Copyright 1996, 2009 by Ronald L. Ecker
All Right Reserved
FADE IN:
EXT. A BEACH HOUSE (FLORIDA) - NIGHT
A modest beach house, unlit. A thunderstorm rages.
INT. BEDROOM - NIGHT
JAMES BUCHER, 40, and MARTA CRILL, 33, make love as it storms
outside.
INT. AN AUDITORIUM - NIGHT
The lights are off. An image of Baal, the Canaanite god of
the storm and rain, is projected on a screen.
ALAN
Baal Saphon.
50-ish ALAN CRILL, tall, stoical, distinguished-looking, is
onstage, making a presentation to an academic AUDIENCE.
INTERCUT MORE SLIDES - images of Baal. During this,
ALAN (cont'd)
Baal of the North. Rider of
the Clouds, Prince Lord of Earth.
The supreme god of Canaan. He was
god of the storm - it was he who
brought the rains. He would die in
the spring: summer drought. In the
autumn he revived, slaying Mot, the
Canaanite god of death.
INT. BEACH HOUSE - BEDROOM - NIGHT
James and Marta lie in bed, listening to the storm.
MARTA
I've always been afraid of the
lightning.
JAMES
I love to make love when it rains.
(no response)
"Why?" you ask? I don't know.
Makes it more of a religious
experience.
MARTA
Since when are you religious?
JAMES
It was a figure of speech. What
about you? Do you believe in God?
MARTA
I guess I'm agnostic.
JAMES
That's me. It drives me crazy.
Religion is one of my favorite
subjects.
MARTA
No kidding, Professor.
(beat)
I like the rain too. But not
lightning.
(beat)
"Now Baal will send his rains, and
his voice will be heard in the
clouds, and his lightnings will
appear on the earth."
JAMES
Wow. You've been reading too
much Alan Crill.
INT. THE AUDITORIUM - NIGHT
The lights are on now. A MEMBER of the audience stands to ask
Alan a question.
AUDIENCE MEMBER
Concerning Baal's return from the
dead, Doctor Crill. How does it
compare in its literal mythological
description to that of, say, Osiris
of Egypt, Adonis of Syria?
ALAN
We have no completely undamaged
tablets. The one that deals with
Baal's annual revival is too
damaged, I'm afraid, to be coherently
translated. But that's only one
copy. We can always hope to find
others, as more Canaanite ruins
are unearthed. Even now -
EXT. TEMPLE RUINS (ISRAEL) - DAY
An American ARCHEOLOGIST, 35, excitedly brushes away dirt
from an uncovered portion of a clay tablet.
ALAN (V.O.)
- at Tell Akra in Israel, they're
uncovering a temple of Baal -
apparently destroyed by earthquake -
from the second millenium B.C.
A DIGGER looks on.
ARCHEOLOGIST
Get Monsieur Michelet!
INT. CRILL HOME - DINING ROOM - DAY
Alan, Marta, and 12-year-old JONATHAN eat breakfast. The
black cat MIZIFUF begs by Jonathan's chair.
ALAN
You didn't get much done on the book.
MARTA
I know.
Jonathan gives some bacon to Mizifuf.
ALAN
I was hoping by the time I got
back -
MARTA
I know, Alan. I'm sorry.
ALAN
I'm not scolding.
The phone rings in the adjoining kitchen.
ALAN (cont'd)
But I am under a deadline.
Marta starts to get up for the phone.
JONATHAN
I'll get it.
Jonathan goes into the kitchen.
MARTA
There's a passage in your book
that's disturbing.
ALAN
I'm sorry to hear that. What do
you find disturbing?
MARTA
A human sacrifice. A child who -
JONATHAN
It's for you, Dad. He sounds like
a Frenchman.
Alan rises, Jonathan sitting back down.
ALAN
Michelet?
Alan heads for the kitchen.
JONATHAN
Who?
MARTA
An archeologist in Israel. They
must have found tablets.
INT. A MUSEUM (ISRAEL) - DAY
French archeologist MICHELET, 50-ish, is on the phone. He
looks at a clay tablet with a magnifying glass.
MICHELET
(into phone)
It's a treasure trove, Alan. It
looks like a whole set of tablets
on your boy Baal Saphon.
INT. CRILL HOME - KITCHEN - DAY
Alan looks excited.
