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'*

6. Chapter 6

CHAPTER 6 – A PENANCE TOO LATE

(Cesare and wild bunch in Naples Palace)

(*exclude Pia, Micheletto and Lucrezia in nunnery chapel)

(Cesare and wild bunch on rd. from Naples)

(*exclude Cesare and Lucrezia in St peters church)

INT. BORGIA GARDEN. DAY

Cesare strides furiously into the garden over to Micheletto who is standing with Sancia.

CESARE

My sister where is she?

Micheletto hangs his head in shame

MICHELETTO

Not here my lord.

Cesare grabs him by his doublet violently

CESARE

You said you would bring her back!

MICHELETTO

My lord, It seems she departed not long after she was bought to the Villa. Your sister in law would not tell me where she went.

Cesare lets go of Micheletto and turns to Sancia. He grabs her just as roughly as he grabbed hold of Micheletto.

CESARE

Where is she?

SANCIA

I vowed I would tell no one where she went!

CESARE

Do you understand what could have happened to her and the children? She could still be in danger.

SANCIA

I do not think danger will come to her where she is.

Cesare pulls his dagger and puts it to her throat.

CESARE

Danger will come to you if you do not tell me where she is!

SANCIA

In a Nunnery, On the road from Naples to Benevento

Cesare throws Sancia violently to the ground. she cries.

Cesare walks out of the entrance to the Borgia palace, Micheletto follows

MICHELETTO

You are leaving my lord?

CESARE

I need to find my sister.

MICHELETTO

I'll come with you.

CESARE

No Micheletto, I go alone

MICHELETTO

There may be dangers ahead.

CESARE

The only danger in those parts is me.

Micheletto watches him leave.

EXT. NUNNERY. DUSK

Lucrezia is working in the vegetable garden with Pia and some other nuns. A figure cowled in monks robes approaches from the shadows of the convent.

CESARE

Lucrezia.

He whispers.

Lucrezia turns to see the figure. She catches a glimpse of Cesare's face. Cesare walks backwards further into the shadow. Lucrezia looks around to see if anyone will notice her and then follows Cesare.

As she departs Pia looks up from her work and watches them walk away.

INT. PIA AND LUCREZIA'S CELL. DUSK

Lucrezia walks into the room closely followed by Cesare, he removes his hood and robe as he enters. Lucrezia lights a lantern as Cesare closes the door behind them. They embrace. Cesare admires her.

CESARE

So my sister wishes to play the part of Heloise?

LUCREZIA

Why brother do you wish to play the part of Abelard?

CESARE

If this were to be a permanent decision, I may consider it.

Cesare removes Lucrezia's bonnet and wimple and her golden locks tumble out. He smiles relieved

LUCREZIA

And give up your wife, your lands, your army. That would be an unlikely conclusion for Cesare Borgia.

Cesare runs his hands through her hair and Lucrezia relishes in his embrace

(*The dialogue continues from Jordan's screenplay where Cesare and Lucrezia are in the church from where she says she considered taking a name, until where he asks her if she was hiding)

Lucrezia steps away from Cesare and turns her back to him.

LUCREZIA

A convent is a perfectly suitable place for a widow to grieve. It has only been a year since my husband's death and with the birth of Rodrigo and everything else that has happened. I have not had time to mourn.

She looks back at him

LUCREZIA (CONT.)

And I think it right that I serve my Penance. For what we did - For the way we did it.

A tear runs down her cheek.

LUCREZIA (CONT.)

I also needed time to think - about marriage.

Cesare comes behind her and embraces her. He kisses her hair.

CESARE

I thought coming to live with me in France was a promising idea. If we are to be together.

LUCREZIA

Cesare. We cannot be together. We would always be cowled in hoods and speaking in whispers and looking over our shoulders.

CESARE

It has worked in the past.

LUCREZIA

We have been lucky Cesare. We have been exceedingly lucky.

CESARE

Jesus loves me.

Cesare says cheekily. Nodding to the wooden crucifix above Lucrezia's bed

LUCREZIA

You once said to me that what happened between us should stay in the past.

Cesare is not happy.

CESARE

And neither of us left it in the past - the present has proven that is an unnatural course. And now the events have changed. You have my child. How could I put the two I love most in the past?

LUCREZIA

It is safer for all of us if you do. Safer for me, safer for you and safer for Rodrigo.

Cesare is getting angry

CESARE

You would keep my son away from me?

LUCREZIA

Remember brother he is not your son, he is your nephew.

Cesare grabs Lucrezia roughly by the shoulders and begins to shake her.

CESARE

He is my son! He is mine, you are both mine.

