| THE EXORCIST
EXTERIOR- IRAQ- EXCATVATION SITE- NINEVEH- DAY
Pickaxes and shovels weld into the air as hundreds of excavators
tear at the desert. The camera pans around the area where
hundreds of Iraqi workmen dig for ancient finds. The caption
Northern Iraq appears at the bottom of the screen as the digging
continues. The camera then follows a young boy running bare foot
over the rocky mounds. He comes to a stop and the camera is
positioned in between the boys legs looking at and aging man also
digging.
YOUNG BOY
(In Iraqi language)
They've found something... small pieces.
MERRIN
(In Iraqi language)
Where?
YOUNG BOY
(In Iraqi language)
At the base of the mound.
The boy runs off and the old man pulls himself to his feet to
follow. The old man walks to the base of the mound where another
man who looks in command is there to greet him.
MAN
(In Iraqi language)
Some interesting finds. Lamps, arrow-heads, coins...
The old man picks up an old pendant and holds it up.
MERRIN
(In Iraqi language)
This is strange!
The man dusts the pendant and takes a look.
MAN
(In Iraqi language)
Not of the same period.
The old man reaches into a hole in the rock, moving and re-
arranging small rocks to see what he can find. He grabs a pickaxe
and scrapes out a small sculpted piece of rock crushed into
another. The man takes a dust brush from the man's pocket and
brushes some dust from the sculpted rock. As the dust is swept we
see that it is a face. The old man recognises it and looks
worried. He brakes the sculpted rock away from the ordinary rock
and takes a good look at it.
EXTERIOR- IRAQ- MARKET PLACE- DAY
An Iraqi man walks through the noisy crowd with a tray and up to
the old man's table. He puts the drink on the table and watches
as the old man opens a small pendant full of pills and puts one
into his mouth. The old man is trembling with fear as he downs
his drink. He puts the glass down and looks at the people around
him. The man with the tray comes back to the old man's table and
picks up the glass.
MAN WITH TRAY
(In Iraqi language)
Something else?
MERRIN
(In Iraqi language)
No thank you.
The old man stands up and looks at the bus boy. We cut to a group
of workers hitting there hammers on an anvil. The old man walks
in there direction but stops as he sees one of the workers stop
work to wipe his brow. When the worker makes eye contact with the
old man we see that the worker has one eye without pigment,
bleached white as if it has rolled backward. The old man stares
at him and then walks on.
INTERIOR-IRAQ-ARCHAEOLOGIST'S OFFICE- DAY
We see a clocks pendulum swinging, uncovered sculpted rocks of
all kinds and a man sitting at a desk writing up the report on
what they found. The old man picks up the pendant he found and
then the rock head he found and takes a look.
MERRIN
(In Iraqi language)
Evil against evil.
The man at the table looks confused.
MAN
(In Iraqi language)
Father...
We then see the clocks pendulum stop over the old man's shoulder.
He turns around and walks toward it. After looking he sits down
beside it. As he sits the man at the desk stands up.
MAN
(In Iraqi language)
I wish you didn't have to go.
MERRIN
(In Iraqi language)
There is something I must do.
EXTERIOR- IRAQ- OUTSIDE ARCHAEOLOGIST'S OFFICE- DAY
The two men shake hands and hug. The old man walks away and a
group of people bow in a row.
EXTERIOR- IRAQ- MARKET PLACE - ALLEY WAY- DAY
The old man walks through the noisy, crowded alley way and exits
through the other side. As he exits he approaches a tunnel, in
the distance we can here a bell ringing quite fast. As the old
man gets closer to the tunnel the bell gets louder. When he
reaches the tunnel a horse and cart flies out in front of him,
aboard the cart we see a frightened old women. The old man looks
around as if he was lucky to survive.
EXTERIOR - IRAQ- NINEVEH- DAY
The old man arrives back at that dig site in a small jeep. As he
pulls up two armed guards rush out. When they see who it is the
old man gives them a wave and they slowly walk back to there
quarters. The old man walks up the rocky mound and sees a huge
statue of the demon Pazuzu, which has the head of the small rock
he earlier found. He climbs to a higher point to get a closer
look. When he reaches the highest point he looks at the statue
dead on. He then turns his head as we hear rocks falling and sees
a guard standing behind him. He then turns again when he hears
two dogs savagely attacking each other. The noise is something of
an evil nature. He looks again at the statue and we are then
presented with a classic stand off side view of the old man and
the statue as the noises rage on. We then fade to the sun slowly
setting as the noises lower in volume.
EXTERIOR- GEORGETOWN- CITY STREETS- EARLY HOURS
We are transformed from the blazing suns of Iraq to the dusk of
Washington. As the cross fade is made, the caption GEORGETOWN
appears at the bottom of the screen. We slowly zoom in on a house
in the distance.
INTERIOR- MACNEIL HOUSE- CHRIS' BEDROOM- EARLY HOURS
A small light is switched on by Chris MacNeil, a woman in her mid
thirties, mother and famous actress. She is clad in her night
clothes lying in bed, examining lines from a script. She is
disturbed by a scratching noise that seems to be coming from
outside her room. She looks over her shoulder to hear for it
again. When it does happen again she climbs out of bed and puts
her robe on. She walks toward the bedroom door and exits to the
hall.
INTERIOR- MACNEIL HOUSE- HALLWAY-EARLY HOURS
Chris walks through the dark hallway toward her daughters room,
as she passes the attic hatch she hears the noise again and it
appears to be coming from the attic. She walks into Regan's (her
daughter)
room and sees that the window is wide open and she is on top of
her bed covers. Chris walks in and shivers because of the cold
night air which enters through the open window. As Chris
approaches the window another scratch is heard from the attic.
Chris takes no notice and closes the window. She then walks round
Regan's bed and puts the covers back over her, she tucks her in
and strokes her face.
CHRIS
(Whispering)
I sure do love you.
Chris kisses Regan and turns away.
INTERIOR- MACNEIL HOUSE- KITCHEN- MORNING
Chris walks into the kitchen in her robe, with a pen in her mouth
and her script in her hands. She is greeted by Willie an ageing,
Swiss house maid.
CHRIS
Morning.
WILLIE
Good morning Mrs. MacNeil.
CHRIS
How are you today?
WILLIE
Fine thank you.
CHRIS
That's good.
Chris puts the script and pen on the table and lifts the coffee
pot to pour her self a mug. Willie offers to do it for her but
Chris refuses.
CHRIS
It's okay I got it, thanks.
Willie returns to making breakfast as the ageing, Swiss, butler
Karl walks in.
KARL
Good morning Madame.
CHRIS
Good morning Karl. Oh Karl, we've got rats in the attic you
better get some traps.
KARL
Rats?
CHRIS
Uh huh. 'Fraid so.
Chris walks to the fridge with her cup of coffee.
KARL
But it's clean?
CHRIS
All right then we've got clean rats.
Chris takes a carton of milk out of the fridge and pours some
into her coffee.
KARL
No. No rats.
CHRIS
I just heard them Karl.
Karl shrugs his shoulders
KARL
Maybe plumbing?
Chris puts the carton of milk away.
CHRIS
Yeah or maybe rats now will you just get those traps.
KARL
Yes, I go now.
CHRIS
Well don't go now Karl the stores aren't open yet.
Karl picks up a huge jar. And heads out the door.
KARL
I'll go see.
WILLIE
(Shouting at Karl)
They're closed!
EXTERIOR- UNIVERSITY OF GEORGETOWN- FILM SET- DAY
We are looking at the building of Washington University when
suddenly we are transported to the film set on campus. Lights,
camera's, crew members all of the place. A group of crew members
are surrounding one man, the director Burke Dennings. Burke
doesn't respond to any of them until he hears a voice calling
from a trailer.
CHRIS
(calling)
Burke? oh Burke?
CREW MEMBER
Is this scene really essential Burke?
Burke turns to see Chris walking toward him. He walks to her.
CREW MEMBER
Can you just consider on whether or not we can do without it?
Chris walks to Burke with her script in hand.
CHRIS
Burke take a look at this damn thing it just doesn't make sense.
BURKE
Why it's perfectly plain, your the teacher at the college, you
don't want the building torn down.
CHRIS
C'mon I can read for Christ sake.
BURKE
Well what's wrong?
CHRIS
Well why are they tearing the building down?
BURKE
Shall we summon the writer? He's in Paris I believe.
CHRIS
Hiding?
We see a crowd of people looking on. Standing out is a young,
dark, handsome Jesuit Priest .
BURKE
Fucking.
Chris bursts into laughter and hugs Burke as the crowd including
the priest burst into laughter.We cut to a crew member with a
clapper board.
CREW MEMBER
Scene 39, hotel, take 4!
As he claps the board we hear the assistant director's voice on a
mega phone.
CREW
Okay Action!
The crowd of movie extras cheer and chant as an actor with a mega
phone plays his part. Chris is being touched up with make up
before she makes her appearance. She walks toward the set.
ACTOR
(with mega-phone)
Has there been enough killing
After the actor says each line, the crowd cheer. Chris walks into
the crowd of extras, as we see Burke on the directors chair
smiling and laughing. Chris reaches the guy with the mega-phone
and turns on character. She takes the mega-phone and begins.
CHRIS
(with mega-phone)
Wait a minute, please, hold it! Hey c'mon we're all concerned
with human rights for god's sake, but the kids who wanna get an
education have a right too!
The crowd cheer.
CHRIS
(with mega-phone)
Can you understand it's against your own principles for gods
sake.
The crowd cheer.
CHRIS
You can't, you can't accomplish anything by sending kids
out........
The crowd cheer cutting her short. We focus on the young priest
who is walking away from the campus.
CHRIS
(with mega-phone)
Order! Order! If you wanna effect any change you'll have to do it
within the system.......
The crowd cut her short again with an almighty cheer. We move in
front of the young priest who continues to walk from the set.
CREW
Okay cut! That's a rap!
EXTERIOR- GEORGETOWN UNIVERSITY- ENTRANCE- DAY
We see Chris descending a flight of stairs walking toward a car.
CHRIS
I think I'll walk home tonight Mike.
MIKE
All right.
She hands her leather case to him.
CHRIS
And take that and drop it by my house.
She walks off and waves goodnight to the crew across the road. As
she turns the corner and walks down the road, Mike Oldfield's
Tubular Bells begins to play. She walks through the leaf covered
street on Halloween and sees a group of kids in costume run past
her. She carries on walking and sees to nuns waking in the wind,
with the gowns blowing. She approaches the local chapel and over
hears a voice.
KARRAS
There's not a day in my life when I don't feel like a fraud. I
mean priests, doctor, lawyers I've talked to them all, I don't
know anyone who hasn't felt that.
She sees that's it's the young Jesuit who was at the campus
earlier, and that he is talking to another priest. We don't hear
the rest of the conversation because of a low flying aeroplane.
INTERIOR- MACNEIL HOUSE- DINNING ROOM- DUSK
We cut to the dinning room where Chris's house sitter and nanny,
Sharon is sitting at a type writer eating an apple.
CHRIS
(calling from outside)
Hello?
SHARON
In here!
Chris walks into the dinning room.
CHRIS
Hi
SHARON
Hi, how'd your day go?
CHRIS
Oh not to bad, kinda like the Walt Disney version of the Ho Chi
Minh story, but other than that it was terrific.
Chris picks up her mail.
CHRIS
What have we got here?
Sharon gives her a letter.
SHARON
Here.
CHRIS
Oh great, anything else?
SHARON
And you got an invitation.
CHRIS
What's this?
SHARON
Dinner at the White House.
CHRIS
Your kidding me. What is it a big party or something?
SHARON
Just five or six people.
CHRIS
No kidding.
Chris walks toward the cabinet and pours herself a drink. We hear
a small voice call from the hall.
REGAN
Hi mom.
Regan runs in and hugs and kisses Chris.
CHRIS
What did you do today?
REGAN
Um........Stuff.
CHRIS
What kind of stuff?
REGAN
Well, me and Sharon played a game in the back yard, and we had a
picnic down by the river.
Chris sits down.
REGAN
Oh mom, you should have seen this man came along on this
beautiful grey horse. (to Sharon)
Wasn't it pretty?
CHRIS
Really, what kind was it a mair or guilding?
REGAN
Think it was a guilding. It was grey. Oh it was so beautiful, the
guy let me ride it all around.
CHRIS
Your kidding?
SHARON
Yeah for about half an hour.
REGAN
It was so nice, oh I loved it. Oh mom can't we get a horse?
CHRIS
Well, not while we're in Washington.
REGAN
Oh............
CHRIS
We'll see when we get home okay.
REGAN
When can I have one?
CHRIS
We'll see Regan. (to Sharon)
Now about those party invitations.......
