IN WHICH ARE LOGGED THE CONTENTS OF THE SCRAP PAPER BIN OF THE ROSE READING ROOM OF THE NEW YORK PUBLIC LIBRARY AT 42ND AND 5TH

Wednesday 7 October 2009

Bastard Painter

pp. 8-58, 105-107

unnamed screenplay

first scene heading (p. 9):

INT. DOMINICAN REFECTORY

first full line of dialogue:

MICHAELANGELO (CONT'D)
(as if the name means nothing)
Leonardo DaVinci. Bastard painter.

8.

MICHELANGELO (CONT'D) (as if the name means

nothing)

Leonardo DaVinci. Bastard painter. Perhaps he's a grand artist. When he's not advising others on how to work. Or begging for commissions. Not to mention his penchant for lowlives.

Michelangelo continues to hack away.

STUDENT

I heard that his painting at the Dominican refectory is breathtaking.

MICHELANGELO

Oh, his "Last Supper?" ... SURPRISE! Unfinished.

(then)

What an appropriate name for a DaVinci painting. Had the savior HIMSELF commissioned it, we would all still

be waiting for the passion.

(then)

What did the critics say about my Pieta?

STUDENT

They said it was timeless, master.

MICHELANGELO

(pleased)

Timeless. That is the greatest baptism bestowed upon a work. That it is timeless.

STUDENT (still reading/not paying attention)

But DaVinci is wildly popular. And critically acclaimed.

Michelangelo pauses, becomes lost in thought. A moment later, he suddenly explodes in anger, lashing out at his student.

MICHELANGELO Get out! GET OUT!!!

Scared and shocked, the student scurries away. Michelangelo hops onto the base of his future masterpiece and talks to the barely recognizable figure like a lover would.

MICHELANGELO (CONT'D) With this damaged marble my David will emerge, victorious, to tower over the Palazzo Vecchio.

(MORE)

9.

MICHELANGELO (CONT'D) For you, they will widen the streets and tear down archways, astounding

all who see you! You will be a warning to all who govern Florence, to do so justly and bravely.

(sensuously caressing the marble)

Eyes watchful. Neck of a bull. Hands of a killer ...

Excited Michelangelo hops off the marble before dropping to a knee and bowing his head.

MICHELANGELO (CONT'D) God the father forgive me. And bless me. For I am a laborer. Your humble laborer. Help me to do your will.

(painfully)

And bless that Godless wretch Da Vinci. I pray for his cursed, lazy, promiscuous soul.

with that, Michelangelo crosses himself, rises and attacks the marble again.

CUT TO

INT. DOMINICAN REFECTORY -- DAY

This large room that is the center for the Dominican's Seminary is abandoned and it looks to have been so for some time. In the center, PAINTING EQUIPMENT has been left and is gathering dust.

NEARBY, On a WALL - The painting that is "The Last Supper". It is breathtaking, no doubt. But look closer. It isn't finished and a character seems to be missing.

PRIOR (0. s. )

So you see your excellency. Our convent feels like we have been duped ...

INT. DUKE LODVICO'S QUARTERS -- DAY

The Duke's chambers are a proud, royal setting. A GUARD stands about in full knight regalia as the Duke himself, a middle aged Moor, donned in plush velvet, listens to the Prior's complaints.

PRIOR

He's already spent the commission

and when confronted became contentious claiming to have worked on the fresco two hours a day for the last year.

(MORE)

10.

PRIOR (CONT'D)

But convent witnesses testify that he has not come NEAR the refectory in at least the same time.

After a moment of thought the Moor speaks.

DUKE Where is he now?

PRIOR He is in Milan.

DUKE (thinking) Leonardo DaVinci ... (suddenly)

I will have him summoned.

The DUKE nods to the GUARD who takes this as an order.

CUT TO

EXT. ROOFTOP OF CORTE VECHIA -- DAY

In the middle of Milan, atop this ancient building stands Leonardo DaVinci and his young Salai. Attached to Leonardo's back is a ridiculous, if ingenious, flying apparatus. And he is all too excited to try it out.

LEONARDO

My first vision, Salai, was one of flight.

CUT TO

EXT. ITALIAN COUNTRYSIDE -- DAY

In the middle of an EMPTY FIELD, a small BABY lay in his CRADLE.

LEONARDO (0. S. )

I was in my carriage as an infant, laying peacefully in the fields -

P.O.V. BABY -- CONTINUOUS

The baby watches as a huge KITE comes dropping into his cradle.

LEONARDO (0. S.)

When from the sky came closing a great and magnificent kite!

The kite pulls the smiling baby out of his cradle and into the sky.

11.

LEONARDO (O.S.) (CONT'D) It SWEPT down and into my cradle and carried me into the sky!

BACK TO ROOFTOP

SALAI

Really?!

LEONARDO

No. Not really, Salai. It was just a vision. That is all. It has taken me years of study, contemplating the flight of birds. Probing their anatomy, considering and calculating their wingspan in relation to their weight. To make this.

with the release of a lever, two impressive wings sprout from the apparatus. with reeds and silk, the contraption does not look unlike an aboriginal hang glider. The boy is excited. The two proceed to the edge of the roof.

LEONARDO (CONT'D)

Yes, young Salai. I have concluded that flight, like any other observation, is an instrument functioning in accordance to mathematical laws of force. And WE have the power to duplicate this-function by reproducing these laws according to US!

The two look over the edge. It is a good three stories down. Leonardo suddenly loses his nerve.

LEONARDO (CONT'D)

And that is why YOU will put into practice my physical experiment!

Salai knows what he is asking.

SALAI

Me?!

LEONARDO Yes, you, young Salai.

SALAI

What about your first memory?

LEONARDO It was a vision.

SALAI

But who am I to steal from my master's glory?

12.

LEONARDO

A willing student always -

LABORER (0. S. )

Good day!

The artist and boy look over to a man who approaches.

LABORER (CONT'D)

The roof of the Corte Vecchia is off limits to the citizens.

(noticing Leonardo)

Hey, aren't you that painter, artisan, master guy from Vinci?

Leonardo is proud to be recognized.

LEONARDO

Yes. I am Leonardo of Vinci.

LABORER

What are you painting or something?

Uh, yeah, he's not too bright.

LEONARDO

No, rather -

LABORER

'Cause I would love to assist you on something. Bit of an artist myself.

LEONARDO (smelling a mark) Really?

Leonardo places his arms around the Laborer; confides to him.

LEONARDO (CONT'D) Actually, I could use a collaborator on my next commission.

LABORER

(smiling unsuspectingly)

Oh, that's splendid. Just splendid.

CUT TO

EXT. THE GROUNDS OUTSIDE THE CORTE VECHIA -- MOMENTS LATER

Leonardo and Salai look to the rooftop (at a safe distance) Leonardo watches interested but detached. Salai looks on painfully as a BODY plummets from the roof.

LABORER Ahhhhhhhhhhh!

13.

An accompanying thud and moan follow immediately. Leonardo and Salai stand slack-jawed.

LEONARDO

He dropped like a stone.

SALAI

I don't think stones drop with such speed.

LEONARDO

Yes they do, Salai. Stones of all sizes. But what has been proven is that there are no fixed rule between mass and wing span. Pelicans for instance have quite short wing spans, whereas bats have very long ones for there size. Perhaps it was the wing composition.

(then)

Write this down Salai!

And the two turn to leave. Salai begins taking his diction.

LEONARDO (CONT'D) Pinewood strengthened with lime. Sized silk. Canvass covered with feathers. Leather treated with alum -

DUKE'S GUARD (O.S.) LEONARDO OF VINCI!

