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Here Are The EXORCIST Script And The
HalloweeN 8 Script...ENJOY Them!

WILLIAM PETER BLATTY'S
THE EXORCIST
Directed by WILLIAM FRIEDKIN

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 nurse 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.
PARTY 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 rapidly 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 searches 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.
Karras pulls 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- WOODSTOCK- WOODS- DAY
A young preist runs up behind another priest dressed in black. The young priest has a letter in hand.
PRIEST:- Father!
He gives the letter to the priest in black. The young priest walks back and the other priest glances at the letter, pushes it into his pocket and walks on.
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? You just missed them.
KINDERMAN:- How's the girl?
FATHER DYER:- She seemed fine.
KINDERMAN:- Ah, that's good. That's important.Well, 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 come?
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

HalloweeN 8 Script (Not All Used For The Film)
HALL8WEEN

SCREEN IS BLACK
OVER which we HEAR a slow, rhythmic CLACK-CLACK-CLACK, hard and insistent as the beat of a petrified heart. And SUDDENLY FLUORESCENT LIGHT invades our space, harsh and ugly, and we find ourselves in a featureless white CORRIDOR that seems to stretch to infinity. Soft and muffled, as if coming from some hidden dimension, we hear crazed laughter, pathetic whimpering, wild canine yelping: the sounds of madness emanating from the walls...then FOOTSTEPS.
FEMALE VOICE (OVER)
Sometimes, when I'm up here late at night, I think of the tunnel, you know, the one you're supposed to see when you die? Only there's a door at the far end, and on the
other side is either heaven or hell.
(a beat)
In my mind...it's this door.
ANGLE ON A DOOR
at the far end of the corridor. There's a window in it.
FEMALE VOICE #2 (OVER)
Um. Dr. Howard said five milligrams Zyprexa twice a day. Or was that Dr. Fein?
FEMALE VOICE #1 (OVER)
Howard. Fein's the one with the curly hair.
FEMALE VOICE #2 (OVER)
Right. Why's she here?
Int. SaNITARIUM - night
Two nurses walk down the hall, pushing a medicine cart, their uniforms as hard white as the fluorescence. The first voice belongs to HEAD NURSE WELLES, the other to NURSE PHILLIPS, a young newcomer to the facility. The CLACKING sound, everpresent, grows LOUDER.
NURSE WELLES
Extreme dissociative disorder. Hasn't said a word in two years. At least to anyone you or I can see.
NURSE PHILLIPS
Why's she in lockdown?
The older woman looks at the younger one.
NURSE WELLES
You've never heard of Laurie Strode?
The novice shakes her head.
NURSE WELLES
The Halloween murders? Michael Myers?
NURSE PHILLIPS
I...just moved here from Wisconsin.
NURSE WELLES
She decapitated a man.
FLASH TO:
LAURIE STRODE
SWINGING a fire ax in one terrible vicious arc -- BEHEADING the man trapped between the tree and the EMS van --
BACK TO:
int. SANITARIUM - nIGHT
as the two nurses continue down the corridor.
NURSE PHILLIPS
My God. Decapitated?
FLASH TO:
THE COUNTRYSIDE
as POLICE cover the area for evidence while in the background we see the headless body being removed. Suddenly we hear:
VOICE (O.S.)
Over here!
ANGLE ON TWO COPS
standing over the severed head, which still wears the white mask. One of them reaches down and pulls the mask off.
COP
(gagging)
Oh, no. Oh, God....
NURSE PHILLIPS (V.o.)
Why'd she do it?
BACK TO:
Int. SANITARIUM - nIGHT
as the two nurses approach the door at the end of the hall.
NURSE WELLES
I don't know, does insanity run
in families? Are people born evil or can they be made that way?
NURSE PHILLIPS
Um, we didn't really study that
in --
NURSE WELLES
I guess those are philosophical questions, not psychiatric
ones, right?
They stop at the door. A small square of reinforced glass looks into the room.
POV INSIDE ROOM
where we see the perfectly-arranged items, as if some attempt has been made to find order in a random universe. It resembles a teenage girl's room, circa late seventies, a haven for someone surrounding herself with the artifacts of a gentler past.
We hear the CLACK-CLACK-CLACK...and move SLOWLY to FIND
LAURIE STRODE
sitting in a straight-backed chair, tilting it back and forth as if it were a rocking chair. It rises up, then clacks back to the tile floor, a metronome counting down the end of time.
FLASH TO:
Int. THE HILLCREST ACADEMY - night
Michael Myers is lying on the floor. We hear SIRENS in the distance...the sound of the door OPENING...FOOTSTEPS.
TWO POLICE OFFICERS
are the first on the scene. They enter cautiously, moving slowly with guns drawn. They notice the body lying nearby.
OFFICER
See if he's still breathing. I'll secure the floor.
The other cop steps over, looks at the body, the blood.
OFFICER #2
No way, man. This guy is chum.
He turns back to his partner, who's disappeared further inside.
And Michael Myers RISES to a sit behind him....
BACK TO:
LAURIE SITTING
in her chair, rocking gently. Eyes open but unseeing.
FLASH TO:
Int. THE HILLCREST ACADEMY - night
as Michael GRABS the cop from behind, bringing him down quickly, wrapping one big hand around the man's throat and CRUSHING his windpipe -- then SMASHING his head into the floor, knocking him senseless. He quickly starts removing the unconscious man's police uniform.
BACK TO:
Int. THE SANITARIUM ROOM - nIGHT
where we are MOVING SLOWLY into Laurie's EYES....
FLASH TO:
Int. THE HILLCREST ACADEMY - nIGHT
The first cop returns to the room just in time to see a SHAPE slipping out through a side door. It is wearing a police uniform. It moves out into the night and is gone.
OFFICER #1
(calling out)
Ron? Where the hell you going?
Then he looks back down at the body on the floor, wearing the bloody jumpsuit, the white mask.
BACK TO:
LAURIE'S EYES
as they become giant mirrors of a haunted soul.
FLASH TO:
Int. Ems truck - nIGHT
As Laurie drives the commandeered vehicle as the man in the white mask fights his way out of the body bag behind her --
FLASH TO:
LAURIE SLAMMING
the BRAKES as the body is PROPELLED through the windshield --
FLASH TO:
THE EMS VAN
CRASHING down the hill and PINNING the man against the tree --
FLASH TO:
THE FIRE AX
in Laurie's hands SWINGING in one unmerciful arc --
FLASH TO:
THE SEVERED HEAD
lying on the ground, as a hand reaches to pull off the white mask...and we see the face of the police officer revealed.
BACK TO:
LAURIE'S EYES
as we are sucked into the enormous black pupils until we suddenly REVERSE ourselves and are LOOKING
THROUGH LAURIE'S EYES
and OUT THE WINDOW of the SANITARIUM and INTO THE WOODS surrounding the facility -- where we get just the faintest glimpse of a dark shape, white face, moving, moving --
Then we hear the door OPENING and the two nurses entering. They move around in front of us, wheeling the medicine cart alongside the chair. We notice the different bottles of medicine, several hypodermic syringes.
Nurse phillips
Does anyone come by to visit her?
Nurse welles
Her son used to, but then he just stopped.
WIDER ANGLE
as Nurse Welles gently places a pill on Laurie's tongue, then washes it down with a paper cup of water. She straightens.
But SUDDENLY Laurie's body starts to CONVULSE violently, KNOCKING over the medicine tray. Her chair TOPPLES to the floor beside the spilled medicine bottles and syringes.
The two nurses struggle to get her calm again, finally righting the chair. Laurie seems over it. Nurse Phillips bends to gather up the medications.
Nurse PHILLIPS
Jesus. Has she ever done that before?
Nurse wELLES
Not on my watch. I'll talk to Dr. Howard in the morning about upping her meds.
And Laurie watches through her vacant eyes as the two nurses leave the room, locking the door behind them.
But she is concealing something in her hand....
CUT TO:
Int. Sanitarium - night
The MAIN FLOOR, where a bored night-duty staffer, FRANKLIN MUNROE, is sitting at the security desk by a bank of MONITORS when he hears FOOTSTEPS. He gets up, moves to the hallway.
FOLLOW FRANKLIN
around a corner. He stops.
POV DOWN THE HALL
he sees nothing. It's silent again.
ANGLE ON FRANKLIN
as he starts to turn back -- when SUDDENLY a SHAPE comes out of the darkness of a doorway. Franklin JUMPS back, almost slamming into a wall, catching his breath.
FRANKLIN
Jesus Christ, Harold! You trying to give me a heart attack?
The figure moves into the half-light and we see it's one of the patients, walking with the stiff movements of neurological disorder. He's wearing a bright red-and-white clown mask.
FRANKLIN
How the hell you get out this time?
Franklin takes the man's arm and walks him down the hall.
FRANKLIN
Who you supposed to be today?
(nodding at the mask)
Oh, yeah, I get it. Gacy, right?
HAROLD
(savant monotone)
John Wayne Gacy. Born in Chicago, Illinois on March 17, 1942. Killed thirty-three people and buried them under his house. Executed on May 14, 1994.
His voice trails off as they disappear down the hall.
CUT TO:
Ext. SANITARIUM - nIGHT
We find another staffer, WILLIE HAINES, sneaking a smoke just inside the facility's gates. He watches the smoke curl lazily in the night air. Then something CRUNCHES in the bushes just beyond the steel fence. Willie turns and looks.
POV INTO WOODS
bordering the well-tended grounds. It's DARK and QUIET.
ANGLE ON WILLIE
as he turns away and takes a deep drag of his cigarette. Then we hear the CRACK of a branch. Willie snuffs out his cigarette and goes over to the gate and opens it. He steps outside the sanitarium grounds. He pulls his flashlight from his belt and surveys the near woods. Suddenly there's a SOUND, and his flashlight beam SWINGS up to

ANGLE ON FIGURE
standing there in the dark, just in front of the trees. The FLASHLIGHT BEAM moves up the figure...to the dark jumpsuit...the white mask.
ANGLE ON WILLIE
looking at the figure standing there. He shakes his head.
WILLIE
Damn, Harold, you like to scare the shit out of me. How many times I tell you I'm the one gets stepped on every time you get out?
He turns toward the gate, then back to the figure in the mask.
WILLIE
Well? Come on.
And the figure follows him onto the sanitarium grounds.
WILLIE
(looking at the mask)
Who you supposed to be today? Hmm. White mask, white mask....Don't think I know that one.
CUT TO:
INt. SANITARIUM - night
Franklin Munroe looks up as Willie enters with the other man.
FRANKLIN
God damn. He get out again?


