While her marriage to British writer Roald Dahl, the author of children’s classics such as “James and Giant Peach,” had long been troubled, Neal was shattered when she learned he was having an affair with one of her friends. They divorced in1983.

In her 1988 memoir, “As I Am,” Neal admitted: “Frequently my life has been likened to a Greek tragedy, and the actress in me cannot deny that comparison.”

That quotation captured the tone of the tributes published after Neal passed away on Aug. 8 at the age of 84. Broadway theaters dimmed their lights in honor of the Tony Award winner and critics sang the praises of one of Hollywood’s ultimate survivors, an actress who literally learned to walk and talk again before returning to the screen to earn another Oscar nomination.

But Neal’s story contained angels as well as demons. This is obvious in the overlooked passages in “As I Am” that described her conversion to Catholicism and her visits to the cloister of Regina Laudis (Queen of Praise) Abbey in Bethlehem, Conn., where the sisters helped her confess her sorrows and rage.

Finally, the abbess suggested that Neal move into the abbey for a month.

“Lady Abbess,” said Neal, “I don’t want to join up, you understand?”

The abbess sighed and said, “Believe me, we don’t want you to, either. I don’t think we could take it for more than a month.”

As she arrived, Neal stubbed out the “last cigarette I would ever smoke.”

A priest gave her a blessing and, she recalled, “I felt his cross blaze into my forehead. … I traded my street clothes for the black dress of the postulant and scrubbed off my makeup. I removed the rings from my fingers and covered my hair with a black scarf. I looked at the bare wooden walls of my cell. … I did not live the exact life of a postulant, but I did my best.”

Neal went to church on time, followed the abbey’s prayer regime, baked bread, remained silent during meals and, with the help of a spiritual director, began writing the journal that evolved into “As I Am.”

Behind closed doors, she unleashed her fury. At one point she screamed so many curses at her counselor that the sister finally cursed right back, urging Neal to be honest about her own faults and mistakes.

The actress finally voiced her secret pain. Monsignor Jim Lisante of Diocese of Rockville Centre (New York) later discussed with Neal the tragedies of her life and asked if there was any one event that she would change.

“She said, ‘Forty years ago I became involved with the actor Gary Cooper, and by him I became pregnant. As he was a married man and I was young in Hollywood and not wanting to ruin my career, we chose to have the baby aborted,’ ” wrote Lisante, at the Creative Minority Report website. “She said, ‘Father, alone in the night for over 40 years, I have cried for my child. And if there is one thing I wish I had the courage to do over in my life, I wish I had the courage to have that baby.’ “

Several of the obituaries for Neal — including the New York Times feature — mentioned this episode in the context of her pain and regret. The Washington Post noted that late in life “she suffered periods of depression and suicidal thoughts before finding peace as a Catholic convert.”

In the end, Neal decided that, “God was using my life far beyond any merit of my own making” allowing her to reach out to those who were suffering. “I learned that my damaged brain cannot reclaim what is dead. It has to create totally new pathways that allowed me to make choices I would never have made had I not suffered that stroke — choices that an infallible voice assures me will be blessed.”

One final lesson from the abbess, wrote Neal, stood out: “There is a way to love that remains after everything else is taken from us.”

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“All who die in God’s grace and friendship, but still imperfectly purified, are indeed assured of their eternal salvation; but after death they undergo purification, so as to achieve the holiness necessary to enter the joy of heaven,” the text states. “The Church gives the name Purgatory to this final purification. … The tradition of the Church, by reference to certain texts of Scripture, speaks of a cleansing fire.”

Alas, any distressed “Lost” viewers who rushed to the Vatican website after the show’s finale found no insights about the smoke monster, the Dharma Initiative, that mysterious “4 8 15 16 23 42” sequence or why the fate of the world depended on a pool of light on one very strange island.

At least one member of the U.S. Catholic hierarchy has owned up to being tuned into the “Lost” phenomenon from the beginning. At the end, all Archbishop John J. Myers of Newark could do was understate the obvious.

“I’ve enjoyed the series, considering it to be akin to science fiction,” he noted, reacting to the raging debates about the religious symbols and language that dominated the final moments. “While the Catholic Church does believe in Purgatory, I’m not sure that the series presents an accurate understanding of our beliefs.”

