Conclave
Executive Summary
Poster

Overview
Genres: Drama, Thriller, Mystery, Political, Religious, Spiritual
Setting: Contemporary, Vatican City, primarily within Casa Santa Marta and the Sistine Chapel
Overview: Conclave unfolds in the aftermath of the Pope's death, focusing on Cardinal Lawrence as he navigates the complexities of the papal conclave. The story begins with Lawrence's urgent arrival at the Vatican, where he grapples with the emotional weight of the Pope's passing and the ensuing power struggles among the cardinals. As the conclave progresses, tensions rise with the introduction of new candidates, hidden secrets, and moral dilemmas that challenge Lawrence's faith and integrity. The narrative builds towards a climactic moment where Lawrence must confront the corruption within the Church and make a pivotal decision that could alter the future of the papacy. Ultimately, the story explores themes of faith, doubt, and the quest for truth amidst institutional secrecy.
Themes: Faith and Doubt, Secrecy and Transparency, Institutional Corruption and Reform, Personal Sacrifice and Duty
Conflict and Stakes: The struggle for power and integrity within the Catholic Church during a papal conclave, with personal reputations and the future direction of the Church at stake.
Overall Mood: Tense and contemplative, with moments of introspection and urgency.
Mood/Tone at Key Scenes:
- Scene 1: The mood is tense and somber as Cardinal Lawrence navigates the urgency of the situation following the Pope's death.
Standout Features:
- Unique Hook: The internal struggles of cardinals during a pivotal moment in the Church's history, set against the backdrop of a papal conclave.
- Plot Twist: The revelation of Cardinal Benitez's complex identity challenges traditional views within the Church.
- Distinctive Setting: The Vatican, with its rich history and political intrigue, serves as a unique and visually striking backdrop.
- Innovative Ideas: The screenplay explores themes of faith and doubt in a contemporary context, making it relatable to modern audiences.
Comparable Scripts:
- The Two Popes
- The Name of the Rose
- The Vatican Tapes
- The Exorcist
- Spotlight
- The Young Pope
- Angels & Demons
- The Da Vinci Code
- The Pope's Exorcist
Writing Style:
The screenplay predominantly features a dialogue-driven style, characterized by sharp, witty, and intellectually stimulating conversations that explore complex themes, moral dilemmas, and power dynamics. There's a strong emphasis on character development through intricate interactions and internal conflicts, often within high-stakes environments, such as institutional settings or politically charged situations. While some scenes incorporate atmospheric elements and suspenseful plot devices, the core strength lies in the rich and nuanced dialogue.
Style Similarities:
- Aaron Sorkin
- David Mamet
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Conclave' is a compelling and thoughtful exploration of the complex process of selecting a new Pope, set against the backdrop of a crisis in the Catholic Church. The narrative adeptly balances the high-stakes political intrigue of the Conclave with the deeply personal journeys of the cardinal-electors, particularly the Dean of the College of Cardinals, Lawrence. The script effectively portrays the tensions between tradition and progress, faith and doubt, and the weight of responsibility that comes with leading the Church. While the plot is driven by a series of revelations and power struggles, the true heart of the story lies in the moral dilemmas faced by the characters, which are skillfully woven throughout. Overall, 'Conclave' is a well-crafted drama that would likely appeal to a wide audience interested in the inner workings of the Vatican and the human dimension of religious leadership.
USP: Conclave offers a unique perspective on the secretive world of a Papal conclave, combining elements of mystery, political thriller, and character drama. Unlike typical religious dramas, it delves into the moral complexities and personal struggles of the cardinals, creating relatable characters despite their high-stakes environment. The compelling narrative keeps the audience guessing until the very end, offering a fresh approach to the genre.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in religious dramas, political thrillers, and character-driven narratives.
Marketability: The screenplay's exploration of timely themes, complex characters, and the intrigue of the Vatican setting can attract a broad audience and generate significant interest.
The unique blend of political drama and personal conflict, along with the diverse cast, enhances its appeal to various demographics.
The compelling storyline and character arcs resonate with current societal issues, making it relevant and engaging for viewers.
Profit Potential: Moderate to high, given the potential for critical acclaim, awards recognition, and a strong audience base interested in religious and political themes.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of formal, respectful dialogue with subtle undercurrents of tension and moral ambiguity. The narrative is driven by detailed, atmospheric descriptions that evoke a sense of place and time, particularly within the Vatican setting. There's a consistent focus on internal character conflicts and subtle emotional nuances, conveyed through understated gestures, pauses, and unspoken emotions as much as direct dialogue. A dry, understated humor occasionally surfaces, often in contrast to the weighty themes of faith, doubt, and power. The overall tone is one of quiet intensity and contemplative introspection, balanced with moments of sharp, tense exchanges that drive the plot forward.
Best representation: Scene 8 - Tensions at Casa Santa Marta. This scene best encapsulates the writer's unique voice because it perfectly blends the key elements of their style. The setting is richly described and evocative of a specific atmosphere ('somber setting of the Room of Tears'). The dialogue is introspective and emotionally resonant, focusing on internal struggles and unspoken connections rather than overt conflict. The symbolism ('weight of papal vestments') adds another layer of meaning, while the overall tone is one of quiet contemplation and shared vulnerability. This scene successfully balances the formal tone with the exploration of complex emotions, characteristic of the writer's overall style.
Memorable Lines:
- LAWRENCE: My God, my God, why have you forsaken me? (Scene 21)
- BELLINI: Tell them that I stand for everything Tedesco does not. (Scene 18)
- BELLINI: If anyone can be said to have killed the Holy Father, he did! (Scene 4)
- BENITEZ: Any man who is truly worthy must consider himself unworthy. Isn’t that the point you were making in your homily? That without doubt there can be no faith? (Scene 31)
- TEDESCO: We should ALL be ashamed! (Scene 54)
Characters
Cardinal Lawrence:A conflicted and introspective cardinal grappling with his faith and the responsibilities of leadership.
Cardinal Bellini:A liberal cardinal who struggles with ambition and the implications of the papal election.
Cardinal Tremblay:A traditionalist cardinal accused of misconduct, representing the old guard of the Church.
Cardinal Adeyemi:An African cardinal who faces personal and political challenges during the conclave.
Cardinal Benitez:A newly appointed cardinal with a complex identity, representing diversity within the Church.
Monsignor O'Malley:Lawrence's confidant, who provides insights and support throughout the story.
Archbishop Wozniak:A distressed archbishop dealing with the emotional fallout of the Pope's death.
Sister Agnes:A nun who plays a significant role in the administration of the Vatican and interacts with the cardinals.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - A Night of Urgency | Tense, Mysterious, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | |
2 - The Last Rites | Somber, Reverent, Reflective | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 3 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
3 - Reflections in the Papal Suite | Somber, Reflective, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
4 - The Weight of Responsibility | Somber, Tense, Reflective | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - The Weight of the Papacy | Somber, Tense, Mysterious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
6 - The Final Farewell | Somber, Tense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
7 - Chaos in the Chapel | Somber, Tense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
8 - Reflections in the Room of Tears | Somber, Reflective, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
9 - Tensions at Casa Santa Marta | Somber, Tense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
10 - Arrival at Casa Santa Marta | Somber, Tense, Reflective | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
11 - The Conclave Preparations | Somber, Tense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
12 - Secrets Before the Conclave | Tense, Suspenseful, Revealing, Intense, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 10 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
13 - The Unexpected Cardinal | Tense, Suspenseful, Intriguing | 8.5 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
14 - The Cardinal's Dilemma | Tense, Intriguing, Contemplative | 8.5 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
15 - A Risky Resolve | Tense, Serious, Resigned | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
16 - Reflections of a Manager | Contemplative, Introspective, Somber | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 6 | 6 | 6 | 6 | 7 | 6 | 8 | 8 | 8 | 7 | 7 | 7 | |
17 - A Tense Gathering at Casa Santa Marta | Tense, Serious, Reflective, Contentious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
18 - The Weight of Ambition | Tense, Reflective, Serious | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
19 - Shadows of Allegation | Tense, Mysterious, Intriguing | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
20 - A Moment of Clarity | Trepidation, Calm, Reflective, Authoritative | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
21 - A Call for Doubt and Unity | Reflective, Serious, Contemplative | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
22 - Confrontation in the Lobby | Tense, Serious, Reflective, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
23 - A Somber Oath | Tense, Sombre, Serious | 8.5 | 8 | 9 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | |
24 - The Sacred Vote | Tense, Serious, Contemplative | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - The Unexpected Candidate | Tense, Intriguing, Startled, Somber | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
26 - First Ballot Results in the Sistine Chapel | Tense, Surprising, Intriguing, Somber | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
27 - Whispers in the Vatican | Tense, Serious, Intriguing | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
28 - Political Maneuvering in the Scala Regia | Tense, Serious, Reflective | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
29 - The Tension of Neutrality | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
30 - A Night of Reflection | Tense, Reflective, Somber | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
31 - A Night of Doubt and Understanding | Reflective, Introspective, Serious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
32 - Divided Loyalties | Tense, Urgent, Contemplative | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
33 - Whispers in the Night | Tense, Somber, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
34 - Whispers of Power | Serious, Reflective, Tense | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
35 - Tension in the Conclave | Tense, Suspenseful, Serious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
36 - Tensions at the Table | Tense, Serious, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - A Disturbing Encounter | Tense, Suspenseful, Mysterious, Serious | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
38 - Authority and Compassion | Tense, Suspenseful, Confrontational | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
39 - Confrontation at Casa Santa Marta | Tense, Inquisitive, Authoritative | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
40 - A Moment of Reckoning | Conflicted, Regretful, Intense, Emotional | 9.2 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
41 - The Weight of Choice | Tense, Dramatic, Serious, Intriguing | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8.5 | |
42 - Secrets in the Chapel | Tense, Serious, Intriguing | 8.5 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
43 - The Weight of Choice | Serious, Tense, Conspiratorial | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
44 - Elevator Tensions | Tense, Suspenseful, Contemplative | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
45 - The Weight of Worthiness | Tense, Reflective, Frustrated, Calm | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
46 - Whispers in the Night | Intriguing, Serious, Contemplative | 8.5 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
47 - Confrontation in the Shadows | Tense, Confrontational, Revealing | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 10 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
48 - A Night of Reckoning | Tense, Suspenseful, Emotional | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Moral Dilemma in Casa Santa Marta | Tense, Confrontational, Revealing | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 10 | 9 | 8 | 8 | 8 | |
50 - Revelations at Casa Santa Marta | Tense, Confrontational, Revealing | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
51 - A Moment of Reflection | Reflective, Regretful, Resigned | 8.5 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 6 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
52 - The Weight of Choice | Tense, Dramatic, Suspenseful | 9.2 | 9 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
53 - Reflections of Chaos | Tense, Suspenseful, Reflective | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
54 - Divided Responses: A Crisis in the Conclave | Serious, Tense, Angry, Reflective | 8.5 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
55 - A Walk of Unity | Tense, Reflective, Contemplative, Defiant | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
56 - The Election of Innocent | Reflective, Hopeful, Reverent | 9.2 | 9 | 9 | 9 | 9 | 7 | 8 | 9 | 3 | 8 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
57 - Unsettled Reflections | Tense, Conflicted, Pensive, Relieved | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 6 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
58 - Urgent Revelations in the Vatican | Tense, Suspenseful, Revealing | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
59 - A Revelation in the Room of Tears | Confessional, Reflective, Intimate | 9.2 | 10 | 9 | 9 | 10 | 9 | 9 | 7 | 8 | 7 | 8 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
60 - A Moment of Reflection Amidst Celebration | Tense, Reflective, Hopeful, Surreal | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - A Night of Urgency
A large, modern apartment block in a modest part of the city.
The streets are quiet. Everyone sleeps.
2 INT. APARTMENT - ROME - NIGHT 2
CLOSE on a WINDOW PANE, small, leaded. We HOLD on the glass,
nothing but black night outside, not sure what we’re supposed
to be looking at.
Then, with a sharp ping, the pane cracks.
ON A SLEEPING MAN, his back to us. Woken by the sound, the
man raises his head from the pillow, stares at the cracked
pane.
Silence.
The sudden jangle of a phone in the room. The man turns his
head to stare at the phone.
3 EXT. TUNNEL NEAR VATICAN - ROME - NIGHT 3
CLOSE - PUSHING the MAN as he walks quickly through a tunnel,
his sleep-whorled hair standing in undignified tufts from the
back of his head. A lone car passes.
3A EXT. STREET NEAR VATICAN - ROME - NIGHT 3A
The MAN continues to rush through the empty streets. The only
sound is his heavy breathing and footsteps. Ahe ad of him a
blue light pulses in SOFT FOCUS against the vague bulk of St
Peter’s.
3B I/E. SHOP - STREET NEAR VATICAN - NIGHT 3B
Outside on the street the MAN passes a SHOP WINDOW and for a
moment we hold on the display - rows of PLASTIC PIETÀS.
4 OMITTED 4
4A OMITTED 4A
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 2.
5 OMITTED 5
6 INT. CASA SANTA MARTA - LIFT PAPAL CORRIDOR - NIGHT 6
In the lift the MAN - CARDINAL LAWRENCE - stares down at his
hand and realises he is clutching his red zucchetto. We are
still on his back as he smoothes down his hair and puts it on
his head. Then he turns to the mirror and we see his face for
the first time: careworn, anonymous. An administrator.
Lawrence glances at his ashen reflection in the mirrored
walls, looks away. The elevator arrives. Lawrence raises his
chin, prepares his public face. The doors slide open to
reveal a solid wall of MEN IN BLACK SUITS.
7 INT. CASA SANTA MARTA - PAPAL CORRIDOR - NIGHT 7
The wall of SECURITY parts with difficulty and he makes his
way through them towards the Papal Suite. White marbled
floors. It could be a hotel, a clinic.
ARCHBISHOP WOZNIAK, built like a labourer, eyes, behind his
glasses, red from crying, comes to meet him.
ARCHBISHOP WOZNIAK
(Helplessly)
Eminence...
Lawrence takes his cheeks in his hand.
LAWRENCE
Janusz, your presence made him so
happy.
Ahead of them a BODYGUARD steps aside and Lawrence walks on
into...
8 INT. PAPAL SUITE - NIGHT 8
Lawrence stops, surprised by the throng of people crowd ed
into the little living room. He realises with a faint stab of
pain, that he must have been one of the last summoned. He
follows Wozniak through the open doors into...
Ratings
Scene 2 - The Last Rites
The room is almost shockingly plain - a chest of drawers,
nightstand, an anonymous bed that could be found in any
hotel. And lying on this bed, slightly propped up on pillows,
lies the dead Pope.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 3.
Kneeling around the bed are the three other senior cardinals
of the Catholic Church: ALDO BELLINI, JOSEPH TREMBLAY, JOSHUA
ADEYEMI.
The room is so small he has to step over the backs of their
legs to reach the head of the bed.
He stares down at the Pope, the expression of almost wry
amusement on the dead man’s face.
ADEYEMI
Subvenite, Sancti Dei...
Lawrence realises they have been waiting for him to b egin the
liturgy and hurriedly kneels, joints creaking. He glances
back at the sitting room beyond. Everyone is kneeling, head
bowed. He buries his face in his hands as the Nigerian
cardinal’s deep voice reverberates in the tiny room.
ADEYEMI (CONT’D)
... occurrite, Angeli Domini,
Suscipientes animam eius.
Offerentes eam in conspectu
Altissimi...
ALL CARDINALS
Suscipiat te Christus qui vocavit te
et in sinum Abrahae angeli deducant
te.
As the prayer continues Lawrence half-opens his eyes. His
gaze wanders around the scene before him, as if still trying
to comprehend what has happened...
...the folded spectacles on the bedside table, the scuffed
alarm clock beside them, the simple crucifix above the bed...
A heart-breaking detail: the wooden rim of the headboard is
cracked, the padded panel within, fraying...
Finally the familiar face, strangely naked without the
customary spectacles...
He realises Adeyemi has finished. The Cardinals recite the
chorus.
ALL CARDINALS (CONT’D)
Sicut erat in principio et nunc et
semper et in saecula saeculorum.
Amen.
For a few moments the room is completely still. Then...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 4.
TREMBLAY
He is with God.
The Canadian Tremblay, Carmerlengo or Chamberlain - silver
hair immaculately coiffed, the trim build of a retired
athlete - stretches out his arms as if in blessing. Two
ASSISTANTS hurry forward and help him up. Lawrence rises
creakily to his feet with the other Cardinals.
TREMBLAY (CONT’D)
Archbishop Wozniak.
Wozniak edges around the bed and, sweating with
embarrassment, struggles to pull a RING from the Pope’s hand.
Finally he works it free and presents it to Tremblay who
produces a pair of shears from a silver box. Grimacing with
effort he cuts free the metal disc of St Peter from the ring.
The snap is audible in the silent room.
TREMBLAY (CONT’D)
Sede vacante. The throne of the
Holy See is vacant.
Ratings
Scene 3 - Reflections in the Papal Suite
Groups of dignitaries stand in whispered conference. Lawrence
gingerly works his way through the throng to a lone figure
standing by the desk: the lean, ascetic frame of his friend,
Cardinal Bellini, Secretary of State.
LAWRENCE
(Joining him)
Aldo...
Bellini is staring down at a little plastic travel CHESS SET
on the desk - almost the only personal item in the bland
room. He brushes the pieces, grouped mid-game, with a finger.
BELLINI
Do you think anyone would m ind if I
took this, Thomas? As a keepsake?
LAWRENCE
Of course. Take it. He would have
wanted you to have it.
BELLINI
We used to play quite often at the
end of the day. He said it helped
him relax.
LAWRENCE
Who won?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 5.
BELLINI
Oh, he did. Always eight moves
ahead.
His eyes suddenly fill with tears. Moved, Lawrence takes his
arm.
LAWRENCE
Ah, Aldo, I’m so sorry. What
happened, do you know?
BELLINI
They say heart attack. There had
been warnings.
Lawrence blinks in surprise.
LAWRENCE
I hadn’t heard that.
BELLINI
He didn’t want anyone to know. He
thought if word got out they would
start spreading rumours he was
going to resig n.
Lawrence is trying not to show his hurt at being excluded.
Bellini mistakes his silence for puzzlement.
BELLINI (CONT’D)
(Quietly)
The Curia.
Lawrence nods, rouses himself to action. Tremblay, across the
room, is watching.
LAWRENCE
We’ll have to be careful what we
say to the media about his
condition.
Ratings
Scene 4 - The Weight of Responsibility
Lawrence and Bellini find Wozniak sitting alone in the dark.
Lawren ce addresses him gently.
LAWRENCE
Janusz, I know this is hard for
you, but we’ll need to prepare a
detailed statement. Who discovered
the Holy Father’s body?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 6.
ARCHBISHOP WOZNIAK
I did, Your Eminence.
LAWRENCE
Well, thank God, that’s something.
What did you do?
ARCHBISHOP WOZNIAK
I called the Holy Father’s doctor.
He always spent the night in the
room next door. But... it was too
late.
LAWRENCE
What time was this?
ARCHBISHOP WOZNIAK
Around eleven thirty, Eminence.
(Off Thomas' surprise)
I would have called you sooner,
but...
Wozniak shrugs helplessly. Tremblay arriv es just in time at
the door.
TREMBLAY
Thomas, I’m so sorry. I know His
Holiness had no closer colleagues
than you and Aldo... But I asked
Janusz to hold off calling you.
I... I wanted to ascertain all the
facts.
LAWRENCE
Well, I’m sure you acted for the
best.
TREMBLAY
(walking towards them)
The way rumours can spread. One and
a quarter billion souls watching.
He draws a document from his cassock. Belli ni sits down next
to Wozniak.
TREMBLAY (CONT’D)
I’ve prepared a time-line of His
Holiness’ last day.
Lawrence examines it. He suddenly feels the bulk of Adeyemi,
Cardinal Major Penitentiary or confessor-in-chief - at his
shoulder. Tremblay passes them more sheets.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 7.
TREMBLAY (CONT’D)
The Holy Father’s most recent
medical records. He had an
angiogram last month.
Lawrence is holding the x-ray to the light, staring in
silence, struck that he is looking at the very heart of the
man he revered.
TREMBLAY (CONT’D)
(Pointing)
You can see the evidence of a
blockage...just here.
Lawrence and Bellini share a look - a flinch of distress.
LAWRENCE
Joe, perhaps...perhaps we could
release the data, but not the
photograph? It feels too...too....
Tremblay inclines his head sympathetically.
TREMBLAY
I know, Thomas, I know. But there
will have to be an autopsy.
Adeyemi is still scanning the time-line.
ADEYEMI
The ti me before Vespers? What was
he doing then?
TREMBLAY
Routine meetings as far as I
understand it.
ADEYEMI
Who was the last to have a
scheduled meeting with him?
TREMBLAY
I believe that may have been me. I
saw him at four. Is that right
Janusz? Was I the last?
ARCHBISHOP WOZNIAK
You were, Eminence.
ADEYEMI
Put in all the meetings he had that
day. It will show how hard he was
working, right up to the end.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 8.
TREMBLAY
That might look as if we were
placing a huge burden on a sick
man.
ADEYEMI
The Papacy is a huge burden.
Especially for an older man.
Silence. A slight tension. Adeyemi is the youngest here. The
contest has begun. Lawrence breaks the awkward silence.
LAWRENCE
Has anyone telephoned Cardinal
Tedesco?
Bellini straightens and for the first time we see that
beneath the grief there is a well of anger.
LAWRENCE (CONT’D)
As a courtesy.
BELLINI
Courtesy? What has he ever done to
deserve courtesy? If anyone can be
said to have killed the Holy
Father, he did!
LAWRENCE
I have to ring him, Aldo.
Ratings
Scene 5 - The Weight of the Papacy
Lawrence st eps through the open door of the SMALL OFFICE and
dials the desk phone.
LAWRENCE LAWRENCE
(Italian, To Operator) (To Operator)
< The Patriarch’s Palace in Il Palazzo Patriarcale di
Venice, please. Cardinal Venezia, per favore. La linea
Tedesco’s private line. > privata del cardinale
Tedesco.
After a moment.
TEDESCO (O.S.)
(Over phone)
Tedesco.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 9.
LAWRENCE LAWRENCE
(Italian) Goffredo? Sono Lawrence.
< Goffredo? It’s Lawrence. Purtroppo devo comunicarvi
I’m afraid I have terrible una terribile notizia. Il
news. The Holy Father has Santo Padre è appena
just passed away.> deceduto.
Lawrence listens to the phone. Silence. The sound of
movement, a door closing?
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
(Italian) Eminenza?
< Your Eminence? >
TEDESCO (O.S.) TEDESCO (O.S.)
(Beat, Italian) (Beat)
< Thank you, Lawrence. I Grazie, Lawrence. Pregherò
shall pray for his soul. > per la sua anima.
He hangs up. The others watch from the doorway.
LAWRENCE
He already knew.
Tremblay takes out what appears to be a small leather bound
prayer book - but turns out to be a mobile phone.
BELLINI
Of course he knew. This place is
full of his supporters. He probably
knew before we did.
TREMBLAY
(Checki ng his phone)
It’s trending.
(Off the stares of the
others)
The rumours that the Pope is dead
are trending.
(A further, smiling,
explanation)
On the internet. We should move
quickly or we’ll fall behind the
news cycle.
ADEYEMI
We should wait until daylight. The
dignity of the office requires...
BELLINI
For God’s sake, Joshua. When did
the Holy Father ever care about the
“dignity of the office?” Look at
h is rooms.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 10.
TREMBLAY
The body should be embalmed.
Remember Pius XII? Went off like a
firecracker in his coffin...
Lawrence jumps slightly as Adeyemi addresses him.
ADEYEMI
Well, Dean. The responsibility for
the Conclave falls upon you.
Lawrence looks up and finds the others staring at him. The
dawning realisation of what lies ahead.
Ratings
Scene 6 - The Final Farewell
Lawrence stands, watching WOZNIAK laying a t hin white VEIL
over the dead Pope’s face. He turns to the PRIESTS of the
Apostolic Camera, standing waiting.
LAWRENCE LAWRENCE
(Italian) Sigillate la stanza.
< Seal the room. >
13 TITLES BEGIN 13
The Pope’s body is zipped into a a semi-transparent white
body bag and heaved onto a gurney. Lawrence watches as it is
being wheeled out into the corridor.
The sealing of the suite begins. The door is locked. Red tap e
is fixed on the frame. Wozniak is looking on.
Lawrence stands in the lift. From his place at the bottom of
the gurney, he stares fixedly down at the feet of the Pope,
ghostly through the white plastic, curled like small
foetuses.
The elevator pings and the doors slide open...
The gurney with the dead Pope is wheeled through the
UNDERGROUND GARAGE, past a puddle of oil...a crushed
cigarette pack...
T he only sound is the faint squeal of the wheels, and, the
forbidden click of phone cameras...
The sealing of the door continues - the tape criss-crossing
backwards and forwards, as if this was a crime-scene...
Wax seals bearing the coat of arms of the Cardinal Camerlengo
fix the tape ends to the frame....
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 11.
Outside the body is loaded into the waiting ambulance....
The final wax seal is put in place...
...as the ambulance drives off, the dead Pope in the body bag
inside.
FADE OUT
TITLE CARD: THREE WEEKS LATER. SUNDAY, 7TH NOVEMBER, EVE OF
CONCLAVE.
FADE IN
13A INT/EXT. CASA SANTA MARTA - FACADE - MORNING 13A
WORKMEN are fitting electronic SHUTTERS over the windo ws. The
whine of power tools as screws are tightened into place.
13B INT. CASA SANTA MARTA - BEDROOM - MORNING 13B
Inside the Casa a WORKMAN tests the closing of the shutters
with a remote control. It works.
13C INT. CASA SANTA MARTA - CORRIDOR - MORNING 13C
More Workmen emerge from the bedrooms, each trundling a dolly
loaded with the TELEVISIONS being removed from the rooms.
Ratings
Scene 7 - Chaos in the Chapel
A SPIRA L PATTERN...
Intricate and beautiful. A mosaic floor. As we watch a wide
red carpet is rolled across the frame, obscuring the mosaic.
An easy-lift rises in front of the last judgement.
CLOSE ON LAWRENCE'S FACE
...looking up. As we watch, a SHADOW falls over his face.
Above him, metal panels are being fitted over the high
windows, shutting out the daylight, obscuring the ceiling in
near gloom.
Lawrence stands in the chapel, watching the sealing of the
windows unhappily.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 12.
All around him there is teeming activity. Behind him WORKMEN
hurriedly finish laying the temporary wooden floor. At the
other end of the chapel carpet is being rolled over the wood,
followed by the thunk of a nail gun.
ARCHBISHOP MANDORFF, Master of Papal Liturgical Celebrations,
(60’s, German), stands beside him, clipboard in hand.
ARCHBISHOP MANDORFF
Security say they’d like to test
the electronic jammers one last
time, your Eminence.
LAWRENCE
Then they’d better be quick.
(Of the windows)
Is this really necessary, Willi?
