The Borgia Apocalypse: The Screenplay

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The Borgia Apocalypse: The Screenplay Page 6

by Neil Jordan


  He stands.

  CESARE (CONT’D)

  So. I will receive the Lord here, with his deeds of title, while you take possession of his fortress. You will find the drawbridge down, the gates open. And this, my friend, is just the dawn of your ascendancy.

  He opens the doors.

  CESARE (CONT’D)

  Come. Meet my father.

  INT. CONCLAVE. DAY.

  The Pope, in full regalia, in his ceremonial seat.

  Cesare stands to one side, as Baglioni bends to kiss his ring.

  BAGLIONI

  Holiness...

  Alexander blesses him.

  ALEXANDER

  Heavenly father, your warrior prepares for battle. May he wear the breastplate of righteousness...

  Next in line, we see the Orsini brothers and Vitelli, waiting.

  Cesare catches his father’s eye. The briefest of glances tells us everything.

  INT. CESARE’S QUARTERS. DAY.

  Cesare there, with Machiavelli.

  MACHIAVELLI

  I am writing a book, my Lord.

  CESARE

  You have forsaken diplomacy?

  MACHIAVELLI

  It may have forsaken me.

  CESARE

  Democracy doesn’t suit you?

  MACHIAVELLI

  It hardly suits Florence. But while the fashion for it holds, I shall write my book.

  CESARE

  A book on what?

  MACHIAVELLI

  What I know best. Power. Princes.

  CESARE

  Perhaps you can teach me something. Of power, and princes.

  MACHIAVELLI

  Or perhaps it is the reverse, my Lord. Perhaps you are teaching me.

  CESARE

  Then journey with me today. To Sinigaglia.

  MACHIAVELLI

  Why Sinigaglia?

  CESARE

  Because there beginneth the lesson.

  EXT. ROADSIDE. DAY.

  Cesare, Micheletto and Machiavelli, riding along.

  MACHIAVELLI

  What is the lesson called, my Lord?

  CESARE

  It is called revenge.

  INT. BORGIA VILLA GARDENS. EVENING.

  Lucrezia sits with Pietro Bembo, in the evening light.

  LUCREZIA

  Do you want to know the truth?

  BEMBO

  Tell me.

  LUCREZIA

  I would marry anyone that would ensure my freedom from this family.

  BEMBO

  Oh, my dear.

  LUCREZIA

  I would even marry you.

  BEMBO

  You could never marry me.

  LUCREZIA

  But I may not have to.

  She looks straight into his eyes.

  BEMBO

  So tell me, about this family of yours.

  LUCREZIA

  Will it hinder my marriage prospects? The truth? Between us?

  He shakes his head.

  LUCREZIA

  Consider that... they have lived through the age of Leonardo, Raphael, Donatello, not to speak of the greatest genius of them all - Michelangelo. And what have they achieved?

  BEMBO

  Power?

  LUCREZIA

  Power to do what? Italy is a wasteland. Naples is a tomb. Milan? Even Leonardo has fled to France.

  What have they built? What artists have they patronised?

  BEMBO

  Pinturicchio?

  LUCREZIA

  The little painter? Is that all they leave to history?

  BEMBO

  Their... reputation...

  LUCREZIA

  A reputation for mayhem. Murder. Bloodshed. And an insatiable lust for power.

  She shivers.

  LUCREZIA (CONT’D)

  And I am cold now. Why am I cold?

  He reaches out a hand to touch her face.

  LUCREZIA (CONT’D)

  No. Do not touch me. Yet.

  EXT. SINIGAGLIA. EVENING.

  The walls, the moat.

  The condiotorre ride past, ahead of their armies. They come to the overpass, or drawbridge.

  The citadel seems undefended.

  There is a gateman there, fishing in the moat. He hardly seems to notice their approach.

  Baglioni leads his horse across the bridge, towards him.

  BAGLIONI

  Where is the Lord?

  GATEMAN

  Gone to Rome.

  BAGLIONI

  And his army?

  GATEMAN

  His army has... gone fishing... scattered, to the hills...

  BAGLIONI

  So we are expected?

  GATEMAN

  In a manner of speaking.

  He stands. Bows, gesturing them inside.

  GATEMAN (CONT’D)

  Enter...

  One by one, the condiotorre motion their horses through.

  And as their army makes to follow, the gateman pulls a hidden lever.

  A portcullis crashes down.

  The horses rear, panicked. The army presses forwards in confusion, but can do nothing.

  INT. SINGALIA. EVENING.

  Baglioni, Paulo and Roberto Orsini, and Vitelli find themselves in an empty square. They look back vainly at their armies, pressed against the portcullis gates.

  VITELLI

  What’s going on?

  Paulo Orsini looks the most worried.

  ORSINI

  I think I know...

  BAGLIONI

  What do you know, Orsini?

  Suddenly, pages blow in the wind across the empty square. Niccolo Machiavelli runs out from under an arch, chasing his pages.

