Amadeus

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

Applause.

MOZART

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

LEOPOLD

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

SCHIKANEDER

What did he say? What did he say?

MOZART

Papa, the rule is you can only give penalties that can be performed

in the room.

LEOPOLD

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

MOZART

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

All the bystanders are watching.

SCHIKANEDER

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

here.

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

SCHIKANEDER

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

Applause.

MOZART

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

Amused sounds of disbelief.

SCHIKANEDER

And a fugue in the manner of Sebastian Bach.

Renewed applause at this wicked extra penalty. Mozart smiles at Schikaneder - it

is the sort of challenge he loves. He defiantly puts on Constanze's wig and seats

himself with his back to the keyboard. Before the astonished eyes of the company

he proceeds to execute this absurdly difficult task. His right hand plays the bass

part, his left hand the treble, and with this added difficulty he improvises a bril-

liant fugue on the subject of the tune to which they have been dancing. Attracted

by this astonishing feat, the players draw nearer to the instrument. So does Salieri,

cautiously, with some of the bystanders. Constanze watches him approach. Only

Leopold sits by himself, sulking.

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

GUESTS

Another! Do another! Someone else.

MOZART

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

GUESTS

Gluck! Haydn! Frederic Handel!

CONSTANZE

Salieri! Do Salieri!

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

MOZART

Now that's hard. That's very hard. For Salieri one has to face the

right way around.

Giggling, he turns around and sits at the keyboard. Then, watched by a highly

amused group, he begins a wicked parody.

He furrows his brow in mock concentration and closes his eyes. Then he begins to

play the tune to which they danced, in the most obvious way imaginable, relying

heavily on a totally and offensively unimaginative bass of tonic and dominant,

endlessly repeated. The music is the very essence of banality. The bystanders rock

with laughter. Mozart starts to giggle wildly. Through this excruciating scene,

Salieri stares at Constanze, who suddenly turns her head and looks challengingly

back at him.

Mozart's parody reaches its coarse climax with him adding a fart noise instead of

notes to end cadences. He builds this up, urged on in his clowning by everyone

else, until suddenly he stops and cries out. The laughter cuts off. Mozart stands

up, clutching his behind as if he has made a mess in his breeches. The momentary

hush of alarm is followed by a howl of laughter.

CU, Salieri staring in pain.

93 INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 93

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

OLD SALIERI

Go on. Mock me. Laugh, laugh!

CUT BACK TO:

94 INT. GROTTO - NIGHT - 1780's 94

A repetition of the shot of Mozart at the forte-piano, wearing Constanze's wig and

emitting a shrill giggle.

CUT TO:

95 INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780's 95

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!

97 INT. MOZART'S WORKROOM - DAY - 1780's 97

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 com-

position and the billiard balls are an aid to creation. Presently, however, we hear a

knocking at the door.

CONSTANZE

(outside the door)

Wolfi! Wolfgang!

The music breaks off.

MOZART

What is it?

He opens the door.

CONSTANZE

There's a young girl to see you.

MOZART

What does she want?

CONSTANZE

I don't know.

MOZART

Well, ask her!

CONSTANZE

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

MOZART

Oh, damn!

99 INT. MOZART'S APARTMENT - LIVING ROOM - DAY - 1780's 99

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 re-

main anon - anonymous.

CONSTANZE

What do you mean? What admirer?

LORL

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

MOZART

Are you saying that someone is paying you to be our maid and

doesn't want us to know who he is?

LORL

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

Mozart turns to his father.

MOZART

Papa, is this your idea?

LEOPOLD

Mine?

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

MOZART

Are you playing a trick on me?

LEOPOLD

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

LORL

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

LEOPOLD

Young woman, this won't do at all. My son can't possibly accept

such an offer, no matter how generous, unless he knows who is

behind it.

LORL

But I really can't tell you, sir.

LEOPOLD

Oh, this is ridiculous.

CONSTANZE

What is ridiculous? Wolfi has many admirers in Vienna. They

love him here. People send us gifts all the time.

LEOPOLD

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

CONSTANZE

Well, this is none of your business. (to Lorl) Whoever sent you is

going to pay, no?

LORL

That's right, ma'am.

LEOPOLD

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

Constanze looks furiously at him, then at Lorl.

CONSTANZE

Who is 襴e? Who is letting who? (to Lorl) Could you please

wait outside?

LORL

Yes, ma'am.

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

CONSTANZE

Look, old man, you stay out of this. We spend a fortune on you,

more than we can possibly afford, and all you do is criticize,

morning to night. And then you think you can -

MOZART

Stanzi!

CONSTANZE

No, it's right he should hear. I'm sick to death of it. We can't do

anything right for you, can we?

LEOPOLD

Never mind. You won't have to do anything for me ever again.

I'm leaving!

MOZART

Papa!

LEOPOLD

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

MOZART

No one calls you that.

LEOPOLD

She does. She says I sleep all day.

CONSTANZE

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

LEOPOLD

And what do you expect? Who wants to walk out into a mess like

this every day?

CONSTANZE

Oh, now I'm a bad housekeeper!

LEOPOLD

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

CONSTANZE

(to Mozart)

Do you hear him? Do you?

Explosively she opens the door.

CONSTANZE

(to Lorl)

When can you start?

LORL

Right away, ma'am.

CONSTANZE

Good! Come in. You'll start with that room there. (indicating

Leopold's room) It's filthy!

She leads the maid into Leopold's room. Mozart steals back into his workroom

and gently closes the door. Leopold is left alone.

