The Borgias Season 4 (If I were to co-write it)

by deni269

A screenplay based on Neil Jordan's screenplay 'The Borgias Apocalypse'. Alphonso has passed and Lucrezia and Cesare now find themselves bound in an even bigger mess. Cesare plans a campaign to Naples which sends his little brother home to Rome for safety. How can Sancia help Lucrezia with her new dilemma? *contains SPOILERS for Neil Jordan's 'The Borgias: Apocalypse'*

1. Chapter 1

INTRODUCTION

I first stumbled upon Neil Jordan's 'The Borgias' In February of 2014 while searching through interesting titles at my video store. Believe it or not I had never heard of the television series before. When I watched it I was instantly hooked. I Watched the first season in two days despite having 4 little ones at home. I then hired season 2 and 3 and then discovered, to my horror, there would be no season 4! Of course like most fans I was devastated. I then learnt of a screenplay written by Neil Jordan that he had proposed as a two hour movie to conclude the Borgia's tale. I immediately purchased it and read it. Although it was wonderfully written 2 hours is simply not enough time to give the series the justice it deserves. There were so many questions left unanswered. So I decided I would use my imagination and answer them myself.

This is my first attempt ever at screenwriting. It is based on People, events and locations from history and characters, plots and settings by Neil Jordan. I knew very little about the Borgia's when I wrote this except what I had learnt through the television show, through the game 'Assassins creed: brotherhood' and from Wikipedia, which are all rife with historical inaccuracy. So my knowledge of actual historical fact is slim at best.

As I wrote this screenplay to fit in with Jordan's screenplay 'The Borgias-Apocalypse' you will find it very hard to follow if you have not read it yourself. It is available online from all good eBook retailers. I have made brief reference to the scenes (in bold and in brackets) to avoid any copyright infringement. Where I have placed a star (*) is where I made alterations or additions to the scenes. All of the scenes are in chronological order, but the Lucrezia and Catherina scenes start later on. I hope it is not too confusing and if you have not read Jordan's screenplay I hope you can still enjoy my original scenes.

I do hope ShowTime chooses to take up the series again and complete it with a full season, until then we have fan fiction!

I am completely open to suggestion on how I could improve this (including any errors) and you may email me at deni269 I hope you enjoy reading this as much as I enjoyed writing it.

If you need some inspiration for Joffre's Character I used the image of Aneurin Barnard who Plays Richard in 'The white Queen'. I thought it was quite fitting considering in the white queen he plays the younger brother of David Oakes .

*UPDATE 1/03/2014 - Made changes to Chapter 1. added Micheletto scenes and Cesare/Lucrezia scenes, made changes to Chapter 5 expanded Alexander/Joffrey scene.

*UPDATE 3/03/2014 - Chapter 9 added as an extended ending to find out what happened between Cesare and Lucrezia after Alexanders death.

*UPDATE 6/03/2014 - Made changes to Chapter 3. added extra scene with Joffre and Sancia.

'THE BORGIAS' SEASON 4 SCREENPLAY

Chapter 1 - The first seal

Chapter 2 - Progeny

Chapter 3 - Proverbs 27:6

Chapter 4 - Masquerado

Chapter 5 - Sanctuary

Chapter 6 - A Penance too late

Chapter 7 - The Poet

Chapter 8 - The end

Chapter 9 - Absolution

Chapter 1 The first seal

INT. LUCREZIA'S BEDROOM. NIGHT

Cesare pulling Lucrezia's bloody cloak off her shoulders, he unfastens the front of her night gown and pulls it to the side revealing her breasts. He then moves to the opposite side of the bed and crawling over her pulls her cloak and nightgown off. He stands back admiring her for a moment. Lucrezia, now naked, props herself onto her elbows.

LUCREZIA

Your clothes are bloodied too brother.

Cesare pulls away at his doublet which is already loosened and then removes his linens. Lucrezia is watching intensely. He removes his boots and then He unties his hose and removes them. Lucrezia examines his naked body and then looks into his eyes. She is crying.

LUCREZIA

I am yours.

