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Amadeus (1984) screenplay

by Peter Shaffer

 
FADE IN

INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823

      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. Forgive me!  
       Forgive your assassin! Mozart!

      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. It is locked. Behind it the voice 
      goes on, rising in volume.

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

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

 VALET
       Open the door, Signore! Please! Be 
       good now! We've brought you something 
       special. Something you're going to 
       love.

      Silence.

 VALET
       Signore Salieri! 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.

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

      The street is filled with people: ten cabs with drivers, 
      five children, fifteen adults, two doormen, fifteen 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! Pietˆ! Pietˆ! Forgive your 
       assassin! Forgive me! Forgive! 
       Forgive!

 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. Some of the passersby have 
      now stopped and are watching this spectacle.

 VALET
       Come on, Signore! Look what I have 
       for you! I can't give it to you from 
       down here, can I?

      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. He'll be all right. 
       Poor man. He's a little unhappy, you 
       know.

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

     CUT TO:

      INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT

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

 VALET
       Did he open?

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

 VALET
       Here I am, Signore. Now open the 
       door.

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

 VALET
       Mmmm - this is good! This is the 
       most delicious thing I ever ate, 
       believe me! Signore, you don't know 
       what you're missing! Mmmm!

      We hear a thump from inside the bedroom.

 VALET
       Now that's enough, Signore! Open!

      We hear a terrible, throaty groaning.

 VALET
       If you don't open this door, we're 
       going to eat everything. There'll be 
       nothing left for you. And I'm not 
       going to bring you anything more.

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

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

      Immediately, the stormy, frenzied opening of Mozart's Symphony 
      No. 25 (the Little G Minor) begins. We see what the servants 
      see.

      INT. OLD SALIERI'S SALON - NIGHT

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

      INT. BALLROOM - NIGHT

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

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

      EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT

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

      MONTAGE:

      EXT. FOUR STREETS OF VIENNA AND

      INT. THE WAGON - NIGHT

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

     CUT TO:

      INT. A HOSPITAL CORRIDOR - LATE AFTERNOON

      A wide, white-washed corridor. Doctor Gulden is walking down 
      it with a priest, a man of about forty, concerned, but 
      somewhat self-important. This is Father VOGLER, Chaplain at 
      the hospital. In the corridor as they walk, we note several 
      patients -- some of them visibly disturbed mentally. All 
      patients wear white linen smocks. Doctor Gulden wears a dark 
      frock-coat; Vogler, a cassock.

 DOCTOR GULDEN
       He's going to live. It's much harder 
       to cut your throat than most people 
       imagine.

      They stop outside a door.

 DOCTOR GULDEN
       Here we are. Do you wish me to come 
       in with you?

 VOGLER
       No, Doctor. Thank you.

      Vogler nods and opens the door.

      INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON

      A bare room - one of the best available in the General 
      Hospital. It contains a bed, a table with candles, chairs, a 
      small forte-piano of the early nineteenth century. As Vogler 
      enters, Old Salieri is sitting in a wheel-chair, looking out 
      the window. His back is to us. The priest closes the door 
      quietly behind him.

 VOGLER
       Herr Salieri?

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

 OLD SALIERI
       What do you want?

 VOGLER
       I am Father Vogler. I am a Chaplain 
       here. I thought you might like to 
       talk to someone.

 OLD SALIERI
       About what?

 VOGLER
       You tried to take your life. You do 
       remember that, don't you?

 OLD SALIERI
       So?

 VOGLER
       In the sight of God that is a sin.

 OLD SALIERI
       What do you want?

 VOGLER
       Do you understand that you have 
       sinned? Gravely.

 OLD SALIERI
       Leave me alone.

 VOGLER
       I cannot leave alone a soul in pain.

 OLD SALIERI
       Do you know who I am? You never heard 
       of me, did you?

 VOGLER
       That makes no difference. All men 
       are equal in God's eyes.

 OLD SALIERI
       Are they?

 VOGLER
       Offer me your confession. I can offer 
       you God's forgiveness.

 OLD SALIERI
       I do not seek forgiveness.

 VOGLER
       My son, there is something dreadful 
       on your soul. Unburden it to me. I'm 
       here only for you. Please talk to 
       me.

 OLD SALIERI
       How well are you trained in music?

 VOGLER
       I know a little. I studied it in my 
       youth.

 OLD SALIERI
       Where?

 VOGLER
       Here in Vienna.

 OLD SALIERI
       Then you must know this.

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

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

 OLD SALIERI
       I'm surprised you don't know. It was 
       a very popular tune in its day. I 
       wrote it. How about this?

      He plays another tune.

 OLD SALIERI
       This one brought down the house when 
       we played it first.

      He plays it with growing enthusiasm.

     CUT TO:

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

      We see the pretty soprano KATHERINA CAVALIERI, now about 
      twenty-four, dressed in an elaborate mythological Persian 
      costume, singing on stage. She's near the end of a very florid 
      aria by Salieri. The audience applauds wildly.

      INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823

 OLD SALIERI
   (taking his hands off 
   the keys)
       Well?

 VOGLER
       I regret it is not too familiar.

 OLD SALIERI
       Can you recall no melody of mine? I 
       was the most famous composer in Europe 
       when you were still a boy. I wrote 
       forty operas alone. What about this 
       little thing?

      Slyly he plays the opening measure of Mozart's Eine Kleine 
      Nachtmusik. The priest nods, smiling suddenly, and hums a 
      little with the music.

 VOGLER
       Oh, I know that! That's charming!  I 
       didn't know you wrote that.

 OLD SALIERI
       I didn't. That was Mozart. Wolfgang 
       Amadeus Mozart. You know who that 
       is?

 VOGLER
       Of course. The man you accuse yourself 
       of killing.

 OLD SALIERI
       Ah - you've heard that?

 VOGLER
       All Vienna has heard that.

 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. Salieri stares above the priest, seemingly 
      lost in his own private world.

 VOGLER
       For God's sake, my son, if you have 
       anything to confess, do it now!  
       Give yourself some peace!

      A further pause.

 VOGLER
       Do you hear me?

 OLD SALIERI
       He was murdered, Father! Mozart!  
       Cruelly murdered.

      Pause.

 VOGLER
   (almost whispering)
       Yes? Did you do it?

      Suddenly Old Salieri turns to him, a look of extreme 
      innocence.

 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. Even in Legnago - 
       the tiniest town in Italy - I knew 
       of him.

     CUT TO:

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

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

 OLD SALIERI (V.O.)
       I was still playing childish games 
       when he was playing music for kings 
       and emperors. Even the Pope in Rome!

     CUT TO:

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

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

 OLD SALIERI (V.O.)
       I admit I was jealous when I heard 
       the tales they told about him. Not 
       of the brilliant little prodigy 
       himself, but of his father, who had 
       taught him everything.

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

 OLD SALIERI (V.O.)
       My father did not care for music. He 
       wanted me only to be a merchant, 
       like himself. As anonymous as he 
       was. When I told how I wished I could 
       be like Mozart, he would say, Why? 
       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:

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

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

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

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

 OLD SALIERI (V.O.)
       Even then a spray of sounded notes 
       could make me dizzy, almost to 
       falling.

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

 OLD SALIERI (V.O.)
       Whilst my father prayed earnestly to 
       God to protect commerce, I would 
       offer up secretly the proudest prayer 
       a boy could think of. Lord, make me 
       a great composer! Let me celebrate 
       your glory through music - and be 
       celebrated myself! Make me famous 
       through the world, 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 - my industry, 
       my deepest humility, every hour of 
       my life. And I will help my fellow 
       man all I can. Amen and amen!

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

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

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

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

      INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823

 OLD SALIERI
       Suddenly he was dead. Just like that! 
       And my life changed forever. My mother 
       said, Go. Study music if you really 
       want to. Off with you! And off I 
       went as quick as I could and never 
       saw Italy again. Of course, I knew 
       God had arranged it all; that was 
       obvious. One moment I was a frustrated 
       boy in an obscure little town. The 
       next I was here, in Vienna, city of 
       musicians, sixteen years old and 
       studying under Gluck! Gluck, Father. 
       Do you know who he was? The greatest 
       composer of his time. And he loved 
       me! That was the wonder. He taught 
       me everything he knew. And when I 
       was ready, introduced me personally 
       to the Emperor! Emperor Joseph - the 
       musical king!  Within a few years I 
       was his court composer. Wasn't that 
       incredible? Imperial Composer to His 
       Majesty! Actually the man had no ear 
       at all, but what did it matter? He 
       adored my music, that was enough. 
       Night after night I sat right next 
       to the Emperor of Austria, playing 
       duets with him, correcting the royal 
       sight-reading. Tell me, if you had 
       been me, wouldn't you have thought 
       God had accepted your vow? And believe 
       me, I honoured it. I was a model of 
       virtue. I kept my hands off women, 
       worked hours every day teaching 
       students, many of them for free, 
       sitting on endless committees to 
       help poor musicians - work and work 
       and work, that was all my life. And 
       it was wonderful! Everybody liked 
       me. I liked myself. I was the most 
       successful musician in Vienna. And 
       the happiest. Till he came. Mozart.

     CUT TO:

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

      A grand room crowded with guests. A small group of Gypsy 
      musicians is playing in the background. Thirteen members of 
      the Archbishop's orchestra - all wind players, complete with 
      18th-century wind instruments: elaborate-looking bassoons, 
      basset horns, etc. and wearing their employer's livery - are 
      laying out music on stands at one end of the room. At the 
      other end is a large gilded chair, bearing the arms of the 
      ARCHBISHOP OF SALZBURG. A throng of people is standing, 
      talking, and preparing to sit upon the rows of waiting chairs 
      to hear a concert.

 OLD SALIERI (V.O.)
       One day he came to Vienna to play 
       some of his music at the residence 
       of his employer, the Prince-Archbishop 
       of Salzburg. Eagerly I went there to 
       seek him out. That night changed my 
       life.

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

 OLD SALIERI (V.O.)
       As I went through the salon, I played 
       a game with myself. This man had 
       written his first concerto at the 
       age of four; his first symphony at 
       seven; a full-scale opera at twelve.  
       Did it show? Is talent like that 
       written on the face?

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

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

      Some of the men recognize Salieri and bow respectfully. Then 
      suddenly a servant bearing a large tray of cakes and pastries 
      stalks past. Instantly riveted by the sight of such delights, 
      Salieri follows him out of the Grand Salon.

      INT. A PALACE CORRIDOR - DAY - 1780'S

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

      The servant turns into:

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

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

      INT. A PALACE CORRIDOR - DAY - 1780'S

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

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

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

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

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

      Baffled, he turns and is about to leave the room, when 
      Constanze suddenly squeaks from under the cloth like a tiny 
      mouse. Instantly Mozart drops to all fours and starts crawling 
      across the floor, meowing and hissing like a naughty cat. 
      Watched by an astonished Salieri, Mozart disappears under 
      the cloth and obviously pounces upon Constanze. We hear a 
      high-pitched giggle, which is going to characterize Mozart 
      throughout the film.

     CUT TO:

      INT. PALACE GRAND SALON - DAY - 1780'S

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

 ARCO
       Mozart is not here.

 COLLOREDO
       Where is he?

 ARCO
       They're looking for him, Your Grace.

      INT. A PALACE CORRIDOR - DAY - 1780'S

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

     CUT TO:

      INT. PALACE GRAND SALON - DAY - 1780'S

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

 COLLOREDO
   (to Arco)
       We'll start without him.

      INT.   PALACE BUFFET ROOM - DAY - 1780'S

      Mozart is on his knees before the tablecloth, which reaches 
      to the floor. Under it is Constanze. We hear her giggling as 
      he talks.

 MOZART
       Miaouw! Miaouw! Mouse-wouse? It's 
       Puss-wuss, fangs-wangs. Paws-claws.  
       Pounce-bounce!

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

 CONSTANZE
       Stop it. Stop it!

      They roll on the floor. He tickles her.

 CONSTANZE
       Stop it!

 MOZART
       I am! I am! I'm stopping it - slowly.  
       You see! Look, I've stopped. Now we 
       are going back.

      He tries to drag her back under the table.

 CONSTANZE
       No! No! No!

 MOZART
       Yes! Back! Back! Listen - don't you 
       know where you are?

 CONSTANZE
       Where?

 MOZART
       We are in the Residence of the 
       Fartsbishop of Salzburg.

 CONSTANZE
       Fartsbishop!

      She laughs delightedly, then addresses an imaginary 
      Archbishop.

 CONSTANZE
       Your Grace, I've got something to 
       tell you. I want to complain about 
       this man.

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

 CONSTANZE
       Why not?

 MOZART
       Because here everything goes 
       backwards. People walk backwards, 
       dance backwards, sing backwards, and 
       talk backwards.

 CONSTANZE
       That's stupid.

 MOZART
       Why? People fart backwards.

 CONSTANZE
       Do you think that's funny?

 MOZART
       Yes, I think it's brilliant. You've 
       been doing it for years.

      He gives a high pitched giggle.

 CONSTANZE
       Oh, ha, ha, ha.

 MOZART
       Sra-I'm-sick! Sra-I'm sick!

 CONSTANZE
       Yes, you are. You're very sick.

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

 CONSTANZE
   (working it out)
       Sra-I'm-sick. Sick - kiss I'm - my 
       Kiss my! Sra-I'm-sick - Kiss my arse!

 MOZART
       Em iram! Em iram!

 CONSTANZE
       No, I'm not playing this game.

 MOZART
       No, this is serious. Say it backwards.

 CONSTANZE
       No!

 MOZART
       Just say it - you'll see. It's very 
       serious. Em iram!  Em iram!

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

 MOZART
       Ui-vol-i-tub!

 CONSTANZE
       Tub - but i-tub - but I vol - love 
       but I love ui - You. I love you!

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

 MOZART
       Tish-I'm tee. What's that?

 CONSTANZE
       What?

 MOZART
       Tish-I'm-tee.

 CONSTANZE
       Eat

 MOZART
       Yes.

 CONSTANZE
       Eat my - ah!

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

 MOZART
       My music! They've started! They've 
       started without me!

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

     CUT TO:

      INT. PALACE CORRIDOR - DAY - 1780'S

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

      INT. GRAND SALON - DAY - 1780'S

      The opening of the Serenade is being tentatively conducted 
      by the leader of the wind-musicians. Guests turn around as 
      Mozart appears - bowing to the Archbishop - and walks with 
      an attempt at dignity to the dais where the wind band is 
      playing. The leader yields his place to the composer and 
      Mozart smoothly takes over conducting.

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

      INT. PALACE BUFFET ROOM - DAY - 1780'S

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

      INT. GRAND SALON - DAY - 1780'S

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

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

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

      The audience is clearly delighted. Mozart bows to them, also 
      delighted. Colloredo rises abruptly, and without looking at 
      Mozart or applauding and leaves the Salon. Count Arco 
      approaches the composer. Mozart turns to him, radiant.

 ARCO
       Follow me, please. The Archbishop 
       would like a word.

 MOZART
       Certainly!

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

      INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S

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

 MOZART
       Well, I think that went off remarkably 
       well, don't you?

 ARCO
       Indeed.

 MOZART
       These Viennese certainly know good 
       music when they hear it.

 ARCO
       His Grace is very angry with you.

 MOZART
       What do you mean?

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

 ARCO
       You are to come in here and ask his 
       pardon.

      Arco opens the door.

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

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

 ARCO
       Your Grace.

 COLLOREDO
       Ah, Mozart. Why?

 MOZART
       Why what, sir?

 COLLOREDO
       Why do I have to be humiliated in 
       front of my guests by one of my own 
       servants?

 MOZART
       Humiliated?

 COLLOREDO
       How much provocation am I to endure 
       from you? The more license I allow 
       you, the more you take.

      The company watches this scene, deeply interested.

 MOZART
       If His Grace is not satisfied with 
       me, he can dismiss me.

 COLLOREDO
       I wish you to return immediately to 
       Salzburg. Your father is waiting for 
       you there patiently. I will speak to 
       you further when I come.

 MOZART
       No, Your Grace! I mean with all 
       humility, no. I would rather you 
       dismissed me. It's obvious I don't 
       satisfy.

 COLLOREDO
       Then try harder, Mozart. I have no 
       intention of dismissing you. You 
       will remain in my service and learn 
       your place. Go now.

      He extends his hand to be kissed. Mozart does it with a 
      furious grace, then leaves the room. As he opens the door we 
      see:

      INT. PALACE CORRIDOR - DAY - 1780'S

      A group of people who have attended the concert, among them 
      Constanze, are standing outside the private apartment. At 
      sight of the composer they break into sustained applause.  
      Mozart is suddenly delighted. 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. Colloredo is 
      clearly discomfited by this reception of his employee. He 
      smiles and bows uneasily, as they include him in the small 
      ovation.

      Mozart stands in the corridor, out of the Archbishop's line 
      of sight, bowing and giggling, and encouraging the applause 
      for the Archbishop with conducting gestures. Suddenly 
      irritated, Colloredo signs to Arco, who steps forward and 
      shuts the door, ending the applause.

      INT. PALACE GRAND SALON - DAY - 1780'S

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

      CU, Salieri, reading the score of the Adagio in helpless 
      fascination. The music is played against his description of 
      it.

 OLD SALIERI (V.O.)
       Extraordinary! On the page it looked 
       nothing. The beginning simple, almost 
       comic. Just a pulse - bassoons and 
       basset horns - like a rusty 
       squeezebox. Then suddenly - high 
       above it - an oboe, a single note, 
       hanging there unwavering, 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. Filled with such longing, 
       such unfulfillable longing, it had 
       me trembling. It seemed to me that I 
       was hearing a voice of God.

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

 MOZART
       Excuse me!

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

 OLD SALIERI (V.O.)
       But why?

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 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. It had to be!

      INT. PALACE DINING ROOM - DAY - 1780'S

      At the table sits the EMPEROR JOSEPH II, eating his frugal 
      dinner and sipping goat's milk. He is an intelligent, dapper 
      man of forty, wearing a military uniform. Around him but 
      standing, are his Chamberlain, JOHANN VON STRACK: stiff and 
      highly correct. COUNT ORSINI-ROSENBERG: a corpulent man of 
      sixty, highly conscious of his position as Director of the 
      Opera. BARON VON SWIETEN, the Imperial Librarian: a grave 
      but kindly and educated man in his mid-fifties. FIRST 
      KAPELLMEISTER GIUSEPPE BONNO: very Italian, cringing and 
      time-serving, aged about seventy. And Salieri, wearing 
      decorous black, as usual.

      At a side-table, two Imperial secretaries, using quill pens 
      and inkstands, write down everything of importance that is 
      said.

 JOSEPH
       How good is he, this Mozart?

 VON SWIETEN
       He's remarkable, Majesty. I heard an 
       extraordinary serious opera of his 
       last month. Idomeneo, King of Crete.

 ORSINI-ROSENBERG
       That? A most tiresome piece. I heard 
       it, too.

 VON SWIETEN
       Tiresome?

 ORSINI-ROSENBERG
       A young man trying to impress beyond 
       his abilities. Too much spice. Too 
       many notes.

 VON SWIETEN
       Majesty, I thought it the most 
       promising work I've heard in years.

 JOSEPH
       Ah-ha. Well then, we should make 
       some effort to acquire him. We could 
       use a good German composer in Vienna, 
       surely?

 VON STRACK
       I agree, Majesty, but I'm afraid 
       it's not possible. The young man is 
       still in the pay of the Archbishop.

 JOSEPH
       Very small pay, I imagine. I'm sure 
       he could be tempted with the right 
       offer. Say, an opera in German for 
       our National Theatre.

 VON SWIETEN
       Excellent, sire!

 ORSINI-ROSENBERG
       But not German, I beg your Majesty! 
       Italian is the proper language for 
       opera. All educated people agree on 
       that.

 JOSEPH
       Ah-ha. What do you say, Chamberlain?

 VON STRACK
       In my opinion, it is time we had a 
       piece in our own language, sir. Plain 
       German. For plain people.

      He looks defiantly at Orsini-Rosenberg.

 JOSEPH
       Ah-ha. Kapellmeister?

 BONNO
   (Italian accent)
       Majesty, I must agree with Herr 
       Dirretore. Opera is an Italian art, 
       solamente. German is - scusate - too 
       bruta for singing, too rough.

 JOSEPH
       Ah-ha. Court Composer, what do you 
       say?

 SALIERI
       I think it is an interesting notion 
       to keep Mozart in Vienna, Majesty. 
       It should really infuriate the 
       Archbishop beyond measure - if that 
       is your Majesty's intention.

 JOSEPH
       You are cattivo, Court Composer.
   (briskly, to Von Strack)
       I want to meet this young man. 
       Chamberlain, arrange a pleasant 
       welcome for him.

 VON STRACK
       Yes, sir.

 JOSEPH
       Well. There it is.

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

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

 SALIERI
       Si.

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

 SALIERI
       Ah! Here she comes. Fraulein Lorl, 
       good morning.

 LORL
       Good morning, sir.

 SALIERI
       What have you got for me today? Let 
       me see.

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

 SALIERI
       Ah-ha! Siena macaroons - my 
       favourites. Give my best thanks to 
       the baker.

 LORL
       I will, sir.

      He takes a biscuit and eats.

 SALIERI
       Thank you. Are you well today, 
       Fraulein Lorl?

 LORL
       Yes, thank you, sir.

 SALIERI
       Bene! Bene!

      She gives a little curtsey, flattered and giggling and is 
      shown out. Salieri turns back to his work, chewing. He plays 
      through a complete line of the march. He smiles, pleased 
      with the result.

