"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 theearly-morning mass is subdued by a whooshing NOISE andheavy breathing.

LEGEND: "SEGOVIA, SPAIN, CIRCA 1483"

As the CAMERA PULLS BACK we reveal a nude man with his backto us, on his knees, being flagellated by a DOMINICANFRIAR. The man who is taking the punishment is PriorTHOMAS DE TORQUEMADA. He is in his late 40‘s with a gauntcountenance and deeply set eyes expressing passion,madness, cruelty and suffering - occasionally.

A single candle illuminates the Spartan room furnished onlywith a small cot, a tiny table with a chair and a hempenmat under the crucifix.

Shadows of the candle‘s fluttering flame dance onTorquemada‘ contorted face.

SLOW DISSOLVE TO:

INT. THE RAFEL HOUSE, BATHING AREA - DAWN

CLOSE ON ALVARO DE RAFEL‘s noble face. He is only in hislate 40‘s but a few gray streaks already pattern hiswell-shaped beard. His dark pensive eyes gaze intoinfinity. He is profoundly preoccupied.

As the CAMERA PULLS BACK we show him sitting in a tinbathtub. His devoted footman, JULIO, in his late 50‘s,diligently scrubs his master‘s back with soap and a roughcloth.

JULIOMaster is not himself today. Is the bath not to his liking?

DON ALVAROI'm not looking forward to mytrip to Seville, Julio. Whenthe Royal Palace summons, youcan be certain of hiddensurprises by Isabella orFerdinand.

JULIOShe is a good soul, ourIsabella. She got rid of mostof the cut-throats and robberbarons in no time.

Julio reaches for the kettle and pours more hot water intothe tub.

JULIO (CONT'D) (CONT'D)You must be sitting in coldwater by now.

DON ALVAROYes, yes, she did. Our Queenis a wonderful woman. A muchbetter leader than her imbecilebrother, Henry, may he rest inpeace. I just wish she hadmarried someone other thanFerdinand.

The CAMERA MOVES IN on a SILVER CHAIN around Don Alvaro‘sneck.

A CROSS and a CYLINDER, both hang next to one another fromthe chain.

SLOW DISSOLVE TO:

EXT. MONASTERY, CLOISTER - EARLY MORNING

In the inner courtyard of the Gothic monastery seen throughthe arcades of the cloister. DOMINICAN FRIARS, barefootedand tonsured, are chanting psalms as they file toward thechapel to attend morning mass. Some carry torches to lightthe way.

Among them is Torquemada, tall and emaciated. His head isbent in contemplation and, like the others, he is clad inthe traditional garb of scapular, cowl and black and whiterobe fastened by a leather belt.

They enter the chapel.

INT. CHAPEL - EARLY MORNING

Torquemada drops to his knees in front of the altar, makesthe sing of the cross and clasps his hands in prayer.

The CAMERA MOVES IN on his face illuminated by the flame ofa candle in front of him.

TORQUEMADAMy Lord, forgive the sins of myancestors for they havesinned...

DISSOLVE TO:

INT. THE RAFEL HOUSE, CATHERINE'S ROOM - MORNING

CATHERINE RAFEL lies in bed asleep. She is the beautiful18 year old daughter of Don Alvaro. Her long black hair isspread on the white linen like a Spanish fan, and her oliveskin is moist from the nightmare she is experiencing.

The approaching FOOTSTEPS and the impatient VOICE of hermother wake up Catherine with a jolt.

DONA MARIA (O.S.)Catherine! Catherine! Have

you no respect for yourparents? Breakfast is servedand you're still in bed.

Catherine‘s mother, DONA MARIA RAFEL, already dressed forchurch, enters the room. She is in her 40‘s, a dark,strong woman with a cold ascetic look, unlike her daughterwho has the soft features of a Titian Madonna.

DONA MARIA (CONT'D)It‘s the first Sunday of Lentand we‘ll be late for mass. Your fiancée is already here,waiting in the galleria.

Catherine sits up in bed, still disoriented by her baddream.

CATHERINEI am sorry, Mother. I just hadan awful dream.

DONA MARIA(interrupting)

We‘ve never been late forchurch before and I don‘tintend to this time. Well,hurry up!

As Dona Maria marches out of the room, Catherine gets outof bed and saunters to the window. A gentle smile appearson her face as she spots her fiancé, JUAN POMAS in thegarden. He is a good-looking young man in his early 20‘sfrom a noble family.

EXT. THE RAFEL HOUSE, THE GARDEN - CONTINUOUS

Catherine's POV:

Juan standing in the splendid rose garden below, grabs hisheart in a mock pose and then blows a kiss towardCatherine.

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 ridergallops toward the outskirts of Segovia. As he races by wecan see that he is a COURIER of the Queen.

INT. THE RAFEL HOUSE, GALLERIA - LATER

Catherine enters the galleria, a combination of dining andliving area, carrying a bouquet of roses in various colors.

She bounces to the refectory table where breakfast has beenlaid 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 himaffectionately.

CATHERINEIt‘s for your trip, dearFather. They‘ll bring you luckand safety on the roads, andwill keep evil away.

Don Alvaro gives her a bear hug and kisses her on theforehead.

DON ALVARO(whispering)

I love you more than anythingon this earth.

Catherine, still beaming, turns around and in a flirtatiouslook, lets Juan kiss her hand.

CATHERINEI‘m sorry to have kept you allwaiting...

DONA MARIA(interrupting)

There is no excuse for yourbehavior, Catherine.

Her mother‘s scolding doesn‘t affect Catherine‘s mood. Shelooks toward her father who still smiles at herconspiratorially.

DON ALVAROLet‘s give grace.

Everyone becomes serious as they clasp their hands and tilttheir heads for prayer. The words are incomprehensible asthey are whispered.

EXT. MONASTERY, HOLY OFFICE - DAY

ANTONIO DE LA PENA, a Dominican friar in his 40‘s, scurriestoward the entrance of the Holy Office. The cowl of hisneglected robe is pulled over his head clearing only hisdark, manic eyes. The soldiers at the door let him inwithout questioning.

INT. AUDIENCE CHAMBER OF THE INQUISITION - CONTINUOUS

The large, imposing hall with its Gothic windows and highceiling is devoid of any secular decoration. At one end ofthe room stands a long refectory table surrounded by highbacked chairs for the members of the tribunal.

A large floor-to-ceiling cross with the figure of Christstands against the side wall dominating the place. Thereare two large, unlit candles with a small standing crossbetween them and a bible on the table. (Note: The candlesare lit only during trial proceedings.)

At this moment it's quiet in the hall except for thescratchy 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 ofa door opening he looks up.

Antonio de la Pena enters in a hurry. He pulls back thecowl to reveal his face as he approaches Torquemada at thetable.

PENA(still out ofbreath)

Forgive me, Father, fordisturbing you at this earlyhour but this is of utmostimportance to the cause...

TORQUEMADA(full ofanticipation)

Yes! The cause! The divinecause. So what news do youbring?

PENAAll the arrangements have beenmade for the procession. I amcertain Father will be pleased.

TORQUEMADAIt must please God, not me,Pena!

EXT. MONASTERY, HOLY OFFICE, ENTRANCE - MOMENTS LATER

The Royal Courier hurriedly approaches the door and isstopped 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 proceedinside the building.

INT. THE AUDIENCE CHAMBER - CONTINUOUS

The courier enters and rushes over to Torquemada at thetable where he genuflects.

COURIERA letter from the Queen, Prior. Her Majesty does not expect areply.

As Torquemada reaches out for the letter, the couriergenuflects again and leaves as quickly as he came.

Torquemada breaks the royal seal on the scroll and beginsto read. A subtle change appears in his expression, abarely perceptible smirk.

TORQUEMADAI must leave immediately. HerMajesty has summoned me to thepalace.

He turns to the human-size figure of Christ in exaltation.

TORQUEMADA (CONT'D)(to himself)

Merciful Lord, thank you forgiving me the strength and thedevotion. My life's work willfinally 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 mustcleanse the world of theinfidel. We are on the path tovictory.

EXT. CATHEDRAL SQUARE - DAY

The main square of Segovia is crowded with worshipers fromall walks of life: the noble, the craftsmen, the burghersand the peasants, and some pickpockets and the likes - acolorful mix. Some enter the church upon arrival, othersform small groups to exchange gossip before the massbegins. At the door some penitents stand dressed insanbenitos (explain later) as punishment of theInquisition.

Dona Maria, Catherine and Juan hurry toward the cathedral,working through the crowd.

DONA MARIADon't forget we must discussyour wedding date with thebishop after mass.

JUANMy parents would prefer if thewedding was in September.

Catherine looks at him in horror.

CATHERINEI will not get married in thefall...

Dona Maria reacts in surprise to Catherine‘s emphaticobjection.

DONA MARIACatherine!

They reach the entrance steps to the cathedral and filesilently in with other worshipers.

EXT. COUNTRYSIDE - DAY

Ominous storm clouds gather on the southern horizonforeshadowing rain.

Torquemada is on his way to Seville in the company of halfa dozen FAMILIARS of the Holy Office of the Inquisition asbodyguards. 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 withflies and swarming maggots. One can tell from theirclothing that they were from the nobility.

INT. CATHEDRAL - DAY

The stained glass windows let just enough light into thisGothic architectural marvel to enhance the mood of itsspirituality.

This morning it's crowded to full capacity.

Dona Maria, Catherine and Juan take communion. They are ontheir knees in front of the altar as the BISHOP OF SEGOVIAadministers the sacrament to them.

CLOSE on Catherine as she takes the blessed wafer into hermouth. Her eyes are closed, adding to the beauty of herface 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 thatconfronts 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 andchildren lie in the dust.

Sanitary workers with hoods over their heads collect plaguevictims from the streets and houses, and load them ontocarts.

Don Alvaro and Julio instinctively cover their noses andmouths with handkerchiefs in fear of contamination.

They break into a fast gallop.

As soon as the town is safely behind them Don Alvaro slowsdown his horse.

JULIOPray the Lord, it doesn‘treturn to our city ever again.

(pause)Why doesn‘t the Lord have mercyon the innocent?

DON ALVAROGuilt or innocence is not God‘sconcern, Julio. He did hiswork 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 towardSeville.

EXT. COUNTRYSIDE - SUNSET

Approaching horses are heard, then Torquemada with hisescort appear on the horizon. They are nearing thepicturesque outskirts of Seville.

EXT. ROYAL PALACE IN SEVILLE, COURTYARD - DUSK

Dressed in full armor, two men on horseback are engaged ina duel. FOOTMEN and a few SPECTATORS from the court standaround watching.

The men take the fight seriously, though it soon becomesobvious that the struggle is not a matter of life or death.

CLOSE on the gorget of the man on a chestnut horse. He ishit 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 isFERDINAND, the king of Aragon, in his 30‘s, fair andbronzed from exposure.

The footmen run to the King to help him off the horse andout of his armor. His opponent, DON CORTADO, is also beinghelped off his horse by his attendants.

FERDINANDYou fought gallantly, DonCortado, but lost your head,nonetheless.

A court MESSENGER runs over to Ferdinand and genuflectsbefore talking.

MESSENGERYour Majesty. Prior Thomas deTorquemada has just arrivedfrom Segovia. He awaits in theroyal chamber.

FERDINANDTell him to wait... and tellhim 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 theMoors, Don Cortado.

INT. ROYAL PALACE, FERDINAND'S CHAMBER - EVENING

The door opens and a SERVANT enters carrying a burningtorch. He goes around the walls lighting the torches forthe night.

We REVEAL Torquemada‘s silhouette as he stands at thewindow 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 ofwine.

FERDINAND (CONT'D)Some wine or refreshments? You‘ve had a long trip.

Ferdinand slumps into his royal chair as Torquemada stepsforward to greet him. He genuflects like everyone elsebefore addressing his King.

TORQUEMADAThank you, Majesty. I havealready had some water andbread.

Ferdinand dismisses his servant with a flick of his handand wipes his still perspiring face.

FERDINANDThe Queen wants to see youlater about your appointment. The Church is herresponsibility. I want to talkabout money.

He drinks some wine from his goblet and looks at Torquemadacoldly in the eyes.

FERDINAND (CONT'D)Your Inquisition doesn‘t bringin enough money to wage our waragainst the Moors. We expectedmore. The Church needs to bemore generous.

Torquemada is taken aback by the king‘s remark but he keepshis emotions at bay.

TORQUEMADAWe only take what is needed tocover the cost of the trials,Majesty. The rest all goes intoyour royal coffers.

FERDINANDUnless you find all theJudaizing conversos and putthem to the fire, I cannot getrid of the Musulmans. You aretoo slow Torquemada.

TORQUEMADAI follow the due process as setforth by the Church. I cannotdo it any faster.

(deliberatepause)

If you Majesty will permit...

FERDINANDYes, yes... out with it.

TORQUEMADADrastic times require drasticmeasures, your Majesty...

FERDINANDMeaning?

Torquemada takes a deep breath before answering.

TORQUEMADAYou must expel the Jews fromall of Spain, just as yourecently did in Andalusia. That is the only way to raisethe sum your Majesty requires.

Ferdinand looks at Torquemada without giving away hisfeelings and thoughts.

Torquemada scrutinizes the King, trying to read him.

Ferdinand rises from his chair, empties his goblet in one,long gulp.

FERDINANDThat‘s impossible. I need theJews at the court. They lookafter my finances, my taxcollecting. They're thephysicians and scholars... Icannot get rid of them all.

Icily rational, Torquemada looks straight into Ferdinand'seyes.

TORQUEMADAMake those Jews who arevaluable to you convert toChristianity.

FERDINANDThey won‘t convert, and thosewho will end up Judaizing, andconsequently 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. Ferdinanddrinks thirstily, waiting for the Prior to talk.

TORQUEMADAWe must rid Spain of the Jews,Majesty. They are the sourceof all the trouble in ourcities. Every day there arebloody atrocities in thecountry.

FERDINANDIt‘s not the Jews who areresponsible for the trouble,it‘s mostly the burghers. Theyare jealous and intolerant. You know that as well as I do. The Jews have always beenloyal to their King.

Ferdinand moves away from Torquemada to the window where hestays with his back to the Prior. He drinks then turns toTorquemada.

FERDINAND (CONT'D)I'll think about it. Youshould go now... see the Queen. And Prior... the Queen isinterviewing Senor Columbus. Know now that he is Jew. Youwill treat him with the samerespect as you show me.

Torquemada genuflects, not as deeply as most subjects, andsomberly leaves the chamber.

Ferdinand watches Torquemada exit.

FERDINAND (CONT'D)(muttering)

The Pope was right... He is amadman...

INT. ROYAL PALACE, CORRIDORS - NIGHT

This court is not all pomp and circumstance. The colorsare subdued everywhere in the palace, and most courtier‘sclothes are worn and questionable as to their cleanliness. The furniture is sparse and functional. The sovereignsmoved into the palace recently and they don't have themeans 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 bytorches.

