The End Time
A screenplay
Francis X. Kroncke
Copyright 2015, Francis X. Kroncke
FADE IN
EXT. ANGELS SINGING IN THE HEAVENS -- SUNRISE
Invisible angels fly through the clouds.
SFX wordless, SIRENIC SOUNDS of angelic voices are heard.
ANGELIC VOICES
Ooooooooo!
All angelic sound and motion ends, abruptly, at a WALL of DARKNESS.
EXT. EMERGENCE OF THE MOON
SILENCE pervades the darkness.
From a pin-prick in the darkness, a piercing point of LIGHT emerges. It pools to form the Moon.
The Moon is a mere spot shrouded by the darkness.
A narrow beam of moonlight shoots down slicing the darkness.
EXT. BURNING OF THREE WITCHES -- LATE EVENING
This narrow beam of moonlight spotlights THREE WITCHES who are tied to a series of stakes on a platform in the plaza in front of a medieval cathedral.
Faggots are piled high about them.
A SHADOWY FIGURE rushes forth and casts a torch upon the thrushes.
Flames burst across the screen.
SHOUTS and CURSES are heard as the faces of the Three Witches are seen. The first is a very ancient face. The second a middle-aged mother. The third, a beauteous youth with eyes of pure innocence.
CROWD #1
(inebriated and flailing a flask)
Burn in hell, you shriveled old hags!
CROWD #2
(holding up a crucifix)
God forgive you for your terrible sins!
A PEASANT WOMAN pushes and pulls her HUSBAND away from the mob and up to the edge of the fire.
He is sickly and acts insanely. She pleads with the Three Witches,
CROWD #3
(pointing to her husband)
Please God and take your spell off my husband!
THE THREE WITCHES
Though the flames surround the witches their eyes reflect calm.
As the crowd's condemning voices are heard, the Three Witches gaze peacefully and assuringly at one another.
The crowd goes berserk as the flames jump on and set the gowns of the Three Witches on fire.
EXT. PROCESSION -- CONTINUOUS
A YOUNG ACOLYTE, holding aloft a pendulous and gruesome
crucifix, leads the BISHOP who is followed by a line of
HOODED MONKS.
The monks pray, strike their breasts, and elicit a collective low funereal CHANT in Latin, the "DIES IRAE," whose MOANING tone hypnotically snares the crowd.
CHANT
Dies irae,
Dies illae ...
Twice, the Bishop and monks process around the pyre.
THE BISHOP
All attention is snared and bedlam restrained by the BOOMING VOICE of the Bishop. He is quoting Exodus 22:18.
BISHOP
You shall not permit a sorceress to live!
This scriptural verse is picked up and repetitively intoned by the crowd. The crowds sways as one as it chants.
CROWD
You shall not permit a sorceress to live!
You shall not permit a sorceress to live!
You shall not permit a sorceress to live!
As the flames reach higher and begin to engulf the Three Witches, the Bishop intones this scriptural injunction over and over, with each repetition rising louder and louder until he is screaming.
BISHOP
You shall not permit a sorceress to live!
You shall not permit a sorceress to live!
You shall not permit a sorceress to live!
When the flames leap onto the witches' gowns, bedlam breaks loose.
People pull their hair. Some push and slap others.
Others fall to their feet, stunned and speechless. The crowd is possessed.
FULL SHOT
The faces and skin of the Three Witches do not burn.
Their eyes are determined, peaceful and longing.
DISSOLVE TO:
A TITLE APPEARS OVER BLACK.
1499, Germany
Cologne Cathedral
INT. JACOBUS SPRENGER, O.P. -- EVENING
A huge crowd at Mass is held spellbound by the preacher, JACOBUS SPRENGER. He is a tall and ruggedly handsome priest in his late 40s. His thick, raven hair is fully tonsured in the style of the Dominican friars.
But it is his eyes which dominate his face. They are deep, tar pools of mysterious darkness reflecting a "hell fire and brimstone" intensity.
From a high PULPIT, Sprenger thunders. He accentuates his sermon with pounding fists.
With each THUMP, the massive Bible bounces up and down.
SPRENGER
(reading from the Bible)
"Then I saw an angel coming down from heaven, holding in his hand the key of the bottomless pit and a great chain. And he seized the dragon, that ancient serpent, who is the Devil and Satan, and bound him for a thousand years and threw him into the pit and shut it and sealed it over him that he should deceive the nations no more till the thousand years were ended."
He raises his eyes, leans over and speaks just above a whisper. His eyes are wild and on fire. His voice is eerie.
SPRENGER (CONT'D)
We are half-way there. Five hundred years to chain the Devil -- to purge and purify this wretched Earth from all Satan's demons, all the witches, all the Jews, Mohammedeans, and every protesting heretic!
He stands erect and says with raised hands.
SPRENGER (CONT'D)
Witches all!
His words echo to STILLNESS.
Then, he turns towards the altar, and with arms raised up to heaven he proclaims,
SPRENGER (CONT'D)
Oh, but a ray of millennial hope has shined on us, shined on us oh God, Mighty Father, on us your prodigal and filthy children! It is the hope of the New World, so blessedly discovered by your faithful son Columbus.
Sprenger reaches down and raises a book high above his head.
THE "MALLEUS MALEFICARUM"
As he turns back towards the congregation, the book's title is clearly seen, "MALLEUS MALEFICARUM."
So are the names of its authors, JACOBUS SPRENGER, O.P. and HEINRICH KRAEMER, O.P.
Sprenger turns and nods towards his co-author, Kraemer, who is seated in a chair of honor beside the altar.
HEINRICH KRAEMER is a tonsured Dominican like Sprenger. He is shorter, in his early 30s with a baby-face, blond hair and soft blue eyes.
SPRENGER (CONT'D)
(waving the "Malleus")
This is "The Hammer of Satan." Armed with this, Satan and all his savages will be purged and indeed the world will be made New.
Then he extends his right arm out to full length and points towards the congregation as he holds the "MALLEUS" with his left and indicts:
SPRENGER (CONT'D)
"All witchcraft comes from carnal lust ... which is in women insatiable!"
