig and puts it on Leopold's uncovered head. The =
effect, if=20
not as ridiculous, is still somewhat bizarre, since Wolfgang favours =
fairly elaborate=20
wigs. He takes Constanze's wig from his father. As this happens, the =
music stops=20
again. Mozart gently pushes his father down onto a nearby chair; the =
others=20
scramble for the other chairs; and he is left as the Odd Man Out. He =
giggles. =20
Schikaneder calls out to Leopold from the keyboard.
SCHIKANEDER
Herr Mozart, why don't you name your son's penalty?
Applause.
MOZART
Yes, Papa, name it. Name it. I'll do anything you say!
LEOPOLD
I want you to come back with me to Salzburg, my son.
SCHIKANEDER
What did he say? What did he say?
MOZART
Papa, the rule is you can only give penalties that can be performed=20
in the room.
LEOPOLD
I'm tired of this game. Please play without me.
MOZART
But my penalty. I've got to have a penalty.
All the bystanders are watching.
SCHIKANEDER
I've got a good one. I've got the perfect one for you. Come over=20
here.
Mozart runs over to the forte-piano, and Schikaneder surrenders his =
place at it.
SCHIKANEDER
Now, I want you to play our tune - sitting backwards.
Applause.
MOZART
Oh, that's really too easy. Any child can do that.
Amused sounds of disbelief.
SCHIKANEDER
And a fugue in the manner of Sebastian Bach.
Renewed applause at this wicked extra penalty. Mozart smiles at =
Schikaneder - it=20
is the sort of challenge he loves. He defiantly puts on Constanze's wig =
and seats=20
himself with his back to the keyboard. Before the astonished eyes of =
the company=20
he proceeds to execute this absurdly difficult task. His right hand =
plays the bass=20
part, his left hand the treble, and with this added difficulty he =
improvises a bril-
liant fugue on the subject of the tune to which they have been dancing. =
Attracted=20
by this astonishing feat, the players draw nearer to the instrument. So =
does Salieri,=20
cautiously, with some of the bystanders. Constanze watches him =
approach. Only=20
Leopold sits by himself, sulking.
The fugue ends amidst terrific clapping. The guests call out to Mozart.
GUESTS
Another! Do another! Someone else.
MOZART
Give me a name. Who shall I do? Give me a name.
GUESTS
Gluck! Haydn! Frederic Handel!
CONSTANZE
Salieri! Do Salieri!
SMASH CUT: Salieri's masked face whips around and looks at her.
MOZART
Now that's hard. That's very hard. For Salieri one has to face the=20
right way around.
Giggling, he turns around and sits at the keyboard. Then, watched by a =
highly=20
amused group, he begins a wicked parody.
He furrows his brow in mock concentration and closes his eyes. Then he =
begins to=20
play the tune to which they danced, in the most obvious way imaginable, =
relying=20
heavily on a totally and offensively unimaginative bass of tonic and =
dominant,=20
endlessly repeated. The music is the very essence of banality. The =
bystanders rock=20
with laughter. Mozart starts to giggle wildly. Through this =
excruciating scene,=20
Salieri stares at Constanze, who suddenly turns her head and looks =
challengingly=20
back at him.
Mozart's parody reaches its coarse climax with him adding a fart noise =
instead of=20
notes to end cadences. He builds this up, urged on in his clowning by =
everyone=20
else, until suddenly he stops and cries out. The laughter cuts off. =
Mozart stands=20
up, clutching his behind as if he has made a mess in his breeches. The =
momentary=20
hush of alarm is followed by a howl of laughter.
CU, Salieri staring in pain.
93 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 93
CU, The old man is shaking at the very recollection of his humiliation.
OLD SALIERI
Go on. Mock me. Laugh, laugh!
CUT BACK TO:
94 INT. GROTTO - NIGHT - 1780's 94
A repetition of the shot of Mozart at the forte-piano, wearing =
Constanze's wig and=20
emitting a shrill giggle.