Before the finale, the scribes who had been running “Lost” — Damon Lindelof and Carlton Cuse — said their creation would end by focusing on how the Oceanic Flight 815 survivors answered ultimate questions about the wounds, conflicts and sins in their pasts. The key word, they agreed, was “redemption.” All of that pain and suffering had a purpose.

The final episode blended together lots of vague theology, philosophy, pop psychology, religious symbols and references to popular books and movies. Think of it as “Our Town” meets “The Sixth Sense,” with dashes of “Ghost,” “Field of Dreams,” “It’s a Wonderful Life” and, at the last minute, a comforting nod to “All Dogs Go to Heaven.”

After years of flashing back and forth in time, the final year’s action centered on events in two parallel time sequences — the climactic battle to determine the island’s fate and a purgatorial “sideways” timeline in which the characters gained insights into their troubled lives, before and after the fateful crash.

At the end, the castaways gathered in a church sanctuary for one last group hug before entering eternity — an ocean of bright light outside the exit doors. The big chat explaining these final events — reuniting the show’s Christ figure, Jack Shephard, with his father, Christian Shephard — was lit by a stained-glass window containing symbols of Christianity, Judaism, Islam, Hinduism and Buddhism.

But was the show, as some had theorized all along, actually built on the concept of purgatory? Hadn’t Lindelof told the New York Times in 2006: “People who believe that they’re in purgatory or that they’re subjects of an experiment are going to start reassessing those theories. …” The creator of “Lost,” J.J. Abrams, had denied the purgatory theory, too.

The finale’s spirituality shocked many critics, including one or two who were so upset that they retroactively (flash backward) dismissed “Lost” as a whole. But veteran Washington Post writer Hank Stuever, drawing on his Catholic school past, said it’s time to admit the obvious.

In the final five minutes, “I realized that the purgatory camp had been right all along, that Occam’s razor (the simplest solution is usually the correct one) had worked,” he argued. “Oceanic 815 crashed. Some of its souls awoke in a realm that is neither heaven nor hell. It’s limbo. … Jack Shephard and his fellow travelers were brought there to resolve a number of problems between heaven and hell.”

But some Catholic viewers struggled to reconcile their church’s teachings with the limitations of a product created in Hollywood, a place that has its own definitions of terms such as “sin,” “repentance,” “redemption” and “savior.”

Now, the creators of “Lost” have offered a glimpse of purgatory — lite.

“From a theological point of view — well, you can’t have ‘purgatory’ per se without God, without Christ,” said Amy Welborn, a popular online Catholic commentator. “But given a vague, non-specific Christ-less spirituality, I really don’t see an argument that the sideways realities in the final episode, at least, weren’t meant to be purgatory.”

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The typical faith-based indie has a tiny budget and most of the actors are amateurs or second stringers from television. It doesn’t take much money to promote one because churches are eager to hold pre-release screenings that fire up clergy and volunteers to spread the word — on foot and online.

Southern Baptist entrepreneurs in Georgia made the pro-marriage drama “Fireproof” for $500,000 and it grossed $40 million at the box office, before the DVDs started reaching Bible bookstores. The new Possibility Pictures team spent only $3 million making its first film, “Letters To God,” which opens this week.

Studio people can do the math.

“Lots of people are interested in that ‘Fireproof’ business model,” said Patrick Doughtie, who wrote the original “Letters To God” screenplay and helped direct the movie. “They don’t really know what they’re looking for in terms of content, but they know that these movies are reaching an audience and making some money.”

Doughtie, on the other hand, knew exactly what he wanted to see when “Letters To God” reached movie screens. He began studying screenwriting in order to tell a highly personal story based on the life of his son, Tyler, who died in 2005 at the age of 9 after a battle with an aggressive brain tumor.

After wrestling with anger and depression, Doughtie finally realized how much his son’s faith had touched the lives of the people around him, old and young, and especially other members of Grace Baptist Church in Nashville.

This provided the hook for a fictional story about a boy named Tyler who has brain cancer and begins writing letters to God full of questions about his own life, as well as prayers for his family and friends as they struggle with their fears that he will die. The letters end up in the hands of a postal worker who is struggling with alcoholism and the break-up of his own family.

After he had finished the basic script, Doughtie found a notebook in which Tyler had written some letters to God. This made him even more determined to find producers who were willing to tell the story with the faith element intact.

