SEARCHING FOR DAVID

A play by Steven Dawson

Copyright © 2009

First Performed at Mechanics Institute Performing Arts Centre January 14^th 2010

Cast:

Michelangelo Buonarotti Iain Murton

Bernardo Leon Dűrr

Carlo David Carroll

Antonio Antony Talia

Directed & Designed by Steven Dawson

Produced by Adrian Corbett & Out Cast Theatre

All Rights reserved. No part of this play may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the author. Amateurs and Professionals are hereby warned that the performance of this play is subject to royalties and no public performance of this play or excerpts may be given in any form, including radio, film, television or stage without the written permission of the author and/or his agents and only upon application. This play is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the author or his agent's prior consent in any form of binding or cover other than that in which it is published and without similar condition including this condition being imposed on the subsequent purchaser.

 Any application for performance must be made to:

 RICK RAFTOS MANAGEMENT PTY LTD P.O. Box 445, Paddington NSW, Australia, 2021    Telephone 61 2  9281 9622   Fax 61 2   92127100  raftos@raftos.com.au

LIGHTS COME UP ON A DARKENED STAGE. THERE ARE SOME SMALL PODIUMS COVERED IN CLOTH. AN OLDER MICHELANGELO ENTERS, WRAPPED IN A LARGE DARK CAPE CARRYING AN OIL LAMP. HE MOVES TOWARDS AND SITS AT HIS WORK STOOL AND EASEL. HE PICKS UP A PIECE OF CHARCOAL AND DRAWS ACROSS THE PAPER. DRAMATIC MUSIC CAN BE HEARD AS THE FIGURES UNDER THE CLOTHS STAND UP UPRIGHT NAKED AND HOLD POSE. MICHELANGELO MOVES TO ONE OF THE FIGURES AND ALMOST TOUCHES HIS HAND THEN PULLS BACK AND RETURNS TO HIS STOOL. AS THE LIGHTS FADE ON THE MODELS THEY EXIT.

MICHELANGELO

I grow weary. I fear I will not finish this work. It may well be the death of me. My eyes grow dim and the image cloudy. Each line marks the path towards my last great journey. I have outlived six popes but do not think I will pass the seventh. I tire all too quickly these long grey days yet the sun beats down across my lined and heavy forehead. This body fails me time and again. I would wish for a quarter of the strength of my youth. I wake now to find some relic where my strong body once was, some ancient monument left behind and ruined from invasion. Skin hanging like a washer woman’s bed clothes. Flesh gouged deeper than any stone work. Flesh, once so red hued from the violence of its birth. The passing days of youth, tanned from the sun’s eternal embraces and growing towards manhood. Majestic and golden in triumph, perhaps scarred in battle but even then so much earthly beauty. Then the little conspiracies rise above the parapet. The odd blemish, the darking lines, hair thinning to a veil and the eyes growing deep. My body disappoints like an unfaithful lover. Age is such a sad defeat. I, who have created so much that is beautiful and himself left as a husk. My mind watches my body’s betrayal. Ever-fixed on the Judas kiss of time. I am becoming forgetful. My memory runs alongside my litter carriage then waves farewell as my decaying body outpaces it. I know I am a foolish old man. Some say this to my face. I am abused in the street and mocked constantly. An artist who has outlived his rivals and secretly fills the hourglass to keep time from his door.

But here on paper and later as I move to the stone I see no age. No scars, disease, cries of vanity or wrenching of sleeve at the injustice of youth and beauty as it fades into memory. I see the stone, the story and the moment captured forever. Some say the stone is cold. But once carved and caressed it becomes more flesh and blood than any man. The grey seams, like veins, pump blood to the very heart of the stone. There is heat behind the eyes. There is tenderness to the touch. I push my face to his chest and feel the breath. Feel the rising and falling. I feel this.

Where are you now, my beautiful boy? I think on you more these dark days and almost weep. It has been almost sixty years since I saw you last. You will not have changed much. I know you have had many lovers and your beauty only increases with each sunset. My heart sinks when I hear news of you for I know I will not visit you. Never again will I look upon your face, your eyes filled with such sadness. I can almost hear you calling me and yet I will not come to you. You beckon me to your embrace but you are so far away now that the journey would possibly kill me and I fear death enough without courting favour.

And who now amongst those thousand upon thousands could love you now as deeply as I once did? Who would kiss your feet and sooth your brow? Why was I so afraid? Why did I not believe in you? Now late at night I call out for you. Will you carry me home now? Will you lead me to where I must forever sleep? I am so scared. Me, who countless times had fought and struggled against a multitude of foes. Will you not lie down with me now? Am I too old to love? Have you waited for me? Do you forgive me? Do you love me?

How came you into my life? What angel saw your plight and dropped you at my door? Perhaps it was my life that was already floundering. Did I give you a better life than you could have expected? Men die so young. Only the lucky fall between Death’s fingers. Where did I first lay eyes upon you? Was it in my workshop? I was young. Not more than a man of 26?

MICHELANGELO REMOVES HIS CLOAK AND HAT AND HIS PHYSICALITY CHANGES TO THAT OF A YOUNGER MAN.

Was it here in Rome or in Florence? It was Florence. Of course it was Florence. That is where I found you. Or you found me. I am working hard. Another commission and already showing much promise and therefore so much more arrogance. But with good cause. The money is slow coming and the costs high. The Medici had been a welcome benefactor but favoured many without question of talent whilst the church, richest amongst all, pleads poverty and unreasonable expectation. In future I will accept no more papal commissions. I swear this in the face of God. Too many icons to contend with. Too many fairy tales to build honours to. The ancients knew this enough to tear many of theirs down.

THE SOUNDS OF MINSTREL STREET MUSIC CAN BE HEARD AS THE LIGHTS CHANGE.

There was music but where did it come from? Some palazzo entertainment?

CARLO ENTERS IN A POSING POUCH WITH GRAPES IN HIS HAIR. HE STANDS ON A PODIUM AS MICHELANGELO MOVES BACK TO HIS EASEL

No. I worked far from the better parts of the city. A fair? Soft, playful. Not the funeral dirge I was accustomed to.

MICHELANGELO STARTS TO DRAW ONCE MORE. AFTER A FEW MOMENTS CARLO STARTS TO FIDGET AND STICKS HIS FINGER UP HIS NOSE. HE IS LOOKING TOWARDS THE WINDOW. AFTER A LONG PAUSE…

MICHELANGELO

Carlo! What are you doing?

CARLO

As you ask of me.

MICHELANGELO

No. That is not true. You move about. You do not hold pose. I am constantly having to change the sketch because you cannot hold still.

CARLO

I am sorry, master. How would you have me?

MICHELANGELO

I would have you still.

CARLO

Yes master.

MICHELANGELO

And I would have you silent.

CARLO

I think not.

MICHELANGELO

No?

CARLO

No. You would not. I am your only source of entertainment.

MICHELANGELO

You think this?

CARLO

I know this.

MICHELANGELO

And how came you upon this revelation?

CARLO

Look around you. Who else is here to match wits with?

MICHELANGELO

You think we are evenly matched in wits?

CARLO

Yes, I do.

MICHELANGELO

I see.

CARLO

These grapes smell strange. I think they have gone bad. [PAUSE] There are minstrels outside.

MICHELANGELO

Yes.

CARLO

I like music.

MICHELANGELO

I know.

CARLO

You know what we should do? We should…

MICHELANGELO

No.

CARLO

You will not even let me finish what I was going to say?

MICHELANGELO

You were going to say that we should stop for a while and go outside to listen to music.

CARLO

I was…not going to say that.

MICHELANGELO

No?

CARLO

No.

MICHELANGELO

Then you must forgive me.  I should not have presumed to know you so well.

CARLO

Thank you. You are forgiven.

MICHELANGELO

What was it you were going to say?

CARLO

I was going to say that it is a beautiful day outside.

MICHELANGELO

Yes. It is very warm. But it is also warm in here.

CARLO

There is no sun.

MICHELANGELO

There is more than enough light for me to work.

CARLO

But there is more light outside.

MICHELANGELO

That stands to reason. But not the light I require.

CARLO

Light is light.

MICHELANGELO

Light is light?

CARLO

Yes.

MICHELANGELO

You are wrong.

CARLO

I know I am right. There is nothing different about the light outside.

MICHELANGELO

Then why should we go outside if light is same here or outside?

CARLO

You are confusing me.

MICHELANGELO

Perhaps we should both of us refrain from words to avoid confusion.

CARLO

What?

MICHELANGELO

Be quiet.

CARLO

Very well. [PAUSE] I am thirsty.

MICHELANGELO

There is water by you.

CARLO

I would prefer wine.

MICHELANGELO

I know you would prefer wine but water is good enough.

CARLO

They have wine outside. I could fetch us some.

MICHELANGELO

Carlo, I pay you to work for me. Not to drink yourself to death.

CARLO

Then you need to pay me more.

MICHELANGELO

I am not having this discussion with you. I pay you more than your worth.

CARLO

Master Gioletti says he will pay more.

MICHELANGELO

Master Gioletti is a pig and would work you like a dog.

CARLO

He does not have me standing around for all eternity.

MICHELANGELO

Yes, I think Master Gioletti would have you in a different position if you allowed him. I don’t think he is interested in your skills as his model.

CARLO

I think what you are saying is true.

MICHELANGELO

I see no reason to lie to you.

CARLO

When shall we break?

MICHELANGELO

When I am finished.

CARLO

Will you be long? I am hungry.

MICHELANGELO

We shall break soon enough.

CARLO

Good. My belly grumbles for food. I would eat these grapes but they would surely make me ill.

MICHELANGELO

Carlo, we have much to distract us today. But I beg you please be quiet.

PAUSE

CARLO

Master Buonarotti?

MICHELANGELO

Yes Carlo.

CARLO

I am thinking of going to Rome.

MICHELANGELO

Now?

CARLO

No but soon.

MICHELANGELO

Are you? Why?

CARLO

I am told it is a great city.

MICHELANGELO

It is a great city and you may do well there.

CARLO

Yes I think I would do very well there.

MICHELANGELO

At what?

CARLO

I do not know but I know I will do well there. Are there many artists in Rome? I could be their model.

MICHELANGELO

There are many but few with the patience it seems necessary to work with models unable to stay silent.

CARLO

You were returned from there recently.

MICHELANGELO

That is true.

CARLO

Is it as grand as people say?

MICHELANGELO

It is grand but it is also hard. You must take care. Violence and disease are rampant in many areas.

CARLO

I will stay out of those areas.

MICHELANGELO

But there is much to admire. Many ancient buildings from even before the time of Christ.

CARLO

This is what I have heard.

MICHELANGELO

And your wife? Will she go with you to Rome? I understand she is with child.

CARLO

I will call for her when I have found work and lodging.

MICHELANGELO

You trust her to be faithful when you are so far away?

CARLO

She will have a child. She will have no time to be unfaithful. She is also quite plain. No-one will bother her.

MICHELANGELO

She is lucky to have you, Carlo.

CARLO

Why did you leave Rome if the city is as grand as you say?

MICHELANGELO

I go where the commissions are. Some are in Rome. This one is here.

CARLO

Ah. You are like me.

MICHELANGELO

Yes. We’re very much the same.

CARLO

When you travel back to Rome…

MICHELANGELO

Yes?

CARLO

Shall I come with you?

MICHELANGELO

Ah. Tell me, all this talk? Was it just to get me to take you to Rome?

CARLO

I am thirsty. Shall we get some wine?

MICHELANGELO

No.

CARLO

I like these minstrels.

MICHELANGELO

Yes. They are very good.

CARLO STARTS TO DO A LITTLE DANCE ON HIS PODIUM. BERNARDO ENTERS. HE LOOKS AT CARLO. HE THEN LOOKS AT MICHELANGELO WHO THEN LOOKS UP TO SEE CARLO MERRY IN HIS LITTLE DANCE. AFTER A WHILE…

BERNARDO

What is he doing?

MICHELANGELO

I have no idea.

BERNARDO

Carlo, what are you doing?

CARLO

What does it look like I am doing, fool? I am dancing.

BERNARDO

Fool! That is not dancing.

CARLO

Be quiet fool. It is dancing.

BERNARDO

Do you see dancing? I see no dancing. I see an ass.

CARLO

You see my arse. You see my arse and you desire it. You want to stick your tongue inside my arse.

MICHELANGELO

Now Carlo…

BERNARDO

I do?

CARLO

Yes. You want to slide your savage serpent tongue into the velvet glove of my lusty cave.

BERNARDO

Such arrogance. You deserve to be beaten and often.

CARLO

You can beat me but you will have to pay.

BERNARDO

I will have to..? Buonarotti, why do you tolerate this buffoon?