ALAN
(into phone)
I'm your translator, Mitch. Do
you hear me? No one else gets
a hand on them.
INT. MUSEUM - DAY
Michelet sits back, the tablet treasure before him.
MICHELET
(into phone)
Why do you think I am calling?
How soon can you get here?
INT. KITCHEN - DAY
Alan's excitement seems tempered now by concern.
ALAN
(into phone)
A slight problem. Lancaster
College just began fall semester.
Look, if you can arrange to have
a full set of photographs taken,
and get them to me, I'll pay all
expenses. I can translate from
photographs.
EXT. LANCASTER COLLEGE - DAY
STUDENTS move about on campus.
INT. JOHN BARRON'S OFFICE - DAY
James, looking at a biblical journal, sits visiting with
professor JOHN BARRON. Barron is 40-ish, and wears horn
rimmed glasses.
JAMES
Tell me something, John. You
believe in God?
Barron looks at James quizzically. James, laying aside the
journal, looks quite serious.
BARRON
I subscribe to Pascal's Wager.
JAMES
That some kind of tip sheet?
BARRON
It's a concept. You teach religion
and you haven't heard of Pascal's
Wager?
JAMES
Don't let it get around. What
is it?
BARRON
Bet on God existing. What does
one have to lose?
JAMES
One's shirt. I'm not a betting
man. If only I had a message
from God.
RIGGINS (O.S.)
James . . .
James looks over at department head GARRETT RIGGINS, 70 and
rather frail-looking, who has stopped by the door.
RIGGINS (cont'd)
John . . . Has Alan told you two
he's going to be translating new
Canaanite clay tablets unearthed
in Israel?
JAMES
No. Really?
RIGGINS
It'll be a feather in the cap for
Lancaster College, not to mention
for Alan.
Riggins moves off.
JAMES
I better go write something and get
it published.
James rises to go.
BARRON
If you have some good ideas, I'll
buy one from you.
INT. THE CORRIDOR - DAY
Walking from Barron's office, James meets Alan walking the
other way. As they stop,
JAMES
Alan, Garrett told me about your
translation project on some new
clay tablets. Congratulations.
ALAN
Thank you, James.
JAMES
Do you have to go to Israel?
ALAN
They're going to send me photos
to work from.
JAMES
Sorry to hear that. I mean, it
would be nice to go to Israel.
ALAN
I still have to teach here.
JAMES
I'd be happy to fill in for you.
ELAINE REESE, 21, walks by.
ELAINE
Those books are on reserve, Doctor
Bucher.
JAMES
Thanks.
James waits till Elaine is out of earshot.
JAMES (cont'd)
I've got a problem with her.
ALAN
Your student assistant?
JAMES
Yeah. Her name's Elaine Reese. I
think she's in love with me. I'm
not sure how to handle it.
ALAN
Tell her she only thinks she's in
love with you.
JAMES
Yeah, but what if she really is?
ALAN
Tell her you're in love with
someone else.
James reacts with unease.
JAMES
"In love with someone else."
Good idea. Thanks a lot.
Alan watches James move off.
INT. CRILL HOME - FRONT DOOR - DAY
Jonathan answers the front door. James stands outside with
a book.
JAMES
Hello, Jonnie.
JONATHAN
Hi.
JAMES
I'm Doctor Bucher.
JONATHAN
I remember.
JAMES
Is your old lady home?
INT. STUDY - DAY
Marta is busy rearranging books on the bookshelves as Jonathan
enters with James. A bronze Baal statuette is on the desk.
JONATHAN
Doctor Bucher's here.
MARTA
Oh. Hi.
JAMES
I was driving by, and thought I'd
drop off this book Alan wanted to
borrow.
(handing her the book)
I was going to give it to him at
work, but I forgot and left it in
the car this morning.
MARTA
Thank you.
Jonathan resumes helping Marta with the books.
JAMES
Rearranging all the books?
MARTA
Reclassification. Alan wants his
library changed from Dewey Decimal
to the Library of Congress system,
like you have at the college.
JAMES
I thought his books would all have
one number. Aren't they all about
Baal?
Jonathan laughs. James notes a bronze, two-edged sword on
the wall.
JAMES (cont'd)
Wow. Where did this sword come
from?
MARTA
It was a gift. From me to Alan.
JAMES
Just what he needed, right? A
sword.