The PAIR look over to see the DUKE'S GUARD. And he's brought reinforcements.

DUKE'S GUARD (CONT'D) Your presence has been requested by the Duke Lodvico.

This seems to hold some consequence.

CUT TO

INT. DUKE LODVICO'S CHAMBERS -- DAY

With the Prior standing at his side, the Duke sits behind his desk like a judge. Seated in front of him with the ubiquitous Salai, is Leonardo DaVinci.

DUKE

Leonardo. It has been brought to my attention that your commissioned painting for the Dominicans has not been completed. Could you explain?

LEONARDO

Yes, your excellency. I am still working on it.

15.

DUKE Yes, FLORENCE.

(then)

And it's a fresco. A finished work could bode well for you. As well as keep you in graces with the church.

LEONARDO How sizable?

DUKE

Very.

LEONARDO

And if I finish, perhaps you could use your considerable influence for a recommendation?

DUKE

I could.

Leonardo smiles.

LEONARDO

Then your excellency need not to worry. For my long search has ended.

Leonardo looks coldly at the Prior, whose face contorts in panic.

CUT TO

INT. DOMINICAN REFECTORY -- DAY

As APPLAUSE rattles through the room.

CLOSE SHOT On JUDAS as depicted in DaVinci's "LAST SUPPER" painting. He looks a lot like ...

CLOSE SHOT On a very embarrassed PRIOR.

Leonardo is being toasted by the DUKE with a crowd of admirers. Many DOMINICANS are gathered about his painting, a jaw-dropping exhibition of painting mastery.

DUKE (raising a cup)

Cheers to Leonardo DaVinci and his last grand masterpiece. Salute!

CROWD

Salute!

DUKE

(leaning to Leonardo)

You should start packing for Florence.

Leonardo gives an uncertain smile. The APPLAUSE echoes through -

16.

INT. MICHELANGELO'S STUDIO -- MORNING

Michelangelo is at the foot of his now emerging DAVID, hammering away. He looks exhausted and war-torn.

VITTORIA (0. s. ) Good morning.

Michelangelo turns to see VITTORIA, 30, a stunningly beautiful, refined woman who acts as a benefactor of sorts to him.

VITTORIA (CONT'D)

(re: stance)

I thought you would go contrapposto ... Brilliant. Brilliant. When will it

be ready?

MICHELANGELO I'm not sure ...

Vittoria realizes that this is not uncertainty, but rather insecurity.

VITTORIA (gently)

You worry about the critics too much. (then)

Art never comes before its time, Michelangelo.

Michelangelo dismisses this; wipes his brow and continues working.

VITTORIA (CONT'D) (changing tone)

I just received word of a grand new commission.

Michelangelo's interest is piqued. Vittoria smiles.

VITTORIA (CONT'D) Here, in Florence.

MICHELANGELO Religious or secular?

VITTORIA

Secular.

Suddenly, Michelangelo is excited.

MICHELANGELO

Really? Perhaps I could do something for my father? He could even see me work -

17.

Michelangelo realizes there's a catch. He looks at Vittoria to hear what it is.

VITTORIA (subduing his excitement) It's a fresco.

Suddenly, he is quiet. Then pissed.

MICHELANGELO DAMMIT! WHY A FRESCO?

He begins pacing about, frustrated.

MICHELANGELO (CONT'D) If it's a fresco, I'm at least a half dozen artists down.

VITTORIA

I think you have a very good chance. Who else could be chosen over you?

MICHELANGELO

MANINO.

INTERCUT - Of a portly Italian, face down in his PAINTS at his disheveled studio.

VITTORIA He's a drunk.

MICHELANGELO

Canterna.

QUICK SHOT - Of a screaming NAKED MAN running like mad through a small village.

VITTORIA

He's mad.

MICHELANGELO

Micelli.

QUICK SHOT - Of a man dropping from a TREE'S LIMB with a noose around his neck.

VITTORIA Killed himself.

MICHELANGELO

Ciardi.

QUICK SHOT - Of a proud ARTIST, after having unveiled a PORTRAIT only to see his abashed and angered benefactor pull out a KNIFE and attack him.

18.

VITTORIA He was killed.

Michelangelo thinks. Suddenly stops. DaVinci.

MICHELANGELO

DaVinci.

A hesitation. Isn't he too old?

VITTORIA

Leonardo? I heard he stopped painting.

MICHELANGELO

Oh, he stopped painting alright. But it hasn't stopped him from collecting commissions. And he still has supporters in the council.

(thinking)

Yes ... If it's a fresco commission, DaVinci is going to come calling.

CUT TO

EXT. ITALLIAN COUNTRYSIDE -- DAY

It's a chaotic scene as Leonardo is setting free a collection of caged ANIMALS; Salai at his side. Stubborn turkeys remain still and chickens flap about.

SALAI

What's it like in Florence?

LEONARDO (reminiscing, daydreaming)

Ahhh. Florence ... I'm something of a divinity there.

(then)

It's a city that values the artist as much as the art. A beautiful place filled with beautiful people.

SALAI

So how come we don't go?

LEONARDO

We don't need to, Salai.

CUT TO

INT. MACHIAVELLI'S OFFICE -- DAY

This place is very anti-Machievellian. Bright and cozy. NICCOLLO himself is a cheery looking, thin lipped and a selfassured letch. He's eating a rather large leg of lamb and making a good mess of himself.

19.

Seated across from him are Leonardo and Salai.

LEONARDO (leaning to Salai,

bragging)

Niccolo Machiavelli has his finger on the pulse of Italian power politics. If anyone knows more about the state of affairs in this country that reflect our livelihood politically, theologically and artistically, it is THIS man.

Machiavelli swigs from a flask of wine and lets out a huge BELCH. He's inebriated too.

SALAI

Yes, he's very impressive.

MACHIAVELLI

Leonardo! 'Scuse me. God dam!! Good to see you! Who's this?

LEONARDO

This is Giacomo. But he answers to Salai.

MACHIAVELLI (frisking the boy's

arm - a hand shake)

Right. Very nice. Two names. Always good to have an alias - in theory ... SO. You ever finish that bronze horse for uhf what's his name?

LEONARDO

No they -

MACHIAVELLI

- That's right! They needed the bronze for their little skirmish.

War always supercedes, art, Leonardo. You should know that.

(then)

SO. What can I help you with?

LEONARDO

I wanted a briefing of the state of affairs.

MACHIAVELLI

For where?

LEONARDO (wincing) Florence?

Machiavelli studies Leonardo.

20.

MACHIAVELLI

Florence? You've got some companellos. (then)

I like it. So when do you leave.

Leonardo hesitates. He draws his CONCH which has been dressed with even more ridiculous fixings.

LEONARDO

I was thinking of calling out to them using this.

(re: conch)

Machiavelli looks at Salai who slinks in his seat.

LEONARDO (CONT'D) (poorly explaining)

Using the ... Particles in the air to carry the missive ...

Machiavelli takes the CONCH. Studies it.

MACHIAVELLI

You're losing your mind, Leonardo. (then)

You need that commission, don't you?

LEONARDO

(nervously)

Well, yes, and I was hoping with the right influence I might have the opportuni ty ...

Machiaevelli knows what Leonardo wants. And he seems up to the challenge.

MACHIAVELLI

You may be too late. And your name doesn't mean what it used to.

(then)

Plus, there's a new artist that's turning heads over there. Some grouchy, religious kid; Michelangelosomethin' .

LEONARDO Michelangelo?

MACHIAVELLI

Yeah, that's it. You know him?

