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Caravaggio - Act 2 · Table Read

• 0:04
  Speaker 1: After searching for a model in the Garden of Evil
• 0:07
  Speaker 1: in Rome, where prostitutes sell themselves in the open. In Rome,
• 0:11
  Speaker 1: Caravaggio and his friends spend a drunken night in the
• 0:14
  Speaker 1: Piazza de la Popolos Chapel to spy on Anibolo Caracci's
• 0:18
  Speaker 1: submission to the Vatican's important contest. Caravaggio finds Karacci in
• 0:23
  Speaker 1: the church doing the same thing he is, and knows
• 0:26
  Speaker 1: Karacchi will win the commission. Caravaggio and his friends then
• 0:30
  Speaker 1: visit a brothel, where at dawn he runs into Ronuccio Tomasoni,
• 0:34
  Speaker 1: who demands Caravaggio paying a debt he owes. Caravaggio refuses,
• 0:40
  Speaker 1: and both men make an oath to one day spill
• 0:42
  Speaker 1: the other's blood in the piazza. The story flashes forward
• 0:46
  Speaker 1: two weeks later, as Caravaggio sneaks out of Rome in
• 0:49
  Speaker 1: the dead of night on a ship to Malta to
• 0:52
  Speaker 1: paint the Grand Master's portrait. We learn in scenes back
• 0:56
  Speaker 1: in Rome with Cardinal del Monte and the Pope that
• 0:59
  Speaker 1: Karavaji has gone into exile to escape punishment for murder.
• 1:04
  Speaker 1: On Malta, Caravajo is threatened by the inquisition interior in
• 1:09
  Speaker 1: a sanctum dawn, Caravajio faces Ailof, who is dressed in
• 1:14
  Speaker 1: full body armor, holding a staff with a long sword
• 1:17
  Speaker 1: on his belt, and Roberto at his side.
• 1:19
  Speaker 2: Is the LFE satisfactory?
• 1:22
  Speaker 3: Yes, yes, it is?
• 1:24
  Speaker 4: Is that what you intend to wear? Yes?
• 1:27
  Speaker 2: Does that mean with your approval?
• 1:29
  Speaker 1: Caravajo moves around Ailof, inspects the armor, and touches Ailof,
• 1:34
  Speaker 1: who flinches in pain. Caravajou does not react.
• 1:39
  Speaker 2: You have no reaction to my pain.
• 1:41
  Speaker 5: Well, I take one look at your scars, and I
• 1:44
  Speaker 5: know you live with pain, You expect pain, you enjoy pain.
• 1:50
  Speaker 1: Caravajo steps back and takes in the entire picture, Ailof
• 1:54
  Speaker 1: in his costume and Roberto in his.
• 1:57
  Speaker 3: Roberto stands at his side.
• 2:00
  Speaker 2: Deah good.
• 2:01
  Speaker 1: Roberto stands where he's told as Caravaggio steps behind the
• 2:05
  Speaker 1: easel and quickly sketches, having already mixed the paints.
• 2:09
  Speaker 2: Suffering is a great teacher.
• 2:12
  Speaker 5: Paine teaches nothing, but it does beget anguish and despair.
• 2:19
  Speaker 4: Where is Stephano today?
• 2:20
  Speaker 2: I told him to leave us alone. I felt he
• 2:23
  Speaker 2: was distracting. You move just a fraction to your left.
• 2:29
  Speaker 1: Hayloft does what He's told, am I in the light.
• 2:33
  Speaker 3: You are the grand master of the Knights of Malta.
• 2:37
  Speaker 4: You are always in the light.
• 2:41
  Speaker 2: In fact is God's will.
• 2:43
  Speaker 1: There is another moment of understanding and affection between them.
• 2:47
  Speaker 1: Caravajiou readies himself and begins the portrait. Cut to exterior,
• 2:53
  Speaker 1: the letter Malta night. The moon bathes a fortress in
• 2:58
  Speaker 1: an eerie light interior Caravaco's room, Malta continues. Caravajo sits
• 3:05
  Speaker 1: in candlelight at his table and continues the sketch of
• 3:09
  Speaker 1: a young woman's face. As he sketches more, we see
• 3:12
  Speaker 1: it is Lena. Sounds of the city of Rome, loud,
• 3:17
  Speaker 1: deep human voices, life at its fullest. Overlaps in two
• 3:22
  Speaker 1: flashback two exterior Ghetto of or Taccio, the Evil Garden
• 3:28
  Speaker 1: Row Dawn. Caravajiou walks beside contain fires as they burned,
• 3:33
  Speaker 1: beside small houses with dark smoke swirlling up into the
• 3:37
  Speaker 1: dead air. Prostitutes stand on balconies or behind Venetian blinds. Alone.
• 3:43
  Speaker 1: Caravajiou walks, searching, not for sex, but for something else. Entirely,
• 3:49
  Speaker 1: he sees Lina. He stops, He stares.
• 3:54
  Speaker 4: What you've never seen a woman before. Oh, women are.
• 4:08
  Speaker 6: What?
• 4:09
  Speaker 1: You've never seen a woman before?
• 4:10
  Speaker 4: Women? I have seen you? I haven't.
• 4:13
  Speaker 7: Oh, yes, I remember at the tavern of the Hawk,
• 4:17
  Speaker 7: you're the poem a painter.
• 4:20
  Speaker 1: To Scooty for the hour and my room.
• 4:22
  Speaker 3: Is back there, No Five, Scooty, and you come with me?
• 4:27
  Speaker 4: Where to my home?
• 4:29
  Speaker 1: She nods. They make their way through the crowd towards
• 4:32
  Speaker 1: the border of the Ottacio.
• 4:35
  Speaker 4: How long have you been in Rome?
• 4:37
  Speaker 6: Three weeks?
• 4:38
  Speaker 5: Then I found you, just in time before Rome corrupts.
• 4:42
  Speaker 4: You, has corrupted you. I tried and failed. You were stronger. No,
• 4:49
  Speaker 4: I embraced it.
• 4:50
  Speaker 1: They continue and disappear in the shadows from the fires.
• 4:54
  Speaker 1: Flashback in interior Caravacco's room, Malta, dawn, Caravaggio is writing
• 5:02
  Speaker 1: a letter with a rising.
• 5:03
  Speaker 4: Sun, Dear Cardinal de Monte.
• 5:06
  Speaker 1: Exterior of a letter, Malta continuous. The brightly burning sun
• 5:11
  Speaker 1: rises over the fortress. Cut to exterior Rome, Saint Peter's Basilica.
• 5:17
  Speaker 1: Day clouds cover the city. Interior Papal chambers, Rome continuous.
• 5:24
  Speaker 1: Cardinal del Monte stands beside the dying Pope Clement the Eighth,
• 5:28
  Speaker 1: who lies in his bed. He's breathing is a wrath.
• 5:31
  Speaker 1: A bishop stands behind him in attendance.
• 5:35
  Speaker 8: Do you have any needs, your Holiness to breathe without pain?
• 5:42
  Speaker 8: Would you like me to hear your confession and give
• 5:45
  Speaker 8: you absolution?
• 5:46
  Speaker 2: No?
• 5:49
  Speaker 8: Concerning the papal pardon for Caravaggio, is it possible to
• 5:53
  Speaker 8: dictate it to the bishop now so that we can
• 5:57
  Speaker 8: get your signature.
• 6:00
  Speaker 1: The Pope's breathing stops. Cardinal del Monte makes the sign
• 6:04
  Speaker 1: of the.
• 6:04
  Speaker 8: Cross, him and the father's son, Holy Ghos.
• 6:08
  Speaker 1: Cut to interior. Cardinal del montees private chapel day. The
• 6:13
  Speaker 1: Cardinal is on his knees and grips the rosary around
• 6:16
  Speaker 1: his neck. He looks up and sees Caravaggio's Medusa hanging
• 6:20
  Speaker 1: on the wall. His assistant steps quietly over to him.
• 6:25
  Speaker 4: Your Eminence, there is something you should see.
• 6:28
  Speaker 1: Interior. Cardinal del montees Villa Ludovisi continuous. Cardinal del Monte
• 6:34
  Speaker 1: sees two men standing on the street facing the villa.
• 6:38
  Speaker 8: How long have they been there? Not long?
• 6:41
  Speaker 3: But I do remember seeing them yesterday.
• 6:45
  Speaker 4: Who are they, Your Eminence?
• 6:47
  Speaker 8: Bounty hunters?
• 6:49
  Speaker 1: Cardinal del Monte pulls down the curtains. Cut to interior
• 6:55
  Speaker 1: Saint Peter's Basilica. Later, Cardinal del montes with the College
• 7:00
  Speaker 1: of cardinals who have gathered to select a new pope.
• 7:04
  Speaker 1: Cut to exterior Sistine Chapel, Rome day. White smoke rises
• 7:09
  Speaker 1: from the chapel, signifying that a new pope has been selected.
• 7:14
  Speaker 1: Cut to interior papal chambers continuous. Cardinal del Monte faces
• 7:21
  Speaker 1: the new Pope, Pope John Cardinal del Monte faces the
• 7:34
  Speaker 1: new Pope, Pope called the Fifth is vigorous and vital,
• 7:37
  Speaker 1: youthful and energetic.
• 7:40
  Speaker 2: I cannot and I will not tolerate these random killings
• 7:43
  Speaker 2: in our city.
• 7:44
  Speaker 8: He killed in self defense.
• 7:46
  Speaker 2: Our lord turned the other cheek.