“All kinds of people are touched by cancer and they’re going to know what this movie is all about,” he said, days before the movie’s April 9 release in 900 theaters nationwide. “But I didn’t want to write a story that was just about cancer. I wanted to write a story about hope and about what needs to happen after a battle with cancer.”

For years, the makers of these faith-driven films have insisted that they can serve as evangelistic tools to reach nonbelievers — even though they are full of hymns, prayers, church services, mini-sermons and other acts of God that tend to appeal to people who are already in church pews.

Sure enough, most of the crucial scenes in “Letters To God” pivot on confessions of faith, accompanied by lilting flutes or heavenly choirs.

Even the most painful moments are squeaky clean. The alcoholic mailman doesn’t shout a single curse when he hits rock bottom or when his wise local bartender refuses to serve him another drink. Tyler’s mother, Maddy, is already a widow and, by the end of the movie, knows that she will lose her youngest son. Still, she loses her cool only once — when her own mother reminds her of a biblical parable about faith. She shouts: “I wish everyone would stop quoting the Bible to me. It’s not curing my son.”

Doughtie said that he hopes nonbelievers will see “Letters To God,” but he knows they will not be the primary audience. More than anything else, he hopes the movie will inspire church leaders to learn how to minister to families affected by cancer.

“People wanted to help us, but they didn’t know how,” said Doughtie. “They loved us. They prayed for us. They brought us casseroles. They wanted to help. … But what are you supposed to do after you pat someone on the back and say, ‘Hey, I’m sorry you lost your kid’?

“What we have to do is remove the stigma from childhood cancer. People in our churches need to take their blinders off and get more involved with cancer families.”

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In director James Cameron’s blockbuster “Avatar,” a U.S. marine is transformed by technology into a blue-skinned warrior on a planet called Pandora, where he helps the Na’vi people fight evil corporate invaders and defend their sacred lands and traditions.

There seem to be some similarities in these epics.

“The ancient Hindu scriptures have forever reiterated that whenever the world would be on the brink of disaster and mankind faces extinction, whenever the vessel of sin is about to spill over to create death and destruction, the divine Lord Vishnu would … manifest himself in mortal, palpable form to save mankind from the impeding doomsday,” noted the Bengali director Sudipto Chattopadhyay, at the Passion and Cinema weblog.

When evaluating Cameron’s movie, he added, one thing is clear. “The use of the word Avatar hence could never be an accident. … The Avatar is meant to be the savior, the messiah of his own race and people.”

It was that kind of year at the multiplex, with a parade of films rolling through theaters containing obvious religious images, messages, themes and characters. This made it both easy and hard for the Beliefnet.com team to select nominees for its annual Best Spiritual Film award.

“It’s difficult to pinpoint exactly what a spiritual film is, since people have their own ideas as to what spirituality is,” said Dena Ross, the website’s entertainment editor. “We define it as a film which makes a serious attempt to grapple with the big questions in life: Why are we here? Why is there evil and suffering? Is there a God? Why do bad things happen to good people?”

This year, she said, Beliefnet.com made a conscious decision to nominate “more overtly religious films” for the Best Spiritual Film prize. A second category — Best Inspirational Film — focused on movies with uplifting messages, but few specific religious elements.

“We had so many amazing movies this time with strong references to religion,” said Ross. “I mean, ‘A Serious Man’ is about a devout Jewish man. ‘The Stoning of Soraya M’ deals with serious Muslim issues. ‘The Blind Side’ is about an evangelical family that is practicing its faith.”

Due to the historic success of “Avatar” — $700 million-plus at the domestic box office — there was a chance that Cameron’s 3D myth would get the Best Spiritual Film nod from both the judges and the website’s readers.

Instead, the judges selected “The Road,” a bleak drama based on Cormac McCarthy’s novel. It told the story of a father who teaches his son to remain “one of the good guys” while “carrying the fire” — a metaphor for hope and faith — in a post-apocalyptic world dominated by murderers and cannibals. The boy is shown praying for God’s help, and keeps striving to help the people they meet.

To the surprise of the Beliefnet.com team, their readers then picked “The Blind Side” as the year’s top spiritual film. In fact, 62 percent of the votes went to the real-life story of football star Michael Oher’s journey from a Memphis ghetto into the home of a rich Christian family that, literally, adopted him as a son. “Avatar” got 18 percent.

