Amadeus (1984) by Peter Shaffer. Based on the play by Peter Shaffer. 1 INT.

NIGHT - 1823 STAIRCASE OUTSIDE OLD SALIERI'S SALON 1

Total darkness. We hear an old man's voice, distinct and in distress. It is OLD SALIERI. He uses a mixture of English and occasionally Italian. OLD SALIERI Mozart! Mozart! Mozart. assassin! Mozart! Forgive me! Forgive your

A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried: the Valet is thin and middle-aged; the Cook, plump and Italian. It is very cold. They wear shawls over their night-dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. voice goes on, rising in volume. OLD SALIERI Show some mercy! guilty man! I beg you. It is locked. Behind it the

I beg you!

Show mercy to a

The Valet knocks gently on the door. VALET Open the door, Signore! Please!

The voice stops. We've

Be good now!

brought you something special. Silence. VALET Signore Salieri!

Something you're going to love.

Open the door.

Come now.

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 SALIERI Mozart! Mozart! I confess it! Listen! I confess!

The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs. 2 EXT. THE STREET OUTSIDE SALIERI 許 HOUSE - VIENNA - NIGHT 2 The street is filled with people: ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress: they wear masks on their faces or hanging 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 stands there calling to the sky: a sharp-featured, white-haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I cannot bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! 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 SALIERI Mozart, perdonami! Forgive your assassin! Piet�! Forgive your assassin! Forgive me! Forgive! Forgive!

Piet�!

VALET (looking up to the window) That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. now stopped and are watching this spectacle. Some of the passersby have

VALET Come on, Signore! Look what I have for you! it to you from down here, can I?

I can't give

Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. unhappy, you know. He'll be all right. Poor man. He's a little

He makes a sign indicating 詂razy,' and goes back inside the house. The onlookers keep staring. CUT TO: 3 3 INT. LANDING OUTSIDE OLD SALIERI 許 SALON - NIGHT

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

VALET Mmmm . He looks down. the two men stare at it. We see what the servants see. old tables piled with . scared. Now open the door. VALET If you don't open this door. 25 (the 襆ittle G Minor) begins. VALET Here I am. VALET Now that's enough. we glimpse the room . 4 INT. shakes his head: no. They run to him.once. In horror. the stormy. He gestures at them.and the frail lock gives. He has cut his throat but is still alive. There'll be nothing left for you. The Valet again He eats the sugared cake in his hand.this is good! This is the most delicious thing I ever ate. He sets the candlestick down on the floor.an old chair.Did he open? The Cook. OLD SALIERI'S SALON . Signore. And I'm not going to bring you anything more.NIGHT 4 Old Salieri lies on the floor in a pool of blood. you don't know what you're missing! Mmmm! We hear a thump from inside the bedroom. Signore! Open! We hear a terrible. From under the door we see a trickle of blood flowing. knocks on the door. elaborately and noisily. The door flies open. an open razor in his hand. Immediately. three times . Both servants run at the door frantically . throaty groaning. Barely. twice. The dish of cakes falls from the Cook 詓 hand and shatters. believe me! Signore. frenzied opening of Mozart's Symphony No. we're going to eat everything.

and the wagon dashes off through the still-falling snow. Inside the conveyance we see Old Salieri wrapped in blankets. The wagon arrives outside the General Hospital of Vienna. a chamber-pot on the floor . but somewhat self-important. STREET OUTSIDE SALIERI'S HOUSE . fifty guests. and placed in a horse-drawn wagon under the supervision of a middle-aged doctor in a tall hat. This is Father VOGLER. 6 EXT.books. ten servants. The driver whips up the horse. and bind his bleeding throat with a napkin. As the music slows a little.some of them visibly disturbed mentally. a man of about forty. Doctor Gulden is walking down it with a priest.NIGHT 11 The wagon is galloping through the snowy streets of the city.as the Valet and the Cook struggle to lift their old Master. THE WAGON .LATE AFTERNOON 12 A wide. In the corridor as they walk. white-washed corridor. CUT TO: 12 INT. Doctor Gulden stares at him grimly. BALLROOM . 711 MONTAGE: 7EXT. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's. being held by the hospital attendants. halfconscious. we see Old Salieri being carried out of his house on a stretcher by two attendants. a forte-piano. we see a Masquerade Ball in progress.NIGHT 6 As the fast music returns. Chaplain at the hospital. All patients wear white linen . A HOSPITAL CORRIDOR . He gets in beside his patient.NIGHT 5 Twenty-five dancing couples. concerned. 5 INT. full orchestra. FOUR STREETS OF VIENNA AND INT. we note several patients -. This is DOCTOR GULDEN.

I am a Chaplain here. OLD SALIERI'S HOSPITAL ROOM . Doctor Gulden wears a dark frock-coat. Vogler nods and opens the door. DOCTOR GULDEN Here we are. OLD SALIERI What do you want? VOGLER I am Father Vogler. 13 13 INT.one of the best available in the General Hospital. a table with candles. Vogler. than most people imagine. His back is to us. and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. It contains a bed. chairs. We see that his throat is bandaged expertly. VOGLER Herr Salieri? Old Salieri turns around to look at him. OLD SALIERI About what? I thought you .smocks. might like to talk to someone. Doctor. The priest closes the door quietly behind him. It's much harder to cut your throat They stop outside a door. As Vogler enters. He wears hospital garb. Thank you. looking out the window. DOCTOR GULDEN He's going to live. Do you wish me to come in with you? VOGLER No. a small forte-piano of the early nineteenth century. Old Salieri is sitting in a wheel-chair.LATE AFTERNOON A bare room . a cassock.

VOGLER You tried to take your life. there is something dreadful on your soul. you? OLD SALIERI So? You do remember that. OLD SALIERI Are they? VOGLER Offer me your confession. Please talk to me. I can offer you God's VOGLER My son. OLD SALIERI I do not seek forgiveness. Gravely. . VOGLER That makes no difference. OLD SALIERI Where? I studied it in my youth. VOGLER I cannot leave alone a soul in pain. OLD SALIERI Do you know who I am? You never heard of me. did you? All men are equal in God's eyes. I'm here only for you. OLD SALIERI What do you want? VOGLER Do you understand that you have sinned? OLD SALIERI Leave me alone. OLD SALIERI How well are you trained in music? VOGLER I know a little. forgiveness. Unburden it to me. don't VOGLER In the sight of God that is a sin.

OLD SALIERI This one brought down the house when we played it first. now about twenty-four. How about this? He plays another tune. The audience applauds wildly.1780's We see the pretty soprano KATHERINA CAVALIERI. VOGLER I can't say I do. He propels his wheelchair to the forte-piano.1823 INT. dressed in an elaborate mythological Persian costume. He plays it with growing enthusiasm. I wrote it. It was a very popular tune in its day. singing on stage. CUT TO: 14 14 INT. OLD SALIERI Then you must know this.LATE AFTERNOON OLD SALIERI (taking his hands off the keys) Well? VOGLER I regret it is not too familiar.VOGLER Here in Vienna. and plays an unrecognizable melody. THE STAGE OF AN OPERA HOUSE . 15 . What is it? OLD SALIERI I'm surprised you don't know. OLD SALIERI Can you recall no melody of mine? comI was the most famous . She's near the end of a very florid aria by Salieri.NIGHT . 15 OLD SALIERI'S HOSPITAL ROOM .

You The man you accuse yourself of killing. do it now! Give yourself some peace! A further pause. The priest nods. VOGLER Do you hear me? .you've heard that? VOGLER All Vienna has heard that. if you have anything to confess. What about this little thing? I wrote forty Slyly he plays the opening measure of Mozart's Eine Kleine Nachtmusik. VOGLER For God's sake. That was Mozart. OLD SALIERI ( eagerly) And do they believe it? VOGLER Is it true? OLD SALIERI Do you believe it? VOGLER Should I? A very long pause. and hums a little with the music. That's charming! I didn't know you wrote OLD SALIERI I didn't. smiling suddenly. my son. operas alone. I know that! that. VOGLER Oh. OLD SALIERI Ah . Salieri stares above the priest. seemingly lost in his own private world. Wolfgang Amadeus Mozart.poser in Europe when you were still a boy. know who that is? VOGLER Of course.

playing the harpsichord for the POPE and a suite of CARDINALS and other churchmen. A SMALL TOWN SQUARE IN LOMBARDY. OLD SALIERI He was my idol! I can't remember a time when I didn't know his name! When I was only fourteen he was already famous. ITALY . OLD SALIERI (V.DAY . Beside the little boy stands LEOPOLD. seated in a gilded chair on a pile of books. Even in Legnago . Father! Pause. running about in the bright sunshine and laughing. a look of extreme innocence.1780's 17 We see the six-year-old MOZART. VOGLER (almost whispering) Yes? Did you! do it? Mozart! Cruelly murdered. .1780's 16 There are twelve children and twenty adults in the square.) I was still playing childish games when he was playing music for kings and emperors. his father. smirking with pride.DAY . playing a game of Blindman's Bluff with other Italian children. We see the fourteenyear-old Salieri blindfolded. Even the Pope in Rome! CUT TO: 17 INT.I knew of him.O.OLD SALIERI He was murdered. CUT TO: 16 EXT. A SALON IN THE VATICAN .the tiniest town in Italy . Suddenly Old Salieri turns to him. also blindfolded.

Mozart removes the blindfold to show a pale little face with staring eyes. self-approving man.O.DAY . 18 A COUNTRY CHURCH IN NORTH ITALY . poplar trees.DAY - Serene music of the Italian Baroque . like himself. Both father and son bow. His father is a heavy-looking. Leopold lowers the lid of the harpsichord and lifts up his little son to stand on it. who had taught him everything. 襑hy? Do you want to be a trained monkey? Would you like me to drag you around Europe doing tricks like a circus freak? How could I tell him what music meant to me? CUT TO: 18 1780's EXT.1780's 19 The music continues and swells. We see the outside of the 17th-century church sitting in the wide landscape of Lombardy: sunlit fields. Not of the brilliant little prodigy himself.) I admit I was jealous when I heard the tales they told about him.sung by a choir of boys with organ accompaniment.) My father did not care for music. We see the twelve-year-old Salieri seated between his plump and placid parents in the congregation. obviously indifferent .O. white road.Pergolesi's Stabat Mater . Over this scene Old Salieri speaks. A Papal Chamberlain presents Leopold with a gold snuff box whilst the cardinals decorously applaud. THE CHURCH AT LEGNAGO . but of his father. As anonymous as he was. he would say. listening in rapture. The piece finishes. 19 INT. He wanted me only to be a merchant. OLD SALIERI (V. a dusty. When I told how I wished I could be like Mozart.OLD SALIERI (V.

) And do you know what happened? 19A 1780's INT. a large cooked fish on a thick china plate. I would offer up secretly the proudest prayer a boy could think of. make me a great composer! Let me celebrate your glory through music . every hour of my life. And I will help my fellow man all I can.my industry. Camera pulls back to show the Salieri family at dinner.O. Candles burn below his image. OLD SALIERI (V. So do his parents and the other members of the congregation. OLD SALIERI (V.O.DAY - CU. He stares up at Christ who stares back at him. Amen and amen! The music swells to a crescendo. almost to falling. A large and austere Christ on the cross hangs over the altar. a napkin tucked into his chin. 19A We A miracle! DINING ROOM IN THE SALIERI HOUSE .to the music.O. The candles flare. Mother Salieri is serving the fish into portions and handing them . 襆ord. see the Christ through the flames looking at the boy benignly. dear God! Make me immortal! After I die let people speak my name forever with love for what I wrote! In return I vow I will give you my chastity . OLD SALIERI (V. my deepest humility. The boy falls forward on his knees.) Even then a spray of sounded notes could make me dizzy.and be celebrated myself! Make me famous through the world. Father Salieri sits at the head of the table.) Whilst my father prayed earnestly to God to protect commerce.

I kept my hands off women. and of course the young boy.1823 20 OLD SALIERI Suddenly he was dead. My mother said. wearing black. OLD SALIERI'S HOSPITAL ROOM . Of course. sitting on endless . but it is in vain. All the women get up and crowd around him. Wasn't that incredible? Imperial Composer to His Majesty! Actually the man had no ear at all. playing duets with him. but what did it matter? He adored my music.round. sixteen years old and studying under Gluck! Gluck. Father Salieri collapses. The next I was here. He taught me everything he knew.the musical king! Within a few years I was his court composer. One moment I was a frustrated boy in an obscure little town. Father Salieri receives his plate of fish and starts to eat greedily.LATE AFTERNOON . wouldn't you have thought God had accepted your vow? And believe me. many of them for free. And when I was ready. Off with you! And off I went as quick as I could and never saw Italy again. And he loved me! That was the wonder. Father. Suddenly there is a gasp . I honoured it.he starts to choke violently on a fish bone. introduced me personally to the Emperor! Emperor Joseph . 20 INT. 褿o. in Vienna. Two maiden aunts are in attendance. correcting the royal sight-reading. that was enough. city of musicians. worked hours every day teaching students. that was obvious. Just like that! And my life changed forever. I knew God had arranged it all. if you had been me. I was a model of virtue. Tell me. Study music if you really want to. Do you know who he was? The greatest composer of his time. Night after night I sat right next to the Emperor of Austria. thumping and pummeling him.

Mozart. etc. I played a game with myself. the Prince-Archbishop of Salzburg. talking. At the other end is a large gilded chair. OLD SALIERI (V.work and work and work. I liked myself. CUT TO: 21 21 INT.O. walking through the crowd of guests. And the happiest. Thirteen members of the Archbishop's orchestra . basset horns. age thirty-one.) One day he came to Vienna to play some of his music at the residence of his employer. carefully turnedcut man in decent black clothes and clean white linen. Eagerly I went there to seek him out. and preparing to sit upon the rows of waiting chairs to hear a concert. We see Salieri. bearing the arms of the ARCHBISHOP OF SALZBURG.) As I went through the salon. and wearing their employer's livery are laying out music on stands at one end of the room.committees to help poor musicians . A small group of Gypsy musicians is playing in the background. We follow him.all wind players. a neat. a full-scale opera at twelve. This man had written his first concerto at the age of four.DAY .O. That night changed my life. Did it show? Is talent like that written on the face? .1780's A grand room crowded with guests. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA . Till he came. complete with 18th-century wind instruments: elaborate-looking bassoons. that was all my life. And it was wonderful! Everybody liked me. his first symphony at seven. I was the most successful musician in Vienna. OLD SALIERI (V. A throng of people is standing.

) Which one of them could he be? Some of the men recognize Salieri and bow respectfully.We see shots of assorted young men staring back at Salieri as he moves through the crowd. 25 INT. Salieri's idea of paradise! The servant puts his tray down on one of the tables and withdraws from the room.1780's Salieri's POV: several tables.O. The servant turns into: 23 23 INT. 24 INT. A PALACE CORRIDOR . A girl . As soon as the man disappears. She runs . Salieri sneaks into the buffet room. but at the same moment he hears giggling coming toward him. Salieri follows him out of the Grand Salon. His attention is attracted in particular by a huge pile of dark chocolate balls arranged in the shape of a pineapple. Then suddenly a servant bearing a large tray of cakes and pastries stalks past. dressed to the floor with cloths are loaded with many plates of confectionery. BUFFET ROOM IN THE PALACE . BUFFET ROOM IN THE PALACE . It is.DAY . He reaches out a hand to steal one of the balls.DAY .1780's 24 Salieri turns away so as not to be noticed by the servant. A PALACE CORRIDOR . OLD SALIERI (V.rushes into the room.CONSTANZE . in fact. He is salivating with anticipation as he stares at the feast of sweet things. 22 INT.DAY .DAY . Instantly riveted by the sight of such delights. Salieri follows him. He ducks down behind the pastry table.1780's 22 The servant marches along bearing his tray of pastries aloft.1780's 25 Salieri enters the room and looks about him cautiously.

which is going to characterize Mozart throughout the film. Everyone stands. Instead. approaches the Chamberlain and whispers in his ear. the Count ARCO.1780's 26 The throng is mostly seated. when Constanze suddenly squeaks from under the cloth like a tiny mouse. He is a small selfimportant figure of fifty in a wig. Immediately COLLOREDO. After a beat of total silence. The musicians are in their places. A Majordomo appears and bangs his staff on the floor for attention. Constanze has disappeared. Nothing happens. surmounted by a scarlet skullcap.DAY . Arco gives the signal to start the music.straight across it and hides herself behind one of the tables. MOZART runs into the room. Instantly Mozart drops to all fours and starts crawling across the floor. stops. Mozart disappears under the cloth and obviously pounces upon Constanze. Watched by an astonished Salieri. and looks around. The Archbishop goes to his throne and sits. meowing and hissing like a naughty cat. He is followed by his Chamberlain. Arco in turn whispers to the Archbishop. Baffled. COLLOREDO Where is he? ARCO They're looking for him. he turns and is about to leave the room. He is age twenty-six. ARCO Mozart is not here. PALACE GRAND SALON . holding their various exotic-looking wind instruments. wearing a fine wig and a brilliant coat with the insignia of the Archbishop of Salzburg upon it. Prince-Archbishop of Salzburg enters. Your Grace. His guests sit also. We hear a high-pitched giggle. . He is puzzled. CUT TO: 26 INT. the candles are all lit. a wind musician gets up.

CONSTANZE Stop it! MOZART I am! I am! I'm stopping it . We hear her giggling as he talks. COLLOREDO (to Arco) We'll start without him.DAY . MOZART Miaouw! Miaouw! Mouse-wouse? wangs. CONSTANZE . He tickles her.DAY . fangs- She screams. The Archbishop tightens his lip. Now we are going back.1780's 27 Three servants are opening doors and looking into rooms going off the corridor. which reaches to the floor. PALACE GRAND SALON .1780's 29 Mozart is on his knees before the tablecloth. Under it is Constanze. PALACE BUFFET ROOM . You see! Look. It's Puss-wuss.slowly. He pulls her out by her He tries to drag her back under the table. The musicians are watching. There is puzzlement and a murmur of comment. Paws-claws.DAY . CUT TO: 28 INT.27 INT. 29 INT. CONSTANZE Stop it. A PALACE CORRIDOR . I've stopped.1780's 28 The guests are turning around and looking at the Archbishop. Stop it! They roll on the floor. leg. Pounce-bounce! He grabs her ankle.

years. CONSTANZE Do you think that's funny? MOZART Yes. MOZART Go ahead.No! No! No! MOZART Yes! Back! CONSTANZE Where? MOZART We are in the Residence of the Fartsbishop of Salzburg. and talk backwards. I want to Back! Listen . dance backwards. I've got something to tell you. CONSTANZE That's stupid. complain about this man. CONSTANZE Your Grace. .don't you know where you are? They won't understand You've been doing it for He gives a high pitched giggle. MOZART Why? People fart backwards. People walk backwards. tell him. I think it's brilliant. you anyway. CONSTANZE Fartsbishop! She laughs delightedly. Tell them all. then addresses an imaginary Archbishop. CONSTANZE Why not? MOZART Because here everything goes backwards. sing backwards.

CONSTANZE Iram .襪arry Em .CONSTANZE Oh. MOZART She kisses him.襨iss sick . shit-wit.襅iss my arse! MOZART Em iram! Em iram! I'm . Em iram! Em Say it backwards. MOZART Sra-I'm-sick! CONSTANZE Yes.襪arry me! No. I'm not playing this game.襜ut i-tub . ha. no! You're a fiend. ha. CONSTANZE No! MOZART Just say it . . A dirty fiend at that. Sra-I'm sick! You're very sick. ha.襩ove 褺ut I love ui They The mood becomes suddenly softer. MOZART No. Say it backwards. embrace. this is serious. iram! It's very serious. Then he spoils it.襜ut I 襶ou. you are. MOZART Ui-vol-i-tub! CONSTANZE Tub .you'll see. 襍ra-I'm-sick Say it MOZART No.襪y 襅iss my! Sra-I'm- CONSTANZE No. backwards! CONSTANZE (working it out) Sra-I'm-sick. I'm not going to marry a fiend. no. Sick . I love you! vol .

GRAND SALON . PALACE CORRIDOR . she strikes at him.1780's 31 The opening of the Serenade is being tentatively conducted by the leader of the wind-musicians. CONSTANZE 褽at MOZART Yes. At the same moment the music starts in the salon next door. We hear the opening of the Serenade for Thirteen Wind Instruments.Tish-I'm tee. Mozart hastens towards the Grand Salon away from the buffet room. MOZART My music! They've started! They've started without me! He leaps up. CUT TO: 30 INT. Constanze. CONSTANZE Eat my . CONSTANZE What? MOZART Tish-I'm-tee. sneaks into the room and . disheveled and rumpled and runs out of the room. 361.DAY . adjusting his dress as he goes.ah! What's that? Shocked. The leader yields his place to the composer and Mozart smoothly takes over conducting.1780's 30 The music is louder. 31 INT.DAY . Salieri watches in amazement and disgust. Guests turn around as Mozart appears bowing to the Archbishop . K. deeply embarrassed.and walks with an attempt at dignity to the dais where the wind band is playing.

MOZART Certainly! He follows Arco out of the room. Salieri stands shocked from his inadvertent eavesdropping. The 襰queezebox opening of the movement begins. please. .) So that was he! That giggling. through a throng of admirers.DAY . Mozart bows to them. Mozart. 32 INT.1780's 34 The Archbishop would like a word. The phenomenon whose legend had haunted my youth. guiding the thirteen wind instrumentalists.1780's 32 The music fades down. ANOTHER PALACE CORRIDOR . He stares in disbelief at Mozart. the music dissolves. 34 INT. dirty-minded creature I'd just seen crawling on the floor.DAY . Finally it fades down and away and changes into applause. ARCO Follow me. 33 INT. and without looking at Mozart or applauding and leaves the Salon.O. The audience is clearly delighted. Salieri appears at the door at the back of the salon. Colloredo rises abruptly. Impossible. Count Arco approaches the composer.DAY .seats herself at the back. OLD SALIERI (V. Mozart turns to him. transported . 361). PALACE BUFFET ROOM . GRAND SALON . radiant. Salieri opens his eyes.suddenly engulfed by the sound.1780's 33 Mozart is conducting the Adagio from his Serenade (K.amazed. also delighted. The music swells up and Salieri listens to it with eyes closed . After a second he moves almost in a trance toward the door.

MOZART What do you mean? They arrive at the door of Colloredo's private apartment. ARCO Your Grace. Why? MOZART Why what. Arco approaches him obsequiously. ARCO His Grace is very angry with you. Arco opens the door. As they disappear. chatting to quests.Mozart and Arco walk side by side. ARCHBISHOP'S PRIVATE ROOM . are several ladies. unable to help himself. They pass Salieri who is staring at Mozart in fascination. COLLOREDO Ah.DAY . don't you? ARCO Indeed. MOZART These Viennese certainly know good music when they hear it. he steals toward the music stands. ARCO You are to come in here and ask his pardon. sir? COLLOREDO Why do I have to be humiliated in front of my guests by one of my own servants? MOZART Humiliated? . MOZART Well. 39 INT.1780's 39 Among them The Archbishop is sitting. Mozart. I think that went off remarkably well.

among them Constanze. I have no intention of dismissing you.DAY . MOZART If His Grace is not satisfied with me. deeply interested. MOZART No.COLLOREDO How much provocation am I to endure from you? cense I allow you.1780's 40 A group of people who have attended the concert. PALACE CORRIDOR . Colloredo is clearly discomfited by this reception of his employee. Mozart. Mozart is suddenly delighted. out of the Archbishop's line of sight. The more li- The company watches this scene. You will remain in my service and learn your place. then leaves the room. COLLOREDO I wish you to return immediately to Salzburg. Your Grace! I mean with all humility. no. the more you take. and encouraging the applause for the Archbishop . Go now. I would rather you dismissed me. he can dismiss me. He smiles and bows uneasily. are standing outside the private apartment. bowing and giggling. It's obvious I don't satisfy. Mozart does it with a furious grace. Your father is waiting for you there patiently. Mozart stands in the corridor. COLLOREDO Then try harder. I will speak to you further when I come. He extends his hand to be kissed. as they include him in the small ovation. He throws the door wide open so that the guests can see into the private apartment where the Archbishop sits and he can see them. At sight of the composer they break into sustained applause. As he opens the door we see: 40 INT.

