Sure signs of the apocalypse: war, famine, plague, the sky turning the color of blood, and, of course, exploding basketballs. Proving, as Tab Hunter did in Damn Yankees, that there's no easier way to a winning season than a pact with the devil, The Visitor opens on Lance Henriksen, watching as an unnamed Atlanta basketball team ekes out another victory, compliments of explosive sports equipment and the courtside presence of Paige Conner, a mysterious child wearing oversized Elton John sunglasses. Though Conner's mother (Joanne Nail) suspects that something might be a bit off about her daughter–maybe it's her ability to make Pong seem sinister–Nail remains oblivious to the secret that motivates Henriksen to date her. As it turns out, she carries a special gene that allows her to bear extremely evil children, and if Henriksen wants to stay in the good graces of the evil-loving businessmen who control him, he needs to breed. Representing the opposing viewpoint, John Huston travels to Atlanta from parts unknown to stop Conner, but arrives too late to prevent his quarry from accidentally paralyzing her mother in a freakish accident that involves a toy bird magically turning into a gun. Also bound for bird trouble is policeman Glenn Ford. Questioning Conner about the incident, he receives a curt "Go fuck yourself." Shocked to hear such language from an 8-year-old girl, Ford hits the highway just in time to have an owl peck out his eyes as he drives down the road. Not put off by the string of mysterious deaths, maid Shelley Winters sticks around long enough to tell Nail about her child's evil nature. "A great philosopher once said that our characters are our fate," Winters says, "and some scientists now believe that planets somehow understand this. You be careful. You ward off the influences of Saturn." Though armed with such hard scientific proof, Nail still manages to get impregnated by a horde of aliens (presumably from Saturn) and attacked by more malevolent birds before Huston relieves her of her evil daughter. In a denouement that explains nothing of what came before, Huston brings a bald, white-robe-clad Conner to a white room filled with similarly attired children and none other than Jesus Christ (Franco Nero), who nods approvingly at Huston's otherworldly kidnappery.
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