Caravaggio - Act 2

Summary

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Table Read Podcast: "Caravaggio - Act 2"

Release Date: February 17, 2026
Produced by: Manifest Media / Table Read
Summary by: Podcast Summarizer

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Episode Overview

In this audio-cinematic episode, Table Read continues its ambitious dramatization of the tumultuous life and art of Michelangelo Merisi da Caravaggio. Act 2 thrusts listeners into Caravaggio's stormy exile in Malta following a murder in Rome, painting a portrait of an artist dogged by violence, forbidden passions, and the ever-looming shadow of the Inquisition. A-list performances and immersive sound design evoke brutal battle, intimate relationships, and the fierce politics and faith-shaking questions of early 17th-century Europe.

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Key Discussion Points and Story Arcs

1. Caravaggio in Exile: Malta and the Grand Master ([02:35]–[06:06])

• Arrival in Malta: Caravaggio, fleeing Rome after a murder, seeks patronage and sanctuary from Alof, Grandmaster of the Knights of Malta.
  • Tension and fascination grow between Caravaggio and Alof during sittings for an official portrait.
  • Themes of pain, suffering, and artistic transcendence emerge as Alof reflects:

    "Suffering is a great teacher."
    — Alof ([03:25])

  • Caravaggio counters:

    "Pain teaches nothing, but it does beget anguish and despair."
    — Caravaggio ([03:27])

• Art and Identity: Their sparring becomes personal and philosophical, blending the sacred and profane. The significance of light, physical armor, and emotional vulnerability is a repeated motif.

2. Rome: Papal Politics and Pursuers ([06:22]–[08:56])

• Power Vacuum: Pope Clement VIII lies dying, impacting Caravaggio's chances for papal pardon.
• Cardinal Del Monte's Advocacy:
  • The Cardinal pleads on Caravaggio's behalf, presenting his "Weeping Magdalene" painting to the newly elected Pope Paul V, underscoring Caravaggio's artistic genius.
  • Quote:

    "Michelangelo, Titian, Botticelli, Leonardo. He is one of them."
    — Cardinal Del Monte ([10:34])

• Bounty Hunters: Ranuccio Tommasoni’s family seeks justice, hiring bounty hunters and confronting Del Monte for information.

3. Spiritual Angst and Artistic Struggle ([11:54]–[15:59]; [32:32]–[36:15])

• Alof and Caravaggio's Dialogues:
  • Deep discussions of faith, loss, and the enigmatic power of art. Alof confesses how Caravaggio's "Calling of St. Matthew" restored his shaken faith.

    "Your painting took me back to the fold. Just the way our Savior stood in the shaft of light, with his finger pointing to Matthew."
    — Alof ([13:50])

  • Caravaggio and Alof circle around unspoken desire; their intimacy simmers beneath the surface.
• Painting as Confession: Caravaggio’s work expresses torment, doubt, and the search for redemption.

4. The Horror of War ([15:05]–[25:37])

• Battle of Malta:
  • The Knights of Malta defend their fortress from Turkish corsairs in a harrowing, graphic battle scene.
    • Knights are crucified, beaches strewn with bodies, and Caravaggio himself is compelled to violence.
  • After the carnage:

    "He was a boy."
    — Caravaggio mourns a Turkish youth killed by Stefano ([22:45]) "No, he was a Turk."
    — Stefano's cold response ([22:47])

• Knighthood: Grateful for his bravery, Alof knights Caravaggio, giving him a golden sword:

  "You are hereby today an honorary Knight of Malta."
  — Alof ([23:54])

5. Love, Longing, and Betrayal ([26:42]–[36:15])

• Complex Relationships:
  • Emotional and possibly romantic tension between Caravaggio, Alof, and Stefano.
  • Lena—Caravaggio’s muse and lover—haunts his art and memories.

    "Because I see all life in your face."
    — Caravaggio to Lena ([35:16])

• Sexual and Political Intrigue: Caravaggio is both coveted and distrusted. Stefano warns Alof:

  "He is not one of us."
  — Stefano ([31:17])

6. Imprisonment, Torture, and Artistic Blasphemy ([43:57]–[49:02])

• Downfall:
  • After Caravaggio paints a sickly, mocking Cupid, he is violently arrested and tortured by the Inquisition.

    "On this earth there is no greater evil than duplicity."
    — Alof ([44:29]) "You have painted my body and now I will save your soul."
    — Alof ([45:14])

  • Flashbacks reveal Caravaggio’s controversial use of Lena as the Virgin Mary, the hypocrisy of the church hierarchy, and the rejection of his realism.

7. Memories, Escape, and Pursuit ([49:05]–[66:01])

• Reminiscence:
  • Flashbacks intertwine Caravaggio’s flight from Rome, his bond with Lena, and the fateful duel that set his exile in motion.
• Escape from Malta:
  • Caravaggio, with help from Roberto, escapes from captivity, making his way to Sicily as Alof and the Knights vow to hunt him down.

    "I want him back at Valletta. His arrogance defiles our vows. His treachery is blasphemy. I want him in chains."
    — Alof ([65:48])

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Notable Quotes & Moments (with Timestamps)

• On Pain and Suffering:

  “Pain teaches nothing, but it does beget anguish and despair.”
  — Caravaggio ([03:27])

• Brutality of War:

  "He was a boy."
  — Caravaggio ([22:45])
  "No, he was a Turk."
  — Stefano ([22:47])

• Recognition of Genius:

  "Michelangelo, Titian, Botticelli, Leonardo. He is one of them."
  — Cardinal Del Monte ([10:34])

• Art and Faith:

  "Your painting took me back to the fold. Just the way our Savior stood in the shaft of light, with his finger pointing to Matthew. In the silence you could hear him saying, I've come for you."
  — Alof ([13:50]; repeated at [13:48] after script correction)

• On Being an Outsider:

  “He is not one of us.”
  — Stefano ([31:17])

• Awarding of Knighthood:

  "Michelangelo Merisi de Caravaggio. You are hereby today an honorary Knight of Malta."
  — Alof ([23:54])

• Inquisition’s Judgment:

  "On this earth there is no greater evil than duplicity."
  — Alof ([44:29])
  "You have painted my body and now I will save your soul."
  — Alof ([45:14])

• Artistic Vision versus Religious Conventions:

  "I paint people just as God made them."
  — Caravaggio ([47:26])
  "God made disease and death, but nobody needs to be reminded."
  — Cardinal Del Monte ([47:33])

• Defiant Farewell:

  "I refuse to give in to fear."
  — Caravaggio ([58:33])

• Vengeance of the Knights:

  "I want him in chains."
  — Alof ([65:48])

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Timeline of Major Scenes (Timestamps)

• [02:35] Caravaggio’s first sitting with Alof in Malta.
• [06:22] Cardindal Del Monte with the dying Pope; discussions over Caravaggio’s pardon.
• [11:54] Alof delves into Caravaggio’s painful past; parallels of loss and spiritual searching.
• [15:05]–[21:20] Battle scene; Caravaggio’s transformation on the Maltese shore.
• [23:54] Caravaggio is knighted.
• [26:06]–[33:03] Tensions and intimacy intensify between Caravaggio, Alof, and Stefano.
• [39:09]–[41:25] Flashbacks to the fatal duel in Rome and repercussions.
• [44:29] Caravaggio’s arrest, torture, and philosophical confrontation by Alof and Stefano.
• [56:51]–[60:15] Flashback to Caravaggio’s precipitous escape from Rome, aided by Cardinal Del Monte and Lena.
• [60:20]–[63:32] Caravaggio’s daring escape from the Malta prison; Roberto’s secret aid.
• [64:00]–[66:01] Alof vows relentless pursuit; warrants are dispatched; end of Act 2.

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Takeaway

Table Read’s "Caravaggio - Act 2" renders an unflinching portrait of genius battered by violence, desire, artistic audacity, and institutional power. The episode is replete with rich, raw dialogue, moral complexity, and sensory drama—an immersive chronicle of one of art's most tormented souls. The remarkable cast and evocative score transform history into palpable, living cinema for your ears.

