"RED DRAGON" (2002)

RED DRAGON

Screenplay by

Ted Tally

Based on theNovel by

Thomas Harris

Gray Revised: April 25, 2002 Tan Revised: April 18, 2002 Cherry Revised: March 26, 2002 Salmon Revised: March 12, 2002 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:Novemb er201 2001 White Locked:July 10, 2001

GRAY REVISED PAGES 4/25/02

PINK: 1, 3,SA,7,8,10, l0A,13B, 14, 15, 17, 18, 23, 23A, 24,2SA,26 , 27, 27A, 28, 29, 31, 31A, 32A, 33, 34, 35A, 41, 42, 43, 43A, 99, 100, 108, ll0A,117A, 118

BLUE: IA,2,2A,6A, 21, 33A, 50, 53, 54,54A,58, 59A, 60, 60A, 62, 64, 70,72,73, 73A, 74, 7S, 79, 80, 84, 85, SSA, 86, 87, 88, 90A, 93, 94, 9SA,106,107, 107A, 110, 116

WIDTE : 9,19,22, 46,49,5 2156, 61, 63, 71, 82, 83, 89, 109, 113, J 14, 119

PINK Revision 1-2-02 1 .

FADE IN:

1 OMITTED 1 •

On abrilliantly lit stage, theBaltimore SymphonyOrchestra • is strugglingthrough the 3rdmovement of Boccherini's Concertoin D Major ("Ailegropiacere. ")At center, aCELLO SOLOIST.

SUPER TITLE:BALTIMORE, MD, 1986,

The CONDUCTOR frowns. Something'samiss in the wind section . As the SOLOISTnears the end ofher passage, he jabs his baton withgrim emphasis, indicatingthe winds' next entrance.

THREE of theFOUR FLAUTISTS, instrumentsalready po i sedby their lips,come in precisely on cue. But the. ..

FOURTH FLAUTISTis daydreaming. Catchinghimself with a start, he liftshis flute, but now ishopelessly off the, beat. He eye shisfellow players, hopingno one noticed.

WE BACK AWAY FROMTHE STAGE, wafting outwith the MUSIC, PASSING OVER velvetseats, carpeted aisles,a stir of programs, WELL-DRESSEDCONCERTGOERS...PASSINGBY, without ... pause, one especiallydiscerning face,wh oseowner is quite .. anonymous in thecrowd ...Then we return tothat face, a few moments later, fora CLOSER LOOX.

HANNIBAL LECTER,M.D. - noted psychiatrist,arts patron, connoisseur - is trim,very neat, with a qualityof coiled stillness. His eyesare blue, strangely pale. CLOSER on him, CLOSER STILL,until ...

The Fourth Flautistcomes in late, yet again. FromLecter's hyper-acute perspective,the hap lessman's playingis physically excruciating, likea nail scoring glass.

Lecter•seyelids close, everso briefly, in distaste. When theyreopen, the pale irisesare as fixed as a hawk's.

An elegantGeorgian home, red brick,on a co bblestonedstreet. ~ Lightsglow warmly through itswindows.

BLUE Revis ion- 11-20-01 lA.

I 3 lNT.DINING ROOM.LECTER' S TOWNHOUSE.NIGHT. 3

A cand lelittabl e,exquisitelyset.Aroundthisare seated the tenvery culturedMEMBERSOF THE SYMPHONYBOARD. •

I

BLUERevision 11-20-01 2.

Lectercirclesthe table,pouringwine torhis guests.

Laughterat this,plussome mock-distressed"ooohs."

RED BOWTIE * And wefind youcribbinglines from • Horace,as well. *

Plea santla ,ugh ter.TheDoctorsmilespolitely:touche. •

Grave frownsat this,politemurmurs ofconcern.

SLOE Revis i on 11-20 - 01 2A.

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Chuckles, laughter,one or two happy groans.

More chuckles, hearty laughter. Taking his seatat the head of the table, Lecter snapsloose his napkin. Looking around at his eager, e xpectantguests,he smiles.

Lecter, now in a cashmerecardigan, clears the dessertand * coffeeplates off the diningroom table.

We hearthe doorbell ring.

Lecterconsiders this. Looksdown at his stack of dishes, then turns,heads towards ~hedoor. •

His openingfront door revealsa~ in a dark overcoatand scarf.his breath steamin gin thecold. WILL GRAHAM ispale , with darkwatchful eyes. He'sexhausted and never got a chance toshave this morning.

As Graham enters,he passes a brass plaque thatreads "HANNIBAL LECTER, M. D. /PsychiatricConsultations.•

GOLDENROD Revision - 2-1-02 4.

~6 INT .LECTER'SSTUDY. NIGHT. 6

A handsomepane lledroom ,decoratedwith primitive art, fragmentsof Greek sculpture,man ybook s. To one s ideisa leathe rchaise. A f ireblazes,its ligh tf lickeringover the men 'sfaces. Lecter watchesas Graham paces restlessly.

Onde rhis navyjacket, we catch a glimpseof Graham's shoulder holster and Bulldog.44 Special. He gestur esirritably.

Graham drops into achair. Lecter, who'sbeen waiting politely, sits b ehindhisde sk.Graham leansfo rwardurgently. Despite h i sweariness,hisface is alivewith fierce excitement.

Lecteris very still; therei snot a flicker ofemotion; he • justwatches Graham, likesomeone studying an insect. •

GOLDENRODRevision 2-1 - 02 4A.

Lecter justwatches and listens.

GOLDENROD Revision 2-1-02 5.

Pause. •

GRAHAM {CONT'D) * I had a sudden flashof the third victim, Darcy Chambers. She was missing flesh fromher back. And then it hit me ...Liver. Kidneys. Tongue. Thymus. Every single victim lost some body partused in cooking.

Everythingis very quiet in theroom. After a moment's • consideration,Lecter, slowly leansforward on his desk., "'

He gently touchesthe Venetian stiletto,and lines i tup • with hisblotter. •

PINI<Revision 1-2 -02 SA.

YELLOWRevis i on 1-14-02 6 .

A quiet moment ,thetwo of them staringat each other.

Lecter's eyes gleam inthe firelight. Graham sighs.

Graham hesitates,then nodswearily. Lecter smiles.

Lecter goeso ut.

After a momentGraham rises, s t retcheshisba ck .Ashewaits, he turns, g l an ci ngi dlyaround.Somethingonas h elfcatches hi seye. Hemoves closer.

A Dagon tribalMASK. features contortedin rage orpain .

BLUE Revision- 11-20-01 6A.

Graham i s abitdisturbed.Not his ideaof art. His gaze wanders•..

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A framed DAGUERREOTYPEof EdgarAllan Poe . A block of SHINY AMBER, witha SCORPION suspended inside. A beaded SIOUX QUIVER, with featheredarrows stillprotruding. And BOOKS. . . so many books. Some leather- bound,withworn, cracked spines, and veryold. Some much newer .

Graham is interested. Looks closer at thetitles...

Recettes Des ProvincesDe France... Lacuisine du Sacrifice en Pays Gree...Larousse Gastronornigue.This last volume isn't pushed all theway back into place. And it has a red satin boolanark,notinga particular page.

Graham pulls out theLarousse, opens it tothe marked page.

A recipe titled "Fantaisiede Ris de Veaμ. •Besidewhich someone has written theword •sweetbreads. •

Graham stares at this. ..

VERY CLOSE ANGLE - "SWEETBREADS•-

Just the single word, inkedin a fine, eleganthand .

Graham's eyes widen ina horrified leap of understanding.

He dropsthe book, turning,already pulling his gunfree, * onlyto find himself... *

Face to facewith Lecter, thepale eyes regardinghim calmly. TheDoctor's hand flicks out,quick as a striking snake.

Grahamgasps, looks down...

The Venetianstiletto is buried toits hilt i n hisabdomen. Its handleis gripped by Lecter• srighthand ,while the Doctor's lefthand now flashesup to seize Graham's gun, plucking itfrom his nerveless fingers.

Lecter tossesthe gun aside andGraham's hands fumble at the knife, tryingto push it away . ButLecter is immensely strong and has himpinned against the bookcase. His face looms close besideGraham' sas the yoW1german struggles, gasping in this obsceneembrace. The Doctor'svoice is calm, soothing.