MICHELANGELO

I am staying of out this. Do your little dance with him. You know it only encourages him more.

CARLO

Master Simone, would you care for a grape?

MICHELANGELO

Carlo…

BERNARDO

And where are your clothes? You show too much of yourself. Where is your modesty?

CARLO

Somewhere.

BERNARDO

Everything in the world can be found to be somewhere.

CARLO

In my pants, Master Simone. I am as God created me. [HE POSES IN A CRUCIFIX] I celebrate this.

BERNARDO

In your pants? The impertinence! The church would have you burned. Then I will celebrate.

CARLO

Are you sure you do not want a grape?

MICHELANGELO

Carlo!

BERNARDO

Buonarotti, I beg you seek better company in your employ or it may affect your commissions.

MICHELANGELO

Carlo, perhaps we should stop for a while. Go and get some wine.

CARLO

Outside?

MICHELANGELO

Yes.

CARLO

I will need some money.

MICHELANGELO

But I have just paid you not two hours ago and you have not left the room.

CARLO

I have expenses. Plus a wife with child.

BERNARDO

Wife and child? It would be better she threw herself from the battlements and surely avoid a life of misery.

MICHELANGELO

Careful. He may try and assist in such a manner. Tell the market keeper to note it on my house account.

CARLO

He will prefer coin from me.

MICHELANGELO

You exhaust me sometimes, Carlo. Very well. [HE HANDS HIM A COIN.] Two soldi should be enough.

CARLO

I think it is three.

MICHELANGELO SHAKES HIS HEAD. HE GIVES HIM ANOTHER COIN.CARLO EXITS, HIS BACKSIDE EXPOSED.

MICHELANGELO

[YELLING ATER HIM] And make sure you put your clothes back on!

BERNARDO

Why do you let him talk to you like that? He is in your employ. I would not tolerate him.

MICHELANGELO

I am used to it.

BERNARDO

Talking to his betters like that. He should be beaten.

MICHELANGELO

No man should beat another. [Thinks] Though he may provide the exception.

BERNARDO

He is an oaf. You deserve better than this, Buonarotti. Sometimes I think you would be better off using dead bodies again.

MICHELANGELO

I cannot think of anything worse. Have you ever smelled a corpse? I could not get the stench out of my nose for many months. My sense of taste has only recently returned. There are some smells you do not easily forget.

BERNARDO

It can be no worse than the smell of this neighbourhood. Yet you insist your friends risk disease or infestation to visit you.

MICHELANGELO

This locale suits me. I am close to everything for my needs and still far enough to beg my escape.

BERNARDO

And by needs I assume you talk of models. Move closer to the city centre and there are scores of excellent looking men. Not your surly callow youths. Carlo is a beast. You deserve to be surrounded by those that appreciate you.

MICHELANGELO

You?

BERNARDO

Of course.

MICHELANGELO

Why is it you spend so much time in my company? You remind me constantly on each visit how busy you are.

BERNARDO

Do you object? I will take my leave if you desire it.

MICHELANGELO

No, my friend. Stay. I enjoy our talks.

BERNARDO

Is it wrong to hold company with someone whose talent inspires me?

MICHELANGELO

Inspires you?

BERNARDO

Yes.

MICHELANGELO

How should I inspire you? You are not an artist.

BERNARDO

You need not be an artist to appreciate beauty and talent. I look at your work sometimes and am dumbstruck.

MICHELANGELO

You are very flowery today.

BERNARDO

Again I will take leave of you if you attempt to belittle me. You need be more grateful. Remember who finds work for you since your return to Florence.

MICHELANGELO

Your talents for finding me work are very much appreciated…

BERNARDO

Thank you.

MICHELANGELO

It takes great skill in getting rich patrons to part with their money. But my talents play no small part in keeping these commissions. Let us just content ourselves that we are both skilled craftsmen.

BERNARDO

Very well.

MICHELANGELO

And I am grateful, my friend.

AT THIS POINT A YOUNG MAN STAGGERS IN. HE IS DIRTY AND LOOKS VERY SICKLY.

MICHELANGELO

I fear I will have no work done today with all this interruption.

THE YOUNG MAN LEANS AGAINST ONE OF THE PODIUMS. MICHELANGELO AND BERNARDO LOOK AT HIM. THE YOUNG MAN IS UNSURE WHO TO SPEAK TO AT FIRST THEN APPROACHES BERNARDO.

BERNARDO

Yes?

ANTONIO

I am…here.

BERNARDO

So I see. And we are all of us grateful.

ANTONIO

Yes...I…

HE STOPS THEN TURNS AND RUNS OFF.

BERNARDO

[AFTER A LONG PAUSE] Your studio attracts such interesting people. Who was he?

MICHELANGELO

I do not know.

BERNARDO

Buonarotti, there is a wild eyed young man running mad through your studio. I have seen it numerous times and it is not a rare thing but...

MICHELANGELO

I swear to you I do not know him…

THE YOUNG MAN RUNS IN AGAIN. HE IS ALMOST HYPER-VENTILATING.

BERNARDO

You…urchin!

ANTONIO

I am no urchin.

BERNARDO

Yes I am sure you are a person of noble birth but your clothing would suggest otherwise.

ANTONIO

These are not my clothes.

BERNARDO

No?

ANTONIO

No. They are from a person. I took them.

BERNARDO

You took them?

ANTONIO

He would not mind.

BERNARDO

He would not?

ANTONIO

No.

BERNARDO

No I suppose he would not. I am sure he was glad to be rid of them.

ANTONIO

He was dead.

MICHELANGELO

They are a dead person’s clothes?

ANTONIO

Yes.

MICHELANGELO

You took them?

ANTONIO

Yes. But I did not kill him.

MICHELANGELO

Glad to hear it.

ANTONIO

He was already dead when I found him. I did not know what to do. I had never seen a dead body except for my grandmother’s but she was quite old and I was a child of 6 years. I took these clothes because someone had stolen mine.

BERNARDO

The clothing trade is not what it has once been. And why have you come here?

ANTONIO

I come to see you. I hear from others in the street you are looking for boys.

MICHELANGELO

I do wish they would say that in some other way.

ANTONIO

I am one.

BERNARDO

You are one what?

ANTONIO

A boy. You need boys. I am a boy. But you must pay me.

BERNARDO

You would afford me that privilege?

ANTONIO

What?

BERNARDO

What is your name?

ANTONIO

Antonio. Antonio Condilli.

BERNARDO

And tell me Antonio Condilli…why would I have need of your services?

ANTONIO

I could be one of your...I am not sure…

BERNARDO

Models?

ANTONIO

Yes. To be your model. I am told you need them. Always young men. I am a young man.

BERNARDO

But I already have a model.

ANTONIO

Outside they say your model is a braggart and a thief.

MICHELANGELO

These people outside seem to know more about what goes on in here than I.

BERNARDO

Yes but what is so special about you? Some ruffian from the countryside who steals the clothes off the dead? You even smell like the dead. Why do we not just throw you into the Arno with all the other shit and…

ANTONIO

Why do you talk to me like that? Who are you to insult me?

BERNARDO

Why, we have a feisty one here. I am your better.

ANTONIO

If you were better then I think you would be a Christian but I do not think this as no man who calls himself Christian would say such things.

BERNARDO

Ah. So the ruffian is a Christian? God will be pleased.

ANTONIO

Of course….that is…I try to be.

BERNARDO

Well, as long as you’re trying…

ANTONIO

You have no need to mock me. If you do not want me I will leave.

MICHELANGELO

Where will you go?

ANTONIO

I do not know. Away from here. Perhaps I will find a better town.

BERNARDO

Better than Florence? I fear you may have to find another body with shoes before you depart. It will be a long walk until you find a better place than Florence.

MICHELANGELO

Bernardo, please.

ANTONIO

Bernardo? You are not the artist Buonarotti?

BERNARDO

No.

ANTONIO

Then why have you let me waste time talking with you? I came here to see the artist Michelangelo Buonarotti. Does he not live here?

MICHELANGELO

I do.

ANTONIO

[HE STARTS TO SWAY] Sir, you should have told me.

MICHELANGELO

Yes. You are right. I should have made myself known. You stagger. You are not well?

ANTONIO

I am weak. I have not eaten in many days. But I will be strong for you. You will see.

HE FALLS TO THE FLOOR. MICHELANGELO RUSHES TO HIM.

MICHELANGELO

Bernardo. Get me some water.

BERNARDO

Are you mad? Do not touch him! He could have plague.

MICHELANGELO

Hurry! And some food.

BERNARDO

I do not…

MICHELANGELO

Please…

BERNARDO EXITS. MICHELANGELO LOOKS AT HIM FOR A MOMENT. HE GRABS A RAG AND DIPS IT INTO THE BOWL OF WATER NEAR HIS EASEL. HE CROUCHES DOWN AND WIPES ANTONIO’S FACE. HE LOOKS DOWN AT THE YOUNG MAN. ANTONIO STARTS TO REVIVE A LITTLE.

ANTONIO

I am sorry. I have caused you trouble. I will go.

MICHELANGELO

Quiet.

ANTONIO

You must be careful. I may have plague.

MICHELANGELO

Do you feel you have plague?

ANTONIO

No?

MICHELANGELO

Then you do not have it. In truth we have not seen plague here for many years. Bernardo likes to think all but he have plague or will no doubt get it. How far have you come?

ANTONIO

I have been walking for over seven nights.

MICHELANGELO

Seven nights?

ANTONIO

Yes.

MICHELANGELO

And nothing to eat in all that time?

ANTONIO

No.

MICHELANGELO

That is foolish.

BERNARDO ENTERS WITH A SMALL BOWL OF FRUIT AND A JUG OF WATER. HE HANDS THEM TO ANTONIO WHO SCRAMBLES TO GULP IT ALL DOWN.

MICHELANGELO

You should go slowly. You will make yourself sick.

BERNARDO

You may want to break the jug and bowl when he is finished.

MICHELANGELO

Be quiet.

BERNARDO

He smells terrible. When was the last time you bathed?

ANTONIO

I am not sure.

BERNARDO

There! He will be crawling with lice. You are an acclaimed artisan. Do you want people to know you are associated with this creature?

MICHELANGELO

I have always found the need for bathing to be greatly exaggerated.

BERNARDO

And remind me later to speak of your personal cleanliness some time soon.

MICHELANGELO

You babble.

CARLO ENTERS

CARLO

Who is he?

BERNARDO

Er…he is apparently Buonarotti’s new model.

MICHELANGELO

What?

CARLO

New model? That?

BERNARDO

That is correct.

MICHELANGELO

Bernardo, please. Carlo, go heat some water and fill the bath in the main house.

CARLO

Heat water?

BERNARDO

You would have that in your house? He is a field rat. He will steal anything not locked away.

ANTONIO

I do not steal!

BERNARDO

Tell the dead man whose clothes you now infest.

ANTONIO

The clothes smell. Not me.

BERNARDO

You still reek of a pig sty.

CARLO

Wait. He is going to be your model?

MICHELANGELO

No, of course…

BERNARDO

Yes. Your master is tired of your insolence. He requires a change and it seems even the smelliest field rat would be better than a drunken fool.

ANTONIO

I am no field rat.

CARLO

You smell like a rat. You look like a rat. Therefore you must be a rat.

MICHELANGELO

Carlo...the bath?

CARLO

Very well. But I am not happy.

MICHELANGELO

Are you able to walk?

ANTONIO

I think so.

HE HELPS HIM UP

MICHELANGELO

Carlo, best take him with you. Get him washed. You will find fresh clothes in my room.

CARLO

He will wear your clothes?

MICHELANGELO

They are only clothes.

CARLO

You would never let me wear your clothes. [GRABBING HIM BY THE BACK OF THE NECK] Come rat. The sooner you are in water the sooner I drown you.

MICHELANGELO

Carlo!

CARLO

I will not do it.

CARLO AND ANTONIO EXIT

BERNARDO

You are to entertain him in your house?

MICHELANGELO

I will give food and lodging and feed him until he recovers. It is all I can do.

BERNARDO

You open your door to any wandering poormouth that enters your studio? Are you mad? He could be a paid assassin. Remember Buonarotti, you have enemies in this town. Your former friendship with the Medici had you compromised not so long ago and already jealous eyes look to see you humbled if not dead. There are still some of Savonarola’s followers in this city who were never entirely happy with your closeness to Lorenzo and especially not his son Piero.

MICHELANGELO

You need not lecture me on my acquaintances! And do not talk to me of Piero! I know who my friends are.

BERNARDO

But your tally of enemies grows. They lay low but they are still there and would like nothing more than to see you burnt along with all your work.

MICHELANGELO

Why is this your business who I let stay in my house?

BERNARDO

It is none of my business.

MICHELANGELO

Then please let me do this and do not take issue. There has been many a time when a distant acquaintance has given me shelter. How can I not?

