amadeus 1984

"AMEDEUS"

Screenplay by

Peter Shaffer

Based on the play "Amedeus" byPeter Shaffer

Shooting Script, 1984

Copyright 1984The Saul Zaentz CompanyOrion Pictures, Inc.

©

FADE IN:

1 1INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT -

Total darkness. We hear an old man's voice, distinct and indistress. It is OLD SALIERI. He uses a mixture of Englishand occasionally Italian.

OLD SALIERIMozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart!

A faint light illuminates the screen. Flickeringly, we seean eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from thepoint of view of the landing. Up the stair is coming abranched candlestick held by Salieri's VALET. By his side isSalieri's COOK, bearing a large dish of sugared cakes andbiscuits. Both men are desperately worried: the Valet isthin and middle-aged; the Cook, plump and Italian. It isvery cold. They wear shawls over their night-dresses andclogs on their feet. They wheeze as they climb. The candlesthrow their shadows up onto the peeling walls of the house,which is evidently an old one and in bad decay. A cat scuttlesswiftly between their bare legs, as they reach the salondoor.

The Valet tries the handle. It is locked. Behind it the voicegoes on, rising in volume.

OLD SALIERIShow some mercy! I beg you. I begyou! Show mercy to a guilty man!

The Valet knocks gently on the door. The voice stops.

VALETOpen the door, Signore! Please! Begood now! We've brought you somethingspecial. Something you're going tolove.

Silence.

VALETSignore Salieri! Open the door. Comenow. Be good!

The voice of Old Salieri continues again, further off now,and louder. We hear a noise as if a window is being opened.

OLD SALIERIMozart! Mozart! I confess it! Listen! I confess!

(CONTINUED)

2.

1 CONTINUED: 1

The two servants look at each other in alarm. Then the Valethands the candlestick to the Cook and takes a sugared cakefrom the dish, scrambling as quickly as he can back down thestairs.

2 2EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT

The street is filled with people: ten cabs with drivers,five children, fifteen adults, two doormen, fifteen dancingcouples and a sled and three dogs. It is a windy night. Snowis falling and whirling about. People are passing on foot,holding their cloaks tightly around them. Some of them arerevelers in fancy dress: they wear masks on their faces orhanging around their necks, as if returning from parties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri standsthere calling to the sky: a sharp-featured, white-hairedItalian over seventy years old, wearing a stained dressinggown.

OLD SALIERIMozart! Mozart! I cannot bear it anylonger! I confess! I confess what Idid! I'm guilty! I killed you! Sir Iconfess! I killed you!

The door of the house bursts open. The Valet hobbles out,holding the sugared cake. The wind catches at his shawl.

OLD SALIERIMozart, perdonami! Forgive yourassassin! Pietˆ! Pietˆ! Forgive yourassassin! Forgive me! Forgive! Forgive!

VALET(looking up to thewindow)

That's all right, Signore! He heardyou! He forgave you! He wants you togo inside now and shut the window!

Old Salieri stares down at him. Some of the passersby havenow stopped and are watching this spectacle.

VALETCome on, Signore! Look what I havefor you! I can't give it to you fromdown here, can I?

Old Salieri looks at him in contempt. Then he turns awayback into the room, shutting the window with a bang. Throughthe glass, the old man stares down at the group of onlookersin the street. They stare back at him in confusion.

(CONTINUED)

3.

2 CONTINUED: 2

BYSTANDERWho is that?

VALETNo one, sir. He'll be all right. Poor man. He's a little unhappy, youknow.

He makes a sign indicating 'crazy,' and goes back inside thehouse. The onlookers keep staring.

CUT TO:

3 3INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT

The Cook is standing holding the candlestick in one hand,the dish of cakes in the other. The Valet arrives, panting.

VALETDid he open?

The Cook, scared, shakes his head: no. The Valet again knockson the door.

VALETHere I am, Signore. Now open thedoor.

He eats the sugared cake in his hand, elaborately and noisily.

VALETMmmm - this is good! This is themost delicious thing I ever ate,believe me! Signore, you don't knowwhat you're missing! Mmmm!

We hear a thump from inside the bedroom.

VALETNow that's enough, Signore! Open!

We hear a terrible, throaty groaning.

VALETIf you don't open this door, we'regoing to eat everything. There'll benothing left for you. And I'm notgoing to bring you anything more.

He looks down. From under the door we see a trickle of bloodflowing. In horror, the two men stare at it. The dish ofcakes falls from the Cook's hand and shatters.

(CONTINUED)

4.

3 CONTINUED: 3

He sets the candlestick down on the floor. Both servants runat the door frantically - once, twice, three times - and thefrail lock gives. The door flies open.

Immediately, the stormy, frenzied opening of Mozart's SymphonyNo. 25 (the Little G Minor) begins. We see what the servantssee.

4 4INT. OLD SALIERI'S SALON - NIGHT

Old Salieri lies on the floor in a pool of blood, an openrazor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse theroom - an old chair, old tables piled with books, a forte-piano, a chamber-pot on the floor - as the Valet and theCook struggle to lift their old Master, and bind his bleedingthroat with a napkin.

5 5INT. BALLROOM - NIGHT

Twenty-five dancing couples, fifty guests, ten servants,full orchestra.

As the music slows a little, we see a Masquerade Ball inprogress. A crowded room of dancers is executing the slowportion of a dance fashionable in the early 1820's.

6 6EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT

As the fast music returns, we see Old Salieri being carriedout of his house on a stretcher by two attendants, and placedin a horse-drawn wagon under the supervision of a middle-aged doctor in a tall hat. This is DOCTOR GULDEN. He gets inbeside his patient. The driver whips up the horse, and thewagon dashes off through the still-falling snow.

MONTAGE:

7 7EXT. FOUR STREETS OF VIENNA AND

8 8INT. THE WAGON - NIGHT

The wagon is galloping through the snowy streets of the city. Inside the conveyance we see Old Salieri wrapped in blankets,half-conscious, being held by the hospital attendants. DoctorGulden stares at him grimly. The wagon arrives outside theGeneral Hospital of Vienna.

CUT TO:

9 9INT. A HOSPITAL CORRIDOR - LATE AFTERNOON

A wide, white-washed corridor. Doctor Gulden is walking downit with a priest, a man of about forty, concerned, butsomewhat self-important. This is Father VOGLER, Chaplain at

(CONTINUED)

5.

9 CONTINUED: 9

the hospital. In the corridor as they walk, we note severalpatients -- some of them visibly disturbed mentally. Allpatients wear white linen smocks. Doctor Gulden wears a darkfrock-coat; Vogler, a cassock.

DOCTOR GULDENHe's going to live. It's much harderto cut your throat than most peopleimagine.

They stop outside a door.

DOCTOR GULDENHere we are. Do you wish me to comein with you?

VOGLERNo, Doctor. Thank you.

Vogler nods and opens the door.

10 10INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON

A bare room - one of the best available in the GeneralHospital. It contains a bed, a table with candles, chairs, asmall forte-piano of the early nineteenth century. As Voglerenters, Old Salieri is sitting in a wheel-chair, looking outthe window. His back is to us. The priest closes the doorquietly behind him.

VOGLERHerr Salieri?

Old Salieri turns around to look at him. We see that histhroat is bandaged expertly. He wears hospital garb, andover it the Civilian Medal and Chain with which we will latersee the EMPEROR invest him.

OLD SALIERIWhat do you want?

VOGLERI am Father Vogler. I am a Chaplainhere. I thought you might like totalk to someone.

OLD SALIERIAbout what?

VOGLERYou tried to take your life. You doremember that, don't you?

OLD SALIERISo?

(CONTINUED)

6.

10 CONTINUED: 10

VOGLERIn the sight of God that is a sin.

OLD SALIERIWhat do you want?

VOGLERDo you understand that you havesinned? Gravely.

OLD SALIERILeave me alone.

VOGLERI cannot leave alone a soul in pain.

OLD SALIERIDo you know who I am? You never heardof me, did you?

VOGLERThat makes no difference. All menare equal in God's eyes.

OLD SALIERIAre they?

VOGLEROffer me your confession. I can offeryou God's forgiveness.

OLD SALIERII do not seek forgiveness.

VOGLERMy son, there is something dreadfulon your soul. Unburden it to me. I'mhere only for you. Please talk tome.

OLD SALIERIHow well are you trained in music?

VOGLERI know a little. I studied it in myyouth.

OLD SALIERIWhere?

VOGLERHere in Vienna.

OLD SALIERIThen you must know this.

(CONTINUED)

7.

10 CONTINUED: (2) 10

He propels his wheelchair to the forte-piano, and plays anunrecognizable melody.

VOGLERI can't say I do. What is it?

OLD SALIERII'm surprised you don't know. It wasa very popular tune in its day. Iwrote it. How about this?

He plays another tune.

OLD SALIERIThis one brought down the house whenwe played it first.

He plays it with growing enthusiasm.

CUT TO:

11 11INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S

We see the pretty soprano KATHERINA CAVALIERI, now abouttwenty-four, dressed in an elaborate mythological Persiancostume, singing on stage. She's near the end of a very floridaria by Salieri. The audience applauds wildly.


OLD SALIERI(taking his hands offthe keys)

Well?

VOGLERI regret it is not too familiar.

OLD SALIERICan you recall no melody of mine? Iwas the most famous composer in Europewhen you were still a boy. I wroteforty operas alone. What about thislittle thing?

Slyly he plays the opening measure of Mozart's Eine KleineNachtmusik. The priest nods, smiling suddenly, and hums alittle with the music.

VOGLEROh, I know that! That's charming! Ididn't know you wrote that.

(CONTINUED)

8.

12 CONTINUED: 12

OLD SALIERII didn't. That was Mozart. WolfgangAmadeus Mozart. You know who thatis?

VOGLEROf course. The man you accuse yourselfof killing.

OLD SALIERIAh - you've heard that?

VOGLERAll Vienna has heard that.

OLD SALIERI( eagerly)

And do they believe it?

VOGLERIs it true?

OLD SALIERIDo you believe it?

VOGLERShould I?

A very long pause. Salieri stares above the priest, seeminglylost in his own private world.

VOGLERFor God's sake, my son, if you haveanything to confess, do it now! Give yourself some peace!

A further pause.

VOGLERDo you hear me?

OLD SALIERIHe was murdered, Father! Mozart! Cruelly murdered.

Pause.

VOGLER(almost whispering)

Yes? Did you do it?

Suddenly Old Salieri turns to him, a look of extremeinnocence.

(CONTINUED)

9.


OLD SALIERIHe was my idol! I can't remember atime when I didn't know his name! When I was only fourteen he wasalready famous. Even in Legnago -the tiniest town in Italy - I knewof him.

CUT TO:

13 13EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S

There are twelve children and twenty adults in the square. We see the fourteen-year-old Salieri blindfolded, playing agame of Blindman's Bluff with other Italian children, runningabout in the bright sunshine and laughing.

OLD SALIERI (V.O.)I was still playing childish gameswhen he was playing music for kingsand emperors. Even the Pope in Rome!

CUT TO:

14 14INT. A SALON IN THE VATICAN - DAY - 1780'S

We see the six-year-old MOZART, also blindfolded, seated ina gilded chair on a pile of books, playing the harpsichordfor the POPE and a suite of CARDINALS and other churchmen. Beside the little boy stands LEOPOLD, his father, smirkingwith pride.

OLD SALIERI (V.O.)I admit I was jealous when I heardthe tales they told about him. Notof the brilliant little prodigyhimself, but of his father, who hadtaught him everything.

The piece finishes. Leopold lowers the lid of the harpsichordand lifts up his little son to stand on it. Mozart removesthe blindfold to show a pale little face with staring eyes. Both father and son bow. A Papal Chamberlain presents Leopoldwith a gold snuff box whilst the cardinals decorously applaud. Over this scene Old Salieri speaks.

OLD SALIERI (V.O.)My father did not care for music. Hewanted me only to be a merchant,like himself. As anonymous as hewas. When I told how I wished I couldbe like Mozart, he would say, Why? Do you want to be a trained monkey?

(MORE)

(CONTINUED)

10.

14 CONTINUED: 14

OLD SALIERI (V.O.) (CONT'D)Would you like me to drag you aroundEurope doing tricks like a circusfreak? How could I tell him whatmusic meant to me?

CUT TO:

15 15EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S

Serene music of the Italian Baroque - Pergolesi's StabatMater - sung by a choir of boys with organ accompaniment. We see the outside of the 17th-century church sitting in thewide landscape of Lombardy: sunlit fields, a dusty, whiteroad, poplar trees.

16 16INT. THE CHURCH AT LEGNAGO - DAY - 1780'S

The music continues and swells. We see the twelve-year-oldSalieri seated between his plump and placid parents in thecongregation, listening in rapture. His father is a heavy-looking, self-approving man, obviously indifferent to themusic. A large and austere Christ on the cross hangs overthe altar. Candles burn below his image.

OLD SALIERI (V.O.)Even then a spray of sounded notescould make me dizzy, almost tofalling.

The boy falls forward on his knees. So do his parents andthe other members of the congregation. He stares up at Christwho stares back at him.

OLD SALIERI (V.O.)Whilst my father prayed earnestly toGod to protect commerce, I wouldoffer up secretly the proudest prayera boy could think of. Lord, make mea great composer! Let me celebrateyour glory through music - and becelebrated myself! Make me famousthrough the world, dear God! Make meimmortal! After I die let peoplespeak my name forever with love forwhat I wrote! In return I vow Iwill give you my chastity - myindustry, my deepest humility, everyhour of my life. And I will help myfellow man all I can. Amen and amen!

The music swells to a crescendo. The candles flare. We seethe Christ through the flames looking at the boy benignly.

(CONTINUED)

11.

16 CONTINUED: 16

OLD SALIERI (V.O.)And do you know what happened? Amiracle!

17 17INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S

CU, a large cooked fish on a thick china plate. Camera pullsback to show the Salieri family at dinner. Father Salierisits at the head of the table, a napkin tucked into his chin. Mother Salieri is serving the fish into portions and handingthem round. Two maiden aunts are in attendance, wearing black,and of course the young boy. Father Salieri receives hisplate of fish and starts to eat greedily. Suddenly there isa gasp - he starts to choke violently on a fish bone. Allthe women get up and crowd around him, thumping and pummelinghim, but it is in vain. Father Salieri collapses.


OLD SALIERISuddenly he was dead. Just like that! And my life changed forever. My mothersaid, Go. Study music if you reallywant to. Off with you! And off Iwent as quick as I could and neversaw Italy again. Of course, I knewGod had arranged it all; that wasobvious. One moment I was a frustratedboy in an obscure little town. Thenext I was here, in Vienna, city ofmusicians, sixteen years old andstudying under Gluck! Gluck, Father. Do you know who he was? The greatestcomposer of his time. And he lovedme! That was the wonder. He taughtme everything he knew. And when Iwas ready, introduced me personallyto the Emperor! Emperor Joseph - themusical king! Within a few years Iwas his court composer. Wasn't thatincredible? Imperial Composer to HisMajesty! Actually the man had no earat all, but what did it matter? Headored my music, that was enough. Night after night I sat right nextto the Emperor of Austria, playingduets with him, correcting the royalsight-reading. Tell me, if you hadbeen me, wouldn't you have thoughtGod had accepted your vow? And believeme, I honoured it. I was a model ofvirtue. I kept my hands off women,worked hours every day teachingstudents, many of them for free,

(MORE)

(CONTINUED)

12.

18 CONTINUED: 18

OLD SALIERI (CONT'D)sitting on endless committees tohelp poor musicians - work and workand work, that was all my life. Andit was wonderful! Everybody likedme. I liked myself. I was the mostsuccessful musician in Vienna. Andthe happiest. Till he came. Mozart.

CUT TO:

19 19INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY -1780'S

A grand room crowded with guests. A small group of Gypsymusicians is playing in the background. Thirteen members ofthe Archbishop's orchestra - all wind players, complete with18th-century wind instruments: elaborate-looking bassoons,basset horns, etc. and wearing their employer's livery - arelaying out music on stands at one end of the room. At theother end is a large gilded chair, bearing the arms of theARCHBISHOP OF SALZBURG. A throng of people is standing,talking, and preparing to sit upon the rows of waiting chairsto hear a concert.

OLD SALIERI (V.O.)One day he came to Vienna to playsome of his music at the residenceof his employer, the Prince-Archbishopof Salzburg. Eagerly I went there toseek him out. That night changed mylife.

We see Salieri, age thirty-one, a neat, carefully turned-cutman in decent black clothes and clean white linen, walkingthrough the crowd of guests. We follow him.

OLD SALIERI (V.O.)As I went through the salon, I playeda game with myself. This man hadwritten his first concerto at theage of four; his first symphony atseven; a full-scale opera at twelve. Did it show? Is talent like thatwritten on the face?

We see shots of assorted young men staring back at Salierias he moves through the crowd.

OLD SALIERI (V.O.)Which one of them could he be?

Some of the men recognize Salieri and bow respectfully. Thensuddenly a servant bearing a large tray of cakes and pastries

(CONTINUED)

13.

19 CONTINUED: 19

stalks past. Instantly riveted by the sight of such delights,Salieri follows him out of the Grand Salon.

20 20INT. A PALACE CORRIDOR - DAY - 1780'S

The servant marches along bearing his tray of pastries aloft. Salieri follows him.

THE SERVANT TURNS INTO:

21 21INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S

Salieri's POV: several tables, dressed to the floor withcloths are loaded with many plates of confectionery. It is,in fact, Salieri's idea of paradise! The servant puts histray down on one of the tables and withdraws from the room.


Salieri turns away so as not to be noticed by the servant. As soon as the man disappears, Salieri sneaks into the buffetroom.

23 23INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S

Salieri enters the room and looks about him cautiously. Heis salivating with anticipation as he stares at the feast ofsweet things. His attention is attracted in particular by ahuge pile of dark chocolate balls arranged in the shape of apineapple. He reaches out a hand to steal one of the balls,but at the same moment he hears giggling coming toward him. He ducks down behind the pastry table.

A girl - CONSTANZE - rushes into the room. She runs straightacross it and hides herself behind one of the tables.

After a beat of total silence, MOZART runs into the room,stops, and looks around. He is age twenty-six, wearing afine wig and a brilliant coat with the insignia of theArchbishop of Salzburg upon it. He is puzzled; Constanze hasdisappeared.

Baffled, he turns and is about to leave the room, whenConstanze suddenly squeaks from under the cloth like a tinymouse. Instantly Mozart drops to all fours and starts crawlingacross the floor, meowing and hissing like a naughty cat. Watched by an astonished Salieri, Mozart disappears underthe cloth and obviously pounces upon Constanze. We hear ahigh-pitched giggle, which is going to characterize Mozartthroughout the film.

CUT TO:

14.

24 24INT. PALACE GRAND SALON - DAY - 1780'S

The throng is mostly seated. The musicians are in theirplaces, holding their various exotic-looking wind instruments;the candles are all lit. A Majordomo appears and bangs hisstaff on the floor for attention. Immediately COLLOREDO,Prince-Archbishop of Salzburg enters. He is a small self-important figure of fifty in a wig, surmounted by a scarletskullcap. He is followed by his Chamberlain, the Count ARCO. Everyone stands. The Archbishop goes to his throne and sits. His guests sit also. Arco gives the signal to start the music. Nothing happens. Instead, a wind musician gets up, approachesthe Chamberlain and whispers in his ear. Arco in turn whispersto the Archbishop.

ARCOMozart is not here.

COLLOREDOWhere is he?

ARCOThey're looking for him, Your Grace.


Three servants are opening doors and looking into rooms goingoff the corridor.

CUT TO:


The guests are turning around and looking at the Archbishop. The musicians are watching. There is puzzlement and a murmurof comment. The Archbishop tightens his lip.

COLLOREDO(to Arco)

We'll start without him.

27 27INT. PALACE BUFFET ROOM - DAY - 1780'S

Mozart is on his knees before the tablecloth, which reachesto the floor. Under it is Constanze. We hear her giggling ashe talks.

MOZARTMiaouw! Miaouw! Mouse-wouse? It'sPuss-wuss, fangs-wangs. Paws-claws. Pounce-bounce!

He grabs her ankle. She screams. He pulls her out by herleg.

(CONTINUED)

15.

27 CONTINUED: 27

CONSTANZEStop it. Stop it!

They roll on the floor. He tickles her.

CONSTANZEStop it!

MOZARTI am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now weare going back.

He tries to drag her back under the table.

CONSTANZENo! No! No!

MOZARTYes! Back! Back! Listen - don't youknow where you are?

CONSTANZEWhere?

MOZARTWe are in the Residence of theFartsbishop of Salzburg.

CONSTANZEFartsbishop!

She laughs delightedly, then addresses an imaginaryArchbishop.

CONSTANZEYour Grace, I've got something totell you. I want to complain aboutthis man.

MOZARTGo ahead, tell him. Tell them all. They won't understand you anyway.

CONSTANZEWhy not?

MOZARTBecause here everything goesbackwards. People walk backwards,dance backwards, sing backwards, andtalk backwards.

CONSTANZEThat's stupid.

(CONTINUED)

16.


MOZARTWhy? People fart backwards.

CONSTANZEDo you think that's funny?

MOZARTYes, I think it's brilliant. You'vebeen doing it for years.

He gives a high pitched giggle.

CONSTANZEOh, ha, ha, ha.

MOZARTSra-I'm-sick! Sra-I'm sick!

CONSTANZEYes, you are. You're very sick.

MOZARTNo, no. Say it backwards, shit-wit. Sra-I'm-sick Say it backwards!

CONSTANZE(working it out)

Sra-I'm-sick. Sick - kiss I'm - myKiss my! Sra-I'm-sick - Kiss my arse!

MOZARTEm iram! Em iram!

CONSTANZENo, I'm not playing this game.

MOZARTNo, this is serious. Say it backwards.

CONSTANZENo!

MOZARTJust say it - you'll see. It's veryserious. Em iram! Em iram!

CONSTANZEIram - marry Em - marry me! No, no! You're a fiend. I'm not going tomarry a fiend. A dirty fiend at that.

MOZARTUi-vol-i-tub!

(CONTINUED)

17.


CONSTANZETub - but i-tub - but I vol - lovebut I love ui - You. I love you!

The mood becomes suddenly softer. She kisses him. Theyembrace. Then he spoils it.

MOZARTTish-I'm tee. What's that?

CONSTANZEWhat?

MOZARTTish-I'm-tee.

CONSTANZEEat

MOZARTYes.

CONSTANZEEat my - ah!

Shocked, she strikes at him. At the same moment the musicstarts in the salon next door. We hear the opening of theSerenade for Thirteen Wind Instruments, K.

MOZARTMy music! They've started! They'vestarted without me!

He leaps up, disheveled and rumpled and runs out of the room. Salieri watches in amazement and disgust.

CUT TO:

28 28INT. PALACE CORRIDOR - DAY - 1780'S

The music is louder. Mozart hastens towards the Grand Salonaway from the buffet room, adjusting his dress as he goes.

29 29INT. GRAND SALON - DAY - 1780'S

The opening of the Serenade is being tentatively conductedby the leader of the wind-musicians. Guests turn around asMozart appears - bowing to the Archbishop - and walks withan attempt at dignity to the dais where the wind band isplaying. The leader yields his place to the composer andMozart smoothly takes over conducting.

Constanze, deeply embarrassed, sneaks into the room and seatsherself at the back.

18.

30 30INT. PALACE BUFFET ROOM - DAY - 1780'S

The music fades down. Salieri stands shocked from hisinadvertent eavesdropping. After a second he moves almost ina trance toward the door; the music dissolves.

31 31INT. GRAND SALON - DAY - 1780'S

Mozart is conducting the Adagio from his Serenade (K. 361),guiding the thirteen wind instrumentalists. The squeezeboxopening of the movement begins. Salieri appears at the doorat the back of the salon. He stares in disbelief at Mozart.

OLD SALIERI (V.O.)So that was he! That giggling, dirty-minded creature I'd just seen crawlingon the floor. Mozart. The phenomenonwhose legend had haunted my youth. Impossible.

The music swells up and Salieri listens to it with eyes closed -amazed, transported - suddenly engulfed by the sound. Finallyit fades down and away and changes into applause. Salieriopens his eyes.

The audience is clearly delighted. Mozart bows to them, alsodelighted. Colloredo rises abruptly, and without looking atMozart or applauding and leaves the Salon. Count Arcoapproaches the composer. Mozart turns to him, radiant.

ARCOFollow me, please. The Archbishopwould like a word.

MOZARTCertainly!

He follows Arco out of the room, through a throng of admirers.

32 32INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S

Mozart and Arco walk side by side. They pass Salieri who isstaring at Mozart in fascination. As they disappear, he stealstoward the music stands, unable to help himself.

MOZARTWell, I think that went off remarkablywell, don't you?

ARCOIndeed.

MOZARTThese Viennese certainly know goodmusic when they hear it.

(CONTINUED)

19.

32 CONTINUED: 32

ARCOHis Grace is very angry with you.

MOZARTWhat do you mean?

They arrive at the door of Colloredo's private apartment.

ARCOYou are to come in here and ask hispardon.

Arco opens the door.

33 33INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S

The Archbishop is sitting, chatting to quests. Among themare several ladies. Arco approaches him obsequiously.

ARCOYour Grace.

COLLOREDOAh, Mozart. Why?