Graham writhes, thoughhe's getting weakerby the moment. Le cterpresses againsthim harder. Obj ectstumblefrom the shelves, SHATTER. The Doctor ignores themess.

PINK Revision 1-2-02 8.

Graham jerks againsthim. Cries out.

Graham 'seyes roll up. He's very close to passingout.

His lipsare close t oGraham'sear . A lov i ngwhisper.

Graham'seyes glaze over. He goeslimp . Lecter grips him in both armsa few moments longer,making sure he's still, then easeshis body to the floor,where it slumps like a rag doll's. Graham'seyes stare sightlessly,unblinking.

Lecter kneels. He leans over Graham ,tiltshis chin back, ready to slashhis throat, when suddenlythe Doctor himself emits a softgrunt. He looks down ,surprised. . .

Half a dozen Siouxarrows, gripped inGraham's bloody f i st, have been punched intohis abdomen. Graham ' seyesre-focus, staring directlyinto his. His face - sweat - drenched, contorted withpain - is very close to Lecter's.

Lecter rises, shocked,lurching backwards ash e triesto pluck out the arrowheads. But they' redeeply imbedded,and his stiletto interfereswith his grip.

Graham pulls a second gun.a small .38 revolver, froman ankle holster, aimsunsteadily, squeezes the trigger. The BOOMo f the explosions,in this small room, is deafening .

NEWANGLE - SLOWMOTION

As mostof the slugsmi ss ,smashinginto the walls,but at leastone catches Lecter inthe upper chest. spinninghim around,hurling him away .The Doctor topples over hisdesk, knockingthe phone off, beforecoming to re ston the floor. on hissi de ,unconscious.

Graham,holding h isspilling guts inwith one hand ,keeps squeezingthe trigger even after h isgunis empty . Fin al ly his handdrops weakly, the gun CLATTERINGon the floor. Re stares at...

Lect: er'sunmovingbody.

WHITELocked - 9.

Graham, throughhisfaintness,becomesawareof a strange newSOUND. Dullyhe turnshis head,,.

Lecter'sphoneis lyingon the floor,its receiveruneradled, humminga DIALTONE. Justa few feetaway, butit seemslike a mile••.

Grahamgrits histeeth, then,witha supreme effort,manages to toppleslowlyover inthe directionof thephone. Very weaklyhe reachesout onebloody finger,smearingthe •o• button.After apause, wehear a VOICE.

VOICE Operator.

His eyesroll up inhis head.Se faints•..

A MONTAGEof NEWSPAPERHEADLINESand PHOTOS,seen inGRAINY CLOSEUPS. Some soberlyjournalistic,othersin thescreaming tabloid styleof TheNationalTattler. They are yellowed wi~h age,and have beencarefullytapedonto the pagesof a huge ledger:worn blackleatherwith brasscorners.Spidery, obsessivehandwritingsurroundsthe photos. From timeto time the lMAGESBLORas a pageia turned•••

"Local DoctorWounded,Under Arrest/FBI Agent'Extremely Critical'/Details Ounclearin 'B izarreBloodbath'..••

(Filephotosof Lecterat a charityevent,then WillGraham's Bureau 1.D.photo.)

"Dr.HannibalLecter isChesapeakeRipper/ ChamberofBorrora Revealed".••"HANNIBALTHECANNIBALII!...•

(A photoofJACK CRAWFORD,WillGraham's FBlmentor, briefing aswarm of REPORTERSoutsideLecter•stownhouse.)

"FBlAgent'sConditionNow 'Guarded'/Chance ofRecovery...• "HERO COP'SGHASTLYWOUNDS/EXCLUSIVE HOSPITALPIX! ...•

(A photoof Graham,unconscious,inhis hospitalbed, his bodya mass oftubes andbandages.The accompanyingstory hasa byl ine ,"BYFREDDYLOUNDS,"witha smallerphoto of thereporter'sgr i nningface.• .)

"TRIALOF THE CENTURYBEGINS !/FIENDSERVEDHUMANORGANSTO GUESTS! ! !" ..."SymphonyChairwomanFaintsinCourt. ..• "Lector' sCapto rReleasedFromHospital/FBIAgentWill Testify..."

PINK Revision 1-2-02 10 .

(Grahamin a wheelchair,being pushedby his w.ife,MOLLY, as Crawford and otherAGENTS hold theirhands up, trying to shield them from flashbulbsand shoutedquestions.)

"HANNIBALGUILTY!!! •..." LecterSentencedtoNineConsecutive Life Terms•. .."CANNIBALTOBE CAGED FOREVER!!!"

(Photoof Lecter,heavily shackled and closelyguarded, being frog-marchedout of thecourthouse.)

"TOPCOP TO LOONY BIN!/ ' STRESS'CITED ...•

"HeroFed Quits Bureau... "

A POWERFUL MALE HAND comesINTOFRAME, turningall the way backto the first pageof the great l edger.Across this, in hand- illuminatedletters,itreads "BeHoldA GrEat RED DRAGON...ReVelAtions12:3 . •The thick fingersrest for a momenton this titlepage ,lightly. Lov i ngly...

A clutteredboatyard, adjacentto a weathered graytwo-story beachhouse. Worksheds, traileredboats.

SUPER TITLES:MARATHON, FL , /THREEYEARSLATER.

MOLLY GRAHAM,in spatteredjeans and a painter's mask,is brushingvarnish on the teak trimof a sloop. She looksup.

A white Fordrental car pulls intothe yard, stops. JACK CRAWFORD getsout, stands lo ,okingupather. His grayD.C. suit and officepallor look outof place here.

She pulls hermask off, staring downat him. Surprised to see him, thenangry. Then scared.

She stares back athim, her face taut.

MOLLY * You can'thave it both ways, Jack. * Not anymore. *

Crawford comes arounda sandy corner, pau s esashesees. . . ft Graham, his forearmsgreasy, t inkeringwith apartially •

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di sas s embledb oatmotor,mountedonasawhorse. When JOSH a GRAHAM,ag e8 ,proudl yslaps thec orrectwren c hinto his dad •shan d,Grahamrewards himwith a smile.

Crawford,an i ntruder,feels a tinyjab of guil t. •

Minutes later,Crawford and Graham sitat a picnic table with glassesof iced tea. Beyond them ,highdunes, dense with sea oats. In the distance,Graham's house. The small talk is windingdown; an uneasy silence. •

CRAWFORD • You know why I'm here? •

GRAHAM * I canguess. *

TAN Revision 4-1 8-0 2 11.

FROMCLOSERUP, we see thatGraham is now darkly tanned, thin b utfit. He's waryof Cra wford.

A brief si len ce.Grahamlooksaway, down the beach.

TANRevision 4-18-02 12.

In the distance,Josh is castinga surf rod. Molly scands watchinghim, hand on her hip,with spent wavescreaming around herankles. Crawfordstudies Graham'sprofile.

GRAHAM • I don ' tthinkI ' d beallthatuseful toyou, Jack. Inever think about i tanymore.

He takesa sip of tea, thenlooks at his glass. A beat.

TAN Revision 4-11-02 12A.

He dips i ntohisjacket pocketwith two fingers. Flipstwo photographsacross the table. Graham goes very still. With his fingertips,Crawford reachesout, nudges the photos straight, l i keagamblerdisplayinga winning pair ofaces.

SALMONRevision 3-12-02 13.

All dead.

Graham looksat him a momentbefore picking themup .

Two snapshots. A pretty woman (MRS.LEEDS)followedby three children anda dog, carryingpicnic items up a pondbank. Her husband (MR. LEEDS)waits ona blanket. Another family (th eJACOBIS)st andshappily behinda cake.

Graham staresat the faces, a longbeat. A shadow passes ov erhi she ar t .He turnshishead,looking down thebeach again, tow ards.. .

Molly and Jos h,asshe adjusts theboy's backswing. Hisson nods, then stridesforward, frowningwith concentration,and casts again. Whenshe glances thisway, her smile fades.

CRAWFORD (CONT'D)

Will, th i sfreakseem stobein phase with themoon. He killedthe Jacobis in Birminghamon Saturdaynight; February25, full moon. He killed the Leedsfamily in Atlanta night before last,March 28. That'sone day shortof a l un armonth.So if we're luckywe may have a little over threeweeks before he doesit a gain...Hell,I'm not the Pope,I can't tellyou what t odo. ButWill, do you respectmy judgment?