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 andsalty air of the seas, is on his knees in front of Isabellapleading his cause.

QUEEN ISABELLA, a fair woman in her 30‘s, is strikinglybeautiful. She projects strength of will, intelligence andsensitivity when called for. Dressed with asceticsimplicity, she sits in her high backed chair, smiling atColumbus‘ antics of persuasion.

Next to Isabella, on an ordinary chair, sits Don Alvaro,dressed for the occasion in hose and doublet, and also alight half armor. On the stone wall behind the Queen hangs

a banner of the House of Castille.

COLUMBUS...My Queen, the earth isround. Any seasoned sailorwill tell you that.

ISABELLASenor Columbus, your madnessand conceit is not alwaysamusing. Only your immensecharm prevents me from sendingyou to the fire.

COLUMBUSMy Queen, you wouldn't have theheart to put a man to death forhis dreams, would you?

Isabella tolerates and is amused by Columbus‘ subtleflirtation in the presence of Don Alvaro who struggles tofigure out how to react to the unfolding scene.

ISABELLAYour dreams are extravagant andimmensely expensive to realize,Senor Columbus.

COLUMBUSEven if it opens profitabletrade routes for Spain? Imagine, your Majesty will bethe Empress of the Indies!

ISABELLAYou are a madman, but I do likeyour vision.

COLUMBUSBut you‘re destined to becomean Empress, my Queen.

Queen Isabella turns to Don Alvaro.

ISABELLAYou‘re a resourceful merchant,Don Alvaro. Can you find shipsfor his fleet, or money to buythem? Otherwise I‘ll never gethim out of this palace. He‘soverbearingly persistent.

DON ALVAROShips, your Majesty? But Ithought Senor Columbus wantedto go to India.

Columbus smiles at Don Alvaro.

COLUMBUSYes, India. But I propose tosail westward, around theearth, Don Alvaro.

Everyone turns toward the SECRETARY who enters the chamber.

SECRETARYYour Majesty, Prior Thomas deTorquemada is here upon yourrequest.

Torquemada steps in and approaches the Queen as theSecretary backs out of the chamber.

Isabella extends her hand to let Torquemada kiss it. Hegenuflects in deep humility.

ISABELLAFather Thomas, this is SenorColumbus our residentadventurer...

Torquemada nods in his direction with an icy look.

ISABELLA (CONT'D)...and this is Don Alvaro,an...

TORQUEMADAI know Don Alvaro very well...

Both Don Alvaro and Torquemada step toward each other andshake hands affectionately.

TORQUEMADA (CONT'D)...we are old friends, Majesty.

Isabella rises from her chair terminating the audience.

ISABELLADon Alvaro, I count on yourhelp with respect to our ships.

DON ALVAROYes, Your Majesty

ISABELLASenor Columbus, Don Alvaro... Ineed to confer with FatherTorquemada now...

Columbus and Don Alvaro genuflect and back out of thechamber.

She sits back onto her throne and gestures Torquemada totake the chair next to her, the one Don Alvaro occupied.

ISABELLA (CONT'D)As you probably conjecturedfrom my cryptic letter, Father,I have appointed you the GrandInquisitor of Spain... despitethe Pope‘s most vigorousattempts to convince meotherwise.

TORQUEMADAI am your faithful servant,Majesty... as I am of God.

Isabella rises from her chair and walks to the window.

ISABELLAYou‘ve made many enemies,Father, and your newresponsibilities will onlyincrease them.

TORQUEMADAI only fear God, my Queen.

Isabella's mind is at work as she watches Torquemada‘ handsin prayer and his face turned to heaven with eyes halfclosed.

ISABELLAI want you to clean Spain ofall the heretics as quickly andas thoroughly as only youpossibly can.

Torquemada looks at Isabella with hypnotic eyes, emanatinga will of steel.

Isabella sits expectantly onto her throne. Torquemadashifts nimbly at the edge of his chair as he addresses theQueen.

TORQUEMADAMajesty. Years ago, when youwere in hiding at the conventin Valladolid, and I was yourconfessor, you made a solemnpromise to God. You avowed,"Should I ever come to thethrone, I‘d devote myself tothe extirpation of heresy, forthe glory of God and theexaltation of the Catholicfaith".

ISABELLAI still believe that, and Ihave lived up to my promise. Haven't I?

TORQUEMADAThat is true, Majesty. ButSpain is not going to stayCatholic for long if you don‘tget rid of the Jews. They mixblood with true Catholics, theycorrupt our people with theirmoney and position of power,they undermine our faith littleby little.

Isabella is attentive but noncommittal to his speech.

TORQUEMADA (CONT'D)You must expel the Jews fromSpain, Majesty. That‘s how Iinterpret your holy vow.

ISABELLAI like the Jews, Father. Theyare good and obedientsubjects... they are diligentand clever. I need them.

Torquemada listens to Isabella's words. His expressiondoesn't give away his thoughts but he cannot concealcompletely his disappointment.

ISABELLA (CONT'D)What I abhor are the heretics. Your task is to find them anddeal with them.

TORQUEMADATime will prove me right,Majesty. God will find a wayto guide you toward a properdecision in this matter.

ISABELLAI‘m sure He will, Father.

The Queen rises and lets Torquemada kiss her hand.

TORQUEMADAGood-night, Majesty.

ISABELLARest peacefully, Father, andcelebrate mass with us in themorning.

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 aKNOCK on the door. The servant rushes to the door and letsin 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 thenight, Torquemada stays at the doorway.

DON ALVAROCome in, Thomas.

TORQUEMADAForgive me, Don Alvaro, forthis late-hour visit...

Torquemada walks up to the surprised Don Alvaro.

TORQUEMADA (CONT'D)...but I thought you might wantto join me on my journey backto Segovia tomorrow morning. It‘s safer to travel in largenumbers these days.

DON ALVARONothing would give me greaterpleasure than your company, mydear friend.

Don Alvaro becomes conscious of Torquemada staring at thechain on his bare chest.

Torquemada's POV:

CLOSE on the CROSS and the CYLINDER.

DON ALVARO (CONT'D)Maria and Catherine will bedelighted to see us arrivetogether.

Torquemada shifts his look from the chain to Don Alvaro.

TORQUEMADARegretfully, my newresponsibilities will preventme from remaining the confessorto your devout wife anddaughter...

(breathes in)she is such a pure soul,Catherine. You must persuade her, myfriend, to enter the convent toserve our Lord. She isdestined to lead a holy life.

Don Alvaro thrown by Torquemada‘s unexpected visit isfurther confused by his suggestion for Catherine.

DON ALVAROCatherine is engaged to wedJuan Pomas, dear Thomas... Idon‘t think she contemplates aholy life. Of course she isdevoted to God, but... I thinkshe is destined to become amother, to raise a family. Sheis an earthly creature, Thomas. I love her dearly.

TORQUEMADA

There is nothing moregratifying in life than beingin the service of our Lord.

DON ALVAROThat‘s very true, Thomas, verytrue indeed.

TORQUEMADAWell, then... after the morningmass we‘ll be on our way toSegovia. God bless you, DonAlvaro!

Torquemada turns and leaves the chamber.

DON ALVAROSleep in peace, Thomas.

Don Alvaro watches the door close behind Torquemada, thensits on the edge of the bed to sort out his thoughts.

Julio enters and stops near Don Alvaro.

JULIOI saw the Prior leave...

(pause)Are you not well, Master?

DON ALVAROWake us up for the morningmass, 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 oxwhile 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 eyesoff the road.

Torquemada and his entourage pass by the farm at acomfortable gallop.

SONI wonder who they are...

The father shields the midday sun out of his eyes with hishand.

FATHERI can‘t tell, son. They don‘tlook like murderers, forsure...

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 awalk so some peasants on mules, heading in the oppositedirection, 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 andwatches it with motherly love. There is an aura ofserenity in the image she projects.

Smiling, Don Alvaro turns to Torquemada.

DON ALVAROIt‘s been eighteen years,Thomas, that you baptized mydaughter.

TORQUEMADAYes, I remember well...Turbulent years...

DON ALVAROAnd only five years before thatwhen I came to Segovia and wemet for the first time.

Torquemada drifts into his thoughts and raises his eyebrowsinvoluntarily.

TORQUEMADA (CONT'D)From where, Don Alvaro?

(pause)From where did you come?

The question disturbs Don Alvaro but he disguises hisfeelings.

DON ALVAROYou never asked me that before,Thomas. Why now?

TORQUEMADAI‘m sure I asked you before...

DON ALVAROPerhaps you did... Perhaps youdid...

EXT. STREETS IN SEGOVIA - DAY

A ten foot tall wooden cross with the figure of Christ iscarried by the Dominican Friar, Antonio de la Pena. Heheads the Lent procession of a few hundred religiouszealots. They carry banners, among them is one of theInquisition, and chant psalms on their way to thecathedral.

Their faces are contorted by religious rapture. A numberof 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 FIVEwatch 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, slowlypassing through the neighborhood of well-to-do NewChristians - the conversos.

INT. APARTMENT, BEDROOM - MOMENTS LATER

CLOSE on a GIRL of 15, dressed as a maidservant of thehousehold. She is in a state of anxiety as she stands inthe window on the top floor of a three-story buildingwatching the procession. She is careful not to be fullyseen from the street.

EXT. STREET IN SEGOVIA, THE PROCESSION - CONTINUOUS

The procession is predominantly composed of secular men andfriars, though there are a few women and children too inthe crowd. At a closer look most faces appear to be toughand cruel rather than in rapture of religious devotion. Afrightening mass of people.

They are singing or mumbling prayers to themselves.

The large cross with the figure of Christ weighs down onPena‘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 whois still standing at the window.

INT. APARTMENT, BEDROOM - CONTINUOUS

The girl‘s face appears in the window searching for someonein the procession.

EXT. STREET IN SEGOVIA - CONTINUOUS

CLOSE on Pena as he looks up toward the window where thegirl is standing and nods his head as a sign for the girlto act.

CLOSE on the face of Christ.

INT. APARTMENT, BEDROOM - CONTINUOUS

The girl picks up a bowl of water from a nearby table andpours its entire content out of the window, aiming at thehead 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 friarstanding next to him and throws his arms toward the sky. In feigned horror, he cries out to the crowd.

PENABlasphemy! Blasphemy!

The crowd comes to a sudden, tumultuous halt.

PENA (CONT'D)

(hystericalrhetoric)

Christians of Segovia! Theinfidels have acted again. They desecrated the image ofour Lord, Jesus Christ. Theyemptied their bedpans on hissuffering face. It is the mostvile blasphemy. See foryourself.

He grabs the cross from the friar and lifts it high in theair so the crowd can see the water still dripping off thecarved face.

The crowd is shocked by the sight and glued to Pena‘sincendiary words which take immediate effect. The alreadysomber faces begin to show signs of coiled-up violence.

PENA (CONT'D)The conversos along with theJews want to ridicule ourfaith, they want to dishonorour Church...

CLOSE on a BURGHER ready for action. His eyes look wildwith hatred. He turns around with a clenched fist in theair.

BURGHER(yelling)

Let us do away with theblasphemers!

The crowd reacts with shouts and screams, waving theirfists 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.

PENAThe warnings of our Queen andKing have not stopped these

infidels in their satanicactions. Are we going to standidle as they deface our Lord?

The MOB responds with a resounding "No!"

PENA (CONT'D)Or, are we going to defend ourfaith?

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 starvedcaptivity, the mob explodes in all directions, wieldingsticks and knives.

A group of burghers break through the locked door of ahouse.

INT. HOUSE OF A CONVERSO - MOMENTS LATER

The mob floods the wealthy house and scatters in alldirections.

INT. THE GALLERIA - CONTINUOUS

A middle-aged COUPLE with their FOUR CHILDREN, boy andgirls, from 10 to 18 years of age, huddle in terror at theback of the room.

SCREAMS for mercy are heard as a dozen burghers, knives intheir hands, rush toward the horror-stricken family.

EXT. COUNTRYSIDE NEAR SEGOVIA - SUNSET

The entourage rides toward Segovia. In the setting sun thehorsemen seem like crawling, black ants.

Torquemada and Don Alvaro come to a stop on a hill near theoutskirts of the city. Their dust-covered faces glow inthe reddish orange light of the setting sun, as if theywere watching the world on fire.

CLOSE on Don Alvaro‘s pensive face.

The old city spreads out in front of them, enveloped in theflaming sunset. The observant eye can easily detect SMOKErising up in the sky, not far from the cathedral.

Don Alvaro watches in silence, then turns to Torquemada.

DON ALVAROHow many today, Thomas?

TORQUEMADAThe house of our Lord isboundless, Alvaro. As aChristian, you should knowthat.

Don Alvaro, Torquemada and his entourage continue on theirway 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 thecurfew. His long, white beard gives him the unmistakableappearance of a sage.

At this hour of the day, only a few SERVANTS and someOUTCASTS can be seen in the streets.

CLOSE on ZEALOT #1 hidden in a doorway. Thevicious-looking man watches the Rabbi Mendoza as he rapidlyapproaches the outlook. The man turns his head to signalfor 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. Hehas no time to utter a cry.

Zealot #1 pulls Mendoza to the ground and the other twostart kicking him on his side.

The sudden NOISE of galloping horses stop them in theiraction.

CLOSE on Zealot #2 as he looks in the direction of theapproaching horsemen.

Torquemada‘s entourage ride down the street toward Mendozaand his assailants.

ZEALOT #2Run for it!

The zealots sprint away in a flash leaving Mendoza on theground in pain, moaning.

Torquemada and Don Alvaro, followed by their escorts,arrive on the spot and halt near Mendoza who is stillstruggling, trying to get up. They stare at Mendoza who isin great pain. Don Alvaro looks at Torquemada who remainsimpassive.

Don Alvaro dismounts his horse and walks to the rabbi.

DON ALVAROAre you badly hurt?

MENDOZA(wavesdismissively)

I‘m a Jew.

Mendoza gets up on his feet with Don Alvaro's help andlooks for his hat. He finds it and puts it on his headwith shaking hands.

DON ALVAROI asked you whether you werehurt.

MENDOZAI‘m all right.

Don Alvaro turns back to the entourage.

Torquemada, erect on his horse, looks at the Rabbi withcontempt. Behind him Julio watches his master helping theRabbi regain his dignity.

Don Alvaro turns to Julio and beckons him.

DON ALVAROJulio! Escort the man home...

Julio dismounts his horse and comes over to Don Alvaro.

MENDOZA(interrupting)

I don‘t need an escort, DonAlvaro. The synagogue is onlya 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 turnsand heads toward the Jewish quarter.

Don Alvaro keeps his eyes on Mendoza for a while, moved anddisturbed by the experience, then turns to Torquemada.

DON ALVAROHe 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 andthey are on their way.

DISSOLVE TO:

EXT. THE RAFEL HOUSE, GARDEN - NIGHT

The lush garden with its blooming flowers is illuminated bya full moon.

