Screenplay=>Eleven Thousand Virgins

"Eleven Thousand Virgins" (XI M V)

[Hildegard von Bingen's Last Chants]

Screenplay By

Anikó J. Bartos & Alan C. Baird

Registered WGAw© Anikó J. Bartos & Alan C. [email protected]/scr

"Eleven Thousand Virgins"

BLACK SCREEN...

...until a small gas flame ignites from the side of thescreen and burns in a curving arc upward toward thetop. It's hot blue on the underside of the curve,shading away to yellow in the vertical portion. Simultaneously, an unworldly, hypnotic MUSIC surroundsthe senses - it's a combination of ancient instruments,designed during the Middle Ages, and modern electronicsynthesizers. In a THX theatre, the foreboding bassline of this music will leave the breastbone vibrating. Eventually, an ethereal woman's voice will float in, asif on the wings of angels. But for now, the flame dipsto light a candle in a contemporary holder, then movesslightly to light an incense stick. Methodically,other candle wicks blaze to life as the flame caressesthem.

INT. ALEX BARNETT'S LIVING ROOM - CONTINUOUS

As candles in different holders start to providesufficient light, the source of the flame becomesvisible - it's a small gun-like tool, sometimes usedfor igniting barbecue briquets. It has a five-inchsquared-off barrel, and a trigger for starting theflame, with a thicker in-line handle which conceals asmall butane reservoir. The candles are various shapesand sizes; some are only a handsbreadth in length andare enclosed in colored glass, much like votivecandles. The effect of the music is powerful enough togive the feeling of a monastery, which is something ofa paradox, because the gradual lessening of thedarkness is revealing quite modern furnishings, witheclectic details from several styles. Art Deco pictureframes highlight the work of an obviously accomplishedphotographer, a sculpted Corinthian pillar supports amuseum-quality Danish stereo loudspeaker, and a tiny,delicate Japanese netsuke carving has been pushed asideto make way for candles on a black enamel coffee table. The lighted bouncing columns of the stereo's graphicdisplay reflect the shift in the lower DRONE of theelectronic instruments giving way to the higherregister of the angelic, clear-toned SOPRANO. Thewords are in Latin, and the author of this spiritualmusic is none other than the twelfth-century mystic,Hildegard von Bingen. The electronic synthesizersblend into the background, but still provide a strongcontrast to the female plainchant and the ancientinstruments.

"Eleven Thousand Virgins" 2.

The dark-cowled figure who's been wielding the smallflame gun moves to sit in the lotus posture on thefloor behind the coffee table. The cowl is part of aterrycloth bathrobe, and as it falls away, ALEXBARNETT's wet hair is revealed. He's a handsome,dynamic man in his early forties, and tears are rollingdown his face unchecked. His fingers sway almostimperceptibly in time with the music, and it's clearthat the music has moved him deeply. After a fewseconds, he looks up and gently draws the sleeve of hisbathrobe across his cheek to blot the tears.

ALEX'S P.O.V.

KRISTI, in her early twenties, is standing at theliving room entrance. She's slightly tousled, and is aspectacular specimen of young womanhood. We are in anexcellent position to make this judgment, seeing asshe's wearing only a smile.

KRISTIRound two, anyone?

She's too far away to notice the tears Alex has justwiped away, but his disgusted expression is plain foranyone to see.

ALEX(frosty)

I think it's time we called it anight, Kristi.

She's not giving up so easily - with a pout, and theconfidence of one who has never been denied herslightest whim, she saunters to the CD turntablemounted vertically against the far wall. As her handapproaches the glass doors, they slide openautomatically, the MUSIC cuts off abruptly, and thegolden disc spins to a stop. She takes it out,frisbees it casually across the rug, and starts to flipthrough a zig-zag chrome shelf of discs mounted abovethe turntable.

KRISTI(she knows best)

Alex. (helpful) You got "Bolero"here someplace, don'tcha?

Alex's movements are a blur. He gracefully scoops upthe disc on the rug, effortlessly pinions one ofKristi's arms, and pulls her close. She is prepared tolike whatever's coming next, and stands on her tippy-toes in anticipation. Alex nods toward the openbalcony door.


ALEX(command voice,velvet delivery)

It's four floors over the railingif you're still here in tenseconds.

A slap could not have crumpled Kristi's face moreeffectively. Experience tells her that she should bevery afraid, and she scurries out of the living room. After she's gone, Alex's steely composure changes to awry smile.

ALEX(continuing, tohimself)

That's what I get for playing inthe minor leagues...

Kristi re-enters, still nude, and she's scrambling tohug a clump of clothes between her breasts. Shecrosses to the door in the foyer, giving Alex a wideberth. One of her shoes falls and bounces toward Alexas she opens the door, but she sees Alex approachinggrimly, and she hesitates a moment too long. He pushesher out the door into the hallway.

ALEX(continuing, toKristi)

If you hurry, it'll still bewaiting for you out front.

A GUY opens the door of the condo opposite Alex's, andgets an eyeful of Kristi as she is hustled out into thehall. She has a short, guilty moment of modesty, butis more intent on getting away from Alex. She stops,CLUCKS her tongue at the neighbor, at Alex, and at menin general.

KRISTIPerverts.

The neighbor does a take of protested innocence. Alexlunges to pinch Kristi's bare ass, but she scoots awaywith a SCREAM. As the guy retreats and closes hisdoor, a FEMALE VOICE starts haranguing him from insidehis condo.

FEMALE VOICE (O.S.)What were you looking at, anyway? How come you never...


The voice fades to a dull YAMMERING as the door closes. Alex steps back inside his doorway and closes the doorquietly. He picks up the dropped shoe and studies thepink-soled white Reebok; after a few seconds, he walksover to the CD turntable and starts the MUSIC again, attrack two. After absorbing a few bars, he slowlycrosses to the balcony and leans over the railing.

EXT. ALEX'S BALCONY - CONTINUOUS

The lights of Los Angeles radiate below the canyon ofthe hillside building. Alex is still examining thepink and white Reebok. He finally sighs and suspendsit over the railing between thumb and forefinger.

EXT. NAPA VALLEY FIELD - DAWN, TEN YEARS EARLIER

A younger, long-haired, bearded Alex helps unfold alarge expanse of nylon material which will eventuallygrow into a hot-air balloon. LARS HOLSTRUM, a cameraaround his neck, also helps; RICK SHEEHAN, a balloonpilot, directs the logistics. NICOLE BOISVERT hugsAlex, then hesitantly plucks at a mass of nylon sittingon the ground in front of her. REVEREND CLYDE HIXSON,a Baptist preacher, stands well away from the hubbub,cradling a well-worn Bible.

RICKNicole, walk the envelope outdownwind.

LARS(Teutonic accent)

Are you certain this balloon willhold all of us, Rick?

RICK(drily chuckling)

Last week, I took up a hefty groupof five Weight Watchers.

Lars, Nicole and Alex join his LAUGH somewhatnervously. Rev. Clyde's eyes venture skyward as hislips move slightly. It's threatening to rain. Ricksets up an industrial-sized, gasoline-powered fan nextto an elaborately woven wicker basket that is largeenough for six. Propane tanks and flexible tubes linethe basket, culminating at the apex, which supports ahuge stainless steel burner. Five feet away, Rickpull-starts the FAN, and directs Lars to suspend a foldof nylon in front of it. The blowing air gets underthe fold of nylon, and a nylon bubble slowly expands.


MONTAGE - JUMP CUTS - CONTINUOUS

Throughout this scene, we will jump-cut to compresstime a bit; the largest of these jumps will only befive minutes or thereabouts. As Rev. Clyde standsapart, everyone else lends a hand in stretching out thenylon, running inside the growing nylon bubble to checkfor rips in the envelope, and clowning around insidethe circus-tent-like structure that's growing by leapsand bounds. It's huge, it's colossal; it's certainlybigger than a breadbox. Rick finally orchestrateseveryone out of the envelope, and has them help him tipthe woven basket on its side. He STOPS the fan, andFIRES UP the burner; while the fan was loud, thisburner is deafening. The effect is awesome, as theflame jumps out sideways a good five or six feet; it'shot blue on the underside of the flame, shading away toyellow on the top. Everyone stands back, suitablyimpressed. Another ten minutes pass in JUMP CUTS,while the burner heats the air inside the envelope. Asthe nylon takes shape, it gradually forms into a Gothiccathedral. The balloon/cathedral swells on its sideand slowly drifts upright, standing easily eightstories tall. Rick keeps the burner pointed inside thenylon opening, letting the woven basket be pulled upfrom its side by the growing lift in the balloon.

ANGLE ON ALEX AND LARS

They stand at some distance from the balloon and theROAR of the burner. Rev. Clyde stands an equaldistance on the other side.

LARS(indicatesRev. Clyde)

Where did you find that guy?

RICKWe set the whole thing up over thephone. I guess not too manypreachers are willing to go up in aballoon to perform a wedding.

Nicole joins them, rubbing her ears from the noise.

NICOLE(French accent)

I asked the minister to keep itshort.

Alex bends over to pick up two bottles of Moëtchampagne, and the group heads toward the balloon.


ALEXSince you can't control thedirection of these monsters, youtake along two bottles ofchampagne - one to apologize to thefarmer when you land in his field,and one to drink while you wait foryour ground crew to pick you up!

Everyone LAUGHS as they walk, but the DIN of the burnerquickly drowns them out. The basket, with Rick in it,is finally in an upright position again - and Ricknervously checks the clouds. He shuts off the burner,and our ears ring from the sudden SILENCE.

RICK(shouting)

Can everyone still hear? Lars?

LARS(holding his ears)

I think I've gone blind.

LAUGHTER all around. Rick points up at the sky.

RICKThe weather's not cooperating. Wewon't be able to go free-flyingtoday.

GROANS from everyone except the good Reverend. Hestarts walking toward his car.

RICK(continuing)

But... we can get you married in aballoon today, if you don't mindbobbing at the end of a hundred-foot rope tether.

ALEX(to Nicole)

Today's your birthday...

NICOLE(to Alex)

...and we wanted to do it on theyear's shortest day...

ALEX(to Rick)

...so let's go for it!


A CHEER from everyone - except Rev. Clyde, who looksdisapprovingly over his shoulder, then walks glumlyback to the group. Rick directs everyone to climb intothe basket, as he arranges the tether rope.

RICKNow we have to build up some lift.

Rick pulls on the chain that fires up the burner with amighty ROAR.

JUMP CUT - A FEW MINUTES LATER

Rick is still yanking on the burner chain as he leansover to drop a burlap bag of sand ballast outside thebasket. The basket shudders and rises a few inches. Rick motions everyone to heave a sandbag over the side,and as they do, the balloon/cathedral rises smoothlyinto the damp morning air. When the balloon is bobbinggracefully at the end of the tether rope, Rick releasesthe burner chain. The SILENCE and the fog-shroudedview of the Napa Valley are almost mystical.

RICKIt's all yours, Reverend Clyde.

REV.That's Reverend Hixson to you. (gathering himself) In thebeginning was the Word, and...

The Reverend CONTINUES in this vein, reading from hisBible in a Fundamentalist hellfire-and-damnation theme. Alex and Nicole slowly, discreetly snatch looks ofincredulity at each other, with raised eyebrows,shrugged shoulders, etc. Lars stops snapping picturesto get a load of this weirdo.

LARS(whispers to Alex)

I thought we were getting theversion without the extended drumsolo.

Alex nearly loses it, smothering a laugh into a COUGH. The Reverend is oblivious to everyone's smirks. Larsgoes back to taking pictures.


JUMP CUT - A FEW MINUTES LATER

The balloon is CREAKING, and seems to be settlingsomewhat - the once-taut tether rope hangs with severalfeet of slack in a looping curve, and Rick checks itnervously every few seconds. Finally, he gets up thenerve to interrupt the Reverend's RANT:

RICKI'm sorry folks, but we're losingaltitude, and I have to fire up theburner again.

The Reverend gives Rick a disdainful look, but closeshis Bible with his finger in it to mark the spot. Alexand Nicole stifle grins as Rick pulls the burner chainagain - the burner THUNDERS. Alex takes a picture outof his pocket to show to Lars - on the back are thewords "WEDDING ANNOUNCEMENT - TIMES SQUARE ELECTRONICBILLBOARD - NIGHT." He turns the picture over, andsure enough, there's the billboard in stark black andwhite, with the glittering lights of New York Cityproviding a backdrop. In letters that must have beenfour feet high in the original are spelled the words"AFTER SIX YEARS OF LIVING IN SIN, ALEX AND NICOLEFINALLY TIE THE KNOT!" Nicole and Alex hug and rubeach other's back, while Lars beams hugely and gives athumbs-up sign. Lars peers around them to glance atthe Reverend, who is facing away from the group. Larsholds his hands in front of him like he's wringing outan imaginary washcloth. Yep, agree Alex and Nicole,he's one of the more twisted human beings they've evermet. Everyone silently laughs under the burner's ROAR,including Rick, who has eavesdropped this visualinterchange. The Reverend continues to look out overthe fields, ever oblivious.

JUMP CUT - YET ANOTHER FEW MINUTES LATER

The tether is taut, the burner is OFF, and the Reverendis AT IT AGAIN. He sounds like he's in the middle ofLeviticus, headed straight for Deuteronomy. He's a manwith a mission, he's on a roll, and he's wailing, so tospeak - he sees it as his job to make sure theseirreverent heathens are good and married, by God. TheReverend is in the Zone: he's Jimi Hendrix with anelectric guitar, he's Wayne Gretzky with a hockey puck,he's Steven Spielberg with a Holocaust. Everyone elsein the balloon is marking time, just waiting for theircues.


JUMP CUT - STILL ANOTHER FEW MINUTES LATER

Rick pulls and tugs at his collar - he looks hot andconfined, even though he's wearing a loose teeshirt ona cool day. He tries throwing a sandbag overboard inthe middle of the Reverend's SPIEL, to no avail. Thetether droops loosely. The Reverend is in a world ofhis own - he's surprised only when the ROAR of theburner interrupts him in mid-scripture. His mouthcontinues moving for a few seconds as he looks up atthe burner, then accusingly at Rick. Rick avoids hisgaze, and stubbornly holds onto the burner chain.

JUMP CUT - A FINAL FEW MINUTES LATER

This is a WIDER SHOT of the balloon basket; theburner's OFF, and if we look closely, we see what seemsto be a couple of legs dangling below the far side ofthe basket. Everyone is leaning over that side.

