"THE INQUISITOR"
FADE IN:
INT. MONASTERY, CLOISTER, TORQUEMADA'S CHAMBER - DAWN
A black, wooden cross, with a carved figure of Christ, hangs on a whitewashed wall.
The melancholic SOUND of the chapel‘s bells calling for the early-morning mass is subdued by a whooshing NOISE and heavy breathing.
LEGEND: "SEGOVIA, SPAIN, CIRCA 1483"
As the CAMERA PULLS BACK we reveal a nude man with his back to us, on his knees, being flagellated by a DOMINICAN FRIAR. The man who is taking the punishment is Prior THOMAS DE TORQUEMADA. He is in his late 40‘s with a gaunt countenance and deeply set eyes expressing passion, madness, cruelty and suffering - occasionally.
A single candle illuminates the Spartan room furnished only with a small cot, a tiny table with a chair and a hempen mat under the crucifix.
Shadows of the candle‘s fluttering flame dance on Torquemada‘ contorted face.
SLOW DISSOLVE TO:
INT. THE RAFEL HOUSE, BATHING AREA - DAWN
CLOSE ON ALVARO DE RAFEL‘s noble face. He is only in his late 40‘s but a few gray streaks already pattern his well-shaped beard. His dark pensive eyes gaze into infinity. He is profoundly preoccupied.
As the CAMERA PULLS BACK we show him sitting in a tin bathtub. His devoted footman, JULIO, in his late 50‘s, diligently scrubs his master‘s back with soap and a rough cloth. JULIO Master is not himself today. Is the bath not to his liking?
DON ALVARO I'm not looking forward to my trip to Seville, Julio. When the Royal Palace summons, you can be certain of hidden surprises by Isabella or Ferdinand.
JULIO She is a good soul, our Isabella. She got rid of most of the cut-throats and robber barons in no time.
Julio reaches for the kettle and pours more hot water into the tub.
JULIO (CONT'D) (CONT'D) You must be sitting in cold water by now.
DON ALVARO Yes, yes, she did. Our Queen is a wonderful woman. A much better leader than her imbecile brother, Henry, may he rest in peace. I just wish she had married someone other than Ferdinand.
The CAMERA MOVES IN on a SILVER CHAIN around Don Alvaro‘s neck.
A CROSS and a CYLINDER, both hang next to one another from the chain.
SLOW DISSOLVE TO: EXT. MONASTERY, CLOISTER - EARLY MORNING
In the inner courtyard of the Gothic monastery seen through the arcades of the cloister. DOMINICAN FRIARS, barefooted and tonsured, are chanting psalms as they file toward the chapel to attend morning mass. Some carry torches to light the way.
Among them is Torquemada, tall and emaciated. His head is bent in contemplation and, like the others, he is clad in the traditional garb of scapular, cowl and black and white robe fastened by a leather belt.
They enter the chapel.
INT. CHAPEL - EARLY MORNING
Torquemada drops to his knees in front of the altar, makes the sing of the cross and clasps his hands in prayer.
The CAMERA MOVES IN on his face illuminated by the flame of a candle in front of him.
TORQUEMADA My Lord, forgive the sins of my ancestors for they have sinned...
DISSOLVE TO:
INT. THE RAFEL HOUSE, CATHERINE'S ROOM - MORNING
CATHERINE RAFEL lies in bed asleep. She is the beautiful 18 year old daughter of Don Alvaro. Her long black hair is spread on the white linen like a Spanish fan, and her olive skin is moist from the nightmare she is experiencing.
The approaching FOOTSTEPS and the impatient VOICE of her mother wake up Catherine with a jolt.
DONA MARIA (O.S.) Catherine! Catherine! Have you no respect for your parents? Breakfast is served and you're still in bed.
Catherine‘s mother, DONA MARIA RAFEL, already dressed for church, enters the room. She is in her 40‘s, a dark, strong woman with a cold ascetic look, unlike her daughter who has the soft features of a Titian Madonna.
DONA MARIA (CONT'D) It‘s the first Sunday of Lent and we‘ll be late for mass. Your fiancée is already here, waiting in the galleria.
Catherine sits up in bed, still disoriented by her bad dream.
CATHERINE I am sorry, Mother. I just had an awful dream.
DONA MARIA (interrupting) We‘ve never been late for church before and I don‘t intend to this time. Well, hurry up!
As Dona Maria marches out of the room, Catherine gets out of bed and saunters to the window. A gentle smile appears on her face as she spots her fiancé, JUAN POMAS in the garden. He is a good-looking young man in his early 20‘s from a noble family.
EXT. THE RAFEL HOUSE, THE GARDEN - CONTINUOUS
Catherine's POV:
Juan standing in the splendid rose garden below, grabs his heart in a mock pose and then blows a kiss toward Catherine. EXT. THE RAFEL HOUSE, THE WINDOW - CONTINUOUS
Juan's POV:
Catherine giggles, delighted at his antics.
EXT. COUNTRYSIDE - MORNING
A typical Castillian sunrise. In the far distance a rider gallops toward the outskirts of Segovia. As he races by we can see that he is a COURIER of the Queen.
INT. THE RAFEL HOUSE, GALLERIA - LATER
Catherine enters the galleria, a combination of dining and living area, carrying a bouquet of roses in various colors.
She bounces to the refectory table where breakfast has been laid out, and her parents and fiancé, Juan, are waiting.
Both men rise as Catherine reaches the table.
Catherine hands the bouquet to her father and kisses him affectionately.
CATHERINE It‘s for your trip, dear Father. They‘ll bring you luck and safety on the roads, and will keep evil away.
Don Alvaro gives her a bear hug and kisses her on the forehead.
DON ALVARO (whispering) I love you more than anything on this earth.
Catherine, still beaming, turns around and in a flirtatious look, lets Juan kiss her hand. CATHERINE I‘m sorry to have kept you all waiting...
DONA MARIA (interrupting) There is no excuse for your behavior, Catherine.
Her mother‘s scolding doesn‘t affect Catherine‘s mood. She looks toward her father who still smiles at her conspiratorially.
DON ALVARO Let‘s give grace.
Everyone becomes serious as they clasp their hands and tilt their heads for prayer. The words are incomprehensible as they are whispered.
EXT. MONASTERY, HOLY OFFICE - DAY
ANTONIO DE LA PENA, a Dominican friar in his 40‘s, scurries toward the entrance of the Holy Office. The cowl of his neglected robe is pulled over his head clearing only his dark, manic eyes. The soldiers at the door let him in without questioning.
INT. AUDIENCE CHAMBER OF THE INQUISITION - CONTINUOUS
The large, imposing hall with its Gothic windows and high ceiling is devoid of any secular decoration. At one end of the room stands a long refectory table surrounded by high backed chairs for the members of the tribunal.
A large floor-to-ceiling cross with the figure of Christ stands against the side wall dominating the place. There are two large, unlit candles with a small standing cross between them and a bible on the table. (Note: The candles are lit only during trial proceedings.) At this moment it's quiet in the hall except for the scratchy NOISE Torquemada‘ quill makes on a scroll.
Alone, his head buried in books and scrolls, Torquemada is making notes for an upcoming trial. Hearing the NOISE of a door opening he looks up.
Antonio de la Pena enters in a hurry. He pulls back the cowl to reveal his face as he approaches Torquemada at the table.
PENA (still out of breath) Forgive me, Father, for disturbing you at this early hour but this is of utmost importance to the cause...
TORQUEMADA (full of anticipation) Yes! The cause! The divine cause. So what news do you bring?
PENA All the arrangements have been made for the procession. I am certain Father will be pleased.
TORQUEMADA It must please God, not me, Pena!
EXT. MONASTERY, HOLY OFFICE, ENTRANCE - MOMENTS LATER
The Royal Courier hurriedly approaches the door and is stopped by soldiers of the Holy Office of the Inquisition.
COURIER (out of breath) Royal Courier to see Prior Thomas de Torquemada.
He shows the guards the Royal seal. They let him proceed inside the building.
INT. THE AUDIENCE CHAMBER - CONTINUOUS
The courier enters and rushes over to Torquemada at the table where he genuflects.
COURIER A letter from the Queen, Prior. Her Majesty does not expect a reply.
As Torquemada reaches out for the letter, the courier genuflects again and leaves as quickly as he came.
Torquemada breaks the royal seal on the scroll and begins to read. A subtle change appears in his expression, a barely perceptible smirk.
TORQUEMADA I must leave immediately. Her Majesty has summoned me to the palace.
He turns to the human-size figure of Christ in exaltation.
TORQUEMADA (CONT'D) (to himself) Merciful Lord, thank you for giving me the strength and the devotion. My life's work will finally be accomplished...
Pena watches Torquemada mumbling to himself.
Torquemada rises from his chair and swiftly turns to Pena. He is transported; his eyes are radiant.
TORQUEMADA (CONT'D) Go! Complete your work in the name of our Lord! We must cleanse the world of the infidel. We are on the path to victory.
EXT. CATHEDRAL SQUARE - DAY
The main square of Segovia is crowded with worshipers from all walks of life: the noble, the craftsmen, the burghers and the peasants, and some pickpockets and the likes - a colorful mix. Some enter the church upon arrival, others form small groups to exchange gossip before the mass begins. At the door some penitents stand dressed in sanbenitos (explain later) as punishment of the Inquisition.
Dona Maria, Catherine and Juan hurry toward the cathedral, working through the crowd.
DONA MARIA Don't forget we must discuss your wedding date with the bishop after mass.
JUAN My parents would prefer if the wedding was in September.
Catherine looks at him in horror.
CATHERINE I will not get married in the fall...
Dona Maria reacts in surprise to Catherine‘s emphatic objection.
DONA MARIA Catherine!
They reach the entrance steps to the cathedral and file silently in with other worshipers. EXT. COUNTRYSIDE - DAY
Ominous storm clouds gather on the southern horizon foreshadowing rain.
Torquemada is on his way to Seville in the company of half a dozen FAMILIARS of the Holy Office of the Inquisition as bodyguards. His face is covered with sweat and dust.
Something ahead of him draws his attention.
Torquemada's POV:
CLOSE on two decomposing bodies in the ditch covered with flies and swarming maggots. One can tell from their clothing that they were from the nobility.
INT. CATHEDRAL - DAY
The stained glass windows let just enough light into this Gothic architectural marvel to enhance the mood of its spirituality.
This morning it's crowded to full capacity.
Dona Maria, Catherine and Juan take communion. They are on their knees in front of the altar as the BISHOP OF SEGOVIA administers the sacrament to them.
CLOSE on Catherine as she takes the blessed wafer into her mouth. Her eyes are closed, adding to the beauty of her face a measure of mystery.
EXT. OUTSKIRTS OF A SMALL TOWN - DAY
Don Alvaro and Julio ride in silence toward a small town.
They slow down as they take in the sight of horror that confronts them.
CLOSE on Don Alvaro taking in the scene. His POV:
EXT. THE MAIN STREET OF SMALL TOWN - CONTINUOUS
The town is devoid of life. Dead bodies of adults and children lie in the dust.
Sanitary workers with hoods over their heads collect plague victims from the streets and houses, and load them onto carts.
Don Alvaro and Julio instinctively cover their noses and mouths with handkerchiefs in fear of contamination.
They break into a fast gallop.
As soon as the town is safely behind them Don Alvaro slows down his horse.
JULIO Pray the Lord, it doesn‘t return to our city ever again. (pause) Why doesn‘t the Lord have mercy on the innocent?
DON ALVARO Guilt or innocence is not God‘s concern, Julio. He did his work and left us alone.
He looks at Don Alvaro and makes the sign of the cross. Don Alvaro spurs his horse on and they gallop toward Seville.
EXT. COUNTRYSIDE - SUNSET
Approaching horses are heard, then Torquemada with his escort appear on the horizon. They are nearing the picturesque outskirts of Seville. EXT. ROYAL PALACE IN SEVILLE, COURTYARD - DUSK
Dressed in full armor, two men on horseback are engaged in a duel. FOOTMEN and a few SPECTATORS from the court stand around watching.
The men take the fight seriously, though it soon becomes obvious that the struggle is not a matter of life or death.
CLOSE on the gorget of the man on a chestnut horse. He is hit by his opponent‘s sword, giving out a large spark.
MAN (O.S.) You‘re dead!
The man on a white horse takes his helmet off. He is FERDINAND, the king of Aragon, in his 30‘s, fair and bronzed from exposure.
The footmen run to the King to help him off the horse and out of his armor. His opponent, DON CORTADO, is also being helped off his horse by his attendants.
FERDINAND You fought gallantly, Don Cortado, but lost your head, nonetheless.
A court MESSENGER runs over to Ferdinand and genuflects before talking.
MESSENGER Your Majesty. Prior Thomas de Torquemada has just arrived from Segovia. He awaits in the royal chamber.
FERDINAND Tell him to wait... and tell him to say a prayer for me. (he laughs)
The messenger genuflects again and rushes back to the palace.
The King turns to Don Cortado.
FERDINAND (CONT'D) You‘re ready to fight the Moors, Don Cortado.
INT. ROYAL PALACE, FERDINAND'S CHAMBER - EVENING
The door opens and a SERVANT enters carrying a burning torch. He goes around the walls lighting the torches for the night.
We REVEAL Torquemada‘s silhouette as he stands at the window in contemplation.
Ferdinand enters.
FERDINAND (O.S.) Welcome to Seville, Prior!
Torquemada turns quickly caught unawares.
A servant follows Ferdinand carrying towels and a goblet of wine.
FERDINAND (CONT'D) Some wine or refreshments? You‘ve had a long trip.
Ferdinand slumps into his royal chair as Torquemada steps forward to greet him. He genuflects like everyone else before addressing his King.
TORQUEMADA Thank you, Majesty. I have already had some water and bread.
Ferdinand dismisses his servant with a flick of his hand and wipes his still perspiring face. FERDINAND The Queen wants to see you later about your appointment. The Church is her responsibility. I want to talk about money.
He drinks some wine from his goblet and looks at Torquemada coldly in the eyes.
FERDINAND (CONT'D) Your Inquisition doesn‘t bring in enough money to wage our war against the Moors. We expected more. The Church needs to be more generous.
Torquemada is taken aback by the king‘s remark but he keeps his emotions at bay.
TORQUEMADA We only take what is needed to cover the cost of the trials, Majesty. The rest all goes into your royal coffers.
FERDINAND Unless you find all the Judaizing conversos and put them to the fire, I cannot get rid of the Musulmans. You are too slow Torquemada.
TORQUEMADA I follow the due process as set forth by the Church. I cannot do it any faster. (deliberate pause) If you Majesty will permit...
FERDINAND Yes, yes... out with it. TORQUEMADA Drastic times require drastic measures, your Majesty...
FERDINAND Meaning?
Torquemada takes a deep breath before answering.
TORQUEMADA You must expel the Jews from all of Spain, just as you recently did in Andalusia. That is the only way to raise the sum your Majesty requires.
Ferdinand looks at Torquemada without giving away his feelings and thoughts.
Torquemada scrutinizes the King, trying to read him.
Ferdinand rises from his chair, empties his goblet in one, long gulp.
FERDINAND That‘s impossible. I need the Jews at the court. They look after my finances, my tax collecting. They're the physicians and scholars... I cannot get rid of them all.
Icily rational, Torquemada looks straight into Ferdinand's eyes.
TORQUEMADA Make those Jews who are valuable to you convert to Christianity.
FERDINAND They won‘t convert, and those who will end up Judaizing, and consequently in front of your tribunal.
Ferdinand looks at his empty goblet.
FERDINAND (CONT'D) (yelling) Servant! Bring in more wine!
The servant scurries in with a jug of wine. Ferdinand drinks thirstily, waiting for the Prior to talk.
TORQUEMADA We must rid Spain of the Jews, Majesty. They are the source of all the trouble in our cities. Every day there are bloody atrocities in the country.
FERDINAND It‘s not the Jews who are responsible for the trouble, it‘s mostly the burghers. They are jealous and intolerant. You know that as well as I do. The Jews have always been loyal to their King.
Ferdinand moves away from Torquemada to the window where he stays with his back to the Prior. He drinks then turns to Torquemada.
FERDINAND (CONT'D) I'll think about it. You should go now... see the Queen. And Prior... the Queen is interviewing Senor Columbus. Know now that he is Jew. You will treat him with the same respect as you show me.