Cesare crawls on to the bed over Lucrezia. She leans back as he makes his approach. He kisses her neck. He enters her. He continues to drive into her. The love making is dark and desperate. She moans in pleasure and weeps in despair. The camera draws upwards so we see Cesare's naked body moving on top of hers and Alfonso dead on the bed beside them.

INT. LUCREZIA'S BEDROOM .NIGHT

Cesare is redressing. Lucrezia still lays naked on the bed her face turned towards her husband. Her face is wet but no more tears fall.

CESARE

Sis you must dress, it is almost dawn.

LUCREZIA

A new day?

She sits up on the bed; her body is smeared with blood.

LUCREZIA (Cont.)

And the blood still stays.

Lucrezia rises and walks out of the room still naked.

Cesare uses Lucrezia's gown to cover the body and begins wrapping the sheets around him.

(The servant girl and the pope in Alphonso's Palace)

(Cesare and Alexander in Lucrezia's bedroom)

* Exclude Vanozza and Lucrezia in Borgia Villa

(Cesare and Rufio in papal barracks)

* Exclude Micheletto, Lucrezia and Vanozza in garden

*Exclude Micheletto and Lucrezia in the Nunnery

EXT. OVERWORLD. DUSK

There is no day or night in the overworld but the lighting and cloud cover is similar to that of dusk. Michelettos face is laying on black ash. He sits up and tries to look around but the ground crumbles under his hand landing him back on his side. He looks into the distance. He is on a huge open field that has been charred. In the distance we can see the shadows of men and horses at war. Distant cries of agony, squeals of horses and the clash of steel can be heard. The sky is a scarlet red and dark ominous clouds are rolling overhead. A thick droplet of crimson lands in the ash beside him. He looks at it and then another drop lands on his face. He touches it and rubs it between his fingers as more drops land all over him. He looks up and we see descending from the clouds the body of Pascal. He is crying bloody tears all over Micheletto.

INT. COTTAGE RUINS. DAY

The ruins are made from stone. an entire side of the home has been destroyed and only part of the other wall remains. Part of the stone ceiling still stands which is what Michletto is taking shelter beneath. The floor is entirely dirt and rubble. There is a rough bed roll on the ground along with several burlap sacks.

Micheletto lies on his back in a contorted angle. His head is off the bedroll and lying in the dirt. He is dressed in filthy linen clothes. Water is dripping from the ceiling on to his face.

Micheletto wakes up startled and sits straight up, he is gasping for air. He wipes his face with one hand and then looks up at the ceiling. He groans and then moves away from the droplets. He takes a sack next to his bed roll and looks inside. We see that it is empty other than a crust of bread. He sighs and takes a bite out of it.

EXT. COUNTRYSIDE. DAY

Micheletto walks out of the ruins into a countryside with beautiful rolling hills. he is in a ruined village and the stone ruins of houses are spotted on either side of a road. Micheletto is wearing rough leather sandals and we see his feet are black with dirt. he walks along the road carrying a sack.

INT. TOWN. DAY

Micheletto walks into a busy but quaint town. Mothers grab for their children and pull them away from him as he approaches. Men turn their backs on him. a dog comes bounding nearby and then suddenly darts the other way as if spooked. Micheletto grins.

Micheletto approaches a stone water fountain in the centre of town. There are women collecting buckets of water that stop and walk away when Micheletto drops his water skin into the fountain. He drinks from the skin, ties it to his belt and then scoops up some water in his hands and attempts to wash his face.

Micheletto cuts down a back ally and knocks on a wooden door.

A woman opens the door. she takes a look at Micheletto and scowls.

WIFE

He's here.

she turns back into the home. A man approaches.

CARLO

Micheletto, I have not seen you for over a week, I thought you had -

MICHELETTO

Thought I had what? Died? That would make it easier on all of us wouldn't it.

CARLO

No, I thought you might have returned to Rome.

Micheletto shakes his head

MICHELETTO

I do not plan on ever returning to Rome.

Carlo holds up a finger baring him from entry

CARLO

Just wait here a moment

Carlo goes back inside the house. We can hear sounds of banging pots and bowls and of cupboards opening and closing.

