Captions were made with the support of NZ On Air. www.able.co.nz Copyright Able 2021 ('LEONARDO' THEME) - (SIGHS) (TROUBLING MUSIC) - 'Leonardo signed something.' What is it, a confession? - Yes. - (CHUCKLES) Well, then. You have everything you need. - It's not worth the paper it's written on. He's lying. - You don't want to believe he's guilty. You admire him too much. - I admire the artist. I'm frustrated by the man, and still I won't hang a man until I know he's guilty. - Give me that confession, and stop playing games, Stefano. - There's something I must find. There's one detail still missing. (STIRRING MUSIC) You've seen everything. Talk to me. Tell me what I'm missing. (CROWD CHATTERS) - Where shall we put this, Madonna? - Just leave it there. Thank you. (CHEST THUDS) - Good day. - Thank you. (UNSETTLING MUSIC) - (BREATHES SHAKILY) God takes your child, and yet you smile? - ECHOING: I am grateful for the time I had with her. (DOOR OPENS) - Four days. Four days it's been up, and still people stop and stare. Everyone comes to look at the new sculpture. - (SIGHS, MUTTERS) - (CATERINA VOCALISES DISTANTLY) - (SIGHS) - Who's that? - Another new arrival. - So, what's the arrangement, you being here? - The` Nothing. There is no arrangement. - A man invites a woman into his home, naive to think it's for the pleasure of her conversation. - You're an apprentice. I'm the lady of the house. Is it usual to talk to me this way? - I've been with him longer than anyone. I can say whatever I want to say. - WHISPERS: If you say so. - This used to be my room. - So you came in here to complain? - He won't ever get rid of me, you know that? - Then why do you seem so nervous of me? This is yours. (POIGNANT MUSIC) (GRUNTS) (EXHALES) Hello. - (GASPS) Oh, hello. - (CHUCKLES) - Do you have everything you need? - Yes, thank you. Everything's perfect. (CHUCKLES) How many months have you been working on this portrait? - (SIGHS DEEPLY) It's important to get it right. - Mm. - And I find her puzzling. - She didn't seem like a puzzle to me. She seemed... honest; decent. Is that so hard to paint? - Mm. - I remember the last time you found it impossible to paint someone. It was only a few streets from here. - She had mystery too. - Not so much anymore, I hope. - Why did she have to come and live with us? - Are you jealous? - I'm not jealous. - (CHUCKLES) Jealousy just poisons what's good in us. Don't give in to it. - You love her. - Yes, but it's a different... I have different love for you both. (SIGHS) I just want you to be happy for me. I'm finally surrounded by the people I love. - Leonardo. - Gonfaloniere. - We have business together. - We do. Come, follow me. - Why weren't you at the ceremony ` the unveiling of Michelangelo's new statue. - You know my opinion. It doesn't belong here. - Well, all the other artists were in favour. You` You were outvoted. Now everyone is talking about it. - Yeah, it's 17 feet. It's hard to miss. - (GROANS) - Half of Florence has been living in its shadow while he's been sculpting it. We haven't seen the sun in weeks. - Why do you detest Michelangelo so much? God gave him a gift. - (SIGHS) All of God's creation to explore and he creates this idealised nonsense. (STUTTERS) It expresses no feeling. - No, no, I think... I think that it bothers you that he's popular. - No. No. It bothers me that his art has no truth. - But there's room in Florence for more than one artist, Leonardo. - Oh, please. - Anyway, I came here today to tell you that I have a new commission for you too. - I have to be honest with you. If you value art like this ` this imitation of the ancients ` then I'm sorry. I have no desire to work for you. - (SIGHS) Very well. Good day, Leonardo. - (CHUCKLES) - What's the matter with you? What are you smiling at? - Jealousy has poisoned what's good in us. - (SIGHS) - Maybe you should take your own advice for once. - I am not jealous. - (CHUCKLES) Why does it make you so unhappy? - I'm merely saying that art is the key to understanding the world. It's the key to understanding science and nature. That thing` That thing over there? That isn't art. - People say he searches for the divine. - Oh. - Heaven