Caravaggio - Act 2

After searching for a model in the Garden of Evil
in Rome, where prostitutes sell themselves in the open. In Rome,
Caravaggio and his friends spend a drunken night in the
Piazza de la Popolos Chapel to spy on Anibolo Caracci's
submission to the Vatican's important contest. Caravaggio finds Karacci in
the church doing the same thing he is, and knows
Karacchi will win the commission. Caravaggio and his friends then
visit a brothel, where at dawn he runs into Ronuccio Tomasoni,
who demands Caravaggio paying a debt he owes. Caravaggio refuses,
and both men make an oath to one day spill
the other's blood in the piazza. The story flashes forward
two weeks later, as Caravaggio sneaks out of Rome in
the dead of night on a ship to Malta to
paint the Grand Master's portrait. We learn in scenes back
in Rome with Cardinal del Monte and the Pope that
Karavaji has gone into exile to escape punishment for murder.
On Malta, Caravajo is threatened by the inquisition interior in
a sanctum dawn, Caravajio faces Ailof, who is dressed in
full body armor, holding a staff with a long sword
on his belt, and Roberto at his side.
Is the LFE satisfactory?
Yes, yes, it is?
Is that what you intend to wear? Yes?
Does that mean with your approval?
Caravajo moves around Ailof, inspects the armor, and touches Ailof,
who flinches in pain. Caravajou does not react.
You have no reaction to my pain.
Well, I take one look at your scars, and I
know you live with pain, You expect pain, you enjoy pain.
Caravajo steps back and takes in the entire picture, Ailof
in his costume and Roberto in his.
Roberto stands at his side.
Deah good.
Roberto stands where he's told as Caravaggio steps behind the
easel and quickly sketches, having already mixed the paints.
Suffering is a great teacher.
Paine teaches nothing, but it does beget anguish and despair.
Where is Stephano today?
I told him to leave us alone. I felt he
was distracting. You move just a fraction to your left.
Hayloft does what He's told, am I in the light.
You are the grand master of the Knights of Malta.
You are always in the light.
In fact is God's will.
There is another moment of understanding and affection between them.
Caravajiou readies himself and begins the portrait. Cut to exterior,
the letter Malta night. The moon bathes a fortress in
an eerie light interior Caravaco's room, Malta continues. Caravajo sits
in candlelight at his table and continues the sketch of
a young woman's face. As he sketches more, we see
it is Lena. Sounds of the city of Rome, loud,
deep human voices, life at its fullest. Overlaps in two
flashback two exterior Ghetto of or Taccio, the Evil Garden
Row Dawn. Caravajiou walks beside contain fires as they burned,
beside small houses with dark smoke swirlling up into the
dead air. Prostitutes stand on balconies or behind Venetian blinds. Alone.
Caravajiou walks, searching, not for sex, but for something else. Entirely,
he sees Lina. He stops, He stares.
What you've never seen a woman before. Oh, women are.
What?
You've never seen a woman before?
Women? I have seen you? I haven't.
Oh, yes, I remember at the tavern of the Hawk,
you're the poem a painter.
To Scooty for the hour and my room.
Is back there, No Five, Scooty, and you come with me?
Where to my home?
She nods. They make their way through the crowd towards
the border of the Ottacio.
How long have you been in Rome?
Three weeks?
Then I found you, just in time before Rome corrupts.
You, has corrupted you. I tried and failed. You were stronger. No,
I embraced it.
They continue and disappear in the shadows from the fires.
Flashback in interior Caravacco's room, Malta, dawn, Caravaggio is writing
a letter with a rising.
Sun, Dear Cardinal de Monte.
Exterior of a letter, Malta continuous. The brightly burning sun
rises over the fortress. Cut to exterior Rome, Saint Peter's Basilica.
Day clouds cover the city. Interior Papal chambers, Rome continuous.
Cardinal del Monte stands beside the dying Pope Clement the Eighth,
who lies in his bed. He's breathing is a wrath.
A bishop stands behind him in attendance.
Do you have any needs, your Holiness to breathe without pain?
Would you like me to hear your confession and give
you absolution?
No?
Concerning the papal pardon for Caravaggio, is it possible to
dictate it to the bishop now so that we can
get your signature.
The Pope's breathing stops. Cardinal del Monte makes the sign
of the.
Cross, him and the father's son, Holy Ghos.
Cut to interior. Cardinal del montees private chapel day. The
Cardinal is on his knees and grips the rosary around
his neck. He looks up and sees Caravaggio's Medusa hanging
on the wall. His assistant steps quietly over to him.
Your Eminence, there is something you should see.
Interior. Cardinal del montees Villa Ludovisi continuous. Cardinal del Monte
sees two men standing on the street facing the villa.
How long have they been there? Not long?
But I do remember seeing them yesterday.
Who are they, Your Eminence?
Bounty hunters?
Cardinal del Monte pulls down the curtains. Cut to interior
Saint Peter's Basilica. Later, Cardinal del montes with the College
of cardinals who have gathered to select a new pope.
Cut to exterior Sistine Chapel, Rome day. White smoke rises
from the chapel, signifying that a new pope has been selected.
Cut to interior papal chambers continuous. Cardinal del Monte faces
the new Pope, Pope John Cardinal del Monte faces the
new Pope, Pope called the Fifth is vigorous and vital,
youthful and energetic.
I cannot and I will not tolerate these random killings
in our city.
He killed in self defense.
Our lord turned the other cheek.