MOZARTWhy what, sir?

COLLOREDOWhy do I have to be humiliated infront of my guests by one of my ownservants?

MOZARTHumiliated?

COLLOREDOHow much provocation am I to endurefrom you? The more license I allowyou, the more you take.

The company watches this scene, deeply interested.

MOZARTIf His Grace is not satisfied withme, he can dismiss me.

COLLOREDOI wish you to return immediately toSalzburg. Your father is waiting foryou there patiently. I will speak toyou further when I come.

(CONTINUED)

20.

33 CONTINUED: 33

MOZARTNo, Your Grace! I mean with allhumility, no. I would rather youdismissed me. It's obvious I don'tsatisfy.

COLLOREDOThen try harder, Mozart. I have nointention of dismissing you. Youwill remain in my service and learnyour place. Go now.

He extends his hand to be kissed. Mozart does it with afurious grace, then leaves the room. As he opens the door wesee:

34 34INT. PALACE CORRIDOR - DAY - 1780'S

A group of people who have attended the concert, among themConstanze, are standing outside the private apartment. Atsight of the composer they break into sustained applause. Mozart is suddenly delighted. He throws the door wide openso that the guests can see into the private apartment wherethe Archbishop sits - and he can see them. Colloredo isclearly discomfited by this reception of his employee. Hesmiles and bows uneasily, as they include him in the smallovation.

Mozart stands in the corridor, out of the Archbishop's lineof sight, bowing and giggling, and encouraging the applausefor the Archbishop with conducting gestures. Suddenlyirritated, Colloredo signs to Arco, who steps forward andshuts the door, ending the applause.


Salieri, in this vast room, is standing and looking at thefull score of the Serenade. He turns the pages back to theslow movement. Instantly, we again hear its lyrical strains.

CU, Salieri, reading the score of the Adagio in helplessfascination. The music is played against his description ofit.

OLD SALIERI (V.O.)Extraordinary! On the page it lookednothing. The beginning simple, almostcomic. Just a pulse - bassoons andbasset horns - like a rustysqueezebox. Then suddenly - highabove it - an oboe, a single note,hanging there unwavering, till aclarinet took over and sweetened itinto a phrase of such delight!

(MORE)

(CONTINUED)

21.

35 CONTINUED: 35

OLD SALIERI (V.O.) (CONT'D)This was no composition by aperforming monkey! This was a musicI'd never heard. Filled with suchlonging, such unfulfillable longing,it had me trembling. It seemed to methat I was hearing a voice of God.

Suddenly the music snaps off. Mozart stands before him as helays down the score.

MOZARTExcuse me!

He takes the score, bows, and struts briskly out of the room. Salieri stares uncomprehendingly after the jaunty littlefigure.

OLD SALIERI (V.O.)But why?

36 36INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT -

OLD SALIERIWhy? Would God choose an obscenechild to be His instrument? It wasnot to be believed! This piece hadto be an accident. It had to be!

37 37INT. PALACE DINING ROOM - DAY - 1780'S

At the table sits the EMPEROR JOSEPH II, eating his frugaldinner and sipping goat's milk. He is an intelligent, dapperman of forty, wearing a military uniform. Around him butstanding, are his Chamberlain, JOHANN VON STRACK: stiff andhighly correct. COUNT ORSINI-ROSENBERG: a corpulent man ofsixty, highly conscious of his position as Director of theOpera. BARON VON SWIETEN, the Imperial Librarian: a gravebut kindly and educated man in his mid-fifties. FIRSTKAPELLMEISTER GIUSEPPE BONNO: very Italian, cringing andtime-serving, aged about seventy. And Salieri, wearingdecorous black, as usual.

At a side-table, two Imperial secretaries, using quill pensand inkstands, write down everything of importance that issaid.

JOSEPHHow good is he, this Mozart?

VON SWIETENHe's remarkable, Majesty. I heard anextraordinary serious opera of hislast month. Idomeneo, King of Crete.

(CONTINUED)

22.

37 CONTINUED: 37

ORSINI-ROSENBERGThat? A most tiresome piece. I heardit, too.

VON SWIETENTiresome?

ORSINI-ROSENBERGA young man trying to impress beyondhis abilities. Too much spice. Toomany notes.

VON SWIETENMajesty, I thought it the mostpromising work I've heard in years.

JOSEPHAh-ha. Well then, we should makesome effort to acquire him. We coulduse a good German composer in Vienna,surely?

VON STRACKI agree, Majesty, but I'm afraidit's not possible. The young man isstill in the pay of the Archbishop.

JOSEPHVery small pay, I imagine. I'm surehe could be tempted with the rightoffer. Say, an opera in German forour National Theatre.

VON SWIETENExcellent, sire!

ORSINI-ROSENBERGBut not German, I beg your Majesty! Italian is the proper language foropera. All educated people agree onthat.

JOSEPHAh-ha. What do you say, Chamberlain?

VON STRACKIn my opinion, it is time we had apiece in our own language, sir. PlainGerman. For plain people.

He looks defiantly at Orsini-Rosenberg.

JOSEPHAh-ha. Kapellmeister?

(CONTINUED)

23.


BONNO(Italian accent)

Majesty, I must agree with HerrDirretore. Opera is an Italian art,solamente. German is - scusate - toobruta for singing, too rough.

JOSEPHAh-ha. Court Composer, what do yousay?

SALIERII think it is an interesting notionto keep Mozart in Vienna, Majesty. It should really infuriate theArchbishop beyond measure - if thatis your Majesty's intention.

JOSEPHYou are cattivo, Court Composer.

(briskly, to Von Strack)I want to meet this young man. Chamberlain, arrange a pleasantwelcome for him.

VON STRACKYes, sir.

JOSEPHWell. There it is.

38 38INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S

A somber room which serves both as a bedroom and a study. We see a four-poster bed. Also, a marble mantelpiece abovewhich hangs a handsome cross in olivewood, bearing the figureof a severe Christ. Opposite this image sits Salieri at hisdesk, on which stands a pile of music paper, quill pens andink. On one side of him is an open forte-piano on which heoccasionally tries notes from the march he is composing,with some difficulty. He scratches notes out with his quill,and ruffles his hair - which we see without a powdered wig. There is a knock at the door.

SALIERISi.

A servant admits LORL, a young lower-class girl, who appearscarrying a basket in which is a box covered with a napkin. She has just come from the baker's shop.

SALIERIAh! Here she comes. Fraulein Lorl,good morning.

(CONTINUED)

24.

38 CONTINUED: 38

LORLGood morning, sir.

SALIERIWhat have you got for me today? Letme see.

Greedily he unwraps the napkin and lifts the lid on the box.

SALIERIAh-ha! Siena macaroons - myfavourites. Give my best thanks tothe baker.

LORLI will, sir.

He takes a biscuit and eats.

SALIERIThank you. Are you well today,Fraulein Lorl?

LORLYes, thank you, sir.

SALIERIBene! Bene!

She gives a little curtsey, flattered and giggling and isshown out. Salieri turns back to his work, chewing. He playsthrough a complete line of the march. He smiles, pleasedwith the result.

SALIERIGrazie, Signore.

He inclines his head to the Christ above the fireplace, andstarts to play the whole march, including the phrase whichpleased him.

39 39INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S

The march continues on the forte-piano as we see Mozart,seated in front of a mirror, wearing an extravagant wig. Oneither side of him stands a SALESMAN, one of them holdinganother wig, equally extravagant. Mozart takes off the firstwig, to reveal his own blonde hair, of which he is extremelyproud, and hands it back.

MOZARTAnd the other one?

The Salesman puts the second wig on his head. Mozart pulls aface of doubt in the mirror.

(CONTINUED)

25.

39 CONTINUED: 39

MOZARTAnd the other one?

He takes it off and the other Salesman replaces it with thefirst wig on his head.

MOZARTOh, they're both so beautiful, Ican't decide. Why don't I have twoheads?

He giggles. The music stops.

40 40INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S

A door opens. We glimpse in the next room the Emperor Josephbidding goodbye to a group of military officers standingaround a table.

JOSEPHGood, good, good.

He turns and comes into the salon, where another group awaitshim. It consists of Von Strack, Orsini-Rosenberg, Bonno, VonSwieten and Salieri. The room contains several gilded chairsdotted about, and a forte-piano.

JOSEPHGood morning, gentlemen.

All bow and say, Good morning, Your Majesty!

JOSEPH(to Von Strack)

Well, what do you have for me today?

VON STRACKYour Majesty, Herr Mozart -

JOSEPHYes, what about him?

VON STRACKHe's here.

JOSEPHAh-ha. Well. There it is. Good.

SALIERIMajesty, I hope you won't think itimproper, but I have written a littleMarch of Welcome in his honour.

He produces a paper.

(CONTINUED)

26.

40 CONTINUED: 40

JOSEPHWhat a charming idea. May I see?

SALIERI(handing it over)

It's just a trifle, of course.

JOSEPHMay I try it?

SALIERIMajesty.

The Emperor goes to the instrument, sits and plays the firstbars of it. Quite well.

JOSEPHDelightful, Court Composer. Wouldyou permit me to play it as he comesin?

SALIERIYou do me too much honour, Sire.

JOSEPHLet's have some fun.

(to the waitingMajordomo)

Bring in Herr Mozart, please. Butslowly, slowly. I need a minute topractice.

The Majordomo bows and goes. The Emperor addresses himselfto the march. He plays a wrong note.

SALIERIA-flat, Majesty.

JOSEPHAh-ha!

41 41INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S

Taking his instructions literally, the Majordomo is marchingvery slowly toward the salon door. He is followed by abewildered Mozart, dressed very stylishly and wearing one ofthe wigs from the perruqier.

42 42INT. ROYAL PALACE GRAND SALON - DAY - 1780'S

Joseph finishes the march. The door opens.

MAJORDOMOHerr Mozart.

(CONTINUED)

27.

42 CONTINUED: 42

Mozart comes in eagerly. Immediately the march begins, playedby His Majesty. All the courtiers stand, listening withadmiration. Joseph plays well, but applies himself fiercelyto the manuscript. Mozart, still bewildered, regards thescene, but does not seem to pay attention to the music itself. It finishes and all clap obsequiously.

ORSINI-ROSENBERGBravo, Your Majesty!

VON STRACKWell done, Sire!

The Emperor rises, pleased with himself. He snatches themanuscript off the stand and holds it in his hand for therest of the scene.

JOSEPHGentlemen, gentlemen, a little lessenthusiasm, I beg you. Ah, Mozart.

He extends his hand. Mozart throws himself to his knees, andto Joseph's discomfort kisses the royal hand with fervour.

MOZARTYour Majesty!

JOSEPHNo, no, please! It is not a holyrelic.

(raising Mozart up)You know we have met already? Inthis very room. Perhaps you won'tremember it, you were only six yearsold.

(to the others)He was giving the most brilliantlittle concert here. As he got offthe stool, he slipped and fell. Mysister Antoinette helped him upherself, and do you know what hedid? Jumped straight into her armsand said, Will you marry me, yes orno?

Embarrassed, Mozart bursts into a wild giggle. Joseph helpshim out.

JOSEPHYou know all these gentlemen, I'msure.

Von Strack and Bonno nod.

(CONTINUED)

28.


JOSEPHThe Baron Von Swieten.

VON SWIETENI'm a great admirer of yours, youngman. Welcome.

MOZARTOh, thank you.

JOSEPHThe Director of our Opera. CountOrsini-Rosenberg.

MOZART(bowing excitedly)

Oh sir, yes! The honour is mine. Absolutely.

Orsini-Rosenberg nods without enthusiasm.

JOSEPHAnd here is our illustrious CourtComposer, Herr Salieri.

SALIERI(taking his hand)

Finally! Such an immense joy. Dilettostraordinario!

MOZARTI know your work well, Signore. Doyou know I actually composed somevariations on a melody of yours?

SALIERIReally?

MOZARTMio caro Adone.

SALIERIAh!

MOZARTA funny little tune, but it yieldedsome good things.

JOSEPHAnd now he has returned thecompliment. Herr Salieri composedthat March of Welcome for you.

(CONTINUED)

29.


MOZART(speaking expertly)

Really? Oh, grazie, Signore! Sonocommosso! E un onore per moeccezionale. Compositore brilliantee famossissimo!

He bows elaborately. Salieri inclines himself, dryly.

SALIERIMy pleasure.

JOSEPHWell, there it is. Now to business. Young man, we are going to commissionan opera from you. What do you say?

MOZARTMajesty!

JOSEPH(to the courtiers)

Did we vote in the end for German orItalian?

ORSINI-ROSENBERGWell, actually, Sire, if you remember,we did finally incline to Italian.

VON STRACKDid we?

VON SWIETENI don't think it was really decided,Director.

MOZARTOh, German! German! Please let it beGerman.

JOSEPHWhy so?

MOZARTBecause I've already found the mostwonderful libretto!

ORSINI-ROSENBERGOh? Have I seen it?

MOZARTI - I don't think you have, HerrDirector. Not yet. I mean, it's quiten - Of course, I'll show it to youimmediately.

(CONTINUED)

30.


ORSINI-ROSENBERGI think you'd better.

JOSEPHWell, what is it about? Tell us thestory.

MOZARTIt's actually quite amusing, Majesty. It's set - the whole thing is setin a - in a -

He stops short with a little giggle.

JOSEPHYes, where?

MOZARTIn a Pasha's Harem, Majesty. ASeraglio.

JOSEPHAh-ha.

ORSINI-ROSENBERGYou mean in Turkey?

MOZARTExactly.

ORSINI-ROSENBERGThen why especially does it have tobe in German?

MOZARTWell not especially. It can be inTurkish, if you really want. I don'tcare.

He giggles again. Orsini-Rosenberg looks at him sourly.

VON SWIETEN(kindly)

My dear fellow, the language is notfinally the point. Do you reallythink that subject is quiteappropriate for a national theatre?

MOZARTWhy not? It's charming. I mean, Idon't actually show concubinesexposing their! their! It's notindecent!

(MORE)

(CONTINUED)

31.


MOZART (CONT'D)(to Joseph)

It's highly moral, Majesty. It'sfull of proper German virtues. Iswear it. Absolutely!

JOSEPHWell, I'm glad to hear that.

SALIERIExcuse me, Sire, but what do youthink these could be? Being aforeigner, I would love to learn.

JOSEPHCattivo again, Court Composer. Well,tell him, Mozart. Name us a Germanvirtue.

MOZARTLove, Sire!

SALIERIAh, love! Well of course in Italy weknow nothing about that.

The Italian faction - Orsini-Rosenberg and Bonno - laughdiscreetly.

MOZARTNo, I don't think you do. I meanwatching Italian opera, all thosemale sopranos screeching. Stupid fatcouples rolling their eyes about! That's not love - it's just rubbish.

An embarrassed pause. Bonno giggles in nervous amusement.

MOZARTMajesty, you choose the language. Itwill be my task to set it to thefinest music ever offered a monarch.

Pause. Joseph is clearly pleased.

JOSEPHWell, there it is. Let it be German.

He nods - he has wanted this result all the time. He turnsand makes for the door. All bow. Then he becomes aware ofthe manuscript in his hand.

JOSEPHAh, this is yours.

(CONTINUED)

32.


Mozart does not take it.

MOZARTKeep it, Sire, if you want to. It isalready here in my head.

JOSEPHWhat? On one hearing only?

MOZARTI think so, Sire, yes.

Pause.

JOSEPHShow me.

Mozart bows and hands the manuscript back to the Emperor. Then he goes to the forte-piano and seats himself. The others,except for Salieri, gather around the manuscript held by theKing. Mozart plays the first half of the march with deadlyaccuracy.

MOZART(to Salieri)

The rest is just the same, isn't it?

He plays the first half again but stops in the middle of aphrase, which he repeats dubiously.

MOZARTThat really doesn't work, does it?

All the courtiers look at Salieri.

MOZARTDid you try this? Wouldn't it bejust a little more -?

He plays another phrase.

MOZARTOr this - yes, this! Better.

He plays another phrase. Gradually, he alters the music sothat it turns into the celebrated march to be used later inThe Marriage of Figaro, Non Piu Andrai. He plays it withincreasing abandon and virtuosity. Salieri watches with afixed smile on his face. The court watches, astonished. Hefinishes in great glory, takes his hands off the keys with agesture of triumph - and grins.

33.

43 43INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S

We see the olivewood cross. Salieri is sitting at his desk,staring at it.

SALIERIGrazie, Signore.

There is a knock at the door. He does not hear it, but sitson. Another knock, louder.

SALIERIYes?

Lorl comes in.

LORLMadame Cavalieri is here for herlesson, sir.

SALIERIBene.

HE GETS UP AND ENTERS:

44 44INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S

KATHERINA CAVALIERI, a young, high-spirited soprano of twentyis waiting for him, dressed in a fashionable dress and wearingon her head an exotic turban of satin, with a feather. Lorlexits.

CAVALIERI(curtseying to him)

Maestro.

SALIERIGood morning.

CAVALIERI(posing, in her turban)

Well? How do you like it? It'sTurkish. My hairdresser tells meeverything's going to be Turkishthis year!

SALIERIReally? What else did he tell youtoday? Give me some gossip.

CAVALIERIWell, I heard you met Herr Mozart.

SALIERIOh? News travels fast in Vienna.

(CONTINUED)

34.

44 CONTINUED: 44

CAVALIERIAnd he's been commissioned to writean opera. Is it true?

SALIERIYes.

CAVALIERIIs there a part for me?

SALIERINo.

CAVALIERIHow do you know?

SALIERIWell even if there is, I don't thinkyou want to get involved with thisone.

CAVALIERIWhy not?

SALIERIWell, do you know where it's set, mydear?

CAVALIERIWhere?

SALIERIIn a harem.

CAVALIERIWhat's that?

SALIERIA brothel.

CAVALIERIOh!

SALIERIA Turkish brothel.

CAVALIERITurkish? Oh, if it's Turkish, that'sdifferent. I want to be in it.

SALIERIMy dear, it will hardly enhance yourreputation to be celebrated throughoutVienna as a singing prostitute for aTurk.

(CONTINUED)

35.


He seats himself at the forte-piano.

CAVALIERIOh. Well perhaps you could introduceus anyway.

SALIERIPerhaps.

He plays a chord. She sings a scale, expertly. He strikesanother chord. She starts another scale, then breaks off.

CAVALIERIWhat does he look like?

SALIERIYou might be disappointed.

CAVALIERIWhy?

SALIERILooks and talent don't always gotogether, Katherina.

CAVALIERI(airily)

Looks don't concern me, Maestro. Only talent interests a woman oftaste.

He strikes the chord again, firmly. Cavalieri sings her nextscale, then another one, and another one, doing her exercisesin earnest. As she hits a sustained high note the orchestralaccompaniment in the middle of Martern Aller Arten from IlSeraglio comes in underneath and the music changes fromexercises to the exceedingly florid aria.

We DISSOLVE on the singer's face, and she is suddenly notmerely turbaned, but painted and dressed totally in a Turkishmanner, and we are on:

45 45INT. OPERA STAGE - VIENNA - 1780'S

The heroine of the opera (Cavalieri) is in full cry addressingthe Pasha with scorn and defiance.

The house is full. Watching the performance - which isconducted by Mozart from the clavier in the midst of theorchestra - we note Von Strack, Orsini-Rosenberg, Bonno andVon Swieten, all grouped around the Emperor, in a box.

In another box we see an overdressed, middle-aged woman andthree girls, one of whom is Constanze. This is the formidableMADAME WEBER and her three daughters, Constanze, JOSEFA and

(CONTINUED)

36.

45 CONTINUED: 45

SOPHIE. All are enraptured by the spectacle and Madame Weberis especially enraptured by being there at all. Not so,Salieri, who sits in another box, coldly watching the stage.

Cavalieri is singing Martern aller Arten from the line Dochdu bist entschlossen.

CAVALIERISince you are determined, Since youare determined, Calmly, with noferment, Welcome - every pain andwoe. Bind me then - compel me! Bindme then - compel me! Hurt me. Breakme! Kill me! At last I shall be freedby death!

After a few moments of this showy aria, with the composerand the singer staring at each other - he conductingelaborately for her benefit, and she following his beat withrapturous eyes - the music fades, and Salieri speaks overit.

OLD SALIERI (V.O.)There she was. I had no idea wherethey met - or how - yet there shestood on stage for all to see. Showingoff like the greedy songbird shewas. Ten minutes of ghastly scalesand arpeggios, whizzing up and downlike fireworks at a fairground.

Music up again for the last 30 bars of the aria.

CAVALIERI(singing)

Be freed at last by death! Be freedat last by death! At last I shall befreed By! Death!

Before the orchestral coda ends, CUT TO:


Through the window we see that night has fallen.

OLD SALIERIUnderstand, I was in love with thegirl. Or at least in lust. I wasn'ta saint. It took me the mosttremendous effort to be faithful tomy vow. I swear to you I never laida finger on her. All the same, Icouldn't bear to think of anyone

(MORE)

(CONTINUED)

37.

46 CONTINUED: 46

OLD SALIERI (CONT'D)else touching her - least of all theCreature.

CUT BACK TO:

47 47INT. THE OPERA HOUSE - VIENNA - NIGHT - 1780'S

The brilliant Turkish finale of Seraglio bursts over us. All the cast is lined up on stage. Mozart is conducting withhappy excitement.

CAST OF SERAGLIO(singing)

Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour tohis regal name! Honour to his regalname! May his noble brow emblazonGlory, fortune, joy and fame! Honourbe to Pasha Selim Honour to his regalname! Honour to his regal name!

The curtains fall. Much applause. The Emperor claps vigorouslyand - following his lead - so do the courtiers. The curtainspart. Mozart applauds the singers who applaud him back. Heskips up onto the stage amongst them. The curtains fall againas they all bow. In the auditorium, the chandeliers descend,filling it with light.

48 48INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S

The curtains are down, and an excited hubbub of singers incostume surround Mozart and Cavalieri, all excited andchattering. Suddenly a hush. The Emperor is seen approachingfrom the wings, lit by flunkies holding candles. Von Strack,Orsini-Rosenberg and Von Swieten, amongst others, followhim. Also Salieri. The singers line up. Joseph stops atCavalieri who makes a deep curtsey.

JOSEPHBravo, Madame. You are an ornamentto our stage.

CAVALIERIMajesty.

JOSEPH(to Salieri)

And to you, Court Composer. Yourpupil has done you great credit.

38.

49 49INT. BACKSTAGE CORRIDOR - VIENNA - NIGHT - 1780'S

MADAME WEBERLet us pass, please! Let us pass atonce! We're with the Emperor.

FLUNKYI am sorry, Madame. It is notpermitted.

MADAME WEBERDo you know who I am?

(pointing to Constanze)This is my daughter. I am Frau Weber. We are favoured guests!

FLUNKYI am sorry, Madame, but I have myorders.

MADAME WEBERCall Herr Mozart! You call Herr Mozartimmediately! This is insupportable!

CONSTANZEMother, please!

MADAME WEBERGo ahead, Constanze. Just ignorethis fellow.

(pushing her)Go ahead, dear!

FLUNKY(barring the way)

I am sorry, Madame, but no! I cannotlet anyone pass.

MADAME WEBERYoung man, I am no stranger totheatres. I'm no stranger toinsolence!

CUT BACK TO:


All are applauding Cavalieri. The Emperor turns to Mozart.

JOSEPHWell, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite newtoday.

(CONTINUED)

39.

50 CONTINUED: 50

Mozart bows frantically: he is over-excited.

MOZARTIt is new, it is, isn't it, Sire?

JOSEPHYes, indeed.

MOZARTAnd German?

JOSEPHOh, yes. Absolutely. German. Unquestionably!

MOZARTSo then you like it? You really likeit, Your Majesty?

JOSEPHOf course I do. It's very good. Ofcourse now and then - just now andthen - it gets a touch elaborate.

MOZARTWhat do you mean, Sire?

JOSEPHWell, I mean occasionally it seemsto have, how shall one say?

(he stops indifficulty; to Orsini-Rosenberg)

How shall one say, Director?

ORSINI-ROSENBERGToo many notes, Your Majesty?

JOSEPHExactly. Very well put. Too manynotes.

MOZARTI don't understand. There are justas many notes, Majesty, as arerequired. Neither more nor less.

JOSEPHMy dear fellow, there are in factonly so many notes the ear can hearin the course of an evening. I thinkI'm right in saying that, aren't I,Court Composer?

(CONTINUED)

40.


SALIERIYes! yes! er, on the whole, yes,Majesty.

MOZART(to Salieri)

But this is absurd!

JOSEPHMy dear, young man, don't take ittoo hard. Your work is ingenious. It's quality work. And there aresimply too many notes, that's all. Cut a few and it will be perfect.

MOZARTWhich few did you have in mind,Majesty?

Pause. General embarrassment.


Into this uncomfortable scene bursts a sudden eruption ofnoise and Madame Weber floods onto the stage, followed byher daughters. All turn to look at this amazing spectacle.

MADAME WEBERWolfi! Wolfi, my dear!

She moves toward Mozart with arms outstretched in an absurdtheatrical gesture, then sees the Emperor. She stares athim, mesmerized, her mouth open, unable even to curtsey.

MADAME WEBEROh!

Mozart moves forward quickly.

MOZARTMajesty, this is Madame Weber. Sheis my landlady.

JOSEPHEnchanted, Madame.