MARTA
It's an exact replica of a sword
used in Canaanite ritual. Only
a couple of originals have been
found.
JONATHAN
It was with a bronze, two-edged
sword that Baal was slain by
Mot, the god of death.
JAMES
That's too bad.
JONATHAN
Not really. Baal came back and
got to use it on Mot.
JAMES
Poetic justice. You're into
Baal too, eh?
JONATHAN
Not me. That's all Dad cares
about: some old Canaanite gods
that don't even exist anymore.
I'm going to get a cold drink,
Mom. You want one?
MARTA
No, thank you, dear.
JONATHAN
Mister Bucher?
JAMES
No, thanks.
Jonathan leaves. James walks over to Marta, arranging books.
JAMES (cont'd)
I had to come by, Marta. Your love
is like a magnet.
(beat)
Why don't you leave Alan? Leave
these books right where they are.
Just drop everything and go.
MARTA
You know why I can't.
JAMES
I know you don't love him. Who
could? The only thing he thinks
about is Baal.
MARTA
I loved him once. He was different
then.
JAMES
Before Baal came between you,
right?
MARTA
I guess you could say that. His
Baal studies took more and more of
his time, and I took less.
JAMES
I love you more than he ever has.
So leave him. I can be the kid's
father. I don't mind. I'll read a
book on how to do it.
MARTA
How would it look? My divorcing
Alan and marrying you.
JAMES
"How would it look"? Who cares?
We can deal with it. If you're
that concerned, you can get your
own place first.
MARTA
Alan and I have an agreement.
JAMES
Staying together for the kid is
not always best for the kid.
MARTA
Who knows what's best anymore?
My mom in Ohio says divorce him
and come live with her.
JAMES
No, divorce him and come live
with me.
MARTA
Till Jonathan finishes school,
I'm keeping my end of the bargain
with Alan.
JAMES
"An agreement." You and Alan have
really discussed this?
MARTA
It's more like an understanding.
We both know the score and accept
it. That's the agreement.
JAMES
Does he already know about me?
MARTA
No. At least I haven't told him.
James, don't make it more difficult
for me than it already is.
JAMES
I won't. Whatever your plan is,
Marta, I'll go along with it. Just
so you're mine when it's over.
INT. ALAN'S STUDY - DAY
Alan shows photographs of the tablets to Marta and Jonathan.
ALAN
Some of these texts are known from
previous finds. This is the one -
the prize, the text we've been
wanting. Baal's annual return
from the dead.
MARTA
How long will it take you to
translate it?
ALAN
There's some damage. You can see
where it's broken. But all here.
In two weeks or so I should have
it. Good timing.
JONATHAN
Why's that?
ALAN
The equinox. A certain time of
year.
MARTA
Yes, the beginning of fall. You
can explain it to Jonnie better
than I can. Something to do with
astronomy.
Alan, gazing at the photo, ignores her suggestion.
ALAN
The revival passage starts here.
"Arise, O Baal . . . Return . . .
to the land of the living."
EXT. LANCASTER COLLEGE - DAY
Overcast. An ominous rumble of thunder.
INT. JAMES'S OFFICE - DAY
James notes something on his desk calendar. Elaine stands by.
JAMES
Hey! September Twenty-Three.
You know what that means?
ELAINE
Doctor Bucher . . .
JAMES
The equinox. Day and night are
of equal length.
ELAINE
I see no point, Doctor Bucher, in
hiding my emotions any longer.
JAMES
It happens every spring and fall.
ELAINE
I'm in love with you.
JAMES
It used to have religious significance.
ELAINE
I loved you the first day in class
last semester. Before you finished
calling roll.
JAMES
Elaine, look. You don't love
me. Not really. You just think
you do.
ELAINE
I know so. There's no thinking
about it.
JAMES
That may be the problem. You -
ELAINE
Don't be condescending.
JAMES
I'm not. But -
ELAINE
I love you. It's as simple as
that.
JAMES
Well I'm in love too, Elaine.
But with someone else. So -
ELAINE
I can wait. I don't mind
competition. I know that you'll
want me - if you don't already.
Now that you know how I feel.
I can wait till you're ready.
I have to go to class now.
Elaine leaves.
EXT. THE SKY - NIGHT
Overcast. Lightning flashes in the clouds.