Your highness, the room, Your holiness. Our Lord didn't live
in Rome at the turn of the sixteenth century. We
have emerged from the dark ages, but the barbarian hordes
still have their hold on us. Their ways are still
in our blood. Our faith will change all that. Caravaggio
asked me to present this to you as a gift,
in hopes that you will have mercy on him. He
painted it before he left Rome.
Cardinal del Monte nods to his aid to remove the
cover from a canvas.
Is he still on Malta.
Yes, he writes me short notes. I hear that the
Grand Master had a dinner in his honor.
The painting is the Weeping Magdalen. It is clear by
his reaction that the Pope is moved.
I had never seen so much love and pain in
one face.
Cardinal del Monte places a petition on the table for
the Pope to see.
And this here is a petition signed by nine of
your most respected cardinals, asking you to pardon him.
Pope glances at the list of names.
Explain to me your devotion to this Caravaggio.
Our holy mother Church needs such advocates for our flock
in such dire times.
You are a politician to the core.
Per Paul the Fifth struggles not to be moved.
Michelangelo, Titian, Barcelli, Leonardo, he is one of them.
The Pope waves his hand for the Cardinal to leave,
but del Monte knows he's making his point. Interior hallway
outside papal chambers continuous. As Cardinal del Monte leaves the
private chambers, he's confronted by the Tomasoni brothers, Otavio and Giovanni.
Cardinal del Monte, yes.
I'm Ottavio Tomassoni, Ranuccio's brother, and I.
Am giovann Tomassoni. You would like to inquire if you
know the whereabouts of the painters Caravaggio. I secure his commissions, gentlemen,
I do not schedule his appearances. I am sorry for
your loss and bless your brother Ranuccio's soul. I will
offer prayers for him this Sunday at Mass. But his
demise is the matter for the police, not me. Anyone
knows what he's hiding.
You do.
You should be aware that we have employed bounty hunters.
Cardinal del Monte watches with apprehension as they bow and leave,
cut to interior in a Santa Malta dawn. Karavajo pains
furiously as ailof poses with discipline.
I've learned a few things about you. Your father died
in the plague.
Many fathers died in the plague.
A man without a father must be compelled to search
for him all his life. Not long after he died,
your mother died as.
Well, Caravajo paints fully absorbed.
When you look face to face with God on judgment Day,
what do you think his likeness will be?
God wears a hood of course, he does.
He fears that his love will blind us. His love
can be a terrible life.
Where is it?
You've seen it, my son?
I have?
It is in your painting, the Call of Marlshit. Yea,
it is in your painting, the Call of Saint Matthew.
When I first saw it, I was in a troubled
place in my faith. God was testing me, but your
painting took me back to the fold. Just the way
our Savior stood in the shaft of life with his
finger pointed to Matthew. In the silence, you could hear
him saying, I've come for you, Bruce.
Is just a typo here.
It should be the calling of calling of Saint Matthew.
Oh, yes, we calling correct.
So speak of that first sense or if you want
to read all that through it, that's mine.
Let's go all the way through that. I think you
said the life again instead of light, So it's right.
It's the shaft of light with his finger He's love.
Where is he? Oh?
You've seen it, my son?
I have?
It is in your painting, the Calling of Saint Matthew.
When I first saw it, I was in a troubled
place in my faith. God was testing me. But your
painting took me back to the fold, just the way
our Savior stood in the shaft of light with his
finger pointing to Matthew. In the silence, you could hear
him say, I've come for you.
The horn blasts through the room from atop the castle walls.
The Turks are in the harbor.
He rushes out as Caravaggio rushes to the window, hearing
agonizing screams. Exterior terranean sea continues. Fires are floating on
the sea towards the shore interior and a sanctum continues.
Caravajo gathers his courage and leaves interior. Caravaggio's room continues.
Caravaggio enters, grabs his sword and rushes out. Exterior fortress continues.
Caravaggio sees Alf directing his nights toward the fires floating
towards them. Out of the morning.
Mist Lorenzo form a line, Jacomo, take your men to
the boat. The rest hold your ground.
Caravaggio realizes that the fires are actually snailed on wooden
crosses and set a fire to be burned alive. The
screams of agony drown out the shouts from the knights
who race into the waist deep water to pull the
burning Knights into the water. Caravajo is unable to move
when Stefano, seeing him, grabs him this way. They rush
quickly to reach the boat and pull it to shore
as a burning Knight nearby screams.
And pain, Help me, brothers, help me.
Caravajo and Stefano pulled the still breathing Knight to the
sand as Caravajo covers him with his own shirt, getting
a minor burn. As he does stand god. Carajo turns
to see Ailof with Stefano at his side. Now standing
on the shoreline, as the rising sun burns the mist way,
several Turkish corsairs appear. They are headed for the beach.
It is a trap. Alov turns to the beach to
see where his knights are appointed and sees Caravaggio. Their
eyes lock. At that moment, Caravaggiou is compelled to prove
himself to embrace the knights in a way he wasn't expecting.
He races to join Alaf as cannons on the turrets
of the castle walls explode over his head.
Return to safety. I belong here with you.
Alof turns to rally his knights.
Steady your nerves, my brothers. The dervishes will attack us
now here they can.
The Turks reach the beach and disembarked their corsairs, rushing
in with the tide, swinging their curved swords and waving
their flag of the gold Ball and pressing the no.
Just then the beach explodes with cannon blasts from the
Turkish offshore ships. Caravajeu throws himself to the sand as
cannon balls hit the beach, exploding on contact right on
several knights. They are blown up and cut in two.