ARCHBISHOP MANDORFF
Apparently so. Security say...
(reading, slightly
mystified)
...eavesdroppers can use lasers to
“read the vibrations on the glass?”
LAWRENCE
Let’s hope none of our brothers
suffer from claustrophobia. Who
knows how long we’ll have to be in
here.
Lawrence stares around him at the chaos.
LAWRENCE (CONT’D)
(shouting over the racket)
I assume we are going to finish in
time?
ARCHBISHOP MANDORFF
They will work through the night if
they have to. It will be fine,
Eminence. It always is. Italy, you
know.
Lawrence nods, pats the German’s arm.
LAWRENCE
Sorry to fuss.
He walks to one of the long tables along the length of the
chapel. On it Monsignor O’ Malley and some assistants are
setting up Bible, prayer book, pens and pencils, a ballot
paper and long list of names of the 107 cardinals eligible to
vote for the next Pope.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 13.
MONSIGNOR O'MALLEY, Secretary of the College of Cardinals,
(Irish, 40’s) joins them.
MONSIGNOR O'MALLEY
Well, Eminence, I’d say this is a
pretty fair vision of hell.
LAWRENCE
Don’t be blasphemous, Ray. Hell
arrives tomorrow when we bring in
the cardinals.
He examines the list of names.
LAWRENCE (CONT’D)
(Of a name)
How on earth does one pronounce
this? Salso?
ARCHBISHOP MANDORFF
Kahl-koh, Eminence. He’s Indian.
LAWR ENCE
Kahl-koh. Thank you Willi.
He sits, testing the cushion, wondering if it will offer
comfort for the elderly men who will soon be using them.
MONSIGNOR O'MALLEY
Archbishop Wozniak has asked if he
may have a word, Eminence?
Lawrence stands again, prods the cushion.
LAWRENCE
I don’t think that’s possible. The
cardinals will begin arriving in an
hour. What’s it about?
MONSIGNOR O'MALLEY
He didn’t say. (B eat). I wouldn’t
have mentioned it but he seemed
so...upset?
Lawrence frowns at him.
LAWRENCE
We’re going to be sequestered from
six o’clock. He should have come
earlier.
MONSIGNOR O'MALLEY
Yes, your Eminence. I’ll tell him.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 13A.
He starts to leave. Lawrence considers.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 14.
LAWRENCE
Ray? Tell him I’ll see him after
I’ve met the cardinals. The poor
fellow will be worrying about his
future.
O’Malley nods and leaves.
LAWRENCE (CONT’D)
(Wryly)
Getting puffed up with my own
importance, Willi.
He holds out a hand for Mandorff to help him stand.
LAWRENCE (CONT’D)
(Rising with a wince)
The Conclave will be over in a few
days and then no-one will be
interested in me.
A DRILL starts nearby, the sound deafening in the chapel.
Lawrence winces, feels a headache coming on.
Ratings
Scene 8 - Reflections in the Room of Tears
Behind the altar of the chapel Lawrence descends a set of
stairs. He crosses a narrow sacristy to descend into a small
room.
15A INT. SISTINE CHAPEL - ROOM OF TEARS - MORNING 15A
Lawrence closes the door, muffling the sound of the work
beyond. He stands for a moment, savouring the relative pe ace.
He finds himself staring at the THRONE, on which the newly-
elected Pontiff will sit. He crosses to a clothes rail and
brushes a hand along the row of cellophane wrapped papal
cassocks.
The door opens and Bellini slips in, closing the door behind
him.
BELLINI
Shelter from the Storm.
Lawrence smiles, examines one of the cassocks.
BELLINI (CONT’D)
Dear Lord, that’s enormous.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 15.
LAWRENCE
Apparently Pope John the Twenty-
Third was too fat to fit into the
biggest cassock. They had to split
the seam in the back for him to get
into it.
He picks up a pair of shoes, slip-ons in red leather.
BELLINI
You look tired.
LAWRENCE
All this... it’s a duty I never
thought I’d have to perform.
(Beat)
I always assumed he would out-live
us all.
To his surprise he finds himself continuing....
LAWRENCE (CONT’D)
We... we didn’t part well.
He stares at the shoes to avoid Bellini’s gaze.
LAWRENCE (CONT’D)
I asked for his permission to
retire as Dean. Join an order. I
have been having... difficulties.
BELLINI
(Beat)
What did he say?
LAWRENCE
He refused my resignation. Said
that some were chosen to be
Shepherds, and some to manage the
farm. Apparently, I’m a manager.
He gives Bellini a crooked, painful smile.
LAWRENCE (CONT’D)
Things were a little cold between
us when I left. (Beat). And that
was the last time I saw him.
Bellini hesitates. Then...
BELLINI
The Holy Father told me of your...
crisis of faith. He said you had
difficulties with prayer.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 16.
Lawrence feels shocked, obscurely betrayed.
BELLINI (CONT’D)
You know that he had doubts
himself, by the end?
LAWRENCE
The Pope had doubts about God?
BELLINI
Never about God. What he had lost
faith in was the Church.
The two friends stare at each other.
16 I/E. MINIBUS - MORNING 16
A group of NUNS, wearing blue habit, sit on a minibus, the
walls of the Vatican outside the window. In their midst a
woman with an arist ocratic air - SISTER AGNES.
Ratings
Scene 9 - Tensions at Casa Santa Marta
As the buses park inside the Vatican the NUNS descend and
walk up to the Casa.
18 INT. CASA SANTA MARTA - LOBBY - DAY 18
The line of NUNS are entering the building.
19 INT. CASA SANTA MARTA - BACK OFFICE - DAY 19
Sister Agnes arrives in her office. She puts down her bag and
takes off her coat, glances at the plan for the day. In the
corner a canary in a cage. Sister Agnes walks over and feeds
it.
20 EXT. CASA SANTA MARTA - COURTYARD - DAY 20
Lawrence stands, wrapped in a winter coat against the cold,
on the steps of the Casa, staring up at the sky. He is
flanked again by O’Malley and Mandorff, other members of
staff hovering beside them. For a moment LAWRENCE listens to
the faint sound of thousands of voices outside on the
streets, drums echoing.
ARCHBISHOP MANDORFF
Here they come, Your Eminence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 17.
He’s talking about the group of cardinals who are now passing
the gate into the courtyard, crossing towards him. They are
accompanied by two Security Guards, and the clatter of their
wheeled suitcases. As they approach Lawrence opens his arms.
LAWRENCE
Brothers, welcome.
CARDINAL MENDOZA
Are we criminals now? Searched?
Luggage opened...
LAWRENCE
(Taking his hands)
I’m so sorry, Your Eminence, but we
are told there is a heightened
state of security.
CARDINAL MENDOZA shows Lawrence his sleeve.
CARDINAL MENDOZA
(In disgust)
And look at this. Spat upon. The
Protestors. We’re all paedophiles
now, apparently.
(Dropping his voice)
Don Tutino?
LAWRENCE
(Quietly)
Will not be attending.
Mendoza nods grimly and walks on.
Ratings
Scene 10 - Arrival at Casa Santa Marta
In MONTAGE we see further arrivals: The Africans led by the
magisterial Adeyemi, pointing out this building and that to
his party, like a proprietor. From the Eastern Ministries,
the Archbishops of Lebanon and Antioch. From India the
Archbishops of Trivandrum, Ernakulam-Angamaly and...
LAWRENCE
(Pronouncing carefully)
Eminence Khal-Koh, welcome!
Lawrence shakes his hand in the staircase.
Back in the courtyard Tremblay arrives at the same time as
the ove r-weight CARDINAL GUTTOSO. He has his choir dress in a
dry-cleaning bag slung over his shoulder, a Nike sports bag
swinging in the other. He raises both hands to indicate he
cannot shake.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 18.
TREMBLAY
Thomas!
Guttoso, in contrast has an assistant struggling behind him
with his three, huge cases. As he waddles past Lawrence and
Tremblay exchange a look.
TREMBLAY (CONT’D)
(Of the cases)
Is he smuggling in his private
Chef?
22 EXT. CASA SANTA MARTA - COURTYARD - AFTERNOON 22
THE SKY -- the drone of a helicopter, either security or
media, hidden from our sight by the low cloud cover.
ON LAWRENCE
...staring up at the clouds, listening to the sinister hum.
He turns back to Mandorff and O’Malley who are waiting with
him in the cold. It’s getting dark now.
LAWRENCE
How many is that, Willi?
ARCHBISHOP MANDORFF
One hundred and three, Eminence.
LAWRENCE
I wonder where Tedesco has got to.
MONSIGNOR O'MALLEY
Perhaps he isn’t coming?
LAWRENCE
That would be too much to hope for.
MONSIGNOR O'MALLEY
(Of the cold)
We can wait inside if you prefer?
LAWRENCE
No, let’s get some fresh air while
we still can.
He notices Bellini striding towards them and descends the
steps to greet his friend.
BELLINI
Am I the last?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 19.
LAWRENCE
Not quite. How are you?
BELLINI
Oh fairly dreadful. You’ve seen the
papers? Apparently it’s already
decided it’s to be me.
LAWRENCE
And I happen to agree with them.
BELLINI
What if I don’t want it? No sane
man would want the papacy.
LAWRENCE
Some of our colleagues seem to.
BELLINI
But what if I know in my heart I’m
not worthy?
LAWRENCE
You’re more worthy than any of us.
BELLINI
I’m not.
LAWRENCE
Then... t ell your supporters not to
vote for you. Pass the chalice...
Bellini looks past him, his expression hardening.
BELLINI
And let it go to him? How am I to
live with myself if I don’t try to
stop him?
He walks towards the Casa Santa Marta as Lawrence turns to
face the newcomer: TEDESCO, the Patriarch of Venice. He looks
like a retired butcher, broken-nosed, the physique of a bull.
TEDESCO TEDESCO
< Apologies, Lawr ence. My Chiedo scusa, Lawrence. Il
train was delayed in Venice.> mio treno era in ritardo a
Venezia.
LAWRENCE LAWRENCE
(Italian) Padre Tedesco. Ci siete
< Father Tedesco. We’ve mancato.
missed you. >
Tedesco laughs.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 20.
TEDESCO TEDESCO
(Italian) Non c'è dubbio. Ma non
< No doubt. But don’t worry, preoccupatevi, i miei amici -
my friends have kept me well how do you say - mi hanno
informed. > tenuto ben informato.
Lawrence, refusing to be goaded, keeps his smile in place.
LAWRENCE LAWRENCE
(Italian) State bene?
< Are you well? >
TEDESCO TEDESCO
(Italian) Ah, no-one is ever well at
< Ah, no-one is ever well at our age. Come vi trovate con
our age. How have you found le vostre nuove
your new responsibilitie s? responsabilità? Avete tutto
You have everything under sotto controllo?
control? >
LAWRENCE LAWRENCE
< I believe so. > Credo di sì.
TEDESCO TEDESCO
< Good. > Bene.
(To a waiting assistant) (a un assistente)
< Stop hovering. I carry my Smettetela di stare in
own bag. > agguato. La porto io la mia
borsa.
Lawrence watches him stump on to the entrance. He offers up a
quiet prayer.
LAWRENCE
Heavenly Father, Bless this
Conclave, and guide it in Wisdom.
From above the drone of the helicopter is heard again.
Ratings
Scene 11 - The Conclave Preparations
The NUNS glide silently around the rooms. Beds are turned
down, pillows smoothed.
22B INT. CASA SANTA MARTA - BATHROOM - EVENING 22B
Little packets of toiletries are placed by the NUNS.
22C OMITTED 22C
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 21.
23 INT. CASA SANTA MARTA - SECURITY GATE - EVENING 23
The surreal sight of cardinals handing in their mobile phones
at reception, queueing to pass through a METAL DETECTOR.
Sister Agnes watches over the process.
SISTER AGNES SISTER AGNES
(Italian) Anche l'iPad, Eminenza.
< The iPad too, your
Eminence. >
24 INT. CASA SANTA MARTA - STORAGE ROOM - EVENING 24
A NUN is placing the confiscated MOBILE PHONES and devices
into dockets, each in a labelled plastic bag.
25 INT. CASA SANTA MARTA - HALLWAY - EVENING 25
Lawrence walks quickly with Monsignor O’Malley, both trailed
by the young chaplain, FATHER HAAS.
LAWRENCE
(Impatient)
Where is he?
O’MALLEY
The meeting room, Your Eminence.
LAWRENCE * LAWRENCE
(handing coat and scarf Me li porta di sopra, per
to Haas; Italian) favore?
Will you take these upstairs
for me?
O’MALLEY
Do you w ant me to sit in?
LAWRENCE
No, no, I’ll deal with it.
Ratings
Scene 12 - Secrets Before the Conclave
He opens the door to the room and finds Wozniak with his back
to him at the far end of the room, staring at the wall.
LAWRENCE
(Closing the door after
him)
Janusz?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 21A.
Wozniak turns, looking ashen. He’s been drinking. He sinks to
his knees, makes the sign of the cross.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 22.
ARCHBISHOP WOZNIAK
In the name of the Father, the Son
and the Holy Ghost. My last
confession was four weeks ago...
Lawrence walks to him, a little irritated.
LAWRENCE
(Helping him up)
Janusz, Janusz, I’m sorry I don’t
have time to hear your confession.
There is so much still to do.
Wozniak sinks into a chair. Wipes sweat from his face with
trembling hands. Lawrence examines him in surprise.
LAWRENCE (CONT’D)
Have you been drinking?
Wozniak looks at him, wretched. Lawrence sighs inwardly.
LAWRENCE (CONT’D)
What’s troubling you? Tell me.
ARCHBISHOP WOZNIAK
I should have come to you before.
But I promised I wouldn’t say
anything.
LAWRENCE
Promised who?
ARCHBISHOP WOZNIAK
Cardinal Tremblay.
Lawrence feels an instinctive stab of alarm, his natural
aversion to secrets. Almost without realising it, he is
drifting back towards the door.
LAWRENCE
Janusz, the doors close soon and
you’ll have to leave. Now if you
promised Father Tremblay then
perhaps it isn’t right for you
to...
ARCHBISHOP WOZNIAK
(Blurting)
The day the Pope died, the last
person to have an official
appointment with him was Cardinal
Tremblay.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 23.
LAWRENCE
(Impatient)
Yes, I know. It’s on the official
timeline for...
ARCHBISHOP WOZNIAK
At that meeting, the Holy Father
dismissed him from all his offices
in the Church.
That stops Lawrence in his tracks.
LAWRENCE
What?
ARCHBISHOP WOZNIAK
He sacked him.
Lawrence stares at him. He starts to speak, stops, dimly
aware that he feels anger - anger at being burdened with
this.
LAWRENCE
(Tight)
Why?
ARCHBISHOP WOZ NIAK
For gross misconduct.
Lawrence stares at him, staggered.
LAWRENCE
You...you tell me this now? We are
about to be sequestered and...
ARCHBISHOP WOZNIAK
Forgive me! But it wasn’t until the
last few days, when I started to
hear the rumours...
LAWRENCE
(Sharply)
What rumours?
ARCHBISHOP WOZNIAK
That he might be elected Pope.
LAWRENCE
And you see it as your duty to
prevent that, do you?
ARCHBISHOP WOZNIAK
I no l onger know what my duty is.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 24.
It’s said with such obvious sincerity, such misery, that
Lawrence feels ashamed of his anger. He sits.
LAWRENCE
(Beat)
Were you there at this meeting?
ARCHBISHOP WOZNIAK
No, Your Eminence. The Holy Father
told me about it afterwards, when
we had supper.
LAWRENCE
Did he tell you why he had
dismissed Father Tremblay?
ARCHBISHOP WOZNIAK
No. He said the reasons would
become clear soon enough. He was
very angry .
Lawrence feels a brief flare of hope that he could be lying,
but dismisses it quickly.
LAWRENCE
Does anyone else know about this?
ARCHBISHOP WOZNIAK
Monsignor Morales was at the
meeting.
LAWRENCE
Why hasn’t he mentioned anything to
me? He was there in the apartment
with us the night the Holy Father
died.
ARCHBISHOP WOZNIAK
(Tearing up)
After the Holy Father... after ...
(unable to say it)
I went to see M onsignor Morales to
tell him what the Pope had said but
he was very firm. He said there had
been no dismissal and that the Holy
Father had not been his usual self
in the last weeks. He said I
shouldn’t raise the subject again.
But... it’s not right, Eminence.
God tells me it’s not right.
Lawrence stands, pained, one word in his mind. Scandal.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 25.
27 OMITTED 27
Ratings
Scene 13 - The Unexpected Cardinal
Only the ground floor is now lit, like an aquarium. Lawrence
stands at the entrance in the green light, watching Wozniak
as he walks away. Wozniak raises a hand in awkward farewell
then walks on, as shutters rattle their way down over the
windows, shutting out the world. A SECURITY GUARD closes and
locks the main door.
It is beginning.
29 INT. CASA SANTA MARTA - KITCHENS - NIGHT 29
The kitchen is crowded with NUNS busy preparing the evening
meal for the 107 cardinals. Despite their number, the
atmosphere is hushed, each focussed on her task.
30 INT. CASA SANTA MARTA - DINING ROOM - NIGHT 30
The NUNS are laying the tables for the evening meal.
SISTER AGNES inspects the placement of the silverware,
correcting it with military precision.
31 INT. CASA SANTA MAR TA - STAIRCASE - NIGHT 31
Lawrence is walking up the stairs, eager to get to his room.
Behind him O’Malley calls out from reception.
MONSIGNOR O’MALLEY
Your Eminence...
O’Malley hurries over. The usually cheerful Irishman looks
disconcerted. He hesitates.
LAWRENCE
Oh dear God, one of them’s died.
MONSIGNOR O’MALLEY
What?
LAWRENCE
Have we lost a Cardinal?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 26.
MONSIGNOR O'MALLEY
No, Your Eminence. We seem to have
acquired one.
(Off Lawrence’s stern
face)
I mean it literally, Eminence.
Another cardinal has just turned
up.
Lawrence stares at him. The day is turning into a nightmare.
O’Malley leads him up the staircase.
LAWRENCE
If we’ve left someone off the
list...
MONSIGNOR O'MALLEY
He was never on our lists. He says
he was created in pectore.
LAWRENCE
(Beat)
He h as to be an imposter, surely?
MONSIGNOR O'MALLEY
That’s what I thought, Eminence.
But Archbishop Mandorff has spoken
to him and thinks not.
O’Malley guides him up the stairs towards Mandorff who stands
with two NUNS. They take in his expression and quickly glide
away.
LAWRENCE
What’s this I’m hearing?
ARCHBISHOP MANDORFF
(Shaken)
His name is Vincent Benitez,
Eminence. He’s the Archbishop of
Kabul.
Lawre nce almost double-takes.
LAWRENCE
Archbishop of where?
ARCHBISHOP MANDORFF
Kabul. He’s Mexican. The Holy
Father appointed him last year.
LAWRENCE
Last year? And how has this been
kept a secret?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 27.
ARCHBISHOP MANDORFF
I thought, perhaps, you would be
aware of his elevation.
LAWRENCE
No. I am not.
He feels the nervous gazes of the others on him and gets
control of himself.
LAWRENCE (CONT’D)
Ray, ask Father Bellini to join us.
Perhaps he knew of this.
O’Malley hurries off.
ARCHBISHOP MANDORFF
He has a letter of appointment from
the Pope addressed to the
archdiocese of Kabul, which they
kept secret at the Hol y Father’s
request.
(Beat)
You don’t think he could have
forged it?
Lawrence sighs.
LAWRENCE
Where is he now?
Ratings
Scene 14 - The Cardinal's Dilemma
We’re looking at a slim man dressed in a somewhat shabby
plain black attire with no skull cap. This is BENITEZ. He
sits on a plastic chair, rosary in hand.
Lawrence, Bellini, Mandorff and O’Malley watch him through
the glass wall of the room.
BEL LINI
A cardinal in Afghanistan? It’s
absurd. How many catholics are
there in Afghanistan?
Lawrence gestures to the LETTER he’s holding.
LAWRENCE
He was the Head of the Catholic
Mission there until his...
elevation.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 28.
BELLINI
The Americans will be appalled. How
could we possibly ensure his
safety?
LAWRENCE
Presumably that’s why the Holy
Father wanted it kept secret.
(Beat)
Well it won’t be in pectore now. I
don’t think we have any choice but
to admit him.
He moves to enter the office but Bellini takes his arm. He
stops, turns to Bellini, who seems as surprised as him at his
intervention. For a moment the Italian con tinues to stare at
the newcomer. It’s as if there’s something about Benitez that
Bellini finds obscurely troubling. Then...
BELLINI
(Quietly)
Must we?
(Off Thomas' puzzled look)
Are we sure the Holy Father was
entirely... competent to make this
appointment?
Lawrence stares at him, thinking back to Wozniak’s words,
tempted by the explanation of mental confusion... Bellini
misreads the silence as disapproval.
BELLINI (CONT’D)
Papal infallibility covers
doctrine. It does not extend to
appointments.
LAWRENCE
(Beat)
That man is leg ally a cardinal,
Aldo. He has a right to take part
in the election.
Ratings
Scene 15 - A Risky Resolve
Benitez stands as LAWRENCE and Bellini walk in.
LAWRENCE
Welcome to the Vatican, Archbishop.
I’m Father Lawrence, Dean of the
College. This is Father Bellini.
I’m sorry you’ve had to wait. We
had to make checks I’m afraid.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 29.
Benitez smoothes a lock of dark hair back from his rather
boyish face.
BENITEZ
It is I who must apologise for such
an unexpected entrance.
BELLINI
(Reluctantly)
Archbishop, forgive me, but I have
to say I think you’ve made a
mistake coming here.
BENITEZ
Why is that, Your Eminence?
Bellini looks between the two men - isn’t it obvious?
BELLINI
I would have thought the position
of Christians in Central Asia w as
perilous enough without you having
been made a cardinal and showing
yourself in Rome.
BENITEZ
I’m aware of the risks.
BELLINI
But now you’re here I don’t see how
you expect to go back.
BENITEZ
I’ll go back. And face the
consequences of my faith, like so
many others.
Bellini tilts a head, as if to say - charming but naive.
BELLINI
Your return will have diplomatic
repercussions and therefore will
not, necessarily, be your decision.
BENITEZ
(Mildly)
Nor yours, Eminence. It will be a
decision for the next Pope.
Bellini opens his mouth and closes it again. Lawrence
examines the fragile looking man, reevaluating. He’s tougher
than he looks.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 30.
LAWRENCE
Well, the first thing is to find
you a room. Where’s your luggage?
BENITEZ
I don’t have any.
LAWRENCE
None?
BENITEZ
I thought it best to go to the
airport empty-handed, to disguise
my intentions.
LAWRENCE
(Recovering)
Ray?
O’Malley pops his head in.
LAWRENCE (CONT’D)
His Eminence will require
toiletries, some clean clothes, and
choir dress of course.
(To Benitez)
Monsignor O’Malley will look after
you.
Looking suddenly exhausted, Benitez follows O’Malley out of
the office. Lawrence glances at Bellini, a little puzzled by
his friend’s faint hostility. Bellini shrugs, as if a little
puzzled himself.
BELLINI
(Half-apologetic)
It’s just so...irregular.
Ratings
Scene 16 - Reflections of a Manager
Lawrence walks down the corridor to his room and finds
Adeyemi approaching from the other end. He raises a hand in
g reeting. Both stop at the mid-point of the corridor.
LAWRENCE
We’re neighbours, Joshua.
ADEYEMI
It seems so.
They stand smiling, slightly awkwardly, key cards in hand.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 31.
LAWRENCE
(making conversation)
I thought - a little more work on
my homily for tomorrow...
ADEYEMI
Ah, yes of course... I look forward
to it.
(Mock conspiratorial)
I understand the trick is to offend
no-one.
He chuckles at his own joke.
ADEYEMI (CONT’D)
Well...
They nod to each other and both go into their rooms.
35 INT. CASA SANTA MARTA - LAWRENCE'S ROOM - NIGHT 35
Lawrence sits, back to us, hunched over the small de sk,
staring at the shuttered window in front of him, lost in
thought.
From the next room, through the thin walls, he hears the
sound of coughing, a toilet flushing...
He stirs, picks up his pen and resumes work on his sermon.
36 INT. CASA SANTA MARTA - LAWRENCE'S BATHROOM - NIGHT 36
CLOSE ON LAWRENCE - staring at us.
LAWRENCE LAWRENCE
(Italian) I nostri ultimi Papi sono
< Our recent Popes have all stati tutti instancabili
been tireless promoters of promotori di pace e
peace and co-oper ation at the cooperazione a livello
international level. Let us internazionale. Preghiamo che
pray that the future Pope il futuro Papa continui
will continue this ceaseless questa incessante opera di
work of charity and love... > carità e amore...
We realise Lawrence is practicing his sermon in his BATHROOM,
before the m irror.
He stops, feels a twinge of contempt for its bland tone.
He puts the sermon aside, examines the cheap little plastic
wrapped package of razor, tooth brush and toothpaste, fumbles
with it for a moment.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 32.
He finally rips it open and its contents fall to the floor.
Lawrence sighs, examines his reflection again for a moment.
LAWRENCE (CONT’D)
You’re a manager.
(Beat)
Manage.
Ratings
Scene 17 - A Tense Gathering at Casa Santa Marta
CLOSE ON SISTER AGNES
...a watchful silent presence, as ever. She monitors the nuns
as they fan through the...
...LARGE ROOM running down one side of the lobby. White
marble floors, tables set for dinner, the din of conversation
from the assembled cardinals. It could be a business
convention.
Her gaze lands on the Americans seated at one table, talking
loudly. Tremblay in the middle, joking and laughing with
them.
Lawrence takes a knife and glass and raps it for attention.
The room gradually falls silent except for Cardinal
KRASINSKI, the arch-conservative Archbishop Emeritus of
Chicago who continues speaking loudly until he is hushed by
his neighbours, and adjusts his hearing-aid, resulting in an
electronic howl that causes them to wince.
Benitez standing alone, apart.
LAWRENCE
Your Eminences, before we eat I
should like to introduce a new
member of our order, whose
existence was not known to any of
us until a few hours ago.
(Raising a hand to the
stir of surprise)
This is because our brother was
made a cardinal by a perfectly
legitimate procedure known as
creation in pectore. The reason why
it had to be done this way is known
only to God and to the late Holy
Father. But I think we can guess
well enough as our new brother’s
ministry is an extremely dangerous
one.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 33.
LAWRENCE (CONT’D)
It has not been an easy journey for
him to join us but now, by the
Grace of God a brotherhood of one
hundred and seven has become one
hundred and eight. Welcome to our
order, Vincent Benitez, Cardinal
Archbishop of Kabul.
A general sense of mystification from his audience. He begins
to applaud and for a painful moment he is the only one
clapping. Gradually the others join in.
LAWRENCE (CONT’D)
Would you bles s our meal, Eminence?
Benitez looks alarmed at the prospect but nods. The cardinals
lower their heads, eyes closed.
