RED DRAGON

Screenplay
by

Ted Tally

Based on the Novel

by

Thomas Harris

Gray Revised: April 25, 2002

Tan Revised: April lB , 2002
Cherry Revised: March 26, 2002
Salmon Rev ised: March 12, 200 2
Buff Revised: February 21, 2002
Goldenrod Revised: February 1. 2002
Green Revised: January 22, 2002
Yellow Revised: January 14, 2002
Pink Revised : January, 2. 2002
Blue Revised: November 20, 2001
Wh ite Locked: July 10, 200 1
 ~
UNIVERSAl:
~

This material is the property of UNIVERSAL PICTURES and is

intended for use only by authorized personnel. Distribution or
disclosure of this material to unauthorized persons is prohibited.
The sale, copying, or reproduction ofthis material in any form or
medium, in whole or in part, is strictly prohibited.
 GRAY REVISED PAGES 4/25/02

GRAY
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TAN
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CHERRY
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SALMON
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GOLDENROD
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GREEN
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YELLOW
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WHITE:
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 PINK Revision 1-2-02 1.

FADE IN,
1 OMITTEO 1

2 INT. CONCERT HALL. NIGHT. 2

On a brilliantly lit stage. the Baltimore Symphony Orchestra

is struggling through the 3rd movement of Boccherini's
Concerto in D Major (-Allegro piacere.-) At center, a CELLO
SOLOISTc-._ _ _
SUPER TITLE, BALTIMORE. MD. 1986.
The CONDUCTOR frowns. Something's amiss in the wind section.
As the SOLOIST nears the end of her passage, he jabs his
baton with grim emphasis. indicating the winds' next entrance.
THREE of the FOUR FLAUTISTS, instruments already poised by
their lips, come in precisely on cue. But the ...
FOURTH FLAUTIST is daydreaming. Catching himse lf with a
start, he lifts his flute. but now is hopelessly off the~
beat. He eyes his fellow players, hoping no one noticed.
WE BACK AWAY FROM THE STAGE. wafting out with the MUSIC.

-
PASSING OVER velvet seats. carpeted aisles. a stir of
programs, WELL-DRESSED CONCERTGOERS ... PASSING BY, without
pause, one especially discerning face, whose owner is quite
anonymous in the crowd ... Then we return to that face, a few
moments later, for a CLOSER LOOK.
HANNIBAL LECTER, M.D. - noted psychiatrist, arts patron,
connoisseur - is trim, very neat, with a quality of coiled
stillness. His eyes are blue, strangely pale. CLOSER on
him, CLOSER STILL, until .. .
The Fourth Flautist come s in late, yet again. From Lecter's
hyper-acute perspective. the hapless man's playing is
physically excruciating, like a nail scoring glass.
Lecter's eyelids close, ever so briefly, in distaste. When
they reopen, the pal e irises are as fixed as a hawk's.

LECTER (V.D.)
-Think to yourself that every day is
your last; . .. -

2A EXT. LECTER' S TOWNHOUSE. NIGHT. 2A

An elegant Georgian horne, red brick, on a cobblestoned street.

Lights glow warmly through its windows.
 BLUE Revision 11-20-01 lA.
L~CT~R eV.o.)
... ~he hour to which you do not look

forward will come as a welcome

surprise ... "
3 INT. DINING ROOM. LECTER'S TOWNHOUSE. NIGHT. 3
A candlelit table, exquisitely set. Around this are seated
the ten very cultured MEMBERS OF THE SYMPHONY BOARD.

 BLUE Revision 11-20-01 2.

Lec~er circles the table, pouring wine for his guests.
LECTER
" ... As for me, when you want a good
laugh, you will find me, in a fine
state, fat and sleek, a true hog of
Epicuru~' herd."

Laughter at this, plus some mock-distressed "ooohs . "

RED BOW TIE
And we find you cribbing line5 from
Horace, as well.
Pleasant laughter. The Doctor smiles politely: toucbe.
RED BOW TIE (CONT'D)
I must say, Hannibal, speaking for
the rest of the herd -
(the others laugh)
I'm sorry, for the Symphony Board -
(more laughter)
- that these little soirees of yours
are always the highlight of our year.
OTHER VOICES
Just so. Hear hear. Bravo!
LEeTER
You're too kind. Reverend - more
Montrachet?
REVEREND
Yes, please. It's drinking nicely.
TROPHY WIFE
I do feel a bit guilty, enjoying
such a lovely evening while one of
our musicians is still listed as a
missing person.
Grave frowns at this, polite murmurs of concern.
TWEEDY BANKER
Yes, poor fellow. Sad thing.
RED BOW TIE
Shall I confess something wicked? I
can't help feeling just the tiniest
bit - well, relieved. That sounds
awful, I know. But let's face it.
So does the man's playing.
CHAIRWOMAN
His family's given a fortune to the

endowment. It ~ould've been almost

impossible to fire him.
BLUE Revision 11-20-01 n.
BLUFF CEO
Oh. he'll turn up somewhere . Count
on it..
 PINK Revision 1-2-02 3.
TWEEDY BANKER
He's probably not missing at all.
Just late again.
Chuckles, laughter, one or two happy groans.
CHAIRWOMAN
Hannibal, confess. What is this
divine-looking amuse-bouche?
LECTER
If I tell you, I'm afraid you won't
try it.
More chuckles, hearty laughter. Taking his seat at the head
of the table, Lecter snaps loose his napkin. Looking around
at his eager, expectant guests, he smdles.
LECTER (CONT' D I
Bon aooetit.
4 INT. DINING ROOM. LECTER'S TOWNHOUSE . NIGHT. 4

Lecter, now in a cashmere cardigan, clears the dessert and

coffee plates off the dining room table.
We hear the doorbell ring.
Lecter considers this. Looks down at his stack of dishes,
then turns, heads towards the door.
5 INT./EXT. FRONT DOOR. NIGHT. 5
His opening front door reveals a man in a dark overcoat and
scarf. his breath steaming in the cold. WILL GRAHAM is pale,
with dark watchful eyes. He's exhausted and never got a
chance to shave this morning.
LECTER
Special Agent Graham. What an
unexpected pleasure.
GRAHAM
Sorry to bother you again. Doctor.
I know it's late .
LECTER
No bother. We're both night owls. I
think. Corne in, please. Let me
take your coat.
As Graham enters, he passes a brass plaque that reads
"HANNIBAL LECTER, M.D. / Psychiatric Consultations.-
 GOLDENROD Revision 2-1-02 4.
1"'"'6 INT. LECTER'S STUDY. NIGHT . 6
A handsome panelled room, decorated with primitive art.
fragments of Greek sculpture. many books. To one s ide is a
leather chaise. A fire blazes . its light flickering over
the men' s faces. Lecter watches as Graham paces restlessly.
LECTER
You look tired will . You ought to
get more sleep.

Under his navy jacket. we catch a glimpse of Graham's shoulder

holster and Bulldog .44 Special. He gestures irritably .

GRAHAM
I'll sleep after this bastard is
behind bars .

LECTER
You're part of a three-hundred mati
task force . No one expects you to
catch him all by yourself. Have a
~, Will.
Graham drops into a chair. Lecter, who's been waiting
politely, sits behind his desk. Graham leans forward urgently.
Despite his weariness, his face is alive with fierce
excitement.

GRAHAM
We've been on the wrong track this
whole time, Doctor. You and I . Our
whole profile is wrong.

Lecter is very still; there is not a flicker of emotion; he *

jus t watches Graham, like someone studying an insect. *
GRAHAM (CONT'D)
We've been looking for somebody with
a crazy grudge. Some kind of
anatomical knowledge . decertified
doctors. med school dropouts, laid-
off mortuary workers -

LECTER
From the precision of the cuts, yes.
And his choice of - souvenirs.
GRAHAM
But that's where we're off target.
He's not collecting body parts.

LECTER
Then why keep them?

GRAHAM
He's not keeping them. He 's eating
them.
GOLDENROD Revision 2-1 -0 2 4A .
Lecter just watches and listens.
GOLDENROD Revision 2-1-02 5.
GRAHAM (CONT ' 0 I
We were at Molly'S parents' for New
Year ' s. Her dad was showing Josh
how to carve a roasted chicken. And
he said to my son, -The tenderest
part of a chicken is the oysters,
here, on either side of the back.
I'd never heard that expression
before. Oysters. ~

Pause.
GRAHAM (CONT' 0 I
I had a sudden flash of the third
victim, Darcy Chambers. She was
missing flesh from her back. And
then it hit me ... Liver. Kidneys.
Tongue. Thymus . Every single victim
lost some body part used in cooking.
Everything is very quiet in the room. After a moment's
consideration, Lecter, slowly leans forward on his desk .
He gently touches the Venetian stiletto, and lines it up
with his blotter.
LECTER
Have you shared this with the Bureau,
Will?
GRAHAM
I needed to see you first. But I'm
right. I know I'm right. Somehow
I'm starting to be able to think
like this guy.

LECTER
And how does that make you feel?
GRAHAM
It's unpleasant. It frightens me a
little.
LECTER
Why?
GRAHAM
Because it's not scientific. it's
emotional .
PINK. Revision 1-2- 02 5A.
LECTER
(pause)
Fascinating. I'd always suspected
as much. You're an eideteker.
(Graham is puzzled)
Someone with a remarkab l e visual
memory . combined, in your case,
with pure empathy. That's quite
rare ... How I'd love to get you on
my couch.
GRAHAM
I'm not psychic, Doctor .
YELLOW Revision 1-14-02 6.
LECTER
No, no, this is different. More
akin to artistic imagination. You're
able to assume the emotional point
of view of other people - even those
that might scare or sicken you ... A
troubling gift, I should think.
Perception's a tool that's pointed
at both ends.
GRAHAM
Maybe that sounds right, but it still
doesn't make sense to me. You're
the best forensic psychiatrist I
know. And yet somehow. in all our
time together, this possibility never
occurred to you.
A quiet moment, the two of them staring at each other.
LECTER
I'm only human, Will . perhaps I've
made a mistake.
GRAHAM
You don't strike me as a man who
makes very many.
LECTER
I'm sorry to think I might no longer
enjoy your full confidence.
Lecter's eyes gleam in the firelight. Graham sighs.
GRAHAM
I didn't say that. I don't know
what I'm saying. I almost had it ...
I'm very tired.
LECTER
It'll come to you. Look. Why don't
you come back in the morning? I'll
clear some time on my schedule, and
we'll get started on revising our
profile. Sound good?
Graham hesitates, then nods wearily. Lecter smiles.
LECTER (CONT ' D)
You rest here, then. I'll get your
coat. Won't be a tick.
Lecter goes out.
After a moment Graham rises , stretches his back. As he waits,
he turns, glancing idly around. Something on a shelf catches
his eye. He moves closer.
A Dogon tribal MASK, features contorted in rage or pain.
BLUE Revision 11-20-01 6A.

Graham is a bit disturbed. Not his idea of art. His gaze

wanders . ..
PINK Revision 1-2-02 7.

A framed DAGUERREOTYPE of Edgar Allan Poe. A block of SHINY

AMBER, with a SCORPION suspended inside. A beaded SIOUX
QUIVER. with feathered arrows still protruding. And BOOKS ...
so many books. Some leather-bound, with worn. cracked
spines. and very old. Some much newer.

Graham is interested. Looks closer at the titles ...

Recettes pes provinces De France . .. La Cuisine du Sacrifice
en Pays Grec ... Larousse GastronQmique. This last volume
isn't pushed all the way back into place. And it has a red
satin bookmark. noting a particular page.
Graham pulls out the Larousse. opens it to the marked page.
A recipe titled -Fantaisie de Ris de Veau.- Beside which
someone has written the word Sweetbreads.-

Graham stares at this ...

VERY CLOSE ANGLE - SWEETBREADS -

Just the single word, inked in a fine. elegant hand.

Graham'S eyes widen in a horrified leap of understanding.
He drops the book, turning, already pulling his gun free.
only to find himself ...
Face to face with Lecter, the pale eyes regarding him calmly.
The Doctor's hand flicks out, quick as a striking snake.
Graham gasps, looks down .. .
The venetian stiletto is buried to its hilt in his abdomen.
Its handle is gripped by Lecter's right hand, while the
Doctor's left hand now flashes up to seize Graham's gun,
plucking it from his nerveless fingers.
Lecter tosses the gun aside and Graham's hands fumble at the
knife, trying to push it away. But Lecter is immensely strong
and has him pinned against the bookcase. His face looms
close beside Graham's as the younger man struggles, gasping
in this obscene embrace. The Doctor's voice is calm, sQQthing.
LECTER (CONT' D)
Shh. shhh - don't move. You're in
shock now. I don't want you to feel
any pain.

Graham writhes, though he'S getting weaker by the moment.

Lecter presses against him harder. Objects tumble from the
shelves, SHATTER. The Doctor ignores the mess.

LECTER (CONT' D)
In a moment you'll begin to be light-
headed. Then drowsy. Don't resist.
It's so gentle. Like slipping into
a warm bath . ..
PINK Revision 1- 2 -0 2 8,
Graham jerks against him. Cries out.
LECTER (CONT'D)
Shh, shh ... I regret that it came to
this, Will. But every game must
have its ending. Shh ...
Graham's eyes roll up. He's very close to passing out.
LECTER (CONT ' D)
Remarkable boy. I do admire your
courage.
His lips are close to Graham's ear. A loving whisper.
LECTER (CONT'D)
I think I'll eat your heart.
Graham's eyes glaze over. He goes limp. Lecter grips him
in both arms a few moments longer, making sure he's still,
then eases his body to the floor , where it slumps like a rag
doll's. Graham's eyes stare sightlessly, unblinking.
Lecter kneels. He leans over Graham, tilts his chin back,
ready t o slash his throat, when suddenly the Doctor himself
emits a soft grunt. He looks down , surprised ...
Half a dozen Sioux arrows. gripped in Graham's bloody fist,
have been punched into his abdomen. Graham's eyes re-focus,
staring directly into his. His f ace - sweat-drenched,
contorted with pain - is very close to Lecter's.
GRAHAM
(whispers)
Eat that.
Lecter rises. shocked, lurching backwards as he tries to
pluck out the arrowheads. But they're deeply imbedded, and
his stiletto interferes with his grip .
Graham pulls a second gun, a small .38 revolver, from an
ankle holster. aims unsteadily , squeezes the trigger. The
BOOM of the explosions, in this small room. is deafening.
NEW ANGLE - SLOW MOTION
As most of the slugs miss. smashing into the walls, but at
least one catches Lecter in the upper chest. spinning him
around. hurling him away. The Doctor topples over his desk.
knocking the phone off. before coming to rest on the floor.
on his side. unconscious .
Graham. holding his spilling guts in with one hand, keeps
squeezing the trigger e ven after his gun is empty. Finally
his hand drops weakly, the gun CLATTERING on the floor. He
stares at ...
Lecter's unmoving body .
 WHITE Locked 9.
Graham, through his faintness, becomes aware of a strange
new SOUND. Dully he turns his head ..
Lecter's phone is lying on the floor, its receiver unCfAdled,
humming a DIAL TONE. Just a feW feet away, but it seems li~e
a mile ..
Graham grits his teeth, then, with a supreme effort, manages
to topple slowly over in the direction of the phone. Very
weakly he reaches out one bloody finger, smearing the 0
button. After a pause, we hear a VOICE.
VOICE
Operator.
GRAHAM
(whispers)
Seventeen Chandler's square ..
Officer down Help me Please
help me.
His eyes roll up in his head. He faints .
FADE TO:
7 EXT. NEWSPAPER CLIPPINGS 7

A MONTAGE of PHOTOS, seen in G~NY

CLOSEUPS. Some others in the screaming
tabloid style O"f:~~~~ They are yellowed
with age, and ... onto the pages of a
huge ledger: corners. Spidery,
From time to

-Local Doctor Wounded, Under Arrest! FBI Agent 'Extremely

Critical'! Details Uunclear in 'Bizarre Bloodbath' ..
(File photos of Lecter at a charity event, then Will Graham's
Bureau 1.0. photo.)
-Or. Hannibal Leeter is Chesapeake Ripper! Chamber of Horrors
Reve.led ... HANNIBAL THE CANNIBAL!!! ...
(A photo of JACK CRAWFORD, Will Graham's FBI mentor, briefing
a swarm of REPORTERS outside Lecter's townhouse . )
"FBI Agent's Condition Now 'Guarded'i Chance of Reeovery ...
"HERO COP'S GHASTLY WOUNDS! EXCLUSIVE HOSPITAL PIX! . ..
(A photo of Graham, unconscious, in his hospital bed, his
body a mass of tubes and bandages. The accompanying story
has a byline, BY FREDDY LOUNDS, with. smaller photo of
the reporter'S grinning face ... )
"TRIAL OF THE CENTURY BEGINS!! FIEND SERVED HUMAN ORGANS TO
GUESTS! ! !" ... "Symphony Chairwoman Faints in Court ...
"Lector's Captor Released From Hospitall FBI Agent Will
Testify ... "
 PINK Revision 1-2-02 10.
(Graham in a wheelchair, being pushed by his wife, MOLLY, as
Crawford and other AGENTS hold their hands up, trying to
shield them from flashbulbs and shouted questions.)
- HANNIBAL GUILTY!! !- .. ,~Lecter Sentenced to Nine Consecutive
Life Terms". ,,"CANNIBAL TO BE CAGED FOREVER!!!"

(Photo of Lecter, heavily shackled and closely guarded, being

frog-marched out of the courthouse.)

"TOP COP TO LOONY BIN!/ 'STRESS' CITED.,."

"Hero Fed Quits Bureau. ,."

A POWERFUL MALE HAND comes INTO FRAME, turning all the way
back to the first page of the great ledger. Across this, in
hand-illuminated letters, it reads "BeHold A GrEat RED
DRAGON ... ReVelAtions 12:3." The thick fingers rest for a
moment on this title page, lightly. Lovingly ...
FADE TO,

S EXT. GRAHAM HOUSE AND BOATYARD. FLORIDA. DAY. S

A cluttered boatyard, adjacent to a weathered gray two-story
beach house. Worksheds, trailered boats.
SUPER TITLES: MARATHON, FL,/THREE YEARS LATER.
MOLLY GRAHAM, in spattered jeans and a painter's mask, is
brushing varnish on the teak trim of a sloop. She looks up.
A white Ford rental car pulls into the yard, stops. JACK
CRAWFORD gets out, stands looking up at her. His gray D.C.
suit and office pallor look out of place here.
CRAWFORD
Hello, Molly. Long time.
She pulls her mask off, staring down at him. Surprised to
see him, then angry. Then scared.

MOLLY
Are you here from the Bureau or are ,
you here as a friend? ,
CRAWFORD
A little of both. ,
She stares back at him, her face taut.
MOLLY ,
You can't have it both ways, Jack. ,
Not anymore. ,
SA EXT. WORKSHED. DAY. 8A'
Crawford comes around a sandy corner, pauses as he sees ... ,
Graham, his forearms greasy. tinkering with a partially
 PINK Revision 1-2 - 02 lOA.
disassembled boat motor, mounted on a sawhorse. When JOSH
GRAHAM, age 8. proudly slaps the correct wrench into his
dad's hand. Graham rewards him with a smile.
Crawford, an intruder, feels a tiny jab of guilt.
9 EXT. BEACH . DAY. 9
Minutes later. Crawford and Graham sit at a picnic table
with glasses of iced tea. Beyond them, high dunes, dense
with sea oats. In the distance, Graham's house. The small
talk is winding down; an uneasy silence.
CRAWFORD
You know why I'm here?
GRA!I1.M
I can guess.
TAN Revision 4-18-02 11.
CRAWFORD
How much do you know ?
GRAHAM
(reluctantly)
Just what was in the Miami Herald
and the Times ...
FROM CLOSER UP, we see that Graham is now darkly tanned,
thin but fit. He's wary of Crawford.
GRAHAM (CONT D)
Two families killed in their houses
a month apart. Birmingham and
Atlanta. The circumstances were
similar.
CRAWFORD
Not similar. The same.
GRAHAM
What' ve you kept out of the papers?
CRAWFORD
Brown hair , right-handed, really
strong. He smashes mirrors and uses
the pieces. Wears latex gloves, so
we've got no prints. Oh, and his
blood's AB positive.
GRAHAM
Somebody hurt him?
CRAWFORD
No. We typed him from semen and
saliva. He's a secretor.
A brief silence. Graham looks away, down the beach.
TAN Revision 4-18-02 12 .
In the distance, Josh is casting a surf rod. Molly stands
watching him, hand on her hip, with spent waves creaming
around h er ankles. Crawford studies Graham's profile.
GRAHAM
I don't think I ' d be all that useful

to you, Jack. I never think about
it anymore.
CRAWFORD
Really? You caught two. The last
two we had, you caught.
GRAHAM
How? By doing the same things you
and the rest of them are doing.
CRAWFORD
That's not entirely true, Will.
It's the way you think.
GRAHAM
I think there's been a lot of bullshit
about the way I think.
CRAWFORD
I've got technicians that can examine
evidence. But you've got that other
thing, too . Imagination, projection,
whatever. I know you don't like
that part of it.
GRAHAM
You wouldn't like it either.
He takes a sip of tea, then looks at his glass. A beat.
TAN Revision 4-11-02 12A.
GRAHAM (CONT'D)
YOU get so you can function anyway,
as long as they're dead. The
survivors are the worst. Parents.
Kids . . . You have to shake it off and
keep on thinking. I couldn't do
that now.
CAA~O~
These are all dead, will.
He dips into his jacket pocket with two fingers. Flips two
photographs across the table. Graham goes very still. With
his fingertips, Crawford reaches out, nudges the photos
straight, like a gambler displaying a winning pair of aces.
 SALMON Revision 3-12-02 13.
CRAWFORD (CONT'D)
(g ently)
All dead.
Graham l ooks at him a moment before picking them up.
Two snapshots. A pretty woman (MRS.LEEDS) followed by three
children and a dog, carrying picnic items up a pond bank.
Her husband (MR. LEEDS) waits on a blanket. Another family
(the JACOBIS) stands happily behind a cake.
Graham stares at the faces, a long beat. A shadow passes
over his heart. He turns his head, looking down the beach
again, towards .. .
Molly and Josh, as she adjusts the boy's backswing. His son
nods, then strides forward, frowning with concentration, and
casts again. When she glances this way, her smile fades.
CRAWFORD (CONT' D)
Will, this freak seems to be in phase
with the moon . He killed the Jacobis
in Birmingham on Saturday night,
February 25, full moon. He killed
the Leeds family in Atlanta night
before last, March 28. That's one
day short of a lunar month. So if
we're lucky we may have a little
over three weeks before he does it
again ... Hell, I'm not the Pope, I
can't tell you what to do. But Will.
do you respect my judgment?
GRAIIl\M
Yes.
CRAWFORD
I think we have a better chance to
catch him fast if you help. Saddle
up and help us, Will. Go to Atlanta
and Birmingham and look . Just look.
Then help me brief the locals. That's
it.
LO INT. GRAHAM HOUSE. MASTER BEDROOM (2ND FLOOR). NIGHT. 10
Graham sits on the side of his bed, staring out towards the
moon. Still almost full. Molly watches from nearby. A
silence.
PINK Revision 1-2-02 13B.
MOLLY (CONT'D)
That'll last about as l ong as Taps.
Then I get to come home to an empty
bed.

GRAHAM
This one will never see me or know
my name. I'll help them to find
him, but the cops will have to take
him down. Not me.
 PINK Revision 1-2-02 14.
For a ter ribl e instan t her face crumples. Graham hugs her.
She hugs him back fiercely ,
GRAHAM (CONT D)
Molly, I 'll be at the back of the
pack. I promise .
MOLLY
( tries to smile)
Never in your life . I know you.
lOA INT . JOSH'S BEDROOM. NIGHT. lOA*
In moonlight, Graham stands looking down at his sweetly
sleeping son. Reaches gently to smooth his hair.
lOB EXT . GRAHAM'S YARD. DAY lOB
Graham embraces Molly , then Josh. a quick . awkward farewell.
Then he picks up his overnight bag, trudges across the sandy
yard towards a waiting taxi. Watching him go, Molly hugs
Josh tightly to her side. as if a cold wind were rising.,.
11 EXT . SUBURBAN STREET. ATLANTA. NIGHT. 11

A two-story brick home. set back from the street on a wooded

lot. The windows are dark . One yard light burns. A patrol
car waits at the curb . TWO COPS dirray silhouetted inside.
SUPER TITLE: LEEDS HOUSE. ATLANTA. GA.
12 EXT . BACK PORCH. NIGHT. 12
Graham's flashlight beam shows a long porch. with lattice
screening giving privacy to the back door.
 PINK Revision 1-2-02 15.
The beam picks out deck furniture, kids' bikes, a coiled
hose. It passes over, then returnS to . .. a wicker dog bed
and plastic bowl.
Graham looks at these. Then takes a microcassette recorder
from his pocket, holds it to his lips. Flicks it on.
GRAHAM
Where's the dog? Nobody heard
barking. There's nothing about it
in the case file.
He turns, aims his flash at the back door. Sees an Atlanta
PD seal across it. Above this, the single glass pane is
missing, replaced by a plywood patch.
13 INT. KITCHEN. NIGHT. 13
Night lights glow on the counters as Graham unlocks the
door, comes in. He removes his set of keys, softly shuts
the door. Stands very still. taking in the house. Sensing
madness like a bloodhound sniffs a shirt ...
Finally he trusts himself to move. Crosses to the stove,
turns on its hood light: cold neon bathes him. He turns.
Gleaming copper bowls. Framed samplers. Kids' art under
fridge magnets. Happy snaps of the five dead. All-American
smiles. Mrs. Leeds was very beautiful.
There's a SUDDEN LOUD RING behind him. Graham starts at the
noise. Turns quickly, eyes darting in fear . . .
A phone. After a . SECOND RING, the answering machine CLICKS
ON, and we hear a WOMAN'S RECORDED VOICE.
WOMAN' S VOICE
Hi, this is Valerie Leeds. We can't
come to the phone right now, but
you're really important to us. So
tell us who you are!
The machine BEEPS. but there's only a DIAL TONE. Hang-up.
Graham stares at the answering machine.
14 INT. STAIRCASE. NIGHT. 14
Slowly. quietly, Graham climbs the stairs.
 YELLOW Revision 1-14-02 16.