 SALIERI
       Grazie, Signore.

      He inclines his head to the Christ above the  fireplace, and 
      starts to play the whole march, including the phrase which 
      pleased him.

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

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

 MOZART
       And the other one?

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

 MOZART
       And the other one?

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

 MOZART
       Oh, they're both so beautiful, I 
       can't decide. Why don't I have two 
       heads?

      He giggles. The music stops.

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

      A door opens. We glimpse in the next room the Emperor Joseph 
      bidding goodbye to a group of military officers standing 
      around a table.

 JOSEPH
       Good, good, good.

      He turns and comes into the salon, where another group awaits 
      him. It consists of Von Strack, Orsini-Rosenberg, Bonno, Von 
      Swieten and Salieri. The room contains several gilded chairs 
      dotted about, and a forte-piano.

 JOSEPH
       Good morning, gentlemen.

      All bow and say, Good morning, Your Majesty!

 JOSEPH
   (to Von Strack)
       Well, what do you have for me today?

 VON STRACK
       Your Majesty, Herr Mozart -

 JOSEPH
       Yes, what about him?

 VON STRACK
       He's here.

 JOSEPH
       Ah-ha. Well. There it is. Good.

 SALIERI
       Majesty, I hope you won't think it 
       improper, but I have written a little 
       March of Welcome in his honour.

      He produces a paper.

 JOSEPH
       What a charming idea. May I see?

 SALIERI
   (handing it over)
       It's just a trifle, of course.

 JOSEPH
       May I try it?

 SALIERI
       Majesty.

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

 JOSEPH
       Delightful, Court Composer. Would 
       you permit me to play it as he comes 
       in?

 SALIERI
       You do me too much honour, Sire.

 JOSEPH
       Let's have some fun.
   (to the waiting 
   Majordomo)
       Bring in Herr Mozart, please. But 
       slowly, slowly. I need a minute to 
       practice.

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

 SALIERI
       A-flat, Majesty.

 JOSEPH
       Ah-ha!

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

      Taking his instructions literally, the Majordomo is marching 
      very slowly toward the salon door. He is followed by a 
      bewildered Mozart, dressed very stylishly and wearing one of 
      the wigs from the perruqier.

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

      Joseph finishes the march. The door opens.

 MAJORDOMO
       Herr Mozart.

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

 ORSINI-ROSENBERG
       Bravo, Your Majesty!

 VON STRACK
       Well done, Sire!

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

 JOSEPH
       Gentlemen, gentlemen, a little less 
       enthusiasm, I beg you. Ah, Mozart.

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

 MOZART
       Your Majesty!

 JOSEPH
       No, no, please! It is not a holy 
       relic.
   (raising Mozart up)
       You know we have met already? In 
       this very room. Perhaps you won't 
       remember it, you were only six years 
       old.
   (to the others)
       He was giving the most brilliant 
       little concert here. As he got off 
       the stool, he slipped and fell. My 
       sister Antoinette helped him up 
       herself, and do you know what he 
       did? Jumped straight into her arms 
       and said, Will you marry me, yes or 
       no?

      Embarrassed, Mozart bursts into a wild giggle. Joseph helps 
      him out.

 JOSEPH
       You know all these gentlemen, I'm 
       sure.

      Von Strack and Bonno nod.

 JOSEPH
       The Baron Von Swieten.

 VON SWIETEN
       I'm a great admirer of yours, young 
       man. Welcome.

 MOZART
       Oh, thank you.

 JOSEPH
       The Director of our Opera. Count 
       Orsini-Rosenberg.

 MOZART
   (bowing excitedly)
       Oh sir, yes! The honour is mine.  
       Absolutely.

      Orsini-Rosenberg nods without enthusiasm.

 JOSEPH
       And here is our illustrious Court 
       Composer, Herr Salieri.

 SALIERI
   (taking his hand)
       Finally! Such an immense joy. Diletto 
       straordinario!

 MOZART
       I know your work well, Signore. Do 
       you know I actually composed some 
       variations on a melody of yours?

 SALIERI
       Really?

 MOZART
       Mio caro Adone.

 SALIERI
       Ah!

 MOZART
       A funny little tune, but it yielded 
       some good things.

 JOSEPH
       And now he has returned the 
       compliment. Herr Salieri composed 
       that March of Welcome for you.

 MOZART
   (speaking expertly)
       Really? Oh, grazie, Signore! Sono 
       commosso! E un onore per mo 
       eccezionale. Compositore brilliante 
       e famossissimo!

      He bows elaborately. Salieri inclines himself, dryly.

 SALIERI
       My pleasure.

 JOSEPH
       Well, there it is. Now to business.  
       Young man, we are going to commission 
       an opera from you. What do you say?

 MOZART
       Majesty!

 JOSEPH
   (to the courtiers)
       Did we vote in the end for German or 
       Italian?

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

 VON STRACK
       Did we?

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

 MOZART
       Oh, German! German! Please let it be 
       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. Not yet. I 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.

 MOZART
       It's actually quite amusing, Majesty.  
       It's set - the  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. A 
       Seraglio.

 JOSEPH
       Ah-ha.

 ORSINI-ROSENBERG
       You mean in Turkey?

 MOZART
       Exactly.

 ORSINI-ROSENBERG
       Then why especially does it have to 
       be in German?

 MOZART
       Well not especially. It can be in 
       Turkish, if you really want. I don't 
       care.

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

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

 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. Well, 
       tell him, Mozart. Name us a German 
       virtue.

 MOZART
       Love, Sire!

 SALIERI
       Ah, love! Well of course in Italy we 
       know nothing about that.

      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.

 JOSEPH
       Well, there it is. Let it be German.

      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. It is 
       already here in my head.

 JOSEPH
       What? On one hearing only?

 MOZART
       I think so, Sire, yes.

      Pause.

 JOSEPH
       Show me.

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

 MOZART
   (to Salieri)
       The rest is just the same, isn't it?

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

 MOZART
       That really doesn't work, does it?

      All the courtiers look at Salieri.

 MOZART
       Did you try this? Wouldn't it be 
       just a little more -?

      He plays another phrase.

 MOZART
       Or this - yes, this! Better.

      He plays another phrase. Gradually, he alters the music so 
      that it turns into the celebrated march to be used later in 
      The Marriage of Figaro, Non Piu Andrai. He plays it with 
      increasing abandon and virtuosity. Salieri watches with a 
      fixed smile on his face. The court watches, astonished. He 
      finishes in great glory, takes his hands off the keys with a 
      gesture of triumph - and grins.

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

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

 SALIERI
       Grazie, Signore.

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

 SALIERI
       Yes?

      Lorl comes in.

 LORL
       Madame Cavalieri is here for her 
       lesson, sir.

 SALIERI
       Bene.

      He gets up and enters:

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

      KATHERINA CAVALIERI, a young, high-spirited soprano of twenty 
      is waiting for him, dressed in a fashionable dress and wearing 
      on her head an exotic turban of satin, with a feather. Lorl 
      exits.

 CAVALIERI
   (curtseying to him)
       Maestro.

 SALIERI
       Good morning.

 CAVALIERI
   (posing, in her turban)
       Well? How do you like it? It's 
       Turkish. My hairdresser tells me 
       everything's going to be Turkish 
       this year!

 SALIERI
       Really? What else did he tell you 
       today? Give me some gossip.

 CAVALIERI
       Well, I heard you met Herr Mozart.

 SALIERI
       Oh? News travels fast in Vienna.

 CAVALIERI
       And he's been commissioned to write 
       an opera. Is it true?

 SALIERI
       Yes.

 CAVALIERI
       Is there a part for me?

 SALIERI
       No.

 CAVALIERI
       How do you know?

 SALIERI
       Well even if there is, I don't think 
       you want to get involved with this 
       one.

 CAVALIERI
       Why not?

 SALIERI
       Well, do you know where it's set, my 
       dear?

 CAVALIERI
       Where?

 SALIERI
       In a harem.

 CAVALIERI
       What's that?

 SALIERI
       A brothel.

 CAVALIERI
       Oh!

 SALIERI
       A Turkish brothel.

 CAVALIERI
       Turkish? Oh, if it's Turkish, that's 
       different. I want to be in it.

 SALIERI
       My dear, it will hardly enhance your 
       reputation to be celebrated throughout 
       Vienna as a singing prostitute for a 
       Turk.

      He seats himself at the forte-piano.

 CAVALIERI
       Oh. Well perhaps you could introduce 
       us anyway.

 SALIERI
       Perhaps.

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

 CAVALIERI
       What does he look like?

 SALIERI
       You might be disappointed.

 CAVALIERI
       Why?

 SALIERI
       Looks and talent don't always go 
       together, Katherina.

 CAVALIERI
   (airily)
       Looks don't concern me, Maestro.  
       Only talent interests a woman of 
       taste.

      He strikes the chord again, firmly. Cavalieri sings her next 
      scale, then another one, and another one, doing her exercises 
      in earnest. As she hits a sustained high note the orchestral 
      accompaniment in the middle of Martern Aller Arten from Il 
      Seraglio comes in underneath and the music changes from 
      exercises to the exceedingly florid aria.

      We DISSOLVE on the singer's face, and she is suddenly not 
      merely turbaned, but painted and dressed totally in a Turkish 
      manner, and we are on:

      INT. OPERA STAGE - VIENNA - 1780'S

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

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

      In another box we see an overdressed, middle-aged woman and 
      three girls, one of whom is Constanze. This is the formidable 
      MADAME WEBER and her three daughters, Constanze, JOSEFA and 
      SOPHIE. All are enraptured by the spectacle and Madame Weber 
      is especially enraptured by being there at all. Not so, 
      Salieri, who sits in another box, coldly watching the stage.

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

 CAVALIERI
       Since you are determined, Since you 
       are determined, Calmly, with no 
       ferment, Welcome - every pain and 
       woe. Bind me then - compel me! Bind 
       me then - compel me! Hurt me. Break 
       me! Kill me! At last I shall be freed 
       by death!

      After a few moments of this showy aria, with the composer 
      and the singer staring at each other - he conducting 
      elaborately for her benefit, and she following his beat with 
      rapturous eyes - the music fades, and Salieri speaks over 
      it.

 OLD SALIERI (V.O.)
       There she was. I had no idea where 
       they met - or how - yet there she 
       stood on stage for all to see. Showing 
       off like the greedy songbird she 
       was. Ten minutes of ghastly scales 
       and arpeggios, whizzing up and down 
       like fireworks at a fairground.

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

 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, cut to:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

      Through the window we see that night has fallen.

 OLD SALIERI
       Understand, I was in love with the 
       girl. Or at least in lust. I wasn't 
       a saint. It took me the most 
       tremendous effort to be faithful to 
       my vow. I swear to you I never laid 
       a finger on her. All the same, I 
       couldn't bear to think of anyone 
       else touching her - least of all the 
       Creature.

CUT BACK TO:

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

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

 CAST OF SERAGLIO
   (singing)
       Pasha Selim May he Live forever! 
       Ever, ever, ever, ever! Honour to 
       his regal name! Honour to his regal 
       name! May his noble brow emblazon 
       Glory, fortune, joy and fame! Honour 
       be to Pasha Selim Honour to his regal 
       name! Honour to his regal name!

      The curtains fall. Much applause. The Emperor claps vigorously 
      and - following his lead - so do the courtiers. The curtains 
      part. Mozart applauds the singers who applaud him back. He 
      skips up onto the stage amongst them. The curtains fall again 
      as they all bow. In the auditorium, the chandeliers descend, 
      filling it with light.

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

      The curtains are down, and an excited hubbub of singers in 
      costume surround Mozart and Cavalieri, all excited and 
      chattering. Suddenly a hush. The Emperor is seen approaching 
      from the wings, lit by flunkies holding candles. Von Strack, 
      Orsini-Rosenberg and Von Swieten, amongst others, follow 
      him. Also Salieri. The singers line up. Joseph stops at 
      Cavalieri who makes a deep curtsey.

 JOSEPH
       Bravo, Madame. You are an ornament 
       to our stage.

 CAVALIERI
       Majesty.

 JOSEPH
   (to Salieri)
       And to you, Court Composer. Your 
       pupil has done you great credit.

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

 MADAME WEBER
       Let us pass, please! Let us pass at 
       once! We're with the Emperor.

 FLUNKY
       I am sorry, Madame. It is not 
       permitted.

 MADAME WEBER
       Do you know who I am?
   (pointing to Constanze)
       This is my daughter. I am Frau Weber. 
       We are favoured guests!

 FLUNKY
       I am sorry, Madame, but I have my 
       orders.

 MADAME WEBER
       Call Herr Mozart! You call Herr Mozart 
       immediately! This is insupportable!

 CONSTANZE
       Mother, please!

 MADAME WEBER
       Go ahead, Constanze. Just ignore 
       this fellow.
   (pushing her)
       Go ahead, dear!

 FLUNKY
   (barring the way)
       I am sorry, Madame, but no! I cannot 
       let anyone pass.

 MADAME WEBER
       Young man, I am no stranger to 
       theatres. I'm no stranger to 
       insolence!

CUT BACK TO:

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

      All are applauding Cavalieri. The Emperor turns to Mozart.

 JOSEPH
       Well, Herr Mozart! A good effort. 
       Decidedly that. An excellent effort!  
       You've shown us something quite new 
       today.

      Mozart bows frantically: he is over-excited.

 MOZART
       It is new, it is, isn't it, Sire?

 JOSEPH
       Yes, indeed.

 MOZART
       And German?

 JOSEPH
       Oh, yes. Absolutely. German.  
       Unquestionably!

 MOZART
       So then you like it? You really like 
       it, Your Majesty?

 JOSEPH
       Of course I do. It's very good. Of 
       course now and then - just now and 
       then - it gets a touch elaborate.

 MOZART
       What do you mean, Sire?

 JOSEPH
       Well, I mean occasionally it seems 
       to have, how shall one say?
   (he stops in 
   difficulty; to Orsini-
   Rosenberg)
       How shall one say, Director?

 ORSINI-ROSENBERG
       Too many notes, Your Majesty?

 JOSEPH
       Exactly. Very well put. Too many 
       notes.

 MOZART
       I don't understand. There are just 
       as many notes, Majesty, as are 
       required. Neither more nor less.

 JOSEPH
       My dear fellow, there are in fact 
       only so many notes the ear can hear 
       in the course of an evening. I think 
       I'm right in saying that, aren't I, 
       Court Composer?

 SALIERI
       Yes! yes! er, on  the whole, yes, 
       Majesty.

 MOZART
   (to Salieri)
       But this is absurd!

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

 MOZART
       Which few did you have in mind, 
       Majesty?

      Pause. General embarrassment.

 JOSEPH
       Well. There it is.

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

 MADAME WEBER
       Wolfi! Wolfi, my dear!

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

 MADAME WEBER
       Oh!

      Mozart moves forward quickly.

 MOZART
       Majesty, this is Madame Weber. She 
       is my landlady.

 JOSEPH
       Enchanted, Madame.

 MADAME WEBER
       Oh, Sire! such an honour! And, and, 
       and these are my dear daughters.  
       This is Constanze. She is the fiancee 
       of Herr Mozart.

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

 JOSEPH
       Really? How delightful. May I ask 
       when you marry?

 MOZART
       Well - Well we haven't quite received 
       my father's consent, Your Majesty.  
       Not entirely. Not altogether.

      He giggles uncomfortably.

 JOSEPH
       Excuse me, but how old are you?

 MOZART
       Twenty-six.

 JOSEPH
       Well, my advice is to marry this 
       charming young lady and stay with us 
       in Vienna.

 MADAME WEBER
       You see? You see? I've told him that, 
       Your Majesty, but he won't listen to 
       me.

      Cavalieri is glaring at Mozart. Mozart looks hastily away 
      from her.

 MADAME WEBER
       Oh, Your Majesty, you give such 
       wonderful - such impeccable - such 
       royal advice. I - I - May I?

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

 JOSEPH
       Well. There it is. Strack.

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

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

 CONSTANZE
   (to Mozart)
       Get some water!

      He hurries away. The daughters gather around Madame Weber.

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

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

 MOZART
       Katherina! I'll tell you what I'm 
       going to do. I'm going to write 
       another aria for you. Something even 
       more amazing for the second act. I 
       have to get some water. Her mother 
       is lying on the stage.

 CAVALIERI
       Don't bother!

 MOZART
       What?

 CAVALIERI
       Don't bother.

 MOZART
       I'll be right back.

      He dashes off.

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

      Constanze and Mozart make their way quickly through a crowd 
      of actors in turbans and caftans, and stagehands carrying 
      bits of the dismantled set of Seraglio. We see all the turmoil 
      of backstage after a performance.

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

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

 CONSTANZE
       Are you all right?

      Instead of being furious, Madame Weber smiles at them 
      rapturously.

 MADAME WEBER
       Ah, what an evening! What a wise man 
       we have for an Emperor. Oh, my 
       children!
   (with sudden, hard 
   briskness)
       Now I want you to write your father 
       exactly what His Majesty said.

      The activity continues to swirl around them.

 MOZART
       You should really go home now, Frau 
       Weber. Your carriage must be waiting.

 MADAME WEBER
       But aren't you taking us?

 MOZART
       I have to talk to the singers.

 MADAME WEBER
       That's all right; we'll wait for 
       you. Just don't take all night.

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

      Cavalieri, still in costume, is marching up and down, very 
      agitated.

 CAVALIERI
       Did you know? Had you heard?

 SALIERI
       What?

 CAVALIERI
       The marriage!

 SALIERI
       Well, what does it matter to you?

 CAVALIERI
       Nothing! He can marry who he pleases. 
       I don't give a damn.

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

 CAVALIERI
       How was I? Tell me honestly.

 SALIERI
       You were sublime.

 CAVALIERI
       What did you think of the music?

 SALIERI
       Extremely clever.

 CAVALIERI
       Meaning you didn't like it.

      Mozart comes in unexpectedly.

 MOZART
       Oh - excuse me!

 CAVALIERI
       Is her mother still lying on the 
       floor?

 MOZART
       No, she's fine.

 CAVALIERI
       I'm so relieved.

      She seats herself at her mirror and removes her wig.

 SALIERI
       Dear Mozart, my sincere 
       congratulations.

 MOZART
       Did you like it, then?

 SALIERI
       How could I not?

 MOZART
       It really is the best music one can 
       hear in Vienna today. Don't you agree?

 CAVALIERI
       Is she a good fuck?

 MOZART
       What??

 CAVALIERI
       I assume she's the virtuoso in that 
       department. There can't be any other 
       reason you'd marry someone like that.

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

 CAVALIERI
       Come in!

      The door opens. Constanze enters.

 CONSTANZE
       Excuse me, Wolfi. Mama is not feeling 
       very well. Can we leave now?

 MOZART
       Of course.

 CAVALIERI
       No, no, no, no. You can't take him 
       away now. This is his night. Won't 
       you introduce us, Wolfgang?

 MOZART
       Excuse us, Fraulein. Good night, 
       Signore.

      Mozart hurries Constanze out of the door. Cavalieri looks 
      after them as they go, her voice breaking and rising out of 
      control.

 CAVALIERI
       You really are full of surprises, 
       aren't you? You are quite 
       extraordinary, you little shit!

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

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

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

      The old man speaks passionately to the priest.

 OLD SALIERI
       It was incomprehensible. 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 - 
       even though engaged to be married! - 
       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, no matter how 
       painful? That was very possible. All 
       the same, why him? Why use Mozart to 
       teach me lessons in humility? My 
       heart was filling up with such hatred 
       for that little man. For the first 
       time in my life I began to know really 
       violent thoughts. I couldn't stop 
       them.

 VOGLER
       Did you try?

 OLD SALIERI
       Every day. Sometimes for hours I 
       would pray!

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

      The young Salieri is kneeling in desperation before the Cross.

 SALIERI
       Please! Please! Send him away, back 
       to Salzburg. For his sake as well as 
       mine.

      CU, Christ staring from the Cross.

CUT BACK TO:

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

      We see Leopold kneeling now not to the Cross but to Archbishop 
      Colloredo, sitting impassively on his throne. Count Arco 
      stands beside him. Leopold is a desperate, once-handsome man 
      of sixty, now far too much the subservient courtier.

 COLLOREDO
       No! I won't have him back.

 LEOPOLD
       But he needs to be here in Salzburg, 
       Your Grace. He needs me and he needs 
       you. Your protection, your 
       understanding.

 COLLOREDO
       Hardly.

 LEOPOLD
       Oh sir, yes! He's about to make the 
       worst mistake of his life. Some little 
       Viennese slut is trying to trick him 
       into marriage. I know my son. He is 
       too simple to see the trap - and 
       there is no one there who really 
       cares for him.

 COLLOREDO
       I'm not surprised. Money seems to be 
       more important to him than loyalty 
       or friendship. He has sold himself 
       to Vienna. Let Vienna look out for 
       him.

 LEOPOLD
       Sir -

 COLLOREDO
       Your son is an unprincipled, spoiled, 
       conceited brat.

 LEOPOLD
       Yes, sir, that's the truth. But don't 
       blame him. The fault is mine. I was 
       too indulgent with him. But not again.  
       Never again, I promise! I implore 
       you - let me bring him back here. 
       I'll make him give his word to serve 
       you faithfully.

 COLLOREDO
       And how will you make him keep it?

 LEOPOLD
       Oh, sir, he's never disobeyed me in 
       anything. Please, Your Grace, give 
       him one more chance.

 COLLOREDO
       You have leave to try.

 LEOPOLD
       Oh, Your Grace - I thank Your Grace!  
       I thank you!