Regan opens the jar of candy for the trick or treaters and takes
some candy. Regan runs of and Chris chases her.
CHRIS
Regan come back here.
Chris catches Regan and wrestle her to the floor. Regan is
giggling constantly.
CHRIS
All right give it up, give it up, now! You'll be sorry.
INTERIOR- SUBWAY- DAY
We cut to a train screaming through a subway station. When the
train goes past we see the young Jesuit priest standing at the
platform. As things get quiet he hears and Irish voice behind
him.
HOMELESS GUY
Fa-dah! Can you help an old altar boy? I'm a Cat-lick!
A train goes past illuminating the homeless guys face. The young
priest just walks on.
EXTERIOR- NEW YORK STREET- DAY
The young priest walks down a garbage infested, New York city
street. Kids making noise and jumping on cars are the only source
of noise. The young priest walks up a porchway and enters a
building.
INTERIOR- KARRAS' MOTHER'S FLAT- HALLWAY
The young priest enters the apartment, turns on the light and
takes off his jacket, and his collar.
KARRAS
Momma?
He walks into the living room where an old woman sits listening
to a radio.
KARRAS
Momma?
He leans over the chair.
KARRAS
Momma?
The old woman stands up with joy.
MRS.KARRAS
Dimmy! Damien!
They greet each other in Greek as Mrs. Karras hugs him.
MRS. KARRAS
I'm so happy to see you.
KARRAS
You look good.
MRS.KARRAS
I'm all right.
KARRAS
How's your leg?
MRS. KARRAS
How about you Dimmy? Are you all right?
KARRAS
I'm fine mom, I'm fine.
We cut to Karras eating his supper and his mom rocking in her
chair with the radio on still playing in the background.
MRS.KARRAS
Your Uncle John stopped by to visit me.
KARRAS
Oh really, when?
MRS.KARRAS
Last month.
We now cut to Karras putting a bandage around his mothers leg.
KARRAS
Is that too tight?
MRS.KARRAS
No.
KARRAS
Now momma you have to stay off it, you can't keep go up and down
those stairs you have to give it rest.
MRS.KARRAS
Okay
KARRAS
Momma I can take you somewhere to a place where you wouldn't be
alone. There'd be people around, you know you won't have to sit
here listening to the radio.
Mrs. Karras responds by shouting in Greek.
MRS.KARRAS
You understand me, This is my house, and I'm not going no place.
Damien stands up and lights a cigarette.
MRS.KARRAS
Dimmy, you worry for something?
KARRAS
No momma.
MRS.KARRAS
You are not happy. Tell me what is the matter?
KARRAS
Momma, I'm all right, I'm fine, really I am.
We cut to the bedroom light going out, with Damien walking out
back in uniform. He put's some money on the table and turns up
the radio so that his leaving doesn't wake his mother. He kisses
her and walks out.
INTERIOR- MACNEIL HOUSE- BASEMENT- NIGHT
Regan is in the basement making a model. Chris is decending the
steps.
REGAN
Here it comes..................There
She holds up a clay model of an orange bird.
Chris and Regan both laugh.
CHRIS
Oh look at that.
REGAN
You like it?
CHRIS
Oh it's so funny.
Chris takes it and put's it on a shelf.
CHRIS
I better put him over here to dry though. He's still wet.
Regan walks over to the ping pong table and bounces a ping pong
ball. By the shelf Chris picks up an ouiji board.
CHRIS
Hey, where'd this come from?
REGAN
I found it.
CHRIS
Where?
REGAN
The closet
Chris walks toward the ping pong table with the ouiji board in
hand.
CHRIS
You've been playing with it?
REGAN
Yeah.
CHRIS
You know how?
REGAN
Here I'll show you.
Regan places the board down on the table. Chris drags a chair
over and sits down.
CHRIS
Wait a minute you need two.
REGAN
No you don't. I do it all the time.
CHRIS
Oh yeah, well let's both play.
The pointer pulls itself away from Chris.
CHRIS
You really don't want me to play huh?
REGAN
No I do, Captain Howdy said no.
CHRIS
Captain who?
REGAN
Captain Howdy.
CHRIS
Who's Captain Howdy?
REGAN
You know, I make the questions and he does the answers.
CHRIS
Oh, Captain Howdy....
REGAN
He's nice.
CHRIS
Oh I bet he is.
REGAN
Here I'll show you.
Regan places the magnifier on the board and closes her eyes.
REGAN
Captain Howdy, Do you think my mom's pretty? Captain Howdy?
Captain Howdy that isn't very nice.
CHRIS
Well, maybe he's sleeping.
REGAN
You think?
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
Regan is lying in bed looking at a magazine which has Chris and
Regan on the cover. Chris is tucking Regan in.
CHRIS
Regan, why are you reading that?
REGAN
Cause I like it.
CHRIS
It's not even a good picture. Looks to mature.
REGAN
I wouldn't talk.
CHRIS
Oh you wouldn't talk, well I didn't have my make up man there.
Chris sits down on Regan's bed leaning over her.
CHRIS
Just gotta get this eye-lash off of you.
Chris tries to get an eye lash from Regan's eye lid.
CHRIS
No I didn't get it.
Chris tries again and gets it.
CHRIS
What are we gonna do on your birthday, isn't that nice it's on a
Sunday this year, what can we do?
REGAN
I don't know
CHRIS
Well what would you like to do? Got any ideas?
Regan shakes her head.
CHRIS
Let me think, let me think, what can we do? Hey you know we never
finished seeing all the sights in Washington, the Lee Mansion,
shall we to do that? Go sight seeing. If it's a nice day.
Regan nods
REGAN
Yeah
CHRIS
Okay. And tomorrow night, I'll take you to a movie, okay?
REGAN
Oh I love you.
Regan hugs Chris.
CHRIS
I love you Rags. We'll have a good day yeah?
REGAN
You can bring Mr. Dennings if you like.
CHRIS
Mr. Dennings?
REGAN
Well you know it's okay.
CHRIS
Well thank you very much but why on earth would I want to bring
Burke on your birthday?
REGAN
You like him.
CHRIS
Yeah I like him. Don't you like him? Hey what's going on? What is
this?
REGAN
Your not gonna marry him are you?
CHRIS
Oh my god, you kidding, me marry Burke Dennings don't be silly,
of course not.
REGAN
What?
CHRIS
Where'd you ever get an idea like that?
REGAN
But you like him.
CHRIS
Course I like him, I like pizzas to but I'm not gonna marry one.
REGAN
Do you not like him like daddy?
CHRIS
Oh Regan I love your daddy. I'll always love your daddy. Burke
just comes around here a lot because he's lonely, don't got
nothin' to do.
REGAN
Well I heard differently.
CHRIS
Oh you did. What did you hear?
REGAN
I don't know, I just thought.
CHRIS
Well your thinking's not so good.
REGAN
How do you know?
CHRIS
Cause Burke and I are just friends. Okay, really.
REGAN
Okay.
Chris kisses Regan.
REGAN
Goodnight.
INTERIOR- UNIVERSITY OF GEORGETOWN- CAMPUS BAR- NIGHT
Damien is walking away from the bar with two beers. He sits at a
table and puts one beer in front of the president of the
university. Loud trendy music is playing in the background and
the bar is full of students.
KARRAS
It's my mother Tom. She's alone I never should have left her. At
least in New York I'd be nearer, I'd be closer.
PRESIDENT
Could see about a transfer Damien.
KARRAS
I need reassignment Tom, I want out of this job. It's wrong, it's
no good.
PRESIDENT
You're the best we've got.
KARRAS
Am I really? It's more than psychiartry and you know that Tom,
some of there problems come down to faith, there vocation, the
meaning of there lives and I can't cut it anymore. I need out I'm
unfit. I think I've lost my faith Tom.
EXTERIOR- WASHINGTON DC- CHRIS' CAR- DAY
Chris and Regan are driving through the streets of Washington.
They are laughing and joking.
EXTERIOR- WASHINGTON DC- LEE MANSION- DAY
In a montage of shots, Chris is walking and Regan is running
around the huge pilars. Chris takes pictures of Regan as she
poses for the camera.
EXTERIOR- WASHINGTON DC- MEMORIAL DRIVE- DAY
Chris and Regan have stopped to watch a soldier march. They both
look at a Tomb of an unknown soldier. They both stare.
REGAN
Mom, why do people have to die?
Chris looks at her. She doesn't know how to answer.
CHRIS
People get tired.
REGAN
Why does God let us get tired?
CHRIS
God gets lonesome for us, Rags. He wants us back.
EXTERIOR-MACNEIL HOUSE- STREET- DAY
We see leaves blow as we cut to a front shot of the house.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- DAY
We start with a close up of Chris on the phone and slowly zoom
out to see Regan over hearing the phone call.
CHRIS
Hello? Yes this is Mrs. MacNeil. Operator you have got to be
kidding I have been on this line for twenty minutes. (to Sharon)
Jesus Christ, can you believe this, he doesn't even call his
daughter on her birthday for christ sake.
SHARON
Maybe the circuit is busy?
CHRIS
Oh circuit my ass, he doesn't give a shit!
SHARON
Why don't you let me?
Sharon reaches for the phone from Chris' hand
CHRIS
No I've got it Sharon, it's all right. (on the phone)
Yes. No, Operator don't tell me there's no answer, it's the Hotel
Excelcia in Rome would you try it again please and let it ring.
Hello? Operator you've given me the number four times. What did
you do, take an iliteracey test to get that job for Christ sake.
(shouting)
No don't tell me to be calm god damn it! I've been on this
fucking line for twenty minutes.
Regan sits on her bed and takes off her shoes.
INTERIOR- MACNEIL HOUSE- CHRIS' BEDROOM- NIGHT
It's dark and we see Chris a sleep in her bed. The silence is
broken by the phone ringing. She clubs her hand on the reciever
and picks it up. She holds it to her head.
CHRIS
Yeah? You're kidding me? I thought I just went to bed. Uh huh.
What are we doing scene sixty one? (switches the light on)
Okay, just remind him about that blue belt huh?
She puts the phone down and rolls over to find Regan laying next
to her.
CHRIS
What are you doing here?
REGAN
My bed was shaking, I can't get to sleep.
CHRIS
Oh, honey.
INTERIOR- MACNEIL HOUSE- HALLWAY- NIGHT
We cut to a close up of the attic outside Chris' room. We then
see Chris exit her room tying the cord on her robe. She walks
toward the attic and looks as a crashing noise comes from the
attic. She walks round to the entrance of the attic and pulls the
steps down with a pole. She pushes the light switch but nothing
happens, so she lights a candle and climbs the steps as Regan
looks on from Chris' bed. When Chris reaches the attic, she walks
around in the darkness, knocking things over and looking for what
is making the crash. She looks for the rat traps to see if any
rats have been caught but all of them remain in tact with the
lumps of cheese still in place. Chris hears the crash again and
follows the sound, as she walks through the junk her candle blows
up ans she hears a voice.
Chris turns around to see Karl standing on the steps of the
entrance shining a flash-light toward her.
KARL
There is nothing.
CHRIS
Oh Karl, Jesus Christ Karl, don't do that.
KARL
Very sorry, but you see, no rats!
CHRIS
No rats. Thanks a lot that's terrific.
EXTERIOR- UNIVERSTIY OF WASHINGTON- DAHLGREN CHAPEL- DAY
We cut to an elderly bishop, walking across the campus carrying
two large bouquet flower pots. He walks up to the entrance of the
chapel and enters.
INTERIOR- UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY
The bishop walks into the chapel, and walks to the aisle. When he
reaches the aisle he bows and then approaches the altar. He
places one of the boucuets in front of one statue, but as he
turns to the camera he walks very slowly and we see him in shock
as he gasps. We cut to what he has seen. It's the statue of the
Virgin Mary, which has been horribly desecrated, by being given a
clay penis and pointing clay breasts.
INTERIOR- BELLEVUE PSYCHIATRIC HOSPITAL- HALLYWAY- DAY
We cut to Karras hurridly walking down a corridor being followed
by his Uncle.
UNCLE
The edima affected her brain, you understand Dimmy? She don't let
no doctor come near her. She was all the time screaming, even
talking to the radio.
KARRAS
You should have called me the minute it happened.
UNCLE
Listen, regular hospital not going to put up with her Dimmy,
understand? So we give her a shot and bring her here, till the
doctors fix up her leg, then we take her out Dimmy, two or three
months and she's out good as new.
They approach an office and Karras' Uncle walks in to speak to
the nurse.
UNCLE
Miss?
NURSE
Yes?
UNCLE
We want to see Mrs. Karras.
NURSE
Do you have an appointment?
UNCLE
Yes
NURSE
Are you a relative?