Leonardo grows cold as he thinks.

LEONARDO (miffed)

Yes, I've heard of him.

21.

MACHIAVELLI Then you know he's good.

LEONARDO (scoffing)

He's a child.

MACHIAVELLI

Don't underestimate youth, Leonardo.

LEONARDO Is he greater than I?

MACHIAVELLI

Well not as famous - at least with the older crowd. Not yet anyway.

Leonardo looks disappointed.

MACHIAVELLI (CONT'D) Leonardo, sometimes it's better to be famous than great - in theory.

LEONARDO

Yes. Thank you for that pearl of wisdom.

Machiavelli rises. He seems inspired.

MACHIAVELLI

But ... This could be an opportunity. I do know most of the players there. You could reinvent yourself ... YES ... And I could help. It could be time for us to announce to ALL of Italy that Leonardo DaVinci is back!

LEONARDO

EXCELLENT.

(then sheepishly) will you come with me?

MACHIAVELLI

Hell no.

Machiavelli starts pacing like a zoo animal.

MACHIAVELLI (CONT'D) It's worse than Rome there. You have to sleep with a Cardinal just to paint a pub sign in that town. I

don't know if I have the pull anymore.

SALAI

But you have your finger on the pulse of power politics.

22.

MACHIAVELLI

This is true. But, I JUST received word, very confidential, that the French are on their way. There's been a secret alliance with Venice. Florence is neutral. Milan is going down.

LEONARDO

Good God, when did this happen?

MACHIAVELLI

You've got to keep your face out the books sometimes, Leonardo. There's a whole world out there.

LEONARDO (worried)

How much time do we have?

MACHIAVELLI

I just received word that the French were crossing the Alps. I would say you have a good six months. Maybe a year. Depending on weather. But a French occupied Milan is better than Florence any week of the day.

SFX - Of the thunderous roaring of horses stampeding through the streets is heard from inside. It grabs their attention.

EXT. MACHIAVELLI'S OFFICE -- MOMENTS LATER

The three watch as an ARMY of FRENCH militia race through the streets of Milan on horseback. Soldiers scoop women off their feet as others pillage and loot.

MACHIAVELLI (talking over the noise)

Then again they could arrive sooner! (watching the

plummeting)

Actually, Florence is very nice this time of year! I'll meet you there!

CUT TO

MUSIC OVER SERIES OF SHOTS

EXT. MICHELANGELO'S STUDIO -- DAY

Michelangelo confidently exits his studio and points to the arch above the door. TWO MEN with sledge hammers SLAM the arch, crumbling it to the ground.

From inside, EIGHT MEN with thick ropes emerge, pull with all their might. And out from the studio comes the massive

23.

base of the structure. The statue itself is concealed with a muslin sheet which is wrapped around it.

EXT. FLORENCE STREETS

MOMENTS LATER

A CROWD begins to gather at the spectacle, following the group of men through the streets who move this magnificent covered thing.

The SHADOW it casts is immense. WOMEN cross themselves as it passes. MEN drop their jaws. ALL are in awe of this massive structure which is being moved. And all begin to follow. It becomes a parade with Michelangelo leading the way and all the townsfolk following.

EXT. PIAZZA VECCHIO -- MOMENTS LATER

All wait for the moment of truth. Michelangelo orchestrates the perfect spot for his DAVID, and the men, a DOZEN with ropes, SIX more at the base place it down.

Once leaned up, the statue, still covered, TOWERS OVER the townsfolk. ALL back away from it - more fearful than respectful.

IN THE REAR of the CROWD, an older, dour MAN stands. His eyes meet with Michelangelo's. Michelangelo looks for approval of some kind. But it does not come.

Michelangelo re-focuses on the task at hand. the strings around the sheet that cover it.

Then unties

After a moment, he looks to the crowd and dramatically PULLS THE SHEET!!

ALL GASP!!

AN OLD WOMAN FAINTS, as other older woman look on in horror. A younger woman smiles. (As does a man). Another woman covers her child's eyes. MEN look on stupefied.

And now we see the gigantic masterpiece DAVID, massive, dazzling white, arrogant, NAKED.

A near riot breaks out. Several TOWNSPEOPLE begin to exit en masse, including the older, dour MAN in the rear.

But those that stay, move even closer, amazed at the piece of work.

Suddenly, a buzz as the crowd quietly separates and a donned up CARDINAL makes his way through.

Once through the crowd he looks up at the magnificent site. He approaches Michelangelo who drops to his knees and kisses the Cardinal's outstretched hands. The Cardinal blesses the artist and then turns to the statue. He doesn't know what to make of it at first.

24.

And his opinion seems to bear much weight. But after a critical moment of staring ... he applauds.

And the CROWD erupts in CHEERS for Michelangelo.

MAN 1

All hail Michelangelo Buonarroti! The greatest artist in all of Italy!

The CROWD cheers.

YEAH! !

MAN 1 (CONT' D) Greater than Donatello!

The CROWD cheers.

YEAH! !

MAN 1 (CONT'D) Greater than Verrocchio!

The CROWD cheers.

YEAH! !

MAN 1 (CONT'D) Greater than ...

The crowd is waiting ... SILENCE.

MAN 1 (CONT'D) (unsure)

... Leonardo DaVinci?

MORE SILENCE

As the crowd looks at one another in disbelief. Michelangelo stands waiting for the approval. Suddenly and spontaneously the crowd erupts! Men rush to Michelangelo and throw him up on their shoulders. Women throw him flowers. He is swept

away.

The CHEERS echo into the ...

EXT. FLORENCE COUNTRYSIDE ROAD -- NIGHT

Leonardo and Salai are en route to Florence via horsedrawn CARRIAGE. (And packed with a ridiculous amount of posessions.)

SALAI

Will we have large quarters?

LEONARDO

No, young Salai. Small quarters arouse the artist's mind. While large quarters distract it.

SALAI

You mean we can't afford large quarters?

(MORE)

25.

SALAI (CONT'D) (off Leonardo's incredulous look)

When will they announce the commission?

LEONARDO

The announcement will come only as a formality, Salai. Until then, Machievelli is spreading the word of our arrival and my reputation awaits us.

(confidently; smiling)

And we will be treated like deities.

CROSSFADE

INT. FLORENCE GRAND COUNCIL CHAMBER HALL -- DAY

Through the hall of the chamber we follow a small boy who carries with him a LETTER. He stops and knocks.

VOICE (O.S.)

Enter!

The boy does so.

INT. CHAMBER HALL COUNCIL OFFICE -- CONTINUOUS

This is the most chaotic council you'll ever see. Hardly the type of men that will usher in a new republic. About a DOZEN MEN gathered about a table, eating, drinking and arguing.

The leader of the men is the gonfalonier. PIERO DODERINI,

60, and he wears his power and influence well. The boy walks up to him and hands him a message which is opened immediately and concern washes over his face.

PIERO

SILENCE!

(off their attention)

From Machiavelli.

The men moan.

PIERO (CONT'D) He is returning to Florence.

They moan louder. But there'S more.

PIERO (CONT'D) And so is Leonardo DaVinci.

Chaos. A portly councilman weighs in.

COUNCIL MEMBER 1

He wants that commission! I told you!

26.

Good. He's the greatest artist in the world.

But he'll never finish it!

COUNCIL MEMBER 2 Artists! They fallout of trees whenever free money is available.

At least Leonardo does!

The men begin to argue vociferously.

COUNCIL MEMBER 3

(over the noise)

Gonfalonier! We are not the Vatican. And this Republic does not have the discretionary funds for such projects anyway.

