"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"RED DRAGON"

By

Michael Mann

Second Draft

July 20, 1984



EXT. MARATHON, FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY

The highlit aqua water burns out sections of the two men
imposed in front of it. The beach is white sand. JACK CRAWFORD --
mid-forties, large -- came down from Washington. His suitcoat
over the driftwood log and his rolled-up white sleeves says
City, not Florida Keys. WILL GRAHAM -- late thirties -- in a
faded Hawaiian number and sun-bleached violet shorts, belongs.
Graham smokes. Crawford drinks from a glass of iced tea.
Then:

CRAWFORD
I should have caught you at the boat
yard when you got off work. You don't
want to talk about it here...

GRAHAM
I don't want to talk about it
anywhere.
(beat)
If you brought pictures, leave them
in the briefcase. Molly and Kevin
will be back soon.

CRAWFORD
How much do you know?

GRAHAM
What was in the 'Miami Herald' and
the 'Times.'
(beat)
Confessions?

CRAWFORD
Eighty-six so far. All cranks. He
smashes the mirrors and uses the
pieces.
(beat)
None of them knew that;

GRAHAM
What else did you keep out of the
papers?

CRAWFORD
Blond, right-handed, really strong,
wears a size eleven shoe. The prints
are all smooth gloves. He's on a
full moon cycle. Both times. His
blood is AB Positive.

GRAHAM
Somebody hurt him?

CRAWFORD
Typed him from semen. He's a secretor.

Crawford takes a sip of the iced tea and looks at Graham.

Graham flips his cigarette into the surf.

CRAWFORD
Will... you saw this in the papers.
The second one was all over TV. Did
you ever think about givin' me a
call?

GRAHAM
No.

CRAWFORD
Why not?

GRAHAM
The Bureau already has the best lab.
Plus you have Bloom at the University
of Chicago...

CRAWFORD
And I got you down here fixing fuckin'
boat motors.

GRAHAM
You don't need me. I wouldn't be
useful to you anymore, Jack.

CRAWFORD
Last two like this we had, you caught.

GRAHAM
That was three years ago. And by
doing the same things you and the
rest of them at the lab are doing.

CRAWFORD
That's not entirely true, Will.
It's the way you think.

GRAHAM
I think there has been a lot of
bullshit about the way I think.
(beat)
I came down here to get away from
all that.

CRAWFORD
You look all right now.

GRAHAM
I am all right.

Crawford pulls two pictures from his shirt pocket. He keeps
them face down. They draw at Will. Crawford knows this.

CRAWFORD
If you can't look anymore, I
understand...

GRAHAM
As long as they're dead...

CRAWFORD
These are all dead, Will.

PICTURES

If we expected gory crime photos, these are not them. Two
snapshots: a woman followed by three children and a duck
carrying picnic items up a bank of a pond. A second family
behind a birthday cake at a table. They're all smiling.

CLOSE: GRAHAM

looks at the pictures for a full twenty seconds. Then he
puts them down and looks along the beach.

GRAHAM'S POV: MOLLY + KEVIN

KEVIN -- lanky and tall at eleven -- hunkers down at the
water's edge, 50 yards away examining something in the sand.
MOLLY -- suntanned, blonde and sensuous at thirty stands
watching the two men, her hand on her hip. Waves careen around
her ankles. Her body language openly states hostility. It's
towards Crawford.

GRAHAM (O.S.)
Let's talk after dinner. Stay and
eat.

CRAWFORD (O.S.)
I'LL come back later. I got messages
at the Holiday Inn to collect.

Molly starts walking forward. On it...

CUT TO:

INT. GRAHAM'S KITCHEN - MOLLY + GRAHAM - NIGHT

are doing dishes. Graham wipes while Molly washes.

MOLLY
He stopped by to see me at the shop
before he came out here.

GRAHAM
What did he want?

MOLLY
He asked how you are.

GRAHAM
And you said?

MOLLY
I said you are fine, he should leave
you the hell alone.

GRAHAM
I'm a forensic specialist, Molly.
You've seen my diploma?
(sarcastic)
I got a diploma and everything.

MOLLY
You mended a crack in the wallpaper
with your diploma.
(beat)
You are open and easy now... It took
you a lot of work to get to that...

GRAHAM
We have it good, don't we?

MOLLY
All the things that happened to you
before make you know that...

There is a soft pleading in her voice.

GRAHAM
What the hell can I do?

MOLLY
(after a pause)
What you've already decided. You're
not really asking.

GRAHAM
If I were?

MOLLY
(facing him)
Stay here with me. Me. Me. Me. And
Kevin.
(beat)
That's selfish, huh?

GRAHAM
(touches the side of
her face)
I don't care.
(Beat)
He'll never see me or know my name.
If we find him, the police will have
to take him down. Not me, I'm just
looking at evidence.

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
and Kevin say nothing to each other at the fence. Crawford
and Molly sit for 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.

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'...

CRAWFORD
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.

OFFICER
There's a VTR setup waiting in your
hotel room, that you asked for.
They transferred the home movies of
both families onto half-inch VHS.

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. He walks
around the side.

CUT TO:

INT. LEEDS HOUSE, KITCHEN - WIDE - NIGHT

Three big sliding glass doors. The center one has been
replaced 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 out 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 flashlight
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.

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 indicate 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...
(beat)
Profusion of bloodstains and matted
sliding marks on hall carpet and
west wall of master bedroom remain
unexplained... as does superficial
ligature mark around Mr. Leed's chest,
believed to be post-mortem. What
did the killer do with them after
they were dead? And before he put
the boys back in their beds?

CUT TO:

INT. LEEDS BATHROOM - MEDICINE CABINET - NIGHT

is dark. We see nothing. Light comes on. Graham enters. He
rests his hands on the sides of the sink. He turns on the
water. He pops two pills, cups his hands under the faucet
and drinks. He looks at himself in the mirror. He is
breathing normally. Over his shoulder he sees...

ZOOM INTO: MRS. LEEDS' PANTYHOSE

still hanging on a towel railing over the bathtub. Graham is
staring at the normal domesticity of a family bathroom. He
doesn't let it unnerve him.

CUT TO:

EXT. LEEDS' HOUSE; PORCH ROOF - WIDE - NIGHT

The window opens and Graham climbs onto the porch roof and
sits on the gritty shingles. We're looking for a distressed
reaction. There is none. Graham is clamped down. Beyond him,
the lights of Atlanta and the stars are brilliant... More
brilliant than they ought to be. The Delta Aquirid meteor
shower's at its maximum. This is not a normal image. He
takes out his tape recorder again.

GRAHAM
There's a wicker dog bed on the back
porch. There's a doghouse in the
back yard. Where's the dog?

HOLD ON Graham.

CUT TO:

INT. ATLANTA HYATT HOUSE, ELEVATOR - WIDE - NIGHT

Graham riding up with two half-drunk CONVENTIONEERS with big
"Hi" badges. One Conventioneer is looking over at the lobby
below.

A good-looking woman in a floral dress walks underneath them.
Graham is leaning against the glass.

CONVENTIONEER #1
...like to rip me off a piece of
that!

CONVENTIONEER #2
Fuck her 'til her nose bleeds.

The other cracks up.

GRAHAM

snaps alert and stares at Conventioneer #2.

CONVENTIONEER #2

sips his gin and tonic, senses Graham's stare. He smiles:

CONVENTIONEER #1
What the fuck are you lookin' at?

Graham looks away. The elevator stops. The door opens.
Conventioneer #1 drags Conventioneer #2.

CONVENTIONEER #1
(being pulled out of
elevator)
What are you, a faggot?

Both Conventioneers laugh as they walk down the hall.
Conventioneer #1 wiggles his fat hips and apes a limp wrist
Graham looks away.

CUT TO:

INT. HOLIDAY INN ROOM - VTR MONITOR: LEEDS FAMILY - NIGHT

We are seeing a videotape transfer of the Leeds family home
movie. Mr. Leeds and Mrs. Leeds are behind the table while
the youngest boy is in the center. His brother sits next to
him. The birthday cake has eleven candles on it. All are
mouthing silently: "Happy Birthday to you, happy birthday to
you..." Mrs. Leeds has her arms crossed underneath her
breasts. She's a young mother, sensual and warm. She's
smiling. The camera must be on a tripod because Mr. Leeds
runs into the frame tousles his son's hair and kisses his
wife's cheek. He has thinning hair. He's a big man. He looks
like a nice guy. He darts out of the frame back to the camera.
They finish singing. The youngest Leeds boy blows out the
candles. Mr. Leeds holds up for the camera a large yellow
envelope that says: "Follow the ribbon." A big yellow ribbon
is attached to the envelope.

The camera pans right as the youngest Leeds boy starts to
follow the ribbon... The image suddenly ours out. Video noise.

GRAHAM

has hit the stop button. He picks up a measured field sketch
of the master bedroom. The bloodstains are represented in
outline. Three are along the left wall. The arterial splashes
from Mr. Leeds are on the right wall. Mr. and Mrs. Leed's
body positions are indicated on the king-size mattress.

GRAHAM
(into the tape recorder)
When they were dead -- except possibly
Mrs. Leeds -- he smashed the mirrors
and began selecting shards that he
used later on Mrs. Leeds... What did
he do in the interval? Struggling
with Mr. Leeds and killing the others
would take less than a minute. What
else?
(beat)
Three bloodstains on the east wall,
not from Mr. Leed's arterial spray.
What did killer do after they were
dead?

Graham can't go any further. He is frustrated. He picks up
the phone and dials. He waits. Then:

GRAHAM
(into phone)
Molly?

MOLLY (V.O.)
(asleep)
Huh?
(beat)
Will? Is that you?

GRAHAM
It's me. I'll call you tomorrow,
sweetheart. Go back to sleep.
(beat)
I love you...

MOLLY (V.O.)
Mmmmh... I love you, too, Will.
Good night.

Will hangs up the phone. He reaches over and punches "Play"
on the VTR.

WIDE SHOT: THE ROOM - GRAHAM

VTR backs up, starts to play and we see the image of Mrs.
Leeds again in the home movie: they follow the yellow ribbon
down the stairs to a bicycle. It's indoors. It's raining
outside. The eleven-year-old Leeds boy is ecstatic. Mrs.
Leeds smiles.

GRAHAM
(into tape recorder)
You moved the kids after you killed
them, didn't you? Did you arrange
them for your performance with Mrs.
Leeds on their bed? Did you tie Mr.
Leeds sitting up in bed? That's the
postmortem ligature on his chest.
Did you make them your audience?
Did you open their eyes? There is
something you can't afford for me to
know about. Isn't there? Mrs. Leeds
was lovely, wasn't she? It was
maddening to have to wear gloves
when you touched her, wasn't it?
(beat)
There was talcum powder on her leg.
There was no talcum powder in the
bathroom.
(beat)
The powder they found came out of a
rubber glove as you pulled it off to
touch her. You took off your glove
to touch her. DIDN'T YOU, YOU SON-OF-
A-BITCH?! You touched her with your
bare hands! And then you put the
gloves back on. And you wiped her
down! While your gloves were off?
(shouts)
DID YOU OPEN THEIR EYES? THEIR DEAD
EYES?!

FAST MOVEMENTS: GRAHAM'S HAND

snakes out and hits the "Stop" button on the VTR.

PHONE

is picked up and we MOVE WITH IT to his face. Graham punches
numbers into the phone. He waits. He clamps dawn again.

He is cold, calm.

GRAHAM
Jack, this is Graham. Is Price still
in Latent Prints?

CRAWFORD (V.O.)
He's working on the single print
index. What time is it?

GRAHAM
Get him to Atlanta.

CRAWFORD (V.O.)
You said the guy down here is good.

GRAHAM
He is good. Bur not as good as Price.

CRAWFORD (V.O.)
What do you want to do?

GRAHAM
Mrs. Leeds' fingernails and toenails.
I think he took off his gloves, Jack.
(heat)
And dust all the corneas of all their
eyes.

CUT TO:

INT. ATLANTA DETECTIVE BUREAU - MOVING WITH GRAHAM,
CRAWFORD, SPRINGFIELD - DAY

down the corridor.

SPRINGFIELD
Our people swear he wore surgeons'
gloves the whole time. They dusted
everything.

GRAHAM
The report didn't mention nails and
eyes.

SPRINGFIELD
Why do you think he took his gloves
off?

GRAHAM
Mrs. Leeds was a good-looking woman.
I'd want to touch her skin in an
intimate situation, wouldn't you?

SPRINGFIELD
(sudden distaste)
'Intimate? !"

GRAHAM
Yes. 'Intimate.' They had privacy.
(beat)
Everybody else was dead.

Springfield looks at Graham. Springfield needs answers, not
voodoo. Then they enter the squad room. Twenty detectives
sit at desks. Graham and Crawford move to the back of the
class.

SPRINGFIELD
All right. House to house interviews
will be extended four additional
blocks. R & I has loaned us two clerks
to help cross-matching airline
reservations between Birmingham last
month and between Atlanta now.
(beat)
Dr. Princi.

DR. DOMINIQUE PRINCI, Chief Medical Examiner for Fulton
County, walks to the front and stands under a drawing of
teeth. He hold's up a dental cast.

DR. PRINCI
This is what the subject's teeth
look like. The Smithsonian in
Washington reconstructed them from
the impressions we took of bite marks
off the Leeds woman here and off the
Jacobi woman last month in Birmingham.
(beat)
As you can see, he has pegged lateral
incisors -- the teeth here and here.

The teeth look like teeth from a small bear.

SPRINGFIELD
Investigator Graham has worked this
kind of thing before. Can you add
anything?

Graham doesn't like talking in public. He stutters and starts
to say something...

SPRINGFIELD
Can't hear you. Can you come up to
the front?

Graham walks to the front of the room.

GRAHAM
He may have a history of biting --
barroom fights or child abuse.

SPRINGFIELD
He only bit women so far, right?

GRAHAM
That's all we know about.
(beat)
Most of the time in sex assaults the
bite mark has a livid spot in the
center. A suck mark. These don't.
So, for him, biting may be a fighting
pattern as much as sexual behavior.
(beat)
You could try emergency room
personnel, treatment for bite wounds.
I know that's pretty thin...
(beat)
He bites a lot.

SPRINGFIELD
What's average?

GRAHAM
Sex murder: three. He likes to bite.
Six bad ones in Mrs. Leeds. Eight
in Mrs. Jacobi...
(beat)
...that's all I have.

Graham sits down.

SPRINGFIELD
All right. Vice and Narcotics, take
the K-Y cowboys and the leather bars.
Marcus and Whitman heads up at the
funeral. The rest of you, your
assignments are on the sheet. Let's
go.

They start to rise. Springfield remembers.

SPRINGFIELD
One more thing: I've heard officers
referring to the killer as the 'Tooth
Fairy.
(on laughter)
Yeah, yeah, but I don't want to hear
that in public or internal memoranda.
That's it.

Detectives file out. Crawford and Graham remain. Springfield
crosses to them and they wait for all the other detectives
to leave.

SPRINGFIELD
(to Crawford)
We don't have shit, and we know it.

Dr. Princi joins them.

SPRINGFIELD
(to Graham)
The Commissioner was saying you were
the one that caught Dr. Lecktor three
years ago.
(beat)
He killed nine people, didn't he?

GRAHAM
Nine that we know of. Two didn't
die.

SPRINGFIELD
What happened to them?

GRAHAM
One's on the respirator at a hospital
in Baltimore. The other is in a
private mental hospital in Denver.

SPRINGFIELD
What did the psychologists say was
wrong with Lecktor?

GRAHAM
Psychologists call him a sociopath.
They don't know what else to call
him.

SPRINGFIELD
What would you call him?

Graham doesn't answer.

SPRINGFIELD
To yourself...

GRAHAM
I call him a monster.

SPRINGFIELD
I understand he cut you pretty good...

GRAHAM
(cold right turn)
What about the dog?

SPRINGFIELD
It's at the vet's. The kids brought
it in with a puncture wound in the
abdomen. icepick or an awl.

GRAHAM
Was the dog wearing a collar with
the Leeds' name on it?

SPRINGFIELD
No.

GRAHAM
Did the Jacobis in Birmingham have a
dog?

CRAWFORD
(alert)
A cat. We found a litter box
downstairs but not the cat. Neighbors
are watching for it.

GRAHAM
Why don't you get Birmingham P.D. a
methane probe out of D.C. and have
them cover the backyard... maybe
the cat's dead and the kids buried
it.

Crawford starts to move. The PHONE RINGS. Springfield answers.

SPRINGFIELD
Yeah?
(waits)
Lemme put you on the speaker phone.

JIMMIE PRICE (V.O.)
Who am I talking to?

CRAWFORD
Jimmie, it's me, Jack Crawford, and
you got Will Graham here.

JIMMIE PRICE (V.O.)
I got a partial with a tented arch
that's probably a thumb print and a
fragment of a palm.

Springfield reacts.

JIMMIE PRICE (V.O.)
Came off the oldest kid's left eye.

It stood out against an eight-ball hemorrhage from the gunshot
wound.

CRAWFORD
Can you make an identification off
it?