• 7:48
  Speaker 8: Your highness, the room, Your holiness. Our Lord didn't live
• 7:58
  Speaker 8: in Rome at the turn of the sixteenth century. We
• 8:02
  Speaker 8: have emerged from the dark ages, but the barbarian hordes
• 8:05
  Speaker 8: still have their hold on us. Their ways are still
• 8:09
  Speaker 8: in our blood. Our faith will change all that. Caravaggio
• 8:13
  Speaker 8: asked me to present this to you as a gift,
• 8:16
  Speaker 8: in hopes that you will have mercy on him. He
• 8:20
  Speaker 8: painted it before he left Rome.
• 8:23
  Speaker 1: Cardinal del Monte nods to his aid to remove the
• 8:26
  Speaker 1: cover from a canvas.
• 8:27
  Speaker 3: Is he still on Malta.
• 8:29
  Speaker 8: Yes, he writes me short notes. I hear that the
• 8:32
  Speaker 8: Grand Master had a dinner in his honor.
• 8:35
  Speaker 1: The painting is the Weeping Magdalen. It is clear by
• 8:38
  Speaker 1: his reaction that the Pope is moved.
• 8:41
  Speaker 8: I had never seen so much love and pain in
• 8:45
  Speaker 8: one face.
• 8:46
  Speaker 1: Cardinal del Monte places a petition on the table for
• 8:49
  Speaker 1: the Pope to see.
• 8:51
  Speaker 8: And this here is a petition signed by nine of
• 8:54
  Speaker 8: your most respected cardinals, asking you to pardon him.
• 8:59
  Speaker 1: Pope glances at the list of names.
• 9:01
  Speaker 7: Explain to me your devotion to this Caravaggio.
• 9:05
  Speaker 8: Our holy mother Church needs such advocates for our flock
• 9:10
  Speaker 8: in such dire times.
• 9:12
  Speaker 3: You are a politician to the core.
• 9:15
  Speaker 1: Per Paul the Fifth struggles not to be moved.
• 9:18
  Speaker 8: Michelangelo, Titian, Barcelli, Leonardo, he is one of them.
• 9:24
  Speaker 1: The Pope waves his hand for the Cardinal to leave,
• 9:27
  Speaker 1: but del Monte knows he's making his point. Interior hallway
• 9:31
  Speaker 1: outside papal chambers continuous. As Cardinal del Monte leaves the
• 9:37
  Speaker 1: private chambers, he's confronted by the Tomasoni brothers, Otavio and Giovanni.
• 9:42
  Speaker 8: Cardinal del Monte, yes.
• 9:45
  Speaker 3: I'm Ottavio Tomassoni, Ranuccio's brother, and I.
• 9:48
  Speaker 8: Am giovann Tomassoni. You would like to inquire if you
• 9:52
  Speaker 8: know the whereabouts of the painters Caravaggio. I secure his commissions, gentlemen,
• 10:00
  Speaker 8: I do not schedule his appearances. I am sorry for
• 10:06
  Speaker 8: your loss and bless your brother Ranuccio's soul. I will
• 10:10
  Speaker 8: offer prayers for him this Sunday at Mass. But his
• 10:15
  Speaker 8: demise is the matter for the police, not me. Anyone
• 10:20
  Speaker 8: knows what he's hiding.
• 10:21
  Speaker 4: You do.
• 10:22
  Speaker 1: You should be aware that we have employed bounty hunters.
• 10:26
  Speaker 1: Cardinal del Monte watches with apprehension as they bow and leave,
• 10:30
  Speaker 1: cut to interior in a Santa Malta dawn. Karavajo pains
• 10:35
  Speaker 1: furiously as ailof poses with discipline.
• 10:38
  Speaker 2: I've learned a few things about you. Your father died
• 10:43
  Speaker 2: in the plague.
• 10:45
  Speaker 3: Many fathers died in the plague.
• 10:47
  Speaker 2: A man without a father must be compelled to search
• 10:50
  Speaker 2: for him all his life. Not long after he died,
• 10:55
  Speaker 2: your mother died as.
• 10:56
  Speaker 1: Well, Caravajo paints fully absorbed.
• 11:02
  Speaker 2: When you look face to face with God on judgment Day,
• 11:07
  Speaker 2: what do you think his likeness will be?
• 11:11
  Speaker 4: God wears a hood of course, he does.
• 11:15
  Speaker 2: He fears that his love will blind us. His love
• 11:18
  Speaker 2: can be a terrible life.
• 11:22
  Speaker 4: Where is it?
• 11:24
  Speaker 2: You've seen it, my son?
• 11:27
  Speaker 4: I have?
• 11:29
  Speaker 2: It is in your painting, the Call of Marlshit. Yea,
• 11:39
  Speaker 2: it is in your painting, the Call of Saint Matthew.
• 11:43
  Speaker 2: When I first saw it, I was in a troubled
• 11:46
  Speaker 2: place in my faith. God was testing me, but your
• 11:52
  Speaker 2: painting took me back to the fold. Just the way
• 11:56
  Speaker 2: our Savior stood in the shaft of life with his
• 12:00
  Speaker 2: finger pointed to Matthew. In the silence, you could hear
• 12:05
  Speaker 2: him saying, I've come for you, Bruce.
• 12:10
  Speaker 4: Is just a typo here.
• 12:11
  Speaker 3: It should be the calling of calling of Saint Matthew.
• 12:15
  Speaker 8: Oh, yes, we calling correct.
• 12:17
  Speaker 4: So speak of that first sense or if you want
• 12:18
  Speaker 4: to read all that through it, that's mine.
• 12:19
  Speaker 6: Let's go all the way through that. I think you
• 12:21
  Speaker 6: said the life again instead of light, So it's right.
• 12:23
  Speaker 6: It's the shaft of light with his finger He's love.
• 12:28
  Speaker 4: Where is he? Oh?
• 12:30
  Speaker 2: You've seen it, my son?
• 12:32
  Speaker 5: I have?
• 12:34
  Speaker 2: It is in your painting, the Calling of Saint Matthew.
• 12:38
  Speaker 2: When I first saw it, I was in a troubled
• 12:42
  Speaker 2: place in my faith. God was testing me. But your
• 12:47
  Speaker 2: painting took me back to the fold, just the way
• 12:52
  Speaker 2: our Savior stood in the shaft of light with his
• 12:56
  Speaker 2: finger pointing to Matthew. In the silence, you could hear
• 13:00
  Speaker 2: him say, I've come for you.
• 13:05
  Speaker 1: The horn blasts through the room from atop the castle walls.
• 13:08
  Speaker 2: The Turks are in the harbor.
• 13:10
  Speaker 1: He rushes out as Caravaggio rushes to the window, hearing
• 13:13
  Speaker 1: agonizing screams. Exterior terranean sea continues. Fires are floating on
• 13:22
  Speaker 1: the sea towards the shore interior and a sanctum continues.
• 13:28
  Speaker 1: Caravajo gathers his courage and leaves interior. Caravaggio's room continues.
• 13:36
  Speaker 1: Caravaggio enters, grabs his sword and rushes out. Exterior fortress continues.
• 13:43
  Speaker 1: Caravaggio sees Alf directing his nights toward the fires floating
• 13:47
  Speaker 1: towards them. Out of the morning.
• 13:49
  Speaker 2: Mist Lorenzo form a line, Jacomo, take your men to
• 13:54
  Speaker 2: the boat. The rest hold your ground.
• 13:57
  Speaker 1: Caravaggio realizes that the fires are actually snailed on wooden
• 14:01
  Speaker 1: crosses and set a fire to be burned alive. The
• 14:08
  Speaker 1: screams of agony drown out the shouts from the knights
• 14:11
  Speaker 1: who race into the waist deep water to pull the
• 14:14
  Speaker 1: burning Knights into the water. Caravajo is unable to move
• 14:18
  Speaker 1: when Stefano, seeing him, grabs him this way. They rush
• 14:22
  Speaker 1: quickly to reach the boat and pull it to shore
• 14:24
  Speaker 1: as a burning Knight nearby screams.
• 14:26
  Speaker 8: And pain, Help me, brothers, help me.
• 14:34
  Speaker 1: Caravajo and Stefano pulled the still breathing Knight to the
• 14:37
  Speaker 1: sand as Caravajo covers him with his own shirt, getting
• 14:41
  Speaker 1: a minor burn. As he does stand god. Carajo turns
• 14:45
  Speaker 1: to see Ailof with Stefano at his side. Now standing
• 14:48
  Speaker 1: on the shoreline, as the rising sun burns the mist way,
• 14:52
  Speaker 1: several Turkish corsairs appear. They are headed for the beach.
• 14:57
  Speaker 1: It is a trap. Alov turns to the beach to
• 15:00
  Speaker 1: see where his knights are appointed and sees Caravaggio. Their
• 15:05
  Speaker 1: eyes lock. At that moment, Caravaggiou is compelled to prove
• 15:09
  Speaker 1: himself to embrace the knights in a way he wasn't expecting.
• 15:13
  Speaker 1: He races to join Alaf as cannons on the turrets
• 15:16
  Speaker 1: of the castle walls explode over his head.
• 15:19
  Speaker 2: Return to safety. I belong here with you.
• 15:23
  Speaker 1: Alof turns to rally his knights.
• 15:25
  Speaker 2: Steady your nerves, my brothers. The dervishes will attack us
• 15:33
  Speaker 2: now here they can.
• 15:34
  Speaker 1: The Turks reach the beach and disembarked their corsairs, rushing
• 15:38
  Speaker 1: in with the tide, swinging their curved swords and waving
• 15:41
  Speaker 1: their flag of the gold Ball and pressing the no.
• 15:45
  Speaker 1: Just then the beach explodes with cannon blasts from the
• 15:48
  Speaker 1: Turkish offshore ships. Caravajeu throws himself to the sand as
• 15:53
  Speaker 1: cannon balls hit the beach, exploding on contact right on
• 15:56
  Speaker 1: several knights. They are blown up and cut in two.