Torquemada genuflects, not as deeply as most subjects, and somberly leaves the chamber. Ferdinand watches Torquemada exit.
FERDINAND (CONT'D) (muttering) The Pope was right... He is a madman...
INT. ROYAL PALACE, CORRIDORS - NIGHT
This court is not all pomp and circumstance. The colors are subdued everywhere in the palace, and most courtier‘s clothes are worn and questionable as to their cleanliness. The furniture is sparse and functional. The sovereigns moved into the palace recently and they don't have the means to pay for a lavish lifestyle.
Pensive and dissatisfied with his meeting with the King, Torquemada heads for the Queen‘s chamber, passing knights, ladies, diplomats and merchants on the way.
INT. ROYAL PALACE, STAIRS - CONTINUOUS
Torquemada climbs the narrow, winding staircase lit by torches.
INT. ROYAL PALACE, ISABELLA'S CHAMBER - MOMENTS LATER
CHRISTOPHER COLUMBUS, a passionate man in his late 30‘s, gaunt but good-looking, his skin parched by the sun and salty air of the seas, is on his knees in front of Isabella pleading his cause.
QUEEN ISABELLA, a fair woman in her 30‘s, is strikingly beautiful. She projects strength of will, intelligence and sensitivity when called for. Dressed with ascetic simplicity, she sits in her high backed chair, smiling at Columbus‘ antics of persuasion.
Next to Isabella, on an ordinary chair, sits Don Alvaro, dressed for the occasion in hose and doublet, and also a light half armor. On the stone wall behind the Queen hangs a banner of the House of Castille.
COLUMBUS ...My Queen, the earth is round. Any seasoned sailor will tell you that.
ISABELLA Senor Columbus, your madness and conceit is not always amusing. Only your immense charm prevents me from sending you to the fire.
COLUMBUS My Queen, you wouldn't have the heart to put a man to death for his dreams, would you?
Isabella tolerates and is amused by Columbus‘ subtle flirtation in the presence of Don Alvaro who struggles to figure out how to react to the unfolding scene.
ISABELLA Your dreams are extravagant and immensely expensive to realize, Senor Columbus.
COLUMBUS Even if it opens profitable trade routes for Spain? Imagine, your Majesty will be the Empress of the Indies!
ISABELLA You are a madman, but I do like your vision.
COLUMBUS But you‘re destined to become an Empress, my Queen.
Queen Isabella turns to Don Alvaro. ISABELLA You‘re a resourceful merchant, Don Alvaro. Can you find ships for his fleet, or money to buy them? Otherwise I‘ll never get him out of this palace. He‘s overbearingly persistent.
DON ALVARO Ships, your Majesty? But I thought Senor Columbus wanted to go to India.
Columbus smiles at Don Alvaro.
COLUMBUS Yes, India. But I propose to sail westward, around the earth, Don Alvaro.
Everyone turns toward the SECRETARY who enters the chamber.
SECRETARY Your Majesty, Prior Thomas de Torquemada is here upon your request.
Torquemada steps in and approaches the Queen as the Secretary backs out of the chamber.
Isabella extends her hand to let Torquemada kiss it. He genuflects in deep humility.
ISABELLA Father Thomas, this is Senor Columbus our resident adventurer...
Torquemada nods in his direction with an icy look.
ISABELLA (CONT'D) ...and this is Don Alvaro, an... TORQUEMADA I know Don Alvaro very well...
Both Don Alvaro and Torquemada step toward each other and shake hands affectionately.
TORQUEMADA (CONT'D) ...we are old friends, Majesty.
Isabella rises from her chair terminating the audience.
ISABELLA Don Alvaro, I count on your help with respect to our ships.
DON ALVARO Yes, Your Majesty
ISABELLA Senor Columbus, Don Alvaro... I need to confer with Father Torquemada now...
Columbus and Don Alvaro genuflect and back out of the chamber.
She sits back onto her throne and gestures Torquemada to take the chair next to her, the one Don Alvaro occupied.
ISABELLA (CONT'D) As you probably conjectured from my cryptic letter, Father, I have appointed you the Grand Inquisitor of Spain... despite the Pope‘s most vigorous attempts to convince me otherwise.
TORQUEMADA I am your faithful servant, Majesty... as I am of God.
Isabella rises from her chair and walks to the window. ISABELLA You‘ve made many enemies, Father, and your new responsibilities will only increase them.
TORQUEMADA I only fear God, my Queen.
Isabella's mind is at work as she watches Torquemada‘ hands in prayer and his face turned to heaven with eyes half closed.
ISABELLA I want you to clean Spain of all the heretics as quickly and as thoroughly as only you possibly can.
Torquemada looks at Isabella with hypnotic eyes, emanating a will of steel.
Isabella sits expectantly onto her throne. Torquemada shifts nimbly at the edge of his chair as he addresses the Queen.
TORQUEMADA Majesty. Years ago, when you were in hiding at the convent in Valladolid, and I was your confessor, you made a solemn promise to God. You avowed, "Should I ever come to the throne, I‘d devote myself to the extirpation of heresy, for the glory of God and the exaltation of the Catholic faith".
ISABELLA I still believe that, and I have lived up to my promise. Haven't I? TORQUEMADA That is true, Majesty. But Spain is not going to stay Catholic for long if you don‘t get rid of the Jews. They mix blood with true Catholics, they corrupt our people with their money and position of power, they undermine our faith little by little.
Isabella is attentive but noncommittal to his speech.
TORQUEMADA (CONT'D) You must expel the Jews from Spain, Majesty. That‘s how I interpret your holy vow.
ISABELLA I like the Jews, Father. They are good and obedient subjects... they are diligent and clever. I need them.
Torquemada listens to Isabella's words. His expression doesn't give away his thoughts but he cannot conceal completely his disappointment.
ISABELLA (CONT'D) What I abhor are the heretics. Your task is to find them and deal with them.
TORQUEMADA Time will prove me right, Majesty. God will find a way to guide you toward a proper decision in this matter.
ISABELLA I‘m sure He will, Father.
The Queen rises and lets Torquemada kiss her hand. TORQUEMADA Good-night, Majesty.
ISABELLA Rest peacefully, Father, and celebrate mass with us in the morning.
The Queen watches as Torquemada backs out of the chamber, then turns and sits, contemplating Torquemada‘ words.
INT. GUEST CHAMBER - NIGHT
As Julio is helping Don Alvaro out of his clothes we hear a KNOCK on the door. The servant rushes to the door and lets in Torquemada.
Don Alvaro reacts with surprise to the unexpected visitor. Julio politely leaves and closes the door behind him.
Seeing Don Alvaro without a shirt, getting ready for the night, Torquemada stays at the doorway.
DON ALVARO Come in, Thomas.
TORQUEMADA Forgive me, Don Alvaro, for this late-hour visit...
Torquemada walks up to the surprised Don Alvaro.
TORQUEMADA (CONT'D) ...but I thought you might want to join me on my journey back to Segovia tomorrow morning. It‘s safer to travel in large numbers these days.
DON ALVARO Nothing would give me greater pleasure than your company, my dear friend. Don Alvaro becomes conscious of Torquemada staring at the chain on his bare chest.
Torquemada's POV:
CLOSE on the CROSS and the CYLINDER.
DON ALVARO (CONT'D) Maria and Catherine will be delighted to see us arrive together.
Torquemada shifts his look from the chain to Don Alvaro.
TORQUEMADA Regretfully, my new responsibilities will prevent me from remaining the confessor to your devout wife and daughter... (breathes in) she is such a pure soul, Catherine. You must persuade her, my friend, to enter the convent to serve our Lord. She is destined to lead a holy life.
Don Alvaro thrown by Torquemada‘s unexpected visit is further confused by his suggestion for Catherine.
DON ALVARO Catherine is engaged to wed Juan Pomas, dear Thomas... I don‘t think she contemplates a holy life. Of course she is devoted to God, but... I think she is destined to become a mother, to raise a family. She is an earthly creature, Thomas. I love her dearly.
TORQUEMADA There is nothing more gratifying in life than being in the service of our Lord.
DON ALVARO That‘s very true, Thomas, very true indeed.
TORQUEMADA Well, then... after the morning mass we‘ll be on our way to Segovia. God bless you, Don Alvaro!
Torquemada turns and leaves the chamber.
DON ALVARO Sleep in peace, Thomas.
Don Alvaro watches the door close behind Torquemada, then sits on the edge of the bed to sort out his thoughts.
Julio enters and stops near Don Alvaro.
JULIO I saw the Prior leave... (pause) Are you not well, Master?
DON ALVARO Wake us up for the morning mass, Julio...
EXT. COUNTRYSIDE, FAMILY FARM - DAY
CLOSE on the giant wheel of a WINDMILL slowly rotating.
FATHER and SON plow the earth with the help of a scrawny ox while the WIFE and DAUGHTERS sow for the next crop.
The peasants stop the work as they hear approaching horses. The father wipes his sweaty face without taking his eyes off the road. Torquemada and his entourage pass by the farm at a comfortable gallop.
SON I wonder who they are...
The father shields the midday sun out of his eyes with his hand.
FATHER I can‘t tell, son. They don‘t look like murderers, for sure...
The retinue of soldiers gallop in the direction of Segovia, passing by the peasants in the fields.
EXT. COUNTRY ROAD - LATER
Don Alvaro and Torquemada ride side by side in silence, surrounded by their bodyguards. The party slows down to a walk so some peasants on mules, heading in the opposite direction, can pass them safely.
Don Alvaro and Torquemada watch the peasants ride by them.
The last one passing them is a young, beautiful MOTHER. She carries a BABY in a shawl around her shoulder and watches it with motherly love. There is an aura of serenity in the image she projects.
Smiling, Don Alvaro turns to Torquemada.
DON ALVARO It‘s been eighteen years, Thomas, that you baptized my daughter.
TORQUEMADA Yes, I remember well... Turbulent years... DON ALVARO And only five years before that when I came to Segovia and we met for the first time.
Torquemada drifts into his thoughts and raises his eyebrows involuntarily.
TORQUEMADA (CONT'D) From where, Don Alvaro? (pause) From where did you come?
The question disturbs Don Alvaro but he disguises his feelings.
DON ALVARO You never asked me that before, Thomas. Why now?
TORQUEMADA I‘m sure I asked you before...
DON ALVARO Perhaps you did... Perhaps you did...
EXT. STREETS IN SEGOVIA - DAY
A ten foot tall wooden cross with the figure of Christ is carried by the Dominican Friar, Antonio de la Pena. He heads the Lent procession of a few hundred religious zealots. They carry banners, among them is one of the Inquisition, and chant psalms on their way to the cathedral.
Their faces are contorted by religious rapture. A number of the zealots flagellate themselves as they proceed.
EXT. HOUSE IN GOOD NEIGHBORHOOD - CONTINUOUS
A middle-aged couple watch the procession through the window in anxious anticipation.
INT. ANOTHER HOUSE ACROSS THE STREET - CONTINUOUS
From inside the galleria of the house a FAMILY OF FIVE watch the threatening crowd pass in front of their home. The children huddle up to their parents in fear.
EXT. STREET IN SEGOVIA - DAY
The chanting crowd of the procession continues on, slowly passing through the neighborhood of well-to-do New Christians - the conversos.
INT. APARTMENT, BEDROOM - MOMENTS LATER
CLOSE on a GIRL of 15, dressed as a maidservant of the household. She is in a state of anxiety as she stands in the window on the top floor of a three-story building watching the procession. She is careful not to be fully seen from the street.
EXT. STREET IN SEGOVIA, THE PROCESSION - CONTINUOUS
The procession is predominantly composed of secular men and friars, though there are a few women and children too in the crowd. At a closer look most faces appear to be tough and cruel rather than in rapture of religious devotion. A frightening mass of people.
They are singing or mumbling prayers to themselves.
The large cross with the figure of Christ weighs down on Pena‘s small shoulders.
INT. APARTMENT, BEDROOM - CONTINUOUS
CLOSE ON the young maidservant still at the window, watching the procession in nervous anticipation. EXT. STREET IN SEGOVIA - CONTINUOUS
The procession reaches the building of the maidservant who is still standing at the window.
INT. APARTMENT, BEDROOM - CONTINUOUS
The girl‘s face appears in the window searching for someone in the procession.
EXT. STREET IN SEGOVIA - CONTINUOUS
CLOSE on Pena as he looks up toward the window where the girl is standing and nods his head as a sign for the girl to act.
CLOSE on the face of Christ.
INT. APARTMENT, BEDROOM - CONTINUOUS
The girl picks up a bowl of water from a nearby table and pours its entire content out of the window, aiming at the head of Christ on the cross carried by Pena.
EXT. STREET OF SEGOVIA, THE PROCESSION - CONTINUOUS
SLOW MOTION: Water splashes over the face of Christ.
Pena stops in his tracks, hands the cross over to a friar standing next to him and throws his arms toward the sky. In feigned horror, he cries out to the crowd.
PENA Blasphemy! Blasphemy!
The crowd comes to a sudden, tumultuous halt.
PENA (CONT'D) (hysterical rhetoric) Christians of Segovia! The infidels have acted again. They desecrated the image of our Lord, Jesus Christ. They emptied their bedpans on his suffering face. It is the most vile blasphemy. See for yourself.
He grabs the cross from the friar and lifts it high in the air so the crowd can see the water still dripping off the carved face.
The crowd is shocked by the sight and glued to Pena‘s incendiary words which take immediate effect. The already somber faces begin to show signs of coiled-up violence.
PENA (CONT'D) The conversos along with the Jews want to ridicule our faith, they want to dishonor our Church...
CLOSE on a BURGHER ready for action. His eyes look wild with hatred. He turns around with a clenched fist in the air.
BURGHER (yelling) Let us do away with the blasphemers!
The crowd reacts with shouts and screams, waving their fists in the air: "Kill the Jews!" "Burn the conversos!", and so on.
Pena, realizing that the crowd is ready for drastic action, quickly unwinds his speech.
PENA The warnings of our Queen and King have not stopped these infidels in their satanic actions. Are we going to stand idle as they deface our Lord?
The MOB responds with a resounding "No!"
PENA (CONT'D) Or, are we going to defend our faith?
Again the mob responds, this time with a unanimous "Yes!"
PENA (CONT'D) Then what do you wait for, brethren?
As if a cage full of wild animals burst from their starved captivity, the mob explodes in all directions, wielding sticks and knives.
A group of burghers break through the locked door of a house.
INT. HOUSE OF A CONVERSO - MOMENTS LATER
The mob floods the wealthy house and scatters in all directions.
INT. THE GALLERIA - CONTINUOUS
A middle-aged COUPLE with their FOUR CHILDREN, boy and girls, from 10 to 18 years of age, huddle in terror at the back of the room.
SCREAMS for mercy are heard as a dozen burghers, knives in their hands, rush toward the horror-stricken family.
EXT. COUNTRYSIDE NEAR SEGOVIA - SUNSET
The entourage rides toward Segovia. In the setting sun the horsemen seem like crawling, black ants. Torquemada and Don Alvaro come to a stop on a hill near the outskirts of the city. Their dust-covered faces glow in the reddish orange light of the setting sun, as if they were watching the world on fire.
CLOSE on Don Alvaro‘s pensive face.
The old city spreads out in front of them, enveloped in the flaming sunset. The observant eye can easily detect SMOKE rising up in the sky, not far from the cathedral.
Don Alvaro watches in silence, then turns to Torquemada.
DON ALVARO How many today, Thomas?
TORQUEMADA The house of our Lord is boundless, Alvaro. As a Christian, you should know that.
Don Alvaro, Torquemada and his entourage continue on their way toward the city.
DISSOLVE TO:
EXT. STREET IN SEGOVIA - DUSK
Dressed in a black robe and wearing a hat, RABBI MENDOZA, late 50‘s, hurries in the direction of the synagogue, trying to reach the gates of the Jewish district before the curfew. His long, white beard gives him the unmistakable appearance of a sage.
At this hour of the day, only a few SERVANTS and some OUTCASTS can be seen in the streets.
CLOSE on ZEALOT #1 hidden in a doorway. The vicious-looking man watches the Rabbi Mendoza as he rapidly approaches the outlook. The man turns his head to signal for attack. There are two more ZEALOTS behind him, coiled for action.
Mendoza is on his way unsuspecting.
CLOSE ON hands reaching out to grab the Rabbi‘s throat. He has no time to utter a cry.
Zealot #1 pulls Mendoza to the ground and the other two start kicking him on his side.