CLOSER ANGLE - LOOKING DOWN OUT OF THE BASKET

The Reverend's white knuckles are barely gripping ontothe outside edge of the basket, and Alex is holding theBible over his knuckles, threatening to give them asharp rap:

ALEXSay the words, Reverend.

REV.(terrified, butgrudgingnonetheless)

Do you take this woman to be yourlawfully wedded wife?

ALEX(smiles at Nicole)

I do.

REV.Do you take this... (chokes it out)...man... to be your lawfullywedded husband?

NICOLE(smiles at Alex)

I do.


REV.I now pronounce you husband andwife. (at the end of his patience) Will you please get me back insidethe basket now?

As the ceremony has been taking place, Lars has beenlowering the balloon by pulling on the tether rope andcoiling it outside the basket. Rick now grabs onto therope with Lars, nods to Alex, and Alex SMACKS the Bibledown onto the Reverend's knuckles. With a SCREAM, theReverend lets go of the basket. Since the basket hasbeen lowered to within a few feet of the ground, hemerely stumbles backwards, unharmed. The balloon,however, shoots dramatically upward from the loss ofhis weight, as Lars and Rick release the tether rope. Alex drops a check over the side, and it flutters madlyin the strong, WHOOSHING updraft of air.

ALEXThere's your fee, Reverend.

ANGLE ON REVEREND

The Reverend comically chases the swooping, glidingcheck as it descends to the field. While he runs, hebreathlessly yells upward:

REV.What about my Bible?

ANGLE ON BASKET

Lars breaks open the champagne for a smiling Rick,Nicole and Alex. Accepting a glass of bubbly fromLars, Alex holds the Bible over the side of the basketbetween his thumb and index finger, then negligentlydrops it.

EXT. ALEX'S BALCONY - TEN YEARS BACK TO THE FUTURE

Alex suspends Kristi's pink and white Reebok over therailing between his thumb and forefinger, then dropsit.

EXT. DOMAINE CHANDON RESTAURANT, NAPA - NOON, THE NEXTDAY

Alex holds a piece of bread over the edge of the tableand drops it for a waiting bird, who snaps it up andflies away quickly. Nicole sits opposite him, andsmiles at the bird's haste.


Ten years have treated Nicole well - she looks scarcelyolder than in the balloon episode. She's very well-groomed, confident, and has obviously turned into aclassy lady. She's dealing a Tarot card layout onto atable dotted with a few crumbs, and containing twohalf-empty wine glasses. The outdoor patio of thisrestaurant is surrounded with beautiful flower beds,and is shaded by trees; there are verdant rolling hillsof grape vines in the background.

NICOLESo why did Kristi leave so quicklylast night?

ALEXWe were attacked by two muggersearlier in the evening.

NICOLE(pauses in mid-deal)

You caused some damage?

ALEXDo you remember the Kata we had tolearn for our blue belt?

NICOLE(smiles)

You finally got to use it.

ALEXI broke the right femur on one guy,and both wrists on the other. (pause) I think it made animpression on her.

NICOLE(resumes carddealing)

You monster.

ALEXMonster? They attacked us!

NICOLEDid you have to break both wrists?

ALEXI... guess not.

NICOLEMonster. (pause) Why did youkick her out?


ALEXI don't know... I guess the sex waslacking something.

NICOLEI thought you said she was agymnast?

ALEXOh, physically it was great...

NICOLESo?

ALEX(smiles painfully)

This reminds me of something youonce said to me. Maybe I'vefinally changed.

NICOLE(looks into hiseyes)

We stopped growing, Alex. We hadto separate. The money still hasyou hypnotized.

ALEX(uncomfortable)

Did you keep that black dress fromKey West?

NICOLE(hesitant)

Ah, yes. The skin-tight one youbought me on our diving trip.

ALEXI'd love to see you in that again.

NICOLEI'll bet you would. I haven't wornthat dress in almost two years.

ALEX(suggestive)

Think about what happened the lasttime you wore it...

Nicole doesn't like the way the conversation hasturned - to derail Alex, she picks up a piece of bondpaper that's sitting to the side of the wine glassesand Tarot cards.


ANGLE ON PAPER

It is the typed title page of a book - "Writes OfPassage" by Alex Barnett. She looks at both sides ofthe paper.

ANGLE ON ALEX AND NICOLE

NICOLESo let's see this Great AmericanNovel. Have you finished it?

ALEXSome of it. (he squirms) It's ashort story collection, not anovel.

NICOLEAnd where is it? (she looks underthe table)

ALEX(sheepish)

You're holding it.

NICOLEOh la la! (wagging upright indexfinger) You are playing at being awriter. (shrewdly) You callyourself an author, rather thanactually sitting down and writing.

ALEXWhen we first separated, I wrote afew stories for you.

NICOLE(fondly recalls)

Oh, yes, some of them wereincredible.

ALEXIf you've saved any of them, theycan be the beginning of this book.

NICOLEI'll look for them when I get home. (pause) So why are you here inNapa?

ALEX(leans forwardexpectantly)

To help you look for those stories.


NICOLE(leans back)

The residue of romance isfriendship, Alex.

ALEX(ironic smile)

What a French thing to say. Youstill wear the ring I gave you,Nicole. What's engraved on it?

NICOLE"Pour tous jours."

ALEX(softly)

"For always."

They're silent. Birds CHIRP. Bees BUZZ. Nicolewatches a hummingbird.

NICOLEYou're really up here to see Larsat the San Francisco store.

ALEXSparky can wait. (giving up) Ithought seeing you might be worth ashot.

NICOLEIt's always good for us to see eachother, but let's not dwell on thepast. (pause) Why do you call himSparky?

ALEXDo you remember the mountaintop inColorado, when he wanted to keepclimbing into the thunderclouds,and we all nearly got electrocuted?

NICOLE(giggles)

Yes...

ALEXAnd do you remember the CitroënDeux Chevaux we had in Nice thatdeveloped compression problemsbecause he tried to clean the sparkplugs?


NICOLE(laughs out loud)

Yes!

ALEXWell, it seems that last night hegot it in his head that he couldrepair his own stereo.

NICOLE(concerned)

Is he all right?

ALEXOnce he gets his hair to lie backdown, he'll be fine.

They LAUGH. They needed this laugh.

NICOLEHe's so stubborn - but he is quitebrilliant. Last week, on thephone, he made a pun in French.

ALEXI hate that smart-ass! Now he punsin four languages. (thinking) Actually, more. A month ago, whenI was having a drink with him inthe City, I asked him his opinionof "The Last Action Hero."

NICOLE(bated breath)

...and what did he say?

ALEXHe didn't say anything. He farted. (smirking) It smelled awful.

NICOLE(bewildered)

He... (she gets it) ...made apun... how do you say it...olfactoire?!

ALEXYup. Sparky made an olfactory pun. Stunk the whole place up, just likethe movie.

They LAUGH again, wholeheartedly.


NICOLE"Sparky." I like that nickname -it fits him. His outgoing spiritis like a spark in the darkness.

ALEXHe certainly does love to meetpeople. I don't think his Englishvocabulary includes the word"stranger."

NICOLE(softly)

To Lars, every human being outthere is just a new friend hehasn't met yet.

ALEX(wry)

Saint Sparky.

They CHUCKLE.

ALEX(continuing)

So what do the Tarot cards say?

Nicole turns over one more card to complete the layout.

NICOLEIt looks like your world may soonbe turned upside-down!

ANGLE ON TAROT CARD #12

A man, head-down, is suspended by one foot from a ropetied to a raised crossbar. He seems healthy in everyway; in fact, he even has a halo around his head.

EXT. SOUTERRAIN TEESHIRTS, SAN FRANCISCO - LATER THATEVENING

A streetcar JANGLES by the storefront - in the bigdisplay window, Lars ("Sparky") shows a pile ofteeshirts to Alex. Sparky looks a bit older than atthe balloon, and as we ZOOM IN, we can see that hishair, while the same length, is somehow... frizzier.


INT. SOUTERRAIN TEESHIRTS - CONTINUOUS

Alex rubs his friend's fuzzy hair affectionately. Sparky holds up a teeshirt that reads: "Back Soon.(signed) Godot."

ALEXWe can't sell these shirts. They're too... intellectual. Whatthe hell is that?

SPARKYYou remember the existentialistplay "Waiting For Godot"?

ALEXBut nobody will buy this stuff. It's way too highbrow!

Alex holds up "Does The Name Pavlov Ring A Bell?" andSNORTS.

SPARKYAmong dog owners, those are alreadyselling like vichyssoise.

ALEX(correcting)

Hotcakes, Sparky.

SPARKY(correcting rightback)

It's a heat wave, Alex. You buyhotcakes - the rest of us willstick with chilled soup.

Alex gives him a murderous look, Sparky CHORTLES, andAlex holds up "I Had A Bad Day - In The Food Chain OfLife, I Feel Like Krill."

ALEXKrill - that's the microscopicstuff that little fish eat...

SPARKY...that bigger fish eat; that hugefish eat; that wind up in yourFlounderburger.


Sparky points to a half-eaten bun in wrapping paperthat Alex has been nibbling on. Alex studies what'sinside the bun, BURPS, looks slightly dyspeptic, anddrops the bun into a trash bin. Sparky holds up"Spandex Is Not A Right; It's A Privilege."

ALEXWell, I do know a few women at thegym who oughtta see that one... But...

Alex holds up "Artificial Intelligence Beats GenuineStupidity", and raises his eyebrows.

ALEX(continuing)

...I can't see spending good moneyto stock this stuff.

Sparky holds up "Is There A Hyphen In Anal Retentive?"and Alex GUFFAWS in spite of himself. A young GIRL inthe store gives out a YELP and rushes over to Sparky.

GIRLMy boyfriend needs that shirt!

Sparky hands it to the girl, and she carries itimmediately over to the CASHIER. Two other CUSTOMERSpaw through the pile that Alex has just rejected. TheyOOOH and AHHH. Sparky and Alex move out of the way,and Alex is impressed.

ALEXOkay, you win. Send me down somesamples, and I'll try 'em in theSanta Monica store. (pauses) Whoever thought we'd be teeshirttycoons?

EXT. SAN FRANCISCO SIDEWALK - CONTINUOUS

Sparky and Alex sling their jackets over theirshoulders and walk outside into the still-warm evening. We TRACK with them as they walk.

SPARKYCertainly not me - I just came overto help you open this second store.


ALEXAnd you've really made this onework - in fact, most of your crazyideas are benefitting both stores. I'm lucky you're here.

SPARKY(serious)

Unfortunately, I think I'm going toneed some time off to go back toGermany.

ALEXIs something wrong?

SPARKYIt's Grandmother Erna - I think herold body is just wearing out.

ALEXIs she ill?

SPARKYYou know her - she tries to hideit, but I can hear the pain on thetelephone.

ALEX(concerned)

I can't believe I might not see heragain. We had such fun when shevisited. She's a great lady.

SPARKY(brainstorm)

Why don't you come with me? Itwould do her good to see you again.

ALEXI can't leave the stores...

SPARKYSure you can - you've got a goodassistant in L.A., and this womanI've hired up here is veryresponsible - let's both go seeErna!

Sparky's so delighted by this idea that Alex has tosmile; it's also plain that Alex really wants to seeErna again.


ALEXWell, I'll have to think about itfirst...

SPARKYGreat, it's settled.

They both LAUGH.

SPARKY(continuing)

How did your visit with Nicole go?

ALEXAh, we've been separated for over ayear. We'll never patch it up.

SPARKY(surprised)

I thought you'd given up trying.

ALEX(clipped)

I just kicked Kristi out lastnight, and I felt a void in mylife. That's all...

SPARKYYou don't necessarily have to fillthat void with a woman.

Alex's head spins around - he stares at Sparky.

ALEXThat's what Nicole said.

SPARKY(offhand)

She doesn't fill the void with men.

ALEXI thought she needed someonedifferent.

SPARKYShe just didn't need... Look, sheand I have talked a lot about this. As we get older, we find that ourfriendships tend to be the centerof our lives.

ALEXWhat about sex?


SPARKYHey, I like sex just as much asanybody, but I don't know if it'sthat I'm getting pickier, or itit's the health issue... all I knowis that whenever I do get a loveinterest in my life, it tends tounbalance my friendships.

ALEXHmmm. This sounds familiar. (pause) Have you noticed that theonly time we get to spend any timetogether is when I'm between women?

SPARKY(dry)

I've noticed.

They CHUCKLE, then break into LAUGHTER. Alex notices agold pin on the lapel of the jacket that Sparky carriesover his shoulder.

ALEXWhat's this? An... angel?

SPARKYThat's my guardian angel.

ALEXYou're joking.

SPARKYNo. Everyone has a guardian angel. Even you. Here.

Sparky takes the pin off his jacket and pins it onAlex's.

ALEXI always knew you and Nicole were alittle off the deep end... butthat's alright, I love you guysanyway.

Alex puts one arm around Sparky's shoulder andsqueezes. Sparky smiles ruefully and shakes his head. They both walk by a PANHANDLER, and several yardslater, Sparky slows down and turns Alex around.

SPARKYDon't you ever wonder about thethread that connects us all?


ALEX(doubtfully)

Well, I know you and Nicole and Ihave a nice friendship...

SPARKYNot just us, Alex - everybody. Like that guy over there.

Sparky walks back over to the panhandler, takes outsome folding money and hands it to the man. SparkySNIFFS the man's breath, looks concerned, and takes outsome more money.

SPARKY(continuing, topanhandler)

Do me a favor and get some foodbefore the next bottle, okay?

PANHANDLEROkey-doke. God bless you, sir.

SPARKY(genuinely touched)

Thank you! And God bless you, sir.

The panhandler smiles at Sparky, who smiles right back. Sparky and Alex walk on. Alex looks baffled, and is atad hostile:

ALEXWhy'd you give him money?

SPARKY(playful)

He believed he needed it.

ALEX(incredulous)

And you don't need it?

SPARKYTo buy another Rolex? To get atwentieth pair of shoes? You'vebeen generous in sharing yourprofits with me, Alex - I justwanted to share a little with him.

ALEXHe's only a... (explodes) bum...who's just going to buy more winewith it!


SPARKYBut he blessed me. It felt good.

ALEX(disgusted)

That was just a reflex with him.

SPARKYNo, it wasn't. Did you see hissmile?

ALEX(gives up)

You're absolutely bonkers. I havenutso friends!

Sparky sizes up Alex's words, and weighs his own wordscarefully:

SPARKYYou know, you might be able to getsome perspective on this life, ifyou knew what was going on before. You should have a past liferegression done.