JIMMIE PRICE (V.O.)
Don't know. The palm came off the
nail of Mrs. Leeds' left big toe. I
want to work these up in my own
darkroom. I'll fax the prints down
to you this afternoon.

Hangs up.

SPRINGFIELD

thought Graham was ridiculous. Now his expression is very
changed.

GRAHAM

senses Springfield's staring at him. Graham's face is blank.
He leaves. Springfield -- shaking Crawford's hand -- watches
Graham all the way to the door.

CUT TO:

EXT. ATLANTA POLICE HEADQUARTERS - GRAHAM S CRAWFORD - DAY

coming down the stairs. News media are all over Springfield,

the Commissioner, the Mayor's P.R. Officer in the b.g. Nobody
recognizes Crawford and Graham except one short man, who
separates himself from the pack and darts up to them. He is
LOUNDS. He starts chasing behind them.

LOUNDS
Will Graham! Remember me? Freddie
Lounds? I covered the Lecktor case
for the Tattler. I did the
paperback...!

CLOSE: GRAHAM

walking down the stairs. His face is locked like a steel
trap. He's repressing something powerful.

LOUNDS
(running on, behind
them)
When did they call you in, Will?
What have you got?

Graham won't answer him. They are on the sidewalk by now.

CRAWFORD
Lounds, give it a rest...

LOUNDS
Come on, Graham?! Talk to me!

Graham and Crawford are moving dawn the sidewalk now. Crawford
tries to block Lounds. Lounds moves around him, dogging
Graham:

LOUNDS
How does this guy compare with
Lecktor? How does he do them?

Right now he makes the mistake of grabbing Graham's arm to
turn him around.

GRAHAM

Grabs Lounds by the labels, kicks his legs out from under
him and throws him over the hood of a car upside-down. The
impact STARS the WINDSHIELD. Lounds is scared to death. The
violence totally surprises us. Graham's face is inches from
Lounds.

GRAHAM
(very low)
Keep the fuck away from me!

Crawford is pulling on Graham. He can't budge him. Graham
lets go.

WIDER: CRAWFORD PULLING GRAHAM AWAY

down the sidewalk and Lounds who slides off the car hood and
lands on all fours.

CRAWFORD
(over his shoulder to
Lounds)
Get the hell away from here, Lounds!

CUT TO:

INT. DINER, BOOTH - GRAHAM + CRAWFORD - DAY

Graham is staring into the black deep recesses of his coffee.
Crawford is looking at him. Finally:

GRAHAM
...snuck in the hospital while I was
sedated, flipped back the sheets and
shot pictures. The only decent thing
he did was run a black square over
my balls...

CRAWFORD
I know...

Graham looks away. Then he lights another cigarette.

GRAHAM
(back to business)
Atlanta and Birmingham can run the
thumb print against known sex
offenders. Five will get you ten
they don't come up with an
identification. Jimmie may in the
Finder program... if he's ever been
printed and in his Index.

CRAWFORD
Say we've arrested a good suspect.
You walk in and see him. What is
there about him that doesn't surprise
you?

GRAHAM
I don't know, Jack. He's got no face
for me.

CRAWFORD
You can tell something about him or
we wouldn't have found the finger
print...

GRAHAM
Don't expect too much from me, Jack,
all right?
(pause)
We'll get him one way or the other.

CRAWFORD
What's one way?

GRAHAM
We find an event that connects both
families. Same vacation hotel; same
hospital, different times. Then we
check employees and come up with a
male nurse, hairdresser, whatever...
(beat)
If we find out how he found them,
then we'll find him.

CRAWFORD
We're running it through the computers
now. So far there's no event or
service that doubles back into both
families. Plus they were big
consumers: snowmobiles, fishing trips,
scuba, videogames, lots of routine
medical and dental. It's a haystack.
(beat)
What's the other?

GRAHAM
He makes noise going in and the
husband gets to a gun in time.

CRAWFORD
No other possibilities?

GRAHAM
You think I'm gonna spot him 'across
a crowded room?' That's Ezio Pinza
you're thinking about.
(beat)
The Tooth Fairy will go on until we
get smart or get lucky. He won't
stop.

CRAWFORD
Why?

GRAHAM
Because he has a genuine taste for
it, Jack.

CRAWFORD
See? You do know something about
him.

GRAHAM
(long stare at
Crawford; then)
...I'm going to see Lecktor.

Crawford's cup of coffee stops in front of his mouth:

CRAWFORD
For Christ's sake, why?

GRAHAM
(matter-of-fact)
To recover the mind set.

CUT TO:

INT. HOTEL ROOM - GRAHAM - DAY

In the middle of packing. Then the PHONE RINGS.

MOLLY (V.O.)
Hello, hotshot!

GRAHAM
Hey, baby! Where are you?

MOLLY (V.O.)
At the store. You doin' some good?

GRAHAM
None you'd notice. I'm lonely...

MOLLY (V,O.)
Me, too. And very erotic...

GRAHAM
Tell me about yourself.

MOLLY (V.O.)
Which part? That or the day-to-day.

GRAHAM
(laughs)
Let's keep it the day-to-day stuff.
(beat)
How's Kevin?

MOLLY (V.O.)
Kevin's fine. He had to recover the
turtle eggs you two fenced in. The
dogs dug them up. Tell me what you're
doing.

GRAHAM
Eating junk food.
(beat)
They don't have a lock on anything,
Molly. There's not enough information.
Or I haven't done enough with it...

MOLLY (V.O.)
Will you be in Atlanta for a while?
I'm not buggin' you about coming
home, I just wondered.

GRAHAM
I don't know. I'm goin' up to
Baltimore this afternoon.

MOLLY (V.O.)
To do what?

GRAHAM
I have to see somebody.

There is a silence. Graham does not want to tell her that he
is going to see Lecktor. Molly stays cool, she doesn't pursue
it.

MOLLY (V.O.)
I'm thinking about painting the
kitchen. What color do you like,
Will? Are you there?

GRAHAM
(coming back)
Yeah. Ah... yellow, let's paint it
yellow.

MOLLY (V.O.)
Yellow's a bad color for me. I'll
look green at breakfast.

GRAHAM
Blue, then.

MOLLY (V.O.)
Blue is cold.

GRAHAM
Hey, goddamn it, paint it shit-brown
for all I care...
(beat)
Look, I'm sorry. When I come home,
we'll go to the paint store together
and get some chips and...

Molly interrupts:

MOLLY (V.O.)
Will, I don't know why I'm talking
about this stuff...
(beat)
I called to tell you: I love you and
I miss you. And you are doing the
right thing. It's costing you, too.
And I know that. And I'm here. I'll
be here whenever you come home. Or
I'll meet you anywhere. Anytime.
That's what I called to say...

Graham holds the phone close to him. As if it were a part of
Molly herself.

GRAHAM
Molly, dear Molly. Go to bed now,
baby...

MOLLY (V.O.)
I love you...

WIDE SHOT: GRAHAM

slowly hangs up the phone. He sits, round-shouldered, on the
bed. All over the room are clothes out of drawers and closets,
videotapes and files: the mess of being only half-packed.

CUT TO:

INT. CHESAPEAKE STATE HOSPITAL FOR CRIMINALLY INSANE - DR.
CHILTON - DAY

DR. CHILTON
Dr. Bloom called me yesterday, Mr.
Graham. Or should I call you Dr.
Graham?

GRAHAM (O.S.)
I'm not a doctor.
(beat)
I need to see Lecktor in as much
privacy as possible.

TWO SHOT

Graham sits in front of his desk in a chair. He appears
repressed, clamped down. Dr. Chilton is a sincere Chief of
Staff, but not gifted.

DR. CHILTON
Dr. Lecktor will stay in his room.
That is absolutely the only place
where he is not put in full body
restraints. One wall of his room is
a double barrier. I will have a chair
put just outside.

GRAHAM
I might have to show him some material
that could stimulate him.

DR. CHILTON
As long as it's on soft paper. You
may...
(pause)
Find this curious.

He pulls an EKG tape from a drawer and points to the spiky
lines.

DR. CHILTON
Here Lecktor's resting on the
examining table getting an
electrocardiogram. Complained of
chest pains. Pulse seventy-two.
Here he grabs the nurse's head and
pulls her down to him. Here he's
subdued by the attendant and Lecktor's
shoulder is dislocated. Do you notice
the strange thing?
(pause)
His pulse never got over eighty-five.
Even when he tore into her face.

Dr. Chilton looks over at Graham, perhaps expecting a
response. There is nothing to read in Graham's face. It is a
blank.

DR. CHILTON
The consensus around here is that
the only person who has demonstrated
any practical understanding of Dr.
Hannibal Lecktor is you, Mr. Graham.
Can you tell me anything about him?

GRAHAM
No.

DR. CHILTON
When you saw Dr. Lecktor's murders,
their 'style,' so to speak, were you
able to reconstruct his fantasies?
And did that help you identify him?

DR. CHILTON

looks at Graham. Dr. Chilton has seen a lot of hostility.
Right now he's seeing some more.

GRAHAM
(stands)
I want to see Lecktor now.

DR. CHILTON
Uh... sure...

INT. MAXIMUM SECURITY SECTION - DOOR - DAY

We hear three locks opening. The door opens. Graham enters.
An attendant behind Graham closes the door and we hear the
bolts lock again. As Graham is walking towards us, we WIDEN
and TRACK IN. It makes the b.g. disorienting as we get closer
to Graham's face. The CAMERA DROPS as Graham sits in a single
chair. We haven't yet seen what Graham looks at. Now:

GRAHAM'S POV: BARRED CELL

A 6x10 cage. In the center of the bars separating Graham
from the occupant is a three-foot-square perspex sheet. The
occupant can't get at someone sitting in front of him. In
the perspex square is a letter -- passing drawer. In the
cell -- laying on his bunk -- is DR. HANNIBAL LECKTOR. He
appears to be asleep. His back is to Graham. He has not
stirred. Then:

LECKTOR
That's the same atrocious aftershave
you wore in court three years ago.

GRAHAM
I keep getting it for Christmas.

CLOSE: LECKTOR'S HEAD

turns to us. His small eyes drill into Graham's brain.
Lecktor's attitude is professionally psychiatric, as if Graham
is the patient.

LECKTOR
Did you get my card?

GRAHAM
I got it. Thank you.

Graham's struggle will be to keep locked-down inside himself
all his emotional reactions.

LECKTOR
And how is Officer Stuart? The one
who was the first to see my basement.

GRAHAM
Stuart is fine.

LECKTOR
Emotional problems, I hear. He was a
very promising young officer. Do you
ever have any problems, Will?

GRAHAM
No.

LECKTOR
Of course, you don't.
(pause)
I'm glad you came. My callers are
all professional. Clinical
psychiatrists from cornfield colleges
somewhere. Second-raters, the lot.

GRAHAM
Dr. Bloom showed me your article on
surgical addiction in the journal of
Clinical Psychiatry.

LECKTOR
And?

GRAHAM
Very interesting, even to a layman.

Lecktor rolls around and examines the term "layman" in his
head. Then:

LECKTOR
A layman..., layman. Interesting
term. So many experts on government
grants. And you say you're a 'layman?'
But it was you who caught me, wasn't
it, Will? Do you know how you did
it'

GRAHAM
You've read the transcript. It's all
there.

LECKTOR
No it's not. Do you know how you did
it Will?

GRAHAM
It's in the transcript. What does it
matter now?

LECKTOR
(smiles)
It doesn't matter to me, Will.

GRAHAM
I want you to help me, Dr. Lecktor.

LECKTOR
Yes, I thought so.

GRAHAM
It's about Atlanta and Birmingham.

LECKTOR
Yes.

GRAHAM
You read about it, I'm sure.

LECKTOR
In the papers. I don't tear out the
articles.
(laughs)
I wouldn't want them to think I was
dwelling on anything morbid. You
want to know how he's choosing them,
don't you?

GRAHAM
I thought you would have some ideas.

LECKTOR
Why should I tell you?

GRAHAM
There are things you don't have.
Research materials... I could speak
to the Chief of Staff...?

LECKTOR
Chilton? Gruesome, isn't he? He
fumbles at your head like a freshman
pulling at a panty girdle.
(laugh)
He actually tries to give me a
Thematic and Apperception test.
Hah. Sat there waiting for MF-13 to
come up. It's a card with a woman in
bed and a man in the foreground. I
was supposed to avoid a sexual
interpretation. I laughed in his
face.
(beat)
Never mind, it's boring.

GRAHAM
You'll get to see the file on this
case. And there's another reason.

LECKTOR
Pray tell.

GRAHAM
I thought you might be curious to
find our if you're smarter than the
person I'm looking for.

LECKTOR
Then by implication, you think that
you are smarter than me, since you
caught me.

GRAHAM
No. I knew that I'm not smarter than
you are.

LECKTOR
Then how did you catch me, Will?

GRAHAM
You had disadvantages.

LECKTOR
What disadvantage?

GRAHAM
You're insane.

LECKTOR
You're very tan, Will.

Graham does not answer. If anything happens, there is a
tightening of the musculature repressing his reactions to
Lecktor.

LECKTOR
Your hands are rough. They don't
look like a cop's hands anymore.
That shaving lotion is something a
child would select. It has a ship on
the bottle, doesn't it?

Another silence. Lecktor's eyes look as if they're drilling
into Graham's head, trying to find out things. Trying to
find a way to hurt Graham. He's very threatening. Then
relaxes:

LECKTOR
Don't think you can persuade me with
appeals to my intellectual vanity.

GRAHAM
I don't think I'll persuade you.
You'll do it or you won't. Dr. Bloom
is working an it anyway, and he's
the best...

LECKTOR
(interrupts)
Do you have the file with you

GRAHAM
Yes.

LECKTOR
Pictures?

GRAHAM
Yes.

LECKTOR
Let me have them, and I might consider
it.

GRAHAM
No.

LECKTOR
Do you dream much, Will?

GRAHAM
Good-bye, Dr. Lecktor.

LECKTOR
You haven't threatened to take away
my books yet.

Graham gets up and starts to walk away.

LECKTOR
Let me have the file. Then I'll tell
you what I think.

Graham stops at the door before he knocks for the attendant.
Then he folds the abridged file tightly into the sliding
tray. Lecktor pulls it through.

GRAHAM

sits in the chair. He wants a cigarette. He doesn't take
one. He waits. And he watches. What he sees:

GRAHAM'S POV: EXTREME CLOSE PAN THROUGH CELL OF DR. LECKTOR

Toothbrush, mirror, sink, Sryrofoam cups, soft paper journals,
T-shirts, neatly stacked hospital pads, sneakers with no
shoelaces, the wall, seatless toilet bowl, etc, etc. All the
objects are brilliantly lit with sharp bluish light. Their
edges are sharper and more defined than normal. The shadows
of the bars make hard-edged stripes. It is a high resolution,
highly brilliant set of images. It feels like a hyper-
perception of reality, a super-realism perceived by the mind
of Graham. It is interrupted when:

LECKTOR (O.S.)
There is a very shy boy, Will.

GRAHAM

snaps back to the present, looks at Lecktor.

LECKTOR
What were the yards like?

GRAHAM
Big backyards, fences, some hedges,
why?

LECKTOR
Because, my dear Will, if this Pilgrim
imagines he has a relationship with
the full moon, he might go outside
and look at it. Have you seen blood
in moonlight, Will? It appears quite
black. If one were nude, it would be
better to have outdoor privacy for
this sort of thing.

GRAHAM
That's interesting.

LECKTOR
It's not 'interesting'. You thought
of it before.

GRAHAM
Yes. I'd considered it.

LECKTOR
You came here to look at me, Will.
To get the old scent again, didn't
you?

GRAHAM
I want your opinion.

LECKTOR
I don't have one right now.

GRAHAM
When you do have one I'd like to
hear it.

LECKTOR
May I keep the file?

GRAHAM
I haven't decided yet.

LECKTOR
I'll study it, Will. When you get
more files, I'd like to see them,
too. You can call me. When I have to
call my lawyer, they bring me a
telephone. Would you like to give me
your home number?

Threat.

GRAHAM
No.

LECKTOR
Do you know how you caught me, Will?

GRAHAM
Goodbye, Dr. Lecktor. You can leave
messages for me at the number on the
file.

Graham bangs on the door. Locks are starting to be unlocked.
Graham can't wait to get out of here. He wants the locks to
get unlocked faster!

LECKTOR
Do you know how you caught me?

The door is now open. Graham fights down the impulse to run
through. As Graham -- controlled -- steps out, what he hears
is:

LECKTOR (O.S.)
The reason you caught me, Will, is:
We're just alike. You want the scent?
Smell yourself.

The DOOR SLAMS shut on Lecktor.

CUT TO:

INT. CHESAPEAKE: STATE HOSPITAL FOR THE CRIMINALLY INSANE,
CORRIDOR - GRAHAM - DAY

walks down the corridor. He's very stiff. He's walking towards
the outside door. The door is a rectangle of white

light that sends daggers of brilliance across the highly
polished institution's floor. Graham walks for the light.

CUT TO:

EXT. CHESAPEAKE STATE HOSPITAL FOR THE CRIMINALLY INSANE -
ENTRANCE - DAY

The DOOR SLAMS open and Graham comes out into daylight and
air. The air is tactile to him. He can almost feel the motes
of dust and light that swim freely. He breathes.

