Caravaggio - Act 3

Caravaggio pains Vigna Kor's portrait during the day, but at
night he is locked in his room where he sketches
the face of a woman. She is Lena. He flashes
back to when he met her in the Garden of
Evil and become enthralled by her. They became lovers. He
dreams of returning to Rome and remembers killing Rnuccio and
warned by Cardinal del Monte that the popers issued a
warrant for his arrest. During this time, del Monte does
all he can to secure a safe passage for Caravaggio
back to Rome. Caravagio fights in a battle with the
Knights against the Turks and is awarded for his bravery,
but then, when drunk, he makes a pass at Stefano
Vigna Kor's right hand man and is tortured for this
criminal indiscretion. With hope from a young boy, Caravagio escapes
the Tower of the Letter and makes his way to
Sicily with the Knights. Vignacort chases after him, seeking vengeance.
Cut to exterior boat, terranean sea. Day, lying face up
in the boat, wakes as the sun falls across his face.
Cup to exterior beach outside of Syracuse. Day, the boat
carrying car sits on the beach, is weak. As the
fisherman help him to stand, he places a foot on
the beach. A fisherman hands him a wooded stick that
he can use to help him walk.
Where are we? Oh?
Did we not have a fisherman? Okay? Uh no, would
you take that?
Syracuse?
Hey, sir?
Where are.
The fisherman hands him a wooded stick that he can
use to help him walk.
Where are we, Syracuse, Sicily? Thank you.
Caravaggio makes his way from the dog cut to interior
Pope pull the Fifth's private chambers Rome Day. Cardinal del
Monte and the Pope are enjoying a lunch as the
Pope signs official papers.
Caravaggio is no longer on Walta. There seems to have
been a misunderstanding with the Grandmaster.
A misunderstanding I am sure on details.
However, what I have learned from a dear friend of mine,
who knows everything that occurs in Sicily, is that Caravaggio
is now in Syracuse. The local officials recognize him. He
is now their prize, and they offered him a very
large commission to paint. I feel he will be safe
there for now, Your Holiness. Cutadio is not my concern,
but this should be.
Cardinal del Monte places official looking bank records in front
of the pub.
What are these these?
Oh?
These, Oh, these are those annoying unpaid banknotes for the
loan your predecessor foolishly mismanaged. Pope Clement the eighth was
a pious man, but not educated to the ways of banking.
Now sadly to say the loans are due in full, but.
That would be difficult.
The Vatican can't pay.
All this now.
Well, your Holiness, I believe I may be of some service. Yes,
I have a friend, not as close a friend as you,
or as close as the almighty, but this friend has
the authority to ease the Vatican's interests pays. I will
make it an interest of mine and see that he does.
Cardinal del Monte sees a canvas.
On the wall, his weeping Magdalena. You keep it close.
It moves me.
A man with a gentle soul painted it.
He is also a.
Sinner, blasphemer, a wretched soul, yes, but not a murderer.
I will consider Caravajo's predicament.
Thank you, but consider it as quickly as possible, Your holiness.
The Grand Master is not someone to tolerate a misunderstanding
for very long.
And these can you speak to your friend?
He gestures to the bank papers.
Of course, and I will make him listen.
Cut to interior, the chapel of Saint John, Malta day
beneath the beheading of Saint John. He lost hands at
the head of a table, with Stefano seated to his right,
and several nights in attendance.
With the authority invested in me, as Grand Master, I
called this trial to order to denounce the heathen Michelangelo
de Maurici d'aba Caabaga.
With the.
With the authority vested in me, as Grandmater, I called
this trial to order to denounce the heathen Michelangelo de
Merisi da Caabaggio, and cast him out of our holy
order of Knights. Does anyone here present speak for him?
And I will His duplicity marks us. Sin entered the
world through one man, and death through that suit.
They all bow. Cut to interior, Villa Syracuse, Death. Caravaccio,
now dressed in finer clothing, completes a letter to Cardinal
dolmno who. A valet appears and Caravaccio.
Hands in the letter, post this to Rome.
The valet takes the letter and leaves. Caravaccio returns to sketch.
Cut to exterior night of Malta's Sloop Straight of Sicily day,
Ailof and Stefano stand at the bow looking towards Sicily.