ALEX(wary)

What's that?

SPARKYA hypnotist who's specially trainedcan help you find out about yourpast life. They put you in atrance, and you can regressbackwards in time.

ALEXTo childhood.

SPARKYAnd further - you ought to try itsometime. It might stand you onyour head.

The camera ZOOMS IN, as Alex's eyes open wide.


MATCH DISSOLVE TO:

ALEX'S MEMORY - CONTINUOUS

He remembers Tarot card #12 - the upside-down man. After matching a CLOSE-UP of the faces of Alex and thecard image, the camera ZOOMS OUT and ROTATES the cardto show the man in his proper upside-down position.

MATCH DISSOLVE TO:

INT. CAPRICE HARING'S OFFICE - MORNING, TWO DAYS LATER

Alex is lying fully clothed on a couch, and we view himfrom directly above the couch. He appears to beupside-down, due to the camera POSITION, and his limbsare arranged exactly like the Tarot card. His eyes areclosed, but he talks to CAPRICE, a cute woman in hermid-thirties. She has hair the color of burnishedcopper, and she sits on a chair at the side of thecouch.

CAPRICEWhen I count to three, you willcome out of trance, and you willremember everything. Do youunderstand?

ALEX(murmurs)

Yes.

CAPRICEOne... Two... Three. You are nowwide awake, and you're lying on thecouch here in my office. (pause) How do you feel?

ALEX(awake, but slow)

Like I've been on a long trip.

CAPRICEWell, you were describing a pastlife that sounded to me like ittook place in the Middle Ages. Several hundred years qualifies asa lengthy journey!


ALEXYeah, it all seemed very real. (shivers) Hard to believe. I musthave a pretty active imagination.

She gives him a long look, then hands him a cassettetape.

CAPRICEI made a recording of your session,so you can review it whenever youwant.

ALEXThanks, Caprice.

Alex takes a good look at her for the first time, andlikes what he sees. Caprice notices the gold pin onhis jacket.

CAPRICEI see you have a guardian angel.

ALEXA what? (he follows her gaze) Oh,you mean this pin. (he seizes theopening) A good friend of minegave it to me, but I don't knowthat much about it. Do you?

CAPRICEI think it's supposed to representa guardian angel sitting on yourshoulder.

ALEXGuardian angels have alwaysintrigued me. Do you think wecould talk about them sometime -say, over dinner?

She smiles at him, and he smiles demurely back, thenlooks down at the pin on his lapel.

INT. PASSENGER JET CABIN - NIGHT, TWO WEEKS LATER

Alex looks up from the pin on his lapel and CHUCKLES atSparky, who sits in the seat next to him.

ALEXSo it all started with your littlepin.


SPARKY(sardonic)

I'm glad to see that it'sfulfilling its function.

ALEXHey, two weeks with a hot babe, andnothing but good has happened tous - it's doing a helluva guardjob.

SPARKYWho were you in this past life sheuncovered?

ALEXA monk named Volmar.

SPARKYA monk? You?!

ALEXHard to figure, eh? But I guessthere was a lady involved...

SPARKYOkay... This sounds more like you.

ALEX(smiles)

...and it seems that I was takingdown dictation from her.

SPARKYA man taking dictation from awoman? That's unusual - they wereeven more sexist than you, back inthe Middle Ages.

ALEXThat's why it seems like a bunch ofcrap to me - I've just got anoverheated imagination.

SPARKYDon't dismiss it completely. Didyou get any images of the placewhere... what's his name... Volmarlived?


ALEX(reluctant)

Well, there was this longbuilding - it might have been amonastery. (pause) Hey, this istoo far out there for me - let'stry to get some sleep. We'relosing nine hours as it is.

SPARKYOkay. Sleep well... Volmar!

Alex POPS him one with a pillow, and they mock-fighteach other, LAUGHING.

ALEX'S JET CABIN DREAM - THREE HOURS LATER

The setting is a grassy hill, a wooded glade, and theruins of a religious building. The roof is missing,and the rest of the building seems hundreds of yearsold. As we DOLLY into an open doorway, we see the farwall of the building, standing by itself in the openair. In the triangular upper portion of the wall,there are three windows, also set roughly in atriangular pattern, except that the top window isnoticeably offset to the right. The center of thescene starts to get unbearably bright, and a WOMANappears out of the brightness.

WOMANWelcome to my country.

INT. PASSENGER JET CABIN - CONTINUOUS

Alex is startled awake. Sparky smiles expectantly athim, and hands him a hot, steaming towel. Alexgroggily takes the towel and wipes his face.

ALEXDid you say something?

SPARKY"Welcome to my country!"

ALEX(yawns)

Boy, I incorporated that right intothe ol' dream factory. (pauses) But I saw that monastery buildingagain... except that this time, itwas hundreds of years old, andfalling down.


SPARKY(chuckles)

Interesting... but you'd betterbuckle up now - we're about toland. Erna's promised to meet usin the old Daimler.

EXT. FRANKFURT AIRPORT PARKING LOT - AN HOUR LATER

A black, shiny Daimler-Benz from the fifties glistensin the morning sun. Alex admires the glorious oldtank - it's in perfect condition. ERNA ZIELER, a well-preserved woman in her eighties, enjoys watching Alex'senvy play across his face, unconcealed.

ERNAYou can drive it if you want.

ALEXI'm surprised you drove down hereyourself to meet us.

ERNAAnd why wouldn't I pick up my onlygrandson and his best friend?

Sparky stands behind Erna, and waves Alex off with muchgesticulating and many contorted facial expressions.

ALEXWell, I'm honored that you did. Holy cow, my first visit toGermany, and I get to drive thisold classic!

They all pile into the car - Sparky helps hisgrandmother into the back, and slides in beside her.

INT. DAIMLER - CONTINUOUS

Alex fiddles with a couple of buttons, and finally getsthe car STARTED. He checks out the radio, and startsto turn on the short-wave.

ERNAThere's a CD player in the trunkthat will play through that oldthing. Just push the button overthere.


ALEXAh, the wonders of Germantechnology!

When Alex pushes the button, a strangely familiar MUSICwafts in on the wings of angels. Alex is stunned.

ALEX(continuing)

Is this Hildegard von Bingen?

ERNA(pleased)

You know her music? You are inHildegard territory now, you know.

ALEX(even morethunderstruck)

What do you mean?

ERNAWe can make a small detour and seethe monastery where she was raised.

Alex snaps fully around to look pleadingly at the twoin the back seat.

ALEXCan we? Oh, can we?! Please,please, please?!!

Erna and Sparky smile at each other, charmed by Alex'senthusiasm.

SPARKY/ERNAOf course we can!

ALEXEver since I heard her music, Ican't get it out of my head andit's just...

As Alex turns around to drive out of the airport, hecontinues to CHATTER like a monkey on a bananaplantation. Erna and Sparky are enjoying thisimmensely, but nobody can be more excited than Alex.


EXT. DISIBODENBERG MONASTERY - ONE HOUR LATER

Alex is still BUBBLING, as he leads Sparky and Ernathrough a leafy glade. Sparky is helping Erna, but sheseems to be slowing down. There's a bench by the path,and the guys sit Erna down - she shoos them off, andthey start walking on, reluctantly at first.

ALEXWhy didn't you tell me before thatHildegard was a neighbor of yourfamily?

SPARKYYou never asked. And since she'sbeen dead eight hundred years,she's a pretty quiet neighbor.

ALEXSparky, you are one sick puppy.

They CHUCKLE quietly, but when Alex turns to look upthe hill, his mood abruptly turns serious.

SPARKYAlex, are you okay?

ALEXI just got an overwhelming feelingof déjà vu. (shivers) It's givingme chills... look.

Alex holds out his arm, and all the hair is standing onend. They continue walking up the hill.

SPARKYAre you sure you're okay?

They are within sight of the monastery ruins, and Alexis trying to get his vocal cords to work, but nothingis coming out. He is thoroughly unnerved. Sparkyshakes him a little.

ALEXThat... that's the same building Idreamed about on the plane. Andit's deteriorated in exactly thesame way.

Alex starts running toward the building - Sparky walksbehind, watching him pensively. Alex slows up to gothrough an open doorway. The building has no roof.


ALEX'S P.O.V.

We DOLLY into the open doorway, and we see the far wallof the building. The triangular upper portion of thewall has three windows that look eerily familiar,because the top window is noticeably offset to theright.

ANGLE ON SPARKY

As Sparky walks up to the open doorway, he notices thatAlex is standing stock-still a few feet inside theroofless monastery, staring fixedly upward toward theexposed far wall. When Sparky gets to him, he tapsAlex on the shoulder. Alex still doesn't move, andSparky walks around to look at his face. What Sparkysees scares the bejesus out of him. He passes hishands in front of Alex's eyes, and studies the reactionof his irises. Sparky looks around for someone to callfor help.

ALEX'S MONASTERY VISION - CONTINUOUS

The monastery is nine hundred years newer, and it has aroof now. The center of the scene gets unbearablybright, and the same woman from Alex's jet cabin dreamappears out of the brightness. The details of theapparition are more exact this time, and we notice therichness of the woman's vestments. A large cross hangson the front of her black habit, a long cloak justcovers her shoulders, and an odd-shaped wimple on herhead has a circular device on the front, with twogracefully curving flaps at the sides. On the woman'sfinger, there is a golden ring, inlaid with a whitestone. The letter "H" is engraved in the stone, withthe vertical portions of the letter curving outwardtoward the top and bottom.

WOMANGive me life, Volmar.

EXT. DISIBODENBERG MONASTERY - CONTINUOUS

Sparky is still looking around for someone to call forhelp, but Alex returns to normal function, starts towalk back out of the doorway, and grabs Sparky by thearm.


ALEX(test pilot bravado)

Let's get back to the car, Sparky -I think I've got me a touch of thatthere jet lag.

Sparky stops him, and pulls Alex around so they'reface-to-face.

SPARKYJet lag? Are you kidding? Youwere gone, Alex. Your pupils werepinpoints, and you were standinglike a statue!

Alex pulls away, and continues walking down the path. We can see that he's desperately trying to collect histhoughts.

SPARKY(continuing)

Alex, what's wrong? (pause,softer) What did you see?

ALEX(yelling)

Look, Sparky, there's nothingwrong, okay? We left your sickgrandmother piled on that benchlike a sack of potatoes. Let's gosee if she's still upright!

Alex marches resolutely on. Sparky hesitantly follows. A few steps later, Alex looks back, contrite.

ALEX(continuing)

I'm sorry, Sparky. I don't knowwhat happened. It scared the shitout of me, but I'm okay now. Let'snot worry Erna, alright? She needsour attention focused on her.

Alex tentatively offers his arms for a hug, and theystiffly embrace. Alex is trembling, and Sparky isconflicted between worry and stifled curiosity.


INT. ERNA'S LIVING ROOM - NEXT MORNING

Alex and Sparky sit on a couch in a room filled withexotic objects - a trunk from Bali, carved masks fromAfrica, pictures of Erna as a young and beautifulwoman - all in all, the mementoes of a life well-lived. And well-traveled. Erna sits in a large chair oppositethe guys, studying several books in her lap. MUSICfills the air - it's Hildegard, of course, and thispiece combines a lilting voice singing above the steadymonotone produced by a medieval instrument.

ALEXSparky, I don't know about you, buta quick eighteen-hour nap leaves mefeeling quite invigorated.

SPARKYWe thought we'd have to send forthe charming prince to come andkiss you awake!

ALEX(sotto)

Yeah? Kiss this, Fuzzball.

Alex ruffles Sparky's still-frizzy hair, Sparky makesKISSING noises, and they both CACKLE good-naturedly.

SPARKY(louder)

Are you ready for your firstHildegard seminar? I think Erna isprepared to answer any questions.

ERNA(looking up)

You know, Hildegard felt that asteady musical tone like thisenhanced the holiness of the words,when they were combined.

SPARKYIt's supposed to arouse sympatheticvibrations in the body of thelistener.

Alex looks at Sparky in surprise.

ERNAAnd it allowed the sense of thewords to enter directly into thesoul.


ALEXYou both seem to know a lot aboutHildegard.

SPARKYMy parents were medieval scholars -we moved to this area just so theycould do more intensive research onher. I didn't inherit theirobsession, but I absorbed sometrivia over the dinner table.

ERNAAnd when I came to raise Lars afterthe accident, I became fascinatedwith Hildegard. She's regarded asa saint in Germany, even though theChurch never canonized her.

Alex reads from a CD booklet:

ALEXWhy did she call herself a "featheron the breath of God"?

ERNAShe didn't consider herself to be ascholar, and yet she wroteextensively - prose, poetry, andmusic. (gestures) She claimed itmostly came to her in visions, soshe felt she was just a mouthpiecefor the Divine Will.

ALEXA feather on the breath of God. (marveling) That's beautiful.

SPARKYDidn't she have her first visionwhen she was about three?

ERNAYes, but she didn't write anythinguntil later in life, when she feltthe courage to start recording hervisions.

ALEXHow old was she then?

Erna consults one of the books in her lap.


ERNAShe says it was in the seventhmonth of her forty-second year.

SPARKY(whispers to Alex)

When do you turn forty-three?

ALEX(mutters back)

End of the year.

Alex, puzzled, does a double-take, and Sparky nodsmeaningfully. Erna doesn't hear the byplay, andcontinues to read from the book.

ERNAIt says here that she wrote forthirty years by dictating to onemonk.

ALEX(strangled)

Does it say what his name was?

Alex and Sparky both lean forward, apprehensive of hernext words.

ERNAEr... Volmar.

Alex and Sparky look at each other, completelynonplussed.

EXT. EIBINGEN PARISH CHURCH - AN HOUR LATER

Alex, Sparky and Erna, on Sparky's arm, walk into thechurch. Sparky is wearing a small knapsack. We TILTUP to frame a sculpted statue of Hildegard, set intothe corner of the building.

INT. EIBINGEN PARISH CHURCH - CONTINUOUS

There's a CHOIR practicing at the altar, and the MUSICcontinues throughout the scene. Alex, Sparky and Ernaenter, and speak in HUSHED TONES. During theconversation, the three walk around the interior of thechurch and point out interesting little details to eachother. None of these details is ever commented on,except as noted in the dialogue.


However, at one point, there's an embossed golden boxset into the wall of the church, and the camera LINGERSon it long enough for the image to be remembered.

ERNAMusic in the middle ages was moremeaningful to the listener than itis today.

