| SYNOPSIS Virtuoso is based on the actual life and events of Nicollo Paganini, violinist extraordinaire. Considered by many to be the most incredible violinist of all time, his day to day life was just as tantalizing and fascinating. By all known accounts, he was a lady's man, a gambling addict and an abuser of drug and drink. His technical wizardry was surpassed only by his shameless self-promotion and wicked stage presence. Often referred to as, "The Devil's Violinist, crowds were often in awe and fear of his awesome and seemingly impossible ability. The largest irony in his life is his attempts to thwart the rumors that he was in league with Satan at the end of his life when he had used these same rumors to further his career in his younger days. But, alas, it was too late and no one would listen. His story is a fascinating one and I am amazed that there has not been a movie about him since the 1950's. |
VIRTUOSO
By J. Scott Stewart
Copyright 2007
(Unfinished)
THE MOVIE OPENS OVER THE FOLLOWING SCENE
FADE IN:
Paganini is playing a soulful violin piece (Sonata No. 6) alone in his dimly lit room, dressed all in black. His back is to the camera and you can see the beautiful city out the window. The screen begins to darken a little as menacing music starts to fade in. The camera closes in on Paganini quickly as he turns to the camera. His face is evil and twisted. He has red snake eyes and huge, sharp teeth filling a grotesque grin that stretches across his face. He emits a Satanic, deep growl from his chest. The music and the growl come to a climax and the full credit sequence begins with a bit of a dark tone to it. As it comes to a close, the music comes back up and straight into the next scene.
CUT TO:
(Nice, Italy -1838)
A sickly old man sits up quickly in bed with sweat on his brow. He looks around, a little disoriented, shakes his head, puts his hand on his forehead and inhales deeply. He slowly gets up, walks over to his writing desk and sits down. His hands shakes and he can barely speak. He picks up a press clipping of one of his old performances in Vienna (Spring 1828) that states, ‘The Devil’s Violinist awes Vienna’s Elite!’ "What ridiculous tripe," he rasps. Cut to the old man’s face as he quietly whispers, "Why must they still insist I am demonic? The old man’s eyes swim out of focus as he remembers the concert in the clipping.
FADE TO WHITE AND THEN TO:
Virtuoso violinist, Paganini (age 45). He is thin, lanky and wearing all black. His head is a little too big for his body and he is missing his teeth, which gives his face a "sunken in" look.
The concert is almost over and Paganini has come to his finale. He makes a virtuosic run up the lowest string and cuts it with a razor blade that is attached to the end of his bow. It happens so fast, the audience doesn’t quite catch it. It just looks like a string broke. He makes a run up the next string and does the same thing but this time you cut to his face. When he makes a run up the third string the camera goes in slow motion and you see him actually cut the string with the razor blade and it snaps, violently. Then, back to real time, he runs up the last string and cuts it. Cut to his feet and the violin drops to the floor with all strings cut. As it bounces in slow motion you see what might be sweat and a couple drops of blood. Cut to his face staring darkly at the crowd. Cut to the crowd with their mouths hanging open, they have no idea how to react. Dead silence. Cut back to Paganini. As he straightens his jacket, a wicked little smile turns up the corners of his mouth. He turns around and walks calmly off stage. The crowd starts to go insane, some calling him a genius and some calling him the Devil but they all loved it. As Paganini walks out the back door of the theater a small drop of blood hits the ground and he looks at his finger. He accidentally cut himself during his encore. He smiles and puts his finger in his mouth. There is a crowd that has been waiting for him behind the theater and has heard of his playing. Paganini walks through the crowd and they part silently and in reverence. He gets into his horse drawn carriage (black horses, black carriage) and it takes off. The fans start following the carriage, begging him to stop and screaming out his name. The camera cuts back to him in the carriage.
FADE TO:
(Genoa, Italy 1795) – The camera pans down a small street with children playing and focuses on a house. The camera zooms in toward it, slowly.
CUT TO:
Niccolo is practicing and his father is watching him play.
TERESA (MOTHER PAGANINI)
(From downstairs) Antonio, Niccolo, supper is ready!
Niccolo is starving and immediately starts to put down his violin. His father speaks to him.
ANTONIO
No, Niccolo, you need to finish your last three lessons. It is very
important for your future. You must set very high standards if
you wish to succeed.
PAGANINI
But Papa, I don’t feel well (holding his stomach).
ANTONIO
Enough complaining about your stomach, Niccolo!
Niccolo sees that his father is very serious. He picks up his violin and continues his lessons.
ANTONIO
Keep practicing until you are finished. You are faltering today.
It shouldn’t take you more than an hour but I want to hear all
of it when you are done. We go to see Allesandro Rossa tomorrow
and you must be ready for whatever he may demand of you. Do
not worry, my boy, I will save some supper for you.
As Antonio is going downstairs to eat he speaks in a very definite cadence.
ANTONIO
You can do anything you put your mind to, boy!
Nicollo copies the exact cadence of his father’s words, making the violin sound human. He sticks out his tongue.
