Caravaggio - Act 3

Summary

Table Read: Caravaggio – Act 3

Date: February 24, 2026
Podcast: TABLE READ by Manifest Media

---

Episode Overview

This episode of Table Read is an immersive audio drama, bringing to life the final, dramatic act in the story of Michelangelo Merisi da Caravaggio—one of history’s most notorious, brilliant, and tormented painters. Act 3 traces Caravaggio’s desperate flight across the Mediterranean, his final great works painted in exile, his violent encounters with the Knights of Malta, and ultimately, his tragic and enigmatic death. Hollywood’s top actors deliver performances rich in emotion and complexity, supported by cinematic sound and music, enveloping listeners in a world of intrigue, faith, betrayal, and brutal beauty.

---

Key Discussion Points & Narrative Highlights

Caravaggio’s Exile and Pursuit

• [00:54–03:05] Caravaggio, escaping punishment, arrives in Syracuse, Sicily, after fleeing from Malta with the help of a young boy.

  • “Where are we?” — Caravaggio [02:23]
  • “Syracuse.” — Fisherman [03:03]

• [03:07–03:57] In Rome, Cardinal Del Monte negotiates with Pope Paul V to secure Caravaggio’s safety, hinting at complex Vatican politics and financial debts.

• [05:42–06:55] In Malta, the Grandmaster holds a trial, denouncing Caravaggio and casting him out of the Knights, tightening the net around him.

Artistic Life in Exile

• [07:38–08:30] In Syracuse, Caravaggio chooses models for a new commission, demonstrating his distinctive approach:

  • “Close your eyes, please… Your complexion evokes so much.” — Caravaggio to Margarita [08:03]

• [08:30–10:34] Flashbacks to Rome reveal intimate moments with his muse Lena, and the tensions between sensuality, art, and survival:

  • “He once said he saw all life in my face.” — Lina [10:04]
  • “But we need you, our muse.” — Caravaggio [10:30]

Rising Danger and Flight

• [12:26–12:47] Receiving warnings that the Knights are closing in, Caravaggio prepares yet another escape, this time from Syracuse.

• [14:19–15:16] In Messina, he secures temporary sanctuary and continues to create, but danger looms as he is forced to move again with the Knights in pursuit.

Naples: Brief Refuge and Violent Attack

• [18:51–19:50] The Marchese di Caravaggio offers him protection and a haven in Naples—a respite filled with creative output and reflection.

  • “Paint, sleep, live. Whatever you need is here. My gardens are a refuge for the mind, the spirit, and the heart.” — Marchese di Caravaggio [19:14]

• [21:28–24:49] Caravaggio's enemies close in; disguised knights surveil him. At a raucous Neapolitan tavern, he's ambushed and almost killed:

  • “Despite the bleeding, Caravaggio grabs his rapier and slashes the first swordsman… There is pandemonium in the tavern…” [22:50–24:00]

• [24:49–26:41] In desperate flight, wounded, Caravaggio seeks sanctuary in a church, protected by a courageous friar:

  • “In the name of Christ, I grant it [sanctuary].” — Friar [26:27]
  • “Sanctuary.” — Caravaggio, repeatedly as he collapses [26:10, 26:39]

Art as Redemption and Plea

• [27:09–28:31] Recuperating, Caravaggio paints “David with the Head of Goliath,” using his bloodied features as Goliath—a gift to the Pope and a plea for pardon.

  • “He sends it as a gift… That is his face, Goliath, though now pained and wounded from his current ordeal.” — Cardinal Del Monte [27:46–27:54]

• [28:31–29:29] The Pope issues a pardon, finally offering Caravaggio hope for return to Rome.

Final Escape & Betrayal

• [32:04–34:17] At the Naples dock, he's betrayed due to the Knights’ warrant; his safe passage is disregarded, and Caravaggio is arrested and separated from his paintings.

Imprisonment and Existential Reckoning

• [35:01–37:29] In the hellish Fossa di San Elmo prison, Caravaggio faces disease, violence, and existential terror. Here, he is both victim and fighter.

• [39:31–41:08] Aloff Stefano, the Grandmaster, visits him in his cell—posing questions about faith, love, and artistic purpose:

  • “Does faith guide your hand?” — Aloff Stefano [40:13]
  • “My questions guide me.” — Caravaggio [40:23]
  • “Who is your God?” — Aloff Stefano [40:28]
  • “The faces I paint.” — Caravaggio [40:34]
  • “But my painting saved your soul.” — Caravaggio [40:55]
  • “Was not my love dear to you?” — Aloff Stefano [41:04]
  • “How could I love what I fear?” — Caravaggio [41:11]

Final Days and Death

• [42:24–45:54] Freed but gravely ill, Caravaggio struggles through swamp and heat, pursued by fever, hallucinations, and guilt.

  • “I tried to find that harmony between what I saw and how I lived and failed.” — Caravaggio [45:35]
  • “There is a life going on beyond this life. A life that separates us from all our mistakes, from accidents and pain.” — Caravaggio [45:54]

• [46:40–47:03] Two nuns and a young boy attempt to comfort him on a sun-bleached beach.

  • “That is how God has been to me all my life. Just out of reach.” — Caravaggio [46:40]
  • “The light tells me to love the mystery and then let go.” — Caravaggio [46:48]

• [47:03–47:44] Word of Caravaggio's death reaches Cardinal Del Monte and Pope Paul V in Rome; his paintings are gathered, his legend set.

• [48:40–48:59] Aloff Stefano finds Caravaggio dying and offers a final, fraught moment of forgiveness.

