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Caravaggio - Act 1 · Table Read

• 0:00
  Speaker 1: We're live.
• 0:02
  Speaker 2: All right, here we go.
• 0:05
  Speaker 3: So historically, for those of you who have not been here, historically,
• 0:08
  Speaker 3: before every read we say three things. We say table read,
• 0:13
  Speaker 3: and we say the name of the script. So give
• 0:15
  Speaker 3: us the pronunciation that you would like to here on
• 0:18
  Speaker 3: the script, table read, and I would like to have
• 0:27
  Speaker 3: a little bit of excitement, a little bit of like
• 0:29
  Speaker 3: you want to be here, put a.
• 0:32
  Speaker 4: Little something in your step.
• 0:35
  Speaker 1: All right, on accountry, here we go. One two, written
• 0:44
  Speaker 1: by Rigid It's a good way Thanks, written by Richard Viterre,
• 0:54
  Speaker 1: based on his stage play on Black on screen Rooms
• 1:00
  Speaker 1: sixteen ten. Sounds of the City loud, deep human voices,
• 1:05
  Speaker 1: life at its fullest, overlaps into following scene Fadian on
• 1:11
  Speaker 1: exterior ghetto of Ortaccio, the Evil Garden, Rome night, small
• 1:17
  Speaker 1: groups of drunk men and prostitutes shout insults and seductions
• 1:20
  Speaker 1: at one another. Caravaggio, intensely aware in his thirties, piercing
• 1:26
  Speaker 1: black eyes, wears a dramatic looking black and gold tight
• 1:30
  Speaker 1: footing jacket with a red vest and a rapier dangling
• 1:33
  Speaker 1: from his belt, and a leather satchel of wine in
• 1:36
  Speaker 1: his hand. At his side are Julia Mancini and Petronio Toppa.
• 1:42
  Speaker 1: Mancini is the eldest, a poet, former merchant, wearing expensive,
• 1:47
  Speaker 1: rich green and gold, and Toppa is younger, a painter,
• 1:51
  Speaker 1: wearing form fitting blue jacket and brown vest. Caravaggio searches
• 1:57
  Speaker 1: the ortaccio looking for something which might be unat anable
• 2:01
  Speaker 1: cut to exterior chapel of Santa Maria de Popolo Rome.
• 2:06
  Speaker 1: Night Drunk, Caravaggio, Mancini and Topper approach the chapel, sharing
• 2:13
  Speaker 1: a satchel of wine. Caravaggiou pushes open the chapel door.
• 2:19
  Speaker 1: Interior Chapel of Santa Maria de Popolo Rome. A Nibele
• 2:24
  Speaker 1: Carracci late thirties stands in the aisle looking up at
• 2:27
  Speaker 1: a painting. He is dressed humbly in brown, non distinct
• 2:31
  Speaker 1: clothing despite his fame. Though his eyes sparkle with intelligence,
• 2:36
  Speaker 1: there is a pained expression on his face, as if
• 2:39
  Speaker 1: haunted by some impending doom. He can't articulate. Hearing voices
• 2:44
  Speaker 1: at the front door, he covers the canvas and hides
• 2:47
  Speaker 1: behind an altar. Caravaggio enters the chapel. I need more light,
• 2:53
  Speaker 1: Mancini and Topper follow behind him, laughing, blessing themselves, and
• 2:57
  Speaker 1: kneeling as they walk down the aisle.
• 3:00
  Speaker 2: Blesshe me, Oh, Father, for I have sin.
• 3:03
  Speaker 4: God knows you're a sinner. He doesn't need to be reminded.
• 3:08
  Speaker 1: Torch Mancini pulls a torch up off the center pew
• 3:12
  Speaker 1: as Caravaggio stops at a covered painting the same canvas
• 3:16
  Speaker 1: Karachi was looking at. Caravaggio directs the light to brighten
• 3:20
  Speaker 1: the canvas. The painting is enormous. It's the conversion of
• 3:24
  Speaker 1: Saint Paul. It's an astonishing word for its time. It's
• 3:29
  Speaker 1: bold in its showing of unblemished humanity. Its portrayal of
• 3:33
  Speaker 1: fragile human beings in a religious setting presents to the
• 3:37
  Speaker 1: Renaissance and Catholic mind a novel idea God can be
• 3:42
  Speaker 1: found in mankind's imperfections. All three are in awe. Even
• 3:47
  Speaker 1: the painting's creator.
• 3:49
  Speaker 4: Magnificent, splendid.
• 3:52
  Speaker 1: You're in the competition.
• 3:53
  Speaker 4: You'll gain the commission, and beyond my sins remembered.
• 3:55
  Speaker 1: Caravaggio takes a slug of the wine, throws the satchel
• 3:59
  Speaker 1: at topper, then turns to the other side of the
• 4:01
  Speaker 1: aisle and pulls away the canvas opposite.
• 4:04
  Speaker 4: His and here is karachis.
• 4:07
  Speaker 1: Karravaja throws the torchlight across Karachi's painting. It is the
• 4:11
  Speaker 1: same subject, the Conversion of Paul, but it's a prettier painting,
• 4:16
  Speaker 1: far less realistic, more idealized version of faith and suffering.
• 4:21
  Speaker 1: Karachi peeks from behind the altar.
• 4:24
  Speaker 4: Perfect saints with halo's spinning like golden rings. Awful, yes
• 4:30
  Speaker 4: it is, but this is what the church wants.
• 4:33
  Speaker 1: Kravajo looks up to God and says, you despise what
• 4:37
  Speaker 1: I paint because I expose.
• 4:40
  Speaker 4: You for what you are.
• 4:43
  Speaker 1: In the shadows. Karachi knocks over a small, unlit torch.
• 4:47
  Speaker 1: All three men turn ready to pounce. What was that?
• 4:50
  Speaker 2: Good demon?
• 4:51
  Speaker 1: Karachi steps out from behind the altar. Karravajo recognizes him
• 4:56
  Speaker 1: and puts his rapier back in its sheath.
• 4:59
  Speaker 4: I'll deal with this and me and me at the
• 5:01
  Speaker 4: tavern of the Hawk.
• 5:03
  Speaker 1: Go Manseni on top her turn and leave the church.
• 5:07
  Speaker 1: Caravajo walks down the aisle to Karachi Annibale.
• 5:13
  Speaker 5: I am shocked to hear you pray.
• 5:14
  Speaker 4: Oh, my prayers are in defiance.
• 5:16
  Speaker 5: God will take notice.
