You Made a Bear

To help Ryan Gosling stay in character, 

Bianca was treated like an actual person, 

as is done by the characters in the movie. 

She was dressed privately in her own trailer 

and was only present for scenes that she was in.

 To eliminate the possibility of any accusation 

about having sex with the doll, Bianca was 

custom ordered without any genitalia.

The scene where Lars and Bianca 

are about to enter the party was 

entirely improvised by Ryan Gosling (Lars), 

as well as the scene where he performs 

CPR on Margo's teddy bear.

In the scene where Lars is reading to Bianca, he is reading from "Don Quixote," whose main character also has 'delusions'.

Ryan Gosling brought in a Talking Heads cassette 

to play during the filming of the party 

as he thought it would be cool for the scene.

"Everything about them is Perfect." 

Perfection belonged to The Bears. 

But once in a while, Treadwell came 

face-to-face with the harsh reality 

of wild Nature. 

This did not fit into 

his sentimentalised view 

that everything Out 

There was Good, and 

The Universe in Balance 

and in Harmony. 

Male bears sometimes kill cubs to stop 

the females from lactating, and thus 

have them ready again for fornication. 

Here I differ with Treadwell. 

He seemed to ignore the fact that 

in Nature there are predators. 

I believe the common 

denominator of The Universe

 is not Harmony, but Chaos, 

Hostility and Murder.

Most disturbing for him was to find 

The Skull of a young bear. 

In the summer of 2000, came 

an extended drought. 

The creek was so low that for weeks, 

there was no salmon run, 

and starving bears 

simply ate their own.

When interference with 

Nature was not enough, 

he had to invoke

Higher Powers --

Fun Buffyverse Moments - "You made a bear!"

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 he 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 is Her Son

NURSE

Just a minute.

The grabs a set of keys and writes something in a note book. 

We then cut to Damien staring in the window of the ward. 

He's see's all sorts of people, all with mental problems.

UNCLE

You know it's funny. If You wasn't A Priest 

You'd be famous psychiatrist 

now on Park Avenue, 

Your Mother, she'd be living in 

a penthouse instead of here.

The nurse unlocks the door and opens it. 

Damien looks at His Uncle.

UNCLE

You go in Dimmy. 

I wait for you outside.

Karras walks in and leaves 

His Uncle behind.

NURSE

You'll find Mrs. Karras on the 

last bed on the left hand side.

As Damien enters, a few of the patients rush toward him. 

Two of them grab him, as the nurse tries to get them away.

Damien barges them out of his way only to have 

another patient rush into him and take his collar. 

The nurse takes her away as bed-bound patients 

look on with arms out stretched. 

Damien approaches his mothers bed.

KARRAS

Momma? It's Dimmy momma.

Mrs. Karras slowly turns her eyes to him.

MRS. KARRAS

Dimmy. Why they did this 

to me Dimmy? Why?

Damien rushes to comfort his mother.

KARRAS

Momma, I'm gonna take you outta here momma.

Mrs. Karras struggles to turn away from him.

KARRAS

Momma I'm goona take you home.

Mrs. Karras shouts at him in Greek 

as Damien tries to comfort her.

KARRAS

Momma, everything's gonna be alright momma, 

I'm gonna take you home!

EXTERIOR- NEW YORK- CITY STREET- DAY

We cut to Damien talking 

to his Uncle face to face.

KARRAS

Couldn't you have put

 her some place else?

UNCLE

Like what? Private hospital? Who got 

the money for that Dimmy? You?

INTERIOR- UNIVERSITY OF GEORGETOWN- 

BOXING GYM- DAY

We cut Damien taking his frustration out on a punch bag. He

throws a few hard punches before stopping for breath.

INTERIOR- DR. KLEIN'S EXAMINING ROOM- DAY

Brief montage of shots.

Klein administering a physical to Regan. 

Including opthalmoscope, tuning fork 

and simple coordination tests. 

Also blood sample in centrifograph, 

and urine sample 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 early 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 seems 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.

The 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.

The 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?

The 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 curb -- 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

You're gonna 

die up there.

The guy looks puzzled and Regan 

begins to urinate on the floor.

Friedkin

“I’ve always felt that A Film should first of all 

be an EMOTIONAL Experience : 

It should make you laugh, 

or cry, or be scared — 

but it should also inspire

and PROVOKE You…. 

and make you REFLECT.