on earth. - Please. Thank you. Heaven does not exist in the mind of Michelangelo. - Leonardo. - Michelangelo. - You came to see it? - Yes, uh, congratulations. Your statue is a success. - How kind. Didn't get your vote, though. - No. - Please. The master, Leonardo. (APPLAUSE) - Yes! (WHOOPS) - Let's go. Come on. - It's been a while since you heard anyone applauding as loud as this. - (CHUCKLES) Well... (SIGHS) You say you seek the spirit. - Mm-hm. - That you seek the divine, and this is what comes to you? A bland reproduction of the classics? I expected more. - How many pieces have you abandoned? Well, try to finish something for a change. You'll find it helps your reputation. To the Master! - MEN: To the Master! (ALL CHEER) - Thanks. - You're welcome. (WAGON CLATTERS, HORSE SNORTS) - I saw the new statue in the square. I love it. It's impressive. - (SCOFFS) - (MIMICS LEONARDO) What's the matter? - Do we have to talk about it? - Why? What's wrong? - They offered it to me. - What? - The materials, the same marble ` they offered it to me, but I turned it down. - Mm. I see. (CHUCKLES) So you didn't want it, but you can't bear to see anyone else get their hands on it. - Don't laugh at me. - I wasn't laughing. - You were trying not to laugh. - You make it rather hard, Leonardo. You're like a child who wants another child's toys. - Well, Soderini did try to make amends. He offered me a different commission. - Oh, you have to accept it. - No. - Yes. I'll speak to him on your behalf, then. - You will not. - Fine. Let's just sit around here feeling sorry for ourselves, right? - No. - You have a gift, Leonardo. And you know that. You can't keep it shut in here. Please show it to the world again. Do you want breakfast? - Yes, please. - That's a start. (SIGHS) (INTRIGUING MUSIC) - (TOWNSFOLK CHATTER) - The city is keen to commission a major new fresco to commemorate the Battle of Anghiari. - Ah. - So, we would like to have something here on this panel, with a military theme. - You want me to create a battle? - Well, we thought something more like, you know, a victorious soldier raising the city standard, for instance. - A battle contains so many dramas. Too many to be crammed into this tiny space. How about the entire wall? - (GASPS) Leonardo, that's a` That's a huge undertaking. - Well, I'm not interested in more money. - No. - You can pay me whatever you would for a smaller painting. - (CHUCKLES) I'm not talking about the money, Leonardo, uh... The problem is that I need it finished for the battle's anniversary. - Well, if you would like me to devote my time to a new major work, I will need the space to dream. For the glory of Florence. - Here is what we need. Can you come tomorrow? - Uh, let me check. I have some deliveries in the area. - Thank you. - (TOWNSFOLK CHATTER) (PENSIVE MUSIC) - Tomorrow's fine. - Good. Thank you. - Is it the whole wall that you're painting? - Yes. - Look at the size of it. (SIGHS) You haven't bought enough wood to make a scaffold that big. - I know. I don't need a traditional scaffold. I just need you to build what's on that page there. (HAMMERS THUD) (INDUSTRIOUS MUSIC) Keep it coming. Keep going. Hold it there. - Stop. - (GRUNTS) (PANTS) It's too unstable. It's like powder. We'll need new plaster. Strip this off and reapply it. - That will take days. Weeks. - We'll have to find another way, then. (SIGHS) So we begin our journey together. - I've got some news! - MEN: Lapo! - You look like you need a drink. - Leonardo da Vinci. Have you heard? - What? - A fresco. The Hall of the Five Hundred. - But that's huge! - What? - He's been commissioned to paint the entire wall; 900 square arms. CHUCKLES: It's vast! - The surface of the wall is powder. It needs to be sealed. - Are you mixing the paint with wax? Has anyone ever done that before? - Not that I know of. - Are you really going to paint the whole wall in it? - No. You are. - (LAUGHS) Oh, right. - (LAUGHS) - He'll never finish it. - Still, you have to admire his ambition. - Everyone is talking about it. - He'll die of old age before he finishes it. - (SIGHS) Which is a shame, 'cause I'd like to see what he'd do. - (SIGHS) The old man might