Caravaggio - Act 1

Summary

TABLE READ: Caravaggio – Act 1

Podcast: Table Read
Host/Producer: Manifest Media / Table Read, produced by Jack Levy, Shaan Sharma, Mark Knell
Episode Release: February 10, 2026
Script: Written by Richard Vetere, adapted from his stage play
Episode Theme:
A high-caliber audio production dramatizing pivotal moments in the turbulent life of Michelangelo Merisi da Caravaggio, the revolutionary Italian Baroque painter. Mixing lush soundscapes, a cinematic score, and a cast of Hollywood stars, the episode immerses listeners in Caravaggio’s passionate, dangerous world—one teeming with violence, faith, rivalry, and art.

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Main Theme & Purpose

This episode dives into Act 1 of Caravaggio’s life, tracing his struggles and triumphs as an artist in Baroque Rome and his forced flight to Malta.
Listeners experience his battles—both internal and external: his rivalry with Annibale Carracci, his complicated relationships in the brothels of Rome, his dangerous feud with Ranuccio Tomasoni, and his fraught commission under the Knights of Malta. The episode juxtaposes the decadent, violent underbelly of Rome with the disciplined, martial order of Malta, using dialogue, ambience, and music to evoke the period’s textures and tensions.

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Key Discussion Points & Insights

1. Setting the Stage: Rome, 1610 (00:43–06:14)

• Caravaggio (30s), with friends Mancini and Toppa, drunkenly explores the Roman night—exposing his restless spirit and relentless pursuit of inspiration.
• Caravaggio and friends break into the Chapel of Santa Maria dei Popolo to judge paintings for a prestigious church commission—an artistic duel between Caravaggio’s raw realism and Carracci’s idealized classicism.
  • “Magnificent. Splendid. You’ll win the competition. Be all my sins remembered.” – Caravaggio (03:49)
  • “Perfect saints with halos spinning like golden rings. Awful.” – Caravaggio (04:24)

2. Artistic Rivalry: Caravaggio vs. Carracci (04:04–06:00)

• Annibale Carracci, lurking in the shadows, is both rival and wary admirer. Their tense exchange highlights Caravaggio’s disruptive approach:
  • “Let me say now to your face that despite how much I despise your realistic style, I admire it.” – Annibale Carracci (05:28)
  • “You painted like me once, not caring what anyone thought…” – Caravaggio (05:37)

3. The Brothel: Passions, Debts, and Fateful Encounters (06:14–09:39)

• Scenes of rowdy camaraderie, sensuality, and looming violence in the Piazza del Popolo brothel, where Caravaggio and his circle mingle with prostitutes, poets, and swordsmen.

  • “Women. I’ve seen you. I haven’t.” – Caravaggio (08:13)
  • “When I am in your house, I look at you and no one else.” – Caravaggio to Maria (08:44)

• A confrontation erupts between Caravaggio and the Tomasoni brothers, foreshadowing the violence that will taint his career and force his exile.

  • “One day I will soak the piazza with your blood and be damned.” – Caravaggio (12:12)

4. Flight from Rome: On the Road to Malta (12:18–16:34)

• Caravaggio, now on the run, is granted passage via Cardinal Del Monte’s influence. Travel scenes build tension:
  • Passing through papal checkpoints, presenting papers, and encountering suspicious guards.
  • Dramatic arrival by boat to a devastated Malta, beset by recent Turkish attacks.

5. Malta: Carnage and Courtly Welcome (16:33–21:44)

• Stark contrast between Rome’s chaos and Malta’s martial order.
• Alof de Vignacourt, Grandmaster of the Knights of Malta, is introduced—a war-scarred, imposing figure.
  • “This is where I want to pose for the portrait in the morning. The light is glorious.” – Alof de Vignacourt (36:08)
• Caravaggio’s arrival is unexpectedly fraught: he’s confined to spartan, prison-like quarters.

6. Shifting Politics: The Vatican and Papal Intrigue (22:26–23:58; 31:23–33:49)

• Back at the Vatican, Cardinal Del Monte defends Caravaggio to the ailing, shrewd Pope Clement VIII.
  • “Why isn’t Caravaggio here?” – Pope Clement VIII (22:59)
  • “You deserve to win the commission.” – Cardinal Del Monte to Carracci (24:22)
  • “He is a murderer.” – Pope Clement VIII (31:21)
  • “There will be no pardon, Caravaggio.” – Pope Clement VIII (33:36)

7. The Knights of Malta: Brotherhood, Ritual, and Tension (34:47–38:40)

• Caravaggio is an honored guest but also a curiosity; his outsider status elicits both fascination and suspicion.
  • “Once again we have proven to the world that we knights are the glorious shield of Christian Europe and a bulwark against the Turks.” – Alof de Vignacourt (34:47)
• Dinner unfolds as a raucous spectacle of martial pride, camaraderie, and underlying menace.
  • “To tradition and to God, our Father.” – Alof de Vignacourt (35:08)

8. Private Negotiations: Art and Freedom (36:08–37:26)

• Caravaggio and Alof haggle over the terms of the portrait; Caravaggio resists being controlled, even as a fugitive.
  • “I don’t paint to please. …your eyes will stay on your side of the canvas until the portrait is completed and you take the portrait as is.” – Caravaggio (36:57)

9. Cultural and Personal Alienation (38:16–41:37)

• Caravaggio’s struggle for belonging plays out in his conversations with Stefano Della Croce—mixing mockery, vulnerability, and subtle homoerotic tension.
  • “We are aware of your life in Rome. The bars, the brothels, the fights, the prostitutes. …Tread carefully.” – Stefano Della Croce (40:26)
  • “Your eyes shine magnificently in this light.” – Caravaggio to Stefano (40:38)