ALEXWhat do you mean?

ERNAThere were three levels ofharmony -

SPARKY(guessing)

The harmony of the instruments?

ERNAYes, and singing, or the harmonybetween body and soul...

ALEXI can't think of a third one.

ERNAThat's because it's not one thatthe modern age recognizes - it wasthe harmony of the elements, thespheres and the seasons. Amedieval person experienced musicwith the sure knowledge thateverything under the sun was intune with it. It was a gift fromthe Creator, and there was a lot ofsensory crossover - hearing colors,tasting sounds, that sort of thing.

ALEX(mumbles to Sparky)

I had an LSD trip like that.

Sparky muffles a LAUGH.

ERNAWhat did you say?

ALEXI said, uh... I'd like to see anexample of that.


Erna looks around the church, and points toward the topof one wall. A gargoyle sits there, with his mouthwide open.

ERNAA medieval person might look atthat little guy and actually hearhim shouting.

ALEXQuiet up there!

The three of them LAUGH, then look around at the choirguiltily.

SPARKYDon't some scholars thinkHildegard's visions were actually aform of migraine headache?

ERNAAh, yes - the "scintillatingscotomata" theory.

ALEXThe sin-eating what?

ERNA(laughing)

There are a couple of illustrationsof her visions that resemble thescintillating scotomata thatsometime come with a migraine. When you were a child, did you everpress on the outside of youreyelids to get "shooting stars"?

ALEXShucks, I still do that.

Alex and Sparky close their eyes and press on the lids.

ALEXGroovy.

SPARKYFar out, man.

Erna CHUCKLES at the goofiness of the two bozos. Theyare a fresh breeze in her life, and the outing is doingher wonders.


She stops to remove a book from the small knapsack thatSparky is wearing - it's one of the books she had inher living room. She riffles through the pages, thenshows Alex an ancient drawing. After pressing hiseyelids again, he looks at the book.

ERNAThere - does it look like that?

ALEXExactly. That's spooky.

ERNABut you have to remember thatHildegard didn't draw any of thesepictures - they were second-handrenderings by other artists. Theonly person who really knows whatthey see is the one who has thevision.

Sparky looks hard at Alex, who becomes discomfited andchanges the subject.

ALEXSo tell me about those eleventhousand virgins!

SPARKY(laughing)

I knew you'd bring that up again.

ERNAHildegard wrote a lot of musicabout Saint Ursula and the ElevenThousand Virgins. The officialstory is that this astonishingnumber of young women becamemartyrs while on a pilgrimage. It's a sad story, but we know nowthat it was a copyist's error thatmade eleven women into eleventhousand.

Alex stops to point out a stained glass window toSparky, while Erna strolls ahead to look at some tiles. When she's out of earshot, Alex whispers to Sparky:

ALEXI knew there couldn't be that manyvirgins in one place.


SPARKYWell, remember that it was wellbefore you came along, Alex.

Alex concedes the point with a shrug, and they walk tocatch up with Erna.

ALEXHow did Hildegard first hear aboutSaint Ursula?

ERNAShe had visions of Ursula, but italso could have been the relics.

ALEXRelics?

SPARKYThe mortal remains of a holy personwere considered to be powerfulobjects, so they actually broke upthe bodies and distributed thevarious pieces all over the knownworld. Hildegard's monastery had achunk of Ursula, known as herrelics.

They silently walk out of the church. Alex looks alittle queasy.

EXT. EIBINGEN PARISH CHURCH - CONTINUOUS

The three walk into the sunshine. Alex takes a deepbreath.

ALEXYou know, I think I'll be skippinglunch today.

SPARKYIt makes you wonder if the medievalchurch was any more enlightenedthan the pagans they condemned.

ERNADid you two see that beautifullyembossed golden box inside?

ALEX/SPARKYYes?


ERNAThat was their reliquary - itcontains the relics of Hildegard. They have her heart and her tongue.

Alex and Sparky look downright nauseous.

SPARKYI'll be skipping both lunch anddinner today.

ALEXI'm never eating again. (pause) Her tongue?

The guys extend their tongues and look skeptically downtheir noses at them. Erna LAUGHS at their antics, andafter much pulling on tongues, grotesque faces, etc.,they're all BREAKING UP.

EXT. ST. RUPERTSBERG ABBEY - LATER THAT DAY

Sparky and Alex look down from the top of a hill thathas an idyllic view of the Rhine, beyond a heavilywooded area. This locale has a lighter feeling thanthe earlier Disibodenberg monastery. The sun is aboutto set and a peaceful mood hovers over the two men.

SPARKYTen years after she startedwriting, Hildegard founded an abbeyhere, and later, one across theriver, over there.

ALEXSo I guess old Volmar must havebeen here with her.

Sparky chooses his next words delicately:

SPARKYOur friend Gianni in Milan oncetold me about a strange trance thatcame over some American andCanadian women, when they firstvisited Venice.

ALEXOh?


SPARKYThey said it felt like they weretraveling back through time. Thedoctors couldn't explain it. Itmight have been due to the factthat there was a lot more historyfacing those women than they wereused to back home. They call itthe Stendhal Syndrome.

SILENCE nestles in amongst the trees.

ALEXLet me get this straight - youthink my... experience at themonastery was like the... swooningof some... provincial, fat-assedwomen from... (spits it out) Kansasand Saskatchewan?

SPARKYAlex...

ALEXOh, you're definitely on the wrongtrack here, bucko. I've seen myshare of your precious Europeanhistory, and most of it should havebeen paved over long ago.

SPARKYAlex, you're being an asshole.

Alex considers this thoughtfully. After a few seconds,he decides he wants to save face, but he's being grumpyabout it.

ALEXMaybe. But Stendhal definitelywasn't Italian.

SPARKYNo. (relieved) He was a Frenchauthor, but he felt more at home inItaly. I guess he wanted to beItalian.

ALEXDon't we all?

SPARKYNot on an evening like this.


ALEXDammit, you're right again. I hatethat about you.

They CHUCKLE, and the tension is eased somewhat.

SPARKYErna liked our little tour thismorning.

ALEXSo did I. Except for the tongue.

They both stick out their tongues with distaste andSNICKER.

SPARKYHer mornings seem to be better thanher afternoons.

ALEXYeah. I'm glad she stayed at homefor a nap.

SILENCE again intrudes, and Alex makes up his mind.

ALEX(continuing, flat)

I saw Hildegard at the monasteryyesterday.

SPARKYOh?

ALEX(in a rush)

The monastery was still fairly new,and it had a roof on it, and shesaid "Give me life, Volmar." Itwas real bright, and I don't knowwhat she meant, and I'm stillscared shitless.

Alex has discharged a lot of energy with this speech. He paces nervously, rotating his neck to get the kinksout, and his body shakes sporadically andspasmodically. Sparky catches up to him, and startskneading his neck.

SPARKYIt's okay. Maybe it was just avision.


Alex stops walking and stares at Sparky in disbelief. When he finally speaks, he's nearly ranting:

ALEXJust a vision? JUST a vision?! You crazy bastard! Maybe you JUSTpopped the cherries on eleventhousand virgins, but I did nothave JUST a vision! I may have hada Vision, with a capital "V." Or,I may have had a Vision, Pluck MyEyes Out. Or, I may have had aVision, Halle-Fucking-lujah. But Icertainly did not have JUST avision!!

Sparky waits to allow all this to sink in. Then hedeadpans:

SPARKYAt least you're adjusting to itwell.

Alex's mouth drops open; he HOWLS with laughter likehe'll never get to laugh again, and he's got to cram itall into this one last laugh. Sparky joins in, andquickly catches up in sheer laugh horsepower. Theytake their sweet time to finish, wipe their eyes, andLAUGH some more.

INT. MAINZ HOSPITAL ROOM - LATER THAT NIGHT

Erna is lying with her eyes closed; there's a slightdeformation of one side of her face, and she's hookedup to monitors. Alex stands at the end of the bed, andSparky sits at her side.

ALEXYou two have always had impeccablelanguage manners with me...

SPARKYWhat do you mean, language manners?

ALEXWhenever I walk into the room, youalways switch to English. And Iappreciate the effort, but if it'seasier for Erna to speak Germanwhen she wakes up, you can alwaystranslate the important stuff.


SPARKYBut we don't speak German with eachother.

ALEXWait a minute - this is Germany,isn't it?

SPARKY(amused)

Yes, but she's a Dane. We speakDanish with each other.

ALEXYou never told me.

Erna opens her eyes, and they're twinkling, but herspeech is slightly slurred:

ERNAYou mean he never mentioned ournative language over coffee? Afterall, the two go together.

ALEX(surprised andconfused)

Coffee and... Danish?!

Alex walks to the head of the bed and shakes a fingerat her, then kisses her cheek.

ALEX(continuing)

That extraordinary mind in therehasn't lost a step - and we thoughtyou were asleep!

ERNAJust resting - this old body is...how do you say it in America?...pooping out on me.

SPARKYYou'll be feeling better in notime, Erna.

ERNANo, I don't think so, Lars. You'regoing to have to let me go, soon.

ALEXBut lots of people recover fromstrokes.


ERNAAlex, the stroke was just a gentlereminder - do you think I enjoystaying in this body, lying in bedwhile you two get to go running allaround the countryside?

ALEXBut...

ERNA(firmly)

No, Alex - you don't need to cheerme up, I'm not being morbid. Ijust want you and Lars to be readyto let my spirit go, when the timecomes. This body has served mewell, and I've had a great time onthis planet, but everyone has togo, and my time is short.

The guys don't know what to say.

ERNA(continuing)

But enough of that - I'm not goneyet. I heard you two talking aboutAlex's vision - that's asignificant sign, Alex.

ALEXBoy, you don't miss anything...

ERNAThat's the one advantage to beingold and sick - you can eavesdrop onlots of juicy conversations andno-one suspects. For instance, alittle while ago, the blonde nursesaid to the brunette that shethought Lars was adorable.

SPARKYErna!

ERNAAlex, do you think you will writeanything about your experiencesover here?

ALEXThat's a... wonderful idea!


ERNAIt would be a great honor if youwould write a little somethingabout me.

ALEXI'd be proud to do that - and I'lltry to do a good job.

ERNAI'm sure you will - it's a way ofgiving me a new life here onEarth - a life on the printed page.

Alex CHOKES UP.

SPARKYIt's going to be awfully lonely ifyou leave, Erna.

ERNANot when you make friends with thatblonde nurse.

The guys LAUGH with her through their sadness. Erna'sBREATHING becomes labored.

ALEX(sobs)

Erna!

ERNA(whispering)

Stop that. I have a last piece ofadvice, if you two want it.

SPARKY(shakes his head inamazement)

Of course we do, Erna.

ERNA(slowly)

Always remember... that you...create your own life... so don'tsettle... for anything less... thanexactly what's right.

She stops BREATHING. After a few seconds, Sparkycloses her eyes. Two NURSES rush in somewhat later,but Sparky and Alex are already mournfully walking out,their arms around each other's shoulders.


INT. ERNA'S LIVING ROOM - TWO DAYS LATER

Sparky, in a black suit, is sorting through bric-a-bracin the Balinese trunk. Alex walks into the room,similarly attired, carrying a suitcase. He sits downnext to Sparky.

SPARKYFirst it was my parents' house,then it was Erna's, and now I guessit's mine.

ALEXWill you stay here?

SPARKYI don't know if I'll be coming backto run the San Francisco store verysoon, if that's what you mean.

ALEXNo, that's not it at all. Thebusiness shouldn't concern you inthe least right now.

SPARKYBut it should concern you. Thankyou for staying through thefuneral.

They embrace warmly.

ALEXAre you going to be all right?

SPARKYOf course. Erna raised me with ahealthy attitude toward death. I'll miss her, but I know that hersoul still exists somewhere.

ALEXI still don't know what to make ofthat last night in the hospital.

SPARKYThat was Erna's way of making agood death. She left us both withsomething that will make our livesricher.

ALEXWhat's that?


SPARKYA clearer knowledge of what thatlast stage is all about. I think alot of people who fear death areafraid only because they regretthat they haven't lived their livesfully. They don't understand wecan choose to muddle through ourlives, accepting whatever littlecrumbs fall in our paths, or we candemand the whole cookie.

ALEXAnd if we've lived a life full ofcrumbs?

SPARKYThen we'll whine for the cookie atexactly the wrong time - when we'resupposed to get ready to leave thecookie-eating to those with ahearty appetite.

ALEXSo you're saying that life is likea box of Oreos?

SPARKYYup! And you can gobble them downwhole, or lick out the whitecenters first. However you chooseto do it, you have to make sure youenjoy the cookies you get, whileyou're still able to. Erna's boxof Oreos was emptying out, and sheknew it. She was trying to tell usthat she had a full tummy, and notto feel sorry for her. She savoredthose Oreos, right up to the veryend.

ALEXI thought I saw a few black-and-white tidbits on her hospital bed.

They CHUCKLE, they LAUGH, they CHOKE UP, they SOB, theyhug each other and PAT each other's back. Sparkystands up to get some tissues.

SPARKYWe'd better get you to the airport. I think Godot is waiting for you,back in the States.


ALEXYou believe those shirts will sell,huh?

SPARKYHey, you saw the response...

ALEXYou're right again. (pause) Doyou really think I had a vision?

SPARKY(seriously)

Both Erna and I were convinced.

ALEXSo what does that mean?

SPARKYIt's hard to know. It seemsobvious that Hildegard is trying tocommunicate with you.

ALEXOh, come on, Sparky.

SPARKYThink about this for a minute - whywere you so attracted to her musicat first?

ALEXIt... sounded interesting.

SPARKYWhy did you come to Germany?

ALEXBecause... of you and Erna.

SPARKYWhy were you so hot to go to themonastery?

ALEXBecause... of... the music?


SPARKYAlex, all of these things arerelated, as well as the guardianangel, Caprice, your experienceunder hypnosis, and your dream onthe plane. You just don't want toacknowledge the connections in yourlife.

ALEXBut... that would mean... thateverything in my life is connected.

SPARKYExactly. And everything you see,and feel, and touch. There's amusic that you're just beginning tohear, and you don't want to danceto it. But every now and then, youlook down, you see your feettapping, and it terrifies you.

Alex has been nervously jiggling his foot; he glancesdown and stops it, with a HUFF. Sparky CHUCKLES.

SPARKY(continuing)

Look, you should just let the musiccome into your life, in whateverform it takes, and see where thedance leads you.

