Actor Point >> Movie Scripts >> Manhunter Film Script

Manhunter Movie Script

Writer(s) : Thomas Harris, Michael Mann

Genres : Drama, Horror, Thriller

Search IMDb : Manhunter


                  "RED DRAGON"

                   Screenplay

                       By

                  Michael Mann

















                                   SECOND DRAFT
                                   July 20, 1984





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


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

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

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

                          CRAWFORD
           How much do you know?

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

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

                          GRAHAM
           What else did you keep out of the
           papers?

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

                          GRAHAM
           Somebody hurt him?

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

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

2.
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.




3.
                            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?






4.
                                 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.
                          (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.

5.
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.

6.

                          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'...

                          CRAWFROD
           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.

                          OFFTCER
           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.


7.
                            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. Be 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 Leed's possessions have been
 undisturbed.


 CLOSE: GLASS DOOR

 We hear the lock click and the door slide open as Graham
 enters. It's like he's a burglar.


 GRAHAM'S FEET

 walk through the kitchen as if he knows where he is going.
 A thermostat clicks and air conditioning comes on loudly.
 Graham's feet pass 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.





8.
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 indi-
cate where the bodies had been found. Graham opens the
file he carries containing autopsy, lab and crime reports.


OVERHEAD ANGLE - GRAHAM

standing alone in the middle of the master bedroom. The
crime scene -- the disarray, the big splashes of arterial
blood on the walls, the smashed mirrors, taped outlines or
bodies -- is a testament to a violence that is pornographic.
Graham pulls out a tape recorder and starts dictating his
own notes, thumbing through various reports for reference.

                           GRAHAM
           intruder entered through kitchen
           sliding door. Probably a glass
           cutter. Why didn't he care that he
           left AB saliva on the glass? it was
           hot out that night. inside, the
           house must' have been pleasantly cool
           to him.
                   (beat)
           The intruder cut Charles Leeds'
           throat as he lay asleep beside Mrs.
           Leeds. He shot Mrs. Leeds as she was
           rising... Bullet entered the right of
           her navel and lodged in her lumbar
           spine, but she died of strangulation...
           increase of serotonin and free
           histimine levels in the gunshot wound
           indicates... she lived at least five
           minutes after she was shot... All
           her other injuries were post-mortem.
                   (beat>
           Then he went toward the children's
           room.
                   (beat)
           Direction and velocity of blood
           stains on the east wall indicate
           arterial spray.;. With his throat
           cut, Mr. Leeds still tried to fight.
           Because the intruder was moving to
           the children's room...
                   (beat)
           in the children's room the intruder
           shot the first boy in bed. Second
           boy was found in bed, but dustballs
           indicate he was dragged out from
           under his bed to be shot...
                           (MORE)





9.

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

                                                CUT TO:


ZNT. 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.
10.

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 #l
                   (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:


ZNT. HOLIDAY ZNN 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 birth-
day 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.
11.

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 used later on Mrs.
           Leeds... What did he do in the
           interval? Struggling with Mr.
           Leeds and killing the others would
           take less than a minute. What
           else?
                   (beat)
           Three bloodstains on the east wall,
           not from Mr. Leed's arterial spray.
           What did killer do after they were
           dead?

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

                           GRAHAM
                   (into phone)
           Molly?

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

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

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

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


12.

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 rib-
bon down the stairs to a bicycle. It's indoors. It's rain-
ing outside. The eleven-year-old Leeds boy is ecstatic.
Mrs. Leeds smiles.

                           GRAHAM
                   (into tape recorder)
           You moved the kids after you killed
           them, didn't you? Did you arrange
           them for your performance with Mrs.
           Leeds on their bed? Did you tie Mr.
           Leeds sitting up in bed? That's the
           postmortem ligature on his chest.
           Did you make them your audience?
           Did you open their eyes? There is
           something you can't afford for me
           to know about. Isn't there? Mrs.
           Leeds was lovely, wasn't she? It was
           maddening to have to wear gloves when
           you touched her, wasn't it?
                   (beat)
           There was talcum powder on her leg.
           There was no talcum powder in the
           bathroom.
                   (beat)
           The powder they found came out of a
           rubber glove as you pulled it off

           to touch her. You took off your
           glove to touch her. DIDN'T YOU,
           YOU SON-OF-A-BITCH?! You touched
           her with your bare hands! And then
           you put the gloves back 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 Price still
           in Latent Prints?
13.

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


            Get him to Atlanta.

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

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


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


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

                                                CUT TO:

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

down the corridor.

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

                            GRAHAM
            The report didn't mention nails and
            eyes.

                            SPRINGFIELD
            Why do you think he took his gloves
            off?

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

                            SPRINGFIELD
                   (sudden distaste)
            'Intimate? !"

                            GRAHAM
            Yes. 'Intimate.' They had privacy.
                   (beat)
            Everybody else was dead.
14.

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.
                          (MORE)

15.


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

                          SPRINGFIELD
          What's average?

