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TITLE CARD
Towards the end of the sixteenth
century Philip the Second, King of
Spain, undertook the invasion of
England. As the ruler of the most
powerful army of his time, ’La
Armada,’ he was challenged by
Lucrecia de Leon, a 20-year-old
maiden who foresaw the destruction
of Philip’s navy upon the English
shores.
FADE IN:
1 INT/EXT. WEEKEND HOUSE CLOSE TO MADRID, 1590. SUNRISE. 1
21 year-old LUCRECIA, wearing a white underwear dress, is
looking out a wide window.
A beam of sunlight enters, brightening her face. Her
expression is blank. The wind touches her hair. Her lips are
dry. Under the frame of the window is 29-year old DIEGO, in
the foreground of a terra-cotta flat landscape.
There is a soft whisper in the air. In the distance, a small
cloud of dust hovers in the air. Diego comes inside the
bedroom and dresses quickly.
DIEGO
God!
Lucrecia doesn’t move.
DIEGO
(continuing; Impatient.)
We still can escape through the
backdoor!
LUCRECIA
They are coming for me! They won’t
harm you.
DIEGO
(Taking a musket.)
Lucrecia!
LUCRECIA
(looking at him)
The time has come. There are no
escapes.
(CONTINUES)
CONTINUING: 2.
Diego opens the bedroom’s door. A strong wind hits him.
There is a corridor and a staircase reaching the first
floor.
DIEGO
(Screaming)
Daniela!
The whisper sounds louder. Lucrecia looks indifferently at
the cloud of dust, bigger than before.
DIEGO
(continuing)
Daniela?
Inside feathers hover in the air.
Sounds of horses running are heard.
Diego steps back into the bedroom.
DIEGO
(continuing)
Bishop Larvaez...
Diego looks at Lucrecia, who shedding tears looks at the
cloud of dust.
He crosses the bedroom an observes through the window the
panorama.
He sees a group of Inquisition Soldiers marching into the
immediate landscape, appearing and disappearing in the
depressions of the field and amongst the dust cloud’s
opacity.
One of them holds a long golden cross and another an
Inquisition flag.
LUCRECIA
(grasping Diego’s hands)
Had I know what your love was
about--a sword without a handle...
Diego, seemingly struck by fear, recoils.
LUCRECIA
(continuing)
But you know--you know I will
forgive you.
Diego leaves the bedroom.
(CONTINUES)
CONTINUING: 3.
Lucrecia goes out to the terrace and ascends the stairs to
the top of the house.
From the sky, Diego flees northwards from the house.
The Inquisition Soldiers arrive from the opposite direction.
Lucrecia raises her head to the sky.
LUCRECIA
(continuing)
Sancta Maria! Ora pro nobis!
Lucrecia looks to a cloud: a sunbeam casts on her.
She kneels on the floor.
Soldiers are forcing themselves into the house.
Lucrecia sees the sun, powerful, shining.
CUT TO:
2 INT/EXT. LIVING ROOM AND PATIO MARIO’S HOUSE. DAY. 2
TITLE CARD
Madrid. 1585
16 year-old Lucrecia hesitates as she stares awestruck at a
broken pot. 16-year-old Diego and 16-year-old MARIO stand
besides her.
Diego carries a heavy black cape.
Lucrecia wears a dark red dress; Diego and Mario dark suits
full of lace. She looks around: a wide and dark living room.
There are many paintings on the walls and some statues of
saints.
MARIO directs his fearful attention to Lucrecia.
MARIO
The Marquees has fallen in love
with you. He won’t denounce you--
but I will... Unless you show him
your hips, Lucrecia.
16-year old DIEGO looks embarrassed at Lucrecia. Lucrecia
looks at Mario with an ambiguous expression--the same smile
depicted in The Monalisa: between sadness and irony.
(CONTINUES)
CONTINUING: 4.
MARIO
(continuing)
The Marquees often forgets that you
are a plebeian. To be frank with
you, we despise your mother. She is
a prattler who boasts about our
charity day and night.
LUCRECIA
I beg your pardon, don Mario, but
my father is an old Catholic, as my
mother and I. He will pay for the
pot.
MARIO
Wouldn’t it be more convenient for
us to say that I broke it? My
mother won’t be bothered. Otherwise
you would jeopardize your stay.
LUCRECIA
It will be worse, don Mario, if I
disclose parts of my body. Marcela
del Piñon satisfied your curiosity
about one year ago--an error that
brought her to the convent.
Mario guides Lucrecia to a patio, surrounded by giant white
walls.
MARIO
Barely for nine months. We won’t
attempt against your maidenhood,
Lucrecia. Even though you are an
adopted child, you deserve our
respect. I would like you to see
you taking out your dress. I assure
you that nobody on earth will know
of it. I can give you my word--
that of a Duke.
LUCRECIA
You are not a Duke yet, don Mario.
MARIO
(upset)
Did you hear what this bastard
said, Marquees?
LUCRECIA
(to Mario)
You are visiting hell with that
insult, don Mario.
(CONTINUES)
CONTINUING: 5.
MARIO
Hell without me wouldn’t be hell,
would it?
Mario Laughs.
MARIO
(continuing; to Diego)
At what time does mother come back?
DIEGO
(calm)
In about one hour my Lord.
LUCRECIA
Earlier perhaps. She went to the
Church.
DIEGO
To confess her sins, true.
MARIO
Don’t play her game, Marquees. She
wants to kindle our desires.
DIEGO
(blushed)
Wouldn’t be better for us to return
home, my Lord?
MARIO
Marquees!
(whispering to his ear)
Has this Moorish slut bewitch you?
(to Lucrecia)
We would like to christen you!
LUCRECIA
(smiling)
What do you men?
MARIO
As I did with Marcela del Piñón.
LUCRECIA
(nervously)
We must be back at home before
sunset.
MARIO
I will decide the hour of you
return. I’m your protector.
Diego kneels at Mario’s feet.
(CONTINUES)
CONTINUING: 6.
DIEGO
Stop, my Lord! I beg you!
MARIO looks at him.
MARIO
I pity him. He loves you. But
that’s a feeling you cannot
reciprocate. All your smiles are
mine. I don’t blame you. All women
in Madrid ask their daughters to
court me.
Lucrecia steps forward. Mario grasps her by her arm and
pushes her to a baroque pool, where the statue of an Incubus
spouts water from his groin.
Lucrecia cries. Mario laughs. Diego looks in horror.
MARIO
(continuing)
I have been your protector for one
year. Is not about time you start
paying your fare?
LUCRECIA
Mercy!
MARIO
I want to hear that lovely voice
from the water.
Mario submerges Lucrecia’s head in the water.
MARIO
(continuing)
What are we waiting for?
Mario lifts Lucrecia’s dress and places his body against
her. His expression is lusty. He laughs, touching Lucrecia’s
breasts with naughtiness.
DIEGO (O.S.)
My Lord...
Mario lifts his head. Diego’s fist smashes his face. Mario
fells.
Lucrecia takes her head out of the water. She breaths
deeply.
(CONTINUES)
CONTINUING: 7.
DIEGO
(blushed)
I? Are you?
MARIO
You have betrayed me!
Mario runs away.
LUCRECIA
Oh, Diego!
Lucrecia embraces him. Sound of barking dogs.
SOFIA (O.S.)
God have mercy on him!
Lucrecia and Diego look at each other.
CUT TO:
3 INT. MARIO’S HOUSE LIVING ROOM. DAY. 3
Mario bites on his nails. His nose is black and swollen.
He, Lucrecia and Diego stand up in front of SEGISMUNDA, a
haughty woman with a thick dark red dress.
She sits on a golden chair and caresses a lapdog.
Besides her are two female servants, SOFIA and VICTORIA,
dressed in black clothes.
MARIO
She’s conceited, mother! Mocking
our games, talking to herself! When
I asked her about the broken pot,
she said: "you are visiting hell
with your questions, don Mario.
Hell without you wouldn’t be hell."
SEGISMUNDA
(looking at Lucrecia)
Is that true?
Lucrecia looks at Mario, who smiles evilly at her.
SEGISMUNDA
(continuing; soft)
Diego...
(CONTINUES)
CONTINUING: 8.
DIEGO
The Duke mistreated her...
Mario burst into tears.
MARIO
(in anguish)
She has ruined my friendship with
Diego, Mother! I don’t want to see
them again! She is a plebeian and a
jew!
VICTORIA
God!
MARIO
Once I surprised her in the
backyard talking to the plants and
trees!
SEGISMUNDA
(to Lucrecia)
Have you noticed that the Duke eats
his nails when you upset him?
Segismunda studies Lucrecia’s face.
VICTORIA
She also visits the Duke in his
dreams.
MARIO
Every night. Naked.
Diego stops biting his nails.
SEGISMUNDA
(to Lucrecia.)
How often do you read the bible?
LUCRECIA
(almost crying)
I...
Lucrecia looks directly at Segismunda, who avoids her eyes.
SEGISMUNDA
(to Lucrecia)
I cannot host you any longer,
Lucrecia. I know it’s difficult to
play with boys, in particular with
the Duke. I would like to forgive
you for this incident, but my
(More)
(CONTINUES)
CONTINUING: 9.
SEGISMUNDA (continuing)
trustful servants have complained
about you as well.
(pause)
You and Diego are not very fond my
son, whose nobility you insist to
ignore.
Lucrecia challenges Segismunda’s authority with her sight.
The dog barks noisily at Lucrecia.
CUT TO:
4 INT. LUCRECIA’S HOUSE. DAY. 4
Lucrecia lies on her bed.
BEATRIZ, her mother, is seated on a chair next to her. She
covers Lucrecia’s forehead with a wet piece of silk.
Light enters through the door. Beneath the threshold, MARIA
DE LA VEGA, a nanny, looks at them.
Lucrecia looks weak and tired.
Beatriz kisses her, stands up and goes to Maria.
BEATRIZ
She is not very ill. Tomorrow you
both will go to the Church. Her
confessor will intercede for her.
MARIA
May I remind you that we went there
yesterday?
BEATRIZ
She needs to return to the house of
her protectors. That is my will.
MARIA
Shouldn’t we ask Lucrecia what
happened yesterday? Some people
believe the Guardiola family
follows very few of the ten
commandments.
BEATRIZ
(angry)
I won’t argue with you, Maria de la
Vega y Carpio.
(CONTINUES)
CONTINUING: 10.
Beatriz leaves the place.
Maria goes to Lucrecia’s bed and sits down on the chair.
LUCRECIA
Did she say I have to go back?
Maria holds Lucrecia’s hand. Lucrecia cries.
MARIA
Don’t be weak, Lucrecia. And stand
up. Your father wouldn’t like to
know you are ill.
Lucrecia stops crying. She holds Maria.
LUCRECIA
The Duchess... I thought she was my
protector... And Diego. He is an
orphan. He sacrificed his future
for my honor...
Lucrecia can’t go on. Maria embraces her.
CUT TO:
5 INT. ROYAL CAMERA AT EL ESCORIAL. DAY. 5
Face of 63-year-old Philip the second, sovereign of Spain.
As he talks we discover a long room surrounded by
gray-granite walls where several portraits hang.
Light enters through big windows covered with heavy black
and white curtains, shaping long cross-shaped shadows over
the space.
There is a bed, a big desk and some book shelves around. A
great crucifix lies on one wall.
PHILIP
(who never smiles)
After seven years of challenging my
authority, clashing the Spanish
ships against the Moorish empire,
you are begging my forgiveness.
He stands up wearing white clothing. He is tall and thin.
There are three desks around with a WRITER seated in front
of each of them. They take notes of the event.
(CONTINUES)
CONTINUING: 11.
PHILIP
(continuing)
But I can’t. Because whereas I’m
the King, you are the beloved hero
of Christianity. And, as far as I
can judge, you haven’t committed
any offense.
He walks alongside a wall where Bausch’s THE SEVEN DEADLY
SINS hangs. At the end of the wall we will see BAUSCH
painting the final judgment.
PHILIP
(continuing)
Only God knows how much I love you,
don Juan. Today, finally, I can
congratulate you for your deeds;
enterprises undertaken against my
orders, and yet so wisely
accomplished. And I ask myself, how
can I, as your brother and monarch,
give justice to the man who
defeated thousands of infidels in
Lepanto--the bud of the Ottoman
empire? How can I, as a Castillian,
express to you the joyfulness you
gave us when you sent to the sea’s
entrails the Moorish admirals--the
corsairs who had been for so many
years the scourge of our shores?
Philip Moves through the next wall. There we see the
paintings of the rulers of Spain, and shelves with books
carefully ordered.
Five men are seated: JERONIMO DE CESPEDES, a bald fat
middle-age man with a coarse voice, LARVAEZ, a middle-age
bird-like chinless Dominican priest with a high-pitch voice,
PACHECO, a 65-year old toad-like courtier, HECTOR MENDOZA, a
55 year-old bald Dominican priest with enormous and rounded
eyes, and ANTONIO DE PEREZ, the royal secretary.
We see two open gates, with three SOLDIERS at each side.
Seated behind them we see QUEEN ISABEL DE VALOIS and ANA DE
MENDOZA. They look at the scene from the distance. Ana is a
beautiful and sensual woman, who has, nevertheless, lost her
right eyesight. She covers it with a black embroidered
patch.
PHILIP
(continuing)
Yes, you, the man who ended the
threat of slavery imposed by
(More)
(CONTINUES)
CONTINUING: 12.
PHILIP (continuing)
the Ottomans over our women and
children.
(Cold)
Stand up, you, my dear brother.
Philip opens his arms. At the center of the room, DON JUAN
OF AUSTRIA, kneeling on the floor, remains with his nodded
head. He looks like his brother. Blue tones dominate his
clothes.
Behind him, ESCOBEDO, don Juan of Austria’s Secretary,
stands holding don Juan’s cape--Escobedo’s clothes emulate
don Juan’s.
Don Juan gets up and looks at Philip who ceremoniously
embraces him. Even if proud, his face expresses fear. Dark
shadows appear on his face indicating physical and mental
sickness.
PHILIP
(continuing)
Receive this embrace as proof of my
affection.
Don Juan talks nervously to his brother.
DON JUAN
I came not as your brother, but as
your vassal, your majesty...
He glances at the picture of Greed, in the painting by
Bausch.
DON JUAN
(continuing)
I have been an ambitious man. After
the battle of Lepanto, I disobeyed
your orders and attempted to
subdued the entire Ottoman Empire.
I was acting for myself, not for my
King. And I risked the lives of our
men against your will... But God
has made me pay my price.
He takes out his sword.
Some soldiers move against don Juan, but Philip,
undisturbed, stops them with a gesture.
DON JUAN
(continuing)
I’m contrite, and today, publicly,
I’m ending my career as a soldier.
(CONTINUES)
CONTINUING: 13.
Don Juan kneels again and leaves his gleaming sword on the
floor.
Whispers. Commotion amongst the six men.
Antonio shows anxiety. Philip moves to the other side of the
room: his desk. He sits down and looks out through the
window.
He sees the landscape of Madrid. He remains silent.