WIFE (O.S)

Not the good apples, give him the rotten ones.

Micheletto smiles and shakes his head.

a short time later Carlo appears with a couple of loaves of bread and an armful of apples.

CARLO

here, some apples and bread. It's all I can spare for now.

MICHELETTO

Is this how you feed one who has saved your life?

Carlo glances guiltily back in to his home. Micheletto opens his sack for him.

MICHELETTO (CONT.)

It'll do

Carlo drops them inside. Micheletto does up the sack and turns to leave.

CARLO

one more thing

Micheletto turns back. In Carlos hand is a piece of folded parchment. He offers it up to Micheletto

CARLO

A messenger came through here some days ago. He was asking for you by name. I took this off him and said I would see you got it.

Micheletto reluctantly takes it, opens the seal and reads it.

MICHELETTO

Cesare Borgia.

He screws the note up in his hand. Then holds it to his mouth deep in thought. we can see that he is torn. After a moment he throws the note on the ground and then steps on it as he walks back through the ally.

INT. MORGUE. DAY

Vanozza and Lucrezia stand in a presentation room. A single body lays on a table covered in a white cloth. An official moves to uncover the body.

OFFICIAL

I ask you to brace yourself my lady. It is not a pretty sight.

Lucrezia takes a deep breath and vanozza squeezes her hand. The official pulls back the cloth to reveal the curly haired head of Alphonso. His face is bloated and bruised, and he has tiny bite marks on his lips and cheeks where the fish have fed. Lucrezia gasps drawing her hand to her mouth and takes a step back turning in to her mother and weeping. Vanozza holds her.

The official covers the body. Lucrezia takes a deep breath and turns back to the official.

LUCREZIA

What happened to him?

OFFICIAL

It is hard to say my lady. he was found in the River Tiber. The body has several stab wounds, but the fatal one went through the abdomen. He likely bled out.

LUCREZIA

Several stab wounds? where did they come from?

She is genuinely surprised.

OFFICIAL

I could not know for sure my lady, but it has been said that on the night he went missing he was in a -

He looks to Lucrezia and Vanozza with uncertainty.

OFFICIAL (CONT.)

He was in a brothel. he got into a fight with another patron. Witnesses say they saw him follow once your husband left.

LUCREZIA

and what did this patron look like?

OFFICIAL

I am sorry my lady, I do not know, but I will launch a full investigation in to the circumstances surrounding his death. We will have the body thoroughly examined -

Lucrezia interupts.

LUCREZIA

No. That isn't necessary. My poor Alfonso has been through enough.

The official nods

OFFICIAL

Yes, my lady.

LUCREZIA

Please send word to Naples. let his family know that we have located him.

OFFICIAL

of course my lady.

Lucrezia turns and walks out of the room with Vanozza following.

EXT. MORGUE. DAY

Lucrezia and Vanozza walk out and down the steps. Before reaching the carriage Lucrezia breaks down in tears and Vanozza struggles to get her up and into the carriage.

INT. LUCREZIA'S BEDROOM. DAY

Lucrezia lays on the bed weeping Vanozza is by her side stroking her hair.

VANOZZA

My sweet girl, this pain will not be forever.

Lucrezia continues to sob. Vanozza turns to the side table and takes a glass she holds it towards Lucrezia.

VANOZZA

Please take a drink. it will help you to sleep and sleep will help your heart to recover.

Lucrezia opens her eyes and sits up. She is still weeping.

LUCREZIA

Will it take away my thoughts mother? my memories?

VANOZZA

It will for a time.

- Do not wish for your memories to be taken away Lucrezia, you need them. you need to remember Alphonso the way he was when you loved him.

Lucrezia nods and takes the glass. Vanozza kisses her on the forehead.

VANOZZA (CONT.)

I will leave you and let you rest.

Vanozza gets up and leaves. Lucrezia puts the glass back on the side table without taking a drink and lays back flat on the bed staring at the ceiling. A moment passes and we hear the door open and shut again. It is Cesare. Lucrezia glances at him and then back at the ceiling.

