Amadeus

Oh yes, yes. And that was?

ORSINI-ROSENBERG

Well, the play makes a hero out of a valet. He outwits his noble

master and exposes him as a lecher. Do you see the implications?

This would be, in a grander situation, as if a Chamberlain were to

expose an Emperor.

VON STRACK

Ah.

CUT TO:

113 INT. THE EMPEROR'S STUDY - DAY - 1780's 113

The Emperor stands in the middle of the room in close conversation with Von

Strack, Orsini-Rosenberg, Von Swieten, and Bonno. Salieri is not present. A door

opens and a lackey announces:

LACKEY

Herr Mozart.

They all turn. Mozart approaches, rather apprehensively, and kisses Joseph's hand.

JOSEPH

Sit down, gentlemen, please.

They all sit, save Mozart. The room suddenly looks like a tribunal. Joseph is in a

serious mood.

JOSEPH

Mozart, are you aware I have declared the French play of Figaro

unsuitable for our theatre?

MOZART

Yes, Sire.

JOSEPH

Yet we hear you are making an opera from it. Is this true?

MOZART

Who told you this, Majesty?

JOSEPH

It is not your place to ask questions. Is it true?

MOZART

Well, yes, I admit it is.

JOSEPH

Would you tell me why?

MOZART

Well, Majesty, it is only a comedy.

ORSINI-ROSENBERG

What you think, Mozart, is scarcely the point. It is what His

Majesty thinks that counts.

MOZART

But, Your Majesty -

JOSEPH

(motioning him to be silent)

Mozart, I am a tolerant man. I do not censor things lightly.

When I do, I have good reason. Figaro is a bad play. It stirs up

hatred between the classes. In France it has caused nothing but

bitterness. My own dear sister Antoinette writes me that she is

beginning to be frightened of her own people. I do not wish to

see the same fears starting here.

MOZART

Sire, I swear to Your Majesty, there's nothing like that in the

story. I have taken out everything that could give offense. I hate

politics.

JOSEPH

I think you are rather innocent, my friend. In these dangerous

times I cannot afford to provoke our nobles or our people simply

over a theatre piece.

The others look at their king solemnly, all save Mozart.

MOZART

But, Majesty, this is just a frolic. It's a piece about love.

JOSEPH

Ah, love again.

MOZART

But it's new, it's entirely new. It's so new, people will go mad for

it. For example, I have a scene in the second act - it starts as a

duet, just a man and wife quarreling. Suddenly the wife's

scheming little maid comes in unexpectedly - a very funny situ-

ation. Duet turns into trio. Then the husband's equally scream-

ing valet comes in. Trio turns into quartet. Then a stupid old

gardener - quartet becomes quintet, and so on. On and on, sex-

tet, septet, octet! How long do you think I can sustain that?

JOSEPH

I have no idea.

MOZART

Guess! Guess, Majesty. Imagine the longest time such a thing

could last, then double it.

JOSEPH

Well, six or seven minutes! maybe eight!

MOZART

Twenty, sire! How about twenty? Twenty minutes of continuous

music. No recitatives.

VON SWIETEN

Mozart -

MOZART

(ignoring him)

Sire, only opera can do this. In a play, if more than one person

speaks at the same time, it's just noise. No one can understand a

word. But with music, with music you can have twenty individu-

als all talking at once, and it's not noise - it's a perfect harmony.

Isn't that marvelous?

VON SWIETEN

Mozart, music is not the issue here. No one doubts your talent.

It is your judgment of literature that's in question. Even with the

politics taken out, this thing would still remain a vulgar farce.

Why waste your spirit on such rubbish? Surely you can choose

more elevated themes?

MOZART

Elevated? What does that mean? Elevated! The only thing a

man should elevate is - oh, excuse me. I'm sorry. I'm stupid.

But I am fed up to the teeth with elevated things! Old dead leg-

ends! How can we go on forever writing about gods and legends?

VON SWIETEN

(aroused)

Because they do. They go on forever - at least what they repre-

sent. The eternal in us, not the ephemeral. Opera is here to en-

noble us. You and me, just as much as His Majesty.

BONNO

Bello! Bello, Barone. Veramente.

MOZART

Oh, bello, bello, bello! Come on now, be honest. Wouldn't you

all rather listen to your hairdressers than Hercules? Or Horatius?

Or Orpheus? All those old bores! people so lofty they sound as

if they shit marble!

VON SWIETEN

What?

VON STRACK

Govern your tongue, sir! How dare you?

Beat. All look at the Emperor.

MOZART

Forgive me, Majesty. I'm a vulgar man. But I assure you, my

music is not.

JOSEPH

You are passionate, Mozart! but you do not persuade.

MOZART

Sire, the whole opera is finished. Do you know how much work

went into it?

BONNO

His Majesty has been more than patient, Signore.

MOZART

How can I persuade you if you won't let me show it?

ORSINI-ROSENBERG

That will do, Herr Mozart!

MOZART

Just let me tell you how it begins.

VON STRACK

Herr Mozart -

MOZART

May I just do that, Majesty? Show you how it begins? Just that?

A slight pause. Then Joseph nods.