GRAHAM'S POV: GRASS

is dappled with pointillist points of color: a spectral
breakup. As it returns to a normal green...

TIGHT SHOT: GRAHAM

breathes. He stands in front of the sign on the building:
"CHESAPEAKE STATE HOSPITAL FOR THE CRIMINALLY INSANE." He
leans against the railing and breathes clean air. The image
is flattened in a LONG LENS. We hear a CLICK. It FOCUSES and
DE-FOCUSES.

CUT TO:

INT. CXR - FREDDIE LOUNDS - DAY

is photographing Graham with a Nikon and a 500mm Questar
reflector. Be puts the camera to his eye again and hits the
button. The MOTOR DRIVE knocks off three shots.

CUT TO:

INT. GATEWAY LABS - SCREEN DIVIDED INTO FOUR QUADRANTS - DAY

The quadrants display 4 home movies at six times normal speed:
an old couple, 2 men, a baby and a family. The family quadrant
slows to normal. We TIGHTEN in on it. We will come to know
these people as the SHERMANS. An 11-year-old boy, a 14-year-
old girl, Mr. Sherman and Mrs. Sherman. A handmade sign says:
"THE NEW HOUSE - SWIMMING POOL." Mrs. Sherman has brown hair.
She wears a bikini. She has a nice body. She's sensuous
and tan in her thirties. She dives into the pool. The next
shot: water. Out of the water surfaces Mrs. Sherman. She
shakes her head and water sprays off her hair.

A couple drops hit the lens and diffuse a small area of the
image. Mrs. Sherman puts her hands on the side of the pool
and shoves down to hoist herself out. Her breasts are
glistening. Her teeth are white. She smiles at the camera.
Whoever controls the console puts Mrs. Sherman in reverse.
It runs forward again. Mrs. Sherman's glistening body coming
our of the water...

REAR SHOT: CONSOLE AND A MAN

Beyond is the screen. The man at the console is FRANCIS
DOLLARHYDE. He has a weightlifter's body. We don't see his
face. Black goggles with red lenses are on the console. He
puts them on and watches Mrs. Sherman...

CUT TO:

INT. NEGATIVE PROCESSING ROOM - DOOR - DAY

It slams open. Dollarhyde enters and walks through the dim
green light past the developers in his black goggles with
red lenses. Thousands of feet of negative move through the
tank on rollers. Dollarhyde walks past the baths. We TRACK
WITH him to the door.

CUT TO:

INT. LIGHT TRAP-DOOR - DAY

slams open. Dollarhyde enters. As he reaches the next door...

CUT TO:

INT. DRYER ROOM - DOLLARHYDE - DAY

enters and we TRACK WITH him past film snaking across pulleys
and rollers through the drying cabinets. As Dollarhyde passes
the dryers...

INT. CAFETERIA - DOLLARHYDE - DAY

in the brilliant aluminum and peach cafeteria gets coffee.
A newspaper's under his arm. As he waits to pay, EILEEN
approaches. She, too, wears goggles, but on a lanyard around
her neck. She's petite, fragile. Dollarhyde towers over her.

EILEEN
Mr. Dollarhyde?

CLOSER - DOLLARHYDE

looks up.

His face bears the scars of a I-Plast procedure to fix a
harelip and cleft palate. Immediately, in characteristic
gesture, he curls his right hand under his nose to hide his
I-Plast scars.

DOLLARHYDE
Yes, Eileen.

EILEEN
Bill told me to tell you there was a
variation in the gamma of the number
three developer. But he caught it.

DOLLARHYDE
And?

EILEEN
On the densitometer it came out within
tolerances.

DOLLARHYDE
Thank you, Eileen.

Graciously Dollarhyde lets her go first and then he crosses
to an empty table. He opens his newspaper.

TRACK ACROSS FRANCIS DOLLARHME'S BACK

where the fabric stretches between his shoulder blades and
past his cheap haircut's line at the nape of his neck into
his left shoulder to reveal he's reading the National Tattler.
It's about Will Graham with a Freddie Lounds byline. The
only words we catch are: "FBI Manhunter Consults Fiend Who
Tried To Kill Him, by Freddie Lounds." We also catch: "The
Tooth Fairy - Psychopathic Slayer of Entire Families in
Birmingham and Atlanta..."

CLOSE: FRANCIS DOLLABHYDE

takes off the black goggles with red lenses. His eyes are
white violet. He turns the page.

NATIONAL TATTLER'S OLD PICTURE OF GRAHAM

It's the one Lounds took after Graham was slashed by Lecktor.
It's a black-and-white square image of a sleeping man with a
myriad of tubes running into his stomach and a temporary
colostomy bag. A black square is imposed over his genitals.

The caption reads: "Federal Manhunter Will Graham Recovering
from Near-Fatal Slashing By Hannibal 'the Cannibal' Lecktor."

EXTREMELY CLOSE: SECOND IMAGE OF WILL GRAHAM

in newsprint, the one Lounds took at the Chesapeake hospital.
The half-tone dots comprising the image are visible.

Dollarhyde's massive finger slides across the image, brushing
it sensitively. It works its way to Graham's face and the
finger stops and blots it out.

CUT TO:

INT. CHESAPEAKE STATE HOSPITAL FOR THE CRIMINALLY INSANE,
LECKTOR'S CELL - LECKTOR - NIGHT

receives a telephone. The attendant who brought it waits.

LECKTOR
Thank you so much. I'll call you
when I'm finished.

Attendant hesitates. Then he leaves. Lecktor is allowed to
call his attorney in privacy.

LECKTOR

picks up the phone and punches in his number.

LECKTOR
Can I have the number of Dr. Sidney
Bloom, University of Chicago,
Department of Psychiatry, please?
(beat)
Thank you.
(dials again)
Dr. Sidney Bloom, please.

OPERATOR (V.O.)
He's not in today, bur I'll connect
you with his office...

LECKTOR
What's his secretary's name again...?

OPERATOR (V.O.)
Linda King. Just a moment.

The TELEPHONE RINGS four times.

GRADUATE STUDENT (V.O.)
Linda King's desk.

LECKTOR
Hi, Linda. ..

GRADUATE STUDENT (V.O.)
Linda doesn't come in nights.

LECKTOR
Maybe you can help me. This is Bob
Greer of Blaine & Edwards Publishing
Company. Dr. Bloom asked me to send
a copy of 'The Psychiatrist and the
Law' to someone. Linda never sent me
the address and phone number.

GRADUATE STUDENT (V.O.)
She'll be in, in the morning...

LECKTOR
I have to catch Federal Express within
about five minutes. I'd be immensely
appreciative if you'd pull it out of
her Rolodex for me.

There is a pause. Lecktor is waiting.

GRADUATE STUDENT (V.O.)
She doesn't have a Rolodex.

LECKTOR
(smiling)
I'll bet she has a call caddy right
next to her phone.

GRADUATE STUDENT (V.O.)
Yeah...

LECKTOR
Well, zip that little pointer right
on down to the letter G.

GRADUATE STUDENT (V.O.)
Okay.

LECKTOR
We're looking for Graham. The man
the book is supposed to go to is a
Mr. Will Graham.

GRADUATE STUDENT (V.O.)
Federal Bureau of Investigation,
Tenth and Pennsylvania, Washington,
D.C.

LECKTOR
Now I'll bet it has his home address
there, too

GRADUATE STUDENT (V.O.)
(beat)
3680 DeSoto Highway. Marathon,
Florida.

LECKTOR
Thank you very much.

ON the phone as Lecktor hangs up.

CUT TO:

INT. L1011, COACH SECTION - GRAHAM - DAY

Squeezed into a narrow seat. He sits on the aisle. Next to
him is a seven-year-old girl, at the window her mother. He
opens and reads a Telex in yellow envelope: "BIRMINGHAM P.D.
FOUND JACOBI CAT DEAD IN BACK YARD. KIDS MUST HAVE BURIED
IT. HE KILLS THE PETS. REGARDS, CRAWFORD."

STEWARDESS
Clears the trays.

GRAHAM

contorts his body to pull his briefcase from under the seat
in front. He extracts the Leeds and Jacobi files. From each
he takes a snapshot of a happy family picture and paperclips
them to the front of the files. He stands them on the dinner
tray and stares at them.

GRAHAM'S POV: HAPPY FAMILY PORTRAITS

SLOWLY ZOOM IN TO the Jacobi family. As we get CLOSER and
CLOSER TO Mrs. Jacobi in a bikini, her face abstracts into
pointillist dots of color...

DISSOLVE TO:

EXT. MARATHON BOATYARD - DIESEL ENGINE - DAY

moves down to us...

MOLLY

approaches in SLOW MOTION raising a bag of shrimp and a
sixpack of Dos Equis.

INT. UNFINISHED HULL - GRAHAM

guiding the engine down, wears faded violet shorts and no
shirt. We see a huge circular scar ending in a hook on his
abdomen as the engine lands...

GRAHAM
(reverb, distant)
Block her off, Mitch...

Graham waves to Molly...

DISSOLVE TO:

GRAHAM

On the dock. The hot sun turns the water a brilliant aqua
and silver. Graham's tan body in the violet shorts on the
silver wood... Molly reaches in the bag for another shrimp.
Graham looks at her...

MOLLY SMILES

as she rips the head off the shrimp. The warm mouth, Her
shiny teeth look like a Pepsodent commercial.

HEAD COMING OFF SHRIMP

Viscera trail. As the shrimp is ripped apart we see:

GRAHAM'S EYES

In horror. And O.S., we hear SCREAMING coming from a different
place as we...

CUT TO:

INT. L1011 - GRAHAM - DAY

snaps awake. The child next to Graham is screaming. People
stare. The mother is shouting at him. Graham is confused,
stunned... He doesn't know what's wrong. He looks around...
The Stewardess is handling things on his tray in front of
him.

TRAY

The file has spilled open. Crime photos of the Leeds and
Jacobi families with mirrors in their eyes and the almost
separated head of Mr. Jacobi glaring at a weird angle -- the
pornography of it all -- are spilled across Graham's tray
and in his lap...

GRAHAM

mumbles apologies, scrambles to collect crime photos. The
mother wants her seat changed.

Graham is excruciatingly embarrassed, clumsily shoving them
back into their files...

CUT TO:

INT. JACOBI HOUSE, LIVING ROOM - WIDE ON DOOR - DAY

We MOVE INTO the knob... it starts to turn. Slowly. Suddenly:
door SLAMS open revealing real estate agent GEEHAN and Graham,

GEEHAN
It was last Thursday. This couple
from Duluth. I had them down to the
short strokes talking mortgages -- I
mean, that man could have written a
check for the whole goddamn place.
I'm figuring: Geehan, you lucky
sonofabitch, you gonna unload this
turkey.
(beat)
Then the squad car rolls up. They
ask a coupla questions. The good
officers give them the whole fuckin'
guided tour. Who was laying where.
Where all the blood sprayed...
terrific!
(beat)
Off they go in their Sedan DeVille
the hell out of here.

GRAHAM
Have any single men asked to look at
it?

GEEHAN
Haven't asked me.
(beat)
Took four coats of interior latex,
five in places.
(pause)
You can drop that key in the mailbox.
You don't have to come back by, do
you?

GRAHAM
Uh-uh.

Geehan leaves. The door closes with a SLAM.

WIDE - GRAHAM

In the empty white living room. Graham walks OUT OF FRAME.
Bare floors and dead air. His footsteps echo in the empty
house.

CUT TO:

EXT. JACOBI HOUSE - WIDE - DAY

An image from Bill Owens' "Suburbia." A family house. No
different than any other family house around. But it is
somehow sinister in its vacancy. It ought to be littered
with bicycles and wagons: the signs and symbols of suburban
normalcy. TRACK LEFT to reveal the back of Graham staring at
the house from across the street.

CUT TO:

EXT. NEXT DOOR HOUSE - GRAHAM - DAY

In a different position staring at the rear of the house
from a neighbor's bushes. We don't know why Graham is staring
at the Jacobi house from different vantage points.

CUT TO:

EXT. SIDEROAD - GRAHAM'S POV: 3/4 VIEW OF JACOBI HOUSE - DAY

Graham looking at the house from the third vantage point.

JACOBI BACKYARD

And turned earth where the cat was found.

REARSHOT: GRAHAM

starts backing up and we MOVE WITH him. He looks over his
shoulder at us and keeps walking backwards. Trees enter the
frame on the left and right.

TRACKING GRAHAM IN PROFILE

He stumbles through underbrush into a dry streambed. He backs
up a slope on the other side and finds himself in some trees.
There are three. Graham looks around.

BRANCHES

now obscure the Jacobi house. Something glints right...

SEARCHING THROUGH GRASS

At the base of one elm tree. A ring tab from a soft drink
can is half-buried in leaves. Graham's fingers move leaves
aside.

GRAHAM

looks slowly up the tree trunk.

RED CREEK MUD

Wedged into the first strong limb, it's from the instep of a
boot.

GRAHAM

hangs his coat on the branch of a neighboring tree and climbs
the far side of the elm. His head and his cheek raise through
limbs. His eye is six inches away when he finds a soft drink
can wedged between limb and trunk.

GRAHAM
I love it. Sweet Jesus, yes come on,
can.

He photographs its placement with the camera on his belt,
bracketing exposures. Then he tears a small branch and uses
it to put the can in an evidence bag. Graham climbs higher
until his foot is level to where he saw the mud. He looks to
his left. Something he sees stops him cold.

A SYMBOL

is carved in the wood.

GRAHAM

photographs this as well as a branch that's been trimmed by
a cutting tool. Then he looks...

OVER GRAHAM'S SHOULDER: THE JACOBI HOUSE

A perfect view.

GRAHAM

high in the tree, leans back against the trunk. He seems
frozen. Then:

GRAHAM
(mumbling to himself)
...after you killed the cat and threw
it into the yard, my man, you climbed
up her and waited. You used a cutting
tool on these branches so you could
see. You watched the children and
passed the time whittling and
dreaming.
(beat)
When night came, you saw them passing
their bright windows and you watched
the shades go down, and you saw the
lights go out one by one. And after
a while, you climbed down and you
went in to them, didn't you?
(shouts)
DIDN'T YOU, YOU SON OF A BITCH! YOU
WATCHED THEM ALL GODDAMN DAY LONG! !
(beat)
That's why you like houses with big
yards, the easier to see them

CUT TO:

INT. JACOBI HOUSE - GEEHAN + PROSPECTIVE BUYERS - DAY

Geehan showing some new candidates around the house. It's a
YOUNG COUPLE and they look interested.

GEEHAN
They don't build houses this way
anymore: solid lath and plaster
construction. None of your drywall
stuff and aluminum studs here. No
sirree Bob!

WIFE
I like it, hon.

HUSBAND
Let's go to your office and see if
we can work out some terms...

GEEHAN
Great. You goin' love this house!

Geehan's got a sale. He's at the front door. He opens it.

CUT TO:

EXT. JACOBI HOUSE - DOOR - DAY

The door is opened by Geehan and his big smile, shepherding
his customers-to-be out the front door. The smile falls off
Geehan's face. The young buyers look quizzically.

GEEHAN

has deflated against the doorframe.

GEEHAN'S POV: THREE ATLANTA P.D. CARS, A FORENSICS TRUCK, +
ATLANTA P.D. HELICOPTER

with flashers going are converging onto the scene. Will Graham
is at the nearest police car talking on a cellular phone.

GRAHAM
I'm sending the can to Jimmie Price
to dust for prints.
(fast beat)
I need Bowman in Documents to fall
on this carving. Then I need the
Firearms and Toolmarks Section out
here on the severed branch. I need
to know what kind of cutting tool he
used.

CUT TO:

INT. WASHINGTON, FBI OFFICE - CRAWFORD - DAY

On phone to Graham.

CRAWFORD
Is it weird?

GRAHAM (V.O.)
The mark? Yes.

CRAWFORD
If the Documents section can't do
it... I'll send it up to Langley...

GRAHAM (V,O.)
Did Price get anywhere with the single
prints off the Leeds?

As another line on Crawford's phone rings, we PULL BACK to
his secretary, SARAH's area.

SARAH CRAWFORD
(fading up) (fading down)
Special Agent Crawford's No. The killer's not in
office.. the Single Print Index. He
must never have been printed.

TIGHTEN ON Sarah. We don't hear what's said to her.

SARAH
No, Mr. Graham is not in the office,
but let me...
(beat)
Wait, I'll be glad to...
(beat)
Yes, he'll be in the office later,
but let me...

She holds the receiver as though it had died in her hand and
crosses into Crawford's office.

CRAWFORD
(to Graham)
...but if we find him, the print as
evidence will get a conviction, Hold
on. What?

SARAH
He asked for Will. He said he might
call back tonight. I tried to hold
him... I'm sorry... He said 'tell
Graham "broken mirrors."'

CRAWFORD
(to Graham)
Will. Get right back here. He just
called.

EXT. JACOBI HOUSE - GRAHAM - DAY

GRAHAM
Who did he ask for?

CRAWFORD (V.O.)
You.

