Divine Scripture or Total Nun-Sense?

Spoiler warning.

With the announcement of 2025’s Oscar nominees, I wanted to examine an adapted screenplay in this week’s analysis. Peter Haughan’s Conclave (2024), adapted from Robert Harris’s 2016 novel, is a strong contender for Adapted Screenplay this award season. Let’s dissect its Machiavellian narrative, compare it to the film, and unpack that twist ending. 

Adapting screenplays is often seen as an easier route than writing original works, but it's a delicate skill. Some of the greatest screenplays - Arrival, No Country for Old Men, The Godfather - are adaptations, and you might not even realize it. Taking source material and transforming it into a screenplay is challenging, requiring a balance between creativity and faithfulness.

While Conclave is a terrific and largely faithful adaptation, today I’ll take a scalpel to plot twists - dissecting how they shape a screenplay and an audience’s response.

OPENING IMAGE

The film omits our opening scene, which hints at possible divine intervention. A sleeping man - presumably Cardinal Thomas Lawrence - is jolted awake by an unexplained phenomenon, moments before receiving fateful news. He is alone. Confused, disorientated. Away from the work that defines his life. 

SET UP 

Lawrence marches through Rome in the dead of night, arriving at the Vatican’s Casa Santa Marta - home to clergy, guests, and the Pope himself. The late-hour summons piques our curiosity, and the gathering of dozens of Cardinals and Archbishops signals something significant is unfolding.

From his first words, Lawrence reveals his selflessness. Learning of the Pope’s death, his instinct is to comfort his colleagues - an essential beat that endears him to us. Haughan knows his audience won’t just be devout Catholics, so our connection to Lawrence must be personal, not ideological. Characters are shaped by actions, and first impressions matter. Though Archbishop Wozniak holds an administrative role, he’s still several ranks below Lawrence.

The way others react to his arrival signals his significance within the Church. He discovers the Pope laid to rest in his bed, surrounded by senior cardinals - Tremblay (a Canadian Cardinal), Bellini (Secretary of State), and Adeyemi (Nigerian Cardinal Major Penitentiary) - all waiting for Lawrence’s arrival.

The screenplay weaves in untranslated Latin - an intentional, unapologetic move to alienate the audience, a choice that gains significance later. As the prayer unfolds, Lawrence, still reeling, fixates on a frayed panel on the Pope’s headboard.

After various ritual traditions, Tremblay formally declares the Pope’s passing and the Holy See vacant. Lawrence then speaks with Aldo Bellini, a close friend and confidant. Bellini, emotional over the loss, provides a human contrast to the cold incantations we’ve just heard.

When asked ‘Who won?’ Bellini replies ‘Oh, he did. Always eight moves ahead.’ This continues Lawrence’s sympathetic commiserations and also symbolises - as chess often does - that the Pope had machinations which we are not yet privy to. Bellini shares that there were signs of the Pope’s impending heart attack, surprising Lawrence. He believes this information was kept from the Curia to avoid rumors. 

Wozniak informs Lawrence the Pope died hours ago. Lawrence feels left out, distant from the proceedings, evoking our sympathy. He’s devoted his life to this, yet, despite his seniority, he’s not one of the trusted few. 

Tremblay holds the official timeline of the Pope’s final day, noting he was the last scheduled meeting - something he seems smug about. He and Adeyemi immediately clash over whether to make the schedule public. Adeyemi argues it shows the Pope’s tireless work until the end, while Tremblay disagrees:

After a brief moment of shared grief, the race to replace the Pope is on. The writing doesn’t sugarcoat this - it’s a high-stakes contest where every move will be scrutinized. 

The news has leaked and is trending online - the world knew before Lawrence did. Adeyemi then confirms that the responsibility for the Conclave, the process of electing the new Pope, now rests on Lawrence’s shoulders.

INCITING INCIDENT

The screenplay lacks a traditional inciting incident, missing an ‘old world’ section where we experience Lawrence’s life before the story starts. This ‘start on page 10’ technique has become increasingly prevalent in modern filmmaking. Starting at the latest possible moment is a hallmark of economic storytelling.

