Amadeus

MOZART

Well, could you lend me some money till you have one? Then I'll

teach her for free. That's a promise. Oh, I'm sorry. I'm being

silly. Papa's right - I should put a padlock on my mouth.

Seriously, is there any chance you could manage a loan? Only for

six months, eight at most. After that I'll be the richest man in

Vienna. I'll pay you back double. Anything. Name your terms.

I'm not joking. I'm working on something that's going to ex-

plode like a bomb all over Europe!

SALIERI

Ah, how exciting! Tell me more.

MOZART

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

SALIERI

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

MOZART

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

SALIERI

Cream cheese mixed with granulated sugar and suffused with

rum. Crema al Mascarpone.

MOZART

Ah. Italian?

SALIERI

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

MOZART

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

Fifty?

SALIERI

What exactly are you working on?

MOZART

I can't say. Really

SALIERI

I don't think you should become known in Vienna as a debtor,

Mozart. However, I know a very distinguished gentleman I could

recommend to you. And he has a daughter. Will that do?

84 INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780's 84

Hysterical barking and howling. The hall is full of dogs, at least five, all jumping

up and dashing about and making a terrific racket. Mozart, dandified in a new

coat and a plumed hat for the occasion, has arrived to teach at the house of a pros-

perous merchant, MICHAEL SCHLUMBERG. Bluff, friendly and coarse-look-

ing, he stands in his hall amidst the leaping and barking animals, greeting Mozart.

SCHLUMBERG

Quiet! Quiet! Quiet! Down there, damn you. (to Mozart)

Welcome to you. Pay no attention, they're impossible. Stop it,

you willful things! Come this way. Just ignore them. They're

perfectly harmless, just willful. I treat them just like my own

children.

MOZART

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

SCHLUMBERG

What? Ha-ha! That's funny - I like it. Which one, eh? You're a

funny fellow. (shouting) Hannah! Come this way.

He leads Mozart through the throng of dogs into a salon furnished with comfort-

able middle-class taste.

SCHLUMBERG

Hannah!

FRAU SCHLUMBERG appears: an anxious woman in middle life.

SCHLUMBERG

(to Mozart)

You won't be teaching this one either. She's my wife.

MOZART

(bowing)

Madame.

SCHLUMBERG

This is Herr Mozart, my dear. The young man Herr Salieri rec-

ommended to teach our Gertrude. Where is she?

FRAU SCHLUMBERG

Upstairs.

SCHLUMBERG

Gertrude!

FRAU SCHLUMBERG

You can't be Herr Mozart!

MOZART

I'm afraid I am.

SCHLUMBERG

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

FRAU SCHLUMBERG

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

SCHLUMBERG

Gertrude!

FRAU SCHLUMBERG

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

Gertrude.

SCHLUMBERG

People who know say the girl's got talent. You must judge for

yourself. If you think she stinks, say so.

FRAU SCHLUMBERG

Michael, please! I'm sure you will find her most willing, Herr

Mozart. She's really very excited. She's been preparing all

morning.

MOZART

Really?

FRAU SCHLUMBERG

Ah, now! Here she comes.

GERTRUDE SCHLUMBERG appears in the doorway: an awkward girl of fifteen

in her best dress, her hair primped and curled. She is exceedingly nervous.

MOZART

Good morning, Fra焞ein Schlumberg.

SCHLUMBERG

Strudel, this is Herr Mozart. Say good morning.

Gertrude giggles instead.

FRAU SCHLUMBERG

(to Mozart)

Perhaps a little refreshment first? A little coffee, or a little choco-

late?

MOZART

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

FRAU SCHLUMBERG

Wine?

SCHLUMBERG

Quite right. He's going to need it. (calling and clapping his hands)

Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been

waiting all day for this.

He leads the way into:

85 INT. MUSIC ROOM - DAY - 1780's 85

A forte-piano is open and waiting. All the dogs follow him. After them come

Mozart Frau and Fra焞ein Schlumberg. To Mozart's dismay, husband and wife

seat themselves quite formally on a little narrow sofa, side by side.

SCHLUMBERG

(to the dogs)

Now sit down all of you and behave. Zeman, Mandi, absolutely

quiet! (to a young beagle) Especially you, Dudelsachs - not one

sound from you.

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

SCHLUMBERG

Come on, then. Up and at it!

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

Mozart sits beside her.

MOZART

Now, please play me something. Just to give me an idea.

Anything will do.

GERTRUDE

(to parents)

I don't want you to stay.

FRAU SCHLUMBERG

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

GERTRUDE

But you are here.

SCHLUMBERG

Never mind, Strudel. It's part of music, getting used to an audi-

ence. Aren't I right, Herr Mozart?

MOZART

Well, yes! on the whole. I suppose. (to Gertrude) How long

have you been playing, Fra焞ein?

FRAU SCHLUMBERG

Just one year.

MOZART

Who was your teacher?

FRAU SCHLUMBERG

I was. But she quite outgrew the little I could show her.

MOZART

Thank you, Madame. (to Gertrude) Come on now - courage.

Play me something you know.

In response the wretched girl just stares down at the keyboard without playing a

note. An awkward pause.