The sudden NOISE of galloping horses stop them in their action.
CLOSE on Zealot #2 as he looks in the direction of the approaching horsemen.
Torquemada‘s entourage ride down the street toward Mendoza and his assailants.
ZEALOT #2 Run for it!
The zealots sprint away in a flash leaving Mendoza on the ground in pain, moaning.
Torquemada and Don Alvaro, followed by their escorts, arrive on the spot and halt near Mendoza who is still struggling, trying to get up. They stare at Mendoza who is in great pain. Don Alvaro looks at Torquemada who remains impassive.
Don Alvaro dismounts his horse and walks to the rabbi.
DON ALVARO Are you badly hurt?
MENDOZA (waves dismissively) I‘m a Jew.
Mendoza gets up on his feet with Don Alvaro's help and looks for his hat. He finds it and puts it on his head with shaking hands. DON ALVARO I asked you whether you were hurt.
MENDOZA I‘m all right.
Don Alvaro turns back to the entourage.
Torquemada, erect on his horse, looks at the Rabbi with contempt. Behind him Julio watches his master helping the Rabbi regain his dignity.
Don Alvaro turns to Julio and beckons him.
DON ALVARO Julio! Escort the man home...
Julio dismounts his horse and comes over to Don Alvaro.
MENDOZA (interrupting) I don‘t need an escort, Don Alvaro. The synagogue is only a stone‘s throw away.
Mendoza looks toward Torquemada who stares back, impassive, from atop his horse.
Mendoza then looks again at Don Alvaro. He silently turns and heads toward the Jewish quarter.
Don Alvaro keeps his eyes on Mendoza for a while, moved and disturbed by the experience, then turns to Torquemada.
DON ALVARO He knew my name...
Don Alvaro steps over to his horse and mounts it expertly.
DON ALVARO (CONT'D) I never saw him before. Torquemada studies Don Alvaro, then kicks his horse and they are on their way.
DISSOLVE TO:
EXT. THE RAFEL HOUSE, GARDEN - NIGHT
The lush garden with its blooming flowers is illuminated by a full moon.
Juan Pomas is singing a love song, accompanying himself on the lute as Catherine sits next to him on a wooden bench under an old citrus tree. She seems enraptured by the moment.
JUAN "Beneath the rock is born the rose That does not burn the air". "Beneath a poor gateway Is a divine rose-tree, And an angelic queen With a most charming grace. That most lovely queen Has grown a rose, Redder and more lovely Than anyone has ever seen. A white and red rose, A blessed and holy rose, A rose for which our First father‘s sin is forgiven."
Juan finishes the song with a flourish, places the lute on the bench and takes Catherine's hand in his.
CATHERINE As you were singing I kept imagining the beautiful children we are going to have, Juan... I saw their faces in my mind's eye...
He kisses her hand gently.
JUAN I think of nothing else but loving you... and loving you, day and night... always... forever...
He pulls her close and kisses her on the lips. She responds with passion.
Hearing an incomprehensible argument that filters out from inside the house Catherine and Juan turn toward the open door to the garden.
INT. THE GALLERIA - CONTINUOUS
CLOSE on Dona Maria who is still at the dinner table.
Don Alvaro sits across from Dona Maria at the table, mashing up pieces of bread between his fingers.
DONA MARIA I simply don‘t believe that anyone who loves us as much as Father Thomas does, would turn against us in any way. He is my confessor.
Don Alvaro rises from the table and begins to pace back and forth in front of her.
DON ALVARO You don‘t understand. My God, you don‘t understand at all.
Don Alvaro stops in front of Dona Maria.
DON ALVARO (CONT'D) Now listen, just listen to me. Thomas said to me, "Don Alvaro, where do you come from?" Those words. And suddenly his eyes were as cold as ice. He turns away from Dona Maria, almost talking to himself.
DON ALVARO (CONT'D) He looked through me into my soul. It‘s a gift the man has. There are no secrets barred from him. That‘s why Isabella made him Grand Inquisitor.
Dona Maria smiles and shakes her head.
DONA MARIA Don Alvaro, he knows that you come from Barcelona, we spoke of it a dozen times.
DON ALVARO Then why did he ask me?
DONA MARIA He asked you a simple question, Don Alvaro. I‘ve never seen you so shaken before. I don‘t know what you‘re afraid of.
Exhausted by the day‘s events and the argument, Don Alvaro slumps into his chair.
DON ALVARO We go on with our lives, laughing, singing, pretending that the world is the way it always was, but underneath we know that there is a thing in Spain now, called the Inquisition, and day and night we‘re afraid, and this whole land stinks with fear.
DONA MARIA How can you talk that way about Father Thomas. This is a man of God, who baptized our only child... DON ALVARO Do you know what the Inquisition is? Or is it because you know what it is that you can sit there, like a fool, and say the things you do?
DONA MARIA How dare you call me a fool?
DON ALVARO God help us!
Don Alvaro jumps up angrily and marches out of the galleria.
EXT. MONASTERY, CLOISTER - NIGHT
Torquemada hurries through the moon-lit, pillared passageway of the cloister toward his chamber. He is filled with a morbid sort of happiness at his own exaltation.
INT. CLOISTER, TORQUEMADA'S CHAMBER - MOMENTS LATER
CLOSE on a hand feverishly writing with a noisy quill.
In a state of fierce concentration, Torquemada is hunched over the small table in his ascetic room, lit only by a candle.
We hear his thoughts as he composes instructions to the Inquisition.
TORQUEMADA (V.O.) ...so that all persons who have fallen into the sin of heresy or apostasy, who have observed Jewish rites or any other that are contrary to the Christian religion,...
In the rhythm of his thoughts, the CAMERA moves slowly off Torquemada and circles the room, ending up on the cross.
TORQUEMADA (CONT'D) ...may come forward to confess their sins, assured that if they do so with a sincere penitence, divulging all that is known to them, not only of their own sins but also of the sins of others, they shall be received with charity.
CLOSE on the candle‘s flame in front of Torquemada‘ face.
TORQUEMADA (CONT'D) They shall be subjected to a salutary penance, but they shall not suffer death, imprisonment, or confiscation of their property...
DISSOLVE TO:
EXT. STREET IN THE CONVERSO DISTRICT - MORNING
Antonio de la Pena and a FRIAR walk purposefully toward the cathedral. The people on the street don‘t like the presence of Dominican friars and they look at them with suspicion.
TORQUEMADA (V.O.) (CONT'D) As the crime of heresy is a very heinous one, it is desired the reconciled may realize by the penance imposed upon them how gravely they have offended and sinned against our Lord Jesus Christ. INT. CATHEDRAL - MOMENTS LATER
Pena and the friar enter the cathedral. They make the sign of the cross and continue walking along the side wall, under the stained glass windows depicting scenes of Christian charity, so that they don‘t disturb the morning mass in progress. Near the altar they disappear behind a small door.
TORQUEMADA (V.O.) (CONT'D) Yet, as it is our aim to treat them mercifully and kindly, pardoning them from the pain of fire and perpetual imprisonment,...
INT. CATHEDRAL, STAIRCASE - CONTINUOUS
Pena and the friar climb the narrow, spiraling stairs to the tower.
TORQUEMADA (V.O.) (CONT'D) ...and leaving them all their property should they come to confess their errors within the appointed time of grace, the inquisitors shall, in addition to the penance imposed upon the said reconciled, order them to bestow as alms a certain portion...
INT./EXT. THE TOWER - CONTINUOUS
Pena and the friar arrive in the tower, go past the large bells and stop at the open area facing the houses of the conversos below.
TORQUEMADA (V.O.) (CONT'D) ...of their property, according to the position of the penitent and gravity of the crimes confessed.
EXT. ROOFTOPS OF THE HOUSES BELOW - CONTINUOUS
Pena and the friar survey the rooftops of the houses below of wealthy conversos.
Smoke comes out of most chimneys.
TORQUEMADA (V.O.) (CONT'D) These pecuniary penance shall be applied to the Holy War which the most serene sovereigns are making upon the Moors of Granada, enemies of our Holy Catholic Faith, and to other pious works that may be undertaken.
Pena and the friar carefully scrutinize the chimneys.
PENA Look at that one on the right! There is no smoke coming out of their chimney.
The CAMERA slowly ZOOMS in to the rooftop of a house with a smokeless chimney.
PENA (CONT'D) (CONT'D) They must be Judaizers. They wouldn‘t desecrate the Sabbath by lighting fires.
INT. THE RAFEL HOUSE, KITCHEN - EVENING
CLOSE on the COOK‘S hands as they just finish kneading bread dough. She places two loaves into the hot oven then crosses over to the counter to attend to the poultry. A young MAID standing next to her peels vegetables.
Dona Maria enters the kitchen. DONA MARIA Miranda, prepare for one more person. Senor Van Sitten will stay on for dinner.
INT. THE GALLERIA - CONTINUOUS
Three well-dressed men, VAN SITTEN, from Amsterdam, PERI GOMEZ, from Barcelona and DINO ALEPPO, from Milan, sit around the refectory table. Don Alvaro is at the head, dressed in black velvet and a white shirt. The mood is relaxed and chatty, they are old friends. Julio walks around the table serving wine to the merchants.
VAN SITTEN And how much does the Queen need to provide this Columbus, Don Alvaro?
DON ALVARO We spoke about a small fleet, eight to ten ships, armed and well -provisioned.
VAN SITTEN I hear her Majesty's coffers have been drained by the constant wars with the Moors...
ALEPPO Which I feel is behind the growing power of your Inquisition...
DON ALVARO It's fueled more by greed than holiness.
ALEPPO Now this may enrich the King and the Church, but believe me, Don Alvaro, the effect is temporary and in the end you lose. You‘re eating your own flesh.
VAN SITTEN (nodding) Precisely. You look to Amsterdam for the money. Is that so, Don Alvaro?
DON ALVARO Amsterdam and Milan.
EXT. ROAD TO MONASTERY - NIGHT
A RIDER, clad in a black cloak with a hood covering his face, gallops in the darkness toward the Monastery.
EXT. MONASTERY, ENTRANCE - MOMENTS LATER
The rider arrives at the entrance and hands a sealed scroll to the guards.
RIDER For the Grand Inquisitor, from the Holy See.
INT. MONASTERY, CHAPEL - CONTINUOUS
A mass is in progress. Dominican friars occupy the benches.
Torquemada is on his knees, deeply absorbed in prayer.
A SOLDIER of the Holy Office of the Inquisition enters and gingerly walks up to Torquemada interrupting him at his prayer.
SOLDIER (whispering) It's very urgent, I was told. Torquemada dismisses the soldier and carefully looks at the scroll. His expression suggests that the seal doesn‘t seem familiar and that what he sees is suspect.
He quietly leaves the chapel and stops in the entrance hall where there is a torch light above the container of holy water. He tears open the seal and reads the scroll.
TORQUEMADA (muttering) You‘ve burnt her documents. You pretend she never existed. But we know your grandmother was a Jew, you evil Antichrist.
CLOSE on Torquemada‘s face contorted with rage and pain. He lets out an animal-like scream.
TORQUEMADA (CONT'D) Soldieeeeeeeeeeeer!
The friars in the chapel turn their heads in the direction of the scream.
EXT. MONASTERY - CONTINUOUS
Torquemada, like a person run amok, bolts to the guards at the gate holding the scroll up in the air.
TORQUEMADA Who brought this? Where is he?
SOLDIER A man in a black cloak, Father. The hood covered most of his face...
Torquemada yanks the torch light out of the soldier‘s hand and burns the scroll.
CLOSE on Torquemada‘s face illuminated by the dancing flames of the burning scroll. The wind blows the black ashes of the paper in his face, making him look like a man with the plague.
INT. THE RAFEL HOUSE, GALLERIA - NIGHT
Dinner is over. Gomez and Aleppo are gone. Don Alvaro, Van Sitten and Dona Maria are still seated around the dinner table talking. Her lack of participation in the conversation and her coldness create a strained mood.
VAN SITTEN I think your man, Columbus, is quite mistaken about the distance between Europe and the Indies by sailing westward. Some Jewish geographers in Amsterdam estimated a much greater distance than the Italian figured. Interestingly they are your Spanish Jews.
Dona Maria reacts with obvious disgust upon hearing Jews discussed in the conversation. Van Sitten can‘t help noticing this.
VAN SITTEN (CONT'D) Does it trouble you, Dona Maria that I talk so openly about Jews?
DONA MARIA The thought of them is not pleasant to me.
EXT. THE RAFEL HOUSE, STABLES - LATER
Julio prepares Van Sitten‘s horse in the stable.
EXT. ENTRANCE - CONTINUOUS
Don Alvaro and Van Sitten step out of the house and wait for the horse to be brought out.
VAN SITTEN I‘ve seen you in better spirits, my friend. Can I help you in any fashion?
DON ALVARO Thank you, my friend. I‘m afraid no one can help me.
VAN SITTEN It‘s been two years since I was last in Spain, Don Alvaro. What‘s happened since then?
DON ALVARO You named it before. The Inquisition.
VAN SITTEN Your Jews should have remained Jews. They became Spanish nobleman instead. In Holland they continued to be Jews and we live well with them. Here they are God‘s own temptation.
DON ALVARO You think God deals in temptation?
VAN SITTEN You Spaniards brood too much about God, about Moors, and about Jews.
DON ALVARO There is hardly a nobleman in Spain who isn‘t Jewish, or half Jewish, or one-quarter Jewish, or one-eighth Jewish. We all call ourselves Christians now but only dig the surface a little...
Don Alvaro lowers his voice as he realizes that Julio is there next to them with Van Sitten‘s horse ready for the ride.
VAN SITTEN And you trust no one.
Don Alvaro takes Van Sitten‘s hand and holds it tightly.
DON ALVARO Don‘t be so hasty to visit Spain again, my friend.
VAN SITTEN Then you come to us.
Van Sitten mounts his horse and Don Alvaro walks him to the gate in silence. He watches him ride away.
INT. CLOISTER, TORQUEMADA'S CHAMBER - NIGHT
Strong winds are blowing rain against the window. Torquemada sleeps uneasily.
INT. CLOISTER, A CHAMBER - CONTINUOUS
DREAM:
The chamber is lit by the flickering flames from a fireplace. The sound of the storm gradually recedes. We become aware of a comfortable SILENCE, then of SIGHS and GROANS. A naked female thigh slides over the length of female belly, glistening with sweat. A male hand caresses a voluptuous female bottom. A tongue glides the length of a lithe female neck.
EXTREME CLOSE UP on an arm as it slowly brushes the hair from a face revealing Catherine, her eyes closed, in a state of ecstasy. DISSOLVE TO:
INT. CLOISTER, TORQUEMADA'S CHAMBER - CONTINUOUS
Torquemada's face is bathed in sweat and he is gasping for air. He awakes with a jolt and gets off his wooden cot.His entire body shudders upon hearing a loud CLAP OF THUNDER. As his eyes catch the crucifix on the wall he makes the sign of the cross. Deeply troubled, he puts on his robe and rushes out of his room.
EXT. MONASTERY, ARCADES OF THE CLOISTER - CONTINUOUS
Torquemada hurries toward the chapel in the rainstorm. Another flash of LIGHTENING followed by a strong CLAP OF THUNDER makes him quicken his steps.
INT. MONASTERY, CHAPEL - MOMENTS LATER
Torquemada enters the dark, quiet chapel, illuminated only by a few candles. He walks to the altar, drops on his knees and begins to pray.
TORQUEMADA My Lord, forgive your devoted servant for his lewd and unholy dreams. It is the work of the devil. For such thoughts only occur in my dreams, never in my waking life...
Suddenly he is distracted and his eyes focus on something.
Across from him stands Catherine, dressed in the garments of the Virgin Mary, a halo radiating over her head.
CLOSE UP on her face as she smiles seductively at Torquemada.
CLOSE UP on Torquemada. An intense pain contorts his face. TORQUEMADA (CONT'D) (screaming) Nooooooooo!
He jumps up and runs toward the door. On his way he steps on an unlit torch left on the ground and falls on the marble floor.
He looks up toward the statue of the Virgin Mary.
TORQUEMADA (CONT'D) Catherine... God, have mercy on me...
Torquemada bolts out of the chapel.
EXT. THE RAFEL HOUSE, GARDEN - MORNING
The orange light of the sunrise makes Don Alvaro's face resemble a mask emphasizing further the sadness of his expression.