                          GRAHAM
          Sex murder: three. He likes to
          bite. Six bad ones in Mrs. Leeds.

          Eight in Mrs. Jacobi...
                   (beat)
          ... that's all I have.

Graham sits down.

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

They start to rise. Springfield remembers.

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

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

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

Dr. Princi joins them.


16.

                           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.
17.


                          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?

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

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

Springfield reacts.

                         JIMMIE PRICE (V.O.)
          Came off the oldest kid's left eye.
          It stood out against an eight-ball
          hemorrhage from the gunshot wound.

                          CRAWFORD
          Can you make an identification off
          it?

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



18.
SPRINGFIELD
thought Graham was ridiculous. Now his expression is very
changed.


GRAHAM

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

                                                 CUT TO:


EXT. ATLANTA POLICE HEADQUARTERS - GRAHAM s CRAWFORD - DAY

coming down the stairs. News media are all over Springfield,
the Commissioner, the Mayor's P.R. Officer in the b.g. No-
body 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.


19.

 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.






20.

               		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.
               (MORE)
21.

                      GRAHAM (CONT'D)
                (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.

22.
                     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
        Z 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.
23.

                     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.)


                     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.
24.
 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(Pause) 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. 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?
                 (pause)
         His pulse never got over eighty-
         five. Even when he tore into her
         face.

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

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

                     GRAHAM
         No.







25 .

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


DR. CHILTON

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

                      GRAHAM
                (stands)
         I want to see Lecktor now.

                     DR. CHILTON
         Uh... sure...


INT. MAXIMUM SECURITY SECTION - DOOR - DAY

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


GRAHAM'S POV: BARRED CELL

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

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

                      GRAHAM
         I keep getting it for Christmas.


CLOSE: LECKTOR'S HEAD

turns to us. His small eyes drill into Graham's brain.
Lecktor's attitude is professionally psychiatric, as if Graham
is the patient.
                      LECKTOR
         Did you get my card?

                     GRAHAM
         I got it. Thank you.
26.


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

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

              GRAHAM
      Stuart is fine.

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

              GRAHAM
      No.

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

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

              LECKTOR
      And?

              GRAHAM
      Very interesting, even to a layman.

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

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

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

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

27.
        GRAHAM
It's in the transcript. What does
it matter now?

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

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

        LECKTOR
Yes, I thought so.

        GRAHAM
It's about Atlanta and Birmingham.

        LECKTOR
Yes .

        GRAHAM
You read about it, I'm sure.

        LECKTOR
In the papers. I don't 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.

        LECKTOR
Why should I tell you?

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

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

28.

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

              LECKTOR
      Pray tell.

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

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

               GRAHAM
      No. I knew that I'm nor smarter
      than you are.

               LECKTOR
      Then how did you catch me, Will?

              GRAHAM
      You had disadvantages.

              LECKTOR
      What disadvantage?.

              GRAHAM
      You're insane.


              LECKTOR
      You're very tan, Will.

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

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

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

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


29.


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

              LECKTOR
          (interrupts)
     Do you have the file with you

             GRAHAM
     Yes.

             LECKTOR
     Pictures?

             GRAHAM
     Yes.

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

             GRAHAM
     No.

             LECKTOR
     Do you dream much, Will?

             GRAHAM
     Good-bye, Dr. Lecktor.

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

Graham gets up and starts to walk away.

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


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


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






30.

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

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

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


GRAHAM

snaps back to the present, looks at Lecktor.

              LECKTOR
      What were the yards like?

              GRAHAM
      Big backyards, fences, some hedges,
      why?

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

              GRAHAM
      That's interesting.

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

              GRAHAM
      Yes. I'd considered it.

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

              GRAHAM
      I want your opinion.


31.

                       LECKTOR
          I don't have one right now.

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

                      LECKTOR
          May I keep the file?

                      GRAHAM
          I haven't decided yet.

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

Threat.


                       GRAHAM
          No.

                       LECKTOR
          Do you know how you caught me,
          Will?

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

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

                       LECKTOR
          Do you know how you caught me?

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

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

The DOOR SLAMS shut on Lecktor.

                                       CUT TO:



32.

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. G:,TEWAY LABS - SCREEN DIVIDED INTO FOUR QUADRANTS - DAV

The quadrants display 4 home movies at six times normal
speed: an old couple, 2 men, a baby and a family. The fam-
ily 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 I4-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.

33.

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 glis-
tening. 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.


34.

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 DOLLARHME'S BACK

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


CLOSE: FRANCIS DOLLABHYDE

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


NATIONAL TATTLER'S OLD PICTURE OF GRAHAEI

It's the one Lounds took after Graham was slashed by Lecktor.
It's a black-and-white square image of a sleeping man with a
myriad of tubes running into his stomach and a temporary
colostomy bag. A black square is imposed over his genitals.
The caption reads: "Federal Manhunter Will Graham Recover-
ing from Near-Fatal Slashing By Hannibal 'the Cannibal'
Lecktor."