ANTONIO
I heard that!
Paganini sits down on his bed, sighs and looks at the children playing outside the window in the street.
CUT TO:
Young Paganini is riding in a carriage, fidgeting around and looking out the window. He is 11 years old and his father (Antonio) is taking him to Parma to be taught by the great Allasandro Rosa.
ANTONIO PAGANINI
Settle down, Niccolo, we are almost there.
You are driving me crazy, stop fidgeting!
NICCOLO
I’m hungry, papa, can we have something to eat?
ANTONIO
I am sorry about missing breakfast this morning, we were rushed
for time. You will live. You ate last night.
NICCOLO
No, papa, there was no food left after my lessons.
ANTONIO
What? Your brothers ate the leftovers? Those Jackals, they would
scavenge an Elephant if they could tackle it. I will have to give them
a good talking to. We will eat later today. Not to worry, you look no
paler than usual.
Niccolo sighs and looks at his father like, thanks a lot.
They finally arrive and the carriage stops. They get out and walk up five steps to the door and ring the bell. It is answered by the wait staff.
WAIT STAFF
Good afternoon, may I help you?
ANTONIO PAGANINI
Yes, Indeed, I am Antonio Paganini and this is my son,
Niccolo. We have prior arrangements to…
WAIT STAFF
Oh, yes, he’s been expecting you. Unfortunately, he has
become very ill just recently but you may, by all means,
wait in the music room. This way, please.
They follow him into the music room, adjacent to the room that Allesandro is resting in. While waiting, Niccolo notices a Concerto on the table that Allesandro is writing. Niccolo picks up a violin and immediately starts playing it, verbatim, perfectly and note for note. This makes Allesandro jump out of bed and come into the music room quickly. He stares at Niccolo for a moment.
ALLESANDRO
Let me hear your arpeggios. A min, E flat Maj, slow down, boy. B Harmonic Min, G Melodic Min, hmm, yes. Ascending, descending, pizzicato…ahh, yes, very good.
Niccolo does as Allesandro demands, in time and on cue with no faltering, whatsoever. Allesandro finally stops, stares at Niccolo a moment and then waves his hand at him.
ALLESANDRO
There is nothing I can teach you, boy.
ANTONIO
(Jumping up) But Senior Rossa, he needs your tutelage!
I will make him practice all day, every day if that what
needs to be done!
Niccolo’s mouth falls open and he gives his father a sharp look.
ANTONIO
(Looking at Niccolo) You will do as you are told.
You will eat off of your violin if that’s what must…
ALLESANDRO
Silencio! You misunderstand, Senior. This boy can learn nothing
from me. He needs someone more advanced. Go and see Paer, I’m
sure he will take your boy as his student. With his instruction,
Niccolo could achieve great things.
ANTONIO
Oh, thank you, sir, a thousand thank you’s!
Niccolo rolls his eyes and waits, tapping his bow on his foot.
Allesandro nods and waives him off. He turns around and slowly walks back to bed.
ALLESANDRO
Paer is not far from here. My wait staff will inform him you
are coming. Good day. Good luck, Niccolo.
Allesandro closes his bedroom door and the Paganini’s stare at each other.
NICCOLO
Papa, I am starving!
ANTONIO
Who can think of eating at a time like this? Come!
CUT TO:
Niccolo is playing for Ferdinando Paer, teacher of Allesandro Rossa. He listens carefully and with a bit of a mysterious smile on his face. He seems to be aware that there is something special in this boy and his playing ability.
PAER
I believe I can help you.
ANTONIO
Graci, Senior! You will take him as your student?
PAER
No.
Antonio’s smile drops off his face.
PAER
Better; I will take him to the master who taught me. I could show
the boy a few things, mostly about phrasing and a bit about technique
and I shall check up on his progress from time to time but Master
Ghiretti could make him a great virtuoso, should the boy be able to
make the appropriate sacrifices and work very hard.
ANTONIO
Oh, he will, without question! He will work night and day and I shall…
Antonio’s eyes meet with Niccolo’s and he grins, sheepishly.
ANTONIO
Yes, yes. Indeed, I am sure Niccolo is up to the task of achieving greatness.
PAER
Is this true, Niccolo? Do you have it in you?
NICCOLO
(Pridefully) I believe I do, Master Paer, with all my heart.
PAER
Good, then. Let’s take you to Ghiretti and see what he thinks of your playing.
NICCOLO
Now?
Antonio throws Niccolo a look and the boy sighs.
NICCOLO
Alright.
There is a bowl of fruit on the table and Niccolo reaches for a Pear as they are leaving. His father slaps his hand.
ANTONIO
(Under his breath) No, Niccolo, that fruit has gone bad.
It will only make you sick.
Niccolo reaches behind his father’s back and his own with his bow in his left hand and spears the Pear with the sharp end of it. Then, he brings the bow back around and slides the Pear into his left pocket. He smiles up at his father.