WILLIE
Don't know how he does that shit.
(to figure)
You stay right the fuck there.
Willie sidles over to the security desk, looks at Franklin.
WILLIE
We really got to write this up?
FRANKLIN
You like your job?
But Willie isn't paying attention. He is looking at
THE SECURITY MONITORS
which show the different floors of the facility. And on one of them we see Harold wandering around in his clown mask....
ANGLE ON
Franklin looking at the monitor, then back at Willie, then over at the hall where the figure was standing -- but he's no longer there.
FRANKLIN
Shit!
And both men are up and moving.
FRANKLIN
Check outside, I've got the floors.
CUT TO:
Int. HALLWAY - nIGHT
The TOP FLOOR. A dark shape, in silhouette, MOVES down the white corridor as if following some sense only he possesses.
POV DOWN HALL
where we see the single door...and we begin to hear the steady rhythmic CLACK-CLACK-CLACK from just beyond it.
CUT TO:
Int. another floor- nIGHT
We find Franklin running down the hallway till reaching one of the doors and quickly OPENING it -- and INSIDE we find Harold, now in a Ted Bundy mask, sitting in bed with a Detective magazine. The walls are covered with novelty masks of infamous serial killers. He looks at Franklin and blinks.
HAROLD
Ted Bundy, born November 24, 19 --
But Franklin is already out the door and moving down the hall.
CUT TO:
Int. TOP FLOOR - nIGHT
as Michael approaches the door at the end of the hall with utter unstoppable determination. The CLACKING gets louder.
POV THROUGH THE WINDOW
looking INTO Laurie's ROOM. Laurie is sitting in her chair, rocking back and forth. SUDDENLY we MOVE
THROUGH THE GLASS
to see what's on the other side of the window as MICHAEL'S FACE stares back at us from just outside the door.
ANGLE ON
brother and sister staring at each other for one interminable instant -- then Michael THRUSTS his body into the door.
CUT TO:
Int. STAIRWELL - nIGHT
Franklin reaches floor after floor, pokes his head into the hall, sees nothing, then ducks back in, continues the search.
CUT TO:
Int. top floor - nIGht
Michael POUNDS at Laurie's door with desperate animal ferocity, until one of the hinges BURSTS free of its housing. He is about to hit the door again when he notices something:
HIS POV
through the little window -- and the room appears empty.
ANGLE ON MICHAEL
as he gives one last mighty THRUST of his shoulders and the door BURSTS OPEN --
Int. laurie's room - cONTINUOUS
Michael charging blindly inside --
AS LAURIE LUNGES
at him from the side, a hypodermic syringe raised high in her hand -- and she PLUNGES it into Michael's neck and squeezes the air inside him.
He drops to his knees as the embolism hits him. She stares into his eyes as his body convulses.
Laurie
Did you really think I wouldn't be waiting for you?
He reaches out to grab her but she runs through the door.
Int. HaLLWAY - cONTINUOUS
Laurie running down the hall as Michael staggers to his feet, starts coming after her in his methodical gait.
Int stairWELL - fOLLOWING
Laurie ducks inside, barrels up the flight of the stairs and through the door to the roof, setting off the ALARM.
Ext. Roof - cONTINUOUS
Laurie runs across the roof, turns to looks back at
THE DOOR
-- as Michael comes out after her. He's in no hurry: there's nowhere for her to go.
ANGLE ON LAURIE
as she turns to face him, unafraid.
Laurie
Just you and me, right? Isn't that the way it needs to be?
She takes a step backward. Then another.
He moves forward slowly, then hesitates.
Laurie
(continuing)
What's the matter, just hate to see it end?
They look at each other across the roof.
LAURIE
(continuing)
You tried to turn me into you, but you failed. And you'll never find my son. Never.
He just stares at her through empty eyes.
LAURIE
(continuing)
You can kill me, but you can't take my soul -- it's not mine to give.
She takes another step backward.
ANGLE TO SEE
she is standing almost at the very edge of the roof.
ANGLE ON MICHAEL
as his hesitation leaves him. He strides purposefully forward until they are standing only a few feet apart.
He has a knife in his hand. She looks at it, at him.
LAURIE
(barely a whisper)
I'm not afraid to die...
He looks into her eyes with a weird curiosity.
LAURIE
(continuing)
...and I'm not afraid of you.
And he THRUSTS the knife up into her stomach --
But she clasps both hands around his wrist in an iron grip --
LAURIE
Come with me, Michael....
And she steps backward and OVER the edge of the roof, PULLING Michael, who's still gripping the knife, over with her....
ANGLE ON THEM
as Michael catches the edge of the roof with one hand, his other still gripping the knife imbedded in her belly as she holds onto his wrist, trying to pull him down with her.
CLOSER ON THEM
as once again, and for the last time, their eyes meet, this time only inches separating them --
He lets go of the knife --
And Laurie FALLS, free of him forever --
THROUGH MICHAEL'S EYES
we see her body hit the dark rocky hillside far below.
ANGLE ON MICHAEL
as he slowly pulls himself back up onto the roof.
He stares down into the unfathomable depths and
SUDDENLY HIS IMAGE
seems to SHIMMER...then PIXILATES into a
VIDEO IMAGE
of Michael Myers on a TV MONITOR -- a GRAPHIC of a WEB PAGE.
VOICE (OVER)
My guest tonight is Internet entrepreneur Freddie Harris, whose latest venture seems to have captured the imagination of Net surfers everywhere.
int. newsroom studio - nIGHT
where an INTERVIEW is ON THE AIR. Host BARRY FISHER sits across a desk from tonight's guest, FREDDIE HARRIS.
Freddie
Well, Barry, to succeed you have to keep your finger on the pulse of America. The Net is real, it's immediate. Anything can happen -- and we hope it does.
BARRY
To those viewers who may not know, tomorrow night, Halloween, live on the Internet, five college students are going to enter the childhood home of infamous mass murder Michael Myers.
Freddie
Barry, we are going to explore the heart of darkness, the enigma inside the conundrum in the center of the riddle: the childhood home of the most brutal mass murderer in history.
Barry
Well, I don't know if it's really --
Freddie
This is the house where Michael Myers was born, where he spent his formative years. If there are any secrets to be learned about why he did what he did -- they're in that house. And tomorrow night we'll uncover them.
Barry
I've read where you've promised the five students free college tuition through graduation.
Freddie
All they have to do is spend the night in the house and discover the truth behind the killer.
BARRY
This is be the first Internet production of its kind, isn't that true?
Freddie
(selling it)
This is where it's all heading, Barry. Put down the remote and pick up your mouse -- this ain't TV, it's real life. The Net as a source of entertainment is an unstoppable force. Or, as I call it...Netertainment!
BARRY
Well, that's quite the sales pitch, Freddie. But do you have any concerns for the safety of the six students? I mean, the house hasn't been entered in how many years?
Freddie
We're not looking to get anyone hurt, Barry, just uncover the truth behind a legend.
BARRY
What do you think it says about a society that so many of us are willing to sit back and watch other people do things, on TV, and, now, on the Net?
Freddie
See, Barry, I believe reality is he biggest illusion of all. Did you know I'm a practicing Buddhist? Who's to say that virtual reality is any less real that real reality?
BARRY
Well, I'm not really sure I --
Freddie
Besides, doesn't everyone have just a little of the voyeur in them?

BARRY
Well, I'll let that be a rhetorical question. How were the students picked?
Freddie
They were chosen from among the student body of Braddock University just outside Haddonfield. They represent a cross-section of America. We've got Jim Douglas....
CUT TO:
Int. Dorm room - day
The room is in an astonishing state of disarray, books and half-written term papers co-mingling with beer cans and bongs. JIM DOUGLAS is talking to an unseen INTERVIEWER. The sequence is shot in STREAMING VIDEO.
INTERVIEWER (O.S.)
What about the publicity? The loss of privacy?
JIM
Privacy? That's a joke, man. Who's ever private anymore? Anywhere you go -- the bank, 7-Eleven -- there's a camera. You can't even screw your girlfriend in an elevator anymore without winding up on "America's Most Outrageous Copulations." Privacy is an antiquated notion, man.
Freddie (V.O.)
Donna Chang....
CUT TO:
Int. another dorm room - day
This one couldn't be more different from Jim's. It's neat and ordered; the walls are covered with posters of Gloria Steinen and Eleanor Smeal. DONNA CHANG, bright, intense, is being interviewed in STREAMING VIDEO.
DONNA
I don't know why I sent my name in. In many ways it's against everything I believe in. I mean, the sensationalism and everything. But I'm fascinated by the narratives that inform our culture. This is just one of those narratives.
Freddie (V.O.)
Jenna Cartman....
CUT TO:
Int. University cafeteria - DAY
Where we find JENNA CARTMAN, pretty and pouty in jeans and sweatshirt, working a waitress shift.
JeNNA
Well, we're all, like, different people. Donna is real, you know, political. She's all like, you shouldn't buy into this whole Madison Avenue paternal media whatever. Like I give a shit that some fat chick burned her bra fifty years ago.
Freddie (V.O.)
Rudy Johnson....
CUT TO:
Int. Kitchen - dAY
At the university's Home Economics program, where we watch RUDY JOHNSON in STREAMING VIDEO as he prepares a soufflé.
RUDY
A group of people is like the ingredients in a recipe. You have to nurse them along, be attentive, and everything will blend just perfectly. If you don't -- disaster.

He flashes a smile as he slips the soufflé in the oven.
Freddie (V.O.)
Bill Woodhouse....
CUT TO:
Ext. Athletic field - dAY
We FOLLOW student BILL WOODHOUSE, in STREAMING VIDEO, as he takes a lap around the track.
BILL
Yeah, Rudy's got this whole peace-out thing going, like we're this little microcosm of America, our own little melting pot. But it's a fantasy. Nothing ever really melts, it just burns.
Freddie (V.O.)
And Sara Mercer.
CUT TO:
int. University library - dAY
Where we find SARA MERCER, attractive in an unassuming way, intelligent eyes looking earnestly at us in STREAMING VIDEO.
SARA
Actually, I'd never even heard of Michael Myers before the drawing.
INTERVIEWER (O.S.)
Really?
SARA
It's just, my scholarship runs out this year and, well, I could really use free college tuition and housing till graduation.
INTERVIEWER (O.S.)
No interest in uncovering the mystery of the Halloween murders?
SARA
(smiling)
Well. Everyone likes a good mystery.
HER IMAGE TRANSFORMS
...from STREAMING VIDEO into reality as we GO TO
Int. SARA'S DORM ROOM - night
Sara is tossing some books in her backpack when we hear the familiar "You've Got Mail," and she goes to her desk.
ANGLE ON COMPUTER
where we see new e-mail from someone called "Deckard799."
ANGLE ON SARA
smiling as she reads the message. She types her response.
SARA
(as she types)
This isn't fair. You know everything about me and I don't know anything about you.
She is about to post, then adds:
SARA
I don't even know if "Deckard" is your real name.
She clicks on "send."
Female VOICE (O.S.)
Chat room romance?
ANGLE TO FIND
Sara's roommate, JANE, in the open doorway. Sara turns.
Sara
Yes, that's so like me. Just meet some stud online and bingo.
Jane nods to Sara's backpack brimming with books.
Jane
You're not even going to be gone a day.
Sara
You know, for the ride over.
JANE
A two hour car ride without a book
-- wow, that would be torture.
Male voice (O.S.)
Don't do it.
Angle to find
ARON, a geeky guy in a Michael Myers t-shirt, standing in the doorway.
Aron
(continuing)
Some things you just don't fuck with. Michael Myers is one of those things.
JANE
Don't you have a letter to write to Charlie Manson or something?
SARA
It's just a house, Aron.
Aron
It's the house where it all started.
He comes further into the room.
ArON
(continuing)
He walked its hallways, played in its rooms, dreamed in bed at night. He kept his mother company in the kitchen, watched TV in the living room with the family....