      In deepest gratitude he kisses the Archbishop's hand. He 
      motions Leopold to rise. We hear the first dark fortissimo 
      chord which begins the Overture to Don Giovanni: the theme 
      associated with the character of the Commendatore.

 LEOPOLD (V.O.)
       My dear son.

      The second fortissimo chord sounds.

      INT. A BAROQUE CHURCH - DAY - 1780'S

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

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

 MOZART
       I will.

      The camera pulls back to see that he is in fact kneeling 
      beside Constanze. A PRIEST faces them. Behind them are Madame 
      Weber, Josefa and Sophie Weber, and a very few others. Among 
      them, a merry looking lady in bright clothes: the BARONESS 
      WALDSTADTEN.

 PRIEST
       And will you, Constanze Weber, take 
       this man, Wolfgang to be your lawful 
       husband?

 CONSTANZE
       I will.

 PRIEST
       I now pronounce you man and wife.

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

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

      There is a view of a castle in background. Leopold sits alone 
      in his room. He is reading a letter from Wolfgang. At his 
      feet are his trunks, half-packed for the journey he will not 
      now take. We hear Mozart's voice reading the following letter 
      and we see, as the camera roves around the room, mementos of 
      the young prodigy's early life: the little forte-piano made 
      for him; the little violin made for him; an Order presented 
      to him. We see a little starling in a wicker cage. And we 
      see portraits of the boy on the walls, concluding with the 
      familiar family portrait of Wolfgang and his sister Nannerl 
      seated at the keyboard with Leopold standing, and the picture 
      of their mother on the wall behind them.

 MOZART (V.O.)
       Most beloved father, it is done. Do 
       not blame me that I did not wait to 
       see your dear face. I knew you would 
       have tried to dissuade me from my 
       truest happiness and I could not 
       have borne it. Your every word is 
       precious to me. Remember how you 
       have always told me Vienna is the 
       City of Musicians. To conquer here 
       is to conquer Europe! With my wife I 
       can do it.  I vow I will become 
       regular in my habits and productive 
       as never before. She is wonderful, 
       Papa, and I know that you will love 
       her. And one day soon when I am a 
       wealthy man, you will come and live 
       with us, and we will be so happy. I 
       long for that day, best of Papas, 
       and kiss your hand a hundred thousand 
       times.

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

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

      Salieri stands waiting, hat in hand. Beside him stands a 
      royal servant. Behind him, gardeners are glimpsed tending 
      the shrubs and bushes along a grassy ride. Down this ride 
      are seen cantering two people on horseback: the Emperor Joseph 
      and his niece, the PRINCESS ELIZABETH. They are mounted on 
      glossy horses. The Princess rides side-saddle. Running beside 
      her is a panting groom. The Emperor rides elegantly; his 
      niece, a dumpy little Hapsburg girl of sixteen, like a sack 
      of potatoes. As they draw level with Salieri they stop, and 
      the groom holds the head of the Princess' horse. Salieri 
      bows respectfully.

 JOSEPH
       Good morning, Court Composer. This 
       is my niece, the Princess Elizabeth.

 SALIERI
       Your Highness.

      Out of breath, the Princess nods nervously.

 JOSEPH
       She has asked me to advise her on a 
       suitable musical instructor. I think 
       I've come up with an excellent idea.

      He smiles at Salieri.

 SALIERI
       Oh, Your Majesty, it would be such a 
       tremendous honour!

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

      Salieri's face falls, almost imperceptibly.

 SALIERI
       An interesting idea, Majesty. But -

 JOSEPH
       Yes?

 SALIERI
       You already commissioned an opera 
       from Mozart.

 JOSEPH
       And the result satisfies.

 SALIERI
       Yes, of course. My concern is to 
       protect you from any suspicion of 
       favouritism.

 JOSEPH
       Ah-ha. Favouritism. But I so want 
       Mozart.

 SALIERI
       I'm sure there is a way, Majesty. 
       Some kind of a little contest. I 
       could perhaps put together a small 
       Committee, and I could see to it 
       naturally that it will select 
       according to Your Majesty's wishes.

 JOSEPH
       You please me, Court Composer. A 
       very clever idea.

 SALIERI
   (bowing)
       Sire.

 JOSEPH
       Well. There it is.

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

     CUT TO:

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

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

 MOZART
       What is this, 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.

 VON STRACK
       Because His Majesty wishes it.

 MOZART
       Is the Emperor angry with me?

 VON STRACK
       On the contrary.

 MOZART
       Then why doesn't he simply appoint 
       me to the post?

 VON STRACK
       Mozart, you are not the only composer 
       in Vienna.

 MOZART
       No, but I'm the best.

 VON STRACK
       A little modesty would suit you 
       better.

 MOZART
       Who is on this committee?

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

 MOZART
       Naturally, the Italians! Of course!  
       Always the Italians!

 VON STRACK
       Mozart -

 MOZART
       They hate my music. It terrifies 
       them. The only sound Italians 
       understand is banality. Tonic and 
       dominant, tonic and dominant, from 
       here to Resurrection!
   (singing angrily)
       Ba-ba! Ba-ba! Ba-ba! Ba-ba! Anything 
       else is morbid.

 VON STRACK
       Mozart -

 MOZART
       Show them one interesting modulation 
       and they faint. Ohime! Morbidezza!  
       Morbidezza! Italians are musical 
       idiots and you want them to judge my 
       music!

 VON STRACK
       Look, young man, the issue is simple. 
       If you want this post, you must submit 
       your stuff in the same way as all 
       your colleagues.

 MOZART
       Must I? Well, I won't! I tell you 
       straight: I will not!

     CUT TO:

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

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

 CONSTANZE
       I think you're mad! You're really 
       mad!

 MOZART
       Oh, leave me alone.

 CONSTANZE
       One royal pupil and the whole of 
       Vienna will come flocking. We'd be 
       set up for life!

 MOZART
       They'll come anyway. They love me 
       here.

 CONSTANZE
       No, they will not. I know how things 
       work in this city.

 MOZART
       Oh yes? You always know everything.

 CONSTANZE
       Well, I'm not borrowing any more 
       money from my mother, and that's 
       that!

 MOZART
       You borrowed money from your mother?

 CONSTANZE
       Yes!

 MOZART
       Well, don't do that again!

 CONSTANZE
       How are we going to live, Wolfi? Do 
       you want me to go into the streets 
       and beg?

 MOZART
       Don't be stupid.

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

 MOZART
       Shut up! Just shut up! I don't need 
       them.

 CONSTANZE
       This isn't pride. It's sheer 
       stupidity!

      She glares at him, almost in tears.

     CUT TO:

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

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

      There is a knock on the door.

 SALIERI
       Yes.

      A SERVANT enters.

 SERVANT
       Excuse me, sir, there is a lady who 
       insists on talking to you.

 SALIERI
       Who is she?

 SERVANT
       She didn't say. But she says it's 
       urgent.

 SALIERI
   (to the pupil)
       Excuse me, my dear.

      Salieri goes into the salon.

     CUT TO:

      INT. THE SALON - LATE AFTERNOON - 1780'S

      Constanze stands, closely veiled, holding a portfolio stuffed 
      with manuscripts. The singing lesson ends, with two chords 
      on the instrument. Salieri enters the salon. Constanze drops 
      him a shy curtsey.

 CONSTANZE
       Excellency!

 SALIERI
       Madame. How can I help you?

      Shyly, she unveils.

 SALIERI
       Frau Mozart?

 CONSTANZE
       That's right, Your Excellency. I've 
       come on behalf of my hus band. I'm - 
       I'm bringing some samples of his 
       work so he can be considered for the 
       royal appointment.

 SALIERI
       How charming.  But why did he not 
       come himself?

 CONSTANZE
       He's terribly busy, sir.

 SALIERI
       I understand.

      He takes the portfolio and puts it on a table.

 SALIERI
       I will look at them, of course, the 
       moment I can. It will be an honour.  
       Please give him my warmest.

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

 SALIERI
       I'm afraid I'm not at leisure this 
       very moment. Just leave them with 
       me. I assure you they will be quite 
       safe.

 CONSTANZE
       I - I really cannot do that, Your 
       Excellency. You see, he doesn't know 
       I'm here.

 SALIERI
       Really?

 CONSTANZE
       My husband is a proud man, sir. He 
       would be furious if he knew I'd come.

 SALIERI
       Then he didn't send you?

 CONSTANZE
       No, sir. This is my own idea.

 SALIERI
       I see.

 CONSTANZE
       Sir, we really need this job. We're 
       desperate. My husband spends far 
       more than he can ever earn. I don't 
       mean he's lazy - he's not at all - 
       he works all day long. It's just! 
       he's not practical. Money simply 
       slips through his fingers, it's really 
       ridiculous, Your Excellency. I know 
       you help musicians. You're famous 
       for it. Give him just this one post.  
       We'd be forever indebted!

      A short pause.

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

      He indicates a dish piled high with glazed chestnuts.

 SALIERI
       Cappezzoli di Venere. Nipples of 
       Venus. Roman chestnuts in brandied 
       sugar. Won't you try one? They're 
       quite surprising.

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

 CONSTANZE
       Oh! They're wonderful.

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

 CONSTANZE
       Thank you very much, Your Excellency.

 SALIERI
       Don't keep calling me that. It puts 
       me at such a distance. I was not 
       born a Court Composer, you know.  
       I'm from a small town, just like 
       your husband.

      He smiles at her. She takes another chestnut.

 SALIERI
       Are you sure you can't leave that 
       music, and come back again? I have 
       other things you might like.

 CONSTANZE
       That's very tempting, but it's 
       impossible, I'm afraid. Wolfi would 
       be frantic if he found those were 
       missing. You see, they're all 
       originals.

 SALIERI
       Originals?

 CONSTANZE
       Yes.

      A pause. He puts out his hand and takes up the portfolio 
      from the table. He opens it. He looks at the music. He is 
      puzzled.

 SALIERI
       These are originals?

 CONSTANZE
       Yes, sir. He doesn't make copies.

     CUT TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

      The old man faces the Priest.

 OLD SALIERI
       Astounding! It was actually beyond 
       belief. These were first and only 
       drafts of music yet they showed no 
       corrections of any kind. Not one.  
       Do you realize what that meant?

      Vogler stares at him.

 OLD SALIERI
       He'd simply put down music already 
       finished in his head. Page after 
       page of it, as if he was just taking 
       dictation. And music finished as no 
       music is ever finished.

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

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

 OLD SALIERI (V.O.)
       Displace one note and there would be 
       diminishment. Displace one phrase, 
       and the structure would fall. It was 
       clear to me. That sound I had heard 
       in the Archbishop's palace had been 
       no accident. Here again was the very 
       voice of God! I was staring through 
       the cage of those meticulous ink-
       strokes at an absolute, inimitable 
       beauty.

      The music swells. What we now hear is an amazing collage of 
      great passages from Mozart's music, ravishing to Salieri and 
      to us. The Court Composer, oblivious to Constanze, who sits 
      happily chewing chestnuts, her mouth covered in sugar, walks 
      around and around his salon, reading the pages and dropping 
      them on the floor when he is done with them. We see his 
      agonized and wondering face: he shudders as if in a rough 
      and tumbling sea; he experiences the point where beauty and 
      great pain coalesce. More pages fall than he can read, 
      scattering across the floor in a white cascade, as he circles 
      the room.

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

 CONSTANZE
       Is it no good?

      A pause.

 SALIERI
       It is miraculous.

 CONSTANZE
       Oh yes. He's really proud of his 
       work.

      Another pause.

 CONSTANZE
       So, will you help him?

      Salieri tries to recover himself.

 SALIERI
       Tomorrow night I dine with the 
       Emperor. One word from me and the 
       post is his.

 CONSTANZE
       Oh, thank you, sir!

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

 SALIERI
       Come back tonight.

 CONSTANZE
       Tonight?

 SALIERI
       Alone.

 CONSTANZE
       What for?

 SALIERI
       Some service deserves service in 
       return. No?

 CONSTANZE
       What do you mean?

 SALIERI
       Isn't it obvious?

      They stare at one another: Constanze in total disbelief.

 SALIERI
       It's a post all Vienna seeks. If you 
       want it for your husband, come 
       tonight.

 CONSTANZE
       But! I'm a married woman!

 SALIERI
       Then don't. It's up to you. Not to 
       be vague, that is the price.

      He glares at her.

 SALIERI
       Yes.

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

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

     CUT TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

      CU, Father Vogler, horrified.

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

 VOGLER
   (crying out)
       You cannot say that!

 OLD SALIERI
       No? Was Mozart a good man?

 VOGLER
       God's ways are not yours. And you 
       are not here to question Him. Offer 
       him the salt of penitence. He will 
       give you back the bread of eternal 
       life. He is all merciful. That is 
       all you need to know.

 OLD SALIERI
       All I ever wanted was to sing to 
       Him. That's His doing, isn't it? He 
       gave me that longing - then made me 
       mute. Why? Tell me that. If He didn't 
       want me to serve Him with music, why 
       implant the desire, like a lust in 
       my body, then deny me the talent? Go 
       on, tell me! Speak for Him!

 VOGLER
       My son, no one can speak for God.

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

 VOGLER
       I do not claim to unravel the 
       mysteries. I treasure them. As you 
       should.

 OLD SALIERI
   (impatiently)
       Oh yes, yes, yes, yes, yes! Always 
       the same stale answers!
   (intimately to the 
   priest)
       There is no God of Mercy, Father. 
       Just a God of torture.

     CUT TO:

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

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

 OLD SALIERI (V.O.)
       Evening came to that room. I sat 
       there not knowing whether the girl 
       would return or not. I prayed as I'd 
       never prayed before.

 SALIERI
       Dear God, enter me now. Fill me with 
       one piece of true music. One piece 
       with your breath in it, so I know 
       that you love me. Please. Just one. 
       Show me one sign of your favour, and 
       I will show mine to Mozart and his 
       wife. I will get him the royal 
       position, and if she comes, I'll 
       receive her with all respect and 
       send her home in joy. Enter me! Enter 
       me! Please! Te imploro.

      Long, long silence. Salieri stares at the cross. Christ stares 
      back at him impassively. Finally in this silence we hear a 
      faint knocking at the door. Salieri stirs himself. A servant 
      appears.

 SERVANT
       That lady is back, sir.

 SALIERI
       Show her in. Then go to bed.

      The Servant bows and leaves. We follow him through:

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

      The Servant crosses it and enters:

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

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

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

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

 CONSTANZE
       Well, I'm here. My husband has gone 
       to a concert. He didn't think I would 
       enjoy it.

      A pause.

 CONSTANZE
       I do apologize for this afternoon.  
       I behaved like a silly girl. Where 
       shall we go?

 SALIERI
       What?

 CONSTANZE
       Should we stay here? It's a charming 
       room. I love these candlesticks. 
       Were they here earlier? I didn't 
       notice them I suppose I was too 
       nervous.

      As she talks, she extinguishes the candles in a pair of 
      Venetian candelabra and subsequently other candles around 
      the room.

 CONSTANZE
       Wolfgang was given some candlesticks 
       by King George in England, but they 
       were only wood. Oh, excuse me. Let's 
       not talk about him. What do you think 
       of this? It's real lace. Brussels.

      She turns and takes off her shawl.

 CONSTANZE
       Well, it's much too good for every 
       day. I keep saying to Wolfi, don't 
       be so extravagant. Presents are 
       lovely, but we can't afford them.  
       It doesn't do any good. The more I 
       tell him, the more he spends. Oh, 
       excuse me! There I go again.

      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.

      She looks at him inquiringly, and drops the portfolio on the 
      floor; pages of music pour out of it. Instantly we hear a 
      massive chord, and the great Qui Tollis from the Mass in C 
      Minor fills the room. To its grand and weighty sound, 
      Constanze starts to undress, watched by the horrified Salieri.  
      Between him and her, music is an active presence, hurting 
      and baffling him. He opens his mouth in distress. The music 
      pounds in his head. The candle flickers over her as she 
      removes her clothes and prepares for his embrace. Suddenly 
      he cries out.

 SALIERI
       Go! Go! Go!

      He snatches up the bell and shakes it frantically, not 
      stopping until the two servants we saw earlier appear at the 
      door. The music stops abruptly. They stare at the appalled 
      and frightened Constanze, who is desperately trying to cover 
      her nakedness.

 SALIERI
       Show this woman out!

      Constanze hurls herself at him.

 CONSTANZE
       You shit! You shit! You rotten shit!

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

 CONSTANZE
       What are you staring at?

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

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

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

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

     CUT TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

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

 OLD SALIERI
       Because You will not enter me, with 
       all my need for you; because You 
       scorn my attempts at virtue; because 
       You choose for Your instrument a 
       boastful, lustful, smutty infantile 
       boy and give me for reward only the 
       ability to recognize the Incarnation; 
       because You are unjust, unfair, 
       unkind, I will block You! I swear 
       it! I will hinder and harm Your 
       creature on earth as far as I am 
       able. I will ruin Your Incarnation.

CUT BACK TO:

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

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

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

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

     CUT TO:

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

      The front door bursts open. Mozart stumbles in, followed by 
      EMMANUEL SCHIKANEDER, three young actresses, and another 
      man, all fairly drunk. Schikaneder (who appears everywhere 
      accompanied by young girls) is a large, fleshy, extravagant 
      man of about thirty-five.

 MOZART
       Stanzi! Stanzi! Stanzi-Manzi!

      The others laugh.

 MOZART
       Sssh!

 SCHIKANEDER
   (imitating Mozart)
       Stanzi-Manzi-Banzi-Wanzi!

 MOZART
       Sssh! Stay here.

      He walks unsteadily to the bedroom door and opens it.

 SCHIKANEDER
   (to the girls, very 
   tipsy)
       Sssh! You're dishgrashful!

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

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

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

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

 MOZART
       Stanzi!

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

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

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

 MOZART
       Stop it now. Stop it. I've brought 
       some friends to meet you. They're 
       next door waiting. Do we have anything 
       to eat? They're all starving.

 CONSTANZE
       Tell them to go away. I don't want 
       to see anybody.

 MOZART
       What's the matter with you?

 CONSTANZE
       Tell them to go!

 MOZART
       Sssh. What is it? Tell me.

 CONSTANZE
       No!

 MOZART
       Yes!

 CONSTANZE
       I love you! I love you!

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

 CONSTANZE
       I love you. Please stay with me. I'm 
       frightened.

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

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

 JOSEPH
       I don't think you understand me, 
       Court Composer.

 SALIERI
       Majesty, I did. Believe me, it was a 
       most agonizing. decision. But finally, 
       I simply could not recommend Herr 
       Mozart.

 JOSEPH
       Why not?

 SALIERI
       Well, Sire, I made some inquiries in 
       a routine way. I was curious to know 
       why he had so few pupils. It is rather 
       alarming.

 JOSEPH
       Oh?

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

 SALIERI
       Majesty, I don't like to talk against 
       a fellow musician.

 JOSEPH
       Of course not.

 SALIERI
       I have to tell you, Mozart is not 
       entirely to be trusted alone with 
       young ladies.

 JOSEPH
       Really?

 SALIERI
       As a matter of fact, one of my own 
       pupils - a very young singer - told 
       me she was - er - well!

 JOSEPH
       Yes?

 SALIERI
       Molested, Majesty. Twice, in the 
       course of the same lesson.

      A pause.

 JOSEPH
       Ah-ha. Well. There it is.

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

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

 SERVANT
       Sir, there is a Herr Mozart waiting 
       for you in the salon.

      Salieri is plainly alarmed.

 SALIERI
       What does he want?

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

 SALIERI
       Come with me. And stay in the room.

      He mounts the stairs.

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

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

 SALIERI
       Herr Mozart, what brings you here?

 MOZART
       Your Excellency, you requested some 
       specimens of my work. Here they are.  
       I don't have to tell you how much I 
       need your help. I truly appreciate 
       your looking at these. I have 
       pressures on me - financial pressures. 
       As you know, I'm a married man now.

 SALIERI
       So you are. How is your pretty wife?

 MOZART
       She is well. She is - well, actually, 
       I'm about to become a father! She 
       only told me last night. You are the 
       first to know.

 SALIERI
       I'm flattered. And congratulations 
       to you, of course.

 MOZART
       So you see, this post is very 
       important to me right now.

      Salieri looks at him in distress.

 SALIERI
       Why didn't you come to me yesterday, 
       Mozart? This is a most painful 
       situation. Yesterday I could have 
       helped you. Today, I can't.

 MOZART
       Why? Here is the music. It's here.  
       I am submitting it humbly. Isn't 
       that what you wanted?

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

 MOZART
       Filled? That's impossible! They 
       haven't even seen my work. I need 
       this post. Please, can't you help 
       me? Please!

 SALIERI
       My dear Mozart, there is no one in 
       the world I would rather help, but 
       now it is too late.

 MOZART
       Whom did they choose?

 SALIERI
       Herr Sommer.

 MOZART
       Sommer? Herr Sommer? But the man's a 
       fool! He's a total mediocrity.

 SALIERI
       No, no, no: he has yet to achieve 
       mediocrity.

 MOZART
       But I can't lose this post, I simply 
       can't! Excellency, please. Let's go 
       to the palace, and you can explain 
       to the Emperor that Herr Sommer is 
       an awful choice. He could actually 
       do musical harm to the Princess!

 SALIERI
       An implausible idea. Between you and 
       me, no one in the world could do 
       musical harm to the Princess 
       Elizabeth.

      Mozart chuckles delightedly. Salieri offers him a glass of 
      white dessert and a spoon. Mozart takes it absently and goes 
      on talking.