EXT. UPSTAIRS HALL. NIGHT. 15

Graham stands in the dark hall outside the master bedroom.
The door is ajar. He hesitates. then softly pushes it open
wider. Steps onto the jamb. A long beat. He has to steel
himself to reach in beside the door. tUrn on the wall
swi tch ...
Bloodstains shout at him from the walls, the mattress. the
carpeted floor. The very air has screams smeared on it.
Graham jerks back out into the hall. turning away from the
terrible sight. With his back against the wall, he fumbles
out his tape recorder, keys it.
GRAHAM
The intruder cuts ... cuts Charles
Leeds' throat. Then shoots Valerie
Leeds as she's rising. She's disabled
but not ... not killed outright.
Then he goes down the hall. Towards
the children's rooms ...
Light from the open door shows great dark stains on the hall
carpet. Matted slide marks join in a wide trail that leads
from other bedrooms towards the master.
15A INT. DAUGHTERS' ROOM. NIGHT. 15A*
Graham's eyes travel over twin beds with bloodstained pillows.
Scattered toys. rows of dolls, stuffed animals ... He is
puzzled. keys his mike .
GRAHAM
He drags the bodies into the master.
But why bother? They were already
dead. And none of them got the same -
extra attention as Mrs. Leeds.
15B INT. MASTER BEDROOM. NIGHT. 158*
He stands over Mrs. Leeds' position in the grownup's double
bed, where the bloodstains are thickest.
GRAHAM
Valerie Leeds was raped after she
finally died ... She was beautiful.
wasn't she? It was maddening to
have to wear gloves when you touched
her.
His eyes squeeze shut, his head sags onto his recorder.
16 INT. MASTER BATHROOM. NIGHT. 16
Graham swallows three Bufferin, scooping up water in his
hand from the faucet. Splashes more water on his face.
YELLOW Revision 1-14-02 161\.
When he straightens. he's looking at hi~elf in the shattered
mirror of the medicine cabinet. Traces of red fingerprint
powder. Several shards are missing. He reaches to the sink
for his little recorder. Gathers himself again.
GRAHAM
Small pieces of mirror were inserted
into the orbital sockets of the
victims. This occurred post-mortem.
He lowers the recorder. Stares for a few moments at his own
distorted image. Standing right where the killer stood.
GRAHAM (CONT'D)
Why did you put mirrors in their
eyes?
 PINK Revision 1-2-02 17.

17 EXT. OMNI HOTEL. ATLANTA. NIGHT. 17

A high-rise hotel, downtown . Stars twinkle beyond the glass

towers. only a few windows are still lit .

lS INT. HOTEL ROOM. NIGHT. lS

Graham hunches over a coffee table in his room, studying the
case file. A binder is open and photos, lab reports, sketches
and charts have all been removed, spread out.

He rubs his eyes, exhausted . Reaches for a miniature bourbon.

Empty. He rises, starting for the minibar, then a thought
freezes him. He turns back, looks at the table . Then he
kneels, searching quickly for a particular photo. Finds the
one he wants ...

The daughter's bedroom. Atop the bureau, a row of dollS, in

various sizes, sitting lined up in a neat row. Their glass
irises seem to look at Graham.
Graham starts to tremble. Seeing, in his mind's eye ... ~

lSA GRAHAM'S IMAGINATION - KILLER'S POV - l8A-

The mirrored eyes of Charles Leeds, who's propped up. head
canted, jaw slack. They seem to gleam with life. Next to
him - BELOW US - is Valerie Leeds, her dead face on her
pillow. In her upturned eyes, also mirrored, we catch, just
for an instant, the reflection of a shadowy male face.

lSB BACK TO HOTEL ROOM 18B-

Graham is stunned and exhilarated, both at once, by this
imagined glimpse. He grabs his nUcrocassette recorder.

GRAHAM
The pieces of wcirror made their eyes
look alive. He wanted an audience.
For him and Mrs. Leeds. He wanted
them all to be watching when he
touched her ... Touch. Touch.
He rises, pacing, on fire. His recorder is forgotten.

GRAHAM (CONT'D)
Touch. Talcum ... Talcum powder ...
He stops. Turns. Stares down at the photos. He drops to
his knees, scrambling through the reports ti ll he find the
on he needs.
 PINK Revision 1-2-02 18.
GRAHAM (CONT'D)
-Traces of talcum found on her right
inner thigh .. ,- But none was found
in the house. None was found in -
Graham stops . Stares into some dark inner distance, seeing ...
18C GRAHAM'S IMAGINATION - KILLER'S POV - lac
The killer'S left hand, still gloved. peeling the plastic ,
glove off his right hand. A puff of powder drifts down onto
the pale bare skin of~ Mrs. Leeds ' leg ...
180 BACK TO HOTEL ROOM
Graham is shocked, exultant. And furious.
GRAHAM
You took off your gloves, didn't
you? DIDN'T YOU, YOU SON OF A BITCH!
You touched her with your bare hands
and then you put the gloves back on
and you wiped her down . But while
the gloves were off. DID YOU OPEN
HER EYES?

19 INT. DIFFERENT BEDROOM. OMNI HOTEL. NIGHT. 19'

In another semi-darkened bedroom, Crawford is also working ,
late, sitting at a desk while he studies reports with his
,
reading glasses on. When his PHONE RINGS, he glances at the ,
red digits of his alarm clock. 4:12. He picks up the phone.
GRAHAM (V.O.)
Jack, this is will. Who do we have
down here who's really good with
latent prints?
CRAWFORD
Atlanta PO is good. You said so
yourself. But they already printed
the whole house.
INTERCUTTING -

GRAHAM
Not the house. The corneas of her
eyes .. . I think he took his gloves
off, Jack. I think he had to touch
her.
Crawford's breath catches. He stares into the darkness .

CRAWFORD
Jesus. Will.
 WHITE Locked 19.
20 EXT . ATLANTA POLICE HEADQUARTERS. DAY. 20
In the early morning light, TV vans are double-parked, with
CAMERA CREWS and REPORTRS setting up shots, starting their
remotes. ~ huqe story unfolding.
DR. PRINe I (V.O.)
Gentlemen. Ladies. This is what the
subject's teeth look like ...
21 INT . SQUAD ROOM. DAY. 21
A large frontal view of a set of teeth, upper and lower, is
tacked to a bulletin board. DR. PRINeI, the chief medical
examiner, moves in front of this photo enlargement. He holds
up a white dental cast which matches the photo.
DR. PRINeI
The impressions ca.e from bite marks
on Mrs . Leeds. This reconstruction
was done at the Smithsonian in
Washington, courtesy of our friends
at the FBI.

There are about THIRTY DETECTIVES assembled here, sitting at

schoolroom desks. Several headB now turn as they look back
curiously, or with a hint of territorial hostility, at ...
Crawford, sitting at the back. His face remains studiedly
neutral . GrahaM, beside him, is uncomfortable in this very
public, emotionally charged setting.
DR. PRINCI (0.5.) (CONT'D)
This degree of crookedness, plus the
groove on this central incisor, make
his bite signature unique .
SOHEBODY'S VOICE
Fuckin' shark.
Some nervous LAUGHTER at this, MUTTERS among the cops.
SPRINGFIELD (O.S . )
Knock it off.
Sitting to one side down front are BUDDY SPRINGFIELD, Chief
of Police, a burly man in Shirtsleeves, the COMMISSIONER, a
tough-looking black man, and some city government SUITS.
SPRINGFIELD (CONT'D)
We ' re grateful for the Bureau's
involvement. They've got a lot of
expertise in this area. In
particular, Investigator Graham does.
Isn 't that right, Jack ?
CRAWFORD
Yes, sir.
GREEN Revision 1-22-02 20.
COMMISSIONER
Anything you want to add. Mr. Graham?
crawford raises his eyebrows at Gra~. who looks uneasy.
COMMISSIONER (CONT'D)
Would you come up to the front?
Graham stands, walks forward reluctantly. It seems a long
way. As he passes the seated detectives, he hears their
whispers - -Lecter ... Guy that caught ' Lecter ... Thought he
~ . . '. Nah, but . the sumbitch 'bout gutted him . . .

When he turns to face them. something in his eyes makes the

detectives go very still'.
GRAHAM
Mrs. Leeds and Mrs. Jacobi were the
primary targets. The others were
killed just to complete his fantasy.
I know that ~ght be hard to accept ...
given what you saw. But this wasn't
random. It wasn't some killing
frenzy. He was never out of control .
The detectives watch hLm intently. The killer's enlarged
teeth grin behind Graham, like those of a jack-o'-lantern .
GRAHAM (CONT' D)
These attacks are highly organized.
The women carefully chosen ... We
don't know how he's choosing them,
or why. They lived in different
states and never met. But there's
some connection. Some common factor.
That's the key. Find out what that
is, and we'll save lives ... Because
this one is going to go on and on
until we either get smart or get
lucky. He won't stop.
A WOMAN DETECTIVE in the front row speaks up quietly.
WOMAN DETECTIVE
Why not?
GRAHAM
It makes him God, Would you give
that up?
She's disturbed by his intimacy with the killer's feelings.
GRAHAM (CONT' D I
(pause)
That's all I have .
A brief . uneasy silence. as he heads back to his seat.
Springfield r eplaces him at t he front of the room.
 BLUE Revision 11-20-01 21.
SPRINGFIELD
Okay. Airport and hotel details
will make ~he rounds again ~oday.
Yes, again. The rest of you, your
assignments are on the sheets.
The de~ec~ives all s~ar~ noisily rising, grabbing gear.
COMMISSIONER (0.5.)
One last thing ...
His stern bass voiee sinks them back into their seats.
COMMISSIONER (CONT' D)
I have heard members of this command
referring to the killer as the -Tooth
Fairy." I had better not hear any
police officer using that term in
public. It sounds flippant.
(pause)
That is all.
SOUND UPCOT - the many NOISES of a busy police department,
on full alert. RINGING PHONES, WHIRRING COPIERS, VOICES.
SPRINGFIELD (V.C.)
You asked about the dog ..
22 INT. CHIEF SPRINGFIELD'S OFFICE. DAY. 22
Springfield, behind his crowded desk, searches through papers,
finds a field report. Graham sits in front of him, exhausted
from his sleepless night. He takes the sheet, scans it.
SPRINGFIELD
Last night a vet called us. Leeds
and his oldest bOy brought the dog
in the afternoon before they were
killed. Had a puncture wound to i~s
abdomen. Vet had to put it down .
Graham exchanges a glance with Crawford, who stands off ~o
one side, MURMURING into a phone, jotting down his messages.
Other COPS pass by in the hall outside.
GRAHAM
Was the dog wearing a collar with
the Leeds's address on it?
SPRINGFIELD
No .
GRAHAM
Did ~he J acobis in Binmingham have a
dog?
SPRINGFIELD
No dog .
(MORE)
 WHITE Locked 22.

SPRINGFIELD (CONT'D)
They found a litter box in the
basement with cat droppinqs in it.
Didn't find any cat.
Crawford hangs up in time to see Graham consider this . His
voice , when it comes, is soft, his mind ranging far away.
GRAIW!
If the cat was attacked, too, the
Jacobi~ may h've buried it. Ask
Birmingham to check the backyard .
Tell them to use a methane probe,
it's faster.
Springfield looks at him a moment, impressed, before his
attention is pulled away by his RINGING phone.
SPRINGFIELD
(punches a button)
Yeah, what?
He listens. Looks at Crawford.
SPRINGFIELD (CONT'D)
For you.
Crawford comes over, takes the phone.
CRAWFORD
Crawford.
He listens, his expression changing. Then looks at Graham .
CRAWFORD (CONTID)
(in to phone)
Carl, you're the light of my life.
Would it hold up in court?
Graham turns, gazes out the window . His face is blank, closed
like a lifer's . Springfield glances at him curiously.
CRAWFORD (CONT'D)
Okay. Yeah . . . Great work. Copies to
Atlanta and Birmingham POlS, and
Washington .
Crawford hangs up. Springfield looks at him, waiting.
CRAWFORD (CONT'C)
They found a print on Mrs . Leed's
left eye . A partial thumb.
Springfield turns, staring a t Graham with ama4ement, but
also something very close to aversion. Graham can feel it.
SPRINGFIELD
That is by God spooky.
 PINK Revision 1-2-02 23.
After a moment Graham rises abruptly. walks out. The big
cop's troubled stare follows him all the way out the door.
23 EXT. SIDEWALK. DAY. 23
Graham slips out a side door. In the distance. on the front
steps, REPORTERS, PHOTOGRAPHERS. and TV CREWS, held back by
manned barricades, SHOUT questions at the Commissioner .
Graham turns, striding away from all this fuss. when a SMALL
MAN darts out of an alley ahead of him. SNAPS his picture.
His face pops up from behind his camera.
LOUNDS
will Graham! Remember me - Freddy
Lounds? I covered the Lecter case
for the Tattler. I did the paperback.

I remember.
Graham keeps going. Lounds scuttles sideways ahead of h~m.

LOUNDS
When did they cal l you in. will?
Whatta ya got? Think maybe the Tooth
Fairy will be an even bigger story
than Lecter? Hell. he's already
beaten Lecter's score -
Graham moves swiftly, forcing Lounds up against the wall .
His face is scary, but his voice stays low, very intense.
GRAHAM
Lounds. you write lying shit and ~
National Tattler is an asswipe.
Keep away from me.
A hand grabs Graham's shoulder from behind. It's Crawford.
He pulls Graham, with some effort. away from the reporter.
CRAWFORD
Get away. Lounds. Go on. Will,
let's get some breakfast. Corne on,
will .
They move away, down the sidewalk. walking swiftly. Lounds
in undaunted. Hovers cockily, shouting after them.
LOUNDS
How 'bout an exclusive ... ? ~! I
can ~ you guys!
 PINK Revision 1-2-02 23A.
24 INT. COFFEE SHOP. DAY.
24 '
A MOTHER tries to soothe her restless TODDLER. At another
table, A FAMILY eats pancakes . WAITERS come and go. Normal
people. far from the world of slaughter.

GRAHAM (0.5.)
I'm sorry about that, Jack ...
Crawford and Graham sit nearby, in a booth. Graham is
watching the mothe r and child. He's still upset.
GRAHAM (CONT D)
But that bastard snuck into the
hospital and took a picture of me
with tubes hanging out _
I know, I know.
CRAWFORD

GRAHAM
- and Josh saw it. My son saw me
like that .
PINK Revision 1-2-02 24.*
CRAWFORD
Forget Lounds. And give yourself
some credit. When we catch the Tooth
Fairy. that print plus his teeth
will burn him. You did that, Will .
GRAHAM
The evidence was there. It was right
there for anybody to see .
CRAWFORD
But nobody else did.
(off Graham's look)
All I'm saying is, that was very
good work.
GRAHAM
(shakes his head)
Good police work would be seeing it
all the way through and catching
this guy. and I can't do that . It
would take me at least four weeks to
work up a real profile. I did what
you asked me to do. I'm going home.
CRAWFORD
Now? You can't stop now.
YELLOW Revision 1-14-02 25.
GRAHAM
I'm sorry, Jack, I can't be your
good luck charm; I don't know who
this guy is, he's got no face to me.
CRAWFORD
That's exactly what you said to me
in Minnesota about Garrett Hobbs.
Remember? And you figured him out.
GRAHAM
No I didn't, I was stuck on Hobbs
and I got some help.
A beat. They look at each other.
CRAWFORD
From Lecter.
Graham looks down at his untouched plate. When he looks
back up Crawford is still staring at him.
CRAWFORD (CONT' D)
Well. .. ?
GRAHAM
Don't play me, Jack. If you want me
to do something then come out and
say it.
CRAWFORD
I'm just saying maybe we've got a
resource we ought to look into,
explore it. His insights are unique,
they can't possibly be duplicated.
GRAHAM
Fuck you, Jack. Is that what this
was all about?
CRAWFORD
Don't get mad at me, I'm just doing
my job. If you know a better short
cut, let's take it. If you think
there's any chance he'll talk to me,
I'll go myself. If you tell me you
can't handle it, God knows I'd
understand that, too. It's your
call.
Graham glances again at the family eating pancakes. Then
back at Crawford, his face pale and tense.
 PINK Revision 1-2-02 25A.
r-. 25 EXT. INSANE ASYLUM. DAY. 25
A grim Victorian pile of a building looms out of misty rain.
Meshed and barred windows. razor wire-topped fencing. and a
security checkpoint. manned by uniformed GUARDS.
SUPER TITLE: BALTIMORE STATE HOSPITAL FOR THE CRIMINALLY
INSANE
CHILTON (V .0.)
As a research subject. Lecter has
proven most disappointing ...
26 INT. DR. CHILTON'S OFFICE. DAY. 26

Perched behind his ornate desk. eyeing Graham greedily. is

DR. FREDERICK CHILTON. the hospital's Chief of Staff.
CHILTON
He's simply impenetrable to
psychological testing. Rohrshach.
Thematic Apperception - he folds
them into origamis. As you see.
Graham glances politely at an elaborate paper swan.
CHILTON (CONT'D)
So you can imagine the stir ~
little visit is causing among my
staff. Mr. Graham. If you'd care to
share some insights -
GRAHAM
Dr. Chilton. I'm sorry. But I've
got a 4:17 flight back to Atlanta.
CHILTON
(sniffs)
of course.
27 INT. ASYLUM CORRIDOR. UPPER FLOOR. DAY. 27
A heavy steel gate CLANGS shut behind Graham, the BOLT
shooting home. He's carrying a thick manila file. Chilton
walks ahead. still peevish. He glances back at the file.
CHILTON
No paperclips in there? No staples,
brads, or ring binders?
 PINK Revision 1-2-02 26.
GRAHAM
I've read the security protocols,
Dr. Chil t on.

CHILTON
Then see that you observe them.
(a thin smile)
Though perhaps it's gratuitous to
warn ~, of all people . about how
dangerous he can be.

28 tNT. ASYLUM CORRIDOR. LOWER FLOOR. DAY. 28

They're descending into darker. danker regions. Sweating
stone walls. Distant BANGINGS, forlorn, echoing CRIES.
CHILTON
Tell me, when you saw Lecter's
murders, their style, so to speak,
were you able perhaps to reconstruct
his fantasies? And if so, did you
jot down any impressions?
Graham doesn't reply. Another steel gate CREAKS open and he
goes through . Chilton follows. irritated.

29 INT. SECURITY STRONGHOLD. DAY. 29

Graham hands his .44 to a GUARD, as ANOTHER passes a wand

over him. while a THIRD examines the contents of his manila
folder . A FOURTH GUARD watches monitors. In locked cases
are guns, mouthpieces, Mace, r estraints. and padded gloves.
CHILTON
(lowers his voice)
Let me be frank, Mr. Graham. The
first definitive analysis of Lecter
will be a publisher'S wet dream.
I'd give you full credit, of course.

One guard nods to another, who pushes a button. A final.

massive steel door WHOOSHES open, and Graham, after taking
back his manila file. walks through into a dark corridor.
Chilton can no longer contain himself.

CHILTON (CONT'O)
Damn it. man, you must have ~
advice. You caught him. What was
your trick?
GRAHAM
I let him kill me.

The closing door erases Chilton's bewildered reaction.

30 INT. LECTER'S CORRIDOR. THEN CELL. DAY. 30

Graham turns, looks down the corridor. The cells to either

side are dark; only at the far end is on e lit.
PINK Revision 1-2-02 27.
Graham takes a breath, gathers himself. This is the hardest
thing he's ever done. Then walks quietly in that direction.
Shadowy FIGURES, low MUTTERINGS in the barred cells he is
passing .. .
Lecter's is different: higher security. A thick barrier of
plastic, with a pass-through tray. Inside, a bolted-down
sink, toilet, table and bookcase, with many softcover books.
The. Doctor lies on a cot, turned to the wall. apparently
asleep. An issue of Italian Vogue lies open beside him.
Graham is looking at Lecter's back, trying to master his
dread, when he's startled by the soft. abrupt VOICE.
LECTER
That's the same atrocious aftershave
you wore in court.
GRAHAM
I keep getting it for Christmas.
LECTER
Christmas, yes.
He rolls over, opens his eyes. The pale irises rake Graham.
LECTER (CONT'D)
Did you get my card?
GRAHAM
I got it. Thank you.
LECTER
So nice of the Bureau's crime lab to
forward that. They wouldn't give me
your home address.
GRAHAM
Dr . Bloom sent me your article on
surgical addiction in The Journal of
Clinical Psychiatry.
LECTER
And?
GRAHAM
Very interesting, even to a layman.
Lecter picks up his magazine, then rises politely.
LECTER
A layman. Lay-man . .. Interesting
term. So many learned fellows going
about . So many experts with
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?
PINK Revision 1-2-02 27A.
Lecter crosses, returning his magazine to its tidy shelf.

GRAHAM
I got lucky.
LECTER
I don't think you believe that.
GRAHAM
It's in the transcript. What does
it matter now?

LECTER
It doesn't matter to ~, Will.

GRAHAM
1 need your advice, Dr. Lecter.
PINK Revision 1-2-02 28.
LECTER
Yes. I thought so. Birmingham and
Atlanta. You want to know how he's
choosing them. don't you?
GRAHAM
I thought you'd have some ideas.
I'm asking you to tell me what they
are.
LECTER
Why should I?
GRAHAM
There are things you don't have.
Research materials. Maybe even
computer access. I'd speak to the
Chief of Staff .
LECTER
Ah yes . Dr. Chilton.
Gruesome.
isn't he? Fumbles at your head like
a freshman pulling at a panty girdle .
If you recall. Will. our last
collaboration ended rather messily.
GRAHAM
(pause)
You'd get to see the file on this
case. And there's another reason.
LECTER
I'm all ears.

GRAHAM
I thought you might be curious to
find out if you're smarter than the
person I'm looking for.
Lecter turns. Comes closer, staring into Graham's eyes.
LECTER
Then. by implication, you think you're
smarter than I am, since you caught
rne.

GRAHAM
No. I know I'm not smarter than
you.
LECTER
Then how did you catch me, Will?
GRAHAM
You had - disadvantages.
LECTER
What disadvantages?
PINK Revision 1-2-02 29.
GRAHAM
You're insane.
Something flickers and dies behind the strange pale eyes.
LECTER
You're very tan, Will. 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? How ~ young Josh? And
the lovely Molly ... ? They're always
in my thoughts, you know.
Graham doesn't flinch, though Lecter's eyes claw his.
LECTER (CONT' D)
You won't persuade me with appeals
to my intellectual vanity.
GRAHAM
I don't think I'll persuade you at
all. You'll do it or you won't.
LECTER
Is that the file?
GRAHAM
Yes.
LECTER
With photos? Let me keep them, and
I ~ght consider it.
Graham is sickened by his sudden avidity.
GRAHAM
No .

LECTER
Do you dream much, will?
GRAHAM
Good-bye, Dr. Lecter.
LECTER
You haven't threatened to take away
my books yet .
Graham walks away. Lecter raises his voice .
LECTER (CONT' D)
Give me the file , then. I'll tell
you what I think.
Graham pauses . Then returns , looks at him.
 YELLOW Revision 1-14-02 30.
LECTER (CONT' D)
I'll need an hour. And privacy.
After a moment Graham stuffs his file into the pass-through,
SLAMS it in. Lecter looks at the folder a moment. then runs
a finger lovingly across its cover. He smiles brightly.
LECTER (CONT'D)
Just like old times, eh. Will?
30A INT. WAITING ROOM. DAY
Graham paces next to a soda machine. He pulls off his suit *
jacket revealing that his shirt is soaked with sweat. He *
sits down on a bench nearby. waiting. *

31 INT. LECTER' S CORRIDOR AND CELL. AN HOUR LATER. 31*

The file lies open on Lecter's table. He stares down at the
pages, his eyes filmed with thought. A pause.
LECTER
This is a very shy boy. Will. I'd
love to meet him . .. Have you
considered the possibility that he's
disfigured? Or that he may believe
he's disfigured?
Graham. in the corridor. sits in a folding chair. Wearing *
his suit jacket again. *
GRAHAM
The mirrors .
LECTER
Yes. You notice he smashes all the
mirrors in the houses . not just enough
to get the pieces he wants. And of
course those shards in their eyes -
so he can see himself there.
GRAHAM
That's interesting.
LECTER
It's not -interesting,- You'd thought
of that before.
GRAHAM
I had considered it. What about the
women?
LECTER
Dead? Mere puppets. You need to
see them living , Will. The way they
caught his eye.
GRAHAM
That's impossible.
YELLOW Revision 1-14 -02 30A .
LECTER
Almost. Not quite. What were the
yards like?
PINK Revision 1-2-02 31.
GRAHAM
Big backyards, fenced, with some
hedges. Why?
LECTER
Because. my dear Will, if this pilgrim
feels a special relationship with
the moon, he might like to go outside
and look at it. Have you seen blood
in the moonlight, will? It appears
quite black. If one were nude. say,
it would be better to have outdoor
privacy for that sort of thing.
GRAHAM
You think the yard might be a factor
when he selects victims?
LECTER
Oh yes. And there will be more of
them, of course. You'll be wanting
~ of little chin-wags .