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Transcript

[Cardinal Del Monte]

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[Narrator/Scene Description]

After searching for a model in the Garden of Evil in Rome, where prostitutes sell themselves in the open in Rome, Caravaggio and his friends spend a drunken night in the Piazza della Popolo's chapel to spy on Annibola Carracci's submission to the Vatican's important contest. Caravaggio finds Carracci in the church doing the same thing he is and knows Carracci will win the commission. Caravaggio and his friends then visit a brothel where at dawn he runs into Ranuccio Tomasoni, who demands Caravaggio pay him a debt he owes. Caravaggio refuses, and both men make an oath to one day spill the other's blood in the piazza. The story flashes forward to weeks later as Caravaggio sneaks out of Rome in the dead of night on a ship to Malta to paint the Grand Master's portrait. We learn in scenes back in Rome with Cardinal Del Monte and the Pope that Caravaggio has gone into exile to escape punishment for murder. On Malta, Caravaggio is threatened by the Inquisition. Interior Inner sanctum. Dawn. Caravaggio faces Aylof, who is dressed in full body armor, holding a staff with a long sword on his belt, and Roberto at his side.

[Aloff (Grandmaster of the Knights of Malta)]

Is the light satisfactory?

[Caravaggio]

Yes. Yes it is. Is that what you intend to wear?

[Aloff (Grandmaster of the Knights of Malta)]

Yes. Does it meet with your approval?

[Narrator/Scene Description]

Caravaggio moves around. Aylof, inspects the armor and touches Aylof, who flinches in pain. Caravaggio does not react.

[Aloff (Grandmaster of the Knights of Malta)]

You have no reaction to my pain.

[Caravaggio]

Well, I take one look at your scars and I know you live with pain. You expect pain. You enjoy pain.

[Narrator/Scene Description]

Caravaggio steps back and takes in the entire picture a lot in his costume and Roberto in his.

[Caravaggio]

Roberto stand at his side. There. Good.

[Narrator/Scene Description]

Roberto stands where he is told as Caravaggio steps behind the easel and quickly sketches, having already mixed the paints.

[Aloff (Grandmaster of the Knights of Malta)]

Suffering is a great teacher.

[Caravaggio]

Pain teaches nothing, but it does beget anguish and despair. Where is Stefano today?

[Aloff (Grandmaster of the Knights of Malta)]

I told him to leave us alone. I felt he was distracting you.

[Caravaggio]

You move just a fraction to your left.

[Narrator/Scene Description]

Alof does what he is told.

[Aloff (Grandmaster of the Knights of Malta)]

Am I in the light?

[Caravaggio]

You are the Grand Master of the Knights of Malta. You are always in the light.

[Aloff (Grandmaster of the Knights of Malta)]

If that is God's will.

[Narrator/Scene Description]

There is another moment of understanding and affection between them. Caravaggio readies himself and begins the portrait. Cut to Exterior, Valletta, Malta. Night. The moon bathes the fortress in an eerie light. Interior, Caravaggio's room. Malta. Continues. Caravaggio sits in candlelight at his table and continues a sketch of a young woman's face. As he sketches more, we see it as Lena. Sounds of the city of Rome, Loud, deep human voices. Life at its fullest overlaps into flashback to Exterior, Ghetto of Ortaccio. The evil garden. Rome. Dawn. Caravaggio walks beside contained fires as they burn beside small houses with dark smoke swirling up into the dead air. Prostitutes stand on balconies or behind Venetian blinds. Alone. Caravaggio walks, searching not for sex, but for something else entirely. He sees Lena. He stops. He stares.

[Lena]

What You've never seen a woman before?

[Caravaggio]

Women I've seen. But.

[Lena]

What? You've never seen a woman before?

[Caravaggio]

Women. I have seen you. I haven't.

[Lena]

Oh, yes, I remember. At the Tavern of the Hawk. You're the poet.

[Caravaggio]

A painter.

[Lena]

Two scuti for the hour. And my room is back there.

[Caravaggio]

No, five scuti. And you come with me.

[Aloff (Grandmaster of the Knights of Malta)]

Where?

[Caravaggio]

To my home.

[Narrator/Scene Description]

She nods. They make their way through the crowd toward the border of the otacho.

[Caravaggio]

How long have you been in Rome?

[Aloff (Grandmaster of the Knights of Malta)]

Three weeks.

[Caravaggio]

Then I found you just in time. Before Rome corrupts you.

[Lena]

Has it corrupted you?

[Caravaggio]

Oh, he tried and failed.

[Lena]

You were stronger.

[Caravaggio]

No, I embraced it.

[Narrator/Scene Description]

They continue and disappear in the shadows from the fires. Flashback END Interior, Caravaggio's room. Malta. Dawn. Caravaggio is writing a letter with a rising sun.

[Caravaggio]

Dear Cardinal di Monte.

[Narrator/Scene Description]

Exterior, Valetto. Malta. Continues. The brightly burning sun rises over the fortress. Cut to exterior, Rome. St. Peter's Basilica dei Clouds cover the city. Interior, papal chambers roam. Continuous. Cardinal Del Monte stands beside the dying Pope Clement viii, who lies. His breathing is erratic. A bishop stands behind him, in attendance.

[Cardinal Del Monte]

Do you have any needs, your holiness?

[Caravaggio]

To breathe without pain.

[Cardinal Del Monte]

Would you like me to hear your confession and give you absolution?

[Narrator/Scene Description]

No.

[Cardinal Del Monte]

Concerning the papal pardon for Caravaggio. Is it possible to dictate it to the bishop now so that we can get your signature?

[Narrator/Scene Description]

The Pope's breathing stops. Cardinal Del Monte makes the sign of the cross.

[Cardinal Del Monte]

Name of the Father. Son. Holy Ghost.

[Narrator/Scene Description]

Cut to interior, Cardinal Del Monte's private chapel DEI The Cardinal is on his knees and grips the rosary around his neck. He looks up and sees Caravaggio's Medusa hanging on the wall. His assistant steps quietly over to him. Your Eminence, there is something you should see. Interior, Cardinal Del Monte's villa Ludovici. Continuous. Cardinal Del Monte sees two men standing on the street facing the villa.

[Cardinal Del Monte]

How long have they been there?

[Talkspace User/Testimonial Speaker]

Not long.

[Narrator/Scene Description]

But I do remember seeing them yesterday. Who are they, your Eminence?

[Cardinal Del Monte]

Bounty hunters.

[Narrator/Scene Description]

Cardinal Del Monte pulls down the curtains. Cut to interior St. Peter's Basilica. Later, Cardinal Del Montes with the College of Cardinals who have gathered to select a new Pope. Cut to exterior, Sistine Chapel. Rome DEI White smoke rises from the chapel, signifying that a new pope has been selected. Cut to interior, Papal chambers. Continuous. Cardinal Del Monte faces the new Pope. Pope John. Cardinal Del Monte faces the new pope. Pope Paul V is vigorous and vital, youthful and energetic.

[Aloff (Grandmaster of the Knights of Malta)]

I cannot and I will not tolerate these random killings in our city.

[Cardinal Del Monte]

He killed in self defense.

[Aloff (Grandmaster of the Knights of Malta)]

Our Lord turned the other cheek.

[Cardinal Del Monte]

Your harness, sir.

[Stefano]

We're seeing allegiances in the room.

[Cardinal Del Monte]

Your Holiness. Our Lord didn't live in Rome at the turn of the 16th century. We have emerged from the dark ages. But the barbarian horde still has have their hold on us. Their ways are still in our blood.

[Aloff (Grandmaster of the Knights of Malta)]

Our faith will change all that.

[Cardinal Del Monte]

Caravaggio asked me to present this to you as a gift in hopes that you will have mercy on him. He painted it before he left Rome.

[Narrator/Scene Description]

Cardinal Del Monte nods to his aide to remove the COVID from a canvas.

[Aloff (Grandmaster of the Knights of Malta)]

Is he still on Malta?

[Cardinal Del Monte]

Yes. He writes me short notes. I hear that the Grandmaster had a dinner in his honor.

[Narrator/Scene Description]

The painting is the Weeping Magdalene. It is clear by his reaction that the Pope is moved.

