Table Read - Caravaggio - Act 2

Episode Date: February 17, 2026

Malta. A fortress carved from rock, surrounded by sea, ruled by warrior monks who pray at dawn and kill by noon.Caravaggio arrives to paint a portrait. He stays because he has no choice. The Grand Master offers sanctuary, admiration, and something neither man is prepared to name. The Captain at Arms offers suspicion, jealousy, and a locked door every night.Act Two is the cage. Beautiful. Suffocating. Holy.Caravaggio paints the Grand Master's portrait and captures more than armor and scars. He captures a man's loneliness. The Knights throw a feast in his honor. He dances on tables. He is knighted with a gold sword. He is watched from every window.Back in Rome, Cardinal Del Monte fights for a papal pardon while the Tomassoni brothers hire bounty hunters. The Pope dies. A new Pope rises. The Church still cannot decide what Caravaggio is worth.On the beach, the Turks attack. Knights are nailed to crosses and set on fire, floated into the harbor at dawn. Caravaggio picks up a sword for the first time. He gives water to a dying boy. The boy is killed in front of him.Flashbacks pull him back to Rome. To Lena. To the night Ranuccio came for him with a blade. To the moment that changed everything.He paints The Beheading of Saint John the Baptist on a chapel wall and signs his name in the blood flowing from the saint's neck. The only painting he ever signed.Then he paints a Cupid so grotesque it seals his fate.Act Two is devotion. Desire. Betrayal. The moment a man realizes that the sanctuary he was promised is just a prison with better art on the walls.The fuse is burning.CastDennis Kleinman · NarratorCraig Parker · CaravaggioDan Lauria · Cardinal Del MonteBruce Davison · Alof de WignacourtShaan Sharma · Stefano della CroceCatherine Lidstone · LenaSarah Elmaleh · MariaBrendan Bradley · Annibale CarracciNoah James · Ranuccio TomassoniJosh Sterling · Ottavio TomassoniZeke Alton · Giovan TomassoniNick Monteleone · ManciniMatt Curtin · ToppaBjorn Johnson · Pope Paul VRay Abruzzo · Pope Clement VIIIWritten byRichard VetereExecutive Produced byJack Levy, Shaan Sharma, and Mark KnellTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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 Anibola Karachi's submission to the Vatican's important contest. Caravaggio finds Karachi in the church, doing the same thing he is, and knows Karachi will win the commission. Caravaggio and his friends then visit a brothel where at dawn he runs into Renuccio Tomasone 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 two 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 Alof, who is dressed in full body armor, holding a staff with a long sword on his belt, and Roberto at his side.

Is the light satisfactory? Yes, yes, it is. Is that what you intend to wear? Yes. Does it meet with your approval? Caravaggio moves around Aalov, inspects the armour and touches Ailof who flinches in pain. Karavaggio does not react. You have no reaction to my pain.

Well, I take one look at your scars and I know you live with pain. You expect pain. You enjoy pain. Caravaggio steps back and takes in the entire picture. Aalof in his costume and Roberto in his. his. Roberto stands at his side. Yeah, good. Roberto stands where he is told as Caravaggio steps behind the easel and quickly sketches, having already mixed the paints. Suffering is a great teacher. Pain teaches nothing, but it does beget anguish and despair. Where is Stefano today?

I told him to leave us alone. I felt he was distracting you. You move just a fraction to your left. Alof does what he is told. Am I in the light? You are the grand master of the Knights of Malta. You are always in the light. If that is God's will. There is another moment of understanding and affection between them.

Caravaggio readies himself and begins the portrait. Cut to exterior Valletta, Malta, 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 leaner.

Sounds of the city of Rome, loud, deep human voices, life at its fullest, overlaps in two, Flashback two. Exterior, ghetto of Ortacio, the evil garden room. 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. What? You've never seen a woman before? Women I've seen, but...

That's nice. What? You've never seen a woman before? Women I have seen you. I haven't. Oh, yes. I remember. At the tavern of the hawk, you're the poet. A painter.

To Scoody for the hour, and my room is back there. No. Five, Scootie, and you come with me. Where? To my home. She nods. They make their way through the crowd toward the border of the Otacea.