LUCREZIA

You have returned

Cesare approaches the bed and sits down he reaches out and touches Lucrezias arm. She pulls it away swiftly

CESARE

I'm sorry sis. I had much to arrange.

LUCREZIA

Yes you had a murder to orchestrate. True witnesses to dispose of and false witnesses to bribe.

CESARE

I had to protect us. protect you.

LUCREZIA

I never would have needed protection if it weren't for you.

Cesare hangs his head in shame.

CESARE

I know.

He looks Lucrezia over.

CESARE (CONT.)

I should leave.

he makes a move to leave but Lucrezia reaches out and grabs his arm. she is looking at his face.

LUCREZIA

No please don't go.

Cesare returns to the bed and slides in beside Lucrezia he draws her up on to his chest and begins to stroke her hair tenderly.

LUCREZIA

Where were you?

CESARE

You know where I was. I was taking care of - the situation.

LUCREZIA

No. Where were you.

CESARE

I'm sorry. I shouldn't have left you. I was conflicted.

LUCREZIA

Over Alfonso?

CESARE

Over everything.

He sighs and kisses her hair.

CESARE (CONT.)

Everything that happened that night. and other nights.

LUCREZIA

did you want it to happen Cesare?

CESARE

No.

He thinks

CESARE (CONT.)

Yes

He shakes his head

CESARE (CONT.)

No

Lucrezia sighs in exasperation.

LUCREZIA

Which is it.

CESARE

I did want it to happen. But not the way it did.

He sighs again.

CESARE (CONT.)

and I didn't want it to happen.

LUCREZIA

You are muddled brother.

CESARE

I am. I'm very muddled.

He smiles.

CESARE

I love you Lucrezia. I love you in a multitude of ways. Some of them I'm comfortable with, and some astound me.

LUCREZIA

but you do love me?

CESARE

I said I do and I meant it.

Lucrezia strokes his cheek and then moves in to kiss him. Cesare responds with a gentle kiss, but as she draws him in closer and the kiss turns passionate he pulls away. Lucrezia looks frustrated.

LUCREZIA

and yet you still pull away.

CESARE

The love I feel for you should stay here, in my heart.

He touches his chest.

CESARE (CONT.)

and the love you feel for me should stay here, in your heart.

He touches Lucrezias chest.

Lucrezia pulls herself against him

LUCREZIA

It should. But it doesn't.

she tries to kiss him again. this time he rolls away and sits on the edge of the bed. Lucrezia is hurt.

CESARE

Lucrezia. I want to give you everything. Everything you desire. but when what you desire becomes my own desire, I no longer know if I'm doing it to make you happy, or to make myself happy.

LUCREZIA

Can we not both be happy?

CESARE

We can. But not like this.

Lucrezia looks as if she'll weep again.

CESARE

What we are doing. what we have done. It can only end in disaster for both of us. I can handle disaster myself, but I can't handle the thought of disaster befalling you.

Lucrezia rolls back on to her bed and looks at the ceiling again.

CESARE

You know it cannot be.

Lucrezia continues to stare.

CESARE

You are angry?

she continues to stare.

Cesare crawls over her and plants a gentle kiss on her lips.

CESARE

I'm sorry sis. For Alphonso. For everything.

He gets off the bed and walks back to the door and lets himself out. the door closes and Lucrezia sheds a single tear.

INT. COTTAGE RUINS. DAY

Micheletto wakes gasping again. he wipes his face but there is nothing there.

EXT. TOWN. DAY

Micheletto walks through the streets. he collects water from the fountain. He knocks on the door. Carlo answers and puts food in his bag. Carlo holds up another letter with a seal on it.

CARLO

The third in as many weeks.

Micheletto sighs and takes the letter he holds it up. The seal is different this time. In it is pressed the image of St. Peter hauling in his catch.

CARLO (CONT.)

It must be important, that's the papal seal.

Micheletto tears the letter in half and then again. he drops it in the mud and walks over it.

EXT. RIVERSIDE. DUSK

Micheletto stands in a peaceful river with a basic fishing rod.