[Cardinal Del Monte]

I had never seen so much love and pain in one face.

[Narrator/Scene Description]

Cardinal Del Monte places a petition on the table for the Pope to see.

[Cardinal Del Monte]

And this here is a petition signed by nine of your most respected cardinals, asking you to pardon.

[Narrator/Scene Description]

The Pope glances at the list of names.

[Aloff (Grandmaster of the Knights of Malta)]

Explain to me your devotion to this Caravaggio.

[Cardinal Del Monte]

Our Holy Mother Church needs such advocates for our flock in such dire times.

[Aloff (Grandmaster of the Knights of Malta)]

You are a politician to the core.

[Narrator/Scene Description]

Pope Paul V struggles not to be moved.

[Cardinal Del Monte]

Michelangelo, Titian, Botticelli, Leonardo. He is one of them.

[Narrator/Scene Description]

The Pope waves his hand for the cardinal to leave. But Del Monte knows he's making his point. Interior hallway outside papal chambers continuous. As Cardinal Del Monte leaves the private chambers, he's confronted by the Tommasoni brothers, Ottavio and Giovann.

[Cardinal Del Monte]

Cardinal Del Monte? Yes.

[Caravaggio]

I'm Ottavio Tomasoni, Ranuccio's brother.

[Cardinal Del Monte]

And I am Giovanni. We would like to inquire if you know the whereabouts of the painter Caravaggio. I secure his commissions, gentlemen. I do not schedule his appearances. I am sorry for your loss and bless your brother Ranuccio's soul. I will offer prayers for him this Sunday at Mass. But his demise. Demise is a matter for the police, not me. If anyone knows where he is hiding, you do.

[Aloff (Grandmaster of the Knights of Malta)]

You should be aware that we have employed bounty hunters.

[Narrator/Scene Description]

Cardinal Del Monte watches with apprehension as they bow and leave. Cut to interior. In a sanctum, Malta dawn. Caravaggio pains furiously as Alof poses with discipline.

[Aloff (Grandmaster of the Knights of Malta)]

I've learned a few things about you. Your father died in the plague.

[Caravaggio]

Many fathers died in the plague.

[Aloff (Grandmaster of the Knights of Malta)]

A man without a father must be compelled to search for him all his life. Not long after he died, your mother died as well.

[Narrator/Scene Description]

Caravaggio paints fully absorbed.

[Aloff (Grandmaster of the Knights of Malta)]

When you look face to face with God on Judgment Day, what do you think his likeness will be?

[Caravaggio]

God wears a hood.

[Aloff (Grandmaster of the Knights of Malta)]

Of course he does. He fears that his love will blind us. His love can be a terrible life.

[Caravaggio]

Oh, his love. Where is it?

[Aloff (Grandmaster of the Knights of Malta)]

You've seen it, my son?

[Caravaggio]

Oh, I have.

[Aloff (Grandmaster of the Knights of Malta)]

It is in your painting, the Call of Matt. Yeah. It is in your painting, the call of St. Matthew. When I first saw it, I was in a troubled place. In my faith, God was testing me. But your painting took me back to the fold. Just the way our Savior stood in the shaft of life. With his finger pointed to Matthew. In the silence you could hear him saying, I've come for you, Bruce.

[Caravaggio]

There's just a typo here.

[Narrator/Scene Description]

It should be the calling of.

[Cardinal Del Monte]

Calling of St. Matthew.

[Aloff (Grandmaster of the Knights of Malta)]

Oh, the calling.

[Narrator/Scene Description]

Correct.

[Aloff (Grandmaster of the Knights of Malta)]

Pick up that first sentence. Or if you want to read all.

[Narrator/Scene Description]

The way through it, that's fine.

[Stefano]

Let's go all the way through. I think you said life again instead of light. So it's right here. It's the shaft of light. With his finger, his love.

[Caravaggio]

Where is he?

[Aloff (Grandmaster of the Knights of Malta)]

Oh, you've seen it, my son.

[Caravaggio]

I have.

[Aloff (Grandmaster of the Knights of Malta)]

It is in your painting, the calling of St. Matthew. When I first saw it, I was in a troubled place in my faith. God was testing me. But your painting took me back to the fold. Just the way our Savior stood in the shaft of light with his finger pointing to Matthew. In the silence you could hear him saying I've come for you.

[Narrator/Scene Description]

The horn blasts through the room from atop the castle walls.

[Aloff (Grandmaster of the Knights of Malta)]

The Turks are in the harbor.

[Narrator/Scene Description]

He rushes out as Caravaggio rushes to the window, hearing agonizing screams. Exterior, terrain and sea continues. Fires are floating on the sea toward the shore. Interior inner sanctum continues. Caravaggio gathers his courage and leaves. Interior Caravaggio's room continues. Caravaggio enters, grabs his sword and rushes out. Exterior, fortress continues. Caravaggio sees Aylov directing his knights toward the fires floating towards them out of the morning mist.

[Aloff (Grandmaster of the Knights of Malta)]

Lorenzo, form a line. Giacomo, take your men to the boat. The rest hold your ground.

[Narrator/Scene Description]

Caravaggio realizes that the fires are actually knights nailed on wooden crosses and set a fire to be burned alive. The screams of agony drown out the shouts from the knights who race into the waist deep water to pull the burning knights into the water. Caravaggio is unable to move when Stefano sees grabs it this way. They rush quickly to reach the boat and pull it to shore as a burning knight nearby screams in pain.

[Aloff (Grandmaster of the Knights of Malta)]

Help me, brothers. Help me.

[Narrator/Scene Description]

Caravaggio and Stefano pull the still breathing knight to the sand as Caravaggio covers him with his own shirt, getting a mind of burn as he does.

[Aloff (Grandmaster of the Knights of Malta)]

Stand guard.

[Narrator/Scene Description]

Caravaggio turns to to see Aylof with Stephano at his side, now standing on the shoreline. As the rising sun burns the mist away, several Turkish corsairs appear. They are headed for the beach. It is a trap. Alof turns to the beach to see where his knights are appointed and sees Caravaggio, their eyes locked. At that moment, Caravaggio is compelled to prove himself, to embrace the the knights in a way he wasn't expecting. He races to join Alof as cannons on the turrets of the castle walls explode over his head.

[Aloff (Grandmaster of the Knights of Malta)]

Return to safety. I belong here with you.

[Narrator/Scene Description]

Aelolf turns to Raleigh's knights.

[Aloff (Grandmaster of the Knights of Malta)]

Steady your nerves, my brothers. The dervishes will attack us.

[Narrator/Announcer]

Now.

[Aloff (Grandmaster of the Knights of Malta)]

Here they come.

[Narrator/Scene Description]

