Another completed work. This is my first actual "commercial" project - took about 2 years to create. It isn't overtly spiritual / religious - but it is instilled with a lot of the themes you would recognize if you are familiar with me. :)
~
THE
KING WILL RIDE OUT
[OPENING
CREDITS]
As
the opening credits emerge on the screen, the audience hears the film's score
for the first time. It is a melancholy tune played on the Hungarian bagpipes.
The song invokes feelings of conflict, heritage, and loss. The setting of the
film is introduced: the camera shows the vast green fields of the Pannonian
Basin, the Danube River, and the Carpathian Mountains. Motifs of the film are
interspersed, portraying the dark interiors of caverns, ravens in flight, and
riders on the plains.
[ACT
I]
[I.1
THE GREAT BOMBARD]
The opening
credits conclude and the camera cuts to a new image. It is the Pannonian Basin;
the camera shows a massive cannon, the Great Bombard, being transported across
it by dozens of oxen. The cannon is being pulled at the vanguard of an army -
clearly Islamic by their dress and banners - which marches behind it.
A
figure - the sultan, Mehmed the Conqueror - rides on horseback into the shot.
He rides along the side of the advancing cannon.
The
camera cuts and shows that two young riders, Hungarian scouts, are discreetly watching
the advance of the soldiers. They turn and ride away.
The
camera turns and shows a broad shot of the city of Belgrade. It is clear the
army is approaching this city with the intent to conquer it.
Belgrade
is a small but densely-populated late medieval city. Walls guard its exterior.
Small crosses are visible on the rooves of the city, showing its religious affiliation.
Beyond the city, the camera shows that it lies at the confluence of two rivers:
the mighty Danube, which flows from the northwest to the southeast, and the
smaller Sava, a tributary of the Danube, running from the southwest to the
northeast.
A
subtitle reads:
BELGRADE,
1456
[I.2
JOHN OF CAPISTRANO]
The
camera cuts to the streets of Belgrade, where a friar is addressing a crowd. It
is Father John of Capistrano. He has a slight Neapolitan accent. As he speaks
he gazes intensely at his onlookers.
JOHN
OF CAPISTRANO. We are engaged in a conflict with a civilizational other; one
set on war against us and iniquity; foreign to us in every way, destroyers of
culture, bringers of violence and blood. Out armed and outmanned though we may
be, do not lose confidence. Here, we will defend our civilization. We are the
banner of Europe.
As
Father John delivers his lines, a red flag waving on the city's walls becomes
visible in the background of the frame. The cross is visible on the city's
rooftops. The idea of a Christianity based around sacrifice and loss - and the
redemptive power of those forces - is key here, as the situation is desperate. John's
monologue also in part alludes to the idea of the "clash of civilizations."
As
Father John addresses the crowd, Belgrade Castle looms in the background. The
camera turns to face it.
[I.3
THE WAR ROOM]
The
camera cuts and the audience is presented with the interior of Belgrade Castle.
The lords are seated in council, devising their strategy. At the center of the
shot is the clear leader, the Lord General Janos Hunyadi. Standing near Janos
is Blaise Magyar, his household guard. Blaise is a formidable presence who hardly
ever speaks. The other lords in the room are Michael Szilagyi, Peter Zrinyi, Stephen
Bathory, John Zapolya, Francis Paloczi, and Viktor of St. George.
Above
the lords, the banners of each house are visible. These banners include the
raven of House Hunyadi, the black horse of House Szilagyi, the silver gauntlet
of House Zrinyi, the three horizontal teeth of House Bathory, the white wolf of
House Zapolya, the scimitar beheading a Saracen of House Paloczi, and the stalk
of wheat of House St. George.
The
characters speak with Hungarian accents of varying thicknesses, with the
exception of Peter Zrinyi, who has a Croatian accent.
Before
the lords are two maps which the camera briefly pans to as the dialogue
proceeds. The maps teach the audience the context of the battle.
The
first map is of Belgrade and its local geography. It portrays hills, rivers,
and elevation. This map has the locations of the Turkish armies marked on it:
the vanguard advancing along the east side of the Sava, and the main force
advancing along the southern side of the Danube. There is a small tributary of
the Danube, the Morva, flowing in the path of the main Turkish force.
The
second map is of the Hungarian kingdom, the setting of the film. It is labeled along
with its neighbors, the Holy Roman Empire, Poland, and the Ottoman Empire. Italy
is visible across the Adriatic Sea. This second map has the cities of Buda,
Vienna, and Belgrade labeled.
The
nobleman John Zapolya, who is like a loyal wolf, explains the situation. The
camera shows each element on the first map as he speaks. It then cuts to show
the reactions of the lords.
JOHN
ZAPOLYA. The vanguard under the bey of Izmir has advanced north along the Sava.
He will be at the city's gates by nightfall. Meanwhile, the main Turkish force
under the vizier is here, at the mouth of the Morva. Given the rate he has been
advancing, he will be at the walls of the city by tomorrow.
Michael
Szilagyi, the brother-in-law of Lord Janos, looks anxious. He is a diplomat,
not a warrior. He has a gentle and genial nature, but in this situation his
cowardice comes out.
MICHAEL
SZILAGYI. Do we know their numbers?
The
camera again shows each army on the map as he explains.
JOHN
ZAPOLYA. Ten thousand for the vanguard. Twenty thousand for the main force.
FRANCIS
PALOCZI. And what do we number now - with the reinforcements that arrived with
Lord Bathory?
The
camera briefly pans to Stephen Bathory.
JOHN
ZAPOLYA. [The camera shows the location of the Hungarian army in Belgrade as he
speaks.] Seven thousand in total.
Some
of the lords lean back in their chairs at this news.
PETER
ZRINYI. If they intend to starve us out, they will need to control the Danube.
We have seen no sign of a naval force so far.
MICHAEL
SZILAGYI. That is because they do not intend to starve us out.
JOHN
ZAPOLYA. [He gestures on the map as he explains.] It will take time for the
main army to cross the Morva. [He looks at Janos as he speaks.] We could take
all the armored riders and strike at their vanguard. The Turks are usually
lightly armored, and if we're lucky they will all be fighters from the Balkans.
The
camera focuses intently on Janos Hunyadi, the generalissimo, as he reflects on
all the information before him.
Two
scouts enter the war room, interrupting.
FIRST
SCOUT. [Addressing Janos.] Lord General. We have returned. By our estimates, the
main Turkish force outnumbers us by at least two-to-one.
The
camera shows the lords who have received confirmation now about how outnumbered
they are. Most look on stoically.
MICHAEL
SZILAGYI. How many janissaries did you see?
SECOND
SCOUT. [Answering him.] Six thousand, my lord.
STEPHEN
BATHORY. [Repeating the line quietly.] Six thousand...
The camera
shows again as the lords react to this information. Janissaries are the elite
soldiers of the sultan. There are nearly as many of these soldiers as the
entire Christian force at Belgrade.
FIRST
SCOUT. [He interrupts the silence.] We also saw their commander. They are not
being led by the vizier. They are being led by the sultan himself.
Again,
the camera cuts briefly to show the reactions of the lords.
JOHN
ZAPOLYA. Mehmed himself is leading the attack on Belgrade...
SECOND
SCOUT. [Addressing Janos.] And that is not all, my lord. They are also bringing
the great siege gun with them. The same gun they used to blast open the straits
at the Bosphorus. Sixty oxen are hauling it up the Danube to here.
John
Zapolya, formerly impartial and professional, finally responds similarly to the
other lords.
JOHN
ZAPOLYA. It is like the whole Islamic world is advancing upon us.
Janos
Hunyadi nods at the scouts and gestures for them to exit.
JANOS
HUNYADI. Thank you.
FRANCIS
PALOCZI. [Addressing Janos.] There has been a friar, you know, going through
the city, trying to get the people to fight. He claims to have recruited 3,000 residents
to fight for him.
Michael
looks on this news with some hope.
STEPHEN
BATHORY. [Laughing derisively.] They will flee at the first sight of danger.
JOHN
ZAPOLYA. I have to agree - they will likely be slaughtered.
FRANCIS
PALOCZI. [Speaking to Janos.] It is 3,000 more bodies we would not have
otherwise.
Lord
Zrinyi responds cynically.
PETER
ZRINYI. Whether they want to or not every resident of this city will be a part
of this battle. If the Turks breach the walls, they will slaughter everyone.
[He looks at the other lords.] We could put them under Lord Janos' command. If
they can follow orders, they will be useful.
FRANCIS
PALOCZI. What news have we heard from the council of magnates?
STEPHEN
BATHORY. [Answering for them.] I have spoken to them, but I regret that I will
be the only one here with you.
The
camera pans around the room at each of the lords, then pans to Lord Janos. By
this movement the political situation - that Janos is mostly left on his own -
is established.
PETER
ZRINYI. Do the other magnates expect Lord Janos to fight the war alone?
MICHAEL
SZILAGYI. [Answering him.] ...It seems that they do.
FRANCIS
PALOCZI. What about our allies? Surely, we will receive help from one of them.
MICHAEL
SZILAGYI. [Answering him.] Poland is still reeling from the loss at Varna. The sejm
wishes us well, but made clear that they are dealing with their own
interregnum. And as for the Empire -
Lord
Zrinyi again interrupts with his sense of cynicism.
PETER
ZRINYI. ...It is likely the emperor would like to see us break at Belgrade.
JOHN
ZAPOLYA. He doesn't know that if Belgrade falls, Vienna will be the next
target?
MICHAEL
SZILAGYI. Apparently, the emperor does not care. [He transitions.] We have received
word from Italy, however. The Pope has declared us a crusade.
Viktor
of St. George, a powerful lord and an elderly man - formerly silent through the
conversation - offers his opinion. He speaks directly to Lord Janos, who, also,
has been mostly silent up to this time.
VIKTOR
OF ST. GEORGE. My lord - I must give my opinion of this battle. We are
outnumbered perhaps three to one, fighting a janissary force as large as our
garrison, and we are going to be bombarded by the largest siege gun in Europe. I
say that we give them this city. We should withdraw inland, and burn everything
behind us.
FRANCIS
PALOCZI. [Agreeing.] We should rally all of Europe to our cause.
The
lords start becoming agitated as they argue over the situation. They yell and
talk over one another. Janos Hunyadi looks deep in thought as the argument
develops before him.
JOHN
ZAPOLYA. If we give them the city it is only open ground before them! Hungary
is an enormous plain!
PETER
ZRINYI. The Turks would destroy everything in their path.
VIKTOR
OF ST. GEORGE. We did not all come to this city to die here!
Stephen
Bathory quietly watches the other lords argue. He watches how Lord Janos
reacts.
PETER
ZRINYI. If God wills that we die here, we die here!
MICHAEL
SZILAGYI. I have to agree with Lord Viktor. This is a battle that cannot be
won.
FRANCIS
PALOCZI. [He speaks quietly, almost trying to reassure himself in the process.]
If we hold Belgrade we at least have the fortress and the river.
VIKTOR
OF ST. GEORGE. If we all die here there will be no one left to resist!
Lord
Janos gestures, and ends the argument.
JANOS
HUNYADI. [Trying to encourage them.] Our best chance of victory lies here, at
Belgrade. Lord Zapolya: I want you and Lord Blaise to take our strongest riders
and lead an attack on the Turkish vanguard. Lord Paloczi, I want you to take my
brother-in-law with you and try to find this friar you speak of. Try to arm
these people with whatever you can. The rest of us will see to preparing this
city's defenses. May God and Hungary go with you all.
The
scene ends and cuts to black.
[I.4
THE SORTIE OF JOHN AND BLAISE]
The
lords John Zapolya and Blaise Magyar stand at the head of a group of heavily
armored knights. Though the age of gunpowder is beginning, the value of these
mighty riders remains. Some of the knights wear elegant Renaissance suits of
plate armor. They hold large lances. The knights' horses are armored just as
heavily as they are. The horses are large and imposing, trained to trample
infantry.
A
few of the knights have curved scimitars, showing the influence of the Near
East on Hungary. Others have more conventional western blades. Blaise Magyar
has an enormous Zweihander, or two-handed sword.
The
camera pans out and shows that the riders are assembled just out of sight of
the Turkish vanguard, which has yet to be alerted to the riders' presence. The
vanguard appears to consist mostly of light infantry. The knights prepare their
attack.
JOHN
ZAPOLYA. [Speaking to Blaise.] They say you killed fourteen Turks at
Hermannstadt. I hope you can repeat the same performance here.
Blaise
Magyar stirs slightly under his suit of heavy armor. The great visor he has
down over his face hides his reaction. John is initially perplexed at the
silence, but then smiles at the strong but mute warrior he has with him.
JOHN
ZAPOLYA. Well. Let's see what these invaders have in them. [He rallies the
soldiers.] For God and Hungary!
The
riders rally and begin the charge. The camera cuts to black, not showing the
outcome; there is a sense of suspense in regard to the knights' fate.
[I.5
THE BATTLE OF BELGRADE]
Before
the walls of Belgrade, the Turkish army is assembled; its soldiers stand in
formation. Among them are lightly armored Muslim fighters, fighters from the
Balkans, and the elite warriors called the janissaries. The symbol of Islam,
the crescent, is a recurring symbol among their banners.
Dominating
the camera's shot is the Great Bombard. The sultan, Mehmed the Conqueror, sits
on horseback before the cannon.
The
camera cuts closer to show the cannoneers at work on the great gun. The camera
follows them as they diligently prepare to fire the bombard at the city.
The
camera cuts to the streets of Belgrade, where Janos Hunyadi is assembled with a
group the soldiers; they stand at a slightly elevated location behind the city's
walls. The camera follows Janos' gaze as he inspects his fighters. Before him
are the real soldiers - the armored men-at-arms. Across from Janos are the
peasants of the city who John of Capistrano has recruited and armed. They are a
fragile force. These peasants stand just by the gatehouse of the city. The
camera cuts to them; the camera follows the gaze of one of the peasants as he
looks anxiously through the gate at the Turkish force outside.
The
camera suddenly cuts to the Turkish lines, and shows a cannoneer yelling.
Suddenly, there is a tremendous noise and the Great Bombard unloads its first
shot on the walls. The camera cuts to the Hungarians' perspective and shows the
shock of the blast as a huge cloud of debris rises from the walls.
The
camera stays with the Hungarians as the cannon repeatedly unloads on them. The
cannon fires several more times, with a delay between each blast. Finally, the
cannon strikes the wall and blows open a breach. This result is clear, although
the camera cannot see the extent of the damage due to a cloud of smoke
obscuring it. The breach has been made near where the men-at-arms are located.
There
is a pause and an eerie silence lingers for several moments. The camera cuts to
Francis Paloczi, who is one of the lords leading the men-at-arms. He is right
near where the breach has been made. The camera focuses on his expression,
emphasizing the suspense of the situation. Francis looks forward into the cloud
of smoke. Before him, the smoke clears partially, and suddenly the silence is
interrupted by the din of Turkish fighters pouring into the city. The Turks
charge at the Hungarians. The Hungarian men-at-arms move to combat them; a
melee commences.
It
is clear that the Hungarians are outnumbered, but the narrow opening is
preventing the Turks from taking full advantage of their numbers. The camera
follows the lords Peter Zrinyi, Stephen Bathory, and Francis Paloczi, who are
leading the men-at-arms. Each noble participates in combat with the Turks. The
camera also shows two minor lords of Hunyad fighting; they will appear again
later at Ladislaus' tournament.
As
the melee proceeds, at the top of the shot a struggle is taking place on the
walls. The camera takes an interest in it and pans up to follow it. A single Turkish
soldier carrying a crescent banner has climbed the walls; he has spied the
Hungarian flag - a plain red banner with a white cross - flying from the
ramparts. It is clear he intends to take down the Christian flag and replace
it. As the Turkish soldier approaches, one man-at-arms on the walls ends up in
a struggle with him. Both end up plummeting to the ground. (This melee is a
reference to the legendary figure of the battle, Titus Dugovics. While Titus'
fate is unclear here, he will appear again briefly later at Matthias' court.)
The
camera cuts to John of Capistrano and the armed peasants at the gate. The
camera shows John as he tensely evaluates the situation. He looks out through
the gate and sees the apparently undefended bombard. The sultan, who stands by
the engineers firing the enormous gun, appears to have left himself open to
attack. He has sent his guards forward to fight in the breach. It is clear John
sees this as a vulnerability he can exploit.
JOHN
OF CAPISTRANO. Now is the time to strike! [Yelling at the gatekeeper.] Open the
gates! [The peasants roar as they prepare to charge the cannon.]
The
camera cuts back to Janos, who turns to see the gate opening without his
orders. He realizes John is going to lead the peasants on an attack outside the
city. This is obviously not desirable, as the poorly-disciplined peasants are
likely to be crushed.
JANOS
HUNYADI. What are they doing? Tell them to stop! Stop!
Michael
Szilagyi, who stands near his brother-in-law, watches as Janos tries to
communicate his commands. Though the peasant force is in sight of the Lord General,
he is unable to get them to follow his orders.
The
camera cuts back to the gatehouse, where the gate has been completely opened
and the peasants are now pouring out into the open field. They are charging at
the bombard. The camera takes an interest in a pair of the peasants in
particular as they advance against the invaders. The camera then cuts to the
sultan, who looks on the charge of the peasants quizzically.
The
camera cuts back to the breach, where Janos himself is now engaged in the
melee. Despite being middle-aged, he is able to hold his own in battle. The
other older lords - Michael Szilagyi and Viktor of St. George - also find
themselves in combat now.
As
the melee unfolds, Janos finds himself in single combat with a Turk. Janos is
able to defeat his opponent; however, he is cut at the leg and injured. Janos
reacts to the wound.
The
camera cuts back to the peasants, who are now engaged with a small Turkish
force at the bombard. The camera shows a shot of the sultan as he summons new
fighters to defend the gun. These new fighters are the janissaries - his elite corps.
They move forward intimidatingly to face off against the peasants. The peasants
hold their own against the janissaries initially, but as the moments transpire
it becomes clear that the Turks are the better soldiers. The peasants are
pushed back; they look on the verge of collapse.
The
camera cuts back to the breach where the Turks have moved quite far inside the
city. There are a large number of Turkish soldiers participating in the attack
now. Their advantage in numbers is beginning to make a difference. It is clear
the men-at-arms are beginning to be defeated.
At
this point in the battle it looks like the Belgrade force is going to be
annihilated: both the peasants outside and the soldiers inside the city. The
camera cuts to a skyward shot showing the state of the battle.
At
the lowest point of hope for the crusaders, the camera cuts to the to the
western ridge outside of the city. Here there is a small, grassy slope.
Suddenly, two riders appear above it. The camera moves more closely and reveals
them to be John Zapolya and Blaise Magyar, returned from their sortie with the
Turkish vanguard. Zapolya strains his eyes for a moment, attempting to make out
the state of the battle. The two ready their horses and advance. Coming over
the ridge behind them are several thousand armored knights, the fighters Janos
sent out with them earlier.
The
camera cuts and shows the peasants' perspective in the battle. The situation is
dire. The camera shows as peasant after peasant is butchered by the janissaries.
John of Capistrano tries to rally his followers by brandishing a crucifix above
him but it seems hopeless.
Suddenly,
the camera turns and shows the heavy knights charging at the janissaries from
the flank. These armored warriors are more than a match for the Turks. Blaise
Magyar's horse tramples on one of the invaders. Fighting both the peasants and
the knights now, the Turkish position is under pressure but holds.
The
battle proceeds. Suddenly, a single janissary turns and flees, running away
from the battle. After he retreats, a few other soldiers flee with him. The
fleeing soldiers pass the sultan on horseback.
MEHMED
THE CONQUEROR. [In Turkish.] What are you doing? Stay and fight, cowards!
The
sultan tries to rally his forces but is unable to. Deeply frustrated, the
sultan angrily rides in pursuit of his fleeing soldiers.
The
camera shows that the bombard has been abandoned. The camera shows as the
combined peasants and knights crush what remains of the Turkish force. (There
is a symbolism here: the kingdom can only hold when the two classes work
together.) As the sequence concludes, the camera watches as the peasants and
knights turn to advance toward the breach in the walls.
The
camera cuts to Janos with the city defenders, who are still fighting the main
Turkish force in the city. Janos continues to fight despite his injury. The
camera follows Janos' gaze as he looks at Peter Zrinyi's body. He has fallen in
battle.
At
the back of the shot behind Janos is the bright, open breach in the walls. The
smoke and rubble have cleared, revealing how the wall was blasted completely
open. The sun is shining through the breach. Janos looks momentarily into the
breach. He sees that there are Turkish soldiers near it, but that oddly no new
fighters are pouring through it. It is eerily open and silent.
There
is a delay and finally the Hungarian forces from the exterior of the city begin
re-entering it. The first shot shows the Hungarians coming through the breach;
then the gate is shown to be open and they are shown coming through it as well.
The camera cuts to a view of the whole city from the sky, showing that the
Turkish force within the city is being surrounded. Retreat is impossible. As the
shot proceeds, it is clear that the fate of the Turks within the city is
sealed.
The
camera cuts to black; the battle is won.
[I.6
ASSESSING THE BATTLE]
The
camera cuts and shows Janos Hunyadi, John Zapolya, Michael Szilagyi, Blaise
Magyar, Stephen Zapolya, and Viktor of St. George assembled in a field just
outside the of Belgrade. The battle has clearly been won. The walls of the city
are just behind them; the aftermath of the battle's carnage is still around
them. Behind them there is movement, as soldiers lumber around, checking for
survivors or remaining enemies, and beginning to repair from the conflict.
JANOS
HUNYADI. [Addressing John Zapolya paternally.] Well done, my lord. [Turning to
Blaise Magyar.] And you. Lord John tells me you killed 30 Turks in the vanguard
alone. The "Fist of Europe" we will have to call you from now on.
MICHAEL
SZILAGYI. Lord Zrinyi is dead. He did not survive the battle. And Lord Paloczi
is missing. We've had no sign of him.
Viktor
is the eldest of all the lords there. He looks ready to retire now, and
permanently end his military career.
VIKTOR
OF ST. GEORGE. They gave their lives for Europe.
STEPHEN
BATHORY. How many casualties did the Turks take?
JOHN
ZAPOLYA. By initial counts 10,000 light infantry, 5,000 janissaries, and
another 5,000 fighters from the Balkans.
STEPHEN
BATHORY. [To Lord Janos.] Well done, my lord.
JOHN
ZAPOLYA. We have crushed them. This is a defeat they will not be able to
recover from for some time.
MICHAEL
SZILAGYI. And we have won the grandest prize - the Bombard.
As
Michael delivers his line, the camera turns to reveal the crusaders' glorious
spoil of war. It is the enormous cannon of the Turks - fallen into the hands of
the Hungarians. For the rest of the scene the Bombard remains in the background
of the shot.
JOHN
ZAPOLYA. [Addressing Janos at first, then all of the lords more generally.] Word
of this will spread through all of Europe. With this victory we could rally all
of Europe to our cause.
VIKTOR
OF ST. GEORGE. This will be my last war. After this, I leave it to the younger
men to fight.
Suddenly
the bells of the churches in Belgrade are heard ringing loudly. The camera
turns to show where the ringing is coming from. The lords turn to acknowledge the
sound.
JOHN
ZAPOLYA. Celebrating.
STEPHEN
BATHORY. [Turning to Janos.] Celebrating your victory, my lord.
The
shot shows as Stephen Bathory remains standing next to Janos - planning to
discuss politics with him - while the other lords make their exit. The camera
turns and then lingers powerfully on the image of the Great Bombard - the image
of this cannon is the final shot.
[I.7
MATTHIAS AND JANOS]
The
scene begins with a shot of the city of Buda. The city lies on the Danube
River, shown at the top of the shot. The audience can make out Buda Castle and
the small town which has grown around it. Entering from the center bottom of
the shot, Janos Hunyadi rides on horseback toward the city. Blaise Magyar and
Michael Szilagyi accompany him. A subtitle reads: BUDA.
The
camera cuts and shows Janos walking away from a stable on foot through the streets
of Buda. He is a strong, middle-aged man in armor, but his injury gives him a
distinct sense of vulnerability. He limps and walks with the aid of a cane. As
Janos walks, some of the people recognize him. An elderly man walking with what
may be his daughter recognizes him and greets him warmly. Janos greets the
people as they acknowledge him.
TOWNSWOMAN.
It is good to see you, Lord Janos.
Janos
proceeds toward Buda Castle, which looms above in the shot as he approaches. The
castle is built in the Gothic style and was one of the largest in Europe at the
time, having been enlarged under the rule of Emperor Sigismund.
Janos
enters through the gatehouse. A guard and a servant are idling at the entrance,
playing with cards. The camera briefly cuts to the cards; they are Milanese
playing cards of the Renaissance. The camera pans up as they acknowledge the
Lord General as he enters.
As
Janos proceeds through the castle courtyard, he passes by a large, stately
chair. It appears it was brought outside by the guard. As Janos walks by, a
raven flutters down and lands on the back of the chair. The bird looks at Janos
as he enters the building.
Ravens
are an important motif in the film. Not only are they the sigil of House
Hunyadi, but symbolically they are associated with wisdom, fate, and ill omen.
Here, the raven's meaning is ambiguous. It could refer to Matthias' kingship or
Janos' fate.
As
Janos proceeds into the castle, the camera cuts and shows one of the rooms of
the structure: Matthias' chamber. As the Lord General's son, he has been
granted his own quarters in the castle during the interregnum.
Janos'
son, Matthias Hunyadi, is seated at a table. The camera spends time with him to
introduce him to audience. He is contemplating, with his hand supporting his head
in a posture that vaguely alludes to Auguste Rodin's statue The Thinker. Around Matthias are piles
of books. They are all secular classical texts - the texts of the Greeks and
Romans. These texts were spreading throughout all of Europe during the
Renaissance. Historically, Matthias had an interest in Platonic philosophy,
works on history and politics, and works on war. The audience can see the
titles of two books, both of which will become important later on: the first is
Plato's Republic and the second is
Caesar's Commentaries.
Thus
just by looking at Matthias one is taught much about him as a character. He is
thoughtful, but also has an interest in war. Given the large room Matthias is
staying in, the amount of open space around him suggests a solitary
temperament.
Janos
steps into the room. Throughout the scene, Matthias either divides his
attention between his text and his father, or else gives his father his
undivided and intense attention.
MATTHIAS
HUNYADI. [Greeting him.] Father. It's good to see you back in one piece.
Janos
enters from afar. They do not embrace, though the relationship is not cold.
JANOS
HUNYADI. [He smiles. He refers to his injury in the following line.] Not unharmed,
I'm afraid.
Janos
walks to his son. Looking around, he gestures at the books Matthias has been
reading.
JANOS
HUNYADI. [Referring to his son.] The scholar. It is good you do all this. You won't
die in ignorance like your father.
MATTHIAS
HUNYADI. You are far from ignorant. [He transitions.] Everyone has been
celebrating your victory. They're calling you the "Bear of Belgrade"
now.
Janos
walks over to a table and pours a cup of red wine. He takes a drink of it and
rests.
JANOS
HUNYADI. They are generous.
MATTHIAS
HUNYADI. They say you've crushed the Turks for a generation.