One could argue the inciting incident occurs on page zero, when the Pope dies. Alternatively, the shift from mourning to scheming, or the moment the Pope’s body is removed and his chamber sealed with the Cardinal Camerlengo’s wax seal, could be seen as the catalyst.

DEBATE

Three weeks later, the Vatican braces for the Conclave. The preparation is meticulous, security tight. As the Sistine Chapel is fortified, shutters close over the windows, plunging the grand hall into darkness that mirrors Lawrence’s state of mind.

Monsignor O’Malley, the Irish Secretary of the College of Cardinals, tells a distracted Lawrence that Wozniak needs to speak with him before the Cardinals are sequestered and isolated from the outside world.

In the Room of Tears, where the newly elected Pope first goes after his elevation, Lawrence confesses to Bellini that he and the Pope didn’t part on the best terms. Lawrence had tried to resign over struggles with prayer - an admission he finds difficult - but was refused. Bellini comforts him, reversing their earlier dynamic and solidifying their codependency. 

Next, we meet Sister Agnes, a powerful nun within the Vatican. She, along with others, is transported to the Casa Santa Marta to assist the gathering Cardinals from around the world.

Lawrence greets the 107 arriving Cardinals - Indian, Middle-Eastern, African - all gathered to elect the next Pope. Lawrence prepares to welcome Cardinal Tedesco, the Patriarch of Venice. A deeply conservative figure, Tedesco is a controversial representative of the Church’s stubbornness.

Bellini voices discomfort with the media spotlight on his chances, distancing himself from any desire for elevation, but he acknowledges the looming threat of Tedesco becoming Pope. Tedesco arrives last, his attempts to provoke Lawrence falling flat.

A drunken Wozniak confides in Lawrence, suggesting the Pope dismissed Tremblay before his death, casting doubt on the Canadian. Wozniak feels it’s his sacred duty to prevent Tremblay’s elevation, despite vowing to keep this information secret. The weight of this potential scandal sits heavy on Lawrence’s shoulders as his responsibility becomes a burden. 

BREAK INTO TWO

With that, Wozniak exits, and the sequester officially begins. This marks our leap into Act Two. The outside world fades away. What matters now are the men within these sacred walls. Until a decision is reached, the Vatican becomes a prison. 

FUN AND GAMES

In stark contrast to Act One, we begin with an arrival instead of a departure - though this is no less of a headache for Lawrence. We’re introduced to Cardinal Benitez, the Mexican Archbishop of Kabul, who was appointed in pectore, meaning his elevation was kept secret for his safety. Uncertain of how to proceed - or even the legitimacy of Benitez’s claim - Bellini urges caution. Despite his doubts, Lawrence feels compelled to include Benitez as the 108th cardinal.

Unlike the final film, the screenplay features the first meeting between Lawrence, Benitez, and Bellini - in which the newcomer exhibits resilience in the face of Bellini’s scrutiny.

As Lawrence retreats to his quarters to refine his homily, he discovers his room adjoins Adeyemi’s. Through the thin walls, he can hear the Nigerian Cardinal clearly.

Sister Agnes oversees the dinner, ensuring every detail is perfect. Factions form around the table, with Cardinals clustering by nation or language. Benitez is formally introduced to the wary group. As Lawrence attempts to take a seat, he is apprehended by Tedesco, who showcases his traditional views and expresses a longing to return to the days of Latin and strict uniformity.

While Lawrence and the more liberal cardinals believe the Church is evolving, Tedesco views it as disintegrating. He sees no solution other than an Italian Pope to reverse his predecessor’s influences. 

In an aula, the liberal faction predicts the vote count, aligning with media reports that Bellini is the favorite. In stark contrast to Tedesco, Bellini shares his progressive views, hoping to counter his rival. Yet even his supporters cling to a certain outdated thinking.