As body parts, sand and sea fly into the air
and back down again. Karavajiou raises his head, preparing for
the onslaught when another cannonball sholl hits the dark, flowing
up several more nights. They scream in paint as they
lose lembs, splinters of wood raining down on caravajo Eiloff
and Stefano. One particular sharp piece cuts into Caravaggio's shoulder.
Karavajeau falls to his knees as his shoulder bleeds. Seeing
that it is a flesh one, he quickly wipes the
blood away with his bare hand. Just then, the Turks
swarm the knights. It is too late for Karavajou to run.
He finds himself in the thick of it. Turks and
knights fight in hand to hand combat all around him.
A Turk, slashing his sword, comes at karava Jou, who
slashes his sword back. Karravajou's sword rips into the turks slash.
He pulls his sword out of the turk, bringing with
it flesh, muscle, and pouring blood. There is a gurgling
sound as the turk falls to his knees. Cutavaarjou quickly
joins Ailof and Stefano, and together they form a circle
to protect one another from the fanatical turfs. Cutavaarjou looks
to Stefano fighting off several Turks, and then to Ailof,
on one knee fending off two Turks at once. Cutov
our Jeou rushes to assist Ailof, who pushes himself up,
stabbing one of his attackers through the hull. The other
attacker comes at him as Ailof loses his balance in
the sand again, falling to one knee. The attacking turk
swings his sword at Ailoft, cutting him slightly above the ars.
Cutavaar Jou jumps in front of the attacking Turk to
protect Ailof by jumping on the turn, knocking him to
the ground with his hand on his throat. He throws
the turk on his side and reaches for the Turk's
sword and pulls it from him. He then sticks him
in the heart. The Turk screams a death mode and
dies as Karavajeou struggles to his feet and turns to
see Ailof heroically fighting off. Several turns, Caravajeou again rushes
to Ailof's aid. Just as Caravaggiou reaches Ailof, the Turk
is on top of Ailoff, ready to thrust his sword
into him. Caravaggiou swings his sword with all of his strength,
nearly cutting the Turk's header from behind it. Ailof looks
up at Karavajeou with gratitude. He was certain he was
about to die. Seeing the headless Turk fall backward onto
the sand, Caravajiou is shocked, appalled, and confused by the
sensations of fear and exhilaration. Just then, more knights arrive
from the ballance, chasing the Turks back into the sea,
battling them on the beach as hacking, cutting, and thrusting
of swords and lances continues all around. Caravajio Karavajeou watches
as Stefano leads the Knights in pursuit of the Turks,
who are now throwing themselves into the sea in desperate
hopes of reaching their ships. But the cannons from the
castle explode onto the Turkish corsairs and they begin to burn.
Screams come from the boats. The retreating Turks are now
caught between their burning ships and the pursuing Knights. Stefano
leads the Knights, who are hacking away at the confused
and lost Turks, who are doing all they can to
survive and avoid capture. Karavajo, out of breath and holding
his wounded shoulder, drops his sword and watches as the
Turks are hacked to death like cornered prey. The burning
excitement in his eyes reveals how the battle is ignited
a fiery animal instinct in him to kill or be killed.
Aware of the victory, Alof gets down on one knee
and bows. He looks up to the sky and makes
the sign of the cross odd.
To victory.
Ailov turns to Karravajio and nods his head slowly, his
eyes gleaming with the same passion that Caravaggio just fell.
Exterior beach Malta. Later, Exhausted and drained, Caravajiou walks through
the cornage. The beach is strewn with the dead and
the wounded from both sides. The knights are collecting the
bodies of their dead comrades for burial, while other knights
have dug a huge hole in the sand and tossed
the dead Turks into it. Ailov stands in command as
Stefano and more knights for dozens of Turkish prisoners in chains.
Caravajio walks away when he sees two banners in the sand.
One is the crescent moon and the other the Cross.
Caravaggio sees a young, wounded Turk moving among the dead.
The turk raises his hand out to Caravajo, who kneels
beside him. The turk grips Caravaggio's arm and holds onto
it tightly. Carava takes a water satrel off his belt,
lifts the young Turk's head and gives him water. The
turk grabs the satchel and drinks deeply. Just then Stefano appears.
Before Caravajo can react. Stefano thrusts his sword into the dying,
with blood splashing, and Caravaggio jumps to his feet.
He was a boy.
No he was a turk.
No no, no, you said no he was a turk.
Let's just get he was a boy.
He was, he was sorry, he was a boy, he
was a turk.
Stefano turns and walks away. Cut to interior dining hall Castle.
Sant Angelo, Knight alaf with Caravaggio standing at his side,
addresses the knights today.
Our prayers are for those who sacrifice their lives to
die for Our faith is our pledge as Knights of Mortar.
Today I saw courage from one who had not taken
our oath.
Please kneel. Caravaggio kneels. Ailof takes his sword and presses
it Fermilion Caravaggio's shoulder.
Michelangelo Marisi de Caravacchio, you are hereby today an honorary
knight of Mortar.
Ailof turns to Stefano, who brings over a fine sword
made of gold and hands it to Caravaggio.
Oldin edi obedienza.
Hailoff gestures for Karavajo to stand. Caravaggio stands proudly. The
knights stand in unison and cheer. Hailoff then hands Cutavaggio
a palm sized emblem of the knights.
This sword was a gift from the King of France.
It's pure gold with the inscription in silver. This was
mine once, now it is yours.
Cuavajou bows, then displays the sword proudly and lifts it
to the crowd. They cheer once more. Stefano leans into
Karavajou and whispers in his ear.