As he is cutting roses in the back garden of the house Don Alvaro becomes aware of something in the street and straightens up to see it better.
Don Alvaro's POV:
EXT. STREET IN FRONT OF THE HOUSE - CONTINUOUS
Rabbi Mendoza approaches the Rafel house and rings the bell.
EXT. THE GARDEN - CONTINUOUS
Shocked by the unexpected visit Don Alvaro hesitates behind the house, near the stables, to avoid confrontation.
INT. THE GALLERIA - CONTINUOUS Dona Maria is sewing an overdress from a fine fabric while Catherine helps her pinning and stitching.
Mendoza, a step or two inside the galleria, stands in silence. Julio, behind him, watches the Rabbi, waiting for him to make a move, but Mendoza just stands there immobilized.
EXT. THE GARDEN - CONTINUOUS
Through the window Don Alvaro watches the events unfold inside the galleria. He is in anguish, unable to decide whether to go in to the help of Mendoza or to stay outside.
INT. GALLERIA - CONTINUOUS
Julio makes a step forward into the galleria toward Dona Maria.
JULIO Senora...
The women look up from their work questioningly. Julio points in the direction of Mendoza.
Seeing their gaze, Mendoza moves forward tentatively but stops after a few steps. Dona Maria and Catherine watch Mendoza in astonishment mixed with fear and repulsion.
EXT. GARDEN - CONTINUOUS
Don Alvaro is angered by the reaction of the women. He is also disgusted with himself for not having the courage to make a move.
INT. THE GALLERIA - CONTINUOUS
Julio walks away from the women but stays in the back waiting for instructions. Mendoza, quite graceless standing there, decides to break the silence.
MENDOZA I‘m the Rabbi Benjamin Mendoza. I took the liberty to come here. I mean no annoyance... no pain to you...
DONA MARIA (shrill) What do you want here?
MENDOZA Only to speak with Don Alvaro.
DONA MARIA I‘m sure Don Alvaro will be unable to see you.
MENDOZA I can understand that. I realize there are many things implicit in my coming here, but more important than that is the fact that Don Alvaro saved my life. He has a vested interest in me, so to speak, and we are a people peculiar about such things.
Dona Maria rises and leans to her daughter.
DONA MARIA (quietly) Catherine, please leave the room.
CATHERINE I want to stay, Mother.
DONA MARIA I care not what you want. I asked you to leave, Catherine. Catherine shakes her head stubbornly.
DONA MARIA (CONT'D) (raises her voice) Please, leave!
Catherine‘s resistance collapses. She rises and leaves the galleria.
Dona Maria, shaking with anger, turns to Mendoza.
DONA MARIA (CONT'D) Who sent you here? Why did you come here?
The Rabbi shakes his head and spreads his hands, he is bewildered by the situation.
MENDOZA If you came to my house, Dona Maria, I would welcome you but I would not ask you why you had come.
Dona Maria takes a step toward the Rabbi.
DONA MARIA That I should come to your house, Jew, is inconceivable. Inconceivable, do you understand me?
EXT. GARDEN - CONTINUOUS
Don Alvaro, unable to tolerate the insults any longer, runs inside.
INT. THE GALLERIA - CONTINUOUS
As Don Alvaro bursts into the galleria, crying out. We can see Catherine hiding between the galleria and the room next to it.
DON ALVARO Maria!
DONA MARIA This Jew claims you saved his life.
DON ALVARO (angry whisper) This Jew...
Don Alvaro approaches Mendoza but stops half way. He turns and walks up to Dona Maria.
DON ALVARO (CONT'D) (whispering) Maria, why don‘t you just put a knife into my heart?
DONA MARIA You were listening.
DON ALVARO I heard you from outside...
She turns and marches out of the room passing the crying Catherine.
Don Alvaro becomes aware of Julio's presence. Master and servant hold their gaze, a question hanging unanswered between them. Julio leaves.
Catherine enters the room and pours a glass for the guest but Mendoza doesn‘t reach for it.
CATHERINE Drink the wine of our household, Don Mendoza.
Catherine pulls a chair away from the table and offers it to the Rabbi. Don Alvaro steps over to Mendoza.
DON ALVARO Pour me a glass, too, Catherine, and ask Julio to bring us some bread.
Don Alvaro leans over to Catherine and kisses her gently.
DON ALVARO (CONT'D) (whispering) Leave us alone, Catherine.
Catherine leaves.
MENDOZA You‘re blessed, Don Alvaro. You have a remarkable daughter.
DON ALVARO Yes, I am blessed in this way, Rabbi.
Julio returns with some bread. Don Alvaro looks at him and nods at him to leave.
MENDOZA The man loves you. Why are you afraid of him, Don Alvaro?
DON ALVARO We are in Spain, Rabbi. Therefore we must learn to live with fear.
MENDOZA Not all Spaniards are Jews.
DON ALVARO What do you mean?
MENDOZA The art of living with fear is a peculiarly Jewish art. Don Alvaro breaks off a piece of bread from the loaf and offers it to Mendoza who takes it in silence and tastes it with the wine.
DON ALVARO Why did you come here, Rabbi?
MENDOZA Must I tell you?
DON ALVARO I sleep poorly as it is. Shall I sleep less poorly?
MENDOZA Very well. (pause) You‘re a friend of Torquemada.
DON ALVARO How do you know that?
MENDOZA All of Segovia has known it for years.
The rabbi is in anguish as he continues on.
MENDOZA (CONT'D) He‘s decided to destroy our synagogue... to burn it to the ground... and I‘ve heard reliable accounts about his ambition to persuade our sovereigns to expel all Jews from Spain.
DON ALVARO Why should he...
MENDOZA He hates Jews, and he‘s the Grand Inquisitor of Spain. DON ALVARO That gives him no right to act against the Jews.
Don Alvaro rises from his chair in anger.
DON ALVARO (CONT'D) The Inquisition can take action against heretics, blasphemers, but not against the Jews.
MENDOZA You have a desperate need to think along legal precepts, Don Alvaro. It‘s power that counts. He talks, he preaches. He calls for a punishment upon a pestilence. He talks with God‘s voice. Torquemada convinces too many people that it‘s God‘s will that the synagogues be burned to the ground.
DON ALVARO I don‘t think you understand what you are asking me.
MENDOZA (whispering) Yes, I do.
DON ALVARO Why did you come to me? Why me, out of the whole city? Because I saved your life?
MENDOZA No, not because you saved my life.
Close on Catherine at the back of the galleria, half hidden from her father and Mendoza, listening. Tears coming down her face.
DON ALVARO Unwittingly and unknowingly I saved the life of one Jew and now I must save the lives of millions of Jews and a synagogue or anything else your fancy directs. (pause) Why me? Out of all Segovia, why me?
MENDOZA Must you have another reason?
DON ALVARO I must.
MENDOZA Very well, then... I will give you the reason. In Barcelona I knew your father. I knew who he was and what he was. I loved him and I trusted him, and I said that what he was must live on in his son.
INT. THE RAFEL HOUSE, DON ALVARO'S ROOM - DAY
Don Alvaro puts on his riding boots and buckles his sword. Julio is there helping.
JULIO Don Alvaro... I'd rather die than have you look at me the way you did before.
ALVARO I trust you, Julio
JULIO Say it in truth, Master, or I'll walk to the stable and put a knife to my heart...
Don Alvero stops, turns from the mirror to face his servant.
ALVARO Julio, I say it in truth. You are my trusted and dear friend.
The two men look at each other for a beat, then embrace in a fraternal way.
ALVARO (CONT'D) Have you saddled my horse?
JULIO It's all ready for you, master.
Don Alvaro makes a final adjustment to his clothes in front of the mirror and leaves the room followed by Julio.
INT. STAIRCASE, HALLWAY - CONTINUOUS
Don Alvaro hastens down the stairs to the hall where Catherine is waiting for him. She embraces her Father with innocent affection. His expression suggests deep concern seeing Don Alvaro embarking on a trip.
CATHERINE It hurts me when you quarrel with Mother.
DON ALVARO I know not what to say at this time my child.
Catherine, as always, is open with her Father, but at this moment it's not easy for her to ask the question...
CATHERINE Why does she hate the Jews, Father? DON ALVARO Many people hate the Jews, you know that, Catherine.
CATHERINE Are they so very evil?
DON ALVARO Like all people, some are good and some are bad.
EXT. THE GARDEN - CONTINUOUS
His arm around her shoulder, Don Alvaro leads Catherine out of the house. Julio is already there waiting with the saddled horse.
CATHERINE What is a rabbi? Is he a priest?
DON ALVARO Well, not exactly.
CATHERINE Why won‘t you tell me?
DON ALVARO I suppose he is like a priest or, more like a teacher, something of that sort.
Giving up on having a convincing explanation, she smiles at her Father.
CATHERINE You are a very handsome man, Don Alvaro. Now why didn‘t that ever occur to me before? You are old but very handsome.
Don Alvaro mounts his horse with Julio‘s help. CATHERINE (CONT'D) Careful on the road, Father. I will miss you dearly...
Don Alvaro rides away in a slow trot as if his daughter‘s last words had magnetic power holding him back. He turns his head and waves good-bye.
Catherine watches her father ride down the street. Her smile turns into sadness, and perhaps even a few tears appear running down her cheek.
SLOW DISSOLVE TO:
EXT. CATHEDRAL SQUARE - DAY
It is a beehive of activity in this central square of Segovia. Beggars, cutthroats, burghers, peasants and the nobility mingle in apparent peace. Some enterprising ones sell refreshments, fruits and knickknacks. A barber has set up a chair in the open ready to cut hair or pull rotten teeth.
As Torquemada dismounts his horse the soldiers of the Holy Office protectively surround him.
He enters the cathedral without his guards.
INT. CATHEDRAL - CONTINUOUS
Torquemada walks down the aisle toward the confessional.
The cathedral slowly fills up for the mass.
INT. CONFESSIONAL - MOMENTS LATER
Torquemada‘s expression is pious but gentle as he begins the confession. We don‘t immediately know whom he is addressing. TORQUEMADA Is there something important, Dona Maria, you want to confess... to relieve the pain in your heart and soul?
Dona Maria sits on the other side of the confessional box, softly crying.
DONA MARIA I sinned, my father. I... I feel desperate... and miserable.
TORQUEMADA Tell me about it, Dona Maria. Unburden your heavy heart to God. He is our only salvation on earth. Tell me, my child, tell me what tortures your heart.
DONA MARIA My husband...
TORQUEMADA Yes?
DONA MARIA My husband and I... we had a fight, we yelled at each other in front of Catherine. Lately we‘ve been fighting a lot.
TORQUEMADA What was the reason for your fights, my child?
DONA MARIA I can‘t talk about it, Father, it‘s too painful.
TORQUEMADA You must alleviate your pain, Dona Maria. It‘s your responsibility as a devout Christian to confess your sins to our Lord. Have you lost faith, my child?
DONA MARIA (sobbing) I can‘t, Father, I can‘t...
TORQUEMADA You will burn in hell for eternity if you deny your soul salvation. Confess, my child!
DONA MARIA I... we... my husband and I... we don‘t make love anymore. (crying) I don‘t know what happened between us, Father. I don‘t know. In my mind, only in my mind, I want to make love to a... man, someone I know. It was only a fleeting fantasy... just a thought.
TORQUEMADA (disappointed) Are you sure, are you absolutely sure that there is nothing more you want to confess, Dona Maria?
DONA MARIA Yes, Father. That‘s all there is.
EXT. CATHEDRAL, BACK GARDEN - LATER
Torquemada, flanked by Dona Maria and Catherine walk in the spacious private garden of the cathedral. All three are relaxed and smiling. He turns to Catherine... TORQUEMADA To me you are purity and goodness in the flesh, Catherine. I don‘t suppose I could make you understand how rare your qualities are, how privileged you are. You are destined to serve God, my child. You must become a bride of Christ.
Mother and daughter stop and look at Torquemada in shock.
TORQUEMADA (CONT'D) It‘s your duty to your Lord, Catherine. You are privileged to have been born with these unique qualities...
Torquemada starts to walk again toward the entrance, followed by the two women.
CATHERINE But, Father, I‘m already engaged to Juan Pomas. We‘re going to get married in... October...
DONA MARIA (interrupting) I had hoped Catherine would join the order, but two years ago she fell in love. My dreams were shattered, Father.
Torquemada puts his arm around Catherine‘s shoulder and pulls her close to him in a "fatherly" fashion.
TORQUEMADA There is still time to change your mind, my dear child.
CATHERINE I believe, Father, my destiny is to raise children. I want to be a mother, have a large family...
TORQUEMADA Well, that‘s also commendable, but serving your Lord is woman‘s ultimate vocation.
They stop near the gate of the garden.
TORQUEMADA (CONT'D) Please, convey my best wishes to Don Alvaro. It was a blessing to have his company on our trip back from the sovereigns.
He makes a half-turn as if to leave the women, but changes his mind.
TORQUEMADA (CONT'D) (smiling) Oh! There is one more thing I wanted to ask you, Dona Maria. It‘s insignificant, just to satisfy my curiosity. What is that small object on Don Alvaro‘s silver chain, next to the cross? I noticed it on him in Seville and forgot to ask him.
Neither Dona Maria nor Catherine can hide their anxiety as they listen to Torquemada.
DONA MARIA (paling) I don‘t know, Father. I have never asked him. He has always had it on the chain next to the cross... Torquemada silently lowers his head, turns and leaves. Both women watch him with deep concern.
EXT. MONASTERY - DAY
Don Alvaro, on horseback, passes olive groves and grapevines worked at by MONKS with their robes hitched up to their knees.
As he approaches the gates guarded by SOLDIERS of the Holy Office, Don Alvaro slows down to a trot.
He wipes the dust and sweat off his face with a white handkerchief and takes a swig from his water flask.
Without wasting more time, Don Alvaro dismounts his horse and steps over to the soldiers.
DON ALVARO I am here to see Prior Thomas de Torquemada.
SOLDIER He is not back from mass at the cathedral. You have to wait.
Don Alvaro ties his horse to a hitching stone and enters the courtyard.
EXT. MONASTERY, COURTYARD - MOMENTS LATER
Disappointed in losing his emotional momentum, Don Alvaro rests on wooden bench.
Don Alvaro's POV:
He observes a group of soldiers in armor dragging a WELL-GROOMED MAN across the yard into the Holy Office of the Inquisition.
CLOSE on Don Alvaro watching the event in dismay. SLOW DISSOLVE TO:
INT. MONASTERY, CORRIDOR - DAY
A FRIAR leads Don Alvaro down a passageway to a door marked with a purple cross. It leads into the Audience Chamber. The friar opens the door for Don Alvaro.
INT. AUDIENCE CHAMBER - CONTINUOUS
Torquemada sits alone at the refectory table in the austere room writing. He doesn‘t look up as Don Alvaro enters.
Don Alvaro steps forward and walks to the table expecting Torquemada to acknowledge his presence.
A moment of awkward SILENCE.
Torquemada stops writing and slowly raises his eyes to meet Don Alvaro‘s gaze.
DON ALVARO I met an educated man this morning who said that Spain is dying.
TORQUEMADA (nodding) And you came to tell me.
DON ALVARO No. Once I would have come to you, not to tell you, but to ask you... to ask you to give me faith to confront such a tragedy.
TORQUEMADA (smiling) A land doesn‘t die because a man says so. (pause) Is it faith you search for, Don Alvaro?
DON ALVARO We were friends once. When did our friendship end?
TORQUEMADA Did it end, Don Alvaro?
DON ALVARO The time came and it ende.
TORQUEMADA Tell me when that time was, Don Alvaro?
DON ALVARO That time came when you became a righteous man, Father Thomas.
TORQUEMADA That means nothing, Don Alvaro. Evidently you would commend a priest who lacked righteousness. That is most interesting indeed. But is it to tell me this that you come here?
DON ALVARO I‘m a tortured man. I admit to it. What game are you playing with me?
TORQUEMADA It is no game.
DON ALVARO What then?
TORQUEMADA Do you desire to confess? DON ALVARO To the priest or to the Grand Inquisitor?
TORQUEMADA Both are one and the same man.
DON ALVARO I think not. I knew the priest.
TORQUEMADA But I still know you, Don Alvaro. I know you better than you imagine.
Torquemada rises from his chair, walks to the window, returns back to Don Alvaro, who hasn‘t moved an inch, and starts pacing the room.