LEOPOLD

Sorry, sorry! I'm sorry I spoke! I'm just a provincial from

Salzburg. What do I know about smart Vienna? Parties all night,

every night. Dancing and drinking like idiot children!

101 INT. MOZART'S WORKROOM - DAY - 1780's 101

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

room.

LEOPOLD

(O.S.)

Dinner at eight! Dinner at ten! Dinner when anyone feels like

it! if anyone feels like it!

The ensemble of Ah, Tutti contenti! Saremo cosi from Act IV of Figaro resumes,

coming to his aid and rising to greet the listener with its serene harmonies.

Relieved, Mozart languidly picks up his cue and plays a shot on the billiard table:

he is sucked back into his own world of sound.

102 INT. SALIERI'S SALON - NIGHT - 1780's 102

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

talking to someone confidentially.

LORL

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

A hand comes into frame offering a plate of sugared biscuits. On its finger we see

the gold signet ring belonging to Salieri.

LORL

(taking one)

Oh, thank you, sir.

SALIERI

Do any pupils come to the house?

LORL

Not that I've seen.

SALIERI

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

LORL

Oh, yes, sir, all day long. He never leaves the house until evening.

He just sits there, writing and writing. He doesn't even eat.

SALIERI

Really? What is it he's writing?

LORL

Oh, I wouldn't know that, sir.

SALIERI

Of course not. You're a good girl. You're very kind to do this.

Next time you're sure they'll be out of the house, let me know,

will you?

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

LORL

Oh, thank you, sir!

She accepts them, delighted.

103 EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780's 103

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:

104 EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780's 104

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, in-

cluding 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:

105 EXT. VIENNA STREET - AFTERNOON - 1780's 105

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.

106 EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780's 106

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:

107 EXT. MOZART' S APARTMENT - AFTERNOON - 1780's 107

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

108 INT. MOZART'S LIVING ROOM - AFTERNOON - 1780's 108

The room is considerably tidier as a result of Lorl's ministrations. Salieri stands

looking about him with tremendous curiosity.

LORL

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

SALIERI

Yes what?

She opens a drawer in a sideboard. Inside we see one gold snuff box: it is the one

we saw Mozart being presented with as a child in the Vatican.

LORL

He kept seven snuff boxes in here. I could swear they were all

gold. And now look there's only one left. And inside, sir, look -

I counted them - tickets from the pawnshop. Six of them.

Salieri turns to look around him.

SALIERI

Where does he work?

LORL

In there, sir.

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

109 INT. MOZART'S WORKROOM - AFTERNOON - 1780's 109

Salieri enters the private quarters of Amadeus. He is immensely excited. He

moves slowly into the 詇oly 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:

褻ontessa, 襍usanna, 褻herubino. Then another page - the title page - writ-

ten in Mozart's hand.

Le Nozze di Figaro

Comedia per musica tratta dal Francese in quattro atti

CU, The word 褾igaro.

CU, Salieri. He stares amazed.

CUT TO:

110 EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780's 110

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!

VAN SWIETEN

Well done, Mozart. Really quite fine.

MOZART

Baron!

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

insistently.

MOZART

Majesty, may I ask you to do me the greatest favour?

JOSEPH

What is it?

MOZART

May I introduce my father? He is on a short visit here and return-

ing very soon to Salzburg. He would so much like to kiss your

hand. It would make his whole stay so memorable for him.

JOSEPH

Ah! By all means.

Leopold comes forward eagerly and fawningly kisses the royal hand.

LEOPOLD

Your Majesty.

Constanze curtsies.

JOSEPH

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

LEOPOLD

That's right, Your Majesty. Twenty years ago. No, twenty-

two! twenty-three! And I remember word for word what you

said to me. You said - you said --

He searches his memory.

JOSEPH

訠ravo?'

LEOPOLD

No! Yes, 詁ravo,' of course 詁ravo'! Everybody always says

詁ravo' when Wolfi plays. Like the King of England. When we

played for the King of England, he got up at the end and said,

褺ravo! Bravo! Bravo! three times. Three bravo's. And the

Pope four! Four bravo's from the Holy Father, and one

詁ellissimo.'

All the courtiers around are looking at him.

MOZART

Father -

LEOPOLD

Hush! I'm talking to His Majesty. Your Majesty, I wish to ex-

press 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: 訦onour

your Father and Mother, that your days may be long upon the

earth.'

JOSEPH

Ah-ha. Well. There it is.

CUT TO:

111 INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780's 111

The Director sits at his table with Salieri and Bonno.

SALIERI

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

Director.

ORSINI-ROSENBERG

Yes?

SALIERI

Mozart is writing a new opera. An Italian opera.

ORSINI-ROSENBERG

Italian?

BONNO

Aie!

SALIERI

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

Marriage of Figaro.

ORSINI-ROSENBERG

You mean! that play?

SALIERI

Exactly.

ORSINI-ROSENBERG

He's setting that play to music?

SALIERI

Yes.

ORSINI-ROSENBERG

You must be mad.

BONNO

What is this Marriage of Figaro?

ORSINI-ROSENBERG

It's a French play, Kapellmeister. It has been banned by the

Emperor.

BONNO

Hah!

He crosses himself, wide-eyed with alarm.

ORSINI-ROSENBERG

Are you absolutely sure?

SALIERI

I've seen the manuscript.

ORSINI-ROSENBERG

Where?

SALIERI

Never mind.

CUT TO:

112 INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780's 112

VON STRACK

I know we banned this play, but frankly I can't remember why.

Can you refresh my memory, Herr Director?

ORSINI-ROSENBERG

For the same reason, Herr Chamberlain, that it was banned in

France.

VON STRACK