10. Trauma and Memory: The Shadow of Violence (41:18–41:37)

• A somber flashback to Caravaggio’s fateful duel with Ranuccio—the murder that has doomed him to a fugitive’s life.
  • “One day I will soak the piazza with your blood. I will soak it with yours.” – Caravaggio & Ranuccio (41:18)

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Notable Quotes & Memorable Moments

• On art and faith:
  “You despise what I paint because I expose you for what you are.” – Caravaggio [04:35]
• On realism vs idealism:
  “Let me say now to your face that despite how much I despise your realistic style, I admire it.” – Annibale Carracci [05:28]
• On exile:
  “Not as treacherous as Rome is for me. Right now.” – Caravaggio [15:20]
• On Malta’s martial ideals:
  “Our motto is discipline, trust and death to the infidel. We live sparsely, we pray for God's guidance and we are celibate.” – Stefano Della Croce [29:19]
• On the artist’s isolation:
  “Here, away from your life in Rome, you will soon find that the world outside these walls means nothing.” – Alof de Vignacourt [29:54]
• On the burden of reputation:
  “His arrest record. It's biblical in scale. He once threw artichokes at a waiter and nearly blinded him. He said the artichokes were rotten.” – Pope Clement VIII [33:00]
• On painting portraits:
  “I don't paint to please. ...your eyes will stay on your side of the canvas until the portrait is completed…” – Caravaggio [36:57]

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Timestamps for Important Segments

• Table Read/Production Introduction: 00:01–00:43
• Rome: Artistic Competition, Chapel Scene: 00:43–06:14
• Brothel, Debts, and Rivalries: 06:14–12:12
• Showdown with Tomasoni Brothers: 09:39–12:18
• Escape to Malta: 12:18–16:34
• Arrival and Reception in Malta (Battle Aftermath): 16:34–21:17
• Vatican Intrigue & Papal Politics: 22:26–23:58, 31:23–33:49
• Malta, Portrait Commission, Rituals: 34:47–38:40
• Private Negotiations (Alof & Caravaggio): 36:08–37:26
• Alienation, Tension with Stefano: 38:16–41:37
• Flashback to Duel & End of Act 1: 41:18–41:37

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Tone, Language, and Overall Experience

• Language is poetic, sharp, and realistic; period-appropriate yet never archaic.
• Tone shifts from raucous to somber, intimate to epic—matching Caravaggio’s volatile energies.
• Sound design and score create a layered, immersive sonic “movie for your ears”: bustling Roman streets, echoic cathedrals, carnage on Malta’s shores, and the clamor of a knights’ dining hall.

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Who Should Listen?

Fans of historical drama, art history, and audio cinema will find this episode engrossing and atmospheric. It is especially compelling for those interested in Caravaggio’s turbulent genius and the high-stakes intrigue of Renaissance and Baroque Europe.

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Summary

Caravaggio – Act 1 presents a thrilling, immersive dramatization of the painter’s most tempestuous era. It grapples with questions of art, faith, justice, violence, and exile—told through electric performances and a richly detailed world. The episode ends on a note of ominous memory and unresolved tension, setting the stage for Act 2.

Transcript

[Pope Clement VIII]

We're live.

[Table Read Director]

All right, here we go. So historically, for those of you who have not been here historically before, every read we say three things. We say table read and we say the name of the script. So give us the pronunciation that you would like to hear on the script.

[Narrator]

Caravaggio.

[Table Read Director]

Caravaggio.

[Narrator]

Caravaggio.

[Caravaggio]

So.

[Table Read Director]

Table read. Caravaggio. And I would like to have a little bit of excitement, a little bit of like, happy to be here. Put a little something in your step.

[Narrator]

I don't know what the fuck. All right, on the count.

[Caravaggio]

Three. Here we go.

[Table Read Director]

One, two, three.

[Stefano Della Croce]

Table read.

[Cardinal Del Monte]

Caravaggio.

[Narrator]

Caravaggio, written by Richard. That's a good way to start. Put the pressure on right away. Yeah, thanks. Caravaggio written by Richard Vitere Based on his stage play on black on screen Rome, 1610. Sounds of the city Loud, deep, deep human voices. Life at its fullest overlaps into following scene Fadian on exterior Ghetto of Ortacio, the evil garden. Rome Night. Small groups of drunk men and prostitutes shout insults and seductions at one another. Caravaggio, intensely aware, in his 30s, piercing black eyes, wears a dramatic looking black and gold tight fitting jacket with with a red vest and a rapier dangling from his belt and a leather satchel of wine in his hand. At his side are Giulio Mancini and Petronio Toppa. Mancini is the eldest, a poet, former merchant wearing expensive rich green and gold. And Toppa is younger, a painter wearing form fitting blue jacket and brown vest. Caravaggio searches the hortaccio looking for something which might be unattainable. Cut to exterior Chapel of Santa Maria de Popolo, Rome. Night. Drunk Caravaggio, Mancini and Topper approach the chapel sharing a satchel of wine. Caravaggio pushes open the chapel door. Interior Chapel of Santa Maria dei Popolo, Rome. Annibale Carracci, late 30s, stands in the aisle looking up at a painting. He's dressed humbly in brown, non distinct clothing. Despite his fame, though his eyes sparkle with intelligence, there is a pained expression on his face as if haunted by some impending doom he can't articulate. Hearing voices at the front door, he covers the canvas and hides behind an altar. Caravaggio enters the chapel.

[Caravaggio]

I need more light.

[Narrator]

Mancini and Toppo follow behind him, laughing, blessing themselves and kneeling as they walk down the aisle.

[Stefano Della Croce]

Bless me, oh Father, for I have sinned.

