Table Read - Caravaggio - Act 3

Episode Date: February 24, 2026

The cage breaks open. Caravaggio breaks with it.Chained in a torture chamber beneath the fortress, Caravaggio faces the Grand Master one last time. Faith against flesh. Obedience against desire. What follows is an escape down a fortress wall, a boat in the dark, and a fugitive painter running not toward freedom but toward the only thing he has left.Act Three is the fall. Brutal. Beautiful. Inevitable.Sicily. Caravaggio paints like a man on fire. In Syracuse, a burial. In Messina, a nativity. Each canvas more desperate than the last. Each one a confession he cannot say out loud. The genius is still there. The man holding the brush is disappearing.Back in Rome, the news arrives. Lena. The woman whose face launched his greatest work. Gone. Caravaggio learns what it costs to leave someone behind in a city that devours the unprotected.Cardinal Del Monte makes his final play. A pardon. A real one. Signed by the Pope himself. But the pardon needs a delivery and Caravaggio needs to stay alive long enough to receive it.Naples. A prison cell. Malaria. Chains. The Grand Master finds him one last time. Two men who could never say what they meant finally say it. It is too late for both of them.Then a swamp. Bandits. A boiling sun. A beach. A boy. Two nuns. And the Tyrrhenian coast, where the greatest painter of his generation reaches for the light one final time.The pardon arrives. The man does not.Act Three is reckoning. Loss. Grace. The moment the fuse runs out.What you see in the art, you will find in the artist. What you see in the artist, you will find in the man.Cast Dennis Kleinman · Narrator Craig Parker · Caravaggio Dan Lauria · Cardinal Del Monte Bruce Davison · Alof de Wignacourt Shaan Sharma · Stefano della Croce Catherine Lidstone · Lena Sarah Elmaleh · Maria Brendan Bradley · Annibale Carracci Noah James · Ranuccio Tomassoni Josh Sterling · Ottavio Tomassoni Zeke Alton · Giovan Tomassoni Nick Monteleone · Mancini Matt Curtin · Toppa Bjorn Johnson · Pope Paul V Ray Abruzzo · Pope Clement VIIIWritten by Richard VetereExecutive Produced by Jack 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.

Caravaggio paints Vinyakour's portrait during the day, but at night he's locked in his room where he sketches the face of a woman. She is leaner. 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 Renuccio, 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 backed Deroen. 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, Vinya Cor's right-hand man, and is tortured for this criminal indiscretion.

With help from a young boy, Caravaggio escapes the tower of the letter and makes his way to Sicily. With his knights, Vinikor chases after him seeking vengeance. Cut to Exterior. boat, Terranian 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 fisherman 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. Where are we? Oh, did we not have a fisherman?

Okay, uh, Noah would you take that? Syracuse. What's the same? Syracuse. I don't believe! Uh, yes. Yeah. Not certainly, yeah.

Sure. Uh, fucking, uh, Syracuse. Oh, God. Oh, great. Hey, Siri, where are we? A fisherman hands him a wooded stick that he can use to help him walk. Where are we? Syracuse. Sicily.

Thank you. Caravaggio makes his way from the dock. Cut to Interior, Pope Paul V's private chambers, Rome, Day. Codnell Del Monte and the Pope are enjoying a lunch as the Pope signs official papers. Caravaggio is no longer on Malta. There seems to have been a misunderstanding with the Grand Master. A misunderstanding? 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, your holiness. Karadju is not my concern. But this should be. Codinal Del Monte places official-looking bank records in front of the Pope.

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

But that would be difficult. The Vatican can't pay all this now. Well, your holiness, I believe I may be of some service. Yes. I have her friend, not as close a friend as you, or as close 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. Cardinal Del Monte sees a canvas on the wall. His weeping Magdalena, you keep it close. It moves me. A man with a gentle soul painted it. He is also a sinner, blasphemer. A wretched soul, yes, but not a murderer. I will consider Caravaggio. predicament. Thank you. But consider it as quickly as possible, your holiness. The Grand Master

is not someone to tolerate a misunderstanding for very long. And these? Can you speak to your friend? He gestures to the bank papers. Of course. And I will make him listen. Cut to Interior, the chapel of St. John, Malta, Day. Beneath the beheading of St. John, Alof stands at the head of a table with Stefano Cedar to his right and several nights in attendance. With the authority invested in me as Grandmaster, I call this trial to order to denounce the heathen Michelangelo de Marisi da-carabagabagabagobago. With the... Let's give me a little more projection.