35.

 EXTREMELY CLOSE: SECOND IMAGE OF WILL GRAHAM
 in newsprint, the one Lounds took at the Chesapeake hospi-
 tal. The half-tone dots comorising the image are visible.
 Dollarhyde's massive finger slides across the image, brush-
 ing it sensitively. It works its way to Graham's face and
 the finger stops and blots it out.

                                       CUT TO:

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

 receives a telephone. The attendant who brought it waits.

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

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


 LECKTOR

 picks up the phone and punches in his number.

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

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

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

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

 The TELEPHONE RINGS four times.


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


                     LECKTOR
         Hi, Linda. ..

                     GRADUATE STUDENT (V.O.)
         Linda doesn't come in nights.
36.

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

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

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

There is a pause. Lecktor is waiting.

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

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

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

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

                     GRADUATE STUDENT (V.O.)
         Okay.

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

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

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

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


37.

                     LECKTOR
         Thank you very much.

ON the phone as Lecktor hangs up.

                                       CUT TO:


INT. L1011, COACH SECTION - CRAHAM - 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...







38.

                     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 differ-
ent 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.


 
39.

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. Sud-
denly: door SLAMS open revealing real estate agent GEEHAN
and Graham,

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

                     GRAHAM
         Have any single men asked to look
         at it?

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

                     GRAHAM
         Uh-uh.

Geehan leaves. The door closes with a SLAM.


WIDE - GRAHAM

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

40.
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.



41.
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.
              (MORE)








42.

              GRAHAM (CONT'D)
      You watched the children and passed
      the time whittling and dreaming.
          (beat)
      When night came, you saw them
      passing their bright windows and
      you watched the shades go down,
      and you saw the lights go out one
      by one. And after a while, you
      climbed down and you went in to
      them, didn't you?
          (shouts)
      DIDN'T YOU, YOU SON OF A BITCH!
      YOU WATCHED THEM ALL GODDAMN DAY
       LONG! !
          (beat)
      That's why you like houses with big
      yards, the easier to see them

                                                CUT TO:


INT. JACOBI HOUSE - GEEHAN + PROSPECTIVE BUYERS
DAY

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

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

              WIFE
      I like it, hon.

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

              GEEHAN
      Great. You goin' love this house!

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

                                                CUT TO:


EXT. JACOBI HOUSE - DOOR - DAY

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








43.



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 OFTICE - 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.









44.
                  SARAH
      No, Mr. Graham is not in the
      office, bur 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)
      ... bur 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 - GXAHAM - DAY

               GRAHAM
      Who did he ask for?

               CBAWFORD (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?






45.

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

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

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


SAME - LATER - NIGHT

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

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

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

                                              CUT TO:

INT. MEN'S ROOM - FAUCET - NIGHT
Runs water.

GRAHAM.

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

                                              CUT TO:












46.
INT. CBAWFORD'S OFFICE - CRAWFORD - NIGHT
Looking through reports. He picks up a pencil and starts
to correct a line when:  RING.

                         CRAWFORD
      Where the hell's Graham!

RING .


                         SARAH
      He went to the men's room.

RING .

                         CRAWFORD
      For Christ's sake get him!

An assistant runs out. RING. Sarah's anxious.
                            CUT TO:

EXT. CORRIDOR - GRAHAM - NIGHT


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

                            CUT TO:



INT. CXAWFORD'S OFFICE - GRAHAM

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


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

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


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

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


                         GRAHAM
      I don't understand.


                         VOICE (V.O.)
      Atlanta and Birmingham.




47.
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.







48.

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

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

               GRAHAM
      I don't want to do that,

               VOICE (O.S.)
      Goodbye.

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

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

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



CLOSE ON GRAHAM

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



CRAWFORD'S
ecstatic .
               2ND VOICE (V.O.)
      Who am I speaking to?

Graham grabs the phone.

               GRARAM
      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?






49.

               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?






50.

               GUARD
      Yeah. It's right here.

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


DR. CHILTON


is already dialling a number.

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

               GUARD
      No.

                            CUT TO:

INT. CRAWFORD'S OFFICE - NIGHT
Sarah answers the phone.


               SARAH
      Special Agent Crawford's office.

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

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


               DR. CBILTON (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.



51.

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.

               GRARAM
      It's Will Graham...

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

               GRAHAM
      Where did you get it?!


Graham waves Crawford to the other phone.

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


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

Crawford punches into Dr. Chilton's call.

                            CUT TO:


INT. CHESAPEAKE HOSPITAL - DR. CHIITON - NIGHT

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






52.

                DR. CHILTON
      It's written on toilet tissue.
           (reads )
      'My dear Dr. Lecktor, I wanted to tell
      you I'm delighted that you've taken an
      interest in me. I know that you alone
      can understand what I'm becoming.
           (reads )
      'I know you alone understand the
      reality of the people who die to
      help me in these things,
      understand that they are only
      elements undergoing change to fuel
      the radiance of what I am becoming.
      Just as the source of light is
      burning.
           (beat)
      Mr. Graham, there's a hole torn
      and punched our, then it says...
           (reads)
      'I have a complete collection of
      your press notices. f 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.

