莫扎特传对白
我有剧本,believe it or not。 OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking down into the wall of the staircase from the point of view of the landing. Up the stair is coming a branched candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a large dish of sugared cakes and biscuits. Both men are desperately worried: the Valet is thin and middle-aged; the Cook, plump and Italian. It is very cold. They wear shawls over their night-dresses and clogs on their feet. They wheeze as they climb. The candles throw their shadows up onto the peeling walls of the house, which is evidently an old one and in bad decay. A cat scuttles swiftly between their bare legs, as they reach the salon door. The Valet tries the handle. It is locked. Behind it the voice goes on, rising in volume. OLD SALIERI Show some mercy! I beg you. I beg you! Show mercy to a guilty man! The Valet knocks gently on the door. The voice stops. VALET Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love. Silence. VALET Signore Salieri! Open the door. Come now. Be good! The voice of Old Salieri continues again, further off now, and louder. We hear a noise as if a window is being opened. OLD SALIERI Mozart! Mozart! I confess it! Listen! I confess! The two servants look at each other in alarm. Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish, scrambling as quickly as he can back down the stairs. 2 EXT. THE STREET OUTSIDE SALIERI ? HOUSE - VIENNA - NIGHT 2 The street is filled with people: ten cabs with drivers, five children, fifteen adults, two doormen, fifteen dancing couples and a sled and three dogs. It is a windy night. Snow is falling and whirling about. People are passing on foot, holding their cloaks tightly around them. Some of them are revelers in fancy dress: they wear masks on their faces or hanging around their necks, as if returning from par- ties. Now they are glancing up at the facade of the old house. The window above the street is open and Old Salieri stands there calling to the sky: a sharp-featured, white-haired Italian over seventy years old, wearing a stained dressing gown. OLD SALIERI Mozart! Mozart! I cannot bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you! The door of the house bursts open. The Valet hobbles out, holding the sugared cake. The wind catches at his shawl. OLD SALIERI Mozart, perdonami! Forgive your assassin! Piet? Piet? Forgive your assassin! Forgive me! Forgive! Forgive! VALET (looking up to the window) That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window! Old Salieri stares down at him. Some of the passersby have now stopped and are watching this spectacle. VALET Come on, Signore! Look what I have for you! I can't give it to you from down here, can I? Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion. BYSTANDER Who is that? VALET No one, sir. He'll be all right. Poor man. He's a little unhappy, you know. He makes a sign indicating ?razy,' and goes back inside the house. The onlookers keep staring. CUT TO: 3 INT. LANDING OUTSIDE OLD SALIERI ? SALON - NIGHT 3 The Cook is standing holding the candlestick in one hand, the dish of cakes in the other. The Valet arrives, panting. VALET Did he open? The Cook, scared, shakes his head: no. The Valet again knocks on the door. VALET Here I am, Signore. Now open the door. He eats the sugared cake in his hand, elaborately and noisily. VALET Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you don't know what you're missing! Mmmm! We hear a thump from inside the bedroom. VALET Now that's enough, Signore! Open! We hear a terrible, throaty groaning. VALET If you don't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more. He looks down. From under the door we see a trickle of blood flowing. In horror, the two men stare at it. The dish of cakes falls from the Cook ? hand and shatters. He sets the candlestick down on the floor. Both servants run at the door franti- cally - once, twice, three times - and the frail lock gives. The door flies open. Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 (the ?ittle G Minor) begins. We see what the servants see. 4 INT. OLD SALIERI'S SALON - NIGHT 4 Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has cut his throat but is still alive. He gestures at them. They run to him. Barely, we glimpse the room - an old chair, old tables piled with books, a forte-piano, a chamber-pot on the floor - as the Valet and the Cook struggle to lift their old Master, and bind his bleeding throat with a napkin. 