THE KINGDOM OF HEAVEN

by

William Monahan

Early Draft

FOR EDUCATIONAL PURPOSES ONLY

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 FADE UP ON:

RAVENS in stripped trees. Frost clings to hedges, and low fog

lies on the November fields of France. A season of mud and
snow.

TITLE: “FRANCE, 1186”

Sustain the image of smoking fields and then (with the sound
of PICK AND SPADE...)

EXT. A CROSSRAODS. DAWN

OPEN CLOSE on the most medieval face you’ve ever seen: a

pale, injured, vengeful face, capable of a routine mask of
piety: a PRIEST. With a dirty fingernail the Priest flicks
out part of a frozen worm from a winter apple. We are at an
INTERSECTION of two lanes of near-frozen mud in HEDGEROW
COUNTRY.

Two GRAVEDIGGERS, a cold PRIEST, a BODY, At a CROSSROADS

overlooked by a Celtic cross.

ON SOUND, as the Priest contemplates his meal (He wants

better and is sure he deserves it) we hear...the PICK AND
SPADE at work, digging the grave at the EXACT CENTER of the
CROSSROADS.

GRAVEDIGGER (OS)
(singing)
I am Francois, to my dismay
(the SPADE digs into the
nearly frozen ground)
Conceived and born in the usual
way...
(throws earth)
Son of man, yet by the way/ not of
him my mother say...

PRIEST
(beyond cold in thin and
ragged wool)
Shut up and dig.

Chewing his apple he stares at: A SMALL BODY, wrapped in

something like burlap. Where the wrapping is parted we see a
pitiful WHITE FACE and OPEN EYES upon which snowflakes fall.
A rope-scarred neck. A WOMAN: A SUICIDE.

A SILVER CRUCIFIX around her neck.

The PRIEST, eyeing the crucifix, is for a moment unable to

eat his apple. Then he eats.

(CONTINUED)

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 2.
CONTINUED:

The GRAVEDIGGERS are in rags, dirty, coughing. The

GRAVEDIGGER is cleverer than his condition, watching for his
opportunity in life long after he should have stopped
looking. His right ear is mutilated.

GRAVEDIGGER
(dangerously clever)
Denied the cross for suicide, the
suicide is then buried at the
center of a cross.
(leans on his pick, like a
scholar)
Show me the logic.
(a noticeable beat)
Father.
(digs, then:)
Father...

PRIEST
What.

GRAVEDIGGER
The Devil is a practical man. If
this be a witch there was poor
return on his investments.

PRIEST
What would you know of Logic?

GRAVEDIGGER
(the rising, and
vindictive, Common Man)
I have ears, Father. Though one is
notched because I love justice.

PRIEST
Thieving.
(thieving, he puts the
dead woman’s CRUCIFIX
around his own neck.)
Dig.

The GRAVEDIGGER (a man who will come into his own, has vowed
it), digs.

GRAVEDIGGER (OS)
When I was young and so the world/I
was as pretty as a girl/I am now a
man of gravitas/With a double chin
and giant arse...

The PRIEST suddenly (as RAVENS erupt from trees beyond a

frozen field) looks in the direction away from the sunrise.

(CONTINUED)

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 3.
CONTINUED: (2)

PRIEST
(at the GRAVEDIGGERS,
ceasing to dig, also
stare)
Horses.
(softly, querulously, and
as if there’s an
opportunity in it)
Knights.

Straightens his clothes. Medievally speaking, th eboss is

coming.

A PART OF MOUNTED KNIGHTS AND MEN-AT-ARMS come along the

road. They are cloaked, cowled. The colors of their clothes
are the only color in the day. The KNIGHTS ride mares, but
ready-saddled DESTRIERS are led behind the party, which also
is accompanied by a CART. A SQUIRE rides before, in rich,
dirty velvet (the livery of IBELIN.) The SQUIRE, who has a
cold, and is none too happy at the French weather, comes up
on a mudd palfrey, and looks at the gravediggers, the body. A
suicide being buried at a crossroads? Normal. The PRIEST bows
low.

SQUIRE
(flatly, no conceit)
Clear the road.

As the sound of horses draw nearer the PRIEST and the

GRAVEDIGGERS back out of the road and bow, giving the road
to:

THE TRAVELLERS. A scowling, huge, German knight (ODO), a

worldly and scholarly HOSPITALER, and ENGLISH SERGEANT (not a
knight but mounted to fight as one despite inferior armor), a
black mercenary (FIRUZ), and two MOUNTED GENOESE CROSSBOWMEN
in leather armor. The principal of the party is GODFREY OF
IBELIN. Godfrey is what in those days might pass for a vital
sixty, battle-scarred. He wears beneath his cloak (as do his
knights) armor modified by use in the desert, padded and
quilted in the Saracen manner. GODFREY is a man riding into
his past. He seems to remember the crossroads, the
countryside-- but not with any joy. He seems a man with a
heavy obligation on his mind. He stares down at the body.

The PRIEST (standing, head bowed, with the gravediggers as

the knights pass) is in a frenzy of curiosity but does not
dare look up as GODFREY passes. THE HOOVES OF DESTRIERS,
PALFREYS, MULES, pass by the small body and the just-finished
grave. the PRIEST stays with eyes averted until the rides
(and their creaking cart) have passed.

(CONTINUED)

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 4.
CONTINUED: (3)

GRAVEDIGGER
(to the other gravedigger)
Crusaders.
(a beat)
I can smell the blood and spices.
(resentfully beginning to
dig)
I can smell the opportunity.

The second GRAVEDIGGER does not agree about “opportunity”.

Where he is now is where he will die. He digs. THE SQUIRE,
who has turned back, reins in. He tosses a coin.

SQUIRE
For this burial, from my lord. And
a mass for the soul.

The priest bows greasily but he has other uses for the coin.

EXT. BEYOND THE CROSSROADS. CONTINUOUS

GODFREY, riding, stares around at the wintry countryside of

his youth.

His face is intelligent, lined, grave, scarred: he has seen

the world to its very end and now he has returned to where he
was born.

He sees:

AN ORCHARD. It smokes with frost. (Perhaps there is a

particularly memorable tree). He looks then at: A prosperous,
strong, thatched farm with a workshop building (a FORGE); but
it is still. No smoke rises from the chimneys.

A grubby APPRENTICE (his job, of which he is certainly

incapable, to defend the farm in its owner’s absence) stares
out at the passing nights from behind a hedge. The HOSPITALER
looks curiously at Godfrey, who is staring towards the forge.

HOSPITALER
You know this place, my lord?

GODFREY
I know all of it.

He spurs on. The TRAVELLERS continue towards...

THE LOCAL CASTLE.

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 5.

EXT. THE CROSSROADS. CONTINUOUS

The PRIEST is staring after the knights with interest, fear,

speculation. The workmen begin to throw the body into the
finished grave.

PRIEST
You’ve forgotten.

An AXE falls to the frozen ground. The GRAVEDIGGERS look at

each other.

GRAVEDIGGER
She was your brother’s wife.

PRIEST
She was a suicide. Cut off her
head.
(hurries away)
And return the axe!

The PRIEST hurries after the KNIGHTS. White ambitious face.

EXT. THE VILLAGE. LATER THAT MORNING

A cloister is being added to an existing town church. The

local BISHOP, fat, shrewd, a politician, but fundamentally a
decent man, anxiously watches the progress, the PRIEST with
hm, both clerics holding up their skirts from the mud.

BISHOP
Your brother. You have spoken to
him?

PRIEST
(mock-concerned)
He is insane with grief, my lord,
and still arrested.

BISHOP
The burial was...

PRIEST
Yes.

BISHOP
Yet you did not mutilate the
person.

PRIEST
(lying piously)
No.

(CONTINUED)

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 6.
CONTINUED:

BISHOP
A law can go too far.
(chewing a thumbnail)
It can go too far. I ask myself
“Would Jesus do it thusly?” There
is so much done in Christendom of
which Christ would not be capable.
One day we must look into it.
(walking)
You must release your brother. I
cannot do without him.

PRIEST
My brother, my lord Bishop, is
possessed by the Devil, and must
be...
(with relish)
examined.

BISHOP
Talk of the Devil much more and I
shall begin to wonder how well you
know him.
(moving on)
Your brother is as mad as I am. He
grieves.
(a beat)
Without your brother I cannot
finish the church. Let him out.
(as the PRIEST, thwarted,
submits to this, the
BISHOP digs in his robes)
Give him this
(a chinking fat, PURSE)
and tell him...that he is at the
very center of my praters.

PRIEST is unhappy, but takes the PURSE, and complies. He goes

off down the muddy street. Turning a corner, he quickly
shakes out half the money into his own purse. Then more than
half.

EXT. THE YARD OF THE FORGE. DISCONTINUOUS (SUNLIT, A DREAM)

A splendid rooster, Chanticleer, taking a dust-bath. A

woman’s BARE FEET move through the farmyard. The face of the
woman we have seen dead. She is alive, smiling. She is
kneeling at the edge of a kitchen garden, planting small
saplings, a LOMBARDY POPLAR, smiling back at her observer...

BALIAN, in sunlight, on the best day of his life. Face

dripping. He is at the trough, washing.

(CONTINUED)

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 7.
CONTINUED:

EGGS are laid in a bed of grasses. The WIFE looks back at her
observer.

(Balian), walks through a door, and disappears.

INT. A TOWN LOCKUP. DAY

BALIAN awakes in reality and in dirty straw. He sits up. He

is no more than thirty as it was in those days. Nothing in
his face except the fact that he has again remembered his
wife is dead. Balian is no peasant. He is a master craftsman,
a blacksmith and inventor. He is watched by two sympathetic
GUARDS.

The PRIEST, entering, has no fear of Balian: he has been

tormenting him for years, and knows him as an easy target: a
man who will never strike back.

PRIEST
(resentfully)
The Bishop needs you.
(as Balian says nothing)
Release him.

He goes, a man off on his business. BALIAN remains sitting in

the straw. He stares at the open DOOR as if not knowing what
to do with such a thing as a door.

OLD GUARD
(to Balian, kindly)
On your feet. This is not heaven.
It is the world, and there are
troubles in it. Do yourself no
injury. Other men are always good
for that.

BALIAN nods, and does stand.

EXT. CROSSROADS. NIGHT. SNOWING

A whimpering DOG scratches at the forzen ground, already

covered with snow. The burial crossroads. BALIAN, drunk, is
looking at the stars. Then he falls to his knees, staring at
the earth. He touches the ground. It is frozen and his wife
is beneath it. As he sobers up,

SOUNDS OS: AND

THE PRIEST comes along, with BOYS and GRAVEDIGGER carrying

bundles of fuel and torches.

(CONTINUED)

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 8.
CONTINUED:

BALIAN continues to kneel. The burden-carriers walk on,

crossing themselves, in semi-respectful silence (though one
of the BOYS laughs, and is swatted by the GRAVEDIGGER). The
PRIEST remains behind, and crouches by his brother.

PRIEST
You must take the corss. Crusade.

BALIAN, in an extremity of grief, has nothing to say to this.

PRIEST (CONT’D)
Her grave was here. Or was it
there. I am afraid I cannot tell
you the exact location. I wasn’t
present at the burial.
(BALIAN stares at the
ground)
Call me a liar. You have reason.
(a beat)
You never fight back.
(slaps Balian’s face
aside)
You turn the other cheek. Do you
think you are Jesus Christ?
(BALIAN simply looks at
him, snowflakes in his
lashes.)
I think that you conceive yourself
without sin. That is a sin.

BALIAN gets up and walks away through the snow. The PRIEST
stares after him.

INT. THE GREAT HALL OF THE CASTLE. NIGHT

MUSIC. The travellers from the Holy Land, employing their

knives, are dining with GODFREY’S BROTHER (who stayed a poor
provincial lord while his brother became a baron in the Holy
Land). GODFREY is self-absorbed, thinking, eating
reflectively. The HOSPITALER carries the conversation with
the GODFREY’S BROTHER and the brother’s mendacious, cynical,
and worthless SON (Godfrey’s nephew), who is drinking as if
his guts are on fire.

GODFREY’S BROTHER
And what of Jerusalem?

HOSPITALER
(suavely)
In peril, my lord. As always.

(CONTINUED)

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 9.
CONTINUED:

GODFREY’S BROTHER
We have stood there against the
Saracens for almost a hundred year.

HOSPITALER
The Saracens, as you call them,
have now unified in Egypt, Syria
and all Arabia.
(a beat)
The Saracens have someone...
(another suave beat)
new.

GODFREY’S NEPHEW
(follows the Crusades like
sports)
Saladin. Their king.

HOSPITALER
Yes. Salah Ad-din.

GODFREY’S BROTHER
(belches)
Gibberish.

The Hospitaler smiles mildly, holds up an ornate silver wine

cup, and to change the subject:

HOSPITALER
Very fine.

GODFREY’S NEPHEW
(picking a fight he
couldn’t win)
Do you mean, Hospitaler, that it is
very fine for such a poor place?

ODO, the German knight, looks up at, with relish, a potential

enemy.

Odo loves an enemy. The HOSPITALER is suave.

HOSPITALER
I mean that it is very fine.

GODFREY’S BROTHER
And yet you do not drink. A knight
should be a knight, a monk a monk,
not both at once, that is what I
say.
(The Hospitaler mildly
ignores this.)
But I am old-fashioned.
(MORE)

(CONTINUED)

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 10.
CONTINUED: (2)
GODFREY’S BROTHER (CONT'D)
As for the cup, I have an
artificer. A blacksmith. Or did
have...

GODFREY
(distracted, staring away)
Which son of the blacksmith of my
time is the blacksmith now?

GODFREY’S BROTHER
The eldest. Balian.
(as GODFREY after a beat
resumes eating)
His child died. His wife fell into
a melancholy. She would not listen
to reason. She killed herself.
(disinterested, worldly)
It occurs. But what’s that to you?

GODFREY
A private matter.

GODFREY’S BROTHER is thick and incurious. Eats. GODFREY,

drinking wine, moves to a window and parts the ragged
hangings to look, with thoughtful sadness, down into the
valley.

GODFREY’S BROTHER
(drunk, and disguising
bitterness)
It is six and twenty years since my
brother took the cross, and now he
returns an actual Baron of the
Kingdom of Jerusalem. How is that
for the lot of a younger brother?

In his rude hall in his rude castle (as KNIGHTS drink to

GODFREY), he laughs and toasts, and murmurs to his SON
(Godfrey’s nephew, who leans towards him):

GODFREY’S BROTHER (CONT’D)

(sotto voce)
With no heir it comes to me and
thus to you.

GODFREY’S NEPHEW
(a sadistic fop, a raper
of goose-girls)
Then I thank my stars for my uncle.

(CONTINUED)

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 11.
CONTINUED: (3)

GODFREY’S POV

We see the lights of the village. Perhaps even at this

distance we can see the glow of the forge. SNOW is falling.

SNOW blows into the room. Godfrey, cold, reflective, coughing

slightly, drops the drapery.

INT. THE SLEEPING LOFT. DAWN

BALIAN sits up in his wifeless bed in the darkened loft.

Breaks ice in a stone bowl. Throws water into his face. Goes
on into the main living area. A rope still hangs from a
rafter. Balian cuts it down. A CRADLE, finely made, stands in
the middle of the room. Balian puts it in the fire. A boy
(Balian’s APPRENTICE) stares at his master.

BALIAN
We shall go to work.

EXT/INT. BALIAN’S FORGE. LATER THAT MORNING

Smoke rises. An ANGLE-IRON plunged to cool in a barrel of

water. Then thrown with a clang with others on a heap.

BALIAN emerges from the forge, and throws ironwork (angle

irons, simple braces, presumably for building the church)
into a cart. He looks up (startled) and sees: GODFREY’S
SQUIRE, sitting a palfrey.

SQUIRE
YOu are the blacksmith?
(BALIAN nods)
Balian the eldest son of the Balian
that was?

BALIAN nods.

SQUIRE (CONT’D)
(as he turns his horse)
Remain.

The SQUIRE, after another strange, direct look at Balian,

rides off.

INT. BALIAN’S FORGE. LATER

BALIAN is eating coarse brown bread, and staring at the

APPRENTICE. The two eat together silently. On SOUND we hear
horses.

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 12.

EXT. THE YARD. CONTINUOUS

BALIAN walks out into the light. The entire party stares at
him. The Knights, the English Sergeant, FIRUZ, the two
Crossbowmen, and Godfrey.

PRIEST
(pointing)
That is the man.

ODO, riding, ducking low in the saddle, peers into the forge
as if (characteristically) looking for stealables.

ODO
You are an armorer. An artificer.
According to your lord, and this
priest. Have you a woman here?

The PRIEST kicks at his small donkey, riding around the yard.

PRIEST
There is no wife. Yet the matter of
women does dangle about the place.

HOSPITALER
(dismounting)
You have my sympathy and blessing
and your wife’s soul is today the
object of my prayers.

BALIAN bows his head. GODFREY watches through the snow.

HOSPITALER (CONT’D)
We need the horses shod. All. And
by asking about a woman he means
that we need food and will pay.

EXT. THE FARMYARD. LATER

The TRAVELLERS are lolling in the think sunlight, eating

chicken beneath a tree. The hungry PRIEST has not been
invited to eat but is still attempting to ingratiate himself.

PRIEST
He has made great engines for
sieges. He has made war machines to
cast the largest stones...he works
finely in silver...He would be one
of the few on your journey worth
more alive than dead.

(CONTINUED)

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 13.
CONTINUED:

ODO
(eating)
Shut up.

GODFREY is not listening. His wine cup shakes slightly in his

hand.

GODFREY, of all things, is nervous He walks across the road

into the orchard. In a FLASH of summer we see a dark-haired
woman retreating from him, a complex look of fear and, just
possibly, invitation.

GODFREY drinks. The HOSPITALER seems to understand what

Godfrey is thinking: and well he should, because he is
Godfrey’s confessor.

GODFREY
Do you still advise what you
advised upon the road?

HOSPITALER
I do, my lord. But I take no credit
for your contrition. I am merely
your confessor.
(concerned for the
shivering Godfrey)
It is warm by the forge.

INT. THE FORGE. LATER

BALIAN, assisted by the Italian Crossbowmen and the ENGLISH

SERGEANT, is shoeing a DESTRIER. The huge war horse has had
to be roped against the side of the stall. BALIAN calms him,
talking to him. BALIAN finishes the last shoe, steps back.
ODO is there, eating an apple.

ODO
(to Balian)
Have you been at war?

BALIAN nods. He tries to go back to work.

ODO (CONT’D)
(coming close)
An archer, putting arrows in your
betters?

BALIAN
On horse. And as an enginer, also.

The entering GODFREY is now in earshot. He looks at Balian.

(CONTINUED)

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 14.
CONTINUED:

ODO
Against whom and for whom did you
fight?

BALIAN
For one Lord against another, on a
point which cannot be remembered,
and which is then or now had no
significance.

The PRIEST, looking through a window, listens outraged at his

brother’s outspoken reply. ODO grins.

ODO
(close to Balian)
There is better game now. One God
against another. The pay is
proportionate.

ODO menaces BALIAN with sword. BALIAN looks at the point, and
then u at ODO. Laughter.

PRIEST
(piously opportunistic)
I have been telling him that.

ODO, still eating his apple, sees: a LATIN PHRASE CUT DEEP
INTO A BLACKENED BEAM (or painted, like a frieze, onto the
plaster). He points with the sword.

ODO
What does that say?

BALIAN
“What man is a man who does not
make the world better.”

The HOSPITALER smiles, walking: he is beginning to know this

man.

BALIAN (CONT’D)
My father cut it there.

The HOSPITALER looks at Godfrey. GODFREY stands, to his duty.

GODFREY
Leave me with this man.

The room empties as if Godfrey’s voice is a starter’s gun.

GODFREY takes up the good sword just put down by ODO.

(CONTINUED)

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 15.
CONTINUED: (2)

GODFREY (CONT’D)
Some say Jerusalem is the very
center of the world for asking
forgiveness. For myself, I call it
here...Now.
(”sighting” the blade)
You have lost your wife.

BALIAN nods, hollowly.

GODFREY (CONT’D)
God has made us men. We must suffer
all.

GODFREY looks up at the rafters. Wind. Pigeons under the

thatched eaves.

GODFREY (CONT’D)
I knew your...namesake.
(pressing on with it)
I knew your mother.

BALIAN looks up, knowing everything at once. A hammer in one

hand. He is the picture of Godfrey’s murderer.

GODFREY (CONT’D)
To be courteous I should say that
it was against her
objections...that I was the lord’s
brother and she had no choice...
(noticing that BALIAN is
holding the hammer)
But I did not force her.

GODFREY lays the sword aside. He will accept what comes.

Outside the windows, as the father and son stare at each

other, SNOW magically begins to fall hard. BALIAN puts the
HAMMER down (GODFREY swallows at this). BALIAN turns to the
forge, pumps the bellows, in chaos.

GODFREY (CONT’D)
(nervous, aware he is not
saying anything properly)
I am the Baron of Ibelin. I have a
hundred men at arms in Jerusalem. I
can use an armorer.
(pushing on, brusquely)
If you will come with me you will
have...a living. And you will have
my thanks. There it is.

GODFREY is not giving away the shop.

(CONTINUED)

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 16.
CONTINUED: (3)

BALIAN
Whoever you are, my lord, and
whatever you are saying, my place
is here.

GODFREY
(gently)
What made it your place is now
dead.

BALIAN shakes his head, with finality.

GODFREY (CONT’D)
You will never see me again. If you
want anything of me, take it now.

BALIAN
I want nothing.

GODFREY, disappointed, but not one to press the point

further, nods.

GODFREY
Then I have seen you, and you have
seen me, and that is that. I am
sorry for your troubles. God
protect you.

GODFREY goes out from the forge.

EXT. THE TRACK BY THE FORGE. LATER

The party rides out. GODFREY lingers.

GODFREY
It is easy to find Jerusalem. You
come to where the men speak
Italian, and then continue until
they speak something else. We go by
Messina.
Goodbye.

GODFREY turns his horse after his party.

INT. THE FORGE. NIGHT

A sword smokes, white-hot, in the coals of the forge. BALIAN

looks up and notices: THE PRIEST, lurking uninvited in the
door. He continues to work.

(CONTINUED)

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 17.
CONTINUED:

PRIEST
The village does not want you. When
the old lord is dead they will
drive you out. When the bishop is
dead, it is certain.