JANOS
HUNYADI. [He puts his cup down and nods.] It was decisive. Janissaries are
trained from birth. They are not easy to replace. And the Balkan fighters they
brought with them to Belgrade will not readily fight for Islam again. [He
transitions.] I am glad you did not complain about me keeping you here. Your
brother will be angry that I did not let him come with me.
MATTHIAS
HUNYADI. Well, you can't blame him - he wants to be a warlord like his father.
But I remember what you said. That there should never be more than two of us in
the same place.
Janos
nods.
JANOS
HUNYADI. I did not expect to return from Belgrade. [Apologizing.] If ever I
have sheltered you or your brother - it is only to ensure that you are safe.
Janos
walks over to a pile of books on Matthias' table. He searches through the
texts, looking for something. Finally, he finds the text he was looking for - a
copy of the Bible - located at the bottom of the pile. The text's location here
shows Matthias' low opinion of it. The camera cuts to a shot of Janos from
Matthias' perspective, seeing only his father's backside.
Janos
opens the Bible and pages through it. Janos, with his back still facing his
son, turns back slightly as he addresses him.
JANOS
HUNYADI. I have been reading this one, you know.
Janos
turns back partially to his son. The camera shows beneath him that Janos has
opened to "The Book of Job." There is a small illumination of Job on
the page. Job looks somewhat like Janos does.
MATTHIAS
HUNYADI. You relate to him, do you?
JANOS
HUNYADI. [Humorously.] Too much, I'm afraid.
Janos
idles for a moment on the page before suddenly closing the book and walking
back to his son. He sits down.
MATTHIAS
HUNYADI. [Matthias transitions.] So now that you are a war hero, what will you
do?
Janos
pauses for a long time before responding.
JANOS
HUNYADI. [He breathes in a deep breath, then exhales slowly.] Well, we have
gone six years now without a king. The council of magnates has governed Hungary
while I have protected it. I have borne the cost of our country's defense while
they have... well.
MATTHIAS
HUNYADI. I have often wondered how an interregnum could last for so long.
JANOS
HUNYADI. It is by design. We are like Poland now. They have been too busy
granting themselves new privileges to elect a king. [He explains.] I was able
to stop the Turks now. But they will return. And if this country is still like it
is now... it will fall.
MATTHIAS
HUNYADI. Well, you are the Lord General. You could do something about it.
JANOS
HUNYADI. Your uncle says that I should form a new government. That I am so
popular now they would have no choice but to concede.
MATTHIAS
HUNYADI. One with you in charge?
JANOS
HUNYADI. I could trust myself, at least, until we are ready to name a king.
MATTHIAS
HUNYADI. It sounds like you want to be king.
JANOS
HUNYADI. [He gets very serious.] I do not want to be a king. [He explains.] I
don't have the temperament for it. I will give the power back to the lords -
then they will decide.
MATTHIAS
HUNYADI. [He cautions his father.] Well, just be careful. Men accustomed to
power do not like to give it up.
Janos
looks at this son in agreement.
JANOS
HUNYADI. That is why I am going to need your support. I have been speaking to
one of magnates - Lord Stephen Bathory. [He gets to the point.] I think he
understands that the present government has to come to an end.
MATTHIAS
HUNYADI. I see.
JANOS
HUNYADI. His support will be essential if it comes to war. [He explains.] That
is why I need you to go to his estate in Bator County - and there serve as his
steward. You will be his honored guest there for the next six months, and in
return in the spring he will send me his young son to be my ward.
MATTHIAS
HUNYADI. So we are exchanging family members.
JANOS
HUNYADI. Yes. [He explains.] Think of it as being an ambassador for us to
another house.
Matthias
reticently accepts.
MATTHIAS
HUNYADI. Very well.
Janos
stands and goes to leave. He hobbles slightly on his cane. As Janos delivers
his final lines, the camera cuts so a sword, which has been hanging on the back
wall in decoration and is now oriented so it is above his head like the
"Sword of Damocles." It is not extremely obvious, but for the careful
viewer it is foreshadowing.
JANOS
HUNYADI. [He attempts a joke.] If only I had had some daughters, all these alliances
would be so much easier. [He transitions.] But if he supports me, it should
ensure a peaceful transfer of power.
[I.8
LORD BATHORY'S ESTATE]
It
is evening in Buda. The opening shot shows Matthias entering a carriage to
travel to Bator. The carriage takes Matthias out of the city and into the
countryside.
The
carriage is appropriate for the 15th century. It is clearly a product of the
upper class, yet it possesses some of the simple traits of a cart. This
carriage shows both the status as well as the simplicity of the Hunyadi family.
As
the carriage advances, time passes. It is light outside; it is the next day.
The camera cuts to a shot of Matthias inside the carriage as he awakens from
sleep. He looks at the landscape outside his window. The cart passes forests,
hills, cultivated fields, and vineyards.
As
the cart passes through cultivated lands, Matthias again looks out the window.
He sees the serfs laboring. Some of them have blistered faces, as though
afflicted by disease; others are missing teeth; others are very dirty. They are
all hard at work. The carriage passes through a small hamlet where Matthias
sees a serf locked in a stockade. At the center of the hamlet there is a
captain-at-arms who is publicly flagellating a serf - a message to all not to
be insubordinate.
As
the carriage proceeds, some of the serfs begin looking back at Matthias as he
passes. Some look at him with caution or fear: they are intimidated by the
power of the lords. One serf stares at the carriage with great anger.
Finally,
the carriage arrives at the outskirts of Bator. A subtitle reads: BATOR COUNTY.
The
carriage passes through the village and approaches Bator Castle. The carriage
passes through a gatehouse where men-at-arms are on guard. As the carriage
approaches the keep - the residence of House Bathory - Matthias looks up at the
tall spires showing the power of the family. Bator Castle looms as a powerful symbol
of the lords' control over the people.
The
carriage comes to a stop and Matthias steps out. He goes to retrieve his
belongings - in his philosopher's simplicity, he has brought only one bag. As
Matthias walks toward the entrance of the keep, the camera shows a clear shot
of his clothes. He wears the garments of the upper class, but compared to the
other nobles of the film his clothes are very humble in appearance.
The
entrance of the keep prominently displays the Bathory coat-of-arms: a red crest
with three white teeth stretching across it horizontally. Matthias approaches the
door. A large doorknocker lies before him. Matthias lifts the doorknocker, then
knocks three times.
Matthias
waits stoically for an answer, but the presence of the castle and the size of
the door create a sense of suspense. What kind of creature would welcome a
visitor at such a door?
An
anticlimax: the door opens as a very humble servant girl opens the door. She is
small and looks malnourished. It is Sophia, a servant of Lady Bathory.
MATTHIAS
HUNYADI. I am Lord Hunyadi.
The
camera cuts to a clear shot of Sophia. She is attractive and young, but has
become extremely haggard-looking due to her years of labor. She is sheepish and
uncertain, but ultimately opens the door to let Matthias in.
Matthias
enters the keep. Sophia goes off to notify the lady of the estate. As Matthias
walks in he is confronted by the vastness of the keep's interior. There are
rooms upon rooms before him. Matthias looks around, trying to see the estate's
residents. He can see there are a few servants on the floor of the neighboring
room, working to clean it. These servants look just as overworked as Sophia.
With
no one there to greet him, Matthias walks further into the entrance hall and
approaches a large plaque. It is a dedication for the castle, and shows the
folklore of House Bathory. In large letters Matthias' gaze reads the inscription
"BATOR THE BRAVE." The camera follows Matthias' gaze. He looks at a
large picture of a knight slaying a dragon. The knight is wielding a great
two-handed sword, cutting the monster across its torso. Under the dragon lies a
vast hoard of treasure, which the beast was jealously guarding.
As
Matthias looks at the plaque, Lady Julia Bathory is shown descending a
staircase behind him. She wears ostentatious clothing, the latest fashion of
the continent.
JULIA
BATHORY. Lord Matthias. [Lady Bathory approaches Lord Matthias. The two
exchange a welcome. Lady Bathory carries herself imperiously.] Your father told
me to expect you.
MATTHIAS
HUNYADI. My lady. My father has sent me here to be your steward. Is Lord
Bathory here?
JULIA
BATHORY. He is not here, he is in Buda, but I will be sure to get you started
on your duties. [She walks toward the plaque.] I see you were looking at our
family's folklore. They say my husband's ancestor came here from Swabia in the 1100s.
That the people lived of the village in fear of a miserly dragon who lived on
the mountain. He hoarded all the people's wealth and terrorized them. So, they
say Bator went into the wilderness to kill him. He cut the dragon from torso to
collarbone. The people were so grateful they made him their lord. [She
transitions.] Well... I will show you to your chambers.
Matthias
follows Julia up the staircase. As Matthias climbs the stairs, he looks back
down at the servants. They are still hard at work.
The
camera cuts and shows a closed door. The camera shows the door opening,
revealing Julia and Matthias outside the large, well-furnished room.
JULIA
BATHORY. This will be your chamber.
The
camera cuts again and shows a closed door. The camera shows the door opening,
revealing Julia and Matthias outside the chamber. Matthias does not have his
possessions anymore; he has put them down in his chamber.
JULIA
BATHORY. And this is the steward's chamber. [She walks into the room. Matthias
follows politely.] These are the ledgers you will need to get started.
Matthias
walks over to the ledgers and takes an initial look at them. Julia idles for a
moment before speaking.
JULIA
BATHORY. My husband used to say being a steward is like "the parable of
the talents." You know that one? [Matthias shakes his head; she sits down
to explain the tale.] There was a master who had three servants. One servant he
gave five coins to, another two, and another one. Then the master went away for
a number of years. When he returned he went to see what each man had done with
what he was given. The richest servant had invested his coins, and made five
more. The master praised him. The middle servant had also invested his coins,
but had only made two more from his smaller sum. The master praised him anyway.
[She gets to the last part. As she does so, Matthias sees one of Lady Bathory's
servants working in the background.] Then the master came to the last servant.
The last servant had not done anything with what he was given. He had buried
his coin in the ground. The master berated him. He took back the coin he gave
him to start and gave it to the rich servant instead. [She interprets.] Be merciless. It's no one's fault if these
lazybones were unproductive.
Matthias
nods appeasingly as Julia smiles at him encouragingly. She steps out as
Matthias begins peering at the huge logs of income for the county. The camera
cuts to a shot of Matthias from the ceiling, showing him in a claustrophobic
shot of the room.
[I.9
JANOS CONFRONTS THE MAGNATES]
The
camera shows the streets of Buda. Janos Hunyadi - armored and strong, but still
injured and walking with a limp - proceeds through the streets. He is followed
by his supporters; among them are John Zapolya, Michael Szilagyi, and Blaise
Magyar. They advance, purposefully and determinedly.
Janos
and his followers pass a street preacher. The camera stays with Janos and his
followers but the preacher can be seen and heard in the background.
STREET
PREACHER. And thus did the Lord rebuke Eliphaz and say, "Amen, I say to
you, only my servant Job has spoken rightly of me." For why do fortune and
misfortune befall man? And why does the tempest between them change so quickly?
The
camera shows Buda Castle, looming above Janos and his supporters. It is here
within the castle where the kingdom's parliaments assemble. It is also here
where the council of magnates currently reign and dominate the country.
Janos
and his followers are shown outside the castle. A guard acknowledges Lord
Janos, allowing free passage to him and his followers. John Zapolya turns to
Janos before they enter.
JOHN
ZAPOLYA. You're free to turn around right now, you know.
JANOS
HUNYADI. No man is free.
The
camera cuts to an entirely new shot. It is a great hall of the castle.
Assembled here, lording over the kingdom from great thrones of power are the
magnates - the high lords. Upon the death of King Wladyslaw at Varna, a
temporary government was organized for the duration of the interregnum. The council
of magnates would govern the country while Janos Hunyadi would be put in charge
of the kingdom's defense. Yet the council of magnates has exploited the
position for their own benefit, and failed to elect a new king.
In
the back of the hall are the banners of the magnates. The banner of House Garai
shows a serpent swallowing a Moor; the banner of House Ilocki shows three
crowns; and the banner of House Bathory shows three horizontal teeth. These
magnates own enormous swathes of territory. Nicholas Garai is the lord of
Partium, on the border with Hunyad in Transylvania; Laurence Ilocki rules
Syrmia, on the border with Serbia; and Stephen Bathory rules Felvidek or Upper
Hungary, on the border with Austria.
A
few petitioners are in the hall; a few lesser nobles are assembled in the
background of the shot, watching the proceedings.
A
petitioner comes forward to the magnates. His low position relative to these
high thrones shows his clear status. Following behind the petitioner is his
landlord, attending the proceeding to dispute the case.
PETITIONER.
My lords, I have tried to explain the issue I have been having with my
landlord. Have you come to a decision?
Nicholas
Garai answers tersely and matter-of-factly. He does not offer an explanation.
NICHOLAS
GARAI. Yes. We find in his favor.
The
petitioner is clearly distressed at the failure of justice. He tries to
formulate a further plea but has trouble forming words. The camera pans to the
magnate Laurence Ilocki, one of the wealthiest lords in the country. He looks
on the petitioner pitilessly.
NICHOLAS
GARAI. Have him removed.
A
guard removes the petitioner.
LAURENCE
ILOCKI. [He looks down at a parchment - another petition for them.] Abraham
Farkas is requesting a title to the barony of Modor.
NICHOLAS
GARAI. [He answers.] He has been a great supporter of ours. Very well, grant
it.
Suddenly
the great doors of the hall open. Janos and his supporters enter. The camera
cuts and shows them entering the chamber from the bottom left - from the very
edge of the shot, a position of vulnerability. The staging communicates
everything the audience needs to know. The magnates have immense power over the
kingdom and the situation.
There
is a quiet moment as the shot proceeds. Janos, still injured from battle, walks
with his cane and a limp, but the armor he wears and the enthusiasm he
generates in his followers helps him to emanate an aura of strength. His
clothing is simple for a member of the upper class. He wears some red, tacitly
alluding to Rome and Caesar.
The
shot becomes completely silent. Having made his entrance, Janos steps forward
across the floor of the parliament. His followers watch him in the background. For
several moments, the only noise made is Janos' cane as it clanks with each of
his steps on the parliament floor. Finally, Janos is before the magnates. The
suspense builds. Janos looks up; he literally must speak up to address these
high lords.
JANOS
HUNYADI. My lords, by my power as the Lord General of the kingdom, I declare your
office abolished. I declare the formation of a new government for Hungary.
Some
of the lesser nobles in the background begin clamoring.
NICHOLAS
GARAI. Lord Janos, you do not have that authority.
JANOS
HUNYADI. I ask that you stand down peacefully.
The
camera cuts to the sheathed weapons of the figures in the hall.
The
camera cuts as Janos looks at Stephen Bathory expectantly, anticipating him to
speak. Bathory looks back at Janos. The moment is silent, suspenseful.
Suddenly,
it is clear the confrontation will not end peacefully. A violent melee is about
to break out. Partisans of Janos and the magnates draw their weapons. Blaise
Magyar draws his greatsword. The camera cuts away.
[I.10
MATTHIAS THE STEWARD]
The
camera opens with a series of shots showing Lord Bathory's servants. The shots
are taken from claustrophobic angles that emphasize the hard lives of the
servants. The servants wear simple clothes, close rags, and look either dirty
or sickly.
The
first shot shows a young woman, bent over in a difficult position, doing
laundry and cleaning. The second shot shows another servant, a young man at
work in the larder, processing the fat of the pigs in a small, dark room. A
third shot shows a middle-aged female servant at work in the hot, small
kitchen, preparing meals for the lord and lady.
The
camera cuts to an open, airy shot - a major contrast to the above. It shows
Lord Bathory's young son, dressed in upper class clothes, holding a wooden
practice sword. The boy is running through the castle practicing his fencing.
He is pretending to be the hero of his family's legend.
YOUNG
BATHORY. I am Bator the Brave!
Lord
Bathory's son strikes at the walls and furniture as he practices fencing. He is
destructive and spoiled. The camera follows him until he is next to the
servant; the young woman doing laundry. Young Bathory becomes overly exuberant
with his game, and goes to use the servant as a pin cushion or a practice
dummy. The camera cuts before he makes contact with her.
The
camera cuts to Matthias in another part of the castle. He is seated in the
steward's chamber and surrounded with the many ledgers of a tax collector.
Matthias has one of the books open in front of him. The camera cuts to his
perspective as he looks through it.
BATOR
COUNTY
1454
REVENUES
Poll
tax........................................ 4,200 florins
Estate
duty...................................1,208 florins
Tax
on gates.................................610 florins
Tax
on ports................................ 105 florins
Charter
fees...................................400 florins
Extraordinary
duties....................310 florins
Total..............................................
6,833 florins
Matthias
turns the page.
1455
REVENUES
Poll
tax........................................ 4,820 florins
Estate
duty...................................1,450 florins
Tax
on gates.................................700 florins
Tax
on ports................................ 205 florins
Charter
fees...................................600 florins
Extraordinary
duties....................590 florins
Total..............................................
8,365 florins
The
camera focuses on the total at the bottom of the ledger. Matthias turns the
page.
1456
REVENUES
Poll
tax........................................ 5,000 florins
Estate
duty...................................1,670 florins
Tax
on gates.................................820 florins
Tax
on ports................................ 300 florins
Charter
fees...................................720 florins
Extraordinary
duties....................800 florins
Total..............................................
9,310 florins
The
camera cuts to Matthias' reaction. The revenues of the county have increased
every year.
Matthias
turns the page.
HOUSEHOLDS
Mark
Farkas
Collected.................................122
bushels
Martin
Budai
Collected.................................123
bushels
Joseph
Molnar
Collected.................................124
bushels
Nicholas
Meszaros
Collected.................................125
bushels
Imre
Szabo
Collected.................................125
bushels
Nicholas
Varga
Collected.................................130
bushels
Andrew
Juhasz
Collected................................140
bushels
Bela
Csizmadia
Collected.................................141
bushels
Louis
Nemeth
Collected.................................146
bushels
Zoltan
Toth
Collected.................................150
bushels
Geza
Erdos
Collected.................................152
bushels
Thomas
Halasz
Collected.................................160
bushels
Stephen
Gulyas
Collected.................................161
bushels
George
Dozsa
Collected.................................240
bushels
The
camera focuses on the last name: the poor peasant who made the largest
contribution. The camera cuts to Matthias as he reflects on the state of the
county.
[I.11
MATTHIAS MEETS GEORGE DOZSA]
The
opening shot shows a peasant farmer, George Dozsa, seated on stump with his
young daughter, Natalia, beside him. Dozsa is a hard man. Concealed behind his
haggard appearance is a handsome face, but one that had been hidden by years of
long work and ill fortune.
Beside
Dozsa, in stark contrast, is his daughter, a young girl perhaps the age of six.
Because the girl is so small, her legs cannot touch the ground like her
father's. Instead, she shakes her legs up and down in a childlike way. Her mind
is elsewhere, occupied like a young girl's. She appears entirely unaware of her
father's severity.
In
Natalia's hands is a small wooden cup of milk, freshly squeezed from a cow,
which she drinks from while shaking her legs.
Dozsa
stands and leaves to begin his daily work. The camera follows him as he heads
into the fields.
The
camera shows George Dozsa as he begins to work on the ground. He is down in the
dust, in the dirt. He is a humble, simple man with great integrity. In contrast
to his hard face, there is a healthy, green sprout of a plant growing before
him. He takes pride in this. Despite all his pains, he grows and nurtures the
plant life entrusted to him.
The camera
pans backward and shows that Dozsa has birthed not a singular plant, but many
long columns of crops. As the camera continues panning outward the rich
greenery shows the pride of the farmer - much of it wheat and barley. Yet the
camera continues to pan and into the shot comes the oppressive sight of Castle
Bathory. The camera places the castle so it looms oppressively over the
laboring Dozsa and his crops: seeming to threaten everything he seeks to grow.
The camera
cuts to a new shot and shows Dozsa on the ground, laboring again. This time,
Matthias Hunyadi emerges out of focus behind him, looming over him just as the
castle did before.
The
camera puts Matthias in focus and shows Matthias' face. He is trying to smile,
but the sun shines in his face and makes him squint and contort his features.
MATTHIAS
HUNYADI. You are George Dozsa?
GEORGE
DOZSA. [Dozsa is hostile, and hardly speaks. He does not like lords.] I am. And
you are a lord.
MATTHIAS
HUNYADI. I am Matthias Hunyadi. Son of Janos Hunyadi.
GEORGE
DOZSA. What do you want?
MATTHIAS
HUNYADI. I am the new steward of Lord Bathory. I have been going through the
ledgers at the castle. I noticed you are taxed more than anyone else in the
county. [He pauses.] I wanted to inquire why.
GEORGE
DOZSA. Must be something about me.
Dozsa
returns to the ground, where he tends to the sprouts.
MATTHIAS
HUNYADI. What are you growing?
GEORGE
DOZSA. [Annoyed.] Sage.
MATTHIAS
HUNYADI. Ah. [He is indifferent in only the way a philosopher can be. He tries
to develop a rapport regardless.] You like growing things?
George
Dozsa says nothing. Matthias walks over toward some of the crops George has
grown. They are tall and strong. A defensive expression comes on George's face
when he sees Matthias is walking toward his crops. When lords do this it
usually results in them taking his crops from him.
MATTHIAS
HUNYADI. These have grown strong. You've tended them well.
GEORGE
DOZSA. I like growing things.
MATTHIAS
HUNYADI. I see.
Natalia
suddenly appears in the distance, having run within earshot of her father.
NATALIA
DOZSA. [Yelling.] Papa! Bodi got out of the pen! He is eating all the radishes!
Dozsa,
annoyed, mutters a profanity as he runs back toward his hovel. Matthias stands
for a moment, uncertain, then walks after Dozsa.
The
camera cuts and shows that the pig Bodi has broken through part of a fence
meant to pen him in. It has wandered over to a verdant area where Dozsa has
been growing radishes and other root vegetables. It is sniffing, uprooting, and
eating them gluttonously.
Dozsa,
angry, attempts to grab the pig and haul him back to the pen.
GEORGE
DOZSA. Greedy pig! Think you can eat everything?
Dozsa
grabs the pig by his tail and ear, but the pig is very large and hard to move.
Natalia stands nearby. She takes a radish that has been uprooted and tries to
use it as a lure to get the pig to follow her. However, she fails to be of any
help at all.
Matthias
walks on the scene. He watches for a moment, then helps Dozsa to haul the pig
back to his pen. Dozsa puts an uprooted fence post back into the ground to
secure the pig.
There
is a delay as Dozsa remains hostile to Matthias.
GEORGE
DOZSA. I still don't know why you're here, my lord. When lords come, they take
things away from me.
Natalia
looks at her father, who is still furious after wrestling the pig.
MATTHIAS
HUNYADI. Have I taken anything from you?
Dozsa,
finally, relents. He sees his daughter is more sympathetic to Matthias than she
is to him. He nods at the hovel, inviting him inside.
The
camera cuts and shows the interior of Dozsa's hovel. The ceiling is too low and
everything in it has clearly been made by hand. The furnishings are extremely
basic, and are a major contrast to Castle Bathory. The two are seated inside.
GEORGE
DOZSA. Your father is the general? The warlord?
Matthias
nods. Dozsa drinks as he speaks.
GEORGE
DOZSA. He won a great victory at Belgrade. Perhaps he is a good lord.
Matthias
looks at George.
GEORGE
DOZSA. But I can say to you that the men around here that I know... will no
longer fight with any lord. If the Turks come, no one will answer the call to stop
them. They don't find a country here worth fighting for.
Natalia
is walking in the background.
MATTHIAS
HUNYADI. She is your daughter?
GEORGE
DOZSA. [Nods.] The only one I have left now. [Calling.] Natalia. Get a cup of
stew for the lord.
MATTHIAS
HUNYADI. I am not as noble as you think. My grandfather was born without a
name, the same as you.
GEORGE
DOZSA. [He explains.] It did not used to be like this. They at least used to leave
us something before. But something changed after the king died. Now they take
whatever they want.
MATTHIAS
HUNYADI. Are there no royal justices you can appeal to?
GEORGE
DOZSA. [He is amused.] The lords are the justices.
NATALIA
DOZSA. [Interrupting.] Papa, I am going to get water. [She exits.]
MATTHIAS
HUNYADI. Well... as steward, I will try to change this.
GEORGE
DOZSA. [Grimacing.] I don't think you know who your master is.
[I.12
THE FATE OF JANOS HUNYADI]
The
camera opens with a shot of Stephen Bathory, as he and the magnates escape from
the parliament building. The camera cuts to the hall where the confrontation they
had with Lord Janos took place.
The
camera shows that some of the retainers of both Janos and the magnates were
slain. Janos' supporters are victorious. However, Janos is bleeding on the
ground. He is being held up by his partisans, with Blaise Magyar holding him up
the most. The steely Blaise Magyar seems particularly distressed at the death
of his master. Much about the staging of this shot should recall the death of Caesar,
which the scene references.
The
camera cuts to Janos' steely and yet somehow serene face. His body still
communicates an aura of strength, integrity, and personal injury that make him
sympathetic.
BLAISE
MAGYAR. We have lost our Caesar.
JOHN
ZAPOLYA. What happens now?
MICHAEL
SZILAGYI. Even without him we must carry on. Make the call to arms; there will
be civil war now.
The
camera cuts to a final shot of the room. The attentive viewer can see that
Janos dies with his right hand in the shape of a fist.
[I.13
LADISLAUS AND FATHER PANNONIUS]
The
camera shows a shot of the town of Hunyad. A subtitle reads:
HUNYAD
COUNTY
The
fortified Hunyad Castle stands in the background. Unlike Bator County, where
the castle looms above the houses of the people oppressively, the walls of
Hunyad encircle the hamlet. The castle is designed to protect the people - not
dominate them. The difference in the castles emphasizes the difference between the
Bathorys and Hunyadis.
The
camera pans to reveal a tournament ground filled with colorful flags and tents.
There is much drinking, eating, and revelry. Cheerful Renaissance music plays.
The camera pans to show a small area set aside where knights can engage in mock
battle with one another. Madolyn Kovacs, a lady of the lesser nobility, is
shown as she looks on the tournament grounds. She looks around briefly, then
walks out of the camera's sight as she goes off in search of her lover.
The
camera cuts to the interior of a room of Hunyad Castle. It is sterile and dull
in comparison to the tournament grounds. The camera reveals a large chamber
where Ladislaus Hunyadi is reclined torpidly in the lord's chair. The camera
lingers for a time on this shot of him, teaching us about his character. He
cares little for learning, but quests for valor and social recognition bring
him to life.
The
shot is introduced slowly, emphasizing the tone of the scene. The camera turns
from Ladislaus to reveal the Hunyadis' steward, Father John Pannonius, who is seated
across from Ladislaus. Although he is a minor character, the distinct
appearance of Father Pannonius makes him memorable. Father Pannonius sits
erectly in his chair, but his head is down as he mulls over ledgers, tomes, and
parchments. Father Pannonius has a gentle temperament, but is bookish,
pedantic, and socially disconnected. He is intelligent, but a terrible teacher.
JANUS
PANNONIUS. Moving on to the next item, my lord, the burghers of Hunyad are
requesting permission to build a mill.
Ladislaus
is bored from the start.
LADISLAUS
HUNYADI. Very well.