                CBAWFORD
      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.







53.

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

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

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

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

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


               DR. CHILTDN (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?





54.

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

                            CUT TO:


INT. LATENT PRINTS - JIMMIE PRICE - NIGHT

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


THE HELIUM CADMIUM LASER

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

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

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

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

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

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

               CRAWPDRD (O.S.)
      Dammit.


                            CUT TO:


INT. DOCUMENTS - LLOYD BOWMAN - NIGHT

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






55.

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

               CRAWFORD
      Twenty minutes max.

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

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

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


BOWMAN

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


MACRO CLOSEUP: NOTE


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


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

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


EVEN CLOSER: THE EDGES

are tattered and smeared with vermillion ink.


LIGHTING PANEL

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






56.

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


ROSTRUM

Bowman switches to a closed-circuit TV camera.


MONITOR

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

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

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

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


GBAHAM, 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.





57.

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

         BOWMAN
When do they go to press?

         GRAHAM
In thirty-five minutes.

         BOWMAN
Christ!

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


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

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

         SARAH
Not yet.

         CRAWFORD
Let's get to the physical.

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


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








58.

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

               GRAHAM
      Bowman?

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

Bowman sets up his photographs on an easel.

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

                CRAWFORD
      Issue the toilet paper tear as a...

The phone RINGS. Graham punches the speaker.

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

                GRAHAM
      Will Graham, Jack Crawford...

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

               GRAHAM
      Read it.

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








59.


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

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

               CBAWFORD
      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 Lecktor talking
      to him.

               CRAWFORD
      Book code?





60.


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

              CBAWFORD
     Not the Bible?

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

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

               BOWMAN
     Right .
           (beat)
     What about sweating Lecktor?

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

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

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

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

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

               CRAWFORD
     Where?

              BOWMAN
     Library of Congress.

Bowman's our the door.






61.


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

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

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

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

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


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

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

               GRAHAM
      Run it.

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


               GRAHAM
      We will feel sick for a very long time.

                            CUT TO:


INT. ST. LOUIS AIRPORT NEWSSTAND - FLOOR - DAY

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

INT. WASHINGTON HOTEL ROOM - WILL GRAHAM - NIGHT

asleep in bed. Sheets are twisted between his legs.




62.

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:





63.

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?



64.

               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:




65.

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.






66.

               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.




67.


         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?

         GBAHAM
Yes .

         KEVIN
I figured I'd ask you...

         GRAHAM


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

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

         GRAHAM
We don't know that.

         KEVIN
Are you gonna kill him?

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

         KEVIN
How did it happen?

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

         KEVIN
How?

         GRAHAM
With a knife.

         (MORE)




68.


               GRAHAM (CONT'D)
           (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?



69.

               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.






70.

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

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

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

               GRAHAM
      Slick as hell.

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

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

               GRAHAM
      I remember.

               MOLLY
      Do you remember what you said?

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

Molly stares into his eyes.

               MOLLY
      Time is luck, Will.
           (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.





71.

                BLOOM
What about him?

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

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

                CRAWFORD
That was Peterson upstairs.

                BLOOM
It was you who did the asking.

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

                BLOOM
I wouldn't presume to try.

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

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


                CRAWFORD
Why aren't you ever alone with him?


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

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




72.


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

               CRAWFORD
      That's when it happened?

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

               CRAWFORD
      What's the bottom line?

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

                CRAWFORD
      Could he handle a direct contact?

               BLOOM
      I don't recommend it.

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

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

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

                GRAHAM
      If the Tooth Fairy listens to
      Lecktor, he'll come for me. So
      we're going to set me up as bait
      to draw him out. Give him a
      clean shot.
                (MORE)





73.

               GRAHAM (CONT'D)
           (beat)
      That's what you were thinking,
      isn't it?

Crawford's embarrassed. Bloom said Graham was fast.

               GXAHAM
      I'll use Lounds.

Now Bloom's surprised...


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


                             CUT TO:

INT. WASHINGTON APARTMENT - GRAHAM + LOUNDS - DAY
Graham leans against a table, his back to a window.
               GRAHAM
      I believe he's socially
      maladjusted. Laughed at by his
      contemporaries...

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

               GRAHAM
      He's not as intelligent.


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

               GRAHAM
          (to Bloom)
      What have we missed?

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

Graham motions Lounds to turn the tape recorder on again.







74.
                 GRAHAM
       The killer has sexually molested
       all his male victims. He is a
       homosexual and impotent with
       persons of the opposite sex.
           (beat)
       Our forensic psychologists have
       projected he may have been the
       product of an incestuous home
       life .
           (added afterthought)
       And probably had sexual relations
       with his mother...

Crawford stifles a laugh...

                LOUNDS
       How long will you stay in
       Washington?