The Grand Master despises the King of France.
Hah.
Interior Caravaggio's room, dawn. Carvajo wakes, looks at his emblemen's
sword on the table. He then sees the soft blue
dawn emerging. Cut to interior in a santum dawn. Caravaggio
enters the room. He intensely looks over the unfinished portrait.
He picks up his brush. He approaches the portrait gingerly,
then paints interior in a sanctum. Later, Ailof and Stefano enters. Caravaggio,
focused and deliberate, continues to paint. Ailof goes to the canvas,
but Caravaggio stops him with a glare. Alof stops. Caravago
places his brush down.
Have I been a subject worthy of your talents?
And have my talents been worthy of the subject?
Caravajo nods, then steps back. Ailof faces the canvas, His
entire being exhales with amazement and approval.
You have painted my body and captured my soul. I
have no regrets, no suggestions. Who may think of me vain?
But this portrait will be viewed for centuries to come.
Holy man will admire its beauty, while sinners fear it's truth.
Caravago leaves the room. Stefano stares at the portrait with jealousy.
Leave me to gaze.
Hurt, Stefano leaves the room as Ailof absorbs his portrait.
Cut to interior Caravaggio's room night. Exhausted, Caravajiou lies on
his bed. The door opens. He quickly stands Ailof appears
in the doorway and looks at Karavajou with a mixture
of awe and also longing. The moment between the men
suddenly defines their growing relationship. Ailof takes a step towards Karavajou,
then stops himself before he goes too far. He turns
abruptly and leaves the room. Caravaggio slowly goes to the
door and closes it. He sees the nearly completed sketch
of Lena on the table, sits and sketches Lena. The
sound of voices, shouts, laughter and taunting overlaps into flashback two.
Exterior ghetto of Otaccio, the Evil Garden, Rome night. Ranuccio
faces Caravaccio and Lina.
You're with this trick?
I thought I smelled a horse sable.
Caravaggio stiffens as both are Tavio and giovann both drunk,
step out of the shadows, ready to pounce. Ranuccio grins
as he and his brother's edge closer to Caravaggio.
Geez my, Lina.
The brothers pull their swords from their belts. Cannon fire
overlaps into the following scene. Flashback end Interior Caravaccio's room
a day, cannon fire. Caravajo sits up abruptly from his
sleep as bright afternoon light falls across his bed. The
first thing he sees is the sketch of Lena on
the table. It is nearly complete. He has yet to
complete her eyes, her lips. He is now aware of
the cannon fire. Exterior prison yard Castle, sant Angelo continues.
Caravajo is looking over a large yard where Turkish prisoners
captured on the beach on our slaves. The steensh is strong.
Caravajo watches as dozens of armed knights lead dozens of
Turkish prisoners, often to the far side of the yard.
The prisoners are then made to get down on their
knees with their hands tied behind their backs. The knights
come up behind them and begin to behead them one
at a time. Caravajou watches as other prisoners gather up
the bloody heads and put them in bags. The prisoners
then place the bags near the three cannons. The knights
open the bags, take their heads out, place them in
the cannons, and blast their heads out to their targets.
The targets are several Turkish corsairs. Lingering in the harbor.
Caravaggio finds a small charcoal rock and sketches the face
of a Turk on a slate rock in front of him.
Grimacing in fear about to be headed, Stefano walks over.
To Caravajio, the grand Master wants you.
Caravaggio gets up and walks away. Stefano sees the sketch
and rubs it out with his boot. Cut to interior,
private quarters, Castle Santangelo Day. Caravaggio stands facing aloff.
You are aware of how pleased I am with the portrait. Yes,
there's something more I want to discuss with you. Please sit.
Carvajou sits.
I want a second portrait. I have a pose I
want to suggest. Are you disappointed?
That was not our agreement?
True? But you will be paid for your work. Pays
me to see you want to leave. I had a
life before Malta. Is not this life here?
Fulfilling in some ways, yet in many ways.
No, am I your prisoner.
You've never been a brisker.
Caravaggio leaves aloft, stands, closes the door, then pulls a
dagger from his desk drawer, pulls up his sleeve and
cuts himself.
God forgive me.
He quickly stops the bleeding. There is a knock at
the door. Yes, Stefano enters.
It is an excellent painting. You don't trust him, he
is not one of us.
Well, then proved to me his soul is not worthy.
Stefano leaves as Ailov shudders with his struggle. Cut to interior.
In a sanctum day, Caravaggio paints Ailof with Roberto as
they pose and Stefano watches interior. In a sanctum later,
Caravaggio labors over the canvas. Roberto falls asleep. He collapses
for a moment, then gets up immediately horrified. With his
gloved hand, Stefano smacks Roberto across his face. Caravaggio picks
up Roberto and glares at Stefano. Stefano puts his hand
on his sword. Caravaggio puts a slight dab of paint
on his nose. Ailov laughs, humiliated. Stefano glares at Caravaggio,
who goes back to his canvas. Ailof is clearly pleased
by Caravaggio's humanity and shuns Stefano, who is pained by
Alof's reaction. Cut to interior. In a sanctum day, Caravaggio
and Aloft are alone in the room as Caravaggio paints.
Is there a man there in your canvas? Or an
emblem of faith?
Or I painted a man.
To see anything else.
I don't see angels buzzing over your shoulder or saints
standing on your nose.
Now if you did, there'd be no room on the
canvas for the man or his faith.
What about his desires? Is there a room for what
he aches for?