CUT TO:

INT. WASHINGTON FBI OFFICE - CRAWFORD + GRAHAM- LATER

It's now sunset out the window. Both men are tense. On
Crawford's desk are two new telephones and a tape recorder.
Also in the room are Sarah and DR. SIDNEY BLOOM, a forensic
psychologist. Food wrappings and Styrofoam coffee cups litter
his desk. Bloom only ate half his pastrami on rye:

DR. BLOOM
Anybody want the rest of the
cholesterol special?

CRAWFORD
Thanks, no.

GRAHAM
...so how do I play him, Sidney?

DR. BLOOM
Compliment him. Tell him most people
don't have the intellectual capacity
to understand what has happened,
that sort of thing.
(beat)
If he's paranoid, play into his
grievance. Let him air it.
(beat)
If he's picked you as an adversary
and wants to gloat, give him what
he's after. A little at a time.

CRAWFORD
...very little. If it's all electronic
switching we'll need a minute for
the trace.

Graham turns to the window. Crawford taps a pencil on his
desk. They wait,

CUT TO:

SAME - LATER - NIGHT

Crawford's feet are on his desk. Sarah yawns. Graham leans
against the other wall. Stony silence. RING. They react.
FOUR more RINGS.

SARAH
(into phone)
Special Agent Crawford's office.
(beat)
Bill, call back on twenty-four four.
We need to keep this line clear...

She hangs up. Crawford takes Bill's call on the other line.
The rest exhale tension and go back to waiting.

CUT TO:

INT. MEN'S ROOM - FAUCET - NIGHT

Runs water.

GRAHAM.

stares at it. He puts his hands under and runs cold water on
his upturned wrists.

CUT TO:

INT. CBAWFORD'S OFFICE - CRAWFORD - NIGHT

Looking through reports. He picks up a pencil and starts to
correct a line when: RING.

CRAWFORD
Where the hell's Graham!

RING.

SARAH
He went to the men's room.

RING.

CRAWFORD
For Christ's sake get him!

An assistant runs out. RING. Sarah's anxious.

CUT TO:

EXT. CORRIDOR - GRAHAM - NIGHT

Running. He slips on the polished floor, recovers himself...
He darts through Crawford's door.

CUT TO:

INT. CRAWFORD'S OFFICE - GRAHAM

tries to catch his breath as Sarah snaps up the phone.

SARAH
Special Agent Crawford's office.
(she nods; it's him)
Could you hold on a second, I'll see
if I can find him.

Sarah punches hold. Crawford is counting seconds. He raises
his thumb. Graham grabs the phone.

GRAHAM
(calm)
This is Will Graham. Can I help you?

VOICE (V.O.)
No. I can help you.

GRAHAM
I don't understand.

VOICE (V.O.)
Atlanta and Birmingham.

CRAWFORD

scribbles on a piece of paper.

GRAHAM (O.S.)
Do you know something about that?

VOICE (V.O.)
Why do you think I called?

GRAHAM (O.S.)
I get a lot of calls. Most of them
are from people who say they know
things.

Crawford holds up the piece of paper. It says: "Chicago phone
booth. Police scrambling."

GRAHAM
Talk to them a few minutes and you
can tell they don't have the capacity
to even understand what's going on.
Do you?

VOICE (V.O.)
You tell me what you know about him.
I'll tell you whether you're right
or not.

GRAHAM
Let's get straight who we've talking
about.
(beat)
Are you the man I'm interested in?

VOICE (V.O.)
I don't think I'll tell you.

GRAHAM
He's right-handed.

VOICE (V.O.)
Most people are.

GRAHAM
He's misunderstood.

VOICE (V.O.)
Cut the general crap.

Graham stares at Crawford. Crawford makes a circular motion
with his hand: string him on.

GRAHAM
He's very strong physically.

VOICE (O.S.)
That's true.

GRAHAM
He's white and six feet tall. You
haven't told me anything yet.

VOICE (O.S.)
Describe exactly what you think he
did to Mrs. Leeds and I'll tell you
if you're right or not.

GRAHAM
I don't want to do that,

VOICE (O.S.)
Goodbye.

Graham and us hear a telephone booth door slam open. We hear
a receiver fall with a CLANG. He hear faint voices. The
receiver bangs as it's swung on the cord. Everyone in the
outer office hears it on the speaker phone. They also hear:

2ND VOICE (V.O,)
Freeze. Don't even twitch. Now lock
your fingers behind your head and
back our of the booth slowly. Spread
'em!

Graham drops the phone. Tension floods out of him. In the
outer office people are cheering,

CLOSE ON GRAHAM

His eyes almost start to tear in relief as he turns his back
and looks out the window.

Crawford's ecstatic.

2ND VOICE (V.O.)
Who am I speaking to?

Graham grabs the phone.

GRAHAM
Will Graham, FBI.

2ND VOICE (V.O.)
This is Sergeant Stanley Riddle,
Chicago Police Department. Will you
tell me what the hell's goin' on.

GRAHAM
You tell me. You have a man in
custody?

SERGEANT RIDDLE (V.O.)
Damn right.
(beat)
Freddie Lounds.

ZOOM IN ON Graham's face. It locks in rage.

SERGEANT RIDDLE (V.O.)
Can you hear me?
(beat)
Are you preferring charges against
him or you want him to just run
along...

GRAHAM
(hollers)
Yeah. I'm preferring charges!
Obstruction of justice. You lock
that asshole up. You hold him for
the U.S. Attorney! You...

CUT TO:

EXT. CHICAGO STREET, PHONE BOOTH - FREDDIE LOUNDS - NIGHT

grabs for the phone.

LOUNDS
Will, listen...

CUT TO:

INT. CHESAPEAKE HOSPITAL, DR. CHILTON'S OFFICE - DR. CHILTON -
NIGHT

There is a KNOCK on his door.

DR. CHILTON
Come in.

GUARD
Dr. Chilton.

DR. CHILTON
Yes?

GUARD
When we were cleaning out Dr.
Lector's cell, he heard us coming
and hid something in a book... We
got him out of there and dug around...

Dr. Chilton reacts.

DR. CHILTON
(fast)
Do you have it?

GUARD
Yeah. It's right here.

Guard pulls three sheers of toiler paper with writing on
them out of his pocket. We HOLD ON it.

DR. CHILTON

is already dialling a number.

DR. CHILTON
Put it down on my desk blotter and
don't touch it again. Has anyone
else handled it except you?

GUARD
No.

CUT TO:

INT. CRAWFORD'S OFFICE - NIGHT

Sarah answers the phone.

SARAH
Special Agent Crawford's office.

In the b.g. all hell is breaking loose. Crawford and Graham
are both hollering into the phone at Freddie Lounds.

SARAH
Speak up, please. I can hardly hear
you!

DR. CHILTON (V.O.)
(shouting)
I said I need to speak to Special
Agent Crawford or Mr. Graham. Right
away!

SARAH
(holding one ear closed)
I'm sorry. Special Agent Crawford
and Graham are tied up tight now.
Can I get them to call you back?

DR. CHILTON (V.O.)
(going nuts)
This is Dr. Chilton. At the Chesapeake
Hospital. Will you please call them
this is very, very urgent!!
(beat)
I'll hold on.

Sarah puts Chilton on "Hold." TRACK her INTO the room. She
starts to say something. Crawford holds up a hand...

CRAWFORD
(hollering)
How'd you know 'broken mirrors?'
Bribe a cop?
(beat)
Tell it to the U.S. Attorney, Lounds!

GRAHAM
(seeing Sarah)
What is it?

SARAH
It's a Dr. Chilton, sir. He says
it's urgent.

Graham punches the phone and takes the call. Crawford's
yelling at Lounds.

GRAHAM
It's Will Graham...

DR. CHILTON (V.O.)
Well, it's about goddamn time! I
have a note here, or two pieces of a
note, that appears to be from the
man who killed those people in Atlanta
and....

GRAHAM
Where did you get it?!

Graham waves Crawford to the other phone.

DR. CHILTON (V.O.)
From Hannibal Lecktor's cell. It was
hidden in a book.

CRAWFORD
(to Lounds)
Run along to the police station,
Freddie. We'll talk to you when we
get around to it...

Crawford punches into Dr. Chilton's call.

CUT TO:

INT. CHESAPEAKE HOSPITAL - DR. CHILTON - NIGHT

GRAHAM (V.O.)
Can you read it to me?

DR. CHILTON
It's written on toilet tissue.
(reads)
'My dear Dr. Lecktor, I wanted to
tell you I'm delighted that you've
taken an interest in me. I know that
you alone can understand what I'm
becoming.
(reads)
'I know you alone understand the
reality of the people who die to
help me in these things, understand
that they are only elements undergoing
change to fuel the radiance of what
I am becoming. Just as the source
of light is burning.
(beat)
Mr. Graham, there's a hole torn and
punched out, then it says...
(reads)
'I have a complete collection of
your press notices. I think of them
as unfair. As unfair as mine. The
"Tooth Fairy." What could be more
inappropriate. Investigator Graham
interests me. Very purposeful
looking. I hope we can correspond.
(beat)
There's another piece missing here.
I'll read the bottom part.
(reads)
'After I hear back from you, I might
send you something wet. Signed:
Avid Fan.
(to Graham)
It has teethmarks pressed in it at
the bottom.

CRAWFORD

punches the other line.

CRAWFORD
Sarah, order a chopper. I want the
next thing smoking and I don't care
whose. Ours. DCPD. Or the Marines.
Then call Documents. Tell them to
scramble a team. I want everybody
moving in five minutes.
(punches into Dr.
Chilton's line)
Dr. Chilton, please do not handle
the note. I have a Documents team on
the way to you by helicopter to pick
it up.

GRAHAM
After we've worked the note we want
to replace it in Lecktor's cell. I
don't want him to know we found it.
(beat)
Where's Lector now?

DR. CHILTON (V.O.)
In a holding cell.

GRAHAM
How long can you keep Lecktor out
without him getting suspicious?

DR. CHILTON (V.O.)
Three, four hours.

CRAWFORD
Have your building superintendent
shut off the water and most of the
lighting in Lecktor's hall. Have him
walk through carrying tools and being
pissed off or something,

DR. CHILTON (V.O.)
Yes. We can manage all that.

CRAWFORD
(hits another line)
Brian. We have a note coming in on
the fly. Possibly from the Tooth
Fairy. Number one priority. It has
to go to Hair and Fiber, Latent Prints
and Documents. Graham and I will be
walking it through...

CUT TO:

INT. FBI BUILDING, HAIR AND FIBER SECTION - BEVERLY KATZ -
NIGHT

is bent over a microscope. She's under it. Behind her a male
assistant brushes a child's bib overalls with a metal spatula.
He is collecting whatever debris comes off the clothing onto
a white paper sheet. BEVERLY KATZ lifts something with
tweezers. She leans away from the microscope.

BEVERLY KATZ
One hair, Graham. Maybe a thirty-
second of an inch. A couple of blue
grains. I'll work it up. What else
have you got?

GRAHAM
Hair from Lecktor's comb. Whiskers
from an electric razor they let him
use. This is hair from the cleaning
man.

CUT TO:

INT. LATENT PRINTS - JIMMIE PRICE - NIGHT

winces at the sight of the paper. He slips it under the helium
cadmium laser.

THE HELIUM CADMIUM LASER

bombards the toilet paper with light. Growing smudges appear
on the paper.

PRICE (O.S.)
Perspiration stains, nothing else.
(beat)
How many guys handled this without
gloves?

GRAHAM (O.S.)
The cleanup man and Lecktor...

PRICE (O.S.)
The cleanup man scrubbing sinks
probably had the oil washed off his
fingers. But the others...
(beat)
I could fume it, Will, but couldn't
guarantee the iodine stains would
fade our in the time you've got to
get it back.

GRAHAM (O.S.)
Ninhydran? Boosted with heat?

PRICE (O.S.)
No. We couldn't wash it after. I
can't get a print off this, Will.
There isn't one.

CRAWFORD (O.S.)
Dammit.

CUT TO:

INT. DOCUMENTS - LLOYD BOWMAN - NIGHT

is underlit by his translucent light box. The note is on it.

BOWMAN
(without looking up)
How long do I have?

CRAWFORD
Twenty minutes max.

GRAHAM
The main thing is: how was Lecktor
to reply.

BOWMAN
That's probably in the part Lecktor
tore out.
(beat)
At the top it says: 'I hope we can
correspond.' And then the hole begins.
(beat)
It looks like Lecktor went over it
with a felt tip pen and then folded
it and pinched most of it away.

GRAHAM (O.S.)
He doesn't have anything to cut with.

BOWMAN

moves under a rostrum camera setup. There are lights mounted
on a 360-degree rim even with the base of the rostrum Bowman
hits a switch. The top lights go out. The side lights are
very oblique.

MACRO CLOSEUP: NOTE

Under the oblique light the tooth impressions stand out. We
hear a SHUTTER CLICK as they are photographed.

BOWMAN (O.S.)
Now we can mash it a little.

A pane of glass descends on the note and flattens the jagged
edges of the hole.

EVEN CLOSER: THE EDGES

are tattered and smeared with vermillion ink.

LIGHTING PANEL

Bowman's fingers hit it. The room is darkened, except for a
dull glow from the infrared source..

BOWMAN
(chants under his
breath)
You're so sly, but so am I...

ROSTRUM

Bowman switches to a closed-circuit TV camera.

MONITOR

The image focuses as Bowman focuses the lens. Then: The ink
smear is gone. Fragments of writing appear.

BOWMAN (O.S.)
Aniline dyes in the inks in felt-tip
pens -- which is what Lecktor has --
are transparent to infrared. The
Tooth Fairy's ballpoint isn't...

CRAWFORD (O.S.)
That could be the tip of a 't. Here
and here. And here.

BOWMAN (O.S.)
At the end is the tail of what could
be an 'r.

GRAHAM, CRAWFORD + BOWMAN

at the monitor lit by the infrared glow.

GRAHAM
We know the Tooth Fairy reads the
Tattler. The stuff about me and
Lector? I don't know any other paper
that carried it...

CRAWFORD
...there's three 't's' and an 'r' in
Tattler.

GRAHAM
Personal ads?

As they run out of the room:

CUT TO:

INT. FBI CONFERENCE ROOM - WIDE SHOT - NIGHT

Everyone we've seen is assembled: Graham, Crawford, Beverly
Katz, Jimmie Price and Bowman.

CRAWFORD
The Chicago office is running through
all the personal ads in the Tattler
right now.

BOWMAN
When do they go to press?

GRAHAM
In thirty-five minutes.

BOWMAN
Christ!

CRAWFORD
After we find Lecktor's response, we
substitute our own. Somewhere tomorrow
night the Tooth Fairy will actually
buy Tattler, looking for Lecktor's
message. Here's what he'll find,
Bill.

BILL
(reads)
'Dear Avid Fan: inherit my mantle
and surpass my achievements.
Mementoes for you at Baltimore
Central. Left luggage 72683'.

CRAWFORD
It's a Secret Service letter drop
and stakeout. He shows: we take him.
(beat)
Anything from Chicago?

SARAH
Not yet.

CRAWFORD
Let's get to the physical.

PRICE
There was no print. I'm here for
kicks.

BEVERLY KATZ
One whisker. Scale counts and core
size match Hannibal Lecktor's. So
does color. The color's different
than the Tooth Fairy's taken in
Birmingham and Atlanta. Three blue
grains and some dark flecks went to
Brian's end.

BRIAN ZELLAR
The grains are commercial granulated
cleanser with chlorine. Must be from
the cleaning man. There are several
particles of dried blood. Not enough
to type.

GRAHAM
Bowman?

BOWMAN
It's Snow White toilet paper.
National distribution.

Bowman sets up his photographs on an easel.

BOWMAN
(beat)
If there's any doubt, we matched the
indents of the bitemark on the note
against the Smithsonian teeth. This
is your boy...
(beat)
He folded the bottom part, including
what Lecktor tore out. In this
enlargement of the back side, oblique
light revealed impressions. We can
make out: 'six-six-six'.
(beat)
I didn't spot it until I had this
high-contrast print. I advised Chicago
as soon as I saw it.

CRAWFORD
Issue the toilet paper tear as a...

The phone RINGS. Graham punches the speaker.

CHESTER (V.O.)
This is Chester here. Who am I talking
to?

GRAHAM
Will Graham, Jack Crawford...

CHESTER (V.O.)
We got an ad order in tonight's
"Tattler" with 'six-six-six' in it.
It's being Telexed to you right now.

GRAHAM
Read it.

CHESTER (V.O.)
(reads)
'Dear Pilgrim, you honor me.'

GRAHAM
That's it. Lecktor called him a
Pilgrim when he was talking to me...

CHESTER (V.O.)
'You're very beautiful.

CRAWFORD
Christ...

CHESTER (V.O.)
'I offer one hundred prayers for
your safety. Find help in john 6:22,
8:16 9:1; Luke l:7, 3:1; Galatians
6:11. 15:2; Acts 3:3; Revelations
18:1; Jonah 6:8...
(beat)
It's signed: 'Bless you, 6:6:6'

Bowman is already running through the onion-skinned pages of
a Bible he took from a shelf. Nobody talks to him.

CRAWFORD
(checks watch)
...twenty-eight minutes.
(low to Sarah)
Cryptography at Langley?