TORQUEMADA (CONT'D) I know many things, Don Alvaro. I know, for example, that the Rabbi Mendoza came to your home.
DON ALVARO So you spy on me?
TORQUEMADA The Holy Inquisition does not spy. It sees. (pause) Has it ever occurred to you that if Spain is dying, it is the Jew who chokes the life out of her?
DON ALVARO I‘ve been made to believe that the Holy Inquisition is a court of the Church and not concerned with Jews. TORQUEMADA The Holy Inquisition is concerned with Christians who are not Christians except in word and we‘re deeply concerned with the souls of these Christians who Judaize, who practice the Jewish rite in secret and who put their immortal souls in terrible jeopardy. As for the Rabbi Mendoza, I know why he came to you.
DON ALVARO His synagogue is very old.
TORQUEMADA Are these your arguments, Don Alvaro? (pause) The synagogue is old but so is the Jew, very old indeed. To destroy the one, you must destroy the other. So long as there are Jews, Christians will Judaize. (pause) Did you come to plead with me for the synagogue or the Jews?
DON ALVARO I haven‘t that much courage, Thomas. I‘m afraid. There is my confession. A Spanish knight pleads fear and horror. But tell me, who is there in all of Spain today who will plead for the survival of a synagogue?
TORQUEMADA (smiling; shaking his head) Don Alvaro, Don Alvaro, you surprise me.
DON ALVARO Answer me.
TORQUEMADA Answer you? Who will plead for a synagogue? The answer is obvious, Don Alvaro. A Jew.
DON ALVARO (cries out) Which I am not!
TORQUEMADA Which you‘re not. (pause) You have a business associate, one Hans Van Sitten, a Hollander. He entered the synagogue when the Jews were at prayer. I have reputable witnesses who will swear that he Judaizes.
DON ALVARO I don‘t believe that.
TORQUEMADA When Spaniards will swear to this, you tell me you don‘t believe it?
DON ALVARO He is a Hollander.
TORQUEMADA He‘s a friend of yours, yet will you keep him from the only thing that could purify him, that could give him hope, not in his moment here on earth but in all time?
DON ALVARO What thing?
TORQUEMADA The stake. You are horrified?
DON ALVARO Yes, I‘m horrified.
TORQUEMADA Do you think it‘s easy to burn a human being alive? I‘m more horrified at the thought of a soul imperiled, my dear Don Alvaro.
Don Alvaro stands there silently staring at Torquemada.
TORQUEMADA (CONT'D) You spoke of friendship before, Don Alvaro. I will open my arms and my heart, but shall I weaken my faith for you?
Torquemada lifts his hand and points his finger at Don Alvaro.
TORQUEMADA (CONT'D) I tell you this. Bring me proof that Van Sitten is a heretic. Denounce him before the Holy Inquisition. Then I will open my arms to you. Then I will listen to you. Then I will heed your request, your pleas. (pause) I ask you only to prove yourself a Christian.
DON ALVARO I must prove that to you? TORQUEMADA Not to me. To your God.
EXT. MONASTERY, COURTYARD - MOMENTS LATER
Don Alvaro ambles out of the courtyard and heads to the hitching stone. Deep silence surrounds him as he walks his horse away from the monastery.
The monks are still working in the fields. They don't pay attention to Don Alvaro as he passes by them.
DISSOLVE TO:
EXT. COUNTRYSIDE - DAY
Exhausted, Don Alvaro rides his horse slowly along the road toward Segovia under the burning midday sun. At one point he notices an ancient cypress tree on top of a small hill and decides to take the path leading up to the plateau. As they come to a complete stop Don Alvaro dismounts the horse, sits in the dry grass and opens his shirt to expose his skin to the slight breeze.
As he relaxes in the shade contemplating his meeting with Torquemada, he becomes aware of the chain with the cross and the silver cylinder on it, and places them on his palm.
The serenity of the moment is soon interrupted by the clip-clop of horses approaching below the hillside.
CLOSE on Don Alvaro watching the road below.
Don Alvaro's POV:
Two SOLDIERS ride on horseback toward the Monastery. Behind them follows a man on foot. Don Alvaro can see that a rope is attached to the pommel of the fat soldier‘s saddle and the other end of the rope is fastened around the neck of the man. He is too far from Don Alvaro to recognize his identity. Saddened and angered he rises and turns away from the sight.
CLOSE ON the man, he is Van Sitten. His body is covered in blood and dust, his clothes torn and his hands tied behind his back. The soldiers whip their horses intentionally to jerk Van Sitten to the ground. He is dragged in the dust screaming from pain.
CLOSE ON Don Alvaro.
Hearing the scream of the man Don Alvaro jumps on his horse and races across the fields in a wild and frantic gallop letting out a desperate GROAN.
He keeps whipping his horse, but the horse loses its footing and staggers from exhaustion. He hits the ground, rolls over and lies face down, unharmed.
Don Alvaro rises slowly from the ground, steps over to the trembling horse whose mouth is dripping lather and strokes its wet hide with affection.
DISSOLVE TO:
EXT. OUTSKIRTS OF SEGOVIA - SUNSET
Don Alvaro, walking the horse, heads toward the city. His weary posture is an expression of his state of mind.
DISSOLVE TO:
EXT. STREET IN SEGOVIA - DUSK
Not far from home, Don Alvaro encounters Juan who is on his way to their house for dinner. Don Alvaro‘s condition and the expression on his face keep Juan from making any comments.
They turn a corner into the street of the Rafel house.
DISSOLVE TO: INT. THE RAFEL HOUSE, GALLERIA - NIGHT
The family is at dinner.
The table is laid with white linen and silver plates inlaid with gold. A large chandelier with thirty candles illuminates the room.
Everyone in the family detects a significant difference in Don Alvaro‘s demeanor. They eat in silence until Dona Maria can‘t take it any longer.
DONA MARIA What happened, Alvaro? Where were you?
DON ALVARO I was riding.
Juan‘s silence makes Catherine uneasy. She smiles at him, trying to comfort him.
DONA MARIA I don‘t have to ask you where you were, what you did, who you saw. Your answer is that you were riding. You leave your food untouched and when I ask why, you answer me in riddles.
DON ALVARO Our existence is a riddle.
He lifts his glass and empties it.
DONA MARIA How can you speak such nonsense in front of your daughter and her husband to be? He came in and told us that your horse was wet and trembling with exhaustion. DON ALVARO (snapping) I ride hard.
DONA MARIA While you were gone, Torquemada asked us questions after confession.
CATHERINE Father, he only asked us why you wear a silver cylinder on the chain around your neck. So you see what a small thing it was?
DON ALVARO And what did you tell him?
DONA MARIA I told him you had always worn it.
CATHERINE Why do you wear it, dear Father?
DON ALVARO It‘s only a memory. I shed myself of most of my memories but no one can cast away all of them... not even Torquemada.
Don Alvaro takes the chain out from under his shirt and lays it in front of Catherine.
CLOSE on the cross as it lies next to the silver cylinder on the table.
Catherine examines the chain in great interest.
DONA MARIA What kind of grotesque joke are you making of this whole thing, Don Alvaro? Torquemada asked us about this.
DON ALVARO There must be no mysteries for him. I‘m sure he has guessed what I wear about my neck. (to Dona Maria) Have you never asked yourself why I wear this and what it is? Really, Maria, never once?
Gripping the table uneasily, Juan rises from his chair.
JUAN Will you pardon me, Don Alvaro. I think I should go now...
DON ALVARO (snapping) Not yet! Sit down, Juan. You‘ll leave when I tell you to leave.
There is a long moment of SILENCE.
CLOSE on Don Alvaro‘s hand playing with the chain.
Juan sheepishly collapses into his chair and gazes at the chain in Don Alvaro‘s hand.
Annoyed and angry, Dona Maria can‘t take the silence any longer. She points to the chain.
DONA MARIA What is that... thing, Don Alvaro?
DON ALVARO You ask me now, after twenty-two years?
Concerned for her father Catherine pleads with him. CATHERINE Father, for God‘s sake, what did happen today?
DON ALVARO I don‘t know. Something happened but I‘m not sure. How can I explain that to you.
Don Alvaro holds up the cylinder.
DON ALVARO (CONT'D) This thing belonged to my father and, before him, it belonged to his father. What is it? Like the cross, it‘s a holy thing. Inside of it there is a tiny piece of parchment, and on the parchment, a few words are written...
CLOSE on Dona Maria losing her control.
DONA MARIA Stop! I've heard enough!
CLOSE on Juan sitting frightened as a trapped animal.
CLOSE on Catherine. She is near tears, pleading in silence with her father.
Don Alvaro looks at his wife bitterly.
DON ALVARO Enough of what? The Jew in you? The Jew in me? The Jew in Catherine? The Jew in Juan?
Juan‘s face pales. He springs to his feet and leans over the table toward Don Alvaro.
JUAN In God‘s name, what are you saying to me? You know that I‘m a Christian.
DON ALVARO (smiling) Of course you are a Christian, Juan. But your great-grandfather, he was a rabbi. Will you make a Christian of him?
Dona Maria rises and leans over to Don Alvaro to whisper to him.
DONA MARIA You‘ve lost your mind. You‘re insane.
DON ALVARO Am I mad? Was your own mother half-Jewish or not?
DONA MARIA (shouting) Lies! How dare you sit here and lie and blaspheme?
Don Alvaro picks up the cylinder and holds it between his fingers.
CATHERINE What‘s written on that parchment, Father?
Dona Maria is motionless, frozen to the spot. Juan sinks back into his chair in despair.
DON ALVARO It says, "And thou shalt love the Lord thy God with all thy heart and all thy soul and all thy might." They call it the Jewish curse. It‘s written in Hebrew letters. Jews put it on the doorposts of their houses.
Dona Maria covers her face and runs out of the room sobbing. There is silence for a few moments, then Catherine turns to her father.
CATHERINE Only that?
DON ALVARO Only that, my child... only that. I must find your mother now. She‘s deeply disturbed. I don‘t know why I did this to her.
Don Alvaro rises and leaves the room.
Catherine and Juan stay at the table, stare at each other briefly, then as if it were a present for her, Catherine reaches across the table and picks up the chain, touches the cylinder gently with her finger and smiles.
JUAN Catherine? Please, Catherine?
CATHERINE What is it, Juan?
He doesn‘t answer, only sits there in fear, looking at her.
CATHERINE (CONT'D) Why are you so afraid?
Juan still doesn‘t answer. Catherine holds out the chain to him but Juan recoils in terror.
CATHERINE (CONT'D) An hour ago I didn‘t know that part of me was Jewish or that part of you was Jewish. Now I know it. I feel no different. No different at all. JUAN I‘m a Christian, as you are, Catherine.
CATHERINE Yes, I know that. It means that I‘m both a Jew and a Christian... and still it seems to make no difference.
JUAN No!
Catherine puts the chain around her neck and looks at Juan.
JUAN (CONT'D) Take it off! For God‘s sake, take it off!
Smiling, Catherine holds the cylinder in the palm of her hand.
CATHERINE And with this thing in my hand I Judaize. Now suppose that our good Prior Torquemada was here. Then I‘d say to him, Father Torquemada, I Judaize. Poor Prior Torquemada. He‘d have to tie me to a stake and burn me.
Her voice dies away and the smile changes into sadness as she turns to Juan in a whisper.
CATHERINE (CONT'D) Oh my God, Juan, what‘s happened here?
JUAN Don‘t let it happen to us, Catherine, for God‘s sake.
CATHERINE Do you still want to marry me, Juan?
JUAN I‘ve given you my word.
In a fury, Catherine rises, takes a few steps away from the table and turns back to Juan.
CATHERINE (cries out) Be damned with your word! I release you from your word.
She storms out leaving Juan with his thoughts.
DISSOLVE TO:
EXT. STREET OF SEGOVIA - NIGHT
Juan leads his horse through the dark, quiet streets in the direction of the outskirts of Segovia.
He is turning over in his mind the events of the evening.
INT. MONASTERY, TORQUEMADA'S CHAMBER - NIGHT
Torquemada wakes to the sound of the chapel‘s bells. He sits up on his cot, covers his face with his hands and stays like this for a while in deep contemplation.
Then he goes over to his table and lights a candle.
He gazes at the flame for a while, then lifts the flame closer to his eyes and lets himself be hypnotized by it.
A few moments later he slowly lowers the candle to his bare chest, waits a moment then pushes the flame next to his skin.
His face contorts from the sudden, sharp pain but he doesn‘t utter a word. The CAMERA TILTS DOWN to the burnt flesh on his chest. He drops the candle and slumps on his bed in the darkness.
EXT. COUNTRYSIDE - DAWN
Tears are coming down Juan‘s brooding face. He sits on a rock overlooking the monastery below. His horse is tied to a dead tree behind him. A COCK‘S CROW reminds him of daybreak. He mounts his horse and descends to the monastery whose BELLS TOLL for morning mass.
EXT. MONASTERY, CLOISTER - MOMENTS LATER
Among a group of friars behind the columns Torquemada is on his way to the chapel for mass. He notices Juan in the distance.
Juan dismounts his horse at the hitching stone and crosses the courtyard. He stops to look around and notices the dark figure of Torquemada leading the friars.
Torquemada breaks away from the group and crosses to Juan who, at the same time, approaches him from the yard. They both stop at a column close to each other.
As the sun rises the horizon begins to take on an orange shade enveloping Torquemada and Juan.
TORQUEMADA Why are you not in bed sleeping, my son? At this time, so early in the morning, the body may be clothed, but the soul is naked.
Juan stands there afraid, waiting.
TORQUEMADA (CONT'D) Do you fear me, my son?
Juan shakes his head dumbly. TORQUEMADA (CONT'D) What‘s there to fear? We‘re the servants of God. People of Christ. How can you fear me? (pause) Undoubtedly you have heard it said that Torquemada was once a man and has now become a monster? But do monsters serve God?
JUAN (muttering) I don‘t know.
TORQUEMADA Will you serve God? Will you serve your immortal soul? Will you serve Spain?
Juan tries to speak but no words come forth.
TORQUEMADA (CONT'D) Do you think that God has forgotten Spain? (pause) God has not forgotten Spain, God has only forgotten the Jew.
Torquemada steps closer to Juan so the boy can see his eyes in his bony face shadowed by the cowl.
TORQUEMADA (CONT'D) But the Jew who becomes a Christian... this Jew God remembers. For this Jew has an immortal soul and there is no immortal soul on this earth that God has ever forgotten.
He reaches out to touch Juan‘s shoulder.
TORQUEMADA (CONT'D) Let us walk. They walk under the colonnade until they come to the end, then turn back.
TORQUEMADA (CONT'D) What brought you here, Juan Pomas? Few come here of their own free will.
Torquemada draws Juan nearer and whispers in his ear.
TORQUEMADA (CONT'D) What‘s the cylinder that Don Alvaro wears around his neck?
Juan remains silent.
TORQUEMADA (CONT'D) Do you know what the Holy Inquisition is, my son?
JUAN I swear by the Mother of God, as I‘m a Christian! I swear, I swear to you Father Torquemada, that Don Alvaro is a Christian!
TORQUEMADA (whispering) You swear too much. Why do you imperil your immortal soul?
JUAN Don Alvaro is a Christian!
TORQUEMADA You answer a question I never asked. We have the answer, but where is the question, Juan Pomas? Is it in your heart, in your soul, or is it in God‘s voice? I did not ask you whether Don Alvaro is a Christian. I asked you what‘s in the cylinder he wears around his neck.
Juan, trembling with fear, and struggling with his conscience, blurts out the word..
JUAN A curse.
TORQUEMADA What curse?
JUAN A Jewish curse.
TORQUEMADA What is the Jewish curse? Do you know? And if you know, tell me how you know.
JUAN I heard Don Alvaro speak of it.
Torquemada nods, makes a step or two, then stops.
TORQUEMADA Speak this curse here, Juan Pomas.
Juan, by now, paralyzed with fear, remains silent. Then he tries, but is unable to speak. Then Torquemada cries out in a commanding voice.
TORQUEMADA (CONT'D) I absolve you! I order you! On pain of my anger, I order you to speak.
JUAN "And thou shalt love the Lord thy God with all thy heart and all thy soul and all thy might." EXT. COUNTRYSIDE, ROAD - DAY
Two soldiers of the Holy Office of the Inquisition, the same ones who dragged Van Sitten to prison, ride in the direction of Segovia.