  MACHIAVELLI

  Pardon me gentlemen...

  As he catches the pages.

  MACHIAVELLI (CONT’D)

  My papers...

  As he catches page after page, soldiers of the papal army step out from the shadows and take their places along the walls.

  Orsini whips his horse into a gallop. He rides through the square, looking for an exit.

  Micheletto jumps from a balcony, and drags him to the ground. The three remaining condiotorre stay rooted to the spot, trying to still their nervous horses.

  And now Cesare Borgia walks into the square. He picks one of Machiavelli’s pages from the cobblestones.

  CESARE

  Signor Machiavelli is writing a book.

  He hands Machiavelli the page. He walks up to Baglioni. Holds the reins of his horse.

  CESARE (CONT’D)

  On power and princes.

  BAGLIONI

  I did not know that, my Lord.

  CESARE

  But you knew all about my sister, did you not? The attempt on her life?

  Paulo Orsini reaches for his sword.

  CESARE (CONT’D)

  Don’t, Paulo. If you want an easeful death...

  Machiavelli stares, as armed men surround the plotters.

  MACHIAVELLI (V.O.)

  And so began the beautiful deception of Sinigaglia, which every prince should study for his advancement...

  INT. PALAZZO. SINIGAGLIA. NIGHT.

  Baglioni is dragged down a set of dank stairs. He points at Paulo Orsini, being dragged behind him.

  BAGLIONI

  It was him - he led us to it –

  Cesare stands at the top of the stairs.

  CESARE

  Well. Then he shall die the same death as you.

  INT. PALAZZO BASEMENT. NIGHT.

  Vitelli, with a garotte around his neck.

  The others sit watching, appalled, and bound.

  VITELLI

  I beg the Pope to grant indulgence for my sins –

  MICHELETTO

  I shall convey your request, my Lord.

  INT. BANQUET ROOM. SINIGAGLIA. NIGHT.

  Cesare, dining with Machiavelli. As Cesare talks, Machiavelli takes notes.

  MACHIAVELLI (V.O.)

  Fortune is a woman. To keep
her under, the Duke deemed it necessary to beat her and ill-use her.

  INT. PALAZZO BASEMENT. NIGHT.

  The Orsini brothers are bound together by the same garotte. Micheletto is strangling them both.

  Baglioni stares from a chair, in horror.

  MICHELETTO

  Do not fret, my Lord. You will not have to share.

  INT. BANQUET ROOM. SINIGAGLIA. NIGHT.

  Cesare and Machiavelli. Cesare still talking.

  MACHIAVELLI (V.O.)

  And being a woman, she is a lover of young men...

  INT. PALAZZO BASEMENT. NIGHT.

  Three bodies lying, bleeding from the neck. Micheletto garrotes the last of them, Baglioni.

  MACHIAVELLI (V.O.)

  ...because they are less cautious, more violent and can with more audacity command her.

  EXT. ROAD TO ROME. DAWN.

  Cesare, Machiavelli and Micheletto thunder through, on their way back to Rome.

  INT. POPE’S QUARTERS. DAY.

  Cesare, the Pope and Machiavelli. In a private, hellish conclave.

  ALEXANDER

  Write this down, signor Machiavelli.

  As Machiavelli scribbles.

  ALEXANDER (CONT’D)

  Our enemies are either dead, held prisoner, or are fugitives. Even if they stand their ground, they nonetheless consciously await their fates. So the dragon devours lesser serpents.

  CESARE

  There remains Della Rovere.

  MACHIAVELLI

  And how will you deal with him, my

  Lord?

  ALEXANDER

  We will invite him to dinner.

  INT. BORGIA VILLA. DAY.

  Lucrezia, with Pietro Bembo, in the dining room.

  BEMBO

  You can be free of your family.

  LUCREZIA

  I can dream...

  BEMBO

  We have agreed to their terms. They want more of gold and plate and of oaths of allegiance than any Ceasar. But the Duke desires this match.

  LUCREZIA

  Why?

  BEMBO

  Because I have told him. You are more beautiful than Helen.

  LUCREZIA

  I thought he didn’t care for women.

  BEMBO

  He cares for beauty. You will bring him your child. And bear him another. He cares for that.

  LUCREZIA

  When can I meet him?

  BEMBO

  When you come to Ferarra. But he is graciousness itself. Believe me.

  LUCREZIA

  I can create an academy, perhaps. Leave something for the future.

  BEMBO

  And you will have a friend there. Always. In me.

  LUCREZIA

  Just a friend?

  BEMBO

  More than a friend. If that’s what you want.

  He looks at her.

  BEMBO (CONT’D)

  And kiss me. Now.

  She looks at him. She does so.

  And just at that point, Cesare enters into view, on the walkway visible through the window.

  CESARE

  Sis –

  They draw apart. Cesare walks on. But he has seen them.

  LUCREZIA

  Go now.