Cut to interior Villa, Syracuse day. Caravaccio is busy working
on a canvas. The valet enters.
They are here, Tell me who they are, all the
influential men in Syracuse and their daughters.
Exterior villa continues. Caravacchio finds a dozen young women standing
in line. Beyond the women are their wealthy fathers vying
for his attention, along a dozen men to be cast
as grave diggers and priests. Caravaccio steps up to Margarita,
who looks like.
Lena, close your eyes please, Bouzoni would pay her ransom
for those eyelids, and your complexion evokes.
So much she opens her eyes, Embarrassed by his attention.
I choose you.
He points his fingers at the faces and bodies that
appealed to him for the painting.
You and you, you and you follow me.
Cut to interior Karacci's laught Rome Day. Lena enters the
laughter as Karacchi leads her to a space facing a canvas.
You were difficult to find.
I've spent entire nights in the ghetto.
She looks around, in.
Awe the great Karachi, and I am in his studio.
I spend every night in the ghetto.
She sees that he's painting an angel.
I've always loved your angels.
My angels.
Why do you love my angels.
Because they look like angels?
Have you ever seen an angel?
No?
But if I did, I am sure they would look
like yours. Just to see one is such a comfort.
How do you feel about Carvaccio's work?
What do I feel?
What I am.
Supposed to feel? She sighs, then gets undressed.
What are you doing?
Excuse me?
I want you to pose for me.
Oh do you know when he returns from Malta.
She stops undressing.
I saw his Death of the Virgin. What does he
tell you when you pose for him?
He tells me nothing.
Nothing.
Do you want me to pose or talk?
This was not a very good idea.
There are other things we can do for the right price.
There is nothing else we can do.
He once said, he saw all life in my face.
An instant of understanding flashes across his face. He gets
his wallet and pays her more than she expected.
Here, and thank you this much.
But I haven't done anything.
Oh but you have.
If I did, it was not on purpose. You artists
are very difficult men.
But we need you.
Are news.
Oh yes, you need us.
If you see him, tell Caravaggio, I cannot wait much longer.
He shows her to the door and she leaves. Cut
to exterior, Villa Syracuse Day. Gravaccio paints quickly, his eyes
hardly ever, leaving Margarito as she lies on her back
on the ground, all the models of posed shirtlets with shovels,
and men acting as priests wearing the vestments. Cut to interior,
Villa Night. Caravacio has just completed another letter and hands
it to the servant, along with a rolled up canvas.
The servant leaves, cut to exterior. Doc Bozzalo Cicily deay
alof Stefano and the knights have docked. We're right, they
write toward the city. Cut to interior Cardinal del Montees
Villa Ludovisi, Rome day, Cardinal del Monte reads Caravaco's letter,
then closes it.
He writes a reply, Come north, dear boy, Come north.
Cut to interior Villa, Syracuse day, Caravacchio faces his painting,
the city authorities, some of the male models, and Margarita.
He then removes the cover. There is a hushed silence
in the room.
All they say about you is true, mkely.
Margherita thrilled by what she sees.
You are an excellence in Lucy. You remind me of lenav.
That is wonderful.
I hear so much about her.
The valet enters, this is just a ride by messenger.
The valid rushes up to Caravaccio, handing him a written message,
and Caravaccio reads it immediately, looking apprehensive.
Are the nights here?
There is word?
They are just leaving Puzzalo and are on their way
up the coast.
Caravaccio goes ashen. The valet leaves. Caravacio turns to Margarita.
Then the canvas.
I will complete it now I must leave Syracuse. Will
you be safe without a pardon from the pontiff, I
will never be safe.
Cut to exterior villa dusk. Caravachiu is dressed like a swordsman,
with a rapier in his belt and holding a small
bag of fresh clothing at his side. He walks along
the garden of the villa, allowing himself some fresh air.
He stops and looks around, listening to sounds, scanning the
surrounding hills for any visible signs of his enemies. Caravacchio
takes a deep breath, gathers his courage, and walks out
of the safe haven of the villa and walks into
the approaching darkness. Cuttu Exterior the city of Messina day.
The sun rises over the small, compact city, which is
hemmed in by mountains. Exterior Streets Messina continues. Caravachio walks
through the wide streets, less congested than Syracuse and less
populated with the poor. There are fewer Spanish soldiers than
in Syracuse, and Caravachio feels less threatened. He walks with
a stride. Exterior Lazari Villa Day. Caravacchio stands before the
gate of the villa. This time he looks more than presentable.