SARAH
They got shot a Telex. They're on if
now...

Everybody exhibits disciplined surface calm. The tension is
screaming underneath.

BOWMAN

furiously looking through pages of the Bible, suddenly stops.

BOWMAN
(to Graham)
No.
(beat)
The numbers aren't right for a
jailhouse alphabet code. It's a book
code.
(beat)
And your message has to go out in
it, or he'll know it's not Lecktor
talking to him.

CRAWFORD
Book code?

BOWMAN
'One hundred prayers' could be the
page number. The paired numbers and
the scriptural references could be
line and letter. But what book?

CRAWFORD
Not the Bible?

BOWMAN
No. Galatians 15:2? Galatians has
only six chapters. The same with
Jonah 6:8 -- Jonah has four chapters.
Lecktor wasn't using a Bible.

GRAHAM
Then the Tooth Fairy named the book
in the part Lecktor tore out.

BOWMAN
Right.
(beat)
What about sweating Lecktor?

GRAHAM
They tried sodium amytal on him three
years ago to find where he buried a
Princeton student.
(beat)
He gave them a recipe for potato
chip dip.

BOWMAN
It has to be a book the Tooth Fairy
would know Lecktor has in his cell.

GRAHAM
He'd know it from articles he's read
about Lecktor...

CRAWFORD
Willingham, when he tossed his cell,
took Polaroids so they could get
everything back in place...

BOWMAN
Have him meet me with pictures of
Lecktor's books...

CRAWFORD
Where?

BOWMAN
Library of Congress.

Bowman's out the door.

GRAHAM
Twenty-five minutes. We won't make
it in time.

CRAWFORD
(looks at watch)
We let Lecktor's message run as is
and decode it after. Or we pull it,
work our the code and put ours in
next week.

GRAHAM
Can we still get Lecktor's message
out of the paper?

CRAWFORD
Yes. And I'm leery of running
Lecktor's message without knowing
what it says.

GRAHAM
And if we pull it, we lose a week...
We only have two to the next full
moon.

CRAWFORD
It's your call, Will. What do we do?

Graham has to decide. Long pause. Then he looks up:

GRAHAM
Run it.

CRAWFORD
What if it encourages the Tooth Fairy
to do something besides write?

GRAHAM
We will feel sick for a very long
time.

CUT TO:

INT. ST. LOUIS AIRPORT NEWSSTAND - FLOOR - DAY

The floor is in focus. In the b.g., are busy, out-of-focus
images: newspapers, magazines, people passing. We don't know
why we are HOLDING on the empty floor. Then, a stack of
"Tattlers" hits the floor. The headlines include: "HEAD
TRANSPLANT and ASTRONOMERS GLIMPSE GOD!"

CUT TO:

INT. WASHINGTON HOTEL ROOM - WILL GRAHAM - NIGHT

asleep in bed. Sheets are twisted between his legs.

His arms are widespread. The phone RINGS. Will Graham doesn't
hear it. It keeps RINGING. MOVE IN on Graham. Finally, he
stirs, then fights his way up out of sleep.

PROFILE: GRAHAM

sits up. His hand snakes out and grabs the phone to make it
stop ringing.

GRAHAM
Who is it?

CRAWFORD (V.O.)
Will, Bowman just broke the code. It
was a James Beard cook book. You
need to know what it says right now.

GRAHAM
What'd it say?

CRAWFORD (V.O.)
I'll tell you in a second. Now listen
to me: everything is okay, I'm taking
care of it, so stay on the phone
when I tell you.

GRAHAM
Tell me now.

CRAWFORD (V.O.)
It says: 'Graham home, 3860 DeSoto
Highway, Marathon, Florida. Save
yourself. Kill them all.
(beat)
It's your home address, Will. The
bastard gave him your home address.

GRAHAM
Get me a plane...

CRAWFORD (V.O.)
Wait, Will...

GRAHAM
Get me a plane!

CRAWFORD (V.O.)
I'll pick you up in...

GRAHAM
I won't be here.

On the move...

CUT TO:

INT. GRAHAM HOUSE, MARATHON, FLORIDA, BEDROOM - MOLLY -
NIGHT

She's asleep. Kevin enters.

KEVIN
Mom...

Kevin looks over her shoulder out the window as if he's scared
of something.

MOLLY
What time is it?

KEVIN
Mom, someone's outside. There's
noises...

MOLLY

starts and sits up...

INT. GRAHAM HOUSE - HALLWAY & KITCHEN

are empty. Dark shadows play against darkened walls. O.S.
we hear crashing waves. Moonlight makes trees whipped in the
wind throw dappled shadows across the corridor. Molly enters
the frame in CLOSE SHOT. We TRACK WITH her in a THREE-QUARTER
REAR SHOT behind the back of her head. She feels vulnerable.
The dappled leaves whip across her face in a sudden gust.
Molly's head snaps around.

MOLLY'S POV: GLASS PORTICO

with the tree moving in the wind. Beyond is the ocean with
moonlight on the surf. Nothing.

MOLLY

moves into the kitchen. A streetlight hits part of the kitchen
with a dim phosphorescent green.

KEVIN (O.S.)
Mom?

MOLLY
(whispers)
Go into your room and lock the door.

KEVIN (O.S.)
Mom?

MOLLY
Go ahead!

He catches Molly's eye:

MOLLY'S POV: KITCHEN WINDOW

A silhouette shape moves past the window. The angle of the
streetlight plays its shadow on the wall against Molly.

FRONTAL CLOSEUP: MOLLY

frozen. She hears the outer screen door being opened...

BEHIND MOLLY & OVER HER SHOULDER TO KITCHEN DOOR

The shape is at the door. Molly takes a couple of steps, and
can't go any further.

MOLLY

breathless, opens the door. Fast.

DOOR

reveals Florida State TROOPER.

TROOPER
Are you all right, ma'am?

MOLLY
(fast breathing)
Yes. Why?
(beat)
WHAT'S GOING ON?

CUT TO:

EXT. GRAHAM HOUSE - TROOPER + MOLLY - NIGHT

As Molly comes out of the house, we PULL BACK and CRANE UP
INTO a very HIGH ANGLE WIDE SHOT revealing: Four state trooper
cars parked on Graham's property. On the road are two
roadblocks 100 yards apart on either side of Graham's house.
All their flashers are going. Molly looks around in confusion.
We see her turn to the sea, a coast guard launch pulls to
100 yards off the beach. Its searchlight plays on the water's
edge then across the property. Molly look; at all the
policemen...

CUT TO:

EXT. AIRPORT - GULF STREAM JET - DAY

advances on us, its engine screaming. Its front wheel brakes
to a stop right before CAMERA.

DOOR

opens. Running down the stairs and across the tarmac is Will
Graham in shirtsleeves with a Car-15 assault rifle with
collapsible stock. His eyes scan the perimeter.

FBI MEN

moving fast, follow Graham. Their eyes sweep the terminal
area. One carries an Uzi submachine gun, the other two,
handguns.

A CORDON OF FLORIDA STATE TROOPERS

hussle Molly and Kevin between them from their cars towards
Graham. Two carry suitcases.

GRAHAM + MOLLY + KEVIN

inside the protective barrier of men.

HIGH ANGLE: THE AIRPORT

Graham moves Molly and Kevin up into the Gulf Stream. FBI
men follow. The troopers back off. The flashers on their
cars are still turning. PAN RIGHT with the Gulf Stream as it
taxis to the head of the runway. It pauses a moment, then
blasts down the runway and up into the morning sun.

CUT TO:

INT. BALTIMORE SAFE HOUSE, FOYER - DOOR - DAY

HOLD. Then it opens. Molly and Kevin, followed by Graham.
Unmarked FBI cars are parked on the front lawn. Molly enters
the foyer, looks around and stops.

HOUSE INTERIOR

Holiday Inn decor.

MOLLY
Who decorated this place, Richard
Nixon?

Molly takes a deep breath. Then lets it out. She's tired.
Graham takes her hand.

GRAHAM
...sorry, Molly. I'm sorry this
happened to you.

MOLLY
You didn't do it to me, Will; it's
happened to us.
(touches his face)
And if I survive the wallpaper we'll
be okay...
(Graham has to smile)
He's after you now, isn't he?

She didn't check to see that Kevin is our of earshot. Graham
does.

GRAHAM
It's a precaution...
(to Kevin)
Why don't you run down to the bay.
They got a swimming float.

KEVIN
I'll hang around in here. I'll just
be in the kitchen, Mom...

GRAHAM
(to Molly)
What is he? Afraid to leave you alone
with me now?'
(beat)
He read the Tattler piece, didn't
he?

MOLLY
He didn't know you had been in a
mental institution. Be asked me if I
knew. I said yes. I wanted to talk
to him. He said he wanted to bring
it up to you. Face to face.

GRAHAM
Good for him.
(beat)
Thanks a lot, Freddie!
(to Kevin)
Kevin. We're going grocery shopping.

CUT TO:

INT. SUPERMARKET - GRAHAM + KEVIN - DAY

push a basket collecting stuff from the shelves. Other
families are shopping The place is medium-crowded. Mind-
dulling MUZAK comes from the ceiling.

KEVIN
Is there anything I need to know to
see about Mom?

GRAHAM
No. You're very well-protected. No
one can find our where you are.

KEVIN
Barry's mom had this newspaper. It
said you killed the guy in Minnesota
and were in a mental hospital. Is it
true?

GRAHAM
Yes.

KEVIN
I figured I'd ask you...

GRAHAM
I was in the psychiatric wing. It
bothers you, finding out I was in
there... doesn't it?

KEVIN
I told my dad before he died, I'd
take care of Mom. And I'll do it.
(beat)
This guy wants to kill you?

GRAHAM
We don't know that.

KEVIN
Are you gonna kill him?

GRAHAM
No. It's just my job to find him.
(beat)
I was in the hospital after Garrett
Jacob Hobbs.

KEVIN
How did it happen?

GRAHAM
Hobbs was insane. He was attacking
college girls and he killed them.

KEVIN
How?

GRAHAM
With a knife.
(beat)
I found a curly piece of metal in
the clothes of one of the girls.
The kind of shred a pipe threader
makes. I was taking a look at steam
fitters, plumbers. It took a long
time. In one place there was a
resignation letter from a man named
Hobbs. I saw it and it was...,
peculiar.
(beat)
I was going up these stairs to Hobbs'
apartment. I was halfway up when he
shoved his wife down at me. She was
dying.
(beat)
I sent the officer with me to call a
SWAT team. But I could hear kids in
there and screaming. I couldn't wait.

KEVIN
You went in the apartment?

GRAHAM
Yes. Hobbs had one of his daughters
from behind. He was cutting her. I
shot him.

We get the feeling Graham is leaving out lots of pieces and
gives Kevin only the bare bones of what he needs to know.

GRAHAM
I kept thinking there must be some
way I could have handled it better.

It kept replaying in my mind. Later I got depressed. A doctor
friend of mine, Dr. Bloom, asked me to go into a hospital.
After a while I got some distance on it and was okay.

KEVIN
Did the girl die?

GRAHAM
No.

KEVIN
She got all right?

GRAHAM
...after a while.

KEVIN
And Hobbs died?

GRAHAM
(nods)
...yes.

Kevin pauses, then asks with 11-year-old innocence:

KEVIN
Killing somebody feels that bad?

EXTREMELY CLOSE: GRAHAM

turns and stares at Kevin:

GRAHAM
Kevin: it's the ugliest thing in the
world.

Kevin thinks about this for a long time. He nods. He feels
he understands Graham and is closer to him for it:

KEVIN
What kind of coffee do you like?

GRAHAM
Huh?

KEVIN
You like that Colombian stuff, don't
you?

Kevin reaches for the coffee and puts it in the basket.

KEVIN
Mom likes that, too.

REAR SHOT: KEVIN + GRAHAM

walk down the aisle. Graham puts his hand over Kevin's
shoulder. They look like father and son. As they disappear
around a corner...

CUT TO:

EXT. BALTIMORE SAFE HOUSE, BACKYARD - REAR SHOT: GRAHAM +
MOLLY - NIGHT

Beyond is Chesapeake Bay and the nightlights of Baltimore
reflecting across it. The swimming float bobs in the distance.
One yellow light is on it.

FRONTAL: MOLLY + GRAHAM.

The grass looks cold in the moonlight. Holly wears a heavy
cardigan.

Behind them -- with yellow lights -- the house looks like a
motel.

MOLLY
It's hard to have anything, isn't
it? Rare to get it, hard to keep
it. This is a damn slippery planet.

When she said this she was staring out to sea. Now she turns
to look at Graham and puts a hand on his arm. He still stares
out to sea:

GRAHAM
Slick as hell.

Then Graham looks at her and covers her hand with his own.

MOLLY
You remember when we first met? And
were together alone in that room.
And the exhilaration was too much to
hold on to. And then something
flickered across your face like a
shadow and I asked you what was wrong?

GRAHAM
I remember.

MOLLY
Do you remember what you said?

GRAHAM
Yes. I said this is too good to
live...

Molly stares into his eyes.

MOLLY
Time is luck, Will.
(beat)
I know the value of our days...

They stare into each other. There's a pause. They rise. She
puts her arm around Graham's waist. They start towards the
house.

MOLLY
Let's go to bed. I'll rub your back.

CUT TO:

INT. FBI CAFETERIA - CRAWFORD + BLOOM - DAY

CRAWFORD
I need to talk to you about Will
Graham.

BLOOM
What about him?

CRAWFORD
I need to ask you questions of a
psychological nature.

BLOOM
Remember when you asked for a study
on him, I refused. Same goes for
now.

CRAWFORD
That was Peterson upstairs.

BLOOM
It was you who did the asking.

CRAWFORD
He doesn't think you run mind games
on him.

BLOOM
I wouldn't presume to try.

CRAWFORD
You're never alone in a room with
Graham, are you? You're smooth about
it, but you're never one-on-one with
him. Why's that? Do you think he's
psychic?

BLOOM
He's an eideteker. He has almost
total recall. But I don't think
he's psychic. What he has it empathy
and projection. He can assume your
point of view and mine.., and some
other points of view that scare and
sicken him.

CRAWFORD
Why aren't you ever alone with him?

BLOOM
Because I'm professionally concerned
about him. And he'd pick up on that.
He's fast. He hates being prodded
and poked.
(beat)
So do I.
(beat)
What do you want?

CRAWFORD
His nervous breakdown followed Hobbs.
Could he kill again if he had to
save his life? Or would he hesitate?

BLOOM
I'll tell you the events. The
psychology's none of your business.
Hobbs was trying to cut his eleven-
year-old daughter's throat. Graham
shot him with his .38 six times.
Hobbs still didn't go down. He had
to wade in...

CRAWFORD
That's when it happened?

BLOOM
No. It happened when Graham went to
see Hobbs' daughter four months later
in the hospital. She saved her carotid
artery.., but lost three fingers and
her larynx. She was connected up to
a voice box. When Graham went to
see her, she asked him -- through
the speaker: 'Why did you have to
kill my daddy?'
(beat)
That's when Graham had his nervous
breakdown.

CRAWFORD
What's the bottom line?

BLOOM
If he pushes too deep into our boy's
mind-set, he may destroy himself.
(beat)
What are you planning, Jack?

CRAWFORD
Could he handle a direct contact?

BLOOM
I don't recommend it.

GRAHAM (O.S.)
You don't recommend what, Sidney?

Crawford is surprised at Graham's entry. Bloom isn't.

BLOOM
Crawford has a proposition. I don't
think it's a good idea.

GRAHAM
If the Tooth Fairy listens to Lecktor,
he'll come for me. So we're going to
set me up as bait to draw him out.
Give him a clean shot.
(beat)
That's what you were thinking, isn't
it?

Crawford's embarrassed. Bloom said Graham was fast.

GRAHAM
I'll use Lounds.

Now Bloom's surprised...

GRAHAM
Sidney, he doesn't read the "Sunday
Times literary supplement. He reads
Lounds in the "Tattler."
(beat)
And I want this over with... fast.

CUT TO:

INT. WASHINGTON APARTMENT - GRAHAM + LOUNDS - DAY

Graham leans against a table, his back to a window.

GRAHAM
I believe he's socially maladjusted.
Laughed at by his contemporaries...

LOUNDS
How does he rate compared to Dr,
Hannibal Lecktor?

GRAHAM
He's not as intelligent.

PULL BACK to reveal Bloom, Crawford, a photographer and
assistant. Graham motions for Lounds to turn off his tape
recorder.

GRAHAM
(to Bloom)
What have we missed?

BLOOM
He may have an unconscious homosexual
conflict. A fear of being gay. He
objects to the word 'fairy.' Plus
smeared bloodstains indicate that he
put the shorts on Charles Leeds after
he was dead. I believe he did this
to emphasize his lack of interest in
Mr. Leeds.

Graham motions Lounds to turn the tape recorder on again.

GRAHAM
The killer has sexually molested all
his male victims. He is a homosexual
and impotent with persons of the
opposite sex.
(beat)
Our forensic psychologists have
projected he may have been the product
of an incestuous home life.
(added afterthought)
And probably had sexual relations
with his mother...

Crawford stifles a laugh...

LOUNDS
How long will you stay in Washington?