                GBAHAM
       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.




75.

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

               GRAHAM
      No.

                            CUT TO:


EXT. WASHINGTON, D.C. PARKING LOT - GRAHAM, CRAWFORD + SPURGEN
 7:30 PM

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

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

               GRAHAM
      Pretty well.

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

               GI(AHAM
      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 .





76.

               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.





77.

                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.







78.

A 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...



GBAHAM'S EYES

like taut wire about to snap.







79.
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.




80.

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

                RUNNER
            (backs up)
       Hold onto this!!
            (grabs his groin)
       I get dat cannon stuck up mah
       face?! Car dirt splattered up
       and down mah Calvin Kleins?!

       'Catch somebody?!' You couldn't
       catch yo' ass with yo' right hand!
       You lucky you muther-fuckers catch
       a cold! Who the hell goin' pay my
       cleanin' bill? Huh?

HUGE LAUGHTER which is coming from...

                            CUT TO:


INT. "TATTLER" GARAGE - ELEVATOR DOOR - NIGHT

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

                SECRETARY
       See you, Freddie.


LOUNDS


pleased with himself, walks to his car.


REAR: LOUNDS' HEAD

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


                            CUT TO:


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

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

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




81.

               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 .








82.

               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.









83.

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.

               DOLLARHME
      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?






84.

               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.

               DOLLARHYI)E
      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.








85.

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

Dollarhyde leaves. Lounds closes his eyes.

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


DOLLARHME'S HAND

carries a tape recorder. We PAN it across the room to Lounds'
face .
                DOLLARHYDE (O.S.)
      Open your eyes, Mr. Lounds.

Lounds obeys.


CLOSE: DOLLARHYDE

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

                DOLLARHYDE
      Now you will read this into the
      tape recorder.


ON LOUNDS

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






86.

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 Dollar-
hyde, 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.




87.

               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.







88.

               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.








89.

                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.


                GBAHAM
      Sidney: I don't understand him.
      We know he re-arranges the kids
      and husbands into a dead audience.
      To witness the act. We know he
      thinks the act is making him into
      something different. His 'becoming'
      ...but I don't know what it is he
      thinks he's becoming.
           (beat)
      The answer is something to do with
      how he uses the mirrors. That's
      what's missing for me. why the
      mirrors?

                BLOOM (V.O.)
      The usual motivation doesn't apply
      to him, nor the way he uses them.
      I don't have an answer for you.
           (beat)
      Listen to me, my friend: leave this.








90.


               GRAHAM
      And do what? Read about the next
      family in the morning paper? In
      my Monkey Ward safehouse 'cause I
      can't take my family home?
           (beat)
      This ends when I make it over.

               BLOOM (V.O.)
      How are Molly and the boy?

               GRAHAM
      Kevin and Molly are on their way
      to Montana.
           (beat)
      Who the hell is he to do this to
      my family, Sidney? Answer me that...!

Sidney Bloom has no answer.


                            CUT TO:


INT. BALTIMORE AIRPORT, COFFEE SHOP - WINDOW - LATE
AFTERNOON

Outside is gray. Rain stripes the glass. Sheets of rain
whip across the silver planes and yellow utility vehicles.



CLOSE: WINDOW

Graham's hand enters and flattens against his half-reflection
on the cool glass. He hears:

               VALERIE LEEDS (V.O.)
           (ansaphone
           recording )
      'Hello. This is Valerie Leeds. I'm
      sorry I can't come to the phone right
      now ...

               GRAHAM
      I'm sorry, too...

               WAITRESS
      Excuse me...?

Graham turns. The WAITRESS looks at him strangely.

               GRAHAM
      Coffee ...

She leaves. Graham sits. He stares at his handprint and
says :






91.

                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 TD:


INT. DARKROOM - DOLLABHYDE - 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.







92.

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.

                BEBA
           (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.






93.

                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 rake 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 ex-
tremely competent making the drinks.

                DOLLARHYDE
       How did you come to Gateway?


                BEBA
       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.



94.

                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.
      Bur 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.








95.

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

There is no smile on Dollarhyde's face.

               RZBA
      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 TC:


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.






96.

                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 EXAMINATIONTION 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.










97.
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 ARD THE WOMAN
CLOTHED WITH THE SUN - NIGHT

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

                            CUT TO:


INT. BATHROOM - FAUCET + HANDS

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

                            DISSOLVE TO:


INT. LIVING BOOM - PAN

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









98.


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.

               DOLLARKYDE
      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 SCBEEN

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:










99.
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 - DOLIl1HWDE'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









100.

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


SAME - REBA - LATER

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


DOLLARHME

wide awake, eases her away. Then he puts his ear to her
breast and listens to her heart beating. Dollarhyde is re-
lieved. 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?










101.

               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 happen-
ing 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.







102.

                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...









103.

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

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


REBA'S FACE

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


ATTENDANT

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


DOLLARHYDE

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


ATTENDANT

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

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

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

                            CUT TO:

INT. HOTEL ROOM - GRAHAM - NIGHT
With Crawford on the phone.