WIDER VIEW
shows congregation beating their breasts, and women drawing veils over their heads and bowing low.
SPRENGER (CONT'D)
Insatiable!
Again, his words echo to STILLNESS.
Then with a voice of hope and a ring of victory he shouts,
SPRENGER (CONT'D)
Five hundred years! Tis allotted for us to purge the Old and purify the New World -- NO MORE WITCHES, NO MORE SORCERY!
FULL SHOT OF STATUE OF "THE PIETA"
As Sprenger shouts, "No more witches, no more sorcery!" he turns towards a side-altar.
There, the "PIETA" -- Michelangelo's statue of Mary receiving the body of Jesus from the Cross -- is seen.
FULL SHOT
Mary's long-
suffering face fills the screen. Her face and eyes are identical to the youngest of the Three Witches.
SPRENGER (O.S.)
Purge! For the Virgin! Purge!
DISSOLVE TO:
INT. SHRINE OF THE IMMACULATE CONCEPTION, WASHINGTON, D.C. --NIGHT
"Purge!" echoes and Mary's face fill the screen for several moments when suddenly her face shatters.
WIDER VIEW
shows the inside of a great cathedral. The only light is moonlight falling through the numerous stain glass windows.
In the semi-darkness, a dozen SKI-MASKED FIGURES scramble
about.
They bump into pews and one another as they feverishly rush from side-altar to side-altar.
SERIES OF SHOTS OF SIDE-ALTARS OF MARY
Each side-altar contains an image of Mary as revered by a distinct culture. The altar's TITLE and ORIGIN appear as sub-titles.
A) Our Lady of Guadalupe, Mexico
B) Our Lady of Peace and Good Voyage, Philippines
C) Our Lady of Mariazell, Austria
D) Our Lady of Vailankanni, India
E) Our Lady of Bistrica, Croatia
F) Our Lady of Africa, Africa
G) Our Lady of Lourdes, France
H) The Pieta, Italy
The Ski-Masked Figures smash, deface and burn these images.
As they destroy, the words "Purge" and "Purgare" are shouted and spray-painted over the statues.
DESTROYER #1
Purge!
DESTROYER #2
Purgare!
As this scene ends a TITLE appears over black:
August 15, 1999
Shrine of the Immaculate Conception
Washington, D.C.
DISSOLVE TO:
INT. TV REPORTER INSIDE THE SHRINE -- MORNING
A TV REPORTER surveys the scene as his camera-staff gets into position.
WIDER VIEW
shows the extent of the destruction.
BACK TO SCENE
The TV Reporter is staggered and baffled.
TV REPORTER (O.S.)
The only message is the word "Purge!"
FULL SHOT
of the defaced PIETA and the spray-painted words, "PURGE!" and "PURGARE!"
INT. -- CONTINUOUS
The TV Reporter walks over to a monitor.
As he speaks, footage of destruction at other sites is shown.
TV REPORTER (CONT'D)
Around the world, major shrines and statues of other goddess figures were destroyed last night.
FOOTAGE OF DESTROYED GODDESS IMAGES AND SITES
TITLES appear under each Image with NAME and SITE.
The spray-painted "PURGE!" and "PURGARE!" are shown.
1) Goddess of Minoan Crete
Knossos, Crete
2) The Twin Goddesses
Catal Huyuk
Turkey
3) The Tellus Mater
Altar of Augustan Peace
Rome
4) The Venus of Laussel
Berlin
5) The Venus de Milo
The Louvre
France
BACK TO SCENE
As the reporter speaks, IMAGES of
a) the Pope,
b) a gathering of archaeologists, and
c) the Venus of Willendorf are shown.
TV REPORTER
The Pope has issued a plea for calm while bolstering security around the world.
Leaders of all religions are dismayed. Archaeologists around the world have pleaded for special protection of the Venus of Willendorf -- one of the most ancient and most revered of symbols, curiously not attacked.
DISSOLVE TO:
INT. CLASSROOM. BRIGHAM YOUNG UNIVERSITY -- DAY
FULL SHOT
of the TV image of the Venus of Willendorf comes into focus on a projector screen.
CRAMER (O.S.)
What did this goddess Venus represent?
INT. -- CONTINUOUS
PROFESSOR HENRY CRAMER walks up to the screen and TAPS the Venus with a pointer.
HENRY CRAMER is in his late 20s, with blond hair, baby-face and blue eyes. He is the spitting image of Heinrich Kraemer.
As he pauses before the slide, at bottom, a TITLE appears.
Professor Henry Cramer
Archaeologist and Theologian
Brigham Young University
Professor Cramer turns towards his students.
CRAMER (CONT'D)
The world sees her as fecundity, as the cause of full harvests -- note the cornucopian breasts! -- even as the fullness of sexuality --
(pauses)
this belly, big enough for Jonah and the Whale!
Cramer laughs as does his students. This touch of humor quickly turns serious.
CRAMER (CONT'D)
But what is she to us? As scientists who have the revelations of our Mormon heritage?
"DOCTRINE AND COVENANTS"
He picks up a large scriptural book whose title is clearly seen: "DOCTRINE AND COVENANTS."
As he reads he becomes "fire and brimstone" like the monk, Jacobus Sprenger.
CRAMER (CONT'D)
From "Doctrine and Covenants" as revealed through Joseph Smith. "For the hour is nigh and the day soon at hand when the Earth is ripe; and all the proud and they that do wickedly shall be as stubble and I will burn them up ..."
(pauses)
AND I WILL BURN THEM UP!
His eyes burn the words into his students.
WIDER VIEW
shows several of his student shiver and act like they are on fire.
BACK TO SCENE
Cramer paces around the front of the room as he reads.
CRAMER
AND I WILL BURN THEM UP! -- "saith the Lord of Hosts that wickedness shall not be upon the Earth; for the hour is nigh and that which was spoken of mine Apostles must be fulfilled, for as they spoke so shall it come to pass; for I will reveal myself from heaven with power and great glory, with all the hosts thereof and dwell in righteousness with men on earth a thousand years and the wicked will not stand."