INT. L.A. DANCE CLUB - EVENING, TWO DAYS LATER

In a CLOSE-UP of the bar surface, two pub-mat-typecoasters are slapped down - embossed on them, in Gothiclettering, is "The Last Chants Saloon." Heavy bassMUSIC throbs - it might resemble Enigma's Violent U.S.Mix of "Sadeness, Part I" - which has some yelling andGregorian chanting, blended with a driving dance beat. The general effect is disconcerting, yet somehow...seductive, in a decadent way. As the camera WIDENSOUT, two drinks are placed on the coasters by aheavily-tattooed BARTENDER dressed in some sort ofleather harness/thong contraption. His nipples arepierced, and a heavy chain hangs between them. Otherparts of his body are pierced, and we WIDEN OUT furtherto see Alex and his friend JOHN DENSMORE. John's anextrovert with a Fu Manchu moustache, goatee, and longblack hair. Alex and John look slightly out of placein this club, due to everyone else's aggressiverejection of mainstream conventions.


The tattoo- and body-piercing-quotients are very high,and most of the hair colors are not hues that arenormally found in nature. Leather and latex are thebody coverings of choice, although very little skin isactually concealed. The orientation of the club seemsto be... homosexual?... bisexual? Maybe omnisexualwould be a more accurate word. PEOPLE of all gendersand persuasions are rubbing up against each other, andthe overall impression is probably similar to that ofBerlin under Hitler, Rome under Caligula, or Sodomunder Gomorrah. You can't help wondering if all thesepeople weren't the same types who had a lot of troublein high school. Let your imagination run wild withthis one, or maybe let the Production Designer'screativity kick in; s/he will probably have more of afeel for this milieu than the two of us put together.

ALEXJohn, why did you want me to meetyou here?

JOHNIt's halfway between our twohouses. Plus, I wanted to give youyour mail.

ALEXThanks for picking it up for me.

JOHNBesides, here you can really getthe feeling that we're all doomed. It's my kind o' place.

ALEXDon't tell me you're still on thatmillennium/end-of-the-world kick?

JOHNHey, you'd better party between nowand 1999, because there ain't gonnabe any place to party after that.

ALEXYeah, right.


JOHNIt's just a symptom of our epoch -people go nuts at the end of everycentury. But this is the Big Onecoming up - it's the end of thewhole stinkin' millennium. So itstands to reason that places likethis would have a finger on thepulse of the era.

ALEXThat guy over there has his fingeron something...

JOHN...and now it's up something...

ALEXYou're disgusting.

JOHNMe? It's him (pointing) that's...

ALEXOkay, enough, enough.

Alex looks through his mail, selects an envelope, andopens it. Inside is a greeting card bearing a pictureof Tarot card #2 - the High Priestess. The image looksfamiliar, with a cross on the front of her habit, along cloak just covering her shoulders, and an odd-shaped wimple that has a circular device on the frontand curving flaps at the sides of the head.

SUPERIMPOSE ALEX'S MEMORY - CONTINUOUS

The woman from Alex's monastery vision, who is also thesame woman from his jet cabin dream, overlays the imageof the woman on the Tarot card, in a ghostly way. Thematch between the two women is striking.

LOSE SUPER

And we're fully back to the dance club, still lookingat the greeting card with the High Priestess on it. Alex peers inside the card to see who it's from, andJohn notices his rapt preoccupation.

JOHNBad news?


ALEXNo... it seems that Nicole had apremonition that this Tarot cardimage would be meaningful to me.

JOHNAnd is it?

ALEXWell... I actually... saw someonewho looked like this when I was inGermany.

JOHN(peeks at card)

Hanging out in all the hot spots,eh?

The MUSIC gradually segues into a pounding danceversion of one of Hildegard's songs. Alex is startled,and looks closely at the Tarot card image in his hand.

ALEXSparky said you should just let themusic come into your life, inwhatever form, and see where thedance leads you.

ANGELYNE (O.S.)Hey, cutie pie, wanna dance?

The guys look up from the Tarot card image and see aphenomenally well-shaped, hard-as-nails WOMAN standingin front of them. ANGELYNE wears a circle-front wimplewith side flaps, and is obviously going for the look ofa nun - with a decided twist. As we TILT DOWN from herhead to her body, we notice that instead of a blacknun's habit, she has donned skin-tight black leather -with lots of randomly-placed zippers. She has a cloakwhich partially covers the leather, and there's a largecross dangling between her two huge, rounded bosoms. As the guys scan the zipper-encrusted leather, shenonchalantly parts the cloak to reveal that two of thezippers have been impudently unzipped to allow twothumb-sized erect nipples to be exposed. Our twoheroes look like they'll have to retrieve their jawsfrom the floor, but John struggles to rise to theoccasion:

JOHNWell, since my friend doesn'tdance, I'll have to fill in forhim.


John offers his arm to Angelyne, and Alex watches thetwo of them dance out to the middle of the floor.

ALEX(to himself)

There but for the grace of God, goI.

After a minute of looking at the Tarot greeting card,Alex gathers up his mail and walks over to John on thedance floor. Alex pulls him aside, while Angelyne'sbrown, thumb-like nipples continue to bounce andgyrate.

ALEX(continuing, toJohn)

I gotta get out of here. I'mfeeling like I need to... clean up.

INT. CALISTOGA MUD BATHS - NEXT AFTERNOON

Alex and Nicole sit facing forward in adjoining mudbath compartments, up to their necks in brown goo. Nicole's eyes are closed, and both she and Alex lookvery relaxed; after a few seconds, Nicole gets up theenergy to speak:

NICOLESo the High Priestess Tarot cardreminded you of someone?

ALEXYeah, she keeps popping up in mylife, in one form or another.

He sticks his thumbs up through the surface of thebrown mud, gyrates them and studies the effectintently.

NICOLEI needed this - my muscles werebegging for a break.

ALEXIs the massage business wearing youout?

NICOLENo, I love it. But I haven't had amassage myself in over three weeks. This is the next best thing.


Alex thinks a bit, then turns his head toward Nicole.

ALEXWhat if a character from one ofyour past lives asked you to givethem life? How would you interpretthat?

NICOLEI've never had a past-liferegression done. (pause) Someoneasked you to give them life?

ALEX...Yeah.

NICOLEYou had a dream about this person?

ALEX...sort of... yeah.

NICOLEWell, you can keep a person'smemory alive by talking about them,or having a memorial service... ormaybe writing about them.

ALEXWriting about them... that might doit... I'll write about... them.

NICOLEI thought you were very skepticalabout the whole past-life business.

ALEX(faraway look)

You know, I can't say that I'm awholehearted believer, but thereare just too many coincidences toignore. I feel like I've got to...do something.

NICOLEGood luck. (pause) Is Sparkycoming back?

ALEXI don't know. Sooner or later I'vegot to check on the San Franciscostore and make sure everything'srunning smoothly.


Nicole opens her eyes, surprised.

NICOLEYou haven't been over there yet?

ALEXNo. I had to talk to you, first...

NICOLE(warning)

Alex...

ALEXNo, Nicole, I won't bug youanymore - but when you sent me thatcard, I had to find out where theimage came from.

NICOLEAs I said, it just showed up in aprominent position when I dealt theTarot cards.

Alex shifts around in the mud.

ALEXI felt like I was a wet watermelonseed when I was in Germany.

NICOLEWhat?

ALEXSomething started squeezing mebetween its thumb and forefinger,and out I popped, going a zillionmiles an hour. I have no ideawhere I'm going... but I'm makinggreat time getting there.

NICOLEAre you aware that I'm a championwatermelon-seed snapper?

ALEXNo way! I can beat you any day.

NICOLEI've got some watermelon at home -I challenge you.

ALEXYou're on.


INT. HSI LAI BUDDHIST TEMPLE, L.A. - TWO DAYS LATER

Alex and Caprice wander tentatively into theentranceway of the largest Buddhist temple in thewestern hemisphere, right in Hacienda Heights. Thousands of four-inch statues of the Buddha are insetin the walls, up to a thirty-foot ceiling. Each hasits own little enclosure - tiny walls, ceiling andfloor. Most of them have twenty-five-cent coinsbalanced on their interlaced hands, and the coins areleaned back against their stomachs. The furnishings atthe front of the temple look sumptuous - lots of goldleaf and crystal. Several rows of plush kneelers linethe floor. Alex and Caprice are the only ones insideat the moment.

CAPRICE(ironic)

So you rushed right back to see me?

ALEXWell... I had to... check on theSan Francisco store.

CAPRICEAnd how's it doing?

ALEXI really don't give a flying fuck. It hasn't burned down. My mind ison other things at the moment.

CAPRICE(surprised)

Like what?

ALEXLike how did they get thosequarters all the way up there?

Caprice TITTERS, takes a quarter out of her purse, andpretends she's going to toss it up thirty feet.

CAPRICEI think this is one of the skillsyou have to develop to become aBuddhist.

It's Alex's turn to LAUGH.

ALEXNow you're being sacrilegious. Thekarma police will be forced to giveyou a ticket.


CAPRICEI can get it fixed - I know somepowerful people.

ALEXYeah? Like who?

CAPRICEWhen you do past life regressions,you meet lotsa major bigshots. (pause) So, what's reallybothering you?

She moves in to put an arm around him, and hereciprocates, absent-mindedly.

ALEX(hesitantly)

How can I... best honor a nine-hundred-year-old woman?

CAPRICE(playfully)

You're making me jealous!

ALEX(serious)

Caprice, I had an... experience...in Germany. I feel like it'schanging the whole direction of mylife.

CAPRICEYou got a Postcard From TheUniverse, huh?

ALEXPostcard From The Universe?

CAPRICEA friend of mine calls it that - itcan take many forms, but when amessage drops out of the blue, andgives you some valuable insight orinformation that you didn't havebefore, that's a Postcard.

ALEX(brightens)

That's an interesting way ofputting it - I got a Postcard FromThe Universe, but... I'm stilltrying to figure out who or whatsent it.


CAPRICEDid it have anything to do withErna?

ALEXWell, she taught me things I neededto know, and she gave me a newperspective, but... look, I'mhungry - let's go get something toeat, and I'll tell you on the way.

EXT. TAIL O' THE PUP, L.A. - FORTY-FIVE MINUTES LATER

This hot dog stand is an example of programaticarchitecture at its finest - you can step up to a smallbuilding that's shaped like a hot dog on a bun, andorder a hot dog on a bun to eat. Alex SLURPS the extrafixin's off a wienie, and Caprice LAUGHS as she bitesinto her dog, and it SPRAYS mustard and relish onto hisshoe.

ALEXFrom the sublime to theridiculous - when you said you'dtake me on an architecture tour, Iassumed we'd be seeing somethinglike a Frank Lloyd Wright house.

CAPRICEI'm taking you to the Watts Towersnext. Wait'll you get an eyeful ofthem. (pause) Do you know how aZen Buddhist orders a hot dog?

ALEXNo, how?

CAPRICEOne, with everything!

ALEX(laughs)

You're as bad as Sparky... come tothink of it, I should put that on ateeshirt. He would.

CAPRICEI'll expect a royalty. (pause) Soyou're going to write aboutHildegard. That makes sense.


ALEXI just wish I could be sure thatI'm headed in the right direction.

CAPRICEWell... there's this channeler I goto who might be able to give yousome advice. (pause) She's awalk-in.

ALEXA what?

CAPRICEThe person who was in this bodydied, but at the moment of death,Virella took over the body. It wasall pre-arranged, and now Virellachannels Setlak, one of hercolleagues from the Higher Planes.

Through this little speech, Alex's eyes have glazedover, and he's backing away from Caprice.

CAPRICE(continuing)

Hey, for someone who had a tête-à-tête with Hildegard von Bingen, youshouldn't be so judgmental.

Alex furrows his brows, deep in thought, and then nods.

ALEXMaybe you're right... maybe you'reright.

INT. BARNEY'S BEANERY, L.A. - A WEEK LATER

Alex and John sit drinking beer at the bar in thisgrungy old landmark. Hundreds of automobile licenseplates are arrayed on the low-hanging ceiling, andnewspaper clippings, brewery paraphernalia, andmemorabilia from nearly seven decades festoon thewalls. It's a dive, but it's a self-respecting dive,with an aura of history, and that makes all thedifference. We can glimpse chopped Harleys lining thecurb outside the grimy windows, but it's a toss-up asto whether they belong to the HELL'S ANGELS, or to theYUPPIE LAWYERS who are just doing a little weekendslumming. Both types are represented at the bar - thelawyers are the ones who look nastiest. Our boys arehalf in the bag, and John's enumerating hisconversational points on his fingers:


JOHNAlright, you've got your Famine -that would be at my house justbefore payday. You've got yourPestilence - that would either bethe killer bees, or those yuppielawyers over there. You've gotyour Destruction, of which we haveseveral choices - mudslides,brushfires, earthquakes or wheneverI start throwing things at the cat. And to top off the Four...Jockeys...

ALEX...Horsemen, John - it's the FourHorsemen of the Apocalypse.

JOHNYou say potayto, I say potahto. Sothe last Jockey is Death - the bigguy himself. You ever watch thatcable news channel? They gottwenty-four-hour-a-day Death onthere. It's gotten so thick, I'vestarted to see a certain... beautyin it.

ALEXBeauty? You're deranged.

JOHNI have a videotape collection ofDeath's Greatest Hits - the mostoutrageous ways to die that wereever broadcast into my home.

ALEXAnd how long have you beencollecting these... treasures?

JOHNA couple of years now. These arethe Last Days, Alex. Nostradamuspredicted it, all thosetelevangelists are saying it, andmy landlord is nailing it on mydoor.

(MORE)


JOHN (CONT'D)The way I see it, with all thesereputable authority figures tellingus to panic, why hold it in anylonger? We might just as wellscream our guts out until 1999brings it all to an end.

ALEXThe world won't be here in 2000?

JOHNWell, technically, the millenniumwill come to an end in December of2000. You see, the first yearafter Christ's birth wasn't theyear zero, it was the year one - sotwenty centuries later will be whena year ending in zero turns into ayear ending in one.

ALEXBut you've always said that 1999will end it.

JOHNAnd I stand behind that. TheFrench agree with me.

ALEXThen you have obstinate self-righteousness on your side.

JOHNHow is Nicole? Never mind. TheFrench have got an atomic clock atthe Pompidou Center that's countingout the seconds until the end of1999. And if it's good enough forthose wacky French, it's goodenough for me.

ALEXI'll drink to that.