• 5:18
  Speaker 4: I only hope he does your work. Is brilliant. You
• 5:22
  Speaker 4: will win the commission, not me.
• 5:25
  Speaker 1: Karachi looks over Caravajo's painting.
• 5:28
  Speaker 5: Let me say now to your face that despite how
• 5:31
  Speaker 5: much I despise your realistic style, I admire it.
• 5:37
  Speaker 4: Are you painted like me once, not caring what anyone thought?
• 5:41
  Speaker 4: Your butcher sharp, the way the meat hung from hooks
• 5:44
  Speaker 4: on the walls.
• 5:45
  Speaker 5: I painted that when I was twenty one, when I
• 5:48
  Speaker 5: lived near the arena, I sold it to a merchant
• 5:51
  Speaker 5: for bread and meat.
• 5:52
  Speaker 4: It was magnificent. I even said to myself, someday, Michela,
• 5:57
  Speaker 4: you will do work as good as that.
• 6:00
  Speaker 1: Karachi gives Caravajo a slight bow of his head and
• 6:03
  Speaker 1: walks away, dejected and leaves the church. Caravo watches him.
• 6:09
  Speaker 1: Screams of laughter overlap into following scene Cut two, interior broth,
• 6:15
  Speaker 1: Piazza del Popolo night. Caravajo enters the torch lit two
• 6:20
  Speaker 1: story structure. He struts into the brothel with a wide,
• 6:24
  Speaker 1: charming smile, amid shouts of nique coming from most of
• 6:29
  Speaker 1: the topless or scantily clad women, and Caravadjo from some
• 6:33
  Speaker 1: of the male patrons. A young prostitute Isabella, rushes over
• 6:38
  Speaker 1: to him and he hugs Herani and his brothers were.
• 6:45
  Speaker 4: Here asking for it's a bella. You are a true beauty,
• 6:49
  Speaker 4: but stay out of the sun. Now give me something
• 6:52
  Speaker 4: to eat and drink.
• 6:54
  Speaker 1: Caravajo notices a young man, Fabrizio, drinking at a table
• 6:58
  Speaker 1: with a stump for a left hand, and as a
• 7:00
  Speaker 1: young woman sits silently beside him.
• 7:03
  Speaker 4: Fabrizio, what happened?
• 7:05
  Speaker 1: He holds up the bandaged stump.
• 7:08
  Speaker 4: I lost it to a Spaniard in Milano.
• 7:11
  Speaker 6: He insulted me, Well lucky you are right hand at
• 7:16
  Speaker 6: a poet writes with his heart but still meets his fingers,
• 7:20
  Speaker 6: and she must be a great inspiration.
• 7:22
  Speaker 1: Caravaggio sits at a table with Mancini and Toppa. As
• 7:26
  Speaker 1: Isabella brings bread to the table and Toppa grabs her
• 7:29
  Speaker 1: ass as she walks past her. She playfully starts at them.
• 7:33
  Speaker 1: As the young woman number two steps past the table,
• 7:37
  Speaker 1: Caravalgio jumps and stops at her, touching her face. She's
• 7:41
  Speaker 1: startled and.
• 7:42
  Speaker 4: Still Boticelli would call you venus. You are from Florence.
• 7:47
  Speaker 4: Yah see, how did you know your complexion is so
• 7:51
  Speaker 4: rare in wrong?
• 7:52
  Speaker 1: Just then, Caravajo sees a woman sitting alone at a table.
• 7:56
  Speaker 1: She's Lena twenties, captivating, vulnerable, and self contained all at
• 8:01
  Speaker 1: the same time. He ignores everything around him, walks over
• 8:05
  Speaker 1: to her, stops and stares in silence. She looks up
• 8:09
  Speaker 1: at him.
• 8:10
  Speaker 3: What you've never seen a woman before?
• 8:13
  Speaker 4: Women? I see you. I have it.
• 8:17
  Speaker 1: He moves to her, but just then a soldier steps
• 8:20
  Speaker 1: out of nowhere, takes her hand and pulls her from
• 8:22
  Speaker 1: the table into the other room, and she's gone.
• 8:25
  Speaker 7: Hey.
• 8:26
  Speaker 1: Mikhail Karavajo turns up and sees Maria thirties, standing on
• 8:31
  Speaker 1: the stairs, her arms folded across her chest, staring at him. Earthy, boisterous,
• 8:37
  Speaker 1: and voluptuous. She demands attention.
• 8:40
  Speaker 8: When you're here in my house, it's me you look
• 8:42
  Speaker 8: at and nobody else.
• 8:44
  Speaker 4: When I am in your house, I look at you
• 8:47
  Speaker 4: and no one else.
• 8:48
  Speaker 1: He walks to hers, slowly impulsively pulls her into another room.
• 8:53
  Speaker 1: Interior private room, brothel night. Karavajo and Maria pull one
• 8:59
  Speaker 1: another's clothes off, making love like ferocious creatures. With the
• 9:03
  Speaker 1: door half open, Blasts of torchlight, shouts, and laughter explode
• 9:08
  Speaker 1: beyond them. They are completely oblivious to it. All cut
• 9:13
  Speaker 1: to exterior brothel Piazza del Popolo. Don Caravajo pushes open
• 9:19
  Speaker 1: the brothel doors, shattering the early morning silence. He's drunk,
• 9:24
  Speaker 1: exhausted and spent. He steps outside and bumps into a
• 9:29
  Speaker 1: drunk Caravaggio and the drunk step back, grabbing at their daggers.
• 9:34
  Speaker 1: They recognize one another. The drunk is Ranuccio Tomasoni.
• 9:39
  Speaker 4: Ranuccio I thought I smelled lily sweet perfume.
• 9:44
  Speaker 1: Caravajo and Ranuccio lock eyes. Ranuccio thirties is a well built, handsome,
• 9:50
  Speaker 1: clean shaven man, unlike Caravajo, not dressed as an artist,
• 9:55
  Speaker 1: but as a swordsman, and a wealthy one at that.
• 9:58
  Speaker 1: In fine silk, blue and gold or the family emblem
• 10:01
  Speaker 1: embodied on his vest. He wears guards on his wrists
• 10:05
  Speaker 1: for sword fighting, and rings on his fingers, and expensive
• 10:09
  Speaker 1: bracelets and a colorful scarf of the finest silk. Ranuccio
• 10:14
  Speaker 1: calls over his shoulder, husakreton Michel de Marici. Two more
• 10:21
  Speaker 1: drunk men step out of the shadows. They are Tavio
• 10:24
  Speaker 1: and giovann Tomasoni thirties, wearing rapiers in their belts and
• 10:29
  Speaker 1: expensive jewelry. They had the poise of military men. Caravaggio stiffen,
• 10:35
  Speaker 1: says the Tomasoni brothers slowly take a stance, ready to
• 10:38
  Speaker 1: pounce on Caravaggio.