CUT TO:
It is night outside the window and an exhausted Niccolo plays for Master Violinist, Ghiretti. Ghiretti is sitting in a chair by the fire and smoking a pipe. He is nodding slowly.
GHIRETTI
Very good, Niccolo, very good, indeed, for someone your age.
PAGANINI
(Muffled) Thank you, sir.
ANTONIO
Niccolo, are you eating something?!
PAGANINI
(Swallowing) No, of course not, I was clearing my throat.
He drops the core of the completely eaten Pear into a potted plant.
GHIRETTI
Now. You will train with me, here, everyday from nine until three.
Niccolo raises his eyebrows. Antonio nods his head enthusiastically but is also very tired, as well.
ANTONIO
Thank you, Master Ghiretti, thank you so much. Nothing could be
better for him than this. Graci, graci.
GHIRETTI
It will not be easy, I warn you, Niccolo. I hear the natural ability and
I see the spark but to become great it will take much more. You must
have strength and you must have heart!
PAGANINI
Yes, Master Ghiretti.
Niccolo starts to appear to be very ill. He is clammy and pale. He waivers a bit and then bends over and vomits on the floor. Antonio is astonished and afraid and looks over at Ghiretti, who looks down at the rug.
GHIRETTI
Well…all things considered, I will take him, anyway.
ANTONIO
Thank you, Sir. Niccolo! You took the fruit, didn’t you?
NICCOLO
Yes, Sir. It must have been bad.
ANTONIO
I told you! Now, look what you have done! (Talking to Ghiretti)
He has a bad stomach, he never eats enough, you see. His
brothers are like Jackals with bottomless stomachs! I will pay
for any damage he has…
GHIRETTI
Antonio, please, if the boy has not eaten then, by all means,
let us eat something. Come! The cook will prepare something and
we shall discuss the details of the boy’s tutelage. Do not worry
about that (gesturing to the carpet), someone will take care of it.
They both follow him to the kitchen and let out a big sigh. Antonio puts his arm around his son.
ANTONIO
It has been a long day, yes?
NICCOLO
Yes.
ANTONIO
Not to worry, Niccolo, we have arrived. Now, we eat.
NICCOLO
Yes, Sir.
---------------------------------------------(TIME FORWARD TO YOUNG ADULTHOOD)--------------------
Paganini goes to Lucca with his brother, Carlo (also a violinist) to play the ‘Festival of Santa Croce’. It was a brilliant success and he decides to settle there. Eventually, he becomes head concertmaster for the orchestra of Lucca.
Lucca, Italy 1805. Paganini is head concertmaster of the orchestra for a few years and Napoleon’s sister, Princess Elisa Baciocchi has become ruler of Lucca and Piombino. She disbands the two separate orchestras and forms one chamber size court orchestra. He catches her eye and writes a piece for two strings only, one string portraying the lady and the other portraying the man. He is then asked to write a piece for one string and produces it in a few weeks. After the performance, the audience applauds and the Princess stands up.
PRINCESS
In recognition of your great prowess on your chosen instrument,
Sir Paganini, I name you Solo Violinist to the Court.
The audience claps. Paganini is mildly pleased but not surprised. He bows to the Princess.
FADE TO:
Paganini is preparing for an orchestral practice and making some last minute revisions to a composition. The Princess walks into the large rehearsal room and sees him hard at work. He is standing on the conductor’s pulpit, writing furiously.
PRINCESS
Are you always so possessed?
Paganini is startled by her and turns to see her.
PAG
I’m sorry?
PRINCESS
I said are you always so possessed with your work?
PAG
(A little haughtily) I’m possessed with all that interests me,
my dear Princess.
PRINCESS
Hmmm. You are holding rehearsal soon, yes?
PAG
Yes. The orchestra shall start arriving in minutes.
PRINCESS
Would you permit me to watch?
PAG
By all mean, Princess, but you certainly don’t need my permission.
PRINCESS
Oh, but by all means, Niccolo, I certainly do.
He is surprised by her use of his first name. They smile at each other.
DISSOLVE TO:
The orchestra is playing, "La Campenella – Concerto #1" and the Princess seems awed by Paganini’s intense violin playing and conducting. When he is not actually playing he conducts with his bow. There is an important Dignitary and his two aides from France who watch the performance, as well, and note the behavior between Paganini and the Princess. After playing a particularly difficult passage, Paganini sneaks a peak over at the Princess and raises one eyebrow, showing off for her amusement.
CUT TO:
(Princess’s room) Paganini and the Princess are ripping each other’s clothes off, violently. Paganini rips her bodice a little, more by accident than on purpose. She looks down at it and then up at him like, "Oh yhea"? She rips his vest apart, buttons flying everywhere.
PRINCESS
Ha!
He raises his eyebrows and looks somewhat impressed by her zeal. He then completely rips off the bodice and it hangs on her in tatters. He gets a glimpse.
PAG
Good God!
She saunters up to him and tricks him into thinking that she is going to kiss him. Instead, she grabs a hold of his pants and rips them open.