GRAHAM
I may not have time.
LECTER
I do. I have oodles .
GRAHAM
I need your opinion now.

LECTER
Yes? Then here's one. You stink of
fear. Under that cheap lotion .
GRAHAM
Good-bye, Dr. Lecter.
LECTER
(his voice rising)
You stink of fear, Will . ..
Graham gets up abruptly, starting away.
LECTER (CONT' D)
But you're not a coward.
His words pin Graham in place. Each one drilling into his
back. like tiny. precise darts.
LECTER (CONT ' D)
You fear me . but still came here.
Fear this shy boy. yet still you
seek him out ... Don't you understand.
will? You caught me because we're
very much alike. Without our
imaginations, we'd be like all those
other dullards.
(MORE)
 YELLOW Revision 1-1 4- 02 32 .
Graham turns, looks at him. Tries to steady his voice.
GRAHAM
Are you never afraid of anything,
Dr. Lecter?
LECTER
Yes, I fear being bored. In that
context you are less frightening
than I expected .. . And now if you 'll
excuse me, good day.
He returns to his cot, reclines, shuts his eyes , and instantly
transports himself to Caravaggio's Rome.
Graham, staring, feels like his skin has been peeled off .
32 EXT. INSANE ASYLUM. DAY. 32
Hurrying out of the madhouse, Graham stops, shakes his head,
trying to clear his brain. Lecter still crawls in there
like a fly.

TELEPHOTO ANGLE on him, and the rapid WHIRR of a motordrive,

as a SERIES OF PHOTOS are SNAPPED: Graham regaining his
composure, then heading towards a pay phone on the corner .
LOllNDS (0. S. )
Whoa, stop the presses!
The little reporter is staked out behind a van in the parking
lot, studying Graham intently.
LOllNDS (COm'D)
I always wanted to say that. C'mon,
we're outta here.
He's with a PHOTOGRAPHER , who looks up from his camera.
33 EXT. PAY PHONE. DAY. 33
Graham stands at a pay phone; we hear Crawford's voice.
CRAWFORD (V .0.)
You sure you're okay ... ?
GRAHAM
I 'm okay, Jack.
CRAWFORD (V. o. )
What do you think he meant by see
them living?-
GRAHAM
I'm not sure. Maybe nothing. It's
hard to separate his bullshit ...
 PINK Revision 1-2-02 32A.
34 INT. LEEDS HOUSE. DEN. NIGHT. 34
Graham. frustrated. shuts a drawer in Charles Leeds' desk.
Looks around this cozy panelled room .. .

GRAHAM (V.O.) *
But I ' m taking another pass at the *
Leeds house.
 PINK Revision 1-2-02 33.
Plaid sofas, hooked rugs, bookcases. a model ship." and a
big TV set, in a fancy wooden cabinet. Drawers beneath.
Interested, Graham walks Over. Kneels to open a drawer.
Sees a jumble of videos - kids' movies, grownup classics -
and a bulky padded mailer. When he tips this, small loose
VHS-C tapes spill out. He flips through the handwritten
titles .. .
'POOL PARTY 6/2/86 ... 'SUSIE'S DANCE RECITAL 2/9/86 ...
'BOBBY'S BIRTHDAY BASH 12/4/85.'

There's also a full-sized VHS tape, in a handsome plastic

container, mocked-up to look like a Hollywood movie. Graham
lifts this for a closer look ...

The title is -THE PEEPS OF THE LEEDS!!!- Glossy photos of

the family members, with each face outlined by a star. The
dog, a gray Scotty, gets his own star, too. Lettering at
the bottom reads: -A FEATURE-LENGTH VHS COMPILATION!-
35 INT. SAME. LATER. 35

On the TV screen, the tape's opening credits are just ending.

Bouncy CANNED MUSIC underneath. The opening shot is the
little Scotty. asleep in a big leather chair ...
Graham glances down. He's sitting in the same chair - the
dead man's chair. He touches its arm. Then looks back at
the TV screen .. .
SOUND of a door opening. The dog jumps up. tail wagging,
trots towards the kitchen. VIDEO CAMERA FOLLOWS him,
UNSTEADILY. The back door opens and Mrs. Leeds comes in
with groceries. The lattice, behind her. hides the yard.
CHARLES LEEDS (O.S.)
Annnd. .. action!
She blinks. laughs in surprise. as the three children rush
in past her, in a noisy, squabbling tangle, and disappear.
She sets her bag down on a counter.
VALERIE LEEDS
I am llQt ready for my closeup, Mr.
DeMille.
She leans over. shakes out her tousled hair, combing with
her fingers, then straightens, striking a mock-glamorous
pose. The gesture is touching, oddly intimate.
BLUE Revision - 11-20- 01 33A.

Graham, watching, feels his heart pierced.

 PINK Revision 1-2-02 34.
36 INT. GRAHAM HOUSE, FLORIDA. BEDROOM. NIGHT. 36
Molly wakens to her RINGING phone. Picks it up, glancing at
her clock. 12:34. Outside her window. distant surf.

GRAHl\M (V.O.)
Hello, hotshot.
MOLLY
Hey, baby! Where are you?
INTERCUTTING -
As Graham watches his TV screen, with the SOUND MUTED.
GRAHl\M
Atlanta. Birmingham tomorrow. Sorry
if I woke you.
MOLLY
No, no, are you okay?
GRAHl\M
Yeah, I'm fine. I just needed to
hear your voice. '. How's Josh?
On the TV. a new scene, a pool party with family and GUESTS.
MOLLY
He's good. We found some turtle
eggs on the beach this morning.
Wanna have phone sex?
The VIDEO CAMERA SNEAKS UP on Mrs. Leeds, very sexy in a
floral bathing suit, as she chats with a WOMAN FRIEND .. .
GRAHAM
I don't think I could stand it. I
think maybe we better not do that.
MOLLY
Okay. You don't mind if we think
about it, though?

CAMERA ZOOMS IN on Mrs. Leeds' cleavage, BLURRING a bit.

She laughs, getting up, blocks the l e ns with her hand, saying
something in protest.

MOLLY (CONT'D)
(after a pause)
Baby? You still there ... ?

GRAHAM
Absolutely not. I mean, yeah ... I
don't mind.
MOLLY
You're tired .
(MORE)
 CHERRY Revision 3-26-02 35,
MOLLY (CONT'D)
Will, YOu want to talk about it?
GRAHAM
I don't think I do.
MOLLY
OK. But I'm here. Always. You know
that.
GRAHAM
I love you, Molly.
MOLLY
I love you too, sweetheart.
Graham gently hangs up the phone.
ON THE TV SCREEN, the ANGLE SHIFTS . BLURS a moment, then
AUTO-FOCUSES, as Leeds extends the camera in one hand, pointed
backwards. to catch himself and his wife kissing. Their guests
silently laugh and applaud
Graham stares at the TV screen, haunted by this image ...
37 EXT. JACOBI HOUSE. BIRMINGHAM . DAY. 37
Graham, at the wheel of a rented Buick, CRUNCHES past a
Realtor's -FOR SALE- sign, then stops. He's looking at ...
A big split-level, with small outbuildings, flanked by a
wh ite-fenced pasture. Behind the house, thick woods. A red.
van marked -SAFESHIELD- is parked in the gravel drive.
SUPER TITLE: JACOBI HOUSE. BIRMINGHAM. AL.

WORKMAN (V, 0, )
Won't nobody get in through ~
again ...
38 EXT. SIDE PATIO. DAY. 38
Graham, on a flagged patio , stands by a kneeling WORKMAN who
is installing a wrought-iron security gate over a set of
shiny new aluminum-framed sliding glass doors.
WORKMAN
I'll guaran-damn-tee it.
Graham glances towards the front yard. Sees another big house,
with good sightlines. He turns back, puzzled.
GRAHAM
Why didn't he break in down there?
-- PINK Revision 1-2 - 02 3SA.
The workman follows his gaze past some shrubbery to a set of
concrete steps, leading down to a basement door well.
 CHERRY Revision 3-26-02 36.
GRAHAM (CONT'D)
It's more hidden.
WORKMAN
Hell. that door's got deadbolts. *
Reckin he was in too big a hurry. *
GRAHAM
(softly)
No. This one doesn't hurry.
The man gives him a curious glance. *
WORKMAN
Helluva thing.
39 OMITTED 39*
AND AND
40 40
41 EXT. BACKYARD . DAY. 41*
A small. shallow depression. The location is marked by a
fresh triangle of yellow crime-scene tape, tied to sticks.
Graham kneels, touches the earth. To one side he finds a
childlike bouquet of flowers. dried and withered. It crumbles
in his hand. His expression changes as a new thought comes
to him. He pulls out his recorder. flicks it' on.
GRAHAM
The pets are like - like foreplay to
him . He killed the cat. then waited
for the children to find it. He had
to see that if he possibly could.
But that meant waiting, maybe even a
few hours. Where ... ?
He turns slowly. Stares. Head-high brush runs out from the
fence about thirty yards. To where the woods begin ...
 CHERRY Revision 3-26-02 37.
42 EXT . DENSE WOODS. DAY. 42
Graham has taken off his blazer. His shirt, under the leather
shoulder rig. is drenched with sweat. He's on his hands and
knees, exploring the dense carpet of pine needles and dead
leaves, when something catches his eye ...

:T'~h~e:n:O~Q~p:=-~t~Q~O~fGr~o~m~a~iS~Q~dr..wc~a~n.. Near this is a thumb-sized

branch. neatly severed. Brown withered leaves amid the bright
green undergrowth.

Slowly, slowly, Graham's eyes travel from the pop- top and
the clipped branch to the tree behind it . Then up its
trunk ...

43 EXT. ELM TREE. DAY. 43

Climbing, already well up in the tree, Graham reaches for a
thick limb just above him. Pulls himself up by it. panting.
then leans around the trunk .. .
He stares at something OUT OF SHOT. a long beat. Then he
hauls himself into a sitting position on the big limb, which
juts out at a right angle. He turns his head: the branch
was cut off to improve the view. He looks across the open
air .. .
A clear view of the back and side of the Jacobi house. The
eat's grave ... the flagstoned patio, sliding doors ... and
then, on the second floor, the master bedroom window.
GRAHAM
(into his recorder)
You watched the children bury the
cat . You waited for darkness ...
As Graham looks at this, he is seeing, in his mind's eye ...
43A GRAHAM'S IMIGINATION - KILLER'S POV - 43A
Night. The moonlit house . A bright square of window. MRS.
JACOBI, hair wet from her shower, walks across the room.
Passing the window, she starts to slip off her bathrobe ...

-
 CHERRY Revision 3-26-02 37A.
438 BACK TO ELM TREE
43B
Graham. staring at the same window in daylight, whispers.
GRAHAM
To pass the time, you carved that.
He turns his head, looking at the tree trunk again.
 CHERRY Revision 3-26-02 38.
On the trunk, a patch of outer bark has been shaved away,
exposing green inner bark. centered in this is a curious
carving: it looks like a stake piercing a hollOW rectangle.
GRAHAM (CONT' D)
You're proud, aren't you? You had
to sign your work .. . That's how I ' l l
get you.

CLOSER on the strange carving, until it FILLS THE SCREEN ...

44 EXT. GRAVEL ROAD. DAY. 44
A weathered sign CREAKS in the wind. A iagged crack down
its middle makes it resemble the tree carving. Its peeling
letters read -DOL -HYDEI NUR--INGI H-ME. Beyond this. a
gravel road slithers up a low rise to an old country-Gothic
house.
SUPER TITLE: ST. CHARLES. MO.
45 EXT . DOLAJlliYDE' SHOUSE. VERANDAH. DAY. 45
A verandah surrounds the tall, once-grand house. Down its
crumbling length, ancient rocking chairs stir in the breeze,
ridden by ghosts. MOVING ANGLE, past these, approaching the
front door, as we hear a LITTLE BOY'S VOICE, oddly muffled,
wet-sounding. And tearfully scared.
LITTLE BOY (V.O.)
Granmaw. Granmaw. Pleeease,
Grarunaw ... !
46 INT. FRONT HALL. DAY. 46
MOVING ANGLE, down the long dark hall, passing a LOUDLY
TICKING tallcase clock. Ahead of us, an archway, opening
off to the right. At the end of the hall, a grand staircase.
GRANDMOTHER (V. O. )
Oh! Dh! I've never ~ a child as
dirty and disgusting as you. Look
at you. You're soaking wet ... !
WE PASS an oil portrait of a stern, gray-haired old woman -
GRANDMOTHER DOLARHYDE - wearing a 1940's dress and holding a
dyspeptic-looking Pekingese. Her features and hair style
make her resemble George Washington on the dollar bill. Her
crooked teeth, revealed in a grim smile, match the dental
mold we saw in atlanta.
GRANDMOTHER (V.O.) (CONT'D)
Get ~, get out of my bed. Go back
up to your room ... !
THROUGH THE ARCHWAY, we catch a glimpse of a former ballroom,
later converted to a downstairs ward. Rows of dusty-sheeted
cots, each with its bedpan.
CHERRY Revision 3-26-02 38A.
A big TV set. a couch. and some armchairs are down at one
end. along with two or three old-fashioned wooden wheelchairs.
One alcove of this ballroom, fonnerly a dining room. was
converted at some point to Grandmother Dolarhyde's bedroom

LITTLE BOY (V.O . )

Granmaw. You're hurtin' me .
 YELLOW Revision 1-14-02 39.
GRANDMOTHER (V.O. )
Shut up. Filthy little beast. I
should've put you in an orphanage.
Grandson or not.
AS WE START UP the staircase, we are becoming aware of a new
SOUND - a RHYTHMIC THUMPING, accompanied by LOW GASPS ...
47 INT. ATTIC HALLWAY. DAY. 47

MOVING ANGLE, down a long hall, towards the open doorway of

a garret room. The room is lit reddish. with swirling points
of light, as if it were in flames. The THUDS and GASPS are
LOUDER. accompanied by a kind of FRENZIED WHIMPERmG ...
GRANDMOTHER (V. O. )
Into the bathroom. Take off your
nightshirt and wipe yourself off.
Hurry up ... !

48 INT. GARRET ROOM. DAY. 48

MOVING ANGLE. past a lonely twin bed and nightstand. Then a
shadowy alcove with a tall steel gun safe, and the doorway
to a bathroom. Overhead, a mirror ball spins. firing off
reflections from a red spotlight ...
GRANDMOTHER (V.O.)
Now give me my scissors from the
medicine chest ...
WE COME AT LAST to a workout area - barbells and a weight
bench. where a thickly-muscled MAN, wearing gym shorts, is
flat on his back. pumping iron. He GASPS, punishing himself
to some new standard of perfection. He wears a stocking
mask, rolled down over his face. His sculpted physique is
reflected from tall standing mirrors.
GRANDMOTHER (V.O.) (CONT'O)
Take that filthy thing in your hand
and stretch it out. Do it ~, boy.
Look ~ ... Do you want me to cut
it off?
The man on the bench WHIMPERS, remembering.
GRANDMOTHER (V,O,) (CaNT '0)
~ you?
MAN ON BENCH
(whispers)
No, Granmaw. No, Granmaw.

GRANDMOTHER <V.O.)
I pledge you my word. FranciS. if
you ever make your bed dirty again
I'll cut it off. 00 you understand?
 YELLOW Revision 1-14-02 40.
MAN ON BENCH
yeah. Granmaw. Pleeeease . . _!

The man CRIES OUT, then drops his barbell onto the uprights
with a CLANK. He lies there trembling, drenched with sweat.
On his night stand. two squat glasses. each holding a set of
dentures. One set is -normal.- The second set is the crooked
yellow teeth that were once Grandmother's. They match the
dental mold we saw in Atlanta . Powerful fingers REACH INTO
FRAME. scoop this second set from its glass.
49 INT. GARRET BATHROOM. DAY. 49
CLOSE ON a shattered mirror. over a medicine chest, with
many shards missing.
GRANDMOTHER (V. O. )
Look in this mirror. I said l22&!
SOUND of SHATTERING GLASS. The BOY'S VOICE CRIES OUT.
After a moment. the GROWNUP MAN steps in front of the mirror .
He has rolled the stocking mask up to his nose; we see only
his lower face. weirdly fragmented by the mirror's missing
pieces. His cheeks look strangely hollow. He has a
surgically repaired cleft palette .
GRANDMOTHER (CONT' D)
See that ugly mouth? That's the
devil's mark ...
His big hand covers his mouth for a moment. We hear a MOIST
CLACKETY SOUND. When it comes away. he has inserted his
Grandmother's stained dentures.
GRANDMOTHER (CONT'D)
That's why no woman will ever love
you. Except for me, Francis . Only
me. Never forget that.
The crooked yellow teeth gleam. just for an instant. in an
awful rictus of a smile.
50 INT. GARRET ALCOVE. DAY. 50
A semi-human pragon. on an art poster. looms over a reclining
woman. In its niche beside the gun safe. lit by candles.
this poster forms the centerpiece of a shrine. As we look
at the fiercely-muscled Dragon . the GRANDMOTHER'S VOICE morphs
slowly into a DIFFERENT VOICE - the deeper, more spectral.
MALE VOICE of the DRAGON Himself.
DRAGON'S VOICE
NOW GO BACK TO BED. AND NO MORE
SNIVELLING.
YELLOW Revision 1-14-02 40A .
MAN (0.5.)
(whispers)
I'll be a good boy . I promise ...
 YELLOW Revision 1-14-02 41.
Crouching below the poster, his back to us, is the muscular
man. He has close-cropped brown hair and is now wearing a
silk komono. He spins the combination lock on his gun safe,
then opens it, REVEALING camera equipment. a 9 rom. Glock
with a homemade silencer, a sawed-off shotgun ... and his
huge black ledger. Carefully, reverently, he opens this,
resting it on a small table. The safe is large enough for
him to stand upright. He switches on a gooseneck lamp.
Across the first page, in hand-illuminated letters, we see
again the words -BeHold A GrEat RED DRAGON .. .
The man leans over. his face in shadows. and picks up a new
clipping from a loose pile of newspapers on the floor.
Carefully he presses this into place on a blank page ...
Will Graham, in the photo snapped outside the asylum. Above
this, Freddy Lounds, grinning in his by-line portrait, and
the screamcing Tattler headline, INSANE FIEND CONSULTED IN
'TOOTH FAIRY' MURDERSI BY SAME COP HE TRIED TO KILL!!!-
A red marker pen appears, angrily slashes out the words :TOOTH
FAIRY. then circles Lounds' face. The offending page is
turned, then a couple more, before the thick fingers pause ...
Hannibal Lecter. tuxedoed and suave, from an old pre-arrest
society photo. There are many Lecter photos. He's an idol.
The man's thick fingers hover over this page for a moment,
then touch the Doctor's face admiringly ...
51 EXT. INSANE ASYLUM. CORRIDOR I THEN EXERCISE PEN. DAY. 51
Graham walks down a narrow corridor as a GUARD opens a barred
door ahead of him, then crosses through a checkpoint cage as
a SECOND GUARD opens another barred door. He's carrying an
axlO color photo of the curious tree carving. Emerging into
a two-story gymnasium, he sees ...
Hannibal Lecter walking directly towards him. Smiling
brightly. No bars between them, no security glass ... !
Graham pauses, unable to keep his heart from pounding.
At the last moment, just six feet away, Lecter is brought to
a halt; there's a rattle overhead.
Graham glances up, sees the metal track, suspended from a
grid below the ceiling, that holds Lecter's sturdy leash-
restraint system. GUARDS with slung rifles watch his every
move from the second-floor jogging track.
The Doctor is harnessed and handcuffed, though not muzzled.
His eyes are bright and curious, like a bird's.
LECTER
Good morning. Will! So nice of you
to visit again.
YELLOW Revision 1-14-02 4lA.
Graham holds up the photo.

GRAHAM
He carved this on a tree, near the
Jacobi house. With a buck knife.
Lecter studies the image briefly.
LECTER
Ah. The same one later used on
Charles Leeds.

GRAHAM
Yes.

Lecter turns, moves in the other direction. His leash allows

him to walk in an oblong oval, which is painted on the floor.
Graham walks along beside him, careful not to stray inside a
second, larger ring that marks the safety perimeter. He has
to move quickly to keep up with the Doctor's pace.
GRAHAM (CONT'O)
He had a second tool, too. A bolt-
cutter . He used that to clear his
view.
LECTER
But .. . ?
PINK Revision 1-2-02 42.
GRAHAM
But I don't think that's what he
brought it for. It's too heavy.
Too awkward. And he had to carry it
a long way.
LECTER
Mm. And what do we make of that?
Still striding, he nods towards the photo.
GRAHAM
I don't like to admit it, but we're
stumped. Any thoughts?
LECTER
Do you take me for a child, Will?
Do you think I'm simple?
GRAHAM
All right. Asian Studies at Langley
identified it as a Chinese character.
It appears on a Mah-Jongg piece. It
marks the Red Dragon.
LECTER
Red Dragon. Correct. This boy begins
to interest me.
GRAHAM
Doctor, we don't know what greater
meaning this symbol might have for
him. If you could -
LECTER
Do you like my little exercise cage,
Will? My so-called lawyer is always
nagging Chilton for better
accornodations. I don't know which
is the greater fool.
GRAHAM
We thought perhaps, with your insight _
LECTER
-A robin redbreast in a cage/ Puts
all Heaven in a rage.- Ever ~ a
redbreast, Will? Of course you have.
I'm only allowed thirty minutes in
here, once a week. Get to the pQint.
He stops abruptly, turning towards Graham.
GRAHAM
I think he meant to use the bolt
cutter to enter the house. But he
didn't. Instead he broke in through
the patio doors.
(MORE)
PINK Revision 1-2-02 43.
GRAHAM (CONT'D)
The noise woke Jacobi and he had to
shoot him on the stairs. That wasn't
planned. It was sloppy. It's ~
like him.

LECTER
We mustn't judge too harshly, Will.
It was his first time. Have you
never felt a sUdden rush of panic?
He takes a sudden step towards Graham, lightning quick.
Graham steps back involuntarily. Lecter smiles.
LECTER (CaNT' D)
That's the fear we talked about. It
takes experience to master it ... You
sensed who I was, back when I was
committing what you call my crimes .
GRAHAM
Yes.

LECTER
So you were hurt not by a fault in
your perception or your instincts,
but because you failed to act on
them until it was too late.
GRAHAM
You could say that.

LECTER
But you're wiser now.

GRAHAM
Yes.

LECTER
Then you wouldn't make that same
mistake again. In the unlikely event,
let us say, that you should ever
encounter our pilgrim.
GRAHAM
Probably not. I think not.

LECTER
Imagine what you would do, if you
could go back.

GRAHAM
Put two in your head, before you
could ever palm that stiletto.
LECTER
Ummm . Very good, Will.
(MORE)
PINK Revision 1-2-02 43A.
LECTER (CONT' D)
I believe we're making progress ...
,

And that's what our pilgrim is doing,
he's refining his methods. He is
evolving. The case file mentioned
videos of the Leeds family. I'd
like to see those.

GRAHAM
No.
 BUFF Revision 2-21-02 44 .
LECTER
Why not?
GRAHAM
It would be obscene.
LECTER
You don't make it easy, do you?
Still. one aims to please. I'll
call you if I think of anything else .
Would you like to give me your home
number?
In the background, an air-ham sOunds briefly. Graham turns
his head, sees a caged red light flashing on the wall. He
turns back at Lecter. whose pale eyes have never left his.
GRAHAM
End of our session, I think, Doctor.