BENITEZ
Bless us, O Lord, and these Your
gifts which we are about to receive
from Your bounty.
Several of the cardinals begin to make the sign of the cross,
presuming this is the end.
BENITEZ (CONT’D) BENITEZ (CONT’D)
(in Spanish) Bendice también a todos
Bless too, all those who aquellos que no pueden
cannot share this meal. And compartir esta comida con
help us, O Lord, as we eat nosotros. Y, mientras comemos
and drink, to remember the y bebemos, ayúdanos Señor a
hungry, the thirsty, the sick recordar a los que pasan
and the lonely, and those hambre, a los que están
sisters who prepared this sedientos, a los enfermos y a
food for us. Through Christ los que están solos, y a las
Our Lord, Amen. herma nas que nos han
preparado esta comida. Por *
Cristo Nuestro Señor, Amén.
A rumble of Amens and the Sisters begin to serve the meal.
Lawrence leads Benitez over to a table with Asian cardinals
then heads on himself towards Bellini.
TEDESCO TEDESCO
(Italian) Decano!
< Dean! >
With dismay Lawrence finds himself beside the Patriarch of
Venice’s table. Tedesco indicates an empty seat.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) Prendete del vino.
< Take s ome wine. >
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 33A.
Lawrence reluctantly sits and accepts the glass. Tedesco
observes him as he continues to eat with gusto.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 34.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) Sembrate ansioso. E non
< You look anxious. And we abbiamo nemmeno iniziato.
haven’t even begun yet. > (Chewing)
(Chewing) Our new brother.. ho capito
< Our new brother...did I bene? ”Afghanistan”?
hear correctly? Afghanistan?>
LAWRENCE LAWRENCE
(Italian) Sì.
< I did. >
He looks around the dining room.
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
(Italian) Una meravigliosa
< A marvellous testament to testimonianza della Chiesa
the Universal Church, don’t universale, non crede? Tanti
you think ? So many men of uomini di culture e razze
different cultures, races, diverse, legati dalla fede in
bound together by their faith Dio.
in God. >
Tedesco grunts in amusement as he eats.
TEDESCO TEDESCO
(Italian) Guardate bene. Notate come *
< Look again. Notice how tutti hanno gravitato intorno
everyone has gravitated to ai loro connazionali. Noi
their fellow countrymen. i taliani di qua... gli
Italians over here... Spanish spagnoli di là... gli inglesi
speakers ther e...English di là... ‘divided by *
there... Divided by language. language’. Quando eravamo
When we were boys and the ragazzi e la Messa tridentina
Tridentine Mass was still the era ancora la liturgia del
liturgy of the world - we mondo, avremmo parlato tutti
would all have been speaking latino. Ma poi i vostri
Latin. But then your fellow colleghi liberali hanno
liberals insisted we get rid insistito perché ci
of that “dead” language. You liberassimo di quella lingua
say “Universal” Church, but "morta". Lei dice “universal *
we have become a church”, ma semmai siamo *
confederation at best. > diventati una confederazione.
LAWRENCE
(in English)
The church i s evolving, Goffredo.
TEDESCO
(in English)
Disintegrating.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 34A.
Tedesco’s fellow traditionalists at the table are staring
stonily at Lawrence, as if holding him personally
responsible.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 35.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) Un altro Santo Padre come
< Another Holy Father like l'ultimo e la nostra Madre
the last one and our Mother Chiesa cesserà di esistere.
the Church will cease to Senza Roma, senza la
exist. Without Rome, without tradizione di Roma...
the tradition of Rome... > (changes to English)
(changes to English) ... “things fall apart, the
... “things fall apart, the centre cannot hold.”
centre cannot hold.”
LAWRENCE
So... what? The next Pope must be
Italian?
TEDESCO TEDESCO
(Italian) Sono più di quarant'anni che
< We haven’t had an Italian non abbiamo un Papa italiano.
Pope for more than forty Può seriamente immaginare
years. Can you seriously l’alternativa? Abyssus *
imagine the alternative? > abyssum invocat.
His gaze slides to the table of African cardinals, Adeyemi in
the middle. This is too much.
LAWRENCE LAWRENCE
(Italian) Scusatemi, devo fare il giro
< Excuse me. I must circulate tra i nostri Confratelli.
amongst our colleagues. >
He stands, bows his head to the circle of hostile faces and
walks off.
Ratings
Scene 18 - The Weight of Ambition
Lawrence sits with Bellini and his circle of liberal
supporters, having a coffee after their meal.
LAWRENCE
I’ll give him this, he clearly has
no i ntention of tempering his views
to win votes.
CARDINAL SABBADIN
It was shrewd of him to stay away
from Rome until today. One
outspoken newspaper interview could
have written Tedesco off. Instead,
he will do well tomorrow, I think.
LAWRENCE
Define “well.”
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 36.
Sabbadin rocks his head from side to side, appraising.
CARDINAL SABBADIN
I’d say he’s worth fifteen votes in
the first ballot.
LAWRENCE
And your man?
Bellini looks pained as Sabbadin studies him in the same
thoughtful way.
BELLINI
Why do I feel like a cow being
priced by the farmer?
CARDINAL SABBADIN
(Ignoring this)
First ballot? Between twenty and
twenty-five. But it’s tomorrow
night that the real work b egins.
Somehow we have to get him a two-
thirds majority.
BELLINI
By real work, you mean - what,
exactly?
CARDINAL LANDOLFI
Your Eminence, those who seek the
papacy...
BELLINI
(Irritated)
I don’t “seek” the papacy. I...
He is interrupted as the door opens and a Sister comes to
pick up a tray of empty coffee cups. The men sit in
uncomfortable silence until the nun has moved on.
CARDINAL VILLANUEVA
Listen you don’t have to do
anything, leave it to us. But if
they ask us what you stand for...?
BELLINI
Tell them I stand for a common-
sense approach to issues such as
gays, or divorce. Tell them I stand
for never returning to the days of
the Latin liturgy, families of ten
children because Mamma and Papa
know no better.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 37.
BELLINI (CONT’D)
It was an ugly, repressive time and
I’m glad it’s over. Tell them I
stand for respecting other faiths,
tolerating other views within our
own Church. And tell them I believe
women should play more of a role
within the Curia...
Sabbadin winces, sucks his teeth.
CARDINAL SABBADIN
Let’s... let’s not mention women.
BELLINI
Brother, I have no intention of
concealing my views or pretending
to be anything oth er than I am in
order to try and sway any of our
number who are undecided. So if you
are going to canvas on my behalf,
make sure my message is clear...
Tell them that I stand for
everything Tedesco does not.
(Beat)
Now, if you’ll excuse me...
He stands up and leaves. Sabbadin sighs, polishes his
glasses.
CARDINAL SABBADIN
Rocco, you talk to the Americans.
Villanueva, I’ll leave the South
Americans to you. Gianmarco, you
take the Africans. And, obviously,
no mention of women.
Lawrence watches Bellini walk away, feeling a stab of pity
for him.
LAWRENCE
He doesn’t want this. Any of it.
You know that don’t you?
CARDINAL SABBADIN
Of course. That’s why I support
him. The men who are dangerous are
the ones who actively desire it.
Lawrence ponders on this.
Ratings
Scene 19 - Shadows of Allegation
Darkness. Silence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 38.
Then a door opens, a switch is flicked and Tremblay’s room
glares into light. It’s a suite, like the Pope’s.
TREMBLAY
(Letting Lawrence in)
I’m enjoying the mystery Thomas but
I suppose you should tell me what
you want to talk about?
Lawrence hesitates, but the sooner he gets this over with the
sooner they can put it behind them.
LAWRENCE
Your last meeting with the Holy
Father.
TREMBLAY
Uhuh? What about it?
LAWRENCE
I’ve been told it was difficult.
Was it?
TREMBLAY
(Surprised)
Difficult? No? Not that I can
recall.
Lawrence hesitates again.
LAWRENCE
I’m sorry to have to ask this, Joe,
but... To be specific, I was told
that the Holy Father demanded your
resignation.
Tremblay looks genuinely shocked.
TREMBLAY
(Beat)
That’s absurd. I don’t know what...
who told you?
LAWRENCE
(Beat)
Archbishop Wozniak.
TREMBLAY
(Beat )
Why would he say such a thing?
LAWRENCE
So, there isn’t any truth in the
allegation?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 39.
TREMBLAY
God, no, of course not! It’s
absurd. You didn’t think...?
LAWRENCE
I had to ask.
TREMBLAY
No, I understand, of course. But,
no.
(A sudden thought)
You can ask Monsignor Morales. He
was at the meeting.
LAWRENCE
I would but at the moment we happen
to be sequestered.
Tremblay shakes his head, walks to the coffee machine.
LAWRENCE (CONT’D)
Can you think of any reason why
Archbishop Wozniak would circulate
such a story?
TREMBLAY
I can’t. I really...coffee?
(Lawrence shakes his head)
I’m quite... I’m shocked.
He told you this himself?
Lawrence nods. Tremblay shakes his head again, raises a
baffled hand. He collects his coffee, stares at it.
TREMBLAY (CONT’D)
Do you think...?
He hesitates, embarrassed.
LAWRENCE
What?
Tremblay looks up at him, a little guiltily.
TREMBLAY
The drinking? (Beat) I don’t like
to bring it up, but w e both know
his drinking has been getting
heavier and perhaps it’s affecting
his judgement, his mind even? I
know my name has been mentioned as
a future Pope and if the Archbishop
does not approve of the idea then
perhaps...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 40.
He waves a hand again, embarrassed.
TREMBLAY (CONT’D)
I don’t know. I’m just trying to
make sense of... and I know the
poor man was shattered by the Holy
Father’s death.
He finishes his espresso. Lawrence is desperate for this to
be over.
LAWRENCE
Yes. Indeed. Again, Joe, my
apologies for...
TREMBLAY
No, not at all. I quite understand.
They head for the door. Then to his own surprise, Lawrence
says...
LAWRENCE
What did you discuss with the Holy
Father in that final meeting?
Tremblay blinks. When he answers his manner is a little
cooler - as if the insult of the accusation has just caught
up with him.
TREMBLAY
Forgive me, but it was a private
conversation, Thomas. And very
precious. The last words I
exchanged with the Holy Father.
Beat. Then Lawrence inclines his head.
LAWRENCE
I quite understand.
Tremblay open s the door in silence, waits for Lawrence to
step out the room then switches off the brilliant lights,
closes the door plunging us into darkness.
We HOLD in the black...
40 OMITTED 40
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 41.
Ratings
Scene 20 - A Moment of Clarity
Lawrence wakes suddenly. From the next room comes the sound
of stentorian snoring. He tries to screen it out. But sleep
seems impossible now. He sits up in bed.
42 INT. CASA SANTA MARTA - GYM - NIGHT 42
Lawrence walks on the treadmill, the only figure in the large
room. He stares at his reflection in the mirrored wall as he
speed walks, listening to the h ypnotic thrum, thrum of the
treadmill.
TITLE CARD: FIRST DAY OF CONCLAVE
43 EXT. CASA SANTA MARTA - COURTYARD - MORNING 43
HIGH ANGLE - from the top of the balcony. The courtyard below
is a sea of red: cardinals robed for the coming service.
Lawrence stands staring down at them, an air of trepidation
behind the eyes. Below a single nun in blue is lost among the
red.
FATHER HAAS (O.S.)
Your Eminence?
Behind him Father Haas has appeared in the hall. Lawrence
blinks out of his thoughts.
44 INT. CASA SANTA MARTA - SIDE ROOM - MORNING 44
Haas is robing Lawrence, fussing around like a tailor,
adjusting the heavy red chasuble. He places the tall, white
mitre on Lawrence’s head, stands back to survey its angle
critically. He hands Lawrence the crozier - a golden
Shepherd’s crook.
FATHER HAAS
How does it feel, Your Eminence?
LAWRENCE
Good. Thank you.
We hear the chanting of the Gospel of St John...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 42.
45 INT. “ROOM OF CARDINALS” - MORNING 45
A bare space. Lawrence looks out at the rows of the
congregation that have been crammed into the room: the red of
the cardinals, purple of the Bishops, white of the Priests...
They sit and stand in front of him.
Lawrence sits, clutching the sermon in his lap, hiding the
turmoil going on inside him. His gaze flits across the ranks
of cardinals, finding the main co ntenders: Adeyemi, Bellini,
Tremblay and finally Tedesco. Haas appears in front of him
and removes the mitre, catches something in the Dean’s
expression as he does so.
FATHER HAAS
(Concerned, softly)
Are you well, Eminence?
LAWRENCE
I’m fine.
The choir comes to an end.
ON THE MICROPHONE - as Lawrence steps in front of it. For a
moment he stares out over the room of faces. He stares down
at the pages of h omily. The moment hangs until there’s a
faint stirring of unease. Finally...
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
(Reading, Italian) Cari fratelli in Cristo, in
< Dear Brothers in Christ, at questo momento di grande
this moment of great incertezza nella storia della
uncertainty in the history of Santa Chiesa d obbiamo pensare
the Holy Church we must think innanzitutto al defunto Santo
first of the late Holy Father Padre, il cui brillante
whose brilliant pontificate pontificato è stato un dono
was a gift from God. > di Dio.
A murmur of approval from the congregation.
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
< Now we must ask our Lord to Ora dobbiamo chiedere a
send us a new Holy Father n ostro Signore di mandarci un
through the pastoral nuovo Santo Padre attraverso
solicitude of the cardinal la sollecitudine pastorale
fathers and we must pray to dei padri cardinali e
God for that loving dobbiamo pregare Dio per
assistance and ask Him to questa amorevole assistenza e
guide us to the right chiedere la sua guida nel
choice.> compiere la scelta giusta.
He looks out at his audience, his gaze once more falling on
Tedesco watching him with a faint complacent smile.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 43.
He turns the page, scans the text, and the next page...
platitudes, platitudes...
Suddenly he puts the sermon aside. For the first time in days
he feels calm.
LAWRENCE (CONT’D)
(In English)
But you all know that.
There is some surprised laughter.
LAWRENCE (CONT’D)
Let me speak from the heart for the
moment.
Now there’s a definite stirring of alarm amongst the
cardinals.
LAWRENCE (CONT’D)
St Paul said “Be subject to one
another out of reverence for
Christ.” To work together, and grow
together, we must be tolerant.
The room is entirely still now...
INTERCUT WITH:
Ratings
Scene 21 - A Call for Doubt and Unity
... whilst right outside the door SISTER AGNES and a few of
her nuns are silently listening to Lawrence’s speech.
LAWRENCE
St Paul said that God’s gift to the
Church is its variety. It is this
variety, this diversity of people
and views that gives our Church its
strength. In the course of a long
life in the service of our Mother
th e Church, let me tell you that
there is one sin I have come to
fear above all others. Certainty.
Certainty is the great enemy of
unity. Certainty is the deadly
enemy of tolerance. Even Christ was
not certain at the end.
Lawrence switches into Italian.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 44.
LAWRENCE (CONT’D)
“Dio mio, Dio mio, perché mi hai
abbandonato?"
LAWRENCE (CONT’D)
(back to English)
“My God, my God, why have you
forsaken me?” He cried out in His
agony at the ninth hour on the
cross. Our faith is a living thing
precisely because it walks hand in
hand with doubt. If there was only
certainty, and if there was no
doubt, there would be no mystery,
and therefore no need for faith.
Let us pray that God will grant us
a Pope who doubts. Let Him grant us
a Pope who sins and asks for
forgiveness. And carries on.
He looks out over the cardinals and sees they are unified by
a single emotion. Shock.
47 EXT. CASA SANTA MARTA - COURTYARD - DAY 47
Lawrence is led by Haas and some ASSISTANTS through the
courtyard, crowded with cardinals. Lawrence feels their eyes
upon him.
48 INT. CASA SANTA MARTA - SIDE ROOM - DAY 48
Lawrence stands being disrobed by Haas and the Assistants.
None of the younger men can look Lawrence in the face.
O’Malley arrives holding the discarded sermon.
MONSIGNOR O'MALLEY
(Awkward)
Dean, your homily... I’m not
entirely clear whether or not it
should be placed in the Vatican
archive or not? As it was not the
homily you... actually...
delivered?
LAWRENCE
I’m not sure either.
Lawrence examines the usually ebullient Irishman and realises
even he is avoiding his gaze.
LAWRENCE (CONT’D)
Was it that bad, Ray?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 45.
MONSIGNOR O'MALLEY
(Hurriedly)
Not at all, Your Eminence. It has
caused quite a stir. I don’t think
anyone expected you to... to...
LAWRENCE
(Smiling)
Say something interesting?
Haas lifts the chasuble over his head, and LAWRENCE rotates
his stiff neck, relieved to be free of the weight.
LAWRENCE (CONT’D)
(As Haas leaves)
Thank you, Father.
MONSIGNOR O’MALLEY
I’ll have a transcript made of the
text from the tape, Em inence. If
there’s nothing else...
Lawrence hesitates, as O’Malley turns to go. Then...
LAWRENCE
I need you to do something for me.
Monsignor Morales. I’m sure he’s
still in Rome. Could you try and
see him? Use my authority.
MONSIGNOR O’MALLEY
(Surprised)
Today? I...I could try, your
Eminence?
LAWRENCE
I need to know what happened in the
final meeting between the Holy
Father and Cardinal Tremblay.
MONSIGN OR O’MALLEY
What...happened?
Lawrence takes a deep breath, and...
LAWRENCE
Specifically, did anything occur
that might render Cardinal Tremblay
unfit to assume the papacy?
O’Malley gapes at him, recovers himself.
MONSIGNOR O’MALLEY
Of course, Eminence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 45A.
LAWRENCE
Bless you.
Ratings
Scene 22 - Confrontation in the Lobby
Lawrence is heading for the lift when...
TEDESCO (O.S.) TEDESCO (O.S.)
(Booming, Italian) (tonante)
< Well, Dean... > Beh, Decano...
Lawrence turns to find Tedesco advancing on him, drawing the
attention of the crowded lobby.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 46.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) San Paolo come apostolo del
< St Paul as an Apostle of dubbio. Non l'avevo mai
Doubt. I’ve never heard that sentita prima!
one before! >
Lawrence continues to the lift, determined to avoid a public
argument.
TEDESCO (CONT’D) TEDESCO (CONT’D)
< Wasn’t it St Paul who said, Non è stato forse San Paolo a
“If the trumpet shall give an dire: "E s e la tromba emette
uncertain note, who will un suono confuso, chi si
prepare himself for battle?”> preparerà alla battaglia?"
Lawrence presses for the lift and the doors glide open.
LAWRENCE
(in Latin)
Perhaps it would have been more
palatable for you in Latin,
Eminence?
He steps into the lift before Tedesco can reply.
50 INT. CASA SANTA MARTA - LOBBY LIFT - DAY 50
Lawrence, a little pleased with his retort, is about to press
the button for his floor when he su ddenly pats his pockets.
He closes his eyes.
51 INT. CASA SANTA MARTA - LOBBY - DAY 51
Lawrence emerges from the lift again, to the surprise of
Tedesco and the other cardinals. Aware he’s just ruined his
exit, he walks back to the RECEPTION DESK, trying to look
unconcerned.
LAWRENCE
I’m sorry, I forgot my key.
SISTER AGNES examines him sternly from behind the desk.
SISTER AGNES
I hope you take better care of the
Keys of St Peter than you do of the
keys to your room.
She reaches under the counter and hands him a KEY CARD.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 46A.
SISTER AGNES (CONT’D)
That’s my pass key. If you could
remember to return it.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 47.
Lawrence nods, feeling like a scolded child. Sister Agnes
walks into the back office. Lawrence turns to find Bellini
standing beside him. His friend gives an awful smile.
BELLINI
(Quietly)
Well, I’m puzzled. You tell me you
wanted to resign and then you step
out of the shadows like this?
It takes Lawrence a moment to realise there is anger in
Bellini’s voice.
BELLINI (CONT’D)
Now - who knows how things may tu rn
out?
He’s gone before Lawrence can think of a reply.
Ratings
Scene 23 - A Somber Oath
The cardinals are boarding a fleet of white minibuses as it
begins to rain.
MONSIGNOR O'MALLEY
(Directing the boarding)
Cardinal Gambino... Cardinal
Dell’Acqua...
Lawrence waits to board, still thinking of Bellini’s words.
We hear an organ playing, a choir singing Veni Creator
Spiritus...
53 I/E. MINIBUS - DAY 53
As the music continues we find Lawrence sitting alone,
biretta on his lap, staring out the rain-smeared windows to
the security men patrolling the Vatican grounds beyond. The
cardinals all around him are silent, the mood on the bus is
sombre, the moment of responsibility has come.
54 EXT. CORTILE DEL MARESCIALLO - DAY 54
A narrow strip of grey sky above the parked buses. Security
for ces linger about, smoking and chatting. The bus driver
eats a sandwich.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 48.
54A INT. SCALA REGIA - DAY 54A
A security guard scrolls through his phone, standing on the
marble staircase. We hear the cardinals taking their oath.
JUNIOR CARDINAL-DEACON JUNIOR CARDINAL-DEACON
GUERRINI (O.S.) GUERRINI (O.S.)
(In Latin) ...Et ego Antonius Cardinalis
< ...I Antonio Cardinal Guerrini spondeo, voveo ac
Guerrini do so promise, iuro, Sic me Deus adiuvet et
pledge and swear, so help me haec Sancta Dei Evangelia,
God and these Holy Gospels quae manu mea tango.
which I touch with my hand. >
55 INT. SISTINE CHAPEL - DAY 55
The last of the cardinals stand taking the oath. The others
have now taken their seats at the rows of desks filling the
room.
CARDINAL BROTZKUS CARDINAL BROTZKUS
(In Latin) ...Et ego Romualdus
< ...I Romuald Cardinal Cardinalis Brotzkus spondeo,
Brotzkus do so promise, voveo ac iuro...
pledge and swear... >
Lawrence finds himself staring up at Michelangelo’s The Last
Judgement. One of the Damned clutches a hand to his face as
demons drag him down...
CARDINAL BROTZKUS (CONT’D) CARDINAL BROTZKUS (CONT’D)
< So help me God and these Sic me Deus adiuvet et haec
Holy Gospels which I touch Sancta Dei Evangelia, quae
with my hand. > manu mea tango.
CARDINAL NAKITANDA
Et ego Irumbus Cardinalis Nakitanda
s pondeo, voveo ac iuro, sic me Deus
adiuvet et haec Sancta Dei
Evangelia, quae manu mea tango.
Lawrence blinks as Mandorff steps up to the microphone that
has been placed before the west wall of the chamber.
ARCHBISHOP MANDORFF
Extra omnes.
The television lights are switched off plunging the chamber
into relative gloom. Mandorff makes his way to the vestibule
as priests, officials, choristers, securit y men, cameramen,
photographer and the commandant of the Swiss Guard leave the
chapel. The three scrutineers, CARDINALS LUKSA, MERCURIO and
LOMBARDI, take their place at a table in front of the altar.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 49.
Lawrence catches Adeyemi’s eye. Cardinal Tedesco glances at
Bellini who looks at Tremblay across from him.
In the vestibule Mandorff passes through the huge doors...
Ratings
Scene 24 - The Sacred Vote
...to close them after him.
57 INT. SISTINE CHAPEL - DAY 57
We hear the sound of a key turning. The great bell of St
Peter’s begins tolling five o’clock.
The Conclave has begun .
LAWRENCE walks to the microphone.
LAWRENCE LAWRENCE
< Cardinal brothers, we will Fratelli Cardinali, procederà
now proceed to the first ora al primo scrutinio.
ballot. > (Holding up a paper
(Holding up a ballot ballot)
paper) Troverete davanti a voi la
< You will find in front of vostra scheda elettorale.
you your ballot paper. On the Sulla metà superiore è
top half is written... > scritto...
(Glancing ironically at (Glancing Ironically at
Tedesco) Tedesco)
< Eligo in Summum Pontificem. Eligo in Summum Pontificem.
“I elect as Supreme Pontiff”. ”Eleggo Sommo Pontefice”.
Beneath this you must write Sotto di essa dovete scrivere
the name of your chosen il nome del candidato che
candidate. Please make sure avete scelto. Assicuratevi
your hand-writ ing is che la vostra calligrafia sia
legible.> leggibile.
La wrence returns to his seat and picks up his own ballot
paper. He shields the paper with his arm and writes BELLINI,
folds it and walks back to the altar. He holds it above his
head.
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
(In Latin) Testor Christum Dominum, qui
< I call as my witness Christ me iudicaturus est, me eu m
the Lord who will be my eligere, quem secundum Deum
judge, that my vote is given iudico eligi debere.
to the one who before God I
think should be elected. >
Under the gaze of the three cardinals he places his ballot in
the large urn on the altar.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 50.
He returns to his seat, his eyes straying to where Bellini
sits, apparently sunk in meditation. One by one the cardinals
begin to rise and vote, ballots held above their heads...
Ratings
Scene 25 - The Unexpected Candidate
The three Scrutineers sit at the table in front of the altar,
counting the votes from the urn. Luksa unfolds a ballot,
notes the name, passes it to Lombardi who also records the
result an d passes it to Mercurio who pierces the vote through
the word elect and threads it onto a length of scarlet silk
cord.
CARDINAL LOMBARDI CARDINAL LOMBARDI
(Italian) Il primo voto è per il
< The first vote is cast for Cardinale Tedesco.
Cardinal Tedesco. >
Lawrence doesn’t react, just makes a tick next to Tedesco’s
name on his list of cardinals. Lombardi reads the next
ballot.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Italian) Il secondo voto è per il
< The second vote is cast for Cardinale Tedesco.
Cardinal Tedesco. >
Again. Lombardi records the next ballot.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Italian) Cardinale Tremblay.
Cardinal Tremblay.
Lawrence ticks the name...
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Reading the next (Reading the next
ballot) ballot)
< Cardinal Tremblay. > Cardinale Tremblay.
...and again...
C ARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< Cardinal Lawrence. > Cardinale Lawrence.
Lawrence looks up, startled. He finds Bellini watching him.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< Cardinal Bellini. > Cardinale Bellini.
Lawrence focuses on his list again, hurriedly ticking the
names...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 51.
Ratings
Scene 26 - First Ballot Results in the Sistine Chapel
CLOSE on the URN - now almost empty of ballots. Luksa’s hand
reaches in.
Lawrence is hurriedly adding up the votes in pencil beside
his list.
CARDINAL LOMBARDI CARDINAL LOMBARDI
< Cardinal Bellini. > Cardinale Bellini.
(Italian, Receiving the (Italian, Receiving the
next ballot) next ballot)
< Cardinal Tremblay. > Cardinale Tremblay.
(Beat) (Beat)
< Cardinal Adeyemi. > Car dinale Adeyemi.
Lawrence scribbles away...
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< And finally... Cardinal E infine... Cardinale
Benitez. > Benítez.