Caravaggio touches Alof's cheek as if to kiss him. Aloft
doesn't move. Rejected, Caravaggio turns back to the canvas. Cut
to interior, Caravaggio's Room Night. Caravaggio continues his sketch.
No, no stand there in the moonlight.
Flashback two, Interior, Caravaggo's home Studio Rome Night. Caravaggio pulls
away the curtain, allowing moonlight to wash over Lena's face.
What do they call you?
Lena? He walks around her, his eyes inquire into her
entire being with charm. She underes her hair and it
falls over her shoulders. She drops her undergarments and then
gets down on the bed.
And you are from Grassoulia?
How did you know? Brow mostly and the eyes?
He turns away, leans over his water basin and bathes
his face and drives himself.
Have you been there?
Oh?
No?
When you live in room you don't have to travel
to see the world. The world comes to you. You
left Grassauria to escape the plague.
Yes, I told my mother I want to go to Rome.
She said, go while you are still young, and she
followed me.
He then places his canvas between her and the window.
You want a model, but you are paying me too much.
Just looking at that face, I see my virgin and
you are worth every scooty.
You're posing me for the virgin, and you have me naked.
I can't do that, No, not nude.
You're hungry. I'm sorry I didn't realize him. Take some
bread and meat.
She eats hungrily from food on the table.
I used to eat like that.
He pours her water and hands it to her. You
came here poor.
When I first came to Rome.
I swallowed what dogs would indeed to stay alive. How
did you survive when you came to Rome?
I painted?
Why are you looking at me like that?
Because I see you all life in your face?
Flashback in interior Caravacho's room, Malta night. The sketches complete.
Cut to interior in a sanctum day, Caravajo stares closely
at the canvas at ailof then steps back.
I've been where you tread, my son. I was once
a slave to the flesh. I see the agony I
once lived, now alive in your eyes.
Alof turns to the canvas.
Splendid.
Caravaggio moves past him to leave. Alof takes his hand. Yes,
both men take in the moment. Caravaggio leans in.
There is nothing to fear between you and I.
What you feel, what we do.
Waggio kisses Ailof, then steps back. Ailof allowed the kiss,
but then just as abruptly, he also steps back. The
tension between the two men is electrifying. Caravaggiou realizes he
needs to leave. Ailof moves to follow him and stops himself.
Cut to interior the grand Master's private chambers. Night, Ailof
is kneeling before a small statue of Saint Peter. When
Stefano enters with a letter from Caravaggio. Ailov makes the
sign of the cross, stands and looks to Stefano.
It's addressed to Cardinal del Monte in Rome. This time
I opened and read it.
I did not give you the authority to read his.
Man, you told me to prove my concerns. He asks
if there has been any progress in his pardon from
the Pope a pardon.
Send the letter ahead, then look into the meaning of
the request.
Ailov sees the sketch of Lena with the letter.
What is that?
A sketch with the letter ailof looks Send it ahead
as he had it.
He's lied to us.
Be careful, Stefano, I am fond of him.
Stefano leaves cut to exterior courtyard of a letter day.
Caravaggio follows Stefano through the courtyard, which leads to a
chapel interior, the chapel of Saint John Day. Stefano leads
Caravaggio to a large blank wall. There is plenty of
light from the stained glass windows.
Why are you here?
The Grandmaster wants to be heading of Saint John the
Baptist on this wall, and when you are done with that,
he wants a cupid in his private chambers.
Why is my door locked at night?
Or your protection?
We Knight have many enemies.
Stefano leaves as CARRAVAGIAU looks at the wall livid cut
to interior the Chapel of Saint John Day. Caravaggiou works
quickly the images of Saint John's beheading are already clear.
The painting is stark and bleak. He stops looks at it.
It expresses his very feelings. He paints a trail of
blood flowing from Saint John's neck to the bottom of
the canvas, spelling out his name in blood. Caravaggio steps back,
shuddering from a memory flashback to interior brothel Piazza del
Popolo Rome night. Caravaggio Mancinian Topper share a satchel of
wine as they stand facing the dark stretch of the piazza.
Waiting there, they see Ranuccio and his two brothers appear
at the far end, walking towards them. The two groups
of men walk towards one another, reading their swords. When
they are only a few feet away, they.
Stop, You owe me scooty, I hear take it.
Caravaggio pulls Scooty from his pockets and it drops to
the ground at his feet. With his sword in hand,
Ronuccio rushes at Caravaccio, but stumbles off balance as Caravaggio
raises his sword forward to protect himself. The steel cuts
deeply into Ronuccio's belly. Caravacho pulls out his sword Ronuccio
glares at Caravacchio. Stunned, he holds his open wound, turns
and staggers away. Caravaggio is immobile as he looks at
the blood on his sword. Flashback end Interior the Chapel
of Saint John, Malta day. Caravaggio pains frantically. Interior the
Chapel of Saint John. Later, Caravaggio stands facing the completed
painting with anxiety and despair. Exterior, the Chapel of Saint John. Dusk,
Caravaggio steps out of the chapel towards the beach. Exterior
Beach Valletta continuous. Caravaggio walks along the beach, seeing Stefano
walking from the fortress towards him with two guards. Stefano
gestures to the knights to continue keeping God and to
walk on. Caravaggio turns to walk in the opposite direction,
but Stefano follows him. Realizing that he has no choice
but to confront Stefano on the empty beach, he stops
and turns to.
Him, Am I interrupting your praying?
I wasn't praying?
Why out here.
Looking for sicily? Which never seems so alluring.
