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Amadeus1 INT. STAIRCASE OUTSIDE OLD SALIERIS SALON - NIGHT - 1823 1Total darkness. We hear an old mans voice, distinct and in distress. It is OLDSALIERI. He uses a mixture of English and occasionally Italian.OLD SALIERIMozart! Mozart! Mozart. Forgive me! Forgive your assassin!Mozart!A faint
ORSINI-ROSENBERG
That? A most tiresome piece. I heard it, too.
VON SWIETEN
Tiresome?
ORSINI-ROSENBERG
A young man trying to impress beyond his abilities. Too much
spice. Too many notes.
VON SWIETEN
Majesty, I thought it the most promising work I've heard in years.
JOSEPH
Ah-ha. Well then, we should make some effort to acquire him.
We could use a good German composer in Vienna, surely?
VON STRACK
I agree, Majesty, but I'm afraid it's not possible. The young man
is still in the pay of the Archbishop.
JOSEPH
Very small pay, I imagine. I'm sure he could be tempted with the
right offer. Say, an opera in German for our National Theatre.
VON SWIETEN
Excellent, sire!
ORSINI-ROSENBERG
But not German, I beg your Majesty! Italian is the proper lan-
guage for opera. All educated people agree on that.
JOSEPH
Ah-ha. What do you say, Chamberlain?
VON STRACK
In my opinion, it is time we had a piece in our own language, sir.
Plain German. For plain people.
He looks defiantly at Orsini-Rosenberg.
JOSEPH
Ah-ha. Kapellmeister?
BONNO
(Italian accent)
Majesty, I must agree with Herr Dirretore. Opera is an Italian
art, solamente. German is - scusate - too bruta for singing, too
rough.
JOSEPH
Ah-ha. Court Composer, what do you say?
SALIERI
I think it is an interesting notion to keep Mozart in Vienna,
Majesty. It should really infuriate the Archbishop beyond mea-
sure - if that is your Majesty's intention.
JOSEPH
You are cattivo, Court Composer. (briskly, to Von Strack) I want
to meet this young man. Chamberlain, arrange a pleasant wel-
come for him.
VON STRACK
Yes, sir.
JOSEPH
Well. There it is.
43 INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780's 43
A somber room which serves both as a bedroom and a study. We see a four-poster
bed. Also, a marble mantelpiece above which hangs a handsome cross in olive-
wood, bearing the figure of a severe Christ. Opposite this image sits Salieri at his
desk, on which stands a pile of music paper, quill pens and ink. On one side of
him is an open forte-piano on which he occasionally tries notes from the march he
is composing, with some difficulty. He scratches notes out with his quill, and ruf-
fles his hair - which we see without a powdered wig. There is a knock at the door.
SALIERI
Si.
A servant admits LORL, a young lower-class girl, who appears carrying a basket in
which is a box covered with a napkin. She has just come from the baker's shop.
SALIERI
Ah! Here she comes. Fra焞ein Lorl, good morning.
LORL
Good morning, sir.
SALIERI
What have you got for me today? Let me see.
Greedily he unwraps the napkin and lifts the lid on the box.
SALIERI
Ah-ha! Siena macaroons - my favourites. Give my best thanks
to the baker.
LORL
I will, sir.
He takes a biscuit and eats.
SALIERI
Thank you. Are you well today, Fra焞ein Lorl?
LORL
Yes, thank you, sir.
SALIERI
Bene! Bene!