How long have you been in Rome? Three weeks. Then I found you just in time before Rome corrupts you. Has it corrupted you? Oh, he tried and failed. You were stronger? No, I embraced it.

They continue and disappear in the shadows from the fires. Flashback End. Interior Carvaccio's room Malta, dawn. Caravaggio is writing a letter with a rising sun. Dear Cardinal Del Monte.

Exterior valetta, Malta, continuous. The brightly burning sun rises over the fortress. Cut to exterior Rome, St. Peter's Basilica, Day. Clouds cover the city. Interior papal chambers roam, continuous.

Cardinal Del Monte stands beside the dying Pope Clement the 8th, who lies in his bed. His breathing is erratic. A bishop stands behind him in attendance. Do you have any needs, your holiness? To breathe without pain. Would you like me to hear your confession and give you absolution?

No. Concerning the papal pardon for Caravaggio, is it possible to dictate it to the bishop now so that we can get your signature? The Pope's breathing stops. Cardinal Del Monte makes the sign of the cross. Name of the father's the son, Holy Ghost. Cut to Interior Cardinal Del Monte's private chapel, Day.

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. How long have they been there? Not long, but I do remember seeing them yesterday.

Who are there your eminence? Bounty hunters. Cardinal Del Monte pulls down the curtains. Cut to Interior St. Peter's Basilica, later. Cardinal Del Monte is with a college of cardinals who have gathered to select a new Pope. Cut to exterior Sistine Chapel, Rome, Day. White smoke rises from the chapel, signifying that a new Pope has been selected. Cut to interior papal chambers, continuous.

Codinal Del Monte faces the new Pope. Pope Joan Pope John. Good job. Codinal Dermonte faces the new Pope. Pope Paul V is vigorous and vital, youthful and energetic. I cannot and I will not tolerate these random killings in our city.

He killed and self-defense. Our Lord turned the other cheek. Your Highness. Sorry. We're seeing allegiance in the room. Your holy. Our Lord didn't live in Rome at the turn of the 16th century. We have emerged from the dark ages, but the barbarian hord still have their hold on us.

Their ways are still in our blood. Our faith will change all that. 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. Cardinal Del Monte nods to his aid to remove the cover from a canvas. Is he still on Malta? Yes. He writes me short notes.

I hear that the Grand Master had a dinner in his honor. The painting is the weeping Magdalene. It is clear by his reaction that the Pope is moved. I had never seen so much love and pain in one face. Cardinal Del Monte places a petition on the table for the Pope to see. And this here is a petition signed by nine of your most respected Cardinals asking you to pardon him. The Pope glances at the list of names. Explain to me your devotion to this caravaggio.

Our Holy Mother Church needs such advocates for our flock in such dire times. You are a politician to the core. Pope Paul V struggles not to be moved. Michelangelo, Titian, Botticelli, Leonardo. He is one of them. The Pope waves his hand for the Cardinal to leave, but a Del Monte knows he's making his point. Interior hallway outside papal chambers continues. As Cardinal Del Monte leaves the private chambers, he's confronted by the Tomasone brothers, Otavio and Giovanni.

Cardinal Del Monte. Yes? I'm Otavio Tomasoni, Ranuccio's brother. And I am Giovanni, Tomasone. 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 Renuccio's soul. I will offer prayers for him this Sunday at Mass, but his demise is a matter for the police, not me. If anyone knows what he is hiding, you do. You should be aware that we have employed bounty hunters. Cardinal Dolomante watches with apprehension as they bow and leave. Cut to interior in a sancter Malta, dawn. Caravaggio paints furiously as Alof poses with discipline.

I've learned a few things about you. Your father died in the plague. Many fathers died in the plague. 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. Caravaggio paints fully absorbed.

When you look face to face with God on Judgment Day, what do you think his likeness will be? God wears a hood. Of course he does. He fears that his love

will blind us. His love can be a terrible life. Oh, his love. Where is it? You've seen it, my son. Oh, I have? It is in your painting the call of Maw. Shit.

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 it. 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 is just a typo here it should be the calling of calling of St. Matthew

oh the calling correct sorry pick up that first sentence if you want to read all the through it that's fine let's go all the way through that I think you said life again instead of light. So it's right here's the shaft of light with his finger. He's love. Where is he? Oh, you've seen it, my son. I have. 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 say I've come for you the horn blasts through the room from the top of the castle walls

the Turks are in the harbor he rushes out as Karavaggio rushes to the window hearing agonizing screams exterior terrain and sea continues fires are floating on the sea toward the shore Sean. 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 Alov directing his knights toward the fires, floating towards them out of the morning nest.