DON JUAN
(continuing)
I beg you grant me a humble
position in your court, as your
adviser.
Philip looks at him, wondering how to refute his want.
Don Juan’s face becomes vexatious while we listen to a
voice:
ANTONIO (V.O.)
And Philip proved once more his
skillfulness. Of course, I knew he
was not going to allow his brother
to live with him under the same
roof. Instead of accepting his
proposals, he sent don Juan of
Austria to the Netherlands, to
prove his boldness commanding a
defeated army.
CUT TO:
6 INT. ANTONIO DE PEREZ HOUSE LIVING ROOM. MAGIC HOUR. 6
Around a square table, Lucrecia, Beatriz, NEPOMUCENO,
Antonio de Perez and doña ANA DE MENDOZA talk and eat.
They are in a house full of portraits. The wind touches
translucent curtains covering the windows.
[Lucrecia will be very interested in this conversation--In
fact her expression should be the most important image
during this scene.]
ANTONIO
(continuing)
Without him in Madrid, Philip
doesn’t have to be worried about
conspiracies. Moreover, nobody will
(More)
(CONTINUES)
CONTINUING: 14.
ANTONIO (continuing)
say that he was unfair with his
brother. The Catholic world hopes
don Juan will defeat the Protestant
forces by the end of this year.
Two SERVANTS serve wine to Antonio and Nepomuceno, and water
to Ana.
NEPOMUCENO
Well, the Duke of Alba lost that
war. Do you think don Juan of
Austria could succeed better than
him?
ANTONIO
Turkey, France and England tremble
at his name. I know he can win--if
he has economic resources.
Nepomuceno smiles gently, as understanding a subtle
petition.
NEPOMUCENO
Believe me, don Antonio. Our
bankers are trying to fulfill
Philip’srequests. But they would
like to know the government’s
position.
ANTONIO
On waht?
NEPOMUCENO
They mean, Philip’s intention
towards don Juan. Does he send him
to the Netherlands to die?
Antonio laughs noisily.
ANTONIO
Personally, I admire don Juan. He
is a brave soldier. But as the
royal secretary, I consider him too
independent, an unsuitable vassal
of our King. Philip can’t be
disobey.
(pause)
However, if this bastard wins the
Netherlands...
(CONTINUES)
CONTINUING: 15.
NEPOMUCENO
You mean, don Juan.
ANA (CONCILIATORY)
I think you both, don Antonio and
don Nepomuceno, are going too far
with this discussion.
(to Antonio)
Philip has a natural indisposition
against other prominent male
members of his family.
(to Nepomuceno)
And we invited you, don Nepomuceno,
no to confirm or deny gossips about
our King, but to discuss a loan.
NEPOMUCENO
I apologize, doña Ana.
(pause)
We are expecting some letters from
the Genoese bankers. They want,
however, a guarantee.
ANTONIO
Go on.
NEPOMUCENO
Can I assure the bankers that the
Crown will provide them with a
guarantee? I mean, in the unlike
event that Spain loses the
Netherlands...
ANTONIO
Would the Portuguese crown be
guarantee enough?
NEPOMUCENO
Jesus Christ!
ANTONIO
Sebastian, its King, as you know,
died last year leaving a vacancy in
his throne. Philip is the most
suitable candidate to rule the
second biggest empire on earth.
Nepomuceno looks at his family disconcerted. They look at
him in silence.
NEPOMUCENO
Well, that’s certainly a guarantee.
But the Portuguese won’t give up
(More)
(CONTINUES)
CONTINUING: 16.
NEPOMUCENO (continuing)
their empire without resistance.
And at this moment, without don
Juan, Spain lacks a capable
general.
LUCRECIA
(sudenly)
Philip will recall the Duke de
Alba.
Everyone else display gestures of surprise.
BEATRIZ
Lucrecia!
ANTONIO
(smiling)
How does she know?
NEPOMUCENO
Excuse her, don Antonio.
ANTONIO
How did you know that, little lady?
Lucrecia stammers.
BEATRIZ
Answer, Lucrecia. Don Antonio asked
you a question.
LUCRECIA
He will kill more people. That’s
what Piedraola said.
Silence. Antonio’s face is flush. Nepomuceno is angry.
ANTONIO
Where did you hear him?
LUCRECIA
In front of the Church. I was there
with Maria when he began to pray.
ANA
(sardonically)
To pray!
Beatriz holds Lucrecia’s right hand.
(CONTINUES)
CONTINUING: 17.
LUCRECIA
Where are we going?
BEATRIZ
It’s too late.
LUCRECIA
The evening just started.
BEATRIZ
Don’t talk back to your mother!
They leave the room. Beatriz pushes Lucrecia through a
corridor. A servant guides them.
BEATRIZ
(continuing)
Listen to me, Lucrecia. Never,
never again talk to a man without
first being asked.
Lucrecia opens her terrorized eyes to her mother.
CUT TO:
7 DREAM SEQUENCE: EXT. MARIO’S HOUSE. DAY. 7
Lucrecia, Mario and Diego are on the patio dancing.
Lucrecia throws a stone. A bird falls dead.
Diego takes the bird and gives it to Mario, who piles it
with many others birds.
Suddenly, Lucrecia throws a stone at Mario. He falls over
the green grass.
Diego sees his body. Looking at Lucrecia he asks:
DIEGO
What should we do with his body?
Lucrecia looks at the pile of dead birds.
LUCRECIA
We shall bury him with her mother.
Lucrecia stares at Segismunda, whose body falls into the
same coffin as Mario’s body rests.
CUT TO:
18.
8 EXT. FRONT OF MARIO’S HOUSE. DAY. 8
Beatriz knocks on a door.
Lucrecia, besides her, looks at the street.
It is empty.
Victoria opens the door.
VICTORIA
Good morning.
BEATRIZ
Good morning, Victoria. Is Doña
Segismunda at home?
VICTORIA
Did she send you an invitation?
BEATRIZ
Yes, she did.
Beatriz opens her purse and takes out a letter. She displays
a letter before Victoria’s face.
VICTORIA
Come in, please.
Victoria leads Beatriz into the house.
Lucrecia remains still, nervous.
Beatriz steps back and grasps Lucrecia by her arm.
BEATRIZ
Come with me.
LUCRECIA
I... I don’t want.
Beatriz pushes Lucrecia into the house.
CUT TO:
9 INT. MARIO’S HOUSE LIVING ROOM. DAY. 9
Lucrecia stands up in the same place where she was scolded
by Segismunda.
She looks with suspicion at the portrait’s countenances.
(CONTINUES)
CONTINUING: 19.
To her right, seated in front of a small desk, she discovers
Sofia, who writes a letter.
Lucrecia recoils before the stern expression of Victoria,
who stands up besides Sofia’s desk.
At the bottom of a long corridor she sees her mother, who
talks to Segismunda.
Lucrecia hears laughs and voices. She looks at the patio.
There she sees Mario playing with MARCELA, a 18-year old
girl.
She throws a little cat into the air.
MARIO
Make it fly!
Lucrecia smiles at them.
Mario approaches her.
MARIO (CONTINUING)
Lucrecia! Here you are again. We
missed you. Do you want to play
with us?
LUCRECIA
I’d like to, but I’m just visiting.
MARIO
It doesn’t matter. I forgive you.
Look, Marcela, Lucrecia’s coming
back.
MARCELA
Uh! The prudish girl!
MARIO
This is Marcela del Piñon. And this
is her cat. She says it flies.
Marcela and Mario laughs.
LUCRECIA
Where is Diego?
Mario touches Marcela’s buttocks.
MARIO
(to Marcela)
She asks about my page.
(CONTINUES)
CONTINUING: 20.
MARCELA
(laughing)
The Marquees?
(to Lucrecia)
The Duchess send him to Toledo.
LUCRECIA
What for?
MARIO
To study theology.
MARIO
My mother is a generous woman. Have
you noticed Sofia’s smile?
Diego points out at Sofia, who crosses the patio smiling.
MARIO
(continuing)
The Queen has chosen her as her
maiden. HER MAI-DEN.
MARCELA
(to Lucrecia)
The Marquees don Diego de Quiroga
will visit us next month. Would you
like us to greet him on your
behalf?
Marcela and Mario giggle.
BEATRIZ (O.S.)
Lucrecia!
Lucrecia sees her mother at the threshold of the house.
Beatriz approaches her.
BEATRIZ
You didn’t tell me they had
forbidden you to come back to this
house.
LUCRECIA
But they forgave me, mother. Ask
them.
Beatriz looks gravely at Lucrecia.
Lucrecia looks at Mario and Marcela.
They laugh and run back towards the patio.
(CONTINUES)
CONTINUING: 21.
Lucrecia glances at her mother.
BEATRIZ
You have lost your only opportunity
to become a lady.
Beatriz moves away.
Lucrecia follows her under the stern look of the servants.
CUT TO:
10 EXT. A MADRID SREET. DAY 10
There is a market on the street. A MAIDEN prepares food. A
CARPENTER buys tools. An OLD WOMAN choses vegetables, a BOY
buys meat. Two MONKS buy fruit.
Lucrecia and Maria de la Vega walk leaving the place. Each
one carries a basket full of tomatoes.
LUCRECIA
I didn’t want to see them again,
Maria. I didn’t want to.
MARIA
You won’t see them again, for sure.
LUCRECIA
Will my confessor help me?
MARIA
Tell him everything he asks.
Lucrecia lowers her eyes.
MARIA
(continuing)
Don’t feel guilty. Your parents are
too ambitious. You don’t have noble
blood, and there is no worse family
in Spain than the Guardiola.
LUCRECIA
My father is an old catholic.
MARIA
It doesn’t matter. Your father is a
banker. To the eyes of the nobility
anyone who deals with money is a
sinner.
(CONTINUES)
CONTINUING: 22.
They enter into a narrow and endless street, fenced by big
white houses. The crowd has vanished.
LUCRECIA
That was long time ago. My father
is respected by everyone, even by
the Royal Secretary
Maria laughs.
MARIA
If your father were as respected as
he believes, he could have had a
richer and far more beautiful wife
than Beatriz.
LUCRECIA
(angry)
Maria!
Maria becomes silent.
LUCRECIA
She brought you here.
MARIA
Against my will. Cordoba is my
home. I don’t have friends in
Madrid. And it was your father who
adopted me.
LUCRECIA
Now you are a catholic woman, your
soul will be saved.
MARIA
Saved of what?
LUCRECIA
Of Hell. Cordoba is a city of Moors
and Marranos. But I know all. My
mother told me you were a Marrano
once.
MARIA
What do you know about the
Marranos?
LUCRECIA
They are Jews. They hate the Pope.
Maria remains silent.
They continue walking. The street becomes wider and noisy.
(CONTINUES)
CONTINUING: 23.
A male voice is heard:
PIEDRAOLA (O.S.)
Because I have been sent, as Elijah
and Malachi, to prevent the sins of
my King. Philip, O, Philip, King of
Castilla and the new world, don’t
be indifferent to my words!...
They join a group of people and arrive to a plaza, in front
of a Church, where the crowd forms a circle around
PIEDRAOLA, a 35-year old man who wears a soldier’s outfit.
LUCRECIA
Let’s get out of here, Maria!
MARIA
Listen!
LUCRECIA
But my father told you...
MARIA
He won’t know.
Piedraola addresses his speech to the sky and to ’El
Escorial,’ a castle encrusted in a remote mountain.
PIEDRAOLA
I pray for your repentance, O,
Philip, King of Castilla. If you
start another war I can see the
walls of my country, if once
strong, forever crumbled. Women
groan over the gravestones of their
sons. Wolfs and vultures feed on
their bodies. Their hearts are
sacrificed in pagan rituals to the
demons of lust and hate. Renounce
your greed, o, King! Forgive your
bastard brother and curse the
company of the Duke of Alba.
Piedraola fells into a mystic ecstasy, waving his hands.
Whispers are heard among the crowd.
WOMAN 1
(to woman 2)
He is a saint!
(CONTINUES)
CONTINUING: 24.
WOMAN 2
(to woman 1, crying)
The holy spirit protects him. I see
him memorizing the entire bible in
one night.
OLD MAN
(to the castle, screaming and
crying)
I lost one of my sons in the
Netherlands. And now my other son
is going to Portugal! Oh, Philip,
you, the cruelest King! Have pity
on us!
A priest kneels in front of Piedraola.
A PRIEST
(to Piedraola, crying)
God save your soul, don Miguel de
Piedraola! And forgive me because I
doubted you!
Some people kneel after the priest.
Lucrecia starts to kneel, but Maria stops her.
MARIA
Enough! Let’s go!
Lucrecia moves away. She and Maria encounter two Dominique
priests: Larvaez and FRAY LUIS DE LEON, a monk in his
thirties.
Lucrecia and Maria express fear. They turn immediately back.
LARVAEZ
(cold)
With a candied tongue he subdues
the crowd every week! He’s able to
get the favor of many different
people.
FRAY LUIS
You can’t deny he has the prophetic
gift, Father Larvaez. He foresaw
our war against Portugal.
LARVAEZ
I can also foresee a war every
year, even every month, Fray Luis.
(CONTINUES)
CONTINUING: 25.
DOMINIQUE PRIEST
"Who is far from God doesn’t have
ears for peace." When did he say
that?
LUCRECIA (SUDDENLY)
Last Friday, in front of the
Church!
The monks look at her.
Maria smiles and brings Lucrecia back to the same endless
and empty street they walked before.
LUCRECIA
(continuing)
Did I say something wrong?
MARIA
What did your mother tell you?
Never, never again, talk to a man
without first being asked!
LUCRECIA
He asked.
MARIA
(impatient)
They are Dominicans, Lucrecia. They
will burn Piedraola at the stake,
and, believe me, all these fanatic
people who kneel in front of him
will undergo his fate as well.
LUCRECIA
No! Piedraola won’t be burned. You
are a liar!
MARIA
Lucrecia! Listen to me! He is just
another charlatan. A fake prophet
protected by the King’s enemies.
A shepherd crosses the street. He guides a cattle.
LUCRECIA
So, why did you stop to listen to
him?
Pause.
(CONTINUES)
CONTINUING: 26.
MARIA
He lives in a state of grace.
LUCRECIA
What do you mean?
MARIA
He relies on eternity. Nothing can
intimidate him, not even death.
Lucrecia meditates.
MARIA
(continuing)
Philip fears him. He won’t dare to
touch him. But the Inquisitors
will.
Lucrecia looks at her. They walk casting long shadows on the
street.
CUT TO:
11 INT. OLD CHURCH. DAY. 11
Lucrecia, seated on a bench, hears far-away baby cries. She
looks at the statues of saints on the walls. They are placed
in a long and narrow corridor. All of them are life-sized.
One of them looks at the ceiling, another at the floor, a
woman at Lucrecia--what they have in common is their
mystical expression (between pain and happiness).
Sunlight filters into the space through small windows built
at the top of the walls.
Lucrecia is the first of a long row of young and old woman
waiting for confession. All of them are seated against one
side of the wall.
There is a door at the end of the corridor. This door opens
and a pale silhouette of a woman appears: Maria.
