Amadeus

A funny little tune, but it yielded some good things.

JOSEPH

And now he has returned the compliment. Herr Salieri composed

that March of Welcome for you.

MOZART

(speaking expertly)

Really? Oh, grazie, Signore! Sono commosso! E un onore per mo

eccezionale. Compositore brilliante e famossissimo!

He bows elaborately. Salieri inclines himself, dryly.

SALIERI

My pleasure.

JOSEPH

Well, there it is. Now to business. Young man, we are going to

commission an opera from you. What do you say?

MOZART

Majesty!

JOSEPH

(to the courtiers)

Did we vote in the end for German or Italian?

ORSINI-ROSENBERG

Well, actually, Sire, if you remember, we did finally incline to

Italian.

VON STRACK

Did we?

VON SWIETEN

I don't think it was really decided, Director.

MOZART

Oh, German! German! Please let it be German.

JOSEPH

Why so?

MOZART

Because I've already found the most wonderful libretto!

ORSINI-ROSENBERG

Oh? Have I seen it?

MOZART

I - I don't think you have, Herr Director. Not yet. I mean, it's

quite n - Of course,

I'll show it to you immediately.

ORSINI-ROSENBERG

I think you'd better.

JOSEPH

Well, what is it about? Tell us the story.

MOZART

It's actually quite amusing, Majesty. It's set - the whole thing is

set in a - in a -

He stops short with a little giggle.

JOSEPH

Yes, where?

MOZART

In a! Pasha's Harem, Majesty. A Seraglio.

JOSEPH

Ah-ha.

ORSINI-ROSENBERG

You mean in Turkey?

MOZART

Exactly.

ORSINI-ROSENBERG

Then why especially does it have to be in German?

MOZART

Well not especially. It can be in Turkish, if you really want. I

don't care.

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

VON SWIETEN

(kindly)

My dear fellow, the language is not finally the point. Do you

really think that subject is quite appropriate for a national theatre?

MOZART

Why not? It's charming. I mean, I don't actually show concu-

bines exposing their! their! It's not indecent! (to Joseph) It's

highly moral, Majesty. It's full of proper German virtues. I swear

it. Absolutely!

JOSEPH

Well, I'm glad to hear that.

SALIERI

Excuse me, Sire, but what do you think these could be? Being a

foreigner, I would love to learn.

JOSEPH

Cattivo again, Court Composer. Well, tell him, Mozart. Name

us a German virtue.

MOZART

Love, Sire!

SALIERI

Ah, love! Well of course in Italy we know nothing about that.

The Italian faction - Orsini-Rosenberg and Bonno - laugh discreetly.

MOZART

No, I don't think you do. I mean watching Italian opera, all those

male sopranos screeching. Stupid fat couples rolling their eyes

about! That's not love - it's just rubbish.

An embarrassed pause. Bonno giggles in nervous amusement.

MOZART

Majesty, you choose the language. It will be my task to set it to

the finest music ever offered a monarch.

Pause. Joseph is clearly pleased.

JOSEPH

Well, there it is. Let it be German.

He nods - he has wanted this result all the time. He turns and makes for the

door. All bow. Then he becomes aware of the manuscript in his hand.

JOSEPH

Ah, this is yours.

Mozart does not take it.

MOZART

Keep it, Sire, if you want to. It is already here in my head.

JOSEPH

What? On one hearing only?

MOZART

I think so, Sire, yes.

Pause.

JOSEPH

Show me.

Mozart bows and hands the manuscript back to the Emperor. Then he goes to the

forte-piano and seats himself. The others, except for Salieri, gather around the

manuscript held by the King. Mozart plays the first half of the march with deadly

accuracy.

MOZART

(to Salieri)

The rest is just the same, isn't it?

He plays the first half again but stops in the middle of a phrase, which he repeats

dubiously.

MOZART

That really doesn't work, does it?

All the courtiers look at Salieri.

MOZART

Did you try this? Wouldn't it be just a little more -?

He plays another phrase.

MOZART

Or this - yes, this! Better.

He plays another phrase. Gradually, he alters the music so that it turns into the

celebrated march to be used later in The Marriage of Figaro, 襈on Piu Andrai. He

plays it with increasing abandon and virtuosity. Salieri watches with a fixed smile

on his face. The court watches, astonished. He finishes in great glory, takes his

hands off the keys with a gesture of triumph - and grins.