  • “Forgive me.” — Aloff Stefano [48:40]
  • “What you see in the art, you will find in the artist. And what you see in the artist, you will find in the man.” — Caravaggio [48:59]

---

Notable Quotes & Memorable Moments

• “A man with a gentle soul painted it… a wretched soul, yes, but not a murderer.” — Cardinal Del Monte discussing Caravaggio's painting [05:07]
• “Without a pardon from the Pontiff, I will never be safe.” — Caravaggio [12:43]
• “All my sins are mortal.” — Caravaggio, refusing holy water [16:37]
• “They would need an army to pry you from me.” — Marchese di Caravaggio, on Caravaggio’s protection [19:35]
• The tavern fight sequence: Caravaggio wounded, fighting for his life, barely escapes with the help of a courtesan’s warning [23:00–24:49]
• The sanctuary scene: A friar, risking his own life, defies the Knights to shield Caravaggio inside the church [25:31–26:49]
• “The faces I paint.” — Caravaggio, when asked what guides him [40:34]
• “But my painting saved your soul.” — Caravaggio to Aloff Stefano [40:55]
• “How could I love what I fear?” — Caravaggio, in a moving final encounter [41:11]
• “I tried to find that harmony between what I saw and how I lived and failed.” — Caravaggio [45:35]
• “What you see in the art, you will find in the artist. And what you see in the artist, you will find in the man.” — Caravaggio’s final words [48:59]

---

Timestamps for Key Segments

• [00:54] Caravaggio’s arrival in Syracuse, Sicily
• [03:07] Political maneuvering in Rome about Caravaggio's fate
• [05:42] Caravaggio is formally expelled from the Knights of Malta
• [08:30] Studio scenes with Lena—insight into Caravaggio’s artistic mind
• [12:26] Caravaggio flees once more as knights approach
• [19:09] Sanctuary in Naples—Marchese offers protection
• [22:50–24:49] Violent ambush at the tavern and flight through the night
• [26:31] Dramatic sanctuary in the church; tension with the friar and knights
• [27:09] Painting of “David with the Head of Goliath”—art mirrors life
• [28:31] The Pope’s pardon arrives
• [34:12] Betrayal at the dock; Caravaggio arrested
• [35:01–37:29] Prison brutality in Fossa di San Elmo
• [39:31–41:15] Confrontation with Grandmaster; meditations on faith, art, love, and fear
• [45:35–46:55] Final moments on the beach—Caravaggio’s last existential reflection
• [48:40–48:59] Final forgiveness and Caravaggio’s death

---

Episode's Tone & Style

The episode’s tone is somber, intense, and richly evocative of both Baroque drama and existential struggle, with moments of tenderness, menace, and philosophical depth. The script fuses historical grandeur with emotional rawness—mirroring Caravaggio’s own paintings. Dialogues are delivered with period-appropriate formality, yet pulse with humanity and urgency.

---

Conclusion

Caravaggio – Act 3 is a powerful audio journey through the artist’s final days—full of political intrigue, artistic revelation, violent peril, and existential searching. It also stands as a meditation on creative genius in a world that can both destroy and immortalize its visionaries. The script, performances, and immersive audio surround listeners in every brush stroke, shadow, and emotion of Caravaggio’s tempestuous life and legacy.

---

For more episodes: TableReadPodcast.com

Transcript

[Progressive Insurance Announcer]

This episode is brought to you by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with a name your price tool from Progressive, you can find options that fit your budget and potentially lower your bills. Try [e-mail], progressive Casualty Insurance Company and affiliates. Price and coverage match limited by state law. Not available in all states.

[Grainger Announcer]

If you're an H Vac technician and a call comes in, Grainger knows that you need a partner that helps you find the right product fast and hassle free. And you know that when the first problem of the day is a clanking blower motor, there's no need to break a sweat. With Grainger's easy to use website and product details, you're confident you'll soon have everything humming right along. Call 1-800-GRAINGER click granger.com or just stop by Grainger for the ones who get it done.

[Narrator]

Caravaggio paints Vinicor's portrait during the day. But at night he's locked in his room where he sketches the face of a woman. She is Lina. He flashes back to when he met her in the Garden of Evil and became enthralled by her. They became lovers. He dreams of returning to Rome and remembers killing Ranuccio. Warned by Cardinal Del Monte that the Pope has issued a warrant for his arrest. During this time, Del Monte does all he can to secure a safe passage for Caravaggio back to Rome. Caravaggio fights in a battle with the Knights against the Turks and is awarded for his bravery. But then, when drunk, he makes a pass at Stefano Vignacour's right hand man and is tortured for this criminal indiscretion. With help from a young boy, Caravaggio escapes the tower of Valletta and makes his way to Sicily with his knights. Vignacourt chases after him, seeking vengeance. Cut to exterior boat, Turanian sea Day. Caravaggio, lying face up in the boat, wakes as the sun falls across his face. Cut to exterior beach. Outside of Syracuse Day. The boat carrying Caravaggio sits on the beach. Caravaggio is weak. As the fishermen help him to stand, he places a foot on the beach. A fisherman hands him a wooded stick that he can use to help him walk.

[Caravaggio]

Where are we?

[Narrator]

Oh, did we not have a fisherman?

[Cardinal Del Monte]

Okay, Noah, would you take that then?

[Narrator]

Syracuse.

[Pope Paul V]

Syracuse.

[Narrator]

Hey, Siri, where are you? A fisherman hands him a wooded stick that he can use to help him walk.

[Caravaggio]

Where are we?

[Narrator]

Syracuse.

[Caravaggio]

Sicily. Thank you.

[Narrator]

Caravaggio makes his way from the dark cut to interior. Pope Paul V's private chambers. Rome DEI Cardinal Del Monte and the Pope are enjoying a lunch as the Pope signs official papers.

[Cardinal Del Monte]

Caravaggio is no longer on Malta. There seems to have been a misunderstanding with the Grand Master.

[Pope Paul V]

A misunderstanding?

[Cardinal Del Monte]

I am short on details. However, what I have learned from a dear friend of mine who knows everything that occurs in Sicily, is that Caravaggio is now in Syracuse. The local officials recognize him. He is now their prize. And they offered him a very large commission to paint. I feel he will be safe there for now.

[Pope Paul V]

Your Holiness, Caravaggio is not my concern.

[Cardinal Del Monte]

But this should be.

[Narrator]

Cardinal Del Monte places official looking bank records in front of the Pope.

[Aloff Stefano (Grandmaster/knight)]

What are these?

[Cardinal Del Monte]

These? Oh, these. Oh, these are those annoying unpaid banknotes for the loan your predecessor foolishly mismanaged. Pope Clement VIII was a pious man, but not educated to the ways of banking. Now, sadly to say, the loans are due in full.

[Pope Paul V]

But that would be difficult. The Vatican can't pay all this now.

[Cardinal Del Monte]

Well. Your Holiness, I believe I may be of some service.

[Progressive Insurance Announcer]

Yes.

[Cardinal Del Monte]

I have a friend. Not as close a friend as you,

[Narrator]

or as close as.

[Cardinal Del Monte]

As the Almighty. But this friend has the authority to ease the Vatican's interest payments. I will make it an interest of mine and see that he does.