The Turks reach the beach and disembark, their corsairs rushing in with the tide, swinging their curved swords and waving their flag of the gold ball in Crescent Moon. Just then, the beach explodes with cannon blasts from the Turkish offshore ships. Caravaggio throws himself to the sand as cannonballs hit the beach, exploding into contact and riding. Several nights they are blown up and cut in two as body parts, sand and sea fly into the air and back down again. Caravaggio raises his head, preparing for the onslaught when another cannonball shell hits the dock, blowing up several more nights. They scream in pain as they lose limbs. Splinters of wood rain down on Caravaggio, Eloth and Stefano. One particular sharp piece cuts into Caravaggio's shoulder. Caravaggio falls to his knees as his shoulder bleeds. Seeing that it is a flesh wound, he quickly wipes the blood away with his bare hand. Just then, the Turks swarm the knights. It is too late for Caravaggio to run. He finds himself in the thick of it. Turks and knights fight in hand to hand combat all around him. A Turk, slashing his sword, comes at Caravaggio who slashes his sword back. Caravaggio's sword rips into the Turk's flesh. He pulls his sword sword out of the turf, bringing with it flesh, muscle and pouring blood. There is a gurgling sound as the Turk falls to his knees. Caravaggio quickly joins Aelof and Stefano and together they form a circle to protect one another from the fanatical terps. Caravaggio looks to Stefano, fighting off several terps and then to Aelif on one knee, fending off two terps of ones. Caravaggio rushes to assist Aolof who pushes himself up, stabbing one of his attackers through the heart. The other attacker comes at him as Alof loses his balance in the sand, again falling to one knee. The attacking Turk swings his sword at Aelof, cutting him slightly above the arm. Caravaggio jumps in front of the attacking Turk to protect Aelof by jumping on the Turk, knocking him to the ground with his hand on his face. He throws the Turk on his side and reaches for the Turk's sword and pulls it from him. He then sticks him in the house. The Turk screams at death mode and dies. As Caravaggio struggles to his feet and turns to see Alof heroically fighting off several Turks. Caravaggio again rushes to Elaf's aid. Just as Caravaggio reaches Ailah, a Turk is ready to thrust his sword into him. Caravaggio swings his sword with all of his strength, nearly cutting the Turk's head off. Aylof looks up at Caravaggio with gratitude. He was certain he was about to die. Seeing the headless Turk fall backward onto the sand, Caravaggio is shocked, appalled and confused by the sensations of fear and and exhilaration. Just then, more knights arrive from the barracks, chasing the Turks back into the sea, battling them on the beach as hacking, cutting and thrusting of swords and lances continues all around Caravaggio. Caravaggio watches as Stefano leads the knights in pursuit of the Turks, who are now throwing themselves into the sea in desperate hopes of reaching their ships. But the cannons from the castle explode onto the Turkish corsairs and they begin to burn. Screams come from the boats. The retreating Turks are now caught between their burning ships and the pursuing knights. Stefano leads the knights who are hacking away at the confused and lost Turks, who are doing all they can to survive and avoid capture. Caravaggio, out of boundaries and holding his wounded shoulder, drops his sword and watches as the Turks are hacked to death like cornered prey. The burning excitement in his eyes reveals how the battle has ignited a fiery animal instinct in him to kill or be killed. Aware of the victory, Aolof gets down on one knee and bows. He looks up to the sky and makes the sign of the cross.

[Aloff (Grandmaster of the Knights of Malta)]

To God. To victory.

[Narrator/Scene Description]

Aylof turns to Caravaggio and nods his head slowly, his eyes gleaming with the same passion that Caravaggio just felt. EXTERIOR BEACH Malta later, exhausted and drained, Caravaggio walks through the carnage. The beach is strewn with the dead and the wounded from both sides. The knights are collecting the bodies of their dead comrades for burial, while other knights have dug a huge hole in the sand and tossed the dead Turks into it. Alof stands in command as Stefano and more knights put dozens of Turkish prisoners in chains. Caravaggio walks away when he sees two banners in the sand. One is the crescent moon and the other the cross. Caravaggio sees a young wounded Turk moving among the dead. The Turk raises his hand out to Caravaggio, who kneels beside him. The wounded Turk grips Caravaggio's arm and holds onto it tightly. Caravaggio takes a water satchel off his belt, lifts the young Turk's head and gives him water. The Turk grabs the satchel and drinks deeply. Just then, Stefano appears. Before Caravaggio can react, Stefano thrusts his sword into the dying. With blood splashing on Caravaggio, Caravaggio jumps to his feet.

[Aloff (Grandmaster of the Knights of Malta)]

He was a boy.

[Stefano]

No, he was a Turk.

[Narrator/Scene Description]

No, no, no. You said no, he was a Turk.

[Stefano]

Let's just get.

[Narrator/Scene Description]

He was a boy. He was a Turk.

[Stefano]

Got it?

[Cardinal Del Monte]

And then Bestus said, pick up the numbers.

[Aloff (Grandmaster of the Knights of Malta)]

He was sorry.

[Narrator/Scene Description]

Get into it again.

[Aloff (Grandmaster of the Knights of Malta)]

He was a boy.

[Stefano]

He was a Turk.

[Narrator/Scene Description]

Stefano turns and walks away. Cut to interior Dining hall Castle sant' Angelo. Night Alof, with Caravaggio standing at his side, addresses the knights.

[Aloff (Grandmaster of the Knights of Malta)]

Today our prayers are for those who sacrificed their lives to die for our faith is our pledge as Knights of Malta. Today I saw courage from one who had not taken our oath.

[Narrator/Scene Description]

Please kneel, Caravaggio. Kneel. Aolof takes his sword and presses it firmly on Caravaggio's shoulder.

[Aloff (Grandmaster of the Knights of Malta)]

Michelangelo Merisi de Caravaggio. You are hereby today an honorary Knight of mortar.

[Narrator/Scene Description]

Aylof turns to Stefano who brings over a fine sword made of gold and hands it to Caravaggio.

[Aloff (Grandmaster of the Knights of Malta)]

Ordenedi obedient.

[Narrator/Scene Description]

A lot gestures for Caravaggio to stand. Caravaggio stands proudly. The knights stand in unison and cheer him. Aylof then hands Caravaggio a palm sized emblem of the knights.

[Aloff (Grandmaster of the Knights of Malta)]

This sword was a gift from the King of France. It's pure gold with the inscription in silver. This was mine once, now it is yours.

[Narrator/Scene Description]

Caravaggio bows, then displays the sword proudly and lifts it to the crowd. They cheer once more. Stefano leans into Caravaggio and whispers in his ear.

[Stefano]

The Grandmaster despises the King of France.

[Narrator/Scene Description]

Interior, Caravaggio's room. Dawn. Caravaggio wakes up, looks at his emblem and sword on the table. He then sees the soft blue dawn emerging. Cut to interior Innocentum. Dawn. Caravaggio enters the room. He intensely looks over the unfinished portrait. He picks up his brush. He approaches the portrait gingerly, then paints Interior Innocentum. Later, Ayloff and Stefano enters. Caravaggio, following, focused and deliberate, continues to paint. Aylof goes to the canvas, but Caravaggio stops him with a glare. Eylov stops. Caravaggio places his brush down.

[Aloff (Grandmaster of the Knights of Malta)]

Have I been a subject worthy of your talents?

[Caravaggio]

And have my talents been worthy of the subject?

[Narrator/Scene Description]

Caravaggio nods, then steps back. Alof faces the canvas. His entire being exhales with amazement and approval.

[Aloff (Grandmaster of the Knights of Malta)]

You have painted my body and captured my soul. I have no regrets, no suggestions. You may think of me vain, but this portrait will be viewed for centuries to come. Holy men will admire its beauty while sinners fear its truth.

[Narrator/Scene Description]

Caravaggio leaves the room. Stefano stares at the portrait with jealousy.

[Aloff (Grandmaster of the Knights of Malta)]

Leave me to gaze.

[Narrator/Scene Description]

Hurt. Stefano leaves the room as Ayloff absorbs his portrait. Cut to interior Caravaggio's room. Night. Exhausted, Caravaggio lies on his bed. The door opens. He quickly stands. Aylof appears in the doorway and looks at Caravaggio with a mixture of awe and also longing. The moment between the men suddenly defines their growing relationship. Alof takes a step towards Caravaggio, then stops himself before he goes too far. He turns abruptly and leaves the room. Caravaggio slowly goes to the door and closes it. He sees the nearly completed sketch of Lena on the table, sits and sketches Lena. The sound of voices, shouts, laughter and taunting overlaps in two. Flashback to exterior Ghetto of Ortaccio. The evil garden. Rome Night. Ranuccio faces Caravaggio and Lina.

[Aloff (Grandmaster of the Knights of Malta)]

You're with this queen?

[Caravaggio]

My thoughts, but I smelled a horse sable.

[Narrator/Scene Description]

Caravaggio stiffens as both Ottavio and Giovan, both drunk, step out of the shadows, ready to pounce. Ranuccio grins as he and his brothers edge closer to Caravaggio. She's my Lina. The brothers pull their swords from their belts. No cannon fire overlaps into the following scene. FLASHBACK in interior, Caravaggio's room. Malta Day Cannon fire. Caravaggio sits up abruptly from his sleep as bright afternoon light falls across his bed. The first thing he sees is the sketch of Lena on the table. It is nearly complete. He has yet to complete her eyes, her lips. He's now aware of the cannon fire. Exterior Preservation Castle sant' Angelo continues. Caravaggio is looking over a large yard where Turkish prisoners captured on the beach are now slaves. The stench is strong. Caravaggio watches as dozens of armed knights lead dozens of Turkish prisoners off into the far side of the yard. The prisoners are then made to get down on their knees with their hands tied behind their. The knights come up behind them and begin to behead them one at a time. Caravaggio watches as other prisoners gather up the bloody heads and put them in bags. The prisoners then place the bags near the three cannons. The knights open the bags, take the heads out, place them in the cannons and blast the heads out to their targets. The targets are several Turkish corsairs linked in the harbor. Caravaggio finds a small charcoal rock and sketches the face of a Turk on a slate rock in front of him. Grimacing in fear. About to be headed, Stefano walks over to Caravaggio.