Over the years, I’ve found that 

people take from The Exorcist 

what they bring TO it — 

if You Believe that The World is a Dark 

and EVIL Place, then The Exorcist 

WILL reinforce that belief…..

…..but if You Believe that 

There is a Force for Good, 

that COMBATS, and eventually 

TRIUMPHS over Evil 

— then You will be taking out of The Film, 

what WE tried to put IN to it.”

— Friedkin.

What's The Point?

"I think The Point is to make Us despair --

To See Ourselves as... animal and ugly.

To reject the possibility that God could love Us." 

  The priests left the room, stepping into the warmth and the dimness of the hall, where they both leaned wearily against the wall, their heads down and arms folded as they listened to the eerie, muffled singing from within. It was Karras who at last broke their silence. “You—you said earlier, Father, there was only one entity we’re dealing with.”

  “Yes.”

  The hushed tones, the lowered heads, were confessional.

  “All the others are but forms of attack,” continued Merrin. “There is one … only one. It is a demon.” There was a silence. Then Merrin stated simply, “I know you doubt this. But this demon I have met once before. And He is powerful, Damien. Powerful.”

  A silence. Then Karras spoke again.

  “We say the demon cannot touch the victim’s will.”

  “Yes, that is so. There is no sin.”

  “Then what would be the purpose of possession? What’s The Point?”

  “Who can know?” answered Merrin. “Who can really hope to know? And yet I think the demon’s target is not the possessed; it is us … the observers … every person in this house. And I think—I think the point is to make us despair; to reject our own humanity, Damien : to see ourselves as ultimately bestial, vile and putrescent; without dignity; ugly; unworthy. And there lies the heart of it, perhaps: in unworthiness. For I think belief in God is not a matter of reason at all; I think it finally is a matter of love: of accepting the possibility that God could ever love us.”

  Merrin paused, then continued more slowly and with an air of introspection: “Again, who really knows. But it is clear—at least to me—that the demon knows where to strike. Oh, yes, he knows. Long ago I despaired of ever loving my neighbor. Certain people … repelled me. And so how could I love them? I thought. It tormented me, Damien; it led me to despair of myself and from that, very soon, to despair of my God. My faith was shattered.”

  Surprised, Karras turned and looked at Merrin with interest. “And what happened?” he asked.

  “Ah, well … at last I realized that God would never ask of me that which I know to be psychologically impossible; that the love which He asked was in my will and not meant to be felt as emotion. No. Not at all. He was asking that I act with love; that I do unto others; and that I should do it unto those who repelled me, I believe, was a greater act of love than any other.” Merrin lowered his head and spoke even more softly. “I know that all of this must seem very obvious to you, Damien. I know. But at the time I could not see it. Strange blindness. How many husbands and wives,” Merrin uttered sadly, “must believe they have fallen out of love because their hearts no longer race at the sight of their beloveds. Ah, dear God!” He shook his head. And then he nodded. “There it lies, I think, Damien … possession; not in wars, as some tend to believe; not so much; and very rarely in extraordinary interventions such as here … this girl … this poor child. No, I tend to see possession most often in the little things, Damien: in the senseless, petty spites and misunderstandings; the cruel and cutting word that leaps unbidden to the tongue between friends. Between lovers. Between husbands and wives. Enough of these and we have no need of Satan to manage our wars; these we manage for ourselves … for ourselves.”

  The lilting singing in the bedroom could still be heard, drawing Merrin to look up at the door with a distant stare. “And yet even from this—from evil—there will finally come good in some way; in some way that we may never understand or even see.” Merrin paused. “Perhaps evil is the crucible of goodness,” he brooded. “And perhaps even Satan—Satan, in spite of himself—somehow serves to work out the will of God.”

  Merrin said no more, and for a time they stood in silence while Karras reflected; until another objection came to his mind. “Once the demon’s driven out,” he asked, “what’s to keep it from coming back in?”

  “I don’t know,” Merrin answered. “And yet it never seems to happen. No, never.” Merrin put a hand to his face, pinching tightly at the corners of his eyes. “ ‘Damien’ … what a wonderful name,” he murmured. Karras heard exhaustion in his voice. And something else. Some anxiety. Something like repression of pain.

