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
(In Iraqi language)
They've found something... small pieces.
(In Iraqi language)
(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.
(In Iraqi language)
Some interesting finds. Lamps, arrow-heads, coins...
The old man picks up an old pendant and holds it up.
(In Iraqi language)
This is strange!
The man dusts the pendant and takes a look.
(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)
(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.
(In Iraqi language)
Evil against evil.
The man at the table looks confused.
(In Iraqi language)
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.
(In Iraqi language)
I wish you didn't have to go.
(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
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
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.
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.
Good morning Mrs. MacNeil.
How are you today?
Fine thank you.
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
It's okay I got it, thanks.
Willie returns to making breakfast as the ageing, Swiss, butler
Karl walks in.
Good morning Madame.
Good morning Karl. Oh Karl, we've got rats in the attic you
better get some traps.
Uh huh. 'Fraid so.
Chris walks to the fridge with her cup of coffee.
But it's clean?
All right then we've got clean rats.
Chris takes a carton of milk out of the fridge and pours some
into her coffee.
No. No rats.
I just heard them Karl.
Karl shrugs his shoulders
Chris puts the carton of milk away.
Yeah or maybe rats now will you just get those traps.
Yes, I go now.
Well don't go now Karl the stores aren't open yet.
Karl picks up a huge jar. And heads out the door.
I'll go see.
(Shouting at Karl)
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.
Burke? oh Burke?
Is this scene really essential Burke?
Burke turns to see Chris walking toward him. He walks to her.
Can you just consider on whether or not we can do without it?
Chris walks to Burke with her script in hand.
Burke take a look at this damn thing it just doesn't make sense.
Why it's perfectly plain, your the teacher at the college, you
don't want the building torn down.
C'mon I can read for Christ sake.
Well what's wrong?
Well why are they tearing the building down?
Shall we summon the writer? He's in Paris I believe.
We see a crowd of people looking on. Standing out is a young,
dark, handsome Jesuit Priest .
Chris bursts into laughter and hugs Burke as the crowd including
the priest burst into laughter.We cut to a crew member with a
Scene 39, hotel, take 4!
As he claps the board we hear the assistant director's voice on a
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.
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.
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.
Can you understand it's against your own principles for gods
The crowd cheer.
You can't, you can't accomplish anything by sending kids
The crowd cheer cutting her short. We focus on the young priest
who is walking away from the campus.
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.
Okay cut! That's a rap!
EXTERIOR- GEORGETOWN UNIVERSITY- ENTRANCE- DAY
We see Chris descending a flight of stairs walking toward a car.
I think I'll walk home tonight Mike.
She hands her leather case to him.
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.
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.
(calling from outside)
Chris walks into the dinning room.
Hi, how'd your day go?
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.
What have we got here?
Sharon gives her a letter.
Oh great, anything else?
And you got an invitation.
Dinner at the White House.
Your kidding me. What is it a big party or something?
Just five or six people.
Chris walks toward the cabinet and pours herself a drink. We hear
a small voice call from the hall.
Regan runs in and hugs and kisses Chris.
What did you do today?
What kind of stuff?
Well, me and Sharon played a game in the back yard, and we had a
picnic down by the river.
Chris sits down.
Oh mom, you should have seen this man came along on this
beautiful grey horse. (to Sharon)
Wasn't it pretty?
Really, what kind was it a mair or guilding?
Think it was a guilding. It was grey. Oh it was so beautiful, the
guy let me ride it all around.
Yeah for about half an hour.
It was so nice, oh I loved it. Oh mom can't we get a horse?
Well, not while we're in Washington.
We'll see when we get home okay.
When can I have one?
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.
Regan come back here.
Chris catches Regan and wrestle her to the floor. Regan is
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
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
INTERIOR- KARRAS' MOTHER'S FLAT- HALLWAY
The young priest enters the apartment, turns on the light and
takes off his jacket, and his collar.
He walks into the living room where an old woman sits listening
to a radio.
He leans over the chair.
The old woman stands up with joy.
They greet each other in Greek as Mrs. Karras hugs him.
I'm so happy to see you.
You look good.
I'm all right.
How's your leg?
How about you Dimmy? Are you all right?
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.
Your Uncle John stopped by to visit me.
Oh really, when?
We now cut to Karras putting a bandage around his mothers leg.
Is that too tight?
Now momma you have to stay off it, you can't keep go up and down
those stairs you have to give it rest.
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.
You understand me, This is my house, and I'm not going no place.
Damien stands up and lights a cigarette.
Dimmy, you worry for something?
You are not happy. Tell me what is the matter?
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
Here it comes..................There
She holds up a clay model of an orange bird.
Chris and Regan both laugh.
Oh look at that.
You like it?
Oh it's so funny.
Chris takes it and put's it on a shelf.
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.
Hey, where'd this come from?
I found it.
Chris walks toward the ping pong table with the ouiji board in
You've been playing with it?
You know how?
Here I'll show you.
Regan places the board down on the table. Chris drags a chair
over and sits down.
Wait a minute you need two.
No you don't. I do it all the time.
Oh yeah, well let's both play.
The pointer pulls itself away from Chris.
You really don't want me to play huh?
No I do, Captain Howdy said no.
Who's Captain Howdy?
You know, I make the questions and he does the answers.
Oh, Captain Howdy....
Oh I bet he is.
Here I'll show you.
Regan places the magnifier on the board and closes her eyes.
Captain Howdy, Do you think my mom's pretty? Captain Howdy?
Captain Howdy that isn't very nice.
Well, maybe he's sleeping.
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.