PIERO

(silencing the men)

May I remind you all - that this Republic is not just about constitutional compromise and financial reform. It is about what the people want. And the people want art.

Hears to that.

COUNCIL MEMBER 2

Are there not enough religious icons in this town already?

PIERO

This is a secular commission. Battle scenes ... To be painted on the walls of the new chamber council that will symbolize the Republic triumphant.

COUNCIL MEMBER 4 Just give it to Michelangelo. He lives here now.

COUNCIL MEMBER 5 His David is a filthy exhibition!

A FIGHT ensues. Two of the councilemen going fisticuffs.

PIERO GIVE THEM ROOM!

More chaos. It seems nothing will be agreed upon here. And the fighting continues.

PIERO (CONT'D) (leaning to the councilman closest)

This is going to be a problem. Perhaps we should consult Machievelli.

27.

This seems like a good idea.

INT. ART STUDIO -- CONTINUOUS

Class is in session. And the place has a Dali-esque feel to it; NUDE MODELS lay near BASKETS OF FRUIT; ANIMALS/BIRDS run loose. And a handful of Florence's best young ARTISTS are not really listening to their maddened ART TEACHER. They're either working or lost before their own canvasses.

ART TEACHER

ART IS SUPPOSED TO BE DANGEROUS! Like aged garlic! Strong wine! It takes a courage to take a light and PLUNGE IT into a heart of man! But that's the responsibility of the artist ...

As he rambles on ...

An ARTIST stares catatonically at his blank canvass.

While another curses his.

And yet another frenetically pastes his canvass with color.

Near a work in progress, an ARTIST stares at a FRUIT BASKET, sweating - he's too close to the NUDE FEMALE MODEL nearby.

IN THE rear of the STUDIO, are small clique of "normal artists." They whisper, so as not to get the attention of their demented teacher.

YOUNG ARTIST

Psst ... The master is returning.

ANDREA

What? (incredulous) Leonardo?

The YOUNG ARTIST nods.

FILIPPINO Are you sure?

YOUNG ARTIST

Word has already been sent to the Council Chamber. He must be here for the commission.

ANDREA

But I thought that commission is going to Michelangelo?

ART TEACHER (O.S.)

The more horrifying the world becomes! The more vital the artist!!

28.

They begin to banter excitedly about this, but attract their teacher BOTTI CELLI in the process, who rushes over ...

ART TEACHER (CONT'D) WHAT?! Could POSSIBLY of such great importance, that you risk defying the MUSE!

(serious/impassioned)

Don't you realize the coquette can have any man - or woman - she chooses? Those that slight this mistress are doomed to failure of universal proportions!

YOUNG ARTIST Leonardo DaVinci is returning to Florence.

Suddenly, Botticelli becomes lightheaded, like a seventh grade girl at a Jonas Brothers concert.

ART TEACHER DaVinci? Here in Florence? (then)

Great gods.

The young artist nods. But the teacher quickly regains his composure, (or lack thereof) .

ART TEACHER (CONT'D) Hmm ... IF - Leonardo is here, it is not to paint.

YOUNG ARTIST

Then why else would he come to Florence?

ART TEACHER

Leonardo has the attention span of a moth! His reputation, though outstanding, is blemished by the

fact that no ONE project can hold

his attention long enough for him to finish it. Trust me when I say, he'll just pass through.

The artists become dejected.

ART TEACHER (CONT'D)

AND WE MOVE ON!!! As all artists do!

EXT. PIAZZA VECCHIO -- DAY

A CROWD is gathered around DAVID, admiring it, talking about it. Near the back of the plaza, in pseudo-cognito, stands a cloaked, hooded MICHELANGELO. Like a jealous lover he listens in to the conversations about his DAVID.

29.

WOMAN ADMIRER It's absolutely astonishing.

The crowd agrees. Michelangelo smiles.

MAN ADMIRER

Who could imagine doing such a remarkable feat?

More agreement, before one disagreement.

CRITIC

I'm not really impressed.

The handful welcomes this opinion. Really? Explain.

CRITIC (CONT'D)

(rather pompous)

It is an interesting piece, but I think the artist has chosen size rather than substance.

Michelangelo can deal with that. But not with this -

CRITIC (CONT'D) Then again, I've seen some of Leonardo's work.

Michelangelo's face contorts to venom.

CRITIC (CONT'D)

Virgin on the Rocks? Now that's a masterpiece. And I heard he's coming back to paint in the chamber hall.

The crowd now begins to talk about Leonardo. Michelangelo approaches.

MICHELANGELO ( interrupting)

Excuse me. Were you not Bertoldo's

old pupil?

CRITIC Why yes, I was.

MICHELANGELO

That's right. You were jealous that Michelangelo's favor was found with Lorenzo Medici rather than yours.

CRITIC

Do we know each other?

MICHELANGELO

His art so surpassed that of your own that you became a commoner, who (MORE)

30.

MICHELANGELO (CONT'D) barely could read or write. What did ever become of you?

The critic rises out of his chair, unfurling a massive frame. He pulls his cloak revealing a very imposing body.

CRITIC Michelangelo?

Michelangelo knows he's in trouble. The critic grabs Michelangelo by the chest and pulls him in.

MICHELANGELO (barely audible, choking)

Oh, that's right. You're a mason.

INT. MICHELANGELO'S STUDIO -- LATER

Michelangelo sits back wincing with a WET CLOTH pressed against his very black eye. A concerned Vittoria attends to him.

MICHELANGELO

I should have known a thug like Torrigio would have no appreciation for anything I do.

VITTORIA

Calling him illiterate was no help to your cause.

MICHELANGELO

It was the least offensive descriptive that came to mind.

Vittoria is very close to Michelangelo and spontaneously leans in to give the artist a sensual kiss. Michelangelo doesn't know how to respond. He's momentarily stunned, but aroused. She stays close to him.

VITTORIA

You needn't concern yourself what the people think.

MICHELANGELO

They were standing before my David and talking about Davinci.

VITTORIA And that bothers you?

MICHELANGELO Yes, it does.

(MORE)

31.

MICHELANGELO (CONT'D)

(then)

Everybody loves Davinci. His charm has become an art unto itself. He surrounds himself with beautiful people. His circles are the most esteemed in Italy.

VITTORIA What do you want?

MICHELANGELO I want to be great.

VITTORIA

And loved?

MICHELANGELO

Is it possible to have both?

CROSSFADE

EXT. DOWNTOWN FLORENCE -- LATER THAT DAY

Where the foursome is rolling into town. A ghost town. The very few people around do not recognize Leonardo, who nonetheless waves. But up ahead; a CROWDED INTERSECTION. Leonardo smiles, thinking it's a welcoming party.

LEONARDO

These are my loyal flock gathered to welcome me back to bosom of their community. You see, Salai. A man may journey from home, but the impression he leaves behind lives on indefinitely. Especially when he is

a river to his people.

EXT. CROWDED INTERSECTION -- MOMENTS LATER

Leonardo carriage approaches but is ignored. He looks for an explanation.

LEONARDO

Excuse me, there? What's the meaning of this?

A cantankerous MAN turns.

CANTANKOROUS MAN You'll wait your turn old man!

Leonardo looks to Salai.

LEONARDO (incredulous)

What?! He'll beg his pardon. Wait

for what?!

32.

A passerby overhears, explains.

PASSERBY

This is the line to see Michelangelo's David. The end is back there.

Leonardo is infuriated.

LEONARDO

A line?! For Michelangelo?!

MAN (O.S.)

Hey! You'll have to move this carriage. NOW!