MADAME WEBEROh, Sire! such an honour! And, and,and these are my dear daughters. This is Constanze. She is the fianceeof Herr Mozart.

Constanze curtsies. CU, of Cavalieri, astonished at the news. CU, of Salieri, watching her receive it.

(CONTINUED)

41.


JOSEPHReally? How delightful. May I askwhen you marry?

MOZARTWell - Well we haven't quite receivedmy father's consent, Your Majesty. Not entirely. Not altogether.

He giggles uncomfortably.

JOSEPHExcuse me, but how old are you?

MOZARTTwenty-six.

JOSEPHWell, my advice is to marry thischarming young lady and stay with usin Vienna.

MADAME WEBERYou see? You see? I've told him that,Your Majesty, but he won't listen tome.

Cavalieri is glaring at Mozart. Mozart looks hastily awayfrom her.

MADAME WEBEROh, Your Majesty, you give suchwonderful - such impeccable - suchroyal advice. I - I - May I?

She attempts to kiss the royal hand, but faints instead. The Emperor contemplates her prone body and steps back apace.

JOSEPHWell. There it is. Strack.

He nods pleasantly to all and leaves the stage, with hisChamberlain. All bow.

Cavalieri turns with a savage look at Mozart and leaves thestage the opposite way, to her dressing room, tossing herplumed head. Salieri watches. Mozart stays for a second,indecisive whether to follow the soprano or help Madame Weber.

CONSTANZE(to Mozart)

Get some water!

He hurries away. The daughters gather around Madame Weber.

42.

51 51INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S

Katherina sits fuming at her mirror. A dresser is taking thepins out of her wig as she stares straight ahead of her. Mozart sticks his head round the door.

MOZARTKatherina! I'll tell you what I'mgoing to do. I'm going to writeanother aria for you. Something evenmore amazing for the second act. Ihave to get some water. Her motheris lying on the stage.

CAVALIERIDon't bother!

MOZARTWhat?

CAVALIERIDon't bother.

MOZARTI'll be right back.

He dashes off.


Constanze and Mozart make their way quickly through a crowdof actors in turbans and caftans, and stagehands carryingbits of the dismantled set of Seraglio. We see all the turmoilof backstage after a performance.

A fireman passes Mozart carrying a small bucket of water. Mozart snatches it from him and pushes his way through thecrowd to Madame Weber, who still lies prone on the stage.

Mozart pushes through the crowd surrounding her and throwswater on her face. She is instantly revived by the shock. Constanze assists her to rise.

CONSTANZEAre you all right?

Instead of being furious, Madame Weber smiles at themrapturously.

MADAME WEBERAh, what an evening! What a wise manwe have for an Emperor. Oh, mychildren!

(MORE)

(CONTINUED)

43.

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MADAME WEBER (CONT'D)(with sudden, hardbriskness)

Now I want you to write your fatherexactly what His Majesty said.

The activity continues to swirl around them.

MOZARTYou should really go home now, FrauWeber. Your carriage must be waiting.

MADAME WEBERBut aren't you taking us?

MOZARTI have to talk to the singers.

MADAME WEBERThat's all right; we'll wait foryou. Just don't take all night.

53 53INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S

Cavalieri, still in costume, is marching up and down, veryagitated.

CAVALIERIDid you know? Had you heard?

SALIERIWhat?

CAVALIERIThe marriage!

SALIERIWell, what does it matter to you?

CAVALIERINothing! He can marry who he pleases. I don't give a damn.

She catches him looking at her and tries to compose herself.

CAVALIERIHow was I? Tell me honestly.

SALIERIYou were sublime.

CAVALIERIWhat did you think of the music?

(CONTINUED)

44.

53 CONTINUED: 53

SALIERIExtremely clever.

CAVALIERIMeaning you didn't like it.

Mozart comes in unexpectedly.

MOZARTOh - excuse me!

CAVALIERIIs her mother still lying on thefloor?

MOZARTNo, she's fine.

CAVALIERII'm so relieved.

She seats herself at her mirror and removes her wig.

SALIERIDear Mozart, my sincerecongratulations.

MOZARTDid you like it, then?

SALIERIHow could I not?

MOZARTIt really is the best music one canhear in Vienna today. Don't you agree?

CAVALIERIIs she a good fuck?

MOZARTWhat??

CAVALIERII assume she's the virtuoso in thatdepartment. There can't be any otherreason you'd marry someone like that.

Salieri looks astonished. There is a knock on the door.

CAVALIERICome in!

The door opens. Constanze enters.

(CONTINUED)

45.


CONSTANZEExcuse me, Wolfi. Mama is not feelingvery well. Can we leave now?

MOZARTOf course.

CAVALIERINo, no, no, no. You can't take himaway now. This is his night. Won'tyou introduce us, Wolfgang?

MOZARTExcuse us, Fraulein. Good night,Signore.

Mozart hurries Constanze out of the door. Cavalieri looksafter them as they go, her voice breaking and rising out ofcontrol.

CAVALIERIYou really are full of surprises,aren't you? You are quiteextraordinary, you little shit!

She turns and collapses, crying with rage, into Salieri'sarms. We focus on him.

OLD SALIERI (V.O.)At that moment I knew beyond anydoubt. He'd had her. The Creaturehad had my darling girl.

54 54INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S

The old man speaks passionately to the priest.

OLD SALIERIIt was incomprehensible. What wasGod up to? Here I was denying allmy natural lust in order to deserveGod's gift and there was Mozartindulging his in all directions -even though engaged to be married! -and no rebuke at all! Was it possibleI was being tested? Was God expectingme to offer forgiveness in the faceof every offense, no matter howpainful? That was very possible. Allthe same, why him? Why use Mozart toteach me lessons in humility? Myheart was filling up with such hatredfor that little man. For the firsttime in my life I began to know really

(MORE)

(CONTINUED)

46.

54 CONTINUED: 54

OLD SALIERI (CONT'D)violent thoughts. I couldn't stopthem.

VOGLERDid you try?

OLD SALIERIEvery day. Sometimes for hours Iwould pray!

55 55INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S

The young Salieri is kneeling in desperation before the Cross.

SALIERIPlease! Please! Send him away, backto Salzburg. For his sake as well asmine.

CU, Christ staring from the Cross.

CUT BACK TO:

56 56INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY -1780'S

We see Leopold kneeling now not to the Cross but to ArchbishopColloredo, sitting impassively on his throne. Count Arcostands beside him. Leopold is a desperate, once-handsome manof sixty, now far too much the subservient courtier.

COLLOREDONo! I won't have him back.

LEOPOLDBut he needs to be here in Salzburg,Your Grace. He needs me and he needsyou. Your protection, yourunderstanding.

COLLOREDOHardly.

LEOPOLDOh sir, yes! He's about to make theworst mistake of his life. Some littleViennese slut is trying to trick himinto marriage. I know my son. He istoo simple to see the trap - andthere is no one there who reallycares for him.

(CONTINUED)

47.

56 CONTINUED: 56

COLLOREDOI'm not surprised. Money seems to bemore important to him than loyaltyor friendship. He has sold himselfto Vienna. Let Vienna look out forhim.

LEOPOLDSir -

COLLOREDOYour son is an unprincipled, spoiled,conceited brat.

LEOPOLDYes, sir, that's the truth. But don'tblame him. The fault is mine. I wastoo indulgent with him. But not again. Never again, I promise! I imploreyou - let me bring him back here. I'll make him give his word to serveyou faithfully.

COLLOREDOAnd how will you make him keep it?

LEOPOLDOh, sir, he's never disobeyed me inanything. Please, Your Grace, givehim one more chance.

COLLOREDOYou have leave to try.

LEOPOLDOh, Your Grace - I thank Your Grace! I thank you!

In deepest gratitude he kisses the Archbishop's hand. Hemotions Leopold to rise. We hear the first dark fortissimochord which begins the Overture to Don Giovanni: the themeassociated with the character of the Commendatore.

LEOPOLD (V.O.)My dear son.

The second fortissimo chord sounds.

57 57INT. A BAROQUE CHURCH - DAY - 1780'S

We see a huge CU, of Mozart's head, looking front and down,as if reading his father's letter. We hear Leopold's voiceover this image, no longer whining and anxious, butimpressive.

(CONTINUED)

48.

57 CONTINUED: 57

LEOPOLD (V.O.)I write to you with urgent news. Iam coming to Vienna. Take no furthersteps toward marriage until we meet. You are too gullible to see your owndanger. As you honour the father whohas devoted his entire life to yours,do as I bid, and await my coming.

MOZARTI will.

The camera pulls back to see that he is in fact kneelingbeside Constanze. A PRIEST faces them. Behind them are MadameWeber, Josefa and Sophie Weber, and a very few others. Amongthem, a merry looking lady in bright clothes: the BARONESSWALDSTADTEN.

PRIESTAnd will you, Constanze Weber, takethis man, Wolfgang to be your lawfulhusband?

CONSTANZEI will.

PRIESTI now pronounce you man and wife.

The opening kyrie of the great Mass in C Minor is heard. Mozart and Constanze kiss. They are in tears. Madame Weberand her daughters look on approvingly. The music swells andcontinues under the following:

58 58INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S

There is a view of a castle in background. Leopold sits alonein his room. He is reading a letter from Wolfgang. At hisfeet are his trunks, half-packed for the journey he will notnow take. We hear Mozart's voice reading the following letterand we see, as the camera roves around the room, mementos ofthe young prodigy's early life: the little forte-piano madefor him; the little violin made for him; an Order presentedto him. We see a little starling in a wicker cage. And wesee portraits of the boy on the walls, concluding with thefamiliar family portrait of Wolfgang and his sister Nannerlseated at the keyboard with Leopold standing, and the pictureof their mother on the wall behind them.

MOZART (V.O.)Most beloved father, it is done. Donot blame me that I did not wait tosee your dear face. I knew you wouldhave tried to dissuade me from my

(MORE)

(CONTINUED)

49.

58 CONTINUED: 58

MOZART (V.O.) (CONT'D)truest happiness and I could nothave borne it. Your every word isprecious to me. Remember how youhave always told me Vienna is theCity of Musicians. To conquer hereis to conquer Europe! With my wife Ican do it. I vow I will becomeregular in my habits and productiveas never before. She is wonderful,Papa, and I know that you will loveher. And one day soon when I am awealthy man, you will come and livewith us, and we will be so happy. Ilong for that day, best of Papas,and kiss your hand a hundred thousandtimes.

The music of the Mass fades as Leopold crumples the letterin his hand.

59 59EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S

Salieri stands waiting, hat in hand. Beside him stands aroyal servant. Behind him, gardeners are glimpsed tendingthe shrubs and bushes along a grassy ride. Down this rideare seen cantering two people on horseback: the Emperor Josephand his niece, the PRINCESS ELIZABETH. They are mounted onglossy horses. The Princess rides side-saddle. Running besideher is a panting groom. The Emperor rides elegantly; hisniece, a dumpy little Hapsburg girl of sixteen, like a sackof potatoes. As they draw level with Salieri they stop, andthe groom holds the head of the Princess' horse. Salieribows respectfully.

JOSEPHGood morning, Court Composer. Thisis my niece, the Princess Elizabeth.

SALIERIYour Highness.

Out of breath, the Princess nods nervously.

JOSEPHShe has asked me to advise her on asuitable musical instructor. I thinkI've come up with an excellent idea.

He smiles at Salieri.

SALIERIOh, Your Majesty, it would be such atremendous honour!

(CONTINUED)

50.

59 CONTINUED: 59

JOSEPHI'm thinking about Herr Mozart. What is your view?

Salieri's face falls, almost imperceptibly.

SALIERIAn interesting idea, Majesty. But -

JOSEPHYes?

SALIERIYou already commissioned an operafrom Mozart.

JOSEPHAnd the result satisfies.

SALIERIYes, of course. My concern is toprotect you from any suspicion offavouritism.

JOSEPHAh-ha. Favouritism. But I so wantMozart.

SALIERII'm sure there is a way, Majesty. Some kind of a little contest. Icould perhaps put together a smallCommittee, and I could see to itnaturally that it will selectaccording to Your Majesty's wishes.

JOSEPHYou please me, Court Composer. Avery clever idea.

SALIERI(bowing)

Sire.


He rides on. The groom releases her horse's head, and runson after the Princess.

CUT TO:

51.

60 60INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S

Von Strack sits stiffly behind his gilded desk. Mozart standsbefore him, trembling with anger.

MOZARTWhat is this, Herr Chamberlain?

VON STRACKWhat is what?

MOZARTWhy do I have to submit samples ofmy work to some stupid committee? Just to teach a sixteen-year-oldgirl.

VON STRACKBecause His Majesty wishes it.

MOZARTIs the Emperor angry with me?

VON STRACKOn the contrary.

MOZARTThen why doesn't he simply appointme to the post?

VON STRACKMozart, you are not the only composerin Vienna.

MOZARTNo, but I'm the best.

VON STRACKA little modesty would suit youbetter.

MOZARTWho is on this committee?

VON STRACKKapellmeister Bonno, Count Orsini-Rosenberg and Court Composer Salieri.

MOZARTNaturally, the Italians! Of course! Always the Italians!

VON STRACKMozart -

(CONTINUED)

52.

60 CONTINUED: 60

MOZARTThey hate my music. It terrifiesthem. The only sound Italiansunderstand is banality. Tonic anddominant, tonic and dominant, fromhere to Resurrection!

(singing angrily)Ba-ba! Ba-ba! Ba-ba! Ba-ba! Anythingelse is morbid.

VON STRACKMozart -

MOZARTShow them one interesting modulationand they faint. Ohime! Morbidezza! Morbidezza! Italians are musicalidiots and you want them to judge mymusic!

VON STRACKLook, young man, the issue is simple. If you want this post, you must submityour stuff in the same way as allyour colleagues.

MOZARTMust I? Well, I won't! I tell youstraight: I will not!

CUT TO:

61 61INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S

The room is very small and untidy. Constanze is marching upand down it, upset. Mozart is lying on the bed.

CONSTANZEI think you're mad! You're reallymad!

MOZARTOh, leave me alone.

CONSTANZEOne royal pupil and the whole ofVienna will come flocking. We'd beset up for life!

MOZARTThey'll come anyway. They love mehere.

(CONTINUED)

53.

61 CONTINUED: 61

CONSTANZENo, they will not. I know how thingswork in this city.

MOZARTOh yes? You always know everything.

CONSTANZEWell, I'm not borrowing any moremoney from my mother, and that'sthat!

MOZARTYou borrowed money from your mother?

CONSTANZEYes!

MOZARTWell, don't do that again!

CONSTANZEHow are we going to live, Wolfi? Doyou want me to go into the streetsand beg?

MOZARTDon't be stupid.

CONSTANZEAll they want to see is your work. What's wrong with that?

MOZARTShut up! Just shut up! I don't needthem.

CONSTANZEThis isn't pride. It's sheerstupidity!

She glares at him, almost in tears.

CUT TO:

62 62INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S

Salieri is giving a lesson to a girl student, who is singingthe Italian art song, Caro Mio Ben.

There is a knock on the door.

SALIERIYes.

(CONTINUED)

54.

62 CONTINUED: 62

A SERVANT enters.

SERVANTExcuse me, sir, there is a lady whoinsists on talking to you.

SALIERIWho is she?

SERVANTShe didn't say. But she says it'surgent.

SALIERI(to the pupil)

Excuse me, my dear.

Salieri goes into the salon.

CUT TO:

63 63INT. THE SALON - LATE AFTERNOON - 1780'S

Constanze stands, closely veiled, holding a portfolio stuffedwith manuscripts. The singing lesson ends, with two chordson the instrument. Salieri enters the salon. Constanze dropshim a shy curtsey.

CONSTANZEExcellency!

SALIERIMadame. How can I help you?

Shyly, she unveils.

SALIERIFrau Mozart?

CONSTANZEThat's right, Your Excellency. I'vecome on behalf of my hus band. I'm -I'm bringing some samples of hiswork so he can be considered for theroyal appointment.

SALIERIHow charming. But why did he notcome himself?

CONSTANZEHe's terribly busy, sir.

SALIERII understand.

(CONTINUED)

55.

63 CONTINUED: 63

He takes the portfolio and puts it on a table.

SALIERII will look at them, of course, themoment I can. It will be an honour. Please give him my warmest.

CONSTANZEWould it be too much trouble, sir,to ask you to look at them now? While I wait.

SALIERII'm afraid I'm not at leisure thisvery moment. Just leave them withme. I assure you they will be quitesafe.

CONSTANZEI - I really cannot do that, YourExcellency. You see, he doesn't knowI'm here.

SALIERIReally?

CONSTANZEMy husband is a proud man, sir. Hewould be furious if he knew I'd come.

SALIERIThen he didn't send you?

CONSTANZENo, sir. This is my own idea.

SALIERII see.

CONSTANZESir, we really need this job. We'redesperate. My husband spends farmore than he can ever earn. I don'tmean he's lazy - he's not at all -heworks all day long. It's just! he'snot practical. Money simply slipsthrough his fingers, it's reallyridiculous, Your Excellency. I knowyou help musicians. You're famousfor it. Give him just this one post. We'd be forever indebted!

A short pause.

(CONTINUED)

56.


SALIERILet me offer you some refreshment. Do you know what these are?

He indicates a dish piled high with glazed chestnuts.

SALIERICappezzoli di Venere. Nipples ofVenus. Roman chestnuts in brandiedsugar. Won't you try one? They'requite surprising.

He offers her the dish. She takes one and puts it in hermouth. He watches carefully.

CONSTANZEOh! They're wonderful.

He takes one himself. We notice on his finger a heavy goldsignet-ring.

CONSTANZEThank you very much, Your Excellency.

SALIERIDon't keep calling me that. It putsme at such a distance. I was notborn a Court Composer, you know. I'm from a small town, just likeyour husband.

He smiles at her. She takes another chestnut.

SALIERIAre you sure you can't leave thatmusic, and come back again? I haveother things you might like.

CONSTANZEThat's very tempting, but it'simpossible, I'm afraid. Wolfi wouldbe frantic if he found those weremissing. You see, they're alloriginals.

SALIERIOriginals?

CONSTANZEYes.

A pause. He puts out his hand and takes up the portfoliofrom the table. He opens it. He looks at the music. He ispuzzled.

(CONTINUED)

57.


SALIERIThese are originals?

CONSTANZEYes, sir. He doesn't make copies.

CUT TO:


The old man faces the Priest.

OLD SALIERIAstounding! It was actually beyondbelief. These were first and onlydrafts of music yet they showed nocorrections of any kind. Not one. Do you realize what that meant?

Vogler stares at him.

OLD SALIERIHe'd simply put down music alreadyfinished in his head. Page afterpage of it, as if he was just takingdictation. And music finished as nomusic is ever finished.

65 65INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S

CU, The manuscript in Mozart's handwriting. The music beginsto sound under the following:

OLD SALIERI (V.O.)Displace one note and there would bediminishment. Displace one phrase,and the structure would fall. It wasclear to me. That sound I had heardin the Archbishop's palace had beenno accident. Here again was the veryvoice of God! I was staring throughthe cage of those meticulous ink-strokes at an absolute, inimitablebeauty.

The music swells. What we now hear is an amazing collage ofgreat passages from Mozart's music, ravishing to Salieri andto us. The Court Composer, oblivious to Constanze, who sitshappily chewing chestnuts, her mouth covered in sugar, walksaround and around his salon, reading the pages and droppingthem on the floor when he is done with them. We see hisagonized and wondering face: he shudders as if in a roughand tumbling sea; he experiences the point where beauty andgreat pain coalesce. More pages fall than he can read,

(CONTINUED)

58.

65 CONTINUED: 65

scattering across the floor in a white cascade, as he circlesthe room.

Finally, we hear the tremendous Qui Tollis from the Mass inC Minor. It seems to break over him like a wave and, unableto bear any more of it, he slams the portfolio shut. Instantly, the music breaks off, reverberating in his head. He stands shaking, staring wildly. Constanze gets up,perplexed.

CONSTANZEIs it no good?

A pause.

SALIERIIt is miraculous.

CONSTANZEOh yes. He's really proud of hiswork.

Another pause.

CONSTANZESo, will you help him?

Salieri tries to recover himself.

SALIERITomorrow night I dine with theEmperor. One word from me and thepost is his.

CONSTANZEOh, thank you, sir!

Overjoyed, she stops and kisses his hand. He raises her -and then clasps her to him clumsily. She pushes herself away.

SALIERICome back tonight.

CONSTANZETonight?

SALIERIAlone.

CONSTANZEWhat for?

SALIERISome service deserves service inreturn. No?

(CONTINUED)

59.


CONSTANZEWhat do you mean?

SALIERIIsn't it obvious?

They stare at one another: Constanze in total disbelief.

SALIERIIt's a post all Vienna seeks. If youwant it for your husband, cometonight.

CONSTANZEBut! I'm a married woman!

SALIERIThen don't. It's up to you. Not tobe vague, that is the price.

He glares at her.

SALIERIYes.

He rings a silver bell for a servant and abruptly leaves theroam. Constanze stares after him, horrified.

The servant enters. Shocked and stunned, Constanze goes downan her knees and starts picking up the music from the floor.

CUT TO:


CU, Father Vogler, horrified.

OLD SALIERIYes, Father. Yes! So much for my vowof chastity. What did it matter? Good, patient, hard-working, chaste -what did it matter? Had goodnessmade me a good composer? I realizedit absolutely then - that moment:goodness is nothing in the furnaceof art. And I was nothing to God.

VOGLER(crying out)

You cannot say that!

OLD SALIERINo? Was Mozart a good man?

(CONTINUED)

60.

66 CONTINUED: 66

VOGLERGod's ways are not yours. And youare not here to question Him. Offerhim the salt of penitence. He willgive you back the bread of eternallife. He is all merciful. That isall you need to know.

OLD SALIERIAll I ever wanted was to sing toHim. That's His doing, isn't it? Hegave me that longing - then made memute. Why? Tell me that. If He didn'twant me to serve Him with music, whyimplant the desire, like a lust inmy body, then deny me the talent? Goon, tell me! Speak for Him!

VOGLERMy son, no one can speak for God.

OLD SALIERIOh? I thought you did so every day. So speak now. Answer me!

VOGLERI do not claim to unravel themysteries. I treasure them. As youshould.

OLD SALIERI(impatiently)

Oh yes, yes, yes, yes, yes! Alwaysthe same stale answers!

(intimately to thepriest)

There is no God of Mercy, Father. Just a God of torture.

CUT TO:

67 67INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S

Salieri sits at his desk, staring up at the cross.

OLD SALIERI (V.O.)Evening came to that room. I satthere not knowing whether the girlwould return or not. I prayed as I'dnever prayed before.

SALIERIDear God, enter me now. Fill me withone piece of true music. One piece

(MORE)

(CONTINUED)

61.

67 CONTINUED: 67

SALIERI (CONT'D)with your breath in it, so I knowthat you love me. Please. Just one. Show me one sign of your favour, andI will show mine to Mozart and hiswife. I will get him the royalposition, and if she comes, I'llreceive her with all respect andsend her home in joy. Enter me! Enterme! Please! Te imploro.

Long, long silence. Salieri stares at the cross. Christ staresback at him impassively. Finally in this silence we hear afaint knocking at the door. Salieri stirs himself. A servantappears.

SERVANTThat lady is back, sir.

SALIERIShow her in. Then go to bed.

The Servant bows and leaves. We follow him through:

68 68INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S

The Servant crosses it and enters:

69 69INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S

Constanze is sitting on an upright chair, veiled as before,the portfolio of music on her lap. Through the far doorleading from the hall, another servant is peering at her. The first servant joins him and shuts the door on the girl,leaving her alone.

We stay with her. The clock ticks on the mantelpiece. Wehear an old carriage pass in the street below. Nervously shelifts her veil and looks about her.

Suddenly Salieri appears from the music room. He is pale andvery tight. They regard each other. She smiles and rises togreet him, affecting a relaxed and warm manner, as if to puthim at his ease.

CONSTANZEWell, I'm here. My husband has goneto a concert. He didn't think I wouldenjoy it.

A pause.

CONSTANZEI do apologize for this afternoon.

(MORE)

(CONTINUED)

62.

69 CONTINUED: 69

CONSTANZE (CONT'D)I behaved like a silly girl. Whereshall we go?

SALIERIWhat?

CONSTANZEShould we stay here? It's a charmingroom. I love these candlesticks. Were they here earlier? I didn'tnotice them I suppose I was toonervous.

As she talks, she extinguishes the candles in a pair ofVenetian candelabra and subsequently other candles aroundthe room.

CONSTANZEWolfgang was given some candlesticksby King George in England, but theywere only wood. Oh, excuse me. Let'snot talk about him. What do you thinkof this? It's real lace. Brussels.

She turns and takes off her shawl.

CONSTANZEWell, it's much too good for everyday. I keep saying to Wolfi, don'tbe so extravagant. Presents arelovely, but we can't afford them. It doesn't do any good. The more Itell him, the more he spends. Oh,excuse me! There I go again.

She picks up the portfolio.

CONSTANZEDo you still want to look at this? Or don't we need to bother anymore? I imagine we don't, really.