BALIAN
And you take my property.

PRIEST
The Church...

BALIAN
You.

PRIEST
They would have taken you to
Jerusalem. Away from all this. I
arranged it.
(grabs Balian’s wrist)
I swear that you will have no peace
as long you stay. No man ever
needed a new world more. Imagine
your sin and pain erased. All.

BALIAN looks up slowly in the firelight. He sees around the

priest’s neck his wife’s CRUCIFIX.

PRIEST (CONT’D)
And if you Crusade you may relieve
your wife’s condition in hell.
(BALIAN looks at his
brother)
I put it delicately. She was a
suicide. She is in hell.
(turns smiling)
Though what she does there without
a head...

BALIAN, the hot metal smoking in his hand, drives the white
hot sword, slowly, through the PRIEST’s chest, and carries
him back onto the live coals of the open forge. The PRIEST,
still alive, looks up in wonder for a long beat, then bursts
explosively into flame. As the clothes burn away Balian sees:
His wife’s crucifix. He grabs it out of the fire. He backs
away. COALS have spilled from the forge and the building is
catching fire. Balian turns and sees:

The APPRENTICE. The APPRENTICE turns and runs into the snow.

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 18.

EXT. A ROAD SOMEWHERE IN FRANCE. DAY

GODFREY and his knights are riding. GODFREY reins in, and so
does the party.

GODFREY’S POV:

BALIAN sits his mare atop a small hill. He rides down. BALIAN
is hollow-eyed, exhausted in the saddle, his burnt hand
wrapped. GODFREY spurs forward.

GODFREY
Have you come to kill me? Even
these days, it is not easy.
(noticing with real
concern Balian’s
distraught condition)
What do you want?

BALIAN
Is it true that in Jerusalem I may
erase my sins, and those...of my
wife. Is it true?

GODFREY
We’ll find out together.

BALIAN
I’ve done murder.

Father and son look at each other. Godfrey nods.

GODFREY
Haven’t we all.
(to the HOSPITALER)
Look at his hand.

EXT. A CAMP BY A RIVER. NIGHT

BALIAN is having his hand re-wrapped by FIRUZ. He is given a

drink by the HOSPITALER.

HOSPITALER
It is the poppy which grows in the
East. I think it is the true lotus
that the men of Odysseus ate. It
numbs all pain. A burn needs that,
and butter.

BALIAN, the drug in him, watches as: A falling star glitters

and explodes. The men of the camp exclaim at it.

(CONTINUED)

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 19.
CONTINUED:

HOSPITALER (CONT’D)
(bemused)
Perhaps Jerusalem has fallen.

BALIAN stares across the fire at GODFREY, who returns his

stare. BALIAN cannot keep his eyes open. He sleeps.

EXT. THE CAMP. MORNING

A SWORD is thrown into the leaf-mould. BALIAN looks up from

his porridge at: GODFREY, who leans on another sword.

HOSPITALER
His hand is hurt, my lord.

GODFREY
I have fought two days with an
arrow through a testicle.

Godfrey swings the flat of his sword at Balian, who, favoring

his burnt hand parries, clumsily but like lightning and with
great force. GODFREY grins: not bad. ODO is watching
carefully. BALIAN takes up a “low” guard, in terrible pain.
he knows what he’s doing on a duffer’s level.

He’s strong, dangerous, a natural, and Godfrey knows it.

GODFREY (CONT’D)
Never take a low guard. Watch.
(He raises the sword above
his head)
Like this. This guard by the
Italians is called la posta di
falcone...one strikes from high.
Like this. Do it.

BALIAN duplicates the posture. GODFREY from the high guard

swings low and sweeping and BALIAN parries. The great sword
hacks into the dirt.

But when Balian strikes at GODFREY...clang! His sword spins

away, and ends up falling point down into the earth, the
cross hanging sidewards, much like a grave marker. It’s
obvious: Balian may have some experience, but he’s not match
for a knight. ODO takes the sword from Godfrey.

ODO
(touches Balian’s eyes
with two fingers)
Pay attention.
(to Godfrey)
I have your leave?

(CONTINUED)

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 20.
CONTINUED:

GODFREY, sitting in the leaf-litter, eating dried apricots,

nods gravely. We see ODO and BALIAN circling each other,
fighting. Steel clangs. As they practice, others of the party
are packing to leave. The SQUIRE oils Godfrey’s chain mail.
FIRUZ, fastidious, washes his knife and plate at the stream.
FIRUZ senses something and looks up. GODFREY sets down his
bag of apricots.

GODFREY’S POV

A KNIGHT, and then four more KNIGHTS, come out of the trees
to the front. They are the equivalent of rich country
layabouts out to do a lynching. ODO and Balian stop fighting.
GODFREY mounts and rides over to the newcomers.

GODFREY’S NEPHEW
Uncle.

GODFREY nods.

GODFREY’S NEPHEW (CONT’D)

You have with you a man, Balian,
who killed a priest his brother. I
am charged by both my father and
the lord bishop to bring him back.

The KNIGHTS look at Godfrey, who says nothing. He stares at

this putrescent nephew calmly.

ODO
(riding up to GODFREY’S
NEPHEW)
I say he is innocent of the charge.
If you say hie is guilty, then we
will fight, and God will decide the
truth of it.

HOSPITALER
(leaning drily forward)
My German friends is a close
student of the law.

BALIAN walks up, ready to surrender. Much to his surprise:

GODFREY winks at him.

GODFREY’S NEPHEW
He is a murderer.

GODFREY
(slowly, and very
dangerous)
So am I. Aren’t we all?

(CONTINUED)

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 21.
CONTINUED: (2)

A half dozen MEN AT ARMS with PIKES come out of the trees to
the right.

Godfrey’s party is flanked on both sides: CROSSBOWMEN to the

left, PIKEMEN to the right. And confronted by the knights.

GODFREY (CONT’D)
Whoever dies here, you will
certainly be among them.

GODFREY’S NEPHEW
(wrily, looking at the
very veteran knight)
You are my uncle: I must give you
the road.

The OPPOSING KNIGHTS unexpectedly wheel away. GODFREY (not

new at this) snaps a look left as--

A VOLLEY OF CROSSBOW BOLTS fly out of the trees. The SQUIRE

is struck in the hear and dies instantly. FIRUZ has his mare
killed beneath him.

ODO is shot through the middle of the neck, but he wheels and
as a PIKEMAN stabs at him grabs the shaft of the PIKE and
kills the man holding it. The HOSPITALER also deals with the
Pikemen (and so does his destrier, a weapon in itself, which
bites a man’s face off, and kicks another down).

GODFREY’S NEPHEW AND KNIGHTS (having attained the distance to

mount a charge) wheel and charge the party, taking advantage
of the confusion following the ambush. GODFREY looks up at
them and only now do we see that he has been shot under the
arm and into the chest.

GODFREY spurs directly at the knights. He kills the man to

the left of GODFREY’S NEPHEW (into whose horse his destrier
smashes). The HOSPITALER now is with him. HORSES go down: the
to men have broken the charge; they wheel, looking for
enemies.

The SERGEANT, as a KNIGHT thunders towards him, swings a PIKE

and plants it in the earth. The KNIGHT is piked off his
rearing horse and the SERGEANT expertly goes forward and
daggers him where he lies. He has done this before: a lot.

In the path there is a general malee. FIRUZ kills two men

(The French, in general, are hopelessly outclassed by the
Crusaders, and we can see this fact in the white face of
GODFREY’S NEPHEW, whose ambush is coming apart around him)
and then FIRUZ is shot in the head with a crossbolt.

(CONTINUED)

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 22.
CONTINUED: (3)

ODO even with a crossbow bolt through his neck and gargling
with blood is a serious customer. He runs at and smashes down
a dismounted knight, and turns and cuts another across the
body, armor ripping like linen.

The now wounded second KNIGHT, grappling close with ODO,

grabs the bolt and twists it. BLOOD spurts everywhere and ODO
dropping his sword grabs the man’s own dagger and kills him
with it. He staggers a little way, and then falls. A PIKEMAN
runs out of the wood with an axe and crushes ODO’S head with
two blows and then (as the HOSPITALER, still mounted, wheels)
and runs away.

BALIAN, drawing his sword, is being backed among the trees by

two scrambling CROSSBOWMEN now using short swords. He kills
one, and then gets lucky as the other falls. He hacks down.
GODFREY’S NEPHEW emerges through the trees...and he (and his
equally terrifying, eye-rolling destrier) charges down on
Balian. BALIAN stands his ground and-- is shoved aside by the
ENGLISH SERGEANT. GODFREY rides in between Balian and
GODFREY’S NEPHEW, and confronts his nephew.

GODFREY
(visibly weakening)
Thank my brother for his love.

GODFREY’S NEPHEW stares: then turns and rides away. GODFREY

thunders after him, and raising in the saddle (with blood
streaming down his side from the wound under his arm), hacks
down on his nephew with a two-handed stroke that cuts through
his helmet as if it were paper (As he does this though, we
see the downward motion of his arm SNAP OFF the shaft of the
blot, leaving the head of the bolt in his body). GODFREY
twists in agony and almost falls out of the saddle.

GODFREY’S NEPHEW’S eyes roll white as he rides on a little

way and then topples from the saddle. GODFREY in agony (more
blood streaming through the links of his mail) turns his
horse and sees: The ATTACKERS running away, routed. The
ENGLISH SERGEANT is kneeling by the KNIGHT knocked down first
in the melee by ODO. He has a dagger to the knight’s throat.

KNIGHT
(almost affably)
I am the son of Roger de Cormier. I
am accorded the privilege of
ransom.

GODFREY nods at the ENGLISH SERGEANT who...CUTS THE KNIGHT’S

THROAT.

(CONTINUED)

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 23.
CONTINUED: (4)

ENGLISH SERGEANT
(standing up)
Nothing better in the world than
killing a lord.

The HOSPITALER stares with horror at ODO, tries to move him,

realizes that he is dead. GODFREY, looking at the sun through
the black French trees, has blood bubbling on his lips. He is
helped from the saddle by the ENGLISH SERGEANT and a
CROSSBOWMAN. The HOSPITALER examines him. Both the Hospitaler
and Godfrey, locking eyes, know that the wound is fatal.

HOSPITALER
The bolt is broken off and cannot
be cut out. If your ribs are broken
the marrow may enter the blood. You
will take a fever and die, or a
cyst will form and you will live.
You are in the hands of God.

GODFREY
Let me walk. Give me a cup of wine.

GODFREY (as he is given the wine) looks sternly at BALIAN.

GODFREY (CONT’D)
It was not that they had not right
to take you. It was the way they
asked.

Blood comes from Godfrey’s moth. He wipes it away.

BALIAN
They had right to take me.

GODFREY
(clutching Balian for
support)
So do I.

EXT. A GREAT CROSSROADS/PILGRIM CAMP. DAY

Where two roads converge in a field, not far from the sea, we
have a great campsite. As our party comes to a juncture of
the road we begin to hear a war-song, sung in French).
GODFREY is pale, feverish, in agony, barely in the saddle. At
a distance an ANGELIC PRIEST preaches from the back of a
wagon: truly and innocently believing what he says.

ANGELIC PRIEST (OS)

To kill an infidel, the Pope has
said, is not murder. It is the path
to heaven.

(CONTINUED)

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 24.
CONTINUED:

GODFREY’S PARTY rides through. MUSIC. Each PILGRIM wears, in

some fashion, the cross. BALIAN has never seen such a
carnival. The HOSPITALER speaks to an OLD MAN at the head of
a party of Pilgrims.

HOSPITALER
Where do you go?

OLD PILGRIM
To Jerusalem, brother.

HOSPITALER
By which road?

OLD PILGRIM
Someone knows. God knows.

HOSPITALER
(to GODFREY)
We shall never stop this madness.

GODFREY
It will soon be beyond my concern.

EXT. THE PILGRIM CAMP. LATER

Snow and fire. GODFREY lies on a bed made on the ground. The
HOSPITALER tends him, washing the wound. BALIAN sits at a
distance, watching. GUY DE LUSIGNAN, a splendid knight in the
tred cross we will associate with extremists in Jerusalem,
walks up to Godfrey’s fire with a party of knight-recruits.

GUY
(faux solicitous)
No news of reinforcements? If I am
in Jerusalem first, as seems--
(smiles)
Very likely...I will give the news.

GUY looks at Balian.

GUY (CONT’D)
Who is this?

GODFREY
(for the first time)
My son.

GUY, thinking that Godfrey’s pending death has removed one of

his enemies, finds the place unoccupied.

(CONTINUED)

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 25.
CONTINUED:

GUY
Would I had fought you when you
were still capable of making
bastards.

Godfrey chuckles for a long time.

GODFREY
I knew your mother when she was
making hers. Fortunately, you could
not be one of mine.

GUY looks as if he might move on Godfrey: but looks up as

sees the Hospitaler, the English sergeant.

GUY
(to Godfrey)
All will be settled.

He goes off with knights.

EXT. MESSINA. DAY

BELLS ringing in a crumbled belfry. Beyond them: A Medieval

port city, a Crusader launching point. Caravels at anchor.
The Mediterranean winter: whipping wind, a cold blue sea.
GODFREY, now near death, rides in a jolting cart, BALIAN
rides with him.

EXT. THE COURTYARD OF THE HOSPITAL OF ST. JOHN. DAY

The HOSPITALER meets other HOSPITALERS in clerical habit, and

gestures to GODFREY. These men come forward. BALIAN watches
as his father is carried into the building.

INT. THE HOSPITAL OF ST. JOHN. DAY

The HOSPITALER is praying above the sleeping GODFREY. BALIAN

joins him.

HOSPITALER
Do not be deceived by his chances.
He is in the hands of God.

EXT. BALCONY AT THE HOSPITAL OF ST. JOHN. DAY

GODFREY, lying on a couch where he has been set out for air,
looks at the harbor.

GODFREY
Balian.

Balian joins him. Together the two men look at the harbor.

(CONTINUED)

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 26.
CONTINUED:

GODFREY (CONT’D)
Do you know what lies in the Holy
Land? Not what the Church says, but
what does lie there?

BALIAN shakes his head slowly “no”.

GODFREY (CONT’D)
A new world.
(a beat)
A man who in France had not a house
is in the Holy Land the master of a
city. He who was the master of a
city begs in the gutter. There are
the end of the world you are not
what you were born, but what you
have it in yourself to be.

BALIAN
I hope to find forgiveness there.
That is all I know.

GODFREY is wracked by pain. He needs to cough, but is in too

much pain. He stares at Balian, and then with great
intensity:

GODFREY
Whatever your position, and that I
will decide, you are of my house,
and that means you will serve the
King of Jerusalem.

BALIAN
What might a king ask of a man like
me?

GODFREY
This king? A better world than has
ever been seen. A kingdom of
conscience. A kingdom of heaven.
(a beat)
Peace instead of war...love instead
of hate. Did oyu think that lay at
the end of “crusade”?

BALIAN shakes his head “no”.

GODFREY (CONT’D)
(softly)
It does.
(a beat)
There is peace between Christian
and Muslims. We live together.
(MORE)

(CONTINUED)

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 27.
CONTINUED: (2)
GODFREY (CONT’D)
Or between Saladin and the King we
try.
(turns)
Men still go down to the Holy Land
for war, however, and war they will
have, for all the good kings and
fine intentions in the world.
(a beat)
You will serve the peace, and the
King. Swear.

BALIAN
I swear.

GODFREY points at a BOWL OF ORANGES.

GODFREY
(points at oranges)
Good. Get me one of those.

BALIAN does. Godfrey peels the orange. BALIAN allows Godfrey

to put the section of fruit (like the host) into his mouth.
Quite obviously he has never expected that anything on the
earth could taste like this.

GODFREY (CONT’D)
That is the East.
(looks at his son)
You are all that survives me. Do
not disappoint me.

EXT. THE PORT OF MESSINA. DAY

BALIAN sitting by the wall with the ENGLISH SERGEANT, is

fascinated by the sea-trade. (And there’s a lot of it:
oranges, spices, silks, being unloaded). CRUSADERS are
streaming onto ships.

ENGLISH SERGEANT
Venetians. Genoans. All the trade
of the world. When we took the Holy
Land we took the Saracen trading
ports. So Italian ships carry silks
and spices, and pilgrims if they
have money, and Italy becomes rich.
(eats sausage off his
knife)
As the Savior intended.

As the sound dies Balian becomes aware of a strange sound:

Muslims praying. BALIAN looks around and sees: MUSLIM
SHIPYARD workers, praying.

(CONTINUED)

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 28.
CONTINUED:

BALIAN
(astonished, walking
forward)
What are those men?

ENGLISH SERGEANT
(eating)
Muslims. Saracens.

BALIAN
They are allowed their prayers?

ENGLISH SERGEANT
(shrugs)
If they pay a tax.
(translates the prayer)
“Praise be to Go, it is proper to
praise him.”

BALIAN
It sounds like...our prayers.

The ENGLISH SERGEANT drolly nods: now you’re getting it.

Destriers ride through the praying Muslims, scattering them.
GUY comes up on horseback, 20 drunk men with him. He examines
Balian insolently. Horse whirls, snapping.

GUY
When the King is dead, Jerusalem
will be no place for friends to the
Muslims and traitors to Christendom
like your father.

SHOW GUYS’S MEN. THE IMPOSSIBILITY OF ACTION.

GUY (CONT’D)
I am Guy de Lusignan.
(spits on BALIAN’S tunic:
Godfrey’s livery)
Remember that name. And me.

He goes to cut Balian across the face with his stick. BALIAN
grabs the stick.

GUY (CONT’D)
Keep it.

BALIAN
How will you ride, my lord, if you
cannot beat the horse?

GUY would like to kill Balian on the spot. But his men have
ridden on and the English Sergeant is no joke.

(CONTINUED)

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 29.
CONTINUED: (2)

GUY
I will see you in Jerusalem.

GUY rides his horse past the port, his men clattering after
him.

The ENGLISH SERGEANT remains. Peering after Guy, then at

Balian.

Balian, white-knuckled, throws the stick aside.

ENGLISH SERGEANT
(goes back to eating)
He will be king in Jerusalem one
day.

BALIAN wipes at his defiled tunic, Godfrey’s livery, staring

after Guy.

INT. THE “HOSPITAL” OR HOSTEL OF ST. JOHN. NIGHT

A fire at the end of the long room. GODFREY, on a couch, is

dying. A table of candles. A HOSPITALER is writing to
GODFREY’S whispered dictation, which we cannot hear. Our
HOSPITALER comes forward from the deathbed.

HOSPITALER
(grim, to ENGLISH
SERGEANT)
Get him.

INT. SERVANT’S SECTION OF THE HOSTEL. NIGHT

Balian is asleep on a mat. The ENGLISH SERGEANT kicks him.

BALIAN looks up: he has been dreading the news that GODFREY
is dying...and expects it...but does not expect...A WHITE
GARMENT, dropped in his lap. SIX HOSPITALERS and the ENGLISH
SERGEANT stand looking at BALIAN, who is very much a peasant
holding a white cloth.

ENGLISH SERGEANT
Put it on.

BALIAN looks at the garment, at the man. He stands, already

shirtless, and puts on the white gown.

ENGLISH SERGEANT (CONT’D)

Come with these knights and do not
be afraid. I will walk behind.

BALIAN
(no suspicion whatsoever)
Come with these knights.

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 30.

INT. A HALLWAY. NIGHT

BALIAN, in his white gown, is taken along the hall.

INT. THE ROOM WHERE GODFREY IS DYING. CONTINUOUS

Balian, entering, confronts: The HOSPITALER. GODFREY is on

his feet, supported by two HOSPITALERS.

HOSPITALER
Get on your knees.

BALIAN complies. GODFREY, supported by the monks, comes

forward through the gloom. Then he stands by himself above
BALIAN. BALIAN dares for a moment to look up; and then looks
down.

GODFREY
(barely able to speak)
Be without fear in the face of your
enemies. Be brave and upright that
God may love thee. Speak the truth,
always, even if it leads to your
death. Safeguard the helpless, and
do no wrong. That is your oath.

GODFREY with the last of his strength delivers a blow with

his open hand that nearly knocks Balian sprawling. (There was
no crap with swords in those days: you got whacked).

GODFREY (CONT’D)
And that’s so you remember it.

As BALIAN recovers, GODFREY is being helped back to his bed.

Balian looks up in wonder.

HOSPITALER
Rise a knight, and Baron of Ibelin.

GODFREY is whispering. BALIAN kneels. GODFREY grips Balian’s

hand. Godfrey is whispering to Balian.

GODFREY
Defend the king. If the king is no
more, protect the people.

Hands him his (very distinctive) sword.

HOSPITALER
(softly)
You must confess now to Holy God,
my lord, not your son.

(CONTINUED)

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 31.
CONTINUED:

GODFREY nods, weakly: he might differ; but it is time.

HOSPITALER (CONT’D)
(whispering)
Are you sorry for all your sins?

GODFREY
For all but one.

GODFREY nods. OIL is applied to his head. LATIN is spoken.

The HOSPITALERS kneel. GODFREY slowly makes the sign of the
cross; and dies.

EXT. THE PORT. LATER

Brutal wind. The HOSPITALER walking towards the docks, with

Balian.

HOSPITALER
I leave now with my order. You will
go tomorrow by the Genoan ships. If
it is God’s will that I die at sea,
go to Godfrey’s house. You will be
expected. You will be known.

BALIAN nods. The HOSPITALER embraces him.

HOSPITALER (CONT’D)
Each day do right. And no wrong.
(a beat)
God bless you.

THE HOSPITALER walks aboard the galley. BALIAN watches. The

ENGLISH SERGEANT joins him.

ENGLISH SERGEANT
For those who go upon the sea in
ships, Mary Mother of God pray for
them...

As the sound of the WIND rises on sound:

DISSOLVE TO:

EXT. THE COAST OF THE KINGDOM OF JERUSALEM. MORNING

OPEN ON a beach with wreckage tumbling in the tide race. THE

ENGLISH SERGEANT lies drowned, eyes glazed, his mouth full of
sand. The wreckage of a shattered galley lies broken on the
sand. Birds are screaming overhead, and pecking at the bodies
of the drowned.

(CONTINUED)

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 32.
CONTINUED:

There are knights, priests, great ladies and their

servants...and (a RAVEN pecking at his head) Balian, who
wakes, coughing. GODFREY’s SWORD is strapped to his back. The
RAVEN hops away, cawing.

