莫扎特传对白

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

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。

---

萝北县19296907417： 莫扎特传对白 - ？
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 ...

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萝北县19296907417： 求《莫扎特传》的英文完整对白？
欧肾罗格： Salieri: Are you sure you can't leave these here and come back? Constanze Mozart: It's tempting sir, but it's impossible I'm afraid. Wolfie would be frantic if he found they were missing, you see they're all originals. Salieri: Originals? Constanze Mozart...

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萝北县19296907417： 《莫扎特传》电影里,莫扎特给德国皇帝写的那个歌剧叫什么名字? ？
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萝北县19296907417： 综合调整系数是什么? ？
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.

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