Lorenzo, form a line. Giacomo, take your men to the boat. The rest, hold you, Grand. Parvajia realizes that the fires are actually knights nailed on wooden crosses and set a fire to be burned alive. The screams of avenue drown out the shafts from the knights

who race into the waist deep water to pull the burning knights into the water. Paravaggio is unable to move when Stefano has seen him grabs her. This way! They rush quickly to reach the boat and pull it to shore as a burning night nearby screams in pain.

Help me, brothers! Help me! Karavaggio and Stefano pull the still-breathing night to the sand, as Karavaggio covers him with his own shirt, getting a minor burn as he does. Stand guard! Karavaggio turns to see Aelof with Stefano 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. Aloff turns to the beach to see where his knights are appointed and sees Karavaggio, their eyes locked. At that moment, Karavaggio is compelled to prove himself to embrace the knights in a way he wasn't expecting.

He races to join Aalph as cannons on the turrets of the castle walls explode over his head. Return to safety! I belong here with you. Aalph turns to rally his knights. Steady your nose. My brothers, the dervishes will attack us. Now, here they come! The Turks reach the beach and disembark their corsairs,

rushing in with a 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. Karavajir throws himself to the sand as cannonballs hit the beach, exploding in contact with the rival. attack right on several nights. They're 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 dots, blowing up several more nights. They scream in pain as they lose limits. Splinter's of wood running down on Caravaggio, Elof and Stefano.

One particular shot piece cuts into Caravaggio's shoulder. Karavaggio 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 Karavajou 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 Karavajjo who slashes his sword back. Karavaggio's sword rips into the sword. sword rips into the Turks flesh. He pulls his sword out of the Turk, bringing with it flesh, muscle and pouring blood. There is a gurgling sound as the Turk falls to his knees. Karavaggio quickly joins Alof and Stefano, and together they form a circle to protect one another from the fanatical Turks. Karavaggio looks to Stefano, fighting off several Turks and then to Alok, on one knee, fending off two Turks at once. Kavaggio rushes to assist Aalof who pushes himself up, stabbing one of his attackers through the heart.

The other attacker comes at him as Aloff loses his balance in the sand, again falling to one knee. The attacking Turk swings his sword at Aalph, cutting him slightly above the arm. Karavaggio jumps in front of the attacking Turk to protect Ailof by jumping on the turn, knocking him to the ground with his hand on his throat. He throws the Turk on his side and reaches the turk. for the Turk's sword and pulls it from him. He then sticks him in a house. The Turk screams at death mode and dies as Karavaggio struggles to his feet

and turns to see Alov heroically fighting off several Turks. Caravaggio again rushes to Alaph's aid. Just as Karavaggio reaches Aalph, the Turk is on top of him, ready to thrust his sword into him. Karavaggio swings his sword with all of his strength, nearly cutting the gun. Turk's head. Alof looks up at Karavaggio with gratitude. He was certain he was about to die. Seeing the headless Turk fall backward onto the sand,

Karavaggio is shocked, appalled, and confused by the sensations of fear and exhilaration. Just then, more knights arrive from the balance, chasing the Turks back into the sea, battling them on the beach as hacking, cutting and thrusting of swords and lances, continues all around Karavaggio. Karavaggio 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. Screens 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 Karavaggio out of breath 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

Aloff gets down on one knee and bows He looks up to the sky And makes the sign of the cross To God To victory Aloff 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 conage 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. Alov stands in command as Stefano and more knights put dozens of Turkish prisoners in chains. Karavaggio walks away when he sees two banners in the sand. One is the crescent moon and the other the cross. Karavaggio sees a young wound. a wounded Turk moving among the dead. The Turk raises his hand out to Karavaggio,

who kneels beside him. The wounded Turk grips Karavaggio's arm and holds onto it tightly. Karavaggio 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 Karavaggio can react,

Stefano thrusts his sword into the diamond with blood splashing on Caravaggio. Caravaggio jumps to his feet. He was a boy! No, he was a Turk. No, no, no. You said, no, he was a Turk. Let's just get, he was a boy, he was a Turk.