UNCLE
Yes I am her brother, he's the son
NURSE
Just a minute.
The grabs a set of keys and writes something in a note book. We
then cut to Damien staring in the window of the ward. He's see's
all sorts of people, all with mental problems.
UNCLE
You know it's funny. If you wasn't a priest you'd be famous
psychiatrist now on Park Avenue, your mother she'd be living in a
penthouse instead of here.
The nurse unlocks the door and opens it. Damien looks at his
Uncle.
UNCLE
You go in Dimmy. I wait for you outside.
Karras walks in and leaves his Uncle behind.
NURSE
You'll find Mrs. Karras on the last bed on the left hand side.
As Damien enters, a few of the patients rush toward him. Two of
them grab him, as the nurse tries to get them away. Damien barges
them out of his way only to have another patient rush into him
and take his collar. The nurse takes her away as bed bound
patients look on with arms out stretched. Damien approaches his
mothers bed.
KARRAS
Momma? It's Dimmy momma.
Mrs. Karras slowly turns her eyes to him.
MRS. KARRAS
Dimmy. Why they did this to me Dimmy? Why?
Damien rushes to comfort his mother.
KARRAS
Momma, I'm gonna take you outta here momma.
Mrs. Karras struggles to turn away from him.
KARRAS
Momma I'm goona take you home.
Mrs. Karras shouts at him in Greek as Damien tries to comfort
her.
KARRAS
Momma, everything's gonna be alright momma, I'm gonna take you
home!
EXTERIOR- NEW YORK- CITY STREET- DAY
We cut to Damien talking to his Uncle face to face.
KARRAS
Couldn't you have put her some place else?
UNCLE
Like what? Private hospital? Who got the money for that Dimmy?
You?
INTERIOR- UNIVERSITY OF GEORGETOWN- BOXING GYM- DAY
We cut Damien taking his frustration out on a punch bag. He
throws a few hard punches before stopping for breath.
INTERIOR- DR. KLEIN'S EXAMINING ROOM- DAY
Brief montage of shots.
Klein administering a physical to Regan. Including opthalmoscope,
tuning fork and simple coordination tests. Also blood sample in
centrifograph, and urine sampl under microscope. Final shot has a
nurse with her back against the examining table, her expression
partly puzzled, partly disturbed as she observes Regan, who is in
her slip and in constant motion; stepping, twirling, touching,
making nervous movements whilst aimlessly humming. Klein is not
present.
INTERIOR- DR. KLEIN'S OFFICE- DAY
Chris is seated on the edge of a chair. Klein is behind his desk,
writing a prescription.
DR. KLEIN
A disorder of the nerves. At least we think it is. We don't know
yet exactly how it works, but it's often seen in earl
adolescence. She shows all the symptoms: the hyperactivity; the
temper; her performance in math.
CHRIS
Why the math?
DR. KLEIN
It affects concentration.
Here tears the prescription away from the pad.
DR. KLEIN
Now this is for Ritalin. Ten miligrams a day.
CHRIS
What is it? A tranquilizer?
DR. KLEIN
A stimulant.
CHRIS
Stimulant? She's higher than a kite right now!
DR. KLEIN
Her condition isn't quite what it seems. Nobody knows the cause
of her hyperkinetic behaviour in a child. The Ritalin sems to
work to relieve the condition, but we really don't know how or
why, frankly. Your daughter's symptoms could be an overreaction
to depression- but that's out of my field.
CHRIS
Depression?
DR. KLEIN
Well, you mentioned her father... the divorce.
CHRIS
Do you think I should take her to see a psychiatrist?
DR. KLEIN
Oh no. I'd wait and see what happens with the Ritalin. I think
that's the answer. Wait two or three weeks.
CHRIS
And those lies she's been telling?
DR. KLEIN
Lies?
CHRIS
Ya know, those things to get attention, like saying that her bed
shakes and stuff.
DR. KLEIN
Have you ever known your daughter to swear and use obscenities?
CHRIS
Never.
DR. KLEIN
Well, you see, that's quite similar to things like her lying-
uncharacter-
CHRIS
Wait a minute. What are you talking about?
DR. KLEIN
Well, she let loose quite a string while I was examining her,
Mrs. MacNeil.
CHRIS
You're kidding! Like what?
DR. KLEIN
Well, I'd say her vocabulary's rather extensive.
CHRIS
Well, what, for example? I mean, give me a for instance!
Klein shrugs. No reply.
CHRIS
Hey, come on, I'm grown-up. What'd she say? I mean specifically,
Doctor.
DR. KLEIN
Well, specifically, Mrs. MacNeil, she advised me to keep my
fingers away from her goddam cunt.
CHRIS
(shocked, laughing)
She used those words?
DR. KLEIN
She used those words. Look, I doubt that she even understood what
she was saying.
CHRIS
Yeah, I guess. Maybe not. You don't think a psychiatrist-?
DR. KLEIN
The best explanation is always the simplest one. Let's wait.
Let's wait and see. In the meantime try not to worry.
EXTERIOR- MACNEIL HOUSE- PROSPECT STREET- NIGHT
We see the house is lit up as there's a party going on inside. A
car pulls up before we enter.
INTERIOR- MACNEIL HOUSE- NIGHT
We see lots of people enjoying them selves, talking, laughing,
eating. Music playing and people having a good time. We see Burke
sitting on a couch with two people beside him, he's drunk and is
sat twirling his finger around in his drink.
BURKE
There seems to be an alien pubic hair in my Gin.
ASTRONAUT
I beg your pardon?
BURKE
Never seen it before in my life. Have you?
We see more people having fun, Regan laughing and we then cut to
Father Dyer, a young priest who is talking to the same guy Burke
was.
ASTRONAUT
Well actually Father, we're quite comfortable up there, at least
compared to the Gemini and Mercury program. So they were tight
for space, see we've got about two-hundred and ten cubic feet so
we can move around.
FATHER DYER
Listen, if you ever go up there again will you take me along?
ASTRONAUT
(laughs)
What for?
FATHER DYER
First missionary on mars.
We then cut to Burke who is approaching Karl, who is carrying a
tray of drinks.
BURKE
Tell me, was it public relations you done for the Gestapo or
community relations?
KARL
I'm Swiss.
BURKE
Yes of course. Never went bowling with Goebbels either I suppose
ah?
Karl walks away.
BURKE
Nazi bastard.
We cut to Chris who is talking to Father Dyer.
CHRIS
Over behind the church, you know where I mean over there, it's a
red brick wing?
FATHER DYER
St. Mike's.
CHRIS
What goes down there? I mean who's the priest I keep seeing, he's
there all the time. He has black hair and he's very intense
looking?
FATHER DYER
Damien Karras.
CHRIS
Karras.
FATHER DYER
That's his office back of St. Mike's. He's our psychiatric
counsellor. He had a pretty rough knock last night poor guy, his
mother passed away. She was living by herself and I guess she was
dead a couple of days before they found her.
We cut to the kitchen where Burke is once again taunting Karl.
BURKE
Cunting Hun! Bloody damn butchering Nazi pig!
Karl lunges at Burke and grabs him by the throat.
KARL
Bastard! I will kill you.
CHRIS
Karl!!
Chris, Sharon and Willie pull Karl away from Burke. Willie takes
him into another room.
KARL
You fiend!
Burke just laughs and claps his hands.
BURKE
What's for dessert?
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT
We see Regan is tucked up in bed with her eyes closed. Chris
pulls the covers up to her shoulders.
CHRIS
Are you asleep?
There is no reply so Chris kisses her and exits. As Chris
disappears Regan's eyes open suddenly.
INTERIOR- MACNEIL HOUSE- NIGHT
We cut to Chris and Sharon who are trying to help (a very drunk)
Burke to the front door. Burke is trying to mumble a song. Sharon
opens the front door for him.
CHRIS
Listen Burke, your car is on the curbe. Luis is waiting...
Burke hugs her. Chris looks confused and hugs him back. Burke
pulls away and points his finger as if he wants to say something,
but he forgets.
CHRIS
What honey?
BURKE
Fuck it.
Burke walks off and Chris and Sharon close the door and return to
the party. Father Dyer is sitting at the piano and everyone is
singing songs.
FATHER DYER
Hi Chris. Great party.
CHRIS
Yeah, don't stop. Keep going.
FATHER DYER
Listen, I don't need any encouragement, but my idea of heaven is
a solid white night club, with me as the head liner, for all
eternity and they love me.
Everyone laughs. Father Dyer starts to play a song and everyone
sings along.
EVERYONE
"Down on the east side of Toyd..."
FATHER DYER
Toyd, Toyd.
EVERYONE
"Toyd, that's my home, sweet home. Can we both think it's..."
Regan appears in view and Father Dyer notices her first.
FATHER DYER
Hey I, I think we have a guest.
Everyone turns to Regan as she stands and stares at the astronaut
guy.
REGAN
Your gonna die up there.
The guy looks puzzled and Regan begins to urinate on the floor.
CHRIS
Regan, my God honey. (to the guests)
I'm sorry, she's been sick. She didn't know what she was saying.
PART GUY1
That's all right.
CHRIS
(to Regan)
C'mon.
Chris takes Regan out.
INTERIOR- MACNEIL HOUSE- REGAN'S BATHROOM- NIGHT
Regan is in the bath tub, hunched forward, staring infront of
her. Chris has a sponge and is rinsing water on Regan's back.
CHRIS
What made you say that Regan? Do you know sweetheart?
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT
Chris tucks Regan in and walks to the door.
REGAN
Mother? What's wrong with me?
Chris walks back to her.
CHRIS
It's just like the doctor said, it's nerves and that's all. Okay,
you just take your pills and you'll be fine really. Okay?
Regan nods and Chris exits the room.
INTERIOR- MACNEIL HOUSE- HALLWAY- NIGHT
Chris walks to the stairs where we see Willie, down stairs,
cleaning up Regan's mess.
CHRIS
Is it coming out Willie?
WILLIE
Yes, I think so.
All of a sudden we here Regan screaming along with a constant
crashing sound. Chris rushes to Regan's room.
REGAN
Mother! Mother! Mother!!!!! Mother help!
Chris opens the door and gasps in shock. We then see Regan on her
bed, but the bed is thumping and shaking ferociously.
CHRIS
Oh my God!
REGAN
Make it stop! What's wrong!! I'm scared!!!
Chris jumps on the bed to comfort Regan and they both sit
screaming as the bed continues to rapidly jump around.
INTERIOR- UNIVERSITY OF GEORGETOWN- HALLWAY- NIGHT
Father Dyer is walking down the long corridor to Damien's room.
He reaches the room, knocks ad then enters.
KARRAS
Where'd you get the money for the Chivas Regal? The poor box?
FATHER DYER
That's an insult, I got a vow of poverty.
KARRAS
Where'd you get it then?
FATHER DYER
I stole it.
KARRAS
I believe you.
FATHER DYER
College president shouldn't drink. Tends to set a bad example, I
figure I saved them from a big temptation.
KARRAS
Oh Christ! I should of been there and I wasn't there, I should've
been there.
FATHER DYER
There was nothing you could do. Lye down. C'mon.
Father Dyer helps Damien onto his bed, takes his cigarette and
takes his shoes off.
FATHER DYER
Think you can sleep?
KARRAS
Are you gonna steal my shoes now?
FATHER DYER
No, I tell fortunes by reading the crease, now shut up and go to
sleep.
Damien grabs Father Dyer's arm but slowly let's go. Father Dyer
turns the light out and heads for the door.
FATHER DYER
Goodnight Dims.
KARRAS
Stealing is a sin.
Dyer exists. We slowly zoom in on Damien while he's asleep. He
starts to dream and we see the images that come into his head.
There is falling medallion, a swing pendulum in a clock and a
running dog. He then sees his mother ascending a subway tunnel to
the street, Karras is on the other side of the street and
although there is no sound, we can see that Damien is calling
"Momma" and Mrs. Karras is calling "Damien". A white demonic face
flashes a split second as Karras starts to run across the street
to his mother, but we see her once again descend to the subway.
We see the falling medallion again and as it hits the floor, the
silence is broken by Regan's screamng.
INTERIOR- HOSPITAL- DR. KLEIN'S OFFICE- DAY
REGAN
I don't want it.
CHRIS
Honey it's to help you.
We can see Dr. Klein preparing an injection.
REGAN
I don't want it, I don't want it.
Dr. Klein injects the needle into Regan's arm. She spits at him.
REGAN
You fucking bastard!!
INTERIOR- UNIVERSITY OF GEORGETOWN- CHAPEL- DAY
Karras is doing a church service in the chapel.
