Amadeus Page #32

INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S

The Director sits at his table with Salieri and Bonno.

SALIERI:

I've just learned something that

might be of interest to you, Herr

Director.

ORSINI-ROSENBERG

Yes?

SALIERI:

Mozart is writing a new opera. An

Italian opera.

ORSINI-ROSENBERG

Italian?

BONNO:

Aie!

SALIERI:

And that's not all. He has chosen

for his subject, Figaro. The Marriage

of Figaro.

ORSINI-ROSENBERG

You mean that play?

SALIERI:

Exactly.

ORSINI-ROSENBERG

He's setting that play to music?

SALIERI:

Yes.

ORSINI-ROSENBERG

You must be mad.

BONNO:

What is this Marriage of Figaro?

ORSINI-ROSENBERG

It's a French play, Kapellmeister.

It has been banned by the Emperor.

BONNO:

Hah!

He crosses himself, wide-eyed with alarm.

ORSINI-ROSENBERG

Are you absolutely sure?

SALIERI:

I've seen the manuscript.

ORSINI-ROSENBERG

Where?

SALIERI:

Never mind.

CUT TO:

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

VON STRACK:

I know we banned this play, but

frankly I can't remember why. Can

you refresh my memory, Herr Director?

ORSINI-ROSENBERG

For the same reason, Herr Chamberlain,

that it was banned in France.

VON STRACK:

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:

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

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.

Rate this script:5.0 / 1 vote