BALIAN wears a simple tunic, hose. He has lost his boots,

mail. He gets to his feet and surveys the destruction as the
sun rises. He approaches one corpse--another--he drives the
birds away from several --but they are all dead. Staring out
to sea he sees:

A HORSE tangled in line, maddened with fear. Balian wades

out, then swims to the horse. He pulls his knife and cuts it
free, takes the halter, and leads it out of the water.
Holding, calming, the horse, he hobbles it deftly with a
piece of line. BALIAN is exhausted, thirsty. He rummages
among the wreckage and corpses. (The horse is fighting its
hobble throughout). He crouches near a DEAD LADY. He closes
her eyes, or tries to, and then snaps loose her purse. He
finds a knife on a corpse and sticks it through loops on the
back of his belt. He finds a lead box containing sodden
bread. He stuffs it into his mouth, then spits it out: it’s
impregnated with salt water. He cuts a strap on a case and
pulls out... useless women’s clothes, a breviary, rosary
beads...In the wavewash he finds...a CORKED BOTTLE. As he
does, the horse, skittish throughout, snaps its hobble and
gallops off down the beach.

BALIAN chases after it a little way, then gives up. The horse
disappears. Balian swigs wine: it’s not going to do. He needs
water. He looks inland.

BALIAN’S POV:

A scrap of green in a chasm in the desert rock. The mirage

has begun to waver.

BALIAN walks into the interior.

EXT. THE DESERT. DAY

BALIAN is walking, sunburnt, desperate to find water. He

takes a drink of wine. He comes to the top of a hill and
sees:

BALIAN’S POV:

A WADI.

He stumbles, runs, towards the water, and throws himself down

on the bank, using a cupped hand to shovel water into his
mouth. He lies with his cheek in the mud, looking up at the
palms rustling overhead.

(CONTINUED)

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 33.
CONTINUED:

As he lies there he hears, off, a snort, and a slow clopping.

He lies without moving. The horse he lost on the beach
skittishly drinks at the pool, eyeing Balian warily. BALIAN
moves slightly. The horse edges away.

Warily Balian tries to move again. The horse watches his

every move. Finally, though, the horse comes back to drink,
and makes his mistake. In two seconds BALIAN has gotten his
fingers into the mane and is on the horse’s back. The horse
tries to throw him. BALIAN hangs on like a madman, whips off
his belt, puts it through the halter...and finally, he is
riding! He turns the horse and sees: TWO MOUNTED ARABS,
staring at him. One (IMAD) is a finely dressed, handsome
young man who looks like a scholar. The other is a
fantastical Saracen knight with a lance. His helmet drips
with chain mail. He wears silk.

SARACEN KNIGHT
(in arabic)
That is my horse.

IMAD
He says, That is his horse.

BALIAN
Why would it be his horse?

IMAD
Because it is on his land.

BALIAN
I took this horse from the sea.

IMAD translates. The Saracen knights says something back.

IMAD
He says you are a great liar, and
that though he will not fight you
for the horse, because it is his
horse, he will fight you because
you are a liar. Further, he will
fight you because that is simply
what he does.

BALIAN
I have no desire to fight.

IMAD
Then you must give him the horse
and become his slave. He is old-
fashioned.

(CONTINUED)

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 34.
CONTINUED: (2)

BALIAN
No.

The SARACEN KNIGHT immediately charges. BALIAN is thrown from

his rearing horse. The SARACEN KNIGHT drives again with his
lance, misses. The lance strikes into the ground and snaps.
he now takes out his bow, and feels for an arorw. BALIAN runs
wildly towards him. The SARACEN KNIGHT keeps his distance,
trying to nock an arrow. BALIAN slips in the sand.

BALIAN (CONT’D)
Fight me fairly.

IMAD
Why should he?

BALIAN
(just remembering it)
I am the Baron of Ibelin.

IMAD
(translating)
He says that the Baron of Ibelin is
old. He knew him at Damascus.

BALIAN
I am the new one.

This is translated. SARACEN KNIGHT considers. He dismounts,

and draws his sword. BALIAN takes “the high guard” as shown
him by godfrey. In the fight, Godfrey’s good sword snaps the
heavy scimitar. The SARACEN KNIGHT scrambles for the business
end of his broken lance. BALIAN, sword raised over his head,
runs him down and kills him. IMAD is thrown from his rearing
horse (BLOOD from the final blow having flown into his
horse’s eyes) and lies stunned on the ground. Staggering with
exhaustion, BALIAN approaches IMAD. IMAD, sitting up, holds
out his arms in a gesture of surrender. BALIAN digs
ravenously in a saddlebag, finds DATES, crams into his mouth.

BALIAN (CONT’D)
You have taken it very well that I
have killed your master.

IMAD
(philosophically)
It was the end of his time. Taking
it poorly bakes no bread.

IMAD is scholarly, awfully well-dressed for a servant, but

Balian has no way to measure this.

(CONTINUED)

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 35.
CONTINUED: (3)

BALIAN
Take me to Jerusalem.

EXT. THE DAVID GATE OF JERUSALEM. DAY

The massive “DAVID TOWER” stands above the track. Above it

the domes and spires of Jerusalem. It is an impressive sight:
the “center of the world”, completely walled. BALIAN and IMAD
ride towards the gate, covered with dust.

IMAD
I will be cloaked in the town if it
pleases my lord.

BALIAN
Why?

IMAD
(lying poorly)
I owe money.

BALIAN couldn’t care less. BALIAN and the cloaked IMAD enter,
past TOWN GUARDS. We follow through into:

EXT. JERUSALEM. CONTINUOUS

A BOOMING MARKETPLACE. Jerusalem is the crossroads of the

world, open to all. Arabs, Jews, Syrians, Byzantine
Christians, Europeans, Pilgrims walking barefoot with ash on
their heads, vast numbers of the mad, naked saints covered
with filth. Many, many children. It’s almost a city of
children. BALIAN and IMAD walk on, leading their horses. The
master of a Muslim caravan recognizes Imad: begins, shocked,
to speak, to bow; Imad raises a palm and quiets him.

BALIAN
(not having noticed this)
Where did Christ die?

IMAD
(points OS)
That is where the Prophet came down
from the sky. I am no expert in the
other matter.

BALIAN
(almost frantic)
I must know where Christ died.

IMAD
(bemused)
I thought he did not.

(CONTINUED)

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 36.
CONTINUED:

BALIAN
(to a DISREPUTABLE
PASSERBY)
Where was Christ crucified?

The DISREPUTABLE PASSERBY holds out his hand. BALIAN pays him
a coin. The man points solemnly at A HILL. BALIAN starts off
up the hill. IMAD, holding the horses, watches him go,
bemusedly.

EXT. GOLGOTHA/CALVARY (SUPPOSEDLY). TWILIGHT

Balian climbs “Golgotha” with a desperation, as if he will

find every answer, at the top. A ROBBER (turbaned, ghoulish,
but originally French) holds up: a nail.

ROBBER
It is one of the nails that pierced
Our Lord.

BALIAN starts to move past. The ROBBER in a flash holds a

dagger on BALIAN. BALIAN shoves the man aside (the ROBBER
stumbles and falls, losing his knife). BALIAN curs off his
own purse, throws it at the robber and strides on.

ROBBER (CONT’D)
That is good. That is Godly.

The ROBBER and his FRIENDS scramble and fight for the purse.
BALIAN comes to the apex of the hill and, taking the cross
from beneath his shirt, falls to his knees. He looks
uncertain. He lays down the sword, and closing his eyes,
clutching the CROSS, prays. He waits for an answer. It isn’t
working. We leave him as dust blows around him in the
twilight.

LATER

STARS have come out. BALIAN still is on his knees but his
arms are at his side. A picture of sadness, confusion,
defeat.

EXT. GOLGOTHA/CALVARY. DAWN

At cock crow, BALIAN wakes up looks into the rising light. He

needs water. He remembers where he is. He looks out over
Jerusalem. He wipes dirt and tears off his face. A man
putting himself back together. In one hand he holds the CROSS
and in the other the SWORD. He looks around to see if anyone
is observing him, and then quickly scratches a hole and
buries the cross, after kissing it. He pats the earth around
it. Scatters stones.

(CONTINUED)

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 37.
CONTINUED:

BALIAN
(as if to his wife’s
actual grave)
How could you be in hell if you are
in my heart?

He puts himself together.

BALIAN (CONT’D)
Goodbye.

Heads down the hill.

EXT. A STREET IN JERUSALEM. MOMENTS LATER

IMAD is asleep, the reins of the horses wrapped around his

arm. BALIAN crouches, and wakes Imad.

IMAD
Did you find what you wanted?

BALIAN
Take the better horse and be about
your business.

IMAD
It is your prize of war. I was the
servant of the man you killed. I am
your prisoner. Your slave, should
you wish.

BALIAN
I have been a slave, or very near
to one. I will never keep one nor
suffer any to be kept. Go.

IMAD looks at Balian with admiration. Not overcooked: he

accepts it.

IMAD
(mounting)
You killed a very great cavalier
among the Moslems. His name was
Mummad al Fais.

BALIAN
(seriously)
I will pray for him.

IMAD
Your quality will be known among
your enemies before ever you meet
them.

(CONTINUED)

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 38.
CONTINUED:

IMAD raising a palm rides out. BALIAN looks around at the

Holy City.

Nearby: a BAKER’S STALL. Balian is hungry, but feeling at his

belt, realizes that he gave his purse away. He moves on
through the city.

EXT. A SQUARE IN JERUSALEM. MORNING

TWO MEN in the same livery Balian wears, lean against a wall
outside a wine-shop, checking out the town, and
then...something else.

THEIR POV:

BALIAN, wearing tattered Ibelin livery, Godfrey’s

unmistakable sword strapped to his back, moves through the
crowded square.

MOMENTS LATER

BALIAN pays a penny to drink at a dirty, crowded, PILGRIM’S

FOUNTAIN, from an iron cup on a chain.

One of GODFREY’S MEN speaks to the other, who departs.

EXT. THE SQUARE IN JERUSALEM. LATER

BALIAN is sitting on the ground, eating dates hungrily from a

wrap of cloth. A shadow falls across him. He looks up to see:

SIX OF GODFREY’S MEN. Sergeant. All in livery.

BALIAN draws his sword. ALAMARIC comes forward. Godfrey’s

number one, top-sergeant of forty-odd, a man with some
education.

ALMARIC
Since you wear Godfrey’s livery,
you must know him.

BALIAN
Yes.

ALMARIC
A man my size.

BALIAN
No. Taller.

ALMARIC
Indeed. And with green eyes,
notoriously.

(CONTINUED)

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 39.
CONTINUED:

BALIAN
(thinking, remembering)
Blue.

GODFREY’S MEN go onto their knees, and in turn take Balian’s

hand, kissing it. Almaric takes the sword.

ALMARIC
Come with us. My lord.

EXT./INT. GODFREY’S HOUSE IN JERUSALEM

ESTABLISH GODFREY’S GRATED DOOR. Almaric’s first pounds on

it. BALIAN moves like a sleepwalker into the COURTYARD. One
could no imagine anything greener or more beautiful Falling
water. Fruit trees. Birds. We see (as he sees) that Godfrey’s
house (to one side of the courtyard) is a bit like a
firehouse: stables below (with a separate walled yard). The
sergeants (now staring out of windows) sleep above. WOMEN OF
THE HOUSE come forward, veiled, and gently guide BALIAN where
he needs to go.

INT. A LITTLE ROOM IN THE HOUSE. MOMENTS LATER

In a dreamlike sequence Balian, standing naked in a copper

bowl, is bathed with sea-sponges by the girls.

INT. GODFREY’S BEDROOM. AFTERNOON

BALIAN is sleeping on silks, in a breeze, in the shadow of

window-lattice. He wakes, feels the fabric. He sees: a bowl
of ROSEWATER. He drinks it uncertainly, and then tries to eat
the petals. SERVANT-GIRLS flee, giggling.

INT. BALIAN’S HOUSE. MORNING

BALIAN, wearing a silk tunic, explores the rooms, nodding at

the people who stare at him, and bow. Bowed at in the
kitchens, he nervously escapes into the STABLES.

ALMARIC
(eating, to alarmed
SERGEANTS)
He may be mad.

EXT. THE STABLE COURTYARD. DAY

A clumsy use of a hoof-pick. A horse screams. OPEN UP ON: A

BEAUTIFUL WARHORSE is shying from both a YOUNG SERGEANT and
an ARAB BLACKSMITH.

(CONTINUED)

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 40.
CONTINUED:

BALIAN comes in and grabs the horse by the halter. With great
gentle force. Forearm braced along the head. The horse
settles down.

BALIAN
You’ve hurt him.

The YOUNG SERGEANT and the ARAB BLACKSMITH back away. BALIAN
slowly gets loops of line around the frightened horse’s neck
and back legs, stable-boys helping.

EXT. GALLERY ABOVE THE STABLE COURTYARD. LATER

ALMARIC is staring dubiously out into the yard.

ALMARIC
Will you look at that.

The HOSPITALER comes forward out of the gloom, and looks

down, smiling, through lattice. Now in Jerusalem the
Hospitaler is not in his stained travel kit, but resplendent,
looking more the priest, though in armor.

The Hospitaler looks like God.

EXT. THE STABLE COURTYARD. CONTINUOUS

BALIAN with gentleness and intensity is shoeing the horse. He

is shirtless and covered with sweat. Frightened Arab
STABLEHANDS stare at him, hand him what he needs. BALIAN sets
down the hoof just done, and (as hoofbeats sound)looks around
as A SURF OF DOGS, WHIPPETS, flood into the courtyard. The
horse, eyes rolling white, nearly breaks its back against the
restraints. BALIAN, kicking at the snarling dogs, charges out
into the courtyard, hammer in his hand.

BALIAN
Who is the fool with these dogs?

He hurls the hammer aside in anger (it sparks off the brick).
Stops and stares, stunned at: A beautiful woman sits side
saddle on a palfrey.

She wears riding silks, and a turban. The sun behind her.
SIBYLLA. She is as startled as Balian. BALIAN stares at her
open-mouthed.

SIBYLLA
The fool with the dogs is the
Princess of Jerusalem.

BALIAN perhaps resentfully, bows, serf-low, the only thing he

knows how to do in the circumstances.

(CONTINUED)

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 41.
CONTINUED:

SIBYLLA rides around him. Horse’s hooves, circling him. He

watches the horse’s hooves out of the former of his eyes. The
dogs still foam around.

SIBYLLA (CONT’D)
Will you give me a cup of water?

BALIAN goes to the bucket. He takes out the ladle. Shakes it.
It doesn’t look to clean. But he fills it anyway and walks
the quivering water to the still-mounted Sibylla. She takes
the water, eyes locked on Balian’s, and drinks. She finishes
and hands him the ladle.

SIBYLLA (CONT’D)
It is a hot day.

BALIAN
Yes.

SIBYLLA
I thank you for the drink.

BALIAN
Yes.

He can’t quite figure out why he has been given her

handkerchief with the ladle. He tries to return it and is
ignored.

SIBYLLA
If in the course of your work you
should see Balian, the son of
Godfrey, who is now come from
France...tell him that Sibylla
called...that I bless his father’s
name...and that I wept at the news.

SIBYLLA turns horse and gallops out, her dogs tumbling after
her.

BALIAN goes to the gate and in deep confusion stares after

the splendid figure caroming down the street, scattering
merchants like pigeons.

AMALRIC has come down from the gallery and is looking with
concern at the potential madman. The HOSPITALER is smiling.
BALIAN nods at him: Whoa.

HOSPITALER
I imagine you will become better at
dealing with the nobility. Bow no
more to equals, my lord.

(CONTINUED)

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 42.
CONTINUED: (2)

BALIAN
(gently to agitated
stableboys)
When I am working a horse keep the
gates shut. Thank you.

BALIAN turns and sees the Hospitaler. The Hospitaler embraces

him.

INT. BALIAN’S HOUSE, BEDROOM. DAY

The HOSPITALER is eating yogurt, beautiful fruit. Balian is

being dressed behind a screen.

HOSPITALER
How find you Jerusalem?

BALIAN
God does not speak to me. Not even
on the hill where Christ died. I am
outside God’s grace.

HOSPITALER
I have not heard that.

BALIAN
At any rate, I have lost my
religion.

BALIAN emerges from behind the screen. He is in armor: the

Baron of Ibelin: a knight.

HOSPITALER
(softly, seeing Godfrey in
him)
No matter.
(as Balian’s sword is
belted on)
I put no stock in “religion”.

BALIAN is surprised. This man has holy orders.

HOSPITALER (CONT’D)
By the word “religion” I have seen
the lunacy of fanatics of every
denomination be called the will of
God. I have seen too much religion
in the eyes of too many murderers.
Holiness is in right action, and
courage in behalf of those who
cannot defend themselves. Goodness,
what God desires, is here...

(CONTINUED)

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 43.
CONTINUED:

With two fingers he touches Balian’s forehead, and then his

hear.

HOSPITALER (CONT’D)
And here. By what you decide to do
every day you will be a good man or
not. Come.
(a beat)
Did you know that you are famous?

EXT. A STREET IN JERUSALEM. LATER

BALIAN and the HOSPITALER ride through the town. BALIAN is in

his armor. PEOPLE bow. We hear whispers. PEOPLE (originally
from all nations, from Viking lands to the Horn of Africa)
stare at BALIAN. Some people follow him through the street.
Boys tumbling after. Balian is alarmed at the attention from
the street, the BOYS now running beside his horse.

BALIAN looks unnerved and not very happy about this. He sees:
Two TEMPLARS, bearded Christian fanatics, their hands tied
behind them, ropes around their necks.

HOSPITALER
(explaining)
The King has made a peace with
Saladin these six years. He holds
Jerusalem as a place for prayer for
all faiths, as the Saracens did
before we came. These men killed
Arabs.

Spectator TEMPLARS (kept back by pikemen wearing the King’s

livery) roar objections; but still the signal is given. The
men are hoisted; hang.

BALIAN
So they are dying for what the Pope
and every priest in Europe would
command them to do.

HOSPITALER
(simply)
Yes. But not Christ, I think. Nor
this king.

INT. OUTSIDE TIBERIAS’ ROOMS AT THE PALACE. DAY

VOICES raised in Arabic and English. BALIAN, aware of but

helplessly disinterested in the argument, off, stands
inspecting a scale model of the city and walls of Jerusalem.
He frowns at some problems...moves a section of the wall. He
moves it back...but not happily.

(CONTINUED)

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 44.
CONTINUED:

BALIAN
(simply)
That should be there.

He looks as if he’s going to go see someone about it. The

HOSPITALER watches.

BALIAN (CONT'D)
(with great force and
simplicity)
That’s wrong.

BALIAN now crouches to look at a scale model of a SIEGE

ENGINE. A SECRETARY stares at him. Balian backs off.

REYNALD (OS)
(shouting)
Who says I raid?

MOVE INSIDE THE ROOM.

TIBERIAS, a plain ferocious knight and noble of fifty-odd,

leans over his table.

TIBERIAS (OS)
(shouting)
This witness, all Jerusalem, holy
God, and me.

REYNALD OF CHATILLON, a magnificent old brigand with a

handlebar moustache, is on the carpet. He looks at a MUSLIM
GRANDEE.

REYNALD
This witness, if you call him that,
is a Saracen. He lies.

TIBERIAS
There will come a day, Reynald of
Chatillon, when you are not
protected by your title.

REYNALD
Oh? When will that be?
(royally amused)
Alert me, Tiberias, when men are
equal, and the Kingdom of Heaven
has arrived.

TIBERIAS
(pointing down into the
square)
(MORE)

(CONTINUED)

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 45.
CONTINUED: (2)
TIBERIAS (CONT'D)
Those Templars have been hung for a
raid I am sure you commanded.

REYNALD
Prove it, Tiberias. I will wait at
Kerak till you do.

TIBERIAS
The king will take your castle of
Kerak, Reynald.

REYNALD
I hold Kerak through France and my
wife. Not this king. Try to take
it, Tiberias. I will be there.

TIBERIAS stares with frustration. REYNALD exits. The MUSLIM

GRANDEE starts shouting in Arabic.

TIBERIAS
(to business)
I cannot protect your caravans
unless you agree to be escorted by
our soldiers.

MUSLIM GRANDEE
I trade to make money. Not to
offend God by associating with
Christians.

TIBERIAS holds out GOLD.

TIBERIAS
But you will take Christian gold,
of course.

The GRANDEE, of course, does, instantly.

TIBERIAS (CONT'D)
You are an ignorant and difficult
bastard.

MUSLIM GRANDEE
(smugly)
Who is ignorant who knows God?

TIBERIAS exhaustedly waves the man out. The MUSLIM GRANDEE

goes, starchily. TIBERIAS, face in hands, sits at his work
table.

HOSPITALER (OS)
My lord.

(CONTINUED)

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 46.
CONTINUED: (3)

TIBERIAS looks up and sees: BALIAN. TIBERIAS gets up and

walks nearer the table with the model. He holds out both
hands and Balian, after a moment of uncertainty, takes them.

TIBERIAS
It is true.
(remarking resemblance)
You are your father’s son. He was
my friend. I am yours.
(a beat)
Godfrey dead...It could have come
at a better time.

HOSPITALER
He has been examining your model.

TIBERIAS
An engineer?

BALIAN nods, peering at the model, almost unable to help

himself, and Tiberias notices.

TIBERIAS (CONT'D)
It was shouted in the streets this
morning that you killed a great
lord of Syria.

BALIAN
I was fortunate.

TIBERIAS
Saladin himself has written to say
your fight was no breach of the
peace. That you had a cause.
(a beat)
What know you of Saladin?

BALIAN
That he is the King of the
Saracens, and surrounds this
kingdom.

TIBERIAS
Indeed he does. He has two hundred
thousand men at Damascus alone. He
might win a war if he goes to war
and he is daily given cause for war
by the Templars, by fanatics newly
from Europe, and by bastards like
Reynald. Here from this room I keep
the peace, so far as it may be
kept. I begin sometimes to wonder
if it’s worth the trouble.
(MORE)

(CONTINUED)

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 47.
CONTINUED: (4)
TIBERIAS (CONT'D)
But Saladin and the king between
them would make...
(exhaustedly)
...a “better world”.
(a beat, smiling)
What did your father tell you of
your obligations?