She looks at him inquiringly, and drops the portfolio on thefloor; pages of music pour out of it. Instantly we hear amassive chord, and the great Qui Tollis from the Mass in CMinor fills the room. To its grand and weighty sound,Constanze starts to undress, watched by the horrified Salieri. Between him and her, music is an active presence, hurtingand baffling him. He opens his mouth in distress. The musicpounds in his head. The candle flickers over her as sheremoves her clothes and prepares for his embrace. Suddenlyhe cries out.

(CONTINUED)

63.


SALIERIGo! Go! Go!

He snatches up the bell and shakes it frantically, notstopping until the two servants we saw earlier appear at thedoor. The music stops abruptly. They stare at the appalledand frightened Constanze, who is desperately trying to coverher nakedness.

SALIERIShow this woman out!

Constanze hurls herself at him.

CONSTANZEYou shit! You shit! You rotten shit!

He seizes her wrists and thrusts her back. Then he leavesthe room quickly, slamming the door behind him. Constanzeturns and sees the two servants goggling at her in the room.

CONSTANZEWhat are you staring at?

Wildly, she picks up the candelabrum and throws it at them. It shatters on the floor.


CU, Salieri standing, his eyes shut, shaking in distress. He opens them and sees Christ across the room, staring athim from the wall.

OLD SALIERI (V.O.)From now on, we are enemies, You andI!

CUT TO:


The old man is reliving the experience. Vogler looks at him,horrified.

OLD SALIERIBecause You will not enter me, withall my need for you; because Youscorn my attempts at virtue; becauseYou choose for Your instrument aboastful, lustful, smutty infantileboy and give me for reward only theability to recognize the Incarnation;because You are unjust, unfair,unkind, I will block You!

(MORE)

(CONTINUED)

64.

71 CONTINUED: 71

OLD SALIERI (CONT'D)I swear it! I will hinder and harmYour creature on earth as far as Iam able. I will ruin Your Incarnation.

CUT BACK TO:


CU, the fireplace. In it lies the olivewood Christ on thecross, burning.

OLD SALIERI (V.O.)What use after all is Man, if not toteach God His lessons?

The cross flames up and disintegrates. Salieri stares at it.

CUT TO:

73 73INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S

The front door bursts open. Mozart stumbles in, followed byEMMANUEL SCHIKANEDER, three young actresses, and anotherman, all fairly drunk. Schikaneder (who appears everywhereaccompanied by young girls) is a large, fleshy, extravagantman of about thirty-five.

MOZARTStanzi! Stanzi! Stanzi-Manzi!

The others laugh.

MOZARTSssh!

SCHIKANEDER(imitating Mozart)

Stanzi-Manzi-Banzi-Wanzi!

MOZARTSssh! Stay here.

He walks unsteadily to the bedroom door and opens it.

SCHIKANEDER(to the girls, verytipsy)

Sssh! You're dishgrashful!

74 74INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S

Constanze lies in bed, her back turned to her husband, whocomes into the room and shuts the door.

(CONTINUED)

65.

74 CONTINUED: 74

MOZART(playfully)

Stanzi? How's my mouse? Mouse-wouse? I'm back - puss-wuss is back!

She turns around abruptly. She looks dreadful; her eyes redwith weeping. Mozart is shocked.

MOZARTStanzi!

He approaches the bed and sits on it. Immediately she startscrying again, desperately.

MOZARTWhat's the matter? What is it? Stanzi!

He holds her and she clings to him in a fierce embrace, cryinga flood of tears.

MOZARTStop it now. Stop it. I've broughtsome friends to meet you. They'renext door waiting. Do we have anythingto eat? They're all starving.

CONSTANZETell them to go away. I don't wantto see anybody.

MOZARTWhat's the matter with you?

CONSTANZETell them to go!

MOZARTSssh. What is it? Tell me.

CONSTANZENo!

MOZARTYes!

CONSTANZEI love you! I love you!

She starts crying again, throwing her arms around his neck.

CONSTANZEI love you. Please stay with me. I'mfrightened.

66.

75 75INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S

Joseph sits eating. A butler serves him goat's milk to drink. Joseph is holding a memorandum from Salieri in his hand. Salieri stands before him.

JOSEPHI don't think you understand me,Court Composer.

SALIERIMajesty, I did. Believe me, it was amost agonizing. decision. But finally,I simply could not recommend HerrMozart.

JOSEPHWhy not?

SALIERIWell, Sire, I made some inquiries ina routine way. I was curious to knowwhy he had so few pupils. It is ratheralarming.

JOSEPHOh?

With a gesture Joseph dismisses the butler, who bows andleaves the room.

SALIERIMajesty, I don't like to talk againsta fellow musician.

JOSEPHOf course not.

SALIERII have to tell you, Mozart is notentirely to be trusted alone withyoung ladies.

JOSEPHReally?

SALIERIAs a matter of fact, one of my ownpupils - a very young singer - toldme she was - er - well!

JOSEPHYes?

(CONTINUED)

67.

75 CONTINUED: 75

SALIERIMolested, Majesty. Twice, in thecourse of the same lesson.

A pause.

JOSEPHAh-ha. Well. There it is.

76 76INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S

Salieri has just returned from the palace and is coming upthe staircase. He is met by his servant.

SERVANTSir, there is a Herr Mozart waitingfor you in the salon.

Salieri is plainly alarmed.

SALIERIWhat does he want?

SERVANTHe didn't say, sir. I told him Ididn't know when you would be back,but he insisted on waiting.

SALIERICome with me. And stay in the room.

He mounts the stairs.

77 77INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S

Mozart is waiting for Salieri, holding a portfolio. Salieriapproaches him nervously. Mozart stands not belligerently,but humbly.

SALIERIHerr Mozart, what brings you here?

MOZARTYour Excellency, you requested somespecimens of my work. Here they are. I don't have to tell you how much Ineed your help. I truly appreciateyour looking at these. I havepressures on me - financial pressures. As you know, I'm a married man now.

SALIERISo you are. How is your pretty wife?

(CONTINUED)

68.

77 CONTINUED: 77

MOZARTShe is well. She is - well, actually,I'm about to become a father! Sheonly told me last night. You are thefirst to know.

SALIERII'm flattered. And congratulationsto you, of course.

MOZARTSo you see, this post is veryimportant to me right now.

Salieri looks at him in distress.

SALIERIWhy didn't you come to me yesterday,Mozart? This is a most painfulsituation. Yesterday I could havehelped you. Today, I can't.

MOZARTWhy? Here is the music. It's here. I am submitting it humbly. Isn'tthat what you wanted?

SALIERII have just come from the palace. The post has been filled.

MOZARTFilled? That's impossible! Theyhaven't even seen my work. I needthis post. Please, can't you helpme? Please!

SALIERIMy dear Mozart, there is no one inthe world I would rather help, butnow it is too late.

MOZARTWhom did they choose?

SALIERIHerr Sommer.

MOZARTSommer? Herr Sommer? But the man's afool! He's a total mediocrity.

SALIERINo, no, no: he has yet to achievemediocrity.

(CONTINUED)

69.


MOZARTBut I can't lose this post, I simplycan't! Excellency, please. Let's goto the palace, and you can explainto the Emperor that Herr Sommer isan awful choice. He could actuallydo musical harm to the Princess!

SALIERIAn implausible idea. Between you andme, no one in the world could domusical harm to the PrincessElizabeth.

Mozart chuckles delightedly. Salieri offers him a glass ofwhite dessert and a spoon. Mozart takes it absently and goeson talking.

MOZARTLook, I must have pupils. Withoutpupils I can't manage.

SALIERIYou don't mean to tell me you areliving in poverty?

MOZARTNo, but I'm broke. I'm always broke. I don't know why.

SALIERIIt has been said, my friend, thatyou are inclined to live somewhatabove your means.

MOZARTHow can anyone say that? We have nocook, no maid. We have no footman. Nothing at all!

SALIERIHow is that possible? You giveconcerts, don't you? I hear they arequite successful.

MOZARTThey're stupendously successful. You can't get a seat. The only problemis none will hire me. They all wantto hear me play, but they won't letme teach their daughters. As if Iwas some kind of fiend. I'm not afiend!

(CONTINUED)

70.


SALIERIOf course not.

MOZARTDo you have a daughter?

SALIERII'm afraid not.

MOZARTWell, could you lend me some moneytill you have one? Then I'll teachher for free. That's a promise. Oh,I'm sorry. I'm being silly. Papa'sright - I should put a padlock on mymouth. Seriously, is there any chanceyou could manage a loan? Only forsix months, eight at most. Afterthat I'll be the richest man inVienna. I'll pay you back double. Anything. Name your terms. I'm notjoking. I'm working on somethingthat's going to explode like a bomball over Europe!

SALIERIAh, how exciting! Tell me more.

MOZARTI'd better not. It's a bit of asecret.

SALIERICome, come, Mozart; I'm interested. Truly.

MOZARTActually, it's a big secret. Oh,this is delicious! What is it?

SALIERICream cheese mixed with granulatedsugar and suffused with rum. Cremaal Mascarpone.

MOZARTAh. Italian?

SALIERIForgive me. We all have patrioticfeelings of some kind.

MOZARTTwo thousand, two hundred florins isall I need A hundred? Fifty?

(CONTINUED)

71.


SALIERIWhat exactly are you working on?

MOZARTI can't say. Really

SALIERII don't think you should become knownin Vienna as a debtor, Mozart. However, I know a very distinguishedgentleman I could recommend to you. And he has a daughter. Will that do?

78 78INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780'S

Hysterical barking and howling. The hall is full of dogs, atleast five, all jumping up and dashing about and making aterrific racket. Mozart, dandified in a new coat and a plumedhat for the occasion, has arrived to teach at the house of aprosperous merchant, MICHAEL SCHLUMBERG. Bluff, friendly andcoarse-looking, he stands in his hall amidst the leaping andbarking animals, greeting Mozart.

SCHLUMBERGQuiet! Quiet! Quiet! Down there,damn you.

(to Mozart)Welcome to you. Pay no attention,they're impossible. Stop it, youwillful things! Come this way. Justignore them. They're perfectlyharmless, just willful. I treat themjust like my own children.

MOZARTAnd which one of them do you want meto teach?

SCHLUMBERGWhat? Ha-ha! That's funny - I likeit. Which one, eh? You're a funnyfellow.

(shouting)Hannah! Come this way.

He leads Mozart through the throng of dogs into a salonfurnished with comfortable middle-class taste.

SCHLUMBERGHannah!

FRAU SCHLUMBERG appears: an anxious woman in middle life.

(CONTINUED)

72.

78 CONTINUED: 78

SCHLUMBERG(to Mozart)

You won't be teaching this one either. She's my wife.

MOZART(bowing)

Madame.

SCHLUMBERGThis is Herr Mozart, my dear. Theyoung man Herr Salieri recommendedto teach our Gertrude. Where is she?

FRAU SCHLUMBERGUpstairs.

SCHLUMBERGGertrude!

FRAU SCHLUMBERGYou can't be Herr Mozart!

MOZARTI'm afraid I am.

SCHLUMBERGOf course, it's him. Who do you thinkit is?

FRAU SCHLUMBERGI've heard about you for ages! Ithought you must be an old man.

SCHLUMBERGGertrude!

FRAU SCHLUMBERGIt's such an honour for us to haveyou here, Herr Mozart. And forGertrude.

SCHLUMBERGPeople who know say the girl's gottalent. You must judge for yourself. If you think she stinks, say so.

FRAU SCHLUMBERGMichael, please! I'm sure you willfind her most willing, Herr Mozart. She's really very excited. She'sbeen preparing all morning.

MOZARTReally?

(CONTINUED)

73.


FRAU SCHLUMBERGAh, now! Here she comes.

GERTRUDE SCHLUMBERG appears in the doorway: an awkward girlof fifteen in her best dress, her hair primped and curled. She is exceedingly nervous.

MOZARTGood morning, Fraulein Schlumberg.

SCHLUMBERGStrudel, this is Herr Mozart. Saygood morning.

Gertrude giggles instead.

FRAU SCHLUMBERG(to Mozart)

Perhaps a little refreshment first? A little coffee, or a littlechocolate?

MOZARTI'd like a little wine, if you haveit.

FRAU SCHLUMBERGWine?

SCHLUMBERGQuite right. He's going to need it.

(calling and clappinghis hands)

Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been waitingall day for this.

HE LEADS THE WAY INTO:

79 79INT. MUSIC ROOM - DAY - 1780'S

A forte-piano is open and waiting. All the dogs follow him. After them come Mozart Frau and Fraulein Schlumberg. ToMozart's dismay, husband and wife seat themselves quiteformally on a little narrow sofa, side by side.

SCHLUMBERG(To the dogs)

Now sit down all of you and behave. Zeman, Mandi, absolutely quiet!

(to a young beagle)Especially you, Dudelsachs - not onesound from you.

(CONTINUED)

74.

79 CONTINUED: 79

The dogs settle at their feet. Husband and wife smileencouragingly at each other.

SCHLUMBERGCome on, then. Up and at it!

Mozart gestures to the music bench. Reluctantly, the girlsits at the instrument. Mozart sits beside her.

MOZARTNow, please play me something. Justto give me an idea. Anything willdo.

GERTRUDE(to parents)

I don't want you to stay.

FRAU SCHLUMBERGThat's all right, dear. Just go ahead,as if we weren't here.

GERTRUDEBut you are here.

SCHLUMBERGNever mind, Strudel. It's part ofmusic, getting used to an audience. Aren't I right, Herr Mozart?

MOZARTWell, yes! on the whole. I suppose.

(to Gertrude)How long have you been playing,Fraulein?

FRAU SCHLUMBERGJust one year.

MOZARTWho was your teacher?

FRAU SCHLUMBERGI was. But she quite outgrew thelittle I could show her.

MOZARTThank you, Madame.

(to Gertrude)Come on now - courage. Play mesomething you know.

In response the wretched girl just stares down at the keyboardwithout playing a note. An awkward pause.

(CONTINUED)

75.


MOZARTPerhaps it would be better if wewere left alone. I think we're botha little shy.

Husband and wife look at each other.

SCHLUMBERGNonsense. Strudel's not shy. She'sjust willful! You give into her now,you'll be sorry later. Strudel -play.

Silence. The girl sits unmoving. Schlumberg bellows:

SCHLUMBERGI said play!

FRAU SCHLUMBERGMichael!

MOZARTPerhaps if I were to play a littlefirst, it might encourage theFraulein.

(to the girl)Why don't you let me try theinstrument? All right?

Suddenly the girl rises. Mozart smiles at the parents. Theysmile nervously back. Mozart slides along the bench, raiseshis hands and preludes over the keys. Instantly a dog howlsloudly. Startled, Mozart stops. Schlumberg leaps to his feetand goes over to the beagle.

SCHLUMBERGStop that, Dudelsachs! Stop it atonce!

(to Mozart)Don't let him disturb you. He'll beall right. He's just a little willfultoo. Please, please - play. I begyou.

Mozart resumes playing. This time it is a lively piece,perhaps the Presto Finale from the K. 450. The dog howlsimmediately.

SCHLUMBERGStop it! STOP!

Mozart stops.

(CONTINUED)

76.


SCHLUMBERGNo, not you. I was talking to thedog. You keep playing. It's mostimportant. He always howls when hehears music. We've got to break themof the habit. Play, please. Please!

Amazed, Mozart starts to play the Rondo again. The dog howlslouder.

SCHLUMBERGThat's it. Now keep going, just keepgoing.

(to the beagle)Now you stop that noise, Dudelsachs,you stop it this instant! Thisinstant, do you hear me? Keep going,Herr Mozart, that's it. Go on, goon!

Mozart plays on. Suddenly the dog falls silent. Schlumbergsmiles broadly.

SCHLUMBERGGood, good, good! Very good dog! Very, very good Dudelsachs.

(to his wife, snappinghis fingers)

Quick, quick, dear, bring his biscuit.

The wife scurries to get a jar of biscuits. A servant bringsin an open bottle of wine and a full glass on a tray. Heputs it down beside Mozart as Schlumberg addresses the silentdog with deepest affection.

SCHLUMBERGNow guess who's going to get a nicereward? Clever, clever Dudi.

He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and stands up.

SCHLUMBERGIt's a miracle, Herr Mozart!

MOZART(barely controllinghimself)

Well, I'm a good teacher. The nexttime you wish me to instruct anotherof your dogs, please let me know. Goodbye, Fraulein, goodbye, Madame!goodbye, Sir!

(CONTINUED)

77.


He bows to them and leaves the room. They look after him inpuzzled astonishment.

FRAU SCHLUMBERGWhat a strange young man.

SCHLUMBERGYes. He is a little strange.

80 80EXT. A BUSY STREET IN VIENNA - DAY - 1780'S

A cheerful scene. We see Mozart strutting and beaming, makinghis way through the crowd of porters, carriers and hawkers,sellers of sausages and pastries, vendors of hats and ribbons. Horses and carriage clatter past him. His mood is bestexpressed by a bubbling version of Non piu Andrai played onthe forte-piano.

Still in the same mood, he enters the door of his own house.

81 81INT. MOZART'S HOUSE - HALLWAY - DAY - 1780'S

Suddenly, he stops. He looks up the stairs. The grim openingchords from the Overture to Don Giovanni cut across the marchfrom Figaro. What he sees, looking up the stairs, is amenacing figure in a long, grey cape and dark grey hat,standing on the landing. The light comes from behind thefigure so that we see only its silhouette as it unfolds itsarms towards Mozart in an alarming gesture of possession. It takes a beat in which the air of sinister mystery is heldbefore Mozart realizes who it is. Then, as the musiccontinues, he hastily sets down the bottle of wine and rushesjoyfully up the stairs and hurls himself into the figure'sarms.

MOZARTPapa! PAPA!

Both men embrace. The music slowly fades.

82 82INT. MOZART'S LIVING ROOM - DAY - 1780'S

A cramped, low-ceilinged little room which nobody has tidiedfor ages. We see music lying everywhere. Also there are manyempty wine bottles; musical instruments - among them amandolin, a viola, a forte-piano with the black and whitekeys reversed - books and abandoned plates of food.

Mozart clasps his father's arms. Leopold is now seen as anaging, travel-stained man in clothes that need repair. Hisface is lined, and he is obviously not in perfect health.

MOZARTWhy are you here?

(CONTINUED)

78.

82 CONTINUED: 82

LEOPOLDAm I not welcome?

MOZARTOf course, welcome! Welcome tenthousand times. Papa! my Papa!

He kisses his hands.

LEOPOLDYou're very thin. Does she not feedyou, this wife of yours?

Mozart ducks away and fetches his father's bags from thelanding.

MOZARTFeed? Well, of course she feeds me. She stuffs me like a goose all daylong. She's the best cook in theworld. I mean, since Mama. Just wait,you'll see.

LEOPOLDIs she not here?

MOZARTI don't know. Stanzi? Stanzi!

Leopold looks about him at the mess in the room.

LEOPOLDDo you always live like this?

MOZARTOh, yes. Oh, I mean no - not exactlylike this. I mean today - just today,Stanzi - I remember now. She had togo - yes! She had to help her mother. Yes, she's like that. Her mother's avery sweet woman, you'll see.

He carries the bag across the room and opens the door of thebedroom. Constanze lies in bed. She sits up, startled.

MOZARTOh! I didn't know you were home. Stanzi, this is my father.

Constanze, who looks ill and tired, stares at Leopold. Leopold stares back from the doorway.

MOZARTWe'll wait, we'll wait. Why don'tyou get up now, darling?

(CONTINUED)

79.


He closes the door again.

MOZARTShe's very tired, poor creature. You know me: I'm a real pig. It'snot so easy cleaning up after me.

LEOPOLDDon't you have a maid?

MOZARTOh we could, if we wanted to, butStanzi won't hear of it. She wantsto do everything herself.

LEOPOLDHow is your financial situation?

MOZARTIt couldn't be better.

LEOPOLDThat's not what I hear.

MOZARTWhat do you mean? It's wonderful. Really, it's - it's marvelous! Peoplelove me here.

LEOPOLDThey say you're in debt.

MOZARTWho? Who says that? Now that's amalicious lie!

LEOPOLDHow many pupils do you have?

MOZARTPupils?

LEOPOLDYes.

MOZARTYes.

LEOPOLDHow many?

MOZARTI don't know. It's not important. Imean, I don't want pupils. They get

(MORE)

(CONTINUED)

80.


MOZART (CONT'D)in the way. I've got to have timefor composition.

LEOPOLDComposition doesn't pay. You knowthat.

MOZARTThis one will.

He picks up some pages of manuscript.

LEOPOLDWhat's that?

MOZARTOh, let's not talk about it.

LEOPOLDWhy not?

MOZARTIt's a secret.

LEOPOLDYou don't have secrets from me.

MOZARTIt's too dangerous, Papa. But they'regoing to love it. Ah, there she is!

Constanze comes into the room. She is wearing a dressinggown and has made a perfunctory attempt to tidy her hair. We see that she is clearly pregnant.

MOZARTMy Stanzi - look at her! Isn't shebeautiful? Come on now, confess,Papa. Could you want a prettier girlfor a daughter?

CONSTANZEStop it, Wolfi. I look dreadful. Welcome to our house, Herr Mozart.

MOZARTHe's not Herr Mozart. Call him Papa.

LEOPOLDI see that you're expecting.

CONSTANZEOh, yes.

(CONTINUED)

81.


LEOPOLDWhen, may I ask?

CONSTANZEIn three months! Papa.

MOZARTIsn't that marvelous? We're delighted.

LEOPOLDWhy didn't you mention it in yourletters?

MOZARTDidn't I? I thought I did. I'm sureI did.

He gives a little giggle of embarrassment.

CONSTANZEMay I offer you some tea, Herr Mozart?

MOZARTTea? Who wants tea? Let's go out! This calls for a feast. You don'twant tea, Papa. Let's go dancing. Papa loves parties, don't you?

CONSTANZEWolfi!

MOZARTWhat? How can you be so boring? Tea!

CONSTANZEWolfi, I think your father's tired. I'll cook us something here.

LEOPOLDThank you. That'll be fine. Don'tspend any money on me.

MOZARTWhy not? Oh, come, Papa! What betterway could I spend it than on you? Mykissable, missable, suddenly visiblePapa!

The jaunty tune of Ich Mochte Wohl Der Kaiser sein (K.539)sounds through all the following. This is an alternate songfrom Il Seraglio: a very extroverted tune for baritone andorchestra and a prominent part for bass drum. The vocal partshould be arranged for trumpet.

82.

83 83EXT. STREET IN VIENNA - DAY - 1780'S

Mozart and Constanze with Leopold between them. We see couplesshopping.

84 84INT. A COSTUME SHOP - VIENNA - DAY - 1780'S

This is a shop where one can buy costumes for masquerades. It is filled with extravagant costumes of various kinds. Wolfgang is wearing a costume, a mask pushed up on hisforehead; Constanze is wearing a little white velvet mask.

Amidst the merriment, Leopold is helped by two assistants toput on a dark grey cloak and a dark grey tricorne hat, towhich is attached a full mask of dark grey. Its mouth is cutinto a fixed upward smile.

He turns and looks at his son through this mask.

CUT STRAIGHT TO:

85 85INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780'S

We are in the full whirl of a Masquerade Ball. Couples aredancing around dressed in fantastic costumes. The music ofIch Mochte Wohl Der Kaiser sein increases in volume andpersists. We see the musicians thumping it out on a balustradeabove the dancers. A steer is being roasted. Through thebobbing crowd we see a group, headed by the figure of Bacchus:this is Schikaneder in a Greek costume, wearing vine leavesin his hair. He is accompanied by his usual trio of actressesand three other men. Constanze as Columbine and Mozart asHarlequin are pulling Leopold by the hand of his dark cloakand smiling mask. This whole group threads its way acrossthe crowded room and disappears through a door. As they go,they are watched by Salieri, standing alone in a corner,wearing ordinary evening clothes. He turns away hastily toavoid being seen by them.

As soon as they disappear into the far room, Salieri goesquickly to a lady in the corner who is giving guests dominomasks off a tray. He quickly takes a small black mask andputs it on.

CUT TO:

86 86INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780'S

A fantastic room designed as a rocky grotto, lit by candles. A forte-piano to one side is being played by Schikaneder:the music of Ich Mochte Wohl Der Kaiser sein cross-fades toanother tune. This is Vivat Bacchus from Il Seraglio whichSchikaneder, dressed as Bacchus, is humming as he plays. Themusic is actually accompanying a game of Forfeits, which hasbegun. Five couples (the group we have just seen) are dancing

(CONTINUED)

83.

86 CONTINUED: 86

in the middle of a ring made by nine chairs. When the musicstops they will each have to find a chair, and the one whofails must pay a forfeit.

Constanze is dancing with Leopold; Mozart is dancing withone of the actresses; the two other actresses are dancingwith two other gentlemen; and two children dance together -a little boy and a little girl. The scene is watched by acircle of bystanders; among them - from the doorway - isSalieri.

Schikaneder stops playing. Immediately the couples scramblefor the chairs. Leopold and Constanze meet on the same chair,bumping and pushing at each other to get sole possession ofit. To the amusement of the people around, the chair over-balances and they both end up on the floor. Constanzeimmediately gets up again, sets the chair on its feet, andtries to pretend she was sitting in it all the time. ButSchikaneder calls out from the forte-piano.

SCHIKANEDERNo, no! You both lost. You both lost. You both have to forfeit. And thepenalty is you must exchange yourwigs.