BERNARDO

Be careful Michelangelo. I have a mind there are some who would look at your giving shelter to young men as an act of lasciviousness. Even if there were no substance to it.

MICHELANGELO

I care little what men think.

BERNARDO

But I do. We are Florentine. Not the ancients who made prey upon young men and led them into sin and debauchery. Leave those particular peccadilloes to the likes of Da Vinci.

MICHELANGELO

I have heard these days he surrounds himself with beautiful boys for the purpose of artistic expression but I understand there is little art to be seen of it. He busies himself with contraptions and inventions. In truth I do not think he has painted in many years.

BERNARDO

Unless procurement of young men is an art unto itself. But that requires no art at all. Just a ready larder and abundant wine. As to Da Vinci the Milanese already take much humour in it.

MICHELANGELO

The Milanese would laugh at anything. But Leonardo is an old man. He should be given some quarter. Most would say he has earned it.

BERNARDO

But it is hardly becoming and so easy to abuse. We hardly need an artist acting as a Borgia. Now, to our previous matter…

MICHELANGELO

There is a matter to be had? Then, pray tell me, is it as a friend looking out for my wellbeing in matters of carnality or is it business?

BERNARDO

I have heard there is a commission in the offing.

MICHELANGELO

Bernardo, there are always commissions in Florence. The palazzi walls drip with them. But as you can see, I am quite busy with this and three others you have secured for me. I have little time for other work.

BERNARDO

A fresco? You waste your talents.

MICHELANGELO

It was a work that you negotiated! And just remember these talents are mine to waste. I also have six sculptures to finish from another commission and they have already paid me handsomely.

BERNARDO

You would not know it from the manner in which you keep your workshop. I have seen peasants living in caves with better furnishings.

MICHELANGELO

I was not aware you were visiting peasants these days. Are we still to keep sparring?

BERNARDO

On second thoughts I think I shall take this project to another. It may be too exhausting negotiating on your behalf. Besides, you are very busy meeting new people. I will take my leave of you. Good day.

MICHELANGELO

What project?

BERNARDO

I have been told that the Operai seek an artist to sculpt a monument to adorn one of the buttresses on the outside of the Santa Maria de Fiore cathedral.

BERNARDO

What sort of monument?

BERNARDO

It is the David.

MICHELANGELO

The David?

BERNARDO

Yes.

MICHELANGELO

What is the David?

BERNARDO

The David. King David. He who slew Goliath.

MICHELANGELO

Ah. The Jewish king?

BERNARDO

Precisely.

MICHELANGELO

All I know of Jews is that they cut off part of their cocks and avoid eating pig. Perhaps the Operai should ask a Jewish artist.

BERNARDO

Do you know any Jewish artists in Florence? Unless they are merchants they seem well hidden. The Operai know even less about them than you! In any case, the stone has been cut and they look to an exceptional artist to complete it.

MICHELANGELO

The stone has been cut?

BERNARDO

Yes. I believe it comes from Carrara.

MICHELANGELO

Carrara?

BERNARDO

It is a good quarry.

MICHELANGELO

Yes I know that. But why has it already been cut?

BERNARDO

I do not know.

MICHELANGELO

You know I select my own marble.

BERNARDO

That is what I told the Operai but they have already paid for it so it is there to be used.

MICHELANGELO

Wait. This marble? Correct me if I am wrong but is this the same block of Carrara marble that Agostino and before him Donatello worked on? And heaven knows only how many others since. The one that sits in the cathedral yard?

BERNARDO

You have seen it?

MICHELANGELO

No, But I have heard of it.

BERNARDO

Yes. That is the one. They call it “The Giant”.

MICHELANGELO

But it is shit! It is said to be of fairly average quality. Full of holes and nothing to be done with it. It was abandoned before I was born and has been lying on its side for almost 40 years!

BERNARDO

Well, now they have sat it up upright.

MICHELANGELO

If it was worth working on then it would have been completed and not left to languish amongst the dog shit and dirt. Do they think me so low as to work on someone else’s failures? Is that what the Operai would think?

BERNARDO

Perhaps it was the artisans who first touched it that were inferior.

MICHELANGELO

Do not test me with cheap praise. I am no hatchling. It is an insult to expect me to complete something that so many others have already abandoned.

BERNARDO

No one expects you to do anything you do not wish to. The Operai see it merely as a compliment to your craftsmanship. They would entrust its completion to no-one but the most skilled artisan in the country. Why do you rail upon those that wish to elevate you?

MICHELANGELO

I do not need praise.

BERNARDO

You are a man. You seek adoration like all of us. Unless you think you are better man than others?

MICHELANGELO

I do think that.

BERNARDO

You are arrogant Michelangelo and that may be your downfall. Why not take this compliment for what it is?

MICHELANGELO

I distrust praise when it comes covered in goose grease. They praise me to get something from me. I make them a statue and in the public’s eye they reap the glory.

BERNARDO

Surely that is the nature of all men. To achieve something and better his situation before God. You are a great artist, Michelangelo. Possibly the greatest this world will ever know. I do not think we will have seen the best of you yet.

MICHELANGELO

I am not a hired serf nor will I be flattered into submission.

BERNARDO

Your whole career thus far has been for payment. In spite of your surroundings we both know you are a rich man. Your commissions come from wealthy patrons. Such is the lot of any artist. You are born to be patronised. And we especially thank our Lord and Saviour that you are. How else would you finish these magnificent works? Your Pieta in Rome is famous across the land. Your reputation travels far beyond our borders. Here in Florence you are considered by many as a true hero of the republic.

MICHELANGELO

Really?

BERNARDO

All I ask is that you first take a look at the stone. That is all.

MICHELANGELO

You have not won me over, my friend. Everything has been planned out for me but I will resist. Better not to have your David than to have it finished by a bitter artist.

BERNARDO

Perhaps you are right. You do not need this challenge. That is good. And as you say, you are busy with your pretty drawings.

MICHELANGELO

This work serves me well. It is enough.

BERNARDO

It is a good commission. But it is just a painting. Buonarotti, I know where your heart lies and it is not in painting. How could it be when you have been surrounded by stone since childhood? You love the feel of it. You breathe in its dust and it has made you strong. You are one of the very few who should be allowed near it. You caress and shape it like no other. You taunt it in ways no artist of this or any other generation has. But such attention to detail and skill must be given outlet to challenge itself. Only you can make this stone come to life. I beg you just look at the stone. Do this for me.

MICHELANGELO

I find it difficult saying no when your eyes entreat with such conviction. I will look at your stone but I make no promises and mark how I do this under protest but to please a friend.

BERNARDO

It is well noted.

MICHELANGELO

Tell me, who else has been asked to do this?

BERNARDO

Well, there was talk that Andrea Sansovino was chasing the commission.

MICHELANGELO

I’ll wager he was but it would be beyond him.

BERNARDO

I had also heard Leonardo was consulted but declined.

MICHELANGELO

If Leonardo declined it then what am I to do with it?

BERNARDO

You are half his age and have tenfold his talent. He says this. In any case he cares little for sculpture. In fact it was he who suggested you.

MICHELANGELO

He did this? Very well.

CARLO ENTERS

BERNARDO

You will do it?

MICHELANGELO

I will look at the stone. That is all.

BERNARDO

Oh. Very good.

CARLO

What stone?

BERNARDO

Your master has agreed to build a new statue.

MICHELANGELO

I have agreed to look at the stone. Nothing else.

CARLO

What is the statue to be of?

BERNARDO

You would not be very interested.

CARLO

I am very interested. The master has said he will make a statue of me one day.

BERNARDO

I am sure he says that to many men.

MICHELANGELO

I said I would possibly use you as my model. It will not be of you

CARLO

It is the same thing.

MICHELANGELO

I can assure you it is not.

CARLO

What is the statue of?

BERNARDO

It is King David.

CARLO

The Jewish King? The one who slew Goliath?

MICHELANGELO

How is it you know this and nothing else?

CARLO

My mother was Jewish. I know many things.

BERNARDO

Yet you do not know when to stay out of conversations you are not privy to.

CARLO

I should be your David. I am the only person for this work.

BERNARDO

You should be quiet. In good faith you are already too old anyway. David was a boy, was he not?.

CARLO

He could make me look younger.

BERNARDO

Then why should he use you when he can get a boy?

CARLO

I know I am right for this.

BERNARDO

I do not remember reading that David was a fool and an ass.

ANTONIO ENTERS IN CLEAN CLOTHES.

MICHELANGELO

Are you well and refreshed?

ANTONIO

I am. I must thank you.

BERNARDO

Yes the rat does have a new coat and fortunately it becomes him.

MICHELANGELO

There is no need to thank me. You should sleep.

ANTONIO

I will. I think I shall sleep for days and days.

MICHELANGELO

We will talk when you are rested.

ANTONIO

I am to stay?

MICHELANGELO

Until you are well. Then, if it please you we shall see what purpose we may put you to.

ANTONIO

Thank you. I do not know what to say.

BERNARDO

Say nothing but in your prayers thank the Lord he has delivered you to this door. A less sentimental host would have cast you out and into the street whence you came.

MICHELANGELO

Rest. I shall see you when you wake.

ANTONIO

Very good.

ANTONIO EXITS.

BERNARDO

And I will take leave of you. I am sure there is much to be done to make presentable the household for your new guest.

MICHELANGELO

I will talk with you soon, my friend.

BERNARDO EXITS

MICHELANGELO

What is it, Carlo?

CARLO

He is to stay?

MICHELANGELO

Did you not hear? Yes.

CARLO

For how long?

MICHELANGELO

I do not know.

CARLO

Will he be your model now?

MICHELANGELO

I do not know. He is only a boy. But you need not worry. I still have need of your services.

CARLO

And what services will he provide?

MICHELANGELO

I am not sure. But I will decide when he is well.

CARLO

He is not a model.

MICHELANGELO

May I remind you that you were ill equipped to be my model when we first met.

CARLO MOVES OVER TO MICHELANGELO AND TOUCHES HIS FACE

CARLO

It suited you at the time.

MICHELANGELO

Things have changed.

CARLO

Not so much as you would think. He is a boy. Not a man.

CARLO MOVES BEHIND MICHELANGELO AND STARTS TO RUN HIS HAND ACROSS MICHELANGELO’S CHEST. MICHELANGELO CLOSES HIS EYES AND SUCCUMBS FOR A MOMENT.

MICHELANGELO

I am aware of that.

CARLO

You need men for your studies.

MICHELANGELO

I know what I need.

CARLO

[LEANING INTO HIS EAR] He will not love you, you know.

HE GRABS CARLO’S WRIST.

MICHELANGELO

Shall I look for other men to use? I think we are finished for the day. You may go.

CARLO SCOWLS AT HIM THEN EXITS

BLACKOUT

Scene Two

LIGHTS COME UP ON MICHELANGELO AND BERNARDO ENTERING MID ARGUMENT.

BERNARDO

Very well but do not say I did not warn you.

MICHELANGELO

What will they do? They are dogs barking but all gum.

BERNARDO

He could have you killed. You will be out late one evening and…

MICHELANGELO

He will not.

BERNARDO

I tell you he will. The Duke dislikes you intensely. Why do you not see this? You think you are immune to his threats. You are not. I do not understand why you feel the need to vex him or his agents in public.

MICHELANGELO

I said nothing.

BERNARDO

You publicly stated in broad daylight that his nephew had the face of a dried pomegranate! The Duke has already laid claim against you that you show him disrespect by not taking a new commission. Then you insult his family?

MICHELANGELO

I refuse him my services and he looks to have me killed?

BERNARDO

You cannot parry with this family. You do not have Lorenzo the Magnificent to protect you any longer, my friend. [PAUSE] Why did you decline a commission from him anyway?

MICHELANGELO

I had issue with his father over a previous unsatisfactory commission but it seems the bitterness is hereditary.

BERNARDO

Ah, so the rumour is true?

MICHELANGELO

What rumour?

BERNARDO

There was talk that the father had paid you handsomely for work but you defaulted on the commission.

MICHELANGELO

If you have information on the matter why do you press me to tell the tale?

BERNARDO

I would have it from your own mouth.

MICHELANGELO

I did the commission but the old Duke was unsatisfied with the result. When completed he displayed contempt for it. He wished return of the fee. I had worked on it for over 9 months. I refused. He had seen the original sketches and said nothing. He also accused me of using inferior stone for the work.

BERNARDO

Did you?

MICHELANGELO

I used the stone most appropriate for it. They are an ugly family with an ugly palazzo. Have you seen the daughter? A face like a smashed crab. I saw no beauty in any of them so could see scant reason to waste the best marble.

BERNARDO

And pocketed the difference?