KARRAS
(whisper)
Remember O Lord, Thy servant, Mary Karras... who has gone before
us with the sign of faith, and sleeps the sleep of peace. (to the
attendants)
Lord I am not worthy to receive you, but only say the words and I
shall be healed. May the body of Christ bring me ever lasting
life.
INTERIOR- HOSPITAL- CORRIDOR- DAY
Chris is waiting outside Dr. Klein's office. Dr.Klein emerges
from his room.
DR. KLEIN
Well, It's a symptom of a type of desturbance in the chemico-
electrical activity of the brain. In the case of your daughter in
the temperal lobe, up here in the lateral part of the brain. It's
rare, but it does cause bizarre hallucinations and usually just
before a convulsion.
CHRIS
Convulsion?
DR. KLEIN
The shaking of the bed, that's doubtless due to musuclar spasms.
CHRIS
Oh no, that was no spasm. I got on the bed, the whole bed was
thumping and rising off the floor and shaking. The whole thing,
with me on it!
DR. KLEIN
Mrs. MacNeil the problem with your daughter is not her bed, it's
her brain.
They both walk into Klein's office.
INTERIOR- HOSPITAL- DR. KLEIN'S OFFICE- DAY
CHRIS
So, what causes this?
DR. KLEIN
Lesion, Lesion in the temperal lobe. It's a kind of seizure
disorder.
CHRIS
Look doc, I really don't understand how her whole personality
could change.
DR. KLEIN
The temperal lobe is very common. Could last for days, even
weeks. It isn't rare to find destructive or even criminal
behaviour.
CHRIS
Hey do me a favour will ya'. Tell me something good.
DR. KLEIN
Don't be alarmed. If it's a lesion in a way she's fortunate. All
we have to do is remove the scar.
INTERIOR- HOSPITAL- OPERATING THEATRE- DAY
We see Regan being wheeled on a bed to the operating bench. The
place the bed next to the bench and pull the bars down.
MALE NURSE
Regan, could you sit up and scoot over here?
Regan does so and she lays back onto the operating bench. The
male nurse pushes a button and the bench begins to move forward.
MALE NURSE
Regan, I'm just gonna move you down to the table okay?
The bench comes to a halt.
MALE NURSE
Just for a short time.
Both nurses, male and female, loosen Regans gown around the neck
to prep her for the doctor. They place monitors on her arms.
MALE NURSE
Very sticky.
The doctor approaches Regan with a pot of betadine and puts a
sponge into the pot.
DOCTOR
Now Regan you're going to feel something, a little bit cold and
wet.
He dabs the sponge onto her neck making it a light brown colour.
The doctor then picks up a hypodermic needle and moves toward
her. We can see Chris and Dr. Klein in the viewing room.
DOCTOR
Okay, now you're gonna feel a little stick here. Don't move.
The doctor injects the needle into Regan's neck.
DOCTOR
Good.
He then picks up a a needle head without the syringe, and moves
toward her.
DOCTOR
Okay, you're gonna feel some pressure here, now don't move.
The doctor places the needle into the hole he made with the
syringe. Regan is quietly yelping in pain, and Chris is in pain
watching her daughter suffer. The doctor takes the tiny cap from
the needle, Regan's clothing is squirted with blood and places a
tube into the needle's head. We see the blood rush from Regan's
neck through the tube. The male nurse then tapes Regan's chin
down to prevent her from moving. The nurses then move in a huge
machine, two pieces either side of Regan's head and a piece
above. The lights fade out in the theatre and all we can see is
Regan's face illuminated by this huge machince above her.
DOCTOR
Hook up.
We see a finger flip a switch and the machine comes to life. A
guy in the view room pushes another button and the machine lets
off several loud bangs. In the theatre we can see Regan crying.
INTERIOR- HOSPITAL- X-RAY ROOM- DAY
We see an X-ray slide of Regan's skull appear on an illuminated
screen. Then several more appear one after the other. We see Dr.
Tanney is controlling the slides as he examines them, Dr. Klein
is with him.
DR. TANNEY
There's nothing there. No vascular displacement at all. You want
me to run another series?
DR. KLEIN
I don't think so. I'd like you to see her again.
A nurse enters the room.
NURSE
Excuse me Doctor. Chris MacNeil is on the phone, she says it's
urgent.
DR. KlEIN
Got some time?
DR. TANNEY
Of course.
INTERIOR- MACNEIL HOUSE-DAY
We hear the doorbell ring and Sharon racing down the stairs to
answer it, but no sound could block out Regan's screaming from up
stairs. Sharon opens the door.
SHARON
Dr. Klein?
DR. KLEIN
Yes I'm Dr. Klein, this is Dr. Tanney.
DR. TANNEY
How do you do?
SHARON
Hi Sharon, things have gotten worse since we called you, I better
take you up stairs.
DR. KLEIN
Is she having spasms again?
SHARON
Yes but they've gotten violent.
DR. KLEIN
Did you give her the medication she needed?
SHARON
Yes.
DR. TANNEY
What was that?
DR. KLEIN
Thorazine. Before that it was Ritalin.
They approach Regan's door. Sharon knocks.
SHARON
Chris, Doctors.
Chris opens the door.
DR. KLEIN
Mrs. MacNeil, this is Doctor Tanney.
We see Regan is laying on her bed, thrashing her torso against
the mattress and up again.
REGAN
Mother please! Oh please mother make it stop! It's burning, it's
burning please mother!
CHRIS
So something please Doctor, Help her!
REGAN
Make it stop,it really hurts! Mother! Make it...
Regan suddenly growls, her eyes roll back and her throat swells
abnormally. She stands up on the bed.
DR. KLEIN
Alright then Regan, let's see...
Regan back hands Dr. Klein and he flies backward.
CHRIS
Oh Regan!
REGAN/DEMON
Keep away! The sow is mine!
She pulls up her dress and mimes masturbation.
REGAN/DEMON
Fuck me ! Fuck Me! Fuck me!
She falls back and starts to scream again.
DR. KLEIN
Get my bag!
Sharon grabs Dr. Klein's bag and Karl slaps Regan to stop her
from screaming. Chris screams with horror in reaction to what
she's just seen. Karl and Dr. Tanney hold Regan down as Dr. Klein
prepares a syringe to knock her out.
REGAN
Stay away from me! Stay away! Mother!
DR. KLEIN
Hold her steady, Hold her tight!
Dr. Klein injects the needle and Sharon takes Chris outside. When
the door is closed, Regan's screaming becomes dead silence.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY
Chris and Sharon sit in the hallway with their heads in hands.
Klein and Tanney exit Regan's room and approach them. Chris
stands.
DR. KLEIN
She's heavily sedated. She'll probably sleep through tomorrow.
CHRIS
What was going on in there, how could she jump off the bed like
that?
DR. TANNEY
Pathological states can induce abnormal strength, accelerated
motor performance. For example, a ninety-pound women sees her
child pinned under the wheel of a truck, runs out and lifts the
wheels half a foot up off the ground. You know the story, same
thing here. Same principle, I mean.
CHRIS
So what's wrong with her?
DR. KLEIN
We still think the temporal lobe...
CHRIS
Oh. What are you talking about for Christ sake! Did you see her
or not? She's acting like a fucking out of her mind psychotic or
a split personality or...
DR. TANNEY
There haven't been more than a hundred authenticated cases of so-
called split personality, Mrs. MacNeil. Now I know the temptation
is to leap to psychiatry, but any reasonable psychiatrist would
exhaust the somatic possibilities first.
CHRIS
So what's next?
DR. TANNEY
A pneumoencephelogram, I would think, pin down that lesion. It
will involve another spinal.
CHRIS
Oh, Christ.
DR. TANNEY
What we missed in the EEG and the arteriogram could conceivably
turn up there. At the least, it would eliminate certain other
possibilities.
INTERIOR- MEDICAL LABORATORY- DAY
We see a piece of heavy machinery swivelling above the camera. We
then see Regan strapped to a table, hooked up to the machine.
She's yelping in pain.
INTERIOR- DR. KLEIN'S OFFICE-DAY
Dr. Klein is looking over the lab reports and seems baffled.
DR. KLEIN
Dr. Tanney says the X-rays are negative. In other words normal.
Chris sighs.
DR. KLEIN
Do you keep any drugs in your house?
CHRIS
No. Of course not, nothing like that.
DR. KLEIN
Are you sure?
CHRIS
Well of course I'm sure. I'd tell you. Christ, I don't even smoke
grass.
DR. KLEIN
Are you planning to be home soon? LA, I mean.
CHRIS
No. I'm building a new house, the old one's been sold. I was
going to take Regan to Europe for a while, after she finished
school here. Why d'you ask?
DR. KLEIN
I think it's time we started looking for a psychiatrist.
INTERIOR- CHRIS' CAR- NIGHT
Angle from driver's seat- 'M' Street and 36th. Through the
windshield, dead ahead, a crowd has gathered by the base of the
steep steps beside the house, and an ambulance is pulling out
into traffic. Police car lights are flashing. As Chris rounds off
the bridge on to Prospect street, the ambulance pulls out and
then gets ahead of her, siren wailing. We follow the ambulance
for two beats.
INTERIOR- MACNEIL HOUSE- KITCHEN- NIGHT
The lights are blinking on and off and the phone is ringing.
Chris enters the kitchen and answers the phone.
CHRIS
(down the phone)
Hello?
But there is no answer. She puts the phone down and wanders
further into the kitchen. The lights are still blinking.
CHRIS
Sharon?
The lights come back on.
CHRIS
Shar?
Still no response. Chris exits to the lounge.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT
As Chris reaches the landing she halts, her eyes warily scanning
around, then she continues down the hall toward us, and opens the
door to Regan's bedroom.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
There is silence as Chris stands by the door a moment. Chris hugs
herself, shivering from the cold. Regan is sound asleep and
uncovered from the bed sheets. Chris sees that the window is wide
open.
CHRIS
(whisper)
Shit.
Chris moves to the window and closes it, but still feels cold.
She walks to Regan and pulls the covers back over her.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT
As Chris exits and softly closes Regan's door. She walks toward
the stairs when we hear the front door close, followed by a call.
SHARON
(downstairs)
Sharon!
INTERIOR- MACNEIL HOUSE- FOYER- NIGHT
Sharon enters with a brown pharmacy bag.
CHRIS
What the hell do you mean going out and leaving Regan by her
self! What are you kidding her window's wide open...
SHARON
What didn't he tell you?
CHRIS
Didn't who tell me?
SHARON
Burke.
CHRIS
What's Burke got to do with it?
SHARON
Well, when I went to get the Thorazine I had him to stay with her
and... Oh, I should of known better.
CHRIS
Yeah, well I guess you should've.
Chris hangs up her jacket and the doorbell rings.
SHARON
What did the doctor say?
CHRIS
We have to start looking for a shrink.
She opens the door. It's the assistant director.
CHRIS
Hi Chuck, c'mon in.
CHUCK
I suppose you've heard.
CHRIS
Heard what?
Chuck takes his hat off and holds it to his chest.
CHUCK
You haven't heard.
Chris turns around to face him and looks baffled.
CHUCK
Burke's dead. (Short pause)
He must of been drunk. He fell down from the top of the steps
right outside, by the time he hit 'M' Street he'd broken his
neck.
Chris puts her hands to her mouth.
CHRIS
Oh God!
Chris breaks into tears and press up against the wall. Chuck
gently hugs her from behind.
CHUCK
Yeah, I know.
Chuck backs away.
CHUCK
I'll see you later.
Chuck exits.
CHRIS
Oh Burke! Poor Burke!
SHARON
I can't believe it.
Chris lowers her brow into her hand, leaning against the door.
She shakes her head, exhales.
CHRIS
I guess everything-
She breaks off, staring with horror at something descending the
stairs. It's Regan on all fours. She's gliding, spiderlike,
noiselessly and swiftly, down the staircase. She halts directly
at the bottom. Staring at Sharon. Sharon is shocked and eyes
fixed on Regan. Regan's tongue begins to flicker rapidly in and
out of her mouth. She crawls very speedly toward Sharon with her
tongue sticking out. Sharon screams and runs toward the door,
Chris falls on Regan trying to hold her back.
CHRIS
Call the doctor!
We fade to black
PSYCHIATRIST
Now when I touch your forehead, open your eyes.
We fade back with a full face shot of Regan, with two fingers
wiping her brow.
INTERIOR- MACNEIL HOUSE- CHRIS' BEDROOM- DAY
We stay fixed on Regan's full mug shot.
PSYCHIATRIST
Are you comfortable Regan?
REGAN
Yes.
PSYCHIATRIST
How old are you?
REGAN
Twelve.
PSYCHIATRIST
Is there someone inside you?
REGAN
Sometimes.
PSYCHIATRIST
Who is it?