EXT. COUNTRYSIDE. EVENING

Micheletto walks through the ruined village. He turns into the ruined cottage he has been using as shelter.

INT. RUINED COTTAGE. EVENING

Micheletto rolls out his bed roll and lays down drawing up his covers. He closes his eyes.

EXT. OVERWORLD. DUSK

Michelettos face is laying on black ash. He sits up and tries to look round but the ground crumbles under his hand landing him back on his side. He looks into the distance. we can see the shadows of men an horses at war. Distant cries of agony, squeals of horses and the clash of steel can be heard. The sky is a scarlet red and dark ominous clouds are rolling overhead. A thick droplet of crimson lands in the ash beside him. He looks at it and then another drop lands on his face. he touches it and rubs it between is fingers as more drops land all over him. He looks up and we see descending from the clouds a body. It is crying bloody tears all over him. It is Cesare.

INT. RUINED COTTAGE. DAWN

Micheletto sits up gasping. he rubs his face but nothing is there. He jumps up and opens a nearby sack pulling out his sword and dagger.

EXT. COUNTRYSIDE. DAWN

Micheletto exits the ruins he walks on the road in the opposite direction of the town.

(Micheletto and Alexander in the confessional)

BEDROOM. NIGHT

Cesare lays naked beneath the covers. The covers lift and he wakes startled. Lucrezia, completely naked and smiling, slips beneath the sheets and draws him in close to her.

CESARE

What are you doing?

LUCREZIA

I am giving you what you want and taking what I want all at once.

She smiles and then bites his lip. For a second he allows it and then pushes her away holding her at a distance with his hands

CESARE

You have to stop doing this.

he looks to the door

CESARE (CONT.)

How do you keep getting in here?

LUCREZIA

A woman has her charms

she smiles and then tries to kiss him again. he holds her back.

CESARE

People see you when you come here. People talk

LUCREZIA

so let them talk.

She goes in to kiss his neck and chest and Cesare again allows it for a second before pulling away.

CESARE

Stop it.

He gasps.

LUCREZIA

Don't you want it?

She reaches her hands below the covers.

LUCREZIA

it seems you want it.

Cesare reaches down and pulls her hands away.

CESARE

A beautiful naked girl comes into your bed and rubs your body, of course you are going to want it.

Lucrezia lays back and puts her arms up above her head like she has been take prisoner.

LUCREZIA

so take it - I am yours.

Cesare lets out a low groan as he fights with himself. He then moves in and kisses her on the cheek, he reaches up with one of his hands and clasps her far hand and pulls it down on her chest and then rests his head on her chest. Lucrezia rolls her eyes.

LUCREZIA

your not going to give me what I want are you?

Cesare kisses her hand.

CESARE

No. But you can still be mine.

She smiles and kisses him on the forehead. They continue to lay in an affectionate embrace. Naked.

(French ambassador, Cesare and Alexander in the Vatican *where he says the king is on his way he instead says, "King Louis of France is in Milan attending to some business and hopes to be on his way soon.")

INT. VATICAN CORRIDOR. DAY

Cesare is walking towards his quarters. The ambassador follows him.

FRENCH AMBASSADOR

My lord?

Cesare turns

FRENCH AMBASSADOR

King Louis has a message for you.

CESARE

Well out with it then.

FRENCH AMBASSADOR

He wishes for you to attend him in Milan, You have proven yourself a worthy general. Worthy of his armies and he has need for your stratagem.

CESARE

I share my strategy with no other.

Cesare turns to leave

FRENCH AMBASSADOR

He only wishes for your most irreproachable advice. He does not wish for another failure.

CESARE

Hmmm. Still licking his wounds after Pisa?

FRENCH AMBASSADOR

It is Florence that is responsible for the failure at Pisa.

CESARE

Yet it is Louis who seeks my advice?

FRENCH

Well he would not rely on Florence again.

CESARE

Very well. But I have business to attend to here. I will leave within the month. Can his grace wait that long?

FRENCH AMBASSADOR

Yes. The king has much to organise.