MICHELANGELO

It was a valid artistic decision. Is it my fault ugliness is inherited in his family?

BERNARDO

Make no mistake. They look for any opportunity to cut you down and yet you laugh in their face and scorn them in front of others. You should be very careful. Were it not for your friends in Rome he would have you poisoned or taken away and I may never see you again. Did you not see the two bodies hanging on plinths in the piazza?

MICHELANGELO

I saw them.

BERNARDO

They were placed there for your benefit as a warning to you of how powerful these men are that you mock.

MICHELANGELO

I am not scared.

BERNARDO

Well they scared me enough to fear my bowels would empty.

MICHELANGELO

That is very scared. You should seek a physician. I recommend some leeches.

BERNARDO

Make jests all you want but it may be your head the crowd next covers its nose when passing.

MICHELANGELO

They did smell rotten but I wonder how they smelt before death. Not so different I would venture.

BERNARDO

Enough on this. Now we have seen the stone is there some news that I can impart to the guild?

MICHELANGELO

You may tell them I will do it.

BERNARDO

You will?

MICHELANGELO

How could I say no? You would hound me all my days.

BERNARDO

Very good.

MICHELANGELO

But the price is too low.

BERNARDO

Ah, Michelangelo the merchant.

MICHELANGELO

One hundred and fifty florins is an insult. It will take at least two years to complete. Tell them twelve florins per month and I will take no less.

BERNARDO

They have not even awarded you the commission and you would argue the price?

MICHELANGELO

Agostino and Donatello could not make it work. They will pay it if they want the best.

BERNARDO

I will inform them. Will you work on it here?

MICHELANGELO

No, it can stay where it is in the cathedral yard. It will be too difficult to transport from here and could be damaged. I will place screens to keep our work private. They will also pay for the screens and once completed they will pay for the transport to the piazza as well. I will have to create some device to move it.

BERNARDO

Of course. I am surprised.

MICHELANGELO

By what?

BERNARDO

You are unusually amicable today. I have not seen you this cheerful in a long while. Perhaps you stepped on a small child when I looked away?

MICHELANGELO

You are very amusing Bernardo.

BERNARDO

I had felt sure you would reject the proposal. The outline has already been rough hewn into the stone. You think you can work within its limitations?

MICHELANGELO

In my head the piece is finished already. I will merely carve away what I do not need. Though I am still unsure on the face.

BERNARDO

I think I may say this will be the biggest commission you ever receive. It will be the making of you.

MICHELANGELO

I am please you think that. I fear it will be the death of me.

ANTONIO ENTERS AND PLACES A SMALL BOWL DOWN BY THE EASEL.

BERNARDO

I see the rat is still here.

MICHELANGELO

Bernardo, please. Antonio, I give you permission to ignore him.

ANTONIO

Yes Master Buonarotti.

BERNARDO

Well, it looks like you have made yourself at home here and you are fortunate Master Buonarotti has found some use for you.

MICHELANGELO

I asked him to rest a while longer but he insists on being put to use.

ANTONIO

It is the least I can do.

BERNARDO

The very. So…what is your name again?

ANTONIO

Antonio Condilli.

BERNARDO

Where are you from, Antonio Condilli?

ANTONIO

A small village. You would not be interested.

BERNARDO

That is for me to judge. And you came here to revel in the glory that is Florence?

ANTONIO

One city is as good as another.

BERNARDO

That is not true. Florence is not Rome. Milan bears little resemblance to Genoa. Bologna is…

MICHELANGELO

A shit heap.

BERNARDO

Buonarotti, you speak of the place of my birth! [PAUSE] But you are correct. It is a shit heap. That is why I choose to live here in Florence. Oh, make no mistake, there is shit here too but the smell is less overpowering.

ANTONIO

Very good.

BERNARDO

But you still have not told me where you come from.

ANTONIO

Why is this matter important to you?

BERNARDO

It is of no consequence. I merely pose the question. You do not have to answer to me. I am not your master.

ANTONIO

It is a good thing.

BERNARDO

But I am sure that your master would be interested to know.

ANTONIO

Then he may ask me if and when he sees fit.

BERNARDO

You are very evasive, my young friend. I hope, Buonarotti, you will not be murdered in your sleep. It would appear this boy has a talent for secrets. One can only wonder what mysteries lay behind those eyes. I hope, boy, you are thanking God and providence that has brought you to your master’s door. I do not think you fully appreciate how lucky you are to have landed on this particular doorstep. Your master is a great artist in much demand.

ANTONIO

I am beginning to see that, for you occupy much of his time of late.

HE EXITS. BERNARDO IS NOT AMUSED. MICHELANGELO SMILES.

BERNARDO

You think this amusing?

MICHELANGELO

I say nothing.

BERNARDO

Your workshop is in need of a purge. You should be rid of both that fool Carlo and your rat. You cannot tell me you are entertained in their company.

MICHELANGELO

Carlo is as he is. He is loud but harmless.

BERNARDO

And the boy?

MICHELANGELO

The boy? I have no issue with him.

BERNARDO

He is a distraction to your work.

MICHELANGELO

He is no distraction. I talk to you and yet my work gets done. Why do you dislike him so?

BERNARDO

I do not dislike him.

MICHELANGELO

You have not made him welcome.

BERNARDO

I would know why he is here.

MICHELANGELO

He will tell me in his own time.

BERNARDO

You must be very careful.

MICHELANGELO

Bernardo, you are too suspicious.

BERNARDO

A stranger arrives on your doorstep with no references, vague account of his travels and stolen clothes on his back. You welcome him with open arms. I would know his intentions.

MICHELANGELO

Has it occurred to you that he may have no intentions but to survive? We live in violent times.

BERNARDO

It is my point. I feel a darkness about him. I fear it will overcome all of us.

MICHELANGELO

As do I. But your distrust only makes it worse. Leave him to me.

BERNARDO

Or perhaps there is another reason you entertain his company.

MICHELANGELO

What other reason than to lend a Christian hand.

BERNARDO

Are you sure you are not enamoured of him? I know your past and fear this may cloud your judgement.

MICHELANGELO

I know where this conversation is steered but you will not engage me.

BERNARDO

I would not blame you of course. I suppose he could be considered handsome to some. Gioletti and Leonardo would make a meal of him.

MICHELANGELO

You forget the teachings of our mother church.

BERNARDO

You are an artist. You are above such limitations in your eternal quest for perfection.

MICHELANGELO

Beautifully put. You should try announcing that the next time we are watching a sodomite being burned.

BERNARDO

Buonarotti you and I were born before our time. You have been touched by God. That is clearly evident from your work. Few men have what you have. Wars have been started for less reason but none more noble.

MICHELANGELO

You cannot sway me with arguments when you so easily slip God into the conversation. You are a sly devil. I must watch you constantly Bernardo.

BERNARDO

It is just an observation.

MICHELANGELO

[SITING DOWN ON THE BED BESIDE HIM] Bernardo you have been my friend some years now. In that time you have known my mind. Some of my most intimate secrets I have imparted to you on many a drunken evening.

BERNARDO

That is true.

MICHELANGELO

Then it should come as no surprise to know the trajectory my desires have taken of late. At present my mind has it that a chaste existence seems the natural path for me to follow if I am to achieve these works I do.

BERNARDO

It seems a drastic measure for someone not of the church hierarchy. Though the church has never been one to shy away from debauchery on occasion. In fact our current papacy seems intent on using it as mortar for the stone.

MICHELANGELO

You would have me and my life permanently debauched so that you should have companion to it. But at present I feel it is not my vocation. In fact you could say I have become a monk.

BERNARDO

I have known many a lustful monk.

MICHELANGELO

I am no longer of that determination. I am justly afraid it degrades other more important things. I fear that if I gave myself over completely in carnal pleasure it will diminish the gifts I have nurtured and the Lord has bestowed on me. I have seen it in others. Many fall from grace because they have not the willpower to resist temptation. I am a’ feared that if I give in then I raise my hand to mock God and he may strike me down with a malady that would take what talent I possess. I cannot do this.

BERNARDO

You believe this? You speak of God as if it is His hand alone that steers you?.

MICHELANGELO

How can I not? You said I was not of this age. I believe I am but our time here is so fleeting. It could all be so quickly taken away like the snuffing of a candle. I want so much to love but I know if I falter then God will take away what talent I have and I will be nothing. I must continue my work and not have the distraction of love to risk all. I ache so much some times for pleasure. I have enjoyed my share of carnality but when I return to my work it is like I am using a stranger’s hands. I feel impure touching what I am creating when it is in His name.

Make no mistake my previous exploits are not regretted for they inform the man I am now but I feel my life is to have a higher purpose in art.

BERNARDO

I have your history and know your will bends as the trees. I will press you no further for the moment. [GETTING UP TO LEAVE] As to the boy, perhaps I will ask about to find if anyone knows anything.

MICHELANGELO

You will do no such thing. He is no threat.

BERNARDO

You do not know that.

MICHELANGELO

I follow my heart.

BERNARDO

That is a dangerous course indeed.

BLACKOUT

Scene Three

LIGHTS UP AS ANTONIO ENTERS. HE GOES TO THE EASEL AND LOOKS AT THE SKETCHES. HE TRIES TO ADOPT SOME OF THE POSES IN THE SKETCHES. CARLO COMES OUT FROM BEHIND A CURTAIN EATING AN APPLE.

ANTONIO

I did not see you.

CARLO

That is because I did not wish you to see me. I move with stealth. Like a panther.

ANTONIO

Have you ever seen a panther?

CARLO

No. But I have heard people talk of them so I know.

ANTONIO

I have no time for your games today, Carlo. What do you want?

CARLO

No, the question is what do you want?

ANTONIO

I am not sure what you mean?

CARLO

Who are you?

ANTONIO

You know my name.

CARLO

I do. But I don’t know who you are. Nor where do you really come from? You have been very quiet on this. Should we believe the fragments you reveal about yourself? The very little you have said? I think your master is very naïve to let some stranger into his home.

ANTONIO

I am no-one.

CARLO

No. You are the rat who steals into the larder and poisons the grain with his filth. But where does this rat come?

ANTONIO

I will not listen to this.

CARLO

Where will you go? Outside? You have not ventured out of this house since you first crawled here and started to spin your lies.

ANTONIO

I have spun no lies.

CARLO

If I was a smart man I would say you were afraid of something.

ANTONIO

Then it is a good thing you are not a smart man.

CARLO

What is outside that frightens you so? Does someone chase you? Perhaps you are being pursued by creditors or a jealous lover. Or perhaps you have escaped from a prison dungeon. Is that it, field rat? Do not run away. There is no one here to protect you now. Your precious master is out looking at stone.

ANTONIO

Then I will to my room.

CARLO

[MOVING THREATENINGLY TO CUT HIM OFF] Your room? You have no room! You lay your head and arse in another person’s good graces. Did you know the bed you sleep in was once mine? Should I be happy that you are stinking up my bed? [LEANING INTO HIM] Of course you are not stinking too badly. In fact you smell quite sweet.

ANTONIO

You want your room back? You can have it.

CARLO

It is of no consequence to me. I find comfort in many beds.

ANTONIO

I understood you had a wife.

CARLO

A wife’s bed is comfort to no man. No, I take my pleasures where I can. I have gorged myself in a multitude of orchards.

ANTONIO

I have not the ear today for your poetry.

CARLO

I would not make myself too comfortable here if I were you. If I know Buonarotti your situation is merely temporary.

ANTONIO

What do you mean?

CARLO

I mean to say the master often offers a spare bed to young men who catch his eye. Of course most are much more handsome than you but that is the master’s way on occasion. His taste has always been less than consistent. Many do tend to take advantage of his good nature and excellent wine. But not everyone likes wine. Do you like wine?

ANTONIO

No. And he does not keep me here either.

CARLO

Then I wonder what it is stays your time with us. Surely he has not agreed to let you be his model.

ANTONIO

I am hopeful. It does not seem to require much skill.

CARLO

You will never be his model. You are not handsome. In fact you are very plain. There is nothing in the slightest bit interesting about you. Why do you stay?

ANTONIO

If there is nothing interesting about me then why do you keep conversation with me? You do not have other diversions?

CARLO

None that cannot wait. I tell you this so you are under no false impressions. Do not expect your current circumstances to be a permanent arrangement. Like all Michelangelo’s whims it is merely a passing fancy. Soon you will be made to give up the bed for someone else and become just another house servant or mixer of colours and oils.

ANTONIO

You sound very discontented Carlo. I wonder why it is you that you stay.

CARLO

I am already making plans. But plans require coin and making coin takes time and patience.

ANTONIO

You are leaving?

CARLO

Soon.

ANTONIO

Oh.