INT. ALAN'S STUDY - NIGHT
The Baal statuette sits on the desk, as Alan, whispering as
he writes, sits translating from the photo of the cracked
Tell Akra tablet. Thunder rumbles outside.
ALAN
"Arise, O Baal . . . and smite
thine enemy . . . Destroy . . .
the god of death . . . "
INT. THE PARLOR - NIGHT
A thunderclap outside. The cat Mizifuf sleeks in fright from
the couch.
INT. KITCHEN - NIGHT
Marta, hearing the thunder, pauses tiredly in her proofing of
manuscript pages.
INT. JONATHAN'S ROOM - NIGHT
Loud thunder, the lights go out for a moment, as Jonathan
does homework.
EXT. CRILL HOME - NIGHT
The nice house is on a canal with a dock and motorboat. Wind,
rain, thunder, and lightning.
INT. STUDY - NIGHT
Alan translates, as the storm continues outside.
ALAN
"Return . . . O Prince Lord of
Earth . . . to the land of the
living . . . "
Lightning strikes outside, the lights go out. The Baal
statuette is visible in flashes of lightning.
Alan is no longer in the room.
INT. HALLWAY - NIGHT
Marta, with a lit candle, fiddles with switches in a fuse
box, Jonathan looking on with a flashlight.
MARTA
Go find your father.
EXT. THE HOUSE - NIGHT
The storm rages.
INT. KITCHEN - NIGHT
Marta, alone, sets down the lit candle. She rubs her arms
as if chilled.
Listening to the storm, Marta hears what sounds like the
front door close.
She looks toward the dark parlor. She moves toward it.
INT. THE PARLOR - NIGHT
Dark, lightning flashes outside, as Marta enters from the
kitchen. She looks toward the closed front door.
Marta moves forward. There's a startling howl.
The cat runs off, Marta having stepped on its tail.
MARTA
Mizifuf . . .
A moment later, Marta looks out the front window.
INT. STUDY - NIGHT
From the door Jonathan sweeps the dark study with the beam
of the flashlight. He leaves.
The photograph from which Alan was working, showing the
cracked tablet's Canaanite script, is visible by lightning.
INT. KITCHEN - NIGHT
Candlelit, as Marta returns. She looks curiously toward a
window.
There's someone, or something - distorted by the rain on the
window's glass - in the flashes of lightning outside.
Marta moves to the window, and stares out as if in disbelief.
EXT. BACK YARD - NIGHT
Alan, in his shirtsleeves, stands in the windswept rain.
He's staring off as if transfixed. Lightning strikes not far
from the property.
Marta is inside at the window. She raps on the pane, calls,
barely audible in the storm,
MARTA
Alan! Alan, what's wrong with you?
He shows no sign of hearing her.
INT. KITCHEN - NIGHT
As Jonathan moves to the window, Marta goes to the back door
and opens it, rain blowing in.
JONATHAN
Well, there he is.
MARTA
Alan, get in this house! Are
you crazy?
JONATHAN
Ask him a tough one, Mom.
They watch Alan move off toward the dock.
MARTA
Alan!
JONATHAN
Where's he going?
Marta hurries for a raincoat.
MARTA
How should I know? Something's
wrong.
EXT. BACK YARD/DOCK - NIGHT
Alan walks onto the dock in the storm.
Marta comes out of the house in a hooded raincoat. She heads
for the dock, while Jonathan watches from the door.
MARTA
Alan!
Alan reaches the end of the dock. He stands staring off at
the flashing sky, as Marta reaches the dock's other end.
MARTA (cont'd)
What are you doing out here?
Alan glances back at her.
ALAN
Go back.
MARTA
What is it?
ALAN
Don't come any closer. Get back
to the house.
MARTA
You come in too.
Jonathan joins Marta from the house.
ALAN
I can't. Go back.
MARTA
Alan, what -
Marta suddenly looks up. She seems to sense it coming.
MARTA (cont'd)
My God. Alan!
ALAN
Marta, go -
MARTA
(with horror)
No!
A long streak of lightning descends and strikes where Alan
stands, in a great flash of blue light.
The blue light stays, bathing the scene.
Now clouds begin descending slowly in a tight, roiling,
towering column from the night sky to the dock where Alan
stood, no longer seen.