JOSEPH

Please.

Mozart falls on his knees.

MOZART

Look! There's a servant, down on his knees. Do you know why?

Not from any oppression. No, he's simply measuring a space.

Do you know what for? His bed. His wedding bed to see if it

will fit.

He giggles.

CUT TO:

114 INT. OPERA HOUSE - DAY - 1780's 114

Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of

Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro.

We watch Figaro measuring the space for his bed on the floor, singing and Susanna

looking on, trying on the Countess' hat.

CUT TO:

115 INT. SALIERI'S SALON - DAY - 1780's 115

Orsini-Rosenberg and Bonno are sitting with Salieri.

ORSINI-ROSENBERG

Well, Mozart is already rehearsing.

SALIERI

Incredible.

ORSINI-ROSENBERG

The Emperor has given him permission.

BONNO

Si, si! Veramente.

SALIERI

Well, gentlemen, so be it. In that case I think we should help

Mozart all we can and do our best to protect him against the

Emperor's anger.

ORSINI-ROSENBERG

What anger?

SALIERI

About the ballet.

ORSINI-ROSENBERG

Ballet? What ballet?

SALIERI

Excuse me - didn't His Majesty specifically forbid ballet in his

opera?

ORSINI-ROSENBERG

Yes, absolutely. Is there a ballet in Figaro?

SALIERI

Yes, in the third act.

CUT TO:

116 INT. THE OPERA HOUSE - DAY - 1780's 116

It is a full orchestral rehearsal. Mozart is conducting from the harpsichord with his

hands; he does not use a baton. The singers are all in practice clothes, not cos-

tumes. We are in the Act III and we hear the recitativo exchange just before the

march begins. Orsini-Rosenberg and Bonno sit watching chairs. Suddenly the

march starts. Peasants and friends start to dance in and at the same moment,

Orsini-Rosenberg gets up and comes down to Mozart. He is accompanied by an

anxious Bonno.

ORSINI-ROSENBERG

Mozart! Herr Mozart, may I have a word with you please. Right

away.

MOZART

Certainly, Herr Director.

He signals to the cast to break off.

MOZART

Five minutes, please!

The company disperses, curious. The musicians look at Orsini-Rosenberg.

ORSINI-ROSENBERG

Did you not know that His Majesty has expressly forbidden bal-

let in his operas?

MOZART

Yes, but this is not a ballet. This is a dance at Figaro's wedding.

ORSINI-ROSENBERG

Exactly. A dance.

MOZART

But surely the Emperor didn't mean to prohibit dancing when it's

part of the story.

ORSINI-ROSENBERG

It is dangerous for you to interpret His Majesty's edicts. Give me

your score, please.

Mozart hands him the score from which he is conducting.

ORSINI-ROSENBERG

Thank you.

He rips out a page. Bonno watches in terror.

MOZART

What are you doing?

He rips out three more.

MOZART

What are you doing, Herr Director?

ORSINI-ROSENBERG

Taking out what you should never have put in.

He goes on tearing the pages determinedly.

CUT TO:

117 INT. SALIERI'S SALON - DAY - 1780's 117

A servant opens the door to announce.

SERVANT

Herr Mozart.

Mozart brushes past him straight towards Salieri, who rises to greet him. The little

man is near hysterics.

MOZART

Please! Please. I've no one else to turn to. Please!

He grabs Salieri.

SALIERI

Wolfgang, what is it? Sta calmo, per favore. What's the matter?

MOZART

It's unbelievable! The Director has actually ripped out a huge

section of my music. Pages of it.

SALIERI

Really? Why?

MOZART

I don't know. They say I've got to re-write the opera, but it's per-

fect as it is. I can't rewrite what's perfect. Can't you talk to him?

SALIERI

Why bother with Orsini-Rosenberg? He's obviously no friend of

yours.

MOZART

Oh, I could kill him! I mean really kill him. I actually threw the

entire opera on the fire, he made me so angry!

SALIERI

You burned the score?

MOZART

Oh no! My wife took it out in time.

SALIERI

How fortunate.

MOZART

It's not fair that a man like that has power over our work.

SALIERI

But there are those who have power over him. I think I'll take this

up with the Emperor.

MOZART

Oh, Excellency, would you?

SALIERI

With all my heart, Mozart.

MOZART

Thank you! Oh, thank you.

He kisses Salieri's hand.

SALIERI

(withdrawing it; imitating the Emperor)

No, no, no, Herr Mozart, please. It's not a holy relic.

Mozart giggles with relief and gratitude.

118 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 118

OLD SALIERI

I'm sure I don't need to tell you I said nothing whatever to the

Emperor. I went to the theatre ready to tell Mozart that His

Majesty had flown into a rage when I mentioned the ballet, when

suddenly, to my astonishment, in the middle of the third act, the

Emperor - who never attended rehearsals - suddenly appeared.

119 INT. OPERA HOUSE - DAY - 1780's 119

In the background the same recitativo before the March. The Emperor steals in sur-

reptitiously with Von Strack, his finger to his lips. He motions everyone not to

rise, and slips into a chair behind Salieri, Orsini-Rosenberg and Bonno.