BALIAN
That I was to be a good knight.

TIBERIAS at first smiles. Then looks BALIAN closely in the

eye.

TIBERIAS
I pray the world and Jerusalem can
accommodate such a rarity as a
perfect knight.
(a beat)
Have you dined?

INT. THE GREAT HALL OF THE PALACE. NIGHT

In a great hall under a long second-story gallery A DINING

TABLE.

TIBERIAS, careworn, is eating slowly. BALIAN is nervous,

picking at food. He looks up as two figures come into the
room: GUY and SIBYLLA.

Sibylla holds Guy’s arm. BALIAN looks down at his plate. GUY
seats his wife; and then sits across from Balian and stares
at him. Drunk, and pouring wine from a jug.

GUY
You sit at my table?

BALIAN and GUY stare at each other.

BALIAN
It is the king’s table. So I am
told.

GUY
It is. I have not seen a king at it
for some years.
(stares at Balian, drinks
wine)
Well. However far you rise we shall
always remember the docks. Eh?
(rising)
I won’t eat. I am finicky about
company. In France
(MORE)

(CONTINUED)

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 48.
CONTINUED:
GUY (CONT'D)
(points at Balian)
This could not inherit. But here
there are no civilized rules.

He rises to leave. GUY and TIBERIAS stare at each other, an

inch from drawing daggers. SIBYLLA sits her face unchanged.
BALIAN steals a look at SIBYLLA, who catches him at it: and a
world is said though her face does not change.

GUY (CONT'D)
I have business in the East. My
wife does not lament at my
absences. That is either the best
of wives
(kisses the top of
Sibylla’s head)
Or the very, very, worst.
(goes)

TIBERIAS
Do you go to meet Reynald?

GUY turns at the door.

GUY
(openly lying, and mocking
Tiberias)
No, my lord. He is in disfavor. I
am a member of this court. Why
should I make league with
that...trouble-maker.

He upends his cup. Wine like blood on the stones. Then he

drops the cup and leaves. No one can think of anything to
say. Sibylla turns hostess and as if this has not happened:

SIBYLLA
(to BALIAN)
We will ride together. And you will
tell me about France and what is
and is not the fashion there now.

BALIAN looks, to say the least, unequal to the job.

SIBYLLA (CONT'D)
(drily)
Are you married?

BALIAN
My wife is dead.

(CONTINUED)

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 49.
CONTINUED: (2)

SIBYLLA
(dry)
You must be found another.

BALIAN
When I am ready I imagine I will
find her myself.

She smiles at his abruptness. But has reason (Guy) to look

careworn. She looks seriously at Balian, who is now eating.

TIBERIAS
(murmuring)
The king.

All stand quietly. The KING moves along through the shadows,
attended.

A white, masked, figure on the gallery above.

TIBERIAS (CONT'D)
(brokenly, careworn, and
now to himself)
The king.

All stand. The KING disappears from the gallery. An Equerry

comes forward and whispers in TIBERIAS’ ear.

TIBERIAS (CONT'D)
The King would see Godfrey’s son.

SIBYLLA
(smiles)
I will take him.

EXT. A COURTYARD. TWILIGHT

Falling water. The palace is full of shadows, whispers, a

desert Elsinore. BALIAN, walking with SIBYLLA, looks around
warily. The dinner continues beyond an archway (TIBERIAS
talking business).

BALIAN
I spoke without knowing who you
were.

SIBYLLA
(running her fingers over
the plants)
Would knowing who I am make any
difference to the fact that I was
wrong?

(CONTINUED)

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 50.
CONTINUED:

BALIAN
No.

SIBYLLA
I was wrong. I am sorry.

Sibylla walks lightly along.

SIBYLLA (CONT'D)
I knew who you were. It’s
unmistakable. I loved your father.
I shall love you.

BALIAN trips on a stone. Sibylla smiles.

SIBYLLA (CONT'D)
Do you fear being with me?

BALIAN
Yes.

SIBYLLA looks pleased. It is as it should be. She walks

around the fountain.

SIBYLLA
A woman in my place has two faces.
One for the world, and one which
she wears in privacy.

BALIAN
I have never had more than one
face.

SIBYLLA
That will change with your new
position.

BALIAN
I do not think so.

Sibylla, jolted, looks back at him with great interest.

SIBYLLA
Then with you, I will be only
Sibylla.

A slight sound. A SERVANT susses out the fairly dangerous

sexual situation and disappears behind a pillar.

SIBYLLA (CONT'D)
Tiberias thinks me unpredictable. I
am unpredictable.
(MORE)

(CONTINUED)

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 51.
CONTINUED: (2)
SIBYLLA (CONT'D)
(smiles)
Come.

She takes BALIAN’s hand. Not grandly. Like a girl.

INT. A CORRIDOR IN THE PALACE. MOMENTS LATER

BALIAN and SIBYLLA have come to the king’s door, which is

guarded.

BALIAN
You do not come in?

SIBYLLA
No.
(with genuine respect)
I cannot.

She lets go of his hand and goes off down the corridor. At
the end she opens a door: a fall of light. She goes through
the door, leaving the door open. Balian stares at the open
door; then looks at the door to the king’s chambers. The
doors are swung open.

INT. THE KING’S APARTMENTS. NIGHT

BALIAN enters the room. It is lit by oil-lamps. Silks and

tapestries but it is still a working room--papers and scrolls-
-books. A great map. The KING sits in a chair before the
window, his back to Balian. Before him, Jerusalem and the
desert stars.

THE KING
(easily, but lonely)
I warn you before I turn: I wear a
mask.

BALIAN stands staring in lamplight. We see as he sees; one of

the king’s swaddled hands.

THE KING (CONT'D)

Do not kneel. I loved your father.
I am glad to know his son.

He turns. What he wears is the most beautiful mas imaginable

(possibly representing the face that once was), hammered
silver, catching light.

THE KING (CONT'D)

The man you killed in the desert,
though a Saracen, was my father’s
friend. He taught me to hawk when I
was a boy.
(MORE)

(CONTINUED)

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 52.
CONTINUED:
THE KING (CONT'D)
He taught me to shoot arrows from
horseback as the Saracens do. He
was there when my arm was pinched
and it was he, not my father’s
physicians, who noticed that I felt
no pain. He wept when he gave my
father the news.
(his eyes expressive in
the mask)
I am a leper. This disease, the
Saracens say, is God’s vengeance
against the vanity of our kingdom.
As wretched as I am here, the Arabs
say after their book, the
chastisement that awaits me in hell
is more severe and lasting.
(a wry beat)
If it is true, I call it unfair.

BALIAN may know that this man wants a friend: but he’s unable
to act expect as if he is with a king-- whose eyes die a
little when he sees that Balian averts his own eyes The King
is condemned to be lonely. Condemned also to be a king.

THE KING (CONT'D)

Wine.

The SERVANT pours two cups. Very careful about which cup is
which.

Balian takes his own. The king drinks with swaddled hands. He
sits at a table with a CHESS-SET.

THE KING (CONT'D)

Do you play?

BALIAN shakes his head. A CRUSE CHESSPIECE: A PAWN. It is a

triangle of ivory. It is touched by an artfully, even
beautifully, bandaged hand. BALIAN looks at the BOARD.
Dimension after dimension of room for error.

THE KING (OS) (CONT'D)

It is the world.

We see the young king’s masked face.

THE KING (CONT'D)

Each move can be the death of you.
(on the CRUDE PAWN)
Do anything except remain in your
starting place and you cannot be
sure of your end. Were you sure
once of your end?

(CONTINUED)

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 53.
CONTINUED: (2)

BALIAN
I was.

THE KING
What was it?

BALIAN
To be buried a hundred yards from
where I was born.

THE KING
And now?

BALIAN (CONT’D)
Now I am in Jerusalem and look upon
a king.

THE KING (CONT’D)

A King may move a man...a father
may claim a son...a man may move
himself...and then the man begins
his own game. Remember howsoever
you are played, or by whom, that
your soul is in your keeping. Even
though those who presume to play
you be kings. Remember.
(the mask, in firelight,
raises)
When you answer to God you cannot
say “I was told it was thus”, or
that virtue “was not the fashion of
my times”. Remember.

BALIAN stares at a PAWN. Flickering light. He looks up.

BALIAN
I will.

BALIAN stares at the king. THE KING slides a paper towards

Balian, with a drawing on it (basically it is pretty much
along the ideas that Balian is thinking) - i.e it has the
shape of a cross.

BALIAN (CONT'D)
It is a fortification.

THE KING
(nods)
I have drawn it. What do you think
of it?

(CONTINUED)

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 54.
CONTINUED: (3)

BALIAN
I have thought, many times, that a
castle should be in the shape of a
cross.
(A stick of charcoal on
the table.)
May I?

THE KING nods, smiling.

THE KING
Improve it.

BALIAN
A cross...or a star. Like this.
(draws a “star fort”)
That way, not part of a fortress
may be approached without being
exposed to fire from another part.

THE KING smiles, and furls the paper. He has made the test.

THE KING
You will go to your house of
Ibelin, and protect the pilgrim
road. Protect in particular the
Jews and the Muslims.
(defiant: the Mask comes
up)
All are welcome in Jerusalem. Not
because it is expedient, but
because it is right.
(a beat: drinks off his
cup)
Protect the helpless.

BALIAN takes it seriously.

THE KING (CONT'D)

And when one day I am
helpless...perhaps you will protect
me.
(a beat)
You may go.

BALIAN looks up The glittering mask. Balian nods, goes out.

The KING returns to his lonely chair by the window.

EXT. THE CORRIDOR. NIGHT

BALIAN comes out of the king’s apartments, and looks down the
hall.

(CONTINUED)

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 55.
CONTINUED:

SIBYLLA’S DOOR still stands open, light falling into the

hall.

Balian might well have walked towards the door, but a BOY
(Sibylla’s son) is standing in the hall, staring at Balian
expressionlessly. BALIAN raises his hand. The BOY backs away
and disappears into his room. A LEAD EQUESTRIAN KNIGHT on the
floor. BALIAN picks it up, weighs it in his hand. The BOY
peeps around the corner again. BALIAN smiles experimentally.
The BOY disappears. BALIAN fixes the soldier, bending a bent
bit back into place, and places the LEAD KNIGHT on the edge
of a balustrade. He goes.

EXT. A BARRACKS COURTYARD IN THE PALACE. MORNING

CLOSE ON TIBERIAS.

TIBERIAS
The king has charged you with your
tasks. You keep the peace.
(glaring at the men--of
Ibelin, and other houses)
To break the peace, to rob Saracen,
Jew or Christian, is death on the
instant. Do you understand.

BALIAN nods. His men nod, perhaps more reluctantly.

ALMARIC
Ibelin.

YOUNG SERGEANT
That shithole.

ALMARIC
Ssh.

TIBERIAS comes up to BALIAN, and privately.

TIBERIAS
Be gone to Ibelin. Not least before
the princess Sibylla does take
you...”riding”.

TIBERIAS smiles, and hands BALIAN some rolled parchments

bound with ribbon.

TIBERIAS (CONT'D)
These are my plans of the city
defenses.
(Balian hesitates
respectfully)
(MORE)

(CONTINUED)

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 56.
CONTINUED:
TIBERIAS (CONT'D)
Better them if you can. I defend
Jerusalem, not my reputation.

BALIAN nods respectfully. TIBERIAS smiles.

EXT. THE PILGRIM ROAD. VARIOUS

JEWS by a campfire stand and bow as BALIAN, cloaked, rides

past with forty of his mounted men, also cloaked. They are
very much policemen on patrol. FACES of the pilgrims: the
young, the old. They ride on, past more CHRISTIAN PILGRIMS
trudging towards the city -- the mad, the penitent, the
merely curious, the barely alive. A NAKED MAN crawls...drags
himself along, mumbling. BALIAN looks at him and spurs on.

EXT. A CAMP BY THE PILGRIM ROAD. TWILIGHT

Cold men by a fire (still unsure of Balian). A SERGEANT holds

out a plate of boiled wheat. BALIAN takes it and eats with
his fingers. He is aware of the silence and discomfort and
plain curiosity of his men. Some are peering at him. BALIAN
puts down his plate, and stands.

BALIAN
I am not my father.

His men, who have been thinking just this, look at each
other.

BALIAN (CONT'D)
But I will do my best.

BALIAN walks off alone. He sees: A PROCESSION OF CHILDREN,

singing, on their way to Jerusalem.

EXT. ABOVE IBELIN. DAY

They ride into show, reining in.

ALMARIC
There, my lord.

BALIAN rides a little forward.

ALMARIC (CONT'D)
Ibelin.

BALIAN’S POV:

IBELIN. A faintly green valley floor, an oasis, a fort that

would best be called a “casbah”. A village around it.

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 57.

EXT. IBELIN. DAY

Establish Ibelin as Balian and his party ride in. WOMEN with
buckets hung on poles are carrying water towards the dry
MELON FIELDS. The population consists of Jews, Saracens, and
Arab Christians. The place is desperately poor.

ALMARIC
(embarrassed)
Your father was important. His
lands were not.

But to Balian it might as well be paradise.

BALIAN
I have no importance. It will suit
me just fine.

Entering the WALLED CASBAH area, BALIAN and his party

dismount. PEOPLE stand and stare, keeping their distance. An
ARAB goes on his knees before BALIAN and Balian courteously
helps him up. The ARAB is stunned.

BALIAN walks on, removing his gloves, beating the dust out of
his surcoat. At the steps of the house he stops: An OLD
HOUSEMAN in a skullcap is staring at him, open mouth
toothless.

BALIAN climbs the stairs. The two men look at each other. The
OLD HOUSEMAN searches Balian’s face.

BALIAN (CONT'D)
Yes?

He plucks at the ensign on his breast. The OLD HOUSEMAN

smiles, and kisses both of Balian’s cheeks.

The PEOPLE are murmuring, respectfully.

BALIAN, from the steps of his house, takes it all in. HORSES
are watering.

INT. THE HOUSE. TWILIGHT

The OLD HOUSEMAN pads ahead through the dark, sunsplintered

rooms. Some ruinous furniture, cushions. ALMARIC watches
BALIAN warily (still not knowing this guy) as BALIAN takes in
his house. The OLD HOUSEMAN runs up with a slopping cup of
wine. BALIAN takes it, sips, and keeps walking. He comes to
the back of the house, where arched openings give onto the
oasis, a green and saline-looking pool under blowing palms.

(CONTINUED)

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 58.
CONTINUED:

Twilight is coming on. Balian hears, of all things, chickens.

Along an ell of the house there are chicken coops.

AN ARAB GIRL, collecting eggs. She turns, sensing that she is

being stared at. She is veiled across. She continues to take
eggs from beneath the hens. BALIAN, caught in a memory,
dissolves in it. We know as he catches his breath that he is
alive again, he could have a life here.

ALMARIC
My lord, this is a poor and dusty
place.

BALIAN
Is it.

EXT. IBELIN. MORNING

BALIAN and ALMARIC, chased by a horde of children and some

more restrained adults, are walking though the farm area.
Poor cultivation, dust blowing from cracked dikes.

ALMARIC
We’ve got Jews...different types of
Jews, I think...Fatmid Muslims, and
the other...

BALIAN, moving along, jumps up on a dike, and continues,

children chasing along.

ALMARIC (CONT'D)
Easter Christians and Roman...

BALIAN stops, windblown, and smiles.

BALIAN
But mainly, we have no water.

EXT. NEAR THE POOL. DAY

Slightly up from the pool, we see that the pool is fed by a

marshy trickle. BALIAN crouches, looking at the lie of the
land.

EXT. NEAR THE POOL. LATER

PEASANTS are digging, already five or six feet down in the

dampish ground. BALIAN is with them in the middle of the pit,
using a heavy iron pole to slam deep into the earth...both
“sounding” and loosening.

PEASANTS are taking the damp earth and immediately forming

bricks with it.

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 59.

EXT. NEAR THE POOL. LATER

The well is deeper. Now the walls are shored up with timbers.
BALIAN slams and slams with his iron bar. The men are ankle
deep in seepage, the shoveled earth goes up in leather
buckets on ropes. Suddenly, as

BALIAN leans exhausted...

The water level rises evenly. The diggers look at each other.

BALIAN
(exhausted)
Right. Stone the well.

As he comes up from the well, the PEOPLE (Jews, Christians,

Saracens) are exultant--and so is BALIAN, at first shy, and
then smiling hugely.

EXT. IBELIN. DAY (VARIOUS)

MONTAGE. Irrigation ditches being dug while Balian supervises

and pitches in. Clay troughs and pipes being manufactured,
molded, and then set in a great kiln. WOMEN working leather
into what may be buckets.

BALIAN moves through it all. He crouches with skll-capped

ARAB CARPENTERS. He draws in the dirt with a stick while the
men nod.

ALMARIC
They are making lords different in
France from when I was there.

EXT. IBELIN. TWILIGHT

Torches are lit on the rough battlements. BALIAN stares out

at the desert, satisfied, in his home. On the road, a
solitary pilgrim proceeds to Jerusalem on his knees.

EXT. IBELIN. DAY

A commotion among the people. They run towards the center of

some activity. What they see there is wonderful. CARPENTERS,
MEN-AT-ARMS, various helpers, and BALIAN, using brute
strength, as well as a rope passing through pulley on a palm,
are setting upright...a giant WATERWHEEL.

BALIAN
Brace it, brace it. Almaric, tell
them to brace it!

(CONTINUED)

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 60.
CONTINUED:

Almaric does. BALIAN makes sure the wheel is secure. He backs

away from the work and sees that...

An ARAB is staring pen mouthed at something OS. More PEASANTS

stare, and then go to their knees. BALIAN turns and sees:
WHIPPETS. They course around in a pack. He looks up and sees:
SIBYLLA, mounted.

She is veiled and with a guard of Turcopole lancers. SIBYLLA

rides forward through whirling dust and light. She wears a
sort of burnoose all her face but her eyes covered with silk.

BALIAN walks towards her, through wind, and, without regard

to his filthiness, bows. Not particularly courtly.

SIBYLLA removes her veil, staring at him.

SIBYLLA
I am on my way to Cana. That is
where Jesus changed water to wine.
A better trick would to be to
change you to a nobleman.

BALIAN
In France I used to think that with
a few yards of silk I could make an
aristocrat of any man, so long as
he was useless.

Sibylla laughs delightedly. BALIAN smiles.

SERVANTS rush her considerable, fantastical baggage-train

forward through the casbah gates.

SIBYLLA
It seems that I ask your
hospitality.

BALIAN
(holding her bridle)
It is given.

Sibylla smiles and rides through the gates.

EXT. A ROOM AT IBELIN. DAY

SERVANTS attend SIBYLLA. They take her cloak, her “turban” as

she reveals and drops her hair. Her “mask” of office may not
be entirely in place. A servant removes SIBYLLA’s small
velvet shoes. A servant brushes her hair as another removes
her riding gear. A SERVANT unpacks a lead-lined box
of...snow, and puts it into a silver goblet. Sibylla drinks.

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 61.

EXT. A POOL BEHIND THE CASBAH AT IBELIN. DAY

SIBYLLA, now in loose Arab muslin, comes along the gallery,

SERVANTS with her. She has her silver goblet. SIBYLLA drinks,
and looks at Balian. No dialog necessary. She goes to the
pool, steps barefoot into it, and washes. Her wrists. Balian
looks around at the desert. Sibylla bends forward as a
servant pours water over her hair. She moves forward through
the water, the muslin wet, and hands Balian her cup. She
wrings the end of her muslin wrap, and washes the dust from
Balian’s face. He catches her wrist, meaning: don’t. SERVANTS
are watching.

SIBYLLA
(smiling, and continuing
to wash his face)
This isn’t adultery, it’s washing.

BALIAN looks not so much embarrassed, as embarrassed at being

embarrassed.

SIBYLLA (CONT'D)
But if it were adultery, which
(she wipes his face)
it isn’t, the Commandments are not
for persons in our positions. They
are for others.

BALIAN
(gruffly, remembering that
he ought to think about
this)
Did they give you something to eat?

SIBYLLA
(a tucked smiles as she
kicks through the pool)
Yes. They “gave me something to
eat”.

Out of shot, with Balian staring after her. Picked up, she
wades into the green, saline, pool, under the palms, holding
up her dress. She’s no princess, just a girl kicking through
the water. She stops and looks into the desert. Rippling
wind. Beyond palms, mirages. SIBYLLA cocks her head, waiting
to hear if Balian comes up behind her. He has not.

She looks around and sees:

BALIAN is gone. She smiles, and kicks on through the water.

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 62.

INT. THE HOUSE AT IBELIN. AFTERNOON

SIBYLLA watches from the roof terrace as

SIBYLLA’S POV:

Within a crowd of exultant peasants THE WATERWHEEL is lifted

(fairly easily now) on its long axle and is fitted into its
frame above the new well.

EXT. THE WELL. CONTINUOUS

BALIAN working. BALIAN, intense, turns the wheel by raw

force, and watches...buckets come up, full of water. he nods,
and lets the wheel drop. MONTAGE details of the gearing being
assembled.

INT. THE FORT AT IBELIN. CONTINUOUS

SIBYLLA, watching Balian, leaning against the stones, seems

to have come to some decision. Terrible heat.

SIBYLLA
I think we are looking at the one
man in the world who is not like
another.

The Maidservant lays a damp cloth across her eyes.

MAIDSERVANT
On the contrary, he is common, my
lady. Your husband Guy is a man.

SIBYLLA laughs, the cloth over her eyes. She looks like
Justice.

EXT. IBELIN. VARIOUS (AS NIGHT FALLS)

MONTAGE the completion of the waterwheel, and its operation.

Water gushes through pipes into troughs into ditches, and the
paddies begin to flood, the soil darkening.

EXT. BY THE PADDIES. TWILIGHT

Among his dancing subjects, and grinning men-at-arms (ALMARIC

even essays to slap his back), BALIAN is lost in thought
of...as he looks back at his house...Sibylla, who stands on
the roof, watching.

INT. THE GREAT ROOM AT IBELIN. EVENING

BALIAN is drawing. SIBYLLA watches him from behind a gauze

curtain.

(CONTINUED)

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 63.
CONTINUED:

Balian dips his pen in ink. Draws, blots, draws. SIBYLLA

comes behind Balian and looks over his shoulder. BALIAN
becomes aware of her.

SIBYLLA
You have a guest.