Meanwhile, Pixar’s “Up” was chosen as the Best Inspirational Film. It told the story of a crotchety old man who soars away on an adventure inspired by devotion to his recently deceased wife. Along the way, he forms a strong bond with a young boy who reminds him that his life still has purpose.

“Up” was another hit for Pixar, earning nearly $300 million at the box office, while “The Blind Side” shocked Hollywood with a total gross of nearly $250 million, with most of those tickets selling in the American heartland.

“In past years, we’ve gone back and forth trying to find films that fit our definitions. But this time it was much easier with all of these big, successful films that dealt with spiritual issues,” said Ross. “Maybe it’s a sign of the times. In hard times, people may be looking for these kinds of uplifting stories. It seems they went to movie theaters looking for something to inspire them.”

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“I try to bend even the worst of my roles, like ‘Training Day,’ ” said Washington, the day after a press screening of “The Book of Eli” in Los Angeles. “The first thing I wrote on my script was ‘the wages of sin is death.’ “

After that biblical pronouncement, the superstar pleaded for a crucial change in this role, for which he won the Oscar as Best Actor. In the original script, viewers learned about his character’s death in a television newscast. Washington insisted that this urban wolf be yanked out of his car and forced to “crawl like a snake” before being riddled with bullets, while people in the neighborhood turned their backs on him.

“I said, ‘No, no. … In order for me to justify him living in the worst way, he has to die in the worst way,’ ” explained Washington.

For Washington, this “bending” process is part of his ongoing efforts to make sense of his Christian faith in the midst of a career as one of Hollywood’s most powerful players in front of, and behind, the camera. The goal isn’t to sneak faith into mainstream films, but to pinpoint themes about sin, redemption, justice, dignity and compassion that mesh with what he believes to be true as the son of Pentecostal pastor and an active member of the giant West Angeles Church of God in Christ.

That’s what he was doing while playing Malcolm X, emphasizing that his sermons built on racial hatred were evolving into messages rooted in equality. In the violent “Man on Fire,” Washington played a bodyguard who decides to sacrifice his own life to save a young girl from kidnappers. This “bending” process is easier in some movies than others.

In the R-rated “Book of Eli” — directors Albert and Allen Hughes call it a “post-nuclear western” — the actor plays a warrior who marches through a devastated American landscape while, literally, on a mission from God. He is carrying the last surviving copy of the King James Bible, along with his machete and a few other weapons that he uses with righteous fervor. Call it “Mad Moses” in “The Prayer Warrior.”

“Here’s a man who, like Saul, or Paul, gets knocked off his horse and has this epiphany, this moment,” said Washington.

In a vision, the voice of God tells Eli, “Take this book west,” and promises to protect him until he can deliver it into safekeeping. There is one big difference between Eli’s story and the biblical account of St. Paul’s conversion, the actor admitted, with a laugh. “I don’t know if it said anywhere in there, ‘And kill everybody on your way.’ “

While early drafts of the script contained even more religious material, the film does show Eli reading the Bible and praying every day. In a pivotal scene, he teaches a young woman how to pray, while trying to protect her from a strongman who wants to seize the Bible to use it as “a weapon aimed at the hearts of the weak and the desperate.”

Eli’s basic message is simple: “Do more for others than you do for yourself.” The movie ends with a prayer that includes a famous quotation from St. Paul: “I fought the good fight. I finished the race. I kept the faith.”

Washington said these are the kinds of messages that linger after the Bible studies that he strives to fit into each day. He has worked his way through the Bible three times, spurred on by the example of Pauletta, his wife of 26 years.

While reading the Book of Proverbs recently, he began looking around his house, marveling over “all this stuff.” This led to a sobering question: “What do you want, Denzel?” He focused on “wisdom,” which led to the word “understanding.”

“I said, ‘Hey, there’s something to work on. How about wisdom and understanding? How about that? I started praying, I said, ‘God, give me a dose of that,’ ” said Washington. “I mean, I can’t get … anymore successful, you know, but I can get better. I can learn to love more. I can learn to be more understanding. I can gain more wisdom.

“So that’s where I’m at.”

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But there was one big complication. Steven didn’t want to abandon his buddy Michael Oher (pronounced “Oar”), a street kid who slept on their floor most nights. “Big Mike” was afraid to return to the bleak foster homes he knew after police tore him away from his mother, her crack pipe and her 13 children.