5 INT. BALLROOM - NIGHT 5 Twenty-five dancing couples, fifty guests, ten servants, full orchestra. As the music slows a little, we see a Masquerade Ball in progress. A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820's. 6 EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT 6 As the fast music returns, we see Old Salieri being carried out of his house on a stretcher by two attendants, and placed in a horse-drawn wagon under the supervi- sion of a middle-aged doctor in a tall hat. This is DOCTOR GULDEN. He gets in beside his patient. The driver whips up the horse, and the wagon dashes off through the still-falling snow. 7- MONTAGE: 7- EXT. FOUR STREETS OF VIENNA AND 11 INT. THE WAGON - NIGHT 11 The wagon is galloping through the snowy streets of the city. Inside the con- veyance we see Old Salieri wrapped in blankets, half-conscious, being held by the hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives out- side the General Hospital of Vienna. CUT TO: 12 INT. A HOSPITAL CORRIDOR - LATE AFTERNOON 12 A wide, white-washed corridor. Doctor Gulden is walking down it with a priest, a man of about forty, concerned, but somewhat self-important. This is Father VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several patients -- some of them visibly disturbed mentally. All patients wear white linen smocks. Doctor Gulden wears a dark frock-coat; Vogler, a cassock. DOCTOR GULDEN He's going to live. It's much harder to cut your throat than most people imagine. They stop outside a door. DOCTOR GULDEN Here we are. Do you wish me to come in with you? VOGLER No, Doctor. Thank you. Vogler nods and opens the door. 13 INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON 13 A bare room - one of the best available in the General Hospital. It contains a bed, a table with candles, chairs, a small forte-piano of the early nineteenth century. As Vogler enters, Old Salieri is sitting in a wheel-chair, looking out the window. His back is to us. The priest closes the door quietly behind him. VOGLER Herr Salieri? Old Salieri turns around to look at him. We see that his throat is bandaged ex- pertly. He wears hospital garb, and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him. OLD SALIERI What do you want? VOGLER I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone. OLD SALIERI About what? VOGLER You tried to take your life. You do remember that, don't you? OLD SALIERI So? VOGLER In the sight of God that is a sin. OLD SALIERI What do you want? VOGLER Do you understand that you have sinned? Gravely. OLD SALIERI Leave me alone. VOGLER I cannot leave alone a soul in pain. OLD SALIERI Do you know who I am? You never heard of me, did you? VOGLER That makes no difference. All men are equal in God's eyes. OLD SALIERI Are they? VOGLER Offer me your confession. I can offer you God's forgiveness. OLD SALIERI I do not seek forgiveness. VOGLER My son, there is something dreadful on your soul. Unburden it to me. I'm here only for you. Please talk to me. OLD SALIERI How well are you trained in music? VOGLER I know a little. I studied it in my youth. ……………… 回头你加我吧,我给你,因为这里不让输那么多,所以我只输入了一点点。
满意请采纳
谁和我一样用功,谁就会和我一样成功。—— 莫扎特经典语录
有很多人是用青春的幸福作了成功的代价。 ——
莫扎特经典语录
有许多人是用青春的幸福作为成功的代价的。—— 莫扎特经典语录
Mozart! Mozart! Mozart. Forgive me! Forgive your assassin!
Mozart!
A faint light illuminates the screen. Flickeringly, we see an eighteenth century
balustrade and a flight of stone stairs. We are looking down into the wall of the
staircase from the point of view of the landing. Up the stair is coming a branched
candlestick held by Salieri's VALET. By his side is Salieri's COOK, bearing a
large dish of sugared cakes and biscuits. Both men are desperately worried: the
Valet is thin and middle-aged; the Cook, plump and Italian. It is very cold. They
wear shawls over their night-dresses and clogs on their feet. They wheeze as they
climb. The candles throw their shadows up onto the peeling walls of the house,
which is evidently an old one and in bad decay. A cat scuttles swiftly between
their bare legs, as they reach the salon door.
The Valet tries the handle. It is locked. Behind it the voice goes on, rising in
volume.
OLD SALIERI
Show some mercy! I beg you. I beg you! Show mercy to a guilty
man!
The Valet knocks gently on the door. The voice stops.
VALET
Open the door, Signore! Please! Be good now! We've brought
you something special. Something you're going to love.
Silence.
VALET
Signore Salieri! Open the door. Come now. Be good!