GRAHAM

Yes.

catch him fastif you help. Saddle up and help us,Will. Go to Atlanta and Birminghamand look. Just lo ok. Then help me briefthe locals. That's

it.

LO I NT.GRAHAMHOUSE. MASTERBEDROOM {2ND FLOOR). NIGHT. 10

Grahamsits on th eside ofhis bed, staring out to war d sthe moon. Still almost full. Moll ywatches from nearby.A * s ilence. •

PINK Revision 1-2-02 13B.

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Fora terriblein stanther facecrumples. Graham hugsh er . Shehugs him back fiercely.

GRAHAM (CONT ' b)

Molly, I'll be at theback of t he pack. I promise.

Never i nyour life. Ikn owyou.

1 0A INT .JOSH ' S BEDROOM.NIGHT. lOA10

In moonlight,Graham stands lookingdown at his sweetly • sleeping son .Reaches gently to smoothhis hair.

Graham embracesMolly, then Josh, a quick,awkward farewell. • Then he p i cksuphisovernight bag, tru dgesacrossthe sandy yard towards awaiting taxi. Watchinghim go, Molly hugs • Josh tightly toher side, as if a coldwind were rising.,.

A two-story brickhome, set back from the streeton a wooded lot. The windowsare dark. One yard lightburns . A patrol car waits at the cu rb ,'TWOCOPS dimlysilhouettedinside.

SUPER TITLE: LEEDSHOUSE. ATLANTA, GA.

Graham•s flashlight beam showsa long porch, with lattice screeninggiving privacyto the back door.

PINK Revision 1-2-02 15.

Thebeam picks out deckfurniture, kids' bikes,a coiled hose. It passes over, thenreturns to ...awicker dog bed andplastic bowl.

Graham looksat these. Then takes a rnicrocassetterecorder fromhis pocket, holds it tohis lips. Flicks iton.

He turns,aims his flash at theback door. Sees anAtlanta PD seal acrossit. Above this,the single glasspane is missing, replacedby a plywoodpatch.

Night lightsglow on the countersas Graham unlocks the door. comes in. He removes his setof keys, softly shuts the door. Standsvery still, takingin the house. Sensing madness like abloodhound sniffs ashirt...

Finally he trustshimself to move .Crosses to the stove, turns on its hoodlight: cold neon batheshim. He turns.

Gleaming copper bowls. Fr amedsamplers. Kids' art under fridge magnets. Happy snaps of the fivedead. All-American smiles. Mrs .μeedswas very beautiful.

There's a SUDDEN LOUDRmG behind him .Graham starts at the noise. Turns quickly,eyes darting in fear...

A phone. After a SECOND RING ,theansweringmachine CLICKS ON,and we hear a WOMAN'SRECORDEDVOICE.

Themachine BEEPS, but there'sonly a DIAL TONE. Hang-up.

Grahamstares at the answeringmachine. *

Slowly,quietly, Graham climbsthe stairs.

YELI..OWRevision 1-14-02 16.

Grahamstands in the darkhall outside t hemaster bedroom. Thedoor is ajar. He hesitates,then softly pushes itopen wider. Steps onto the jamb. A long beat. He has to steel himselfto reach in beside thedoor, turn on the wall switch...

Bloodstainsshout at him fromthe walls, the mattress. the carpetedfloor. The very airhas screams smeared on it.

Graham jerksback out into the hall,turning away from the terrible sight. With his back againstthe wall, he fumbles out his taperecorder, keys it.

Light from theopen door shows great dark stainson the hall carpet. Matted slidemarks join in a wide trailthat leads * from other bedroomstowards the master. ..

Graham 'seyes travelover twin beds with bloodstainedpillows. Scattered toys, rowsof dolls, stuffed animals...He is .. puzzled, keys bis mike. *

GRAHAM • He drags thebodies into the master. But why bother? They were already dead. And noneof them got the same - extra attentionas Mrs .Leeds.

15 B INT.MASTERBEDROOM. NIGHT. 1.SB*

He standsover Mrs. Leeds'position in the grownup'sdouble 1r bed ,wherethe bloodstainsare thickest. *

His eyes squeezeshut, his head sagsonto his re cor der.

Graham swallowsthree Bufferin, scoopingup water in his hand from thefa ucet. Splashes morewater on his face.

YELLOW Revision 1-14-02 16A .

When he straightens,he ' slo okingathimself inthe shattered mirror of the med icinecabinet. Traces of red fingerprint po wder. several shardsare missing. He reachest othe sink for his litcle recorder. Gathers himself again.

He lowers the recorder. Stares for a few momentsat his own distorted image. Standingright where the killer stood.

PINK Revisi on 1- 2-02 17 .

A h i gh-risehotel,downtown. Stars twinklebeyond the glass to wers. Only a fewwindows are still lit.

Graham hunches over a coffeetable in his room,studying the casefile. A binder isopen and photos, labreports, sketches andcharts have all beenremoved, spread out.

He rubshis eyes, exhausted. Reaches for aminiature bourbon. Empty .He rises, startingfor the minibar, thena thought freezeshim. He turns back,looks at the table. Then he kneels,searching quickly fora partic ularphoto. Finds the onehe wants...

Thedaughter's bedroom. Atopthe bureau, a rowof dolls. in varioussizes, sitting linedup in a neat row. Their glass irisesseem to look at Graham .

Grahamstarts to tremble. Seeing,in his mind's eye ...,

lBA GRAHAM'SIMAGINATION - KILLER'SPOV - lBA•

The mirroredeyes of Charles Leeds,who"s propped up,head * canted, jawslack. They seem togleam with life. Next to him - BELOW OS- is Valerie Leeds,her dead face onher pillow. Inher upturned eyes, alsomirrored, we catch,just fo ran instant,the reflection ofa shadowy male face .

18B BACK TO HOTEL ROOM 18B*

Graham is stunnedand exhilarated,both at once, by this imagined glimpse. He grabs his microcassetterecorder.

He rises, pacing, on fire. His recorder isforgotten.

He stops. Turns. Sta resdownat the photos. He drops to hisknees, scrambling throughthe reports tillhe find the • onhe needs.

PINK Revision 1-2-02 18 .

Graham stops. St are si ntosomedarkinnerdistance, seeing...

The killer's left hand ,stillgloved, peeling the plastic gloveoff his right hand. A puff of powder driftsdown onto thepale bare skin otMrs .Leeds' leg . ..

18D BACKTO HOTEL ROOM 18D*

Grahamis sho ck ed ,exultant.Andfurious.

In anothersemi-darkened bedroom, Crawfordis also working • late, s i ttingatadesk while he studiesreports with his reading glasseson . When his PHONERINGS, he glances at the red digits ofhis alarm clock. 4 :12.He p icksup the ph one .•

GRJlJiAM(V.0.) Jack,this is Wil l .Wbo dowe have downhere who's really goodwi t h latentpr i nts?

INTERCUTTING -

Crawford's breath catches. He stares into the darkness.

WHITELocked 19.

In the earlymorninglight,TV vans aredouble-parked,with CAME.RACREWSand REPORTERSsettingup shots,startingtheir rem otes.Ahuge storyunfolding.

2 1 INT .SQUADROOM. DAY. 21

A large frontalviewof a setof teeth, upperand lower,is tackedto abulletinboard. DR. PRINCI,the chiefmedical examiner,moves in frontof thisphoto enlargement.He holds up a whitedental castwhichmatches thephoto.

Thereare aboutTHIRTYDETECTIVESassembledhere, aittingat schoolroomdesks.Severalheadanow turn asther lookback curious ly,orwitha hintof territorialbostilty, at •••

Crawford,sittingat theback .Hisfa ceremainsstudiedly neutral. Graham,besidehim ,isuncomfortablein thisvery public,emotionallychargedsetting.

Some nervousLAUGHTERatthis, MUTTERSamong thecops.

Si ttingtoone sidedown frontare BUDDY SPRINGFIELD, Chief o fPo l i ce,aburlymaninsh i rtsleeves,theCOMMISS IONER,a t ou gh-looki ngbla ck man,andsomecitygovernmentSUITS.

