An alienated and disaffected American girl, Gina Lee impulsively buys a one-way ticket to merry Vienna. In the café society demimonde of the imperial city, she becomes embroiled in an intrigue to uncover Nazi plunder buried in Lake Atter.

An American girl, Gina Lee is an alienated and disaffected female who has become disenchanted with hometown strip malls, sleaze bars, and rides along the river-side in her BMW. Impulsively she buys a discount airline ticket in a shopping mall travel agency. Destination: Vienna, the merry/sinister imperial city on the Danube. Gina Lee quickly slips into discreet, yet decadent dalliances at Cafe Central and at the notorious Hotel Orient, where she becomes embroiled in an intrigue to uncover buried Nazi plunder. Her liaison with rakish Karl Heinz Von Riegl builds to a furtive denouement at the Klimt Villa on the alpine shores of Lake Atter, whilst her fate remains unresolved. This is a black&white film poem infused with metaphor and mood, where the past overtakes the present, and the present overtakes the past.—The director

An American girl, Gina Lee is an alienated and disaffected female who has become disenchanted with the regimen of hometown strip malls, the sleaze bars, and with rides along the river-side in her BMW convertible. Enthralled with travel posters hanging in the window of a shopping-center travel agency depicting central European towns and landscapes, she Impulsively buys a discount airline ticket in a shopping mall travel agency. Destination: Vienna... the merry/sinister imperial city on the Danube. Urania is the muse of the heavens and of celestial movements. The film parallels her descent from the heavens to earth, to today?s world, and to the nether regions below. The persona of Urania is portrayed by the character of Gina Lee, who travels fast and who travels alone. Arriving alone at the Vienna airport, Gina Lee encounters bearded, swarthy Mediterranean types crowding around the arrival area in a surly cabal. Her taxi driver assures her that she is in indeed in Vienna, as he drives her directly to Hotel Orient in the dark baroque center of the city. Seated at one side of the piano player, Gina Lee is dining in the faded elegance of a midnight cafe. Already she is attracting attention. Diego Moritz, crafty agent from a powerful cartel of Swiss investors, approaches her table with a proposition. He is looking for a young woman clever enough to fleece the plans of a sunken treasure of gold and platinum ingots off of a notorious habitue of seedy nightspots on the fringe of Vienna's Bermuda Triangle. Gina Lee becomes embroiled in the plot to uncover Nazi treasure buried at the bottom of Lake Atter. At an Argentine dance hall, Moritz introduces her to Graf Karl-Heinz von Riegl who possesses a map that pinpoints the location of the loot. Once he has imbibed enough champagne in the presence of an attractive woman, von Riegl is known to speak freely of the buried contraband that has eluded his grasp for decades. Gina Lee moves through an all-night tryst in the flat of von Riegl. Enamored of her charms, von Riegl invites her to his boathouse on the grounds of the Klimt Villa on Lake Atter. There Gina Lee is unmasked, the plot is revealed by the ruthless von Riegl, and the errant American girl is bound, gagged, and exquisitely tortured. Her liaison with rakish Karl Heinz Von Riegl builds to a furtive denouement at the Klimt Villa on the alpine shores of Lake Atter. Whilst her fate remains unresolved, the door is left open to a sequel or a series of installments in the tradition of film pioneer Louis Feulliade, or the early Italian serials of Za-La-Mort. This is a filmic poem infused with metaphor, mood and Stimmung, where the past overtakes the present, and the present overtakes the past.—The director