• 16:00
  Speaker 1: As body parts, sand and sea fly into the air
• 16:03
  Speaker 1: and back down again. Karavajiou raises his head, preparing for
• 16:08
  Speaker 1: the onslaught when another cannonball sholl hits the dark, flowing
• 16:12
  Speaker 1: up several more nights. They scream in paint as they
• 16:15
  Speaker 1: lose lembs, splinters of wood raining down on caravajo Eiloff
• 16:20
  Speaker 1: and Stefano. One particular sharp piece cuts into Caravaggio's shoulder.
• 16:26
  Speaker 1: Karavajeau falls to his knees as his shoulder bleeds. Seeing
• 16:31
  Speaker 1: that it is a flesh one, he quickly wipes the
• 16:33
  Speaker 1: blood away with his bare hand. Just then, the Turks
• 16:37
  Speaker 1: swarm the knights. It is too late for Karavajou to run.
• 16:41
  Speaker 1: He finds himself in the thick of it. Turks and
• 16:44
  Speaker 1: knights fight in hand to hand combat all around him.
• 16:48
  Speaker 1: A Turk, slashing his sword, comes at karava Jou, who
• 16:51
  Speaker 1: slashes his sword back. Karravajou's sword rips into the turks slash.
• 16:57
  Speaker 1: He pulls his sword out of the turk, bringing with
• 17:00
  Speaker 1: it flesh, muscle, and pouring blood. There is a gurgling
• 17:04
  Speaker 1: sound as the turk falls to his knees. Cutavaarjou quickly
• 17:08
  Speaker 1: joins Ailof and Stefano, and together they form a circle
• 17:11
  Speaker 1: to protect one another from the fanatical turfs. Cutavaarjou looks
• 17:16
  Speaker 1: to Stefano fighting off several Turks, and then to Ailof,
• 17:20
  Speaker 1: on one knee fending off two Turks at once. Cutov
• 17:24
  Speaker 1: our Jeou rushes to assist Ailof, who pushes himself up,
• 17:28
  Speaker 1: stabbing one of his attackers through the hull. The other
• 17:32
  Speaker 1: attacker comes at him as Ailof loses his balance in
• 17:35
  Speaker 1: the sand again, falling to one knee. The attacking turk
• 17:39
  Speaker 1: swings his sword at Ailoft, cutting him slightly above the ars.
• 17:43
  Speaker 1: Cutavaar Jou jumps in front of the attacking Turk to
• 17:46
  Speaker 1: protect Ailof by jumping on the turn, knocking him to
• 17:49
  Speaker 1: the ground with his hand on his throat. He throws
• 17:52
  Speaker 1: the turk on his side and reaches for the Turk's
• 17:55
  Speaker 1: sword and pulls it from him. He then sticks him
• 17:58
  Speaker 1: in the heart. The Turk screams a death mode and
• 18:02
  Speaker 1: dies as Karavajeou struggles to his feet and turns to
• 18:06
  Speaker 1: see Ailof heroically fighting off. Several turns, Caravajeou again rushes
• 18:11
  Speaker 1: to Ailof's aid. Just as Caravaggiou reaches Ailof, the Turk
• 18:16
  Speaker 1: is on top of Ailoff, ready to thrust his sword
• 18:19
  Speaker 1: into him. Caravaggiou swings his sword with all of his strength,
• 18:23
  Speaker 1: nearly cutting the Turk's header from behind it. Ailof looks
• 18:28
  Speaker 1: up at Karavajeou with gratitude. He was certain he was
• 18:32
  Speaker 1: about to die. Seeing the headless Turk fall backward onto
• 18:35
  Speaker 1: the sand, Caravajiou is shocked, appalled, and confused by the
• 18:40
  Speaker 1: sensations of fear and exhilaration. Just then, more knights arrive
• 18:46
  Speaker 1: from the ballance, chasing the Turks back into the sea,
• 18:49
  Speaker 1: battling them on the beach as hacking, cutting, and thrusting
• 18:52
  Speaker 1: of swords and lances continues all around. Caravajio Karavajeou watches
• 18:59
  Speaker 1: as Stefano leads the Knights in pursuit of the Turks,
• 19:02
  Speaker 1: who are now throwing themselves into the sea in desperate
• 19:05
  Speaker 1: hopes of reaching their ships. But the cannons from the
• 19:09
  Speaker 1: castle explode onto the Turkish corsairs and they begin to burn.
• 19:14
  Speaker 1: Screams come from the boats. The retreating Turks are now
• 19:18
  Speaker 1: caught between their burning ships and the pursuing Knights. Stefano
• 19:23
  Speaker 1: leads the Knights, who are hacking away at the confused
• 19:26
  Speaker 1: and lost Turks, who are doing all they can to
• 19:29
  Speaker 1: survive and avoid capture. Karavajo, out of breath and holding
• 19:34
  Speaker 1: his wounded shoulder, drops his sword and watches as the
• 19:37
  Speaker 1: Turks are hacked to death like cornered prey. The burning
• 19:41
  Speaker 1: excitement in his eyes reveals how the battle is ignited
• 19:45
  Speaker 1: a fiery animal instinct in him to kill or be killed.
• 19:50
  Speaker 1: Aware of the victory, Alof gets down on one knee
• 19:53
  Speaker 1: and bows. He looks up to the sky and makes
• 19:57
  Speaker 1: the sign of the cross odd.
• 20:02
  Speaker 2: To victory.
• 20:04
  Speaker 1: Ailov turns to Karravajio and nods his head slowly, his
• 20:08
  Speaker 1: eyes gleaming with the same passion that Caravaggio just fell.
• 20:13
  Speaker 1: Exterior beach Malta. Later, Exhausted and drained, Caravajiou walks through
• 20:19
  Speaker 1: the cornage. The beach is strewn with the dead and
• 20:22
  Speaker 1: the wounded from both sides. The knights are collecting the
• 20:26
  Speaker 1: bodies of their dead comrades for burial, while other knights
• 20:29
  Speaker 1: have dug a huge hole in the sand and tossed
• 20:32
  Speaker 1: the dead Turks into it. Ailov stands in command as
• 20:36
  Speaker 1: Stefano and more knights for dozens of Turkish prisoners in chains.
• 20:40
  Speaker 1: Caravajio walks away when he sees two banners in the sand.
• 20:44
  Speaker 1: One is the crescent moon and the other the Cross.
• 20:50
  Speaker 1: Caravaggio sees a young, wounded Turk moving among the dead.
• 20:54
  Speaker 1: The turk raises his hand out to Caravajo, who kneels
• 20:57
  Speaker 1: beside him. The turk grips Caravaggio's arm and holds onto
• 21:02
  Speaker 1: it tightly. Carava takes a water satrel off his belt,
• 21:07
  Speaker 1: lifts the young Turk's head and gives him water. The
• 21:11
  Speaker 1: turk grabs the satchel and drinks deeply. Just then Stefano appears.
• 21:18
  Speaker 1: Before Caravajo can react. Stefano thrusts his sword into the dying,
• 21:23
  Speaker 1: with blood splashing, and Caravaggio jumps to his feet.
• 21:29
  Speaker 3: He was a boy.
• 21:31
  Speaker 6: No he was a turk.
• 21:34
  Speaker 1: No no, no, you said no he was a turk.
• 21:36
  Speaker 1: Let's just get he was a boy.
• 21:37
  Speaker 7: He was, he was sorry, he was a boy, he
• 21:53
  Speaker 7: was a turk.
• 21:54
  Speaker 1: Stefano turns and walks away. Cut to interior dining hall Castle.
• 22:01
  Speaker 1: Sant Angelo, Knight alaf with Caravaggio standing at his side,
• 22:07
  Speaker 1: addresses the knights today.
• 22:11
  Speaker 2: Our prayers are for those who sacrifice their lives to
• 22:16
  Speaker 2: die for Our faith is our pledge as Knights of Mortar.
• 22:23
  Speaker 2: Today I saw courage from one who had not taken
• 22:28
  Speaker 2: our oath.
• 22:30
  Speaker 1: Please kneel. Caravaggio kneels. Ailof takes his sword and presses
• 22:34
  Speaker 1: it Fermilion Caravaggio's shoulder.
• 22:38
  Speaker 2: Michelangelo Marisi de Caravacchio, you are hereby today an honorary
• 22:46
  Speaker 2: knight of Mortar.
• 22:48
  Speaker 1: Ailof turns to Stefano, who brings over a fine sword
• 22:52
  Speaker 1: made of gold and hands it to Caravaggio.
• 22:55
  Speaker 2: Oldin edi obedienza.
• 23:00
  Speaker 1: Hailoff gestures for Karavajo to stand. Caravaggio stands proudly. The
• 23:05
  Speaker 1: knights stand in unison and cheer. Hailoff then hands Cutavaggio
• 23:11
  Speaker 1: a palm sized emblem of the knights.
• 23:14
  Speaker 2: This sword was a gift from the King of France.
• 23:18
  Speaker 2: It's pure gold with the inscription in silver. This was
• 23:23
  Speaker 2: mine once, now it is yours.
• 23:26
  Speaker 1: Cuavajou bows, then displays the sword proudly and lifts it
• 23:30
  Speaker 1: to the crowd. They cheer once more. Stefano leans into
• 23:36
  Speaker 1: Karavajou and whispers in his ear.
• 23:39
  Speaker 6: The Grand Master despises the King of France.
• 23:43
  Speaker 4: Hah.
