I, Don Giovanni Page #4

Synopsis: A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.
Genre: Drama, History, Music
Director(s): Carlos Saura
Production: Edelweiss Production
  3 nominations.
 
IMDB:
7.0
Year:
2009
127 min
25 Views


No sooner has Leporello finished

than you enter, breathless.

Still trying to dress after

fleeing from Donna Anna.

Donna Anna, in her nightgown,

follows Don Giovanni

and shrieks with fright

and indignation,

since a stranger has molested her

in her sleep.

She grabs Don Giovanni's arm,

withstanding his violent tugging.

You must conceal your face

with the cloak.

Donna Anna must not see you,

you're a stranger to her! Try.

Till thy name I've learn'd thou viper,

from this spot thou shalt not go.

Foolish girl, beware my fury!

Who I am thou ne'er shalt know.

- Villain tremble! Help, what ho!

- Be silent or my rage you'll rue.

- Miscreant!

- Impudent woman!

Well done!

Till thy name I've learn'd thou viper

from this spot thou shalt not go

Foolish girl, beware my fury!

Who I am thou ne'er shalt know

Till thy name I've learn'd

thou viper...

What a tumult! Oh what screaming!

My master's in some trouble now!

Villain tremble! Help, what ho!

Be silent or my rage you'll rue

- Miscreant!

- Impudent woman!

Miscreant!

Some fearful act!

And I must share it too.

I'm desperate,

and my persecutor fain would know

Some fearful act she'll surely

make me do

Miscreant!

Some fearful act!

And I must share it too

- Miscreant!

- Impudent woman!

Miscreant!

Be silent or rue

I'm desperate

and my persecutor fain would know

Some fearful act she'll surely

make me do

Some fearful act!

And I must share it too.

Unhand her, villain

Turn and defend thee

Hence fool. I deign not

with thee to combat

Dost thou fear me?

Dost from me fly?

I wish I could

I think I'll try

Hence fool:
I deign not

Dost thou fear me?

Dost from me fly?

- Coward!

- Tremble!

Tremble, for thou

Must surely die

Ah, great Heaven

- Powers of Mercy

- The meddling fool lies prostrate

'Neath t'assassin's hand expiring

Agony his frame is wringing

Terror dire, my blood congealing

thru my veins like ice is stealing

Forth, from out my quiv'ring bosom

fast the life-blood wells away

Fast his soul its flight is winging

as his life-blood wells away

I know not what to do or say

I know not what to do or say

Terror dire, my blood congealing

thru my veins like ice is stealing

I know not what to do or say

Very good.

And now a well-deserved break.

Madam Cavalieri, magnificent!

Commandant, perfect.

A couple of things...

Annetta...

is it really you?

I told Mozart

that I would like to see

preparations for an opera.

I hoped to meet you here,

but I was afraid of seeing you too.

- Afraid, why?

- You need to ask?

The first time I saw you in Venice,

it was like a dream come true.

I felt a sensation

completely unknown to me.

But you fled from me

as if I were the devil himself.

In your presence

I felt dazzled by a perfection,

by a harmony that I never thought

could actually exist.

Life gave me a gift

that I did not truly deserve.

I felt unworthy, without appeal.

My father heard you were exiled

and had come here to Vienna.

He wanted to join you,

but was too ill to come.

- I'm sorry.

- And after his death

I decided to abandon Venice

and move here.

Why did you not look for me

immediately?

I had no wish to be

one of your many trophies.

What are you referring to?

Your notorious womanising

and dissolute life.

Wait.

I dedicated these verses to you.

See, that's your name.

They're for you.

"Then with thy hand in mine, dear,

thou'lt whisper gently yes.

The castle's lord be thine dear

Come, and thy lover bless."

Annetta...

my love.

It no longer makes a difference

if I believe you or not.

What do you mean?

It is too late.

Why?

I am betrothed,

I am to marry next month.

Who?

Not you. Forgive me.

Adriana, what a surprise,

what are you doing here?

Who is she?

- Who?

- Don't feign ignorance.

