MOZART:「I don't know. Stanzi? Stanzi!」
narrator: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.」
narrator: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.」
narrator: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?」
narrator: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.」
narrator: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!」
narrator: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.」
narrator: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!」


narrator:「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.」
narrator: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!」
narrator: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.」
narrator:Constanze echoes him with a touch of malice in her voice.
CONSTANZE:「This is just a game, Papa!」
narrator: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.」
narrator: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?」
narrator: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.」
narrator:All the bystanders are watching.
SCHIKANEDER:「I've got a good one. I've got the perfect one for you. Come over here.」
narrator: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.」
narrator:Applause.
MOZART:「Oh, that's really too easy. Any child can do that.」
narrator:Amused sounds of disbelief.
SCHIKANEDER:「And a fugue in the manner of Sebastian Bach.」
narrator: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.」
narrator:GUESTS Gluck! Haydn! Frederic Handel!
CONSTANZE:「Salieri! Do Salieri!」
narrator: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.」


narrator: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!」
narrator: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!」
narrator: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!」
narrator:The music breaks off.
MOZART:「What is it?」
narrator: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!」
narrator: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.」
narrator:Mozart turns to his father.
MOZART:「Papa, is this your idea?」
LEOPOLD:「Mine?」
narrator: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?」
narrator: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.」


narrator: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?」
narrator: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!」
narrator: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!」
narrator: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!」
narrator: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.」
narrator: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.」
Antonio Salieri:「Do any pupils come to the house?」
LORL:「Not that I've seen.」
Antonio 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.」
Antonio Salieri:「Really? What is it he's writing?」
LORL:「Oh, I wouldn't know that, sir.」
Antonio 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?」
narrator:Confused, the girl hesitates. He hands her a pile of coins.
LORL:「Oh, thank you, sir!」


narrator: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.」
Antonio Salieri:「Yes what?」


narrator: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.」
narrator:Salieri turns to look around him.
Antonio Salieri:「Where does he work?」
LORL:「In there, sir.」


narrator: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!」
narrator: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.」
narrator:Leopold comes forward eagerly and fawningly kisses the royal hand.
LEOPOLD:「Your Majesty.」
narrator: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 --」
narrator: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.'」
narrator: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.」
narrator:CUT TO:
 INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S
 The Director sits at his table with Salieri and Bonno.
Antonio Salieri:「I've just learned something that might be of interest to you, Herr Director.」
narrator:ORSINI-ROSENBERG Yes?


Antonio Salieri:「Mozart is writing a new opera. An Italian opera.」
narrator:ORSINI-ROSENBERG Italian?
BONNO:「Aie!」
Antonio Salieri:「And that's not all. He has chosen for his subject, Figaro. The Marriage of Figaro.」
narrator:ORSINI-ROSENBERG You mean that play?
Antonio Salieri:「Exactly.」
narrator:ORSINI-ROSENBERG He's setting that play to music?
Antonio Salieri:「Yes.」
narrator:ORSINI-ROSENBERG You must be mad.
BONNO:「What is this Marriage of Figaro?」
narrator:ORSINI-ROSENBERG It's a French play, Kapellmeister.
 It has been banned by the Emperor.
BONNO:「Hah!」
narrator:He crosses himself, wide-eyed with alarm.
 ORSINI-ROSENBERG Are you absolutely sure?
Antonio Salieri:「I've seen the manuscript.」
narrator:ORSINI-ROSENBERG Where?
Antonio Salieri:「Never mind.」
narrator: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?」
narrator:ORSINI-ROSENBERG For the same reason, Herr Chamberlain, that it was banned in France.
VON STRACK:「Oh yes, yes. And that was?」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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?」
narrator: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?」
narrator: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?」
narrator:A slight pause. Then Joseph nods.
JOSEPH:「Please.」
narrator: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.」
narrator: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.
Antonio Salieri:「Incredible.」