[Caravaggio]

God knows you're a sinner. He doesn't need to be reminded.

[Narrator]

Get me another torch. Mancini pulls the torch up off the center pew as Caravaggio stops at a covered painting, the same canvas Carracci was looking at. Caravaggio directs the light to brighten the canvas. The painting is enormous. It's the conversion of St. Paul. It's an astonishing work for its time. It's bold in its showing of unblemished humanity. Its portrayal of fragile human beings in a religious setting presents to the Renaissance and Catholic mind a novel idea. God can be found in mankind's imperfections. All three are in awe, even the painting's creator.

[Caravaggio]

Magnificent. Splendid. You'll win the competition. You'll gain the commission. Be all my sins remembered.

[Narrator]

Caravaggio takes a slug of the wine, throws the satchel at Topper, then turns to the other side of the aisle and pulls away the canvas opposite his.

[Caravaggio]

And here is Carracci's.

[Narrator]

Caravaggio throws the torchlight across Carracci's painting. It is the same subject, the Conversion of Paul, but it's a prettier painting, far less realistic, more idealized version of faith and suffering. Karachi peeks from behind the altar.

[Caravaggio]

Perfect saints with halos spinning like golden rings. Awful.

[Cardinal Del Monte]

Putrid.

[Caravaggio]

Yes, it is. But this is what the church wants.

[Narrator]

Caravaggio looks up to God and says.

[Caravaggio]

You despise what I paint because I expose you for what you are.

[Narrator]

In the shadows, Karachi knocks over a small, unlit torch. All three men turn, ready to pounce. What was that?

[Caravaggio]

A demon.

[Narrator]

Carachi steps out from behind the altar. Caravaggio recognizes him and puts his rapier back in its sheath.

[Caravaggio]

I'll deal with this demon. Meet me at the Tavern of the Horde. Go.

[Narrator]

Mancini and Topper turn and leave the church. Caravaggio walks down the aisle to Caracci.

[Annibale Carracci]

Anibale, I'm shocked to hear you pray.

[Caravaggio]

All my prayers are in defiance.

[Annibale Carracci]

God will take notice.

[Caravaggio]

I only hope he does. Your work is brilliant. You will win the commission, not me.

[Narrator]

Karachi looks over Caravaggio's painting.

[Annibale Carracci]

Let me say now to your face that despite how much I despise your realistic style, I admire it.

[Caravaggio]

You painted like me once, not caring what anyone thought. Your butcher shop, the way the meat hung from hooks on the walls.

[Annibale Carracci]

I painted that when I was 21, when I lived near the arena. I sold it to a merchant for bread and meat.

[Caravaggio]

It was magnificent. I even said to myself, someday, Michele, you will do work as good as that.

[Narrator]

Carracci gives Caravaggio a slight bow of his head and walks away, dejected, and leaves the church. Caravaggio watches him. Screams of laughter overlap into following scene. Cut to interior.

[Alof de Vignacourt]

Brothel.

[Narrator]

Piazza del Popolo Night. Caravaggio enters the torch lit two story structure. He struts into the brothel with a wide, charming smile Amid shouts of Michele coming from most of the topless or scantily clad women and Caravaggio from some of the male patrons. A young prostitute, Isabella, rushes over to him and he hugs her. Michele, Ranuccio Tomasone and his brothers were here asking for.

[Caravaggio]

Oh, I'm sure they were. Isabella, you are a true beauty, but stay out of the sun. Now get me something to eat and drink.

[Narrator]

Caravaggio notices a young man, Fabrizio, drinking at a table with a stump for a left hand as a young woman sits silently beside him.

[Caravaggio]

Fabrizio, what happened?

[Narrator]

He holds up the bandaged stump.

[Caravaggio]

I lost it to a Spaniard in Milano. He insulted me. Well, lucky you are right handed. A poet writes with his heart but still needs his fingers. And she must be a great inspiration.

[Narrator]

Caravaggio sits at a table with Mancini and Topa as Isabella brings bread to the table and Toppa grabs her ass as she walks past her. She playfully snaps at him. As young woman number two steps past the table. Caravaggio jumps and stops at her, touching her face. She's startled and still.

[Caravaggio]

Botticelli would call you Venus. You are from Florence.

[Annibale Carracci]

Yeah, see?

[Narrator]

How did you know?

[Caravaggio]

Your complexion is so rare in Rome.

[Narrator]

Just then, Caravaggio sees a woman sitting alone at a table. She's leaner, 20s, captivating, vulnerable and self contained all at the same time. He ignores everything around him, walks over to her, stops and stares in silence. She looks up at him. What, you've never seen a woman before?

[Caravaggio]

Women. I've seen you. I have it.

[Narrator]

He moves to her, but just then a soldier steps out of nowhere, takes her hand and pulls her from the table into the other room. And she's gone. Hey, Michele. Caravaggio turns up and sees Maria, 30s, standing on the stairs, her arms folded across her chest, staring at him. Earthy, boisterous and voluptuous. She demands attention. When you're here in my house, it's me you look at and nobody else.

[Caravaggio]

When I am in your house, I look at you and no one else.

[Narrator]

He walks to her slowly, impulsively, pulls her into another room. Interior Private room. Brothel night. Caravaggio and Maria pull one another's clothes off, making love like ferocious creatures. With the door half open, blasts of torchlight, shouts and laughter explode beyond them. They are completely oblivious to it all. Cut to exterior Brothel Piazza del Popolo Dawn. Caravaggio pushes open the brothel doors, shattering the early Morning silence. He's drunk, exhausted and spent. He steps outside and bumps into a drunk. Caravaggio and the drunk stand, step back, grabbing at their daggers. They recognize one another. The drunk is Ranuccio Tomasoni.