I never knew what real loneliness was until I came.
To this island.
But there is God everywhere.
I wasn't talking about that kind of loneliness.
Interior the grand Master's private chambers, continuous. A love stands
at the windows, seeing Stefano and Caravajo on the beach below.
Exterior beach continuous. Caravajo and Stefano walk on.
HM.
The moonlight has always fascinated me.
The moon has no light of it.
That's heresy, it's science.
When I was in Rome with the grand Master, I
saw some of your work. You paint men more beautifully
than I have ever seen.
I thought art didn't interest you.
I wasn't talking about art.
I haven't touched another human.
Being in months.
You talk of months, I talk of years.
You said the Knights have enemies, even here at the letter.
What am I to make of you?
You don't trust me.
Caravaggio grabs Stefano and kisses him on the mouth. Stefano
pulls away, then walks off.
Stefano It is settled, now, What is settled?
Caravaggio watches Stefano disappear down the beach, then looks up
at Alov's window Interior the grand Master's Private Chambers continuous.
Ailov steps away from the window in anger. Cut to interior,
Caravaggio's room.
Night.
Caravajo enters his room, closes the door, then quickly writes
another letter to Cardinal del Monte. Cut to interior, the
grand Master's Private Chambers.
Day.
Caravaggio faces Ailoff, who gestures to the.
Wall, I want my cupid there.
To Cravaggio's relief, Ailof turns and leaves. Interior the grand
Master's Private Chambers. Later, Caravajo paints quickly as Stefano watches him.
Cut to interior, the grand Master's Private Chambers.
Night.
Caravaggio sits, exhausted. His cupid is a sickly and vile
old man. Caravajo is pleased and yet at the same
time apprehensive. Cut to interior. In a sanctum night, Ailof
and Stefano enter the empty room together. Ailof gazes on
the cupid.
The devil has come to the letter.
Interior Caravacchio's room continues. Caravachio hears the sound of boots
coming down the hallway. The boots stop at his door.
He gets up and grabs his sword, but the door
flies open, and several masked knights quickly rush in, overwhelm him,
and drag him out. Cut to interior torture chamber.
Night.
With his face streaked with blood, Caravaco is chained to
the wall, facing alof and Stefano flanked by four knights
wearing hoods.
On this earth, there is no greater evil than duplicity.
I don't have the courage for duplicity.
It pains me to see you this way, But I've
placed my own dear brother of the rack. His spine
was broken, but he is no longer heretic. Now he
is a believer and a cripple.
Pa Stefano slaps Caravaccia.
Don't you see the value of your soul?
Answer him.
I grew up on the streets where I learned that
for refuge and shelter there is only the flesh.
And if i'd have a non god, it is when
I've held someone.
Michaelangelo, see the Caravaggio. You have painted my body, and
now I will save your soul.
How will you save my soul through pain?
Put him on the rack.
The four knights and Stefano Unlocky's chains and place him
on the rack. Because he desperately strungs.
You have no right to judge me. I have the
right given to me by the inquisition. I have the
right to judge the heretic. Seeing your paintings, I was
sure you carried God's love. But I've learned that you
have no belief, no faith, and without faith you are
an incomplete man. You will scream out for God and
rise above your suffering.
No pull.
Stefano nods to the two knights who pull on the rack.
Carago screams, ah Yeah. Overwhelmed by Caravaggio's suffering, ailoff, looks away.
Caravaggio remembers flashback to interior basilica of Saint Augustine Chapel,
Rome day. Caravaggio is painting the Death of the Virgin,
an altar piece, having staged prostitutes homeless surrounding Lena, who
lies on a bed with her arms outstretched. Cardinal del
Monte enters. Caravaggio sees him and puts down his paints.
It's so real.
I find it painful, but you pose this horror to
be the blessed mother.
Her name is Lena, but as.
The Virgin, the mother of God, she's a woman with
dirty feet.
She looks like a corpse.
She's dead.
And these others you take beggar yourself the street and
beat them exactly as they are.
He paints their torment.
Who is this woman?
Why is she talking to me?
She is Lena from Grassoia.
Frustrated, Cardinal del Monte walks away, and Caravaccia rushes off
to him.
I don't put haloes around them like God.
I paint people just as God made them.
Yes, God made disease and death, but nobody needs to
be reminded. When I first found you, you lived on nothing.
You had nothing, Michail, Listen to me. We are so
very close to what you want and public everyone denies
your brilliance, but behind closed doors they worship your canvases.
Play along just for a little, and.
You will own your own villa. Someday.
I have secured the commission for you to complete the
Weeping Magdalena. You wanted that commission, and I got it
for you.
Yes, I wanted that commission.
I use Lena as my Magdalena.
Impossible.
Cardinal del Monte leaves Caravajo walks back to his canvas,
finding Lina looking at it.
It is so painful.
You can see how she suffered.
Yes, she suffered.
Flashback in interior torture chamber, Malta day, Caravajo is still
unconscious as Ailof leans into him.
Are you the devil himself?
Who are you?
Caravajo spits blood.
Who's my love?
Not dear to you? God's love can be a terrible light.
Be all your sins remembered.
Ailof nods to one of the hooded knights bull. Caravajo screams,
faye to interior corridor prison.
Day.
Caravaggiou is unconscious, breathing with difficulty. Pained, Ailof leaves the room.
Stefano stays interior in a sanctum night. Ailov sits at
his table holding another letter. Stefano enters, is he dead?
No, he killed a man. Renownce your thomason. He must
die if he survives the night, place him in the
bell leave.