Salieri. almost comic. a single note. The music is played against his description of it.with conducting gestures. OLD SALIERI (V. PALACE GRAND SALON . Salieri stares uncomprehendingly after the jaunty little figure.high above it an oboe. who steps forward and shuts the door.bassoons and basset horns like a rusty squeezebox. we again hear its lyrical strains. He turns the pages back to the slow movement.O. It seemed to me that I was hearing a voice of God. Filled with such longing. reading the score of the Adagio in helpless fascination. and struts briskly out of the room. in this vast room. such unfulfillable longing. 41 INT. bows.) Extraordinary! On the page it looked nothing. Suddenly irritated. MOZART Excuse me! He takes the score.1780's 41 Salieri.O. Just a pulse . The beginning simple. is standing and looking at the full score of the Serenade. Instantly. Suddenly the music snaps off. Then suddenly . till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. hanging there unwavering. Colloredo signs to Arco.) But why? Mozart stands before him as . it had me trembling.DAY . OLD SALIERI (V. CU. ending the applause. he lays down the score.

this Mozart? VON SWIETEN He's remarkable. wearing a military uniform. VON SWIETEN Tiresome? ORSINI-ROSENBERG A young man trying to impress beyond his abilities.1780's 42 At the table sits the EMPEROR JOSEPH II. Majesty. Around him but standing.DAY . And Salieri. highly conscious of his position as Director of the Opera. King of Crete. Too I heard it. COUNT ORSINI-ROSENBERG: a corpulent man of sixty. write down everything of importance that is said. I heard an extraordinary serious opera of his last month.NIGHT . as usual. eating his frugal dinner and sipping goat's milk. JOSEPH How good is he. He is an intelligent. wearing decorous black. aged about seventy.1823 OLD SALIERI Why? Would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. cringing and time-serving. FIRST KAPELLMEISTER GIUSEPPE BONNO: very Italian. BARON VON SWIETEN. It had to be! 42 INT. are his Chamberlain. using quill pens and inkstands. PALACE DINING ROOM . . dapper man of forty. JOHANN VON STRACK: stiff and highly correct. too. ORSINI-ROSENBERG That? A most tiresome piece. two Imperial secretaries.41A 41A INT. the Imperial Librarian: a grave but kindly and educated man in his mid-fifties. OLD SALIERI'S HOSPITAL ROOM . Idomeneo. At a side-table.

He looks defiantly at Orsini-Rosenberg. JOSEPH Ah-ha. but I'm afraid it's not possible. I'm sure he could be tempted with the right offer. solamente. VON SWIETEN Excellent. Too many notes. it is time we had a piece in our own language. an opera in German for our National Theatre. Majesty. I must agree with Herr Dirretore. The JOSEPH Very small pay.scusate . For plain people. JOSEPH Ah-ha. sir. I imagine. We could use a good German composer in Vienna. All educated people agree on that. JOSEPH Ah-ha. Kapellmeister? BONNO (Italian accent) Majesty. surely? VON STRACK I agree. Say. Opera is an Italian art.too bruta for singing. I thought it the most promising work I've heard in years. Plain German. German is . VON SWIETEN Majesty. What do you say. we should make some effort to acquire him.much spice. I beg your Majesty! Italian is the proper language for opera. too . Chamberlain? VON STRACK In my opinion. Well then. sire! ORSINI-ROSENBERG But not German. young man is still in the pay of the Archbishop.

Also. JOSEPH Well. VON STRACK Yes. JOSEPH You are cattivo. who appears carrying a basket in which is a box covered with a napkin.if that is your Majesty's intention. sir. A servant admits LORL. quill pens and ink. a marble mantelpiece above which hangs a handsome cross in olivewood. On one side of him is an open forte-piano on which he occasionally tries notes from the march he is composing. There it is. He scratches notes out with his quill. She has just come from the baker's shop.DAY - A somber room which serves both as a bedroom and a study. Opposite this image sits Salieri at his desk. to Von Strack) I want to meet this young man. It should really infuriate the Archbishop beyond measure . a young lower-class girl. SALIERI Si. 43 BEDROOM IN SALIERI'S APARTMENT . 43 1780's INT. Court Composer. with some difficulty. Majesty.which we see without a powdered wig. . what do you say? SALIERI I think it is an interesting notion to keep Mozart in Vienna. There is a knock at the door. (briskly.rough. We see a four-poster bed. bearing the figure of a severe Christ. Chamberlain. Court Composer. and ruffles his hair . JOSEPH Ah-ha. arrange a pleasant welcome for him. on which stands a pile of music paper.

SALIERI What have you got for me today? Let me see. good morning. pleased with the result. He plays through a complete line of the march. Fra焞ein Lorl? Give my best LORL Yes. thank you. A WIGMAKER'S SHOP . and starts to play the whole march. SALIERI Grazie. Are you well today. SALIERI Bene! Bene! She gives a little curtsey. seated in front of a mirror. sir. Salieri turns back to his work.VIENNA . wearing an extravagant wig. He takes a biscuit and eats. He inclines his head to the Christ above the fireplace. LORL I will. He smiles. sir. On either side of him . thanks to the baker. Signore. sir. 44 44 INT. LORL Good morning. including the phrase which pleased him. SALIERI Thank you. chewing. flattered and giggling and is shown out.my favourites.DAY .SALIERI Ah! Here she comes.1780's The march continues on the forte-piano as we see Mozart. Fra焞ein Lorl. SALIERI Ah-ha! Siena macaroons . Greedily he unwraps the napkin and lifts the lid on the box.

Your Majesty! JOSEPH (to Von Strack) Well. have two heads? He giggles. All bow and say. JOSEPH Good morning. 45 The music stops. of which he is extremely proud. what do you have for me today? . Mozart takes off the first wig. a face of doubt in the mirror. where another group awaits him. It consists of Von Strack.stands a SALESMAN. to reveal his own blonde hair. 褿ood morning. MOZART And the other one? The Salesman puts the second wig on his head. Orsini-Rosenberg. JOSEPH Good. equally extravagant. GRAND SALON . good. good. 45 1780's INT. and hands it back. He turns and comes into the salon.THE ROYAL PALACE . I can't decide. The room contains several gilded chairs dotted about. one of them holding another wig. We glimpse in the next room the Emperor Joseph bidding goodbye to a group of military officers standing around a table. MOZART And the other one? He takes it off and the other Salesman replaces it with the first wig on his head. and a fortepiano. Bonno. Von Swieten and Salieri. they're both so beautiful.DAY Why don't I Mozart pulls A door opens. MOZART Oh. gentlemen.

of course. Court Composer. Good. but I have written a little March of Welcome in his honour. Well. JOSEPH Ah-ha. There it is. He produces a paper. (to the waiting Majordomo) Bring in Herr Mozart. May I see? SALIERI (handing it over) It's just a trifle. But slowly. please. I need a minute to practice. JOSEPH Delightful. The Emperor addresses himself . Quite well. JOSEPH What a charming idea. JOSEPH Let's have some fun. sits and plays the first bars of it. Sire. JOSEPH May I try it? SALIERI Majesty. what about him? VON STRACK He's here. as he comes in? Would you permit me to play it SALIERI You do me too much honour. Herr Mozart JOSEPH Yes. I hope you won't think it improper. slowly. The Majordomo bows and goes. SALIERI Majesty.VON STRACK Your Majesty. The Emperor goes to the instrument.

Mozart. listening with admiration. but does not seem to pay attention to the music itself. PALACE CORRIDOR . played by His Majesty. Joseph plays well. ORSINI-ROSENBERG Bravo. 47 INT. He is followed by a bewildered Mozart. Mozart comes in eagerly. It finishes and all clap obsequiously. He extends his hand. ROYAL PALACE GRAND SALON . a little less enthusiasm. regards the scene. He snatches the manuscript off the stand and holds it in his hand for the rest of the scene. Sire! The Emperor rises.DAY . SALIERI A-flat. dressed very stylishly and wearing one of the wigs from the perruqier. Mozart. Majesty. JOSEPH Ah-ha! 46 INT. still bewildered. Immediately the march begins. I beg you.1780's The door opens. All the courtiers stand.to the march. Your Majesty! VON STRACK Well done. He plays a wrong note. JOSEPH Gentlemen.1780's 46 Taking his instructions literally. the Majordomo is marching very slowly toward the salon door. and to Joseph's discom- . pleased with himself. but applies himself fiercely to the manuscript. gentlemen. MAJORDOMO Herr Mozart. Ah. Mozart throws himself to his knees.VIENNA .DAY . 47 Joseph finishes the march.

Count Orsini-Rosenberg. helps him out. MOZART Oh. Perhaps you won't remember it. (raising Mozart up) You know we have met already? In this very room. 襑ill you marry me. SALIERI (taking his hand) . Joseph MOZART (bowing excitedly) Oh sir. JOSEPH And here is our illustrious Court Composer. Von Strack and Bonno nod. JOSEPH You know all these gentlemen. JOSEPH The Baron Von Swieten. (to the others) He was giving the most brilliant little concert here. yes! The honour is mine. My sister Antoinette helped him up herself. thank you. Herr Salieri. young man. no. please! It is not a holy relic. Welcome. you were only six years old. MOZART Your Majesty! JOSEPH No. Orsini-Rosenberg nods without enthusiasm. I'm sure. he slipped and fell. VON SWIETEN I'm a great admirer of yours. yes or no? Embarrassed.fort kisses the royal hand with fervour. and do you know what he did? Jumped straight into her arms and said. JOSEPH The Director of our Opera. As he got off the stool. Mozart bursts into a wild giggle. Absolutely.

Young man. dryly. grazie. Now to business. SALIERI Ah! MOZART A funny little tune.Finally! Such an immense joy. actually. Salieri inclines himself. but it yielded some good things. if you remember. Do you know I actually composed some variations on a melody of yours? SALIERI Really? MOZART Mio caro Adone. Herr Salieri MOZART (speaking expertly) Really? Oh. Sire. JOSEPH Well. Compositore brilliante e famossissimo! He bows elaborately. What do you say? MOZART Majesty! JOSEPH (to the courtiers) Did we vote in the end for German or Italian? ORSINI-ROSENBERG Well. Signore. Diletto straordinario! MOZART I know your work well. composed that March of Welcome for you. there it is. JOSEPH And now he has returned the compliment. we are going to commission an opera from you. Signore! Sono commosso! E un onore per mo eccezionale. we did finally incline to Italian. . SALIERI My pleasure.

VON STRACK Did we? VON SWIETEN I don't think it was really decided, Director. MOZART Oh, German! JOSEPH Why so? MOZART Because I've already found the most wonderful libretto! ORSINI-ROSENBERG Oh? Have I seen it? MOZART I - I don't think you have, Herr Director. mean, it's quite n - Of course, I'll show it to you immediately. ORSINI-ROSENBERG I think you'd better. JOSEPH Well, what is it about? Tell us the story. It's set - the Not yet. I German! Please let it be German.

MOZART It's actually quite amusing, Majesty. whole thing is set in a - in a He stops short with a little giggle. JOSEPH Yes, where? MOZART In a! Pasha's Harem, Majesty. JOSEPH Ah-ha. ORSINI-ROSENBERG You mean in Turkey? MOZART

A Seraglio.

Exactly. ORSINI-ROSENBERG Then why especially does it have to be in German? MOZART Well not especially. want. I don't care. He giggles again. It can be in Turkish, if you really

Orsini-Rosenberg looks at him sourly.

VON SWIETEN (kindly) My dear fellow, the language is not finally the point. you really think that subject is quite appropriate for a national theatre?

Do

MOZART Why not? It's charming. I mean, I don't actually show concubines exposing their! their! It's not indecent! (to Joseph) It's highly moral, Majesty. It's full of proper German virtues. I swear it. Absolutely! JOSEPH Well, I'm glad to hear that. SALIERI Excuse me, Sire, but what do you think these could be? Being a foreigner, I would love to learn. JOSEPH Cattivo again, Court Composer. Name us a German virtue. MOZART Love, Sire! SALIERI Ah, love! that. Well of course in Italy we know nothing about Well, tell him, Mozart.

The Italian faction - Orsini-Rosenberg and Bonno - laugh discreetly.

MOZART No, I don't think you do. I mean watching Italian opera, all those male sopranos screeching. Stupid fat couples rolling their eyes about! That's not love - it's just rubbish. An embarrassed pause. Bonno giggles in nervous amusement.

MOZART Majesty, you choose the language. It will be my task to set it to the finest music ever offered a monarch. Pause. Joseph is clearly pleased. Let it be German.

JOSEPH Well, there it is.

He nods - he has wanted this result all the time. He turns and makes for the door. All bow. Then he becomes aware of the manuscript in his hand. JOSEPH Ah, this is yours. Mozart does not take it. MOZART Keep it, Sire, if you want to. head. JOSEPH What? On one hearing only? MOZART I think so, Sire, yes. Pause. JOSEPH Show me. Mozart bows and Then he goes to forte-piano and Salieri, gather manuscript held hands the manuscript back to the Emperor. the seats himself. The others, except for around the by the King. Mozart plays the first half It is already here in my

MOZART (to Salieri) The rest is just the same. 詂on Piu Andrai. astonished. staring at it. this! Better. There is a knock at the door. takes his hands off the keys with a gesture of triumph . he alters the music so that it turns into the celebrated march to be used later in The Marriage of Figaro.yes. He does not hear it. He plays another phrase. Gradually.and grins. 48 1780's INT. which he repeats dubiously. Signore. The court watches. MOZART Or this . sits on. He finishes in great glory. He plays it with increasing abandon and virtuosity. Salieri watches with a fixed smile on his face. SALIERI Grazie. louder. 48 BEDROOM IN SALIERI'S APARTMENT . MOZART That really doesn't work.of the march with deadly accuracy. MOZART Did you try this? Wouldn't it be just a little more -? He plays another phrase. Another knock. does it? All the courtiers look at Salieri. SALIERI Yes? Lorl comes in. but .DAY Salieri is sitting at his We see the olivewood cross. desk. isn't it? He plays the first half again but stops in the middle of a phrase.

I heard you met Herr Mozart. SALIERI Yes. What else did he tell you today? Give me some CAVALIERI Well. CAVALIERI And he's been commissioned to write an opera. CAVALIERI (curtseying to him) Maestro. Lorl exits. He gets up and enters: 49 INT. high-spirited soprano of twenty is waiting for him. CAVALIERI Is there a part for me? SALIERI Is it true? .LORL Madame Cavalieri is here for her lesson. a young. sir. SALIERI Bene. SALIERI Oh? News travels fast in Vienna.DAY - KATHERINA CAVALIERI. CAVALIERI (posing. dressed in a fashionable dress and wearing on her head an exotic turban of satin. in her turban) Well? How do you like it? It's Turkish. with a feather. My hairdresser tells me everything's going to be Turkish this year! SALIERI Really? gossip. SALIERI Good morning. 1780's 49 MUSIC ROOM IN SALIERI'S APARTMENT .

do you know where it's set. I don't think you want to get involved with this one. be in it. CAVALIERI Oh! SALIERI A Turkish brothel. my dear? CAVALIERI Where? SALIERI In a harem. that's different. CAVALIERI How do you know? SALIERI Well even if there is. . CAVALIERI Oh. CAVALIERI What's that? SALIERI A brothel. He seats himself at the forte-piano. CAVALIERI Turkish? Oh. it will hardly enhance your reputation to be celebrated throughout Vienna as a singing prostitute for a Turk. if it's Turkish. CAVALIERI Why not? SALIERI Well.No. I want to SALIERI My dear. Well perhaps you could introduce us anyway. SALIERI Perhaps.

Only talent interests a He strikes the chord again. CAVALIERI (airily) Looks don't concern me.1780's 50 The heroine of the opera (Cavalieri) is in full cry addressing the Pasha with scorn and defiance. The house is full. She starts another scale. Maestro. firmly. We DISSOLVE on the singer's face. middle-aged woman and three girls. OPERA STAGE .VIENNA . all grouped around the Emperor. Bonno and Von Swieten. and she is suddenly not merely turbaned. Katherina. and we are on: 50 INT. She sings a scale.He plays a chord. woman of taste. As she hits a sustained high note the orchestral accompaniment in the middle of 襇artern Aller Arten from Il Seraglio comes in underneath and the music changes from exercises to the exceedingly florid aria. then another one. then breaks off. doing her exercises in earnest. OrsiniRosenberg.we note Von Strack. one of whom is Constanze. CAVALIERI Why? He strikes SALIERI Looks and talent don't always go together. Watching the performance . and another one. CAVALIERI What does he look like? SALIERI You might be disappointed. expertly. another chord. Cavalieri sings her next scale.which is conducted by Mozart from the clavier in the midst of the orchestra . In another box we see an overdressed. in a box. This is the formidable MADAME WEBER and . but painted and dressed totally in a Turkish manner.

Cavalieri is singing 襇artern aller Arten from the line Doch du bist entschlossen. CAVALIERI (singing) Be freed at last by death! Be freed at last by death! At last I shall be freed By! Death! BEFORE THE ORCHESTRAL CODA ENDS.compel me! Hurt me. Break me! Kill me! At last I shall be freed by death! After a few moments of this showy aria. JOSEFA and SOPHIE. Salieri. CUT TO: 51 51 INT. with no ferment. Calmly.compel me! Bind me then . Not so. I had no idea where they met . and she following his beat with rapturous eyes . . Music up again for the last 30 bars of the aria.NIGHT .yet there she stood on stage for all to see. whizzing up and down like fireworks at a fairground.or how . CAVALIERI 襍ince you are determined. with the composer and the singer staring at each other . Constanze. OLD SALIERI'S HOSPITAL ROOM .) There she was. coldly watching the stage. Welcome .every pain and woe. Bind me then . who sits in another box. Since you are determined. Showing off like the greedy songbird she was. and Salieri speaks over it.he conducting elaborately for her benefit.O.1823 Through the window we see that night has fallen. Ten minutes of ghastly scales and arpeggios.the music fades.her three daughters. All are enraptured by the spectacle and Madame Weber is especially enraptured by being there at all. OLD SALIERI (V.

He skips up onto the stage amongst them. ever. Mozart is conducting with happy excitement.1780's The brilliant Turkish finale of Seraglio bursts over us. I swear to you I never laid a finger on her.NIGHT . Or at least in lust. It took me the most tremendous effort to be faithful to my vow.VIENNA .NIGHT . CUT BACK TO: 52 52 INT. The Emperor claps vigorously and . the chandeliers descend. The curtains part.1780's The curtains are down. The curtains fall again as they all bow. OPERA HOUSE STAGE VIENNA . All the same. ever. 53 53 INT. filling it with light.so do the courtiers.following his lead . In the auditorium. Much applause. THE OPERA HOUSE . I couldn't bear to think of anyone else touching her . I wasn't a saint.least of all the Creature. ever! Honour to his regal name! Honour to his regal name! May his noble brow emblazon Glory. CAST OF SERAGLIO (singing) 襊asha Selim May he Live forever! Ever.OLD SALIERI Understand. fortune. and an excited hubbub of singers in . I was in love with the girl. All the cast is lined up on stage. joy and fame! Honour be to Pasha Selim Honour to his regal name! Honour to his regal name! The curtains fall. Mozart applauds the singers who applaud him back.

JOSEPH Bravo. all excited and chattering. 54 1780's INT. MADAME WEBER Do you know who I am? (pointing to Constanze) This is my daughter. (pushing You call Herr Mozart immediately! This . amongst others. 54 You are an ornament to our stage. Let us pass at once! We're with the It is not permitted.costume surround Mozart and Cavalieri. Also Salieri. Madame. I am Frau Weber. dear! Just ignore this fellow. Court Composer. lit by flunkies holding candles. Madame. please! Emperor. FLUNKY I am sorry. follow him. CAVALIERI Majesty. Constanze. The Emperor is seen approaching from the wings.NIGHT - BACKSTAGE CORRIDOR - MADAME WEBER Let us pass. MADAME WEBER Call Herr Mozart! is insupportable! CONSTANZE Mother. Your pupil has done you great VIENNA . Joseph stops at Cavalieri who makes a deep curtsey. JOSEPH (to Salieri) And to you. Orsini-Rosenberg and Von Swieten. Von Strack. please! MADAME WEBER Go ahead. Madame. her) Go ahead. but I have my orders. The singers line up. Suddenly a hush. credit. We are favoured guests! FLUNKY I am sorry.

German.1780's All are applauding Cavalieri. Herr Mozart! A good effort. Sire? JOSEPH Yes. to insolence! CUT BACK TO: 55 55 INT. I am no stranger to theatres. how shall one say? (he stops in difficulty. Of course now and then just now and then . Mozart bows frantically: he is over-excited. indeed. it is. I'm no stranger MADAME WEBER Young man. OPERA HOUSE STAGE - VIENNA . I mean occasionally it seems to have.it gets a touch elaborate. MOZART What do you mean. .FLUNKY (barring the way) I am sorry. MOZART It is new. Decidedly that. It's very good. Absolutely. to Orsini-Rosenberg) How shall one say. excellent effort! You've shown us something quite new today. MOZART And German? JOSEPH Oh. but no! I cannot let anyone pass.NIGHT . The Emperor turns to Mozart. Unquestionably! MOZART So then you like it? You really like it. Madame. isn't it. Sire? JOSEPH Well. yes. Your Majesty? JOSEPH Of course I do. An JOSEPH Well.

aren't I. There are just as many notes. Majesty? Pause. MOZART I don't understand. MOZART Which few did you have in mind. Your Majesty? JOSEPH Exactly. MADAME WEBER Wolfi! Wolfi. there are in fact only so many notes the ear can hear in the course of an evening. And there are simply too many notes. JOSEPH Well. Neither more nor less. that's all. followed by her daughters. Too many notes. It's quality work. I think I'm right in saying that. All turn to look at this amazing spectacle.Director? ORSINI-ROSENBERG Too many notes. Cut a few and it will be perfect. Court Composer? SALIERI Yes! yes! er. MOZART (to Salieri) But this is absurd! JOSEPH My dear. Into this uncomfortable scene bursts a sudden eruption of noise and Madame Weber floods onto the stage. JOSEPH My dear fellow. don't take it too hard. Majesty. General embarrassment. Your work is ingenious. as are required. yes. There it is. my dear! . Very well put. Majesty. young man. on the whole.

of Cavalieri. my advice is to marry this charming young lady and stay with us in Vienna. and. MADAME WEBER You see? You see? he won't I've told him that. Sire! such an honour! And. this is Madame Weber. then sees the Emperor. May I ask when you marry? She is my landlady. and these are my dear daughters. JOSEPH Really? How delightful. watching her receive it. of Salieri. Not entirely. JOSEPH Enchanted. She stares at him. CU. but . MOZART Well . This is Constanze. Your Majesty. astonished at the news. MADAME WEBER Oh! Mozart moves forward quickly.Well we haven't quite received my father's consent. but how old are you? MOZART Twenty-six. JOSEPH Well. unable even to curtsey. Madame. He giggles uncomfortably. MADAME WEBER Oh. mesmerized. CU. Not altogether. She is the fiancee of Herr Mozart.She moves toward Mozart with arms outstretched in an absurd theatrical gesture. MOZART Majesty. her mouth open. Constanze curtsies. JOSEPH Excuse me. Your Majesty.