[Caravaggio]

Ranuccio. I thought I smelled lily. Sweet perfume.

[Narrator]

Caravaggio and Ranuccio lock eyes. Ranuccio, 30s, is a well built, handsome, clean shaven man, unlike Caravaggio, not dressed as an artist, but as a swordsman, and a wealthy one at that. In fine silk, blue and gold or the family emblem embodied on his vest. He wears guards on his wrists for sword fighting and rings on his fingers and expensive bracelets and a colorful scarf of the finest silk. Ranuccio calls over his shoulder. Two more drunk men step out of the shadows. They are Ottavio and Giovan Tomasoni, 30s, wearing rapiers in their belts and expensive jewelry. They had the poise of military men. Caravaggio stiffens as the Tomasoni brothers slowly take a stance, ready to pounce on Caravaggio.

[Caravaggio]

You owe me 10 scudi and you have it when I am ready.

[Narrator]

Ranuccio grins as he and his brothers edge closer to Caravaggio. The brothel door flings open and Mancini and Topa stumble out. When they realize what they just walked into, they put their hands on their rapiers and stand to either side of Caravaggio. The sides are now even your father.

[Caravaggio]

Was a warrior, but his sons, they belong in a convent.

[Narrator]

All six men step back, pull their swords from their belts, ready to pounce when thumping of boots on cobblestone rattles the dawn. They all turn to see several Knights of Malta walking across the piazza in their direction. The knights are stunningly attired in black and silver, with the bold emblem of the Knights of Malta on their chest plates. They carry their longswords proudly and intimidate by their sheer presence and reputation. Both sides back away. Caravaggio can't take his eyes off of the knight.

[Caravaggio]

To be a knight of the Order of Malta, it's the highest honor.

[Narrator]

Ranuccio turns to Caravaggio.

[Caravaggio]

One day I will soak the piazza with your blood.

[Narrator]

Ranuccio and his brothers disappear into an enormous rising sun. Orange and red glaringly rising over the rooftops, soaking the street with its brutal light. Caravaggio to Mancini.

[Caravaggio]

One day I will soak the piazza with Ranuccio's blood and be damned.

[Narrator]

The sun drowns Caravaggio in blood. Red light. The light sound of horses overlaps into the following scene. TO black. Fade in on flash forward several weeks. A full white Moon in a milky white sky. Exterior Carriage Roam Night. The carriage races through the streets. Visible is the insignia of a cardinal of the Catholic Church, giving it significant status. Interior CARRIAGE Rome Continuous. The only passenger is Caravaggio, 30s, wearing a dramatic looking black cape, drinking wine from a satchel, peering through the window to see if he is being followed. He looks differently than he did when we saw him earlier. He's now focused, concerned and alert. Cut to EXTERIOR Papal SECURITY Roadblock Night. The carriage pulls up to two guards. The first guard steps over to the carriage.

[Cardinal Del Monte]

This road is closed to all in and out of Rome.

[Narrator]

Caravaggio leans toward the window.

[Caravaggio]

I'm traveling with special permission from Cardinal de Monte.

[Narrator]

Caravaggio hands the first guard official papers. A second guard joins the first. The guards look over the papers.

[Caravaggio]

Where are you traveling to? Malta.

[Cardinal Del Monte]

Malta is under siege from the Turks. Are you a knight?

[Caravaggio]

No, but I am a guest of the knights.

[Narrator]

Impressed, the first guard hands Caravagil his papers.

[Cardinal Del Monte]

Be alert, sir. The roads are treacherous with bandits.

[Caravaggio]

I will be on alert, but. Would you like some wine, gentlemen?

[Cardinal Del Monte]

No, thank you.

[Narrator]

The second guard waves to the driver. Interior Carriage Night. Caravaggio takes a slug from the satchel, then peers out the window, looking down at the flickering lights of Rome, glimmering like stars. Cut to EXTERIOR Carriage BOAT DOCK Continuous. The carriage starts. Caravaggio steps out and it quickly pulls away, leaving him. He staggers, then manages to steady himself without luggage other than a satchel to hold a sketchbook and ink. He moves to the small but seaworthy boat, also with the flag and insignia of a cardinal of the Catholic Church. He steps up to a dock guard and presents him the official papers.

[Caravaggio]

I believe you've been waiting for me.

[Narrator]

The dock God looks them over and hands them back.

[Alof de Vignacourt]

Hmm.

[Narrator]

We were, but the tide isn't.

[Caravaggio]

We shove off immediately.

[Narrator]

Caravaggio steps aboard and it is clear he's the only passenger. He recognizes Andrea, a young sailor.

[Caravaggio]

Andrea, my son, Matthew.

[Narrator]

He steps over to him and touches his face gently.

[Annibale Carracci]

CARVAGGIO so you are the passenger we were waiting for. You do know that Malta is a treacherous destination?

[Caravaggio]

Not as treacherous as Rome is for me. Right now.

[Annibale Carracci]

I have to man my post. Can I find you later?

[Narrator]

Caravaggio reaches out his hand and holds it tenderly.

[Caravaggio]

Yes. Let's find one another.

[Narrator]

In the shadows, Andrea rushes off as the boat slowly pulls away from the dock. Caravaggio stands at the stern, turns and looks forward into the darkness where the boat is headed. His eyes, his demeanor reveal anticipation and hope as the stars and the Full moon light the vessel's way. Cut to EXTERIOR boat Turanian Sea Dawn. A boat sails along on the calm seas. Cut to EXTERIOR BOAT Turanian Sea Continuous. Caravaggio is on the deck, searching the skyline for Malta. The boat's grisly captain stands beside him. Caravaggio sees something faintly on the horizon. Malta. Caravaggio strains to get a better view. The fortress stands high on the rocky promontory of Mount Sciberis. Thunder blasts in the distance. Caravaggio looks up, perplexed since the sky is clear.