Stefano quickly leaves as Ailov struggles. Interior corridor prison continues
barely alive. Caravaggio lies on the rack, now drifting in
and out of consciousness. Stefano enters with two knights, one
sure that he is alive. A slowly unstrapped Caravajiou from
the rat. Exterior castle sant Angelo continuous. Stefano leads the
two knights, who drag a nearly dead Caravaggio along the
castle wall. Exterior bell shaped hole cell continues. Steffano steps
back as the knights pause over an eleven foot bell
shaped narrow hole in the castle's rock. They place Caravaggio
down and allow him to fall into it. Interior bell
shaped hole cell continues. Caravaggio hits the bottom of the
cell and moans in agony. Closing his eyes. Caravaggio looks
up at the blue light from the moon. Voices overlap
into following scene. Flashback to exterior Piazza del Popolo Rome night.
Caravaggio stands over Rouccio, who lies on his back, bleeding
and moaning, as voices rush to him. From the far
end of the piazza. Look up at a half a
dozen Carabanieri racing toward him with swords drawn and a
single torch lighting their way.
Carabinieri Mi.
Mancini staggers up to Caravaggio, dazed, bleeding from the head.
His appearance shakes Caravaggio from his bafflement. Right behind, Mancini
Caravaggio sees Lena tending to Toppa.
Take care of him.
Yes, where do I find you?
Caravaggio rushes to Lena, helping her lift Toppa up. With
both Toppa and Mancini wrapped around Lina, Caravaggio kisses her
strongly on the mouth.
God save you.
Meet me at the Cardinals Villa in Port, Princiard, fuck
me and me at the Cardinals Villa in Port.
The princ yes, with Toppa and Mancini at her side.
She disappears down a cobblestone street and the darkness. Caravaggio
hears Otavio and a bloody Giovan, both near exhaustion and
in pain, carrying a motionless Ranuccio to his feet, as
they rush off into a nearby alley away from the police.
Caravaggio then turns, watching as both men quickly make their
way down the piazza in the opposite direction of the police.
He follows them into the darkness. Exterior streets of Rome continues.
Caravaggio races through the narrow streets or the voices of
the Carabanieri behind him. Exterior alley continues. Caravaggio turns down
an alley exterior courtyard continuous. They race through the courtyard
and turn down a second alley. Exterior second alley continues.
He ducks into the shadows, out of breath, listening to
the voices. The voices grow faint. Caravaggio steps out of
the shade. Out of breath. He sees a light at
the end of a long alley. He walks to it.
Exterior Battista Barber Sharp continuous. Caravaggo walks up to the
sign on the narrow street, which reads barber shop the
barber sharp. The doctor's office of the time has its
curtains drawn. A tiny light glows from the back room.
Caravaggo looks around, then opens the door. Cut to interior
Battista Barber Sharp continuous. The barber Louis Battista forties, A short,
stocky man is wearing a white apron and is covered
in dried blood as he works on Caravaccio, who sits
in the barber's chair. Battista washes Caravaggio's wound, draining his
sponge in a large bucket.
Your wounds aren't that bad.
He pays Battista. Scoodie, I was never here, You were
never here, Just your blood, Battista, Dad's the wound again.
As Caravaggio moans in pain. He hands Caravaggio an open
bottle of wine. Caravaggio leans back and takes a big
slug of the wine. As he does, Battista takes a
dirty bucket filled with blood and flesh, walks to the
back door, opens it, and dumps it out just like Ala.
Cut to exterior Battista barber shop. Later in the night,
Caravaggio stands in the shadows outside the shop, watching A
Tavio and Giovan carry a slumping or Nuccio inside. Battista
watches as they put Ranuccio, pale and silent, in a chair.
He walks over to a Renucio and stands over him.
He looks this one's dad. Atavio and Giovan look to
him in disbelief. Atavio and Giovan then lift Rnucio out
of the chair. A Tavio manages and Batisto Scodi. Batista
takes the money.
He was never here, just as blood.
He opens the door and holds it open for them
as they sneak Ronuccia's dead body out. Caravaggio continues to
watch them through the window as they disappear into the shadows.
Batista comes to the door and splashes the blood from
his bucket down into the sewer. Caravaggio steps away to
avoid getting wet, then rushes into the darkness. Flashback end interior,
bell shaped whole cell malta day. Water splashes into the cell,
drenching Caravaggio. He attempts to crawl up the rock, but
it is impossible. He can only look into the sky,
where the sun follows a shaft of light down across
his face. He collapses. He lies on the hard rock
in a ball, remembering flashback too. Exterior Cardinal del Monte's
Villa Ludovisi, Rome night. Caravaggio cautiously makes his way to
the side entrance of the villa in the Porta Pinciana
Interior Cardinal del Monte's Villa Ludovisi continues. Caravaco enters, seeing
Cardinal del Monte wearing an apron, busy with his alchemical
experiment in a room filled with bottles of colored water,
chemicals and tubes a primitive lab. He hears something and turns.
Caravaggio closes the door.
Renuccio Tomsoni is dead.
I killed him, saying nothing. Cardinal del Monte quickly looks
over his minor wounds and then leaves the room. Caravaggio
sees Lena standing outside looking in. He opens the door.
She rushes to his son the others.
I took them to the tavern of hoc. Maria is
caring for them.
She holds him. Cardinal del monteers without.
His apron You need to leave Rome now why Last
month the Vatican issued Abanda capitale for all murderers without exception.