still have something left in him. - (SCOFFS) Yeah, the fading remains of his reputation. - (LAUGHTER) (STIRRING MUSIC) - (SIGHS) There, you see? It doesn't bleed. We'll use the wax paint for the whole wall. (STIRRING MUSIC BUILDS) - We're done. - Ah. (SIGHS) Leave it overnight. It'll be dry in the morning. - Are you coming? - No, I'm going to keep working here. - Goodnight. - Goodnight. - Let's go. (DOOR CLOSES) - (EXHALES) (FLAMES ROAR) (SUSPENSEFUL MUSIC) - (HORSE NEIGHS) - (MAN YELLS) - (MEN SHOUT) (SWORDS CLANK) - (HORSE GRUNTS) - (MAN YELLS) (OBJECT THUDS) - Hello? (DISTANT FOOTSTEPS ECHO) Is anyone there? (OBJECT THUDS) - Once a thief, always a thief. - At least I've never lied about who I am. - What are you talking about? - You're deceiving him. - What? - I saw you in the street. Who was that man you were visiting? - You followed me? Who do you think you are? - I'm someone who cares about him. I'm someone who's looked after him year after year. I am the one who shields him when someone tries to cut out his heart. - What are you talking about? - What is this? Why were you hiding it? - Give it to me. - Which secret are you keeping, Caterina? - Give it to me, Salai! I said give it to me! - I won't let you deceive him. - It's not what you think. - You're living here at his expense while you're climbing in and out of another man's bed. - You know nothing about me! I promise I won't ever hurt him, and the person who gave me this, he's not my lover. All right? Please. You'll only hurt Leonardo if you tell him. Give it to me. (SIGHS) (HAMMERS THUD) - So, what sections do we have ready to go up now? - These ones; that one. - That's that one there? - Yeah. - What about these three sections? Can we lay them out on the floor? - OK. Tell me what you need. - I want to see them before they go up. Yes? - So we have this one` - Leonardo! Forgive the intrusion. - I'm sorry, this is not a good moment. - You must excuse me. I have to show someone around. Come here. - No spectators. Not right now. Please? (SCOFFS) What's he doing here? - I'm sorry. Michelangelo needs to look at the other wall. There's a new commission for the hall ` just here. - But, uh... No, no, no. PANTS: Please, no. You have to ask them to leave. - Leonardo, how could I resist this offer? The two finest artists in the city, each painting a fresco. Believe me, it will be a great duel between two giants. - (SIGHS) - Because you are both giants, and Florence will be the winner. - You'll hardly even notice me. Oh. Not bad, Leonardo. Not bad. - SOFTLY: Leonardo. - Here. Here, yeah. (OBJECTS CLATTERING) - (WORKMEN CHATTER) - MEN: Yes, thank you. - (MAN SPEAKS INDISTINCTLY) - Yes. Hey, go on. Help him. Help him, please. Yeah. (WHISTLES) Let's go, let's go, let's go! - Oh. I` I can't work like this. Why do they have to make so much noise? - Look, we can't stop now. We have to finish it. - I'm not stopping, but I just can't focus. Do you know what he's planning? - Yes. The Battle of Cascina, apparently. I heard them discussing it. I tried to get a glimpse, but he's very secretive. - I can think of one or two other words to describe him. - Now. - (LAUGHTER, APPLAUSE) - Everybody go home. We are done. - (MEN CHEER) - Did you hear the Master? We go home, boys! - Go home, boys. Come on. You heard the Maestro. - I think that's enough for today. - Uh, Metello? - Oh. - Well, that definitely says 'battle.' - (SCOFFS) (WIND WHISTLES) - (DOG BARKS) (CONTEMPLATIVE MUSIC) - Everyone is talking, so I thought I'd come and see. So, this is it? The famous fresco. - You've been here before. I saw you. - I didn't know if you'd want to see me. It's been so long. - Do you remember our last conversation? You admonished me for failing in business. - I didn't come here to have a row with you, my son. - (SCOFFS) - They said you were in peril for a time in Imola. - (CHUCKLES) Oh, you heard! (SNIFFS) I suppose you were very concerned for me (!) - You don't know me. You don't know what I feel. - No, I don't, but I've never been given an opportunity, have I? - Well... - What` What were you expecting? Why are you here? - I... - You what? - I just wanted to say... (SIGHS) You have an astonishing