The voice of Old Salieri continues again, further off now, and louder. We hear a
noise as if a window is being opened.
OLD SALIERI
Mozart! Mozart! I confess it! Listen! I confess!
The two servants look at each other in alarm. Then the Valet hands the candlestick
to the Cook and takes a sugared cake from the dish, scrambling as quickly as he
can back down the stairs.
2 EXT. THE STREET OUTSIDE SALIERI ? HOUSE - VIENNA - NIGHT 2
The street is filled with people: ten cabs with drivers, five children, fifteen adults,
two doormen, fifteen dancing couples and a sled and three dogs. It is a windy
night. Snow is falling and whirling about. People are passing on foot, holding
their cloaks tightly around them. Some of them are revelers in fancy dress: they
wear masks on their faces or hanging around their necks, as if returning from par-
ties. Now they are glancing up at the facade of the old house. The window above
the street is open and Old Salieri stands there calling to the sky: a sharp-featured,
white-haired Italian over seventy years old, wearing a stained dressing gown.
OLD SALIERI
Mozart! Mozart! I cannot bear it any longer! I confess! I confess
what I did! I'm guilty! I killed you! Sir I confess! I killed you!
The door of the house bursts open. The Valet hobbles out, holding the sugared
cake. The wind catches at his shawl.
OLD SALIERI
Mozart, perdonami! Forgive your assassin! Piet? Piet? Forgive
your assassin! Forgive me! Forgive! Forgive!
VALET
(looking up to the window)
That's all right, Signore! He heard you! He forgave you! He
wants you to go inside now and shut the window!
Old Salieri stares down at him. Some of the passersby have now stopped and are
watching this spectacle.
VALET
Come on, Signore! Look what I have for you! I can't give it to
you from down here, can I?
Old Salieri looks at him in contempt. Then he turns away back into the room,
shutting the window with a bang. Through the glass, the old man stares down at
the group of onlookers in the street. They stare back at him in confusion.
BYSTANDER
Who is that?
VALET
No one, sir. He'll be all right. Poor man. He's a little unhappy,
you know.
He makes a sign indicating ?razy,' and goes back inside the house. The onlookers
keep staring.
CUT TO:
3 INT. LANDING OUTSIDE OLD SALIERI ? SALON - NIGHT 3
The Cook is standing holding the candlestick in one hand, the dish of cakes in the
other. The Valet arrives, panting.
VALET
Did he open?
The Cook, scared, shakes his head: no. The Valet again knocks on the door.
VALET
Here I am, Signore. Now open the door.
He eats the sugared cake in his hand, elaborately and noisily.
VALET
Mmmm - this is good! This is the most delicious thing I ever
ate, believe me! Signore, you don't know what you're missing!
Mmmm!
We hear a thump from inside the bedroom.
VALET
Now that's enough, Signore! Open!
We hear a terrible, throaty groaning.
VALET
If you don't open this door, we're going to eat everything.
There'll be nothing left for you. And I'm not going to bring you
anything more.
He looks down. From under the door we see a trickle of blood flowing. In horror,
the two men stare at it. The dish of cakes falls from the Cook ? hand and shatters.
He sets the candlestick down on the floor. Both servants run at the door franti-
cally - once, twice, three times - and the frail lock gives. The door flies open.
Immediately, the stormy, frenzied opening of Mozart's Symphony No. 25 (the
?ittle G Minor) begins. We see what the servants see.
4 INT. OLD SALIERI'S SALON - NIGHT 4
Old Salieri lies on the floor in a pool of blood, an open razor in his hand. He has
cut his throat but is still alive. He gestures at them. They run to him. Barely, we
glimpse the room - an old chair, old tables piled with books, a forte-piano, a
chamber-pot on the floor - as the Valet and the Cook struggle to lift their old
Master, and bind his bleeding throat with a napkin.
5 INT. BALLROOM - NIGHT 5
Twenty-five dancing couples, fifty guests, ten servants, full orchestra.
As the music slows a little, we see a Masquerade Ball in progress. A crowded room
of dancers is executing the slow portion of a dance fashionable in the early 1820's.