• 10:40
  Speaker 8: You owe me ten scoodi, and you'll have it when
• 10:45
  Speaker 8: I am ready.
• 10:46
  Speaker 1: Ranuccio grins as he and his brother's edge closer to Caravaggio.
• 10:50
  Speaker 1: The brothel door flings open, and Mansinian Toppa stumble out.
• 10:56
  Speaker 1: When they realize what they just walked into. They put
• 10:59
  Speaker 1: their hands on their rapiers and stand to either side
• 11:01
  Speaker 1: of Caravaggio. The sides are now even.
• 11:05
  Speaker 4: Your father was a warrior, but his sons they belonging
• 11:09
  Speaker 4: to convience.
• 11:14
  Speaker 1: All six men step back, pull their swords from their belts,
• 11:18
  Speaker 1: ready to pounce. When thumping of boots on cobblestone rattles
• 11:22
  Speaker 1: the dawn, they all turn to see several Knights of
• 11:25
  Speaker 1: Malta walking across the piazza in their direction. The knights
• 11:29
  Speaker 1: are stunningly attired in black and silver, with the bold
• 11:32
  Speaker 1: emblem of the Knights of Malta on their chest plates.
• 11:35
  Speaker 1: They carry their long swords proudly and intimidate by their
• 11:39
  Speaker 1: sheer presence and reputation. Both sides back away. Caravaggio can't
• 11:45
  Speaker 1: take his eyes off.
• 11:46
  Speaker 4: Of the night. So be a knight of the Order
• 11:48
  Speaker 4: of Malta. That's the highest honor.
• 11:52
  Speaker 1: Ranuccio turns to Caravajo.
• 11:54
  Speaker 8: One day, I will soak the piazza with your blood.
• 11:59
  Speaker 1: Ranuccio and his brother's disappear into an enormous rising sun,
• 12:03
  Speaker 1: orange and red, glaringly rising over the rooftops, soaking the
• 12:08
  Speaker 1: street with its brutal light. Caravajiou to Mancini.
• 12:12
  Speaker 4: One day, I will soak the piazza with Ranuccio's blood,
• 12:16
  Speaker 4: and be damned.
• 12:18
  Speaker 1: The sun drowns Caravajiou in blood, red light, the light
• 12:23
  Speaker 1: sound of horses overlaps into the following scene to black
• 12:28
  Speaker 1: fade in on flash forward several weeks a full white
• 12:32
  Speaker 1: moon in a milky white sky. Exterior carriage Rome night.
• 12:39
  Speaker 1: The carriage races through the streets. Visible is the insignia
• 12:43
  Speaker 1: of a cardinal of the Catholic Church, giving its significant status.
• 12:49
  Speaker 1: Interior carriage Rome continues. The only passenger is Caravajiou, thirties,
• 12:55
  Speaker 1: wearing a dramatic looking black cape, drinking wine from a satchel,
• 13:00
  Speaker 1: peering through the window to see if he's being followed.
• 13:03
  Speaker 1: He looks differently than he did when we saw him earlier.
• 13:07
  Speaker 1: He's now focused, concerned and alert. Cut to exterior Papal
• 13:14
  Speaker 1: security roadblock Night. The carriage pulls up to two guards.
• 13:19
  Speaker 1: The first guard steps over to the carriage.
• 13:22
  Speaker 7: This road is closed to all in and out of Rome.
• 13:25
  Speaker 1: Cara leans toward the window.
• 13:27
  Speaker 4: I'm traveling with special permission from Cardinal de Monte.
• 13:31
  Speaker 1: Caravajo hands the first guard official papers. A second guard
• 13:35
  Speaker 1: joins the first. The guards look over the papers.
• 13:38
  Speaker 7: Where are you traveling to Malta?
• 13:41
  Speaker 2: Malta is under siege from the turret?
• 13:43
  Speaker 4: Are you at night? No, but I am a guest
• 13:47
  Speaker 4: of the Knights.
• 13:48
  Speaker 1: Impressed, the first guard hands Cuivaijo.
• 13:51
  Speaker 7: His papers will be alert. So the roads are treacherous
• 13:55
  Speaker 7: with bandits.
• 13:55
  Speaker 4: Oh, I will be on alerts. Would you like some wine, gentlemen, No,
• 14:02
  Speaker 4: thank you.
• 14:03
  Speaker 1: The second guard waves to the driver. Interior carriage Night.
• 14:08
  Speaker 1: Karva Joe takes a slug from the satchel, then peers
• 14:11
  Speaker 1: out the window, looking down at the flickering lights of Rome,
• 14:15
  Speaker 1: glimmering like stars. Cut to exterior carriage. Boat dock continues
• 14:22
  Speaker 1: the carriage stars. Karravajo steps out and it quickly pulls away,
• 14:26
  Speaker 1: leaving him he staggers, then manages to steady himself without
• 14:32
  Speaker 1: luggage other than a satchel to hold a sketchbook and ink.
• 14:36
  Speaker 1: He moves to the small but seaworthy boat, also with
• 14:39
  Speaker 1: a flag and insignia of a cardinal of the Catholic Church.
• 14:43
  Speaker 1: He steps up to a dock guard and presents him
• 14:45
  Speaker 1: the official papers.
• 14:48
  Speaker 4: I believe you've been waiting for me.
• 14:50
  Speaker 1: The doc God looks them over and hands them back.
• 14:53
  Speaker 8: Hmmm, we were, but the tide isn't We shove off.
• 14:58
  Speaker 1: Immediately, Joe steps aboard and it is clear he's the
• 15:02
  Speaker 1: only passenger. He recognizes Andrea, a young sailor.
• 15:07
  Speaker 4: Andrea, my son, Matthew.
• 15:10
  Speaker 1: He steps over to him and touches his face gently.
• 15:13
  Speaker 5: Caravaggio, so you are the passenger we were waiting for.
• 15:17
  Speaker 5: You do know that Malta is a treacherous destination.
• 15:20
  Speaker 4: Not as treacherous as Rome. It's for me right now.
• 15:25
  Speaker 5: I have to man my post. Can I find you later?
• 15:29
  Speaker 1: Caravajo reaches out his hand and holds it tenderly.
• 15:32
  Speaker 4: Yes, let's find one another in the shadows.