More cussing as debris is thrown their way.

SALAI

So ... This is how they treat deities.

CROSSFADE

SERIES OF SHOTS OF

EXT. DOWNTOWN FLORENCE -- DAY

As scores of PEOPLE begin to ascend on the CHAMBER HALL for the big announcement.

INT. PUBLIC CHAMBER HALL -- DAY

This courtroom-like setting is abuzz with townsfolk and starving, hopeful artists.

MICHELANGELO is seated alone on one side. The other side empty - waiting on the arrival of Leonardo. At the center, a long table where the COUNCIL will sit.

Suddenly, a buzz is in the air as LEONARDO enters. And with him, a small but flamboyant entourage. He takes his seat opposite Michelangelo. The two ignore one another.

INT. GONFALONIER'S OFFICE -- CONTINUOUS

Where Machievelli is doing a theatrical sales pitch to the Gonfalonier.

MACHIAVELLI

So you have a dilemma, Gonfalonier. The people are divided. It's as if preferring one artist means despising the other.

(then)

If this be the case, then perhaps a battle theme is appropriate.

PIERO

What are you suggesting?

33.

MACHIAVELLI (staccato)

Give, the people, what, they want. (then)

That is how you get what you want.

INTERCUT - PUBLIC HALL -- CONTINUOUS

The crowd is still subdued and buzzing when Piero comes to the podium. The buzzing comes to a hush. Machiavelli takes a seat next to Leonardo and winks.

PIERO

The Council Chamber of the great Republic of Florence has issued a commissioned work. The advance on commission is 35 florins and 15 per month thereafter. Work to commence immediately ... This commission for the WEST wall, 23 feet by 57 - to depict the Battle of Anghiari and is commissioned to ... LEONARDO DAVINCI.

Machievelli hugs Leonardo while HALF the CROWD ROARS. But the other half is just as vociferous with their boos. But there seems to be more, and a hush descends upon the room.

PIERO (CONT'D) AND FOR THE EAST WALL ..

SILENCE as they wait.

PIERO (CONT'D)

25 feet by 60 - to depict the Battle of Cascina - a commission of the same rate goes to ... MICHELANGELO BUONARROTI.

Now the other half erupts. Leonardo looks over to Michelangelo, and sees Machievelli celebrating with him as well.

PIERO (CONT'D) (talking over the

noise)

Contracts for these Lords of Florence to be notarized immediately! Preliminary sketches for approval prior to work! !

(concluding) Good day!

Both painters are enveloped in attention. They move towards one another on their way out.

34.

MACHIAVELLI (patting Leonardo on the back)

Anghiari was a more important battle.

MICHELANGELO (overhearing)

And the East wall is bigger.

That gets Leonardo's goat.

MICHELANGELO (CONT'D) (adding salt)

Perhaps they didn't think you could finish a larger work?

Leonardo is, for once, tongue tied. Michelangelo is pleased he hit a nerve.

MICHELANGELO (CONT'D) Keep that pose, Leonardo. Perhaps I'll paint you some day.

Ahhhhh! ! ! ... LEONARDO (0. S. )

EXT. ITALIAN HILLSIDE -- DAY

Atop a hill that overlooks a LAKE, Salai and Machiavelli, wineskin in hand, watch as Leonardo paces back and forth. He's angered and defending himself. (And wearing a ridiculous flying device.)

LEONARDO

Patience protects from insults! ... 1 should have said, "You undeveloped twit. I MADE VERROCCH10 BLUSH with my work before you stopped sucking on your maid-mother's nipple!" ... Sculptor ...

Machiavelli pulls out the CONCH and offers it to Leonardo chuckling with Salai.

MACHIAVELLI

Leonardo. Why don't you call him?

Leonardo doesn't appreciate the joke. He takes the CONCH and chucks it.

LEONARDO

I should've said, "I've stood before Kings before you could walk!" ... "1 worked on masterpieces while YOU, you juvenile hunchback ... childish skills ... "

35.

SALAI

Well, you should have said ... something.

LEONARDO

I was building my restraint; a virtue all passionate artists must exercise.

SALAI

Oh ... It looked like you just couldn't think of anything.

MACHIAVELLI

You should've said, LICK MY COMPANELLOS!

Leonardo mulls that one over, before changing gears.

LEONARDO

It doesn't matter now, Salai. (preparing for take

off)

I am about to show the world - and that boor of a laborer - that I, Leonardo DaVinci, am indisputably the greatest artist of all time. And do you know why?

SALAI

Why?

LEONARDO Because, I can do ANYTHING.

With that, Leonardo's wings sprout and he takes off, running down the hill. His wings grab the wind. Momentarily, he RISES INTO FLIGHT, soaring UP, UP OVER THE LAKE! ! ! ... Before quickly and abruptly, NOSE DIVING into the water.

CUT TO

INT. MICHELANGELO'S STUDIO -- NIGHT

Michelangelo sits dejected, alone in his candlelit studio, staring straight ahead. For the first time, gone is the fire and obsession. Here is only an insecure artist. Vittoria enters and approaches.

VITTORIA Michelangelo? This is hardly the celebration that I expected.

She notices how despondent he is.

VITTORIA (CONT'D) Are you alright?

Clearly he's not. She sits next to him and listens.

36.

MICHELANGELO

My father wasn't there today.

(then)

He never wanted me to be an artist. It wasn't good enough for him. He thought it a lowly profession. Now, I find myself in a dangerous confrontation who's only weapon; a paintbrush; is a tool I have yet to fully comprehend. I'm going to disgrace my family and embarrass myself.

Vittoria thinks for a moment. She sidles closer.

VITTORIA They were afraid too.

Michelangelo looks at her quizzically.

VITTORIA (CONT'D)

The Florentines. At the Battle of Cascina. Outnumbered. Inexperienced. Children. Think of the way they felt at the tolling of the bell. The call to arms. The uncertainty. The fear. And yet they still mustered the fortitude for victory.

Michelangelo appreciates the thought.

MICHELANGELO

(confessional)

He's better than I, Leonardo is ... And not JUST at frescos. He is renowned for mastery in all the arts ... I am but a laborer.

VITTORIA

He's not your father, Michelangelo. You have nothing to prove to him. (then)

He's just a man. Another artist. Just like you.

She reaches out and touches his face. He appreciates the affection, touching her hand, but gently pulling it away.

MICHELANGELO

You're partially right. He is a man. But unlike me. For if I know Leonardo, he's halfway through with his drawings already.

CUT TO

37.

INT. LEONARDO'S NEW STUDIO -- NIGHT

A still very wet Leonardo sits confounded, (and not working on his sketches). Salai towel dries his hair as Machiavelli sits at his desk.

LEONARDO

Had I some wineskins filled with air and some kind of protective glass over my eyes I could have stayed submerged for quite some time.

SALAI

Why?

LEONARDO

Why? Salai, all of our knowledge begins with wonder. Imagine the unusual life under water. The spongy plants. Strange and intelligent seacreatures that may have eluded the most ambitious of fishermen. Sunken treasures left by doomed vessels.

SALAI

Treasures?

LEONARDO Yes, Salai. Treasures.

(then)

But it is particularly alarming that your spirits are aroused only by affairs of the changepurse or your belly. An artist's first order is abstinence from worldly goods or bodily pleasures. His inspiration; beauty; rational thought.

(then to Machiavelli)

Speaking of which, what what was the advance for the chamber hall?

MACHIAVELLI

35 Florins.

LEONARDO

35 Florins?! Good God what a criminal offering. Give it to me.

Machiavelli reaches for the satchel and tosses it to Leonardo.