Lucrecia stands up. The row moves one place ahead. Maria
ignores Lucrecia and walks away.
Lucrecia approaches to the door and enters into a chamber
lit by candles.
FRANCISCO (O.S.)
Close the door.
Lucrecia closes the door and comes to a confessional box.
(CONTINUES)
CONTINUING: 27.
She kneels on a pillow.
FRANCISCO (O.S.)
(continuing)
Who are you?
LUCRECIA
Lucrecia, daughter of don
Nepomuceno Franco de Leon and
Beatriz Ordoñez de Leon.
FRANCISCO, a skinny and tall priest, leaves the confessional
box and comes to a desk surrounded by candles.
There he sits on a bench and takes a notebook.
He thumbs it until he points out a written name.
FRANCISCO
Yes, yes. Lucrecia! Your parents
are worried about your spiritual
health.
Lucrecia stands up nervously.
FRANCISCO
(continuing)
Come here.
She stands in front of him.
He takes a pen and dips it into an ink glass.
FRANCISCO
(continuing)
The capital sin of all business men
is greed. You are a beautiful
maiden, Lucrecia, and I would like
to see you married. I wonder
whether your father will pay your
dowry.
(pause)
Would you like to confess?
LUCRECIA
I want to deliver a fair testimony
of my sins.
He makes the sign of the cross.
FRANCISCO
In nomine Patris et Filii et
Spiritus Sancti.
(CONTINUES)
CONTINUING: 28.
Lucrecia kneels at front of him.
In a corner of the room a little spider weaves its web. We
hear again babies’ cries.
Lucrecia moves her lips.
Francisco looks up at the ceiling.
A fly falls in the spider’s web. The spider approaches it.
The wind blows over a candle and it lights up the web.
Lucrecia’s tears come out of her eyes.
Francisco looks at her with happiness and love.
FRANCISCO
(continuing)
Your tears are sincere. And I know
your parents are good Catholic
people. I see what I can do.
LUCRECIA
Will you talk to Segismunda?
FRANCISCO
Who has despised you once, will
never forgive you.
Lucrecia’s face gets paler.
FRANCISCO
(continuing)
Don’t lose your spirit. I will talk
to the Duke of Alba’s secretary. He
needs a maiden for his court.
Lucrecia remains silent.
FRANCISCO
(continuing)
Many ladies would like to be under
the Duke’s protection.
LUCRECIA
Of course.
FRANCISCO
He’s a warrior of our faith.
Pause.
Francisco stands up and lights the candle.
(CONTINUES)
CONTINUING: 29.
On the web two spiders attack each other.
Francisco looks at them with curiosity. He looks at
Lucrecia.
FRANCISCO
(continuing)
I know some people don’t like the
Duke. They say he was cruel with
the Dutch. Has your father ever
talked to you about it?
LUCRECIA
To me? No. But I heard him once
talking to don Antonio about the
Duke.
FRANCISCO
Don Antonio? Yes, our Royal
Secretary. I heard they are
negotiating a new loan for the
crown. What did you hear last
night?
LUCRECIA
Nothing.
Francisco takes a book near the cobweb.
FRANCISCO
Tell me, Lucrecia, do you believe
wars are necessary?
LUCRECIA
No.
Francisco scorches the spiders and the web with his candle.
FRANCISCO
Why not?
LUCRECIA
Because people die. If we live in a
state of war, who is going to till
the fields?
Francisco comes to the desk and opens his book to a page
headed:
ANTONIO’S FOLLOWERS
There he adds to a long list: "Nepomuceno Franco de Leon".
CUT TO:
30.
12 INT. LUCRECIA’S HOUSE LIVING ROOM. NIGHT. 12
Lucrecia, sitting on her bed, talks to Maria. Moonlight
enters through the window.
LUCRECIA
Yes! I deem him a saint, as the
people of Toledo do. He even asked
me about my father.
MARIA
What did he ask you?
LUCRECIA
Is it important?
MARIA
Not at all. He can’t prattle about
your testimony. Now let’s sleep.
Tomorrow you have to wake up early.
Maria comes to her bed.
LUCRECIA
Has my mother talked to you about
my future?
MARIA
I’m sure whe will do it on due
time. Good night.
Lucrecia covers herself with the blanket
She sees the moon through her window.
MARIA
(continuing)
Lucrecia...
LUCRECIA
Yes?
MARIA
How did you know that the Duke of
Alba was coming back to fight
another war?
LUCRECIA
Piedraola said that.
MARIA
No, he didn’t.
The moon is covered by a cloud.
(CONTINUES)
CONTINUING: 31.
LUCRECIA
He told me that in a dream.
Lucrecia’s face is covered by the cloud’s shadow.
CUT TO:
13 DREAM SEQUENCE: INT. OLD CHURCH. NIGHT. 13
Lucrecia walks through the Church corridor, circling around
the various statues of the saints and martyrs.
She perceives pain in their faces: one has the eyes on his
hands; another has her breast chopped on a dish; San
Jeronimo’s groin bleeds; San Sebastian’s head is pierced by
arrows.
She enters into the chamber. There, Jesus, bearing his thorn
crown, stands at the confessional gate.
Underneath the confessional gate, she sees a pig in the
place of the priest.
Blood drips onto the pig’s head.
The Jesus icon has now turned into Francisco, the priest,
who stares down at Lucrecia.
She falls to the floor, as the blood drips on her head.
The pig is not there anymore.
FRANCISCO
I have come to purge your sins.
Lucrecia looks at him in pain.
FRANCISCO
(continuing)
Pain have redeemed Piedraola. On
your behalf I will be second after
the King. Beware of your father.
Francisco stands besides Lucrecia.
He takes off his crown of thorns and places it onto
Lucrecia’s head, as she moans.
CUT TO:
32.
14 DREAM SEQUENCE: EXT. FLANDES, NIGHT 14
Lucrecia sees a reddish sunset to her right, but as she
turns to her left she sees a foggy field, covered by the
cadavers of warriors and nuns.
Some bodies groan. She hears a male voice singing a
religious song:
DIEGO (O.S.)
Cuando mis seres amados me
condenan/ En la creencia que toda
iniquidad fue mía/ Congoja y
Soberbia me enajenan/ Mas si mi ser
sus penas al Señor confía/ Es
éxtasis el que mis ojos destilan.
DIEGO
[When my beloved ones condemn me/in
the belief that all spitefulness
was mine/ Woe and arrogance split
me apart/But if my soul its sorrows
to my Lord entrust/ There is only
ecstasy in my bleeding eyes]
She moves through ashes and smog until she arrives at a
fire.
She recognizes a group of soldiers around it. They cry.
Lucrecia faces Diego, who plays a broken lute.
Besides him is DUKE OF ALBA a tall skinny 82-year-old
warrior who wears a black outfit. He holds a heavy rosary in
his hands.
Piedraola and Lucrecia stand in front of him.
DUKE
There is only one God. If there
were more, we wouldn’t be able to
believe.
PIEDRAOLA
We are all together, believers and
unbelievers in the blood of Christ.
DUKE
(smiling, looking at Lucrecia)
I want Portugal; the King wants
Portugal; you want Portugal.
(CONTINUES)
CONTINUING: 33.
LUCRECIA
Will you win Portugal?
DUKE
I have lost it already. Only a
Popess can win it...
Lucrecia sees besides the Duke the corpse of the SUPERIOR
NUN on a chair. She wears Queen’s clothes.
LUCRECIA
Is she dead?
The Duke remains silent.
LUCRECIA
(continuing)
She is not my mother.
DUKE
She was the queen.
CUT TO:
15 INT. LUCRECIA’S HOUSE. NIGHT. 15
Lucrecia wakes up in the night. She hears a continuous
moaning.
She looks at Maria’s bed. It’s empty.
She follows the sounds through a corridor, the living room
and the stairs, until she reaches their source: a bedroom.
She pushes the door and looks inside: Nepomuceno on top of
Maria, two naked bodies in motion.
CUT TO:
16 INT. LUCRECIA’S HOUSE. DAY. 16
Lucrecia wakes up in the morning. She recognizes her
mother’s cries. She comes to Maria’s bed, and shakes her.
LUCRECIA
Maria! Maria!
Maria wakes up.
(CONTINUES)
CONTINUING: 34.
MARIA
What happened?
LUCRECIA
It’s my mother again.
Maria stands up, wears her robe and comes out. Lucrecia
follows her.
They walk through the corridor and climb the stairs, until
they reach the second floor.
A door is wide open.
Beatriz emerges wearing a night dress.
Nepomuceno, tottering, follows her laughing and grabs her
hair. She screams.
NEPOMUCENO
Come back! You, whore!
Beatrice faces Maria and Lucrecia. She becomes quiet.
Nepomuceno pushes back Beatriz into the bedroom. He faces
Lucrecia and Maria.
NEPOMUCENO
(continuing)
What are you looking at?
Lucrecia looks at Maria.
MARIA
Nothing. We just...
Lucrecia steps forward.
LUCRECIA
What are you doing to my mother?
NEPOMUCENO
(irritated)
You won’t understand.
LUCRECIA
(crying)
But she was crying.
NEPOMUCENO
(laughing)
Women cry all the time. Uh! Now I
have a judge in my own house!
(CONTINUES)
CONTINUING: 35.
(he staggers)
Hush up! Go to your room and try on
your new dress. And bring the
breakfast to our room, Maria.
Maria moves downstairs. Nepomuceno enters into his bedroom.
Beatriz comes out of the bedroom wearing a robe and
addresses Lucrecia coldly.
BEATRIZ
Keep your tears for yourself,
Lucrecia.
Lucrecia looks at her mother.
BEATRIZ
(continuing)
Your father ordered you to go back
to your bedroom and try on your
dress.
Lucrecia looks at her in silence. Her father gets into the
room.
CUT TO:
17 INT. LUCRECIA’S HOUSE BEDROOM. DAY. 17
Beatriz is half naked on a chair.
Maria, besides her, sitting on a little bench, holds a bowl
of water. She dips a piece of cloth into it.
She passes it on to Beatriz, who gently rubs her stomach.
Lucrecia enters into the room wearing a new black dress.
Maria stands up.
BEATRIZ
Oh, it looks wonderful!
LUCRECIA (TO MARIA)
Do you like it?
MARIA
(leaving--cold)
It’s a mourning dress.
Silence.
(CONTINUES)
CONTINUING: 36.
BEATRIZ
Your father bought this dress out
of his savings. He wants you to
impress the Superior Nun.
LUCRECIA
Am supposed to talk to her?
Beatriz looks at the window. A bird crosses its frame.
BEATRIZ
Christ has chosen you as his bride.
She looks at Beatriz, whose expression is resigned.
Lucrecia walks around the room without direction.
LUCRECIA
(visible shocked)
But I want to have children.
Silence. Beatriz remains still.
LUCRECIA
(continuing)
I must marry someone.
BEATRIZ
(stern)
Who?
LUCRECIA
(triumphal)
The Marquees de Quiroga! He loves
me!
BEATRIZ
(laughing)
Mario Guardiola’s servant?
LUCRECIA
He is a Marqueess!
BEATRIZ
(derogatory)
His father sold his title long ago.
LUCRECIA
O, mother! Am I not beautiful?
BEATRIZ
We have decided the best for you.
Lucrecia screams. She falls onto the floor sobbing.
(CONTINUES)
CONTINUING: 37.
BEATRIZ
(continuing)
You make others feel inferior. The
Guardiola family’s incident
persuaded your father that the
convent is the most suitable place
for you. Enclosed, you will
cultivate meekness.
Lucrecia stops crying--a call for fighting lights her soul.
BEATRIZ
(continuing)
Your father also cried when you
were born. Your delivery was so
painful...
(pause)
When he learned I wasn’t able to
have another child, he left me for
three days. I never saw him so
upset. One night I woke up and saw
him looking at the sky. He was
cursing God.
(pause)
I’m afraid he has lost his faith.
Your prayers can heal him.
Lucrecia, kneeling on the floor, represses her crying.
LUCRECIA
Why me? God has more willing women.
I don’t want to be a nun.
BEATRIZ
Lucrecia...
Lucrecia has turned her pain into wrath.
LUCRECIA
(caustic)
I know my father doesn’t want to
pay my dowry. He is so...
contemptuous! He beats you! How can
you live with such a man?
BEATRIZ
(surprised)
I’m proud to have a man like your
father, Lucrecia. He respects me.
LUCRECIA
(confused)
Fray Francisco has a place for me
at the Duke de Alba’s court.
(CONTINUES)
CONTINUING: 38.
BEATRIZ
Fray Francisco? He was the one who
recommended you for the convent.
Lucrecia is puzzled.
BEATRIZ
(continuing)
But... Now I see. The Duke of Alba
might be the main benefactor of the
nuns.
Beatriz lies on her bed and covers herself with a blanket.
Lucrecia remembers an image:
CUT TO:
18 INT. OLD CHURCH. NIGHT. 18
Francisco, stares down at Lucrecia.
FRANCISCO Beware of your father.
CUT TO:
19 INT. LUCRECIA’S HOME. DAY. 19
LUCRECIA
Fray Francisco did that just to
measure my father’s greed.
Maria comes back with a basket of tomatoes.
Lucrecia grins at Maria.
LUCRECIA
(to Maria)
We should leave.
Lucrecia laughs, takes her dress and exits
whistling, singing and dancing.
Maria and Beatriz look at each other in perplexity. Lucrecia
crosses the house till she arrives to the patio.
LUCRECIA
(continuing)
Cuando mis seres amados me
condenan/ En la creencia que toda
iniquidad fue mía/ Congoja y
(More)
(CONTINUES)
CONTINUING: 39.
LUCRECIA (continuing)
Soberbia me enajenan/ Mas si mi ser
sus penas al Señor confía/ Es
éxtasis el que mis ojos destilan.
From the upper floor Nepomuceno observes her daughter
dancing.
CUT TO:
20 INT. NEPUMOCENO’S OFFICE. DAY. 20
Nepomuceno’s office is a small room with four desks placed
one at each corner. Three of them are covered by handfuls of
documents. Nepomuceno’s, in front of the only open window,
is clean and organized: ink, two pens and a small pile of
documents lie on it.
Nepomuceno writes a letter.
We hear some sounds from the streets of Madrid at sunset:
dogs barking, screams of people calling other people and the
shrill sound of a carriage’s wheels smashing the street’s
stones.
On the letter he writes the next italic characters:
TEXT OF THE LETTER
..., nor other Genoese Banker from
Toledo can provide more loans for
this new war. Nevertheless, I wrote
a letter to Felipe Centurione. He
agreed to provide the entire amount
the King wants, but just in case
you ensure the return of the Duke
of Alba...
He is interrupted by the presence of a dark tall figure. The
dark figure comes into the light: Francisco.
NEPOMUCENO
(surprised)
O, Father! I m sorry. We are
closing. I mean...
FRANCISCO
The door was open. Only our Lord
knows his ways. Can I talk to you,
don Nepomuceno? Now?
(CONTINUES)
CONTINUING: 40.