gift. - (SNIFFS) SOFTLY: Yes. (SNIFFLES) When I went to work in Milan, I met this young boy (SNIFFLES) who also had an astonishing gift. He was a talented young artist. But he was also forced to live alone. (SNIFFLES) Of course, his situation was different to mine. His prison wasn't a hay barn. It was a palace. - Leonardo. - How old was I when you sent me away, Father? - I don't recall. - I remember. I was 5. (SNIFFLES) They didn't care for me, Father. Every night I slept on filth, for years. Oh, you had power over my life. But there was no love to temper it. - Well, at least you had this chance to admonish me for it. - (SNIFFLES) (WHIMPERS) (SOBS) (SIGHS) (FOOTSTEPS APPROACH) (SIGHS) My father came to see me tonight. - What did he say? - (CHUCKLES) He's like me. Some words just aren't in his vocabulary. - I'm sorry, but... you keep expecting him to be something that he never will. There's something I should have told you. When you were in Imola, I saw him. He was visiting Soderini, and I don't know for certain, but I think it may have been him who got you released from Imola. - (SIGHS) - Yes. I believe he loves you, Leonardo. Even if he can't say the words. - Maestro Leonardo. - Sir. I didn't know you were in Florence. - I came to find you. - It's been some years. - Indeed. - Salai, you go ahead. I'll join you. Why are you here? - The King of France still governs Milan. My friends, they would like to see Ludovico back on the throne. - Ludovico is still in prison, surely. - Yes, which is why we need Florence to support his claim. You know him to be a man of some character. Perhaps you could speak on his behalf. Persuade Soderini to petition the French for Ludovico's reinstatement. - You must forgive me, sir. I must get back to work. (TROUBLING MUSIC) Oh, damn it. (GROANS) It needed more time. It wasn't properly set. - The wax in the paint has melted. - Yes. (SIGHS) - Oh. Oh, interesting. Is this another one of your bold experiments? - Leonardo. - No. - What? - (LAUGHTER) - MAN 1: Leonardo is a has-been. - MAN 2: To think we have thought he was an artist. - MAN 3: I know. He hasn't finished anything in years. - MAN 4: Leonardo can't even complete a yawn. - (LAUGHTER) - Let me tell you something else about Leonardo. - (LAUGHTER CONTINUES) - Something funny? Something amusing? - Oh, look who it is. Leonardo's little friend. I hear your master's reputation has taken a bit of a battering. - Perhaps we could find you a job with Michelangelo. - Yeah, if you get down on your knees and beg him. - And being on your knees is something you're used to. Isn't it? - (MEN GRUNT) (DOOR OPENS) - (COUGHS) - What happened to you? - Bit of a disagreement. Nothing to worry about. - (GASPS) Look at your face! Oh, I need you to work! I need you to paint, not get into brawls! What were you thinking?! - (SCOFFS) There must be something wrong with me. - Oh, Salai. - I hang around here like a lapdog waiting to be kicked. - Oh, what are you talking about? - Everyone else sees exactly what you are. Doesn't take them long before they walk out, but me, I just wait around. - (SIGHS) Maybe I should have quit a while back. - Oh, come here. - They were making fun of you, Michelangelo's admirers. - (SCOFFS) - And I couldn't bear to listen. I couldn't bear what they were saying about you! - Come here. - No, you look, but you don't see! I am the only one who's truly loyal. (PANTS) You don't know what I've done for you. You don't know what I've sacrificed ` whoring myself in Milan just so you can create your masterpiece! You think you are the great teacher, the great mentor. You're nothing. (BREATHES HEAVILY) - (SIGHS) - You'd be lost without me beside you. - I'm so sorry. - Don't touch me. - (SIGHS) (EXHALES) (PENSIVE MUSIC) (SIGHS DEEPLY) (PENSIVE MUSIC BUILDS) (SIGHS) (PENSIVE MUSIC CONTINUES) - Leonardo. You need to come. - What's the matter? - Just come. - Can I help you? - I heard the news. - You are Leonardo. I'm Guglielmo. I'm your brother. Please. (SOMBRE MUSIC) - (SIGHS DEEPLY) - I know he came to visit you. - (BREATHES DEEPLY) WHISPERS: Yes. - He knew he was dying, you see. He was determined to see you one last time. To tell you how proud he was of your achievements. - I met you in this house years ago, when you were a baby. - He knew he treated you badly, Leonardo. I think he regretted it. - (SNIFFLES, SIGHS) (EMOTIONAL CELLO MUSIC) Is your father proud of you? - What? - I bet he is. I bet he bores the neighbours rigid. 