• 15:37
  Speaker 1: Andrea rushes off As the boat slowly pulls away from
• 15:39
  Speaker 1: the dog. Caravajo stands at the stern, turns and looks
• 15:44
  Speaker 1: forward into the darkness where the boat is headed. His
• 15:48
  Speaker 1: eyes his demeanor reveal anticipation and hope as the stars
• 15:52
  Speaker 1: and the full moon light the vessel's way. Cut to
• 15:56
  Speaker 1: exterior boat Terranian Sea, dawn. The boat sails along on
• 16:02
  Speaker 1: the calm seas. Cut to exterior boat terrain and sea continues.
• 16:09
  Speaker 1: Carravajeau is on the deck, searching the skyline for Malta.
• 16:13
  Speaker 1: The boat's grizzly captain stands beside him. Caravajio sees something
• 16:18
  Speaker 1: faintly on the horizon Malta. Caravajo strains to get a
• 16:21
  Speaker 1: bed of view. The fortress stands high on the rocky
• 16:25
  Speaker 1: promontory of Mount Scaberis. Thunder blasts in the distance. Caravajou
• 16:30
  Speaker 1: looks up, perplexed since the sky is clear thunder cannon.
• 16:35
  Speaker 1: The captain goes back to his work as Caravajou looks
• 16:37
  Speaker 1: towards Malta underterre cut to exterior Harbor Castle sant Angelo,
• 16:44
  Speaker 1: Malta dawn. Caravajeau's boat slowly enters the harbor, and now
• 16:50
  Speaker 1: that he can see the harbor clearly, what he sees
• 16:53
  Speaker 1: puts a pit in his stomach. Smoke rises up from
• 16:56
  Speaker 1: the docks where anchored boats burn. The shoreline lit with
• 17:00
  Speaker 1: dead and mangled bodies, the ruins of a recent vicious
• 17:04
  Speaker 1: and bloody battle. Knights race to and fro, putting out
• 17:08
  Speaker 1: fires and tending to the wounded. Moans and cries of
• 17:12
  Speaker 1: pain emanate from the shoreline and echo out toward the harbor.
• 17:19
  Speaker 1: Cut to exterior boat beach Malta continues. Since the dark
• 17:25
  Speaker 1: is damaged, Caravaggio's boat runs aground on the beach. Caravaggio
• 17:30
  Speaker 1: views the carnage, smells the stench of burning flesh, and
• 17:34
  Speaker 1: sees the blood in the water. As he's about to
• 17:37
  Speaker 1: put his foot down into the sea, he stops and
• 17:39
  Speaker 1: looks up to see alf dovingerko, I knew that was
• 17:47
  Speaker 1: going to happen, Vinyakor. I'm doing okay, that's it. As
• 17:54
  Speaker 1: he's about to put his foot down into the sea,
• 17:56
  Speaker 1: he stops and looks up to see alf D Vinyakor
• 17:59
  Speaker 1: standing on the beach, dressed magnificently in his battle attire,
• 18:03
  Speaker 1: with blood staining his breastplate and a gold sword in
• 18:07
  Speaker 1: his hand. He stands over the bodies of two dead Turks.
• 18:11
  Speaker 1: He clearly just killed Ailof, has a beard that is
• 18:15
  Speaker 1: going gray, and had hired several deep scars, but not
• 18:18
  Speaker 1: all of them. His nose has been broken several times
• 18:22
  Speaker 1: in battle, and is elegantly dressed in brown, leather and silver.
• 18:27
  Speaker 1: He is oblivious to the surrounding hell like environment, looks
• 18:30
  Speaker 1: to karava Jo and proudly lifts his chin. His eyes
• 18:34
  Speaker 1: shine with delight to see karava Jo, and a slow
• 18:37
  Speaker 1: smile crosses his lips. Just then, a cloud of smoke
• 18:41
  Speaker 1: covers the beach from the burning carcass of a small
• 18:44
  Speaker 1: ship stuck in the harbor. Karavajo coughs, and when the
• 18:49
  Speaker 1: smoke is gone, so is Ailof. Cut to interior entrance
• 18:55
  Speaker 1: hallway Castle Saint Andelo continues. If Rajo steps up into
• 19:01
  Speaker 1: the castle and is quickly confronted by Stefano dela Croce
• 19:05
  Speaker 1: early thirties, tall Well built a night with the rank
• 19:09
  Speaker 1: of captain.
• 19:10
  Speaker 9: I am Stefano dela Croce, the grand Master's captain at
• 19:14
  Speaker 9: arms and at your service.
• 19:16
  Speaker 1: This way, please, Stefano leads Kao along the.
• 19:20
  Speaker 9: Path your visit took us by surprise. We only received
• 19:25
  Speaker 9: the Cardinal's message last night. I hope you had a
• 19:28
  Speaker 9: smooth crossing.
• 19:29
  Speaker 4: Oh, we oncet attacked by bandits or turks.
• 19:32
  Speaker 7: God was with you.
• 19:33
  Speaker 4: I didn't see him, but then it was the dead
• 19:36
  Speaker 4: of night.
• 19:37
  Speaker 7: HM. Well this way please.
• 19:40
  Speaker 1: He turns and walks down the hallway, and karava Joe follows.
• 19:45
  Speaker 1: Interior hallway castle sant Angelo continuous as they walk, despite
• 19:51
  Speaker 1: how a steer the castle seems. Karavaijo notices weapons and
• 19:55
  Speaker 1: even some artwork on the walls. He notices one painting
• 19:59
  Speaker 1: in particul killer and stops. Stefano also stops, perplexed.
• 20:04
  Speaker 7: There's something wrong.
• 20:06
  Speaker 4: I'm admiring this tempest.
• 20:08
  Speaker 7: You appreciate his battle scenes.
• 20:10
  Speaker 4: Oh, I applaud his use of blood, death, darkness.
• 20:15
  Speaker 9: I know very little of art, but I can see
• 20:17
  Speaker 9: the artist understands war.
• 20:20
  Speaker 4: And I know very little of war, but I can
• 20:23
  Speaker 4: see that the grand Master understands art.
• 20:26
  Speaker 1: Stefano nods, then leads karavaar Jou further down the hallway.
• 20:31
  Speaker 1: Exterior hallway outside karavar Joe's room continuous. Stefano stops in
• 20:38
  Speaker 1: front of a thick wooden door, with Caravajou behind him.
• 20:41
  Speaker 1: He opens the door to a room which resembles a
• 20:44
  Speaker 1: prison cell your quarters interior Carva Joe's room continuous. Caravajo
• 20:51
  Speaker 1: enters deeper into the small room. It is stark, unadorned.