[Caravaggio]

Thunder Cannon.

[Narrator]

The captain goes back to his work as Caravaggio looks towards Malta, undeterred. Cut to EXTERIOR Harbor Castle sant' Angelo Malta Dawn. Caravaggio's boat slowly enters the harbor and now that he can see the harbor clearly, what he sees puts a pit in his stomach. Smoke rises up from the docks where anchored boats burn. The shoreline littered with dead and mangled bodies. The ruins of a recent vicious and bloody battle. Knights race to and fro, putting out fires and tending to the wounded. Moans and cries of pain emanate from the shoreline and echo out toward the harbour. Cut to EXTERIOR Boat Beach Malta Continuous since the dock is damaged, Caravaggio's boat runs aground on the beach. Caravaggio views the carnage, smells the stench of burning flesh and sees the blood in the water. As he's about to put his foot down into the sea, he stops and looks up to see Alof de Vingnac. It begins. I knew that was gonna happen. Vinyakor. I'm doing okay. That's it. As he's about to put his foot down into the he stops and looks up to see Alof the Vinyakor standing on the beach, dressed magnificently in his battle attire, with blood staining his breastplate and a gold sword in his hand. He stands over the bodies of two dead Turks he clearly just killed. Alof has a beard that is going grey and it hides several deep scars, but not all of them. His nose has been broken several times in battle and is elegantly dressed in brown leather and silver. He's oblivious to the surrounding hell like environment, looks to Caravaggio and proudly lifts his chin. His eyes shine with delight to see Caravaggio and a slow smile crosses his lips. Just then, a cloud of smoke covers the beach from the burning carcass of a small ship stuck in the harbor. Caravaggio coughs and when the smoke is gone, so is Elof. Cut to interior Entrance Hallway Castle sant' Angelo Continuous. Caravaggio steps up into the castle and is Quickly confronted by Stefano Della Croce, early 30s, tall, well built, a knight with the rank of captain.

[Stefano Della Croce]

I am Stefano Della Croce, the Grandmaster's captain at arms and at your service. This way, please.

[Narrator]

Stefano leads Caravaggio along the path.

[Stefano Della Croce]

Your visit took us by surprise. We only received the Cardinal's message last night. I hope you had a smooth crossing.

[Caravaggio]

Oh, he weren't attacked by bandits, nor Turks.

[Stefano Della Croce]

God was with you.

[Caravaggio]

Well, I didn't see him, but then it was the dead of night.

[Stefano Della Croce]

This way, please.

[Narrator]

He turns and walks down the hallway and Caravaggio follows. Interior HALLWAY Castle sant' Angelo Continuous as they walk. Despite how austere the castle seems, Caravaggio notices weapons and even some artwork on the walls. He notices one painting in particular and stops. Stefano also stops, perplexed.

[Stefano Della Croce]

There's something wrong.

[Caravaggio]

I'm admiring this tempesta.

[Stefano Della Croce]

You appreciate his battle scenes?

[Caravaggio]

Oh, I applaud his use of blood, death, darkness.

[Stefano Della Croce]

I know very little of art, but I can see the artist understands war.

[Caravaggio]

And I know very little of war. But I can see that the Grandmaster understands art.

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[Rakuten Advertiser]

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[Sleep Number Customer]

Can I make my sight softer?

[Alof de Vignacourt]

Can I make my sight firmer?

[Caravaggio]

Can we sleep cooler?

[Sleep Number Customer]

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[Narrator]

Stefano nods, then leads Caravaggio further down the hallway. Exterior HALLWAY Outside Caravaggio's room Continuous. Stefano stops in front of a thick wooden door with Caravaggio behind him. He opens the door to a room which resembles a prison cell.

[Stefano Della Croce]

Your quarters.

[Narrator]

Interior Caravaggio's room continues. Caravaggio enters deeper into the small room. It is stark, unadorned. There is a table with a bucket of water and a Bible sitting on it, as well as a small enclave where to kneel and pray. The window has iron bars on it. There is a bed with a mattress, a blanket and a single pillow, but nothing else. He touches the mattress and makes a face.

[Stefano Della Croce]

The Grandmaster will call for you when he is ready.

[Narrator]

He turns and leaves Caravaggio alone, closing the door. Caravaggio hears a key in the lock.

[Alof de Vignacourt]

Wait.

[Narrator]

He shoves the door, but it doesn't move. It is locked. Caravaggio sits on the hard bed, facing the window and looks north towards Rome. Imagining what is going on at the Vatican. Cut to exterior, St. Peter's Basilica, Rome. Day. A dark brooding sky with a shaft of light cutting through the overcast, desperate to dispel the gloom. Interior, Vatican Office of the Treasure Council, Rome.

[Caravaggio]

Day.

[Narrator]

Cardinal Del Monte, 50s, who has the cunning intelligence of a fox and the physical presence of a lion, enters. A shaft of sunlight cuts through the large windows. Del Monte hurries past bishops and cardinals, walking directly up to Pope Clement VIII, 60s, dressed in his papal robes and magnificent jewels and his red velvet robe. He's pious, old and ill.

[Cardinal Del Monte]

Your Holiness.

[Narrator]

He kisses the Pope's ring as the Pope reaches out his hand.

[Pope Clement VIII]

Why isn't Caravaggio here?

[Cardinal Del Monte]

A thousand apologies, but Caravaggio is attending a new and very important commission.

[Narrator]

Pope Clement VIII nods to what everyone in the room is facing. Two large paintings hanging side by side, covered by velvet curtains.

[Pope Clement VIII]

Proceed.