 MOZART
       Look, I must have pupils. Without 
       pupils I can't manage.

 SALIERI
       You don't mean to tell me you are 
       living in poverty?

 MOZART
       No, but I'm broke. I'm always broke.  
       I don't know why.

 SALIERI
       It has been said, my friend, that 
       you are inclined to live somewhat 
       above your means.

 MOZART
       How can anyone say that? We have no 
       cook, no maid. We have no footman.  
       Nothing at all!

 SALIERI
       How is that possible? You give 
       concerts, don't you? I hear they are 
       quite successful.

 MOZART
       They're stupendously successful.  
       You can't get a seat. The only problem 
       is none will hire me. They all want 
       to hear me play, but they won't let 
       me teach their daughters. As if I 
       was some kind of fiend. I'm not a 
       fiend!

 SALIERI
       Of course not.

 MOZART
       Do you have a daughter?

 SALIERI
       I'm afraid not.

 MOZART
       Well, could you lend me some money 
       till you have one? Then I'll teach 
       her for free. That's a promise. Oh, 
       I'm sorry. I'm being silly. Papa's 
       right - I should put a padlock on my 
       mouth. Seriously, is there any chance 
       you could manage a loan? Only for 
       six months, eight at most. After 
       that I'll be the richest man in 
       Vienna. I'll pay you back double.  
       Anything. Name your terms. I'm not 
       joking. I'm working on something 
       that's going to explode like a bomb 
       all over Europe!

 SALIERI
       Ah, how exciting! Tell me more.

 MOZART
       I'd better not. It's a bit of a 
       secret.

 SALIERI
       Come, come, Mozart; I'm interested.  
       Truly.

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

 SALIERI
       Cream cheese mixed with granulated 
       sugar and suffused with rum. Crema 
       al Mascarpone.

 MOZART
       Ah. Italian?

 SALIERI
       Forgive me. We all have patriotic 
       feelings of some kind.

 MOZART
       Two thousand, two hundred florins is 
       all I need A hundred? Fifty?

 SALIERI
       What exactly are you working on?

 MOZART
       I can't say. Really

 SALIERI
       I don't think you should become known 
       in Vienna as a debtor, Mozart. 
       However, I know a very distinguished 
       gentleman I could recommend to you.  
       And he has a daughter. Will that do?

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

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

 SCHLUMBERG
       Quiet! Quiet! Quiet! Down there, 
       damn you.
   (to Mozart)
       Welcome to you. Pay no attention, 
       they're impossible. Stop it, you 
       willful things! Come this way. Just 
       ignore them. They're perfectly 
       harmless, just willful. I treat them 
       just like my own children.

 MOZART
       And which one of them do you want me 
       to teach?

 SCHLUMBERG
       What? Ha-ha! That's funny - I like 
       it. Which one, eh? You're a funny 
       fellow.
   (shouting)
       Hannah! Come this way.

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

 SCHLUMBERG
       Hannah!

      FRAU SCHLUMBERG appears: an anxious woman in middle life.

 SCHLUMBERG
   (to Mozart)
       You won't be teaching this one either.  
       She's my wife.

 MOZART
   (bowing)
       Madame.

 SCHLUMBERG
       This is Herr Mozart, my dear. The 
       young man Herr Salieri recommended 
       to teach our Gertrude. Where is she?

 FRAU SCHLUMBERG
       Upstairs.

 SCHLUMBERG
       Gertrude!

 FRAU SCHLUMBERG
       You can't be Herr Mozart!

 MOZART
       I'm afraid I am.

 SCHLUMBERG
       Of course, it's him. Who do you think 
       it is?

 FRAU SCHLUMBERG
       I've heard about you for ages! I 
       thought you must be an old man.

 SCHLUMBERG
       Gertrude!

 FRAU SCHLUMBERG
       It's such an honour for us to have 
       you here, Herr Mozart. And for 
       Gertrude.

 SCHLUMBERG
       People who know say the girl's got 
       talent. You must judge for yourself.  
       If you think she stinks, say so.

 FRAU SCHLUMBERG
       Michael, please! I'm sure you will 
       find her most willing, Herr Mozart.  
       She's really very excited. She's 
       been preparing all morning.

 MOZART
       Really?

 FRAU SCHLUMBERG
       Ah, now! Here she comes.

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

 MOZART
       Good morning, Fraulein Schlumberg.

 SCHLUMBERG
       Strudel, this is Herr Mozart. Say 
       good morning.

      Gertrude giggles instead.

 FRAU SCHLUMBERG
   (to Mozart)
       Perhaps a little refreshment first? 
       A little coffee, or a little 
       chocolate?

 MOZART
       I'd like a little wine, if you have 
       it.

 FRAU SCHLUMBERG
       Wine?

 SCHLUMBERG
       Quite right. He's going to need it.
   (calling and clapping 
   his hands)
       Klaus! A bottle of wine. Prestissimo! 
       Now let's go to it. I've been waiting 
       all day for this.

      He leads the way into:

      INT. MUSIC ROOM - DAY - 1780'S

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

 SCHLUMBERG
   (To the dogs)
       Now sit down all of you and behave. 
       Zeman, Mandi, absolutely quiet!
   (to a young beagle)
       Especially you, Dudelsachs - not one 
       sound from you.

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

 SCHLUMBERG
       Come on, then. Up and at it!

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

 MOZART
       Now, please play me something. Just 
       to give me an idea. Anything will 
       do.

 GERTRUDE
   (to parents)
       I don't want you to stay.

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

 GERTRUDE
       But you are here.

 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, 
       Fraulein?

 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. I think we're both 
       a little shy.

      Husband and wife look at each other.

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

      Silence. The girl sits unmoving. Schlumberg bellows:

 SCHLUMBERG
       I said play!

 FRAU SCHLUMBERG
       Michael!

 MOZART
       Perhaps if I were to play a little 
       first, it might encourage the 
       Fraulein.
   (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? Clever, clever Dudi.

      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, Fraulein, goodbye, Madame! 
       goodbye, Sir!

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

 FRAU SCHLUMBERG
       What a strange young man.

 SCHLUMBERG
       Yes. He is a little strange.

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

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

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

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

      Suddenly, he stops. He looks up the stairs. The grim opening 
      chords from the Overture to Don Giovanni cut across the march 
      from Figaro. What he sees, looking up the stairs, is a 
      menacing figure in a long, grey cape and dark grey hat, 
      standing on the landing. 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.  
      It takes a beat in which the air of sinister mystery is held 
      before Mozart realizes who it is. Then, as the music 
      continues, he hastily sets down the bottle of wine and rushes 
      joyfully up the stairs and hurls himself into the figure's 
      arms.

 MOZART
       Papa! PAPA!

      Both men embrace. The music slowly fades.

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

      A cramped, low-ceilinged little room which nobody has tidied 
      for ages. We see music lying everywhere. Also there are many 
      empty wine bottles; musical instruments - among them a 
      mandolin, a viola, a forte-piano with the black and white 
      keys reversed - books and abandoned plates of food.

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

 MOZART
       Why are you here?

 LEOPOLD
       Am I not welcome?

 MOZART
       Of course, welcome! Welcome ten 
       thousand times. Papa! my Papa!

      He kisses his hands.

 LEOPOLD
       You're very thin. Does she not feed 
       you, this wife of yours?

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

 MOZART
       Feed? Well, of course she feeds me. 
       She stuffs me like a goose all day 
       long. She's the best cook in the 
       world. I mean, since Mama. Just wait, 
       you'll see.

 LEOPOLD
       Is she not here?

 MOZART
       I don't know. Stanzi? Stanzi!

      Leopold looks about him at the mess in the room.

 LEOPOLD
       Do you always live like this?

 MOZART
       Oh, yes. Oh, I mean no - not exactly 
       like this. I mean today - just today, 
       Stanzi - I remember now. She had to 
       go - yes! She had to help her mother. 
       Yes, she's like that. Her mother's a 
       very sweet woman, you'll see.

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

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

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

 MOZART
       We'll wait, we'll wait. Why don't 
       you get up now, darling?

      He closes the door again.

 MOZART
       She's very tired, poor creature.  
       You know me: I'm a real pig. It's 
       not so easy cleaning up after me.

 LEOPOLD
       Don't you have a maid?

 MOZART
       Oh we could, if we wanted to, but 
       Stanzi won't hear of it. She wants 
       to do everything herself.

 LEOPOLD
       How is your financial situation?

 MOZART
       It couldn't be better.

 LEOPOLD
       That's not what I hear.

 MOZART
       What do you mean? It's wonderful.  
       Really, it's - it's marvelous! People 
       love me here.

 LEOPOLD
       They say you're in debt.

 MOZART
       Who? Who says that? Now that's a 
       malicious lie!

 LEOPOLD
       How many pupils do you have?

 MOZART
       Pupils?

 LEOPOLD
       Yes.

 MOZART
       Yes.

 LEOPOLD
       How many?

 MOZART
       I don't know. It's not important. I 
       mean, I don't want pupils. They get 
       in the way. I've got to have time 
       for composition.

 LEOPOLD
       Composition doesn't pay. You know 
       that.

 MOZART
       This one will.

      He picks up some pages of manuscript.

 LEOPOLD
       What's that?

 MOZART
       Oh, let's not talk about it.

 LEOPOLD
       Why not?

 MOZART
       It's a secret.

 LEOPOLD
       You don't have secrets from me.

 MOZART
       It's too dangerous, Papa. But they're 
       going to love it. Ah, there she is!

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

 MOZART
       My Stanzi - look at her! Isn't she 
       beautiful? Come on now, confess, 
       Papa. Could you want a prettier girl 
       for a daughter?

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

 MOZART
       He's not Herr Mozart. Call him Papa.

 LEOPOLD
       I see that you're expecting.

 CONSTANZE
       Oh, yes.

 LEOPOLD
       When, may I ask?

 CONSTANZE
       In three months! Papa.

 MOZART
       Isn't that marvelous? We're delighted.

 LEOPOLD
       Why didn't you mention it in your 
       letters?

 MOZART
       Didn't I? I thought I did. I'm sure 
       I did.

      He gives a little giggle of embarrassment.

 CONSTANZE
       May I offer you some tea, Herr Mozart?

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

 CONSTANZE
       Wolfi!

 MOZART
       What? How can you be so boring?  
       Tea!

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

 LEOPOLD
       Thank you. That'll be fine. Don't 
       spend any money on me.

 MOZART
       Why not? Oh, come, 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.539) 
      sounds through all the following. This is an alternate song 
      from Il Seraglio: a very extroverted tune for baritone and 
      orchestra and a prominent part for bass drum. The vocal part 
      should be arranged for trumpet.

      EXT. STREET IN VIENNA - DAY - 1780'S

      Mozart and Constanze with Leopold between them. We see couples 
      shopping.

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

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

      Amidst the merriment, Leopold is helped by two assistants to 
      put on a dark grey cloak and a dark grey tricorne hat, to 
      which is attached a full mask of dark grey. Its mouth is cut 
      into a fixed upward smile.

      He turns and looks at his son through this mask.

     CUT STRAIGHT TO:

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

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

      As soon as they disappear into the far room, Salieri goes 
      quickly to a lady in the corner who is giving guests domino 
      masks off a tray. He quickly takes a small black mask and 
      puts it on.

     CUT TO:

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

      A fantastic room designed as a rocky grotto, lit by candles.  
      A forte-piano to one side is being played by Schikaneder:  
      the music of Ich Mochte Wohl Der Kaiser sein cross-fades to 
      another tune.  This is Vivat Bacchus from Il Seraglio which

      Schikaneder, dressed as Bacchus, is humming as he plays. The 
      music is actually accompanying a game of Forfeits, which has 
      begun. Five couples (the group we have just seen) are dancing 
      in the middle of a ring made by nine chairs. When the music 
      stops they will each have to find a chair, and the one who 
      fails must pay a forfeit.

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

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

 SCHIKANEDER
       No, no! You both lost. You both lost. 
       You both have to forfeit. And the 
       penalty is you must exchange your 
       wigs.

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

 LEOPOLD
       No, please! This is ridiculous! No, 
       please!

      Despite his protests an actress takes off his hat, to which 
      the smiling mask is attached, to reveal his outraged face 
      showing a very different expression underneath. Another 
      actress snatches off his wig to reveal very sparse hair on 
      the old man's head. The third actress takes Constanze's wig 
      from Mozart and attempts to put it on his father's head.

 LEOPOLD
       No, really!

 MOZART
   (calling to him)
       This is just a game, Papa.

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

 CONSTANZE
       This is just a game, Papa!

      Laughingly, the bystanders take it up, especially the 
      children.

 BYSTANDERS
       This is just a game, Papa!

      As Leopold glares furiously about him, the actress succeeds 
      in getting Constanze's wig firmly onto his head. Everybody 
      bursts into applause. Delightedly, Constanze puts on Leopold's 
      wig, hat and mask: from the waist up she now looks like a 
      weird parody of Leopold in the smiling grey mask, and he 
      looks like a weird parody of her in the silly feminine wig.  
      Schikaneder starts to play again, and the couples start to 
      dance. Leopold angrily takes off Constanze's wig and leaves 
      the circle; his partner, Constanze, is left alone. Seeing 
      this, Mozart leaves his partner and catches his father 
      entreatingly by the arm.

 MOZART
       Oh no, Papa, please! Don't spoil the 
       fun. Come on. Here, take mine.

      He takes off his own wig and puts it on Leopold's uncovered 
      head. The effect, if not as ridiculous, is still somewhat 
      bizarre, since Wolfgang favours fairly elaborate wigs. He 
      takes Constanze's wig from his father. As this happens, the 
      music stops again. Mozart gently pushes his father down onto 
      a nearby chair; the others scramble for the other chairs; 
      and he is left as the Odd Man Out. He giggles. Schikaneder 
      calls out to Leopold from the keyboard.

 SCHIKANEDER
       Herr Mozart, why don't you name your 
       son's penalty?

      Applause.

 MOZART
       Yes, Papa, name it. Name it. I'll do 
       anything you say!

 LEOPOLD
       I want you to come back with me to 
       Salzburg, my son.

 SCHIKANEDER
       What did he say? What did he say?

 MOZART
       Papa, the rule is you can only give 
       penalties that can be performed in 
       the room.

 LEOPOLD
       I'm tired of this game. Please play 
       without me.

 MOZART
       But my penalty. I've got to have a 
       penalty.

      All the bystanders are watching.

 SCHIKANEDER
       I've got a good one. I've got the 
       perfect one for you. Come over here.

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

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

      Applause.

 MOZART
       Oh, that's really too easy. Any child 
       can do that.

      Amused sounds of disbelief.

 SCHIKANEDER
       And a fugue in the manner of Sebastian 
       Bach.

      Renewed applause at this wicked extra penalty. Mozart smiles 
      at Schikaneder - it is the sort of challenge he loves. He 
      defiantly puts on Constanze's wig and seats himself with his 
      back to the keyboard. Before the astonished eyes of the 
      company he proceeds to execute this absurdly difficult task. 
      His right hand plays the bass part, his left hand the treble, 
      and with this added difficulty he improvises a brilliant 
      fugue on the subject of the tune to which they have been 
      dancing.

      Attracted by this astonishing feat, the players draw nearer 
      to the instrument. So does Salieri, cautiously, with some of 
      the bystanders. Constanze watches him approach. Only Leopold 
      sits by himself, sulking.

      The fugue ends amidst terrific clapping. The guests call out 
      to Mozart.

 GUESTS
       Another! Do another! Someone else.

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

 GUESTS
       Gluck! Haydn! Frederic Handel!

 CONSTANZE
       Salieri! Do Salieri!

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

 MOZART
       Now that's hard. That's very hard. 
       For Salieri one has to face the right 
       way around.

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

      He furrows his brow in mock concentration and closes his 
      eyes. Then he begins to play the tune to which they danced, 
      in the most obvious way imaginable, relying heavily on a 
      totally and offensively unimaginative bass of tonic and 
      dominant, endlessly repeated. The music is the very essence 
      of banality. The bystanders rock with laughter. Mozart starts 
      to giggle wildly. Through this excruciating scene, Salieri 
      stares at Constanze, who suddenly turns her head and looks 
      challengingly back at him.

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

      CU, Salieri staring in pain.

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

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

 OLD SALIERI
       Go on. Mock me. Laugh, laugh!

CUT BACK TO:

      INT. GROTTO - NIGHT - 1780'S

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

     CUT TO:

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

      Salieri sits at his desk. 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. Faintly we see the 
      mark of the cross.

 OLD SALIERI (V.O.)
       That was not Mozart laughing, Father.  
       That was God. That was God! God 
       laughing at me through that obscene 
       giggle. Go on, Signore. Laugh. Rub 
       my nose in it. Show my mediocrity 
       for all to see. You wait! I will 
       laugh at You! Before I leave this 
       earth, I will laugh at You! Amen!

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

      It is littered with manuscripts. In the middle stands a 
      billiard table. The beautiful closing ensemble from Act IV 
      of Figaro: Ah, Tutti contenti! Saremo cosi plays in the 
      background. Standing at the billiard table, Mozart is dreamily 
      hearing the music and playing shots on the table.

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

 CONSTANZE
   (outside the door)
       Wolfi! Wolfgang!

      The music breaks off.

 MOZART
       What is it?

      He opens the door.

 CONSTANZE
       There's a young girl to see you.

 MOZART
       What does she want?

 CONSTANZE
       I don't know.

 MOZART
       Well, ask her!

 CONSTANZE
       She won't talk to me. She says she 
       has to speak to you.

 MOZART
       Oh, damn!

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

      Mozart comes out. Framed in the doorway from outside stands 
      Lorl, the maid we noticed in Salieri's house. From his bedroom 
      Leopold peeps out to watch. Mozart goes to the girl. Constanze 
      follows.

 MOZART
       Yes?

 LORL
       Are you Herr Mozart?

 MOZART
       That's right.

 LORL
       My name is Lorl, sir. I'm a 
       maidservant. I was asked to come 
       here and offer my services to you.

 MOZART
       What?

 LORL
       They'll be paid for by a great admirer 
       or yours who wishes to remain anon - 
       anonymous.

 CONSTANZE
       What do you mean? What admirer?

 LORL
       I can't tell you that, ma'am.

 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. I can live in or out just as 
       you wish.

      Mozart turns to his father.

 MOZART
       Papa, is this your idea?

 LEOPOLD
       Mine?

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

 MOZART
       Are you playing a trick on me?

 LEOPOLD
       I never saw this girl in my life.
   (to Lorl)
       Is this a kind of joke?

 LORL
       Not at all, sir. And I was told to 
       wait for an answer.

 LEOPOLD
       Young woman, this won't do at all.  
       My son can't possibly accept such an 
       offer, no matter how generous, unless 
       he knows who is behind it.

 LORL
       But I really can't tell you, sir.

 LEOPOLD
       Oh, this is ridiculous.

 CONSTANZE
       What is ridiculous? Wolfi has many 
       admirers in Vienna. They love him 
       here. People send us gifts all the 
       time.

 LEOPOLD
       But you can't take her without 
       reference. It's unheard of!

 CONSTANZE
       Well, this is none of your business.
   (to Lorl)
       Whoever sent you is going to pay, 
       no?

 LORL
       That's right, ma'am.

 LEOPOLD
       So now we are going to let a perfect 
       stranger into the house?

      Constanze looks furiously at him, then at Lorl.

 CONSTANZE
       Who is we? Who is letting who?
   (to Lorl)
       Could you please wait outside?

 LORL
       Yes, ma'am.

      Lorl goes outside and closes the door. Constanze turns on 
      Leopold.

 CONSTANZE
       Look, old man, you stay out of this.  
       We spend a fortune on you, more than 
       we can possibly afford, and all you 
       do is criticize, morning to night. 
       And then you think you can -

 MOZART
       Stanzi!

 CONSTANZE
       No, it's right he should hear. I'm 
       sick to death of it. We can't do 
       anything right for you, can we?

 LEOPOLD
       Never mind. You won't have to do 
       anything for me ever again. I'm 
       leaving!

 MOZART
       Papa!

 LEOPOLD
       Don't worry, I'm not staying here to 
       be a burden.

 MOZART
       No one calls you that.

 LEOPOLD
       She does. She says I sleep all day.

 CONSTANZE
       And so you do! The only time you 
       come out is to eat.

 LEOPOLD
       And what do you expect? Who wants to 
       walk out into a mess like this every 
       day?

 CONSTANZE
       Oh, now I'm a bad housekeeper!

 LEOPOLD
       So you are! The place is a pigsty 
       all the time.

 CONSTANZE
   (to Mozart)
       Do you hear him? Do you?

      Explosively she opens the door.

 CONSTANZE
   (to Lorl)
       When can you start?

 LORL
       Right away, ma'am.

 CONSTANZE
       Good! Come in. You'll start with 
       that room there.
   (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. Leopold is 
      left alone.

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

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

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

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

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

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

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

 LORL
       They're out every night, sir. Till 
       all hours.

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

 LORL
   (taking one)
       Oh, thank you, sir.

 SALIERI
       Do any pupils come to the house?

 LORL
       Not that I've seen.

 SALIERI
       Then how does he pay for all this?  
       Does he work at all?

 LORL
       Oh, yes, sir, all day long. He never 
       leaves the house until evening. He 
       just sits there, writing and writing.  
       He doesn't even eat.

 SALIERI
       Really? What is it he's writing?

 LORL
       Oh, I wouldn't know that, sir.

 SALIERI
       Of course not. You're a good girl.  
       You're very kind to do this. Next 
       time you're sure they'll be out of 
       the house, let me know, will you?

