INT SECRET PASSAGE NIGHT

-- shines through into the secret passage behind the wall.

Langdon draws in his breath and forces himself through the tiny

slit, just wide enough for a determined person to squeeze through.

Vittoria follows.

They look ahead, shining the light. They're in an extremely narrow

passageway.

They start carefully down it, flashlight in front of them. They

whisper.

LANGDON

Do you still have the gun?

VITTORIA

You told me to give it back.

She pulls the gun from her waistband.

VITTORIA (cont'd)

I ignored you.

LANGDON

Ignore me any time you like.

To their right, they pass half a dozen tiny jail cells, the iron

bars on most eroded away. Several of the larger cells are

intact, and on the floor of one they see black robes and red

sashes.

They approach an iron doorway in the wall. The door is ajar and

beyond it there is some sort of passage. Langdon squints at two

words above it -- II Passetto.

Vittoria gestures -- that way?

Langdon shakes his head no.

103.

LANGDON (cont'd)

(WHISPERS)

Leads to the Vatican. Or from it.

An ancient escape route.

They round a corner, where the tunnel takes a ninety degree turn

to the right. At the corner, Langdon notices another

pentagrammal block in the floor.

He bends, studies the direction it's pointing, feels the wall --

LANGDON (cont'd)

Another overlap.

-- and finds another overlapping angle, this one even smaller

than the last. The wall is actually joined at the floor, seems

to open out at the middle (in roughly the shape of a human form

turned sideways), and joins again at the top.

HE TAKES A DEEP BREATH, SLIPS THROUGH THE GAP --

-- and finds himself at the base of a set of steep spiral stairs.

Langdon looks up, to the top of the stairs. There is an

archway, adorned with a tiny carved angel.

Vittoria slips through the gap, sees the carving too.

VITTORIA

An angel.

Langdon, sensing they're close, starts up the stairs.

CUT TO:

INT APOSTOLIC PALACE - HALLWAY NIGHT

Commander Rocher, eyes dead-set, walks down a hallway in the

Apostolic Palace. He passes two Swiss Guardsmen with radios.

ROCHER

Get on the radio and put the word out.

Conclave is to remain sealed.

SWISS GUARDSMAN

But the Camerlengo gave the order for

evacuation at eleven fif-

ROCHER

I'm countermanding it.

SWISS GUARDSMAN

BUT-

104.

ROCHER

That door stays SHUT! Do you

understand?

SWISS GUARDSMAN

Yes sir.

Rocher keeps walking.

CUT TO:

INT CHURCH OF ILLUMINATION NIGHT

Langdon and Vittoria creep into the Church of Illumination, and we

get our first good look at it.

The embellishments, though faded, are replete with familiar

symbology. Pentagram tiles. Planet frescoes. Pyramids.

VITTORIA

We have thirty minutes left, I can

still change the battery if we can

find the cannister.

Langdon nods, but he's fascinated by the place.

In the center of the room, there is an open fireplace, its embers

still smoking. The four Illuminati brands, their faces wiped

clean, have been placed back in a molded velvet case.

Langdon, fascinated, spots an empty slot in the very center of the

case, surrounded by the four used brands.

But this one's missing.

Vittoria arrives over his shoulder, having completed a quick

search of the place.

VITTORIA (cont'd)

It isn't here.

LANGDON

There's a fifth brand.

VITTORIA

What?

He touches the indentation in the velvet, puzzling it out.

LANGDON

Two crossed keys.

105.

VITTORIA

The symbol for the Vatican?

LANGDON

The papacy.

(THINKING)

They're going to kill him. Before

they blow up the Vatican they're going

to kill and brand the pope himself.

VITTORIA

But there is no pope.

LANGDON

Technically, there is.

VITTORIA

The Camerlengo?! We have to-

MR. GRAY (O.S.)

Please place your gun on the floor.

They freeze. Vittoria looks at Langdon, who nods -- you'd better

do it. She does.

MR. GRAY (cont'd)

Now turn around.

They turn and face Mr. Gray. He looks quite dapper, and not too

much the worse for wear. There is a briefcase on the ground

beside him, and he's changed into a fresh shirt.

MR. GRAY (cont'd)

Kick it to me.

She does. He picks it up, ejects the clip and the round in the

chamber, pockets them, and tosses the gun into the smoldering

fire.

LANGDON

You could have been long gone by

now.

MR. GRAY

Some do God's work for love, others

for money. Which do you take me

for?

As if to answer his own question, he picks up the briefcase from

the floor beside him. Then studies Langdon for a moment.

106.

MR. GRAY

You're not one of them.

LANGDON

Neither are you. I was expecting a

fanatic.

MR. GRAY

When they call me -- and they all

call me -- it is so important to

them that I know what they ask is

the Lord's will. Or Allah's, or

Yahweh's. And I suppose they're

right. Because if He were not

vengeful, I would not exist, would

I?

He picks up his briefcase.

MR. GRAY (cont'd)

Be careful. These are men of God.

He turns to go. Langdon can't help himself:

LANGDON

Why didn't you kill us when you had

the chancer

Vittoria looks at Langdon like he's nuts. Mr. Gray turns back,

seems puzzled by the very thought.

MR. GRAY

Because no one asked me to.

He leaves.

Langdon and Vittoria pause for a moment, look at each other --

LANGDON

We've got to get to the Vatican.

CUT TO:

Date: 2015-12-18; view: 729