[Narrator]

Cardinal Del Montes sees a canvas on the wall.

[Cardinal Del Monte]

His weeping Magdalena. You keep it close.

[Pope Paul V]

It moves me.

[Cardinal Del Monte]

A man with a gentle soul painted it. He is also a sinner, blasphemer. A wretched soul, yes, but not a murderer.

[Pope Paul V]

I will consider Caravaggio's predicament.

[Cardinal Del Monte]

Thank you. But consider it as quickly as possible. Your Holiness, the Grand Master is not someone to tolerate a misunderstanding for very long.

[Pope Paul V]

And these. Can you speak to your friend?

[Narrator]

He gestures to the bank papers.

[Aloff Stefano (Grandmaster/knight)]

Of course.

[Cardinal Del Monte]

And I will make him listen.

[Narrator]

Cut to interior. The Chapel of St. John, Malta Day. Beneath the beheading of St. John. ELOF stands at the head of a table with Stefano seated to his right and several knights in attendance.

[Aloff Stefano (Grandmaster/knight)]

With the authority invested in me as grandmaster, I call this trial to order to denounce the heathen Michelangelo di Merisi da Bacarabago.

[Caravaggio]

Give me a little more projections.

[Aloff Stefano (Grandmaster/knight)]

With the authority vested in me as grandmaster, I call this trial to order to denounce the heathen Michelangelo de Merisi da Caravaggio and cast him out of our Holy Order of Knights. Does anyone here present speak for him? And I will. His duplicity mocks us. Sin entered the world through one man and death through that sin.

[Narrator]

They all bow. Cut to interior, Villa Syracuse day. Caravaggio, now dressed in finer clothing, completes a letter To Cardinal d'.

[Pope Paul V]

Amondo.

[Narrator]

A valet appears and Caravaggio hands him the letter.

[Caravaggio]

Post this to Rome.

[Narrator]

The valet takes the letter and leaves. Caravaggio returns to his sketch. Cut to exterior, Knight of Malta. Sloop straight of Sicily deck. Ayloff and Stefano stand at the bow, looking towards Sicily. Cut to interior, Villa Syracuse dead. Caravaccio is busy working on a canvas. The valet enters. They are here.

[Caravaggio]

Tell me who they are.

[Narrator]

All the influential men in Syracuse and their daughters. Exterior Villa continues. Caravaggio finds a dozen young women standing in line. Beyond the women are their wealthy fathers vying for his attention. Along a dozen men to be cast as gravediggers and priests. Caravaggio steps up to Margarita, who looks like Lena.

[Caravaggio]

Close your eyes, please. Borzoni would pay a ransom for those eyelids. And your complexion evokes so much.

[Narrator]

She opens her eyes, embarrassed by his attention.

[Caravaggio]

I choose you.

[Narrator]

He points his fingers at the faces and bodies that appeal to him for the painting.

[Caravaggio]

You and you. You and you. Follow me.

[Narrator]

Cut to interior, Karachi's loft. Roam day. Lena enters the loft as Karachi leads her to a space facing a canvas. You were difficult to find.

[Aloff Stefano (Grandmaster/knight)]

I spent entire nights in the ghetto.

[Narrator]

She looks around in awe.

[Lina]

The great Karachi. And I am in his studio. I spend every night in the ghetto.

[Narrator]

She sees that he's painting an angel.

[Lina]

I've always loved your angels.

[Narrator]

My angels?

[Aloff Stefano (Grandmaster/knight)]

Why do you love my angels?

[Lina]

Because they look like angels.

[Aloff Stefano (Grandmaster/knight)]

Have you ever seen an angel?

[Lina]

No, but if I did, I am sure they would look like yours. Just to see one is such a comfort.

[Narrator]

How do you feel about Caravaggio's work?

[Lina]

What do I feel? What I am supposed to feel.

[Narrator]

She sighs, then gets undressed. What are you doing?

[Lina]

Excuse me?

[Aloff Stefano (Grandmaster/knight)]

I want you to pose for me.

[Caravaggio]

Oh.

[Lina]

Do you know when he returns from

[Narrator]

Malta, she stops undressing.

[Aloff Stefano (Grandmaster/knight)]

I saw his Death of the Virgin. What does he tell you when you pose for him?

[Lina]

He tells me nothing.

[Aloff Stefano (Grandmaster/knight)]

Nothing?

[Lina]

Do you want me to pose or talk?

[Aloff Stefano (Grandmaster/knight)]

This was not a very good idea.

[Lina]

There are other things we can do. For the right price.

[Aloff Stefano (Grandmaster/knight)]

There is nothing else we can do.

[Lina]

He once said he saw all life in my face.

[Narrator]

An instant of understanding flashes across his face. He gets his wallet and pays her more than she expected.

[Aloff Stefano (Grandmaster/knight)]

Here.

[Lina]

And thank you this much. But I haven't done anything.

[Narrator]

Oh, but you have.

[Lina]

If I did, it was not on purpose. You artists are very difficult men.

[Aloff Stefano (Grandmaster/knight)]

But we need you, our muse.

[Lina]

Oh yes, you need us. If you see him, tell Caravaggio I cannot wait much longer.

[Narrator]

He shows her to the door and she leaves. Cut to exterior Villa Syracuse. Day. Caravaggio paints quickly, his eyes hardly ever leaving Margarita as she lies on her back on the ground. All the models are posed shirtless with shovels and men acting as priests wearing the vestments. Cut to interior Villa Night. Caravaggio has just completed another letter and hands it to the servant along with a rolled up canvas. The servant leaves. Cut to exterior Dock Bozzallo, Sicily. Day. AOF Stefano and the knights have docked.

[Aloff Stefano (Grandmaster/knight)]

We ride.

[Narrator]

They ride toward the city. Cut to interior Cardinal Del Monte's villa Ludovici, Rome. Day. Cardinal Del Monte reads Caravaggio's letter, then closes it. He writes a reply.

[Cardinal Del Monte]

Come north, dear boy, come north.

[Narrator]

Cut to interior Villa Syracuse. Day. Caravaggio faces his painting with the city authorities, some of the male models and Margarita. He then removes the COVID There is a hushed silence in the room.

[Lina]

All they say about you is true, Michele.

[Narrator]

Margarita, thrilled by what she sees.

[Caravaggio]

And you are an excellent saint, Lucy. You remind me of Lena.

[Lina]

That is wonderful. I hear so much about her.

[Narrator]

The valet enters.