Juan Pomas is singing a love song, accompanying himself onthe lute as Catherine sits next to him on a wooden benchunder an old citrus tree. She seems enraptured by themoment.

JUAN"Beneath the rock is born therose That does not burn theair". "Beneath a poor gatewayIs a divine rose-tree, And anangelic queen With a mostcharming grace. That mostlovely queen Has grown a rose,Redder and more lovely Thananyone has ever seen. A whiteand red rose, A blessed andholy rose, A rose for which ourFirst father‘s sin isforgiven."

Juan finishes the song with a flourish, places the lute onthe bench and takes Catherine's hand in his.

CATHERINEAs you were singing I keptimagining the beautifulchildren we are going to have,Juan... I saw their faces in mymind's eye...

He kisses her hand gently.

JUAN

I think of nothing else butloving you... and loving you,day and night... always...forever...

He pulls her close and kisses her on the lips. Sheresponds with passion.

Hearing an incomprehensible argument that filters out frominside the house Catherine and Juan turn toward the opendoor 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 MARIAI simply don‘t believe thatanyone who loves us as much asFather Thomas does, would turnagainst us in any way. He ismy confessor.

Don Alvaro rises from the table and begins to pace back andforth in front of her.

DON ALVAROYou 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, "DonAlvaro, where do you comefrom?" Those words. Andsuddenly his eyes were as coldas ice.

He turns away from Dona Maria, almost talking to himself.

DON ALVARO (CONT'D)He looked through me into mysoul. It‘s a gift the man has. There are no secrets barredfrom him. That‘s why Isabellamade him Grand Inquisitor.

Dona Maria smiles and shakes her head.

DONA MARIADon Alvaro, he knows that youcome from Barcelona, we spokeof it a dozen times.

DON ALVAROThen why did he ask me?

DONA MARIAHe asked you a simple question,Don Alvaro. I‘ve never seenyou so shaken before. I don‘tknow what you‘re afraid of.

Exhausted by the day‘s events and the argument, Don Alvaroslumps into his chair.

DON ALVAROWe go on with our lives,laughing, singing, pretendingthat the world is the way italways was, but underneath weknow that there is a thing inSpain now, called theInquisition, and day and nightwe‘re afraid, and this wholeland stinks with fear.

DONA MARIAHow can you talk that way aboutFather Thomas. This is a manof God, who baptized our onlychild...

DON ALVARODo you know what theInquisition is? Or is itbecause you know what it isthat you can sit there, like afool, and say the things youdo?

DONA MARIAHow dare you call me a fool?

DON ALVAROGod help us!

Don Alvaro jumps up angrily and marches out of thegalleria.

EXT. MONASTERY, CLOISTER - NIGHT

Torquemada hurries through the moon-lit, pillaredpassageway of the cloister toward his chamber. He isfilled with a morbid sort of happiness at his ownexaltation.

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 hunchedover the small table in his ascetic room, lit only by acandle.

We hear his thoughts as he composes instructions to theInquisition.

TORQUEMADA (V.O.)...so that all persons who havefallen into the sin of heresyor apostasy, who have observedJewish rites or any other thatare contrary to the Christian

religion,...

In the rhythm of his thoughts, the CAMERA moves slowly offTorquemada and circles the room, ending up on the cross.

TORQUEMADA (CONT'D)...may come forward to confesstheir sins, assured that ifthey do so with a sincerepenitence, divulging all thatis known to them, not only oftheir own sins but also of thesins of others, they shall bereceived with charity.

CLOSE on the candle‘s flame in front of Torquemada‘ face.

TORQUEMADA (CONT'D)They shall be subjected to asalutary penance, but theyshall not suffer death,imprisonment, or confiscationof their property...

DISSOLVE TO:

EXT. STREET IN THE CONVERSO DISTRICT - MORNING

Antonio de la Pena and a FRIAR walk purposefully toward thecathedral. The people on the street don‘t like thepresence of Dominican friars and they look at them withsuspicion.

TORQUEMADA (V.O.) (CONT'D)As the crime of heresy is avery heinous one, it is desiredthe reconciled may realize bythe penance imposed upon themhow gravely they have offendedand sinned against our LordJesus Christ.

INT. CATHEDRAL - MOMENTS LATER

Pena and the friar enter the cathedral. They make the signof the cross and continue walking along the side wall,under the stained glass windows depicting scenes ofChristian charity, so that they don‘t disturb the morningmass in progress. Near the altar they disappear behind asmall door.

TORQUEMADA (V.O.) (CONT'D)Yet, as it is our aim to treatthem mercifully and kindly,pardoning them from the pain offire and perpetualimprisonment,...

INT. CATHEDRAL, STAIRCASE - CONTINUOUS

Pena and the friar climb the narrow, spiraling stairs tothe tower.

TORQUEMADA (V.O.) (CONT'D)...and leaving them all theirproperty should they come toconfess their errors within theappointed time of grace, theinquisitors shall, in additionto the penance imposed upon thesaid reconciled, order them tobestow as alms a certainportion...

INT./EXT. THE TOWER - CONTINUOUS

Pena and the friar arrive in the tower, go past the largebells and stop at the open area facing the houses of theconversos below.

TORQUEMADA (V.O.) (CONT'D)...of their property, accordingto the position of the penitentand gravity of the crimes

confessed.

EXT. ROOFTOPS OF THE HOUSES BELOW - CONTINUOUS

Pena and the friar survey the rooftops of the houses belowof wealthy conversos.

Smoke comes out of most chimneys.

TORQUEMADA (V.O.) (CONT'D)These pecuniary penance shallbe applied to the Holy Warwhich the most serenesovereigns are making upon theMoors of Granada, enemies ofour Holy Catholic Faith, and toother pious works that may beundertaken.

Pena and the friar carefully scrutinize the chimneys.

PENALook at that one on the right! There is no smoke coming outof their chimney.

The CAMERA slowly ZOOMS in to the rooftop of a house with asmokeless chimney.

PENA (CONT'D) (CONT'D)They must be Judaizers. Theywouldn‘t desecrate the Sabbathby lighting fires.

INT. THE RAFEL HOUSE, KITCHEN - EVENING

CLOSE on the COOK‘S hands as they just finish kneadingbread dough. She places two loaves into the hot oven thencrosses over to the counter to attend to the poultry. Ayoung MAID standing next to her peels vegetables.

Dona Maria enters the kitchen.

DONA MARIAMiranda, prepare for one moreperson. Senor Van Sitten willstay on for dinner.

INT. THE GALLERIA - CONTINUOUS

Three well-dressed men, VAN SITTEN, from Amsterdam, PERIGOMEZ, from Barcelona and DINO ALEPPO, from Milan, sitaround the refectory table. Don Alvaro is at the head,dressed in black velvet and a white shirt. The mood isrelaxed and chatty, they are old friends. Julio walksaround the table serving wine to the merchants.

VAN SITTENAnd how much does the Queenneed to provide this Columbus,Don Alvaro?

DON ALVAROWe spoke about a small fleet,eight to ten ships, armed andwell -provisioned.

VAN SITTENI hear her Majesty's coffershave been drained by theconstant wars with the Moors...

ALEPPOWhich I feel is behind thegrowing power of yourInquisition...

DON ALVAROIt's fueled more by greed thanholiness.

ALEPPONow this may enrich the Kingand the Church, but believe me,Don Alvaro, the effect is

temporary and in the end youlose. You‘re eating your ownflesh.

VAN SITTEN(nodding)

Precisely. You look toAmsterdam for the money. Isthat so, Don Alvaro?

DON ALVAROAmsterdam and Milan.

EXT. ROAD TO MONASTERY - NIGHT

A RIDER, clad in a black cloak with a hood covering hisface, gallops in the darkness toward the Monastery.

EXT. MONASTERY, ENTRANCE - MOMENTS LATER

The rider arrives at the entrance and hands a sealed scrollto the guards.

RIDERFor the Grand Inquisitor, fromthe Holy See.

INT. MONASTERY, CHAPEL - CONTINUOUS

A mass is in progress. Dominican friars occupy thebenches.

Torquemada is on his knees, deeply absorbed in prayer.

A SOLDIER of the Holy Office of the Inquisition enters andgingerly walks up to Torquemada interrupting him at hisprayer.

SOLDIER(whispering)

It's very urgent, I was told.

Torquemada dismisses the soldier and carefully looks at thescroll. His expression suggests that the seal doesn‘t seemfamiliar and that what he sees is suspect.

He quietly leaves the chapel and stops in the entrance hallwhere there is a torch light above the container of holywater. 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 grandmotherwas 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 directionof the scream.

EXT. MONASTERY - CONTINUOUS

Torquemada, like a person run amok, bolts to the guards atthe gate holding the scroll up in the air.

TORQUEMADAWho brought this? Where is he?

SOLDIERA man in a black cloak, Father. The hood covered most of hisface...

Torquemada yanks the torch light out of the soldier‘s handand burns the scroll.

CLOSE on Torquemada‘s face illuminated by the dancingflames of the burning scroll. The wind blows the black

ashes of the paper in his face, making him look like a manwith 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 thedinner table talking. Her lack of participation in theconversation and her coldness create a strained mood.

VAN SITTENI think your man, Columbus, isquite mistaken about thedistance between Europe and theIndies by sailing westward. Some Jewish geographers inAmsterdam estimated a muchgreater distance than theItalian figured. Interestinglythey are your Spanish Jews.

Dona Maria reacts with obvious disgust upon hearing Jewsdiscussed in the conversation. Van Sitten can‘t helpnoticing this.

VAN SITTEN (CONT'D)Does it trouble you, Dona Mariathat I talk so openly aboutJews?

DONA MARIAThe thought of them is notpleasant 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 SITTENI‘ve seen you in betterspirits, my friend. Can I helpyou in any fashion?

DON ALVAROThank you, my friend. I‘mafraid no one can help me.

VAN SITTENIt‘s been two years since I waslast in Spain, Don Alvaro. What‘s happened since then?

DON ALVAROYou named it before. TheInquisition.

VAN SITTENYour Jews should have remainedJews. They became Spanishnobleman instead. In Hollandthey continued to be Jews andwe live well with them. Herethey are God‘s own temptation.

DON ALVAROYou think God deals intemptation?

VAN SITTENYou Spaniards brood too muchabout God, about Moors, andabout Jews.

DON ALVAROThere is hardly a nobleman inSpain who isn‘t Jewish, or halfJewish, or one-quarter Jewish,or one-eighth Jewish. We allcall ourselves Christians nowbut only dig the surface a

little...

Don Alvaro lowers his voice as he realizes that Julio isthere next to them with Van Sitten‘s horse ready for theride.

VAN SITTENAnd you trust no one.

Don Alvaro takes Van Sitten‘s hand and holds it tightly.

DON ALVARODon‘t be so hasty to visitSpain again, my friend.

VAN SITTENThen you come to us.

Van Sitten mounts his horse and Don Alvaro walks him to thegate 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 afireplace. The sound of the storm gradually recedes. Webecome aware of a comfortable SILENCE, then of SIGHS andGROANS. A naked female thigh slides over the length offemale belly, glistening with sweat. A male hand caressesa voluptuous female bottom. A tongue glides the length ofa lithe female neck.

EXTREME CLOSE UP on an arm as it slowly brushes the hairfrom a face revealing Catherine, her eyes closed, in astate of ecstasy.

DISSOLVE TO:

INT. CLOISTER, TORQUEMADA'S CHAMBER - CONTINUOUS

Torquemada's face is bathed in sweat and he is gasping forair. He awakes with a jolt and gets off his wooden cot.Hisentire body shudders upon hearing a loud CLAP OF THUNDER. As his eyes catch the crucifix on the wall he makes thesign of the cross. Deeply troubled, he puts on his robeand 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 OFTHUNDER makes him quicken his steps.

INT. MONASTERY, CHAPEL - MOMENTS LATER

Torquemada enters the dark, quiet chapel, illuminated onlyby a few candles. He walks to the altar, drops on hisknees and begins to pray.

TORQUEMADAMy Lord, forgive your devotedservant for his lewd and unholydreams. It is the work of thedevil. For such thoughts onlyoccur in my dreams, never in mywaking life...

Suddenly he is distracted and his eyes focus on something.

Across from him stands Catherine, dressed in the garmentsof the Virgin Mary, a halo radiating over her head.

CLOSE UP on her face as she smiles seductively atTorquemada.

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 stepson an unlit torch left on the ground and falls on themarble floor.

He looks up toward the statue of the Virgin Mary.

TORQUEMADA (CONT'D)Catherine... God, have mercy onme...

Torquemada bolts out of the chapel.

EXT. THE RAFEL HOUSE, GARDEN - MORNING

The orange light of the sunrise makes Don Alvaro's faceresemble a mask emphasizing further the sadness of hisexpression.

As he is cutting roses in the back garden of the house DonAlvaro becomes aware of something in the street andstraightens 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 thebell.

EXT. THE GARDEN - CONTINUOUS

Shocked by the unexpected visit Don Alvaro hesitates behindthe house, near the stables, to avoid confrontation.

INT. THE GALLERIA - CONTINUOUS

Dona Maria is sewing an overdress from a fine fabric whileCatherine helps her pinning and stitching.

Mendoza, a step or two inside the galleria, stands insilence. Julio, behind him, watches the Rabbi, waiting forhim to make a move, but Mendoza just stands thereimmobilized.

EXT. THE GARDEN - CONTINUOUS

Through the window Don Alvaro watches the events unfoldinside the galleria. He is in anguish, unable to decidewhether to go in to the help of Mendoza or to stay outside.

INT. GALLERIA - CONTINUOUS

Julio makes a step forward into the galleria toward DonaMaria.

JULIOSenora...

The women look up from their work questioningly. Juliopoints in the direction of Mendoza.

Seeing their gaze, Mendoza moves forward tentatively butstops after a few steps. Dona Maria and Catherine watchMendoza in astonishment mixed with fear and repulsion.

EXT. GARDEN - CONTINUOUS

Don Alvaro is angered by the reaction of the women. He isalso disgusted with himself for not having the courage tomake a move.

INT. THE GALLERIA - CONTINUOUS

Julio walks away from the women but stays in the backwaiting for instructions. Mendoza, quite graceless

standing there, decides to break the silence.

MENDOZAI‘m the Rabbi Benjamin Mendoza. I took the liberty to comehere. I mean no annoyance...no pain to you...

DONA MARIA(shrill)

What do you want here?

MENDOZAOnly to speak with Don Alvaro.

DONA MARIAI‘m sure Don Alvaro will beunable to see you.

MENDOZAI can understand that. Irealize there are many thingsimplicit in my coming here, butmore important than that is thefact that Don Alvaro saved mylife. He has a vested interestin me, so to speak, and we area people peculiar about suchthings.

Dona Maria rises and leans to her daughter.

DONA MARIA(quietly)

Catherine, please leave theroom.

CATHERINEI want to stay, Mother.