His eyes are lit with the intensity of a zealot.
ARON
(continuing)
Then one day he picked up a knife.
JANE
Aron, that's enough.
ArON
(ignoring her)
And he never put it down again.
And Jane shoves Aron out the door and closes it.
JANE
That guy is fucking weird.
SARA
(a beat)
It's not as if I haven't thought about it, you know, all those people killed and here we are, capitalizing on it.
JANE
Yeah, I guess that's never been done before.
On her look at Sara we
CUT TO:
Int. Cafeteria - nIGHT
Where we are FOLLOWING Rudy Johnson while he talks on his cell phone.
RUDY
Sherilyn, baby, of course I want to spend Halloween with you, but this changes things a little right now.
WIDER ANGLE
as he moves over to a long table decked out for a "going away" meal. The other students are taking their seats.
RUDY
(continuing)
Yeah, baby, I remember last Christmas. But you know I gotta go down and sign the papers every time Lester dies.
JIM
(looking up)
Every time?
Rudy takes his seat at the table, nods to the others.
RUDY
(on phone)
I'll call you, baby....Yeah. Soon's I get back....Right. Bye.
He clicks off the phone, looks around at the others.
RUDY
My kinda girlfriend.
BILL
We kinda figured.
JIM
(to Rudy)
What do you mean "every time" Lester dies?
DONNA
Turkey looks good.
SARA
I think it's a goose.
JENNA
Aren't gooses the ones with the long necks?
DONNA
They're called geese. And swans are the ones with the long necks.
But Jim slaps his hand down on the table.
JIM
(to Rudy)
No. I wanna know. What do you mean "every time" Lester dies?
RUDY
Oh, Lester's my uncle. Great-uncle actually, he's ninety-six.
Rudy breaks off a piece of goose drumstick and tastes it.
RUDY
Not bad. Hint of tarragon.
JENNA
Can you eat swans?
RUDY
Too tough. Anyway, old Uncle Lester's heart stops every so often, usually around the holidays -- you know, all the excitement.
So they bring him to emergency, get him going again, and I'm the one goes down and signs him out.
BILL
Some folks just take a lot of killing, I guess.
SARA
Like Rasputin.
JENNA
Who?
SARA
Turn of the century Russian. His enemies poisoned him but he lived. So they shot him, and when that didn't work, they dumped him in an icy river.
RUDY
White guy?
SARA
Yeah. Then they burned the body and buried it.
RUDY
That's some cold shit.
DONNA
Look, there's something I need to say....

BILL
Say away, baby. Haven't had my dose of feminist propaganda today.




DONNA
Good one, Bill.
(to the others)
It's just...I don't want this thing to be, well, exploitational.
BILL
Jeez, a live-on-the-Net tour
of the home of the worst serial killer in history. What could be exploitational about that?
DONNA
I don't want this to be seen as glorifying violence.
JENNA
I thought Ted Bundy killed the most people.
RUDY
Nah, man, Bundy is nowhere near the record. Henry Lee Lucas did like three hundred.
BILL
I heard he made a lot of those up.
JIM
You're all missing the point.
The others turn to him.
JIM
Michael Myers isn't real.
JENNA
Sure he is. There's a book about him and everything.
JIM
He might have been real once, but not anymore. Michael Myers has entered the dark mythology of America, my friends.
RUDY
Dark mythology. I like that.
JIM
(hamming it up)
He's become part of the horror that's been the underside of this country ever since the first white man murdered the first Indian and started seeing the ghosts of revenge in every shadow.
RUDY
Ghosts of revenge? You just make this shit up? Out of your head like?
JIM
(on a roll)
He's the great white shark of our unconscious.
BILL
Go, Jimbo!
JIM
(building steam)
He's every murderous impulse we've ever had.
RUDY
Can I get a witness!
JIM
He's the voice that whispers
to us to flatten the old lady taking forever at the checkout counter in front of us.
THE OTHERS
(chanting)
Go, Jimbo! Go, Jimbo!
JIM
He's that little itch at the
base of our brains where reptiles once ruled. He's all of us, my friends, each and every one.
They give him a sarcastic round of applause and he turns to
THE DIGITAL CAMERA
a few yards away, with a small crew documenting the occasion for the Net. Jim stands, smiles at us and bows dramatically.
JIM (STREAMING VIDEO)
(playing to camera)
Thank you, you're beautiful. Great crowd, great crowd.
CUT TO:
A computer screen
on which we are watching the same image.
BOY'S VOICE (O.S.)
This is boring.
BOY'S VOICE #2 (O.S.)
Boring is as boring thinks.
INt. myles's bedroom - night
This is the room of an adolescent with a high-tech mindset. Instead of sports paraphernalia and posters of rock heroes, every available inch of space is taken up by computer parts of varying age and condition, software on floppies and CDs, manuals on computer language and code. MYLES BERMAN is sitting in front of the computer screen, on which we watch Sara's interview.
His friend SCOTT stands watching over his shoulder, bored.
SCOTT
It's just media hype.
MYLES
Like you don't think she's hot.
ANGLE ON
the COMPUTER SCREEN, as the camera finds the quiet Sara.
BACK TO SCENE
as Scott looks at her, unimpressed.
SCOTT
She's like what, twenty?
MYLES
Nevertheless.
SCOTT
Can you get some porno up on that thing?
MYLES
Forget it.
SCOTT
Then let's go to the mall.
Myles looks up from the computer for the first time, blinks.
SCOTT
You know, food, movies, real girls. It would involve leaving the room.
MYLES
I promised my mom I'd study.
SCOTT
"Prognosis Negative" just opened at the Multiplex.
MYLES
Isn't that an "R"?
SCOTT
Like they check ID over there.
MYLES
Let me sign off.
But when Scott turns away Myles hits his e-mail "send" and we
CUT TO:
Ext. A country road - night
We are looking THROUGH the support beams of a wooden SCAFFOLDING, down a long straight stretch of road with highway lights creating pockets of light, pools of darkness. We hear VOICES and find
A PICKUP TRUCK
at the side of the road. Two men JERRY and KENNY, put the finishing touches on a billboard supported by the scaffolding.
JERRY
Throw that in the back, will you?
Kenny puts a large, claw-toothed hammer into the flatbed.
THROUGH THE SUPPORTS
a figure appears in the distance, at first just a vague shimmering...but moving steadily toward us, vanishing in every patch of darkness, reappearing under each new light.
THE TWO MEN
gather the rest of their tools, put them into the flatbed.
INT. truck - CONTINUOUS
The men climb into the cab.
Ext. ROAD - night
The dark-clad figure suddenly STOPS. He is looking up.
HIS POV
on the BILLBOARD, which we now finally see from the front -- a giant white Michael Myers mask stares down at us under copy that announces: "Secrets of the Myers House Revealed. Tomorrow Night. Live."
ANGLE ON FIGURE
staring up at the sign for a long time, seemingly frozen.
INT. TRUCK -night
The driver reaches for the ignition, hesitates. He is looking up at something.
POV IN REARVIEW MIRROR
where we see the figure standing there, in white mask, at the back of the flatbed.
KENNY
What the -- ?
JERRY
What is it?
The first man turns around quickly.
POV THROUGH REAR WINDOW
...but the figure has vanished.
ANGLE IN CAB
as Kenny turns back to the wheel.
KENNY
It's nothing. Just...nothing.
JERRY
The ignition switch is that one right there on the steering column.
KENNY
What, like you got a date or something.
JERRY
Well, not with an actual person.
A SHADOW crosses their faces and they both look up
THROUGH THE WINDSHIELD
as SUDDENLY the SHAPE appears out of nowhere -- and SMASHES DOWNWARD with the huge hammer -- CRASHING THROUGH the windshield straight for Kenny's skull as we
CUT TO:
Ext. HADDONFIELD - MORNING
OCTOBER 31st. HALLOWEEN.
We MOVE SLOWLY down a tree-lined street to FIND
Ext. MyerS HOUSE - cONTINUOUS
The place is long ago boarded up and fallen into disrepair. Graffiti is scratched across the façade, left there no doubt by the heartiest of local teenagers willing to take a dare.
The front door is OPEN. We hear VOICES coming from inside.
WE KEEP MOVING
...slowly up the walkway toward the front door.
INt. myers HOUSE - morninG
We MOVE among the old dusty furniture as through a museum.
Freddie (O.S.)
No, I think you got to go a little lower with that one over there....
MOVE UP THE STAIRS
where the voices grow louder.
MALE VOICE (O.S.)
This is what I do for a living, okay?
Freddie (O.S.)
That's why I hired you, isn't it?
(a beat)
No, baby, I wasn't talking to you.
ANGLE TO FIND
Freddie in the upstairs HALLWAY, on the cell phone while directing a thirtyish guy, Brian, how to set up a small digi-cam. CHARLEY, a middle-aged electrician, is running cable in the background.
Freddie
(on phone)
What? Yeah, baby, just tell them to be cool, a loan means they get their money back, right? They can look that up in the dictionary.
(to Brian)
You get the master bedroom?
Brian
Between the stationary cameras and the minis they'll be wearing, you should be covered.
Freddie
(on phone)
I got my own problems, here, baby, I'm dealing with Orson fucking Welles Junior here.
(to Brian)
Look, Brian, we're not remaking "Barton Fink" here. I'm on a schedule.
Brian turns to him.
Brian
High angles are scary, low angles are scary, medium angles are boring.

Freddie
You learned about scaring people shooting weddings and Bar Mitzvahs?
Brian
Hey, I graduated Long Beach Film School. Same as Spielberg.
Freddie
(frustrated)
Fine. You know...fine.
(on phone)
I'll call you later, baby, I gotta get back to town.
He flips the phone closed, looks back over at Brian.
Freddie
Just make sure it gets done by this afternoon.
He passes Brian in the hallway, heading for the stairs.
Brian
By the way....
Freddie turns back to him.
Brian
Welles was overrated.
Freddie just shakes his head and continues down the stairs. FOLLOW HIM out the front door, mumbling to himself.
Freddie
Welles was overrated. Shit. Man was a motherfucking genius.
THE IMAGE TRANSFORMS
into VIDEO as we look THROUGH A WINDOW as Freddie gets in his car. As the car PULLS OUT...we get just a hint of another vehicle passing.
WIDER TO INCLUDE
Brian looking through the video camera for a test. He turns it off, sets it down, looks directly out the window.
HIS POV
...as we see just the tail end of a pickup truck disappearing under a red-leafed autumn tree.
ANGLE ON BRIAN
as he turns back into the house, looks around for a place to position the next camera.
CUT TO:
Int sanitarium - DAY
Police and state mental health OFFICIALS move about gathering information and evidence. Two DETECTIVES are interviewing the hapless Franklin Munroe.
Detective
But you're saying all the other patients are accounted for.
FRANKLIN
Like I told you, there was someone else in the building. How he got out I don't know.
ANGLE TO FIND
a quiet, serious, dark-suited man watching from a few yards away: JEB DONASLDSON steps over, flashes his wallet I.D.
Donaldson
Jeb Donaldson, State Police.
Detective
I'm just about finished with this man.
DonaldSON
Take your time. I'm just a fly on the wall.
FRANKLIN
(to first cop)
Look, man, all I know is what I saw.
DeTECTIVE
And this other patient...
(checking his notes)
...Harold Trumble. You're certain he was in his room.
Franklin
I saw him on the monitor and when I checked his room he was in it.
DonaLDSON
Your monitors cover the entire grounds?
FRANKLIN
Yeah, man, but there are some, like, blind stops. Around corners, the stairwells, that kind of thing.
Donaldson nods, moves over to
THE SECURITY DESK
where other officers are going over last night's tapes.
THE SECURITY MONITORS
show the various VIEWS from around the facility recorded last night: we see the babbling Harold on one, the dark-clad figure approaching Laurie's door on another.
ANGLE ON
Donaldson as he watches curiously for a moment until a hospital administrator, HORACE JORDAN, comes up alongside.
Jordan
You Donaldson from State Police?
Donaldson looks up and smiles pleasantly at the man.
CUT TO:
Int. Sanitarium - daY
The two men walk down a hallway on another floor.
JoRDAN
He's actually quite harmless, despite his fascination.
DonaLDSON
Well, you never know what he might've seen. Always best to --
He's cut off by the RING of a cell phone. He takes it out of his coat pocket, squints at the number, shrugs at Jordan.
DonaLDSON
Duty calls.
(on cell phone)
Yes, honey....No, I haven't forgotten....I'll pick them up on the way home....Yes, I've got it....Two quarts....Right. Love you. Bye.
He hangs up the phone, Jordan looks at him.
JoRDAN
Yeah, I'm married too.
They reach one of the doors and Jordan OPENS it.
Int. Harold's room - cONTINUOUS
Harold looks up at them -- wearing a Laurie Strode novelty mask.
Harold
Laurie Strode, sister of mass murderer Michael Myers....
The two men stop in the doorway, look at him, at each other.
Cut TO:
Int. Sara's rOOM - afternooN
Sara is at her computer reading her e-mail as Jane comes in.
JANE
Shouldn't you be getting ready?
SARA
I'm ready.
Jane looks at her disapprovingly.
JANE
You're wearing that?