A servant opens the gate for him. Interior Lazari Villa continues.
Caravacchio faces Giovanni Lazzari, a man of distinction and wealth.
Lazari is reading Caravacio's paper of safe passage.
These are papers of safe passage from the Senate in Syracuse.
Yes, I was told to present them to you when
I reach Messina.
Our city would be honored to have the esteemed Caravajo
to stay in Messina as long as he wishes, you
will be safe here.
Caravaggio is relieved. Cut to interior hospital room, Messina day.
The dead body of a man who looks like Caravaccio
lies on a slab. Caravachio stands over the body, with
several dumbfounded hospital attens at his side.
How all this is called?
The attendants exchanged looks two days. Caravacchio nods. He then
checks to make sure the door is securely locked and
pulls down the blinds, allowing just enough light in. He
turns to the attendant.
You stand there, and you stand there.
Whatever you say, Master Caravaccio quickly sketches. Cut to interior
lazari Villa night. Caravaggio, looking successful and relaxed, watches as
Lazari has a reception of powerful men of Messina enjoying
the resurrection of Lazarus. Lazari takes Caravaco aside.
The knights are on their way here.
You have two days before they arrive.
Caravaggio nods. Lazari hands him a letter of safe passing.
This is a letter of safe passage. When you reach Naples,
bring it to the makasy de Caravacco.
Are you a relief?
No, I was named after Michelangelo. My true name is
Michelangelo Marisi. But I took the name of my town.
But the Marquesa has always been a kindly uncle to me.
But tell me, is this safe passage more powerful than
a warrant from the grand master here?
Yes, I am not confident that it will do you
any good outside of the city.
How I appreciate your kindness. It's best I leave immediately.
I don't need much of the travel.
Lazari hands Caravacho a bowl of holy water, holy.
Water from the chapel.
Would you like to bless yourself? I don't need it.
All My sins immortal.
Cut to exterior streets the city of Messina. Day a
love Stefano and knights on horseback have just entered the city.
As they make their way to Lazari's villa They are
eyed in both awe and suspicion by local citizens. Exterior
Lazari Villa. Later ailof Stefano and his knights sit on
their horses, facing Lazari.
Caravaggio the painter, was he here never? You can search
all you want?
Stefano eyes Lazari, Do.
You defy the inquisition? I wouldn't dare.
Ailof nods to Stefano.
He's not here now, but he was. He must be
in Catania. Back to the docks.
Ailof hits his horse and moves on. Lazari takes a
deep breath as Ailof and the knights right away. Cut
to exterior chartered boat terranean sea. Day Caravaggio stands at
the bow, looking out at mainland Italy. Cut to exterior
night sloop Catania. Day Alaf Stefano and his knights look
out toward the city, with Mount Etna looming in the background.
Cutou exterior boat Bay of Napoli. Day Caravaggio stands at
the bow looking out on Naples, a large cosmopolitan city
twice the size and population of Rome. It has tall
buildings which cast dark shadows on its Greek inspired grid
of streets. Caravaggio is thrilled to be back on the
mainland and a few more steps closer to Rome Cutu
Exterior Marchesi de Caravachio's Villa, Naples Day. Caravajo is led
through a garden by a valet. The Rivera de Kayea
is a refuge of natural beauty, with gardens of flowers
of every color, with orange trees and cedars. The valet
stops and Caravaco is face to face with the Marquesi
de Caravaggio sixties A wise and elk MICHAELA.
At last, after so many.
Years, he embraces Caravaggio, who closes his eyes. In relief
cut to interior Marchesi de Caravaggio's Villa Night, Caravaggio dines
with the Marchesi.
My mother loved you, She said you were good to
us long before I was born.
God had no mercy on your family nor on you,
but your fame has more than compensated for the misery
that Mauricies endured. Paint, sleep, live, Whatever you need is here.
My gardens are a refuge for the mind, the spirit,
and the heart.
And have you heard anything from her own?
Nothing?
Don't worry the Knights dare not come here for you.
I have my own security, my own bodyguards. They would
need an army to pry you from me. I need
to write to Cardinal del Monte.
