Working Script for
(I’m using Divinci Code as a model – but haven’t finished my shot by shot study so portions of this script will only have vague outlines of the shots for each scene. In this case, I’m putting essential elements I’ll need and will update the script as my study continues)
SCENE 1: Vatican (dim light interior day)
-Picture of sad painting from Vatican
-A cardinal in red garb moves towards camera with wall of statues and paintings to left side – dim interior a long shadow of cardinal
Shot of ceiling pan or tilt down to show cardinal walking away from camera (rear shot with dark hall paintings and statues on right
Distant shot from very dark and large room with lighted door out of which the cardinal is coming.
Close up of a painting – a woman’s face looking sad
A medium shot of cardinal from side with paintings and statues to one side.
Close up of painting women mourning
Extreme close up of cardinal from front
A shot of a single eye from a painting
A shot from above looking down on the whole interior of Vatican slow zoom in
Rear shot of cardinal coming into a large room filled with other cardinals
The pope is dead.
EST: Spiral ramp in Vatican and a hooded shape about half way up
MATCH CUT: Of hooded figure in blue light, deep shadow.
Forgive me, Father
(shot of bomb ticking in dark)
SCENE 2 Idaho Day time – slanted light, deep shadows
-fingers on key board (very close)
Over shoulder shot of computer screen:
TITLE: My life in film, by Tom Hanks
-Long shot of Hank at table with lap top computer in front of him.
-Shot of hallway to Hank’s left with shadow moving along wall pan right to Hanks at computer.
-lighted area of hall with hooded silhouette of STRATH coming out.
-close up from behind Strath of hand and gun with blurred back of Hanks in background at computer
- extreme close up of fingers on keyboard stopping with voice over
Is that you?
-over the shoulder of Strath of Hanks turning from the computer to look
Who the hell are you?
-front shot of hooded face under lighted with blue and dark background
You will come with me, Mr. Hanks.
SCENE 3: New York City very early morning
-side shot of Sam in troubled sleep
- shot of phone
-close up of Sam’s face, glances screen left
-shot of clock: 5:18 a.m.
-shot of hand picking up phone
-shot of Sam putting receiver to ear
I need to see you about a murder and theft.
You have me confused with the FBI
Check your fax.
-shot of bare feet hitting floor
- hand grabbing cup
Shelves filled with religious artifacts
Fax machine with arriving fax
Symbol of the Illuminati
-another phone ringing
Sam picking it up
I’ll send a plane for you.
Bomb ticking in dark room
SCENE 4: Geneva Day Time
-shot of CERN sphere pattern through front windshield of car
-Sam getting out of car (shot from behind) turning to look down at the car – pattern of sphere behind him.
-reverse over Sam’s shoulder looking down at car door as driver pulls door shut from inside, then drives off
-long shot of whole sphere with car coming towards camera and a tiny Sam standing at foot of sphere
-Close up of Sam against pattern of sphere – he looks left
-shot of glass building
-match cut of rising elevator and BRAKER in a wheel chair appearing
-reverse from wheel level with Sam in background
-close up over shoulder of Braker of Sam
Shot of Braker’s extended hand blurred background of glass building with voice over bridging two shots
Welcome to Geneva, Mr. Snoop
-long shot of two men from far above with portion of the sphere in foreground, two shadowy men, and some parked cars.
-long shot of interior glass building as two men enter frame.
Someone murdered one of our scientists.
Closer medium shot of Sam and blurred background
Did you call the police?
-Side shot looking up silhouette of Braker in foreground. Sam in background. Moving blurred scenery
-long shot of shadows in glass lobby coming towards camera.
-Scientists moving up stairs, through lobby
-window with four portholes
-particle generators ect
Door to office
Body on floor
Eye torn out
Someone ripped out the doctor’s eye to get through our security.
--image on eye on floor
-- Reaction shot of Sam with blurred background of lab
Then what do you need from me?
-shot of wheel chair stopping.
-over Braker’s shoulder looking up at Sam
We are also missing a very powerful explosive
-close up of Sam reacting with blurred background
And we need for you to get it back
-shot of cell phone in hand – it rings
-silhouette of Braker speaking into it
-over shoulder of Braker with Sam in background
That was the Vatican.
Someone called to say they planted our explosive in Vatican City.
-shot of ticking bomb
SCENE 5: Rome, Day time
--view from helicopters of Vatican City
-- reaction shot of Sam in chopper
-- Roman Coliseum
- St. Peter’s Square
- TV trucks
-- Vatican gardens
-- helicopter landing on rear lawn
-- ground level view of Vatican
-- Swiss Guards at door
-- Door to the Vatican
-engraved stone sign
--halls, statues with fig leaves
Stained glass windows,
Interior of St. Paul’s
Finally to heavy metal door.
Swiss guard security office
--heavy tapestries, books and computers
-- control room with video screens
-- security men in dark suits and sun glasses, with walkie talkies
-- image of bomb ticking on one of the screens
FATHER PIETRO: (voice over some images, back shots of priest, over shoulder shots of Sam)
We know you mean well, Mr. Snoop
But we’ve had a number of hoaxes like this since the book and the movie.