Got it. And that's just a pickup line. Sorry. He was a boy. He was a Turk. Stefano turns and walks away. Cut to interior dining hall, Castle Sant'Angelo,

Alav, with Karavaggio standing at his side, addresses the knights. Today, our prayers are for those who sacrificed their lives. To die for our faith is our pledge as knights of mortar. Today I saw courage from one who had not taken our oath. Please kneel. Karavaggio kneels. Alof takes his sword and presses it firmly on Karavaggio's shoulder. Michelangelo Marisi de Karavaggio, you are hereby today, an honorary knight of mortar.

Aloff turns to Stefano, who brings over a fine sword made of gold and hands it to Karavaggio. Ordine de obediencea. Ailof gestures for Karavaggio to stand. Caravaggio stands proudly. The knights stand in unison and cheer. Alof then hands Caravaggio a palm-sized emblem of the knights. This sword was a gift from the King of France. It's pure gold with the inscription in silver.

This was mine once, and now it is yours. 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. The Grandmaster despises the King of France. Interior Caravaggio's room, dawn. Caravaggio wakes, 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 portals. He picks up his brush. He approaches the portrait gingerly, then paints. Interior inner sanctum later. Alof and Stefano enters Caravaggio, focused and deliberate, continues to paint. Aloff goes to the canvas, but Caravaggio stops him with a glare.

Aloff stops. Caravaggio places his brush down. Have I been a subject worthy of your talents? and have my talents been worthy of the subject. Karavaggio nods, then steps back. Alo faces the canvas. His entire being exhales with amazement and approval. 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. Caravaggio leaves the room. Stefano stares at the portrait with jealousy. Leave me to gaze.

Hurt, Stefano leaves the room as Ailof absorbs his portrait. Cut to interior, Caravaggio's room, night. Exhausted Caravaggio lies on his bed. The door open. He quickly stands. Aalph appears in the doorway and looks at Karavaggio with a mixture of awe and also longing. The moment between the men suddenly defines their growing relationship. Aloff takes a step towards Karavaggio, then stops himself before he goes too far.

He turns abruptly and leaves the room. Karavaggio slowly goes to the door and closes it. He sees the nearly completed sketch of Lena on the table, sits, sits and sketches. Lina! The sound of voices, shouts, laughter and taunting overlaps into flashback to, exterior ghetto of Ortachi, the evil garden, Rome, night. Renuccio faces Caravaggio and Lena.

You're with this, great. I thought I smelled a horse saber. Caravaggio stiffens as both Atavio and Giovon, both drunk, step out of the shadows ready to pounce. Ranuccio grins as he and his brothers edge closer to Caravaggio. She's my! The brothers pull their swords from their belts. No!

Cannon fire overlaps into the following scene. Flashback end. 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 lean. 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 prison yard Castle Sant'Angelo continues. Karavaggio is looking over a large

yard where Turkish prisoners captured on the beach are now slaves. The stench is strong. Karavaggio watches as dozens of armed knights lead dozens of Turkish prisoners off into the side of the yard. The prisoners are then made to get down on their knees. With their hands tied behind their backs, the knights come up behind them and begin to behead them one at a time. The Roger 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 lingering in the harbor.

Karavaggio 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 beheaded. Stefano walks over to Karavaggio. The Grandmaster wants you. Karavaggio gets up and walks away. Stefano sees the sketch and rubs it out with his boot. Cut to interior private quarters, Castle Sant'Angelo Day.

Caravaggio stands facing Alof. You were aware of how pleased I am with the portrait. Yes. There's something more I want to discuss with you. Please sit. Caravaggio sits. I want a second portrait. I have a pose, I want to suggest.

Are you disappointed? That was not our agreement. True, but you will be paid for your work. It pains me to see you want to leave us. I had a life before Malta. Is not this life here fulfilling? In some ways, yes. In many ways, no.

Am I your prisoner? You've never been a prisoner. Caravaggio Lee. Alof stands, closes the door, then pulls a dagger from his desk drawer, pulls up his sleeve and cuts himself. God forgive me. He quickly stops the bleeding. There is a knock at the door. Yes? Stefano enters.