As
Ladislaus listens to Father Pannonius drone on and on, Madolyn Kovacs enters
the hall. Janus is unaware of her presence. When she opens the door to the
chamber, there is a brief shot of a lantern behind her. This symbol is there
for the attentive viewer.
JANUS
PANNONIUS. There is an issue with this, however, my lord. [He gestures with his
hand.] These burghers want to build the mill on the Cserna River.
LADISLAUS
HUNYADI. And what makes that a problem?
Madolyn
is very beautiful. Madolyn gazes across the chamber; she smiles devilishly at
Ladislaus. He grins knowingly back. They clearly plan to elope together.
JANUS
PANNONIUS. Well, the Cserna is owned by the bishopric; and up till now the
bishop has been a major supporter of your father. So, it would be unwise to
irritate him.
LADISLAUS
HUNYADI. Very well. So, they will not build the mill.
As
Father Pannonius speaks, the camera focuses intently on him. Old Father
Pannonius, accustomed to his listener being captive on the throne, does not
keep eye contact with him.
JANUS
PANNONIUS. Well the issue, my lord, is the burghers have a point in making this
request; allowing them to build the mill would bring a clear economic benefit
to the county, and the bishop has allowed the area to remain idle for some time.
This is a common matter for a prince - to navigate the politics of even a
simple request. Coming to the right decision here will help you prove your
administrative capability to your father...
As
Father Pannonius looks up, he sees the room is empty. There is some humor in
this. There is the sound of a door closing. Ladislaus and Madolyn have eloped.
[I.14
LADISLAUS DONS HIS ARMOR]
The
camera shows Ladislaus and Madolyn as they walk through the keep.
MADOLYN
KOVACS. They are doing a tournament in the village. Are you going to fight?
LADISLAUS
HUNYADI. I am.
They
enter the armory. Ladislaus stands before his plate armor.
MADOLYN
KOVACS. Just be careful. It is dangerous.
LADISLAUS
HUNYADI. [He explains.] Oh, not to worry. My father has kept me from the real
danger.
Ladislaus
stands before Madolyn in his "knight's underwear." Ladislaus ties his
greaves (his pieces of leg armor). Madolyn watches him. There is a short cut to
speed up the process.
LADISLAUS
HUNYADI. Help me with this one.
Madolyn
moves forward to help him put the rest of his armor on. Madolyn assists him as
he puts on his breastplate. She pulls the armor up snugly to his body and when
she goes to tie it she gets very close to him physically. (There is a clear romantic
implication here.)
As
Madolyn helps Ladislaus put on his mail skirt, the shot of the camera shows her
head near to Ladislaus' groin. There is a cut as Madolyn helps Ladislaus put
his vambraces (wrist armor) and pauldrons (shoulder armor) on. Ladislaus
finally picks up his helmet.
[I.15
THE TOURNAMENT]
The
opening shot shows a tournament ground assembled to celebrate Lord Janos'
victory against the Turks. Great banners line the grounds, and lords and serfs
alike feast and drink and watch the entertainment, which consists mostly of
trials by combat.
The
camera cuts to a ground reserved for sword fighters. A mock battle is about to
commence between two knights. Both knights are wearing full helmets. The first
knight is Ladislaus Hunyadi, wearing heavy plate. There is a small raven sigil
on his armor identifying his house. Ladislaus' armor is elegant and upper
class, a contrast to the humble garments worn by his father and brother. He
wields a two-handed sword. Opposite him is another strong lord - Henry of
Podebrad. He, too, is equipped in plate armor and wields a two-handed sword.
His armor is much humbler than Ladislaus' is. Podebrad's sigil depicts the head
of a black bull.
The
camera cuts to the audience, where Madolyn Kovacs is seated with the crowd.
Based on her expression, it is clear she is concerned about what is about to take
place. She turns to one of the other members of the audience, a drunk lord, who
is next to her.
MADOLYN
KOVACS. Isn't it dangerous that they do this?
The
camera pans to show two drunk lords next to Madolyn. They were both at Belgrade
with Janos.
FIRST
DRUNK LORD. When they wear so much armor it is not so dangerous.
As
Ladislaus advances to enter the arena, the drunk lords goad him.
SECOND
DRUNK LORD. Ah, Lord Ladislaus, I didn't see you at Belgrade!
FIRST
DRUNK LORD. Careful, my lord, you are fighting against Henry of Podebrad - he's
seen a few more battles than you have.
The
two drunk lords don't know Madolyn's relationship with Ladislaus.
SECOND
DRUNK LORD. Ah, this will almost be like a real battle for you, my lord!
The
camera cuts to Ladislaus, who is irritated by their insults. He attempts to
ignore them. He wants to be respected and honored as a knight, like the
medieval warriors of old. However, his protective father has kept him from
participating in any real battles. He pulls down his visor, concealing his face
in the process.
Ladislaus
engages in a melee with the opposing lord. The combat is more of a brawl than a
duel. The immense two-handed swords are unable to penetrate the plate armor, so
the combat is conducted mostly through half-swording, punching, and pommeling.
Henry wins the first part of the duel. Madolyn is distressed by this.
FIRST
DRUNK LORD. [To Ladislaus.] Too bad, my lord. If only your fine armor could win
your battles for you!
SECOND
DRUNK LORD. Yes, it is better you were not with us when we fought the Turk.
The
second part of the duel proceeds. This time Ladislaus is much more aggressive,
motivated by his irritation at the lords. Ladislaus ultimately defeats Henry,
who submits to him.
The
lords remove their helmets, revealing their faces. They are both physically
exhausted from fighting. Ladislaus magnanimously helps his opponent to his
feet.
FIRST
DRUNK LORD. [Laughing with the other lord.] What a fine soldier you will be
someday, my lord!
Ladislaus
glares at the lords' taunts. Angered, he storms out of the arena. Madolyn
Kovacs pursues him.
[I.16
LADISLAUS AND MADOLYN]
The
camera cuts to show Ladislaus and Madolyn riding out of a stable on horseback,
with Madolyn clutching her lover from behind. A song begins - an idyllic track,
contributing greatly to the tone. The camera shows a shot of the faces of the
two from the front, then shows them riding from a skyward perspective.
Ladislaus rides through plains and woods, and across a river. The ride proceeds
for some time, suggesting they are going far away. Eventually, Ladislaus slows
the horse. They come to a beautiful, open field by the edge of a treeline. White-capped
mountains are visible in the distance - the Carpathians. The sky is a cool,
blue color.
They
dismount from the horse and idle for a time, enjoying their moment in nature.
They embrace. The camera cuts away.
The
camera returns with the two in shot. Both are naked. Ladislaus' armor is on the
ground beside them.
MADOLYN
KOVACS. Do you remember the first time we came here?
LADISLAUS
HUNYADI. I remember.
There
is a delay as Madolyn realizes he is still upset.
MADOLYN
KOVACS. You're still upset at those lords?
Ladislaus
is clearly irritated. He sits up and explains.
LADISLAUS
HUNYADI. Everyone who fought at Belgrade
is a hero now. I am the son of a hero. [As Madolyn listens to him, he
explains.] I remember when I was 12 and I was sick, my father brought a team of
troubadours with him to Hunyad. They spent three nights singing the Song of Roland to the court. I got out
of bed every night to listen. It made me feel better. After I recovered, I
started practicing with a sword every day.
MADOLYN
KOVACS. [Fully aware of the double entendre.] You are good with a sword.
LADISLAUS
HUNYADI. But now my father wants me to stay here as a damn bookkeeper, like my
brother.
MADOLYN
KOVACS. He wants you to live. [Her face communicates her desire that he live as
well.]
Ladislaus
is still upset. Madolyn, to encourage him, steps forward, still naked, and
takes a hold of his two-handed sword. She stands before him like a sovereign.
She takes what she is doing with complete seriousness, standing before him like
the Virgin Mary. Ladislaus takes it as a joke.
MADOLYN
KOVACS. Take the knee.
Ladislaus,
slightly amused, takes the knee.
MADOLYN
KOVACS. Do you swear fealty to me as your lady?
LADISLAUS
HUNYADI. I do.
Madolyn
holds the immense sword over Ladislaus, as if she were knighting him.
MADOLYN
KOVACS. Then rise, Sir Ladislaus.
Suddenly,
there is a loud groan from the forest behind them. The two, still naked, are
startled.
MADOLYN
KOVACS. What was that?
LADISLAUS
HUNYADI. It sounded like a bear.
Madolyn
hands the two-handed sword back to her lover. The camera shows him wielding the
immense blade.
The
camera follows Ladislaus as he approaches the area where the noise emanated
from. The camera follows his perspective. Behind them is a strong but aged bear
which looks to be injured. It walks with a limp to one of its hind legs. It is
groaning. Ladislaus lets his sword down.
Ladislaus
goes back to Madolyn and starts putting his clothes back on.
MADOLYN
KOVACS. What is it?
LADISLAUS
HUNYADI. We should go back now.
[I.17
LADISLAUS RETURNS TO HUNYAD]
The opening
shot shows the interior of Hunyad Castle. Father John Pannonius and Michael
Szilagyi, are sitting opposite one another in the chamber. Both appear
agitated. Based on their expressions, it appears Lord Michael has only just
told Father Pannonius the news of Janos' murder. Father Pannonius is quite
distressed to hear the news - he served in Lord Janos' household for many
years.
Ladislaus
enters the chamber.
JANUS
PANNONIUS. There he is.
LADISLAUS
HUNYADI. Uncle -
There
is a long delay while he does not understand what is happening. Lord Michael
stands and approaches him.
MICHAEL
SZILAGYI. Your father is dead. [There is a delay while the news registers.]
Your brother will likely be as well. Raise the banners. I will meet you at
Thorenburg - on the Gold River.
Michael
pats his nephew on the shoulder, then exits. Ladislaus looks expectantly at
Father Pannonius, looking for more information.
[I.18
MATTHIAS IS CAPTURED]
Matthias
is outside the house of one of the residents of Bator. He is plainly dressed
for a member of the aristocracy. He is looking at one of his steward's ledgers,
engrossed in his work. He is not paying attention to the environment around
him.
At
the side of the frame, Lord Bathory and Lord Garai emerge. They are on
horseback, in armor, with their retainers riding closely behind them. The lords
approach Matthias. Matthias looks up at them. The camera cuts. It is obvious he
is betrayed; he is being taken prisoner.
The camera
cuts to a new shot. It is a short time later. The conspirators are transporting
Matthias to Bator Castle. Matthias is on foot, in chains, while his captors
ride on horseback. The group passes George Dozsa, who is tending to his crops.
He looks up to see Matthias being led down the road. He does not react; but he
sees that this is the fate of the one lord who pledged to help him. Matthias
does not see Dozsa while he is being escorted.
As
the conspirators proceed, the camera pans to the back of their party, where a
great chest is being transported by them to the castle. The camera shows that
the chest contains the royal crown of Hungary, taken by the magnates when they
fled Buda.
The
camera cuts to the interior of Bator Castle. It shows a grisly dungeon with no
furnishings. Two retainers drag a chained Matthias through a corridor. Matthias
is distressed - but dispassionate in the way only a philosopher could be. He is
not necessarily resisting the retainers, though he is not quite cooperating
either.
As
the retainers drag Matthias, they pass a room with a large iron torture chair -
a menacing sight. The camera shows where a fire is lit under the chair, searing
any unfortunate prisoner forced to sit in it.
The
retainers drag Matthias onward and one of them speaks to him.
BATHORY
RETAINER. We have a special place for you, Lord Hunyadi - until you are ready
to join your father.
The
retainers drag Matthias to the entrance of an oubliette. It is different from
the other cells. It is a dark hole, into which a prisoner is dropped. One of
the retainers lifts the iron cage of the cell. The two retainers force Matthias
into it.
[I.19
MATTHIAS THE PRISONER]
The
following scene is an allusion to the Platonic Cave. Like in The Republic, a man is chained to the
floor of a cavern, forced to watch the shadows on the walls. The philosopher is
the man who escapes the cavern and finds truth - the sun outside.
Matthias
is at the bottom of the shot in a prison cell. It is not immediately clear if
he is chained to the floor or not. The cell is dark, but Matthias is still
visible to the audience. The framing of the shot parallels Matthias' first
scene: the vast emptiness of the cell emphasizing his solitary nature.
Above
Matthias, barely visible, is a small window, with a narrow beam of light
escaping it. There is a long delay of silence. Matthias is a philosopher, and
characteristically stoical, but the news of his father's fate and the
uncertainty of what will happen to him weigh on him.
Matthias
idles for a moment in the cell. There is a simplicity and acceptance to him
which is admirable. The camera cuts to a closer shot of him. He looks down,
implying resignation.
A
raven, barely audible, caws outside. Matthias stirs and looks up. He stands -
we see that while his hands were not chained to the floor.
Matthias
walks to the window. The camera emphasizes how small and inaccessible it is.
The camera cuts to Matthias, then cuts back to the window, this time showing
narrow streaks of light coming through it. Matthias raises himself to look
through the window. The camera cuts to his perspective. Outside, the immense
glowing orb of the sun dominates the camera's shot.
The
camera cuts back to Matthias, in the cell, in darkness. The scene ends.
[I.20
THE MAGNATES' CONSPIRACY]
The magnates,
Nicholas Garai, Laurence Ilocki, and Stephen Bathory, sit in the same chamber
where Matthias worked as a steward. Nicholas is in his 30s, and, like Cassius,
has a "lean and hungry" look. Stephen Bathory is middle-aged, like
Brutus, and is deeply connected to politics. Laurence Ilocki is elderly, wealthy
like Crassus, and interested in securing his position as oligarch. All three
are comfortable with the use of power; though they face a situation where their
power is failing them.
NICHOLAS
GARAI. What about Lord Viktor?
STEPHEN
BATHORY. [He takes a deep breath before explaining.] He has not written. It is
no surprise with him: he will wait to see which is the winning side.
NICHOLAS
GARAI. Lord Perenyi?
STEPHEN
BATHORY. He has turned on us - sided with the Hunyadis.
LAURENCE
ILOCKI. This is the trouble with conspiracies. Everyone claims they want to
take part, then they all take the path of least resistance.
NICHOLAS
GARAI. [Addressing Stephen.] I told you he was dangerous. I told you how
dangerous he was.
Stephen
Bathory does not react.
STEPHEN
BATHORY. [Defensive.] If it had not happened this way, it would have happened
some other way.
NICHOLAS
GARAI. I'm saying it was you that led him to this. We knew he was a problem.
But you encouraged him to act. You thought you could control him; now see where
all that has left us.
LAURENCE
ILOCKI. We still have the son - and the crown.
NICHOLAS
GARAI. [Angry.] The whole country thinks that Janos Hunyadi is a martyr now. It
was foolish to provoke him so soon after Belgrade. I told you that he had become
too popular.
STEPHEN
BATHORY. [Explaining.] Lord Alexander is still with us. And Lord Emmerich.
NICHOLAS
GARAI. And they are on the other side of the kingdom.
STEPHEN
BATHORY. [Thinking; conceding.] You know he didn't tell me what he was
planning. He didn't tell me what he was going to do.
NICHOLAS
GARAI. [Accepting.] It is over now. [He proposes a new idea.] We must look
elsewhere for support.
Stephen
Bathory gazes at Nicholas Garai.
STEPHEN
BATHORY. What are you proposing?
NICHOLAS
GARAI. Janos said he wanted a king. We will give them a king.
Stephen
Bathory waits for him to finish.
NICHOLAS
GARAI. We have the crown. We should take it to Vienna - give it to the emperor.
LAURENCE
ILOCKI. [Incredulous.] Such a proposal.
NICHOLAS
GARAI. If you have an alternative, I wait to hear it.
There
is a long delay while they consider the proposal.
STEPHEN
BATHORY. [He accepts, though it is a difficult conclusion for him.] I will ride
out and gather my cousin, Lord Bolza - and Lord Andrew who owed a debt to my
father. Then we must take what we have and go to Vienna.
NICHOLAS
GARAI. [Affirming him.] We must give him the crown.
[I.21
THE MAGNATES LEAVE FOR VIENNA]
It
is dusk. The camera shows as a collection of armed riders - supporters of the magnates
- assembling outside of Bator Castle. The camera cuts to the door of the
prison. Matthias, greatly haggard looking, is brought forward in shackles. He
blinks as his eyes adjust to the sunlight.
A
regal cart is shown. It is tightly guarded and carries a chest. A brief shot
shows as the chest is closed on the Holy Crown of Hungary, which will be transported
with them to Vienna.
Stephen
Bathory and Nicholas Garai face one another on horseback. They are armored, and
fully prepared to leave. The group disembarks to the west. While the
conspirators travel on horseback, Matthias is forced to walk on foot. The party
advances through the countryside.
[I.22
THE AMBUSH]
The
camera shows a party of soldiers advancing on a road through the countryside.
The magnates, Stephen Bathory, Laurence Ilocki, and Nicholas Garai, along with
their retainers, are transporting Matthias Hunyadi and the crown of Hungary to
Vienna, where they will unite with the Emperor Frederick, who they will install
on the throne.
The magnates
are on horseback. Many of their retainers advance on foot; most wear heavy
armor. Matthias is walking on foot, wearing haggard clothes, his hands in
chains. The crown is being transported in a large chest, concealed at the back
of a cart at the rear of the party.
The
camera cuts to a guard at the front of the force. He is on foot, walking along
the road. The camera cuts to show a raven land on the path in front of him. The
raven pecks at the ground. The man approaches the bird and, finding it is in
his way, tries to shoo it away. The raven is bold however, and caws at the man
rather than fly away. The man gets irritated and tries to shoo the bird more
aggressively. The bird stops cawing but stays in the way of the retainer. Finally,
the raven flies away.
A
brief time elapses as the party continues its advance. Suddenly, a sound can be
heard. The members of the party look quizzical, unsure of what the noise is. Realizing
what is happening, Stephen Bathory calls the men to arms.
The
camera cuts to reveal a crash as Hunyadi riders charge into the conspirators'
party. The camera cuts to show Blaise Magyar as he charges at a retainer with a
lance. Ladislaus Hunyadi charges into Nicholas Garai.
A
melee erupts between the two factions. The camera cuts to Matthias. He is
startled - as much as a stoic philosopher could be - and takes refuge. Still in
chains and rags, the chaos proceeds around him.
The
camera cuts to Ladislaus, who is now fighting on foot. He fences with a
formidable foe. He looks across to Stephen Bathory, the man who killed his
father. Bathory has his visor down, giving him a menacing appearance.
The
camera cuts to Stephen. He is on horseback. He fights against a Hunyadi rider,
then a footman. As the melee proceeds, he reaches for the cart and opens the
chest carried by it. This reveals the crown of the kingdom. Stephen grasps the
crown aggressively and takes it into his possession. As he does so, he mishandles
the cross at the top of the crown. By showing this, the film shows a folk origin
of the Hungarian "crooked cross."
Ladislaus
approaches Stephen. It is clear he wants to fight him in single combat. As
Ladislaus approaches, Stephen rides away with a few retainers. Ladislaus, on
foot, watches. Here there is a moment where Ladislaus makes a decision. He
could take a horse and pursue Stephen, or try to find his brother. Ladislaus
decides to look for his brother.
The
camera cuts to Matthias' perspective. From his point of view, the carnage of
the battle is still ongoing. It is not clear who is going to win. The slaughter
proceeds; then, finally, a quiet emerges. The camera narrows claustrophobically
on Matthias while we wait in suspense to learn the outcome of the fight.
The
camera pans out and reveals Ladislaus, in heavy armor, standing down from
fighting. The results of the battle are all around him. He approaches Matthias
and lifts his visor. Matthias stands.
MATTHIAS
HUNYADI. Brother.
LADISLAUS
HUNYADI. My king.
Ladislaus
kneels before a surprised Matthias. The camera pans out as the retainers near
him begin to kneel as well. The camera pans out as a glorious shot shows the entire
company of soldiers kneeling before the prisoner. This haggard man is their
king.
[ACT
II]
A
brief montage of the geography of Hungary, accompanied by music, shows the
transition to a new act.
[II.1
THE KINGMAKER]
The interior
of a tent in the Hunyadis' camp. The Pannonian Basin. Matthias is still dressed
in his prisoners' clothes. Ladislaus is wearing his armor.
MATTHIAS
HUNYADI. You made me king.
LADISLAUS
HUNYADI. I made you king.
MATTHIAS
HUNYADI. How did this happen?
LADISLAUS
HUNYADI. Well, after they killed father, only the lords who supported House
Hunyadi remained.
MATTHIAS
HUNYADI. And you persuaded those lords to elect me?
LADISLAUS
HUNYADI. [He nods.] We held a parliament - at Thorenburg. [He shrugs.] Father
didn't want to be king. But with him dead and the council broken, it was time
for a leader.
MATTHIAS
HUNYADI. And you chose me.
Ladislaus
nods.
Matthias
is clearly torn over the ethical problem of ruling. Rulers cannot have the same
morals as regular people. He knows kings must be willing to lie, punish, and
kill.
MATTHIAS
HUNYADI. I'm flattered - but I'm not prepared for this. You've taken a prisoner
and given him a kingdom. This is a huge responsibility – to be in charge of all
these lives. Not to mention a king must be willing to do many things – many unsavory
things – in the process of ruling.
LADISLAUS
HUNYADI. I don't think you should be concerned with that. Certainly, the people
you're replacing never gave those questions a thought. [He inhales, then
continues.] No, you are a good man who has been given power: that doesn't
happen often. Don't let your philosopher's mind make you waste the opportunity.
Matthias
seems encouraged.
MATTHIAS
HUNYADI. There may be a statesman in you yet.
Michael
Szilagyi, John Zapolya, and Blaise Magyar enter.
MICHAEL
SZILAGYI. [Greeting Matthias.] Nephew. I'll have to get accustomed to calling
you "king" now.
MATTHIAS
HUNYADI. Uncle, you should address me in exactly the way you did before.
John
Zapolya embraces Matthias as well.
MICHAEL
SZILAGYI. I am glad you are well. I thought you would suffer the same as your
father. [He turns to greet his other nephew.] And this one. The kingmaker.
John
interrupts with news.
JOHN
ZAPOLYA. Word has come from the north. Lord Stephen has fled Hungary.
LADISLAUS
HUNYADI. And he still has the crown?
John
Zapolya nods.
MICHAEL
SZILAGYI. He is taking it to the emperor - in Vienna.
JOHN
ZAPOLYA. [Agreeing.] It seems we will have a pretender. [He explains.] We could
pursue him, but we still have three lords in open rebellion - and a whole
southern border still at war with the Turks.
LADISLAUS
HUNYADI. It presents a problem, however. We have a king but no crown.
The
lords look at Matthias.
MICHAEL
SZILAGYI. Crowns do not make kings. We can have the coronation ceremony without
one. It has happened before.
[II.2
THE CORONATION]
The
camera opens to a wide shot of the church of Szentendre - the coronation site
of Hungary's kings. Matthias stands near the head of the church with his relatives.
Presiding over the ceremony is the bishop of Esztergom. To the side, a choir
recites the Latin Litany of the Saints.
CHOIR.
Kyrie, eleison. [Lord, have mercy.]
CONGREGATION.
Kyrie, eleison.
CHOIR.
Christe, eleison. [Christ, have mercy.]
CONGREGATION.
Christe, eleison.
CHOIR.
Christe, audi nos. [Christ, hear us.]
CONGREGATION.
Christe, exaudi nos. [Christ, graciously hear us.]
The Litany of the Saints goes on. The camera
cuts to Matthias' face. Matthias, the philosopher, is respectful - but it's
clear he is bored with all the religiosity going on around him.
The
camera shows the bishop's throne at the back of the church. It has a Hunyadi
cloth draped over it, showing the raven sigil. It parallels Janos' vision of
the raven on the throne from the start of the film.
Michael,
who as de facto Lord Palatine plays a
part in the ritual, addresses his nephew.
MICHAEL
SZILAGYI. You’ve spent your whole life reading books. Now that you're king your
very life will be a book.
The Litany of the Saints goes on in the
background.
CHOIR.
Sancti Petre et Paule. [Saints Peter and Paul.]
CONGREGATION.
Orate pro nobis. [Pray for us.]
CHOIR.
Sancte Andrea. [Saint Andrew.]
CONGREGATION.
Ora pro nobis. [Pray for us.]
CHOIR.
Sancti Ioannes et Iacobe. [Saints John and James.]
CONGREGATION.
Orate pro nobis.
Ladislaus,
the prodigal son, speaks to his brother, the skeptic.
LADISLAUS
HUNYADI. I would never have imagined us here, brother.
The Litany of the Saints comes to an end.
The congregation becomes silent. A few of the attendants who were standing
settle down and take their seats. The bishop of Esztergom and Michael Szilagyi
stand near the center of the room. The bishop hands the royal regalia to
Michael Szilagyi.
As
there is no crown, Michael Szilagyi conducts the ceremony with the royal
vestments. He steps before the church and lifts the regalia before himself. The
camera cuts to Matthias, with the shot oriented to emphasize his uncrowned
head.
MICHAEL
SZILAGYI. Do you accept Matthias Hunyadi as your king?
The
congregation affirms this.
Michael
hands the regalia to the bishop. Matthias steps forward.
BISHOP
OF ESZTERGOM. Do you vow to protect the faith, the people, and the kingdom?
MATTHIAS
HUNYADI. I do.
He
steps behind Matthias and places the royal cloak around his neck. With the aid
of an assistant, he then takes holy oil and anoints Matthias. He places a sword
and scepter in the king's hands. The bishop then recites a prayer over the king.
BISHOP
OF ESZTERGOM. Almighty and everlasting God, creator of all things, commander of
angels and king of kings, hear our humble prayers as we consecrate our king.
Strengthen him and allow him to walk always in the way of justice.
As
the bishop prays, the camera cuts to emphasize the lack of a crown on Matthias'
head. The people are supportive, but it is clear some have reservations. Matthias
will not be completely legitimate until he has been crowned. The bells ring out
to commemorate the reign of the new king.
[II.3
EMPEROR FREDERICK]
The
camera opens with a shot of Vienna. It is the evening. The night sky is clearly
visible; the constellation Gemini is shown above the city. Gemini is the
constellation of the twins: suggesting that what happens here parallels what
happens in Hungary. A subtitle reads: VIENNA.
The
camera cuts to the Emperor Frederick. He is seated in a garden with the night
sky above him. The garden is clearly a part of the demesne of a powerful
aristocrat. The camera communicates everything about the emperor. The first shot
shows the audience his back. He is thin and advanced in age but has great
vitality to him. He has long blonde hair which is graying, wears elegant imperial
clothing, and has a somewhat sleepy disposition. Historically, the emperor's
vitality proved his greatest asset; he outlived all his adversaries.
The
camera shows the emperor as he gazes up at the sky. Frederick is superstitious
and ponderous, believing in prophecies and augurs. He is a contrast to the more
scientifically oriented Matthias. The emperor is always shown seated and idle -
hence the saying amongst the public about him that he "wished to rule the
world while remaining seated." As the emperor sits, he makes a single
complaining groan. He suffers from biliary colic - painful gallstones.
The
camera cuts and shows the emperor from a new angle. He is shown as seated next
to a small marble table. From the side of the shot a young girl enters. She is
carrying a chess board and pieces. It is Maria, the emperor's granddaughter.
She wants to challenge Frederick to play.
EMPEROR
FREDERICK. You want to play, do you?