REGAN
I don't know.
PSYCHIATRIST
Is it Captain Howdy?
REGAN
I don't know.
PSYCHIATRIST
If I ask him to tell me, will you let him answer?
We now get a view of the whole room. Chris and Dr. Klein are also
present.
REGAN
No.
PSYCHIATRIST
Why not?
REGAN
I'm afraid.
PSYCHIATRIST
If he talks to me, I think he'll leave you. Do you want him to
leave you?
REGAN
Yes.
We get a close up of the psychiatrist.
PSYCHIATRIST
I'm talking to the person inside of Regan now. If you are there
you too are hypnotised and must answer all my questions. Come
forward answer me now.
A framed picture of Regan drops to the floor. We switch to a
close up of Regan who is growling like some kind of animal. Chris
and Dr. Klein both cover there nose and mouth as if a foul stench
is circulating the room.
PSYCHIATRIST
Are you the person inside of Regan?
Regan's eyes are fixed on the psychiatrist. Her arm is propped up
like a cobra ready to strike.
PSYCHIATRIST
Who are you?
Regan's hand drops and grips the psychiatrists scrotum, squeezing
like a vice. The psychiatrist screams in pain.
PSYCHIATRIST
ARGHHHH Harold!!! Help me!
Dr. Klein grabs Regan and pulls her away. Regan falls back and
screams extremely loud.
EXTERIOR- RUNNING TRACK- GEORGETOWN UNIVERSITY- DAY
In training gear, Karras is running laps. Seated on a bench at
the edge of the track, watching Karras, Lt. Kinderman. Karras
seems curious, if not disturbed, by Kinderman's presence. When
Karras stops, panting, Kinderman rises and moves toward him.
KINDERMAN
Father Karras?
Karras picks up his towel and wipes his brow.
KARRAS
Have we met?
KINDERMAN
No we haven't met, but they said I could tell; that you looked
like a boxer.
Kinderman shows his badge.
KINDERMAN
William F. Kinderman. Homicide.
KARRAS
What's this about?
KINDERMAN
Yeah, it's true. You do look like a boxer. John Garfield, in Body
and Soul. Exactly John Garfield anyone told you that Father?
KARRAS
Do people tell you look like Paul Newman?
KINDERMAN
Always.
Karras walks away toward the campus.
KINDERMAN
You this director was doing a film here, Burke Dennings?
KARRAS
I've seen him.
KINDERMAN
You've seen him. You're also familiar with how last week he died?
KARRAS
Only what I read in the papers.
KINDERMAN
Papers. Tell me, what do you know about the subject of
witchcraft? From the witching end, not the hunting.
KARRAS
I once did a paper on it
KINDERMAN
Really?
KARRAS
From the psychiatric end.
KINDERMAN
I know. I read it. These desecration's in the church…you think
they have anything to do with witchcraft?
KARRAS
Maybe. Some rituals used in Black Mass. Maybe.
KINDERMAN
And Dennings, you read how he died?
KARRAS
Yeah, a fall.
KINDERMAN
Let me tell you how Father, and please confidential. Burke
Dennings, good Father, was found at the bottom of those steps
leading to 'M' Street, with his head turned completely around.
Facing backwards.
KARRAS
Couldn't it of happened on the fall.
KINDERMAN
It's possible. Possible however…
KARRAS
Unlikely.
KINDERMAN
Exactly. So on the one hand we've got a witchcraft type of murder
and a Black Mass style of desecration in the church.
KARRAS
You think the killer and the desecrator are the same?
KINDERMAN
Maybe somebody crazy, someone with a spite against the church,
some unconscious rebellion, perhaps.
KARRAS
Sick priest, is that it?
KINDERMAN
Look, Father this is hard for you- please. But for priests on the
campus here, you're the psychiatrist; you'd know who was sick at
the time, who wasn't. I mean this kind of sickness. You'd know
that.
KARRAS
I don't know anyone who fits the description.
KINDERMAN
Ah, doctor's ethics. If you knew you wouldn't tell, huh?
KARRAS
No I probably wouldn't.
KINDERMAN
Not to bother you with trivia, but a psychiatrist in sunny
California was thrown in jail for not telling the judge what he
knew about a patient.
KARRAS
Is that a threat?
KINDERMAN
No, I mentioned it only in passing.
KARRAS
Incidentally I mention only in passing that I could tell the
judge that it was a matter of confession.
Karras walks off toward his dormitory and Kinderman chases him.
KINDERMAN
Hey, Father? You like movies?
KARRAS
Very much.
KINDERMAN
I get passes to the best shows in town. Mrs. K though, she gets
tired and never likes to go.
KARRAS
That's to bad.
KINDERMAN
Yeah, I hate to go alone. You know, I like to talk film; discuss
the critique. D'you wanna see a film with me? I got passes to The
Crest. It's Othello.
KARRAS
Who's in it?
KINDERMAN
Who's in it? Debbie Reynolds, Desdemona, and Othello, Groucho
Marx. You're happy?
KARRAS
I've seen it.
KINDERMAN
One last time: Can you think of some priest who fits the bill?
KARRAS
Come on!
KINDERMAN
Answer the question, Father Paranoia.
KARRAS
Alright. You know who I think really did it?
KINDERMAN
Who?
KARRAS
The Dominicans. Go pick on them.
KINDERMAN
I could have you deported, you know that?
Karras walks to the front door.
KINDERMAN
(shouts to Karras)
I lied!
Karras turns around.
KINDERMAN
(shouting to Karras)
You look like Sal Mineo!
Karras smiles and walks inside.
EXTERIOR- BARRINGER CLINIC- DAY
The leaves blow as the camera zooms in on the Barringer Clinic.
INTERIOR- BARRINGER CLINIC- WARD- DAY
CLINIC DIRECTOR
It looks like a type of disorder that you rarely ever see
anymore, except in primitive cultures.
We see Regan on a monitor screen. She's in another fit, in bed
and restrained by straps.
CLINIC DIRECTOR
We call it a somnambuliform possession.
We cut to another angle of Regan who has slightly visible welts
on her face. She's still screaming. We then cut to Regan, now
flat on her back, mumbling to herself.
INTERIOR- BARRINGER CLINIC- DIRECTOR'S OFFICE- DAY
CLINIC DIRECTOR
Quite frankly, we don't know much about it except that it's
starts with some conflict or guilt that eventually leads to the
patient's delusion that his body's been invaded by an alien
intellegence; a spirit if you will.
CHRIS
Look, I'm telling you again and you'd better believe it, I'm not
about to put her in a goddamn asylum!
CLINIC DIRECTOR
It's-
CHRIS
And I don't care what you call it! I'm not putting her away!
CLINIC DIRECTOR
I'm sorry.
CHRIS
You're sorry. Christ, eighty-eight doctors and all you can tell
me is all of your bullshit...
CLINIC DIRECTOR- There is one outside chance of a cure. I think
of it as shock treatment. As I say, there is an outside chance...
CHRIS
Will you just name it, for God's sake? What is it?
MALE DOCTOR
Do you have any religious beliefs?
CHRIS
No.
FEMALE DOCTOR
What about your daughter?
CHRIS
No, why?
CLINIC DIRECTOR
Have you ever heard of exorcism?
Chris looks at him baffled.
CLINIC DIRECTOR
It's a stylized ritual in which rabbis or priests try to drive
out the so-called invading spirit. It's pretty much discarded
these days, except by the Catholics who keep it in the closet as
a sort of embarrassment. It has worked, in fact, although not for
the reason they think, of course. It was purely the force of
suggestion. The victim's belief in possession helped cause it;
and just in the same way this belief in the power of exorcism can
make it disappear.
CHRIS
You're telling me that, I should take my daughter to a witch
doctor? Is that it?
The Clinic Director nods and looks at Chris.
EXTERIOR- PROSPECT STREET- MACNEIL HOUSE- DAY
A car has pulled up and Karl is exiting the driver's seat and
opening the rear door while Sharon exits on the right rear side.
Karl reaches in and picks up a small figure (Regan)
wrapped in a blanket from Chris' back seat.
EXTERIOR- M STREET- DAY
Kinderman is examing the area where Burke was found dead. He
walks to the steep concrete steps and looks up them. We feel and
eerie atmosphere surounding these steps.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- DAY
Regan is tucked up in bed. Chris moves slowly forward to the
bedside and looks down at Regan. Chris then leans and tenderly
adjuts her pillow. In the process, she uncovers a crucifix under
it. She lifts it out, examining it.
EXTERIOR- M STREET- DAY
Kinderman begins to climb the stairs but stops and turns back. He
looks down in a small ditch beside the steps. He clears the grass
with his feet and reaches down for something. He picks up a small
sculpture of an animal made of clay. He examines it and then
climbs the steps.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY
Chris exits Regan's room and approaches Karl who is descending
the stairs. Chris leans over the bannister.
CHRIS
Karl? Did you put this in Regan's bedroom?
KARL
She is going to be well?
CHRIS
Karl if you put this in Regan's room I want you to tell me, now
did you?
KARL
No. It wasn't me. I didn't.
INTERIOR- MACNEIL HOUSE- STUDY- DAY
Chris has now confronted both Sharon and Willie in the study. She
shows the crucifix to them.
CHRIS
This was under Regan's pillow. Did you put it there?
SHARON
Of course I didn't.
WILLIE
I didn't put it.
Karl enters the room.
KARL
Excuse me Miss?
CHRIS
(shouting)
What!
KARL
A man to see you.
CHRIS
(shouting)
What man?
INTERIOR- MACNEIL HOUSE- FOYER- DAY
Kinderman stands with his hat in his hand as Chris approaches.
INTERIOR- MACNEIL HOUSE- KITCHEN- DAY
Chris and Kinderman both sit in the kitchen, coffee cups in hand.
KINDERMAN
Does your daughter remember if perhaps Mr. Dennings was in her
room in her room that night?
CHRIS
No, she was heavily sedated.
KINDERMAN
It's serious?
CHRIS
Yes, I'm affraid it is.
KINDERMAN
May I ask...?
CHRIS
We still don't know.
KINDERMAN
Watch out for drafts. A draft in the fall when the house is hot
is a magic carpet for bacteria.
Karl enters the room.
KARL
Excuse me Madame? Will there be anything else?
CHRIS
No thanks Karl.
Karl stands in the background. Chris turns to him.
CHRIS
It's okay Karl.
Karl exits.
KINDERMAN
Strange...strange...so baffling. The deceased comes to visit,
stays only twenty minutes, and leaves all alone a very sick girl.
And speaking plainly Mrs. MacNeil, as you say, it's not likely he
would fall from a window. Besides that, a fall wouldn't do to his
neck what we found except maybe a chance in a thousand. My hunch?
My opinion? I believe he was killed by a very powerful man: point
one. And the fracturing of the skull - point two - plus the
various things I have mentioned, would make it very probable -
probable, not certain - that the deceased was killed and then
pushed from your daughter's window. But no-one was here except
your daughter. So how could this be? It could be one way: if
someone came calling between the time Miss Spencer left and the
time you returned. The servants, they have visitors?
CHRIS
No. Not at all,
KINDERMAN
You were expecting a deliver y that day?
CHRIS
Not that I know of.
KINDERMAN
Groceries maybe? A package?
CHRIS
I really wouldn't know, you see Karl takes care of that.
KINDERMAN
Oh, I see.
CHRIS
Want to ask him?
KINDERMAN
Never mind.
Chris rises.
CHRIS
Would you like some more coffee?
KINDERMAN
Please.
Kinderman follows Chris further into the kitchen. He notices some
of Regan's artwork. He picks up a small sculpted Turtle and
examines it.
KINDERMAN
That's cute.
Chris looks over at Kinderman.
KINDERMAN
Your daughter, she's the artist?
Chris smiles. She hands him the coffee.
KINDERMAN
Incidentally, just a chance in a million, I know; but your
daughter - you could possibly ask her if she saw Mr. Dennings in
her room that night?
CHRIS
Look, he wouldn't have any reason to be up there in the first
place.
KINDERMAN
I know that. I realize. But if a certain British doctor never
asked "What's this fungus?" we wouldn't today have penicillin.
Correct?
CHRIS
When she's well enough, I'll ask.
KINDERMAN
Couldn't hurt. In the meantime...
Kinderman falters, embarrassed.
KINDERMAN
I hate to ask you this but... for my daughter could you maybe
give an autograph?
CHRIS
Of course. Have you got a pen?
Kinderman pulls out a pen and a calling card and gives them to
Chris.
KINDERMAN
Oh, she'd love it.
CHRIS
What's her name?
Kinderman hesitates. His eyes are desperate and defiant.
