Badinage

 

 

 

 

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. 

 

 

*****

 

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 nitorglycerin tablet and places it under his tongue. He is  shaking with fear as he holds his head with exhaustion. 

 

 

 

INTERIOR- MACNEIL HOUSE- SECOND FLOOR HALLWAY- NIGHT 

 

 

Karras moves back toward the bedroom and enters. 

 

INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT 

 

 

Karras is shocked to see an instant apparition of his mother, laying on the bed in place of Regan. It vanishes. He moves toward Regan, who is shivering and drenched with sweat. 

 

 

 

REGAN/MRS. KARRAS

 

Dimmy, why you did this to me? 

 

 

 

Karras gets out a stehoscope and places it on Regan's chest. 

 

 

 

REGAN/MRS. KARRAS

 

Please Dimmy, I'm affraid. 

 

 

 

KARRAS

 

You're not my mother. 

 

 

 

REGAN/MRS. KARRAS

 

Dimmy please! 

 

 

 

Merrin re-enters the room. 

 

 

 

MERRIN

 

What is it? 

 

 

 

KARRAS

 

Her heart. 

 

 

 

MERRIN

 

Can you give her something? 

 

 

 

KARRAS

 

She'll go into coma. 

 

 

 

Regan, in the voice of Karras' mother, speaks a few pleading 

 

phrases in Greek to Karras. 

 

 

 

KARRAS

 

(shouting)

 

You're not my mother!!! 

 

 

 

MERRIN

 

Don't listen. 

 

 

 

REGAN/MRS. KARRAS

 

Why, Dimmy? 

 

 

 

Damien breaks into convulsive sobbing. 

 

 

 

MERRIN

 

Damien. 

 

 

 

REGAN/MRS. KARRAS

 

Dimmy, please! 

 

 

 

MERRIN

 

Damien! Get out! 

 

 

 

Damien arises from the bed. Merrin leads him out, and then re-

 

enters the room himself. He sprinkles some holy water on Regan 

 

and kneels at her side. He holds her hand tightly. 

 

 

 

MERRIN

 

Our Father, who art in heaven... 

 

 

 

INTERIOR- MACNEIL HOUSE- FOYER- NIGHT 

 

 

 

Downstairs Karras sits brooding as Chris enters. 

 

 

 

CHRIS

 

Is it over? 

 

 

 

Karras shakes his head negatively. 

 

 

 

CHRIS

 

Is she gonna die? 

 

 

 

KARRAS

 

(firmly)

 

No. 

 

 

 

He rises and starts ascending the stairs with renewed conviction. 

 

The doorbell rings and Chris moves toward the door. Before 

 

opening she applies the chain lock on. She opens the door slowly 

 

and we see Kinderman staring at her from the gap. 

 

 

 

INTERIOR- MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT 

 

 

 

Karras re-enters Regan's room and sees Merrin face down on her 

 

bed. Regan is sitting up against the bottom right hand bed post 

 

as Karras pulls Merrin to the floor. Karras feels for Merrin's 

 

pulse, then tries frantically to pump life back into the priest 

 

with blows to his chest, but gives up when he realises Merrin is 

 

dead. He hears a giggle and turns to Regan. 

 

 

 

KARRAS

 

You son of a bitch! 

 

 

 

He grabs her and pulls her to the floor. He begins to punch her 

 

in the face and head, then shakes her and nearly strangles her in 

 

his fury. 

 

 

 

KARRAS

 

Take me! Come into me! God damn you! Take me! Take me! 

 

 

 

A gargantuan struggle is visible in the demonic features of 

 

Regan's face. His face has taken on a demonic shade, and his eyes 

 

have turned bright green. She screams out as Karras' body jerks 

 

back, apparently manipulated by some inner force, which now 

 

reaches toward Regan to strangle her. Karras fights the force for 

 

control of his body, and he screams, compelling it toward the 

 

window. 

 

 

 

KARRAS

 

No!! 