SALAI

But you just said artists aren't supposed to care about money.

LEONARDO Indeed, Salai.

(MORE)

38.

LEONARDO (CONT'D) (sifting through the

satchel)

But for an artist to be milked like some prized calf, is an atrocity. Putting a price on art is invitation for scandal; an allurement for criminals and barristers who want only to exploit the artist.

MACHIAVELLI

Which reminds me, you owe me 5 Florins.

(then)

For helping you get the commission.

LEONARDO

Uhg ...

Leonardo begrudgingly tosses over a COIN.

LEONARDO (CONT'D) Someday these deplorable people will be able to make a living off of us.

He then throws on his cloak, preparing to leave.

LEONARDO (CONT'D)

Was it not for my great love of art

I would refuse the most generous commissions on the basis of principal alone.

Leonardo is at the door now, ready to exit.

SALAI

When are we going to start painting?

LEONARDO

In due time, young Salai. Painting begins with research. Tomorrow we will study the wall. Right now the night and its sweet elixir serenade. I bid you adieu.

CROSSFADE

INT. MICHELANGELO'S STUDIO -- DAY

An incredible contrast to Leonardo's world. Like a general, Michelangelo stands before DOZENS of disheveled but disciplined young ARTISTS who stand at attention.

MICHELANGELO

Genesis chapter one; verse one: I paint and I paint alone. If there are any notions that anyone other

(MORE)

39.

MICHELANGELO (CONT'D) than myself will lift a paint brush let it be dismissed right now.

YOU ... will all work. Trestles to be made. Tables to be assembled. And any other contraption that I visualize, you will materialize.

(then)

You WILL prime the wall. create the oil paint. And obtain for me everything I desire from paint brushes to paint thinner. Some of you; the lucky ones; will accompany me to the Santa Maria Novella Hospital, where

we will study the musculature of the male body so as to exactly replicate anatomically; from reality to fresco.

Michelangelo steps back, stands before them and switches gears.

MICHELANGELO (CONT'D) The theme for our undertaking is rather appropriate. It is a call to arms. That frozen moment of time where man must furiously sweep into danger. A BATTLE.

A FATHER and his young, painter SON timidly approach.

FATHER

Master. Can my son be of service?

MICHELANGELO

Is he a practicing Catholic?

FATHER

No. But he is one of the top students at the Verona Art Academy.

Michelangelo takes the boy, SPITS on his hand.

MICHELANGELO

(quickly blessing)

I baptize you in the Catholic Church in the name of the Father, the Son and Holy Spirit.

(pushing the boy away) He is now.

(continuing)

And like those battle ready Florentines - we too are called into action. The alarm has been raised, artists! LET US WORK!!

CUT TO

40.

INT. LEONARDO'S QUARTERS -- MID DAY

Where Leonardo is passed out in the middle of his studio. An anxious Salai enters searching the place and stumbles upon him. Having been here before, Salai reaches out for a VASE of FLOWERS and pours it on his master. A rude awakening.

LEONARDO (startled/confused)

GOOD GOD! What is the meaning?!

SALAI

We have to study the wall.

INT. NEW CHAMBER HALL -- DAY

This chamber hall is a large, empty room which appears to be under construction. Leonardo, with a muslin-covered HAT shielding him from the day, stands face to face with his wall, studying it, probing it with a small tool. Salai stands next to him. He looks to the adjacent wall where scaffolds and painting tools are neatly organized in front of it.

SALAI He's been here.

LEONARDO (unconcerned) Yes. I know.

Leonardo continues probing the wall, apparently concerned. He cuts off a small PIECE of the plaster and stares at it.

LEONARDO (CONT'D)

(sotto) Adona.

SALAI What's Adona?

INT. ADONA'S STUDIO -- SUNSET

Leonardo and Salai sit silently in a peculiar dwelling. BOOKS are EVERYWHERE. It's a lot like Leonardo's original quarters - only with a woman's touch.

They watch with fascination as an WOMAN studies the same PIECE of plaster. This is Leonardo's mentor ADONA. And she's about the most beautiful 70 year old you'll ever see.

ADONA

Hmmm ...

(then)

Careful, with this ... This could be irremediably resistant to walnut oil.

41.

She takes a bite out of the plaster, savoring its taste. Salai winces.

ADONA (CONT' D) (still chewing)

And the drying process will require heat.

LEONARDO

Is the East wall's composition similar?

ADONA

(smiling)

Alas the great Leonardo of Vinci comes to pit with a most worthy painter. Michelangelo Buonarroti.

LEONARDO (dismissing) Michelangelo's is a sculptor.

ADONA

Is he now?

Adona walks closely up to Leonardo and stares at the artist, attempting to look through him.

ADONA (CONT'D)

Never underestimate the heart of a true artist, Leonardo. Their capacity for achievement is as broad as their imagination.

She winks at the boy who smiles in return.

ADONA (CONT' D) (changing gears)

Have you thought up your theme?

Adona proceeds to write down a quick recipe for the priming.

I have not. worthy team

LEONARDO

I must first assemble a

ADONA

- LEONARDO - What is the primary function of the painter?

LEONARDO

To work with the ten principals of light, darkness, color, mass -

ADONA

- The PRIMARY function.

42.

LEONARDO (humbly)

To tell a story.

ADONA

Precisely. Positioning, repose, proximity; are all elements ... Of the STORY. And it is the painter's story, which is reflected, or projected if you will, onto the canvass or fresco. I want you to contemplate this.

She hands him the recipe. Knows something is amiss.

Leonardo looks a bit disconnected. He hesitates.

ADONA ( CONT ' D) You don't have to do it here.

CUT TO

EXT. DOWNTOWN FLORENCE -- NIGHT

A pensive Leonardo is on his way home with Salai.

SALAI

What was she talking about back there?

LEONARDO (pausing, thinking) I don't know.

Leonardo stops in his tracks. Salai pauses curiously. Leonardo looks down the street the leads to the piazza Vecchio.

LEONARDO (CONT'D) (thinking)

Salai, I want you to continue home. I want some fresh air. Alone.

seeing the Leonardo needs his space, Salai does so. Leonardo then proceeds down the alley that to the Piazza.

EXT. PIAZZA -- CONTINUOUS

A small, respectful crowd, including VITTORIA, is huddled about, admiring the statue DAVID as if at an altar. Leonardo approaches. A light shines on DAVID. Leonardo places down his lantern and moves closer. The CROWD lightly buzzes at the artist's presence. It is, after all, Leonardo DaVinci.

Leonardo stops before the statue and stares in awe. Suddenly, he is overwhelmed by its beauty. Vittoria watches the artist's reaction.

We move into a CLOSE SHOT - On Leonardo's face, where his EYE fills with TEAR that rolls down his cheek.

43.

LEONARDO

(sotto) Magnifico.

Seeing Leonardo moved by the statue, Vittoria gently smiles.

FADE OUT

INT. NEW CHAMBER HALL -- DAY

The studio is buzzing with the activity, (at least near Michelangelo's wall), with numerous apprentices. Leonardo's side is empty. Michelangelo is furiously sketching on a LARGE SHEET OF PAPER. A young artist approaches, holding a rather large partion of the SKETCH in progress.

ARTIST

Master?

(What do you think?)

MICHELANGELO (looking over the

figure)

Good ... But not expressive enough. Remember the disarray in preparation. The muscles should show contortion. Leave it. I want you to work on the horses.

The artist walks away. Michelangelo looks to Leonardo's EMPTY WALL like an obsessed lover.

