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AMADEUS 

  
                                      "AMADEUS"

                                            by

                                      Peter Shaffer

                                       Final Draft

                

               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! Pietą! Pietą! 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


Amadeus



Writers :   Peter Shaffer
Genres :   Drama


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