• 20:56
  Speaker 1: There is a table with a bucket of water and
• 20:58
  Speaker 1: a bible sitting on it, as well as a small
• 21:01
  Speaker 1: enclave where to kneel and pray. The window as iron
• 21:04
  Speaker 1: bars on it. There is a bed with a mattress,
• 21:07
  Speaker 1: a blanket, and a single pillow, but nothing else. He
• 21:11
  Speaker 1: touches the mattress and makes a face.
• 21:14
  Speaker 7: The grand Master will call for you when he is ready.
• 21:17
  Speaker 1: He turns and leaves Caravajou alone, closing the door. Caravaggio
• 21:22
  Speaker 1: hears a key in the lock.
• 21:23
  Speaker 4: Wait.
• 21:24
  Speaker 1: Wait, He shoves the door, but it doesn't move. It
• 21:28
  Speaker 1: is locked. Caravajo sits on the hard bed, facing the
• 21:32
  Speaker 1: window and looks north towards Rome, imagining what is going
• 21:35
  Speaker 1: on at the Vatican. Cut to exterior Saint Peter's Basilica,
• 21:42
  Speaker 1: Rome Day, a dark, brooding sky with a shaft of
• 21:47
  Speaker 1: light cutting through the overcast, desperate to dispel the gloom.
• 21:52
  Speaker 1: Interior Vatican Office of the Treasure Council, Rome Day. Cardinal
• 21:57
  Speaker 1: del Monte fifties, who has the cunning into intelligence of
• 22:00
  Speaker 1: a fox, and the physical presence of a lion enters.
• 22:05
  Speaker 1: A shaft of sunlight cuts through the large windows. Del
• 22:09
  Speaker 1: Monte hurries past bishops and cardinals, walking directly up to
• 22:12
  Speaker 1: Pope Clement the eighth sixties, dressed in his papal robes
• 22:17
  Speaker 1: and magnificent jewels and his red velvet robe. He's pious,
• 22:21
  Speaker 1: old and ill your holiness. He kisses the Pope's ring
• 22:27
  Speaker 1: as the Pope reaches out his hand.
• 22:29
  Speaker 4: Why isn't Caravaggio here?
• 22:31
  Speaker 10: A thousand apologies? But Caravaggio is attending a new and
• 22:35
  Speaker 10: very important commission.
• 22:38
  Speaker 1: Pope Clement the eighth nods to what everyone in the
• 22:40
  Speaker 1: room is facing. Two large paintings hanging side by side,
• 22:44
  Speaker 1: covered by velvet curtains proceed. Cardinal del Monte bows, then
• 22:50
  Speaker 1: faces the.
• 22:51
  Speaker 7: Gathering aneebly Carracci.
• 22:54
  Speaker 1: Karacci, still dressed, humbly stands and walks to one of
• 22:58
  Speaker 1: the curtains and pulls it open, unveiling his own painting,
• 23:02
  Speaker 1: The Assumption of the Virgin. There is a gasp of
• 23:05
  Speaker 1: the piety and visual beauty of the painting.
• 23:08
  Speaker 7: Ah.
• 23:09
  Speaker 1: Cardinal del Monte then walks to the other curtain, pulling
• 23:12
  Speaker 1: it aside revealing Caravaggio's The Death of the Virgin. Caravaggio's
• 23:17
  Speaker 1: canvas immediately elicits moans of disbelief from those who have
• 23:21
  Speaker 1: no understanding of his achievement, as well as size of
• 23:25
  Speaker 1: all from those who know what he has accomplished.
• 23:28
  Speaker 11: I choose an epa at Carracci's canvas to adorn the chapel.
• 23:33
  Speaker 1: Pope Clement the Eighth stands and leaves the room. As
• 23:36
  Speaker 1: soon as he does, everyone rushes to examine the paintings.
• 23:40
  Speaker 1: Karacci steps forward and bows in gratitude, then quickly steps
• 23:45
  Speaker 1: closer to Caravaccio's painting, looking up at it. Cardinal del
• 23:49
  Speaker 1: Monte steps over to him.
• 23:51
  Speaker 7: You deserve to win the commission.
• 23:54
  Speaker 5: Who is his model?
• 23:56
  Speaker 7: Her name is Lena?
• 23:58
  Speaker 5: Where is he he?
• 24:00
  Speaker 7: He should have arrived on Malta this.
• 24:01
  Speaker 5: Morning, Malta for God's sake.
• 24:04
  Speaker 7: Why the grand Master requested him to paint his portrait?
• 24:08
  Speaker 5: And does the Grandmaster know that Caravaccio is wanted for murder?
• 24:11
  Speaker 7: Let's pray. The news continues to travel slowly.
• 24:16
  Speaker 5: You actually believe you can get him a pardon.
• 24:19
  Speaker 7: Without a pardon, he's a dead man.
• 24:22
  Speaker 1: A bishop steps over to del Monte and Carracci.
• 24:25
  Speaker 8: Our pontiff would like to see you for dinner this
• 24:27
  Speaker 8: evening in his private quarters.
• 24:30
  Speaker 1: Of course, the bishop walks away. Del Monte turns and
• 24:34
  Speaker 1: sees Carracci once again, staring at Caravajao's painting.
• 24:38
  Speaker 7: Where can I find this swiena the ghetto of Artaccio?
• 24:44
  Speaker 5: Why I need to know how he does it?
• 24:46
  Speaker 1: They both look at the painting. Cut to exterior the
• 24:51
  Speaker 1: letter Malta night. The moon throws a light over the
• 24:55
  Speaker 1: stone fortress, knocking overlaps into the following scene Interior Caravacho's room,
• 25:02
  Speaker 1: Malta night. The room is pitch black. The knocking wakes
• 25:07
  Speaker 1: Caravajo humph ugh. He stumbles out of bed just as
• 25:11
  Speaker 1: the door opens.
• 25:13
  Speaker 7: The grand Master is ready for you.
• 25:15
  Speaker 1: Cut to interior hallway outside the grand Master's chambers night.
• 25:20
  Speaker 1: As they walk through the torch lit hallway, Karavadjo notices
• 25:24
  Speaker 1: frescoes on the wall. Stefano stops at the door.
• 25:28
  Speaker 7: He is expecting you.