Annetta Dei Fiorini.

A pupil of Mozart's.

How can you be jealous?

She can't even sing.

You start rehearsals without me

yet ask me that?

You promised me a leading role

but shut me out.

- I'll be a laughing-stock!

- What do you mean, my love?

Today we only rehearsed

the opening scenes.

Of course, now you have that

Cavalieri whore.

And in exchange for her favours,

you gave her the lead role.

Please, calm down.

Your jealousy

is driving you to madness.

I had to give her a small role

to gain Salieri's support

or Don Giovanni wouldn't

have been approved at Court.

And my role?

It just needs a few corrections,

a little polishing.

I promise you that in a few days

you may start rehearsals.

And stop thinking I chase

other women behind your back.

Even La Cavalieri!

How absurd.

You are my one and only.

My nightingale.

Ladies and gentlemen...

let me introduce Lorenzo Da Ponte.

My lover.

He swore love and fidelity to me.

And after many lies,

he has now abandoned me.

Without even having the guts

to tell me face to face.

Leave me alone, you madwoman.

Is this how you repay all I did

for you, you wretch?

Maestro, I've been searching for you

all over town!

I must speak with you,

I hope it's not inconvenient.

Of course not.

- There's deep trouble ahead.

- The new scenes aren't ready?

If only that were the extent of it.

- La Ferrarese...

- Has cut La Cavalieri's throat.

Cavalieri cut Ferrarese's throat?

They cut each other's throats?

I'm being serious!

I dismissed La Ferrarese today.

Now do you understand the gravity

of this dilemma?

Full well.

La Ferrarese

wants to cut your throat!

Forgive me, I don't mean

to laugh at your misfortune.

But that woman

is as poisonous as a viper.

I wouldn't like to be in your shoes.

I advise you to let things lie,

time erases everything.

You don't understand!

We're in trouble:

Me, you and the opera.

What do the opera and myself

have to do with this?

That woman is vindictive,

I've a feeling she's out to ruin

"Don Giovanni" to get at me.

Believe me, we're up against

Machiavelli in a corset.

Machiavelli in a corset...

She can't do a thing if she

doesn't have a role in the opera.

That's the point: I promised her

a leading role that doesn't exist!

A leading role?

What about a proud woman,

seduced and abandoned,

who swears revenge?

Of course...

Besides Donna Anna,

let's put a second enraged woman

on Don Giovanni's heels.

I at least hope this character

won't be called Adriana Ferrarese!

What about...

Donna Elvira?

Why these sighs?

What checks my utterances?

Though by him I've been neglected

Though my peace has fled, alas!

Though his falseness

I've detected

Prayers for him my lips still pass

Though by him I've been neglected...

When I think on wrongs I'm bearing

Vengeance only steels my heart

When I see him perils sharing...

After our first meeting,

I asked myself

if it is enough for

a man of your stature

to leave just a book of memoirs

for posterity.

And so I thought of Lorenzo.

He shares many characteristics

with you.

And the Don Giovanni

that you suggested to him

with such sly dexterity...

is partly a mirror-image

of your own life.

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Carlos Saura

Carlos Saura Atarés (born 4 January 1932) is a Spanish film director, photographer and writer. His name, with those of Luis Buñuel and Pedro Almodóvar, forms a triad of Spain’s most renowned filmmakers. He has a long and prolific career that spans over half a century. A great numbers of his films have won many international awards. Saura began his career in 1955 making documentaries shorts. He quickly gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura quickly switched to films encoded with metaphors and symbolisms in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film La Caza won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions. By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for La Prima Angélica (1973) and Cría Cuervos (1975) in Cannes; and an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Cumple 100 Años. In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Bodas de Sangre, Carmen and El Amor Brujo. He continued to appear in worldwide competitions earning numerous awards, and received another two Academy Award for Best Foreign Language Film nominations, for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present and memory with hallucination. In the last two decades, Saura has concentrated on works uniting music, dance and images. more…

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Submitted on August 05, 2018

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    "I, Don Giovanni" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/i,_don_giovanni_10939>.

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