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

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










104.

                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?

               GRAMPA (V.0.)
      Well, how you doin', Mr. Graham?!
      You sure are in the center of a
      storm. Burning up lots of
      taxpayer's dollars, too, I bet.
           (beat)
      On the news they said he was a white
      man. He isn't really, is he?

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

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


               GRAHAM
      Yes. Is Molly there?











105.

               GRAMPA (V.O.)
      My grandboy's been eatin' a ton of
      breakfast every day. Been out
      riding. Must be the good air. You
      oughta see that little booger eat.
      I'11 bet he's gained ten pounds.
           (beat)
      Molly's out in the motor home...

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

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

               GRAHAM
      Tell her I called.

Graham hangs up. He dials again.

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

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

INTERCUT WITH:


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

picks up the phone and takes Graham's call.

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

               GRAHAM
      What do you want?

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

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









106.

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

               GRAHAM
      Fight what?

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

Graham laughs. Then he starts to listen closely. There is
something here for him:

               GRAHAM
      I don't believe in God.

               LECKTOR
      You should, Will. God's terrific!
           (beat)
      He dropped a church roof on thirty-
      four of His worshippers in Texas last
      Wednesday night. Just as they were
      grovelling to Him and singing a hymn.
      Don't you think that felt good?
           (beat)
      He wouldn't begrudge you two measly
      murders.

               GRAHAM 
      Why does it feel good?

               LECKTOR
      It feels good because: if you do as
      God does, enough times, you become
      as God is: powerful...

Will Graham thinks about this.

               LECKTOR
           (fading)
      God's a champ! He got a hundred and
      sixty Philippines in one plane crash
      two months ago... Remember the big
      earthquake in Italy last spring...?







107.

Lecktor'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 TIIE 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.

                CRAHAM
      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.







108.

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.







109.

               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.







110.

                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 - DOLLARHME'S FACE

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

DOLLARHYDE'S POV: REBA + RALPH DANDRIDGE

exit the Oldsmobile. He helps Reba out of the car. She
makes her own way up the sidewalk to her door. Reba opens
her door with a key. She turns towards Dandridge.

                DANDRIDGE
       There's something on your face.

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











111.


INT. VAN - DOLLARHYDE
stares. Events are threatening Dollarhyde's fragile stabil-
ity. We don't want this to be happening, we don't want
Dandridge to touch her...



DOLLARHYDE'S POV: REBA + DANDRIDGE

We see what Dollarhyde imagines: Dandridge's fingers caress
the soft skin of Reba's face. Reba's expression and mouth
are open and warm to him.


INT. VAN - DOLLARHYDE'S FACE
Blank .

DOLLARHYDE'S POV: REBA + DOLLARHYDE

Reba smiles. Her lips part. His finger brushes between her
lips... His hand goes to her breast...



INT. DOLLARHYDE'S VAN - DOLLARHYDE'S
hand clutches the dash.

PADDED DASH

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


EXT. REBA'S HOUSE - REBA + DANDRIDGE

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

               REBA
      What was it?

               DANDRIDGE
      Pollen .

               REBA
      Thanks for the ride.

               DANDRIDGE
      See you tomorrow.

Reba walks into her apartment












112.
RALPH DANDRIDGE
walks back to his car. We are TRACKING WITH Dandridge walk-
ing past the hedges. An arm shoots out and turns Dandridge.
Dollarhyde's hand clutches the whole of Dandridge's lower
face from underneath his jaw. He starts crushing Dandridge's
face. THREE soft POPS are from Dollarhyde's nine millimeter.
He shot Dandridge three times in the heart.



                            CUT TO:


INT. REBA'S DUPLEX - REBA - NIGHT

Moving in the dark. The DOORBELL RINGS. She has unbuttoned
her blouse. Now she goes back to answer the door.

               REBA
      Who is it?

               DOLLARHYDE (O.S.)
      It's me.

               REBA
      Who?

               DOLLARHYDE (O.S.)
      Me.

               REBA
      Francis.. .?

She opens the door and smiles.

               RED DRAGON (O.S.)
      It's not Francis?
           (beat)
      No. Francis is gone. Francis is
      gone forever...

As he steps towards her...


                            CUT TO:


THE MOON

It's full and very large as it dawns over black water that
seems to ripple and be drawn to it. PULL BACK to reveal
we are:


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

Next to the window we see the Jacobi family in fishing
scene on a monitor. They are on a pier into a small lake
with poles and bobbers. The kids turn back and wave AT us.






113.


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

The scene changes to a birthday party. The Jacobis are
sitting around a dining table. They are singing.



GRAHAM + CRAWFORD


                GRAHAM
      He changes them into beings that
      accept him... And he needs to see
      the acceptance, In the mirrors.
      I didn't understand the mirrors
      before.
           (beat)
      It's very important.

               CRAWFORD
      'Changes?'