Again, Lawrence looks up in surprise. Benitez himself has
raised his head in shock. Whispered conversations break out
around the chamber. The three Scrutineers confer briefly then
Lombardi leans into the microphone again.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Italian) I risultati del primo
< The res ults of the first scrutinio sono i seguenti:
ballot are... Cardinal Cardinale Adeyemi, ventuno
Adeyemi, twenty-one votes. voti. Cardinale Tedesco,
Cardinal Tedesco, eighteen diciotto voti. Cardinale
votes. Cardinal Bellini, Bellini, diciassette voti.
seventeen votes. Cardinal Cardinale Tremblay, sedi ci
Tremblay, sixteen votes. voti. Cardinale Lawrence,
Cardinal Lawrence, five cinque voti...
votes... >
Lawrence flinches, dismayed at this.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< Other cardinals assigned a Altri cardinali che hanno
single vote, thirty-one ricevuto un solo voto,
votes. > trentuno voti.
The hum of conversation grows louder as Lawrence stands and
walks to the microphone.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 52.
LAWRENCE LAWRENCE
(Raising his voice over (Raising his voice above
the hubbub ) the hubbub)
< My brother cardinals... my Fratelli cardinali. ..
brother cardinals, that fratelli cardinali, con
concludes the first ballot. questo si conclude il primo
No candidate having achieved scrutinio. Poiché nessun
the necessary majority of candidato ha ottenuto la
seventy-two votes, we shall maggioranza necessaria di
adjourn for the evening and settantadue voti, per la
resume voting in the morning. serata la seduta è aggiornata
I now invite the Junior e riprenderemo le votazioni
Cardinal-Deacon to ask for us domattina. Ora invito
to be released. > l’ultimo cardinale diacono a
dire che ci vengano ad
aprire.
His gaze flits to Bellini, who sits, staring into nothing.
Guerrini walks to the back of the chapel and k nocks on the
doors.
JUNIOR CARDINAL-DEACON GUERRINI
Aprite le porte! Aprite le porte!
59A INT. OUTSIDE SISTINE CHAPEL - DAY 59A
Archbishop Mandorff waits outside the Sistine Chapel. He now
unlocks the doors and they begin to swing open...
60 INT. SISTINE CHAPEL - VESTIBULE - LATE AFTERNOON 60
Monsignor O’Malley squats by the stove, their chimneys rising
to a window high above. He bundles inside the threaded ballo t
papers. He ignites them with a fire-lighter, closes the door
as they begin to blaze. He turns to the second stove and
presses a switch.
Ratings
Scene 27 - Whispers in the Vatican
INSIDE THE STOVE - the canister of potassium perchlorate,
anthracene and sulphur activates with a whoosh...
61 EXT. SISTINE CHAPEL - LATE AFTERNOON 61
The temporary metal chimney jutting out above the roof of the
chapel begins t o gush jet-black smoke, illuminated by a
search-light. The smoke streams up to the winter sky and the
waiting world. A dull roar swells and fades. It takes us a
moment to realise it’s the response of the vast crowd
gathered outside.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 53.
61A INT. EMPTY ROOMS - LATE AFTERNOON 61A
As the dull roar continues to resound from outside rooms
inside the Vatican lie still and empty in the late afternoon
light. The canary listens in his cage.
62 INT. SALA REGIA - LATE AFTERNOON 62
Lawrence and O’Malley hurry through the hall.
MONSIGNOR O'MALLEY
The media have noticed the presence
of a cardinal who doesn’t appear on
the official lists, Dean. The press
off ice have been receiving requests
for information, so I’ve taken the
liberty of putting together a draft
statement. I’ve also put together
some biographical details for you.
(Glancing through some
sheets of paper)
Ministries in Veracruz, the Congo,
established a hospital for female
victims of the genocidal sexual
violence during the first and
second wars. Then Baghdad. And
finally the Mission in Ka bul.
There was some question of his
resigning on health grounds, but
apparently the Holy Father
convinced him to continue.
(Handing the sheets to
Lawrence)
He’s certainly served his ministry
in some terrible places.
LAWRENCE
(Absently)
On health grounds? Look into that
will you Ray? Kind of thing the
press like to get hold of.
Lawrence glances back at the SECURITY MAN who follows them at
a discrete di stance.
LAWRENCE (CONT’D)
(Quietly)
And the other matter...?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 54.
Ratings
Scene 28 - Political Maneuvering in the Scala Regia
The two men descend the stairs, dwarfed by the vast sweep of
white marble. Another SECURITY MAN waits below them.
MONSIGNOR O'MALLEY
I spoke to Monsignor Morales. He
was emphatic that he knows of no
reason why Cardinal Tremblay should
not be Pope.
Lawrence nods, wonders why he does not feel any relief.
LAWRENCE
Thank you.
They pass the SECURITY GUARD who turns and wh ispers into his
sleeve. When they are safely past, O’Malley hesitates.
Then...
MONSIGNOR O'MALLEY
(Low)
However, will you forgive me if I
say that I did not entirely believe
the good monsignor?
Lawrence stares at him as they walk on.
MONSIGNOR O'MALLEY (CONT’D)
He was just... so emphatic? My
Spanish is quite poor and I may
have... accidentally... given him
the impression that you had seen a
document that contr adicted that?
And he said you weren’t to worry
about that. His exact words were -
“El informe ha sido retirado.”
LAWRENCE
A “report?” A report on what?
Withdrawn when?
MONSIGNOR O'MALLEY
That I couldn’t say, Eminence.
They walk on towards the Cortile del Maresciallo and the
waiting minibuses.
64 I/E. MINIBUS - LATE AFTERNOON 64
Lawrence is last on the bus and the only seat still available
is at the front, near Sabbadin.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 55.
Reluctantly Lawrence sits down across the aisle from him. For
a moment the two sit in silence, Sabbadin staring out of the
window. Then...
CARDINAL SABBADIN
(Sourly)
Third place. Not what we had hoped.
(Beat)
Your sermon didn’t exactly help us.
And your five votes... with the
greatest respect Thomas, you have
far too little support to emerge as
a serious candidate. There hasn’t
been an English Pope f or a thousand
years.
LAWRENCE
(Without looking at him)
My position is an embarrassment to
me. If I find out who my supporters
are I’ll plead with them to vote
for someone else. And I’ll tell
them I’ll be voting for Bellini.
Sabbadin nods, mollified.
CARDINAL SABBADIN
Alright, that’s five votes coming
to us, which takes us to twenty-
two. All the candidates who
received one vote today will fall
away. Tha t leaves thirty-one votes
available. We simply have to pick
up most of them.
Uncomfortable, Lawrence glances at the driver’s face in the
rear-view mirror, trying to gauge if he has been listening.
Ratings
Scene 29 - The Tension of Neutrality
The cardinals stand around in cliques, sipping wine before
the evening meal. Adeyemi, as the front runner, seems to have
gathered the largest crowd.
Alone, Lawre nce is watching Benitez talking to the cardinals
from Asia and Oceania. Cardinal Mendoza arrives beside him,
follows his gaze.
CARDINAL MENDOZA
(Of Benitez)
An interesting man. I am very
pleased to hear of his elevation.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 56.
LAWRENCE
You know him?
CARDINAL MENDOZA
Of him. I was with the Mission in
Iraq, after his time, and people
still spoke of him there and the
work he had done.
TEDESCO (O.S.)
(in English)
So...our dark horse.
Lawrence sighs, turns to find Tedesco and Tremblay beside
him, also surveying the room.
LAWRENCE
Don’t be absurd. I will do all in
my power to withdraw my name from
the second vote.
TEDESCO
(English)
Why?
L AWRENCE
Because I don’t wish to compromise
my neutrality as Dean.
TEDESCO
(English)
Too late.
Tedesco chuckles, continuing in Italian.
TEDESCO (CONT’D) TEDESCO (CONT’D)
< Ah, don’t worry about it. Ah, non preoccupatevi.
As far as I’m concerned, I Per quanto mi riguarda,
want you to continue as a voglio che restiate in lizza.
candidate. You’re splitting Grazie a voi il voto dei
the liberal vote. > liberali è diviso.
He pats Lawrence's shoulder and walks off.
LAWRENCE
If anyone brings up my name please
tell them of my intentions. All I
want to do is serve the Conclave. I
can’t do that if I’m seen as a
contender myself.
Tremblay smiles, nods.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 56A.
TREMBLAY
Alright.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 57.
He gives a short laugh.
TREMBLAY (CONT’D)
Of course, a more Machiavellian
mind might say it will make you
look like a paragon of virtue.
He laughs again, as if at the absurdity of the suggestion.
LAWRENCE
(Cool)
Well, I shall leave you to handle
it as you see fit.
He walks away.
Ratings
Scene 30 - A Night of Reflection
Lawrence and O’Malley walk towards the vast bronze entrance
to the palace, past s aluting Swiss Guards.
67 INT. APOSTOLIC PALACE - STAIRCASE - NIGHT 67
The two walk in silence up the deserted staircase of what
would traditionally be the Papal Apartments.
67A INT. APOSTOLIC PALACE - SALA - NIGHT 67A
They cross a big room and walk into...
68 INT. PAPAL SECRETARY’S OFFICE - NIGHT 68
Lawrence stands at a filing cabinet, looking through the
folders of documents inside. He checks the final folder,
clos es the drawer, unsure whether he feels relieved or
disappointed. O’Malley watches. A beat.
MONSIGNOR O’MALLEY
(Tentatively)
I could try and speak to Monsignor
Morales again? See if I could find
out any more?
LAWRENCE
No, no...
(Gesturing to the room,
them)
This is all so... unseemly.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 58.
LAWRENCE (CONT’D)
If this report ever existed, then I
think we can rest assured that it
has indeed been withdrawn. We have
done all that could be expected of
us.
He locks the filing cabinet.
69 EXT. VATICAN GROUNDS - FOUNTAIN - NIGHT 69
The two are walking back towards the Casa Santa Marta.
Lawrence spots Benitez standing by a FOUNTAIN staring into
the water.
LAWRENCE
You go on, Ray.
He walks down a flight of stairs to app roach Benitez who is
gazing into a pool with swimming TURTLES.
LAWRENCE (CONT’D)
The Holy Father’s turtles. He was
very fond of them. A gift from
Angola.
Benitez looks up with delight.
BENITEZ
I thought for a moment I was
imagining them... Where I come
from, they are considered very
special animals. They symbolise
healing and transformation.
LAWRENCE
Well, here they keep escaping and
being run over. We should go back -
the evening curfew.
Ratings
Scene 31 - A Night of Doubt and Understanding
Lawrence and Benitez walk back towards the Casa.
LAWRENCE
How are you bearing up? Your
health?
Benitez seems to tense a little at the question.
BENITEZ
My health is excellent, thank you.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 59.
LAWRENCE
Oh, I only meant have you recovered
from your journey?
BENITEZ
I have indeed.
LAWRENCE
Good. And I noticed in the Sistine
that you found someone to vote for?
BENITEZ
(A shy smile)
Yes. I voted for you.
(Off his stricken
expression)
Forgive me! Am I not supposed to
say?
LAWRENCE
No, it’s not... I’m honoured,
but...My dear Vincent - may
I call you Vincent? - I’m not a
serious candidate. My vocation lies
in a different...
He struggles to think of a suitable term, then finds himself,
to his own surprise, continuing...
LAWRENCE (CONT’D)
After the conclave, I hope to
resign as Dean and to leave Rome
altogether. So, you see, I...
BENITEZ
Why?
Lawrence is wrong-footed.
LAWRENCE
I have been experiencing some...
difficulties...
BENITEZ
With your faith?
LAWRENCE
Prayer. I...
He trails off, embarrassed.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 60.
BENITEZ
(Understanding)
“I cry out to You, God but You do
not answer.”
Lawrence shifts uncomfortably - why did he tell him?
LAWRENCE
I only mention it to illustrate my
point that I am in no way worthy to
be Pope.
BENITEZ
Any man who is truly worthy must
consider himself unworthy. Isn’t
that the point you were making in
your homily? That without doubt
there can be no faith? It resonated
with my own exper ience. In my
ministry I have witnessed scenes
which would make any man skeptical
of God’s mercy.
LAWRENCE
(Trying again)
You received a vote yourself didn’t
you?
BENITEZ
I did. It was absurd.
LAWRENCE
Then imagine how you would feel if
I insisted on voting for you and by
some miracle you won.
BENITEZ
(Solemnly)
It would be a disaster for the
Church.
LAWRENCE
That is how it would be if I became
Pope. Think a bout what I’m asking.
He squeezes his shoulder again and they walk on.
Ratings
Scene 32 - Divided Loyalties
Lawrence walks along the corridor. He slows as he sees the
entrance to the Papal suite, still criss-crossed with
ribbons.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 61.
On tables on either side of the door, dozens of votive
candles flicker. Bellini stands before them, looking lost in
thought. Lawrence approaches.
LAWRENCE
Aldo, I feel wretched that my
meagre tally may have come at your
expense.
He waits for his friend to look at him but Bellini continues
to stare at the door. Then...
BELLINI
I had no idea you were so
ambitious.
LAWRENCE
(Stung)
That’s a ridiculous thing to say.
Bellini turns to him.
BELLINI
Is it...? I thought we had your
support. If we liberals are not
united then Tedesco will become
Pope! You don’t know how bad it
became, Thomas. The way he and his
circle attacked the Holy Father
towards the end? The smears, the
leaks to the press. It was
savage... He fought him every day
of his pontificate and now that
he’s dead he wants to destroy his
life’s w ork. If Tedesco wins he
will undo sixty years of progress!
Lawrence feels his own temper rising.
LAWRENCE
You talk as if you were the only
alternative, Aldo. Adeyemi has the
wind behind him...
BELLINI
Adeyemi? A man who believes
homosexuals should be sent to
prison in this world and hell in
the next? Adeyemi isn’t the answer
to anything and you know it! If you
want to defeat...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 62.
LAWRENCE
“Defeat?” This is a Conclave, Aldo.
You talk as if it’s a war.
BELLINI
Because it is a war! And you have
to commit to a side! Save your
famous doubts for your prayers!
This knocks the wind out of Lawrence. Neither can quite
believe that they’re talking to each other like this.
Lawrence tries again, quietly, urgently...
LAWRENCE
For God’s sake, you cannot
seriously believe I have the
slightest d esire to become Pope?
BELLINI
(Dismissing this
contemptuously)
Oh, every cardinal has that desire!
Every cardinal, deep down inside,
has already chosen the name by
which he would like his papacy to
be known!
LAWRENCE
Well, I haven’t!
BELLINI
Deny it if you like. But search
your heart and then tell me it
isn’t so.
He walks away leaving a distressed Lawrence staring after
him.
Ratings
Scene 33 - Whispers in the Night
Lawrence kneels by his bed, in prayer. His eyes stray to the
bed itself, anonymous and bland, the padded headboard, a
faint echo of a similar moment...
But before he can locate the memory his exhaustion overcomes
him. His eyelids flutter, close and slowly he begins to sink
forward into sleep...
71A INT. PAPAL BEDROOM - NIGHT 71A
A DREAM IMAGE
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 63.
Lawrence straightens, still kneeling by a bed. The LATE POPE
lies before him, just as at the opening of the film.
But now his eyes are open and he stares at Lawrence. A
charged moment. Something vital is about to be said. Lawrence
leans in a little.
The Pope opens his mouth to speak and...
72 INT. CASA SANTA MARTA - LAWRENCE'S ROOM - NIGHT 72
... Lawrence wakes in the darkness, hears a muffled
conversation, hushed and urgent. A man’s baritone. Then, in
reply... a woman’s voice.
Lawrence reaches out a fumbling hand and switches on the
light. Gingerly he straightens up from where he had fallen
asleep, slumped over the bed, his joints in agony. He wonders
if he dreamed the voice. He checks the clock: 2.55am.
Silence. Then he hears it again - a woman’s voice, raised,
accusatory, Adeyemi’s low reply. He pushes against the bed,
standing slowly, the un-oiled springs squeak loud ly.
He tiptoes across the room and listens at the wall but the
voices have fallen silent. After a moment he hears the low
rumble of Adeyemi’s voice again, followed by the click of a
door closing.
He hurries to his own door and opens it...
72A INT. CASA SANTA MARTA - CORRIDOR - NIGHT 72A
Lawrence peers out into the corridor, just in time to see a
flash of the blue uniform as it disappears around the corner .
He stands undecided for a moment, then quietly closes the
door and...
72B INT. CASA SANTA MARTA - LAWRENCE’S ROOM - NIGHT 72B
... sits on his bed, mind whirring.
TITLE CARD: SECOND DAY OF CONCLAVE
73 EXT. CASA SANTA MARTA - COURTYARD - MORNING 73
The sea of cardinals mill around the courtyard, ready for the
second day of the Conclave. Lawrence, bleary-eyed from his
broken night, sees O’Malley approach.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 64.
MONSIGNOR O'MALLEY
Good morning, Your Eminence. Did
you sleep well?
LAWRENCE
Perfectly, thank you.
MONSIGNOR O'MALLEY
The buses are ready.
Lawrence notices Bellini in the throng, watching him.
LAWRENCE
I think I’ll walk.
Ratings
Scene 34 - Whispers of Power
Lawrence walks, aware of the inevitable SECURITY MAN trailing
him and the crackle of his walkie-talkie. From the sky above
comes the drone of circling heli copters. A gust of wind
almost takes Lawrence’s zucchetto.
LAWRENCE
(Under his breath)
Oh, do go away.
Moments later a figure appears at his side - Adeyemi.
ADEYEMI
Good morning, Dean.
LAWRENCE
Joshua.
They walk in uncomfortable silence for a moment.
ADEYEMI
I want you to know that I very much
agreed with your homily yesterday.
Lawrence looks at him in surprise.
ADEYEMI (CONT’D)
We are all tested in our faith,
Dean. W e all lapse. But the
Christian faith is, above all, a
message of forgiveness.
LAWRENCE
And tolerance.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 65.
ADEYEMI
Exactly. Tolerance. I trust that
when this election is over, your
moderating voice will be heard in
the very highest counsels of the
Church. It certainly will be if I
have anything to do with it. The
very highest counsels.
CARDINAL NAKITANDA (O.S.)
Joshua!
ADEYEMI
Excuse me, Dean.
He falls back to talk to two of the African cardinals walking
behind them. Lawrence walks on, wondering if Adeyemi has just
offered him the position of Secretary of State as a bribe.
Ratings
Scene 35 - Tension in the Conclave
Pencils scratch the names of cardinals on ballot papers...
Elderly cardinals labour down the aisle, ballots held aloft
in shaking hands...
Ballot papers are dropped into the urn...
A needle pierces a ballot paper with scarlet thread...
Cardinal Lombardi leans into the microphone.
CARDINAL LOMBARDI CARDINAL LOMBARDI
(Italian ) I risultati del secondo
< The results of the second scrutinio sono i seguenti.
ballot are... Cardinal Cardinale Adeyemi:
Adeyemi: thirty-four votes. trentaquattro voti. Cardinale
Cardinal Tedesco: twenty-five Tedesco: venticinque voti.
votes. Cardinal Bellini: Cardinale Bellini: diciotto
eighteen votes. Cardinal voti. Car dinale Tremblay:
Tremblay: sixteen votes. sedici voti. Cardinale
Cardinal Lawrence: nine Lawrence: nove voti...
votes... >
Lawrence barely has time to register this increase in his
tally before...
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< Cardinal Benitez: two Cardinale Benítez: due voti.
votes. Other cardinals Cardinali a cui è stato
assigned a single vote: four assegnato un solo voto:
votes. > quattro voti.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 66.
Lawrence stands and walks to the microphone, aware of the
whispered conversations around him.
LAWRENCE LAWRENCE
(Italian) Fratelli, in conformità con
< My brothers, in accordance la Costituzione apostolica,
with the Apostolic non ci fermeremo a bruciare
Constitution, we will not le schede a questo punto , ma
stop to burn the ballot procederemo immediatamente al
papers at this point, but successivo scrutinio...
instead proceed immediately
to the next vote... >
76 INT. SISTINE CHAPEL - MORNING / LATER 76
Again...
Pencils scratch the names of cardinals on ballot papers...
Elderly cardinals labour down the aisle, ballots held aloft
in shaking hands...
Ballot papers are dropped into the urn...
A needle pierces a ballot paper with scarlet thread...
Lawrence holds his pen, tip down, on his desk, waiting for
the results. Cardinal Lombardi leans into the microphone.
CARDINAL LOMBARDI CARDINAL LOMBARDI
(Italian) I risultati del terzo
< The results of the third scrutinio sono i seguenti.
ballot are... Cardinal Cardinale Adeyemi:
Adeyemi: fifty-two votes...> cinquantadue voti...
Lawrence glances at Adeyemi. The Nigerian has his head sunk
on his chest in prayer.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
< ...Cardinal Tedesco: thirty ...Cardinale Tedesco: trenta
votes. Cardinal... > voti. Cardinale...
The pen in his hand suddenly vibrates. A faint tremor runs
through the sound-proofed chamber. Lombardi, feeling it,
hesitates. The rows of cardinals stir. Lombardi, puzzled,
looks to Lawrence, who frowns, nods him to continue...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 67.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Resuming) (Resuming)
< Cardinal Tremblay: ten Cardinale Tremblay: dieci
votes. Cardinal Bellini: nine voti. Cardinale Bellini: nove
votes. Cardinal Lawrence: voti. Cardinale Lawrence:
five votes. Cardinal Benitez cinque voti. Cardinale
two votes. > Benítez due voti.
77 INT. CASA SANTA MARTA - KITCHEN CORRIDOR - DAY 77
Two NUNS stand at a window, staring out at the city beyond. A
sinister thread of black smoke is rising from somewhere in
the east, on the Quirinal Hill. Distantly we hear the sound
of sirens wailing. One of the Nuns clasps her hands and
begins to pray in a low, urgent murmur. Sister Agnes appears
behind them. They glance at her nervously, but from her look
understand they are to continue.
78 INT. SALA REGIA - DAY 78
Lawrence walks with O’Malley. Two SECU RITY MEN hurry past
them.
LAWRENCE
(Quietly)
I take it something has happened?
MONSIGNOR O’MALLEY
There’s been an explosion your
Eminence. In the Piazza Barberini.
LAWRENCE
Dear God. A bomb?
MONSIGNOR O’MALLEY
It’s unclear at this moment. There
are injuries but no talk of
fatalities so far.
Lawrence considers for a moment.
LAWRENCE
Say nothing to the cardinal-
electors about this Ray. We are
sequestered and t hey must be
shielded from any news of the
outside world in case it influences
their judgement. You understand?
MONSIGNOR O’MALLEY
Of course your Eminence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 68.
They walk on in silence.
Ratings
Scene 36 - Tensions at the Table
The cardinals at lunch. Some surreptitiously look to the
windows, searching the skies for the dispersing veil of
distant smoke.
Lawrence comes with a plate from the buffet, hesitates, then
takes a seat at Bellini’s table. The two men avoid each
other’s gaze. The other cardinals continue their stilted
conversation - everyone aware that something has happened in
the outside world.
CARDINAL VILLANUEVA
Well, it would seem that Adeyemi
will be Pope before the day is out.
No-one answers for a moment.
CARDINAL VILLANUEVA (CONT’D)
I suppose the first black Pope will
be a tremendous thing for the
world.
CARDINAL SABBADIN
What am I supposed to tell them in
Milan when they start to discover
our new Pope’s social views?
Lawrence is suddenly awar e of a Cardinal at his shoulder. It
is Guttoso.
GUTTOSO GUTTOSO
(Quietly, Italian) (Quietly)
< Dean, this morning’s Decano, l'incidente di
incident. Have you heard stamattina. Avete sentito
any...? > qualcosa ...?
LAWRENCE LAWRENCE
(Interrupting, Italian) (Interrupting, Italian)
< Your Eminence, we are Eminenza, siamo in
sequestered. > isolamento.
GUTTOSO GUTTOSO
< Of course, but as a Roman Certo, ma essendo io stesso
myself... > romano...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 69.
LAWRENCE LAWRENCE
(Firmly) (Firmly)
< I’m sorry. Paragraph four Mi dispiace. Il quarto
of the Apostolic Constitution paragrafo della Costituzione
is quite clear. > Apostolica è piuttosto chiaro
in proposito.
Guttoso hesitates then, disgruntled, nods and walks away.
Lawrence turns back to the table aware that the others have
been listening. There is a beat of embarrassed silence. Then
Bellini steps in, a s if there had been no interruption.
BELLINI
Tell your congregation in Milan to
celebrate the first African pontiff
in the history of the Church.
CARDINAL SABBADIN
If Adeyemi was white we’d all be
condemning him as more reactionary
then Tedesco. It’s only because
he’s...
BELLINI
(Sharp)
Enough! It’s too late for this talk
now.
His eyes flick to Lawrence and away again.
BELLINI (CONT’D)
All too late.
Lawrence is n o longer listening. Under the chatter of the
room he is puzzled to discern a raised voice. Suddenly there
is a crash. He turns, in time to see a NUN hurrying back to
the kitchens, followed by two more SISTERS as Adeyemi leaves
his table and heads out of the room.
LAWRENCE
What happened?
Beside him, Landolfi shrugs, disinterested.
CARDINAL LANDOLFI
She dropped a bottle of wine.
No-one is paying much attention. A Nun appears with mop and
bucket to clear up the mess. Lawrence looks at Adeyemi’s
empty chair.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 70.
Ratings
Scene 37 - A Disturbing Encounter
Lawrence stands getting coffee. He turns and finds three of
the African Cardinals behind him, their expressions mournful.
And his heart sinks. For a moment he has a mad impulse to
flee. But...
CARDINAL NAKITANDA
May we have a word, Dean?
LAWRENCE
Of course.
CARDINAL NAKITANDA
Our brother Joshua is troubled.
LAWRENCE
What just happened?
The cardinals exchan ge glances.
CARDINAL NAKITANDA
One of the nuns serving our table
started talking to him. He tried to
ignore her and then she dropped her
tray and shouted something. He got
up and left.
LAWRENCE
What did she say to him?
CARDINAL NAKITANDA
We don’t know. She was speaking
Yoruba.
LAWRENCE
Where is Cardinal Adeyemi now?
Nakitanda shrugs, takes his arm.
CARDINAL NAKITANDA
Clearly something is wrong, Dean,
and he must tell us what. We have
waited a long time for an African
Pope. But he must be pure in heart
and conscience. Anything less would
be a disaster for us all.
81 OMITTED 81
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 71.
Ratings
Scene 38 - Authority and Compassion
The kitchen is full of NUNS preparing food. Lawrence crosses
towards the back, looking for the missing nun. Those closest
to him bow their heads as he passes.
In the back the office is empty. Lawrence returns.
LAWRENCE LAWRENCE
(Italian) Potreste dirmi dove si trova
< Could you tell me, where is la sorella che ha fatto
the sister who just had the cadere la bottiglia prima?
accident? >
NUN NUN
(Italian) È con Suor Agnes, Vostra
< She is with Sister Agnes, Eminenza.
Your Eminence. >
LAWRENCE LAWRENCE
< Would you be kind enough to Sareste così gentile da
take me to her? > portarmi da lei?