It is an excellent painting. And still you don't trust him. He is not one of us. I'll then prove to me his soul is not worthy. Stefano leaves as Aloff shudders with his struggle. Cut to interior, inner sanctum, day. Cardavaggio paints Alof with Roberto as they pose and Stefano watches. Interior inner sanctum later.

Cardavaggio labors over the canvas. Roberto falls asleep. He collapses for a moment, then gets up, immediately horrified. With his gloved hand, Stefanos smithes. max 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.

Aloff laughs. Humiliated, Stefano glares at Caravaggio, who goes back to his canvas. Alof is clearly pleased by Caravaggio's humanity and shun Stefano, who is pained by Alof's reaction. cut to interior in a sanctum day. Caravaggio and Alof are alone in the room as Caravaggio paints. Is there a man there in your canvas or an emblem of faith? Oh, I painted a man.

Do you see anything else? I don't see angels buzzing over your shoulder or saints standing on your nose. Well, if you did, there'd be no room on the canvas for the man or his faith. What about his desires? Is there room for what he aches for? Caravaggio touches Ailov's cheek as if to kiss him. Ailof doesn't move. Rejected, Caravaggio turns back to the canvas.

Cut to interior, Caravaggio's room, night. Caravaggio continues his sketch. No, no, stand there. In the moonlight. Flashback two. Interior Caravaggio's home studio, Rome, night. Caravaggio pulls away the curtain, allowing moonlight to wash over Lena's face. What do they call you?

Lena. 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 undergarming. and then gets down on the bed. And you are from Grosolia? How did you know? The brow, mostly, and the eyes.

He turns away, leans over his water basin, and bathes his face and dries himself. Have you been there? No. But when you live in Rome, you don't have to travel to see the world. The world comes to you. You left Grosolia to escape the plague. Yes.

I told you. my mother, I want to go to Rome. She said, go while you are still young. And she followed me. He then places his canvas between her and the window. You want a model. But you are paying me too much. Just looking at that face, I see my virgin and you are worth every scooty. You're posing me for the virgin and you have me naked? I can't do that. No, not nude. You're hungry. I'm sorry, I didn't realize. Take some bread and meat.

She eats hungrily from food on the table. I used to eat like that. He pours her water and hands it to her. You came here, poor? When I first came to Rome, I swallowed what dogs would eat to stay alive. How did you survive when you came to Rome? I painted it. Why are you looking at me like that?

Because I see all life in your life. face. Flashback N. 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. I've been where you tread my son. I was once a slave to the flesh. I see the agony I once live now alive in your eyes. Aloff turns to the canvas. Splendid.

Caravaggio moves past him to leave. Aalov takes his hand. Yes. Both men take in the moment. Caravaggio leans in. There is nothing to fear between you and I. But you feel what we do. Caravaggio kisses Ailof,

then steps back. Aalph allowed the kiss, but then, just as abruptly, he also steps back. The tension between the two men is electrifying. Karavaggio realizes he needs to leave. Aloff moves to follow him and stops himself. Cut to Interior the Grandmaster's private chambers, night. Aalof is kneeling before a small statue of St. Peter when Stefano enters with a letter from Karabaggio. Alov makes the sign of the cross, stands and looks to Stefano.

It's addressed to Cardinal Del Monte in Rome, this time I opened and read it. I did not give you the authority to read his mail! You told me to prove my concerns. He asks if there has been any progress in his pardon from the Pope. A pardon? Send the letter ahead then. look into the meaning of the request. Aalov sees the sketch of Lina with the letter.

What is that? A sketch with the letter. Ailov looks. Send it ahead as he had it. He's lied to us. Be careful, Stefano. I am fond of him. Stefano leaves.

Cut to exterior courtyard of a letter day. Caravaggio follows Stefano through the courtyard which leads to a chapel. Interior, the chapel of St. John, Day. Stefano leads Caravaggio to a large blank wall. There is plenty of light from the stained glass windows. Why are we here? The Grandmaster 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.

Why is my door locked at night? For your protection, we knights have many enemies. Stefano leaves as Kadavaggio looks at the wall, livid. Cut to, interior, the chapel of St. John, day. Karavaggio 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 Brothal, Piazza del Popolo, Rome, night. Caravaggio, Mensini, and Topper share a satchel of wine as they stand facing the dark stretch of the piazza waiting. There.