EXT. CHAMBER HALL -- CONTINUOUS

A handful of men and women peer into the hall, hoping to catch a glimpse of the artist.

WOMAN 1 When will they paint?

MAN 1

They're working on sketches right now.

MAN 2 Where's Leonardo?

The small gathering wonders, conjecting answers. Nobody knows.

MAN 3

I heard he's back in Milan.

INT. CHAMBER COUNCIL -- DAY

Where the COUNCIL is in the midst of yet another session of arguing - over the absence of Leonardo. Machiavelli tries to talk over them.

44.

MACHIAVELLI

No! No! No! He's not in Milan! He's right here in Florence, working on the sketches daily!

COUNCIL MEMBER 1 Niccolo, how could he be working on the sketches daily when he hasn't been seen in the new chamber hall in over a month?

Silence.

We might expect the same quick-witted answer as when the DUKE asked Leonardo. Instead we get -

MACHIAVELLI That's a good question.

More arguing.

PIERO

Niccolo, this council has spent a large sum of money on this commission. We have kept at bay, all previous commissioners in which these artists are contractually obligated to. I WANT those sketches and I WANT painting to commence IMMEDIATELY.

EXT. LEONARDO'S STUDIO -- AFTERNOON

It is a beautiful morning with your typical activities of passers-by going about their business.

INT. LEONARDO'S STUDIO -- CONTINUOUS

Leonardo, (hungover again), lay in bed like a child who doesn't want to go to school. A MUSLIN CURTAIN covers his canopy-styled bed. A moment later Machievelli enters. Hearing him walk in, Leonardo quickly pulls up his blanket and plays

possum. He approaches.

MACHIAVELLI (removing curtain) Wake up.

LEONARDO

I'm sick.

MACHIAVELLI

You haven't been sick in forty years.

LEONARDO Precisely. I've been over due.

Leonardo rolls over, ignoring him.

51.

LEONARDO (CONT'D)

It is my privilege to seize these moments.

with each step, Leonardo approaches the GREAT LIGHT and the MUSIC comes to a crescendo.

LEONARDO (CONT'D) Snatching them from the unforgiving grasp of time with my brush, imprisoning them in the colors I choose, arresting them in the power of truth that IS the canvass I caress. To whisk them unto an erato which

it will forever belong. For I AM LEONARDO DAVINCI. AND I AM AN ARTIST!

Leonardo now stands, bathed in the great light. He purposefully walks through it AS HE BECOMES ENVELOPED in a great BATTLE HE DESCRIBES.

LEONARDO (CONT'D)

(excited, possessed)

I will give reddish tinge to the faces, the figures, the air, the musketeers, and those around them! And this red glow will fade the farther it is from it's source!

The SKY becomes reddened. With each detail Leonardo describes, the battle follows to a tee; a three dimensional PAINTING COME TO LIFE.

LEONARDO (CONT'D)

Arrows will be flying in all directions, piercing foes with indiscrimination! Bullets from firearms will leave a thin billowing line of smoke en route to their target! I will show a man, fallen to the ground, which will be a crimson blooded mire. All around there will be marks where soldiers and horses have trampled in passing. The vanquished will look pale and panicstricken, their eyebrows raised high or knitted in grief, their faces stricken with painful lines! Men fleeing in route will be crying out with open mouths; weapons lying underfoot; broken shields, lances, stumps of swords! The dying will be gnashing their teeth, their eyeballs rolling heavenward as they beat their bodies with their fists and twist their limbs!!!

52.

Leonardo excitedly points to what he describes, literally walking through the battle scene in all its horrific beauty.

LEONARDO (CONT'D) THERE!! There's a warrior disarmed and knocked to the ground, turning on his foe, biting and scratching him in cruel, bitter revenge .... There's a wounded man, lying sadly on the ground, pathetically trying to protect himself with a shield, but his enemy shows no mercy and is poised to deliver the fatal blow. For this is war. And I will let no detail be concealed!!!!

MUSIC OVER SERIES OF SHOTS

INT. CHAMBER HALL -- DAY

Leonardo BURSTS into the room, charging to his wall possessed. A handful of helpers follow, taking copious notes, and listening as he describes his vision.

INT. SANTA MARIA HOSPITAL -- DAY

Where Leonardo is dissecting a BODY; APPRENTICES taking notes while doing so.

EXT. COUNTRYSIDE -- DAY

Salai is pulling the reigns of a carriage alongside a PAIR OF WILD HORSES as his passenger, Leonardo frenetically, and very accurately copies their movement onto paper.

INT. CHAMBER HALL -- DAY

Michelangelo's team of a HUGE SCAFFOLD. He looks over to the OPPOSITE WALL where Leonardo's team is assembling an even LARGER SCAFFOLD.

INT. LEONARDO'S STUDIO -- NIGHT

Leonardo's studio is a veritable science fair, crowded with boiling pots of paint allover. Leonardo is testing the viscidity of one pot with a couple of students. SALAI starts to stir another pot. Leonardo rushes over and gently shoves the boy away. Salai, like Michelangelo's Vittoria, is hurt at being brushed aside.

EXT. CHAMBER HALL -- DAY

Machiavelli brings the Gonfalonier and his councilman to the chamber hall and all watch as the two artists work away. The Gonfalonier is pleased, nodding his head at money well spent.

53.

INT. SANTA MARIA HOSPITAL -- DAY

Where an unfazed, bloody Leonardo with MULTIPLE SKETCHES hanging about, studies THREE cadavers, probing them with a knife.

SPLIT SCREEN

INT. MICHELANGELO' STUDIO--NIGHT STUDIO -- NIGHT

INT. LEONARDO'S

CLOSE ON Michelangelo as he sketches away frenetically.

CLOSE on Leonardo as he Sketches furiously.

QUICK SHOTS - INTERCUT

On BOTH of the artists' SKETCHES. How strikingly similar in their beauty. How vast their dissimilarities in color, composition.

The MUSIC comes to a CRESCENDO as APPLAUSE rings out and into ...

INT. PUBLIC HALL -- DAY

Where a packed chamber cheers for the TWO MAGNIFICENT SKETCHES that hang on the walls. The GONFALONIER/PIERO stands in the middle of the TWO ARTISTS like a fight promoter.

PIERO

(over the applause)

These sketches have been approved by the great council of Florence! PAINTING TO COMMENCE IMMEDIATELY!!!

CUT TO

INT. LEONARDO'S STUDIO -- NIGHT

The CHEERS QUICKLY fade into SILENCE as a very focused LEONARDO sits propped up; drawing with his RIGHT hand and writing with his left.

CLOSE SHOT on MANUSCRIPT. It reads; (inverted) DIVAD FO YDUTS.

CLOSE SHOT on his spectacles. Seen in the REFLECTION are the words; STUDY OF DAVID. Also seen is the sketch he works on. It is an impressive reproduction of Michelangelo's David.

For the first time since we've met him, we see a man obsessed.

An apprehensive Salai approaches holding a LONG shard of wood. He looks to Leonardo.

54.

SALAI (hesitating, trying

to impress)

I thought up a new design for your wing. I took into consideration your notes on wind resistance.

LEONARDO (ignoring)

Put it away, Salai. There is no time for games now.

The disappointed boy slouches and walks away.

INT. CHURCH -- DAY

Michelangelo walks in, crosses himself and pauses.

P.O.V. MICHELANGELO

He sees Vittoria kneeled praying before the altar. He watches her for a long moment before leaving.

INT. MICHELANGELO'S STUDIO -- NIGHT

Michelangelo is by himself and he is hacking away at a small piece of marble.