LECTER
For now.
He points his cuffed hands at the photo.
LECTER (CONT' D)
This was only his first time. Already
in Atlanta he did much better. Rest
assured. my dear Will, thiA one will
give you plenty of exercise .
As Graham stares at h~, we hear a SOUND UPCUT: a clanging
of steel, then BARNEY'S VOICE.
BARNEY (V.O.)
Go to the back of the cell, Dr.
Lecter. Face the Wall ...
52 INT. LECTER'S CELL . DAY. 52
Lecter does as commanded, quite meekly, while behind him
BARNEY and a TENSE SECURITY GUARD open his door and enter
the cell. The security guard levels a large-bore air rifle ,
while Barney has a can of Mace and a phone, its long cord
trailing down the corridor.
BARNEY
If you turn around before you hear
the lock snap, you'll get a dart.
Understood?
LECTER
Oh, yes indeed.
BARNEY sets down the phone, __ then they both back out quickly.
eyes always on Lecter. and SLAM his door .
 BUFF Revision 2-21-02 45.
BARNEY
You've got ten minutes to talk to
your lawyer . Starting now.
LECTER
Thanks so much, Barney.
He waits, hearing their footsteps recede. He's looking at
the phone. Its' rotary dial has been replaced by a blank
metal plate. A red light blinks. When he's sure the guards
are gone. he picks up the receiver.
LAWYER'S VO ICE
(on phone)
Hello? Dr. Lecter ... ?
Lecter presses down the phone's hook, one quick tap. Then,
before the line can go dead, he taps it again. in a quick.
intricate rhythm: one tap. pause. then three, pause, then
more, as the phone reads his clicks as dialing .. .
BOOKSELLER (V.O.)
-Robes ... Robespierre ... Robin.-
53 INT. BOOKSTORE. DAY. 53
Graham is at an information desk. where a pretty young
BOOKSELLER with a flash of green hair is studying a copy of
Bartlett's. She runs her much-ringed fingers down a page.
BOOKSELLER
-Robin, ~ for ... -Robin,
fainting ... Ta-da! -Redbreast in a
~ . Four-oh-six point nine.

She flips pages quickly, finds the right quotation.

BOOKSELLER (CONT' D)
-A robin redbreast in a cagel Puts
all Heaven in a rage.- William Blake.
Auguries of Innocence.
GRAHAM
Do you have that?
BOOKSELLER
Should have. We've got a book of
Blake's paintings, too. Want to see
it?
54 INT. LECTER'S CELL. DAY. 54
Lecter lounges on his cot, cradling his receiver. We hear a
WOMAN'S VOICE on the other end of his line.
WOMAN'S VOICE
Psychology Department, University of
Chicago. Dr. Bloom's office.
YELLOW Revision 1-14-02 45A.
LECTER
(on phone)
Dh. hi. this is Bob Greer at Blaine
and Edwards Publishing?

LECTER (CONT' D)
Dr. Bloom asked me to send a copy of
The Psychiatrist and the Law to Will
Graham, and his secretary was supposed
to give me the address and phone
number, but darn it. she never did.

WOMAN ON PHONE
I'm just a graduate assistant, Linda
will be in on Monday -
 WHITE Locked 46.
LEeTER
Gosh, 1 have to catch FedEx in about
five minutes, and I bate to bother
Dr. Bloom about it at home because
he told Linda to send i t and I don't
want to get her in hot water. It's
right there in her Rolodex or
whatever. I'll dance at your wedding
if you'll read it to me .
WOKAN ON PHONE
I don't know, I'm really not -
LECTER
Be a darling and flip that little
rascal and I won't take up any more
of your time. Graham comma William?
WOMAN ON PHONE
All riqbt , just a minute .. It doesn't
give the address of his house.
LECTER
What does it have, dear?
WOMAN ON PHONE
Federal Bureau of Investiqatlon,
Tenth and Pennsylvania, Washington,
D.C . Oh, and let's see . P.O . Box
3680, Marathon, Florida.
LECTER
That's fine, you're an angel.
WOMAN ON PHONE
You're welcome.
The Doctor hangs up. Smiles thoughtfully.
ss INT . BOOKSTORE . DAY. S5
Strange, ethereal images slip past our eyes - angels and
devils, feverish colors - as Graham sits at a table, flipping
through a large book of Blake's watercolors . Until one
especially startling image makes him stop, look closer ...
The same aintin as in Dolarh de's shrine . A horned, winged,
thickly-muscled man-dragon, w th human legs and a tail. He's
poised in sexual menace above a reclining, helpless woman;
she is appare n tly wrapped in flames.
Gra ham's eyes travel down to the caption .. ,
"The Red Dragon and the Woman Clothed with the Sun, c.1803-
os7 Brooklyn Museum of Art,W
As Graham stares at this, struck by its eerie power, the
cute boo kseller comes up, glan c es over his shoulder .
 YELLOW Rev i sion 1-14-02 47.
BOOKSELLER
weird.
GRAHAM
Yeah.
BOOKSELLER
Looks like a pretty hot date, though.
She smiles, flirting a bit. Graham smiles back.
56 EXT. CHROMll- LUX INC. DAY. 56
A large, flat-roofed. dun-colored building, nearly identical
to all the others in this vast industrial park.
SUPER TITLE: ST. LOUIS. MO.
57 INT. CHROMA-LUX INC. DAY. 57

A HUM of MACHINERY as WE FOLLOW a MAN with cropped brown

hair, broad shoulders in a white lab coat, through a labyrinth
of corridors; we catch glimpses of rooms dense with some
sort of hi-tech equipment . Other WORKERS, passing in the
hall, glance briefly at the man's face. then away. out of
respect or perhaps uneasiness.
58 INT. INFRARED LAB. DAY. 58
A sign beside a door reads: -INFRARED SENSITIVE MATERIALS IN
USE. HQ SAFELIGHTS. HQ SMOKING. HQ HOT BEVERAGES. The
red light i s on above this sign.
A THICK FOREFINGER reaches out, pushes a button. After a
moment, the light tUrns green, and the brown-haired man OPENS
the door. ENTERS the light trap, then RAPS on an inner door.
WOMAN'S VOICE
Come.
WE ENTER into cool. almost absolute darkness. A GURGLE OF
WATER, the slight CREAK of a desk CHAIR . The man's voice is
shy, cautious. Every word is carefully weighed.
DOLARHYDE
I'm Francis Dolarhyde. I came for
that package of infrared.
WOMAN'S VOICE
Oh, right. Put your back against
the door. come forward three steps.
until you feel the tile under your
feet. and there'll be a stool just
to your left.
Dolarhyde moves through the dark. SQUEAK of the stool as he
sits . The RUSTLE of her LAB APRON. Very close to him.
YELLOW Revision 1-14-02 48.
WOMAN'S VOICE (CONT'DJ
The same -Mister D.- who ' s head of
Tech Services over in the main plant.
Am I right?
DCLARHYDE
The very one.
WOMAN'S VOICE
I ' m Reba McClane . Just a second
more and we'll get you some light . . ,
(a timer RINGS)
There we go. Okay. Lemme just put
this stuff in the Bl ack Hole ...
A DOOR CLOSES on RUBBER SEALS. The HISS of a VACUUM LOCK.
Then the slight SQUEAK of h er SNEAKERS as she passes him.
After a moment the lights corne on.
REBA McCLANE stands by the door, smiling in his approximate
direction. She has a handsome prairie face, a page boy,
freckles. Her eyes make small, random, unseeing movemen~s.
DOLARHYDE stares at her , surprised. We see his face c l early
for the first time, even as Reba cannot. A white scar line
runs from his upper lip to his nose, but his features are
otherwise unremarkable, even attractive, except for his wary,
predatory eyes. They flash towards . ..
Her white cane, propped in a corner.,.
Then back to the woman herself . He can stare at her all he
wants. A strange and wonderful freedom.
REBA
What do you need the IR for?
DCLARHYDE
It's for the zoo .. . ' The World of
Darkness. They want to photograph
the nocturnal animals.
REBA
That's great. I love animals,
She crosses the lab unerringly, stops by a refrigerator,
opens it without fumbling, bends over to reach for something
on the back of a shelf.
REBA (CONT'DJ
I gotta warn you, though, this stuff
is pretty sensitive. It can be mean
to handle.
She turns around with a small shrink-wrapped package, holds
it out in his general direction.
 WHITE Locked 49.
REBA (CONT'D)
But I guess I don't have to tell you
that.

Dolarhyde takes the package. Disturbed and aroused to be

alone with her. Almost touching ... SOUND of the DOOR, behind
them. They both turn as a co-worker, RALPH MANDY, pokes his
head in with a breezy smil~.
RALPH
Hi, Reba . Yo, Mr. D. Whoa! I'm not
interrupting anything, am I?
REBA
No , Ralph .
RALPH
Listen, Reeb, it's startin' to spritz
out there. How 'bout I give you a
lift home?
REBA
You ride a motorcycle, Ralph . How
does that help me with the rain?
RALPH
(winks at Oolarhyde)
Yeah, well, I thought maybe we ' d
stop off somewhere for a little
sundowner.

Spots of color appear in her cheeks .

REBA
I've already got a ride.
RALPH
Sure I can't change your mind?
REBA
I can manage very well. thank you.
RALPH
Hey, that's cool. No problemo!
Before going, he leers at Dolarhyde , tilts his head towards
Reba, then pumps his forearm lewdly. Hot ~tuff, huh? The
do or BANGS shut behind him.
Reba crosses angrily, starting to collect her handbag,
raincoat, headscarf and cane.
REBA
If there's anything I hate worse
than pity, it's fake pity. Especially
from a walking hard-on like Ralph
Handy . Sorry.
Dol arhyde is startled, uncertain how to respond.
 BLUE Revision 11-20-01 50.

DOLARHYDE

I have no pity .
Reba pauses, looks in his direction . Smiles gratefully.
59 EXT. PARKING LOT. NIGHT. 59
POV AHGLE, through a rain-streaked window, as Reba follows a
conc rete divider across the parking lot, tapping the edge
with her cane, until she reaches a bus stop . She stands
under the shelter waiting_
Dolarhyde. a hundred feet away, watches her from behind the
closed window of his van. After a moment he makes an
unprecedented, impulsive decision. Starts his van.
60 EXT . BUS STOP. NIGHT . 60
Reba looks up at the SOUND of the VAN as it splashes up beside
her, then idles . The window WHOOSHES down.
OOLARHYDE
Ride with me.
REBA
Thanks, but I take the bus all the

, time .

OOLARHYOE
Mandy is a fool. Ride with me . . .
(what do men say? )
... for my pleasure.
She is surprised, then pleased by his unexpected chivalry.
61 EXT. DOLARHYOE'S VAN. DRIVING. NIGHT. 61
Dolarhyde eases up to the curb in front of a duplex in a
quiet neighborhood. Glances at her mailbox to be sure he's
got the right address. Then, gripping his steering wheel
tensely, he stares straight ahead through his wipers .
Reba, beside him. measures his quiet as shyness.
REBA
Want to come in? I'll fix us a drink.
He turns, looks at her. Her pretty face . Her unseeing eyes,
glowing like mirror shards in the dashboard lights. After a
moment his silence makes her smile falter a bit.
REBA (CONT' OJ
Maybe another time.
OOLARHYOE
I will - come in.
 YELLOW Revision 1-14-02 51.
62 INT. REBA'S APARTMENT. LIVING ROOM. NIGHT. 62
Reba stands her cane in a corner and is suddenly free . She
moves about with amazing ease, hanging her coat in a closet,
dropping her bag on a chair. switching on lights. She's
nervous, excited, not much used to men in here.
REBA
How 'bout a gin and tonic?

He watches closely . fascinated by her physical assurance.

DOLARHYDE
Tonic will be fine.
REBA
You're not a drinker?

DOLARHYDE
No.

REBA
I'll make us some coffee, then. And
maybe a piece of pie? Kare pecan,
it's dynamite.
DOLARH'iDE
Fine.

63 INT. KITCHEN. NIGHT . 63

Reba turns away from her refrigerator with a whole pie, sets
it down on her center island, where Dolarhyde sits stiffly
upright. on a stool. Nearby. she has started coffee.
REBA
When is the zoo project?
DOLARHYDE
Maybe next week. They'll call.
She goes to a wood block, removes a knife, testing its
sharpness with her finger. She sets it down near Dolarhyde.
He looks at the gleaming blade.

REBA
I love zoos. In fact, one of my
earliest memories is seeing a cougar ,
when I was about five.
He stares at her with renewed wariness. She misreads his
silence as tact, smiles appreciatively.

REBA (CONT' DJ
I didn't lose my sight till I was
seven. Diptheria.
 WHITE Locked 52.
She spans the pie with her fingers, bringing her thumbS
together to locate it~ center, then mark~ this with a tooth
pick. She puts the middle finger of her left hand on the
toothpick, her thumb on the edge of the tin.

REBA (CONTI D)
Could you hand me that knife?

He picks up the knife, feeling its power. Looks at her.

She smiles. Extends her palm.

He makes himself reverse the blade, placing the handle gently

on her outstretched palm.
She cuts him a piece of pie, guiding the knife with her left
index finger. He watches her handle the bright blade. Snick
snick. She sets his piece out on a plate.
REBA (CONT' 0)
Anyway, I've always tried to hang on
to what that cougar looked like.
Although by now, to tell you the
truth, what I see in my head is
probably not the least ~ like a
cougar.
(laughs)
More like a donkey, or a goat.
She finds him a fork in a drawer, sets that by his plate.
REBA (CONT' D)
Sometimes 1"m not so sure anymore I
really saw him . You know? Like
maybe he's just something I dreamed
up. .

She stops, suddenly self-conscious. Looks his way.

REBA (CONT'D)
You okay?
DOLARHYDE
Um-hmmm.
REBA
You don't say much, do you?
DOLARHYDE
Mm-mmm.
REBA
(hesitates)
Let's talk about something for a
minute and get it .out of the way,
okay?

Silence. She moves closer to him. He's barely breathing.

BLUE Revision 11-20-01 53.
REBA (CONT' 0)
I can hear you've had some kind of
soft palate repair. But I understand
you fine because you speak very well .
If you don't want to talk to me,
that's cool. But I hope you will ..
'Cause I know what it's like to have
people always thinking you're
different.
DOLARHYOE
Ummm . That's good .
REBA
Hay I touch your face? I want to
know if you're smiling or frowning.
(wryly, nov)
I want to know whether to just shut
up or not.
She holds her hand out, waiting. He stares at her, astounded.
Then takes her wrist between his thumb and forefinger . A
living woman, strange feeling
He brings her fingers close to his teeth . How easy it would
be to snap them off. Snick snick. He can't let her touch
his mouth. He cannot. But by a great effort of will, he
spares her life.
DOLARHYOE
Take my word that I'm smiling .
He holds her wrist away and releases it. Her hand settles
to the counter top, fingers trailing like an averted glance.
DOLARHYDE (CONT'D)
I have to go.
She nods, sadly. He rises, heads to the kitchen doorway.
REBA
If I offended you, I didn't mean to.
He turns, looking at her. Still furiously aroused. at war
with himself. But his voice is soft.
DOLARHYDE
No.

He goes out into the living room, and she listens for the
CLICK of the LOCK as he pulls her front door closed behind
him. She shakes her head wryly - wha~ an idiot I am! Then,
after a mome nt, puts her fingertips gently on the stool where
he was sitting. Still warm. She smiles.
GRAHAM (V.O.)
I've been to their house, yeah . ..
 BLUE Revision 11-20-01 54.
64 EXT. FBJ BUJLDJNG. DAY. 64
The massive headquarters of the FBI looms over Pennsylvania
Avenue as cars and ~axis stream by. We hear OFFICE SOUNDS.
SUPER TITLE: J,EDGAR HooVER BUILpING, WASHINGTON. D.C.
GRAHAM (V.O.)
But I still don't have much sense of
what the Jacobis were really like ...
65 INT. TASK FORCE OFFICE. DAY. 65
Graham is using a borrowed desk in a.far corner of the special
task force office. Walls and bulletin boards are covered
with case photos, maps, lists, assignments. In the b.g.,
other AGENTS are also working phones or conferring.
GRAHAM
(on phone)
It would help if I could see some of
their personal effects. Diaries,
letters . Do you have those things,
Mr . Metcalf?
66 INT. LAW OFFICE. BIRMINGHAM. DAY. 66
BYRON METCALF, an overweight good 01' boy, leans back in his
leather desk chair, looking out his window.
METCALF
(on phone)
Sure do. Other than one or two little
keepsakes that Niles Jacobi got.
INTERCUTTING -
As Graham glances down a file, ticking off the name.
GRAHAM
That would be .. Hr. Jacobi's
surviving son, by his first wife?
METCALF
That's right. As their executor, I
keep all that stuff here in the
offiee, along with the small
valuables. Just till after probate.
But Birmingham P. O. 's been all through
it.
Crawford enters the task force room, ,spots Graham, hurries
towards him, looking unusually tense and excited.

GRAHAM
Can you pack those effects and ship
them up here?
(MORE)
BLUE Revision 11-20-01 54A.
GRA/IAM (CONT' D)
(no response)
I hate to ask. It's a pain in the
butt.
 YELLOW Revision 1-14-02 55.
METCALF
Ah, hell. The probate judge is a
golf buddy of mine. Just tell me
you're genna nail this sumbitch.
Crawford twirls a finger. Hang up. it's urgent.
GRAHAM
We're doing our best. Mr. Metcalf.
Thanks. .. Thanks so much.
He hangs up. Looks at Crawford expectantly.
CRAWFORD
will ... a note. hidden in Lecter's
cell. Sounds like a fan letter. It
might have been mailed by the Tooth
Fairy.
Graham stares at him. His ndnd already racing ...
CRAWFORD (CONT'D)
He wants Lecter's approval. He's
curious about you. He's asking
questions. I've already scrambled a
chopper ... Will?
GRAHAM
Does Lecter know we have the note?
67 INT. ASYLUM. LECTER'S CELL. DAY. 67
A uniformed CLEANING MAN is wiping down the sink with a wad
of toilet paper. As he spins a new handful off the roll,
two loose pieces of tissue come loose. settling to the tiles.
He stares at the dense, spidery handwriting on them ...
CRAWFORD (V. O. )
Not yet. It was found during a
routine cleanup.
GRAHAM (V.O.)
They don't open his mail?
CRAWFORD (V .0.)
Can't. need a warrant. X-rays only.
GRAHAM (V.O.)
Where's Lecter now?
68 INT. HOLDING CAGE. DAY, 68
Lecter sits on a metal bench. his back against a cinderblock
wall, Quite relaxed, eyes shut. apparently daydreaming.
His wrists are cuffed behind his back.
CRAWFORD (V.O.)
Still in the holding cage.
YELLOW Revis ion 1-14-02 55A.

GRAHAM (V . O . )
Can he see his cell from there?
Lec ter 's eyes open. Across from him, chrough the steel bars,
is see a narrow band of corridor .
 WHITE Locked 56.
CRAWFORD IV. O. )
No, but he'S already been there almost
half an hour. Pretty soon he'll start
to wonder what's wrong .
69 INT. TASK FORCE OFFICE. DAY. 69
The other agents fall silent, looking towards the huddled
Graham and Craw!ord, picking up .on their excitement. Three
of them - BAKER, RANKIN, and WILLINGHAM - drift this way.
GRAHAM
We've gotta buy some time, Jack.
Create a diversion .
Crawford looks at him a moment, then grabs up a phone
receiver. Punches one of the blinking orange buttons.
CRAWFORD
Dr. Chilton? Call your building
superintendent or engineer, whoever's
in charge. Tell hi_ to pull the
circuit breakers on Leeter's hall.
Have the super walk down the hall
past the holding cell carrying tools.
He'll be in a hurry, pissed oft, too
busy to answer any questions - got
it? And don't touch the note, okay?
Graham's on his way.
He hangs up . Looks at the tense faces of his gathering team.
CRAWFORD (CONT'D)
We've qot a note coming in on the
fly, possibly from the Tooth Fairy .
Number One Priority. It haa to gO
back to Lecter's cell within the
hour, unmarked. We'll need Hair and
Fiber, Latent Prints, then Documents.
I'll walk it through myself. Let's
92, people!
70 EXT . WASHINGTON LANDSCAPE. DAY. 70
An FBI helicopter flashes by, with the Potomac below and the
Washington monument in the distance.
DOLARHYDE (V. o. )
RMy dear Dr. Lecter. I wanted to
tell you I'm delighted that you have
taken an interest in me ... -
71 EXT. ROOFTOP HELIPAD. DAY. 71

Graham climbs out the door of the helicopter, ducking his

head against the heavy wash of air from the still whirling
blades. He's carrying a document case.
 YELLOW Revision 1-14- 02 57 .
DOLARl<YOE (V. O. )
-And when I learned of your vast
correspo nden ce I thought par e I? Of
course I do . . .
He hurries t owards Crawford and Baker, who 's propping a door
open. As Crawford grabs the case, Baker says something int o
his walkie-talkie.
72 INT . HAIR AND FIBER LAB. DAY. 72

The no te , on two pieces of toilet paper , is now within a

plastic sheath. c lipped a top a light box. The top piece has
a ragged b o le wh e re part of the text has been torn Qut.
More of the text, near the tattered edge, has been inked
= .
DOLARHYDE (V. 0 . )
-1 don't believe you'd tel~ them who
I am .. .
On the second piece of the note, below the signature (-AVID
FAN-) , are two deeply indented semi-circles: bite marks.
DOLARHYDE (CONT ' D)
-Besides. what particular body I
currently occupy is trivial ...
A white-gloved technician. BEVERLY KATZ. squeezes a remote
as her tripod-mounted camera FLASHES motordrive photos.
DOLARHYDE (V.O .) (CONT ' O)
The important thing is what I am
Becoming. I know that you alone can
understand this . . .
Under a powerful magnifier. she reaches inside the plastic
sheath with fine tweezers, removing a tiny piece of brown
bAix fr om the paper fiber. Carefully . with maddening
precision. she places this hair in a glass i ne envelope .
Crawford. beside her, glances at his watch.

DOLARHYDE (CONT ' D)

-I have some things I'd love to show
you. I f circumstances permit . I
hope we can correspond ...
Graham hands Katz a copy of the killer's dental mold. She
holds this up to the impressions on the note. They match
exactly. She looks at Graham and Crawford, excited.
73 INT. ASYLUM. HOLDING CAGE. DAY. 73
The ho l ding cage and the c orridor outside it suddenly S2
~. Lecter l ook s up , interes ted.
 BLut ReVisi on 11- 20-01 .58 .
DOLARHYDE IV .0.)
"1 hav e admired you for years and
have a complete collection of your
press notices. Actually , I think of
t hem a s un fair reviews. As unfair
as mine ... "
INT. LATENT FINGERPRINTS LAB. DAY.
Crotchety old JIMMY PRICE stares unhappily at the porous
t oilet paper as a TECHNICIAN scans it with a helium-cadmium
l aser. As the paper fluQresces, glow i ng smudges appear on
it: oily stains, perspiration . No readable prints.
DOLARHYDE IV. o. )
"They do like to sling demeaning
nicknames, don't they? The Tooth
Fairy. What could be more
inappropriate ... ?"
The old man, fru s trated. turns to Crawford and Graham, shakes
hi s head. Nothing he can do for them.
75 INT . ASYLUM CORRIDOR. DAY. 75
The BUILDING SUPER, in overalls. strides dovn the shadovy
corridor, c arrying a toolbox and muttering irritably to
himself. as instructed.
DOLARHYDE IV . o. )
"It would shame me for you to see
that if I didn't knov you had suffered
the same distortions in the press ... "
As the super p asses the holding cage, keeping well clear of
the bars, Lecter's eyes follow him. The man's giving a pretty
good performance, not overplaying it.
CRAWFORD IV .0 . )
The main thing, the first thing, is
how Le cter was meant to reply . . .
76 INT. DOCUMENT LAB . DAY . 76
A ~e x t analys t , LLOYD BOWMAN, a thin, bespectacled chine se
man, places the two parts of t he n ote, with tweezers, between
pieces of gla ss. Crawford and Graham hover nearby .
BOWMAN
How much longer do ve have?
CRAWFORD
Te n minutes. max .
Bowman f oc use s a small TV camera on the note, the n da r kens
the room t i l l t here 's onl y the dul l r ed gl ow o f a l amp and
the blue g r e e n of his monitor screen.
YELLOW Revision 1-14-02 59.

BOWMAN
Instructions for answering were
probably in the section Lecter tore
out. But I don't get it. Why not
just throw the whole note away?

GRAHAM
It's full of compliments. He couldn't
bear to part with them.
Bowman glances at him, intrigued. Graham rubs his temples.
BOWMAN
Now we can mash, just a little.
The tattered edges, smeared with ink, appear MAGNIFIED on
his monitor. As he mashes the glass gently , these edges
flatten, becoming less jagged. He's muttering to himself.
BOWMAN (CONT' D)
You're so sly. but so am I ...
Below the words I HOPE WE CAN CORRESPOND ... we can now
make out, through the ver.milion ink smears, fragments of
writing. The tops of letters.
BOWMAN (CONT'D)
Aniline dyes in colored inks are
transparent to infrared.
(pointing)
These could be the tips of T's here
and here ... On the end, that's a P,
or possibly an R. .. I think this is
the part where he's telling Lecter
how to answer him.
GRAHAM
Jack, there's only one safe way of
carrying on a communication that's
one-way blind.
CRAWFORD
Publication?
(MORE)
 BLUE Revision 11-20-01 59A .

CRAWFORD ICONT'D)
(Graham nods)
OK, Let's think. Let's think . . .
Wait a minute. OK. We know this
sweetheart reads the Tattler. That's
in his note, right? "The Tooth
Fairy?" They made that up.