They see Renuccio and his two brothers appear at the far end, walking towards them. The two groups of men walk towards one another, reading their swords. When they are only a few feet away, they stop. You owe me Scudy. Here, take it! Caravaggio pulls Scudy from his pockets, and it drops to the ground at his feet. With his sword in hand, Renuchio rushes at Karavaggio, but stumbles off balance as Karavaggio raises his sword forward to protect himself. The steel cuts deeply into Renu Kornu Kavach.

Roneuchio's belly. Yeah. Ah! Karavaggio pulls out his sword. Ronuccio glares at Karavaggio, 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. Karavaggio paints frantically. Interior, the Chapel of St. John, Lelter, 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. Am I interrupting your praying? I wasn't praying. Then why out here?

Looking for Sicily, which never seems so alluring. and never knew what real loneliness was until I came to this island. But there is God everywhere. I wasn't talking about that kind of loneliness. Interior, the Grand Master's private chambers, continuous. Aloff stands at the window seeing Stefano and Caravaggio on the beach below. Exterior beach continuous. Caravaggio and Stefano walk on.

Hmm. The moonlight has always fascinated me. The moon has no light of its own. That's heresy. It's science. 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. I thought art didn't interest you.

I wasn't talking about art. I haven't touched another human being in months. You talk of months? I talk of years. You said the knights have enemies even here at Valletta. What am I to make of you? You don't trust me. Caravaggio grabs Stefano and kisses him on the mouth.

Stefano pulls away, then walks off. Stefano! It is settled now. What is settled? Caravaggio watches Stefano disappear down the beach, then looks up at Alov's window. Interior, the Grand Master's private chambers, continuous. Aloff 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 Ailof, who gestures to the wall. I want my cupid there. To Caravaggio's relief, Aloff 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. Karavaggio is pleased and yet at the same time apprehensive. Cut to Interior Inner Sanctum night. Alof and Stefano enter the empty room together.

Alof gazes on the cupid. The devil has come to the letter. Interior Karavaccio's room continues. Karavaggio hears the sound of boots coming down the hallway. The boot stop at his door. He gets up and grabs his sword, but the door flies open in several martial nights. People 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 Alolphe and Stefano, flanked by four knights wearing hoods. On this earth there is no greater evil than duplicity. I don't have the courage for duplicity. 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. Stefano slaps Caravacia. Don't you see the value of your soul? Answer him. I grew up on the streets where I grew up on the streets where I learned that for refuge and shelter there is only the flesh. And if I'd ever known God,

it is when I've held someone. Michelangelo Marisi de Caravaggio, you have painted my body, and now I will save your soul. How will you save my soul? Through pain. Put him on the rack. The four knights in Stefano

unlock his chains and place him on the, the rat was he desperately strode. 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 man. You will

scream out for God. and rise above your suffering. No, pull! Stefano nods to the two knights who pull on the raft. Caravaggio screams. Overwhelmed by Caravaggio's suffering, Aalph 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 Lena who lies on a bed with her arms outstretched. Codnell Del Monte enters. Cadovaggio sees him and puts down his paints. It's so real, I find it painful. But you pose this horror to be the blessed mother.

Her name is Lena. But as the Virgin, the mother of God. She's a woman. With dirty feet, she looks like a corpse. She's dead. And these others. You take beggars off the street and paint them exactly as they are. He paints their torment.

Who is this woman? Why is she talking to me? She is Lena from Grosolia. Frustrated, Cardinal Del Monte walks away and Caravaggio rushes after him. I don't put halos around them like Garaci. I paint people, just as God made them. Yes. God made disease and death, but nobody needs to be rewritten. reminded. When I first found you, you lived on nothing, you had nothing. McHale, 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 got it for you. Yes, I wanted that commission. I'll use Lena as my Magdalene. Impossible.

Cardinal Del Monte leaves. Caravaggio walks back to his canvas, finding Lena looking at it. It is so painful. You can see how she suffered. Yes, she suffered. Flashback end. Interior torture chamber.

Malta Day. Caravaggio is still unconscious as Aalof leans into him. Are you the devil himself? Who are you? Caravaggio spits blood. Was my love not dear to you? God's love can be a terrible light. Be all your sins remembered.