Sara
I thought I was.
JANE
I mean, you're going to be all over the Internet and everything. I better find you something.
She goes to the closet, rummages through her clothes.
JANE
So, you don't think it's kind of, well, creepy, going in that house?
SARA
(a few beats)
When I was a little girl there was this streetlamp outside my window. And when the curtain blew in just the right way, it cast a shadow on my wall that looked like -- this is going to sound silly.
Jane stops rummaging, turns to Sara.
JAne
No, what?
SARA
Well, it looked like a giant rabbit.
Jane
(laughing)
A rabbit?
SARA
Go figure. I was scared of rabbits. It's something about the ears.
Jane
Yes! I can see that.
SARA
Anyway, I'd lie there, unable to move, wanting to shut my eyes but afraid to. I didn't want to call to my parents because I knew that it wasn't real, that it was just
a shadow on the wall. I didn't want them to think I was weak.
JaNe
You knew it was a shadow but you were still scared?
SARA
That's the thing about fear. It doesn't matter if it's a killer rabbit or just a shadow.
JANE
I guess not.
Jane finds a sexy sweater, steps over to Sara, looks over her shoulder at the computer screen open to her e-mail reader.
JANE
Same guy?
SARA
Yeah. He's in graduate school.
JANE
I'll bet. Probably some fifty-year-old lard-ass with a bad comb-over.
Jane drapes the sweater over Sara's shoulders and steps back.
JANE
Perfect!
CUT TO:
Int. MYLES'S ROOM - AfTERNOON
Myles sits at his computer, distracted.
SCOTT (O.S.)
So the good news is....
ANGLE TO FIND
Scott standing at the open door of the room. Myles looks over at him.
MYLES
Make some noise or something when you come in.
SCOTT
I told your mom we were studying. You want to hear the news or not?
MYLES
Sure.
ScOTT
I scored us an invite to Jennifer's Halloween Net party tonight. You'll get to see your girlfriend hi-def widescreen.
MYLES
Yeah, great.
ScOTT
Well, thanks for the enthusiasm.
MYLES
Man, I really screwed up.
ScOTT
Well, I could've told you that.
MYLES
No, this is serious.
Scott comes farther into the room, looks at his friend.
MYLES
(continuing)
There's this...person I know and somehow she kinda got the idea I'm...older than I am.
SCOTT
She? There's a "she" in your life?
Myles looks over at the computer, back at Scott.
SCOTT
(realizing)
No!
Myles steps over to the computer, calls up his e-mail reader.
MYLES
Check it out.
Scott reads one of Sara's messages, his eyes widening.
SCOTT
Holy shit. This is the chick in the Halloween thing.
MYLES
We met in a chat room.
Scott turns and stares at his friend.
SCOTT
You are God, man.
MYLES
She was asking for tech support to set up her off-line reader and...
oh, what difference does it make.
SCOTT
This is so cool!
MYLES
Are you out of your mind? She thinks I'm in graduate school. I told her I'm twenty-four.
SCOTT
You actually convinced a college chick you're in her league? I'd say that's cool.
MYLES
She thinks I'm a physics major.
ScOTT
Your first mistake. You should've said business. Women really go for that kind of guy. Too bad you're not that kind of guy.
MYLES
Like we're ever going to meet.
SCOTT
Then what's the point?
MYLES
Did you know that in the Middle Ages sometimes a knight would spend his entire life courting a woman in poems and sonnets? They'd never even touch.
SCOTT
You need help, man.
MYLES
Leave me alone.
SCOTT
No, really. I'm worried about you. They don't have you on Ritalin or anything, do they?
CUT TO:
Int. Donaldson's office - afternoon
Donaldson is sitting in his very low-tech space. If it weren't for the voices and occasional static-laced dispatch sounds in the BACKGROUND, we wouldn't know he's carved this dark space of an office out of State Police headquarters. The only anomaly among the ancient filing cabinets and stacks of paperwork is the computer sitting on his cluttered desk. He looks at it as if it were an alien presence. He looks down at a pad on his desk.
INSERT PAD
covered with his notes from the sanitarium. We see the name underlined: LAURIE STRODE.
ANGLE ON DONALDSON
as he stands up, stretches, moves to the window.
POV THROUGH WINDOW
as Halloween begins to take shape. We see costumed kids, some of them wearing cheap Michael Myers masks, moving in small clusters, older ones on the edge of rowdiness, little ones shepherded by watchful parents.
ANGLE ON DONALDSON
as he turns around -- and SUDDENLY a face appears behind him, horrible and ghoulish -- and he jumps back, startled.
ANGLE ON
the "ghoul" as it removes what proves to be a Halloween mask, revealing a young desk-duty officer, NORA MANN.
DonalDSON
Jesus, Nora.
Nora
Oh, did I startle you?
DonalDSON
At what point in your training did they tell you a sense of humor was important?
NoRA
Hmm. I don't seem to recall.
DonalDSON
And the purpose of this visit? Other than to jump-start my heart.
NoRA
Haddonfield P.D.'s faxing us what you asked for on Laurie Strode. There's a shitload of it. On the other hand, you could save a forest by entering the electronic age.
She looks over at the computer on his desk, back at him.
NoRA
She ain't hard to find.
DonalDSON
Isn't there someone out there with a heart condition you can try that mask on?
NoRA
I'll see what I can do.
She turns and leaves the room.
ANGLE ON DONALDSON
as he looks back at the computer. He sighs, then finally sits back down at his desk, moves the mouse and clicks. We hear the annoying connection noise as the Internet comes up. He types something on the keyboard.
THE COMPUTER SCREEN
is on a search engine as he types in "LAURIE STRODE" and clicks the mouse again. About a hundred references pop up.
ANGLE ON DONALDSON
as he looks at the computer screen curiously. He moves the mouse, we hear the clicks, watch different colors play across his face as different sites come up. Until:
ON THE COMPUTER SCREEN
we see a web site slowly come up, rendering shape from blotches of color...turning into the Michael Myers HOME PAGE.
ANGLE ON DONALDSON
as the investigator looks curiously at the computer screen a moment. He drums his fingers restlessly on his desk. Looks at his notes. At the computer screen. Back at his notes.
Then he stands, grabs his coat, and heads for the door....
CUT TO:
Ext. myers house - aFTERNOON
We find Brian at the equipment truck parked at the curb, getting another mini-DV camera out of the back, while on his cell phone.
Brian
Yeah, I've just got one placement left and we're ready to roll.
FOLLOW HIM up the walkway toward the house with the camera.
Brian
(continuing)
We'll be up and running in no time.
As he heads up the steps of the porch we
ANGLE TO FIND
...the old pickup truck partially hidden by the fall trees.
Int. MYERS HOUSE - aFTERNOON
Brian carries the camera up the stairs and down a hall toward a narrow cabinet. He stops, hears something from downstairs.
HIS POV
down the stairs...there's nothing there.
FOLLOW HIM
as he turns away, moves down the hallway to the cabinet. He yanks it open -- and something FLIES out at him out of the darkness. He jumps back startled, then looks down at the stuffed animal lying at his feet: a child's ancient pink Easter bunny. He straightens and turns back to the cabinet. Then he hears another sound, coming from behind him.
ANGLE DOWN HALLWAY
as he sets down the camera. He starts moving down the hall. Now it's quiet again. He peers into the doorway of a bedroom, but there's nothing there. He turns back into the hall -- when SUDDENLY a shape comes up at him from behind a door, featureless white mask staring at him --
Brian jumps back in fright -- but the figure simply pulls the cheap novelty mask down from his face...revealing Charley, the jumpsuited technician, grinning at him.
Brian
Jesus shit, man!
Charley
Hey, it's Halloween, get into the spirit.
Brian
I'm here to do a fucking job, okay?
CHARLEY
Sorry, it was just a joke. Don't go Oliver Stone on me.
Brian
Look, just check out the control room and make sure we're going online tonight, okay?
CHARLEY
You got it.
Charley turns away and heads down the stairs and we
FOLLOW BRIAN
back to the cabinet. He lifts the camera and positions it. Then he hears something behind him. This time he just ignores it, sighing. He reaches around behind the camera and
THROUGH THE CAMERA
the VIDEO IMAGE comes ON -- as we see the SHAPE coming up behind Brian and we
CUT TO:
Int. GARAGE/CONTROL ROOM - same time
Which as been turned into a CONTROL ROOM of sorts. Charley takes up position at a MIXING PANEL with an array of dials, levers, and switchers, controlling a bank of MONITORS. It's somewhat jury-rigged, with a tangle of wires and electrical cables feeding the system.
Charley sets a giant cup of Starbuck's Mochaccino at the edge. He flips a switch on the console and several MONITORS light up. He reaches to take a sip of his coffee, never noticing that on one of the monitors Michael Myers is PULLING Brian out of view.
By the time Charley looks up, the monitor shows nothing.
CUT TO:
Ext. Campus - late afternoon
The students have assembled in the PARKING LOT, a small group of other college kids there to see them off. One young guy has a VIDEO CAMERA to memorialize the occasion.
Student
(to Bill)
So, tell us, tough guy, what are you going to do if Michael Myers decides to come home tonight?