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

They all bow. Cut to interior, villa, Syracuse death. Karavaggio, now dressed in finer clothing, completes a letter to Cardinal Dormon. A valet appears and Karavaggio hands in the letter. Post this to Rome. The valet takes the letter and leaves. Caravaccio returns to his sketch. Cut to Exterior, Night of Malta's Sloop, straight of Sicily, Day.

Alof and Stefano stand at the bow looking towards Sicily. Cut to Interior, Villa, Syracuse Day. Karavacchia is busy working on a canvas. The valet enters. They are here. Tell me who they are. All the influential men in Syracuse and their daughters. Exterior Villa continues.

Caravaccio 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 grave diggers and priests. Caravaccio steps up to Margarita, who looks like Lena. Close your eyes, please. Porzoni would pay a ransom for those eyelids, and your complexion evokes so much. She opens her eyes, embarrassing. by his attention. I choose you.

He points his fingers at the faces and bodies that appeal to him for the painting. You and you, you, you, follow me. Cut to interior, Karachi's loft, Rome, day. Lena enters the loft as Karachi leads her to a space facing a canvas. You were difficult to find. I spent entire nights in the ghetto. She looks around in awe. The great Karachi, and I am in his studio.

I spend every night in the ghetto. She sees that he's painting an angel. I've always loved your angels. My angels. Why do you love my angels? Because they look like angels. Have you ever seen an angel? No, but if I did, I am sure they would look like yours.

Just to see one is such a comfort. How do you feel about Karbala? What do I feel? What I am supposed to feel? She sighs then gets undressed. What are you doing? Excuse me? I want you to pose for me. Oh. Do you know when he returns from Malta?

She stops undressing. I saw his death of the Virgin. What does he tell you when you pose for him? He tells me nothing. me nothing. Nothing. Do you want me to pose or talk? This was not a very good idea.

There are other things we can do for the right price. There is nothing else we can do. He once said he saw all life in my face. An instant of understanding flashes across his face. He gets his wallet and pays her more than she expected. Here. And thank you. This much?

But I haven't done anything. Oh, but you have. If I did, it was not on purpose. You artists are very difficult men. But we need you. Our muse. Oh, yes, you need us. If you see him, tell Caravaggio, I cannot wait much longer.

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. Karavaccio has just completed another letter and hands it to the servant along with a rolled-up canvas. The servant leaves.

Cut to exterior dock Wazalo, Sicily, Day. Alof Stefano and the Knights of Dot. We ride! They ride toward the city. Cut to interior Cardinal Del Monte's villa Ludovici, Rome, Day. Cardinal Del Monte reads Caravacha's letter and closes it. He writes a reply. Come north, dear boy.

Come north. 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 cover There is a hushed silence in the room All they say about you is true, Michele. Margarita thrilled by what she sees

And you are an excellent St. Lucy You remind me of Lainov That is wonderful, I hear so much about her The valet enters. This just arrived by messenger. The valid rushes up to Caravaccio, handing him a written message, and Caravaccio reads it immediately, looking apprehensive. Are the knights here?

There is word they are just leaving Potsalo and are on their way up the coast. Caravaccio goes ashen. The valet leaves. Caravaccio turns to Margarita, then the canvas. I will complete it now. I must leave Syracuse. I will you be safe. Without a pardon from the pontiff, I will never be safe. Cut to exterior villa dusk.

Karavaggio 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. Caravaccio walks through the wide streets, less congested than Syracuse and less populated with the poor. There are fewer Spanish soldiers than in Syracuse

and Caravaggio feels less threatened. He walks with a stride. Exterior Lazari Villa Day. Caravaccio 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 Lazare

Lazzari, a man of distinction and wealth. Lazzari is reading Caravaggio's paper of safe passage. These are papers of safe passage from the Senate in Syracuse. Yes, I was told to present them to you when I reach Messina. Our city would be honored to have the esteemed Caravaggio to stay in Messina as long as he wishes. You will be safe here. Caravaggio is relieved. Cut to interior hospital room, Messina, Day.

