In The Shadow Of The Phoenix
4 Episode Screenplay/FD - in 1996, an African American ‘detective, musicologist and adventurer’, uncovers a mysterious scrap of music from 1835, leading to a journey in time that uncovers, genius, deceit, and ultimately, an unsolved murder..
Jan 29th 1996, moments before the Venice opera house, La Fenice, catches fire and burns to the ground, Leslie Welsh, an African-American adventurer and musicologist discovers a fragment of an amazing composition in the basement archives.. -where he had no permission to be.. leaving more than a piece of music at stake, as Leslie is certain he may be on the run for more than ‘breaking and entering’!
In discovering the history of the composition he saves, we unravel a murder in 1835, and at the same opera house, an evening of betrayals, rivalry, music, egos, royalty and revenge as In The Shadow of the Phoenix travels seamlessly in time between two storylines, along one man’s challenge to keep the true treasure he really cares for most: the opera singer he loves..
In The Shadow of the Phoenix is a work of historical fiction, as over the top as AMADEUS and as exciting an adventure as INDIANA JONES.
___________________
You needn’t know a thing about opera, or opera houses, to be able to enjoy the preening egos, madness, and unsavory dealings in the detective story at the center of IN THE SHADOW OF THE PHOENIX - as modern musicologist, African American adventurer, LESLIE WELSH, puts his love-life at risk, being in exactly the wrong place at the wrong time, while the woman he loves, faces the end of a starry career- and a theatre of history, burns.
In a synchronicity of the past, the composer, GIOVANNI PACINI, with dwindling talent, and in an affair with his patron COUNTESS POMILISKI -a ruthlessly ambitious Countess, of Imperial blood-.. falters into scandal, sinister deeds, treasonous acts, and sabotage, resulting in a vengeful murder in the name of The People..
A work of historical fiction, it is propelled by circumstances of fact - beginning with the fire of 1996 at Venice’s opera house, La Fenice (translated as ‘The Phoenix’), which was treated as arson.
photo credit: ANSA
AUTHOR’S NOTE: the census context of Italy in the 1830’s, with hundreds of years of Middle East trade in Venice, an Africa diaspora in the heel of Sicily, as well as residual mix of Norman Conquest bloodline along the spine of the country, existing adjacent to the Hapsburg / Austrian / French culture of occupation, is a unique ethnic crucible of peoples, in a mix of societies and cultures.
This is a work with a rich vein of characters, across the period narrative, while centering culture threads of opera as art form, social ladder, class magnet and anomaly that offers an incredibly complex texture of color, within a period of fiery politics of identity/allegiance.
IN THE SHADOW OF THE PHOENIX, being centered in such a moment in time, allows for an organic opportunity in casting, which should reflect a unique BIPOC presence -not just across race, but across the social, class, ethnic influences of Italy’s occupiers.
I offer some suggestions in these Character Profiles.
SOME
PRINICIPAL CHARACTERS / in 1996
LESLIE WELSH
late 46; African-American, re-knowned Musicologist;
fastidious in detail, bit of a dreamer and often distracted;
long term lover of Mirina, as well as her Artistic
Associate, and Manager.
MIRINA GORCHEKOVA*
late 50’s; Roma-East European opera star; soprano of
a certain age, worrying into 'what is next';
existing in easy glamour, and uneasy diva;
long in love with Leslie, and wondering ..is that all there will be..
ARLEN BLOOM*
Early 50’s; British impresario,
balding, ambitious, always
stylishly dressed, exudes an oppressive
self-confidence. Would like to
manage Mirina and possibly
replace Leslie Welsh in her affections.
ANGELIKA*
19; young Eastern European singer;
a stupendous natural talent
SOME
PRINICIPAL CHARACTERS / in 1835
GIOVANNI PACINI*
39 - Italian/Sicilian - Catania; Composer, short, thin, wiry,
frenzied, dresses in high fashion, imperious, petulant
and high strung, fearing eclipse by BELLINI
PIETRO MINACCI*
Mid 20’s - Italian/Genoa; Pacini’s copyist and aspiring composer,
indistinct, dark, nondescript, tidy, pale from lack light,
partisan loyal to Austria
COUNTESS ELENA POMILISKI*
30s - Russian; outstandingly beautiful, rich,
alluring, clever; related to royalty, duplicitous;
patron of the Art; Pacini's patron and lover;
a partisan loyal to Austria.