 

 

 

With his last angiushed cry, Karras leaps out of the window. We 

 

see him roll down the concrete steps outside and hit the floor at 

 

the bottom. His cry was immediatly followed by frightened sobs 

 

and whimpers that are unmstakably those of an ordinary little 

 

girl. 

 

 

 

REGAN

 

(crying)

 

Mother...Mother...Mother...Mother... 

 

 

 

Chris rushes in and pauses to make sure that it's really Regan 

 

again. She's follwed in by Kinderman. 

 

 

 

CHRIS

 

Rags? 

 

 

 

She dashes over to where her daughter is cowering on the floor. 

 

She flings herself down on top of Regan, cradling her and crying 

 

in hysterical relief, as Kinderman looks at Karras' body from the 

 

window, looks at Merrin's dead body on the floor and then looks 

 

at Chris and Regan. 

 

 

 

EXTERIOR- M-STREET- STEPS- NIGHT 

 

 

 

A crowd is gathering at the scene of an accident. Their 

 

attentionis focused by a man lying in a pool of blood on the 

 

pavement at the foot of the steps under Regan's window. 

 

 

 

BYSTANDER

 

Somebody fell at the bottom of the steps here! 

 

 

 

Father Dyer pushes through the crowd and kneels beside Karras. 

 

Fighting back tears, he grasps Karras' hand and leans close to 

 

whisper in his ear. 

 

 

 

FATHER DYER

 

Do you want to make your confession? Are you sorry- (his voice 

 

catches)

 

Are you sorry for having offended God, with all the sins of your 

 

past life? (he breaks down for a moment, then starts 

 

administiring the last rites)

 

Ego to abslovo in nomine patris, et filli, et spiritus sancti. 

 

Amen. 

 

 

 

As a wailling siren signals the approach of an ambulance, Dyer 

 

weeps openly. 

 

 

 

EXTERIOR- PROSPECT STREET- TOP OF STEPS- DAY 

 

 

 

On a bright, sunny day, we are looking down the steps which are 

 

now clean. No blood, or body at the bottom. 

 

 

 

INTERIOR- MACNEIL HOUSE- DINING ROOM- DAY 

 

 

 

Sharon and Chris are briskly packing up last minute items before 

 

moving out. 

 

 

 

SHARON

 

Where do you want this? 

 

 

 

CHRIS

 

What is it? 

 

 

 

SHARON

 

Phonograph. 

 

 

 

CHRIS

 

Storage. 

 

 

 

Sharon puts in in one of the large cardboard boxes that are 

 

standing about. 

 

 

 

CHRIS

 

I'm gonna miss you. 

 

 

 

SHARON

 

Me too. 

 

 

 

CHRIS

 

Sure you won't change your mind? 

 

 

 

Sharon shakes her head. She reaches into her pocket and hands 

 

Chris the St. Joseph medal. 

 

 

 

SHARON

 

I found this in her room. 

 

 

 

Chris puts in her pocket. 

 

 

 

SHARON

 

That's everything. 

 

 

 

Chris hugs her. She pulls away and walks to the foot of the 

 

stairs. 

 

 

 

CHRIS

 

Regan! C'mon honey we have to get going! 

 

 

 

EXTERIOR- MACNEIL HOUSE- PROSPECT STREET- DAY 

 

 

 

We see Karl is loading the car with cases. Father Dyer is 

 

standing outside the gates. Chris exits the house and Dyer moves 

 

toward her. 

 

 

 

CHRIS

 

She doesn't remeber a thing. 

 

 

 

FATHER DYER

 

That's good. 

 

 

 

Regan exits the house and walks to Chris. 

 

 

 

REGAN

 

All done. 

 

 

 

CHRIS

 

Honey this is Father Dyer. 

 

 

 

REGAN

 

Hi Father. 

 

 

 

DYER

 

Hello. 

 

 

 

KARL

 

Ready Mrs. 

 

 

 

Chris shakes Father Dyer's hand. 

 

 

 

CHRIS

 

Goodbye Father. I call you. 

