The Borgia Apocalypse: The Screenplay Read online

  THE BORGIA APOCALYPSE

  Written by

  NEIL JORDAN

  InkWell Publishing

  Published in eBook format by InkWell Publishing

  521 5th Avenue, 26th Floor

  New York, NY 10175

  Original Copyright 2013 by Neil Jordan

  eBook Copyright 2013 by Neil Jordan

  All rights reserved. No part of this book may be reproduced in any form by any means without the prior written consent of the Publisher, excepting brief quotes used in reviews.

  INTRODUCTION

  I first wrote about the Borgias as an historical film. It was the second historical subject I had attempted – the first was Michael Collins, the film I made for Warner Brothers about the Irish guerrilla leader and the Irish War of Independence. On Michael Collins, I experienced the dilemma of the historical screenplay – the mass of material that has to be encapsulated within a two-hour time frame. So when Dreamworks suggested that I develop a Borgia project as a cable series for

  Showtime, I saw it as a unique opportunity to write a 40-hour film, about power, religion and sex in the Renaissance period. It would be as lurid and dramatic as any Jacobean drama, but over four seasons, long enough to do justice to the complexity of the times and the family.

  Halfway through the shooting of the third season, I received word that the new regime at Showtime might not want to continue with the fourth. The series was expensive to produce, since we always did our utmost to do justice to the architecture, design and costume of the period, however free we allowed ourselves to be with the actual events. The ratings were steady, if not spectacular, but there was a large network of avid fans, who followed the machinations of the family, their loves, their losses, their tragedies with absolute devotion. As a compromise I proposed a two-hour film, which would bring the story of the family to a satisfactory and apocalyptic conclusion. For a variety of reasons, mainly cost, Showtime decided not to proceed with the two-hour film.

  I am presenting this screenplay as an ebook to show those fans how the story they love so much would have concluded. Screenplays are not novels, not really even plays, they are like architectural sketches for an unconstructed city. But they do tell a story, through dialogue, and one of the great pleasures of writing The Borgias was the realisation that cable viewers and fans actually care about dialogue in a way that a cinema audience no longer does. This was a totally unexpected blessing to me as a writer, since I could return to the basic pleasure of words, and let the characters be defined, and refined, through the words they spoke.

  So here we have the words. We don’t have the pictures, the costumes, the actors, but the fans at least can read how I would have concluded the story. And since the most avid fan of the series was myself, I should state that I am available to direct this, should Showtime ever change their minds.

  - Neil Jordan

  INT. ALPHONSO’S PALACE. DAWN.

  A pair of white-slippered feet walk up the magnificent staircase.

  A servant girl comes down, with a pile of bloodied blankets in her hands.

  She steps back and bows, in confusion.

  SERVANT GIRL

  Holiness...

  It is the Pope of Rome.

  INT. LUCREZIA’S BEDROOM. DAWN.

  The dead and bloodied body of Alphonso on the bed. The Pope enters, in the deep background.

  He looks at the scene, shocked. He takes Alphonso’s dead wrist in his hand.

  Then he falls to his knees, begins the prayer of Last Rites.

  ALEXANDER

  Requiscat in pacem...

  And we hear a voice, O.S.

  CESARE (O.S.)

  Back the cart into the stable gates. We can’t leave a trace of-

  And as he enters, with Rufio, the Pope raises his head.

  ALEXANDER

  What is this?

  He gestures to the bed.

  ALEXANDER (CONT’D)

  This outrage? This crime? This unholy mess?

  CESARE

  I can explain, Father –

  Alexander looks down at the body. The blood everywhere. The wound.

  ALEXANDER

  No. No-one can explain this.

  Cesare turns to Rufio.

  CESARE

  Leave us –

  Alexander stands.

  ALEXANDER

  Are you to become your brother? Who in the end could not be trusted with a public whipping?

  CESARE

  Father, he assaulted me –

  And Alexander hits him, open palmed, across the face.

  ALEXANDER

  And you, what? Did him to death? Our son in law? Under our protection? In the palace we provided for his safety?

  CESARE

  I will clean up this mess, father –

  ALEXANDER

  Oh yes, you will. Another body will be fished from the Tiber. Another drunkard arraigned for some night- time brawl. You will wash this palace clean of blood. And you will recall your manservant...

  CESARE

  Micheletto?

  ALEXANDER

  Who alone could be trusted with such matters.

  CESARE

  He doesn’t speak to me. Of late.

  ALEXANDER

  Well then. Get him to speak to me...

  INT. THE BORGIA VILLA. DAWN.

  Lucrezia, in a bath. She is being bathed by her mother, Vanozza.

  LUCREZIA

  Take me out of here, mother.

  VANOZZA

  You would leave me here alone?

  LUCREZIA

  I am afraid of him now. The one I love most in the world.

  VANOZZA

  He would never harm a hair on your head.