  Abruptly, Merrin pushed himself away from the wall, and with his face still hidden in his hand, he excused himself and hurried down the hall to a bathroom. What was wrong? wondered Karras. He felt a sudden envy and admiration for the exorcist’s strong and simple faith. Then he turned toward the door. The singing. It had stopped. Had the night at last ended?

  The priests left the room, stepping into the warmth and the dimness of the hall, where they both leaned wearily against the wall, their heads down and arms folded as they listened to the eerie, muffled singing from within. It was Karras who at last broke their silence. “You—you said earlier, Father, there was only one entity we’re dealing with.”

  “Yes.”

  The hushed tones, the lowered heads, were confessional.

  “All the others are but forms of attack,” continued Merrin. “There is one … only one. It is a demon.” There was a silence. Then Merrin stated simply, “I know you doubt this. But this demon I have met once before. And He is powerful, Damien. Powerful.”

  A silence. Then Karras spoke again.

  “We say the demon cannot touch the victim’s will.”

  “Yes, that is so. There is no sin.”

  “Then what would be the purpose of possession? What’s The Point?”

  “Who can know?” answered Merrin. “Who can really hope to know? And yet I think the demon’s target is not the possessed; it is us … the observers … every person in this house. And I think—I think the point is to make us despair; to reject our own humanity, Damien : to see ourselves as ultimately bestial, vile and putrescent; without dignity; ugly; unworthy. And there lies the heart of it, perhaps: in unworthiness. For I think belief in God is not a matter of reason at all; I think it finally is a matter of love: of accepting the possibility that God could ever love us.”

  Merrin paused, then continued more slowly and with an air of introspection: “Again, who really knows. But it is clear—at least to me—that the demon knows where to strike. Oh, yes, he knows. Long ago I despaired of ever loving my neighbor. Certain people … repelled me. And so how could I love them? I thought. It tormented me, Damien; it led me to despair of myself and from that, very soon, to despair of my God. My faith was shattered.”

  Surprised, Karras turned and looked at Merrin with interest. “And what happened?” he asked.

  “Ah, well … at last I realized that God would never ask of me that which I know to be psychologically impossible; that the love which He asked was in my will and not meant to be felt as emotion. No. Not at all. He was asking that I act with love; that I do unto others; and that I should do it unto those who repelled me, I believe, was a greater act of love than any other.” Merrin lowered his head and spoke even more softly. “I know that all of this must seem very obvious to you, Damien. I know. But at the time I could not see it. Strange blindness. How many husbands and wives,” Merrin uttered sadly, “must believe they have fallen out of love because their hearts no longer race at the sight of their beloveds. Ah, dear God!” He shook his head. And then he nodded. “There it lies, I think, Damien … possession; not in wars, as some tend to believe; not so much; and very rarely in extraordinary interventions such as here … this girl … this poor child. No, I tend to see possession most often in the little things, Damien: in the senseless, petty spites and misunderstandings; the cruel and cutting word that leaps unbidden to the tongue between friends. Between lovers. Between husbands and wives. Enough of these and we have no need of Satan to manage our wars; these we manage for ourselves … for ourselves.”

  The lilting singing in the bedroom could still be heard, drawing Merrin to look up at the door with a distant stare. “And yet even from this — from evil — there will finally come good in some way; in some way that we may never understand or even see.” Merrin paused. “Perhaps evil is the crucible of goodness,” he brooded. “And perhaps even Satan — Satan, in spite of himself — somehow serves to work out the will of God.”

  Merrin said no more, and for a time they stood in silence while Karras reflected; until another objection came to his mind. “Once the demon’s driven out,” he asked, “what’s to keep it from coming back in?”

  “I don’t know,” Merrin answered. “And yet it never seems to happen. No, never.” Merrin put a hand to his face, pinching tightly at the corners of his eyes. “ ‘Damien’ … what a wonderful name,” he murmured. Karras heard exhaustion in his voice. And something else. Some anxiety. Something like repression of pain.

  Abruptly, Merrin pushed himself away from the wall, and with his face still hidden in his hand, he excused himself and hurried down the hall to a bathroom. What was wrong? wondered Karras. He felt a sudden envy and admiration for the exorcist’s strong and simple faith. Then he turned toward the door. The singing. It had stopped. Had the night at last ended?