The Nun begins to lead him back to the dining room.
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
< Is there a rear exit we can C'è un'uscita posteriore che
use? > possiamo usare?
82 INT. CASA SANTA MARTA - OUTSIDE BAC K OFFICE - DAY 82
The Nun knocks on the door of the office. There is no reply.
Lawrence steps forward and knocks more loudly. After a
moment, the door opens a little and SISTER AGNES peers out.
LAWRENCE
Good afternoon, Sister. I need to
speak to the nun who dropped her
tray just now.
SISTER AGNES
She is safe with me, Your Eminence.
I am dealing with the situation.
LAWRENCE
I am sure you are Sister Agnes. But
I must see her myself.
SISTER AGNES
I hardly think a dropped tray
should concern the Dean of the
College of Cardinals.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 72.
LAWRENCE
Even so...
He grips the door handle. Amazed, he finds that as he pushes,
she resists.
SISTER AGNES
The welfare of the Sister is my
responsibility, Dean.
An impasse as both stare at each other.
LAWRENCE
(Icy)
And this Conclave is mine.
Beat. Finally she stands aside.
Ratings
Scene 39 - Confrontation at Casa Santa Marta
The NUN - a plump middle-aged Nigerian woman - sits in a
corner of the office. She sta nds as Lawrence enters.
LAWRENCE
Please, sit, my child. My name is
Cardinal Lawrence. How are you
feeling?
SISTER AGNES
She’s feeling much better.
LAWRENCE
(To the Nun)
Could you tell me your name?
SISTER AGNES
Her name is Shanumi.
LAWRENCE
(To the Nun)
Please, do sit down.
SISTER AGNES
Eminence, I really do think it
would be better if...
LAWRENCE
(Without looking at her)
Would you be so good as to leave us
now, S ister Agnes?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 73.
She opens her mouth to protest again but Lawrence turns and
stares at her with a look of such freezing authority that she
finally bows her head and walks out of the room, closing the
door after her. Lawrence sits, facing SISTER SHANUMI.
LAWRENCE (CONT’D)
Sister Shanumi, I want you to
understand, first of all, that you
are not in any sort of trouble. The
fact of the matter is, I have a
responsibility before God to make
sure that the decisions we make
here are the right ones. Now it’s
important that you tell me anything
that is in your heart and that is
troubling you in so far as it
relates to Cardinal Adeyemi. Can
you do that for me.
Shanumi stares at the floor, shakes her head.
LAWRENCE (CONT’D)
Even if I give you absolute
assurance that it will go no
further than this room?
Again, she shakes her head. Lawrence sits, at a loss. Then,
inspiration strikes. He leans towards her again.
LAWRENCE (CONT’D)
Would you like me to hear your
confession?
84 INT. CASA SANTA MARTA - CORRIDOR - DAY 84
TRACKING with Lawrence as he walks determinedly down the
corridor.
He reaches the door of Adeyemi’s room - the room next to his
own and knocks. After a moment Adeyemi opens the door, drying
his face.
ADEYEMI
I’ll be ready in a moment, Dean.
He walks back into the room. Lawrence hesitates, then follows
him...
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 74.
Ratings
Scene 40 - A Moment of Reckoning
Adeyemi is in the bathroom. We hear the steady stream of
urination, followed by the flush. He walks out, buttoning his
cassock, seems surprised to find LAWRENCE there.
ADEYEMI
Shouldn’t we be leaving?
LAWRENCE
In a moment.
ADEYEMI
That sounds ominous.
(Studying himself in the
mirror)
If this is about the incident
downstairs, I have no desire to
talk about it.
Lawrence watches in silence, waiting him out. Adeyemi turns
from the mirror and walks past Lawrence into the room.
ADEYEMI (CONT’D)
I am the victim of a disgraceful
plot to ruin my reputation. Someone
brought that woman here and staged
this melodrama. She’d never left
Nigeria before and suddenly she is
here in the Casa Santa Marta?
LAWRENCE
With respect, Joshua, how she came
here is secondary to the issue of
your relationship with her.
ADEYEMI
(turning)
I have no relationship to her! I
hadn’t set eyes on her for thirty
years until she turned up outside
my room last night!
He catches himself.
ADEYEMI (CONT’D)
It was...it was...
(Helplessly)
A lapse, Dean. A lapse! “Let God
grant us a Pope who sins and asks
forgiveness, and carries on.” Your
words!
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 75.
LAWRENCE
And have you asked forgiveness?
ADEYEMI
I confessed my sin at the time! My
bishop moved me to another parish
and I never lapsed again! Such
relationships were not uncommon in
those days. You know that!
LAWRENCE
(Quietly)
And the child?
Adeyemi flinches.
ADEYEMI
The child? The child was brought up
in a Christian household, and to
this day he has no idea who his
father is - if indeed it is me.
That is the child.
For a moment the two men stare at each other in silence,
Adeyemi’s jaw jutted in defiance. Then something in him
crumbles. He sits on the bed.
ADEYEMI (CONT’D)
(Beat. Broken)
We were very young.
LAWRENCE
No, Your Eminence. She was very
young. Nineteen years old. You were
thirty.
ADEYEMI
Thomas, please... Listen to me. I
sensed the presence of the Holy
Spirit this morning. I swear it. I
am ready to t ake this burden. Does
a single mistake thirty years ago
disqualify me? I was a different
man! I beg you, please don’t use
this to ruin me.
LAWRENCE
(sadly)
Joshua...the thought is not worthy
of you. The woman will not speak of
this to protect her son, and I am
bound by the vows of the
confessional.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 76.
Adeyemi looks up at him.
ADEYEMI
So... I still have hope?
Lawrence hesitates, hating this duty. He steps closer, taking
Adeyemi’s hands in his.
LAWRENCE
(Gently)
No, Joshua. There is no hope. After
such a public scene, there will be
rumours. And you know what the
Curia is like. Nothing terrifies
our colleagues more than the
thought of yet more sexual
scandals.
Adeyemi’s eyes prick with tears.
LAWRENCE (CONT’D)
( Moved)
I am more sorry than I can say. You
will never be Pope. You must begin
again.
He bends closer, grips the Nigerian’s hands tighter.
LAWRENCE (CONT’D)
(Fiercely)
But you are a good man. And you
will find a way to atone.
A long beat. Adeyemi nods blindly, disengages his hands to
wipe his eyes. He breathes deeply, gathers himself.
ADEYEMI
Will you...will you pray with me?
Beat. Lawrence holds out a hand, hel ps the Nigerian sink to
his knees then joins him. They pray.
Ratings
Scene 41 - The Weight of Choice
HIGH ANGLE
...watching the tiny figure of Lawrence below us, walking
through the formal geometries of the gardens. He joins
Nakitanda and his two colleagues on a seat. We watch them
talk for a moment. Nakitanda drops his head in dismay.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 77.
87 INT. SISTINE CHAPEL - DAY 87
The Fourth and Fifth Ballots in progress. We’re watching
Adeyemi walk down the aisle, his ballot held high in his
hand. He passes the seats of the African Cardinals who, to a
man, avert their eyes. He reaches the microphone.
ADEYEMI ADEYEMI
(Solemnly, in Latin) (Solemnly)
< I call as my witness Christ Testor Christum Dominum, qui
the Lord, who will be my me iudicaturus est, me eum
judge, that my vote is given eligere, quem secundum Deum
to the one who before God I iudico eligi debere.
think sho uld be elected. >
Lawrence sits, marvelling at the man’s dignity in the face of
his ruined life.
He turns back to his own ballot paper. A beat. Reluctantly,
he writes: Bellini.
- Cardinals shuffle down the aisle, ballots held up in
shaking hands...
- Ballots are dropped into the Ur n...
- High above, the Last Judgement lies cloaked in darkness...
HARD CUT TO:
88 INT. SISTINE CHAPEL - DAY / LATER 88
Cardinal Lombardi is reading the results.
CARDINAL LOMBARDI CARDINAL LOMBARDI
(Italian) I risultati del quinto
< The results of the Fifth scrutinio sono i seguenti.
Ballot are... Cardinal Cardinale Tremblay: quaranta
Tremblay, forty votes. > voti.
The Canadian bows his head and places his hands together, as
his colleagues twist in their seats to examine the new front-
runner.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Italian) Cardinale Tedesco:
< Cardinal Tedesco, thirty- trentaquattro voti. Cardinale
four votes. Cardinal Bellini, Bellini: tredici voti.
thirteen votes. Cardinal Cardinale Lawrence: undici
Lawrence, eleven votes. voti. Cardinale Adeyemi: sei
Cardinal Adeyemi, six voti...
votes... >
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 78.
You can feel the electric tension in the room now - a
staggering haemorrhage of Adeyemi’s followers. In a sea of
scratching pencils, the Nigerian sits staring at the wall
ahead, as if oblivious.
CARDINAL LOMBARDI (CONT’D) CARDINAL LOMBARDI (CONT’D)
(Italian) Cardinal Benítez: quattro
< Cardinal Benitez, four voti.
votes. >
Lawrence sits, horribly aware of being an object of curiosity
for the cardinals around him, who a re registering his
increased share of votes. He can’t stop himself looking to
Bellini and finds the cardinal’s cold gaze upon him.
LOMBARDI LOMBARDI
(Italian) Fratelli, qui si conclude il
< My brothers, that concludes quinto scrutinio. Poiché
the fifth ballot. No nessun candidato ha ottenuto
candidate having achieved the la maggioranza nece ssaria, le
necessary majority, we shall votazioni riprenderanno
resume voting tomorrow domani mattina.
morning. >
Ratings
Scene 42 - Secrets in the Chapel
The chapel has emptied. O’Malley bundles the ballots into the
stove and burns them. He crosses the vestibule and turns to
where Lawrence sits in the chapel, lost in thought, picks up
his clipboard of notes.
LAWRENCE
(Noticing)
Yes, Ray?
MONSIGNOR O’MALLEY
The incident this morning, your
Eminence. I have more information,
if...?
Lawrence considers, finally shakes his head.
LAWRENCE
No, Ray. I too must be shielded
from any knowledge which could act
as an...interference in the process
of this Conclave.
MONSIGNOR O’MALLEY
(Bowing)
Of course, Eminence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 79.
LAWRENCE
Anything else?
O’Malley glances at his clipboard.
MONSIGNOR O’MALLEY
Uhh...Oh, Cardinal Benitez. His
health problems? He was issued with
a return ticket to Geneva, paid for
from the Pope’s own account. I
checked the visa application. The
purpose for travel was given as
“medical treatment.” Anyway,
whatever it was, it can’t have been
serious. The tickets were
cancelled. He never went.
Lawrence nods, barely listening.
LAWRENCE
Alright. Thank you, Ray.
O’Malley lingers. Lawrence gives him a questioning look.
MONSIGNOR O'MALLEY
(Hesitantly)
Forgive me. I know you said we
should forget the matter of the
withdrawn report but...I wondered
in light of Cardinal Tremblay’s
present...position? I could see if
there was anything more I could
find out?
Lawrence feels a flush of anger.
LAWRENCE
I’m not a Wi tchfinder. It isn’t my
job to go hunting for secrets in my
colleagues’ pasts!
O’Malley nods, taken aback. Beat. Lawrence relents, touches
O’Malley’s wrist.
LAWRENCE (CONT’D)
I’m sorry, Ray. No more
investigations. I think we’ve heard
enough secrets.
(Standing)
Let God’s Will be done.
MONSIGNOR O'MALLEY
Good night then, Your Eminence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 80.
He watches the older man walk away.
Ratings
Scene 43 - The Weight of Choice
Lawrence sits on his bed, struggling to unlace his shoes. He
manages to remove one and has to pause to regain his breath.
A KNOCK at the door jerks him upright and startled. He
crosses to the door and opens it to reveal Bellini and
Sabbadin outside.
BELLINI
Thomas.
91 INT. CASA SANTA MARTA - BACK STAIRS - NIGHT 91
Lawrence , Bellini and Sabbadin stand in a staircase.
CARDINAL SABBADIN
(Hushed)
We need to decide how we are going
to proceed.
Lawrence glances around at the shadowy staircase. This feels
absurd.
LAWRENCE
Is this really necessary? I feel as
if I’m at some American political
convention.
CARDINAL SABBADIN
(Gloomily)
Well, it isn’t going to take long.
Our friend here does not have
sufficient support amongst our
colle agues to be elected Pope.
LAWRENCE
It isn’t over yet.
Bellini stirs.
BELLINI
(Heavily)
I’m afraid, as far as I’m
concerned, it is. The question
arises, if I can’t win, whom should
I advise my supporters to vote for?
He clears his throat. An awkward beat.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 81.
BELLINI (CONT’D)
Obviously there is you. But...
CARDINAL SABBADIN
(Bluntly)
But you can’t win either. Even if
we delivered you all of Aldo’s
fifteen votes - which I don’t
believe we could - you’d still be
in third place, behind Tremblay and
Tedesco. No-one has enough traction
to catch either of the front-
runners. So, since we all agree
that Tedesco would be a disaster...
He spreads his hands. The three stand i n silence for a
moment.
BELLINI
I’m no more of an enthusiast for
Tremblay than you are, Thomas. But
we have to face the fact that--
A few stories below a door creaks, footsteps on marble echo
throughout the staircase. Bellini peers over the banister at
a cardinal in conversation below. He continues, lowering his
voice.
BELLINI (CONT’D)
He has demonstrated a broad appeal.
(Without much conviction)
Perhaps he wi ll be a unifying
force?
Lawrence shakes his head.
BELLINI (CONT’D)
What?
LAWRENCE
Is this what we are reduced to?
Considering the “least-worst”
option?
BELLINI
(Irritated)
The field has narrowed. If we don’t
change our votes, we’ll be here for
weeks. Which is what Tedesco wants.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 82.
LAWRENCE
(Beat)
I have been informed that, shortly
before his death, the Holy Father
had fallen out with Tremblay. In
fact, that he intended to dismiss
him from all offices in the Church.
The two stare at him, stunned.
LAWRENCE (CONT’D)
There is a rumour of a report of
some kind, a report that was
possibly withdrawn...
Sabbadin glances nervously at Bellini, who frowns.
BELLINI
A rumour?
(Beat)
Thomas, in the la st weeks of his
life it is possible that the Holy
Father was not entirely himself. He
had become increasingly secretive
and paranoid...
CARDINAL SABBADIN
(Joining in)
Even if there was a report...
They turn to look at him.
CARDINAL SABBADIN (CONT’D)
What I mean is...We’ve had a Pope
who was in the Hitler Youth and
fought for the Nazis. We’ve had
Popes accused of colluding with
communists and fascists. We’ve had
Popes who have ignored reports of
the most appalling sexual abuse of
children...
BELLINI
(Impatient)
We take the point...
CARDINAL SABBADIN
The point is - we will never find a
candidate who doesn’t have some
kind of black mark against them! We
are mortal men! We serve an ideal -
we cannot always be ideal.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 83.
Beat. Lawrence looks at his friend, but Bellini avoids his
gaze.
BELLINI
(Flat)
So we’re agreed. We urge all our
supporters to back Tremblay.
The three stand in silence - the gloom of realpolitik
descending upon them.
Ratings
Scene 44 - Elevator Tensions
Lawrence stands lost in thought as the elevator rises. It
stops at a floor and the doors slide open.
The ancient Cardinal LOWENSTEIN, grey-faced wi th fatigue,
leaning on his walking stick, creeps slowly into the lift.
Lawrence bites down on his impatience, flashes a smile,
holding the door for his elderly colleague.
On the landing beyond a door opens and Tedesco and Adeyemi
emerge from a room.
Adeyemi and Lawrence lock gazes. The Nigerian’s former sorrow
and remorse seems to have passed, to be replaced by a look of
defiance, almost hostility. Then he turns away, following the
Patriarch of Venice.
92A OMITTED 92A
92B INT. CASA SANTA MARTA - LIFT - NIGHT 92B
The doors slide closed again and the elevator continues its
ascent. For a moment the only sound is Lowenstein’s laboured
breathing. Then...
CARDIN AL LOWENSTEIN
If this drags on much longer I
might die before we find a new
Pope.
Lawrence is still thinking about what he’s just seen - the
formation of a new right-wing voting block?
LAWRENCE
(Grimly)
Then let’s try to finish it.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 84.
93 INT. CASA SANTA MARTA - UPPER CORRIDOR - NIGHT 93
A door opens a little and Benitez peers cautiously out at us,
his open cassock clutched together at his throat.
BENITEZ
Your Eminence?
Lawrence is a little taken aback by Benitez’ wariness.
LAWRENCE
I’m sorry to disturb you. May I
have a word?
BENITEZ
Of course. One moment.
To Thomas' surprise, Benitez disappears back into the room,
leaving him standing in the corridor. After a moment he
reappears, clothed now.
BENITEZ (CONT’D)
(Ushering him in)
Excuse me, at this time of day I
always try to meditate for an
hour...
Ratings
Scene 45 - The Weight of Worthiness
Lawrence takes in the room - identical to his own, except for
a few lit candles here and the bathroom beyond.
BENITEZ
(Apologetically)
In my travels I became used to not
always having electricity. Now I
find it helpful when I pray alone.
LAWRENCE
(Politely)
I must see if it helps me.
BENITEZ
Yes. Your difficulty with prayer.
He watches Lawrence, the same keen gaze. Lawrence nods.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 85.
BENITEZ (CONT’D)
(Gently)
If I may say... sometimes I find,
instead of speaking, I have to
become silent. And in the silence
wait for God to be heard.
For a moment Lawrence feels affronted - is he, the Dean, to
be given lessons in prayer now? But he fights it down.
LAWRENCE
Yes. I’m sure you’re right.
BENITEZ
Excuse me...
He sits and starts to tie his shoes.
LAWRENCE
The other night you were kind
enough to say yo u had voted for me.
I don’t know if you’ve continued to
do so, but if you have I would like
to repeat my plea to you to stop.
BENITEZ
Why?
LAWRENCE
First, because I lack the spiritual
depth to be Pope. And secondly I
can’t possibly win. A long drawn
out Conclave would be seen by the
media as proof that the Church is
in crisis.
BENITEZ
You have come to ask me to vote for
Cardinal Tremblay?
LAWRENCE
Yes. A nd to urge your supporters to
do the same.
BENITEZ
Cardinal Tremblay has already
spoken to me about this.
LAWRENCE
(Bitterly)
I’m sure he has.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 86.
He regrets his tone instantly. Benitez studies him solemnly.
BENITEZ
You want me to vote for a man you
see as ambitious?
LAWRENCE
I do not want to see Tedesco as
Pope. He would take the Church back
to an earlier era.
BENITEZ
I’m sorry. I cannot vote for a man
unless he is the one I deem most
worthy to be Pope. And for me, that
is not Cardinal Tremblay. It is
you.
Lawrence strikes the side of his seat in frustration.
LAWRENCE
I don’t want your vote!
Benitez stares back at him calmly, and once more Lawrence
senses a surprising strength of character in this frail man.
BENITEZ
(Calmly)
Never the less, you have it.
He walks towards the bathroom, blowing out a few candles.
Lawrence watches for a moment and then sighs. He wets thumb
and forefinger and snuffs out the candle beside the bed. As
he does he stares, distracted, at the little razor, out of
place in the bedroom, still in its cellophane wrapper. And
wonders why he has noted this.
95 OMITTED 95
96 INT. CASA SANTA MARTA - DINING ROOM - NIGHT 96
Tedesco sits, holding court with his supporters. Adeyemi and
the African cardinals sit with him now.
On the other side of the room, Tremblay circulates amongst
his supporters, shaking hands, exchanging a few remarks,
every inch the political campaigner.
Lawrence sits watching the two factions, sick at heart. His
gaze drifts to the blue-habited nuns moving between the
tables with trays and wine, eyes downcast.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 87.
On a sudden impulse, he stands.
Ratings
Scene 46 - Whispers in the Night
Lawrence sits with Sister Agnes, her eyes darting to the cage
with the canary.
SISTER AGNES
Sister Shanumi is on her way home
to Nigeria.
(Off Thomas' look)
There was a flight to Lagos this
evening. I thought it was best for
everyone if she was on it.
LAWRENCE
(Beat. Quietly)
How did Sister Shanumi come to be
in Rome?
SISTER AGN ES
I received notification from the
office of the Superioress General
that she would be joining us. The
arrangements were made in Paris.
You should ask the Rue de Bac, Your
Eminence.
LAWRENCE
I would, except that, as you know,
I am sequestered for the duration
of the Conclave.
SISTER AGNES
Then you can ask them afterwards.
LAWRENCE
The information is of value to me
now.
Sister Agnes stares at him, her i ndomitable gaze. She gets up
and checks on the bird which has been oddly silent.
LAWRENCE (CONT’D)
I know you were close to the late
Pope. When I tried to resign as
dean, the Holy Father wouldn’t let
me. I didn’t understand why at the
time. But now I think I understand.
I think he knew he was dying and
for some reason he wanted me to run
this Conclave. And that is what I’m
trying to do. For him.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 88.
Sister Agnes turns and stares at him in silence for a moment.
Then she puts her glasses on and turns to the computer on the
desk. She types rapidly, then stands and walks away, leaving
Lawrence to view the e-mail she has opened up. It is marked
October 3rd, Confidential. Lawrence's gaze is drawn to the
last paragraph...
“...I would be grateful if you could take particular care of
our sister, as her presence has been requested by the Prefect
of the Congregation for the Evangelisation of Peoples, His
Eminence, Cardinal Joseph Tremblay.”
Lawrence stares at the name.
Ratings
Scene 47 - Confrontation in the Shadows
After dinner Cardinals are heading for the stairs and
elevator. Tremblay amongst a group of acolytes.
LAWRENCE (O.S.)
Your Eminence, a word if I may?
Tremblay turns -- Lawrence stands on the st aircase above him,
waiting.
TREMBLAY
(Smiling)
I was just on my way to bed.
LAWRENCE
It won’t take a moment. Come.
Tremblay’s smile is suddenly wary as Lawrence leads him to...
99 EXT. CASA SANTA MARTA - COURTYARD CORRIDOR - NIGHT 99
The corridor is empty and in semi-darkness. Tremblay and
Lawrence stand in the light of the fluorescents, their breath
pluming in the air.
TREMBLAY
(still smiling)
I know you enjoy mystery novels
Thomas but this is...
LAWRENCE
I want you to withdraw your name
from the next ballot.
Tremblay sighs, shakes his head with a sorrowful smile.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 89.
LAWRENCE (CONT’D)
You are not the right man to be
Pope.
TREMBLAY
Well, forty of our colleagues would
disagree with you, so...
LAWRENCE
Only because they don’t know you as
I do.
Tremblay looks genuinely shocked at the remark.
TREMBLAY
This is sad, Thomas. I shall pray
for you and...
LAWRENCE
(Over)
I know there was some kind of
report into your activities. I know
the Holy Father raised the matter
with you hours befo re he died and
that he dismissed you from all your
posts. And I know that, somehow,
you discovered Adeyemi’s surrender
to temptation thirty years ago and
arranged for the woman involved to
be brought to Rome, with the
express intention of destroying
Adeyemi’s chance of becoming Pope.
TREMBLAY
I deny that accusation.
LAWRENCE
You deny asking our Superioress to
transfer one of her sisters to
Rome?
TREMB LAY
No. I asked her - but not on my own
behalf.
LAWRENCE
On whose behalf, then?
TREMBLAY
The Holy Father’s.
Lawrence stares at him, staggered.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 90.
LAWRENCE
You would libel the Holy Father in
his own home?
TREMBLAY
It isn’t libel, it’s the truth! The
Holy Father gave me the name of a
sister and asked me to make a
private request to bring her to
Rome. I had no idea why. And you...
(Stepping closer)
You should be careful Thomas. Your
own ambition has not gone
unnoticed. This might be
seen as a tactic to blacken the
name of a rival.
LAWRENCE
That is a d espicable accusation.
TREMBLAY
Is it? I wonder if you really are
so very reluctant to have the
chalice passed to you!
He makes a visible effort to catch his anger.
TREMBLAY (CONT’D)
I shall pretend this conversation
never took place.
He walks away.
LAWRENCE
(After him, impotent
anger)
But it has taken place!
Across the courtyard a security guard smokes a cigarette.
Alone in the dark, Lawrence feels his uncomforta ble gaze upon
him.
Ratings
Scene 48 - A Night of Reckoning
The only source of light shining from the bathroom Lawrence
lies on his bed, praying. After a moment his eyes open and he
stares blindly ahead, hoping for some sign, some guidance...
The sound of Adeyemi’s snoring coming from next door.
Suddenly Lawrence sits up in bed, a decision forming in his
mind. He opens the drawer to his nigh tstand... taking the
pass key Sister Agnes had lent him.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 91.
101 OMITTED 101
102 INT. CASA SANTA MARTA - PAPAL CORRIDOR - NIGHT 102
At the end of the corridor the lift doors open, a silhouette
appearing in the hall. Lawrence silently walks down the empty
corridor.
In front of the papal suite the votive candles flicker in
their red glasses. The locked door is still criss-crossed
with red ribbons.
Lawrence stares at the door, building his courage. Then he
takes Sister Agne s’ pass key and unlocks the door. He
hesitates then pushes the door open, the wax seals cracking
free and the ribbons fluttering down...
Lawrence crosses himself and then steps into...
103 INT. PAPAL SUITE - NIGHT 103
Lawrence fumbles on the light and stares around the familiar,
plain room, the few simple items of furniture: the blue
scalloped sofa and matching armchairs, the coffee table, the
prie-dieu.
103A IN T. PAPAL OFFICE - NIGHT 103A
Lawrence sits at the desk, takes the briefcase on his knee
and opens it. Inside is an electric razor, a tin of
peppermints and a battered copy of The Imitation of Christ by
Thomas à Kempis. An ancient bus-ticket acts as a book-mark.
Lawrence opens the book and finds a passage underlined:
“At the Day of Judgement we shall not be asked what we have
read but what we have done. ”
Lawrence stares at the words. They feel like encouragement, a
command almost, from the late Holy father.
Lawrence searches through the Pope’s desk, rooting through
the drawers... An empty spectacles case, a plastic bottle of
lens cleaner, a box of aspirin, a calculator, rubber bands...
He freezes, hearing FOOTSTEPS approach.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 92.
103B INT. PAPAL CORRIDOR - CONTINUOUS 103B
SISTER AGNES is walking down the corridor. She slows, seeing
the broken seals of the papal suite and the light showing
beneath the door. She stops at the door, listening.
Then the LIGHT below the Papal Suite door switches off.
103C INT. PAPAL SUITE - CONTINUOUS 103C
Lawrence stands by the light switch in the darkness,
practically holding his breath - aware that someone is ju st
on the other side of the door.
103D INT. OUTSIDE THE PAPAL SUITE - CONTINUOUS 103D
SISTER AGNES hesitates, her hand on the door handle,
considering who the intruder could be.
And suddenly she is certain that it is Lawrence on the other
side of the door.
A strange moment of connection.