 

 

 

FATHER DYER

 

Okay. 

 

 

 

Chris gets into the car, but Regan stands staring at Dyer's 

 

collar. She leans forward and kisses Father Dyer on the cheek. 

 

Not sure of what she has done, she retreats to the car. The car 

 

drives out to the street and Father Dyer waves goodbye. Father 

 

Dyer walks out and Willie closes the gates. 

 

 

 

FATHER DYER

 

Goodbye. 

 

 

 

WILLIE

 

Good bye Father. 

 

 

 

FATHER DYER

 

I hope to see you again soon, 

 

 

 

WILLIE

 

I hope so too. 

 

 

 

The car stops and we hear Chris call. 

 

 

 

CHRIS

 

Father Dyer? 

 

 

 

Dyer rushes to the car. 

 

 

 

CHRIS

 

I thought you'd like to keep this. 

 

 

 

She hands him Karras' St. Joseph medal. Dyer clutches it tightly. 

 

The car drives on, and Dyer watches it drive off. Dyer walks down 

 

toward the top of the M Street Steps. He looks down them and 

 

frowns, we see Regan's window in the background, boarded up. Dyer 

 

then turns away and walks back to Prospect Street. As he turns 

 

the corner he sees Kinderman standing outside the house. 

 

 

 

FATHER DYER

 

Lieutenant? 

 

 

 

KINDERMAN

 

I came to say goodbye. 

 

 

 

FATHER DYER

 

You just missed them. 

 

 

 

KINDERMAN

 

How's the girl? 

 

 

 

FATHER DYER

 

She seemed fine. 

 

 

 

KINDERMAN

 

Ah, that's good. That's all that's important. Back to business. 

 

Back to work. Bye now, Father. 

 

 

 

FATHER DYER

 

Good bye. 

 

 

 

They both walk their separate ways. Kinderman stops. 

 

 

 

KINDERMAN :

Father Dyer? 

 

 

 

Dyer turns back to him. 

 

 

 

KINDERMAN

Do you like films? 

 

 

 

FATHER DYER

 

Sure. 

 

 

 

KINDERMAN

I get passes. 

In fact I got a pass for The Crest tomorrow night. 

Would you like to go? 

 

 

FATHER DYER

What's playing?

 

 

 

KINDERMAN

Withering Heights. 

 

 

 

FATHER DYER

Who's in it? 

 

 

 

KINDERMAN

Heathcliff, Jackie Gleason, and in the role of Catherine  Earnshaw, Lucille Ball. 

 

 

 

FATHER DYER

I've seen it. 

 

 

 

KINDERMAN

(smirks) 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 

 

Each person carries in himself his own Destiny.

Arthur : 

Merlin, what have I done?!

Merlin :

You have •broken• — 

What could not •be• broken..!!

Arthur : 

Hope is Broken. 

My Pride broke it. 

My Rage broke it. 

This Excellent Knight — 

who fought with Fairness and Grace 

was •meant• to win. 

I used Excalibur to 

CHANGE That Verdict. 

I have lost, for all time 

The Ancient Sword of My Fathers...

Whose Power was meant to unite ALL Men, 

not to serve The Vanity of A Single Man. 

I am — NOTHING. 

"There is, of course, a scientific reason for all forms of divination practised without hope or promise of reward. 

Each person carries in himself His Own Destiny. Events do not happen to people by chance, but are invariably the result of some past cause. For instance, in the last years a man becomes a soldier who had never intended to pursue a military career. 

This does not happen to him by chance, but because of the prior occurrence of la European war in which his country was engaged. 

The outbreak of war is similarly the result of other causes, none of which happened by chance, but were founded by still remoter occurrences. 

It is the same with The Future. 

That which a person does today as a result of something that happened in the past, will in its turn prove the cause of something that will happen at some future date. 

The mere act of doing something today sets in motion forces that in process of time will inevitably bring about some entirely unforeseen event.

This event is not decreed by Fate or Providence, but by the person who by the committal of some act unconsciously compels the occurrence of some future event which he does not foresee. 