Lucrezia looks scared

LUCREZIA

Cesare you are hurting me!

CESARE

Well you are killing me! After everything we have done. After everything I have done. Everything I have done for you and for us. You are accountable for the majority of scars upon my soul! And now you want to leave it in the past?

LUCREZIA

Cesare stop! You know it cannot be. You know this!

Cesare turns Lucrezia over in his arms and lifts her tunic and underskirts. He unties his pants with one hand and attempts to takes her from behind while she struggles.

CESARE

You are mine Lucrezia. Mine!

Lucrezia continues to struggle and cry. Cesare continues to overpower her.

MOTHER SUPERIOR (O.S)

Sister Angela?

Mother opens the door, and Cesare turns. The mother superior crosses herself

MOTHER SUPERIOR

Incest!

Cesare turns quickly and removes the sword from the hilt at his side. Mother turns to run but he grabs her and throws her to the ground inside the room shutting the door behind them. Lucrezia is crying and trying to stop him. Mother on the floor puts her hands together begging as if in prayer, she tries to scream as Cesare lifts his sword. Cesare sticks his sword into her throat. Her scream is muffled as she chokes on the blood pouring out of her mouth and throat.

LUCREZIA

No Cesare. No!

She crouches over the mother and attempts to stop the blood. Cesare hastily hilts his sword and ties his pants while he examines the scene before him. Lucrezia is crying.

LUCREZIA

You kill an innocent! a servant of god! You have gone mad!

Cesare grabs Lucrezia by the arm and brings her to her feet. With his free arm he grabs the lit lantern from the wall and throws it on the mothers superiors body setting it alight.

CESARE

Come sister

Cesare pulls Lucrezia out by her arm, she does not resist.

EXT. Convent. Dusk

The sisters are running from the garden bringing buckets of water Yelling and sounds of panic can be heard. In the background two figures ride off on a single horse.

EXT. WOODLAND PATH. NIGHT

Cesare and Lucrezia ride on the horse. Lucrezia in front of Cesare. Lucrezia's face is flushed and wet from tears but she does not cry anymore. Cesare is anguished with a look of guilt. Lucrezia begins to look around she recognises the path to Rome.

LUCREZIA

Where are we going?

CESARE

To Rome

LUCREZIA

My children…

CESARE

They are in Rome.

LUCREZIA

How long have they been there?

CESARE

They arrived today. There was an attempt on their lives. My men. They plotted against me

Lucrezia is hyperventilating

LUCREZIA

My children. I have put them in danger there is nowhere they are safe.

Lucrezia closes her eyes and begins to topple from the horse. Cesare grabs her.

CESARE

Sister?

LUCREZIA

I cannot go on brother!

CESARE

We will rest.

EXT. WOODLAND. NIGHT

Cesare and Lucrezia sit by a tree Cesare stirs the fire and then looks at her. Lucrezia is wrapped in a blanket. She stares into the fire solemnly.

CESARE

You should remove your tunic. We do not want evidence of where we have been.

Lucrezia drops the blanket and removes the tunic and throws it on to the fire. The fire is dulled for a moment and then grows as the tunic alights. Lucrezia is now dressed in an undershirt her breasts can be seen underneath and Cesare eyes linger on them. Lucrezia shivers and pulls the blanket up. Cesare sits beside her and puts his arm around her.

CESARE

Forgive me sister.

LUCREZIA

I will forgive you Cesare, when I can forgive myself.

Cesare moves closer to her and cups her face in his hand he kisses both cheeks.

CESARE

I am mad. I am mad for you. I want what I cannot have.

Lucrezia continues to look into the fire thoughtfully.

LUCREZIA

A burden we share.

CESARE

I know it is best for both of us that you marry, but can you blame me for wanting you by my side? You are my first love, and I feel my only love. I need to protect you.

Lucrezia looks at him

LUCREZIA

I know my love. But can you protect me from yourself?

Cesare embraces her.

CESARE

I shall put you in harm's way, but I would never harm you.

LUCREZIA

And what of those around me? Giovanni, Rodrigo?

CESARE

Never!

LUCREZIA

My husband?

CESARE

I admit I do not have the best record with husbands.

LUCREZIA

I want a husband Cesare. I want a home, a family. I want what you have already. And I want to be happy. Would you deny me this?

CESARE

I could not deny you anything.

LUCREZIA

Then let me marry

(*the dialogue continues where Cesare and Lucrezia are in the church from where Cesare says you could marry as I have for convenience, to where she says she wants to be freed from this love)

CESARE

You would never be free of my love.

He kisses her passionately.