Then TWO NUNS cross the corridor behind her, deep in
conversation in Italian, breaking the silence.
Agnes straightens up again and walks on down the corridor.
103E INT. PAPAL SUITE - CONTINUOUS 103E
Lawrence waits in the dark, listening to her footsteps
recede. Then he switches the light back on.
104 INT. PAPAL BEDROOM - MOMENTS LATER 104
Lawrence enters, silhouetted in the door frame. The bed has
been strippe d.
He opens the wardrobe - a simple closet that has been
emptied of everything except two ghost-like cassocks that
hang from the rail. The sight of them makes his heart ache.
He turns to the bedside cabinet, kneels carefully and checks
the small drawer, but it’s empty.
On top of the cabinet lie the late Pope’s spectacles and
alarm clock, just as they were on the night the pope died.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 93.
The sight of them finally undoes Lawrence and leans his
elbows on the bed, his face in his hands, and is wracked by a
fit of dry sobbing.
Finally, he opens his eyes again, bleakly accepting that he
has given in to a fit of paranoid madness. He is about to
stand again when he finds himself staring at the headboard
with it’s pitifully frayed edge, the crack in the wood, as if
some implement had been forced into the join...
He reaches out a hand and pulls at the bottom corner of the
padded head-piece. It resists. With both hands now he pulls
harder, grunting with the effort...
The headboard inches out from its frame. The material on the
inside edge, normally hidden, has a frayed six inch slit down
it.
Tentatively Lawrence slips his fingers into the padded
interior.
When he withdraws them he his holding several FOLDED SHEETS
OF PAPER.
Ratings
Scene 49 - Moral Dilemma in Casa Santa Marta
Bellini opens his door and blinks at Lawrence.
106 INT. CASA SANTA MARTA - BELLINI’S ROOM - NIGHT 106
Lawrence stands sipping a glass of water. Bellini sits on the
bed, reading the sheets of paper.
LAWRENCE
It’s the report on the activities
of Tremblay. It’s an overwhelming
prima facie case that he is guilty
of simony - an offence that is
stipulated in the Holy Scripture
as...
BELLINI
(Reading)
I am aware of what simony is, thank
you.
LAWRENCE
He only obtained all those votes on
the first ballot because he bought
them. Cardenas, Diene, Figarella,
Baptiste...
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 94.
LAWRENCE (CONT’D)
And all of this done in the last
twelve months when he must have
guessed the Holy Father’s
pontificate was coming to an end!
BELLINI
(Of the papers)
How do you know they didn’t use
this money for completely
legitimate purposes?
LAWRENCE
Because I’ve seen their bank
statements.
BELLINI
Dear God.
Lawrence finds himself staring down at the small plastic
CHESS SET which Bellini had taken from the Pope’s apart ment;
the pieces still grouped in the unfinished final game.
LAWRENCE
Ours too. It would seem the Holy
Father was spying on all of us. I
don’t think he trusted anyone.
Bellini looks up from the sheets.
BELLINI
Where did you find these?
Lawrence is silent.
BELLINI (CONT’D)
(Appalled)
You broke the seals?
LAWRENCE
What choice did I have? I suspected
Tremblay of bringing that poor
woman from Africa to embarrass
Adeyem i.
BELLINI
And did he?
LAWRENCE
He asked for the transfer. He
claims he did it at the request of
the Holy Father but... You must
continue with your candidacy, Aldo.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 94A.
Bellini stares at the papers in his hand. He holds them out
to Lawrence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 95.
BELLINI
Put them back. Put them back or
burn them or... put them back.
(Off Thomas' stare)
I couldn’t possibly become Pope in
such circumstances, a dirty trick,
a stolen document, the smearing of
a brother cardinal... I’d be the
Richard Nixon of Popes!
LAWRENCE
Then keep clear of this. Leave it
to me. I’m willing to take the
consequences and...
BELLINI
(Over)
You know who will gain most from
this? Tedesc o! The whole basis
of his candidacy is that the Holy
Father led the Church to disaster
by his attempts at reform. If you
reveal this report it isn’t
Tremblay’s reputation which will
suffer - it’s the Church’s.
Accusing the Curia of institutional
corruption...
LAWRENCE
I thought we were here to serve
God, not the Curia...
BELLINI
Oh, don’t be naive!
They stare at each other in shocked silence. Then...
BE LLINI (CONT’D)
(Quietly)
Put them back.
LAWRENCE
(Beat)
And have Tremblay as Pope?
BELLINI
We’ve had worse.
LAWRENCE
(Beat)
What has he offered you? Secretary
of State?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 96.
Beat. Bellini looks away. Lawrence studies his friend for a
moment.
LAWRENCE (CONT’D)
Five times I cast my ballot for
you, Aldo. But I was wrong. You
lack the courage required to be
Pope.
He gets up and walks out.
TITLE CARD: THIRD DAY OF CONCLAVE.
Ratings
Scene 50 - Revelations at Casa Santa Marta
Dawn. Security check the line of NUNS arriving to prepare
breakfast. They bow their heads to a Cardinal as he passes.
108 INT. CASA SANTA MARTA - STORAGE ROOM - EARLY MORNING 108
A sheet from the REPORT is placed on the photocopier plate.
The heading reads Strictly Confidential. The names of some
cardinals have been obliterated with pen.
Lawrence, bleary from a sleepless night, stands staring at
the array of settings. He presses a button. “Error” flashes
on the screen. Lawrence stares at the message, wondering if
it’s an obscure judgement...
SISTER AGNES (O.S.)
I’ll do that for you, Your
Eminence.
Started, Lawrence finds Sister Agnes behind him, watching him
with her unwavering gaze. She glances at the sheet, taking in
that heading. Lawrence waits, frozen.
SISTER AGNES (CONT’D)
How many copies do you require?
LAWRENCE
One hundred and eight.
A fractional hesitation. Then Sister Agnes nods and moves to
the copier...
109 INT. CASA SANTA MARTA - DINING ROOM - MORNING 109
Sister Agnes walks from plate to plate, distributing large
brown envelopes. Cardinal Lawrence helps here the first
CARDINALS arrive and take their seats at the dining tables.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 97.
110 INT. CASA SANTA MARTA - DINING ROOM - MORNING / LATER 110
The dining room is now full, the buzz of excited
conversation. Cardinals turn in their seats to stare at
Lawrence who sits, impassive, feeling strangely calm.
Sabbadin appears in front of him, tosses the report on the
table before him.
CARDINAL SABBADIN
(Hissing)
You have wasted this report! We
could have used it to control
Tremblay after he was elected Pope.
All you have done is strengthen
Tedesco.
He walks away before Lawrence can reply. Benitez sits at the
table beside him with bread and fruit.
BENITEZ
You should eat Dean.
Lawrence stares blindly at the food.
LAWRENCE
Did I do the right thing, Vincent?
BENITEZ
No one who follows their conscience
ever does wrong, Your Eminence.
The room falls suddenly silent as Tremblay appears, hair
immaculate , chin jutted. He strides towards Lawrence.
TREMBLAY
(Loudly)
You are responsible for this I
believe?
LAWRENCE
No, Your Eminence. You are.
TREMBLAY
(For the room)
This report is entirely mendacious!
It would never have seen the light
of day if you had not broken into
the Holy Father’s apartment to
remove it!
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 98.
LAWRENCE
(Calmly)
If the report is mendacious then
why did the Holy Father, in his
last official act as Pope, ask you
to resign?
A stir of amazement from the listening CARDINALS.
TREMBLAY
He did no such thing! As Monsignor
Morales, who was at the meeting
will confirm.
LAWRENCE
And yet Archbishop Wozniak insists
that the Holy Father told him
personally of the conversation...
TREMBLAY
(Over)
The Holy Father - may his name be
numbered among the high priests -
was a sick man towards the end of
his life as those of us who saw him
regularly will confirm!
TEDESCO TEDESCO
(Standing, Italian) (Standing)
< If someone else may be Se è possibile aggiungere
allowed to join this dialogue qualcun altro a questa
- the names of eight conversazione... i nomi di
cardinals have been blacked otto cardinali sono stati
out. I assume the dean can oscurati. Immagino che il
tell us who they are? Let Decano possa dirci chi sono?
them confirm, here and now, Lasciamo che siano loro a
whether Cardinal Tremblay confermare, qui ed ora, se il
requested their vot es in Cardinal Tremblay ha
return for the payment. > richiesto i loro voti in
cambio di soldi.
LAWRENCE
(Beat)
No. I won’t do that.
Uproar.
LAWRENCE (CONT’D)
(Almost drowned by the
comm otion)
Let each man examine his
conscience, as I have.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 99.
LAWRENCE (CONT’D)
I have no desire to create
bitterness in this Conclave and
will be happy to stand down as
dean...
More uproar. At his table, Bellini watches his old friend
standing alone in the storm of voices, conflicted whether he
should come to his aid, when...
SISTER AGNES (O.S.)
Your Eminences... Your Eminences...
Gradually the words cut through and the cardinals turn to
stare at the small, resolute figure of Si ster Agnes standing
in their midst. A silence falls, perhaps out of shock at her
presumption.
SISTER AGNES (CONT’D)
Eminences, although we Sisters are
supposed to be invisible, God has
nevertheless given us eyes and
ears. I know what prompted the Dean
of the College to enter the Holy
Father’s rooms. He was concerned
that the sister from my order who
made that regrettable scene might
have been brought to Ro me with the
deliberate intention of
embarrassing a member of this
Conclave. His suspicions were
correct. She was indeed here at the
specific request of Cardinal
Tremblay.
She genuflects and then walks out, head held very erect.
Tremblay gapes after her in horror.
TREMBLAY
My brothers, it’s true the Holy
Father asked me to. I had no
knowledge of who she was - I swear
to you!
For a moment no-one speaks. Then Adeyemi stands and points a
finger at him.
ADEYEMI
Judas.
He turns and walks out and Tremblay finds the cardinals
staring at him, stony-faced.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 100.
Ratings
Scene 51 - A Moment of Reflection
Lawrence kneels in prayer. He looks up as Bellini kneels
beside him. A beat.
BELLINI
(Wryly)
We seem to be running out of
favourites.
LAWRENCE
You should take over the
supervision of this election, Aldo.
BELLINI
Ha! No, thank you. You are steering
this Conclave. Exactly where I do
not know, but you are certainly
steering it. And that firm hand of
yours has i ts admirers. (Beat) I’ve
come to ask your forgiveness.
Surprised, Lawrence looks at him.
BELLINI (CONT’D)
I had the temerity to tell you to
examine your heart, when all the
time my own was...
He shakes his head.
BELLINI (CONT’D)
Shameful to be this age and still
not know yourself.
(A rueful smile)
Ambition, “the moth of holiness.”
(Beat)
Perhaps it’s time you decided upon
a name?
Lawrence stares at him.
BELLINI (CONT’D)
As the next most senior member of
the Conclave, it will fall to me to
ask you how you wish to be known as
Pope. Rightly or wrongly, it would
seem Tremblay is finished. This
will be a contest between Tedesco
and you. You’re the only one who
can stop him now.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 101.
The two old friends stare at each other. Then, as if
admitting to himself for the first time that the thought, the
ambition, was always there...
LAWRENCE
John. I would choose John.
Beat. Then Bellini nods.
BELLINI
It has a weight to it.
112 OMITTED 112
Ratings
Scene 52 - The Weight of Choice
A BLANK BALLOT.
Lawrence stares at his own sheet, for the first time at a
loss as to which name to write. He closes his eyes, hoping
f or inspiration, some sign. Nothing comes. He opens his eyes,
looks up...
And finds Tedesco watching him. The Patriarch raises his
eyebrows in amused complicity: Just you and me.
Lawrence picks up his pen, feeling he no longer has a choice.
Slowly he writes a name on the ballot. “Lawrence.”
He stands and holding the ballot above his head, walks down
the aisle to the waiting chalice, knowing he is a bout to sin.
LAWRENCE LAWRENCE
(in Latin) Testor Christum Dominum, qui
< I call as my witness Christ me iudicaturus est, me eum
the Lord, who will be my eligere, quem secundum Deum
judge, that my vote is given iudico eligi debere.
before God to the one who I
think should be elected. >
He holds the ballot over the chalice. Hesitates.
Then he drops the ballot into the chalice.
The explosion is felt first as a ripple in the floor, a bass
vibration throughout his body. Then the boarded windows are
blasted in, raining glass down onto the chapel.
For a moment Lawrence stands, stunned, wondering, almost
hoping, that he is dead. Time slows.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 102.
For the first time bright morning light floods the former
gloom of the chapel and Lawrence finds himself dwarfed and
pitiful before Michelangelo’s vast fresco The Last Judgement.
The work burns brilliantly before him, Christ dividing the
Damned from the Saved...
He turns again and finds the doors at the end of the
vestibule beginning to open, screeching across the glass-
strewn floor.
113A INT. SISTINE CHAPEL - VESTIBULE - DAY 113A
Two SECURITY GUARDS, guns drawn, begin to push their way in.
Frightened faces peer from behind them.
Ratings
Scene 53 - Reflections of Chaos
CLOSE ON A FRESCO - Michelangelo’s Crucifixion of St Peter.
Lawrence stands, staring at the huge fresco. St Pe ter, about
to be crucified upside down, cranes his neck upward, eyes us
reproachfully.
O’Malley pads down the chapel and joins him.
MONSIGNOR O'MALLEY
Everyone has been taken to the Casa
Santa Marta, Your Eminence. No one
was seriously hurt. Some cuts,
that’s all.
Lawrence stares at the fresco for a moment.
LAWRENCE
(Without looking at him)
And outside? In the city? How bad
is it?
O’Malley passes him a s heet of paper. Lawrence reads it.
LAWRENCE (CONT’D)
(Softly)
Dear God.
O’Malley examines his exhausted face.
MONSIGNOR O'MALLEY
How are you feeling?
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 102A.
LAWRENCE
(Beat)
I was looking at the darkness at
the top of the painting.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 103.
LAWRENCE (CONT’D)
I used to think they were clouds.
But I think it’s smoke. There’s a
fire somewhere. Some violence. And
St Peter, straining to keep his
head upright.
O’Malley hesitates, wondering if Lawrence is in shock.
MONSIGNOR O'MALLEY
Your Eminence? The Conclave? Do we
continue?
Lawrence doesn’t know what to say.
115 I/E. POLICE CAR - DAY 115
Lawrence stares out from the back of the car as it speeds
through the court yards of the Vatican, siren blaring, the
startled faces of the Swiss Guards they pass, bathed in
pulsing blue light.
He glances up at the sky, watching the helicopter that buzzes
angrily overhead, missiles protruding from its belly.
116 EXT. CASA SANTA MARTA - LOBBY - DAY 116
PUSHING LAWRENCE as he strides into the Casa, sweeps through
the courtyard, past frightened groups of NUNS and CURIA.
Mandorff wait s for him.
LAWRENCE
(As he passes him)
Complete privacy, Willi.
Mandorff nods grimly and follows him towards the Casa...
Ratings
Scene 54 - Divided Responses: A Crisis in the Conclave
The assembled cardinals look up anxiously from their seats.
LAWRENCE
My brothers, I would like to have
the authority of the Conclave to
discuss what has happened.
Archbishop Krasinski, a Tedesco supporter, stands.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 104.
KRASINSKI
Paragraph four of the constitution
states that nothing can be done in
the College of Cardinals that “in
any way affects the procedures
governing the election of the
Supreme Pontiff.” The very fact
that you are holding this meeting
outside the Sistine Chapel is an
interference!
Beside Lawrence, Bellini is already on his feet.
BELLINI
It’s quite clear that something
serious has occurred and I for one
would like to know what it is.
TEDESCO
(Italian)
You are merely looking for an
excuse to delay the decision!
(English)
We are here to listen to God, not
news bulletins.
BELLINI
No doubt you think we shouldn’t
listen to explosions either, but we
all heard one!
There is a murmur of approval and Tedesco colours. Lawrence
seizes the moment.
LAWRENCE
Will all those who wish the
Conclave to receive thi s
information, please raise their
hands?
Scores of hands are raised - a clear majority.
LAWRENCE (CONT’D)
Very well.
LAWRENCE (CONT’D)
(Reading from the sheet of
paper)
At eleven twenty this morning, a
car bomb exploded in the Piazza del
Risorgimento.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 105.
LAWRENCE (CONT’D)
Shortly afterwards, as people were
fleeing the scene, an individual
with explosives strapped to his
body detonated himself. There are
reports of further attacks in
Louvain and Munich...
A ripple of dismay is spreading throughout the room.
LAWRENCE (CONT’D)
The current death toll stands at
fifty two. Hundreds have been
injured.
The expressions of horror grow in volume. Tedesco lumbers to
his feet again hand r aised like an Old Testament prophet,
something horribly triumphant in his manner.
TEDESCO TEDESCO *
(Italian) Qui. Qui vediamo il risultato
< Here! Here we see the della dottrina del
result of the doctrine of relativismo tanto amata dai
relativism so beloved of our nostri fratelli liberali! Un
liberal brothers! A relativismo che vede tutte le
relativism that sees all fedi e le fantasie passeggere
faiths and passing fancies avere lo stesso peso, tanto
accorded equal weight, so che ora, quando ci guardiamo
that now, when we look around intorno, vediamo la patria
us, we see the homeland of della Santa Chiesa Cattolica
the Holy Roman Catholic romana punteggiata dalle
Church dotted with the moschee e dai minareti di
mosques and minarets of Maomett o! Sembra che non ci *
Muhammad! Sembra che non ci * sia più la vera Fede. *
sia più la vera Fede.
TEDESCO (CONT’D)
(switching to English)
Perhaps there is to be no Truth at
all! >
BELLINI
(English))
You should be ashamed, Tedesco!
Tedesco wheels on him, scarlet with anger - a rare moment of
loss of control.
TEDESCO
(English)
Ashamed? Yes! We should ALL be
ashamed!
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 106.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) Noi tolleriamo l'Islam nella
< We tolerate Islam in our nostra terra, ma loro ci
land, but they revile us in ripudiano nella loro! Li
theirs! We nourish them in nutriamo nella nostra patria,
our homelands, but they ma ci sterminano nella loro!
exterminate us in theirs! And E ora sono letteralmente alle
now they are literally at our nostre porte e noi non
walls and we do nothing! How facciamo nulla! Fino a quando
long will we persist in this persisteremo in questa
weakness...? What we need now debolezza? Quello di cui
is a leader who will accept abbiamo bisogno è di una
that we are once more facing guida che accetti che ci
a religious war! > troviamo di nuovo di fronte a
una guerra di religione!
Krasinski, sensing he is going too far, reaches up a
restraining hand but Tedesco brushes him angrily aside.
TEDESCO (CONT’D) TEDESCO (CONT’D)
(Italian) Una guida che sia saldamente
< A leader who will hold fast legata alle nostre
to our traditions! A leader tradizion i! Una guida che
who will put a stop to the ponga fine alla deriva che
drift that has gone on almost continua quasi
ceaselessly for the past incessantemente da
fifty years and that has cinquant'anni e che ci ha
rendered us so weak in the reso così deboli di fronte a
face of this evil! We need a questo male! Abbiamo bisogno
leader who will find the di un capo --
strength to fight these * (in English)
animals! > * -- di un leader who will find
the strength to fight these *
animals! *
BENITEZ *
(to Tedesco, over the *
uproar) *
My brother Cardinal... *
The cardinals fall silent. *
BENITEZ (CONT’D)
With respect... what do you know *
about war? *
Te desco turns to look at him in surprise. *
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 107.
BENITEZ (CONT’D)
I carried out my ministry in the *
Congo, in Baghdad and Kabul. I have *
seen the lines of the dead and *
wounded, Christian AND Muslim. When *
you say “we have to fight” - what *
is it you think we’re fighting? You *
think it’s those deluded men who *
have carried out these terrible *
acts today. *
No my brother. *
*
(continues in Spanish) *
BENITEZ (CONT’D) * BENITEZ (CONT’D) *
La lucha está aquí... aquí * (in Spanish) *
dentro de cada uno de * < The thing you’re fighting *
nosotros si cedemos al odio y* is here... inside each and *
al temor, si hablamos de * every one of us, if you give *
“bandos” en vez de hablar por* into hate now, if we speak of *
cada hombre y cada mujer. * “sides” instead of speaking *
* for every man and woman. *
Esta es mi primera vez entre * *
ustedes y probablemente sea * This is my first time amongst *
mi última. Y perdónenme, pero* you and I suppose it will be *
en estos días solo hemos * my last. Forgive me, but *
demostrado ser un grupo de * th ese last few days we have *
hombres pequeños y mezquinos.* shown ourselves to be small *
Interesados solamente en * and petty men. We have seemed *
nosotros mismos, en Roma, en * concerned only with *
la elección y el poder. * ourselves, with Rome, with *
* these elections, with power. *
Pero estas cosas no son la * *
iglesia. La iglesia no es la * But these things are not the *
tradición. La iglesia no es * Church. The Church is not a *
el pasado. La iglesia es lo * tradition. The Church is not *
que hagamos en adelante. * the past. The Church is what *
we do next. > *
Ratings
Scene 55 - A Walk of Unity
A nun walks quickly away from camera *
117B INT. CASA SANTA MARTA/ EXT AULA - DAY 117B *
Cardinals exit down the steps. *
117C INT. CASA SANTA MARTA/ EXT AULA - DAY 117C *
A group of Nuns walk quickly down a stairway. *
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 107A.
117D EXT. CASA SANTA MARTA COURTYARD - DAY 117D *
Nun’s walk hurriedly past Cardinals standing in small groups *
having animated conversations *
117E EXT CASA SANTA MARTA COURTYARD - DAY 117E *
Many Cardinals stand in small groups having animated *
conversations *
117F EXT CASA SANTA MARTA COURTYARD - DAY 117F *
Three Cardinals have a hushed conversation. Dozens of other *
cardinals in the background do the same. *
117G EXT CASA SANTA MARTA COURTYARD – SECOND FLOOR - DAY 117G *
Two Nun’s look at someone below. Small groups of Cardinals *
continue their discussions. *
117H EXT CASA SANTA MARTA COURTYARD – SECOND FLOOR - DAY 117H *
POV of Nuns looking at scores of Cardinals gathered below *
talking. Cardinal Benetiz sits alone on a bench with a *
sandwich as other Cardinals glance at him. *
118 EXT. CASA SANTA MARTA - PARKING - DAY 118
Lawrence sits alone, digest ing the contentious gathering, as
a light drizzle of rain hits the pavement. Archbishop
Mandorff quietly approaches.
ARCHBISHOP MANDORFF
The drivers aren’t ready, Your
Eminence.
Lawrence tears himself away from his thoughts.
LAWRENCE
Then we shall walk, Willi.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 108.
119 EXT. VATICAN GARDENS - DAY 119
Lawrence leads the cardinals from the hostel. Overhead
helicopters drone. Lawrence ignores them and opens up his
umbrella. It has begun to rain.
The mass of cardinals follow, walking in silence, a sea of
white umbrellas crossing the gardens.
A sense of silent solidarity. Bellini arrives beside
Lawrence. He takes his arm in his. The two friends look at
each other, united again. They walk on.
Ratings
Scene 56 - The Election of Innocent
The broken glass has been swept away. A faint breeze blows
through the space where the windows were.
Lawrence stands at the microphone. The beginning of what he
senses will be the final ballot of the Conclave.
LAWRENCE LAWRENCE
(Latin) Ecclesiae tuae, Domine,
< O Father, so that we may rector et custos, infunde,
guide and watch over Your quaesumus, famulis tuis
Church, give to us, Your spiritum intelligentiae,
servants, the blessings of veritatis et pacis, ut, quae
intelligence, truth and tibi placita sunt, toto corde
peace, so that we may strive cognoscant et agnita tota
to know Your will, and serve virtute sectentur. Per
You with total dedication. Christum Dominum nostrum.
For Christ our Lord... >
From the assembled Conclave comes the low rumble o f “Amen.”
ON LAWRENCE...
...sitting staring up at the painted ceiling high above. His
gaze slips to the rows of cardinals, lingers a moment on
Tedesco, Tremblay, Adeyemi, Benitez, Bellini... He feels a
sudden wave of love for them all, in all their imperfection:
the crooked timber of humanity...
From outside comes a strange, soft sound - the rise and fall
of an immense wave. The cardinals raise thei r heads,
listening, puzzled, until they realise: it is the sound of
tens of thousands gathering in St Peter’s Square.
Droplets of water are trickling through the shattered
windows, and down the stone walls.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 109.
Lawrence watches the raindrops for a moment. Then he picks up
his pen. His mind feels suddenly calm, clear. A moment of
grace.
He begins to write.
121 INT. SISTINE CHAPEL - MONTAGE - DAY 121
...ballots fall into the waiting urn....
...the ballots are pierced by the needle, threaded on the
scarlet strand.
...the hands of the Scrutineers take ballots from the urn and
pass it along...
...the white cloth is smoo thed over the table, the final urn
of counted votes is placed at its centre, ready for the
announcement...
Still in SLO-MO, the cardinals rise, one by one to their
feet, applauding...
A crowd of cardinals are gathered around someone, their backs
to us. We PUSH slowly through the crowd, which parts for us,
until we reach the cardinal at the centre, the only seated
man in the chapel...
Benitez.
Lawren ce, having reached him, stares down at the slight
figure.
LAWRENCE LAWRENCE
(Latin) Acceptasne electionem de te
< In the name of the whole canonice factam in Summum
College of Cardinals, I ask Pontificem?
you, Cardinal Benitez, do you
accept your canonical
election as Supreme Pontiff?>
Benitez, as if he hasn’t heard, continues to stare down at
his feet, his face obscured by a tumbling lock of black hair .
A long silence, a collective holding of fearful of breath. If
he should refuse...
LAWRENCE (CONT’D) LAWRENCE (CONT’D)
(Latin) Acceptasne electionem de te
< Do you accept? > canonice factam in Summum
Pontificem?
At last Benitez raises his head and stares at Lawrence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 110.
BENITEZ BENITEZ
(Latin) Accepto.
< I accept. >
A murmur of relief, of pleasure, erupts around them. Lawrence
smiles, pats his heart to indicate his own relief.
LAWRENCE LAWRENCE
(Latin) Quo nomine vis vocari?
< And by what name do you
wish to be called? >
Benitez stands.
BENITEZ BENITEZ
(Latin) Innocentius.
< Innocent. >
A moment of silence. No Pope has derived a title from one of
the virtues for generations. The n applause of approval builds
again. Holding the table for support, Lawrence sinks to his
knees before the new Holy Father. Benitez stares down at him,
smiling, thinking...
Ratings
Scene 57 - Unsettled Reflections
Lawrence stands with Mandorff preparing the deed of
acceptance. Mandorff is filling in Benitez’s name on the deed
ready for the Pontiff’s and witnesses’ signatures. Lawrence
glances at O’Malley and finds him standing at a table,
staring with strange fixity.
LAWRENCE
(amused)
Monsignor, I’m sorry to interrupt
you...
O’Malley doesn’t react.