<;RAHAM
They made up "Hannibal the Cannibal,"
too. So Lecter and this quy both
have the Tattler in common.
BOWMAN
Three T's and an R in Tattler.
Crawford and Graham stare at him. ~. They're both really
jazzed now, their thoughts racing.
CRAWFORD
So how do you communicate through a
tabloid? You've got, what, news
stories? Letters to the editor ...
advertisements .. Holy shit. You've
got ...
GRAHAM
Personals.
Bowman and Crawford look at him.
J GRAHAM (CONT' D)
What if the killer wants Lecter to
answer him through the personal
columns?
 BLUE Revision 11-20-01 60.

CRAWFORD

Damn! That could be it.

GRAHAM
We'll need proofs of those pages,
before the next Tattler is published.
CRAWFORD
I'm on it. Will, you better hustle.
Great work, Lloyd.
Graham snatches up the two pieces of the note, still
sandwiched in glass, and puts them in the document case.
GRAHAM
Tell Chilton I'm on my way.
77 INT. HELICOPTER . FLYING. DAY. 77
Graham sits looking out a window at the Washington landscape
as it flashes by below him. He holds the case on his lap.
DOLARHYDE (v. o. )
"Investigator Graham interests me.
Not your standard gumshoe, is he?
More alert. Purposeful-looking.
You should have taught him not to
meddle . .. ..

7' INT. ASYLUM. LEeTER'S CELL. DAY. 7'

Special Agent Rankin, whose face we recognize from the Task
Force Office, kneels by Lecter's toile~. He wears the
borrowed overalls of a maintenance worker, but with white
cotton gloves. Very carefully he' s . replacing the two pieces
of the note back onto Lecter's toilet roll, exactly as they
were.
DOLARHYDE (V. O. )
"Forgive the stationery. I chose it
because it will dissolve very quickly
if you should have to swallow it ... "
79 INT. ASYLUM CORRIDOR. DAY. 79
Rankin slips out of the open cell door, slams it, peels off
his gloves, then quickly grabs a mop from a bucket, just as
Lecter appears at the end of the corridor, being wheeled
back towards his cellon a hand tr~ck, under full restraints.
The Doctor's masked face glides closer and closer, moving
with eerie smoothness, as if he can fly . .
DOLARHYDE (V. O. )
"If I hear from you, next time I
might send you something wet ... "
As Lecter passes him, Rankin averts his gaze. Lecter's eyes
r ake over him briefly.
 BLUE Revision 11-20-01 60A.

80 INT. SECURITY STRONGHOLD. DAY. 80

Graham. Willingham. and Chilton watch on a MONITOR as Lecter's
guards push him back into his cell, stand him upright, and
 WHITE Locked 61.
begin the careful unstrapping process. Rankin continues to
mop nearby, moving gradually away from the cell.

OOLARHYOE (V. O. )
Until then, dear Doctor, I remain
your most .. Avid Fan.-
Graham and Willingham exchange a tense glance. Did it work?
CRAWFORD (V.O.)
The Tattler got an ad order that's
signed "666." Baltimore postmark on
the envelope ...
81 INT. TASK FORCE OFFICE. DAY. 81

CraWford, on a phone, swivels towards Graham, who is just

returning, accompanied by Bowman. Nearby , a tax machine is
starting to CLATTER.
CRAWFORD
It's set to run this afternoon.
Chicago field office is sending the
text through now.
He hangs up and the three of them gather impatiently around
the incoming tax. Finally Crawford rips it from the machine.
He ~preads the flim3Y out on a desk. They huddle over it.

CRAWFORD (CONT'D)
(reads)
~Dear Pilgrim, You honor me ... w
GRAIW!
That's it. That's it. Lecter called
him a pilgrim when we talked.
CRAWFORD
" . . you're very beautiful.~ Chri~t.
WI offer 100 prayers for your safety.
Find help in John 6:22. 8 : 16. 9:1;
Luke 1:1 . ....
GRAHAM
Code.
BOWMAN
Has to be.
CRAWFORD
We've got -
(looks at hi~ watch)
- nineteen minutes to get a message
in if we can break this. The Tattler
can't hold its presses any longer.
Bowman sits down, aligns the fax precisely with the corners
of the blotter. He studies it intently as Crawford calls
over Baker, one of the other agents.
 BLUE Revision 11-20-01 62.
CRAWFORD (CONT' OJ
Tell Chicago to fax a second copy of
this to the cryptography section at
Langley. Then get on the horn with
them and coordinate .
As Baker rushes to a phone, Crawford looks at Bowman.
CRAWFORD (CONT' OJ
Eighteen minutes.
BOWMAN
I understand.
(pause)
It's something simple. They only
needed cover against casual readers ...
I'm guessing it's a book code .
GRAHAM
Book code?
BOWMAN
The first numeral, RIDO prayers,"
could be the page number. The paired
numbers after that could be line and
letter. But what book?
CRAWFORD
Not the Bible?
If BOWMAN
No. He's got "Galatians l5 :2 R here.
Galatians has only six chapters.
Same with "Jonah 6:8" - Jonah has
four chapters. He wasn't using a
Bible.
GRAHAM
Then the Tooth Fairy named the book
to use. He specified it his note.
In the part Lecter tore out.
BOWMAN
It would appear so. What about
sweating Leeter? In a mental hospital
I would think drugs -
CRAWFORD
They tried sodium amy tal on him three
years ago trying to find out where
he buried a Princeton student. He
gave them a recipe for dip. Besides,
if we sweat him we lose the
connection.
GRAHAM
If the Tooth Fairy picked the book,
then it's something he knew Lecter
would have in his cell.
 WHITE Locked 63.
BOWMAN
Can we get a list of his books?
GIWWI
From Chilton, maybe .. No, wait .
Rankin and Willingham, when they
toased his cell, took polaroi~a so
they could get everything back in
place .
Bowman is already stuffing the fax into his brietcase.
BOWMAN
Ask them to meet me with pictures of
his bookshelves.
CRAWFORD
Where?
BOWMAN
The Library of Conqress.
He hurries out. Crawford looks at his watch, shakes his head.
CRAWFORD
Will, we're left with three choices
and we've qot to decide right now.
We can pull Lecter', message out of
the paper and run not hing.
GRAHAM
That might trigger a timing alarm.
CRAWFORD
Yeah . Or we can substitute our own
mesaage in plain language, inviting
the Tooth Fairy to some mail drop
where we've set up a stakeout . Or -
GRAHAM
Or we can let Lecter's ad run as it
is .
(Crawford nods)
I hate to put in a plain-language
message, Jack . Lecter would probably
never hear from him again.
CRAWFORD
Yeah, but I'm leery of letting
Lecter's message run without knowing
what it says .
They loo k at one another unhappily. A beat .
GRAHAM
say, let this one run . Meanwhile,
I
we keep working on the code . At least
it'l l enc o urage the Tooth Fairy to
c o ntact h i m agai n.
 BLUE Revision 11-20-01 64.
CRAWFORD
What if it encourages hDm to do
something besides write?
GRAHAM
I don't like this any better than
you do. But Jack - it's our best
shot.
Crawford finally nods. Reaches for his phone .
82 INT. TATTLER PRESSROOM . CHICAGO. DAY . 82
Copies of the tabloid RATTLE down a metal conveyor belt,
dropping into open racks, where other machines bundle and
wire them, then roll them along. Oust rises as PRESSMEN
move about. The NOISE is THUNDEROUS.
SUPER TITLE: NATIONAL TATTLER BUILDING. CHICAGO. IL.
A hand reaches into the stream of descending newspapers,
pulls out a copy. A PAIR of FBI AGENTS, wearing headsets
against the din, ignore the front page news ("HEAD
TRANSPLANT!", "ASTRONOMERS GLIMPSE GOO! !!"), flipping instead
' to the back pages, the classifieds, till they find . .
Lecter's small boxed message, beginning "DEAR PILGIH . "
The ROAR of the PRESSROOM now CROSS FADES to the RINGING of . ..
83 INT. CRAWFORD'S HOUSE. BEDROOM. NIGHT. 83

... a TELEPHONE on Crawford's bedside table, waking him. He

grabs the receiver, then takes a quick glance at his WIFE:
still sleeping. He rolls away from her, murmurs.
CRAWFORD
(on phone)
Crawford.
8. INT. LIBRARY OF CONGRESS. STUDY CARREL. NIGHT. 84
Bowman, exhausted, sits amidst books, scrawled legal pads,
wadded papers, and propped-up Polaroids of Lecter's cell.
He's staring at a copy of The Joy of Cooking.
BOllMAN
(on phone)
Jack, this is Lloyd Bowman. I solved
the code. You need to know what it
says, right now.
INTERCUTTING-
 CHERRY Revision 3-26-02 65.

CRAWFORD
Okay, Lloyd.

BOWMAN
It says: -Graham horne Marathon,
Florida. Save yourself . Kill them
liJ. .
CRAWFORD
Goddamnit .

85 EXT. JW MARRIOTT HOTEL. WASHINGTON. NIGHT. 85

In the distance. beyond Graham's hotel. the White House is
illuminated. Fountains splash on the Mall.
CRAWFORD (V. o. )
Will. Bowman just broke the code.

86 INT. GRAHAM'S HOTEL ROOM. NIGHT. 86

Graham, in a tee shirt and boxers, sits up on the edge o{
his bed. He turns on a lamp, glancing at his clock: 1:23.

GRAHAM
(on phone)
What did it say?

87 INT. CRAWFORD'S HOUSE. BEDROOM. NIGHT.

Crawford, still in pajamas and slippers, is now sitting on

the edge of the bed. He's got on his reading glasses.
CRAWFORD
(on phone)
I'll tell you in a second. Now listen
to me. Everything is okay. I've
taken care of it, so stay on the
phone when I tell you.
INTERCUTTrnG -

As Graham is abruptly on his feet. Staring, with horrified

prescience, at his own face in the bedroom mirror.

GRAHAM
Tell me now.

CRAWFORD
It's your home address. Lecter gave
the bastard your home address. ~,
Will.

Graham's receiver dangles, abandoned ...

 cHERRY Revision 3-26-02 66.
BB OMITTED SS'
AND AND
B9 B9

90 EXT. GRAHAM HOUSE. NIGHT. 90

A SWAT TEAM. shotguns propped on their hips, has formed a
defensive cordon around the yard, as DgPUTIES emerge from
the house, shepherding the frightened Molly and Josh. Still
in pajamas and robes, they look stunned. more like prisoners
than people who've just been rescued .. .
91 EXT. ISOLATED AIRSTRIP. VIRGmIA . DAWN. 91
Preceeded by a PAIR OF FBI AGENTS, and trailed by TWO OTHERS
carrying their bags, Molly and Josh emerge from a private
jet. climbing down its steps to a runway.
Graham is waiting for them on the tarmac. His eyes meet
Molly's. She stops. He steps forward. a bit tentatively .
She looks him up and down, then comes to him with a light
kiss. Josh walks up beside his dad, a bit uncertainly , ~
Graham drops to one knee to hug his son. THE FBI AGENTS
ease a discreet distance away. their eyes scanning the small
hangars nearby, the fringes of the airfield ...
92 INT. LECTER'S CELL. BALTIMORE. DAY. 92

THREE BIG ORDERLIES are methodically stripping Lecter's cell

of books, drawings, mattress, clothes - everything that isn't
bolted down - and dumping these into a laundry cart.
Lecter, unmasked but strapped on his hand truck. is forced
to watch from a corner. There's a curious grace about him.
a calmness. even in restraints.
At his desk, Chilton stirs some personal papers with his
gold pen. Smdrks at the Doctor, enjoying his h~liation.
LECTER
(quietly)
Beneath the yellow folder you'll
find your latest rejection slip from
the Archiyes . It was brought to me
by mdstake with some of my Archiyes
mail. and I'm afraid I opened it
without looking. Sorry.
 CHERRY Revision 3-26-02 67.
Chilton reddens, staring at him. Then snaps at an orderly.
CHILTON
I think we'll remove Or. Lecter's
toilet seat, as well.

93 EXT. FARMHOUSE. VIRGINA. DAY. 93

AERIAL VIEW of an old white clapboard farmhouse, bordered by
a barn, split-rail fences. Beyond these, wide fields, distant
woods. Two unmarked SUVs are parked out front. Golden light,
almost dusk.
MOLLY (V.O.)
Is he after you now ... ?
94 EXT. BACK PORCH. DAY. 94
Graham and Molly sit on a glider. A silence.

GRAHAM
We've had no reason to think so.
Lecter just suggested it to him.
(pause)
I hate this, Molly. I'm sorry.
MOLLY
It's a sick feeling.
GRAHAM
I know it is. But you'll be safe
here. Crawford's brother owns this
place. Nobody in the world knows
you're here.
MOLLY
I'd just as soon not talk about
Crawford.
 CHERRy Rev ision 3-26-02 68 .

95 INT. GUEST BEDROOM . NIGHT. 95

Graham is helping Josh unpack his duffel. as the boy lines
up his f ew salvaged treasures on a bureau.
JOSH
Why would he want me to be dead when
he doesn't even know me?
Graham is immeasurably saddened. Looks for words.
GRAHAM
He's sick in the head. sweetheart.
He can '.t help himself.
Josh digests this silently for a moment .
JOSH
My friend Tommy says you were sick
too . He read it in the newspaper .
GRAHAM
Maybe we should talk about that .
(pause)
What happened with Lecter, it bothered
me a lot, Josh ... - Not just that he
hurt me. That he fooled me so badly .
I kept thinking. there must be some
way I should' ve known sooner. Tha t
maybe I could've saved lives . And
then I quit feeling anything .. . I
couldn't eat and I stopped talking
to anybody. I got really depressed .
So a doctor asked me to go into a
special hospital. and 1 did. After
awhile I got some distance on it.
(MORE)
 CHERRy Revision 3-26-02 69.
GRAHAM (CONTD)
And finally I put it aside and I
came back to you and your mom.
(pause)
He's locked up forever, Josh. He's
never going to hurt you, or Mommy,
or me. Ever again. You believe me?
Josh nods. Graham is moved by his son's courage. Scoops
him into his arms. Josh returns the hug gratefully_
CRAWFORD (V .0.)
Atlanta PD nailed him, Will. He had
a fake Bureau 1D and was trying to
get the Leeds family autopsy photos ...
9SA EXT. BARNYARD. DAY 9SA

Bullet holes punch into bales of hay, kicking up dust and

straw as they miss their target: a large milking can.
Molly, the shooter, stands holding Graham's .44 in both hands.
When she pauses, Graham reaches out, steadies her grip.
They're both wearing earmuffs. The gun is heavy, its recoil
hard to handle, but she keeps on gamely trying.
Finally one bullet punches a hole in the can, low and to one
side.
When the gun finally clicks empty, he gently takes it away
from her. She looks at him, tries to smile. But his
expression is that of a man who has witnessed an irrevocable
loss.
CRAWFORD (V. O. )
Atlanta PO nailed h~, Will. He had
a fake Bureau ID and was trying to
get the Leeds famdly autopsy photos .. .
96 INT. INTERROGATION ROOM . FBI BUILDING. DAY. 96
Freddy Lounds, seen through a two-way mirror, slouches at a
bare Formica table, smoking nonchalantly. Graham and Crawford
stare in at him through the glass.
CRAWFORD
When they busted him, he tried an
outright bribe. Said he'd pay extra
for the children.
(Graham is silent)
It's a Federal beef, so Atlanta kicked
him back to us. Personally, I'd
like nothing better than to see this
dirt sandwich pulling five at
Leavenworth. But maybe there'S a
better way to play this.
GRAHAM
Yeah?
 CHERRY Revision 3-19-02 69A.

,,-s7 EXT. APARTMENT BUILDING. WASHINGTON. DAY. 97

An old brick apartment building, in a mixed. partly commercial
neighborhood. We FOCUS on the third-floor corner unit.
GRAHAM (V.O.)
The Tooth Fairy is ugly. and impotent
with persons of the opposite sex ...
 BLUE Revision 11-20-01 70.

SB INT. fBI SAfEHOUSE. WASHINGTON. DAY. 98

Graham sits at a desk in a blandly furnished efficiency.
Propped beside him is a bruti~h "artist's rendition" of the
killer . Lounds, notepad at the ready, intervievs him while
a Tattler photographer records the event. Crawford watches
laconically from the sidelines.

GRAHAM
Also, he, ah, sexually molests his
male victims.
LOUNDS
While they're alive?
GRAHAM
Sorry, t can't go into details. We
also speculate that he's the product
of an incestuous home. No wonder
this creep is such a loser.
He catches Crawford's eye. Crawford mouths: "Lecter."
GRAHAM (CONT' 0)
That's one of the tips we got from
Dr. Lecter, by the way.
LOUNDS
So it's true that Lecter is actually
helping your investigation?
GRAHAM
Yes. he is. The Doctor is offended
~hat such a bottom-feeding lowlife
as the Tooth Fairy would consider
himself in his same league.
Crawford drifts behind the photographer. craning his neck
to study what . he's framing. Lounds catches this move.
LOUNDS
Mm-hm. rom-rum. So. tell me about
this place you've got here. will.
Your Washington hideaway .
GRAHAM
This? It's just an apartment I'm
borrowing until this creep goes down
in flames. I keep copies of all the
evidence here so I can stUdy it late
at night .
CRAWFORD
Make sure the signs are in focus.
The photographer nods, FLASHING away ...
PHOTO ANGLES: Behind Graham. down in the corner of the window,
a restaurant sign ("HONG FAT NOODLE CO.")
 WHITE Locked 11.
and 5treet sign ("31st STREET HM.") clear ly indicate our
l o c a tion . Graham a nd the tell t ale s igns a re caught together,
FRAME after FRAME .
GRAHAM 10.S.)
This is the only place I can find
solitude in the ... the ...
LOUNDS (O.S.)
~
. . carnival atmosphere of this
inves t igation . ~ How's that?

Crawford catches Graham's eye . Nods: the photos look good.

GRAHAM
That ' s great, Freddy . Just great.
LOONDS
Okay . I got enough .
He waves for his photographer to pack up. Smirks at Crawfo~d.

LOUNDS ICONT'D)
Just remember, I scrateh your back,
you scratch mine . If my story draws
the Fairy into some kind of attack
on Graham, and you nail the seumbag,
I get an exclusive.
CRAWFORD
Fuck you, Lounds . When we see the
story in print, then weill consider
quashing your seiIid indiet~ent . No
further deals .
LOONDS
(grins, unimpressed)
Yeah, yeah . Pleasure do!n' business
with you chumps.
He bre e zes out, followed by h i s photographer. Graham rises,
loo king sourly at the artist's rendering. Shakes his head.
CRAWFORD
You okay with this?
GRAHAM
I feel like I need a shower .
CRAWFORD
I wish we had something better . But
there's only ten days t ill the nex t
full moon . We've got to rattle his
cage . So I' l l ask you again: are you
okay with this?
 BLUE Revision 11-20-01 72.
GRAllAM
Better he comes after me than keeps
his mind on Molly and Josh. So yeah.
Jack ... I'm okay with it.
Crawford looks at him searchingly.
CRAWFORD (V.D.)
We'll stake out this apartment and
put snipers on the nearby rooftops ...
99 OMITTED
100 EXT. NEWSSTAND. DOWNTOWN ST. LOUIS. NIGHT.
At a sidewalk stand, bundled newspapers have been dumped
into a pile. The NEWSIE, in his apron, is sorting and
checking off his deliveries. His kiosk is still dark,
shuttered. Late night, not much street activity.
CRAWFORD (V.D.)
Also. you'll have a moving box tail.
24/7, in your car, on the street,
wherever you go. You'll wear the
Kevlar at all times . No exceptions ...
MOVING ANGLE on a pair of black zippered boots as they
approach the squatting new~ie, then stop behind him. The
boots' owner eta res down at ...
The front page of the Tattler, quartered by twine: "TOOTH
FAIRY IMPOTENT!!!I TOP SLEUTH REVEALS HIS LURID SECRETS,"
above a ~miling photo of Lounds and Graham. Graham's arm is
around the reporter's shoulders: best of buds.
This silent, looming presence makes the newsie uneasy.
NEWSIE
What is it?
OOLARHYCE (0.5.)
A Tattler.
NEWSIE
(twists, looks up)
You again. How many times I gotta
tell ya, pal, you'll have to wait
till I open? Come back 4 a.m.
A switchblade blooms in Dolarhyde's hand. Flashes down.
The dealer stares, alarmed, as the twine on the bundle part~
with a POP. A clean copy is plucked from the center, spilling
the rest. Then Dolarhyde walks away, as his silver dollar
RINGS on the sidewalk . The newsie rises, flushed.
 BLUE Revision 11-20-01 13 .
NEWSIE (CONT' D)
Hey. Hey, you! I ~ you -
In three strides Dolarhyde is back. Right in his face.
DOLARHYDE
What. You told me what?

NEWSIE
(pause)
You got - a quarter coming back.
Dolarhyde turns disdainfully, strides away, as the man1s
frightened gaze follows h~.

GRAHAM (V.O.)
What about Lounds . ?
lOOA eXT. TATTLER BUILDING, CHICAGO. DAY
A black 280ZX comes down a city street, makes a fast, cocky~
turn into the entrance of an underground parking lot.
CRAWFORD (V. o . )
Chicago's been given instructions ..
101 INT. UNDERGROUND GARAGE. DAY. 101
Lounds, behind the wheel, swoops down a ramp, then through
the vast underground lot. He's evidently early; the lot is
almost empty. He SCREECHES to a stop, staring in annoyance ...
A big black van is in his parking space.
Lounds climbs out of his car, leaves it idling, and stalks
over to the van . A shadowy figure can be seen inside.
CRAWFORD (V. o. )
They'll cover his apartment, his
office at the newspaper, anywhere
he's known to hang out
Lounds bangs rudely on the van's window, then points at the
painted words on the wall: "HR . FREDERICK LOUNOS." The van's
dark window powers down with a soft WHOOSH.
LOUNOS
Listen, dickhead -
A powerful left hand fires out, grabs the back of Lound's
neck, jerks his face forward into a soaked rag held by the
right hand. He struggles a few moments, then goes limp.
102 EXT. TAITL&S BUILDING. DAY. 102
The black van emerges from the garage, turns sedately right,
passing a fat SECURITY GUARD, smoking under the paper's big
front sign .
BLUE Revision 1I-20-01 73A.
As the van starts up the long hilly block, away from the +
building, a gray sedan is approaChing from the other
direction .. .
 BLut Revision 11-20-01 74.
CRAWFORD (V.D . )
By Tuesday morning, when this issue
becomes nationally available, we'll
have all our people in place.
The sedan pauses as the fat guard crosses the sidewalk to
greet its occupants: TWO FBI AGENTS in dark suits. One of
them flashes 10. Impressed, the guard points helpfully
towards the garage's entrance, and the sedan continues that
way.
FADE TO:
103 INT. DOLARHYDE'S HOUSE. BALLROOM. DAY. 103
Lounds is semi-concious but oddly upright. His eyes flutter,
then open. He's disoriented. Stares woozily ...
The dusty old ballroom SWIMS INTO VIEW . Sheeted cots and
bedpans. Tall draped windows darken the room .
Lounds tries to turn his head, cannot. Cries out softly as
something tugs his hair . His eyes strain dovnwards . ..
He's wearing only underpants. When he tries to lift his
right arm, we see his skin stretch. From the soles of his
bare feet to the back of his head, he has been glued into
one of the old wooden armchairs. He's fighting panic, even

, before he hears SOFT FOOTFALLS, approaching from behind.

LOUNDS
Who's there .. ? Where am 11
The FOOTSTEPS STOP. Ominous silence. Lounds becomes shrill.
LOUNOS (CONT'O)
What am I doing here?
DOLARHYOE (0.5.)
Atoning, Hr . Lounds.
Lounds is confused, thinking fast. Tries to steady his voice.
LQUNOS
I haven't seen your face . I couldn't
possibly identify you. The Tattler,
I work for The National Tattler,
would pay a reward . .. a big reward
for me. Half a million, am-million
maybe. A million dollars.
DOLARHYDE (0.5 .)
Do you know Who I am , Hr. Lounds?
LOUND5
No. And I don't want to know, believe
me.
 BLUE Revision 11-20-01 75.
DOLARHYDE (D. S. )
According to you, I'm a vi c ious,
perverted sexual failure. A "bottom-
feeding lowlife" who's about to "go
down in flames."
(pause)
You know now, don't you?
LOOND5
(whispers)
Yes.
DOLARHYDE (0.5.1
Why do you write lies, Mr. Lounds?
Why do you say t'm crazy?
LOUNDS
When a person ... when a person does
things that most people c-can't
understand, they call him ...
DOLARHYDE (0. S I
Crazy.
LOORDS
They called, like ... the Wright
brothers. All, all through history -
DOLARHYDE (0. S.)
History . Do you understand what I'm
doing, Hr. Lound~?
LOONDS
No, but I want to, and then, then
all my readers could understand,
too. But, but I have to tell you,
man to man, that I'm scared. It's,
it's hard to concentrate when you're
scared.
DOLARHYDE (0. S.I
Man to man. Han to man. You use
that expression to imply frankness.
I appreciate that, Mr. Lounds. But
you see, I am not a man. I began as
one but now I am Becoming Other and
More than a man. As you will Witness.
The old chair CREAKS as it begins to turn.
LOUNOS
No! I don't want to see you.