[Pope Paul V]

This just arrived by messenger.

[Narrator]

The valet rushes up to Caravaggio, handing him a written message. And Caravaggio reads it immediately, looking apprehensive.

[Caravaggio]

Are the knights here?

[Narrator]

There is word they are just leaving Pozzallo and are on their way up the coast. Caravaggio goes ashen. The valet leaves. Caravaggio turns to Margarita. Then the canvas.

[Caravaggio]

I will complete it. Now I must leave Syracuse.

[Narrator]

Will you be safe?

[Caravaggio]

Without a pardon from the pontiff, I will never be safe.

[Narrator]

Cut to exterior Villa Dusk. Caravaggio is dressed like a swordsman with a rapier in his belt and holding a small bag of fresh clothing at his side. He walks along the garden of the villa, allowing himself some fresh air. He stops and looks around, listening to sounds, scanning the surrounding hills for any visible signs of his enemies. Caravaggio takes a deep breath, gathers his courage and walks out of the safe haven of the villa and walks into the approaching darkness. Cut to exterior, the city of Messina. Day. The sun rises over the small, compact city which is hemmed in by mountains. Exterior streets Messina. Continuous. Caravaggio walks through the wide streets, the less congested than Syracuse and less populated with the poor. There are fewer Spanish soldiers than in Syracuse and Caravaccio feels less threatened. He walks with a stride. Exterior, Lazari Villa DEI Caravacio stands before the gate of the villa. This time he looks more than presentable. A servant opens the gate for him. Interior, Lazari Villa. Continuous. Caravaggio faces Giovanni Lazzari a man of distinction and wealth. Lazzari is reading Caravaggio's paper of safe passage.

[Pope Paul V]

These are papers of safe passage from the Senate in Syracuse.

[Caravaggio]

Yes, I was told to present them to you when I reached Messina.

[Pope Paul V]

Our city would be honored to have the esteemed Caravaggio to stay in Messina as long as he wishes. You will be safe here.

[Narrator]

Caravaggio is relieved. Cut to interior Hospital room. Messina. Day. The dead body of a man who looks like Caravaggio lies on a slab. Caravaggio stands over the body with several dumbfounded hospital attendants at his side.

[Caravaggio]

How old is this corpse?

[Narrator]

The attendants exchange. Looks two days. Caravaggio nods. He then checks to make sure the door is securely locked and pulls down the blinds, allowing just enough light in. He turns to the attendants.

[Caravaggio]

You stand there and you stand there.

[Narrator]

Whatever you say, master. Caravaggio quickly sketches. Cut to interior Lazari Villa. Night. Caravaggio, looking successful and relaxed, watches as Lazari has a reception of powerful men of Messina enjoying the resurrection of Lazarus. Lazari takes Caravaggio aside.

[Pope Paul V]

The knights are on their way here. You have two days before they arrive.

[Narrator]

Caravaggio nods. Lazari hands him a letter of safe passage.

[Pope Paul V]

This is a letter of safe passage. When you reach Naples, bring it to the Marchese di Caravaggio. Are you a relation?

[Caravaggio]

No, I was named after Michelangelo. My true name is Michelangelo Morisi, but I took the name of my town. But the Marchesa has always been a kindly uncle to me. But tell me, is this safe passage more powerful than a warrant from the Grandmaster here in Messina?

[Pope Paul V]

Yes. I am not confident that it will do you any good outside of the city.

[Caravaggio]

However, I appreciate your kindness. It's best I leave immediately. I don't need much to travel.

[Narrator]

Lazari hands Caravaccio a bowl of holy water.

[Pope Paul V]

Holy water? From the chapel. Would you like to bless yourself?

[Caravaggio]

I don't need it. All my sins are mortal.

[Narrator]

Cut to exterior. Strike the city of Messina. Day. Ayloff Stefano and knights on horseback have just entered the city. As they make their way to Lazari's villa, they are eyed in both awe and suspicion by local citizens. Exterior, Lazari Villa. Later, Ayloff Stefano and his knights sit on their horses, facing Lazari.

[Aloff Stefano (Grandmaster/knight)]

Caravaggio, the painter, was he here?

[Narrator]

Never.

[Pope Paul V]

You can search all you want.

[Narrator]

Stefano eyes Lazari.

[Aloff Stefano (Grandmaster/knight)]

Do you defy the Inquisition?

[Pope Paul V]

I wouldn't dare.

[Narrator]

Alof nods to Stefano.

[Aloff Stefano (Grandmaster/knight)]

He's not here now. But he was. He must be in Catania. Back to the docks.

[Narrator]

Alof hits his horse and moves on. Lazari takes a deep breath as Aelof and the the nights right away. Cut to exterior Chartered boat Turanian Sea. Day. Caravaggio stands at the bow looking out at mainland Italy. Cut to exterior Night Sloop Harbor Catania. Day. Alof Stefano and his knights look out toward the city with Mount Etna looming in the background. Cut to exterior Boat Bay of Napoli. Day. Caravaggio stands at the bow looking out on Naples. A large cosmopolitan city, twice the size and population of Rome. It has tall buildings which cast dark shadows on its Greek inspired grid of streets. Caravaggio is thrilled to be back on the mainland and a few more steps closer to Rome. Cut to exterior Marchese di Caravaggio's villa, Naples. Day. Caravaggio is led through a garden by a valet. The Riviera de Callea is a refuge of natural beauty with gardens of flowers of every color, with orange trees and cedars. The valet stops and Caravaggio is face to face with the marchese de Caravaggio. 60s, a wise and elderly man.

[Marchese di Caravaggio]

Michele, at last after so many years.

[Narrator]

He embraces Caravaggio who closes his eyes in relief. Cut to interior Marchese di Caravaggio's villa. Night Caravaggio dines with the Marchese.

[Caravaggio]

My mother loved you. She said you were good to us long before I was born.

[Marchese di Caravaggio]

God had no mercy on your family, nor on you. But your fame has more than compensated for the misery the Maurices endured. Paint, sleep, live. Whatever you need is here. My gardens are a refuge for the mind, the spirit and the heart.

[Caravaggio]

And have you heard anything from Rome?

[Marchese di Caravaggio]

Nothing. Don't worry. The knights dare not come here for you. I have my own security, my own bodyguards. They would need an army to pry you from me.

[Caravaggio]

I need to write to Cardinal Del Monte.

[Marchese di Caravaggio]

I will provide all you need.