People are delighted by the idea of this penalty. The childrenjump up and down with excitement. The three actressesimmediately surround Leopold, reaching for his hat and maskand wig, whilst he tries to hold on to them. Mozart takesoff Constanze's wig - an absurd affair with side-curls. Constanze laughingly surrenders it.

LEOPOLDNo, please! This is ridiculous! No,please!

Despite his protests an actress takes off his hat, to whichthe smiling mask is attached, to reveal his outraged faceshowing a very different expression underneath. Anotheractress snatches off his wig to reveal very sparse hair onthe old man's head. The third actress takes Constanze's wigfrom Mozart and attempts to put it on his father's head.

LEOPOLDNo, really!

MOZART(calling to him)

This is just a game, Papa.

Constanze echoes him with a touch of malice in her voice.

CONSTANZEThis is just a game, Papa!

(CONTINUED)

84.


Laughingly, the bystanders take it up, especially thechildren.

BYSTANDERSThis is just a game, Papa!

As Leopold glares furiously about him, the actress succeedsin getting Constanze's wig firmly onto his head. Everybodybursts into applause. Delightedly, Constanze puts on Leopold'swig, hat and mask: from the waist up she now looks like aweird parody of Leopold in the smiling grey mask, and helooks like a weird parody of her in the silly feminine wig. Schikaneder starts to play again, and the couples start todance. Leopold angrily takes off Constanze's wig and leavesthe circle; his partner, Constanze, is left alone. Seeingthis, Mozart leaves his partner and catches his fatherentreatingly by the arm.

MOZARTOh no, Papa, please! Don't spoil thefun. Come on. Here, take mine.

He takes off his own wig and puts it on Leopold's uncoveredhead. The effect, if not as ridiculous, is still somewhatbizarre, since Wolfgang favours fairly elaborate wigs. Hetakes Constanze's wig from his father. As this happens, themusic stops again. Mozart gently pushes his father down ontoa nearby chair; the others scramble for the other chairs;and he is left as the Odd Man Out. He giggles. Schikanedercalls out to Leopold from the keyboard.

SCHIKANEDERHerr Mozart, why don't you name yourson's penalty?

Applause.

MOZARTYes, Papa, name it. Name it. I'll doanything you say!

LEOPOLDI want you to come back with me toSalzburg, my son.

SCHIKANEDERWhat did he say? What did he say?

MOZARTPapa, the rule is you can only givepenalties that can be performed inthe room.

(CONTINUED)

85.


LEOPOLDI'm tired of this game. Please playwithout me.

MOZARTBut my penalty. I've got to have apenalty.

All the bystanders are watching.

SCHIKANEDERI've got a good one. I've got theperfect one for you. Come over here.

Mozart runs over to the forte-piano, and Schikanedersurrenders his place at it.

SCHIKANEDERNow, I want you to play our tune -sitting backwards.

Applause.

MOZARTOh, that's really too easy. Any childcan do that.

Amused sounds of disbelief.

SCHIKANEDERAnd a fugue in the manner of SebastianBach.

Renewed applause at this wicked extra penalty. Mozart smilesat Schikaneder - it is the sort of challenge he loves. Hedefiantly puts on Constanze's wig and seats himself with hisback to the keyboard. Before the astonished eyes of thecompany he proceeds to execute this absurdly difficult task. His right hand plays the bass part, his left hand the treble,and with this added difficulty he improvises a brilliantfugue on the subject of the tune to which they have beendancing.

Attracted by this astonishing feat, the players draw nearerto the instrument. So does Salieri, cautiously, with some ofthe bystanders. Constanze watches him approach. Only Leopoldsits by himself, sulking.

The fugue ends amidst terrific clapping. The guests call outto Mozart.

GUESTSAnother! Do another! Someone else.

(CONTINUED)

86.


MOZARTGive me a name. Who shall I do? Give me a name.

GUESTSGluck! Haydn! Frederic Handel!

CONSTANZESalieri! Do Salieri!

SMASH CUT:

Salieri's masked face whips around and looks at her.

MOZARTNow that's hard. That's very hard. For Salieri one has to face the rightway around.

Giggling, he turns around and sits at the keyboard. Then,watched by a highly amused group, he begins a wicked parody.

He furrows his brow in mock concentration and closes hiseyes. Then he begins to play the tune to which they danced,in the most obvious way imaginable, relying heavily on atotally and offensively unimaginative bass of tonic anddominant, endlessly repeated. The music is the very essenceof banality. The bystanders rock with laughter. Mozart startsto giggle wildly. Through this excruciating scene, Salieristares at Constanze, who suddenly turns her head and lookschallengingly back at him.

Mozart's parody reaches its coarse climax with him adding afart noise instead of notes to end cadences. He builds thisup, urged on in his clowning by everyone else, until suddenlyhe stops and cries out. The laughter cuts off. Mozart standsup, clutching his behind as if he has made a mess in hisbreeches. The momentary hush of alarm is followed by a howlof laughter.

CU, Salieri staring in pain.


CU, The old man is shaking at the very recollection of hishumiliation.

OLD SALIERIGo on. Mock me. Laugh, laugh!

CUT BACK TO:

87.

88 88INT. GROTTO - NIGHT - 1780'S

A repetition of the shot of Mozart at the forte-piano, wearingConstanze's wig and emitting a shrill giggle.

CUT TO:


Salieri sits at his desk. He holds in his hand the smallblack party mask and stares in hatred at the place on thewall where the crucifix used to hang. Faintly we see themark of the cross.

OLD SALIERI (V.O.)That was not Mozart laughing, Father. That was God. That was God! Godlaughing at me through that obscenegiggle. Go on, Signore. Laugh. Rubmy nose in it. Show my mediocrityfor all to see. You wait! I willlaugh at You! Before I leave thisearth, I will laugh at You! Amen!

90 90INT. MOZART'S WORKROOM - DAY - 1780'S

It is littered with manuscripts. In the middle stands abilliard table. The beautiful closing ensemble from Act IVof Figaro: Ah, Tutti contenti! Saremo cosi plays in thebackground. Standing at the billiard table, Mozart is dreamilyhearing the music and playing shots on the table.

From time to time he drifts over to a piece of manuscriptpaper and jots down notes. He is very much in his own worldof composition and the billiard balls are an aid to creation. Presently, however, we hear a knocking at the door.

CONSTANZE(outside the door)

Wolfi! Wolfgang!

The music breaks off.

MOZARTWhat is it?

He opens the door.

CONSTANZEThere's a young girl to see you.

MOZARTWhat does she want?

(CONTINUED)

88.

90 CONTINUED: 90

CONSTANZEI don't know.

MOZARTWell, ask her!

CONSTANZEShe won't talk to me. She says shehas to speak to you.

MOZARTOh, damn!

91 91INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780'S

Mozart comes out. Framed in the doorway from outside standsLorl, the maid we noticed in Salieri's house. From his bedroomLeopold peeps out to watch. Mozart goes to the girl. Constanzefollows.

MOZARTYes?

LORLAre you Herr Mozart?

MOZARTThat's right.

LORLMy name is Lorl, sir. I'm amaidservant. I was asked to comehere and offer my services to you.

MOZARTWhat?

LORLThey'll be paid for by a great admireror yours who wishes to remain anon -anonymous.

CONSTANZEWhat do you mean? What admirer?

LORLI can't tell you that, ma'am.

MOZARTAre you saying that someone is payingyou to be our maid and doesn't wantus to know who he is?

(CONTINUED)

89.

91 CONTINUED: 91

LORLYes. I can live in or out just asyou wish.

Mozart turns to his father.

MOZARTPapa, is this your idea?

LEOPOLDMine?

The old man emerges from his bedroom. His son looks at himdelightedly.

MOZARTAre you playing a trick on me?

LEOPOLDI never saw this girl in my life.

(to Lorl)Is this a kind of joke?

LORLNot at all, sir. And I was told towait for an answer.

LEOPOLDYoung woman, this won't do at all. My son can't possibly accept such anoffer, no matter how generous, unlesshe knows who is behind it.

LORLBut I really can't tell you, sir.

LEOPOLDOh, this is ridiculous.

CONSTANZEWhat is ridiculous? Wolfi has manyadmirers in Vienna. They love himhere. People send us gifts all thetime.

LEOPOLDBut you can't take her withoutreference. It's unheard of!

CONSTANZEWell, this is none of your business.

(to Lorl)Whoever sent you is going to pay,no?

(CONTINUED)

90.


LORLThat's right, ma'am.

LEOPOLDSo now we are going to let a perfectstranger into the house?

Constanze looks furiously at him, then at Lorl.

CONSTANZEWho is we? Who is letting who?

(to Lorl)Could you please wait outside?

LORLYes, ma'am.

Lorl goes outside and closes the door. Constanze turns onLeopold.

CONSTANZELook, old man, you stay out of this. We spend a fortune on you, more thanwe can possibly afford, and all youdo is criticize, morning to night. And then you think you can -

MOZARTStanzi!

CONSTANZENo, it's right he should hear. I'msick to death of it. We can't doanything right for you, can we?

LEOPOLDNever mind. You won't have to doanything for me ever again. I'mleaving!

MOZARTPapa!

LEOPOLDDon't worry, I'm not staying here tobe a burden.

MOZARTNo one calls you that.

LEOPOLDShe does. She says I sleep all day.

(CONTINUED)

91.


CONSTANZEAnd so you do! The only time youcome out is to eat.

LEOPOLDAnd what do you expect? Who wants towalk out into a mess like this everyday?

CONSTANZEOh, now I'm a bad housekeeper!

LEOPOLDSo you are! The place is a pigstyall the time.

CONSTANZE(to Mozart)

Do you hear him? Do you?

Explosively she opens the door.

CONSTANZE(to Lorl)

When can you start?

LORLRight away, ma'am.

CONSTANZEGood! Come in. You'll start withthat room there.

(indicating Leopold'sroom)

It's filthy!

She leads the maid into Leopold's room. Mozart steals backinto his workroom and gently closes the door. Leopold isleft alone.

LEOPOLDSorry, sorry! I'm sorry I spoke! I'm just a provincial from Salzburg. What do I know about smart Vienna? Parties all night, every night. Dancing and drinking like idiotchildren!

92 92INT. MOZART'S WORKROOM - DAY - 1780'S

Mozart stands trying to blot out the noise of his father'sshouting from the next room.

(CONTINUED)

92.

92 CONTINUED: 92

LEOPOLD (O.S.)Dinner at eight! Dinner at ten! Dinnerwhen anyone feels like it! If anyonefeels like it!

The ensemble of Ah, Tutti contenti! Saremo cosi from Act IVof Figaro resumes, coming to his aid and rising to greet thelistener with its serene harmonies. Relieved, Mozart languidlypicks up his cue and plays a shot on the billiard table: heis sucked back into his own world of sound.

93 93INT. SALIERI'S SALON - NIGHT - 1780'S

The music fades. We see Lorl, dressed in a walking cloak,sitting before a desk, talking to someone confidentially.

LORLThey're out every night, sir. Tillall hours.

A hand comes into frame offering a plate of sugared biscuits. On its finger we see the gold signet ring belonging toSalieri.

LORL(taking one)

Oh, thank you, sir.

SALIERIDo any pupils come to the house?

LORLNot that I've seen.

SALIERIThen how does he pay for all this? Does he work at all?

LORLOh, yes, sir, all day long. He neverleaves the house until evening. Hejust sits there, writing and writing. He doesn't even eat.

SALIERIReally? What is it he's writing?

LORLOh, I wouldn't know that, sir.

SALIERIOf course not. You're a good girl. You're very kind to do this. Nexttime you're sure they'll be out ofthe house, let me know, will you?

(CONTINUED)

93.

93 CONTINUED: 93

Confused, the girl hesitates. He hands her a pile of coins.

LORLOh, thank you, sir!

She accepts them, delighted.

94 94EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780'S

The final movement of Mozart's Piano Concerto in E-flat (K.482) begins. To its lively music, the door of the house burstsopen and a grand forte-piano augmented with a pedal is carriedout of it by six men, who run off with it down the street. Following them immediately appear Wolfgang, Constanze andLeopold, all three dressed for an occasion. They climb intoa waiting carriage which drives off after the forte-piano. As soon as it goes, Lorl appears in the doorway, peeringslyly around to see that they are out of sight. Then sheshuts the door and hurries off in the opposite direction.

CUT TO:

95 95EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S

An outdoor concert is being given. Mozart is actually playingthe final movement of his E-flat concerto with an orchestra. Listening to him is a sizable audience, including the Emperor,flanked by Strack and Von Swieten.

The crowd is in a happy and appreciative mood: it is adelightful open-air scene. We hear the gayest and most complexpassage. Leopold and Constanze listen to Mozart, who playshis own work brilliantly. We stay with this scene for a littlewhile and then

CUT TO:

96 96EXT. VIENNA STREET - AFTERNOON - 1780'S

A carriage clopping through the streets. Lorl is sitting upon the box beside the driver. Inside the vehicle, we glimpsethe figure of Salieri.

97 97EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S

We hear more of the concerto. Perhaps the slow interlude inthe last movement of K. 482. Mozart is conducting and playingin a reflective mood. Abruptly we

CUT TO:

98 98EXT. MOZART' S APARTMENT - AFTERNOON - 1780'S

Lorl is opening the door admitting Salieri. They go in. Thedoor shuts.

94.

99 99INT. MOZART'S LIVING ROOM - AFTERNOON - 1780'S

The room is considerably tidier as a result of Lorl'sministrations. Salieri stands looking about him withtremendous curiosity.

LORLI think I've found out about themoney, sir.

SALIERIYes what?

She opens a drawer in a sideboard. Inside we see one goldsnuff box: it is the one we saw Mozart being presented withas a child in the Vatican.

LORLHe kept seven snuff boxes in here. I could swear they were all gold. And now look there's only one left. And inside, sir, look - I countedthem - tickets from the pawnshop. Six of them.

Salieri turns to look around him.

SALIERIWhere does he work?

LORLIn there, sir.

She points across the room to the workroom. Salieri crossesand goes in alone.

100 100INT. MOZART'S WORKROOM - AFTERNOON - 1780'S

Salieri enters the private quarters of Amadeus. He isimmensely excited. He moves slowly into the 'holy of holies'picking up objects with great reverence - a billiard ball; adiscarded wig; a sock; a buckle - then objects more importantto him. Standing at Mozart's desk, strewn with manuscripts,he picks up Mozart's pen and strokes the feather. He touchesthe inkstand. He lays a finger on the candlestick with itshalf-expired candle. He touches each object as if it werethe memento of a beloved. He is in awe. Finally his eye fallson the sheets of music themselves. Stealthily he picks themup.

CU, The pages.

We see words set to music. Against each line of notes is thename of a character: Contessa, Susanna, Cherubino. Thenanother page - the title page - written in Mozart's hand.

(CONTINUED)

95.

100 CONTINUED: 100

Le Nozze di Figaro Comedia per musica tratta dal Francese inquattro atti.

CU, The word Figaro.

CU, Salieri. He stares amazed.

CUT TO:

101 101EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S

Mozart is playing the cadenza and coda of Piano Concerto (K.482). He completes the work with a flourish. There is loudapplause. The Emperor rises and all follow suit. Mozart comesdown to be greeted by him.

JOSEPHBravo, Mozart. Most charming. Yes,indeed. Clever man.

MOZARTThank you, Sire!

VON SWIETENWell done, Mozart. Really quite fine.

MOZARTBaron!

He sees his wife and father standing by in the crowd. Leopoldis signaling insistently.

MOZARTMajesty, may I ask you to do me thegreatest favour?

JOSEPHWhat is it?

MOZARTMay I introduce my father? He is ona short visit here and returningvery soon to Salzburg. He would somuch like to kiss your hand. It wouldmake his whole stay so memorable forhim.

JOSEPHAh! By all means.

Leopold comes forward eagerly and fawningly kisses the royalhand.

LEOPOLDYour Majesty.

(CONTINUED)

96.

101 CONTINUED: 101

Constanze curtsies.

JOSEPHGood evening.

(to Leopold)We have met before, Herr Mozart.

LEOPOLDThat's right, Your Majesty. Twentyyears ago. No, twenty-two! twenty-three! And I remember word for wordwhat you said to me. You said - yousaid --

He searches his memory.

JOSEPHBravo?

LEOPOLDNo! Yes, 'bravo,' of course 'bravo'! Everybody always says 'bravo' whenWolfi plays. Like the King of England. When we played for the King ofEngland, he got up at the end andsaid, 'Bravo! Bravo! Bravo!' threetimes. Three bravo's. And the Popefour! Four bravo's from the HolyFather, and one 'bellissimo.'

All the courtiers around are looking at him.

MOZARTFather -

LEOPOLDHush! I'm talking to His Majesty. Your Majesty, I wish to express onlyone thing - that you who are theFather of us all, could teach ourchildren the gratitude they owe tofathers. It is not for nothing thatthe Fifth Commandment tells us:'Honour your Father and Mother, thatyour days may be long upon the earth.'

JOSEPHAh-ha. Well. There it is.

CUT TO:

102 102INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S

The Director sits at his table with Salieri and Bonno.

(CONTINUED)

97.

102 CONTINUED: 102

SALIERII've just learned something thatmight be of interest to you, HerrDirector.

ORSINI-ROSENBERGYes?

SALIERIMozart is writing a new opera. AnItalian opera.

ORSINI-ROSENBERGItalian?

BONNOAie!

SALIERIAnd that's not all. He has chosenfor his subject, Figaro. The Marriageof Figaro.

ORSINI-ROSENBERGYou mean that play?

SALIERIExactly.

ORSINI-ROSENBERGHe's setting that play to music?

SALIERIYes.

ORSINI-ROSENBERGYou must be mad.

BONNOWhat is this Marriage of Figaro?

ORSINI-ROSENBERGIt's a French play, Kapellmeister. It has been banned by the Emperor.

BONNOHah!

He crosses himself, wide-eyed with alarm.

ORSINI-ROSENBERGAre you absolutely sure?

SALIERII've seen the manuscript.

(CONTINUED)

98.


ORSINI-ROSENBERGWhere?

SALIERINever mind.

CUT TO:

103 103INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S

VON STRACKI know we banned this play, butfrankly I can't remember why. Canyou refresh my memory, Herr Director?

ORSINI-ROSENBERGFor the same reason, Herr Chamberlain,that it was banned in France.

VON STRACKOh yes, yes. And that was?

ORSINI-ROSENBERGWell, the play makes a hero out of avalet. He outwits his noble masterand exposes him as a lecher. Do yousee the implications? This would be,in a grander situation, as if aChamberlain were to expose an Emperor.

VON STRACKAh.

CUT TO:

104 104INT. THE EMPEROR'S STUDY - DAY - 1780'S

The Emperor stands in the middle of the room in closeconversation with Von Strack, Orsini-Rosenberg, Von Swieten,and Bonno. Salieri is not present. A door opens and a lackeyannounces:

LACKEYHerr Mozart.

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

JOSEPHSit down, gentlemen, please.

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

(CONTINUED)

99.

104 CONTINUED: 104

JOSEPHMozart, are you aware I have declaredthe French play of Figaro unsuitablefor our theatre?

MOZARTYes, Sire.

JOSEPHYet we hear you are making an operafrom it. Is this true?

MOZARTWho told you this, Majesty?

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

MOZARTWell, yes, I admit it is.

JOSEPHWould you tell me why?

MOZARTWell, Majesty, it is only a comedy.

ORSINI-ROSENBERGWhat you think, Mozart, is scarcelythe point. It is what His Majestythinks that counts.

MOZARTBut, Your Majesty -

JOSEPH(motioning him to besilent)

Mozart, I am a tolerant man. I donot censor things lightly. When Ido, I have good reason. Figaro is abad play. It stirs up hatred betweenthe classes. In France it has causednothing but bitterness. My own dearsister Antoinette writes me that sheis beginning to be frightened of herown people. I do not wish to see thesame fears starting here.

MOZARTSire, I swear to Your Majesty, there'snothing like that in the story. Ihave taken out everything that couldgive offense. I hate politics.

(CONTINUED)

100.


JOSEPHI think you are rather innocent, myfriend. In these dangerous times Icannot afford to provoke our noblesor our people simply over a theatrepiece.

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

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

JOSEPHAh, love again.

MOZARTBut it's new, it's entirely new. It's so new, people will go mad forit. For example, I have a scene inthe second act - it starts as a duet,just a man and wife quarreling. Suddenly the wife's scheming littlemaid comes in unexpectedly - a veryfunny situation. Duet turns intotrio. Then the husband's equallyscreaming valet comes in. Trio turnsinto quartet. Then a stupid oldgardener - quartet becomes quintet,and so on. On and on, sextet, septet,octet! How long do you think I cansustain that?

JOSEPHI have no idea.

MOZARTGuess! Guess, Majesty. Imagine thelongest time such a thing could last,then double it.

JOSEPHWell, six or seven minutes! maybeeight!

MOZARTTwenty, sire! How about twenty? Twenty minutes of continuous music. No recitatives.

VON SWIETENMozart -

(CONTINUED)

101.


MOZART(ignoring him)

Sire, only opera can do this. In aplay, if more than one person speaksat the same time, it's just noise. No one can understand a word. Butwith music, with music you can havetwenty individuals all talking atonce, and it's not noise - it's aperfect harmony. Isn't that marvelous?

VON SWIETENMozart, music is not the issue here. No one doubts your talent. It isyour judgment of literature that'sin question. Even with the politicstaken out, this thing would stillremain a vulgar farce. Why wasteyour spirit on such rubbish? Surelyyou can choose more elevated themes?

MOZARTElevated? What does that mean? Elevated! The only thing a man shouldelevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to theteeth with elevated things! Old deadlegends! How can we go on foreverwriting about gods and legends?

VON SWIETEN(aroused)

Because they do. They go on forever -at least what they represent. Theeternal in us, not the ephemeral. Opera is here to ennoble us. You andme, just as much as His Majesty.

BONNOBello! Bello, Barone. Veramente.

MOZARTOh, bello, bello, bello! Come onnow, be honest. Wouldn't you allrather listen to your hairdressersthan Hercules? Or Horatius? OrOrpheus? All those old bores! peopleso lofty they sound as if they shitmarble!

VON SWIETENWhat?

(CONTINUED)

102.


VON STRACKGovern your tongue, sir! How dareyou?

Beat. All look at the Emperor.

MOZARTForgive me, Majesty. I'm a vulgarman. But I assure you, my music isnot.

JOSEPHYou are passionate, Mozart! But youdo not persuade.

MOZARTSire, the whole opera is finished. Do you know how much work went intoit?

BONNOHis Majesty has been more thanpatient, Signore.

MOZARTHow can I persuade you if you won'tlet me show it?

ORSINI-ROSENBERGThat will do, Herr Mozart!

MOZARTJust let me tell you how it begins.

VON STRACKHerr Mozart -

MOZARTMay I just do that, Majesty? Showyou how it begins? Just that?

A slight pause. Then Joseph nods.

JOSEPHPlease.

Mozart falls on his knees.

MOZARTLook! There's a servant, down onhis knees. Do you know why? Notfrom any oppression. No, he's simplymeasuring a space. Do you know whatfor? His bed. His wedding bed to seeif it will fit.

(CONTINUED)

103.


He giggles.

CUT TO:

105 105INT. OPERA HOUSE - DAY - 1780'S

Mozart sits on stage at a harpsichord rehearsing the singerstaking the parts of Figaro and Susanna in the opening barsof the first act of The Marriage of Figaro. We watch Figaromeasuring the space for his bed on the floor, singing andSusanna looking on, trying on the Countess' hat.

CUT TO:

106 106INT. SALIERI'S SALON - DAY - 1780'S

Orsini-Rosenberg and Bonno are sitting with Salieri.

ORSINI-ROSENBERGWell, Mozart is already rehearsing.

SALIERIIncredible.

ORSINI-ROSENBERGThe Emperor has given him permission.

BONNOSi, si! Veramente.

SALIERIWell, gentlemen, so be it. In thatcase I think we should help Mozartall we can and do our best to protecthim against the Emperor's anger.

ORSINI-ROSENBERGWhat anger?

SALIERIAbout the ballet.

ORSINI-ROSENBERGBallet? What ballet?

SALIERIExcuse me - didn't His Majestyspecifically forbid ballet in hisopera?

ORSINI-ROSENBERGYes, absolutely. Is there a balletin Figaro?

(CONTINUED)

104.

106 CONTINUED: 106

SALIERIYes, in the third act.

CUT TO:

107 107INT. THE OPERA HOUSE - DAY - 1780'S

It is a full orchestral rehearsal. Mozart is conducting fromthe harpsichord with his hands; he does not use a baton. The singers are all in practice clothes, not costumes.

We are in the Act III and we hear the recitativo exchangejust before the march begins. Orsini-Rosenberg and Bonno sitwatching chairs.

Suddenly the march starts. Peasants and friends start todance in and at the same moment, Orsini-Rosenberg gets upand comes down to Mozart. He is accompanied by an anxiousBonno.

ORSINI-ROSENBERGMozart! Herr Mozart, may I have aword with you please. Right away.

MOZARTCertainly, Herr Director.

He signals to the cast to break off.

MOZARTFive minutes, please!

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

ORSINI-ROSENBERGDid you not know that His Majestyhas expressly forbidden ballet inhis operas?

MOZARTYes, but this is not a ballet. Thisis a dance at Figaro's wedding.

ORSINI-ROSENBERGExactly. A dance.