, He squeezes his eyes shut as he slowly revolves.

DOLARHYDE (O.S.)
Oh, but you must, Hr. Lounds. You're
a reporter. You're here to report.
(MORE)
YELLOW Revision 1-14-02 76.
DOLARHYDE (O.S . ) (CONT ' D)
Open your eyes and look at me. If
you won't open them yourself, I' l l
staple your eyelids to your forehead.
Lounds opens his eyes. very reluctantly. and finds himself
blinking into a glow of white radiance . . .
Dolarhyde stands before him, starkly lit by the beam of a
slide proiector, with his -normal" teeth inserted. Now he
slowly turns his back on Lounds, dropping his kimono ...
His great back muscles flex. rippling the fantastic tattoo
that reproduces Blake's monster. wing roots flare over his
ribs. The brilliant tail drops along one leg, curling about
his calf. The Dragon turns his head slowly. looks over his
shoulder at Lounds, with his awful rictus of a smile.
LOUNDS
Oh my dear God Jesus ...
Dolarhyde pulls the robe back on as he moves OUT OF LOUND'S
VIEW. A blank square of wall is left as a screen.
DOLARHYDE (0 . S . )
00 you wan t to know Wha t lAm?
LOUNDS
M-more than anything. I was afraid
to ask.
Dolarhyde raises a remote control, CLICKS it. Blake's Red
Dragon fills the wall. beamed from a projector on a table
near Lounds. Dolarhyde stands behind him.
DOLARHYDE
Do you see now?
LOUNDS
I see. Dh God.
Dolarhyde begins to rapidly run through his other slides.
CLICK. Mrs. Jacobi alive. One of his own surveillance
photos.
DOLARHYDE
Mrs. Jacobi. in human form. Do you
see?
LOUNDS
Yes .
CLICK. Mrs , Leeds alive. Another distant surveillance shot.
DOLARHYDE
Mrs. Leeds, in human form . Do you
see?
YELLOW Revision 1-14- 02 77.
LOUNDS
Yes .

CLOSE ON Lounds' horrified gaze, as more slides CLICK on,

one after another. He is near t ears.

OOLARHYDE
Mrs. Jacobi, Changing. Do you see?
LOUNDS
Yes .

OOLARHYDE
Mrs. Leeds, Changing. Do you see?
LOUNDS
Oh my God.
OOLARHYDE
Mrs. Jacobi, Reborn. Do you see?
Mrs. Leeds, Reborn . Do you see?

LOUNDS
Please no.

OOLARHYDE
No what?

LOUNDS
Not me.

OOLARHYDE
Why did you write 1ies, Mr. Lounds?
LOUNDS
Graham told me the lies. Graham.
OOLARHYDE
Will you tell the truth now? About
Me? My Work. My Becoming?

LOUNDS
Yes. Oh yes. Yes.
Dolarhyde comes closer, hovers over him. Eyes flashing in
cold fury .
OOLARHYDE
I am the Dragon and you call me
i nsane? You are privy to a Great
Becoming and you recognize nothing .
You are an ant in t he afterbirth.
It is in your nature to do one thing
correct ly: before Me you rightly
tremble.

A tape recorder sits beside the projec tor. Dolarhyde lifts

its microphone, clips it onto the chair near Lounds' head.
 YELLOW Revision 1-14-02 78.
WLARHYDE (CONT'D)
But fear is not what you owe Me, Mr .
Lounds. You and the other pismires ...
He squats. bringing his terrifying face very close.
WLARHYDE (CONT'D)
You owe Me awe.
Lounds is near fainting. Dolarhyde switches the recorder
ON, then looks at him again.
OOLARHYDE (CONT ' D)
Now. Repeat after me ...
104 EXT. DOLARHYOE'S HOUSE. NIGHT. 104
Sunset; the sky over the old house is now a purple bruise.
OOLARHYDE (V. O. )
That'S all. Mr. Lounds. You did
very well ...
105 INT. OOLARHYDE'S HOUSE . BALLROOM . NIGHT. 105
Close by Lounds, the tape recorder is still running. He
looks drained. but more hopeful. He always was a good talker.
LOUNDS
You'll let me go now?
OOLARHYDE (0 . S. )
Soon. There's one more way I can
help you to better understand.
LOUNDS
I want to understand. I do. And
I'm really going to be fair from now
on, you know that.
No response, except for an odd NOISE. We've heard it before.
The MOIST CLACKETY SOUND of dentures being inserted . . .
LOUNDS (CONT ' D)
... Hello?
The old wheelchair is abruptly spun about, and Lounds finds
himself staring directly into the face of Dolarhyde. The
brown-stained, crooked smile of the Dragon. Who DOW lunges
forward, his fangs parting to rip off Lounds 's lips ...
106 EXT. TATTLER BUILDING. CHICAGO . DAY. 106

The fat security guard is out front again. at his sidewalk

post, munching a donut. It's very early. no traffic. He
hears a STRANGE SQUEAKING NOISE. Looks up the hilly block ...
It seems to be coming from up there, over the brow of the
bill. Getting LOUDER. Then shrill. high-pitched SCREAMING ...
 BLUE Revision 11-20-01 79.
The guard's head COCKS in pu lement, What the",7
A human fireball appears, rolling down the middle of the
s~reet, trailing smoke and flames. It veers, strikes a parked
car, overturns, one wheel spinning while flames envelope the
blackening figure of Freddy Lounds.
LOUNDS' VOICE
1 have had a great privilege. I
have seen ... I have seen with wonder
and awe ... the strength of the G-
Great Red Dragon ...
107 INT. TASK FORCE OFFICE. WASHINGTON. DAY. 107
The spools of a cassette tape turn slowly, next to a padded
mailer. The mailer, sealed ina clear evidence bag, is
addressed to "Will Graham, c/o FBI Headquarters, Washington."
LOUNDS t VOICE
He ... has helped me to understand ...
His splendor and now .. now I want
to serve Him.
Crawford, his face dark, sits at the head of the table.
Around it: Bowman, Katz, Price, Rankin, Willingham, and Baker.
LOONDS' VOICE (CONT'D)
He knows you made me lie, Will Graham.
Because I was forced to lie, He will
be more ... m-more merciful to me
than to you, Will Graham.
No one wants to look at Graham. He sits a little apart from
the others, staring at his hands on the table, as if they
belonged to someone else .
LOONCS' VOICE (CaNT'C)
There's much for you to dread, Will
Graham. The Dragon will snap your
back ... like a twi9. From my . .
from my own lips you'll learn a little
more to dread.
Crawford reaches out, punches the ~ button .
CRAWFORD
That's enough.
GRAHAM
No . Let it play.
Crawford looks at him. Graham stares at the table. Crawford,
expressionless, pushes fast f o rward, then after a moment
punches Rl4Y again.

--
 aLUE Revision 11-20-01 80.

LOUNDS' VOICE
... be fair from now on, you know
that.
(pause)
Hello ... ?
SOUND of the wheelchair CREAKING, then horrible, part-muffled
SCREAMING. After a few seconds Price reaches out, turns it
21!. Even the old man, forty years on the job, looks shaken.
A long, awful silence. Finally Crawford clears his throat.
CRAWFORD
This was my operation and it went to
shit. I know that. So. We can let
this tie us up in knots. Or we can
learn from it. Haybe even use it to
catch the bastard.
A glance at Graham, still far away. The others shift uneasily.
BOWMAN
(quietly)
He had to have a van or a panel truck
to move Lounds around 1n that big
old wheelchair.
CRAWFORD

, Go on. Anybody.
KATZ
Had to already have the wheelchair,
too. Or else know where he could
get it, fast ... It's an antique.
Not the kind of thing you'd find
around the house.
CRAWFORD
Exactly. Does it strike anybody
that he set this up in one hell of a
hurry?
They look at him. He rises, crosses to a wall map.
CRAWFORD (CONT'D)
The Tattler comes off the press Monday
night. By Tuesday morning he's in
Chicago, snatching Lounds. Either
he lives in the Chicago area, or
he's within a driving radius of -
call it six hours.
He draws a big circle, in red marker, with Chicago at its
center. Looks at Rankin, Willingham, and Baker.
CRAWFORD (CONT'D)
Find out, within this area, where
the Tattler was available for early
distribution Monday night.
(MOREl
YELLOW Revision 1- 14- 02 81.
CRAWFORD (CONT'D)
Start with the airports a nd all-night
newsstands. Maybe some news ie
remembers an odd customer.
They nod , jotting notes. Crawford's energy , his ruthless
determination, are lif ting everyone's spirits a bit.
CRAWFORD (CONT 'D )
Lloyd, this cassette. Enhance the
audio, maybe you can pick up something
in the background . Beverly, Jimm,
that wheelchair. I want the maker,
date, possible sources. Think about
nursing homes, the VA. Graham and I
will coordinate from Chicago. You
all know the drill; let's hust l e.
The others rise, with Bowman taking the evidence bag and
tape player. Crawford and Graham are left alone . A beat .
CRAWFORD (CaNT' D)
You okay?
GRAHAM
Sure, what the hell . MY cover was
on time.
Crawford waits. Graham shakes his head . Frustrated , bitter.
GRAHAM (CONT'D)
This doesn't fit his pattern. Jack .
Lounds was a bonus. A chance to
show off ... But the Leedses and the
Jacobis are what he needs. The
answers won't be in Chicago. But
they might be in Baltimore.
CRAWFORD
(surprised)
After what he tried to pull? Will.
you can't trust one word out of his
fucking mouth .
GRAHAM
I think Lecter picked up something
in t hat missing part o f the note.
Maybe not a name, but some t hing.
Enough to narrow the search .
CRAWFORD
Even if he did, he won't tell you.
GRAHAM
Not unless I can deal. But I don' t
hav e the pull for that. I have t o
be able to cut through Chilton'S
bullshit.
 WHITE Locked 82.
Crawford looks at him unhappily. A long beat.
LECTER (V.O.)

lOB
Congratulations, Will ...
INT. LECTER'S CELL AND CORRIDOR. DAY.
Leete;; smiles up through the plastic barrier . He's sitting
108

on the floor, his back to the vall of his denuded cell.

LECTER
That was most artistic, the way you
disposed of the annoying Mr. Lounds.
What a cunning boy you are.
Graham sits on the corridor floor, close to the barrier.
G1WIAM
Your cell looks bigger with no books
in it.
LECTER
Does it? I hadn't noticed.
G1WIAM
You w111.

LECTER
I have other resources . Tell me,
did you enjoy it? Your first murder?
(Graham is silent)
Of course you did. And why shouldn't
it feel gOOd? It does to God. He
dropped a church roof on thirty-four
of His worshippers in Texas last
week, just as they vere qrovellinq
throuqh a hymn. He won't begrudge
you one journalist.
G1WIAM
Put me next to him, Doctor. The Red
Draqon ... You have the power to do
that .
LECTER
You and some SWAT team? Will ..
Where's the fun in that?
GRAHAM
He'll have to take his chances, too.
Roofs can fallon anybody.
LECTER
But not on Holly and Josh, I take
it. Not yet, anyway. First he kills
the pet, then the family. Freddy was
your pet .
Graham's voice tightens. An enormous effort of control.
 WHITE Locked 83.

GRAHAM
TheY're safe now.
LECTER
Don't you know yet? No one will ever
be safe around you.
(Graham is silent)
Clever work on his note, by the way.
That blackout was an especially nice
touch.
GRAHAM
What else was in it, Doctor?
LECTER
This and that.
GRAHAM
Put me next to him. That's what
you've always wanted, isn't it? Give
him the chance to succ d where you
failed. Not once but twic The
chance to kill me~
Something moves behind the pale eyes, like sparks in a cave.
LECTER
Go on, then. Seduce Me with your
wares.
GRAHAM
Full restoration of your privileges.
Plus computer accesa to the AHA
archives. One hour per week . Under
supervision, of course. This is a
one-time offer. It expires the minute
I walk out of here.
LECTER
Bit measly, don't you think?
GRAHAI<
Turn it down, then. See what kind of
term5 you get fron Chilton.
LECTER
Threats, Nill?
GRAHAM
Choices. You owe the Dragon nothing.
He failed to do what you wanted.
(pau5e)
I'm waiting, Doctor. Or maybe you've
got nothing left to 5ell .

-
LECTER
A little sample, then. Why not? Seen
the Blake, have yOU?
 BLUE Revision 11-20-01 84.
GRAHAM
Yes.
LECTER
No. You've looked, but not ~.
Transformation is the key. The man-
dragon, his ugliness ~ransformed by
power. He'll he a body-builder, of
course. Look for a military record,
with combat training. Look for
extensive tattooing, and corrective
surgery, most likely to the face.
And the woman, recumbent, clothed in
flames ... Look for childhood episodes
of arson. He's a great believer,
our Dragon, in the transforming powers
of fire. Just ask Freddy.
GRAHAM
Thrift-shop material, Doctor. I
want the real goods. How is he
choosing the women?
LECTER
I've already suggested how. The
answer was right in front of you.
You looked, but didn't ~.
GRAHAM
Dr. Lecter, just tell me -
LECTER
H2. It's your turn. I asked you
before for a small courtesy, and you
responded rudely. Before I tell you
anything more, ~ vill make certain
arrangements for ~.
GRAHAM
What flarrangements?"
LECTE:R
Oh, nothing much. Shall we say ...
dinner and a show?
109 INT. DOLARHYDE'S VAN. DRIVING. DAY. 109
Reba sits next to Dolarhyde as he drives. His fingers tap
playfully on ~he steering wheel. He's still high from Freddy.
REBA
Ready to tell me what kind of an
"outing" this is?
DOLARHYDE
Nope.
She hear s the smile in his voice. She's happy too.
 BLUE Revision 11-20-01 85.
REBA
You're just full of surprises, aren't
you, D.?

Yep.
OOLARH'lDE

110 INT. ZOO INFIRMARY. DAY. 110

DR. WARFIELD. a middle-aged black veterinarian, guides Reba

across a tiled floor by one elbow. Oolarhyde is behind them.
WARFIELD
He's six feet away, can you smell
him?
REBA
Yes.

WARFIELD
Hc's ' sound asleep, I assure you.
Dr. Hassler is about to fix his broken
tooth.
DR. HASSLER, in a lab coat and head mirror, turns away from
his patient to smile at Reba.
HASSLER
Glad you could come, Ms. McClane.
We appreciate the infra-red film. by
the way.
WARFIELD
Two more steps ... I'll put your left
hand on the edge of the table. There.
He's right in front of you ... Take
your time.
She is excited. nervous. Turns her face, searching.
REBA
D.?
OOLARHYDE
I'm here. You go ahead.
Gripping the edge of a steel work table with her left hand,
she reaches out slowly with her right till it encounters
thick coat of fyr. She flattens her hand, then moves it
gently, tentatively at first, across an orange- and black-
striped pelt ...
Reba's face makes quick, jerky movements - blindisms - that
she has spent years schooling herself against.
Warfield and Hassler see her forget herself and are glad.
She moves on, circling the table. Onder hot lights, a
drugged, sleeping Bengal tiger lies on his right side.
BLUE Revision 11-20-01 85A.
Ten feet long, 815 pounds. Reba looks tiny beside him, and
so vulnerable.
 BLUE Revision 11-20-01 86.

Her hand trails down the tail, then over the furry testicles.
Briefly she cups them, then moves on ...

Oolarhyde, watching from the shadows, is tense with his own

excitement. A bead of sweat trickles down his face.
The tiger's eyes are open. His tongue lolls wetly from his
mouth, where we see a broken fang. Reba feels his ears, the
.... idth of the head, and then, very carefully, touches one of
the incisors. She is flushed, elated ...
Dr. Warfield puts his stethoscope in her ears, then guides
her fingers downward with the diaphragm.
Dolarhyde stares, transfixed. aroused by the great beast.
the woman's living proximity to such power ..

Her hands on the rhythmic chest. her shining. joyful face

upturned, Reba is filled .... ith the tiger heart's BRIGHT
THUNDER ...
111 INT. OOLARHYOE'S HOUSE. FRONT HALL. NIGHT. 111*
. which now CROSSFADES INTO the LOUD TICKING of a CLOCK, as
Reba's cane, exploring, taps along the hall . It passes the
base of the tall clock, finds the edge of the ballroom's
archway, then open air beyond. She mutters to herself.
REBA
Nine steps from the front door to
the clock. Three more to this room ..
She pauses, turning her face back towards Dolarhyde.
REBA (CONT'O)
Sorry, force of habit .
He looks at her from inside the front door. Astounded at
himself that he's brought her here. The CLOCK ECHOES a bit .
REBA (CONT'D)
It feels cool and tall .. It's a big
house, isn't it? How many rooms?
DOLARHYOE
Fourteen.
She brushes against a fringed lampshade, touches it.
REBA
It's old. The things in here are
old.
He glances up uneasily at Grandmother's portrait.
OOLARHYDE
Old people were here.
 BLUE Revision 11-20-01 87.
REBA
Not now, though.
OOLARH"tDE
No.
SOUND UPCUT - Bix Beiderbecke'$ "Bockin' Chair," ECHOING
slightly, as it is played on ...
112 INT. BALLROOM. NIGHT . 112'*

. .. a wind-up gramaphone, to one side of the vast room.

Outside the tall windows, the light is fading. Almost dark.
Reba, in a big chair. sips beer from a bottle, listening to
the old-timey jazz. Dolarhyde sits on a couch nearby,
uneasily upright, facing the TV. His pa~ rub sweat on "his
thighs.
REBA
That beautiful tiger, this house
this music. I don't think anybody
knows you at all, D... Everybody
wonders about you, though.
He looks at her, his predator's eyes suddenly wary.
OOLARHYDE

, Who'?
REBA
Oh, you know. The whole gang down
at Chroma-Lux. Especially the women.
OOLARHYDE
What do they want to know?
She catches the edge in his voice; it puzzles her.
REBA
They find you very mysterious and
interesting. Come on, 0, it's a
compliment.
He looks away. His reflection stares back at him from the
blank TV screen. This disturbs him.
DOLARH'tDE
Did they tell you how I look?
REBA
I didn't ask them. But yeah, they
told me anyway. Want to hear?
His face darkens; he's dangerously silent. She senses it.
REBA (CONT' 0 )
They said you have a remarkable
body ... That you're very sensitive
(HORE)
 BLUE Revision 11-20-01 88.
REBA (CONT' 0)
about your face but you shouldn't
be . That you're different from most
guys, never a bullshitter. But I
already knew that ... Oh, and they
asked me if you're as strong as you
look .
OOLARHYOE
And?
The MUSIC has STOPPED; the NEEDLE SCRATCHES. A tense pause.
REBA
I said I didn't know.
He rises uncertainly, starts towards the record player . She
drains her bottle, then rises, too.
REBA (CONT'OI
Where the hell are you, D.?
She steps forward, brushing against him. He freezes, alarmed.
REBA (CONT' 01
Aha. Here you are. Want to know
what I think about it?
She finds his mouth with her fingers and kisses him, quickly.
lightly, before he can stop her. Then pulls away as he stares
at her, astonished.
REBA (CONT' 0)
NOW, would you show me where the
bathroom is?
113 INT. BATHROOM. NIGHT. 113

As the toilet FLUSHES, Reba turns away from the sink, locates
a towel. Then she pats her hair, primping a bit. She can't
see that the medicine cabinet's mirror has been removed.
She can't see Grandmother's teeth. waiting in their squat
glass. Blackened by dried blood ...
114 INT. BALLROOM. NIGHT.
As Reba navigates back into the room, the Beiderbecke is
PLAYING AGAIN . Dolarhyde kneels by the TV, feeding a tape
into the VCR. He rises, holding the remote, crosses to Reba.
His voice sounds thick, almost frightened .
OOLARHYDE
I have to do a little work.
REBA
(disappointed)
Sure ... If I'm keeping you from
work ing, I'll go. Will a cab come
out here?
 WHITE Locked 89 .
DOLARHYDE
No. 1 want y o u to be here . I do .
It's just a tape I need to watch. It
won't take long .
He's steering her towards the big chair. Instead she releaaes
his arm , goes to the couch, sits. This unsettles him a bit.
REBA
Do you need to bear it, too?
DOLA!UlYDE
No.

REBA
Hay I keep the music?
DOLARHYDE

He sits on the other end of the couch. Looka at her w&rily.~

Then switches ON his VCR remote . He MUTES THE TV SOUND, .a
the Beiderbecke CONTINUES TO PLAY .
On the TV, a home video . KIDS in a big hedged back yard having
a water battle, circling and laugbing_ TWO BOYS and a YOUNGER
GIRL . This family (the SHERMANS) is new to us. Behind them,
a large handsome house. A dog runa about, barking silently.
CAMERA MOVES SHAKILY to catch MRS. SHERMAN as she comes
outside, through a screen door, carrying soda towards a picnic
table. CAMERA ZOOMS IN ON HER . a beautiful woman in cutoff
shorts and a skimpy balter top .
Reba slides closer to Oolarhyde on the couch . Their thighs
brush together. He tense8. She smiles, snuggling closer.
REBA
What's it about?
DOLA!UlYDE
Some people 1'm going to meet .
Reba leans her soft weight against Oolarhyde's shoulder. He
glances at her uncertainly, then back at the screen.
REBA
So, then - it's what? - a corporate
promo ? Some kind of homework?
DOLA!UlYDE
Homework. Yeah.
In the video, another day. DAD on the rec room sofa with a
beer, looking a bit drunk. Rain outside the transom window.
CAMERA PANS to Hom and the two younger kids, rummaging through
an old trunk. Dress-up fun in front of a tall mirror. Boas,
big s hoes, a c owboy hat. The oldest boy must now be the
cam ~ raman ...
 YELLOW Revision .- 1-14-02 90.
Reba stretches up to nuzzle Dolarhyde's cheek , the side of
his neck. Whispers into his ear.
REBA
Good idea. It's so important ... to
be prepared ...
Her hand is moving, down below. She smiles wickedly.
REBA (CONT'D)
And my goodness ... are you ever.
He's tense, incredibly aroused. Sits very still. forcing
all his attention on the screen, as slowly , carefully, Reba's
lips brush down his chest, then his abdomen, until her head
moves OUT OF FRAME ...
In the video, Mrs. Sherman, in a big garden-party hat, turns,
striking a pose for the CAMERA, her hand at the back of her
neck . There's a cameo at her throat. Dolarhyde FREEZE-FRAMES
this moment .. .
Stari ng at the TV, Oolarhyde trembles. Sweat trickles down
his temple . After a few moments his jaw tens es, his head
arches back ...
On the arm of the couch, his clenched fingertips pop thrQugh
the upholstery .
ANGLE ON Mrs . Sherman's beautiful, frozen face, as the
scratchy JAZZ CONTrNUES, and WE MOVE CLOSER AND CLOSER on
her radiant, doomed smile ...
FADE TO:
11 5 INT. GRANDMOTHER'S BEDROOM /FORMER DINING ROOM. DAY. 115
Dolarhyde wakes up, puzzled for an instant because he's not
in his garret bed. His eyes widen as he remembers. He smiles
shyly. Turns his head to the pillow beside him . No Reba.
He sits up. naked under the twisted sheets of Grandmother's
old four-poster . Her clothes are strewn across the floor.
but she'S gone . His smile fades.
116 INT. FRONT HALL. DAY . 116
In a rising panic. wearing only underpants, Dolarhyde rushes
out i n to the hall, looks up and down it. No Reba .
DRAGON'S VOICE
Francis.
He turns with a start. looks at the old woman in the portrait.
DRAGON'S VOICE (CONT 'D)
What haVe you done ... ?
 BLUE Revision 11-20-01 SOA.
He backs away from her, frightened, and then has a terrible
t.hought. He turns, racing towards the 3tairs.

I
 YELLOW Revision 1-14-02 91.

117 INT. STAIRCASE. DAY. 117

Dolarhyde pounds up the steps, whimpering a little as he
f lings himself around the turns.

DRAGON'S VOICE
I'ye n ever seen a ch i ld as dirty and
disgust i ng as you._,

118 INT . GARRET ROOM. DAY. 118

He steps into the doorway , panting a bit . . .

She ' s Dot up here, either. His frightened face stares back
at him from the workout mirrors.

He rushes across the garret to his gun safe. hastily works

the combination lock. yanks open the door. His great ledger.
camera equipment, shotgun and Glock are a ll neatly arranged.
undisturbed. He backs away from the safe, wild-eyed, confused .
DRAGON'S VOICE
Do you want me to cut it off?
Dolarhyde looks up, wailing at the Dragon in the poster.

DOLARHYDE
NQQ99QO !

Covering his ears against the awful s o und, he spins away,

towards the window. Then he spots Reba, through the panes.
She's down in the yard, wandering about.

DRAGON'S VOICE
YOU WANT HER TO BE YOUR LITTLE BUDDY,
DON'T YOU? YOU WANT HER TO BE
'FRIENDS. '
DOLARHYDE
Pleeease! Just for a little while!
DRAGON'S VOICE
YOU SNIVELLING HARELIP, WHO WOULD BE
FRIENDS WITH 1QU?