[Narrator]

Cut to exterior Doc Catania Day. Aloft. Stefano and the knights walked to their boat and boarded, bringing in provisions and food for their horses. Alof then pulls civilian clothing from his saddlebag and then takes off his knight emblem, respectfully putting it in the the other knights are perplexed.

[Aloff Stefano (Grandmaster/knight)]

Caravaggio has powerful friends in Naples. We won't get near him if we're recognized.

[Narrator]

They understand and follow his lead and change their clothes. Cut to exterior Rivera de Calla. Day. Caravaggio sits in the garden. Several small but impressive canvases lie against the tables and chairs. It is clear that he is working diligently despite his restlessness. He sees a lone horseman, one of the Marchese's Security men steps out behind Caravaggio so that the horseman would see him. The horseman, dressed as a swordsman, nods in a polite gesture and continues to slowly ride by. Caravaggio is suspicious, but then when the horseman disappears, he relaxes. Cut to exterior outskirts of Riviera de Callea. Day the horseman, a knight, reaches a small camp where alof Stephano and the other knights wait. He's there. There's security at the villa, but we can take him.

[Aloff Stefano (Grandmaster/knight)]

There will be citizen blood spilled if we take him by force. Let's bide our time. He will make the mistake, not us.

[Narrator]

Cut to interior Chapel Marchese's villa. Night. Caravaggio kneels alone at the altar and stares at the cross. He can't pray, his lips can't move. He just stares, restless and lonely. Laughter and shouts overlap in two. Cut to exterior Osteria del Seriglio Tavern, Naples 9. The most celebrated tavern in all of Europe at the time, it stands near the Via San Felice. Interior Osteria del Seriglio Tavern continues. Caravaggio is drinking at a table in one of two rooms that make up the tavern. The tavern is noisy, loud and boisterous, in sharp contrast to the gardens. He is in deep conversation with and speaking, surrounded by poets, artists, writers and Spanish soldiers. Long stairs lead to the top floor, where courtesans stand and wave to the men they're trying to lure into their private bedrooms. The food and wine are flowing as Caravaggio sits with his arm around a courtesan. Drunk. Caravaggio kisses the courtesan and as he does, two men approach his table. He doesn't recognize the but we do. They are the two knights who were traveling with Stephano, though now they are dressed as swordsmen. Without warning, the first swordsman pulls his rapier from his belt and slashes Caravaggio across the face. The thrust could have been deadlier, but the courtesan saw him coming and screamed, alerting Caravaggio to move just in time. Blood pours from the wound. Caravaggio falls backward from his chest. Despite the bleeding, Caravaggio grabs his rapier and slashes the first swordsman across the arm, slicing it deeply. There is pandemonium in the tavern as chairs, food and bottles as well as mugs go flying in all directions. Caravaggio uses the distraction to throw his chair at one of the swordsmen and barrel over him, knocking him down. Caravaggio then rushes through the crowd, pushing people aside as he runs out of the being chased by the two swordsmen. Exterior STREET continuous with the two swordsmen in pursuit, Caravaggio races out into the street. Stefano jumps out in front of him. Caravaggio can't believe his eyes. Stefano slashes his sword across Caravaggio's chest, leaving a cut a foot long. The only thing that saves Caravaggio from certain death is that he jumps back. Finding strength he didn't know he had, he turns and races down the darkened alley with Stefano and the two swordsmen in pursuit. Caravaggio sees a church at the end of the street and with blood coming from his nose and staining his shirt, he races for the church with Stefano and the knights gaining on him. EXTERIOR Church. Naples. Night. Caravaggio reaches the church, climbs the church steps and reaches the front door. He tries to open it, but it is locked. Sanctuary. He bangs on the door, turns and sees a lot. Now dressed like the Grandmaster, alone and determined.

[Aloff Stefano (Grandmaster/knight)]

You.

[Narrator]

Alof pulls out his sword. Caravaggio turns to the door again and bangs it again. The door opens and a friar in his long brown cloth and sandals stands there.

[Caravaggio]

Sanctuary.

[Narrator]

Caravaggio pushes past him and enters the church. INTERIOR Church. Continuous. Caravaggio rushes down the aisle toward the altar, struggling not to collapse. Interior Church. Moments later, Ayloff and Stefano enter, pushing past the friar and through the vestibule. Who are you? They place their Knights of Malta emblems over their disguises for him to see.

[Aloff Stefano (Grandmaster/knight)]

He's our prisoner.

[Pope Paul V]

This is a church.

[Aloff Stefano (Grandmaster/knight)]

Stay out of the way.

[Narrator]

Alof and Stefano walk down the aisle toward Caravaggia. He falls on the altar steps, watching them approach his face and clothing. Bloody.

[Caravaggio]

Sanctuary.

[Narrator]

The friar rushes in front of Eilol.

[Pope Paul V]

Don't you dare touch this man.

[Aloff Stefano (Grandmaster/knight)]

He is wanted by the Inquisition.

[Narrator]

The friar hesitates. He's afraid of the Inquisition. He looks to Caravaccio.

[Caravaggio]

Please.

[Narrator]

The friar is wavering. Alof lifts his sword. Caravaggio musters all of his bravery. Sanctuary.

[Caravaggio]

I beg of you.

[Narrator]

Caravaggio stands with his rapier ready. In his bloodied hand, the friar finds fortitude and stands in front of Caravaggio.

[Pope Paul V]

I am the pastor of this church and this man asks for sanctuary.

[Aloff Stefano (Grandmaster/knight)]

Step aside or you die.

[Pope Paul V]

In the name of Christ, I grant it.

[Narrator]

Alof is perplexed. He's taken back by the friar's courage. Caravaggio now collapses at the altar's steps.

[Aloff Stefano (Grandmaster/knight)]

Sanctuary.

[Narrator]

Alof and Stephanos, their swords drawn, are immobile.

[Pope Paul V]

Leave my church.

[Narrator]

Alof and Stefano realize they have no choice, turn and walk back down the aisle, then leave the church. The friar follows them, bolts the door behind them. And rushes up to Caravaggio, who is now lying on the marble floor, blood flowing from his wound.

[Caravaggio]

Sanctuary.

[Pope Paul V]

Yes.