MOZARTBut surely the Emperor didn't meanto prohibit dancing when it's partof the story.

(CONTINUED)

105.

107 CONTINUED: 107

ORSINI-ROSENBERGIt is dangerous for you to interpretHis Majesty's edicts. Give me yourscore, please.

Mozart hands him the score from which he is conducting.

ORSINI-ROSENBERGThank you.

He rips out a page. Bonno watches in terror.

MOZARTWhat are you doing?

He rips out three more.

MOZARTWhat are you doing, Herr Director?

ORSINI-ROSENBERGTaking out what you should neverhave put in.

He goes on tearing the pages determinedly.

CUT TO:


A servant opens the door to announce.

SERVANTHerr Mozart.

Mozart brushes past him straight towards Salieri, who risesto greet him. The little man is near hysterics.

MOZARTPlease! Please. I've no one else toturn to. Please!

He grabs Salieri.

SALIERIWolfgang, what is it? Sta calmo, perfavore. What's the matter?

MOZARTIt's unbelievable! The Director hasactually ripped out a huge sectionof my music. Pages of it.

SALIERIReally? Why?

(CONTINUED)

106.

108 CONTINUED: 108

MOZARTI don't know. They say I've got tore-write the opera, but it's perfectas it is. I can't rewrite what'sperfect. Can't you talk to him?

SALIERIWhy bother with Orsini-Rosenberg? He's obviously no friend of yours.

MOZARTOh, I could kill him! I mean reallykill him. I actually threw the entireopera on the fire, he made me soangry!

SALIERIYou burned the score?

MOZARTOh no! My wife took it out in time.

SALIERIHow fortunate.

MOZARTIt's not fair that a man like thathas power over our work.

SALIERIBut there are those who have powerover him. I think I'll take this upwith the Emperor.

MOZARTOh, Excellency, would you?

SALIERIWith all my heart, Mozart.

MOZARTThank 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.

107.


OLD SALIERII'm sure I don't need to tell you Isaid nothing whatever to the Emperor. I went to the theatre ready to tellMozart that His Majesty had flowninto a rage when I mentioned theballet, when suddenly, to myastonishment, in the middle of thethird act, the Emperor - who neverattended rehearsals - suddenlyappeared.

110 110INT. OPERA HOUSE - DAY - 1780'S

In the background the same recitativo before the March. TheEmperor steals in surreptitiously with Von Strack, his fingerto his lips. He motions everyone not to rise, and slips intoa 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 issilence. Mozart lays down his baton. The musicians lay downtheir instruments. The celebrants of Figaro's wedding comein with a few pitiful dance steps, in procession, only tocome presently to a halt, lacking their music. The singerstry to go on singing, but they have no cues from theirconductor or from the accompaniment. Everyone on stage lookslost, though they attempt to go on with the story for a while. Consternation grows on the faces of the conspirators. Mozartglances back at the group seated in the theatre. Finally,the Emperor speaks, in a whisper.

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

BONNOMajesty, the Herr Director, he hasremoved a balleto that would haveoccurred at this place.

JOSEPHWhy?

ORSINI-ROSENBERGIt is your regulation, Sire. No balletin your opera.

Mozart strains to hear what they are saying but cannot.

JOSEPHDo you like this, Salieri?

(CONTINUED)

108.

110 CONTINUED: 110

SALIERIIt is not a question of liking, YourMajesty. Your own law decrees it,I'm afraid.

JOSEPHWell, look at them.

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

JOSEPHNo, no, no! This is nonsense. Let mehear the scene with the music.

ORSINI-ROSENBERGBut, Sire -

JOSEPHOblige me.

Orsini-Rosenberg acknowledges his defeat.

ORSINI-ROSENBERGYes, Majesty.

Orsini-Rosenberg rises and goes down to where Mozart sitsanxiously with the musicians, watching his approach.

ORSINI-ROSENBERGCan we see the scene with the musicback, please?

MOZARTOh yes, certainly. Certainly, HerrDirector!

He looks back deliriously at Salieri, trying to indicate hisgratitude. Salieri acknowledges with a slight and subtlenod.

Orsini-Rosenberg returns to his king.

MOZARTLadies and gentlemen, we're goingfrom 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

(MORE)

(CONTINUED)

109.


JOSEPH (CONT'D)like in French opera. There it isendless, as you know.

ORSINI-ROSENBERGQuite so, Majesty.

CUT BACK TO Mozart at the forte-piano, raising his hands. The musicians raise their bows. With a flourish the happycomposer begins a reprise of the scene which had been cutout. The music of the march begins faintly; the celebrantsof Figaro's wedding start to enter as the Count and theCountess sit in their chairs.

In the theatre we see increasing pleasure on the Emperor'sface, sullenness and defeat on the courtiers'. Then, suddenly,without interruption, on a crescendo repeat of the march, we

CUT TO:

111 111INT. OPERA HOUSE - NIGHT - 1780'S

The theatre is brilliantly lit for the first publicperformance of Figaro. Everybody is there: the Emperor, VonStrack, Bonno Orsini-Rosenberg, Von Swieten, even MadameWeber and her daughters in a box. The musicians all wearimperial livery; the actors on stage are now in costume. Mozart, conducting, wears his Order of the Golden Spur. Thecompany wheels in and around to the music of the restoredmarch, which reaches a triumphant climax.

CUT TO:


OLD SALIERI(to Vogler)

So Figaro was produced in spite ofme. And in spite of me, a wonder wasrevealed. One of the true wonders ofart. The restored third act was boldand brilliant. The fourth was amiracle.

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


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

(CONTINUED)

110.

113 CONTINUED: 113

OLD SALIERI (V.O.)I saw a woman disguised in her maid'sclothes hear her husband speak thefirst tender words he has offeredher in years, only because he thinksshe is someone else. I heard themusic of true forgiveness fillingthe theatre, conferring on all whosat there a perfect absolution. Godwas singing through this little manto all the world - unstoppable -making my defeat more bitter witheach passing bar.

CU, Salieri in his box, tears on his cheeks. He watches theensemble and we listen to it for a long moment. Finally itfades, but continues underneath the following:


OLD SALIERIAnd then suddenly - a miracle!

CUT BACK TO:


The ensemble reaches its climax, and fades away to the veryquiet, slow chords immediately preceding the boisterous finalchord. Salieri becomes aware that some of the audience areasleep and many mare are apathetic. In the near silence wesee the Emperor yawn behind his hand. Those nearby look athim. Orsini-Rosenberg smiles.

CUT BACK TO:


OLD SALIERIFather, did you know what that meant? With that yawn I saw my defeat turninto a victory. And Mozart was luckythe Emperor only yawned once. Threeyawns and the opera would fail thesame night; two yawns, within a weekat most. With one yawn the composercould still get -

CUT TO:


Mozart is pacing up and down. Salieri is listeningsympathetically.

(CONTINUED)

111.

117 CONTINUED: 117

MOZARTNine performances! Nine! That's allit's had - and withdrawn.

SALIERII know; it's outrageous. Still, ifthe public doesn't like one's workone has to accept the fact gracefully.

MOZARTBut what is it they don't like?

SALIERIWell, I can speak for the Emperor. You made too many demands on theroyal ear. The poor man can'tconcentrate for more than an hourand you gave him four.

MOZARTWhat did you think of it yourself? Did you like it at all?

SALIERII think it's marvelous. Truly.

MOZARTIt's the best opera yet written. Iknow it! Why didn't they come?

SALIERII think you overestimate our dearViennese, my friend. Do you know youdidn't even give them a good bang atthe end of songs so they knew whento clap?

MOZARTI know, I know. Perhaps you shouldgive me some lessons in that.

SALIERI(fuming)

I wouldn't presume. All the same, ifit wouldn't be imposing, I wouldlike you to see my new piece. Itwould be a tremendous honour for me.

MOZARTOh no, the honour would be all mine.

SALIERI(bowing)

Grazie, mio caro, Wolfgang!

(CONTINUED)

112.


MOZARTGrazie, a lei, Signor Antonio!

He bows too, giggling.

CUT TO:


A performance of Salieri's grand opera, Axur: King of Ormus. Deafening applause from a crowded house. We see the receptionof the aria which we saw Cavalieri singing on the stage nearthe start of the film. Cavalieri, in a mythological Persiancostume, is bowing to the rapturous throng; below her isSalieri. We see the Emperor, Von Strack, Orsini-Rosenberg,Bonno and Von Swieten, all applauding. We hear great criesof 'Salieri! Salieri!' and 'Bravo!' and 'Brava!'

CU, Salieri looking at the crowd with immense pleasure. Then suddenly at:

CU, Mozart standing in a box and clapping wildly. Behindhim, seated, are Schikaneder and the three girls we saw beforein Mozart's apartment.

CU, Salieri staring fixedly at Mozart, then Mozart stillclapping, apparently with tremendous enthusiasm.

OLD SALIERI (V.O.)What was this? I never saw him excitedbefore by any music but his own. Could he mean it?


OLD SALIERI(to Vogler)

Would he actually tell me my musichad moved him? Was I really going tohear that from his own lips? I foundmyself actually hurrying the tempoof the finale.

CUT BACK TO:


Salieri conducting the last scene from Axur: King of Ormus. On stage we see a big scene of acclamation: the hero andheroine of the opera accepting the crown amidst the rejoicingof the people. The decor and costumes are mythologicalPersian. The music is utterly conventional and totallyuninventive.

(CONTINUED)

113.

120 CONTINUED: 120

CU, Mozart watching this in his box, with Schikaneder andthe three actresses. He passes an open bottle of wine tothem. He is evidently a little drunk, but keeps a poker face.

The act comes to an end. Great applause in which Mozart joinsin, standing and shouting 'Bravo! Bravo!' Then he leaves thebox with Schikaneder and the girls.

121 121INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S

MOZART(to Schikaneder)

Well?

SCHIKANEDER(mock moved)

Sublime! Utterly sublime!

MOZARTThat kind of music should bepunishable by death.

Schikaneder laughs.

CUT TO:

122 122INT. STAGE OF THE OPERA HOUSE - NIGHT - 1780'S

A crowd of people rings Salieri at a respectful distance. The Emperor is holding out the Civilian Medal and Chain.

JOSEPHI believe that is the best opera yetwritten, my friends. Salieri, youare the brightest star in the musicalfirmament. You do honour to Viennaand to me.

Salieri bows his head. Joseph places the chain around hisneck. The crowd claps. Salieri makes to kiss his hand, butJoseph restrains him, and passes on. Cavalieri, smilingadoringly, gives him a deep curtsey, and he raises her up.

The crowd all flock to Salieri with cries and words ofapproval. All want to shake his hand. They tug and pat him. But he has eyes for only one man - he looks about him,searching for him and then finds him. Mozart stands there. Eagerly Salieri moves to him.

SALIERIMozart. It was good of you to come.

MOZARTHow could I not?

(CONTINUED)

114.

122 CONTINUED: 122

SALIERIDid my work please you?

MOZARTHow could it not, Excellency?

SALIERIYes?

MOZARTI never knew that music like thatwas possible.

SALIERIYou flatter me.

MOZARTOh no! One hears such sounds andwhat can one say, but - Salieri!

Salieri smiles.

CUT TO:


Explosive laughter as Mozart and Schikaneder enter theapartment, very pleased with themselves and accompanied bythe three actresses. The front door opens, very gingerly. Mozart, still rather drunk, sticks his head into the room,anxious not to make a noise. He sees the strangers and breaksinto a smile.

MOZARTOh. Everybody's here! We've gotguests. Good. I've brought some more.

He opens the door wide to admit Schikaneder and the girls.

MOZARTWe'll have a little party. Come in. Come in. You know Herr Schikaneder?

(to a girl)This is! a very nice girl.

CONSTANZE(standing up)

Wolfi.

MOZARTYes, my love?

CONSTANZEThese gentlemen are from Salzburg.

(CONTINUED)

115.

123 CONTINUED: 123

MOZARTSalzburg. We were just talking aboutSalzburg.

(to the two men,jubilantly)

If you've come from my friend theFartsbishop, you've arrived at justthe right moment. Because I've gotgood news for him. I'm done withVienna. It's over, finished, donewith! Done with! Done with!

CONSTANZEWolfi! Your father is dead.

MOZARTWhat?

CONSTANZEYour father is dead.

The first loud chord of the Statue scene from Don Giovannisounds. Mozart stares.

124 124INT. AN OPERA HOUSE - NIGHT - 1780'S

The second chord sounds. On stage we see the huge figure ofthe Commendatore in robes and helmet, extending his arms andpointing in accusation.


The second chord sounds.

On stage we see a huge nailed fist crash through the wall ofa painted dining room set. The giant armoured statue of theCOMMENDATORE enters pointing his finger in accusation at DonGiovanni who sits at the supper table, staring - his servantLeporello quaking with fear under the table.

THE COMMENDATORE(singing)

Don Giovanni!

The figure advances on the libertine. We see Mozartconducting, pale and deeply involved. Music fades down alittle.

OLD SALIERI (V.O.)So rose the dreadful ghost in hisnext and blackest opera. There onthe stage stood the figure of a deadcommander calling out 'Repent! Repent!'

(CONTINUED)

116.

125 CONTINUED: 125

The music swells. We see Salieri standing alone in the backof a box, unseen, in semi-darkness. We also see that thetheatre is only half full. Music fades down.

OLD SALIERI (V.O.)And I knew - only I understood -that the horrifying apparition wasLeopold, raised from the dead. Wolfgang had actually summoned uphis own father to accuse his sonbefore all the world. It wasterrifying and wonderful to watch.

Music swells up again. We watch the scene on stage as theCommendatore addresses Giovanni. Then back to Salieri in thebox. Music down again.


OLD SALIERINow a madness began in me. The madnessof a man splitting in half. Throughmy influence I saw to it Don Giovanniwas played only five times in Vienna. But in secret I went to every one ofthose five - all alone - unable tohelp myself, worshipping sound Ialone seemed to hear.


OLD SALIERI (V.O.)And hour after hour, as I stood there,understanding even more clearly howthat bitter old man was stillpossessing his poor son from beyondthe grave, I began to see a way - aterrible way - I could finally triumphover God, my torturer.

Music swells. On stage Don Giovanni is seized and gripped bythe Statue's icy hand. Flames burst from obviously artificialrocks. Demons appear and drag the libertine down to Hell. The scene ends.

CU, Salieri, staring wide-eyed.

CUT TO:

128 128EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S

We see huge and attractive posters and billboards advertisingSchikaneder's troupe. The camera concentrates on the onewhich reads as follows:

(CONTINUED)

117.

128 CONTINUED: 128

EMMANUEL SCHIKANEDER Impresario de luxe PRESENTS TheCelebrated

SCHIKANEDER TROUPE OF PLAYERS

IN

An Evening of

PARODY

Music! Mirth! Magic!

ALL SONGS AND SPEECHES WRITTEN

BY

EMMANUEL SCHIKANEDER

who personally will appear in every scene!

CUT TO:

129 129INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S

Noise; smoke; the audience is sitting at tables for an eveningof vaudeville. Mozart, Constanze and their son Karl, nowabout two years old, and sitting on his mother's lap, arewatching a parody scene by Schikaneder's troupe. They arerowdy, bawdy and silly, incorporating motifs, situations andtunes from Mozart's operas which we have seen and heard. Before them on the table are bottles of wine and beer, platesof sausages, etc.

THE PARODY

On stage we see a set which parodies the dining room in DonGiovanni's palace, shown before.

Schikaneder as Don Giovanni is dancing with the threeactresses to the minuet from Don Giovanni (end of Act I),played by a quartet of tipsy musicians. Leporello is handingaround wine on a tray.

Suddenly there is a tremendous knocking from outside. Themusic slithers to a stop. All look at each other in panic. Leporello drops his tray with a crash. All go quiet. Onemore knock is heard. Then all musicians, actresses, DonGiovanni and Leporello make a dash to hide under the tablewhich is far too small to accommodate them all. The tablerocks. Schikaneder is pushed out. He is terrified. He shakeselaborately. Three more knocks are heard; louder.

SCHIKANEDERWho is it?

(CONTINUED)

118.

129 CONTINUED: 129

One more knock.

SCHIKANEDERC-c-c-come in!

In the pit a chromatic scale from the Overture to Don Giovanniturns into a anticipatory vamp. This grows more and moremenacing until the whole flat representing the wall at theback falls down.

An absurd pantomime horse gallops in. It has a ridiculousexpression, and is manned by four men inside. Standingprecariously on its back is a dwarf, wearing a miniatureversion of the armour and helmet worn by the Commendatore. He sings in a high, nasal voice:

COMMENDATORE(singing)

Don Giovannnnnnnnnni!

He tries to keep his balance as he trots in, but fails. Hefalls off onto the stage. He beats at the horse, trying toget back on.

COMMENDATOREDown! Down!

Bewildered, the horse looks about him, but cannot see hissmall rider who is below his level of sight.

COMMENDATOREI'm here! I'm here!

The horse, amidst laughter from the audience, fails to locatehim. Exasperated, the dwarf signals to someone in the wings. A tall man strides out carrying a see-saw; on his shouldersstands another man.

The dwarf stands on the lowered end of the see-saw. There isa drum roll and the man above jumps down onto the raised endand the Commendatore is abruptly catapulted back onto thehorse, only backwards so that he is facing away from DonGiovanni. The two men bow to the applauding audience, andretire off-stage.

The Commendatore tries to extend his arms in the propermenacing attitude, and at the same time turn around to faceDon Giovanni. This he finds difficult.


Don Giovannnnnnnni!

(CONTINUED)

119.


SCHIKANEDERWho the devil are you? What do youwant?


I've come to dinnnnnner!

SCHIKANEDERDinner? How dare you? I am a nobleman. I only dine with people of my ownheight.

COMMENDATOREAre you drunk? You invited me. Andmy horse. Here he is. Ottavio!

The horse takes a bow. The dwarf almost falls off again.

COMMENDATOREWhoa! Whoa! Stop it!

The three girls rush to his aid and reach him just in time. They sing in the manner of the Tree Ladies later to be putinto The Magic Flute.

FIRST LADY(running and singing)

Be careful!

SECOND LADY(running and singing)

Be careful!

THIRD LADY(running and singing)

Be careful!

ALL THREE TOGETHER(close harmony)

Hold tight now!

They grab him.

COMMENDATORE(angry)

Leave me alone! Stop it! I'm a famoushorseman.

OTTAVIOAnd I'm a famous horse!

He gives the ladies a radiant smile. The three ladies sing,as before, in close harmony.

(CONTINUED)

120.


FIRST LADY(singing)

He's adorable!

SECOND LADY(singing)

Adorable!

THIRD LADY(singing)

Adorable!

An orchestral chord. The three ladies turn to Ottavio andsing to him.

THREE LADIES(singing together)

Give me your hoof, my darling, AndI'll give you my heart! Take me toyour stable, And never more we'llpart!

OTTAVIO(singing: four malevoices)

I'm shy and very bashful. I don'tknow what to say.

THREE LADIES(singing together)

Don't hesitate a second. Just answeryes and neigh.

Ottavio neighs loudly, and runs at the girls.

COMMENDATORE(speaking)

Stop it. What are you doing? Rememberwho you are! You're a horse and theyare whores.

Boos from the audience.

SCHIKANEDER(speaking)

This is ridiculous. I won't have anyof it. You're turning my house intoa circus!

A trapeze sails in from above. On it stands a grand sopranowearing an elaborate Turkish costume, like a parody ofCavalieri's in Il Seraglio. She comes in singing a madcoloratura scale in the manner of Martern aller Arten.

(CONTINUED)

121.


SCHIKANEDER(speaking)

Shut up. Women, women, women! I'msick to death of them.

He marches off stage.

SOPRANO(singing dramatically)

Dash me! Bash me! Lash me! Flay me! Slay me! At last I will be freed bydeath!

COMMENDATOREShut up.

SOPRANO(swinging and singing)

Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. At last I shall be freed by dea -

The Commendatore pulls out his sword, reaches up and thrustsher through with it. The soprano collapses on the bar of thetrapeze. The audience applauds. At the same moment eightdwarves march in bearing a huge cauldron of steaming water. They sing as they march to the sound of the march that wascut from Act III of Figaro. They are dressed as miniaturecopies of the chorus in that scene except that they arewearing cooks' hats.

EIGHT DWARVES(singing)

We're going to make a soprano stew! We're going to make a soprano stew! And when you make a soprano stew! Any stupid soprano will do! Any stew-stew-stew-stew-stew! Any stewpidsoprano will do!

They set the giant pot down in the middle of the stage. Thetrapeze with the dead soprano is still swinging above thestage.

We hear the chromatic scale from the Don Giovanni overtureagain, repeated and repeated, only now fast and tremolando. To this exciting vamp Schikaneder suddenly rides in on areal horse, waving a real sword. With this he cuts the stringof the trapeze, and the soprano falls into the pot. Atremendous splash of water. Schikaneder rides out. Moreapplause.

All the dwarves produce long wooden cooking spoons and climbup the sides of the pot. The three girls produce labeledbottles from under their skirts. The first is SALT.

(CONTINUED)

122.


FIRST LADY(singing)

Behold!

PEPPER

SECOND LADY(singing)

Behold!

She sneezes.

AND SCHNAPPS

THIRD LADY(singing)

Behold!

She hiccups.

They throw them into the pot.

COMMENDATORE(speaking to thedwarves)

How long does it take to cook asoprano?

DWARVES(all together)

Five hours, five minutes, fiveseconds.

COMMENDATORE(speaking)

I can't wait that long. I'm starving!

OTTAVIO(speaking; four voices)

So am I.

Schikaneder marches in as Figaro.

SCHIKANEDER(singing to the tuneof Non piu ante)

In the pot, I have got a good dinner. Not a sausage or stew, but a singer. Not a sausage or stew but a singer. Is the treat that I'll eat for mymeat!

COMMENDATOREOh shut up. I'm sick to death ofthat tune.

(CONTINUED)

123.


CU, Mozart laughing delightedly with the audience.

THE THREE GIRLS(singing again to thehorse)

Give me your hoof, my darling, andI'll give you my heart.

COMMENDATOREShut up. I'm sick of that one too.

All the dwarves climb up the rim of the pot. As they climb,they all hum together the opening of Eine Kleine Nachtmusik.

COMMENDATOREAnd that one, too!

The soprano rises, dripping with water in the middle of thepot.

SOPRANO(singing)

Oil me! Broil me! Boil me!

All the dwarves beat her back down into the pot with theirlong wooden spoons.

SOPRANO(from inside the pot)

Soil me! Foil me! Spoil me!

HORSEI can't eat her. Sopranos give mehiccups. I want some hay!

FIRST LADY(singing to Schikaneder)

Hey!

SECOND LADY(singing to Schikaneder)

Hey!

THIRD LADY(singing to Schikaneder)

Hey!

SCHIKANEDERHey what?

ALL THREE LADIES(singing to La oidaram)

Give him some hay, my darling, andI'll give you my heart!

(CONTINUED)

124.


COMMENDATOREShut up.

SCHIKANEDERLeporello! We want some hay -prestissimo! Leporello - where areyou?

The table is raised in the air by Leporello sitting under iton a bale of hay.

FIRST LADY(singing to horse)

Behold!

SECOND LADY(singing to horse)

Behold!

THIRD LADY(singing to horse)

Behold!

Ottavio the horse gives a piercing neigh and runs down tothe hay.

COMMENDATORE(holding on)

Hey! Hey! Watch out!

The vamp starts again vigorously. The horse's rear-end swingsaround on a hinge to turn his hind-quarters straight on tothe audience. The rest of him stays sideways. His tail springsup in the air to reveal a lace handkerchief modestly hidinghis arsehole.

Schikaneder offers him a handful of hay. The horse eats it,and out the other end comes a long Viennese sausage. Theaudience roars with laughter. Another handful of hay and outof the other end falls a string of sausages. Then a largepie, crust and all. Then a shower of iced cakes!

Suddenly - silence. Schikaneder produces an egg from hispocket. Ottavio the horse rears up in disgust.

COMMENDATOREWhoa! Whoa, Ottavio! Whoa!

Leporello pries open the horse's mouth. Schikaneder pops theegg into it. A breathless pause as a drum roll builds thetension, up and up and up, and then suddenly out of thehorse's rear-end flies a single white dove.

Wild applause.

(CONTINUED)

125.


It flies into the audience. Immediately all the cast starthumming the lyrical finale from Figaro: Tutti Contenti. More and more doves fly out from the wings and fill thetheatre. Everybody picks up the sausages and cakes and beginsto eat. The end of the sketch is unexpectedly lyrical andmagical, and then, suddenly, the tempo changes and the coarsestrains of Ich Mochte wohl Der Kaiser take over and the wholecompany is dancing, frantically. A general dance as thecurtain falls.

It rises immediately. The audience - including Mozart - isdelighted. They applaud vigorously. Schikaneder takes a bowamongst his troupe. Among much whistling and clapping, hefinally jumps off the stage and strides through the audiencetoward the table where Mozart sits with his family. On stage,a troupe of bag pipers immediately appears to play an oldGerman tune. Some of the audience joins in singing it.

SCHIKANEDERWell, how do you like that?

Mozart is smiling; he has been amused. Constanze has beenless amused and is looking apprehensive.

MOZARTWonderful!

(indicating his babyson)

He liked the monkey, didn't you?

SCHIKANEDERYes, well, it's all good fun.

MOZARTI liked the horse.