GRAHAM
Until we've taken out the Tooth Fairy.

Graham gestures for Lounds to turn off the tape recorder.

GRAHAM
All right. Let's shoot the pictures.

LOUNDS
(to Crawford)
I want shots with me and Graham
together.

Graham reacts.

LOUNDS
C'mon, c'mon, c'mon. You want this
to look real, don't you?

STILL PHOTOGRAPHER'S POV THROUGH CAMERA: GRAHAM + LOUNDS

Lounds lays Graham's arm over his own shoulder and mugs for
the camera. Behind him is the flood-lit Capitol dome and the
sign of a motel across the street.

GRAHAM
Keep the motel sign across the street
just slightly out of focus. He has
to be able to read it, but it can't
look too obvious.

Lounds barks orders to the still photographer and splits.
The photographer starts breaking down his gear. Crawford
takes Graham aside.

CRAWFORD
(low)
Asian studies at Langley said the
mark you found on the tree is a
Chinese character considered a
positive or a lucky sign in gambling.
The character also appears on a mah-
jongg piece.
(beat)
It means Red Dragon.
(beat)
That mean anything to you?

GRAHAM
No.

CUT TO:

EXT. WASHINGTON, D.C. PARKING LOT - GRAHAM, CRAWFORD +
SPURGEN

7:30 PM

SPURGEN, chief SWAT instructor from Quantico, examines the
parking lot. We've cut in mid-dialogue.

SPURGEN
...if he's smart he'll approach from
the front, pass, and take you from
the back. How well do you hear?

GRAHAM
Pretty well.

SPURGEN
I'm gonna spray your suit jackets.
It'll be invisible in this light,
but you'll stand out like a zebra
for us.
(beat)
They told me you checked out a .44
Charter Arms Bulldog.

GRAHAM
Yes.

SPURGEN
Good. You'll load these, Ever fire
them?

Spurgen hands Graham a glycine envelope containing 25 rounds
of .44 Special ammunition.

GRAHAM EXAMINES ONE ROUND

Instead of a lead bullet, there's a matte-black, blunt-nosed
cylinder.

GRAHAM
Glaser Safety Slugs?

SPURGEN
(nods)
...commercially prohibited.
(beat)
Number Twelve shot in liquid Teflon
in a copper casing. On impact it all
opens up in the target. Expect the
recoil. They're hot loads. Body
armor?

GRAHAM
Kevlar Second Chance.

SPURGEN
I hope you have a second chance...

GRAHAM
Because he's gone for the head shot
seven out of eight times'

SPURGEN
You got it.

GRAHAM
Let's walk the route.

As they start across the parking lot:

CUT TO:

INT. LAMBERT ST. LOUIS INTERNATIONAL AIRPORT - FLOOR - DAY

We've been here before. The floor is empty. In the WIDE ANGLE --
OUT OF FOCUS -- the NEWSSTAND OPERATOR is squatted down
reading the "Chicago Tribune." In the empty space is dumped
a bundle of "Tattlers" A pair of black zippered boots enters
and stands behind the man.

NEWSSTAND OPERATOR
(without looking)
What is it?

VOICE (O.S.)
A "Tattler."

NEWSSTAND OPERATOR
You'll have to wait until I bust a
bundle.

One black boot kicks the "Tattler" bundle.

VOICE (O.S.)
Now.

NEWSSTAND OPERATOR
(hot)
I said wait 'til I bust a bundle.
Understand?

A hand and a flash of bright steel rip through the FRAME.
The wire is cut with a POP. A dollar bill is thrown on the
floor. The hand whips a "Tattler" out from the center of the
bundle. RAISE UP WITH the outraged Newsstand Operator.

NEWSSTAND OPERATOR
Hey. Hey you.

The retreating man turns to face him. It is Francis
Dollarhyde.

DOLLARHYDE
Me?

NEWSSTAND OPERATOR
Yeah, you. Fuckin' told you...

DOLLARHYDE
(interrupting)
You told me what?

He starts coming back. He rakes off his silver sunglasses
revealing the white violet eyes.

DOLLARHYDE
You told me what?!

CLOSE: NEWSSTAND OPERATOR

NEWSSTAND OPERATOR
You got a quarter comin' back.

CUT TO:

EXT. WASHINGTON APARTMENT, PARKING LOT - GRAHAM'S CAR -
NIGHT

Pulls into the prescribed space. It's raining. He kills the
engine and gets out.

HIGH ANGLE: GRAHAM

exiting the car. The image is in GREEN AND BLACK. We are:

EXT. ROOFTOP - SWAT #

behind the balustrade in a prone firing position sighting
through a heavy-barrelled Heckler and Koch Model 93 with a
Startron scope.

SECOND HIGH ANGLE: GRAHAM

also in GREEN AND BLACK. Reveal we are:

EXT. SECOND ROOFTOP - SWAT #

with the same rifle sweeping the parking lot. He reacts to
something to his left.

GRAHAM

...walking along the determined line, fifty yards from the
apartment building.., hears something through the delicate
patter of the rain.

GRAHAM'S POV: CORNER OF BUILDING

A distant "plop-plop-plop" of running feet...

Graham's eyes tighten.

CORNER OF BUILDING

HOLD. Then entering around the corner is a running MAN.
He's 6'2". He's heavy and wears a running suit with the hood
up. His face is lost in its shadow.

RUNNER'S RIGHT HAND

is gloved and slips into the pocket of his jacket, grasping
something...

RUNNER'S FEET ACROSS WET BLACK TARMAC

splash through shallow puddles.

GRAHAM'S FACE

in anticipation. The foot beats are getting LOUDER...

GBAHAM'S EYES

like taut wire about to snap.

WIDE PROFILE: GRAHAM

on the left. The Runner enters on the right. In SLOW MOTION
as they cross, Graham slams him sideways...

RUNNER

is knocked off balance and slams face forward into the side
of a car. He comes off the car violently, to turn, to fight...

.44 BULLDOG

comes up.., pressure on the trigger.

RUNNER'S HEAD

turns INTO CAMERA. He is a black man with a moustache and
scared eyes staring into the .44. His hands shoot into the
air:

RUNNER (MAN)
Yo, boss. Plastic and cash in the
right pocket...!

GRAHAM
(re the mistake)
God-dammit!!!

Walking away, Graham rips off his jacket: and the Kevlar
vest. Coming off the expectation of contact, Graham is
explosive. The Runner looks at Graham as if he's crazy:
Spurgen and two D.C. cops are running in.

RUNNER
Arrest dat sucker...!

Crawford catches up to Graham:

CRAWFORD
You okay?

Graham shoulders past Crawford. He throws the Kevlar vest
across the parking lot. He almost killed the man. Meanwhile,
Spurgen is with the Runner.

SPURGEN
It was a mistake. Sorry we...

RUNNER
'Sorry' yo' mama!!

Runner pissed off -- starts towards Graham. Spurgen stops
him.

SPURGEN
Hold on! We thought you were someone
we're trying to catch...

RUNNER
(backs up)
Hold onto this!!
(grabs his groin)
I get dat cannon stuck up mah face?!
Car dirt splattered up and down mah
Calvin Kleins?! 'Catch somebody?!'
You couldn't catch yo' ass with yo'
right hand! You lucky you muther-
fuckers catch a cold! Who the hell
goin' pay my cleanin' bill? Huh?

HUGE LAUGHTER which is coming from...

CUT TO:

INT. "TATTLER" GARAGE - ELEVATOR DOOR - NIGHT

slides open. Lounds and TWO SECRETARIES are cracking up. He
apparently told them the funniest joke they ever heard.

SECRETARY
See you, Freddie.

LOUNDS

pleased with himself, walks to his car.

REAR: LOUNDS' HEAD

enters FRAME, unlocking his car door. A hand falls on Lounds'
shoulder and turns him INTO CAMERA: Lounds' self-satisfied
smile still beams. A chloroformed rag jams into his face. A
massive hand holds his head and neck steady and is nor
bothered by his struggles.

CUT TO:

INT. DOLLARHYDE HOUSE (ST. LOUIS) - LOUNDS - NIGHT

is unconscious. A hand puts ammonia under his nose. Lounds
regains consciousness. He tries to move. He can't. There
are sanitary napkins covering Lounds' eyes and mouth. The
one on his mouth is removed. We will see ONLY Lounds.

DOLLARHYDE (O.S.)
Are you cold? Would you like a
blanket?

LOUNDS
Was I in an accident?

DOLLARHYDE (O.S.)
No, Mr. Lounds. You'll be just fine.

LOUNDS
My back hurts, my skin. Did I get
burned? I hope to God I'm not burned.

DOLLARHYDE (O.S.)
Burned? Burned. No. You just rest
there. I'll be right back.

LOUNDS
Let me lie down. Listen, I want to
call my office. My God, I'm in a
Stryker frame. My back's broken.
Tell me the truth.

Footsteps are going away.

LOUNDS
What am I doing here?

DOLLARHYDE (O.S.)
Atoning, Mr. Lounds.

Lounds reacts.

DOLLARHYDE (O.S.)
Do you know who I am, Mr. Lounds?

LOUNDS
I don't want to know.

DOLLARHYDE (O.S.)
According to you I'm a sexual failure.
An animal, you said.
(beat)
You know now, don't you?

LOUNDS
Yes.

DOLLARHYDE (O.S.)
Do you feel privileged?

LOUNDS
I'm very scared.

DOLLARHYDE (O.S.)
Do you pray to God, Mr. Lounds?

LOUNDS
Yes.

DOLLARHYDE (O.S.)
Do you believe God is in attendance
here, Mr. Lounds?

LOUNDS
I don't know...

DOLLARHYDE (O.S.)
In a little while I'll help you
understand.

A kettle WHISTLES.

DOLLARHYDE (O.S.)
I'll be right back.
(singsong)
Don't... go away...

As if he had any choice. Lounds' face moves; He strains.
His arms are glued to the chair. Dollarhyde's hand comes
back with a cup of tea and a straw. Lounds sips.

LOUNDS
I'd do a big story. Anything you
want to say. Describe you any way
you want or no description!

The hand rips off the sanitary napkins covering Lounds' eyes.
Lounds jams his eyes shut. The lights brighten. A single
finger taps the top of his head.

DOLLARHYDE (O.S.)
Open your eyes, Mr. Lounds.

LOUNDS
No. I don't want to see you.

DOLLARHYDE (O.S.)
Mr. Lounds, you're a reporter. You're
here to titillate your readers. If
you don't open your eyes, I'll staple
your eyelids to your forehead.

A finger taps Lounds on his chest. A touch on his eyelids.
Lounds slowly opens his eyes. His face goes white.

DOLLARHYDE (O.S.)
(singsong)
Well: here... I... am...

LOUNDS' POV: THE RED DRAGON

Dollarhyde opens and drops the black silk kimono.

His muscular frame bears the full body tattoo of William
Blake's Red Dragon -- the head on Dollarhyde's chest, the
tail snaking down and wrapping around one of Dollarhyde's
legs. His back is to us in a weight-lifter's pose. A rolled-
up stocking covers Dollarhyde's head to just below his nose.
Dollarhyde's teeth are jagged and brown-stained. And he
smiles at Lounds in front of the white screen.

LOUNDS (O.S.)
Oh my dear God Jesus.

LOUNDS

turns away. The shape of Dollarhyde passes behind his head.
The kimono is on again.

PAST LOUNDS' HEAD: SCREEN

A slide appears. It is Blake's painting.

DOLLARHYDE
Look at the screen. That is William
Blake's 'The Great Red Dragon and
The Woman Clothed with the Sun.' Do
you see?

LOUNDS
Yes...

Next picture: Mrs. Jacobi, eyes wide.

DOLLARHYDE
Do you see?

LOUNDS
Yes.

CLICK. Next slide. Mrs. Leeds alive, locked into a silent
scream in her bedroom.

DOLLARHYDE
Do you see?

LOUNDS
Yes.

CLICK.

LOUNDS

staring in horror. We will not see the rest of the slider.

DOLLARHYDE
Mrs. Leeds harlequined with blood,
her husband beside her. Do you see?

LOUNDS
Yes.

DOLLARHYDE
Mrs. Jacobi after her changing.
(as Lounds nods)
The Dragon rampant. Do you see?

LOUNDS
Yes.

DOLLARHYDE
Freddie Lounds. Your photograph.
Do you see?

LOUNDS
Oh, God.

DOLLARHYDE
Do you see?

LOUNDS
Please, no.

DOLLARHYDE
'No' what?

LOUNDS
Not me.

DOLLARHYDE
Are you a man?

LOUNDS
Yes.

DOLLARHYDE
Do you imply that I'm a queer?

LOUNDS
God, no.

DOLLARHYDE
Are you queer, Mr. Lounds?

LOUNDS
No.

REAR OF DOLLARHYDE'S HEAD

Beyond him is the screen and the image of Freddie Lounds
with Graham's arm over his shoulder.

DOLLARHYDE
Before me you are a slug in the sun.
You are privy to a great becoming
and you recognize nothing. You are
an ant in the afterbirth.
(beat)
It is your nature to do only one
thing correctly: tremble. Bur fear
is not what you owe me. Lounds: you
and the others, YOU OWE ME AWE!
(long pause)
We have one more piece of work to
do.

Dollarhyde leaves. Lounds closes his eyes.

LOUNDS
(to himself)
Didn't take off the mask. Please,
God, let him not take off the mask.
If he comes back with it off, I'm
dead...

DOLLARHYDE'S HAND

carries a tape recorder. We PAN it across the room to Lounds'
face.

DOLLARHYDE (O.S.)
Open your eyes, Mr. Lounds.

Lounds obeys.

CLOSE: DOLLARHYDE

The stocking mask and teeth -- stained and jagged -- are in
place.

DOLLARHYDE
Now you will read this into the tape
recorder.

ON LOUNDS

LOUNDS
'I have had a great privilege. I
have seen with wonder the strength
of the Red Dragon. All I wrote about
him before was lies from Will Graham.
He made me write them. Now I
understand.
(beat)
'Will Graham: you will learn from my
own lips how much you have to dread.
Because I was forced to lie, he will
be more merciful to me than to you.
(beat)
'I will be a testament to the truth,
now. About his work. About his
becoming.'

DOLLARHYDE'S HAND

turns off the tape recorder.

DOLLARHYDE
You did very well. I apologize for
the crude images. Next time I'll
have film stock that doesn't need
lights.

LOUNDS
You'll let me go now?

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 Dollarhyde,
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.

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 wheelchair.
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.

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.

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.

GRAHAM
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.

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:

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 TO:

INT. DARKROOM - DOLLARHYDE - 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.

REBA
Put your back against the door.
Come forward three steps until you
feel the tile on your feet and there
will be a stool just to your left.

We see Dollarhyde's form follow instructions and sit.

REBA
Can you give me an idea of the
conditions...

DOLLARHYDE
Shooting at maybe eight feet. I can't
use any lights.

REBA
What's being photographed?

DOLLARHYDE
The activities of nocturnal animals.

REBA
When do you need it?

DOLLARHYDE
In eight days.

REBA
Let me stick this in the black hole.

We see some movements. Then the light comes on.

DOLLARHYDE'S

hand is curled under his nose, hiding his I-Plast scars.
Then he reacts to something. His face lights up in an
uncharacteristically open smile.

He brazenly looks the woman up and down. We don't understand
why he can do this.

REBA MCCLAIN

is blind. Her white cane is propped in the corner. She's
thirty with a handsome prairie face.

REBA
The 1000 C Infrared Sensitive Film
must be handled in total darkness.
I keep the samples straight by touch
code.
(beat)
It's still easier to handle than a
1200 series. Think it'll do?

DOLLARHYDE
It'll do fine.

RALPH DANDRIDGE,

young manager of the department enters, checks watch.

DANDRIDGE
Reba, dear, I've got to fly.
(beat)
Mr. Dollarhyde, if it wouldn't be
too much trouble could you help her
home ?

REBA
I can 'help' myself home, Ralph...

Dandridge leaves. Dollarhyde stares after him. He doesn't
Like him. Then:

DOLLARHYDE
I'll take you.

REBA
(standing close)
No, thanks. I manage very well.
(beat)
I'll order you twelve hundred feet:
of 1000 C tomorrow.

Reba walks our of the dark room.

CUT TO:

INT. DOLLARHYDE'S VAN, TRAVELING - OUT OF WINDOW - NIGHT

We pass Reba on the sidewalk. She is walking briskly with
her cane and tapping in front of her. She's very confident.

DOLLARHYDE
Ride with me.

REBA
Thanks, but I'll take the bus. I do
it all the time.

DOLLARHYDE
Dandridge is a condescending prick.
Ride with me. It would be because I
want you to.

Reba stops. She likes Dollarhyde's directness. He gets our
and comes around to help her in. He starts to take her arm.

REBA
It's better if I take your arm.

CUT TO:

INT. REBA'S DUPLEX - DOOR - NIGHT

We hear footsteps come up. Reba's key is in the lock. As
the door is starting to open:

REBA
Come on in.
(beat)
How about a gin and tonic?

DOLLARHYDE
Tonic will be fine.

REBA
In the kitchen.