[Narrator]

Dissolve to interior Studio Riviera de Callea. Day. With a scar running down the side of his face, Caravaggio paints an unusual painting. He's looking into the mirror at his now bearded face with a slowly healing wound under his left eye. Using himself as a model. It is David with the head of Goliath that he is painting. Cut to interior Pope Paul V's private chambers, Rome dei. The Pope and Cardinal Del Monte are looking at David with the head of Goliath.

[Cardinal Del Monte]

He sends it as a gift. The Marchese wrote me that Caravaggio was nearly killed by the Knights in Naples.

[Pope Paul V]

Extraordinary.

[Cardinal Del Monte]

That is his face. Goliath, though now pained and wounded from his current ordeal.

[Narrator]

Hmm.

[Pope Paul V]

And the model for David?

[Cardinal Del Monte]

The face of a young man who first came into my life all those years ago. A face of innocence and sympathy. Protect him with a pardon and I will make sure that the house of Borghese is filled with Caravaggio.

[Pope Paul V]

The pardon is yours. Send it to every church from here to Malta.

[Narrator]

He waves to the priest who brings the pardon to him.

[Pope Paul V]

I want ownership of this painting and all others we can secure from the Knights.

[Cardinal Del Monte]

Of course.

[Narrator]

The Pope signs the pardon and hands it to Cardinal Del Monte. Cardinal Del Monte kisses the Pope's ring, then rushes away. Cut to exterior Marchese's villa, Naples Day. Caravaggio, looking worn but healed, sits with the Marchese eating lunch when a valet appears handing the Marchese a letter. The Marchese looks over the letter, then hands it to Caravaggio.

[Marchese di Caravaggio]

It is for you. From the Cardinal Del Monte.

[Narrator]

Caravaggio quickly reads it.

[Caravaggio]

I have my pardon. The Cardinal writes that it is being announced in every parish from here to Malta.

[Marchese di Caravaggio]

Excellent.

[Caravaggio]

I need to return to Rome.

[Marchese di Caravaggio]

Yes, but for now, stay. Stay until you are well.

[Caravaggio]

I need to get back to Rome, to Elena, to Cardinal, to Montate to my world. This is the only way I can truly heal.

[Marchese di Caravaggio]

If you must leave, I will provide you with an escort to the frontier. My influence stretches to the harbor. I will also provide you with a letter of safe passage. It will protect you. Once out of the harbor, you could take a small boat directly to Rome.

[Narrator]

Caravaggio kisses his hand in gratitude. Cut to exterior Marchese di Caravaggio's villa. The Marchese watches Caravaggio ride off in a carriage with his own soldiers. Exterior road to dock. Continuous. Caravaggio is in a carriage traveling north, protected by several of the Marchese soldiers. His canvases are rolled up and at his side. He nervously looks out the window, scanning the horizon for Alof. Seeing no one, he sits back. Cut to EXTERIOR Marchese di Caravaccio's villa Day The Marchese stands at his gate flanked by his own soldiers. Riding towards him is a Lot Stefano and several knights. They are now dressed as Knights of Malta. When they reach the gate, Stefano dismounts and hands the Marchese Alof's arrest warrant. The Marchese looks it over, then hands it back to Stefano.

[Marchese di Caravaggio]

Your warrant means nothing to me.

[Aloff Stefano (Grandmaster/knight)]

You defy the Inquisition, I defy its authority and yours.

[Marchese di Caravaggio]

Leave my property now.

[Narrator]

He turns to his own men, which outnumber the knights. There is a tense moment as both sides are in standoff. Ayloff flinches. He nods to his knights and they ride away.

[Marchese di Caravaggio]

Not everyone will defy that warrant.

[Narrator]

Cut to exterior Marchese di Caravaccio's villa Day. Ayloff, Stefano and the knights ride their horses. Ayloff pulls up his horse and stops. The knights stop with him.

[Aloff Stefano (Grandmaster/knight)]

There's a small harbor over the hills. I know a direct route. We can reach Naples before he does.

[Narrator]

A lot and his knights gallop off down the road and over the hills. Cut to EXTERIOR Carriage road to Naples Day. Caravaggio looks out the window and smiles to himself. Seeing the harbor and his escape, the carriage and escort take him down toward the dock. Exterior Felucca Dock continues alof. Stefano and the knights reach a fellow which is destined for Rome. Alof approaches the small boat's Captain, Captain Defino, 40s, a hardened man who is stunned to see a lot.

[Aloff Stefano (Grandmaster/knight)]

This is a warrant for one of our knights. If he boards your boat, you have orders to detain him.

[Narrator]

Who orders this?

[Aloff Stefano (Grandmaster/knight)]

The Grand Master of the Knights of Malta.

[Narrator]

Stefano hands him the warrant, then leaves to move on to the next boat. The Captain is clearly intimidated. Exterior Dock Continuous. Caravaggio's escort brings him to the dock. Caravaggio gets out of the carriage.

[Aloff Stefano (Grandmaster/knight)]

Thank you.

[Narrator]

They ride off. Caravaggio feels safe, so he reads the dock information and sees that there are several felucca leaving for Rome. He heads toward one of them. EXTERIOR Felucca Dock Continuous. Caravaggio, carrying his possessions, including his paintings, reaches the Felucca as several passengers are boarding. The captain stands behind a sailor taking tickets. The sailor looks to Caravaggio.

[Caravaggio]

One ticket, one way.

[Narrator]

Destination wrong.

[Cardinal Del Monte]

Wait.

[Narrator]

Caravaggio and the sailor both turn. The Captain walks over to Caravaggio with a Carabinieri at his side. Are you a Knight of Malta? Caravaggio doesn't Answer. Open your bag. Caravaggio doesn't move. The Captain nods to the police, who takes the bag and opens it. They all see the Knight of Malta emblem that Alof had given him back at the ceremony on Malta. Caravaggio stiffens. There's been a warrant issued for the arrest of a Knight of Malta traveling these waterways. Caravaggio shows the Captain papers of safe passage.

[Caravaggio]

My name is Caravaggio, I'm a painter. I have papers of safe passage from the Marchesa de Caravaggio.

[Narrator]

The Captain looks at the papers and hands them back to Caravaggio. You fit the description of a wanted man.

[Caravaggio]

I am on my way to Rome. I have a pardon from the Pope.

[Narrator]

Oh, and where is this pardon?

[Caravaggio]

I've been told it was just issued.

[Narrator]

This warrant is signed by the Grand Master. I have no choice but to detain you. I have papers of safe passage from the Marchese.

[Caravaggio]

I am not defying the Inquisition.