Lawrence confronts Tremblay about the dismissal allegations. Tremblay vehemently denies it, offering Monsignor Morales as a witness, an impossibility due to the sequester. Tremblay blames Wozniak’s alcoholism for this fabrication and Lawrence acquiesces. 

The next morning, Lawrence delivers a deliberately neutral homily in the Room of Cardinals antechamber. 

This is the screenplay’s most crucial moment: Lawrence speaks at length from the heart. He sets the theme - doubt versus certainty - and nullifies any possibility of being seen as impartial in the election. With this, we can reframe Tedesco and Bellini: they represent extremes, while Lawrence, like the late Pope, believes the truth lies somewhere in between.

The speech stirs up a reaction, but Lawrence remains focused on more urgent matters. He sends O’Malley to find Morales and uncover any evidence that might disqualify Tremblay from the papacy.

Tedesco and Bellini both assume Lawrence is vying for the papacy himself. Bellini’s anger, in particular, unsettles Lawrence. In the Sistine Chapel, the first vote begins. The process is anonymous, and a two-thirds majority is required to appoint a victor. 

Tedesco emerges as an early frontrunner, prompting Lawrence to wrestle with his conscience. While he desperately hopes Tedesco fails, these men truly believe God is guiding their hands, creating inner turmoil if his desires conflict with divine will.

At the end of the first round, Adeyemi leads (though lacking the necessary majority), followed by Tedesco, Bellini, Tremblay, and Lawrence - who’s surprised to receive any votes. Benitez gets a single vote. It's worth noting that voting for oneself is allowed, though Benitez later denies doing so.

We’re treated to a rare exterior shot looking inwards, where a vast crowd in Piazza San Pietro awaits the result. The black smoke signifies no victor, while white smoke would announce a new Pope. The baying of the crowd reminds us of the significance this holds for millions.

O’Malley updates Lawrence, vitally including news that the late Pope persuaded Benitez not to resign for health reasons. He relays that Morales corroborates Tremblay’s alibi, though O’Malley remains skeptical of the cover story.

Back in their quarters, Sabbadin, a Bellini supporter, is frustrated that Lawrence has divided the liberal vote. Lawrence downplays his own chances and promises to direct his supporters to back Bellini. Meanwhile, Tedesco is pleased the split vote benefits him and points to Benitez as a dark horse, sowing further doubt among the progressives.

MIDPOINT

At the midpoint, the balance is delicate. Lawrence struggles to convince the others he has no ambition to lead while concealing doubts about his own faith. He must prevent votes for himself, though he can only guess who’s backing him. Unlike Adeyemi, Bellini, Tremblay, and Tedesco, who are campaigning for votes, Lawrence is trying to avoid them. Meanwhile, the unresolved issue of Tremblay’s alleged dismissal hangs over him - what responsibility does Lawrence have to either charge or exonerate his colleague?

Conversing with Lawrence, Benitez dodges questions about his health. Lawrence admits the depths of his doubts to the young Cardinal. He’s shocked to learn Benitez voted for him. He contemplates leaving Rome, fearing there’s no way back for him.

This shifts the context for the second half. Lawrence faces an internal battle: one part holds ideological beliefs on what constitutes a good papal appointment, while the other wants to flee his role in the Curia. It’s a struggle between conviction and indecision, certainty and doubt.

BAD TO WORSE 

Lawrence is confronted by Bellini - the person he’s closest to. Bellini uses Lawrence’s private struggles with prayer as a weapon, wounding him.

Bellini warns that Tedesco’s appointment would undo sixty years of progress and likewise sees Adeyemi’s appointment as a mistake. He’s so convinced of his own correctness, he’s rejected his early assertions that he has no desire to be elevated. Bellini projects his own hidden desires onto Lawrence.

Lawrence wakes to hear a woman's voice from Adeyemi’s room. He glimpses blue nun attire disappearing down the corridor. Another thread to pull at - another scandal? 

Adeyemi surprises Lawrence by endorsing his homily. Lawrence responds with a message of tolerance in response to Adeyemi’s belief that homosexuals should be jailed.