Mozart looks hastily away MADAME WEBER Oh. MOZART Katherina! I'll tell you what I'm going to do. CONSTANZE (to Mozart) Get some water! He hurries away. Mozart sticks his head round the door. to her dressing room. CAVALIERI . with his Chamberlain. indecisive whether to follow the soprano or help Madame Weber. Mozart stays for a second. tossing her plumed head.1780's Katherina sits fuming at her mirror. Your Majesty.listen to me. I have to get some water. He nods pleasantly to all and leaves the stage. but faints instead. JOSEPH Well. I'm going to write another aria for you. Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way. 56 56 INT. I . The daughters gather around Madame Weber. Something even more amazing for the second act. All bow. A dresser is taking the pins out of her wig as she stares straight ahead of her. you give such wonderful .May I? She attempts to kiss the royal hand. from her. Strack.NIGHT . Cavalieri is glaring at Mozart. CAVALIERI'S DRESSING ROOM .I . Salieri watches. There it is. The Emperor contemplates her prone body and steps back a pace.such impeccable such royal advice. Her mother is lying on the stage.

what an evening! What a wise man we have for an Emperor. CONSTANZE Are you all right? Instead of being furious. Constanze assists her to rise. and stagehands carrying bits of the dismantled set of Seraglio. my children! (with sudden. Mozart snatches it from him and pushes his way through the crowd to Madame Weber. Frau Weber. He dashes off. hard briskness) Now I want you to write your father exactly what His Majesty said. We see all the turmoil of backstage after a performance. She is instantly revived by the shock.VIENNA . Your carriage .NIGHT . who still lies prone on the stage. Mozart pushes through the crowd surrounding her and throws water on her face. Oh. A fireman passes Mozart carrying a small bucket of water. MOZART You should really go home now. The activity continues to swirl around them. 57 57 INT. Madame Weber smiles at them rapturously.Don't bother! MOZART What? CAVALIERI Don't bother. MOZART I'll be right back. must be waiting. OPERA HOUSE STAGE .1780's Constanze and Mozart make their way quickly through a crowd of actors in turbans and caftans. MADAME WEBER Ah.

CAVALIERI What did you think of the music? SALIERI Extremely clever.NIGHT . we'll wait for you. still in costume. night.1780's Cavalieri. CAVALIERI Meaning you didn't like it. is marching up and down. MADAME WEBER That's all right. Just don't take all CAVALIERI'S DRESSING ROOM .MADAME WEBER But aren't you taking us? MOZART I have to talk to the singers. CAVALIERI Did you know? SALIERI What? CAVALIERI The marriage! SALIERI Well. SALIERI You were sublime. CAVALIERI How was I? Tell me honestly. 59 59 INT. I don't give a Had you heard? She catches him looking at her and tries to compose herself. . damn. very agitated. what does it matter to you? CAVALIERI Nothing! He can marry who he pleases.

excuse me! CAVALIERI Is her mother still lying on the floor? MOZART No. then? SALIERI How could I not? MOZART It really is the best music one can hear in Vienna today. MOZART Did you like it. CAVALIERI I'm so relieved. Salieri looks astonished. Wolfi. Don't you agree? CAVALIERI Is she a good fuck? MOZART What?? CAVALIERI I assume she's the virtuoso in that department. SALIERI Dear Mozart. Mama is not feeling very well. can't be any other reason you'd marry someone like that. CAVALIERI Come in! The door opens. MOZART Oh . she's fine. leave Constanze enters.Mozart comes in unexpectedly. She seats herself at her mirror and removes her wig. CONSTANZE Excuse me. Can we There There is a knock on the door. . my sincere congratulations.

her voice breaking and rising out of control. crying with rage. What was God up to? Here I was denying all my natural lust in order to deserve God's gift and there was Mozart indulging his in all directions .O. Good night. You can't take him away now. no.now? MOZART Of course. Cavalieri looks after them as they go. OLD SALIERI (V. Fra焞ein. He'd had her. no. This is his Mozart hurries Constanze out of the door. Creature had had my darling girl. CAVALIERI No. OLD SALIERI It was incomprehensible. why him? Why use Mozart to teach me lessons in humility? My heart was filling up with such . Won't you introduce us.even though engaged to be married! .1820's The old man speaks passionately to the priest. All the same. 60 60 INT. into Salieri's arms.and no rebuke at all! Was it possible I was being tested? Was God expecting me to offer forgiveness in the face of every offense.NIGHT . Signore. aren't you? quite extraordinary. you little shit! You are She turns and collapses. Wolfgang? MOZART Excuse us. The OLD SALIERI'S HOSPITAL ROOM . night. no.) At that moment I knew beyond any doubt. CAVALIERI You really are full of surprises. We focus on him. no matter how painful? That was very possible.

He's about to make the worst mistake of his .DAY . For his CU. AUDIENCE HALL . Sometimes for hours I would pray! 61 61 INT. COLLOREDO No! I won't have him back. once-handsome man of sixty. your understanding. CUT BACK TO: 62 INT. Leopold is a desperate. Your Grace.1780's The young Salieri is kneeling in desperation before the Cross.hatred for that little man. COLLOREDO Hardly. now far too much the subservient courtier. LEOPOLD But he needs to be here in Salzburg. yes! life.ARCHBISHOP'S PALACE SALZBURG . I couldn't stop them. He needs me and he needs you. LEOPOLD Oh sir. Send him away. VOGLER Did you try? OLD SALIERI Every day. back to Salzburg. SALIERI Please! Please! sake as well as mine. Count Arco stands beside him.62 DAY .1780's We see Leopold kneeling now not to the Cross but to Archbishop Colloredo. Your protection. SALIERI'S APARTMENT . For the first time in my life I began to know really violent thoughts. sitting impassively on his throne.BEDROOM . Christ staring from the Cross.

But don't blame him. Grace.O. sir. sir. But not again. COLLOREDO I'm not surprised. The fault is mine. COLLOREDO You have leave to try. LEOPOLD (V. Money seems to be more important to him than loyalty or friendship. I'll make him give his word to serve you faithfully. that's the truth. conceited brat. I was too indulgent with him. Your In deepest gratitude he kisses the Archbishop's hand. We hear the first dark fortissimo chord which begins the Overture to Don Giovanni: the theme associated with the character of the Commendatore. I know my son. LEOPOLD Oh. He motions Leopold to rise. Never again. .let me bring him back here. give him one more chance. he's never disobeyed me in anything.Some little Viennese slut is trying to trick him into marriage.) My dear son.and there is no one there who really cares for him. LEOPOLD Sir COLLOREDO Your son is an unprincipled. COLLOREDO And how will you make him keep it? LEOPOLD Oh. LEOPOLD Yes. He is too simple to see the trap . He has sold himself to Vienna. spoiled. I promise! I implore you . Let Vienna look out for him.I thank Your Grace! I thank you! Please. Your Grace .

Among them. Wolfgang to be your lawful husband? CONSTANZE I will.DAY .The second fortissimo chord sounds. Take no further steps toward marriage until we meet.) I write to you with urgent news. As you honour the father who has devoted his entire life to yours. The camera pulls back to see that he is in fact kneeling beside Constanze. of Mozart's head.1780's 63 We see a huge CU. Madame Weber and her daughters look on approvingly. no longer whining and anxious. MOZART I will. Constanze Weber. They are in tears. A PRIEST faces them.O. do as I bid. LEOPOLD (V. PRIEST I now pronounce you man and wife. Behind them are Madame Weber. but impressive. and a very few others. looking front and down. and await my coming. You are too gullible to see your own danger. A BAROQUE CHURCH . Mozart and Constanze kiss. PRIEST And will you. Josefa and Sophie Weber. We hear Leopold's voice over this image. The opening kyrie of the great Mass in C Minor is heard. take this man. as if reading his father's letter. 63 INT. a merry looking lady in bright clothes: the BARONESS WALDSTADTEN. The music swells and continues under the following: . I am coming to Vienna.

I vow I will become regular in my habits and productive as never before.NIGHT . the little violin made for him. an Order presented to him. and we will be so happy. 65 65 EXT. Papa. The music of the Mass fades as Leopold crumples the letter in his hand. and kiss your hand a hundred thousand times. it is done. best of Papas. And one day soon when I am a wealthy man. I knew you would have tried to dissuade me from my truest happiness and I could not have borne it. We hear Mozart's voice reading the following letter and we see. A ROOM IN LEOPOLD'S HOUSE .O.SALZBURG . THE IMPERIAL GARDENS .1780's . He is reading a letter from Wolfgang. MOZART (V. Your every word is precious to me. I long for that day. Do not blame me that I did not wait to see your dear face. To conquer here is to conquer Europe! With my wife I can do it. She is wonderful. mementos of the young prodigy's early life: the little forte-piano made for him.1780's 64 There is a view of a castle in background. Leopold sits alone in his room. Remember how you have always told me Vienna is the City of Musicians. as the camera roves around the room. and I know that you will love her. and the picture of their mother on the wall behind them.) Most beloved father. And we see portraits of the boy on the walls. you will come and live with us.DAY .VIENNA . half-packed for the journey he will not now take.64 INT. At his feet are his trunks. We see a little starling in a wicker cage. concluding with the familiar family portrait of Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing.

He smiles at Salieri. gardeners are glimpsed tending the shrubs and bushes along a grassy ride. the PRINCESS ELIZABETH. SALIERI An interesting idea. and the groom holds the head of the Princess' horse. a dumpy little Hapsburg girl of sixteen. hat in hand. I think I've come up with an excellent idea. the Salieri's face falls. like a sack of potatoes.Salieri stands waiting. As they draw level with Salieri they stop. Out of breath. Court Composer. Salieri bows respectfully. Down this ride are seen cantering two people on horseback: the Emperor Joseph and his niece. SALIERI Oh. JOSEPH Good morning. the Princess nods nervously. The Emperor rides elegantly. SALIERI Your Highness. Behind him. Your Majesty. Majesty. almost imperceptibly. JOSEPH Yes? SALIERI You already commissioned an opera from Mozart. it would be such a tremendous honour! JOSEPH I'm thinking about Herr Mozart. Princess Elizabeth. his niece. Beside him stands a royal servant. What is your view? This is my niece. They are mounted on glossy horses. Running beside her is a panting groom. JOSEPH But - . The Princess rides side-saddle. JOSEPH She has asked me to advise her on a suitable musical instructor.

JOSEPH Ah-ha. Herr Chamberlain? VON STRACK What is what? MOZART Why do I have to submit samples of my work to some stupid committee? Just to teach a sixteen-year-old girl. JOSEPH You please me. MOZART What is this. Majesty. Some kind of a little contest. SALIERI I'm sure there is a way. and runs on after the Princess. of course.And the result satisfies. Von Strack sits stiffly behind his gilded desk. There it is. stands before him. But I so want Mozart. SALIERI Yes. 66 CHAMBERLAIN VON STRACK'S STUDY . He rides on. CUT TO: 66 1780's INT. I could perhaps put together a small Committee. trembling with anger. Court Composer. My concern is to protect you from any Favouritism. .DAY Mozart A very clever idea. JOSEPH Well. suspicion of favouritism. SALIERI (bowing) Sire. and I could see to it naturally that it will select according to Your Majesty's wishes. The groom releases her horse's head.

Tonic and dominant. the Italians! VON STRACK Mozart MOZART They hate my music. from here to Resurrection! (singing angrily) Ba-ba! Ba-ba! Ba-ba! Ba-ba! Anything else is morbid. VON STRACK A little modesty would suit you better. It terrifies them. MOZART Is the Emperor angry with me? VON STRACK On the contrary. MOZART Naturally.VON STRACK Because His Majesty wishes it. The only sound Italians understand is banality. MOZART Then why doesn't he simply appoint me to the post? VON STRACK Mozart. you are not the only composer in Vienna. but I'm the best. 襉 hime! Morbidezza! Morbidezza! Italians are musical idiots and Of course! Always the Italians! . Count Orsini-Rosenberg and Court Composer Salieri. MOZART Who is on this committee? VON STRACK Kapellmeister Bonno. VON STRACK Mozart MOZART Show them one interesting modulation and they faint. MOZART No. tonic and dominant.

I'm not borrowing any more money from my mother. MOZART Oh yes? They love me here. young man.1780's 67 The room is very small and untidy. I won't! I tell you straight: I will not! You're really mad! You always know everything. and that's that! MOZART You borrowed money from your mother? CONSTANZE Yes! MOZART . up and down it. Constanze is marching Well. leave me alone. Mozart is lying on the bed. MOZART'S APARTMENT . you must submit your stuff in the same way as all your colleagues. the issue is simple.you want them to judge my music! VON STRACK Look. We'd be set up for life! MOZART They'll come anyway. CONSTANZE I think you're mad! MOZART Oh. CONSTANZE No. upset. CONSTANZE Well. If you want this post. CONSTANZE One royal pupil and the whole of Vienna will come flocking.BEDROOM . MOZART Must I? CUT TO: 67 INT.VIENNA . they will not. I know how things work in this city.DAY .

CUT TO: 67A 1780's INT. . CONSTANZE All they want to see is your work. There is a knock on the door. my dear. Caro Mio Ben. A SERVANT enters.LATE AFTERNOON - Salieri is giving a lesson to a girl student.Well. who is singing the Italian art song. SALIERI Who is she? SERVANT She didn't say. 67A SALIERI'S MUSIC ROOM . CONSTANZE This isn't pride. SALIERI (to the pupil) Excuse me. It's sheer stupidity! She glares at him. sir. But she says it's urgent. there is a lady who insists on talking to you. SERVANT Excuse me. Wolfi? the streets and beg? MOZART Don't be stupid. SALIERI Yes. don't do that again! CONSTANZE How are we going to live. almost in tears. MOZART Shut up! Just shut up! What's wrong with that? Do you want me to go into I don't need them.

Constanze drops him a shy curtsey. It will CONSTANZE Would it be too much trouble. of course. she unveils.1780's 68 Constanze stands. . SALIERI How charming. to ask you to look at them now? While I wait. SALIERI I will look at them. with two chords on the instrument.I'm bringing some samples of his work so he can be considered for the royal appointment.LATE AFTERNOON . the moment I can. SALIERI Frau Mozart? CONSTANZE That's right. CONSTANZE Excellency! SALIERI Madame. Salieri enters the salon. sir. I've come on behalf of my husband. The singing lesson ends. SALIERI I understand.Salieri goes into the salon. How can I help you? Shyly. sir. be an honour. Please give him my warmest. closely veiled. THE SALON . I'm . CUT TO: 68 INT. He takes the portfolio and puts it on a table. But why did he not come himself? CONSTANZE He's terribly busy. holding a portfolio stuffed with manuscripts. Your Excellency.

SALIERI Really? CONSTANZE My husband is a proud man. Your Excellency. This is my own idea. sir. SALIERI Then he didn't send you? CONSTANZE No. doesn't know I'm here. SALIERI I see. Just leave them with me. CONSTANZE I . Nipples of Venus. It's just! he's not practical. SALIERI Cappezzoli di Venere. My husband spends far more than he can ever earn. Your Excellency. CONSTANZE Sir. We're desperate. Money simply slips through his fingers. I know you help musicians. sir. are? Do you know what these He would be furious if he You see. I assure you they will be quite safe.SALIERI I'm afraid I'm not at leisure this very moment. knew I'd come.I really cannot do that. he He indicates a dish piled high with glazed chestnuts.he works all day long. we really need this job. I don't mean he's lazy he's not at all . Give him just this one post. Roman chestnuts . it's really ridiculous. SALIERI Let me offer you some refreshment. We'd be forever indebted! A short pause. You're famous for it.

I'm afraid. CONSTANZE Oh! They're wonderful. surprising. SALIERI These are originals? . and come back again? I have other things you might like. but it's impossible. It puts me at such a distance. SALIERI Don't keep calling me that. He opens it. just like your husband. you know. SALIERI Are you sure you can't leave that music. He is puzzled. He takes one himself. SALIERI Originals? CONSTANZE Yes. mouth. CONSTANZE That's very tempting. He smiles at her. He watches carefully. Your Excellency. Wolfi would be frantic if he found those were missing. She takes one and puts it in her We notice on his finger a heavy gold CONSTANZE Thank you very much. they're all originals. You see. He puts out his hand and takes up the portfolio from the table. She takes another chestnut. I'm from a small town. Won't you try one? They're quite He offers her the dish. I was not born a Court Composer. He looks at the music.in brandied sugar. A pause. signet-ring.

O.1780's The music CU. CUT TO: 69 69 He doesn't make copies. The music swells.1823 The old man faces the Priest. SALIERI'S SALON . OLD SALIERI He'd simply put down music already finished in his head.NIGHT . Here again was the very voice of God! I was staring through the cage of those meticulous ink-strokes at an absolute. OLD SALIERI Astounding! It was actually beyond belief. Not one. Page after page of it.) Displace one note and there would be diminishment. And music finished as no music is ever finished. These were first and only drafts of music yet they showed no corrections of any kind. INT. and the structure would fall. The manuscript in Mozart's handwriting. Do you realize what that meant? Vogler stares at him. It was clear to me. inimitable beauty.LATE AFTERNOON .CONSTANZE Yes. What we now hear is an amazing collage of great passages from Mozart's music. begins to sound under the following: OLD SALIERI (V. sir. That sound I had heard in the Archbishop's palace had been no accident. 70 70 INT. ravishing to Salieri and to us. The Court . OLD SALIERI'S HOSPITAL ROOM . Displace one phrase. as if he was just taking dictation.

He's really proud of his work. who sits happily chewing chestnuts. unable to bear any more of it. scattering across the floor in a white cascade. oblivious to Constanze. CONSTANZE Oh yes. reading the pages and dropping them on the floor when he is done with them. as he circles the room. Finally. staring wildly. He stands shaking. the music breaks off. and the post is his. sir! Overjoyed. She pushes herself away. he slams the portfolio shut. he experiences the point where beauty and great pain coalesce. she stops and kisses his hand. SALIERI Tomorrow night I dine with the Emperor. It seems to break over him like a wave and. her mouth covered in sugar. walks around and around his salon. Another pause. CONSTANZE So. perplexed. Constanze gets up.Composer. will you help him? Salieri tries to recover himself. we hear the tremendous 襋ui Tollis from the Mass in C Minor. More pages fall than he can read. Instantly. and then clasps her to him clumsily. SALIERI He raises her One word from me . reverberating in his head. thank you. SALIERI It is miraculous. CONSTANZE Oh. CONSTANZE Is it no good? A pause. We see his agonized and wondering face: he shudders as if in a rough and tumbling sea.

CUT TO: 71 INT.Come back tonight. Constanze goes down an her knees and starts picking up the music from the floor. husband. CONSTANZE But! I'm a married woman! SALIERI Then don't.NIGHT . CONSTANZE Tonight? SALIERI Alone. OLD SALIERI'S HOSPITAL ROOM . The servant enters. He rings a silver bell for a servant and abruptly leaves the roam.1823 . price. SALIERI It's a post all Vienna seeks. horrified. come tonight. Not to be vague. CONSTANZE What do you mean? SALIERI Isn't it obvious? They stare at one another: Constanze in total disbelief. It's up to you. CONSTANZE What for? SALIERI Some service deserves service in return. that is the If you want it for your No? He glares at her. Constanze stares after him. SALIERI Yes. Shocked and stunned.

why implant the desire. VOGLER (crying out) You cannot say that! OLD SALIERI No? Was Mozart a good man? VOGLER God's ways are not yours. If He didn't want me to serve Him with music.that moment: goodness is nothing in the furnace of art. hard-working. Answer VOGLER I do not claim to unravel the mysteries. I treasure them. That is all you need to know. chaste . What did it matter? Good. He will give you back the bread of eternal life. patient. Father. OLD SALIERI Yes. OLD SALIERI All I ever wanted was to sing to Him. And I was nothing to God. That's His doing.71 CU. As you should. Yes! So much for my vow of chastity. isn't it? He gave me that longing .what did it matter? Had goodness made me a good composer? I realized it absolutely then . horrified.then made me mute. tell me! Speak for Him! VOGLER My son. And you are not here to question Him. Father Vogler. Offer him the salt of penitence. OLD SALIERI Oh? I thought you did so every day. like a lust in my body. Why? Tell me that. He is all merciful. then deny me the talent? Go on. me! So speak now. . no one can speak for God.

O. We follow him through: The Servant bows and leaves. and I will show mine to Mozart and his wife.) Evening came to that room. 73 1780's INT. OLD SALIERI (V. SALIERI Dear God. 73 MUSIC ROOM IN SALIERI'S APARTMENT . One piece with your breath in it.OLD SALIERI (impatiently) Oh yes. SERVANT That lady is back. Christ stares back at him impassively. I will get him the royal position.BEDROOM . long silence. and if she comes. staring up at the cross. Then go to bed. SALIERI Show her in. yes. A long. Salieri stares at the cross. so I know that you love me.NIGHT - . Show me one sign of your favour. Father. I sat there not knowing whether the girl would return or not. yes! Always the same stale answers! (intimately to the priest) There is no God of Mercy. CUT TO: 72 1780's INT. A servant appears. Just a God of torture. Enter me! Enter me! Please! Te imploro. Just one. Salieri stirs himself. I prayed as I'd never prayed before. Please. enter me now.NIGHT - Salieri sits at his desk. I'll receive her with all respect and send her home in joy. Finally in this silence we hear a faint knocking at the door. 72 SALIERI'S APARTMENT . sir. yes. Fill me with one piece of true music. yes.

CONSTANZE Well. As she talks. He is pale and very tight. Through the far door leading from the hall.The Servant crosses it and enters: 74 1780's INT. Nervously she lifts her veil and looks about her. Suddenly Salieri appears from the music room. the portfolio of music on her lap. The first servant joins him and shuts the door on the girl. CONSTANZE I do apologize for this afternoon. leaving her alone. affecting a relaxed and warm manner.NIGHT - Constanze is sitting on an upright chair. A pause. as if to put him at his ease. girl. We stay with her. I'm here. veiled as before. I love these candlesticks. she extinguishes the candles in a pair of Venetian candelabra and subsequently other candles around the room. Where shall we go? SALIERI What? CONSTANZE Should we stay here? It's a charming room. 74 SALON IN SALIERI'S APARTMENT . The clock ticks on the mantelpiece. Were they here earlier? I didn't notice them I suppose I was too nervous. She smiles and rises to greet him. My husband has gone to a concert. They regard each other. didn't think I would enjoy it. CONSTANZE I behaved like a silly He . We hear an old carriage pass in the street below. another servant is peering at her.

襠on't be so extravagant.Wolfgang was given some candlesticks by King George in England. excuse me. watched by the horrified Salieri. Oh. Brussels. She picks up the portfolio. CONSTANZE Do you still want to look at this? Or don't we need to bother anymore? I imagine we don't. really. CONSTANZE Well. They stare at the appalled and frightened Constanze. Instantly we hear a massive chord. It doesn't do any good. hurting and baffling him. not stopping until the two servants we saw earlier appear at the door. but we can't afford them. and the great 襋ui Tollis from the Mass in C Minor fills the room. The more I tell him. To its grand and weighty sound. What do you think of this? It's real lace. Let's not talk about him. SALIERI Show this woman out! . the more he spends. Constanze starts to undress. it's much too good for every day. Oh. Presents are lovely. and drops the portfolio on the floor. but they were only wood. The music stops abruptly. She turns and takes off her shawl. pages of music pour out of it. Between him and her. SALIERI Go! Go! Go! He snatches up the bell and shakes it frantically. who is desperately trying to cover her nakedness. excuse me! There I go again. The candle flickers over her as she removes her clothes and prepares for his embrace. Suddenly he cries out. music is an active presence. I keep saying to Wolfi. The music pounds in his head. She looks at him inquiringly. He opens his mouth in distress.

him. shaking in distress. staring at him from the wall.O. OLD SALIERI (V. unfair. because You scorn my attempts at virtue.1823 Vogler looks at The old man is reliving the experience. because You choose for Your instrument a boastful. Then he leaves the room quickly. because You are unjust. 75 SALIERI'S APARTMENT . CONSTANZE You shit! You shit! You rotten shit! He seizes her wrists and thrusts her back. You and I! CUT TO: 76 76 INT. unkind. horrified. OLD SALIERI Because You will not enter me. smutty infantile boy and give me for reward only the ability to recognize the Incarnation. I will .Constanze hurls herself at him. lustful. OLD SALIERI'S HOSPITAL ROOM . we are enemies. It shatters on the floor. 75 1780's INT.BEDROOM . Salieri standing.) From now on. CONSTANZE What are you staring at? Wildly. Constanze turns and sees the two servants goggling at her in the room.NIGHT - CU. slamming the door behind him. He opens them and sees Christ across the room.NIGHT . his eyes shut. I will block You! I swear it! I will hinder and harm Your creature on earth as far as I am able. she picks up the candelabrum and throws it at them. with all my need for you.