[Narrator]

The Captain turns to the police at his side. Arrest this man.

[Caravaggio]

You have no jurisdiction over me.

[Narrator]

Caravaggio is ready to fight, but before he can react, the police and the Captain grab hold of him and drag him away. Caravaggio drops his possessions. His rolled up canvases lie on the dock. My paintings. The police drag him off. Cut to exterior, Fossa di San Elmo Prison, Naples de the prison, built by the Spanish and under Spanish rule, is a large and dark building standing on the heights above the city. Interior, Fossa de Sant Elmo prison continues. Two prison guards lead Caravaggio, who is in chains, through a corridor. Prisoners in their cells scream out of insanity or sheer terror.

[Caravaggio]

I don't belong here. You tell the warden I have money.

[Narrator]

They pull him by his chains, leading him on. Several gang members overhear him and trade looks among themselves. Interior, assembly room. Prison continues. Caravaccio is led through to a room where chained prisoners are eating at large tables. Many are deathly ill and several collapse right there on the spot, gasping for air and trembling. Caravaggio is filled with terror as he is dragged away. Interior, enormous cell continues. Caravaggio languishes in an enormous cell with a hundred prisoners. All kinds of human noises fill the room, from screams of agony, fear, insane laughter and coughs of death. We see many lost souls whose dead eyes and vacant expressions match the characters Caravaggio created on his many canvases. Here is where the barefoot underclass live, when not on the streets. They are the impoverished and the starving, called the Lazzaroni. Caravaggio stands in the middle of this cell, his eyes searching for enemies. And they are many. They are young men with syphilis, old soldiers looking to kill anyone for sport with their bare hands, as well as gangs who are looking to rob anyone of anything, including their lives. The guards are few and indifferent. Caravaggio grabs the bars and wants to scream out to the gods, but knows that if he looks or acts scared, he will be attacked. He turns his back to the bars and looks over a gun that is approaching him. There are four men with scarred faces and incensed, desperate, making their way toward him. A shaft of light from a window above cuts through the dank, heavy air of the cell. It falls across Caravaggio's face. You have money? Caravaggio is surrounded by the gang and they are just about to pounce when he pushes himself off the bars and. And jumps right into their midst, screaming like a madman. Two scatter, but two stay and fight. Caravaggio punches and kicks at them, knocking them down. What was that? Once it came out, I was like.

[Progressive Insurance Announcer]

No,

[Narrator]

That too. Two scatter, but two stay and fight. Caravaggio punches and kicks at them, knocking them down. One of the men opens his mouth and digs deep into his shoulder with his teeth. Caravaggio lets out a scream of pain. He then grabs the man's head and bangs it against the bars. Another man comes out of nowhere, seemingly foaming at the the mouth, and bites Caravaggio on his cheek. Caravaggio screams, then pulls the man off of him, hitting him harder and harder until he falls. There are shots from the other prisoners as reluctant guards open the cell and rush in, fighting their way past the other prisoners to Caravaggio. The guards grab Caravaggio and haul him out of the cell with blood dripping from his shoulder, mouth and nose. Cut to interior. Pope Paul V's private chambers. Rome Day. Cardinal Del Monte and the Pope read over a list.

[Cardinal Del Monte]

Michel would be honored to accept these commissions from the Vatican.

[Pope Paul V]

I would like him to begin as soon as he returns. And I have decided to advocate a ceremony for Caravaggio. A display of a festival.

[Aloff Stefano (Grandmaster/knight)]

Ah.

[Cardinal Del Monte]

I will compose a guest list. Your Holiness, I am sure that Mikhail would be honored and pleased that his exile has now ended.

[Pope Paul V]

Where do you expect he is?

[Cardinal Del Monte]

If he boarded the Felucca, he should be in Rome perhaps as early as tomorrow.

[Pope Paul V]

I want you to sail for Malta. I want you to demand from the Grandmaster all the canvases Caravaggio painted. They belong to my family now. They belong in Rome, in the House of Borghese.

[Cardinal Del Monte]

You want me to go to Malta?

[Marchese di Caravaggio]

Who else?

[Pope Paul V]

You're the only one I would trust with this work I will give you

[Cardinal Del Monte]

safe passage and an armed guard.

[Narrator]

Cut to INTERIOR HALLWAY PRISON NAPLES Day Alof and Stefano walk tentatively down the hallway and stop at a cell. Alof faces a guard.

[Aloff Stefano (Grandmaster/knight)]

Caravaggio.

[Caravaggio]

He has a fear.

[Narrator]

The malaria. Seeing the concern on the guard's face, Alof looks through the cell bar, seeing Caravaggio chained to a door chair, slumped forward, alone. Grandmaster.

[Cardinal Del Monte]

It isn't wise.

[Aloff Stefano (Grandmaster/knight)]

Open it.

[Narrator]

The guard does. Alof enters the cell. Stefano does not. INTERIOR DUNGEON CELL continuous. Slumped in his chair, Caravaggio, feverish and delirious, looks down as Alof steps up to him.

[Aloff Stefano (Grandmaster/knight)]

Why did you leave us? You led me to believe you had found your God.

[Caravaggio]

My. My God.

[Aloff Stefano (Grandmaster/knight)]

I saw it in your paintings. I need to know. Does faith guide your hand?

[Caravaggio]

My. My questions guide me.

[Aloff Stefano (Grandmaster/knight)]

Who is your God?

[Caravaggio]

The faces.

[Aloff Stefano (Grandmaster/knight)]

What faces?

[Caravaggio]

The faces I paint.

[Aloff Stefano (Grandmaster/knight)]

Who is your God?

[Caravaggio]

The God beyond. Your God.

[Aloff Stefano (Grandmaster/knight)]

Your sins condemn you.

[Narrator]

Caravaggio looks up directly into his eyes with a moment of clarity.

[Caravaggio]

But my painting saved your soul.

[Narrator]

Aylof leans into Caravaggio and whispers so no one else can hear.

[Aloff Stefano (Grandmaster/knight)]

Was not my love dear to you?

[Narrator]

Caravaggio looks deeply into his eyes.

[Caravaggio]

How could I love what I fear?

[Narrator]

Caravaggio falls back in his chair, closing his eyes with his head up. Elof stands back. The warden, 40s, an ex soldier, with a pained expression, steps up to Alof and Stephano. If this prisoner can pay, I will release him to your custody.