MOZART

Perhaps it would be better if we were left alone. I think we're

both a little shy.

Husband and wife look at each other.

SCHLUMBERG

Nonsense. Strudel's not shy. She's just willful! You give into her

now, you'll be sorry later. Strudel - play.

Silence. The girl sits unmoving. Schlumberg bellows:

SCHLUMBERG

I said play!

FRAU SCHLUMBERG

Michael!

MOZART

Perhaps if I were to play a little first, it might encourage the

Fra焞ein. (to the girl) Why don't you let me try the instrument?

All right?

Suddenly the girl rises. Mozart smiles at the parents. They smile nervously back.

Mozart slides along the bench, raises his hands and preludes over the keys.

Instantly a dog howls loudly. Startled, Mozart stops. Schlumberg leaps to his feet

and goes over to the beagle.

SCHLUMBERG

Stop that, Dudelsachs! Stop it at once! (to Mozart) Don't let him

disturb you. He'll be all right. He's just a little willful too.

Please, please - play. I beg you.

Mozart resumes playing. This time it is a lively piece, perhaps the Presto Finale

from the K. 450. The dog howls immediately.

SCHLUMBERG

Stop it! STOP!

Mozart stops.

SCHLUMBERG

No, not you. I was talking to the dog. You keep playing. It's

most important. He always howls when he hears music. We've

got to break them of the habit. Play, please. Please!

Amazed, Mozart starts to play the Rondo again. The dog howls louder.

SCHLUMBERG

That's it. Now keep going, just keep going. (to the beagle) Now

you stop that noise, Dudelsachs, you stop it this instant! This in-

stant, do you hear me? Keep going, Herr Mozart, that's it. Go

on, go on!

Mozart plays on. Suddenly the dog falls silent. Schlumberg smiles broadly.

SCHLUMBERG

Good, good, good! Very good dog! Very, very good

Dudelsachs. (to his wife, snapping his fingers) Quick, quick, dear,

bring his biscuit.

The wife scurries to get a jar of biscuits. A servant brings in an open bottle of wine

and a full glass on a tray. He puts it down beside Mozart as Schlumberg addresses

the silent dog with deepest affection.

SCHLUMBERG

Now guess who's going to get a nice reward? Clever, clever Dudi.

He gives the biscuit to the dog who swallows it greedily. Mozart stops playing and

stands up.

SCHLUMBERG

It's a miracle, Herr Mozart!

MOZART

(barely controlling himself)

Well, I'm a good teacher. The next time you wish me to instruct

another of your dogs, please let me know. Goodbye, Fra焞ein,

goodbye, Madame! goodbye, Sir!

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

astonishment.

FRAU SCHLUMBERG

What a strange young man.

SCHLUMBERG

Yes. He is a little strange.

86 EXT. A BUSY STREET IN VIENNA - DAY - 1780's 86

A cheerful scene. We see Mozart strutting and beaming, making his way through

the crowd of porters, carriers and hawkers, sellers of sausages and pastries, vendors

of hats and ribbons. Horses and carriage clatter past him. His mood is best ex-

pressed by a bubbling version of Non piu Andrai played on the forte-piano.

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

87 INT. MOZART'S HOUSE - HALLWAY - DAY - 1780's 87

Suddenly, he stops. He looks up the stairs. The grim opening chords from the

Overture to Don Giovanni cut across the march from Figaro. What he sees, looking

up the stairs, is a menacing figure in a long, grey cape and dark grey hat, standing

on the landing. The light comes from behind the figure so that we see only its sil-

houette as it unfolds its arms towards Mozart in an alarming gesture of possession.

It takes a beat in which the air of sinister mystery is held before Mozart realizes

who it is. Then, as the music continues, he hastily sets down the bottle of wine and

rushes joyfully up the stairs and hurls himself into the figure's arms.

MOZART

Papa! PAPA!

Both men embrace. The music slowly fades.

88 INT. MOZART'S LIVING ROOM - DAY - 1780's 88

A cramped, low-ceilinged little room which nobody has tidied for ages. We see

music lying everywhere. Also there are many empty wine bottles; musical instru-

ments - among them a mandolin, a viola, a forte-piano with the black and white

keys reversed - books and abandoned plates of food. Mozart clasps his father's

arms. Leopold is now seen as an aging, travel-stained man in clothes that need re-

pair. His face is lined, and he is obviously not in perfect health.

MOZART

Why are you here?

LEOPOLD

Am I not welcome?

MOZART

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

Papa!

He kisses his hands.

LEOPOLD

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

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

MOZART

Feed? Well, of course she feeds me. She stuffs me like a goose all

day long. She's the best cook in the world. I mean, since Mama.

Just wait, you'll see.

LEOPOLD

Is she not here?

MOZART

I don't know. Stanzi? Stanzi!

Leopold looks about him at the mess in the room.

LEOPOLD

Do you always live like this?

MOZART

Oh, yes. Oh, I mean no - not exactly like this. I mean today -

just today, Stanzi - I remember now. She had to go - yes! She

had to help her mother. Yes, she's like that. Her mother's a very

sweet woman, you'll see.