SPRlNGFIBLD(CONT'D) We 'regratefulforthe Bureau's i nv olvement.They ' vego tal oto f experti seinthisarea. In parti cular,InvestigatorGrahamdoe s. Is n' tth atright,Jack ?

GREEN Revision 1-22-02 20 .

Crawford raiseshis eyebrows at Gr~. who looks uneasy.

Graham stands, walksfon(ard reluctantly. It seems a long way. As he passesthe seated detectives,he hears their whispers - "Lecter.. . .Guythatcaught·Lecter...Thoughthe ~- .. Nah ,but thesumbitch ' boutguttedhim . ..•

When he turns to facethem ,something inhis eyes makes the detectives go very stil l.

Thedetectives watch him intently. The killer"senlarged teethgrin behind Graham, likethose of a jack-o'- lantern.

A WOMANDETECTIVE in the front row speaksup quietly.

She's disturbedby his intimacy with the killer'sfeelings.

A brief, unea sysilence,as he head sback to hisseat. Springfield replaceshim at the front of the room.

BLOE Revision 11-20-01 21.

The detectivesall startnoisilyrising,grabbinggeaz .

Hisstern bassvoicesinks themback intotheir seats.

SOUNDUPCOT -the manyNOISES of a busypolicedepartment, on fullalert. RINGING PHONES, WHIRRINGCOPIERS, VOICES.

, Springfield,behindhis crowdeddesk,searchesthroughpapers, findsa field report. Grahamsits infront ofhim, exhausted from hissleeplessnight. He takesthe sheet,scans it.

Grahamexchanges aglance withCrawford,who standsoff to one side,MURMURINGinto a phone,jottingdown hismessages. Other COPS passbyin the halloutside.

WHITE Locked 22,

Crawfo rdhangsupintime tosee Grahamconsiderthis. His voice,whenit comes,is soft,his mindrangingfar away.

Springfieldlooksathim a moment,impressed,beforehis attentionispulled awayby hisRINGING phone.

He listens.Looksat Crawford.

SPRlNGFIELD (CONT'D) Foryou.

Crawfordcomesover, takesthe phone .

Re listens,bisexpressionchanging.Then looksat Grabam .

Grahamturns, ga%esout thewindow .Hisface isblank,closed like alifer's.Springfieldglancesat him curiously.

Crawfordhangs up.Springfieldlooksat him, wai~ing.

Springfieldturns,staring atGraham withamazement,but also somethingveryclose toaversion.Graham can feelit.

PINK Revision 1-2-02 23.

Aftera moment Graham risesabruptly, walks out. Thebig cop's troubleds tarefollowsh imall the way out thedoor.

Graham slipsout a side door. Inthe distance. on the fron t steps, REPORTERS,PHOTOGRAPHERS,and TV CREWS, held backby manned barricades,SHOUTquestions at the Commissioner.

Graham turns,striding away fromall this fuss, when aSMALL MAN darts outof an alley aheadof him, SNAPS his picture. His face popsup from behind hiscamera.

Graham keeps going. Lounds scuttles sidewaysahead of him.

Graham moves swiftly,forcing Lounds upagainst the wall. His face i sscary,but his voice stays low,very intense.

A handgrabs Graham ' sshoulderfrombehind. It's Crawford. Hepulls Graham, with someeffort, away from thereporter.

They moveaway ,down the sidewalk,walking swiftly. Lounds • inundaunted. Hovers cockily,shouting after them.

PINKRevision 1-2-02

23A.

24 •

A MOTHERtries to soothe herrestless TODDLER. At another table,A FAMILY eats pancakes. WAITERS come andgo . Nonnal people,far from the worldof slaughter.

Crawfordand Graham sit nearby,in a booth. Grahamis • watchingthe mother and child. He' sstill upset .

• GRAHAM (CONT'D) • But that bastardsn u ckintothe

hospital and tooka picture of me with tubes hangingout - * •

GRAHAM .. - and Josh saw it. My son saw me • like that. •

PINK Rev ision 1- 2-02 24.*

CRAWFORD *

Forget Lounds .And give yourself .. some credit. When we catch the Tooth .. Fa i ry,thatprintplus his teeth

will burn him. You did that, Will. ..

GRAHAM *

The evidencewas there. It was right

there for anybodyto see.

CRAWFORD

But nobody elsedid .

(off Graham'slook)

All I m sayingis, that was very

good work .

would take me atleast four weeks to • work up a realprofile. I did what * you asked me todo. I'm going home . ...

CRAWFORD • Now? You can't stopnow. •

YELLOWRevision 1-14-02 25 .

A beat. They lookat each other.

Graham looks down athis untouched plate. When he looks back up Crawford isstill staring at him.

Graham glances againat the family eatingpancakes. Then back at Crawford, hisface pale and tense.

PINK Revision 1-2-02 25A.

A grim Victorianpile of a buildinglooms out of misty rain. Meshed and barredwindows, razor wire - toppedfencing,anda security checkpoint,manned by uniformedGUARDS.

SUPER TITLE :BALTIMORESTATE HOSPITALFOR THE CRIMINALLY • INSANE.

Pe rch edbehindhisornatedesk, eyeingGraham greedily, is DR. FREDERICK CHILTON, thehospital's Chiefof Staff.

Grahamglances politelyat an elaborate paperswan.

A heavy steelgate CLANGS shutbehind Graham, the BOLT shooting home .He ' scarryingathick manila file. Chilton walks ahead,still peevish. He glances back at the file.

PINK Revision 1-2-02 26.

CfflLTON Then see thatyou observe them . (a thin smile) Though perhapsit's gratuitous to warn YQM, o fallpeople, about how dangerous he canbe .

They ' redescendingintodarker,danker regions. Sweating stonewalls. Distant BANGING$, forlorn,echoingCRIES .

Graham doesn'treply. Anothersteel gate CREAKS openand he goe sthrough. Chilton follows,irritated.

Graham handshis . 44toa GUARD,as ANOTHERpasse s awand over him, whilea THIRD examines thecontents of hismanila folder. A FOURTHGUARDwatches monitors. In lockedcases are guns ,mouthpieces,Mace ,restraints,and padded gloves.

One guard nods toanother, who pushesa button. A final, massive steel doorWHOOSHES open, andGraham, after t ak ing back his manila file,walks through intoa dark corridor. Chilton can no longercontain himself.

Thecl osin gdoorerasesChilton's bewilderedre ac ti on.

Grahamt urns,l ooksdownthe corridor. The cellsto either sideare da rk;only at t h efa rendisone lit.

PINK Revision 1-2-02 27.

Graham takes a breath,gathers himself. Thisis the hardest thinghe's ever done. Then walks quietly in that direction. ShadowyFIGURES. lowMUTTERINGS in the barredcells he is passing . ..

Lecter'sis different:higher security. A thickbarrier of plastic.with a pass-throughtray. Inside,a bolted-down sink, toilet,table andbookcase, with many softcoverbooks. The . Doctorliesona cot,turned to the wall,apparently asleep. An issue of ItalianVogue lies openbeside him.

Graham islooking at Lecter'sback, trying tomaster his dread,when he's startledby the soft. abruptVOICE.

He rolls over,opens his eyes. The pale irises rakeGraham.

Lecterpicks up h ismagazine,then rises politely.

PINKRevision 1-2-02 27A.

Lectercrosses, returninghis magazine to itstidy shelf.

GRAHAM * I got luc ky. *

LECTER .. I don't thinkyou believe that. •

PINK Revision 1- 2-02 28 .

LECTER

Ye s ,Ithoughtso . Birmingham and Atlanta. Youwant to know how he's choosing them,don't you ?

Lecter turns. Comescloser, staring intoGraham's eyes.

PINK Revision 1-2-02 29.

Somethingflickers anddies behind the strangepale eyes.

Graham doesn'tflinch, thoughLecter's eyes clawhis.

Grahamis sickenedby his sudden avidity.

Graham wal ksaway. Lecter raiseshis voice.

Graham pauses. Then returns, looksat him.

YELLOWRevision 1-14 -02 30 .

After a momentGraham stuffs his fileinto the pass-through, SLAMS it in .Lecter looks at the foldera moment, then runs a finger lovinglyacross its co ver .Hesmiles brightly.