INT. REBA'S DUPLEX, KITCHEN - REBA

enters. She momentarily forgets, retraces her steps and turns
on the light. She opens the refrigerator. During the next
pieces of dialogue, we will see Reba being extremely competent
making the drinks.

DOLLARHYDE
How did you come to Gateway?

REBA
They had to shape up their employment
practices to keep this defense
contract.

Reba takes a l0-inch chef's knife and deftly cuts the lime,
guiding it with her thumb.

DOLLARHYDE
You worked out well.

REBA
You know you speak very well, although
you avoid fricatives and sibilants
in your speech. At the Riker Institute
for the Blind. I trained in speech
therapy for speech and hearing
impaired children...

DOLLARHYDE

reacts to "speech therapy." Characteristically -- his
attention goes to:

KNIFE

in Reba's hand. Its extremely sharp cutting edge glints in
the light. Another slice of lime falls.

REBA
I'll probably go back to it someday.

DOLLARHYDE
Uh-huh.

Silence. Reba hands him his drink.

REBA
If you don't want to talk okay. But
I hope you will... because I like
what you say.

Dollarhyde is stunned, at both her perception and frankness.

REBA
May I touch your face?
(as Dollarhyde reacts)
I want to know if you're smiling or
frowning. I want to know if I should
just shut up or not...

There's a smile on her face. Now her hand moves up towards
Dollarhyde's mouth with the I-Plast scars where his harelip
and cleft palate were fixed.

REBA'S HAND

Dollarhyde's fist grabs it.

DOLLARHYDE

turns her hand in the light.

DOLLARHYDE
Take my word for it that I'm...
smiling.

There is no smile on Dollarhyde's face.

REBA
If I've offended you, I didn't mean
to.

He still has her hand in his grasp.

DOLLARHYDE
I have to go now.

He lets go of her hand.

CUT TO:

INT. BIRMINGHAM STORAGE ROOM - WILL GRAHAM - DAY

sits among piles of Leeds family possessions. He opens a
child's toy. It's large, pink plastic and heart-shaped.
It's a Mexican fantasy house with puffy white plastic clouds,
strange handles and doors with eyes in them,

REARSHOT: GRAHAM

half and half out of a shaft of yellow light that radiates
motes of dust in the air. Graham merely sits and stares into
all of the debris of this dead family. PULL BACK to see the
vast expanse of the room which is a total disarray of all
the furniture, all the possessions and papers, all the bits
and pieces of matter, that are accumulated in a life by two
adults and three children. Everything from washing machines
to tricycles to sleds. They litter the vast floor space.
While we WIDEN, we hear:

VOICE :1 (O.S.)
What's he doin'? Been in there all
day.

VOICE :2 (O.S.)
Just sits and stares at the stuff...

The CAMERA now includes two UNIFORMED SECURITY GUARDS at the
door. They watch Graham, As we WIDEN and PULL BACK they fall
into REAR SHOT. HOLD.

CUT TO:

INT. WHITE CORRIDOR - REBA ON DOLLARHYDE'S ARM - NIGHT

Her cane taps the white tile floor. It's antiseptic and
sinister. We worry about where he's taking her.

REBA
Ready to tell me what kind of 'outing'
this is?

DOLLARHYDE
It's a surprise.

Her head arcs back as she senses:

REBA
Francis? We're at the zoo...!

CUT TO:

INT. ZOO EXAMINATION ROOM - DR. WARFIELD - NIGHT

DR. WARFIELD
In two days we're going to cap his
tooth. Can you smell him?

REBA
(aglow)
Yes!

DR. WARFIELD
Are you apprehensive? Your protective
and muscular gentleman over there is
watching us like a cat.

REBA
No, no! I want to.

Dollarhyde reacts with a light smile at the compliment.

DR. WARFIELD
All right, put your left hand on the
edge of the table and you can explore
with your right. I'll be right here
beside you.

We see Reba start to reach out. Then we see what she is about
to touch.

TEN-FOOT LONG BENGAL TIGER

Reba's hand feels the fur slide across her palm.

REBA'S HAND

The fur springs between her fingers.

TIGER'S GREAT PAW

Reba's hand enters down its foreleg. Warfield -- with two
hands -- lifts the great paw and puts it in her hand. Reba's
hand feels the roughness of the pads. She presses and the
claw slides cut. Both her hands go up his leg to the heavy
supple muscles of his shoulder.

TIGER'S HEAD

Reba's hand gently touches the tiger's ears and both hands
feel the width of his head.

TIGER'S MOUTH

The hot breath coming across its rough tongue stirs the hairs
on her forearms.

TIGER'S CHEST

Reba's arms wrap around the huge chest. Slowly her face lowers
and she puts her ear next to the tiger's ribs. Reba's
ecstatic. We hear what she hears: the HEARTBEAT. It fills us
and Reba with its bright thunder.

CUT TO:

INT. DOLLARHYDE'S HOUSE - THE GREAT RED DRAGON AND THE WOMAN
CLOTHED WITH THE SUN - NIGHT

Blake's painting. It's a large reproduction. It's a pre-
psychological evocation of violent sexual impulses. It has
come right after the image of Reba and the tiger. O.S. we
hear WATER RUNNING...

CUT TO:

INT. BATHROOM - FAUCET + HANDS

Hands are Reba's. We FOLLOW them up to the wall as they search
for and find a towel. O.S. we hear the hum of a film PROJECTOR
starring. We see the sightless Reba reflected in the mirror.
Feeling her way, she starts out...

DISSOLVE TO:

INT. LIVING BOOM - PAN

It's dark brown with wing-armed 50's-futuristic furniture. A
Sryrosphere casts stars and constellations throughout the
room. A full-sized mural from JPL of the Mars surface is on
one wall.

We MOVE-PAST objects: a recliner lounger, two film projectors,
a black and white fifties clock with golf bails in the arrow
arms, a Magnavox console TV set and a sofa with Dollarhyde
and Reba on it. They're watching a movie.

DISSOLVE TO:

CLOSER: DOLLARHYDE AND REBA

The film projector hums. We don't see what movie Dollarhyde
is watching.

REBA
(beat)
That was nice of you to think of
that.

DOLLARHYDE
I made you a gin and tonic. It's by
the side of the sofa...

Dollarhyde looks at Reba. Then he looks at the film. The two
of them are like a tableau of suburban TV-watching. They're
like a married couple sitting on the sofa. Except:

REAR SHOT OVER DOLLARHYDE + REBA TO THE SCREEN

The movie is Mrs. Jacobi looking up, And Mrs. Leeds looking
up. And Mrs. Sherman's legs scissoring in the water. Then
her breasts swelling and shining above her suit as she pushes
herself our of the pool. Dollarhyde's blasť, watching his
horror show. He looks at Reba.

REBA

unknowing, is suffused with a calm equanimity. Her breasts
rise and fall with her breathing. The flickering light from
the screen intermittently illuminates and darkens the planes
of her face.

EXTREMELY CLOSE: REBA'S NECK

The smooth skin and down-like hairs undulate from the bearing
of her living heart.

DOLLARHYDE

is watching her pulse rise and fall under the soft skin and
doesn't see:

REBA'S HAND

moves along the back of the sofa to Dollarhyde.

REBA

moves towards Dollarhyde's face.

ON DOLLARHYDE, AND REBA

ENTERS THE FRAME and kisses Dollarhyde on the mouth.
Dollarhyde's eyes freeze open. He is stunned. Reba's left
hand opens Dollarhyde's shirt and slides down his' chest
towards his pants...

REBA
(soft whisper)
Take me upstairs...

CUT TO:

INT. DOLLARHYDE'S BEDROOM - NIGHT

DOLLARHYDE'S

head on the satin comforter. His eyes are wide open... His
reaction to this event is immobility and shock.

REBA (O.S.)
Let me get them off... it's torn...
I don't care! Come on. My God, man.
Yes...

Reba's hand with her long, gentle fingers ENTERS THE FRAME
caressing the side of Dollarhyde's face. We will hear Reba's
voice and see little of her. We will see Dollarhyde's face
and the expressions on it: wonder and amazement.

REBA (O.S.)
You're so sweet, D...
(beat)
let me come up to you and take it...
(beat)
Yes...

Her hand moves down from his face down his neck and rests on
his chest. It rests on the face of what is tattooed there:
the Great Red Dragon.

REBA (O.S.)
(soft)
Your heart is loud.
(beat)
Feel all of me.

Dollarhyde knows what he feels: he is pole-axed. He doesn't
know what he thinks.

SAME - REBA - LATER

is asleep. She holds Dollarhyde in the near dark. His hand
caresses her forehead and brushes light brown hair from her
face.

DOLLARHME

wide awake, eases her away. Then he puts his ear to her breast
and listens to her heart beating. Dollarhyde is relieved.
Then Dollarhyde touches her gently, softly in wonder and
amazement. Then Dollarhyde leaves...

REBA

Dollarhyde re-enters FRAME and puts a glass of water next to
her. He covers her. He lays down again next to her. Reba
stirs half awake, murmurs dreamily. Dollarhyde supports the
back of her head and offers her some water.

OVERHEAD ANGLE: DOLLARHYDE + REBA

Dollarhyde's arm moves under her pillow. She snuggles closer
to him. Dollarhyde's eyes are moist. Reba's hand moves up
his stomach and rests on his chest. It rests above his heart.
It rests on the face of the crimson dragon. When she is asleep
again, Dollarhyde takes her hand off the great tattoo and
puts it on his face.

Dollarhyde -- cloven in two, accepted by a living Reba --
will not sleep for a very long time.

CUT TO:

SAME - DOLLARHYDE - DAY

It is morning. He snaps awake. He is horror-struck: Reba's
pillow is empty. She's nor there. Dollarhyde races out of
the room.

CUT TO:

EXT. DOLLARHYDE HOUSE, BACKYARD - DOOR - DAY

slams open. Dollarhyde stops in the door frame.

REBA (O.S.)
Is that you. D?

DOLLARHYDE
Yes, are you okay...?!

REBA (O.S.)
I'm fine.

REBA

In her cotton dress. The prairie wind blows her hair and
presses the thin cotton against her body in the overgrown
weeds and wildflowers of Dollarhyde's backyard.

DOLLARHYDE

nears her, towers above her. He touches her face. Reba folds
into his arms and lays her head on his hard chest. His heart
is going fast. He doesn't believe this fine thing is happening
to him and that she's okay.

REBA
Good morning...
(kisses his cheek)
If you show me where things are,
I'll make us some coffee...

DOLLARHYDE
No! Don't go back into the house...
(to Reba's quizzical
reaction)
It's too nice outside.

REBA
My sister's coming by to pick me up
for brunch. Why don't you come, too?

DOLLARHYDE
I have work to do at the plant.

REBA
I'll get my purse.

DOLLARHYDE
I'll get it.
(leaving)
Stay right here. You look very good
in the sun...

CUT TO:

EXT. SERVICE STATION - ATTENDANT - DAY

He's heavy-set and sullen. Dollarhyde's van, with Reba, pulls
in.

DOLLARHYDE
Do you want a Coke or something,
Reba?

REBA
I'm fine, Francis.

Dollarhyde gets out.

DOLLARHYDE
Fill it up and check the oil, please.

Dollarhyde crosses to the men's room. After placing the nozzle
in the gas tank the ATTENDANT bangs open the hood, draws the
dipstick, grabs a can of 10-40, jams the oil spout into the
can and sticks the spout into the engine. As he starts to
move around the van he sees something in the interior and
stops. A smile dawns on his face. We don't know what he sees.
He starts wiping the windshield. He wipes and wipes the same
spot.

REBA'S

dress is just above her knees. She sits on the high seat.
Her legs are crossed. Her white cane lays between the seats.
From his lower angle at the van window the Attendant can
look up her dress. He bends down a little to see better...

MEN'S ROOM DOOR

Nothing. Then Dollarhyde ENTERS. He crumples a paper towel
and throws it in the basket. Dollarhyde crosses around the
backside of the van.

DRIVER'S WINDOW

Dollarhyde appears. As he starts to reach for his wallet on
the dash, he sees what the Attendant's doing...

ATTENDANT

unaware of Dollarhyde -- is grinning and still wiping the
same spot in front of Reba.

DOLLARHYDE

is coming around the van. Fast.

DOLLARHYDE
You sonofabitch...

ATTENDANT
(cocky)
You don't like it? You know what you
can do about it...

Attendant starts away. Dollarhyde catches him and shoves him
into and through a display of STP. The Attendant bounces
once and slams into the station wall. CANS CRASH and roll
away... Dollarhyde does know what he can do about it.

REBA'S FACE

through the windshield. She's trying to find the handle to
roll down the window.

ATTENDANT

is white. There is something in Dollarhyde's face that he
has never seen before, anywhere.

DOLLARHYDE

pulls the spout from the oil can that was in his engine. He
advances on the frozen Attendant. He looks at the sharp end
of the spout.

ATTENDANT

is wide-eyed. Dollarhyde's big hand ENTERS and flattens the
man into the wall, compressing his thorax.

DOLLARHYDE
I ought to jam this in your chest,
and drain your heart...

The Attendant tries to say he's sorry, but he can't talk.
Dollarhyde's hand has grabbed his face. He hesitates. Then
he throws money at the Attendant and leaves...

CUT TO:

INT. HOTEL ROOM - GRAHAM - NIGHT

With Crawford on the phone.

CRAWFORD (V.O.)
You got the message Lecktor called...

GRAHAM
I arranged for him to have a phone.
I have to call him in a few minutes.

CRAWFORD (V.O.)
From the lip wound, which happened
seven hours before he got burned,
we've narrowed it down to those cities
within the seven-hour driving radius
that also would've caught the
'Tattler' early Tuesday morning.

GRAHAM
What's it narrow down to?

CRAWFORD(V.O.)
Milwaukee, Madison, Dubuque, Peoria,
St. Louis, Indianapolis, Cincinnati,
Toledo and Detroit.

GRAHAM
(laughs)
That's narrow?

CRAWFORD (V.O.)
When are you coming back?

GRAHAM
When I'm done.

Graham hangs up the phone. He looks out the window at the
rain. He dials again.

GRAHAM
It's Will Graham. Is Molly there,
Mr. Swenson?

GRAMPA (V.O.)
Well, how you doin', Mr. Graham?!
You sure are in the center of a storm.
Burning up lots of taxpayer's dollars,
too, I bet.
(beat)
On the news they said he was a white
man. He isn't really, is he?

GRAHAM
Sure he is. Blond.
(fuck him)
Probably Scandinavian, too...

GRAMPA (V.O.)
You going back down to Florida after?

GRAHAM
Yes. Is Molly there?

GRAMPA (V.O.)
My grandboy's been eatin' a ton of
breakfast every day. Been out riding.
Must be the good air. You oughta see
that little booger eat. I'll bet
he's gained ten pounds.
(beat)
Molly's out in the motor home...

GRAHAM
I know... 'Out in the good air...'

GRAMPA (V.O.)
What's that?

GRAHAM
Tell her I called.

Graham hangs up. He dials again.

GRAHAM
This is Will Graham. Dr. Chilton
arranged for me to talk with Dr.
Lecktor.

OPERATOR (V.O.)
I'll put you through.

INTERCUT WITH:

INT. CHESAPEAKE STATE HOSPITAL FOR THE CRIMINALLY INSANE.
LECKTOR'S CELL - HANNIBAL LECKTOR - DAY

picks up the phone and takes Graham's call.

LECKTOR
I wanted to congratulate you for the
job you did on Mr. Lounds. I admired
it enormously. What a cunning boy
you are, Will.

GRAHAM
What do you want?

LECKTOR
You know Lounds's enlightened me on
one thing: your confinement in the
mental hospital. My attorney should
have brought that our in court.

GRAHAM
I'm worn out with you crazy sons-of-
bitches. If you've got something to
say, Lecktor, say it.

LECKTOR
I want to help you, Will. You'd be
more comfortable if you relaxed with
yourself. We don't invent our natures,
They're issued to us. Along with
our lungs and pancreas and everything
else. Why fight it?

GRAHAM
Fight what?

LECKTOR
When you were so depressed after you
shot Mr. Garrett Jacob Hobbs to death,
it wasn't the act that got you down.
Didn't you really feel so bad because
killing him felt so good?
(ironic)
And why shouldn't it feel good?! It
must feel good to God. God does it
all the time!

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 groveling 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...?

Lecktor's voice fades as Will Graham hangs up 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 THE 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.

GRAHAM
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.

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.

DOLLARHYDE
No.

RED DRAGON (O.S.)
THEY'LL MAKE YOU BE A PIECE OF SHIT
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 FUCK 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.

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.

DOLLARHYDE'S POV: GREEN OLDSMOBILE

pulls into Reba's drive.

INT. VAN - DOLLARHYDE'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.

INT. VAN - DOLLARHYDE

stares. Events are threatening Dollarhyde's fragile stability.
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.

RALPH DANDRIDGE

walks back to his car. We are TRACKING WITH Dandridge walking
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 scenes
on a monitor. They are on a pier into a small lake with poles
and bobbers. The kids turn back and wave at us.

CRAWFORD (O.S.)
What's important?

The scene changes to a birthday party. The Jacobi's 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.

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
floodlights 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.