PRINCESS
Good God, indeed.
Now, they attack each other.
PAG
But, my dear Princess, what would Napoleon think of this?
PRINCESS
My brother has more than enough on his plate to keep himself busy.
Now, shut up!
They start knocking things off tables and making too much noise. The French Dignitary is looking for Paganini to give him a mild warning about "flirting" with the Princess as it is regarded most inappropriate behavior. He his aides are walking up the stairs.
DIGNITARY
Did you see the way he was flirting with her?
AIDE
I did, Sir; scandalous, quite scandalous!
DIGNITARY
Well, it was certainly inappropriate behavior. I must have a word with him.
They come to the Princess’s door and the Dignitary starts talking with the guard that is posted there.
DIGNITARY
Have you seen Sir Paganini?
GUARD
No, my Lord.
(Short shot back to Pag and the Princess) They knock a small vase off a table and it breaks on the floor.
DIGNITARY
What was that? My Lady, is everything all right?
The Princess and Paganini both freeze.
PRINCESS
Fine (voice cracking) everything is fine. I have a fever and
am not to be disturbed!
The Dignitary looks at his aides and then at the guard. The guard averts his eyes.
DIGNITARY
Come! Perhaps we can find Paganini before his carriage leaves.
The guard smiles as they walk away. Cut back to Paganini and the Princess.
PAG
You have a fever, eh?
PRINCESS
Well, it’s partly true.
They collapse on the bed. They go back it but quieter. The scene fades as they’re both laughing quietly.
FADE TO:
1809. Paganini’s duties have been reduced and he grows tired of the court. He is writing a letter to his long time friend and explaining it. The letter is narrated as the camera shows him writing it.
LETTER (NARRATED)
Dear Marco: My duties here in the court have been reduced to
a minimum and I feel I am not utilizing my talents as they should
be. I grow tired of this nonsense life and have made the decision to
submit my resignation and leave the court for good. It is time to tour
Italy freelance, now. Meet me here in Parma on the 17th and I shall
make it worth your while. Your long time friend, Niccolo.
After a concert one night, Paganini meets a singer named Antonia Bianchi and is immediately enamored with her. He marries her and she bares him a son, named Achille. After five years, the marriage ends and Paganini takes full responsibility for his son, who remains with him his entire life and is at his bedside when he dies.
----------------------------------(TIME FORWARD TO ITALY AND THEN EUROPE TOUR)---------------
FADE TO:
(After the Intro Vienna Concert) Paganini gets out of his carriage and many people have caught up with him and are begging for his autograph and what not. Then, he walks up the steps to a casino and throws the doors open, letting everyone in. They party the night away. (More dialogue – interesting party banter, etc). In the middle of the party, some people who were at the concert have gathered and are outside the casino booing and hissing and screaming that Paganini is the devil. They are kept out and Paganini just stares out a window (you can see his face superimposed upon the crowd outside in the reflection). A longtime friend of his comes up to him.
MARCO
Are you all right?
PAGANINI
Isn’t it amazing?
MARCO
What?
PAGANINI
How easy it is to manipulate these idiots into believing I’m
the devil. They gather together instead of taking care of their
families and come to call me the son of Satan and think they’re
actually accomplishing something. Well, they’re accomplishing
something, all right. They’re making me rich! Now, my friend,
back to the games! (more dialogue, interesting party banter).
FADE TO:
Someone is loudly knocking on a door. Fade in to Paganini just opening his eyes with an obvious hangover. He slowly sits up in bed, holding his head. The loud knocking continues.
PAGANINI
What!!!
There is a slight pause and then the knocking continues. Paganini is mumbling to himself as he gets up to answer the door. As he scratches his behind, his butt flap falls open. He opens the door and it is Marco, holding the paper and beaming a huge smile.
MARCO
Look at this! You’ve sold out the next three concerts already!
You’ve broken the attendance records! This is unheard of, my
friend! Come, you must get dressed and greet some Dignitaries
who have asked to see you!
Paganini grabs the paper and looks at it, diligently. He rolls his eyes up to his friend, looking quite ill, and sighs
PAG
Very well.
MARCO
That’s the spirit!
PAG
(Disgusted with Marco’s enthusiasm) Give me a minute!
He slams the door in his friend’s face.
MARCO
(Outside the door) Ummm….Niccolo?
FADE TO:
Paganini starts a concert and as he’s playing, the camera jumps to another concert and then another. Everything changes except the underlying song; his attire, his violin, the venue and the audiences. Intercut into this ‘montage’ scene are parties, meetings with Dignitaries, sexual escapades and so on. This is to show his lifestyle and his mannerisms and to segway into his decision to finally tour Europe at the age of 45. The camera is moving around a lot, 360 views. Use "Moto Perpetuo" as the song underneath. Finally, the song is over and Paganini does an impromptu reciting of any piece of music put in front of him. After performing flawlessly, a Duke approaches him on stage and presents a beautiful, Gaurnei Del Gesu violin to Paganini in his honor. It has been specially made for him and Paganini is deeply touched and honored. The gift is a surprise and no one is more so than he. The crowd begins to applaud and Paganini bows to the crowd. The scene dissolves into the next one.
