Manhunter Page #23

Graham laughs. Then he starts to listen closely. There is

something here for him:

GRAHAM:

I don't believe in God.

LECKTOR:

You should, Will. God's terrific!

(beat)

He dropped a church roof on thirty-

four of His worshippers in Texas last

Wednesday night. Just as they were

grovelling to Him and singing a hymn.

Don't you think that felt good?

(beat)

He wouldn't begrudge you two measly

murders.

GRAHAM:

Why does it feel good?

LECKTOR:

It feels good because: if you do as

God does, enough times, you become

as God is:
powerful...

Will Graham thinks about this.

LECKTOR:

(fading)

God's a champ! He got a hundred and

sixty Philippines in one plane crash

two months ago... Remember the big

earthquake in Italy last spring...?

107.

Lecktor's voice fades as Will Graham hangs us on him. Graham

sits on the crumpled bed and stares out the window at the rain..

CUT TO:

INT. LEEDS HOUSE - GRAHAM - DAY

stands in the kitchen. His raincoat and rainhat drip water

onto the floor. The house no longer is a crime scene. It's

been cleaned up. It is absolutely naked. Shades are drawn.

Slashes of light hit the floor. Graham stands there. Then

he walks forward...

STAIRCASE - GRAHAM'S FEET UP TIIE STAIRS

GRAHAM (O.S.)

I enter. The glass cutter. I lick

the suction cup. The piece of glass

I take out is mine. House is mine .

(beat)

I walk up these stairs. I pass

childrens' toys. The children mean

nothing to me...

The toys appear on the stairs as Graham's feet continue

moving up the stairs to the second-floor landing.

GRAHAM'S POV:
APPROACHING LEEDS MASTER BEDROOM DOOR

GRAHAM (O.S.)

I am soundless. I move to the door.

I step into the room...

INT. LEEDS MASTER BEDROOM: THE DOOR

It opens. Graham enters. The room is white. We don't see

the bed. Graham stands there in profile. Beyond Graham OUT

OF FOCUS the wall starts to discolor. Pieces of plaster

start to fall. The room starts to disintegrate around Graham.

We will see what Graham sees in his mind.

CRAHAM:

I see you there. I breathe in the

perfume of this room. I am in the

inner sanctum of a life. You will

accept me. Take me into you.

GRAHAM'S POV:
THE BED

The ceiling and walls decomposing. Nothing falls on the bed.

Mr. Charles Leeds sleeps with his arm under Mrs. Leeds' pillow.

108.

Mrs. Leeds is on her side. Slowly she starts to rise. She

sees the figure in front of her and her mouth opens to scream.

A silent shot shoves her back to the headboard. Red blood

starts to stain her nightgown as she holds the wound. We

FLOAT CLOSER. In SLOW MOTION Mr. Leeds starts to rise.

Something massive and silver flashes through the FRAME. He Is

gone. Mirrors explode. Mrs. Leeds was looking at her hand

covered with blood. Now Mrs. Leeds looks up at us. Her face

turns into a smile. Her eyes are silver. A silver light

emanates from her mouth. She smiles at us. She wants us. She

really wants us. Her hand gestures us closer. As we MOVE

CLOSER we hear:

GRAHAM (O.S.)

You will be better than anything...

anything I have ever known. As I

see me in your eyes.., as I see me

accepted there. Reflected there in

mirrors .

(beat)

And you, you are the fuel for my

changing... as this event becomes

one more step towards what I am

becoming that is different than what

I have ever been before...

(beat)

As I see me, accepted by you, in the

silver mirrors of your eyes...

In the silver mirrors of her eyes, Graham sees reflected

there:
himself.

INT. LEEDS LIVING ROOM - WIDE

It is empty. The bare floorboards, a dynamic perspective of

lines, go nowhere. O.S. Graham's scream reverberates in the

empty house.

CUT TO:

INT. GATEWAY LABS, MAIN DARKROOM- WIDE FROM THE CEILING

DAY:

It is pitch-black. In the green safe light we make our the

rollers and pulleys carrying film through the vats of D76

developer and fixer. It is mechanized. There is no one

to maintain it. Distantly on the floor in a far corner we

perceive the shape of a man and reddish glow. The CAMERA

STARTS MOVING towards the shape on the floor. As we get

closer we realize it's Dollarhyde. Something is wrong with

him. ..

RED DRAGON (O.S.)

THEY WILL FIND OUT ABOUT YOU.

THEY WILL LOCK YOU IN A PLACE WORSE

THAN BROTHER BUDDY'S.

109.

DOLLARHYDE:

No.

RED DRAGON (O.S.)

THEY'LL MAKE YOU BE A PIECE OF

SH*T AGAIN. THEY'LL MAKE YOU BE

A HARELIP AGAIN. YOU BETTER GIVE

ME WHAT I WANT!

DOLLARHYDE:

No!

By now we're close to his body curled up on the floor in the

sanctuary of the developing room. The red glow emanates

from beneath Dollarhyde's shirt.

RED DRAGON (O.S.)

SHE'LL F*** OTHER PEOPLE. PRETTY

PEOPLE. SHE'LL PUT IN HER MOUTH

THEIR...

DOLLARHYDE.

Shut up. Stop. Stop it.

He stands.

RED DRAGON (O.S.)

YOU GIVE ME HER AND THE SHERMANS!

YOU BETTER GIVE ME BOTH!

DOLLARHYDE:

I want her! I want her alive...

I'm going to keep her! YOU HEAR

ME!!!

He starts throwing bottles of chemicals across the room.

They form a moire pattern of colors on walls. Some splash

on him and make his shirt smoke.

PHONE:

Dollarhyde's unsteady hand takes it off the wall. Be pours

sweat. If the acid that makes his shirt smoke burns him,

he doesn't acknowledge it. He punches four numbers.

DOLLARHYDE:

Reba ...

REBA (V.O.)

Francis? Where are you?

DOLLARHYDE:

The developing room.

(beat)

I need to... see you.

110.

REBA (V.O.)

I want to see you, too, Francis...

Should I come over?

DOLLARHYDE:

(into phone)

No. Reba...?

REBA (V.O.)

(phone filter)

Are you okay...?

DOLLARHYDE:

(into phone; getting

control)

I'll see you later. All right?

REBA (V.O.)

(phone filter)

You'll come by?

DOLLARHYDE:

(into phone)

Yes .

CUT TO:

EXT. REBA'S HOUSE - SLOW TRACK PAST DOLLARHYDE'S VAN -

NIGHT:

He sits under the tree with the lights out. He is waiting.

Watching. He looks at his watch. Then he hears a car

approach and looks up.

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