• 23:45
  Speaker 1: Interior Caravaggio's room, dawn. Carvajo wakes, looks at his emblemen's
• 23:51
  Speaker 1: sword on the table. He then sees the soft blue
• 23:54
  Speaker 1: dawn emerging. Cut to interior in a santum dawn. Caravaggio
• 24:01
  Speaker 1: enters the room. He intensely looks over the unfinished portrait.
• 24:06
  Speaker 1: He picks up his brush. He approaches the portrait gingerly,
• 24:10
  Speaker 1: then paints interior in a sanctum. Later, Ailof and Stefano enters. Caravaggio,
• 24:18
  Speaker 1: focused and deliberate, continues to paint. Ailof goes to the canvas,
• 24:23
  Speaker 1: but Caravaggio stops him with a glare. Alof stops. Caravago
• 24:28
  Speaker 1: places his brush down.
• 24:30
  Speaker 2: Have I been a subject worthy of your talents?
• 24:34
  Speaker 4: And have my talents been worthy of the subject?
• 24:37
  Speaker 1: Caravajo nods, then steps back. Ailof faces the canvas, His
• 24:43
  Speaker 1: entire being exhales with amazement and approval.
• 24:50
  Speaker 2: You have painted my body and captured my soul. I
• 24:57
  Speaker 2: have no regrets, no suggestions. Who may think of me vain?
• 25:04
  Speaker 2: But this portrait will be viewed for centuries to come.
• 25:11
  Speaker 2: Holy man will admire its beauty, while sinners fear it's truth.
• 25:19
  Speaker 2: Caravago leaves the room. Stefano stares at the portrait with jealousy.
• 25:26
  Speaker 2: Leave me to gaze.
• 25:29
  Speaker 1: Hurt, Stefano leaves the room as Ailof absorbs his portrait.
• 25:34
  Speaker 1: Cut to interior Caravaggio's room night. Exhausted, Caravajiou lies on
• 25:39
  Speaker 1: his bed. The door opens. He quickly stands Ailof appears
• 25:44
  Speaker 1: in the doorway and looks at Karavajou with a mixture
• 25:47
  Speaker 1: of awe and also longing. The moment between the men
• 25:51
  Speaker 1: suddenly defines their growing relationship. Ailof takes a step towards Karavajou,
• 25:56
  Speaker 1: then stops himself before he goes too far. He turns
• 26:01
  Speaker 1: abruptly and leaves the room. Caravaggio slowly goes to the
• 26:04
  Speaker 1: door and closes it. He sees the nearly completed sketch
• 26:09
  Speaker 1: of Lena on the table, sits and sketches Lena. The
• 26:13
  Speaker 1: sound of voices, shouts, laughter and taunting overlaps into flashback two.
• 26:19
  Speaker 1: Exterior ghetto of Otaccio, the Evil Garden, Rome night. Ranuccio
• 26:26
  Speaker 1: faces Caravaccio and Lina.
• 26:28
  Speaker 3: You're with this trick?
• 26:31
  Speaker 4: I thought I smelled a horse sable.
• 26:34
  Speaker 1: Caravaggio stiffens as both are Tavio and giovann both drunk,
• 26:38
  Speaker 1: step out of the shadows, ready to pounce. Ranuccio grins
• 26:42
  Speaker 1: as he and his brother's edge closer to Caravaggio.
• 26:45
  Speaker 3: Geez my, Lina.
• 26:49
  Speaker 1: The brothers pull their swords from their belts. Cannon fire
• 26:53
  Speaker 1: overlaps into the following scene. Flashback end Interior Caravaccio's room
• 27:00
  Speaker 1: a day, cannon fire. Caravajo sits up abruptly from his
• 27:05
  Speaker 1: sleep as bright afternoon light falls across his bed. The
• 27:10
  Speaker 1: first thing he sees is the sketch of Lena on
• 27:12
  Speaker 1: the table. It is nearly complete. He has yet to
• 27:16
  Speaker 1: complete her eyes, her lips. He is now aware of
• 27:19
  Speaker 1: the cannon fire. Exterior prison yard Castle, sant Angelo continues.
• 27:27
  Speaker 1: Caravajo is looking over a large yard where Turkish prisoners
• 27:31
  Speaker 1: captured on the beach on our slaves. The steensh is strong.
• 27:36
  Speaker 1: Caravajo watches as dozens of armed knights lead dozens of
• 27:40
  Speaker 1: Turkish prisoners, often to the far side of the yard.
• 27:44
  Speaker 1: The prisoners are then made to get down on their
• 27:46
  Speaker 1: knees with their hands tied behind their backs. The knights
• 27:50
  Speaker 1: come up behind them and begin to behead them one
• 27:53
  Speaker 1: at a time. Caravajou watches as other prisoners gather up
• 27:57
  Speaker 1: the bloody heads and put them in bags. The prisoners
• 28:01
  Speaker 1: then place the bags near the three cannons. The knights
• 28:05
  Speaker 1: open the bags, take their heads out, place them in
• 28:08
  Speaker 1: the cannons, and blast their heads out to their targets.
• 28:12
  Speaker 1: The targets are several Turkish corsairs. Lingering in the harbor.
• 28:17
  Speaker 1: Caravaggio finds a small charcoal rock and sketches the face
• 28:21
  Speaker 1: of a Turk on a slate rock in front of him.
• 28:23
  Speaker 1: Grimacing in fear about to be headed, Stefano walks over.
• 28:28
  Speaker 6: To Caravajio, the grand Master wants you.
• 28:32
  Speaker 1: Caravaggio gets up and walks away. Stefano sees the sketch
• 28:36
  Speaker 1: and rubs it out with his boot. Cut to interior,
• 28:41
  Speaker 1: private quarters, Castle Santangelo Day. Caravaggio stands facing aloff.
• 28:47
  Speaker 2: You are aware of how pleased I am with the portrait. Yes,
• 28:53
  Speaker 2: there's something more I want to discuss with you. Please sit.
• 28:58
  Speaker 1: Carvajou sits.
• 29:01
  Speaker 2: I want a second portrait. I have a pose I
• 29:04
  Speaker 2: want to suggest. Are you disappointed?
• 29:10
  Speaker 4: That was not our agreement?
• 29:12
  Speaker 2: True? But you will be paid for your work. Pays
• 29:19
  Speaker 2: me to see you want to leave. I had a
• 29:21
  Speaker 2: life before Malta. Is not this life here?
• 29:24
  Speaker 3: Fulfilling in some ways, yet in many ways.
• 29:29
  Speaker 4: No, am I your prisoner.
• 29:34
  Speaker 2: You've never been a brisker.
• 29:37
  Speaker 1: Caravaggio leaves aloft, stands, closes the door, then pulls a
• 29:41
  Speaker 1: dagger from his desk drawer, pulls up his sleeve and
• 29:45
  Speaker 1: cuts himself.
• 29:47
  Speaker 4: God forgive me.
• 29:48
  Speaker 1: He quickly stops the bleeding. There is a knock at
• 29:51
  Speaker 1: the door. Yes, Stefano enters.
• 29:56
  Speaker 6: It is an excellent painting. You don't trust him, he
• 30:01
  Speaker 6: is not one of us.
• 30:03
  Speaker 3: Well, then proved to me his soul is not worthy.
• 30:08
  Speaker 1: Stefano leaves as Ailov shudders with his struggle. Cut to interior.
• 30:13
  Speaker 1: In a sanctum day, Caravaggio paints Ailof with Roberto as
• 30:18
  Speaker 1: they pose and Stefano watches interior. In a sanctum later,
• 30:25
  Speaker 1: Caravaggio labors over the canvas. Roberto falls asleep. He collapses
• 30:30
  Speaker 1: for a moment, then gets up immediately horrified. With his
• 30:35
  Speaker 1: gloved hand, Stefano smacks Roberto across his face. Caravaggio picks
• 30:40
  Speaker 1: up Roberto and glares at Stefano. Stefano puts his hand
• 30:44
  Speaker 1: on his sword. Caravaggio puts a slight dab of paint
• 30:47
  Speaker 1: on his nose. Ailov laughs, humiliated. Stefano glares at Caravaggio,
• 30:55
  Speaker 1: who goes back to his canvas. Ailof is clearly pleased
• 30:59
  Speaker 1: by Caravaggio's humanity and shuns Stefano, who is pained by
• 31:03
  Speaker 1: Alof's reaction. Cut to interior. In a sanctum day, Caravaggio
• 31:11
  Speaker 1: and Aloft are alone in the room as Caravaggio paints.
• 31:16
  Speaker 2: Is there a man there in your canvas? Or an
• 31:21
  Speaker 2: emblem of faith?
• 31:23
  Speaker 4: Or I painted a man.
• 31:25
  Speaker 2: To see anything else.
• 31:27
  Speaker 3: I don't see angels buzzing over your shoulder or saints
• 31:32
  Speaker 3: standing on your nose.
• 31:33
  Speaker 2: Now if you did, there'd be no room on the
• 31:35
  Speaker 2: canvas for the man or his faith.
• 31:40
  Speaker 4: What about his desires? Is there a room for what
• 31:46
  Speaker 4: he aches for?
• 31:48
  Speaker 1: Caravaggio touches Alof's cheek as if to kiss him. Aloft
• 31:52
  Speaker 1: doesn't move. Rejected, Caravaggio turns back to the canvas. Cut
• 31:58
  Speaker 1: to interior, Caravaggio's Room Night. Caravaggio continues his sketch.
• 32:05
  Speaker 4: No, no stand there in the moonlight.
• 32:08
  Speaker 1: Flashback two, Interior, Caravaggo's home Studio Rome Night. Caravaggio pulls
• 32:16
  Speaker 1: away the curtain, allowing moonlight to wash over Lena's face.