CARLO

Or perhaps I am wrong and it is not the master that keeps you but another. [MOVNG AROUND BEHIND HIM] Is that true? Is there someone else that keeps you here? Is there desire burning deep in your loins for another? Perhaps I misjudged you.

CARLO PUSHES HIM AGAINST THE PODIUM AND STANDS BEHIND HIM. HE TOUCHES HIM LIGHTLY. HE RUNS HIS HAND OVER ANTONIO’S CHEST. FOR A MOMENT ANTONIO SUCCUMBS AS CARLO KISSES DOWN THE SIDE OF ANTONIO’S NECK. HE WRAPS HIS ARMS AROUND HIM. ANTONIO STANDS STILL WITH HIS EYES CLOSED.

Or perhaps not. Do you like this, field rat? Do you take pleasure in this? Do you like the smell of men?

BERNARDO ENTERS. CARLO LOOKS UP AT AND SMILES.

Who has touched you like this before? Do you enjoy this? Your cock in my hand would make me think it so. I think there have been other men who have had you this way. [HE GESTURES FOR BERNARDO TO LEAVE] Has Buonarotti touched you like this? I wonder. [BEAT] He does not love you, you know.

ANTONIO STOPS AND PUSHES HIM AWAY VIOLENTLY.

ANTONIO

Take your filthy hands off me! I had lost my head for a moment but truly I would cut your throat, had I a dagger in front of me.

CARLO

Ah. The field rat has teeth. That is fine. A moment is all I will need.

ANTONIO

You will have no more such moments with me. I swear this.

CARLO

The winds change quickly around here and I am a patient man. Mark you that.

CARLO EXITS. ANTONIO TRIES TO COMPOSE HIMSELF AND WASHING HIS FACE. BERNARDO ENTERS AND WATCHES HIM, UNSEEN, FOR A MOMENT. AFTER A WHILE ANTONIO TURNS AROUND AND IS STARTLED.

ANTONIO

I did not know you were here.

BERNARDO

I frightened you. I am sorry. I should have made my presence known. I knocked but there was no answer.

ANTONIO

The master is out.

BERNARDO

Yes, I see. Will he be long?

ANTONIO

I do not know.

BERNARDO

And how does your master occupy his time these days, I wonder.

ANTONIO

I believe today he is arranging scaffolding for the giant.

BERNARDO

Ah. Of course.

BERNARDO LOOKS AT THE SKETCHES

ANTONIO

I do not think he would have anyone look at his drawings.

BERNARDO

Yes you are right.

ANTONIO

He must have forgotten to put them away.

BERNARDO

It is of no matter. So tell me Antonio Condilli, do you like living here?

ANTONIO

I am comfortable.

BERNARDO

It is better than sleeping under a bridge I suppose But not much. Your master is very frugal with his living arrangements. And what of you? Do you see yourself still as his model?

ANTONIO

I had hoped. But Master Buonarotti is very occupied of late and has made no mention of it.

BERNARDO

Perhaps you should remind him.

ANTONIO

Will you come back later? I think he shall be some time.

BERNARDO

It is of no consequence. I had business nearby and just called in for a short visit. In faith I had hope to find you here as well.

ANTONIO

Me?

BERNARDO

Yes. It seems I should make apology to you and beg your forgiveness.

ANTONIO

For what?

BERNARDO

I have treated you harshly since you came here.

ANTONIO

It is of no matter.

BERNARDO

It weighs heavy on my conscience. I was wrong to suspect you of dubious intentions. You will forgive me?

ANTONIO

Yes.

BERNARDO

I only have Michelangelo’s best interests and safety at heart.

ANTONIO

You are a good friend to him.

BERNARDO

I hope I can be a good friend to you as well. If you will allow it?

ANTONIO

If it please you.

BERNARDO

It would please me greatly. You are a strange animal, Antonio.

ANTONIO

How is that?

BERNARDO

You shut everything away deep inside you. One would have to dig deep to know the truth of it. I would like to know what goes on in that mind of yours.

ANTONIO

I think you would be disappointed.

BERNARDO

I do not think so.

ANTONIO

And of my past there are some subjects I do not wish to discuss.

BERNARDO

You see? Already I have overstepped my mark. I have upset you. I am a foolish man.

ANTONIO

Master Simone, if you are finished, you will excuse me. I have duties and I do not wish Master Buonarotti to think me taking advantage of his goodwill or generous nature.

BERNARDO

Generous nature? That is the first time I have heard his name and ‘generous nature’ used in the same sentence. Of course. But surely Master Buonarotti will allow you a moment. I would just like us to be friends. Is it not natural to want to be friends with those who our closest and dearest have taken in?

ANTONIO

I see little reason for you to want to be my friend. You have treated me with much disdain.

BERNARDO

Is it wrong to be wary of strangers? Florence has much to commend it to the eye but as beautiful as it is, this is a very dangerous city. There are men who roam the city walls intent on causing mischief and harm, some for money and some merely for the sport of it. You yourself said that you were taken advantage of and set upon by villains when first you came here and had to rely of the rags of a dead man for modesty.

ANTONIO

I think you are right.

BERNARDO

Of course. And now that you are cleaned up and better attired you make a quite different impression. I was wrong to make such a judgement on you but do not let your first impressions of me cloud your estimation either lest you be guilty of the same folly. And close associates of mine would tell you I am naturally friendly to those whose company I would seek to engage.

ANTONIO

I think you waste your time seeking my company for conversation. I am not of a status to match you.

BERNARDO

I do not hold so much with the status of men.

ANTONIO

Yet you held it against me on our first meeting.

BERNARDO

As I said, I was of a suspicious disposition and am now much contrite. In faith I hold little respect for any man who uses his status to disparage another. But let us put that to the past Antonio Condilli. Are you happy here?

ANTONIO

It is good enough.

BERNARDO

You know I have a villa closer to town. Perhaps you would find more comfort there.

ANTONIO

With you? A short time ago you would have had me thrown onto the street. Now you wish to take care of me?

BERNARDO

I am a penitent man, Antonio. Please accept my offer. You would have your own room, much to eat and you would have your own clothes. Not some borrowed rags. You could come and go as you please.

ANTONIO

And what would you have me do in payment? My skills are limited at best.

BERNARDO

There are ways and means for anything.

ANTONIO

I do not think I have what you would be interested in.

BERNARDO

My tastes are varied to say the least. For this gesture I am merely feeling benevolent, Antonio Condilli and as a close friend to your master it is my desire to help you have a better life as some have done for me.

ANTONIO

I have enough. This place suits me well. Michelangelo has given me shelter and work. That is all I need.

BERNARDO

Michelangelo oft times forgets how to play host. It may suit you for a time but perhaps as you grow used to Florentine ways you will seek comfort in other places. I will not rush you. Just remember my door is open if you feel the need for someone to show you the many sights of this city.

ANTONIO

I am sure you are very busy.

BERNARDO

I can make time for people who interest me.

ANTONIO

I am grateful for your offer. Thank you.

MICHELANGELO ENTERS WITH AN ARMFUL OF SKETCHES. HE THROWS THEM ON HIS EASEL AND COLLAPSES ON HIS BED. ANTONIO EXITS QUICKLY

MICHELANGELO

What have you Bernardo?

BERNARDO

Nothing. I thought merely to stop in and see how you progress with your new commission.

MICHELANGELO

It goes well. I do my sketches here and visit the church yard regularly to work on the block as I go.

BERNARDO

It has been some time. I should pay you a visit there soon.

ANTONIO ENTERS AND GIVES MICHELANGELO A CUP OF WINE

MICHELANGELO

You may if you so desire as long as you do not seek conversation. Would you wish some wine? Antonio, would you…

BERNARDO

No wine for me today thank you.

MICHELANGELO

You are unwell?

BERNARDO

Thank you but no.

MICHELANGELO

Do not let me keep you.

MICHELANGELO LIES DOWN ON HIS DAY BED

BERNARDO

You are not working now?

MICHELANGELO

Bernardo I have been at work all morning. I am exhausted. The stone is harder today and I seem to have no more desire of working on it any further today. My arms are very weak.

BERNARDO

Your arms are always weak. Would that my arms were as weak and had your talent.

MICHELANGELO

You cannot flatter me.

BERNARDO

I do not flatter you. It is a simple truth.

MICHELANGELO

Ah. Antonio, take note. Beware men of God who speak of the truth.

ANTONIO

Master Simone is a man of God?

BERNARDO

I was for a short time of a pious vocation.

MICHELANGELO

The power of wine and other diversions had a stronger calling.

BERNARDO

If I were a true man of God you would be found hanging by your principles from the Duomo tower.

MICHELANGELO

I know, I know. You would call the castle guards and have me imprisoned for heresy. You say that each time we meet then we partake of wine and your conviction is played more false than a whore’s virtue. In any case you may want to request a prison cell with room for two. My ears have been scorched with the fires of your heretical private mutterings.

BERNARDO

It may happen one day.

CARLO ENTERS EATING AN APPLE. THEY BOTH LOOK AT HIM. ANTONIO EXITS AGAIN.

MICHELANGELO

Carlo, why are you here today? I have made no arrangement with you.

CARLO

I thought you might have need of me today.

MICHELANGELO

I had no thought to it.

CARLO

Well I am here anyway. Make of me what you will.

MICHELANGELO

Your services are not required.

CARLO

Then I shall stay for a while if you will allow me. I dare not go back to my house. My wife makes demands on me.

BERNARDO

Oh, you are still married?

CARLO

Of course.

BERNARDO

Michelangelo tells me you are about to have a child.

CARLO

She is about to have a child. I had very little in the matter.

BERNARDO

Nonsense. You underestimate your value. Although looking at these sketches you may be correct.

CARLO GOES OVER ANDS LOOKS AT THE SKETCHES ON HIS EASEL.

CARLO

Master Buonarotti, these drawings are not very flattering.

MICHELANGELO

What is wrong with them?

CARLO

Look. Do you not see?

MICHELANGELO

What? I see nothing.

CARLO

There.

MICHELANGELO

Oh, that.

CARLO

You make my cock look small.

BERNARDO

The artist sketches as he sees it. He is truly gifted in the detail.

CARLO

Be quiet.

MICHELANGELO

The size is immaterial. A cock is a cock. Just as light is light.

CARLO

Then I wish more light.

BERNARDO

Like any man.

CARLO

I do not wish to have my name on this drawing.

MICHELANGELO

I believe I can grant you that.

CARLO

Good. But you may keep my arse. I like my arse.

MICHELANGELO

Thank you.

ANTONIO ENTERS AND PLACES A BOWL OF PAINT DOWN BY THE EASEL

CARLO

Good day rat.

ANTONIO

My name is Antonio.

CARLO

I was told it was rat.

MICHELANGELO

Carlo.

ANTONIO EXITS ONCE MORE

CARLO

Master Buonarotti, I saw your Battle of the Centaurs.

MICHELANGELO

Yes? They let you in the palazzo?

CARLO

Yes, I told them I was your acquaintance.

MICHELANGELO

And yet you still managed to gain entry.

CARLO

It was very good your centaurs.

MICHELANGELO

I am pleased.

CARLO

Though to my mind there were not nearly enough women in it. Perhaps you should do another with more women in it. That would be better.

MICHELANGELO

I will think on it.

BERNARDO

You are a very clever man, Carlo.

CARLO

This is what I am often told.

MICHELANGELO

Really?

CARLO

Yes.

BERNARDO

Master Buonarotti you must listen to these voices. The rabble always know what is best for those above them.

CARLO

I am thinking…

BERNARDO

Master Buonarotti, I owe you a florin.

CARLO

I am thinking perhaps you need to make your work more dramatic.

BERNARDO

The Battle of the Centaurs was not dramatic enough for you?

CARLO

It was good but it should have been better.

BERNARDO

Why do you suffer this fool?

CARLO

Is it foolish to want something good to look at?

ANTONIO ENTERS AND PLACES WINE AT MICHELANGELO'S FEET

BERNARDO

Michelangelo, I think it is time you changed models. The dust around here has thickened his mind into a dolt. Though the journey cannot have been taxing.

CARLO

Perhaps a rape. That is always very dramatic. I have an even better idea. [HE GRABS ANTONIO AND PULLS HIM AGAINST HIS CHEST] You could do a sculpture of the rat and myself. Perhaps with me cutting his throat.

HE TAKES HIS DAGGER AND PUTS IT AGAINST ANTONIO’S THROAT. ANTONIO STRUGGLES TO BREAK FREE

MICHELANGELO

Carlo, what are you doing?

CARLO

Do you not think this dramatic? As I plunge the dagger deep into him.

ANTONIO

Let me go.

CARLO

Come rat. Let us show the master we are a good subject for his art.

ANTONIO

Stop! Stop!

ANTONIO BREAKS AWAY, CLUTCHING AT HIS THROAT. HE RUNS OFF. THE OTHERS LOOK AT CARLO LAUGHING

BERNARDO

You are a fool!