I will provide all you need.
Cut to exterior dark Catania day. Ailof Stefano and the
Knights walk to their boat and bought it, bringing in
provisions and food for their horses. Ailov then pulls civilian
clothing from his saddle bag and then takes off his
night emblem, respectfully putting it in the bag. The other
knights are perplexed.
Caravaggio has powerful friends in Naples. We won't get near
him if we're recognized.
They understand and follow his lead and change their clothes.
Cut to exterior Rivera de Kayea day. Caravaggio sits in
the garden. Several small but impressive canvasses lie against the
tables and chairs. It is clear that he is working
diligently despite his restlessness. He sees a lone horseman. One
of the Marquesi's security men steps up behind Caravaggio so
that the horsemen would see him. The horsemen, dressed as
a swordsman, nods in a polite gesture and continues to
slowly ride by. Caravachio is suspicious, but then when the
horseman disappears, he relaxes. Cut to exterior outskirts of Rivera
de Cayere Day, the Horseman and Night reaches a small
camp where Ailov, Stefano and the other knights wait.
He's there.
There's security at the villa, but we can take him.
There will be citizen blood spilled if we take him
by force. Let's bide our time. He will make the mistake,
not us. Cut to interior Chapel Marchesi's villa.
Night.
Caravacho kneels alone at the altar and stares at the cross.
He can't pray, his lips can't move. He just stares,
restless and lonely. Laughter and shouts overlap in two. Cut
to exterior Osteria delC Wriglio Tavern Naples Knight, the most
celebrated tavern in all of Europe at the time. It
stands near the Via San Felice. Interior Osteria del sa
Riglio tavern continues. Caravachi is drinking at a table in
one of two rooms that make up the tavern. The
tavern is noisy, loud, and boisterous in sharp contrast to
the gardens. He is in deep conversation with and surrounded
by poets, artists, writers, and Spanish soldiers. Long stairs lead
to the top floor, where courtesans stand and wave to
the men they are trying to lure into their private bedrooms.
The food and wine are flowing as Caravaccio sits with
his arm around a courteso. Drunk, Caravacchio kisses the courtesan,
and as he does, two men approach his table. He
doesn't recognize them, but we do. They are the two
knights who are traveling with Stefano, though now they are
dressed as soredsman. Without warning, the first swordsman pulls his
rapier from his belt and slashes Caravachio across the face.
The thrust could have been deadlier, but the cortesan saw
him coming and screamed, alerting Caravaggio to move just in time.
Blood pours from the wound. Caravaggio falls backward from his chair.
Despite the bleeding, Caravaggio grabs his rapier and slashes the
first swordsman across the arms, slicing it weekly. There is
pandemonium in the tavern as chairs, food and bottles, as
well as mugs, go flying in all directions. Caravaggio uses
the distraction to throw his chair at one of the
swordsmen and barrel over him, knocking and down. Caravaggio then
rushes through the crowd, pushing people aside as he runs
out of the tavern, being chased by the two swordsmen.
Exterior street continuous with the two swordsmen in pursuit, Caravaggio
races out into the street. Stefano jumps out in front
of him. Caravaggio can't believe his eyes. Stefano slashes his
sword across Caravaggio's chest, leaving a cut of foot long.
The only thing that saves Caravaggio from a certain death
is that he jumps back, finding strength he didn't know
he had. He turns and races down the darkened alley.
With Stefano and the two swordsman in pursuit. Caravaggio sees
a church at the end of the street, and with
blood coming from his nose and staining his shirt, he
races for the church, with Stefano and the knights gaining
on him. Exterior Church, Naples night. Caravaggio reaches the church,
climbs the church steps and reaches the front door. Who
tries to open it, but it is locked.
Sake away.
He bangs on the door, turns and sees Alaf, now
dressed like the grand Master, alone.
And determine you.
Ailof pulls out his sword. Caravaggio turns to the door
again and bangs it again. H The door opens, and
a fire in his long drown cloth and sandals stands
there sanctuary. Caravaggio pushes past him and enters the church.
Interior church continues. Caravaggio rushes down the aisle toward the altars,
struggling not to collapse. Interior church. Moments later, Ailof and
Stefano enter, pushing past the friar and through the vestibule.
Who are you?