) What use after all is Man. the fireplace. three young actresses. MOZART'S APARTMENT . it. all fairly drunk. fleshy. Schikaneder (who appears everywhere accompanied by young girls) is a large.LIVING ROOM . CUT BACK TO: 76A 1780's INT. cross. CUT TO: 77 1780's INT. MOZART Stanzi! Stanzi! Stanzi-Manzi! The others laugh. followed by EMMANUEL SCHIKANEDER. if not to teach God His lessons? The cross flames up and disintegrates.BEDROOM . MOZART Sssh! SCHIKANEDER (imitating Mozart) Stanzi-Manzi-Banzi-Wanzi! MOZART Sssh! Stay here. burning.NIGHT 77 Salieri stares at The front door bursts open. very tipsy) Sssh! You're dishgrashful! . and another man.ruin Your Incarnation.O. He walks unsteadily to the bedroom door and opens it. SCHIKANEDER (to the girls. OLD SALIERI (V. Mozart stumbles in. extravagant man of about thirty-five.NIGHT In it lies the olive wood Christ on the CU. 76A SALIERI'S APARTMENT .

crying a flood of tears.NIGHT - Constanze lies in bed. MOZART (playfully) Stanzi? How's my mouse? wuss is back! She turns around abruptly.78 1780's INT. desperately. red with weeping. MOZART Stanzi! He approaches the bed and sits on it.puss- She looks dreadful. CONSTANZE Tell them to go away. MOZART What's the matter? What is it? Immediately she Mouse-wouse? I'm back . MOZART Stop it now. MOZART What's the matter with you? CONSTANZE Tell them to go! MOZART Sssh. Mozart is shocked. . starts crying again. I've brought some friends to meet you. who comes into the room and shuts the door. 78 MOZART'S APARTMENT .BEDROOM . her eyes Stanzi! He holds her and she clings to him in a fierce embrace. Do we have anything to eat? They're all starving. I don't want to see anybody. They're next door waiting. her back turned to her husband. Stop it. What is it? CONSTANZE Tell me.

Court Composer. CONSTANZE I love you. Believe me. I made some inquiries in a routine way. SALIERI Majesty. Mozart is not entirely to be trusted . who bows and leaves the room. decision. Sire.No! MOZART Yes! CONSTANZE I love you! I love you! She starts crying again. SALIERI Majesty. SALIERI I have to tell you. JOSEPH Oh? With a gesture Joseph dismisses the butler.DINING ROOM . JOSEPH Of course not. throwing her arms around his neck. THE ROYAL PALACE . But finally. 81 Please stay with me. JOSEPH Why not? SALIERI Well. JOSEPH I don't think you understand me. I did. 81 1780's INT. Salieri stands before him. it was a most agonizing. It is rather alarming. I simply could not recommend Herr Mozart. I'm frightened.DAY - Joseph sits eating. I don't like to talk against a fellow musician. I was curious to know why he had so few pupils. Joseph is holding a memorandum from Salieri in his hand. A butler serves him goat's milk to drink.

VIENNA . SERVANT Sir. SALIERI What does he want? SERVANT He didn't say. in the course of the same Well. 82 82 INT. one of my own pupils . sir.DAY .alone with young ladies.a very young singer . lesson. SALIERI Come with me. He is met by his servant. I told him I didn't know when you would be back. JOSEPH Ah-ha. there is a Herr Mozart waiting for you in the salon. but he insisted on waiting. He mounts the stairs. JOSEPH Really? SALIERI As a matter of fact. 81A 1780's Twice.SALON . SALIERI'S APARTMENT .DAY - Salieri has just returned from the palace and is coming up the staircase. SALIERI'S HOUSE .1780's .told me she was . And stay in the room. Majesty. A pause. 81A There it is. INT.er .STAIRCASE .well! JOSEPH Yes? SALIERI Molested. Salieri is plainly alarmed.

SALIERI Why didn't you come to me yesterday. humbly. As you know. She is . but humbly. filled. Today. this post is very important to me right now. Mozart? This is a most painful situation. And congratulations to you. what brings you here? MOZART Your Excellency. Here they are. Isn't that what you wanted? SALIERI I have just come from the palace. Yesterday I could have helped you. holding a portfolio. How is your pretty wife? MOZART She is well. It's here. Salieri looks at him in distress. I'm about to become a father! She only told me last night. you requested some specimens of my work. SALIERI I'm flattered.well. actually.financial pressures. I'm a married man now. SALIERI Herr Mozart. Salieri approaches him nervously.Mozart is waiting for Salieri. Mozart stands not belligerently. You are the first to know. I truly appreciate your looking at these. MOZART Why? Here is the music. MOZART So you see. SALIERI So you are. I can't. MOZART Filled? That's impossible! I am submitting it The post has been They haven't even seen my . I don't have to tell you how much I need your help. of course. I have pressures on me .

MOZART Sommer? Herr Sommer? mediocrity. no. there is no one in the world I would rather help. But the man's a fool! He's a total SALIERI No. MOZART Look. Let's go to the palace. Between you and me. He could actually do musical harm to the Princess! SALIERI An implausible idea. that you are inclined to live somewhat . please. no: he has yet to achieve mediocrity. Please. MOZART Whom did they choose? SALIERI Herr Sommer. Without pupils I can't manage.work. but now it is too late. SALIERI You don't mean to tell me you are living in poverty? MOZART No. MOZART But I can't lose this post. no one in the world could do musical harm to the Princess Elizabeth. SALIERI It has been said. but I'm broke. my friend. Salieri offers him a glass of white dessert and a spoon. Mozart takes it absently and goes on talking. I simply can't! Excellency. Mozart chuckles delightedly. I need this post. and you can explain to the Emperor that Herr Sommer is an awful choice. I must have pupils. I'm always broke. I don't know why. can't you help me? Please! SALIERI My dear Mozart.

Papa's right . I'm not joking. MOZART How can anyone say that? We have no cock. eight at most. Name your terms. I'm not a fiend! SALIERI Of course not. I'm working on something that's going to explode like a bomb all over Europe! SALIERI Ah. MOZART Do you have a daughter? SALIERI I'm afraid not. They all want to hear me play. Seriously. have no footman.above your means. no maid. It's a bit of a secret. You give concerts. is there any chance you could manage a loan? Only for six months. how exciting! MOZART I'd better not. I'll pay you back double. As if I was some kind of fiend. don't you? We I MOZART They're stupendously successful. I'm being silly. Anything. MOZART Well. You can't get a seat. That's a promise. . could you lend me some money till you have one? Then I'll teach her for free. After that I'll be the richest man in Vienna. but they won't let me teach their daughters. Tell me more. The only problem is none will hire me. Oh.I should put a padlock on my mouth. I'm sorry. Nothing at all! SALIERI How is that possible? hear they are quite successful.

Mozart. at least five. MICHAEL SCHLUMBERG. MOZART Ah. dandified in a new coat and a plumed hat for the occasion. greeting Mozart. Will that do? 84 1780's INT. Mozart. two hundred florins is all I need Fifty? SALIERI What exactly are you working on? MOZART I can't say. it's a big secret. The hall is full of dogs. has arrived to teach at the house of a prosperous merchant. is it? Truly. Mozart. A hundred? MOZART Two thousand. (to Mozart) . this is delicious! SALIERI Cream cheese mixed with granulated sugar and suffused with rum. We all have patriotic feelings of some kind. 84 MICHAEL SCHLUMBERG'S HOUSE . I know a very distinguished gentleman I could recommend to you. However. What Oh. Crema al Mascarpone. I'm interested. Really SALIERI I don't think you should become known in Vienna as a debtor. SCHLUMBERG Quiet! Quiet! Quiet! Down there.MORNING - Hysterical barking and howling. Italian? SALIERI Forgive me. And he has a daughter. MOZART Actually. all jumping up and dashing about and making a terrific racket. he stands in his hall amidst the leaping and barking animals. come. damn you. friendly and coarse-looking.SALIERI Come. Bluff.

She's my wife. Stop it. an anxious woman in middle SCHLUMBERG (to Mozart) You won't be teaching this one either. He leads Mozart through the throng of dogs into a salon furnished with comfortable middle-class taste. my dear. They're perfectly harmless. Pay no attention. Which one. (shouting) Hannah! Come this way. just willful.Welcome to you. The young man Herr Salieri recommended to teach our Gertrude. SCHLUMBERG This is Herr Mozart.I like it. SCHLUMBERG Hannah! FRAU SCHLUMBERG appears: life. eh? You're a funny fellow. MOZART (bowing) Madame. I treat them just like my own children. they're impossible. Where is she? FRAU SCHLUMBERG Upstairs. MOZART And which one of them do you want me to teach? SCHLUMBERG What? Ha-ha! That's funny . you willful things! Come this way. . SCHLUMBERG Gertrude! FRAU SCHLUMBERG You can't be Herr Mozart! MOZART I'm afraid I am. Just ignore them.

Herr Mozart. it's him. FRAU SCHLUMBERG Michael. please! I'm sure you will find her most willing. MOZART Good morning.SCHLUMBERG Of course. She's really very excited. She's been preparing all morning. MOZART Really? FRAU SCHLUMBERG Ah. Gertrude giggles instead. her hair primped and curled. or a . You must judge for yourself. And for Gertrude. SCHLUMBERG Strudel. SCHLUMBERG People who know say the girl's got talent. Herr Mozart. If you think she stinks. She is exceedingly nervous. FRAU SCHLUMBERG (to Mozart) Perhaps a little refreshment first? little chocolate? Say good morning. GERTRUDE SCHLUMBERG appears in the doorway: an awkward girl of fifteen in her best dress. now! Here she comes. Fra焞ein Schlumberg. say so. A little coffee. this is Herr Mozart. SCHLUMBERG Gertrude! FRAU SCHLUMBERG It's such an honour for us to have you here. Who do you think it is? I thought you must be an FRAU SCHLUMBERG I've heard about you for ages! old man.

. To Mozart's dismay. He's going to need it. side by side. Just to give me an idea.1780's 85 A forte-piano is open and waiting. He leads the way into: 85 INT. absolutely quiet! (to a young beagle) Especially you. Mozart sits beside her. Mandi. if you have it. SCHLUMBERG (to the dogs) Now sit down all of you and behave. All the dogs follow him. sits at the instrument.not one sound from you. (calling and clapping his hands) Klaus! A bottle of wine. Anything will do.DAY . MOZART Now. After them come Mozart Frau and Fra焞ein Schlumberg. Up and at it! Reluctantly.MOZART I'd like a little wine. The dogs settle at their feet. FRAU SCHLUMBERG Wine? SCHLUMBERG Quite right. Prestissimo! Now let's go to it. MUSIC ROOM . SCHLUMBERG Come on. I've been waiting all day for this. please play me something. Dudelsachs . husband and wife seat themselves quite formally on a little narrow sofa. the girl Husband and wife smile Mozart gestures to the music bench. GERTRUDE (to parents) I don't want you to stay. then. encouragingly at each other. Zeman.

FRAU SCHLUMBERG That's all right, dear. here. GERTRUDE But you are here.

Just go ahead, as if we weren't

SCHLUMBERG Never mind, Strudel. It's part of music, getting used to an audience. Aren't I right, Herr Mozart? MOZART Well, yes! on the whole. I suppose. (to Gertrude) How long have you been playing, Fra焞ein? FRAU SCHLUMBERG Just one year. MOZART Who was your teacher? FRAU SCHLUMBERG I was. But she quite outgrew the little I could show her. MOZART Thank you, Madame. (to Gertrude) Come on now - courage. Play me something you know. In response the wretched girl just stares down at the keyboard without playing a note. An awkward pause. MOZART Perhaps it would be better if we were left alone. we're both a little shy. Husband and wife look at each other. SCHLUMBERG Nonsense. Strudel's not shy. She's just willful! give into her now, you'll be sorry later. Strudel - play. Silence. The girl sits unmoving. You I think

Schlumberg bellows:

SCHLUMBERG I said play!

FRAU SCHLUMBERG Michael! MOZART Perhaps if I were to play a little first, it might encourage the Fra焞ein. (to the girl) Why don't you let me try the instrument? All right? Suddenly the girl rises. Mozart smiles at the parents. They smile nervously back. Mozart slides along the bench, raises his hands and preludes over the keys. Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps to his feet and goes over to the beagle. SCHLUMBERG Stop that, Dudelsachs! Stop it at once! (to Mozart) Don't let him disturb you. He'll be all right. He's just a little willful too. Please, please - play. I beg you. Mozart resumes playing. This time it is a lively piece, perhaps the Presto Finale from the K. 450. The dog howls immediately. SCHLUMBERG Stop it! STOP! Mozart stops. SCHLUMBERG No, not you. I was talking to the dog. You keep playing. It's most important. He always howls when he hears music. We've got to break them of the habit. Play, please. Please! Amazed, Mozart starts to play the Rondo again. The dog howls louder. SCHLUMBERG That's it. Now keep going, just keep going. (to the beagle) Now you stop that noise, Dudelsachs, you stop it this instant! This instant, do you hear me? Keep going, Herr Mozart, that's it. Go

on, go on! Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles broadly. SCHLUMBERG Good, good, good! Very good dog! Very, very good Dudelsachs. (to his wife, snapping his fingers) Quick, quick, dear, bring his biscuit. The wife scurries to get a jar of biscuits. A servant brings in an open bottle of wine and a full glass on a tray. He puts it down beside Mozart as Schlumberg addresses the silent dog with deepest affection. SCHLUMBERG Now guess who's going to get a nice reward? Dudi. Clever, clever

He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and stands up. SCHLUMBERG It's a miracle, Herr Mozart! MOZART (barely controlling himself) Well, I'm a good teacher. The next time you wish me to instruct another of your dogs, please let me know. Goodbye, Fra焞 ein, goodbye, Madame! goodbye, Sir! He bows to them and leaves the room. in puzzled astonishment. FRAU SCHLUMBERG What a strange young man. SCHLUMBERG Yes. He is a little strange. 86 EXT. A BUSY STREET IN VIENNA - DAY - 1780's 86 They look after him

A cheerful scene. We see Mozart strutting and beaming, making his way through the crowd of porters, carriers and hawkers, sellers of

books and abandoned plates of food. The grim opening chords from the Overture to Don Giovanni cut across the march from Figaro. Horses and carriage clatter past him. and he is obviously not in perfect health. The light comes from behind the figure so that we see only its silhouette as it unfolds its arms towards Mozart in an alarming gesture of possession. is a menacing figure in a long. vendors of hats and ribbons. looking up the stairs. MOZART Why are you here? . low-ceilinged little room which nobody has tidied for ages. as the music continues.sausages and pastries. MOZART Papa! PAPA! Both men embrace. We see music lying everywhere. he stops. travel-stained man in clothes that need repair.among them a mandolin. a viola. he hastily sets down the bottle of wine and rushes joyfully up the stairs and hurls himself into the figure's arms. 88 INT.DAY . 88 MOZART'S LIVING ROOM . Also there are many empty wine bottles. a forte-piano with the black and white keys reversed . Leopold is now seen as an aging.1780's A cramped. The music slowly fades. he enters the door of his own house. He looks up the stairs. What he sees. 87 INT. MOZART'S HOUSE . Still in the same mood.1780's 87 Suddenly. grey cape and dark grey hat. His face is lined. Then.HALLWAY DAY . His mood is best expressed by a bubbling version of Non piu Andrai played on the forte-piano. standing on the landing. musical instruments . It takes a beat in which the air of sinister mystery is held before Mozart realizes who it is. Mozart clasps his father's arms.

LEOPOLD Am I not welcome? MOZART Of course. Stanzi . I mean today just today. Papa! my Mozart ducks away and fetches his father's bags from the landing. Just wait. Stanzi? Stanzi! Leopold looks about him at the mess in the room. She's the best cook in the world. Oh. Stanzi. LEOPOLD Is she not here? MOZART I don't know. LEOPOLD You're very thin. Her mother's a very sweet woman. MOZART Oh! I didn't know you were home. this wife of Welcome ten thousand times. you'll see. She sits up. yes.I remember now. He carries the bag across the room and opens the door of the bedroom. she's like that. MOZART Feed? Well. I mean.not exactly like this. startled. of course she feeds me. I mean no . father.yes! She had to help her mother. She stuffs me like a goose all day long. She had to go . Constanze lies in bed. yours? Does she not feed you. LEOPOLD Do you always live like this? MOZART Oh. since Mama. you'll see. welcome! Papa! He kisses his hands. this is my . Yes.

LEOPOLD How is your financial situation? MOZART It couldn't be better. darling? LEOPOLD How many pupils do you have? MOZART Pupils? LEOPOLD Yes. we'll wait. but Stanzi won't hear of it. . Leopold stares back from the doorway. it's . marvelous! People love me here. MOZART We'll wait. It's not so easy cleaning up after me. LEOPOLD They say you're in debt. She wants to do everything herself.Constanze. He closes the door again. MOZART Who? Who says that? Now that's a malicious lie! Really. who looks ill and tired. if we wanted to.it's I'm a real Why don't you get up now. You know me: pig. stares at Leopold. LEOPOLD Don't you have a maid? MOZART Oh we could. poor creature. LEOPOLD That's not what I hear. MOZART She's very tired. MOZART What do you mean? It's wonderful.

LEOPOLD What's that? MOZART Oh. let's not talk about it. You know that. They get in the way. I mean. It's not important. LEOPOLD How many? MOZART I don't know. LEOPOLD Why not? MOZART It's a secret. Papa. I've got to have time for composition.MOZART Yes. She is wearing a dressing gown and has made a perfunctory attempt to tidy her hair. Constanze comes into the room. Papa.look at her! Isn't she beautiful? Come on now. He picks up some pages of manuscript. MOZART It's too dangerous. LEOPOLD You don't have secrets from me. MOZART This one will. Could you want a prettier girl for a daughter? . MOZART My Stanzi . confess. LEOPOLD Composition doesn't pay. I don't want pupils. Ah. We see that she is clearly pregnant. there she is! But they're going to love it.

CONSTANZE May I offer you some tea. Call him Papa. Herr Mozart. You don't want tea. . LEOPOLD Why didn't you mention it in your letters? MOZART Didn't I? I thought I did. I'm sure I did. yes. LEOPOLD I see that you're expecting. here. don't you? CONSTANZE Wolfi! MOZART What? How can you be so boring? Tea! I'll cook us something CONSTANZE Wolfi.CONSTANZE Stop it. Let's go dancing. I think your father's tired. Wolfi. LEOPOLD When. Papa loves parties. Welcome to our house. MOZART He's not Herr Mozart. Herr Mozart? MOZART Tea? Who wants tea? Let's go out! This calls for a feast. Papa. may I ask? CONSTANZE In three months! Papa. I look dreadful. CONSTANZE Oh. MOZART Isn't that marvelous? We're delighted. He gives a little giggle of embarrassment.

come. He turns and looks at his son through this mask. We see the musicians thumping it out on a balustrade above the dancers. 90 INT. Papa! What better way could I spend it than on you? My kissable. missable. suddenly visible Papa! The jaunty tune of Ich Mochte Wohl Der Kaiser sein (K.1780's This is a shop where one can buy costumes for masquerades. to which is attached a full mask of dark grey.DAY . A steer is being roasted. headed by the figure of Bacchus: this is Schikaneder in a Greek costume. This is an alternate song from Il Seraglio: a very extroverted tune for baritone and orchestra and a prominent part for bass drum. a mask pushed up on his forehead.NIGHT . The music of Ich Mochte Wohl Der Kaiser sein increases in volume and persists. Constanze is wearing a little white velvet mask. Don't spend any money on me. couples shopping.539) sounds through all the following. STREET IN VIENNA . Leopold is helped by two assistants to put on a dark grey cloak and a dark grey tricorne hat. Couples are dancing around dressed in fantastic costumes. The vocal part should be arranged for trumpet.1780's 89 We see 90 Mozart and Constanze with Leopold between them. CUT STRAIGHT TO: 91 91 INT. Through the bobbing crowd we see a group.VIENNA .VIENNA . Amidst the merriment. It is filled with extravagant costumes of various kinds. A COSTUME SHOP . That'll be fine. Its mouth is cut into a fixed upward smile.LEOPOLD Thank you. MOZART Why not? Oh. A LARGE PARTY ROOM .1780's We are in the full whirl of a Masquerade Ball. 89 EXT.DAY . wearing . Wolfgang is wearing a costume.

As soon as they disappear into the far room. A GROTTO ROOM NEXT DOOR .vine leaves in his hair. Mozart is dancing with one of the actresses. A forte-piano to one side is being played by Schikaneder: the music of Ich Mochte Wohl Der Kaiser sein cross-fades to another tune. Constanze is dancing with Leopold. the two other actresses are dancing with two other gentlemen. they are watched by Salieri. He quickly takes a small black mask and puts it on. is humming as he plays. Salieri goes quickly to a lady in the corner who is giving guests domino masks off a tray. This whole group threads its way across the crowded room and disappears through a door.from the doorway . When the music stops they will each have to find a chair. Schikaneder stops playing. standing alone in a corner.1780's 92 A fantastic room designed as a rocky grotto. wearing ordinary evening clothes. He is accompanied by his usual trio of actresses and three other men. The music is actually accompanying a game of Forfeits. and the one who fails must pay a forfeit. The scene is watched by a circle of bystanders. bumping and pushing at each other to get sole possession of it.a little boy and a little girl. This is Vivat Bacchus from Il Seraglio which Schikaneder. To the amusement of . and two children dance together . lit by candles. As they go. which has begun.NIGHT . among them . Five couples (the group we have just seen) are dancing in the middle of a ring made by nine chairs. CUT TO: 92 INT. dressed as Bacchus. Constanze as Columbine and Mozart as Harlequin are pulling Leopold by the hand of his dark cloak and smiling mask. He turns away hastily to avoid being seen by them. Immediately the couples scramble for the chairs.is Salieri. Leopold and Constanze meet on the same chair.

Constanze immediately gets up again. The third actress takes Constanze's wig from Mozart and attempts to put it on his father's head. CONSTANZE 襎his is just a game. Mozart takes off Constanze's wig . LEOPOLD No. LEOPOLD No. You both lost.an absurd affair with side-curls. the chair over-balances and they both end up on the floor. Papa. The three actresses immediately surround Leopold. no! You both lost. and tries to pretend she was sitting in it all the time. the bystanders take it up.the people around. to reveal his outraged face showing a very different expression underneath. SCHIKANEDER No. People are delighted by the idea of this penalty. especially the children. BYSTANDERS . Another actress snatches off his wig to reveal very sparse hair on the old man's head. reaching for his hat and mask and wig. please! This is ridiculous! No. But Schikaneder calls out from the forte-piano. 蔣ou both have to forfeit. sets the chair on its feet. Papa! Laughingly. And the penalty is! you must exchange your wigs. Constanze laughingly surrenders it. whilst he tries to hold on to them. please! Despite his protests an actress takes off his hat. Constanze echoes him with a touch of malice in her voice. The children jump up and down with excitement. really! MOZART (calling to him) This is just a game. to which the smiling mask is attached.