Graham paces nextto a soda machine. He pullso f fhissuit * jacket revealing thathis sh i rtissoakedwith sweat. He * sits down on abench nearby, waiting. *

The file lies open onLecter's table. He staresdown at the pages, his eyes filmedwith thought. A pause.

Graham,in the corridor, sitsin a folding chair.Wearing • his suitjacket again. *

YELLOW Revision 1-14-02

30A. LECTER Almost. Not quite. Whatwere the yards like?

PINK Rev i s io n 1-2-0 2 31.

Graham getsup abruptly, startingaway .

LECTER {CONT' D) Butyou're not a coward.

His wordspin Graham in place. Eachone drilli nginto his back, l i ket i ny ,precisedarts.

YELLOWRevision 1-14-02 32.

Grahamturns, looks athim. Tries to steadyhis voice.

He returns tohis cot, reclines,shuts his eyes, andinstantly transportshimself to Caravaggio' sRome.

Graham, staring,feels like his skinhas been peeledoff.

Hurrying out ofthe madhouse, Grahamstops, shakes hishead, * trying to clearhis brain. Lecter stillcrawls in there like a fly.

TELEPHOTO ANGLEonhim, and the rapidWHIRR of a motordrive, as a SERIES OF PHOTOSare SNAPPED: Grahamregaining his composure, thenheading towards a payphone on the corner.

Thelittle reporteris staked ou tbehinda van in the parking lot,studying Grahamintently.

He'swith a PHOTOGRAPHER,who looks up fromh i scamera.

Graham standsat a pay phone;we hear Crawford'svoice.

PINK Re v i sion 1-2-02 32A .

Graham ,frustrated,shuts a drawer inCharles Leeds' desk. Looks around thiscozy panelled room . . .

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 wa1ks over. Kneels to open a drawer. Sees a jumbleof videos - kids'movies, grownup classics- and a bulkypadded mailer. When hetips this, small loose VHS-C tapes spillout. He flips throughthe handwritten titles...

"POOL PARTY 6/2/86•...•SUSIE'S DANCERECITAL 2/9/86•. . . •BOBBY'S BIRTHDAYBASH 12/4/85. "

There's also a full-s izedVHS tape,ina handsome plastic container, mocked-upto look like a Hollywoodmovie. Graham lifts this for a closerlook...

,,

The title is •THEDEEDS OF THE LEEDS!!,. Glossy photos of thefamily meuu:,ers,witheachface outlinedby a star. The dog, a gray Scotty,gets his own star, too. Lettering at thebottom reads: •AFEATURE-L ENGTHVHS COMPILATION!•

On theTV screen, the tape'sopening credits arejust ending. BouncyCANNED MUSIC underneath. The opening shotis the littleScotty, asleep ina big leather chair. • .

Grahamglances down . He'ssitting in the same chair- the deadman's chair. He touchesits arm. Then looksback at theTV screen...

SOUNDof a door opening. The dog jumps up ,tailwagging, trots towardsthe kitchen. VIDEO CAMERA FOLLOWShim, UNSTEADILY. The back door opensand Mrs .Leeds comesin with groceries. The lattice,behind her1 hides theyard.

She blinks,laughs in surprise,as the three children rush in past her,in a noisy, squabblingtangle, and disappear. She sets herbag down on a counter.

She leans over,shakes out her tousledhair, combing with her fingers, thenstraightens, strikinga mock-glamorous pose. The gestureis touching, oddly intimate.

BLUERevision - 11- 20-01 33A.

Graham,watching,feels hisheart pierced.

'

PINKRevision 1-2-02 34.

Molly wakensto her RINGING phone. Picks it up,glancing at her clock. 12:34. Outsideher window, distant surf.

INTERCUTTING -

As Graham watcheshis TV screen,with the SOUND MOTED.

On the TV, a new scene,a pool party withfamily and GUESTS.

TheVIDEO CAMERA SNEAKSUP on Mrs. Leeds,very sexy in a floralbathing suit, as shechats with a WOMANFRIEND . ..

CAMERA ZOOMS INon Mrs. Leeds'cleavage, BLURRING abit. She laughs,getting up, blocks thelens with her hand,saying somethingin protest.

CHERRY Rev i sion 3-26-02 35.

Graham gentlyhangs up thephone.

O~ THE TVSCREEN, the ANGLE SHIFTS ,BLURS amoment,then AUTO- FOCUSES,asLeeds extendsthe camera i none hand,pointed backwards, tocatch himself andhis wife kissing.Their guests silently laughand applaud

Graham staresat the TV screen,haunted by this image. ..

Graham, at thewheel of a rentedBuick, CRUNCHESpast a Realtor's •FORSALB• sign, then stops. He's looking at. . .

A big split-level,with sma l loutbuildings,flanked,bya white-fenced pasture. Behind thehouse, thick woods. A red . van marked •sAFESHIELD•is parked inthe gravel drive.

SUPER TITLE: JACOBIHOUSE, BIRMINGHAM.AL,

Graham, on a flaggedpatio, stands by a kne~lingWORKMAN who isinstall inga wrought-ironsecurity gateover a set of shinynew aluminum-framedsliding glass doors.

WORl<MAN I'll guaran-darnn-teeit. •

Grahamglances towards thefront yard. Se esanotherbig house, * withgood sightlines. Heturns back, puzzled. 1t

GRAHAM

Why didn t he breakin down there?

PINK Revision 1-2-02

35A.

The workman followshis gaze past some shrubberyto a set of concrete steps, leadingdown to a basementdoor well.

CHERRYRevision 3-26-02 36 .

The man giveshim a curious glance. *

39 OMITTED 39* AND AND

A small, shallow depression. The locationis marked bya • freshtriangle ofyellow crime-scene tape,tied to sticks.

Graham kneels, touchesthe earth. To oneside he finds a childlikebouquet of flowers,dried andwithered. It crumbles inhis band. His expressionchanges asa new thought comes tohim. He pulls outhis recorder, flicksit' on.

He turnsslowly. Stares. Head-high brush runsout from the fenceabout thirty yards. To where the woodsbegin ...

CHERRYRevision 3-26-02 37.

4 2 EXT .DENSEWOODS. DlW . 42

Graham has takenoff his blazer. His shirt. underthe leather shoulder rig, i sdrenchedwith sweat. He's on hishands and knees, exploringthe dense carpetof pine needles anddead l.eaves,when somethingcatcheshis eye . . .

The pop-top fr oma soda can. Nearthis is a thumb-sized branch. neatly severed. Brown witheredleaves amid thebright green undergrowth.

Slowl y,slowly,Graham' seyes travelfrom the pop-topand • the c li ppedbrancht othetree behindit. Then up its trunk...

Climbing, alreadywell up in the tree,Graham rea c hesfora thick limb just abovehim. Pulls himselfup by it, panting, then leans around thetrunk...

He stares at somethingOUT OF SHOT, a longbeat. Then he hauls himself into asitting position onthe big limb ,which jutsout at a right angle. He turns hishead: the branch • was cut off to improvet heview. He looksacross the open • air.~ .

A clearview of the backand side of theJacobi house. The cat'sgrave. ..the flagstonedpatio, slidingdoors. ..and then,on the second floor,the master bedroomwindow.

As Grahamlooks at this,he isseeing, in hismind's eye ...

Night. The moonlit house. A bright square of window .MRS. JACOBI,hair wet from her shower,walks across theroom. Passingthe window, she starts toslip off her bathrobe. . .

CHERRY Revision - 3-26-02

37A.

43B BACK TO ELM TREE

43B

Graham, staringat the same windowin daylight, whispers.

He turns hishead, looking at thetree trunk again.

CHERRY Revision 3-26-02 38.

on the trunk, a patchof outer bark hasbeen shaved away, * exp o singgreeninnerbark. centered in thisis a curious

..

carving; it looks likea stake piercinga hollow rectangle.

CLOSER on the strange carving,until it FIL LSTHESCREEN••.

A weathered sign CREAKS inthe wind. A jagged crackdown itsmiddle ,makesit resemblethe tree c~rving. Its peeling lettersread •oot--HYDE/NUR--ING/ H-ME.• Beyondthis, a gravelroad slithers upa low rise to an old country-Gothic house.