They place their Knights of Malta emblems over their disguises
for him to see.
He's our prisoner.
This is a church.
Stay out of the way.
Ailof and Stefano walk down the aisle toward Caravachio. He
falls on the altar steps, watching them approach, his face
and clothing bloodied.
Sanctuary.
The friar rushes in front of Alar.
You dare touch this?
Man.
He is wanted by the inquisition.
The friar hesitates, he's afraid of the inquisition. He looks
to Caravacchio is the friar is wavering. Ailof lifts his sword.
Caravacchio musters all of his bravery.
Sanctuary, I beg of you.
Caravaggio stands with his rapier ready in his bloodied hand.
The friar finds fortitude and stands in front of Caravaggio.
I am the pastor of this church, and this man
asks for sanctuary.
Step aside, or you die.
In the name of Christ. I grant it.
Ailof is perplexed. He's taken back by the Friar's courage.
Caravacchio now collapses at the altar's steps.
Sanctuary.
Ailof and Stefano, their swords drawn, are immobile.
Leave my church.
Ailof and Stefano realize as they have no choice, turn
and walk back down the aisle, then leave the church.
The friar follows them and bolts the door behind them
and rushes up to Caravaccio, who is now lying on
the marble floor, blood flowing from his wound. Sanctuary Yes
dissolved to interior studio rivera de Cayere Day, with a
scar running down the side of his face, Caravachio paints
an unusual painting. He's looking into the mirror at his
now bearded face with a slowly healing wound under his
left eye, using himself as a model. It is David
with the head of Goliath that he is painting. Cut
to interior Pope Paul the Fifth's private chambers Rome Day.
The Pope and Cardinal del Monte are looking at David
with the head of Goliath.
He sends it as a gift the MARCHESI wrote me
that Caravaggio was nearly killed by the Knights and Naples.
Extraordinary.
That is his face Goliath, though now pained and wounded
from his current ordeal, and the model for David, the
face of a young man who first came into my
life all those years ago, a face of innocence and sympathy.
Protect him with a pardon, and I will make sure
that the house of borghese he is filled with Caravaccio.
If the pardon is yours, send it to every church
from here to Malta.
He waves to the priest to brings the pardon to him.
I want ownership of this painting and all others we
can secure from the knights.
Of course, the Pope signs the pardon and hands it
to Cardinal del Monte. Cardinal del Monte kisses the Pope's
ring and rushes away. Cut to exterior Marquesi's Villa, Naples Day. Caravaggio,
looking worn but healed, sits with the Marquese. Is he
eating lunch when a valet appears handing the Marchesia letter.
The Marchesi looks over the letter, then hands it to Caravaccio.
It is for you from the Cardinal del Monte.
Caravacio quickly reads it. I have my pardon.
The Cardinal writes that it is being announced in every
parish from hit Temalta.
Excellent.
I need to return to Rome.
Yes, but for now stay stay up to your well.
I need to get back to Rome, to to Lena,
to Cardle, to montege.
To my world.
This is the only way I can truly heal.
If you must leave, I will provide you with an
escort to the frontier. My influence stretches to the harbor.
I will also provide you with a letter of safe passage.
It will protect you once out of the harbor. You
could take a small boat directly to Rome.
Caravaggio kisses his hand in gratitude. Cut to exterior Marchesi
de Caravaca's villain Day the Marquess. He watches Caravaccio ride
off in a carriage with his own soldiers. Exterior rode
to doc continues. Caravaccio is in a carriage traveling north,
protected by several of the Marchesi's soldiers. His canvasses are
rolled up and at his side. He nervously looks out
the window, scanning the horizon for aloff. Seeing no one,
he sits back. Cut to exterior Marqesi de Caravachio's Villa Day.
The Marchesi stands at his gate, flanked by his own soldiers.
Riding towards him is alf Stefano and several nights they
are now dressed as knights of Malta. When they reached
the gate, Stefano dismounts and hands the Marchesi ailovs areswi.
The Marqesi looks it over, then hands it back to Stefano.
Your warrant means nothing to me. You defy the inquisition,
I defy its authority, and you're leave my property.
Now he turns to his own men, which out number
the Knights. There is a tense moment as both sides
are in standoff. Ailof flinches. He nods to his knights
and they ride away.
