Manhunter

MANHUNTER
A screenplay
by
Michael Mann
SECOND DRAFT
July 20, 1984
Converted to PDF by SCREENTALK

www.screentalk.org FOR EDUCATIONAL PURPOSES ONLY
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?
Converted to PDF by www.screentalk.org 2.
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.
(heat)
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.
(MORE)
MOLLY (CONT'D)
(heat)
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

nothing to each other the fence. Crawford and Molly say or
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 once 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 re-
placed 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 Leeds' 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 our 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 flash-
Light 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.
(MORE)
GRAHAM (CONT'D)
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 histamine levels in the
gunshot wound indicates... she lived
at least five minutes after she was
shot... All her other injuries were
postmortem.
(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. Leeds' 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. Be 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.
Leeds' body positions are indicated on the king-size mat-
tress.
GRAHAM
(into the tape recorder)
When they were dead -- except possibly
Mrs. Leeds -- he smashed the mirrors
and began selecting shards that he
(MORE)
GRAHAM (CONT'D)
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. Leeds' 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?
(MORE)
GRAHAM (CONT'D)
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 an. 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 Princi
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. But not as good as
Princi.
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.
(MORE)
GRAHAM (CONT'D)
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. Lecter 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 Lecter?
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.
(MORE)
JIMMIE PRICE (V.O.) (CONT'D)

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 + 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 Lecter 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 Lecter?
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 Lecter.
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 Lecter. 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...
GRAHAM
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 Lecter 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. Lecter 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...
(beat)
Find this curious.
He pulls an EKG tape from a drawer and points to the spiky

lines.
DR. CHILTON
Here Lecter's resting on the examining
table getting an electrocardiogram.
(MORE)
DR. CHILTON (CONT'D)

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 Lecter's shoulder is
dislocated. Do you notice the strange
thing?
(beat)
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 Lecter is you, Mr. Graham.
Can you tell me anything about him?
GRAHAM
No.
DR. CHILTON
When you saw Dr. Lecter'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 Lecter 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 LECTER. He
appears to be asleep. His back is to Graham. He has not
stirred. Then:
LECTER
That's the same atrocious aftershave
you wore in court three years ago.
GRAHAM
I keep getting it for Christmas.
CLOSE: LECTER'S HEAD
turns to us. His small eyes drill into Graham's brain.

Lecter's attitude is professionally psychiatric, as if Graham
is the patient.
LECTER
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.
LECTER
And how is Officer Stuart? The one
who was the first to see my basement.
GRAHAM
Stuart is fine.
LECTER
Emotional problems, I hear. He was
a very promising young officer. Do
you ever have any problems, Will?
GRAHAM
No.
LECTER
Of course, you don't.
(pause)
I'm glad you came. My callers are
all professional.
(MORE)
LECTER (CONT'D)
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.
LECTER
And?
GRAHAM
Very interesting, even to a layman.
Lecter rolls around and examines the term "layman" in his

head. Then:
LECTER
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.
LECTER
No it's not. Do you know how you
did it Will?
GRAHAM
It's in the transcript. What does
it matter now?
LECTER
(smiles)
It doesn't matter to me, Will.
GRAHAM
I want you to help me, Dr. Lecter.
LECTER
Yes, I thought so.
GRAHAM
It's about Atlanta and Birmingham.
LECTER
Yes.
GRAHAM
You read about it, I'm sure.
LECTER
In the papers. I don't rear 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.
LECTER
Why should I tell you?
GRAHAM
There are things you don't have.
Research materials ... I could speak
to the Chief of Staff...?
LECTER
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.
LECTER
Pray tell.
GRAHAM
I thought you might be curious to
find our if you're smarter than the
person I'm looking for.
LECTER
Then by implication, you think that
you are smarter than me, since you
caught me.
GRAHAM
No. I knew that I'm nor smarter
than you are.
LECTER
Then how did you catch me, Will?
GRAHAM
You had disadvantages.
LECTER
What disadvantage?.
GRAHAM
You're insane.
LECTER
You're very tan, Will.
Graham does not answer, If anything happens, there is a

tightening of the musculature repressing his reactions to
Lecter.
LECTER
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. Lecter'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:
LECTER
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...
LECTER
(interrupts)
Do you have the file with you?
GRAHAM
Yes.
LECTER
Pictures?
GRAHAM
Yes.
LECTER
Let me have them, and I might consider
it.
GRAHAM
No.
LECTER
Do you dream much, Will?
GRAHAM
Good-bye, Dr. Lecter.
LECTER
You haven't threatened to take away
my books yet.
Graham gets up and starts to walk away.
LECTER
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. Lecter 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 OP - DR. LECTER
Toothbrush, mirror, sink, Sryrofoam cups, soft paper journals,