Anyone charged with murder faces arrest in execution where they
are found. The aggrieved parties and any bounty hunters they
employ can carry out the warrant. You killed the son
of a war hero. Your life is worth nothing.
As we speak, a mota, I.
Will send a messenger. Now, Pedro, the.
Bishop quickly enters as Cardnel del Monte writes a note.
I will write the Grand Master that you have accepted
his commission. I can arrange an official Vatican vessel to
take you there.
He hands the bishop the note. Rush to the dock.
This note must get to the boat to catch the
next high tide.
The Bishop rushes.
Off, how long will you need to secure a pardon
from the Vatican.
It will take some time, a care perhaps a year,
perhaps two, perhaps more.
I have faith in you.
Cardinal del Monte leaves the room. Caravaggio and Lina face
one another.
I refuse to give it to fear.
She embraces him as he keeps his nerves steady. Cut
to interior, Cardinal del Monte's Villa Ludovisi.
Night.
Caravaccio and Lina pack a small bag of Caravaccio's clothing,
some of his paint brushes, paints, and tightly wound canvases.
Caravaccio takes Lena's face in his hands, touching it gently
with his fingertips. In the dim light, he looks, seeing her,
the surroundings, the light as they all blended together. A moment,
an impression in how he creates what he creates. Exterior
Cardinal del montees Villa Ludovisi continuous. Cardinal del Monte waits
for Caravacio and Lina next to a carriage. They appear.
A valet places Caravaccio's things on the carriage and then disappears.
There is wine to warm you on your travels. Hope
Clement is dying and perhaps in God's infinite wisdom, I
may be given the reins of our holy mother church.
Caravaggio holds Lina gently and kisses her.
Be careful, be wise, be tolerant, and you will be safe.
And when was I ever any of those things?
He looks to Lina.
Don't let Rome devour you.
Come back.
I will have no fear.
He enters the carriage. He leans out the window.
I am Michelangelo de Marisi.
That Caravadzo go a.
Theamo interior carriage roam. Caravaggio follows back, stares ahead, overwhelmed,
fearing everything. Flash back in exterior of a letter, Malta night.
A fog covers the castle interior bell shaped, whole cell continues.
A thick rope flies down into the cell. It dangles
there next to the unconscious Caravagjo. A small stone comes
flying down into the cell. It hits Caravaggio's shoulder. He stirs.
Another stone flies down into the cell and bounces off
the wall. Carravaggio comes to looks around. He sees the rope.
He's startled by it. He aches but stands and looks up.
But he can't see anything or anyone. Only the bright
light from the moon. He grabs hold of the rope
and puts his feet up against the wall. He's slowly,
gingerly and with much agony, pulls and pushes himself up
and out of the cell. Exterior bell shaped, whole cell continuous.
Caravaggio reaches the top of the cell and is out
of it. He struggles to his feet. He sees that
the rope is attached to the chain link in the
castle rock. He's weak and disoriented and hopes it's not
a trap. Just then, a figure emerges from the shadows,
but he can't make out who it is. All he
can see is that they are small and slight. The
figure walks away from the cell. Caravaggio knows that he
must risk it. He follows, striving to make his way
through the shadows. Exterior castle wall Castle sant Angelo continuous.
Caravaggio is nearly crawling along, following the figure as it
moves ahead of exterior dark continues. Caravaggio is now on
the dock. He stops. He watches as the figure walks
into the moonlight toward a fishing boat. The moonlight falls
across his pale face. It is Roberto, Roberto reaches the
boat and hands money to one of the three local
fishermen who are in the boat and preparing to leave.
Caravaggio watches as Roberto walks past him, scared of him, yes,
but putting his life in jeopardy for the man who
once protected him. He disappears back toward the castle. As
Caravaggio turns to the fishing boat, the fishermen are waving
to him to follow. He pushes his body to make
it to the boat. Caravaggio falls into the boat and
rights himself, amazed at what is happening to him. The
fishermen quickly push off from the dark, and as they
do they raise the sail. Moonlight falls across their faces.
They look like sea worn but sublime angels to Karavai.
One of them offers him bread and water. He eats
and drinks, never taking his eyes off the worn faces.
In the spur exterior of a letter dawn, the sun
rises up and over the castle walls. Caravaggio has escaped. Interior,
the grand Master's private chambers continuous. Stefano faces ailof at
his breakfast table. Slaves and Robertas stand nearby.
How he had an accomplice.
Out the slaves and Roberto leave. Ailof turns to his
map on the wall and gestures to it as he speaks.
If he survives the journey, the only place he could
sail would be Sicily.
Ailof quickly finds official papers and writes a warrant, then
signs and stamps it with the official.
Seal ready provisions horses and six men. We sail to
Plato with the next tide. No one will defy the
warrant from the inquisition.
One second, it says, and then said later it says, bo, yeah.
Yes, can you can you say for us Plaza?
All right?
Alf quickly finds official papers and writes a warrant and
signs and stems it with the official seal.
Ready provisions horses and six men. We sail for Palazzo
with the next tide. You gotta write the first Okay, sorry,
ready provisions horses and six men. We sail for Pizzalo
with the next tide. No one will defy the warrant
from the inquisition. Yes, sire, I also want you to
dispatch messengers immediately. Have them go up the coast all
the way to Catania with copies of this warrant. This
warrant supersedes all pardons other than one from the pontiff himself.
If he is not in Puzzalo or Syracuse or Katana, and.
We follow him to Rome, I want him back at Falletta.
His arrogance defiles on those, his treacheries blasphemy.
I want him in chains.
End of that. Two yes,