During this, Marta and Jonathan both stand absolutely
motionless, unblinking, eyes blank. Bathed in the blue
light, they are frozen in time.
Now Alan can be seen, eyes closed as if unconscious,
seemingly floating in the hazy blue light. The light itself
seems to lower Alan, facing up, gently downward.
Suddenly the blue light is gone. Something falls into the
water by the dock. Marta and Jonathan instantaneously return
to action, with no apparent awareness of time lapse.
They don't see Alan anywhere. The dock smokes where the
lightning struck.
MARTA (cont'd)
Alan! . . .
They spot Alan now, dead or unconscious, in the rough water
by the dock. A boat mooring line under one arm has kept him
from sinking.
Marta holds onto Jonathan as they look down at Alan. Slipping
out of her grasp, Jonathan jumps into the water.
MARTA (cont'd)
Jonathan!
Now Marta jumps in too. With great effort they get Alan into
the boat.
JONATHAN
Dad . . .
MARTA
Go call nine-one-one. Go!
Marta begins CPR as Jonathan hurriedly climbs out of the boat.
INT. CRILL HOME - NIGHT
Jonathan speaks anxiously on the phone.
JONATHAN
(into phone)
My dad was struck by lightning
and fell into the water. My
mom's giving C.P.R.
EXT. BOAT - NIGHT
Conscious Alan coughs, Marta leaning over him.
MARTA
Alan . . .
There's a blank look in his eyes.
INT. HOSPITAL EMERGENCY ROOM - NIGHT
Alan - calm, with a faraway look - lies on his side. DOCTOR
#1 looks at a burn on Alan's back. Marta and Jonathan stand
facing him. An E.R. NURSE is also present.
DOCTOR #1
You're a lucky man, Mister Crill.
A burn on the back, some numbness
in the legs. You'd have a lot more
than that, if the hit was direct.
MARTA
But it was. I was only a few yards
away.
DOCTOR #1
It may have looked that way, ma'am,
but -
JONATHAN
I saw it too. It hit him.
The doctor still apparently doesn't believe it.
DOCTOR #1
Not many humans could take that
kind of voltage. Lightning can
fry the skin, it can explode
internal organs. You saved him
from drowning, that's what counts.
We'll take care of that burn, then
let you go home. Don't stretch
your luck, eh? Stay inside next
time it storms.
EXT. CRILL HOME -- DAY
A sunny afternoon.
INT. THE STUDY - DAY
Marta arranges his work for him as Alan, with a calmly
sinister air, stands by.
MARTA
Everything you need?
Alan steps stiffly to the desk.
ALAN
Yes.
Alan sits down.
MARTA
Will these new tablets change very
much in your book?
Alan begins sorting his material.
ALAN
It changes everything.
MARTA
Alan, what were you doing out
there? In the storm.
ALAN
I was called.
MARTA
Called? By whom?
ALAN
Baal Saphon. Any more questions?
Alan looks at his material, Marta seemingly not knowing what
to think. She leaves. OVERLAP SOUND:
ALAN (V.O.)
Normally we associate resurrection
with the spring . . .
INT. A CLASSROOM - DAY
Alan paces, still moving stiffly, as he teaches a class of
STUDENTS including Elaine. The words "Death - Drought" and
"Revival" are on the blackboard.
ALAN (cont'd)
The Christians have Easter. But
with Baal it's the opposite. He
would die in the spring. Why is
that?
The students have their class textbooks open.
STUDENT #1
The start of the Canaanite dry
season.
ALAN
Yes. No rain, no crops, the storm
god's away. Then comes the fall.
It's equinox time. Now what?
STUDENT #2
The rains return.
ALAN
The people rejoice, Baal's back.
There's a ritual combat, Baal
wins.
Alan writes "Lordship" on the blackboard.
ALAN (cont'd)
So now Baal's in charge, he's
Prince Lord of Earth. Then
what? . . . What comes next
in the myth?
ELAINE
A new palace.
ALAN
A palace.
Alan adds "Palace" to the list on the board.
ALAN (cont'd)
Baal needs a new, bigger house
built. One befitting the Prince
Lord of Earth.
INT. CRILL KITCHEN - DAY
Marta, proofing manuscript pages, hears something shatter.
INT. THE STUDY - DAY
Marta hurries in. She finds angry Alan picking up books from
the floor by a fallen, shattered floor lamp.
