Amadeus

Of course.

CAVALIERI

No, no, no, no. You can't take him away now. This is his night.

Won't you introduce us, Wolfgang?

MOZART

Excuse us, Fra焞ein. Good night, Signore.

Mozart hurries Constanze out of the door. Cavalieri looks after them as they go,

her voice breaking and rising out of control.

CAVALIERI

You really are full of surprises, aren't you? You are quite extraor-

dinary, you little shit!

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

OLD SALIERI

(V.O.)

At that moment I knew beyond any doubt. He'd had her. The

Creature had had my darling girl.

60 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820's 60

The old man speaks passionately to the priest.

OLD SALIERI

It was incomprehensible. What was God up to? Here I was

denying all my natural lust in order to deserve God's gift and

there was Mozart indulging his in all directions - even though

engaged to be married! - and no rebuke at all! Was it possible I

was being tested? Was God expecting me to offer forgiveness in

the face of every offense, no matter how painful? That was very

possible. All the same, why him? Why use Mozart to teach me

lessons in humility? My heart was filling up with such hatred for

that little man. For the first time in my life I began to know re-

ally violent thoughts. I couldn't stop them.

VOGLER

Did you try?

OLD SALIERI

Every day. Sometimes for hours I would pray!

61 INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780's 61

The young Salieri is kneeling in desperation before the Cross.

SALIERI

Please! Please! Send him away, back to Salzburg. For his sake as

well as mine.

CU, Christ staring from the Cross.

CUT BACK TO:

62 INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - 62

DAY - 1780's

We see Leopold kneeling now not to the Cross but to Archbishop Colloredo, sit-

ting impassively on his throne. Count Arco stands beside him. Leopold is a des-

perate, once-handsome man of sixty, now far too much the subservient courtier.

COLLOREDO

No! I won't have him back.

LEOPOLD

But he needs to be here in Salzburg, Your Grace. He needs me

and he needs you. Your protection, your understanding.

COLLOREDO

Hardly.

LEOPOLD

Oh sir, yes! He's about to make the worst mistake of his life.

Some little Viennese slut is trying to trick him into marriage. I

know my son. He is too simple to see the trap - and there is no

one there who really cares for him.

COLLOREDO

I'm not surprised. Money seems to be more important to him

than loyalty or friendship. He has sold himself to Vienna. Let

Vienna look out for him.

LEOPOLD

Sir -

COLLOREDO

Your son is an unprincipled, spoiled, conceited brat.

LEOPOLD

Yes, sir, that's the truth. But don't blame him. The fault is mine.

I was too indulgent with him. But not again. Never again, I

promise! I implore you - let me bring him back here. I'll make

him give his word to serve you faithfully.

COLLOREDO

And how will you make him keep it?

LEOPOLD

Oh, sir, he's never disobeyed me in anything. Please, Your Grace,

give him one more chance.

COLLOREDO

You have leave to try.

LEOPOLD

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

In deepest gratitude he kisses the Archbishop's hand. He motions Leopold to rise.

We hear the first dark fortissimo chord which begins the Overture to Don

Giovanni: the theme associated with the character of the Commendatore.

LEOPOLD

(V.O.)

My dear son.

The second fortissimo chord sounds.

63 INT. A BAROQUE CHURCH - DAY - 1780's 63

We see a huge CU, of Mozart's head, looking front and down, as if reading his fa-

ther's letter. We hear Leopold's voice over this image, no longer whining and

anxious, but impressive.

LEOPOLD

(V.O.)

I write to you with urgent news. I am coming to Vienna. Take

no further steps toward marriage until we meet. You are too

gullible to see your own danger. As you honour the father who

has devoted his entire life to yours, do as I bid, and await my

coming.

MOZART

I will.

The camera pulls back to see that he is in fact kneeling beside Constanze. A

PRIEST faces them. Behind them are Madame Weber, Josefa and Sophie Weber,

and a very few others. Among them, a merry looking lady in bright clothes: the

BARONESS WALDSTADTEN.

PRIEST

And will you, Constanze Weber, take this man, Wolfgang to be

your lawful husband?

CONSTANZE

I will.

PRIEST

I now pronounce you man and wife.

The opening kyrie of the great Mass in C Minor is heard. Mozart and Constanze

kiss. They are in tears. Madame Weber and her daughters look on approvingly.