JOHNPompeeeedoooo... Popeyedoodledoo...That is a choice word for whenyou're out beer-drinking. But backto the calendar - you know, yougotta wonder about all that fuckingaround that Pope Gregory did in...(counts on his fingers) ...1582.


ALEXWho was he fucking around with?

JOHNFucking around with the calendar,Alex... stick with the program,guy. In 1582, Thursday, October 4was immediately followed by Friday,October 15.

ALEXYou're kidding. So they lostlike... (computing blearily)nineteen days that month?

JOHNClose enough. Can you imaginepaying the rent again two weeksafter you'd just paid it?!

ALEXWow.

JOHN"Wow" doesn't even begin to coverit.

ALEXSo you think 1999's going to be thebig year?

Prince's hit song "1999" just happens to be PLAYING onthe jukebox at this very moment. Can you believe it? I'm flabbergasted myself.

JOHNMy man Prince, or whatever his nameis now, said it best... (singsalong) "tonight I'm gonna partylike it's 1999."

The temptation to play the air guitar is too great forJohn, and as he cavorts around, Alex picks up anewspaper lying on the bar, and peruses the bottom ofthe page.

ALEXHey, check this out... (quotes)"scientists now believe Christ wasborn seven to nine years earlierthan was formerly suspected."


JOHNGimme that. (reads) Suspected?! They're supposed to be sure aboutthis kinda shit! That's whythey're scientists, fer Chrissake. (ponders) So if Christ really wasborn in 7 B.C. or earlier...

Alex checks his watch and TAPS it.

ALEX...by my calculation, that wouldmake him slightly over two thousandyears old.

JOHN(thinks)

Hey, wait a minute, this throws thewhole deal off. The realmillennium has already come andgone.

ALEXBummer.

John drops the newspaper, sits comatose for severalseconds, then suddenly grabs for the newspaper again.

JOHNThey got free personal ads in here,right?

ALEX(dumbfounded)

Wait a minute - the world's notcoming to an end, so you're...

JOHN...going babe-shopping. Here, helpme design an ad - "single whitemale, handsome, prosperous,upbeat"...

ALEXHow about "butt-ugly, barelysolvent and manic-depressive"...

JOHNAre you friend or foe?

John points a finger at Alex, pretending it's a gun. Alex raises one hand in the air and puts the other flaton top of John's finger, pretending it's a Bible.


ALEXI'd rather not perjure myself,Your Honor.

JOHNAs the Inquisition's officialPersecutor, it's my duty to informyou that you've been convicted bythe Bar Association (sweepinggesture) ...the Defendant is nextin line for a caning.

ALEXAs long as they don't cut off mywee-wee.

JOHNDon't worry - that only happenswhen you're married.

ALEXYou're telling me?

JOHNSorry. Lost track of the players -that's what I get for not investingin a scorecard.

ALEXAnd just when your team's coming upto bat.

Four HELL'S ANGELS are walking over, behind John'sback - they're scruffy, with shoulder-length hair,ratty beards, dark sunglasses, and thick necks.

FIRST ANGELDid we hear you guys making cracksabout "yuppie lawyers"?

There's a horrible STILLNESS, which stretches outpainfully. Alex and John are sobering up quickly,right in front of our eyes. Alex finally breaks thesilence:

ALEXBuy you a drink, counselor?

The Angels hesitate a beat, then ROAR with laughter. They SLAP Alex and John on the back, and order beersfor our doughty stalwarts.


EXT. GREAT WALL OF L.A. - LATE AFTERNOON, A WEEK LATER

Alex and Nicole walk along the east bank of the TujungaWash flood control channel, in a grassy area withwidely-separated trees. Stretching for a half-mile ormore on the west wall is a mural which tells thehistory of California from the age of dinosaurs to thepresent. They admire the artisan's handiwork as theystroll, but they are more caught up in their ownconversation.

ALEXHow long was your Chinese massageworkshop?

NICOLEJust two days.

ALEXI'm glad you saved some time for mebefore your flight. I wanted totalk to you about my book.

NICOLEI still haven't found those storiesyou wrote for me.

ALEXNo matter - I'm writing a lot ofnew stuff. The research I'm doingon Hildegard is especiallyinspiring.

NICOLEWhy is that?

ALEXShe was an exceptional woman. Sheadvised a pope, an emperor and aking, and she was widely respectedas a prophet. They called her theSybil of the Rhine. She even didexorcisms!

NICOLEAnd how much of this is making itinto your book?


ALEXNot a whole lot. Some of it isjust background for a story aboutErna. I do want to make Hildegardthe focus of a longer piece, but Istill have to figure out myrelationship with her.

NICOLEDon't you mean Volmar'srelationship?

ALEXNo, I feel like I have to find outwhat it is between her and me.

They walk in SILENCE for awhile. A few cars go by.

NICOLEHow did you spend your day?

ALEXI had a karate lesson this morning.

NICOLEYou're back in it? Good for you!

ALEXYeah, it's stimulating to have thatdiscipline and spiritualorientation back. And after ayear's layoff, the physical workoutdoesn't hurt, either.

NICOLEI noticed a blue uniform jacket inthe back of your car. Where didthat come from?

ALEXI'm doing some volunteer work atthe hospital, and they make us wearthat to identify ourselves.

NICOLE(impressed)

Germany was a real cusp in yourlife, wasn't it?

ALEXMaybe. What's a cusp?


NICOLE(smiling)

It's a mathematical term - itbasically means a turning point.

ALEXWell, I told you I felt like a wetwatermelon seed.

NICOLEBut then you didn't know whatdirection you were going. Now youseem to have chosen a course.

ALEXNah, I'm just bumbling along.

NICOLESome of the Eastern disciplines Istudy concern themselves with aconcept they call "right action atcusp."

ALEXHow do you determine the rightaction to take? How can you figureout something like that?

NICOLEA lot of it has to do with thedemands of the particular time. Sometimes you have to immerseyourself fully in the experienceand let it guide you.

ALEXSparky said something like that,but he hauled in a goofy dancinganalogy.

NICOLEWhat do you want? He's a dancemaniac!

ALEXSomeone else I know told me toconsult a channeler for direction.

NICOLEI've never been to a channeler -you'll have to tell me what it'slike.


ALEXTo tell you the truth, I feel likethis person might wind up being aquack.

NICOLESo what? Keep your mind open andtry it for the experience. Yourintuition is becoming muchstronger, and it will tell you whatfeels right. If you trust yourinner voice, you can't go wrong.

ALEXI've been getting some strongnudges when I sit down to write. Sometimes it feels like Hildegardis whispering the words in my ear.

NICOLEAnd how does it come out when youwrite them down?

ALEXSome stories are more complete thanothers. I just rewrite them untilthey sound okay. I'm working onone right now that's heavilyinfluenced by Sparky and Erna.

NICOLEWhat's it about?

ALEXIt deals with the changing natureof personal reality.

NICOLEJust a light piece, I see.

ALEX(smiles)

For instance, several people couldbe walking this same path and seeentirely different things in thatwall.

NICOLE(stares at mural)

I like the strong imagery.


ALEXAnd I like the historicalsignificance of those sequences. (points) But there are alsodisturbing sections, and someonecould concentrate on those andbecome very upset.

NICOLESo what's the point?

ALEXWell, it's not just this mural, andit's not just external reality. Each moment that we're alive hasthe potential for great joy andalso for great tragedy...

NICOLE...and it's just a matter of wherewe choose to put our attention.

ALEXExactly! Not only do we have thiswonderful ability to perceive ourown lives as full of joy or pain,but we also have a limited power tobring joy or pain to someone else'slife.

Alex is caught up in this idea, and his face nearlyglows as he looks across at the mural. Nicole gazesadmiringly at this person next to her, and she sees theman she fell in love with nearly twenty years ago. They continue walking and realize they're back atAlex's car. Alex checks his watch and suddenly hurriesto unlock Nicole's door.

ALEX(continuing)

I'd better get you to the airport,or you'll miss your flight!

Alex holds the door for her, and she gets inside. Thedoor closes.

INT. ALEX'S CAR - CONTINUOUS

As Alex rushes around to get in the driver's side,Nicole smiles to herself and speaks words that might ormight not have been meant for Alex:


NICOLEI could have taken the laterflight. There might even be one inthe morning.

Alex opens his door and jumps in behind the wheel. Ashe starts the car, puts it in gear and checks themirror for traffic, he asks:

ALEXDid you say something?

NICOLEJust trying to remember the gatenumber. I'll check my boardingpass.

INT. VIRELLA'S LIVING ROOM - MORNING, TWO DAYS LATER

Caprice and Alex sit on a couch in a comfortable, well-furnished living room. There are many crystals ofvarious sizes on the coffee table, and a couple of hugegeodes - they have been sawn in half and revealthousands of red crystals lining the center of theirrespective cavities. There's a dream-image paintinghanging over the mantle, of a woman in the clouds who'sin the process of changing into a butterfly. Alex getsup to check out the full-to-overflowing bookshelf, andfinds copies of "The Celestine Prophecy" and "SethSpeaks", as well as many self-help, inner-child andco-dependency books. Lower on the shelf are somevideotapes, notably "Field of Dreams" and "LittleBuddha." Caprice walks up behind Alex, and looks overthe books herself.

CAPRICEShe's got a lot of the same booksas my spiritual practitioner.

ALEXOkay, I'll bite - what's a"spiritual practitioner"?

CAPRICEI attend a Religious Science churchfrom time to time, andpractitioners are trained laypeople who help with spiritualcrises.

ALEXSuch as whether to polish off theentire pint of Häagen-Dazs?


CAPRICENow who's being sacrilegious?

ALEXSorry. It's a very stressful timefor me. Now Religious Scientists -are they the ones who don't believein doctors, or the ones who knockat your door?

CAPRICEAlex! Those are ChristianScientists and... Avon ladies. Nowtell me why this is stressful foryou.

ALEXI can't believe I'm seeing achanneler - this is way beyond whatI consider to be normal.

Caprice picks up a magnetic compass from the mantel,and beckons Alex to come and sit on the couch.

CAPRICEYou see this compass? It alwayspoints to magnetic North, unless...

She moves the compass near one of the geodes. Theneedle of the compass flips toward the geode.

CAPRICE(continuing)

...it gets near a deposit of iron. When it moves away from the iron...

She brings the compass closer to herself. The needleswings back to where it was originally.

CAPRICE(continuing)

...the needle finds North again. You have a direction finder insideyourself that works just as well.

ALEXYou mean if I get too close to ageode, I'll walk in circles?


CAPRICELunatic. If anything Virella, orrather, Setlak, says doesn't agreewith your internal direction-finder, you'll know it - and you'llreject the advice. You're a bigboy - you know what's best for you.

ALEXThen why did I come here?

CAPRICEYou're curious. You're on aspiritual quest, you're veryconcerned that you're moving in theright direction, and you're lookingfor input. That's why you came tosee me.

ALEXActually, Hunter Thompson, thecelebrated gonzo journalist, has anidea of God that's a lot like yourMr. Wizard demonstration, there. He says that if you get lined upwith the quote "Great Magnet",everything starts falling intoplace - and if you try to goagainst that irresistible force,you might as well piss into thewind.

CAPRICEPiss into...?

ALEXIt's a guy thing - like writingyour name in the snow.

VIRELLA enters the living room from the study. She's asmall woman of indeterminate age, with greying hair. She wears a loose-fitting robe, and a small crystalhangs from a delicate chain around her neck. She looksvigorously healthy, and she shepherds another CLIENTtoward the door. Her voice is very businesslike, andsomewhat masculine.

VIRELLASo give me a call if you ever wantSetlak to do a telepathic reading.


Alex rolls his eyes at Caprice, who pats his handreassuringly. Virella shows the client out, and thenapproaches Alex very directly. She looks piercinglyinto his eyes, and the only way to describe herdemeanor is centered. There are no superfluousmovements, no nervous twitches or extraneous throatclearings, nothing but complete and absolute attentionon Alex. Alex, however, is fidgety.

ALEXHi, I'm Alex. You must be Virella.

VIRELLAI must be. Greetings to you both.

Virella executes a small, Buddhist-like bow, with handssteepled in front of her. Caprice responds in kind,and Alex starts to do the same, but thinks better ofit, smirks, and offers a mechanical, one-inch wave atabout stomach level.

INT. VIRELLA'S STUDY - ONE HOUR LATER

Virella sits in a straight-backed wooden chair and hereyes are closed, even when she speaks. Alex sitsfacing her, studying her demeanor minutely from aboutfive feet away, and he's intensely curious:

ALEXIf I understand this all correctly,Setlak, you're a being that existson the... Higher Planes, and youuse this woman's body to giveadvice to those of us who live onEarth.

VIRELLA (SETLAK)That's correct, dear one.

Now that she's channeling Setlak, Virella's voice ismarkedly different from before - it's higher, thoughstill in the "masculine" range. The most dramaticchange is that it's somehow gentler.

ALEXWhy do you spend time counselingpeople on this level of existence? I thought all the good stuff washappening on the Higher Planes.


VIRELLA (SETLAK)Earth is in enormous danger rightnow, unless we intervene. Thereare so many people acting frommotives of greed and selfishnessthat the planet could destroyitself. That would be a greattragedy, because the fundamentalvibration of this planet is one oflove and light. I come here torattle your cage, to get you tothink about addressing yourinternal problems, and to show youthat you can become very clear inyour relationships with everyonearound you.

ALEXOkay, assuming that I'm acting inan unclear manner with people -which I'm not admitting, by theway - even if I decide to clean upmy act, I'm only one of billions ofpeople! You can't possibly hope toget your message across to morethan a few of us.

VIRELLA (SETLAK)We are not the only ones doing thiswork - there are many channels suchas Virella working around theglobe. And you would be surprisedat the contagious effect that oneperson's decision to get clear hason the people with whom he or shecomes in contact. It is as if theUniverse senses that decision, thatcommitment, and THWACK! - all of asudden a hundred people around thatperson all decide they have toinvestigate a clearer way ofrelating to people.

ALEXBut I'm very... ambivalent aboutyour advice.

VIRELLA (SETLAK)And you should be, dear one. As Itold you when we began, you must beextremely skeptical of what I tellyou, and see if it feels right toyou inside. If something doesn'tfeel right, don't act on it.


ALEXYou think that I'm on the righttrack in writing about Hildegard?