LAWRENCE (CONT’D)
Ray...?
Startled, O’Malley looks at him.
LAWRENCE (CONT’D)
I think you should start gathering
the cardinal’s notes. The sooner we
light the stoves, the sooner the
world will know we have a new Pope.
O’Malley blinks at him, looking confused, almost frightened.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 111.
LAWRENCE (CONT’D)
Are you alright?
MONSIGNOR O'MALLEY
It wasn’t... It wasn’t the outcome
I expected.
LAWRENCE
No. But it’s wonderful all the
same.
He examines O’Malley, puzzled.
LAWRENCE (CONT’D)
(Quietly)
If it’s my position you’re worried
about, let me reassure you I feel
nothing but relief. Our new Holy
Father will make a much greater
Pope than I ever would have done.
O’Malley nods, a stricken smile. He begins to walk away.
Suddenly he wheels around and returns.
MONSIGNOR O’MALLEY
May I speak with you in private?
Lawrence feels a stab of alarm.
Ratings
Scene 58 - Urgent Revelations in the Vatican
The two men stand, alone.
MONSIGNOR O'MALLEY
I’m sorry Your Eminence, I should
have told you this morning as soon
as I found out, but then...with
everything that happened...and I
didn’t dream that Cardinal Benitez
would become...
He trails off, helpless .
LAWRENCE
Just tell me what’s troubling you.
MONSIGNOR O'MALLEY
I found out... Switzerland.
Cardinal Benitez’ trip to
Switzerland.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 111A.
LAWRENCE
Switzerland? You mean the hospital
in Geneva?
O’Malley looks at him, stricken.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 112.
MONSIGNOR O'MALLEY
It wasn’t a hospital. It was a
clinic.
LAWRENCE
(Beat)
A clinic for what?
124 INT. SISTINE CHAPEL - DAY 124
Lawrence strides through the chapel towards the “Room of
Tears.”
124A INT. SISTINE CHAPEL - ANTECHAMBER - DAY 124A
He descends the stairs and crosses the sacristy, knocking on
the door. Father Haas opens it a little and looks at Lawrence
in alarm.
HAAS
His Holiness won’t get robed, Your
Eminence .
LAWRENCE
If you please, Father Haas...
Haas steps hurriedly aside. Lawrence enters the little room.
Ratings
Scene 59 - A Revelation in the Room of Tears
A pale Benitez sits on a narrow bench in the corner, hunched
over, looking small. The PAPAL TAILOR helplessly holds the
white cassock of the Pope, not knowing what to do.
LAWRENCE
May I speak to you alone?
BENITEZ
Of course.
The TAILOR puts the cassock away and withdraws.
LAWRENCE
You too, Father.
Surprised, Haas bows and leaves, closing the door behind him.
Lawrence and Benitez remain for a moment in silence.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 113.
BENITEZ
(ruefully)
It seems that even the smallest
vestments are too large... I was
waiting for you to come.
LAWRENCE
You must tell me about this
treatment at the clinic in Geneva.
He’s expecting anger, denial, but Benitez merely smiles,
gently.
BENITEZ
Must I, Dean?
LAWRENCE
Yes, you must! Within the hour you
will be the most famous man in the
world! So tell me - what is your
situation?
BENITEZ
My “situatio n,” as you call it, is
the same as when I was ordained a
priest, the same as when I was made
a cardinal.
LAWRENCE
But the... treatment... in
Geneva...
BENITEZ
There was no treatment. I
considered it, prayed for guidance.
And decided against it.
LAWRENCE
And what would it have been, this
treatment?
BENITEZ
It was called a laparoscopic
hysterectomy.
A beat. A stunned Lawrence sinks into the nearest chair.
A fter a moment, Benitez pulls up a chair across from him,
their knees almost touching.
BENITEZ (CONT’D)
(Gently)
You have to understand, when I was
a child, there was no way of
knowing my “situation” was more...
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 114.
BENITEZ (CONT’D)
complicated. I was born to poor
parents, in a community where boys
were more prized than girls. And
the life in the seminary is, as you
know, a very modest one. But the
truth is, there simply was no
reason to think I was different
from the other young men. Then, in
my late thirties, I had an
operation to remove my appendix.
And that was when the doctors
discovered that I had a uterus and
ovaries. My chromosomes would
commonly define me as being a
woman. And yet I am also... as you
see me.
Lawrence stares at him and tries to absorb this. Benitez
smiles sympathetically.
BENITEZ (CONT’D)
It was a very dark time for me. I
felt as if my entire life as a
priest had been lived in a state of
sin. Of course, I offered my
resignation to the Holy Father. I
flew to Rome and told him
everything.
LAWRENCE
He knew?
BE NITEZ
Yes. He knew.
LAWRENCE
And he thought it was acceptable
for you to continue as an ordained
minister?
BENITEZ
I would assume so. After all, he
made me a cardinal in pectore in
full knowledge of who I am.
Lawrence is baffled, trying to absorb what he has just
learned. Benitez gently continues.
BENITEZ (CONT’D)
We considered surgery to have what
you might regard as the “female”
parts of my body removed. But th e
night before I was due to fly I
realised I was mistaken.
(MORE)
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 115.
BENITEZ (CONT’D)
I was who I had always been. It
seemed to me more of a sin to
correct His handiwork than to leave
my body as it was.
LAWRENCE
Then you... you are still...?
BENITEZ
I am what God made me. And perhaps
it is my difference that will make
me useful. I think again of your
sermon. I know what it is to exist
between the world’s certainties.
Lawrence considers that.
LAWRENCE
Who knows about this, apart from
O’Ma lley?
BENITEZ
Only yourself.
Lawrence nods, thinking that O’Malley can be trusted, that
this can be kept secret.
BENITEZ (CONT’D)
And one other of course.
Lawrence looks at him.
BENITEZ (CONT’D)
God.
The two stare at each other.
Ratings
Scene 60 - A Moment of Reflection Amidst Celebration
Silence. Lawrence sits, staring blankly ahead, trying to
absorb what he has just learned. Does it fundamentally change
who Benitez is?
He finds himself small i n a place so vast, staring at the
floor, trying to pray, hoping for guidance, some sense of
connection. His mind remains numb.
Suddenly he turns and stops, seeing...
A small TURTLE that is working its way across the marble.
Lawrence stares at the surreal sight - this little creature
inching towards him.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 116.
He walks to the turtle and picks it gently up. There’s
something so absurd about this.
127 INT. SISTINE CHAPEL - VESTIBULE - LATE AFTERNOON 127
O’Malley places ballot papers and notes, any record of the
Conclave into the stove and lights them.
Then he activates the chemical canister.
His eyes are drawn slowly up the length of the flue to the
point where it projects through the open window and out into
th e sky.
128 EXT. VATICAN GROUNDS - LATE AFTERNOON 128
Lawrence walks back to the fountain and places the turtle
gently back into the water.
And then he hears it.
The distant roar of a quarter of a million voices raised in
hope and acclamation as they react to the white smoke now
rising from the Vatican.
Lawrence listens as the great wave of joy rolls on, and on.
129 INT. CASA SANTA MARTA - LAWRENCE’S BEDROOM - EVENING 129
Lawrence packs his clothes and few belongings into his case.
Finally he sits, at the same time feeling an overwhelming
exhaustion as well as the sensation of having accomplished
his task.
He looks up, hearing an electronic whine. The metal shutters
at his window are slowly ascending.
He opens the window and looks outside, letting in the air and
the sun, as the cool winter breeze plays with the curtains.
He smiles, content.
129A INT. CASA SANTA MARTA - LOBBY - EVENING 129A
The shutters in the lobby rise, letting in the evening light.
129B INT. CASA SANTA MARTA - BACK OFFICE - EVENING 129B
In the office the canary sits in his cage, reacting to the
sound from outside. He begins to quietly chirp.
CONCLAVE by Peter Straughan - Pink Revisions. (27.01.2023) 117.
130 EXT. STREETS IN ROME - EVENING 130
Deserted streets in this ancient city. A newspaper in the
gutter. An abandoned car on the corner. Next to it an old
statue in crumbling marble under the steady stream of a
fountain.
130A I/E. SHOP - STREET NEAR VATICAN - EVENING 130A
The store with the PLASTIC PIETÀS from the beginning. And
suddenly there is Cardinal Lawrence, suitcase in hand,
resting his gaze on the small statues.
Then he heads down the street and disappears around the
corner. We HOLD on the display, the Pietàs, the compassion of
the WOMAN cradling the Man of Sorrows.
131 INT. SALE E TABACCHI - EVENING 131
A near-empty bar in a small café. On the counter a cold
espresso that someone didn’t have time to finish.
Behind it, in the background, the faint flicker of a TV. The
screen shows the balcony of St. Pet er. The red shape of a
Cardinal steps through the curtains.
CARDINAL BROTZKUS
Annuntio vobis gaudium magnum.
Habemus Papam!
A small figure in a white cassock steps out next to him,
bowing his head in humble submission. And now we hear it, the
roar rising to a deafening volume, the sounds of distant
celebrations coming through on the TV.
THE END
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
cardinal lawrence | Cardinal Lawrence begins as a conflicted and introspective character, grappling with his desire to resign and the pressures of the conclave. Throughout the screenplay, he faces moral dilemmas that challenge his faith and principles, leading to significant character growth. As he navigates the political intrigue and power struggles, he learns to reconcile his personal beliefs with the responsibilities of leadership. By the climax, he confronts the hidden truths within the Church and ultimately embraces his role, emerging as a more resolute and morally grounded figure. His journey culminates in a decision that reflects both his integrity and commitment to the Church, allowing him to find a sense of peace and purpose. | While Cardinal Lawrence's character arc is rich and layered, it risks becoming overly introspective and may lack dynamic external conflict. The internal struggles are compelling, but they could benefit from more tangible stakes and interactions with other characters that challenge his beliefs and decisions. Additionally, the pacing of his character development may feel slow, potentially losing audience engagement. | To enhance Cardinal Lawrence's character arc, consider introducing more external conflicts that directly challenge his internal struggles. This could involve more intense confrontations with other cardinals or a crisis that forces him to act decisively, showcasing his growth in real-time. Incorporating moments of action or pivotal decisions that have immediate consequences could also help maintain pacing and keep the audience invested in his journey. Furthermore, exploring his relationships with other characters in greater depth could provide additional layers to his internal conflict, making his eventual resolution more impactful. |
lawrence | Throughout the screenplay, Cardinal Lawrence undergoes significant character development. Initially portrayed as a solemn and dutiful figure, he grapples with the emotional aftermath of the Pope's death and the responsibilities of the conclave. As the narrative progresses, Lawrence's internal conflicts intensify, forcing him to confront his moral compass and the political machinations within the Church. His journey is marked by moments of self-doubt and introspection, leading him to seek unity and tolerance amidst escalating tensions. By the climax, Lawrence emerges as a more resolute leader, willing to challenge the status quo and assert his values, ultimately finding a balance between his duties and personal beliefs. His character arc culminates in a moment of profound realization, where he embraces empathy and understanding, paving the way for potential reconciliation within the Church. | While Cardinal Lawrence's character arc is rich and layered, it risks becoming overly introspective and may lack dynamic external conflict. The screenplay could benefit from more tangible stakes that challenge Lawrence's beliefs and force him to make difficult choices that impact not only himself but also the broader context of the conclave. Additionally, while his internal struggles are compelling, there could be more emphasis on his relationships with other characters to highlight his growth and the influence of those around him. | To enhance Cardinal Lawrence's character arc, consider introducing a pivotal external conflict that directly challenges his moral beliefs, such as a scandal that threatens the integrity of the Church or a rival cardinal who embodies the opposite of his values. This would create a more dynamic interplay between his internal struggles and external pressures. Additionally, deepen his relationships with key characters, allowing for moments of vulnerability and connection that can catalyze his growth. Incorporating scenes that showcase his interactions with both allies and adversaries can provide a richer context for his transformation, ultimately making his journey more relatable and impactful. |
tremblay | Archbishop Tremblay's character arc begins with him as a respected leader, navigating the immediate aftermath of the Pope's death with authority and composure. As the story progresses, he faces mounting pressure and accusations that challenge his reputation and moral standing. His initial pragmatism gives way to defensiveness as he struggles to maintain control over the situation and his image. The climax of his arc occurs when the truth about his actions is revealed, leading to a moment of introspection and vulnerability. In the resolution, Tremblay must confront the consequences of his choices, ultimately leading to a transformation where he either seeks redemption or doubles down on his manipulative tendencies, shaping his future within the Church. | While Archbishop Tremblay's character arc is compelling, it risks becoming predictable, as the trajectory from authority to downfall is a common narrative. His initial affability and wit provide depth, but these traits could be further developed to create a more nuanced character. The transition from a pragmatic leader to a defensive figure could benefit from more gradual development, allowing the audience to witness the internal conflict and moral dilemmas he faces. Additionally, the resolution of his arc may feel rushed if not given adequate exploration, potentially undermining the impact of his moment of reckoning. | To enhance Archbishop Tremblay's character arc, consider incorporating more scenes that showcase his internal struggles and moral conflicts, allowing the audience to empathize with his plight. Introducing secondary characters who challenge his views or serve as foils could deepen the narrative tension and highlight his complexities. Additionally, providing a clearer motivation for his manipulative actions could add layers to his character, making his eventual reckoning more impactful. Finally, ensure that the resolution of his arc is given sufficient time to explore the consequences of his choices, whether it leads to redemption or further entrenchment in his flaws. |
bellini | Cardinal Bellini's arc begins with him as a grieving and introspective figure, mourning the Pope's death and reflecting on their shared history. As he navigates the political landscape of the conclave, he grapples with self-doubt and the expectations placed upon him. His initial reluctance to pursue the papacy gives way to a growing determination to advocate for progressive values, even as he faces internal and external conflicts. Throughout the story, Bellini's character evolves from a conflicted cardinal to a more assertive and ambitious leader, ultimately confronting the moral implications of his decisions. By the end of the feature, he reaches a moment of self-realization, reconciling his ambitions with his moral integrity, and emerges as a more nuanced and principled figure within the Church. | While Cardinal Bellini's character arc is rich and multifaceted, it risks becoming overly complex and may confuse the audience if not carefully managed. The transitions between his emotional states and motivations could benefit from clearer delineation to ensure that viewers can follow his journey without losing sight of his core values. Additionally, the balance between his introspective nature and his ambition may need refinement to avoid portraying him as inconsistent or contradictory. | To improve Bellini's character arc, consider establishing clearer milestones that mark his emotional and moral evolution throughout the screenplay. This could involve pivotal scenes that highlight his internal struggles and decisions, allowing the audience to witness his growth in a more structured manner. Additionally, integrating supporting characters who challenge or reflect his beliefs could provide a more dynamic exploration of his character. Finally, ensuring that his motivations remain consistent, even as they evolve, will help maintain audience engagement and empathy for his journey. |
tedesco | Throughout the screenplay, Cardinal Tedesco undergoes a significant transformation. He begins as a composed and respectful figure, grappling with the implications of the Pope's death. As he confronts the challenges of the papal election, he becomes increasingly bold and outspoken, advocating for his conservative beliefs. However, his journey is not without conflict; he faces opposition from more progressive cardinals, leading him to question his own convictions and the effectiveness of his confrontational approach. By the climax, Tedesco learns the importance of collaboration and compromise, ultimately evolving into a more nuanced leader who balances tradition with the need for change. His arc concludes with a newfound understanding of the complexities of leadership within the Church, allowing him to embrace a more inclusive vision for its future. | While Cardinal Tedesco's character arc is compelling, it risks becoming predictable as he transitions from a staunch traditionalist to a more collaborative leader. The initial portrayal of his skepticism and confrontational nature may not fully resonate with audiences if not explored in greater depth. Additionally, the character's motivations could benefit from more nuanced development to avoid falling into archetypal roles of the conservative antagonist. | To improve Tedesco's character arc, consider incorporating moments of vulnerability that reveal his internal struggles and fears about the Church's future. This could involve flashbacks to his past experiences that shaped his beliefs or interactions with other characters that challenge his worldview. Additionally, introducing a personal stake in the outcome of the papal election could heighten the emotional stakes and provide a more relatable motivation for his actions. Finally, allowing Tedesco to form unexpected alliances with more progressive cardinals could create a richer narrative, showcasing his growth and the potential for unity within the Church. |
adeyemi | Throughout the screenplay, Cardinal Adeyemi undergoes a significant transformation. Initially, he is portrayed as a figure of authority and tradition, focused on maintaining dignity in the wake of the Pope's death. As the story progresses, he becomes more involved in the moral dilemmas faced by Lawrence, revealing his own vulnerabilities and past mistakes. His journey is one of self-discovery, as he grapples with his conflicting motivations and the consequences of his actions. By the end of the feature, Adeyemi emerges as a more enlightened character, having embraced forgiveness and redemption, ultimately finding peace with his past and a renewed commitment to his faith and values. | While Cardinal Adeyemi's character arc is compelling, it risks becoming too predictable. His initial portrayal as a dignified authority figure may lead audiences to anticipate a straightforward redemption narrative. Additionally, the hints of intrigue regarding potential bribes could be further developed to create more tension and complexity in his character. The emotional depth of his struggles is present, but it could benefit from more nuanced interactions with other characters to fully explore his internal conflicts. | To improve Cardinal Adeyemi's character arc, consider introducing more layers to his motivations and conflicts. For instance, explore his relationships with other characters in greater depth, allowing for moments of vulnerability that reveal his fears and desires. Incorporating flashbacks or dialogues that highlight his past mistakes could enhance the audience's understanding of his internal struggles. Additionally, creating a more dynamic relationship with Lawrence, where their interactions challenge and influence each other's growth, could add richness to both characters' arcs. Finally, consider introducing a pivotal moment that forces Adeyemi to confront his past directly, leading to a more impactful resolution of his character's journey. |
monsignor o'malley | Monsignor O'Malley's character arc begins with him as a loyal and dutiful assistant, fully committed to Cardinal Lawrence and the Church's mission. As the story unfolds, he faces a series of crises that challenge his faith and loyalty, leading to moments of doubt and confusion. This internal conflict culminates in a pivotal moment where he must confront his fears and uncertainties, ultimately emerging as a more self-aware and resilient figure. By the end of the feature, O'Malley has transformed from a mere supportive character into a more complex individual who has reconciled his sense of duty with his personal beliefs, allowing him to take a more active role in the unfolding events. | While Monsignor O'Malley's character arc effectively showcases his journey from loyalty to self-awareness, it could benefit from deeper exploration of his motivations and background. The transition from a supportive figure to a more active participant in the narrative feels somewhat abrupt. Additionally, his emotional turmoil could be more vividly illustrated through specific interactions or flashbacks that provide context for his internal struggles. | To improve Monsignor O'Malley's character arc, consider incorporating flashbacks that reveal key moments from his past that shaped his loyalty and beliefs. This would add depth to his character and make his emotional struggles more relatable. Additionally, allow for more dialogue that showcases his evolving perspective, particularly in conversations with Cardinal Lawrence and other characters. This could help to illustrate his growth more organically and provide a clearer transition from his initial role to a more proactive stance in the climax of the story. |
cardinal bellini | Cardinal Bellini's character arc begins with him as a supportive figure, deeply connected to Cardinal Lawrence and the legacy of the deceased Pope. As the conclave unfolds, he transitions into a passionate advocate for his beliefs, confronting the challenges posed by the election process. His ambition drives him to navigate the political landscape with increasing assertiveness, leading to moments of tension and conflict. By the climax, Bellini faces a moral dilemma that forces him to reconcile his ambition with his principles, ultimately leading to a moment of self-realization. In the resolution, he emerges as a more nuanced character, having learned the importance of balancing personal ambition with the greater good of the Church, and reaffirming his friendship with Lawrence. | While Cardinal Bellini's character arc is compelling, it risks becoming overly complex due to the multiple facets of his personality. The transition from a supportive friend to an ambitious strategist may feel abrupt if not carefully paced. Additionally, the internal conflict between his ambition and moral principles could benefit from clearer stakes and consequences to enhance emotional engagement with the audience. | To improve Cardinal Bellini's character arc, consider introducing earlier hints of his ambition and internal conflict, allowing for a more gradual transition into his confrontational and strategic behavior. Incorporating specific moments that highlight the consequences of his choices—both positive and negative—can deepen the audience's investment in his journey. Additionally, providing a pivotal moment where Bellini must choose between his ambition and his friendship with Lawrence can create a more impactful climax, reinforcing the theme of personal sacrifice for the greater good. |
cardinal benitez | Cardinal Benitez begins as a naive yet determined young man, eager to make a difference within the conclave. As he navigates the treacherous political landscape, he becomes more cautious and observant, learning to balance his convictions with the realities of power. His journey leads him to a place of wisdom and empathy, where he not only guides others but also confronts his own identity and past. By the end of the feature, Benitez emerges as a more complex and introspective character, having reconciled his faith with his personal struggles, ultimately becoming a beacon of hope and integrity within the conclave. | While Cardinal Benitez's character arc is compelling, it risks becoming too predictable as he transitions from naivety to wisdom. The initial portrayal of his determination and faith is strong, but the evolution into a wise and empathetic figure could benefit from more nuanced challenges that test his beliefs and convictions. Additionally, the revelation about his physical identity, while adding depth, may need clearer integration into the overall narrative to avoid feeling like an afterthought. | To enhance Cardinal Benitez's character arc, consider introducing more significant internal and external conflicts that challenge his faith and convictions throughout the screenplay. This could include moral dilemmas that force him to choose between his ideals and the harsh realities of the conclave. Additionally, explore his relationships with other characters more deeply, allowing for moments of vulnerability and growth that reveal his complexities. Finally, ensure that the revelation about his physical identity is woven into the narrative early on, allowing it to influence his decisions and interactions, thereby enriching his journey. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Consistent High Tone Scores | The 'Tone' scores are consistently high (mostly 9), suggesting a strong and consistent atmosphere throughout the screenplay. This indicates a well-established and maintained tone, which contributes to the overall quality. |
Concept and Plot Strength | Scenes with high 'Concept' scores (8 or 9) often correlate with similarly high 'Plot' scores. This suggests a strong foundation in the core ideas of the screenplay, leading to effectively structured and engaging plotlines. |
Character Development and Dialogue | There's a positive correlation between scenes with strong 'Characters' scores and high 'Dialogue' scores. Scenes where characters are well-developed tend to feature dialogue that enhances their personalities and drives the narrative forward. |
'Somber' Tone and Lower Emotional Impact | Scenes with a prevalent 'Somber' tone tend to have slightly lower 'Emotional Impact' scores compared to scenes with more diverse tonal elements. While the somber tone might contribute to the atmosphere, explore ways to inject more emotional intensity within this tone to heighten the audience's engagement. Consider whether the somberness is effectively serving the story or possibly dampening its emotional resonance. |
High Stakes and Movement of the Plot | Scenes with high 'High Stakes' scores almost always show high scores for 'Move story forward'. This suggests that the high-stakes moments are effectively propelling the plot ahead, which is positive narrative construction. |
Emotional Impact and Conflict | While not perfectly correlated, there's a tendency for scenes with higher 'Emotional Impact' to also have higher 'Conflict' scores. This suggests that conflict is a key driver of emotional response, but consider exploring ways to enhance emotional impact even when conflict is less explicit. |
Character Changes and Scene Intensity | Scenes with significant 'Character Changes' tend to have higher scores across multiple aspects (especially in scenes 12, 47, 49, and 50), indicating that pivotal character moments are effectively integrated into the screenplay's overall strength. This shows the narrative is driven by significant character arcs and development. |
Scenes 12 and 47: Narrative Peaks | Scenes 12 and 47 show exceptionally high scores across the board, suggesting potential narrative climaxes or turning points. Analyze these scenes to ensure they are appropriately positioned to maximize their impact. Pay attention to how they are paced relative to the scenes that surround them. |
Scenes 16, 20, 51 and 56: Moments of Reflection | Scenes 16, 20, 51, and 56 have lower scores in 'Emotional Impact' and 'Dialogue', even with strong concept and character scores. This is consistent with the reflective tones; examine whether the slower pace and lower intensity are intentional and serving the story's purpose. Consider if the reflective moments could benefit from stronger dialogue or subtle plot developments to enhance their engagement. Are these necessary pauses, or potential areas for tightening? |
Final Scene (60): Resolution | The final scene (60) shows high scores but a moderate emotional impact. This could suggest a potentially unresolved or ambiguous ending. Explore whether this is intentional. If so, ensure it aligns with the intended narrative effect. If not, re-examine this section to strengthen its overall impact. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating tension, emotional depth, and thematic resonance, particularly within a complex religious and political setting. The writer consistently showcases skill in crafting nuanced character interactions and dialogue-driven scenes. However, there's a recurring need for further development in specific areas to elevate the screenplay's overall impact and complexity.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book provides a comprehensive overview of screenwriting fundamentals, directly addressing several recurring improvement suggestions related to scene structure, character development, and dialogue. It's a foundational text beneficial for strengthening the writer's overall craft. |
Book | 'The Art of Dramatic Writing' by Lajos Egri | This book is crucial for deepening character development and exploring thematic resonance, directly addressing the need for enhancing character motivations and internal conflicts. Egri's focus on character psychology and narrative structure is vital for elevating the screenplay's complexity. |
Screenplay | Aaron Sorkin's screenplays ('The Social Network', 'The West Wing') | Sorkin's mastery of dialogue, complex character interactions, and high-stakes political settings aligns well with the writer's strengths and areas for improvement. Studying his work will provide practical examples of effective dialogue, subtext, and nuanced power dynamics. |
Exercise | Write a scene entirely through action and visual storytelling, with minimal or no dialogue.Practice In SceneProv | This exercise directly tackles the need for improved scene structure and pacing by forcing the writer to rely on visual cues and character actions to build tension and convey emotion, ultimately improving their use of subtext and visual storytelling. |
Exercise | Write a scene with two characters holding opposing viewpoints on a significant moral dilemma. Focus on subtext and unspoken tensions.Practice In SceneProv | This exercise directly addresses the need for enhanced dialogue, character development (specifically motivations), and scene structure. By focusing on a moral dilemma and subtext, the writer will practice building tension and revealing character through subtle communication. |
Exercise | Choose a scene from a well-regarded screenplay and rewrite it, focusing on improving the pacing, subtext, or character motivations.Practice In SceneProv | This exercise combines learning from established screenwriters with practical application of newly acquired techniques. By analyzing and rewriting an existing scene, the writer will gain valuable insights into the nuances of scene construction, dialogue, and character development. |
Stories Similar to this one
Story | Explanation |
---|---|
The Two Popes | This film explores the relationship between Pope Benedict XVI and Cardinal Jorge Bergoglio, who later becomes Pope Francis. It delves into themes of faith, doubt, and the complexities of the papacy, similar to Lawrence's internal struggles and the political maneuvering within the Vatican. |
The Name of the Rose | This novel and film adaptation features a murder mystery set in a medieval monastery, intertwining themes of faith, power, and the Church's politics. The tension and moral dilemmas faced by the characters resonate with Lawrence's challenges during the conclave. |
The Vatican Tapes | This horror film involves supernatural elements within the Vatican, but it also touches on the themes of secrecy and the Church's hidden truths, paralleling the hidden agendas and secrets that Lawrence navigates in the screenplay. |
The Exorcist | While primarily a horror film, it deals with the Catholic Church's response to crises of faith and the struggle between good and evil. The internal conflicts faced by Lawrence echo the moral and spiritual dilemmas presented in this classic. |
Spotlight | This film follows investigative journalists uncovering the Catholic Church's cover-up of sexual abuse. It shares themes of accountability, the weight of truth, and the moral complexities within the Church, akin to Lawrence's quest for integrity amidst political intrigue. |
The Young Pope | This television series follows a fictional Pope and explores themes of faith, power, and the complexities of the papacy. The character development and political dynamics within the Vatican mirror the intricate relationships and power struggles depicted in Lawrence's story. |
Angels & Demons | This film involves a conspiracy within the Vatican and the election of a new Pope, paralleling the political maneuvering and urgency surrounding the conclave in Lawrence's screenplay. It also explores themes of faith and the Church's influence. |
The Da Vinci Code | Similar to 'Angels & Demons,' this film involves a mystery tied to the Church and its secrets. The tension between faith and reason, as well as the exploration of hidden truths, resonates with Lawrence's journey in the screenplay. |
The Pope's Exorcist | This film focuses on a priest who investigates supernatural occurrences within the Church, highlighting the tension between faith and skepticism. The exploration of the Church's darker aspects parallels Lawrence's navigation of moral complexities and hidden truths. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Weight of Leadership | Cardinal Lawrence grapples with the immense responsibility of potentially becoming the Pope, feeling the pressure of the Conclave and the expectations of his peers. | This trope often highlights the internal struggles of a character who must lead others, showcasing their doubts and fears. An example can be seen in 'The West Wing,' where President Bartlet frequently faces the burdens of leadership and the moral dilemmas that come with it. |
The Mentor's Death | The death of the Pope serves as a catalyst for the events that unfold, impacting the characters' motivations and actions. | This trope involves the death of a mentor or guiding figure, which propels the protagonist into a new phase of their journey. A classic example is in 'Star Wars: Episode IV - A New Hope,' where Obi-Wan Kenobi's death motivates Luke Skywalker to take on a greater role in the fight against the Empire. |
Political Intrigue | The Conclave is filled with scheming and maneuvering among the cardinals as they vie for power and influence. | This trope involves complex political maneuvering, often within a closed environment, where characters must navigate alliances and betrayals. An example is 'House of Cards,' where Frank Underwood engages in ruthless political tactics to gain power. |
Cardinal Lawrence is hesitant to accept the role of Pope, feeling unworthy and conflicted about his faith. | This trope features a protagonist who is initially unwilling to take on a heroic role, often due to self-doubt or a sense of unworthiness. An example is Frodo Baggins in 'The Lord of the Rings,' who is reluctant to carry the One Ring but ultimately rises to the challenge. | |
Cardinal Tremblay's past misconduct is revealed, impacting the dynamics within the Conclave. | ||
Tensions rise among the cardinals as they prepare for the Conclave, foreshadowing conflict. | This trope builds anticipation for an impending conflict or event, often through escalating tensions. An example is in 'The Hunger Games,' where the atmosphere becomes increasingly tense as the games approach. | |
Lawrence receives multiple calls to take action regarding the papal election and the responsibilities that come with it. | This trope involves a character being urged to take action, often leading to their growth or transformation. An example is in 'The Lion King,' where Simba is called to reclaim his rightful place as king. | |
The climax of the story involves the final voting process in the Conclave, where tensions reach their peak. | This trope features a climactic confrontation or decision that resolves the central conflict. An example is in 'Harry Potter and the Deathly Hallows,' where the final battle against Voldemort determines the fate of the wizarding world. | |
Sister Agnes serves as a guiding figure for Lawrence, offering support and wisdom. | This trope involves a character who provides guidance and support to the protagonist, often helping them navigate challenges. An example is Mr. Miyagi in 'The Karate Kid,' who mentors Daniel in martial arts and life lessons. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Faith and Doubt | Cardinal Lawrence's internal struggle with his faith is a recurring motif, mirrored by other characters' crises of belief and the institutional questioning of the Church's teachings and practices. Lawrence's personal doubts are shown in his consideration of retirement and his contemplative moments. | The screenplay explores the complex nature of faith, acknowledging both the profound belief and the intense questioning that can coexist within a religious context, particularly in the face of hypocrisy and corruption. | ||||||||||||
Strengthening Faith and Doubt:
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Secrecy and Transparency | The concealed illness of the Pope, the secret dismissal of Cardinal Tremblay, the clandestine appointment of Cardinal Benitez, and the withholding of information regarding the bombing all contribute to a pervasive atmosphere of secrecy. The contrast between this and Lawrence's attempts to uncover the truth drives much of the conflict. | The screenplay highlights the destructive potential of secrecy within a powerful institution, contrasting it with the need for openness and honesty to address corruption and build trust. | ||||||||||||
Institutional Corruption and Reform | The screenplay exposes instances of corruption within the Church hierarchy, including Cardinal Tremblay's misconduct and potential simony. The actions of Lawrence and other progressive cardinals suggest a desire for reform. | The screenplay examines the tension between the ideals of the Church and the reality of its human failings, questioning the ability of the institution to address its own internal corruption and promoting the idea of reform. | ||||||||||||
Personal Sacrifice and Duty | Lawrence consistently demonstrates a commitment to his duty as Dean of the College of Cardinals, even as he grapples with personal doubts and the immense pressure of the situation. He sacrifices personal peace and comfort to uphold the integrity of the Conclave process. | The screenplay explores the weight of responsibility and the sacrifices individuals make in service to a larger cause, particularly within a context of profound personal conflict. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by a blend of formal, respectful dialogue with subtle undercurrents of tension and moral ambiguity. The narrative is driven by detailed, atmospheric descriptions that evoke a sense of place and time, particularly within the Vatican setting. There's a consistent focus on internal character conflicts and subtle emotional nuances, conveyed through understated gestures, pauses, and unspoken emotions as much as direct dialogue. A dry, understated humor occasionally surfaces, often in contrast to the weighty themes of faith, doubt, and power. The overall tone is one of quiet intensity and contemplative introspection, balanced with moments of sharp, tense exchanges that drive the plot forward. |
Voice Contribution | The writer's voice contributes to the script by creating a richly textured and immersive atmosphere. The detailed descriptions and subtle characterizations build suspense and emotional depth, while the formal dialogue maintains a sense of realism and respect for the setting. The exploration of internal conflicts adds complexity to the characters and enhances thematic resonance. The blend of solemnity and understated humor prevents the narrative from becoming overly serious, offering moments of levity that counterbalance the weighty themes. The overall effect is a sophisticated and nuanced portrayal of faith, doubt, and the human condition within a powerful and historically rich setting. |
Best Representation Scene | 8 - Reflections in the Room of Tears |
Best Scene Explanation | This scene best encapsulates the writer's unique voice because it perfectly blends the key elements of their style. The setting is richly described and evocative of a specific atmosphere ('somber setting of the Room of Tears'). The dialogue is introspective and emotionally resonant, focusing on internal struggles and unspoken connections rather than overt conflict. The symbolism ('weight of papal vestments') adds another layer of meaning, while the overall tone is one of quiet contemplation and shared vulnerability. This scene successfully balances the formal tone with the exploration of complex emotions, characteristic of the writer's overall style. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and nuanced exploration of the inner workings of the Catholic Church, particularly during a papal conclave. It delves into complex themes such as power dynamics, moral ambiguity, and personal struggles with faith, all while incorporating modern elements like social media and contemporary societal issues. The characters are well-developed, and their interactions reflect authentic emotional depth, making the narrative feel both original and relevant. The unique perspectives on familiar religious themes, combined with the intricate political maneuvering, contribute to a high level of originality.