Ailof nods to one of the hooded knights. Bull. Caravaggio screams. Fade to, interior, corridor, prison, day. Caravaggio is unconscious, breathing with difficulty. Pained, Ailof leaves the room. Stefano stays. Interior, Inner Sanctum, night.

Ailov sits at his table holding another letter. Stefano enters. Is he dead? No. killed a man, Renutio Tomasone. He must die. If he survives the night, place him in the bell. Leave! Stefano quickly leaves as Alov struggles. Interior, corridor, prison, continues. Barely alive, Karavaggio lies on the rack, now drifting in and out of consciousness. Stefano enters with two knights. Once sure that he is alive, they slowly unstrapped Karavaggio from the rat.

Exterior, Castle Sant'Angelo, continuous. Stefano leads the two knights who drag a nearly dead Caravaggio along the castle wall. Exterior, bell-shaped hole, cell, continuous. Stefano steps back as the knights pours 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. Karavaggio stands over Ronuccio, who lies on his back, bleeding and moaning as voices rushed to him from the far end of the piazza. He looks up at a half a dozen Carabanieri racing toward him with swords drawn and a single torch lighting their way. Carabini staggers up to Caravaggio, dazed, bleeding from the head. His appearance shakes Caravaggio from his bafflement. Right behind Mancini, Caravaggio sees Lena tending to Topper. Take care of him.

Yes. Where do I find you? Caravaggio rushes to Lena, helping her lift Topper up. With both Topper and Mancini wrapped around Lena, Caravaggio kisses her strongly on the mouth. A cue Ranoncio. God save you. Meet me at the Cardinal's villa in Porta Prince,ia. Oh, fuck me.

Prinsiana. Meet me at the Cardinal's Villa in Porta Prinsiana. Yes. With Topper and Mancini at her side, she disappears down a cobblestone street into the darkness. Caravaggio hears Octavio and a bloody Giovon, 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 piatio. in the opposite direction of the police.

He follows them into the darkness. Exterior streets of Rome continues. Caravaggio races through the narrow streets or the voices of the Carabaniari 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 continues. 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, Batista Barbershop, continuous. Caravaggio walks up to the sign on the narrow street, which reads Barber.

shop. The barber shop, the doctor's office of the time, has its curtains drawn. A tiny light glows from the back room. Caravaggio looks around, then opens the door. Cut to interior Batista Barbershop, continuous. The barber, Louis-Battista, 40s, a short stocky man 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 Karavaggio's wound, draining his sponge in a large bucket. Your wounds aren't that bad. He pays Battista Scudy. I was never here.

You were never here. Just your blood. Battista dabbs the wound again as Karavaggio moans in pain. He hands Karavaggio an open bottle of wine. Karavaggio 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 out. Just like Alain. Cut to exterior Batista Barbershop later in the night. Caravaggio stands in the shadows outside the shop, watching Otavio and Giovon carry a slumping Renuccio inside. Batista watches as they put

Renuccio pale and silent in a chair. He walks over to Renuchio in the room. He walks over to Renuchio in the stands over him. He looks. This one's dead. Atavio and Giovann looked to him in disbelief. Atavio and Giovon then lift Renuccio out of the chair. Atavio manages to hand Batista's scudy. Batista takes the money. He was never here, just as blood.

He opens the door and holds it open for them as they sneak Renuchio'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, drenched in Karavaggio.

He attempts to crawl up the rock, but it is impossible. He can only look into the sky where the sun, follows a shaft of light down across his face. He collapses. He lies on the hard rock and ball remembering. Flashback two. Exterior, Cardinal Del Monte's Villa Ludovici, Rome, night. Caravaggio cautiously makes his way to the side entrance of the villa in the Porta Pinsiana.

Interior, Cardinal Del Monte's Villa 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. Renutio Thomsoni is dead. I killed him. Saying nothing, Cardinal Del Monte quickly looks over his minor wounds and then leaves the room.

Caravacho sees Lina standing outside looking in. He opens the door. She rushes to his side. The others? I took them to the tavern of Hock. Maria is caring for them. She holds him. Cardinal Del Monte re-enters without his apron.