KINDERMAN
I lied. It's for me. The spelling is on the back, Kinderman. You
know that film you made called Angel? Isaw that six times.
CHRIS
Really? wow.
INTERIOR- MACNEIL HOUSE- FOYER- DAY
Chris helps Kinderman put hic coat on.
KINDERMAN
You're a very nice lady.
Chris gives his hat to him.
KINDERMAN
Thank you.
CHRIS
You're a nice man.
Chris opens the front door.
KINDERMAN
I'll come back when she's feeling better.
Kinderman exits and Chris closes the door an locks it. She holds
her hands to her mouth and slowly walks away. We suddenly here a
crash from Regan's room, followed by loud voices.
REGAN
Please! No!
MALE VOICE
Do it!
REGAN
Please no!
MALE VOICE
You bitch! Do it! Do it!
Chris races up the stairs and runs to Regan's room.
REGAN
No! Please! No!
Chris opens the door and sees objects rapdly flying around the
room. We hear a last gasp scream from Regan untill Chris turns to
Regan and covers her mouth with horror.
REGAN/DEMON
Let Jesus fuck you!
Regan has the crucifix gripped in her hand and is plunging it
into her bloodied vagina. There are fresh cuts all over her face,
streaming with blood.
REGAN/DEMON
Let Jesus fuck you! Let him fuck you!!!
Chris runs over to Regan and tries to pry the crucifix from her
hand. They struggle for the crucifix. Regan then grabs Chris'
head and pushes it into her bloodied crotch.
REGAN/DEMON
Lick me! Lick me!
Chris' face emerges covered with Regan's blood. Regan slaps her
mother and sends her flying to the floor. Chris screams in pain.
Sharon and Willie race up the stairs.
SHARON
Chris?
The door closes by itself being held shut by a chair. They both
bag on the door to help her. Chris looks up to see that Regan's
wardrobe is moving toward her. Chris scurries out of the way. We
turn back to Regan who is sitting with her back to us, but she
has spun her head in a 180-degree angle, facing backward (Chris).
Chris looks up at her.
REGAN/BURKE
Do you know what she did, your cunting daughter?
Chris turns away and screams, bursting into tears.
EXTERIOR- 35th STREET BRIDGE AND CANAL- DAY
Chris is standing on the bridge alone. She's wearing oversized
dark glasses. Father Karras approaches her, he is wearing khakis,
sweater and sturdy, scuffled tennis shoes.
KARRAS
Chris MacNeil?
CHRIS
Please go away.
KARRAS
I'm Father Karras.
Chris turns around and shakes his hand.
CHRIS
Oh, I'm very sorry Father. Hi.
KARRAS
That's okay. I should've told you I wouldn't be in uniform.
CHRIS
Yeah, it would've helped. Have you gotta cigarette Father?
Karras seaches his pocket and pulls out a pack of cigarettes.
Chris takes one and Karras lights it for her.
They walk down the steps to the canal side.
CHRIS
So, how'd a shrink ever get to be a priest?
KARRAS
It's the other way around. The society sent me through med
school.
CHRIS
Where?
KARRAS
Harvard, Bellevue, John Hopkins.
CHRIS
You're a friend of Father Dyer, right?
KARRAS
Yes am.
CHRIS
Pretty close?
KARRAS
Pretty close.
CHRIS
Did he tell you about my party?
KARRAS
Sure did.
CHRIS
About my daughter?
KARRAS
No I didn't know you had one.
CHRIS
He didn't mention?
KARRAS
No.
CHRIS
Didn't tell you of what she did?
KARRAS
He didn't mention her.
CHRIS
Priests keep pretty tight mouthed then?
KARRAS
That depends.
CHRIS
On what?
KARRAS
The priest.
CHRIS
I mean, what if a person, let's say, was a criminal, like maybe a
murderer or something, you know? If he came to you for help,
would you have to turn him in?
KARRAS
If he came to me for spritual help, I'd say no.
CHRIS
You wouldn't.
KARRAS
No I wouldn't. But I'd try to persuade him to turn himself in.
CHRIS
And how do you go about getting an exorcism?
KARRAS
I beg your pardon?
CHRIS
If a person was possessed by a demon of some kind, how do you go
about getting an exorcism?
KARRAS
Well, the first thing I'd do is put them into a time macine and
send them back to the sixteenth century.
CHRIS
I didn't get you?
KARRAS
Well it just doesn't happen anymore Mrs. MacNeil.
CHRIS
Oh yeah, since when?
KARRAS
Since we learned about mental illness, paranoia, schizophrenia.
All the things they taught me in Harvard. Mrs. MacNeil since the
day I joined the Jesuits, I've never met one priest who has
performed an exorcism, not one.
CHRIS
Yeah well, it just so happens that somebody very close to me is
probably possessed, and needs an exorcist.
Chris bursts into tears.
CHRIS
Father Karras it's my little girl.
Karras grabs Chris' arm and walks her over to a bench. They both
sit. Chris is still crying.
KARRAS
That's all the more reason to forget about exorcism.
CHRIS
Why, I don't understand?
KARRAS
To begin with it could make things worse.
CHRIS
But how?
KARRAS
Well before the church approves an exorcism, it conducts an
investigation to see if it's warranted. That takes time. In the
meantime...
CHRIS
You could do it yourself...
KARRAS
No I couldn't, I have to have church approval, and frankly,
that's rarely given,-
CHRIS
Could you see her?
KARRAS
Yes I could, I could see her as a psychiatrist...
CHRIS
Not a psychiatrist! She needs a priest! She's already seen every
fucking psychiatrist in the world and they sent me to you, now
you're gonna send me back to them! Jesus Christ, won't somebody
help her!
KARRAS
No, you don't understand. Your daughter-
CHRIS
Oh, will you help her! Just help her!
Chris bursts into tears again and buries her head into Karras
shoulder. Karras puts his arm around her.
INTERIOR- MACNEIL HOUSE- STAIRCASE- DAY
Chris and Karras are ascending the staircase. When they reach the
door we see Karl holding a huge headboard with straps and padding
on it.
KARL
It wants no straps.
Karras stares at him, then gives Chris a look. He plucks up his
courage and enters the room.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- DAY
Karras stops as he sees Regan, on the bed, arms held down by a
set of restraining straps, it seems no longer entirley Regan but
something somehow demonic that now lies on the bed and stares at
him. Her face is puffy, scratched and bruised from self-
mutilation. There is a sustagen flask used for a naso-gastric
feeding, the tube is placed up her left nostril. Karras is
momentarily taken aback. Then, reining in his revulsion, he
slowly and warily closes the door behind him, and walks around
the other side of the bed.
KARRAS
Hello Regan. I'm a friend of your mother, I'd like to help you.
REGAN/DEMON
You might loosen the straps then.
KARRAS
I'm affraid you might hurt yourself Regan.
REGAN/DEMON
I'm not Regan.
KARRAS
I see. Well then let's introduce ourselves, I'm Damien Karras.
REGAN/DEMON
And I'm the Devil! Now kindly undo these straps!
KARRAS
If you're the devil, why not make the straps disappear?
REGAN/DEMON
That's much to vulgar a display of power Karras.
KARRAS
Where's Regan?
REGAN/DEMON
In here. With us.
KARRAS
Show me Regan and I'll loosen one of the straps.
REGAN/HOMELESS GUY
Can you help an old altar boy Fa-dah?
Karras looks at Regan. He's puzzled by what she has just said. He
sits down on a chair beside the window.
REGAN/DEMON
Your mother's in here with us Karras, would you like to leave a
message? I'll see that she gets it.
KARRAS
If that's true, then you must know my mother's maiden name. What
is it?
Regan keeps a sharp stare on Karras. Karras' smile turns to an
angry stare. He rises and moves to her bed side.
KARRAS
What is it?
Regan leans forward a vomits a disgusting, green bile in Karras'
face. Karras wipes it off, coughing. Regan keeps her eyes fixed
on him, with green vomit covering her night gown.
INTERIOR- MACNEIL HOUSE- BASEMENT- EARLY EVENING
Karras is looking through some of Regan's drawings. Chris
approaches him with his sweater, now clean. She hands it to him.
KARRAS
Thanks. Look, I'm only against the possibility of doing your
daughter more harm than good.
CHRIS
Nothing you could do would make it any worse.
KARRAS
I can't do it. I need evidence that the church would accept as
signs of possession.
CHRIS
Like what?
KARRAS
Like her speaking in a language that she's never known or
studied.
CHRIS
What else?
KARRAS
I don't know. I'll have to look it up.
CHRIS
I thought you were supposed to be an expert.
KARRAS
There are no experts. You probably know as much about possession
than most priests. Look your daughter doesn't say she's a demon,
she says she's the devil himself and if you've seen as many
psychotics as I have, you'd know it's like saying you're Napoleon
Bonaparte. You ask me what I think is best for your daughter. Six
months, under observation in the best hospital you can find.
CHRIS
You show me Regan's double: same face, same voice, same
everything. I'd know it wasn't Regan. I'd know in my gut and I'm
telling you that that thing upstairs isn't my daughter! And I
want you to tell me that you know for a fact that there's nothing
wrong with my daughter except in her mind! You tell me you know
for a fact that an exorcism wouldn't do any good! You tell me
that!
EXTERIOR- MACNEIL HOUSE- NIGHT
Chris opens the door for Karras. He steps out on the stoop
carrying his sweater.
KARRAS
Did Regan know a priest was coming over?
CHRIS
No.
KARRAS
Did you know my mother died recently?
CHRIS
Yes I did, I'm sorry.
KARRAS
No, is Regan aware of it?
CHRIS
Not at all. Why d'you ask?
KARRAS
It's not important good night.
Karras exits the gates and crosses the street. We cut to
Kinderman in an unmarked car watching Karras cross the street.
Kinderman then looks up to Regan's window and sees a silohette
moving around.
INTERIOR- UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY
Karras is performing a service in the church.
KARRAS
He broke the bread, gave it to his disciples and said "Take this,
all of you and eat. For this is my body." When the supper had
ended, he took the cup, again he gave you thanks and praise. Gave
the cup to his disciples and said "Take this, all of you will
drink from it, this is the cup of blood, the blood of the new and
ever lasting covenant and the mystery of faith".
REGAN/DEMON
(Voice Over)
What an excellent day for an exorcism.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- DAY
Karras pulls a tape recorder out of his bag and props an
microphone on her bed near her. Karras sits on a chair next to
her wardrobe.
KARRAS
You'd like that?
REGAN/DEMON
Intensely.
KARRAS
But wouldn't that drive you out of Regan?
REGAN/DEMON
It would bring us together.
KARRAS
You and Regan?
REGAN/DEMON
You and us.
The bureau drawer flies open on it's own.
KARRAS
Did you do that?
REGAN/DEMON
Uh Huh.
Karras pushes the drawer back in.
KARRAS
Do it again.
REGAN/DEMON
In time.
KARRAS
No now.
REGAN/DEMON
In time. But mirabile dictu, don't you agree?
Karras presses record on the tape recorder.
KARRAS
You speak Latin?
REGAN/DEMON
Ego te abslovo.
KARRAS
Quod nomen mihi est?
REGAN/DEMON
Bon Jour.
KARRAS
Quod nomen mihi est?
REGAN/DEMON
La plume de ma tante.
The demon laughs full and mockingly.
KARRAS
How long are you planning to stay in Regan?
REGAN/DEMON
Until she rots and lie stinking in the earth.
Karraspulls out a small vial of water.
REGAN/DEMON
What's that?
KARRAS
Holy water.
Karras moves to the end of the bed.
REGAN/DEMON
You keep it away.
Karras uncaps the vial and now sprinkles it's contents over
Regan. Instantly, Regan writhes in pain and terror.
REGAN/DEMON
Ahhhhhhhhhhh! Ahhhhhhh! It burns! Ohhhh! It burns!
Regan's head falls back onto the pillow as she rolls her head
from side to side shouting out indistrict gibberish:
REGAN/DEMON
Emit su evig!
Karras is intrigued and sits on the bed beside her. He moves the
microphone up to her mouth an listens.
REGAN/DEMON
Ydob eht ni mraw si ti! Uoy ees I! Tseirp a si eh! Emit su evig!
Nirrem! Nirrem!
KARRAS
Who are you?
REGAN/DEMON
Tseirp a si eh! Eno on ma I! Eno on ma I! Ahhhhhhhhhhh!
INTERIOR- MACNEIL HOUSE- STUDY- DAY
We see Karras descending the stairs as we hear Chris on the phone
with someone. Karras waits outside until Chris is finished.
CHRIS
(on the phone)
Okay, I'll talk to you some other time. No it's just that I'm
going through something and... No, no there's nothing. Thanks
alot. Bye.