narrator:ORSINI-ROSENBERG The Emperor has given him permission.
BONNO:「Si, si! Veramente.」
Antonio 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.」
narrator:ORSINI-ROSENBERG What anger?
Antonio Salieri:「About the ballet.」
narrator:ORSINI-ROSENBERG Ballet? What ballet?
Antonio Salieri:「Excuse me - didn't His Majesty specifically forbid ballet in his opera?」
narrator:ORSINI-ROSENBERG Yes, absolutely. Is there a ballet in Figaro?
Antonio Salieri:「Yes, in the third act.」


narrator: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.」
narrator:He signals to the cast to break off.
MOZART:「Five minutes, please!」
narrator: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.」
narrator:ORSINI-ROSENBERG Exactly. A dance.
MOZART:「But surely the Emperor didn't mean to prohibit dancing when it's part of the story.」
narrator: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?」
narrator:He rips out three more.
MOZART:「What are you doing, Herr Director?」
narrator: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.」
narrator: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!」
narrator:He grabs Salieri.
Antonio 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.」
Antonio 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?」
Antonio 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!」
Antonio Salieri:「You burned the score?」
MOZART:「Oh no! My wife took it out in time.」
Antonio Salieri:「How fortunate.」
MOZART:「It's not fair that a man like that has power over our work.」
Antonio 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?」
Antonio Salieri:「With all my heart, Mozart.」
MOZART:「Thank you! Oh, thank you.」
narrator:He kisses Salieri's hand.


Antonio Salieri:「withdrawing it; imitating the Emperor) No, no, no, Herr Mozart, please.
 It's not a holy relic.」
narrator: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.」


narrator: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?」
narrator: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?」
Antonio Salieri:「It is not a question of liking, Your Majesty. Your own law decrees it, I'm afraid.」


JOSEPH:「Well, look at them.」
narrator: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.」
narrator:ORSINI-ROSENBERG But, Sire -
JOSEPH:「Oblige me.」
narrator: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!」
narrator: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!」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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!」
narrator: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 -」
narrator: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.」
Antonio 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?」
Antonio 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?」
Antonio Salieri:「I think it's marvelous. Truly.」
MOZART:「It's the best opera yet written. I know it! Why didn't they come?」
Antonio 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.」
Antonio 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.」
Antonio Salieri:「bowing) Grazie, mio caro, Wolfgang!」
MOZART:「Grazie, a lei, Signor Antonio!」


narrator: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?」
narrator: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.」
narrator: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.」
narrator: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.」


narrator: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.
Antonio Salieri:「Mozart. It was good of you to come.」
MOZART:「How could I not?」
Antonio Salieri:「Did my work please you?」
MOZART:「How could it not, Excellency?」
Antonio Salieri:「Yes?」
MOZART:「I never knew that music like that was possible.」
Antonio Salieri:「You flatter me.」
MOZART:「Oh no! One hears such sounds and what can one say, but - Salieri!」


narrator: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.」
narrator: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.」
narrator: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!'」
narrator: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.」


narrator: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.」
narrator: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.」
narrator: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?」
narrator:One more knock.
SCHIKANEDER:「C-c-c-come in!」
narrator: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!」
narrator: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!」
narrator: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!」
narrator: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!」
narrator:The horse takes a bow. The dwarf almost falls off again.
COMMENDATORE:「Whoa! Whoa! Stop it!」
narrator: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.」


narrator: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.」
narrator:Boos from the audience.
SCHIKANEDER:「speaking) This is ridiculous. I won't have any of it. You're turning my house into a circus!」
narrator: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.」
narrator: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.」


narrator: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?」
narrator:DWARVES (all together) Five hours, five minutes, five seconds.
COMMENDATORE:「speaking) I can't wait that long. I'm starving!」
narrator: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.」
narrator: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.」
narrator: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!」
narrator: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?」
narrator: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?」
narrator: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!」
narrator: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!」


narrator: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?」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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!」
narrator: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.」
narrator: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.」
narrator:Pause.
SCHLUMBERG:「I'm sorry. No.」
MOZART:「Please. I'll give it back, I promise.
 Please, sir.」
SCHLUMBERG:「My answer is no, Mozart.」
narrator:CU, Mozart. His voice becomes mechanical.
MOZART:「Please. Please. Please. Please. Please. Please.」
narrator: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.」
Antonio 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?」
Antonio 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.」
Antonio 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.」