Schikaneder sits at the table, and drinks from a bottle ofwine.

SCHIKANEDERIsn't he marvelous? He cost me abundle, that horse, but he's worthit. I tell you, if you'd played DonGiovanni here it would have been agreat success. I'm not joking. Thesepeople aren't fools. You could dosomething marvelous for them.

MOZARTI'd like to try them someday. I'mnot sure I'd be much good at it.

(CONTINUED)

126.


SCHIKANEDER'Course you would. You belong here,my boy, not the snobby Court. Youcould do anything you felt like here -the more fantastic the better! That'swhat people want, you know: fantasy. You do a big production, fill itwith beautiful magic tricks and you'llbe absolutely free to do anythingyou want. Of course, you'd have toput a fire in it, because I've gotthe best fire machine in the cityand a big flood - I can do you thefinest water effects you ever saw inyour life. Oh, and a few trickanimals. You'd have to use those.

MOZARTAnimals?

SCHIKANEDERI tell you I picked up a snake inDresden last week - twelve foot long -folds up to six inches, just like apaper fan. It's a miracle.

Mozart laughs.

SCHIKANEDERI'm serious. You write a proper partfor me with a couple of catchy songs,I'll guarantee you'll have a triumph-de-luxe. Mind you, it'll have to bein German.

MOZARTGerman!

SCHIKANEDEROf course! What else do you thinkthey speak here?

MOZARTNo, no, I love that. I'd want it tobe in German. I haven't done anythingin German since Seraglio.

SCHIKANEDERSo there you are. What do you say?

CONSTANZEHow much will you pay him?

(CONTINUED)

127.

129 CONTINUED: (10) 129

SCHIKANEDERAh. Well. Ah,

(to Mozart)I see you've got your manager withyou. Well, Madame, how about halfthe receipts?

MOZARTHalf the receipts! Stanzi!

CONSTANZEI'm talking about now. How much willyou give him now? Down payment?

SCHIKANEDERDown payment? Who do you think I am? The Emperor? Whoops, I have to go.

He rises in haste for his next number.

SCHIKANEDERStay where you are. You're going tolike this next one. We'll speak again. Triumph-de-luxe, my boy!

He winks at Mozart and disappears toward the stage. Mozartlooks after him, enchanted.

CONSTANZEYou're not going to do this?

MOZARTWhy not? Half the house!

CONSTANZEWhen? We need money now. Either hepays now, or you don't do it.

MOZARTOh, Stanzi.

CONSTANZEI don't trust this man. And I didn'tlike what he did with your opera. It was common.

MOZART(to Karl)

Well, you liked it, didn't you? Monkey-flunki-punki.

CONSTANZEHalf the house! You'll never see apenny. I want it here, in my hand.

(CONTINUED)

128.

129 CONTINUED: (11) 129

MOZART(dirty)

Stanzi-manzi, I'll put it in yourhand!

CONSTANZEShut up! I'll not let you put anythingin my hand until I see some money.

He giggles like a child.

CUT TO:

130 130INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S

Dogs are barking wickedly. Michael Schlumberg comes in fromhis salon. Mozart stands there looking very unwell andbewildered. He is also drunk, but making a careful attemptto keep his composure.

SCHLUMBERGHerr Mozart. What a surprise. Whatcan I do for you?

MOZARTIs my pupil still anxious to learnthe art of music?

SCHLUMBERGWell, your pupil is married and livingin Mannheim, young man.

MOZARTReally? Perhaps your dear wife mightcare to profit from my instruction?

SCHLUMBERGWhat is this, Mozart? What's thematter with you?

MOZARTWell. Since it appears nobody iseager to hire my services, could youfavour me with a little money instead?

SCHLUMBERGWhat for?

MOZARTIf a man cannot earn, he must borrow.

SCHLUMBERGWell, this is hardly the way to goabout it.

(CONTINUED)

129.

130 CONTINUED: 130

MOZARTNo doubt, sir. But I am endowed withtalent, and you with money. If Ioffer mine, you should offer yours.

Pause.

SCHLUMBERGI'm sorry. No.

MOZARTPlease. I'll give it back, I promise. Please, sir.

SCHLUMBERGMy answer is no, Mozart.

CU, Mozart. His voice becomes mechanical.

MOZARTPlease. Please. Please. Please. Please. Please.

CUT TO:

131 131INT. THE IMPERIAL LIBRARY - DAY - 1790'S

Von Swieten and Salieri stand close together. Several scholarsand students are examining scrolls and manuscripts at theother end of the room.

VON SWIETEN(keeping his voicedown)

This is embarrassing, you know. Youintroduced Mozart to some of myfriends and he's begging frompractically all of them. It has tostop.

SALIERII agree, Baron.

VON SWIETENCan't you think of anyone who mightcommission some work from him? I'vedone my best. I got him to arrangesome Bach for my Sunday concerts. Hegot a fee - what I could afford. Can't you think of anyone who mightdo something for him?

(CONTINUED)

130.

131 CONTINUED: 131

SALIERINo, Baron, no. I'm afraid Mozart isa lost cause. He has managed toalienate practically the whole ofVienna. He is constantly drunk. Henever pays his debts. I can't thinkof one person to whom I dare recommendhim.

VON SWIETENHow sad. It's tragic, isn't it? Such a talent.

SALIERIIndeed. Just a moment - as a matterof fact I think I do know someonewho could commission a work fromhim. A very appropriate person to doso. Yes.

The opening measures of the Piano Concerto in D Minor stealin.

CUT TO:

132 132INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S

This is exactly the same shop which Mozart and Constanzevisited with Leopold. Now Salieri's servant stands in it,waiting. We see a few other customers being served by thestaff: renting masks, costumes, etc. One of the staff emergesfrom the back of the shop carrying a large box, which hehands to Salieri's servant. The servant leaves the shop. Through the window we see him hurrying away through the snowystreet full of passers-by, carriages, etc.

133 133INT. SALIERI'S APARTMENT - DUSK - 1790'S

The D Minor Concerto continues. Salieri, alone, eagerly opensthe box from the costume shop and takes out the same darkcloak and hat that Leopold wore to the masquerade, only nowattached to the hat is a dark mask whose mouth is cut into afrown, not a laugh. It presents a bitter and menacingexpression. He puts on the cloak, the hat and the mask andturns his back. Suddenly we see the assembled and alarmingimage reflected in a full-length mirror. The music swellsdarkly.

CUT TO:

134 134EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S

As the tutti of the D Minor Concerto continues, we seeSalieri, dressed in this menacing costume, dark against thesnow, stalking through a street which is otherwise lively

(CONTINUED)

131.

134 CONTINUED: 134

with people going to various festivities. Some of them wearfrivolous carnival clothes.

135 135INT. MOZART'S LIVING ROOM - DUSK - 1790'S

Mozart sits writing at a table. He appears now to be reallyquite sick. His face expresses pain from his stomach cramps. There is a gentle knock at the door. He rises, goes to hedoor and opens it. Immediately there is a SHOCK CUT:

The dark, frowning mask stares at him and at us. The violentD Minor chord which opens Don Giovanni is heard. Salieri incostume stands in the doorway.

SALIERIHerr Mozart?

The second chord sounds and fades. Mozart stares in panic.

SALIERII have come to commission work fromyou.

MOZARTWhat work?

SALIERIA Mass for the dead.

MOZARTWhat dead? Who is dead?

SALIERIA man who deserved a Requiem Massand never got one.

MOZARTWho are you?

SALIERII am only a messenger. Do you accept? You will be paid well.

MOZARTHow much?

Salieri extends his hand. In it is a bag of money.

SALIERIFifty ducats. Another fifty when Ihave the Mass. Do you accept?

Almost against his will, Mozart takes the money.

(CONTINUED)

132.

135 CONTINUED: 135

MOZARTHow long will you give me?

SALIERIWork fast. And be sure to tell noone what you do. You will see meagain soon.

He turns away. Mozart closes the front door. Instantly wehear the opening of the Requiem Mass (also in D Minor). Mozart turns and looks up at the portrait of his father onthe wall. The portrait stares back. Constanze opens the doorfrom the bedroom. She sees him staring up.

CONSTANZEWolfi? Wolfi!

He looks at her with startled eyes. The music breaks off.

CONSTANZEWho was that?

MOZARTNo one.

CONSTANZEI heard voices.

He gives a strange little giggle.

CONSTANZEWhat's the matter?

She sees the bag of money.

CONSTANZEWhat's that? Oh!

(pouncing on it)Who gave you this? How much is it? Wolfi, who gave you this?

MOZARTI'm not telling you.

CONSTANZEWhy not?

MOZARTYou'd think I was mad.

He stares at her. She stares at him.

133.

136 136INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT

Old Salieri is now wildly animated, totally driven by hisconfession to Vogler.

OLD SALIERIMy plan was so simple, it terrifiedme. First I must get the Death Massand then achieve the death.

Vogler stares at him in horror.

VOGLERWhat?

OLD SALIERIHis funeral - imagine it! TheCathedral, all Vienna sitting there. His coffin, Mozart's little coffinin the middle. And suddenly in thatsilence, music. A divine music burstsout over them all, a great Mass ofDeath: Requiem Mass for WolfgangMozart, composed by his devoted friendAntonio Salieri. What sublimity! What depth! What passion in the music! Salieri has been touched by God atlast. And God, forced to listen. Powerless - powerless to stop it. Iat the end, for once, laughing atHim. Do you understand? Do you?

VOGLERYes.

OLD SALIERIThe only thing that worried me wasthe actual killing. How does one dothat? How does one kill a man? It'sone thing to dream about it. It'svery different when you have to doit, with your own hands.

He raises his own hands and stares at them. The raging DiesIrae from Mozart's Requiem Mass bursts upon us.

CUT TO:


Mozart sits working frantically at this demonic music. Hiswhole expression is one of wildness and engulfing fever. Hepours wine down his throat, spilling it, and grimaces as ithits his stomach. All around him are manuscripts.

(CONTINUED)

134.

137 CONTINUED: 137

There is a banging at the front door. Mozart does not hearit; the music raves on. Another knocking comes, louder. Constanze appears from the bedroom and stares at herdistracted husband. The knocking is repeated again, evenmore violently and insistently.

CONSTANZEWolfi. Wolfi!

He looks at her. The music breaks off. Silence. An enormousbang at the door startles him.

Constanze moves to open it.

MOZARTNo. Don't answer it!

CONSTANZEWhy?

Mozart springs up. He is clearly terrified.

MOZARTTell him I'm not here. Tell him I'mworking on it. Come back later.

He runs out of he room, into his workroom, and shuts he door. Now a little scared herself, Constanze goes to he front doorand opens it cautiously. Schikaneder stands there, floridlydressed as usual. Lorl is seen peeking out from the kitchen.

SCHIKANEDERAm I interrupting something?

CONSTANZENot at all.

SCHIKANEDER(peering into he room)

Where's our friend?

CONSTANZEHe's not in. But he's working on it. He said to tell you.

SCHIKANEDERI hope so. I need it immediately.

He pushes her into the room.

SCHIKANEDERIs he happy with it?

He sees he manuscript on the table, and goes to it eagerly.

(CONTINUED)

135.


SCHIKANEDERIs this it?

He picks up a page without waiting for a reply.

SCHIKANEDERWhat the devil is this? Requiem Mass? Does he think I'm in the funeralbusiness?

Mozart opens he workroom door. We see him as Schikanedersees him: wild-eyed, extremely pale and strange.

MOZARTLeave that alone!

SCHIKANEDERWolfi!

MOZARTPut it down!

SCHIKANEDERWhat is this?

MOZARTPut it down, I said! It's nothingfor you.

SCHIKANEDEROh! I'm sorry! I'm sorry! What haveyou got for me? Is it finished?

MOZARTWhat?

SCHIKANEDERWhat? The vaudeville, what'd youthink?

MOZARTYes.

SCHIKANEDERCan I see it?

MOZARTNo.

SCHIKANEDERWhy not?

MOZARTBecause there's nothing to see.

(CONTINUED)

136.


He giggles triumphantly. Schikaneder stares at him.

SCHIKANEDERLook, I asked you if we could startrehearsal next week and you saidyes.

MOZARTWell, we can.

SCHIKANEDERSo let me see it. Where is it?

Mozart, with a bright, rather demented smile presents hishead to Schikaneder.

MOZARTHere. It's all right here, in mynoodle. The rest is just scribbling. Scribbling and bibbling. Bibblingand scribbling. Would you like adrink?

He giggles. Schikaneder suddenly grabs his lapels.

SCHIKANEDERLook, you little clown, do you knowhow many people I've hired for you? Do you know how many people arewaiting?

CONSTANZELeave him alone!

SCHIKANEDERI'm paying these people. Do yourealize that?

CONSTANZEHe's doing his best.

SCHIKANEDERI'm paying people just to wait foryou. It's ridiculous!

CONSTANZEYou know what's ridiculous? Yourlibretto, that's what's ridiculous. Only an idiot would ask Wolfi towork on that stuff!

SCHIKANEDEROh yes? And what's so intelligentabout writing a Requiem?

(CONTINUED)

137.


CONSTANZEMoney! Money!

SCHIKANEDERYou're mad! She's mad, Wolfi.

CONSTANZEOh yes, and who are you? He's workedfor Kings. For the Emperor.

(shouting)Who are you?

Schikaneder suddenly takes Mozart by the arms, and speaks tohim with intense appeal.

SCHIKANEDERListen, Wolfi. Write it. Please. Just write it down. On paper. It'sno good to anyone in your head. Andfuck the Death Mass.


A frightened and tearful Lorl sits before Salieri.

SALIERINow calm yourself. Calm. What's thematter with you?

LORLI'm leaving. I'm not working thereanymore. I'm scared!

SALIERIWhy? What has happened?

LORLYou don't know what it's like. HerrMozart frightens me. He drinks allday, then takes all that medicineand it makes him worse.

SALIERIWhat medicine?

LORLI don't know. He has pains.

SALIERIWhere?

LORLHere, in his stomach. They bend himright over.

(CONTINUED)

138.

138 CONTINUED: 138

SALIERIIs he working?

LORLI'm frightened, sir. Really! When hespeaks, he doesn't make any sense. You know he said he saw - he said hesaw his father. And his father'sdead.

SALIERIIs he working?

LORLI suppose so. He sits there all hetime, doing some silly opera.

SALIERI(startled)

Opera? Opera!

LORLPlease don't ask me to go back again. I'm frightened! I'm very, veryfrightened.

SALIERI(insistently)

Are you sure it's an opera?

The Overture to The Magic Flute begins grandly. To the musicof the slow introduction, we see:


The room, lit by a few candles, appears dirty. The camerashows us again Leopold's portrait on the wall, looking downupon a scene of disorder.

Papers litter the table; dirty dishes are piled in thefireplace; on the forte-piano lies Mozart's Masonic apron,woven with symbols. To the more lyrical passage of theintroduction, we see Mozart take up a candle and enter:


We watch him stand beside Constanze, who lies asleep. Mozartnow looks very ill; his wife appears worn out. Tenderly hetouches her hair. Then he moves to the cot where his sonKarl lies asleep and kneels, pulls up the child's littleblanket and for a moment lays his own head down beside theboy's. Constanze opens her eyes and stares at him. Mozartrises and returns to:

139.


The Introduction ends and suddenly the brilliant fast fuguebegins. Instantly Mozart starts to dance to it, all alone:gleefully, like a child. He looks up at his father's portrait,and makes a silly, rude gesture at it. He is, briefly, anirresponsible and happy boy again.

Then suddenly there is a gentle knocking at the door. Themusic fades down. Warily, Mozart crosses and opens he door. The familiar dark chords from Don Giovanni cut across thehappy music. It ends. Before him stands the masked stranger.

MOZARTI don't have it yet. It's notfinished. I'm sorry, but I need moretime.

SALIERIAre you neglecting my request?

MOZARTNo, no! I promise you, I'll give youa wonderful piece - the best I evercan!

He turns and looks. Constanze has come into the living room. Nervously, Mozart indicates her.

MOZARTThis is my wife, Stanzi. I've beensick, but I'm all right now. Aren'tI?

CONSTANZEOh yes, sir. He's all right. Andhe's working on it very hard.

MOZARTGive me two more weeks. Please.

Salieri contemplates them both.

SALIERIThe sooner you finish, the betteryour reward. Work!

He turns and goes down the stairs. Mozart shuts the door; hecloses his eyes in fear.

CONSTANZEWolfi, I think you really are goingmad. You work like a slave for thatidiot actor who won't give you a

(MORE)

(CONTINUED)

140.

141 CONTINUED: 141

CONSTANZE (CONT'D)penny and here. This is not a ghost! This is a real man who puts downreal money. Why on earth don't youfinish it?

He will not look at her or reply.

CONSTANZEGive me one reason I can understand.

MOZARTI can't write it!

CONSTANZEWhy not?

MOZARTIt's killing me.

He looks at her suddenly.

CONSTANZENo, this is really awful. You'redrunk, aren't you? Be honest - tellme - you've been drinking. And I'mso stupid I stay here and listen toyou!

Suddenly she starts to cry.

CONSTANZEIt's not fair! I worry about you allthe time. I try to help you all Ican and you just drink and talknonsense and - and frighten me! It'snot fair!

Her tears flow. Mozart looks at her helplessly.

MOZARTGo back to bed.

CONSTANZEPlease! Let me sit here. Let me stayhere with you. I promise I won't sayall word. I'll just be here, so youknow no one's going to hurt you. Please, please!

She sits down tearfully, staring at him.

We hear the Rex Tremendai Majestatis from the Requiem andsee on the wall the portrait of Leopold Mozart looking down. The camera pans slowly downward from it back to the table.

(CONTINUED)

141.


Mozart is writing the music. He looks up and sees thatConstanze is fast asleep in her chair. Mozart gets up quietly. He puts on his hat and cloak, takes a bottle of wine andtiptoes from the house. Without stopping, the music changesfrom the heavy Requiem to the light-hearted patter of thePapa-Papa duet from The Magic Flute.

CUT TO:

142 142INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S

This little wooden structure stands in a courtyard in thetenement by the Weiden. Inside, we see a table, chairs, aforte-piano, bottles and a chaos of papers. Strewn about inthe chairs are the three actresses, giggling. Schikanederand Mozart, both drunk, are singing the duet of the two bird-people. The actor sings Papageno and the composer, in asoprano voice, sings Papagena at the keyboard. Absurdly,they end up rubbing noses and fall on each other's necks.

143 143EXT. VIENNA STREET - NIGHT - 1790'S

Mozart, drunk and happy, staggers back through the snow. There are a few people about. He goes into his apartmentbuilding.

144 144INT. MOZART'S APARTMENT - DAY - 1790'S

He comes through he door and stares across the living roomat an open bedroom door. Puzzled, he crosses.

The bedroom is also empty. We see Constanze's empty bed;Karl's empty bed; empty closets.

MOZARTStanzi? Stanzi-marini-bini?

He looks about him, puzzled.

145 145INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S

Frau Weber sits grimly talking. Mozart sits also, completelyexhausted and passive under the rain of her constant speech.

FRAU WEBERShe's not coming back, you know. She's gone for good. I did it andI'm proud of it. 'Leave,' I said.'Right away! Take he child and go,just go. Here's the money! Go tothe Spa and get your health back -that's if you can.' I was shocked.Shocked to my foundation. Is that mygirl? Can that be my Stanzi?

(MORE)

(CONTINUED)

142.

145 CONTINUED: 145

FRAU WEBER (CONT'D)The happy little moppet I broughtup, that poor trembling thing? Oh,you monster! No one exists but you,do they? You and your music! Do youknow how often she's sat in thatvery chair, weeping her eyes out ofher head because of you? I warnedher. 'Choose a man, not a baby,' Isaid. But would she listen? Wholistens? 'He's just a silly boy,'she says. Silly, my arse. Selfish -that's all you are. Selfish! Selfish,selfish, selfish, selfish, selfish.

And with a scream Madame Weber's voice turns into the shrillpacking coloratura of the second act aria of the Queen ofthe Night, in The Magic Flute.

DISSOLVE TO:

146 146INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S

On stage we see the QUEEN OF THE NIGHT fantastically costumed,furiously urging her daughter to kill Sarastro. As she sings,we see the interior of the theatre, now re-arranged fromwhen we last visited it to watch the Cabaret. An audience ofordinary German citizens stands in the pit area, or sits:they are rapt and excited.

The theatre also possesses boxes; some of these show closedcurtains - their inhabitants presumably engaged in privateintimacies. In one of them sits Salieri.

QUEEN OF THE NIGHT(singing furiously)

A hellish wrath within my heart isseething! Death and destruction Flamearound my throne! If not by theeSarastro's light be extinguished. Then be thou mine own daughter nevermore! Rejected be forever! So sunderedbe forever All the bonds of kin andblood! Hear! Hear! Hear God ofVengeance! Hear thy Mother's vow!

Thunder and lightning. She disappears amidst tremendousapplause from the audience.

CUT TO:

143.

147 147EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S

On the poster for The Magic Flute, the name EmmanuelSchikaneder should appear very, very large and the name ofMozart quite small:

I. & R. priv. Weiden Theatre The Actors of the Imperial andRoyal Privileged Theatre of the Weiden Have the honour toperform

THE MAGIC FLUTE

A Grand Opera in Two Acts

BY

Emmanuel Schikaneder

The Cast List

The music is by Herr Wolfgang Amadeus Mozart. Herr Mozartout of respect for a gracious and honourable Public, andfrom friendship for the author of this piece, will todaydirect the orchestra in person.

The book of the opera, furnished with two copperplates, ofwhich is engraved Herr Schikaneder in the costume he wearsfor the role of Papageno, may be had at the box office for30 kr.

Prices of admission are as usual To begin at 7 o'clock

148 148INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE -NIGHT -1790'S

We CUT TO the scene immediately before Papageno's song, EinMadchen oder Weibchen. Papageno, played by Schikaneder,dressed in his costume of feathers, is trying to get througha mysterious door. A voice calls from within.

VOICEGo back!

Papageno recoils.

PAPAGENOMerciful Gods! If only I knew bywhich door I came in.

(to audience)Which was it? Was it this one? Comeon, tell me!

VOICEGo back!

(CONTINUED)

144.

148 CONTINUED: 148

Papageno recoils.

PAPAGENONow, I can't go forward and I can'tgo back. Oh, this is awful!

He weeps extravagantly.

In the pit, Mozart indicates to the first violinist to takeover as conductor. He slips from his place and goes stealthilybackstage. We follow him. Over the scene we hear Papagenobeing addressed by the First Priest in stern tones.

FIRST PRIEST(on stage)

Man, thou hast deserved to wanderforever in the darkest chasms of theearth. The gentle Gods have remittedthy punishment, but yet thou shaltnever feel the Divine Content of theconsecrated ones.

PAPAGENOOh well, I'm not alone in that. Justgive me a decent glass of wine -that's divine content enough for me.

Laughter. An enormous goblet of wine appears out of the earth.

We follow Mozart into the wings. Actors and actresses standaround in fantastic costumes. We see a flying chariot andparts of a huge snake lying about. Also the scenery door ofa temple with the word 'Wisdom' inscribed on the pediment. Mozart walks to where there stands a keyboard glockenspielwith several manuals, and a musician waiting to play it. Silently Mozart indicates that he wishes to play theinstrument himself.

On stage Schikaneder is being addressed haughtily by theFirst Priest.

FIRST PRIESTMan, hast thou no other desire onearth, but just to eat and drink?

PAPAGENO(Schikaneder)

Well!

Laughter from the audience.

PAPAGENOWell, actually I do have a ratherweird feeling in my heart. Perhaps

(MORE)

(CONTINUED)

145.


PAPAGENO (CONT'D)it's just indigestion. But you know,I really would like - I really dowant - something even nicer thanfood and drink. Now what on earthcould that be?

He stares at the audience and winks at them. They laugh.

Now Papageno's aria (Ein Madchen oder Weibchen) begins. Itis interpolated, as he pretends to play his magic bells,with the glockenspiel actually being played off-stage byMozart. Schikaneder looks into the pit and does not see Mozartconducting. He looks into the wings and realizes the situationwith amusement. He sings joyfully and the audience watchesentranced.

ANDANTEA sweetheart or a pretty little wifeis Papageno's wish. A willing,billing, lovey dovey Would be Mymost tasty little dish. Be my mosttasty little dish! Be my most tastylittle dish!

ALLEGROThen that would be eating and drinkingI'd live like a Prince withoutthinking. The wisdom of old would bemine - A woman's much better thanwine! Then that would be eating anddrinking! The wisdom of old would bemine - A woman's much better thanwine. She's much better than wine! She's much better than wine!

ANDANTE(encore, lightly, asbefore)

A sweetheart or a pretty little wifeis Papageno's wish. A willing,billing, lovey dovey Would be Mymost tasty little dish.

ALLEGROI need to net one birdie only And Iwill stop feeling so lonely. But ifshe won't fly to my aid, Then into aghost I must fade. I need to net onebirdie only But if she won't fly tomy aid, Then into a ghost I mustfade. To a ghost I must fade! To aghost I must fade!

(CONTINUED)

146.


ANDANTE(encore)

A sweetheart or a pretty little wifeis Papageno's wish. A willing,billing, lovey dovey Would be Mymost tasty little dish.

