144 CONTD 16 SALTERT (startled) : - opera? ... Qpera?! 1ORL Please don't ask me to go back again. I'm frightened! I'm very, very frightened SALIERT (insistently) Are you sure it’s an opera? The Overture to Thi ic Flute begins grandly. To the music of the Slow Introduction WE SEE: 14S TNT, LIVING ROOM IN MOZART'S APARTMENT. NIGHT. 1790's. 2 YEAR OLD BABY, The room, lit by a few candles, appears dirty. The camera shows ts again LEOPOLD's portsait on the wall, locking down upon a scene of disoréer., Papers Lister the table; dirty dishes are piled in the fireplace on the forte-pianc lies MOZART's Masonic apron, woves with symbols. To the more lyrical passage of the Introduction to the Oversure we see MOZART take up a candle and entez: . 146 TNT. BEDROOM IN MOZART'S APARTMENT. NIGHT. 1790's. We watch bin stand beside CONSTANZZ, who lies ase MOZART new locks very ill: his wife appears worn ot! Tenderly he touches her hair, Then he moves to the cot e bis son KARL lies asleep -- kneels, pulls up the child's little blanket -— and for a moment lays hi head down beside the boy's. CONSTANZE opens her eyes and stares at bin, MOZART sizes and returns to: 147° INT, LIVING ROOM IN MOZART'S APARTMENT, NIGHT. 1750's. The Introduction ends <= and suddenty the brilliant fast fugue begins, Instantly MOZART starts to dance to gleefully, like a child. Ee looks up at father's portrait, and makes a siliy, rude sesture at it. an zresponsible and kappy boy ag! Thes nese is a centile knocking at the doc: The music faces down. Warily, MOZART eo! nd the deer. The familiar dazk chords fre Seat hepry music. It anes. 3ez! TEE ua SER. MOZART I den't have it yet! ... ze! I's sczsy, but I need mo not finished fe tine.