INT. THE RAFEL HOUSE, GALLERIA - DAY
Don Alvaro stands at the window gazing at the world as if he were already imprisoned.
DONA MARIA (O.S.) We shall not wait for Juan any longer. It‘s rude of him to make us late for confession.
INT. HALLWAY - CONTINUOUS
Dona Maria, dressed for church, watches Catherine descend the staircase wearing a sky-blue, velvet dress with gold trimmings. She is like a living portrait by Bronzino.
CATHERINE I don‘t think he‘ll join us, Mother.
DONA MARIA Did he say so?
CATHERINE No, he didn‘t. It‘s just my feeling.
DONA MARIA I wouldn‘t be surprised if he never showed up again.
Dona Maria turns to the doorway that opens into the galleria. DONA MARIA (CONT'D) (to Don Alvaro) You should come with us to confession, Don Alvaro.
Don Alvaro turns angrily away from the window to face Dona Maria and Catherine.
DON ALVARO I‘m staying right here. You two go. Hurry, or you‘ll be late.
Catherine, troubled, enters the galleria and crosses over to Don Alvaro.
CATHERINE Father, will you be here when we return?
Don Alvaro forces a smile to reassure her.
CATHERINE (CONT'D) Mother wants me to confess...
DON ALVARO That‘s an excellent notion. I think you should. You‘ll feel better.
She kisses her father good-bye and leaves the house with Dona Maria.
Don Alvaro, hearing the door close, moves from the window to the hallway and up the staircase into his private working room.
INT. DON ALVARO'S ROOM - MOMENTS LATER
Don Alvaro purposefully enters and goes straight to his writing dais. He sets out to compose a letter.
CLOSE on Don Alvaro‘s hand writing: "Dear Maria:"
All of a sudden he stops writing as if he were thinking about the first sentence, but instead of continuing, he crumples up the scroll and starts another one:
"My Dear Catherine:"
DISSOLVE TO:
CLOSE on Don Alvaro hunched over the dais, writing the letter.
The CAMERA moves off him, crosses the room and stops at the window. NOISE of horses‘ hooves and steel against steel are heard from under the window.
Don Alvaro goes to the window and looks out.
Don Alvaro's POV:
EXT. THE RAFEL HOUSE - CONTINUOUS
The two soldiers dismount their horses and HAMMER at the door loudly.
INT. DON ALVARO'S ROOM - CONTINUOUS
Don Alvaro steps away from the window, resigned to the inevitable, he sits in his favorite chair waiting for the knock on the door. He doesn‘t have to wait long.
DON ALVARO Come in, Julio.
Julio timidly enters. The story is written on his face.
JULIO I wouldn‘t let them in the house. They are filthy and they stink. Don Alvaro rises from his chair, crosses over to the door and hands the letter he has written to Julio.
DON ALVARO This is for my daughter, Julio. It‘s very important.
JULIO She will have it, Don Alvaro.
Don Alvaro hands a second scroll to his faithful servant.
DON ALVARO This, Julio, is a codicil to my will. It says that if I should die you‘re entitled to the ownership of my white stallion you‘ve always admired and also to one hundred gold pieces...
JULIO Don Alvaro, please... you must not speak this way. Your death is far away.
DON ALVARO No man‘s death is far away, Julio. (pause) Now leave me alone and tell the soldiers that I‘ll be with them as soon as I‘ve dressed myself properly.
Julio leaves the room.
DISSOLVE TO:
EXT. STREET NEAR THE CATHEDRAL - DAY
Prisoners of the Inquisition, surrounded by representatives of the Holy Office, march ceremoniously toward the cathedral where the "Act of Faith" (Auto de Fe) will take place. It‘s a ritual that precedes the burning of the impenitent heretics at the stake.
The procession is led by the bearers of a green cross that is draped with black material. Immediately behind them are a company of familiars of the Holy Office followed by a priest with a canopy of scarlet and gold over him borne by four men. He carries the Host. More familiars follow him, then the prisoners in varying degrees of misery: some having the marks of torture upon them, others suffering only shame. They all wear the sanbenito, a garb of shame and disgrace. It‘s a loose-fitting garment, with a hole in the top that slips over the head, made of yellow sackcloth with red crosses sewn to it in the front and the back. In the case of those condemned to the stake, their sanbenitos are painted with flames and devils. In addition to the sanbenitos they wear a tall mitre, or cone-like cap covered with yellow sackcloth.
Following the prisoners, and fastened to long green poles, are effigies of people who have been found guilty but escaped from Spain. Their faces are painted with hideous grimaces. There are also corpses dug up from the graves of those who were condemned as heretics after they had died.
Next come the Inquisitors, banners of red silk carried before them; on one side of the banners are emblazoned the Papal arms entwined with those of Ferdinand and Isabella, and on the other the arms of the Inquisition.
The minor officials follow and on either side of the procession soldiers march with halberds on their shoulders. Straggling in the rear are the sightseers, making their way to Cathedral Square.
As the priest passes through the crowd, carrying the Host, men, women and children fall to their knees.
One of the men condemned to the fire is Van Sitten. His face is contorted by pain and misery. In a few days he has become an old, broken man trudging to his death. EXT. COUNTRYSIDE - DAY
Don Alvaro and the soldiers ride in the direction of the monastery. Don Alvaro is dressed in a white silk shirt and a velvet vest over it.
DON ALVARO Why didn‘t you put irons on me, or a rope around my neck?
FAT SOLDIER We know you're a Spanish nobleman, Don Alvaro.
Don Alvaro doesn't react and the three continue their ride at a comfortable clip.
EXT. CATHEDRAL SQUARE - DAY
Makeshift platforms are set up, decorated with black crepe, in front of the cathedral. Benches, tier on tier, are arranged for the prisoners who sit so that the crowd may see them. There are friars sitting next to the prisoners who continue to exhort them to confess. All around the platform grotesque straw figures and desecrated decomposing bodies are set up on long, green poles.
On a second platform the Inquisitors and their servants sit. The black-draped green cross stands behind them and an altar lit by candles is placed in front of them. Incense burns on the platform.
A huge, mixed crowd surrounds the platforms, filling the entire square, cheering, insulting, anticipating the inhuman spectacle of terror.
The crowd reacts to the prisoners, shouting insults: "Burn them slowly!" and so on.
One of the FRIARS, sitting next to the dazed Van Sitten, tries to draw his attention.
FRIAR There‘s still time to repent. Make your peace with the Holy Mother Church that your soul may be saved from damnation.
Van Sitten doesn‘t react to the friar‘s frequent exhortations, he just gazes in front of him in a mute stupor.
One of the inquisitors rises, turns to the crowd and lifts his arms asking for quiet.
INQUISITOR Good Christians of Segovia. Fall to your knees and repeat the oath of allegiance to the Inquisition after me.
The crowd falls to their knees as it quiets down.
The inquisitor declaims the oath.
INQUISITOR (CONT'D) "I swear that I will defend the Holy Office against all who come to destroy it...
The crowd repeats the oath after the Inquisitor.
INQUISITOR (CONT'D) "I swear I will be faithful to it in life and in death..."
EXT. MONASTERY, HOLY OFFICE - DAY
Don Alvaro and the soldiers cross the courtyard among MONKS who don‘t acknowledge his presence. They enter the building.
INT. CORRIDOR - CONTINUOUS
Don Alvaro and the soldiers march to the door of the audience chamber where a friar is already waiting for them. In silence, he shows Don Alvaro into the hall. The soldiers leave.
INT. AUDIENCE CHAMBER - CONTINUOUS
Don Alvaro enters the familiar room. He stops as the door closes behind him with a threatening noise.
The tribunal is in session.
In the center chair at the refectory table sits Torquemada. On each side of him three INQUISITORS sit staring at Don Alvaro with no particular expression; they neither approve nor disapprove of him. Most of them resemble Torquemada: lean of face, deep seated eyes, brown skin and determined.
At a dais near the tribunal a NOTARY records the procedure. The two candles on the refectory table are lit. At this time of day the light from the Gothic windows glare down on the Inquisitors in broad bands.
The friar nudges Don Alvaro closer to the table and leaves him standing there. At this moment he doesn‘t seem to feel anything at all, neither fear nor anger.
DON ALVARO Why have you brought me here, Father?
TORQUEMADA Don‘t you know?
DON ALVARO If I knew I wouldn‘t ask you.
TORQUEMADA You see, Don Alvaro, we have many years of friendship behind us. I know you very well... and I think that I know something about your soul, but your mind remains closed to me. I have no powers to enter it. (pause) So suppose you tell me why you‘re here.
DON ALVARO I don‘t know.
TORQUEMADA Don Alvaro, do you accept the doctrine of the immortality of the human soul?
DON ALVARO I accept it.
TORQUEMADA Then we‘re here not as your enemies but as your saviors... for what is any earthly discomfort as against the eternity of immortality?
Torquemada leans forward eagerly and waits. The inquisitors on either side of him look from his face to Don Alvaro and then back to Torquemada. But Don Alvaro doesn‘t reply.
TORQUEMADA (CONT'D) Confess yourself.
DON ALVARO Of what?
TORQUEMADA Shall we decide that?
DON ALVARO Tell me what I‘m charged with.
Torquemada sighs then suddenly clenches his fist and smashes it down on the table in front of him.
TORQUEMADA The supreme heresy! Judaizing!
DON ALVARO (softly) I‘m no Jew, I‘m a Christian.
TORQUEMADA So you are, so you are, Don Alvaro de Rafel. Otherwise you would not stand before this Holy Inquisition. No Jew stands here. For to what purpose, to what end would they stand here? Damned as they are from the moment of their birth, they have no hope of salvation.
Torquemada‘ anger has dissipated with the words. His voice becomes gentle again and understanding.
TORQUEMADA (CONT'D) I‘ve known you many years, Don Alvaro de Rafel... yourself and your wife and your daughter. As an unbaptized infant I held Catherine in the palm of my hand and I‘ve watched her grow. (his voice almost breaks here) I‘ve known you and I‘ve loved you. Do not place your damnation as another burden upon me. I have burden enough. As I said before, we were friends and that being the case there is a necessity for understanding. (pause) I plead with you! Confess yourself, absolve yourself.
DON ALVARO So that you may lash me to the stake and burn me alive?
An old inquisitor to the far right of Torquemada cries out. He is toothless but for one yellow tooth jutting up from the bottom of his jaw.
OLD INQUISITOR The mortal body is burned away. The fire strengthens the soul. Nothing but this disease we call life is burned away.
Small beads of perspiration appear on Don Alvaro‘s forehead.
TORQUEMADA Give up your torment, Don Alvaro.
DON ALVARO But I have found something precious in my torment.
TORQUEMADA Something precious? What have you found, Don Alvaro?
DON ALVARO Myself.
TORQUEMADA As a heretic? As a Jew? How have you found yourself, Don Alvaro?
DON ALVARO As a human being.
TORQUEMADA And what does that signify, Don Alvaro? That you eat, that you sleep, that you breathe? An animal performs all those functions. An animal is flesh and blood. A Jew is flesh and blood. I was speaking before of your immortal soul.
DON ALVARO And as the body needs flesh and blood how does the immortal soul nourish itself? With mercy and compassion? Or is it a lie all that I was taught?
TORQUEMADA We are mercy and compassion, ourselves, the Holy Inquisition.
Rising, Torquemada pushes back his chair and strides around the table to Don Alvaro. They stand face to face.
DON ALVARO (whispering) Why? Why, Thomas? Why are you doing this to me? What devil drives you?
TORQUEMADA What is it you wear around your neck?
Torquemada reaches out, grabs the chain and rips it from around Don Alvaro‘s neck.
TORQUEMADA (CONT'D) Is there nothing that can change you? Is there nothing that can teach you the meaning of fear? Still you wear this.
DON ALVARO As I wear my honor.
TORQUEMADA Honor? Torquemada raises his brow and holds the cylinder up before him.
DON ALVARO I care nothing for that. This thing you hold in your fingers means nothing and it never meant anything. It‘s a memory, that‘s all it ever was, a meaningful memory. It was my father‘s and before him it belonged to his father and so when I kept it I had a memory of both. But in the nightmare that you and your kind have made of Spain, it becomes more than a memory.
The shocked faces of the tribunal.
DON ALVARO (CONT'D) In this madness with which you hunt down anyone who has a spoonful of Jewish blood in his veins... it becomes a matter of pride. Shall I repeat that word for you, Father? Pride!
Torquemada doesn‘t say a word, only sadly stares at Don Alvaro.
DON ALVARO (CONT'D) I‘m a Christian, Father, but I‘m also a man and a Spaniard. If I threw away that thing that you‘re holding in your hand I might remain a Christian but I‘d cease to be a man and I‘d become the kind of Spaniard that Spain has sufficient of.
TORQUEMADA You doom yourself. Torquemada throws the chain at Don Alvaro. He picks it up from the floor, clenches it and raises his fist close to Torquemada's face.
DON ALVARO (shouting) God damn you to hell!
EXT. BURNING-PLACE - DAY
Near the outskirts of the city, the crowd, comprised mostly of peasants, burghers and low-life characters, wait in noisy anticipation of the high point of the Auto de Fe. The Inquisitors and friars sit on wooden benches erected for this frequent spectacle of the purification of souls.
The CAMERA MOVES along the stakes as the secular soldiers tie the unfortunate men and women to their painful destiny amidst cries and desperate pleadings for God‘s help.
CLOSE on faggots as a soldier lights them with a torch.
The CAMERA TILTS UP slowly to the horror stricken contorted face of a YOUNG WOMAN.
YOUNG WOMAN (screaming) I confess, I confess... please, kill me... have mercy!
CLOSE on soldier who looks in the direction of the inquisitors.
One of the inquisitors nods to the soldier.
By now the Woman desperately screaming for reconciliation. The soldier, given the permission from the Chief Inquisitor, walks over to the Woman and deliberately begins choking her with his two hands over her neck, strangling her to relieve further suffering.
CLOSE on torch as it lights the faggots at another stake. The CAMERA TILTS UP to Van Sitten. He doesn‘t cry or scream but the intolerable pain is written on his face. The flames soon reach his head and melt off his expression.
The CAMERA PANS ACROSS faces of the inquisitors and friars as they watch the holocaust impassively.
INT. TORTURE CHAMBER - DAY
Don Alvaro stares vacuously beyond the CAMERA as it slowly LIFTS to reveal the dark, spacious dungeon with its wet stone walls.
Torquemada stands above Don Alvaro whose wrists and feet are pinioned to ropes at both ends of a RACK. Three black-hooded EXECUTIONERS stand-by ready for action. Next to Torquemada a notary records the proceedings.
Behind the rack we can see a ladder lying horizontally on stands used for water torture. It is a well-equipped chamber.
Torquemada nods to the executioners who begin to crank the wheels on both ends drawing upon the ropes, that gradually stretch Don Alvaro‘s arms and feet as far as they can go, and continuing until they bring him to the point of immense pain. Don Alvaro starts to moan.
CLOSE on Torquemada watching mercilessly.
TORQUEMADA Do you want to confess, Don Alvaro?
As his pain rapidly increases Don Alvaro‘s moans turn into screams. At this point he is stretched beyond bearable pain.
Torquemada signals to the executioner.
The executioners slacken Don Alvaro. Torquemada moves in to question him again. TORQUEMADA (CONT'D) I want you to confess, Don Alvaro. I don‘t enjoy seeing you like this.
Don Alvaro refuses to speak.
Torquemada circles the room as if contemplating his next move. He stops in front of Don Alvaro, looks at him with deep pity then nods to the hooded man.
This time the executioners stretch Don Alvaro at will. Don Alvaro screams out again in tremendous pain.
He has fainted.
DISSOLVE TO:
INT. SMALL CELL - LATER
Don Alvaro lies on the ground that is partially covered with straw.
As he comes to, Don Alvaro immediately realizes the sharp pain caused by the slightest movement he makes. His eyes are still moist from inadvertent tears. He leans back against the wall for support and begins to recollect his thoughts. A faint, gentle smile appears on his face.
DON ALVARO (V.O.) My dear Catherine. You‘ll remember that once you said to me that of all the knights in Spain I was the finest. That was your judgment just as in my judgment you‘re the purest and the most beautiful of women. So I take this opportunity to remind you that even a knight bereft of all his weapons is defenseless...