• 32:21
  Speaker 4: What do they call you?
• 32:23
  Speaker 1: Lena? He walks around her, his eyes inquire into her
• 32:28
  Speaker 1: entire being with charm. She underes her hair and it
• 32:31
  Speaker 1: falls over her shoulders. She drops her undergarments and then
• 32:35
  Speaker 1: gets down on the bed.
• 32:38
  Speaker 4: And you are from Grassoulia?
• 32:40
  Speaker 3: How did you know? Brow mostly and the eyes?
• 32:45
  Speaker 1: He turns away, leans over his water basin and bathes
• 32:48
  Speaker 1: his face and drives himself.
• 32:51
  Speaker 3: Have you been there?
• 32:52
  Speaker 4: Oh?
• 32:53
  Speaker 3: No?
• 32:54
  Speaker 5: When you live in room you don't have to travel
• 32:55
  Speaker 5: to see the world. The world comes to you. You
• 33:00
  Speaker 5: left Grassauria to escape the plague.
• 33:03
  Speaker 1: Yes, I told my mother I want to go to Rome.
• 33:06
  Speaker 4: She said, go while you are still young, and she
• 33:09
  Speaker 4: followed me.
• 33:11
  Speaker 1: He then places his canvas between her and the window.
• 33:15
  Speaker 1: You want a model, but you are paying me too much.
• 33:19
  Speaker 5: Just looking at that face, I see my virgin and
• 33:23
  Speaker 5: you are worth every scooty.
• 33:26
  Speaker 1: You're posing me for the virgin, and you have me naked.
• 33:30
  Speaker 3: I can't do that, No, not nude.
• 33:34
  Speaker 4: You're hungry. I'm sorry I didn't realize him. Take some
• 33:38
  Speaker 4: bread and meat.
• 33:39
  Speaker 1: She eats hungrily from food on the table.
• 33:42
  Speaker 4: I used to eat like that.
• 33:44
  Speaker 1: He pours her water and hands it to her. You
• 33:47
  Speaker 1: came here poor.
• 33:48
  Speaker 4: When I first came to Rome.
• 33:49
  Speaker 3: I swallowed what dogs would indeed to stay alive. How
• 33:53
  Speaker 3: did you survive when you came to Rome?
• 33:55
  Speaker 4: I painted?
• 33:57
  Speaker 1: Why are you looking at me like that?
• 34:00
  Speaker 3: Because I see you all life in your face?
• 34:04
  Speaker 1: Flashback in interior Caravacho's room, Malta night. The sketches complete.
• 34:12
  Speaker 1: Cut to interior in a sanctum day, Caravajo stares closely
• 34:17
  Speaker 1: at the canvas at ailof then steps back.
• 34:21
  Speaker 2: I've been where you tread, my son. I was once
• 34:25
  Speaker 2: a slave to the flesh. I see the agony I
• 34:29
  Speaker 2: once lived, now alive in your eyes.
• 34:34
  Speaker 1: Alof turns to the canvas.
• 34:37
  Speaker 4: Splendid.
• 34:39
  Speaker 1: Caravaggio moves past him to leave. Alof takes his hand. Yes,
• 34:46
  Speaker 1: both men take in the moment. Caravaggio leans in.
• 34:51
  Speaker 5: There is nothing to fear between you and I.
• 34:56
  Speaker 4: What you feel, what we do.
• 35:00
  Speaker 1: Waggio kisses Ailof, then steps back. Ailof allowed the kiss,
• 35:04
  Speaker 1: but then just as abruptly, he also steps back. The
• 35:08
  Speaker 1: tension between the two men is electrifying. Caravaggiou realizes he
• 35:13
  Speaker 1: needs to leave. Ailof moves to follow him and stops himself.
• 35:19
  Speaker 1: Cut to interior the grand Master's private chambers. Night, Ailof
• 35:24
  Speaker 1: is kneeling before a small statue of Saint Peter. When
• 35:27
  Speaker 1: Stefano enters with a letter from Caravaggio. Ailov makes the
• 35:32
  Speaker 1: sign of the cross, stands and looks to Stefano.
• 35:35
  Speaker 6: It's addressed to Cardinal del Monte in Rome. This time
• 35:39
  Speaker 6: I opened and read it.
• 35:41
  Speaker 2: I did not give you the authority to read his.
• 35:44
  Speaker 6: Man, you told me to prove my concerns. He asks
• 35:50
  Speaker 6: if there has been any progress in his pardon from
• 35:54
  Speaker 6: the Pope a pardon.
• 35:58
  Speaker 2: Send the letter ahead, then look into the meaning of
• 36:01
  Speaker 2: the request.
• 36:02
  Speaker 1: Ailov sees the sketch of Lena with the letter.
• 36:06
  Speaker 4: What is that?
• 36:08
  Speaker 2: A sketch with the letter ailof looks Send it ahead
• 36:14
  Speaker 2: as he had it.
• 36:15
  Speaker 1: He's lied to us.
• 36:17
  Speaker 2: Be careful, Stefano, I am fond of him.
• 36:23
  Speaker 1: Stefano leaves cut to exterior courtyard of a letter day.
• 36:30
  Speaker 1: Caravaggio follows Stefano through the courtyard, which leads to a
• 36:34
  Speaker 1: chapel interior, the chapel of Saint John Day. Stefano leads
• 36:40
  Speaker 1: Caravaggio to a large blank wall. There is plenty of
• 36:43
  Speaker 1: light from the stained glass windows.
• 36:46
  Speaker 4: Why are you here?
• 36:48
  Speaker 6: The Grandmaster wants to be heading of Saint John the
• 36:51
  Speaker 6: Baptist on this wall, and when you are done with that,
• 36:54
  Speaker 6: he wants a cupid in his private chambers.
• 36:56
  Speaker 4: Why is my door locked at night?
• 37:00
  Speaker 1: Or your protection?
• 37:02
  Speaker 6: We Knight have many enemies.
• 37:04
  Speaker 1: Stefano leaves as CARRAVAGIAU looks at the wall livid cut
• 37:09
  Speaker 1: to interior the Chapel of Saint John Day. Caravaggiou works
• 37:15
  Speaker 1: quickly the images of Saint John's beheading are already clear.
• 37:19
  Speaker 1: The painting is stark and bleak. He stops looks at it.
• 37:24
  Speaker 1: It expresses his very feelings. He paints a trail of
• 37:28
  Speaker 1: blood flowing from Saint John's neck to the bottom of
• 37:31
  Speaker 1: the canvas, spelling out his name in blood. Caravaggio steps back,
• 37:36
  Speaker 1: shuddering from a memory flashback to interior brothel Piazza del
• 37:43
  Speaker 1: Popolo Rome night. Caravaggio Mancinian Topper share a satchel of
• 37:49
  Speaker 1: wine as they stand facing the dark stretch of the piazza.
• 37:52
  Speaker 1: Waiting there, they see Ranuccio and his two brothers appear
• 37:57
  Speaker 1: at the far end, walking towards them. The two groups
• 38:01
  Speaker 1: of men walk towards one another, reading their swords. When
• 38:04
  Speaker 1: they are only a few feet away, they.
• 38:06
  Speaker 3: Stop, You owe me scooty, I hear take it.
• 38:12
  Speaker 1: Caravaggio pulls Scooty from his pockets and it drops to
• 38:15
  Speaker 1: the ground at his feet. With his sword in hand,
• 38:19
  Speaker 1: Ronuccio rushes at Caravaccio, but stumbles off balance as Caravaggio
• 38:24
  Speaker 1: raises his sword forward to protect himself. The steel cuts
• 38:28
  Speaker 1: deeply into Ronuccio's belly. Caravacho pulls out his sword Ronuccio
• 38:36
  Speaker 1: glares at Caravacchio. Stunned, he holds his open wound, turns
• 38:41
  Speaker 1: and staggers away. Caravaggio is immobile as he looks at
• 38:46
  Speaker 1: the blood on his sword. Flashback end Interior the Chapel
• 38:51
  Speaker 1: of Saint John, Malta day. Caravaggio pains frantically. Interior the
• 38:59
  Speaker 1: Chapel of Saint John. Later, Caravaggio stands facing the completed
• 39:04
  Speaker 1: painting with anxiety and despair. Exterior, the Chapel of Saint John. Dusk,
• 39:12
  Speaker 1: Caravaggio steps out of the chapel towards the beach. Exterior
• 39:17
  Speaker 1: Beach Valletta continuous. Caravaggio walks along the beach, seeing Stefano
• 39:23
  Speaker 1: walking from the fortress towards him with two guards. Stefano
• 39:28
  Speaker 1: gestures to the knights to continue keeping God and to
• 39:31
  Speaker 1: walk on. Caravaggio turns to walk in the opposite direction,
• 39:36
  Speaker 1: but Stefano follows him. Realizing that he has no choice
• 39:40
  Speaker 1: but to confront Stefano on the empty beach, he stops
• 39:44
  Speaker 1: and turns to.
• 39:45
  Speaker 6: Him, Am I interrupting your praying?
• 39:47
  Speaker 4: I wasn't praying?
• 39:49
  Speaker 6: Why out here.
• 39:51
  Speaker 4: Looking for sicily? Which never seems so alluring.
• 39:56
  Speaker 3: I never knew what real loneliness was until I came.
• 40:00
  Speaker 4: To this island.
• 40:02
  Speaker 6: But there is God everywhere.
• 40:04
  Speaker 3: I wasn't talking about that kind of loneliness.
• 40:09
  Speaker 1: Interior the grand Master's private chambers, continuous. A love stands
• 40:14
  Speaker 1: at the windows, seeing Stefano and Caravajo on the beach below.