CUT TO:
95 INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780's 95
Salieri sits at his desk. He holds in his hand the small black party =
mask and stares=20
in hatred at the place on the wall where the crucifix used to hang. =
Faintly we see=20
the mark of the cross.
OLD SALIERI
(V.O.)
That was not Mozart laughing, Father. That was God. That was=20
God! God laughing at me through that obscene giggle. Go on,=20
Signore. Laugh. Rub my nose in it. Show my mediocrity for all=20
to see. You wait! I will laugh at You! Before I leave this earth, I=20
will laugh at You! Amen!
97 INT. MOZART'S WORKROOM - DAY - 1780's 97
It is littered with manuscripts. In the middle stands a billiard table. =
The beautiful=20
closing ensemble from Act IV of Figaro: Ah, Tutti contenti! Saremo cosi =
plays in the=20
background. Standing at the billiard table, Mozart is dreamily hearing =
the music=20
and playing shots on the table. From time to time he drifts over to a =
piece of=20
manuscript paper and jots down notes. He is very much in his own world =
of com-
position and the billiard balls are an aid to creation. Presently, =
however, we hear a=20
knocking at the door.
CONSTANZE
(outside the door)
Wolfi! Wolfgang!
The music breaks off.
MOZART
What is it?
He opens the door.
CONSTANZE
There's a young girl to see you.
MOZART
What does she want?
CONSTANZE
I don't know.
MOZART
Well, ask her!
CONSTANZE
She won't talk to me. She says she has to speak to you.
MOZART
Oh, damn!
99 INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780's 99
Mozart comes out. Framed in the doorway from outside stands Lorl, the =
maid we=20
noticed in Salieri's house. From his bedroom Leopold peeps out to =
watch. Mozart=20
goes to the girl. Constanze follows.
MOZART
Yes?
LORL
Are you Herr Mozart?
MOZART
That's right.
LORL
My name is Lorl, sir. I'm a maidservant. I was asked to come=20
here and offer my services to you.
MOZART
What?
LORL
They'll be paid for by a great admirer or yours who wishes to re-
main anon - anonymous.
CONSTANZE
What do you mean? What admirer?
LORL
I can't tell you that, ma'am.
MOZART
Are you saying that someone is paying you to be our maid and=20
doesn't want us to know who he is?
LORL
Yes. I can live in or out just as you wish.
Mozart turns to his father.
MOZART
Papa, is this your idea?
LEOPOLD
Mine?
The old man emerges from his bedroom. His son looks at him delightedly.
MOZART
Are you playing a trick on me?
LEOPOLD
I never saw this girl in my life. (to Lorl) Is this a kind of joke?
LORL
Not at all, sir. And I was told to wait for an answer.
LEOPOLD
Young woman, this won't do at all. My son can't possibly accept=20
such an offer, no matter how generous, unless he knows who is=20
behind it.
LORL
But I really can't tell you, sir.
LEOPOLD
Oh, this is ridiculous.
CONSTANZE
What is ridiculous? Wolfi has many admirers in Vienna. They=20
love him here. People send us gifts all the time.
LEOPOLD
But you can't take her without reference. It's unheard of!
CONSTANZE
Well, this is none of your business. (to Lorl) Whoever sent you is=20
going to pay, no?
LORL
That's right, ma'am.
LEOPOLD
So now we are going to let a perfect stranger into the house?
Constanze looks furiously at him, then at Lorl.
CONSTANZE
Who is =D2we? Who is letting who? (to Lorl) Could you please=20
wait outside?
LORL
Yes, ma'am.
Lorl goes outside and closes the door. Constanze turns on Leopold.
CONSTANZE
Look, old man, you stay out of this. We spend a fortune on you,=20
more than we can possibly afford, and all you do is criticize,=20
morning to night. And then you think you can -
MOZART
Stanzi!
CONSTANZE
No, it's right he should hear. I'm sick to death of it. We can't do=20
anything right for you, can we?