narrator: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.
Antonio Salieri:「Herr Mozart?」


narrator:The second chord sounds and fades. Mozart stares in panic.
Antonio Salieri:「I have come to commission work from you.」
MOZART:「What work?」
Antonio Salieri:「A Mass for the dead.」
MOZART:「What dead? Who is dead?」
Antonio Salieri:「A man who deserved a Requiem Mass and never got one.」
MOZART:「Who are you?」
Antonio Salieri:「I am only a messenger. Do you accept?
 You will be paid well.」
MOZART:「How much?」
narrator:Salieri extends his hand. In it is a bag of money.
Antonio Salieri:「Fifty ducats. Another fifty when I have the Mass. Do you accept?」
narrator:Almost against his will, Mozart takes the money.
MOZART:「How long will you give me?」
Antonio Salieri:「Work fast. And be sure to tell no one what you do. You will see me again soon.」


narrator: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!」
narrator:He looks at her with startled eyes. The music breaks off.
CONSTANZE:「Who was that?」
MOZART:「No one.」
CONSTANZE:「I heard voices.」
narrator:He gives a strange little giggle.
CONSTANZE:「What's the matter?」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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!」
narrator: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?」
narrator:Mozart springs up. He is clearly terrified.
MOZART:「Tell him I'm not here. Tell him I'm working on it. Come back later.」
narrator: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.」
narrator:He pushes her into the room.
SCHIKANEDER:「Is he happy with it?」
narrator:He sees he manuscript on the table, and goes to it eagerly.
SCHIKANEDER:「Is this it?」
narrator: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?」
narrator: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.」
narrator: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?」
narrator: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?」
narrator: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?」
narrator: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.」
narrator:INT. SALIERI'S SALON - DAY - 1790'S
 A frightened and tearful Lorl sits before Salieri.
Antonio Salieri:「Now calm yourself. Calm. What's the matter with you?」


LORL:「I'm leaving. I'm not working there anymore. I'm scared!」
Antonio 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.」
Antonio Salieri:「What medicine?」
LORL:「I don't know. He has pains.」
Antonio Salieri:「Where?」
LORL:「Here, in his stomach. They bend him right over.」
Antonio 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.」
Antonio Salieri:「Is he working?」
LORL:「I suppose so. He sits there all he time, doing some silly opera.」
Antonio Salieri:「startled) Opera? Opera!」
LORL:「Please don't ask me to go back again.
 I'm frightened! I'm very, very frightened.」
Antonio Salieri:「insistently) Are you sure it's an opera?」


narrator: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.」
Antonio Salieri:「Are you neglecting my request?」


MOZART:「No, no! I promise you, I'll give you a wonderful piece - the best I ever can!」
narrator: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.」
narrator:Salieri contemplates them both.
Antonio Salieri:「The sooner you finish, the better your reward. Work!」
narrator: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?」
narrator: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.」
narrator: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!」
narrator: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!」
narrator: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!」
narrator: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?」


narrator:「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!」
narrator:VOICE Go back!
 Papageno recoils.
PAPAGENO:「Now, I can't go forward and I can't go back. Oh, this is awful!」
narrator: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.」
narrator: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!」
narrator: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?」


narrator:「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.」


Antonio Salieri:「I'll take care of him.」
narrator:He steps forward.
Antonio Salieri:「I have a carriage. Excuse me.」
narrator: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.」
narrator: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.」
narrator: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.」
narrator: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?」
Antonio Salieri:「I'm taking you home. You're not well.」
MOZART:「No, no. I have to get back. I have -」


narrator: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.
Antonio Salieri:「handing the porter the lantern) Thank you. Go.」
narrator:The porter leaves the room. Mozart stirs.
MOZART:「vaguely singing) Papa! Papa!」