• 40:19
  Speaker 1: Exterior beach continuous. Caravajo and Stefano walk on.
• 40:24
  Speaker 5: HM.
• 40:27
  Speaker 6: The moonlight has always fascinated me.
• 40:29
  Speaker 4: The moon has no light of it.
• 40:31
  Speaker 3: That's heresy, it's science.
• 40:34
  Speaker 6: When I was in Rome with the grand Master, I
• 40:38
  Speaker 6: saw some of your work. You paint men more beautifully
• 40:42
  Speaker 6: than I have ever seen.
• 40:45
  Speaker 3: I thought art didn't interest you.
• 40:47
  Speaker 6: I wasn't talking about art.
• 40:51
  Speaker 3: I haven't touched another human.
• 40:53
  Speaker 4: Being in months.
• 40:55
  Speaker 6: You talk of months, I talk of years.
• 40:59
  Speaker 3: You said the Knights have enemies, even here at the letter.
• 41:03
  Speaker 3: What am I to make of you?
• 41:06
  Speaker 6: You don't trust me.
• 41:09
  Speaker 1: Caravaggio grabs Stefano and kisses him on the mouth. Stefano
• 41:13
  Speaker 1: pulls away, then walks off.
• 41:16
  Speaker 6: Stefano It is settled, now, What is settled?
• 41:20
  Speaker 1: Caravaggio watches Stefano disappear down the beach, then looks up
• 41:24
  Speaker 1: at Alov's window Interior the grand Master's Private Chambers continuous.
• 41:30
  Speaker 1: Ailov steps away from the window in anger. Cut to interior,
• 41:35
  Speaker 1: Caravaggio's room.
• 41:36
  Speaker 4: Night.
• 41:37
  Speaker 1: Caravajo enters his room, closes the door, then quickly writes
• 41:41
  Speaker 1: another letter to Cardinal del Monte. Cut to interior, the
• 41:46
  Speaker 1: grand Master's Private Chambers.
• 41:48
  Speaker 4: Day.
• 41:50
  Speaker 1: Caravaggio faces Ailoff, who gestures to the.
• 41:53
  Speaker 2: Wall, I want my cupid there.
• 41:58
  Speaker 1: To Cravaggio's relief, Ailof turns and leaves. Interior the grand
• 42:04
  Speaker 1: Master's Private Chambers. Later, Caravajo paints quickly as Stefano watches him.
• 42:11
  Speaker 1: Cut to interior, the grand Master's Private Chambers.
• 42:14
  Speaker 4: Night.
• 42:16
  Speaker 1: Caravaggio sits, exhausted. His cupid is a sickly and vile
• 42:21
  Speaker 1: old man. Caravajo is pleased and yet at the same
• 42:25
  Speaker 1: time apprehensive. Cut to interior. In a sanctum night, Ailof
• 42:32
  Speaker 1: and Stefano enter the empty room together. Ailof gazes on
• 42:36
  Speaker 1: the cupid.
• 42:38
  Speaker 2: The devil has come to the letter.
• 42:41
  Speaker 1: Interior Caravacchio's room continues. Caravachio hears the sound of boots
• 42:47
  Speaker 1: coming down the hallway. The boots stop at his door.
• 42:51
  Speaker 1: He gets up and grabs his sword, but the door
• 42:54
  Speaker 1: flies open, and several masked knights quickly rush in, overwhelm him,
• 42:58
  Speaker 1: and drag him out. Cut to interior torture chamber.
• 43:03
  Speaker 4: Night.
• 43:05
  Speaker 1: With his face streaked with blood, Caravaco is chained to
• 43:08
  Speaker 1: the wall, facing alof and Stefano flanked by four knights
• 43:12
  Speaker 1: wearing hoods.
• 43:14
  Speaker 2: On this earth, there is no greater evil than duplicity.
• 43:19
  Speaker 3: I don't have the courage for duplicity.
• 43:22
  Speaker 2: It pains me to see you this way, But I've
• 43:25
  Speaker 2: placed my own dear brother of the rack. His spine
• 43:30
  Speaker 2: was broken, but he is no longer heretic. Now he
• 43:35
  Speaker 2: is a believer and a cripple.
• 43:36
  Speaker 1: Pa Stefano slaps Caravaccia.
• 43:40
  Speaker 2: Don't you see the value of your soul?
• 43:46
  Speaker 8: Answer him.
• 43:48
  Speaker 9: I grew up on the streets where I learned that
• 43:50
  Speaker 9: for refuge and shelter there is only the flesh.
• 43:54
  Speaker 3: And if i'd have a non god, it is when
• 43:56
  Speaker 3: I've held someone.
• 43:58
  Speaker 2: Michaelangelo, see the Caravaggio. You have painted my body, and
• 44:05
  Speaker 2: now I will save your soul.
• 44:07
  Speaker 4: How will you save my soul through pain?
• 44:13
  Speaker 2: Put him on the rack.
• 44:16
  Speaker 1: The four knights and Stefano Unlocky's chains and place him
• 44:19
  Speaker 1: on the rack. Because he desperately strungs.
• 44:22
  Speaker 10: You have no right to judge me. I have the
• 44:25
  Speaker 10: right given to me by the inquisition. I have the
• 44:29
  Speaker 10: right to judge the heretic. Seeing your paintings, I was
• 44:35
  Speaker 10: sure you carried God's love. But I've learned that you
• 44:38
  Speaker 10: have no belief, no faith, and without faith you are
• 44:44
  Speaker 10: an incomplete man. You will scream out for God and
• 44:51
  Speaker 10: rise above your suffering.
• 44:53
  Speaker 2: No pull.
• 44:55
  Speaker 1: Stefano nods to the two knights who pull on the rack.
• 44:58
  Speaker 1: Carago screams, ah Yeah. Overwhelmed by Caravaggio's suffering, ailoff, looks away.
• 45:06
  Speaker 1: Caravaggio remembers flashback to interior basilica of Saint Augustine Chapel,
• 45:13
  Speaker 1: Rome day. Caravaggio is painting the Death of the Virgin,
• 45:19
  Speaker 1: an altar piece, having staged prostitutes homeless surrounding Lena, who
• 45:24
  Speaker 1: lies on a bed with her arms outstretched. Cardinal del
• 45:28
  Speaker 1: Monte enters. Caravaggio sees him and puts down his paints.
• 45:33
  Speaker 1: It's so real.
• 45:34
  Speaker 8: I find it painful, but you pose this horror to
• 45:39
  Speaker 8: be the blessed mother.
• 45:40
  Speaker 4: Her name is Lena, but as.
• 45:43
  Speaker 8: The Virgin, the mother of God, she's a woman with
• 45:47
  Speaker 8: dirty feet.
• 45:48
  Speaker 2: She looks like a corpse.
• 45:50
  Speaker 4: She's dead.
• 45:51
  Speaker 8: And these others you take beggar yourself the street and
• 45:54
  Speaker 8: beat them exactly as they are.
• 45:56
  Speaker 1: He paints their torment.
• 45:58
  Speaker 4: Who is this woman?
• 45:59
  Speaker 8: Why is she talking to me?
• 46:01
  Speaker 3: She is Lena from Grassoia.
• 46:05
  Speaker 1: Frustrated, Cardinal del Monte walks away, and Caravaccia rushes off
• 46:10
  Speaker 1: to him.
• 46:11
  Speaker 4: I don't put haloes around them like God.
• 46:13
  Speaker 3: I paint people just as God made them.
• 46:17
  Speaker 8: Yes, God made disease and death, but nobody needs to
• 46:22
  Speaker 8: be reminded. When I first found you, you lived on nothing.
• 46:26
  Speaker 8: You had nothing, Michail, Listen to me. We are so
• 46:29
  Speaker 8: very close to what you want and public everyone denies
• 46:34
  Speaker 8: your brilliance, but behind closed doors they worship your canvases.
• 46:41
  Speaker 8: Play along just for a little, and.
• 46:43
  Speaker 2: You will own your own villa. Someday.
• 46:47
  Speaker 8: I have secured the commission for you to complete the
• 46:50
  Speaker 8: Weeping Magdalena. You wanted that commission, and I got it
• 46:55
  Speaker 8: for you.
• 46:55
  Speaker 3: Yes, I wanted that commission.
• 47:00
  Speaker 4: I use Lena as my Magdalena.
• 47:03
  Speaker 8: Impossible.
• 47:04
  Speaker 1: Cardinal del Monte leaves Caravajo walks back to his canvas,
• 47:08
  Speaker 1: finding Lina looking at it.
• 47:10
  Speaker 3: It is so painful.
• 47:12
  Speaker 1: You can see how she suffered.
• 47:14
  Speaker 4: Yes, she suffered.
• 47:16
  Speaker 1: Flashback in interior torture chamber, Malta day, Caravajo is still
• 47:23
  Speaker 1: unconscious as Ailof leans into him.
• 47:27
  Speaker 2: Are you the devil himself?
• 47:30
  Speaker 4: Who are you?
• 47:32
  Speaker 1: Caravajo spits blood.
• 47:35
  Speaker 4: Who's my love?
• 47:36
  Speaker 2: Not dear to you? God's love can be a terrible light.
• 47:43
  Speaker 2: Be all your sins remembered.
• 47:46
  Speaker 1: Ailof nods to one of the hooded knights bull. Caravajo screams,
• 47:55
  Speaker 1: faye to interior corridor prison.
• 47:58
  Speaker 4: Day.
• 48:00
  Speaker 1: Caravaggiou is unconscious, breathing with difficulty. Pained, Ailof leaves the room.