CESARE

It is settled then. You may tell his grace I look forward to our meeting again.

Cesare turns to leave

FRENCH AMBASSADOR

My lord?

Cesare turns again. He is annoyed

FRENCH AMBASSADOR

He also wanted me to inform you that Charlotte d'Albret…your wife…has given birth to a healthy baby girl.

Cesare looks shocked and then nods his approval before turning and walking off.

INT. CESARE'S QUARTERS. DAY

Cesare is being bathed. Alexander enters. Cesare looks to him then turns back.

CESARE

I must go to Milan?

ALEXANDER

You must?

CESARE

I have been summoned by King Louis.

ALEXANDER

He summons you? Why does he summon our son?

CESARE

He wishes for my advice on strategy.

ALEXANDER

After that mess at Pisa, we are sure he needs it. And you have agreed?

CESARE

I will indulge him.

ALEXANDER

Very well, whilst you are travelling the north. We would ask you to stop by a few places in Lucca, Modena and Ferrara.

He lists them off on his fingers

CESARE

What's In Lucca, Modena and Ferrara?

ALEXANDER

A potential husband - For Lucrezia.

Cesare turns and looks at Alexander in disbelief.

CESARE

Lucrezia? Her husband was only buried a little over two months ago.

ALEXANDER

Then we have waited two months too long.

Cesare turns and scowls to himself

CESARE

She will not be happy about this.

Alexander waves his hands dismissively.

ALEXANDER

We know we may not make her happy, but we were hoping that our son could improve our chances a little.

CESARE

How so?

ALEXANDER

There is little point in letting Lucrezia choose herself - After how she took to it last time. So if you could slim the choices down. Find the most suitable. You know her so much better than me. You might now what she would want in a husband –

Cesare smiles at the opportunity that has presented itself.

CESARE

Very well.

(Alexander, Micheletto and Cesare in Cesare's quarters)

*exclude Lucrezia scene.

*exclude Catherina scene

(Cesare and Micheletto on the balcony).

*exclude Lucrezia scene

INT. POPES QUARTERS. EVENING.

Alexander is sitting at his desk scribbling at documents. Vanozza looms in the door way.

VANOZZA

So France will make an attempt at Naples again?

Alexander scowls

ALEXANDER

France. Spain. They will tear Italy apart when we are trying to piece her back together.

Vanozza enters.

VANOZZA

But you do not challenge them?

ALEXANDER

One cannot be shown to choose sides.

VANOZZA

I think that we have already chosen our side.

ALEXANDER

Our son is married to France. He commands a French army. Our allegiances may lie with our son, but never with France itself.

VANOZZA

And what of our other son?

Alexander looks confused

ALEXANDER

Juan?

Vanozza looks agitated.

VANOZZA

The son married to Naples.

ALEXANDER

Joffre. What of him.

VANOZZA

Do you not think our current political position may put him at risk? And let's not forget we have given them plenty of personal reasons to hate us due to the manner of Alphonso's death.

ALEXANDER

Alphonso was a drunkard. He was killed over some tavern whore.

VANOZZA

That is one story. The other story is that Cesare killed him in a jealous rage over his sister.

ALEXANDER

Rumours.

VANOZZA

There are false rumours and then there are true rumours.

ALEXANDER

And you are to know the difference?

VANOZZA

I know what happens between mine own walls.

Alexander and Vanozza give each other a look of knowing and understanding. Alexander puts down his quill and purses his fingers together.

ALEXANDER

We have little desire to be with Joffre. He is not like his siblings. He is rather…

VANOZZA

Rather what.

ALEXANDER

Well dull. He did not have the drive or ambition that his brothers had… Or that of his … father.

Vanozza understands his hidden meaning and looks agitated again. Alexander looks away guiltily.

VANOZZA

Do not start questioning me on Joffre's parentage again.

ALEXANDER

Vanozza. I am sorry I'm not used to having an obedient child.

VANOZZA

Is it so bad that he is not like his brothers or yourself?

Alexander begins to groan and rubs his temples. Vanozza goes over to him and sits on his lap. Alexander embraces her. She has won him over.