DONA MARIAI care not what you want. Iasked you to leave, Catherine.

Catherine shakes her head stubbornly.

DONA MARIA (CONT'D)(raises hervoice)

Please, leave!

Catherine‘s resistance collapses. She rises and leaves thegalleria.

Dona Maria, shaking with anger, turns to Mendoza.

DONA MARIA (CONT'D)Who sent you here? Why did youcome here?

The Rabbi shakes his head and spreads his hands, he isbewildered by the situation.

MENDOZAIf you came to my house, DonaMaria, I would welcome you butI would not ask you why you hadcome.

Dona Maria takes a step toward the Rabbi.

DONA MARIAThat I should come to yourhouse, Jew, is inconceivable. Inconceivable, do youunderstand me?

EXT. GARDEN - CONTINUOUS

Don Alvaro, unable to tolerate the insults any longer, runsinside.

INT. THE GALLERIA - CONTINUOUS

As Don Alvaro bursts into the galleria, crying out. We cansee Catherine hiding between the galleria and the room next

to it.

DON ALVAROMaria!

DONA MARIAThis Jew claims you saved hislife.

DON ALVARO(angry whisper)

This Jew...

Don Alvaro approaches Mendoza but stops half way. He turnsand walks up to Dona Maria.

DON ALVARO (CONT'D)(whispering)

Maria, why don‘t you just put aknife into my heart?

DONA MARIAYou were listening.

DON ALVAROI heard you from outside...

She turns and marches out of the room passing the cryingCatherine.

Don Alvaro becomes aware of Julio's presence. Master andservant hold their gaze, a question hanging unansweredbetween them. Julio leaves.

Catherine enters the room and pours a glass for the guestbut Mendoza doesn‘t reach for it.

CATHERINEDrink the wine of ourhousehold, Don Mendoza.

Catherine pulls a chair away from the table and offers itto the Rabbi.

Don Alvaro steps over to Mendoza.

DON ALVAROPour me a glass, too,Catherine, and ask Julio tobring us some bread.

Don Alvaro leans over to Catherine and kisses her gently.

DON ALVARO (CONT'D)(whispering)

Leave us alone, Catherine.

Catherine leaves.

MENDOZAYou‘re blessed, Don Alvaro. You have a remarkable daughter.

DON ALVAROYes, I am blessed in this way,Rabbi.

Julio returns with some bread. Don Alvaro looks at him andnods at him to leave.

MENDOZAThe man loves you. Why are youafraid of him, Don Alvaro?

DON ALVAROWe are in Spain, Rabbi. Therefore we must learn to livewith fear.

MENDOZANot all Spaniards are Jews.

DON ALVAROWhat do you mean?

MENDOZAThe art of living with fear isa peculiarly Jewish art.

Don Alvaro breaks off a piece of bread from the loaf andoffers it to Mendoza who takes it in silence and tastes itwith the wine.

DON ALVAROWhy did you come here, Rabbi?

MENDOZAMust I tell you?

DON ALVAROI sleep poorly as it is. ShallI sleep less poorly?

MENDOZAVery well.

(pause)You‘re a friend of Torquemada.

DON ALVAROHow do you know that?

MENDOZAAll of Segovia has known it foryears.

The rabbi is in anguish as he continues on.

MENDOZA (CONT'D)He‘s decided to destroy oursynagogue... to burn it to theground... and I‘ve heardreliable accounts about hisambition to persuade oursovereigns to expel all Jewsfrom Spain.

DON ALVAROWhy should he...

MENDOZAHe hates Jews, and he‘s theGrand Inquisitor of Spain.

DON ALVAROThat gives him no right to actagainst the Jews.

Don Alvaro rises from his chair in anger.

DON ALVARO (CONT'D)The Inquisition can take actionagainst heretics, blasphemers,but not against the Jews.

MENDOZAYou have a desperate need tothink along legal precepts, DonAlvaro. It‘s power thatcounts. He talks, he preaches. He calls for a punishment upona pestilence. He talks withGod‘s voice. Torquemadaconvinces too many people thatit‘s God‘s will that thesynagogues be burned to theground.

DON ALVAROI don‘t think you understandwhat you are asking me.

MENDOZA(whispering)

Yes, I do.

DON ALVAROWhy did you come to me? Whyme, out of the whole city? Because I saved your life?

MENDOZANo, not because you saved mylife.

Close on Catherine at the back of the galleria, half hiddenfrom her father and Mendoza, listening. Tears coming down

her face.

DON ALVAROUnwittingly and unknowingly Isaved the life of one Jew andnow I must save the lives ofmillions of Jews and asynagogue or anything else yourfancy directs.

(pause)Why me? Out of all Segovia,why me?

MENDOZAMust you have another reason?

DON ALVAROI must.

MENDOZAVery well, then... I will giveyou the reason. In Barcelona Iknew your father. I knew whohe was and what he was. Iloved him and I trusted him,and I said that what he wasmust 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.

JULIODon Alvaro... I'd rather diethan have you look at me theway you did before.

ALVAROI trust you, Julio

JULIOSay it in truth, Master, or

I'll walk to the stable and puta knife to my heart...

Don Alvero stops, turns from the mirror to face hisservant.

ALVAROJulio, I say it in truth. Youare my trusted and dear friend.

The two men look at each other for a beat, then embrace ina fraternal way.

ALVARO (CONT'D)Have you saddled my horse?

JULIOIt's all ready for you, master.

Don Alvaro makes a final adjustment to his clothes in frontof the mirror and leaves the room followed by Julio.

INT. STAIRCASE, HALLWAY - CONTINUOUS

Don Alvaro hastens down the stairs to the hall whereCatherine is waiting for him. She embraces her Father withinnocent affection. His expression suggests deep concernseeing Don Alvaro embarking on a trip.

CATHERINEIt hurts me when you quarrelwith Mother.

DON ALVAROI know not what to say at thistime my child.

Catherine, as always, is open with her Father, but at thismoment it's not easy for her to ask the question...

CATHERINEWhy does she hate the Jews,Father?

DON ALVAROMany people hate the Jews, youknow that, Catherine.

CATHERINEAre they so very evil?

DON ALVAROLike all people, some are goodand some are bad.

EXT. THE GARDEN - CONTINUOUS

His arm around her shoulder, Don Alvaro leads Catherine outof the house. Julio is already there waiting with thesaddled horse.

CATHERINEWhat is a rabbi? Is he apriest?

DON ALVAROWell, not exactly.

CATHERINEWhy won‘t you tell me?

DON ALVAROI suppose he is like a priestor, more like a teacher,something of that sort.

Giving up on having a convincing explanation, she smiles ather Father.

CATHERINEYou are a very handsome man,Don Alvaro. Now why didn‘tthat 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. Iwill miss you dearly...

Don Alvaro rides away in a slow trot as if his daughter‘slast words had magnetic power holding him back. He turnshis head and waves good-bye.

Catherine watches her father ride down the street. Hersmile turns into sadness, and perhaps even a few tearsappear running down her cheek.

SLOW DISSOLVE TO:

EXT. CATHEDRAL SQUARE - DAY

It is a beehive of activity in this central square ofSegovia. Beggars, cutthroats, burghers, peasants and thenobility mingle in apparent peace. Some enterprising onessell refreshments, fruits and knickknacks. A barber hasset up a chair in the open ready to cut hair or pull rottenteeth.

As Torquemada dismounts his horse the soldiers of the HolyOffice 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 beginsthe confession. We don‘t immediately know whom he isaddressing.

TORQUEMADAIs there something important,Dona Maria, you want toconfess... to relieve the painin your heart and soul?

Dona Maria sits on the other side of the confessional box,softly crying.

DONA MARIAI sinned, my father. I... Ifeel desperate... andmiserable.

TORQUEMADATell me about it, Dona Maria. Unburden your heavy heart toGod. He is our only salvationon earth. Tell me, my child,tell me what tortures yourheart.

DONA MARIAMy husband...

TORQUEMADAYes?

DONA MARIAMy husband and I... we had afight, we yelled at each otherin front of Catherine. Latelywe‘ve been fighting a lot.

TORQUEMADAWhat was the reason for yourfights, my child?

DONA MARIAI can‘t talk about it, Father,it‘s too painful.

TORQUEMADAYou must alleviate your pain,

Dona Maria. It‘s yourresponsibility as a devoutChristian to confess your sinsto our Lord. Have you lostfaith, my child?

DONA MARIA(sobbing)

I can‘t, Father, I can‘t...

TORQUEMADAYou will burn in hell foreternity if you deny your soulsalvation. Confess, my child!

DONA MARIAI... we... my husband and I...we don‘t make love anymore.

(crying)I don‘t know what happenedbetween us, Father. I don‘tknow. In my mind, only in mymind, I want to make love toa... man, someone I know. Itwas only a fleeting fantasy...just a thought.

TORQUEMADA(disappointed)

Are you sure, are youabsolutely sure that there isnothing more you want toconfess, Dona Maria?

DONA MARIAYes, Father. That‘s all thereis.

EXT. CATHEDRAL, BACK GARDEN - LATER

Torquemada, flanked by Dona Maria and Catherine walk in thespacious private garden of the cathedral. All three arerelaxed and smiling. He turns to Catherine...

TORQUEMADATo me you are purity andgoodness in the flesh,Catherine. I don‘t suppose Icould make you understand howrare your qualities are, howprivileged you are. You aredestined to serve God, mychild. You must become a brideof Christ.

Mother and daughter stop and look at Torquemada in shock.

TORQUEMADA (CONT'D)It‘s your duty to your Lord,Catherine. You are privilegedto have been born with theseunique qualities...

Torquemada starts to walk again toward the entrance,followed by the two women.

CATHERINEBut, Father, I‘m alreadyengaged to Juan Pomas. We‘regoing to get married in...October...

DONA MARIA(interrupting)

I had hoped Catherine wouldjoin the order, but two yearsago she fell in love. Mydreams were shattered, Father.

Torquemada puts his arm around Catherine‘s shoulder andpulls her close to him in a "fatherly" fashion.

TORQUEMADAThere is still time to changeyour mind, my dear child.

CATHERINE

I believe, Father, my destinyis to raise children. I wantto be a mother, have a largefamily...

TORQUEMADAWell, that‘s also commendable,but serving your Lord iswoman‘s ultimate vocation.

They stop near the gate of the garden.

TORQUEMADA (CONT'D)Please, convey my best wishesto Don Alvaro. It was ablessing to have his company onour trip back from thesovereigns.

He makes a half-turn as if to leave the women, but changeshis mind.

TORQUEMADA (CONT'D)(smiling)

Oh! There is one more thing Iwanted to ask you, Dona Maria. It‘s insignificant, just tosatisfy my curiosity. What isthat small object on DonAlvaro‘s silver chain, next tothe cross? I noticed it on him in Sevilleand forgot to ask him.

Neither Dona Maria nor Catherine can hide their anxiety asthey listen to Torquemada.

DONA MARIA(paling)

I don‘t know, Father. I havenever asked him. He has alwayshad it on the chain next to thecross...

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 andgrapevines worked at by MONKS with their robes hitched upto their knees.

As he approaches the gates guarded by SOLDIERS of the HolyOffice, Don Alvaro slows down to a trot.

He wipes the dust and sweat off his face with a whitehandkerchief and takes a swig from his water flask.

Without wasting more time, Don Alvaro dismounts his horseand steps over to the soldiers.

DON ALVAROI am here to see Prior Thomasde Torquemada.

SOLDIERHe is not back from mass at thecathedral. You have to wait.

Don Alvaro ties his horse to a hitching stone and entersthe courtyard.

EXT. MONASTERY, COURTYARD - MOMENTS LATER

Disappointed in losing his emotional momentum, Don Alvarorests on wooden bench.

Don Alvaro's POV:

He observes a group of soldiers in armor dragging aWELL-GROOMED MAN across the yard into the Holy Office ofthe 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 markedwith 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 austereroom writing. He doesn‘t look up as Don Alvaro enters.

Don Alvaro steps forward and walks to the table expectingTorquemada to acknowledge his presence.

A moment of awkward SILENCE.

Torquemada stops writing and slowly raises his eyes to meetDon Alvaro‘s gaze.

DON ALVAROI met an educated man thismorning who said that Spain isdying.

TORQUEMADA(nodding)

And you came to tell me.

DON ALVARONo. Once I would have come toyou, not to tell you, but toask you... to ask you to giveme faith to confront such atragedy.

TORQUEMADA(smiling)

A land doesn‘t die because aman says so.

(pause)

Is it faith you search for, DonAlvaro?

DON ALVAROWe were friends once. When didour friendship end?

TORQUEMADADid it end, Don Alvaro?

DON ALVAROThe time came and it ende.

TORQUEMADATell me when that time was, DonAlvaro?

DON ALVAROThat time came when you becamea righteous man, Father Thomas.

TORQUEMADAThat means nothing, Don Alvaro. Evidently you would commend apriest who lackedrighteousness. That is mostinteresting indeed. But is itto tell me this that you comehere?

DON ALVAROI‘m a tortured man. I admit toit. What game are you playingwith me?

TORQUEMADAIt is no game.

DON ALVAROWhat then?

TORQUEMADADo you desire to confess?

DON ALVAROTo the priest or to the GrandInquisitor?

TORQUEMADABoth are one and the same man.

DON ALVAROI think not. I knew thepriest.

TORQUEMADABut I still know you, DonAlvaro. I know you better thanyou imagine.

Torquemada rises from his chair, walks to the window,returns back to Don Alvaro, who hasn‘t moved an inch, andstarts pacing the room.

TORQUEMADA (CONT'D)I know many things, Don Alvaro. I know, for example, that theRabbi Mendoza came to yourhome.

DON ALVAROSo you spy on me?

TORQUEMADAThe Holy Inquisition does notspy. It sees.

(pause)Has it ever occurred to youthat if Spain is dying, it isthe Jew who chokes the life outof her?

DON ALVAROI‘ve been made to believe thatthe Holy Inquisition is a courtof the Church and not concernedwith Jews.

TORQUEMADAThe Holy Inquisition isconcerned with Christians whoare not Christians except inword and we‘re deeply concernedwith the souls of theseChristians who Judaize, whopractice the Jewish rite insecret and who put theirimmortal souls in terriblejeopardy. As for the RabbiMendoza, I know why he came toyou.

DON ALVAROHis synagogue is very old.

TORQUEMADAAre these your arguments, DonAlvaro?

(pause)The synagogue is old but so isthe Jew, very old indeed. Todestroy the one, you mustdestroy the other. So long asthere are Jews, Christians willJudaize.

(pause)Did you come to plead with mefor the synagogue or the Jews?

DON ALVAROI haven‘t that much courage,Thomas. I‘m afraid. There ismy confession. A Spanishknight pleads fear and horror. But tell me, who is there inall of Spain today who willplead for the survival of asynagogue?

TORQUEMADA(smiling;shaking his

head)Don Alvaro, Don Alvaro, yousurprise me.

