The Exorcist - 1973 | Complete Story and Screenshots

Directed By William Friedkin - Screenplay by William Peter Blatty, Based on his own novel

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FOYER: 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 it, she applies the chain lock on. She opens the door slowly and we see Kinderman staring at her from the gap.

REGAN'S BEDROOM: 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 realizes 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. During the struggle, Regan rips off Karras' medallion.

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 the hint of a demonic shade as his attention turns to the window.

We see a glimpse of the window and the curtains are fluttering. For an instant, we see a vision of Mother Karras in the window.

His eyes have turned bright green and his face, the look of the demon. Regan 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.


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 unmistakably 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 followed by Kinderman.

CHRIS: Regan?

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 ground and then looks at Chris and Regan.

M-STREET - STEPS: A crowd is gathering at the scene of an accident. Damien is lying in a pool of blood on the pavement at the foot of the steps under Regan's window. The police arrive.

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 administering the last rites) Ego to abslovo in nomine patris, et filli, et spiritus sancti. Amen.

As a wailing siren signals the approach of an ambulance, Dyer weeps openly.

PROSPECT STREET - TOP OF STEPS: On a bright, sunny day, we are looking down the steps which are now clean. No blood, or body at the bottom.

MACNEIL HOUSE - DINING ROOM: 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 it in one of the large cardboard boxes near her.

SHARON: That's everything.

CHRIS: I'm gonna miss you.

SHARON: Same here.

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 it in her pocket.

SHARON: Better hurry.

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

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

PROSPECT STREET: 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 remember any of it.

FATHER DYER: That's good.

REGAN (exits the house and walks to Chris): All done.

CHRIS: Honey this is Father Dyer.

REGAN: Hi Father.


KARL: Ready Mrs.

CHRIS (shakes Father Dyer's hand): Goodbye Father. I'll call you.


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.


WILLIE: Goodbye 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.

FATHER DYER: Why don't you keep it.

He places the medal back in her hand and holds her hand a moment.

The car drives on, and Dyer watches it drive off. Dyer walks down toward the top of the M Street Steps.

He looks down the steps 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: That's important. . . That's important. Well, back to business. Back to work. Bye, Father.


They both walk their separate ways. Kinderman stops.

KINDERMAN: Father Dyer?

Dyer turns back to him.

KINDERMAN: You go to films?


KINDERMAN: Well, 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: Another one. Had your lunch?


Kinderman loops his arm around Dyer's. They start to walk off. We fade out as Tubular Bells starts to play.


The music changes to the loud Fantasia For Strings.


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