'My son, the artist! 'My son has masterpieces coming out of his arse!' - (CHUCKLES) What's the matter with you? Are you drunk, Leonardo? - (CHUCKLES) No. No, I'm not drunk. It's all meaningless, isn't it? It's... It's nothing. - Are you talking about the art? - Nothing we ever do, nothing... Nothing we can ever paint can make us feel whole again. - (SNICKERS) Mm-hm. - My father died today. - I'm sorry. - It's all right. (SIGHS DEEPLY) He never understood any of this. He didn't understand what I wanted. He never understood me, really. (CHUCKLES) - My mother died when I was a child. Never knew her. A child grows up not knowing love, they spend their lives trying to find it. - (SIGHS) I never wanted to paint this fresco. I began it all for the wrong reasons, I think. I wanted Florence to know that I was a better artist than you. - Oh. (CHUCKLES) I saw you once, when I was a boy. I saw you riding past me. Everyone knew your name. Everyone knew the genius from Verrocchio's studio. - Mm-mm. That was a long time ago. - You know, more than anything in the world, I wanted to be you. I grew up in this city idolising you. Of course, I knew I could never be... I could never hope to compete. I had to create my own style of work. I had to dream my own dreams. It was painful for me, meeting you. Hearing that someone I admired hated my work ` that's why I began this thing. (SCOFFS) To spite you. - (SIGHS) - What are you doing, Leonardo? - I told you. It's meaningless. - If you stop now, people will say you ran away from a fight. - Well,... (OBJECT CLINKS) they can say what they want. (POIGNANT MUSIC) - What is it? You should be at work. - No. Not this evening. This evening I'm taking care of you. I came to say I'm sorry. - There's a sentence I never thought I'd hear. - Mm. (SIGHS) I know the sacrifices you've made to help me, Giacomo. - You're calling me Giacomo. Now I'm really worried. - (BOTH CHUCKLE) - (COUGHS) - I will find a way to repay you for what you've done for me. Your Excellency. - Leonardo. (DOOR CLOSES) Have you come to gloat? - I'm sorry? - About the news. Michelangelo's gone, left the city. He wrote to me, resigning from the commission. Thank God you are still here. Thank God I have an artist I can rely on. - Your Excellency, I'm finished here. I'm resigning also. - What? - Contract is over. What do you want? - I already explained. I want you to petition the governor. Lord Ludovico needs powerful allies. Look, you can't deny him. He gave you everything. He raised you up when you were no one. Remember what happened in Milan? - Yes, I remember what happened in Milan. I remember the face of that poor boy. I remember him dying in my arms. Ludovico gets nothing from me except my anger and condemnation. - Leonardo. - Caterina? Caterina? - She's not here. She's gone out. - Oh. (INHALES) Hm. - You seem very content today. - (BOTH CHUCKLE) - I am. - And what's brought that smile to your face? - I don't need them to love me. Everything I need is right here. Where did she go? - She didn't say, but... (CLEARS THROAT) - What? What is it? - She's keeping a secret from you. (INTRIGUING MUSIC) (BOX RATTLES) (CRASH!) - ECHOING: Fragment of a letter from a priest. - ECHOING: Father Pacioli. - The boy of Niccolini. Who is that? - The painting I made for him. (SUSPENSEFUL MUSIC) - I'm looking for Father Luca Pacioli. - He's at the altar. - The boy of Niccolini. Where is he? - 'He?' You mean the painting? - Leonardo was lying to me and now you are too, Father. If you want to save the life of your friend, you better start with the truth. - I've told you. - I can be the confessor, and you can beg God's forgiveness. Keepsakes from a child ` a boy to his mother. - Francesco, I told you to stay in the vestry. - Who are you, boy? Please. I'm trying to save Leonardo's life. Who are you? - I'm his son. Captions were made with the support of NZ On Air.