Paganini is filling a drink for his friend and walks over to hand it to him.
PAG
I grow tired of this place, my friend. I’ve lived and toured in Italy
most of my life. I’m not sure what has kept me here so long. I have
money and the means and I’m getting old. It is time that I conquered
Europe but the question is…where to get started?
Marco takes a piece of paper out of his pocket, unfolds it and looks down at it, solemnly.
PAG
What is it?
MARCO
Beethoven is dead.
Paganini looks stricken and then a bit fallen. He sits down heavily and stares at the floor.
PAG
When?
MARCO
Two days ago.
PAG
The Great One has been lost (sighs).
Paganini looks up slowly and then stands up.
PAG
Come, my friend, I now know where I must start my tour
of Europe. We leave for Vienna, tomorrow.
FADE TO:
Paganini is riding through the countryside in his carriage during the day and through the night. Sometimes he is in deep thought, sometimes he plays his violin and sometimes he is asleep. Underneath this scene is Beethoven’s Moonlight Sonata. Paganini gets to Vienna and sets up his hotel and greets some people. Then, he is again in his carriage. It stops and as he gets out, there are thousands of people gathered. It is a cloudy, gloomy day and it is late afternoon. Paganini slowly and covertly (so he is not recognized) makes his way through the crowd. He finds a secluded place behind a tree to stand and watch as Beethoven’s coffin is lowered into the ground. The scene fades as Paganini is slowly walking away from the grave and the last descending notes of Moonlight Sonata are played.
FADE TO:
There is a loud party in Paganini’s hotel room. He is playing guitar (quite well) and singing (his voice is terrible). He is making up lyrics and everyone is laughing and drinking. (Write lyrics, dialogue).
PARTYGOER
Here’s to Paganini’s success in Vienna!
CROWD
Hurrah!
Paganini puts down his guitar, grabs his close friend and takes him aside.
PAG
Even I can’t believe the success I’ve had here in Vienna.
I’ve given five performances and have already been booked
for nine more! I had to make a 60,000 (Franc/Pound?) transfer
to the bank just today! They may call me, "The Devil’s Violinist,"
but as long as it helps sell tickets, they can call me the Devil’s wife!"
(Laughs). Come, my friend, let us gamble!
-------------------------------------------(TIME FORWARD INTO HIS EUROPEON TOUR)------------------
FADE TO:
Paganini is forced to give up all concert activity because he suddenly becomes very ill.
MARCO
You look a bit better today, Niccolo. How are you feeling?
PAG
A bit better, perhaps. It seems all my activity has caught up
with me. I’m surprised I made it this far, truth be told. I was
not a healthy child and times were not always so easy…Perhaps
this lent itself to my current condition. That and…
MARCO
What, Niccolo?
PAG
Some poor choices in my liaisons in the past.
His friend looks a bit stricken and does not know how to respond.
PAG
(Laughs). I was very…insolent in my youth. I remember when I
first came to Lucca shortly after my 18th birthday. My debut took
place during a solemn Pontifical Mass in the Cathedral. I started to
imitate the sounds of animals and other instruments. The children and
younger people laughed but the adults found it inappropriate and
offensive in such an edifice. It started to appear that I would be thrown
out for my antics but somehow I won the favor of most the people
there, that day and the audience gave me a great response.
His friend is smiling down at him as Paganini finishes the story.
MARCO
This is only temporary, Niccolo. Your powers of recuperation and
your energy alone will have you up and tearing up the concert halls
in no time at all.
PAG
Thank you, my friend. I hope you are right. If music can’t keep me
going then nothing can.
FADE TO:
Paganini is at the doctor to find out what ails him.
DOCTOR
And you are feeling tired and fatigued even after a good night’s rest?
PAGANINI
Yes, I told you. I’ve given you my medical history and my symptoms.
What do you think it is?
DOCTOR
I believe you have contracted Syphilis. Given your past medical and sexual
history, that is my diagnosis. This disease can be very debilitating. You will
need to start taking Mercury salt baths on a consistent basis.
PAGANINI
Mercury salt baths?
DOCTOR
Yes, the Mercury will start to pull out the infection and leave you feeling better.
You will still require much rest, however.
Paganini just stares at the doctor for a full five seconds.
PAGANINI
Che cazzo stai dicendo? (What the hell are you talking about)?
CUT TO:
Paganini is at the dentist and they are having a conversation. The dentist is using his tools and examining Paganini’s mouth as they talk.
DENTIST
I’ve heard of you. The whole town is talking about your performances.
PAG
Yes, I’m very pleased with the audience turnout.
I didn’t expect such enthusiasm.
DENTIST
They say some pretty bizarre things about you…
but most of it very good.
Paganini just nods a bit and smiles.
DENTIST
Well…I’m afraid they’re going to have to come out, Niccolo.