BALIAN looks at her boldly.

BALIAN
I am aware. That I have a guest.

SIBYLLA lowers her eyes and changes the subject.

SIBYLLA
Is this the...”work”...you did in
France? What I saw today?

BALIAN
In my work in France the only thing
that was mine was the quality.

She looks at his drawings.

SIBYLLA
These are the walls of Jerusalem.
You have changed the David Gate.

BALIAN
Yes. It ought to be changed. It
is...impractical.

SIBYLLA
Eleven hundred and fifty years ago,
Jesus Christ rode through it on a
donkey.
(raises palms drolly)
In Jerusalem, as it was, it shall
be. Jerusalem is not about what is
practical. To say...the least.

BALIAN smiles. He likes this woman. Sibylla and Balian look

at each other. Neither are smiling now. At the moment of
intolerable sexual tension, a bell rings at the end of the
room. BALIAN looks and sees SIBYLLA’S SERVANTS (including the
scandalized MAIDSERVANT) laying out a meal. He moves with
Sibylla towards the low table. They sit on cushions. A fire
burns at the end of the room. Sibylla eats, with knife and
fingers, licking her fingers, drinking wine. (No silverware
doesn’t mean no manners). Sibylla looks up and sees Balian
staring at her.

(CONTINUED)

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 64.
CONTINUED: (2)

SIBYLLA (CONT'D)
What?

BALIAN
It seems years since I have seens a
woman eat.

SIBYLLA
The Hospitaler told me what
occurred in France.

BALIAN looks up.

SIBYLLA (CONT'D)
(tearing flat bread)
Had he not told me, I would have
had him tortured.
(they both laugh, but then
seriously:)
You loved her.

BALIAN
Yes.
(a beat)
I did. Very much. She was
melancholy. I loved her.

Quietly, they eat. The drapes blow, the candles flare.

SIBYLLA
I watches you today. You have been
given a patch of dust and it almost
seems you will build a new
Jerusalem here.

BALIAN
It is my house. What would I be if
I did not make it better?

Sibylla plays with her glass. She looks carefully at Balian.

And then, as if caught staring, looks chaotically down.

INT. A GALLERY AT IBELIN. DEEP TWILIGHT

SIBYLLA and BALIAN are walking. As BALIAN looks at her, there

is a MUSLIM CALL TO PRAYER...the last of the day.

SIBYLLA
(off the prayer)
They try to be one: one heart, one
morality. One passion. They try to
do without our infinite
complications.
(MORE)

(CONTINUED)

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 65.
CONTINUED:
SIBYLLA (CONT'D)
(a beat)
Their prophet says “submit”. Jesus
said “decide”.

On “decide” she looks directly at Balian, and is quite

clearly in love with him.

SIBYLLA (CONT'D)
(to change the subject)
Do you pray?

BALIAN
I pray that I may be equal to what
has been asked of me. To what has
been given me.

SIBYLLA
We all pray that at first. But who
stays content when others have
more?

BALIAN
(smiles)
I was content, with what you would
call nothing. I may be content
again. Here.

He looks out over the praying Ibelin Muslims. All in

submission to God, bowing in unison.

BALIAN (CONT'D)
They submit...we must decide. They
have it easier.
(gently)
You did not decide on Guy.

SIBYLLA
(unhappily, firmly)
My first husband was chosen by my
father. I cannot complain, since my
son was the result, but that is
retrospection. My first husband
died before his son was born.

BALIAN
I have seen your son.

SIBYLLA
He is not strong. And he will be
the king.
(she thinks sadly about
her son, then presses on)
Guy was chosen by my mother.
(MORE)

(CONTINUED)

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 66.
CONTINUED: (2)
SIBYLLA (CONT'D)
The Kingdom needed new blood. My
mother took what was available at
the time.
(near tears and wanting to
be alone)
I have not decided very much in my
days. One learns not to want. They
submit to God. I submit to the
Kingdom of Jerusalem. Good night.

BALIAN
Good night.

SIBYLLA goes along the gallery. BALIAN watches her go.

EXT. THE FIELDS. MORNING

BALIAN dismounts and, boots in the furrowed dry earth, walks

his horse respectfully past the praising MUSLIMS. Squinting
against the late sun. A note of paradise. MUSLIMS pray, JEWS
and CHRISTIANS work together in the fields. Ibelin is a
microcosm of the king’s Jersualem--the better world.

INT. THE GALLERY. DAY

SIBYLLA is sitting in an archway, knees up, looking out at

the water.

BALIAN come in, dusty. Brass chimes turn and tinkle in the
wind.

SIBYLLA
I could stay here...perhaps not
forever... but a little while
longer.

BALIAN
This house is yours.

SIBYLLA
(staring into the light)
Why am I here?

BALIAN sits down beside her.

BALIAN
I know that Ibelin is not on the
way to Cana.

Sibylla smiles. Her eyes luminous.

SIBYLLA
What else do you know, my lord?

(CONTINUED)

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 67.
CONTINUED:

BALIAN
I know that your are a princess and
that I am no lord. Nor do I wish to
be.

SIBYLLA
You are a knight.

BALIAN
Not proved.

Sibylla looks up at Balian.

SIBYLLA
I do not stay on here with you
because I am bored, or wicked. I am
here because... in the East... one
may decide...
(a beat)
...because in the East between one
person and another there is only
light.

BALIAN raises her face and kisses her. He carries her back
against a pillar.

INT. THE ROOFTOP “BEDROOM” AT IBELIN. NIGHT

SIBYLLA, sitting in the bed, takes one by one the rings from
her hennaed hands.

SIBYLLA
This is from France, which I have
not seen...I have never been to
France...This for my brother...This
to remind us of death...This I
bought the day I saw you...

BALIAN
You lie.

SIBYLLA laughs, admitting it, gets up on her knees, puts a

ring on a chain she has take from around her neck and puts it
around his neck and kisses him. Leaving Balian staring after
her she goes to the window, wrapped in silk, and takes up a
broken pomegranate from the table. With a silver in she eats
the seeds. BALIAN goes and takes the in from her, and sets
the POMERGRANATE down.

Sibylla looks up at him.

SIBYLLA
But I’m hungry.

(CONTINUED)

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 68.
CONTINUED:

He kisses her. Balian’s been out of the game for a while. He

carries her back to the bed.

EXT. THE DESERT. DAWN

CAMELS laden with dyed goods move along, bells tinkling.

Three of the merchant’s daughters ride in camel howdahs.

A MUSLIM TRADING CARAVAN moves across the wide desert. Two

hundred camels. it has with it a small force of calvary,
riding in a file.

A HILLTOP. TWO RIDERS CREST IT.

GUY and REYNALD sit their horses and stare towards the
Muslims. They are at the head of a little over 50 knights,
including fanatical TEMPLARS. Destriers restless. Ready as
the men are to fight.

REYNALD
(near-sighted)
Do you see them?

GUY
(smoothly)
How could I? I am not here.
(a beat)
This caravan is armed, Reynald.

A CRY FROM BELOW as they are spotted. The MUSLIM FORCE

spreads out, arches on horseback, forming a line between the
Crusaders and the now hastening caravan. The TEMPLAR MASTER
rides up beside them.

Bloodthirsty.

TEMPLAR MASTER
God wills it.

REYNALD draws his sword. A ride detaches and streaks away

across the desert. GUY notices.

GUY
A rider got away.

REYNALD
(unconcerned)
It’s a broad desert. Nothing will
of it. Nothing...
(laughs)
or the apocalypse.

(CONTINUED)

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 69.
CONTINUED:

GUY
I prefer to not be hanged before my
wife is queen.

REYNALD
Does that make you king? I have
never been sure.

GUY
Close enough.

REYNALD
(riding along the ridge)
Don’t worry. Who but Reynald? they
will say. It’s always me!
(belches)
They will believe it at Jerusalem,
I assure you. And Damascus. You
were at Nazareth, praying.

GUY
(drawing sword)
You’re a clever man.

REYNALD
On the other hand, how long can the
leper last? Not long. If the war is
to be now or later I would have it
now.

GUY nods. He’s thinking that as well.

GUY
Now.

The KNIGHTS charge. Reverse it. The CAMELS and people are
running. Men grabbing weapons of every kind. The heavy
knights smash through the defenders, killing everyone they
come near. People trying to surrender are killed. We see the
TEMPLARS killing with particular savagery. Leave the fight in
the dust, the knights murdering, the camels running, silks
and silver spilling...It’s over almost at once. GUY, covered
with blood, wheels his horse.

REYNALD rides up to: The MUSLIM GRANDEE. The man he paid off
at the palace.

REYNALD
You.

He splits him in half.

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 70.

EXT. THE ROOFTOP BEDROOM AT IBELIN. DAWN

Wind is rising. BALIAN covers Sibylla with more blankets. She

stares hauntedly, hollowly. She has been crying. Stares off.

BALIAN
Why do you cry?

SIBYLLA
Because I go in the morning.

BALIAN
Stay.

SIBYLLA
I have a dying brother, and a child
who will be king.

CLOSE ON BALIAN, CONSIDERING THIS ENORMOUS FACT.

SIBYLLA (CONT'D)
As for us, the world will decide.
The world always decides.

EXT. COURTYARD AT IBELIN. DAY

A dust storm rising. Wind in the palms. Sibylla’s lancers are

mounted.

BALIAN helps Sibylla into the saddle. They are awkward,

observed, infinitely sad. As she bitterly turns her horse,
there is a commotion OS. People pointing. BALIAN leaves
Sibylla and moves through the crowd to see:

BALIAN’S POV:

A MUSLIM in a blood-stained gown is stumbling through the

palms, crying for water, for help

BALIAN stares as his people rush forward and we go to:

INT. THE THRONE ROOM. JERUSALEM. DAY

An assembly of the powers of the land. Set up like the House

of Commons, with Templars and Guy’s party on one side,
Hospitalers and loyalists on the other. The king wearing a
mask of silver, looking at GUY and TIBERIAS, who stand before
him.

GUY
Maybe Reynald did attack a caravan.
But what of it? War is inevitable.
Peace...unnatural.

(CONTINUED)

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 71.
CONTINUED:

TEMPLAR MASTER
(like a man speaking in
tongues)
It was no caravan. It was an army
headed for Bethlehem to desecrate
the birthplace of Our Lord.

TIBERIAS
(exasperated)
Reynald, with the Templars, I am
sure--

TEMPLARS
Lie! Lie!

TIBERIAS
...have broken the king’s pledge of
peace. Saladin will come into this
kingdom...

GUY
Tiberias knows more than a
Christian should about Saladin’s
intentions.

Uproar among the BARONS. TIBERIAS goes close to GUY.

TIBERIAS
What do you say?

GUY
That you love the Saracens.

A close moment. TIBERAIS very close to Guy.

TIBERIAS
That I would rather live with
people than kill them is certainly
why you are alive.

GUY
That sort of Christianity has its
uses. I suppose.

TIBERIAS
(to court)
We cannot have war with Saladin. We
will not win it. And, yes, we do
not want it.

TEMPLARS
Blashpemy, blasphemy.

(CONTINUED)

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 72.
CONTINUED: (2)

TEMPLAR MASTER
Blasphemy. An army of Jesus Christ
which bears his holy cross cannot
be beaten. Does the Count of
Tiberias suggest that it could be?

An uproar among the divided parties.

TEMPLAR MASTER (CONT'D)

There must be war. God wills it.

TEMPLARS
God wills it. God wills it. God
wills it.

TIBERIAS
(roaring at the whole
court)
Then pray Jerusalem that God will
win it, for in the end we shall
not.

The hall falls silent. A MESSENGER has entered. He moves

forward, and speaks to the King. The King raises his masked
face.

THE KING
Saladin has crossed the Jordan.
With two hundred thousand men.

TIBERIAS
He will go first for Kerak.

The king starts to rise.

THE KING
Assemble the Army.

HYSICIAN
Your majesty...If you travel you
will die.

GUY, overhearing this, looks pleased.

THE KING
Assemble the Army.

EXT. THE CARAVAN MASSACRE SITE. TWILIGHT

Dust is blowing through the tangled corpses of men and

horses. BALIAN’S MEN pick through the wreckage. BALIAN is
“solving” the fight. What horses came from which direction.
BALIAN dismounts and examines a dead horse.

(CONTINUED)

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 73.
CONTINUED:

BALIAN
(examining it)
That’s not a wound. The brand is
cut off.

ALMARIC
Reynald did this. His castle of
Kerak is ten leagues. Fifteen...

A cry OS: A SOLDIER is driving off vultures.

SOLDIER
The Christian bodies hid. Here.

In a natural ditch, hastily covered, stripped European

bodies, half-buried. The sand blows across them. As BALIAN
stares down:

SIBYLLA rides up behind him and stares equably at the bodies.

What sort of woman is this? A woman of her time. JACKALS are
loping towards the dead.

ALMARIC
We must send a rider to the King.
Unless my lady will take the news
to Jerusalem.

SIBYLLA
No. I am staying with you.

BALIAN
(holding her bridle)
I am going to Kerak. Reynald did
this.

SIBYLLA
Not alone, I think. Not alone.

ON SOUND: A BELL CLANGING ALARM.

EXT. THE VALLEY OF KERAK. DAY

A LINE OF REFUGEES are streaming towards the castle, through

a rubbly village being evacuated in haste. People loading
mules, camels. Some simply running.

EXT. A HILL ABOVE THE VALLEY OF KERAK. CONTINUOUS

BALIAN crests the hill, mounted, followed by the entire

garrison of Ibelin (50 mounted men). In the distance down the
valley: dust.

(CONTINUED)

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 74.
CONTINUED:

ALMARIC
The calvary will come up the valley
to close Reynald in, and the siege
army will come behind it.

BALIAN looks at the refugees straggling across the desert. As

he does he sees: MUSLIM HORSE are coming up the valley. Other
parties of calvary appear in all directions. He turns to
SIBYLLA.

SIBYLLA
Princesses are not killed.
Somewhere it is written down.

BALIAN
Go into the fortress. Now.

SIBYLLA is a woman of her time: she too has seen the cavalry
in every direction: nods. She kisses BALIAN, looks him in the
eye, and then gallops off, her lancers with her.

BALIAN rides a little forward, staring. MOTHERS with children

running through the dust.

EXT. KERAK. DAY

KERAK’S BELL is continuing to peal alarm as SIBYLLA and her

TURCOPOLES flash up through the gates.

REYNALD
Visitors!

REYNALD, wearing a festive gown, and eating an orange, stares

indifferently at the desert. His personal Priest and
confessor (a ragged, long suffering cleric) is with him. MEN
AT-ARMS are manning the walls.

REYNALD (CONT’D)
(grabs the priest, to use
him as “binoculars”)
How many?

REYNALD’S PRIEST
I can’t see yet. Only a dust
cloud...

REYNALD
(hands his goblet to the
priest and pisses against
a buttress)
I serve God. That is what I do. If
God tells me to raid Mecca then by
God I raid Mecca.
(MORE)

(CONTINUED)

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 75.
CONTINUED:
REYNALD (CONT'D)
That is the way things are done.
And now it’s all this. Again.

EXT. THE VALLEY OF KERAK. CONTINUOUS

MUSLIM HORSE move from a canter to a gallop. Sweeping up the

valley.

EXT. THE BATTLEMENTS OF KERKA. CONTINUOUS

We see the first of the REFUGEES making it through the gates.

SIBYLLA stands on the ramparts, looking out.

REYNALD
I wish I were fifty again or that
you drank liquor. What do you look
at?

SIBYLLA
Knights.

REYNALD
(squints)
What knights?

EXT. THE VALLEY NEARER THE CASTLE. MOMENTS LATER

We see the streaming refugees, driving cattle, and heavy on

the women and children. Into the shot, BALIAN and knights.
They turn to face the oncoming Muslim cavalry, that rolling
wall of dust. They walk forward through the refugees moving
in the other direction. A RIDER comes up.

RIDER
My lord prays you bring your
knights into Kerak.

BALIAN completely ignores him. The RIDER is mystified. But he

twigs it:

Balian is going to delay the Muslim cavalry.

BALIAN
(staring towards Muslims)
If we go into the castle, those
people will die.

ALMARIC
We cannot attack that force and
live.

(CONTINUED)

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 76.
CONTINUED:

BALIAN
There must be a lie about how many
Saracens one of us is worth in
battle.

ALMARIC
The commonest is ten.

BALIAN
Are you with me?

ALMARIC nods and makes the sign of the cross. The KNIGHTS and
SERGEANTS cross themselves as well. BALIAN rides slowly
forward at the head of his men.

EXT. THE BATTLEMENTS OF KERKA. LATER

REYNALD, now being helped into his armor, stares towards the
south, still squinting and using the PRIEST as his
“binoculars”.

REYNALD
They mean to charge that? They are
better men than me. Not quite so
bright, but better men than me.
(to Sibylla)
You know this fellow. Why is he
doing this?

SIBYLLA
Because he is a knight, Reynald.

REYNALD
Hmmn.
(turning away
indifferently)
Selah.
(A Hebrew word from the
Psalms, meaning, as he
says it, “So be it”.)

SIBYLLA, unexpectedly, crosses herself, and watches for the

outcome.

EXT. THE VALLEY OF KERAK. DAY

BALIAN advances with his thin line of heavy cavalry, now

fully interposed between the Muslims and the refugees. The
Muslims are racing, but in contrast to them (going back to
BALIAN) we should not mistake how very dangerous the heavy
knights are.

(CONTINUED)

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 77.
CONTINUED:

BALIAN spurs his horse up to a canter, and then as his men

catch up, and, taking the “high guard” (none of the knights
now using reins: the destriers know exactly what to do)
gallops towards the Muslim force. The forces collide. The
knights drive deep all across the front, killing, unhorsing,
scores of MUSLIMS, completely destroying the impetus of the
Muslim cavalry. DESTRIERS smash down Arab horses. A KNIGHT is
lanced off his horse. ARABS, in the hundreds, are hacked out
of the saddle.

Arrows miss their targets. Men roll on the ground in the

melee. The IBELIN MEN are grotesquely outnumbered but they
have stopped the Muslim advance--for the moment.

EXT. KERAK. DAY

REFUGEES stream in.

EXT. THE VALLEY OF KERAK. CONTINUOUS

The inevitable end is near: There are too many Muslims.

IBELIN MEN go down and are run down by horses or killed or
seized by dismounted men.

BALIAN wheels in the melee, killing. His HORSE is hamstringed

(we see the hatchet that does it), and he goes down.
Immediately he is overwhelmed by Arabs, disarmed, beaten,
dragged. Horses, whirling dust, screaming men. BALIAN is
dragged, forced to his knees. He sees:

ALMARIC, with a head wound, and some other of his men,

kneeling, all threatened by yelling Muslims. BALIAN closes
his eyes, preparing to accept death, and lowers his head.

EXT. THE WALLS OF KERAK. CONTINUOUS

SIBYLLA turns away from what seems to be the imminent

execution of Balian.

EXT. THE VALLEY OF KERAK. CONTINUOUS

FINE BOOTS come forward through the dust. A SCIMITAR is

drawn. BALIAN looks up and sees: the SCIMITAR raised as if to
behead him. He lowers his eyes and head. The sword impacts--
ON HIS SHOULDER. The flat of it quivers there and is
withdrawn. BALIAN looks up and sees:

IMAD. The commander of Saladin’s cavalry. In beautiful

Damascus armor, smiling at him. MUSLIMS stare. Do they kill
these men? Do they not?

Imad helps Balian to his feet.

(CONTINUED)

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 78.
CONTINUED:

BALIAN
You were not that man’s servant.

IMAD
No.

A MUSLIM hands BALIAN a waterskin. ALMARIC can’t believe this

is happening. The MUSLIMS draw back, murmuring. BALIAN nods,
and drinks, then, with Imad’s nodded permission, takes the
water to a wounded man.

EXT. THE BATTLEMENTS OF KERKA. CONTINUOUS

The PRIEST is watching.

PRIEST
They are letting them live.

REYNALD
(indifferent, swigs wine)
Sometimes they are chivalrous. They
learned it from us.

EXT. THE PLAIN BEFORE KERAK. CONTINUOUS

IMAD and BALIAN.

IMAD
You may go into Kerak, but you will
die there. My master is here.

BALIAN looks past IMAD to higher ground (to one side of the
valley of Kerak) and sees...the arrival of SALADIN’S ARMY. An
enormous line of men, mounted and unmounted, in perfect
order, each section with its banner.

ALMARIC
And ours, my lord.

IMAD looks in the other direction. Far, far off he sees the
glint of steel in dust. IMAD walks apart, staring and gets
onto hi horse to see better.

IMAD
Tell my lord Saladin that Jerusalem
is come.

THE ARMY OF THE KINGDOM OF JERUSALEM.

The KING rides in his litter alongside THE HOLY CROSS,

covered with gold and jewels, passes through the streaming
dust. 500 knights are marching towards the relief of Kerak.

(CONTINUED)

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 79.
CONTINUED:

They are flanked by and protected by 5,000 SPEARMEN and

CROSSBOWMEN. Essentially the army is a moving square,
tremendously disciplined. GUY is with the army.

IMAD stares through the dust. A man breaks away from the
Muslim line and rides up beside him. A small, slight, figure,
unarmored, in simple clothing. He scrutinizes Balian, his
bloody men, then Imad.

SALADIN
Pull back your cavalry.

As HORNS blow and the Muslims retire, leaving Balian and his
wounded, winded, men in the valley with a perfect view of
events...

THE ARMY OF JERUSALEM does an "evolution" and in one movement

it is transformed into a fighting line, facing the Muslim
Army, about a quarter mile away. Out of the dust rides...in
BALIAN’S POV:

THE KING.

THE KING, a brilliant horseman, is using every ounce of

strength he still possesses to not only stay in the saddle
but look as if he is still a living man, when in fact he is,
essentially, already a dead one. He rides in front of his
army, and raises his palm as he arrives before Saladin.

SALADIN rides forward himself, so that they are very close.

THE KING
I pray you retire unharmed to
Damascus.

SALADIN moves forward, looking closely at the dying king. He

knows how much effort this has cost the man.

THE KING (CONT’D)

Reynald of Chatillon will be
punished. I swear it. Withdraw, or
we all die here.

SALADIN looks at the Army of Jerusalem. Then at the king.

SALADIN
I will send you my physicians.

The KING lowers his head but only for a moment.

THE KING
Do we have terms?