ALLEGROAt present the girls only peck me. Their cruelty surely will wreck me. But one little beak in my own, AndI'll up to heaven be flown! At presentthe girls only peck me. But one littlebeak in my own, And I'll up to heavenbe flown. Up to heaven be flown! Upto heaven be flown!

At certain moments we see the stage from Salieri's point ofview: Schikaneder singing, then pretending to play; and thenwe see Mozart playing the glockenspiel with great flourishesin the wings. Then, suddenly, the actor mimes playing, andno sound comes. He mimes again, but still nothing comes. Helooks offstage in anxiety; there is evidently some commotion. People are looking down on the floor. The song comes to anear-halt. Schikaneder stares. Then the comedian signals tothe deputy conductor to pick up the song and finish it. Atthis moment Salieri gets up and hastily leaves his box.

CUT TO:

149 149INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S

We see the actress playing Papagena, wearing an old tatteredcloak and about to tie a little painted cloth representing ahideous old woman over her face. She is looking worriedlydown at Mozart, who is lying unconscious on the floor.

A few people around him are trying to revive him. One hasput a wet handkerchief around his temples. Another is holdinga small bottle of smelling salts. There are voices saying,'Doctor! Take him to a dressing room. Someone call a carriage. Take him home.' Etc. Papagena is urged to go on stage by adistracted stage manager. Suddenly we hear the voice ofSalieri.

SALIERII'll take care of him.

He steps forward.

SALIERII have a carriage. Excuse me.

The actors step back respectfully. He stoops and picks upthe frail composer in his arms. Mozart is quite limp and

(CONTINUED)

147.

149 CONTINUED: 149

Salieri has to fling his arms around his own neck. All thisis watched nervously by Schikaneder on stage whilst performinghis scene with Papagena as an ugly old woman.

UGLY OLD WOMANHere I am, my angel.

PAPAGENO(appalled)

What? Who the devil are you?

UGLY OLD WOMANI've taken pity on you, my angel. Iheard your wish.

PAPAGENOOh. Well, thank you! How wonderful. Some people get all the luck.

Audience laughter. The actress raises the little paintedcloth with the ugly old face on it to show her own prettyyoung one to the audience. More laughter.

UGLY OLD WOMANNow you've got to promise mefaithfully you'll remain true to meforever. Then you'll see how tenderlyyour little birdie will love you.

PAPAGENO(nervous)

I can't wait.

UGLY OLD WOMANWell, promise then.

PAPAGENOWhat do you mean - now?

UGLY OLD WOMANOf course now. Right away, before Iget any older.

Laughter.

PAPAGENOWell, I don't know! I mean you're adelicious, delightful, delectablelittle bird, but don't you think youmight be just a little tough?

UGLY OLD WOMAN(amorously)

Oh, I'm tender enough for you, myboy. I'm tender enough for you.

(CONTINUED)

148.


Laughter.

150 150EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S

A waiting sedan chair. Mozart has recovered consciousness,but looks exceedingly ill. Salieri has set him down in thewinter's night. Snow is falling.

MOZARTWhat happened? Is it over?

SALIERII'm taking you home. You're not well.

MOZARTNo, no. I have to get back. I have -

He starts to collapse again. Salieri helps him into the sedan. The door is shut. The chair sets off and Salieri stridesbeside it, through the mean street. A lantern with a candleswings from the chair.


The door opens. Salieri enters carrying the lantern from thesedan chair. He is followed by Mozart, carried in the armsof one of the porters. The room is now really in completedisarray. The table is piled high with music: the pages ofthe Requiem lie amongst many empty wine bottles. The portercarries Mozart into


This room is miserably neglected. The bed is unmade, clotheslie about on the floor. A sock has been stuck into the brokenpane of one window.

The porter lays Mozart down on the bed as Salieri lightscandles from the lantern to reveal plates of half-eaten foodand other signs left by a man whose wife has departed. It isobviously very cold. Another very small bed nearby belongsto the child, Karl.

SALIERI(handing the porterthe lantern)

Thank you. Go.

The porter leaves the room. Mozart stirs.

MOZART(vaguely singing)

Papa! Papa!

(CONTINUED)

149.

152 CONTINUED: 152

He opens his eyes and sees Salieri staring down at him. Hesmiles.

SALIERICome now.

He helps him to sit up and takes off his coat and his shoesand puts a coverlet around him.

SALIERIWhere is your wife?

MOZARTNot here! She's not well, either. She went to the Spa.

SALIERIYou mean she's not coming back?

MOZARTYou're so good to me. Truly. Thankyou.

SALIERINo, please.

MOZARTI mean to come to my opera. You arethe only colleague who did.

He struggles to loosen his cravat. Salieri does it for him.

SALIERII would never miss anything that youhad written. You must know that.

MOZARTThis is only a vaudeville.

SALIERIOh no. It is a sublime piece. Thegrandest operone. I tell you, youare the greatest composer known tome.

MOZARTDo you mean that?

SALIERII do.

MOZARTI have bad fancies. I don't sleepwell anymore. Then I drink too much,and think stupid things.

(CONTINUED)

150.


SALIERIAre you ill?

MOZARTThe doctor thinks I am. But -

SALIERIWhat?

MOZARTI'm too young to be so sick.

There is a violent knocking at the front door. Mozart startsand looks around wildly.

SALIERIShall I answer it?

MOZARTNo! No, it's him!

SALIERIWho?

MOZARTThe man. He's here.

SALIERIWhat man?

The knocking increases in loudness, terrifying Mozart.

MOZARTTell him to go away. Tell him I'mstill working on it. Don't let himin!

Salieri moves to the door.

MOZARTWait! Ask him if he'd give me somemoney now. Tell him if he would,that would help me finish it.

SALIERIFinish what?

MOZARTHe knows. He knows!

Salieri leaves the room.

151.


Salieri goes to the front door and opens it to revealSchikaneder, who has obviously come straight from the theatre. He still wears his bird make-up and under his street cloak,his feathered costume is clearly seen. He has with him thethree actresses, also looking anxious and also in make-up asthe three attendants in The Magic Flute.

SCHIKANEDERHerr Salieri.

SALIERIYes, I am looking after him.

SCHIKANEDERCan we come in?

SALIERIWell, he's sleeping now. Better not.

SCHIKANEDERBut he's all right?

SALIERIOh, yes. He's just exhausted. Hebecame dizzy, that's all. We shouldlet him rest.

SCHIKANEDERWell, tell him we were here, won'tyou?

SALIERIOf course.

SCHIKANEDERAnd say everything went wonderfully. A triumph-de-luxe - say that! Tellhim the audience shouted his name ahundred times.

SALIERIBene.

SCHIKANEDERI'll call tomorrow.

SALIERIYes.

(to the actresses)And congratulations to all of you. It was superb.

(CONTINUED)

152.

153 CONTINUED: 153

ACTRESSESThank you! Thank you, Excellency!

Schikaneder produces a bag of money.

SCHIKANEDEROh, by the way, give him this. Thisis his share. That should cheer himup, eh?

SALIERIYes, indeed. Goodnight to you allnow. It was perfection - truly!

ACTRESSES(delighted)

Goodnight, Your Excellency. Goodnight!

They bob and curtsey. Schikaneder stares at Salieri, uneasily,vaguely suspicious. Salieri smiles back at him and shuts thedoor. He stays for a moment, thinking. He contemplates themoney.


Mozart is sitting up in bed, staring at the door. It opens. Salieri returns. He holds in his hand the bag of money.

MOZARTWhat happened?

Salieri pours the coins out of the bag onto the coverlet.

SALIERIHe said to give you this. And if youfinish the work by tomorrow night,he will pay you another hundredducats.

Mozart looks at the coins astonished.

MOZARTAnother? But that's too soon! Tomorrownight? It's impossible! Did he say ahundred?

SALIERIYes. Can I - could I help you, inany way?

MOZARTWould you? Actually, you could.

(CONTINUED)

153.

154 CONTINUED: 154

SALIERIMy dear friend, it would be mygreatest pleasure.

MOZARTBut you'd have to swear not to tella soul. I'm not allowed.

SALIERIOf course.

MOZARTYou know, it's all here in my head. It's just ready to be set down. Butwhen I'm dizzy like this my eyeswon't focus. I can't write.

SALIERIThen, let us try together. I'd regardit as such an honour. Tell me, whatis this work?

MOZARTA Mass. A Mass for the Dead.

CUT TO:

155 155INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S

Trivial dance music is playing. Constanze is doing a waltzwith a young OFFICER in military uniform. At the moment wesee her, she stops abruptly, as if in panic.

OFFICERWhat is it?

CONSTANZEI want to go!

OFFICERWhere?

CONSTANZEI want to go back to Vienna.

OFFICERNow?

CONSTANZEYes!

OFFICERWhy?

(CONTINUED)

154.

155 CONTINUED: 155

CONSTANZEI feel wrong. I feel wrong beinghere.

OFFICER(laying a hand on herarm)

What are you talking about?

CUT TO:


Mozart is sitting up in bed, propped against pillows. Thecoins lie on the coverlet; many candles burn in the necks ofbottles. Salieri, without coat or wig, is seated at animprovised worktable. On it are blank sheets of music paper,quills, and ink. Also the score of the Requiem Mass as sofar composed. Mozart is bright-eyed with a kind of fever. Salieri is also possessed with an obviously feverish desireto put down the notes as quickly as Mozart can dictate them.

MOZARTWhere did I stop?

SALIERI(consulting themanuscript)

The end of the Recordare - Statuensin parte dextra.

MOZARTSo now the Confutatis. ConfutatisMaledictis. When the wicked areconfounded. Flammis acribus addictis. How would you translate that?

SALIERIConsigned to flames of woe.

MOZARTDo you believe in it?

SALIERIWhat?

MOZARTA fire which never dies. Burning oneforever?

SALIERIOh, yes.

MOZARTStrange!

(CONTINUED)

155.

156 CONTINUED: 156

SALIERICome. Let's begin.

He takes his pen.

SALIERIConfutatis Maledictis.

MOZARTWe ended in F Major?

SALIERIYes.

MOZARTSo now - A minor. Suddenly.

Salieri writes the key signature.

MOZARTThe Fire.

SALIERIWhat time?

MOZARTCommon time.

Salieri writes this, and continues now to write as swiftlyand urgently as he can, at Mozart's dictation. He is obviouslyhighly expert at doing this and hardly hesitates. His speed,however, can never be too fast for Mozart's impatient mind.

MOZARTStart with the voices. Basses first. Second beat of the first measure -A.

(singing the note)Con-fu-ta-tis.

(speaking)Second measure, second beat.

(singing)Ma-le-dic-tis.

(speaking)G-sharp, of course.

SALIERIYes.

MOZARTThird measure, second beat startingon E.

(singing)Flam-mis a-cri-bus ad-dic-tis.

(MORE)

(CONTINUED)

156.


MOZART (CONT'D)(speaking)

And fourth measure, fourth beat - D.(singing)

Ma-le-dic-tis, flam-mis a-cri-bus ad-dic-tis.

(speaking)Do you have that?

SALIERII think so.

MOZARTSing it back.

Salieri sings back the first six measures of the bass line. After the first two measures a chorus of basses fades in onthe soundtrack and engulfs his voice. They stop.

MOZARTGood. Now the tenors. Fourth beat ofthe first measure - C.

(singing)Con-fu-ta-tis.

(speaking)Second measure, fourth beat on D.

(singing)Ma-le-dic-tis.

(speaking)All right?

SALIERIYes.

MOZARTFourth measure, second beat - F.

(singing)Flam-mis a-cri-bus ad-dic-tis, flam-mis a-cri-bus ad-dic-tis.

His voice is lost on the last words, as tenors engulf it andtake over the soundtrack, singing their whole line from thebeginning, right to the end of the sixth measure where thebasses stopped, but he goes on mouthing the sounds with them. Salieri writes feverishly. We see his pen jotting down thenotes as quickly as possible: the ink flicks onto the page. The music stops again.

MOZARTNow the orchestra. Second bassoonand bass trombone with the basses. Identical notes and rhythm.

(MORE)

(CONTINUED)

157.


MOZART (CONT'D)(He hurriedly humsthe opening notes ofthe bass vocal line)

The first bassoon and tenor trombone -

SALIERI(labouring to keep up)

Please! Just one moment.

Mozart glares at him, irritated. His hands move impatiently. Salieri scribbles frantically.

MOZARTIt couldn't be simpler.

SALIERI(finishing)

First bassoon and tenor trombone -what?

MOZARTWith the tenors.

SALIERIAlso identical?

MOZARTExactly. The instruments to go withthe voices. Trumpets and timpani,tonic and dominant.

He again hums the bass vocal line from the beginning,conducting. On the soundtrack, we hear the second bassoonand bass trombone play it with him and the first bassoon andtenor trombone come in on top, playing the tenor vocal line. We also hear the trumpets and timpani. The sound is bare andgrim. It stops at the end of the sixth measure. Salieri stopswriting.

SALIERIAnd that's all?

MOZARTOh no. Now for the Fire.

(he smiles)Strings in unison - ostinato on all -like this.

He sings the urgent first measure of the ostinato.

MOZART(speaking)

Second measure on B.

(CONTINUED)

158.


He sings the second measure of the ostinato.

MOZART(speaking)

Do you have me?

SALIERII think so.

MOZARTShow me.

Salieri sings the first two measures of the string ostinato.

MOZART(excitedly)

Good, good - yes! Put it down. Andthe next measures exactly the same,rising and rising - C to D to E, upto the dominant chord. Do you see?

As Salieri writes, Mozart sings the ostinato from thebeginning, but the unaccompanied strings overwhelm his voiceon the soundtrack, playing the first six bars of theiragitated accompaniment. They stop.

SALIERIThat's wonderful!

MOZARTYes, yes - go on. The Voca Me. Suddenly sotto voce. Write that down:sotto voce, pianissimo. Voca me cumbenedictis. Call me among the blessed.

He is now sitting bolt upright, hushed and inspired.

MOZARTC Major. Sopranos and altos in thirds. Altos on C. Sopranos above.

(singing the altopart)

Vo-ca, vo-ca me, vo-ca me cum be-ne-dic-tis.

SALIERISopranos up to F on the second 'Voca'?

MOZARTYes, and on 'dictis'.

SALIERIYes!

He writes feverishly.

(CONTINUED)

159.


MOZARTAnd underneath, just violins -arpeggio.

He sings the violin figure under the Voca Me (Bars 7,8,9).

MOZART(speaking)

The descending scale in eighth notes,and then back suddenly to the fireagain.

He sings the ostinato phrase twice.

MOZART(speaking)

And that's it. Do you have it?

SALIERIYou go fast!

MOZART(urgently)

Do you have it?

SALIERIYes.

MOZARTThen let me hear it. All of it. Thewhole thing from the beginning -now!

The entire Confutatis bursts over the room, as Mozart snatchesthe manuscript pages from Salieri and reads from it, singing. Salieri sits looking on in wondering astonishment. The musiccontinues right through the following scenes, to the end ofthe movement.

157 157EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S

A carriage is driving fast through the night. Snow lies onthe countryside.

158 158INT. THE CARRIAGE NIGHT - 1790'S

The carriage is filled with passengers. Among them Constanzeand Karl, her young son. They are sleepless and sway to themotion of the vehicle.


Mozart lying in bed exhausted, but still dictating urgently. We do not hear what he is saying to Salieri, who still sits

(CONTINUED)

160.

159 CONTINUED: 159

writing assiduously. Mozart is looking very sick: sweat ispouring from his forehead.

160 160EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S

The carriage, moving through the night, to the sound of themusic.


Mozart still dictating; Salieri still writing without stop.

EXT. VIENNA STREET - DAWN - 1790'S.

The carriage has arrived. Constanze and her son alight withother passengers. Postillions attend to the horses. She takesher boy's hand. It is a cold wintry dawn.

The music stutters to a close. End of the Confutatis.


MOZARTDo you want to rest a bit?

SALIERIOh no. I'm not tired at all.

MOZARTWe'll stop for just a moment. Thenwe'll do the Lacrimosa.

SALIERII can keep going, I assure you. Shall we try?

MOZARTWould you stay with me while I sleepa little?

SALIERII'm not leaving you.

MOZARTI am so ashamed.

SALIERIWhat for?

MOZARTI was foolish. I thought you did notcare for my work - or me. Forgiveme. Forgive me!

Mozart closes his eyes. Salieri stares at him.

161.

163 163EXT. VIENNA STREET - WINTRY DAWN - 1790'S

Constanze and Karl approach along the cobbled street, handin hand toward their house. Snow lies in the street.

164 164INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S

Mozart lies asleep in the bed, holding the last pages of themanuscript. Salieri lies across from him on Karl's small bedin his shirt sleeves and waistcoat. The child's bed isobviously too small for him and he is forced in to a crampedposition.

165 165EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S

Constanze and Karl arrive at the door. They enter.

166 166INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S

It is as disordered as before, save that the table, previouslylittered with pages, is now completely bare. Constanze looksat it with surprise and enters the bedroom.

167 167INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S

Mozart is asleep in the bed. Salieri is dozing on the nearbychild's bed. The room is full of the trailing smoke fromguttering and guttered candles. Startled by Constanze'sentrance and her young son, Salieri scrambles up. As he doesso, he attempts to button his waistcoat, but does it ineptly,so that the vestment becomes bunched up, making him lookabsurd.

CONSTANZEWhat are you doing here?

SALIERIYour husband is ill, ma'am. He tooksick. I brought him home.

CONSTANZEWhy you?

SALIERII was at hand.

CONSTANZEWell, thank you very much. You cango now.

SALIERIHe needs me, ma'am.

(CONTINUED)

162.

167 CONTINUED: 167

CONSTANZENo, he doesn't. And I don't want youhere. Just go, please.

SALIERIHe asked me to stay.

CONSTANZEAnd I'm asking you -

She notices a movement from the bed. Mozart wakes. He seesConstanze and smiles with real joy. Forgetting Salieri, shegoes to her husband.

CONSTANZEWolfi, I'm back. I'm still very angrywith you, but I missed you so much.

She throws herself on the bed.

CONSTANZEI'll never leave you again. If you'lljust try a little harder to be niceto me. And I'll try to do better,too. We must. We must! This was justsilly and stupid.

She hugs her husband desperately. He stares at her withobvious relief, not able to speak. Suddenly she sees themanuscript in his hand.

CONSTANZEWhat is this?

She looks at it and recognizes it.

CONSTANZEOh no, not this. Not this, Wolfi! You're not to work on this ever again! I've decided.

She takes it from his weak hand. At the same moment Salierireaches out his hand to take it and add it to the pile onthe table.

She stares at him, trying to understand - suspicious andfrightened and at the same time unable to make a sound. Mozartmakes a convulsive gesture to reclaim the pages. The coinsbrought by Salieri fall on the floor. Karl runs after them,laughing.

CONSTANZE(to Salieri)

This is not his handwriting.

(CONTINUED)

163.


SALIERINo. I was assisting him. He askedme.

CONSTANZEHe's not going to work on thisanymore. It is making him ill. Please.

She extends her hand for the Requiem, as she stands up. Salieri hesitates.

CONSTANZE(hard)

Please.

With extreme reluctance - it costs him agony to do it -Salieri hands over the score of the Requiem to her.

CONSTANZEThank you.

She marches with the manuscript over to a large chest in theroom, opens it, throws the manuscript inside, shuts the lid,locks it and pockets the key. Involuntarily Salieri stretchesout his arms for the lost manuscript.

SALIERIBut - but - but -

She turns and faces him.

CONSTANZEGood night.

He stares at her, stunned.

CONSTANZEI regret we have no servants to showyou out, Herr Salieri. Respect mywish and go.

SALIERIMadame, I will respect his. He askedme to stay here.

They look at each other in mutual hatred. She turns to thebed. Mozart appears to have gone to sleep again.

CONSTANZEWolfi?

(louder)Wolfi?

She moves to the bed. The child is playing with the coins onthe floor. Faintly we hear the start of the Lacrimosa from

(CONTINUED)

164.


the Requiem. Salieri watches as she touches her husband'shand. As the music grows, we realize that Mozart is dead.

CU, Constanze staring wide-eyed in dawning apprehension.

CU, Salieri also comprehending hat he has been cheated.

The music rises.

CU, The child on the floor, playing with the money.

CUT TO:

168 168EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S

The Lacrimosa continues through all of the following: a smallgroup of people emerges from the side door into the raw, wetday, accompanying a cheap wooden coffin. The coffin is borneby a gravedigger and Schikaneder in mourning clothes. Theyload it onto a cart, drawn by a poor black horse. All therest are in black, also: Salieri, Von Swieten, Constanze andher son, Karl, Madame Weber and her youngest daughter Sophie,and even Lorl, the maid. It is drizzling. The cart sets off. The group follows.

CUT TO:

169 169EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S

The group has already passed beyond the city limits followingthe miserable cart. The Lacrimosa accompanies them with itsmeasured thread.

The drizzle of rain has now become heavy. One by one, thegroup breaks up and shelters under the trees. The cart moveson toward the cemetery, alone, followed by nobody, growingmore and more distant. They watch it go.

Salieri and Von Swieten shake hands mournfully, the watersoaking their black tall hats. Schikaneder is in tears. Constanze is near collapse. Salieri moves to assist her, butshe turns away from him, seeking the arm of Cavalieri. MadameWeber takes Karl's hand.

The music builds to its climax on Dona Eis Pacem! We CUTback to:

170 170INT. OLD SALIERI'S HOSPITAL ROOM - MORNING -

Morning light fills the room. Old Salieri sits weepingconvulsively, as the music stops. Tears stream down his face. Vogler watches him, amazed.

(CONTINUED)

165.

170 CONTINUED: 170

VOGLERWhy? Why? Why? Why add to your miseryby confessing to murder? You didn'tkill him.

OLD SALIERII did.

VOGLERNo, you didn't!

OLD SALIERII poisoned his life.

VOGLERBut not his body.

OLD SALIERIWhat difference does that make?

VOGLERMy son, why should you want all Viennato believe you a murderer? Is thatyour penance? Is it?

OLD SALIERINo, Father. From now on no one willbe able to speak of Mozart withoutthinking of me. Whenever they sayMozart with love, they'll have tosay Salieri with loathing. And that'smy immortality - at last! Our nameswill be tied together for eternity -his in fame and mine in infamy. Atleast it's better than the totaloblivion he'd planned for me, yourmerciful God!

VOGLEROh my son, my poor son!

OLD SALIERIDon't pity me. Pity yourself. Youserve a wicked God. He killed Mozart,not I. Took him, snatched him away,without pity. He destroyed His belovedrather than let a mediocrity like meget the smallest share in his glory. He doesn't care. Understand that. God cares nothing for the man Hedenies and nothing either for theman He uses. He broke Mozart in halfwhen He'd finished with him, andthrew him away. Like an old, wornout flute.

166.

171 171EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S

The rain has eased off. A LOCAL PRIEST with two boy acolytesis standing beside an open communal grave. Mozart's body islifted out of the cheap pine box in a sack.

We see that the grave contains twenty other such sacks. Thegravedigger throws the one containing Mozart amongst theothers. An assistant pours quicklime over the whole pile ofthem. The acolytes swing their censers.

LOCAL PRIESTThe Lord giveth. The Lord takethaway. Blessed be the name of theLord.

CUT BACK TO:

172 172INT. OLD SALIERI'S HOSPITAL ROOM - MORNING -

OLD SALIERIWhy did He do it? Why didn't He killme? I had no value. What was theuse, keeping me alive for thirty-twoyears of torture? Thirty-two yearsof honours and awards.

He tears off the Civilian Medal and Chain with which theEmperor invested him and has been wearing the whole time andthrows it across the room.

OLD SALIERIBeing bowed to and saluted, called'distinguished - distinguishedSalieri' - by men incapable ofdistinguishing! Thirty-two years ofmeaningless fame to end up alone inmy room, watching myself becomeextinct. My music growing fainter,all the time fainter, until no oneplays it at all. And his growinglouder, filling the world with wonder. And everyone who loves my sacred artcrying, Mozart! Bless you, Mozart.

The door opens. An attendant comes in, cheerful and hearty.

ATTENDANTGood morning, Professor! Time forthe water closet. And then we've gotyour favourite breakfast for you -sugar-rolls.

(to Vogler)He loves those. Fresh sugar-rolls.

(CONTINUED)

167.

172 CONTINUED: 172

Salieri ignores him and stares only at the priest, who staresback.

OLD SALIERIGoodbye, Father. I'll speak for you. I speak for all mediocrities in theworld. I am their champion. I amtheir patron saint. On their behalfI deny Him, your God of no mercy. Your God who tortures men withlongings they can never fulfill. Hemay forgive me: I shall never forgiveHim.

He signs to the attendant, who wheels him in his chair outof the room. The priest stares after him.

173 173INT. CORRIDOR OF THE HOSPITAL - MORNING

The corridor is filled with patients in white linen smocks,all taking their morning exercise walk in the care of nursesand nuns. They form a long, wretched, strange procession -some of them are clearly very disturbed. As Old Salieri ispushed through them in his wheelchair, he lifts his hands tothem in benediction.

OLD SALIERIMediocrities everywhere, now and tocome: I absolve you all! Amen! Amen! Amen!

Finally, he turns full-face to the camera and blesses us theaudience, making the Sign of the Cross. Underneath we hear,stealing in and growing louder, the tremendous Masonic FuneralMusic of Mozart.

On the last four chords, we

FADE OUT:

THE END

amadeus 1984

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