VIRELLA (SETLAK)There is no "good" or "bad" trackfor anyone on this planet. Youmust find what feels right for you,and pursue that pathwholeheartedly. You can fulfillyour own potential, and not wasteyour time living up to someoneelse's standards. If you listen tothe advice that your intuitionoffers you, you cannot go wrong. On the other hand, if you try tocopy someone else's life, you willfind in the end that you are notsatisfied. You will have livedsomeone else's life, and althoughit may have been a comfortablelife, it will rot your soul. Atsome point you will discover thatyou could have had a unique life -you could have lived Alex's life,and danced a dance that no-one elsecan dance!

ALEX(sarcastic)

With my two left feet, it will be aunique dance. Are you saying thatI shouldn't write about Hildegard?

VIRELLA (SETLAK)(chuckling)

Alex, you are tippy-toeing aroundin several areas of your life. Youknow which decisions you have tomake, but you're afraid of losingsome appealing options. But thenew alternatives which appear afteryou make a clear decision will morethan compensate you for the choicesyou think are lost. Be bold -don't live life timidly. Followyour intuition, don't look back,and enjoy the surprises that comeyour way.

ALEXSurprises? Tell me about thesurprises!


VIRELLA (SETLAK)The first surprise is that oursession is over - but don't rely onother people to generate yoursurprises! Go out and construct anenchanting life for yourself. Youknow that you're completelyresponsible for whatever comes yourway, so go ahead and create somelight on this planet.

INT. JAPANESE PAVILION, L.A. COUNTY MUSEUM - DAY, THREEWEEKS LATER

John, Alex and Caprice stare down through the three-story-tall open area at the center of this strikingbuilding. The outside shell, made of translucentfiberglass, lets in a muted light and gives theimpression of a wrap-around shoji screen. There is aquiet, restful waterfall in the center, and thegalleries are tastefully arranged Guggenheim-fashion,next to a ramp which spirals continuously downwardthrough the three floors. John's eating a bag ofjellybeans, and offers the bag to Caprice:

JOHNJelly Belly?

Caprice checks her waistband.

CAPRICEPardon me?

JOHNIt's just the brand of jellybeans. These things had Reagan on a sugarrush for two terms. I hear it wasthe only way they could keep himfrom napping. Want some?

CAPRICEOh! Thanks.

They all start down the gently sloping ramp, andsuperficially examine the antique Japanese artobjects - Edo scrolls and screens, etc. As they walk,the camera TRACKS with them.

ALEXJohn and I met our guardian angelsin the flesh, at Barney's lastmonth.


JOHNAnd what an handsome bunch o' guysthey were. While they were buying,(sings) "I could have drank allnight."

Caprice, bewildered, looks to Alex for an explanation,but he and John are doing shtick, and they'remetaphorically off and running.

ALEXDo you think we fit in with thatcrowd of free-range lowlifes?

JOHNSurely you jest. My uncles lovedto go hunting, and they had aphrase for colorful savages likethat.

ALEXWhich would be?

JOHN"The things you see when you don'thave a gun."

ALEXI think I saw that on abumpersticker the other day.

JOHNYeah, you're gonna have to keepyour head down on the freeways -it's open season now.

ALEXBagged your limit yet?

JOHN(Transylvanianaccent)

No, when I stalk my victims, Iprefer the intoxication of flesh onflesh.

In a flash, John bends Caprice over backwards andpretends to clamp his mouth on her neck to suck herblood. Caprice looks flustered, but when he lets herback up, if the truth be known, she's just theslightest bit turned on. Alex and John have walkedahead, caught up in their babbling.


ALEXAnd how goes the babe-shopping?

JOHNNot good - I'm thinking of havingmy picture and phone number printedup on flyers, and stuffing themunder windshield wipers.

INT. ANDERSON GALLERY, L.A. COUNTY MUSEUM - TWENTYMINUTES LATER

CLOSE-UP of a car windshield - as the camera ZOOMS OUTand DOLLIES, we see two sculpted caricatures of a manand a woman, locked in a sordid embrace in the backseat of the car. John and Alex intently study theavant-garde sculpture, as Caprice hangs back a little.

ALEXInteresting technique.

John and Caprice both give him the hairy eyeball.

ALEX(continuing)

I was talking about the artist. (pause) You degenerates.

John reads from a program.

JOHNIt says here that this guy has alsodone a half-scale mockup of the barat Barney's. It's in a museum inAmsterdam.

ALEXLet's go see it!

JOHNIn Holland? My wooden shoes are atthe cobbler's.

Behind the three looms a rectangular bank of smallcolor television monitors. With an electronic BUZZ,the monitors all snap on at once. In the upper leftcorner of the bank, a square of twenty monitors outputsa madly-changing, digitally-manipulated program ofstars on a blue background. The stars melt, spin,explode, tilt, and perform hundreds of other maneuvers. The rest of the bank outputs two other programs, inalternating horizontal rows of predominately red andwhite.


So, although there are three distinct wildly-paced,processed-effect programs being presented, the overallimpression of the bank is that of an American flag. The three turn around when they hear the BUZZ, and Johnand Alex slowly snap into a salute. Caprice GIGGLES,walks between the two meatballs, and puts an arm overeach of their shoulders.

CAPRICEI think that's a sign that weshould stay in this country. (pause) I can't remember when I'veenjoyed a museum more.

John does a Groucho Marx imitation, and strides offarm-in-arm with Caprice.

JOHNIf you really wanna see some fun,invite us over for your next formalsoirée.

Alex wanders after them.

ALEXYou know, John, I think you need tocut back on the acting classes. You're getting too normal.

JOHNAnd you need to give up those highcolonics. You're starting topucker.

Caprice pretends to be scandalized:

CAPRICEJohn!

JOHNPay no attention to me. It's thejellybeans talking.

INT. BING CENTER, L.A. COUNTY MUSEUM - TEN MINUTESLATER

The three sit in an auditorium with hundreds of otherexpectant AUDIENCE members. John studies his xeroxedprogram; Caprice sits in the middle.

CAPRICEJust in time for their weeklychamber music concert!


JOHNAlex, you should look at the firstpiece.

John hands the program to Alex.

ALEXHildegard von Bingen! Now that's asign. What's it telling us?

CAPRICEUs, Kemo Sabe?

INT. ALEX'S LIVING ROOM - LATE THAT NIGHT

Alex and Caprice lie naked on the rug in front of thefire. They have a comforter to hide, or perhapsreveal, their activities - they are making love with analmost abstracted air. From time to time, we see intheir faces that they are enjoying each other's body,but their conversation takes precedence most of thetime. The pace of the conversation is slow, like thepace of their lovemaking. She's on top.

ALEXSometimes I feel like... I canreach out and... touch the face ofGod.

CAPRICEIf you touch anything, it'll befemale.

ALEXSo God is a woman. I alwayswondered.

CAPRICEYou're very open tonight.

ALEXI'm ready for whatever comes next.

CAPRICEAnd I'm ready... for the next...

Caprice arches her back and quietly ORGASMS - we seethis mostly in her face. Alex draws her close andwhispers into her ear:

ALEXI love you, Preece.


Alex strokes her back, and SHUDDERS run the length ofher body. They remain interlocked, and Alex staresinto the darkness. Candles and the fire provide theonly illumination. After a little while, Capricestarts moving again. They smile at each other.

CAPRICEAnd I love you, Alex.

ALEXI'm voting for mothers at the nextelection.

CAPRICEWhat made you decide that?

ALEXMen have screwed up long enough. If a woman can care for a child,she's gotta be more responsiblethat most men.

CAPRICEVoting the Estrogen Ticket, eh?

ALEXHey, you already have my vote. Youdon't need to lobby... mmm... sowell.

CAPRICEOne for the road.

She gazes meaningfully at him, while continuing to moveabove him. He smiles a bittersweet smile.

ALEXIt is about time, isn't it?

CAPRICEYeah. I'm going to miss this.

ALEXTell me about it.

Caprice kisses various parts of his body.

CAPRICEI'll miss this, and this, and...this... and...

A low VIBRATION shakes the room - several pictureframes TAP the wall insistently. The CD player FALLSoff the wall, and the CD's narrowly miss their heads.


There are SOUNDS of glass breaking, things falling, andwater spraying from other parts of the condo. The roommoves up and down quite violently, side-to-side, etc. Twenty seconds later, things calm down; Caprice andAlex are staring into each other's eyes. Alexdistractedly brushes some CD's aside, and they continuemoving against each other. Alex kisses her ears, hereyes, her breasts.

ALEX...and this... and this... and...

CAPRICE/ALEX(continuing)

...and this.

They CLIMAX together - a long moment of staring intoeach other's eyes before closing them; lying back,they're spent. The telephone RINGS seconds later. Alex kisses her, long and hard, before putting hisbathrobe on and standing up.

ALEX(continuing)

I don't think there's any danger ofus forgetting that.

They GIGGLE, as Alex gets the phone on the eighth RING.

ALEX(continuing)

Speak. (pause) Your power's off,and you want me to what?! (pause,looking around) I have plumbing tofix, dishes to glue... (pause) Yeah, my power seems to be backon... (pause) Okay, okay, I'lltape it for you.

Alex hangs up and walks toward the study. Capricelooks at him inquiringly.

ALEX(continuing)

John. The VCR. Cable news TV. The Four Jockeys of the Apocalypse. 'Nuff said?

As he exits, they both EXPLODE in gales of laughter.


INT. ALEX'S LIVING ROOM - MUCH LATER THAT NIGHT

All the lights are on, and the promise of dawn creepsthrough the balcony doors. There are three piles ofpersonal belongings stacked in the room; Alex, Capriceand John sit cross-legged on the floor. Everybody'sfully dressed, and looking fairly haggard. Except forAlex - his faces shines with an inner light, and hisenergy level is definitely on an upswing.

JOHNThanks for letting us stay here.

CAPRICEYeah, it looks like we're botheffectively homeless.

ALEXNot as long as this place is stillstanding, you're not.

Alex stands up and starts to ZIP some duffel bags inone of the piles. Caprice moves over and hugs him. Hereturns the embrace warmly.

CAPRICEI'll always remember thataftershock.

ALEXMe, too.

They kiss. John's bewildered, and slightly alarmed.

JOHNI didn't feel any aftershocks.

ALEXYou might have missed it. Theepicenter was over that way.

Alex points vaguely in the direction of the fireplace,where the logs have been reduced to embers.

JOHN(still rattled)

Oh.

ALEXLook guys, I'm only coming back forvisits, so remember to have aplumber fix the second bathroom, assoon as you can.


CAPRICEWas the Santa Monica storecompletely wiped out?

Alex seems almost happy to nod in the affirmative.

ALEXIf any of the employees check intoday, tell them I can probablyoffer them jobs in San Franciscosoon. Maybe just part-time atfirst, but... I'll call them all,after I get settled.

JOHNSo you're moving... just like that?

ALEXI got some Postcards last night. Lots of Postcards.

John shakes his head.

JOHNYour mail delivery is a hell of alot better than mine.

ALEXJohn, old buddy, it turns out thatit's a hell of a lot better than Iever imagined.

Alex smiles at Caprice, as John FLOPS onto the couch.

JOHNI gotta crash.

ALEX(to Caprice)

You'd better rest up, too. You'vegot a busy day ahead.

CAPRICENot as busy as the one I leftbehind.

Alex remembers something before he walks out, andreturns to pick up a certain golden CD out of thejumble on the floor.


EXT. GHIRARDELLI SQUARE, SAN FRANCISCO - DAY, FOUR DAYSLATER

Alex and Nicole descend the steps on the bay side ofthe famous chocolate factory/shopping complex, and walkin a westerly direction. It's a foggy day, and theAlcatraz foghorn is BLOWING plaintively.

ALEXI have an efficiency in Noe Valley,a futon, a gas hot plate... and I'mwriting like a demon.

NICOLEHildegard?

ALEXWho else? (pause) You've neverheard her music, have you? I'vegot some with me.

Alex snakes two headphones out of his shoulder bag, andhands a set to Nicole. He fiddles in the bag and putson his headset. Nicole slowly puts hers on, too.

ALEX'S P.O.V.

He's walking out onto a small spit of land - it lookslike a concrete breakwater of sorts. The beautifulMUSIC drowns out all external sounds, until one side -Nicole's side - becomes FAINTER, and we hear someAMBIENT SOUNDS from that side. She's evidently liftedhis earpiece.

NICOLE (O.S.)My father died last night.

The camera PIVOTS to frame Nicole. She looks up atAlex with a serious expression, but no sign of sorrow. She might be struggling for self-control, but it's hardto tell.

ANGLE ON ALEX AND NICOLE

Alex takes his headphones off, then reaches gently forhers - they're like tiny earmuffs for her delicateears. He slips them off her head, then enfolds her ina hug. Indescribable emotions play across her face,but she doesn't break. Not yet.

ALEXAre you going back to France?


NICOLEYou know how I felt about him.

ALEXBut it's for those who are leftbehind.

NICOLEI have very little money.

ALEXI have enough.

NICOLEYou're supporting two people inL.A., you've put two extra peopleon your payroll up here, and youonly have one store now.

ALEXI'll find some money.

NICOLEI don't want to go.

ALEX(pause)

What can I do?

NICOLECome and stay with me.

ALEX(slowly)

I'll come and sleep on your couch.

NICOLEI don't want you on the couch. Iwant you in my bed.

ALEXMaybe after awhile. Let's wait andsee.


INT. NICOLE'S LIVING ROOM, NAPA - THE NEXT MORNING

Alex sleeps on the couch, his hand dangling over theside. As the camera WIDENS OUT, we see Nicole's tear-stained face, asleep on the floor next to the couch,hugging Alex's hand to her cheek. Alex wakes upslowly, notices his hand is not free, and peeks overthe edge of the couch. He stares down at the sleepingNicole for a long time, then a lone tear makes its waydown his face.

INT. NICOLE'S KITCHEN - AN HOUR LATER

Alex cooks some oatmeal; Nicole putters with juice andmuffins next to him.

ALEXI think I should go back to theCity today.

NICOLE(frightened)

I'll stay in my bedroom tonight.

ALEXThat's not it. (pause) I mightwind up in there with you.

NICOLE(smilinguncertainly)

Would that be so bad?

ALEXIt might be. (pause) Don't get mewrong. I want you, Nicole. Butyou're vulnerable right now, andI'd rather have something that willlast. You can't work out yourfeelings about your father on me.

Nicole's tears flow freely. Alex reluctantly takes herinto his arms.

ALEX(continuing)

Or maybe I'll just stay on thecouch for awhile longer.