From the corridor outside heavy steps approach the cell. DON ALVARO (CONTÕD) (CONT'D) Defenseless and naked too. As I came into this world, so do I go out of it with all that I own surrendered to our sovereigns and the Inquisition. This has not yet happened but it will happen and nothing can stop it... I can only leave you, my dear daughter, a memory and that is a thing both precious and dangerous.
The door to the cell opens and two hooded executioners enter, lift the agonizing Don Alvaro to his feet and drag him out to the corridor.
DISSOLVE TO:
INT. TORTURE CHAMBER - MOMENTS LATER
Don Alvaro‘s face is covered with contraptions for the water torture.
He is surrounded by the familiar personnel: Torquemada, the notary with his portable desk and the hooded executioners.
Don Alvaro is placed upon a narrow ladder, slanted so that his head is below the level of his feet. His head is secured by a metal band which holds it rigidly in position, while his arms and legs are tied to the sides of the ladder so tightly that any movement will cause the whipcord to cut into his flesh. A stick is thrust between the cord and the flesh, and by twisting the stick a tourniquet is formed. His mouth is stretched by a prong of iron. The nostrils are plugged, and a long strip of linen is placed across his jaws that extends deep into his throat by the weight of water poured into his gaping mouth.
Don Alvaro makes futile attempts to avoid the torments of suffocation, hoping to clear the way for a little air to pass into his bursting lungs. Torquemada walks up to the executioner who is charged with the water jug, and stops his hand.
TORQUEMADA Don Alvaro, you must confess, you must find salvation for your soul.
Don Alvaro doesn‘t answer his pleadings, he has passed out. His eyes are closed.
DISSOLVE TO:
INT. SMALL CELL - LATER
A small cot, a chair and a tiny table are put into the cell.
Don Alvaro is on his bed, half sitting, across from him is Torquemada sitting in the chair. There is water and a piece of bread on the table. Torquemada hands the water jug to Don Alvaro who drinks a few drops. He is still coughing and moves with difficulty.
TORQUEMADA Is there much pain, Don Alvaro?
DON ALVARO You ask me?
TORQUEMADA I ask you, Don Alvaro, yes.
DON ALVARO Shall I tell you what Christ felt when he was nailed onto the cross? I know.
TORQUEMADA I also know.
DON ALVARO Do you, Thomas?
Torquemada sadly nods.
TORQUEMADA God in heaven, what do you think, Don Alvaro? Do I love suffering? Am I a monster who feeds on death and misery?
DON ALVARO Tell me, are you?
TORQUEMADA (cries shrilly) I serve God!
DON ALVARO I know how you serve God. Oh how truly I know how you serve God!
TORQUEMADA I pleaded with you before, Don Alvaro. I beg you now confess yourself and cut me down from my own cross.
DON ALVARO (shouting) No!
TORQUEMADA You‘re without remorse and you‘re without pity.
DON ALVARO For you, Thomas? Pity for you? Is that what you‘re asking me to do, to pity you? Perhaps to pray for your salvation? Is that it?
TORQUEMADA God help me, do you think I have no love for you?
DON ALVARO Love? You put love away too long ago and you have no love for anything on this earth.
TORQUEMADA I don‘t want you to die without grace or hope! I plead with you again.
DON ALVARO (bitterly) So you plead with me, Thomas.
Torquemada takes a deep breath and nods.
TORQUEMADA As you will, Don Alvaro.
He turns and walks toward the door.
DON ALVARO (stopping him) Thomas!
Torquemada stops and turns, his face lit up with hope.
DON ALVARO (CONT'D) When must I die?
TORQUEMADA Soon, and may God have mercy upon you.
DON ALVARO Do you have mercy?
TORQUEMADA There is nothing that I can do.
DON ALVARO Do you have mercy?
TORQUEMADA What do you want, Don Alvaro?
DON ALVARO You know, don‘t you?
TORQUEMADA Perhaps.
DON ALVARO Send me the Rabbi Mendoza.
TORQUEMADA So that both of us may be damned? Is that it, Don Alvaro?
DON ALVARO Send him to me. As you value your own immortal soul, Thomas, send him to me.
INT. THE RAFEL HOUSE, CATHERINE'S ROOM - DAY
Anguished, Catherine watches SOLDIERS of the Holy Office of the Inquisition ransacking her room in search of valuables. They place all valuables in a large basket and leave her alone to her sorrow.
INT. STAIRCASE - CONTINUOUS
The soldiers descend the winding staircase, carrying the loaded basket, and enter another room.
INT. HALLWAY - CONTINUOUS
Dona Maria watches another group of soldiers emptying the cabinets and cupboards in the galleria. After a thorough search the soldiers leave the house with the confiscated objects, passing in front of her tearful eyes.
EXT. STREET IN FRONT OF THE RAFEL HOUSE - MOMENTS LATER
The soldiers dump the loaded baskets onto a horse-drawn cart and return into the house with empty ones.
Juan arrives at the house on horseback. Upon seeing what is taking place in the house he turns around without hesitation and gallops away from the scene.
INT. CATHERINE'S ROOM - CONTINUOUS
CLOSE on Catherine at the window. She watches Juan fleeing from the scene.
She leaves her room and walks down the staircase into the hallway.
INT. HALLWAY - CONTINUOUS
Catherine stops as she sees her mother in tears. They hug each other. Catherine is sad but doesn‘t cry. In the background the soldiers keep searching and piling objects into their baskets.
EXT. AT THE STABLES - CONTINUOUS
Julio watches as soldiers come and go, looting the house. He knows what is ahead of him. His eyes are moist.
EXT. CATHEDRAL SQUARE - NIGHT
Antonio de la Pena, standing on a wooden pedestal, preaches to a large crowd of mixed characters in his manic style. They are hanging on to his words. A soldier of the Holy Office is right beside him holding a torch. PENA Open your eyes lest the sin be upon you, and by this shall you know the Christian who is a Jew at heart, a Jew in secret, a Jew by night and in the darkness. These are the signatures of the devil:
Torquemada, his face is shadowed by the cowl, walks by the square and pauses for a moment to listen and mingle with the crowd. He is hardly recognizable in the darkness.
PENA (CONT'D) Now heed me well. First of all if he celebrates the Sabbath, if he wears a clean shirt or better garments, if he spreads a clean cloth
PENA (CONT'D) upon his table or lights no fire during that day or rests on that day, you will know him, and as God knows you so will you denounce him and call down the fires of wrath upon him...
The crowd screams and hoots and claps their hands. Someone yells, "God be praised!"
Catherine, in a black cloak, wanders among the crowd. Her face is half-covered by a large shawl.
The crowd is riveted to Pena‘s words. The flickering torch makes his maniacal expression even more frightening.
PENA (CONT'D) And by this too you will recognize him: If he takes neither meat nor drink on the Day of Atonement; if he celebrates the Passover. Ah now there is opportunity for you. On the day of the Passover you watch him, you follow him, you notice him. Tempt him, offer him bread and see whether he puts the bread in his mouth.
Catherine listens attentively to Pena‘s hysterical oratory.
PENA (CONT'D) That way, cunningly, you‘ll trap him and clothe your immortal soul in specific grace.
Torquemada hurries away toward the Jewish quarter.
INT. THE MENDOZA HOUSE, GALLERIA - NIGHT
Rabbi Mendoza and SENORA MENDOZA sit across from each other at a table set for supper. There is bread, some cheese and olives and onions served on the plates. They eat in silence until a sharp rap on the door breaks their contemplative mood. They look at each other in alarm.
SENORA MENDOZA Let me see who is at the door.
She rises and leaves the table.
INT. HALLWAY - CONTINUOUS
Senora Mendoza cautiously opens the door. Torquemada looms over her in the doorway. She stares at him without alarm but also without welcome.
SENORA MENDOZA Who are you?
TORQUEMADA I‘m Prior Thomas de Torquemada. SENORA MENDOZA What do you want here, Prior?
TORQUEMADA To speak with the Rabbi.
SENORA MENDOZA We are Jews, Prior, not maranos; not converts or apostates or heretics. Only Jews. You have no jurisdiction over Jews.
TORQUEMADA (angrily) Will you teach me the Law of the Church? (more gently) Still, I must talk with the Rabbi.
The plain-looking, middle-aged woman hesitates, observes Torquemada thoughtfully, then opens the door wide to let him enter.
SENORA MENDOZA Follow me, please.
She leads him into the galleria.
INT. GALLERIA - CONTINUOUS
The Rabbi is still seated at the dinner table. Upon recognizing Torquemada he rises and silently faces him.
TORQUEMADA Don‘t you recognize me, Rabbi Mendoza?
He throws back his cowl.
MENDOZA I do know you, Prior.
TORQUEMADA As you know Don Alvaro de Rafel.
Mendoza makes no response by any sign or gesture. He just stands at the table watching Torquemada.
TORQUEMADA (CONT'D) I say that you know him.
The Rabbi walks around the table to face Torquemada.
MENDOZA If I say that I know him, what then? You‘ll send your soldiers to seize him. You‘ll bring him to what you call a trial in the room of the Inquisition. You‘ll accuse him and he‘ll deny the accusations. Then you‘ll take him into that hellhole which you call the, room of faith, and you‘ll torture him until his mind and his spirit break...
TORQUEMADA All that‘s been done, Rabbi.
Senora Mendoza sits in a chair. The Rabbi closes his eyes for a moment, his face full of pain. Then in a controlled, soft voice he addresses the Prior.
MENDOZA Then why did you come here?
TORQUEMADA Because Don Alvaro pleaded with me to bring you to him.
MENDOZA And out of human kindness you agreed?
TORQUEMADA For twenty years Don Alvaro was my friend.
MENDOZA And out of the love you bore him, you put him to the torture, and as further proof of the love in which you hold him, you‘ll burn him and smell the stink of his burning flesh.
TORQUEMADA For his soul‘s salvation!
Mendoza shakes his head, turns and walks across the room to where his wife sits. He puts his hand upon her shoulder, sighs and looks at Torquemada.
MENDOZA The thing we do most poorly is to hate. God help me, I pity you, Prior. (pause) All right, take me to him.
Senora Mendoza suddenly rises and places herself in front of the rabbi.
SENORA MENDOZA No! I don‘t want you to go with him!
MENDOZA Don Alvaro asked for me. I must go to him.
The rabbi pushes his wife gently aside and goes to the door. Torquemada follows him out.
EXT. STREETS OF SEGOVIA - NIGHT The crowd that listened to Pena‘s speech has dispersed and now fills the streets near Cathedral Square. For the most part they are beggars, sweepers, prostitutes and pickpockets, and dozens of ragged, half-naked children.
Deep in thought, Catherine walks in the direction of the Jewish quarter, oblivious to beggars, and children's harassments.
INT. SMALL CELL - NIGHT
The NOISE of turning keys wakes Don Alvaro. He sits up on his cot as the door grinds open. Carrying a blinding torch Torquemada enters followed by the Rabbi Mendoza.
DON ALVARO Thank you for coming, Rabbi.
The Rabbi nods.
DON ALVARO (CONT'D) Would you give us privacy, Prior?
TORQUEMADA (shaking his head) I jeopardize my soul enough by bringing the Jew to you.
DON ALVARO Then take him away. Take him away before he says anything. Whatever he says will be evidence given against himself. Then you‘ll accuse him.
TORQUEMADA I will not accuse him.
DON ALVARO (snapping with contempt) I don‘t believe you!
TORQUEMADA I give you my word!
MENDOZA Believe him, my son. He gives you his word.
DON ALVARO Do you believe him?
MENDOZA I believe him... yes, I do.
DON ALVARO Rabbi, will you tell me something?
MENDOZA Yes, my son?
DON ALVARO Am I a Christian or Jew?
MENDOZA Christian, my son.
It's difficult for Don Alvaro to speak.
DON ALVARO The Inquisition accused me of Judaizing. I wore a cylinder on the chain around my neck, next to the cross. Inside it are the words: "And thou shalt love the Lord thy God with all thy heart and all thy soul and all thy might." Do you know what this is, Rabbi?
MENDOZA I know. DON ALVARO Is it a curse?
MENDOZA No, it‘s not a curse.
DON ALVARO I‘m a Christian, yet I must die for this thing I wore around my neck.
MENDOZA Why did you wear it, Don Alvaro?
DON ALVARO I don‘t know.
MENDOZA Yet you knew the danger.
Don Alvaro looks at Torquemada who avoids his gaze.
MENDOZA (CONT'D) Did you want to be a Jew?
DON ALVARO I was a Christian knight of Spain. I had all that a man could desire for happiness. Tell me, why should I wish to be a Jew?
MENDOZA I cannot answer that, Don Alvaro.
DON ALVARO No, I don‘t suppose you can, but the man who felt that way, Rabbi Mendoza, no longer exists. (pause) Look at me, because now I say to you, Rabbi, make me a Jew!
TORQUEMADA (violently) No!
The rabbi turns to Torquemada.
MENDOZA (quietly) Peace, Prior. Can I make him a Jew?
DON ALVARO You can and you must!
TORQUEMADA Why? Why?
DON ALVARO So that what you are and what I am will be set apart forever!
TORQUEMADA To burn in hell for all eternity?
DON ALVARO Yes! Joyfully! Gladly!
MENDOZA (shaking his head) Don Alvaro. Is it as simple as that? If God chose the Jews - and one cannot imagine why except to suffer so that we bear for eternity what the man, your Savior, bore for a few hours on the cross - if this is truly the case it does not hold within it an invitation. We happen to be Jews, in a mystery that preoccupies us beyond solution. I cannot make you a Jew.
Don Alvaro rises to his feet and stands there unsteadily pleading his case. He holds out one hand to the Rabbi as he insists.
DON ALVARO But you can! You must!
MENDOZA Listen to me, now, please. I beg you. (pause) There was a Jewish sage of blessed memory who was called the Rabbi Hillel, and to him there came a heathen who said, "Rabbi, make me a Jew." Rabbi Hillel answered, "I cannot make you a Jew, for only he is a Jew who knows the Law and follows it." Then, with great distress, the heathen answered, "How can I know the Law when men study it for a whole lifetime and even then do not know it?"
Don Alvaro listens impatiently to Mendoza‘s story while Torquemada scrutinizes both men.
MENDOZA (CONT'D) The Rabbi Hillel then replied, "Truly, to know the Law a lifetime is little enough, but that is in one manner of speaking. I can teach the Law to you in a single sentence. This then is the Law," said the Rabbi Hillel, "to love thy brother as thyself. That is the whole of the Law, and all the rest is commentary." So said the most blessed of all our sages. (pause) Do you understand me, Don Alvaro?
DON ALVARO No more than you understand me.
MENDOZA I understand you.
DON ALVARO Then in the name of God - your God or my God, do what I ask!
MENDOZA (points to Torquemada) Out of hatred for him?
DON ALVARO Shall I love him? (points to Torquemada) Look at him! Only look at him! The anointed!
Exhausted, Don Alvaro sinks back to his bed.
TORQUEMADA There is no more to do here. Let us go!
MENDOZA Don Alvaro, listen to me. Think about what I said to you. If you came to me and said, "Make me a man," then what could I say to you? What you are, God made you, and you are no more and no less. DON ALVARO (muttering) You talk in riddles.
MENDOZA As we all do.
TORQUEMADA Enough.
Torquemada leaves, followed by Mendoza. NOISE of keys turning in cell lock.
CLOSE on Don Alvaro‘s puzzled and tortured face.
EXT. STREETS OF SEGOVIA - NIGHT
Juan gallops through the dark, deserted streets populated only with a few drunks and beggars. He occasionally stops at corners to search frenetically for someone, then continues.
Seeing a dark figure at the end of a street slows his pace. He rides up to the aimlessly walking person clad in a black cloak.
As he reaches the figure Juan immediately recognizes Catherine. She doesn‘t stop walking. Juan dismounts his horse and blocks her way.
JUAN My God, Catherine, I‘ve been looking for you everywhere. This is no place to be alone. It swarms with cutthroats and thieves.
CATHERINE Where shall I go then, Juan?
JUAN I‘ll take you home. CATHERINE Where is a home that will open its doors to me?
JUAN Your own home.
CATHERINE I have no home.
JUAN You make no sense when you talk like that, Catherine. You don‘t know how troubled your mother is.
CATHERINE Are you troubled, Juan?
JUAN Of course I am.
After a long pause she continues.
CATHERINE Did you denounce him?
JUAN Catherine, what has come over you? I don‘t know you anymore. Sometimes you say things that I don‘t understand at all. I don‘t know what you are saying.