PAG
My fans? Do not worry, good doctor, they always do…in droves.
The dentist only looks humorlessly at Paganini.
PAGANINI
(With sudden comprehension) You’re talking about my teeth? All of them?
The dentist doesn’t move a muscle.
PAGANINI
Che cazzo stai dicendo? (What the hell are you talking about)?
Paganini and the dentist just stare at each other, Paganini looking quite horrified.
CUT TO:
Paganini is lying in a fetid looking Mercury salt bath in his hotel, miserable, face swollen, holding a rag to his mouth and drinking to kill the pain. Someone knocks loudly on the door.
PAG
Of course, why not? (He throws his hands up in disgust). Who is it?
The knocking comes again. Paganini can hear his longtime friend, Marco, mumbling behind the door.
PAG
Come in, Marco!
There is another infuriating knock on the door.
PAG
(At the top of his lungs) Come in, you idiot!
Paganini grabs his jaw in pain.
PAGANINI
Ohhh…Aaiee…(mumbling) testa di merda (shithead).
The door opens slowly and Marco peers in. Paganini can see him from the open bathroom and waves him in. Marco stares at him for a minute.
MARCO
Are you all right? You don’t look well.
PAG
Shut up.
MARCO
You look…older, I don’t know why.
PAG
Yes, well I know why. Dentists, doctors…affanculo! (fuck it all)!
Marco takes it in, eyebrows raised in concern and measuring Paganini’s expression.
MARCO
Very well. Are you ready for the concert tomorrow night?
PAG
Of course! Have you ever known me not to be ready?
MARCO
You seem a little tightly wound. Perhaps you should have a
drink to calm your nerves.
PAG
I’m already drunk!
His friend sees that Paganini will be offering up no extra information. The concert is all that matters, for now.
MARCO
All right, then. I will see you at the venue two nights hence.
PAG
Yes, yes…
FADE TO:
(The concert). Paganini has lined up ten violins all in their cases. The cases are closed. He has rounded up two young lads to help him and is speaking to them. Marco is there, as well.
PAG
All right. I want you to open each case as I walk by and
not a minute before, understand?
MARCO
Niccolo, the orchestra and the audience are waiting and
you are already late…
Paganini ignores him.
PAG
Okay.
He starts walking by the cases. The first case is opened. He squints his eyes and then says no. The second case is opened and he says no, immediately. The third is opened and it’s another quick no. The fourth case is opened and he really considers it. As he is doing this, the other boy opens a case too soon and it sends Paganini into a rage.
PAG
What do you think you are doing, boy? Are you dense?
Did you not hear my instructions to open a case only as
I walk by it?
The boy is frightened and leaves quickly. Paganini walks over to the case and looks at the violin.
MARCO
Niccolo, was it really necessary to humiliate…
PAG
Wait. (He picks up the violin).
PAG
This is it. (He turns to his friend).
PAG
Fetch him (motioning).
Marco finds the boy and brings him back.
PAG
How did you know?
The boy only looks confused and Paganini laughs. He places some coins in the boy’s hand and the boy looks down in wonder at how much money he has. The boys run off.
MARCO
You seem to be feeling much better, my friend.
PAG
Indeed, I managed to scrape up a bi-product of the infamous Poppy.
MARCO
Morphine?
PAG
Aha! I knew you weren’t as idiotic as everyone claims!
Marco just sighs and rolls his eyes.
PAG
You should try it, it’s very medicinal…and fuzzy.
Now, clear a path for the great Paganini!
Paganini heads straight to the stage with impunity. He immediately starts playing a solo before he has even reached center stage. Marco is looking at him from off stage (camera angle) and he smiles. He can see that it’s going to be another great concert. Paganini’s concert runs over a montage of other high caliber musicians he influenced.
NARRATED (Montage)
Franz Liszt hears him in Germany and disappears into seclusion to dedicate himself fully to the technicality of his craft. When he re-emerges he is considered one of the most incredible pianists of all time.
In 1829, Mendelssohn writes to a friend after seeing him in concert: "His never-erring execution is beyond description. You ask too much of me to describe his playing. It would take up this whole letter"!
The same year, a young Chopin sees him in Warsaw, Poland and was inspired to write a piece, ‘Souvenir de Paganini,’ in reminiscence of the event.
In 1830, Robert Schumann was a frustrated law student when he saw Paganini. Afterward, he decided to dedicate himself fully to his music, later even transcribing twelve of Paganini’s Caprices for the piano.
After the ‘montage’ Paganini’s concert comes to a close and he takes his fans out for some fun.
