Manhunter Page #2

5.

As he puts an arm around Molly...

CUT TO:

EXT. BEACH - KEVIN - TWILIGHT

is working in the sand. Behind him Graham is stapling

chicken wire to two foot-high fence posts.

KEVIN:

Will it keep them out?

GRAHAM:

Yeah. ..

KEVIN:

How many turtle eggs you think are

in here?

GRAHAM:

In this hatchery? Forty to fifty.

KEVIN:

Crabs would get most of the newborns

before they made it to the sea, huh?

GRAHAM:

Yeah, but not now.. These will all

make it... guaranteed.

CUT TO:

EXT. GRAHAM HOUSE - CRAWFORD + MOLLY - NIGHT

On the porch swing. Beyond them at the water's edge Graham

nothing to each other the fence. Crawford and Molly say

or a while. Then, finally:

MOLLY:

Whatever I say, you'll take him

away, won't you?

CRAWFORD:

I have to.

MOLLY:

You're his friend, Jack. Why can't

you leave him alone?

CRAWFORD:

Because it's his bad luck to be

special.

MOLLY:

He thinks you want him to look at

evidence.

6.

CRAWFORD:

Nobody's better with evidence. But

he has the other thing, too. He

doesn't like that part of it...

MOLLY:

You wouldn't like it, either if you

had it.

There is a pause between them. Molly lights a cigarette.

Crawford leans forward, resting his thick, pale, forearms

on his knees.

CRAWFORD:

Talking about 'like,' you don't like

me very much, do you?

MOLLY:

No.

(beat)

I don't like people who park in the

'handicapped zone'...

CRAWFROD:

I'LL try to keep him as far away from

it as I can...

CUT TO:

EXT. ATLANTA STREET - WIDE - NIGHT

Small poplars line the curb. It rained. The sidewalks are

wet. They are drying in splotches. The street is deserted.

The front walk vertically bisects the FRAME. An Atlanta

Police department car pulls to the curb and stops. The door

opens, lighting the interior and Will Graham starts out the

passenger side.

GRAHAM:

(distant)

Thanks for the lift.

OFFICER:

I'll come inside with you, if you

like, but Mr. Crawford said you'd

probably want to be alone.

GRAHAM:

That's right.

OFFTCER:

There's a VTR setup waiting in your

hotel room, that you asked for

They transferred the home movies of

both families once half-inch VHS.

7.

GRAHAM:

(getting out)

Thanks.

Graham exits the car and walks TOWARDS us. We PAN AROUND as

he moves through EXTREME CLOSEUP and see the Leeds family house

with all of the Atlanta Police department "crime scene" postings

Graham doesn't enter the front door. Be walks around the side.

CUT TO:

INT. LEEDS HOUSE, KITCHEN - WIDE - NIGHT

Three big sliding glass doors. The center one has been re-

placed with plywood. It's dark. A flashlight's beam starts

playing through the bushes in the side yard.., then the light

appears and blasts IN the LENS. It lights lots of dishes in

the sink. The dark kitchen looks like anybody's kitchen. The

house feels occupied. The Leed's possessions have been

undisturbed.

CLOSE:
GLASS DOOR

We hear the lock click and the door slide open as Graham

enters. It's like he's a burglar.

GRAHAM'S FEET

walk through the kitchen as if he knows where he is going.

A thermostat clicks and air conditioning comes on loudly.

Graham's feet pass our of frame...

INT. LEEDS HOUSE, SECOND STORY - FLOOR

is empty. The carpet is dark. We hear Graham's footsteps

up the stairs. Then his feet enter the frame and a flash-

light beam hits the carpet. It dwells on a couple of dark

stains. Track with Graham's feet to the entry to the master

bedroom. The bedroom is dark. We see nothing.

INT. LEEDS MASTER BEDROOM - LIGHT SWITCH

Graham's hand enters. He hits the light switch.

BLOOD:

screams at us from the walls.

CLOSE:
GRAHAM

doesn't visibly react.

8.

WIDER - GRAHAM

moves into the room. The bloodstains are extensive. Half

the walls look like a monochromatic Jackson Pollock. The

mirrors are smashed. Taped outlines on the mattress indi-

cate where the bodies had been found. Graham opens the

file he carries containing autopsy, lab and crime reports.

OVERHEAD ANGLE - GRAHAM

standing alone in the middle of the master bedroom. The

crime scene -- the disarray, the big splashes of arterial

blood on the walls, the smashed mirrors, taped outlines or

bodies -- is a testament to a violence that is pornographic.

Graham pulls out a tape recorder and starts dictating his

own notes, thumbing through various reports for reference.

GRAHAM:

intruder entered through kitchen

sliding door. Probably a glass

cutter. Why didn't he care that he

left AB saliva on the glass? it was

hot out that night. inside, the

house must' have been pleasantly cool

to him.

(beat)

The intruder cut Charles Leeds'

throat as he lay asleep beside Mrs.

Leeds. He shot Mrs. Leeds as she was

rising... Bullet entered the right of

her navel and lodged in her lumbar

spine, but she died of strangulation...

increase of serotonin and free

histimine levels in the gunshot wound

indicates... she lived at least five

minutes after she was shot... All

her other injuries were post-mortem.

(beat>

Then he went toward the children's

room.

(beat)

Direction and velocity of blood

stains on the east wall indicate

arterial spray.;. With his throat

cut, Mr. Leeds still tried to fight.

Because the intruder was moving to

the children's room...

(beat)

in the children's room the intruder

shot the first boy in bed. Second

boy was found in bed, but dustballs

indicate he was dragged out from

under his bed to be shot...

(MORE)

Rate this script:0.0 / 0 votes