Name it. He giggles. MOZART Yes. Everybody bursts into applause. Don't spoil the fun. Papa. the music stops again. Constanze puts on Leopold's wig. the others scramble for the other chairs. Leopold angrily takes off Constanze's wig and leaves the circle. The effect. his partner. is still somewhat bizarre. hat and mask: from the waist up she now looks like a weird parody of Leopold in the smiling grey mask. the actress succeeds in getting Constanze's wig firmly onto his head. Schikaneder starts to play again. Mozart leaves his partner and catches his father entreatingly by the arm. Papa. and the couples start to dance. and he looks like a weird parody of her in the silly feminine wig. I'll do anything you say! LEOPOLD I want you to come back with me to Salzburg. Seeing this. MOZART Oh no. Delightedly. SCHIKANEDER What did he say? What did he say? MOZART Papa. since Wolfgang favours fairly elaborate wigs. He takes off his own wig and puts it on Leopold's uncovered head. Here. SCHIKANEDER Herr Mozart. is left alone. Schikaneder calls out to Leopold from the keyboard. and he is left as the Odd Man Out. my son.襎his is just a game. Come on. the rule is you can only give penalties that can be . why don't you name your son's penalty? Applause. As this happens. if not as ridiculous. He takes Constanze's wig from his father. please! take mine. Mozart gently pushes his father down onto a nearby chair. Constanze. name it. Papa! As Leopold glares furiously about him.

with some of the bystanders. I've got the perfect one for you. MOZART But my penalty. I want you to play our tune .sitting backwards. His right hand plays the bass part. Renewed applause at this wicked extra penalty.performed in the room. his left hand the treble. So does Salieri. Attracted by this astonishing feat. Mozart smiles at Schikaneder . and Schikaneder surrenders his place at it. LEOPOLD I'm tired of this game. SCHIKANEDER I've got a good one. and with this added difficulty he improvises a brilliant fugue on the subject of the tune to which they have been dancing. SCHIKANEDER Now. Only Leopold sits by himself. . Applause. that's really too easy. All the bystanders are watching. The guests call Any child can do that. the players draw nearer to the instrument. MOZART Oh. Come over here. The fugue ends amidst terrific clapping. Constanze watches him approach. cautiously. Mozart runs over to the forte-piano. sulking.it is the sort of challenge he loves. Amused sounds of disbelief. Before the astonished eyes of the company he proceeds to execute this absurdly difficult task. He defiantly puts on Constanze's wig and seats himself with his back to the keyboard. I've got to have a penalty. SCHIKANEDER And a fugue in the manner of Sebastian Bach. Please play without me.

out to Mozart. until suddenly he stops and cries out. That's very hard. Salieri staring in pain. Mozart starts to giggle wildly. watched by a highly amused group. Salieri stares at Constanze. For Salieri one has to Giggling. The laughter cuts off. clutching his behind as if he has made a mess in his breeches. who suddenly turns her head and looks challengingly back at him. GUESTS Gluck! Haydn! Who shall I do? Frederic Handel! CONSTANZE Salieri! Do Salieri! SMASH CUT: her. He builds this up. . Give me a name. relying heavily on a totally and offensively unimaginative bass of tonic and dominant. in the most obvious way imaginable. Mozart's parody reaches its coarse climax with him adding a fart noise instead of notes to end cadences. Mozart stands up. Then. Then he begins to play the tune to which they danced. face the right way around. Through this excruciating scene. GUESTS Another! Do another! Someone else. The bystanders rock with laughter. The momentary hush of alarm is followed by a howl of laughter. CU. urged on in his clowning by everyone else. he turns around and sits at the keyboard. Salieri's masked face whips around and looks at MOZART Now that's hard. endlessly repeated. He furrows his brow in mock concentration and closes his eyes. MOZART Give me a name. he begins a wicked parody. The music is the very essence of banality.

Father. OLD SALIERI Go on.NIGHT . OLD SALIERI (V. wearing Constanze's wig and emitting a shrill giggle.BEDROOM . I will laugh at You! Amen! 97 INT. CUT TO: 95 1780's INT. In the middle stands a billiard table. OLD SALIERI'S HOSPITAL ROOM . Standing at the billiard table. The old man is shaking at the very recollection of his humiliation. GROTTO .O. The beautiful closing ensemble from Act IV of Figaro: Ah.1780's 94 Laugh. laugh! A repetition of the shot of Mozart at the forte-piano. Faintly we see the mark of the cross.NIGHT . Laugh. Mock me. Tutti contenti! Saremo cosi plays in the background.1823 CU. He holds in his hand the small black party mask and stares in hatred at the place on the wall where the crucifix used to hang. Go on.DAY .NIGHT - Salieri sits at his desk. You wait! I will laugh at You! Before I leave this earth. Mozart is dreamily hearing the music and playing shots on the table. From time to time he . MOZART'S WORKROOM .) That was not Mozart laughing.1780's 97 It is littered with manuscripts. Signore. CUT BACK TO: 94 INT. That was God. 95 SALIERI'S APARTMENT . That was God! God laughing at me through that obscene giggle. Show my mediocrity for all to see. Rub my nose in it.93 93 INT.

MOZART What is it? He opens the door. He is very much in his own world of composition and the billiard balls are an aid to creation. Presently. we hear a knocking at the door. Constanze follows. MOZART Yes? LORL Are you Herr Mozart? . however. ask her! CONSTANZE She won't talk to me. Framed in the doorway from outside stands Lorl. the maid we noticed in Salieri's house. CONSTANZE There's a young girl to see you.LIVING ROOM DAY She says she has to speak to you. damn! 99 INT. From his bedroom Leopold peeps out to watch. MOZART What does she want? CONSTANZE I don't know. Mozart comes out. MOZART Well. CONSTANZE (outside the door) Wolfi! Wolfgang! The music breaks off. MOZART Oh. Mozart goes to the girl. 1780's 99 MOZART'S APARTMENT .drifts over to a piece of manuscript paper and jots down notes.

MOZART What? LORL They'll be paid for by a great admirer or yours who wishes to remain anon . I can live in or out just as you wish.anonymous. MOZART Are you saying that someone is paying you to be our maid and doesn't want us to know who he is? LORL Yes.MOZART That's right. sir. And I was told to wait for an answer. LORL My name is Lorl. MOZART Papa. (to Lorl) Is this a kind of joke? LORL Not at all. Mozart turns to his father. come here and offer my services to you. ma'am. I'm a maidservant. delightedly. CONSTANZE What do you mean? What admirer? I was asked to LORL I can't tell you that. sir. His son looks at him . is this your idea? LEOPOLD Mine? The old man emerges from his bedroom. MOZART Are you playing a trick on me? LEOPOLD I never saw this girl in my life.

this won't do at all. LORL But I really can't tell you. you stay out of this. . this is ridiculous. Leopold. this is none of your business. unless he knows who is behind it. It's unheard of! CONSTANZE Well. CONSTANZE Who is 襴e? Who is letting who? (to Lorl) Could you please wait outside? LORL Yes. no? LORL That's right. Constanze turns on CONSTANZE Look. sir. ma'am. LEOPOLD But you can't take her without reference. We spend a fortune on you. then at Lorl.LEOPOLD Young woman. more than we can possibly afford. They love him here. ma'am. CONSTANZE What is ridiculous? Wolfi has many admirers in Vienna. old man. (to Lorl) Whoever sent you is going to pay. LEOPOLD Oh. no matter how generous. LEOPOLD So now we are going to let a perfect stranger into the house? Constanze looks furiously at him. Lorl goes outside and closes the door. and all you do is criticize. My son can't possibly accept such an offer. People send us gifts all the time.

You won't have to do anything for me ever again. now I'm a bad housekeeper! LEOPOLD So you are! The place is a pigsty all the time. I'm sick to death of it. MOZART Stanzi! And then you think you can - CONSTANZE No. MOZART No one calls you that. can we? LEOPOLD Never mind. I'm not staying here to be a burden. Who wants to walk out into a mess CONSTANZE And so you do! LEOPOLD And what do you expect? like this every day? CONSTANZE Oh. We can't do anything right for you. I'm leaving! MOZART Papa! LEOPOLD Don't worry. She says I sleep all day. it's right he should hear. CONSTANZE (to Lorl) When can you start? . CONSTANZE (to Mozart) Do you hear him? Do you? Explosively she opens the door. The only time you come out is to eat. LEOPOLD She does.morning to night.

coming to his aid and rising to greet the listener with its serene harmonies. every night. Mozart languidly picks up his cue and plays a shot on the billiard table: he is sucked back into his own world of sound. You'll start with that room there.S.LORL Right away. A hand comes into frame offering a plate of sugared biscuits. LEOPOLD Sorry. talking to someone confidentially. Dancing and drinking like idiot children! 101 INT. sorry! I'm sorry I spoke! I'm just a provincial from Salzburg.1780's 101 Mozart stands trying to blot out the noise of his father's shouting from the next room.DAY . On its finger we see . dressed in a walking cloak. Relieved. LORL They're out every night.) Dinner at eight! Dinner at ten! like it! if anyone feels like it! Dinner when anyone feels The ensemble of Ah. sitting before a desk. 102 INT. Leopold is left alone. SALIERI'S SALON . What do I know about smart Vienna? Parties all night. ma'am. MOZART'S WORKROOM .1780's 102 The music fades.NIGHT . We see Lorl. LEOPOLD (O. Tutti contenti! Saremo cosi from Act IV of Figaro resumes. (indicating Leopold's room) It's filthy! She leads the maid into Leopold's room. Mozart steals back into his workroom and gently closes the door. CONSTANZE Good! Come in. Till all hours. sir.

thank you. the door of the house bursts open and a grand forte-piano augmented with a pedal is carried out of it by six men. the girl hesitates. 103 1780's EXT. You're a good girl. let me know. yes. writing and writing.AFTERNOON He hands her a pile of The final movement of Mozart's Piano Concerto in E-flat (K. To its lively music. 103 MOZART'S HOUSE . SALIERI Really? What is it he's writing? LORL Oh. sir! She accepts them. He never leaves the house until evening. I wouldn't know that. You're very kind to do this. 482) begins. sir. LORL (taking one) Oh. LORL Oh. He doesn't even eat. SALIERI Of course not. SALIERI Then how does he pay for all this? Does he work at all? LORL Oh. . who run off with it down the street. will you? Confused.VIENNA STREET . Next time you're sure they'll be out of the house. delighted. coins. He just sits there. sir. all day long. sir. thank you.the gold signet ring belonging to Salieri. SALIERI Do any pupils come to the house? LORL Not that I've seen.

Then she shuts the door and hurries off in the opposite direction. 482. we glimpse the figure of Salieri. Lorl is opening the door admitting Salieri. Abruptly we CUT TO: 107 EXT. The door shuts.Following them immediately appear Wolfgang. Constanze and Leopold. peering slyly around to see that they are out of sight. AN ORNAMENTAL GARDEN . Perhaps the slow interlude in the last movement of K. Lorl is sitting up on the box beside the driver.VIENNA . . CUT TO: 104 1780's EXT. VIENNA STREET . all three dressed for an occasion.AFTERNOON 104 An outdoor concert is being given. Leopold and Constanze listen to Mozart. We stay with this scene for a little while and then CUT TO: 105 EXT. Listening to him is a sizable audience.1780's 107 They go in. AN ORNAMENTAL GARDEN . who plays his own work brilliantly. We hear the gayest and most complex passage. Lorl appears in the doorway.AFTERNOON . including the Emperor. Mozart is actually playing the final movement of his E-flat concerto with an orchestra. 106 EXT. The crowd is in a happy and appreciative mood: it is a delightful open-air scene.1780's 106 We hear more of the concerto. As soon as it goes. MOZART' S APARTMENT .AFTERNOON . Inside the vehicle.VIENNA . Mozart is conducting and playing in a reflective mood. flanked by Strack and Von Swieten.1780's 105 A carriage clopping through the streets. They climb into a waiting carriage which drives off after the forte-piano.

She points across the room to the workroom.AFTERNOON . Salieri turns to look around him. sir. SALIERI Yes what? She opens a drawer in a sideboard. He moves slowly into the 詇oly of holies' picking up objects with great reverence . Salieri stands looking about him with tremendous curiosity. Six of them. MOZART'S LIVING ROOM . strewn with manuscripts.1780's Salieri enters the private quarters of Amadeus. I could swear they were all gold. 109 INT. And inside. He touches the inkstand. he picks up Mozart's pen and strokes the feather. SALIERI Where does he work? LORL In there.1780's The room is considerably tidier as a result of Lorl's ministrations. a buckle . LORL He kept seven snuff boxes in here. Salieri 109 MOZART'S WORKROOM .then objects more important to him. He lays a finger on the candlestick with its half-expired candle.tickets from the pawnshop. a discarded wig. a sock. look I counted them . sir. crosses and goes in alone. LORL I think I've found out about the money.108 108 INT. And now look there's only one left. He is immensely excited. sir. Inside we see one gold snuff box: it is the one we saw Mozart being presented with as a child in the Vatican.a billiard ball. Standing at Mozart's desk. He touches each .AFTERNOON .

indeed. Le Nozze di Figaro Comedia per musica tratta dal Francese in quattro atti CU. 襍usanna. MOZART Baron! He sees his wife and father standing by in the crowd.VIENNA . Then another page . He is in awe.object as if it were the memento of a beloved. Against each line of notes is the name of a character: 褻ontessa. Salieri. 110 ORNAMENTAL GARDEN . CU. Leopold is signaling insistently. Clever man. 褻herubino. Finally his eye falls on the sheets of music themselves.the title page . . 482). Yes.written in Mozart's hand. Mozart is playing the cadenza and coda of Piano Concerto (K. Mozart. He completes the work with a flourish. Really quite fine. CU. Stealthily he picks them up. There is loud applause. The pages. MOZART Most charming. CUT TO: 110 1780's EXT. We see words set to music. The word 褾igaro. JOSEPH Bravo. Sire! VAN SWIETEN Well done. MOZART Thank you. The Emperor rises and all follow suit. Mozart. Mozart comes down to be greeted by him.AFTERNOON He stares amazed.

And the Pope four! Four bravo's from the Holy Father. Leopold comes forward eagerly and fawningly kisses the royal hand. and one 詁ellissimo. It would make his whole stay so memorable for him. No. LEOPOLD That's right.' All the courtiers around are looking at him. He would so much like to kiss your hand. Constanze curtsies. MOZART Father - .Majesty. Twenty years ago.you said -He searches his memory. 褺ravo! Bravo! Bravo! three times. Like the King of England. Three bravo's. LEOPOLD Your Majesty. You said . Your Majesty. JOSEPH 訠ravo?' LEOPOLD No! Yes. he got up at the end and said. When we played for the King of England. (to Leopold) We have met before. JOSEPH Good evening. Herr Mozart. JOSEPH Ah! By all means. 詁ravo. twentytwo! twenty-three! And I remember word for word what you said to me.' of course 詁ravo'! Everybody always says 詁ravo' when Wolfi plays. may I ask you to do me the greatest favour? JOSEPH What is it? MOZART May I introduce my father? He is on a short visit here and returning very soon to Salzburg.

ORSINI-ROSENBERG'S STUDY . SALIERI I've just learned something that might be of interest to you. There it is. Figaro. The Director sits at his table with Salieri and Bonno.DAY . ORSINI-ROSENBERG You mean! that play? SALIERI Exactly. could teach our children the gratitude they owe to fathers.' JOSEPH Ah-ha. An Italian opera. I wish to express only one thing .1780's 111 Well. ORSINI-ROSENBERG Yes? SALIERI Mozart is writing a new opera. The Marriage of Figaro. that your days may be long upon the earth. Herr Director.LEOPOLD Hush! I'm talking to His Majesty.that you who are the Father of us all. . It is not for nothing that the Fifth Commandment tells us: 訦 onour your Father and Mother. ORSINI-ROSENBERG Italian? BONNO Aie! SALIERI And that's not all. He has chosen for his subject. Your Majesty. CUT TO: 111 INT.

wide-eyed with alarm.ORSINI-ROSENBERG He's setting that play to music? SALIERI Yes. that it was banned in France.DAY It has been banned by VON STRACK I know we banned this play. VON STRACK Oh yes. Can you refresh my memory. BONNO What is this Marriage of Figaro? ORSINI-ROSENBERG It's a French play. ORSINI-ROSENBERG You must be mad. Herr Chamberlain. yes. Kapellmeister. but frankly I can't remember why. CUT TO: 112 1780's INT. Herr Director? ORSINI-ROSENBERG For the same reason. And that was? . BONNO Hah! He crosses himself. ORSINI-ROSENBERG Where? SALIERI Never mind. the Emperor. ORSINI-ROSENBERG Are you absolutely sure? SALIERI I've seen the manuscript. 112 CHAMBERLAIN VON STRACK'S STUDY .

DAY . VON STRACK Ah. JOSEPH Yet we hear you are making an opera from it. The room suddenly looks like a JOSEPH Mozart. are you aware I have declared the French play of Figaro unsuitable for our theatre? MOZART Yes. They all turn. Sire. and Bonno. tribunal. gentlemen. and kisses Joseph's hand. as if a Chamberlain were to expose an Emperor. Joseph is in a serious mood. Do you see the implications? This would be. THE EMPEROR'S STUDY . Majesty? JOSEPH Is this true? .ORSINI-ROSENBERG Well. Orsini-Rosenberg. CUT TO: 113 INT. He outwits his noble master and exposes him as a lecher. MOZART Who told you this. JOSEPH Sit down. Von Swieten. Salieri is not present. in a grander situation. A door opens and a lackey announces: LACKEY Herr Mozart. please. save Mozart. the play makes a hero out of a valet. They all sit. rather apprehensively. Mozart approaches.1780's 113 The Emperor stands in the middle of the room in close conversation with Von Strack.

It is not your place to ask questions. MOZART Well, yes, I admit it is. JOSEPH Would you tell me why? MOZART Well, Majesty, it is only a comedy.

Is it true?

ORSINI-ROSENBERG What you think, Mozart, is scarcely the point. His Majesty thinks that counts. MOZART But, Your Majesty -

It is what

JOSEPH (motioning him to be silent) Mozart, I am a tolerant man. I do not censor things lightly. When I do, I have good reason. Figaro is a bad play. It stirs up hatred between the classes. In France it has caused nothing but bitterness. My own dear sister Antoinette writes me that she is beginning to be frightened of her own people. I do not wish to see the same fears starting here. MOZART Sire, I swear to Your Majesty, there's nothing like that in the story. I have taken out everything that could give offense. I hate politics. JOSEPH I think you are rather innocent, my friend. In these dangerous times I cannot afford to provoke our nobles or our people simply over a theatre piece. The others look at their king solemnly, all save Mozart. MOZART But, Majesty, this is just a frolic. It's a piece about

love. JOSEPH Ah, love again. MOZART But it's new, it's entirely new. It's so new, people will go mad for it. For example, I have a scene in the second act - it starts as a duet, just a man and wife quarreling. Suddenly the wife's scheming little maid comes in unexpectedly - a very funny situation. Duet turns into trio. Then the husband's equally screaming valet comes in. Trio turns into quartet. Then a stupid old gardener - quartet becomes quintet, and so on. On and on, sextet, septet, octet! How long do you think I can sustain that? JOSEPH I have no idea. MOZART Guess! Guess, Majesty. Imagine the longest time such a thing could last, then double it. JOSEPH Well, six or seven minutes! maybe eight! MOZART Twenty, sire! How about twenty? continuous music. No recitatives. VON SWIETEN Mozart MOZART (ignoring him) Sire, only opera can do this. In a play, if more than one person speaks at the same time, it's just noise. No one can understand a word. But with music, with music you can have twenty individuals all talking at once, and it's not noise - it's a Twenty minutes of

perfect harmony. Isn't that marvelous? VON SWIETEN Mozart, music is not the issue here. No one doubts your talent. It is your judgment of literature that's in question. Even with the politics taken out, this thing would still remain a vulgar farce. Why waste your spirit on such rubbish? Surely you can choose more elevated themes? MOZART Elevated? What does that mean? Elevated! The only thing a man should elevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to the teeth with elevated things! Old dead legends! How can we go on forever writing about gods and legends? VON SWIETEN (aroused) Because they do. They go on forever - at least what they represent. The eternal in us, not the ephemeral. Opera is here to ennoble us. You and me, just as much as His Majesty. BONNO Bello! Bello, Barone. Veramente.

MOZART Oh, bello, bello, bello! Come on now, be honest. Wouldn't you all rather listen to your hairdressers than Hercules? Or Horatius? Or Orpheus? All those old bores! people so lofty they sound as if they shit marble! VON SWIETEN What? VON STRACK Govern your tongue, sir! Beat. How dare you?

All look at the Emperor.

His wedding bed to see if it will fit. MOZART Look! There's a servant. MOZART Sire. Mozart falls on his knees. Majesty? that? A slight pause. . He giggles. down on his knees. Do you know why? Not from any oppression.MOZART Forgive me. my music is not. Do you know what for? His bed. VON STRACK Herr Mozart MOZART May I just do that. Majesty. MOZART How can I persuade you if you won't let me show it? ORSINI-ROSENBERG That will do. I'm a vulgar man. Herr Mozart! MOZART Just let me tell you how it begins. Signore. JOSEPH Please. But I assure you. the whole opera is finished. JOSEPH You are passionate. he's simply measuring a space. Mozart! but you do not persuade. No. Show you how it begins? Just Then Joseph nods. work went into it? Do you know how much BONNO His Majesty has been more than patient.

In that case I think we should help Mozart all we can and do our best to protect him against the Emperor's anger.didn't His Majesty specifically forbid ballet in his opera? .CUT TO: 114 INT. gentlemen. SALIERI'S SALON . SALIERI Well. ORSINI-ROSENBERG Ballet? What ballet? SALIERI Excuse me . ORSINI-ROSENBERG What anger? SALIERI About the ballet.DAY . We watch Figaro measuring the space for his bed on the floor. si! Veramente.1780's 115 Orsini-Rosenberg and Bonno are sitting with Salieri. CUT TO: 115 INT. BONNO Si. so be it. OPERA HOUSE . Mozart is already rehearsing. singing and Susanna looking on. ORSINI-ROSENBERG Well. ORSINI-ROSENBERG The Emperor has given him permission.1780's 114 Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro. trying on the Countess' hat.DAY . SALIERI Incredible.

The singers are all in practice clothes. in the third act. Orsini-Rosenberg. He signals to the cast to break off. THE OPERA HOUSE . We are in the Act III and we hear the recitativo exchange just before the march begins. Orsini-Rosenberg and Bonno sit watching chairs. Peasants and friends start to dance in and at the same moment. Herr Director. Is there a ballet in Figaro? SALIERI Yes. ORSINI-ROSENBERG Mozart! Herr Mozart. Orsini-Rosenberg gets up and comes down to Mozart. please! The company disperses. absolutely. but this is not a ballet.DAY . A dance. may I have a word with you please. MOZART Certainly. CUT TO: 116 INT. This is a dance at Figaro's . curious. wedding. The musicians look at ORSINI-ROSENBERG Did you not know that His Majesty has expressly forbidden ballet in his operas? MOZART Yes. ORSINI-ROSENBERG Exactly. he does not use a baton. not costumes. Suddenly the march starts.1780's 116 It is a full orchestral rehearsal. He is accompanied by an anxious Bonno.ORSINI-ROSENBERG Yes. MOZART Five minutes. Right away. Mozart is conducting from the harpsichord with his hands.

MOZART What are you doing? He rips out three more. Herr Director? ORSINI-ROSENBERG Taking out what you should never have put in. per favore. He rips out a page. The little man is near hysterics. ORSINI-ROSENBERG Thank you. What's the . MOZART What are you doing. SALIERI'S SALON . please. SALIERI Wolfgang. A servant opens the door to announce. Please! He grabs Salieri. CUT TO: 117 INT. I've no one else to turn to. ORSINI-ROSENBERG It is dangerous for you to interpret His Majesty's edicts.DAY . what is it? Sta calmo. Give me your score. SERVANT Herr Mozart.1780's 117 Bonno watches in terror. who rises to greet him. MOZART Please! Please. Mozart hands him the score from which he is conducting. He goes on tearing the pages determinedly.MOZART But surely the Emperor didn't mean to prohibit dancing when it's part of the story. Mozart brushes past him straight towards Salieri.

SALIERI Really? Why? MOZART I don't know. I think I'll . he made me so angry! SALIERI You burned the score? MOZART Oh no! My wife took it out in time. I could kill him! I mean really kill him. Can't you talk to him? SALIERI Why bother with Orsini-Rosenberg? of yours. SALIERI But there are those who have power over him. I can't rewrite what's perfect. MOZART It's not fair that a man like that has power over our work. I actually SALIERI How fortunate. He's obviously no friend MOZART Oh. would you? SALIERI With all my heart. threw the entire opera on the fire. but it's perfect as it is. Mozart. MOZART Thank you! Oh. Excellency. MOZART Oh. take this up with the Emperor. thank you. They say I've got to re-write the opera. Pages of it.matter? MOZART It's unbelievable! The Director has actually ripped out a huge section of my music.