The dead body of a man who looks like Caravaccio lies on a slab. Karavaccio stands over the body with several dumbfounded hospital attendants at his side. How old is this court? The attendance exchange looks. Two days? Karavaggio 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. You stand there and you stand there.

Whatever you say, master. Caravaccio 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. Lazzari takes Caravaccio aside. The knights are on their way here. You have two days before they arrive. Caravaggio nods. Lazzari hands him a letter of safe passage. This is a letter of safe passage.

When you reach Naples, bring it to the Marquesi di Carabacho. Are you a relation? No. I was named after Michelangelo. My true name is Michelangelo Marisi. But I took the name of my town. But the Marquesa 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, yes. I am not confident that it will do you any good outside of the city, however. I appreciate your kindness. It's best I leave immediately. I don't need much to travel. Lazzari Hans Karavachua bowl of holy water. Holy water from the chapel. Would you like to bless you?

yourself. I don't need it. All my sins immortal. Cut to exterior streets, the city of Messina Day. Alof 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. Alof Stefano and his knights sit on their horses facing Lazari.

Caravaggio, the painter. Was he here? Never. You can search all you want. Stefano eyes Lazari. Do you defy the Inquisition? I wouldn't dare. Ailof nods to Stefano.

He's not here now, but he was. He must be in Catania. Back to the docks. Ailof hits his horse and moves on. Lazzari takes a deep breath as Aloff and the Knights right away. Cut to exterior, chartered boat, Terranian Sea, day. Karavaggio stands at the bow looking out at mainland Italy. Cut to exterior, night sloop, harbour, Katanya, 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. Karavaggio 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 Marquesi de Caravaccio's villa, Naples Day. Caravaggio is led through a garden by a valet.

The Riviera de Cayre is a refuge of Naples. natural beauty with gardens of flowers of every color with orange trees and cedars. The valet stops and Caravaggio is face to face with a Marquesi de Caravaggio 60s, a wise and elderly man. Michele, at last, after so many years. He embraces Caravaggio who closes his eyes in relief. Cut to interior, Marquesi de Caravaggio's villa, night. Caravaggio dines with the Marquesi. My mother loved you.

She said you were good to us long before I was born. God had no mercy on your family, nor on you. But your fame has more than compensated for the misery that Marisis endured. Paint, sleep, live, whatever you need is here. My gardens are a refuge for the mind, the spirit, and the heart. And have you heard anything from Rome? 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. I need to write to Cardinal Del Monte. I will provide all you need. Cut to exterior, Doc, Katania, Day. Alof Stefano and the Knights walk to their boat and boarded, bringing in provisions and food for their horses. Aloff then pulled civilian clothing from his saddlebag

and then takes off his knight emblem, respectfully putting it in the bag. The other knights are perplexed. Caravaggio has powerful friends in Naples. We won't get near him if we're recognized. They understand and follow his lead and change their clothes. Cut to exterior,

Rivera de Caya, Day. Caravaggio sits in the garden. Several small but impressive canvases lie against the tables chairs. It is clear that he is working diligently despite his restlessness. He sees a lone horseman. One of the Marquesi's security men steps up behind Caravaccio 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 Caillera Day The horseman a knight Reaches a small camp where Alof Stefano and the other knights wait He's there There's security at the villa but we can take him

There will be citizen blood spilled If we take him by force Let's bide our time He will make the mistake Not us Cut to interior chapel Marquesi'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 into Cut to Exterior, Osteria del Seriglia Tavern, Naples, Night. 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 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 Caravaccio sits with his arm around a cortisan. Drunk Caravaccio kisses the cortisin and as he does, two men approach his table.

He doesn't recognize them, but we do. They are the two knights who are traveling with Stefano, though now they are dressed as swordsmen. Without warning, the first swordsman pulls his rapier from his belt and slashes Karavaggio across the face. The thrust could have been deadlier, but the cortisans saw him coming and screamed, alerting Karavaggio to move just in time.

Blood pours from the wound. Karavaggio falls backward from his chair. Despite the bleeding, Karavaggio grabs his rapier and slashes the first swordsman across the arm, slicing his 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. Paravaggio then rushes through the crowd, pushing people aside as he runs out of the tavern being chased by the two swordsmen. Exterior street continuous. With a two swordsman in pursuit, Haravaggio races out into the street. Stefano jumps out in front of him.