- Most unique situations: The most unique situations in the screenplay are the exploration of Cardinal Benitez's complex identity as someone born with both male and female biological characteristics, the nuanced portrayal of the papal election process intertwined with modern societal issues, and the emotional depth of the characters as they navigate their personal and political dilemmas within the Church.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its intricate plot twists and character developments. The unexpected arrival of Cardinal Benitez, the revelation of Cardinal Tremblay's past, and the evolving dynamics among the cardinals keep the audience engaged and guessing about the outcomes. While some elements follow traditional narrative arcs, the depth of character exploration and the moral dilemmas faced by the protagonists introduce a sense of uncertainty about their choices and the eventual direction of the conclave.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the screenplay, Lawrence's internal goals evolve from seeking control and stability in the wake of the Pope's death to grappling with his own faith and identity as he faces the pressures of potential papacy and the moral implications of the election process. His journey reflects a struggle for personal integrity amidst institutional demands. |
External Goals | Lawrence's external goals shift from handling the logistics surrounding the Pope's death to steering the turbulent waters of the papal conclave, actively engaging in political maneuvering and managing relationships among the cardinals, culminating in his support for a worthy successor. |
Philosophical Conflict | The overarching philosophical conflict revolves around the tension between authenticity and institutional obligation, exemplified through Lawrence's struggle to balance the need for personal integrity against the pressures and expectations of the Church hierarchy. |
Character Development Contribution: The evolution of Lawrence's goals reflects his deepening self-awareness and understanding of his role within the Church, highlighting his transition from a desire for power to embracing a more compassionate and authentic leadership style.
Narrative Structure Contribution: Lawrence's internal and external goals drive the plot forward by creating tension and conflict within the conclave, thereby structuring the narrative around key decision-making moments that emphasize character choices and their consequences.
Thematic Depth Contribution: The interplay of Lawrence's goals and the philosophical conflicts enhances the thematic depth by exploring the complexities of faith, identity, and the moral responsibilities carried by individuals within powerful institutions.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay is primarily set within the Vatican City and its immediate surroundings in Rome, Italy. Locations include modern apartment blocks, quiet streets, the Papal apartments and suites (varying in levels of austerity and opulence), the Sistine Chapel, Casa Santa Marta (a residence for cardinals and nuns), the Scala Regia, Vatican Gardens, and St. Peter's Square. The physical descriptions emphasize both the ancient, historical grandeur of the Vatican (marble floors, intricate mosaics, religious artifacts, frescoes by Michelangelo) and its modern aspects (electronic security systems, modern communication devices, minibuses, helicopters).
- Culture: The dominant culture is that of the Catholic Church. This is evident in the religious rituals (liturgy, prayers, the conclave itself, papal cassocks, use of Latin), religious iconography (Pietàs, crucifixes, frescoes), and the profound religious faith of many characters. Italian culture is also present, particularly in the language used and the interactions between characters. Underlying cultural tensions exist between traditional and progressive factions within the Church.
- Society: The societal structure is firmly hierarchical, centered around the power structure of the Catholic Church. The Pope holds the ultimate authority, followed by cardinals (ranked by seniority and influence), archbishops, monsignors, priests, and nuns. Power dynamics, political maneuvering, and alliances/rivalries among these figures drive much of the narrative. The social hierarchy shapes all interactions and actions, from formal addresses ('Your Eminence') to the secretive discussions and the machinations surrounding the papal election.
- Technology: Technology plays a relatively minor role. Modern conveniences like phones, electronic security systems (jammers, surveillance), key cards, photocopiers, computers, and helicopters are present, but they do not overshadow the traditional aspects of the Vatican. The contrast between modern communication (social media trends) and the ancient traditions of the Conclave highlights the clash between old and new.
- Characters influence: The environment significantly shapes character experiences and actions. The hierarchical society creates intense pressure and constraints on the cardinals, forcing them into strategic alliances and veiled conflicts. The religious culture shapes their moral dilemmas and internal struggles. The physical environment – the grandeur and historical weight of the Vatican – enhances the sense of responsibility and solemnity surrounding their decisions. The limited technology means that personal interactions and interpersonal dynamics become central.
- Narrative contribution: The setting is integral to the narrative. The Vatican's physical space and social structure form the stage for the central conflict – the papal election. The various locations (Casa Santa Marta, Sistine Chapel, etc.) serve as settings for key events and interactions, highlighting different facets of the power struggles and moral conflicts. The time constraints of the Conclave create urgency and suspense, accelerating the plot.
- Thematic depth contribution: The unique world contributes to the film's thematic depth by exploring the tension between faith and doubt, tradition and progress, secrecy and transparency, power and humility, and the complexities of human nature within a powerful and historically significant institution. The environment acts as a powerful backdrop against which the characters' personal struggles and moral choices play out, intensifying the exploration of these themes.
central conflict
The struggle for power and influence within the Catholic Church following the death of the Pope, as various cardinals vie for the papacy amidst personal and institutional crises.
primary motivations
- Lawrence's desire to maintain integrity and unity within the Church.
- Bellini's ambition to become Pope while grappling with his own doubts.
- Adeyemi's quest for acceptance and legitimacy as a candidate.
- Tedesco's push for traditional values and authority in the Church.
catalysts
- The sudden death of the Pope, which creates a vacancy in the Holy See.
- The arrival of new candidates like Cardinal Benitez, which complicates the election.
- Revelations about past misconduct among cardinals that threaten their candidacies.
barriers
- Internal conflicts and rivalries among the cardinals.
- Public perception and media scrutiny affecting the Church's image.
- Personal doubts and moral dilemmas faced by the characters.
themes
- The complexity of faith and doubt.
- The intersection of personal ambition and collective responsibility.
- The struggle for reform within traditional institutions.
stakes
The future leadership of the Catholic Church and its direction, impacting millions of followers worldwide.
uniqueness factor
The exploration of the inner workings of the Vatican and the personal struggles of cardinals, providing a rare glimpse into the political and spiritual dynamics of the Church.
audience hook
The tension and intrigue surrounding the papal conclave, combined with the personal stakes of the characters involved.
paradoxical engine or bisociation
The juxtaposition of spiritual leadership and human fallibility, highlighting the contradictions within the Church's hierarchy and the characters' personal lives.
paradoxical engine or bisociation 2
The conflict between the desire for reform and the adherence to tradition, illustrating the challenges of evolving an ancient institution in a modern world.
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Conclave' is a compelling and thoughtful exploration of the complex process of selecting a new Pope, set against the backdrop of a crisis in the Catholic Church. The narrative adeptly balances the high-stakes political intrigue of the Conclave with the deeply personal journeys of the cardinal-electors, particularly the Dean of the College of Cardinals, Lawrence. The script effectively portrays the tensions between tradition and progress, faith and doubt, and the weight of responsibility that comes with leading the Church. While the plot is driven by a series of revelations and power struggles, the true heart of the story lies in the moral dilemmas faced by the characters, which are skillfully woven throughout. Overall, 'Conclave' is a well-crafted drama that would likely appeal to a wide audience interested in the inner workings of the Vatican and the human dimension of religious leadership.
- The opening sequence effectively establishes the somber and reflective tone of the story, setting the stage for the high-stakes drama to come. The description of the Vatican and the Pope's personal belongings creates a vivid sense of place and foreshadows the emotional weight of the events to follow. high ( Scene 14 (1) )
- Lawrence's homily in the Sistine Chapel is a standout moment, where the screenplay delves into the thematic core of the story. The dean's embrace of doubt and his call for a Pope who is willing to confront their own flaws and sins resonates powerfully, both within the context of the Conclave and as a universal statement on the nature of faith. high ( Scene 45 )
- The sequence in which Lawrence confronts Adeyemi about his past indiscretion is a masterfully crafted character study, exploring the human cost of the Conclave's power struggles. The scene effectively balances the political stakes with the personal tragedy of Adeyemi's fall from grace. high ( Scene 40 (85) )
- The revelation of Benitez's true identity as an intersex individual is a bold and imaginative narrative choice that adds depth and complexity to the character. The sensitive handling of this sensitive topic demonstrates the screenwriter's commitment to exploring the nuances of faith and identity. high ( Scene 49 (125) )
- The screenplay's treatment of the terrorist attacks outside the Vatican is a powerful and timely commentary on the challenges facing the Church in the modern world. The debate between Tedesco and Benitez serves as a thought-provoking exploration of the role of religion in a pluralistic society. high ( Scene 117 )
- The sequence in the dining room could be tightened to maintain a stronger narrative momentum. While the character interactions are well-written, the pacing feels slightly uneven at times, and some of the dialogue could be trimmed to avoid repetition. medium ( Scene 39 (79) )
- The conversation between Lawrence, Bellini, and Sabbadin in the staircase feels slightly contrived, with the characters' motivations and alliances shifting a bit too abruptly. A more gradual buildup of the political tensions within the Conclave could strengthen this sequence. medium ( Scene 28 (64) )
- While the screenplay effectively explores the personal journeys of the cardinal-electors, there could be opportunities to further develop the supporting characters, such as the nuns and the Vatican staff, to add additional layers of complexity to the story. low ( Scene )
- The screenplay could potentially benefit from a more overt exploration of the broader social and political implications of the Church's leadership transition, beyond the immediate concerns of the Conclave. Addressing how the choice of the new Pope might impact the Church's relationship with the wider world could add additional depth and relevance to the story. medium ( Scene )
- While the screenplay effectively focuses on the central conflict within the Conclave, there may be opportunities to further develop the backstories and motivations of some of the secondary characters, such as Tremblay and Tedesco, to provide a more well-rounded understanding of the power dynamics at play. medium ( Scene )
- The revelation of Benitez's intersex identity is a bold and sensitive narrative choice that adds depth and complexity to the character. The screenplay's handling of this topic demonstrates a thoughtful and nuanced approach to exploring issues of identity and representation within the context of the Catholic Church. high ( Scene 49 (125) )
- The screenplay's treatment of the terrorist attacks outside the Vatican is a timely and thought-provoking commentary on the challenges facing the Church in the modern world. The debate between Tedesco and Benitez serves as a compelling exploration of the role of religion in a pluralistic society. high ( Scene 117 )
- Lawrence's homily in the Sistine Chapel is a standout moment, where the screenplay delves into the thematic core of the story. The dean's embrace of doubt and his call for a Pope who is willing to confront their own flaws and sins resonates powerfully, both within the context of the Conclave and as a universal statement on the nature of faith. high ( Scene 45 )
- Lack of diverse representation While the screenplay does a commendable job of exploring the personal and political dynamics within the College of Cardinals, there is a relative lack of representation of diverse perspectives and backgrounds among the supporting characters. The majority of the cardinal-electors are depicted as older, European men, with limited insight into the experiences and challenges facing women, younger generations, or non-European members of the Church. Incorporating a more diverse cast of characters could enhance the screenplay's ability to reflect the true diversity of the Catholic Church and its global reach. medium
- Uneven pacing While the overall pacing of the screenplay is generally strong, there are a few instances where the narrative momentum slows down, particularly in some of the dialogue-heavy sequences. For example, the conversation between Lawrence, Bellini, and Sabbadin in the staircase (scene 91) feels slightly drawn out, with the characters' motivations and alliances shifting a bit too abruptly. Tightening the dialogue and maintaining a more consistent rhythm could help to strengthen the pacing and keep the audience engaged throughout the story. medium
Engine: GPT4
Recommend
Executive Summary
The screenplay for 'Conclave' presents a compelling narrative centered around the complexities of the papal election process, interwoven with themes of faith, ambition, and moral dilemmas. The character arcs are well-developed, particularly that of Cardinal Lawrence, who grapples with his own faith and the political machinations of the Church. The dialogue is sharp and reflective of the high stakes involved, while the pacing maintains tension throughout. However, there are areas for improvement, particularly in character motivations and the resolution of certain plot threads.
- The screenplay effectively establishes a tense atmosphere from the outset, drawing the audience into the gravity of the situation surrounding the Pope's death. high ( Scene 1 (2) Scene 2 (9) )
- Character development is strong, particularly for Cardinal Lawrence, whose internal conflicts and growth are compellingly portrayed. high ( Scene 3 (10) Scene 4 (10A) )
- The dialogue is sharp and reflective of the characters' personalities and the high stakes involved, enhancing the overall narrative. medium ( Scene 5 (11) Scene 6 (12) )
- The pacing is generally well-maintained, with a good balance between dialogue-driven scenes and moments of tension. medium ( Scene 7 (14) Scene 8 (15) )
- The thematic exploration of faith, doubt, and the human condition resonates throughout the screenplay, making it thought-provoking. high ( Scene 9 (17) Scene 10 (21) )
- Some character motivations, particularly for secondary characters, could be more clearly defined to enhance their arcs. medium ( Scene 11 (22) Scene 12 (26) )
- Certain plot threads, such as the implications of the Pope's death and the subsequent power struggle, feel rushed and could benefit from deeper exploration. high ( Scene 13 (28) Scene 14 (32) )
- The pacing in the latter half of the screenplay occasionally drags, particularly during exposition-heavy scenes. medium ( Scene 15 (37) Scene 16 (39) )
- The resolution of certain character arcs, particularly for Tremblay and Adeyemi, feels abrupt and could be more satisfying. medium ( Scene 17 (41) Scene 18 (46) )
- The stakes could be raised further in the final act to enhance the climax and resolution of the narrative. high ( Scene 19 (49) Scene 20 (56) )
- A deeper exploration of the political implications of the Conclave and its impact on the Church's future is lacking. high ( Scene 21 (58) Scene 22 (60) )
- More background on the Church's recent history and the significance of the Pope's death could provide context for the stakes involved. medium ( Scene 23 (70) Scene 24 (80) )
- The emotional stakes for the characters could be heightened, particularly in relation to their personal beliefs and struggles. medium ( Scene 25 (90) Scene 26 (100) )
- A clearer depiction of the public's reaction to the events within the Vatican could enhance the narrative's stakes. medium ( Scene 27 (110) Scene 28 (120) )
- The role of women in the Church and their perspectives could be more prominently featured to provide a fuller picture. low ( Scene 29 (130) Scene 30 (140) )
- The use of symbolism, such as the turtle representing healing and transformation, adds depth to the narrative. medium ( Scene 31 (140) Scene 32 (150) )
- The screenplay's exploration of doubt and faith resonates strongly, making it relatable to a wide audience. high ( Scene 33 (160) Scene 34 (170) )
- The tension built around the Conclave process is palpable, keeping the audience engaged throughout. high ( Scene 35 (180) Scene 36 (190) )
- The character dynamics, particularly between Lawrence and Benitez, provide a rich emotional layer to the story. medium ( Scene 37 (200) Scene 38 (210) )
- The screenplay's ability to weave personal stories into the larger narrative of the Church's future is commendable. high ( Scene 39 (220) Scene 40 (230) )
- Character Development The motivations and backgrounds of secondary characters are not fully explored, which can lead to a lack of emotional investment in their arcs. For example, characters like Adeyemi and Tremblay could benefit from deeper backstories to enhance their roles in the narrative. medium
- Pacing Issues Certain scenes feel overly drawn out or rushed, particularly in the latter half of the screenplay. For instance, the exposition-heavy scenes could be trimmed to maintain momentum and keep the audience engaged. medium
Engine: Gemini
Recommend
Executive Summary
Conclave is a compelling and well-crafted screenplay with a strong narrative and intriguing characters. The script successfully builds suspense and explores complex themes of faith, doubt, and power within the Vatican. While the pacing is generally good, some scenes could benefit from tightening, and minor plot inconsistencies need addressing. Overall, the screenplay demonstrates a high level of writing skill and presents a unique and engaging story.
- The arrival of the cardinals in sequence 20 is brilliantly staged, showcasing the diverse cultures and personalities within the Church. high ( Scene 20 )
- Lawrence's unconventional homily in scene 46 is a powerful moment, challenging the traditional depiction of unwavering faith and injecting unexpected depth into the narrative. It's a turning point for Lawrence's character and the script. high ( Scene 46 )
- The 'Room of Tears' scene (15A) provides a crucial moment of intimacy and character development, revealing Lawrence's internal struggle and his strained relationship with the deceased Pope. medium ( Scene 15 (15A) )
- The revelation of Cardinal Benitez's intersexuality in scene 125 is handled with sensitivity and provides a surprising twist that adds unexpected depth to the narrative and the character of Benitez. high ( Scene 125 )
- The introduction of Cardinal Benitez at the dinner (37) is well-executed, creating immediate tension and raising questions about his true intentions and background. medium ( Scene 37 )
- The opening scenes (2 & 3) feel somewhat abrupt and could benefit from smoother transitions and more context. The initial mystery element isn't fully established. medium ( Scene 2 Scene 3 )
- The pacing in scene 26 could be improved. The revelation of Tremblay's potential misconduct feels rushed, and the subsequent dialogue feels somewhat expository. medium ( Scene 26 )
- The ending is somewhat abrupt, and the resolution of the Tremblay plotline could be more satisfying. A more detailed aftermath of the bomb explosion would increase emotional impact. medium ( Scene 117 )
- The dream sequence (71A) is somewhat unclear in its purpose and could be either strengthened or removed. It needs to tie more strongly into Lawrence's current emotional state and storyline. low ( Scene 71 (71A) )
- Some minor plot inconsistencies exist, particularly regarding the timeline of events and the handling of certain revelations. Careful revision is needed for a polished final draft. low ( Scene )
- While the script explores the internal conflicts of the cardinals, it could benefit from expanding on the external pressures and societal contexts influencing their decisions. More scenes depicting the external world and reactions to the conclave would add depth. medium
- The screenplay could benefit from more detailed exploration of the political machinations and power dynamics within the Vatican. While hinted at, these aspects could be more explicitly shown. medium
- Greater development of the supporting characters would add depth. Some supporting characters feel somewhat underdeveloped and underutilized. More character background and additional interactions could strengthen the overall impact. low
- The visual imagery used throughout the screenplay, particularly the meticulous depiction of the sealing of the Papal suite (13) and the preparations for the Conclave, is striking and adds to the overall atmosphere. high ( Scene 13 )
- The discovery of the hidden report in scene 104 is a critical plot point that adds a crucial layer of suspense and raises the stakes considerably. high ( Scene 104 )
- The use of multiple languages throughout the screenplay adds authenticity and reflects the diverse nature of the Vatican community. medium
- Underdeveloped female characters While Sister Agnes is a strong presence, most other female characters are given limited development and screen time. The script might benefit from exploring the perspectives and roles of women within the Vatican more fully. The nun who triggers the Adeyemi scandal feels underdeveloped, lacking proper character background and motivation. medium
- Inconsistent character motivations At times, some characters' actions and decisions seem inconsistent with their established personalities or motivations. For example, some plot points are introduced and then seemingly forgotten without sufficient follow-through. low
Memorable lines in the script:
Scene Number | Line |
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21 | LAWRENCE: My God, my God, why have you forsaken me? |
18 | BELLINI: Tell them that I stand for everything Tedesco does not. |
4 | BELLINI: If anyone can be said to have killed the Holy Father, he did! |
31 | BENITEZ: Any man who is truly worthy must consider himself unworthy. Isn’t that the point you were making in your homily? That without doubt there can be no faith? |
54 | TEDESCO: We should ALL be ashamed! |