Maria
sets up the board for the game. For the attentive viewer, the pieces on the chess
board will foreshadow much of the conflict in the film.
As
the two play the game, Maria moves her pieces forward boldly, without thinking.
Frederick always takes an extremely long time to think when it is his turn -
even when he moves minor pieces like pawns.
Maria
is shown moving her knight aggressively across the board. She seizes one of her
grandfather's pawns, then another. The camera shows as the emperor mistakenly
makes an opening for his granddaughter. She moves forward and seizes one of his
pieces.
EMPEROR
FREDERICK. Hrmm...
The
emperor moves a piece and takes Maria's knight - representing the fall of Ladislaus.
Yet Maria moves forward again and seizes her grandfather's castle. When she
does this she places his king in check.
The
game proceeds. The emperor moves his king away, and it becomes clear the game
is a stalemate. Maria speaks.
MARIA
VON HABSBURG. The game is over. There are no pieces left.
EMPEROR
FREDERICK. The game is not over. As long as the king is there it is not over.
The
emperor tries to continue the game, but as he does so the camera turns to a newcomer
- Lord Stephen Bathory - who has entered the garden. The lord is escorted by
courtiers and retainers. He walks up to the emperor, having been granted an
audience. Once before Frederick, Stephen bows in obeisance.
EMPEROR
FREDERICK. [Greeting him.] Ah, Lord Bathory.
Maria
gets up and walks away.
STEPHEN
BATHORY. Apologies for interrupting.
The
emperor has a unique way of speaking that is somehow both crotchety and full of
vitality at the same time.
EMPEROR
FREDERICK. Not to worry, you're just interrupting me being beaten by my
granddaughter, is all.
STEPHEN
BATHORY. [He is somewhat surprised.] Oh... You let her play?
EMPEROR
FREDERICK. [He comments on her walking away.] She is frustrated now - but she
will ask to play again tomorrow.
Lord
Bathory nods.
EMPEROR
FREDERICK. [He gives Stephen his full attention now.] Well. So good of you to
come. [He explains.] I have been following what has been happening in your
country with interest. But, things have been developing too quickly.
STEPHEN
BATHORY. [He explains.] Much has happened in a short time. Belgrade is won,
Lord Janos is dead, and the council of magnates is no more.
The
emperor nods.
STEPHEN
BATHORY. [He explains.] Lord Nicholas was killed by Janos' younger son... and
Lord Laurence is a prisoner.
EMPEROR
FREDERICK. I see.
STEPHEN
BATHORY. And that is not all. Hungary has a new king. The lords have elected the
elder son of Lord Janos - Matthias Hunyadi - as their new ruler.
A bird
chirps in the background.
EMPEROR
FREDERICK. [He ruminates.] I must admit, when I heard that the sultan was
marching on Belgrade, I rather hoped he would succeed. But fortune makes fools out
of all our expectations.
The
emperor's young granddaughter, Maria, re-emerges carrying a covered dinner
plate. Inside is a plate full of white meat - poultry. She brings it out to her
grandfather from the inside of the palace. She puts the plate down on the table
beside him.
EMPEROR
FREDERICK. [He introduces her.] This is my granddaughter, Maria. She will be a
queen someday; I keep telling her that.
The
emperor opens the dinner plate and dines ravenously on the poultry. (The
attentive viewer can discern the meaning, given the Hunyadi sigil.) He messily
kisses Maria as he speaks.
EMPEROR
FREDERICK. And my son as well. He will be an emperor - one of the leading
figures of Europe, I am sure.
Maria
goes back inside the palace.
STEPHEN
BATHORY. You're so confident about the future?
EMPEROR
FREDERICK. [The camera pans to the night sky above as he waxes on about
prophecies.] I have had it all augured to me already - that "it is given
to my house to rule the entire world." Everything is written for us
beforehand; we only fill the roles given.
As
the emperor speaks, he gestures at the monogram inscribed above him. It is a
symbol derived from the famous "AEIOU": the phrase "Austriae est
imperare orbi universo" - it is Austria's destiny to rule the entire
world.
EMPEROR
FREDERICK. [He transitions.] They tell me you've brought me something.
Stephen
Bathory gestures at the servants behind him. They bring forward a huge chest.
STEPHEN
BATHORY. Emperor Frederick, I present you with the crown of Hungary.
As
the servants open the chest, Lord Bathory realizes that the cross which adorns
the top of the crown has been damaged in his flight.
STEPHEN
BATHORY. ...It did not make it here unharmed.
The
emperor nods expectantly. He seems satisfied. What has been augured for him is
coming true. The emperor gestures for Lord Bathory to take the knee. The
servants close the chest and take it away.
EMPEROR
FREDERICK. Well. [Stephen Bathory kneels.] Do you accept me as your sovereign?
STEPHEN
BATHORY. I do.
EMPEROR
FREDERICK. Then rise, Lord Bathory. I name you a prince of the Empire. You will
be my representative to your country. [He changes the subject.] Now - who were
the lords who declared for your side?
[II.4
MATTHIAS APPOINTS THE MAJOR OFFICES]
Buda
Castle. Matthias is dressed as a member of the upper class now, though his
clothing still remains simple compared to the other lords. He presides over a
small assembly.
MATTHIAS
HUNYADI. Lord Szilagyi.
Michael
Szilagyi steps forward.
MATTHIAS
HUNYADI. Lord Michael Szilagyi, I confirm you in your position as Lord Palatine,
in charge of the foreign affairs of Hungary.
Michael
approaches and Matthias puts the medallion of the Palatine around his neck.
MICHAEL
SZILAGYI. [He bows.] My king. [He requests permission.] My king, with your
permission, I would make my first embassy to the city of Vienna.
MATTHIAS
HUNYADI. Very good.
Michael
steps back.
MATTHIAS
HUNYADI. Lord Hunyadi.
Ladislaus
Hunyadi steps forward, wearing the finest armor of the Renaissance.
MATTHIAS
HUNYADI. Lord Ladislaus Hunyadi, I name you Royal Justice. May you serve the
people nobly and well.
Ladislaus
approaches and Matthias pins the scales of justice on him. Ladislaus smiles at his
brother. Ladislaus steps back.
As
Ladislaus steps back, the camera cuts to an attractive young lady of the upper
class. She spies the handsome aristocrat from the gallery. She eyes Ladislaus. He
looks back at her and smiles. It is clear they are mutually attracted to each
other.
MATTHIAS
HUNYADI. Lord Zapolya.
John
Zapolya steps forward.
MATTHIAS
HUNYADI. Lord John Zapolya, I name you Captain-at-Arms. May you ensure the
common defense.
John
steps forward. Matthias hands him the baton that is a symbol of his office. The
baton resembles an old Roman fasces. John steps back.
There
is a brief delay. Finally, the last counselor is appointed.
MATTHIAS
HUNYADI. John Ernest.
The
camera cuts suddenly to this new character. He is standing off to the side in
the hall, separate from the others. It is a man of the lesser nobility. The man
looks around somewhat sheepishly as he comes forward. Based on the man's dress,
John Ernest is a Jew. The Catholics in the hall look on the appointment of this
heathen to high office with ambivalence. Historically, the House of Ernuszt
served as treasurers for Matthias before antisemitism caused their fall from
power.
MATTHIAS
HUNYADI. John Ernest, I name you Lord Treasurer. [He addresses him directly.] I
would like you to get straight to work on our finances.
Matthias
hands Ernest the ledger that is a symbol of his office. He steps back.
Matthias
makes a hand gesture for his counselors to come and stand before him. The crowd
in the court looks on. The camera cuts to a shot of all the new chancellors
before the king.
MATTHIAS
HUNYADI. With these wise advisors, may the kingdom find prosperity.
The
ceremony concludes. The counselors sit in chairs beside the king.
MATTHIAS
HUNYADI. Affairs of state will begin immediately.
A
transition happens in the court as the ceremony comes to an efficient end and
business begins.
The
doors to the chamber open and Blaise Magyar appears. He leads forward several
men who are in chains - the treasonous lords.
JOHN
ZAPOLYA. [He speaks for Blaise.] My lord, before you are three lords who
committed treason against you. Each one denied your succession; each one took
up arms in solidarity with the magnates. My king, we await your judgment.
Matthias
inspects the lords. The court watches the king as he makes his first
significant decision as sovereign.
MATTHIAS
HUNYADI. [He comes to his decision.] I do not wish to begin my reign with the
shedding of any more civil blood. My lords, if you recant your deeds, and
before God swear fealty to me, I will forgive you.
Ladislaus
looks at his brother.
MATTHIAS
HUNYADI. [Addressing the treasonous lords.] What do you say?
The
first lord speaks.
FIRST
REPENTING LORD. My king, I repent my actions before you and before God.
SECOND
REPENTING LORD. I pledge fealty to you from now on, my king.
Matthias
inspects the third lord - Laurence of Ilok - one of the magnates. The emotion
of the moment is palpable. Matthias is forgiving this major adversary of his
father in an attempt to bring concord.
MATTHIAS
HUNYADI. And you, Lord Ilocki, do you forsake your former treason?
The
old lord, one of the wealthiest men in Hungary, speaks.
LAURENCE
ILOCKI. I recant my actions, my king.
Matthias
gestures to have their chains removed. Blaise Magyar moves to unlock their
chains, freeing them. The camera watches as each lord is freed. The three lords
kneel before Matthias, formally showing their submission to him.
The
freed lords are led out by Blaise. Ladislaus looks across at his brother.
Matthias can already see he does not agree with the decision.
MATTHIAS
HUNYADI. [Defensively.] We have too many enemies to waste time fighting
ourselves.
LADISLAUS
HUNYADI. I hope we will not regret later that you are so magnanimous.
[II.5
MATTHIAS HONORS HIS FATHER]
The camera shows the interior of a large church. It is
ceremonially decorated. At the center of the room is Janos Hunyadi's body,
which is lying in state. The camera shows Matthias as stands he over the body. His
brother, Ladislaus, stands at the side of the shot. The camera cuts to Matthias
as he inspects the face of his father. His father was a sympathetic man -
strong but vulnerable. He died when he was only middle-aged, before he could
prepare his legacy.
Ladislaus
interrupts the silence.
LADISLAUS
HUNYADI. He used to read with me, you know. When I was a boy. I never took the
liking to it that you did - so he forced me to learn. Every night he would stop
what he was doing and read to me.
MATTHIAS
HUNYADI. What did you read?
LADISLAUS
HUNYADI. I can't remember. [He thinks for a minute, then corrects himself.]
No... I remember one. The "Tale of the Horse and the Lantern."
At
the back of the room, Blaise Magyar watches the two brothers.
LADISLAUS
HUNYADI. [He tries to remember.] It was about a farmer... who owned horses. But
it was wild and ran away. No one could find it. But one night the farmer went
out with his lantern to look - and he found the horse. [Matthias looks at his
brother.] And when he found it he brought it back.
Matthias
nods.
Ladislaus'
tale is a variation of the "Shepherd and the Wayward Sheep" or
"The Prodigal Son." It refers to Janos' relationship to Ladislaus,
and Ladislaus' character overall.
MATTHIAS
HUNYADI. [He looks at his father's body.] He always told me how ignorant he
was. [He quotes him.] "I am a simple man," he would say. I think he was
wiser than all of us.
Ladislaus
nods.
LADISLAUS
HUNYADI. They say it was Stephen Bathory who made the killing blow.
[II.6
THE ROYAL COUNCIL CONVENES]
Matthias'
chamber. The new king is meeting informally with his advisors. Matthias,
Ladislaus, Michael, John, and Blaise are assembled. There is a map of the
kingdom in the chamber. It shows the major landholdings of the lords compared
to the king's demesne.
The
northern part of Hungary is controlled by the Bathorys; their lands are marked
by their distinctive sigil showing three horizontal teeth. The Hunyadi homeland
consists of a small area in Transylvania, marked by a raven. The Szilagyis and
Zapolyas have their own small territories in Transylvania, marked by the black
horse and white wolf sigils, respectively. The House of Garai controls the
Partium territory, the central-eastern part of the country bordering
Transylvania; its lands are marked by the symbol of a serpent swallowing a
Moor. The Ilockis control Syrmia in southern Hungary; their lands are marked by
three crowns.
Based
on the map it is clear the royal demesne was reduced to almost nothing. The
royal lands consist of two small counties in the center of the map. With the
civil war resolved, royal power has returned considerably.
JOHN
ZAPOLYA. [The scene begins with him mid-sentence. The camera shows the audience
what he is referring to on the map.] The lands of Felvidek, or Upper Hungary,
have been placed under royal tenancy - while Stephen Bathory is tried for
treason in absentia. Meanwhile, the lands of House Garai in the Partium region
have been seized outright.
Matthias
nods solemnly.
LADISLAUS
HUNYADI. The royal demesne's come a long way. What was it before - two
counties?
JOHN
ZAPOLYA. Yes.
MATTHIAS
HUNYADI. There is still a long way to go.
Michael
Szilagyi enters.
LADISLAUS
HUNYADI. He returns. How was your visit to the emperor?
MICHAEL
SZILAGYI. Not a success. He will not turn over Lord Stephen.
Ladislaus
looks upset.
MICHAEL
SZILAGYI. [He sits.] The emperor is an opportunist, but perhaps not as
aggressive as I thought. So far he has not used the crown to name himself king.
LADISLAUS
HUNYADI. Does that mean he will return it?
MICHAEL
SZILAGYI. He seemed willing to negotiate... but, he would expect a ransom.
Matthias
looks at his uncle in anticipation.
MICHAEL
SZILAGYI. 800,000 florins for its return.
Matthias
and Ladislaus become incredulous. Ladislaus is angry; Matthias is more
contemplative about the pragmatics of his being uncrowned.
LADISLAUS
HUNYADI. It's extortion.
The
camera turns to Matthias.
MATTHIAS
HUNYADI. I don't want to begin legislating without the crown. But... I don't want
to begin my reign by bankrupting my subjects for its return.
MICHAEL
SZILAGYI. [Acknowledging the situation.] It is an unfortunate situation.
LADISLAUS
HUNYADI. I think we should go to war with this emperor. He is no friend of
ours.
Matthias
looks at his brother.
MICHAEL
SZILAGYI. [He takes out a parchment.] I have other news for you, as well. A
message arrived this morning from Constantinople. A Genoese lord there is
writing to you about the sultan. [He hands Matthias the paper.] He says that he
has fallen ill. He contracted dysentery after Belgrade - and has not recovered.
It's gotten worse by the day. No one expects him to survive.
Matthias
reads the parchment carefully.
JOHN
ZAPOLYA. An opportunity.
Matthias
reflects on the situation.
LADISLAUS
HUNYADI. If the sultan passes away, who does he have to succeed him?
Michael
gestures at the letter as he speaks.
MICHAEL
SZILAGYI. He writes that the succession is not clear. The sultan has four sons.
But they are all harem boys: they have not been bred for politics.
Matthias
puts the letter down and looks up.
MATTHIAS
HUNYADI. If it's anything like 1402 they will be at each other's throats. New
sultans have a bad habit of killing their brothers. [He makes a joke while looking
at this brother.] Glad we don't do that. [He explains.] It will mean civil war
among the Turks.
JOHN
ZAPOLYA. We could lead an army into Bosnia. The population there should welcome
us.
Matthias
turns to the map behind him. The map helps to educate the audience about the
places being referred to.
MICHAEL
SZILAGYI. We could convene the lords - ask the Pope to sanction a crusade.
Matthias
stares fixedly at the map as he ruminates.
LADISLAUS
HUNYADI. [To Matthias.] Is it wise to begin your reign by starting a war?
MATTHIAS
HUNYADI. No better way to unite a country than a war.
[II.7
MATTHIAS CALLS FOR A CRUSADE]
The
Hungarian parliament. The camera opens with a shot of two lords outside the
parliament hall.
NOBLEMAN.
We have not assembled here for some time.
The
lords have not been able to govern since the establishment of the council of
magnates. Now, that is changed. The camera follows as the lords enter the hall.
The
camera cuts and shows the lords of the kingdom seated before the king. Matthias
stands near the center of the hall.
This
is the beginning of a motif in the parliament scenes: those with power will
sit. As Matthias slowly centralizes authority, he will not stand and address
the lords as peers, but will begin to rule ex
cathedra, from the throne or the chair, just as the Emperor Frederick does.
Matthias
is an unproven king. Though he is wise, he is a scholar with limited experience
at leading men. He feels stress about addressing the lords. The camera focuses
on him as he gathers his conviction. The camera cuts to some of the lords in
the hall, who are uncertain of their new king. Others look on the son of Lord
Janos supportively.
The
camera emphasizes the reality of kingly power. Kings are dependent on their
vassals to legitimize and support them. Without vassals, the king cannot rule.
Matthias
steps forward.
MATTHIAS
HUNYADI. My lords - I am your king.
There
is a brief, uncomfortable pause. Suddenly, Matthias gathers his confidence. He
steps forward courageously, gesturing before him.
MATTHIAS
HUNYADI. Here is the ground where my father died. Died for you. Died for Europe.
[He explains.] My lords, a great opportunity has presented itself. [He explains.]
The Turkish sultan has passed away in Constantinople. With no clear successor,
the Ottoman Empire will be in disorder. My lords, let us build on the success
at Belgrade and unite against the enemy who has for so long oppressed us. Let
us do so when he cannot mount a proper defense. Let us free the Balkans from
the crescent. What do you say?
Matthias
spoke strongly and excellently. But, the assembly is silent. There is a
suspenseful moment as the lords consider his proposal. One of the benches in the
parliaments creaks in the silence.
MATTHIAS
HUNYADI. [He calls for a vote of the lords.] Those in support of a campaign?
One
of the lords stands.
FIRST
LORD. For King Matthias!
Another
lord stands. He references Matthias' father.
SECOND
LORD. For the Bear of Belgrade!
More
lords begin to stand. The camera cuts to Matthias. There is a clear majority
favoring Hungary going to war. The camera cuts to Ladislaus, standing
cautiously in the background. He is not so sure if Matthias should begin his
rule with a war. The camera cuts back to the king. There is a brief moment
where the king revels in the support of the parliament. The lords begin to call
out in support of the crusade; at the same time, the camera makes clear how
dependent Matthias is on his lords.
[II.8
NO HELP FROM EUROPE]
The
small council chamber. Matthias meets with his counselors.
MATTHIAS
HUNYADI. What word have we heard from our allies?
MICHAEL
SZILAGYI. I have made contact with everyone near us. The Poles send us their good
will, but write they are still too occupied with their own interregnum. The
doge of Venice seemed opened to conflict with Islam, but writes he is currently
in a truce with the Porte. The Czechs offered to send us a few hundred
volunteers... while the German princes I wrote did not reply.
Matthias
broods as he listens.
LADISLAUS
HUNYADI. What about the duke of Burgundy? They called his father "the
Fearless" for his heroic charge at Nicopolis.
MICHAEL
SZILAGYI. I'm afraid the French have put their crusading days behind them.
MATTHIAS
HUNYADI. [Sighing, though dispassionate.] Is it up to House Hunyadi alone to
fight the invader?
MICHAEL
SZILAGYI. Now you know the plight of your father. [He transitions.] The Pope
has sanctioned the war as a crusade. But other than that, none of the
neighboring powers have agreed to join us.
MATTHIAS
HUNYADI. Well, the crusade will go forward as planned.
MICHAEL
SZILAGYI. There is one thing you should know. As monarch, you will be expected
to carry out the king's ceremony before you embark with the army.
Matthias
looks at his uncle.
MICHAEL
SZILAGYI. [He explains.] It has been a tradition going back to the reign of
King Andrew - since the Fifth Crusade. All kings must take up the cross like
Simon of Cyrene - and physically carry it to the church in Buda.
[II.9
MATTHIAS CARRIES THE CROSS]
The
camera cuts to a shot of Matthias, wearing lords' garb, with a great wooden
cross on his back. His face is strained with the difficulty of attempting to
carry the burden. The camera cuts to an aerial view of the king carrying the
cross through the city of Buda. The camera then cuts again to focus on
Matthias' onlookers - commoners, priests, merchants, and lords - who are
looking on the humble ceremony being carried out by their king.
There
is a great deal that can be done with this scene. For instance, Matthias'
cynical attitude to religion can add another layer of complexity to it.
Matthias
hauls the immense cross through the city. The camera cuts to show Matthias
before Buda Church. Matthias hauls the cross toward the entrance.
The
camera cuts to the interior of the church. Before its altar a place has been
made for the cross. The camera follows Matthias as he hauls the cross
single-handedly through the church up to the stand. The last shot shows as
Matthias, released of his burden, looks on his subjects who have followed him.
[II.10
THE PROPAGANDIST]
The
opening shot contrasts with the final shot of the previous scene. While
Matthias was burdened by the cross before, now he is strong and poised - riding
on horseback at the head of an army. At the same time there is a complexity to
the shot. Matthias is not an all-powerful ruler. He is dependent on vassals to
reign. The camera turns to show the lords of Hungary following behind him. Matthias
is dependent on them. Laurence Ilocki, one of the magnates who repented, is at
the head of a large force. The army advances through the countryside. A
subtitle reads: BOSNIA.
The
camera cuts to show the crusader army having made a small encampment. It is the
evening. They are resting after a day's march. The soldiers are listening to a
radical preacher - Father John of Capistrano again - who is with them and
speaking to them. As the dialogue proceeds, the camera cuts to Matthias who is
hearing the preacher's propaganda.
JOHN
OF CAPISTRANO. The sultan is dead! Long live the new sultan! Or should I say
sultans? So vain the Mohammedans are for power, that brother kills brother in
pursuit of it - like Cain killing Abel. I am telling you now: it is the eldest
son - Bayezid - who will come out the victor. But I am warning you about him. He
is not like his father. His father kept a harem, sure: but at least a harem of
women. The harem of this new one will be different. They are already calling
him a pederast in the Porte, and speaking of the young prince of Wallachia,
Radu - kidnapped and brought back - sexual violence committed against him. Make
no mistake my friends, we are at war with the Antichrist. We are at war with a
violent heretic who wishes only ill will against us. There can be no
negotiation with this enemy. No concessions. No quarter given...
[II.11
THE BATTLE FOR BOSNIA]
The
camera cuts at the setup of a battle.
The
camera cuts to show the Hungarian army assembled on a plain. The Hunyadi forces
are at the center; to the side are the Croatians under Laurence Ilocki. The
camera quickly cuts between each of these forces, showing the leaders to the
audience.
The
camera cuts to reveal the army's adversary. It is a small Turkish force under
the command of the bey of Izmir. The camera cuts back to Matthias who patiently
gazes across the terrain. Matthias leads from the back.
Matthias
is intelligent and possesses the same skills of his father, but he is unproven.
It is his first experience with leading men to war.
JOHN
ZAPOLYA. You're sure you are ready for active command?
MATTHIAS
HUNYADI. A king must lead the army or he is no king at all.
John
assesses the battlefield.
JOHN
ZAPOLYA. Looks like we outnumber them.
MATTHIAS
HUNYADI. Looks like we do.
LADISLAUS
HUNYADI. Perhaps we should offer them terms.
The
camera cuts to the Turkish lines. Suddenly, a horse appears out of their ranks.
On its back is a tied up Christian captive. The horse is led to the front of
the Muslim lines to where the bey is. The camera shows as one of the Turks
takes the man off the horse and parades him in front of the Turkish lines,
humiliating him. The camera cuts back to Matthias and John as they watch this
unfold. The Turk then pushes the man to the ground. The suspense builds as he
unsheathes his scimitar. He beheads the man, then lifts the head up
triumphantly to the Hungarians. A grisly display. The camera cuts back to the
characters as they react.
MATTHIAS
HUNYADI. So much for negotiation. [He commands.] The Hunyadi force will attack
the center. Tell Lord Ilocki to advance with us along the flank.
Matthias
rides forward in his first active command. In a great gesture, his signals to
his bannermen to advance across the field. Matthias rides to the side of the
lines where he advances at the flank of his forces.
John
Zapolya gestures to Lord Ilocki to advance. The latter does so. The camera cuts
to show the two elements of the Hungarian force advancing. The camera cuts to
Ladislaus to show his looking on events with suspicion.
The
Muslim forces steel themselves as the Hungarian forces approach. The Hunyadi
center enters battle with the Turks.
The
camera cuts to Blaise Magyar. Wearing great plate armor and wielding an
enormous two-handed sword, he cuts devastatingly into his lightly armored opponents.
The
camera cuts to Ladislaus who watches the forces of Lord Ilocki. Ladislaus'
expression suggests that he thinks Lord Ilocki will not follow through and
attack. The camera follows Ladislaus' gaze as he watches Lord Ilocki follow his
king's command and join the battle.
As
the combat proceeds, the Turks begin to rout. The camera cuts to the bey who
calls out and commands the Turkish force to retreat. The camera cuts to a wide
shot of the field; suspensefully, it shows the treeline at the edge of it. The
camera watches as the Turks retreat toward this location.
The
camera cuts back to Matthias, who registers the victory over the Turkish force.
He is pleased his first command was a success. He watches as the remaining
Turks fall back.
JOHN
ZAPOLYA. We've taken the field. Should we pursue them?
MATTHIAS
HUNYADI. Tell the men to hold. Tell Lord Ilocki to hold his forces.
The
Hunyadi force reorganizes and holds its position. The camera cuts to Lord
Ilocki and the Croatians, however, who are still engaged in fighting. Lord Ilocki
leads from the back. He is signaled to stay in position by John, but he allows
his men to keep fighting and to pursue the retreating Turks.
The
camera cuts back to Matthias, who watches as the Croatians move further afield
and towards the treeline. John Zapolya signals again for Lord Ilocki to stop.
This time there is no ambiguity that Ilocki is ignoring orders. His men reach
the treeline in apparent victory.
The
camera lingers on Matthias' face for a moment as he realizes he is being
disobeyed. Matthias watches as out of the trees emerge a much larger Turkish
force. A contingent of Turkish cavalry quickly moves forward in an effort to
envelop the Croatians.
MATTHIAS
HUNYADI. We must relieve them.
Matthias
rides forward again and orders the Hunyadi force to advance to the aid of the
Croatians. They move forward quickly, joining the fight as the lines dissolve
into a bloody melee. The camera follows Blaise Magyar who charges forward
brutally against a Turk.
The
camera cuts to a shot of the battle as it concludes. It is clear the Hungarian
force has won the battle, but many men were slain who should not have been.
Matthias gazes across to Lord Ilocki with a cautious glare. They have carried
the day, but his orders were ignored.
[II.12
THE CRUSADERS ASSESS THEIR SITUATION]
It
is the early evening. Matthias is sitting before a large campfire. Around him
are his vassals. They sit together as partners, even equals. Laurence Ilocki is
before Matthias: it is the end of the young king's interrogation of the old
lord.
MATTHIAS
HUNYADI. Put him in irons.
Blaise
Magyar puts Laurence Ilocki in chains.
MATTHIAS
HUNYADI. You disobeyed a direct order - and nearly cost us everything.
Blaise
Magyar takes Lord Ilocki away. The other lords look on.
Business
transitions to an assessment of the battle's aftermath.
MATTHIAS
HUNYADI. [Assessing the battle.] How many casualties?
JOHN
ZAPOLYA. Seven thousand.
MATTHIAS
HUNYADI. And that leaves us with how many?
JOHN
ZAPOLYA. Fourteen thousand in total.