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.
There's a lattice porch back there,
but he was ready with his glasscutter.
(beat)
So he was either casing far ahead
and we didn't check back far enough
or...

MONITOR: LEEDS TAPE

The Leeds' gray Scottie perks up his ears and runs in the
glass kitchen door. The camera pans off the dog to Valerie
Leeds coming in the door: behind her the door is vulnerable
with its big glass pane. Her kids follow her through the
door...

CRAWFORD
It's getting late and...

GRAHAM
(explodes)
Don't talk to me!!

Crawford's surprised.

EXTREMELY CLOSE: GRAHAM

Watching. Then he grabs the phone and punches numbers.

GRAHAM
It's Graham. The Jacobi stuff is
still in the storeroom?

METCALFE (V.O.)
Yeah. You know what time it is?

GRAHAM
Have one of the guards down there
call me.

METCALFE (V.O.)
If the guy's not asleep...

GRAHAM
Do it.

He hangs up on Metcalfe.

VTR MONITORS

Graham's hand freezes the Leeds' tape and plays the Jacobi
tape. The Jacobi's cat moves, jumps on the table.

GRAHAM
(to himself)
You knew that was the Jacobi's cat...

The Jacobi boy pushes the bicycle out of the basement door
with the padlock.

GRAHAM
(to himself)
You brought a boltcutter... 'cause
you thought there was a padlock...

Next Mrs. Jacobi -- warm, smiling -- watches Donald ride the
bike. Now Graham plays the Leeds' tape, too. The dog runs to
camera...

GRAHAM
(to himself)
And the Leeds' dog doesn't have a
collar... But you know it's the Leeds'
dog, don't you, my man?!

His tail wagging, his tongue out; he's a friendly dog. Mrs.
Leeds enters and pets him.

GRAHAM
(to himself)
See the woman?

Crawford is staring at Graham strangely. This is why Crawford
drafted him. But Crawford doesn't look like he wants to be
alone in the same room with Graham anymore...

GRAHAM
The bloom on the woman. You can almost
feel her. You can see her again and
again. Anytime you want.
(beat)
The doggy doesn't have a collar.
But you know the Leeds' dog, don't
you?
(beat)
And you know the Jacobi cat. And the
padlock on the door and you know you
need a boltcutter and every other
goddamn thing 'cause...
(shouts)
YOU'VE SEEN THESE FUCKING FILMS!
(beat)
Haven't you, my man?

The PHONE RINGS. Crawford answers. His attention is riveted
on Graham.

CRAWFORD
It's the guard in the storeroom.

GRAHAM
(to Crawford)
We want the cans the Jacobi home
movies came in.
(beat)
They're in the far corner of the
room under the windows.

CRAWFORD
(into phone)
There's some film cans in the far
corner of the room underneath one of
the windows.

Crawford is very quiet.

CRAWFORD
He found them...

Graham pushes aside the videotape sleeve and picks up the
Leeds' home-movie can.

GRAHAM
(reads label)
What it's going to say on the Jacobi
film can is the same as it says on
the Leeds' film can: Gateway Lab,
St. Louis, Missouri.

CRAWFORD
(into phone)
Is there a label on the Jacobi can
that says what lab processed it?

Crawford hears. Then he deflates.

CRAWFORD
(to Graham)
No. It's Bob's Photo Store in...

GRAHAM
Have him peel the top label back.

CRAWFORD
(into phone)
See if there's another label
underneath.

Crawford hears, Graham's watching him.

GRAHAM
It does, doesn't it?

CRAWFORD
(punches another number)
I want a chopper on the roof in three
minutes. To Meigs Field.
(bear)
At Meigs have them warn up and flight-
prep the Gulf Stream.

Graham's already out the door. Crawford races after him.

CUT TO:

INT. DOLLARHYDE'S HOUSE, KITCHEN - REBA - NIGHT

has been placed on the kitchen table. It is chrome and pale
yellow Formica. Her face is bruised and swollen from where
Dollarhyde hit her. She feels, around on the bed. She's
very frightened. She's trying to control herself...

REBA
...You're scaring me with this.

There's no answer. We don't know if there's anyone else in
the room.

REBA
(searching)
Am I alone in this room? Are you
here...
(shrill)
Why are you doing this?!

DOLLARHYDE (O.S.)
(even)
Some remarkable events have happened
in Birmingham and Atlanta. Do you
know what I'm talking about?

Reba shakes her head.

DOLLARHYDE (O.S.)
(in a low voice)
Two groups of people were changed.
Leeds and Jacobi. The police think
they were murdered.
(beat)
Do you know what they call the being
that visited these people? You can
say.

REBA
The Tooth...

In a flash Dollarhyde grips her mouth, shutting off the sound.

DOLLARHYDE (O.S.)
(low)
Think carefully and answer correctly.

His arm exits FRAME.

REBA
It's Dragon. Dragon... Red Dragon.

DOLLARHYDE (O.S.)
Francis did a thing for you today so
I couldn't have you. And he was wrong.
(beat)
I AM THE DRAGON!
(beat)
Give me your hand.

Reba's hand is gripped by Dollarhyde's. He brings her fingers
up to his face. For the first time in this scene we are seeing
Dollarhyde's face. The fanged dentures are in his mouth.
Dollarhyde makes Reba's hand feel his teeth. O.S., we hear
Reba start whimpering and try to pull away. Dollarhyde holds
her hand there.

DOLLARHYDE
Now you know how the Dragon kills...

CUT TO:

INT. GULF STREAM - ELECTRICIAN - NIGHT

finishes patching together cables.

TECHNICIAN
Try it...

CRAWFORD
(into radio phone)
This is Jack Crawford, FBI. Who am I
speaking to?

FOGEL (V.O.)
This is Chester Fogel. I'm the
managing director at Gateway...

CRAWFORD
(into phone)
All we know is this man owns a van
and he works at Gateway. We have
physical characteristics...

FOGEL (V.O.)
We have 516 employees here... Our
computers aren't programmed to
retrieve by physical characteristics.
We'd have to re-program and...

GRAHAM
Parking permits...

CRAWFORD
(into phone)
Are your parking permits in the
computer? He drives a van.

FOGEL (V.O.)
'Employee facilities.' And we have
special stickers for vans.
(beat)
There's... let's see...
(beat)
...about 28, 29 van permits issued...

Meanwhile Graham has grabbed the second radio phone.

CRAWFORD
(into phone)
Start feeding me names.

INTERCUT WITH:

INT. ST. LOUIS PD OFFICE - LT. FISK - NIGHT

on telephone. Two FBI men are at his desk. Uniformed patrolmen
carrying assault rifles and body armor run through in the
background.

GRAHAM (O.S.)
Run these names to your DMV for a
driver's license check. Man we're
after is blond, caucasian, twenty to
forty, six feet tall, 180-225 pounds.
(beat)
First name...

Fisk punches Graham into the speaker phone.

GRAHAM (O.S.)
...Alvaro. A.L.V.A.R.O., first name
Jose.

One of the uniformed cops is already punching it into a
computer terminal. Lt. Fisk looks at the monitor...

LT. FISK
(into phone)
No. Brown eyes, black hair.

INT. GULF STREAM - GRAHAM - NIGHT

GRAHAM
(to Crawford)
No.

CRAWFORD
(into phone)
Next...

CUT TO:

EXT. SKY - AERIAL SHOT - GULF STREAM - NIGHT

The Gulf Stream approaches and races past us at its cruising
speed of 585 mph. As it leaves the frame, the image we're
left with is the moon. It looms large and white 30 degrees
above the horizon and rising into a starry sky.

CUT TO:

INT. ST. LOUIS PD OFFICE - COMPUTER MONITOR - NIGHT

displays the license with picture and driving record of
Dillon, Lincoln. He's a black man.

LT. FISK
(into phone; to Graham)
No. 36 years old. Black...

CUT TO:

INT. GULF STREAM FLIGHT DECK - OVER PILOT'S SHOULDERS -
NIGHT

St. Louis approaches. The flashing strobes of the airport
runway indicator, the cobalt blue runway lights.

PILOT
(into PA)
Could you fasten your seat belts.
We're on our final approach...

CUT TO:

INT. GULF STREAM CABIN - GRAHAM + CRAWFORD - NIGHT

Crawford buckles up. Graham is hearing.

LT. FISK (V.O.)
...six foot, male caucasian, blond,
violet eyes 217 pounds, 38 years
old...

GRAHAM
(into phone)
Put it through the datafax. Fast.

DATAFAX

starts printing our line by line: a blow-up of a driver's
license with picture. The lines compose hair, forehead,
eyes... coming at us line by line is: Francis Dollarhyde.

GRAHAM
(into phone to Lt.
Fisk)
Route three, Chester, Missouri.
Where is that?

LT. FISK (V.O.)
From the airport you're closer.
We'll meet at the Hock Road off ramp,
Highway 94.

CRAWFORD
(to Graham)
Fogel has four more names. He knows
two: both dark hair. Third's a woman.
Fourth's a handicapped parking
permit...

GRAHAM
(re Dollarhyde)
This is our boy...!

CUT TO:

INT. ST. LOUIS AIRPORT - GULF STREAM - NIGHT

Hits the runway. Tires smoke. Its ENGINES SCREAM in reverse
thrust. It taxis away from the terminal to a security area.
Two St. Louis PD squad cars are waiting.

GULF STREAM DOOR

opens. Graham's out followed by Crawford. They run across
the tarmac to the squad cars. Squad cars race out of the
airport.

CUT TO:

INT. DOLLARHYDE'S KITCHEN - PANNING - NIGHT

through shadows and highlights in the moonlight. We pass
the sink and countertop and refrigerator and blue-enamelled
broom closet. On the other side of it is Reba. She is
breathing heavily.

She stands there, squeezing into the corner, trying to make
herself disappear. Then she senses and freezes as a rabbit
who is hunted and at a certain point, freezes...

DOLLARHYDE

stands four feet from her, just staring. Then he walks from
the room.

INT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE

puts "In-A-Gadda-Da-Vida" by Iron Butterfly from 1967 on the
stereo. It BLASTS through the house. He is expressionless.
Deep in his psychotic episode, his affect is flattened.

INT. DOLLARHYDE BATHROOM - DOLLARHYDE

as a reflection in the medicine cabinet - enters. His fist
smashes. His image SHATTERS with the mirrored glass.

DOLLARHYDE'S

forearm destroys the glass shower door. He rips the metal
frame from the walls. He snaps the mitred framework. The
aluminum frame members have sharp 45 degree points. He takes
them and the shards of mirror and leaves for the kitchen...
Throughout his face has been expressionless.

CUT TO:

EXT. MISSOURI STATE HIGHWAY 94 - TWO CAR CARAVAN - NIGHT

streaks TOWARDS US down the almost deserted highway.

CUT TO:

INT. CAR - GRAHAM - NIGHT

in the back seat. He is distant. His attitude contrasts to
the frantic 110 mph race down the highway and the two
uniformed officers and Crawford. Their anxiety is visible.
Next to them Graham seems zoned-out...

OFFICER
Meet point's up ahead!

GRAHAM
Go on to the house.

OFFICER
Lt. Fisk said...

GRAHAM
Go on to the house...

He obeys Graham and floors it. Graham puts his black plastic
briefcase on his lap and extracts the .44 Charter Arms
Bulldog. He starts to load 6 matte-black, blunt-nosed Glaser
Safety Slugs. He fumbles them in the swaying car. The bullets
fall to the floor.

CAR FLOOR

Glaser Safety Slugs roll on the rubber matting. Graham's
fingers enter and pick them up. We FOLLOW the rounds as they
slip into the cylinder.

CRAWFORD

is staring at Graham's blankness.

CRAWFORD
Will...?

GRAHAM
(sharp)
What?

CRAWFORD
You're not going to need that.
Because we're going in careful and
slow and secure a perimeter and a
St. Louis PD Swat team is going to
take him. Not us.

ST. LOUIS PD DRIVER
That's it up ahead...

THEIR POV: DOLLARHYDE'S PROPERTY

The house is set back a half mile from the road. Access to
the drive is blocked by a locked cattle gate.

GRAHAM (O.S.)
Cut across the field.
(beat)
Kill your lights.

DOLLARHYDE FARM + ROAD - TWO SQUAD OARS - NIGHT

The first drives off the highway through a shallow ditch and
starts across the soybean field. The second car takes the
ditch at the wrong angle and CRASHES. Its windshield stars.

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.

FRONTAL: GRAHAM

in the dark shadows of the trees. He seems to float: through
the branches and slows and settles quietly. Then the
expression 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. DOLLARHYDE'S KITCHEN - DOLLARHYDE + BEYOND HIM, 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:

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 is 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:

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 shit?

MOLLY
It's what Kevin called her when he
was little...

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 shit 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:

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

It's raining The DRIVER moves slowly down a residential street
looking for an address. He squints...

DRIVER
Twenty-three twenty-six... Twenty-
three twenty-eight. Here you go.
(pulls up to curb)
Want me to wait?

GRAHAM (O.S.)
Yes.

CUT TO:

INT. HOUSE - WIDE ANGLE - NIGHT

It's open plan. The dining area and kitchen are raised. The
Sherman family are engaged in 7:00 PM suburban family chaos:
GEORGE SHERMAN is trying to watch the news. He hollers up
the stairs for his daughter to turn down her stereo. His 11-
year-old son, FRED, at the dining room table is supposed to
be doing homework. Instead he rolls up balls of paper and
does jump shots from his chair into the wastepaper can.

SHERMAN
(to son)
Cut out the basketball and go back
to the algebra.

George Sherman goes back to NBC news. The DOORBELL RINGS.
Thirteen-year-old TINA SHERMAN comes down the stairs.

TINA
I'll get it.

DOOR

Tina opens it.

TINA

screams.

GEORGE SHERMAN

runs to the door. In a WIDER SHOT, we see there is a shogun
resting inside the door jamb. It's within reach or Sherman's
hand. We see why Tina Sherman screamed:

WILL GRAHAM'S FACE

is pulled down slightly on the left side, making his left
eye moon-shaped. There is a half-healed wound and butterfly
bandage where Dollarhyde stabbed him. He is standing in a
black raincoat with a black hat.

SHERMAN
What do you want?

GRAHAM
Are you George Sherman?

SHERMAN
Yes. Who are you?

GRAHAM
My name's Will Graham. I...

SHERMAN
(suddenly realizing
who he is)
Oh, Jesus... Come in.
(to wife)
Honey...!

His wife starts to come forward.

GRAHAM
No, that's okay...
(pause)
How are you?

There's a searching look on Graham's face. Totally strange.

SHERMAN
We're fine. Fine. We're all well.
We're okay!
(beat)
That man, Crawford, called and...
told me...
(beat)
...how 'bout a drink? Coffee or
something?

GRAHAM
No, I'm okay. I just wanted to...
(beat)
...stop by and...

SHERMAN
I can't thank you enough, I...

Graham shakes his head. He doesn't want to be thanked. No
one knows what to say. Graham looks at them:

SHERMAN FAMILY

standing in awkward places. They ate nothing special. They
are normal human beings living their lives. To Graham they
are very special: they are alive.

GRAHAM
I just wanted to stop by and... see
you... I guess. That's all.

Graham stands there as if engraving each one in his memory.
Then he nods. Then he leaves.

GEORGE SHERMAN

closes the door. There's an awkward look on his face. He
didn't get to say what he wanted to say to Graham.

CUT TO:

EXT. SHERMAN HOUSE - WIDE FROM DOOR: GRAHAM - NIGHT

-- in the MIDDLE of the FRAME -- walks down the sidewalk
away from us towards the waiting cab. The rain pelts his
black hat and black raincoat. 'Before he reaches the cab...

CUT TO:

EXT. BEACH (MARATHON, FLORIDA)- GRAHAM - DAY

sitting with his back to us. Beyond him the sun reflects off
the crashing surf and burns out everything except the
silhouetted image of Graham.

GRAHAM IS WATCHING

the fenced-in area of beach he and Kevin built at the opening
of the film. A baby tortoise crawls over sand mountains and
is swept away by surf into the life-supporting sea.

CLOSE: GRAHAM

drinks a beer. He senses a presence and starts to turn...

WIDE REAR SHOT: BEACH + GRAHAM

turns towards us. Molly ENTERS THE FRAME. Her coat is under
her arm. She drops it and her flight bag in the sand and
continues walking to Graham.

GRAHAM

stands as she comes near him. The aqua highlights of the
water eat into their figures as they look at each other.

Molly touches the wounded side of his face. Then:

MOLLY
Let's forget who said what to whom...

GRAHAM
You got a deal...

Graham takes Molly's hand.

WATER'S EDGE

Molly and Graham walk to the water's edge and look out to
sea. The highlights burn out sections of the two people.

MOLLY
So how'd we do...?

Graham looks at her. He touches the side of her cheek and
her hair. She pushes against his hand with her face to make
closer contact.

GRAHAM
We did okay.
(beat)
Most of them made it...

REARSHOT: GRAHAM + MOLLY

Graham--in the sunbleached violet shorts--lays an arm across
Molly's shoulder. Molly's arm moves around Graham's waist.
They look out to sea. In front of them, the surf kicks up
drops of spray which take light and become brilliant atoms.

THE END

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