Marta moves to help, Alan's back still stiff.
MARTA
What happened?
ALAN
This damn house is so cluttered
I can hardly get around!
EXT. THE SKY - NIGHT
A full moon.
INT. JONATHAN'S ROOM - NIGHT
Jonathan wakes up. He faintly hears something, sees light
from the hallway, and someone's shadow pass by, beneath the
closed door.
INT. MASTER BEDROOM - NIGHT
Marta turns on a lamp by the bed. She seems to have heard
something too. Alan's not in bed.
INT. HALLWAY - NIGHT
Jonathan comes out of his room. Marta has come out of hers.
The sound comes now from:
INT. PARLOR - NIGHT
Marta and Jonathan enter the parlor.
Alan is measuring the length of the room, his retractable
metal tape measure making the noise.
MARTA
(dryly)
How long is it?
ALAN
This room is thirty-five feet.
(reeling in the tape)
Thirty-five by twenty. It's
ridiculous. This house is too
small.
JONATHAN
Are we going to get a new one?
ALAN
Yes. I must have a larger house.
Alan moves off. Marta and Jonathan exchange looks.
INT. JAMES'S OFFICE - DAY
James is on the phone.
JAMES
(into phone)
Three in the morning and he gets up
to measure the house?
INTERCUT WITH: INT. CRILL HOME - DAY
Marta is on the phone.
MARTA
I don't get it. Why all of a sudden?
JAMES
I guess he couldn't sleep.
MARTA
No, I mean we don't have the money
to go buy some big house.
END INTERCUT with James,
JAMES
Maybe he knows something. Ol'
Garrett's about due to retire.
Maybe Alan's been anointed.
EXT. RIGGINS HOME - DAY
Sunny. OVERLAP SOUND of a TENOR (V.O.) singing an aria.
INT. RIGGINS HOME - DAY
Elderly Riggins, half-dozing, is watching an OPERA on TV.
MRS. RIGGINS, 70-ish, brings him a pill and some water.
INT. STUDY - CRILL HOME - DAY
Alan sits staring into space.
EXT. RIGGINS HOME - DAY
There's a rumble of thunder, the sky now partly cloudy.
INT. STUDY - DAY
Alan closes his eyes, as if concentrating.
EXT. SKY - DAY
Dark clouds now, louder thunder.
EXT. A SUPERMARKET - DAY
James comes out with a bagful of groceries, PEOPLE passing.
He notes the dark sky, hears thunder. It starts to rain.
JAMES
Here it comes.
A LITTLE OLD LADY goes by with her cartful of groceries.
LITTLE OLD LADY
The damn weatherman said sunny skies.
INT. STUDY - DAY
Alan concentrates, eyes closed.
EXT. ROILING CLOUDS - DAY
The effect is of clouds roiling in Alan's mind.
INT. RIGGINS HOME - DAY
Mrs. Riggins looks out at the rain as Riggins dozes, the
opera on TV continuing.
EXT. SUPERMARKET PARKING LOT - DAY
James stands by his car in the rain, fumbling for his keys,
shifting his wet bag of groceries.
The wet bag tears open, and all the groceries fall out.
INT. RIGGINS HOME - DAY
Mrs. Riggins watches the storm outside. Riggins dozes, the
opera still on TV.
INT. STUDY - DAY
Alan sits as if entranced.
INT. RIGGINS HOME - DAY
A lightning strike knocks out the power, startling Mrs.
Riggins and waking up Riggins.
MRS. RIGGINS
My God.
RIGGINS
Did you turn off the T.V.?
INT. STUDY - DAY
From the hallway, Marta curiously notes Alan staring off,
as the thunderstorm continues.
Marta flinches as lightning hits somewhere near the house.
She moves off.
Alan rises, his eyes on the telephone.
A moment later, Alan picks up the receiver. He dials a
number, from an address book by the phone.
EXT. SKY - DAY
A lightning bolt, dark clouds and rain.
INT. RIGGINS HOME - DAY
The storm continues as the phone rings. Mrs. Riggins answers,
MRS. RIGGINS
(into phone)
Hello . . . Hello?
INTERCUT WITH: INT. STUDY - DAY
Alan is on the phone.
ALAN
Garrett Riggins, please.
MRS. RIGGINS
I can hardly hear you. It's
storming.