We’re convinced this is some kind of publicity stunt contrived by Mr. Hanks to pump up ticket sales.
The American media has even claimed he disappeared.
We will find where this transmission is coming from without your help
SAM (solo shot blurred background)
And if it turns out to be real
FATHER PIETRO: (Over shoulder of priest of Sam)
Believe me, Mr. Snoop it’s not
--image of Hanks tied up in the back of a truck
-- close up of tied hands struggling
SCENE 7: St. Peter’s Square Day time
--Sam is standing in the middle talking on his cell phone --
--montage of ground level images of square with voice over
They didn’t take any of it seriously.
What do I do now?
You have to find that bomb, Mr. Snoop
SAM: (shot of him hanging up blurred back ground)
Easy for you to say
(He is approached by a young tour guide named Jago)
You want a tour?
I give you a real good tour.
Give you the Dan Brown tour even.
I said go away I’m…
Wait, what did you say?
I take you where they filmed the movie.
You like that?
Maybe that’s a good idea.
Where do we start?
SCENE 8: The Church of Santa Maria del Popolo: Day time
Interior montage as camera moves through the church
Heavy wooden door ajar
Outer walls along both sides pockmarked with arched chapels
-Chigi chapel marked with a pyramid and star
Granite block with the chapel name on it
A rat scurries across the floor
Domed cupola with stars, planets and zodiac on it.
Skeleton depicted in stone
Hanks seated in one corner with his hands still tied behind his back
--shot of hooded Strath zoom out slowly to show him standing near Hanks
(Tom Hanks sits on the floor of the Chigi Chapel with his hands tied behind his back)
-shot of hanks in background with Strath looming shape in foreground
HANKS: (looking up)
Just let me go and I won’t press charges
STRATH: (front shot over shoulder of Hanks looking up at Strath)
I have kidnapped four cardinals just like in the movie
(rear shot of Strath pulling a priest from out of the shadows both silhouetted with Hanks in the background. )
(Close up of Hank’s hands working at the ropes)
Front shot of Strath (up from Hank’s point of view with Hanks slight in the frame)
-reverse shot of Hanks with silhouette of Strath and priest in front ground and Strath shooting the priest in the head and the priest falling.
-Hanks hands get free of rope
-Hanks jumps up and dashes through the church
Shot from behind Strath holding out gun aimed at the fleeing Hanks, fires the gun
-Shot of Hanks getting hit in the shoulder
-side shot outside on the church steps
-- far front shot of Hanks framed by door with an old woman in front of him.
-- close shot of Hanks grabbing her shoulders
I need the police
Do you speak English?
-match cut over the shoulder of woman at Hanks
-solo of Hanks looking at her then back the way he came
-shot of door
Long shot of Hank moving down the stairs passed the woman
-shot of him vanishing in the dark
-long shot of front of church through car window woman still on steps as a cab pulls up.
-shot from behind as Sam climbs out, blurred church and woman in background
shot over Sam’s shoulder as Jago climbs out of cab, too, and cab pulling away
-long shot of the church as the cab comes towards camera
A high shot looking down at Sam and Jago climb the church steps passed old woman.
Rear shot through arched church door of Sam and Jago silhouetted against the blurred back drop of the distant church alter.
Over there is the place of the first murder
-shot through the church to the chapel
-Close up of Sam with blurred church behind him
I smell gunpowder
--front two shot of darkened Jago in foreground and Sam in background with blurred background of church
Someone is over here in this chapel – My God!
-solo shot of silhouetted Jago crossing himself.
It is a dead priest
-long shot of the two coming out of the church with several black Alfa Romeo 155 T-Sparks at the curb and men with dark suits and sunglasses, and walkie talkies
-match cut of one man talking to the old woman
-shot of Sam and Jago framed by church door
What is she saying?
-side two shot of Sam with a dark Jago in foreground
She say she saw Tom Hanks run out of here.
The real Tom Hanks.
-shot with silhouette of Sam and Jago with plaza and cars between them and Capt. Molonari rising up the steps towards them.
-over shoulder of Molonari of Sam with blurred church backdrop
It would seem that Tom Hanks is duplicating the movie to get even with the church.
-side shot with silhouetted Jago in foreground and Sam in background
That means the next killing is on St. Peter’s Square.
--Image of ticking bomb
SCENE 10 Streets of Rome – dim daylight
Montage of Hanks staggering through Rome streets
Image of Port Del Popolio Archway
image Rosate café
sees a TV in the window of a tavern
his picture on screen on CNN
“Hanks wanted for murder”
Over the shoulder shot of Hanks looking at TV
HANKS: (various shots)
This is nuts.
Movies aren’t real
I need to turn myself in quick
-Camera pans around plaza to church
- match cut of church
-- far shot of Hanks climbing the steps.