The three conspirators look at each other wide-eyed.

The recitativo summons up the march, but instead there is silence. Mozart lays

down his baton. The musicians lay down their instruments. The celebrants of

Figaro's wedding come in with a few pitiful dance steps, in procession, only to

come presently to a halt, lacking their music. The singers try to go on singing, but

they have no cues from their conductor or from the accompaniment. Everyone on

stage looks lost, though they attempt to go on with the story for a while.

Consternation grows on the faces of the conspirators. Mozart glances back at the

group seated in the theatre. Finally, the Emperor speaks, in a whisper.

JOSEPH

What is this? I don't understand. Is it modern?

BONNO

Majesty, the Herr Director, he has removed a balleto that would

have occurred at this place.

JOSEPH

Why?

ORSINI-ROSENBERG

It is your regulation, Sire. No ballet in your opera.

Mozart strains to hear what they are saying but cannot.

JOSEPH

Do you like this, Salieri?

SALIERI

It is not a question of liking, Your Majesty. Your own law decrees

it, I'm afraid.

JOSEPH

Well, look at them.

We do look at them. The spectacle on stage has now ground to a complete halt.

JOSEPH

No, no, no! This is nonsense. Let me hear the scene with the

music.

ORSINI-ROSENBERG

But, Sire -

JOSEPH

Oblige me.

Orsini-Rosenberg acknowledges his defeat.

ORSINI-ROSENBERG

Yes, Majesty.

Orsini-Rosenberg rises and goes down to where Mozart sits anxiously with the

musicians, watching his approach.

ORSINI-ROSENBERG

Can we see the scene with the music back, please?

MOZART

Oh yes, certainly. Certainly, Herr Director!

He looks back deliriously at Salieri, trying to indicate his gratitude. Salieri ac-

knowledges with a slight and subtle nod.

Orsini-Rosenberg returns to his king.

MOZART

Ladies and gentlemen, we're going from where we stopped. The

Count: Anches so. Right away, please!

The singers scatter offstage to begin the scene again.

JOSEPH

(to Orsini-Rosenberg)

What I hoped by that edict, Director, was simply to prevent

hours of dancing like in French opera. There it is endless, as you

know.

ORSINI-ROSENBERG

Quite so, Majesty.

CUT BACK TO Mozart at the forte-piano, raising his hands. The musicians raise

their bows. With a flourish the happy composer begins a reprise of the scene which

had been cut out. The music of the march begins faintly; the celebrants of Figaro's

wedding start to enter as the Count and the Countess sit in their chairs.

In the theatre we see increasing pleasure on the Emperor's face, sullenness and de-

feat on the courtiers'. Then, suddenly, without interruption, on a crescendo repeat

of the march, we

CUT TO:

120 INT. OPERA HOUSE - NIGHT - 1780's 120

The theatre is brilliantly lit for the first public performance of Figaro. Everybody

is there: the Emperor, Von Strack, Bonno Orsini-Rosenberg, Von Swieten, even

Madame Weber and her daughters in a box. The musicians all wear imperial liv-

ery; the actors on stage are now in costume. Mozart, conducting, wears his Order

of the Golden Spur. The company wheels in and around to the music of the re-

stored march, which reaches a triumphant climax.

CUT TO:

121 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 121

OLD SALIERI

(to Vogler)

So Figaro was produced in spite of me. And in spite of me, a

wonder was revealed. One of the true wonders of art. The re-

stored third act was bold and brilliant. The fourth was a miracle.

The descending scale of strings in the final ensemble (Ah, Tutti contenti. Saremo

cosi) fades in.

122 INT. OPERA HOUSE - NIGHT - 1780's 122

We see the tableau on stage with the Count kneeling to the Countess. All are

singing.

OLD SALIERI

(V.O.)

I saw a woman disguised in her maid's clothes hear her husband

speak the first tender words he has offered her in years, only be-

cause he thinks she is someone else. I heard the music of true

forgiveness filling the theatre, conferring on all who sat there a

perfect absolution. God was singing through this little man to all

the world - unstoppable - making my defeat more bitter with

each passing bar.

CU, Salieri in his box, tears on his cheeks. He watches the ensemble and we listen

to it for a long moment. Finally it fades, but continues underneath the following:

123 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 123

OLD SALIERI

And then suddenly - a miracle!

CUT BACK TO:

124 INT. OPERA HOUSE - NIGHT - 1780's 124

The ensemble reaches its climax, and fades away to the very quiet, slow chords

immediately preceding the boisterous final chord. Salieri becomes aware that

some of the audience are asleep and many mare are apathetic. In the near silence

we see the Emperor yawn behind his hand. Those nearby look at him. Orsini-

Rosenberg smiles.

CUT BACK TO:

125 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 125

OLD SALIERI

Father, did you know what that meant? With that yawn I saw

my defeat turn into a victory. And Mozart was lucky the

Emperor only yawned once. Three yawns and the opera would

fail the same night; two yawns, within a week at most. With one

yawn the composer could still get -

CUT TO:

126 INT. SALIERI'S SALON - DAY - 1780's 126

Mozart is pacing up and down. Salieri is listening sympathetically.

MOZART