Karavaggio can't believe his eyes. Stefano slashes his sword across Karavaggio's chest, leaving a cut a foot long. The only thing that saves Karavaggio 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. Shank Tuare! He bangs on the door, turns and sees Aalph, now dressed like the Grand Master, alone and determined.

You. Aloff 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. Sanctuary! Caravaggio pushes past him and enters the church. Interior church continues.

Caravaggio rushes down the aisle toward the altar, struggling not to collapse. Interior church moments later. Alof and Stefano enter, pushing past the friar and through the vest. Who are you? They place their knights of Malta emblems over their disguises for him to see. He's our prisoner. This is a church. Stay out of the way.

Aalof and Stefano walk down the aisle toward Karabacja. He falls on the altar steps watching them approach. His face and clothing bloody. Sanctuary! The friar rushes in front of Aelon. Don't you dare touch this man! He is wanted by the egg. The friar hesitates. He's afraid of the inquisition. He looks to Caravacia.

Please. The friar is wavering. Ailof lifts his sword. Caravaggio musters all of his bravery. Sanctuary, I beg of you! Caravaggio stands with his rapier ready in his bloodied hand. The friar finds fortitude and stands in front of Caravaggio. I am the pastor of this church and this man asks for sanctuary. Step aside or you die. In the name of Christ, I grant it. Alof is perplexed. He's taken back by the friar's courage. Caravaccio now collapses at the altar's steps. Sanctuary. Aalph and Stefano, their swords drawn are immobile. Leave my church. Elof 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. Sanctuary. Yes! Dissolve to Interior Studio, Rivera de Cayer, 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, Day. The Pope and Cardinal Del Monte are looking at David with the head of Goliath.

He sends it as a gift. As a gift, the Morkesi wrote me that Caravaggio was nearly killed by the knights in Naples. Extraordinary! That is his face, Goliath, though now pained and wounded from his current ordeal. Hmm, hmm. And the model for David? 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 Borgia.

He is filled with Caravaggio. The pardon is yours. Send it to every church from here to Malta. He waves to the priest who brings the pardon to him. I want ownership of this painting. And all others we can secure from the knights. Of course. 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, Marquesi's Villa, Naples, Day. Karavaggio, looking worn but healed, sits with the Marquesi eating lunch when a valet appears handing the Marquesia a letter. The Marquesi looks over the letter, then hands it to Caravaccio. It is for you, from the Cardinal Del Monte. Caravaggio quickly reads it. I have my pardon. The Cardinal writes that it is being announced in every parish from here to Malta.

Excellent! I need to return to Rome. Yes, but for now, stay. Stay. Stay until your well. I need to get back to Rome, to Lerna, to Carden to Montaix, to my world. This is the only way I can truly heal. 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. Caravaggio kisses his hand in gratitude. Cut to Exterior, Marquesi de Caravaccio's villa, Den. The Marquesi watches Caravaggio ride off in a carriage with his own soldiers. Exterior, Road to Dock, continues. Caravaggio is in a carriage, travelling north, protected by several of the Marquesi soldiers.

His canvases are rolled up and at his side. He nervously looks out the window, scanning the horizon for Elof. Seeing no one, he sits back. Cut to exterior, Marquesi de Caravaccio's villa, Day. The Marquesi stands at his gate, flanked by his own soldiers. Riding towards him is Alof, Stefano, and several nights. They are now dressed as knights of Malta. When they reach the gate, Stefano dismounts and hands the Markezi,

Aloff's arrest warrant. The Markezi looks at over, then hands it back to start. Your warrant means nothing to me. You defy the inquisition. I defy its authority. And yours. Leave my property. Now.

He turns to his own men which outnumber the knights. There is a tense moment as both sides are in his standoff. Alof flinches. He nods to his knights and they ride away. Not everyone will defy that warrant. Cut to exterior. Mokhezhi de Karavati. Villa, Day.

Alof, Stefano and the Knights ride their horses. Aalov pulls up his horse and stops. The knights stop with him. There's a small harbour over the hills. I know a direct route. We can reach Naples before he does. Aalph and his knights gallop off down the road and over the hills.