DON ALVAROAnswer me.

TORQUEMADAAnswer you? Who will pleadfor a synagogue? The answer isobvious, Don Alvaro. A Jew.

DON ALVARO(cries out)

Which I am not!

TORQUEMADAWhich you‘re not.

(pause)You have a business associate,one Hans Van Sitten, aHollander. He entered thesynagogue when the Jews were atprayer. I have reputablewitnesses who will swear thathe Judaizes.

DON ALVAROI don‘t believe that.

TORQUEMADAWhen Spaniards will swear tothis, you tell me you don‘tbelieve it?

DON ALVAROHe is a Hollander.

TORQUEMADAHe‘s a friend of yours, yetwill you keep him from the onlything that could purify him,that could give him hope, notin his moment here on earth but

in all time?

DON ALVAROWhat thing?

TORQUEMADAThe stake. You are horrified?

DON ALVAROYes, I‘m horrified.

TORQUEMADADo you think it‘s easy to burna human being alive? I‘m morehorrified at the thought of asoul imperiled, my dear DonAlvaro.

Don Alvaro stands there silently staring at Torquemada.

TORQUEMADA (CONT'D)You spoke of friendship before,Don Alvaro. I will open myarms and my heart, but shall Iweaken my faith for you?

Torquemada lifts his hand and points his finger at DonAlvaro.

TORQUEMADA (CONT'D)I tell you this. Bring meproof that Van Sitten is aheretic. Denounce him beforethe Holy Inquisition. Then Iwill open my arms to you. ThenI will listen to you. Then Iwill heed your request, yourpleas.

(pause)I ask you only to proveyourself a Christian.

DON ALVAROI must prove that to you?

TORQUEMADANot to me. To your God.

EXT. MONASTERY, COURTYARD - MOMENTS LATER

Don Alvaro ambles out of the courtyard and heads to thehitching stone. Deep silence surrounds him as he walks hishorse 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 roadtoward Segovia under the burning midday sun. At one pointhe notices an ancient cypress tree on top of a small hilland decides to take the path leading up to the plateau. Asthey come to a complete stop Don Alvaro dismounts thehorse, sits in the dry grass and opens his shirt to exposehis skin to the slight breeze.

As he relaxes in the shade contemplating his meeting withTorquemada, he becomes aware of the chain with the crossand the silver cylinder on it, and places them on his palm.

The serenity of the moment is soon interrupted by theclip-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 thata rope is attached to the pommel of the fat soldier‘ssaddle and the other end of the rope is fastened around theneck of the man. He is too far from Don Alvaro to

recognize his identity. Saddened and angered he rises andturns away from the sight.

CLOSE ON the man, he is Van Sitten. His body is covered inblood and dust, his clothes torn and his hands tied behindhis back. The soldiers whip their horses intentionally tojerk Van Sitten to the ground. He is dragged in the dustscreaming from pain.

CLOSE ON Don Alvaro.

Hearing the scream of the man Don Alvaro jumps on his horseand races across the fields in a wild and frantic gallopletting out a desperate GROAN.

He keeps whipping his horse, but the horse loses itsfooting 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 thetrembling horse whose mouth is dripping lather and strokesits wet hide with affection.

DISSOLVE TO:

EXT. OUTSKIRTS OF SEGOVIA - SUNSET

Don Alvaro, walking the horse, heads toward the city. Hisweary 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 hisway to their house for dinner. Don Alvaro‘s condition andthe expression on his face keep Juan from making anycomments.

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 inlaidwith gold. A large chandelier with thirty candlesilluminates the room.

Everyone in the family detects a significant difference inDon Alvaro‘s demeanor. They eat in silence until DonaMaria can‘t take it any longer.

DONA MARIAWhat happened, Alvaro? Wherewere you?

DON ALVAROI was riding.

Juan‘s silence makes Catherine uneasy. She smiles at him,trying to comfort him.

DONA MARIAI don‘t have to ask you whereyou were, what you did, who yousaw. Your answer is that youwere riding. You leave yourfood untouched and when I askwhy, you answer me in riddles.

DON ALVAROOur existence is a riddle.

He lifts his glass and empties it.

DONA MARIAHow can you speak such nonsensein front of your daughter andher husband to be? He came inand told us that your horse waswet and trembling withexhaustion.

DON ALVARO(snapping)

I ride hard.

DONA MARIAWhile you were gone, Torquemadaasked us questions afterconfession.

CATHERINEFather, he only asked us whyyou wear a silver cylinder onthe chain around your neck. Soyou see what a small thing itwas?

DON ALVAROAnd what did you tell him?

DONA MARIAI told him you had always wornit.

CATHERINEWhy do you wear it, dearFather?

DON ALVAROIt‘s only a memory. I shedmyself of most of my memoriesbut no one can cast away all ofthem... not even Torquemada.

Don Alvaro takes the chain out from under his shirt andlays it in front of Catherine.

CLOSE on the cross as it lies next to the silver cylinderon the table.

Catherine examines the chain in great interest.

DONA MARIAWhat kind of grotesque joke are

you making of this whole thing,Don Alvaro? Torquemada askedus about this.

DON ALVAROThere must be no mysteries forhim. I‘m sure he has guessedwhat I wear about my neck.

(to Dona Maria)Have you never asked yourselfwhy I wear this and what it is? Really, Maria, never once?

Gripping the table uneasily, Juan rises from his chair.

JUANWill 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 toleave.

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 thechain in Don Alvaro‘s hand.

Annoyed and angry, Dona Maria can‘t take the silence anylonger. She points to the chain.

DONA MARIAWhat is that... thing, DonAlvaro?

DON ALVAROYou ask me now, aftertwenty-two years?

Concerned for her father Catherine pleads with him.

CATHERINEFather, for God‘s sake, whatdid happen today?

DON ALVAROI don‘t know. Somethinghappened but I‘m not sure. Howcan I explain that to you.

Don Alvaro holds up the cylinder.

DON ALVARO (CONT'D)This thing belonged to myfather and, before him, itbelonged to his father. Whatis it? Like the cross, it‘s aholy thing. Inside of it thereis a tiny piece of parchment,and on the parchment, a fewwords are written...

CLOSE on Dona Maria losing her control.

DONA MARIAStop! I've heard enough!

CLOSE on Juan sitting frightened as a trapped animal.

CLOSE on Catherine. She is near tears, pleading in silencewith her father.

Don Alvaro looks at his wife bitterly.

DON ALVAROEnough of what? The Jew inyou? The Jew in me? The Jewin Catherine? The Jew in Juan?

Juan‘s face pales. He springs to his feet and leans overthe table toward Don Alvaro.

JUANIn God‘s name, what are you

saying to me? You know thatI‘m a Christian.

DON ALVARO(smiling)

Of course you are a Christian,Juan. But yourgreat-grandfather, he was arabbi. Will you make aChristian of him?

Dona Maria rises and leans over to Don Alvaro to whisper tohim.

DONA MARIAYou‘ve lost your mind. You‘reinsane.

DON ALVAROAm I mad? Was your own motherhalf-Jewish or not?

DONA MARIA(shouting)

Lies! How dare you sit hereand lie and blaspheme?

Don Alvaro picks up the cylinder and holds it between hisfingers.

CATHERINEWhat‘s written on thatparchment, Father?

Dona Maria is motionless, frozen to the spot. Juan sinksback into his chair in despair.

DON ALVAROIt says, "And thou shalt lovethe Lord thy God with all thyheart and all thy soul and allthy might." They call it theJewish curse. It‘s written inHebrew letters. Jews put it on

the doorposts of their houses.

Dona Maria covers her face and runs out of the roomsobbing. There is silence for a few moments, thenCatherine turns to her father.

CATHERINEOnly that?

DON ALVAROOnly that, my child... onlythat. I must find your mothernow. She‘s deeply disturbed. I don‘t know why I did this toher.

Don Alvaro rises and leaves the room.

Catherine and Juan stay at the table, stare at each otherbriefly, then as if it were a present for her, Catherinereaches across the table and picks up the chain, touchesthe cylinder gently with her finger and smiles.

JUANCatherine? Please, Catherine?

CATHERINEWhat 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 chainto him but Juan recoils in terror.

CATHERINE (CONT'D)An hour ago I didn‘t know thatpart of me was Jewish or thatpart of you was Jewish. Now Iknow it. I feel no different. No different at all.

JUANI‘m a Christian, as you are,Catherine.

CATHERINEYes, I know that. It meansthat I‘m both a Jew and aChristian... and still it seemsto make no difference.

JUANNo!

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 herhand.

CATHERINEAnd with this thing in my handI Judaize. Now suppose thatour good Prior Torquemada washere. Then I‘d say to him,Father Torquemada, I Judaize. Poor Prior Torquemada. He‘dhave to tie me to a stake andburn me.

Her voice dies away and the smile changes into sadness asshe turns to Juan in a whisper.

CATHERINE (CONT'D)Oh my God, Juan, what‘shappened here?

JUANDon‘t let it happen to us,Catherine, for God‘s sake.

CATHERINE

Do you still want to marry me,Juan?

JUANI‘ve given you my word.

In a fury, Catherine rises, takes a few steps away from thetable and turns back to Juan.

CATHERINE(cries out)

Be damned with your word! Irelease 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 thedirection 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. Hesits up on his cot, covers his face with his hands andstays 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 flamecloser to his eyes and lets himself be hypnotized by it.

A few moments later he slowly lowers the candle to his barechest, waits a moment then pushes the flame next to hisskin.

His face contorts from the sudden, sharp pain but hedoesn‘t utter a word. The CAMERA TILTS DOWN to the burnt

flesh on his chest. He drops the candle and slumps on hisbed in the darkness.

EXT. COUNTRYSIDE - DAWN

Tears are coming down Juan‘s brooding face. He sits on arock overlooking the monastery below. His horse is tied toa dead tree behind him. A COCK‘S CROW reminds him ofdaybreak. He mounts his horse and descends to themonastery whose BELLS TOLL for morning mass.

EXT. MONASTERY, CLOISTER - MOMENTS LATER

Among a group of friars behind the columns Torquemada is onhis way to the chapel for mass. He notices Juan in thedistance.

Juan dismounts his horse at the hitching stone and crossesthe courtyard. He stops to look around and notices thedark figure of Torquemada leading the friars.

Torquemada breaks away from the group and crosses to Juanwho, at the same time, approaches him from the yard. Theyboth stop at a column close to each other.

As the sun rises the horizon begins to take on an orangeshade enveloping Torquemada and Juan.

TORQUEMADAWhy are you not in bedsleeping, my son? At thistime, so early in the morning,the body may be clothed, butthe 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‘rethe servants of God. People ofChrist. How can you fear me?

(pause)Undoubtedly you have heard itsaid that Torquemada was once aman and has now become amonster? But do monsters serveGod?

JUAN(muttering)

I don‘t know.

TORQUEMADAWill you serve God? Will youserve your immortal soul? Willyou serve Spain?

Juan tries to speak but no words come forth.

TORQUEMADA (CONT'D)Do you think that God hasforgotten Spain?

(pause)God has not forgotten Spain,God has only forgotten the Jew.

Torquemada steps closer to Juan so the boy can see his eyesin his bony face shadowed by the cowl.

TORQUEMADA (CONT'D)But the Jew who becomes aChristian... this Jew Godremembers. For this Jew has animmortal soul and there is noimmortal soul on this earththat 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, JuanPomas? Few come here of theirown free will.

Torquemada draws Juan nearer and whispers in his ear.

TORQUEMADA (CONT'D)What‘s the cylinder that DonAlvarowears around his neck?

Juan remains silent.

TORQUEMADA (CONT'D)Do you know what the HolyInquisition is, my son?

JUANI swear by the Mother of God,as I‘m a Christian! I swear, Iswear to you Father Torquemada,that Don Alvaro is a Christian!

TORQUEMADA(whispering)

You swear too much. Why do youimperil your immortal soul?

JUANDon Alvaro is a Christian!

TORQUEMADAYou answer a question I neverasked. We have the answer, butwhere is the question, JuanPomas? Is it in your heart, inyour soul, or is it in God‘svoice? I did not ask youwhether Don Alvaro is a

Christian. I asked you what‘sin the cylinder he wears aroundhis neck.

Juan, trembling with fear, and struggling with hisconscience, blurts out the word..

JUANA curse.

TORQUEMADAWhat curse?

JUANA Jewish curse.

TORQUEMADAWhat is the Jewish curse? Doyou know? And if you know,tell me how you know.

JUANI heard Don Alvaro speak of it.

Torquemada nods, makes a step or two, then stops.

TORQUEMADASpeak this curse here, JuanPomas.

Juan, by now, paralyzed with fear, remains silent. Then hetries, but is unable to speak. Then Torquemada cries outin a commanding voice.

TORQUEMADA (CONT'D)I absolve you! I order you! On pain of my anger, I orderyou to speak.

JUAN"And thou shalt love the Lordthy God with all thy heart andall thy soul and all thymight."

EXT. COUNTRYSIDE, ROAD - DAY

Two soldiers of the Holy Office of the Inquisition, thesame ones who dragged Van Sitten to prison, ride in thedirection of Segovia.

INT. THE RAFEL HOUSE, GALLERIA - DAY

Don Alvaro stands at the window gazing at the world as ifhe were already imprisoned.

DONA MARIA (O.S.)We shall not wait for Juan anylonger. It‘s rude of him tomake us late for confession.

INT. HALLWAY - CONTINUOUS

Dona Maria, dressed for church, watches Catherine descendthe staircase wearing a sky-blue, velvet dress with goldtrimmings. She is like a living portrait by Bronzino.

CATHERINEI don‘t think he‘ll join us,Mother.

DONA MARIADid he say so?

CATHERINENo, he didn‘t. It‘s just myfeeling.

DONA MARIAI wouldn‘t be surprised if henever showed up again.

Dona Maria turns to the doorway that opens into thegalleria.

DONA MARIA (CONT'D)(to Don Alvaro)

You should come with us toconfession, Don Alvaro.

Don Alvaro turns angrily away from the window to face DonaMaria and Catherine.

DON ALVAROI‘m staying right here. Youtwo go. Hurry, or you‘ll belate.

Catherine, troubled, enters the galleria and crosses overto Don Alvaro.

CATHERINEFather, will you be here whenwe return?

Don Alvaro forces a smile to reassure her.

CATHERINE (CONT'D)Mother wants me to confess...

DON ALVAROThat‘s an excellent notion. Ithink you should. You‘ll feelbetter.

She kisses her father good-bye and leaves the house withDona Maria.

Don Alvaro, hearing the door close, moves from the windowto the hallway and up the staircase into his privateworking room.

INT. DON ALVARO'S ROOM - MOMENTS LATER

Don Alvaro purposefully enters and goes straight to hiswriting 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 thinkingabout the first sentence, but instead of continuing, hecrumples up the scroll and starts another one:

"My Dear Catherine:"

DISSOLVE TO:

CLOSE on Don Alvaro hunched over the dais, writing theletter.

