Manhunter Page #24

DOLLARHYDE'S POV: GREEN OLDSMOBILE

pulls into Reba's drive.

INT. VAN - DOLLARHME'S FACE

Excited. He starts to get out. Now he stops.

DOLLARHYDE'S POV: REBA + RALPH DANDRIDGE

exit the Oldsmobile. He helps Reba out of the car. She

makes her own way up the sidewalk to her door. Reba opens

her door with a key. She turns towards Dandridge.

DANDRIDGE:

There's something on your face.

He brushes at a speck of dust on Reba's cheek.

111.

INT. VAN - DOLLARHYDE

stares. Events are threatening Dollarhyde's fragile stabil-

ity. We don't want this to be happening, we don't want

Dandridge to touch her...

DOLLARHYDE'S POV: REBA + DANDRIDGE

We see what Dollarhyde imagines: Dandridge's fingers caress

the soft skin of Reba's face. Reba's expression and mouth

are open and warm to him.

INT. VAN - DOLLARHYDE'S FACE

Blank .

DOLLARHYDE'S POV: REBA + DOLLARHYDE

Reba smiles. Her lips part. His finger brushes between her

lips... His hand goes to her breast...

INT. DOLLARHYDE'S VAN - DOLLARHYDE'S

hand clutches the dash.

PADDED DASH:

His fingers pop through the vinyl, gouging deep furrows. We

hear hyperventilating.

EXT. REBA'S HOUSE - REBA + DANDRIDGE

Normal reality. There was no, there is no seduction. No

contact.

REBA:

What was it?

DANDRIDGE:

Pollen .

REBA:

Thanks for the ride.

DANDRIDGE:

See you tomorrow.

Reba walks into her apartment

112.

RALPH DANDRIDGE:

walks back to his car. We are TRACKING WITH Dandridge walk-

ing past the hedges. An arm shoots out and turns Dandridge.

Dollarhyde's hand clutches the whole of Dandridge's lower

face from underneath his jaw. He starts crushing Dandridge's

face. THREE soft POPS are from Dollarhyde's nine millimeter.

He shot Dandridge three times in the heart.

CUT TO:

INT. REBA'S DUPLEX - REBA - NIGHT

Moving in the dark. The DOORBELL RINGS. She has unbuttoned

her blouse. Now she goes back to answer the door.

REBA:

Who is it?

DOLLARHYDE (O.S.)

It's me.

REBA:

Who?

DOLLARHYDE (O.S.)

Me.

REBA:

Francis.. .?

She opens the door and smiles.

RED DRAGON (O.S.)

It's not Francis?

(beat)

No. Francis is gone. Francis is

gone forever...

As he steps towards her...

CUT TO:

THE MOON:

It's full and very large as it dawns over black water that

seems to ripple and be drawn to it. PULL BACK to reveal

we are:

INT. CHICAGO FBI OFFICE - WINDOW + NIGHT SKY - NIGHT

Next to the window we see the Jacobi family in fishing

scene on a monitor. They are on a pier into a small lake

with poles and bobbers. The kids turn back and wave AT us.

113.

CRAWFORD (O.S.)

What's important?

The scene changes to a birthday party. The Jacobis are

sitting around a dining table. They are singing.

GRAHAM + CRAWFORD

GRAHAM:

He changes them into beings that

accept him... And he needs to see

the acceptance, In the mirrors.

I didn't understand the mirrors

before.

(beat)

It's very important.

CRAWFORD:

'Changes?'

GRAHAM:

It's a word. Killing them...

(beat)

His delusion is:
if he sees

himself accepted enough times, he

will become as one who has the

power to be accepted all the time.

(beat)

And he would record it somehow. So

he can see himself received over

and over again...

CRAWFORD:

VTR, film, Polaroid, stills, what?

GRAHAM:

How do I know?!

Graham is intent on the tape. Then:

GRAHAM:

He's very careful, very... designed

when he chooses,

(beat )

If we find out how he finds them,

then we'll find him.

CRAWFORD:

There's no connection between the

families.

GRAHAM:

There has to be.

114.

CRAWFORD:

(exasperated)

There is none! We've run it

through the computer a dozen

times .

Graham's beyond frustration.

GRAHAM:

(suddenly calm)

He's a very shy boy...

CRAWFORD:

What?

GRAHAM:

Something Lecktor said.

CRAWFORD:

Let's admit we struck out this

month. The Gulf Stream's standing

by. The basic lab stuff is on it.

You, Zeller, Jimmie Price, a

photographer. Anywhere he hits,

we can be there in an hour and

fifteen minutes. We get the call,

we roll. The scene'll be very

fresh. ..

GRAHAM:

It's not over yet.

CRAWFORD:

It's a foregone conclusion. For

Christ's sake, it's eleven PM.

The full moon is tonight.

Graham doesn't answer. He's totally concentrated on the

film.

TV MONITOR:
JACOBI FAMILY

Donald Jacobi, big birthday card to the camera. It says:

"Happy Birthday - Follow the ribbon." Camera follows Donald

Jacobi following the ribbon into the basement and the flood-

lights reveal a ten-speed bicycle.

CRAWFORD:

Will?

GRAHAM:

(explodes )

You wanna watch this or what?!

Crawford stares at him. Then he works his way through a

report with a penlight.

115.

TV MONITOR:
JACOBI FAMILY

We are outside in the rain. Donald Jacobi brings the bicycle

out. The camera pans past: the padlock on the basement door.

Graham's hand flashes INTO FRAME and slams on the freeze

button.

GRAHAM:

That's why the boltcutter.

CRAWFORD:

What's that?

GRAHAM:

He used a boltcutter to trim the

branch out of his way. When he

was watching from the woods. Why

didn't he use it to go through the

basement door?

CRAWFORD:

Because a steel door and deadbolt

were there when they were killed.

GRAHAM:

You mean Jacobi put it in between

when this film was made and when

he was murdered?

CRAWFORD:

He had to.

Graham rifles through the files and comes up with the autopsy

report on Donald Jacobi.

GRAHAM:

Donald Jacobi's eleventh birthday

party was April fourteenth.

Sometime between April fourteenth

and May third they changed the

door.

(beat)

But you can't see either family's

door from the street. He wouldn't

know until he got to the house that

the padlock wasn't there anymore...

He freezes the Jacobi tape and loads and plays the Leeds

tape :

GRAHAM:

(intently on the screen )

From the alley he couldn't have

seen the glass in the Leeds' kitchen

door .

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