THE WASATCH RANGE OF MOUNTAINS
By the end, he has walked about and over to a window with a full view of the majestic Wasatch Range.
Cramer is momentarily snared in a minor rapture.
In b.g. the students are stone silent.
Cramer abruptly turns and walks to his desk.
He lays down the book and shuffles some papers. He is professorial and dismissive, hurrying to end class.
CRAMER (CONT'D)
Desecrations are not necessary! What is necessary is that wickedness be burned from your memory, burned from your hearts.
He picks up his "Doctrines and Covenants" and THUMPS it. He becomes intense, again.
CRAMER (CONT'D)
Read and read and read, my brothers and sisters! The Millennium -- these words are the fire! Our rituals will cleanse us! ... Be pure! Be pure.
INT. -- CONTINUOUS
The class bell RINGS.
The students rise and file out.
As the students leave, most smile and nod at Cramer. It is apparent that they hold him in awe.
1ST STUDENT
Lead us, Professor Cramer.
One, at the head of a group of four, comes intimately close as if trading a secret.
2ND STUDENT
(conspiratorially)
Will we be praying tonight?
Cramer gives him a non-verbal eyed "Yes."
3RD STUDENT
(rapt)
All will be glorious!
INT. AREN -- CONTINUOUS
AREN is a student, early 20s, with stunning long black hair. She is Cramer's fiance. She pauses at the classroom door as the other students file pass.
Cramer walks up to her.
They smile, hold hands and leave quietly
.
DISSOLVE TO:
EXT. MOONLIT HILL -- EVENING
Aren and Cramer cuddle and lean against a tree.
CRAMER
On Mission I learned the true spiritual value of Mormon Women.
Aren looks adoringly at him. She is taken and in love.
He twirls her forward so that they are face to face. Then he "testifies." His desire for her is ardent, however, it is abstract.
CRAMER (CONT'D)
You are so pure!
I've seen Catholics, Muslims, black and brown, pagans ... but you "Mormon Woman" are so pure!
Aren's words are hot, with an edge of seduction.
AREN
All for you, darling.
He does not hear her. He plows forward.
Cramer
Next to me, my Mormon Woman! No priest, no rabbi has ... no one can purify the world. Oh, darling, sweet Aren ... how pure your are, how pure you make me!
Together, we will be gods ... you my Mother-in-Heaven.
Aren is beside herself, totally turned on, a sexual tinder about to blast afire by his touch or kiss.
Cramer's eyes reveal how far away his is; how snared by something from beyond.
AREN
(breathlessly)
When, just say when!
CRAMER
THE MILLENNIUM! How lucky we are; how blessed!
He grips her shoulders. Unaware, he hurts her. She whimpers.
CRAMER (CONT'D)
(commanding)
We must remain pure! The pure of the pure.
Aren is stunned by the fierceness behind his words.
AREN
You've changed!
CRAMER
No, transformed ... Revelation!
(whispers)
"The Three Nephites!"
She looks askance.
CRAMER (CONT'D)
Yes. Yes, They have appeared to the First Presidency ... only rumor, but I know, I know.
Aren struggles to bring the conversation to a more practical level.
AREN
Hank. Twelve years you and I have known.
(fingers her ring)
For two years I have waited. We must set a date.
CRAMER
Didn't you hear me?
AREN
(a tad perturbed)
Yes. Nephites. The Millennium. It's all quite exciting ... but we must get about living, our family.
CRAMER
Don't say that!
(dictatorially)
Woman obey!
His words jolt and freeze her.
She forces a resigned smile, and then moves closer to him.
His fierce stare slowly melts into tenderness.
CRAMER (CONT'D)
Without you I cannot be pure. I love you. I need you.
From behind he enfolds her in his arms.
He nestles his head upon her shoulder.
CRAMER (CONT'D)
These are special times. The end of time! Soon, we will be married in eternity and as gods people the planets far and wide!
Aren nods as she forces another resigned smile.
CRAMER (CONT'D)
For now, please, darling, purify me!
DISSOLVE TO:
INT. CRAMER'S STUDY -- NIGHT
The phone rings. Cramer picks it up.
CRAMER
Do you think we can?
He hangs up the phone and rushes out into the night.
DISSOLVE TO:
EXT. OUTSIDE THE MORMON TABERNACLE -- LATER
Cramer is speaking but only the SHADOWS of the THREE NEPHITES are seen. It is clear that Cramer cannot see the faces behind the shadows. Their voices do not reveal their gender.
NEPHITE #1
What does she know?
CRAMER
Only what I tell her.
NEPHITE #1
The Roman Beast roars. The prophecy is being fulfilled. She must go but not know.
CRAMER
Why?
NEPHITE #1
It will become evident
DISSOLVE TO:
INT. WAITING AREA, THE VATICAN -- DAY
Aren and Cramer wait in a heavily baroque and religiously statuted room.
A TITLE appears: THE VATICAN, ROME.
Both Aren and Cramer are uncomfortable. Cramer paces about examining all the artwork.
Aren fidgets and squirms in a grand, medieval chair.
CRAMER
(indicating the statues)
It's worse than one's worst fear, isn't it?
AREN'S POV
Aren eyes several of the tortured and bleeding crucifixes.
BACK TO SCENE
Cramer walks about.
PAPAL PORTRAITS
He pauses to study the faces in several Papal portraits.
As shoe SCRAPES and SWISHING robes are heard, both eye the doorway.
Aren rises.
INT. -- CONTINUOUS
JAMES BLAST, 0.P. enters. He is a Cardinal. Physically, he is a replica of Jacobus Sprenger. In his late 40s but his hair is not tonsured, and he sports a short but full beard streaked with grey.
BLAST'S EYES
like Sprenger's, are deep, tar pools of mysterious darkness.
As Blast approaches Cramer and Aren, he is cordial, though clearly uncomfortable. He is a mannered diplomat.
BLAST
(extending his hand)
So good to finally see you.