[Stefano]

The Grandmaster wants you.

[Narrator/Scene Description]

Caravaggio gets up and walks away. Stefano sees the sketch and rubs it out with his boot. Cut to interior Private quarters Castle sant' Angelo DEI Caravaggio stands facing a lot.

[Aloff (Grandmaster of the Knights of Malta)]

You are aware of how pleased I am with the portrait?

[Caravaggio]

Yes.

[Aloff (Grandmaster of the Knights of Malta)]

There's something more I want to discuss with you. Please sit.

[Narrator/Scene Description]

Caravaggio sits.

[Aloff (Grandmaster of the Knights of Malta)]

I want a second portrait. I have a pose. I want to suggest. Are you disappointed?

[Caravaggio]

That was not our agreement.

[Aloff (Grandmaster of the Knights of Malta)]

True. But you will be paid for your work. It pains me to see you want to leave us.

[Caravaggio]

I had a life before Malta.

[Aloff (Grandmaster of the Knights of Malta)]

Is not this life here fulfilling?

[Caravaggio]

In some ways, yes. In many ways, no. Am I your prisoner?

[Aloff (Grandmaster of the Knights of Malta)]

You've been never been a prisoner.

[Narrator/Scene Description]

Caravaggio leaves. Alof stands, closes the door, then pulls a dagger from his desk drawer, pulls up his sleeve and cuts himself.

[Aloff (Grandmaster of the Knights of Malta)]

God forgive me.

[Narrator/Scene Description]

He quickly stops the bleeding. There is a knock at the door.

[Aloff (Grandmaster of the Knights of Malta)]

Yes.

[Narrator/Scene Description]

Stefano enters.

[Stefano]

It is an excellent painting.

[Aloff (Grandmaster of the Knights of Malta)]

And still you don't trust him?

[Stefano]

He is not one of us.

[Aloff (Grandmaster of the Knights of Malta)]

Well then prove to me his soul is not worthy.

[Narrator/Scene Description]

Stefano leaves as Alof shudders with his struggle. Cut to interior, inner sanctum. Day. Caravaggio paints aolof with Roberto as they pose and Stefano watches. Interior, inner sanctum. Later, Caravaggio labors over the canvas. Roberto falls asleep. He collapses for a moment, then gets up immediately, horrified. With his gloved hand, Stefano smacks Roberto across his face. Caravaggio picks up Roberto and glares at Stefano. Stefano puts his hand on his sword. Caravaggio puts a slight dab of paint on his nose. Ayloff laughs, humiliated. Stefano glares at Caravaggio who goes back to his canvas. Adolf is clearly pleased by Caravaggio's humanity and shuns Stefano, who is pained by Elof's reaction. Cut to interior, inner sanctum. Day. Caravaggio and Alof are alone in the room as Caravaggio paints.

[Aloff (Grandmaster of the Knights of Malta)]

Is there a man there in your canvas? Or an emblem of faith?

[Caravaggio]

Oh, I painted a man.

[Aloff (Grandmaster of the Knights of Malta)]

Do you see anything else?

[Caravaggio]

I don't see angels buzzing over your shoulder or saints standing on your nose.

[Aloff (Grandmaster of the Knights of Malta)]

Well, if you did, there'd be no room on the canvas for the man or his faith.

[Caravaggio]

What about his desires? Is there room for. What is he aches for?

[Narrator/Scene Description]

Caravaggio touches Alof's cheek as if to kiss him. Alof doesn't move. Rejected. Caravaggio turns back to the canvas. Cut to interior, Caravaggio's room. Night. Caravaggio continues his sketch.

[Caravaggio]

No, no. Stand there in the moonlight.

[Narrator/Scene Description]

Flashback to interior, Caravaggio's home studio, Rome. Night. Caravaggio pulls away the curtain, allowing moonlight to wash over Lena's face.

[Caravaggio]

What do they call you?

[Lena]

Lena.

[Narrator/Scene Description]

He walks around her. His eyes inquire into her entire being with charm. She undoes her hair and it falls over her shoulders. She drops her undergarments and then gets down on the bed.

[Caravaggio]

And you are from Grassola.

[Lena]

How did he know?

[Caravaggio]

The brow, mostly. And the eyes.

[Narrator/Scene Description]

He turns away, leans over his water basin and bathes his face and dries himself.

[Lena]

Have you been there?

[Aloff (Grandmaster of the Knights of Malta)]

No.

[Caravaggio]

But when you live in Rome, you don't have to travel to see the world. The world comes to you. You left Grossolia to escape the plague?

[Lena]

Yes. I told my mother I want to go to Rome. She said, go while you are still young. And she followed me.

[Narrator/Scene Description]

He then places his canvas between her and the window.

[Lena]

You want a model? But you are paying me too much.

[Caravaggio]

Just looking at that face, I see my Virgin. And you are worth every scooty.

[Lena]

You are posing me for the Virgin. And you have been naked. I can't do that.

[Caravaggio]

No, not nude. You're hungry. I'm sorry, I didn't realize it.

[Aloff (Grandmaster of the Knights of Malta)]

Take some bread and meat.

[Narrator/Scene Description]

She eats hungrily from food on the table.

[Caravaggio]

I used to eat like that.

[Narrator/Scene Description]

He pours her water and hands it to her.

[Lena]

You came here poor.

[Caravaggio]

When I first came to Rome, I swallowed what dogs would. Indeed, to stay alive.

[Lena]

How did you survive when you came to Rome?

[Caravaggio]

I painted.

[Lena]

Why are you looking at me like that?

[Caravaggio]

Because I see all life in your face.

[Narrator/Scene Description]

Flashback END Interior, Caravaggio's room. Malta. Night. The sketch is complete. Cut to interior. Inner sanctum. Day. Caravaggio stares closely at the canvas, at Alof, then steps back.

[Aloff (Grandmaster of the Knights of Malta)]

I've been where you tread, my son. I was once a slave to the flesh. I see the agony I once lived now alive in your eyes.

[Narrator/Scene Description]

Alof turns to the canvas.

[Aloff (Grandmaster of the Knights of Malta)]

Splendid.

[Narrator/Scene Description]

Caravaggio moves past him to leave. Alof takes his hand.

[Caravaggio]

Yes.

[Narrator/Scene Description]

Both men taking the money. Caravaggio leans in.

[Caravaggio]

There is nothing to fear between you and I. What you feel, what we do.

[Narrator/Scene Description]

Caravaggio kisses Aof, then steps back. Alof allowed the kiss, but then, just as abruptly, he also steps back. The tension between the two men is electrifying. Caravaggio realizes he needs to leave. Aelof moves to follow him and stops himself. Cut to interior the Grandmaster's private chambers. Night. Aolof is kneeling before a small statue of St. Peter when Stefano enters with a letter from Caravaggio. Ayloff makes the sign of the cross, stands and looks to Stefano.

[Stefano]

It's addressed to Cardinal Del Monte in Rome. This time I opened and read it.

[Aloff (Grandmaster of the Knights of Malta)]

I did not give you the authority to read his mail.

[Stefano]

You told me to prove my concerns. He asks if there has been any progress in his pardon from the Pope.

[Aloff (Grandmaster of the Knights of Malta)]

Pardon? Send the letter ahead, then look into the meaning of the request.

[Narrator/Scene Description]

Alof sees the sketch of Lena with the letter.

[Aloff (Grandmaster of the Knights of Malta)]

What is that?

[Stefano]

A sketch with the letter.