INT. HESS WINERY/ART GALLERY, NAPA - TWO WEEKS LATER

Nicole and Sparky are having their own private winetasting at the polished mahogany bar. They're veryglad to see each other, and raise their glasses in atoast:

SPARKYSalut, ma petite!

NICOLESkoal, you big lunk! When's thehappy day?

SPARKYAs soon as we can book the balloon. Do you know whether that ministerstill performs weddings?

NICOLEIf he's smart, he'll never go up ina balloon again.

SPARKY(chuckles)

I've got this fantasy ofre-assembling the same cast.

NICOLEYou mean Alex and that minister inthe same balloon? (pause) Howdoes Inger feel about bloodshed?!

SPARKYShe'll make herself useful - she'sa nurse.

They LAUGH and toast again:

NICOLEOne for Erna - la crème de lacrème.

SPARKYEt à votre père - may he rest inpeace.

NICOLEYes, indeed. (pause, thoughtful) I'm glad you came to my massagestudio before you saw Alex.


They drink pensively, then put down their glasses andwander out into the gallery area. The old winerybuilding has been lovingly restored; aged bricks adjoinblindingly white walls. There are lots of windows,skylights and open stairways. The camera FOLLOWS themas they walk up the stairs.

SPARKYHow are you doing?

NICOLEActually, quite well. I wish Icould convince Alex of that.

SPARKYIs he being overprotective?

NICOLENo, he's just being... Alex. He'slike the old Alex, except, youknow, better?

SPARKYAnd what do you want?

NICOLEI want us back.

SPARKYWon't he go for that?!

NICOLEHe doesn't want to get hurt again. If I were him, I'd probably feelthe same.

They walk past a white wall that has an antiqueUnderwood typewriter mounted on it. The platen rollerhas been replaced with a cylinder which suppliesnatural gas, and flames leap up several inches.

NICOLE(continuing)

He's probably writing as we speak.

SPARKYTell me something. Would he gethurt again?

NICOLENo, but he suspects that I'mturning to him temporarily, justbecause of my father.


SPARKYI thought you processed most ofthose feelings over the past fewyears.

NICOLEExactly - but I never told Alex...

SPARKY...and it looks suspicious if youtell him now.

NICOLEOh, can you imagine? I can't evenbegin to think of what he'd say ifI tell him I want to have hischildren.

Sparky is jolted by this admission. They walk SILENTLYthrough a room filled with modern art, until he gathershimself.

SPARKYYou know I love this man dearly,but are we talking about the sameAlex? The sexist guy whopractically abandoned you to starthis business?

NICOLESomething happened in Germany,Lars. His encounter with Hildegardopened him up, and he's blossomingmore every day. I know we couldstart growing together again...

SPARKY(sees the problem)

...but he won't believe it, even ifyou say it.

NICOLEWhat a mess.

INT. GLIDE MEMORIAL CHURCH, SAN FRANCISCO - THE NEXTMORNING

This former legitimate theatre has been converted intoa gospel church, and it's fairly rocking with hand-clapping MUSIC. The CHOIR is on a set of risers to theleft of the stage, and they're leading the CONGREGATIONin a rousing spiritual.


The seats are dotted with foreigners and tourists -it's a very mixed group, and everybody is having ablast. Alex, Nicole, Sparky and a blonde woman, INGER,are enjoying the service; you can tell from their facesthat they, like most everyone else, feel that this isthe way church ought to be. Sparky is surprised whenhe notices someone in the choir, and he nudges Alex andNicole to look.

ANGLE ON

Reverend Clyde Hixson. He looks a lot looser than whenhe performed the balloon marriage, and he's singing hisass off.

EXT. TENDERLOIN DISTRICT, SAN FRANCISCO - A HALF-HOURLATER

Sparky, Inger, Alex and Nicole LAUGH gaily as they walkdown the street. It's the area around the church, andthe neighborhood has seen better days.

ALEXDid he remember you?

SPARKYHe remembered all of us. He saidthat when you dumped him out of theballoon, it changed his life.

ALEX(mystified)

How so?

SPARKYHe realized that he had blinderson, in the way he had been lookingat the world. So he gave uppreaching for awhile, and startedworking with the homeless here inthe Tenderloin.

NICOLEHow did he wind up in that choir?

SPARKYMost of the work he does now isthrough Glide Memorial. He neverused to sing, but he says herealized that our life's breath isa gift of God, and that it shouldbe used to praise God.


ALEXThat's exactly what Hildegard said!

SPARKYHe told me he's been reading up onher.

INGERDid you ask if he'll perform ourwedding?

SPARKYNext Saturday.

CHEERS from all.

ALEXDo I dare to come?

SPARKYHe wants to thank you personally.

ALEXHmmm. Maybe I'd better wear myparachute.

Everyone LAUGHS.

NICOLETell us the story of how you andInger met.

SPARKYAlex may remember her from thehospital.

ALEX(astonished)

Is Inger... the blonde nurse thatErna wanted you to meet?!

INGERThe same. I owe Erna a great debt.

Inger hugs Sparky.

ALEXWe all owe her a great debt.

NICOLEI'll second that.


Nicole hugs Alex - he looks at her quizzically. Theyall pass an abandoned storefront. In the darkness ofthe recessed doorway, a HOMELESS MAN sits on theground - Alex is the only one who notices. The groupturns a corner, and starts walking uphill. Alex stops,checks his pockets, and urges the others to keep going:

ALEXI'll catch up to you - I droppedsomething back there.

As he goes back around the corner, the women startCHATTING and continue to climb the hill. Sparky walksbehind them for a few steps, then changes his mind,turns, and walks back to the corner.

ANGLE ON SPARKY

Sparky leans around the corner, to see what Alex isdoing down by the abandoned storefront. While Sparky'slooking, unbeknownst to him, Nicole and Inger lean inbehind him. Something about this scene brings theThree Stooges to mind.

ANGLE ON ALEX

Alex has returned to the doorway, and offers a fewdollars to the homeless man.

HOMELESS MANGod bless you, sir.

Alex stares blankly at the man for a few seconds, thenseems to really look into the face of this person. Alex squats on his haunches to get down to the man'seye level. When he speaks, his voice is none toosteady:

ALEXAnd... God bless you, sir.

ANGLE ON SPARKY

When Sparky finally realizes that the women are behindhim, he pulls a Laurel & Hardy move, hustling them, andhimself, away from the corner, and back up the hill.

ANGLE ON ALEX

Alex shakes hands with the homeless man, and gets up tojog around the corner, back to the group. When hecatches up, Sparky is lagging a little behind thewomen.


SPARKYWhatever happened to Caprice?

ALEXShe and John are talking aboutbuying my condo.

SPARKYJohn? The destitute John Densmore?

ALEXThe reformed John Densmore. Hefound a great job, with the cablenews channel. (pause) Between hersavings, and his healthy paycheck,they should be able to swing themortgage in a few months.

SPARKYThat's an unlikely couple.

ALEXYou're telling me. It was veryquick, but things seem to be goingwell - they're even talking aboutmarriage and kids.

SPARKYInger and I want to have childrenas soon as we can.

ALEXHere in San Francisco?

SPARKYNo, we're moving back to Denmark. Her mother is Danish - and I'd liketo do some long-overdue climbing inmy family tree.

ALEXEverybody's life is moving rightalong. It's just me that seems tobe stuck.

SPARKYYou and Nicole should have kids atthe same time we do, so they canvisit back and forth across theAtlantic.


ALEXNicole's not... (clenching histeeth) together with me. She'llleave me when she's done mourning.

SPARKYHer father's not an issue anymore,Alex - she wants you back.

ALEX(cynical)

She'll get over it.

SPARKYWake up, Alex. She wants to haveyour children. Her biologicalclock doesn't have a snooze alarm!

Alex turns on Sparky, ferociously:

ALEXWhy the hell are you saying thatshit? Don't you think I want that,too?

Alex walks on in SILENCE; Sparky follows a pace or twobehind. The women are far ahead of them, engrossed inCONVERSATION.

ALEX(continuing, tinyvoice)

It would just fall apart again.

INT. NICOLE'S LIVING ROOM - THE NEXT EVENING

Alex sits in front of an empty typewriter, lookingthrough a file folder full of papers. Nicole entersfrom outside, holding an armful of mail, including asmall box.

NICOLEI'm sorry I left before you were uptoday. Did you sleep well?

ALEX(distracted)

Fine. As usual.

NICOLEThe couch is firm enough for yourback?


ALEXSure. (pause) Nicole, I waslooking through the bottom of thecloset for some typing paper, and Icame across this file.

Nicole looks over his shoulder.

NICOLEYou found your stories! Great!

ALEXYeah, but there were also somedrawings with them.

Nicole fingers a couple of pages, and then recognizesthem.

NICOLEAh. These were sketches I made ofmy dreams, just after we separated. This one kept coming back - that'swhy there are several of them.

She turns over another few pages, and we see that thedrawings are all similar - they're of the ruins of areligious building, the roof is missing, and the restof the building seems hundreds of years old. The farwall of the building stands by itself in the open air. In the triangular upper portion of the wall, there arethree windows, set in a triangular pattern, and the topwindow is noticeably offset to the right.

NICOLE(continuing)

I could never figure out what thatplace was.

Nicole turns away to open the box that came in the maildelivery. She doesn't notice that Alex is visiblyagitated.

NICOLE(continuing)

You know, this box is related tothose drawings - I had a jeweler inSan Francisco design me a ring. Whenever I looked down at my handin those dreams, I saw this.


From the packing in the box, Nicole has extracted agolden ring, inlaid with a white stone. The letter "H"is engraved in the white stone, with the verticalportions of the letter curving outward toward the topand bottom. She slips the ring on her finger andmodels it.

NICOLE(continuing)

Do you like it?

SUPERIMPOSE ALEX'S MEMORY - CONTINUOUS

The woman from Alex's monastery vision, who is also thesame woman from his jet cabin dream, and from Tarotcard #2, SHIMMERS into ghostly life and overlaysNicole. We now know this woman to be Hildegardvon Bingen, and as we ZOOM IN to the wraith-like ringon her finger, we see that it's the same as Nicole's. ECHOING in Alex's memory are Hildegard's words:

HILDEGARDGive me life, Volmar.

LOSE SUPER

We're fully back to the living room. Alex has Nicole'shand in his hand, and he can't look away from the ring.

NICOLEI see you do like the ring, eh?!

ALEXWhat? ...Oh, I guess, yeah. (pause) What does the "H" standfor?

NICOLEOh, that could be an "H", couldn'tit? I just liked the way the sidescurved. It was a dream, you know? It's only an abstract design.

ALEX(intense)

Sparky told me you want to havechildren with me.

Nicole pulls away and mechanically walks across theroom. She reaches a table, leans over it, and POUNDSthe top of it hard. She keeps her back to Alex, as shespits out the following:


NICOLEHe shouldn't have told you that.

ALEXBut it's true, isn't it?

Nicole's world has been destroyed. Her shoulders sag,her head is down, her eyes are closed. She can barelyget the words out:

NICOLEYes, Alex.

ALEX(cheerfully)

So when do we start?

INT. NICOLE'S BEDROOM - MOMENTS LATER

Alex and Nicole kiss longingly and roll around on thebed, fully clothed. An upright floor lamp has beendraped with a gauze-like blue scarf. Nicole gets up toundress, facing away from the camera. In the bluelight, the muscle definition in her back becomes verydistinct - this is the cumulative effect of massagingseveral clients a day over a period of years. She's asmall person, but it's easy to see that she's extremelypowerful. She turns off the LIGHT switch, and on theensuing BLACK SCREEN,

CREDITS ROLL

We can still hear various THUMPS, the SOUND of a hangerbeing taken off a rack and the RUSTLE of clothing.

NICOLEAs soon as I get into this, I'mgoing to turn the lights back on.

ALEXWhat is it?

NICOLEYou do remember the black dress youbought me in Key West?

ALEXDo I ever!

NICOLEWell, feel that.


ALEXOh, boy. And feel those. Ummm.

NICOLEOoooh. Ils sont trop longs.

ALEXNo, they're not. It'll make iteasy for the baby to get them inher mouth.

NICOLEOh? Tu veux une jeune fille?

ALEXOr for him to get them in hismouth. Doesn't matter.

Sounds of SUCKING and LICKING. [Writing is dirtywork - but somebody's gotta do it.]

NICOLEUhnnn... Si tu n'arrêtes pas...

ALEXDo you want me to stop?

NICOLENon... non... non. Prends moi.

ALEXMy pleasure.

Simultaneous GASPS of ecstasy from both of them,followed by SOUNDS of lovemaking. Ad-libs encouraged.

NICOLEJe suis fier d'être Femme avec toi.

ALEX(sighing)

I know. I'm proud to be male whenI'm with you.

NICOLEC'est bon... ohhh, que c'est bon.

ALEXThe best.


Various GROANS, MOANS and sharp INTAKES of breath giveus a vivid idea of what's going on in the DARKNESS. And, of course, we don't want to get out of our theatreseats because there's a good chance that the infamousblack dress will make an appearance, with Nicole in it. Or, partially in it. Perhaps the anticipation can beprolonged with a SILHOUETTE of Nicole moving on top ofAlex, with her long nipples in evidence. There's asmall break in the CREDITS for this.

NICOLEShall we get rid of this dress?

ALEXNo, I like the way it crinkles up. It tickles my stomach.

NICOLE(giggling)

Now that tickles me. Oooooh, monDieu. That doesn't.

ALEXHere, let me help you get into thatdress... Hello! How did you dothat?

NICOLEJust contract those muscles...

ALEXOhhhhh, yes. (pause) Like this?

NICOLEOh, Alex, je suis à toi, pour tousjours... toujours.

ALEXAnd I'm yours, ma toute belle.

NICOLE(pause)

Here, help me do this. I'm goingto turn the lights back on.

ALEXWhy do you want to get into thatdress?

NICOLEDon't you remember what happenedthe last time?


ALEX(suddenly decisive)

I'll help you get into the dress. Here, the arm goes...

Nicole turns on a bedside lamp, just as the

CREDITS CONCLUDE.

If there's a union problem about this, we'll have theI.A.T.S.E. logo tattooed on her breast. Nicole iswearing the black dress, straddling Alex, who is nakedon the bed. Alex tugs the side of her dress to exposeone breast.

NICOLEVoyeur!

ALEXI believe that was originally aFrench word. Besides, we're allvoyeurs.

Nicole flirts seductively with the camera, as we

FADE TO BLACK.

THE END

Documents

Screenplay=>Eleven Thousand Virgins