Cramer shakes his hand.
Aren nods and makes an awkward half-curtsey.
Blast seats them, then himself.
He points around the room.
BLAST (CONT'D)
(self-amused)
The "Whore of Babylon," yes?
Cramer is not amused. Blast reads him.
BLAST (CONT'D)
Yes, to the point. Why are we all here?
Blast taps and drums on a small side-table as he talks.
BLAST (CONT'D)
The desecrations. Terrible, yes?! Calls for united action and simply
(leans forward)
you have the best, um, second best, international network ... and we want to tap it.
CRAMER
The Lamb lies down with the Lion?
Both men laugh.
Aren is ill at ease. She is an uninformed observer.
BLAST
No one will expect us to work together. So it's perfect. Even the Mafia is suspect.
CRAMER
(acidly)
An old ally?
BLAST
I'm an American, like you, Jersey, so it doesn't rub me, yeah, an old ally.
(with Jersey accent)
But duz we's dance?
Cramer looks at Aren. He anticipates her shock at hearing,
CRAMER
They've approved a professorial exchange. He goes to BYU, I come here.
Aren's mouth drops in shock and confusion.
Blast catches the fact of her lack of knowledge. He is amused.
Taking advantage of Aren's and Cramer's personal distraction, Blast knocks Cramer off his poise and causes him to blush as he jokes.
BLAST
Such authority. Indeed, the next Mormon Pope!
Cramer's blush and consternation causes Aren to loose an inappropriate laugh.
Blast and Cramer ignore Aren as Cramer rises to the bait and with quick-wit strikes back.
CRAMER
After the white smoke, will God be calling your name?
Blast stands and reaches for his diplomatic best as he bows towards one of the tortured crucifixes on the wall. Yet his words betray his personal desire.
BLAST
Only if He desires to rule through a Fool such as I!
To move in a new direction, Blast bows towards Aren.
Blast then surprises her by calling for her hand on his arm.
She rises and walks with him into the adjourning room.
Cramer follows. r />
DISSOLVE TO:
INT. A VATICAN LIBRARY -- CONTINUOUS
They enter a library. The walls are crammed with art.
ROW OF PAPAL PORTRAITS
Blast's guides them silently down a row of papal portraits.
Cramer and Aren are as reserved as one is in a museum as they observe the stolid faces and the pomp of the papal office.
PAINTINGS
They walk past several MADONNA WITH CHILD PAINTINGS.
Aren smiles admiringly. Cramer raises his eyebrows.
GORY, BAROQUE CRUCIFIXES
When Aren and Cramer encounter a series of Baroque, flesh-
ripped and gory crucifixes, they look at each other with eyes that say, "Sick!"
INT. -- CONTINUOUS
Blast stops at the end of the corridor.
With a sweep of his arms indicating all the art, he says,
BLAST
To destroy such art, they must be Millennial crazies! Spiritual terrorists! But actually ...
TWO PAINTINGS
Blast pivots and points up at two paintings:
Robert Campin's "The Nativity," and
Titian's "The Assumption of the Virgin."
His eyes almost tear as he longingly gazes up at both paintings, yet his voice is harsh, condemning.
BLAST (CONT'D)
Witchcraft. It is all witchcraft, again. And it is the witches, these feminists. Believe me they are the desecrators.
Blast looks at Cramer and Aren to see if they follow his thoughts. Clearly, they don't.
So, Blast drops into a professorial tone.
BLAST (CONT'D)
"Heighten the contradictions" -- Marxists, that's what they believe. They are intentionally making things worse.
AREN
I'm not sure ...
BLAST
They want to be persecuted. They want to condemn the male, to castrate, I mean castigate the Father God. It's all this Earth Mother crap ...
Blast is more shocked then they at his slip of tongue. He quickly manages the matter.
BLAST (CONT'D)
Ahem, excuse my Jersey there!
(embarrassed humor)
Should've said it in Latin!
INT. BLAST'S OFFICE -- CONTINUOUS
They come to a door with the lettering:
CONGREGATION FOR THE DOCTRINE OF THE FAITH
A SUB-TITLE appears:
FORMERLY, THE HOLY OFFICE OF THE INQUISITION
All enter through this door into Blast's office. It is a grand room with an imposing desk and several high stacks of books.
PORTRAITS OF SPRENGER AND KRAEMER
Portraits of Sprenger and Kraemer are centered on the wall behind Blast's desk.
THE MALLEUS MALEFICARUM
Cramer walks over to a FOLIO BOOK set upon a podium.
One look and he turns to Blast.
CRAMER
The Malleus Maleficarum.
(impressed)
An original?
BLAST
Quite.
Cramer turns to Aren.
CRAMER
The Hammer of Satan. The bible of the Inquisition.
Blast draws Cramer's attention to one of the portraits behind his desk. It is of Heinrich Kraemer, O.P.
BLAST
He has been expecting you.
FULL SHOT
The portrait Blast indicates could be one of Cramer, himself.
BACK TO SCENE
Aren gasps when she catches the uncanny likeness.
CRAMER
(to Blast)
You know.
Blast nods knowingly. He works to repress a smirk.
Cramer turns to Aren who, evidently, doesn't know what they know.
CRAMER
(pointing at portrait)
A relative.
AREN'S POV
Aren walks up to the portrait and reads the brass TITLE, "HEINRICH KRAEMER, O.P."
She stands on her tip-toes for a closer study of both portraits.
She looks at Cramer and just shakes her head.
She looks at the other portrait's TITLE: JACOBUS SPRENGER, O.P.
SPRENGER AND BLAST'S EYES
Aren is visibly repulsed by Sprenger's eyes.
Then she turns and looks at Blast's eyes.
Aren is about to ask Blast a question, but he has a finger raised to his lips indicating silence.
BACK TO SCENE
Aren, then, turns towards Cramer ready to ask questions.
CRAMER (CONT'D)
Don't ask. Don't worry. I've already baptized him.
BLAST
(nastily)
Ah, the famed Mormon Baptism of the Dead! Indeed, someday I too will then be Mormon?