FADE TO:
Paris, France. The scene is a lush casino and the camera comes swooping down from above and the audience sees a beautiful Gaurneri del Gesu violin (Paganini’s favorite) lying on the craps table as a pair of dice is rolling. The roll comes out to a 12 (6 & 6 to make it easier for the audience to understand). "Seven, eleven or twelve," the table operator yells. Paganini rolls again. The first die lands on a six and the audience roars. Then, in super slo-mo, the camera watches the second die tumble. It looks as though it is going to land on a five but something happens. At the last second, it bounces off Paganini’s violin and the die falls on a six, instead. During all of this there was the sound of a heart beat slowly fading in and then getting louder and louder and when the die stops, so does the heartbeat. There is an awkward, dead silence and then the camera goes back into real time as the crowd erupts with pleasure. Cut to a shot of Paganini holding onto the table like he can’t let go. He has dark circles under his eyes and his hair is limp. His eyes bulge as he stares in amazement at his violin. It is as though the violin did not want to lose him as much as he did not want to lose it. As Paganini collects his violin and leaves the table, there is a man who starts following him and keeps calling him, "Nini". Paganini ignores him because he is obviously a drunken buffoon but he has not had a good day and the guy keeps pestering him. Paganini starts to get the feeling that this man is mocking him. Finally after the third time this man that he has never met in his life refers to him as, "Nini" Paganini has had enough. He turns around quickly, seizes the man around the neck with fearsome strength and throws him against the wall. He whips out his bow like a sword and puts the gleaming bladed edge to the man’s throat.
PAG
If you do not cease and desist, than by all that is sacred, and
the many things that are not, I will have you carried away on
the backs of wingless demons, but not before I spill your entrails
and watch you eat them up again…
The man is confused and frightened. There is a close up on Paganini’s face and you see a small glint in his dark eyes that is quite disturbing. Marco hurries over and desperately begs Paganini to stop.
MARCO
Niccolo, please, it isn’t worth it. It’s been a long day, please!
Just let him go!
Paganini starts to breathe again and his face relaxes a little. He nods ever slightly. He leans close to the man and says, quietly:
PAG
Whatever Gods you believe in (pause) apparently still
believe in you. Consider yourself blessed.
He lets go and the man gasps desperately for air.
PAG
Now. Go. Do not return here. Ever.
The man runs through the shocked crowd and disappears.
FADE TO:
Marco is in Paganini’s room and the lights are low. Paganini is lying down with his hand to his head and his favorite violin resting upon his chest.
PAG
I almost lost her tonight, Marco. Why in God’s name would I push
my own limits so far? It’s not like I need the money. I am addicted
to chaos, to be sure. I shall never gamble again.
MARCO
It’s all right, Niccolo, nothing bad came to be. You are fine and you
still have your favorite violin. Just rest, my friend. It’s been a long
couple of weeks.
Marco looks at his friend and sees that is already asleep. Marco sighs and the scene fades slowly.
FADE TO:
The scene is an event in Paganini’s honor and many nobleman and Dignitaries are present. One of the noblemen is informing a small crowd of people about Paganini’s ability. Paganini walks into the room, mostly unnoticed and sits down and listens to the tale this gentleman is telling.
NOBLEMAN
There is nothing surprising is Paganini’s skillfulness; he owes it to an
eight-year stay in prison, where he had only his violin to lighten his
captivity. He had been condemned to such a long detention for his
cowardly murder of a friend of mine who was his rival.
Everyone seems to believe him. Paganini has heard enough. He swivels in his chair and addresses the Nobleman.
PAG
Pray tell, my astute and discriminate Nobleman, where and when did
this fantastic adventure take place?
The Nobleman immediately recognizes Paganini and his face turns three shades of red. He has been cornered in his own tale and he is feeling trapped and embarrassed.
PAG
You see, people inclined to laziness do not wish to understand
that one can study just as well in freedom and in one’s own room
as under lock and key.
There is dead silence. The Nobleman is breathing heavily. He has had a few drinks and suddenly speaks loudly and arrogantly to Paganini.
NOBLEMAN
And what of a contest, a duel, if you will, in which the loser sacrifices
his very instrument? I am quite an accomplished violinist myself. I do
not acknowledge your musical superiority until you have proven it.
The crowd hushes and Paganini looks around, making an amused sound.
PAGANINI
Amusing, Sir, but hardly interesting.
NOBLEMAN
Why will you not take my challenge, Sir? You can’t possibly be afraid.
PAGANINI
The only fear I would have is of the dead ghosts you would no doubt bring
to life with your impetuous slaughter of music, itself, Sir.
There are some giggles and titters in the room.
NOBLEMAN
You would not have your gift, would it were not for your eight year
stay in prison for the cowardly murder of a colleague of mine. Eight
long years with nothing but your violin to keep you company.
A hushed silence fall over the crowd. Paganini smiles from his chair, looking slightly amused.
PAGANINI
Really? Again, I haven’t heard this one. When and where did this dubious
mis-adventure take place?"
The Nobleman looks uncomfortable and clears his throat.
NOBLEMAN
You are correct, sir. That was an embellishment on my part but what of
the records of your abduction of a minor?
There are surprised gasps in the audience. The camera cuts to Paganini’s face and he is mysteriously quiet. He stares at the Duke for a moment.
PAGANINI
You shall have your contest, sir. Just be sure to take the pieces that are
left with you when you go.