Not everyone will defy that warrant.
Cut to exterior Marquesia de Carravacho's villa, day, Ailof Stefano
and the Knights ride their horses. Alof pulls up his
horse and stops. The Knight stop with him.
There's a small harbor over the hills. I know a
direct route. We can reach Naples before he does.
Ailof and his knights gallop off down the road and
over the hills. Cut to exterior. Carriage rode to Naples.
Day.
Caravaggio looks out the window and smiles to himself, seeing
the harbor and his escape. The carriage and escort take
him down toward the dock exterior Feluca Dock continues. Ailov
Stefano and the Knights reach a Felucco which is destined
for Rome. Ailof approaches the small boat's captain, Captain Delfino, forties,
a hardened man who is stunned to see Ailof.
This is a warrant for one of our knights. If
he boards your boat, you have orders to detain him.
Whoor is this? The Grand Master of the Knights of.
Mortar, Stefano, hands him the warrant, then leaves to move
on to the next boat. The captain is clearly intimidated.
Exterior Dark Continuous. Caravaggio's escort brings him to the dock.
Caravaggio gets out of the carriage, thank you. They ride off.
Caravaggio feels safe, so he reads the dark information and
sees that there are several felucca leaving for Rome. He heads
toward one of them. Exterior Feluca Dark Continuous. Caravaggio, carrying
his possessions, including his pain, reaches the felucca as several
passengers are boarding. The captain stands behind a sailor taking tickets.
The sailor looks to Caravaggio.
One ticket, one way destination row wait.
Caravaggio and the sailor both turn. The captain walks over
to Caravajiou with a carabinieri at his side.
Are you a Knight of Malta.
Caravaggio doesn't answer, Open your back. Caravaggio doesn't move. The
captain nods to the police, who takes the bag and
opens it. They all see the Night of Malta emblem
that Ailoff had given him back at the ceremony on Malta.
Caravaggio's stiffness.
There's been a warrant issued for the arrest of a
Night of Malta traveling these water waste.
Caravaggio shows the captain's papers of safe passage.
My name is Caravaggio. I'm a paint if papers of
safe passage from the Marquesa de Caravajo.
The captain looks at the papers and hands them back
to Caravagi.
Hmmm, you fit the description of a wanted man.
I am on my way to Rome. I have a
pardon from the Pope.
And where is this part?
Well, I've been told that it was just issued.
This warrant is signed by the Grand Master. I have
no choice but Entitania.
I have papers of safe passage from the Marquesa.
I am not defying the inquisition.
The captain turns to the police at his side arrest
this man.
You have no jurisdiction over me.
Caravajou is ready to fight, but before he can react,
the police and the captain grab hold of him and
drag him away. Caravaggio drops his possessions. He's rolled up
canvases lie on the dark, my paintings. The police drag
him off. Cut to exterior Farsa descant Elmo Prison naples death.
The prison, built by the Spanish and under Spanish rule,
is a large and dark building standing on the heights
above the city. Interior Fossa descent Elmo Prison continues. Two
prison guards lead Caravajo, who is in chains, through a corridor.
Prisoners in their cells screen out of insanity or sheer tne.
I don't belong here, Tell the warden I have money.
They pull him by his chains, leading him on them.
Several gang members are the heroin and trade looks among themselves.
Interior Assembly room prison continues. Caravachu is led through to
a room where chained prisoners are eating at large tables.
Many are deathly ill, and several collapse right there on
the spot, gasping for air and trembling. Caravachu is filled
with terror as he is dragged away. Interior Enormous cell continues.
Caravaggio languishes in an enormous cell with a hundred prisoners,
all kinds of human noises for the room from screens
of agony, fear, insane laughter, and we see many lost
souls whose dead eyes and vacant expressions match the characters
Caravacchio created on his many canvasses. Here is where the
barefoot under class lived when not on the streets. They
are the impoverished and the starving, called the Lazzaroni. Caravacchio
stands in the middle of this cell, his eyes searching
for enemies, and they are many. They are young men
with syphilis, old soldiers looking to kill anyone for sport
with their bare hands, as well as gangs who are
looking to rob any one of anything, including their lives.
The guards are few and indifferent. Caravaggio grabs the bars
and wants to scream out to the gods, but knows
that if he looks or acts scared, he will be attacked.