The CAMERA moves off him, crosses the room and stops at thewindow. NOISE of horses‘ hooves and steel against steelare 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 thedoor loudly.

INT. DON ALVARO'S ROOM - CONTINUOUS

Don Alvaro steps away from the window, resigned to theinevitable, he sits in his favorite chair waiting for theknock on the door. He doesn‘t have to wait long.

DON ALVAROCome in, Julio.

Julio timidly enters. The story is written on his face.

JULIOI wouldn‘t let them in thehouse. They are filthy andthey stink.

Don Alvaro rises from his chair, crosses over to the doorand hands the letter he has written to Julio.

DON ALVAROThis is for my daughter, Julio. It‘s very important.

JULIOShe will have it, Don Alvaro.

Don Alvaro hands a second scroll to his faithful servant.

DON ALVAROThis, Julio, is a codicil to mywill. It says that if I shoulddie you‘re entitled to theownership of my white stallionyou‘ve always admired and alsoto one hundred gold pieces...

JULIODon Alvaro, please... you mustnot speak this way. Your deathis far away.

DON ALVARONo man‘s death is far away,Julio.

(pause)Now leave me alone and tell thesoldiers that I‘ll be with themas soon as I‘ve dressed myselfproperly.

Julio leaves the room.

DISSOLVE TO:

EXT. STREET NEAR THE CATHEDRAL - DAY

Prisoners of the Inquisition, surrounded by representativesof the Holy Office, march ceremoniously toward the

cathedral where the "Act of Faith" (Auto de Fe) will takeplace. It‘s a ritual that precedes the burning of theimpenitent heretics at the stake.

The procession is led by the bearers of a green cross thatis draped with black material. Immediately behind them area company of familiars of the Holy Office followed by apriest with a canopy of scarlet and gold over him borne byfour men. He carries the Host. More familiars follow him,then the prisoners in varying degrees of misery: somehaving the marks of torture upon them, others sufferingonly shame. They all wear the sanbenito, a garb of shameand disgrace. It‘s a loose-fitting garment, with a hole inthe top that slips over the head, made of yellow sackclothwith red crosses sewn to it in the front and the back. Inthe case of those condemned to the stake, their sanbenitosare painted with flames and devils. In addition to thesanbenitos they wear a tall mitre, or cone-like cap coveredwith yellow sackcloth.

Following the prisoners, and fastened to long green poles,are effigies of people who have been found guilty butescaped from Spain. Their faces are painted with hideousgrimaces. There are also corpses dug up from the graves ofthose who were condemned as heretics after they had died.

Next come the Inquisitors, banners of red silk carriedbefore them; on one side of the banners are emblazoned thePapal 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 theprocession soldiers march with halberds on their shoulders. Straggling in the rear are the sightseers, making theirway 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. Hisface is contorted by pain and misery. In a few days he hasbecome an old, broken man trudging to his death.

EXT. COUNTRYSIDE - DAY

Don Alvaro and the soldiers ride in the direction of themonastery. Don Alvaro is dressed in a white silk shirt anda velvet vest over it.

DON ALVAROWhy didn‘t you put irons on me,or a rope around my neck?

FAT SOLDIERWe know you're a Spanishnobleman, Don Alvaro.

Don Alvaro doesn't react and the three continue their rideat 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, arearranged for the prisoners who sit so that the crowd maysee them. There are friars sitting next to the prisonerswho continue to exhort them to confess. All around theplatform grotesque straw figures and desecrateddecomposing bodies are set up on long, green poles.

On a second platform the Inquisitors and their servantssit. The black-draped green cross stands behind them andan altar lit by candles is placed in front of them. Incense burns on the platform.

A huge, mixed crowd surrounds the platforms, filling theentire square, cheering, insulting, anticipating theinhuman spectacle of terror.

The crowd reacts to the prisoners, shouting insults: "Burnthem 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 HolyMother Church that your soulmay be saved from damnation.

Van Sitten doesn‘t react to the friar‘s frequentexhortations, he just gazes in front of him in a mutestupor.

One of the inquisitors rises, turns to the crowd and liftshis arms asking for quiet.

INQUISITORGood Christians of Segovia. Fall to your knees and repeatthe oath of allegiance to theInquisition 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 theHoly Office against all whocome to destroy it...

The crowd repeats the oath after the Inquisitor.

INQUISITOR (CONT'D)"I swear I will be faithful toit in life and in death..."

EXT. MONASTERY, HOLY OFFICE - DAY

Don Alvaro and the soldiers cross the courtyard among MONKSwho don‘t acknowledge his presence. They enter thebuilding.

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. Thesoldiers leave.

INT. AUDIENCE CHAMBER - CONTINUOUS

Don Alvaro enters the familiar room. He stops as the doorcloses 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 DonAlvaro with no particular expression; they neither approvenor 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 thistime of day the light from the Gothic windows glare down onthe Inquisitors in broad bands.

The friar nudges Don Alvaro closer to the table and leaveshim standing there. At this moment he doesn‘t seem to feelanything at all, neither fear nor anger.

DON ALVAROWhy have you brought me here,Father?

TORQUEMADADon‘t you know?

DON ALVAROIf I knew I wouldn‘t ask you.

TORQUEMADAYou see, Don Alvaro, we havemany years of friendship behindus. I know you very well...and I think that I knowsomething about your soul, butyour mind remains closed to me.

I have no powers to enter it.(pause)

So suppose you tell me whyyou‘re here.

DON ALVAROI don‘t know.

TORQUEMADADon Alvaro, do you accept thedoctrine of the immortality ofthe human soul?

DON ALVAROI accept it.

TORQUEMADAThen we‘re here not as yourenemies but as your saviors...for what is any earthlydiscomfort as against theeternity of immortality?

Torquemada leans forward eagerly and waits. Theinquisitors on either side of him look from his face to DonAlvaro and then back to Torquemada. But Don Alvaro doesn‘treply.

TORQUEMADA (CONT'D)Confess yourself.

DON ALVAROOf what?

TORQUEMADAShall we decide that?

DON ALVAROTell me what I‘m charged with.

Torquemada sighs then suddenly clenches his fist andsmashes 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.

TORQUEMADASo you are, so you are, DonAlvaro de Rafel. Otherwise youwould not stand before thisHoly Inquisition. No Jewstands here. For to whatpurpose, to what end would theystand here? Damned as they arefrom the moment of their birth,they have no hope of salvation.

Torquemada‘ anger has dissipated with the words. His voicebecomes gentle again and understanding.

TORQUEMADA (CONT'D)I‘ve known you many years, DonAlvaro de Rafel... yourself andyour wife and your daughter. As an unbaptized infant I heldCatherine in the palm of myhand and I‘ve watched her grow.

(his voicealmost breakshere)

I‘ve known you and I‘ve lovedyou. Do not place yourdamnation as another burdenupon me. I have burden enough. As I said before, we werefriends and that being the casethere is a necessity forunderstanding.

(pause)I plead with you! Confessyourself, absolve yourself.

DON ALVAROSo 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 fromthe bottom of his jaw.

OLD INQUISITORThe mortal body is burned away. The fire strengthens the soul. Nothing but this disease wecall life is burned away.

Small beads of perspiration appear on Don Alvaro‘sforehead.

TORQUEMADAGive up your torment, DonAlvaro.

DON ALVAROBut I have found somethingprecious in my torment.

TORQUEMADASomething precious? What haveyou found, Don Alvaro?

DON ALVAROMyself.

TORQUEMADAAs a heretic? As a Jew? Howhave you found yourself, DonAlvaro?

DON ALVAROAs a human being.

TORQUEMADAAnd what does that signify, DonAlvaro? That you eat, that yousleep, that you breathe? Ananimal performs all thosefunctions. An animal is flesh

and blood. A Jew is flesh andblood. I was speaking beforeof your immortal soul.

DON ALVAROAnd as the body needs flesh andblood how does the immortalsoul nourish itself? Withmercy and compassion? Or is ita lie all that I was taught?

TORQUEMADAWe are mercy and compassion,ourselves, the HolyInquisition.

Rising, Torquemada pushes back his chair and strides aroundthe table to Don Alvaro. They stand face to face.

DON ALVARO(whispering)

Why? Why, Thomas? Why are youdoing this to me? What devildrives you?

TORQUEMADAWhat is it you wear around yourneck?

Torquemada reaches out, grabs the chain and rips it fromaround Don Alvaro‘s neck.

TORQUEMADA (CONT'D)Is there nothing that canchange you? Is there nothingthat can teach you the meaningof fear? Still you wear this.

DON ALVAROAs I wear my honor.

TORQUEMADAHonor?

Torquemada raises his brow and holds the cylinder up beforehim.

DON ALVAROI care nothing for that. Thisthing you hold in your fingersmeans nothing and it nevermeant anything. It‘s a memory,that‘s all it ever was, ameaningful memory. It was myfather‘s and before him itbelonged to his father and sowhen I kept it I had a memoryof both. But in the nightmarethat you and your kind havemade of Spain, it becomes morethan a memory.

The shocked faces of the tribunal.

DON ALVARO (CONT'D)In this madness with which youhunt down anyone who has aspoonful of Jewish blood in hisveins... it becomes a matter ofpride. Shall I repeat thatword for you, Father? Pride!

Torquemada doesn‘t say a word, only sadly stares at DonAlvaro.

DON ALVARO (CONT'D)I‘m a Christian, Father, butI‘m also a man and a Spaniard. If I threw away that thingthat you‘re holding in yourhand I might remain a Christianbut I‘d cease to be a man andI‘d become the kind of Spaniardthat Spain has sufficient of.

TORQUEMADAYou doom yourself.

Torquemada throws the chain at Don Alvaro. He picks it upfrom the floor, clenches it and raises his fist close toTorquemada's face.

DON ALVARO(shouting)

God damn you to hell!

EXT. BURNING-PLACE - DAY

Near the outskirts of the city, the crowd, comprised mostlyof peasants, burghers and low-life characters, wait innoisy anticipation of the high point of the Auto de Fe. The Inquisitors and friars sit on wooden benches erectedfor this frequent spectacle of the purification of souls.

The CAMERA MOVES along the stakes as the secular soldierstie the unfortunate men and women to their painful destinyamidst 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 contortedface 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 theinquisitors.

One of the inquisitors nods to the soldier.

By now the Woman desperately screaming for reconciliation. The soldier, given the permission from the ChiefInquisitor, walks over to the Woman and deliberately beginschoking her with his two hands over her neck, stranglingher 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 orscream 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 friarsas they watch the holocaust impassively.

INT. TORTURE CHAMBER - DAY

Don Alvaro stares vacuously beyond the CAMERA as it slowlyLIFTS to reveal the dark, spacious dungeon with its wetstone walls.

Torquemada stands above Don Alvaro whose wrists and feetare pinioned to ropes at both ends of a RACK. Threeblack-hooded EXECUTIONERS stand-by ready for action. Nextto Torquemada a notary records the proceedings.

Behind the rack we can see a ladder lying horizontally onstands used for water torture. It is a well-equippedchamber.

Torquemada nods to the executioners who begin to crank thewheels on both ends drawing upon the ropes, that graduallystretch Don Alvaro‘s arms and feet as far as they can go,and continuing until they bring him to the point of immensepain. Don Alvaro starts to moan.

CLOSE on Torquemada watching mercilessly.

TORQUEMADADo you want to confess, DonAlvaro?

As his pain rapidly increases Don Alvaro‘s moans turn intoscreams. At this point he is stretched beyond bearablepain.

Torquemada signals to the executioner.

The executioners slacken Don Alvaro. Torquemada moves into question him again.

TORQUEMADA (CONT'D)I want you to confess, DonAlvaro. I don‘t enjoy seeingyou like this.

Don Alvaro refuses to speak.

Torquemada circles the room as if contemplating his nextmove. He stops in front of Don Alvaro, looks at him withdeep pity then nods to the hooded man.

This time the executioners stretch Don Alvaro at will. DonAlvaro screams out again in tremendous pain.

He has fainted.

DISSOLVE TO:

INT. SMALL CELL - LATER

Don Alvaro lies on the ground that is partially coveredwith straw.

As he comes to, Don Alvaro immediately realizes the sharppain caused by the slightest movement he makes. His eyesare still moist from inadvertent tears. He leans backagainst the wall for support and begins to recollect histhoughts. A faint, gentle smile appears on his face.

DON ALVARO (V.O.)My dear Catherine. You‘llremember that once you said tome that of all the knights inSpain I was the finest. Thatwas your judgment just as in myjudgment you‘re the purest andthe most beautiful of women. So I take this opportunity toremind you that even a knightbereft of all his weapons isdefenseless...

From the corridor outside heavy steps approach the cell.

DON ALVARO (CONTÕD) (CONT'D)Defenseless and naked too. AsI came into this world, so do Igo out of it with all that Iown surrendered to oursovereigns and the Inquisition. This has not yet happened butit will happen and nothing canstop it... I can only leaveyou, my dear daughter, a memoryand that is a thing bothprecious and dangerous.

The door to the cell opens and two hooded executionersenter, lift the agonizing Don Alvaro to his feet and draghim out to the corridor.

DISSOLVE TO:

INT. TORTURE CHAMBER - MOMENTS LATER

Don Alvaro‘s face is covered with contraptions for thewater torture.

He is surrounded by the familiar personnel: Torquemada, thenotary with his portable desk and the hooded executioners.

Don Alvaro is placed upon a narrow ladder, slanted so thathis head is below the level of his feet. His head issecured by a metal band which holds it rigidly in position,while his arms and legs are tied to the sides of the ladderso tightly that any movement will cause the whipcord to cutinto his flesh. A stick is thrust between the cord and theflesh, and by twisting the stick a tourniquet is formed. His mouth is stretched by a prong of iron. The nostrilsare plugged, and a long strip of linen is placed across hisjaws that extends deep into his throat by the weight ofwater poured into his gaping mouth.

Don Alvaro makes futile attempts to avoid the torments ofsuffocation, hoping to clear the way for a little air topass into his bursting lungs.

Torquemada walks up to the executioner who is charged withthe water jug, and stops his hand.

TORQUEMADADon Alvaro, you must confess,you must find salvation foryour 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 thecell.

Don Alvaro is on his bed, half sitting, across from him isTorquemada sitting in the chair. There is water and apiece of bread on the table. Torquemada hands the waterjug to Don Alvaro who drinks a few drops. He is stillcoughing and moves with difficulty.

TORQUEMADAIs there much pain, Don Alvaro?

DON ALVAROYou ask me?

TORQUEMADAI ask you, Don Alvaro, yes.

DON ALVAROShall I tell you what Christfelt when he was nailed ontothe cross? I know.

TORQUEMADAI also know.

DON ALVARO

Do you, Thomas?

Torquemada sadly nods.

TORQUEMADAGod in heaven, what do youthink, Don Alvaro? Do I lovesuffering? Am I a monster whofeeds on death and misery?

