Amadeus Page #36

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.

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!

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 -

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it's had - and withdrawn.

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?

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?

SALIERI:

I think it's marvelous. Truly.

MOZART:

It's the best opera yet written. I

know it! Why didn't they come?

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.

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.

SALIERI:

(bowing)

Grazie, mio caro, Wolfgang!

MOZART:

Grazie, a lei, Signor Antonio!

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?

Rate this script:5.0 / 1 vote