LADISLAUS
HUNYADI. [Interrupting.] I was surprised at the size of this force. It means
the sultan has enough resources to leave a garrison this large in the Balkans.
The
camera cuts to Matthias as he thinks over the military situation.
MATTHIAS
HUNYADI. Can we continue the campaign?
John
Zapolya goes to answer the king, but before he can a soldier comes charging
through the camp, calling out.
MESSENGER.
A Turk! A Turk!
The
lords turn, readying their weapons. They assume it means an attack. When the soldier
comes before the king, they realize it is just a message.
MESSENGER.
[To Matthias.] A Turk has come to speak to you. He has been sent by the sultan.
He requests an audience.
[II.13
PARLAY WITH THE TURKS]
The
camera cuts to show Matthias as he meets in a tent with the Turkish emissary.
Outside are Ladislaus and John.
JOHN
ZAPOLYA. Some of the lords won't be happy if we turn back now.
LADISLAUS
HUNYADI. Well, you just said we weren't going to have a choice.
JOHN
ZAPOLYA. What do you think they're offering him?
LADISLAUS
HUNYADI. A deal, perhaps.
Before
the conversation can continue, the Turkish ambassador exits the tent,
interrupting the onlookers. The ambassador walks through the camp. Matthias
emerges from the tent a brief moment after him. He sees his counselors waiting
and approaches them. They look at him expectantly.
MATTHIAS
HUNYADI. [He confirms.] He is an envoy of Bayezid, the eldest of the brothers. He
spoke candidly about his master's situation. His brothers are rallying supporters
against him - throughout Thrace and Anatolia.
LADISLAUS
HUNYADI. That bodes well.
MATTHIAS
HUNYADI. [He completes his thought.] He offered me an arrangement.
JOHN
ZAPOLYA. What did he offer you?
MATTHIAS
HUNYADI. Bosnia will be ceded to us, and the raids on Hungary will end. Then when
Bayezid comes to power in the Porte, he will not resume his father's policies
of conquest.
JOHN
ZAPOLYA. He can't offer to end the raids. He doesn't even control the whole
frontier with us. And he might tear up the deal once he comes to power.
MATTHIAS
HUNYADI. We will see. I accepted his offer.
Matthias
walks away to address the lords. The lords look on their king with interest as
he returns from meeting with the Turk.
MATTHIAS
HUNYADI. My lords, the sultan has accepted our victory today. This Christian
land has been ceded to us. I praise all of you who performed so bravely and
excellently in battle. Tomorrow we will begin our return home.
[II.14
THE HAND OF SAINT STEPHEN]
A
brief sequence shows the return to Buda.
The
camera cuts to Matthias who is in a small chapel. He is idling - looking for
direction now that he is king.
Matthias
is not a prayerful man; that is obvious. His face shows his skepticism for
sacred things. However, he is contemplative and fond of solitude. He walks
thoughtfully through the chapel as a philosopher would.
Behind
Matthias are stained glass images. There are four of these that portray the tale
of the nation's founding. St. Stephen, the father of the country, is shown
being baptized, being crowned, fighting the rebellious lords, and legislating.
Matthias
takes notice of the four images and inspects them, paying particular attention
to the latter images. Suddenly, a priest walks up to the king.
PRIEST.
Beautiful, aren't they?
Matthias
grimaces, then nods.
PRIEST.
Let me show you something else.
The
two walk across the chapel, approaching a reliquary.
PRIEST.
This is the hand of our nation's founder, St. Stephen - still incorruptible
after 400 years.
The
camera shows the Holy Dexter: the mummified hand of St. Stephen. Matthias
inspects it intensely. It is clear the hand is clenched in a fist.
Matthias'
countenance changes. From uncertain, he becomes resolved. The symbolism is
clear. Matthias will not hesitate to forcefully pursue his goals.
[II.15
THE KING'S BUREAUCRACY]
The
camera shows a small council meeting being held in Matthias' chamber. It is a
meeting between Matthias and the government functionaries he has appointed: Janus
Pannonius and John Ernest. Blaise Magyar stands in the background. The
functionaries have been tasked with restoring royal authority over the
government. The functionaries are dressed as Renaissance bureaucrats. They come
supplied with ledgers and logs. John Ernest, a Jew, wears the distinctive garb of
his religion. Father Pannonius wears the garb of a member of the Catholic
clergy. The harmonious presence of the two before Matthias illustrates the
king's regime as that of a modern, Western one. The camera introduces the
audience to the functionaries before panning to Matthias as he begins the
scene.
MATTHIAS
HUNYADI. I am glad to have you both here with me. It is time to get men of
merit back at work in government.
John
Ernest nods.
JANUS
PANNONIUS. Happy to be here, my lord. When I received your letter, I showed it
to Master Andrew and we spoke about it and he told me I that it would be a good
idea that I came and that...
Father
Pannonius starts to drone on - but Matthias smiles and politely corrects him.
MATTHIAS
HUNYADI. I assume you have been able to get to started. My first question is -
what is the current status of the treasury?
JOHN
ERNEST. It is not well, my lord. The treasury is currently bringing in 62,000
florins a year in income.
Matthias
sits back at the news. It is an unbelievably small sum for a kingdom. He looks
up at the silent Blaise, incredulous. Blaise does not emote, but it is clear he
is aware that the news is hard to fathom.
JOHN
ERNEST. [He explains.] As you may be aware, the council of magnates dismantled
all the old means of tax collection. They implemented a system of tax farming
instead. Rather than have state officials collect the duties, each lord was
tasked with collection in his own lands instead. Each lord then voluntarily
donated his surpluses to the treasury.
JANUS
PANNONIUS. The amount of graft such a system creates is obvious.
MATTHIAS
HUNYADI. [He exhales, exasperated in the way only a stoic philosopher can be.]
We will have to remake the country's administration from the top down. I assume
you are equipped for this task.
JOHN
ERNEST. I am, although in the past month I have run into a problem. [Matthias
listens intently. John clarifies.] Lord Nicholas Frankopan said he would not
abandon the system of tax farming. He "would not submit to be ruled by a
Jew," he said.
Matthias
considers the situation.
MATTHIAS
HUNYADI. Lord Blaise will go with you on your next visit to Croatia. [He looks
at Lord Blaise.] He will ensure Lord Frankopan's fidelity to the government.
[He changes the subject.] In regard to taxes, I was thinking we implement a
modern system. Get rid of the system of feudal dues, and implement a head tax
instead. Keep it simple - one gold piece per household per year.
JANUS
PANNONIUS. It is an interesting idea, my lord.
JOHN
ERNEST. We would need to conduct a census before we could do that.
MATTHIAS
HUNYADI. When is the last time we had one?
JANUS
PANNONIUS. 1450, my lord.
MATTHIAS
HUNYADI. [Amused.] That doesn't surprise me. [He explains.] Well, then it's
about time we had one again. [He looks at Janus.] Are you up to this task?
Janus
Pannonius nods.
JANUS
PANNONIUS. I will get to work on it.
MATTHIAS
HUNYADI. Turning our attention to Upper Hungary - what is the status of the lands
we seized from Lord Bathory?
JOHN
ERNEST. It is taking time, but... they are being integrated into the royal
demesne.
MATTHIAS
HUNYADI. I'm most interested in the mines he had active in the region. How many
mining towns did he have working at the time of the seizure?
John
Ernest gets out a map. On this map are colored the lands of House Bathory,
which have been added to the demesne of House Hunyadi. Small icons on the map
show the locations of the Bathory gold mines. The southern border is also
visible on the map, a long stretch of land beyond which lies the Ottoman Empire.
JOHN
ERNEST. [He consults the logs.] He had four mines active... [He lists the
mining towns.] Hankova, Kremnica, Levoca, and Gelnica.
MATTHIAS
HUNYADI. During the reign of Charles Robert we minted half the coins in Europe.
We can do that again. We have the resources now to exploit those mines more
than Stephen Bathory ever could.
JOHN
ERNEST. Most wise, my lord.
MATTHIAS
HUNYADI. [He concludes.] These are excellent first steps. [The bureaucrats go
to leave.] And one more thing - I want you to look into finding an engineer for
us from Italy. [He taps his fingers as he speaks.] We need new defenses along
the southern border. We have peace with the Turks now - but we must prepare for
the future.
JANUS
PANNONIUS. It will be done, my lord.
[II.16
ECONOMIC REFORMS OF THE KING]
The
camera cuts to a shot of the plains of southern Hungary; there are vast green
fields, tall mountaintops, and tall forests. The Danube River flows along the
border.
The
camera then cuts to show masons at work constructing great towers and walls. Janus
Pannonius is shown overseeing a construction project, along with a new
character: the Italian engineer Vittorio Lombardi. He is constructing a new and
inspiring Renaissance castle.
The
soundtrack evokes thoughts of industry and progress. One image shows a castle
being built with great layers of scaffolding that reach upward. Matthias is
shown walking through this castle. The imagery evokes a sense of Matthias as a
great builder.
The
camera then cuts to a road network, and shows laborers working to renew and
maintain it - allowing greater traffic than it had before.
The
camera then cuts to Croatia, where John Ernest directs the officials of Lord
Nikola Frankopan. Blaise Magyar stands in the background. Lord Frankopan stands
to the side, accepting submission to royal authority. The officials are shown
compiling vast administrative lists - used to keep track of the population.
The
camera cuts to the north, where Janus Pannonius is shown beside a mine overseer
who is at work attempting to reopen a mine. It is an onerous task. The sequence
concludes with a miner emerging with a small amount of a yellow metal - the
result of their labor.
The
camera cuts back to Buda Castle, where the treasury has grown. Tax officers -
new members of the bureaucracy - are shown bringing in revenues that they had
not been able to before.
[II.17
THE KING'S RULING]
The
camera cuts to the hall of Buda Castle. Matthias, the still uncrowned king, is
seated and hearing petitioners. The scene is staged in a way to show the king's
openness and accessibility to the common people.
A
peasant farmer approaches Matthias. The man is exceedingly humble in
appearance. Beside him comes his landlord - a member of the aristocracy. He
wears the garb of a wealthy gentleman.
PEASANT
FARMER. My king, I am a chicken farmer from Buda. I have been having a dispute
with my landlord, Lord Geza. [The camera pans to the landlord as he says this.]
We signed a contract two years ago that I would provide him with three chickens
and 80 eggs a year. Now he wants to change the agreement. Please, my king, I am
a simple farmer. I am not able to do as he says.
As
Matthias sincerely listens to the farmer's plea, the camera cuts to Ladislaus
who looks on disinterestedly. Ladislaus' gaze wanders to the court before the
king. There, he spies the attractive lady of the nobility from before. She is
already looking back at the regal looking Ladislaus with interest. She smiles
at Ladislaus, clearly communicating attraction. He smiles back.
The
camera cuts back to Matthias.
MATTHIAS
HUNYADI. What is the status of your farm? How many birds did you begin with? Be
honest, now.
PEASANT
FARMER. Ten, my liege.
MATTHIAS
HUNYADI. And how many do you have now?
PEASANT
FARMER. I have now 24 now, my lord.
MATTHIAS
HUNYADI. Then it sounds like you have prospered. This lord has a household to
provide for as well. [The camera pans to Lord Geza who smiles.] No, I feel the
lord is not unjust in this request. The time has come to renegotiate the terms
of your contract. I rule in his favor.
As
the petitioners leave, Matthias turns to his brother.
MATTHIAS
HUNYADI. All this lawgiving does not interest you.
LADISLAUS
HUNYADI. I would prefer something greater than the woes of chicken farmers.
The
camera pans to the lady of the nobility again. The camera follows Ladislaus
briefly as he walks across the hall to her.
[II.18
MADOLYN AND JOHANNES MUELLER ARRIVE]
The
camera cuts to a shot of the entrance hall of Buda Castle. Madolyn Kovacs is
standing here alone with an idling guard. She has just arrived from Hunyad. The
shot is quiet and still.
Before
Madolyn, the doors to the main hall open. Cheerful medieval music becomes
audible. As Madolyn enters, she finds the royal court is assembled. As Madolyn
proceeds, she passes lords and ladies, merchants, churchmen, warriors, and
children - all feasting and reveling. There is a banquet taking place; the
atmosphere is welcoming.
Madolyn
walks past a hardy knight who has had too much to drink; she passes by a group
of minstrels trying to entertain the revelers; and she passes by a courtier
trying to flirt with a young woman of the court.
Madolyn
looks intent. She is looking for someone amongst all the courtiers.
As
Madolyn proceeds, King Matthias is visible in the background. He is seated on
his throne in a somewhat solitary and stately position, but he looks genial. A
lady of the court comes up to the king with her young son following behind her.
The young boy carries a wooden sword with him. The lady of the court introduces
the boy to Matthias who then asks the "young warrior" to show him his
muscles. The young boy lifts up his sleeve and shows his thin arm to the king.
Matthias acts impressed and, using the boy's wooden sword, proceeds to knight
him. The boy's mother looks on warmly.
Madolyn
approaches the king just as the young boy and his mother walk off.
MADOLYN
KOVACS. [Greeting him.] Matthias - or King Matthias. I will have to get
accustomed to calling you "king" now.
MATTHIAS
HUNYADI. [Greeting her.] Madolyn. You are most welcome.
MADOLYN
KOVACS. I am wondering if you could help me find your brother. I wanted to
surprise him.
MATTHIAS
HUNYADI. He should be here somewhere. You will have to go looking for him. He
should be happy to see you.
Madolyn
wanders about the hall, looking for Ladislaus. The camera briefly follows
Madolyn as she walks off in search of her lover, then turns its attention to a
newcomer in the hall: the German astronomer, Johannes Mueller. Mueller enters
through the same doorway that Madolyn did.
Mueller
is an educated German, and one of the forerunners of heliocentrism. He carries
a text of Aristarchus with him, an ancient Greek thinker who believed the earth
went around the sun. Mueller's study of the heavens represents a contrast with
the superstitious, astrological approach to the heavens - such as that embodied
by the Emperor Frederick.
Mueller
comes up to the king for an audience.
JOHANNES
MUELLER. King Matthias. I am Johannes Mueller. I am the astronomer.
MATTHIAS
HUNYADI. Ah, Master Johannes. Word of you has come to us from Nuremburg. They
say you've made a great name for yourself in the sciences.
JOHANNES
MUELLER. I've heard that I may find a new home here.
Matthias
looks at him warmly.
JOHANNES
MUELLER. I wanted to show you something.
Mueller
pulls out a giant piece of parchment; on it is sketched a diagram for an
observatory to be used to study the astral world.
MATTHIAS
HUNYADI. Master Mueller, I think you will find this place most welcoming.
The
camera cuts back to Madolyn, who has advanced through to the end of the hall.
She is at the beginning of a side corridor which peels away from the festivities.
Madolyn looks down the hallway and sees a man clad in elegant Renaissance
armor. He is turned away from her so she cannot make out what the figure is
doing. By his handsome hair and body shape she infers it is Ladislaus.
Madolyn
steps closer. It is unmistakable now. There is a brief moment of elation as
Madolyn feels she will surprise him. The camera follows her as she approaches:
then pans to reveal what he is doing.
Madolyn
can see there is a woman beneath him. Ladislaus is lasciviously kissing a lady
of the court - the same lady who had eyes for him before.
For
a moment, Ladislaus is not even aware Madolyn is beside him. The camera for a
moment watches her as she looks on in horror.
Ladislaus
turns and looks at her.
MADOLYN
KOVACS. Do you remember when you swore I would be your lady?
Ladislaus
remembers the game where she knighted him.
LADISLAUS
HUNYADI. It was only a game -
Madolyn,
furious, turns away. The camera cuts.
[II.19
MATTHIAS MEETS THE LOVERS]
Matthias
is alone in his chamber. On the tables around him are piles of books, diagrams,
and papers. Matthias is thinking: about his father; about his position as king;
about the parliament. He is clearly a contemplative ruler.
Matthias
turns to a copy of Roberto Valturio's text De
re militari (On the Arts of War).
Valturio's book consists of all the most ingenious and eclectic siege engines
being developed during the Renaissance. This text foreshadows Matthias' siege
workshop which will develop later in the film.
The
camera follows Matthias' gaze as he pages through each illustration in the
book: there are illustrations of siege towers, catapults, and battering rams.
The illustrations include diagrams showing how the engines are built. They
recall Da Vinci's designs of the era. Finally, Matthias comes to the great
image of an immense cannon. It is a schematic of the Great Bombard. A second
image shows the harnesses for the animals needed to drag the cannon,
emphasizing its size.
Matthias
puts down the book. As he does so, he looks across the chamber to where there
is a copy of the Holy Bible. He lingers on it for a moment, then approaches it.
He taps his fingers on the cover. He is going to give it a look, even though he
is impatient with religious things.
Matthias
opens the Bible and leafs through it. The camera cuts to his perspective. He leafs
through large numbers of pages and the camera settles briefly on the Book of Job. Matthias then leafs through
the Bible again and it turns to the Song
of Songs. As he does so, a figure enters the chamber. Matthias looks up to
see Madolyn Kovacs. The pan from the Song
of Songs to Matthias' view of Madolyn clearly connects the two together.
MATTHIAS
HUNYADI. Madolyn. I hope you are enjoying the capital.
Madolyn
is clearly distressed.
MADOLYN
KOVACS. It is your brother. I want you to talk to him for me. [Matthias listens
intently, intensely. He gives Madolyn his undivided attention.]
MATTHIAS
HUNYADI. About what?
MADOLYN
KOVACS. Fidelity.
Matthias
reacts with stillness - and subtle amusement.
MATTHIAS
HUNYADI. Caught him philandering again, did you?
Madolyn
is upset. The answer to the question is obvious.
MATTHIAS
HUNYADI. I'm afraid getting my brother to stop is beyond even the powers of a
king.
Madolyn
is clearly distressed. She feels betrayed. Matthias platonically takes a hold
of her hand, trying to comfort her.
MADOLYN
KOVACS. [There is a long pause as she thinks, then speaks.] I thought he was my
best friend. Now I don't know what to believe.
MATTHIAS
HUNYADI. [He comforts her again.] He is a man. [He tries to explain.] It is
what men are.
There
is a conflicted moment here and Madolyn may herself not know what motivates her
- frustration, envy, or revenge against Ladislaus' infidelity - but the
implication is clear.
MADOLYN
KOVACS. You are a man.
Matthias
lets go of her hand. He dispassionately lets go.
MATTHIAS
HUNYADI. I am not the same.
Visible
behind Matthias is a book open on a lectern. It is just in frame. The title on
the page is "The Symposium," a work by Plato. The implication for the
attentive viewer being Matthias is a philosopher - a believer in Socratic love
not romantic love.
There
is a delay. Matthias speaks again, conclusively and coolly this time.
MATTHIAS
HUNYADI. You will find your way.
Matthias
politely gestures for Madolyn to leave. As Madolyn exits, Matthias turns again
to one of his books of war.
There
is a brief delay and - no sooner than Madolyn left, Ladislaus has entered the
chamber. He is wearing his ornate knight's armor. He is unaware that Madolyn
was just in the room. Proper framing and timing can emphasize the comedy of
Matthias meeting with both the lovers.
LADISLAUS
HUNYADI. Madolyn confronted me -
MATTHIAS
HUNYADI. Yes. She was just here.
LADISLAUS
HUNYADI. She saw me with one of the ladies at court.
MATTHIAS
HUNYADI. [He makes an affirming noise. He does not condemn, but acknowledges
the situation.] How many has she not seen now?
Ladislaus
looks at his brother, affirming it has been several.
MATTHIAS
HUNYADI. [He makes a joke.] You have to teach me how you do it.
LADISLAUS
HUNYADI. There's no excuse now that you're king. [He explains the situation -
this time more sympathetically to Madolyn.] She came all this way to surprise
me.
MATTHIAS
HUNYADI. Well, she is utterly devoted to you. And she feels you have betrayed
her. [He pauses, then continues.] You are in a position most men would envy.
She is a beautiful girl.
Ladislaus
is thoughtful for a minute, then speaks.
LADISLAUS
HUNYADI. How do you do it? [He is referring to Matthias' lack of affairs.] You
know - what you don't do - I suppose?
As
the camera cuts to Matthias, a knight's helm is in frame in the background. The
helm could represent the ideal of knighthood that Ladislaus might aspire to.
MATTHIAS
HUNYADI. Well - you have to think if there's something more to life than what's
between a woman's legs.
[II.20
MATTHIAS AND THE COPYIST]
A
new day. The camera opens with a shot of Ladislaus in Buda Castle. He is
wearing lordly armor and walking through the halls.
The
camera follows Ladislaus as he sees Madolyn, who is still present at court. Ladislaus
walks to her. She sees him coming and looks at him angrily.
Rather
than stay with the pair, the camera cuts to Michael Szilagyi, who sees his
nephew across the hall. What Ladislaus is saying cannot be heard, but by the
looks of it he is trying to reconcile with Madolyn. Madolyn looks angry and
walks away, leaving Ladislaus standing alone.
Michael
Szilagyi walks up to him.
MICHAEL
SZILAGYI. Your brother has a task for you. He wants you to see him in his chambers.
Ladislaus
goes to see his brother.
Ladislaus
enters one of the king's chambers, which has undergone a transformation. It has
been reconfigured into a scriptorium on the one side - a place for making books
- and a library on the other.
Matthias
is standing in the middle of the room, unaware that his brother has entered. He
is deeply engrossed as he watches someone seated beside him working.
Ladislaus
walks over. He sees a copyist - a medieval bookmaker. He is copying a book by
hand. It is a painstaking process. The copyist carefully carves each letter in an
illuminated book. There is a great colored illustration at the top of the page
which is still wet and only beginning to dry.
MATTHIAS
HUNYADI. It takes him three months to do a whole book like this.
LADISLAUS
HUNYADI. Another visitor of yours?
MATTHIAS
HUNYADI. From Italy. He's doing a Greek text - The History of Alexander.
LADISLAUS
HUNYADI. [The camera shows him looking at the illumination.] He makes it all by
hand?
MATTHIAS
HUNYADI. See what he writes on? It's vellum, the skin of a sheep. We're going
to have to skin a lot of sheep. They say that in Tuscany, Lorenzo de Medici has
10,000 books; the Pope, 15,000.
LADISLAUS
HUNYADI. You want to outdo them?
Matthias
looks at his brother.
LADISLAUS
HUNYADI. [He looks around him.] Make a library for Hungary? But who will read
them?
MATTHIAS
HUNYADI. The scholars will read him.
LADISLAUS
HUNYADI. Hungary has no scholars. This is not a nation of thinkers.
Matthias
smirks. He picks up one of the already completed books to show his brother.
MATTHIAS
HUNYADI. You see what he's made for the binding? The "corvinae," he's
calling them. Everyone will know we are patrons of learning.
The
camera shows the distinctive raven sigil on the book's binding which marks the
corvinae, or tomes of Matthias Corvinus.
The
copyist interrupts.
COPYIST.
One of the things I have learned - leave the ink time to dry. [His eyes get
wide as he speaks.] Time for a drink!
The
copyist acknowledges Ladislaus' presence, then walks off in search of wine,
letting the page dry.
LADISLAUS
HUNYADI. Uncle said you had a job for me?
MATTHIAS
HUNYADI. Yes. I do. [He explains.] It concerns Lord Bathory. Ever since his flight
I have let his family continue to live at the castle in Bator. But given his
treason, I don't think it's appropriate for them to remain there. I want you to
go to Bator and bring them here. Their lands will be administered by the crown,
and I will provide them with a new estate to live on.
LADISLAUS
HUNYADI. Her husband killed father and put you in an oubliette. You don't have
to give them anything, you know.
MATTHIAS
HUNYADI. I know.
[II.21
THE PEASANTS' REVOLT]
An
initial shot shows Bathory Castle - a domineering fortress towering over the
town of Bator. The small peasant hovels are dwarfed by the lord's manor. The
shot emphasizes the stark inequality and injustice of the town.
The
camera cuts to the interior of the castle. It shows an extravagant, upper class
bedroom: the bedroom of Lady Bathory. The camera shows a servant girl as she walks
into the room. She steps near to the bed and reaches under it, pulling out Lady
Bathory's chamber pot. The contents are rancid - it has recently been used as a
toilet. The girl goes about her task with equanimity. She picks up the chamber
pot and carries it out of the room.
The
camera cuts to the base of Bathory Castle. A group of commoners is gathered here.
The camera shows them speaking, planning to air their grievances.
The
camera shows that the crowd is divided; a part of it is intent on violent
confrontation, while another part wants to grieve things civilly.
FIRST
ANGRY TOWNSMAN. We should bring him out - the lord.
SECOND
ANGRY TOWNSWOMAN. And the mother, too. She's the real issue here.
FIRST
CIVIL TOWNSMAN. We are just going to make them hear our grievances.
SECOND
CIVIL TOWNSMAN. The lord is gone now; they will listen to reason.
The
civil townspeople are trying to keep the rest of the crowd calm. The camera
cuts to the angry townspeople, some of whom have weapons.
The
camera cuts to the above, where the absent-minded servant girl has reached the
edge of a balcony with the chamber pot. Unaware of the townspeople below, she
empties the pot, sending its contents hurtling down. The contents of the pot
fall on the townspeople. The camera cuts back upward to show the servant girl
retreating inside, unaware of what she has done.
The camera
returns to the petitioners below. The chamber pot has been emptied on one of the
civil townspeople - one of the leaders. He is extremely agitated. This act has
changed everything.
The
camera cuts inside. Lady Bathory is in her chambers. A new servant girl enters
to inform her of the news.
SERVANT
GIRL. My lady, there is a crowd gathering outside. They are demanding you come
out and speak to them.
The
camera cuts back outside. The peasants have turned into a clearly hostile mob.
A peasants' revolt is beginning.
FIRST
ANGRY TOWNSMAN. Bring him out! Bring out the lord!
Compared
to before, the townspeople are furious now. The hostile elements of the crowd
have taken control.
SECOND
ANGRY TOWNSMAN. Bring out the lord to hear our grievances!
The
peasant who Matthias saw locked in a stockade earlier is visible in the crowd.
FIRST
ANGRY TOWNSWOMAN. Bring out the little bastard, and his mother!
An
extremely hostile part of the crowd is taking control.
THIRD
ANGRY TOWNSMAN. We should skin him alive!
ANGRY
TOWNSWOMAN. Roast him on the chair like his father did to Jacob!
The
camera cuts to a balcony of the castle. The door behind it opens; Lady Bathory
emerges. Young Bathory is just visible in the background. The formerly
aggressive young boy, readily beating his servants when Matthias saw him, is
now greatly distressed.
Lady
Bathory tries to calm the crowd, which is becoming increasingly irate.
[II.22
LADISLAUS' INTERVENTION]
The
camera cuts away from the scene to Ladislaus Hunyadi. Serving as the king's
justice, he rides on horseback through the countryside. With him are a group of
retainers. They are proceeding forward lazily. A farmer comes up and speaks to
Ladislaus.
FARMER.
My lord, if you're headed to Bator you may want to make haste. Word is the
people are planning an uprising against their lord there. They've heard that
Stephen Bathory has gone into exile.
Ladislaus
addresses his fellow riders.
LADISLAUS
HUNYADI. Let us go to them.
The
camera shows as Ladislaus rides hastily with his retainers to Bator.