In other words, a man decrees his own destiny and shapes his own ends by his actions, whether Providence rough-hew them or not. 

Now this being so, it follows that he carries His Destiny with him, and the more powerful his mind and intellect the more clearly is this seen to be the case. 

Therefore it is possible for a person's mind, formed as the result of past events over which he had no control, to foresee by an effort what will occur in the future as the result of acts deliberately done. 

Since it is given to but few, and that not often of intention, to see actually what is about to happen in a vision or by means of what is called the 'second sight,' some machinery must be provided in the form of symbols from which an interpretation of the future can be made. 

It matters little what the method or nature of the symbols chosen is — dice or dominoes, cards or tea-leaves. 

What matters is that the person shaking the dice, shuffling the dominoes, cutting the cards or turning the tea-cup, is by these very acts transferring from his mind where they lie hidden even from himself the shadows of coming events which by his own actions in the past he has already predetermined shall occur in the future. 

It only remains for someone to read and interpret these symbols correctly in order to ascertain something of what is likely to happen; and it is here that singleness of purpose and freedom from ulterior motives are necessary in order to avoid error and to form a true and clear judgment.

This is the Serious and Scientific Explanation of the little-understood and less-comprehended action of various forms of Divination having for their object the throwing of a little light upon the occult. 

Of all these forms perhaps Divination by Tea-Leaves is the simplest, truest, and most easily learned. 

Even if the student is disinclined to attach much importance to what he sees in the cup, the reading of the tea-leaves forms a sufficiently innocent and amusing recreation for the breakfast- or tea-table; and the man who finds a lucky sign such as an anchor or a tree in his cup, or the maiden who discovers a pair of heart-shaped groups of leaves in conjunction with a ring, will be suffering no harm in thus deriving encouragement for the future, even should they attach no importance to their occurrence, but merely treat them as an occasion for harmless mirth and badinage.

******

The ritual to be observed is very simple. 

The tea-drinker should drink the contents of his or her cup so as to leave only about half a teaspoonful of the beverage remaining. 

He should next take the cup by the handle in his left hand, rim upwards, and turn it three times from left to right in one fairly rapid swinging movement. 

He should then very slowly and carefully invert it over the saucer and leave it there for a minute, so as to permit of all moisture draining away.

If he approaches The Oracle at all seriously he should during the whole of these proceedings concentrate his mind upon his future Destiny, and 'will' that the symbols forming under the guidance of his hand and arm (which in their turn are, of course, directed by his brain) shall correctly represent What is Destined to Happen to Him in The Future.

If, however, he or she is not in such deadly earnest, but merely indulging in a harmless pastime, such an effort of concentration need not be made. 

The 'willing' is, of course, akin to 'wishing' when cutting the cards in another time-honoured form of fortune-telling.

The cup to be read should be held in the hand and turned about in order to read the symbols without disturbing them, which will not happen if the moisture has been properly drained away. 

The handle of the cup represents the consultant and is akin to the 'house' in divination by the cards. 

By this fixed point judgment is made as to events approaching the 'house' of the consultant, journeys away from home, messages or visitors to be expected, relative distance, and so forth. 

The advantage of employing a cup instead of a saucer is here apparent.

'The bottom of the cup represents the remoter future foretold; the side events not so far distant; and matters symbolised near the rim those that may be expected to occur quickly. 

The nearer the symbols approach the handle in all three cases the nearer to fulfilment will be the events prognosticated.

If this simple ritual has been correctly carried out the tea-leaves, whether many or few, will be found distributed about the bottom and sides of the cup. 

The fortune may be equally well told whether there are many leaves or few; but of course there must be some, and therefore the tea should not have been made in a pot provided with one of the patent arrangements that stop the leaves from issuing from the spout when the beverage is poured into the cups. 

There is nothing to beat one of the plain old-fashioned earthenware teapots, whether for the purpose of preparing a palatable beverage or for that of providing the means of telling a fortune.”