T-shirts, neatly stacked hospital pads, sneakers with no
shoelaces, the wall, seatless toilet bowl, 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 sec of images. It feels like a hyper-
perception of reality, a super-realism perceived by the mind
of Graham. It is interrupted when:
LECTER (O.S.)
There is a very shy boy, Will.
GRAHAM
snaps back to the present, looks at Lecter.

LECTER
What were the yards like?
GRAHAM
Big backyards, fences, some hedges,
why?
LECTER
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.
LECTER
It's not "interesting." You thought
of it before.
GRAHAM
Yes. I'd considered it.
LECTER
You came here to look at me, Will.
To get the old scent again, didn't
you?
GRAHAM
I want your opinion.
LECTER
I don't have one right now.
GRAHAM
When you do have one I'd like to
hear it.
LECTER
May I keep the file?
GRAHAM
I haven't decided yet.
LECTER
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?
GRAHAM
No.
LECTER
Do you know how you caught me, Will?
GRAHAM
Good-bye, Dr. Lecter. 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!
LECTER
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:
LECTER (O.S.)
The reason you caught me, Will, is:
we're just alike. You want the scent?
Smell yourself.
The DOOR SLAMS shut on Lecter.
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. TEWAY 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 pul-
leys 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 Z-plast procedure to fix a

harelip and cleft palate. Immediately, in characteristic
gesture, he curls his right hand under his nose to hide his
Z-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 DOLLARHYDE'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 DOLLARHYDE
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 Lecter.
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' Lecter."
EXTREMELY CLOSE: SECOND IMAGE OF WILL GRAHAM in newsprint,

the one Lounds took at the Chesapeake hospital. The half-
tone dots comorising 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,

LECTER'S CELL - LECTER - NIGHT
Receives a telephone. The attendant who brought it waits.
LECTER
Thank you so much. I'll call you
when I'm finished.
Attendant hesitates. Then he leaves. Lecter is allowed to

call his attorney in privacy.
LECTER
picks up the phone and punches in his number.
LECTER
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, but I'll connect
you with his office...
LECTER
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.
LECTER
Hi, Linda...

Linda doesn't come in nights.
LECTER
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.

She'll be in, in the morning...
LECTER
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. Lecter is waiting.

She doesn't have a Rolodex.
LECTER
(smiling)
I'll bet she has a call caddy right
next to her phone.

Yeah...
LECTER
Well, zip that little Pointer right
on down to the letter G.

Okay.
LECTER
We're looking for Graham. The man
the book is supposed to go to is a
Ms. Will Graham.

Federal Bureau of Investigation,
Tenth and Pennsylvania, Washington,
D.C.
LECTER
Now I'll bet it has his home address
there, too

(beat)
3680 DeSote Highway. Marathon,
Florida.
LECTER
Thank you very much.
ON the phone as Lecter 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 six-

pack 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 couple 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. Re seems

frozen. Then:
GRAHAM
(mumbling to himself)
...after you killed the cat and threw
it into the yard, my man, you climbed
up hero 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!!
(MORE)
GRAHAM (CONT'D)
(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.
(MORE)
DR. BLOOM (CONT'D)

