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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
MOZART
If His Grace is not satisfied with me, he can dismiss me.
COLLOREDO
I wish you to return immediately to Salzburg. Your father is
waiting for you there patiently. I will speak to you further when I
come.
MOZART
No, Your Grace! I mean with all humility, no. I would rather
you dismissed me. It's obvious I don't satisfy.
COLLOREDO
Then try harder, Mozart. I have no intention of dismissing you.
You will remain in my service and learn your place. Go now.
He extends his hand to be kissed. Mozart does it with a furious grace, then leaves
the room. As he opens the door we see:
40 INT. PALACE CORRIDOR - DAY - 1780's 40
A group of people who have attended the concert, among them Constanze, are
standing outside the private apartment. At sight of the composer they break into
sustained applause. Mozart is suddenly delighted. He throws the door wide open
so that the guests can see into the private apartment where the Archbishop sits -
and he can see them. Colloredo is clearly discomfited by this reception of his
employee. He smiles and bows uneasily, as they include him in the small ovation.
Mozart stands in the corridor, out of the Archbishop's line of sight, bowing and
giggling, and encouraging the applause for the Archbishop with conducting ges-
tures. Suddenly irritated, Colloredo signs to Arco, who steps forward and shuts
the door, ending the applause.
41 INT. PALACE GRAND SALON - DAY - 1780's 41
Salieri, in this vast room, is standing and looking at the full score of the Serenade.
He turns the pages back to the slow movement. Instantly, we again hear its lyrical
strains.
CU, Salieri, reading the score of the Adagio in helpless fascination. The music is
played against his description of it.
OLD SALIERI
(V.O.)
Extraordinary! On the page it looked nothing. The beginning
simple, almost comic. Just a pulse - bassoons and basset horns -
like a rusty squeezebox. Then suddenly - high above it - an
oboe, a single note, hanging there unwavering, till a clarinet took
over and sweetened it into a phrase of such delight! This was no
composition by a performing monkey! This was a music I'd never
heard. Filled with such longing, such unfulfillable longing, it had
me trembling. It seemed to me that I was hearing a voice of God.
Suddenly the music snaps off. Mozart stands before him as he lays down the
score.
MOZART
Excuse me!
He takes the score, bows, and struts briskly out of the room. Salieri stares uncom-
prehendingly after the jaunty little figure.
OLD SALIERI
(V.O.)
But why?
41A INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823 41A
OLD SALIERI
Why? Would God choose an obscene child to be His instrument?
It was not to be believed! This piece had to be an accident. It
had to be!
42 INT. PALACE DINING ROOM - DAY - 1780's 42
At the table sits the EMPEROR JOSEPH II, eating his frugal dinner and sipping
goat's milk. He is an intelligent, dapper man of forty, wearing a military uniform.
Around him but standing, are his Chamberlain, JOHANN VON STRACK: stiff
and highly correct. COUNT ORSINI-ROSENBERG: a corpulent man of sixty,
highly conscious of his position as Director of the Opera. BARON VON
SWIETEN, the Imperial Librarian: a grave but kindly and educated man in his
mid-fifties. FIRST KAPELLMEISTER GIUSEPPE BONNO: very Italian,
cringing and time-serving, aged about seventy. And Salieri, wearing decorous
black, as usual.
At a side-table, two Imperial secretaries, using quill pens and inkstands, write down
everything of importance that is said.
JOSEPH
How good is he, this Mozart?
VON SWIETEN
He's remarkable, Majesty. I heard an extraordinary serious opera