You need to leave Rome now. Why? Last month, the Vatican issued Obanda Capitali. For all murderers without exception, anyone charged with murder faces arrest and execution where they are found. The agreed 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.

A motor. I will send a messenger now. Pedro! The bishop quickly enters as Caudinal Del Monte writes a note. I will write the Grandmaster that you have accepted his commission. I can arrange an official Valdalmante. vessel to take you there. He hands the bishop the note.

Rush to the dock. This note must get to the boat to catch the next high tide. The bishop rushes off. How long will you need to secure a pardon from the Vatican? It will take some time, Mikhail. Perhaps a year, perhaps two, perhaps more. I have faith in you. Cardinal Del Monte leaves the room.

Caravaggio and Lena face one another. another. I refuse to give it to fear. She embraces him as he keeps his nerves steady. Cut to Interior, Cardinal Del Monte's Villa Ludovici, Knight. Caravaggio and Lina pack a small bag of Caravaggio's clothing, some of his paintbrushes, paints, and tightly wound canvases. Caravaccio takes Lena's face in his hands, touching it gently with his fingertips. In the dimly light he looks, seeing her, the surroundings, the light as they all blend it together, a moment, an impression in how he creates what he creates. Exterior, Codnell Del Monte's Villa Ludovici continues.

Codinal Del Monte waits for Caravaggio and Lena next to a carriage. They appear. Avalid places Caravacios things on the carriage and then disappears. There is wine to warm you on your travels. Pope Clement is dying, and perhaps in God's infinite wisdom, I may be given the reins of our Holy Mother Church. Karavaggio holds Lena gently and kisses her. Be careful, be wise, be tolerant, and you will be safe.

And when was I ever any of those things? He looks to Lena. Don't let Rome devour you. devour you. Come back. I will. Have no fear. He enters the carriage.

He leans out the window. I am Michelangelo de Marisi de Caravaggio. Go! Adiamo! Interior carriage roared. Caravaggio follows back, stairs ahead,

overwhelmed, fearing everything. Flashback in. Exterior Valletta, 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 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 continues. Karavaccio 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.

Karavaggio knows that he must risk it. He follows, striving to make his sense. way through the shadows. Exterior, Castle Wall, Castle Sant'Angelo, continues. Caravaggio is nearly crawling along, following the figure as it moves ahead of them. 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. Roberto Roberto reaches the boat and hands money to one of the three local fishermen who are in the boat and preparing to leave. Karavaggio 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 Karavaggio turns to the fishing boat. The fishermen are waving to him to follow. He pushes his body to make it to the boat. Karavaggio falls into the boat and writes himself, amazed at what is happening to him. The fishermen quickly push off from the dark end, as they do, they raise the scent. Moonlight falls across their faces. They look like seaworn but sublime angels to Karavaggio. 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. Caravaggio has escaped. Interior, the Grand Master's private chambers, continuous. Stefano faces Alof at his breakfast table. Slaves and Roberto stand nearby. How?

He had an accomplice. Out! The slaves and Roberto leave. Ailof turns to his map on the wall and gestures. to it as he speaks. If he survives the journey, the only place he could sail would be Sicily. Aloff quickly finds official papers

and writes a warrant, then signs and stamps it with the official seal. Ready provisions, horses and six men. We sail to Palazzo with the next tide. No one will defy the warrant from the Inquisition.

One second. It says Pazalo, and then later it says, Pozala. That's a Guzalas. Yeah. It's Polazi. Pazalo?

Yes. So, Poh, can you say it, Richard, for us? Pallazo. Puzzalo. Puzzalo. Potsalo. Potsalo. Potsalo.

Okay, thank you. Guzzutti. Sorry, Bruce. All right, Dennis, read us in from Alawf quickly. Fonoff quickly finds official papers and writes a warrant, then signs. then signs and stamps it with the official seal. Ready provisions, horses and six men. We sail for Palazzo with the next tide.

Puzzolo. I got it right the first time. Okay, sorry. Ready provisions, horses and six men. We sail for Pizzallo with the next tide. No one will defy the warrant from the year. inquisition. Yes, sire. 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. If he is not, in Potsolo or Syracuse or Catania, then we follow him to Rome. I want him back at Valletta. His arrogance defiles on those. His true. Treachery is blasphemy. I want them in chains. End of Act 2. Beautiful. Excellent.