48 INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780's 48

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

SALIERI

Grazie, Signore.

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

louder.

SALIERI

Yes?

Lorl comes in.

LORL

Madame Cavalieri is here for her lesson, sir.

SALIERI

Bene.

He gets up and enters:

49 INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780's 49

KATHERINA CAVALIERI, a young, high-spirited soprano of twenty is waiting

for him, dressed in a fashionable dress and wearing on her head an exotic turban of

satin, with a feather. Lorl exits.

CAVALIERI

(curtseying to him)

Maestro.

SALIERI

Good morning.

CAVALIERI

(posing, in her turban)

Well? How do you like it? It's Turkish. My hairdresser tells me

everything's going to be Turkish this year!

SALIERI

Really? What else did he tell you today? Give me some gossip.

CAVALIERI

Well, I heard you met Herr Mozart.

SALIERI

Oh? News travels fast in Vienna.

CAVALIERI

And he's been commissioned to write an opera. Is it true?

SALIERI

Yes.

CAVALIERI

Is there a part for me?

SALIERI

No.

CAVALIERI

How do you know?

SALIERI

Well even if there is, I don't think you want to get involved with

this one.

CAVALIERI

Why not?

SALIERI

Well, do you know where it's set, my dear?

CAVALIERI

Where?

SALIERI

In a harem.

CAVALIERI

What's that?

SALIERI

A brothel.

CAVALIERI

Oh!

SALIERI

A Turkish brothel.

CAVALIERI

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

SALIERI

My dear, it will hardly enhance your reputation to be celebrated

throughout Vienna as a singing prostitute for a Turk.

He seats himself at the forte-piano.

CAVALIERI

Oh. Well perhaps you could introduce us anyway.

SALIERI

Perhaps.

He plays a chord. She sings a scale, expertly. He strikes another chord. She starts

another scale, then breaks off.

CAVALIERI

What does he look like?

SALIERI

You might be disappointed.

CAVALIERI

Why?

SALIERI

Looks and talent don't always go together, Katherina.

CAVALIERI

(airily)

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

of taste.

He strikes the chord again, firmly. Cavalieri sings her next scale, then another one,

and another one, doing her exercises in earnest. As she hits a sustained high note

the orchestral accompaniment in the middle of 襇artern Aller Arten from Il

Seraglio comes in underneath and the music changes from exercises to the exceed-

ingly florid aria. We DISSOLVE on the singer's face, and she is suddenly not

merely turbaned, but painted and dressed totally in a Turkish manner, and we are

on:

50 INT. OPERA STAGE - VIENNA - 1780's 50

The heroine of the opera (Cavalieri) is in full cry addressing the Pasha with scorn

and defiance.

The house is full. Watching the performance - which is conducted by Mozart

from the clavier in the midst of the orchestra - we note Von Strack, Orsini-

Rosenberg, Bonno and Von Swieten, all grouped around the Emperor, in a box. In

another box we see an overdressed, middle-aged woman and three girls, one of

whom is Constanze. This is the formidable MADAME WEBER and her three

daughters, Constanze, JOSEFA and SOPHIE. All are enraptured by the spectacle

and Madame Weber is especially enraptured by being there at all. Not so, Salieri,

who sits in another box, coldly watching the stage.

Cavalieri is singing 襇artern aller Arten from the line Doch du bist entschlossen.

CAVALIERI

襍ince you are determined,

Since you are determined,

Calmly, with no ferment,

Welcome - every pain and woe.

Bind me then - compel me!

Bind me then - compel me!

Hurt me. Break me! Kill me!

At last I shall be freed by death!

After a few moments of this showy aria, with the composer and the singer staring

at each other - he conducting elaborately for her benefit, and she following his

beat with rapturous eyes - the music fades, and Salieri speaks over it.

OLD SALIERI

(V.O.)

There she was. I had no idea where they met - or how - yet

there she stood on stage for all to see. Showing off like the

greedy songbird she was. Ten minutes of ghastly scales and

arpeggios, whizzing up and down like fireworks at a fairground.

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

CAVALIERI

(singing)

Be freed at last by death!

Be freed at last by death!

At last I shall be freed

By! Death!

BEFORE THE ORCHESTRAL CODA ENDS, CUT TO:

51 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 51

Through the window we see that night has fallen.