Paganini stands up and takes off his jacket, as does the Nobleman. Paganini takes out his bow and wields it like a sword. They square off and stare at each other.
PAGANINI
Did you have anything particular in mind?
NOBLEMAN
I do. It is a piece of my own that I have been told is quite difficult to play.
The Nobleman smiles. Paganini nods, yawns and then gestures for him to begin.
The Nobleman launches into an impressive piece of violin music and then finishes with flourish. He stares at Paganini with a smirk on his face.
PAGANINI
May I? (referring and gesturing to the music on the stand)
NOBLEMAN
By all means, if you can.
Paganini smiles. He takes the Nobleman’s music, turns it upside down on the stand and then proceeds to play it flawlessly, faster and improvises upon the piece, as well. When he is done people start clapping and laughing at the thrill of the antics and the ability. The Nobleman’s smile fades from his face. He stares darkly at Paganini and then launches into Paganini’s Caprice #2. Paganini nods and then starts talking out loud.
PAGANINI
B, D#, F#, A#, C#, E, G#, B, one of every three, very good.
NOBLEMAN
Oui, merci. What do you mean when you say one of every three?
PAGANINI
You know precisely what I mean. I was counting the notes you left out
of the piece. You were trying to pass off part of the song as though it were
whole, knowing that most people can hear only one of every three 32nd
notes at mid-tempo.
Paganini looks around the room. The people don’t seem to know what he’s talking about. Paganini walks over to a table, opens a box and takes out a metronome. He sets it at a ridiculous tempo of 180 beats per minute.
PAGANINI
Now play it at the tempo for which it was written. Nine notes in one second, sir.
Who shall count? Anyone? (looking around). No one?
He stares at the Nobleman, questioningly.
PAGANINI
Yes, as I expected. Here, allow me to begin.
He starts on the tempo, plays a fast passage and stops after one second. He looks around. The people in the crowd just look at each other.
PAGANINI
It has been said that it is impossible to play 9 notes in one second at this tempo.
I like to think of myself as a ‘man of science’, occasionally. Let’s put this
"theory" to the test, shall we? Now, listen carefully on tempo.
The metronome counts four and he plays his passage again.
PAGANINI
Now! Was that nine notes in one second? Well? Was it?
MAN IN CROWD
No.
The crowd whips around to look at the man.
PAGANINI
Really? Just how many notes was it then, my good man?
MAN
It was twelve.
The crowd gasps and looks back at Paganini as he grins.
PAGANINI
You have a good ear. You’ve had training, yes?
MAN
Yes, since I was four. My father insisted.
PAGANINI
Indeed, as did mine.
Paganini looks around the room.
PAGANINI
So, you see, "impossibilities" remain intact only so long as we allow them to.
Paganini addresses the Nobleman.
PAGANINI
You still have much of yourself intact, sir. What say you, now?
NOBLEMAN
The only pieces left to pick up will be yours, Hexensohn (Witch’s Brat).
PAGANINI
(Laughs) Oh, that’s wonderful, I haven’t heard that one in ages! Well, on
guard, then, let’s have at you (he pantomimes a swordsman with his bow).
They start trading licks, the Nobleman first and Paganini echoing everything but just a little better. At one point in the middle of a solo, Paganini quickly grabs his violin between his teeth, reaches over, plays an arpeggio on the Nobleman’s violin and then goes quickly back to his. It happens so fast the Nobleman pulls away in irritation and the crowd laughs at Paganini’s tricks. Paganini them mimicks laughter on his violin and the people really start to laugh and applaud. Finally, Paganini tires of the whole thing. He pulls out a pair of scissors and cuts all but one of his strings. The audience is entranced. Again, they trade licks but Paganini is playing everything the Nobleman is playing but on only one string. As they continue on, Paganini starts cutting the Nobleman’s strings too quickly for him to pull away in time. The Nobleman’s playing becomes flawed and eventually dies out, altogether. His hair is a wet mop across his brow. He knows he has already lost. He stares intently at Paganini and his face finally softens a bit.
NOBLEMAN
I never had a chance in Hades…but it was worthwhile, anyway. Sai La Vie.
He hands his violin to Paganini, taking some comfort in knowing that it will be in the hands of a wizard. Paganini takes the Nobleman’s violin, holds it up and then cuts the final string. It drops to the ground, ruthlessly.
The Nobleman looks up in astonishment at the cruel gesture. Paganini stares back, darkly and with no compassion.
PAGANINI
As for the unanswered question of my so called "abduction of a minor,"
it was with her consent, we were in love and we chose to elope together. Her
father had other ideas. This man (pointing to the Nobleman) knew of all of this,
yet chose not to tell you. It is only his motives that are in question, now. You may
leave your pieces (addressing the Nobleman), I’m sure someone will pick them up, for whatever they’re worth.
The audience looks at the Nobleman almost resentfully but also seems surprised by Paganini’s demeanor, as he walks silently and alone, arms folded behind him, through the stunned crowd.