The music swells and continues under the following:

64 INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780's 64

There is a view of a castle in background. Leopold sits alone in his room. He is

reading a letter from Wolfgang. At his feet are his trunks, half-packed for the

journey he will not now take. We hear Mozart's voice reading the following letter

and we see, as the camera roves around the room, mementos of the young prodi-

gy's early life: the little forte-piano made for him; the little violin made for him; an

Order presented to him. We see a little starling in a wicker cage. And we see por-

traits of the boy on the walls, concluding with the familiar family portrait of

Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing,

and the picture of their mother on the wall behind them.

MOZART

(V.O.)

Most beloved father, it is done. Do not blame me that I did not

wait to see your dear face. I knew you would have tried to dis-

suade me from my truest happiness and I could not have borne it.

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

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

wonderful, Papa, and I know that you will love her. And one day

soon when I am a wealthy man, you will come and live with us,

and we will be so happy. I long for that day, best of Papas, and

kiss your hand a hundred thousand times.

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

65 EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780's 65

Salieri stands waiting, hat in hand. Beside him stands a royal servant. Behind him,

gardeners are glimpsed tending the shrubs and bushes along a grassy ride. Down

this ride are seen cantering two people on horseback: the Emperor Joseph and his

niece, the PRINCESS ELIZABETH. They are mounted on glossy horses. The

Princess rides side-saddle. Running beside her is a panting groom. The Emperor

rides elegantly; his niece, a dumpy little Hapsburg girl of sixteen, like a sack of

potatoes. As they draw level with Salieri they stop, and the groom holds the head

of the Princess' horse. Salieri bows respectfully.

JOSEPH

Good morning, Court Composer. This is my niece, the Princess

Elizabeth.

SALIERI

Your Highness.

Out of breath, the Princess nods nervously.

JOSEPH

She has asked me to advise her on a suitable musical instructor. I

think I've come up with an excellent idea.

He smiles at Salieri.

SALIERI

Oh, Your Majesty, it would be such a tremendous honour!

JOSEPH

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

Salieri's face falls, almost imperceptibly.

SALIERI

An interesting idea, Majesty. But -

JOSEPH

Yes?

SALIERI

You already commissioned an opera from Mozart.

JOSEPH

And the result satisfies.

SALIERI

Yes, of course. My concern is to protect you from any suspicion

of favouritism.

JOSEPH

Ah-ha. Favouritism. But I so want Mozart.

SALIERI

I'm sure there is a way, Majesty. Some kind of a little contest. I

could perhaps put together a small Committee, and I could see to

it naturally that it will select according to Your Majesty's wishes.

JOSEPH

You please me, Court Composer. A very clever idea.

SALIERI

(bowing)

Sire.

JOSEPH

Well. There it is.

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

CUT TO:

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

committee? Just to teach a sixteen-year-old girl.

VON STRACK

Because His Majesty wishes it.

MOZART

Is the Emperor angry with me?

VON STRACK

On the contrary.

MOZART

Then why doesn't he simply appoint me to the post?

VON STRACK

Mozart, you are not the only composer in Vienna.

MOZART

No, but I'm the best.

VON STRACK

A little modesty would suit you better.

MOZART

Who is on this committee?

VON STRACK

Kapellmeister Bonno, Count Orsini-Rosenberg and Court

Composer Salieri.

MOZART

Naturally, the Italians! Of course! Always the Italians!

VON STRACK

Mozart -

MOZART

They hate my music. It terrifies them. The only sound Italians

understand is banality. Tonic and dominant, tonic and domi-

nant, from here to Resurrection! (singing angrily) Ba-ba! Ba-ba!

Ba-ba! Ba-ba! Anything else is morbid.

VON STRACK

Mozart -

MOZART

Show them one interesting modulation and they faint. 襉hime!

Morbidezza! Morbidezza! Italians are musical idiots and you

want them to judge my music!

VON STRACK

Look, young man, the issue is simple. If you want this post, you

must submit your stuff in the same way as all your colleagues.

MOZART

Must I? Well, I won't! I tell you straight: I will not!

CUT TO:

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.

Mozart is lying on the bed.

CONSTANZE

I think you're mad! You're really mad!

MOZART

Oh, leave me alone.