SUPERTITLE: ST.CHARLES,MO.

A verandahsurrounds the tall,once-grand house. Down its crumblinglength, ancient rockingchairs stir in thebreeze, riddenby ghosts. MOVING ANGLE, pastthese, approachingthe front door,as we hear a LITTLE BOY'S VOICE,oddlymuffled, wet-sounding. And tearfully scared.

LITTLE BOY {V.O.) Granmaw. Granmaw. Pleeease, Granmaw . ..l

MOVING ANGLE,down the long dark ball,passing a LOODLY TICKING tallcaseclock. Ahead of us ,anarchway, opening off to theright. At the end of thehall, a grand staircase.

WE PASS an oilportrait of a stern, gray-hairedold woman - GRANDMOTHER DOLARHYDE- wearing a 19401 sdre ssandholding a dyspeptic-lookingPekingese. Her featuresand ha irstyle make her resembleGeorge Washington on thedollar bill. Her crooked teeth, revealedin a grim smile,match the dental rnolqwe saw inAtlanta.

THROUGH THE ARCHWAY,we catch a glimpse of a formerballroom, later converted to adownstairs ward . Rows of dusty-sheeted cots, each with itsbedpan.

CHERRY Revision 3-26-02

A big TV set, a couch,and some armchairsare down at one end, along with twoo rthree old-fashionedwooden wheelchairs.

One alcove of this ballroom,formerly adining room ,was converted at some pointto GrandmotherDolarhyde's bedroom

YELLOW Rev i sion 1 - 14 -02 39.

AS WE START UP thestaircase,we are becomingaware of a new SOUND- a RHYTHMIC THUMPING,accompaniedby LOW GASPS. . .

MOVINGANGLE. down a lo nghall,towards the opendoorway of a garretroom. The roomis lit reddish. withswirling points of light,as if it were inflames. Th eTHUDS andGASPS are LOUDER, accompa niedbyakind of FRENZIED WHIMPERING...

MOVINGANGLE, past a lon e lytwinbedand n i ghtstand.Thena shadowy alcovewith a tall steelgun safe, and the doorway ... to a bathroom. Overhead, a mirrorball spins. firingoff refle ctionsfrom a redspotlight...

WE COME AT LAST toa workout area -barbells and a weight bench, where a thickly-muscledMAN,wearing gym shorts, is fl aton his back,pumping iron. He GASPS,punishing himself to some new standardof perfection. He wearsa stocking mask, rolled downov erhis fa c e.His sculptedphys i queis r eflected from tallstanding mirrors.

Theman on the benchWHIMPERS. remembering.

YELLOW Rev i sion 1-14-02 40 .

The man CRIES OUT,then drops his barbellonto the uprights with a CLANK. He liesthere trerobling,drenchedwith sweat.

On his nightstand, twosquat glasses, eachholding a set of dentures. One set is •normal.•The second setis the crooked yellow teeth that wereonce Grandmother's. They match the • dental mold we saw inAtlanta. Powerful fingersREACH INTO FRAME, scoop this secondset from its glass.

CLOSEON a shattered mirror,over a medicine chest,with manyshards missing.

SOUNDof SHATTERING GLASS. The BOY'S VOICE CRIESOUT.

After amoment, the GROWNUPMAN steps in front of themirror. He has rolledthe stockingmask up to his nose; we see only his lowerface, weirdly fragmentedby the mirror'smissing pieces. His cheeks look strangelyhollow. Be hasa surgicallyrepaired cleft palette.

His big hand covershis mouth fora moment. We hear aMOIST CLACKETY SOUND. When it comes away,he has inserted his .. Grandmother's staineddentures. •

The crooked yellow teethgleam, just foran instant, in an • awful rictus of a smile.

A semi-human pragon,on an art poster, loomsover a reclining woman. In its nichebeside the gun safe, litby candles, thisposter forms the centerpieceof a shrine. As we look at thefiercely- muscledDragon,the GRANDMOTHER'SVOICE morphs slowlyinto a DIFFERENTVOICE - the deeper,more spectral, MALEVOICE of the DRAGONHimself.

YELLOW Re vision- 1-i4-02 40A.

YELLOWRevision 1-14-02 41.

crouchingbelow the poster,hi sback to us, is the muscular • man. He hasclose-cropped brownhair and is now wearinga silk komono .Hespi nsthe combi na tionl ockonhisgun safe, • then opens it,REVEALING camera equipment.a 9 mm. Glock .. with a homemadesilencer, a sawed - offshotgun. ..andhis • huge black ledger.Carefully, reverently,he opens this, • resting it ona small table. The safe islarge enough for • him to s tandupright.He switches ona gooseneck lamp .

,.

Across c:befirstpage, in hand-illuminatedle tters,we see again the words •BeHoldA GrEat RED DRAGON. . . •

The man leans over,his face in shadows,and picks up a new clipping from a loosepile of newspaperson the floor. Carefully he pressesthis into place ona blank page...

Will Graham. in thephoto snapped outside theasylum. Above this,Freddy Lounds.grinning in his by-lineportrait, and th escreamingTattlerheadline, •INSANE FIEND CONSULTEDIN ' TOOTHFAIRY'MURDERS/BY SAME COP HE TRIED TOKILL!!! "

A red marker pen appears,angrily slashes outthe words :TOOTH FAIRY,Mthen circlesLounds' face. The offendingpage is turned,then a co~plemore, before the thick fingerspause...

HannibalLecter. tuxedoedand suave, from an o ldpre - arrest societyph oto. Thereare many Lecter photos. He ' sanidol.

The man 'sthickf i ngershoveroverthis page fora moment , then touchthe Doctor's faceadmiringly... ..

Graham walksdown a narrow corridoras a GOARD opensa barred door aheadof him ,then crossesthrough a checkpointcage as a SECONDGUARDopens anotherbarred door. He ' scarryingan 8xl0 colorphoto of the curioustree carving. Emerginginto a two~storygymnasium, he sees...

Hannibal Lecterwalking directly towardsbim. Smiling brightly. No bars between them,no security glass. ..!

Graham pauses,unable to keep his heartfrom pounding.

At the last moment ,justsix feet away,Lecter is broughtto a halt; there'sa rattle overh ead.

Graham glances up,sees the metal track,suspended from a grid below the ceiling,that holds Lec ter'ssturdyle ash- restraint system. GUARDS with slung rifleswatch his every move from the second-floorj oggingtrack.

The Doctor is harnesseda ndhandcuffed, thoughnot muzz led. His eyes are brightand curious, like a bird's.

YELLOW Revision 1 -1 4- 02 41A .

Graham holds up the photo.

Lecte rs tudiestheimage briefly.

Lecter turns,moves in the otherdirection. His leash allows him to walkin an oblong oval,which is painted on the floor. Graham walksalong beside him ,carefulnot to stray insidea second, largerring that marks thesafety perimeter. He has to move quicklyto keep up with theDoctor's pace.

PINK Revision 1-2-02 42.

Stillstriding, he nodstowards the photo. *

He stops abruptly, turningtowards Graham.

PINK Revision 1-2-02 43 .

He takes a sudden steptowards Graham, lightningquick. • Graham stepsback involuntarily. Lecter smiles. •

PINK Revision 1-2-02 43A.

LECTER (CONTI D)

I believe.we"remaking progress. . . * And that 'swhatour pilgrim is doing, ..

'

h e'srefininghis methods. Re is * evolving. Thecase file mentioned ♦ videos of theLeeds family. l'd *

like to see those.

GRAHAM

No.

BUFF Revi sion 2-21-02 44 .

In thebackground, an air-hornsounds briefly. Graham turns his head,sees a caged red lightflashing on thewall. He turns backat Lecter, whosepale eyes have neverleft his.

He pointshis cuffed hands at thephoto.

Thiswas only his firsttime. Already inAtlanta he did much better. Rest assured,my dear Will,thia one will giveyou plenty of exercise.

As Graham staresat him, we heara SOUNDUPCUT: a clanging of steel. thenBARNEY' SVOICE. *

Lecter does as commanded,quite meekly,while behind him BARNEY and a TENSE SECURITY GUARDopenhis door and enter • the cell. The securityguard levels a large-boreair rifle, • while Barney has acan of Mace and aphone, its long cord • trailingdown the corridor.