The celebrants of Figaro's wedding come in with a few pitiful dance steps. It's not a holy relic. Herr Mozart. the Emperor . to my astonishment. when suddenly. The Emperor steals in surreptitiously with Von Strack. 118 118 INT. only to come presently to a halt.DAY .1780's 119 In the background the same recitativo before the March. OPERA HOUSE . OrsiniRosenberg and Bonno. though they attempt to go on with the story for a while. Mozart glances back at the group seated in the theatre. in the middle of the third act. SALIERI (withdrawing it. no. . but instead there is silence. OLD SALIERI'S HOSPITAL ROOM . Finally. lacking their music. Everyone on stage looks lost. The singers try to go on singing. The musicians lay down their instruments.He kisses Salieri's hand. I went to the theatre ready to tell Mozart that His Majesty had flown into a rage when I mentioned the ballet.who never attended rehearsals . please. in procession. The three conspirators look at each other wide-eyed. Mozart giggles with relief and gratitude. but they have no cues from their conductor or from the accompaniment. Consternation grows on the faces of the conspirators. 119 INT. He motions everyone not to rise. no. The recitativo summons up the march. the Emperor speaks. imitating the Emperor) No. and slips into a chair behind Salieri. Mozart lays down his baton. his finger to his lips.NIGHT .1823 OLD SALIERI I'm sure I don't need to tell you I said nothing whatever to the Emperor. in a whisper.suddenly appeared.

decrees it. look at them. JOSEPH Why? ORSINI-ROSENBERG It is your regulation. Orsini-Rosenberg acknowledges his defeat.JOSEPH What is this? I don't understand. the Herr Director. Mozart strains to hear what they are saying but cannot. . no. Salieri? SALIERI It is not a question of liking. Majesty. Let me hear the scene with ORSINI-ROSENBERG But. no! the music. to a complete halt. Sire JOSEPH Oblige me. We do look at them. he has removed a balleto that would have occurred at this place. The spectacle on stage has now ground Your own law This is nonsense. JOSEPH Do you like this. Your Majesty. I'm afraid. JOSEPH Well. Is it modern? BONNO Majesty. ORSINI-ROSENBERG Yes. Orsini-Rosenberg rises and goes down to where Mozart sits anxiously with the musicians. JOSEPH No. watching his approach. No ballet in your opera. Sire.

NIGHT . as you know. There it is endless. the celebrants of Figaro's wedding start to enter as the Count and the Countess sit in their chairs. Orsini-Rosenberg returns to his king. Everybody is there: the Emperor. sullenness and defeat on the courtiers'. Herr Director! He looks back deliriously at Salieri. Then. please? MOZART Oh yes. Director. without interruption. Bonno Orsini-Rosenberg.ORSINI-ROSENBERG Can we see the scene with the music back. CUT BACK TO Mozart at the forte-piano. Majesty. . Certainly. certainly. OPERA HOUSE .1780's 120 The theatre is brilliantly lit for the first public performance of Figaro. please! The singers scatter offstage to begin the scene again. ORSINI-ROSENBERG Quite so. suddenly. In the theatre we see increasing pleasure on the Emperor's face. we're going from where we stopped. was simply to prevent hours of dancing like in French opera. Right away. JOSEPH (to Orsini-Rosenberg) What I hoped by that edict. Von Strack. trying to indicate his gratitude. MOZART Ladies and gentlemen. on a crescendo repeat of the march. Salieri acknowledges with a slight and subtle nod. With a flourish the happy composer begins a reprise of the scene which had been cut out. we CUT TO: 120 INT. The Count: Anches so. The musicians raise their bows. raising his hands. The music of the march begins faintly.

) I saw a woman disguised in her maid's clothes hear her husband speak the first tender words he has offered her in years. CUT TO: 121 121 INT. Mozart. OLD SALIERI'S HOSPITAL ROOM . OLD SALIERI (V. OPERA HOUSE . only because he thinks she is someone else.Von Swieten. a wonder was revealed. The restored third act was bold and brilliant. The fourth was a miracle. The descending scale of strings in the final ensemble (Ah.O. The company wheels in and around to the music of the restored march.NIGHT . And in spite of me. tears on his cheeks. Finally it fades. wears his Order of the Golden Spur. 122 INT. Salieri in his box.1780's 122 We see the tableau on stage with the Count kneeling to the Countess. Tutti contenti.1823 OLD SALIERI (to Vogler) So Figaro was produced in spite of me.making my defeat more bitter with each passing bar. One of the true wonders of art. God was singing through this little man to all the world . even Madame Weber and her daughters in a box. All are singing. Saremo cosi) fades in. He watches the ensemble and we listen to it for a long moment.NIGHT . I heard the music of true forgiveness filling the theatre. CU. but continues . conducting. conferring on all who sat there a perfect absolution. which reaches a triumphant climax. the actors on stage are now in costume.unstoppable . The musicians all wear imperial livery.

OPERA HOUSE .1823 OLD SALIERI And then suddenly .and SALIERI I know. did you know what that meant? With that yawn I saw my defeat turn into a victory. sympathetically.DAY . . if the public doesn't like one's work one has to accept the fact gracefully.1823 OLD SALIERI Father.a miracle! CUT BACK TO: 124 INT. OLD SALIERI'S HOSPITAL ROOM . CUT BACK TO: 125 125 INT. OrsiniRosenberg smiles.underneath the following: 123 123 INT.NIGHT .1780's 126 Mozart is pacing up and down. With one yawn the composer could still get CUT TO: 126 INT.NIGHT . SALIERI'S SALON . slow chords immediately preceding the boisterous final chord. Three yawns and the opera would fail the same night. And Mozart was lucky the Emperor only yawned once. it's outrageous. OLD SALIERI'S HOSPITAL ROOM .NIGHT . Those nearby look at him. two yawns. Still. In the near silence we see the Emperor yawn behind his hand. MOZART Nine performances! withdrawn.1780's 124 The ensemble reaches its climax. within a week at most. and fades away to the very quiet. Salieri becomes aware that some of the audience are asleep and many mare are apathetic. Nine! Salieri is listening That's all it's had .

Wolfgang! MOZART Grazie. MOZART What did you think of it yourself? SALIERI I think it's marvelous. a lei. they come? SALIERI I think you overestimate our dear Viennese. Perhaps you should give me some lessons in SALIERI (fuming) I wouldn't presume. Do you know you didn't even give them a good bang at the end of songs so they knew when to clap? MOZART I know. if it wouldn't be imposing. It would be a tremendous honour for me. MOZART Oh no. SALIERI (bowing) Grazie. . Signor Antonio! He bows too. I can speak for the Emperor. I would like you to see my new piece. I know it! Why didn't Did you like it at all? MOZART It's the best opera yet written. The poor man can't concentrate for more than an hour and you gave him four. my friend. giggling. All the same.MOZART But what is it they don't like? SALIERI Well. that. I know. the honour would be all mine. mio caro. You made too many demands on the royal ear. Truly.

CUT TO: 127 INT.1780's 127 A performance of Salieri's grand opera.O. Deafening applause from a crowded house. below her is Salieri. Salieri looking at the crowd with immense pleasure.NIGHT . Axur: King of Ormus. all applauding.) What was this? I never saw him excited before by any music but his own. Salieri staring fixedly at Mozart. seated. Orsini-Rosenberg. Bonno and Von Swieten.1823 OLD SALIERI (to Vogler) Would he actually tell me my music had moved him? Was I really going to hear that from his own lips? I found myself actually hurrying the tempo of the finale.1780's 129 . is bowing to the rapturous throng. We see the Emperor. CUT BACK TO: 129 INT.NIGHT . apparently with tremendous enthusiasm. OPERA HOUSE . Mozart standing in a box and clapping wildly. CU. are Schikaneder and the three girls we saw before in Mozart's apartment. We see the reception of the aria which we saw Cavalieri singing on the stage near the start of the film. We hear great cries of 襍alieri! Salieri! and 褺 ravo! and 褺rava! CU. OLD SALIERI (V. Von Strack. Then suddenly at: CU. then Mozart still clapping. Cavalieri. Behind him. in a mythological Persian costume. Could he mean it? 128 128 INT.NIGHT . OLD SALIERI'S HOSPITAL ROOM . OPERA HOUSE .

NIGHT . . Mozart watching this in his box. but keeps a poker face. Salieri. The Emperor is holding out the Civilian Medal and Chain. standing and shouting 褺ravo! Bravo! Then he leaves the box with Schikaneder and the girls. STAGE OF THE OPERA HOUSE . my friends. The music is utterly conventional and totally uninventive. you are the brightest star in the musical firmament.Salieri conducting the last scene from Axur: King of Ormus.NIGHT . CU. Schikaneder laughs. The decor and costumes are mythological Persian. The act comes to an end. On stage we see a big scene of acclamation: the hero and heroine of the opera accepting the crown amidst the rejoicing of the people.1780's MOZART (to Schikaneder) Well? SCHIKANEDER (mock moved) Sublime! Utterly sublime! MOZART That kind of music should be punishable by death. You do honour to Vienna and to me. Great applause in which Mozart joins in. with Schikaneder and the three actresses. CORRIDOR OF THE OPERA HOUSE . CUT TO: 131 131 INT. 130 130 INT. He passes an open bottle of wine to them.1780's A crowd of people rings Salieri at a respectful distance. He is evidently a little drunk. JOSEPH I believe that is the best opera yet written.

Salieri bows his head. but Joseph restrains him. smiling adoringly. searching for him and then finds him. Joseph places the chain around his neck. MOZART How could I not? SALIERI Did my work please you? MOZART How could it not. They tug and pat him. Eagerly Salieri moves to him. very pleased with themselves and accompanied by the three actresses. MOZART Oh no! One hears such sounds and what can one say.LIVING ROOM . All want to shake his hand. SALIERI Mozart. SALIERI You flatter me. Mozart stands there. but Salieri! Salieri smiles.NIGHT 132 Explosive laughter as Mozart and Schikaneder enter the apartment. gives him a deep curtsey. and he raises her up. Cavalieri. The crowd all flock to Salieri with cries and words of approval. Salieri makes to kiss his hand. CUT TO: 132 1780's INT. Excellency? SALIERI Yes? MOZART I never knew that music like that was possible. But he has eyes for only one man . The crowd claps. MOZART'S APARTMENT . . and passes on.he looks about him. It was good of you to come.

I've He opens the door wide to admit Schikaneder and the girls. done with! Done with! Done with! CONSTANZE Wolfi! Your father is dead. Mozart stares. Everybody's here! brought some more. sticks his head into the room. . The first loud chord of the Statue scene from Don Giovanni sounds.The front door opens. MOZART What? CONSTANZE Your father is dead. my love? CONSTANZE These gentlemen are from Salzburg. It's over. MOZART We'll have a little party. Come in. I'm done with Vienna. finished. CONSTANZE (standing up) Wolfi. MOZART Salzburg. Come in. very gingerly. MOZART Oh. Because I've got good news for him. He sees the strangers and breaks into a smile. Good. We were just talking about Salzburg. anxious not to make a noise. (to the two men. You know Herr Schikaneder? (to a girl) This is! a very nice girl. still rather drunk. Mozart. MOZART Yes. jubilantly) If you've come from my friend the Fartsbishop. We've got guests. you've arrived at just the right moment.

) So rose the dreadful ghost in his next and blackest opera. Wolfgang had actually summoned up his own father to accuse his son before all the world.1780's 133 The second chord sounds. unseen.NIGHT . There on the stage stood the figure of a dead commander calling out 襌epent! Repent! The music swells. extending his arms and pointing in accusation. On stage we see the huge figure of the Commendatore in robes and helmet. AN OPERA HOUSE . staring . Music swells up again. AN OPERA HOUSE . Music fades down a little.his servant Leporello quaking with fear under the table. We see Mozart OLD SALIERI (V. OLD SALIERI (V. The giant armoured statue of the COMMENDATORE enters pointing his finger in accusation at Don Giovanni who sits at the supper table.NIGHT .O.1780's 133A The second chord sounds.O. conducting. 133A INT.133 INT. We see Salieri standing alone in the back of a box.) And I knew . It was terrifying and wonderful to watch. We also see that the theatre is only half full. raised from the dead.that the horrifying apparition was Leopold. Music fades down. in semi-darkness. pale and deeply involved. THE COMMENDATORE (singing) Don Giovanni! The figure advances on the libertine. Commendatore adWe watch the scene on stage as the .only I understood . On stage we see a huge nailed fist crash through the wall of a painted dining room set.

Then back to Salieri in the box. Through my influence I saw to it Don Giovanni was played only five times in Vienna.dresses Giovanni.O. The madness of a man splitting in half. Salieri. understanding even more clearly how that bitter old man was still possessing his poor son from beyond the grave.a terrible way . Demons appear and drag the libertine down to Hell. The scene ends. as I stood there.) And hour after hour. down again. worshipping sound I alone seemed to hear. But in secret I went to every one of those five . The camera concentrates on the one which reads as follows: EMMANUEL SCHIKANEDER Impresario de luxe . staring wide-eyed.unable to help myself. CU. On stage Don Giovanni is seized and gripped by the Statue's icy hand. I began to see a way . my torturer. Music swells.all alone .1823 OLD SALIERI Now a madness began in me.NIGHT . Flames burst from obviously artificial rocks.I could finally triumph over God. CUT TO: 135A 1780's EXT. 134 134 INT. Music OLD SALIERI'S HOSPITAL ROOM .NIGHT . 135 INT.NIGHT - We see huge and attractive posters and billboards advertising Schikaneder's troupe. 135A SCHIKANEDER'S THEATRE .VIENNA . AN OPERA HOUSE .1780's 135 OLD SALIERI (V.

smoke. the audience is sitting at tables for an evening of vaudeville. and sitting on his mother's lap. All go quiet. Mozart. Don Giovanni and . bawdy and silly. They are rowdy. The music slithers to a stop. SCHIKANEDER'S THEATRE . etc. plates of sausages. shown before. Constanze and their son Karl. situations and tunes from Mozart's operas which we have seen and heard. actresses. Before them on the table are bottles of wine and beer. THE PARODY On stage we see a set which parodies the dining room in Don Giovanni's palace. Leporello is handing around wine on a tray.1780's 136 Noise. Suddenly there is a tremendous knocking from outside.Presents The Celebrated 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: 136 INT. All look at each other in panic. One more knock is heard. incorporating motifs.NIGHT . Then all musicians. played by a quartet of tipsy musicians. now about two years old. are watching a parody scene by Schikaneder's troupe. Schikaneder as Don Giovanni is dancing with the three actresses to the minuet from Don Giovanni (end of Act I). Leporello drops his tray with a crash.

louder. He shakes elaborately. nasal voice: COMMENDATORE (singing) Don Giovannnnnnnnnni! He tries to keep his balance as he trots in. A tall man strides out carrying a seesaw. This grows more and more menacing until the whole flat representing the wall at the back falls down. SCHIKANEDER Who is it? One more knock. It has a ridiculous expression. Exasperated. He beats at the horse. COMMENDATORE I'm here! I'm here! The horse. Standing precariously on its back is a dwarf. the horse looks about him. and is manned by four men inside. Schikaneder is pushed out. fails to locate him. The table rocks. on his shoulders stands another man. but fails.Leporello make a dash to hide under the table which is far too small to accommodate them all. Three more knocks are heard. amidst laughter from the audience. the dwarf signals to someone in the wings. SCHIKANEDER C-c-c-come in! In the pit a chromatic scale from the Overture to Don Giovanni turns into a anticipatory vamp. COMMENDATORE Down! Down! Bewildered. He sings in a high. He falls off onto the stage. but cannot see his small rider who is below his level of sight. wearing a miniature version of the armour and helmet worn by the Commendatore. The dwarf stands on the lowered end of . trying to get back on. An absurd pantomime horse gallops in. He is terrified.

COMMENDATORE Whoa! Whoa! Stop it! The dwarf almost falls off again. The Commendatore tries to extend his arms in the proper menacing attitude. Here he is. This he finds difficult. people of my own height. COMMENDATORE (singing) Don Giovannnnnnnni! SCHIKANEDER Who the devil are you? COMMENDATORE (singing) I've come to dinnnnnner! SCHIKANEDER Dinner? How dare you? I am a nobleman. and at the same time turn around to face Don Giovanni. The three girls rush to his aid and reach him just in time. COMMENDATORE Are you drunk? Ottavio! You invited me. only backwards so that he is facing away from Don Giovanni. There is a drum roll and the man above jumps down onto the raised end and the Commendatore is abruptly catapulted back onto the horse. I only dine with What do you want? And my horse. They sing in the manner of the Tree Ladies later to be put into The Magic Flute. The horse takes a bow. and retire off-stage. The two men bow to the applauding audience.the see-saw. FIRST LADY (running and singing) Be careful! SECOND LADY (running and singing) Be careful! THIRD LADY (running and singing) Be careful! .

in close harmony. sing to him. COMMENDATORE . And I'll give you my heart! Take me to your stable. The three ladies turn to Ottavio and The three ladies THREE LADIES (singing together) Give me your hoof. sing. my darling. OTTAVIO And I'm a famous horse! He gives the ladies a radiant smile. THREE LADIES (singing together) Don't hesitate a second. Ottavio neighs loudly. And never more we'll part! OTTAVIO (singing: four male voices) I'm shy and very bashful. COMMENDATORE (angry) Leave me alone! Stop it! I'm a famous horseman. I don't know what to say. Just answer yes and neigh. and runs at the girls. as before. FIRST LADY (singing) He's adorable! SECOND LADY (singing) Adorable! THIRD LADY (singing) Adorable! An orchestral chord.ALL THREE TOGETHER (close harmony) Hold tight now! They grab him.

What are you doing? You're a horse and they are whores. SOPRANO (swinging and singing) Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. On it stands a grand soprano wearing an elaborate Turkish costume. The audience applauds. They are dressed as miniature copies of the chorus in that scene except that they are wearing cooks' hats. The soprano collapses on the bar of the trapeze. I won't have any of it. SCHIKANEDER (speaking) Shut up. women! He marches off stage. Flay me! Slay me! At last I .(speaking) Stop it. At last I shall be freed by dea The Commendatore pulls out his sword. like a parody of Cavalieri's in Il Seraglio. SOPRANO (singing dramatically) Dash me! Bash me! Lash me! will be freed by death! COMMENDATORE Shut up. women. Women. reaches up and thrusts her through with it. She comes in singing a mad coloratura scale in the manner of Martern aller Arten. turning my house into a circus! You're A trapeze sails in from above. I'm sick to death of them. Boos from the audience. They sing as they march to the sound of the march that was cut from Act III of Figaro. At the same moment eight dwarves march in bearing a huge cauldron of steaming water. Remember who you are! SCHIKANEDER (speaking) This is ridiculous.

We hear the chromatic scale from the Don Giovanni overture again. repeated and repeated. and the soprano falls into the pot. The trapeze with the dead soprano is still swinging above the stage. FIRST LADY (singing) Behold! PEPPER SECOND LADY (singing) Behold! She sneezes. Schikaneder rides out. To this exciting vamp Schikaneder suddenly rides in on a real horse. waving a real sword. The first is SALT. And SCHNAPPS THIRD LADY (singing) Behold! She hiccups. . only now fast and tremolando. The three girls produce labeled bottles from under their skirts.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 stewpid soprano will do! They set the giant pot down in the middle of the stage. A tremendous splash of water. With this he cuts the string of the trapeze. All the dwarves produce long wooden cooking spoons and climb up the sides of the pot. More applause. They throw them into the pot.

I have got a good dinner. four voices) So am I.COMMENDATORE (speaking to the dwarves) How long does it take to cook a soprano? DWARVES (all together) Five hours. five minutes. climb. Schikaneder marches in as Figaro. five seconds. I'm sick to death of that tune. OTTAVIO (speaking. COMMENDATORE Shut up. All the dwarves climb up the rim of the pot. dripping with water in the middle of the pot. COMMENDATORE And that one. I'm starving! THE THREE GIRLS (singing again to the horse) Give me your hoof. Is the treat that I'll eat for my meat! COMMENDATORE Oh shut up. too! The soprano rises. but a singer. they all hum together the opening of Eine Kleine Nachtmusik. Mozart laughing delightedly with the audience. CU. COMMENDATORE (speaking) I can't wait that long. Not a sausage or stew but a singer. SOPRANO (singing) Oil me! Broil me! As they Boil me! . I'm sick of that one too. and I'll give you my heart. my darling. SCHIKANEDER (singing to the tune of Non piu ante) In the pot. Not a sausage or stew.

FIRST LADY (singing to horse) Behold! SECOND LADY (singing to horse) Behold! THIRD LADY . and I'll give you my heart! COMMENDATORE Shut up. hay! Sopranos give me hiccups.prestissimo! where are you? Leporello - The table is raised in the air by Leporello sitting under it on a bale of hay. SCHIKANEDER Leporello! We want some hay . SOPRANO (from inside the pot) Soil me! Foil me! Spoil me! HORSE I can't eat her. my darling.All the dwarves beat her back down into the pot with their long wooden spoons. I want some FIRST LADY (singing to Schikaneder) Hey! SECOND LADY (singing to Schikaneder) Hey! THIRD LADY (singing to Schikaneder) Hey! SCHIKANEDER Hey what? ALL THREE LADIES (singing to La oi daram) Give him some hay.

Then a large pie. The audience roars with laughter. Ottavio the horse rears up in disgust. and then. It flies into the audience. The rest of him stays sideways. COMMENDATORE (holding on) Hey! Hey! Watch out! The vamp starts again vigorously. Schikaneder offers him a handful of hay. COMMENDATORE Whoa! Whoa. The horse's rear-end swings around on a hinge to turn his hind-quarters straight on to the audience. Another handful of hay and out of the other end falls a string of sausages. Everybody picks up the sausages and cakes and begins to eat.(singing to horse) Behold! Ottavio the horse gives a piercing neigh and runs down to the hay. Immediately all the cast start humming the lyrical finale from Figaro: Tutti Contenti. up and up and up. Schikaneder produces an egg from his pocket. and out the other end comes a long Viennese sausage. the tempo changes and the coarse strains of Ich Mochte wohl Der Kaiser take over and the . The end of the sketch is unexpectedly lyrical and magical. crust and all. Schikaneder pops蕋 he egg into it. More and more doves fly out from the wings and fill the theatre. and then suddenly out of the horse's rear-end flies a single white dove. The horse eats it.silence. Then a shower of iced cakes! Suddenly . Wild applause. suddenly. A breathless pause as a drum roll builds the tension. His tail springs up in the air to reveal a lace handkerchief modestly hiding his arsehole. Ottavio! Whoa! Leporello pries open the horse's mouth.

good at it. how do you like that? Mozart is smiling. Among much whistling and clapping. Schikaneder takes a bow amongst his troupe. it's all good fun. On stage. if you'd played Don Giovanni here it would have been a great success. I'm not joking. SCHIKANEDER Well. but he's worth it. SCHIKANEDER I'm not sure I'd be much . Schikaneder sits at the table. and drinks from a bottle of wine. You could do something marvelous for them. I tell you.whole company is dancing. he finally jumps off the stage and strides through the audience toward the table where Mozart sits with his family. MOZART I liked the horse. MOZART I'd like to try them someday.including Mozart . A general dance as It rises immediately. a troupe of bag pipers immediately appears to play an old German tune. These people aren't fools. the curtain falls. frantically. he has been amused. Some of the audience joins in singing it.is delighted. The audience . SCHIKANEDER Isn't he marvelous? He cost me a bundle. didn't you? SCHIKANEDER Yes. less amused and is looking apprehensive. that horse. Constanze has been MOZART Wonderful! (indicating his baby son) He liked the monkey. well. They applaud vigorously.