  LUCREZIA

  No. But he would harm others. Anyone I come close to is doomed.

  She begins to cry.

  LUCREZIA (CONT’D)

  Have we become the family from hell, mother?

  VANOZZA

  Perhaps. Since we were given the keys of Heaven.

  LUCREZIA

  I need to hide. Until I gather my thoughts again. My spirits. You must know a nunnery. That can hide a troubled soul.

  VANOZZA

  There are many. And there is only one way to get you safely there.

  INT. SHABBY ROOM. PAPAL BARRACKS. DAY.

  The body of Alphonso, laid out on a wooden trestle. Rufio is there, with two rough henchmen.

  Cesare enters.

  CESARE

  He was a drunkard, you understand?

  RUFIO

  We do my Lord.

  Cesare pulls a knife.

  CESARE

  And an incompetent brawler.

  He stabs the body of the dead Alphonso.

  CESARE (CONT’D)

  In a fight over a tavern whore –

  He stabs the body many times.

  CESARE (CONT’D)

  They stabbed him like a wine bag-

  He stabs it one last time.

  CESARE (CONT’D)

  Till he could bleed no more.

  He turns.

  CESARE (CONT’D)

  Now dump him in the Tiber –

  EXT. TIBER. NIGHT.

  Rufio slips in the body of Alphonso.

  INT. BORGIA VILLA GARDENS. NIGHT.

  Lucrezia there, dressed in a nun’s costume.

  Vanozza enters through the back door, and a familiar figure comes behind her.

  Micheletto.

  MICHELETTO

  I would not have taken this summons from anyone but you.

  LUCREZIA

  And this is true, mother.

  VANOZZA

  On your child’s life, it is...

>   The boy now is led into the gardens.

  MICHELETTO

  May I?

  When Lucrezia nods he takes him in his arms.

  MICHELETTO (CONT’D)

  And you will tell me where we are headed?

  VANOZZA

  A nunnery, south of here.

  Micheletto tweaks the child’s cheek.

  MICHELETTO

  This boy? Among nuns?

  VANOZZA

  No. Giovanni will stay with me.

  EXT. NUNNERY. DAY.

  A convent, situated amongst rolling hills.

  Micheletto leads Lucrezia towards it.

  LUCREZIA

  You will stay with us?

  MICHELETTO

  It is a nunnery, my lady. I cannot.

  LUCREZIA

  But I will be safe here?

  MICHELETTO

  No word of where you are shall pass my lips.

  LUCREZIA

  Even if my brother demands it?

  MICHELETTO

  I have not seen your brother. For months now.

  LUCREZIA

  But my father has summoned you, no? And when the Pope summons, even you must attend?

  INT. CONFESSIONAL. NIGHT.

  The Pope, sitting alone in his confessional. A figure slips in on the other side of the booth.

  Micheletto.

  MICHELETTO

  I cannot beg for forgiveness, Holiness –

  ALEXANDER

  Why not?

  MICHELETTO

  Because my sins are numberless. And you are asking me to resume this life of... crime...

  ALEXANDER

  I am asking you to serve as manservant to the Gonfaliere of the Pope of Rome...

  MICHELETTO

  I killed one dear to me in your son’s service. It left me with a wound that is hard to heal.

  ALEXANDER

  Pray to God then to salve that wound. And put yourself in His service once more...

  MICHELETTO

  God does not speak to me of late. If He has ever...

  ALEXANDER

  He hears the pleas of all, Micheletto. Even one who must serve Him in the shadows, like you.

  MICHELETTO

  Ah. So the knife and the garotte are part of God’s plan?

  ALEXANDER

  We rule God’s kingdom for Him, Micheletto. His enemies wield those weapons. And sometimes so must we.

  MICHELETTO

  I will not be serving God, Holiness. I will be serving your son, Cesare Borgia.

  ALEXANDER

  And he needs you. He misses you.

  On Micheletto’s face. He misses Cesare as well.

  ALEXANDER (CONT’D)

  He is weaker, in your absence.

  INT. VATICAN PALACE. DAY.

  The French ambassador, before the Pope, in full ceremonial mode. Cesare stands behind the Pope, as a kind of consigliere.

  FRENCH AMBASSADOR

  King Louis of France is already on his way, Your Holiness.

  ALEXANDER

  More French armies? This is all that Rome needs.

  FRENCH AMBASSADOR

  He comes in peace, as your Holiness well knows. He would swear eternal loyalty to Rome, to God and his Pope. And he would discuss with you the troubled issue of Naples.

  ALEXANDER

  Are the French slow learners? Did the last invasion of Naples teach them nothing?

  CESARE

  Father –

  ALEXANDER

  Oh of course. We have a grander design here. We restructure Italy between us. Is that the game?

  FRENCH AMBASSADOR

  I am not party to the king’s deeper intent –

  ALEXANDER

  A pity. We enjoy such games. And have proven rather adept at them, in the past –

  FRENCH AMBASSADOR

  In fact, Your Holiness, I must now say a goodbye of kinds. I must relinquish my post.