The
camera cuts back to Castle Bathory, where the mob is becoming radicalized and
ready to attack the building. Lady Bathory gestures pacifically, trying to calm
the people. A servant girl stands to the side of her lady, unsure of what to
do. The camera shows some of the mob scaling walls, breaking windows, and
finding ways to get into the building.
Ladislaus
and his retainers arrive at the edge of the crowd. They are fully armored and
on horseback - an intimidating sight. The crowd opens to them.
LADISLAUS
HUNYADI. [He announces himself to the crowd.] I am Lord Ladislaus - justice of
the king. I command this mob to stand down. Return to your homes.
George
Dozsa watches Ladislaus with a silent and steely gaze from the background. He
is there with the mob.
SECOND
ANGRY TOWNSWOMAN. With all due respect my lord, we will not stand down.
The
peasants have suffered enough injustice at the hands of the Bathorys.
Before
Ladislaus can rebuke the crowd again, the camera cuts back to the balcony of
Castle Bathory. There is something going on inside the building. The camera
cuts to the interior of Castle Bathory. Some peasants have sneaked inside and
are pillaging, ransacking, and running aggressively through the building.
The
camera cuts to the servant girl running through the castle, trying to close
doors and barricade rooms. She is becoming increasingly distressed. She closes
one door just as an angry townsperson reaches it from the other side. The
camera shows as he menacingly charges at the door, trying to force it open.
The
camera cuts back to Ladislaus. Suddenly aware of the danger, he tries to push
his way quickly through the crowd with his retainers.
LADISLAUS
HUNYADI. Make way! Get out of the way!
The
camera cuts back and shows the men inside the castle charging out onto the
balcony. They wield weapons and are in a rage. They charge forward at the lady
and her son. It is implied they are brutally cut down.
Aware
he is too late, Ladislaus turns his fury to the crowd. He and his retainers
draw their great swords. The crowd, aware they are faced off against a serious
adversary, back off and give the Hunyadi retainers space.
Ladislaus
peers at the crowd in a rage. He wanted to fulfill the task given to him as a
knight.
The
camera focuses intently on George Dozsa, who is in the midst of the crowd. He
gazes intensely at Ladislaus. While the standoff proceeds, he walks forward
with a steely determination - an apparent representative for the mob.
GEORGE
DOZSA. Stand down, my lord.
LADISLAUS
HUNYADI. I am the king's justice. And you have just killed your lord.
GEORGE
DOZSA. If you think protecting this scum is right - then you are no different
from any other lord.
The
camera cuts as a melee is apparently about to break out.
[II.23
LADISLAUS BRINGS GEORGE DOZSA BEFORE THE KING]
Matthias
presides over the court at Buda. The camera cuts to show Ladislaus entering the
hall. He is wearing elegant armor. Beside Ladislaus, chained and in a miserable,
humiliating condition, is George Dozsa. Ladislaus comes before the throne with
his prisoner in tow. It is clear which side defeated the other during the
peasant revolt.
Matthias
looks at his brother, then at the man. He recognizes George Dozsa.
MATTHIAS
HUNYADI. Lady Bathory?
LADISLAUS
HUNYADI. She is no longer with us. Nor is her son. [He brings Dozsa before the
king.] She was killed by this one and his friends. I was able to take him
alive.
The
camera cuts to a shot of Ladislaus and George Dozsa standing side by side. One
represents the landed nobility; the other, the people. The duality is clear.
LADISLAUS
HUNYADI. We await your judgment.
After
gazing at Matthias, the camera turns its attention to the figures in the throne
room. They look on, lord and commoner alike, showing the social pressure and
tension in the country. Matthias must choose.
MATTHIAS
HUNYADI. I know this man. [He addresses Dozsa.] Master Dozsa. This is my
brother.
The
camera captures the moment as Ladislaus and George look at one another.
Matthias
gestures for Blaise Magyar to unlock the shackles on George Dozsa's wrists.
LADISLAUS
HUNYADI. You cannot just let him go.
MATTHIAS
HUNYADI. I am letting him go.
The
lords look on the event with concern. The camera ends with a shot of Ladislaus'
anger at the decision.
[II.24
PARLIAMENT REFUSES REFORMS]
The
second scene of parliament is very different from the first. While Matthias
stood and appealed to the sensibilities of the lords in his first address, here
he sits and rules ex cathedra, from the throne. He is beginning to rule like
Frederick: like one with innate power.
FIRST
LORD. You cannot just act out of royal fiat. You must have the consent of the
lords.
SECOND
LORD. [Affirming the other lord.] A king does not rule without his lords.
MATTHIAS
HUNYADI. My lords, I am absolutely dedicated to your interests. And I intend to
uphold them. But I am saying that if you will not compromise, you are leaving
me with few options.
THIRD
LORD. [Countering one of Matthias' proposals.] Provincial justices, my king, go
against the rights of the nobility. Every lord is the justice in his own lands.
The king cannot take this power away.
FOURTH
LORD. [Interrupting.] I am most concerned with the idea of a landholding tax.
Since the foundation of Hungary such a thing has not existed. It is a right the
nobility receives in exchange for its military service. You cannot just change
that.
Some
of the lords murmur in agreement.
SECOND
LORD. Hear, hear.
MATTHIAS
HUNYADI. [Responding to the second argument.] What I am proposing is a new
model. One based not on feudal levies, but on a true, standing army. You would
have to contribute to the crown - but your obligations would change.
FIFTH
LORD. Such a thing has never been done, my lord.
MATTHIAS
HUNYADI. And why not? It's time to build a modern country.
SIXTH
LORD. [Offering his own counterargument.] I am concerned about your changes for
tenant farmers. If you give them freedom of movement, think of the place a
landlord would be in if all of his laborers were gone during a harvest. Whole
yields could be lost.
SEVENTH
LORD. [Agreeing.] The farmers should not be allowed to leave the lands they are
contracted to.
MATTHIAS
HUNYADI. Gentlemen, here we are presiding over a country on the verge of social
revolution and you will not concede even the barest of reforms. I wonder how
you would respond if it was my father, here, asking these same things of you.
[He continues.] Very well. [He stands. He gestures for a vote.] Those in favor?
Matthias
stands above the parliament. No one else stands with him.
MATTHIAS
HUNYADI. I see.
[II.25
THE LORDS PETITION LADISLAUS]
The
camera opens with a shot of Ladislaus. He is standing in the hall of Buda
Castle, listening to a group of minstrels. The minstrels are playing a song. At
the same time, performers are acting out a small play that goes with the music.
The section of the play Ladislaus sees shows an old man arranging a competition
between three archers. He is challenging each to strike a target with a bow and
arrow. The first archer fires and misses, as does the second. The final archer
takes a long time to ready his bow, and strikes the center of the target. The
symbolism of this could refer to Ladislaus' efforts to reconcile with Madolyn;
to his confrontations with Stephen Bathory; or to goal of "hitting the
mark" as a knight.
While
watching all this Ladislaus recalls his interest in such songs he had when he
was a young boy.
Ladislaus
looks across the court. He spies Madolyn speaking with one of the ladies at
court. He approaches, obviously intending to reconcile with her. Madolyn glares
angrily at him.
The
camera cuts to three lords who were in the parliament with Matthias. They are
looking for Ladislaus in the hall. As Ladislaus goes to Madolyn to try to
reconcile again, they walk over to him.
FIRST
LORD. [Trying to get his attention.] My lord.
Ladislaus
does not turn; he still faces Madolyn.
LADISLAUS
HUNYADI. I am busy now.
SECOND
LORD. My lord, we require your attention.
Madolyn
walks away angrily. Ladislaus turns his attention to them.
LADISLAUS
HUNYADI. What do you need?
FIRST
LORD. We must ask you to intervene for us.
LADISLAUS
HUNYADI. Intervene?
SECOND
LORD. It is your brother.
Ladislaus
listens.
THIRD
LORD. He wants to change the whole structure of government - levy new taxes -
change the relationship between the classes.
FIRST
LORD. [Concluding.] He is turning into a tyrant.
SECOND
LORD. We need you to petition him for us - get him to change the path he's chosen.
The
camera focuses on Ladislaus.
FIRST
LORD. We know he acquitted that fugitive you brought to him. We thought you
might understand.
Ladislaus
thinks for a long time. He is disappointed over the acquittal of Dozsa - but he
concludes he must maintain his fidelity to his brother. Finally, he speaks.
LADISLAUS
HUNYADI. You know, I don't think you lords see what my brother is doing for you.
I was there for the rebellion against the Bathorys. It is not the first time
something like that has happened. That same thing will happen across this
entire country if you lords have your way.
Ladislaus
looks across the chamber again, trying to find Madolyn.
LADISLAUS
HUNYADI. Excuse me.
Ladislaus
walks away. The camera stays with the lords, who look incredulous.
SECOND
LORD. So that is our answer.
THIRD
LORD. Well, we have to throw in our lot with the emperor. We have no other
choice.
[II.26
THE KING'S DECREE]
The
camera cuts to the front of Buda Castle, where the people of the city are
gathered for a proclamation. Matthias stands to the side while his functionary,
John Ernest, pronounces the king's decrees to the public. Ladislaus, Michael,
and John Zapolya stand in the background. Commoners and members of the upper
class look on from the central area before the castle.
JOHN
ERNEST. King Matthias, by royal decree, pronounces the following reforms.
The
camera cuts to a shot behind John Ernest, showing the audience the five neatly
written reforms on the page. John Ernest reads them.
JOHN
ERNEST. (1) A tenant farmer shall not be required to submit more than half his
harvest to his landlord.
(2)
All tenant farmers are granted freedom of movement on Sunday and on the Holy
Days.
(3)
Tenant farmers shall be allowed to hold titles to land.
(4)
Tenant farmers may bring their grievances to provincial courts, which will be
presided over by justices of the king.
(5)
A tenant farmer, should he possess sufficient material wealth, may purchase his
way out of his contract with his master.
As
John Ernest reads, the camera cuts to the commoners, who look on with interest.
John Ernest reads the final two new laws.
JOHN
ERNEST. King Matthias further decrees the abolition of torture. King Matthias
also announces the introduction of a new tax on landowners - to be assessed in
fair proportion to their holdings.
This
last reform rankles with some of the members of the upper class who are looking
on.
The
camera cuts to Matthias, who is standing with his brother, uncle, and
captain-at-arms. They advise him, aware of the anger he has caused the lords.
JOHN
ZAPOLYA. [He turns to Matthias.] Kings need lords to rule, you know.
MICHAEL
SZILAGYI. [He offers his advisement.] Your father kept unity in this country
for sixteen years... and now you're unmaking it in three. If there's anything
you should have learned from your father, it is this.
LADISLAUS
HUNYADI. This may bring a reckoning, brother.
MATTHIAS
HUNYADI. [He offers his conclusion.] I am learning from my father.
[II.27
THE PRISON ESCAPE]
The
camera opens with a shot of Buda prison. Lord Ilocki is shown behind bars here.
The conditions are simple and hard, but the cell approaches nowhere near the
squalor Matthias was in as a prisoner in the oubliette. The camera cuts to Lord
Ilocki's face as he leans back in his cell. The camera cuts from him to the
guards' room and shows that it is empty.
A
sound comes from the top of a set of stairs above the guards' room. Lord Ilocki
turns toward it. The camera cuts to the source of the sound. The sound of a key
turning a lock is heard as Stephen Bathory, wearing a partly removed disguise,
makes his way down the stairs. The camera shows one of the lords who petitioned
Ladislaus earlier stands as lookout for Lord Stephen in the background.
STEPHEN
BATHORY. Janos' son won't be king for much longer.
LAURENCE
ILOCKI. You are here?
STEPHEN
BATHORY. I am here.
Stephen
Bathory opens the cell and releases Laurence Ilocki. The camera follows the two
briefly as they proceed out of the dungeon. As they proceed, Bathory speaks.
STEPHEN
BATHORY. The emperor has sent his son to take up arms with us. But we need your
banners. You must go to Syrmia and raise your host there.
Laurence
Ilocki nods in affirmation.
The
camera cuts to a new shot of the two inside the colorfully furnished Buda
Castle, attempting to escape. They are joined by another traitorous lord who
has turned against the Hunyadis.
As Stephen
and Laurence attempt to discreetly make their way out, Ladislaus spies them. It
takes him a moment, but he realizes what is happening. He walks forward after
them - slowly at first, then quickly.
LADISLAUS
HUNYADI. Hold on.
The
conspirators see Ladislaus and attempt to escape, moving quickly through the
castle as Ladislaus harries them.
The
camera cuts to one of the side passages of the castle. One of the lords who
petitioned Ladislaus earlier looks on. He has prepared an escape route.
Ladislaus
pursues Stephen and Laurence. Stephen Bathory helps the elderly Ilocki to
safety, then turns toward Ladislaus.
To
the audience it seems a duel will result - this is the second showdown between
Ladislaus and Stephen. It seems that Ladislaus will be able to avenge his
father. Bathory draws his sword as though he were accepting the combat.
Suddenly,
Stephen Bathory turns and exits. Ladislaus pursues him. Going outside, he sees
that Stephen and Laurence have escaped by using a canal under the castle.
[II.28
LADISLAUS RECOUNTS THE ESCAPE]
Matthias'
chamber.
Ladislaus
is addressing him, explaining the situation. Matthias appears subtly deceptive
here to the audience. He is allowing the treason to take place to consolidate
his rule.
MATTHIAS
HUNYADI. [Incredulous.] How is that possible?
LADISLAUS
HUNYADI. It was him.
MATTHIAS
HUNYADI. But why would he come himself? Why not send someone we couldn't
recognize?
LADISLAUS
HUNYADI. I don't know.
At
the back of the shot, Matthias' copy of Plato's Republic is visible. This book plays an important role in what is
unfolding.
Plato's
book examines the idea of justice
within man and within the state. In Plato's work, the psyche is divided into
three parts - reason, anger, and desire - just as the state is divided into
three parts - the wise rulers, the warriors, and the workers.
To
establish justice in the psyche, reason must rule over desire with the aid of
anger. Similarly, to establish justice in the state, the wise ruler must use
the warriors to prevent the selfish elements of society from gaining power. We
see this exact narrative taking place in Hungary, as Matthias brings justice to
the kingdom.
LADISLAUS
HUNYADI. I was hoping he would accept my challenge. But he fled.
MATTHIAS
HUNYADI. Did he mention what happened to his family?
LADISLAUS
HUNYADI. No.
MATTHIAS
HUNYADI. I didn't intend for that to happen.
LADISLAUS
HUNYADI. I know.
Matthias
Szilagyi enters the chamber, interrupting the two. He says nothing, but the
look on his face communicates that something is seriously wrong.
[II.29
THE TRAITOROUS LORDS]
The
camera cuts a shot of an army. It is a huge host of nobles assembled in protest
of Matthias' reforms. With them are some German knights, retainers of the Holy
Roman Emperor.
Visible
at the front of the shot are Stephen Bathory, Laurence Ilocki, and the conspiring
lords from earlier. With them is Prince Maximilian, the son of the emperor, who
is leading his father's forces. The Magyar lords intend to place Emperor
Frederick on the throne and in the process restore their traditional
privileges.
The
camera briefly follows the army as it advances through the countryside.
[II.30
THE PRETENDERS' CAMP]
The
traitorous lords are gathered at camp on the Pannonian Basin.
Laurence
Ilocki gestures on a map which is before them.
LAURENCE
ILOCKI. If we take Buda it will all fall into place. He remains uncrowned, and
with the new laws he's passed will struggle to unite the nobles under him. He
will be forced to assault the city, and then with each failure he will lose
legitimacy. Then, your father will be king.
Laurence
looks at Prince Maximilian.
PRINCE
MAXIMILIAN. We just have to take the city.
[II.31
THE BLACK ARMY]
The
camera cuts to a shot of Matthias and Ladislaus walking calmly through Buda
while its residents scramble and panic.
LADISLAUS
HUNYADI. The garrison here is very small. If they make it to the walls, we
won't be able to hold.
Matthias
makes a noise in affirmation to his brother.
The
camera follows as the brothers scale one of the walls of the city. They stand
before the crenellations. Before them is the traitorous army - assembled to
overthrow the king. The camera cuts to the treasonous lords as they ride
forward to parley.
The
lords yell up to the king and his brother.
FIRST
TRAITOROUS LORD. I don't care if your father was a hero. No king acts this way
- not without his lords.
LAURENCE
ILOCKI. We can no longer have you as our king. We were wrong to ever make you
one.
SECOND
TRAITOROUS LORD. Turn yourself over to us, and we may treat you gently.
The
camera cuts to Stephen Bathory, one of the greatest enemies of the Hunyadis, as
he looks on.
The
suspense builds. The camera cuts back to Matthias. The shot emphasizes his
vulnerability, with apparently no soldiers to stand in his defense in Buda.
The cuts
back to the traitors, before panning to look across the horizon.
There
is a sound: a deep, menacing one. The traitorous lords turn to see the origin
of it.
In
the distance, climbing slowly over a hill appear Blaise Magyar and John
Zapolya, who are on horseback. John Zapolya is visible blowing a medieval
battle horn. As the two come further into frame, the soldiers following behind
them become visible. They are at the head of a large and well-organized force.
It is the Black Army of Hungary.
The
soldiers advance like Roman legionnaires. The army approaches in box
formations, with each box consisting of strong shieldbearers on the outside
protecting ranged fighters - crossbowmen and arquebusiers - within. The camera
takes a moment and focuses on the modern weaponry the Black Army soldiers have.
Some are armed with gunpowder; they are there to bring the medieval period to
an end.
MATTHIAS
HUNYADI. [He explains to his brother.] The idea first came to me when I read
Caesar's Commentaries. Not an army of
feudal levies - but a real army. A permanent, standing army, loyal only to the
king. [He turns to Ladislaus.] The issue was paying for it.
Ladislaus
looks at his brother as he finishes.
MATTHIAS
HUNYADI. The treasury brought in 600,000 florins this year.
Blaise
Magyar advances on the traitorous lords. The Black Army follows him.
[ACT
III]
A
brief montage of the geography of Hungary, accompanied by music, represents the
transition to a new act.
[III.1
THE AFTERMATH OF THE UPRISING]
Matthias
is in his chamber with Ladislaus.
LADISLAUS
HUNYADI. You may have crushed the lords for now, but they will be back again.
Powerful families don't like giving up power, you know.
MATTHIAS
HUNYADI. I know.
LADISLAUS
HUNYADI. And you should hang those lords. Break their necks - instead of put
them in prison cells. That is the rightful end for traitors.
As
Ladislaus speaks, Matthias walks over to the window where he looks down into
the castle courtyard. Assembled there are the treasonous lords. They are bound
in chains.
MATTHIAS
HUNYADI. And if they had won that is exactly what they would be saying about
us.
The
camera turns to a map of Hungary as he speaks.
MATTHIAS
HUNYADI. No, we've confiscated the lands of houses Garai, Ilocki, and
Bathory... and add to that now House Alvinczi, Czobor, Vasari, and Both... all
legally taken.
There
is a pause as Ladislaus looks at the map of the kingdom.
MATTHIAS
HUNYADI. The royal demesne is the largest in the kingdom now. Central power is
no longer a hostage of the lords.
[III.2
THE EMPEROR AND MAXIMILIAN]
The
emperor is in his study. It is the evening. The study is decorated in a
grandiose, imperial manner. Above the emperor is an engraving of the imperial
monogram.
The
emperor is seated in a lordly chair. He is slightly stooped over in pain. He is
grasping his side. He has abdominal pain. He groans stubbornly. He looks
extremely uncomfortable.
The
emperor's son, Prince Maximilian, enters the study. Maximilian is a clear child
of the elite. He shares the blonde hair of his father and is also clean shaven.
Despite their similar appearance, the two are very different. While the emperor
is idle and listless, his son is active and ambitious.
PRINCE
MAXIMILIAN. Still dealing with the pain?
The
emperor is sweating from the discomfort.
EMPEROR
FREDERICK. I may have found an enemy as stubborn as me. It is every night now,
for three hours. And after meals. [He explains.] I am glad you are well. It
seems Lord Stephen has failed again.
PRINCE
MAXIMILIAN. You expect too much from him. He does not have the resources to do
it on his own. You sent him only a few hundred knights when he needed a few
thousand.
For
a moment it seems like the emperor barely hears his son, occupied with his own
discomfort.
PRINCE
MAXIMILIAN. He is downstairs waiting for you.
Prince
Maximilian looks irritated with his father. If the prince had not joined the
rebellion, perhaps no volunteers from the Empire would have accompanied Stephen
Bathory at all.
PRINCE
MAXIMILIAN. You know what they say about you? That you "want to rule the
world while remaining seated." I don't see how you can have such grand
designs for our family and yet be so idle.
EMPEROR
FREDERICK. When you are emperor, you will understand.
The
Empire has many enemies within - the German princes themselves - not just
external rivals like the Turks and Hungarians.
The
prince looks annoyed. The emperor stops groaning and looks at his son.
EMPEROR
FREDERICK. Let me ask you something. Where does power come from?
The
prince looks at his father.
EMPEROR
FREDERICK. I will tell you where power comes from. Power comes from blood. And
blood is not something that can be gotten a day... in a year... in a lifetime.
Our family has ruled this land for four hundred years: that is the foundation
of power. In the end, when it is all over, people will follow who they have
always followed. [He makes a groan as he speaks and rubs his side.] You must be
patient. Patience is tolerance and stubbornness.
[III.3
MATTHIAS HEARS THE CANDIDATES FOR MARRIAGE]
Matthias
is in his council chamber with his uncle. There is a long, humorous shot as
Michael stares at his nephew expectantly. Matthias grimaces. He knows what is
coming. Michael shares what is on his mind with his nephew in a word.
MICHAEL
SZILAGYI. Marriage.
Matthias
grimaces.
MATTHIAS
HUNYADI. Of course, I was in a prison not long ago, and now you want to put me
back in one.
MICHAEL
SZILAGYI. [He sits at the table across from his nephew.] It is necessary. [He
explains.] And as much as I love you and your father - we must admit that House
Hunyadi does not have a long history. To secure your rule, you'll need to marry
with an established family. Who you pick will be pleased - she'll become a
queen and share your incomes - but you will get something of value from her as
well... legitimacy. And once you have sons with her - no one will be able to
question your rule again.
MATTHIAS
HUNYADI. Who are the choices?
Michael
smiles. He has been at work already. Michael gestures, and a few servants enter
carrying the portraits of Europe's brides-to-be.
MICHAEL
SZILAGYI. [He explains the first.] The first - Bianca Maria of House Sforza,
the daughter of the duke of Milan.
Matthias
inspects the portrait of the young woman.
MICHAEL
SZILAGYI. House Sforza is a young dynasty - like our own - but they have proved
themselves to be very capable rulers... they are the rightful heirs to the
Visconti, the former house of Milan. They govern one of the richest city-states
in Italy, and they are patrons of the Renaissance - something I know you are so
enamored with.
Matthias
seems interested but inspects the portrait carefully. The girl looks very
youthful.
MATTHIAS
HUNYADI. How old is she?
MICHAEL
SZILAGYI. Ten.
Matthias
loses all interest.
MATTHIAS
HUNYADI. Ah.
Michael
can see Matthias has lost all interest due to the girl's age. The next portrait
comes forward.
MATTHIAS
HUNYADI. [Interjecting.] But I do like the idea of marrying ourselves to Italy.
MICHAEL
SZILAGYI. I have someone else for you. [He explains.] Elizabeth, the sister of
Casimir, who has recently been crowned king of Poland.
The
camera cuts to Matthias as he looks at the portrait. The woman in it is
extremely overweight, and though the painter has done his best to conceal her
facial features, it is clear she is very ugly. As Matthias notices this his
uncle speaks in the background.
MICHAEL
SZILAGYI. Poland is one of our closest neighbors: we share many cultural affinities,
and a marriage with them would restore the alliance we had before the Battle of
Varna.
Matthias
is clearly disappointed in the woman's looks, but likes the political gain from
the marriage.
MATTHIAS
HUNYADI. How old is this one?
MICHAEL
SZILAGYI. Thirty-three.
Matthias
tries to be nice in his response, but knows the old age means reduced
fertility.
MATTHIAS
HUNYADI. We will keep this one in mind.
Michael
gestures once more for the servants to bring a portrait forward. They bring
forward an image of a pretty adolescent girl, dressed in Italian clothes.
MICHAEL
SZILAGYI. I have one more for you. The kingdom of Naples is across the Adriatic
from us - but they have fought in many battles with the sultan. The daughter of
the king there, Beatrice, has recently turned 19. They say she has a bright
mind and a warm disposition.
Matthias
looks at the portrait. This may be the one.
MATTHIAS
HUNYADI. Beatrice...
MICHAEL
SZILAGYI. I think you should know that her father is also a patron of the humanists,
who I know you are so fascinated with.
MATTHIAS
HUNYADI. "Beatrice." [He nods.] You know what the name means?
"Making happy." You know, we could all use a little more happiness
around here... [He concludes.] Very well.
MICHAEL
SZILAGYI. I will prepare a delegation, then, for King Ferdinand of Naples. [He
gestures for the servants to step out.]
[III.4
THE ITALIANS ARRIVE IN HUNGARY]
The
shot opens to much medieval fanfare and festivity. Matthias stands in a stately
position outside Buda Castle. Ladislaus and Michael are beside him. Renaissance
banners hang from the streets; the Hunyadi raven is the most pre-eminent.
Minstrels play music for the public's entertainment.
The
camera cuts to a delegation of Italians, arriving on horseback in the city.
Neapolitan coats of arms identify their country of origin. The delegates wear
extravagant clothes, showing the prosperity of Italy during this time. Some of
the delegates have stoic expressions; one has a conceited facial expression.
The latter is clearly not satisfied with his assignment here - he thinks these
Hungarians are savages. The camera ends with a shot of the carriage at the rear
of the party - where Princess Beatrice is being transported.
The
camera cuts to the interior of Buda Castle. Matthias is seated on the throne.
The Italian ambassador bows in obeisance to him. He wears an elegant attire
along with the fine headwear of the upper class. Princess Beatrice stands in
the background.
ITALIAN
AMBASSADOR. [He has a thick Neapolitan accent and speaks with his hands.] Your
majesty. I come on behalf of my lord, King Fernando. We bring many gifts for you
in honor of your marriage proposal. You should know that all of Italy speaks of
the Hungarians. In Italy, they say your nation is one of noble warriors,
shielding all of Europe from Islam. You should know your father was greatly celebrated
in Calabria and Napoli.
As the
ambassador speaks, the camera cuts to some of the Italian delegates in the
background. Some are not pleased with the assignment; showing their
condescension to be sent to this backwater of a kingdom.
Matthias
nods.
ITALIAN
AMBASSADOR. [Thick accent.] My king wanted to send his condolences for the
death of your father. He wants you to know that your father was like a heroic
Achilles for Europe. He wanted you to have this.
One
of the attendants of the Italian delegation comes forward with an object
covered in a dark cloth. He brings it before the king as a gift. Matthias takes
the object and removes the cloth. The camera lingers to show the soft emotion
of the moment. Beneath the cloth is an engraving of a Renaissance artist. It is
an engraving of Matthias' father, Janos Hunyadi, portrayed as a great warlord,
aged but strong, standing like Achilles.
The
camera cuts to Matthias' face. He looks at the engraving, clearly touched by
emotion.