Blast's words chill the moment.
To break the ice Aren feigns interest in the "Malleus." She walks over and turns a page.
AREN
Tell me more.
CRAMER
Oh, no, I don't think.
INT. -- CONTINUOUS
Blast walks over and stands beside Aren.
He thumbs through the "Malleus" to a part he wants to read.
With the condescension of a haughty teacher, he says with a slight mocking tone.
BLAST
A goddess like you might elucidate this passage for an old celibate like me.
With an underlying testy "Fly demon!" tone he reads,
BLAST (CONT'D)
"William of Paris notes that night-time Demons seem chiefly to molest women and girls with beautiful hair ..."
He gives her head a fatherly pat. She is frozen.
BLAST (CONT'D)
"either because they devote themselves too much to the care and adornment of their hair or because they are wont to try to excite men by means of their hair ..."
Cramer steps over and closes the book. He glares at Blast.
CRAMER
Enough foolishness! Let's conclude our business ... as distasteful as I anticipate it to be.
Blast works a diplomatic smile.
DISSOLVE TO:
INT. PAPAL DINING ROOM -- EVENING
Cramer and Aren are seated at the middle of a long, medieval dining table. Setting is high-class, glittering silver, etc.
All except Cramer and Aren are Roman Catholic clerics. Several Cardinals are present, including the white-bearded CARDINAL BONIFACI, Head of Vatican Security, who sits next to Cramer.
Blast rises to propose a toast.
He nods towards Cramer.
BLAST
God's ways are mysterious!
Then Blast addresses the full assembly.
BLAST (CONT'D)
Two historic events. First, to the success of our brother, Professor Cramer, who next month will teach for the fall semester at the Gregorianum. And I in return will journey -- should I say pilgrimage? -- to Salt Lake City.
The toast is drunk. Blast continues.
BLAST (CONT'D)
Now, of even greater import. To the reunion of two brothers in the faith.
(indicates Cramer)
The descendant of our beloved Heinrich Kraemer,
(bows indicating himself)
and the unworthy descendant of the glorious Jacobus Sprenger!
Aren is shocked by this fact. Cramer turns toward her,
CRAMER
(whispers)
The portrait, his eyes! "Blast" is an Americanization of Sprenger. Probably during World War One.
Then Blast waves for the SERVANTS to refill the glasses.
Once refilled, Blast bows towards Aren.
BLAST
Less we prove ourselves unmanly --
Blast and all the men raise their glasses.
BLAST (CONT'D)
a toast to Beauty, to the Queen of Heaven resplendent among us in the blush of most charming youth!
Aren blushes. She is embarrassed and speechless.
DISSOLVE TO:
<
br /> INT. BLAST'S BEDROOM WINDOW -- EVENING
Blast stands at his bedroom window. He is holding an ancient hand-held, folding telescope.
He scans the horizon.
BLAST'S POV
He spies Cramer and Aren in the distance.
EXT. ST. PETER'S SQUARE -- EVENING
Cramer and Aren are holding hands and strolling around the fountain in St. Peter's Square.
It is a "Lover's Evening" of August splendor: full-moon, etc.
Like the Young Lovers they are, they walk and play.
He twirls her around.
They kiss.
She dances around the fountain.
He chases her and holds her in his arms.
INT. BLAST'S BEDROOM WINDOW -- CONTINUOUS
Blast watches Aren and Cramer kiss.
He quickly scans in another direction.
He is searching for someone or something.
EXT. BLAST'S POV -- CONTINUOUS
The SHADOW of a figure is seen.
It darts in and out of doorways and shadowed areas.
The Shadow lifts a pair of binoculars.
SHADOW'S POV
He watches Cramer and Aren stroll about.
BACK TO SCENE
Blast watches the Shadow watching Aren and Cramer.
INT. BLAST'S BEDROOM WINDOW -- CONTINUOUS
Blast drops the telescope and continues to stare out the window.
He folds the telescope.
He smiles like a satisfied cat as he walks towards his bed.
DISSOLVE TO:
INT. AREN & CRAMER'S HOTEL ROOM -- LATER
Cramer kisses Aren goodnight by her hotel room door.
They are both passionate but restrained.
Aren pulls him closer. She becomes sexually bolder.
Cramer initially responds, but then backs off, panting.
He back-steps across the corridor to his hotel room.
He takes out his key.
They gaze at each other, frozen in desire.
CRAMER
Soon, sweet Aren, soon.
DISSOLVE TO:
INT. CRAMER'S HOTEL ROOM -- LATER
Cramer stands at a window.
He looks up at the star-filled heavens.
He checks his watch. It shows that it is midnight.
He turns and leaves the room.
DISSOLVE TO:
EXT. CHRISTIAN CATACOMBS -- EARLY A.M.
STREET-SIGN
Cramer is under a street-sign which points to the "CHRISTIAN CATACOMBS."
He crosses the street and pauses in the recess of the cathedral which is the entrance to the catacombs.
His eyes show that he senses someone, and he turns.
CRAMER AND THE THREE NEPHITES
From the shadows, the Three Nephites speak.
NEPHITE #1 (O.S.)
Rome is called The Eternal City. Can you understand why?
CRAMER
No. Not really. Why am I here?
NEPHITE #2 (O.S.)
It will become evident.
NEPHITE #3 (O.S.)
Aren must leave.
Cramer is about to ask "Why?" but hesitates and breathes an obedient,
CRAMER
Okay.
Nephite #1 hands a packet to Cramer. Nephite #1's hand is not exposed. It is covered by the robe's sleeve.
Cramer makes a hurried examination of the packet.
He is perplexed.
CRAMER (CONT'D)
Why this Venus? Why me?
NEPHITE #1 (O.S.)
She is for The Celebration. For the End Time ceremony.
HAND-HELD DEVICE
Nephite #2 hands Cramer a hand-held device.
Cramer quickly examines it.
He shakes his head in recognition of what the device is.
NEPHITE #2 (O.S.)
Your Special Forces training has prepared you for this.