At the second vote, Adeyemi remains in the lead. Lawrence and Benitez gain additional votes - exactly what they didn't want. With no majority reached, they move to a third vote. Adeyemi pulls ahead, nearing the threshold for victory.

O'Malley informs Lawrence of an explosion on Piazza Barberini, with injuries reported but no official death toll. Lawrence feels responsible for shielding the cardinals from outside influence, so he keeps the information from the group.

The writing is on the wall; the cardinals sense Adeyemi will become the next Pope, causing concern among progressives who see him as only slightly better than Tedesco.

An altercation breaks out between a nun and Adeyemi. Though brushed off as an accident, Lawrence is intrigued - could this be the same nun he saw in the night? Her heightened emotional state suggests more than just an accident.

Sister Shanumi refuses to speak with Lawrence until he offers a confession, ensuring her words are protected. This grants him a glimpse into the situation with Adeyemi. The scene cuts before the details are revealed, heightening the suspense.

Lawrence confronts Adeyemi in his room, accusing him of having a relationship with Shanumi thirty years ago, producing a son. He is particularly disgusted as Adeyemi was 30 at the time, while Shanumi was only 19. Adeyemi sees this as an attempt to destroy his reputation and remove him from the running.

Though it pains Lawrence, he knows Adeyemi can never become Pope without risking public scandal if this information gets out. Rumors will destroy the lead Adeyemi has built.

In the fourth vote, Tremblay edges out Tedesco with a narrow lead. Focus shifts to Tremblay, though doubts linger from Wozniak’s claim of dismissal. Lawrence’s tally rises once again. As if reading Lawrence’s mind, O’Malley offers to investigate Tremblay’s withdrawn report. 

Lawrence, Bellini, and Sabbadin discuss the situation in secret. Bellini believes he’s out of the running due to lack of support. Even if Lawrence secured all of Bellini’s votes, he’d still be third behind Tremblay and Tedesco. This sparks a debate about the lesser evil and the morally right approach. Sabbadin argues that a perfect appointment doesn’t exist and never will.

They reluctantly agree to funnel their votes to Tremblay, which raises doubts about Lawrence’s decision to dismiss O’Malley.

In a similar move, Adeyemi has teamed up with Tedesco to direct his voters toward the conservative option. The race now seems to be between Tedesco and Tremblay.

Fearing Tedesco’s growing strength, Lawrence pleads with Benitez to support Tremblay. Though not a fan of the Canadian, Lawrence sees it as the only way to prevent a Tedesco papacy.

As the climactic chapter approaches, we see Lawrence, usually civil, become deeply agitated. A war rages within him - between what is right and what is proper, between hope and fear.

Lawrence sits with Sister Agnes, trying to understand why Shanumi was summoned to Rome. Realizing this could be part of a scheme to ‘steal’ the election, Agnes reveals that Tremblay formally requested her presence. Lawrence confronts Tremblay, who claims it was at the Pope’s request. When Lawrence doesn't believe him, Tremblay deflects, suggesting Lawrence is also vying for the throne.

BREAK INTO THREE

As the second act concludes, Lawrence acts out of character, driven by curiosity. A stickler for proper method, he surprises himself by breaking into the Pope’s chambers and searching within, finding hidden paperwork in the bed frame. Sister Agnes knows he has broken the rules, but understands his motives are altruistic.

FINALE

The document, revealing Tremblay’s simony - paying cardinals for votes - is brought to Bellini. It shows Tremblay anticipated the Pope’s death and spent the last year buying loyalty. Lawrence urges Bellini to resume his campaign, but Bellini refuses, believing it’s not Tremblay’s loss, but Tedesco’s gain. The report will tarnish the Curia’s reputation, not any single individual’s.

Lawrence is shocked that Bellini will uphold the very system he claimed to want to change. He realizes Tremblay must have promised him a high-ranking position. Scorning Bellini, Lawrence accuses him of lacking conviction. 