(CONTINUED)

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 80.
CONTINUED: (2)

SALADIN
We have terms.

The masked KING rides back to his army.

EXT. KERAK. LATER

THE ARAB FORCE PARTS. BALIAN and his surviving men, released
to cheers from the battlements, ride out towards the gates of
the castle, which are opened.

INT. THE COURTYARD AT KERAK. MOMENTS LATER

BALIAN and his men stagger in, acclaimed by the peasants they
have saved. Through the crowd comes Reynald.

REYNALD
You would have given me more mouths
the feed and more shit to throw
over the wall. You have a great
deal to learn about sieges.

REYNALD claps him on the arm.

REYNALD (CONT’D)
(whispering)
But that was magnificent.

BALIAN, looking up, sees SIBYLLA. She stands in an archway.

Smiling down.

BALIAN starts for Sibylla. At that moment...THE KING and his

party, including TIBERIAS and GUY, gallops through the gates
of KERAK.

Unable to go to Sibylla through the crowd, BALIAN pulls her

ring on its chain from the throat of his armor, and kisses
it. SIBYLLA nods.

REYNALD knows he’s in for it. He drinks the last of the wine.

THE KING gets painfully from the saddle. The ride has killed
him: has taken near the last of his strength. The King,
walking to Reynald, dragging one leg, removes his turban. He
drops it on the ground. He walks towards Reynald, and takes
off his mask. We do not see The King’s destroyed face. But
Reynald does.

THE KING
I am Jerusalem.
(walks forward, unwrapping
one of his hands)
(MORE)

(CONTINUED)

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 81.
CONTINUED:
THE KING (CONT'D)
Will you give me the kiss of peace,
Reynald?

The King holds out a ruined hand, with a ring on what remains
of a finger. REYNALD kisses the hand. The King beats him with
a stick.

Again, again, again, as GUY watches--terrified that Reynald

might squeal. Guy looks up and sees:

SIBYLLA. He follows her eyeline to:

BALIAN.

And he knows. He unties a glove with his teeth.

PHYSICIANS grab the king, who almost faints. The KING is

helped to his litter. The KING reaches out a hand to
SIBYLLA...who recoils from him

The KING, a tear falling, closes his eyes.

REYNALD
(to TIBERIAS)
What are you looking at?

TIBERIAS
A dead man. Reynald of Chatillon,
you are arrested and condemned.

The KING is laid into his litter. A draught of medicine is

poured into the mouthhole of the mask. The king gestures to
BALIAN.

THE KING
(gently, almost dreamy)
If you continue as you are I shall
make you Marshal of Jerusalem. What
do you think of that?

Before Balian can respond, the KING’S LITTER is carried off.

TIBERIAS is beside BALIAN.

TIBERIAS
When a man says something on the
edge of sleep one may discard it.
When a king says it, it will
happen. Mark you.

BALIAN and TIBERIAS lock eyes.

(CONTINUED)

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 82.
CONTINUED: (2)

TIBERIAS (CONT’D)
Do not return to Ibelin. I need you
in Jerusalem.

SIBYLLA cannot join Balian in public; but she looks at him.

GUY observes this. SIBYLLA, noticing her husband, looks at
GUY expressionlessly, and retires into an archway and
disappears.

A KNIGHT
(still mounted, moving
through the crowd)
Godfrey’s son charged ten thousand
with a hundred men.

GUY
Did he...

BALIAN is mobbed...by GUY’S MEN as much as anybody. TIBERIAS

watches shrewdly as the shy BALIAN’s popularity with the
troops becomes more than obvious.

INT. SALADIN’S TENT ON THE ROAD TO DAMASCUS. NIGHT

SALADIN saturnine, watchful, delicate with his food, is

dining with IMAD and a still-astonished MULLAH.

MULLAH
The battle must come. You have
promised to drive the Christians
into the sea. You have not done so.

SALADIN makes no response. He sips tea, staring into flame.

MULLAH (CONT’D)
Why did we retire? God could not
favor him! God alone determines the
results of battles.

SALADIN
The results of battles are
determined by God. But also by
preparation, numbers, the absence
of disease, and the availability of
water.
(kindly)
One cannot maintain a siege with
the enemy behind.

The MULLAH stares: heresy.

(CONTINUED)

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 83.
CONTINUED:

SALADIN (CONT’D)
How many battles did God win for
the Muslims before I came?
(a courtly pause)
Before, that is, God determined
that I should come.

MULLAH
Few enough.
(thinks about the reason)
That is because we were sinful.

SALADIN
It is because you were unprepared.

MULLAH
If you think tha way you shall not
be king for long.

SALADIN
(drily)
When I am not king I quake for
Islam.
(he takes the Mullah’s
hands)
Thank you for your visit.

MULLAH
(not leaving)
You promised to return Jerusalem.

SALADIN nods. The MULLAH goes. SALADIN stares into flame.

SALADIN
(softly)
If I do not deliver war, I have no
peace.

IMAD
The king of Jerusalem will die
soon. When he is dead, the boy will
be king, and have no control of the
kingdom. The Christians will make
the war you need.

SALADIN nods, frustrated, condemned. Neither man is happy

with the realpolitik. OS the sounds of the camp, and prayer.

EXT. JERUSALEM. TWILIGHT

The domed city is under a dust-storm. Heavy wind. We hear

wind-torn churchbells and together with them the Muslims call
to prayer.

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 84.

EXT. A GARDEN. CONTINUOUS

THE BOY KING is riding around a garden on his pony, laughing.

SIBYLLA watching, careworn, with love. BELLS.

EXT. A WALL AND GATE OF JERUSALEM. CONTINUOUS

Wind is blowing dust in the faces of spitting workmen who are

levering a great stone up a ramp. BALIAN and ALMARIC walk,
cloaked, supervising the works. TWO CLOAKED MEN go past,
salaaming to the embarrassed Balian. A burkahed woman gives
him an orange from her basket: A memory of Godfrey. He
smiles. Climbs up the wall. GREAT PIPES (for Greek Fire) are
being swayed up. BALIAN watches, supervising.

ALMARIC
My lord?

BALIAN
(still uncomfortable with
the “my lord” business)
Yes.

ALMARIC
It is enough that you ask men-at-
arms to push stones, and dig. It is
worse to ask them to do it all day
and night.

BALIAN
We have a dying king. We need
strong walls. As for work, I want
every man at arms to learn a trde.

ALMARIC
A trade?

BALIAN
A trade. Shoemaker. Tanner.
Carpenter. Joiner. Baker.
Blacksmith.

This strikes Almaric as unreasonable.

ALMARIC
It is beneath their condition.

BALIAN
The first man to bring me a
respectable pair of shoes I will
make a knight.

Smiles. Tosses Almaric the orange.

(CONTINUED)

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 85.
CONTINUED:

ALMARIC
(rationalizing)
Jesus was a tradesman, of course.
Nothing could be more noble.

Balian turns and sees: GUY at the head of his troops. A GREAT
LINE OF KNIGHTS AND MEN AT ARMS is parading through the gate,
Guy very much at their head, coming in from a brief patrol.
It is also a show of force in the city. Fascistic, powerful.
An image of Guy’s power in the Kingdom. BALIAN, windblown on
the wall with his own dusty, hard-working men at arms, and
stares down, locking eyes with GUY, as the knights stream
past.

INT. HALLWAY IN THE CASTLE. LATER

GUY watches over a cup of wine as PHYSICIANS go into the

King’s rooms.

INT. THE PALACE DUNGEON. CONTINUOUS

REYNALD is like a snarling lion in the dungeon.

REYNALD
(echoing)
I am Reynald of Chatillon. I am
Reynald of Chatillon!

INT. THE KING’S CHAMBERS. CONTINUOUS

A PILLAR CANDLE is burning. The king, breathing laboriously,

is washed by his silent physicians. INCENSE smokes in censers
hanging all around the room.

PATRIARCH
The things we have left undone
plague us as death comes. That is
why to the dying there is no
comfort but the Lord.

The MASK turns to the side and the kings haunted eyes glitter
at: THE CHESSBOARD.

THE KING
We must announced the boy as my
successor. Go to Tiberias and tell
him to come.

The PATRIARCH nods.

THE KING (CONT’D)

Leave me.

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 86.

EXT. HALLWAY IN THE CASTLE. CONTINUOUS

The PATRIARCH, coming out, nods at GUY. GUY sips wine, and
moves along the hall. He goes to the door of Sibylla’s rooms.
He hesitates, and then kicks in the door.

INT. SIBYLLA’S ROOMS. CONTINUOUS

The MAIDSERVANT stands in shock. She retreats a little.

GUY
Where is my wife?

The MAIDSERVANT retreats. GUY smiles, and goes after her.

GUY (CONT’D)
You sometimes dream you are my
wife. Le us pretend you are my
wife.

The MAIDSERVANT simpers, ready for it. He rummages on a table

and puts a little tiara crookedly on the poor girl’s head.

INT. BALIAN’S HOUSE, BEDROOM. NIGHT

A CANDLE lighted from a splinter of wood reveals: SIBYLLA.

She is bare-shouldered, her hair down, but careworn.

SIBYLLA
We cannot meet in the city.

BALIAN
Then we will leave it.

SIBYLLA looks at him over her shoulder.

SIBYLLA
Balian...My brother is dying. My
son will be King and I his regent.
I must rule for my son. Not just in
Jerusalem, but Acre, Ascalon,
Beirut...

CLOSE ON Balian as the candles gutter. He is afraid of what

he’s opened up.

BALIAN
And Guy?

CLOSE ON SIBYLLA, thinking.

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 87.

INT. SIBYLLA’S ROOMS. LATER

Torchbearers comes in, GUARDS, and then Sibylla, cloaked. She

sees first...her boy playing with LEAD SOLDIERS...and then,
with a shock, GUY sitting in a chair. A bit worn out. Holding
the handle of a dagger.

SIBYLLA
These rooms are not yours.

GUY
One day I will be the husband I
was...commissioned to be.

SIBYLLA
And perhaps not.

GUY knows that she refers to Bailian. He smiles thinly, eyes

down.

GUY
Your lover has a hundred knights
and the love of the king. I, the
largest force in the Kingdom...the
support of the Templars...and I can
do without...the other. But your
love...

SIBYLLA knocks away his hand. Her GUARDS are standing there.

GUY (CONT’D)
Soon, we will come to an
understanding. You need my knights.
Or your son’s rule will be bloody
and brief.

He leaves the torchlight and the room. SIBYLLA takes of her

cloak, face white.

OMITTED

INT. THE DUNGEON. LATER

REYNALD, hair tangled, in soiled linen, is eating porridge

with his fingers. He stops to yell his name. The doors open:
GUY. Still dusty from riding.

GUY
In the desert, I had a thought.

(CONTINUED)

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 88.
CONTINUED:

REYNALD
That is what the desert is for. Did
you come to kill me for giving your
name? Because I haven’t. And won’t.

GUY
Be as much at peace as you can in
here. You will not be here long.

REYNALD
And you? Do you think that the king
really wants you at the head of the
army when his is gone? Do you?

GUY leans against the wall, thinking.

REYNALD (CONT’D)
Do you think your wife does?

GUY
I have a problem.

REYNALD
I saw him at Kerak. Celebrated.

GUY
Precisely.

REYNALD
You must beware of a popular man.
As do, I think, the Templars.

GUY
Precisely.

INT. THE KING’S CHAMBERS. LATER

BALIAN looks down at the dying king.

THE KING
It is time to conclude my affairs.
(a beat)
You are the Marshal of Jerusalem.
(BALIAN looks up)
And you are a peer of this kingdom.
Do you know what that means?

BALIAN shakes his head “no”. TIBERIAS watches gravely.

THE KING (CONT’D)

No one can rule a kingdom who
cannot lead troops in battle.
Tiberias will not live forever.

(CONTINUED)

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 89.
CONTINUED:

The KING sits up, stands, and under his own power goes to his
chair.

THE KING (CONT’D)

I cannot die with there being a
chance of Guy taking power through
my sister. He will make war against
the Muslims, who are only too ready
to take this Kingdom. Will you
protect my nephew when he is king?

BALIAN
Yes.

THE KING
Would you marry Sibylla were she
free?

BALIAN stares at the floor for a long time. He has been

offered his desires. He finally looks up.

BALIAN
And Guy?

TIBERIAS
He will be executed on the instant
you say yes. With all of his
knights who do not swear to you.

BALIAN must now give away the woman he loves.

BALIAN
I cannot be the cause of that.

TIBERIAS
You are not in your forge anymore,
boy. Do it.

The KING raises his hand for silence. TIBERIAS, exasperated,

leaves the room. THE KING watches BALIAN.

BALIAN
A king may move a man, you said.
But the soul, you said, is the
man’s.

The KING (we can see it through the mouth-hole) smiles.

THE KING
...Yes.

BALIAN
You have my love. And my answer.

(CONTINUED)

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 90.
CONTINUED: (2)

BALIAN takes the wrapped hands and bows.

INT. THE HALL OUTSIDE THE KING’S ROOMS. MOMENTS LATER

TIBERIAS leans against the wall. BALIAN comes out OS. All on
Tiberias as he realizes: Balian possibly isn’t going to do
it.

TIBERIAS
(coming closer)

BALIAN
He has made me Marshal of
Jerusalem. I will protect the
kingdom, and the new king. To the
rest, I have said no.

TIBERIAS
I understand. I do. But if you do
not marry Sibylla--

BALIAN
I will not kill a man in cold blood
or for profit.

TIBERIAS
(interrupts, pleading)
Who is he that you save his life?
He’s a man who hates you, who has
insulted you...I play Devil...but
for the salvation of this kingdom.
Compromise yourself.
(Balian is backing away
from him)
Jerusalem does not need “a perfect
knight”. This is the world.

BALIAN
No...it is his kingdom, and it is
my life. And both are kingdoms of
conscience, or nothing.

BALIAN moves on. He sees: GUY. GUY (who has not heard the
previous) stares at him hollowly.

GUY
A hundred against ten thousand.

Slow clapping from Guy. BALIAN gives the man whose life he
has saved a long, long, look, and then continues on his way.

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 91.

INT. THE COURTYARD AT BALIAN’S HOUSE. CONTINUOUS

Moonlight in the pool. BALIAN sits down and looks at the

water. PALMS blow overhead, reminiscent of Ibelin. Horse’s
hooves, OS, and someone comes in behind Balian. BALIAN looks
around. It is SIBYLLA, cloaked.

SIBYLLA
I see a man who could be great,
unless he chooses to be “good”. If
you do not join with me, I am left
with Guy.

BALIAN
You would see your husband dead.

SIBYLLA
For Jerusalem. For my son. For
love.

BALIAN
What kind of “love” is that?

SIBYLLA
Who are you to refuse a king? You
refuse my son.

BALIAN
I refuse to do murder. Especially
of a man who stands between me and
what I want.
(Sibylla is shaken)
And Jerusalem. Look into your
heart. Do you have any idea of
Jerusalem except that it is yours?

SIBYLLA
(a long pause, and an
honest answer)
It is mine. My grandfather took
Jerusalem in blood. I will keep it
in the same way, or any way I can,
for my family, for my son. I am
what I am. I offer you that, and
the world...you say no.

BALIAN
Do you think I am Guy? That I would
sell my sould for “the world”, or
even you? Do you think that I am
a...thing...that can be used?

SIBYLLA looks up at him.

(CONTINUED)

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 92.
CONTINUED:

SIBYLLA
I think you are a man. And I think
there will be a day when you wish
you had done a little evil, to do a
greater good.

SIBYLLA exits. BALIAN stares after her.

INT. SIBYLLA’S ROOMS. LATER

PUSH through the rooms to find SIBYLLA. She crushes a rose,

stem and all, and the blood rills down her wrist.

EXT. IBELIN. DAY

THE WATERWHEEL TURNS, spilling water into a ditch which runs

off into the fields. BALIAN, covered with dust, looks at the
wheel turning. Then at the crops. IBELIN KIDS are staring at
him. He wander out of shot.

INT. SIBYLLA’S ROOMS. NIGHT

SIBYLLA is showing her son a GLOBE of the world.

SIBYLLA
That is England, where Richard is
King. And here is France. We have
lands there. Very green.

BOY
Will I ever see France?

SIBYLLA
But you must be king. Here.

BOY
Why?

She looks sad and guilty. A sound. SIBYLLA looks at:

TIBERIAS. She stands.

TIBERIAS
The king wants you. He needs you.

SIBYLLA
I cannot bear to look at him. He
knows this. It does not mean I do
not love him.

TIBERIAS
(imploring her)
Go.

(CONTINUED)

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 93.
CONTINUED:

Sibylla nods. It is something she knew she must do anyway.

TIBERIAS stays looking at the boy for a moment.

TIBERIAS (CONT’D)
May God defend you.

TIBERIAS goes out. The BOY plays with the candle flame. He
touches it with one hand-- and draws the hand back, in pain.
He touches the flame with his other and (the fingers touching
the flame OS) does not draw the hand back.

INT. THE KING’S DEATHCHAMBER. MOMENTS LATER

The KING, wearing his mask, is breathing raggedly. SIBYLLA

approaches, down the long room. The King’s PHYSICIANS back
away. She kneels beside her brother’s bed, as if at a coffin
at a wake.

THE KING
Do you remember when I was a boy...

SIBYLLA
And when you defeated Saladin. You
were sixteen...

She cries.

SIBYLLA (CONT’D)
You have never not been beautiful.
In every act. In every word.

THE KING
Remember me as I was.

SIBYLLA
(in tears)
I will. I do.

The mask moves: a nod. SIBYLLA kisses the mask.

EXT. THE HALLWAY. NIGHT

GUY is standing outside as Sibylla comes out. He looks

strangely more needy and in love than villainous. SIBYLLA
looks at him evenly.

SIBYLLA
If my son has your knights, you
have a wife.

GUY
Unless I am made head of the Army
we have no bargain.

(CONTINUED)

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 94.
CONTINUED:

SIBYLLA nods and moves on.

INT. THE KING’S DEATHCHAMBER. TWILIGHT

Move through the columned room. THE KING IS DEAD AND LIES IN
STATE.

SIBYLLA kneels at the end of the room. She crosses herself,

and stands to leave, but then as if in a dream moves towards
the biered, masked, body. She reaches out trembling fingers
and removes the mask. Here for the first time we see what
leprosy has done to the king, her brother. She stumbles back,
and drops the MASK on the stones. Then, as she looks up, it
is the Sibylla who will do what must be done. Whatever it may
be.

SIBYLLA
Long live the King.

EXT. JERUSALEM STREETS. TWILIGHT

BELLS are tolling, funereally. PEOPLE are wailing in

mourning, throwing dust on themselves. A few brighter lights
might actually be packing.

INT. THE CHURCH OF THE HOLY SEPULCHER. CONTINUOUS

Torchlight. All the nobles of the kingdom. The BOY is given

scepter and orb, and crowned by the Patriarch. SIBYLLA is on
her knees, watching, GUY beside her. The Patriarch turns
toward them.

PATRIARCH
Do you swear before God to be his
true regents in peace and war.

SIBYLLA and GUY nod, swearing, and are anointed with oil. GUY
is given a baton signifying command of the Army. He looks at
it. Then up.

EXT. WHITE DESERT. DAY

A CREOSOTE BUSH. A stone falls near it. Another. The third

stone throws a spark, and the bush explodes into flame: the
burning bush of Moses.

HOSPITALER (OS)
I do not hear a voice.

BALIAN
Nor I.

(CONTINUED)

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 95.
CONTINUED:

As the HOSPITALER walks his horse follows him, almost

magically.

HOSPITALER
Do you love her?

BALIAN nods.

HOSPITALER (CONT’D)
You’ve followed your conscience.
Your heart will mend.

Balian stares into the light.

HOSPITALER (CONT’D)
You are Marshal of Jerusalem now.
Your duty is with the people of the
city. No matter who is on the
throne.

BALIAN nods. The HOSPITALER mounts.

HOSPITALER (CONT’D)
I go to pray.

BALIAN
For what?

HOSPITALER
For the strength to endure what is
to come.

BALIAN
The Muslims will come when he is
dead.

HOSPITALER
The reckoning is to come for what
was done a hundred years before.
The Muslims will never forget. Nor
should they.

The HOSPITALER wanders away into a mirage.

EXT. A GARDEN. DAY

A TURBANED SERVANT is running, leading the BOY’S PONY. THE

BOY, his dress now velvet, regal, bounces happily in the
saddle. SIBYLLA walks with COUNCILORS.

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 96.

INT. THE THRONE ROOM. DAY

The BOY sits at a large draped table, swinging his legs,

bored.

SIBYLLA, tired, finishes writing-- in Arabic!

PATRIARCH
My lady, are you sure this is wise,
to show your intentions to Saladin.
Better to let him wonder...

SIBYLLA
We keep my brother’s peace.

GUY, overhearing this, bored among the courtiers, rolls his

eyes.

The KEEPER OF THE SEAL is waiting, with wax hot in a vessel

of some sort. SIBYLLA puts the paper in front of the boy and
guides his clumsy hand to sign.

DETAIL: “BALDWIN V IERUUSALEM”

SIBYLLA nods. The KEEP OF THE SEAL brings the smoking wax to
the paper and as he does it dribbles across the BOY’S HAND.
SIBYLLA notices that the BOY is staring out at the garden,
entranced, oblivious. She covers his hand with her
handkerchief. But the PATRIARCH has seen.

SIBYLLA, her “mask of office” in place. The JERUSALEM SEAL is

pressed into the wax.

SIBYLLA (CONT’D)
The king is tired. I thank you all.

INT. THE KING’S ROOMS. NIGHT

Amidst candles, the boy, lying on his back on a draped bed,

is examined by MUSLIM PHYSICIANS in black as a servant
distracts him with a monkey or a Punchinello puppet. SIBYLLA
leans against a wall, breathing sharply as if
hyperventilating but holding herself together. She sees her
son in the king’s rooms, surrounded as the king was by
physicians...she is wobbly...ashen-faced. A PHYSICIAN
examines the boy’s hand (still with the remains of a burn on
it) and then moves to the feet. Gently he feels them. Then he
sticks a pin into one. The BOY does not react. The PHYSICIAN
looks up to SIBYLLA, who begins to tremble. The shadow of the
monkey or the puppet on the wall.

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 97.