                GRAHAM
      It's a word. Killing them...
           (beat)
      His delusion is: if he sees
      himself accepted enough times, he
      will become as one who has the
      power to be accepted all the time.
           (beat)
      And he would record it somehow. So
      he can see himself received over
      and over again...

                CRAWFORD
      VTR, film, Polaroid, stills, what?

               GRAHAM
      How do I know?!


Graham is intent on the tape. Then:


                GRAHAM
      He's very careful, very... designed
      when he chooses,
           (beat )
      If we find out how he finds them,
      then we'll find him.

                CRAWFORD
      There's no connection between the
      families.

               GRAHAM
      There has to be.





114.


                CRAWFORD
           (exasperated)
      There is none! We've run it
      through the computer a dozen
      times .

Graham's beyond frustration.

                GRAHAM
          (suddenly calm)
      He's a very shy boy...

               CRAWFORD
      What?

               GRAHAM
      Something Lecktor said.

                CRAWFORD
      Let's admit we struck out this
      month. The Gulf Stream's standing
      by. The basic lab stuff is on it.
      You, Zeller, Jimmie Price, a
      photographer. Anywhere he hits,
      we can be there in an hour and
      fifteen minutes. We get the call,
      we roll. The scene'll be very
      fresh. ..

               GRAHAM
      It's not over yet.

                CRAWFORD
      It's a foregone conclusion. For
      Christ's sake, it's eleven PM.
      The full moon is tonight.

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



TV MONITOR: JACOBI FAMILY

Donald Jacobi, big birthday card to the camera. It says:
"Happy Birthday - Follow the ribbon." Camera follows Donald
Jacobi following the ribbon into the basement and the flood-
lights reveal a ten-speed bicycle.

               CRAWFORD
      Will?

                GRAHAM
           (explodes )
      You wanna watch this or what?!

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





115.

TV MONITOR: JACOBI FAMILY

We are outside in the rain. Donald Jacobi brings the bicycle
out. The camera pans past: the padlock on the basement door.
Graham's hand flashes INTO FRAME and slams on the freeze
button.


               GRAHAM
      That's why the boltcutter.

               CRAWFORD
      What's that?

                GRAHAM
      He used a boltcutter to trim the
      branch out of his way. When he
      was watching from the woods. Why
      didn't he use it to go through the
      basement door?

                CRAWFORD
      Because a steel door and deadbolt
      were there when they were killed.

                GRAHAM
      You mean Jacobi put it in between
      when this film was made and when
      he was murdered?

               CRAWFORD
      He had to.


Graham rifles through the files and comes up with the autopsy
report on Donald Jacobi.


                GRAHAM
      Donald Jacobi's eleventh birthday
      party was April fourteenth.
      Sometime between April fourteenth
      and May third they changed the
      door.
           (beat)
      But you can't see either family's
      door from the street. He wouldn't
      know until he got to the house that
      the padlock wasn't there anymore...


He freezes the Jacobi tape and loads and plays the Leeds
tape :


                GRAHAM
           (intently on the screen )
      From the alley he couldn't have
      seen the glass in the Leeds' kitchen
      door .
                (MORE)



116.


               GRAHAM (CONT'D)
      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?

               METCALPE (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.





117.


                       GRAHAM
           (to himself)
      You knew that was the Jacobis'
      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. 3acobi -- 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.



118.


                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.

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

Crawford hears, Graham's watching him.

               GRAHAM
      It does, doesn't it?





119.


               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.





120.

               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...
                    (MORE)




121.

               FOGEL (V.O.)(CONT'D)
      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.





122.

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. PISK (V.O.)
      ...six foot, male caucasian, blond,
      violet eves 217 pounds, 38 years
      old...





123.


               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. FZSK (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.





124.

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-our...

                OFFICER
       Meet point's up ahead!

                GRAHAM
       Go on to the house.

                OFFICER
       Lt. Fisk said...





125.

               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.







126.

SOYBEAN FIELD + ST. LOUIS PD CAR NUMBER 1

moving across the furrowed rows. The car starts to slow.
We don't know why they are slowing down.


TIRES

spray the gumbo mud out of the furrows. The forward momentum
of the car slows until it completely stops. The tires spin
and dig in.



GRAHAM

spills out and starts running for the house and the orchard
a quarter mile away. Crawford follows.


                            CUT TO:


EXT. DOLLARHYDE ORCHARD - GRAHAM + CRAWFORD

running towards the house through the trees. Branches
slap at them. Ahead, the orchard will parallel the house.
They can get to within 25 yards using the trees as cover.

                CRAWFORD
           (into radio)
      Get the roadblocks set on Route
      Three! There's an access road to
      the back of the house. That ought
      to be a second team's approach.
      Will Graham and I are in an orchard
      due west of the house.

                GRAHAM
      How far away's the back-up?

               CRAWFORD
      Three minutes.

Graham gestures Crawford to a position with a front 3/4 view
of the house.

               GRAHAM
      I'll cover the back.