MATTHIAS
HUNYADI. Tell your king thank you for his kind gift.
Matthias
addresses the Italian delegation.
MATTHIAS
HUNYADI. Please... make yourselves at home.
The
courtiers are shown to their chambers. Some of them are not happy to be in this
savage country.
[III.5
FEAST WITH THE ITALIANS]
Matthias
presides over a great hall, where the Italians are being served a feast by the
Hungarians. The camera shows all those in attendance. Beatrice is seated next
to her husband-to-be. She is youthful and bashful. Despite her presence, the men
do much of the talking in this patriarchal time.
FIRST
ITALIAN DELEGATE. A toast to the noble men of Hungary, and to the new amity
between our kingdoms.
Everyone
in the hall drinks.
One
of the Italian delegates speaks to Beatrice.
SECOND
ITALIAN DELEGATE. You have outdone your big sister now. You are marrying a
king.
The
Italian ambassador stands.
ITALIAN
AMBASSADOR. King Matthias, I have been told you have a great love of ancient
learning... of Greece and Rome. You should know that my master shares many of the
same predilections.
As
the ambassador speaks, Ladislaus looks over at Madolyn, who is still present at
court. She looks back.
ITALIAN
AMBASSADOR. [The camera pans to the painter as he speaks.] Maestro Constanzo, our
court painter, was deeply impressed when he learned of you. When he heard we
were coming here on a state visit, he asked to come with us - no one forced him
to. [He explains.] The maestro wanted me to give you this. [Based on the
artist's expression it is clear this is a lie, but the ambassador offers the sketch
to the king regardless.] While looking at you in the hall yesterday he felt
inspired to sketch you. I thought you should see what he drew.
Matthias
is shown the artist's work. It is a sketch: the kind an artist might make to
distract himself when he is idling. Despite that, the image is of exceptional
quality. It portrays Matthias' face accurately and nobly, and depicts him as a
classical king, crowned with a laurel bay like Caesar. The artist clearly has a
great sympathy for Matthias and shares his interest in the classics.
The
camera cuts to Matthias' face as he inspects the image. He is fascinated by it.
MATTHIAS
HUNYADI. He has drawn me like Caesar. Like a classical king.
Matthias
hands the image to his brother.
MATTHIAS
HUNYADI. [He looks at Constanzo.] I want more of these - on coins, prints,
banners. This will be our new image.
It
will be a kind of public relations campaign. Though uncrowned, Matthias will
gain legitimacy through his martial prowess and his patronage of the
Renaissance.
Matthias
stands.
MATTHIAS
HUNYADI. My lords, a toast to our visitors from Naples. May our two kingdoms be
wed in friendship.
Everyone
drinks. The camera cuts to Beatrice, who looks happy.
From
here the festivities commence; in a brief sequence, the camera shows the
revelry of the guests. Courtiers come in with beer, wine, and roast chicken.
They smile and dine together.
As
the sequence proceeds, the camera pans to one of the more barbarous-looking
Hungarian lords. He is merry and jovial but lacks any sense of etiquette. He has
a complete lack of table manners. Drunk, he messily offers a mug to one of the
uptight Italian emissaries who is beside him.
The camera
pans to the uptight emissaries. They are within earshot of Matthias but speak
in Italian to one another, assuming Matthias does not understand their
language.
FIRST
EMISSARY. [In Italian.] These Hungarians are savages, aren't they?
SECOND
EMISSARY. [In Italian.] Well, I warned you about insulting the king. I told you
he'd send us to these barbarians as punishment.
The messy
lord again jollily offers the emissaries a shank of lamb, still observing no
table manners. The emissaries look at him again with phony smiles.
MATTHIAS
HUNYADI. [In Italian, addressing the rude emissaries. He gestures at the messy
lord.] This barbarian was there at Belgrade. Titus Dugovic. He nearly gave his
life for the Christian cause.
FIRST
EMISSARY. Ah. You speak Italian?
Matthias
raises his hand in affirmation.
MATTHIAS
HUNYADI. [In Italian.] We savages are at the crossroads of many languages.
The emissaries
laugh, uncomfortable at being revealed.
Matthias
interrupts the crowd to be his magnanimous self.
MATTHIAS
HUNYADI. A toast again to our new friendship and concord.
The
revelers cheer and drink.
[III.6
THE MARRIAGE]
A
brief montage shows the finalization of the marriage.
The
camera cuts to the interior of Buda Church, where a wedding ceremony is shown
taking place. There is a cheerful shot of all the courtiers gathered. The
Bishop of Esztergom presides over the bride and groom, as lords and commoners
watch the event.
Matthias
and Beatrice are wed. A shot shows as they join hands before the crowd in
symbolism of the marriage. A shot then shows the end of the ceremony.
The
camera then cuts to the door of Matthias' bedchamber. At the center of a shot
is a luxurious bed, clearly showing what the newlyweds are set upon. Beatrice
and Matthias are shown walking into the room. The door closes on the camera.
After a brief delay, the door opens and Matthias exits. Beatrice is sitting
hopefully on the bed. The mood is open-ended but optimistic. Perhaps Beatrice
will conceive.
[III.7
THE OBSERVATORY]
It
is evening. The camera cuts to an exterior shot of the royal observatory. It is
a small building resembling a tower. It is a symbol of the progress being
brought to Europe during the Renaissance.
The
camera cuts to the interior of the building, where Johann Mueller is at work.
He has many tools of astronomy around him, including astrolabes, charts, and
diagrams filled with mathematical figures. Though Johann Mueller preceded
Copernicus, his work helped lay the foundation for the Copernican revolution.
Matthias,
in a positive mood, enters the observatory. The starry world has a symbolism
for the hope he feels.
MATTHIAS
HUNYADI. Hard at work, I see.
JOHANN
MUELLER. Come and look at this one.
Matthias
walks over to where Mueller is gazing. Far in the distance a comet is visible
streaking across the heavens.
MATTHIAS
HUNYADI. A star?
JOHANN
MUELLER. A comet. I'm trying to measure its distance from the earth.
MATTHIAS
HUNYADI. Ah... and how do you do that? How would you explain this to someone
with a simple mind?
JOHANN
MUELLER. I observed this same comet in Danzig two years ago. Now I am comparing
the coordinates it was at then with the coordinates I have for it here now. [He
addresses the king.] Thank you for this place to work. This would not be
possible without you.
MATTHIAS
HUNYADI. It is an exciting time. It seems like anything is possible.
[III.8
THE STILLBIRTH]
Matthias
is at court. A shot shows his young wife appear and lead him away to the
bedchamber.
A
montage tells the tale of the queen's conception.
Beatrice
leads Matthias by the hand to the bedroom. As it did before, the door closes
behind them and the camera holds staring at a shot of the door. There is a
delay. After some time elapses, the door re-opens and shows Matthias exiting.
Beatrice is shown sitting on the bed. Based on their body language, the
situation is hopeful but they still did not yet produce an heir.
There
is a delay and then the same image repeats: Matthias and Beatrice enter the
bedchamber, the door closes behind them, and again Matthias leaves with
Beatrice sitting on the bed.
Each
time this sequence plays, the emotional affect to the characters changes. They become
more disillusioned. Beatrice begins with all the life and vitality of a young
wife, but becomes dejected. Matthias begins relatively interested - as much as
a philosopher-king could be - but ends stoically, with his face communicating
his depression.
Finally,
the sequence alters. This final time, the door opens but Matthias does not leave
the room. He is sitting at Beatrice's side. At long last, she is pregnant. A
morning shot, warm and hopeful colors permeate the room. Attendants are shown trying
to help the queen. Is it at last an heir?
The
shot changes to the evening, and to dark and grim colors. The camera shows as
the attendants help Beatrice with the child she has had. The camera focuses on
the birth in all its painful glory. It is a stillbirth; the child is dead.
The
camera cuts to a new angle and shows a shot of Matthias. His face dominates the
camera, obscuring the room behind him. He is looking away from his wife. He
looks aged from the experience, his face grim. The king walks off camera. The
queen looks devastated in the background.
[III.9
THE MARRIAGE CHANGES]
The
camera opens with a shot of the interior of Buda Castle. King Matthias sits on
his throne at the head of the room while his guests feast before him. The
opening shot shows Matthias in the background being jovial with one of his
guests who has come up to speak to him. When the guest walks away, however, the
depression of the king returns like a curtain being drawn over him. The king is
unable to avoid being quiet and gloomy.
The
camera cuts to show Matthias' guests eating and enjoying themselves. The camera
then cuts to the table next to the king. There is a huge selection of food on
it which he has not touched at all. The king is unable to eat.
The
camera then cuts to Beatrice. She is reacting to the stress and infertility of
the marriage in a very different way. Though she is still young and thin, how
she conducts herself at the feast is very different from when she first came.
While she ate very little before, now she is turning to food and drink to
comfort herself. The camera watches her as she eats and drinks.
A
servant girl comes near Beatrice; the queen is defensive and berates her
angrily.
The
camera cuts to Matthias who sees what his wife is doing. He watches her. It is
a foil, a contrast.
[III.10
THE STERILE MARRIAGE]
A
brief sequence shows the transformation in Beatrice's personality as she
confronts the sterility of her marriage. She becomes cruel to her servants and
subordinates, and becomes increasingly imperious and aloof. She alienates many
of the people at court.
The
sequence cuts to a shot of a hall filled with vivacious colors. It is filled
with the engravings, sculptures, and paintings of the Renaissance. Among these
are depictions of Venus, of Mary with the newborn Jesus, and so on. They are
great images of creation: a contrast to the royal couple's situation.
The
camera cuts to a shot of the river Danube, with the city of Buda in the
background. Matthias is by the shore of the river. He is alone. He is preparing
for a swim.
The
shows Matthias, naked, as he swims alone in the blue Danube River. The water is
dark. His swim is his effort to find some relief from the stresses of the
marriage. He feels a sense of sterility, frustration, and powerlessness. He
strips naked to honestly confront these emotions.
The camera
follows Matthias for a quiet moment as he treads water.
[III.11
JOHN OF CAPISTRANO AND THE JEWS]
The
camera cuts to Matthias on the shore, dried and clothed again. The camera cuts
again and shows him walking back to Buda Castle. As Matthias walks through
Buda, he spies a street preacher who has a crowd gathered around him.
The
camera cuts to the preacher. It is Father John of Capistrano - the same priest
who was there at Belgrade. Historically, John was beatified by the church for
his bravery, but was known for his antisemitism.
JOHN
OF CAPISTRANO. [He speaks to the crowd.] At Belgrade a great victory was won
for our civilization. I was there when we threw off the invader - when we
defended our blood against Islam. But do not think that victory is the end of
the conflict. As there are others who also seek to make war upon us: not from
without, but from within. You know of who I speak. Those who owe no true
loyalty to any nation, but who are loyal only to themselves. Those who live
among us but who choose to remain separate - profiting off the fortunes of
others.
The
camera cuts to Matthias as he listens to the street preacher. Matthias looks on
stoically - it is not clear what he believes. This creates some suspense over
how the king will respond. Historically, Matthias was an enemy of antisemitism.
He was famous for the protections he offered the Jews during his reign.
JOHN
OF CAPISTRANO. Know when the battle comes, they will be nowhere to be seen.
Indeed, they will open the gates for the invader - to invite him in! When the
enemy comes, they will become his servants. Until then, they will pretend to
serve us - working as false counselors. You know of whom I speak.
The
camera cuts to the crowd, which is getting agitated. The antisemitic mob is clearly
growing bolder.
FIRST
VILLAGER. We shouldn't tolerate them in this city!
SECOND
VILLAGER. We should drive them out! Make this a Christian city!
The
camera follows the crowd as, now enraged, it proceeds through the city toward
the Jews' ghetto. The camera is purely interested in the crowd now: it does not
cut back to Matthias again.
[III.12
THE POGROM]
The
camera cuts to the outside of the ghetto. The Star of David and other symbols
of the faith are clearly visible on the homes. The irate mob is seen
approaching, clearly ready to bring violence against the Jews. John of
Capistrano proudly stands at the front of the mob.
One
villager throws a rock through the window of a synagogue. Another turns over
the cart of a Jewish woman trying to sell vegetables in the street. Finally,
one of the antisemitic villagers goes to strike at an old Jewish man. The
camera follows the old man as he attempts to shamble away.
Suddenly,
the camera turns to reveal Blaise Magyar, clad in strong armor, as he stands before
the villager and stops him from hitting the old Jewish man. It is no contest;
the villager cannot stand against the strong warrior who towers over him.
Blaise does not look irate or impassioned; he is following orders and
correcting the crowd at the king's command.
The
villagers crowd around Blaise; the warrior is the only one standing against
them. John of Capistrano comes before the crowd to represent them.
JOHN
OF CAPISTRANO. Stand aside, my lord! I was there at Belgrade! You cannot stop
this crowd who only wants to clean this city!
Blaise
does not waste words.
BLAISE
MAGYAR. I am here at the king's command. The Jews of this city are under his
protection. If you attack them, you are attacking his subjects.
The
camera pans to the crowd as it considers its options. They retain the same
fervor, but they are is cooling now.
JOHN
OF CAPISTRANO. You are but one man, my lord - and we are many. Step aside.
There
is a long shot as Blaise does not stir at all from the threat. The camera
focuses on the villagers as they finally begin to feel dissuaded from their
attacks.
BLAISE
MAGYAR. Return to your homes.
[III.13
MATTHIAS HEARS THE HUMBLE PETITIONER]
The
sequence cuts to a new scene. The camera shows the hall of Buda Castle. There
are two seats now: one for king and one for the queen. The camera shows a shot
of Matthias receiving the petition of a lord.
The
lord kneels, his petition having been accepted.
PETITIONING
LORD. My king.
The
lord goes to leave. The guard at the entrance of the hall calls as a new
petitioner enters.
GUARD.
The good master, Joseph Black, of the village of Szentendre.
The
man who enters is an extremely disheveled, salt of the earth serf. He is dirty
and unkempt. He is of the lowest social class. He carries a small, scraggly dog
in his arms as he goes to approach the king. Beatrice sees the peasant
approaching and reacts.
BEATRICE
OF NAPLES. Oh, no, no, no! This is a throne room, not a barn. [Addressing the
guard.] Take the animal and throw him out! He does not belong here.
The
guard begins to react to what the queen commands. Matthias, concerned,
interrupts.
MATTHIAS
HUNYADI. Stop, stop, do not bother the man. [To Beatrice.] It is important that
the king be accessible to his people.
The
camera cuts to the guard who does not know what to do.
BEATRICE
OF NAPLES. [To Matthias.] I did not think I was leaving Italy for a country
like this.
Beatrice
storms away. No doubt her frustration with her fertility and sense of
powerlessness partly motivate her. The court turns its attention to Matthias.
Hungary is a very misogynistic country. Women are not supposed to speak like
this, especially a queen to her king. The camera follows Beatrice as she exits
the hall. Matthias accepts an audience with the poor serf.
[III.14
BEATRICE IS HOMESICK]
Beatrice
is in her chamber with a servant girl. She is looking at herself in a large
mirror. The servant girl approaches her from behind.
SERVANT
GIRL. My lady, a present has come for you. They say it is from your mother.
Beatrice
turns around to see what has arrived. The servant girl hands her a letter from
Isabella. Beatrice looks it over and reads it. The text reads: Daughter, I hope
that this letter finds you well and prospering in your marriage. Though you are
in a foreign land, I hope that this gift will remind you of home.
The
servant reveals a gorgeous dress of the Italian aristocracy. Beatrice looks at
what her mother has sent her. As Beatrice looks at the dress, she feels
homesick and distressed over the savage country she has come to.
BEATRICE
OF NAPLES. [To the servant girl.] Please... leave me.
The
servant girl puts the dress on the bed and exits. Beatrice walks up to the
dress and admires it. She looks at her reflection in the mirror. She sits in
her chair in the room and gently sobs. She is far from home and her marriage
has not been a success.
Matthias
appears in the doorframe at the back of the shot. His face initially looks
angry. He looks across the shot to Beatrice. He can see she is deeply
distressed. He softens. The marriage has not gone as intended. Beatrice is
forlorn and homesick, and has not brought happiness to Hungary.
Matthias
approaches from behind. This is an age of the political marriage, not romance.
Nevertheless, Matthias will try to be a good husband to his wife. He stands
next to her. He tries to be comforting - kind - with his presence. He gently
places his hand on her. Finally, he speaks.
MATTHIAS
HUNYADI. I know the marriage has not gone as you intended. And you miss your
country. [He rubs her shoulder.] But perhaps there is another way you can bring
some happiness here.
Matthias
takes a hold of beautiful Italian dress of Beatrice and shows it to her. Behind
Matthias is an image of the Virgin Athena. Though infertile, perhaps Beatrice
can become a patron of the Renaissance in Hungary.
[III.15
THE PEOPLE HONOR MATTHIAS]
The
next scene retains a somber tone. Matthias grimly offers his wife his hand as
they prepare for a social outing.
The camera
cuts to them walking through the streets of Buda. Matthias and Beatrice remain
downcast. The camera focuses first on Beatrice, then turns to Matthias and
focuses on him. A claustrophobic shot emphasizes Matthias' stress.
Suddenly,
a young boy runs up before the sterile couple.
YOUNG
BOY. King Matthias! King Matthias!
Matthias,
retaining a sense of good humor and kindness, is stirred from his gloom. He is
a philosopher; he knows both the harsh and the soft sides of life.
The
young boy holds up an apple to the king as a gift. It is a symbol of fertility.
Matthias takes the apple from the boy.
Suddenly,
more townspeople begin acknowledging the king. They recognize him just like
they did his father.
TOWNSWOMAN.
Hail, King Matthias!
FIRST
TOWNSMAN. There he is, Matthias the Just!
SECOND
TOWNSMAN. It is good to see you, my king!
The
people have recognized the king's just actions. The camera cuts to Janus
Pannonius, who has been walking behind the royal couple.
JANUS
PANNONIUS. They have been calling you king "Corvinus" - the raven
king. They say you wear a disguise and walk among them. Whatever fantasies they
believe in, you have won the love of the people.
The
camera pans out to see the many townspeople celebrating the king. Matthias is
brought out of his grim mental state. The tone changes to one of sweetness.
[ACT
IV]
A
brief sequence of Hungary's geography shows the transition to the final act.
The
camera cuts to Bohemia, where a group of Czech Hussites are praying. The flags
and houses of the town they are in are very different from those in Hungary. A
subtitle reads: SILESIA.
The
camera then cuts to an army. At the head of it is Prince Maximilian. His German
soldiers stand in formation carrying banners showing the imperial eagle.
The
camera cuts to the prince's trebuchets, which are launching stones. The camera
then cuts to the Hussites who are on the receiving end of the siege. The town
is shown as having been sacked and captured by the Germans. The last shot shows
a horde of refugees fleeing the town. They are traveling southward toward
Hungary.
[IV.1
THE HIGHWAYMAN]
The
camera opens with a shot of a road in northern Hungary. Traveling along it are
a few hardy peasants. They are refugees from Bohemia; this is apparent due to
the children they have with them and the possessions they carry in carts. The
refugees walk along the road past a farmhouse. A subtitle reads: UPPER HUNGARY.
The
camera pans to one of the refugees. It is a young, strong man. He looks
irritated at the distress he is suffering. He is shown brandishing a weapon; he
looks ready to take matters into his own hands.
The
man peels away from the others and goes toward the farmhouse. The man enters
it.
The
camera cuts to the inside of the house. There is an old woman there with her
daughter.
HIGHWAYMAN.
Your money.
The
old woman is anxious at first, then slowly complies. She hands him the silver
candlestick she has, and the coin in her purse. As the old woman does this, the
camera follows the highwayman's gaze as he looks lasciviously at her daughter.
The implication is clear.
OLD
WOMAN. Please, sir, spare her! Take me instead!
The
highwayman looks on the two aggressively. The camera cuts away.
The
camera cuts to show the highwayman exiting the house, wearing new clothes now -
a sign of his robbery. He proceeds down the road.
[IV.2
THE WAR IN THE NORTH]
Matthias
is in his chamber. John Ernest, Janus Pannonius, and Ladislaus Hunyadi are with
him. There is a political map of the region to help educate the viewer of what
is happening. On the map are the lands of the Hussites in Bohemia. The history here
has been simplified. The Hussites are vassals to the emperor; they are throwing
off his rule. Matthias will intervene to protect them and become their lord
protector.
JOHN
ERNEST. My lord, there are increasing numbers of refugees entering the country.
The mayor of Pressburg alone reports at least 20,000 migrants. They are fleeing
the war that has broken out to the north.
MATTHIAS
HUNYADI. The war in Silesia?
JOHN
ERNEST. Yes.
MATTHIAS
HUNYADI. Well, if they are coming to us then we should help them.
JANUS
PANNONIUS. The issue, my lord, is they are turning to banditry and other
unscrupulous acts to support themselves. Your bailiffs have already reported 16
murders and - in Felvidek - 120 robberies since the exodus began.
MATTHIAS
HUNYADI. Well, all the more reason to organize a response then. [He turns to
his brother.] Are you up to this task?
Ladislaus
nods.
LADISLAUS
HUNYADI. What is this war that has broken out?
One
of the counselors has put up a map before Ladislaus showing what is happening.
JANUS
PANNONIUS. [Speaking to Ladislaus.] Well, the Hussites, my lord, have risen up
in defiance of the emperor. In response, Prince Maximilian has entered Silesia
with an army to suppress them.
Ladislaus
gazes at the map for a long time, but is not familiar with the history.
MATTHIAS
HUNYADI. [To this brother.] Do you know the Hussites?
LADISLAUS
HUNYADI. Father fought them once, didn't he? He admired their fighting tactics
- if I recall.
MATTHIAS
HUNYADI. [He nods.] The Wagenberg. They are dissenters against the church - named
after Sir Jan Hus, who they burned at the stake for translating the Bible.
LADISLAUS
HUNYADI. Well, if they have taken up arms against the emperor, then they are
friends of ours.
MATTHIAS
HUNYADI. [To John Ernest.] Send my uncle and see if he can make contact with the
Hussites - if they will agree to name me their lord protector, we will help
them.
[IV.3
MADOLYN FORGIVES LADISLAUS]
Madolyn
is in the courtyard of Buda Castle. Ladislaus approaches her.
LADISLAUS
HUNYADI. I am going north to help with the refugees. I was going to invite you
to come with me.
Madolyn
looks away coldly.
LADISLAUS
HUNYADI. I was hoping you would be speaking to me by this point.
Ladislaus
leaves her. The camera remains with Madolyn as she contemplates.
With
Ladislaus gone, Madolyn peers across the courtyard to the guard's shack. She
watches as a guard struggles to put on his armor. He is not aware someone is
watching him. She watches the guard struggle because he is trying to put the
armor on alone.
The
camera cuts to Madolyn as her expression changes. She recalls helping Ladislaus
with his armor earlier.
The
camera shows as Madolyn changes. She has forgiven Ladislaus.
The
camera cuts as Madolyn looks for her lover. The camera shows him leaving the
castle on horseback. Madolyn pursues him. The camera cuts to Madolyn at the
stables. Madolyn is wearing a cloak and carries a lantern with her. She rides
out of the stables on horseback.
[IV.4
THE REFUGEES]
The
shot opens with the Black Army marching north through Upper Hungary. The
terrain is cold and icy. Ladislaus is on horseback, followed by Blaise Magyar
and John Zapolya. As the shot proceeds, passing them on the road are peasant
refugees. Some of them have wooden carts they are dragging behind them filled
with their possessions.
Ladislaus
approaches a refugee.
LADISLAUS
HUNYADI. You're fleeing the war?
REFUGEE.
Yes.
LADISLAUS
HUNYADI. You want to go to Modor. Seek an audience with Lord Ernest there. He
is preparing lands for you to settle on.
The
soldiers continue to pass the refugees. As Ladislaus rides forward, he sees an
altercation taking place up the road. A man is arguing with another man, and it
is turning into a brawl. One of the men attacks the other, who defends himself.
Ladislaus
rides forward just as the altercation is about to escalate. His presence deters
any further violence.
LADISLAUS
HUNYADI. If you seek sanctuary here we will welcome you - but you must follow
our laws.
Ladislaus
nods and one of his soldiers clamps the attacker's hands in irons.
[IV.5
THE BAPTISM IN THE RIVER]
The
camera cuts to Madolyn. She is on horseback, wearing her same cloak from
before. She has been riding for some time, trying to reconnect with Ladislaus.
Down
the road Madolyn is traveling on, Madolyn can make out a figure. It is the
highwayman from before. He is looking up the road at her.
As
Madolyn approaches the highwayman, he gestures for her to come interact with
him. Yet as she approaches, she becomes aware of the danger. This man on the
road does not have good intentions. He sees that it is a woman traveling alone,
and reaches to grab hold of the reins, trying to take control.
HIGHWAYMAN.
What a fine mount we have here... I would like a ride, I think.
Aware
of the danger, Madolyn fights to keep control of the horse. After a brief
struggle, Madolyn is able to get the horse running. The highwayman tries to
uncomfortably hold on and overpower Madolyn. Distressed, Madolyn rides ahead
quickly. She sees that ahead of her are soldiers of the Black Army. She does
not notice that between her and the army is a river that has frozen over and been
covered with snow.
The
camera briefly cuts back to Ladislaus and the soldiers, who are trying to help
the refugees. Ladislaus wears a long, distinctive cloak and fine Renaissance
armor. He is unaware that anyone is approaching.
The
camera cuts back to Madolyn who rides fiercely over the river to get to safety.
The highwayman is finally knocked off the horse. But, suddenly there is a
crack, then a crash as the ice breaks beneath her. Madolyn and her horse are
plunged violently into the frozen river.
The
camera follows Madolyn as she is submerged in the ice cold water. The shot
lingers for a moment - it looks like this is the end of her. There is no
indication anyone knew she was coming.
The
camera cuts back to the soldiers and refugees. One of the refugees calls out.
REFUGEE.
There is a woman! She has fallen in the river!
Ladislaus
hears this call and rushes forward to rescue the woman. This is obviously a
foolish action - he is wearing armor. He does attempt to remove some of the
armor as he rushes into the river. He crashes through the ice. He is not aware
that the woman is Madolyn.
Ladislaus
reaches the woman in the frozen river and grabs hold of her. The camera follows
him, however, as he struggles to return to the surface.
Behind
Ladislaus suddenly appear John Zapolya and Blaise Magyar who reach in and pull
the pair to the surface. They are followed by other refugees and soldiers of
the Black Army.
The
freezing couple is brought to the shore.
JOHN
ZAPOLYA. Get a fire going, before they freeze to death! Get those clothes off
them!
Blaise
Magyar appears suddenly, throwing down a heap of wood he gathered. A soldier
comes forward with a flint to light it.
Soldiers
aggressively aid the two, clumsily removing their outer garments. Ladislaus has
parts of his exterior armor taken off and Madolyn loses her cloak.
As
this happens, Ladislaus turns to see who the woman is for the first time. It is
Madolyn who has come all this way to see him, and Madolyn who he has saved.
This
scene is a corruption of the heroic knight's tale. Ladislaus went to rescue the
maiden: but once in the river, he too needed to be rescued.
[IV.6
THE WAGENBERG]
The camera
shows an army - one very different from the others seen up till this point. It
is an army of the Czech Hussites, practicing their famous Wagenberg tactic. The
army is organized on a hill, protected by a fortress made with large and
formidable wagons that have been bound together with chains.