• 48:06
  Speaker 1: Stefano stays interior in a sanctum night. Ailov sits at
• 48:12
  Speaker 1: his table holding another letter. Stefano enters, is he dead?
• 48:20
  Speaker 2: No, he killed a man. Renownce your thomason. He must
• 48:25
  Speaker 2: die if he survives the night, place him in the
• 48:31
  Speaker 2: bell leave.
• 48:34
  Speaker 1: Stefano quickly leaves as Ailov struggles. Interior corridor prison continues
• 48:42
  Speaker 1: barely alive. Caravaggio lies on the rack, now drifting in
• 48:46
  Speaker 1: and out of consciousness. Stefano enters with two knights, one
• 48:51
  Speaker 1: sure that he is alive. A slowly unstrapped Caravajiou from
• 48:55
  Speaker 1: the rat. Exterior castle sant Angelo continuous. Stefano leads the
• 49:03
  Speaker 1: two knights, who drag a nearly dead Caravaggio along the
• 49:06
  Speaker 1: castle wall. Exterior bell shaped hole cell continues. Steffano steps
• 49:14
  Speaker 1: back as the knights pause over an eleven foot bell
• 49:16
  Speaker 1: shaped narrow hole in the castle's rock. They place Caravaggio
• 49:20
  Speaker 1: down and allow him to fall into it. Interior bell
• 49:25
  Speaker 1: shaped hole cell continues. Caravaggio hits the bottom of the
• 49:30
  Speaker 1: cell and moans in agony. Closing his eyes. Caravaggio looks
• 49:36
  Speaker 1: up at the blue light from the moon. Voices overlap
• 49:40
  Speaker 1: into following scene. Flashback to exterior Piazza del Popolo Rome night.
• 49:49
  Speaker 1: Caravaggio stands over Rouccio, who lies on his back, bleeding
• 49:53
  Speaker 1: and moaning, as voices rush to him. From the far
• 49:56
  Speaker 1: end of the piazza. Look up at a half a
• 50:01
  Speaker 1: dozen Carabanieri racing toward him with swords drawn and a
• 50:05
  Speaker 1: single torch lighting their way.
• 50:07
  Speaker 4: Carabinieri Mi.
• 50:11
  Speaker 1: Mancini staggers up to Caravaggio, dazed, bleeding from the head.
• 50:15
  Speaker 1: His appearance shakes Caravaggio from his bafflement. Right behind, Mancini
• 50:21
  Speaker 1: Caravaggio sees Lena tending to Toppa.
• 50:25
  Speaker 4: Take care of him.
• 50:26
  Speaker 2: Yes, where do I find you?
• 50:28
  Speaker 1: Caravaggio rushes to Lena, helping her lift Toppa up. With
• 50:32
  Speaker 1: both Toppa and Mancini wrapped around Lina, Caravaggio kisses her
• 50:37
  Speaker 1: strongly on the mouth.
• 50:41
  Speaker 2: God save you.
• 50:43
  Speaker 9: Meet me at the Cardinals Villa in Port, Princiard, fuck
• 50:51
  Speaker 9: me and me at the Cardinals Villa in Port.
• 50:53
  Speaker 1: The princ yes, with Toppa and Mancini at her side.
• 50:57
  Speaker 1: She disappears down a cobblestone street and the darkness. Caravaggio
• 51:02
  Speaker 1: hears Otavio and a bloody Giovan, both near exhaustion and
• 51:06
  Speaker 1: in pain, carrying a motionless Ranuccio to his feet, as
• 51:10
  Speaker 1: they rush off into a nearby alley away from the police.
• 51:14
  Speaker 1: Caravaggio then turns, watching as both men quickly make their
• 51:17
  Speaker 1: way down the piazza in the opposite direction of the police.
• 51:21
  Speaker 1: He follows them into the darkness. Exterior streets of Rome continues.
• 51:28
  Speaker 1: Caravaggio races through the narrow streets or the voices of
• 51:31
  Speaker 1: the Carabanieri behind him. Exterior alley continues. Caravaggio turns down
• 51:39
  Speaker 1: an alley exterior courtyard continuous. They race through the courtyard
• 51:45
  Speaker 1: and turn down a second alley. Exterior second alley continues.
• 51:51
  Speaker 1: He ducks into the shadows, out of breath, listening to
• 51:54
  Speaker 1: the voices. The voices grow faint. Caravaggio steps out of
• 51:59
  Speaker 1: the shade. Out of breath. He sees a light at
• 52:03
  Speaker 1: the end of a long alley. He walks to it.
• 52:07
  Speaker 1: Exterior Battista Barber Sharp continuous. Caravaggo walks up to the
• 52:13
  Speaker 1: sign on the narrow street, which reads barber shop the
• 52:17
  Speaker 1: barber sharp. The doctor's office of the time has its
• 52:21
  Speaker 1: curtains drawn. A tiny light glows from the back room.
• 52:25
  Speaker 1: Caravaggo looks around, then opens the door. Cut to interior
• 52:31
  Speaker 1: Battista Barber Sharp continuous. The barber Louis Battista forties, A short,
• 52:37
  Speaker 1: stocky man is wearing a white apron and is covered
• 52:40
  Speaker 1: in dried blood as he works on Caravaccio, who sits
• 52:44
  Speaker 1: in the barber's chair. Battista washes Caravaggio's wound, draining his
• 52:49
  Speaker 1: sponge in a large bucket.
• 52:51
  Speaker 2: Your wounds aren't that bad.
• 52:53
  Speaker 1: He pays Battista. Scoodie, I was never here, You were
• 52:57
  Speaker 1: never here, Just your blood, Battista, Dad's the wound again.
• 53:04
  Speaker 1: As Caravaggio moans in pain. He hands Caravaggio an open
• 53:08
  Speaker 1: bottle of wine. Caravaggio leans back and takes a big
• 53:12
  Speaker 1: slug of the wine. As he does, Battista takes a
• 53:16
  Speaker 1: dirty bucket filled with blood and flesh, walks to the
• 53:19
  Speaker 1: back door, opens it, and dumps it out just like Ala.
• 53:27
  Speaker 1: Cut to exterior Battista barber shop. Later in the night,
• 53:33
  Speaker 1: Caravaggio stands in the shadows outside the shop, watching A
• 53:37
  Speaker 1: Tavio and Giovan carry a slumping or Nuccio inside. Battista
• 53:41
  Speaker 1: watches as they put Ranuccio, pale and silent, in a chair.
• 53:46
  Speaker 1: He walks over to a Renucio and stands over him.
• 53:49
  Speaker 1: He looks this one's dad. Atavio and Giovan look to
• 53:53
  Speaker 1: him in disbelief. Atavio and Giovan then lift Rnucio out
• 53:57
  Speaker 1: of the chair. A Tavio manages and Batisto Scodi. Batista
• 54:03
  Speaker 1: takes the money.
• 54:04
  Speaker 2: He was never here, just as blood.
• 54:08
  Speaker 1: He opens the door and holds it open for them
• 54:10
  Speaker 1: as they sneak Ronuccia's dead body out. Caravaggio continues to
• 54:15
  Speaker 1: watch them through the window as they disappear into the shadows.
• 54:19
  Speaker 1: Batista comes to the door and splashes the blood from
• 54:22
  Speaker 1: his bucket down into the sewer. Caravaggio steps away to
• 54:26
  Speaker 1: avoid getting wet, then rushes into the darkness. Flashback end interior,
• 54:33
  Speaker 1: bell shaped whole cell malta day. Water splashes into the cell,
• 54:41
  Speaker 1: drenching Caravaggio. He attempts to crawl up the rock, but
• 54:45
  Speaker 1: it is impossible. He can only look into the sky,
• 54:48
  Speaker 1: where the sun follows a shaft of light down across
• 54:51
  Speaker 1: his face. He collapses. He lies on the hard rock
• 54:56
  Speaker 1: in a ball, remembering flashback too. Exterior Cardinal del Monte's
• 55:02
  Speaker 1: Villa Ludovisi, Rome night. Caravaggio cautiously makes his way to
• 55:08
  Speaker 1: the side entrance of the villa in the Porta Pinciana
• 55:13
  Speaker 1: Interior Cardinal del Monte's Villa Ludovisi continues. Caravaco enters, seeing
• 55:20
  Speaker 1: Cardinal del Monte wearing an apron, busy with his alchemical
• 55:24
  Speaker 1: experiment in a room filled with bottles of colored water,
• 55:27
  Speaker 1: chemicals and tubes a primitive lab. He hears something and turns.
• 55:33
  Speaker 1: Caravaggio closes the door.
• 55:35
  Speaker 4: Renuccio Tomsoni is dead.
• 55:38
  Speaker 1: I killed him, saying nothing. Cardinal del Monte quickly looks
• 55:43
  Speaker 1: over his minor wounds and then leaves the room. Caravaggio
• 55:47
  Speaker 1: sees Lena standing outside looking in. He opens the door.
• 55:51
  Speaker 1: She rushes to his son the others.
• 55:54
  Speaker 4: I took them to the tavern of hoc. Maria is
• 55:56
  Speaker 4: caring for them.
• 55:57
  Speaker 1: She holds him. Cardinal del monteers without.
• 56:01
  Speaker 8: His apron You need to leave Rome now why Last
• 56:06
  Speaker 8: month the Vatican issued Abanda capitale for all murderers without exception.
• 56:11
  Speaker 8: Anyone charged with murder faces arrest in execution where they
• 56:14
  Speaker 8: are found. The aggrieved parties and any bounty hunters they
• 56:20
  Speaker 8: employ can carry out the warrant. You killed the son
• 56:24
  Speaker 8: of a war hero. Your life is worth nothing.
• 56:28
  Speaker 4: As we speak, a mota, I.