CROSSFADE

INT. PAINTER'S STUDIO -- MORNING

All the young artists are asleep in this messy studio - save for one; the YOUNG ARTIST that was excited about Leonardo'S arrival. He shakes his sleeping friend.

ANDREA (groggy)

What are you doing?

YOUNG ARTIST

I'm going to church. Come with me.

ANDREA

Church? It's not Saturday.

YOUNG ARTIST

No! The council chamber! They're going to paint today!

with that, ANDREA quickly rises.

EXT. COUNCIL CHAMBER -- MORNING

A huge crowd is gathered around the building, peering into the wide windows. It's a circus scene.

56.

EXT. CHAMBER HALL -- CONTINUOUS

A man stands on a rock.

MAN ON ROCK Cheers for Michelangelo!

The divided crowd cheers. Another man stands next to him.

SECOND MAN Cheers for Leonardo!

More cheers.

MAN ON ROCK - If he even shows up! !

The crowd laughs. A tomato comes flying, smashing into the man's chest. A fight ensues.

INTERCUT - INSIDE CHAMBER

Where Michelangelo listens to the ruckus.

P.O.V. LEONARDO, SALAI, MACHIAVELLI, -- CONTINUOUS

On a nearby hill that looks over the chamber and on horseback, the trio with full entourage look at the melee; flying tomatoes, pUShing, shoving and yelling.

MACHIAVELLI

And I thought politics weren't safe.

They continue towards the chamber followed by their small entourage of Leonardo' assistants.

INTERCUT - INSIDE CHAMBER

Listening to the ruckus, Michelangelo kneels.

MICHELANGELO

(sotto)

Dear Lord, inspire me. St. Luke pray for me.

Michelangelo rises, walks towards the window and looks over the people, ignoring them as they're screaming.

MICHELANGELO (CONT'D)

(sotto)

Maybe he won't show.

Suddenly, the crowd buzzes, looks.

INTERCUT - OUTSIDE CHAMBER

The crowd separates, cheers, hisses. Team Leonardo has arrived with full entourage. He dismounts. His eyes meet

57.

with the YOUNG ARTIST'S. The YOUNG ARTIST can't muster up the courage to speak. Leonardo snubs him and heads towards the entrance. He is patted on the back, cheered, jeered. Salai is by his side.

INTERCUT - INSIDE CHAMBER

Team Leonardo walks in, heads towards his wall. The assistants immediately get ready for painting. Leonardo, like a fighter, stretches, rolls his neck, bops up and down.

And now, a little trash-talking. And this time, Leonardo has his wits about him.

LEONARDO

(loudly)

I'm supposed to be sharing this hall with another artist but I don't see him? Where is he? What's his name?

LEONARDO APPRENTICE Michelangelo.

LEONARDO NEVER HEARD OF HIM.

MICHELANGELO

They say eyesight is the first to leave in old age.

Leonardo pretends to suddenly notice Michelangelo. The two go vis a vis.

LEONARDO

Oh, there you are. I didn't recognize you without marble dust covering

your face.

MICHELANGELO

And I didn't recongnize you - working. And sober.

LEONARDO

What did they commission you for? The roof?

MICHELANGELO

No, I'm going to be painting this large wall - the one closest to the entrance.

LEONARDO

I didn't know that carpenters could paint as well.

MICHELANGELO

Yes, and I believe your little space is in the back. Near the wash basin.

58.

Michelangelo notices Salai.

MICHELANGELO (CONT'D) And how sweet? You brought your grandson too?

LEONARDO

You may know him. You may have gone to school together. Perhaps the two of you can exchange notes?

MICHELANGELO

And perhaps he can finish what you start - as your students did for your "Adoration" - which I never did get to see, I'm sorry. But I did hear about it.

LEONARDO

Which is more than I can say about your work. Strange, in all my travels in the greatest art circles in Italy, your name was never mentioned.

MICHELANGELO

I didn't know pubs, ports and brothels were considered "great circles of

art" .

LEONARDO And I didn't know -

MICHELANGELO

- Enough.

Michelangelo holds up a PAINTBRUSH.

MICHELANGELO (CONT'D) Talk to the brush, Methusalah. Save your stories for your drinking disciples. I've got a wall to paint.

CUT TO

QUICK SHOTS -

_ Michelangelo deep breathing, stretching

_ Leonardo cracking his knuckles, neck

_ Paint prepared, stirred, colors mixed

- Brushes of various sizes laid out

- Sketches laid out

And ... SILENCE

LEONARDO

I'm suffering from the most nagging of questions.

SALAI

Tell me.

LEONARDO

If all of our wisdom proceeds from what we feel; therefore the senses

are the prerequisite for our obtaining of knowledge. Yet at the same time they can be deceptive. The sky, for instance, in its bluest state is an illusion of warm, damp air, evaporated into imperceptible particles struck

by light - which does travel - making luminous the mighty lid of darkness that is space.

Salai nods.

LEONARDO (CONT'D)

So WHY, if in theory, there is an almighty, would he engender us with a defective order of learning? WHY, is it that certain laws of nature

can not be reproduced scientifically?

Leonardo looks at the boy who has a blank expression.

LEONARDO (CONT'D)

And most importantly, WHY, Salai, am I asking you?

SALAI

I don't know. But there are so many things to be learned.

LEONARDO

Oh, young Salai. Imagination is FAR GREATER than knowledge. Far greater.

SALAI

When are we going to paint again?

LEONARDO

All in good time, Salai. My preoccupation at the moment is hydraulics.

SALAI

Hydraulics?

LEONARDO

Yes, hydraulics. The power and movement of water. The motion of (MORE)

105.

106.

LEONARDO (CONT'D)

waves ... In addition to my persistence of flight of course. And mathematics, science, human anatomy, music composition.

SALAI

I'm hungry.

LEONARDO

That Salai, does not surprise me ... Literature, philosophy, architecture, botany ...

Leonardo goes on and on as the boy giggles.

CROSSFADE

INT. LEONARDO DAVINCI'S STUDIO -- DAY

Just as our story began, we are now back in Leonardo's studio. Only now as we slowly meander about, does the mess seem to make a bit more sense. The pages and pages of notes; drawings; animals roaming about; contraptions of various types. As we look at the studio one last time, an epilogue ends the story.

INSERT - Neither artist finished their paintings for the chamber hall. Leonardo DaVinci stayed in FLORENCE and finished his greatest masterpiece. It was an uncommissioned, untitled work now known as the "Mona Lisa." It is one of only thirteen paintings from his lifetime that still exist.

He was never recorded to have flown successfully.

Michelangelo left for Rome and began the frescos that still adorn the ceiling of the Sistine Chapel. He and Vittoria remained lifelong friends.

(We end on Leonardo's "UNFINISHED WORK IN PROGRESS," which is now obviously the "MONA LISA." Slowly we push into this magnificant piece of work that is still as intriguing today as it was 500 years ago.)

INT. CHAMBER HALL -- CONTINUOUS

Empty now. Lifeless.

INSERT - From the first announcement of the "Battle of Battles" artists flocked from workshops allover the world to the Florence Chamber Hall out of which both classicism and Baroque emerged.

In 1512 the Medici regained power in Florence and ordered the chamber walls to be plastered over.

DaVinci's covered masterwork -- The Battle of Anghiari -spurred a revolution in the science of art diagnostics, harnessing an array of medical and military technologies,

107.

ranging from radar mapping and X-ray fluorescence to ultrasound probes and ultraviolet scans.

For the past 30 years analysts have been experimenting with these techniques in the belief that his painting still exists.

FADE OUT




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