Cut to exterior carriage Road to Naples. Day. Karavaggio looks out the window and smiles to himself, seen 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 faluca which is destined for Rome. Aloff approaches the small boat's captain Captain Defino, 40s, a hardened to see Aloff. This is a warrant for one of our knights. If he boards your boat, you have orders to detain him. Who orders this? The Grandmaster of the Knights of Mortar. Stefano hands him the warrant, then leaves to move on to the next boat.

The captain is clearly intimidated. Exterior dock continues. Caravaggio's escort brings him to the dock. Caravaggio gets out of the carriage. Thank you. They ride off. Carvaccio feels safe, so he reads the dock information and sees that there are several for Luca leaving for Rome.

He heads toward one of them. them. Exterior, felucca, dock, continuous. Caravaggio, carrying his possessions, including his paintings, reaches the falucca as several passengers aboarding. The captain stands behind a sailor taking tickets. The sailor looks to Caravaggio. One ticket, one way. Destination? Wrong. Wait. Caravaggio and the sailor both turn. The captain walks over to Caravaggio with a carabiniere 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 Ailov had given him back at the ceremony on Malta. Caravaggio

stiffens. There's been a warrant issued for the arrest of a night of Malta traveling these waterways. Caravaggio shows the captain's papers of safe passage. My name is Caravaggio. I'm a painting. I have papers of safe passage from the Marquesa de Caravaggio. The captain looks at the papers and hands them back to Caravaggio. You fit the description of a wanted man.

I am on my way to Rome. I have a pardon from the Pope. Oh, and where is this part? I've been told that it was just issued. This warrant is signed by the Grand Master. I have no choice but to detain you. I have papers of safe passage from the Marquesa. I am not defying the Inquisition.

The captain turns to the police at his side. Arrest this man. You have no jurisdiction over me. 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. Forsard the San Elmo prison, Naples, dead. The prison built by the Spanish and undisputed. Spanish rule is a large and dark building standing on the heights above the city. Interior, Fossa de Saint 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.

I don't belong here. You tell the warden, I have money. They pull him by his chains, leading him on me. Several gang members are the hearing and trade locks among themselves. Interior Assembly Room prison continues. Karavaggio 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. Karavaggio is filled with terror as he is dragged away.

Interior enormous cell continues. Karavaggio languishes in an enormous cell with a hundred prisoners. kinds of human noises full of room from screens of agony, fear, insane laughter, and costs 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 where not on the streets. They are the impoverished and the starving called the Lazzarone.

Karavaggio stands in the middle of this cell, his eyes searching for enemies. and there 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 guards but knows that if he looks or acts scared, he will be attacked. He turns his back to the bars and looks over a gang that is approaching him. They 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 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. Once it came out, I was like, nope. Two scatter, but two stay in fight.

Caravaggio punches and kicks at them, knocking them down. One of the men opens his mouth and digs deep. deep into his shoulder with his teeth. Karavaggio 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 mouth and bites Karavaggio on his cheek. Karavaggio screams, then pulls the man off of him, hitting him harder and harder until

he fought. They are shot 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. McElhall would be honored to accept these commissions from the Vatican. 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.

Ah, I will compose a guestless, your holiness. I am sure that Maciel would be honored and pleased that his exile has now ended. Where do you expect he is? If he boarded the falucca, he should be in Rome perhaps as early as tomorrow. 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 Burgessi. You want me to go to Malta. Who else? You're the only one I would trust with this work. I will give you safe passage. And an armed guard.

Cut to Interior Hallway, Prison, Naples, Day. Alof and Stefano walked tentatively down the hallway and stop at a cell. Aloff faces a guard. Carvaggio. He has a fear of malaria. Seeing the concern on the guard's face, Aloff looks through the cell bar, seeing Caravaggio chained to a chair,

slumped forward alone. Grandmaster, it isn't wise. Open it. The guard does. Aloff enters the cell. Stefano does not. Interior dungeon cell continuous. Slumped in his chair,

Caravaggio feverish and delirious, looks down as Ailof steps up to him. Oh. Why did you leave him? You led me to believe you had found your God. My God? I saw it in your paintings. I need to know.

Does faith guide your hand? My questions guide me. Who is your God? The faces. What faces? The faces. I paint Who is your God?