Bill
Hide behind one of the women?
Rudy
At least he's honest.
Jenna
(looking at her watch)
Why are men always late?
JiM
Just giving you time to touch up your makeup.
Jenna sighs, looks back at her watch.
CUT TO:
Int. Van - aFTERNOON
Looking THROUGH THE WINDSHIELD as the van turns into the university driveway, Freddie behind the wheel.
Ext. campus - aFTERNOON
The van PULLS UP and the doors open as Freddie turns to them.
Freddie
You folks need a ride?
Int. van - aFTERNOON
They all climb on board and take their seats.
Freddie
Buckle yourselves in, kids, I'm not known for my driving.
ANGLE ON SARA
settling into her seat near the back, as Freddie starts PULLING OUT of the parking lot.
HER POV
OUT THE WINDOW...as we see Aron, amid the small cluster of other students, watching somberly as the van pulls away.
Freddie (O.S.)
The house has been rigged with cameras.
ANGLE IN VAN
as Freddie continues his spiel.
Freddie
(continuing)
So keep your fingers out of your noses, kids, don't be doing anything you don't want the viewing public to see.
Jim gives Donna a nudge.
JiM
You like an audience, don't you?
DONNA
Have I forgotten to ignore you today?
JIM
No, I think you remembered.
DONNA
Good. Just checking.
Freddie
And leave your cell phones in the van, I don't want them going off and blowing the atmospherics.
Jenna
No cell phones?
BILL
Yeah, imagine that. Kind of what it was like in Grandpa's day.
The students settle into their seats for the long ride.
ANGLE ON VAN
as it zips past us down the long straight road.
CUT TO:
Int. Donaldson's car - late afternoon
We find the state cop intent behind the wheel. His cell phone RINGS. He looks at the number, sighs, answers it.
DonaLDSON
Yes, honey....I left you a message....No, I'll be back late tonight....What?...Well, I imagine I can pick it up at the market, they're open twenty-four hours, aren't they?...Yes. I will....Only one quart?...Yes, got it....Love you too. Bye.
He flips the phone closed and we GO TO an
ANGLE ON CAR
as it PASSES us and
WE FIND
the road sign indicating: "HADDONFIELD, 93 MILES."
CUT TO:
Int. VAN - dusk
The six students are looking out the windows as they turn down a tree-lined street and come to a STOP in front of:
Ext. MyerS HOUSE - nIGHT
Dark and quiet in the early NIGHT. Charley waits on the front lawn, with a camera to catch the arrival.
Int. Myers HOUSE - night
We move slowly over to an upstairs window. We see the curtains being pulled slightly apart.
THROUGH MICHAEL'S EYES
we watch out the window as the van doors open and Freddie and the kids climb out....
CUT TO:
Ext. MyerS HOUSE - night
Charley comes over carrying a large plastic box.
Freddie
Where's Brian?
CHARLEY
Finished up and took off. I haven't seen him since this afternoon.
Freddie
Shit.
CHARLEY
Don't need him. Once we're up the system pretty much runs itself.
Freddie
Gear 'em up and let's get rolling.
Charley hands each of them a large, police-style flashlight, then pulls out what looks like a baseball-style cap, puts it on his head. He turns to the students.
CHARLEY
This is a hat-cam. Whatever you see, we'll see. I've also got some mini clip-on cameras.
THROUGH THE HAT-CAM
we see the students looking back at us.
Ext. MyeRS HOUSE - cONTINUOUS
Charley hands out hat-cams and several species of clip-on mini-cameras, then jogs to the garage. We notice the large portable generator parked outside.
Freddie checks his watch.
Freddie
All right, guys, two minutes.
Jenna checks her hair in the van side mirror.
JiM
Lighten up, Jenna, it's streaming video, not cinemascope.
Freddie gets on a walkie-talkie.
Freddie
You getting set up back there, Charley?
CUT TO:
Int. garage/control room - followinG
Charley takes up position at a CONTROL CONSOLE, takes a sip of his everpresent Mochaccino, and picks up his walkie.
CHARLEY
Coming on line....
And he flips a few switches and
THE MONITORS
light up with various views from around the house. From the kids' MINI-CAMs we see Freddie at the front of the house.
CUT TO:
Int. party HOUSE - night
High school kids are arriving for tonight's Internet Halloween party, Myles and Scott included.
ON THE PLASMA SCREEN
across the room we see Freddie talking TO CAMERA:
Freddie (STREAMING VIDEO)
We're here in front of the Myers house in Haddonfield. I'm about to go to the control room.
(to the students)
Sixty seconds....
SUDDENLY we go INTO the PLASMA SCREEN and POP OUT at
Ext. MyerS HOUSE - niGHT
as Freddie heads around back and into:
Int. garage/CONTROL ROOM - followinG
Freddie positions himself at the console beside Charley.
Freddie
(continuing)
From here we'll be watching the team members as they enter and move about the Myers house.
(to Charley)
We ready?
CHARLEY
Everything's a go.
Freddie scowls at Charley's giant cup of Mochaccino.
FreDDIE
You know how much caffeine they got in one of those?
CHARLEY
Let me guess. A lot?
Freddie
That shit'll kill you.
ChaRLEY
Well, that's all just a matter of timing, isn't it?
ON THE MONITORS
we watch as the students approach the door of the old house.
INt. MyeRS HOUSE - fOLLOWING
The door creaks OPEN and they enter.
CUT TO:
Int. party housE - nIGHT
We see a GRID of views from around the Myers house play across the PLASMA SCREEN before the audience of high school kids. One of the boys works a mouse across the grid to maximize one view or another.
CUT TO:
Int. MyeRS HOUSE - nIGHT
The students poke about with FLASHLIGHTS: the furniture all appears to be in place, covered with years worth of dust. It's as if the occupants quickly fled a disaster.
BILL
Let's keep an eye on each other, this place is old, might have rotting timbers.
RUDY
Did you think I was planning on wandering around here by myself?
Donna
Looks like nothing's been moved in years.
SARA
After the murders the family just sealed the place off and left everything.
JiM
Don't suppose they would've had much luck finding buyers anyway.
Int. KITCHEN - nIGHT
The five students enter, their flashlight beams casting about the old fixtures.
RUDY
I love these old stoves. Call me crazy, but I just don't think electric burners allow flavors to meld the same way.
Donna
Not a big fan of the microwave, I take it.
He looks at her with disdain.
Bill
And it's so quick.
Rudy goes over to examine an old spice rack, pulls a jar out.
RUDY
Wow, wonder what twenty-year-old fennel tastes like.
Jim
What are we going to find in the kitchen? Unless you think his diet turned him into a killer.
Jenna
Wasn't there that serial killer who ate all those Devil Dogs?
DonnA
That was Twinkies.
Sara
And he wasn't a serial killer.
BILL
Check this out....
ANGLE ON
Bill, over by the kitchen counter. He is looking at an old knife rack. Slowly he pulls a large blade out of its slot.
Rudy
You don't suppose that's the one he used to....
JiM
No way, cops would've kept that in an evidence locker somewhere.
Jenna
Still, it's pretty creepy.
RuDY
Fuck yeah.
JIM
Duly noted.
CUT TO:
The same image
viewed through Rudy's HAT-CAM VIEW, seen on a MONITOR.
int. garage/control room - nIGHT
The two men at the CONTROL PANEL, watching the same image.
POV FROM BACK DOOR WINDOW
where someone is watching them too....
ANGLE ON FREDDIE
as he turns around, if sensing something. He looks through the back door window -- but now it is empty.
He turns back to the monitors.
CUT TO:
int. hoUSE - nIGHT
The students moving back through the living room.
BILL
(to Jim and Donna)
Why don't you check out the basement? We'll look upstairs.
CUT TO:
Int. Donaldson's cAR - nIGHT
The police detective turns the wheel toward an exit.
ANGLE ON CAR
as it whizzes onto the exit ramp marked for "HADDONFIELD."
CUT TO:
Int. Myers basement - nIGHT
Jim and Donna walk down rickety stairs, their FLASHLIGHT BEAMS cutting across piles of old furniture, firewood, cartons, beams and shadows crisscrossed by naked pipes.
Donna
So, why do you think he did it?
JIM
Population control.
They wander about in the semi-dark.
Donna
I have a theory.
JIM
Let me guess. TV violence.
He moves over to an ancient console television, sits on it.
JIM
(continuing)
I mean, they didn't have video games back then, so it must have been Saturday morning cartoons that turned him into a killer.
Donna
I think he just liked it.
Jim moves over to her, looks at her face in the half-light.
JIM
What, no abuse excuse? No Freud? Don't tell me that beneath that icy surface you actually believe in free will. Makes me want to see what other doors of mystery you might open to the man with the right key.
Donna
Does that half-ass Jim Morrison shit work with the chicks in the poetry department?
JIM
It's been known to.
Donna
Yeah? Well, it doesn't cut it with critical studies.
CUT TO:
Int. Upstairs - nIGHT
Bill, Rudy, Jenna, and Sara enter what looks like the MASTER BEDROOM. Jenna flops onto the bed, creating a cloud of dust that makes them cough.
Bill
Good one, Jenna.
JeNNA
Do you suppose this is where he was, you know, conceived?
RUDY
Man, I don't even have an opinion.
Sara opens the door of a walk-in closet, pushes away a mass of cobwebs, steps inside.
Bill
What are you looking for?
RUDY
Maybe she'll find a man-size dress in there.
Jenna looks at him blankly.
RUDY
You know, like Papa was Norman Bates or some shit.
JeNNA
Who's Norman Bates?