So Henderson took both boys to Briarcrest Christian School on the rich side of town, hoping for scholarships that would make a grandmother’s dream come true. School officials were impressed by Steven’s grades. Coaches were impressed that Oher was 6-foot-4, weighed 340 pounds, could dunk a basketball and looked like God’s gift to quarterbacks who needed a left tackle to guard their “blind side.”

The rest is a long story, one that weaves together themes of race, sports, money and education. But a key player in the real-life version of “The Blind Side” stressed that this is also a story about faith.

“We’re convinced that faith guided and controlled this whole thing,” said Leigh Anne Tuohy, the steel-magnolia matriarch of the rich, white, evangelical family that finally embraced Oher as a son, after providing food, shelter and clothing. “We absolutely believe that none of this was a fluke. … This was God-driven from the start.”

Author Michael Lewis didn’t hide that faith element while writing “The Blind Side: Evolution of a Game,” a bestseller that mixed Oher’s story with information about how the left-tackle position evolved into a crucial, and lucrative, slot in any National Football League offense. Then writer-director John Lee Hancock included religious details about the family in the new movie, while avoiding heavy-handed sermons. “The Blind Side” grossed $34 million at the box office on its opening weekend, while scoring a rare A-plus CinemaScore audience rating.

On screen, the Tuohys attend plenty of sporting events. After all, Sean was a University of Mississippi hoops star and Leigh Ann was an Ole Miss cheerleader. Their daughter Collins is both a cheerleader and volleyball star, again at Ole Miss, and their young son, Sean Jr., seems to have inherited his father’s gifts as a tireless sports entrepreneur.

The movie does skip the ritual when everyone heads to Grace Evangelical Church, a growing congregation the family helped start. Oher began attending soon after the wet winter night when the family first spotted the shivering giant in shorts and a floppy shirt, walking back to the shelter of the warm Briarcrest gymnasium.

Leigh Anne Tuohy said that “from day one,” Oher was the first person ready to go on Sunday mornings. Church was part of everyday life, like homework, piano lessons and trips to sports events and practices.

The key is that expressions of faith were a natural part of this true story, said actress Sandra Bullock, who plays Leigh Anne. No one was faking anything.

“This family, they were themselves for no other benefit other than because they wanted to reach out, lend a hand, and had no idea that they would get a son in return,” she told reporters, after a press screening of “The Blind Side.” Bullock said that, while making the movie, she regained a little “faith in those who say they represent a faith. … I’ve finally met people that walk the walk.”

While Tuohy stressed that she can now see God’s work in the events that changed Oher’s life, and their family, that doesn’t mean the details were clear at the time.

The family had reached out to others before, but not to the same degree. Now, it’s impossible not to think about how many other talented, gifted children are, literally, on the run in America’s cities, she said. What is the family supposed to do now? What should Oher do, now that he plays for the NFL’s Baltimore Ravens?

After one of her Southern chuckles that Bullock had to master to play her on screen, Tuohy said that it’s hard to talk about the future when she is still trying to understand the wild changes that have changed her family forever.

“A miracle is what this is,” she said. “Childbirth is easier to explain than all of this.”

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This may seem strange since Asay works for Plugged In, a media Web site sponsored by Focus on the Family — a powerful brand name in evangelical media. Yes, he knows the hip writer, actor and director is a proud, articulate atheist. However, he also thinks that Gervais is “actually quite talented and a very funny guy.”

Thus, Asay had mixed feelings when he reviewed, “The Invention of Lying,” the comedian’s new comedy. After all, Gervais had publicly pledged that it would be both a “sweet Hollywood” romantic comedy and the “first ever completely atheistic movie with no concessions.”

For Asay, watching the movie became a “frustrating, disturbing, deeply saddening experience. And it was funny. Which makes it, in some ways, that much worse.” While the movie displayed Gervais’ talents, it also revealed that he has “very little knowledge of what he seeks to skewer. He takes an infantile interpretation of spirituality — one that most of us leave behind for deeper truths by the age of 3 or 4 and deconstructs it to the point of imbecility,” wrote Asay.

But here’s the plot twist. While “The Invention of Lying” has received bad reviews from most religious critics, it has not provoked headline-friendly calls to arms by the usual suspects on the religious right.