• 25:29
  Speaker 1: He opens the door and both men enter. Interior the
• 25:33
  Speaker 1: grand Master's private chambers. Continuous. Alov de Vignyokoor is sitting
• 25:38
  Speaker 1: behind a thick wooden table. Karvaijo takes him, and the
• 25:42
  Speaker 1: room in the high ceiling is covered with a mural
• 25:45
  Speaker 1: and the large windows are stained glass. There is art
• 25:49
  Speaker 1: everywhere on the walls. Ailof looks up from his paperwork.
• 25:52
  Speaker 1: Karavaijo notices he looks pained. His eyes can't hide what
• 25:57
  Speaker 1: he still suffers from all his old water wounds and
• 26:00
  Speaker 1: other more deeper agonies.
• 26:02
  Speaker 12: I apologize for the hour. Welcome to the letter and
• 26:07
  Speaker 12: my sanctuary.
• 26:09
  Speaker 4: Titian, Rafael, Timpsta, And in your whole way you have
• 26:13
  Speaker 4: a taste for grizzly scenes of slaughter martyrdom.
• 26:17
  Speaker 12: Well, I do indulge myself, but the.
• 26:21
  Speaker 4: Frescoes have a purpose.
• 26:24
  Speaker 12: They keep the glory of the order ever before my
• 26:27
  Speaker 12: eye and the others.
• 26:31
  Speaker 1: He Love stands and gestures to the paintings here.
• 26:34
  Speaker 12: Titian is here for his understanding of human nature, Raphael
• 26:39
  Speaker 12: for his understanding of human grandeur, Timpesta for his understanding
• 26:46
  Speaker 12: of human history.
• 26:47
  Speaker 4: And who do you have here for an understanding of
• 26:49
  Speaker 4: the human soul?
• 26:51
  Speaker 1: A Love smiles c Joe smiles back.
• 26:55
  Speaker 12: I'm alf Davignicourt.
• 26:58
  Speaker 4: Yes, yes you are, and I am on it.
• 27:02
  Speaker 1: Caravajious bows in reverence.
• 27:04
  Speaker 12: It gives me great pleasure to welcome the great Caravaggio
• 27:08
  Speaker 12: to Malta.
• 27:09
  Speaker 4: And it gives me even greater pleasure to be here.
• 27:13
  Speaker 1: I love, said some gestures to carave Adiou to join him.
• 27:16
  Speaker 1: He does.
• 27:18
  Speaker 12: We met once before in Rome. I was at the
• 27:23
  Speaker 12: unveiling of your painting, the Calling of Saint.
• 27:26
  Speaker 4: Maxi's in the Contarei Chapel. Yes, yes, I remember meeting you. Well.
• 27:32
  Speaker 1: The two men share a moment of mutual respect and admiration.
• 27:36
  Speaker 12: You came to our island at a difficult time. The
• 27:39
  Speaker 12: Turks attacked just before you sailed into the harbor, and.
• 27:43
  Speaker 4: I've heard how your knights protect our civilization. But now,
• 27:46
  Speaker 4: for the first time I have witnessed it. Yes, they
• 27:50
  Speaker 4: will return, and I will be at your service if
• 27:53
  Speaker 4: you need my sword. Have you ever fought in a battle?
• 27:57
  Speaker 12: No, Well, then it is fortunate that it is your
• 28:01
  Speaker 12: brush I employed.
• 28:03
  Speaker 9: We were concerned that we would be unable to get
• 28:06
  Speaker 9: you interested in coming here, considering all the commissions you
• 28:10
  Speaker 9: are offered in Rome.
• 28:11
  Speaker 4: Well, Rome was growing stale for me.
• 28:15
  Speaker 12: Stale an interesting choice of words. Why, sir, Oh, my
• 28:21
  Speaker 12: last visit, IE witnessed how it had become a savage
• 28:25
  Speaker 12: sinful city and an embarrassment to the Vatican itself.
• 28:30
  Speaker 4: Yes, the Vatican can be quite sensitive.
• 28:32
  Speaker 7: I was told you traveled with very little.
• 28:35
  Speaker 1: I didn't want to miss the tide a Love notices
• 28:38
  Speaker 1: Stefano's attitude toward kind of adieu with curiosity.
• 28:43
  Speaker 4: Do you know much about us? Well? I know that
• 28:46
  Speaker 4: you are both God's great worry.
• 28:49
  Speaker 9: Our motto is discipline, trust and death to the infidel.
• 28:54
  Speaker 9: We live sparsely, We pray for God's guidance, and we
• 28:56
  Speaker 9: are celibate.
• 28:58
  Speaker 4: Celibate, yes, to purge this owner.
• 29:01
  Speaker 7: The soul, the heart, the mind.
• 29:05
  Speaker 12: We are having a dinner in your honor tomorrow night,
• 29:08
  Speaker 12: in my honor. Yes, my men want to meet you,
• 29:13
  Speaker 12: and I want you to meet them. It might help
• 29:16
  Speaker 12: you in your creation of my portrait.
• 29:20
  Speaker 1: He stands and walks to the door as Carvajou follows.
• 29:24
  Speaker 12: Here away from your life in Rome, you will soon
• 29:27
  Speaker 12: find that the world outside these walls means.
• 29:31
  Speaker 4: Nothing, nothing grandmask nothing.
• 29:36
  Speaker 1: He gestures to the end of the empty hall.
• 29:39
  Speaker 12: You may go back to your room to rest. Stefano
• 29:42
  Speaker 12: will direct you.
• 29:44
  Speaker 1: Half closes the door, leaving Karava Joe alone with Stefano
• 29:48
  Speaker 1: without saying a word. Stefano turns and walks down another corridor.
• 29:53
  Speaker 1: Cararavad Joe follows. Cut to interior. Caravajou's room continues. Caravao
• 30:01
  Speaker 1: enters the dark room. He turns quickly to Stefano.
• 30:05
  Speaker 4: The bed is too hot, the window too small. I
• 30:07
  Speaker 4: need lights in the morning.
• 30:09
  Speaker 1: I am Caravajo.
• 30:11
  Speaker 4: This room is no better than a prison cell.
• 30:14
  Speaker 7: We all live like this. You can always travel back
• 30:18
  Speaker 7: to Rome.
• 30:19
  Speaker 9: The next boat sails the first thing tomorrow with the
• 30:21
  Speaker 9: morning time.
• 30:22
  Speaker 4: What is it about me? You don't like Stefano? So
• 30:26
  Speaker 4: my face, my attire, anything.
• 30:28
  Speaker 9: What you are correct about Voletta was not made for comfort.
• 30:34
  Speaker 7: It was once a prison.
• 30:36
  Speaker 1: Stefano closes the door and locks it behind him.
• 30:38
  Speaker 4: And why are you locking me in?