CONSTANZE

One royal pupil and the whole of Vienna will come flocking.

We'd be set up for life!

MOZART

They'll come anyway. They love me here.

CONSTANZE

No, they will not. I know how things work in this city.

MOZART

Oh yes? You always know everything.

CONSTANZE

Well, I'm not borrowing any more money from my mother, and

that's that!

MOZART

You borrowed money from your mother?

CONSTANZE

Yes!

MOZART

Well, don't do that again!

CONSTANZE

How are we going to live, Wolfi? Do you want me to go into the

streets and beg?

MOZART

Don't be stupid.

CONSTANZE

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

MOZART

Shut up! Just shut up! I don't need them.

CONSTANZE

This isn't pride. It's sheer stupidity!

She glares at him, almost in tears.

CUT TO:

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

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.

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

considered for the royal appointment.

SALIERI

How charming. But why did he not come himself?

CONSTANZE

He's terribly busy, sir.

SALIERI

I understand.

He takes the portfolio and puts it on a table.

SALIERI

I will look at them, of course, the moment I can. It will be an

honour. Please give him my warmest.

CONSTANZE

Would it be too much trouble, sir, to ask you to look at them

now? While I wait.

SALIERI

I'm afraid I'm not at leisure this very moment. Just leave them

with me. I assure you they will be quite safe.

CONSTANZE

I - I really cannot do that, Your Excellency. You see, he doesn't

know I'm here.

SALIERI

Really?

CONSTANZE

My husband is a proud man, sir. He would be furious if he knew

I'd come.

SALIERI

Then he didn't send you?

CONSTANZE

No, sir. This is my own idea.

SALIERI

I see.

CONSTANZE

Sir, we really need this job. We're desperate. My husband spends

far more than he can ever earn. I don't mean he's lazy - he's not

at all - he works all day long. It's just! he's not practical.

Money simply slips through his fingers, it's really ridiculous, Your

Excellency. I know you help musicians. You're famous for it.

Give him just this one post. We'd be forever indebted!

A short pause.

SALIERI

Let me offer you some refreshment. Do you know what these

are?

He indicates a dish piled high with glazed chestnuts.

SALIERI

Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in

brandied sugar. Won't you try one? They're quite surprising.

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

carefully.

CONSTANZE

Oh! They're wonderful.

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

CONSTANZE

Thank you very much, Your Excellency.

SALIERI

Don't keep calling me that. It puts me at such a distance. I was

not born a Court Composer, you know. I'm from a small town,

just like your husband.

He smiles at her. She takes another chestnut.

SALIERI

Are you sure you can't leave that music, and come back again? I

have other things you might like.

CONSTANZE

That's very tempting, but it's impossible, I'm afraid. Wolfi

would be frantic if he found those were missing. You see, they're

all originals.

SALIERI

Originals?

CONSTANZE

Yes.

A pause. He puts out his hand and takes up the portfolio from the table. He

opens it. He looks at the music. He is puzzled.

SALIERI

These are originals?

CONSTANZE

Yes, sir. He doesn't make copies.

CUT TO:

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

only drafts of music yet they showed no corrections of any kind.

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

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

the following:

OLD SALIERI

(V.O.)

Displace one note and there would be diminishment. Displace

one phrase, and the structure would fall. It was clear to me. That

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

through the cage of those meticulous ink-strokes at an absolute,

inimitable beauty.

The music swells. What we now hear is an amazing collage of great passages from

Mozart's music, ravishing to Salieri and to us. The Court Composer, oblivious to

Constanze, who sits happily chewing chestnuts, her mouth covered in sugar, walks

around and around his salon, reading the pages and dropping them on the floor

when he is done with them. We see his agonized and wondering face: he shudders

as if in a rough and tumbling sea; he experiences the point where beauty and great

pain coalesce. More pages fall than he can read, scattering across the floor in a

white cascade, as he circles the room.

Finally, we hear the tremendous 襋ui Tollis from the Mass in C Minor. It seems

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

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

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

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

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

after him, horrified.

The servant enters. Shocked and stunned, Constanze goes down an her knees and

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

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

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.

Offer him the salt of penitence. He will give you back the bread

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?

He gave me that longing - then made me mute. Why? Tell me

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?

Go on, tell me! Speak for Him!

VOGLER