He just looks at her and sighs.
BILL
(to Sara)
You finding anything in there?
ANGLE IN CLOSET
as Sara pushes aside some hanging clothes -- and a WHITE FACE peers back at her from the darkness --
Sara SCREAMS and falls back against the door, pushing it shut behind her and leaving her in the dark as her flashlight tumbles to the floor.
ANGLE IN BEDROOM
as Bill and Rudy run over but the door is jammed tight.
RUdy
Sara! You okay?
Bill
Sara!
INSIDE THE CLOSET
Sara finds her flashlight just as the door OPENS and --
A TAILOR'S MANNEQUIN in a cheap wig tumbles free from behind the clothes, falling harmlessly to the floor.
ANGLE ON
Sara, Rudy, and Bill, staring down at the thing.
SaRA
Oh, Jesus, I can't believe that scared me.
Rudy
It's okay, it's cool. Y'all don't mind if I sit down right now.
He steps back, sits down on the bed -- then realizes where he is and jumps back up.
RuDY
Actually, I think I'll stand.
They all start laughing at the ridiculousness of it.
Then Sara looks around.
SARA
Where's Jenna?
And SUDDENLY we are SUCKED out of the scene and POP OUT:
Int. GaRAGE/CONTROL ROOM - nIGHT
Freddie and Charley watching on the monitors.
CHARLEY
Mind if I grab a smoke?
Freddie
As long as it's not near me.
Charley gets up, heads for the back door.
Freddie
I hear that shit's bad for you. It was in all the papers.
CharLEY
You planning on living forever?
Charley steps outside, Freddie looks at the monitors.
Freddie
(to himself)
I'm thinking about it.
Freddie looks over at Charley's giant cup of Mochaccino. He picks it up, sniffs it and grimaces, sets it back down.
Int. House - night
Where we find Rudy wandering down an upstairs HALLWAY.
RuDY
Jenna, where'd you go?
At the end of the hall he looks up, stops a rope hanging down from the trap door leading to the attic.
He reaches up, pulls on the rope, but it's suck. He keeps tugging at it, then hears something from behind him.
He turns, looks back.
HIS POV
down the dark hallway. Only shadows.
ANGLE ON RUDY
as he turns away from the attic door, starts down the hall.
RUDY
Jenna...?
CUT TO:
Ext. BaCKYARD - fOLLOWING
Charley steps out into the night. Reaches to his shirt pocket for his cigarettes. We hear the CRACK of a branch. He looks over into the narrow alley between the garage and house. He starts to turn away, then hears another sound.
FOLLOW HIM
as he walks into the shadowy space.
BEHIND THEM
we see a large shape come up in the darkness.
ANGLE ON CHARLEY
as he continues down the alley another few feet then turns around -- and the shape is standing there BLOCKING his way. Charley is only momentarily startled, but not surprised.
CHARLEY
What the hell are you doing out here? I thought you were supposed to --
But he is cut off in mid-thought. His mouth opens but nothing comes out. He looks down at his stomach -- and sees the gardener's trowel imbedded in there, Michael Myers's hand wrapped around the handle. On Charley's bewildered look we
CUT TO:
Int. Basement - night
Jim playfully swings around in front of Donna, blocking her.
JIM
Come on, when are you going to admit you like me?
Donna
That's a double bind question. Kind of like, "Have you stopped beating your dog?"
But suddenly she grabs his shirt and pulls him to her.
Donna
(seductively)
So tell me -- have you stopped beating your dog?
TIGHTER ON THEM
as Jim is taken aback when she kisses him passionately. And in an instant they are all over each other, kissing, groping, until Donna pushes him gently away.
Donna
You suppose they've got cameras down here?
He points to the lapel cam she's wearing.
JIM
Afraid of losing your standing in the sisterhood?
Donna
Don't flatter yourself. Screwing a poetry major would practically be lesbianism.
JIM
I can get behind that.
He folds her sweater back to BLOCK the lapel cam, then kisses her again and they fall back against an old door -- and SUDDENLY the ancient wood of the door GIVES WAY and they TUMBLE through it and land on the dusty floor inside.
Int. Basement room - cONTINUOUS
Their flashlights roll free casting crazy shifting light --
HITTING FACES
all around them, wild feral animal faces with gaping jaws.
ANGLE ON
Jim and Donna as they regroup, find their flashlights, get back to their feet. Now we see that all around them is a macabre collection of skinned and stuffed animals: a huge German Shepherd, several cats, exotic birds, part of what we may only conclude to be a bizarre family pet collection.
JIM
This was one weird family.
Donna
You should meet my cousins.
CUT TO:
THE SAME IMAGES
on the giant PLASMA SCREEN.
Int. PartY - nIGHT
The Internet party guests watch the action.
STAN
Cool!
CUT TO:
Int. gARAGE/CONTROL ROOM - night
Freddie watching on the MONITOR. He smiles.
CUT TO:
Int. UPSTAIRS - nIGHT
Sara and Bill enter what looks like the room of a small boy. Apart from decades of dust, it seems preserved in a pristine state, as if it were some kind of shrine. Stuffed animals gaze back at us from the bed, Lionel train tracks circumnavigate the room, a baseball and mitt sit perched on the dresser.
SARA
This must've been his room.
bill
Looks like any kid's room.
SARA
Everything seems frozen in time.
BILL
His parents probably never came in here after the murders.
SARA
Look at this.
ANGLE ON
an old trunk at the foot of the small bed. Sara kneels beside it, tries to get it open.
SARA
It's stuck.
ANGLE ON
Bill, going through the drawers of a child-size dresser.
SARA
What are you looking for?
BILL
See if he had a baseball card collection. You know how much those things would be worth?
ANGLE ON
Sara as she finally gets the ancient trunk lid open -- and a small head POPS out and she falls back onto her seat. The head bobs crazily on a spring and we realize it's an old jack-in-the-box, with eerie painted face and gazing glass eyes.
Bill looks over from the dresser.
BILL
Kid had a sense of humor.
Sara catches her breath, looks inside the trunk and finds a family photo album. She opens it.
INSERT ALBUM
where we see early sixties snapshots of a couple with a daughter and young son...then the addition of a baby girl...the kids growing to school age....
ANGLE IN ROOM
as Bill slams shut the last drawer, goes over to a side door. He opens it and steps into an adjoining room.
BILL
I'm gonna see what's in here.
Sara looks back at the photo album.
INSERT ALBUM
The boy in the photos grows increasingly distant. There are shots with him off to the side, resentfully watching his parents cuddling his new baby sister.
Go CLOSER on the PHOTO of the boy, moving INTO the deep-set haunted eyes -- are they sad, resentful, or utterly dead?
And SUDDENLY we
CUT TO:
MICHAEL'S POV
...as he enters his house. He looks around in the darkness, one way and another with his predatory gaze. He moves to:
Int. Kitchen - cONTINUOUS
Michael goes over to the cutlery rack. He pulls out a knife. The blade catches light in a SPARK of brilliance and we
CUT TO:
A huge BLADE
SLASHING into FRAME --
Int. party HOUSE - night
As a big kid in cheap Michael Myers costume LASHES OUT with a rubber knife, striking one of the smaller kids, who feigns a dramatic death.
CUT TO:
Int. MICHAEL'S ROOM - night
Sara is looking at the family album curiously.
SARA
Bill, come take a look at this.
There's no response. She gets up and moves to the side door.
POV THROUGH ROOM
to the adjoining room. All we see is darkness.
SARA
Bill?
FOLLOW HER
as she steps into the next room -- which, by its stacks of albums, collection of dolls, Aerosmith posters on the walls, we take to be the habitat of a teenage girl circa 1970s.
CUT TO:
Int. BASEMENT storeroom - nIGHT
Jim and Donna cast their flashlights about the basement storeroom, with its odd store of stuffed animals.
Jim
Maybe this was his playroom.
Donna
Yeah, I can see it now. Little Michael Myers practicing on the family pets.
A tiny cascade of dry mortar tumbles loose from the wall.
JIM
Check this out.
He is looking at an old brick wall sealing off a corner of the room. The bricks seem haphazardly set, the ancient mortar easily giving way under his fingers. He removes one brick, then another, and a few tumble free to the floor.
Donna
What do you think's back there?
JIM
I don't know, black magic shrine? Maybe his parents were devil worshipers?
Donna
Whose aren't?
She turns to shine her flashlight on the opposing wall --
And a HAND comes free from the brick wall behind her and LANDS on her shoulder. Donna SCREAMS and her flashlight SWINGS wildly back at the opening in the bricks --
ANGLE ON A FACE
staring back at them, lips pulled back, grimacing in death.
Donna
Oh, my God -- !
WIDER ANGLE
as SUDDENLY the rest of the bricks come tumbling loose as -- a decomposed BODY crashes through and lands on the floor, the handle of a huge knife sticking out of the back --
Donna screams, staring at the mummified corpse with parched skin over sunken eyeholes, teeth bared in final terror.
CUT TO:
THE SAME scene
viewed on the giant PLASMA SCREEN at the party.
The kids just sit there rapt, stunned into speechlessness.
CUT TO:
Int. gARAGE/CONTROL ROOM - nIGHT
Freddie slaps his hand down on the console in excitement.
Freddie
Yes!
CUT TO:
Int. basement STOREROOM - nIGHT
Jim and Donna staring down at the macabre ancient corpse.
donna
Jesus, this must be his first victim.
But Jim is looking at something curiously.
JIM
Maybe not....
Donna
What?
He reaches down to the corpse and turns it over -- and one of the arms falls off. He grabs it up and is on the move....
CUT TO:
Int. UPSTAIRS -nIGHT
Sara walks down the HALL, flashlight in hand.
SARA
Bill, where are you?
And SUDDENLY a FIGURE comes out of nowhere behind her --
She SCREAMS and the figure jumps back --
TWO FLASHLIGHT BEAMS SWING wildly until we see --
SARA AND RUDY
staring at each other across dueling flashlights.
Sara
Jesus, you scared me.