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

 LORL
       Oh, thank you, sir!

      She accepts them, delighted.

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

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

     CUT TO:

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

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

      The crowd is in a happy and appreciative mood: it is a 
      delightful open-air scene. We hear the gayest and most complex 
      passage. Leopold and Constanze listen to Mozart, who plays 
      his own work brilliantly. We stay with this scene for a little 
      while and then

     CUT TO:

      EXT. VIENNA STREET - AFTERNOON - 1780'S

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

      EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S

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

     CUT TO:

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

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

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

      The room is considerably tidier as a result of Lorl's 
      ministrations. Salieri stands looking about him with 
      tremendous curiosity.

 LORL
       I think I've found out about the 
       money, sir.

 SALIERI
       Yes what?

      She opens a drawer in a sideboard. Inside we see one gold 
      snuff box: it is the one we saw Mozart being presented with 
      as a child in the Vatican.

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

      Salieri turns to look around him.

 SALIERI
       Where does he work?

 LORL
       In there, sir.

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

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

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

      CU, The pages.

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

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

      CU, The word Figaro.

      CU, Salieri. He stares amazed.

     CUT TO:

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

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

 JOSEPH
       Bravo, Mozart. Most charming. Yes, 
       indeed. Clever man.

 MOZART
       Thank you, Sire!

 VON SWIETEN
       Well done, Mozart. Really quite fine.

 MOZART
       Baron!

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

 MOZART
       Majesty, 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. He would so 
       much like to kiss your hand. It would 
       make his whole stay so memorable for 
       him.

 JOSEPH
       Ah! By all means.

      Leopold comes forward eagerly and fawningly kisses the royal 
      hand.

 LEOPOLD
       Your Majesty.

      Constanze curtsies.

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

 LEOPOLD
       That's right, Your Majesty. Twenty 
       years ago. No, twenty-two! twenty-
       three! And I remember word for word 
       what you said to me. You said - you 
       said --

      He searches his memory.

 JOSEPH
       Bravo?

 LEOPOLD
       No! Yes, 'bravo,' of course 'bravo'!  
       Everybody always says 'bravo' when 
       Wolfi plays. Like the King of England.  
       When we played for the King of 
       England, he got up at the end and 
       said, 'Bravo! Bravo! Bravo!' three 
       times. Three bravo's. And the Pope 
       four! Four bravo's from the Holy 
       Father, and one 'bellissimo.'

      All the courtiers around are looking at him.

 MOZART
       Father -

 LEOPOLD
       Hush! I'm talking to His Majesty. 
       Your Majesty, I wish to express only 
       one thing - that you who are the 
       Father of us all, could teach our 
       children the gratitude they owe to 
       fathers. It is not for nothing that 
       the Fifth Commandment tells us: 
       'Honour your Father and Mother, that 
       your days may be long upon the earth.'

 JOSEPH
       Ah-ha. Well. There it is.

     CUT TO:

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

      The Director sits at his table with Salieri and Bonno.

 SALIERI
       I've just learned something that 
       might be of interest to you, Herr 
       Director.

 ORSINI-ROSENBERG
       Yes?

 SALIERI
       Mozart is writing a new opera. An 
       Italian opera.

 ORSINI-ROSENBERG
       Italian?

 BONNO
       Aie!

 SALIERI
       And that's not all. He has chosen 
       for his subject, Figaro. The Marriage 
       of Figaro.

 ORSINI-ROSENBERG
       You mean that play?

 SALIERI
       Exactly.

 ORSINI-ROSENBERG
       He's setting that play to music?

 SALIERI
       Yes.

 ORSINI-ROSENBERG
       You must be mad.

 BONNO
       What is this Marriage of Figaro?

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

 BONNO
       Hah!

      He crosses himself, wide-eyed with alarm.

 ORSINI-ROSENBERG
       Are you absolutely sure?

 SALIERI
       I've seen the manuscript.

 ORSINI-ROSENBERG
       Where?

 SALIERI
       Never mind.

     CUT TO:

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

 VON STRACK
       I know we banned this play, but 
       frankly I can't remember why. Can 
       you refresh my memory, Herr Director?

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

 VON STRACK
       Oh yes, yes. And that was?

 ORSINI-ROSENBERG
       Well, the play makes a hero out of a 
       valet. He outwits his noble master 
       and exposes him as a lecher. Do you 
       see the implications? This would be, 
       in a grander situation, as if a 
       Chamberlain were to expose an Emperor.

 VON STRACK
       Ah.

     CUT TO:

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

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

 LACKEY
       Herr Mozart.

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

 JOSEPH
       Sit down, gentlemen, please.

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

 JOSEPH
       Mozart, are you aware I have declared 
       the French play of Figaro unsuitable 
       for our theatre?

 MOZART
       Yes, Sire.

 JOSEPH
       Yet we hear you are making an opera 
       from it. Is this true?

 MOZART
       Who told you this, Majesty?

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

 MOZART
       Well, yes, I admit it is.

 JOSEPH
       Would you tell me why?

 MOZART
       Well, Majesty, it is only a comedy.

 ORSINI-ROSENBERG
       What you think, Mozart, is scarcely 
       the point. It is what His Majesty 
       thinks that counts.

 MOZART
       But, Your Majesty -

 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?  
       Twenty minutes of 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 
       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! How dare 
       you?

      Beat. All look at the Emperor.

 MOZART
       Forgive me, Majesty. I'm a vulgar 
       man. But I assure you, my music is 
       not.

 JOSEPH
       You are passionate, Mozart! But you 
       do not persuade.

 MOZART
       Sire, the whole opera is finished. 
       Do you know how much work went into 
       it?

 BONNO
       His Majesty has been more than 
       patient, Signore.

 MOZART
       How can I persuade you if you won't 
       let me show it?

 ORSINI-ROSENBERG
       That will do, Herr Mozart!

 MOZART
       Just let me tell you how it begins.

 VON STRACK
       Herr Mozart -

 MOZART
       May I just do that, Majesty? Show 
       you how it begins? Just that?

      A slight pause. Then Joseph nods.

 JOSEPH
       Please.

      Mozart falls on his knees.

 MOZART
       Look! There's a servant, down on his 
       knees. Do you know why? Not from any 
       oppression. No, he's simply measuring 
       a space. Do you know what for? His 
       bed. His wedding bed to see if it 
       will fit.

      He giggles.

     CUT TO:

      INT. OPERA HOUSE - DAY - 1780'S

      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. We watch Figaro 
      measuring the space for his bed on the floor, singing and 
      Susanna looking on, trying on the Countess' hat.

     CUT TO:

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

      Orsini-Rosenberg and Bonno are sitting with Salieri.

 ORSINI-ROSENBERG
       Well, Mozart is already rehearsing.

 SALIERI
       Incredible.

 ORSINI-ROSENBERG
       The Emperor has given him permission.

 BONNO
       Si, si! Veramente.

 SALIERI
       Well, gentlemen, so be it. In that 
       case I think we should help Mozart 
       all we can and do our best to protect 
       him against the Emperor's anger.

 ORSINI-ROSENBERG
       What anger?

 SALIERI
       About the ballet.

 ORSINI-ROSENBERG
       Ballet? What ballet?

 SALIERI
       Excuse me - didn't His Majesty 
       specifically forbid ballet in his 
       opera?

 ORSINI-ROSENBERG
       Yes, absolutely. Is there a ballet 
       in Figaro?

 SALIERI
       Yes, in the third act.

     CUT TO:

      INT. THE OPERA HOUSE - DAY - 1780'S

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

      We are in the Act III and we hear the recitativo exchange 
      just before the march begins. Orsini-Rosenberg and Bonno sit 
      watching chairs.

      Suddenly the march starts. Peasants and friends start to 
      dance in and at the same moment, Orsini-Rosenberg gets up 
      and comes down to Mozart. He is accompanied by an anxious 
      Bonno.

 ORSINI-ROSENBERG
       Mozart! Herr Mozart, may I have a 
       word with you please. Right away.

 MOZART
       Certainly, Herr Director.

      He signals to the cast to break off.

 MOZART
       Five minutes, please!

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

 ORSINI-ROSENBERG
       Did you not know that His Majesty 
       has expressly forbidden ballet in 
       his operas?

 MOZART
       Yes, but this is not a ballet. This 
       is a dance at Figaro's wedding.

 ORSINI-ROSENBERG
       Exactly. A dance.

 MOZART
       But surely the Emperor didn't mean 
       to prohibit dancing when it's part 
       of the story.

 ORSINI-ROSENBERG
       It is dangerous for you to interpret 
       His Majesty's edicts. Give me your 
       score, please.

      Mozart hands him the score from which he is conducting.

 ORSINI-ROSENBERG
       Thank you.

      He rips out a page. Bonno watches in terror.

 MOZART
       What are you doing?

      He rips out three more.

 MOZART
       What are you doing, Herr Director?

 ORSINI-ROSENBERG
       Taking out what you should never 
       have put in.

      He goes on tearing the pages determinedly.

     CUT TO:

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

      A servant opens the door to announce.

 SERVANT
       Herr Mozart.

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

 MOZART
       Please! Please. I've no one else to 
       turn to. Please!

      He grabs Salieri.

 SALIERI
       Wolfgang, what is it? Sta calmo, per 
       favore. What's the matter?

 MOZART
       It's unbelievable! The Director has 
       actually ripped out a huge section 
       of my music. Pages of it.

 SALIERI
       Really? Why?

 MOZART
       I don't know. They say I've got to 
       re-write the opera, but it's perfect 
       as it is. I can't rewrite what's 
       perfect. Can't you talk to him?

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

 MOZART
       Oh, I could kill him! I mean really 
       kill him. I actually threw the entire 
       opera on the fire, he made me so 
       angry!

 SALIERI
       You burned the score?

 MOZART
       Oh no! My wife took it out in time.

 SALIERI
       How fortunate.

 MOZART
       It's not fair that a man like that 
       has power over our work.

 SALIERI
       But there are those who have power 
       over him. I think I'll take this up 
       with the Emperor.

 MOZART
       Oh, Excellency, would you?

 SALIERI
       With all my heart, Mozart.

 MOZART
       Thank you! Oh, thank you.

      He kisses Salieri's hand.

 SALIERI
   (withdrawing it; 
   imitating the Emperor)
       No, no, no, Herr Mozart, please.  
       It's not a holy relic.

      Mozart giggles with relief and gratitude.

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

 OLD SALIERI
       I'm sure I don't need to tell you I 
       said nothing whatever to the Emperor.  
       I went to the theatre ready to tell 
       Mozart that His Majesty had flown 
       into a rage when I mentioned the 
       ballet, when suddenly, to my 
       astonishment, in the middle of the 
       third act, the Emperor - who never 
       attended rehearsals - suddenly 
       appeared.

      INT. OPERA HOUSE - DAY - 1780'S

      In the background the same recitativo before the March. The 
      Emperor steals in surreptitiously with Von Strack, his finger 
      to his lips. He motions everyone not to rise, and slips into 
      a chair behind Salieri, Orsini-Rosenberg and Bonno.

      The three conspirators look at each other wide-eyed.

      The recitativo summons up the march, but instead there is 
      silence. Mozart lays down his baton. The musicians lay down 
      their instruments. The celebrants of Figaro's wedding come 
      in with a few pitiful dance steps, in procession, only to 
      come presently to a halt, lacking their music. The singers 
      try to go on singing, but they have no cues from their 
      conductor or from the accompaniment. Everyone on stage looks 
      lost, though they attempt to go on with the story for a while. 
      Consternation grows on the faces of the conspirators. Mozart 
      glances back at the group seated in the theatre.  Finally, 
      the Emperor speaks, in a whisper.

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

 BONNO
       Majesty, the Herr Director, he has 
       removed a balleto that would have 
       occurred at this place.

 JOSEPH
       Why?

 ORSINI-ROSENBERG
       It is your regulation, Sire. No ballet 
       in your opera.

      Mozart strains to hear what they are saying but cannot.

 JOSEPH
       Do you like this, Salieri?

 SALIERI
       It is not a question of liking, Your 
       Majesty. Your own law decrees it, 
       I'm afraid.

 JOSEPH
       Well, look at them.

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

 JOSEPH
       No, no, no! This is nonsense. Let me 
       hear the scene with the music.

 ORSINI-ROSENBERG
       But, Sire -

 JOSEPH
       Oblige me.

      Orsini-Rosenberg acknowledges his defeat.

 ORSINI-ROSENBERG
       Yes, Majesty.

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

 ORSINI-ROSENBERG
       Can we see the scene with the music 
       back, please?

 MOZART
       Oh yes, certainly. Certainly, Herr 
       Director!

      He looks back deliriously at Salieri, trying to indicate his 
      gratitude. Salieri acknowledges with a slight and subtle 
      nod.

      Orsini-Rosenberg returns to his king.

 MOZART
       Ladies and gentlemen, we're going 
       from where we stopped. The Count: 
       Anches so. Right away, please!

      The singers scatter offstage to begin the scene again.

 JOSEPH
   (to Orsini-Rosenberg)
       What I hoped by that edict, Director, 
       was simply to prevent hours of dancing 
       like in French opera. There it is 
       endless, as you know.

 ORSINI-ROSENBERG
       Quite so, Majesty.

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

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

     CUT TO:

      INT.  OPERA HOUSE - NIGHT - 1780'S

      The theatre is brilliantly lit for the first public 
      performance of Figaro. Everybody is there: the Emperor, Von 
      Strack, Bonno Orsini-Rosenberg, Von Swieten, even Madame 
      Weber and her daughters in a box. The musicians all wear 
      imperial livery; the actors on stage are now in costume.  
      Mozart, conducting, wears his Order of the Golden Spur. The 
      company wheels in and around to the music of the restored 
      march, which reaches a triumphant climax.

     CUT TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

 OLD SALIERI
   (to Vogler)
       So Figaro was produced in spite of 
       me. And in spite of me, a wonder was 
       revealed. One of the true wonders of 
       art. The restored third act was bold 
       and brilliant. The fourth was a 
       miracle.

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

      INT. OPERA HOUSE - NIGHT - 1780'S

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

 OLD SALIERI (V.O.)
       I saw a woman disguised in her maid's 
       clothes hear her husband speak the 
       first tender words he has offered 
       her in years, only because he thinks 
       she is someone else. I heard the 
       music of true forgiveness filling 
       the theatre, conferring on all who 
       sat there a perfect absolution. God 
       was singing through this little man 
       to all the world - unstoppable - 
       making my defeat more bitter with 
       each passing bar.

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

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

 OLD SALIERI
       And then suddenly - a miracle!

CUT BACK TO:

      INT. OPERA HOUSE - NIGHT - 1780'S

      The ensemble reaches its climax, and fades away to the very 
      quiet, slow chords immediately preceding the boisterous final 
      chord. Salieri becomes aware that some of the audience are 
      asleep and many mare are apathetic. In the near silence we 
      see the Emperor yawn behind his hand. Those nearby look at 
      him. Orsini-Rosenberg smiles.

CUT BACK TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

 OLD SALIERI
       Father, did you know what that meant?  
       With that yawn I saw my defeat turn 
       into a victory. And Mozart was lucky 
       the Emperor only yawned once. Three 
       yawns and the opera would fail the 
       same night; two yawns, within a week 
       at most. With one yawn the composer 
       could still get -

     CUT TO:

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

      Mozart is pacing up and down. Salieri is listening 
      sympathetically.

 MOZART
       Nine performances! Nine! That's all 
       it's had - and withdrawn.

 SALIERI
       I know; it's outrageous. Still, if 
       the public doesn't like one's work 
       one has to accept the fact gracefully.

 MOZART
       But what is it they don't like?

 SALIERI
       Well, I can speak for the Emperor. 
       You made too many demands on the 
       royal ear. The poor man can't 
       concentrate for more than an hour 
       and you gave him four.

 MOZART
       What did you think of it yourself?  
       Did you like it at all?

 SALIERI
       I think it's marvelous. Truly.

 MOZART
       It's the best opera yet written. I 
       know it! Why didn't they come?

 SALIERI
       I think you overestimate our dear 
       Viennese, my friend. 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, I know. Perhaps you should 
       give me some lessons in that.

 SALIERI
   (fuming)
       I wouldn't presume. All the same, if 
       it wouldn't be imposing, I would 
       like you to see my new piece. It 
       would be a tremendous honour for me.

 MOZART
       Oh no, the honour would be all mine.

 SALIERI
   (bowing)
       Grazie, mio caro, Wolfgang!

 MOZART
       Grazie, a lei, Signor Antonio!

      He bows too, giggling.

     CUT TO:

      INT. OPERA HOUSE - NIGHT - 1780'S

      A performance of Salieri's grand opera, Axur: King of Ormus.  
      Deafening applause from a crowded house. We see the reception 
      of the aria which we saw Cavalieri singing on the stage near 
      the start of the film. Cavalieri, in a mythological Persian 
      costume, is bowing to the rapturous throng; below her is 
      Salieri. We see the Emperor, Von Strack, Orsini-Rosenberg, 
      Bonno and Von Swieten, all applauding. We hear great cries 
      of 'Salieri! Salieri!' and 'Bravo!' and 'Brava!'

      CU, Salieri looking at the crowd with immense pleasure.  
      Then suddenly at:

      CU, Mozart standing in a box and clapping wildly. Behind 
      him, seated, are Schikaneder and the three girls we saw before 
      in Mozart's apartment.

      CU, Salieri staring fixedly at Mozart, then Mozart still 
      clapping, apparently with tremendous enthusiasm.

 OLD SALIERI (V.O.)
       What was this? I never saw him excited 
       before by any music but his own. 
       Could he mean it?

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

CUT BACK TO:

      INT. OPERA HOUSE - NIGHT - 1780'S

      Salieri conducting the last scene from Axur: King of Ormus.  
      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. The decor and costumes are mythological 
      Persian. The music is utterly conventional and totally 
      uninventive.

      CU, Mozart watching this in his box, with Schikaneder and 
      the three actresses. He passes an open bottle of wine to 
      them. He is evidently a little drunk, but keeps a poker face.

      The act comes to an end. Great applause in which Mozart joins 
      in, standing and shouting 'Bravo! Bravo!' Then he leaves the 
      box with Schikaneder and the girls.

      INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S

 MOZART
   (to Schikaneder)
       Well?

 SCHIKANEDER
   (mock moved)
       Sublime! Utterly sublime!

 MOZART
       That kind of music should be 
       punishable by death.

      Schikaneder laughs.

     CUT TO:

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

      A crowd of people rings Salieri at a respectful distance.  
      The Emperor is holding out the Civilian Medal and Chain.

 JOSEPH
       I believe that is the best opera yet 
       written, my friends. Salieri, you 
       are the brightest star in the musical 
       firmament. You do honour to Vienna 
       and to me.

      Salieri bows his head. Joseph places the chain around his 
      neck. The crowd claps. Salieri makes to kiss his hand, but 
      Joseph restrains him, and passes on. Cavalieri, smiling 
      adoringly, gives him a deep curtsey, and he raises her up.

      The crowd all flock to Salieri with cries and words of 
      approval. All want to shake his hand. They tug and pat him.  
      But he has eyes for only one man - he looks about him, 
      searching for him and then finds him. Mozart stands there. 
      Eagerly Salieri moves to him.

 SALIERI
       Mozart. It was good of you to come.

 MOZART
       How could I not?

 SALIERI
       Did my work please you?

 MOZART
       How could it not, Excellency?

 SALIERI
       Yes?

 MOZART
       I never knew that music like that 
       was possible.

 SALIERI
       You flatter me.

 MOZART
       Oh no! One hears such sounds and 
       what can one say, but - Salieri!

      Salieri smiles.

     CUT TO:

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

      Explosive laughter as Mozart and Schikaneder enter the 
      apartment, very pleased with themselves and accompanied by 
      the three actresses. The front door opens, very gingerly.  
      Mozart, still rather drunk, sticks his head into the room, 
      anxious not to make a noise. He sees the strangers and breaks 
      into a smile.

 MOZART
       Oh. Everybody's here! We've got 
       guests. Good. I've brought some more.

      He opens the door wide to admit Schikaneder and the girls.

 MOZART
       We'll have a little party. Come in. 
       Come in. You know Herr Schikaneder?
   (to a girl)
       This is! a very nice girl.

 CONSTANZE
   (standing up)
       Wolfi.

 MOZART
       Yes, my love?

 CONSTANZE
       These gentlemen are from Salzburg.

 MOZART
       Salzburg.  We were just talking about 
       Salzburg.
   (to the two men, 
   jubilantly)
       If you've come from my friend the 
       Fartsbishop, you've arrived at just 
       the right moment. Because I've got 
       good news for him. I'm done with 
       Vienna. It's over, finished, done 
       with! Done with! Done with!

 CONSTANZE
       Wolfi! Your father is dead.

 MOZART
       What?

 CONSTANZE
       Your father is dead.

      The first loud chord of the Statue scene from Don Giovanni 
      sounds. Mozart stares.

      INT. AN OPERA HOUSE - NIGHT - 1780'S

      The second chord sounds. On stage we see the huge figure of 
      the Commendatore in robes and helmet, extending his arms and 
      pointing in accusation.

      INT. AN OPERA HOUSE - NIGHT - 1780'S

      The second chord sounds.

      On stage we see a huge nailed fist crash through the wall of 
      a painted dining room set. The giant armoured statue of the 
      COMMENDATORE enters pointing his finger in accusation at Don 
      Giovanni who sits at the supper table, staring - his servant 
      Leporello quaking with fear under the table.

 THE COMMENDATORE
   (singing)
       Don Giovanni!