Inside shot of church and a priest near the alter
-over the shoulder of the priest looking back from alter at Hanks near the door
--reverse shot of hanks back in foreground falling as priest in background looked on
-- shot of pews
-- shot over priests shoulder coming to where Hanks on the floor
Reverse of silhouetted priest camera looking up from where Hanks is on the floor
I’m in trouble, father
We are all in trouble, my son
(Gun shot sounds)
-priest falls to one side of camera revealing the hooded form of Strath who is still pointing the gun
Match cut of Strath and pistol in foreground
You are putting me off schedule
--over the shoulder of Strath with extended gun and Hanks in background on the floor
SCENE 11 – Streets of Rome – day
--The alpha romeros rushing through traffic montage of shots
-- through windshield shot of approaching St. Peter’s Square
Car doors slamming
Feet on cobble stones
Camera rush searching the square
Image of Obelisk and its two fountains
The west poneate on stone
Bells ringing of St. Peter’s
Back shot of Jago in silhouette against Vatican backdrop
There are two bodies, not one!
-Silhouette shot of Molonari in foreground Sam and the Obelisk a blur beyond him.
This is not even remotely humorous.
I will kill Hanks for this
-solo shot of Sam with blurred background
What’s next on the tour, Jimmy?
--foreground of shadowy Jago and Sam in background
Santa Maria Della Vittoria is the next place, unless he’s decided to kill all of them at once
--Close up of Sam
Well, we’d better hurry.
We’re running out of time – and cardinals
--image of ticking bomb
SCENE 12: In the truck driving through the streets of Rome – afternoon
--van rushes through streets
-- Strath behind wheel
You have cost me valuable time
I need to stash you while I finish with the cardinals
-- Hanks tied up in back
You’re not going to get away with this.
They’ll catch you eventually.
--up over Hanks shoulder at the front of the van and Strath
Not until I have done what I have set out to do.
--front shot of a dark Hanks in the back of the van
Why do you hate the church so much?
--front shot of Strath with blurred hanks in the left frame background
Because the church hurt me – when I was a boy.
--dark solo shot
You mean you were abused?
Two shot front view
I lived with it all of my life, wondering how I could get even for it.
External shot of van on road
So why now?
What happened that made you act now?
Solo of Strath
I saw your movie.
SCENE 12: The Church of Santa Maria Delle Vittoria – evening
--long shot of Alfa Romeros pull up in front of the church
-- close up of Sam face framed by car window
-- image of stained glass window and flames
--jump cut to inside – shot from behind Molonari, Sam and Jago framed by arched door with church beyond them
-- shot of church with pews piled up flames flickering at the bottom as camera pans up to cardinal strung out from roof at the top
-- The three charge down aisle
-- shot of Strath to one side firing gun
-- shot of Molonari being shot
-- shot of Snoop ducking behind remaining pews
-- more gun shots as he crawls – sound of burning
-- Sam looks up
-- something burning falls
-- reverse from above, flaming pew falling on Sam
-- reverse again, of shadowy Jago pulling the bench off
-- solo of Sam against backdrop of flame
He got away.
Two shot over Jago’s shoulder with Sam in background and blurred fire behind Sam
Saint Agnes in Agony is next.
Time bomb ticking
SCENE 13: St. Agnes in Agony – evening
--plaza seen through windshield as alfa romero arrives
-- statues and fountain covered with mists
--side two shot with Jago shadow in foreground, Sam, and windows of car as van arrives stopping in front of the church’s wide stairs.
-- shot of Sam’s face solo
-- shot of van with doors open and hooded Strath dragging out another cardinal
-- shot of pool of water
-- close shot of Strath both arms down breaking hard
-shot of car and beeping horn
--Reaction shot of strath’s hooded face
--closer shot of Sam and Jago on either side of the car
--shot of Sam advancing
--two shot from behind Strath with his extended arm firing gun
-- rear shot of Jago silhouette falling with Strath in background still holding gun
--reaction shot of Sam
--shot of Sam at side of car looking down (doors slam)
-- shot of van fleeing
--shot of Sam from ground looking up
He’s going to the Castle Sant’ Angelo
Time bomb ticking
SCENE 14: The lair: evening
--shot of car on the Lungotevere tro Di Nora
-- through windshield of Sam behind the wheel
-- Reverse through windshield of blockage before bridge of angles and squeal of breaks.
-- shot of Sam hiking down the bridge
-- shot of stone angels along either side
-- arrives at large double doors locked
-- shot of Sam looking up
-- shot of light and shadow
-- Sam climbs stone to battlement,
-- shot of tunnel
-- shot of Sam in dark tunnel
--reverse of light at end of tunnel and the sound of gun shots
-- Sam arrives in a room where Hanks is leaning against the wall, wounded, holding Strath’s gun
-- ropes on the floor at his feet
-- shot of tunnel and the sound of footsteps.
--shot of Sam – shadow hanks in foreground
He’s getting away.
We have to stop him before he blows up the Vatican
--hanks rushes into the tunnel
-- Sam follows
-- rush through tunnel
-- trail of blood
-- come into crypt on other side
-- Strath holding the time bomb
--shot of Strath over Hank’s shoulder with gun pointed.
HANKS (to Sam)
Grab the bomb
-- Strath collapse
-- Sam grabs the bomb
-- flicks off the timer