ALAN
Let me speak with Garrett.
MRS. RIGGINS
May I ask who this is?
ALAN
Alan Crill.
MRS. RIGGINS
Alan. Uh - one moment.
(to Riggins)
It's Alan Crill, dear.
Thunder and lightning continue as Riggins feebly rises.
Alan waits, Riggins moving to the phone. Mrs. Riggins hands
Riggins the receiver. She moves off.
RIGGINS
(into phone)
Hello.
Alan listens.
RIGGINS (cont'd)
Alan? Are you there?
ALAN
Yes.
RIGGINS
Speak up. I can't hear you.
ALAN
Can you hear me now?
RIGGINS
Yes. What is it?
ALAN
Nice weather we're having.
RIGGINS
I can't hear you again.
ALAN
I said nice -
INSERT: A POWER LINE
as it's zapped by lightning.
BACK TO SCENE
The receiver that Riggins was holding spins in the air.
The receiver dangles, smoking and melted. Mrs. Riggins
screams.
END INTERCUT as Alan calmly hangs up.
EXT. CEMETERY - DAY
Riggins's funeral service concludes under sunny skies.
James pauses to chat with Barron and BARRON'S WIFE, 40, as
they're leaving, other MOURNERS in b.g.
BARRON
Well, ol' Garrett's finally retired.
JAMES
Yeah.
KATY
He picked some way to go.
JAMES
Went out with a bang.
James looks over at Alan, standing several feet away with
Marta as she chats with mourners.
JAMES (cont'd)
I guess we can all learn a lesson.
BARRON
What's that?
JAMES
Never talk on the phone when there's
lightning.
Elaine keeps a wistful eye on James as she's leaving with
other STUDENTS.
STUDENT #3
Did you know Clara Drew's taking
early retirement?
STUDENT #4
Because of Doctor Riggins?
During this, Alan watches Elaine, who is watching James.
STUDENT #3
Yeah. She was his secretary for
twenty-some years.
INT. CRILL HOME - DAY
Mizifuf paws an ornament on a Christmas tree. Marta picks
her up, Jonathan continuing the tree decoration. The front
door is heard closing.
MARTA
No, Mizi. You can look but don't
touch.
Marta turns to see Alan, just arrived. He has a rather
sinister air.
MARTA (cont'd)
How do you like the tree?
Alan regards it with apparent indifference.
ALAN
I just got the word.
Alan moves toward them.
ALAN (cont'd)
They've made me the -
The cat hisses at him, jumps out of startled Marta's arms -
leaving scratches - and skedaddles. After a moment,
ALAN (cont'd)
I'm the new chairman of the
department.
Marta and Jonathan look dumbfounded by the cat's behavior,
Alan calm.
MARTA
Congratulations . . .
EXT. CRILL HOME - NIGHT
Dark but for moonlight.
INT. MASTER BEDROOM - NIGHT
Marta lies awake, her back to Alan, in the dark. She looks
over her shoulder, as if to see if Alan's asleep. He is.
BEGIN DREAM SEQUENCE
EXT. IN THE SKY - DAY
Moving down through clouds, till breaking into the clear, for
a view of:
EXT. A TWO-STORY MANSION - DAY
Splendid, gleaming white, perhaps in soft focus, as if from
Baal's POV from on high. The mansion is in the country with
a driveway from the main road.
VOICES eerily chant, like those of some less-than-heavenly
chorus.
END DREAM SEQUENCE
EXT. THE MANSION - DAY
The mansion is rundown and abandoned, surrounded with weeds.
Alan, Marta, and Jonathan stand gazing at it, their car
parked in b.g.
JONATHAN
We're going to buy this place?
ALAN
If I can locate the owner.
MARTA
How did you know it was out here?
JONATHAN
It's so big!
MARTA
It would cost a fortune to fix
it up.
ALAN
We'll have some extra now.
MARTA
Not that much extra. What about
the house we're in?
ALAN
What about it?
MARTA
What if we can't sell it when
we're ready to move? If we
could get this place ready. We
can't rush into this, Alan. We -
ALAN
If you don't want a new house,
you don't have to move in.
Alan moves off toward the building.
Marta looks at Jonathan, who seems hurt for them both.
MARTA
What do you think, Jonnie?
JONATHAN
Let's do what he wants.
Go to Part 2Back to beginning of script