[Narrator]

Cardinal Del Monte bows, then faces the gathering Annibale Carracci. Carracci, still dressed humbly, stands and walks to one of the curtains and pulls it open, unveiling his own painting, the Assumption of the Virgin. There is a gasp at the piety and visual beauty of the painting. Cardinal Del Monte then walks to the other curtain, pulling it aside, revealing Caravaggio's the Death of the Virgin. Caravaggio's canvas immediately elicits moans of disbelief from those who have no understanding of his achievement, as well as sighs of awe from those who know what he has accomplished.

[Pope Clement VIII]

I choose Annibale Carracci's canvas to adorn the chapel.

[Narrator]

Pope Clement VIII stands and leaves the room. As soon as he does, everyone rushes to examine the paintings. Carracci steps forward and bows in gratitude, then quickly steps closer to Caravaggio's painting, looking up at it. Cardinal Del Monte steps over to him.

[Cardinal Del Monte]

You deserve to win the commission.

[Annibale Carracci]

Who is his model?

[Cardinal Del Monte]

Her name is Lena.

[Annibale Carracci]

Where is he?

[Cardinal Del Monte]

He should have arrived on Malta this morning.

[Annibale Carracci]

Malta? For God's sake, why?

[Cardinal Del Monte]

The Grandmaster requested him to paint his portrait.

[Annibale Carracci]

And does the Grandmaster know that Caravaggio is wanted for murder?

[Cardinal Del Monte]

Let's pray. The news continues to travel slowly.

[Annibale Carracci]

You actually believe you can get him a pardon?

[Cardinal Del Monte]

Without a pardon, he's a dead man.

[Narrator]

A bishop steps over to Del Monte and Carracci, our pontiff would like to.

[Caravaggio]

See you for dinner this evening in his private quarters.

[Cardinal Del Monte]

Of course.

[Narrator]

The Bishop walks away. Del Monte turns and sees Carracci once again staring at Caravaggio's painting.

[Annibale Carracci]

Where can I find this weena?

[Cardinal Del Monte]

The ghetto of Ortaccio.

[Narrator]

Why?

[Annibale Carracci]

I need to know how he does it.

[Narrator]

They both look at the painting. Cut to exterior Valletta, Malta, Night. The moon throws a light over the stone fortress. Knocking overlaps into the following Interior, Caravaggio's room. Malta, night. The room is pitch black. The knocking wakes Caravaggio. He stumbles out of bed just as the door opens.

[Stefano Della Croce]

The Grandmaster is ready for you.

[Narrator]

Cut to interior HALLWAY Outside the Grandmaster's chambers. Night. As they walk through the torchlit hallway, Caravaggio notices frescoes on the wall. Stefano stops at the door.

[Stefano Della Croce]

He is expecting you.

[Narrator]

He opens the door and both men enter. Interior the Grandmaster's private chambers. Continuous. Alof de Vinacor is sitting behind a thick wooden table. Caravaggio takes him and the room in the high ceiling is covered with a mural and the large windows are stained glass. There is art everywhere on the walls. Aylof looks up from his paperwork. Caravaggio notices he looks pained. His eyes can't hide what he still suffers from. All his old war wounds and other more deeper agonies.

[Alof de Vignacourt]

I apologize for the hour. Welcome to Valetta.

[Caravaggio]

In my sanctuary, Titian, Raphael, Tempesta. And in your hallway, you have a taste for grisly scenes of slaughter, martyrdom.

[Alof de Vignacourt]

Well, I do indulge myself. But the frescoes have a purpose. They keep the glory of the order ever before my eye.

[Caravaggio]

And the others?

[Narrator]

Hayloft stands and gestures to the paintings.

[Alof de Vignacourt]

Titian is here for his understanding of human nature. Raphael for his understanding of human grandeur. Tempesta for his understanding of human history.

[Caravaggio]

And who do you have here for an understanding of the human soul?

[Narrator]

Elaf smiles. Caravaggio smiles back.

[Alof de Vignacourt]

I am Aolaf de Vignacourt.

[Caravaggio]

Yes, yes you are. And I am honored.

[Narrator]

Caravaggio bows in reverence.

[Alof de Vignacourt]

It gives me great pleasure to welcome the great Caravaggio to Malta.

[Caravaggio]

And it gives me even greater pleasures to be here.

[Narrator]

Elof sits and gestures to Caravaggio to join him. He does.

[Alof de Vignacourt]

We met once before in Rome. I was at the unveiling of your.

[Caravaggio]

Painting the Calling of Saint Matthews in the Contarelli Chapel. Yes, yes, I remember meeting you well.

[Narrator]

The two men share a moment of mutual respect and admiration.

[Alof de Vignacourt]

You came to our island at a difficult time. The Turks attacked just before you sailed into the harbor.

[Caravaggio]

Well, I've heard how your knights protect our civilization. But now, for the first time, I have witnessed it.

[Alof de Vignacourt]

Yes.

[Caravaggio]

They will return and I will be at your service if you need my sword.

[Alof de Vignacourt]

Have you ever fought in a battle?

[Narrator]

No.

[Alof de Vignacourt]

Well, then it is fortunate that it is your brush I employed.

[Stefano Della Croce]

We were concerned that we would be unable to get you interested in coming here, considering all the commissions you are offered in Rome.

[Caravaggio]

Well, Rome was growing stale for me.

[Alof de Vignacourt]

Stale? An interesting choice of words.

[Caravaggio]

Why so?

[Alof de Vignacourt]

On my last visit, I witnessed how it had become a savage, sinful city. An embarrassment to the Vatican itself.

[Caravaggio]

Yes, the Vatican can be quite sensitive.

[Stefano Della Croce]

I was told you traveled with very little.