LEOPOLD
Never mind. You won't have to do anything for me ever again. =20
I'm leaving!
MOZART
Papa!
LEOPOLD
Don't worry, I'm not staying here to be a burden.
MOZART
No one calls you that.
LEOPOLD
She does. She says I sleep all day.
CONSTANZE
And so you do! The only time you come out is to eat.
LEOPOLD
And what do you expect? Who wants to walk out into a mess like=20
this every day?
CONSTANZE
Oh, now I'm a bad housekeeper!
LEOPOLD
So you are! The place is a pigsty all the time.
CONSTANZE
(to Mozart)
Do you hear him? Do you?
Explosively she opens the door.
CONSTANZE
(to Lorl)
When can you start?
LORL
Right away, ma'am.
CONSTANZE
Good! Come in. You'll start with that room there. (indicating=20
Leopold's room) It's filthy!
She leads the maid into Leopold's room. Mozart steals back into his =
workroom=20
and gently closes the door. Leopold is left alone.
LEOPOLD
Sorry, sorry! I'm sorry I spoke! I'm just a provincial from=20
Salzburg. What do I know about smart Vienna? Parties all night,=20
every night. Dancing and drinking like idiot children!
101 INT. MOZART'S WORKROOM - DAY - 1780's 101
Mozart stands trying to blot out the noise of his father's shouting from =
the next=20
room.
LEOPOLD
(O.S.)
Dinner at eight! Dinner at ten! Dinner when anyone feels like=20
it! if anyone feels like it!
The ensemble of Ah, Tutti contenti! Saremo cosi from Act IV of Figaro =
resumes,=20
coming to his aid and rising to greet the listener with its serene =
harmonies. =20
Relieved, Mozart languidly picks up his cue and plays a shot on the =
billiard table: =20
he is sucked back into his own world of sound.
102 INT. SALIERI'S SALON - NIGHT - 1780's 102
The music fades. We see Lorl, dressed in a walking cloak, sitting =
before a desk,=20
talking to someone confidentially.
LORL
They're out every night, sir. Till all hours.
A hand comes into frame offering a plate of sugared biscuits. On its =
finger we see=20
the gold signet ring belonging to Salieri.
LORL
(taking one)
Oh, thank you, sir.
SALIERI
Do any pupils come to the house?
LORL
Not that I've seen.
SALIERI
Then how does he pay for all this? Does he work at all?
LORL
Oh, yes, sir, all day long. He never leaves the house until evening. =20
He just sits there, writing and writing. He doesn't even eat.
SALIERI
Really? What is it he's writing?
LORL
Oh, I wouldn't know that, sir.
SALIERI
Of course not. You're a good girl. You're very kind to do this. =20
Next time you're sure they'll be out of the house, let me know,=20
will you?
Confused, the girl hesitates. He hands her a pile of coins.
LORL
Oh, thank you, sir!
She accepts them, delighted.
103 EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780's 103
The final movement of Mozart's Piano Concerto in E-flat (K. 482) begins. =
To its=20
lively music, the door of the house bursts open and a grand forte-piano =
augmented=20
with a pedal is carried out of it by six men, who run off with it down =
the street. =20
Following them immediately appear Wolfgang, Constanze and Leopold, all =
three=20
dressed for an occasion. They climb into a waiting carriage which =
drives off after=20
the forte-piano. As soon as it goes, Lorl appears in the doorway, =
peering slyly=20
around to see that they are out of sight. Then she shuts the door and =
hurries off in=20
the opposite direction.
CUT TO:
104 EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780's 104
An outdoor concert is being given. Mozart is actually playing the final =
movement=20
of his E-flat concerto with an orchestra. Listening to him is a sizable =
audience, in-
cluding the Emperor, flanked by Strack and Von Swieten. The crowd is in =
a=20
happy and appreciative mood: it is a delightful open-air scene. We =
hear the gayest=20
and most complex passage. Leopold and Constanze listen to Mozart, who =
plays=20
his own work brilliantly. We stay with this scene for a little