MICHELANGELO

What do you think you are doing?

CARLO

Nothing. I am making excitement. It was a jest. He knows this.

MICHELANGELO

He knows nothing of the sort. Get out.

MICHELANGELO RUNS AFTER ANTONIO.

BERNARDO

You are very wicked Carlo.

CARLO

I am as God would have me.

BERNARDO

That is blasphemy!

CARLO

That is a truth? [PAUSE] And you should not mock me in front of them.

BERNARDO

You are right. I am sorry. You will forgive me?

CARLO

Perhaps. If you make it worth my while.

BERNARDO MOVES TOWARDS HIM, TAKING OUT A SMALL BAG OF COIN AND WAVES IT. CARLO SMILES AND TRIES TO TAKE IT FROM BERNARDO. BERNARDO HOLDS IT BEHIND CARLO’S HEAD. CARLO GRABS THE COIN PURSE AND THEN BERNARDO’S CROTCH. THEY KISS PASSIONATELY AND CROPE EACH OTHER FURIOUSLY. AFTER A MOMENT BERNARDO STARTS TO PULL AWAY

BERNARDO

Wait. I have need of your services.

CARLO

I can feel it. And is my cock big enough for you now?

BERNARDO

It is. But that is not the service I require.

HE MOVES AWAY FROM HIM

CARLO

I am busy today but I shall come to you tonight.

BERNARDO

And tell me…is your wife satisfied with our arrangement?

CARLO

She does not ask where the money comes from nor will I tell her. As long as you keep paying I am at your disposal. So, what would you have me?

BERNARDO

I am afraid we have an infestation.

CARLO

What?

BERNARDO

Our rat seems to have made a permanent home and is causing much issue. I would have rid of it.

CARLO

He is harmless.

BERNARDO

He is not harmless. He must be removed. For both our sakes. [BERNARDO MOVES TO THE DRAWINGS] Your master looks to find another muse and if he does then you may find yourself out of work.

CARLO

What?

BERNARDO

I understand Buonarotti is thinking of using him for his David.

CARLO

He has said this to you?

BERNARDO

He has implied as much. He finds much comfort in the boy just as he found comfort in you some years ago. You were his Bacchus and your image was a marvel to be seen. People flocked to look on you.

CARLO

It was a beautiful statue.

BERNARDO

You were beautiful. But the years pass and your beauty starts to fade. It is only natural. Believe me, no one grieves more than I. Now the master looks for another subject only this will be more than twice the size of the Bacchus. It must feel terrible to be discarded like that.

CARLO

I am not discarded!

BERNARDO

Then perhaps Michelangelo keeps you out of pity. Have you not noticed his sketches no longer show the face?

CARLO

That is his way of working.

BERNARDO

That is his way of telling you. Beautiful bodies can be found throughout this city and there is no shortage of men he can use. Why he would want the boy for his David confounds me.

CARLO

But that is to be me. I am the David

BERNARDO

Has he said as much?

CARLO

No, but…

BERNARDO

And you have nothing in writing? No contract?

CARLO

No.

BERNARDO

Then he will do what he pleases as he has always done. It is a shame for I think you would be perfect for it. In spite of what Michelangelo has told me in confidence to my mind you are still strong and king-like.

CARLO

I cannot believe he would say that nor do this to me. After all the years of service I have given him. I had thought he loved me more than this. I must speak with him.

BERNARDO

You know Michelangelo. He is not the easiest person to talk to. He will say one thing and do another. He is infamous for it. And do not forget he is quite angry with you at present. Your little joke just now only adds to the pyre. No, I think it would be easier for all if you said nothing but that the boy disappeared.

CARLO

I will not kill him. I am no murderer.

BERNARDO

No. you must not. But perhaps there is something that would cause him to leave.

CARLO

I cannot think how.

BERNARDO GRABS HOLD OF HIM AGAIN TURNS HIM AROUND. HE LOOSENS CARLO’S PANTS SO THAT THEY DROP A LITTLE. HE KISSES HIM ON THE NECK AND CARESSES HIM.

BERNARDO

Come now. You are a handsome man. How could he resist your advances? I can barely restrain myself in your company and he is nothing. Take him in then when he is enraptured and how could he not be, cast him aside. You are a clever man Carlo. I am sure something will come to you.

BLACKOUT

Act Two

Scene Four

ANTONIO SITS STIRRING SOME PAINT. HE IS LOOKING SICKLY. MICHELANGELO ENTERS. ANTONIO EXITS, SAYING NOTHING. MICHELANGELO IS SLIGHTLY PUZZLED. HE SITS AT HIS EASEL AND STARTS TO SKETCH. ANTONIO RE-ENTERS WITH WINE AND PLACES IT NEAR MICHELANGELO THEN GOES AND SITS AT ONE OF THE PODIUMS

MICHELANGELO

Antonio?

ANTONIO

Yes master?

MICHELANGELO

You’re very quiet today.

ANTONIO

Yes master.

MICHELANGELO

Is something wrong? You are not sickly are you? This workshop has a draught. You must take care of yourself.

ANTONIO

There is nothing wrong.

MICHELANGELO

Has anyone been unkind to you?

ANTONIO

No.

MICHELANGELO

Carlo? Has he harmed you again? I will have him thrown into the street! [CALLING OFF] Carlo!

ANTONIO

He has done nothing.

MICHELANGELO

Then why do you scowl?

ANTONIO

I am sorry.

MICHELANGELO

I would not have you unhappy here. Are you unhappy?

ANTONIO

No.

MICHELANGELO

Very well. But your demeanour would have me think otherwise.

ANTONIO

It is nothing. I was wondering…

MICHELANGELO

Yes?

ANTONIO

When will you draw me?

MICHELANGELO

I do not know.

ANTONIO

I want to be your model.

MICHELANGELO

There are others here that I call upon to model for me.

ANTONIO

Dismiss them.

MICHELANGELO

You know I cannot. They have mouths to feed.

ANTONIO

Am I unattractive to you?

MICHELANGELO

You are not without beauty.

ANTONIO

You think me ugly?

MICHELANGELO

Not at all.

ANTONIO

There was a time when some thought me beautiful.

MICHELANGELO

I do not doubt it. Perhaps one day I shall have you model for me. Is it not enough for now that you keep me company?

ANTONIO

It is.

MICHELANGELO

Good. And mark how you go with Carlo. He takes much pleasure in the mischief he causes. You must learn to pick your battles as I do.

ANTONIO

Who do you battle with?

MICHELANGELO

I wrestle with many demons. None greater than my own conscience. You see this broken nose?

ANTONIO

I do.

MICHELANGELO

That was a battle with someone else’s conscience. I do not wish to take the damage further and with more lasting consequences. So far I have been fortunate to have powerful friends who protect me but with powerful friends come powerful enemies.

ANTONIO

I am not afraid.

MICHELANGELO

But I am. For you. I would not have you taken from me. You are my friend.

ANTONIO

I am your servant.

MICHELANGELO

Do you see yourself as my servant?

ANTONIO

You pay me.

MICHELANGELO

I pay to keep you safe. Would you prefer to be out on the road?

ANTONIO

No.

MICHELANGELO

Then you must trust me and heed my advice.

ANTONIO

I will try.

MICHELANGELO

I would ask why it is so important that you model for me.

ANTONIO

I do not wish to be forgotten.

MICHELANGELO

Forgotten? How are we to forget you?

ANTONIO

I have a shadow.

MICHELANGELO

A shadow? We all of us have a shadow.

ANTONIO

Mine is the shadow of Death.

MICHELANGELO

Seriously my young friend you are too dramatic for your own good.

ANTONIO

It is true. It hangs over me with its hand outstretched. I have always known it. I was born to die young. From birth my mother was told by a teller of fortunes I would not have a long life. That I have survived this long surprised both her and myself. I feel I am coming to the end of my days.

MICHELANGELO

You are young and should have no such thoughts. You must not contemplate death nor invite it. We all tread the same path in the end but in due course. Do not open the door to pay welcome.

ANTONIO

I have accepted my fate. There is no more to said on it. But if you make a sculpture or painting of me then I will be remembered forever. I will have existed.

MICHELANGELO

Is it not enough to have tried to live a spiritual life?

ANTONIO

You speak like a preacher.

MICHELANGELO

Unlike most of them what I speak is truth. I would believe that our memory lives through those whose lives you touch. I also see no reason to create monuments to living men. In any case it is said to be unlucky. It is also the worse of vanities. Make your mark in life because you will benefit little after your death. As time passes the crowds ignore you and the pigeons shit on you.

ANTONIO

No one will know.

MICHELANGELO

I will know.

ANTONIO

That is not enough for me.

MICHELANGELO

I am sorry I cannot give you more comfort. Perhaps if you looked to the church…

ANTONIO

I spit on the church! A man does not need the church to love Christ or lead a good life. And from what I have seen the church is the last place to find comfort.

MICHELANGELO

You must not say that! Even if you feel it in your heart you must not say it. There are those who measure their worth by the damage they create in God’s name and need little excuse to lock good men away. The self-righteous need little encouragement to exercise their wrath. They would kill you.

ANTONIO

Are you not afraid? I have heard you mock God.

MICHELANGELO

I mock men of God but always away from malicious ears. Many villains hide behind the papal robes. There are those who would have me fall hard. A careless word can still be called heresy and the church in Rome has long fingernails…

ANTONIO

I will remember your words.

MICHELANGELO

And yet you still look forlorn. Is there anything more that troubles you? You have been very silent on your past. I cannot help but think that something dark…

ANTONIO

Do you love me?

MICHELANGELO

What?

ANTONIO

Do you love me?

MICHELANGELO

Can you think otherwise?

ANTONIO

You would have me believe so but the mouths of men are often filled with lies.

MICHELANGELO

Believe me when I say I do love you.

ANTONIO

You love me like a friend. I see that.

MICHELANGELO

Of course.

ANTONIO

And nothing more. It is not the same.

MICHELANGELO

I love you as the ancients did.

ANTONIO

The ancients?

MICHELANGELO

They quite often took young men into their graces for protection and instruction. Do you know nothing of history? I shall have to teach you.

ANTONIO

I do not wish to be your pupil!

MICHELANGELO

Very well. I mistook your melancholy. I will trouble you no more today.

ANTONIO

Why can you not say it?

MICHELANGELO

Say what?

ANTONIO

Say that you love me.

MICHELANGELO

Don’t ask that of me.

ANTONIO

Why? You know that I love you. You rescued me. Took me in.

MICHELANGELO

I do love you but nothing more can come of that except what I offer you in friendship. I beg you act sparingly with open proclamations of your affections. There are those that would use your words against you if given opportunity. And, my young friend, you do know the contents of my heart. I could make you weep with the stories of my broken heart.

ANTONIO

I am sorry, my friend. You have been good to me and I repay you with churlishness and demands. Please forgive me but I cannot shake this mood.

MICHELANGELO

Come seek me out when you are in a humour for company.

MICHELANGELO LEAVES. ANTONIO SITS AT THE EASEL AND LOOKS THROUGH THE SKETCHES. CARLO ENTERS.

CARLO

Ah, the good and faithful servant Antonio Condilli. I had hoped to find you here.

ANTONIO

Tell me, Carlo. Do you always wait to find me without company? Where else would I be but here?

CARLO

That is what I thought. You are not still angry with Carlo? For my little jest with the knife? It was weeks ago. I hoped you had forgiven me by now. It was only play.

ANTONIO

You are not important enough in my life to vex me Carlo. What do you want?

CARLO

Just to have some talk.

ANTONIO

We have little if anything to talk about?

CARLO

There are a great many things we can talk about as we have so much in common.

ANTONIO

I do not believe you.

CARLO

You may believe what you like. It is of no matter to me. I had relayed your description to some colleagues of mine and they were most interested.

ANTONIO

In what way interested?

CARLO

They too were curious to your origins.

ANTONIO

It seems there are many who would know of me. I cannot think why. Are their own lives so dull?

CARLO

Like me they were intrigued that you remain inside this house without venturing outside. It is such a beautiful city once you get past the smell of shit and the bodies floating in the Arno. What binds you to this place? It cannot be Michelangelo’s skilful conversation for he barely speaks when he is at work. Or perhaps it is something else. Perhaps you are in love with him. Is that it? You have a flame for him? It cannot be so. I have not seen you sleep anywhere but in your own bed. He is much older than you. Perhaps he has told you how it was for men and boys of olden times.

ANTONIO

He has not.

CARLO

Beware of those men. They will put you at ease with their words and once seduced will try and fuck your arse good and proper. My advice…if you should succumb, make sure you get the money up front first.

ANTONIO

You talk with experience.