OLD SALIERI

Understand, I was in love with the girl. Or at least in lust. I was-

n't a saint. It took me the most tremendous effort to be faithful

to my vow. I swear to you I never laid a finger on her. All the

same, I couldn't bear to think of anyone else touching her - least

of all the Creature.

CUT BACK TO:

52 INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780's 52

The brilliant Turkish finale of Seraglio bursts over us. All the cast is lined up on

stage. Mozart is conducting with happy excitement.

CAST OF SERAGLIO

(singing)

襊asha Selim

May he

Live forever!

Ever, ever, ever, ever!

Honour to his regal name!

Honour to his regal name!

May his noble brow emblazon

Glory, fortune, joy and fame!

Honour be to Pasha Selim

Honour to his regal name!

Honour to his regal name!

The curtains fall. Much applause. The Emperor claps vigorously and - following

his lead - so do the courtiers. The curtains part. Mozart applauds the singers who

applaud him back. He skips up onto the stage amongst them. The curtains fall

again as they all bow. In the auditorium, the chandeliers descend, filling it with

light.

53 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 53

The curtains are down, and an excited hubbub of singers in costume surround

Mozart and Cavalieri, all excited and chattering. Suddenly a hush. The Emperor

is seen approaching from the wings, lit by flunkies holding candles. Von Strack,

Orsini-Rosenberg and Von Swieten, amongst others, follow him. Also Salieri. The

singers line up. Joseph stops at Cavalieri who makes a deep curtsey.

JOSEPH

Bravo, Madame. You are an ornament to our stage.

CAVALIERI

Majesty.

JOSEPH

(to Salieri)

And to you, Court Composer. Your pupil has done you great

credit.

54 INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780's 54

MADAME WEBER

Let us pass, please! Let us pass at once! We're with the Emperor.

FLUNKY

I am sorry, Madame. It is not permitted.

MADAME WEBER

Do you know who I am? (pointing to Constanze) This is my

daughter. I am Frau Weber. We are favoured guests!

FLUNKY

I am sorry, Madame, but I have my orders.

MADAME WEBER

Call Herr Mozart! You call Herr Mozart immediately! This is

insupportable!

CONSTANZE

Mother, please!

MADAME WEBER

Go ahead, Constanze. Just ignore this fellow. (pushing her) Go

ahead, dear!

FLUNKY

(barring the way)

I am sorry, Madame, but no! I cannot let anyone pass.

MADAME WEBER

Young man, I am no stranger to theatres. I'm no stranger to

insolence!

CUT BACK TO:

55 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 55

All are applauding Cavalieri. The Emperor turns to Mozart.

JOSEPH

Well, Herr Mozart! A good effort. Decidedly that. An excellent

effort! You've shown us something quite new today.

Mozart bows frantically: he is over-excited.

MOZART

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

JOSEPH

Yes, indeed.

MOZART

And German?

JOSEPH

Oh, yes. Absolutely. German. Unquestionably!

MOZART

So then you like it? You really like it, Your Majesty?

JOSEPH

Of course I do. It's very good. Of course now and then - just

now and then - it gets a touch elaborate.

MOZART

What do you mean, Sire?

JOSEPH

Well, I mean occasionally it seems to have, how shall one say? (he

stops in difficulty; to Orsini-Rosenberg) How shall one say,

Director?

ORSINI-ROSENBERG

Too many notes, Your Majesty?

JOSEPH

Exactly. Very well put. Too many notes.

MOZART

I don't understand. There are just as many notes, Majesty, as are

required. Neither more nor less.

JOSEPH

My dear fellow, there are in fact only so many notes the ear can

hear in the course of an evening. I think I'm right in saying that,

aren't I, Court Composer?

SALIERI

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

MOZART

(to Salieri)

But this is absurd!

JOSEPH

My dear, young man, don't take it too hard. Your work is inge-

nious. It's quality work. And there are simply too many notes,

that's all. Cut a few and it will be perfect.

MOZART

Which few did you have in mind, Majesty?

Pause. General embarrassment.

JOSEPH

Well. There it is.

Into this uncomfortable scene bursts a sudden eruption of noise and Madame

Weber floods onto the stage, followed by her daughters. All turn to look at this

amazing spectacle.

MADAME WEBER

Wolfi! Wolfi, my dear!

She moves toward Mozart with arms outstretched in an absurd theatrical gesture,

then sees the Emperor. She stares at him, mesmerized, her mouth open, unable

even to curtsey.

MADAME WEBER

Oh!