DON ALVAROTell me, are you?

TORQUEMADA(cries shrilly)

I serve God!

DON ALVAROI know how you serve God. Ohhow truly I know how you serveGod!

TORQUEMADAI pleaded with you before, DonAlvaro. I beg you now confessyourself and cut me down frommy own cross.

DON ALVARO(shouting)

No!

TORQUEMADAYou‘re without remorse andyou‘re without pity.

DON ALVAROFor you, Thomas? Pity for you? Is that what you‘re asking meto do, to pity you? Perhaps topray for your salvation? Isthat it?

TORQUEMADA

God help me, do you think Ihave no love for you?

DON ALVAROLove? You put love away toolong ago and you have no lovefor anything on this earth.

TORQUEMADAI don‘t want you to die withoutgrace or hope! I plead withyou again.

DON ALVARO(bitterly)

So you plead with me, Thomas.

Torquemada takes a deep breath and nods.

TORQUEMADAAs 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?

TORQUEMADASoon, and may God have mercyupon you.

DON ALVARODo you have mercy?

TORQUEMADAThere is nothing that I can do.

DON ALVARO

Do you have mercy?

TORQUEMADAWhat do you want, Don Alvaro?

DON ALVAROYou know, don‘t you?

TORQUEMADAPerhaps.

DON ALVAROSend me the Rabbi Mendoza.

TORQUEMADASo that both of us may bedamned? Is that it, DonAlvaro?

DON ALVAROSend him to me. As you valueyour own immortal soul, Thomas,send him to me.

INT. THE RAFEL HOUSE, CATHERINE'S ROOM - DAY

Anguished, Catherine watches SOLDIERS of the Holy Office ofthe Inquisition ransacking her room in search of valuables. They place all valuables in a large basket and leave heralone to her sorrow.

INT. STAIRCASE - CONTINUOUS

The soldiers descend the winding staircase, carrying theloaded basket, and enter another room.

INT. HALLWAY - CONTINUOUS

Dona Maria watches another group of soldiers emptying thecabinets and cupboards in the galleria.

After a thorough search the soldiers leave the house withthe confiscated objects, passing in front of her tearfuleyes.

EXT. STREET IN FRONT OF THE RAFEL HOUSE - MOMENTS LATER

The soldiers dump the loaded baskets onto a horse-drawncart and return into the house with empty ones.

Juan arrives at the house on horseback. Upon seeing whatis taking place in the house he turns around withouthesitation and gallops away from the scene.

INT. CATHERINE'S ROOM - CONTINUOUS

CLOSE on Catherine at the window. She watches Juan fleeingfrom the scene.

She leaves her room and walks down the staircase into thehallway.

INT. HALLWAY - CONTINUOUS

Catherine stops as she sees her mother in tears. They hugeach other. Catherine is sad but doesn‘t cry. In thebackground the soldiers keep searching and piling objectsinto 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, preachesto a large crowd of mixed characters in his manic style. They are hanging on to his words. A soldier of the HolyOffice is right beside him holding a torch.

PENAOpen your eyes lest the sin beupon you, and by this shall youknow the Christian who is a Jewat heart, a Jew in secret, aJew by night and in thedarkness. These are thesignatures of the devil:

Torquemada, his face is shadowed by the cowl, walks by thesquare and pauses for a moment to listen and mingle withthe crowd. He is hardly recognizable in the darkness.

PENA (CONT'D)Now heed me well. First of allif he celebrates the Sabbath,if he wears a clean shirt orbetter garments, if he spreadsa clean cloth

PENA (CONT'D)upon his table or lights nofire during that day or restson that day, you will know him,and as God knows you so willyou denounce him and call downthe fires of wrath upon him...

The crowd screams and hoots and claps their hands. Someoneyells, "God be praised!"

Catherine, in a black cloak, wanders among the crowd. Herface is half-covered by a large shawl.

The crowd is riveted to Pena‘s words. The flickering torchmakes his maniacal expression even more frightening.

PENA (CONT'D)And by this too you willrecognize him: If he takesneither meat nor drink on theDay of Atonement; if hecelebrates the Passover. Ah

now there is opportunity foryou. On the day of thePassover you watch him, youfollow him, you notice him. Tempt him, offer him bread andsee whether he puts the breadin his mouth.

Catherine listens attentively to Pena‘s hysterical oratory.

PENA (CONT'D)That way, cunningly, you‘lltrap him and clothe yourimmortal soul in specificgrace.

Torquemada hurries away toward the Jewish quarter.

INT. THE MENDOZA HOUSE, GALLERIA - NIGHT

Rabbi Mendoza and SENORA MENDOZA sit across from each otherat a table set for supper. There is bread, some cheese andolives and onions served on the plates. They eat insilence until a sharp rap on the door breaks theircontemplative mood. They look at each other in alarm.

SENORA MENDOZALet me see who is at the door.

She rises and leaves the table.

INT. HALLWAY - CONTINUOUS

Senora Mendoza cautiously opens the door. Torquemada loomsover her in the doorway. She stares at him without alarmbut also without welcome.

SENORA MENDOZAWho are you?

TORQUEMADAI‘m Prior Thomas de Torquemada.

SENORA MENDOZAWhat do you want here, Prior?

TORQUEMADATo speak with the Rabbi.

SENORA MENDOZAWe are Jews, Prior, notmaranos; not converts orapostates or heretics. OnlyJews. You have no jurisdictionover Jews.

TORQUEMADA(angrily)

Will you teach me the Law ofthe Church?

(more gently)Still, I must talk with theRabbi.

The plain-looking, middle-aged woman hesitates, observesTorquemada thoughtfully, then opens the door wide to lethim enter.

SENORA MENDOZAFollow me, please.

She leads him into the galleria.

INT. GALLERIA - CONTINUOUS

The Rabbi is still seated at the dinner table. Uponrecognizing Torquemada he rises and silently faces him.

TORQUEMADADon‘t you recognize me, RabbiMendoza?

He throws back his cowl.

MENDOZA

I do know you, Prior.

TORQUEMADAAs you know Don Alvaro deRafel.

Mendoza makes no response by any sign or gesture. He juststands at the table watching Torquemada.

TORQUEMADA (CONT'D)I say that you know him.

The Rabbi walks around the table to face Torquemada.

MENDOZAIf I say that I know him, whatthen? You‘ll send yoursoldiers to seize him. You‘llbring him to what you call atrial in the room of theInquisition. You‘ll accuse himand he‘ll deny the accusations. Then you‘ll take him into thathellhole which you call the,room of faith, and you‘lltorture him until his mind andhis spirit break...

TORQUEMADAAll that‘s been done, Rabbi.

Senora Mendoza sits in a chair. The Rabbi closes his eyesfor a moment, his face full of pain. Then in a controlled,soft voice he addresses the Prior.

MENDOZAThen why did you come here?

TORQUEMADABecause Don Alvaro pleaded withme to bring you to him.

MENDOZAAnd out of human kindness you

agreed?

TORQUEMADAFor twenty years Don Alvaro wasmy friend.

MENDOZAAnd out of the love you borehim, you put him to thetorture, and as further proofof the love in which you holdhim, you‘ll burn him and smellthe stink of his burning flesh.

TORQUEMADAFor his soul‘s salvation!

Mendoza shakes his head, turns and walks across the room towhere his wife sits. He puts his hand upon her shoulder,sighs and looks at Torquemada.

MENDOZAThe thing we do most poorly isto hate. God help me, I pityyou, Prior.

(pause)All right, take me to him.

Senora Mendoza suddenly rises and places herself in frontof the rabbi.

SENORA MENDOZANo! I don‘t want you to gowith him!

MENDOZADon Alvaro asked for me. Imust go to him.

The rabbi pushes his wife gently aside and goes to thedoor. Torquemada follows him out.

EXT. STREETS OF SEGOVIA - NIGHT

The crowd that listened to Pena‘s speech has dispersed andnow fills the streets near Cathedral Square. For the mostpart they are beggars, sweepers, prostitutes andpickpockets, and dozens of ragged, half-naked children.

Deep in thought, Catherine walks in the direction of theJewish quarter, oblivious to beggars, and children'sharassments.

INT. SMALL CELL - NIGHT

The NOISE of turning keys wakes Don Alvaro. He sits up onhis cot as the door grinds open. Carrying a blinding torchTorquemada enters followed by the Rabbi Mendoza.

DON ALVAROThank you for coming, Rabbi.

The Rabbi nods.

DON ALVARO (CONT'D)Would you give us privacy,Prior?

TORQUEMADA(shaking hishead)

I jeopardize my soul enough bybringing the Jew to you.

DON ALVAROThen take him away. Take himaway before he says anything. Whatever he says will beevidence given against himself. Then you‘ll accuse him.

TORQUEMADAI will not accuse him.

DON ALVARO(snapping with

contempt)I don‘t believe you!

TORQUEMADAI give you my word!

MENDOZABelieve him, my son. He givesyou his word.

DON ALVARODo you believe him?

MENDOZAI believe him... yes, I do.

DON ALVARORabbi, will you tell mesomething?

MENDOZAYes, my son?

DON ALVAROAm I a Christian or Jew?

MENDOZAChristian, my son.

It's difficult for Don Alvaro to speak.

DON ALVAROThe Inquisition accused me ofJudaizing. I wore a cylinderon the chain around my neck,next to the cross. Inside itare the words: "And thou shaltlove the Lord thy God with allthy heart and all thy soul andall thy might." Do you knowwhat this is, Rabbi?

MENDOZAI know.

DON ALVAROIs it a curse?

MENDOZANo, it‘s not a curse.

DON ALVAROI‘m a Christian, yet I must diefor this thing I wore around myneck.

MENDOZAWhy did you wear it, DonAlvaro?

DON ALVAROI don‘t know.

MENDOZAYet you knew the danger.

Don Alvaro looks at Torquemada who avoids his gaze.

MENDOZA (CONT'D)Did you want to be a Jew?

DON ALVAROI was a Christian knight ofSpain. I had all that a mancould desire for happiness. Tell me, why should I wish tobe a Jew?

MENDOZAI cannot answer that, DonAlvaro.

DON ALVARONo, I don‘t suppose you can,but the man who felt that way,Rabbi Mendoza, no longerexists.

(pause)

Look at me, because now I sayto you, Rabbi, make me a Jew!

TORQUEMADA(violently)

No!

The rabbi turns to Torquemada.

MENDOZA(quietly)

Peace, Prior. Can I make him aJew?

DON ALVAROYou can and you must!

TORQUEMADAWhy? Why?

DON ALVAROSo that what you are and what Iam will be set apart forever!

TORQUEMADATo burn in hell for alleternity?

DON ALVAROYes! Joyfully! Gladly!

MENDOZA(shaking hishead)

Don Alvaro. Is it as simple asthat? If God chose the Jews -and one cannot imagine whyexcept to suffer so that webear for eternity what the man,your Savior, bore for a fewhours on the cross - if this istruly the case it does not holdwithin it an invitation. Wehappen to be Jews, in a mystery

that preoccupies us beyondsolution. I cannot make you aJew.

Don Alvaro rises to his feet and stands there unsteadilypleading his case. He holds out one hand to the Rabbi ashe insists.

DON ALVAROBut you can! You must!

MENDOZAListen to me, now, please. Ibeg you.

(pause)There was a Jewish sage ofblessed memory who was calledthe Rabbi Hillel, and to himthere came a heathen who said,"Rabbi, make me a Jew." RabbiHillel answered, "I cannot makeyou a Jew, for only he is a Jewwho knows the Law and followsit." Then, with greatdistress, the heathen answered, "How can I know the Law whenmen study it for a wholelifetime and even then do notknow it?"

Don Alvaro listens impatiently to Mendoza‘s story whileTorquemada scrutinizes both men.

MENDOZA (CONT'D)The Rabbi Hillel then replied,"Truly, to know the Law alifetime is little enough, butthat is in one manner ofspeaking. I can teach the Lawto you in a single sentence. This then is the Law," saidthe Rabbi Hillel, "to love thybrother as thyself. That isthe whole of the Law, and all

the rest is commentary." Sosaid the most blessed of allour sages.

(pause)Do you understand me, DonAlvaro?

DON ALVARONo more than you understand me.

MENDOZAI understand you.

DON ALVAROThen in the name of God - yourGod or my God, do what I ask!

MENDOZA(points toTorquemada)

Out of hatred for him?

DON ALVAROShall I love him?

(points toTorquemada)

Look at him! Only look at him! The anointed!

Exhausted, Don Alvaro sinks back to his bed.

TORQUEMADAThere is no more to do here. Let us go!

MENDOZADon Alvaro, listen to me. Think about what I said to you. If you came to me and said,"Make me a man," then whatcould I say to you? What youare, God made you, and you areno more and no less.

DON ALVARO(muttering)

You talk in riddles.

MENDOZAAs we all do.

TORQUEMADAEnough.

Torquemada leaves, followed by Mendoza. NOISE of keysturning in cell lock.

CLOSE on Don Alvaro‘s puzzled and tortured face.

EXT. STREETS OF SEGOVIA - NIGHT

Juan gallops through the dark, deserted streets populatedonly with a few drunks and beggars. He occasionally stopsat corners to search frenetically for someone, thencontinues.

Seeing a dark figure at the end of a street slows his pace. He rides up to the aimlessly walking person clad in ablack cloak.

As he reaches the figure Juan immediately recognizesCatherine. She doesn‘t stop walking. Juan dismounts hishorse and blocks her way.

JUANMy God, Catherine, I‘ve beenlooking for you everywhere. This is no place to be alone. It swarms with cutthroats andthieves.

CATHERINEWhere shall I go then, Juan?

JUANI‘ll take you home.

CATHERINEWhere is a home that will openits doors to me?

JUANYour own home.

CATHERINEI have no home.

JUANYou make no sense when you talklike that, Catherine. Youdon‘t know how troubled yourmother is.

CATHERINEAre you troubled, Juan?

JUANOf course I am.

After a long pause she continues.

CATHERINEDid you denounce him?

JUANCatherine, what has come overyou? I don‘t know you anymore. Sometimes you say things thatI don‘t understand at all. Idon‘t know what you are saying.

CATHERINEYou know what I‘m saying. I‘masking a very simple question. Did you denounce him, Juan?

Juan stares at her without replying. He swallows, openshis mouth to speak, allows the words to die unspoken andlooks 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 goaway from here, that‘s all. Goaway!

For a minute or so Juan stands there then turns around,mounts his horse and rides off. Catherine continues herapparently aimless walk.

EXT. THE JEWISH QUARTER - LATER

Catherine arrives at the Jewish quarter, going purposefullytoward the synagogue. A few men with long beards pass hercoming from the temple. She quickens her step as if adecision 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 enterswithout hesitation.

INT. THE SYNAGOGUE - CONTINUOUS

Catherine enters reverently the ancient synagogue and looksaround in awe. The congregation is gone home by now, onlythe BEADLE, a tiny man with a snow-white beard, is left tosnuff the still burning candles. He doesn‘t noticeCatherine‘s presence.

