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
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.