SILVANO*
40’s - Italian/Sicilian-Arab; dark, sensual, dangerous,
Intelligent; a commanding leader,
rogue and patriot for Italian Unification and
Garibaldi; used to getting his way with women
of any station.
DOMENICO BARBAJA*
60’s -Italian/Milanese; celebrated Italian Impresario,
Florid of complexion, stout, shrewd,
business-like, fashionable.
_______________
EXCERPT
1996 LONDON / LESLIE, IN THE DRIVER'S SEAT OF A PARKED BMW.
THE SUDDEN, STARTLING SOUND OF LESLIE’S CELL PHONE RINGING! HE REALIZES IT HAS FALLEN OFF THE CAR SEAT! HE MOVES TO REACH FOR IT BUT IS CAUGHT- STRAPPED STILL IN HIS SEATBELT; HE UNFASTENS HIMSELF AND STRUGGLES A HAND TO RUMMAGE UNDER THE PASSENGER’S EMPTY SEAT..
UNTIL HE FINDS THE PHONE!
LESLIE
-hang on -sorry, car chase. Hello?
MIRINA (V.O.)
Here..? ..-is it here, this chase? In Vienna..?
LESLIE
..ah.
MIRINA (V.O.)
‘No’, then. Not in Vienna. Where you are meant to be in. Or coming to..?
LESLIE ..-Still in London-
MIRINA (V.O.)
When you are supposed to be-
LESLIE
In Vienna. ..in Vienna. ..yes. Yes. And I will be. For tomorrow night’s performance, as we-
MIRINA (V.O.)
No. Did not say. Did not agree to that. -I debut
LESLIE ..preview
MIRINA (V.O.)
-tonight. It is still tonight I need you..
LESLIE ..Mirina-
MIRINA (V.O.)
There is no care for me at all in this, is there? No care at all.
LESLIE
..please don’t.. -please don’t do this..
MIRINA (V.O.)
Me, Do this.
LESLIE
I mean, you know I mean - I, care very much. I care all the time. I care in every-
MIRINA (V.O.)
Well I cannot tell by this.. this horrible.. place!
LESLIE
..”horrible”.. Mirina-
CUT TO:
EXT: FESTSPIELHAUS, PLAZA - VIENNA, MONDAY, JANUARY 29, 1996 - AFTERNOON
MIRINA (V.O.)
But then, I am only a -what? A circus pet? Some, parrot, squaking notes..? ..-a, THING, deserving-
LESLIE (V.O.)
It is the Festspielhaus, Mirina..! In Vienna..! How can you call that
INT: FESTSPIELHAUS, ARTIST DRESSING ROOM - TIGHT ON: A CLOSET DOOR - SAME
MIRINA (V.O.)
I am not mere instrument, you know this. Or a toy. A thing to place somewhere. I need to be looked after.
LESLIE (V.O.)
I swear I have! And they love you in Vienna-
INT: INSIDE CLOSET - SAME
MIRINA, is seen in the sharp illumination of a mobile phone screen, which she is tightly holding, looing furious and anxious and.. lost..
LESLIE (V.O.)
The Press, they adore you. Your fans adore you. And they’ll both be there tonight, all at this preview. While I- I promise, I promise: all will be as I promised for this recital.
And I will be there!
MIRINA
Yes. Tomorrow. And tonight, you will be where? Doing what, more important?
____________
1996 / Venice
..GIACOMO TAKES A STEP INTO A SMALL ROOM’S DIM LIGHT.. IT IS AN ARCHIVE!
AS LESLIE MOVES AROUND THE SPACE.. RUNS HIS HANDS OVER VARIOUS ITEMS.. AND OLD BOOKCASES..