  BEMBO

  Why the hurry? I have to give your brother the duke’s terms.

  LUCREZIA

  I will give them. And believe me, he probably knows them already.

  BEMBO

  Is he that alarming?

  LUCREZIA

  Jealous is the word. Of any happiness I might snatch. Without him.

  She hurries him out the doorway.

  EXT. BORGIA VILLA. DAY.

  Lucrezia puts two fingers to his lips, as she sends Bembo off.

  INT. BORGIA VILLA. DAY.

  Lucrezia comes back up the stairs, to find Cesare at the top.

  CESARE

  Sister.

  LUCREZIA

  Cesare.

  CESARE

  I had hoped to meet Bembo.

  LUCREZIA

  Oh, he gives his apologies. He had forgotten a prior engagement.

  He looks at her closely.

  CESARE

  Perhaps it’s just as well.

  LUCREZIA

  You think?

  CESARE

  Yes.

  He puts his arm around her.

  CESARE (CONT’D)

  Ferrara is far weaker than I thought. And Florence is not keen on that alliance.

  LUCREZIA

  Ah. We must not disappoint Florence.

  CESARE

  We can, happily, but there are other possibilities. In France, for instance.

  LUCREZIA

  France?

  CESARE

  France is full of gouty dukes and princes, in need of an heir.

  LUCREZIA

  But all that will take time, brother.

  CESARE

  Perfect. And we shall put it to perfect use...

  He kisses her on the cheek.

  CESARE (CONT’D)

  And I have a favour to ask. That only one with your grace could deliver to me.

  LUCREZIA

  Ask, then.

  CESARE

  Cardinal Della Rovere. We would invite him to dine with us.

  LUCREZIA

  With us?

  CESARE

  With me, and our father. To discuss our differences. See if we can put them to rest.

  LUCREZIA

  Why me?

  CESARE

  Let me count the answers.

  He puts his arms around her.

  CESARE (CONT’D)

  You are intelligent, you are diplomatic, you are beautiful, and you are and always will be...

  He kisses her.

  CESARE (CONT’D)

  MINE. . .

  EXT. ROMAN STREETS. DAY.

  Lucrezia walks through the streets, a hood covering her head. She turns into a magnificent palazzo.

  INT. DELLA ROVERE’S PALAZZO. DAY.

  Lucrezia, before cardinal Della Rovere.

  DELLA ROVERE

  To what do I owe the pleasure, donna Lucrezia?

  LUCREZIA

  I am merely a messenger, cardinal.

  DELLA ROVERE

  And the message?

  LUCREZIA

  An invitation to dine, with His Holiness the Pope and the Duke Valentino.

  Della Rovere smiles.

  DELLA ROVERE

  And should I accept?

  LUCREZIA

  If you value your health, no.

  DELLA ROVERE

  You surprise me, lady.

  LUCREZIA

  I know. I surprise even myself.

  DELLA ROVERE

  With your honesty? Your bluntness?

  LUCREZIA

  They will be rid of you. If not on this occasion, on another.

  DELLA ROVERE

  My answer then will have to be, no.

  She stays, looking at him.

  LUCREZIA

  The French King has gone. You are less protected. Their day will come.

  DELLA ROVERE

  And why should that concern you?

  LUCREZIA

  Perhaps we have an interest in common.

  DELLA ROVERE

  And what could that possibly be?

  LUCREZIA

  The future. I have a child. I wish him to have one.

  DELLA ROVERE

  And?

  LUCREZIA

  You belong to a church. You wish it to have one.

  DELLA ROVERE

  A future?

  LUCREZIA

  You were a good man once. You could be pope one day.

  DELLA ROVERE

  I am intrigued...

  INT. POPE’S QUARTERS. DAY.

  The Pope and Cesare. Lucrezia enters. She says nothing, to Cesare’s enquiring glance.

  CESARE

  He said no?

  LUCREZIA

  Not at all. He said yes. But in
sists that he will choose the venue.

  ALEXANDER

  Clever.

  CESARE

  Do we refuse?

  ALEXANDER

  We can’t. But we take the occasion to set him at his ease. Sound him out. There will be other... dining opportunities...

  CESARE

  Will it be safe, father? For us?

  ALEXANDER

  We have our tasters.

  CESARE

  Another evening dining on cold scraps...

  Lucrezia interjects.

  LUCREZIA

  Eat something small before you go brother. A collation. Then at least you can enjoy the wine...

  INT. VATICAN DINING ROOM. EVENING.

  Father and son walking round a small table filled with food. Lucrezia sits by a window in the background.

  ALEXANDER

  We need an intermediary with him, to lay a layer of trust. An ambassador, so to speak.

  He eats.

  CESARE

  We have one.

  He turns to Lucrezia.

  ALEXANDER

  Lucrezia?

  CESARE

  He trusts her enough to accept our invitation.

  LUCREZIA

  And that may be all the trust one gets, in Rome.

 

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