119 EXT. DOLARHYDE'S YARD. DAY. 119

Reba t urns around and around , trailing her hands on the silks
of the tall meadow grasses. Enjoy ing the sun's warmth on
her smiling, upturned face. She wears Dolarhyde's kimono.

DRAGON'S VOICE
SHE WILL BETRAY YOU. KILL HER.

DOLARHYDE IV, O. )
No! You're hurting me!
 YELLOW Revision 1-14-02 92.
DRAGON'S VOICE
SHE IS t:U.m; ... !
120 INT . GARRET ROOM. DAY. 120

Dolarhyde stares at Reba, the Dragon roaring in his head.

DRAGON'S VOICE
THEY'RE ALL MINE. LEEDS. JACOBI.
NOW THIS ONE. TAKE YOUR GUN AND KIl.tlt
HER!

DOLARHYDE
No! She's niiiiice!

Dolarhyde lurches to the safe, grabs the sawed-off shotgun,

sticks the muzzle into his own mouth.

DRAGON'S VOICE
WEAKLING. COWARD. YOU WOULD STOP
THE BECOMING? NOW, WHEN WE' RE SO
CLOSE?
He squeezes his eyes shut. His finger tightens on the
trigger. The Dragon's voice softens a bit. cunningly.

DRAGON'S VOICE (CONT'D)

NO ONE WILL EVER LOVE YOU, FRANCIS.
EXCEPT FOR ME.
Dolarhyde lowers the shotgun, trembling.
DRAGON'S VOICE (CONT'D)
ONLY ME . .. NEVER FORGET THAT.
Still terrified, he finds himself staring at the printed
words across the bottom of his poster .. .
- . . . BROOKLYN MUSEUM OF ART . -
121 INT. DOLARHYDE'S VAN. DAY. 121
Dolarhyde pulls up in front of Reba's duplex. His frenzy
has passed but he's still tense. darkly brooding. Reba sits
beside him in a hurt, puzzled silence. Finally she breaks
it .

REBA
I had a really terrific time last
night. O . But this morning, you seem
like a different person ... I don't
understand. Is something wrong?
 BLUE Revision 11-20-01 93.

DOLARHYDE
I have to go now. I have to go away.

REBA
(surprised)
Where?

OOLARHYDE
On a trip.
REBA
When will I see you again?
OOLARHYDE
Don't know.
He looks at her yearningly, as fear strains his voice.
OOLARHYDE ICONT'D)
Reba, you have to get out . Get out
1l2>t.

Her jaw clenches. Angrily she opens her door, climbs out
with her cane. As he drives away quickly, she stands on the
sidewalk, her face turned after him, tears in her eyes.
METCALF IV. O. )
"Dear Hr. Graham ... "
122 INT. FBI BUILDING. CONFERENCE ROOM. DAY. 122
Resting on a long table are four big FedEx cartons, already
opened. Some of the unpacked contents are spread out:
letters, photo albums, kids' school notebooks. We catch a
glimpse of a silver-framed photo: the Jacobi family .
METCALF IV.O.)
"Here are the Jacobis' personal
effects, as discus~ed ... "
Graham, hunched over the table, searches obsessively through
the last carton. Something near the bottom catches his eye.
His expression changes.
METCALF ICONT ' O)
"Hope these things might help you.
Good hunting .. Byron Metcalf."
He lifts out of the carton a plastic zipl ock bag. Holds
this up, staring at the loose VHS-C tapes inside it ...
SOUND UPCUT: Bach's Keyboard Concerto in F Minor, which
CONTINUES UNDER the following ...
12 3 INT. LECTER'S CELL. BALTIMORE. DAY. 123
Lecter carefully caresses some pear sauce onto a sliver of
toie gras, then lifts this from its plate with a silver fork.
 BLUE Revision 11-20-01 94.
Lets it hesitate by his lips, an exquisite self-torment,
before his tongue emerges pinkly to savor it.
WIDER ANGLE REVEALS that his cell has been fully restored.
The Doctor is dining calmly at his table, which is covered
by fine cloth and exquisitely set with bone china, a glass
of wine, even a vase of fresh-cut roses ...

12' EXT. EASTERN PARKWAY. NEW YORK CITY. DAY. 124

Dolarhyde gets out of a taxi, then leans down, pays the
CABBIE, who drives away, leaving him on a sidewalk. JOGGERS
pass him, DOGWALKERS. He has a knapsack over one shoulder.
He turns, staring up at
A massive Greek Revival building, with botanical gardens.
SOPER TITLE: BRQQKLYN MQSEQM OF ART. NYC.
CRAWFORD (V .0.)
Will - how many more t~es are we
going to watch this .. ?
125 INT. FBI BUILDING. CONF.ERENCE ROOM. DAY. 125
A videotape plays, ~ith itz SOUND MUTED. In the tape, 9-
year old DONALD JACOBI blowz out the candles on a birthday

, cake, as his family watches. A timeldate stamp reads

ttl/18/89."
GRAHAM (0.5.)
"See them living," he said ...

Graham grips a remote control, very intense, utterly focussed

on the TV screen. Crawford is impatient.
GRAHAM (CONT'D)
"Right in front of you," he said.
"Looked but didn't ~." Jack, i t ' s
something about these home movies.
Lecter keeps saying that, just not
directly.

CRAWFORD
Lecter says a lot of things.
On the TV, the SCENE ABRUPTLY SHIFTS. Now the whole family
is outside; Mom has the camera. The outside basement door
swings open, and MR. JACOBI comes up the steps carrying a
new ten-speed bicycle, festooned with balloons and ribbons.
Donald rushes over gleefully, hugging his Dad then wiggling
the handlebars.
CRAWFORD (CONT'D)
Sad damn thing. But we already knew
that. Will, we can't afford -

GRAHAM
No. bgain.
 CHERRY Revision 3-26-02 . 95.
Stubbornly he stabs the remote. rewinding. Crawford sighs.
MS. HARPER (V .0.)
Your dissertation must be nearly
finished by now, Mr. Crane ...

126 INT. CORRIDOR. BROOKLYN MUSEUM OF ART . DAY. 126

Dolarhyde walks down a corridor. past massive American oils.
He's carrying a notebook. a hardback biography of William
Blake, and has a special pass clipped to his shirt. No sign
of his knapsack. He's accompanied by a docent, MS . HARPER,
a sensible-looking woman, severely pretty.
lJOLARHYDE
Nearly .
MS. HARPER
(smiles)
It's so nice to finally be able to
connect a face with a name, after
all our correspondence. But you know.
you don't look at all like I imagined
you would.
lJOLARHYDE
What did you think I'd look like?
Somethi.ng in his piercing gaze unsettles her. just a bit.
KISS HARPER
Older.
127 INT . LECTER' S CELL AND CORRIDOR. DAY. 127
OUtside Lecter's cell are a PAIR OF CATERERS, in chef's
starched whites, with a stainless steel cart. Both very
nervous. One man warms veal on a chafing dish, while the
other cautiously lowers the soup course into Lecter's pass-
through . The BACH IS PLAYING from a portable stereo on a
second cart. This also holds a TV set and VCR . . .
The Doctor, as he rises to take the covered bowl, comes face-
to-face for a moment with the frightened chef. Nods to him
politely: Thank you .
GRAHAM (V.O . )
(excited)
There . Right there ...
 BLUE Revision 11-20-01 9SA .
126 INT. fBI BUILDING. CONFERENCE ROOM. DAY. 128
On the TY screen, Jacobi again brings the bicycle up the
steps of the basement stairwell. The door swings closed
behind him. A padlock hangs from it. Graham FREEZES THIS
FRAME, then rises, crossing to point at the screen.

,
YELLOW Revision 1-14-02 96.
GRAHAM
That's what he wanted the bolt cutter
for, Jack - to cut that padlock and
go in through the basement ...
Crawford looks over his glasses at the screen. He's got the
case files spread open in front of him.
GRAHAM (CONT' DJ
But that's a different door ... I
don't get it. The one I saw was
flush steel, with deadbolts.
CRAWFORD
Jacobi had a new door installed,
begining of January, I think. It's
in here somewhere.
Graham looks at him. Crawford's expression changes.
CRAWFORD I CONT ' D)
You think he cased the Jacobi house
while the old door with the padlock
was still there?
GRAHAM
He brought a bolt cutter. didn't he?
He was sure he'd need it.
CRAWFORD
Why would he case it almost two months
in advance? And then not check it
again?
GRAHAM
I don't know. But he was ready with
the bolt cutter ... Just like at the
Leeds house - only there he was ready
with a glass cutter.
CRAWFORD
He must've seen the pane of glass in
the Leedses' kitchen door when he
was walking through that neighborhood.
Graham's mind races. Something teasingly out of reach ...
GRAHAM
No, wait ... You can't see that door
from the yard. There's a porch
lattice in the way.
They stare at each other, as it hits them both at once .
GRAHAM (CONT' 01
Jack. He knew the inside of the
houses.
 GREEN Revis i on 1-22-02 97.
129 INT. BROOKLYN MUSEUM. PAINTING STUDY AND STORAGE. DAY. 129
Dolarhyde stands at a counter-height work table as Ms. Harper
reverently opens a flat black case in front of him.
MS. HARPER
Remarkable. isn't it?
Dolarhyde is tense. almpst trembling. They both look down
at the case's contents. "Ms. Harper smiles.
MS. HARPER (CONT'O)
Two hundred years old. And yet so
fresh. so yiyid ...
The original Blake ~atercolor rests on black cloth. The Red
Dragon and the Woman Clothed With" the Sun. Small but
powerful. Stunning in its color and detail. Like a glowing
jewel. ..
Dolarhyde leans closer. transfixed. Ms. Harper glances at
him, pleased by his passion. Then back at the painting. '
MS. HARPER (CONT' 0)
He almost looks alive, doesn't he?
130 INT. LECTER'S CELL. DAY. 130
With intense pleasure, Lecter takes a sip of blood-red wine.
He glances up, over the rim of his crystal goblet .. .
A security camera, high in the corner. Its light is 00.

The Doctor raises his glass in a silent toast ...

131 INT. SECURITY STRONGHOLD. DAY. 131
ON A MONITOR in the security stronghold. Chilton watches as
Lecter smilingly mocks him. He turns away, furious, "then
storms out, as the ~ards try to stifle their smiles.
The BACH SOARS LOUDER AND LOUDER, MIXING now with ...
132 INT. BROOKLYN MUSEUM. PAINTING STUDY AND STORAGE. DAY . 132

... the SPECTRAL ROAR of the DRAGON. inside Dolarhyde's head

as he stares, sweaty and trembling, at the Blake watercolor.
DRAGON'S VOICE
FILTHY LITTLE BEAST. WHAT HAVE YOU
DONE .. . ?

Dolarhyde's hand slips inside his shirt ...

DRAGON 'S VOICE (CONT'D)
SHE WILL BETRAY YOU. " .
Ms. Harper's whole atten~ion is on the painting . . .
 GREEN Revision 1-22-02 98 . "
DRAGON'S VOICE (CONT'D)
DO YOU WANT ME TO CUT IT OFF? ~ .
IT ... Q&!!!
Dolarhyde pulls out a blackjack, slugs Ms. Harper oyer her
~. As she goes limp he catches her in his arms, eases her
with surprising gentleness to the floor. "
For a moment suspended in time I .he is alone wi th the Red
Dragon, alone and staring ... Then he snatches up the
watercolor. stuffs ' it into his mouth, chewing hard. "
A door opens as a SECRETARY enters from the next office, "
glancing over a letter. "
SECRETARY
Jeannie, we've just gotten a request "
from - "
She glan"c es up in time to see Oolarhyde poking the last bit "
of - paper inside his cheek. Looking back at her with eerie "
calm, he swallows. Ms. Harper is crumpled at his feet. "
As the secretary freezes, eyes widening with fear, he lunges "
towards her ...

133 . INT. BROOKLYN MOS~UM. CORRIDOR. DAY. 133*

Dolarhyde walks briskly down a corridor, past ambling, "
unsuspecting TOURISTS. He is exhilarated, joyous, "
invulnerable. He vanishes amidst the crowd ... "
134 OMITTED 134
AND AND
135 135
CRAWFORD (V. O. )
Mr. Metcalf, do you still have the
Jacobis' check stubs and credit card
statements ... ?
136 INT. FBI BUILDING. CONFERENCE .ROOM. DAY. 136

Crawford is on the phone, over in the corner . of the room,

while Graham continues to stare at the TV screen. The Leeds
videotape is now playing.
CRAWFORD
(on phone)
We ' re looking for any kind of service
call or purchase that might've
required a stranger to come into the
house. A repairman, a delivery guy ...
On the TV, the Leeds' gray Scotty perks up his ears, runs to
the kitchen door. Valerie Leeds and the children come in
carrying groceries.
PINK Revision 1-2-02 99.
CRAWFORD (0.5.) (CONT'D)
Yeah, I ~ we already checked that.
But now we've gotta go back much
further. All the way to January ...
Yeah , but please hurry, it's urgent.
Graham is muttering obsessively to himself .
GRAHAM
No collar . . . no collar .. .
CRAWFORD
(covers the phone)
Metcalf says -
GRAHAM
Doo ' t talk to me!
Crawford isn't offended. Senses that Graham is very close
to some breakthrough. He is rocking slightly in his seat.
GRAHAM (CONT' D)
Dog had no collar ... Neighborhood
full of dogs, but he knew which one
was theirs ... Same with the Jacobis'
cat. No collar, but he knew.
Graham reverses the tape for a few seconds, starts it forward
again. Mrs. Leeds and the children enter. The door is behind
them. Latticework hides the back yard.
GRAHAM (CONT' D)
(almost feverish)
He knew about the padlock . .. knew
about the pane of glass ... knew the
layouts, how to get in ... every
goddamn thing he needed to know was
right in ... right in ...
He picks up the plastic container that held the videotape:
-THE PEEDS OF THE LEEPS!- The family mocked up as Hollywood
stars.
GRAHAM (CONT' D)
Oh Jesus ...
Crawford stares at him.
GRAHAM (CONT' D)
You still have Metcalf on the phone?
Crawford holds out the receiver. Graham rises. grabs it.
GRAlIAM (CONT' D)
(on phone)
Byron, it's Graham. You said Niles
Jacobi took -a few keepsakes.- Do
you have a list ... ?
(MORE)
 PINK Revision 1-2-02 100.

GRAHAM (CONT'D)
I ' need to know if one of the things
he took was a home video. A full-
length VHS tape, compiled from shorter
tapes ... Yes ... ? -Meet the
Jacobi/i ... ?
As Crawford follows Graham's thoughts, picking up on his
excitement, his eyes grow narrow and bright.
GRAHAM (CONT'D)
(on phone)
Listen. Their credit card statements -
look at May, or June. Who did they
pay for that tape? Where waS it
~ ... ?

Crawford picks up the plastic container. -THE DEEDS OF THE

LEEDS!- Turns it over to read the manufacturer's label on
the back.:
'CHROMA-LUX, INC./FILM & VIDEOTAPE SERVICES/ST. LOUIS. MO.
63102.'
Graham looks up from the receiver. Stares at Crawford like
a man who's seen a ghost . His voice is hushed, awed.
GRAHAM (CONT' D)
It's Chroma-Lux.
13 7 INT. LECTER'S CELL. DAY. 137

Lecter. in his cell. is like a spider at the center of his

web, keen to every distant vibration. Now he watches as ..
On the TV screen in his corridor. Valerie Leeds leans over,
shakes out her tousled hair, then straightens. striking her
mock.-glamorous pose: that touching, oddly intimate moment
that fatally caught Dolarhyde's eye.
Lecter takes a tiny. delicious sip of her doom. sweeter than
any sauterne . His eyes close slowly in ecstasy ...
138 EXT. FBI LEARJET. FLYING. DAY. 138
A small jet races west, towards the setting sun.
CRAWFORD (V. 0.)
We've got a problem ...
139 INT. FBI LEARJET. FLYING. DAY. 139
Crawford. looking worried. comes down the jet's aisle, drops
into a seat next to Graham. Shows him a fax.
CRAWFORD
An incident at the Brooklyn Museum.
Guy attacked two employees, and get
this - ~ the Blake painting.
 YELLOW Revision 1-14-02 101.

Graham looks at him. startled, then takes the sheet.

GIWIAM
That'S him, that's got to be him.
CRAWFORD
If it was , he was in New York.
today. _, We could still turn this
thing around.

GIWIAM
No. He lives in St. Louis. He's
got to come'back there. I say we
keep going .

A long, uncertain beat. Then Crawford nods. He takes back

the fax, looks at it. Shakes his head.
CRAWFORD
If that picture meant so much to
him, why destroy it? Or is he trying
to get closer to it? And why didn't
he kill those two women at the museum?
They both got a good look ~t him.

GIWIAM
Maybe he's trying to stop.

Crawford looks at him. surprised .

140 EXT. CHROMA-LUX . NIGHT. 140

In the parking lot of the factory complex, under sodium

lights, Dolarhyde pays a - TAXI DRIVER, who departs. He's
back in everyday clothes, carries his knapsack. Freed of
the Dragon, he looks happier, more relaxed than we've ever
seen him . He starts towards his parked van. Then stops.
The buildings are mostly dark, just a scattering of cars in
the lot. And yet ... five or six of these are clustered near
the loading dock. by the delivery vans. A woman - a SECRETARY -
gets out of her car. hurries inside. Summoned here hastily -
her hair is in curlers under a scarf.
Dolarhyde hesitates, sensing some disturbance. Cautiously
he follows the woman into the building ...
141 INT. CHROMA-LUX. 2ND FLOOR CORRIDOR. NIGHT. 141
Dolarhyde edges around a stairwell corner, looks down .. ,
A long corridor. Lights on in one of the offices, behind a
frosted glass door that reads -PERSONNEL DEPT.- Inside this
room, SHADOWY FIGURES. INDISTINCT VOICES.
As he's puzzling over this. another noise, nearby - RAPIDLY
APPROACHING FOOTSTEPS - makes him pull back , out of sight.
YELLOW Revision 1-14-02 lOlA.
The secretary from the parking lot comes by him, in a hurry,
carrying a heavy armload of ledgers. She reaches the door
of the personnel department, pecks on it with her toe.
Will Graham opens the door for her.
 GRAY Revi s ion 4-25-02 102.
Dolarhyde freezes, stunned . . .
The woman g oes in . the door closes behind her.
Do larhyde backs away, then turns. his running shoes quiet
as he rushes back downstairs towards the exit.
142 OMITTED 142*
143 INT . D)LARHYDE' S VAN. NIGHT. 143
Dolarhyde races across the parking lot, leaps into the
driver's seat, shuts his door. yanks his valise from under
the seat, claws it open. Pulls out his Glock. jacks a round
into the chamber. He's panting. almost frantic. Looks out
his window.
No one coming ...
He forces himself to take deep breaths . Then he lays his
pistol on the console , covers it with a T-shirt. He starts
his engine. then drives slowly and quietly away.
144 INT . CHROMA-LUX . PERSONNEL OFFICE. NIGHT. 144*
The Personnel Manager. MR. FISK, looks worriedly at Crawford.
 GRAY Revision 4-25-02 103.

FISK
Mr. Crawford, all you've got is a
hunch. But I've got 382 employees.
And they have a union . I don't see
how I can just turn yOU loose on
their files.
His secretary is grimly guarding the pile of ledgers and
time sheets. Graham hovers nearby, frustrated.
FISK (CaNT' D)
There are privacy issues here. The
company's exposure -
CRAWFORD
One of those employees has already
killed eleven people. That we know
of. If he gets away tonight. what's
the company's exposure on that?
FISK
Let me get our lawyers down here.
I'm sure you can work something out
with them.
CRAWFORD
We don't have t i me for that.
Fisk looks back at him unhappily .
REBA (V.O.)
Thanks for dinner. Ralph. And thanks
for letting me vent.
145 EXT. REBA'S DUPLEX. FRONT STEPS. NIGHT. 145
Reba'S standing outside her front door. saying good night to
Ralph Mandy. His red motorcycle is parked at the curb.
RALPH
Hey, no problema ... Reba, listen.
It's not my place to say this ...
REBA
Go on.
RALPH
If Dolarhyde's really as moody as
you say. maybe you oughta keep a
little distance. I mean. what do
you really know about the guy? Or
any of us know?
REBA
I appreciate your concern, Ralph.
Really . And I proncise I'll give it
some thought ... Hey. have a great
vacation .
GRAY Revision 4-25-02 103A.
RALPH
G'night. Reeb. See you in a week .
 GRAY Revision 4-25-02 104.

Impulsively he leans forward. gives her a quick kiss on the

cheek. Reba accepts this.
146 INT. DOLARJ{YDE' S VAN. NIGHT. 146

POV ANGLE. through a windshield. as they separate. Reba

smiles. She turns. unlocks her door. as Ralph stands by ...
Oolarhyde stares at the two of them from his parked van, his
eyes turning hard. A grim new resolve is flooding into him.
147 EXT. REBA'S DUPLEX. FRONT STEPS. NIGHT . l47
Ralph waits gallantly while Reba closes her door, bolts it
from inside. Then he turns. starting towards his bike ...
but Dolarhyde is blocking his way.
RALPH
Mr. D.! What're you -
Dolarhyde shoots him in the face. two quick little PHUTTS
from the silenced Glock. Ralph's body tumbles behind the
shrubbery. Then Dolarhyde turns. calmly rings the doorbell.
He waits. After a moment. SOUNDS of the door being UNLOCKED
again. Reba opens it. annoyed.
REBA
Ralph. just because I'm feeling a
little vulnerable -
Dolarhyde claps a chloroformed cloth oyer her face. She
struggles briefly, trying to cry out, then goes limp. He
catches her as she sags.
Crouching with Reba, his feverish gaze darts up and down the
street. No witness. His eyes linger for a moment on Ralph's
red motorcycle. then shift to his corpse, crumpled behind
the hedge. His mind races. What now ... ?
l48 INT. PERSONNEL OFFICE. NIGHT. 148
Fisk looks tensely at Graham. as he breaks into the standoff.
GRAHAM
Look. forget the files, the man we're *
looking for is very strong. A body-
builder. He's right-handed, has
short brown hair. He drives a van,
or a panel truck. And he missed
work today. He called in sick. or
left early.
Fisk and his secretary exchange a worried glance.
FISK
That sounds like Mr. D. *
 GRAY Revision 4-25-02 105.
CRAWFORD
Who is Mr. D?
FISK
Francis Dolarhyde. our manager of
technical services. He maintains
the equipment we use for tape
transfers ... all our home videos go
through his hands.
GRAHAM
Was he at work today?
SECRETARY
Yes. No. He came in early. but he
went home sick.
Graham and Crawford exchange a glance. Got him.
GRAHAM
That's him. we've got him.
CRAWFORD
We've got to scramble St. Louis PD.
the Sheriff's department, and the
State Highway Patrol. Let's go .
149 INT. DOLARHYDE'S HOUSE. BALLROOM. NIGHT. 149

A dripping towel rubs across Reba's unconscious face. which

stirs, then shakes from side to side to escape the wetness.
DOLARHYDE (0 . S )
Reba. .. Reba. wake up.
Her eyelids flutter open. She's slumped on the couch. dazed.
disoriented. Dolarhyde sits beside her, very distraught.
DOLARHYDE (CONT'O)
You wandered around in the house
while I was asleep, didn't you?
REBA
What ... ?

DOLARHYDE
The other night. Did you find
something odd? Did you take it and
show it to somebody? Did you do
that , Reba?
REBA
D.? What is it? What's happening?
Abruptly she struggles to rise, but his big hands on her
shoulders push her back. He hisses.
DOLARHYDE
Shhhh! Sit still, or He'll hear us!
GRAY Revision 4-25-02 105A.
REBA
Who will?
DOLARHYDE
He's right upstairs. I thought He
was gone, but now He's back.

REBA
D., you're scaring me -
His palm covers her rising shriek.
 BLUE Revision 11-20-01 106 .

