William Peter Blatty Based on his own novel



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The Exorcist

Screenplay


by
William Peter Blatty
Based on his own novel

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.

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