SCENES
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Scene Map 60
# PG SLUGLINE
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INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
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1 EXT. APARTMENT BLOCK - ROME - NIGHT 1 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,
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9 INT. PAPAL BEDROOM - NIGHT 9 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.
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10 INT. PAPAL SUITE - NIGHT 10 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.
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10A INT. PAPAL SUITE - SITTING ROOM - NIGHT 10A Lawrence and Bellini find Wozniak sitting alone in the dark. Lawren ce addresses him gently. LAWRENCE Janusz, I know this is hard for
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11 INT. PAPAL OFFICE - NIGHT 11 Lawrence st eps through the open door of the SMALL OFFICE and dials the desk phone. LAWRENCE LAWRENCE (Italian, To Operator) (To Operator)
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12 INT. PAPAL SUITE - BEDROOM - NIGHT 12 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
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14 INT. SISTINE CHAPEL - MORNING 14 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.
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15 INT. SISTINE CHAPEL - ANTECHAMBER - MORNING 15 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
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17 EXT. CASA SANTA MARTA - PARKING - MORNING 17 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.
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21 EXT. CASA SANTA MARTA - COURTYARD - LATER 21 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
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22A INT. CASA SANTA MARTA - BEDROOMS - EVENING 22A 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.
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26 INT. CASA SANTA MARTA - MEETING ROOM - EVENING 26 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
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28 INT. CASA SANTA MARTA - LOBBY - NIGHT 28 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
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32 INT. CASA SANTA MARTA - KITCHEN STORAGE - NIGHT 32 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
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33 INT. CASA SANTA MARTA - KITCHEN OFFICE - NIGHT 33 Benitez stands as LAWRENCE and Bellini walk in. LAWRENCE Welcome to the Vatican, Archbishop. I’m Father Lawrence, Dean of the
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34 INT. CASA SANTA MARTA - CORRIDOR - NIGHT 34 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
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37 INT. CASA SANTA MARTA - DINING ROOM - NIGHT 37 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
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38 INT. CASA SANTA MARTA - AULA - NIGHT 38 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
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39 INT. CASA SANTA MARTA - TREMBLAY’S ROOM - NIGHT 39 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.
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41 INT. CASA SANTA MARTA - LAWRENCE'S ROOM - NIGHT 41 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
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46 INT. “ROOM OF CARDINALS” ANTECHAMBER - MORNING 46 ... 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
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49 INT. CASA SANTA MARTA - LOBBY - DAY 49 Lawrence is heading for the lift when... TEDESCO (O.S.) TEDESCO (O.S.) (Booming, Italian) (tonante) < Well, Dean... > Beh, Decano...
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52 EXT. CASA SANTA MARTA - PARKING - DAY 52 The cardinals are boarding a fleet of white minibuses as it begins to rain. MONSIGNOR O'MALLEY (Directing the boarding)
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56 INT. OUTSIDE SISTINE CHAPEL - DAY 56 ...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.
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58 INT. SISTINE CHAPEL - DAY / LATER 58 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
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59 INT. SISTINE CHAPEL - DAY / LATER 59 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.
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60A INT. INSIDE THE STOVE - LATE AFTERNOON 60A 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
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63 INT. SCALA REGIA - LATE AFTERNOON 63 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
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65 INT. CASA SANTA MARTA - DINING ROOM - NIGHT 65 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
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66 EXT. APOSTOLIC PALACE - PORTONE DI BRONZO - NIGHT 66 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
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69A EXT. VATICAN GROUNDS - NIGHT 69A Lawrence and Benitez walk back towards the Casa. LAWRENCE How are you bearing up? Your health?
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70 INT. CASA SANTA MARTA - PAPAL CORRIDOR - NIGHT 70 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.
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71 INT. CASA SANTA MARTA - LAWRE NCE'S ROOM - NIGHT 71 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