He carries the bag across the room and opens the door of the bedroom. Constanze

lies in bed. She sits up, startled.

MOZART

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

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

the doorway.

MOZART

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

He closes the door again.

MOZART

She's very tired, poor creature. You know me: I'm a real pig. It's

not so easy cleaning up after me.

LEOPOLD

Don't you have a maid?

MOZART

Oh we could, if we wanted to, but Stanzi won't hear of it. She

wants to do everything herself.

LEOPOLD

How is your financial situation?

MOZART

It couldn't be better.

LEOPOLD

That's not what I hear.

MOZART

What do you mean? It's wonderful. Really, it's - it's marvelous!

People love me here.

LEOPOLD

They say you're in debt.

MOZART

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

LEOPOLD

How many pupils do you have?

MOZART

Pupils?

LEOPOLD

Yes.

MOZART

Yes.

LEOPOLD

How many?

MOZART

I don't know. It's not important. I mean, I don't want pupils.

They get in the way. I've got to have time for composition.

LEOPOLD

Composition doesn't pay. You know that.

MOZART

This one will.

He picks up some pages of manuscript.

LEOPOLD

What's that?

MOZART

Oh, let's not talk about it.

LEOPOLD

Why not?

MOZART

It's a secret.

LEOPOLD

You don't have secrets from me.

MOZART

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

she is!

Constanze comes into the room. She is wearing a dressing gown and has made a

perfunctory attempt to tidy her hair. We see that she is clearly pregnant.

MOZART

My Stanzi - look at her! Isn't she beautiful? Come on now, con-

fess, Papa. Could you want a prettier girl for a daughter?

CONSTANZE

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

Mozart.

MOZART

He's not Herr Mozart. Call him Papa.

LEOPOLD

I see that you're expecting.

CONSTANZE

Oh, yes.

LEOPOLD

When, may I ask?

CONSTANZE

In three months! Papa.

MOZART

Isn't that marvelous? We're delighted.

LEOPOLD

Why didn't you mention it in your letters?

MOZART

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

He gives a little giggle of embarrassment.

CONSTANZE

May I offer you some tea, Herr Mozart?

MOZART

Tea? Who wants tea? Let's go out! This calls for a feast. You

don't want tea, Papa. Let's go dancing. Papa loves parties, don't

you?

CONSTANZE

Wolfi!

MOZART

What? How can you be so boring? Tea!

CONSTANZE

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

LEOPOLD

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

MOZART

Why not? Oh, come, Papa! What better way could I spend it

than on you? My kissable, missable, suddenly visible Papa!

The jaunty tune of Ich Mochte Wohl Der Kaiser sein (K.539) sounds through all the

following. This is an alternate song from Il Seraglio: a very extroverted tune for

baritone and orchestra and a prominent part for bass drum. The vocal part should

be arranged for trumpet.

89 EXT. STREET IN VIENNA - DAY - 1780's 89

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

90 INT. A COSTUME SHOP - VIENNA - DAY - 1780's 90

This is a shop where one can buy costumes for masquerades. It is filled with ex-

travagant 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:

91 INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780's 91

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:

92 INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780's 92

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 ac-

companying 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 mu-

sic 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. 蔣ou both have to forfeit.

And the penalty is! you must exchange your wigs.

People are delighted by the idea of this penalty. The children jump up and down

with excitement. The three actresses immediately surround Leopold, reaching for

his hat and mask and wig, whilst he tries to hold on to them. Mozart takes off

Constanze's wig - an absurd affair with side-curls. Constanze laughingly surren-

ders it.

LEOPOLD

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

Despite his protests an actress takes off his hat, to which the smiling mask is at-

tached, to reveal his outraged face showing a very different expression underneath.

Another actress snatches off his wig to reveal very sparse hair on the old man's

head. The third actress takes Constanze's wig from Mozart and attempts to put it

on his father's head.

LEOPOLD

No, really!

MOZART

(calling to him)

This is just a game, Papa.

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

CONSTANZE

襎his is just a game, Papa!

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

BYSTANDERS

襎his is just a game, Papa!

As Leopold glares furiously about him, the actress succeeds in getting Constanze's

wig firmly onto his head. Everybody bursts into applause. Delightedly,

Constanze puts on Leopold's wig, hat and mask: from the waist up she now looks

like a weird parody of Leopold in the smiling grey mask, and he looks like a weird

parody of her in the silly feminine wig. Schikaneder starts to play again, and the

couples start to dance. Leopold angrily takes off Constanze's wig and leaves the

circle; his partner, Constanze, is left alone. Seeing this, Mozart leaves his partner

and catches his father entreatingly by the arm.

MOZART

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

mine.

He takes off his own wig and puts it on Leopold's uncovered head. The effect, if

not as ridiculous, is still somewhat bizarre, since Wolfgang favours fairly elaborate

wigs. He takes Constanze's wig from his father. As this happens, the music stops

again. Mozart gently pushes his father down onto a nearby chair; the others

scramble for the other chairs; and he is left as the Odd Man Out. He giggles.

Schikaneder calls out to Leopold from the keyboard.

SCHIKANEDER