On the third day of the conclave, Lawrence makes 108 copies of the report. Sister Agnes lays them out with breakfast, ensuring every cardinal is aware of Tremblay’s treachery. Lawrence is ready to bring down the entire institution rather than let corruption stand - exhibiting true growth from the quiet figure we first met.

Tremblay confronts Lawrence in the packed dining hall, calling the plot against him mendacious. Lawrence reveals to the room that Tremblay was dismissed and that he invited Shanumi, digging a deeper hole for Tremblay to struggle within. As the room erupts into chaos, Sister Agnes chimes in, silencing everyone by confirming Lawrence’s claims. Everybody turns their backs on Tremblay, whether bribed or not, they can no longer support the disgraced cardinal. 

Bellini meets Lawrence in the prayer room. Lawrence tries to resign again but is refused. Bellini apologizes, admitting the race is now between Tedesco and Lawrence, requiring a surge of support.

Though he once insisted he never considered the papacy, Lawrence now reveals he would take the name John.

In the fifth vote, with no alternative, Lawrence votes for himself. Though he rejects leadership, he succumbs to what feels like the sin of ambition.

As Lawrence casts his ballot, an explosion shakes the chapel. The hall is evacuated with no major injuries, but he soon learns of coordinated attacks in major cities, killing dozens. Tedesco’s men see the exodus as a ploy to stall his election, but Lawrence breaks protocol by allowing outside news into the conclave.

Hearing of the attacks, Tedesco erupts, branding Islam the enemy and vowing, as Pope, to wage a religious war. His supporters, realizing he’s gone too far, withdraw their backing.

Benitez, Cardinal of Kabul, where Christians are a persecuted minority, calmly rebukes Tedesco in a single monologue, condemning his call to arms.

The Sistine Chapel is tidied and voting resumes. 

Despite the horrors outside, the crowd remains, their faith in these flawed men unwavering. Lawrence is moved. Benitez, having won the masses through adversity, is appointed Pope.

He accepts the responsibility with a heavy heart. This outsider, untouched by the Curia’s politics and machination, has earned their trust.

O’Malley summons Lawrence, who is eager to announce Innocent’s elevation to the world. His right hand man has continued to investigate the near-retirement ‘on health grounds’ and reveals that the Geneva destination wasn’t a hospital, but a clinic.

In the Room of Tears, Lawrence asks Benitez about the treatment. Benitez shares that he was scheduled for a laparoscopic hysterectomy, the removal of his uterus and ovaries. He explains that he discovered in his thirties he was born intersex, a revelation that triggered a crisis of faith.

We learn that the Pope not only knew about this but supported Benitez during his 'dark time.' Echoing the late Pope, Benitez believes he was made as God intended. This, I believe, isn’t a comment on gender or contemporary identity theory, but a physical manifestation of the uncertainty Lawrence sought.

The Pope’s 'eight moves ahead' strategy becomes clear. From beyond the grave, he orchestrated the entire conclave. He planted information with Wozniak about Tremblay’s dismissal, then asked Tremblay to appoint Shanumi to the Council, knowing it could disqualify Adeyemi and expose Tremblay’s simony. He brought in Benitez, an outsider, to oppose Tedesco ideologically. And he refused Lawrence’s request to step down, knowing Lawrence was the best choice to oversee the conclave.

Unsure how to react, Lawrence realizes only he and O’Malley know the truth. He weighs his options: stop everything and reveal the truth, or let this harmless secret remain. He chooses the latter, believing Benitez is a good man and that the appointment is God’s will.

CLOSING IMAGE

Unlike the film, which implies Lawrence has found his faith, the screenplay suggests he leaves the Church. We see Innocent’s announcement to the world on television, with Lawrence now witnessing the proceedings from the outside, for the first time since the opening image.

NO SET-UP, NO PAYOFF

While 90% of the screenplay is propulsive and keeps us hooked, I feel the conclusion is rushed, with everything aligning too neatly to be truly satisfying. One could argue that a deus ex machina fits perfectly in a screenplay about faith and religion, but -  as I’ve said a thousand times - we are all fluent in the language of film. When something feels off, we sense it, even if we can't always pinpoint why.