               CRAWFORD
      Stay in the trees.


As we TRACK with Graham through the trees towards the back,
beyond him we see the side yard and the side windows moving
past. The windows are large. At the back -- like a ramp --
are two storm cellar doors.






127 .


FRONTAL: GRAHAM

in the dark shadows of the trees. He seems to float: through
the branches and slows and settles quietly. Then the ex-
pression on Will Graham's face starts to change...


GRAHAM'S POV: KITCHEN WINDOW

Shadows. A light comes on. Then the figure of Reba is
swung out of a corner past the window...


               GRAHAM
           (resigned whisper
           into radio)
      There's somebody in the house, Jack.

                CRAWFORD (O.S.)
           (radio filter)
      Wait for the back-up! Will?

                GRAHAM
          (whispers in radio)
      It's happening again, Jack...

                            CUT TO:

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

On the right we see Dollarhyde's right arm with the aluminum
shafts... Beyond them, THROUGH THE WINDOW we see Graham has
stepped out from the tree line. He stands on the grass.
He looks helpless. His gun hangs idly at his side.


CLOSE: GRAHAM

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

                GRAHAM
          (low)
      ... stop it.


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

We and Graham see Dollarhyde's arm arc back for an uppercutting
thrust into Reba. Dollarhyde's left hand clutching her dress,
raises her two feet up the wall. And now Graham starts running
forward. And his face is distorted and he's shouting:


                GRAHAM
           (roars)
      STOP IT!!!

Dollarhyde turns to the window in time to see:




128.


WINDOW + GRAHAM
-- his arms across his face and his body angled sideways
-- CRASHES through the glass.


DOLLARHYDE

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

GRAHAM

CRASHES off the fridge which opens and spills and hits the
floor as...

DOLLARHYDE

ROARS and grabs his 9mm from the kitchen table.


GRAHAM'S FACE

is lacerated from the glass. He sees his own blood on the
floor. He struggles to rise. The first thing up is the
big bore of the .44. It FIRES as if it had its own mind.


DOLLARHYDE'S

left shoulder EXPLODES.


GRAHAM

bleeding, brings the .44 down from the recoil of the first shot.
Now, up on one knee, he FIRES FOUR more rounds into Dollarhyde.



OVERHEAD: THE KITCHEN FLOOR


Graham stands and walks to Dollarhyde. Reba is collapsed in
the corner. Dollarhyde it more exploded from within than
shot. Graham starts to raise the gun...


                            CUT TO:


EXT. DOLLARHYDE HOUSE - THROUGH KITCHEN WINDOW: GRAHAM

As we PULL BACK and see arriving squad car flashers play on
the walls and Crawford runs through the foreground, we see
Graham point the gun down to Dollarhyde's head. As we're
pulling away comes the final FLASH + REPORT and...

                            CUT TO:






129.
INT. MOTEL ROOM - WIDE REAR SHOT ON GRAHAM - DAY

We will only see the rear of Will Graham sitting alone on the
side of the bed in the alienating motel room. His head is
bandaged.


               GRAHAM
          (into phone)
      Hello.


INTERCUT WITH:


INT. MONTANA RANCH HOUSE, KITCHEN - MOLLY - DAY


               MOLLY
      I was out in the garden. Mama came
      out and told me when she saw it on
      TV. Why didn't you call me?

               GRAHAM
      Mama was probably asleep.

               MOLLY
      Will? Are you okay?

               GRAHAM
      Not too bad. I'll be here a few
      days longer.
           (beat)
      I want to see you.

               MOLLY
      I want to see you, too.

               GRAHAM
      Today's Wednesday. By Friday I
      ought to...

               MOLLY
      Mama has all Kevin's uncles and
      aunts coming down from Cheyenne
      next week and...

               GRAHAM
      Come home with me.

               MOLLY
      Will, they never get to see Kevin
      and a few more days...

               GRAHAM
      What's this Mama shit?

               MOLLY
      It's what Kevin called her when he
      was little...





130.

               GRAHAM
      What's the problem, Molly?

               MOLLY
           (pause)
      I came up here after Kevin's father
      died .
           (beat)
      They were very supportive and
      helped me adjust. I got myself
      together. I've gotten myself
      together now, too.

               GRAHAM
      Small difference: I'm not dead,
      yet .

               MOLLY
      Will?
          (no response)
      You could come up here.

               GRAHAM
      They don't want me up there. Every
      time they look at me I remind them...
      If they thought about it, they'd
      want you. Bur all they really want's
      the boy. And they'll take you.
      But they don't want to see me...

               MOLLY
      That's not true.

               GRAHAM
      Okay. They're full of 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:






131.


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 SHEBMAN

runs to the door. In a WIDER SHOT, we see there is a sho-
gun resting inside the door jamb. It's within reach or
Sherman's hand. We see why Tina Sherman screamed:





132.


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?

                GRAHAEI
      My name's Will Graham. I...

               SXERMAN
           (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:




133.
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 + CRAHAM


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.







134.

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