BARNEY • If you turnaround before youhear the lock snap,you ' llgeta dart. Understood?

BARNEYsets down thephone, __thentheyboth backout quickly, • eyesalways on Lecter,and SLAM his door.

BUFF Rev ision 2 -21-02 45 .

He waits,bearing their footstepsrecede. He ' sl ookingat t hephone.Its' rotary dialhas been replacedby a blank metalplate. A red lightblinks. When he ' ssuretheguards are gone,he picks up the receiver.

Lecterpresses down the phone'shook ,one quick tap.Then, before theline can go dead ,hetaps it again, ina quick, intricaterhythm: one tap,pause, then three, pause,then more ras thephone reads hisclicks as dialing. ..

Graham isat an information desk ,wherea p rettyyoung BOOKSELLER witha flash of greenhair i sstudyi nga copyof Bartlett's. She runs her much-ringedfingers down apage .

She flips pagesquickly, finds ther ightquotation.

Le ct erl oun ge sonhiscot,cradlinghis receiver. We hear a WOMAN'S VOICE on theo therend o fh i sline.

YELLOW Revision 1-14-02 45A.

WHITE Locked 46 .

TheDoctor hangsup. Smilesthoughtfully.

ss INT.BOOKSTORE.DAY. ss

Strange,etherealimagesslip pastour eyes- angelsand devils,feverishcolors- as Grahamsits ata table,flipping th roughalargebook ofBlake'swatercolors. Ontil one especiallystartlingimagemakeshim stop,look closer• . .

The samepaintin g asi nDolarhyde'sshrine.Ahorned,winged, thickly-muscledman-dragon,withhumanlegsand a tail.He's poisedin sexualmenace abovea reclining,helplesswoman; she isapparentlywrappedin flames.

Graham'seyes traveldownto the caption...

ffTheRedDr agonandthe Woman ClothedwiththeSun, c.1803- 05 /BrooklynMuseumof Art.w

As Grahamstaresat this, struckby itseer i epower,the c utebooksellercomesup,g la ncesoverhisshoulder.

YELLOWRevision 1-14-02 47 .

$he smiles, flirtinga bit. Graham smilesback.

A large, flat-roofed,dun-colored building,nearly identical toall the others inthis vast industrialpark .

SUPER TITLE:ST. LOUIS. MO.

A HUMof MACHINERY asWE FOLLOWa MAN with croppedbrown • hair,broad shoulders i nawhite lab coat, througha labyrinth * of corridors;we catchglimpses of rooms densewith some sortof hi-tech equipment. Other WORKERS,passing in the hall,glance briefly at theman's face, then away,out of • respector perhaps uneasiness.

A signbeside a door reads: •INFRAREDSENSITIVE MATERIALSIN USE. NQSAFELIGHTS. NQ SMOKING. NQ HOT BEVERAGES." The red light ison above this sign.

A THICK FOREFINGERreaches out,pushes a button. Aftera moment, the li ghtturnsgreen, andthe brown-hairedman OPENS • the door, ENTERSthe light trap, thenRAPS on an innerdoor.

WE ENTER into cool,almost absolutedarkness. A GURGLE OF WATER, the slightCREAK of a desk CHAIR. The man's voiceis * shy, cautious. Everyword is carefullyweighed.

Dolarhydemoves throughthe dark. SQUEAKof thestool as he sits. The RUSTLE of herLAB APRON. Very close tohim.

YELLOWRevision 1 - 14-02 48.

A DOOR CLOSES on RUBBERSEALS. The HISSof a VACUUM LOCK. Then the slight SQUEAKof her SNEAKERS asshe passes him. After a moment the lightscome on.

REBAMCCLANE stands by thedoor, smiling inhis approximate direction. She has ahand.someprairie face,a page boy, freckles. Her eyes makesmall, random, unseeingmovemen~s.

DOLARHYDEstares at her, surprised. we see hisface clearly for thefirst time, evena sReba cannot. Awhite scar line runs fromhis upper lip tohis n ose,but his featuresare otherwiseunremarkable, evenattractive, exceptfor his wary , predatoryeyes. They flash towards... •

Her whitecane, propped in acorner...

Then backto the woman herself. He can stare ather all he wants. Astrange and wonder fulfreedom.

She crosses the labunerringly, stopsby a refrigerator, opens it without fumb ling,bendsover toreach for something on the back of a shelf .

REBA {CONT'D ) I gottawarn you, though, thisstuff is pretty sensitive. It canbe mean to handle.

Shetu rnsaround witha small shrink-wrappedpackage. holds itout in his generaldirection.

WHITELocked 49.

Dolarhydetakesthepackage. Disturbedandarousedto be alonewithher. Almosttouching•.•SOUNDof theDOO~, behind them.Theyboth turnas a co-worker,RALPHHANDY,pokes his headin witha breezysmile.

Spotsof colorappearin her cheeks.

Beforegoing,he leersat Dolarhyde,tiltshis headtowards Reba,thenpumps hisforearm lewdly.Hotstuff, huh?The doorBANGSshut behindhim.

Rebacrossesangrily,startingto collecther handbag, raincoat,headscarfandcane.

Dolarhydeisstartled,uncertainhow to respond.

BLUE.Revision 11- 20-01 50.

Reba pauses,looksin his direction.Smiles gratefully.

POV AUGLE,througha rain-streakedwindow,as Rebafollowsa concrete di videracrosstheparkinglot,tappingthe edge with her cane,untilshe reachesa busstop. Shestands under theshelter waiting.

Dolarhyde,ahundredfeet away,watchesher frombehind the closedwindowof hisvan . Aftera momenthe makesan unprecedented,impulsivedecision.Sta r tshisvan.

Rebalooks upat theSOUND of theVAN asit splashesup beside her,then idles. Thewindow WHOOSHESdovn.

DOLARH'fDE Ridewith me.

OOLARHYOE

, Mandyia a fool. Ridewith me...

(whatdomen s~y?) ..• formy pleasure.

She issurprised,then pleasedby hisunexpectedchivalry.

6 1 EXT. DOLARHYDE'SVAN.DRIVING.NIGHT. 61

Dolarhydeeases upto thecurb in frontof aduplex ina quiet neighborhood.Glancesat hermailbox tobe surehe's got theright address. Then,grippinghis steeringwheel tensely,he staresstraightahead throughhiswipers.

Reba, besidehim,measureshis quietas shyness.

He turns,looks ather. Herpretty face. Herunseeing eyes, glowing like mirror shards inthedashboardlights.Aftera moment hissilencemakes hersmile faltera bit.

YELLOW Revision 1-14-02 51.

Rebastands her cane ina co r nerandis suddenlyfree. She moves about with a.mazinge ase,han ginghercoatin a closet, ~r oppingherbag on a chair,switching on lights. She's nervous,excited, notmuc hused to men inhere .

ttewa tc hesclosely,fascinatedbyher physicalassurance.

Reba turns away fromher refrigeratorwi tha whole pie, sets it down on her centerisland, where Dolarhydesits stiffly upright, on a stool. Nearby ,she has startedcoffee.

Shegoes to a woo dblock,removes a knife, testingits sharpnesswith her finger. She sets it down nearDol arhyde. He looksat the gleamingblade.

He st aresather with renewedwariness. She misreadshis silenceas t ac t,s milesappreciatively.

WHITELocked - 52.

She spansthepie with herfingers,bringingherthumbs togetherto locateits center,thenmarksthis witha tooth pick.She putsthe middlefingerof ber lefthand onthe toothpic k,herthumbonthe edgeof the tin.

He picksup theknife, feelingitspower.Looks at her.

She smiles.Extendsherpalm.

He makeshimselfreversethe blade,placingthe handlegently on heroutstretchedpalm.

She cutshim apiece ofpie, guidingthe knifewithher ieft index finger.He watchesherhandlethe brightblade.Snick snick.She setshi spieceout on aplate.

She findshim a forkin adrawer, setsthat byhis plate.

She stops,suddenlyself-conscious.Lookshis way.

Silence.She movescloserto him.He's barelybreathing.

BLUERevision 11-20-01 53.

Sheholdsher handout, waiting. He staresather, astounded. Then takesher wristbetweenhis thumband forefinger.A livingwoman,strangefeeling...