The God beyond your God. Your sins condemn you. Caravaggio looks up directly into his eyes with a moment of clarity. But my painting saved your soul. Aalph leans into Caravaggio and whispers so no one else can hear. Was not my love dear to you? You? Karavaggio looks deeply into his eyes. How could I love what I fear?

Karavaggio falls back in his chair, closing his eyes with his head up. Ailof stands back. The warden, 40s, an ex-soldier with a pained expression, steps up to Aalph and Stefana. If this prisoner can pay, I will release him to your custody. We cannot take him on the ship. 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. I'm going to release him. Caravaggio struggles, then stands. My paintings. Where are my paintings? No one answers him, so he staggers away out of the cell down the hallway.

Where will he go? 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 swan. The warden leaves as Alawf takes a step, but Stefano steps in in front of him. We need to return to Malta, sire. Aalph watches as Caravaggio staggers away. Michelangelo Marisi de Caravaggio. Aalph and Stefano watches he disappears into the dark of the prison.

Cut to exterior, front entrance, Fossa de Saint 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 of him. He continues staggering on. Exterior dock Naples, Day. Alof, Stefano and several nights reached their boat and boarded in silence. Cut to.

Exterior swamp outside Naples, day. Karavaggio 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 stumbles through the swamp under the boiling sun as he burns from his own fever. He hears voices and sure 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 dog dock outside Port De Acolle, later. Caravaggio looks out and sees fishing boats sailing away. He turns to an old sailor sitting there drunk, old, oblivious.

Porteacole? 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 chivalagio, drenched in sweat, but chilled and shivering, walks along the white sands of the beach beneath a 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, Port de Colet continues. Caravaggio reaches a small dock. A young boy is working on the dock, looks up and sees Caravaggio. Karavaggio steps over to him having difficulty speaking, breathing. What is this place? Port Evecone. Caravaggio nods, then stumbles past the young boy. Realizing that Karavaggio is ill, the young boy rushes inland for help. Exterior beach outside Porte-de-Cole continues.

Caravaggio stops and looks up at the blasting sun. He feels as if he's in a full. furnace. He struggles on. I tried to find that harmony between what I saw and how I lived and failed. Exterior, an empty stretch of beach, continuous. Caravaggio continues to walk looking out at the sea, seeing what he imagines to be his ship on the horizon. There is a life going on beyond this life, a life that separates us from all our mistakes. From accidents, pain. He looks up at the sun and kneels at first, then falls onto the beach.

Dressed in tattered clothing of vivid golden red, Karavaccio 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 Porte-de-Cole, continuous. Two nuns from a small hospital off the beach, led by the young boy, appear. They rushed to Karavaggio's side.

That is how God has been to me all my life, just out of reach. Perhaps the light tells me to love the mystery, and then let go. The nuns comfort him with water to drink, then rubbing his forehead with it. They place a light blanket over him to ease his tremble. Your Holiness, I have been informed that Michelangelo Marisi de Caravaggio was found dead the day before yesterday. July 18th on the Trianian coast outside of Port or Col. Two workers appear with a stretcher and rush over to Caravaggio. He was made aware of your pardon.

Cut to Interior Papal Chambers Rome Day. Alone the Pope faces Caravaggio's paintings. As you demanded, I have secured all the canvases from the knights and all that he created that were not painted on the walls. The paintings are gloriously realistic, intense, brutal and filled with a searching for faith. They will be brought to your private residence in Rome. The Pope is clearly affected. Cut to Exterior Beach outside Port De Ecole. As the two workers and the two nuns strain to ease Caravaggio onto the stretcher,

he turns and sees Aalov standing on the beach directly in front of the sun, facing him. Stefano stands behind Aalph. Behind them is a small boat on the beach, with several nights keeping it from moving with the tide. Alone, Ailof walks to Caravaggio, reaches him, and stops. The workers and nuns ignore him as they're not. ignore him as they steady the stretcher to place Caravaccio onto it. Aalov looks down at Caravaccio. Forgive me.

Caravaccio strains to look into Aalph's eyes. His own eyes still being with intelligence and searching, despite being overwhelmed with suffering, until having lost all strength, he closes his eyes, falls back and dies. 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. Aloff watches as Caravachia's bodies lifted up and carried off the beach.

The end.