[Aloff (Grandmaster of the Knights of Malta)]

Alof looks sent it ahead as he had it.

[Stefano]

He's lied to us.

[Aloff (Grandmaster of the Knights of Malta)]

Be careful, Stefano. I am fond of him.

[Narrator/Scene Description]

Stefano leaves. Cut to exterior Courtyard Valletta Day. Caravaggio follows Stefano through the courtyard with which leads to a chapel. Interior the Chapel of St. John dei. Stefano leads Caravaggio to a large blank wall. There is plenty of light from the stained glass windows.

[Caravaggio]

Why are we here?

[Stefano]

The Grand Master wants The beheading of St. John the Baptist on this wall. And when you are done with that, he wants a cupid in his private chambers.

[Caravaggio]

Why is my door locked at night?

[Stefano]

For your protection. We knights have many enemies.

[Narrator/Scene Description]

Stefano leaves as Caravaggio looks at the wall, livid. Cut to Interior the Chapel of St. John Dei. Caravaggio works quickly. The images of St. John's beheading are already clear. The painting is stark and bleak. He stops, looks at it. It expresses his very feelings. He paints a trail of blood flowing from St. John's neck to the bottom of the canvas, spelling out his name in blood. Caravaggio steps back, shuddering from a memory. Flashback to Interior Brothel Piazza del Popolo, Rome. Night. Caravaggio, Mancini and Toppa share a satchel of wine as they stand facing the dark stretch of the piazza, waiting.

[Aloff (Grandmaster of the Knights of Malta)]

There.

[Narrator/Scene Description]

They see Ranuccio and his two brothers appear at the far end, walking towards them. The two groups of men walk towards one another, readying their swords. When they are only a few feet away, they stop.

[Caravaggio]

You owe me scuti.

[Aloff (Grandmaster of the Knights of Malta)]

Here, take it.

[Narrator/Scene Description]

Caravaggio pulls scuti from his pockets and it drops to the ground at his feet with his sword in hand. Ranuccio rushes at Caravaggio, but stumbles off balance as Caravaggio raises his sword forward to protect himself. The steel cuts deeply into Ranuccio's belly. Caravaggio pulls out his sword. Ranuccio glares at Caravaggio, stunned. He holds his open wound, turns and staggers away. Caravaggio is immobile as he looks at the blood on his sword. Flashback END Interior the Chapel of St. John Malta Day. Caravaggio paints frantically. Interior the Chapel of St. John. Later, Caravaggio stands facing the completed painting with anxiety and despair. Exterior The Chapel of St. John Dusk. Caravaggio steps out of the chapel towards the beach. Exterior Beach Valletta Continuous Caravaggio walks along the beach, seeing Stefano walking from the fortress towards him with two guards. Stefano gestures to the knights to continue keeping guard and to walk on. Caravaggio turns to walk in the opposite direction, but Stefano follows him, realizing that he has no choice but to confront Stefano on the empty beach. He stops and turns to him.

[Stefano]

Am I interrupting your praying?

[Caravaggio]

I wasn't praying.

[Stefano]

Then why out here?

[Caravaggio]

Looking for Sicily, which never seemed so alluring. I never knew what real loneliness was until I came to this island.

[Stefano]

But there is God everywhere.

[Caravaggio]

I wasn't talking about that kind of loneliness.

[Narrator/Scene Description]

Interior, the Grandmaster's private chambers. Continuous. Alof stands at the window, seeing Stefano and Caravaggio on the beach below. Exterior beach continuous. Caravaggio and Stefano walk on.

[Stefano]

The moonlight has always fascinated me.

[Caravaggio]

The moon has no light of its own.

[Stefano]

That's heresy.

[Caravaggio]

It's science.

[Stefano]

When I was in Rome with the Grand Master, I saw some of your work. You paint men more beautifully than I have ever seen.

[Caravaggio]

I thought art didn't interest you.

[Stefano]

I wasn't talking about art.

[Caravaggio]

I haven't touched another human being in months.

[Stefano]

You talk of months, I talk of years.

[Caravaggio]

You said the knights have enemies even here at Valletta. What am I to make of you?

[Stefano]

You don't trust me.

[Narrator/Scene Description]

Caravaggio grabs Stefano and kisses him on the mouth. Stefano pulls away, then walks off.

[Stefano]

Stefano, it is settled now.

[Caravaggio]

What is settled?

[Narrator/Scene Description]

Caravaggio watches Stefano disappear down the beach, then looks up at Aloff's window. Interior, the Grandmaster's private chambers continuous. Alof steps away from the window in anger. Cut to interior, Caravaggio's room. Night. Caravaggio enters his room, closes the door, then quickly writes another letter to Cardinal Del Monte. Cut to Interior the Grandmaster's private chambers. Day. Caravaggio faces Ayloff, who gestures to the wall.

[Aloff (Grandmaster of the Knights of Malta)]

I want my Cupid there.

[Narrator/Scene Description]

To Caravaggio's relief, Ayloff turns and leaves. Interior, the Grandmaster's private chambers. Later, Caravaggio paints quickly as Stefano watches him. Cut to Interior, the Grandmaster's private chambers. Night. Caravaggio sits exhausted. His Cupid is a sickly and vile old man. Caravaggio is pleased and yet at the same time apprehensive. Cut to interior Inner sanctum. Night. Alof and Stefano enter the empty room together. Ayloff gazes on the Cupid.

[Aloff (Grandmaster of the Knights of Malta)]

The devil has come to the letter.

[Narrator/Scene Description]

Interior, Caravaggio's room continues. Caravaggio hears the sound of boots coming down the hallway. The boots stop at his door. He gets up and grabs his sword, but the door flies open and several master knights quickly rush in, overwhelm him and drag him out. Cut to interior Torture chamber. Night. With his face streaked with blood, Caravaggio is chained to the wall, facing Aolf and Stephano, flanked by four knights wearing.

[Aloff (Grandmaster of the Knights of Malta)]

Hoods on this earth. There is no greater evil than duplicity.

[Caravaggio]

I don't have the courage for duplicity.

[Aloff (Grandmaster of the Knights of Malta)]

It pains me to see you this way. But I've placed my own dear brother on the rack. His spine was broken, but he is no longer a heretic. Now he is a believer and a cripple.

[Narrator/Scene Description]

Stefano slaps Caravaggio.

[Aloff (Grandmaster of the Knights of Malta)]

Don't you see the value of your soul?

[Stefano]

Answer him.

[Caravaggio]

I grew up on the streets, where I learned that for refuge and shelter there is only the flesh.

[Aloff (Grandmaster of the Knights of Malta)]

And if I'd ever known God, it.

[Caravaggio]

Is when I've held someone.

[Aloff (Grandmaster of the Knights of Malta)]

Michelangelo Merisi di Caravaggio. You have painted my body and now I will save your soul.

[Caravaggio]

How will you save my soul?

[Aloff (Grandmaster of the Knights of Malta)]

Through pain. Put him on the rack.

[Narrator/Scene Description]

The four knights and Stefano unlock his chest and place him on the rack as he desperately strikes.

[Aloff (Grandmaster of the Knights of Malta)]

You have no right to judge me. I have the right given to me by the Inquisition. I have the right to judge the heretic. Seeing your paintings, I was sure you carried God's love. But I've learned that you have no belief, no faith. And without faith, you are an incomplete, complete man. You will scream out for God and rise above your suffering. No. Pull.

[Narrator/Scene Description]

Stefano nods to the two knights who pull on the rack. Caravaggio screams. Overwhelmed by Caravaggio's suffering. Alof looks away. Caravaggio remembers. Flashback to interior, Basilica of St. Augustine Chapel, Rome. Day. Caravaggio is painting the Death of the Virgin, an altarpiece having staged. Prostitutes, homeless surrounding Lina, who lies on a bed with her arms outstretched. Cardinal Del Monte enters. Caravaggio sees him and puts down his paints.

[Cardinal Del Monte]

It's so real, I find it painful. But you pose this whore to be the Blessed Mother.

[Caravaggio]

Her name is Lena, but as the.

[Cardinal Del Monte]

Virgin, the Mother of God. She's a woman with dirty feet. She looks like a corpse.