Cramer gives an accepting nod.
NEPHITE #3 (O.S.)
In this City, Satan is enthroned. Beware.
DISSOLVE TO:
INT. HOTEL ROOM -- EVENING
Aren and Cramer's bags are packed.
She sits at the edge of the bed with a handkerchief in her hand.
He paces.
She sniffles and starts to cry.
CRAMER
Enough! Enough!
Aren stands, goes to a mirror and arranges her hair.
Aren finishes and is about to pick up her suitcase, when she stops, turns towards Cramer and says,
AREN
1999, yes, I believe you, it is 666 the sign of Satan upside down. But, Hank, the Millennium, I've listened to you, hear yourself, "God is not a slave to human reckoning," how many times have you taught and preached that?
Cramer comes over and hugs her.
CRAMER
You are so pure!
(paternally)
My sweetheart, more has been revealed than I can tell you.
(indicating Rome)
God wants me here in the Belly of the Beast. There is a reason for Blast -- that minion of the anti-Christ! -- that perverted offspring of that hideous torturer Sprenger --to come to BYU ... just understand ...
SFX Cramer's words are shattered by GUNSHOTS.
A mirror EXPLODES and several bullets ping off the furniture.
Cramer protectively shoves Aren to the ground.
As fast as it started so it stops.
Carefully, Cramer crawls towards the window and peeks out.
EXT. THE STREETS -- CONTINUOUS
CRAMER'S POV
Cramer sees several cars on fire.
Then a SKI-MASKED FIGURE runs across the street towards the
hotel and pitches a rock which flies straight at Cramer.
He ducks.
INT. THE ROCK -- CONTINUOUS
SFX the rock CRASHES through the window into their room.
Cramer and Aren are frozen in fear; stupefied.
On the rock is painted, "PURGARE!"
DISSOLVE TO:
INT. HOTEL ROOM -- LATER
Police are talking with Cramer as Blast and Cardinal Bonifaci enter the room.
Blast quickly scans the room. He is shocked and dismayed.
Blast sees Aren, off to the side, sitting on the bed's back edge.
Aren rocks to and fro in a distressed manner.
BLAST
(blesses himself)
God have mercy! Has the world gone totally insane?
(to Cramer)
What are these terrorists after?
Cramer shows Blast the rock and points to the word -- "PURGARE!"
Cardinal Bonifaci reaches for and snatches the rock from Cramer. Blast is bemused. He says to Cramer,
BLAST
The Cardinal considers himself the Vatican's Sherlock Holmes!
Cramer smiles wanly as he grabs Blast's arm and moves him to a distant spot where the police can't hear them. However, Aren hears them.
CRAMER
Latin. Who but Catholics would use Latin?
BLAST
Precisely. But isn't this obviously a bit of mis-direction?
Cramer is only half-convinced.
CRAMER
It may be other than you thought!
Aren stands and speaks to both of them.
AREN
(anguished)
Maybe it's me.
Blast and Cramer are both befuddled by her remark.
Aren's eyes are far off as if in a vision.
AREN (CONT'D)
Just an odd feeling. I've been praying a lot of late ...
Blast steps over and places a comforting hand on her shoulder.
BLAST
No, no my child. Don't even think ...
Cramer grasps Aren's right hand.
With his left hand, Cramer touches Aren's chin and turns her eyes away from Blast.
CRAMER
(to Blast)
It's okay. Just shock.
DISSOLVE TO:
INT. MEETING ROOM INSIDE A MORMON TEMPLE -- DAY
TEN WOMEN, all dressed in white, are in discussion. They range in age from college students to matrons. Aren is one.
BLACKBOARD
In b.g. on a blackboard is written in outline form,
1) Goddess/Mother-in-Heaven
2) Millennium
3) Feminism.
1ST WOMAN
(to Aren))
That is dangerous thinking!
AREN
Do you really think so? To me it's just the natural development of our Mormon Revelation.
2ND WOMAN
(enthusiastically)
Yes, if we do have parents in heaven. Then God our Father must be married to our Mother-in-heaven. Shouldn't we bring this, isn't this what our feminist sisters are looking for?
1ST WOMAN
"Sisters"? You call them sisters?
3RD WOMAN
What does it matter? All will be changed, in just a few months Jesus will return!
A gush of excitement seizes all but Aren and the 2nd Woman.
The meeting breaks down into tears and wails,
4TH WOMAN
(throwing up her arms)
Oh, Sweet Jesus, come, come!
5TH WOMAN
Eternal Father come to me!
SEVERAL OTHERS
Hallelujah! Hallelujah!
DISSOLVE TO:
INT. AREN'S BEDROOM -- LATER
Aren sits at a small desk and strokes her hair as she reads the Bible.
Then, she stands and walks about while continuing to brush her hair. She is clearly in deep thought.
SNOW FALLING
She goes over to a window and watches the snow fall.
Something disturbs her. Her face becomes agitated, frustrated and perplexed.
She walks back to the Bible.
She reads, strokes her hair, then picks-up the Bible and walks back to the window.
FULL SHOT
of REVELATIONS 12:1-2, which she has high-lighted, as she reads it out loud.
AREN (V.O.)
"And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars."
(slowly, meditatively)
"And she being with child ... cried out ... in her pangs of birth ... in anguish for delivery."
Aren kneels down in prayer, and buries her face in her hands.
After a moment, she rises. Her face is enlightened.
AREN (CONT'D)
That's it! Oh ... Mother-in-Heaven!
INT. AREN KIDNAPPED -- CONTINUOUS
Just as Aren completes her sentence, THREE SKI-MASKED KIDNAPPERS break through her door.
Aren is startled. She retreats in fear but then reverses the emotion of the moment by relaxing, smiling and holding her arms out in a gesture of acceptance.
The Three Kidnappers roughly grab her and pin her to the ground.
One throws a blanket over her.
Another ties her up.
The third lifts Aren up and throws her on his shoulder.
DISSOLVE TO:
INT. CRAMER'S STUDY -- MORNING
Cramer is opening his mail.