NEPOMUCENO
(against his will)
Well, yes! But, sit down, Father,
please!
Nepomuceno displaces a chair. Francisco approaches
Nepomuceno’s desk. He takes and peruses the letter written
by Nepomuceno.
NEPOMUCENO
(continuing)
It’s a private letter.
Francisco looks at Nepomuceno, who trembles nervously.
Francisco hands out the letter to Nepomuceno.
FRANCISCO
I understand.
Francisco goes to the next chair and randomly takes a book.
NEPOMUCENO
It’s an account book.
Francisco looks out at the window: Lucrecia and Maria cross
the street. They laugh. Maria wears a purple dress. Lucrecia
fits in her new dress.
Lucrecia recognizes him, turns away her eyes and moves on;
Maria follows her.
Francisco smiles, steps back and takes an account book. He
peruses it. He leaves the book on the desk and looks at
Nepomuceno.
FRANCISCO
What is your daughter doing on the
street?
NEPOMUCENO
(hesitating)
She is supposed to be at the
Carmelite convent.
FRANCISCO
Another maiden who will pray for
our sins.
NEPOMUCENO
She was vanquished from the
Guardiola family. No noble man
would have married her.
(CONTINUES)
CONTINUING: 41.
FRANCISCO
She could have met a good husband.
Nepomuceno, Nepomuceno... You are
too afraid. Have you forgotten
Christ’s first temptation? Would
you like to go out for a walk?
Nepomuceno assents nodding her head.
CUT TO:
21 EXT. MADRID STREET. DAY. 21
The street is almost empty. Lucrecia walks along Maria. A
couple of peasants approach from the opposite direction.
LUCRECIA
(excited)
Do you believe in dreams, Maria?
MARIA
Certainly no.
LUCRECIA
Everything is becoming.
MARIA
(pause)
You just want to be the female
Piedraola.
LUCRECIA
(surprised)
I’m just telling you.
MARIA
Why not the female pope?
(sarcastic)
To become a prophet! You admire
Piedraola. That’s all! Your father
was right, I shouldn’t have brought
you to see him again!
LUCRECIA
I thought he was... When did you
tell him?
MARIA
(puzzled)
I haven’t told him anything.
(CONTINUES)
CONTINUING: 42.
LUCRECIA
I dreamt you were with him in
bed... Or perhaps it was not a
dream. Didn’t I see you?
MARIA
(laughing, but reddish)
Are you accusing us of lechery?
Lucrecia looks at Maria with amazement.
LUCRECIA
(nervous)
Never!
Maria smiles. Lucrecia emulates her.
They cross in front of Nepomuceno’s office.
MARIA
You can ask you father what does he
think about your prophesies
Lucrecia laughs louder until she sees Francisco looking at
her from the window.
She, visibly intimidated, moves on.
LUCRECIA
Go on, and don’t look up.
Maria follows her.
MARIA
Is your father there? Did he see
you?
LUCRECIA
I saw fray Francisco.
(pause)
He scares me.
(pause)
I dreamed he was an influential
man.
MARIA
(concerned)
Lucrecia, please, stop telling your
dreams to everybody. The
inquisition will come after you.
(CONTINUES)
CONTINUING: 43.
LUCRECIA
I’m not afraid. God protects me.
MARIA
(impatient)
God protects everyone. Still, you
are the only person responsible for
your fate. Don’t you see that our
lives are changing? You have lost
your protectors and now your father
wants to enclose you in a convent.
(beat)
Have you wondered why?
LUCRECIA
No.
MARIA
He doesn’t believe you are his
daughter.
(pause)
And you didn’t foresee anything. He
wants to have a child with me.
Lucrecia looks at her.
A carriage with the royal arms crosses the street.
LUCRECIA
(remembering a dream)
The King will win Portugal.
A couple of PEASANTS pass near Lucrecia; they wear black
clothes.
Maria looks at them. The woman’s eyes pour tears.
MARIA
Your prophesies rely on what you
see.
LUCRECIA
What do you mean?
MARIA
Have you predicted someone’s death?
LUCRECIA
I have seen many cadavers: nuns and
warriors.
(cold)
And Mario Guardiola.
CUT TO:
44.
22 EXT. MADRID STREET. DAY. 22
Francisco and Nepomuceno walk on the street taking the same
path as Maria and Lucrecia.
FRANCISCO
Jesus went to the desert, and the
demon met him...
CUT TO:
23 EXT. DESERT. DAY. 23
JESUS is a bony man sitting on the middle of an endless
pebbled scorching white surface. His skin is burnt by the
sun.
The sky is blue and the soil is white.
A black and white horizontal striped snake crawls on his
body.
DEMON (V.O.)
If you are the son of God, command
these stones to become bread.
Jesus looks at the stones.
DEMON (V.O.)
(continuing)
You can provide bread to the
hungry. The world will be a
paradise again.
CUT TO:
24 EXT./INT. MADRID STREET. DAY. 24
Francisco and Nepomuceno walk along the street.
Some carriages cross the street following the same way taken
by Francisco and Nepomuceno.
FRANCISCO
Our Lord refused. Why? Because our
sustenance is less important than
the effort we make to obtain it.
The fear os survival is our first
temptation. In our effort to ensure
our bread we, men and women,
display our baseness.
(CONTINUES)
CONTINUING: 45.
Groups of people walk on the street. Most of them wear black
clothes.
The crowd rushes on in the same direction.
FRANCISCO
(continuing)
Fear of famine will encourage us to
acquire more bread than necessary.
Then greed persuades us to acquire
property and land--our neighbor’s
land. Alas! It won’t be enough.
Sooner or later we’ll long for
slaves to crop the wheat.
Some people cry.
FRANCISCO
(continuing)
Do you understand?
NEPOMUCENO
I’m an old catholic, father.
FRANCISCO
(laughing)
I’m not an Inquisitor, Nepomuceno.
(pause)
Our century of decadence and crime
has proven how powerful money can
be. There are the bankers, not the
Kings or Queens, who decide our
fates. They can support or delay
wars, grow empires, destroy them.
Francisco arrives to a Church.
The crowd enters through the principal gate. Francisco shuns
the crowd and approaches a small door on the street. He
leads the way to the dark chamber we saw in scene 9.
FRANCISCO
(continuing)
You work for the bankers. I would
like you to understand that to the
eyes of God we are either one of
his servants or one of the devil’s.
Nepomuceno pales. He sits on the closest chair.
NEPOMUCENO
You have been my confessor for
three weeks, fray Francisco. You
know my weaknesses, but over all...
(CONTINUES)
CONTINUING: 46.
Nepomuceno’s voice fades off.
FRANCISCO
The Church needs your assistance.
About a couple of weeks ago you
dined at Antonio de Perez’ house.
We would like to know what was the
theme of your conversation.
Nepomuceno’s jaw trembles.
NEPOMUCENO
It was private. Don Antonio de
Perez invited my entire family.
FRANCISCO
Just for convenience. I know Ana de
Mendoza was there.
(beat)
It’s clear to me that there are
powerful forces that want to change
the King’s mind about the Duke of
Alba’s return to the battlefield.
Nepomuceno, kneeling on the floor, cries.
Francisco rubs his head.
FRANCISCO
(continuing)
But we both know that at this very
moment, the Duke is the only
warrior in Spain willing to fight
for the glory of our Lord.
CUT TO:
25 INT. CARMELITE CONVENT-MADRID. DAY. 25
Lucrecia and Maria are amidst the walls of a spacious white
hall. They face an iron wall.
A black crucifix hangs on the front wall.
There are no chairs.
A door is open and the Superior nun and a FAT NUN approach
them.
They whisper to each other:
(CONTINUES)
CONTINUING: 47.
LUCRECIA
I rather die than to live in this
mausoleum, Maria.
MARIA
It was built by the architects that
destroyed La Mezquita.
LUCRECIA
Will you flee with me there?
MARIA
Flee? Since the Caliphate of
Cordoba was destroyed there is no
place where to flee in Spain.
The nuns arrive. The superior nun’s face sweats; her eyes
are red.
SUPERIOR NUN
Who is Lucrecia de Leon?
LUCRECIA
I am.
Lucrecia recognizes her face as the face of the woman she
saw in her dream--the woman seated besides the Duke of Alba.
Lucrecia studies the nun’s sweat.
LUCRECIA
(continuing)
I have seen you.
SUPERIOR NUN
(skeptical)
That would be impossible. I’ve
never left this place in forty
years.
(to the fat nun)
Would you make the questions? I
don’t feel very well.
Lucrecia looks at a black spot on the nun’s hand.
LUCRECIA
Are you ill?
The nun looks at Lucrecia.
Lucrecia’s sight is inquisitive.
The nun opens her lips--they are dry.
(CONTINUES)
CONTINUING: 48.
Maria covers her open mouth with his hands.
The nun screams and falls to the floor, agonizing.
Ten NUNS invade the place running and screaming.
The superior nun grasps Maria’s dress and looks at her with
horror. White matter comes out from her mouth.
MARIA
(horrified)
The plague!
She releases the nun, grips Lucrecia’s hand and abandons the
room and the tide of hysterical nuns.
CUT TO:
26 INT. ANTONIO DE PEREZ LIVING ROOM. NIGHT. 26
Flashback: continuation of scene 6.
Lucrecia and Beatriz leave under Antonio, Ana and
Nepomuceno’s sight.
ANA
Our children are the easiest
victims of those "prophets". I
sincerely envy their ability to
control people’s minds. I have even
advise Antonio to hire Piedraola.
ANTONIO
(earnest)
That prattler disconcerts me. What
your daughter heard from him was
true. The King has recalled his
oldest warrior. I’m quite
disappointed.
NEPOMUCENO
(drinking wine)
If the Duke of Alba returns, the
Genoese bankers will be reluctant
to lend money to the Crown. They
haven’t forgotten his slaughter in
the Netherlands.
ANTONIO
Remember that Alba is also my
enemy. That’s why you are here. The
Duke is old and sick...
(CONTINUES)
CONTINUING: 49.
Ana smiles at Nepomuceno as she pours more wine in his cup--
over her image we listen:
NEPOMUCENO (V.O.)
First I thought on a conspiracy
against Alba. Now I’m not sure.
They concealed their thoughts
behind metaphors and allegories.
And then Ana mentioned the name of
the Queen. She may try to hinder
Alba’s return.
CUT TO:
27 INT. OLD CHURCH. DAY. 27
Francisco listens attentively to Nepomuceno.
The later is knelt on the floor; the former looks out
through a window.
Francisco sees a black-clothed multitude entering into the
Church.
NEPOMUCENO
The bankers no longer want to
mediate with the Church. Yesterday
they gave me instructions to deal
strictly with the King’s secretary.
FRANCISCO
I will talk to the royal confessor.
I’ll inform you of your testimony.
And about the bankers: Can you
change their mind?
Nepomuceno sweats.
NEPOMUCENO
I’m an employee father.
FRANCISCO
We are by our very nature.
Francisco looks outside.
Thunder. It rains.
FRANCISCO
(continuing)
And now, please, leave me alone.
There is a burial at the Church.
50.
CUT TO:
28 INT. MADRID CHURCH. DAY. 28
Maria and Lucrecia come back home. Lucrecia’s dress is torn.
Maria’s face is dirty.
The street is empty.
Thunder. It rains.
MARIA
Many will die.
They face the Church and Larvaez, who approaches from the
opposite direction.
They run into the Church in an effort to avoid him.
The walls inside the Church are shrouded in black clothes.
Women cry.
Lucrecia sees a coffin in the altar.
Maria looks inquiringly at her.
Lucrecia approaches the coffin.
She faces Segismunda, who cries.
She peeps into the coffin. She sees Mario’s cadaver inside.
Marcela, who stands besides the coffin, looks at her.
LUCRECIA
(to Marcela)
How did he die?
MARCELA
(deliriously)
Nobody knows. Two weeks ago he fell
while we were laughing together.
Segismunda approaches Lucrecia.
SEGISMUNDA
Lucrecia, you were one of his best
friends. Tell me: have you forgiven
him?
(CONTINUES)
CONTINUING: 51.
MARIA
(to Segismunda)
How did he die?
Segismunda sobs and sits besides Francisco. Lucrecia and
Maria follow her.
FRANCISCO
(to Lucrecia)
Aren’t you supposed to be at the
convent?
LUCRECIA
(springing back)
God!
Marcela breaths noisily. She stumbles and grabs the coffin.
LUCRECIA
It was unwholesome.
FRANCISCO
Where?
MARIA
The nuns were ill.
They hear Victoria’s scream. Marcela bends dead over the
coffin. She and the coffin fall. Women scream.
MARIA
(crying)
The plague!
General screams and commotion.
Mario’s corpse rolls and stops before Francisco’s feet.
He kneels down and tears Mario’s shroud: exception made of
his face, Mario’s corpse reveals to be covered by black
spots.
Segismunda screams and covers his son’s naked body with her
cape.
Lucrecia acquires an uncanny state of serenity. Around her
panicking men and women move, shudder and scream.
The Church’s doors are wide open. A gush of wind
extinguishes the candles. The water of the rain sprinkles
Marcela’s lifeless face. Thunders blend with screams.
People stumble before the gates, blocking their way out.
(CONTINUES)
CONTINUING: 52.
The wind blows the walls’ clothes into the air.
People climb up the church’s walls in a desperate effort to
escape. They fall.
Francisco looks at Lucrecia’s relaxed expression with
perplexity. Unable to control his fear, he flees struggling
against the human tide.
Maria, sobbing by fear, grasps Lucrecia’s hand. Fire spreads
inside the Church. Lucrecia faces Segismunda, who
agonizingly coughs on the floor. Her eyes are wide open.
SEGISMUNDA
Forgive my only son!
Segismunda is trampled by people who try to flee in all
directions, one struggling against each other.
Lucrecia faces a crucifix on a wall... and a small window
just over the floor.
Lucrecia crawls into it. Maria follows her. Francisco looks
at them.
CUT TO:
29 EXT. MADRID STREET. DAY. 29
Lucrecia and Maria walk under the rain, until they face the
main entrance of the Church. The scene is sinister: tens of
men and women who piled over each other cannot move.
They scream as the fire burns over the Church.
Francisco arrives and kneels down.
FRANCISCO
(screaming)
Let’s pray! Let’s pray to God!
All people, including Lucrecia and Maria, kneel down and
pray.
The rain increases deadening the fire.
CUT TO:
53.
30 EXT. ROYAL COURT AT EL ESCORIAL. NIGHT. 30
A terrace. The full moon is covered by dark clouds.
Philip, seated on a wooden sofa meditates as Antonio de
Perez talks.
He looks at Madrid: a small weak-lit sheet lost in a field
of darkness.
Pacheco, Francisco and RUY LOPEZ, a 40-year old man, are
seated at one side. Hector Mendoza, Fray Luis and Larvaez at
the other.
All they are seated around, on sofas and chairs, creating an
irregular circle.
At the center, Ana de Mendoza shares one bench with 16-year-
old ISABELLA, Philip’s daughter, whose hair and eyes are
black.
The group is lit by candles. They look at Antonio de Perez,
who hoisting a letter in his hands speaks with arrogance.