Chris hangs up the phone. Karras enters and sits on the couch.
CHRIS
Wanna drink.
KARRAS
Please.
CHRIS
What do you drink?
Chris walks to the drinks cabinet.
KARRAS
Scotch, Ice, water.
Chris pours the drink.
CHRIS
No ice. I'll get some from the kitchen.
Chris walks toward the kitchen but Karras stops her.
KARRAS
No it's alright I'll take it straight.
CHRIS
Are you sure?
KARRAS
It's fine really, sit.
Chris sits down.
KARRAS
Where's Regan's father?
CHRIS
In Europe.
KARRAS
Have you told him what's happening?
CHRIS
No
KARRAS
Well I think you should.
He holds up the empty vial.
KARRAS
I told Regan that was holy water, I sprinkled some on her and she
reacted very violently. It's tap water.
CHRIS
What's the difference?
KARRAS
Holy water's blessed. And that doesn't help support a case for
possession.
Chris turns her head away and frowns. She looks at Karras again.
CHRIS
(whispering)
She...killed Burke Dennings.
KARRAS
What?
CHRIS
She killed Burke Dennings. She pushed him out of the window.
Karras looks shocked.
INTERIOR- LANGUAGE LAB- NIGHT
Karras is with the lab director. They are listening to Karras
recording of Regan. Karras is tense.
The director stops the tape.
LAB DIRECTOR
It's a language alright. It's english.
Karras stands up.
KARRAS
What do you mean english?
LAB DIRECTOR
It's english in reverse, listen.
The lab director throws a switch and the tape starts again, in
perfect english.
REGAN/DEMON
(tape)
Give us time! Let her die!
INTERIOR- KARRAS' ROOM- NIGHT
Karras is listening to the eerie, unearthly voices on the tape.
REGAN/DEMON
(tape)
I am no one! I am no one! He is a priest!
KARRAS
(tape)
Uoy era ohw.
REGAN/DEMON
(tape)
Merrin! Merrin!
Karras stops the tape and rewinds it slightly. He plays it again.
REGAN/DEMON
(tape)
I am no one! I am no one! He is a priest!
KARRAS
(tape)
Uoy era ohw.
The phone rings and startles him. He answers the phone.
KARRAS
(on phone)
Yeah, yes?...I'll be right there.
EXTERIOR- PROSPECT STREET- NIGHT
It's very late, Karras is running down the street. He comes to
the gate of the MacNeil house. Sharon opens the gate. She's
holding a flashlightand she puts her finger on her lips for
quiet.
INTERIOR- MACNEIL HOUSE- STAIRWAY- NIGHT
They both ascend the stairs and creep toward Regan's room.
SHARON
(whispering)
I don't want Chris to see this.
KARRAS
Well what's wrong? What is it?
They stop at Regan's door. Sharon puts her coat on and turns on
the flash light. She opens the door and they enter.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
Sharon closes the door behind them. Karras reacts to the extreme
cold. His breath, like Sharon's, is frosttily condensing in the
chill air of the room. He looks at Sharon with wonder. They both
approach the bedside. They stop by the bed. Regan seems to be in
a coma, heavily breathing. Sharon is bending, gently pulling
Regan's pajama top wide apart, exposing Regan's stomach. Sharon
points the flashlight at Regan's stomach. Karras looks in shock
when we see on her stomach, rising up slowly on her skin are two
words HELP ME. Karras' eyes are fixed on these two words as we
once again see them on Regan's stomach.
INTERIOR- HEALY BUILDING- GROUND FLOOR HALLWAY- DAY
Karras walks down the hall toward the stairway. He climbs the
stairs and we follow him to the top.
INTERIOR- HEALY BUILDING- CARDINAL'S OFFICE- DAY
In the room, Karras and the Cardinal.
CARDINAL
You're convinced that it's genuine.
KARRAS
I don't know. No, not really I suppose. But I've made a prudent
judgement that it meets the conditions set down in the Ritual.
CARDINAL
You'd want to do the exorcism yourself?
KARRAS
Yes.
CARDINAL
It might be best to have a man with experience. Maybe someone
who's spent time in the foreign missions.
KARRAS
I see, your excellency.
CARDINAL
Let's see whose around. In the meantime I'll call you as soon as
I know.
KARRAS
Thank you your excellency.
Karras stands up and kisses the Cardinal's hand.
INTERIOR- GEORGETOWN UNIVERSITY PRESIDENT'S OFFICE- DAY
PRESIDENT
Well, he does know the background. I doubt there's any danger in
just having him assist. There should be a psychiatrist present,
anyway.
CARDINAL
And what about the exorcist? Any ideas?
PRESIDENT
How about Lankaster Merrin.
CARDINAL
Merrin? I had notion he was over in Iraq. I think I read he was
working on a dig around Nineveh.
PRESIDENT
That's right Mike. But he's finished and came back around three
ot four months ago, He's in Woodstock now.
CARDINAL
What's he doing there? Teaching?
PRESIDENT
No, he's working on another book.
CARDINAL
Don't you think he's too old, though? How's his health?
PRESIDENT
It must be alright. He's still running around digging up tombs.
Besides, he's had experience.
CARDINAL
I didn't know that.
PRESIDENT
Ten maybe twelve years ago, in Africa. The exorcism supposedly
lasted for months. I heard it damn near killed him.
EXTERIOR- PROSPECT STREET- MACNEIL HOUSE- NIGHT
A cab pulls up to the house in long shot. Out of the cab steps a
tall, old priest, carrying a battered valise. A hat obscures his
face. As the cab pulls away, the priest stands rooted in the
mist, staring up at the second floor window like a melancholy
traveler frozen in time.
INTERIOR- MACNEIL HOUSE- FRONT DOOR- NIGHT
Chris opens the door, disclosing the priest, face still shaded by
the hat, and Roman collar by coat buttoned at the top.
MERRIN
Mrs. MacNeil?
CHRIS
Yes.
MERRIN
I'm Father Merrin.
CHRIS
Come in.
Merrin takes off his hat and coat.
MERRIN
Is Father Karras here?
Karras enters the foyer. Chris takes Merrin's hat and coat.
CHRIS
Yes. He's already here.
KARRAS
Father?
Merrin walks over to greet Karras.
MERRIN
Father Karras.
They shake hands.
KARRAS
It's an honour to meet you Father.
They both look up as the scream of the demon, booming,
amplifying, comes from Regan's room.
REGAN/DEMON
MERRIN!!!!!!!
MERRIN
Are you tired?
KARRAS
No.
MERRIN
I would like you to go quickly over to the resdence Damien, and
gather up a cassock for myself, two surplices, a purple stole,
and some holy water, and your copy of The Roman Ritual. The Large
one. I believe we should begin.
KARRAS
Do you want to hear the background of the case, first?
MERRIN
Why?
EXTERIOR- UNIVERSITY STEPS-NIGHT
Karras is running down the steps carrying a the cassocks and a
large case.
MERRIN
( Voice Over )
Especially important is the warning to avoid conversation with
the demon.
INTERIOR- MACNEIL HOUSE- STUDY- NIGHT
Karras and Merrin are dressing in vestments taken from the case.
MERRIN
We may ask what is relevant, but anything beyond that is
dangerous. He is a liar, the demon is a liar. He will lie to
confuse us. But he will also mix lies with the truth to attack
us. The attack is psychological , Damien. And powerful. So don't
listen, remember that, do not listen.
KARRAS
I think it would be helpful if I gave you some background on the
different personalities Regan has manifested. So far, there seems
to be three. She's convinced-
MERRIN
There's only one.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR LANDING- NIGHT
Merrin and Karras, fully vested, Roman Rituals in hand, slowly
ascend the stairs in single file. We can hear the demon making
horrible, growling noises in the room. The priests approach Chris
and Sharon, bundled in sweaters . The priests halt, and look at
Chris.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
Merrin opens the door and sees Regan staring at him with burning
eyes. Merrin steps into the room follwed by Karras. Karras closes
the door on Chris before she walks in. Merrin walks to the side
of the bed and Karras halts at the foot. ( the room is freezing.
Breath is condensing throughout). Merrin lays his holy water on
the bedside table, takes a crucifix out of a leather case. He
then traces the sign of the cross at Regan. She looks up.
REGAN/DEMON
Stick your cock up her ass! You mother fucking, worthless
cocksucker!
MERRIN
Be silent!
Merrin sprinkles some holy water on her. She throws her head back
and crys in pain. Merrin leans down beside her and opens up The
Roman Ritual.
MERRIN
Our Father who art in heaven...
Regan spits and hits Merrin in the eye with a yellowish glob of
mucus that slowly oozes down his cheek. Karras quickly hides
behind the bed post as Merrin pulls out a handkerchief and
unhurriedly wipes away the spittle:
MERRIN
Hallowed be thy name. Thy kingdom come, thy will be done, on
earth as it is in heaven. Give us this day, our daily bread, and
forgive us our trespasses, as we forgive those who trespass
against us. And lead us not into temptation.
KARRAS
But deliver us from the evil one.
Regan is coughing and groaning as the two priests continue with
the ritual.
MERRIN
Save me o' God by thy name, by thy might defend my cause, proud
men have risen up against me, men of violence seek my life, but
God is my helper, the Lord sustains my life and every need he has
delivered to me, glory be to the Father, the Son and the Holy
Spirit.
KARRAS
As it was in the begin is now and ever shall be, world without
end, amen.
MERRIN
Save your servant
KARRAS
Who places her trust in thee, my God.
MERRIN
Be unto her o' Lord a fortified tower.
KARRAS
In the face of the enemy.
Regan raises her head and screams at Merrin several times.
MERRIN
Let the enemy have no power over her.
KARRAS
And the son of iniquity be powerless to harm her.
REGAN/DEMON
Your mother sucks cocks in hell Karras, you faithless slime!
MERRIN
O'Lord hear my prey.
KARRAS
And let my cry come unto thee.
MERRIN
The Lord be with you.
KARRAS
And also with you.
MERRIN
Let us pray. Holy Lord, almighty Father, everlasting God and
Father of our Lord Jesus Christ, who once and for all consigned
that fallen tyrant to the flames of hell. Who sent your only
begotten son into the world to crush that roaring lion.
Regans bed begins to jump up and down, crashing onto the floor.
Regan continues to scream at the two priests.
MERRIN
Hasten to our call for help and snatch from ruination and from
the clutches of the noonday devil, this human being made in your
image and likeness. Strike terror Lord, into the beast, now
laying waste your vineyard, let your mighty hand cast him out of
your servant, Regan Teresa MacNeil, so he may no longer hold
captive this person, whom it pleased you to make in your image.
Merrin sprinkles more holy water on Regan. She falls back crying
in pain.
MERRIN
...and to redeem through your son. Who lives and reigns with you,
in the unity of the holy spirit, God forever and ever.
KARRAS
Amen
MERRIN
O'Lord hear my preyer.
To Karras' amazement the bed begins to rise. Merrin waits for
Damien's reponse, but Karras is frozen with shock as the bed
rises past his face.
MERRIN
Father Karras? Father Karras? Damien? The reponse please Damien!
KARRAS
And let my cry come unto thee.
The bed crashes back to the floor. Regan still screams and
writhes in pain.
MERRIN
Almighty Lord, word of God the father Jesus Christ, God and Lord
of all creation, who gave to your holy apostle the power to tramp
underfoot serpents and scorpions. Grant me, your unworthy servant
pardon for all my sins...
REGAN/DEMON
Bastards! Stop!
Regan stares at Father Karras and snakes her abnormaly long
tongue in and out at him.
MERRIN
...and the power to confront this cruel demon.
KARRAS
Amen
Regan falls back on her pillow and begins to groan. Both priests
trace the sign of the cross. Merrin holds his purple stole to
Regan's cheek as green vomit slowly oozes from her mouth. Regan
turns her head and vomits on the stole.
MERRIN
See the cross of the Lord. Be gone you hostile power. O'Lord hear
my prayer.
KARRAS
And let my cry come unto thee.
MERRIN
The Lord be with you.
KARRAS
And also with you.
Merrin takes the bile covered stole from around his neck and
hands it to Karras who quickly washes it in Regan's bathroom. We
hear banging, as cupboard doors open against the wall. Regan is
flat on her back laughing wickedly. Merrin holds his hands to his
ears because of the noise. Karras hands the stole back to Merrin,
who kisses it before applying around his neck. Regan continues to
laugh as Merrin begins to cough violently.
MERRIN
I cast you out!!! Unclean spirit...!
REGAN/DEMON
Shove it up your ass you faggot!
MERRIN
...in the name of the Lord Jesus Christ!!! It is he who commands
you! He who flung you from the heights of Heaven to the depths of
hell!
REGAN/DEMON
Fuck him!!!
