Manhunter Page #19

DOLLARHYDE:

You will tell the truth?

LOUNDS:

Absolutely,

DOLLARHYDE:

Good .

(beat)

We'll seal your promise with...

DOLLARHYDE'S FACE,

with the stocking rolled down over his nose, smiles his

dentured smile. And with his kimono open, revealing the

face of the dragon emblazoned in crimson on his muscular

torso; he leans INTO CAMERA...

DOLLARHYDE:

... with a kiss.

VERY WIDE ANGLE:

The figures seen from the back. We don't know what Dollar-

hyde, leaning over Lounds, is doing, but Lounds screams.

CUT TO:

EXT. CHICAGO ALLEY - WIDE SHOT - NIGHT

Dollarhyde's van is on the left against the wall. The alley

is empty. Then we see shapes between the van and the wall.

CLOSER:
OVER LOUNDS' RIGHT SHOULDER

We do not see his face. We see his shoulder and his lap.

From an unseen facial wound, blood drips onto his pants' leg.

Dollarhyde starts spilling liquid on Lounds. Lounds starts

to moan and rouse from unconsciousness. His head starts to

turn. He knows he's going to die. And he has some courage.

87.

LOUNDS:

Go 'head and kill 'ee, you 'astard!

You rot in 'ell. rot in 'ell!

CUT TO:

INT. "TATTLER" GARAGE - OVER PARKING ATTENDANT'S RIGHT

SHOULDER ON THE RACING FORM - NIGHT

He pencils some selections. START TRACKING LEFT ACROSS

the back of his neck. Midway we hear the SQUEAK of a wheel-

chair. The parking attendant hears it, too. As the TRACK

CONTINUES OVER his left shoulder he puts down the Racing

form and looks. Nothing. Then he goes back to the Racing

Form.

PARKING ATTENDANT

reads. Now the wheels SQUEAK and ECHO LOUDER. His head

raises again...

OVER PARKING ATTENDANT'S LEFT SHOULDER

He turns INTO CAMERA. There's a loud WOOSH. His eyes go

wide. He explodes out of his chair, SCREAMING.

WHAT HE SEES:
LOUNDS IN WHEELCHAIR - A MAN AFLAME

Lounds is a fireball racing TOWARDS US. Just before the

fireball would smash into CAMERA...

CUT TO:

INT. BALTIMORE SAFE HOUSE, KITCHEN - GRAHAM + MOLLY - NIGHT

Graham and Molly are sitting at the kitchen table over cups

of coffee. It's dark. Graham is looking down into the Formica.

He and Molly say nothing for a long time. Then:

MOLLY:

Can I have one of your cigarettes?

GRAHAM:

(surprised)

You haven't smoked in two years.

MOLLY:

I'd like one of your cigarettes,

please.

Graham gives her one. Molly lights up. She picks a piece or

tobacco from her lips. She's trying to control fear.

88.

MOLLY:

Have you ever omitted telling me.

things before?

GRAHAM:

No.

MOLLY:

Then why?

GRAHAM:

I wanted it over fast.

(beat)

It felt dirty to not tell you.

MOLLY:

Can you quit?

GRAHAM:

No.

MOLLY:

And... where are things?

GRAHAM:

Where we're at is nowhere. We have

nothing. We're running out of time.

There is a long pause. Molly suspects:

MOLLY:

What will you do?

GRAHAM:

I have to go back to Birmingham.

MOLLY:

Is Crawford going with you?

GRAHAM:

No. I have to be. in there...

alone. Maybe there's something for

me if I know how he feels and thinks.

MOLLY:

William:
you are going to make

yourself Sick or get yourself killed.

Graham says nothing.

MOLLY:

Kevin and I have lived through... with

Kevin's father... once before... and

we can't...

She can't finish. There's a pause. Then: She looks at him.

89.

GRAHAM:

You should go to Montana. Stay with

Kevin's grandparents. They haven't

seen him for a while.

(beat)

I'll come and get you afterwards...

MOLLY:

Will…

He shakes his head and locks away from her, wondering about

himself:

GRAHAM:

Molly.

(pause)

… I love you. And I'm not really

going to be fit to be with for

awhile...

They are both frozen: in the same room but very separate.

Molly's eyes are moist. She gets up and leaves. Graham

sits at the kitchen table by himself, both hands around

his mug of coffee. Slowly, deliberately, he picks up the

mug to take a sip. Then he sits alone in the kitchen.

CUT TO:

INT. BALTIMORE AIRPORT - GRAHAM - DAY

On a pay phone to Dr. Bloom.

GBAHAM:

Sidney:
I don't understand him.

We know he re-arranges the kids

and husbands into a dead audience.

To witness the act. We know he

thinks the act is making him into

something different. His 'becoming'

...but I don't know what it is he

thinks he's becoming.

(beat)

The answer is something to do with

how he uses the mirrors. That's

what's missing for me. why the

mirrors?

BLOOM (V.O.)

The usual motivation doesn't apply

to him, nor the way he uses them.

I don't have an answer for you.

(beat)

Listen to me, my friend: leave this.

90.

GRAHAM:

And do what? Read about the next

family in the morning paper? In

my Monkey Ward safehouse 'cause I

can't take my family home?

(beat)

This ends when I make it over.

BLOOM (V.O.)

How are Molly and the boy?

GRAHAM:

Kevin and Molly are on their way

to Montana.

(beat)

Who the hell is he to do this to

my family, Sidney? Answer me that...!

Sidney Bloom has no answer.

CUT TO:

INT. BALTIMORE AIRPORT, COFFEE SHOP - WINDOW - LATE

AFTERNOON:

Outside is gray. Rain stripes the glass. Sheets of rain

whip across the silver planes and yellow utility vehicles.

CLOSE:
WINDOW

Graham's hand enters and flattens against his half-reflection

on the cool glass. He hears:

VALERIE LEEDS (V.O.)

(ansaphone

recording )

'Hello. This is Valerie Leeds. I'm

sorry I can't come to the phone right

now ...

GRAHAM:

I'm sorry, too...

WAITRESS:

Excuse me...?

Graham turns. The WAITRESS looks at him strangely.

GRAHAM:

Coffee ...

She leaves. Graham sits. He stares at his handprint and

says :

91.

GRAHAM:

It's just YOU and me now, sport.

And I'd better hurry up and find you.

(beat)

Because I'm losing all this...

CUT TD:

INT. DARKROOM - DOLLABHYDE - NIGHT

Entering. It is almost totally dark. In the green dullness

we make our the forms of a WOMAN and Dollarhyde.

DOLLARHYDE:

Ms. McClain, I'm Francis Dollarhyde.

I came about the low light level

infrared film stock.

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