ALEXANDER

Obedience can be a virtue.

VANOZZA

It is not only that I fear his safety. I miss my boy. He is still my baby

ALEXANDER

Not anymore. It has been some years now. How old must he be?

VANOZZA

He will be almost 19.

ALEXANDER

A man.

VANOZZA

A man is always a boy in his mother's eyes.

Alexander smiles warmly at Vanozza.

ALEXANDER

And how could we deny a mother her baby boy? Very well we send for him.

Vanozza plants a kiss on his cheek and then goes to leave.

ALEXANDER

We will send for Sancia as well. It interests us to see where her loyalties will lie.

Vanozza smiles at Alexander and Alexander smiles back.

(Micheletto, Cesare and Rufio in the garden).

INT. SANCIA'S BEDROOM. DAY

A finely furnished bedroom. Richly decorated but not as extravagant as the palaces of Rome. Moans of pleasure can be heard. We see two naked figures that are making love. They finish and roll away from each other. While they talk they begin to dress.

MARIO

I will leave for Venice this afternoon. I am to continue my training there.

SANCIA

There is no place to practice policy in Naples?

MARIO

Not for the position I seek. Father has secured me an apprenticeship at the doge's palace.

SANCIA

I thought your father hated Venice?

MARIO

He hates anywhere that is not Naples.

Sancia shrugs and continues dressing.

MARIO (CONT.)

I hear you and Joffre are returning to the cesspit of Rome.

SANCIA

The Holy father has called on us.

MARIO

And you would heed his call

SANCIA

Shouldn't we all heed the holy father's call?

MARIO

Not when he is responsible for the death of your brother. Not when he would bring his armies down on Naples.

SANCIA

Alphonso died in a brawl. And it is the French who desire Naples.

MARIO

Yes, and Alphonso would have got in the way of Cesare's allegiance with France.

Sancia turns her back to Mario so he can help do up her bodice

SANCIA

You are becoming a conspiracy theorist now cousin?

MARIO

A theory based in facts.

SANCIA

But theory none the less.

MARIO

Do you trust you will be safe with them? These Borgia bulls.

Mario kisses her neck

SANCIA

well I am married to one.

MARIO

And he has proven to be no threat.

They smile cheekily at each other. Sancia attempts to neaten her hair.

MARIO (CONT.)

Do they trust you?

SANCIA

I think they hardly know me.

MARIO

Yet they invite you into their home, under their protection?

SANCIA

I should think so.

MARIO

Then you must do something for me. For our family

SANCIA

And what is that

MARIO

You would be our eyes and ears in Rome.

SANCIA

You want me to spy?

Sancia is getting annoyed

MARIO

The Borgia's are going to bring hell down on the kingdom of Naples. Alphonso was their first victim, you may very well be their next. We need to know their moves ahead of time so we can plan and protect our family.

SANCIA

What you ask me to do will risk my life.

MARIO

If you do not do it all our lives are at risk.

SANCIA

You cannot ask me this, this is my husband's family.

MARIO

I did not think you were so loyal to your husband.

He gestures to his own body.

SANCIA

I do not enjoy my husband as a lover but I am fond of him. I love him. Like a mother might her child. I did practically raise him.

MARIO

His family murdered your brother.

SANCIA

There is no proof of this.

Mario takes Sancia in his arms and strokes her like a child. In a patronising voice he says-

MARIO

My poor, sweet, ignorant Sancia. You know nothing of the world or the family you have married in to. Rome will eat you alive.

She pushes him away forcefully.

SANCIA

It is time for you to leave.

Mario shrugs.

MARIO

I am sure other opportunities will present.

SANCIA

Do what you will Mario but I will have no part in it.

She points Mario to the door.

MARIO

Very well cousin. But take my advice. Be sure that your stay in Rome is a short one. The Apocalypse approaches for the Borgias and I would not like you to be present when it hits.

He rubs her chin and leaves the room. Sancia looks concerned.

INT. PAPAL BARRACKS. DAY

Cesare and Micheletto are inspecting weapons and armour. Cesare is counting.