This has not, in other words, been “The DaVinci Code,” “The Golden Compass” or even the anti-faith “Religulous” sermon from provocateur Bill Maher. So far, the Gervais opus is drawing small crowds into theaters and zero protesters onto sidewalks. As it began its third week, it had grossed only $16,956,375 while sliding to 16th place at the box office.

“The whole movie industry today is such a one week and you’re done affair,” noted Asay. “If you don’t make waves right away, you’re kind of over. … In retrospect, Gervais and his people may have wanted to pump up that atheism angle in the marketing to get a bigger splash in the press. They needed to do something.”

“The Invention of Lying” takes place in a parallel world in which people cannot lie. Thus, advertisements are rather blunt. The Pepsi slogan is, “When they don’t have Coke,” and a nursing home is called, “A Sad Place for Hopeless Old People.”

Then along comes Mark Bellison, a pudgy loser who, in a moment of desperation, intentionally overdraws his bank account and gets away with it. This discovery changes his life, but he also learns that lying cannot solve all his problems. In the movie’s pivotal scene, the liar played by Gervais comforts his dying mother by telling her she soon will be reunited with her loved ones in a land of peace, love and happiness, where there is no pain.

Hospital workers overhear this proclamation and the loser quickly becomes a pseudo-messiah, offering stunning revelations about a great “man in the sky” who controls people’s lives and decides whether they spend eternity in a good place (lots of ice cream) or a bad place.

Nevertheless, the prophet knows he is a fake. While visiting his mother’s grave he confesses, in a fit of guilt: “I know you’re not up there in a mansion. You’re right here in the ground and I’m the only one who knows that.”

It was impossible to watch that scene, and others in “The Invention of Lying,” without feeling some kind of compassion, said Thaisha Geiger, a language arts teacher who reviews movies for the ChristianAnswers.net Web site.

Since she was not familiar with Gervais, she did some online research to learn more about his beliefs. She was struck by the fact that Gervais lost his faith as a young child. However, he also told ShortList.com, “I always knew that if my mum asked me when she was dying if there was a heaven, I’d say yes. … I think that’s how religion started — as a good lie.”

That painful conflict made it onto the screen, said Geiger.

“The movie really is about his beliefs … so he was probably expecting Christians to yell and scream after they saw this movie,” she said. “But I didn’t feel anger when I saw it. I really walked away feeling sad. … I thought, ‘He’s an atheist. We should pray for him.’ Maybe he’s disappointed that more people aren’t mad.”

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“You mean the day they stop needing the church,” she shouts, weaving together the novel’s main themes. “But the church is not the only enlightened soul on the planet! We all seek God in different ways. …

“God is not some omnipotent authority looking down from above, threatening to throw us into a pit of fire if we disobey. God is the energy that flows through the synapses of our nervous system and the chambers of our hearts! God is in all things!”

This long speech is not in the movie based on Brown’s first novel about the dashing Harvard professor Robert Langdon, who uses his encyclopedic knowledge of art, religion, history, literature, architecture and archeology to crack through layers of ancient conspiracies that bedevil modern humanity.

This is, however, a speech that — as a sermon by the author — offers insights into the worldview behind “Angels & Demons” and the novel that followed it.

That, of course, was “The Da Vinci Code,” which ignited a global firestorm because of its depiction of Jesus as a brilliant, charismatic and ultimately misunderstood mortal man who married the brilliant, charismatic and misunderstood Mary Magdalene and had a child with her before his untimely death. This power couple’s goal was to create an inclusive, dogma-free, sexually enlightened faith. But, alas, the power-hungry patriarchs who created Christianity — especially the Roman Catholic Church — conspired to wreck and bury their work.

Director Ron Howard, who also directed “The Da Vinci Code” movie, admits that large parts of “Angels & Demons” were scrapped and rewritten while turning the prequel into a sequel. Brown gave his blessing since the book’s major themes remained intact.

As with “The Da Vinci Code,” Howard is convinced that he has not created an anti-Catholic film. His goal, he said, was to raise questions about the nature of faith.

“I believe in God, yes, I do. I’m not a member of a church at the moment,” he told reporters, before “Angels & Demons” reached theaters. “There is no personal struggle, for me, between my beliefs and religion. Basically, in a nutshell, I believe that our intelligence, and our curiosity, and our drive to know more are a part of the plan. … But I haven’t worked to directly sort of inject my personal spirituality and belief system into the story.”