      The figure advances on the libertine. We see Mozart 
      conducting, pale and deeply involved. Music fades down a 
      little.

 OLD SALIERI (V.O.)
       So rose the dreadful ghost in his 
       next and blackest opera. There on 
       the stage stood the figure of a dead 
       commander calling out 'Repent! 
       Repent!'

      The music swells. We see Salieri standing alone in the back 
      of a box, unseen, in semi-darkness. We also see that the 
      theatre is only half full. Music fades down.

 OLD SALIERI (V.O.)
       And I knew - only I understood - 
       that the horrifying apparition was 
       Leopold, raised from the dead. 
       Wolfgang had actually summoned up 
       his own father to accuse his son 
       before all the world. It was 
       terrifying and wonderful to watch.

      Music swells up again. We watch the scene on stage as the 
      Commendatore addresses Giovanni. Then back to Salieri in the 
      box. Music down again.

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

 OLD SALIERI
       Now a madness began in me. The madness 
       of a man splitting in half. Through 
       my influence I saw to it Don Giovanni 
       was played only five times in Vienna.  
       But in secret I went to every one of 
       those five - all alone - unable to 
       help myself, worshipping sound I 
       alone seemed to hear.

      INT. AN OPERA HOUSE - NIGHT - 1780'S

 OLD SALIERI (V.O.)
       And hour after hour, as I stood there, 
       understanding even more clearly how 
       that bitter old man was still 
       possessing his poor son from beyond 
       the grave, I began to see a way - a 
       terrible way - I could finally triumph 
       over God, my torturer.

      Music swells. On stage Don Giovanni is seized and gripped by 
      the Statue's icy hand. Flames burst from obviously artificial 
      rocks. Demons appear and drag the libertine down to Hell.  
      The scene ends.

      CU, Salieri, staring wide-eyed.

     CUT TO:

      EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S

      We see huge and attractive posters and billboards advertising 
      Schikaneder's troupe. The camera concentrates on the one 
      which reads as follows:

        EMMANUEL SCHIKANEDER
Impresario de luxe
     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:

      INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S

      Noise; smoke; the audience is sitting at tables for an evening 
      of vaudeville. Mozart, Constanze and their son Karl, now 
      about two years old, and sitting on his mother's lap, are 
      watching a parody scene by Schikaneder's troupe. They are 
      rowdy, bawdy and silly, incorporating motifs, situations and 
      tunes from Mozart's operas which we have seen and heard. 
      Before them on the table are bottles of wine and beer, plates 
      of sausages, etc.

      THE PARODY

      On stage we see a set which parodies the dining room in Don 
      Giovanni's palace, shown before.

      Schikaneder as Don Giovanni is dancing with the three 
      actresses to the minuet from Don Giovanni (end of Act I), 
      played by a quartet of tipsy musicians. Leporello is handing 
      around wine on a tray.

      Suddenly there is a tremendous knocking from outside. The 
      music slithers to a stop. All look at each other in panic. 
      Leporello drops his tray with a crash. All go quiet. One 
      more knock is heard. Then all musicians, actresses, Don 
      Giovanni and Leporello make a dash to hide under the table 
      which is far too small to accommodate them all. The table 
      rocks. Schikaneder is pushed out. He is terrified. He shakes 
      elaborately. Three more knocks are heard; louder.

 SCHIKANEDER
       Who is it?

      One more knock.

 SCHIKANEDER
       C-c-c-come in!

      In the pit a chromatic scale from the Overture to Don Giovanni 
      turns into a anticipatory vamp. This grows more and more 
      menacing until the whole flat representing the wall at the 
      back falls down.

      An absurd pantomime horse gallops in. It has a ridiculous 
      expression, and is manned by four men inside. Standing 
      precariously on its back is a dwarf, wearing a miniature 
      version of the armour and helmet worn by the Commendatore.  
      He sings in a high, nasal voice:

 COMMENDATORE
   (singing)
       Don Giovannnnnnnnnni!

      He tries to keep his balance as he trots in, but fails. He 
      falls off onto the stage. He beats at the horse, trying to 
      get back on.

 COMMENDATORE
       Down! Down!

      Bewildered, the horse looks about him, but cannot see his 
      small rider who is below his level of sight.

 COMMENDATORE
       I'm here! I'm here!

      The horse, amidst laughter from the audience, fails to locate 
      him. Exasperated, the dwarf signals to someone in the wings.  
      A tall man strides out carrying a see-saw; on his shoulders 
      stands another man.

      The dwarf stands on the lowered end of the see-saw. 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, only backwards so that he is facing away from Don 
      Giovanni. The two men bow to the applauding audience, and 
      retire off-stage.

      The Commendatore tries to extend his arms in the proper 
      menacing attitude, and at the same time turn around to face 
      Don Giovanni. This he finds difficult.

 COMMENDATORE
   (singing)
       Don Giovannnnnnnni!

 SCHIKANEDER
       Who the devil are you? What do you 
       want?

 COMMENDATORE
   (singing)
       I've come to dinnnnnner!

 SCHIKANEDER
       Dinner? How dare you? I am a nobleman. 
       I only dine with people of my own 
       height.

 COMMENDATORE
       Are you drunk? You invited me. And 
       my horse. Here he is. Ottavio!

      The horse takes a bow. The dwarf almost falls off again.

 COMMENDATORE
       Whoa! Whoa! Stop it!

      The three girls rush to his aid and reach him just in time.  
      They sing in the manner of the Tree Ladies later to be put 
      into The Magic Flute.

 FIRST LADY
   (running and singing)
       Be careful!

 SECOND LADY
   (running and singing)
       Be careful!

 THIRD LADY
   (running and singing)
       Be careful!

 ALL THREE TOGETHER
   (close harmony)
       Hold tight now!

      They grab him.

 COMMENDATORE
   (angry)
       Leave me alone! Stop it! I'm a famous 
       horseman.

 OTTAVIO
       And I'm a famous horse!

      He gives the ladies a radiant smile. The three ladies sing, 
      as before, in close harmony.

 FIRST LADY
   (singing)
       He's adorable!

 SECOND LADY
   (singing)
       Adorable!

 THIRD LADY
   (singing)
       Adorable!

      An orchestral chord. The three ladies turn to Ottavio and 
      sing to him.

 THREE LADIES
   (singing together)
       Give me your hoof, my darling, And 
       I'll give you my heart! Take me to 
       your stable, And never more we'll 
       part!

 OTTAVIO
   (singing: four male 
   voices)
       I'm shy and very bashful. I don't 
       know what to say.

 THREE LADIES
   (singing together)
       Don't hesitate a second. Just answer 
       yes and neigh.

      Ottavio neighs loudly, and runs at the girls.

 COMMENDATORE
   (speaking)
       Stop it. What are you doing? Remember 
       who you are! You're a horse and they 
       are whores.

      Boos from the audience.

 SCHIKANEDER
   (speaking)
       This is ridiculous. I won't have any 
       of it. You're turning my house into 
       a circus!

      A trapeze sails in from above. On it stands a grand soprano 
      wearing an elaborate Turkish costume, like a parody of 
      Cavalieri's in Il Seraglio. She comes in singing a mad 
      coloratura scale in the manner of Martern aller Arten.

 SCHIKANEDER
   (speaking)
       Shut up. Women, women, women! I'm 
       sick to death of them.

      He marches off stage.

 SOPRANO
   (singing dramatically)
       Dash me! Bash me! Lash me! Flay me!  
       Slay me! At last I will be freed by 
       death!

 COMMENDATORE
       Shut up.

 SOPRANO
   (swinging and singing)
       Kill me! Kill me! Kill me! Kill me! 
       At last I shall be freed by death. 
       At last I shall be freed by dea -

      The Commendatore pulls out his sword, reaches up and thrusts 
      her through with it. The soprano collapses on the bar of the 
      trapeze. The audience applauds. At the same moment eight 
      dwarves march in bearing a huge cauldron of steaming water. 
      They sing as they march to the sound of the march that was 
      cut from Act III of Figaro. They are dressed as miniature 
      copies of the chorus in that scene except that they are 
      wearing cooks' hats.

 EIGHT DWARVES
   (singing)
       We're going to make a soprano stew! 
       We're going to make a soprano stew! 
       And when you make a soprano stew! 
       Any stupid soprano will do! Any stew-
       stew-stew-stew-stew! Any stewpid 
       soprano will do!

      They set the giant pot down in the middle of the stage. The 
      trapeze with the dead soprano is still swinging above the 
      stage.

      We hear the chromatic scale from the Don Giovanni overture 
      again, repeated and repeated, only now fast and tremolando. 
      To this exciting vamp Schikaneder suddenly rides in on a 
      real horse, waving a real sword. With this he cuts the string 
      of the trapeze, and the soprano falls into the pot. A 
      tremendous splash of water. Schikaneder rides out. More 
      applause.

      All the dwarves produce long wooden cooking spoons and climb 
      up the sides of the pot. The three girls produce labeled 
      bottles from under their skirts. The first is SALT.

 FIRST LADY
   (singing)
       Behold!

      PEPPER

 SECOND LADY
   (singing)
       Behold!

      She sneezes.

      AND SCHNAPPS

 THIRD LADY
   (singing)
       Behold!

      She hiccups.

      They throw them into the pot.

 COMMENDATORE
   (speaking to the 
   dwarves)
       How long does it take to cook a 
       soprano?

 DWARVES
   (all together)
       Five hours, five minutes, five 
       seconds.

 COMMENDATORE
   (speaking)
       I can't wait that long. I'm starving!

 OTTAVIO
   (speaking; four voices)
       So am I.

      Schikaneder marches in as Figaro.

 SCHIKANEDER
   (singing to the tune 
   of Non piu ante)
       In the pot, I have got a good dinner. 
       Not a sausage or stew, but a singer. 
       Not a sausage or stew but a singer. 
       Is the treat that I'll eat for my 
       meat!

 COMMENDATORE
       Oh shut up. I'm sick to death of 
       that tune.

      CU,  Mozart laughing delightedly with the audience.

 THE THREE GIRLS
   (singing again to the 
   horse)
       Give me your hoof, my darling, and 
       I'll give you my heart.

 COMMENDATORE
       Shut up. I'm sick of that one too.

      All the dwarves climb up the rim of the pot. As they climb, 
      they all hum together the opening of Eine Kleine Nachtmusik.

 COMMENDATORE
       And that one, too!

      The soprano rises, dripping with water in the middle of the 
      pot.

 SOPRANO
   (singing)
       Oil me! Broil me! Boil me!

      All the dwarves beat her back down into the pot with their 
      long wooden spoons.

 SOPRANO
   (from inside the pot)
       Soil me! Foil me! Spoil me!

 HORSE
       I can't eat her. Sopranos give me 
       hiccups. I want some hay!

 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, my darling, and 
       I'll give you my heart!

 COMMENDATORE
       Shut up.

 SCHIKANEDER
       Leporello! We want some hay - 
       prestissimo! Leporello - where are 
       you?

      The table is raised in the air by Leporello sitting under it 
      on a bale of hay.

 FIRST LADY
   (singing to horse)
       Behold!

 SECOND LADY
   (singing to horse)
       Behold!

 THIRD LADY
   (singing to horse)
       Behold!

      Ottavio the horse gives a piercing neigh and runs down to 
      the hay.

 COMMENDATORE
   (holding on)
       Hey! Hey! Watch out!

      The vamp starts again vigorously. The horse's rear-end swings 
      around on a hinge to turn his hind-quarters straight on to 
      the audience. The rest of him stays sideways. His tail springs 
      up in the air to reveal a lace handkerchief modestly hiding 
      his arsehole.

      Schikaneder offers him a handful of hay. The horse eats it, 
      and out the other end comes a long Viennese sausage. The 
      audience roars with laughter. Another handful of hay and out 
      of the other end falls a string of sausages. Then a large 
      pie, crust and all. Then a shower of iced cakes! 

      Suddenly - silence. Schikaneder produces an egg from his 
      pocket. Ottavio the horse rears up in disgust.

 COMMENDATORE
       Whoa! Whoa, Ottavio! Whoa!

      Leporello pries open the horse's mouth. Schikaneder pops the 
      egg into it. A breathless pause as a drum roll builds the 
      tension, up and up and up, and then suddenly out of the 
      horse's rear-end flies a single white dove.

      Wild applause.

      It flies into the audience. Immediately all the cast start 
      humming the lyrical finale from Figaro: Tutti Contenti.  
      More and more doves fly out from the wings and fill the 
      theatre. Everybody picks up the sausages and cakes and begins 
      to eat. The end of the sketch is unexpectedly lyrical and 
      magical, and then, suddenly, the tempo changes and the coarse 
      strains of Ich Mochte wohl Der Kaiser take over and the whole 
      company is dancing, frantically. A general dance as the 
      curtain falls.

      It rises immediately. The audience - including Mozart - is 
      delighted. They applaud vigorously. Schikaneder takes a bow 
      amongst his troupe. Among much whistling and clapping, he 
      finally jumps off the stage and strides through the audience 
      toward the table where Mozart sits with his family. On stage, 
      a troupe of bag pipers immediately appears to play an old 
      German tune. Some of the audience joins in singing it.

 SCHIKANEDER
       Well, how do you like that?

      Mozart is smiling; he has been amused. Constanze has been 
      less amused and is looking apprehensive.

 MOZART
       Wonderful!
   (indicating his baby 
   son)
       He liked the monkey, didn't you?

 SCHIKANEDER
       Yes, well, it's all good fun.

 MOZART
       I liked the horse.

      Schikaneder sits at the table, and drinks from a bottle of 
      wine.

 SCHIKANEDER
       Isn't he marvelous? He cost me a 
       bundle, that horse, but he's worth 
       it. I tell you, if you'd played Don 
       Giovanni here it would have been a 
       great success. I'm not joking. These 
       people aren't fools. You could do 
       something marvelous for them.

 MOZART
       I'd like to try them someday. I'm 
       not sure I'd be much good at it.

 SCHIKANEDER
       'Course you would. You belong here, 
       my boy, not the snobby Court. You 
       could do anything you felt like here - 
       the more fantastic the better! That's 
       what people want, you know: fantasy.  
       You do a big production, fill it 
       with beautiful magic tricks and you'll 
       be absolutely free to do anything 
       you want. Of course, you'd have to 
       put a fire in it, because I've got 
       the best fire machine in the city 
       and a big flood - I can do you the 
       finest water effects you ever saw in 
       your life. Oh, and a few trick 
       animals. You'd have to use those.

 MOZART
       Animals?

 SCHIKANEDER
       I tell you I picked up a snake in 
       Dresden last week - twelve foot long  - 
       folds up to six inches, just like a 
       paper fan. It's a miracle.

      Mozart laughs.

 SCHIKANEDER
       I'm serious. You write a proper part 
       for me with a couple of catchy songs, 
       I'll guarantee you'll have a triumph-
       de-luxe. Mind you, it'll have to be 
       in German.

 MOZART
       German!

 SCHIKANEDER
       Of course! What else do you think 
       they speak here?

 MOZART
       No, no, I love that. I'd want it to 
       be in German. I haven't done anything 
       in German since Seraglio.

 SCHIKANEDER
       So there you are. What do you say?

 CONSTANZE
       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!

 CONSTANZE
       I'm talking about now. How much will 
       you give him now? Down payment?

 SCHIKANEDER
       Down payment? Who do you think I am? 
       The Emperor? Whoops, I have to go.

      He rises in haste for his next number.

 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. Mozart 
      looks after him, enchanted.

 CONSTANZE
       You're not going to do this?

 MOZART
       Why not? Half the house!

 CONSTANZE
       When? We need money now. Either he 
       pays now, or you don't do it.

 MOZART
       Oh, Stanzi.

 CONSTANZE
       I don't trust this man. And I didn't 
       like what he did with your opera.  
       It was common.

 MOZART
   (to Karl)
       Well, you liked it, didn't you?  
       Monkey-flunki-punki.

 CONSTANZE
       Half the house! You'll never see a 
       penny. I want it here, in my hand.

 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:

      INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S

      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. No.

 MOZART
       Please. I'll give it back, I promise.  
       Please, sir.

 SCHLUMBERG
       My answer is no, Mozart.

      CU, Mozart. His voice becomes mechanical.

 MOZART
       Please. Please. Please. Please. 
       Please. Please.

     CUT TO:

      INT. THE IMPERIAL LIBRARY - DAY - 1790'S

      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. He 
       got a fee - what I could afford. 
       Can't you think of anyone who might 
       do something for him?

 SALIERI
       No, Baron, no. I'm afraid Mozart is 
       a lost cause. He has managed to 
       alienate practically the whole of 
       Vienna. He is constantly drunk. He 
       never pays his debts. I can't think 
       of one person to whom I dare recommend 
       him.

 VON SWIETEN
       How sad. It's tragic, isn't it?  
       Such a talent.

 SALIERI
       Indeed. Just a moment - as a matter 
       of fact I think I do know someone 
       who could commission a work from 
       him. A very appropriate person to do 
       so. Yes.

      The opening measures of the Piano Concerto in D Minor steal 
      in.

     CUT TO:

      INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S

      This is exactly the same shop which Mozart and Constanze 
      visited with Leopold. Now Salieri's servant stands in it, 
      waiting. We see a few other customers being served by the 
      staff: renting masks, costumes, etc. One of the staff emerges 
      from the back of the shop carrying a large box, which he 
      hands to Salieri's servant. The servant leaves the shop.  
      Through the window we see him hurrying away through the snowy 
      street full of passers-by, carriages, etc.

      INT. SALIERI'S APARTMENT - DUSK - 1790'S

      The D Minor Concerto continues. Salieri, alone, eagerly opens 
      the box from the costume shop and takes out the same dark 
      cloak and hat that Leopold wore to the masquerade, only now 
      attached to the hat is a dark mask whose mouth is cut into a 
      frown, not a laugh. It presents a bitter and menacing 
      expression. He puts on the cloak, the hat and the mask and 
      turns his back. Suddenly we see the assembled and alarming 
      image reflected in a full-length mirror. The music swells 
      darkly.

     CUT TO:

      EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S

      As the tutti of the D Minor Concerto continues, we see 
      Salieri, dressed in this menacing costume, dark against the 
      snow, stalking through a street which is otherwise lively 
      with people going to various festivities. Some of them wear 
      frivolous carnival clothes.

      INT. MOZART'S LIVING ROOM - DUSK - 1790'S

      Mozart sits writing at a table. He appears now to be really 
      quite sick. His face expresses pain from his stomach cramps.  
      There is a gentle knock at the door. He rises, goes to he 
      door and opens it. Immediately there is a SHOCK CUT:

      The dark, frowning mask stares at him and at us. The violent 
      D Minor chord which opens Don Giovanni is heard. Salieri in 
      costume stands in the doorway.

 SALIERI
       Herr Mozart?

      The second chord sounds and fades. Mozart stares in panic.

 SALIERI
       I have come to commission work from 
       you.

 MOZART
       What work?

 SALIERI
       A Mass for the dead.

 MOZART
       What dead? Who is dead?

 SALIERI
       A man who deserved a Requiem Mass 
       and never got one.

 MOZART
       Who are you?

 SALIERI
       I am only a messenger. Do you accept?  
       You will be paid well.

 MOZART
       How much?

      Salieri extends his hand. In it is a bag of money.

 SALIERI
       Fifty ducats. Another fifty when I 
       have the Mass. Do you accept?

      Almost against his will, Mozart takes the money.

 MOZART
       How long will you give me?

 SALIERI
       Work fast. And be sure to tell no 
       one what you do. You will see me 
       again soon.

      He turns away. Mozart closes the front door. Instantly we 
      hear the opening of the Requiem Mass (also in D Minor).  
      Mozart turns and looks up at the portrait of his father on 
      the wall. The portrait stares back. Constanze opens the door 
      from the bedroom. She sees him staring up.

 CONSTANZE
       Wolfi? Wolfi!

      He looks at her with startled eyes. The music breaks off.

 CONSTANZE
       Who was that?

 MOZART
       No one.

 CONSTANZE
       I heard voices.

      He gives a strange little giggle.

 CONSTANZE
       What's the matter?

      She sees the bag of money.

 CONSTANZE
       What's that? Oh!
   (pouncing on it)
       Who gave you this? How much is it? 
       Wolfi, who gave you this?

 MOZART
       I'm not telling you.

 CONSTANZE
       Why not?

 MOZART
       You'd think I was mad.

      He stares at her. She stares at him.

      INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823

      Old Salieri is now wildly animated, totally driven by his 
      confession to Vogler.

 OLD SALIERI
       My plan was so simple, it terrified 
       me. First I must get the Death Mass 
       and then achieve the death.

      Vogler stares at him in horror.

 VOGLER
       What?

 OLD SALIERI
       His funeral - imagine it! The 
       Cathedral, all Vienna sitting there. 
       His coffin, Mozart's little coffin 
       in the middle. And suddenly in that 
       silence, music. A divine music bursts 
       out over them all, a great Mass of 
       Death: Requiem Mass for Wolfgang 
       Mozart, composed by his devoted friend 
       Antonio Salieri. What sublimity! 
       What depth! What passion in the music! 
       Salieri has been touched by God at 
       last. And God, forced to listen.  
       Powerless - powerless to stop it. I 
       at the end, for once, laughing at 
       Him. Do you understand? Do you?

 VOGLER
       Yes.

 OLD SALIERI
       The only thing that worried me was 
       the actual killing. How does one do 
       that? How does one kill a man? It's 
       one thing to dream about it. It's 
       very different when you have to do 
       it, with your own hands.