Catherine stays in the back of the temple in fear of beingdiscovered. She decides to sleep on one of the woodenbenches that will also serve as a hiding place.

She soon falls asleep.

The beadle finishes his work and leaves the synagoguelocking 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 charactersall hold torches. The mob‘s leader is Pena who helps lightthe last torch and signals them to follow.

The charged up horde starts off in the direction of theJewish quarter.

INT. SYNAGOGUE - EARLY MORNING

Catherine wakes up to the noise of men entering the templefor the morning service. She sits up but doesn‘t leave thebench.

Men of all ages, bearded, dressed in their traditional garband hats take their seats on the benches and prepare to puton their praying shawls.

Some find it strange that a woman sits on a benchdesignated for men.

EXT. STREETS OF SEGOVIA - CONTINUOUS

The crowd of fanatics march toward the synagoguethreateningly holding their torches up in the air.

INT. SYNAGOGUE - CONTINUOUS

CLOSE on Catherine filled with conflicting emotions, shestares at the praying men in the unfamiliar house of God.

As the service begins Rabbi Mendoza takes hold of thescroll by its handles and moves it, turning both ends untilhe comes to the section he seeks.

He notices Catherine sitting alone at the end of thesynagogue. He meets Catherine‘s gaze and thinks for aminute.

Catherine keeps staring the Rabbi.

EXT. IN FRONT OF THE SYNAGOGUE - CONTINUOUS

The mob surreptitiously surrounds the temple and blocks theentrance with large logs.

Pena is the first one who laces his torch to the woodenfoundation of the synagogue. The rest of the men followhis example.

INT. SYNAGOGUE - CONTINUOUS

Mendoza reads from the Bible Scroll.

MENDOZA"My God, my God, why have youforsaken me? Why so far fromhelping me? From the sound ofmy pleading? Oh my God, I cryout in the daytime but you hearme not. And in the nighttime Icry out. I am not silent."

He pauses and looks in Catherine‘s direction.

MENDOZA (CONT'D)Forgive me if I speak with adifferent voice and make adifferent prayer on thisstrange morning.

Members of the congregation take sidelong glances atCatherine as they listen to the Rabbi.

MENDOZA (CONT'D)Someone has come among us. I

was called upon to make adecision but I can make nodecision. So I read what myfathers have written.

CLOSE on the door as threads of smoke trickle into thetemple filling it quickly. The NOISE of crackling wood isnow heard inside.

The beadle runs to the door and tries opening it, but itdoesn‘t respond.

BEADLEHelp me! Help me!

Men rush to help the beadle open the door. Catherine sitsunmoving. Mendoza continues reading.

The smoke reaches the pulpit and the crackling soundincreases and soon becomes a roar.

MENDOZA"Holy is the Lord. All thepraises of Israel make a tentfor you. Our fathers trustedin you. They trusted and youdelivered 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 youheard them and they weredelivered."

Catherine‘s breathing slows down but she listens to theRabbi‘s words.

MENDOZA (CONT'D)"They trusted in you and theirtrust was not confounded..."

EXT. SYNAGOGUE - CONTINUOUS

The ancient temple is enveloped by fire. The mob cheersand cries insults to the women and children who run to thesynagogue. Hell cannot be a worse sight.

SLOW DISSOLVE TO:

INT. MONASTERY, TORQUEMADA CELL - DAY

Torquemada, on his knees, is in deep prayer on the hempenmat under the crucifix.

There is a knock on the door.

TORQUEMADACome in!

Pena enters and seeing Torquemada in prayer waits insilence. Torquemada remains unmoving for a while thenrises to face the Dominican friar.

TORQUEMADA (CONT'D)Well?

PENAThe synagogue is burnt.

TORQUEMADA(nodding)

I saw the smoke. I smelled...the smoke.

(pause)Were any saved?

PENANo. They all died. The woodwas very old.

TORQUEMADAHow many were there inside?

PENAAbout forty Jews, and the RabbiMendoza... and a woman.

Torquemada steps closer to the friar. Their faces are onlyinches apart.

TORQUEMADAA woman? What do you mean, awoman? Jewish women don‘t goto synagogue, except on theSabbath.

PENA(defensively)

This was not a Jewish woman.

TORQUEMADAHow do you know?

PENAShe wore the clothes of aSpanish lady of wealth.

TORQUEMADADid you recognize her?

PENAI‘m not sure, Prior.

TORQUEMADAOld? Young? Of middle years? Think, you fool! What was shelike?

PENAShe was very young. She put mein mind of the daughter of DonAlvaro.

Torquemada pales and cries out with a shrill, fierce voice.

TORQUEMADAWhy didn‘t you stop her?

PENAWas it my place to stop her,Prior? She was a heretic themoment she set foot in there. Tell me, how is it my duty tostop her? It was only my dutyto watch her and denounce her. God himself consumed her.

Deliberately Torquemada grasps the monk‘s robe in hisclenched fists, draws him closer and whispers.

TORQUEMADAHow dare you?

PENA(panic-stricken)

What have I done?

Torquemada lets go of the monk and thrusts him away.

TORQUEMADAWhat have you done! Do penanceuntil you know what you havedone. One hundred days onbread and water will sharpenyour knowledge of sin! Ahundred nights naked on yourbed will sharpen your soddensensitivity!

Pena drops to his knees, stammering.

PENAPlease, please, Prior. Howhave I sinned? Tell me howhave I sinned?

TORQUEMADA(roaring)

Get out of here! Leave me! Now!

Pena climbs to his feet and flees the room. Torquemadastands there, his eyes closed, his fists clenched. TheCAMERA 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 onduty to follow him. He continues along a narrow passagewayuntil he reaches Alvero‘s cell. Torquemada unlocks thedoor and enters holding up his torch.

INT. DON ALVARO'S CELL - CONTINUOUS

Don Alvaro lies on his bed asleep. Torquemada watches himuntil Don Alvaro opens his eyes from the glare of thetorch. Slowly he sits up and faces the prior.

DON ALVAROIs it time?

TORQUEMADATime for what?

DON ALVAROFor me to die.

TORQUEMADAIt‘s not time for you to die.

DON ALVAROThen why have you come? Areyou here for my soul‘s sake?

You have always been mostprofoundly concerned with thehealth of my immortal soul. Shall I confess myself,Torquemada?

TORQUEMADAFor my own soul‘s sake, Ithink.

Don Alvaro finds that amusing. He begins to laugh. Thelaughter takes hold of him and he finds that his whole bodyis shaking with it. He can‘t stop himself. Torquemadacries out.

TORQUEMADA (CONT'D)Stop it! Stop it!

DON ALVAROYour soul‘s sake, Thomas! Thomas, Thomas, I never thoughtto live to see the day when youwould doubt your soul andundertake something for yoursoul‘s sake.

(pause)Have you ever seen your soul,Thomas? Your soul is black,black as pitch, but shrouded ingold. Festooned with a millionpieces of gold all of themrobbed from all the poor devilsyou burn in your Act of Faith.

TORQUEMADAYou have courage, Don Alvaro.

DON ALVARO(cries out)

Courage!

He rises to his feet.

DON ALVARO (CONT'D)

To hell with courage! What iscourage? When you reach theend there is no more distanceto go. Will you burn me twice? Three times? Ten times?

TORQUEMADA(tonelessly)

The Lord has punished youenough, Don Alvaro

Don Alvaro steps close to Torquemada and whispers to him.

DON ALVAROWhat is it, Thomas? Have youhad a bellyful of the rack andthe thumb-screws? Is this somenew method of torture, morerefined, more delicate?

TORQUEMADAI‘m telling you the truth. I‘mreleasing you. Even theInquisition must abide by legalprecepts. I‘d counsel you togo away.

(pause)Don Alvaro de Rafel, I say toyou, go away. You‘ll leavehere, and you‘ll do thistonight. If you are in Segoviatomorrow I shall issue ordersfor your arrest.

Staring unbelievingly at Torquemada, he follows him to thedoor.

TORQUEMADA (CONT'D)Go now, Don Alvaro. The guardwill light your way out andthrough the passage.

INT. MONASTERY, PRIORY CORRIDORS - MOMENTS LATER

Dumbfounded, Don Alvaro, with difficulty, follows the Guardin the maze of tunnels.

They walk up the winding stone staircases, into the priorythen outside.

EXT. THE MONASTERY - CONTINUOUS

From across Don Alvaro and the Guard at the door a FRIERbrings along Don Alvaro‘s horse.

DON ALVARO(to the Friar)

I cannot thank you... you hear? I will not thank you. Goddamn you!

Don Alvero breaks into a hysterical cry.

DON ALVARO (CONT'D)God damn you all! I wouldrather die than have kindnessfrom you. I will not owe mylife to you...

Don Alvaro struggles with the saddle. He finally mountshis horse and rides away.

The Friar and the Guard watch with a grim face.

Don Alvaro rides through the garden. He looks back oncethen continues on his way home.

INT. MONASTERY, TORQUEMADA CELL - NIGHT

For a long while Torquemada stands by the window, his eyesare focused on the departing Don Alvaro below, then heturns and takes off his robe. Naked, on his knees, he

begins to flagellate himself. A single, burning candleflickers in his sad eyes.

DISSOLVE TO:

EXT. RAFEL HOUSE, BACK GARDEN - DAY

Julio, with tears in his eyes, fatigued, shovels dirt intoa grave.

EXT. IN FRONT OF THE RAFEL HOUSE - MOMENTS LATER

Don Alvaro rides up to his house and dismounts. There isan expression of emptiness and despair on his face as heties up his horse in the stable. He enters the house fromthe back.

INT. RAFEL HOUSE, THE HALLWAY - CONTINUOUS

There are no voices coming from the house, only thecrackling of fire in the fireplace breaks the unbearablesilence.

INT. THE GALLERIA - CONTINUOUS

Dona Maria sits in front of the fireplace in the galleriagazing at the flames.

EXT. BACK GARDEN - CONTINUOUS

Julio finishes the grave, puts a makeshift wooden cross atthe head of the mound and drops to his knees to say aprayer.

INT. THE GALLERIA - CONTINUOUS

As Don Alvaro enters the galleria from the hallway DonaMaria looks up. There is no greeting or recognition on her

face.

DONA MARIAWhy are you here?

Don Alvaro holds out his hands with its broken nails andsmashed half-healed thumb.

DON ALVARO(cries out)

Look!

DONA MARIAGod‘s judgment.

He strides across the galleria and lifts her by the arms.

DONA MARIA (CONT'D)Don‘t touch me!

DON ALVAROIs this my welcome?

(shouting)Is this how a man returns fromthe dead to his wife?

DONA MARIADon't touch me! I have notsinned, I have nottransgressed. I will not betortured. I will not beburned.

Don Alvaro stares at her not understanding, then slowlyputs her down.

DON ALVARO(suddenly)

Where is Catherine?

DONA MARIACatherine...

DON ALVARO

Is she in her room?

DONA MARIACatherine is dead. That wasGod‘s judgment too.

Don Alvaro stands there, hears the words but they arewithout meaning. He grasps her arms violently.

DON ALVAROWhere is Catherine?

DONA MARIAJew! Let go of me!

She manages to pull free of Don Alvaro.

DONA MARIA (CONT'D)I cannot stand to be touched bya Jew.

Don Alvaro stares at her in horror and disbelief.

Julio comes into the galleria and stops upon seeing DonAlvaro. He stares at him as if he were a ghost. DonAlvaro runs to him.

DON ALVAROJulio, where is Catherine?

Julio doesn‘t answer. Don Alvaro shakes him angrily andcries out.

DON ALVARO (CONT'D)Answer me! Where is she?

Julio looks at Don Alvaro so woefully that he lets go ofhim.

JULIOShe is dead, Master.

DON ALVARODead?

JULIOShe went into the synagogue...

DON ALVAROThere would be no reason forher to go into the synagogue.

JULIOYes, yes, Master... thesynagogue, that‘s where shewent, and then they burned itdown. I ran there. The wholetown ran there but it was toolate. They burned it down.

DON ALVARO(whispering)

You saw her?

JULIOI brought her body back withme.

Julio is weeping now.

DON ALVAROWhere is her body?

JULIOI just buried her in the backgarden, Master.

Don Alvaro walks out of the galleria leaving the miserableJulio behind. Dona Maria turns, sits down and again beginsgazing at the fire.

EXT. BACK GARDEN - CONTINUOUS

Don Alvaro stands at Catherine‘s grave. He drops to hisknees and begins to sob uncontrollably.

INT. THE GALLERIA - CONTINUOUS

Julio places a few logs into the fireplace, blows on it toliven the flames and quietly leaves.

INT. THE HALLWAY - CONTINUOUS

Julio, coming out of the galleria runs into Juan who justwalked in.

JULIOSenor Pomas, you must go away. Go away quickly.

JUANIn need to see Catherine...

JULIOSenor Pomas, Catherine is dead,just as this house is dead. Now go away quickly. DonAlvaro is here in this house. If he finds you here...

JUANAnd if he does?

Don Alvaro comes out of the back garden and stops as heoverhears the commotion.

JULIODon‘t you think he knows whodenounced him?

JUANHow does he know?

DON ALVARO(icily)

Because a dog‘s bark soundsfar.

Juan turns to face him. Julio steps between them but Don

Alvaro pushes past him. Juan pulls his dagger from hisscabbard 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 hescreams no more.

DON ALVARO (CONT'D)(shouting)

For my life nothing! My lifeand your life, they are dirt! But for my daughter‘s life...

Coldly and deliberately Don Alvaro begins to choke Juan todeath. Juan struggles, strikes Don Alvaros's face thenweakens and his arms drop.

Dona Maria stands up and walks over to them, She criesout.

DONA MARIAIs this how you become a Jew...by murdering a Spanishgentleman? Let go of him, youfilthy Jew!

His anger and hate spent, Don Alvaro lets go of Juan whosinks to the floor, choking, gasping, rubbing his throat. Don Alvaro turns and stares at Dona Maria who meets hisgaze. She turns and walks out of the room. Don Alvarosinks into a chair, panting. Juan gets up and stumbles outof the house.

DISSOLVE TO:

EXT. BACK OF THE HOUSE, STABLES - DUSK

Julio holds the horse for Don Alvaro to mount then hangsonto the stirrup.

JULIOMaster, take me with you.

DON ALVARONo, Julio... my old friend. This time I ride alone. You‘veshared enough with me. Theparticular hell that awaits mehas only one name...

Don Alvaro spurs the horse and walks through the gate andout 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 hisfaithful servant.

DISSOLVE TO:

LEGEND:

"IN 1492, TORQUEMADA SUCCEEDED IN CONVINCING ISABELLA ANDFERDINAND TO PROCLAIM AN EDICT FOR THE EXPULSION OF ALLJEWS FROM SPAIN".

FADE OUT