He turns his back to the bars and looks over
a gang that is approaching. They are four men with
scarred faces and incensed, desperate, making their way toward him.
A shaft of light from a window above cuts through
the dank, heavy air of the cell. It falls across
Caravacchio's face. You have money, is surrounded by the gang,
and they are just about to pounce when he pushes
himself off the bars and jumps right into their midst
screaming like a madman. Two scatter, but two stay and fight.
Caravaggio punches and kicks at them, knocking them down to
two scattered, but two stay and fight. Caravacho punches and
kicks at them, knocking them down. One of the men
opens his mouth and digs deep into his shoulder with
his teeth. Caravacho lets out a scream of pain. He
then grabs the man's head and bangs it against the bars.
Another man comes out of nowhere, seemingly foaming at the mouth,
and bites Caravaggio on his cheeks. Caravaggio's screams then pulls
the man off of him, getting him harder and harder
until he falls. They are shots from the outer Christmas
as reluctant gods open the cell and rush in, fighting
their way past the other prisoners to Caravaggio. The guards
grab Caravaggio and haul him out of the cell with
blood dripping from his shoulder, mouth and nose cut to interior.
Pope Paul the Fifth's private chambers Rome day, Cardinal del
Monte and the Pope read over a list.
Michel would be honored to accept these commissions from the Vatican.
I would like him to begin as soon as he returns,
and I have decided to advocate his ceremony for Caravajo,
a display of a festival.
Ah, I will compose guestless year, Holiness. I am sure
that Michel would be honored and please that his exile
has now ended.
Where do you expect he is?
If he bordered the Felucca, he should be in Rome,
perhaps as early as tomorrow.
I want you to sail for Malta.
I want you to demand from the Grand.
Master all the canvass has got about Joe painted.
They belong to my family.
Now they belong in Rome, in the house of Borghese.
You want me to go to Malta?
Who else?
You're the only one I would trust with this work.
I will give you a safe passage and an arm guard.
Cut to interior hallway prison Naples Day Ailof and Stefana
walk tentatively down the hallway and stop at a cell
alof face is a god.
Caravaggio here has a fear malaria.
Seeing the concern on the God's face. Ailof looks through
the cell bar, seeing Caravaggio chain to a chair, slumped forward.
Alone, Grandmaster, it isn't wise.
Open it the god does. Ailof enters the cell. Stefano
does not interior dungeon. Cell continues slumped in his chair. Caravaggio,
feverish and delirious, looks down as Ailov steps up to him.
Why did you leave us? You led me to believe
you had found.
Your God right my God?
I saw it in your paintings. I need to know.
Does faith guide your hand?
My questions guide me?
Who is your God?
The faces? What faces? The faces I paint? Who is
your God? The god beyond your God?
Your sins condemn you?
He looks up directly into his eyes with a moment
of clarity.
But my painting saved your soul.
Ailof leans into Caravajo and whispers so no one else
can hear.
Was not my love, dear? Do you?
Caravajo looks deeply into his eyes.
How could I love what I fear?
Caravajo falls back in his chair, closing his eyes with
his head up. Ailof stands back. The warden forties, an
ex soldier with a pained expression steps up to Ailof
and Stefano.
If this prisoner can pay, I will release him to
your custody.
We cannot take him on the ship.
Suit yourself.
What is in your pockets?
Prisoner?
Caravajo manages to pull some lirr from his pockets, and
the warden quickly scoops them up. He counts it and
turns to the guard. Caravaggio struggles and stands.
My paintings. Where are my paintings?
No one answers him, so he staggers away out of
the cell, down the hallway.
Where will he go?
What does it matter? He has no more money, and
he goes back to the harbor where he was arrested.
There's nothing between there and here but swamp.
The warden leaves as Ailof takes a step, but Stefano
steps in in front of him.
We need to return to Malta, sire.
Ailof watches as Caravaggio staggers away.
Michelangelo Marisi de Caravaggio.
Ailof and Stefano watches he disappears into the dark of
the prison. Cut to exterior front entrance Fossor de sant
Elmo prison continues. The gates open and Caravaggio, seriously ill
with nothing but the dirty clothing he's wearing, steps out.