      He raises his own hands and stares at them. The raging Dies 
      Irae from Mozart's Requiem Mass bursts upon us.

     CUT TO:

      INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S

      Mozart sits working frantically at this demonic music. His 
      whole expression is one of wildness and engulfing fever. He 
      pours wine down his throat, spilling it, and grimaces as it 
      hits his stomach. All around him are manuscripts.

      There is a banging at the front door. Mozart does not hear 
      it; the music raves on. Another knocking comes, louder. 
      Constanze appears from the bedroom and stares at her 
      distracted husband. The knocking is repeated again, even 
      more violently and insistently.

 CONSTANZE
       Wolfi. Wolfi!

      He looks at her. The music breaks off. Silence. An enormous 
      bang at the door startles him.

      Constanze moves to open it.

 MOZART
       No. Don't answer it!

 CONSTANZE
       Why?

      Mozart springs up. He is clearly terrified.

 MOZART
       Tell him I'm not here. Tell him I'm 
       working on it. Come back later.

      He runs out of he room, into his workroom, and shuts he door.  
      Now a little scared herself, Constanze goes to he front door 
      and opens it cautiously. Schikaneder stands there, floridly 
      dressed as usual. Lorl is seen peeking out from the kitchen.

 SCHIKANEDER
       Am I interrupting something?

 CONSTANZE
       Not at all.

 SCHIKANEDER
   (peering into he room)
       Where's our friend?

 CONSTANZE
       He's not in. But he's working on it. 
       He said to tell you.

 SCHIKANEDER
       I hope so. I need it immediately.

      He pushes her into the room.

 SCHIKANEDER
       Is he happy with it?

      He sees he manuscript on the table, and goes to it eagerly.

 SCHIKANEDER
       Is this it?

      He picks up a page without waiting for a reply.

 SCHIKANEDER
       What the devil is this? Requiem Mass? 
       Does he think I'm in the funeral 
       business?

      Mozart opens he workroom door. We see him as Schikaneder 
      sees him: wild-eyed, extremely pale and strange.

 MOZART
       Leave that alone!

 SCHIKANEDER
       Wolfi!

 MOZART
       Put it down!

 SCHIKANEDER
       What is this?

 MOZART
       Put it down, I said! It's nothing 
       for you.

 SCHIKANEDER
       Oh! I'm sorry! I'm sorry! What have 
       you got for me? Is it finished?

 MOZART
       What?

 SCHIKANEDER
       What? The vaudeville, what'd you 
       think?

 MOZART
       Yes.

 SCHIKANEDER
       Can I see it?

 MOZART
       No.

 SCHIKANEDER
       Why not?

 MOZART
       Because there's nothing to see.

      He giggles triumphantly. Schikaneder stares at him.

 SCHIKANEDER
       Look, I asked you if we could start 
       rehearsal next week and you said 
       yes.

 MOZART
       Well, we can.

 SCHIKANEDER
       So let me see it. Where is it?

      Mozart, with a bright, rather demented smile presents his 
      head to Schikaneder.

 MOZART
       Here. It's all right here, in my 
       noodle. The rest is just scribbling. 
       Scribbling and bibbling. Bibbling 
       and scribbling. Would you like a 
       drink?

      He giggles. Schikaneder suddenly grabs his lapels.

 SCHIKANEDER
       Look, you little clown, 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. Do you 
       realize that?

 CONSTANZE
       He's doing his best.

 SCHIKANEDER
       I'm paying people just to wait for 
       you. It's ridiculous!

 CONSTANZE
       You know what's ridiculous? Your 
       libretto, that's what's ridiculous.  
       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!

 SCHIKANEDER
       You're mad! She's mad, Wolfi.

 CONSTANZE
       Oh yes, and who are you? He's worked 
       for Kings. For the Emperor.
   (shouting)
       Who are you?

      Schikaneder suddenly takes Mozart by the arms, and speaks to 
      him with intense appeal.

 SCHIKANEDER
       Listen, Wolfi. Write it. Please. 
       Just write it down. On paper. It's 
       no good to anyone in your head. And 
       fuck the Death Mass.

      INT. SALIERI'S SALON - DAY - 1790'S

      A frightened and tearful Lorl sits before Salieri.

 SALIERI
       Now calm yourself. Calm. What's the 
       matter with you?

 LORL
       I'm leaving. I'm not working there 
       anymore. I'm scared!

 SALIERI
       Why? What has happened?

 LORL
       You don't know what it's like. Herr 
       Mozart frightens me. He drinks all 
       day, then takes all that medicine 
       and it makes him worse.

 SALIERI
       What medicine?

 LORL
       I don't know. He has pains.

 SALIERI
       Where?

 LORL
       Here, in his stomach. They bend him 
       right over.

 SALIERI
       Is he working?

 LORL
       I'm frightened, sir. Really! When he 
       speaks, he doesn't make any sense.  
       You know he said he saw - he said he 
       saw his father. And his father's 
       dead.

 SALIERI
       Is he working?

 LORL
       I suppose so. He sits there all he 
       time, doing some silly opera.

 SALIERI
   (startled)
       Opera? Opera!

 LORL
       Please don't ask me to go back again.  
       I'm frightened! I'm very, very 
       frightened.

 SALIERI
   (insistently)
       Are you sure it's an opera?

      The Overture to The Magic Flute begins grandly. To the music 
      of the slow introduction, we see:

      INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S

      The room, lit by a few candles, appears dirty. The camera 
      shows us again Leopold's portrait on the wall, looking down 
      upon a scene of disorder.

      Papers litter the table; dirty dishes are piled in the 
      fireplace; on the forte-piano lies Mozart's Masonic apron, 
      woven with symbols. To the more lyrical passage of the 
      introduction, we see Mozart take up a candle and enter:

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      We watch him stand beside Constanze, who lies asleep. Mozart 
      now looks very ill; his wife appears worn out. Tenderly he 
      touches her hair. Then he moves to the cot where his son 
      Karl lies asleep and kneels, pulls up the child's little 
      blanket and for a moment lays his own head down beside the 
      boy's. Constanze opens her eyes and stares at him. Mozart 
      rises and returns to:

      INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S

      The Introduction ends and suddenly the brilliant fast fugue 
      begins. Instantly Mozart starts to dance to it, all alone: 
      gleefully, like a child. He looks up at his father's portrait, 
      and makes a silly, rude gesture at it. He is, briefly, an 
      irresponsible and happy boy again.

      Then suddenly there is a gentle knocking at the door. The 
      music fades down. Warily, Mozart crosses and opens he door. 
      The familiar dark chords from Don Giovanni cut across the 
      happy music. It ends. Before him stands the masked stranger.

 MOZART
       I don't have it yet. It's not 
       finished. I'm sorry, but I need more 
       time.

 SALIERI
       Are you neglecting my request?

 MOZART
       No, no! I promise you, I'll give you 
       a wonderful piece - the best I ever 
       can!

      He turns and looks. Constanze has come into the living room.  
      Nervously, Mozart indicates her.

 MOZART
       This is my wife, Stanzi. I've been 
       sick, but I'm all right now. Aren't 
       I?

 CONSTANZE
       Oh yes, sir. He's all right. And 
       he's working on it very hard.

 MOZART
       Give me two more weeks. Please.

      Salieri contemplates them both.

 SALIERI
       The sooner you finish, the better 
       your reward. Work!

      He turns and goes down the stairs. Mozart shuts the door; he 
      closes his eyes in fear.

 CONSTANZE
       Wolfi, I think you really are going 
       mad. You work like a slave for that 
       idiot actor who won't give you a 
       penny and here. This is not a ghost!  
       This is a real man who puts down 
       real money. Why on earth don't you 
       finish it?

      He will not look at her or reply.

 CONSTANZE
       Give me one reason I can understand.

 MOZART
       I can't write it!

 CONSTANZE
       Why not?

 MOZART
       It's killing me.

      He looks at her suddenly.

 CONSTANZE
       No, this is really awful. You're 
       drunk, aren't you? Be honest - tell 
       me - you've been drinking. And I'm 
       so stupid I stay here and listen to 
       you!

      Suddenly she starts to cry.

 CONSTANZE
       It's not fair! I worry about you all 
       the time. I try to help you all I 
       can and you just drink and talk 
       nonsense and - and frighten me! It's 
       not fair!

      Her tears flow. Mozart looks at her helplessly.

 MOZART
       Go back to bed.

 CONSTANZE
       Please! Let me sit here. Let me stay 
       here with you. I promise I won't say 
       all word. I'll just be here, so you 
       know no one's going to hurt you. 
       Please, please!

      She sits down tearfully, staring at him.

      We hear the Rex Tremendai Majestatis from the Requiem and 
      see on the wall the portrait of Leopold Mozart looking down.  
      The camera pans slowly downward from it back to the table. 
      Mozart is writing the music. He looks up and sees that 
      Constanze is fast asleep in her chair. Mozart gets up quietly.  
      He puts on his hat and cloak, takes a bottle of wine and 
      tiptoes from the house. Without stopping, the music changes 
      from the heavy Requiem to the light-hearted patter of the 
      Papa-Papa duet from The Magic Flute.

     CUT TO:

      INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S

      This little wooden structure stands in a courtyard in the 
      tenement by the Weiden. Inside, we see a table, chairs, a 
      forte-piano, bottles and a chaos of papers. Strewn about in 
      the chairs are the three actresses, giggling. Schikaneder 
      and Mozart, both drunk, are singing the duet of the two bird-
      people. The actor sings Papageno and the composer, in a 
      soprano voice, sings Papagena at the keyboard. Absurdly, 
      they end up rubbing noses and fall on each other's necks.

      EXT. VIENNA STREET - NIGHT - 1790'S

      Mozart, drunk and happy, staggers back through the snow.  
      There are a few people about. He goes into his apartment 
      building.

      INT. MOZART'S APARTMENT - DAY - 1790'S

      He comes through he door and stares across the living room 
      at an open bedroom door. Puzzled, he crosses.

      The bedroom is also empty. We see Constanze's empty bed; 
      Karl's empty bed; empty closets.

 MOZART
       Stanzi? Stanzi-marini-bini?

      He looks about him, puzzled.

      INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S

      Frau Weber sits grimly talking. Mozart sits also, completely 
      exhausted and passive under the rain of her constant speech.

 FRAU WEBER
       She's not coming back, you know. 
       She's gone for good. I did it and 
       I'm proud of it. 'Leave,' I said. 
       'Right away! Take he child and go, 
       just go. Here's the money! Go to the 
       Spa and get your health back - that's 
       if you can.' I was shocked. Shocked 
       to my foundation. Is that my girl?  
       Can that be my Stanzi? The happy 
       little moppet I brought up, that 
       poor trembling thing? Oh, you monster!  
       No one exists but you, do they? You 
       and your music! Do you know how often 
       she's sat in that very chair, weeping 
       her eyes out of her head because of 
       you? I warned her. 'Choose a man, 
       not a baby,' I said. But would she 
       listen? Who listens? 'He's just a 
       silly boy,' she says. Silly, my arse.  
       Selfish - that's all you are. Selfish! 
       Selfish, selfish, selfish, selfish, 
       selfish.

      And with a scream Madame Weber's voice turns into the shrill 
      packing coloratura of the second act aria of the Queen of 
      the Night, in The Magic Flute.

DISSOLVE TO:

      INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S

      On stage we see the QUEEN OF THE NIGHT fantastically costumed, 
      furiously urging her daughter to kill Sarastro. As she sings, 
      we see the interior of the theatre, now re-arranged from 
      when we last visited it to watch the Cabaret. An audience of 
      ordinary German citizens stands in the pit area, or sits:  
      they are rapt and excited.

      The theatre also possesses boxes; some of these show closed 
      curtains - their inhabitants presumably engaged in private 
      intimacies. In one of them sits Salieri.

 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. 
       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. She disappears amidst tremendous 
      applause from the audience.

     CUT TO:

      EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S

      On the poster for The Magic Flute, the name Emmanuel 
      Schikaneder should appear very, very large and the name of 
      Mozart quite small:

    I. & R. priv. Weiden Theatre
The Actors of the Imperial and Royal
  Privileged Theatre of the Weiden
     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. Herr Mozart 
      out of respect for a gracious and honourable Public, and 
      from friendship for the author of this piece, will today 
      direct the orchestra in person.

      The book of the opera, furnished with two copperplates, of 
      which is engraved Herr Schikaneder in the costume he wears 
      for the role of Papageno, may be had at the box office for 
      30 kr.

      Prices of admission are as usual To begin at 7 o'clock

      INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE - 
      NIGHT -1790'S

      We CUT TO the scene immediately before Papageno's song, Ein 
      Madchen oder Weibchen. Papageno, played by Schikaneder, 
      dressed in his costume of feathers, is trying to get through 
      a mysterious door. A voice calls from within.

 VOICE
       Go back!

      Papageno recoils.

 PAPAGENO
       Merciful Gods! If only I knew by 
       which door I came in.
   (to audience)
       Which was it? Was it this one? Come 
       on, tell me!

 VOICE
       Go back!

      Papageno recoils.

 PAPAGENO
       Now, I can't go forward and I can't 
       go back. Oh, this is awful!

      He weeps extravagantly.

      In the pit, Mozart indicates to the first violinist to take 
      over as conductor. He slips from his place and goes stealthily 
      backstage. We follow him. Over the scene we hear Papageno 
      being addressed by the First Priest in stern tones.

 FIRST PRIEST
   (on stage)
       Man, thou hast deserved to wander 
       forever in the darkest chasms of the 
       earth. The gentle Gods have remitted 
       thy punishment, but yet thou shalt 
       never feel the Divine Content of the 
       consecrated ones.

 PAPAGENO
       Oh well, I'm not alone in that. Just 
       give me a decent glass of wine - 
       that's divine content enough for me.

      Laughter. An enormous goblet of wine appears out of the earth.

      We follow Mozart into the wings. Actors and actresses stand 
      around in fantastic costumes. We see a flying chariot and 
      parts of a huge snake lying about. Also the scenery door of 
      a temple with the word 'Wisdom' inscribed on the pediment. 
      Mozart walks to where there stands a keyboard glockenspiel 
      with several manuals, and a musician waiting to play it. 
      Silently Mozart indicates that he wishes to play the 
      instrument himself.

      On stage Schikaneder is being addressed haughtily by the 
      First Priest.

 FIRST PRIEST
       Man, hast thou no other desire on 
       earth, but just to eat and drink?

 PAPAGENO
   (Schikaneder)
       Well!

      Laughter from the audience.

 PAPAGENO
       Well, actually I do have a rather 
       weird feeling in my heart. Perhaps 
       it's just indigestion. But you know, 
       I really would like - I really do 
       want - something even nicer than 
       food and drink. Now what on earth 
       could that be?

      He stares at the audience and winks at them. They laugh.

      Now Papageno's aria (Ein Madchen oder Weibchen) begins. It 
      is interpolated, as he pretends to play his magic bells, 
      with the glockenspiel actually being played off-stage by 
      Mozart. Schikaneder looks into the pit and does not see Mozart 
      conducting. He looks into the wings and realizes the situation 
      with amusement. He sings joyfully and the audience watches 
      entranced.

 ANDANTE
       A sweetheart or a pretty little wife 
       is Papageno's wish. A willing, 
       billing, lovey dovey Would be My 
       most tasty little dish. 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. 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. She's much better than wine! 
       She's much better than wine!

 ANDANTE
   (encore, lightly, as 
   before)
       A sweetheart or a pretty little wife 
       is Papageno's wish. A willing, 
       billing, lovey dovey Would be My 
       most tasty little dish.

 ALLEGRO
       I need to net one birdie only And I 
       will stop feeling so lonely. But if 
       she won't fly to my aid, Then into a 
       ghost I must fade. I need to net one 
       birdie only But if she won't fly to 
       my aid, Then into a ghost I must 
       fade.  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. A willing, 
       billing, lovey dovey Would be My 
       most tasty little dish.

 ALLEGRO
       At present the girls only peck me. 
       Their cruelty surely will wreck me. 
       But one little beak in my own, And 
       I'll up to heaven be flown! At present 
       the girls only peck me. But one little 
       beak in my own, And I'll up to heaven 
       be flown. 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; and then 
      we see Mozart playing the glockenspiel with great flourishes 
      in the wings. Then, suddenly, the actor mimes playing, and 
      no sound comes. He mimes again, but still nothing comes. He 
      looks offstage in anxiety; there is evidently some commotion.  
      People are looking down on the floor. The song comes to a 
      near-halt. Schikaneder stares. Then the comedian signals to 
      the deputy conductor to pick up the song and finish it. At 
      this moment Salieri gets up and hastily leaves his box.

     CUT TO:

      INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S

      We see the actress playing Papagena, wearing an old tattered 
      cloak and about to tie a little painted cloth representing a 
      hideous old woman over her face. She is looking worriedly 
      down at Mozart, who is lying unconscious on the floor.

      A few people around him are trying to revive him. One has 
      put a wet handkerchief around his temples. Another is holding 
      a small bottle of smelling salts. There are voices saying, 
      'Doctor! Take him to a dressing room. Someone call a carriage. 
      Take him home.' Etc. Papagena is urged to go on stage by a 
      distracted stage manager. Suddenly we hear the voice of 
      Salieri.

 SALIERI
       I'll take care of him.

      He steps forward.

 SALIERI
       I have a carriage. Excuse me.

      The actors step back respectfully. He stoops and picks up 
      the frail composer in his arms. Mozart is quite limp and 
      Salieri has to fling his arms around his own neck. All this 
      is watched nervously by Schikaneder on stage whilst performing 
      his scene with Papagena as an ugly old woman.

 UGLY OLD WOMAN
       Here I am, my angel.

 PAPAGENO
   (appalled)
       What? Who the devil are you?

 UGLY OLD WOMAN
       I've taken pity on you, my angel. I 
       heard your wish.

 PAPAGENO
       Oh. Well, thank you! How wonderful.  
       Some people get all the luck.

      Audience laughter. The actress raises the little painted 
      cloth with the ugly old face on it to show her own pretty 
      young one to the audience. More laughter.

 UGLY OLD WOMAN
       Now you've got to promise me 
       faithfully you'll remain true to me 
       forever. Then you'll see how tenderly 
       your little birdie will love you.

 PAPAGENO
   (nervous)
       I can't wait.

 UGLY OLD WOMAN
       Well, promise then.

 PAPAGENO
       What do you mean - now?

 UGLY OLD WOMAN
       Of course now. Right away, before I 
       get any older.

      Laughter.

 PAPAGENO
       Well, I don't know! I mean you're a 
       delicious, delightful, delectable 
       little bird, but don't you think you 
       might be just a little tough?

 UGLY OLD WOMAN
   (amorously)
       Oh, I'm tender enough for you, my 
       boy. I'm tender enough for you.

      Laughter.

      EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S

      A waiting sedan chair. Mozart has recovered consciousness, 
      but looks exceedingly ill. Salieri has set him down in the 
      winter's night. Snow is falling.

 MOZART
       What happened? Is it over?

 SALIERI
       I'm taking you home. You're not well.

 MOZART
       No, no. I have to get back. I have -

      He starts to collapse again. Salieri helps him into the sedan. 
      The door is shut. The chair sets off and Salieri strides 
      beside it, through the mean street. A lantern with a candle 
      swings from the chair.

      INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S

      The door opens. Salieri enters carrying the lantern from the 
      sedan chair. He is followed by Mozart, carried in the arms 
      of one of the porters. The room is now really in complete 
      disarray. The table is piled high with music: the pages of 
      the Requiem lie amongst many empty wine bottles. The porter 
      carries Mozart into

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      This room is miserably neglected. The bed is unmade, clothes 
      lie about on the floor. A sock has been stuck into the broken 
      pane of one window.

      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. It is 
      obviously very cold. Another very small bed nearby belongs 
      to the child, Karl.

 SALIERI
   (handing the porter 
   the lantern)
       Thank you. Go.

      The porter leaves the room. Mozart stirs.

 MOZART
   (vaguely singing)
       Papa! Papa!

      He opens his eyes and sees Salieri staring down at him. He 
      smiles.

 SALIERI
       Come now.

      He helps him to sit up and takes off his coat and his shoes 
      and puts a coverlet around him.

 SALIERI
       Where is your wife?

 MOZART
       Not here! She's not well, either. 
       She went to the Spa.

 SALIERI
       You mean she's not coming back?

 MOZART
       You're so good to me. Truly. Thank 
       you.

 SALIERI
       No, please.

 MOZART
       I mean to come to my opera. You are 
       the only colleague who did.

      He struggles to loosen his cravat. Salieri does it for him.

 SALIERI
       I would never miss anything that you 
       had written. You must know that.

 MOZART
       This is only a vaudeville.

 SALIERI
       Oh no. It is a sublime piece. The 
       grandest operone. I tell you, you 
       are the greatest composer known to 
       me.

 MOZART
       Do you mean that?

 SALIERI
       I do.

 MOZART
       I have bad fancies. I don't sleep 
       well anymore. Then I drink too much, 
       and think stupid things.

 SALIERI
       Are you ill?

 MOZART
       The doctor thinks I am. But -

 SALIERI
       What?

 MOZART
       I'm too young to be so sick.

      There is a violent knocking at the front door. Mozart starts 
      and looks around wildly.

 SALIERI
       Shall I answer it?

 MOZART
       No! No, it's him!

 SALIERI
       Who?

 MOZART
       The man. He's here.

 SALIERI
       What man?

      The knocking increases in loudness, terrifying Mozart.

 MOZART
       Tell him to go away. Tell him I'm 
       still working on it. Don't let him 
       in!

      Salieri moves to the door.