CATHERINE You know what I‘m saying. I‘m asking a very simple question. Did you denounce him, Juan?
Juan stares at her without replying. He swallows, opens his mouth to speak, allows the words to die unspoken and looks at her again.
CATHERINE (CONT'D) Go away from me!
Juan reaches out his hand to her arm but she shakes it off.
CATHERINE (CONT'D) No! Don‘t touch me! Just go away from here, that‘s all. Go away!
For a minute or so Juan stands there then turns around, mounts his horse and rides off. Catherine continues her apparently aimless walk.
EXT. THE JEWISH QUARTER - LATER
Catherine arrives at the Jewish quarter, going purposefully toward the synagogue. A few men with long beards pass her coming from the temple. She quickens her step as if a decision has given her purpose.
Hidden in a dark doorway Pena watches Catherine‘s moves.
EXT. THE SYNAGOGUE - CONTINUOUS
Catherine arrives at the door of the temple and enters without hesitation.
INT. THE SYNAGOGUE - CONTINUOUS
Catherine enters reverently the ancient synagogue and looks around in awe. The congregation is gone home by now, only the BEADLE, a tiny man with a snow-white beard, is left to snuff the still burning candles. He doesn‘t notice Catherine‘s presence.
Catherine stays in the back of the temple in fear of being discovered. She decides to sleep on one of the wooden benches that will also serve as a hiding place.
She soon falls asleep. The beadle finishes his work and leaves the synagogue locking the door.
EXT. CATHEDRAL SQUARE - DAWN
CLOSE on a torch being lit by another already burning one.
A large crowd of peasants, burghers and low-life characters all hold torches. The mob‘s leader is Pena who helps light the last torch and signals them to follow.
The charged up horde starts off in the direction of the Jewish quarter.
INT. SYNAGOGUE - EARLY MORNING
Catherine wakes up to the noise of men entering the temple for the morning service. She sits up but doesn‘t leave the bench.
Men of all ages, bearded, dressed in their traditional garb and hats take their seats on the benches and prepare to put on their praying shawls.
Some find it strange that a woman sits on a bench designated for men.
EXT. STREETS OF SEGOVIA - CONTINUOUS
The crowd of fanatics march toward the synagogue threateningly holding their torches up in the air.
INT. SYNAGOGUE - CONTINUOUS
CLOSE on Catherine filled with conflicting emotions, she stares at the praying men in the unfamiliar house of God.
As the service begins Rabbi Mendoza takes hold of the scroll by its handles and moves it, turning both ends until he comes to the section he seeks. He notices Catherine sitting alone at the end of the synagogue. He meets Catherine‘s gaze and thinks for a minute.
Catherine keeps staring the Rabbi.
EXT. IN FRONT OF THE SYNAGOGUE - CONTINUOUS
The mob surreptitiously surrounds the temple and blocks the entrance with large logs.
Pena is the first one who laces his torch to the wooden foundation of the synagogue. The rest of the men follow his example.
INT. SYNAGOGUE - CONTINUOUS
Mendoza reads from the Bible Scroll.
MENDOZA "My God, my God, why have you forsaken me? Why so far from helping me? From the sound of my pleading? Oh my God, I cry out in the daytime but you hear me not. And in the nighttime I cry out. I am not silent."
He pauses and looks in Catherine‘s direction.
MENDOZA (CONT'D) Forgive me if I speak with a different voice and make a different prayer on this strange morning.
Members of the congregation take sidelong glances at Catherine as they listen to the Rabbi.
MENDOZA (CONT'D) Someone has come among us. I was called upon to make a decision but I can make no decision. So I read what my fathers have written.
CLOSE on the door as threads of smoke trickle into the temple filling it quickly. The NOISE of crackling wood is now heard inside.
The beadle runs to the door and tries opening it, but it doesn‘t respond.
BEADLE Help me! Help me!
Men rush to help the beadle open the door. Catherine sits unmoving. Mendoza continues reading.
The smoke reaches the pulpit and the crackling sound increases and soon becomes a roar.
MENDOZA "Holy is the Lord. All the praises of Israel make a tent for you. Our fathers trusted in you. They trusted and you delivered them from evil."
Catherine is still motionless. Tears roll down her cheeks.
There is pandemonium in the temple.
MENDOZA (CONT'D) "They cried out to you and you heard them and they were delivered."
Catherine‘s breathing slows down but she listens to the Rabbi‘s words.
MENDOZA (CONT'D) "They trusted in you and their trust was not confounded..." EXT. SYNAGOGUE - CONTINUOUS
The ancient temple is enveloped by fire. The mob cheers and cries insults to the women and children who run to the synagogue. Hell cannot be a worse sight.
SLOW DISSOLVE TO:
INT. MONASTERY, TORQUEMADA CELL - DAY
Torquemada, on his knees, is in deep prayer on the hempen mat under the crucifix.
There is a knock on the door.
TORQUEMADA Come in!
Pena enters and seeing Torquemada in prayer waits in silence. Torquemada remains unmoving for a while then rises to face the Dominican friar.
TORQUEMADA (CONT'D) Well?
PENA The synagogue is burnt.
TORQUEMADA (nodding) I saw the smoke. I smelled... the smoke. (pause) Were any saved?
PENA No. They all died. The wood was very old.
TORQUEMADA How many were there inside? PENA About forty Jews, and the Rabbi Mendoza... and a woman.
Torquemada steps closer to the friar. Their faces are only inches apart.
TORQUEMADA A woman? What do you mean, a woman? Jewish women don‘t go to synagogue, except on the Sabbath.
PENA (defensively) This was not a Jewish woman.
TORQUEMADA How do you know?
PENA She wore the clothes of a Spanish lady of wealth.
TORQUEMADA Did you recognize her?
PENA I‘m not sure, Prior.
TORQUEMADA Old? Young? Of middle years? Think, you fool! What was she like?
PENA She was very young. She put me in mind of the daughter of Don Alvaro.
Torquemada pales and cries out with a shrill, fierce voice.
TORQUEMADA Why didn‘t you stop her? PENA Was it my place to stop her, Prior? She was a heretic the moment she set foot in there. Tell me, how is it my duty to stop her? It was only my duty to watch her and denounce her. God himself consumed her.
Deliberately Torquemada grasps the monk‘s robe in his clenched fists, draws him closer and whispers.
TORQUEMADA How dare you?
PENA (panic-stricken ) What have I done?
Torquemada lets go of the monk and thrusts him away.
TORQUEMADA What have you done! Do penance until you know what you have done. One hundred days on bread and water will sharpen your knowledge of sin! A hundred nights naked on your bed will sharpen your sodden sensitivity!
Pena drops to his knees, stammering.
PENA Please, please, Prior. How have I sinned? Tell me how have I sinned?
TORQUEMADA (roaring) Get out of here! Leave me! Now! Pena climbs to his feet and flees the room. Torquemada stands there, his eyes closed, his fists clenched. The CAMERA moves in to a CLOSE-UP of his face.
TORQUEMADA (CONT'D) (whispering) God... pity me...
A little while later he leaves his room.
INT. MONASTERY, PRIORY CORRIDORS - LATER
Thomas walks through corridors and deserted passageways, down wet stone stairs where the cells of Inquisition are.
He takes a torch from its brackets and commands a GUARD on duty to follow him. He continues along a narrow passageway until he reaches Alvero‘s cell. Torquemada unlocks the door and enters holding up his torch.
INT. DON ALVARO'S CELL - CONTINUOUS
Don Alvaro lies on his bed asleep. Torquemada watches him until Don Alvaro opens his eyes from the glare of the torch. Slowly he sits up and faces the prior.
DON ALVARO Is it time?
TORQUEMADA Time for what?
DON ALVARO For me to die.
TORQUEMADA It‘s not time for you to die.
DON ALVARO Then why have you come? Are you here for my soul‘s sake? You have always been most profoundly concerned with the health of my immortal soul. Shall I confess myself, Torquemada?
TORQUEMADA For my own soul‘s sake, I think.
Don Alvaro finds that amusing. He begins to laugh. The laughter takes hold of him and he finds that his whole body is shaking with it. He can‘t stop himself. Torquemada cries out.
TORQUEMADA (CONT'D) Stop it! Stop it!
DON ALVARO Your soul‘s sake, Thomas! Thomas, Thomas, I never thought to live to see the day when you would doubt your soul and undertake something for your soul‘s sake. (pause) Have you ever seen your soul, Thomas? Your soul is black, black as pitch, but shrouded in gold. Festooned with a million pieces of gold all of them robbed from all the poor devils you burn in your Act of Faith.
TORQUEMADA You have courage, Don Alvaro.
DON ALVARO (cries out) Courage!
He rises to his feet.
DON ALVARO (CONT'D) To hell with courage! What is courage? When you reach the end there is no more distance to go. Will you burn me twice? Three times? Ten times?
TORQUEMADA (tonelessly) The Lord has punished you enough, Don Alvaro
Don Alvaro steps close to Torquemada and whispers to him.
DON ALVARO What is it, Thomas? Have you had a bellyful of the rack and the thumb-screws? Is this some new method of torture, more refined, more delicate?
TORQUEMADA I‘m telling you the truth. I‘m releasing you. Even the Inquisition must abide by legal precepts. I‘d counsel you to go away. (pause) Don Alvaro de Rafel, I say to you, go away. You‘ll leave here, and you‘ll do this tonight. If you are in Segovia tomorrow I shall issue orders for your arrest.
Staring unbelievingly at Torquemada, he follows him to the door.
TORQUEMADA (CONT'D) Go now, Don Alvaro. The guard will light your way out and through the passage.
INT. MONASTERY, PRIORY CORRIDORS - MOMENTS LATER Dumbfounded, Don Alvaro, with difficulty, follows the Guard in the maze of tunnels.
They walk up the winding stone staircases, into the priory then outside.
EXT. THE MONASTERY - CONTINUOUS
From across Don Alvaro and the Guard at the door a FRIER brings along Don Alvaro‘s horse.
DON ALVARO (to the Friar) I cannot thank you... you hear? I will not thank you. God damn you!
Don Alvero breaks into a hysterical cry.
DON ALVARO (CONT'D) God damn you all! I would rather die than have kindness from you. I will not owe my life to you...
Don Alvaro struggles with the saddle. He finally mounts his horse and rides away.
The Friar and the Guard watch with a grim face.
Don Alvaro rides through the garden. He looks back once then continues on his way home.
INT. MONASTERY, TORQUEMADA CELL - NIGHT
For a long while Torquemada stands by the window, his eyes are focused on the departing Don Alvaro below, then he turns and takes off his robe. Naked, on his knees, he begins to flagellate himself. A single, burning candle flickers in his sad eyes.
DISSOLVE TO:
EXT. RAFEL HOUSE, BACK GARDEN - DAY
Julio, with tears in his eyes, fatigued, shovels dirt into a grave.
EXT. IN FRONT OF THE RAFEL HOUSE - MOMENTS LATER
Don Alvaro rides up to his house and dismounts. There is an expression of emptiness and despair on his face as he ties up his horse in the stable. He enters the house from the back.
INT. RAFEL HOUSE, THE HALLWAY - CONTINUOUS
There are no voices coming from the house, only the crackling of fire in the fireplace breaks the unbearable silence.
INT. THE GALLERIA - CONTINUOUS
Dona Maria sits in front of the fireplace in the galleria gazing at the flames.
EXT. BACK GARDEN - CONTINUOUS
Julio finishes the grave, puts a makeshift wooden cross at the head of the mound and drops to his knees to say a prayer.
INT. THE GALLERIA - CONTINUOUS
As Don Alvaro enters the galleria from the hallway Dona Maria looks up. There is no greeting or recognition on her face.
DONA MARIA Why are you here?
Don Alvaro holds out his hands with its broken nails and smashed half-healed thumb.
DON ALVARO (cries out) Look!
DONA MARIA God‘s judgment.
He strides across the galleria and lifts her by the arms.
DONA MARIA (CONT'D) Don‘t touch me!
DON ALVARO Is this my welcome? (shouting) Is this how a man returns from the dead to his wife?
DONA MARIA Don't touch me! I have not sinned, I have not transgressed. I will not be tortured. I will not be burned.
Don Alvaro stares at her not understanding, then slowly puts her down.
DON ALVARO (suddenly) Where is Catherine?
DONA MARIA Catherine...
DON ALVARO Is she in her room?
DONA MARIA Catherine is dead. That was God‘s judgment too.
Don Alvaro stands there, hears the words but they are without meaning. He grasps her arms violently.
DON ALVARO Where is Catherine?
DONA MARIA Jew! Let go of me!
She manages to pull free of Don Alvaro.
DONA MARIA (CONT'D) I cannot stand to be touched by a Jew.
Don Alvaro stares at her in horror and disbelief.
Julio comes into the galleria and stops upon seeing Don Alvaro. He stares at him as if he were a ghost. Don Alvaro runs to him.
DON ALVARO Julio, where is Catherine?
Julio doesn‘t answer. Don Alvaro shakes him angrily and cries out.
DON ALVARO (CONT'D) Answer me! Where is she?
Julio looks at Don Alvaro so woefully that he lets go of him.
JULIO She is dead, Master.
DON ALVARO Dead? JULIO She went into the synagogue...
DON ALVARO There would be no reason for her to go into the synagogue.
JULIO Yes, yes, Master... the synagogue, that‘s where she went, and then they burned it down. I ran there. The whole town ran there but it was too late. They burned it down.
DON ALVARO (whispering) You saw her?
JULIO I brought her body back with me.
Julio is weeping now.
DON ALVARO Where is her body?
JULIO I just buried her in the back garden, Master.
Don Alvaro walks out of the galleria leaving the miserable Julio behind. Dona Maria turns, sits down and again begins gazing at the fire.
EXT. BACK GARDEN - CONTINUOUS
Don Alvaro stands at Catherine‘s grave. He drops to his knees and begins to sob uncontrollably. INT. THE GALLERIA - CONTINUOUS
Julio places a few logs into the fireplace, blows on it to liven the flames and quietly leaves.
INT. THE HALLWAY - CONTINUOUS
Julio, coming out of the galleria runs into Juan who just walked in.
JULIO Senor Pomas, you must go away. Go away quickly.
JUAN In need to see Catherine...
JULIO Senor Pomas, Catherine is dead, just as this house is dead. Now go away quickly. Don Alvaro is here in this house. If he finds you here...
JUAN And if he does?
Don Alvaro comes out of the back garden and stops as he overhears the commotion.
JULIO Don‘t you think he knows who denounced him?
JUAN How does he know?
DON ALVARO (icily) Because a dog‘s bark sounds far.
Juan turns to face him. Julio steps between them but Don Alvaro pushes past him. Juan pulls his dagger from his scabbard but Don Alvaro seizes Juan‘s wrist and twists it. The dagger falls to the ground. Juan screams with pain.
Both of Don Alvaro‘s hands close around Juan's neck and he screams no more.
DON ALVARO (CONT'D) (shouting) For my life nothing! My life and your life, they are dirt! But for my daughter‘s life...
Coldly and deliberately Don Alvaro begins to choke Juan to death. Juan struggles, strikes Don Alvaros's face then weakens and his arms drop.
Dona Maria stands up and walks over to them, She cries out.
DONA MARIA Is this how you become a Jew... by murdering a Spanish gentleman? Let go of him, you filthy Jew!
His anger and hate spent, Don Alvaro lets go of Juan who sinks to the floor, choking, gasping, rubbing his throat. Don Alvaro turns and stares at Dona Maria who meets his gaze. She turns and walks out of the room. Don Alvaro sinks into a chair, panting. Juan gets up and stumbles out of the house.
DISSOLVE TO:
EXT. BACK OF THE HOUSE, STABLES - DUSK
Julio holds the horse for Don Alvaro to mount then hangs onto the stirrup.
JULIO Master, take me with you. DON ALVARO No, Julio... my old friend. This time I ride alone. You‘ve shared enough with me. The particular hell that awaits me has only one name...
Don Alvaro spurs the horse and walks through the gate and out onto the street.
Julio watches his master ride away.
Don Alvaro takes the road that heads north from Segovia. He turns back once for a final look and a wave at his faithful servant.
DISSOLVE TO:
LEGEND:
"IN 1492, TORQUEMADA SUCCEEDED IN CONVINCING ISABELLA AND FERDINAND TO PROCLAIM AN EDICT FOR THE EXPULSION OF ALL JEWS FROM SPAIN".
FADE OUT