He stumbles, regains his back balance, then walks with a
limp and coughs. People who see him look on with
disgust and disdain and either rush away or throw rocks
at him. He continues staggering on exterior dock, Naples Day.
Ailof Stefano and several knights reach their boat and board
it in silence. Cut to exterior swamp outside Naples Day.
Caravajo attempts to maintain his focus so he's headed in
the correct direction. He's at the tip of the swamp
and stops. He knows he must head north, so he
continues and enters the swamp. Exterior swamp Later, Caravaggio stumbles
through the swamp under the boiling sun as he burns
from his own fever. He hears voices and sure if
he's imagining them or not, He hides down in the
ankle deep murky waters next to a tree. He sees
a gang of robbers searching the swamp. He tries not
to breathe too loudly so they won't hear him. They
travel past him. Cut to exterior dock outside Porte de Colle. Later,
Caravaggio looks out and sees fishing boats sailing away. He
turns to an old sailor sitting there, drunk, old, oblivious.
Poortiocolle.
The old sailor just stares at him. Caravaggio walks along
the dock, following the fishing boats along the shore cut
to exterior beach day. Caravaggio, drenched in sweat but chilled
and shivering, walks along the white sands of the beach,
beneath the dreaded boiling sun. He looks out towards the sea,
mistakenly believing that what he sees is the Felucca, his
ship a short distance off the coast. He walks, trying
to keep pace with him. Exterior boat dock, Porte de Cola. Continuous,
Caravadiou reaches a small dark. A young boy is working
on the dark, looks up and sees Caravaggio. Caravajo steps
over to him, having difficulties speaking, breathing.
O what here is this place?
What evercorning h Caravajiou nods, then stumbles past the young boy,
realizing that Caravajiou is ill. The young boy rushes inland
for help. Exterior beach outside Porte de Cola continues. Caravadiou
stops and looks up at the blasting sun. He feels
as if he's in a furnace. He struggles on.
I tried to find that harmony between what I saw
and how I lived and failed.
Exterior an empty stretch of beach continuous. Caravajiou continues to walk,
looking out at the sea, seeing what he imagines to
be his ship on the horizon.
There is a life going on beyond this life, a
life that separates us from all our mistakes, from accidents pain.
He looks up at the sun and kneels at first,
then falls onto the beach. Dressed in tatter clothing of
vivid golden red, Caravaggio lies motionless on the white sand
at the edge of the blue sea, under the pure
white light of the sun. He reaches his arms towards
the sun. Cut to exterior beach outside Porte de Collie continues.
Two nuns from a small hospital off the beach, led
by the young boy, appear. They rush to Caravaggio's side.
That is how God has been to me all my life,
just out of reach, perhaps the light tells me to
love the mystery, and then Lecco.
The nuns comfort him with water to drink, then rubbing
his forehead with it. They place a light blanket over
him to ease his tremble.
Your holiness, I have been informed that Michelangelo Maurici de
Caravaggio was found dead the day before yesterday, July eighteenth,
on the Tryhenian coasts outside.
Of port are called.
Two workers appear with a stretcher and rush over to Caravaci.
He was made aware of your pardon.
Cut to interior papal chambers, roam day alone, the Pope
faces Caravacchio's paintings.
As you demanded, I have secured all the canvasses from
the knights, and all that he created that were not
painted on the walls.
The paintings of gloriously realistic, intense, brutal, and filled with
a searching for faith.
They will be brought to your private residence in Rome.
The Pope is clearly affected. Cut to exterior beach outside
Porte de Coli day. As the two workers and the
two nuns strain to ease Caravachio onto the stretcher, he
turns and sees Ailov standing on the beach directly in
front of the sun facing him. Stefano stands behind Ailof.
Behind them is a small boat on the beach with
several knights keeping it from moving with a tide.
Alone.
Ailof walks to Caravaccio reaches him and stops. The workers
and nuns ignore him as they steady the stretcher to
place Caravacchio onto it. Ailof looks down at Caravacio, forgive me.
Caravachio strains to look into Ailov's eyes, his own eyes
still being with intelligence and searching, despite being overwhelmed with suffering,
until having lost all strength, he closes his eyes, falls
back and dies.
What you see in the art, you will find in
the artist, And what you see in the artist you
will find in the man.
Aloft watches as Karavacha's bodies lifted up and carried off
the beach. The end