(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. CRAWFORD'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
(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.)
Good-bye.
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
is 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 dialing 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
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 Lecter'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. Lecter, 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 our, 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
locking. 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 Lecter'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 Lecter 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 Lecter'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 micro-
scope.
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 Lecter'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 Lecter...
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 Lecter to
reply.
BOWMAN
That's probably in the part Lecter
tore out.
(beat)
At the top it says: "I hope we can
correspond." And then the hole begins.
(beat)
It looks like Lecter 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 Lecter 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 Lecter's response, we
substitute our own. Somewhere
tomorrow night the Tooth Fairy will
actually buy "Tattler," looking for
Lecter'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 Lecter'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 Lecter 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. Lecter 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:I; 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 Lecter
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.
Lecter wasn't using a Bible.
GRAHAM
Then the Tooth Fairy named the book
in the part Lecter tore out.
BOWMAN
Right.
(beat)
What about sweating Lecter?
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 Lecter has in his cell.
GRAHAM
He'd know it from articles he's read
about Lecter...
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
Lecter's books...
CRAWFORD
Where?
BOWMAN
Library of Congress.
Bowman's our the door.
GRAHAM
Twenty-five minutes. We won't make
it in time.
CRAWFORD
(looks at watch)
We let Lecter'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 Lecter's message
out of the paper?
CRAWFORD
Yes. And I'm leery of running
Lecter'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 wave.
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.
(MORE)
GRAHAM (CONT'D)
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.
(MORE)
MOLLY (CONT'D)
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.
(heat)
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.
DR. BLOOM
What about him?
CRAWFORD
I need to ask you questions of a
psychological nature.
DR. BLOOM
Remember when you asked for a study
on him, I refused. Same goes for
now.
CRAWFORD
That was Peterson upstairs.
DR. BLOOM
It was you who did the asking.
CRAWFORD
He doesn't think you run mind games
on him.
DR. 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?
DR. 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?
DR. 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?
DR. 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?
DR. 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?
DR. 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?
DR. 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.
DR. BLOOM
Crawford has a proposition. I don't
think it's a good idea.
GRAHAM
If the Tooth Fairy listens to Lecter,
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 Lecter?
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?
DR. 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.
(MORE)
GRAHAM (CONT'D)
(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: or
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.
(MORE)
CRAWFORD (CONT'D)
(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 #1
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 #2
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...
GRAHAM'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 mother-
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. But 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.
(MORE)
LOUNDS (CONT'D)
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 wheel-
chair. 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?
DR. 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.
DR. 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 (WOMAN)
Put your back against the doer.
Come forward three steps until you feel the tile an 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 Z-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, TRAVELLING - 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 Z-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 ROOM - PAN
It's dark brown with wing-armed 50's futuristic furniture.

A Sryrosphere casts scars 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 blase, 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 - DOLLARHYDE'S - NIGHT
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...
(heat)
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.
DOLLARHYDE
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 our 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 lock 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 rowel

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 Lecter 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,
Sr. 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?
GRANDPA (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...
GRANDPA (V.O.)
You going back down to Florida after?
GRAHAM
Yes. Is Molly there?
GRANDPA (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..."
GRANDPA (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.
Lecter.
OPERATOR (V.O.)
I'll put you through.
INTERCUT WITH:
INT. CHESAPEAKE STATE HOSPITAL FOR THE CRIMINALLY INSANE -

LECTER'S CELL - HANNIBAL LECTER - DAY
Picks up the phone and takes Graham's call.
LECTER
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?
LECTER
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, Lecter, say it.
LECTER
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?
LECTER
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.
LECTER
You should, Will. God's terrific!
(beat)
He dropped a church roof on thirty-
four of his worshipers 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?
LECTER
It feels good because, if you do as
God does, enough times, you become
as God is: powerful...
Will Graham thinks about this.
LECTER
(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...?
Lecter's voice fades as Will Graham hangs us on him. Graham

sits on the crumpled bed and stares out the window at the
rain..
CUT TO:
INT. LEEDS HOUSE - GRAHAM - DAY
Stands in the kitchen. His raincoat and rainhat drip water

onto the floor. The house no longer is a crime scene. It's
been cleaned up. It is absolutely naked. Shades are drawn.
Slashes of light hit the floor. Graham stands there. Then

he walks forward...
STAIRCASE - GRAHAM'S FEET UP 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 scene

on a monitor. They are on a pier into a small lake with
poles and bobbers. The kids turn back and wave AT us.
CRAWFORD (O.S.)
What's important?
The scene changes to a birthday party. The Jacobis are

