Amadeus

Oil me! Broil me! Boil me!

All the dwarves beat her back down into the pot with their long wooden spoons.

SOPRANO

(from inside the pot)

Soil me! Foil me! Spoil me!

HORSE

I can't eat her. Sopranos give me hiccups. I want some hay!

FIRST LADY

(singing to Schikaneder)

Hey!

SECOND LADY

(singing to Schikaneder)

Hey!

THIRD LADY

(singing to Schikaneder)

Hey!

SCHIKANEDER

Hey what?

ALL THREE LADIES

(singing to La oi daram)

Give him some hay, my darling, and I'll give you my heart!

COMMENDATORE

Shut up.

SCHIKANEDER

Leporello! We want some hay - prestissimo! Leporello - where

are you?

The table is raised in the air by Leporello sitting under it on a bale of hay.

FIRST LADY

(singing to horse)

Behold!

SECOND LADY

(singing to horse)

Behold!

THIRD LADY

(singing to horse)

Behold!

Ottavio the horse gives a piercing neigh and runs down to the hay.

COMMENDATORE

(holding on)

Hey! Hey! Watch out!

The vamp starts again vigorously. The horse's rear-end swings around on a hinge

to turn his hind-quarters straight on to the audience. The rest of him stays side-

ways. 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 hand-

ful of hay and out of the other end falls a string of sausages. Then a large pie, crust

and all. Then a shower of iced cakes! Suddenly - silence. Schikaneder produces

an egg from his pocket. Ottavio the horse rears up in disgust.

COMMENDATORE

Whoa! Whoa, Ottavio! Whoa!

Leporello pries open the horse's mouth. Schikaneder pops蕋he egg into it. A

breathless pause as a drum roll builds the tension, up and up and up, and then sud-

denly 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 ap-

plaud vigorously. Schikaneder takes a bow amongst his troupe. Among much

whistling and clapping, he finally jumps off the stage and strides through the audi-

ence toward the table where Mozart sits with his family. On stage, a troupe of bag

pipers immediately appears to play an old German tune. Some of the audience

joins in singing it.

SCHIKANEDER

Well, how do you like that?

Mozart is smiling; he has been amused. Constanze has been less amused and is

looking apprehensive.

MOZART

Wonderful! (indicating his baby son) He liked the monkey, didn't

you?

SCHIKANEDER

Yes, well, it's all good fun.

MOZART

I liked the horse.

Schikaneder sits at the table, and drinks from a bottle of wine.

SCHIKANEDER

Isn't he marvelous? He cost me a bundle, that horse, but he's

worth it. I tell you, if you'd played Don Giovanni here it would

have been a great success. I'm not joking. These people aren't

fools. You could do something marvelous for them.

MOZART

I'd like to try them someday. I'm not sure I'd be much good at

it.

SCHIKANEDER

訡ourse you would. You belong here, my boy, not the snobby

Court. You could do anything you felt like here - the more fan-

tastic 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 ma-

chine in the city and a big flood - I can do you the finest water

effects you ever saw in your life. Oh, and a few trick animals.

You'd have to use those.

MOZART

Animals?

SCHIKANEDER

I tell you I picked up a snake in Dresden last week - twelve foot

long - folds up to six inches, just like a paper fan. It's a miracle.

Mozart laughs.

SCHIKANEDER

I'm serious. You write a proper part for me with a couple of

catchy songs, I'll guarantee you'll have a triumph-de-luxe. Mind

you, it'll have to be in German.

MOZART

German!

SCHIKANEDER

Of course! What else do you think they speak here?

MOZART

No, no, I love that. I'd want it to be in German. I haven't done

anything in German since Seraglio.

SCHIKANEDER

So there you are. What do you say?

CONSTANZE

How much will you pay him?

SCHIKANEDER

Ah. Well. Ah, (to Mozart) I see you've got your manager with

you. Well, Madame, how about half the receipts?

MOZART

Half the receipts! Stanzi!

CONSTANZE

I'm talking about now. How much will you give him now?

Down payment?

SCHIKANEDER

Down payment? Who do you think I am? The Emperor?

Whoops, I have to go.

He rises in haste for his next number.

SCHIKANEDER

Stay where you are. You're going to like this next one. We'll

speak again. Triumph-de-luxe, my boy!

He winks at Mozart and disappears toward the stage. Mozart looks after him,

enchanted.

CONSTANZE

You're not going to do this?

MOZART

Why not? Half the house!

CONSTANZE

When? We need money now. Either he pays now, or you don't

do it.

MOZART

Oh, Stanzi.

CONSTANZE

I don't trust this man. And I didn't like what he did with your

opera. It was common.

MOZART

(to Karl)

Well, you liked it, didn't you? Monkey-flunki-punki.

CONSTANZE

Half the house! You'll never see a penny. I want it here, in my

hand.

MOZART

(dirty)

Stanzi-manzi, I'll put it in your hand!