  ALEXANDER

  Your name again?

  FRENCH AMBASSADOR

  Archbishop D’Ambroise, ambassador to the French King.

  ALEXANDER

  Of course. You are to join us here. As cardinal. From the frying pan into the fire. And your successor?

  FRENCH AMBASSADOR

  I have not been graced with his name, Your Holiness –

  INT. CESARE’S QUARTERS. DAY.

  Cesare in a bath, being attended by some man or woman servant. His father stands in the background.

  ALEXANDER

  So. Another Neapolitan invasion. This time with our compliance.

  CESARE

  We must ride the dragon of events, father.

  ALEXANDER

  The dragon of events. Does he breathe fire? The Spanish will be breathing fire, when they get wind of it.

  A figure appears behind the Pope. Micheletto. Cesare doesn’t know he is there.

  The Pope holds a hand up, to make sure Micheletto keeps quiet.

  ALEXANDER (CONT’D)

  Though if we offered to divide the kingdom...

  CESARE

  Naples? Ruled by Spain and France?

  ALEXANDER

  Stranger alliances have happened. And it would keep them off our backs. Occupied, so to speak, in the Neapolitan swamp.

  The Pope turns, and puts a finger to his lips. He tiptoes out, leaving Micheletto there, looking at Cesare’s broad back.

  Cesare keeps the conversation going.

  CESARE

  It would be a sweet revenge, would it not? Their king deposed? Or can we hope for his hanging?

  MICHELETTO

  We can hope.

  Cesare turns.

  MICHELETTO (CONT’D)

  You see I know him of old.

  Micheletto gives a half smile.

  MICHELETTO (CONT’D)

  As I know you?

  CESARE

  You would surprise me, my friend? Naked, like this?

  He stands out of the bath.

  CESARE (CONT’D)

  Then you must embrace me.

  Micheletto walks forwards and embraces him.

  CESARE (CONT’D)

  What brought you back?

  MICHELETTO

  Your father. The game.

  CESARE

  You have been away too long...

  INT. CHAPEL. NUNNERY. DAY.

  Lucrezia and Pia, a young demure nun, are scrubbing the floor in the chapel.

  PIA

  Take care, between the cracks, sister –

  She looks at Lucrezia.

  LUCREZIA

  I told you. I have not yet taken vows.

  PIA

  Yet everyone has a name. A name they were born with, one they adopt.

  LUCREZIA

  I shall become... sister Angela...

  PIA

  Good. I can call you that.

  LUCREZIA

  The Reverend Mother examines between the tiles, then?

  PIA

  Yes. With her fingernail. And any dirt will be punished-

  LUCREZIA

  With a whipping?

  PIA

  She does not whip, but her words are worse than any lash.

  And Lucrezia scrubs fiercely.

  LUCREZIA

  My crack then shall be cleaner than yours - ever was –

  Pia smiles nervously. And we do not know if she gets the pun.

  INT. CASTEL ST ANGELO. DAY.

  Catherina Sforza, asleep on her plain bed. She looks up in amazement, at something out of shot.

  BY THE BARS OF HER PRISON –

  A white-gloved hand stretches in, with a ring, inviting a kiss.

  CATHERINA

  You will have to have my legs broken, Holiness. If you want to see me kneel.

  ALEXANDER

  A kiss might suffice.

  CATHERINA

  A kiss?

  ALEXANDER

  Rather than a genuflection.

  We see Alexander now, in the flickering torchlight.

  ALEX
ANDER (CONT’D)

  Your legendary beauty is fading in here. It is starved of daylight. It pains us to see such a wonder be so reduced.

  CATHERINA

  Send me home then.

  ALEXANDER

  Without a formal surrender? Without a pledge of eternal service to the Pope of Rome?

  CATHERINA

  Without me kneeling...

  ALEXANDER

  That is impossible, I am afraid.

  CATHERINA

  Not only must I be defeated, I must be seen to be defeated.

  ALEXANDER

  And the whole world must see it.

  CATHERINA

  But the whole world knows, Your Holiness. My lands have been seized, my castle ravished, my body...

  ALEXANDER

  Your body ravished? By whom?

  CATHERINA

  Well, your son had his way with it some time ago. But then I also took my pleasures on his...

  ALEXANDER

  So he confessed.

  CATHERINA

  To you?

  She smiles.

  CATHERINA (CONT’D)

  How intimate…

  ALEXANDER

  We share most things.

  And she is beginning to see an opening.

  CATHERINA

  So I have heard.

  She walks closer to the bars.

  CATHERINA (CONT’D)

  Might I suggest, Holiness?

  ALEXANDER

  Yes?

  CATHERINA

  You have tried brute force. You have tried chains, prison walls, and none have made me kneel to you.

  What you have not yet tried is. . .