[Caravaggio]

I didn't want to miss the tide.

[Narrator]

Aolaf notices Stefano's attitude toward Caravaggio with curiosity.

[Alof de Vignacourt]

Do you know much about us?

[Caravaggio]

Well, I know that you are both God's great warriors.

[Stefano Della Croce]

Our motto is discipline, trust and death to the infidel. We live sparsely, we pray for God's guidance and we are celibate.

[Cardinal Del Monte]

Celibate?

[Caravaggio]

Yes. To purge the soul, my dar.

[Stefano Della Croce]

The soul, the heart, the mind.

[Alof de Vignacourt]

We are having a dinner in your honor tomorrow night.

[Caravaggio]

In my honor?

[Alof de Vignacourt]

Yes. My men want to meet you. And I want you to meet them. It might help you in your creation of my portrait.

[Narrator]

He stands and walks to the door as Caravaggio follows.

[Alof de Vignacourt]

Here, away from your life in Rome, you will soon find that the world outside these walls means nothing.

[Caravaggio]

Nothing, Grandmaster, Nothing.

[Narrator]

He gestures to the end of the empty hall.

[Alof de Vignacourt]

You may go back to your room to rest. Stefano will direct you.

[Narrator]

Adlof closes the door, leaving Caravaggio alone with Stefano. Without saying a word, Stefano turns and walks down another corridor. Caravaggio follows. Cut to INTERIOR Caravaggio's room. CONTINUOUS Caravaggio enters the dark room. He turns quickly to Stefano.

[Caravaggio]

The bed is too hard, the window too small. I need light in the morning. I am Caravaggio. This room is no better than a prison cell.

[Stefano Della Croce]

We all live like this. You can always travel back to Rome. The next boat sails the first thing tomorrow with the morning tide.

[Caravaggio]

What is it about me you don't like, Stefano? Is it my face? My attire?

[Pope Clement VIII]

Anything?

[Stefano Della Croce]

What you are correct about the letter was not made for comfort. It was once a prison.

[Narrator]

Stefano closes the door and locks it behind him.

[Caravaggio]

And why are you locking me in?

[Narrator]

He hears only Stefano's boy boots moving down the hallway.

[Pope Clement VIII]

Fool.

[Narrator]

Caravaggio lies back on the bed and wonders about what is going on in Rome.

[Pope Clement VIII]

He is a murderer.

[Narrator]

Cut to INTERIOR Papal chambers Rome continuous. Cardinal Del Monte and Pope Clement VIII sit across one another at a table, enjoying their dinner.

[Cardinal Del Monte]

Caravaggio killed Ranuccio in self defense and he'll kill Tomasani's.

[Pope Clement VIII]

Your family has been very generous to our Holy Mother Church.

[Cardinal Del Monte]

Caravaggio is a great painter.

[Pope Clement VIII]

Yeah, tell that too Ranuccio's brothers. They demand retribution. However, this painter of yours does intrigue me. He isn't afraid.

[Cardinal Del Monte]

He's been on his own most of his life, like many today. His mother and father were both killed by plague. I first met him when he was a young man living on the streets.

[Pope Clement VIII]

It's no secret that your stable of artists has made you a wealthy man, Francesco. I have no doubt that you have enough saved to get our Holy Mother Church out of debt. Ah.

[Cardinal Del Monte]

Rumors of my financial well being are greatly exaggerated and as numerous as the.

[Pope Clement VIII]

Sightings of Christ directly after the crucifixion.

[Stefano Della Croce]

Your.

[Cardinal Del Monte]

Your Holiness.

[Pope Clement VIII]

You have secured safe passage for Carvaggio to Malta without my permission. Another rumor?

[Cardinal Del Monte]

No.

[Pope Clement VIII]

I am the Pope. Nothing escapes me. Does this protege of yours have faith?

[Cardinal Del Monte]

In abundance, your Holiness.

[Narrator]

Pope Clement gestures to his assistant, who quickly hands him official papers. Pope Clement hands the papers to Cardinal Del Monte.

[Pope Clement VIII]

His arrest record. It's biblical in scale. He once threw artichokes at a waiter and nearly blinded him. He said the artichokes were rotten.

[Narrator]

Cardinal Del Monte places the papers down. He has seen them before.

[Cardinal Del Monte]

Allow him to return to Rome and he will make his penance.

[Narrator]

The Pope coughs.

[Pope Clement VIII]

God is calling me.

[Cardinal Del Monte]

I pray that God be still. We need you here.

[Narrator]

The Pope catches Cardinal Del Monte's obvious attempt at false flattery and laughs.

[Pope Clement VIII]

Always in such a hurry to take my place. Our conversation is over. Enjoy dessert elsewhere. There will be no pardon. Caravaggio.

[Narrator]

The Pope reaches out his hand for Cardinal Del Monte to kiss his ring. He does, bows and leaves. Thunderous voices from the Knights of Malta overlaps into cut to exterior dining hall Castle sant', Angela, Malta Night A hundred knights, loud and exuberant, intimidating and fierce, enter and fill the enormous hall. They are followed by knights with missing limbs. They are followed by several young boy valets and behind them two dozen Turkish slaves in chains who are there to serve the food and drink. On the wall high above is the knight's emblem. Caravaggio enters, escorted by Stefano and brought to his prominent seat at the head of the table. The knights watch him in silence, judging him quietly. Aelof enters, sits beside Caravaggio. Stefano sits beside Aylof Aolf stands facing the knights.

[Alof de Vignacourt]

Once again we have proven to the world that we knights are the glorious shield of Christian Europe and a bulwark against the Turks.

[Narrator]

Cheers and shouts fill the room as some knights draw their swords and thrust their them into the air or at the slaves who are immobilized by fear.