[Cardinal Del Monte]

We cannot take him on the ship.

[Narrator]

Suit yourself. What is in your pockets, prisoner? Caravaggio manages to pull some lira from his pockets and the warden quickly scoops them up. He counts it, then turns to the guard. Release him. Caravaggio struggles, then stands.

[Caravaggio]

My paintings. Where are my paintings?

[Narrator]

No one answers him, so he staggers away out of the cell, down the hallway.

[Aloff Stefano (Grandmaster/knight)]

Where will he go?

[Narrator]

What does it matter if he has no more money and he goes back to the harbor where he was arrested. There's nothing between there and here but swamp. The warden leaves as Alof takes his step, but Stefano steps in in front of him. We need to return to Malta, sire. Ayloff watches as Caravaggio staggers away.

[Aloff Stefano (Grandmaster/knight)]

Michelangelo, Merisi da Caravaggio.

[Narrator]

Adolf and Stefano watch as he disappears into the dark of the prison. Cut to EXTERIOR FRONT entrance Fossa di Sant Elmo Prison continues. The gates open and Caravaggio, seriously ill with nothing but the dirty clothing he's wearing, steps out. He stumbles, regains his balance, then walks with a limp and coughs. People who see him look on with disgust and disdain and either rush away or throw rocks at him. He continues staggering on. EXTERIOR Dock Naples Day Ayloff, Stefano and several knights reached their boat and boarded in silence. Cut TO EXTERIOR Swamp Outside Naples Day Caravaggio attempts to maintain his focus so he's headed in the correct direction. He's at the tip of the swamp and stops. He knows he must head north, so he continues and enters the swamp. EXTERIOR SWAMP Later Caravaggio Sweet. He stumbles through the swamp under the boiling sun. As he burns from his own fever, he hears voices. Unsure if he's imagining them or not. He hides down in the ankle deep murky waters next to a tree. He sees a gang of robbers searching the swamp. He tries not to breathe too loudly so they won't hear him. They travel past him. Cut TO EXTERIOR DOCK Outside Porte Accole Later, Caravaggio looks out and sees fishing boats sailing away. He turns to an old sailor sitting there. Drunk, old oblivious. Porte Coll the old sailor just stares at him. Caravaggio walks along the dock, following the fishing boats along the shore. Cut TO EXTERIOR BEACH Day Caravaggio, drenched in sweat but chilled and shivering, walks along the white sands of the beach beneath the dreaded boiling sun. He looks out toward the sea, mistakenly believing that what he sees is the Felucca, his ship a short distance off the coast. He walks, trying to keep pace with it. Exterior BOAT Dock Porte Collection Caravaggio reaches a small dock. A young boy is working on the dock, looks up and sees Caravaggio. Caravaggio steps over to him, having difficulty speaking, breathing.

[Caravaggio]

What is this place?

[Narrator]

Port Evecole. Caravaggio nods, then stumbles past the young boy. Realizing that Caravaggio is ill, the young boy rushes inland for help. Exterior BEACH Outside Port Ecole continues. Caravaggio stops and looks up at the blasting sun. He feels as if he's in a furnace. He struggles on.

[Caravaggio]

I tried to find that harmony between what I saw and how I lived and failed.

[Narrator]

Exterior an empty stretch of continuous. Caravaggio continues to walk, looking out at the sea, seeing what he imagines to be his ship on the horizon.

[Caravaggio]

There is a life going on beyond this life. A life that separates us from all our mistakes, from accidents and pain.

[Narrator]

He looks up at the sun and kneels at first, then falls onto the beach. Dressed in tattered clothing of vivid golden red. Caravaggio lies motionless on the white sand at the edge of the blue sea. Under the pure white light of the sun. He reaches his arms towards the sun. Cut TO EXTERIOR Beach Outside Porta Colli Continuous, two nuns from a small hospital off the beach, led by the young boy, appear. They rush to Caravat's side.

[Caravaggio]

That is how God has been to me all my life. Just out of reach,

[Aloff Stefano (Grandmaster/knight)]

perhaps.

[Caravaggio]

The light tells me to love the mystery and then let go.

[Narrator]

The nuns comfort him with water to drink. Then, rubbing his forehead with it, they place a light blanket over him to use. Easy's trembling.

[Cardinal Del Monte]

Your Holiness, I have been informed that Michelangelo Mauricio de Caravaggio was found dead the day before yesterday, July 18, on the Trainian coast outside of Port Harco.

[Narrator]

Two workers appear with a stretcher and rush over to Caravaggio.

[Cardinal Del Monte]

He was made aware of your pardon.

[Narrator]

Cut to interior paint. Papal Chambers Rome Day Alone, the Pope faces Caravaggio's paintings as you demanded.

[Cardinal Del Monte]

I have secured all the canvases from the knights and all that he created that were not painted on the walls.

[Narrator]

The paintings are gloriously realistic, intense, brutal and filled with a searching for faith.

[Cardinal Del Monte]

They will be brought to your private residence in Rome.

[Narrator]

The Pope is clearly affected. Cut to exterior beach outside Porte Coll. As the two workers and the two nuns strain to ease Caravaggio onto the stretcher, he turns and sees a Love standing on the beach directly in front of the sun. Facing him. Stefano stands behind Ayloff. Behind them is a small boat on the beach with several knights keeping it from moving with the tide alone, Aylof walks to Caravacio, reaches him and stops. The workers and nuns ignore him as they steady the stretcher to place Caravaccio onto it. Alof looks down at Caravaggio.

[Aloff Stefano (Grandmaster/knight)]

Forgive me.

[Narrator]

Caravacio strains to look into a His own eyes still beam with intelligence and searching despite being overwhelmed with suffering. Until having lost all strength, he closes his eyes, falls back and dies.

[Caravaggio]

What you see in the art, you will find in the artist. And what you see in the artist, you will find in the man.

[Narrator]

Alof watches this cut of Vaccia's bodies lifted up and carried off the beach. The END.

[Progressive Insurance Announcer]

This episode is brought to you by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with a name your price tool from Progressive, you can find options that fit your budget and potentially lower your bills. Try [e-mail], progressive Casualty Insurance Company and affiliates. Price and coverage match limited by state law. Not available in all states.

[Grainger Announcer]

Early birds always rise to the occasion for summer vacation planning because early gets you closer to the action. So don't be late. Book your next vacation early on VRBO and stay save over $120. Rise and shine. Average savings $141. Select homes only.