• 30:41
  Speaker 1: He hears only Stefano's boots moving down the hallway.
• 30:45
  Speaker 4: Fool.
• 30:46
  Speaker 1: Caravaggio lies back on the bed and wonders about what
• 30:49
  Speaker 1: is going on in Rome.
• 30:51
  Speaker 4: He is a murderer.
• 30:53
  Speaker 1: Cut to interior. Papal chambers, Rome, Continuous, Cardinal del Montean Clement,
• 31:00
  Speaker 1: the Aid sit across one another at a table, enjoying
• 31:03
  Speaker 1: their dinner.
• 31:04
  Speaker 10: Caravaggio killed Renuccio in self defense.
• 31:07
  Speaker 11: He Thomasani's family has been very generous to our Holy
• 31:11
  Speaker 11: Mother Church.
• 31:12
  Speaker 7: Caravaggio is a great painter.
• 31:14
  Speaker 11: Yeah, tell that too. Werenuccio's brothers. They demand retribution. However,
• 31:21
  Speaker 11: this patro of yours does intrigue me.
• 31:25
  Speaker 2: He isn't afraid.
• 31:27
  Speaker 10: He's been on his own most of his life, like
• 31:30
  Speaker 10: many today.
• 31:31
  Speaker 7: His mother and.
• 31:31
  Speaker 10: Father were both killed by plague. I first met him
• 31:35
  Speaker 10: when he was a young man living on the streets.
• 31:39
  Speaker 11: It's no secret that your stable of artists has made
• 31:42
  Speaker 11: you a wealthy man.
• 31:43
  Speaker 4: Francesco.
• 31:44
  Speaker 11: I have no doubt that you have enough save to
• 31:47
  Speaker 11: get on Holy Mother Church out of debt.
• 31:50
  Speaker 4: Ah.
• 31:51
  Speaker 10: Rumors of my financial world being are greatly exaggerated.
• 31:56
  Speaker 11: And as numerous as the sightings of Christ directly after
• 31:59
  Speaker 11: the crucifixion.
• 32:00
  Speaker 7: Your point, your Holiness, you.
• 32:02
  Speaker 11: Have secured safe passage for Carvajo to Malto without my permission.
• 32:08
  Speaker 11: Another rumor, No, I am the Pope. Nothing escapes me,
• 32:17
  Speaker 11: does this portre se of yours?
• 32:19
  Speaker 7: Faith in abundance, your Holiness.
• 32:22
  Speaker 1: Pope Clement gestures to his assistant, who quickly hands him
• 32:26
  Speaker 1: official papers. Pope Clement hands the papers to Cardinal del Monte.
• 32:30
  Speaker 11: His arrest record it's biblical and scale. He once through
• 32:36
  Speaker 11: artichokes in a waited and nearly blinded him. He said
• 32:40
  Speaker 11: the archijokes were rotten.
• 32:42
  Speaker 1: Cardinal del Monte places the papers down, he has seen
• 32:45
  Speaker 1: them before.
• 32:47
  Speaker 10: Allow him to return the room, and he will make
• 32:50
  Speaker 10: his penance.
• 32:52
  Speaker 1: The Pope coughs, God, it's calling me.
• 32:56
  Speaker 7: I pray that God be still. We need you here.
• 33:00
  Speaker 1: The Pope catches Cardinal del Monte's obvious attempt at false
• 33:03
  Speaker 1: flattery and laughs.
• 33:06
  Speaker 11: Always in such a hurry to take my place, our
• 33:10
  Speaker 11: conversation is over enjoyed. Discern elsewhere there will be no
• 33:16
  Speaker 11: pardon for Carvato.
• 33:19
  Speaker 1: The Pope reaches out his hand for Cardinal del Monte
• 33:22
  Speaker 1: to kiss his ring. He does bows and leaves. Thundrous
• 33:27
  Speaker 1: voices from the Knights of Malta overlapse into cut to
• 33:31
  Speaker 1: exterior dining hall Castle Saint Angelo, Malta Knight. A hundred knights,
• 33:37
  Speaker 1: loud and exuberant, intimidating in fierce enter and fill the
• 33:41
  Speaker 1: enormous hall. They are followed by knights with missing limbs.
• 33:46
  Speaker 1: They are followed by several young boy vallads, and behind
• 33:49
  Speaker 1: them two dozen Turkish slaves in chains, who are there
• 33:52
  Speaker 1: to serve the food and drink. On the wall high
• 33:55
  Speaker 1: above is the knight's emblem. Caravajiou enters, escorted by Stefano
• 34:01
  Speaker 1: and brought to his prominent seat at the head of
• 34:03
  Speaker 1: the table. The knights watch him in silence, judging him quietly.
• 34:08
  Speaker 1: Ailof Enters sits beside Caravaggio. Stefano sits beside ailof Ailof
• 34:14
  Speaker 1: stands facing the knights.
• 34:17
  Speaker 12: Once again, we have proven to the world that we
• 34:20
  Speaker 12: knights are the glorious shield of Christian Europe and a
• 34:25
  Speaker 12: bulwark against the terms.
• 34:30
  Speaker 1: Cheers and shouts fill the room as some knights draw
• 34:32
  Speaker 1: their swords and thrust them into the air or at
• 34:35
  Speaker 1: the slaves, who are immobilized by fear.
• 34:38
  Speaker 7: To tradition and to God our Father.
• 34:41
  Speaker 1: They drink their wine in silence. A bishop appears at
• 34:44
  Speaker 1: the door, let us pray. They all bar their heads
• 34:49
  Speaker 1: in prayer. Caravajou looks around at the sudden, sincere solemn
• 34:53
  Speaker 1: atmosphere of the room. Riotous laughter overlaps into cut to
• 35:01
  Speaker 1: interior dining hall, Castle sant Angelo, Malta. Later, several roasted
• 35:07
  Speaker 1: pigs are being cut up in the center of the
• 35:09
  Speaker 1: room as the slaves pour wine out of large barrels.
• 35:13
  Speaker 1: Then serve it. Ailov turns to Caravajou come with me.
• 35:18
  Speaker 1: Ailov turns to a door in the stone wall behind him,
• 35:21
  Speaker 1: He enters and disappears. Caravajo follows interior in a sanctum continuous.
• 35:29
  Speaker 1: Caravajo enters a small room, lit by torches and encased
• 35:33
  Speaker 1: in gray and brown stone, with a large barred window
• 35:36
  Speaker 1: which looks out.
• 35:37
  Speaker 4: To the sea.