Regan, why are you reading that?
Cause I like it.
It's not even a good picture. Looks to mature.
I wouldn't talk.
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.
Just gotta get this eye-lash off of you.
Chris tries to get an eye lash from Regan's eye lid.
No I didn't get it.
Chris tries again and gets it.
What are we gonna do on your birthday, isn't that nice it's on a
Sunday this year, what can we do?
I don't know
Well what would you like to do? Got any ideas?
Regan shakes her head.
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.
Okay. And tomorrow night, I'll take you to a movie, okay?
Oh I love you.
Regan hugs Chris.
I love you Rags. We'll have a good day yeah?
You can bring Mr. Dennings if you like.
Well you know it's okay.
Well thank you very much but why on earth would I want to bring
Burke on your birthday?
You like him.
Yeah I like him. Don't you like him? Hey what's going on? What is
Your not gonna marry him are you?
Oh my god, you kidding, me marry Burke Dennings don't be silly,
of course not.
Where'd you ever get an idea like that?
But you like him.
Course I like him, I like pizzas to but I'm not gonna marry one.
Do you not like him like daddy?
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.
Well I heard differently.
Oh you did. What did you hear?
I don't know, I just thought.
Well your thinking's not so good.
How do you know?
Cause Burke and I are just friends. Okay, really.
Chris kisses Regan.
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.
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.
Could see about a transfer Damien.
I need reassignment Tom, I want out of this job. It's wrong, it's
You're the best we've got.
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.
Mom, why do people have to die?
Chris looks at her. She doesn't know how to answer.
People get tired.
Why does God let us get tired?
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.
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.
Maybe the circuit is busy?
Oh circuit my ass, he doesn't give a shit!
Why don't you let me?
Sharon reaches for the phone from Chris' hand
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.
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.
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
What are you doing here?
My bed was shaking, I can't get to sleep.
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.
There is nothing.
Oh Karl, Jesus Christ Karl, don't do that.
Very sorry, but you see, no rats!
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.
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.
You should have called me the minute it happened.
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
We want to see Mrs. Karras.
Do you have an appointment?
Are you a relative?
Yes I am her brother, he's the son
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.
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
You go in Dimmy. I wait for you outside.
Karras walks in and leaves his Uncle behind.
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
Momma? It's Dimmy momma.
Mrs. Karras slowly turns her eyes to him.
Dimmy. Why they did this to me Dimmy? Why?
Damien rushes to comfort his mother.
Momma, I'm gonna take you outta here momma.
Mrs. Karras struggles to turn away from him.
Momma I'm goona take you home.
Mrs. Karras shouts at him in Greek as Damien tries to comfort
Momma, everything's gonna be alright momma, I'm gonna take you
EXTERIOR- NEW YORK- CITY STREET- DAY
We cut to Damien talking to his Uncle face to face.
Couldn't you have put her some place else?
Like what? Private hospital? Who got the money for that Dimmy?
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
INTERIOR- DR. KLEIN'S OFFICE- DAY
Chris is seated on the edge of a chair. Klein is behind his desk,
writing a prescription.
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.
Why the math?
It affects concentration.
Here tears the prescription away from the pad.
Now this is for Ritalin. Ten miligrams a day.
What is it? A tranquilizer?
Stimulant? She's higher than a kite right now!
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.
Well, you mentioned her father... the divorce.
Do you think I should take her to see a psychiatrist?
Oh no. I'd wait and see what happens with the Ritalin. I think
that's the answer. Wait two or three weeks.
And those lies she's been telling?
Ya know, those things to get attention, like saying that her bed
shakes and stuff.
Have you ever known your daughter to swear and use obscenities?
Well, you see, that's quite similar to things like her lying-
Wait a minute. What are you talking about?
Well, she let loose quite a string while I was examining her,
You're kidding! Like what?
Well, I'd say her vocabulary's rather extensive.
Well, what, for example? I mean, give me a for instance!
Klein shrugs. No reply.
Hey, come on, I'm grown-up. What'd she say? I mean specifically,
Well, specifically, Mrs. MacNeil, she advised me to keep my
fingers away from her goddam cunt.
She used those words?
She used those words. Look, I doubt that she even understood what
she was saying.
Yeah, I guess. Maybe not. You don't think a psychiatrist-?
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.
There seems to be an alien pubic hair in my Gin.
I beg your pardon?
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
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.
Listen, if you ever go up there again will you take me along?
First missionary on mars.
We then cut to Burke who is approaching Karl, who is carrying a
tray of drinks.
Tell me, was it public relations you done for the Gestapo or
Yes of course. Never went bowling with Goebbels either I suppose
Karl walks away.
We cut to Chris who is talking to Father Dyer.
Over behind the church, you know where I mean over there, it's a
red brick wing?
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
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.
Cunting Hun! Bloody damn butchering Nazi pig!
Karl lunges at Burke and grabs him by the throat.
Bastard! I will kill you.
Chris, Sharon and Willie pull Karl away from Burke. Willie takes
him into another room.
Burke just laughs and claps his hands.
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.
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.
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.
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
Hi Chris. Great party.
Yeah, don't stop. Keep going.
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
"Down on the east side of Toyd..."
"Toyd, that's my home, sweet home. Can we both think it's..."
Regan appears in view and Father Dyer notices her first.
Hey I, I think we have a guest.
Everyone turns to Regan as she stands and stares at the astronaut
Your gonna die up there.
The guy looks puzzled and Regan begins to urinate on the floor.
Regan, my God honey. (to the guests)
I'm sorry, she's been sick. She didn't know what she was saying.