sitting around a dining table. They are singing.
GRAHAM + CRAWFORD
GRAHAM
He changes them into beings that
accept him... And he needs to see
the acceptance, In the mirrors. I
didn't understand the mirrors before.
(beat)
It's very important.
CRAWFORD
"Changes?"
GRAHAM
It's a word. Killing them...
(beat)
His delusion is: if he sees himself
accepted enough times, he will become
as one who has the power to be
accepted all the time.
(beat)
And he would record it somehow. So
he can see himself received over and
over again...
CRAWFORD
VTR, film, Polaroid, stills, what?
GRAHAM
How do I know?!
Graham is intent on the tape. Then:
GRAHAM
He's very careful, very... designed
when he chooses...
(beat)
If we find out how he finds them,
then we'll find him.
CRAWFORD
There's no connection between the
families.
GRAHAM
There has to be.
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 Lecter 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 will
be very fresh...
GRAHAM
It's not over yet.
CRAWFORD
It's a foregone conclusion. For
Christ's sake, it's eleven PM. The
full moon is tonight.
Graham doesn't answer. He's totally concentrated on the

film.
TV MONITOR: JACOBI FAMILY
Donald Jacobi, big birthday card to the camera. It says:

"Happy Birthday - Follow the ribbon." Camera follows Donald
Jacobi following the ribbon into the basement and the flood-
lights reveal a ten-speed bicycle.
CRAWFORD
Will?
GRAHAM
(explodes)
You wanna watch this or what?!
Crawford stares at him. Then he works his way through a

report with a penlight.
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' rape and plays the Jacobi
tape. The Jacobis' 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 eves 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 "INNAGADDADAVIDA" 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 it more exploded from within than
shot. Graham starts to raise the gun...
CUT TO:
EXT. DOLLARHYDE HOUSE - THROUGH KITCHEN WINDOW: GRAHAM
As we PULL BACK and see arriving squad car flashers play on

the walls and Crawford runs through the foreground, we see
Graham point the gun down to Dollarhyde's head. As we're
pulling away comes the final FLASH + REPORT and...
CUT TO:
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. But 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 butter-
fly 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 Sag 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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MANHUNTER

Converted to PDF by SCREENTALK

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

Crawford pulls two pictures from his shirt pocket. He keeps

If we expected gory crime photos, these are not them. Two

looks at the pictures for a full twenty seconds. Then he

GRAHAM'S POV: MOLLY + KEVIN

KEVIN -- lanky and tall at eleven -- hunkers down at the

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

Are doing dishes. Graham wipes while Molly washes.

There is a soft pleading in her voice.

(Beat> He'll never see me or know my name. If we find him,

As he puts an arm around Molly...

EXT. BEACH - KEVIN - TWILIGHT

Is working in the sand. Behind him Graham is stapling chicken

EXT. GRAHAM HOUSE - CRAWFORD + MOLLY - NIGHT

On the porch swing. Beyond them at the water's edge Graham

There is a pause between them. Molly lights a cigarette.

EXT. ATLANTA STREET - WIDE - NIGHT

Small poplars line the curb. It rained. The sidewalks are

The front walk vertically bisects the FRAME. An Atlanta

INT. LEEDS HOUSE, KITCHEN - WIDE - NIGHT

CLOSE: GLASS DOOR

walk through the kitchen as if he knows where he is going.

Graham's feet pass our of frame...

INT. LEEDS HOUSE, SECOND STORY - FLOOR

Is empty. The carpet is dark. We hear Graham's footsteps

Light beam hits the carpet. It dwells on a couple of dark

INT. LEEDS MASTER BEDROOM - LIGHT SWITCH

Graham's hand enters. He hits the light switch.

screams at us from the walls.

doesn't visibly react.

moves into the room. The bloodstains are extensive. Half

OVERHEAD ANGLE - GRAHAM

standing alone in the middle of the master bedroom. The

Graham pulls out a tape recorder and starts dictating his

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

ZOOM INTO: MRS. LEEDS' PANTYHOSE

still hanging on a towel railing over the bathtub. Graham

He doesn't let it unnerve him.

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

More brilliant than they ought to be. The Delta Aquirid

He takes out his tape recorder again.

INT. ATLANTA HYATT HOUSE, ELEVATOR - WIDE - NIGHT

Graham riding up with two half-drunk CONVENTIONEERS with big

A good-looking woman in a floral dress walks underneath them.

Graham is leaning against the glass.

The other cracks up.

snaps alert and stares at Conventioneer #2.

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

Graham looks away. The elevator stops. The door opens.

Both Conventioneers laugh as they walk down the hall.

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

We are seeing a videotape transfer of the Leeds family home

The camera pans right as the youngest Leeds boy starts to

has hit the stop button. He picks up a measured field sketch

Graham can't go any further. He is frustrated. He picks up