Manhunter Page #27

126.

SOYBEAN FIELD + ST. LOUIS PD CAR NUMBER 1

moving across the furrowed rows. The car starts to slow.

We don't know why they are slowing down.

TIRES:

spray the gumbo mud out of the furrows. The forward momentum

of the car slows until it completely stops. The tires spin

and dig in.

GRAHAM:

spills out and starts running for the house and the orchard

a quarter mile away. Crawford follows.

CUT TO:

EXT. DOLLARHYDE ORCHARD - GRAHAM + CRAWFORD

running towards the house through the trees. Branches

slap at them. Ahead, the orchard will parallel the house.

They can get to within 25 yards using the trees as cover.

CRAWFORD:

(into radio)

Get the roadblocks set on Route

Three! There's an access road to

the back of the house. That ought

to be a second team's approach.

Will Graham and I are in an orchard

due west of the house.

GRAHAM:

How far away's the back-up?

CRAWFORD:

Three minutes.

Graham gestures Crawford to a position with a front 3/4 view

of the house.

GRAHAM:

I'll cover the back.

CRAWFORD:

Stay in the trees.

As we TRACK with Graham through the trees towards the back,

beyond him we see the side yard and the side windows moving

past. The windows are large. At the back -- like a ramp --

are two storm cellar doors.

127 .

FRONTAL:
GRAHAM

in the dark shadows of the trees. He seems to float: through

the branches and slows and settles quietly. Then the ex-

pression on Will Graham's face starts to change...

GRAHAM'S POV:
KITCHEN WINDOW

Shadows. A light comes on. Then the figure of Reba is

swung out of a corner past the window...

GRAHAM:

(resigned whisper

into radio)

There's somebody in the house, Jack…

CRAWFORD (O.S.)

(radio filter)

Wait for the back-up! Will?

GRAHAM:

(whispers in radio)

It's happening again, Jack...

CUT TO:

INT. DOLLARHYDE'S KITCHEN - DOLLARHYDE + REBA - NIGHT

On the right we see Dollarhyde's right arm with the aluminum

shafts... Beyond them, THROUGH THE WINDOW we see Graham has

stepped out from the tree line. He stands on the grass.

He looks helpless. His gun hangs idly at his side.

CLOSE:
GRAHAM

It's his worst nightmare. About what he's seeing:

GRAHAM:

(low)

... stop it.

INT. DOLLARHME'S KITCHEN - DOLLARHYDE + BEYOND HIM 007 THE

WINDOW:
GRAHAM

We and Graham see Dollarhyde's arm arc back for an uppercutting

thrust into Reba. Dollarhyde's left hand clutching her dress,

raises her two feet up the wall. And now Graham starts running

forward. And his face is distorted and he's shouting:

GRAHAM:

(roars)

STOP IT!!!

Dollarhyde turns to the window in time to see:

128.

WINDOW + GRAHAM

-- his arms across his face and his body angled sideways

-- CRASHES through the glass.

DOLLARHYDE:

catching Graham's momentum -- throws him across the room.

GRAHAM:

CRASHES off the fridge which opens and spills and hits the

floor as...

DOLLARHYDE:

ROARS and grabs his 9mm from the kitchen table.

GRAHAM'S FACE

is lacerated from the glass. He sees his own blood on the

floor. He struggles to rise. The first thing up is the

big bore of the .44. It FIRES as if it had its own mind.

DOLLARHYDE'S

left shoulder EXPLODES.

GRAHAM:

bleeding, brings the .44 down from the recoil of the first shot.

Now, up on one knee, he FIRES FOUR more rounds into Dollarhyde.

OVERHEAD:
THE KITCHEN FLOOR

Graham stands and walks to Dollarhyde. Reba is collapsed in

the corner. Dollarhyde it more exploded from within than

shot. Graham starts to raise the gun...

CUT TO:

EXT. DOLLARHYDE HOUSE - THROUGH KITCHEN WINDOW: GRAHAM

As we PULL BACK and see arriving squad car flashers play on

the walls and Crawford runs through the foreground, we see

Graham point the gun down to Dollarhyde's head. As we're

pulling away comes the final FLASH + REPORT and...

CUT TO:

129.

INT. MOTEL ROOM - WIDE REAR SHOT ON GRAHAM - DAY

We will only see the rear of Will Graham sitting alone on the

side of the bed in the alienating motel room. His head is

bandaged.

GRAHAM:

(into phone)

Hello.

INTERCUT WITH:

INT. MONTANA RANCH HOUSE, KITCHEN - MOLLY - DAY

MOLLY:

I was out in the garden. Mama came

out and told me when she saw it on

TV. Why didn't you call me?

GRAHAM:

Mama was probably asleep.

MOLLY:

Will? Are you okay?

GRAHAM:

Not too bad. I'll be here a few

days longer.

(beat)

I want to see you.

MOLLY:

I want to see you, too.

GRAHAM:

Today's Wednesday. By Friday I

ought to...

MOLLY:

Mama has all Kevin's uncles and

aunts coming down from Cheyenne

next week and...

GRAHAM:

Come home with me.

MOLLY:

Will, they never get to see Kevin

and a few more days...

GRAHAM:

What's this Mama sh*t?

MOLLY:

It's what Kevin called her when he

was little...

130.

GRAHAM:

What's the problem, Molly?

MOLLY:

(pause)

I came up here after Kevin's father

died .

(beat)

They were very supportive and

helped me adjust. I got myself

together. I've gotten myself

together now, too.

GRAHAM:

Small difference: I'm not dead,

yet .

MOLLY:

Will?

(no response)

You could come up here.

GRAHAM:

They don't want me up there. Every

time they look at me I remind them...

If they thought about it, they'd

want you. Bur all they really want's

the boy. And they'll take you.

But they don't want to see me...

MOLLY:

That's not true.

GRAHAM:

Okay. They're full of sh*t and

they make me sick...

Then no one says anything.

MOLLY:

Maybe we should give it some time...

GRAHAM:

Yeah. That's great. A little

time.

(beat

I tell you what, buckaroo...

(beat)

See you around.

Graham slams down the phone. Still half-immersed in a

psychotic landscape of the mind, Graham's psyche resonates

with echoes of Dollarhyde. Now he gets up and walks out of

the room leaving the door open. Outside is only the deserted

parking lot.

CUT TO:

131.

INT. TAXI (TULSA, OKLAHOMA) - PASSENGER'S POV OF DRIVER - NIGHT

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