CONSTANZE

Shut up! I'll not let you put anything in my hand until I see some

money.

He giggles like a child.

CUT TO:

137 INT. SCHLUMBERG HOUSE - HALLWAY - DAY?1780's 137

Dogs are barking wickedly. Michael Schlumberg comes in from his salon. Mozart

stands there looking very unwell and bewildered. He is also drunk, but making a

careful attempt to keep his composure.

SCHLUMBERG

Herr Mozart. What a surprise. What can I do for you?

MOZART

Is my pupil still anxious to learn the art of music?

SCHLUMBERG

Well, your pupil is married and living in Mannheim, young man.

MOZART

Really? Perhaps your dear wife might care to profit from my

instruction?

SCHLUMBERG

What is this, Mozart? What's the matter with you?

MOZART

Well. Since it appears nobody is eager to hire my services, could

you favour me with a little money instead?

SCHLUMBERG

What for?

MOZART

If a man cannot earn, he must borrow.

SCHLUMBERG

Well, this is hardly the way to go about it.

MOZART

No doubt, sir. But I am endowed with talent, and you with

money. If I offer mine, you should offer yours.

Pause.

SCHLUMBERG

I'm sorry. No.

MOZART

Please. I'll give it back, I promise. Please, sir.

SCHLUMBERG

My answer is no, Mozart.

CU, Mozart. His voice becomes mechanical.

MOZART

Please. Please. Please. Please. Please. Please.

CUT TO:

138 INT. THE IMPERIAL LIBRARY - DAY - 1790's 138

Von Swieten and Salieri stand close together. Several scholars and students are ex-

amining scrolls and manuscripts at the other end of the room.

VON SWIETEN

(keeping his voice down)

This is embarrassing, you know. You introduced Mozart to some

of my friends and he's begging from practically all of them. It

has to stop.

SALIERI

I agree, Baron.

VON SWIETEN

Can't you think of anyone who might commission some work

from him? I've done my best. I got him to arrange some Bach

for my Sunday concerts. He got a fee - what I could afford.

Can't you think of anyone who might do something for him?

SALIERI

No, Baron, no. I'm afraid Mozart is a lost cause. He has man-

aged to alienate practically the whole of Vienna. He is constantly

drunk. He never pays his debts. I can't think of one person to

whom I dare recommend him.

VON SWIETEN

How sad. It's tragic, isn't it? Such a talent.

SALIERI

Indeed. Just a moment - as a matter of fact I think I do know

someone who could commission a work from him. A very appro-

priate person to do so. Yes.

The opening measures of the Piano Concerto in D Minor steal in.

CUT TO:

139 INT. THE COSTUME SHOP - VIENNA - DAY - 1790's 139

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.

139A INT. SALIERI'S APARTMENT - DUSK - 1790's 139A

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:

140 EXT. A SNOWY STREET IN VIENNA - DUSK - 1790's 140

As the tutti of the D Minor Concerto continues, we see Salieri, dressed in this men-

acing 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.

141 INT. MOZART'S LIVING ROOM - DUSK - 1790's 141

Mozart sits writing at a table. He appears now to be really quite sick. His face ex-

presses pain from his stomach cramps. There is a gentle knock at the door. He

rises, goes to he door and opens it. Immediately there is a SHOCK CUT:

The dark, frowning mask stares at him and at us. The violent D Minor chord

which opens Don Giovanni is heard. Salieri in costume stands in the doorway.

SALIERI

Herr Mozart?

The second chord sounds and fades. Mozart stares in panic.

SALIERI

I have come to commission work from you.

MOZART

What work?

SALIERI

A Mass for the dead.

MOZART

What dead? Who is dead?

SALIERI

A man who deserved a Requiem Mass and never got one.

MOZART

Who are you?

SALIERI

I am only a messenger. Do you accept? You will be paid well.

MOZART

How much?

Salieri extends his hand. In it is a bag of money.

SALIERI

Fifty ducats. Another fifty when I have the Mass. Do you ac-

cept?

Almost against his will, Mozart takes the money.

MOZART

How long will you give me?

SALIERI

Work fast. And be sure to tell no one what you do. You will see

me again soon.

He turns away. Mozart closes the front door. Instantly we hear the opening of the

Requiem Mass (also in D Minor). Mozart turns and looks up at the portrait of his

father on the wall. The portrait stares back. Constanze opens the door from the

bedroom. She sees him staring up.

CONSTANZE

Wolfi? Wolfi!

He looks at her with startled eyes. The music breaks off.

CONSTANZE

Who was that?

MOZART

No one.

CONSTANZE

I heard voices.

He gives a strange little giggle.

CONSTANZE

What's the matter?

She sees the bag of money.

CONSTANZE

What's that? Oh! (pouncing on it) Who gave you this? How

much is it? Wolfi, who gave you this?

MOZART

I'm not telling you.

CONSTANZE

Why not?

MOZART

You'd think I was mad.

He stares at her. She stares at him.