• 56:32
  Speaker 8: Will send a messenger. Now, Pedro, the.
• 56:35
  Speaker 1: Bishop quickly enters as Cardnel del Monte writes a note.
• 56:39
  Speaker 8: I will write the Grand Master that you have accepted
• 56:42
  Speaker 8: his commission. I can arrange an official Vatican vessel to
• 56:46
  Speaker 8: take you there.
• 56:48
  Speaker 1: He hands the bishop the note. Rush to the dock.
• 56:52
  Speaker 8: This note must get to the boat to catch the
• 56:55
  Speaker 8: next high tide.
• 56:56
  Speaker 1: The Bishop rushes.
• 56:57
  Speaker 3: Off, how long will you need to secure a pardon
• 57:02
  Speaker 3: from the Vatican.
• 57:03
  Speaker 8: It will take some time, a care perhaps a year,
• 57:06
  Speaker 8: perhaps two, perhaps more.
• 57:09
  Speaker 2: I have faith in you.
• 57:11
  Speaker 1: Cardinal del Monte leaves the room. Caravaggio and Lina face
• 57:15
  Speaker 1: one another.
• 57:17
  Speaker 4: I refuse to give it to fear.
• 57:20
  Speaker 1: She embraces him as he keeps his nerves steady. Cut
• 57:24
  Speaker 1: to interior, Cardinal del Monte's Villa Ludovisi.
• 57:29
  Speaker 4: Night.
• 57:30
  Speaker 1: Caravaccio and Lina pack a small bag of Caravaccio's clothing,
• 57:34
  Speaker 1: some of his paint brushes, paints, and tightly wound canvases.
• 57:39
  Speaker 1: Caravaccio takes Lena's face in his hands, touching it gently
• 57:43
  Speaker 1: with his fingertips. In the dim light, he looks, seeing her,
• 57:47
  Speaker 1: the surroundings, the light as they all blended together. A moment,
• 57:52
  Speaker 1: an impression in how he creates what he creates. Exterior
• 57:59
  Speaker 1: Cardinal del montees Villa Ludovisi continuous. Cardinal del Monte waits
• 58:05
  Speaker 1: for Caravacio and Lina next to a carriage. They appear.
• 58:09
  Speaker 1: A valet places Caravaccio's things on the carriage and then disappears.
• 58:14
  Speaker 8: There is wine to warm you on your travels. Hope
• 58:19
  Speaker 8: Clement is dying and perhaps in God's infinite wisdom, I
• 58:23
  Speaker 8: may be given the reins of our holy mother church.
• 58:27
  Speaker 1: Caravaggio holds Lina gently and kisses her.
• 58:30
  Speaker 8: Be careful, be wise, be tolerant, and you will be safe.
• 58:36
  Speaker 3: And when was I ever any of those things?
• 58:39
  Speaker 1: He looks to Lina.
• 58:41
  Speaker 4: Don't let Rome devour you.
• 58:45
  Speaker 3: Come back.
• 58:46
  Speaker 4: I will have no fear.
• 58:49
  Speaker 1: He enters the carriage. He leans out the window.
• 58:53
  Speaker 4: I am Michelangelo de Marisi.
• 58:55
  Speaker 3: That Caravadzo go a.
• 58:59
  Speaker 1: Theamo interior carriage roam. Caravaggio follows back, stares ahead, overwhelmed,
• 59:06
  Speaker 1: fearing everything. Flash back in exterior of a letter, Malta night.
• 59:14
  Speaker 1: A fog covers the castle interior bell shaped, whole cell continues.
• 59:21
  Speaker 1: A thick rope flies down into the cell. It dangles
• 59:24
  Speaker 1: there next to the unconscious Caravagjo. A small stone comes
• 59:29
  Speaker 1: flying down into the cell. It hits Caravaggio's shoulder. He stirs.
• 59:35
  Speaker 1: Another stone flies down into the cell and bounces off
• 59:37
  Speaker 1: the wall. Carravaggio comes to looks around. He sees the rope.
• 59:43
  Speaker 1: He's startled by it. He aches but stands and looks up.
• 59:47
  Speaker 1: But he can't see anything or anyone. Only the bright
• 59:50
  Speaker 1: light from the moon. He grabs hold of the rope
• 59:54
  Speaker 1: and puts his feet up against the wall. He's slowly,
• 59:58
  Speaker 1: gingerly and with much agony, pulls and pushes himself up
• 1:00:02
  Speaker 1: and out of the cell. Exterior bell shaped, whole cell continuous.
• 1:00:11
  Speaker 1: Caravaggio reaches the top of the cell and is out
• 1:00:14
  Speaker 1: of it. He struggles to his feet. He sees that
• 1:00:19
  Speaker 1: the rope is attached to the chain link in the
• 1:00:21
  Speaker 1: castle rock. He's weak and disoriented and hopes it's not
• 1:00:25
  Speaker 1: a trap. Just then, a figure emerges from the shadows,
• 1:00:29
  Speaker 1: but he can't make out who it is. All he
• 1:00:33
  Speaker 1: can see is that they are small and slight. The
• 1:00:36
  Speaker 1: figure walks away from the cell. Caravaggio knows that he
• 1:00:40
  Speaker 1: must risk it. He follows, striving to make his way
• 1:00:44
  Speaker 1: through the shadows. Exterior castle wall Castle sant Angelo continuous.
• 1:00:52
  Speaker 1: Caravaggio is nearly crawling along, following the figure as it
• 1:00:55
  Speaker 1: moves ahead of exterior dark continues. Caravaggio is now on
• 1:01:01
  Speaker 1: the dock. He stops. He watches as the figure walks
• 1:01:05
  Speaker 1: into the moonlight toward a fishing boat. The moonlight falls
• 1:01:09
  Speaker 1: across his pale face. It is Roberto, Roberto reaches the
• 1:01:14
  Speaker 1: boat and hands money to one of the three local
• 1:01:17
  Speaker 1: fishermen who are in the boat and preparing to leave.
• 1:01:21
  Speaker 1: Caravaggio watches as Roberto walks past him, scared of him, yes,
• 1:01:26
  Speaker 1: but putting his life in jeopardy for the man who
• 1:01:28
  Speaker 1: once protected him. He disappears back toward the castle. As
• 1:01:33
  Speaker 1: Caravaggio turns to the fishing boat, the fishermen are waving
• 1:01:37
  Speaker 1: to him to follow. He pushes his body to make
• 1:01:40
  Speaker 1: it to the boat. Caravaggio falls into the boat and
• 1:01:44
  Speaker 1: rights himself, amazed at what is happening to him. The
• 1:01:48
  Speaker 1: fishermen quickly push off from the dark, and as they
• 1:01:51
  Speaker 1: do they raise the sail. Moonlight falls across their faces.
• 1:01:56
  Speaker 1: They look like sea worn but sublime angels to Karavai.
• 1:02:01
  Speaker 1: One of them offers him bread and water. He eats
• 1:02:04
  Speaker 1: and drinks, never taking his eyes off the worn faces.
• 1:02:07
  Speaker 1: In the spur exterior of a letter dawn, the sun
• 1:02:13
  Speaker 1: rises up and over the castle walls. Caravaggio has escaped. Interior,
• 1:02:19
  Speaker 1: the grand Master's private chambers continuous. Stefano faces ailof at
• 1:02:25
  Speaker 1: his breakfast table. Slaves and Robertas stand nearby.
• 1:02:29
  Speaker 6: How he had an accomplice.
• 1:02:34
  Speaker 1: Out the slaves and Roberto leave. Ailof turns to his
• 1:02:38
  Speaker 1: map on the wall and gestures to it as he speaks.
• 1:02:41
  Speaker 2: If he survives the journey, the only place he could
• 1:02:44
  Speaker 2: sail would be Sicily.
• 1:02:46
  Speaker 1: Ailof quickly finds official papers and writes a warrant, then
• 1:02:50
  Speaker 1: signs and stamps it with the official.
• 1:02:51
  Speaker 2: Seal ready provisions horses and six men. We sail to
• 1:02:59
  Speaker 2: Plato with the next tide. No one will defy the
• 1:03:04
  Speaker 2: warrant from the inquisition.
• 1:03:06
  Speaker 6: One second, it says, and then said later it says, bo, yeah.
• 1:03:16
  Speaker 8: Yes, can you can you say for us Plaza?
• 1:03:33
  Speaker 3: All right?
• 1:03:35
  Speaker 1: Alf quickly finds official papers and writes a warrant and
• 1:03:39
  Speaker 1: signs and stems it with the official seal.
• 1:03:42
  Speaker 2: Ready provisions horses and six men. We sail for Palazzo
• 1:03:48
  Speaker 2: with the next tide. You gotta write the first Okay, sorry,
• 1:03:59
  Speaker 2: ready provisions horses and six men. We sail for Pizzalo
• 1:04:04
  Speaker 2: with the next tide. No one will defy the warrant
• 1:04:08
  Speaker 2: from the inquisition. Yes, sire, I also want you to
• 1:04:12
  Speaker 2: dispatch messengers immediately. Have them go up the coast all
• 1:04:17
  Speaker 2: the way to Catania with copies of this warrant. This
• 1:04:21
  Speaker 2: warrant supersedes all pardons other than one from the pontiff himself.
• 1:04:27
  Speaker 6: If he is not in Puzzalo or Syracuse or Katana, and.
• 1:04:30
  Speaker 2: We follow him to Rome, I want him back at Falletta.
• 1:04:35
  Speaker 10: His arrogance defiles on those, his treacheries blasphemy.
• 1:04:42
  Speaker 2: I want him in chains.
• 1:04:45
  Speaker 4: End of that. Two yes,