You write a proper part for me with a couple of catchy songs. just like a paper fan. You'd have to use those. it'll have to be in German. you'd have to put a fire in it. Mozart laughs. my boy.I can do you the finest water effects you ever saw in your life. I'll guarantee you'll have a triumph-de-luxe. fill it with beautiful magic tricks and you'll be absolutely free to do anything you want. Mind you. MOZART German! SCHIKANEDER Of course! What else do you think they speak here? MOZART No. SCHIKANEDER So there you are. I love that. You belong here. SCHIKANEDER I'm serious. CONSTANZE What do you say? I . and a few trick animals. You do a big production.the more fantastic the better! That's what people want. It's a miracle. because I've got the best fire machine in the city and a big flood . Of course. Oh. MOZART Animals? SCHIKANEDER I tell you I picked up a snake in Dresden last week twelve foot long . I'd want it to be in German. you know: fantasy. no.詂ourse you would. not the snobby Court. haven't done anything in German since Seraglio. You could do anything you felt like here .folds up to six inches.

How much will you pay him? SCHIKANEDER Ah. Well. Ah, (to Mozart) I see you've got your manager with you. Well, Madame, how about half the receipts? MOZART Half the receipts! Stanzi! How much will you give him now?

CONSTANZE I'm talking about now. Down payment?

SCHIKANEDER Down payment? Who do you think I am? Whoops, I have to go. He rises in haste for his next number.

The Emperor?

SCHIKANEDER Stay where you are. You're going to like this next one. We'll speak again. Triumph-de-luxe, my boy! He winks at Mozart and disappears toward the stage. looks after him, enchanted. CONSTANZE You're not going to do this? MOZART Why not? Half the house! Either he pays now, or you don't Mozart

CONSTANZE When? We need money now. do it. MOZART Oh, Stanzi. CONSTANZE I don't trust this man. your opera. It was common.

And I didn't like what he did with

MOZART (to Karl) Well, you liked it, didn't you?

Monkey-flunki-punki.

CONSTANZE Half the house! in my hand.

You'll never see a penny.

I want it here,

MOZART (dirty) Stanzi-manzi, I'll put it in your hand! CONSTANZE Shut up! I'll not let you put anything in my hand until I see some money. He giggles like a child. CUT TO: 137 INT. SCHLUMBERG HOUSE - HALLWAY - DAY� 1780's 137

Dogs are barking wickedly. Michael Schlumberg comes in from his salon. Mozart stands there looking very unwell and bewildered. He is also drunk, but making a careful attempt to keep his composure. SCHLUMBERG Herr Mozart. What a surprise. What can I do for you?

MOZART Is my pupil still anxious to learn the art of music? SCHLUMBERG Well, your pupil is married and living in Mannheim, young man. MOZART Really? Perhaps your dear wife might care to profit from my instruction? SCHLUMBERG What is this, Mozart? What's the matter with you?

MOZART Well. Since it appears nobody is eager to hire my services, could you favour me with a little money instead? SCHLUMBERG What for?

MOZART If a man cannot earn, he must borrow. SCHLUMBERG Well, this is hardly the way to go about it. MOZART No doubt, sir. But I am endowed with talent, and you with money. If I offer mine, you should offer yours. Pause. SCHLUMBERG I'm sorry. MOZART Please. No. Please, sir.

I'll give it back, I promise.

SCHLUMBERG My answer is no, Mozart. CU, Mozart. His voice becomes mechanical. Please. Please. Please. Please.

MOZART Please. CUT TO: 138

Please.

INT.

THE IMPERIAL LIBRARY - DAY - 1790's

138

Von Swieten and Salieri stand close together. Several scholars and students are examining scrolls and manuscripts at the other end of the room. VON SWIETEN (keeping his voice down) This is embarrassing, you know. You introduced Mozart to some of my friends and he's begging from practically all of them. It has to stop. SALIERI I agree, Baron. VON SWIETEN Can't you think of anyone who might commission some work from him? I've done my best. I got him to arrange some

Bach for my Sunday concerts. I'm afraid Mozart is a lost cause. I can't think of one person to whom I dare recommend him. We see a few other customers being served by the staff: renting masks. Through the window we see him hurrying away through the snowy street full of passers-by. Salieri. He got a fee . SALIERI Indeed. It's tragic.what I could afford. He is constantly drunk. eagerly opens the box from the costume shop and takes out the same dark cloak and hat that Leopold wore to the .1790's 139 This is exactly the same shop which Mozart and Constanze visited with Leopold. no.VIENNA . waiting. THE COSTUME SHOP . CUT TO: 139 INT. He has managed to alienate practically the whole of Vienna. carriages. 139A 139A INT. The servant leaves the shop. Yes. etc. One of the staff emerges from the back of the shop carrying a large box. SALIERI'S APARTMENT .1790's The D Minor Concerto continues. etc. Now Salieri's servant stands in it. alone. A very appropriate person to do so. costumes. VON SWIETEN How sad. Baron. isn't it? Such a talent. Just a moment .as a matter of fact I think I do know someone who could commission a work from him. He never pays his debts. Can't you think of anyone who might do something for him? SALIERI No.DAY .DUSK . The opening measures of the Piano Concerto in D Minor steal in. which he hands to Salieri's servant.

The violent D Minor chord which opens Don Giovanni is heard. His face expresses pain from his stomach cramps. goes to he door and opens it. stalking through a street which is otherwise lively with people going to various festivities. SALIERI I have come to commission work from you. dressed in this menacing costume. CUT TO: 140 EXT. It presents a bitter and menacing expression. There is a gentle knock at the door. frowning mask stares at him and at us. MOZART What work? SALIERI A Mass for the dead. The music swells darkly. not a laugh.masquerade.1790's 140 As the tutti of the D Minor Concerto continues.DUSK . He appears now to be really quite sick. MOZART What dead? Who is dead? . Mozart stares in panic. Suddenly we see the assembled and alarming image reflected in a full-length mirror. A SNOWY STREET IN VIENNA . MOZART'S LIVING ROOM . Immediately there is a SHOCK CUT: The dark. we see Salieri. He puts on the cloak. Some of them wear frivolous carnival clothes. He rises. the hat and the mask and turns his back. 141 INT. SALIERI Herr Mozart? The second chord sounds and fades. dark against the snow.DUSK . only now attached to the hat is a dark mask whose mouth is cut into a frown. Salieri in costume stands in the doorway.1790's 141 Mozart sits writing at a table.

Almost against his will. CONSTANZE Who was that? MOZART No one. You He turns away.SALIERI A man who deserved a Requiem Mass and never got one. . CONSTANZE The music breaks off. accept? In it is a bag of money. Mozart closes the front door. MOZART Who are you? SALIERI I am only a messenger. Instantly we hear the opening of the Requiem Mass (also in D Minor). SALIERI Fifty ducats. well. Constanze opens the door from the bedroom. The portrait stares back. MOZART How much? Salieri extends his hand. Mozart turns and looks up at the portrait of his father on the wall. MOZART How long will you give me? SALIERI Work fast. Mozart takes the money. She sees him staring up. will see me again soon. Do you Do you accept? You will be paid Another fifty when I have the Mass. And be sure to tell no one what you do. CONSTANZE Wolfi? Wolfi! He looks at her with startled eyes.

She stares at him. the Death Mass and then achieve the death. What sublimity! First I must get . A divine music bursts out over them all. He stares at her. He gives a strange little giggle. CONSTANZE Why not? MOZART You'd think I was mad. His coffin. And suddenly in that silence. CONSTANZE What's that? Oh! (pouncing on it) Who gave you this? much is it? Wolfi. music. How OLD SALIERI'S HOSPITAL ROOM . who gave you this? MOZART I'm not telling you. Mozart's little coffin in the middle. VOGLER What? OLD SALIERI His funeral .I heard voices. Vogler stares at him in horror.1823 Old Salieri is now wildly animated. it terrified me. OLD SALIERI My plan was so simple. composed by his devoted friend Antonio Salieri. totally driven by his confession to Vogler. CONSTANZE What's the matter? She sees the bag of money. all Vienna sitting there. a great Mass of Death: Requiem Mass for Wolfgang Mozart. 142 142 INT.NIGHT .imagine it! The Cathedral.

Another knocking comes. forced to listen. His whole expression is one of wildness and engulfing fever. the music raves on. and grimaces as it hits his stomach. All around him are manuscripts. even more violently and insistently. enormous bang at the door startles him. Wolfi! He looks at her. How does one do that? How does one kill a man? It's one thing to dream about it. louder. CONSTANZE Wolfi. OLD SALIERI The only thing that worried me was the actual killing. The music breaks off.LIVING ROOM . The knocking is repeated again.What depth! What passion in the music! Salieri has been touched by God at last. He pours wine down his throat. Constanze moves to open it. laughing at Him. Do you understand? Do you? VOGLER Yes. for once. with your own hands. I at the end. There is a banging at the front door.NIGHT 143 The raging Mozart sits working frantically at this demonic music. An . It's very different when you have to do it. MOZART'S APARTMENT . Mozart does not hear it. Silence. And God. Dies Irae from Mozart's Requiem Mass bursts upon us. He raises his own hands and stares at them. spilling it. Constanze appears from the bedroom and stares at her distracted husband. Powerless powerless to stop it. CUT TO: 143 1790's INT.

He pushes her into the room. floridly dressed as usual. and shuts he door. But he's working on it. SCHIKANEDER Am I interrupting something? CONSTANZE Not at all. SCHIKANEDER I hope so. He runs out of he room. He said to tell you. Come MOZART Tell him I'm not here. into his workroom. He is clearly terrified. Don't answer it! CONSTANZE Why? Mozart springs up. SCHIKANEDER Is he happy with it? He sees he manuscript on the table. Now a little scared herself. SCHIKANEDER (peering into he room) Where's our friend? CONSTANZE He's not in. Schikaneder stands there. SCHIKANEDER . SCHIKANEDER Is this it? He picks up a page without waiting for a reply. Constanze goes to he front door and opens it cautiously. and goes to it eagerly. Tell him I'm working on it. I need it immediately. Lorl is seen peeking out from the kitchen. back later.MOZART No.

What have you got for me? Is I'm sorry! SCHIKANEDER 襑hat? The vaudeville. . I said! SCHIKANEDER Oh! I'm sorry! it finished? MOZART What? We see him as Schikaneder It's nothing for you. sees him: wild-eyed. extremely pale and strange. SCHIKANEDER Why not? MOZART Because there's nothing to see. what'd you think? MOZART Yes. He giggles triumphantly. MOZART Leave that alone! SCHIKANEDER Wolfi! MOZART Put it down! SCHIKANEDER What is this? MOZART Put it down. SCHIKANEDER Can I see it? MOZART No.What the devil is this? in the funeral business? Requiem Mass? Does he think I'm Mozart opens he workroom door. Schikaneder stares at him.

SCHIKANEDER I'm paying people just to wait for you. MOZART Here. Would you like a drink? He giggles. in my noodle. Where is it? Mozart. It's ridiculous! Do you realize that? CONSTANZE You know what's ridiculous? Your libretto. Bibbling and scribbling. Only an idiot would ask Wolfi to work on that stuff! SCHIKANEDER Oh yes? And what's so intelligent about writing a Requiem? CONSTANZE Money! Money! . that's what's ridiculous.SCHIKANEDER Look. Schikaneder suddenly grabs his lapels. we can. MOZART Well. SCHIKANEDER So let me see it. It's all right here. CONSTANZE He's doing his best. SCHIKANEDER Look. do you know how many people I've hired for you? Do you know how many people are waiting? CONSTANZE Leave him alone! SCHIKANEDER I'm paying these people. rather demented smile presents his head to Schikaneder. you little clown. with a bright. Scribbling and bibbling. I asked you if we could start rehearsal next week and you said yes. The rest is just scribbling.

LORL I'm leaving.DAY . and speaks to him with intense appeal. SALIERI Is he working? They bend him right over. SALIERI Where? LORL Here. For the CONSTANZE Oh yes. and who are you? He's worked for Kings. He has pains. paper. Herr Mozart frightens me. Just write it down. then takes all that medicine and it makes him worse. Write it. Calm. SALIERI What medicine? LORL I don't know. SALIERI'S SALON . (shouting) Who are you? Schikaneder suddenly takes Mozart by the arms. Wolfi.1790's 144 On A frightened and tearful Lorl sits before Salieri. And fuck he Death Mass. He drinks all day. Please. SALIERI Why? What has happened? LORL You don't know what it's like. SCHIKANEDER Listen.SCHIKANEDER You're mad! She's mad. in his stomach. Emperor. . 144 INT. SALIERI Now calm yourself. It's no good to anyone in your head. Wolfi. What's the matter with you? I'm scared! I'm not working there anymore.

appears dirty. on the forte-piano lies Mozart's Masonic apron.NIGHT - We watch him stand beside Constanze.BEDROOM . Tenderly he touches her hair. . we see: 145 1790's INT. who lies asleep. Papers litter the table. You know he said he saw . music of the slow introduction. The camera shows us again Leopold's portrait on the wall. lit by a few candles. looking down upon a scene of disorder. SALIERI (startled) Opera? Opera! LORL Please don't ask me to go back again. SALIERI Is he working? LORL I suppose so. And his father's dead. To the more lyrical passage of the introduction. Mozart now looks very ill. SALIERI (insistently) Are you sure it's an opera? The Overture to The Magic Flute begins grandly. we see Mozart take up a candle and enter: 146 1790's INT. very frightened. doing some silly MOZART'S APARTMENT .LIVING ROOM . 146 MOZART'S APARTMENT . To the I'm frightened! I'm He sits there all he time.LORL I'm frightened.NIGHT 145 The room.he said he saw his father. very. his wife appears worn out. he doesn't make any sense. dirty dishes are piled in the fireplace. woven with symbols. Really! When he speaks. sir. opera.

hard. Aren't I? CONSTANZE Oh yes. It ends.LIVING ROOM . like a child. Mozart crosses and opens he door.NIGHT 147 The Introduction ends and suddenly the brilliant fast fugue begins. MOZART I don't have it yet. I'm sorry. but I SALIERI Are you neglecting my request? MOZART No. MOZART'S APARTMENT . Then suddenly there is a gentle knocking at the door. briefly. rude gesture at it. but I'm all right He's all right. and makes a silly. Stanzi. Instantly Mozart starts to dance to it. He looks up at his father's portrait. Nervously. need more time. I've been sick. an irresponsible and happy boy again. sir. no! I promise you. Constanze has come into the living room. now. He is. Constanze opens her eyes and stares at him. The music fades down.Then he moves to the cot where his son Karl lies asleep and kneels. It's not finished. MOZART This is my wife. I'll give you a wonderful piece the best I ever can! He turns and looks. Warily. Mozart indicates her. Before him stands the masked stranger. all alone: gleefully. Mozart rises and returns to: 147 1790's INT. And he's working on it very . The familiar dark chords from Don Giovanni cut across the happy music. pulls up the child's little blanket and for a moment lays his own head down beside the boy's.

Work! Mozart shuts the door. MOZART I can't write it! CONSTANZE Why not? MOZART It's killing me.you've been drinking. CONSTANZE Wolfi.MOZART Give me two more weeks. I try to help you all I can and you just drink and talk nonsense and . Why on earth don't you finish it? He will not look at her or reply. And I'm so stupid I stay here and listen to you! Suddenly she starts to cry. this is really awful. Salieri contemplates them both. You're drunk. I think you really are going mad. CONSTANZE It's not fair! I worry about you all the time. This is not a ghost! This is a real man who puts down real money. Please.and frighten me! . SALIERI The sooner you finish. he closes his eyes in fear. the better your reward. He looks at her suddenly. aren't you? Be honest tell me . CONSTANZE No. CONSTANZE Give me one reason I can understand. He turns and goes down the stairs. You work like a slave for that idiot actor who won't give you a penny and here.

Absurdly. please! She sits down tearfully. Schikaneder and Mozart.1790's Mozart looks at her helplessly. CONSTANZE Please! Let me sit here. I'll just be here. in a soprano voice. chairs. sings Papagena at the keyboard. 148A EXT. giggling. I promise I won't say all word. Please. Let me stay here with you. He puts on his hat and cloak. so you know no one's going to hurt you. they end up rubbing noses and fall on each other' s necks. We hear the Rex Tremendai Majestatis from the Requiem and see on the wall the portrait of Leopold Mozart looking down. are singing the duet of the two bird-people.It's not fair! Her tears flow. Strewn about in the chairs are the three actresses. SCHIKANEDER'S SUMMER HOUSE . CUT TO: 148 148 INT. bottles and a chaos of papers. takes a bottle of wine and tiptoes from the house. we see a table. MOZART Go back to bed. VIENNA STREET . There are a few people . The camera pans slowly downward from it back to the table. Without stopping. Mozart gets up quietly. drunk and happy. Mozart is writing the music. staring at him. Inside. This little wooden structure stands in a courtyard in the tenement by the Weiden. both drunk.1790's 148A Mozart. a forte-piano.NIGHT . staggers back through the snow. the music changes from the heavy Requiem to the lighthearted patter of the PapaPapa duet from The Magic Flute. He looks up and sees that Constanze is fast asleep in her chair.NIGHT . The actor sings Papageno and the composer.

that poor trembling thing? Oh. The bedroom is also empty. Selfish . But would she listen? Who listens? 襀e's just a silly boy.DAY . empty closets. MOZART Stanzi? Stanzi-marini-bini? We see Constanze's empty bed. selfish. 褻 hoose a man. He looks about him.about. selfish. selfish. just go. INT. 襌ight away! Take he child and go. She's gone for good. she says.that's all you are. FRAU WEBER She's not coming back. Selfish! Selfish. do they? You and your music! Do you know how often she's sat in that very chair. Puzzled. And with a scream Madame Weber's voice turns into the . completely exhausted and passive under the rain of her constant speech. 150 He goes into his apartment building. Shocked to my foundation. puzzled. Mozart sits also. you know. Silly. he crosses. 襆eave. weeping her eyes out of her head because of you? I warned her. Is that my girl? Can that be my Stanzi? The happy little moppet I brought up. I said. Karl's empty bed. not a baby. Here's the money! Go to the Spa and get your health back .1790's 150 He comes through he door and stares across the living room at an open bedroom door.DAY - Frau Weber sits grimly talking. I was shocked. I said. selfish. 151 FRAU WEBER'S HOUSE . MOZART'S APARTMENT .LIVING ROOM .that's if you can. 151 1790's INT. you monster! No one exists but you. my arse. I did it and I'm proud of it.

QUEEN OF THE NIGHT (singing furiously) A hellish wrath within my heart is seething! Death and destruction Flame around my throne! If not by thee Sarastro's light be extinguished. In one of them sits Salieri.1790's 152 On stage we see the QUEEN OF THE NIGHT fantastically costumed. in The Magic Flute. we see the interior of the theatre. Then be thou mine own daughter never more! Rejected be forever! So sundered be forever All the bonds of kin and blood! Hear! Hear! Hear God of Vengeance! Hear thy Mother's vow! Thunder and lightning. now re-arranged from when we last visited it to watch the Cabaret. the name Emmanuel Schikaneder should appear very. An audience of ordinary German citizens stands in the pit area. some of these show closed curtains . & R. As she sings. applause from the audience.NIGHT .NIGHT . DISSOLVE TO: 152 INT. OUTSIDE THE THEATRE . The theatre also possesses boxes. Weiden Theatre The Actors of the Imperial and Royal privileged Theatre of the Weiden . CUT TO: 153 EXT. priv. furiously urging her daughter to kill Sarastro. very large and the name of Mozart quite small: I.their inhabitants presumably engaged in private intimacies.1790's 153 She disappears amidst tremendous On the poster for The Magic Flute.shrill packing coloratura of the second act aria of the Queen of the Night. SCHIKANEDER'S THEATRE . or sits: they are rapt and excited.

played by Schikaneder. (to audience) Which was it? Was it this one? Come on. may be had at the box office for 30 kr. Papageno. PAPAGENO Now. awful! Oh. STAGE. The book of the opera. tell me! VOICE Go back! Papageno recoils. I can't go forward and I can't go back. this is . Herr Mozart out of respect for a gracious and honourable Public.have the honour to perform THE MAGIC FLUTE A Grand Opera in Two Acts by Emmanuel Schikaneder (The Cast List) The music is by Herr Wolfgang Amadeus Mozart. furnished with two copperplates.NIGHT -1790's We CUT TO the scene immediately before Papageno's song. dressed in his costume of feathers. VOICE Go back! Papageno recoils. PAPAGENO Merciful Gods! If only I knew by which door I came in. Ein Madchen oder Weibchen. A voice calls from within. will today direct the orchestra in person. is trying to get through a mysterious door. of which is engraved Herr Schikaneder in the costume he wears for the role of Papageno. and from friendship for the author of this piece. Prices of admission are as usual To begin at 7 o'clock 154 154 INT. AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE .

Actors and actresses stand around in fantastic costumes. An enormous goblet of wine appears out of the We follow Mozart into the wings. He slips from his place and goes stealthily backstage. On stage Schikaneder is being addressed haughtily by the First Priest. Over the scene we hear Papageno being addressed by 襱he First Priest in stern tones. and a musician waiting to play it.that's divine content enough for me. Also the scenery door of a temple with the word 襑isdom inscribed on the pediment. Laughter. The gentle Gods have remitted thy punishment. but just to eat and drink? PAPAGENO (Schikaneder) Well! Laughter from the audience. We see a flying chariot and parts of a huge snake lying about.He weeps extravagantly. I'm not alone in that. Mozart indicates to the first violinist to take over as conductor. Silently Mozart indicates that he wishes to play the instrument himself. In the pit. thou hast deserved to wander forever in the darkest chasms of the earth. PAPAGENO Oh well. earth. Just give me a decent glass of wine . but yet thou shalt never feel the Divine Content of the consecrated ones. hast thou no other desire on earth. We follow him. Mozart walks to where there stands a keyboard glockenspiel with several manuals. FIRST PRIEST (on stage) Man. . FIRST PRIEST Man.

She's much better than wine! She's much better than wine! ANDANTE (encore.PAPAGENO Well. with the glockenspiel actually being played offstage by Mozart. He looks into the wings and realizes the situation with amusement. as he pretends to play his magic bells. PAPAGENO (singing. Now Papageno's aria (Ein Madchen oder Weibchen) begins.something even nicer than food and drink. . lightly. They laugh. actually I do have a rather weird feeling in my heart. A willing. as before) A sweetheart or a pretty little wife is Papageno's wish. It is interpolated. lovey dovey Would be My most tasty little dish. Schikaneder looks into the pit and does not see Mozart conducting. The wisdom of old would be mine A woman's much better than wine! Then that would be eating and drinking! The wisdom of old would be mine A woman's much better than wine. He sings joyfully and the audience watches entranced. But you know. Be my most tasty little dish! Be my most tasty little dish! ALLEGRO Then that would be eating and drinking I'd live like a Prince without thinking. I really would like I really do want . Now what on earth could that be? He stares at the audience and winks at them. lightly) ANDANTE A sweetheart or a pretty little wife is Papageno's wish. billing. Perhaps it's just indigestion.

But if she won't fly to my aid. But one little beak in my own. the actor mimes playing. billing. A willing. To a ghost I must fade! To a ghost I must fade! ANDANTE (encore) A sweetheart or a pretty little wife is Papageno's wish. suddenly. Then. lovey dovey Would be My most tasty little dish. He looks offstage in anxiety. He mimes again. And I'll up to heaven be flown. lovey dovey Would be My most tasty little dish. Then the comedian sig- . and no sound comes. And I'll up to heaven be flown! At present the girls only peck me. and then we see Mozart playing the glockenspiel with great flourishes in the wings. Then into a ghost I must fade. billing. I need to net one birdie only But if she won't fly to my aid.A willing. The song comes to a near-halt. Schikaneder stares. but still nothing comes. there is evidently some commotion. Their cruelty surely will wreck me. People are looking down on the floor. ALLEGRO I need to net one birdie only And I will stop feeling so lonely. Up to heaven be flown! Up to heaven be flown! At certain moments we see the stage from Salieri's point of view: Schikaneder singing. then pretending to play. But one little beak in my own. Then into a ghost I must fade. ALLEGRO At present the girls only peck me.

wearing an old tattered cloak and about to tie a little painted cloth representing a hideous old woman over her face. Papagena is urged to go on stage by a distracted stage manager. who is lying unconscious on the floor. PAPAGENO (appalled) What? Who the devil are you? UGLY OLD WOMAN I've taken pity on you. A few people around him are trying to revive him. There are voices saying. . 155 WINGS OF SCHIKANEDER'S THEATRE .nals to the deputy conductor to pick up the song and finish it. Suddenly we hear the voice of Salieri. Mozart is quite limp and Salieri has to fling his arms around his own neck. Another is holding a small bottle of smelling salts. All this is watched nervously by Schikaneder on stage whilst performing his scene with Papagena as an ugly old woman.NIGHT - We see the actress playing Papagena. Excuse me. my angel. 褼octor! Take him to a dressing room. Someone call a carriage. etc. At this moment Salieri gets up and hastily leaves his box. SALIERI I'll take care of him. One has put a wet handkerchief around his temples. SALIERI I have a carriage. CUT TO: 155 1790's INT. my angel. He steps forward. The actors step back respectfully. Take him home. She is looking worriedly down at Mozart. He stoops and picks up the frail composer in his arms. I heard your wish. UGLY OLD WOMAN Here I am.