narrator:He opens his eyes and sees Salieri staring down at him. He smiles.
Antonio Salieri:「Come now.」
narrator:He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him.
Antonio Salieri:「Where is your wife?」
MOZART:「Not here! She's not well, either. She went to the Spa.」
Antonio Salieri:「You mean she's not coming back?」
MOZART:「You're so good to me. Truly. Thank you.」
Antonio Salieri:「No, please.」
MOZART:「I mean to come to my opera. You are the only colleague who did.」
narrator:He struggles to loosen his cravat. Salieri does it for him.
Antonio Salieri:「I would never miss anything that you had written. You must know that.」
MOZART:「This is only a vaudeville.」
Antonio 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?」
Antonio Salieri:「I do.」


MOZART:「I have bad fancies. I don't sleep well anymore. Then I drink too much, and think stupid things.」
Antonio Salieri:「Are you ill?」
MOZART:「The doctor thinks I am. But -」
Antonio Salieri:「What?」
MOZART:「I'm too young to be so sick.」
narrator:There is a violent knocking at the front door. Mozart starts and looks around wildly.
Antonio Salieri:「Shall I answer it?」
MOZART:「No! No, it's him!」
Antonio Salieri:「Who?」
MOZART:「The man. He's here.」
Antonio Salieri:「What man?」
narrator: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!」
narrator: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.」
Antonio Salieri:「Finish what?」
MOZART:「He knows. He knows!」


narrator: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.」
Antonio Salieri:「Yes, I am looking after him.」
SCHIKANEDER:「Can we come in?」
Antonio Salieri:「Well, he's sleeping now. Better not.」
SCHIKANEDER:「But he's all right?」
Antonio 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?」
Antonio 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.」
Antonio Salieri:「Bene.」


SCHIKANEDER:「I'll call tomorrow.」
Antonio Salieri:「Yes. (to the actresses) And congratulations to all of you. It was superb.」
narrator: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?」
Antonio Salieri:「Yes, indeed. Goodnight to you all now. It was perfection - truly!」
narrator: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?」
narrator:Salieri pours the coins out of the bag onto the coverlet.


Antonio Salieri:「He said to give you this. And if you finish the work by tomorrow night, he will pay you another hundred ducats.」
narrator:Mozart looks at the coins astonished.
MOZART:「Another? But that's too soon! Tomorrow night? It's impossible! Did he say a hundred?」
Antonio Salieri:「Yes. Can I - could I help you, in any way?」
MOZART:「Would you? Actually, you could.」
Antonio 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.」
Antonio 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.」
Antonio 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.」


narrator: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!」
narrator:OFFICER Where?
CONSTANZE:「I want to go back to Vienna.」
narrator:OFFICER Now?
CONSTANZE:「Yes!」
narrator:OFFICER Why?
CONSTANZE:「I feel wrong. I feel wrong being here.」
narrator: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?」
Antonio 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?」
Antonio Salieri:「Consigned to flames of woe.」
MOZART:「Do you believe in it?」
Antonio Salieri:「What?」
MOZART:「A fire which never dies. Burning one forever?」
Antonio Salieri:「Oh, yes.」
MOZART:「Strange!」
Antonio Salieri:「Come. Let's begin.」
narrator:He takes his pen.
Antonio Salieri:「Confutatis Maledictis.」
MOZART:「We ended in F Major?」
Antonio Salieri:「Yes.」
MOZART:「So now - A minor. Suddenly.」
narrator:Salieri writes the key signature.
MOZART:「The Fire.」
Antonio Salieri:「What time?」
MOZART:「Common time.」
narrator: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.」
Antonio 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?」
Antonio Salieri:「I think so.」
MOZART:「Sing it back.」
narrator: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?」


Antonio 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.」
narrator: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 -」
Antonio Salieri:「labouring to keep up) Please! Just one moment.」
narrator:Mozart glares at him, irritated. His hands move impatiently.
 Salieri scribbles frantically.
MOZART:「It couldn't be simpler.」
Antonio Salieri:「finishing) First bassoon and tenor trombone - what?」
MOZART:「With the tenors.」