• 35:38
  Speaker 12: This is where I want to pose for the portrait
• 35:41
  Speaker 12: in the morning.
• 35:42
  Speaker 4: The light is glorious.
• 35:46
  Speaker 12: Of course, as as soon as you decide to paints
• 35:50
  Speaker 12: and brushes will be delivered.
• 35:52
  Speaker 4: Grandmaster, you should be aware that I dislike doing portraits.
• 35:59
  Speaker 12: Then why is there.
• 36:01
  Speaker 4: I don't paint? Please? I am painting your portrait because
• 36:06
  Speaker 4: in Rome, when the knights enter the piazza, the hoodlums
• 36:09
  Speaker 4: fall back and the cavalier bow with admiration. That said,
• 36:17
  Speaker 4: your eyes will stay on your side of the canvas
• 36:19
  Speaker 4: until the portrait is completed, and you take the portrait
• 36:24
  Speaker 4: as is. But I will have suggest you then get
• 36:29
  Speaker 4: anna Bali Karachi.
• 36:31
  Speaker 12: I don't want Karachi. It is you that I want.
• 36:36
  Speaker 12: Why do you dislike his work? Do you question his fair?
• 36:41
  Speaker 7: No?
• 36:41
  Speaker 4: I question his taste.
• 36:43
  Speaker 1: He love bursts out in laughter. There's a moment of
• 36:46
  Speaker 1: genuine affection between the two men. Return to the festivities.
• 36:52
  Speaker 4: You are the guest of honor, so I.
• 36:55
  Speaker 1: Am interior dining hall. Later, who puts his arm around
• 37:01
  Speaker 1: the knight sitting beside him and both are laughing, then
• 37:07
  Speaker 1: jumps up on the table and raises his cup.
• 37:09
  Speaker 4: To the great Knights of Malta.
• 37:16
  Speaker 1: The knights respond and cheer. The knights now bang on
• 37:22
  Speaker 1: the table where they have plates and pans, making a
• 37:24
  Speaker 1: pulsating sexual sound. Some knights are joining in, but others
• 37:29
  Speaker 1: seem offended. Then leads some of the knights on the
• 37:32
  Speaker 1: table in a dance where they are swinging their hips,
• 37:35
  Speaker 1: shouting and swaying. Cao slips and falls to his chair, laughing.
• 37:44
  Speaker 1: Stefano emerges from the other side of the table.
• 37:46
  Speaker 2: And Stefano, what do you think of my brothers at art?
• 37:49
  Speaker 4: Yeah, great man, all of them, including you. Stefana, how
• 37:55
  Speaker 4: long have you been a knight?
• 37:57
  Speaker 2: Ten years? In here from Marseilles.
• 37:59
  Speaker 9: When I was a boy, I studied under the grand
• 38:01
  Speaker 9: Master himself.
• 38:03
  Speaker 2: I learned soldiering from him.
• 38:05
  Speaker 4: And your family they are my family.
• 38:08
  Speaker 1: You are fortunate then just then, a knight pulls Caravajo
• 38:12
  Speaker 1: back to the table. Hey, Caravajo dances crazily on the
• 38:16
  Speaker 1: table with other knights. Some of them are making obscene gestures.
• 38:21
  Speaker 1: Stefano watches caravaggo, and their eyes lock. Stefano leaves cut
• 38:28
  Speaker 1: to exterior ramparts Castle sant Angelo continuous, still drunk and
• 38:35
  Speaker 1: believing he was following Stefano. Caravajo finds himself walking along
• 38:40
  Speaker 1: the castle walls. A guard is off in close distance
• 38:43
  Speaker 1: keeping a lookout. A young boy, Roberto a Page, appears
• 38:48
  Speaker 1: on the far side of the rampart. He's blonde and
• 38:51
  Speaker 1: his hair is lit by the moonlight.
• 38:53
  Speaker 4: Hey, did Stefano come this way?
• 38:57
  Speaker 1: Roberto shakes his head.
• 38:58
  Speaker 4: Ah, you don't speak, but but you understand.
• 39:00
  Speaker 1: Good, Roberto nods.
• 39:03
  Speaker 4: I'm from Rome. It's crowded, noisy right now. I would
• 39:07
  Speaker 4: be with my friends in the Tavern of the Hawk
• 39:09
  Speaker 4: or the Tavern of the War, unless we go to
• 39:14
  Speaker 4: the Ortitracio, the Garden of Evil.
• 39:18
  Speaker 1: A light falls across them. They look up. The light
• 39:21
  Speaker 1: is from a window above them. Roberto eases back out
• 39:25
  Speaker 1: of the light, not wanting to be seen. Roberto, both
• 39:29
  Speaker 1: Caravajo and Roberto look down the rampart and see Stefano
• 39:32
  Speaker 1: walking towards them. Afraid, Roberto quickly turns and runs away
• 39:36
  Speaker 1: in the other direction. Stefano reaches Caravajo, but looks past him.
• 39:41
  Speaker 2: I'm looking for a page. You just broke curfew.
• 39:45
  Speaker 1: Caravajo drunkenly stumbles, gathers himself and gives a mock bow.
• 39:50
  Speaker 4: Many pardons. Whatever you put in your wine here and Martez, certainly.
• 39:56
  Speaker 2: We are aware of your life.
• 39:58
  Speaker 9: Enroll the bars, the the fights, the prostitutes.
• 40:03
  Speaker 7: I say to you, Michael Angelo, de tread careful.
• 40:07
  Speaker 4: Call, And I say to you, your eyes shine magnificently
• 40:12
  Speaker 4: in this light.
• 40:14
  Speaker 1: Stefano glares sharply at Carajoe is about to walk away
• 40:18
  Speaker 1: when Carao catches him by the arm.
• 40:22
  Speaker 4: I have no intention of offending.
• 40:24
  Speaker 1: Without answering, Stefano turns and leaves the rampart, turns and
• 40:30
  Speaker 1: faces the wind coming out from the darkness and the sea.
• 40:33
  Speaker 1: Laughter fills the night air and overlaps in two flashback
• 40:38
  Speaker 1: to exterior brothel, Piazza del Popolo night, Caravaggio and Ranuccio
• 40:45
  Speaker 1: lock eyes in the early morning twilight.
• 40:48
  Speaker 8: One day, I will soak the Piazza with your blood.
• 40:53
  Speaker 4: I will shunk it with yours.
• 40:56
  Speaker 1: Flashback end exterior ramparts, Castle Saint Angelo night, Caravagieou stands
• 41:03
  Speaker 1: alone Renaultier. He's drained by the memory. End of Act one,