The goal, while spinning another conspiracy-theory thriller, was to focus on “the threat that some in the Vatican may feel about what science represents, what it proposes to say about the origins of the universe and the origins of man,” he said.

The plot begins with the sudden death of a “progressive and beloved pope.” Then, all hell breaks loose as someone claiming to represent a secret society of freethinkers called the “Illuminati” kidnaps what the book describes as the four “liberal,” reform-minded cardinals who were the top candidates to become pope and begins murdering them in public rituals.

As the coup de grace, this mysterious killer has arranged to steal a container of antimatter produced at the CERN Large Hadron Collider on the Swiss-French border. Langdon and Vetra have to rush around — call it “24” meets a papal conclave — and find this missing “God particle” stuff before it explodes and vaporizes Vatican City.

By the time it’s all over, Langdon and company have solved a papal-murder mystery, saved the enlightened cardinal who ultimately becomes pope and, literally, saved the throne of St. Peter from being captured a madman who is, of course, the story’s most articulate conservative Catholic.

This villain “feels that the church is going down the wrong path” as it pursues peace with science and modernity, noted actor Ewan McGregor. “He thinks that the church is becoming watered down and is becoming weaker and weaker. … He’s trying to put it back on course.”

The key is that “Angels & Demons” offers a Vatican that contains good Catholics and bad Catholics. By the end of the film, said Howard, Langdon has gained a “more complex view of the church.”

In the end, there are good Catholics and bad Catholics and Brown and Howard get to determine who is who.

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Once a scandalous Hollywood insider, the author of twisted thrillers such as “Basic Instinct” and “Jagged Edge” can quote chapter and verse about life and death in Tinseltown. Consider the ruthless movie mogul who died during a beach vacation when a metal bar fell from a construction crane and pieced his heart. Or how about the Casanova actor whose reputation made his testicular cancer a bit too ironic?

Eszterhas will name names, when confessing his own sins.

The screenwriter’s egomaniacal tantrums were the stuff of legends, along with his appetite for alcohol, cocaine and first-person research for the lap-dancing scenes in “Showgirls.” Then there was his foul, blasphemous mouth.

It was tempting to connect the dots when he was diagnosed with throat cancer in 2001, said Eszterhas, during his blunt and mildly profane testimony at Biola University’s annual conference on faith and the entertainment industry. The resulting surgery claimed 80 percent of his larynx.

“Was it possible,” he mused, in his one-foot-in-the-grave voice, “that God had to cut my throat?” Then he heard the harsh commandments for his new life.

“I adored my wife and children, so I tried,” Eszterhas told the audience at CBS Studio Center. “I stopped smoking. I stopped drinking. I was trying my best to stay alive. I was trying my best not to die, but I knew that I couldn’t do it.”

Thus begins the wild conversion story he has shared many times, reading from his book, “Crossbearer: A Memoir of Faith.” The turning point arrives with a weeping sinner on his knees, his heart skipping beats, his hands shaking, his voice moaning through his tracheotomy tube. Then Eszterhas hears his own voice mumbling strange words.

“I didn’t know why I had said it. I had never said it before,” he said. “Then I listened to myself say it again and again and again. ‘Please God, help me.’ ‘Please God, help me.’ ‘Please God, help me’ … I thought to myself, ‘Me, asking God, begging God? Me, praying?’ “

Then his pain was gone and he was staring into a bright light. He decided that, with God’s help, “I could defeat myself and win, if I fought very hard and if I prayed. … God saved me from me.”

Condensed into the punchy talking points that sell screenplays, Eszterhas said his life has gone from “Malibu to Ohio, from booze to diet Sprite, from Spago to McDonald’s, from Sharon Stone to Jesus.” Now he walks five miles and prays for an hour every day. With his second wife and their four sons, he worships at Holy Angels Catholic Church in Chagrin Falls, Ohio, where he volunteers to carry the cross in Sunday Mass.

“The twisted little man” who wrote his scripts still lives in his head, he said, but is no longer in charge. The big question was whether Eszterhas could write without the tobacco, alcohol and deadly darkness that fueled his 16 screenplays, which became movies that grossed more than $1 billion.

Eszterhas said he sat frozen at his old typewriter, feeling “like Jack Nicholson in ‘The Shining.’ ” He faced a complete mental block until he pounded out: “This is how I found God or how God found me.” The memoir had to come first.