ANTONIO
Spain, a country of Jews! That’s
what the Pope wrote in this letter
to the Duke of Alba! I warn you,
Philip! Reject that bloody man now!
Otherwise, he will slaughter half
of Portugal before he can grasp it!
{Your knight is dead}
Antonio {who plays the black pieces} comes closer to a chess
game on a table and moves his light-bishop, taking out from
the board a white knight.
His chair remains empty, in front of the table.
Philip looks at Antonio and Jeronimo de Cespedes. The latter
is seated on a chair in front of the table. Jeronimo copes
with Antonio’s passionate speech with repressed anger.
JERONIMO
I won’t forsake my bishop.
Jeronimo {white pieces} moves his light-bishop taking out
Antonio’s light-bishop.
JERONIMO
(continuing)
Rome believes that only Alba can
bring back unity to our Church.
(More)
(CONTINUES)
CONTINUING: 54.
JERONIMO (continuing)
After Luther and Calvin’s impish
deeds, our soul’s strength has been
weakened enough. We don’t need to
listen to your words again,
Antonio, Prince of Eboli, in order
to realize how ominous your
intentions are. And how contrary to
Alba, who merely wants to preserve
our commonwealth.
While they continue their discussion, Ana and Isabella talk
in the foreground.
ISABELLA
(whispering)
Fray Jeronimo could be a skillful
spiritual adviser, but as a chess
player he can’t control himself. He
is taking too much care of his
Queen.
ANA
(who is more concerned about
the discussion than about the
game:)
What for your father is a passion,
should be less than a fashion for
you.
ISABELLA
Wise advice, Doña Ana, but I also
may get involved in politics some
day.
ANA
(sardonic)
As Elizabeth of England? The Virgin
Queen?
ISABELLA
As you doña Ana.
Isabella smiles and looks at Antonio.
ANTONIO
Alba is sick! A fanatic! That’s why
our King banished him.
JERONIMO
Under your advice...
Pause. Jeronimo smiles at Philip.
(CONTINUES)
CONTINUING: 55.
Philip’s expression is neutral--he awaits for the next move.
JERONIMO
(continuing)
Fortunately our majesty Philip the
Second, here present, intends to
revoke such a decree.
ANTONIO
He may confirm it as well.
(concentrated in the game)
Such move doesn’t deserve
forgiveness. Your second knight is
dead.
Whispers. Antonio moves his Queen taking out a white knight.
Jeronimo concentrates on the board.
In the foreground Pacheco whispers to Francisco.
PACHECO
(with envy)
Don Antonio has been placed too
high by Philip.
FRANCISCO
That’s wise, Baron Pacheco. Half of
Spain supports him.
PACHECO
(evil)
That’s what he says.
Jeronimo moves his Queen and takes out Antonio’s Queen.
JERONIMO
I regret your Queen won’t be longer
with us.
Jeronimo laughs pleasantly. He looks at Ana.
Antonio moves his jaw nervously.
JERONIMO
(continuing)
It was Alba’s idea to claim
Portugal, not yours. He wants to
see Rome together. The whole world!
(smiling to Philip:)
Have you realized how strong our
Church can be?
(CONTINUES)
CONTINUING: 56.
ANTONIO
(ironic)
Rome’s minister speaks!
(to Philip)
Don’t listen to the serpent!
(to Jeronimo)
And believe me Fray Jeronimo, in
politics we don’t need you--nor
Rome, nor the Pope’s weak
protection. The inquisition--that’s
the real Church!
In the background, Hector Mendoza smiles.
MENDOZA
(to Larvaez, in a low tone of
voice:)
I knew this game was going to
finish in a political discussion.
You can see how much Philip enjoys
division amongst his ministers.
LARVAEZ
As Inquisitors we should envy not
only his political skills, but
overall his well displayed
earnestness.
Mendoza looks angrily at Larvaez, who ignores the meaning of
his glance.
Mendoza opens his mouth--ready to speak back. Jeronimo’s
voice refrains him.
JERONIMO
God came to us through Rome! Don’t
forget it!
ANTONIO
But Rome betrayed us! If the papacy
wants power, we are the power! We
are the church!
Antonio signalizes Mendoza with his finger. Mendoza snuggles
his body in his chair. Everyone, but the King, looks at him.
ANTONIO
(continuing)
And nobody else will tell us what
to do with our fate! Once we tame
England, we will bring the Holy See
from the Vatican to Toledo!
(CONTINUES)
CONTINUING: 57.
Antonio calms down. He moves his bishop threatening the
white king.
ANTONIO
(continuing)
Your pope is dead. In two
movements. My Queen... lured you.
Ana smiles.
Jeronimo’s face shows wrath.
JERONIMO
You mean..., my King.
ANTONIO
(smiling with revenge’s
pleasure)
For you, what’s the difference?
Jeronimo looks at the board.
He lies down his King.
Philip, deeply concentrated in the game, gets up.
PHILIP
It was an excellent game. Prince of
Eboly! Royal confessor! Thanks for
accepting my proposal. I know how
difficult it is to conciliate two
opposite minds in a chess game. But
discord, rather than agreement, is
the banner of our times.
He looks at Antonio and Jeronimo.
They, under his sight, look at each other and shake their
hands with challenging hate.
CUT TO:
31 INT. OFFICE AT EL ESCORIAL. NIGHT. 31
In the background we see an imperial chair. Around it, each
one seated on a bench, Antonio de Perez, Ana de Mendoza,
Hector Mendoza and Larvaez wait anxiously.
The silence is broken by the sound of a door opening.
From darkness two soldiers appear. Between them, Philip
comes out. A secretary follows him.
(CONTINUES)
CONTINUING: 58.
Antonio and its train stand up. Philip sits down. To a
Philip’s gesture they sit down again. The secretary takes a
seat before a desk and starts writing.
PHILIP
Tomorrow night we’ll start the
campaign to conquer Portugal. Alba
will rule my army.
Antonio moves anxiously in his seat. Philip notices it.
ANTONIO
(flattering)
I must confess that even at his age
Alba’s battlefield skills are
outstanding.
PHILIP
You will represent me in my
absence, prince of Eboli. Cope with
the plague and with my brother’s
requisitions.
ANTONIO
I’ll do my Lord.
PHILIP
This illness has come from the
Netherlands.
(to Mendoza)
I would like to edify my people
before God.
Antonio smiles, understanding a subtle meaning.
PHILIP
(continuing; To Mendoza)
I would like to offer an Auto de fe
on my return from Lisbon.
MENDOZA
(shocked)
With all your respect, your
majesty, the Inquisition hasn’t
condemned a heretic in ten months.
PHILIP
Our prisons are empty, then?
LARVAEZ
(who wants to please Philip)
Madrid is full of enemies of our
faith, your Majesty.
(CONTINUES)
CONTINUING: 59.
MENDOZA
(to Larvaez, hiding his
surprise)
You own obedience to the General
Inquisitor of Toledo, who is not
present here, Father Larvaez. Our
King knows we can’t condemn
catholic believers without a fair
trial. That will take at least six
months...
LARVAEZ
There could be certain exceptions
to that rule, Father Mendoza.
Converted Jews who backslide, for
instance...
Mendoza smiles with hate at Larvaez.
MENDOZA
(Confused. To Philip)
We will do our best, your majesty.
Philip looks at Larvaez, who smiles at him.
Antonio exchanges a glance of complicity with Ana.
PHILIP
(to Mendoza)
Ecclesiastic affairs are not my
concern, Bishop Mendoza. But let me
remind you that if the General
Inquisitor--whose orders you
follow, wants independence from
Rome, it must accept my guidance.
MENDOZA
(nervous)
I’m your most loyal servant, your
majesty.
PHILIP
Why didn’t I hear that earlier on?
Mendoza’s face pales. Philip faces Ana, who looks back
worried at him.
PHILIP
(continuing; cold, looking at
Antonio)
The Queen will follow me.
Antonio’s smile vanishes. Ana smiles at Philip, trying to
recover her gaiety.
(CONTINUES)
CONTINUING: 60.
PHILIP
(continuing; to Larvaez)
I would like to have a word with
you, Father Larvaez.
Mendoza and Larvaez are surprised. Mendoza approaches
Philip.
PHILIP
(continuing; to Mendoza)
Alone.
All, but Phillip and Larvaez, exit.
CUT TO:
32 INT. A ROOM AT EL ESCORIAL. SUNRISE. 32
Philip stands reading a letter. Around him are two
soldiers-- both holding anchors. In front of them, Jeronimo,
Francisco and Pacheco.
Philip throws the letter into a chimney’s fire.
He makes a gesture and Jeronimo, Francisco and Pacheco sit
down.
PHILIP
(to Jeronimo)
I need you with me in Portugal,
Fray Jeronimo.
Jeronimo nods his head. Jeronimo points out Francisco.
JERONIMO
My King, I have talked to you about
the zeal that Francisco professes
to our Church.
PHILIP
(to Francisco)
What did you find out?
FRANCISCO
I would like you to see it for
yourself, my King.
Philip looks back at him.
Francisco offers Philip a paper.
Philip takes it and gives it to a soldier.
(CONTINUES)
CONTINUING: 61.
PHILIP
(to Jeronimo)
At the moment I don’t have time to
hear about my enemies conspiracies.
I will read that paper after the
battle for Portugal... If I take
it.
JERONIMO
You will take it. Thanks to
Francisco’s zeal, we got the Pope’s
support and a loan from the
Venetian bankers.
PHILIP
(sad)
The Pope.
(bold)
What does he say about transferring
the Holy See to Spain?
JERONIMO
(nervous)
Rome was the sacred city that
neither Hannibal, nor Attila could
defeat! How can I ask that, my son?
PHILIP
The pope fear my army.
JERONIMO
Do you want to taint the treets of
Rome with the innocent blood of
priests and nuns, as your father
did?
PHILIP
(slightly impatient)
He didn’t even consider my
proposal, then.
Philip lowers his face for an instant. He then looks at
Jeronimo and raises his hand. Mendoza kneels down and leaves
the room.
PHILIP
(continuing)
Did you hear what I heard, Baron
Pacheco?
PACHECO
(controlling his excitement)
(More)
(CONTINUES)
CONTINUING: 62.
PACHECO (continuing)
With a Royal Confessor as Jeronimo
de Cespedes, Rome doesn’t need
spies in El Escorial.
PHILIP
How reliable is that monk?
Francisco.
PACHECO
People take him for a saint. His
prayers seemed to have saved a
multitude. They appeased a fire
kindle in the Cathedral during the
recent storm.
PHILIP
We’ll talk further about him later
on--in Portugal.
PACHECO
(bending his body)
Your majesty!
CUT TO:
33 EXT. LUCRECIA’S HOUSE-PATIO. NIGHT. 33
Moonlight. Lucrecia comes to the patio from her bedroom. Her
cheeks are wet. She wears a gown. Maria stands behind her.
LUCRECIA
I m not a witch!
MARIA
(grasping Lucrecia)
God save me of even thinking it! I
just wanted to say that... you are
not normal. We need an advisor!
LUCRECIA
I don’t need to talk to anybody. I
just dream--I dream everything!
MARIA
You can be bewitched!
LUCRECIA
(in anguish)
Are you going to tell my father?
(pause)
You already told him!
(CONTINUES)
CONTINUING: 63.
MARIA
(who avoids to give an answer)
I told your mother. Don’t be sad.
You are my friend, Lucrecia. But
everyone saw you at the Church that
day!
LUCRECIA
And?
MARIA
And? Your behavior was uncanny.
LUCRECIA
Uncanny?
MARIA
It seemed like you were not afraid
of dying.
Maria notices Beatriz presence.
BEATRIZ
I would like to speak to Lucrecia.
Lucrecia looks at Maria with surprise. Maria makes an
apologetic gesture.
MARIA
Doña Beatriz, I...
(BEATRIZ)
(to Lucrecia)
After all, God doesn’t want you to
become a nun.
Lucrecia and Maria interchange looks.
BEATRIZ
(continuing; at Lucrecia)
God may has chosen you as his
prophetess.
LUCRECIA
Who is going to believe me?
BEATRIZ
(after a pause)
We’ll talk to you confessor.
LUCRECIA
He intimidates me.
(CONTINUES)
CONTINUING: 64.
BEATRIZ
Why?
LUCRECIA
I dreamt that he was going to
become the royal confessor.
BEATRIZ
He is a wise man then.
Maria is shocked by Beatriz’ reaction.
MARIA
(conciliatory)
I don’t trust him at all, neither.
BEATRIZ
I recognize that Fray Francisco is
somehow skeptical about these
matters. But we should rely on him.
I know he will keep it as a
confessional secret.
Pause. Lucrecia seems confused. She looks at Maria, who with
her hands grasps her stomach.
BEATRIZ
(continuing)
However, I’ll write a letter to the
General Inquisition’s first
assistant, Father Hector Mendoza.
Let him decide if Lucrecia’s dreams
are inspired by God.
Lucrecia helps Maria to stand up. Beatriz also helps her.
BEATRIZ
(continuing; to Maria)
Do you feel weak?
MARIA
I need to rest.
Beatriz touches Maria’s neck.
MARIA
(continuing; scared, at
Beatriz)
I haven’t gotten the plague.
BEATRIZ
(controlling her fear)
Let’s go inside.
(CONTINUES)
CONTINUING: 65.
Lucrecia looks at the castle.
MARIA
I need to rest.
Maria sits down on the floor grabbing her stomach. Beatriz
looks at the castle: El Escorial. This castle is encrusted
in the mountain. It’s in darkness yet, a light spreads out
from a small window.
DISSOLVE TO:
34 INT. QUEEN’S CAMERA AT EL ESCORIAL. NIGHT. 34
Face of Isabella de Valois, Queen of Spain. She is just 35
years old, but her sadness confers to her a 60-year-old age
look.
Seated on before a table, Isabella looks out through a
window.
Ana de Mendoza, seated in front of the Queen, casts three
tarot cards over the table: The fool, the death and the
tower.
ANA
You shouldn’t go to Lisbon. Without
you we are exposed to death and
sickness.
QUEEN
(who looks at the wall, as
contemplating a cadaver)
My efforts to protect your interest
are pointless. With Alba’s return
you and Antonio have lost my
husband’s favor.
ANA
(in anguish)
My Queen! I beg you! Insist! Alba
will act against the disposition of
the Genovese bankers.
QUEEN
The bankers want a guarantee only.
The Duke enjoys the support of the
crowd and the protection of the
Pope.
(CONTINUES)
CONTINUING: 66.
ANA
(passionate)
Till when are we going to rely on
Rome?
QUEEN
(with remorse)
I don’t have the power.
Ana stands up and moves close to a wall where two big
portraits hang.
She points at the first: don Carlos.
ANA
A King who forsakes his own son
doesn’t deserve any respect from
me!
The Queen cries. Ana grasps furiously her arm.
ANA
(continuing)
We know don Carlos didn’t die! We
know it!
The queen stands up and runs to a window.
QUEEN
(while moving)
Ana, please...