GIACOMO (CONT'D)
..when building is finished renovation.. all this, to computer. All this paper, and dust, and bad handwriting.. put out of the house.
Tonight last time is possible to be in the room..
WE SEE: LESLIE AT A SHELF OF LEATHER BOUND BOOKS WITH THE WORD (”LIBRO MASTRO”) ‘LEDGER’ ON THEM.
LESLIE
(with a sense of awe and reverence..)
..this is how I learned to breath, Giacomo.
(expectantly..)
Rossini.. Donizetti.. Bellini- Verdi.
(suddenly selfconscious..)
I’m not crazy. .. and I’m not Italian- but I was brought up on these names and works.
(as if in memory of the child KEN...)
I.. breathed, in the passions of melodies and music they created.
I dreamed in this world of theirs! Dreamed in this different language, Giacomo, all the way to my own block, in Harlem.. a black kid.
(intentetly..)
-So to be here, in this room.. in the midst of their handwriting .. these composers of the 19th century..
GIACOMO (unimpressed)
History, is history, Professore. You leave as you come, yes?
LESLIE
I don’t know that I’ll ever leave..
GIACOMO
-ah, si? Ok. Maybe good to know there is no music in Venetian jail, Professore. Bah.
LESLIE
-yeah..; point taken.
GIACOMO
Bene. Cio.
GIACOMO LEAVES, CLOSING THE DOOR TO THE ROOM.
LESLIE REMOVES HIS NOTEBOOK from a pocket and looks for a clear surface.
___________
WE SEE: LESLIE opens the Archive door, makes certain no one is coming, steps into the hallway, and swiftly moves along the corridor. Anxious, LESLIE breaks into a run, breathing hard!
SFX/(O.C.): Disjointed and at a distance, various men’s voices are heard yelling.
VOICES
Fuoco!! Fuoco! Auito!
WE SEE: At a fork in the corridor, and just as LESLIE approaches it, SMOKE BILLOWS FROM AROUND ONE CORNER - FILLING THE SCREEN.
LESLIE stops running; his breathing stops for a second. He looks ahead with alarm.
SFX/(O.C.): From above LESLIE’S head are heard heavy desperate, running footsteps.
WE SEE: LESLIE, coughing, looks both ways down the maze of corridors. The one on his right is ghostly with smoke. He tightens his grip on the ledger and runs down the opposite corridor. As he disappears, the smoke, coming from behind him thickens and follows, obscuring any further view of his flight..
Everything becomes dense smoke! Suddenly -
PACINI (V.O.)
(screaming with rage!!)
Basta! Basta! BASTA!
CROSS CUT
INT. VENICE 1835, STALLS OF LA FENICE - NIGHT -
WE SEE: GIOVANNI PACINI (39) [ITALIAN/Sicilian; composer; curly dark hair, short, thin, wiry, frenetic, dressed in high fashion, imperious, petulant and high strung] appears, stepping forward through the smoke!
PACINI
It is an effect! An EFFECT! It is meant to be an avalanche! Not an inferno!! An, AVALANCHE!
WE SEE: The auditorium of LA FENICE OPERA HOUSE slowly emerges out of the smoke. It is shown in the light of many candelabra and lit sconces. It is a jewel! The ceiling is a beautiful cupola depicting "The Hours". Balconies are tiered and trimmed in cream and gold. The chairs and recliners in the loge boxes are luxuriously upholstered in satin and velvet.
PACINI
Throughout today we have endured the orchestra torturing my music. And now, my stage directions are being ignored.
BRIGNOLE
Maestro, perhaps with a little adjustment...
PACINI
Perhaps with professionals instead of-
BRIGNOLE
Maestro.. Maestro, please..!
PACINI
(turning on BRIGNOLE)
I give the Public just what they expect. Behaviour perhaps. But if you please..
(shouting at the stage)
Give to my opera the service it is due!
SFX/(O.C.): As response, something heavy drops backstage!
CLOSE ON: PACINI’S look sours, turning surly.
PACINI turns on his heel, and makes his way out of the auditorium!
Carlo di Borgogna (1835)