rudy
I scared you? I got a feeling if I look in the mirror right now, I'm a white man.

SARA
Where's Bill?
RUDY
I thought he was with you.
CUT TO:
The basement STOREROOM - nIGHT
Donna, only a few beats behind Jim, makes her way among the piles of old junk when she drops her flashlight. It rolls away in the dark. She kneels by an old sofa, feels under it.
POV ON HER
from someone watching behind a support pillar.
ANGLE ON DONNA
as she finds the flashlight and starts for the stairs.
CUT TO:
The plaSMA SCREEN
at the kids' PARTY -- on which we see a dark figure DART OUT OF THE SHADOWS and GRAB Donna. There is a GLINT of steel, a quick muffled scream...and they fall out of frame.
Eric
That was so bogus.
ANGLE ON MYLES
watching the screen curiously.
CUT TO:
Int. GARAGE/CONTROL ROOM - nIGHT
Freddie is momentarily turned away from the monitors.
Freddie
Charley? Where the hell you at?
He shakes his head, turns back to the control panel.
CUT TO:
Int. BasEMENT - nIGHT
...where we find Donna lying face down on the floor. One eye stares out at nothing, a pool of blood grows around her head.
CUT TO:
Int. Upstairs - niGHT
Sara and Rudy moving down the HALLWAY when:
JeNNA (o.S.)
Hey, you guys!
ANGLE TO FIND
Jenna at the far end of the hall, carrying something.
SARA
Jenna, where have you been?
She holds up a plastic-wrapped box.
JeNNA
It's an original Malibu Barbie! You know how much these things are worth?
And SUDDENLY a large shape LUNGES out of a dark doorway behind her --
Sara SCREAMS and Jenna turns -- just as the figure raises the huge blade in his hand and SLASHES it down toward her.
Jenna ducks out of the way and darts down the hall as Rudy grabs Sara's hand and they run for the stairs.
FOLLOW THEM
running wildly down the stairs as --
THE FIGURE
pursues them in his purposeful unhurried gait.
CUT TO:
THE PLASMA SCREEN
where we watch the same scene.
Int. party HOUSE - nIGHT
The kids cheer along with the action.
CUT TO:
Int. CONTROL ROOM - nIGHT
Freddie is watching the MONITORS when there is a KNOCK at the door. He looks around.
Freddie
Charley, where the fuck you at?
Cursing, he gets up and goes to the door and OPENS it.
ANGLE ON
Donaldson standing there, holding open his wallet I.D.
DonaldSON
Mr. Harris, I'm Jeb Donaldson from the state po --
Freddie
Yeah, real pleased to make your acquaintance, but I'm in the middle of something here -- did you say police?
CUT TO:
Int. House - nIGHT
Sara and Rudy reaching the front door.
RUDY
(trying the doorknob)
Fuck! Who locked it?
SARA
Back door through the kitchen!
They turn toward the kitchen just as a SHAPE comes out of the darkness and GRABS Sara --
But Jim appears out of nowhere and SWINGS something at the figure -- CATCHING HIM on the chin and sending him sprawling to the floor.
The white mask comes flying off -- revealing Bill underneath the costume.
JIM
(glaring down at him)
I just wanna know. Were you in on it from the beginning?
BILL
Take it easy, dude, chill out.
Sara and Rudy look from Bill to Jim in confusion.
JIM
Tell us, man.
Bill slowly gets to his feet, looks at the others.
BILL
Hey, America loves a show. We're giving them a show.
RUDY
What the fuck is going on here?
Jim points down at the club he used on Bill. It's an arm from the "corpse." In the FLASHLIGHT BEAM we see it's phony.
JIM
(to the others)
It's fake. We've been set up all along.
BEHIND THEM
we notice a SHAPE, moving up the stairs in the dark....
CUT TO:
Int. PARTY - nIGHT
Where the kids look at each other.
STAN
Busted.
CUT TO:
Int. Living room - nIGHT
Jim and Bill are still facing off.
JIM
How much extra are they paying you?
BILL
Grow up, man. How long do you think people would pay to watch us wandering around an old house trying to figure out why some guy went nuts twenty years ago? Michael Myers is old news, man. Half the guys on death row have a higher body count.
JIM
So they figured they'd spice up the evening with a few cheap thrills.
CUT TO:
Int. upstairs - nIGHT
Where we find Jenna still searching for a place to hide. She looks up and notices the pull-down ladder to the attic door. She reaches up, grabs it and gives it a yank --
ANGLE ON DOOR
as it POPS OPEN -- and A BODY DROPS DOWN, head first, catching by its feet. Brian's dead face stares back at Jenna, upside-down like a slaughtered animal, eyes still open.
ANGLE ON JENNA
screaming at the grisly sight as we
CUT TO:
Int. downstairs - FOLLOWING
They hear Jenna's scream. Jim nods upstairs.
JIM
All part of the show?
BILL
Why don't you just chill, man.
SaRa
You mean it's all fake?
BILL
Makes for a more entertaining evening if the wayward son makes a return visit. Especially if it's timed for Internet prime time.
RUDY
There's an Internet prime time?
They all turn as
JENNA APPEARS
at the top of the stairs, her shirt covered in Brian's blood. She opens her mouth but can barely speak.
WIDER ANGLE
as they all look up at her.
JIM
Good one, Jenna, you passed the audition.
Sara turns to Bill.
SARA
Open the front door.
BILL
I didn't lock it.
He goes over to the door, tries the knob --
ANGLE UPSTAIRS
as a blade suddenly SLASHES out behind Jenna, cleanly SLICING through her neck before she realizes is. Her head sits there for an instant -- TOPPLES down the stairs one bump at a time.
CUT TO:
The plasma screen
...as we see Jenna's HAT-CAM VIEW of the dizzying descent down the stairs...until it reaches the floor and the HAT-CAM pops off, landing inches away from her head and pointed back at her open dead eyes.
Int. PARTY - NIGHT
The kids stare at the plasma screen in amazement.
KYLE
How the fuck did they do that?
KENNY
Retractable blade, man.
CUT TO:
Int. GARAGE/CONTROL ROOM - nIGHT
Freddie is looking in shock at Donaldson, not noticing the MONITOR on the control panel.
Freddie
When did it happen?
DONAldson
Late last night.
Freddie
Ah, man I just --
But he cuts himself short as he notices:
THE MONITOR
...and the weird angle looking into Jenna's eyes.
Freddie
What the...?
CUT TO:
Int. house - nIGHT
The shape moving silently down the stairs while
ANGLE ON
the front door, as Bill gives up on the jammed doorknob.
SARA
Let's just use the back door.
A hand
reaches out of the dark, finds Bill's dropped mask on the floor.
THROUGH MICHAEL'S EYES
we study the white novelty mask curiously for a moment. Then he lets it fall back to the floor.
ANGLE ON STUDENTS
as they hear a sound behind them and turn.
Sara's FLASHLIGHT BEAM rises up and HITS
THE SHAPE
standing there in the white mask and dark jumpsuit.
WIDER ANGLE
as they all turn to Bill -- who is clearly not wearing the mask this time. SUDDENLY the knife in Michael Myers's hand THRUSTS UPWARD deep into Bill's abdomen.
Bill stares into those dead eyes for one quizzical disbelieving second -- then Michael LIFTS the impaled man high up in the air as
THE OTHERS
watch in one monstrous beat of shock -- then run all directions as
MICHAEL DROPS
the quivering dying body of Bill to the floor.
CUT TO:
THE MONITOR
where we watch as Sara runs up the stairs, reaching the second floor landing and nearly stumbling over Jenna's headless torso.
Int. GARAGE/CONTROL ROOM - nIGHT
Freddie finally realizing something is very wrong, jumping up and running back toward the house, Donaldson a beat behind.
Ext. Backyard - nIGHT
The two men running out of the garage.
Freddie
Back door's around the corner, I got the front.
The two men separate and we
CUT TO:
INt. upstairs BEDROOM - nIGHT
Sara SHUTS the door, TOPPLING a bookcase over to block it.
CUT TO:
Int. KITCHEN - nIGHT
Rudy runs for the back door but KNOCKS OVER a baker's rack, blocking his escape as
MICHAEL APPEARS
behind him, striding unhurriedly toward him.
WIDER ANGLE
as Rudy grabs an old rolling pin and SMASHES it down on Michael's shoulder and Michael's knife clatters to the floor.
Rudy raises the rolling pin again but this time Michael's hand reaches out and GRABS Rudy powerfully by the throat and DRAGS him over to the stove.
Michael opens the oven door with his free hand and shoves Rudy's head inside -- then SMASHES the door down again and again on Rudy's head, turning it to pulp.
CUT TO:
Int. BEDROOM - nIGHT
Sara looks around in desperation, her eyes finding the small NET-CAM set in the corner of the room....
CUT TO:
THE PLASMA SCREEN
at the party as Sara looks INTO CAMERA.
SARA (STREAMING video)
Somebody out there, please help us! This is not something we planned.
He's killing us!
Int. party - nIGHT
Myles looks at the others.
MYLES
I don't think she's kidding.
JASON, one of the bigger kids, comes up in his face.
JASON
Of course she is, you freak. I bet you were one of those people who thought Mars was invading too.
MYLES
I just know she wouldn't....
JASON
What? What wouldn't she do?
Myles and Scott trade looks.
SCOTT
Tell him about Deckard, man.
Suddenly the bigger Jason comes up in Myles's face.
JASON
Tell me what, freak? Who invited you here, anyways? And who the fuck is Deckard?
MYLES
I know her, all right? Online. Deckard is my log-on name.
Jason looks at him a beat, then they all start laughing.
JASON
Yeah, right. You met her in a chat room for Masturbaters Anonymous.
MYLES
(to Scott)
Let's go.
Scott looks at his friend, back at the party, the giant screen.
SCOTT
Sorry, man.
Myles grabs his backpack to leave as the others turn back to
THE PLASMA SCREEN
where Sara is pleading to the Internet viewers.
SARA (STREAMING VIDEO)
Isn't there anyone out there who'll listen?
CUT TO:
INt. kITCHEN - nIGHT
Michael looks around, finds the knife on the floor. He starts back into the house when we hear something and
ANGLE TO
The back door -- as it opens and Donaldson comes charging in, pulling his pistol out of a shoulder holster as
MICHAEL SPINS
toward him and GRABS his gun hand. Donaldson looks into Michael's eyes for an instant as Michael turns the gun back toward his chest and FIRES -- and Donaldson goes FLYING back against the wall and crumples to the floor.
Michael turns back into the house.
CUT TO:
Int. myers BEDROOM - nIGHT
Sara spins around as she begins to hear FOOTSTEPS on the stairs...then in the hall outside her door. She quickly gets her palm pilot out of her bag and turns back to the NET-CAM.
SARA
Deckard, are you out there?
There is a BANG on the door behind her and we
CUT TO:
MYLES'S ROOM
as he quickly enters -- then notices his COMPUTER SCREEN.
SARA (STREAMING VIDEO)
Deckard, if you're there please let me know!
Myles almost trips lurching for his keyboard.
CUT TO:
THE SCREEN
on Sara's palm pilot, as the words pop up:

DECKARD HERE.

SARA
(into NET-CAM)
Deckard, oh God, this is for real! Please. Tell someone. He's killing people!
CUT TO:
THE PARTY
where the kids stare in stupefaction at the PLASMA SCREEN.
ERIC
Holy shit.
Scott nods smugly, jumps up and does a victory dance.
SCOTT
(singing)
He got the booty, he got the booty.
CUT TO:
Int. MYERS BEDROOM - nIGHT
Sara looks back at the door -- as it suddenly SHAKES violently as Michael throws his weight against it.
CUT TO:
Int. MYLES'S HOUSE - nIGHT
Myles runs down the stairs so fast he almost takes a header.
INT. LIVING ROOM - fOLLOWING
Myles's MOTHER looks over from the TV and his FATHER looks up from his evening paper.
MOTHER
Take it easy on the stairs, Myles.
MYLES
Mom! Dad! You've got to listen!
FATHER
I thought you came home to study.
MYLES
Dad, people are being killed on the Internet.
FATHER
Don't you have a math exam tomorrow?
Myles tries to calm himself and get their attention.
MYLES
Dad, he's killing people.
FATHER
What are you talking about?
A beat, as Myles steels himself for the inevitable.
MYLES
I...logged onto a chat site. And tonight we were watching the --
FATHER
I see.
MYLES
Dad, you can ground me till I'm fifty, but you've got to listen. There are people being killed.
FATHER
Are you aware of what day it is?
MYLES
Of course, what does that -- ?
FATHER
Have you ever heard of "Invasion From Mars"? Orson Welles's radio broadcast of Halloween, 1939?
MYLES
It was "War of the Worlds" and it was 1938 and this is no hoax. Michael Myers has come back to Haddonfield.
FATHER
I see. You're grounded. Until you're fifty.
Myles looks at his father another beat, then runs back upstairs.
CUT TO:
Int. MYERS BEDROOM - nIGHT
The BANGING on the door STOPS: has he given up?
INt. HALL - nIGHT
Michael Myers notices something on the floor. He reaches down.
CUT TO:
THE COMPUTER SCREEN
in MYLES'S ROOM -- as Michael Myers looks directly at us. He is looking INTO one of the dropped HAT-CAMS.
CUT TO:
Ext. myers House - night
Freddie KICKING at the front door until it finally BURSTS open.
Int. House/CONTROL ROOM - cONTINUOUS
Freddie running in, spotting Bill's body on the floor.
FreDDIE
Oh, shit.
CUT TO:
Int. myers Bedroom - nIGHT
Sara taking a tentative step toward the door as the message BEEP comes on her palm pilot and the words jump on the screen:

HE'S OUTSIDE THE DOOR!
CUT TO:
MYLES'S COMPUTER SCREEN
where we see Michael just on the other side of the door.
CUT TO:
Int. myers BEDROOM - nIGHT
Where suddenly the door SHUDDERS as Michael throws his full weight into it. Sara grabs her palm pilot and runs to the window, opening it quickly. She climbs OUTSIDE just as the door BURSTS OPEN and Michael CHARGES inside in a blind rage.
ext. Ledge - cONTINUOUS
Sara makes her way precariously along the narrow ledge, then hoists herself up onto the sloping ROOF as BELOW HER
Michael's head pops OUTSIDE the window.
But she is already out of view as she moves along the narrow spine of the roof and over to the attic window. She tries to open it but it's locked...so she SMASHES the glass with her foot and quickly slips into the attic.
Below her Michael looks up at the sound of the breaking glass.
INt. ATTIC - fOLLOWING
Sara looks down as her palm pilot BEEPS with a message:

CAN'T SEE YOU!
She thinks quickly, takes off her HAT-CAM, points it at herself.
SARA
Deckard! Where is he?
CUT TO:
Int. MYLES'S ROOM - nIGHT
Myles looks at the grid of views on his computer screen.
MYLES
(as he types)
Don't know! Can't see him!
CUT TO:
Int. ATTIC - nIGHT
A SHADOW crosses the window behind Sara and we
CUT TO:
Int. MYLEs'S ROOM - nIGHT
Myles grabs his phone while focused on his computer screen.
MYLES
(on phone)
I need the Haddonfield, Illinois police department. This is an emergency.
CUT TO:
Int. ATTIC - night
Sara moves about in the DARK and STUMBLES over a pile of junk -- sending her palm pilot clattering to the floor.
She curses, making her way to the ladder, where she has to climb over Brian's body, still hanging there.
Int. Hallway - cONTINUOUS
She runs down the hall --
Until an arm reaches out of nowhere and GRABS her --
ANGLE TO FIND
Freddie standing there, covering her mouth so she can't scream. He looks behind her.
Freddie
Where is he?
SARA
I don't know.
CUT TO:
Int. MYLES'S ROOM - nIGHT
Where we find Myles intent on the phone.
MYLES
No, this isn't a Halloween prank. You've got to listen to me.
CUT TO:
Int. MYERS HOUSE - nIGHT
Freddie and Sara move toward the stairs when SUDDENLY the hall window BURSTS inward as a SHAPE come FLYING through it and Michael LANDS in front of them, BLOCKING their escape.
But Freddie suddenly LANDS a SIDE KICK to Michael's chest -- sending Michael sprawling back against the wall.
Freddie
Weren't expecting me to kung fu your ass, were you?
Michael straightens and comes at Freddie again and this time Freddie lands three quick fists to the torso and head and a SPINNING KICK --
But this time Michael CATCHES Freddie's ankle in mid-kick.
They stare at each other a beat -- then Freddie JUMPS off his other leg and twists in the air -- CATCHING Michael on the chin -- and they both go CRASHING through the door into
Int. MASTER BEDROOM - cONTINUOUS
Michael slashes with his knife and Freddie CATCHES his hand and they struggle wildly across the room --
Sara GRABS the venetian blind cord -- JUMPS onto Michael's back. Michael SPINS crazily, slashing at Freddie, trying to get Sara off his back -- as Sara wraps the cord around Michael's neck and jumps off as --
Freddie SPRINGS at Michael like a linebacker -- PROPELLING Michael THROUGH THE WINDOW in an EXPLOSION of GLASS -- until the venetian blinds SNAP out of their housing as
Ext. House - cONTINUOUS
Michael PLUMMETS toward the ground until the venetian blinds get CAUGHT in the window frame -- and Michael's body STOPS in mid-drop, the cord a taut noose around his neck.
His body twitches violently, once, twice, then STOPS.
He hangs there, unmoving.
Int. MaSTER BEDROOM - cONTINUOUS
Freddie and Sara rush to the window and look OUTSIDE to see
Ext. HoUSE - cONTINUOUS
Michael HANGING there, lifeless.
INt. maSTER BEDROOM - cONTINUOUS
They look at each other, amazed they're still alive.
Freddie
Let's get the fuck out of here.
Int. Hall - cONTINUOUS
They run out of the room and start down the hall --
And a BASEBALL BAT comes SWINGING downward out of the darkness -- CATCHING Freddie on the side of the head and dropping him lifeless to the floor.
ANGLE ON
Jim standing there, holding the bat. He looks down at Freddie, realizing.
JIM
Oh, shit.
But Sara is on the floor, feeling for a pulse.
JIM
Is he dead?
SARA
I don't know. We've got to get help.
She straightens and they head quickly to the stairs.
CUT TO:
Ext. HouSE - nIGHT
Where, outside the window, we see Michael's hanging body. A moment, then:
His hand twitches...and slowly starts moving upward, still holding the knife.
The blade starts cutting through the venetian blind cord.
CUT TO:
Int. DOWNSTAIRS - nIGHT
Sara and Jim run for the front door --
Ext. HouSE - cONTINUOUS
They make it out the door -- just as a figure DROPS DOWN in front of them BLOCKING their path.
Michael Myers stands there, a fragment of rope still dangling from his neck.
Jim SWINGS the baseball bat in one vicious arc -- CATCHING Michael on the head and sending him to the ground in a heap.
Jim and Sara look at each other, wide-eyed.
JIM
It's okay. No way he's getting up after that.
Michael sits up and looks at them. They look back at him.
Jim SWINGS the bat again, this time bringing it STRAIGHT DOWN -- but Michael reaches up and GRABS the bat in mid-swing. He stands up.
Jim tries desperately to free the bat from his grip -- until Michael PUSHES the bat back toward Jim's face -- HITTING him in the mouth with the narrow end -- DRIVING the bat handle into his mouth -- and OUT THROUGH the back of his head. Jim's body quivers a few instants, then hits the ground dead.
Sara stares at Jim's body, at Michael, a beat of unspeakable horror -- then turns and runs back INTO the house.
Int. House- cONTINUOUS
Sara runs through the LIVING ROOM and into the KITCHEN and out through the back door into:
Int. Garage/control room- cONTINUOUS
Where she ducks down low behind the control panel.
CUT TO:
Int. MYLES'S ROOM - nIGHT
Myles slams down the phone in anger. Then he gets an idea. He picks up the phone again and quickly hits redial.
POLICE DISPATCHER
(filtered)
Haddonfield police emergency.
MYLES
Officer down! 45 Lampkin Lane!
CUT TO:
Int. garage/control room - nIGHT
Sara hunches behind the control panel.
CUT TO:
Int. MYLES'S ROOM - nIGHT
Myles is again at his computer, watching the GRID of VIEWS from around the house. Finally he can't take it anymore. He gets up, grabs his jacket and is out the door.
Int. Downstairs - nIGHT
Myles's parents look up as he passes them in the living room.
Mother
Myles?
But he is already out the front door.
CUT TO:
INT. CONTROL ROOM -nIGHT
Sara remains crouched in the darkness, looking around desperately for a way out.
ANGLE ON DOORWAY
as Michael appears there. He steps inside the control room.
ANHLE ON SARA
ducking down only yards away. We hear Michael's FOOTSTEPS.
She looks over at:
ANGLE ON
the mass of electric cables feeding the control panel....
CUT TO:
Ext. StreetS - nIGHT
Where we find Myles racing along on his bicycle. He catches up to a delivery truck, grabs onto the back bumper and lets the truck pull him along as it speeds up.
CUT TO:
Int. GARAGE/CONTROL ROOM - nIGHT
Michael's head twitches toward a sound deeper in the room.
BEHIND THE CONTROL PANEL
Sara finds the main input cable and pulls it from its socket.
MICHAEL SPINS
toward the control panel as he hears her.
SARA DUCKS
back down behind the control panel with the cable. She peers back through the mass of wires and connectors as the shape moves toward her, homing in on his target like a shark.
She looks around frantically, noticing:
INSERT
Charley's giant cup of Mochaccino, at the edge of the panel.
SHE REACHES
one hand quietly up to grab the cup, then ducks back down as
MICHAEL MOVES
among the cables and hardware, knife glinting in his hand.
ANGLE ON SARA
as she quietly spills the coffee in a puddle on the floor, then tries to hide back behind the control panel as suddenly
MICHAEL APPEARS
above her and his knife SLASHES viciously down toward her but his arm gets CAUGHT in the web of connecting cables.
WIDER ANGLE
as Sara tries to slip by him in the narrow space as Michael THRASHES about in the cables, getting entangled, SPARKS flying as his blade SLASHES through wires and connectors.
Sara pokes at him with the prongs of the electrical wire, catching him in the torso and causing his body to spasm even more violently as the knife SWINGS down at her, missing her by inches.
Finally Michael frees himself and comes after her....
Sara breaks for the door, dropping the cable into the pool of coffee -- as Michael LUNGES at her...then STIFFENS as we hear a CRACKLE. She turns back to the SIZZLING and SPUTTERING.
Michael stands stiffly in the pool of blood, his back arching ramrod straight as the voltage courses through his body. SMOKE pours from the mask eyeholes, until it starts melting, merging with his face.
Sara watches in horror and relief as finally Michael slumps as the electricity shorts out in an explosion of sparks, his body held up by the cables in an eerie tableau, arms spread cruciform like a dark messiah of the new millennium.
CUT TO:
Int. Party - nIGHT
The PLASMA SCREEN goes BLACK and everybody moans.
ERIC
Hey! Ripoff!
CUT TO:
Int. GARAGE/CONTROL ROOM - nIGHT
The hot electrical wires suddenly BURST into FLAME and quickly IGNITE the ancient try timbers of the garage.
ANGLE ON SARA
trying to run through the obstacle course of cable and electronics and old junk as
ALL AROUND HER
FLAMING chunks of wood are falling and BURSTING into new outbreaks of FIRE --
The door is BLOCKED by a heap of burning rubble --
She looks around frantically, trapped until --
SUDDENLY A FOOT
CRASHES through the burning wall and a hand REACHES inside --
MyLES (o.S.)
Sara!
She reaches for the hand --
Ext. GaRAGE/CONTROL ROOM - cONTINUOUS
Myles PULLS her through the crumbling burning wall to safety and they fall to the lawn. In the distance, we finally hear the police and fire engine SIRENS.
ANGLE ON GARAGE
now fully engulfed in flames, POPPING and CRACKLING.
ANGLE ON
Sara and Myles watching as
THE GARAGE
finally ERUPTS in one final spasm of FIRE -- then COLLAPSES in on itself, on Michael Myers, in a conflagration sending flames leaping high into the night sky.
ANGLE ON
Sara and Myles, as she turns to him, still out of breath.
SARA
I got one question.
MYLES
What?
SARA
Who the hell are you?
MyLES
Well. Um. That might require some explaining....
CUT TO:
AERIAL VIEW
LOOKING DOWN on the Myers house from the vantage point of a NEWS HELICOPTER. By now police, fire, and EMS vehicles are all around, assessing the carnage. We MOVE DOWN to
GROUND LEVEL
and MOVE PAST Donaldson, who's leaning against a police car. His shirt is unbuttoned and we see the bulletproof vest underneath. One of the Haddonfield cops nods at the vest.
Cop
We were supposed to get those.
DonaldSON
I highly recommend them.
CONTINUE MOVING
until we FIND Sara, wrapped in an EMS blanket sitting on the ground beside Myles. He looks at her, shrugs.
MYLES
I guess you were probably expecting somebody, you know...taller.
SaRA
Well, I was accepting somebody who shaved.
MYLES
It's not like I won't. Eventually.
SARA
Actually, it's pretty funny.
MYLES
It is?
SARA
My roommate said you were probably fifty and bald.
He grins, rubs his head.
MYLES
Got lots of hair.
SARA
Hey.
MyLES
What?
SARA
You still haven't told me. Is Deckard your real name?
MyLES
You'll think I'm lame.
SARA
No, I won't.
MYLES
He's the hero in "Blade Runner." It's my favorite movie. My real name's Myles. Berman.
SARA
Well, Myles Berman, I think I owe you a Mochaccino.
Their voices slowly FADE OUT as we start MOVING AWAY from the backyard...and edge up into the deep black night sky.
DISSOLVE TO:
Ext. Myers yard - pre-dawn
Firemen sift through the SMOKING rubble of the garage.
A SMALL CROWD
of onlookers watches from behind police barricades, among them parents with kids still dressed in Halloween regalia.
WE FIND DONALDSON
in the middle of the ruins, searching, searching.
ANGLE ON
one of the firemen, shaking his head.
Fireman
Nothing here....
Donaldson looks over at him.
DonaldSON
Is it possible there's nothing left of him? That he just burned up?
FireMAN
No way. Takes three hours at fifteen hundred degrees to cremate a body, and you'll still find bone fragments.
DonalDSON
Then he's got to be in here.
GO CLOSER
to Donaldson as he continues the search with intensity, moving among the charred ruins. He lifts one fragment of wood then another, finding nothing. With a strange desperation he squats down to pry a blackened beam loose -- but there is nothing underneath but more embers.
SUDDENLY he hears a CRUNCH from behind him and turns --
AND MICHAEL MYERS
is standing behind him with knife upraised --
DONALDSON FALLS
back into the ashes as we go
WIDER TO REVEAL
it's just a kid in Michael Myers costume who somehow got past the police line. His father grabs the rubber knife out of his hand and scurries him away.
TIGHT ON DONALDSON
still catching his breath, spooked.
Then he looks over and finds
ANOTHER MICHAEL MYERS
standing behind a police car.
AND ANOTHER ONE
standing near a tree.
ANGLE ON DONALDSON
as he looks this way and that as
SUDDENLY EVERYWHERE
we see Michael Myers, all around us, a series of masks, white faces and dark jumpsuits in the crowd, on the street. Is one of them real? Is he escaping in a sea of imitators?
A WIDENING CIRCLE
FINDS one face. Then another. And another.
All around us.
Then suddenly nothing. Nothing.
HARD CUT TO BLACK.
the end

The Exorcist Script