Ana takes the queen’s right hand and leads her till the
second portrait: don Juan de Austria.
ANA
And just one year ago he
expatriated his half brother. How
many hopes Spain had on Don Juan.
All me mourn his departure.
Isabella, what has Philip done to
you?
QUEEN
(who, struggling, gets out
from Ana’s hold)
Philip is the father of my
children!
Ana is astonished.
Isabella recovers her majesty. She grasps a rosary which
hangs from her neck and sits down again.
(CONTINUES)
CONTINUING: 67.
QUEEN
(continuing)
They have grown up...
Ana kneels at front of the queen.
ANA
(taking her hands)
Isabella! My beloved friend.
QUEEN
(looking at Ana’s eyes)
You are so beautiful, Ana. I’m so
fond of you and Antonio.
Ana appears to be shocked.
QUEEN
(continuing)
The whole court plots against you
both. They cannot forgive your
happiness.
Ana looks at Isabella nervously. The Queen see the tarot
cards.
QUEEN
(continuing)
Don’t be afraid. As long as I live
Philip won’t dare to harm you.
CUT TO:
35 DREAM SEQUENCE: EXT. DESERT. DAY. 35
A bare tree grows in the center.
Under the tree, a monk covers his head from the sun. Three
people approach him from different directions: a fisherman
from the north, a warrior from the west and an beggar from
the east.
The monk looks at his back. A sand-storm raises in the
distance.
They stop around the monk. The monk unveils himself:
Lucrecia.
FISHERMAN
God be with you Lucrecia. Renounce
the worldly charms and let’s go to
the sea, where the whispers of the
(More)
(CONTINUES)
CONTINUING: 68.
FISHERMAN (continuing)
waves give joy to our soul. Or
let’s stay on this desert, as quiet
as your life.
WARRIOR
Listen, Lucrecia, God sent me on
behalf of the people who suffer
injustice in Spain. They have
prayed in hunger. They have chosen
you.
He offers his sword to her. Lucrecia takes it.
WARRIOR
(continuing)
Use it, beautiful maiden. As long
as you preserve your virginity I
will protect you in your fight--We
both shall defeat pain, misery and
deceit.
OLD MAN
(smiling)
Accept my weakness, Lucrecia. Our
humanity will build a more powerful
Church with you as God’s vicar.
Rituals will be held on your honor,
books dedicated to your name and
new institutions created to the
memory of Popess Lucrecia.
Lucrecia faces them with awe.
She doesn’t have the warrior’s sword. She turns around and
faces the storm. She screams and looks back at them.
[They will talk with their own voices, but they will have
different heads.]
FISHERMAN
(with don Juan’s face)
Don Juan of Austria will be killed
tomorrow.
(with Philip’s face)
Nevertheless, for the King, death
lives in Toledo.
WARRIOR
(with Diego’s face)
Lucrecia, I must return to you.
(CONTINUES)
CONTINUING: 69.
OLD MAN
(with Maria’s face)
Soon you will unfold my fate!
Lucrecia holds her head in astonishment and fear.
The landscape spins around her. The three man repeat the
last three sentences at the same time.
She screams.
CUT TO:
36 EXT. OPEN VALLEY ON ALCANTARA, PORTUGAL. DAY 36
Smoke raises over a field where cannonballs explode.
PORTUGUESE and SPANISH SOLDIERS fight against each other.
Body parts are scattered on the ground.
SPANISH SOLDIER 1 cuts the head of PORTUGUESE SOLDIER 1 with
his sword.
PORTUGUESE SOLDIER 2 screams and trespass Spanish soldier 1
with a spear.
PORTUGUESE SOLDIER 3 shoots his musket over the face of
SPANISH SOLDIER 2.
SPANISH SOLDIER 3 and SPANISH SOLDIER 4 attack PORTUGUESE
SOLDIER 4 with their swords, but are outmaneuvered and
killed by P. Soldier 4.
P. Soldier 4 is blown by a cannonball.
CUT TO:
37 EXT. ROYAL TEND ON AN OPEN VALLEY ON ALCANTARA, PORTUGAL.
DAY. 37
The top of a hillock. It’s noon--the sunlight gleams over
the space. Three thousand SPANISH SOLDIERS march in
formation, disappearing into the landscape’s horizon.
The Duke OF ALBA wears a gleaming iron armor and a red cape.
Standing up, he signs some documents given by his secretary:
DARIO, a dwarf.
Alba dominates with his sight the entire troops.
(CONTINUES)
CONTINUING: 70.
Besides him Philip, wearing a golden armor, looks with
pleasure at his forces in motion. Seated on a comfortable
chair, he’s being fanned by a bulky slave.
Philip drinks wine and eats fruits from a platter placed on
a golden table.
Signing some letters, Pacheco is seated in front of a small
wooden table. In the distance, a red figure approaches them:
Jeronimo de Cespedes.
ALBA
(with majesty)
It was about twenty two years ago
when I first told you Portugal had
to be added to Spain.
PHILIP
(jealous, with the scorn that
a kid feels before his
father’s superiority)
What about Flanders?
ALBA
In the Netherlands I didn’t have
the authority you granted me today.
The discipline imposed on our
troops open the path to victory.
PHILIP
The conquest of Portugal was an
easy task. They didn’t have another
choice. It was me, or that English
harlot.
Pacheco looks at Alba with scorn.
Dario looks angrily at Philip.
Alba doesn’t alter her paternal expression.
ALBA
English troops are strong on the
sea, but weak on land. I think this
is a unique opportunity to attack
Elizabeth’s Kingdom. I would like
us to join don Juan of Austria’s
forces in Scotland.
PHILIP
(irritated)
I don’t want to talk about my
brother.
(CONTINUES)
CONTINUING: 71.
(very slow)
Can I enjoy this...
ALBA
(interrupting the pause made
by Philip)
This triumph? You will forgive my
insistence, my sovereign. But I
must persuade you: God has given
us...
Philip gets up suddenly, throwing out his drinks and the
platter with fruits.
PHILIP
(yelling)
Should I be interrupted?
Alba faces Philip with calm. The wind raffles his clothing.
PHILIP
(continuing; angry)
God has given us? God has given me!
You could have been the best
warrior! You could have dominated
the whole world. Because I know
better than anyone that there is no
man with more military skill than
you in Europe--but neither you, nor
my bastard brother are going to be
admired by anyone, because none of
you learnt to respect me as the
King I am. And without me you are
nothing!
Philip breathes deeply and sits down. His slave puts
everything back in order.
PHILIP
(continuing)
I’d rather loose my Kingdom before
seeing you invading England.
Alba looks proudly at him.
Dario cries. Philip doesn’t look at him
Dario follows Alba. Philip looks at the horizon. Alba faces
Jeronimo for an instant. Alba leaves.
Jeronimo looks dazzled at Philip. Philip faces him. Jeronimo
recoils with fear. He follows Alba’s steps.
Pacheco smiles at Philip.
(CONTINUES)
CONTINUING: 72.
PHILIP
(to Pacheco, while looking at
Alba)
I will be remembered as the most
ungrateful King.
CUT TO:
38 EXT. MADRID’S PARK. NIGHT. 38
A park with many trees and thick bushes. ESCOBEDO gets down
from his horse. He wears a hat and a cape.
A dark figure comes to him.
DARK FIGURE
Do you have the letter?
ESCOBEDO
(restrained)
Have you organized the rendezvous?
DARK FIGURE
With all the conspirators.
Escobedo gives him a sealed envelope
ESCOBEDO
Should I talk to don Antonio first?
My interview with Alba may...
DARK FIGURE
My son! Didn’t you hear what
happened to Alba in Portugal?
After a sign, Escobedo lends his ear to the dark figure.
Escobedo changes his expression from attention to pain.
The dark figure steps back. Moonlight falls on the dark
figure’s countenance, unveiling half of Larvaez’ face.
Larvaez, looking at Escobedo’s stomach, whispers:
LARVAEZ
You, Lutheran... You, traitor...
Escobedo looks at him, and afterwards at his heart, where he
sees a Toledian dagger’s handle.
ESCOBEDO
Treason! Treason...
(CONTINUES)
CONTINUING: 73.
Escobedo attempts to grasp his horse, but it flees, whipped
by Larvaez’s hand. Escobedo falls down. Larvaez recoils into
darkness while Escobedo agonizes face up.
CUT TO:
39 INT. ANTONIO DE PEREZ OFFICE AT MADRID. DAY. 39
A desk, a portrait of Antonio and another of Philip. Red
walls.
An open window allows the air to raffle a white curtain. A
voice is heard:
PIEDRAOLA (O.S.)
This lifeless blood was Escobedo!
He, don Juan de Austria’s beloved
Secretary, was stabbed by coward
hands! Bitterly, today I see Madrid
covered by sin and shame!
From the window we see the park--and Piedraola preaching.
CUT TO:
40 EXT. A MADRID SREET. DAY. 40
The sky is gray. A soft cold wind raffles the trees’ leaves.
Nepomuceno approaches the scene.
PEOPLE around Piedraola displays scant interest on his
words. They wear dirty rags. Sane people and sick people are
mixed together.
A pile of cadavers lies against a wall. Besides it, a cart
covered by black linen. Two FAT MEN carry bodies from the
pile into the cart.
Nepomuceno stops and looks sharply at Piedraola.
PIEDRAOLA
God sent us this plague not as a
curse, but as a blessing--because
earthy we are, and earthy we shall
die. Praise the diseases that
unveil your most secret crimes! I
blame you, Duke of Alba! I blame
you Philip, King of Spain! Because
you both despise don Juan’s peace
effort, in order to display your
(More)
(CONTINUES)
CONTINUING: 74.
PIEDRAOLA (continuing)
might over starving soldiers,
widows and children!
The fat-men pick up Escobedo’s cadaver.
Piedraola looks angrily at Antonio de Perez office. He takes
his head in his hands.
Antonio is at the Terrace. He moves into the office.
CUT TO:
41 INT. EXT. ANTONIO DE PEREZ OFFICE AT MADRID. DAY. 41
Antonio faces Ana, who stands up.
Antonio kisses her with passion.
ANTONIO
Ana!
ANA
I cannot longer cry. The plague has
taught me to coexist with death.
ANTONIO
(with remorse)
It was very timely. Otherwise I
would have had to cope with a
rebellion.
ANA
Escobedo’s?
ANTONIO
(in an affirmative gesture)
I should have protected him!
ANA
Don’t put the blame on yourself.
Philip is the true mastermind
behind this crime.
Ana recoils and sits down besides Antonio’s desk. She picks
up a letter from it. She opens it. She peruses it.
ANA
(continuing)
Do we know the Duke of Alba’s
whereabouts?
(CONTINUES)
CONTINUING: 75.
ANTONIO
His home and his grave, I am
afraid. He didn’t even wait for
Philip’s orders to resign.
They hear three knocks at the door. Antonio and Ana look at
each other.
ANTONIO
(continuing)
Yes?
NEPOMUCENO (V.O.)
Nepomuceno.
Antonio opens the door. Nepomuceno enters.
NEPOMUCENO
The Genoese bankers are overjoy
by Alba’s victory.
Antonio leads Nepomuceno and Ana into the living-room.
ANTONIO
He proved to be an efficient
general afterall.
Nepomuceno follows him as he takes a large envelope out from
his coat. He passes it on to Antonio.
NEPOMUCENO
A letter of congratulations from
the Genoese bankers.
ANTONIO
(dry)
The King appreciates your
diligence.
Nepomuceno bends down his head.
The door opens abruptly. Nepomuceno recoils. Antonio faces
Larvaez, who walks into the room.
ANTONIO
(continuing)
Father Larvaez! I’m sure you know
Nepomuceno, the secretary of the
Genovese bankers.
Nepomuceno remains tense.
(CONTINUES)
CONTINUING: 76.
LARVAEZ
You are involved in a very serious
affair, Nepomuceno.
Antonio giggles. Nepomuceno looks nervously at Larvaez.
LARVAEZ
(continuing)
A member of your family has been
accused of heresy.
CUT TO:
42 EXT. MADRID’S CHURCH. DAY. 42
Francisco looks inquisitively at Lucrecia. She stands his
scrutiny. We see a blue sky behind Francisco.
Maria and Beatriz look at them from the distance.
They are on a terrace, in a Madrid Church.
As they move, we see a two-headed man shaped cloud.
FRANCISCO
Say that again.
LUCRECIA
You are going to be the royal
confessor.
The wind raffles Francisco’s clothes.
FRANCISCO
(after a pause)
Should I infer that Fray Jeronimo
de Cespedes will be recalled by
Rome?
LUCRECIA
Perhaps... I don’t know.
FRANCISCO
’For the King, death lives in
Toledo’--that’s what you said.
LUCRECIA
That’s what I heard.
FRANCISCO
Have you heard about Fray
Jeronimo’s efforts to move the Holy
See to Toledo?
(CONTINUES)
CONTINUING: 77.
LUCRECIA
(calm)
No, my Lord.
FRANCISCO
(agitated)
Can you read Latin?
LUCRECIA
I was taught at the Guardiola
family.
FRANCISCO
(who grimaces)
If your prophesies are truthful
they are either inspired by God or
by the devil.
Lucrecia looks intensively at him.
FRANCISCO
(continuing)
Maidens are often tempted by
vanity.
Lucrecia kisses his hand.
LUCRECIA
(in anguish)
I’m a good christian.
FRANCISCO
I haven’t forgotten what happened
in the Temple.
(intimidated)
I would need another opinion...
Francisco turns around and walks towards Maria and Ana.
Lucrecia intertwines her hands and raises her head to the
sky.
The sun is covered by a horned-shaped cloud.
CUT TO:
43 INT. LISBOA’S ROYAL PALACE. SUNSET. 43
The Queen lies on a bed, covered by a blue sheet. The
expression in her eyes is empty.
A small table is placed besides her bed; we distinguish on
it a white jar and a metallic cup.
(CONTINUES)
CONTINUING: 78.
The wind enters through a window. Far-away mumbling is
heard.
Light falls on her face--it filters through a tall window.
There is a gradation of light along the bedroom, from white
(window) to almost darkness (door). Candles in a sconce
illuminate the background of the room.
Bausch’s "Saint Anthony’s Temptations" triptych hangs on the
wall.
Philip, standing besides the bed, studies the Queen’s
countenance.
A GUARD leaves the room and closes the door. The Queen wakes
up. She swings her head in anguish.
PHILIP
I couldn’t be crowned today because
of your disease.
QUEEN
(weak)
Phillip, please.
PHILIP
Only dead can we understand the
nature of our love.
Philip sits down on the bed--besides her. He looks tired and
sad.
PHILIP
(continuing)
Time has passed away. I’ve been a
good husband, haven’t I? After my
son’s death, I was accused by my
subjects of murder--but I wasn’t
afraid to marry you. My children
were the force that supported me.
QUEEN
(looking tenderly at him)
I love you! Oh, only God knows how
much I love you.
PHILIP
(bitter)
Even my enemies praise your
devotion. How could you believe I
killed my own son?
(CONTINUES)
CONTINUING: 79.
QUEEN
I’m thirsty...