[Caravaggio]

She's dead.

[Cardinal Del Monte]

And these others? You take beggars off the street and paint them exactly as they are.

[Lena]

He paints their torment.

[Cardinal Del Monte]

Who is this woman? Why is she talking to me?

[Caravaggio]

She is Lena from Grassoria.

[Narrator/Scene Description]

Frustrated, Cardinal Del Monte walks away and Caravaggio rushes after him.

[Caravaggio]

I don't put halos around them like Carracci. I paint people just as God made them.

[Cardinal Del Monte]

Yes, God made disease and death, but nobody needs to be reminded. When I first found you, you lived on nothing. You had nothing. Mikhail, listen to me. We are so very close to what you want. In public, everyone denies your brilliance. But behind closed doors, they worship your canvases. Play along just for a little and you will own your own villa someday. I have secured the Commission for you to complete the weeping. Magdalena, you wanted that commission and I.

[Aloff (Grandmaster of the Knights of Malta)]

Got it for you.

[Caravaggio]

Yes, I wanted that commission. I'll use Lena as my Magdalene.

[Cardinal Del Monte]

Impossible.

[Narrator/Scene Description]

Cardinal Del Monte leaves. Caravaggio walks back to his canvas. Finding Lena looking at is so painful.

[Lena]

You can see how she suffered.

[Caravaggio]

Yes, she suffered.

[Narrator/Scene Description]

Flashback END Interior Torture chamber, Malta Day. Caravaggio is still unconscious as a love leans into him.

[Aloff (Grandmaster of the Knights of Malta)]

Are you the devil himself? Who are you?

[Narrator/Scene Description]

Caravaggio spits blood.

[Aloff (Grandmaster of the Knights of Malta)]

Was my love not dear to you? God's love can be a terrible light. Be all your sins remembered.

[Narrator/Scene Description]

Alof nods to one of the hooded knights.

[Aloff (Grandmaster of the Knights of Malta)]

Bull.

[Narrator/Scene Description]

Caravaggio screams. Fade to interior Corridor Prison Day Caravaggio is unconscious, breathing with difficulty, pained. Alof leaves the room. Stefano stays. Interior Inner Sanctum Night. Alof sits at his table holding another letter. Stefano enters.

[Aloff (Grandmaster of the Knights of Malta)]

Is he dead?

[Narrator/Scene Description]

No, he killed a man.

[Aloff (Grandmaster of the Knights of Malta)]

Renuncio Tomasoni. He must die if he survives the night. Place him in the bell.

[Caravaggio]

Leave.

[Narrator/Scene Description]

Stefano quickly leaves as Alof struggles. Interior corridor Prison continues. Barely alive, Caravaggio lies on the rack, now drifting in and out of consciousness. Stefano enters with two knights. Once sure that he is alive, they slowly unstrap Caravaggio from the rack. Exterior Castle sant' Angelo continues. Stefano leads the two knights who drag a nearly dead Caravaggio along the castle wall. Exterior Bell shaped hole cell continues. Stefano steps back as the knights pause over an 11 foot bell shaped narrow hole in the castle's rock. They place Caravaggio down and allow him to fall into it. Interior Bell shaped hole cell continues. Caravaggio hits the bottom of the cell and moans in agony. Closing his eyes, Caravaggio looks up at the blue light from the moon. Voices overlap into following scene Flashback TO Exterior Piazza del Popolo, Rome Night Caravaggio stands over Onuccio who lies on his back bleeding and moaning as voices rush to him from the far end of the piazza. He looks up at a half a dozen Carabagnieri racing toward him with swords and drawn and a single torch lighting their way. Carabineri Miguel Mancini staggers up to Caravaggio, dazed, bleeding from the head. His appearance shakes Caravaggio from his bafflement. Right behind Mancini, Caravaggio sees Lina tending to Toppa.

[Aloff (Grandmaster of the Knights of Malta)]

Take care of him.

[Narrator/Scene Description]

Yes.

[Lena]

Where do I find you?

[Narrator/Scene Description]

Caravaggio rushes to Lena, helping her lift Topper up. With both Topper and Mancini wrapped around Lina, Caravaggio kisses her strongly on the mouth.

[Caravaggio]

I killed Ranuncio.

[Lena]

God save you.

[Caravaggio]

Meet me at the Cardinal's villa in Porta PRINCIA Ah, fuck me. Princiana Meet me at the Cardinal's villa in Porto. PRINCIANA Yes.

[Narrator/Scene Description]

With top end Mancini at her side, she disappears down a cobblestone street into the darkness. Caravaggio hears Ottavio and a bloody Giovann, both near exhaustion and in pain, carrying a motionless Ranuccio to his feet as they rush off into a nearby alley away from the police. Caravaggio then turns, watching as both men quickly make their way down the piazza in the opposite direction of the police. He follows them into the darkness. EXTERIOR STREETS of ROME continuous. Caravaggio races through the narrow streets with the voices of the Carabanieri behind him. EXTERIOR ALLEY continues. Caravaggio turns down an alley. EXTERIOR COURTYARD continues. They race through the courtyard and turn down a second alley. EXTERIOR SECOND ALLEY Continuous. He ducks into the shadows, out of breath, listening to the voices. The voices grow faint. Caravaggio steps out of the shadows, out of breath. He sees a light at the end of a long alley. He walks to it. EXTERIOR BATTISTA Barbershop CONTINUOUS Caravan. Caravaggio walks up to the sign on the narrow street which reads barbershop. The barbershop. The doctor's office at the time has its curtains drawn. A tiny light glows from the back room. Caravaggio looks around, then opens the door. CUT TO INTERIOR BATTISTA BARBER SHOP CONTINUOUS the barber, Louis Battista, 40s, a short, stocky, is wearing a white apron and is covered in dried blood. As he works on Caravaggio, who sits in the barber's chair. Batista washes Caravaggio's wound, draining his sponge in a large bucket.

[Aloff (Grandmaster of the Knights of Malta)]

Your wounds aren't that bad.

[Narrator/Scene Description]

He pays Batista SCUDI I was never here.

[Aloff (Grandmaster of the Knights of Malta)]

You were never here.

[Narrator/Scene Description]

Just your blood. Batista dabs the wound again as Caravaggio moves. He hands Caravaggio an open bottle of wine. Caravaggio leans back and takes a big slug of the wine. As he does, Batista takes a dirty bucket filled with blood and flesh, walks to the back door, opens it and dumps it up just like L A. CUT TO EXTERIOR BATTISTA later in the night, Caravaggio stands in the shadows outside the shop, watching Ottavio and Giovann carry a slumping Ranuccio inside. Batista watches as they put Ranuccio, pale and silent, in a chair. He walks over to Ranuccio and stands over him. He looks this one's dead. Ottavio and Giovan look to him in disbelief. Ottavio and Giovan then lift Ranucio out of the chair. Batavio manages to hand Batista scudi. Batista takes the money.

[Aloff (Grandmaster of the Knights of Malta)]

He was never here. Just his blood.

[Narrator/Scene Description]

He opens the door and holds it open for them as they sneak Ranuccio's dead body out. Caravaggio continues to watch them through the window as they disappear into the shadows. Batista comes to the door and splashes the blood from his bucket down into the sewer. Caravaggio steps away to avoid getting wet, then rushes into the darkness. FLASHBACK END Interior Bell Shaped hole. Cell Malta. Day. Water splashes into the cell, drenching Caravaggio. He attempts to crawl up the rock, but it is impossible. He can only look into the sky where the sun falls, follows a shaft of light down across his face. He collapses. He lies on the hard rock in a ball, remembering. Flashback 2 Exterior Cardinal Del Monte's villa Ludovici, Rome. Night. Caravaggio cautiously makes his way to the side entrance of the villa in the Porta Pinciana. Interior Cardinal Del Monte's village Ludovici. Continuous. Caravaggio enters, seeing Cardinal Del Monte wearing an apron, busy with his alchemical experiment in a room filled with bottles of colored water, chemicals and tubes. A primitive lab. He hears something and turns. Caravaggio closes the door.

[Caravaggio]

Ranuccio Tompsoni is dead. I killed him.