6 EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT 6
As the fast music returns, we see Old Salieri being carried out of his house on a
stretcher by two attendants, and placed in a horse-drawn wagon under the supervi-
sion of a middle-aged doctor in a tall hat. This is DOCTOR GULDEN. He gets
in beside his patient. The driver whips up the horse, and the wagon dashes off
through the still-falling snow.
7- MONTAGE: 7-
EXT. FOUR STREETS OF VIENNA AND
11 INT. THE WAGON - NIGHT 11
The wagon is galloping through the snowy streets of the city. Inside the con-
veyance we see Old Salieri wrapped in blankets, half-conscious, being held by the
hospital attendants. Doctor Gulden stares at him grimly. The wagon arrives out-
side the General Hospital of Vienna.
CUT TO:
12 INT. A HOSPITAL CORRIDOR - LATE AFTERNOON 12
A wide, white-washed corridor. Doctor Gulden is walking down it with a priest, a
man of about forty, concerned, but somewhat self-important. This is Father
VOGLER, Chaplain at the hospital. In the corridor as they walk, we note several
patients -- some of them visibly disturbed mentally. All patients wear white linen
smocks. Doctor Gulden wears a dark frock-coat; Vogler, a cassock.
DOCTOR GULDEN
He's going to live. It's much harder to cut your throat than most
people imagine.
They stop outside a door.
DOCTOR GULDEN
Here we are. Do you wish me to come in with you?
VOGLER
No, Doctor. Thank you.
Vogler nods and opens the door.
13 INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON 13
A bare room - one of the best available in the General Hospital. It contains a bed,
a table with candles, chairs, a small forte-piano of the early nineteenth century. As
Vogler enters, Old Salieri is sitting in a wheel-chair, looking out the window. His
back is to us. The priest closes the door quietly behind him.
VOGLER
Herr Salieri?
Old Salieri turns around to look at him. We see that his throat is bandaged ex-
pertly. He wears hospital garb, and over it the Civilian Medal and Chain with
which we will later see the EMPEROR invest him.
OLD SALIERI
What do you want?
VOGLER
I am Father Vogler. I am a Chaplain here. I thought you might
like to talk to someone.
OLD SALIERI
About what?
VOGLER
You tried to take your life. You do remember that, don't you?
OLD SALIERI
So?
VOGLER
In the sight of God that is a sin.
OLD SALIERI
What do you want?
VOGLER
Do you understand that you have sinned? Gravely.
OLD SALIERI
Leave me alone.
VOGLER
I cannot leave alone a soul in pain.
OLD SALIERI
Do you know who I am? You never heard of me, did you?
VOGLER
That makes no difference. All men are equal in God's eyes.
OLD SALIERI
Are they?
VOGLER
Offer me your confession. I can offer you God's forgiveness.
OLD SALIERI
I do not seek forgiveness.
VOGLER
My son, there is something dreadful on your soul. Unburden it
to me. I'm here only for you. Please talk to me.
OLD SALIERI
How well are you trained in music?
VOGLER
I know a little. I studied it in my youth.
………………回头你加我吧,我给你,因为这里不让输那么多,所以我只输入了一点点。
电影莫扎特传里,萨列里给神父弹得两首自己的作品分别是什么
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像《勇敢的心》,《角斗士》,这样的人物传记电影,还有哪些!要经典的_百 ...
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欧肾罗格: 我有剧本,believe it or not. OLD SALIERI Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart! A faint light illuminates the screen. Flickeringly, we see an eighteenth century balustrade and a flight of stone stairs. We are looking ...
萝北县19296907417: 电影<莫扎特传>萨列里说的一句话. - ?
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萝北县19296907417: 求《莫扎特传》的英文完整对白?
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萝北县19296907417: 什么电影比较适合盲人看? - ?
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欧肾罗格: 1、车辆技术状况调整系数;2、车辆使用和维修状态调整系数;3、车辆原始制造质量调整系数;4、车辆工作性质调整系数;5、车辆工作条件调整系数.
萝北县19296907417: 一句一伤(关于一句一伤的基本详情介绍) ?
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