MERRIN
...Be gone!!
REGAN/DEMON
Fuck him Karras!!! Fuck him!!!
MERRIN
...from this creature of God!!!
Regan lays back as Merrin races to her bedside tracing the sign
of the cross with his fingers in her hair.
MERRIN
Be gone!! In the name of the Father, and of the son, and of the
holy spirit!! By this sign of the holy cross, of our Lord Jesus
Christ, who lives and reigns with the father and the holy
spirit...
Regan sits up and with a nightmare slowness, a fraction at a
time, her head begins to turn, swiveling like a mannequin's and
creaking with the sound of a rusted mechanism. Once again
Damien's attention is diverted and Merrin has to prompt him.
MERRIN
Damien!!!
Her head completly turns in a 360-degree turn and stares at
Karras.
KARRAS
Amen.
MERRIN
Defender of the human race...
A thunderous earthquake knock both priests to the ground.
MERRIN
...look down in pity...
REGAN/DEMON
You killed your mother!!! You left her alone to die!!!! She'll
never forgive you!!! Bastard!!!
KARRAS
Shut up!!
MERRIN
... upon this your servant, Regan Teresa MacNeil.
Another quake knocks them to the ground. Regan falls back, the
bed sheets fly off of the bed and the straps slowly rip apart.
Regan's eyes roll back into the socket and she slowly starts to
levitate.
MERRIN
I command you by the judge of the living and the dead, to depart
from this servant of God.
Regan is now levitating toward the celing, arms out stretched
like a cross.
MERRIN
It's the power! (To Karras)- Holy water.
Karras runs to the bedside table and grabs the bottle of holy
water, he runs back and gives it to Merrin.
MERRIN
It's the power of Christ, that compels you.
MERRIN + KARRAS
The power of Christ compels you.
Merrin sprinkles holy water.
MERRIN + KARRAS
The power of Christ compels you.
Merrin sprinkles holy water and we see a cut appear on her skin.
MERRIN + KARRAS
The power of Christ compels you. The power of Christ compels you.
The power of Christ compels you. The power of Christ compels you.
Regan begins to descend.
MERRIN + KARRAS
The power of Christ compels you. The power of Christ compels you.
The power of Christ compels you. The power of Christ compels you.
The power of Christ compels you. The power of Christ compels you.
The power of Christ compels you.
Regan lands back on the bed once more.
MERRIN + KARRAS
The power of Christ compels you.
Karras rushes to the bed and ties her hands together to symbolize
the cross.
MERRIN
He brought you low by his bloodstained cross! Do not despise my
command because you no me to be a sinner. It's God himself who
commands you! The majestic Christ who commands! God the Father
commands you! God the son commands you!
As Karras turns away, Regan raises her tied hands and deals him a
powerful blow on the back of his head. He falls to the floor.
MERRIN
God the holy spirit commands you!
Merrin sprinkles more holy water on Regan, she falls back and
screams in pain.
MERRIN
The mystery of the cross commands you! The blood of the martyrs
commands you!
The priests are again knocked to the floor by an earthquake.
Briefly Regan lifts herself toward an apparition of the demon
statue Pazuzu.
MERRIN
Give way to Christ, you prince of murderers. You're guilty,
before Almighty God, guilty before his son, guilty before the
whole human race. It's the Lord who expels you. He who is coming
to judge both the living and the dead and the world by fire.
As Merrin kneels by the bed, Karras crawls over and covers Regan
with a blanket.
MERRIN
Are you tired?
Karras nods.
MERRIN
Let's rest before we start again.
Merrin leaves the room, but Karras stays sat on the bed,
shivering with both coldness and fear. Regan is asleep.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALLWAY- STAIRS- NIGHT
An exhausted Merrin and Karras are sitting in the hallway, on the
stairs, outside the bathroom.
KARRAS
Why this girl it makes no sense?
MERRIN
I think the point is to make us dispair... To see our selves
as... animal and ugly... To reject the possibillity that God
could love us.
MERRIN
Will you excuse me, Damien?
Merrin rises and moves toward the bathroom.
INTERIOR- MACNEIL HOUSE- BATHROOM- NIGHT
Merrin sits on the toilet and takes out his pilbox. He extracts a
nitorglycerin tablet and places it under his tongue. He is
shaking with fear as he holds his head with exhaustion.
INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALLWAY- NIGHT
Karras moves back toward the bedroom and enters.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
Karras is shocked to see an instant apparition of his mother,
laying on the bed in place of Regan. It vanishes. He moves toward
Regan, who is shivering and drenched with sweat.
REGAN/MRS. KARRAS
Dimmy, why you did this to me?
Karras gets out a stehoscope and places it on Regan's chest.
REGAN/MRS. KARRAS
Please Dimmy, I'm affraid.
KARRAS
You're not my mother.
REGAN/MRS. KARRAS
Dimmy please!
Merrin re-enters the room.
MERRIN
What is it?
KARRAS
Her heart.
MERRIN
Can you give her something?
KARRAS
She'll go into coma.
Regan, in the voice of Karras' mother, speaks a few pleading
phrases in Greek to Karras.
KARRAS
(shouting)
You're not my mother!!!
MERRIN
Don't listen.
REGAN/MRS. KARRAS
Why, Dimmy?
Damien breaks into convulsive sobbing.
MERRIN
Damien.
REGAN/MRS. KARRAS
Dimmy, please!
MERRIN
Damien! Get out!
Damien arises from the bed. Merrin leads him out, and then re-
enters the room himself. He sprinkles some holy water on Regan
and kneels at her side. He holds her hand tightly.
MERRIN
Our Father, who art in heaven...
INTERIOR- MACNEIL HOUSE- FOYER- NIGHT
Downstairs Karras sits brooding as Chris enters.
CHRIS
Is it over?
Karras shakes his head negatively.
CHRIS
Is she gonna die?
KARRAS
(firmly)
No.
He rises and starts ascending the stairs with renewed conviction.
The doorbell rings and Chris moves toward the door. Before
opening she applies the chain lock on. She opens the door slowly
and we see Kinderman staring at her from the gap.
INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT
Karras re-enters Regan's room and sees Merrin face down on her
bed. Regan is sitting up against the bottom right hand bed post
as Karras pulls Merrin to the floor. Karras feels for Merrin's
pulse, then tries frantically to pump life back into the priest
with blows to his chest, but gives up when he realises Merrin is
dead. He hears a giggle and turns to Regan.
KARRAS
You son of a bitch!
He grabs her and pulls her to the floor. He begins to punch her
in the face and head, then shakes her and nearly strangles her in
his fury.
KARRAS
Take me! Come into me! God damn you! Take me! Take me!
A gargantuan struggle is visible in the demonic features of
Regan's face. His face has taken on a demonic shade, and his eyes
have turned bright green. She screams out as Karras' body jerks
back, apparently manipulated by some inner force, which now
reaches toward Regan to strangle her. Karras fights the force for
control of his body, and he screams, compelling it toward the
window.
KARRAS
No!!
With his last angiushed cry, Karras leaps out of the window. We
see him roll down the concrete steps outside and hit the floor at
the bottom. His cry was immediatly followed by frightened sobs
and whimpers that are unmstakably those of an ordinary little
girl.
REGAN
(crying)
Mother...Mother...Mother...Mother...
Chris rushes in and pauses to make sure that it's really Regan
again. She's follwed in by Kinderman.
CHRIS
Rags?
She dashes over to where her daughter is cowering on the floor.
She flings herself down on top of Regan, cradling her and crying
in hysterical relief, as Kinderman looks at Karras' body from the
window, looks at Merrin's dead body on the floor and then looks
at Chris and Regan.
EXTERIOR- M-STREET- STEPS- NIGHT
A crowd is gathering at the scene of an accident. Their
attentionis focused by a man lying in a pool of blood on the
pavement at the foot of the steps under Regan's window.
BYSTANDER
Somebody fell at the bottom of the steps here!
Father Dyer pushes through the crowd and kneels beside Karras.
Fighting back tears, he grasps Karras' hand and leans close to
whisper in his ear.
FATHER DYER
Do you want to make your confession? Are you sorry- (his voice
catches)
Are you sorry for having offended God, with all the sins of your
past life? (he breaks down for a moment, then starts
administiring the last rites)
Ego to abslovo in nomine patris, et filli, et spiritus sancti.
Amen.
As a wailling siren signals the approach of an ambulance, Dyer
weeps openly.
EXTERIOR- PROSPECT STREET- TOP OF STEPS- DAY
On a bright, sunny day, we are looking down the steps which are
now clean. No blood, or body at the bottom.
INTERIOR- MACNEIL HOUSE- DINING ROOM- DAY
Sharon and Chris are briskly packing up last minute items before
moving out.
SHARON
Where do you want this?
CHRIS
What is it?
SHARON
Phonograph.
CHRIS
Storage.
Sharon puts in in one of the large cardboard boxes that are
standing about.
CHRIS
I'm gonna miss you.
SHARON
Me too.
CHRIS
Sure you won't change your mind?
Sharon shakes her head. She reaches into her pocket and hands
Chris the St. Joseph medal.
SHARON
I found this in her room.
Chris puts in her pocket.
SHARON
That's everything.
Chris hugs her. She pulls away and walks to the foot of the
stairs.
CHRIS
Regan! C'mon honey we have to get going!
EXTERIOR- MACNEIL HOUSE- PROSPECT STREET- DAY
We see Karl is loading the car with cases. Father Dyer is
standing outside the gates. Chris exits the house and Dyer moves
toward her.
CHRIS
She doesn't remeber a thing.
FATHER DYER
That's good.
Regan exits the house and walks to Chris.
REGAN
All done.
CHRIS
Honey this is Father Dyer.
REGAN
Hi Father.
DYER
Hello.
KARL
Ready Mrs.
Chris shakes Father Dyer's hand.
CHRIS
Goodbye Father. I call you.
FATHER DYER
Okay.
Chris gets into the car, but Regan stands staring at Dyer's
collar. She leans forward and kisses Father Dyer on the cheek.
Not sure of what she has done, she retreats to the car. The car
drives out to the street and Father Dyer waves goodbye. Father
Dyer walks out and Willie closes the gates.
FATHER DYER
Goodbye.
WILLIE
Good bye Father.
FATHER DYER
I hope to see you again soon,
WILLIE
I hope so too.
The car stops and we hear Chris call.
CHRIS
Father Dyer?
Dyer rushes to the car.
CHRIS
I thought you'd like to keep this.
She hands him Karras' St. Joseph medal. Dyer clutches it tightly.
The car drives on, and Dyer watches it drive off. Dyer walks down
toward the top of the M Street Steps. He looks down them and
frowns, we see Regan's window in the background, boarded up. Dyer
then turns away and walks back to Prospect Street. As he turns
the corner he sees Kinderman standing outside the house.
FATHER DYER
Lieutenant?
KINDERMAN
I came to say goodbye.
FATHER DYER
You just missed them.
KINDERMAN
How's the girl?
FATHER DYER
She seemed fine.
KINDERMAN
Ah, that's good. That's all that's important. Back to business.
Back to work. Bye now, Father.
FATHER DYER
Good bye.
They both walk their separate ways. Kinderman stops.
KINDERMAN
Father Dyer?
Dyer turns back to him.
KINDERMAN
Do you like films?
FATHER DYER
Sure.
KINDERMAN
I get passes. In fact I got a pass for The Crest tomorrow night.
Would you like to go?
FATHER DYER
What's playing.
KINDERMAN
Withering Heights.
FATHER DYER
Who's in it?
KINDERMAN
Heathcliff, Jackie Gleason, and in the role of Catherine
Earnshaw, Lucille Ball.
FATHER DYER
I've seen it.
KINDERMAN
Another one. Had your lunch?
FATHER DYER
No.
Kinderman loops his arm around Dyer's. They start to walk off.
KINDERMAN
I'm reminded of a line in the film Casablanca. At the end
Humphrey Bogart says to Claude Rains, " Louie- I think this is
the begining of a beautiful friendship."
DYER
You know you look a bit like Bogart.
KINDERMAN
You noticed.
We fade out as Tubular Bells starts to play.
FADE TO BLACK
The music changes to the loud Fantasia For Strings.
THE EXORCIST
Directed By William Friedkin.
Screenplay by William Peter Blatty Based on his own novel.
Ellen Burstyn as Chris MacNeil
Max Von Sydow as Father Merrin
Lee J. Cobb as Lt. Kinderman
Kitty Winn as Sharon
Jack MacGowran as Burke Dennings
Jason Miller as Father Karras
Linda Blair as Regan
Reverand William O'Malley
Barton Heyman
Pete Masterson
Rudolf Schundler
Gina Petrushka
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