[Alof de Vignacourt]

To tradition and to God, our Father.

[Narrator]

They drink their wine in silence. A bishop appears at the door. Let us pray. They all bow their heads in prayer. Caravaggio looks around at the sudden sincere, solemn atmosphere of the room. Riotous laughter overlaps in two. Cut to INTERIOR DINING HALL Castle sant', Angelo, Malta. Later, several roasted pigs are being cut up in the center of the room as the slaves pour wine out of large barrels, then serve it. Alof turns to Caravaggio.

[Alof de Vignacourt]

Come with me.

[Narrator]

Aylof turns to a door in the stone wall behind him. He enters and disappears. Caravaggio follows. INTERIOR INNER sanctum continuous. Caravaggio enters a small room lit by torches and encased in grain brown stone, with a large barred window which looks out to the sea.

[Alof de Vignacourt]

This is where I want to pose for the portrait in the morning. The light is glorious. Of course. As soon as you decide, paints and brushes will be delivered.

[Caravaggio]

Grandmaster, you should be aware that I dislike doing portraits.

[Alof de Vignacourt]

Then why is that?

[Caravaggio]

I don't paint to please. I am painting your portrait because in Rome, when the knights enter the piazza, the hoodlums fall back and cavalier bow with admiration. That said, your eyes will stay on your side of the canvas until the portrait is completed and you take the portrait as is.

[Alof de Vignacourt]

But I will have suggestions.

[Caravaggio]

Then get Annabale. Karachi.

[Alof de Vignacourt]

I don't want Karachi. It is you that I want. Why do you dislike his work? Do you question his fame?

[Caravaggio]

No, I question his taste.

[Narrator]

Alof bursts out in laughter. There's a moment of genuine affection between the two men.

[Alof de Vignacourt]

Return to the festivities. You are the guest of honor.

[Caravaggio]

So I am.

[Narrator]

INTERIOR DINING HALL Later, Caravaggio puts his arm around a knight sitting beside him and both are laughing. Then Caravaggio jumps up on the table and raises his hand, his cup, to.

[Caravaggio]

The great Knights of Malta.

[Narrator]

The knights respond and cheer. The knights now bang on the table with their plates and pans, making a pulsating sexual sound. Some knights are joining in, but others seem offended. Caravaggio then leads some of the knights on the table in a dance where they are sweet, swinging their hips, shouting and swaying. Caravaggio slips and falls to his chair, laughing. Stefano emerges from the other side of the table.

[Stefano Della Croce]

Stefano, what do you think of my brothers in arms?

[Caravaggio]

They are great men, all of them. Including you, Stefano?

[Stefano Della Croce]

Uh huh.

[Caravaggio]

How long have you been a knight?

[Stefano Della Croce]

10 years. Came here from Marseille when I was a boy. I studied under the Grandmaster himself. I learned soldiering from him.

[Caravaggio]

And your family?

[Stefano Della Croce]

They are my family.

[Caravaggio]

Well, you are fortunate then.

[Narrator]

Just then, a knight pulls Caravaggio back to the table. Caravaggio dances crazily on the table with Other knights, some of them are making obscene gestures. Stefano watches Caravaggio and their eyes lock. Stefano leaves. CUT to EXTERIOR Ramparts Castle sant' Angelo Continuous. Still drunk and believing he was following Stefano, Caravaggio finds himself walking along the castle walls. A guard is off in close distance, keeping a lookout. A young boy, Roberto, a page, appears on the far side of the rampart. He's blond and his hair is laid lit by the moonlight.

[Caravaggio]

Hey, did Stefano come this way?

[Narrator]

Roberto shakes his head.

[Caravaggio]

Ah, you don't speak, but. But you understand.

[Annibale Carracci]

Good.

[Narrator]

Roberto nods.

[Caravaggio]

I'm from Rome. It's crowded, noisy. Right now I would be with my friends in the Tavern of the Hawk or the Tavern of the Moor. Unless we go to the Ortrachio, the Garden of Evil.

[Narrator]

A light falls across them. They look up. The light is from a window above them. Roberto eases back out of the light, not wanting to be seen.

[Stefano Della Croce]

Roberto.

[Narrator]

Both Caravaggio and Roberto look down the rampart and see Stefano walking towards them. Afraid, Roberto quickly turns and runs away in the other direction. Stefano reaches Caravaggio but looks past him.

[Stefano Della Croce]

I'm looking for a page who just broke curfew.

[Narrator]

Oh. Caravaggio drunkenly stumbles, gathers himself and gives a mock bow.

[Caravaggio]

Many pardons. Whatever you put in your wine here and Malta is certainly potent.

[Stefano Della Croce]

We are aware of your life in Rome. The bars, the brothels, the fights, the prostitutes. I say to you, Michelangelo da Mauricio Caravaggio, tread carefully.

[Narrator]

Oh.

[Caravaggio]

And I say to you, your eyes shine magnificently in this light.

[Narrator]

Stefano glares sharply at Caravaggio and is about to walk away when Caravaggio catches him by the arm.

[Caravaggio]

I have no intention of offending.

[Narrator]

Without answering, Stefano turns and leaves the rampart. Caravaggio turns and faces the wind coming out from the darkness and the sea. Laughter fills the night air and overlaps in 2 flashback 2 exterior brothel piazza del Popolo Night. Caravaggio and Ranuccio lock eyes in the early morning twilight.

[Caravaggio]

One day I will soak the piazza with your blood. I will soak it with yours.

[Narrator]

FLASHBACK END Exterior Ramparts. Castle sant' Angelo Night. Caravaggio stands alone.

[Caravaggio]

Ranocio.

[Narrator]

He's drained by the memory. End of Act 1.

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