The actress raises the little painted cloth with the ugly old face on it to show her own pretty young one to the audience. but looks exceedingly ill. promise then.PAPAGENO Oh. PAPAGENO Well. thank you! the luck. Well. Laughter. Some people get all Audience laughter. UGLY OLD WOMAN Well. SCHIKANEDER'S THEATRE . delectable little bird.1790's 156 Right away. Snow . Salieri has set him down in the winter's night. Mozart has recovered consciousness. 156 EXT. UGLY OLD WOMAN Now you've got to promise me faithfully you'll remain true to me forever.now? UGLY OLD WOMAN Of course now. my boy. PAPAGENO What do you mean . PAPAGENO (nervous) I can't wait. but don't you think you might be just a little tough? UGLY OLD WOMAN (amorously) Oh. More laughter. I'm tender enough A waiting sedan chair. delightful. How wonderful. I don't know! I mean you're a delicious. I'm tender enough for you. before I get any older. for you.NIGHT . Laughter. Then you'll see how tenderly your little birdie will love you.

MOZART'S APARTMENT . The porter carries Mozart into 158 1790's INT. MOZART What happened? Is it over? You're not well.NIGHT 157 The door opens. A lantern with a candle swings from the chair. . Go. 158 MOZART'S APARTMENT . carried in the arms of one of the porters. clothes lie about on the floor. The porter leaves the room.LIVING ROOM . through the mean street. MOZART (vaguely singing) Mozart stirs. Salieri helps him into the sedan. The door is shut. The table is piled high with music: the pages of the Requiem lie amongst many empty wine bottles. The porter lays Mozart down on the bed as Salieri lights candles from the lantern to reveal plates of half-eaten food and other signs left by a man whose wife has departed.is falling. no. MOZART No.BEDROOM . The chair sets off and Salieri strides beside it.NIGHT - This room is miserably neglected. It is obviously very cold. Salieri enters carrying the lantern from the sedan chair. Karl. Another very small bed nearby belongs to the child. A sock has been stuck into the broken pane of one window. The room is now really in complete disarray. He is followed by Mozart. The bed is unmade. I have to get back. SALIERI (handing the porter the lantern) Thank you. 157 1790's INT. I have - SALIERI I'm taking you home. He starts to collapse again.

SALIERI No. smiles. She went to the Spa. SALIERI I would never miss anything that you had written. know that. please. tell you. The grandest operone. He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him. SALIERI You mean she's not coming back? MOZART You're so good to me. did. He struggles to loosen his cravat. Thank you. You must SALIERI Oh no. It is a sublime piece. SALIERI Where is your wife? MOZART Not here! She's not well. SALIERI Come now. you are the greatest composer known to me. either.Papa! Papa! He He opens his eyes and sees Salieri staring down at him. MOZART Do you mean that? SALIERI I . MOZART I mean to come to my opera. him. You are the only colleague who Salieri does it for Truly. MOZART This is only a vaudeville.

starts and looks around wildly. that would help me finish it. Mozart But Then I Salieri moves to the door. He's here. it's him! SALIERI Who? MOZART The man. SALIERI What? MOZART I'm too young to be so sick. drink too much. I don't sleep well anymore. MOZART Tell him to go away. There is a violent knocking at the front door. SALIERI What man? The knocking increases in loudness.I do. Tell him if . terrifying Mozart. Don't let him in! Tell him I'm still working on it. SALIERI Shall I answer it? MOZART No! No. he would. and think stupid things. SALIERI Are you ill? MOZART The doctor thinks I am. MOZART Wait! Ask him if he'd give me some money now. MOZART I have bad fancies.

won't you? SALIERI Of course. He's just exhausted. I am looking after him. We should let him rest. that's Better not. his feathered costume is clearly seen. SCHIKANEDER Herr Salieri. he's sleeping now. all. SALIERI Yes. tell him we were here. who has obviously come straight from the theatre. yes. SCHIKANEDER Well. MOZART'S APARTMENT .SALIERI Finish what? MOZART He knows. say A triumph-de-luxe - . He knows! Salieri leaves the room. also looking anxious and also in make-up as the three attendants in The Magic Flute.NIGHT 159 Salieri goes to the front door and opens it to reveal Schikaneder. He still wears his bird make-up and under his street cloak. He has with him the three actresses. SCHIKANEDER And say everything went wonderfully.LIVING ROOM . 159 1790's INT. SCHIKANEDER But he's all right? SALIERI Oh. SCHIKANEDER Can we come in? SALIERI Well. He became dizzy.

Salieri smiles back at him and shuts the door. He contemplates the money. SCHIKANEDER Oh. staring at the door. Goodnight! They bob and curtsey. truly! This is his share. That Goodnight to you all now. opens. should cheer him up. vaguely suspicious.BEDROOM . SCHIKANEDER I'll call tomorrow. uneasily. eh? SALIERI Yes. ACTRESSES Thank you! Thank you. by the way. Your Excellency.1790's It Mozart is sitting up in bed. MOZART What happened? Salieri pours the coins out of the bag onto the coverlet. It was perfection ACTRESSES (delighted) Goodnight. Salieri returns. He stays for a moment. give him this. Excellency! Schikaneder produces a bag of money. indeed. SALIERI Bene. 160 160 INT. Schikaneder stares at Salieri. thinking. MOZART'S APARTMENT . SALIERI Yes.NIGHT .that! Tell him the audience shouted his name a hundred times. He holds in his hand the bag of money. . (to the actresses) And congratulations to all of you. It was superb.

But when I'm dizzy like this my eyes won't focus. Can I . SALIERI Of course. it would be my greatest pleasure. Trivial dance music is playing. allowed. honour. she stops abruptly. I can't write. he will pay you another hundred ducats. MOZART You know. SALIERI Then. let us try together. Tell me.1790's I'd regard it as such an I'm not A Mass for the Dead. And if you finish the work by tomorrow night. it's all here in my head. At the moment we see her.NIGHT . Constanze is doing a waltz with a young OFFICER in military uniform. MOZART But you'd have to swear not to tell a soul. Mozart looks at the coins astonished.BADEN . what is this work? MOZART A Mass. you could.SALIERI He said to give you this. It's just ready to be set down. MOZART Another? But that's too soon! impossible! Did he say a hundred? Tomorrow night? It's SALIERI Yes. in any way? MOZART Would you? Actually. CUT TO: 161 161 INT. SALIERI My dear friend. A SMALL DANCE HALL . as .could I help you.

Salieri. and ink. Salieri is also possessed with an obviously feverish desire to put down the notes as quickly as Mozart can dictate them. 162 MOZART'S APARTMENT .if in panic. OFFICER Now? CONSTANZE Yes! OFFICER Why? CONSTANZE I feel wrong. without coat or wig. many candles burn in the necks of bottles. quills. I feel wrong being here.BEDROOM . Also the score of the Requiem Mass as so far composed.NIGHT - Mozart is sitting up in bed. OFFICER What is it? CONSTANZE I want to go! OFFICER Where? CONSTANZE I want to go back to Vienna. On it are blank sheets of music paper. Mozart is bright-eyed with a kind of fever. MOZART Where did I stop? . The coins lie on the coverlet. is seated at an improvised worktable. OFFICER (laying a hand on her arm) What are you talking about? CUT TO: 162 1790's INT. propped against pillows.

Confutatis Maledictis. Flammis acribus addictis. SALIERI Confutatis Maledictis. Suddenly.A minor. SALIERI . MOZART So now the Confutatis.SALIERI (consulting the manuscript) The end of the Recordare . He takes his pen. yes. MOZART Strange! SALIERI Come. MOZART So now . 襑hen the wicked are confounded. MOZART The Fire.Statuens in parte dextra. Burning one forever? Salieri writes the key signature. MOZART Do you believe in it? SALIERI What? MOZART A fire which never dies. SALIERI Oh. How would you translate that? SALIERI 褻onsigned to flames of woe. MOZART We ended in F Major? SALIERI Yes. Let's begin.

(speaking) Do you have that? SALIERI I think so. at Mozart's dictation.A. (singing) Ma-le-dic-tis. Salieri sings back the first six measures of the bass line. second beat. Now the tenors. He is obviously highly expert at doing this and hardly hesitates.What time? MOZART Common time. second beat starting on E. (singing) Con-fu-ta-tis. and continues now to write as swiftly and urgently as he can. MOZART Third measure. (speaking) Second measure. SALIERI Yes. (singing) Ma-le-dic-tis. (speaking) All right? . MOZART Start with the voices. After the first two measures a chorus of basses fades in on the soundtrack and engulfs his voice. can never be too fast for Mozart's impatient mind. (speaking) Gsharp. (singing) Flammis acri-bus ad-dic-tis. MOZART Sing it back. (speaking) And fourth measure. They stop. His speed. (singing) Ma-le-dic-tis. fourth beat on D. however. of course. Basses first. Salieri writes this. Second beat of the first measure . flam-mis a-cri-bus ad-dic-tis. Fourth beat of the first measure C. (speaking) Second measure. (singing the note) Con-fu-ta-tis. MOZART Good. fourth beat D.

We see his pen jotting down the notes as quickly as possible: the ink flicks onto the page. Salieri scribbles frantically. SALIERI Also identical? MOZART Exactly. Trumpets His hands move . singing their whole line from the beginning. Second bassoon and bass trombone with the basses. as tenors engulf it and take over the soundtrack. and The instruments to go with the voices.F. irritated. SALIERI (finishing) First bassoon and tenor trombone . right to the end of the sixth measure where the basses stopped. (singing) Flam-mis a-cribus ad-dic-tis. His voice is lost on the last words. Mozart glares at him. MOZART Fourth measure. but he goes on mouthing the sounds with them. MOZART Now the orchestra. second beat .what? MOZART With the tenors. impatiently.SALIERI Yes. The music stops again. MOZART It couldn't be simpler. Salieri writes feverishly. (he hurriedly hums the opening notes of the bass vocal line) The first bassoon and tenor trombone SALIERI (labouring to keep up) Please! Just one moment. Identical notes and rhythm. flam-mis a-cri-bus ad-dic-tis.

good . rising and rising . conducting. And the next measures exactly the same. We also hear the trumpets and timpani. MOZART (excitedly) Good. MOZART Show me. He again hums the bass vocal line from the beginning. He sings the urgent first measure of the ostinato. Salieri sings the first two measures of the string ostinato. playing the tenor vocal line. Salieri stops writing. Do you see? As Salieri writes. The sound is bare and grim. It stops at the end of the sixth measure. MOZART (speaking) Do you have me? SALIERI I think so. Now for the Fire.yes! Put it down.timpani. up to the dominant chord. On the soundtrack. but the unaccom- . Mozart sings the ostinato from the beginning. SALIERI And that's all? MOZART Oh no. tonic and dominant.like this. we hear the second bassoon and bass trombone play it with him and the first bassoon and tenor trombone come in on top. MOZART (speaking) Second measure on B. He sings the second measure of the ostinato.C to D to E. (he smiles) Strings in unison ostinato on all .

MOZART And underneath. Voca me cum benedictis. SALIERI Sopranos up to F on the second 訴oca'? MOZART Yes.8. They stop. hushed and inspired. He sings the violin figure under the Voca Me (Bars 7. He sings the ostinato phrase twice. The Voca Me. Sopranos and altos in thirds.go on. and then back suddenly to the fire again. just violins . He is now sitting bolt upright.arpeggio. Write that down: sotto voce. pianissimo. 褻 Do you have it? . yes . MOZART (speaking) And that's it. Suddenly sotto voce. playing the first six bars of their agitated accompaniment. and on 詃ictis'. SALIERI That's wonderful! MOZART Yes. vo-ca me cum bene-dic-tis.9). MOZART (speaking) The descending scale in eighth notes. Sopranos above. (singing the alto part) Vo-ca.panied strings overwhelm his voice on the soundtrack. vo-ca me. all me among the blessed. SALIERI Yes! He writes feverishly. MOZART C Major. Altos on C.

SALIERI You go fast! MOZART (urgently) Do you have it? SALIERI Yes. 165 1790's INT. MOZART'S APARTMENT . MOZART Then let me hear it. 167 INT. to the end of the movement. Salieri sits looking on in wondering astonishment. A COUNTRY ROAD . to the sound of the music. 165 MOZART'S APARTMENT .now! All of it. They are sleepless and sway to the motion of the vehicle. as Mozart snatches the manuscript pages from Salieri and reads from it. who still sits writing assiduously. A COUNTRY ROAD .1790's Snow lies on 164 The carriage is filled with passengers.NIGHT - Mozart lying in bed exhausted.1790's 166 The carriage. We do not hear what he is saying to Salieri.BEDROOM . but still dictating urgently. moving through the night. Among them Constanze and Karl. The music continues right through the following scenes. singing. her young son.NIGHT - .WINTER NIGHT . THE CARRIAGE NIGHT . 163 EXT. The whole thing from the The entire Confutatis bursts over the room. 164 INT.BEDROOM . the countryside.WINTER NIGHT . 166 EXT. beginning .1790's 163 A carriage is driving fast through the night. Mozart is looking very sick: sweat is pouring from his forehead.

Then we'll do the Lacrimosa. 166A 1790's End of the Confutatis.1790's 167 Mozart still dictating.WINTRY DAWN . Constanze and her son alight with other passengers. The music stutters to a close.or me. SALIERI I can keep going. I thought you did not care for my work . Forgive me! Mozart closes his eyes.DAWN . MOZART'S APARTMENT .1790's. SALIERI What for? MOZART I was foolish. I'm not tired at all. I assure you.1790's . Forgive me.BEDROOM . She takes her boy's hand. It is a cold wintry dawn. Salieri still writing without stop. 168B 168B EXT. MOZART We'll stop for just a moment. Salieri stares at him. 168 EXT.NIGHT 166A MOZART Do you want to rest a bit? SALIERI Oh no. Postillions attend to the horses. MOZART I am so ashamed. VIENNA STREET . 168 The carriage has arrived. VIENNA STREET . Shall we try? MOZART Would you stay with me while I sleep a little? SALIERI I'm not leaving you. INT.

so that the vestment becomes bunched up. previously littered with pages.1790's Mozart is asleep in the bed. 169 EXT.1790's 169 They enter. save that the table. but does it ineptly. Salieri is dozing on the nearby child's bed. MOZART'S APARTMENT . holding the last pages of the manuscript. Salieri lies across from him on Karl's small bed in his shirt sleeves and waistcoat.DAWN . 170 INT. Startled by Constanze's entrance and her young son. MOZART'S APARTMENT HOUSE .1790's Mozart lies asleep in the bed. making him look absurd. ma'am. As he does so.Constanze and Karl approach along the cobbled street. is now completely bare. he attempts to button his waistcoat. 171 171 INT. hand in hand toward their house. home. Constanze looks at it with surprise and enters the bedroom. 168C 168C INT. CONSTANZE Why you? SALIERI He took sick. Constanze and Karl arrive at the door.LIVING ROOM . CONSTANZE What are you doing here? SALIERI Your husband is ill. I brought him . Salieri scrambles up. Snow lies in the street.BEDROOM .DAWN .DAWN . 1790's 170 MOZART'S APARTMENT . The child's bed is obviously too small for him and he is forced in to a cramped position.BEDROOM . The room is full of the trailing smoke from guttering and guttered candles.DAWN - It is as disordered as before. MOZART'S APARTMENT .

he doesn't. CONSTANZE Oh no. missed you so much. CONSTANZE I'll never leave you again. He sees Constanze and smiles with real joy. Forgetting Salieri. Suddenly she sees the manuscript in his hand. We must! This was just silly and stupid. CONSTANZE No. too. CONSTANZE Well. not able to speak. CONSTANZE And I'm asking you She notices a movement from the bed. We must. Wolfi! this ever again! I've decided. She hugs her husband desperately. CONSTANZE Wolfi. please.I was! at hand. CONSTANZE What is this? She looks at it and recognizes it. He stares at her with obvious relief. I'm still very angry with you. but I She throws herself on the bed. You can go now. I'm back. And I'll try to do better. she goes to her husband. ma'am. not this. SALIERI He needs me. Mozart wakes. And I don't want you here. thank you very much. SALIERI He asked me to stay. You're not to work on . If you'll just try a little harder to be nice to me. Just go. Not this.

stunned. With extreme reluctance .suspicious and frightened and at the same time unable to make a sound. Involuntarily Salieri stretches out his arms for the lost manuscript. ill. CONSTANZE (hard) Please. as she stands up. I! was assisting him. SALIERI But . Mozart makes a convulsive gesture to reclaim the pages. shuts the lid. Salieri hesitates. throws the manuscript inside. trying to understand . She stares at him. laughing. Please. She extends her hand for the Requiem.but . At the same moment Salieri reaches out his hand to take it and add it to the pile on the table. locks it and pockets the key. SALIERI No. She marches with the manuscript over to a large chest in the room. opens it.She takes it from his weak hand. CONSTANZE Thank you. The coins brought by Salieri fall on the floor. Karl runs after them. CONSTANZE (to Salieri) This is not his handwriting.it costs him agony to do it Salieri hands over the score of the Requiem to her. It is making him CONSTANZE He's not going to work on this anymore. He stares at her. . He asked me. CONSTANZE Good night.but She turns and faces him.

Respect my wish and go. bed. CUT TO: . 172 STEPHEN'S CATHEDRAL . wet day. The child on the floor. They load it onto a cart. playing with the money. CUT TO: 172 1790's EXT. He asked me to stay here. As the music grows. CU. drawn by a poor black horse.CONSTANZE I regret we have no servants to show you out.A RAINY DAY - The Lacrimosa continues through all of the following: a small group of people emerges from the side door into the raw. The coffin is borne by a gravedigger and Schikaneder in mourning clothes. It is drizzling. The music rises.VIENNA . The cart sets off. accompanying a cheap wooden coffin. also: Salieri. Salieri watches as she touches her husband's hand. The group follows. She turns to the They look at each other in mutual hatred. the maid. SALIERI Madame. All the rest are in black. I will respect his. and even Lorl. Salieri also comprehending hat he has been cheated. The child is playing with the coins on the floor. Mozart appears to have gone to sleep again. CONSTANZE Wolfi? (louder) Wolfi? She moves to the bed. Herr Salieri. CU. Von Swieten. we realize that Mozart is dead. Constanze staring wide-eyed in dawning apprehension. Faintly we hear the start of the Lacrimosa from the Requiem. Karl. CU. Madame Weber and her youngest daughter Sophie. Constanze and her son.

Tears stream down his face. Old Salieri sits weeping convulsively. VOGLER No. They watch it go. Constanze is near collapse. growing more and more distant. Madame Weber takes Karl's hand.RAINY DAY . The music builds to its climax on Dona Eis Pacem! back to: 174 174 INT.1790's 173 The group has already passed beyond the city limits following the miserable cart. The drizzle of rain has now become heavy. Salieri moves to assist her. Salieri and Von Swieten shake hands mournfully. seeking the arm of Cavalieri. but she turns away from him. alone. Schikaneder is in tears. One by one. OLD SALIERI What difference does that make? VOGLER . as the music stops. The Lacrimosa accompanies them with its measured thread. OLD SALIERI I did. you didn't! OLD SALIERI I poisoned his life.1823 Morning light fills the room. the water soaking their black tall hats. VOGLER Why? Why? Why? Why add to your misery by confessing to murder? You didn't kill him. Vogler watches him. We CUT OLD SALIERI'S HOSPITAL ROOM .173 EXT. OUTSIDE THE CITY WALLS OF VIENNA . followed by nobody.MORNING . amazed. VOGLER But not his body. the group breaks up and shelters under the trees. The cart moves on toward the cemetery.

An assistant pours quicklime over the whole pile of them. The gravedigger throws the one containing Mozart amongst the others.at last! Our names will be tied together for eternity .My son. Whenever they say Mozart with love. Mozart's body is lifted out of the cheap pine box in a sack. why should you want all Vienna to believe you a murderer? Is that your penance? Is it? OLD SALIERI No. Blessed be the . And that's my immortality .LATE AFTERNOON - The rain has eased off. He destroyed His beloved rather than let a mediocrity like me get the smallest share in his glory. LOCAL PRIEST The Lord giveth. A LOCAL PRIEST with two boy acolytes is standing beside an open communal grave. they'll have to say Salieri with loathing.his in fame and mine in infamy. You serve a wicked God. worn out flute. without pity. your merciful God! VOGLER Oh my son. MARX . He broke Mozart in half when He'd finished with him. The acolytes swing their censers. Understand that. 175 1790's EXT. 175 CEMETERY OF ST. Father. He killed Mozart. At least it's better than the total oblivion he'd planned for me. Pity yourself. Like an old. He doesn't care. God cares nothing for the man He denies and nothing either for the man He uses. snatched him away. We see that the grave contains twenty other such sacks. and threw him away. From now on no one will be able to speak of Mozart without thinking of me. my poor son! OLD SALIERI Don't pity me. Took him. not I. name of The Lord taketh away.

called 襠istinguished 褼istinguished Salieri . Father. watching myself become extinct. keeping me alive for thirty-two years of torture? Thirty-two years of honours and awards. Your God who . your God of no mercy. Mozart. And his growing louder. OLD SALIERI'S HOSPITAL ROOM . all the time fainter.the Lord.MORNING . I'll speak for you. The door opens. And then we've got your favourite breakfast for you .sugar-rolls. On their behalf I deny Him. Salieri ignores him and stares only at the priest. hearty. An attendant comes in. Professor! Time for the water closet. who stares back. He tears off the Civilian Medal and Chain with which the Emperor invested him and has been wearing the whole time and throws it across the room. filling the world with wonder. OLD SALIERI Being bowed to and saluted.1823 OLD SALIERI Why did He do it? Why didn't He kill me? I had no value. cheerful and ATTENDANT Good morning. Fresh sugar-rolls. CUT BACK TO: 176 176 INT. OLD SALIERI Goodbye. What was the use. And everyone who loves my sacred art crying. I am their patron saint. My music growing fainter. 襇ozart! Bless you. (to Vogler) He loves those. I speak for all mediocrities in the world. until no one plays it at all. I am their champion.by men incapable of distinguishing! Thirty-two years of meaningless fame to end up alone in my room.

tortures men with longings they can never fulfill. making the Sign of the Cross. They form a long. he lifts his hands to them in benediction. OLD SALIERI Mediocrities everywhere. stealing in and growing louder.some of them are clearly very disturbed. now and to come: all! Amen! Amen! Amen! I absolve you Finally. we FADE OUT . wretched. Underneath we hear. On the last four chords. all taking their morning exercise walk in the care of nurses and nuns. forgive me: I shall never forgive Him. He may He signs to the attendant. who wheels him in his chair out of the room. the tremendous Masonic Funeral Music of Mozart. As Old Salieri is pushed through them in his wheelchair. The priest stares after him. CORRIDOR OF THE HOSPITAL . strange procession . he turns full-face to the camera and blesses us the audience.MORNING . 177 177 INT.1823 The corridor is filled with patients in white linen smocks.

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