Since then, Eszterhas has written two scripts, including a “narco-terrorism” thriller he thinks would fit Nicholson. He also wants to write a small-budget movie about Our Lady of Guadalupe. In an age in which Hollywood keeps remaking old blockbusters, he wonders why no one has produced spectacular, digital versions of “The Silver Chalice,” “The Robe” or “Quo Vadis.”

While he wants to keep working, what Eszterhas can’t imagine is writing the kinds of scripts that made him rich and famous.

“My head’s not really in that place. I mean, the thing that I would like to do very much, in the time that I have left, in terms of my own screenwriting, is to … write some things that reflect my faith,” he said. The goal would be to put “the same kind of energy, … into doing faith-based films that I think can really be commercially viable, that I put into other films of a different sort that became commercially successful.”

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However, since this man was scientist, Father Gary Thomas wasn’t surprised that he was a skeptic when it came to supernatural evil. That was fine, since one of the first things the priest learned in Rome while training to be an exorcist was to remain as skeptical as possible, as long as possible. Still, there were troubling facts in the man’s story — such as an episode when a counselor urged him to channel spirits.

Finally, the priest turned to “De Exorcismis et Supplicationibus Quibusdam (Of Exorcisms and Certain Supplications),” the Vatican document released in 1998 that contains a modernized exorcism rite. He has been fighting this man’s demons ever since.

“When we started, he told me, ‘Wait! Can’t you just take this thing right out of me?’ But that’s rarely how things work,” said Thomas, the official exorcist in the Diocese of San Jose in northern California. “It’s hard to get people to understand that no two exorcisms are the same. Reality isn’t like the movies.”

The subject of demonic possession remains controversial, as illustrated by the media storm that greeted the revised exorcism rite, which was required by a Vatican II mandate three decades earlier. Later, the Vatican announced that Pope John Paul II had personally performed three exorcisms during his pontificate.

While the new rite warned exorcists not to confuse diabolic possession with mental illness, it also affirmed ancient teachings about the reality of spiritual warfare, as illustrated by biblical accounts of Jesus performing exorcisms.

Truth is, stressed Thomas, the events of Holy Week — especially Good Friday, Holy Saturday and Easter — make no sense without real demons, real temptations and a real hell. But many Catholics disagree.

“There are plenty of bishops and priests who simply do not believe in Satan and demons and they have told me so,” he said. “That makes a difference. What most people do not realize is that bishops are like independent contractors and they can do whatever they damn well want to do. … That’s why we don’t have many exorcists in America.”

At the request of his own bishop, Thomas took a Vatican-approved approved course on demonic possession while living at the North American College in Rome in late 2005 and early 2006. As part of his studies, the second-career priest — who worked in a mortuary before seeking ordination — participated in more than 80 exorcisms with a senior Italian exorcist. These experiences form the heart of “The Rite: The Making of a Modern Exorcist,” a new book written by American journalist Matt Baglio.

For the past three years, the 55-year-old priest has quietly been using the techniques he learned in Rome. He said that his teachers, from the beginning, emphasized that an exorcist must strive to remain the “ultimate skeptic,” pursuing every pastoral option before turning to the exorcism rite as a last resort.

Modern exorcists are urged to work with psychiatrists, psychologists and physicians while evaluating those who are suffering. They also test to see if spiritual health can be restored through confession, healing rites and frequent participation in Mass. However, Thomas noted that these contacts with “holy things” occasionally trigger open displays of demonic powers.

It’s one thing to hear the voice of a demon on a recording or to read pages of blasphemies in transcripts. Face-to-face encounters are another matter.

The classic signs of possession have been established for ages. The possessed may exhibit superhuman strength, describe private events in the life of an exorcist or possess the ability to speak languages — such as Latin — they have never studied. They often suffer bizarre physical reactions to contact with holy water, crosses or icons.

Most people seeking exorcisms are simply physically sick, mentally ill or emotionally distressed. Some may try to fake “Hollywood-esque symptoms” in order to draw sympathy or attention.

“You may see case after case in which there are other explanations for what these people are suffering,” stressed Thomas. “But then, every now and then, you see things that let you know that you are dealing with the real thing. That’s when you know that sin is real, hell is real and Satan is real. That’s when you learn what the cross and the resurrection are all about.”

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