CARLO

There are skills and there are skills. Man cannot live by bread alone. Trust me Antonio, you can get anything you want when you are flexible.

ANTONIO

I am not interested.

CARLO

Yes, these friends of mine, they had some interesting information for me. There was some talk of foreign guardsmen presently in Florence. They travel from another city south of here seeking a murderer.

ANTONIO

From what I know there are murderers and assassins all over this city.

CARLO

But you do to go out.

ANTONIO

Michelangelo tells me this.

CARLO

He would know. There are many who would have him dead given the chance. No, word is this man the guards seek killed someone of great importance. I do not know the whole tale but it is said the man they seek came from Orvieto or some such place.

ANTONIO

What is this to do with me?

CARLO

You come from the south, do you not?

ANTONIO

I have said no such thing.

CARLO

Yes, you are very careful. Which is also very suspicious.

ANTONIO

If you suspect me then why do you tell me? Should you not be running to these authorities?

CARLO

There is no word of reward so I see nothing in it for me just yet. Who am I to help these strangers?

ANTONIO

You think me capable of such a thing?

CARLO

[PAUSE] You are right. You are far too small and reed-like for murder. I do not think you could kill a hen let alone a man.

ANTONIO

Then if that is all…

CARLO

Why do you stay? Here with the old man.

ANTONIO

He is my friend. He has been very good to me.

CARLO

He is good to all those he can find use for. But sometimes the price is quite high for those not strong and you do not take me for someone of any great strength.

ANTONIO

Looks can be deceiving.

CARLO

He does not love you, you know.

ANTONIO

That is not your business.

CARLO

He will say he does but he is just using you. He is a user of men. Of course he cannot compete with Leonardo who goes through young boys like bad mutton. Do you love him?

ANTONIO

I will talk to you no more on this subject. And you would be better off not wasting your time trying to manoeuvre me in conversation. Perhaps concentrate on doing what you do best. Standing still and saying nothing.

CARLO

You are much stronger in your talk today but your body looks much weakened since your arrival. I do not think it would take much for me to work you as before. But perhaps I will no longer find as much resistance. Is that true? Do you now have lustful thoughts for Carlo? I am happy to oblige you…for a price of course.

ANTONIO

Get away from me you fool. You have nothing I want. A faded figure of what may once have been. I pity you more than anything.

CARLO

Who are you to pity me?! Do you not know who you deal with? I could cut your throat in an instant and think nothing of it.

ANTONIO

Do it then.

CARLO

What?

ANTONIO

Do it. Give me your dagger. I will hold it. You have but to push it deep then I shall know you as you desire me.

HE GRABS CARLO’S DAGGER FROM HIS BELT AND HOLDS IT TO HIS OWN CHEST AND DRAGS CARLO TO HIM. THEY STRUGGLE AS CARLO TRIES TO SHAKE HIM OFF

Come. Do your best. Show me you are a man. I do not have to see your pistle. I have your knife. With this you are more than enough man for me. Push it into me. Give me its length. I would love it. It shall be such sweet release

CARLO

[BREAKING AWAY FROM HIM] You are mad!

ANTONIO

Come! Be my lover if that is what you want.

CARLO

I will have none of it!

ANTONIO

As I thought. You make an impotent lover. Your wife would be better to look elsewhere.

CARLO

Be careful, young Condilli. I have but to call out the guards and you shall be taken.

ANTONIO

Do it! Do it! You cannot. You fear your master more than you fear me. I will not love you. You fail me in every way. Now get out of my sight.

CARLO RUNS OFF. ANTONIO COLLAPSES TO THE GROUND.

BLACKOUT

Scene Five

MICHELANGELO AND CARLO FACE OFF AT EACH OTHER

MICHELANGELO

Carlo, why? Why have you done this?

CARLO

I have done nothing!

MICHELANGELO

Then who else? The drawing is gone. No-one but you comes and goes from here. I left it here. No-one else would have taken it. It is merely a sketch.

CARLO

If it is merely a sketch then it cannot be important. Perhaps the rat took it?

MICHELANGELO

Did you hope to sell it on my reputation? I can see little worth in it unless someone has put you up to it. Is that it? Some rival has now charged you steal from me?

CARLO

I swear this, on my life, I did not do this.

MICHELANGELO

Words! The truth hangs empty on your lips. Do I mean so little to you? To betray my trust like this? Did I not show you friendship? Was I not benevolent? Where does it come from, this hate? You had your work and my affection.

CARLO

Affection? Where is this affection you speak of? The whole world could come crashing to a fiery end and all you would care about is your work and your God. There is little room for anything else! For what it is worth I had loved you as no other and for a time it suited you. But with each new distraction, work or some new boy coming into your life, I was cast adrift and you thought me happy to allow it. You even urged me to seek comfort in a loveless marriage as your parents had done but when I took to wife you cast me aside like a spurned dog. And yet like a dog I return and lay on your mat hoping for scraps. You would only have me in your company out of guilt.

MICHELANGELO

Carlo, no, you are wrong.

CARLO

You have used me! You have never loved me. You found use for me when I was beautiful. Now I am nothing to you.

MICHELANGELO

That is not true. I have loved you.

CARLO

Is that so true? [RUSHING TO THE EASEL] Those sketches. Look to the face. That is not me! That is not me! It is that rat. It is that boy. You do not love me! You lie to me. I will hate you until the day I die!

CARLO RUNS OFF

BLACKOUT

Scene Six

A DARKENED STAGE. BERNARDO ENTERS PLAYING WITH A COIN. CARLO COMES OUT FROM THE DARK, SHIVERING.

BERNARDO

Carlo, what are you doing here?

CARLO

I was passing your house. It occurred to me you might want some company tonight. It is cold.

BERNARDO

It is very cold. But as for your company I think not. It is late and I am expecting someone.

CARLO

Someone else?

BERNARDO

As it is not you then it stands to reason it must be someone else.

CARLO

I could wait in your room. Then when you to bed I will be waiting.

BERNARDO

I will be some time and not alone.

CARLO

You have someone else to warm your bed? That is good. We could make much fun with three in the bed.

BERNARDO

You must go home.

CARLO

Perhaps…a drink inside to warm me for my journey?

BERNARDO

You cannot come in. Why do you delay?

CARLO

I have no home to go to at present. My wife and her father have thrown me out. It was his house and she tires of my ways. They beat me. I have nowhere to go.

BERNARDO

We’ll you cannot stay here. Perhaps Michelangelo will take pity on you and let you stay with him?

CARLO

He does not wish to entertain my company any further. We had a falling out and I have refused to work with him again. Perhaps you know of some artist who could use me for their model?

BERNARDO

I cannot help you.

CARLO

You will not help me. Perhaps there are others who will.

BERNARDO

Then you must to them.

CARLO

They pay for information, especially on sodomites. I am sure they would be interested in the company you keep these days.

BERNARDO

And what would keep you from getting burned?

CARLO

I am younger and would argue I was easily led astray. I also have a wife to provide proof.

BERNARDO

If that is your course then by all means you must go. Run to the authorities. Tell them all you know. I have the means to bribe many a magistrate away. I do not think you can say the same.

BERNARDO GOES TO EXIT.

CARLO

I have news on the boy.

BERNARDO STOPS.

BERNARDO

Go on.

CARLO HOLDS OUT HIS HAND FOR COIN. BERNARDO SNEERS AT HIM.

CARLO

There are guards in the city. They look for someone who fits his description.

BERNARDO

Guards? What do they seek him for?

CARLO

A most villainous act, I am told. He is wanted for murder.

BERNARDO

Murder?

CARLO

So I am told.

BERNARDO

And you know for certain the boy is the one they seek?

CARLO SHAKES HIS HEAD

Does the boy know you know?

CARLO

He is unwell at present and Michelangelo dotes on him. He does not suspect. I have been very crafty with him.

BERNARDO

You surprise me. I was not aware you had the skills. Very well.

BERNARDO GIVES HIM THE COIN.

CARLO

And I can stay with you? I would give you much pleasure. And as a friend I would not charge you as much.

BERNARDO

You think us friends?

CARLO

Are we not?

BERNARDO

You smell like a hog. I think not. But you may stay in my stable for the night.

CARLO

[FALLING TO THE GROUND AND KISSING HIS HAND] Thank you. Thank you. I would not have done it.

BERNARDO

Done what?

CARLO

Reported you.

BERNARDO

It is of little consequence now.

CARLO

If you should change your mind later in the night then you will come to me? I know I will please you any way you desire.

BERNARDO

Do you know what would please me?

HE TAKES HOLD OF CARLO AND PULLS HIM TOWARDS HIM. CARLO GRINDS HIS BACKSIDE AGAINST BERNARDO’S GROIN.

CARLO

I have a mind of it.

SUDDENLY CARLO GOES STIFF, HIS EYES WIDE IN PAIN. BERNARDO COVERS CARLO’S MOUTH TO STOP HIM SCREAMING. CARLO EYES CLOSE AS HE FALLS BACK ONTO BERNARDO. BERNARDO KISSES HIM SOFTLY ON THE NECK. CARLO FALLS TO THE FLOOR. BERNARDO HOLDS CARLO’S DAGGER NOW COVERED IN BLOOD. HE THROWS THE DAGGER ONTO CARLO THEN REACHES DOWN AND TAKES BACK HIS COIN.

BERNARDO

There. Now you have pleased me greatly.

HE EXITS.

BLACKOUT

Scene Seven

ANTONIO, LOOKING VERY WEAK AND PALE, SITS ON THE GROUND DISTRACTEDLY GRINDING PAINT POWDER. HE IS LOOKING OFF. FOR A MOMENT HE IS UNAWARE THAT MICHELANGELO IS DRAWING HIM THEN CATCHES SIGHT OF HIM.

ANTONIO

Master Buonarotti, what are you doing?

MICHELANGELO

I am drawing as always. Always drawing.

ANTONIO

You are drawing me?

MICHELANGELO

Perhaps.

ANTONIO

You must let me see.

MICHELANGELO

When it is finished. Just sit there. You have been staring out that window at the night sky for more than an hour.

ANTONIO

Have I? Time gets away from me. It is late. I have chores to do.

MICHELANGELO

You will do no more chores tonight.

ANTONIO

But if I do not then the house and workshop become filthy.

MICHELANGELO

After a while you do not notice. Let them be.

ANTONIO

Will you to your giant tomorrow?

MICHELANGELO

Perhaps. Perhaps not. It is not urgent. The muse has not visited me in the courtyard for many days. [HE LOOKS AT ANTONIO FOR A MOMENT] Are you happy Antonio Condilli?

ANTONIO

I am happy in this studio. It has been almost a year since I arrived. I would never leave it. I feel protected.

MICHELANGELO

One studio is like another.

ANTONIO

Yours is the only studio I will ever visit.

MICHELANGELO

Perhaps you should accompany me to the statue when you are feeling stronger.

ANTONIO

Is it beautiful? I would see it finished and perfect.

MICHELANGELO

As would I. But it is almost done.

BERNARDO ENTERS

MICHELANGELO

Bernardo? It is very late to be visiting this part of town. You risk your life and money and I know which one you are more fond of.

BERNARDO

In truth Michelangelo, I had hoped to not find you here. I understood you would be working on the giant as you do most evenings. I have some business with Antonio.

MICHELANGELO

With Antonio? What business would you have with him?

BERNARDO

Master Buonarotti, if you will excuse me I would speak with the boy in private.

ANTONIO

That is alright Master Buonarotti. If you will give us a few moments I will speak with him.

HE GETS UP AND FALLS OVER

MICHELANGELO

Speak with him? You can hardly walk. You are most unwell.

ANTONIO

I am ailing.

MICHELANGELO

I will fetch you some broth.

ANTONIO

I do not think that broth will help me. There is a sickness deep inside me.

MICHELANGELO

Nonsense. You will be well. I shall take care of you. You have fever. You must go to bed. Come, lie here for a while. Bernard, if you are to remain here then help me.

THEY CARRY ANTONIO TO THE DAY BED. BERNARDO ALMOST THROWS HIM VIOLENTLY.

ANTONIO

I am ashamed for myself.

MICHELANGELO

What do you have to be ashamed of?

ANTONIO

My behaviour before. You have shown me such love yet I made demands for something you cannot give.

MICHELANGELO

It is of no matter.

THERE IS A BELL SOUND FROM OUTSIDE.

Bernardo, would you see who that is? Tell them I am not to be disturbed and seek no visitors today. I have an unwell guest to tend.

BERNARDO EXITS

ANTONIO

I do not want to be a burden to you.

MICHELANGELO

You are no burden.

ANTONIO

I have brought more trouble to you than my worth.

MICHELANGELO

You are scarcely trouble. I would have you well. That is all. Perhaps we should have you model for me. Would that make you better?