PHOTOGRAPH
From a large manila envelope, a photograph of Aren falls out.
CRAMER'S POV OF AREN'S PICTURE
Aren is sitting on a chair with her hands tied behind her.
Her face is painted with clown white and in black across her forehead is written, "PURGE!"
BACK TO SCENE
Cramer bursts into a moment of rage, but quickly gains control of himself.
He slips off his chair and onto his knees to pray.
He holds Aren's picture, heavenward, as he prays,
CRAMER
(resigned)
I accept her role. Please strengthen me, O Father. I accept her role.
Cramer's face is determined and his eyes are afire.
DISSOLVE TO:
INT. KIDNAPPER'S ROOM
SPOTLIGHT
Aren, spotlighted, sits in a chair with her hands tied behind her back. She is not in pain.
"PURGE" is written across her white-faced forehead as in the picture received by Cramer.
In the twilight behind the spotlight are four kidnappers.
Of the three who captured Aren, only one removes his mask. This is FATHER O'BRIEN. He is late 30s with a thick beard which has a distinctive streak of gray in the form of a slashed scar.
O'Brien acknowledges the fourth kidnapper with a nod. This is Blast. Both slip on their ski-mask.
ARTIFICIAL VOICE BO
xBlast straps on an artificial voice box.
Aren cannot see the faces of her abductors. They speak from the shadows.
KIDNAPPER #1 (O.S.)
How can we tell that she's the one?
BLAST (O.S.)
Like the others, torture her.
At the word "torture," Aren's eyes pop out in fear. She MUMBLES a prayer.
AREN
"Our Father ..."
Kidnapper #1 hears Aren praying.
KIDNAPPER #1 (O.S.)
(eagerly)
Should I cut her tongue first?
BLAST (O.S.)
No! No, we need this one to sing.
Distraught, Aren strains to see them.
INT. AREN'S TORTURE -- CONTINUOUS
Kidnapper #1 steps forward and turns Aren's chair around.
He cuts the binds on her hands.
HIGH TECHNOLOGY DEVICES
The spotlight dims and reveals that the room is like a NASA Mission Control station, stuffed with HIGH TECHNOLOGY DEVICES.
The wall before them turns into a huge video screen.
A SERIES OF SHOTS
convey the destruction of statutes, goddess sites, and the execution and torture of women. Video footage of:
A) the destruction at the Shrine of the Immaculate Conception shows the faces of Mary being shattered.
B) the destruction of goddess sites through bombings, etc.
C) a wall of photographs of women in various stages of torture and execution. Neatly arrayed under a headlined quotation, "YOU SHALL NOT PERMIT A SORCERESS TO LIVE!"
D) a collage of photographs showing Aren and Cramer in various romantic moments. The photos focus upon Aren's eyes, her hands, her lips, and, especially, her hair. This is handled very sensuously.
INT. -- CONTINUOUS
Aren is spun around and blinded by the spotlight, again.
She is clearly distressed. She rubs her hands, strokes her hair, etc. Her eyes convey that she is helpless and frozen in fear.
HARNESS AND SKY-HOOK
Kidnapper #1 steps forward and slips a harness over Aren.
He re-ties her hands behind her back. She is terrified.
A sky-hook swings out from the shadows.
Aren is locked in.
Then, she is hoisted up such that she is on her tip-toes.
She screams and her face is wrenched in fear.
AREN
Help me Jesus! Help me!
In a moment she quiets and starts praying,
AREN
"Our Father who art in heaven ..."
THE CANE
Blast, from the shadows, extends a long cane. It is thick, of dark ebony, and gold-tipped. It glistens like water. It shimmers, tricking the eye, making it appear to be alive!
The Cane touches Aren's lips and she stops praying.
The Cane touches her hair, strokes her cheeks, slips down around her shoulders. The Cane's molestation is highly sensuous.
Aren grimaces and suffers as she hears and is touched.
BLAST (O.S.)
(mocking as the cane strokes her breasts)
Are you the goddess? The mother whom all suck? The first food of the innocent babe?
With savage an
ger in his voice Blast WHACKS her breasts.
BLAST (O.S.)
Have you seduced him?
As Blast says "him," the voice of Cramer is heard.
CRAMER (V.O.)
Darling, you are so beautiful!
The whack causes Aren to bolt upright and she is, momentarily, jerked off her feet.
The CREAKS of the sky-hook and the SQUEAL of the tightening leather harness are heard.
Aren flops back and forth, grimacing in pain.
Her toes struggle to regain their balance on the ground.
She does NOT scream.
BLAST (CONT'D)
Or the first to spoil the sweet milk of God's love by offering your sinful body as food?!
The Cane slides down her back, pauses on her buttock, and
then glides down and across her hips and plunges between her
legs. The Cane "fucks" her.
BLAST (CONT'D)
(with contempt)
Mother! Goddess! Whore! Bitch! Your sucking mouth is insatiable! Insatiable!
Aren's whole body recoils and flops wildly. The noise is a chorus of the sky-hook and harness' CREAKS and SQUEALS.
Aren does NOT scream.
In great pain, her eyes roll back into her head and she feints.
INT. VISION OF THE THREE NEPHITES -- SPF
As Aren feints, a BURST of bright light washes over the screen.
Aren still sways, unconscious, on the harness.
The Three Nephites step forward from the shadows. They are hooded and their faces are not seen.
FULL SHOT
An ancient, gnarled hand slips from a robed sleeve and touches Aren's face.
BACK TO SCENE
Aren awakens.
AREN'S POV -- THE THREE NEPHITES' FACES REVEALED
One by one the Three Nephites each touch Aren's face.
As their fingers touch her their hoods fall revealing their faces. They are the faces of the Three Witches in the opening burning scene.
One Nephite is a heavily wrinkled crone.
The second is middle-aged, plump and matronly.
The third is young, virginal and peaches-and-cream innocent.
As the Third Nephite touches her cheek, Aren's eyes light up.
DROPS OF BLOOD
Then, drops of blood fall as spray upon Aren's face.