(*The dialogue continues from where Cesare and Lucrezia are in the church from where Lucrezia says you would find me a husband until where she says so my heart will belong to you)

Cesare kisses her neck.

CESARE

Your heart

He kisses her chest

CESARE

Your soul

He kisses her breast

CESARE

Your body

Cesare continues to lavish her with kisses while he lays her back, he lifts her undershirt and unties his pants. They make love. As Cesare sees it.

We see Lucrezia's face and she whispers, inaudible to Cesare.

LUCREZIA

One. Two. Three. Four…

EXT. STABLES. DAWN

Lucrezia and Cesare enter on horseback. Micheletto sees them approach and goes to help Lucrezia off the horse. Lucrezia gives him a tired smile and then walks away. Cesare gets of the horse and leads it toward the stable with Micheletto.

MICHELETTO

You found her then.

CESARE

I did, she was resting. Taking time out to think about her imminent marriage

MICHELETTO

So she will marry again?

CESARE

This is her choice.

Cesare is sullen

MICHELETTO

This disappoints you?

CESARE

In a way you could not understand.

MICHELETTO

I understand. You Forget My lord, I know much of Forbidden love.

Cesare looks angrily at Micheletto but his expression melts away and he smiles. They walk off together.

(Cesare and Alexander in the papal apartments)

(CONT.)

Alexander suddenly remembers something and goes to his desk he holds two letters he hands one to Cesare

ALEXANDER

Speaking of deception. This came soon after you returned from Venice.

Cesare takes the letter and examines it.

CESARE

You did not think to inform me sooner?

ALEXANDER

You were quite preoccupied.

Cesare continues reading

ALEXANDER

It names the man responsible for the attack on you and your manservant. A Mario Carlino.

CESARE

You know of him?

ALEXANDER

He is a Cousin to Alphonso II of Naples. And to your sister in law Sancia

Cesare is intrigued. Alexander hands him the other letter.

ALEXANDER(CONT.)

And then there is this.

Cesare reads it, and then scrunches it in his hand.

(Cesare and Micheletto in the Vatican corridor)

Through to

(Paulo Orsini and Cesare on the Balcony* but where they talk of the convent and the nun they talk of the villa and the maid)

(Vanozza and Lucrezia in the Borgia Villa where *except there is no mention of her boy)

INT. VATICAN PALACE. DAY

The pope is in full regalia, Sancia comes before him she looks around wondering why the formality. Joffre and Cesare are standing by their father. Joffre looks triumphant. She knows something is wrong. She bows to Alexander.

SANCIA

You requested to see me your holiness?

Alexander holds up the letter from Mario

ALEXANDER

It is the most unholiest of sins to plot against ones family

Sancia is confused.

SANCIA

I know not what you speak of

Alexander opens the letter and begins to read.

ALEXANDER

I have failed. I will be discovered. Get out of Rome now. M

Sancia's face is ashen.

ALEXANDER

You know of any men who might tell you to leave Rome whose names might start with M

Sancia hesitates

SANCIA

It could be anyone

CESARE

Could it be your Cousin Mario? The one you were sleeping with?

We see Joffre smiling

CESARE (CONT.)

the one who hired assassins to kill myself and Don Micheletto in Venice.

Sancia falls to her knees.

SANCIA

Your holiness you must believe me I knew nothing of this. Nothing at all!

CESARE

And then She took my sisters children to her private Villa and invited assassins there herself to kill them.

Sancia is aghast

SANCIA

Lies!

CESARE

My manservant got there just in time to save them. Sancia would have killed two infants. her own nephews.

SANCIA

Never! I would never harm a hair on their precious heads!

She looks to Joffre

SANCIA (CONT.)

Joffre defend me!

JOFFRE

She is guilty of adultery. She fornicated with my brother, this Mario and a number of other men. She is the most corrupt of souls.

ALEXANDER

Sancia, you are accused of adultery, infanticide, parricide and treason against the holy mother church. You will be sent to Castel St. Angelo while we investigate the claims of your husband and brother in law.

Alexander motions to the guards.

ALEXANDER (CONT.)

Guards. Take her away

The guards approach Sancia and haul her up by her arms

SANCIA

No, no it is not true! Please Joffre

Joffre looks away

SANCIA (CONT.)

Cesare?

Cesare glares at her without emotion

SANCIA (CONT.)

Lucrezia, you must call Lucrezia she knows the truth!

ALEXANDER

You have attempted to take the lives of her children. We would save her the trauma of reliving such a nightmare.

SANCIA

Call Lucrezia!

She continues to scream for Lucrezia and resist as the guards drag her out.

Joffre and Alexander have a look of guilt on their faces. Cesare is nonchalant.