MICHELETTO

You are stockpiling for war my lord?

CESARE

Not yet Micheletto, but it pays to be prepared.

MICHELETTO

Prepared for what?

CESARE

For the future.

MICHELETTO

The future you bring my lord?

Cesare nods.

CESARE

I am going to Milan. King Louis is there. We must talk strategy.

MICHELETTO

What kind of strategy

CESARE

One which gives me lands, titles and victory.

Cesare grins confidently

MICHELETTO

Will I come with you my lord?

CESARE

You will stay in Rome

MICHELETTO

You will need a guard my lord.

CESARE

I will take a few men. A large guard would draw too much attention.

MICHELETTO

If you took me it would need only be the two of us.

CESARE

No Micheletto. I need you here.

MICHELETTO

What use am I here?

CESARE

I need you to watch over my condiottore. Orsini, Baglioni, Vitelli

MICHELETTO

Rufio?

CESARE

Especially Rufio

MICHELETTO

So you do not trust him?

CESARE

If there is a reason to mistrust him, I am sure you will find it.

They go back to inspecting.

INT. CARRIAGE. DAY

Sancia and Joffre are in a carriage it is lavishly decorated. The streets of Rome can be seen outside the window. Joffre looks form the carriage in awe at the sights of Rome.

SANCIA

Will you not be embarrassed to emerge from the carriage?

JOFFRE

Why should I be embarrassed?

SANCIA

You did not ride with the men. On horseback.

JOFFRE

It was a long journey.

SANCIA

You ride in coach with the women, like a child.

JOFFRE

I look around and I see no children.

He looks at Sancia critically.

Sancia rolls her eyes and turns her face to look out the window.

SANCIA

Well I do.

She says to herself.

EXT. BORGIA PALACE. DAY

Joffre and Sancia's carriage arrives. Vanozza and Lucrezia greet them. Joffre is looking around for his father, but he does not see him. He pouts. They enter the palace.

INT. BORGIA GARDEN. DAY

Alexander is waiting in the garden with Giovanni.

SANCIA (O.S)

I do enjoy the quaintness of Squillace, but something must be said about the grandness of Rome

LUCREZIA (O.S)

Much can be said for Rome, not all grand.

Lucrezia and Sancia enter laughing Joffre is behind them Vanozza holding his arm. Joffre spots Alexander and goes to him.

JOFFRE

Father.

ALEXANDER

Our son.

They embrace. Then Alexander holds him at a distance and examines him.

ALEXANDER

What a fine man you have grown in to.

Sancia has come up behind them.

SANCIA

We did the best we could with him.

She is playful.

Alexander kisses Sancia on the cheeks.

ALEXANDER

And Sancia, is it possible you have grown more lovely?

She blushes.

ALEXANDER

And how was the trip from - what is it?

JOFFRE

Squillace

ALEXANDER

Squillace, yes.

JOFFRE

Boring, tedious, tiring-

SANCIA

But Joffre was able to relax in the carriage. The whole way.

Joffre flashes her an angry look. She smiles.

ALEXANDER

Yes well, journeys can be tedious but after a long one we are sure to have emerged a new person.

SANCIA

I can assure you your holiness, Joffre is still the same little boy you used to know.

ALEXANDER

Then it is good to see our little boy again.

Alexander puts his hand on Joffre's shoulder and then walks past him to leave.

JOFFRE

You are leaving? We only just got here?

ALEXANDER

We would love to stay and talk about your journey from - Squillace, but the papacy awaits. Do come and visit us soon.

Alexander exits into the garden.

Joffre watches him leave he looks disappointed.

Sancia walks over to Lucrezia and Giovanni.

SANCIA

And who is this little one?

LUCREZIA

This one is Giovanni

Sancia looks him over

SANCIA

Isn't he dazzling.

Giovanni walks to Sancia and wraps his little arms around her. Sancia is enraptured.

VANOZZA

He likes you Sancia.

They look to Lucrezia who looks as if she's going to pass out.

SANCIA

Are you alright?

Lucrezia collapses and they all clamour to help her.