INT. END OF AREN'S TORTURE -- CONTINUOUS
Kidnapper #1 is reviving Aren by sprinkling her face with blood.
THE ASPERGILLUM
He uses the Catholic ritual aspergillum. He dips it into a bowl and then "blesses" her.
KIDNAPPER #1
This is the blood of the She Devils! All your vile sisters. Wake! Wake! You seducer of Adam, you consort of the Serpent!
He repeats this as she slowly revives.
KIDNAPPER #1 (CONT'D)
This is the blood of the She Devils! All your vile sisters. Wake! Wake! You seducer of Adam, you consort of the Serpent!
Aren wakes with a rapturous smile and loving eyes.
Blast's hand shoots out from the shadows and stops Kidnapper #1's actions.
KIDNAPPER #1 (O.S.)
(with bewilderment and fervor)
She does not curse us! Is she the one?
BLAST (O.S.)
Be patient, my friend, witches have incredible strength.
KIDNAPPER #1 (O.S.)
But ...
BLAST (O.S.)
But nothing. Yes. She has passed the first step. She may be pure.
Aren does NOT respond to the pain nor his words.
The sky-hook jerks and slackens.
Aren falls to the ground.
She is bathed by the spotlight. The edge flows like an aura.
FULL SHOT
of Aren's blood-sprinkled but fearless, content and raptured face.
DISSOLVE TO:
EXT. OUTSIDE THE MORMON TABERNACLE -- EVENING
Cramer meets with the Three Nephites. They are hooded and stand within the shadows. He cannot see them.
Cramer hands Nephite #1 Aren's "Purge!" picture.
NEPHITE #1
The time is near.
Cramer
But Aren?
NEPHITE #2
She will be returned. Say only that she is travelling.
Cramer
Then I will be alone at The End?
NEPHITE #3
It is all as it must be.
NEPHITE #1
Do not waver on this the final lap. What is dark now, will be light then.
NEPHITE #2
Fail not, for the purification is God's will.
DISSOLVE TO:
INT. AIRPLANE -- EARLY EVENING
Cramer looks out the window of an airplane as it lands.
The ground is snow ladened.
As he stands to leave, over the loudspeaker he hears,
STEWARDESS (V.O.)
Welcome to Vienna.
This greeting is repeated in German.
This greeting is repeated in French.
As Cramer de-planes his breath smokes the air.
DISSOLVE TO:
EXT. TAXI RIDE -- LATER
Exiting the airport, Cramer enters a taxi.
He is driven through the festively lighted town.
Though there are skiers and others playing in the snow, Cramer is gripped by seriousness.
DISSOLVE TO:
INT. HOTEL ROOM -- LATER
Cramer unpacks in his hotel room.
He undresses and then dons dark worker clothes.
FLASHLIGHT, MAP AND HAND-HELD DEVICE
He pockets a flashlight.
He checks a map.
He slips a pair of night-goggles inside his jacket.
He flicks on and off the hand-held device the Three Nephites gave him. It projects a laser beam.
EXT. NATURHISTORISCHES MUSEUM, AUSTRIA -- LATER
Cramer steps off a trolley and walks towards a darkened building.
He stands in a darkened alcove and reads his map by moonlight.
He covertly walks down the street.
PLAQUE
He pauses under a plaque which his flashlight illuminates as, "NATURHISTORISCHES MUSEUM."
Cramer wends his way through several shadowed areas.
He stops, leans against a wall, and then flips on the hand-held laser device the Three Nephites gave him.
As he shines the laser up and down the Museum's exterior, a small red light on the device flashes.
It stays red until it hits a basement window when it goes blank.
Cramer hurries over to this window.
With a screwdriver, he jimmies it open.
He slips on a ski-mask.
Then, he crawls in.
INT. NATURHISTORISCHES MUSEUM -- CONTINUOUS
NIGHT-GOGGLES
Cramer's flashlight projects a red beam. He takes out and slips on night-goggles.
He walks confidently down a corridor.
He comes to a gate.
He scans it with the laser device. When it hits the lock, the red light flashes.
He hits a switch and a beam de-activates the lock.
Once the red light goes off, he jimmies the lock and enters.
Inside, Cramer flips another switch which sends a wide beam up and down and across the Museum room.
SECURITY CAMERA
It reveals a security camera just to his right.
Cramer flips another switch and a beam burns the camera cord.
He re-checks his map.
ALARM BOX
Then Cramer walks directly to a main alarm box.
To his astonishment it has already been turned off!
INT. CENTRAL DISPLAY: THE VENUS OF Willendorf -- CONTINUOUS
Cramer cautiously slides along the room's walls.
He is at the edge of the Central Display room.
VENUS IN A GLASS ENCLOSURE
In the center of the room
, sealed within a lighted glass enclosure, is the Venus of Willendorf.
Cramer bathes the box with a laser beam.
It reveals that the Venus is surrounded by high security beams.
Just as he is about to flip another switch, the security beams go down!
Cramer hears scurrying feet and muted whispers.
He presses himself against the wall as he closely watches the Venus.
CRAMER'S POV
Three Hooded Figures appear before the Venus.
Expertly, they run a laser device along the edge.
This unglues the glass, and they take off a panel.
DUPLICATE VENUS
They bag the Venus and place a duplicate Venus inside.
They re-seal the glass box.
INT. -- CONTINUOUS
STATUE OF ATHENA
As the Three Hooded Figures turn and leave, one takes out a
a hammer and smashes the face of a statue of Athena.
SIGN
He hangs fancily lettered --"PURGARE!" -- on the statue.
BACK TO SCENE
Cramer slips off his ski-mask and slumps down the wall.
CRAMER
(under his breath)
Damn!
DISSOLVE TO:
EXT. OUTSIDE BLAST'S VATICAN APARTMENT -- AFTERNOON
Cramer watches a building.
Blast exits the building and gets into a car and drives away.
Cramer crosses the street.
He uses his laser device to check for an unsecured entrance.
He forces an entry through a back door.
INT. BLAST'S A