 MOZART
       Wait! Ask him if he'd give me some 
       money now. Tell him if he would, 
       that would help me finish it.

 SALIERI
       Finish what?

 MOZART
       He knows. He knows!

      Salieri leaves the room.

      INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S

      Salieri goes to the front door and opens it to reveal 
      Schikaneder, who has obviously come straight from the theatre.  
      He still wears his bird make-up and under his street cloak, 
      his feathered costume is clearly seen. He has with him the 
      three actresses, also looking anxious and also in make-up as 
      the three attendants in The Magic Flute.

 SCHIKANEDER
       Herr Salieri.

 SALIERI
       Yes, I am looking after him.

 SCHIKANEDER
       Can we come in?

 SALIERI
       Well, he's sleeping now. Better not.

 SCHIKANEDER
       But he's all right?

 SALIERI
       Oh, yes. He's just exhausted. He 
       became dizzy, that's all. We should 
       let him rest.

 SCHIKANEDER
       Well, tell him we were here, won't 
       you?

 SALIERI
       Of course.

 SCHIKANEDER
       And say everything went wonderfully.  
       A triumph-de-luxe - say that! Tell 
       him the audience shouted his name a 
       hundred times.

 SALIERI
       Bene.

 SCHIKANEDER
       I'll call tomorrow.

 SALIERI
       Yes.
   (to the actresses)
       And congratulations to all of you. 
       It was superb.

 ACTRESSES
       Thank you! Thank you, Excellency!

      Schikaneder produces a bag of money.

 SCHIKANEDER
       Oh, by the way, give him this. This 
       is his share. That should cheer him 
       up, eh?

 SALIERI
       Yes, indeed. Goodnight to you all 
       now. It was perfection - truly!

 ACTRESSES
   (delighted)
       Goodnight, Your Excellency.  
       Goodnight!

      They bob and curtsey. Schikaneder stares at Salieri, uneasily, 
      vaguely suspicious. Salieri smiles back at him and shuts the 
      door. He stays for a moment, thinking. He contemplates the 
      money.

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      Mozart is sitting up in bed, staring at the door. It opens.  
      Salieri returns. He holds in his hand the bag of money.

 MOZART
       What happened?

      Salieri pours the coins out of the bag onto the coverlet.

 SALIERI
       He said to give you this. And if you 
       finish the work by tomorrow night, 
       he will pay you another hundred 
       ducats.

      Mozart looks at the coins astonished.

 MOZART
       Another? But that's too soon! Tomorrow 
       night? It's impossible! Did he say a 
       hundred?

 SALIERI
       Yes. Can I - could I help you, in 
       any way?

 MOZART
       Would you? Actually, you could.

 SALIERI
       My dear friend, it would be my 
       greatest pleasure.

 MOZART
       But you'd have to swear not to tell 
       a soul. I'm not allowed.

 SALIERI
       Of course.

 MOZART
       You know, it's all here in my head.  
       It's just ready to be set down. But 
       when I'm dizzy like this my eyes 
       won't focus. I can't write.

 SALIERI
       Then, let us try together. I'd regard 
       it as such an honour. Tell me, what 
       is this work?

 MOZART
       A Mass. A Mass for the Dead.

     CUT TO:

      INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S

      Trivial dance music is playing. Constanze is doing a waltz 
      with a young OFFICER in military uniform. At the moment we 
      see her, she stops abruptly, as if in panic.

 OFFICER
       What is it?

 CONSTANZE
       I want to go!

 OFFICER
       Where?

 CONSTANZE
       I want to go back to Vienna.

 OFFICER
       Now?

 CONSTANZE
       Yes!

 OFFICER
       Why?

 CONSTANZE
       I feel wrong. I feel wrong being 
       here.

 OFFICER
   (laying a hand on her 
   arm)
       What are you talking about?

     CUT TO:

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      Mozart is sitting up in bed, propped against pillows. The 
      coins lie on the coverlet; many candles burn in the necks of 
      bottles. Salieri, without coat or wig, is seated at an 
      improvised worktable. On it are blank sheets of music paper, 
      quills, and ink. Also the score of the Requiem Mass as so 
      far composed. Mozart is bright-eyed with a kind of fever. 
      Salieri is also possessed with an obviously feverish desire 
      to put down the notes as quickly as Mozart can dictate them.

 MOZART
       Where did I stop?

 SALIERI
   (consulting the 
   manuscript)
       The end of the Recordare - Statuens 
       in parte dextra.

 MOZART
       So now the Confutatis. Confutatis 
       Maledictis. When the wicked are 
       confounded. Flammis acribus addictis.  
       How would you translate that?

 SALIERI
       Consigned to flames of woe.

 MOZART
       Do you believe in it?

 SALIERI
       What?

 MOZART
       A fire which never dies. Burning one 
       forever?

 SALIERI
       Oh, yes.

 MOZART
       Strange!

 SALIERI
       Come. Let's begin.

      He takes his pen.

 SALIERI
       Confutatis Maledictis.

 MOZART
       We ended in F Major?

 SALIERI
       Yes.

 MOZART
       So now - A minor. Suddenly.

      Salieri writes the key signature.

 MOZART
       The Fire.

 SALIERI
       What time?

 MOZART
       Common time.

      Salieri writes this, and continues now to write as swiftly 
      and urgently as he can, at Mozart's dictation. He is obviously 
      highly expert at doing this and hardly hesitates. His speed, 
      however, can never be too fast for Mozart's impatient mind.

 MOZART
       Start with the voices. Basses first. 
       Second beat of the first measure - 
       A.
   (singing the note)
       Con-fu-ta-tis.
   (speaking)
       Second measure, second beat.
   (singing)
       Ma-le-dic-tis.
   (speaking)
       G-sharp, of course.

 SALIERI
       Yes.

 MOZART
       Third measure, second beat starting 
       on E.
   (singing)
       Flam-mis a-cri-bus ad-dic-tis.
   (speaking)
       And fourth measure, fourth beat - D.
   (singing)
       Ma-le-dic-tis, flam-mis a-cri-bus ad-
       dic-tis.
   (speaking)
       Do you have that?

 SALIERI
       I think so.

 MOZART
       Sing it back.

      Salieri sings back the first six measures of the bass line.  
      After the first two measures a chorus of basses fades in on 
      the soundtrack and engulfs his voice. They stop.

 MOZART
       Good. Now the tenors. Fourth beat of 
       the first measure - C.
   (singing)
       Con-fu-ta-tis.
   (speaking)
       Second measure, fourth beat on D.
   (singing)
       Ma-le-dic-tis.
   (speaking)
       All right?

 SALIERI
       Yes.

 MOZART
       Fourth measure, second beat - F.
   (singing)
       Flam-mis a-cri-bus ad-dic-tis, flam-
       mis a-cri-bus ad-dic-tis.

      His voice is lost on the last words, as tenors engulf it and 
      take over the soundtrack, singing their whole line from the 
      beginning, right to the end of the sixth measure where the 
      basses stopped, but he goes on mouthing the sounds with them.  
      Salieri writes feverishly. We see his pen jotting down the 
      notes as quickly as possible: the ink flicks onto the page.  
      The music stops again.

 MOZART
       Now the orchestra. Second bassoon 
       and bass trombone with the basses. 
       Identical notes and rhythm.
   (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.

      Mozart glares at him, irritated. His hands move impatiently.  
      Salieri scribbles frantically.

 MOZART
       It couldn't be simpler.

 SALIERI
   (finishing)
       First bassoon and tenor trombone - 
       what?

 MOZART
       With the tenors.

 SALIERI
       Also identical?

 MOZART
       Exactly. The instruments to go with 
       the voices. Trumpets and timpani, 
       tonic and dominant.

      He again hums the bass vocal line from the beginning, 
      conducting. On the soundtrack, we hear the second bassoon 
      and bass trombone play it with him and the first bassoon and 
      tenor trombone come in on top, playing the tenor vocal line.  
      We also hear the trumpets and timpani. The sound is bare and 
      grim. It stops at the end of the sixth measure. Salieri stops 
      writing.

 SALIERI
       And that's all?

 MOZART
       Oh no. Now for the Fire.
   (he smiles)
       Strings in unison - ostinato on all - 
       like this.

      He sings the urgent first measure of the ostinato.

 MOZART
   (speaking)
       Second measure on B.

      He sings the second measure of the ostinato.

 MOZART
   (speaking)
       Do you have me?

 SALIERI
       I think so.

 MOZART
       Show me.

      Salieri sings the first two measures of the string ostinato.

 MOZART
   (excitedly)
       Good, good - yes! Put it down. And 
       the next measures exactly the same, 
       rising and rising - C to D to E, up 
       to the dominant chord. Do you see?

      As Salieri writes, Mozart sings the ostinato from the 
      beginning, but the unaccompanied strings overwhelm his voice 
      on the soundtrack, playing the first six bars of their 
      agitated accompaniment. They stop.

 SALIERI
       That's wonderful!

 MOZART
       Yes, yes - go on. The Voca Me. 
       Suddenly sotto voce. Write that down: 
       sotto voce, pianissimo. Voca me cum 
       benedictis. Call me among the blessed.

      He is now sitting bolt upright, hushed and inspired.

 MOZART
       C Major. Sopranos and altos in thirds.  
       Altos on C. Sopranos above.
   (singing the alto 
   part)
       Vo-ca, vo-ca me, vo-ca me cum be-ne-
       dic-tis.

 SALIERI
       Sopranos up to F on the second 'Voca'?

 MOZART
       Yes, and on 'dictis'.

 SALIERI
       Yes!

      He writes feverishly.

 MOZART
       And underneath, just violins - 
       arpeggio.

      He sings the violin figure under the Voca Me (Bars 7,8,9).

 MOZART
   (speaking)
       The descending scale in eighth notes, 
       and then back suddenly to the fire 
       again.

      He sings the ostinato phrase twice.

 MOZART
   (speaking)
       And that's it. Do you have it?

 SALIERI
       You go fast!

 MOZART
   (urgently)
       Do you have it?

 SALIERI
       Yes.

 MOZART
       Then let me hear it. All of it. The 
       whole thing from the beginning - 
       now!

      The entire Confutatis bursts over the room, as Mozart snatches 
      the manuscript pages from Salieri and reads from it, singing. 
      Salieri sits looking on in wondering astonishment. The music 
      continues right through the following scenes, to the end of 
      the movement.

      EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S

      A carriage is driving fast through the night. Snow lies on 
      the countryside.

      INT. THE CARRIAGE  NIGHT - 1790'S

      The carriage is filled with passengers. Among them Constanze 
      and Karl, her young son. They are sleepless and sway to the 
      motion of the vehicle.

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      Mozart lying in bed exhausted, but still dictating urgently.  
      We do not hear what he is saying to Salieri, who still sits 
      writing assiduously. Mozart is looking very sick: sweat is 
      pouring from his forehead.

      EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S

      The carriage, moving through the night, to the sound of the 
      music.

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

      Mozart still dictating; Salieri still writing without stop.

      EXT. VIENNA STREET - DAWN - 1790'S.

      The carriage has arrived. Constanze and her son alight with 
      other passengers. Postillions attend to the horses. She takes 
      her boy's hand. It is a cold wintry dawn.

      The music stutters to a close. End of the Confutatis.

      INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S

 MOZART
       Do you want to rest a bit?

 SALIERI
       Oh no. I'm not tired at all.

 MOZART
       We'll stop for just a moment. Then 
       we'll do the Lacrimosa.

 SALIERI
       I can keep going, I assure you.  
       Shall we try?

 MOZART
       Would you stay with me while I sleep 
       a little?

 SALIERI
       I'm not leaving you.

 MOZART
       I am so ashamed.

 SALIERI
       What for?

 MOZART
       I was foolish. I thought you did not 
       care for my work - or me. Forgive 
       me. Forgive me!

      Mozart closes his eyes. Salieri stares at him.

      EXT. VIENNA STREET - WINTRY DAWN - 1790'S

      Constanze and Karl approach along the cobbled street, hand 
      in hand toward their house. Snow lies in the street.

      INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S

      Mozart lies asleep in the bed, holding the last pages of the 
      manuscript. Salieri lies across from him on Karl's small bed 
      in his shirt sleeves and waistcoat. The child's bed is 
      obviously too small for him and he is forced in to a cramped 
      position.

      EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S

      Constanze and Karl arrive at the door. They enter.

      INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S

      It is as disordered as before, save that the table, previously 
      littered with pages, is now completely bare. Constanze looks 
      at it with surprise and enters the bedroom.

      INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S

      Mozart is asleep in the bed. Salieri is dozing on the nearby 
      child's bed. The room is full of the trailing smoke from 
      guttering and guttered candles. Startled by Constanze's 
      entrance and her young son, Salieri scrambles up. As he does 
      so, he attempts to button his waistcoat, but does it ineptly, 
      so that the vestment becomes bunched up, making him look 
      absurd.

 CONSTANZE
       What are you doing here?

 SALIERI
       Your husband is ill, ma'am. He took 
       sick. I brought him home.

 CONSTANZE
       Why you?

 SALIERI
       I was at hand.

 CONSTANZE
       Well, thank you very much. You can 
       go now.

 SALIERI
       He needs me, ma'am.

 CONSTANZE
       No, he doesn't. And I don't want you 
       here. Just go, please.

 SALIERI
       He asked me to stay.

 CONSTANZE
       And I'm asking you -

      She notices a movement from the bed. Mozart wakes. He sees 
      Constanze and smiles with real joy. Forgetting Salieri, she 
      goes to her husband.

 CONSTANZE
       Wolfi, I'm back. I'm still very angry 
       with you, but I missed you so much.

      She throws herself on the bed.

 CONSTANZE
       I'll never leave you again. If you'll 
       just try a little harder to be nice 
       to me. And I'll try to do better, 
       too. We must. We must! This was just 
       silly and stupid.

      She hugs her husband desperately. He stares at her with 
      obvious relief, not able to speak. Suddenly she sees the 
      manuscript in his hand.

 CONSTANZE
       What is this?

      She looks at it and recognizes it.

 CONSTANZE
       Oh no, not this. Not this, Wolfi!  
       You're not to work on this ever again!  
       I've decided.

      She takes it from his weak hand. At the same moment Salieri 
      reaches out his hand to take it and add it to the pile on 
      the table.

      She stares at him, trying to understand - suspicious and 
      frightened and at the same time unable to make a sound. Mozart 
      makes a convulsive gesture to reclaim the pages. The coins 
      brought by Salieri fall on the floor.  Karl runs after them, 
      laughing.

 CONSTANZE
   (to Salieri)
       This is not his handwriting.

 SALIERI
       No. I was assisting him. He asked 
       me.

 CONSTANZE
       He's not going to work on this 
       anymore. It is making him ill. Please.

      She extends her hand for the Requiem, as she stands up.  
      Salieri hesitates.

 CONSTANZE
   (hard)
       Please.

      With extreme reluctance - it costs him agony to do it - 
      Salieri hands over the score of the Requiem to her.

 CONSTANZE
       Thank you.

      She marches with the manuscript over to a large chest in the 
      room, opens it, throws the manuscript inside, shuts the lid, 
      locks it and pockets the key. Involuntarily Salieri stretches 
      out his arms for the lost manuscript.

 SALIERI
       But - but - but -

      She turns and faces him.

 CONSTANZE
       Good night.

      He stares at her, stunned.

 CONSTANZE
       I regret we have no servants to show 
       you out, Herr Salieri. Respect my 
       wish and go.

 SALIERI
       Madame, I will respect his. He asked 
       me to stay here.

      They look at each other in mutual hatred. She turns to the 
      bed. Mozart appears to have gone to sleep again.

 CONSTANZE
       Wolfi?
   (louder)
       Wolfi?

      She moves to the bed. The child is playing with the coins on 
      the floor. Faintly we hear the start of the Lacrimosa from 
      the Requiem. Salieri watches as she touches her husband's 
      hand. As the music grows, we realize that Mozart is dead.

      CU, Constanze staring wide-eyed in dawning apprehension.

      CU, Salieri also comprehending hat he has been cheated.

      The music rises.

      CU, The child on the floor, playing with the money.

     CUT TO:

      EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S

      The Lacrimosa continues through all of the following: a small 
      group of people emerges from the side door into the raw, wet 
      day, accompanying a cheap wooden coffin. The coffin is borne 
      by a gravedigger and Schikaneder in mourning clothes. They 
      load it onto a cart, drawn by a poor black horse. All the 
      rest are in black, also: Salieri, Von Swieten, Constanze and 
      her son, Karl, Madame Weber and her youngest daughter Sophie, 
      and even Lorl, the maid. It is drizzling. The cart sets off. 
      The group follows.

     CUT TO:

      EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S

      The group has already passed beyond the city limits following 
      the miserable cart. The Lacrimosa accompanies them with its 
      measured thread.

      The drizzle of rain has now become heavy. One by one, the 
      group breaks up and shelters under the trees. The cart moves 
      on toward the cemetery, alone, followed by nobody, growing 
      more and more distant. They watch it go.

      Salieri and Von Swieten shake hands mournfully, the water 
      soaking their black tall hats. Schikaneder is in tears. 
      Constanze is near collapse. Salieri moves to assist her, but 
      she turns away from him, seeking the arm of Cavalieri. Madame 
      Weber takes Karl's hand.

      The music builds to its climax on Dona Eis Pacem! We CUT 
      back to:

      INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823

      Morning light fills the room. Old Salieri sits weeping 
      convulsively, as the music stops. Tears stream down his face. 
      Vogler watches him, amazed.

 VOGLER
       Why? Why? Why? Why add to your misery 
       by confessing to murder? You didn't 
       kill him.

 OLD SALIERI
       I did.

 VOGLER
       No, you didn't!

 OLD SALIERI
       I poisoned his life.

 VOGLER
       But not his body.

 OLD SALIERI
       What difference does that make?

 VOGLER
       My son, why should you want all Vienna 
       to believe you a murderer? Is that 
       your penance? Is it?

 OLD SALIERI
       No, Father. From now on no one will 
       be able to speak of Mozart without 
       thinking of me. Whenever they say 
       Mozart with love, they'll have to 
       say Salieri with loathing. And that's 
       my immortality - at last! Our names 
       will  be tied together for eternity - 
       his in fame and mine in infamy. At 
       least it's better than the total 
       oblivion he'd planned for me, your 
       merciful God!

 VOGLER
       Oh my son, my poor son!

 OLD SALIERI
       Don't pity me. Pity yourself. You 
       serve a wicked God. He killed Mozart, 
       not I. Took him, snatched him away, 
       without pity. He destroyed His beloved 
       rather than let a mediocrity like me 
       get the smallest share in his glory.  
       He doesn't care. Understand that. 
       God cares nothing for the man He 
       denies and nothing either for the 
       man He uses. He broke Mozart in half 
       when He'd finished with him, and 
       threw him away. Like an old, worn 
       out flute.

      EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S

      The rain has eased off. A LOCAL PRIEST with two boy acolytes 
      is standing beside an open communal grave. Mozart's body is 
      lifted out of the cheap pine box in a sack.

      We see that the grave contains twenty other such sacks. The 
      gravedigger throws the one containing Mozart amongst the 
      others. An assistant pours quicklime over the whole pile of 
      them. The acolytes swing their censers.

 LOCAL PRIEST
       The Lord giveth. The Lord taketh 
       away. Blessed be the name of the 
       Lord.

CUT BACK TO:

      INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823

 OLD SALIERI
       Why did He do it? Why didn't He kill 
       me? I had no value. What was the 
       use, keeping me alive for thirty-two 
       years of torture? Thirty-two years 
       of honours and awards.

      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.

 OLD SALIERI
       Being bowed to and saluted, called 
       'distinguished - distinguished 
       Salieri' - by men incapable of 
       distinguishing! Thirty-two years of 
       meaningless fame to end up alone in 
       my room, watching myself become 
       extinct. My music growing fainter, 
       all the time fainter, until no one 
       plays it at all. And his growing 
       louder, filling the world with wonder. 
       And everyone who loves my sacred art 
       crying, Mozart! Bless you, Mozart.

      The door opens. An attendant comes in, cheerful and hearty.

 ATTENDANT
       Good morning, Professor! Time for 
       the water closet. And then we've got 
       your favourite breakfast for you - 
       sugar-rolls.
   (to Vogler)
       He loves those. Fresh sugar-rolls.

      Salieri ignores him and stares only at the priest, who stares 
      back.

 OLD SALIERI
       Goodbye, Father. I'll speak for you.  
       I speak for all mediocrities in the 
       world. I am their champion. I am 
       their patron saint. On their behalf 
       I deny Him, your God of no mercy.  
       Your God who tortures men with 
       longings they can never fulfill. He 
       may forgive me: I shall never forgive 
       Him.

      He signs to the attendant, who wheels him in his chair out 
      of the room. The priest stares after him.

      INT. CORRIDOR OF THE HOSPITAL - MORNING

      The corridor is filled with patients in white linen smocks, 
      all taking their morning exercise walk in the care of nurses 
      and nuns. They form a long, wretched, strange procession - 
      some of them are clearly very disturbed. As Old Salieri is 
      pushed through them in his wheelchair, he lifts his hands to 
      them in benediction.

 OLD SALIERI
       Mediocrities everywhere, now and to 
       come: I absolve you all! Amen! Amen!  
       Amen!

      Finally, he turns full-face to the camera and blesses us the 
      audience, making the Sign of the Cross. Underneath we hear, 
      stealing in and growing louder, the tremendous Masonic Funeral 
      Music of Mozart.

      On the last four chords, we

   FADE OUT:

     THE END


 
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