[Narrator/Scene Description]

Saying nothing, Cardinal Del Monte quickly looks over his minor wounds and then leaves the room. Caravaggio sees Lina standing outside, looking in. He opens the door. She rushes to his side.

[Caravaggio]

The others?

[Lena]

I took them to the tavern of Hoc. Maria is caring for them.

[Narrator/Scene Description]

She holds him. Cardinal Del Monte reenters without his apron.

[Cardinal Del Monte]

You need to leave Rome now.

[Caravaggio]

Why?

[Cardinal Del Monte]

Last month, the Vatican issued a banda capitale for all murderers without exception. Anyone charged with murder faces arrest and execution. Where they are found, the aggrieved parties and any bounty hunters they employ can carry out the warrant. You killed the son of a war hero. Your life is worth nothing as we speak, Mota. I will send a messenger now, Pedro.

[Narrator/Scene Description]

The Bishop quickly enters as Cardinal Del Monte writes a note.

[Cardinal Del Monte]

I will write the Grand Master that you have accepted his commission. I can arrange an official Vatican vessel to take you there.

[Narrator/Scene Description]

He hands the Bishop the note.

[Cardinal Del Monte]

Rush to the dock. This note must get to the boat to catch the next high tide.

[Narrator/Scene Description]

The Bishop rushes off.

[Caravaggio]

How long will you need to secure a pardon from the Vatican?

[Cardinal Del Monte]

It will take some time, Mikhail. Perhaps a year. Perhaps two. Perhaps more.

[Caravaggio]

I have faith in you.

[Narrator/Scene Description]

Cardinal Del Monte leaves the room. Caravaggio and Lina face one another.

[Caravaggio]

I refuse to give in to fear.

[Narrator/Scene Description]

She embraces him as he keeps his nerves steady. Cut To Cardinal Del Monte's Villa Ludovici. Night Caravaggio and Lina pack a small bag of Caravaggio's clothing, some of his paintbrushes, paints and tightly wound canvases. Caravaggio takes Lina's face in his hands, touching it gently with his fingertips. In the dim light, he looks, seeing her, the surroundings, the light as they all blended together. A moment, an impression in how he creates what he creates. Exterior Cardinal Del Monte's Villa Ludovici continues. Cardinal Del Monte waits for Caravaggio and Lina next to a carriage. They appear. Evala places Caravaggio's things on the carriage and then disappears.

[Cardinal Del Monte]

There is wine to warm you on your trip.

[Aloff (Grandmaster of the Knights of Malta)]

Travels.

[Cardinal Del Monte]

Pope Clement is dying and perhaps in God's infinite wisdom, I may be given the reins of our Holy Mother Church.

[Narrator/Scene Description]

Caravaggio holds Lena gently and kisses her.

[Cardinal Del Monte]

Be careful, be wise, be tolerant and you will be safe.

[Caravaggio]

And when was I ever any of those things?

[Narrator/Scene Description]

He looks to Lena.

[Caravaggio]

Don't let Rome devour you.

[Lena]

Come back.

[Caravaggio]

I will. Have no fear.

[Narrator/Scene Description]

He enters the carriage. He leans out the window.

[Aloff (Grandmaster of the Knights of Malta)]

I am Michelangelo de Marisi da Caravaggio. Go Adiamo.

[Narrator/Scene Description]

Interior Carriage Rome. Caravaggio follows back, stares ahead, overwhelmed, fearing everything. Flashback IN Exterior Valletta, Malta Night. A fog covers the castle. Interior Bell shaped hole Cell Continues. A thick rope flies down into the cell. It dangles there, next to the unconscious Caravaggio. A small stone comes flying down into the cell. It hits Caravaggio's shoulder. He stirs. Another stone flies down into the cell and bounces off the wall. Caravaggio comes to, looks around. He sees the rope. He's startled by it. He aches, but stands and looks up. But he can't see anything or anyone. Only the bright light from the moon. He grabs hold of the rope and puts his feet up against the wall. He slowly, gingerly and with much agony, pulls and pushes himself up and out of the cell. Exterior Bell shaped, Whole cell. Continuous. Caravaggio reaches the top of the cell and is out of it. He struggles to his feet. He sees that the rope is attached to the chain link in the castle rock. He's weak and disoriented and hopes it's not a trap. Just then, a figure emerges from the shadows. But he can't make out who it is. All he can see is that they are small and slight. The figure walks away from the cell. Caravaggio knows that he must risk it. He follows, striving to make his way through the shadows. Exterior Castle wall. Castle sant'. Angelo Continuous Caravaggio is nearly crawling along, following the figure as it moves ahead of him. Exterior Dock continues. Caravaggio is now on the dock. He stops. He watches as the figure walks into the moonlight toward a fishing boat. The moonlight falls across his pale face. It is Roberto. Roberto reaches the boat and hands money to one of the three living local fishermen who are in the boat and preparing to leave. Caravaggio watches as Roberto walks past him, scared of him, yes, but putting his life in jeopardy for the man who once protected him. He disappears back toward the castle. As Caravaggio turns to the fishing boat, the fishermen are waving to him to follow. He pushes his body to make it to the boat. Caravaggio falls into the boat and rights himself, amazed at what is happening to him. The fishermen quickly push off from the dark and as they do, they raise the sand. Moonlight falls across their faces. They look like sea worn but sublime angels to Caravacio. One of them offers him bread and water. He eats and drinks, never taking his eyes off the worn faces in this boat. Exterior Valletta. Dawn. The sun rises up and over the castle walls.

[Stefano]

Caravaggio has escaped.

[Narrator/Scene Description]

Interior, the Grandmaster's private chambers. Continuous. Stefano faces Alof at his breakfast table. Slaves and Roberto stand nearby.

[Aloff (Grandmaster of the Knights of Malta)]

How?

[Stefano]

He had an accomplice.

[Aloff (Grandmaster of the Knights of Malta)]

Out.

[Narrator/Scene Description]

The slaves and Roberto leave. Alof turns to his map on the wall and gestures to it as he speaks.

[Aloff (Grandmaster of the Knights of Malta)]

If he survives the journey, the only place he could sail would be Sicily.

[Narrator/Scene Description]

Alaf quickly finds official papers and writes a warrant, then signs and stamps it with the official seal.

[Aloff (Grandmaster of the Knights of Malta)]

Ready Provisions, horses and six men. We sail to Palazzo with the next tide. No one will defy the warrant from the Inquisition.

[Stefano]

One second it says Pozzallo, and then later it says Pozzalla. Yeah, Pozzallo. Can you say it, Richard? For us? Pozzallo.

[Aloff (Grandmaster of the Knights of Malta)]

Thank you.

[Stefano]

Okay, thank you.

[Talkspace User/Testimonial Speaker]

Sorry, Bruce.

[Narrator/Scene Description]

All right, Dennis, read us in.

[Aloff (Grandmaster of the Knights of Malta)]

From Alof quickly finds.

[Narrator/Scene Description]

Alof quickly finds official papers and writes a warrant, then signs and stamps it with the official seal.

[Aloff (Grandmaster of the Knights of Malta)]

Ready? Provisions, horses and six men. We sail for Palazzo with the next tide.

[Stefano]

Pozzallo.

[Cardinal Del Monte]

Ponzalo.

[Narrator/Scene Description]

Ponzalo.

[Aloff (Grandmaster of the Knights of Malta)]

I got it right the first time. Okay? Sorry. Ready provisions, horses and six men. We sail for Pozzallo with the next tide. No one will defy the warrant from the Inquisition.

[Stefano]

Yes, sire.

[Aloff (Grandmaster of the Knights of Malta)]

I also want you to dispatch messengers immediately. Have them go up the coast all the way to Catania with copies of this warrant. This warrant supersedes all pardons other than one from the pontiff himself.

[Stefano]

If he is not in Pozzallo or Syracuse or Catania Then we follow him to Rome.

[Aloff (Grandmaster of the Knights of Malta)]

I want him back at Valletta. His arrogance defiles our vows. His treachery is blasphemy. I want him in chains.

[Narrator/Scene Description]

End of act two.

[Stefano]

Beautiful.