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74 EXT. VATICAN GARDENS - MORNING 74 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.
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75 INT. SISTINE CHAPEL - MORNING 75 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...
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79 INT. CASA SANTA MARTA - DINING ROOM - DAY 79 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
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80 INT. CASA SANTA MARTA - DINING ROOM BUFFET - DAY 80 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...
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81A INT. CASA SANTA MARTA - KITCHEN - DAY 81A 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.
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83 INT. CASA SANTA MARTA - BACK OFFICE - DAY 83 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
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85 INT. CASA SANTA MARTA - ADEYEMI’S ROOM - CONTINUOUS 85 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
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86 EXT. VATICAN GARDENS - DAY 86 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
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89 INT. SISTINE CHAPEL - VESTIBULE - EVENING 89 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.
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90 INT. CASA SANTA MARTA - LAWRENCE'S ROOM - NIGHT 90 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
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92 INT. CASA SANTA MARTA - LIFT - NIGHT 92 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.
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94 INT. CASA SANTA MARTA - BENITEZ ROOM - CONTINUOUS 94 Lawrence takes in the room - identical to his own, except for a few lit candles here and the bathroom beyond. BENITEZ (Apologetically)
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97 INT. CASA SANTA MARTA - BACK OFFICE - NIGHT 97 Lawrence sits with Sister Agnes, her eyes darting to the cage with the canary. SISTER AGNES Sister Shanumi is on her way home
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98 INT. CASA SANTA MARTA - STAIRCASE - NIGHT 98 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?
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100 INT. CASA SANTA MARTA - LAWRENCE'S ROOM - NIGHT 100 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.
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105 INT. CASA SANTA MARTA - UPPER CORRIDOR - NIGHT 105 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.
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107 INT. CASA SANTA MARTA - SECURITY GATE - EARLY MORNING 107 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.
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111 INT. CASA SANTA MARTA - PRAYER ROOM - MORNING 111 Lawrence kneels in prayer. He looks up as Bellini kneels beside him. A beat. BELLINI (Wryly)
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113 INT. SISTINE CHAPEL - DAY 113 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,
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114 INT. PAULINE CHAPEL - DAY 114 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.
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117 INT. CASA SANTA MARTA - AULA - DAY 117 The assembled cardinals look up anxiously from their seats. LAWRENCE My brothers, I would like to have the authority of the Conclave to
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117A EXT. CASA SANTA MARTA - SECOND FLOOR - DAY 117A * 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 *
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120 INT. SISTINE CHAPEL - DAY 120 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.
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122 INT. SISTINE CHAPEL - DAY / LATER 122 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,
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123 INT. SALA REGIA - DAY 123 The two men stand, alone. MONSIGNOR O'MALLEY I’m sorry Your Eminence, I should have told you this morning as soon
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125 INT. SISTINE CHAPEL - ROOM OF TEARS - CONTINUOUS 125 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
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126 INT. PAULINE CHAPEL - LATE AFTERNOON 126 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
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Conclave

In the aftermath of a Pope's sudden death, a crisis-ridden Catholic Church convenes a Conclave to elect a new leader, as a veteran cardinal, torn between his faith and doubts, must navigate the political intrigue and personal revelations that threaten to undermine the integrity of the process.

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Overview

Poster
Unique Selling Point

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.

AI Verdict

Model upgrade — Mar 31, 2026: Analysis is from our newer, stronger readers. Scores aren't directly comparable to pre-upgrade analyses.
Claude
 Recommend
GPT4
 Recommend
Gemini
 Recommend
See Details in P/C/R/HR Section
Story Facts
Genres:
Drama 65% Thriller 35%

Setting: Contemporary, Vatican City, primarily within Casa Santa Marta and the Sistine Chapel

Themes: Faith and Doubt, Secrecy and Transparency, Institutional Corruption and Reform, Personal Sacrifice and Duty

Conflict & 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.

Mood: Tense and contemplative, with moments of introspection and urgency.

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

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