INT. SIBYLLA’S ROOMS. NIGHT

SIBYLLA is writing, alone. State papers. TIBERIAS stands out

of the shadows. He and SIBYLLA stare at each other.

TIBERIAS
There is a rumor.

SIBYLLA raises her eyes.

SIBYLLA
Call it treason, and kill those who
whisper it.
(writes)
Starting with the Patriarch.

TIBERIAS
Does the boy have your brother’s
disease?

SIBYLLA slowly nods. She stands, and TIBERIAS embraces her.

He has known her her entire life.

TIBERIAS (CONT’D)
(hollowly)
We must call it a lie. Condemn it
outright. Show the boy as active...

SIBYLLA
As you did with my brother? With
his reins tied to his hands? How
long before he wears a mask? Will
you have one made for him?

TIBERIAS
I am sorry.

SIBYLLA
To the Muslims he will deserve it.
They will say he deserved it as
they said of my brother... How did
my boy deserve it?
(a beat)
Jerusalem is dead, Tiberias.

TIBERIAS fears it is true enough.

SIBYLLA (CONT’D)
No kingdom is worth my son alive in
hell.

(CONTINUED)

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 98.
CONTINUED:

TIBERIAS
(finally)
No.

SIBYLLA
I will go to hell instead.

EXT. THE GARDEN. DAY

A brilliant, luminous, day. The BOY is happily riding his

pony, holding his LEAD KNIGHT. This time SIBYLLA is leading
him. She is stone-faced. She leads him towards a “summer
house” at the end of the garden.

EXT. THE SUMMER HOUSE. TWILIGHT

SIBYLLA uncorks a bottle, and pours a cup. Her fingers do not

tremble. She holds it to the boy who smiles radiantly at his
mother on the best day of his life, and drinks.

LATER

The boy’s hand opens and the LEAD KNIGHT falls to the floor.

EXT. THE ROAD TO JERUSALEM (GORGE). DAY

We see: A KNIGHT. It resolves as BALIAN, riding along the

road. He dismounts to drink at rocky stream. He wears mail,
but no helmet. He looks up and sees (coming down the track by
a solitary tree): THREE TEMPLAR KNIGHTS, Guy’s assassins,
arrayed across the road. They are heavily armed, enigmatic.
BALIAN mounts, and rides towards them. One rides slightly
forward, with a lance. BALIAN grips his shield. He has no
lance, only an undrawn sword. The FIRST TEMPLAR lowers his
lance, and charges BALIAN, no time to draw a sword, takes the
lance on his shield, shatters it. The TEMPLAR takes out a
mace. BALIAN hacks him in the teeth with the edge of the
heavy shield, unhorsing him. The SECOND TEMPLAR spears in
Balian’s horse. BALIAN hits the ground running, his shield
lost. He draws the big sword. The SECOND TEMPLAR rides down
with sword raised. BALIAN swings the sword and hits the horse
in the teeth (which is how a man on foot deals with cavalry).
The horse spills its ride. BALIAN runs forward and kills THE
SECOND TEMPLAR, and then as he tries to catch the First
Templar’s horse is cut across the back of the head by a sword
blow. His hands slip from the leather. He staggers, ready to
fight. The remaining THIRD TEMPLAR rides at him. Horses race
wildly around, raising dust. The remaining Templar,
dismounted comes walking out of the dust, a MACE swinging.

BALIAN
Is this why you came to the Holy
Land?

(CONTINUED)

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 99.
CONTINUED:

The TEMPLAR looks doubtful. BALIAN is aware of the blood he

is losing.

BALIAN (CONT’D)
Come on.

The MACE hums. BALIAN ducks, and bashes in at the man’s face,
getting inside the mace. The men fight hand to hand. He
crawls to the fallen man and after a close struggle (Balian
is losing consciousness) crams his dagger into the eye. He
lies across the body of the dead man, bleeding from the back
of the head.

EXT. JERUSALEM. NIGHT

Torches flare on the battlements. BELLS gong and echo through

the deserted streets.

INT. THE DUNGEON. LATER

The doors open. REYNALD looks up. GUY, stunned by

developments, leans against the wall. He holds a sword
wrapped in its belt. BELLS on sound.

REYNALD
The boy is in heaven.
(GUY leans against the
wall, nods)
Your wife has no more stone than
anyone I have known. God protect
her. I admire good. I just can’t do
it.

GUY
She is in the crypt and will not
come out.

REYNALD
Have the Templars removed your
problem?

GUY nods, hollowly. He gives REYNALD his (Reynald’s) sword.

GUY
Give me a war, Reynald.

REYNALD
That is what I do.

GUY walks out leaving the prison door open. BELLS carry over
into...

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 100.

INT. THE CHURCH OF THE HOLY SEPULCHER. DAY

Torchlight. All the nobles of the kingdom. SIBYLLA, looking

beautiful, drugged, is crowned by the Patriarch. She sits on
the throne. As the Patriarch backs away she looks aside and
sees: GUY’S HAND on her shoulder.

EXT. THE DESERT. DAY

REYNALD, armor covered with blood, stands and surveys A

SLAUGHTERED MUSLIM CARAVAN. Silks are being dragged from
bundles. Purses are being cut from dead Saracens. REYNALD
walks through the scene of slaughter.

MUSLIM WOMEN are being stripped and raped. REYNALD walks as

if stunned and ashamed, but still he has done what he has
done. REYNALD quire simply cannot help himself.

REYNALD
I am what I am. Someone has to be.

He goes up to a captured MUSLIM WOMAN and...Unveils her. Eyes

swerve up.

KNIGHT
That is Saladin’s sister.

REYNALD
I know.

OMITTED

EXT. DAMASCUS. DAY

A GREAT PUBLIC SQUARE, filled with tens and tens of thousands

of Muslim men. They are acclaiming SALADIN but using the
words to praise God. SALADIN raises his palm and the ALLAH is
louder. In a fury Saladin moves away from his balcony and
into his palace.

INT. THE PALACE IN DAMASCUS. CONTINUOUS

IMAD is looking at his master with a kind of fear.

SALADIN
There will be no quarter.

IMAD
Godfrey’s son is lord defender. He
is honest.

(CONTINUED)

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 101.
CONTINUED:

SALADIN
If they do not surrender Jerusalem
they die.

SALADIN cuts his palm; and with a finger puts a streak of

blood on his head.

INT. THE THRONE ROOM IN JERUSALEM. NIGHT

GUY is drinking. Not looking very much like being King was
his best idea. He is listening to a SARACEN MESSENGER.

SARACEN MESSENGER
Where is ibn Barzin?

GUY
Who is ibn Barzin?

SARACEN MESSENGER
It is our name for the son of
Godfrey.

GUY
You will speak to me.

SARACEN MESSENGER
The Sultan will not talk terms. He
means to try the Kingdom in the
greatest wager of battle yet seen
in this land. The Sultan finds us
divided. The Sultan says that
Jerusalem has now a false king. The
Sultan demands the surrender of
Jerusalem.

GUY
Does he.

The SARACEN MESSENGER nods.

SARACEN MESSENGER
What answer do you give to Saladin?

GUY takes out his dagger.

GUY
This.

He kills the SARACEN MESSENGER, driving point through the

underjaw and into the brain. He lets the body fall.

GUY (CONT’D)
Send the head to Damascus.

(CONTINUED)

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 102.
CONTINUED:

SIBYLLA in her mourning clothes stands shocked in the

doorway, blinking. GUY looks up to her.

GUY (CONT’D)
(mocking her thoughts)
“What have I done?”

The TEMPLARS and GUY’S MEN, by prearrangement, kill the

PALACE GUARD and HOSPITALERS. GUY walks slowly up to his
wife, grabs her face, and kisses her forehead.

GUY (CONT’D)
You’ve served your purpose. You
poisoned the wrong one.

TIBERIAS stepping forward is confronted by Guy’s PIKEMEN.

GUY (CONT’D)
I won’t confine you. I leave you
your power, your knights. You may
try civil war. But then the
Saracens would see us divided and
come in. And so much for Christ’s
kingdom. As they call it in other
parts of the world.
(a beat)
I have the town, I have the palace,
I have its guard, I have the
Templars, I have the Patriarch, and
I have the crown. It’s done,
Tiberias. I am Jerusalem.
(moving away)
Assemble the Army.

EXT. OUTSIDE THE WALLS OF JERUSALEM. DAY

The full ARMY OF THE KINGDOM OF JERUSALEM is assembled.

Enormous ranks of horsemen, each in their "order" before the
city walls. Ranks of FOOTSOLDIERS to left and right.
TURCOPOLES riding around the fringe, raising dust. The BANNER
OF THE HOLY CROSS flies near GUY’S TENT.

INT. GUY’S RED TENT. DAY

An open-sided affair, a full view of the camp. Horses of the

nobility of the kingdom held outside. GUY has arranged
himself in a thronelike chair at the end of his council
table. BARONS in attendance. A commotion outside. GUY goes to
the ten opening and we see:

BALIAN, without armor, walks slowly in past the lines of

mounted men at arms, who salute him. Commotion among the
FOOTSOLDIERS are well.

(CONTINUED)

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 103.
CONTINUED:

GUY is too observed to reveal his thoughts on the appearance

of Balian. He returns nervously to his chair. BALIAN enters
the crowded tent. He looks for a long time at the Templar
Master. He and Guy stare at each other.

GUY
Now this assemblage of barons is...
by some loose definition..
(looks up at Balian)
complete. There are those among you
who may disagree with our
succession but it is war and I...am
the king.
(looks up nerbously)
We march at once. What say this
council?

ALMOST ALL
Aye.

BALIAN
No.

TIBERIAS looks up and smiles. GUY is not smiling.

GUY
There are barons, and barons, my
lords. This is a curious one.

BALIAN
If you must have a war, this army
must not move away from water.

TIBERIAS
What he says is true. If you march
in the head of this season, you
will kill this army.

BALIAN
You have a chance to hold the city.
But if you move out against
Saladin, this army will be
destroyed and the city left
defenseless.

GUY
When I wish a blacksmith as my
advisor in war I will let him know.
You will not join this army.

(CONTINUED)

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 104.
CONTINUED: (2)

BALIAN
Saladin wants you to come out. He
is waiting for you to make that
mistake. He knows his man.

BALIAN goes out. Guy staring after him.

TEMPLAR MASTER
We should meet the enemies of God.

GUY
So we shall.

TIBERIAS
You do so without my knights.

GUY
Then I will have the glory. You’ve
had yours, years and years ago,
Tiberias. It is time for mine.

EXT. OUTSIDE THE WALLS OF JERUSALEM. MOMENTS LATER

TIBERIAS joins BALIAN, and they walk towards the city gates,
moving through the ARMY. BALIAN’S MEN and TIBERIAS’ MEN
separate from the army. Reaction on the faces of the men.

TIBERIAS
The boy is dead.

BALIAN
Did Guy kill him?

TIBERIAS
No.
(Balian looks at him)
He was a leper like his uncle. His
mother gave him peace.
(Balian starts to speak
and cannot, nearly
stumbles, and Tiberias
holds him)
She “let him go”-- and Jerusalem
with him.

BALIAN, shattered, nods, and walks on.

BALIAN
We must look to the defenses. When
Saladin destroys Guy he will come.

TIBERIAS nods. BALIAN sees: the HOSPITALER, mounted, among

other knights of his order. The HOSPITALER rides out.

(CONTINUED)

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 105.
CONTINUED:

BALIAN (CONT’D)
You go with the Army?

HOSPITALER
With my Order. Have I lived? Will
you remember me? What I have said
to you?

BALIAN nods.

HOSPITALER (CONT’D)
I will tell Godfrey what I have
seen you become.

They clasp hands. Responding to an order OS the HOSPITALER

turns horse and rides off with the other knights.

INT. THE PALACE. NIGHT

BALIAN moves along the hall, with Almaric and his men. A
TEMPLAR GUARD interposes. BALIAN kills him. Another TEMPLAR
begins to draw his sword. BALIAN disarms him and backs him
against the wall, dagger point at his throat. The PATRIARCH
sees him. BALIAN hands over the TEMPLAR GUARD to Almaric and
grabs the Patriarch by the throat.

BALIAN
Where is the Queen of Jerusalem?

PATRIARCH
Guy is head of the army...and of
course a husband has rights, even
over a Queen...

UNDECIDED GUARDS appear. BALIAN cuts the Patriarch’s purse,

and throws the purse to the UNDECIDED GUARDS...who now decide
which way the wind is blowing, take the money, and retreat.

BALIAN
Are you a man, my lord bishop, who
looks to his own interest? You have
that reputation.

The PATRIARCH nods. Yes yes yes.

BALIAN (CONT’D)
If you obstruct me, I will kill
you. There it is.

INT. THE CRYPT. MOMENTS LATER

SIBYLLA is praying. A key clanks in the lock. She turns and

sees:

(CONTINUED)

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 106.
CONTINUED:

BALIAN, framed in the doorway. She stands, and lowers her

eyes. BALIAN comes forward.

BALIAN
It does not matter what you have
done. What matters is what we do
now.

Sibylla looks up.

BALIAN (CONT’D)
Guy will lose the army. I must
prepare to defend the city.

SIBYLLA
Open the gates...If Saladin comes
in his full strength we are not
defensible. Not even if the army
were here.

BALIAN
I have...decided otherwise. When
they come, they will not get in.

SIBYLLA looks up as BALIAN moves fast out of the room. The

doorway is now empty.

EXT. JERUSALEM. VARIOUS. DAY

MONTAGE of BALIAN, unarmored, directing the arrangement of

defenses. A broken wall swarming with MASONS. CITIZENS are
armed with PIKES and SPEARS. BALIAN supervises the placement
of a BALLISTA. ETC, ETC.

EXT. PALACE BALCONY. CONTINUOUS

SIBYLLA watches from a high window.

EXT. THE DESERT. DAY

A HUGE SHOT of the desert. At a distance of about a mile, we

see the ARMY OF JERUSALEM. It is straggling across the plain,
below two hills understood to be the Horns of Hattin. It is
no fine “hedgehog” but a rabble baking in the sun. Into the
shot, a BOOTED FOOT in a stirrup.

REVERSE IT to reveal: SALADIN. He is staring, veiled across.

Beside him, IMAD. The MULLAH rides up.

MULLAH
God wills it.

SALADIN nods. MUSLIM HORSE ride up the hill.

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 107.

EXT. THE WALLS OF JERUSALEM. TWILIGHT

TIBERIAS, staring intently out into the desert, comes along

to find BALIAN, sitting rigidly on the ramparts, drinking
water from a skin.

BALIAN
Can you sense it?

BALIAN stands and looks out into the desert himself.

TIBERIAS
I know at least that no riders have
come...

BALIAN nods.

EXT. HATTIN. DAY (HELICOPTER OR CABLE)

In THICK SMOKE (obscuring distances), the aftermath of the

battle. Dead horses and men, tangled with their enemies.
Saracens of the lower classes brawl over purses, arms. (This
was, and still is, the greatest Muslim victory of all time),
and the Saracens know it: they have smashed not only the army
of Jerusalem but the Crusades).

EXT. HATTIN. CONTINUOUS

SALADIN, stone-faced, walks over the battlefield. IMAD is

with him.

SALADIN
Kill the knights of the religious
orders.

IMAD looks taken aback.

SALADIN (CONT’D)
They are fanatics and no peace will
ever be made with them. They will
think one thing their entire lives,
and they will never stop thinking
it.
(bitterly, staring across
the battlefield)
Kill them.

SALADIN walks on through the smoke.

EXT. HATTIN. LATER

The TEMPLARS and HOSPITALERS are being butchered one by one

by MULLAHS.

(CONTINUED)

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 108.
CONTINUED:

Most of the holy knights make the sign of the cross and
accept martyrdom. Some try to run, an unseemly scrambling as
the Saracens scream. Our HOSPITALER is brought forward onto
the bloody ground.

MULLAH
There is no god but God.

The HOSPITALER looks up at his executioner and smiles.

HOSPITALER
I know.

The MULLAH after a moment of confusion slashes down.

EXT. THE WALLS OF JERUSALEM. CONTINUOUS

BALIAN lowers his head. Wind and dust. As if he is aware of

what has happened. He is still bowing when Tiberias’ hand
touches his shoulder.

TIBERIAS
Come one.

INT. SALADIN’S TENT. LATER

CLOSE DETAIL: SNOW is scooped into a cup, and water poured

into it.

SALADIN takes the cup and with his own hands gives it to --
GUY, who drinks, not greedily, suspecting what the
hospitality means: his life.

He hands the cup, thoughtlessly, sidewards to REYNALD, who

also knows what the cup means...and that neither the cup nor
what is means was meant for him.

SALADIN
(quietly)
I did not give the cup to Reynald.

REYNALD
(undisturbed, drinks the
last drop)
I drink water for what it is.

SALADIN stabs the smiling REYNALD in the throat. Blood gushes

out.

REYNALD pitches forward on his face. SALADIN kneels beside

the dying and choking REYNALD. SALADIN touches his fingers in
REYNALD’s blood and puts a mark in blood upon his own
forehead.

(CONTINUED)

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 109.
CONTINUED:

REYNALD is dragged out and (as the crowd screams) butchered.

GUY, on reflection, is more bitter at the nature of his
apparent end than afraid of it. He looks up bravely at
Saladin. SALADIN (to GUY’S relief) hands his bloody scimitar
to IMAD.

SALADIN
Were you not close enough to a
great king to see how to imitate
one? Could you not learn by
example?

GUY knows he has destroyed the world. Eyes luminous in smoke

blackened face.

EXT. THE DESERT. MORNING

TIBERIAS and BALIAN are galloping with a handful of men in

Godfrey’s livery. BALIAN reins in, staring ahead. He raises
his arm, and points.

BALIAN
There.

THEIR POV:

THE SKY IS BLACK WITH VULTURES.

They ride slowly on, and as they crest a hill, we see, as

they do:

THE BATTLEGROUND. Ten thousand men lied dead. Dead horses and
men are torn by vultures. Saladin’s army has moved on. BALIAN
and TIBERIAS stare. A mound of executed Templars and
Hospitalers has attracted the most vultures. TIBERIAS slowly
makes the sign of the cross. He lowers his head. When he
raises his face, he is a new man.

TIBERIAS
I have given Jerusalem my whole
life. All. There is no more.

BALIAN
Tiberias...

TIBERIAS takes hold of the cross on his surcoat and tears it

off. He rides a little to the side, staring towards the
10,000 dead.

TIBERIAS
First I thought I fought for God.
Then I realized I fought for money
and land.
(MORE)

(CONTINUED)

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 110.
CONTINUED:
TIBERIAS (CONT'D)
And then I was ashamed and the King
came to me and said: let us try a
better world. A better world has
been tried and is now impossible.

BALIAN
Tiberias!

TIBERIAS looks at him as if for a moment he does not

recognize him.

TIBERIAS
There is no more “Jerusalem”. I go
to Cyprus. Will you come.

BALIAN
No.

TIBERIAS
Saladin must move his army from
water to water. You have four days.
Perhaps five. God be with you. You
are the son of your father. Be
without fear. God does love you. He
has finished with me.

BALIAN takes his hand. TIBERIAS rides off. After him, with
looks of apology at BALIAN, so do, one by one, all the men.
Balian sits his horse alone.

EXT. THE DESERT. DAY

BALIAN is riding back, hard, to Jerusalem. Out of the low

ground before him come--twenty MUSLIM RIDERS, all in white,
as if in death-shrouds.

BALIAN turns his horse to the right (nearly putting the

animal down), and sees: MORE WHITE RIDERS. Within an instant
he is surrounded:

SALADIN’S GUARD. BALIAN does not bother drawing a weapon. He

looks for a breakout as the circle closes...but then he sees:
SALADIN. SALADIN rides forward, holding up his palm. The men
look at each other. Horses circling. SALADIN is veiled,
unreadable.

SALADIN
I knew your father.
(a beat)
He nearly killed me in Lebanon. On
a great horse he crashed through my
guard, and scattered them.
(MORE)

(CONTINUED)

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 111.
CONTINUED:
SALADIN (CONT'D)
He was not five paces from me when
an arrow struck through the eye of
his horse. I knew his face...and
his quality. We called him ibn
Barzin. I did not know he had a
son.

BALIAN
He did. He does.

WHITE RIDERS come closer. SALADIN disarms BALIAN, taking

Godfrey’s sword.

SALADIN
If you promise to fight no more
against the Muslims, you may go.

BALIAN
If you march on Jerusalem I cannot
promise.

SALADIN
I do march on Jerusalem. I will
take it as it was taken, in blood.
Commoners, court and Queen will
die. Every soul.

BALIAN
Then I cannot promise not to fight
you.

SALADIN
Your choice is death, or that
promise.

BALIAN
I cannot promise.

SALADIN
Then your sentence is death.

BALIAN waits for it. Instead of death his is given: GODFREY’S

SWORD. Politely.

SALADIN (CONT’D)
Every man dies.
(he mounts)
I will take Jerusalem. I cannot do
otherwise. Understand.

BALIAN
I must defend.

(CONTINUED)

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 112.
CONTINUED: (2)

SALADIN nods, and canters away, his guard galloping after,

leaving Balian in the dust.

EXT. THE WALLS OF JERUSALEM. DAY

MANGONELS are being hoisted to the towers by Papal troops. A

GATE is being blocked up by Masons, etc. MONTAGE of SIEGE
PREPARATIONS, supervised by Balian.

EXT. JERUSALEM. A SQUARE. TWILIGHT

CATTLE and FOOD are coming into the town. BALIAN, in a fury,
is checking his organized defences. ARMS are being
distributed to a crowd.

PATRIARCH OF JERUSALEM
We must quit the city.

BALIAN
And be massacred on the open road?
Saladin’s cavalry is between us and
the sea.

PATRIARCH
I do not mean the people. I mean
us.

BALIAN moves on.

PATRIARCH OF JERUSALEM
(dancing after Balian)
We have not enough knights.

BALIAN
(furious)
Truly?

BALIAN turns to a PEASANT BOY, perhaps of 16.

BALIAN (CONT’D)
What is your condition?

BOY
I am servant to the Patriarch.

PATRIARCH OF JERUSALEM
You are a slave. That is my slave!

BALIAN
Is he.

BALIAN jumps up on the steps of the Holy Sepulcher.