Mozart moves forward quickly.

MOZART

Majesty, this is Madame Weber. She is my landlady.

JOSEPH

Enchanted, Madame.

MADAME WEBER

Oh, Sire! such an honour! And, and, and these are my dear

daughters. This is Constanze. She is the fiancee of Herr Mozart.

Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri,

watching her receive it.

JOSEPH

Really? How delightful. May I ask when you marry?

MOZART

Well - Well we haven't quite received my father's consent, Your

Majesty. Not entirely. Not altogether.

He giggles uncomfortably.

JOSEPH

Excuse me, but how old are you?

MOZART

Twenty-six.

JOSEPH

Well, my advice is to marry this charming young lady and stay

with us in Vienna.

MADAME WEBER

You see? You see? I've told him that, Your Majesty, but he won't

listen to me.

Cavalieri is glaring at Mozart. Mozart looks hastily away from her.

MADAME WEBER

Oh, Your Majesty, you give such wonderful - such impeccable -

such royal advice. I - I - May I?

She attempts to kiss the royal hand, but faints instead. The Emperor contemplates

her prone body and steps back a pace.

JOSEPH

Well. There it is. Strack.

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

Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way,

to her dressing room, tossing her plumed head. Salieri watches. Mozart stays for a

second, indecisive whether to follow the soprano or help Madame Weber.

CONSTANZE

(to Mozart)

Get some water!

He hurries away. The daughters gather around Madame Weber.

56 INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780's 56

Katherina sits fuming at her mirror. A dresser is taking the pins out of her wig as

she stares straight ahead of her. Mozart sticks his head round the door.

MOZART

Katherina! I'll tell you what I'm going to do. I'm going to write

another aria for you. Something even more amazing for the sec-

ond act. I have to get some water. Her mother is lying on the

stage.

CAVALIERI

Don't bother!

MOZART

What?

CAVALIERI

Don't bother.

MOZART

I'll be right back.

He dashes off.

57 INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780's 57

Constanze and Mozart make their way quickly through a crowd of actors in tur-

bans and caftans, and stagehands carrying bits of the dismantled set of Seraglio.

We see all the turmoil of backstage after a performance. A fireman passes Mozart

carrying a small bucket of water. Mozart snatches it from him and pushes his way

through the crowd to Madame Weber, who still lies prone on the stage. Mozart

pushes through the crowd surrounding her and throws water on her face. She is in-

stantly revived by the shock. Constanze assists her to rise.

CONSTANZE

Are you all right?

Instead of being furious, Madame Weber smiles at them rapturously.

MADAME WEBER

Ah, what an evening! What a wise man we have for an Emperor.

Oh, my children! (with sudden, hard briskness) Now I want you to

write your father exactly what His Majesty said.

The activity continues to swirl around them.

MOZART

You should really go home now, Frau Weber. Your carriage must

be waiting.

MADAME WEBER

But aren't you taking us?

MOZART

I have to talk to the singers.

MADAME WEBER

That's all right; we'll wait for you. Just don't take all night.

59 INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780's 59

Cavalieri, still in costume, is marching up and down, very agitated.

CAVALIERI

Did you know? Had you heard?

SALIERI

What?

CAVALIERI

The marriage!

SALIERI

Well, what does it matter to you?

CAVALIERI

Nothing! He can marry who he pleases. I don't give a damn.

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

CAVALIERI

How was I? Tell me honestly.

SALIERI

You were sublime.

CAVALIERI

What did you think of the music?

SALIERI

Extremely clever.

CAVALIERI

Meaning you didn't like it.

Mozart comes in unexpectedly.

MOZART

Oh - excuse me!

CAVALIERI

Is her mother still lying on the floor?

MOZART

No, she's fine.

CAVALIERI

I'm so relieved.

She seats herself at her mirror and removes her wig.

SALIERI

Dear Mozart, my sincere congratulations.

MOZART

Did you like it, then?

SALIERI

How could I not?

MOZART

It really is the best music one can hear in Vienna today. Don't

you agree?

CAVALIERI

Is she a good fuck?

MOZART

What??

CAVALIERI

I assume she's the virtuoso in that department. There can't be any

other reason you'd marry someone like that.

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

CAVALIERI

Come in!

The door opens. Constanze enters.

CONSTANZE

Excuse me, Wolfi. Mama is not feeling very well. Can we leave

now?

MOZART