Slowly, Philip pours water in the cup. He lifts his wife’s
head in his arms.
PHILIP
I must confess I’m jealous of him.
The rascal! He won your heart as a
cadaver.
Philip pours water in her lips.
PHILIP
(continuing)
We are alone. Indeed. Alone. Where
is God? My fear is so elusive.
Philip sobs. With difficulty he adds:
PHILIP
(continuing)
How could you betray me? You chose
don Antonio de Perez and Doña Ana
de Mendoza’s friendship over mine.
An adulterer! A murderer! He
intends to slaughter all my
children. History will know that
three of them were killed. And you
helped them--Ignorantia non
excusat...
Silence. Philip holds the cup in his hand.
The Queen agonizes in her bed.
He looks fascinated at her.
The Queen screams and dies.
Philip listens to a sound behind him.
He looks at her back. Jeronimo de Cespedes stands--still. He
holds a letter in his hand.
Philip looks sharply at him.
PHILIP
(continuing)
How did you enter?
Jeronimo de Cespedes gasps.
(CONTINUES)
CONTINUING: 80.
JERONIMO
I got a letter from Madrid.
PHILIP
A letter!
Philip closes the eyes of the Queen.
PHILIP
(continuing)
What is it about?
JERONIMO
Don Juan de Austria’s secretary was
stabbed.
(with apprehension)
Don Antonio de Perez blames the
Duke of Alba! You know that’s
impossible, but Madrid is infested
by foretellers. They say--Oh, my
God, that death is close to you...
Jeronimo is interrupted by the sudden vision of the Queen’s
body.
Jeronimo trembles. He raises his eyes to Philip with horror.
Philip rubs his eyes.
He comes to Jeronimo, who steps back.
Philip takes the letter from his hand.
PHILIP
Her health was weak.
JERONIMO
How could she...?
PHILIP
(interrupting and screaming)
She was sick!!!
Jeronimo looks gravely at Philip.
JERONIMO
O, my son... You did it.
Philip’s expression is cold. He takes the cup and offers it
to Jeronimo.
(CONTINUES)
CONTINUING: 81.
PHILIP
If you don’t know my will you don’t
know God’s will.
Jeronimo stands up in an effort to escape. Possessed by an
unnatural force, Philip grasps him with one arm. With the
other he shoves the cups’ liquor in his mouth. Jeronimo’s
eyes pour tears.
Jeronimo faces Bausch’s triptych: he fixes his eyes on Saint
Anthony’s image--a resemblance of Philip. This image seems
to be looking at Jeronimo.
Philip throws Jeronimo’s agonizing body over the floor. He
moans weakly. He faces the triptych once again: the earth
burns in it--we hear the whisper of the flames.
Philip’s face is lit by the red light of the sunset.
Jeronimo screams. He is surrounded by the Bausch’s fiendish
figures:
the pale woman on a rat,
the porcine priest,
the fish,
the owl.
CUT TO:
44 EXT./INT. THE FRONT OF DON JUAN OF AUSTRIA’S QUARTERS ON THE
NETHERLANDS. NIGHT. 44
The camera moves through the space as don Juan of Austria’s
scream is heard.
The space is covered by fires--each surrounded by SOLDIERS.
Soldiers stand up and cross the space towards his tent.
The screams keep on. Soldiers, MONKS and OFFICIALS--almost
all of them wearing their night-robes, surround the tend.
Inside, don Juan of Austria is grasped by two soldiers.
Pacheco looks sternly at him. He carries a scroll in his
hands.
The soldiers mumble amongst them.
(CONTINUES)
CONTINUING: 82.
Don Juan is absent. He opens his mouth in pain. His fingers
tremble in the air. His forehead frowns in agony.
SPANISH SOLDIER 5 arrives.
SOLDIER 5
Don Juan?
SOLDIER 6
His messenger was murdered.
PACHECO
I loathe to be the bearer of bad
news. Our King wants to assure you,
nonetheless, that none of the
murderers will go unpunished.
SOLDIER 5
(whispering, to Don Juan)
He killed him.
SOLDIER 6
Death to Philip!
SOLDIER
Death to Philip!
Pacheco recoils.
Other soldiers scream against Philip.
Pacheco walks out amongst furious soldiers.
He gets into a carriage parked outside the tent.
CUT TO:
45 INT. CARRIAGE. DAY. 45
Pacheco enters into his carriage.
PACHECO
(to the coachman:)
To Madrid.
COACHMAN
You must rest, my Lord!
Pacheco beats the coachman on his head with his rod.
(CONTINUES)
CONTINUING: 83.
PACHECO
Whip the horse now or I will send
you to the galleys!
The coachman whips the horses.
CUT TO:
46 INT. INQUISITION PALACE, MADRID. DAY. 46
Hector Mendoza, seated in his chair, looks pensive at
Lucrecia.
Fray Luis de Leon and three monks are seated in lower seats
around him.
The Inquisition Palace is white. The walls are notoriously
naked of portraits.
On the ceiling, however, there is a Tiepolo fresco--in which
semi-naked angels fly over a blue sky.
In the lower ground, Beatriz and Maria whisper to each
other. There are seated amongst a small audience. Next to
them Diego-- bearing a profuse beard, studies Lucrecia’s
countenance. Several guards stand besides the doors.
MARIA
(whispering)
And Francisco?
BEATRIZ
(looking around)
It seems he had more urgent matters
to attend.
MARIA
Lucrecia doesn’t fit into this
place. Inquisitors and monks are
all branches of the same tree...
MENDOZA
(to Lucrecia)
If your confessor thinks your
dreams are prophetic, he must be
right. Does he know you for a long
time?
LUCRECIA
For one month, Monsignor.
Whispers amongst the audience.
(CONTINUES)
CONTINUING: 84.
FRAY LUIS
What did you dream last night?
LUCRECIA
My Lord was taking my heart into
his hands.
BEATRIZ
(almost crying, in a mix of
pleasure and pain)
She’s a saint.
FRAY LUIS
Many feigned prophets wonder
throughout Spain, your Excellency.
Nonetheless, we must recognize
God’s messengers as well. The
people of Madrid needs them--now
more than ever. They sense that the
revelations of Saint John are at
hand.
DIEGO
(standing up)
Every single dead carries the
entire destruction of the world.
Whispers.
MENDOZA
(to Diego)
Marquees de Quiroga! As a student
of theology, what do you think of
these maiden’s prophetic gifts?
Diego stands up and approaches Lucrecia.
DIEGO
Although I would have liked to
listen a entire description of her
dreams...
Lucrecia smiles at him. Diego’s eyes shine.
DIEGO
(continuing)
And although my knowledge on
mysticism is scant, I must say that
Lucrecia’s dreams are consistent. I
doubt they are a product of female
fantasy.
(CONTINUES)
CONTINUING: 85.
LARVAEZ (O.S.)
(suddenly, interrupting Diego)
What are these people doing here?
All of them turn around and see Larvaez, who enters into the
room followed by four inquisition guards.
MENDOZA
Father Larvaez! I wasn’t expecting
you...
LARVAEZ
(challenging Mendoza)
I lament to interrupt your
audience.
Larvaez looks threatening at Lucrecia, Beatriz and... Maria.
Lucrecia approaches Beatriz.
LARVAEZ
(continuing)
But as soon as I heard that
Nepomuceno de Leon’s family was
here, I couldn’t resist my duty.
(with emphasis)
I have some saddening news.
Whispers.
LARVAEZ
(continuing)
Although our King defeated the
Portuguese army, the Queen and the
royal confessor have been taken by
the plague.
Beatriz, Maria and Mendoza look at Lucrecia.
MARIA
(in admiration, looking at
Tiepolo’s painting)
She foresaw it!
MENDOZA
(saddened)
The Queen?
LARVAEZ
(ignoring his reaction)
Your first priority, Father
Mendoza, is to prosecute the
enemies of our faith, rather than
to hold audiences with them.
(CONTINUES)
CONTINUING: 86.
DIEGO
(shocked)
Lucrecia?
LARVAEZ
(pointing out the three woman)
A mask of innocence conceals them.
JERONIMO
You are in a holy place.
FRAY LUIF
I see cruelty in your face, Father
Larvaez.
LARVAEZ
(dry)
You are an able interpreter, fray
Luis.
Maria looks at the door.
Larvaez approaches Beatriz. He breathes in front of her.
LARVAEZ
(continuing)
I have made some inquires on the
past of de Leon family. Beatriz and
Lucrecia: two virtuous women
scarcely tainted by deceit. For
years, perhaps without knowing it,
they have sheltered a Marrana.
Mumbling amongst the audience.
Beatriz looks at Maria, who flees out of the room.
Larvaez remains calm.
LARVAEZ
(to Mendoza)
What are you waiting for?
MENDOZA
Yes, yes...
(confused; to the soldiers)
Don’t allow her to escape.
The guards run behind Maria.
LARVAEZ
Her escape is the clearest
confirmation of her guilt.
(CONTINUES)
CONTINUING: 87.
Mendoza looks angrily at Beatriz and Lucrecia. He stands up
and exits.
Beatriz approaches Mendoza and kneels at his feet.
BEATRIZ
(with trembling voice)
We didn’t know it, your excellency.
It was my husband who brought her
from Cordoba.
LARVAEZ
(to Lucrecia)
Be prudent on your dreams.
LUCRECIA
Pardon me?
LARVAEZ
You are young,
(looking at Fray Luis)
and this is a superstitious city.
A tear falls from Lucrecia’s eye, while she looks at him.
CUT TO:
47 EXT. MADRID INQUISITION PALACE. DAY. 47
Persecution sequence. Maria runs through white corridors,
panting.
Two guards run behind her.
She crosses a room where thre HERETICS are being tortured.
Five TORTURERS see her climbing up the stairs.
She climbs up until she reaches the belfry. From it she sees
a ground covered by cadavers.
She grasps her stomach.
The guards stop near her.
GUARD 1
Don’t do it!
Maria looks down.
A WOMAN on the street screams.
Maria jumps.
(CONTINUES)
CONTINUING: 88.
The woman sees Ana hanging on the tower.
A soldier grasps Maria’s dress. She faints.
CUT TO:
48 EXT. MADRID’S PUBLIC SQUARE. NIGHT. 48
A square surrounded by torches. 200 children sing a
Gregorian mass. Larvaez conducts them.
A large audience looks at them. Peasants and beggars stand
at one side.
On the opposite side, according to their rank and position,
ladies and gentlemen are seated in comfortable chairs placed
over a wooden platform.
Priests and monks hold long thin golden crosses. They wear
mourning habits: white, black and purple.
Nuns are spread out in groups.
Two high wooden platforms domain the scene.
In one of them we see black-dressed Philip seated in a red
chair. He listens attentively to the choir’s chant.
A white-dressed figure stands by his side: Francisco.
On the second platform we recognized Diego, inquisitors and
priests, who stand around Mendoza. Mendoza remains seated
besides the GENERAL INQUISITOR, a decrepit man who mumbles
Latin prayers. There is a table in front of him, on wich we
recognized the objects and books required to celebrate a
mass.
Philip glances at Mendoza. Mendoza nods his head, stands up
and raises his hand.
A PENITENT looks at Mendoza. He bears a torch. He kindles
two bonfires. The chant is overwhelmed by wild cries of
pain.
Tied to the bonfire’s central post we recognized a group of
nuns; tied to another, a group of monks. They scream as they
are burned.
The choir sings louder. Beatriz, Nepomuceno, Segismunda and
Lucrecia are seated in the first row, very close to the
fire. They look at the flames.
(CONTINUES)
CONTINUING: 89.
SEGISMUNDA
(to herself, but in a loud
tone:)
Death to the sodomites!
The penitent kindle another bonfire. Seven black men tied to
a post are lit. Nepomuceno dries his sweaty forehead with
his handkerchief.
Lucrecia and Beatriz move amongst the crowd and face a pile
of wood where 7 men and 8 women are tied up--amongst them,
Maria.
The penitent kindle the bonfire.
MARIA
Lucrecia!
Lucrecia scream. The crowd scream in a mix of pity, fear and
scorn. Many of them look jarred at the sky.
A group of nuns pray in ecstasy. They pour tears and laugh.
The penitents come and go, dilating and controlling the
flame.
Some priests wander mumbling Latin sentences and sprinkling
with holy water to the crowd. The crowd kneels with pleasure
to the water.
As the choir ends its chant, we heard painful screams:
CONDEMNED
(in pain)
God is love! God is love! God is
love!
Philip looks around him in a gesture of impatience. The
crowd boos the condemned. Larvaez looks at the General
Inquisitor, who imperatively gestures at him.
Larvaez gives a signal to the children who sing. Their
voices drown the screams of the condemned.
The crowd cries wildly.
Lucrecia, Nepomuceno, Beatriz and Segismunda sob and smile.
Maria’s body is covered by the fire.
CUT TO:
90.
49 EXT. MADRID’S OPEN PLACE. DAY. 49
The sky is blue, with clouds in motion.
The same place of the last scene, next morning. On an almost
empty space Lucrecia walks. She wears a nigh-cloak.
In the place of the bonfires she faces enormous piles of
ashes and pieces of black wood.
The structures made for the King and the bishops are empty.
At the center there is high post. Three skeletons without
skulls are tied around them. A staircase is set besides
them.
The fisherman, wearing a black robe, approaches with four
skulls in his hands. Lucrecia observes him. He approaches
directly and asks:
FISHERMAN
Three cadavers lay on this post,
Nay, but three skulls should they
have. Beheaded they were--four I
took. Now: whose skull is the
fourth?
LUCRECIA
Death’s.
From the tower of the Church, Lucrecia sees herself talking
to the fisherman.
She turns around and meets Philip, who seated on a chair
outstretches his arms over a large table.
She is seated on a chair as well--at the opposite side of
the large table.
She wears the Queen’s clothes--those worn during her death.
Philip eats a pig’s head.
She looks at her food: chicken fingers.
PHILIP
Debauchery was the sin of my youth.
I begot many children then. You may
be one of them, Lucrecia.
Lucrecia looks at him in horror.
(CONTINUES)
CONTINUING: 91.
PHILIP
Who else was executed last night?
LUCRECIA
The plague.
Philip looks sternly at her.
PHILIP
True.
The table is shorter. Philip looks at her with desire.
PHILIP
(continuing)
How many more secrets do you keep
for me, Lucrecia?
LUCRECIA
My Lord has sent you to me, my
King. He will bring bread to the
poor and peace to the rich.
PHILIP
Many other prophets failed to
persuade me before. This world is
not our Lord’s concern.
LUCRECIA
Our Lord was born and die over this
soil.
There is no table. Philip looks at Lucrecia vis-a-vis.
PHILIP
You are so chaste.
Philip tries to kiss her, but she shuns him.
Her head bleeds.
Lucrecia, standing besides the fisherman looks at the
Church’s tower, where her body looks at the sky--as in scene
1.
FISHERMAN
Would you abuse your prophetic
gifts?
LUCRECIA
(to the fisherman)
Would I?
The fisherman has been replaced by the warrior.
(CONTINUES)
CONTINUING: 92.