A
priest goes around blessing the Hussites. The man in command is a knight, Henry
of Podebrad, who Ladislaus dueled earlier.
Henry
walks through the camp. He approaches a soldier who is standing at watch by one
of the immense wagons.
HENRY
OF PODEBRAD. Is the prince still there?
The
guard nods.
The
camera cuts to the Imperial Army. Prince Maximilian is being advised by Stephen
Bathory and his other commanders.
STEPHEN
BATHORY. We will not be able to use cavalry here.
PRINCE
MAXIMILIAN. And why is that?
STEPHEN
BATHORY. The Wagenberg. It is one of the most formidable anti-cavalry
formations. I recommend we get the onagers and bombard them. Crush them with
stones.
The
camera cuts to show the imperial engineers coming forward with the huge
catapults. They prepare to load them with huge boulders.
GERMAN
KNIGHT. Someone is coming.
The
camera cuts across the field of battle to the Black Army, which has appeared.
Ladislaus Hunyadi is shown at its head, followed by John Zapolya and Blaise
Magyar.
The
camera cuts back to the Wagenberg, where Henry of Podebrad speaks with his
fellow Hussites.
HUSSITE
MAN-AT-ARMS. Is it the prince of Saxony? We did write him in the fall.
HENRY
OF PODEBRAD. No. It is the Hunyadis.
HUSSITE
PRIEST. Should we go out to join them?
Henry
thinks over this for a moment. A guard offers his opinion.
HUSSITE
GUARD. No. We cannot break our formation.
As
the Hussites look on, the Imperial Army turns and begins to withdraw.
HENRY
OF PODEBRAD. They are withdrawing.
The
camera watches as the Imperial Army makes a strategic retreat back into
Austria. The Hussites become enthusiastic at this development.
The
camera cuts to a meeting between Henry and Ladislaus. They recognize each other
from the duel.
HENRY
OF PODEBRAD. Ah, my old enemy.
They
smile and embrace one another.
HENRY
OF PODEBRAD. You got them to withdraw.
LADISLAUS
HUNYADI. Back to Austria, no doubt.
HENRY
OF PODEBRAD. I thank you for this. [He asks.] Will you go after them?
LADISLAUS
HUNYADI. Yes. My brother wishes me to remain here, but it is time to bring
Stephen Bathory to justice.
They
embrace again.
[IV.7
MADOLYN RETURNS TO HUNGARY]
The
Hunyadis' camp. Ladislaus enters the tent of Madolyn. As he approaches, the
camera shows Madolyn's stomach. She is pregnant. The two will be wed very soon.
LADISLAUS
HUNYADI. I want you to go back to Hungary.
MADOLYN
KOVACS. But you asked me to come with you.
LADISLAUS
HUNYADI. When I was helping with the refugees, yes. But now this is war. And
war is dangerous.
The
two share a tender moment. Ladislaus leaves the tent.
[IV.8
THE HUNYADI EMPIRE]
The
camera shows an animation of a map which shows what events have been occurring.
From the starting point of the kingdom of Hungary, the Black Army has liberated
the territories of Moravia and Silesia, which have accepted Matthias as
suzerain. From here, Ladislaus has led the army into eastern Austria, the
territories of which - save Vienna - have come under the Hunyadis' control.
The
camera shows a sequence of scenes of Ladislaus leading the soldiers, of him
pursuing the Imperial Army, and of him seizing control of territories. Despite
his successes, the Imperial Army has failed to engage him in a battle. The
sequence emphasizes the fervor with which Ladislaus wants at last to avenge his
father.
[IV.9
BATTLE WITH THE IMPERIALS]
The
opening shot shows the vast green flatlands of the Pannonian Basin. The Danube
flows through, passing the small German hamlet of Hainburg. On the horizon are
the Alps and Austria proper.
Two
armies are assembled: the Black Army on one side of a vast field, and the Imperial
Army on the other.
A
subtitle reads:
HAINBURG,
HOLY ROMAN EMPIRE
The
camera cuts and shows the commanders of each army. Leading the Black Army are
Ladislaus Hunyadi, John Zapolya, and Blaise Magyar. Leading the Imperial Army
are Stephen Bathory and Maximilian von Habsburg.
The
camera shows the organization of the Hungarian forces. At the center is a
strong force of heavy infantry; to either side are two forces arranged in box
formations. Making up the defensive boxes are infantry wielding great shields
that recall the Roman legionnaires. Inside the boxes are ranged fighters, who
wield crossbows and arquebuses.
The
camera pans from the Hungarian perspective to make out some of the soldiers of
the Imperial Army. Columns of infantry are visible in a defensive formation.
JOHN
ZAPOLYA. [To Ladislaus.] Should we advance, my lord?
LADISLAUS
HUNYADI. Send everyone forward in formation. Take the field.
The
Black Army advances forward. It is a suspenseful moment.
The
camera cuts and shows movement on the horizon; emerging from the hills come a
contingent of cavalry from the Imperial Army. They advance swiftly, striking at
the right flank of the Black Army. As they do so, however, the formidable
shield bearers of the right defensive box move up to stop them.
The
camera cuts to the soldiers in the box. A cavalryman charges, and his tossed
from his horse by the massive shield he runs into. The camera then cuts to an
arquebusier, who opens fire on a charging horseman. The man is killed by the
bullet and falls, while his riderless horse charges on without him.
The
camera cuts to a skyward shot of the battle. The cavalry charge has not been
successful; it has been deflected by the Black Army's discipline.
The
camera cuts to Ladislaus, as he looks forward as the army advances. The camera
cuts to show the center forces meeting the infantry of the Imperial Army.
Battle begins. The camera follows the fighting for a brief time, as the field becomes
consumed with carnage.
The
camera cuts to a skyward shot. Visible in the background is a decrepit church,
which is on the fringe of the field of battle.
[IV.10
THE DUEL OF LADISLAUS]
The
camera cuts to show Ladislaus, on horseback. He is embroiled in battle with his
men around him. Suddenly, a German knight charges at him and with great
violence impales Ladislaus' horse. Ladislaus is forced to keep fighting on
foot.
As
the melee continues, Ladislaus defeats a German man-at-arms before him in
single combat; then a knight approaches Ladislaus on foot and is in turn
defeated.
The
camera turns. A clear shot emerges of Stephen Bathory, equipped in full plate
armor. His visor is open so his face is visible. Though he is middle-aged, he
is strong.
Ladislaus
advances, but Stephen withdraws. As Stephen draws back, the violence of the
battle carries on. Ladislaus is caught in one melee, then another. As he
proceeds, a gunsman's stray bullet hits him and makes a superficial wound. He
avoids distraction and stays fixed on his goal: reaching Stephen Bathory.
In
the background, the decrepit church becomes visible. The camera cuts back to
Blaise Magyar, who turns briefly from his own fighting to catch a glimpse of
what Ladislaus is doing.
Ladislaus
finally intercepts Stephen at the front of the church. They engage, and Stephen
falls back into the decrepit building.
There
is a brief delay before Ladislaus pursues Stephen. When Ladislaus goes to climb
the stairs, he stops for a moment. A raven idles on the path beside him.
Ladislaus looks at the bird. It is an omen. The bird flies away and Ladislaus
enters the church anyway: he is bold like his father was. As Ladislaus enters
the church, a shot shows him from behind, with his great red cape trailing
behind him.
The camera
shows the inside of the church with its long, open corridor. The church's roof
has collapsed, which has exposed part of the building to the outdoors.
Ladislaus walks up the nave to the altar. The sky is above him. The battle
still rages outside. On the wall above him is a fading icon of the Virgin Mary.
Mary peers down at Ladislaus just as Madolyn did before.
The
duel resumes. At the height of the combat, Stephen takes advantage of an
opening Ladislaus makes and makes a mortal strike at him. He then strikes
Ladislaus from behind. He then withdraws, letting his wound do the work for
him.
The
camera cuts grimly to Ladislaus. He tries to hold himself up with all the
strength he can for a moment, but it is a fatal injury. Alone - emphatically
alone - he collapses onto the floor of the church. He does not cry or scream,
but silently and vulnerably suffers the wound.
The
position Ladislaus assumes on the ground alludes to the famous romantic
portrait The Mourning of Laszlo Hunyadi by
Viktor Madarasz.
The
camera lingers in the quiet of the moment as it absorbs the death of Ladislaus.
After
a long time, the camera cuts to the door of the church. Blaise Magyar is there:
bloody, drenched, and filthy from the Battle of Hainburg. By the growing quiet
outside, it appears the Black Army is winning the battle.
Blaise
looks around, but cannot see anything. He walks through the church. Finally, he
spies the body of Ladislaus, collapsed on the ground. He goes to him.
[IV.11
MATTHIAS LEARNS OF HIS BROTHER'S DEATH]
Matthias
is seated at court with his counselors. They are inspecting a map of the
kingdom.
JANUS
PANNONIUS. Your brother's campaign has gone very well. The Hussite parliament
has accepted your suzerainty, and the Imperial Army is in retreat. All that
remains in defiance is Vienna... the fortress of the emperor.
Matthias
ruminates for a moment, looking at the image of Vienna.
The
camera cuts to the doors of the chamber, where a group of attendants has
suddenly entered. Blaise Magyar leads a procession of figures. Matthias is
unsure of what he is seeing. The courtiers in the hall look on with interest.
Among the courtiers is Madolyn Kovacs.
As
the procession enters, a stately funeral box appears. The realization begins to
dawn that something horrible has happened. Matthias realizes it is his brother.
As
the funeral box comes in front of him, Matthias stands to see what has
happened. As he does so, he cuts himself accidentally on the throne. His injury
is a slice to the leg; it has occurred at the same location where Matthias'
father was injured at the start of the film.
Matthias
briefly inspects the injury. By the looks of it, it is a small wound - nothing
serious. Matthias walks forward toward his brother with a slight limp. Despite
being a dispassionate philosopher, he deeply feels the loss of his brother.
Madolyn Kovacs approaches the box as well. The camera turns its attention to
her and her horror.
[IV.12
THE KING'S RESPONSE]
Matthias
is by the banks of the Danube River, alone. He wears clothes of the upper
class, though they are relatively simple. The scene is quiet and still. It
should be a restful and serene place, but it is not. The camera focuses on
Matthias' face. It focuses on every muscle, every bit of tension. The
adversities of the world are weighing on him. He looks out over the waters of
the Danube.
Matthias
thinks to himself. Thinks of his dead father, the mighty one. His brother, the
knight, killed too early. His failed, infertile marriage. Matthias, the stoic
philosopher, supposed to be aloof from the pressures of the world, weeps.
The
king breathes heavily. He collects himself. He turns against his distress -
transforms it. His breathing changes. The camera focuses again on his face. The
muscles change. The eyes change. Matthias goes from a state of disintegration...
to one of wrath.
[IV.13
MADOLYN RECEIVES THE KNIGHTLY TOME]
The
camera cuts to the interior of Buda Castle. The pregnant Madolyn Kovacs is in
frame, her hand on her belly. She is ruminating on her fate now that Ladislaus
is gone. She is trying to be courageous. Matthias enters the shot from the side.
He carries what appears to be a book covered in a dark cloth. Madolyn turns and
acknowledges his presence as he approaches.
MATTHIAS
HUNYADI. I have something for you.
Matthias
hands Madolyn the book. She draws off the dark cloth covering it, and sees that
it is a book. The camera cuts to her point-of-view. The book is a corvinae: one
of the books commissioned by the king. The book's outer binding has the
distinctive raven sigil of the Hunyadis.
MATTHIAS
HUNYADI. It is a tome of knightly chivalry. Telling the tales of great knights
of history and their exploits.
As
Matthias speaks, Madolyn leafs through the book. It is a beautiful medieval
tome, written and illuminated by hand. She leafs to "Roland." The
name is written in large letters. There is an illumination portraying the
knight. She leafs through several more pages. Some of the other knights include
"The Black Prince," "The Cid," and "Wallace."
Madolyn
reaches the back of the book. The camera shows she has reached a final section.
"LADISLAUS," it reads. On the next page, she sees that there are
several passages honoring the deeds of his life, each with a small
illustration.
The
following headings are visible:
LADISLAUS
WINS THE TOURNAMENT
LADISLAUS
SAVES THE KING
LADISLAUS
RESCUES THE MAIDEN
LADISLAUS
BRINGS JUSTICE TO THE PEOPLE
MADOLYN
KOVACS. Thank you.
Matthias
smiles and excuses himself. The camera follows him as he proceeds through Buda
Castle; as he does so, his face changes from sanguine to stern.
[IV.14
THE ELEPHANT GUN]
The
camera shows a shot of a great foundry - a factory built adjacent to Buda
Castle to produce weapons of war. The Italian siege engineer, Vittorio
Lombardi, works diligently with his fellow engineers. The camera shows him as
he berates one of his peers.
VITTORIO
LOMBARDI. [In Italian.] You foolish person! This metal is not flexible enough!
It will break if we dare shoot a cannon from it!
The
camera cuts away and shows the operations of the factory. Huge smelters melt bronze,
iron, and steel and pour the metals into molds. Siege engines line the back of
the factory: there is a siege tower, a battering ram covered in plate armor, and
a ballista. There is a pile of petards - Renaissance era bombs.
As
Matthias enters, he descends a huge flight of stairs to get to where the
engineers are working. As he approaches, the camera turns to reveal the
ultimate purpose of the workshop: to produce the Elephant Gun, the Hunyadis'
version of the Great Bombard.
This
cannon is an analogue to the bombard of the start of the film. Here, however,
the symbolism is changed. Rather than being a symbol of the violence of
injustice, now it represents the violence of justice.
The
camera shows the mold of the cannon. It is staggeringly huge. Just like the
Turkish gun required a team of oxen at the start of the film, so too will this
one.
The
camera shows the engineers' charts for the design of the gun, and all the texts
on weapon making they have devoured. The camera shows the foundry producing the
massive pieces of ordinance which will be fired out of the gun.
MATTHIAS
HUNYADI. Master Lombardi. I hope your work goes well.
VITTORIO
LOMBARDI. [Enthusiastic.] Oh, it goes very well my lord! Very, very, very well!
Never before have I built on such a scale. I have made every effort to ensure
the gun will not fissure. I have tempered the metal so it will not break no
matter how large the ordinance we fire from it.
The
camera follows Matthias as he walks before the bombard, creating a grandiose
shot of him before the gun.
MATTHIAS
HUNYADI. What fate do you think awaits the city of Vienna?
The
Italian siege engineer beams evilly at the question.
[IV.15
BLAISE AND HIS DAUGHTER]
The
captain's chamber in Buda Castle. Blaise Magyar is here with a new character -
one we have not met before - his daughter. Though we associate Blaise with
hardness and silence, here we have an extra dimension given to him.
Blaise
is quite tall - much larger than the average person - and has very large hands.
His daughter is small and petite.
The
camera shows a shot of the room. Then, it cuts closer.
Blaise
has one of his mighty hands out beside him. His daughter reaches her hand
forward. She wraps her whole hand around one of her father's large, calloused
fingers. Blaise softens slightly.
BLAISE'S
DAUGHTER. Must you go to war again Papa?
BLAISE
MAGYAR. Yes.
Blaise
Magyar reaches a hand out and holds his daughter's head from behind. He
comforts her.
[IV.16
A DELIVERY FOR THE EMPEROR]
The
camera cuts to a shot of the Black Army, arranged like a vast Roman legion,
readying itself for war. The camera emphasizes that this is the culmination of
the film and the culmination of the king's wrath.
The
camera shows the immense Elephant Gun being brought into service by the king's
smiths. In a great reveal, the gargantuan cannon is transported out of the
siege works and to the army. The huge number of oxen shows the herculean task
being made to transport the cannon.
The
camera cuts to a shot of the army's march through Pannonia. It parallels the
march of the Turks at the start of the film.
The
army moves through the countryside and reaches Austria. The camera passes over
the inscription etched onto the cannon. In bold letters it reads, "FIAT
IUSTITIA ET PEREAT MUNDUS": let justice be done though the world perish.
Though Matthias will bring destruction, by doing so he is at last bringing
justice.
Matthias
is shown on horseback, riding to the side of the Elephant Gun. Matthias is
riding just as Mehmed the Conqueror did at the start of the film.
[IV.17
THE SIEGE OF VIENNA]
The
opening shot shows the exterior of Vienna's walls. A subtitle reads: VIENNA
The
camera cuts to Matthias' army, assembled for the siege. The camera then cuts to
Vienna again. At the bottom of the shot, hardly visible, is a single raven
perched on the city's walls. The raven idles for a moment, then flies away.
There is a delay. Suddenly, an immense blast from the Elephant Gun strikes the
location where the raven was perched, dealing immense damage to the wall.
The
next shot shows the enormous Elephant Gun, mirroring the Great Bombard from the
start of the film, being loaded and prepared to fire. Matthias is on horseback
beside it. He watches from his saddle at the cannon viscerally fires several
more times at the city. The camera remains with the cannon for some time,
emphasizing the destruction it is wreaking.
[IV.18
MATTHIAS THE CONQUEROR]
There
is a cut and the camera shows the quiet streets of Vienna. Time has passed. The
camera looks up from its location to see the state of the city walls from the
inside. At the top of the shot there is a huge breach that was made in the
walls by the Elephant Gun. A vast stream of light flows in through this gap.
The shot here parallels the breach made during the Battle of Belgrade.
The
camera cuts and shows that the siege is over; Vienna has surrendered. Matthias
sits on horseback as the city's deputies come forward to submit to him. Beside
Matthias, columns of disciplined Black Army soldiers stand guard. Some of the
soldiers march peacefully through the streets - an occupying force.
The
camera cuts to another street and shows that day to day life in Vienna is
getting back to normal. There has been much destruction but a new status quo is
taking shape. Workers are beginning to clear the rubble, and people are
returning to work.
[IV.19
THE FATE OF STEPHEN BATHORY]
The
camera cuts and shows Michael Szilagyi as he approaches his nephew. Matthias is
administering the newly occupied city. A pair of Black Army soldiers play cards
in the background.
MICHAEL
SZILAGYI. [To Matthias.] They think they found him.
The
camera cuts to an area of rubble where the city's walls used to be. Workers
move huge broken stones as they begin their repairs. Michael walks forward,
showing Matthias to a body amidst the rubble.
The
camera follows Matthias' gaze as he looks amidst the rubble. There, lying
beneath the stones, is the deceased Stephen Bathory: the traitor behind so much
misfortune for the Hunyadis.
There
is much conflicting emotion to Matthias' face. He takes no pleasure in seeing
death; though this man was complicit in the deaths of his father and brother,
and conspired continually against him. Matthias' expression is placid, but
satisfied.
Matthias
walks back and as he does so the camera pans and reveals a shot of Vienna
Castle. The king is headed there: this will be his new seat of power.
[IV.20
MATTHIAS REIGNS IN VIENNA]
In
the streets of Vienna, a preacher addresses some of the victorious soldiers,
standing down now after their victory.
STREET
PREACHER. And then the Lord God said, "Behold, I shall take away the cup
of trembling from you, the cup that made you stagger; from this cup I will
never make you drink again."
The
camera pans to Vienna Castle as the preacher speaks. Then, it cuts to the
interior of the castle. The imperial throne room is shown; it is opulently
furnished, but has sustained some damage in the battle. At the back of the
scene is Frederick's chessboard. Its pieces have been knocked over onto the
floor. Yet despite this, the king piece still stands upright on the table.
The
imperial throne stands empty before Matthias as he enters the room. Matthias'
advisors, including Michael Szilagyi, John Ernest, and Blaise Magyar follow
behind him.
John
Zapolya, the captain-at-arms, comes to greet Matthias as he enters.
MATTHIAS
HUNYADI. Has there been any sign of the emperor?
JOHN
ZAPOLYA. No.
JOHN
ERNEST. An emperor on the lam.
JOHN
ZAPOLYA. There has been no sign of the crown either. He's taken it with him -
into the Alps.
Matthias
thinks for a moment.
MATTHIAS
HUNYADI. Let him run. [He walks forward as he speaks.] We control the capital
of the empire now. The war is over.
[IV.21
MATTHIAS' LAST COUNCIL]
The
camera shows a large, stately conference room. It is clearly here where the
emperor met with his advisors. Matthias walks up to the seat at the head of the
table. He takes his seat triumphantly. It seems appropriate his
"emperorship" is won by conquest.
JANUS
PANNONIUS. [Referring to Matthias.] Our Caesar.
Matthias'
advisors comfortably take their places around him.
MATTHIAS
HUNYADI. This will be our new capital. We should give it time, now, for the new
reality to sink in: that we have become the leading power in central Europe.
MICHAEL
SZILAGYI. I can go to Bavaria, Saxony - make contact with the German princes.
We control the Czech lands... perhaps they will make you an elector.
MATTHIAS
HUNYADI. Good... [He turns to John Zapolya.] We should also begin plans for
renewed conflict with the Turks. Not this summer... but the next. We will have
more resources now than ever before. It is time to expel them from the
continent.
Matthias
continues.
MATTHIAS
HUNYADI. But let us not get ahead of ourselves. For now, we'll focus on
rebuilding this city. [He goes to stand up.] I will accepts oaths of allegiance
from the leading citizens tomorrow -
Matthias
suddenly stops speaking and makes a complaining noise. The camera cuts to show
his perspective as he looks down at his leg. He lifts up his legging. The
camera shows his injury - the slice he received when he heard news of his
brother's death. Matthias rolls his legging back down.
The
camera cuts to Matthias' counselors, who look on him with concern.
MATTHIAS
HUNYADI. It's nothing.
The
meeting adjourns. The camera follows Matthias as limps across the hall. He has
the same limp that his father had at the start of the film.
[IV.22
MATTHIAS' SUDDEN DEATH]
The
next scene shows Beatrice arriving in Vienna. The city is safe now, and fully
under her husband's control. She rides through the street, the camera panning
as she does so to the castle.
The
camera cuts as Beatrice walks through the castle's chambers. She opens the door
of a bedchamber, expecting to see her husband inside. As she walks in, she sees
him on the bed.
As
Beatrice approaches, it becomes clear something is wrong. She goes up to
Matthias and it becomes apparent he is dead. The camera shows the exposed wound
on his leg. It was an infection. The injury poisoned his blood and killed him.
[IV.23
THE BODY OF THE KING]
The
next scene shows Matthias' body lying in state, similar to his father from earlier
in the film. His friends and allies - those who are still alive - are gathered
around him.
JOHN
ZAPOLYA. Is this the way of the world then? That all friends die and everything
good comes to an end?
As
John speaks, the camera pans to a group of lords who are gathered at the
funeral. These lords, newly released from prison, were no friends of the king.
They were waiting for their opportunity to revolt again - and now their
opportunity has come.
JOHN
ERNEST. What happens now?
MICHAEL
SZILAGYI. What happens now is we return to Hungary - and elect a new king.
[EPILOGUE]
As
Madolyn delivers the voice over, the epilogue portrays the events she explains.
MADOLYN
KOVACS. After the death of King Matthias, the lords went to work to unmake his
legacy.
The
first image shows Matthias' funeral. The common people are there in mourning. There
are a few lords who look sympathetically upon Matthias' body - although others
do not.
MADOLYN
KOVACS. A new king was elected, but a weak one who the lords knew they could
control.
The
next shot shows the assembly of lords in parliament, voting for the next ruler.
A
following shot shows King Vladislaus "Dobzse" (historically nicknamed
"King 'OK,'" for his meek acceptance of whatever the lords willed)
seated in state. The shot shows the lords bringing decree after decree to him,
which he dutifully signs. A map behind him shows the diminishment of the royal
demesne. The king is a prisoner of the lords again.
MADOLYN
KOVACS. The Black Army went unpaid. The border defenses went unmanned.
The first
shot shows an empty field, where the Black Army was formerly assembled in the
film. Its banners and the remains of its equipment lie silently in the shot.
The next shot shows the castles of the border, in disrepair and with no one
manning them.
MADOLYN
KOVACS. With Matthias gone, the lords began a brutal class war on the people.
A
shot shows a peasant being brutally beaten by a lord. Another shows a group of
lords going to a peasant's hovel, taking his possessions from him. Another
peasant is shown being hoisted into a tree, where he is hanged by a lord.
MADOLYN
KOVACS. In defiance, a man named George Dozsa led a peasant revolt in
Transylvania... but, the uprising was brutally crushed.
The
first shot shows George Dozsa rallying the peasants to fight for him.
MADOLYN
KOVACS. In punishment, the lords cooked Dozsa alive on an iron chair... and
forced his followers to eat his flesh.
The
shot shows the horrific punishment being carried out.
MADOLYN
KOVACS. Matthias' wife, Queen Beatrice, who had made few friends in her adopted
home, was forced to return to Italy.
A shot
shows Beatrice leaving Buda.
MADOLYN
KOVACS. Then, the Turks returned. Belgrade, the great fortress of Lord Janos,
fell. The next year they took Buda... and burned Matthias' library and
observatory to the ground.
The
first shot shows the fall of Belgrade, the fortress fought so nobly to defend
at the beginning of the film. The second shot shows the city of Buda, consumed
by flame. The library and observatory, the great constructions of Matthias, are
visible in the fire. The camera lingers for an extended time on this shot.
A
third shot shows the Turks outside the library, taking what loot they can from
it. Many are stealing the books Matthias commissioned; some are tearing the gilded
bindings off the books, destroying the texts in the process.
MADOLYN
KOVACS. Hungary was partitioned. Most was annexed by the Turks, while the
northern part of the kingdom came under the rule of the Emperor Frederick, who
returned from his exile.
A
map shows the division of Hungary between the new powers.
MADOLYN
KOVACS. The gold mines of the north were sold off to rich banking families.
An
exploitative team is shown entering one of the country's gold mines.
MADOLYN
KOVACS. House Hunyadi, for all its fury, seemed lost to time. [The screen goes
black as she speaks.] Yet the people did not forget King Matthias - nor his father
or brother. Their memories lived on in folklore. The people began to say
Matthias was one of the sleeping kings: the kings who slept under the mountain,
and who would one day rise again and return.
A
shot shows a peasant telling a tale to another in a tavern; a second shot shows
a peasant woman telling a yarn to her daughter as she tucks her into bed.
The
camera then cuts to a shot of a dark plain with a mountain looming over it.
Ravens circle in the skies above. (In folklore, the ravens signal the sleeping
king's return.)
MADOLYN
KOVACS. The people say that when the ravens stop circling... the king will ride
out.
The
camera cuts to black. There is a delay for several moments, perhaps suggesting
that the film is over.
Suddenly,
the black screen changes and there is a shot of a misty, darkened field. There
is a long delay, as the mist floats along the ground. The sky is empty and indifferent
above.
A
raven flies down and lands in the bottom left of the shot. It idles and opens
its mouth twice as though it were going to caw. It idles for another moment,
then flies out of frame. Again, the field is vacant except for the mist.
A
sound is heard. From the darkness there emerges a rider. It is Matthias
Hunyadi, riding on horseback and crowned with a laurel bay. The kingdom's
riders emerge behind him. They are Ladislaus Hunyadi, Blaise Magyar, Michael
Szilagyi, and John Zapolya. It is the final shot of the film - THE KING WILL
RIDE OUT.
