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The resulting psychic fragmentation is reflected in the mirror images which permeate the film. (The demon was named in Blatty's novel but not in the original film.) Its activity of separation masked as joining is symbolized by the locust swarm which forms a single-mindlessness ('a Locust Mind, if you will') in mockery of Whole (Holy) Consciousness (Spirit). In THE HERETIC, this imitation or false Christ is symbolized by Pazuzu, the Babylonian genie and locust god-one of many 'heathen' idols demonized in the Judeo-Christian tradition. (Among the many differences between this film and THE HERETIC is that the original's emphasis is strongly verbal whereas THE HERETIC expresses its complex ideas almost entirely in visual and symbolic terms.) A distinction is drawn between the peace and unity of the World Mind and the insanity ('evil') and corruption of its opposite, the ego: a state of separation from consciousness which mimics the One-Mindedness of God or the Universe. The science-fictional device called the Synchronizer allows the World Mind concept to be expressed in cinematic images.

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In the scene at the Natural History Museum, the attentively listening viewer will discover (in the full 117-minute version) that Father Lamont tells Regan about Teilhard de Chardin and briefly explains the World Mind theory. Thus Lamont's descent into (and beyond) heresy is an initiatory quest which deepens as he goes against the Church's orders and ultimately calls upon the demon for guidance to the 'evil heart' of the mystery. Just so, the heretic in EXORCIST II is initially Merrin until, through young Regan (Linda Blair), Father Lamont makes contact with the mind of Merrin and in that psychic joining shares his vision. The title character of THE EXORCIST was that of Father Merrin (Max Von Sydow) this role then passed to the younger priest, Father Karras (Jason Miller). In EXORCIST II: THE HERETIC, the late Father Merrin's reputation has fallen into disrepute and Father Lamont (Richard Burton), suffering a crisis of faith, is ordered by the Cardinal to investigate 'the circumstances surrounding the death of Father Merrin' and the legitimacy of the exorcism before Merrin's papers (his life's work) can be released. The story of Father Lamont's spiritual odyssey is specifically a meditation on the Grail Quest theme, derived from Celtic mysticism and Arthurian legend, which underlie a thematically-related sequence in Boorman's early work: DELIVERANCE, ZARDOZ, EXORCIST II: THE HERETIC, Excalibur and THE EMERALD FOREST, comprising an important cinematic exploration of the Quest as Initiatory path. The link to Teilhard De Chardin provided an ideal venue. Boorman accepted the project as a means to artistically express metaphysical ideas in which he was absorbed. After de Chardin's death his papers were suppressed by the Vatican and his work was investigated on charges of heresy (his ideas being heretical by the standards of the Catholic Church.) When Blatty declined to write Warner Bros.' sequel, John Boorman and his creative associate Rospo Pallenberg developed an original script from a treatment by playwright William Goodhart, the credited screenwriter. This idea, a synthesis of Christian and Asian religious concepts, is resonant with many unorthodox spiritual teachings from Theosophy to the psychology of Carl Jung. In books such as 'The Phenomenon of Man', de Chardin theorized a metaphysical concept he called the World Mind, an interpretation of Christian mysticism which sees all minds as joined and gradually evolving into a full awareness of Being as a single consciousness akin to the New Thought idea of Christ Consciousness-the 'only begotten' extension of Universal Consciousness, or God. William Peter Blatty, author of THE EXORCIST, based the character of Father Lankester Merrin on the Jesuit scholar Teilhard de Chardin.

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