WARRIOR
A Queen in a Kingdom without Pope--
A Pope in a kingdom without a King.
That’s your fate. But-- beware!
Dread the temptations of the flesh!
The warrior points out to a woman seated on a chair. She
cries--concealing her face behind her hands. Her clothes are
heavy.
The chair is on the middle of a Madrid street. The chair
spins over its axis towards Lucrecia. Lucrecia faces
60-year-old infant Isabella. Her hair is white.
Her eyes ooze red tears.
Lucrecia turns around and faces Jesus. She smiles and kneels
down before him.
JESUS
(sad)
You also will betray me.
LUCRECIA
(hurt)
Am I not human, my Lord?
Lucrecia looks at Jesus, who turns to be the face of a demon
that screams.
CUT TO:
50 INT. LUCRECIA’S BEDROOM. DAY. 50
Lucrecia lies in her bed. Her eyes are closed. She hears a
bird’s singing, the movement of a body around her bedroom
and a voice.
MARIA (V.O.)
My only sin was to be born in
Cordoba. Didn’t I become a faithful
follower of the Pope? I used to
talk to Cathars and gypsies during
my childhood--true. We are so
absent at night.
Maria stands up and arranges her bed.
Lucrecia’s eyes remain close as she smiles. As Maria talks
Lucrecia will snuggle in her bed--in a struggle to wake up.
(CONTINUES)
CONTINUING: 93.
MARIA
(calm)
Do not cry for me, Lucrecia.
Everything is so calm here. I worry
about your upbringing. The Kingdom
of ignorance is so brief, and yet
so painful.
She smiles at Lucrecia.
Lucrecia opens her eyes smiling.
Her smile vanishes.
The space is empty.
NEPOMUCENO
Maria!
She sits on her bed and looks at Maria’s bed: it’s empty.
Lucrecia cries and throws herself along Maria’s bed.
She looks at the door. Nepomuceno faces her.
He approaches her and embraces her.
NEPOMUCENO
(continuing)
We must forget her.
LUCRECIA
She could have lived in Cordoba. We
brought her here to die.
NEPOMUCENO
It was her or one of us, Lucrecia.
Beatriz runs into the room. She holds a letter in her hands.
BEATRIZ
(joyful)
Lucrecia!
LUCRECIA
I didn’t dream her death, and...
(beat)
You betrayed her!
Nepomuceno stands up.
(CONTINUES)
CONTINUING: 94.
NEPOMUCENO
(to Beatriz)
Thus she acknowledges my
protection.
LUCRECIA
You...
NEPOMUCENO
I saved you!
LUCRECIA
I don’t believe you!
NEPOMUCENO
Why? Because you haven’t dreamt it?
It was your conversation about
foretelling which called Larvaez’
attention. The Inquisition hangs
over our heads. Would you be able
to foresee it?
Lucrecia avoids her father’s sight and sobs in a low tone.
Beatriz sits down besides her.
BEATRIZ
You shouldn’t blame anyone. Maria
died for you.
LUCRECIA
(crying)
I didn’t kill her!
BEATRIZ
Francisco has been called by
Philip. He is now the royal
confessor.
Lucrecia rubs her eyes.
NEPOMUCENO
Did he... write you?
Beatriz gives her letter to Nepomuceno. He reads it.
BEATRIZ
(smiling)
Since now you will live in El
Escorial.
(CONTINUES)
CONTINUING: 95.
NEPOMUCENO
(inspired)
You may even get marry to a Duke.
Lucrecia gets up and exits the room.
She walks over the backyard.
It snows.
CUT TO:
51 INT. EL ESCORIAL BEDROOM. DAY. 51
Infant Isabella is being dressed by two maidens--one of them
Sofia. Her dress is red and blue.
Lucrecia, standing close to her, wears a green new dress.
This bedroom is white. The morning light enters through wide
windows.
6 maidens clean the room.
ISABELLA
Life is not fun here, indeed. With
the exception of the chess games
encouraged by my father, and the
evening concerts of harpsichord,
there are few things you can enjoy
in El Escorial.
LUCRECIA
Your company alone will rapt my
days living in this castle, my
princess.
ISABELLA
Castle? That’s a courteous retort
for this mausoleum,
SOFIA
(to Isabella)
Lucrecia de Leon was educated by
the Guardiola family.
ISABELLA
You both know each other, I gather.
(to Lucrecia)
Madrid talks about your prophetic
skills. I’ve been wondering. Do you
believe that we can change the
future?
(CONTINUES)
CONTINUING: 96.
LUCRECIA
Which is predictable doesn’t have
necessarily to be immutable.
ISABELLA
(mockingly--slightly bothered)
Did anyone, by any chance,
understand what I just heard?
SOFIA
I didn’t.
ISABELLA
(to Lucrecia)
Have you fallen in love with a
theologian?
Sofia and the second maiden giggle.
Lucrecia smiles confused.
LUCRECIA
I’m afraid I didn’t address my
princess rightly. I beg you will
accept my apologies for my lack of
knowledge in court manners.
Isabella laughs.
ISABELLA
(conciliatory)
Keep your ceremony for my father
and his court, Lucrecia.
LUCRECIA
I hope you won’t get a bad first
impression of me
ISABELLA
From now on you are part of an
insurgent group whose first rule is
informality.
Isabella is finally dressed. Doña PASCUALA--a Moorish
middle-age court lady, arrives.
PASCUALA
Fray Francisco awaits for you at
the counsel.
ISABELLA
We are ready.
(to Sofia)
(More)
(CONTINUES)
CONTINUING: 97.
ISABELLA (continuing)
Is it true that the Marquees of
Quiroga has come to the court
today?
SOFIA
True, my princess.
ISABELLA
(to Lucrecia)
Another handsome noble man without
fortune.
(beat)
Perhaps he wants to marry one of my
maidens.
LUCRECIA
(flushed)
Does he?
Sofia, the second maiden and Isabella giggle.
ISABELLA
(to Pascuala)
We are going.
Pascuala leaves.
Isabella leads Lucrecia. During the next dialogue they will
walk along rooms, halls and corridors--every door will be
opened by two maidens, exception made of the last
door--which will be opened by two soldiers.
ISABELLA
(continuing; to Lucrecia)
Fray Francisco talks quite often
about your visions. Have you ever
heard the voice of God?
LUCRECIA
Sometimes I hear a voice. I believe
it’s holy. If it is from the Demon
or God, I cannot judge.
ISABELLA
I don’t see the world in those
terms. It could be also from you.
LUCRECIA
What terms?
(CONTINUES)
CONTINUING: 98.
ISABELLA
Good and evil--that’s an invention
taken from the heretics by the
Dominicans. As you see the soldiers
of Christ are many!
She laughs. Lucrecia smiles unable to understand her joke.
ISABELLA
(continuing)
Even the Marranos!
Isabella laughs louder. Lucrecia blushes.
Isabella meets don Antonio de Perez--who crosses the room.
She suddenly calms down, recovering her majestic mood.
ISABELLA
(continuing; loudly, trying to
be heard by don Antonio--who
moves away)
But--believe me, living in the
court I’ve learnt that everyone
must take care of himself.
LUCRECIA
(smiling)
A philosopher would advise our
ruler to rely on lies.
ISABELLA
(excited)
Oh, I’m sure you have many gossips
to tell us--I’m anxious to know
what people from Madrid think of
us!
LUCRECIA
People don’t think, my princess.
They just believe.
ISABELLA
You are a cunning woman, Lucrecia.
Call me Isabella.
(whispering)
I mean, in private.
LUCRECIA
(smiling)
As you like it.
(CONTINUES)
CONTINUING: 99.
ISABELLA
My father wants people to believe
there are two factions in the
court. I guess you have heard of
that.
LUCRECIA
(assenting)
To rule is a difficult enterprise.
ISABELLA
Oh, my father loves it! I know he
learnt it from my grandfather.
LUCRECIA
Charles the fifth?
ISABELLA
In order to conquer, he must
divide.
LUCRECIA
(flattering)
That’s wise.
ISABELLA
(ironic, but friendly)
You don’t have to flatter my family
in order to be my friend, Lucrecia.
LUCRECIA
I apologize, my princess.
Silence. They walk through a room full of politicians and
lawyers.
Nepomuceno is last in a row. He carries some papers under
his arms.
Lucrecia faces him. He looks at her. He lifts his arm. She
ignores him, fixing her eyes on the front door. She and
Isabella exit the room.
LUCRECIA
(continuing)
People believe that Antonio de
Perez ruled without control during
our King’s absence.
ISABELLA
Only the King rules Spain.
(CONTINUES)
CONTINUING: 100.
LUCRECIA
People believe he wished Escobedo’s
death.
ISABELLA
If don Antonio committed an
injustice against my uncle, he will
pay.
LUCRECIA
Baron Pacheco might replace him.
ISABELLA
Baron Pacheco? Did you dream it?
LUCRECIA
No, my princess.
ISABELLA
You seem quite confident.
LUCRECIA
The Baron’s diligence has called
the attention of our King.
ISABELLA
His flattery? I see!
They giggle.
ISABELLA
(continuing)
Would it happen, I won’t pity the
Prince of Eboli. He is, after all,
a lecher--the lover of his
stepfather’s widow.
LUCRECIA
(shocked)
Doña Ana?
ISABELLA
(delighted)
Once I surprised them in mortal
sin. In their office. Some tongues
affirm that the old prince of
Eboli--that is, Antonio’s
stepfather, suffered a heart attack
when he found them performing nasty
games.
(CONTINUES)
CONTINUING: 101.
LUCRECIA
(scandalized)
And does your father know it?
ISABELLA
Of course, he knows. And he
approves it. In comparison to those
two any King can considered himself
a virtuous man.
They arrive to the big hall where scene 5 took place.
QUEVEDO, a 45-year old man, with small spectacles over his
nose, plays a harpsichord installed on a corner.
Pacheco, Diego, Francisco--wearing new clothes, and Mendoza
are seated next to each other. They talk in Latin.
Isabella smiles at Diego. Diego nods gently his head.
Diego smiles at Lucrecia. Lucrecia smiles back at him,
shifting her sight to Philip’s empty throne.
Fray Luis examines Bausch’s paintings.
Writers prepare their staff--they are seated in front of
their desks.
Some group of bankers wearing red and blue clothing walk
talking of Michelangelo.
Mendoza joins Fray Luis. They chat.
Antonio and Ana talk to each other--while smiling at
Larvaez, who, next to them, speak to two black-dressed
Jesuits.
Lucrecia and Isabella stop their walk in front of Diego and
Francisco.
FRANCISCO
Good morning, little ladies. I hope
God sent you nice dreams last
night.
Lucrecia and Isabella look at each other with uneasiness.
DIEGO
(to Isabella, after kissing
her hand)
It’s a pleasure to see you again
after so many years.
(CONTINUES)
CONTINUING: 102.
ISABELLA
(introducing Lucrecia and
Diego to each other)
One of my childhood’s friends,
Lucrecia.
DIEGO
We were introduced to each other
about three years ago.
ISABELLA
(bluffing)
Of course! At the Duke of
Guardiola’s house! I should have
figured it out.
DIEGO
Now you are Lucrecia de Leon, the
dreamer and the prophetess.
Diego kisses Lucrecia’s hand.
LUCRECIA
(blushing)
Marques...
DIEGO
Have you followed my advice?
Lucrecia smiles at him.
LUCRECIA
I am twice indebted to you.
They stare intensely at each other. Francisco notices it.
FRANCISCO
(to Isabella)
We can sit down.
Diego bends his body, turns around and joins Fray Luis and
Mendoza, Lucrecia, Francisco and Isabella take a seat.
Francisco studies Lucrecia’s face.
FRANCISCO
(continuing)
I trust you have learnt enough
court manners at the Guardiola
family to impress the King. He’s
anxious to meet you.
(CONTINUES)
CONTINUING: 103.
LUCRECIA
I must thank you for your
recommendation.
FRANCISCO
(teasing)
Didn’t you foresee I was going to
help you?
LUCRECIA
God...
FRANCISCO
(skeptical)
Have you realize, Lucrecia, that
your position is mainly due to the
superstition of the crowd?
Lucrecia’s permanent smile vanishes.
FRANCISCO
(continuing; whispering)
I hope you won’t be so foolish as
to address your prophesies against
our King.
ISABELLA
(suddenly, to Francisco)
Has my father talked to you about
my bridegroom?
FRANCISCO
Not yet. Too many matters keep him
busy. But I am sure he wants the
most convenient marriage for you.
LUCRECIA
(with a sudden impulse)
Himself?
FRANCISCO
Pardon me?
LUCRECIA
Does my King wants his daughter
living in the castle?
ISABELLA
(to Lucrecia-- surprised,
realizing the fact...)
Is it another prophesy?
An announcer and a trumpeter enter suddenly into the room.
(CONTINUES)
CONTINUING: 104.
FRANCISCO
(impatient)
Nonsense!
(to Isabella)
Our King has--as a matter of fact,
asked me to formulate my opinion
about who may be the incoming Queen
of France.
Isabella doesn’t listened to him.
The trumpeter plays. Everyone stands up--Isabella being the
last one.
ANNOUNCER
Your majesty, the Catholic King;
sovereign of Castilla, Aragon, and
Portugal, of its territories in
Africa and the Indies, and of the
incommensurable new world beyond
the sea!...
Trumped is played.
ANNOUNCER
(continuing)
Our holy King, Philip the Second,
The Prudent.
Isabella laughs. Francisco looks sternly at her.
FRANCISCO
(to Isabella, in a low voice:)
Do you feel well?
ISABELLA
(with pain and joy)
It’s always so ridiculous.
The announcer moves to one side. The trumpeter goes to the
door, where other three trumpeters wait for him.
They play. Philip enters followed by a retinue of six men--
his advisers and flatterers--one of them Pacheco.
Writers prepare their stuff--they stand stiffly besides
their desks.
Philip stands in front of the throne. He raises his arm and
the music ceases.
(CONTINUES)
CONTINUING: 105.
PHILIP
Divina natura dedid agros, ars
humana aedificat urbes. [Holy
nature gave us the fields--human
skill builds the cities.]
Philip sits down in his throne. He raises his hand. Everyone
else sits down. Isabella looks coldly at him.
DISSOLVE TO:
52 INT. ROYAL CAMERA. DAY. 52
Isabella, sitting on the same place, looks at the window,
where the snow falls furiously over the ground.
Lucrecia listens with attention to a neighboring
conversation:
ANTONIO
...Inasmuch as England has become
our main economic ally. The root of
an antipapal tree has been planted
there--true. But politics must be
separated from religion in order to
overcome our differences. Otherwise
Spain and England will sink
altogether in this sea of bigotry,
with storms so opportunely
encouraged by the pope.
Lucrecia looks at Antonio, who stands in front of Pacheco.
Both men are in the middle of the room. Philip observes
them.
PACHECO
I contend that a Britannic
surrender won’t render as much
glory to Rome as to Spain. Our
vessels are the only means Europe
has to persuade the British
aristocracy of the universality of
Rome’s Church.
P
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