"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