(CONTINUED)

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 113.
CONTINUED:

BALIAN (CONT’D)
You know who I am.
(the crowd goes silent)
None of us took this city from
Muslims. No Muslim of the great
army now coming against us was
alive when it was lost. We fight
over an offense we did not give,
against those who were not alive to
be offended. What is Jerusalem?
Your holy places overlay the Jewish
temple which the Romans pulled
down. The Muslim places overlay
yours. Which is more holy? The
wall? The mosque? This sepulcher?
Who has claim? NO ONE has claim...
All have claim.

PATRIARCH
Blasphemy.

BALIAN
We defend the city not to defend
these stones, which are either
meaningless or have too many
meanings, but the people living in
these walls who will die unless we
do not defend them. Unless we kill
the army coming against us every
person in Jerusalem will die. Say
that God is with you if you want,
but I will trust in each of you.
Trust in me. I swear not to God but
to each of you that with your help
I will kill Saladin’s army in front
of these walls.

No cheering. He jumps down. To the BOY, holding him.

BALIAN (CONT’D)
You are a slave?
(the BOY nods)
Kneel.

The BOY kneels. The PATRIARCH is aghast.

BALIAN (CONT’D)
Every man of arms or capable of
bearing them, kneel.

The CROWD kneels, BOYS, SERGEANTS, MERCHANTS, OLD PEASANTS.

(CONTINUED)

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 114.
CONTINUED: (2)

BALIAN (CONT’D)
Be without fear in the face of your
enemies. Be brave and upright, that
God may love thee. Speak the truth
even if it leads to your death.
Safeguard the helpless. That is
your oath.

The BOY can’t believe is. BALIAN hits him.

BALIAN (CONT’D)
(to the BOY alone)
And that’s so you remember it.

BALIAN goes to raise the next guy. The Man’s face raises, and
we see:

THE GRAVEDIGGER, now battle-scarred, rich. Balian smiles.

BALIAN (CONT’D)
Rise a knight.

GRAVEDIGGER
Master Blacksmith.

BALIAN
Master Gravedigger. You have come
to the right place.

He moves on out of the murmuring (and emboldened) crowd. The

PATRIARCH OF JERUSALEM staring after him.

PATRIARCH OF JERUSALEM
(nearly crying)
Does making a man a knight make him
a fight better?

BALIAN is surprised by the question.

BALIAN
(very simply)
Yes.

SIBYLLA has seen it all.

EXT. JERUSALEM. DAWN

Tents are everywhere on the hills. The SARACEN ARMY is

surrounding the city--at prayer. Hundreds of thousands of men
bow and vocalize in unison. ENGINES are in place. Their crews
praying.

(CONTINUED)

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 115.
CONTINUED:

Jerusalem’s ARCHES AND SPEARMEN stare out from the walls at

the enormous enemy.

BALIAN stands on the walls, at a tower. He looks to his side

and sees:

SIBYLLA. They stand together, windblown, looking out at their

deaths.

The prayer still continues. Allahu akhbar. Thousands bowing

as one.

SIBYLLA
Forgive me.

BALIAN
I do.

SIBYLLA
Save the people from what I have
done.

BALIAN
I will.

SIBYLLA kisses him. BALIAN looks at her heartbroken.

BALIAN (CONT’D)
You had better go.

SIBYLLA
If you wanted the world more, I
would love you less.

Sibylla moves along the wall. BALIAN looks chaotically out at

the MUSLIM army. As prayer stops...A solitary figure becomes
distinct on a hill: SALADIN. He raises his palm. BALIAN, on
the wall, does the same.

PATRIARCH
For God’s sake, talk terms.

BALIAN
There are none.
(moving along the “line”,
checking machines, men)
Keep your heads down. Take cover
when the barrage begins...

PATRIARCH
One may convert to Islam, and
repent later. It can be done. There
is dispensation in these cases...

(CONTINUED)

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 116.
CONTINUED: (2)

Balian looks at the cross on the Patriarch’s breast. Then so

does the Patriarch.

BALIAN
You have taught me a great deal
about religion.

We hear tinkling bells, and laughter. GUY, tied backwards on

a tiny donkey, with a conical dunce cap on his head, is
driven on display along the front of the Muslim Army, below
the walls of Jerusalem. He keeps his dignity as much as
possible. SIBYLLA watches.

BALIAN now with ALMARIC watches from the walls as SALADIN

rides alone onto a hill, with his guard. He looks towards the
city. Almaric crosses himself as one cry of Allahu Akhbar
rings out.

BALIAN (CONT’D)
Here it comes.

The enormous BOMBARDMENT commences. DEFENDERS, as Balian

instructed, take cover on the walls. SARACEN ENGINES execute
one of the largest bombardments of the day.

INT. SIBYLLA’S ROOMS. MOMENTS LATER

SIBYLLA has seen it all. She removes her jewels. Then begins
to remove her fine, complicated, clothes. She puts on a gray
shift, staring into nothingness.

EXT. BEFORE JERUSALEM. DAY

MUSLIM INFANTRY (with LADDERMEN) moves forward, slowly, and

then at a run. CROSSBOWMEN slaughter the men below.

ENGINES FIRE and as the MUSLIM ARMY screams and Saracen drums
beat, a SIEGE TOWER, ARCHES firing from its platform, is
pushed towards the wall. It has caught fire in two or three
places. LADDERMEN run alongside the tower. SPRAYS OF STONE
from Mangonels tear through the Saracens and rock the tower.

EXT. THE WALLS OF JERUSALEM. LATER

DEFENDERS wait. CROSSBOWMEN fire and FLAMING ARROWS are

fired. BALIAN watches. The SIEGE TOWER comes within ten feet
of the wall and as a great RAMP descends, hundreds of MUSLIMS
charge forward into PIKEMEN. They are staved off, Balian at
the center of the repulse catches an arrow through the left
wrist.

(CONTINUED)

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 117.
CONTINUED:

BALIAN
(clutching the arm)
Now!

From a TOWER to the side, two GRAPNELS are thrown. Were it

not Balian the artificer managing things, this may or may not
have been effective, but the instant the grapnels catch (and
are hand-tightened), BALIAN waves his arm. The two lines run
to a DERRICK which is holding up a stone the size of a small
cottage. A line is cut (killing, as it snaps, the man who cut
it), and the weight of the stone jerks the SIEGE TOWER to
pieces. It literally explodes. Debris, burning beams, knock
MUSLIM LADDERMEN off the walls. The wreckage collapses back
on the infantry tightly packed behind the tower, killing
scores. BALIAN watches: and nods at Almaric.

INT. CATACOMBS. NIGHT

BALIAN moves through the rows of wounded and dead. A

PHYSICIAN cuts the jugular of a smashed man and the blood is
caught in a basin. BALIAN sits to have his hand bound. The
FINGER is parted from the hand, and put in a basin. The hand
is washed, and wrapped. A CLOAKED WOMAN does the bandaging.
She raises her eyes. Sibylla. BALIAN looks at her evenly.
Then wordlessly he embraces her, staring past her bent head,
SIBYLLA weeping.

EXT. THE WALLS OF JERUSALEM. DAY

SPEARMEN knock over the ladders that have been gotten up. A
melee along the walls. BALIAN, moving through smoke, waves
his arm, and GREEK FIRE is flung straight down into the
infantry. As hundreds of Saracens burn...CROSSBOWMEN en masse
come forward to crowd the walls and begin to slaughter the
Saracens.

EXT. ANOTHER WALL OF JERUSALEM. LATER

As MUSLIMS in the thousands mass with ladders beneath another

wall....GREAT WOODEN TRAYS running the length of the wall are
levered up by a hundred men, and pour stones down, smashing
thousands of tightly-massed men (the lumber follows, tumbling
down). As a SECOND WAVE of Saracens presses forward over the
smashed men, GREEK FIRE jets from pipes fixed to the walls,
igniting men as well as the smashed wooden trays. Men on fire
run everywhere, and fall burning.

EXT. A LESSER GATE OF JERUSALEM. CONTINUOUS

As MUSLIMS advance, tens, scores, fall into concealed killing

pits of sharpened stakes, and even as they are surprised by
them...begin to reconsider the assault, an arches fires a
flaming arrow into...A FIELD OF PITCH.

(CONTINUED)

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 118.
CONTINUED:

An area of about an acre has been covered with pitch and

straw and dirt. It goes up like an oil-rig fire, fierce
enough to drive defenders back from the walls. This part of
the Muslim army is entirely incinerated.

EXT. JERUSALEM. NIGHT

CATAPULTS are being worked non-stop by the Saracens, and the

walls are being struck, hard. The walls are coming down.

EXT. JERUSALEM. DAY

Concentrated catapult fire is collapsing a wall. It suddenly

shivers down, from the bottom, the stone pouring out into a
great apron. And the MUSLIM ARMY is ready. SALADIN rides
along the front of his force.

SALADIN
Not one alive. Not one.

EXT. INSIDE THE BROKEN WALL. CONTINUOUS

A SHIELD WALL forms, BALIAN directing it. Defenders (all the

knights there are, including the first BOY made Knight) go
shield to shield.

ARCHES and CROSSBOWMEN take elevated positions behind. As the

Muslim army of thousands advances at a run, ready to kill the
Christians at a single rush, BALIAN looks to his left in the
shield wall and sees: THE GRAVEDIGGER. They nod at each
other. The SARACEN ARCHES fire a volley of arrows and the
INFANTRY charges. This is their chance: they will take
Jerusalem at this rush and are not afraid of martyrdom. No
arrows oppose them: merely the waiting knights in the broken
wall. But they break on the line, hacked down, man after man,
by the heavily armored knights. There is no need to scream
keep the line: the line is kept, by the knights and the “made
knights” with them. Dissolve in the fighting to:

EXT. THE BREACH IN THE WALL. DAWN

BALIAN, blood-covered and thirsty, wakes from a doze. KNIGHTS

are leaning on their swords, or lying on the ground,
coughing. We see that the line of defense is marked by
immense piles of dead. Saracens tangled with Europeans inside
the breech in the wall. Hundreds of dead: thousands perhaps.
The defense of the breach has nearly killed the Saladin’s
infantry. BALIAN wanders, stumbling, among the bodies. The
GRAVEDIGGER lies dead, hacked across the face.

BALIAN
Remember me in France.

(CONTINUED)

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 119.
CONTINUED:

ON SOUND (as Balian looks at the butchery by daylight): The

MUSLIM ARMY is called to prayer. From the walls of Jerusalem
we see the whole army praying.

ALMARIC
(covered with blood)
They will ask for terms. They will
ask for terms.

EXT. BEFORE SALADIN’S TENT. DAY

Saladin waits mildly as BALIAN comes through the crowd,

escorted. As he comes through: the Arabs look at him with
interest, many salaaming.

BALIAN, awkwardly, returns the salaam. GUY, no longer tied to

the donkey, is being treated as Saladin’s guest. Rubbing his
wrists and staring at Balian with a strange look of hatred
and admiration mixed.

SALADIN
We must discuss Jerusalem. It’s
King
(nods at Guy)
has surrendered it but there seems
to be a difficulty.

BALIAN
You offered no quarter and we ask
one. What has changed?

SALADIN
Will you yield the city?

BALIAN
Before I lose it I will burn it to
the ground. Your holy places. Ours.
Every last thing in Jerusalem that
drives men mad.

SALADIN
I wonder if it would not be better
if you did.
(looks reflectively at the
city)
You will destroy it?

BALIAN
Every stone. And every Christian
knight you kill will take ten
Saracens with him. You will kill
your army here and never raise
another.
(MORE)

(CONTINUED)

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 120.
CONTINUED:
BALIAN (CONT'D)
I swear to God that to take this
city will be the end of you.

SALADIN
You cannot stand another assault.

BALIAN
Make one, and we will see.

GUY is watching, fascinated, what he might have been.

SALADIN
Your city is full of women, and
children. There will be disease,
soon, from the dead. If my army
will die, and so will your city.

BALIAN
(swallows, knowing that it
is true)
Do you offer terms? I ask none.

SALADIN walks apart. Long pause. Then he turns.

SALADIN
I will give every soul safe-conduct
to Christian lands. Every soul. The
women, the children, the old, and
all your knights and soldiers. Your
Queen. Your King...
(GUY tenses)
I leave to what God will make of
him.

MULLAHS object. BALIAN staring at SALADIN stares at Balian

with hatred.

SALADIN (CONT’D)
No one will be robbed or harmed, I
swear to God.

BALIAN
The Christians butchered every
Muslim within the walls when they
took this city.

SALADIN
I am not those men. I am Saladin.

BALIAN
Then on these terms I surrender
Jerusalem.

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 121.

EXT. THE GATE. DAY

BALIAN comes back in through the gate. SIBYLLA stands there

in her simple clothing.

BALIAN
We surrender the city in the
morning, and will be safely
escorted to the sea.

SIBYLLA
The nobles...

BALIAN
Everyone is safe to go. I would not
have surrendered otherwise.

SIBYLLA looks distraught at Jerusalem.

BALIAN (CONT’D)
If this is God’s kingdom he can
dispose of it as he likes. Your
brother’s kingdom was here.
(he touches her heart)
That kingdom is not surrendered.

EXT. INSIDE THE WALLS OF JERUSALEM. LATER

In the square before the palace Christians with their goods

loaded are forming caravans. BALIAN, moving among them,
mounted, suddenly looks around as...GUY, fully armed, leaps a
destrier over some baggage and slams at a gallop into
Balian’s horse. BALIAN’S horse goes down screaming. BALIAN
rolls in the dust. Guy rides around him.

GUY
They say now you are beloved by
God. How much of that am I to take?
There is already a song about
Jerusalem and its false and wicked
king.

GUY takes a battle axe from a retainer.

GUY (CONT’D)
They would have tried to marry her
to a bucket, or a Saracen if it
would have kept their world intact.
I don’t mind that you fucked her,
for are we not all French...but...
(smiles)
I am not a bad man. I am only a man
making my way.
(MORE)

(CONTINUED)

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 122.
CONTINUED:
GUY (CONT’D)
I am simply making my way. As all
men are...except for you. Do you
think you are a perfect knight? Do
you? Do you?

BALIAN
I am not the man who lost the
Kingdom of Jerusalem.

As Balian walks away, GUY turns his horse to ride him down.

A CHORUS OF KNIGHTS dismount and fight him.

GUY realizes he must. He dismounts. He draws his sword.

BALIAN waits for him. GUY moves like lightning and cuts a
gash in Balian’s face.

BALIAN waits. In a quick passage, Guy disarms Balian, who

scrambles and picks up his sword again. There is no question:
Guy is state of the art. BALIAN stands waiting. GUY moves to
kill him. The Men collide, and GUY, spinning away, eludes a
backswing, catches the blade with his hand, drives it down
into the ground, and returns a blow that would have cut off
Balian’s head--except that Balian parries it, surprising GUY.
KNIGHTS and MUSLIMS crowd close, shouting. They know their
sport: and out of nowhere they are at the World Cup. GUY
really lays in--state of the art--and Balian, clumsily, meets
every blow. The two men go at it for sixty seconds straight
in an exhausting high speed flurry which includes blows in
the face with gloved fists. GUY with a broken nose, breathing
hard (presumably seeing stars), takes a low guard, and
BALIAN, wounded twice, takes a high one. A SARACEN KNIGHT
makes a detailed bet with a CHRISTIAN ONE. GUY is still
surprised by the blood coming from his nose and is repelling
Balian almost idly. BALIAN missed a blow and crashes into a
wall. Guy’s sword striking where Balian’s head was a moment
before. BALIAN lunges and GUY, letting him pass, crashes the
pommel of his sword down on the back of hi head. BALIAN
sprawls on the cobbles. GUY goes after him, cuts, misses, is
wounded in the side by a thrust. GUY parries a second blow
and stabs BALIAN (we cannot tell where or how badly) and
attacks violently, relentlessly.

The crowd follows the exhausted fighters, who face each

other, bleeding, breathless, barely on their feet.

GUY
Water.

It is given him in a skin by one of his knights. GUY goes

forward purposefully, to kill BALIAN. BALIAN, staggering,
waits. GUY cuts low, Balian, out of breath, barely parries.
GUY advances to kill him. BALIAN waits, at the high guard.

(CONTINUED)

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 123.
CONTINUED: (2)

BALIAN is cut, badly, in the next pass. BALIAN takes the

“high guard” again. He watches Guy (which is to say his
death) advance.

GUY (CONT’D)
(advancing)
“Be brave and upright that God may
love thee. Be without fear in the
face of your enemies.” We’ve all
heard the words. How dare you
believe them. How dare you.

GUY goes for the kill in a move we’ve seen before. BALIAN
parries as he once did with GODFREY but instead of losing his
sword as he did long ago in the French wood he meets the next
blow and then cuts Guy across the throat.

GUY falls to his knees, trying to speak. He pitches forward.

BALIAN, holding Godfrey’s sword, stares down at him.

INT. THE PALACE. DAY

BALIAN, his wounds bound by MUSLIM PHYSICIANS, stands. The

PHYSICIANS back away respectfully. He moves into the
corridor. MUSLIMS are moving through the palace, taking
possession. BALIAN looks into TIBERIAS’ ROOM. The room is now
all MUSLIM CLERKS, going through papers. Balian looks around
and sees that SALADIN is standing beside him, alone.

SALADIN
So.

BALIAN
My lord.

SALADIN
I admire the Franks for their
courage. It is said that I have
learned chivalry from them. Have
you heard this?

BALIAN laughs. Saladin smiles.

SALADIN (CONT’D)
“Chivalry”. It is like faith. When
it is true it is good.
(hands on Balian’s
shoulder)
I like nothing better than an
honorable man.

Starts to go.

(CONTINUED)

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 124.
CONTINUED:

BAIL
What is Jerusalem worth?

SALADIN
Nothing.

SALADIN is now walking back along the hall of the captured

palace.

SALADIN (CONT’D)
Everything.

INT. SIBYLLA’S ROOMS. MOMENTS LATER

SIBYLLA is sitting before a dressing-mirror. A distorting

sheet of polished metal. Staring at an image which is
unclear. She is aware of Balian behind her.

SIBYLLA
I am still the Queen of Acre, of
Tripolis, of Ascalon.

BALIAN
And I am still a knight. And that
is all.

She stands, and looks at him. BALIAN stares at her.

SIBYLLA
What shall I decide?

BALIAN
It is simple. Decide not to be a
Queen and I will come to you.

BALIAN has come to the end of the room. He hesitates; and

then goes out through the curtains.

EXT. THE DAVID GATE. DAY

A very orderly Christian evacuation. BALIAN joins it, on

foot. IMAD appears, holding the magnificent horse that Balian
gave him some time ago.

IMAD
(wrily)
It is not a very good horse. I will
not keep it.
(Balian takes the bridle)
We will meet again.

BALIAN
If we do not?

(CONTINUED)

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 125.
CONTINUED:

IMAD
Taking it poorly bakes no bread.

IMAD walks away into the crowd. Balian leads his horse
saddened; but free. GUY’S KNIGHTS trudge past and each of
them salute Balian. He returns the nod; rides along the huge
stream of refugees...all of whom he has saved. As he begins
to be recognized...he pulls the hood of his cloak over his
head. As he looks back at Jerusalem...

SARACEN ENGINEERS on top of the church throw down the cross

that surmounts it. It crashes to the stones in front of the
Temple and is broken to pieces by Saracens. MUSLIMS are
taking possession of the temple. SALADIN is walking, being
cheered. MUSLIMS on rooftops, in the streets, acclaiming
Saladin.

INT. INSIDE THE TEMPLE. DAY

Rose-water is being splashed on the flags of what has been a

Christian church. It is being purified by MULLAHS. SALADIN
stands in the doorway with IMAD and the MULLAH.

MULLAH
God has favored us with victory.
All the glory is God’s.

SALADIN walks away from the Mullah. The MULLAH would follow;
but IMAD stops him. SALADIN washes, preparing to pray alone.
He lays his mat, and, lowering his head, prays.

EXT. THE ROAD TO THE COAST. DAY (ENDING ONE)

The city is no longer visible. THE CHRISTIAN REFUGEES,

escorted by Muslim horsemen, trudge through the desert. A
WOMAN walks along the edge of the stony road. BALIAN moves
along the line. At first he almost passes the woman. He rides
alongisde her for a while. Then dismounts. BALIAN walks his
horse beside the dusty figure.

BALIAN
A Queen never walks.

SIBYLLA
No.
(a beat)
And yet I am walking.

BALIAN
Some say that Jerusalem is the
center of the world for
forgiveness. For myself, I call it
here.

(CONTINUED)

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 126.
CONTINUED:

SIBYLLA nods, and keeps walking beside him. BALIAN leads his
horse on, exhausted. They walk together towards the sea. The
REFUGEES sing in French, walking through the Holy Land,
heading towards the distant sea.

BALIAN tears the cross from his tunic but cannot throw it on
the ground. He puts it in his sleeve. Fantastical SARACEN
KNIGHTS ride along the column, silk billowing, singing their
own song in Arabic.

BALIAN watches them pass, then rides on, hooded, head down.
In a perfect MATCH, SNOW begins to fly past his bent head. He
turns his horse, dismounts, and we see that he is at the
forge. He stands, looking around at the land, the orchard. ON
SOUND: HORSES. BALIAN finally stands and looks, raising his
hood. CRUSADERS. THE LION OF ENGLAND. Gold on a red tunic.

RICHARD’S KNIGHT
We crusade to recover the Kingdom
of Jerusalem.

BALIAN
You go to where the men speak
Italian and then continue till they
speak something else.

RICHARD’S KNIGHT
We have come by this road to find
the lord who was defender of
Jerusalem.

BALIAN
(bowing)
I am the blacksmith.

RICHARD COUER DE LION sits his horse, staring at Balian. The

CRUSADERS pass behind.

RICHARD
And I am the king of England.

BALIAN
I am the blacksmith.

He bows. RICHARD COUER DE LION looks at Balian knowing very

well who he is. (He sees the armor lashed to a packhorse).
But he nods and rides on. BALIAN turns from the passing
Crusaders and enters his old kitchen garden to see A YOUNG
TREE. It is one of the trees planted by his wife. He touches
the leaves. Balian raises his hood against the falling snow,
and moves on to turns to see, at a distance, SIBYLLA,
watching him.

(CONTINUED)

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 127.
CONTINUED: (2)

BALIAN walks his horse to join her.

EXT. THE CROSSROADS. LATER

BALIAN AND SIBYLLA canter through the crossroads and past the
local lord’s castle without looking back.

BLACK.

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