ANTONIO

I do not think…

MICHELANGELO

Of course we should have you sitting. I do not think you have the strength to stand.

ANTONIO

I am sorry. For all the trouble I have caused you.

MICHELANGELO

You cannot cause me trouble. You are my friend.

ANTONIO

And nothing more.

MICHELANGELO

You talk too much. You must rest.

BERNARDO ENTERS.

BERNARDO

Michelangelo, there are guards at your door. They come for the boy.

MICHELANGELO

Antonio? Why?

BERNARDO

They bring with them some serious allegations against him. They come from Orvieto and have been following his trail for many days. I have been told they seek him for two murders.

MICHELANGELO

Murders? How can this be? He is a boy. Antonio, please tell me this is not true.

ANTONIO

I do not think I should stay here.

BERNARDO

Michelangelo, are you sure you should be harbouring this individual? The guards would take him.

MICHELANGELO

Bernardo, please. You have influence. Find some way to delay them while I think what needs to be done.

BERNARDO

Why must you think anything? They surround the house. You must release him to their charge. If they search for him and they know him to be here then you bring danger upon yourself and your reputation.

MICHELANGELO

Do not speak to me now of reputation. I care little.

BERNARDO

He will bring us all undone.

MICHELANGELO

Bernardo, you have some influence. Please see to it.

BERNARDO

But they know him to be here.

MICHELANGELO

How did they come to this conclusion? He does not leave the house.

BERNARDO

I have told you many times you have many enemies in this city that would see you fall. Or perhaps someone closer to you? Where is your model? I would look to him first.

MICHELANGELO

Carlo? No, he would not.

BERNARDO

He is not here. Are you so sure?

MICHELANGELO

Pay the captain to delay his action. I must know the matter of this before we are to release him.

BERNARDO

They are not local guards. I do not think they will take to bribery so easily.

MICHELANGELO

Will you not try for my sake?

BERNARDO

Very well. I will see what I can do.

BERNARDO EXITS

MICHELANGELO

Antonio, is this true? They look to you for a murderer? Please say this is not so for I fear my heart would break.

ANTONIO

I am as I have told you! My sin is so heavy it breaks my heart to think on it. So I do what I can to spurn these thoughts. I will surely burn in the fires for my crimes. If not in this life then in the next.

MICHELANGELO

There is so much darkness that follows you. You must tell me, my sweet boy. Perhaps I will understand and help where I can.

ANTONIO

It is very difficult. I have pushed this story far from thought, the misery so great I feared it would engulf me. But now I see I will never escape it. Only three months ago I was helping my mother tend our small field two days walk from Orvieto. Since my father’s death our family had never known anything but poverty. We slept all of us, six people in a small house with 2 rooms. One day I had to go to town to trade for seed. I was befriended in the square by a young man not 2 months older than me. He shared with me some drink, which I had never had before. He too told me he was in town on family business. Because I had a long journey back he invited me to stay with him at his lodging and leave in the morning. We shared drink and then, as it was late his bed. I slept for a few hours with my head full of wine. In the middle of the night I awoke to find myself naked and in such terrible pain. My clothes strewn to the floor. He was on top of me and forcing himself into me. I had never known such pain. I tried to break away but he was much stronger than I. I cried out but his hands covered my mouth as he thrust into me. I could barely draw breath as he punched his fists hard into my ribs. I pleaded for death to take away this agony. I somehow reached to the floor and removed the dagger from his belt. I twisted my body and swung my arm wide behind me catching him with the blade deep to the throat. He pulled back. At once I turned my body to face him and plunged the knife deep into his chest. He screamed loud then gargled like a slaughtered ox and fell forward over me. The blood gushed from his throat and chest across my face. The door burst open and the landlord flew into the room. He saw the man lying on the floor with the dagger in his chest. He screamed at me. What have you done? You have killed him!” The landlord knocked me to the wall. My head was spinning. I felt many hands drag me out onto the street and down to the local prison. It was only then that I discovered that my assailant was the nephew of a cardinal. I had tried to tell them it was he who attacked me but they would not believe it. No cardinal’s relative could be accused of such an outrage. They beat me merciless then threw me into a cell. The next morning I was sent before the magistrate. The cardinal was called to give testimony. He screamed down at me saying I had violated his son and murdered him in his sleep. When I explained that it was he who attacked me the cardinal said I was a peasant, with little education and, against the good standing of a cardinal’s nephew, not to be believed. He called me a sodomite, possessed by demons. The magistrate did not believe my story. I was condemned to be burnt. They dragged me back to my cell. This time I was to share my imprisonment with another. His name was Danilo, a man not much older than myself and he was also to die for, they say, stealing a crucifix. He told me he did not do it and if you had seen in his eyes you would have believed him. For five days we talked on every subject but our impending fate and I found that I had grown very close to him. One night as we lay on the straw and I was at my lowest. He leaned across and kissed me. I kissed him back and that night I shared with him as I had with no other. We were condemned men and had no other comfort but each other’s words and bodies. It was sublime.

The night before my execution I was allowed a visit from my mother. She wept heavily. It was she who gave me a small purse of coin in the vain hope of bribing a guard. It was a few ducats but it was all the savings we had. The night guard agreed to turn his eye, to allow us our escape that very night but as soon as we were not a few hundred yards away he drew alarm and started firing arrows at us to try and kill us. I should have known we would be betrayed. He had wished to have the money to himself and not risk us being caught and then give evidence against him. We ran as fast as we could but Danilo fell heavily in a ditch and injured his leg. He could barely walk and there was a bone protruding from the side. I had tried to convince him we should give ourselves up when they caught up with us but we both knew that any death would be preferable to burning. We were in the woods two days from here. He had grown weak and I had to carry him for some time. We stopped to rest near a small stream. By nightfall his leg was swollen and black and his face deadly pale. I lay down next to him to try and keep him warm. By morning he had taken to fever and there was nothing I could do to help him. He was murmuring and crying. I waited until he was asleep. I did not know what to do but I had to stop his pain. I found a nearby stone. He looked up at me holding the stone. He murmured something that I could not hear. I leant down and he whispered to me “I go now. Release me. I will see you again.” I kissed his mouth then kissed his eyes closed. I raised my arms and brought the stone down hard across his head. I brought it down again three more times, all the while my eyes clenched shut. I could not bring myself to look at what I had done. All I could think was that his suffering was over. I threw aside the stone and covered him with some leaves trying not to look at him. Then I ran. I ran knowing the last face he saw before God’s would be mine and it would be a face of love. I ran all the way to Florence avoiding many villages and staying clear of the roads. I knew that in Florence I could disappear amongst so many faces. I slept uneasily under the bridge for two nights. I prayed that God would forgive me for what I had done. That he did not hate me for loving so completely as I had with Danilo. I do not understand why men of the church could hate people who love their own kind. I am sure God does not. God would understand and release me from this burden.

MICHELANGELO

I am sure He has forgiven you.

ANTONIO

No. I have taken two lives. My penance will be heavy and all-consuming. It will haunt me till I draw my last breath. I must to my room to collect my things. Then I will give myself up. I have done with running. It weighs too heavy this stone.

MICHELANGELO

You cannot let this happen. I forbid it. We will find a way. I will bribe them to let you go.

ANTONIO

No. I am resigned.

MICHELANGELO

Antonio, please.

ANTONIO

Thank you my friend. For all you have done. I am sorry I have brought this upon your house. I wanted more than you could give but it was enough to know I had some part of your love.

BERNARDO ENTERS

BERNARDO

They are delayed for one hour but they surround the house. That is all I could do.

MICHELANGELO LOOKS AT BERNARDO.

ANTONIO

I must collect the few things you have given me. I will not be long.

MICHELANGELO

You cannot walk. They will not take you if you are unwell.

ANTONIO

My friend I will be fine.

ANTONIO EXITS. MICHELANGELO FALLS ONTO THE BED. HE IS STUNNED FOR A MOMENT THEN LOOKS AT BERNARDO

MICHELANGELO

How came the guard to know Antonio was here? The more I think on it Carlo would not have done such a thing. I have known him for years and he is all bark.

BERNARDO

Your other servants are not known for their discretion. You need not worry. If he is innocent he will be returned to you. If not then you will soon be rid of them both and you may start anew without distraction. You will need a new model. I have someone in mind. A most beautiful young man. He has just arrived from Padua and stays with me. I will bring him over in the morning.

MICHELANGELO

[SLOWLY REALISING] It was you. You brought the guards to my house.

BERNARDO

I heard they were looking for a stranger who fit the boy’s description. It was my civic duty to let them know.

MICHELANGELO

Duty?! You knew how much I cared for him. I do not understand.

BERNARDO

Would that I were surprised to hear you say it. How could you possibly understand? For once that fool Carlo was correct. You do not understand because you have no feelings. How could you possible know what others feel? People do not interest you. It is only their beauty that makes them useful to you.

MICHELANGELO

God would have me…

BERNARDO

God would have you a better man but he will not! You will never change. There was a time when I would gladly have given up years of my life so that you would have a few more for your works. I would give all I had for one tenth of your abilities. Instead I resigned myself to your interests. I have thwarted attempts on your life without thanks, stopped all and sundry from wanting to dash your brains against the stone. Only to watch you risk your life and reputation for some urchin off the street? Do not fool yourself. I shall give you a greater truth. In spite of what you say you are incapable of love. I have watched you for many years now. You show love for no living thing. There is more love in your art than anything flesh and blood. You are blind to all around you who would love you for all your faults and believe me, you have many. You are cruel, vicious and petty. You are colder than your stone, Buonarotti. Your gift should have been bestowed on a more noble spirit as his vessel. The cur in the street or the fishwife with dying child is more deserving. Instead He wastes it on a soul-less spirit. The God I worship would be ashamed.

MICHELANGELO

When my time comes I will face my God and be held accountable. In the meantime I will to the boy.

BERNARDO

You must leave him to his fate! You are already compromised.

MICHELANGELO

Get out! Leave my house and do not come to me again. I am done with you and your services.

MICHELANGELO EXITS. BERNARDO GOES TO THE EASEL. HE LOOKS FOR A MOMENT THEN GATHERS ONE OF THE SKETCHES AND FOLDS IT INTO HIS TUNIC. THERE IS A HOWL FROM OFFSTAGE. MICHELANGELO ENTERS CARRYING ANTONIO, LIFELESS IN HIS ARMS, A LENGTH OF ROPE AROUND HIS NECK. HE COLLAPSES ACROSS THE LOW PODIUM WITH THE YOUNG BOY STILLS IN HIS ARMS, ALMOST RESEMBLING THE PIETA POSE.

Oh no. No, no, no. Not like this. Not this. Wake up. Wake up. What have you done, you foolish boy? Why could you not wait? We would have found a way. You were driven to your actions. A sympathetic magistrate would have seen this. I would have moved heaven and earth to protect you. Could you not see how much I loved you and how my actions are regretted? [HE CRADLES HIM CLOSE. HE ROCKS BACK AND FORTH.] I cut into the stone and cut out the world. In truth it is only now that I see myself how much I do love and care for you.

HE SEES BERNARDO STILL THERE.

What are you still doing here? Get out! Look at the great marvel of your handiwork. Does this serve your civic duty? Does this serve your God? Look what you have done to my boy. Please leave us.

BERNARDO EXITS.

Do not go to sleep, my sweet boy. The guards will away for we have much work to do. The stone is almost done. We have merely to put your face to it. A work of such wonder the world will never see it’s equal. Millions the world over will look on it in awe and know the history of it. It will live on when we are all dust. You will be my David always. You will live forever and I pray I may look on you every day as I had wished and tell you how much you are loved by me and you will believe it.

HE PLACES THE BOY DOWN AND WEEPS. HE LEANS DOWN AND KISSES HIM ON THE LIPS. HE GETS UP AND GOES OVER TO HIS EASEL. HE LOOKS OVER AT THE BOY AND STARTS TO SKETCH. HE SOBS ACROSS HE EASEL. AFTER A MOMENT HE COLLECTS THE CHISEL AND MALLET FROM HIS WORK BENCH AND MOVES ACROSS THE STAGE. HE STOPS, RAISES HIS HANDS.

My God, I give you this boy. He will be sacrifice enough.

HE STRIKES THE MALLET HARD AGAINST THE CHISEL INTO THE AIR. THE SOUND OF CHISEL HITTING STONE AND SUDDENLY THE FACE OF THE DAVID APPEARS PROJECTED ACROSS THE STAGE IN FRAGMENTS ACROSS ENTIRE STAGE AS THE LIGHT FADES ON MICHELANGELO FROZEN. THE IMAGES OF THE DAVID BUILD UP INTO THE WHOLE UNTIL IT TOO FADES ON A CLOSE UP OF DAVID’S EYE

blackout

end