Let’s look at the set-up and payoff. A lot of the third act hinges on the explosion disrupting the final vote, which works in theory. But how much do we really know about these coordinated terrorist attacks? Since we’re confined with the Cardinals, we’re kept in the dark about what’s happening outside. There’s an earlier ‘explosion’ that isn’t defined as a terrorist attack - this is intentionally withheld from both us and the Cardinals. The second attack happens with just sixteen pages left, triggering Tedesco’s incriminating rant that costs him his lead. Does this feel a bit too convenient? Does it undermine the mastermind plot of the late Pope? It feels like a plot device that wasn’t set up sufficiently to be satisfying, while the payoff seems hurried, leading to an easy conclusion.

Accepting for a moment that Tedesco shoots himself in the foot, do we buy that a single speech from Benitez, a near-stranger to these suspicious minds, is enough to win him their support? For Benitez to go from a handful of votes to a two-third majority… felt like a stretch. What are Benitez’s opinions? His stances or policies? If he arrived and rocked the boat with radical takes, or managed to unify the divide, maybe we would accept this. If he was shown to have an aptitude for speeches that stirred and motivated the cardinals, maybe they would champion him. But again - there’s insufficient set-up to feel that this payoff is earned. 

All this to say - novels and screenplays are different beasts. What feels like sufficient setup in a book might be inadequate in a screenplay. I noticed several omissions from the screenplay in the final cut, small clues that subtly guided the audience. While trusting your viewer is crucial, it’s also vital that key context can’t be left on the cutting room floor - destroying your reveals. 

THE TWIST

What more can be said about the late reveal that hasn’t already been dissected? The ambiguity and political implications invite endless debate, but today, we’re focusing on its structural placement - how a twist can elevate a screenplay from compelling to unforgettable.

Remember - the purpose of a twist is not to make the audience say ‘I never saw that coming’ - it’s to make them think 'How did I NOT see that coming?’ The best mysteries walk a fine line: reveal too little, and the audience feels lost; reveal too much, and the twist loses impact. Overload them with surprises, and you risk a ‘just along for the ride’ experience rather than genuine engagement.

The lack of foreshadowing makes the reveal feel abrupt rather than logical. We get vague references to Benitez’ near-retirement and an unspecified procedure, but since he isn’t vying for the papacy, there’s no urgency to scrutinize him. The novel likely had more space to plant these hints, but the film’s omissions - such as this scene subtly implying he can’t grow facial hair - further weaken the setup. Without a reason to suspect Benitez, the twist lands as a surprise rather than a revelation.

You need to ensure your twist is hard-baked into your writing, otherwise it comes across as two dimensional. When you rewatch The Sixth Sense, Shutter Island, Fight Club, it’s an entirely new experience. You feel stupid for not noticing the details which support the reveal. Conclave’s twist, however, doesn’t reshape prior events in a meaningful way. It’s a surprise, but does it change how we interpret what came before? That’s the litmus test for a truly effective twist.

A shift in placement could transform the twist from a passive revelation into an active dilemma. If Lawrence knew before the final vote, it would force him into a true moral crisis - does he expose Benitez to secure the papacy, or does he protect a man he believes to be good? This would deepen his arc, forcing him to confront his own principles in real time - a true test of character.

Could a penultimate round of voting - where voters are split more evenly between Tedesco and Benitez - have made this more believable, and led to a more discussion of the theme of certainty? If you want to introduce a reveal, make sure that it informs the finale and protagonist’s decisions before the epilogue, otherwise it becomes an addendum. 

CONCLUSION

Conclave is a terrific adaptation for almost the entire duration, but I cannot help but feel that it will not stand the test of time amongst the great twist endings. Thematically, the reveal is excellent. It’s shocking, it’s controversial, and it embodies the synthesis of the film’s thesis and antithesis. But it just isn’t satisfying. So a lesson to all writers; make sure you set-up what you want to pay off. 

Otherwise you risk your 5/5 becoming, as in the case of Conclave, a 4/5.