DOLARHYOE
Sbhhbb . . . !

l50 EXT. STATE ROAD 370. NIGHT. l50

A caravan of cars and vans streams across a Missouri River

bridge, speeding west quickly but silently. St. Louis PO,
St. Louis SWAT, FBI. Mars lights flashing to clear traffic,
but no sirens . Once across the bridge, the caravan svings
right onto North River Road ...
DOLARHYOE (V . O.)
Reba, some remarkable events have
happened in Birmingham and Atlanta ...
l5 l INT . DOLARHYDE'S HOUSE. BALLROOM. NIGHT. 151
Dolarhyde still grips her mouth. He leans closer to her,
his eyes bla%ing. Their faces a~ost touching.
DOLARHYDE
Do you knov what I'm talking about?
She shakes her head, very scared.
DOLARHYOE (CONT'O)
It's been on the news a lot. Two
groups of people were Changed . Leeds.
And Jacobi. The police think they
were murdered. Do you know now?
She starts to shake her head again. Then she does know.
Slowly she nods . He uncovers her mouth.
DOLARHYDE (CONT'O)
Do you know what they call the Being
that visited those people? You can
say.
REBA
The Tooth -
He grips her face again, shutting off the sound .
DOLARHYDE
Think carefully and answer correctly.
REBA
It's Dragon something. Dragon . ..
Red Dragon .
OOLARHYDE
(a feverish whisper)
He ' s right upstairs. He wants you,
Reba. He always bas. I didn't wan t
to give you to Him. I did a thing
for you today so He couldn't have
you. But I was wrong, Reba .. . You
made me weak and then you hurt me.
 BLUE Revision 11-20-01 101.
152 INT. LEAD CAR, POLICE CARAVAN. DRIVING. NIGHT. 152
In the lead car, TWO DEPUTIES are in the front seat; one
driving and one consulting a map. The radio CRACKLES with
low, urgent VOICES, coordinating the racing task force.
In the backseat, Graham is checking the load in his .44
Special. He looks at his fingers, discovers they are
remarkably steady. He glances beside him at ...
Crawford, who has caught this moment. Their eyes meet,
briefly, then Crawford nods: You'll be okay.
153 INT. DOLARHYOE'S HOUSE. BALLROOM. NIGHT. 153
A row of gasoline eans, their caps already removed. One by
one, Oolarhyde's sneaker is kicking them over, as the liquid
spills out, spreading over the floorboards ...
DRAGON I S VOICE
SHE IS HINE!
Oolarhyde pauses, looking up sharply at his ceiling.
OOLARHYOE
No!
DRAGON'S VOICE
GIVE HER TO ME HQH!
OOLARHYOE
No! You can't have her!
He picks up a can, frantically splashing the cots, the cirapes.
Reba's head turns sharply, reacting to the smell.
REBA
Please, D. Please cion't let Him
have me. You won't, please don't -
I'm for~. Let's just be friends
and fuck and forget about this. You
like me, I know you do. Take me
with you.
OOLARHYOE
Take you with me. Yes.
Suddenly he's beside her again, holding his shotgun.
DOLARHYDE (CONT'D)
Put out your hand. Feel this. Don't
grab it, feel it.
She touches the muzzle.
OOLARHYDE (CONT'O)
That's a shotgun, Reba. A twelve-
gauge magnum. Do you know what it
will do?
 BLUE Revision 11-20-01 l07A.

She nods. Tears streaming down her cheeks.

,
PINK Revision 1-2-02 108.
DOLARlIYDE (CONT ' O)
Take your hand down.
The cold muzzle now rests in the hollow of her throat.
DOLARlIYDE (CONT ' D)
(crying)
Reba, I wish I could have trusted
you. I wanted to trust you .. . You
felt so good,

REBA
So did you, D. I love it. please
don't hurt me now.
DOLARHYDE
It's allover for me!
He sobs helplessly, great spasms racking his body. Then
he's up again, lurching away, still gripping the shotgun as
he fumbles with a pack of matches. Strikes one, tosses it.
It lands with a WHOOSH as flames rise instantly. Thick ~ack
smoke begins to fill the air . ..
Reba, terrified, gets to her feet,
REBA
(screams)
D.! Where are you?
DOLARHYDE
I can't leave you to Him. Do you
know what He'll do?
(bawling now)
He'll bite you to death. He'll hurt
you so bad .. . I can't let that happen,
I can't! Better if you go with me.
REBA
Yes, God, get us ~ of here!
Dolarhyde sways in front of her, backlit by flames, in hellish
to~ent. Slowly he raises the shotgun.
DOLARHYDE
I'll shoot you, and then myself. I
have to shoot you!
REBA
D., no, pleeeease!
The muzzle trembles in his hands. He hesitates, stricken.

DOLARlIYDE
(howls)
Oh, Reba! I can't do it ... !
CLOSE ON Reba's face, as she extends her hands pleadingly.
 WHITE Locked 109.
REBA
Deeeee, nooooo . !
BOTH BARRELS of the shotgun EXPLODE at once. Blood spatters
her face. She staggers back, stunned. Then hears the HEAVY
THUMP of a BODY hitting the floor.
She turns to run, but stumbles choking into the couch. Smoke
everywhere. She claws her hands through it, gasping. Baeks
away from the couch, turning helplessly. Which way? She takes
a few tentative steps, arms extended, then stumbles over
something. falls to her hands and knees.
Her fingers trail across the floor till they encounter
dead hand, gripping the shotqun .. , then travel up the arm,
the shoulder . finally sinking into the horrible mush of
the face: pulp, bone splintera, a loose eye.
Gagging. choking, she falls backwards, then acramb1es up
again. Flames rise behind her, CRACKLING, shooting up the
drapes. Flames and smoke everywhere. She turns desperately.~
Which way? Then a new sound: the BONG of the hall clock
Her head turns. BONG BONG. Where i. it ? There. That way.
BONG BONG Crouching lOW, under the smoke, she feels her
way across the ballroom, bumping into cota, righting her lf,
.oving towards the archway, towarda the sound. BONG BONG.
Under her breath, a desperate chant .
REBA (CONT'O)
Left at the arch, three steps to the
clock . clock to the door, nine
more. Oh God. Oh God . !
1S4 INT. LEAD CAR, POLICE CARAVAN. DRIVING. NIGHT. 1S4
Through the windshield, passin; fields, patches of woods -
then a red glow in the distance, flickering against low
clouds. The deputy wIth the map points excitedly.
DEPOTY
That's is! That's where it is!
The driver stomps his accelerator; the car ROARS forward.
The other deputy hits the SIREN. Crawford grabs their
microphone from the eenter console.
CRAWFORD
All units, that's his house burning.
Watch it now, he may be coming out.
Sheriff, we need a roadblock here.
Graham leans forward, between the two deputies, staring as
the glow brightens and swells, coming closer ..
1SS EXT. GRAVEL ROAD . NIGHT. 1SS

The lead car ROARS past the nursing home sign, SIREN
SCREAMING, as the other cars and vans follow.
 BLUE Revision 11-20-01 110.'
The whole scene is eerily lit by their flashing mars lights,
as well as by the rising flames ..

156 INT. LEAD CAR, POLICE CARAVAN. DRIVING. NIGHT. l56

Suddenly a WOMAN looms in front of them, bathed in their
headlights, lurching blindly into the car's path ..
The driver, cursing, slams on his brakes as .
157 EXT. GRAVEL ROAD. NIGHT. 157
... the car skids to a stop, fishtailing, slewing gravel,
and just misses smashing into Reba. The following cars and
vans veer quickly into the fields, bouncing and swaying over
the rough ground.
Then Graham and Crawford are out of their car, racing towards
Reba. Graham gets there first. holds her a~, his face
close to hers, both their faces red in the firelight.
GRAHAM
Francis Dolarhyde.
She's bloody, sooty, half-deafened. Her mouth is working,
but nothing will come out. He shakes her gently.
GRAHAM (CONT'D)
Francis Dolarhyde, where is he?
REBA
He's in there . . . He's dead in there.
Deputies and SWAT cops are racing by them with drawn weapons.
Graham and Crawford look at the burning house, then back at
Reba, at her sightless eyes.
CRAWFORD
You ~ that?
REBA
He shot himself in the face. I put
my hand in it. He set fire to the
house.
Graham runs on impatiently. Crawford takes her arm.
REBA (CONT'D)
He shot himself. I put my hand in
it. He was on the floor. I put my
hand in it can I, can I, can I sit
down, please.
CRAWFORD
Yes.
He eases her onto the bumper of a police car, sits beside
her, his arms around her, while she sobs into his neck.
PINK Revision 1-2-02 llOA.
Graham races up the steps to the front porch. The front
door is a mass of flames. He hurries along the porch. despite
the searing heat, almost frantic to get inside. Which way?
Which way? Windows are shattering. more fire leaping out.
boiling black smoke. A deputy hUrries up, shouts at him.
DEPUTY
Get Back!
Graham shakes him off, staring into the inferno in a trance
of frustration. of unspent fury. Only when the man grabs
his arm, physically yanking him backwards. does he finally
start to come to his senses. As Graham and the deputy stumble
back down the steps and into the yard ...
The top of th~ house explodes. the garret and center roof
disintegrating in a vast fireball, as the ground shudders
and the WHUMP of the shockwave rocks the police cars... '
And knocks down Graham and the deputy.
Crawford. still with Reba, rises. watching anxiously . ..
But ' Graham and the deputy scramble to their feet again;
they're okay. Sparks and debris rain down around them.
 GREEN Revision 1-22-02 111.-
The deputy moves off, but Graham turns back, transfixed,
staring at ...
The rocking chairs on the porch. moving eerily as flames
take them. One last ride for the ghosts. oolarhyde's van
is ablaze; now its windows shatter as the gas tank EXPLODES.
Trees burn, shrubs; the entire hilltop is a raging hell.
He stands there. a long time. watching the house burn ...
GRAHAM (V.O.)
That's all I need. But if it's OK.
I'd like to come by ~gain before I
leave town .. .
158 INT. A HOSPITAL. DAY. 158
Reba McClane, in a hospital gown. sits up against a pillow.
Both arms and one hand are bandaged from burns. Her face
looks pale. still troubled. Graham is beside her .
GRAHAM
Just to say hi. see how you're doing.
REBA
Sure, why not. Who could resist a
charmer like me?
He sees. tears glinting in her eyes. Leans closer.
GRAHAM
Whatever was still human in him was
only kept alive because of you. You
probably saved some lives ... You
didn' t draw a freak. You drew a man
with a freak on his back.
REBA
(shakes her head)
I should have known.
GRAHAM
Sometimes we don't. I've been there
myself.
She looks towards him curiously. Gently he takes her hand.
GRAHAM (CONT'D)
Listen to me. There was plenty wrong
with Dolarhyde. but there's nothing
wrong with you. Except your hair.
Your hair is a train wreck. Can we
please do .something about that?
She shakes her head. waves him towards the door . But she
can't completely hide. at the end. a very Reba-like grin.
 GREEN Revision 1-22-02 lIlA.

1SBA INT. HOSPITAL. HALLWAY. DAY ISBA .

As Graham leaves Reba's room, he sees Crawford sitting in
the hall. He's holding something, a thick black book:
Dolarhyde's great ledger. Crawford rises.
CRAWFORD
We found this in his safe. Thought
you might want to take the first
look.
He gives the ledger to Graham. For a moment their eyes meet.
CRAWFORD (CONT'D)
Will? You've earned it.
Graham nods: Thanks. Crawford smiles. walks away. : leaving
Graham alone. He sits. the ledger on his lap. Hesitates.
then finally opens it. meeting the Red Pragon at last ...
Graham's POV . as he turns the pages: news clippings. scrawled
handwriting ... and th~n. loose between two pages, a yellowed
photo of a little boy. shyly hiding his mouth as he clings
to the skirt of his stern-lOOking Grandmother on the porch
of the old house ...
Graham stares at thls image.
GRAHAM (V.O.)
When I read his journal. it was
just ... I don't know. Just so sad ...
FADE TO:
-1588 EXT. BEACH. FLORIDA . NIGHT. A WEEK LATER. ISBa
Molly and Graham sit together on the dunes below their house.
They're in shorts, .. barefoot. A driftwood fire. built in the
sand, flickers before them. He stares pensively at the
flames.
GRAHAM
When I read some of his journal. it
was so ... I don't know. Just so sad.
I couldn't help feeling sorry for
him . . . He wasn't born a monster . He
was made one. It took years of abuse.
 YELLOW Revi s ion 1-14-02 112.

Molly looks at him a moment, then kisses him. Josh comes up

from the surf line, happy to see them smooching .
JOSH
Hey, can we make S'mores?
MOLLY
It's a deal. Go look in the pantry.

159 INT. GRAHAM HOUSE. KITCHElL NIGHT. 159

Josh, inside the walk-in pantry, rummages until he finds a
Hershey bar, a box of Graham crackers, and a bag of
marshmallows . He rips this open, chewing one, as he exits
the pantry, reaching for the door. When he swings it closed,
Francis polarhyde is revealed, standing behind it.
Josh freezes, speechless, staring into the crazed yellow
eyes. Dolarhyde's voice is soft.
DOLARHYDE
Hi. I'm a friend of your father's .
160 EXT. BEACH. NIGHT. 160

Graham looks up towards the house.

GRAHAM
Wonder what's taking him so long?
MOLLY
Are you kidding? It takes him twenty
minutes to get out of bed in the
morning.
GRAHAM
Yeah. but now I've got a serious
marshmallow jones.
She laughs as he rises, starting up towards the house. She
tosses more wood on the fire.
161 INT. CRAWFORD'S OFFICE. FBI BUILDING, WASHINGTON. NIGHT. 161

Crawford. in his reading glasses. is taking down his task

force maps and photos, putting them away in archival cartons.
His PHONE RINGS and he piCKS it up.
CRAWFORD
Crawford.
162 INT. LATENT FINGERPRINTS LAB . NIGHT. 162

Jimmy Price. looking upset, clutches a receiver . Behind

him . on a s teel table. charred bone fragments.
 WHITE Locked 113.
PRICE
(on phone)
Jack, those remains you found in the
rubble. They're not Oolarhyde'a.
INTERCUTTING -
As Crawford, startled, looks down at his desk. Resting there
are Grandmother Dolarhyde's shattered, blackened dentures.
CRAWFORD
What are you talking about? His
goddamn dentures were there.
PRICE
But not his bones. Wrong DNA.
CRAWFORD
. Then who.e are they?
Price grabs for a fax, scans it.
PRICE
St. Louis PD 18 looking for a Chroma-
Lux employ named Ralpb Mandy. 8e
waa supposed to be on vacation, 80
nobody missed him tor a week. And
Jack - his motorcycle is missing.
too.
Crawford turns, staring into the distance out his window.
CRAWFORD
Oh Jesus ...
,.3 EXT. GRAHAM HOUSE. LIVING ROOM. NIGHT. ,.3
As Graham pads barefoot through his living room, he pause
Something is tugging at the edge of his eideteker'a
consciousness. He stops, turns, scanning the room more
closely. Something i. subtly different
Graham'S gaze travels across the COUch, coffee table, the
foyer, seen through its archway, then bookcases, framed
pictures . wait. Returns to the foyer. Rug, coat rack, and
an antique console, with a glass bowl of seashella resting
on it. A mirror, seen at an oblique angle, hangs above the
console ..
The mirror ia cracked. One long shard is missing.
Graham stares, stunned, his mind racing . Barely able to accept
what this could mean
Suddenly the phone rings, close by his side, making him start.
He reaches tor It, then stops. Can't give away his position.
As the phone continues to ring, insistently, Graham stares
tearfully towards the staIrs, leading up to the second floor.
 WHITE Locked 114.

A light is on up there. The answering machine click. on.

MOLLY'S VOICE
Hi , this is Holly. We can't come to
the phone right now, but you know
the deal. Wait for the beep.

164 INT. KITCHEN. NIGHT. 164

A wooden block of knives. Graham quietly slides a butcher
knife from its slot. In the distance. tbe machine beeps .
CRAWFORD'S VOICE
(on machine)
Will, it's Jack.
house. Get Holly
into town, call me
165 INT. STAIRCASE . NIGHT. 165
A3 quietly as he can, Graham mounts the steps, the butcher,
knife gripped in his right fist. Crawford's desperate voiee
can still be heard from downstairs.
CRAWFORD'S VOICE
tt's Dolarhyde, Will. He's still
alive. I'm scrambling everything
that will roll or fly, but it'a gonna
take time to qet thea out there . Av
Christ, Will . Where are yoU?
166 INT. UPSTAIRS HALLWAY. NIGHT. 166
Graham's head edges into view at tbe top of the stairs. Ke
looks down the hall, his eyes at floor level .
Five doors. TWo per side - Josh's bedroom, bathroom, guest
room, closet - in a gallery around the railed stairease.
Master bedroom down at the end. Each door a potential ambusb.
Graham climbs higher, standing 1n a half crOUCh, then follows
his blade's point, edging down the hall . His heart pounding.
Every sense tortured to razor's edge .
His bare feet slip quietly over worn floorboards, carefully
skirting the knovn loud spots .. .
Standing by Josh's door, he takes a deep breath. Tightens
his grip on the knife. Then quietly pushes the door open
further ...
161 INT . JOSH'S ROOM. NIGHT. 161
Dolarhyde stands by the bed, gripping Josh by one powerful
forearm. His knapsack lies on the bed. The shard of mirror
is poi~ed by ~he boy's righ~ eye. The handle end is wrapped
with a dish towel. Dolarhyde's mad gaze meet Graham's.
GREEN Revision 1-22-02 115.
DOLAR/MlE
Drop it.
Graham hesitates, looking into his son's terrified eyes.
His mind racing frantically .. .
DOLAR/MlE (CONT' 0)
Do it ~, gumshoe.
Grah~ tosses his knife to one side: Dolarhyde smiles.
DOLARHYDE (CONT' 0)
Your .son is about to Change. The~
your wife. You. can wd.t ch.
Josh, in his fear, has wet his pants. Graham sees this, and
something clicks in his mind . One last, desperate chanc~.
He stares into his son' s eyes, .willing him to understand.
even as his voice becom~s harsh and grating, very loud.
GRAHAM
Look at you! I've never ~ a child
as disgusting as you!
Josh, confused, begins to whimper. But the effect on Dolarhyde
is amazing. He freezes, startled, his eyes going wide ...
. GRAHAM (CONT'O)
You're soaking wet! How dare you.
Dirty little beast!
Oolarhyde's mouth is agape, working sound.l essly.
GRAHAM (CONT' 0)
Freak! Harelip! Who could ever love
~ . .. ?
Josh is sobbing. Dolarhyde looks down at him, upset by the
boy's crying. Disoriented, he begins to whimper too. The
shard's point drops a ~ew in~hes, trembling in his hand .
GRAHAM (CONT' 0)
Get out. Get out of here, right this
minute! Go to my room! Do you want
me to cut it off? Do you?! DO yoU?! !
00 YOU?!!
Dolarhyde roars with fury, releasing Josh in order to attack
Graham. He swings the shard in a wide arc but misses AS Graham
steps backwards. Dolarhyde is left momentarily off-balance .
GRAHAM (CONT'O)
(shouts)
Josh . run!
Josh darts around Dolarhyde and out the door. Oolarhyde,
recovering his balance, starts after him, bu t Graham steps
i nt o his path, bloc king him. LoW, hands spread ...
 BLUE Revision 11-20-01 116.
Another slash . This time, Graham's chest is lightly scored
The third slash, a huge swing, another miss, leaves Oolarhyde
momentarily off balance .
Graham plucks a second. s maller knife from behind his back,
plunges it t o the hilt in polarhyde's thigh. Oolarhyde
screams. Graham runs out into the hall. Dolarhyde starts
after h~, staggers, rights htmself. Tossing away the shard,
he turns back to the bed, snatches up his knapsack.
168 INT . HALLWAY . NIGHT. 168
As Graham runs down the hall, Oolarhyde lurches into view
behind h~, the knife still waggling in his thigh. He's
fumbling in his knapsack. He pulls out his Glock as Graham
runs into the master bedroom, slamming the door.
169 INT. MASTER BEDROOM/THEN HALLWAY. HIGHT. 169
Graham locks the door, just as Dolarhyde smashes against it.
The panels seem to bulge inwards. Graham pushes back, with
all his weight. He turns, sees ..
Josh, hiding under the bed, vide-eyed.
GRAHAM
(gasping)
You OK? Are you cut?
Josh shakes his heed. Staring at his father's torn chest.
GRAHAM (CONT I D)
Stay there .
Another smash Againlt the door. Then another. Another .
The trim around the hinges is starting to splinter ...
Graham runs to his closet, flings open the door, pulls down
a shoebox from a high shelf. Takes out his Bulldog .44 and
flips off the safety . But when he turns back towards the
door, everything has suddenly gone silent. Not a sound out
there. And then, after a few moments, a distant. female
voice, calling out .
HOLLY (O.S.)
Will .. . ? Josh ... ?
Graham's eyes meet Josh's. Pierced by a new fear.
HOLLY'S VOICE
Where ~ you quys .. . ?
Graham drops prone, staring out through the crack between
the door and the jamb. He sees ...
Holly's head appearing as she comes up the stairs . Puzzled,
she looks down the hall. It's empty.
GREEN Revision 1-22-02 117.
MOLLY
Thought I heard some kind of ...
She s tops . Looking his way. Her expression changes as she
sees the battered door. Then she approaches, moving down the
hall more warily. From his low angle . he can DOW see only
her bare feet . They come closer, then stop, just outside
the door . Inches fr~ his eyes.
MOLLY (CONT'O)
Will. . . ?
At the end of the hall, ' Polarhyde's running shoes appear,
behind her, slipping out of the bathroom. They come closer
and closer, silently, one shoe leaving bloody prints . ..
GRAHAM
(suddenly shouting)
Molly, d2lm! GET DOWN!!
Molly drops, flattening herself on the floorboards, as .. ~ .
Graham rises to one knee, aims the .44 ,at the door. at waist
level . squeezing the trigger ...
Dolarhyde is firing the Glock. his bullets punching through
the door at chest height. over Molly's prone figure ... .
The BOOMS are DEAFENING, the entire hallway becoming a smoky,
flaming hell as the door is shredded, SHOT after SHOT . ..
And Oolarhyde is hit in the chest, the thigh. smashed
backwards and falling to the floor ...
While Graham also rocks backwards, hit in the shoulder. and
with his cheek sliced open by a flying splinter . . .
And then, abruptly, the gyns fall silent. Smoke is
everywhere.
Molly turns, terrified, looking behind her at Dolarhyde . .
PINK Revision 1-2-02 117A.

His body lies still in a pool of blood.

Rising. she looks through the shattered door at Graham. who's

lying on his back . She reaches in through a gaping hole.
unlocks the door . rushes inside. Kneeling. she cradles his
head . He's bare ly conscious. his eyes trying to focus on
her. Then they look past her . He struggles to speak through
a mouth filled with blood.
GRAHAM (CONT D)
Shuh .. . _huh . . .
Molly leans closer . trying to understand. Graham whispers
urgently.
GRAHAM (CONTD)
Shoo him ...
 PINK Revision 1-2-02 118.'
A moment of stunned comprehension. Then she reaches down.
grabs the .44. spinning around on her knees. her arms already
rising with the muzzle as ...
Oolarhyde ' s crazed eyes meet hers . A bloody wraith. trying
to rise. It takes all his last strength to lift the Glock.
but before he can squeeze the trigger again. Molly shoots
him three times in the face. He's punched backwards. dead.
Molly is gasping. making soft inarticulate cries. She turns,
looks at Josh. still hiding under the bed. Then at Graham .
He looks at her weakly. then his head sags back. Stops. He
may be dead.
LECTER (V . O.)
-My Dear will. You must be healed
by now. On the outside, at least.
I hope your not too ugly. ~t a
collection of scars you have ... !
170 OMITTED 170
171 INT . LECTER'S CELL. DAY. 171
Lecter sits at his desk. writing a letter. His cell has
been restored to its former appearance: books and drawings.
bedding and toilet seat; no trace of his fine meal remains.
LECTER (V.O . )
-Never forget you have you the best
of them. And be grateful. Our scars
have the power to remdnd us that the
past was real. In fact, it's not
even really the past. is it.
He looks up thoughtfully, into some far distance.
LECTER (V.O.) (CONT'D)
We live in a primitive time - don't
we, will? - neither savage nor wise.
Half measures are the curse of it.
Any rational society would either
kill me or put me to some use .. -
172 EXT. SAILBOAT. DAY . 172
AERIAL VIEW of a sloop, under easy sail. somewhere in the
Caribbean.
SUPER TITLE: ONE YEAR LATER.

CLOSER ANGL~ - Graham stands by the lifeline. near the bow.

He's bearded now. his hair longer; he looks older. He's
reading Lecter's letter.
LECTER (V . O.)
-00 you dream much. Will ... ? I think
of you often.
(MORE)
YELLOW Rev ision 1-14-02 llSA.
LECTER (V. O.) (CONTD)
I thin k of yOU often ...
(pause)
Hannibal Lecter.-

Gr aham drops the letter overboard, watching for a few moments

as it swirls away in the boat's wake. Then he turns, walking
back along the deck to rejoin Molly and Josh at the wheel,
as the sloop sails gracefully away, over perfect gin-clear
wa&ers ...
 -,

WHITE Locked 119.

CHILTON (V.O.)
Hannibal? There's someone here to
s you

173 INT. LECTER'S CELL . DAY. 173

Lecter, still composing his letter, ignores Dr. Chilton, who
hovers gloatingly out in the corridor .
CHILTON
Wants to ask you a few questions. I
said you'd probably refuse. Sbe'.
cooling her heels up in my ottice .
Leeter becomes very still. Hi. back remains turned.
CHILTON (CONT'D)
Yea, I thought that aiVht get your
attention. A young vo..n, laya ahe's
fro. the FBI. Though abe'. far too
pretty, if you k .e.
C& cruel 81gh)
What fun it would've been, to aee
you vrithing while abe w just out
of reach! Still, ve can't qet
everything we vant. I'll tell her
you said no.
Be starts .w.y.
Lecter considers . Behind the strange pale eyes, aoaethinq
moves, the first quickening of wondrous n.w possibilities.
LECTER
What is her name?

THE END.