He bringsherfingerscloseto his teeth. Howeasy itwould beto snapthem off. Snicksnick. Hecan't lether touch hismouth. He cannot. Butby a greateffortof will,he sparesherlife.

He holdsherwrist awayand releasesit. Her handsettles tothe countertop, fingerstrailinglikean avertedglance.

Shenod s,sadly. He rises,headsto thekitchendoorway.

He turns,lookingat her .Stillfuriouslyaroused,at war withhimself. But hisvoice issoft.

He goesout intothe livingroom,and she listensforthe CLICK ofthe LOCK ashepulls herfront doorclosedbehind him. She shakesher headwryly -what an idiotI arn!Then, aftera moment,puts herfingertipsgently onthe stoolwhere he wassitting. Still warm. Shesmiles.

BL0E Revision 11-20-01 54.

The massiveheadquartersofthe FBllooms overPennsylvania Avenue ascars and~axis streamby. We hearOFFICE SOUNDS. t SUPER TITLE:J,EDGARHOOVERBUILDING, WASHINGTON.D,C,

Graham is·usingaborroweddesk in a .farcornerofthe special task forceoffice. Walls andbulletinboardsare covered with casephotos,maps, lists,assignments. Inthe b.g., other AGENTSare alsoworkingphonesor conferring.

BYRONMETCALF,an overweightgoodol'boy, leansback in his leatherdeskchair, lookingouthis window.

rNTERCUTTING-

AsGraham glancesdowna file,ticking offthe name.

Crawfordentersthe taskforce room,,spotsGraham,hurries ~awardshim, lookingunusuallytenseand excited.

BLUERevision - 11-20 - 01 54A.

I hateto ask. It sa pain inthe butt.

YELLOW Revi s ion 1-14-02 55.

Crawford twirls a finger. Hang up ,it' surgent.

He hangs up . Looks atCrawford expectantly.

Grahamstares at him. Hismind already racing...

A uniformedCLEANING MAN is wip1.ngdownthe sink with a wad of toilet paper. As he spins a newhandful off the roll, two loose pi eces of tissuecomeloose,settling to the tiles. He stares at thedense, spidery handwritingon them ...

Lecters itson a metalbench, h i.sbackaga i nstacinderblock wall . Qui terelaxed, eyesshut, apparently daydreaming. Hiswrists are cuffed behindhi sback.

YELLOWRevision 1-14-02 SSA.

Lecter•s eyesopen. Across fromhim ,chrough the steelbars. is see a narrowband of corridor.

WHITELocked - 56.

The otheragents fallsilent,lookingtowards thehuddled Graham and Crawford, pickingup_ontheirexcitement.Three of them -BAKER, RANKIN,andWILLINGHAM- driftthis way.

Crawford looksat hima mo~ent,then grabsup a phone receiver. Punchesoneof theblinking orangebuttons.

Hehangs up.Looks atthe tense fa cesofhisgatheringteam.

CRAWFORD (CONT'D)

' We'vegot anote coming inon the

fly,possiblyfrom the ToothFairy. Num.berOnePriority. Ithas to go backto Lecter•scell withinthe hour,unmarked.We'll needHair end Fiber,LatentPrints, thenDocuments. I'llwalk it throughmyself.Let's g£,people!

An FBIhelicoptertlashesby, with thePotomacbelow andthe Washingtonmonumentin thedistance.

Grahamclimbs outthe door ofthe helicopter,duckinghis head againsttheheavy washof air fromthe stillwhir li ng blades.He's carryinga documentcase.

YELLOWRev is ion 1- 14- 02 57 .

He hurries to wardsCrawfordand Baker ,who'spropping a d oo r open . As Crawfordgrabs the case, Bakersays something into his walkie- taikie.

The note, on two piecesof t oi letpaper,isn ow withina plastic sheath, clippedatop a light box. The top piece has a ragged hole wherepart of the text hasbeen torn out. More of the text, near thetattered edge,has been inked ~.

On thesecond piece of thenote, below the signature (•AVID FAN·) ,aretwo deeply indentedsemi-circles: bitemarks.

A white-glovedtechnician, BEVERLYKATZ, squeezes a remote as her tripod-mountedcamera FLASHES motordrivephotos.

Under a powerful magnifier,she reachesinside the plastic sheath with finetweezers, removing a tinypiece of brown Mil from thepaper fiber. Carefully,with maddening precision, sheplaces this hair in a glassineenvelope .

Crawford, besideher, glances at his wat ch .

Graham hands Katz a copyof the killer' sdentalmold. She holds th isup to the impressionson the n ote.They match exactly. She looks atGraham an dCrawford, excited.

Theholding cage and thecorridor outsid eit suddenly9..Q. ~- Lecter l oo ksup,interested.

SLOERevision - ll-20-01 58.

H INT.LATENT FINGERPRINTSLAB.DAY. 74

Crotchetyold JIMMYPRICE staresunh appilyattheporous toiletpaper asa TECHNICIANscansit with ahelium-cac:lmiwn laser. As thepaper fluoresces.glowingsmudgesappear on it: oilystains,perspiration. No readableprints.

The oldman, frustrated,turnsto Crawfordand Graham,shakes his head. Nothinghe can dofor them.

The BUILDINGSOPER, inoveralls,stridesdo~n theshadowy corridor,carryinga toolboxand mutteringirritablyto himself,as instructed.

Asthe superpasses theholdingcage, keepingwell clearof thebars, Lecter'seyesfollowhi~. Theman's givinga pretty goodperformance,notoverplayingit.

A textanalyst,LLOYD BOWMAN,a thin,bespectacledchinese • man,places thetwo partsof the note,with tveezers,between piecesof glass. Crawfordand Grahamhovernearby.

Bowmanfocusesa small TVcamera onthe note,then darkens the roomtill there'sonlythe dμilred glow of a lamp and theblue-greenof his monitor screen.

YELLOW Revision 1-14 - 02 59.

Bowman glancesat him, intrigued. Graham rubs his temples.

The tattered edges,smeared with ink,appear MAGNIFIED on his monitor. As he mashes the glass gently,these edges flatten. becomingless jagged. He'smuttering to himself.

BOWMAN {CONT'D) You're sosly, but so am I . . .

Below the words ~rHOPE WE CAN CORRESPOND...•we can now make out, through thevermilion ink smears, fragmentsof writing. The tops ofletters.

GRAHAM * Jack, there"s onlyone safe way of * carrying on a communicationtha t's one-way blind.

BLUE Re vision 11-20 -01 59A.•

Fairy? "They madethat up . •

'

·GRAHAM They madeup "Hannibalthe Cannibal," • too . SoLecter andthis guyboth • have theTattle{ incommon. •

Crawford andGrahamstare athim. ~. They'reboth really • j az~ednow,their thoughtsracing. •

GRAHAM • Personals. ♦

BowmanandCrawford lookat him. •

' answerhirnthroughthepersonal •

co l UIUns? ..

BLUE Revision 11-20-01 60.

GRAHAM .. We'll needproofsof thosepages, .. beforethe nextTattler ispublished. •

CRAWFORD • I'm on it. Will,you betterhustle. * Great work,Lloyd. ..

Graham snatchesupthe twopieces ofthe note,still sandwichedin glass,and putsthemin the documentcase.

Graham sitslookingout a windowatthe Washingtonlandscape asit flashesby belowhim. He holdsthe caseon his lap .

t 78 INT.ASYLUM.LECTER'SCELL. DAY. 78 SpecialAgentRankin,whose facewe recognizefromthe Task ForceOffice,kneelsby Lecter'stoile~. He wearsthe borrowedoverallsofa maintenanceworker,butwith white cottongloves. Verycarefullyhe's replacingthetwo pieces ofthe noteback ontoLecter'stoilet roll,exactlyas they were.

Rankinslipsout of theopen celldoor, slamsit,peels off hisgloves, thenquicklygrabs amop froma bucket,just as Lecterappearsat the endof thecorridor,being wheeled backtowards hiscell ona handtruck, underfull restraints.

The Doctor'smaskedfaceglides closerandcloser,moving witheerie smoothness,asif he canfly...

As Lecterpasseshim, Rankinavertshis gaze. Lecter'seyes rake overhim briefly. •

BLUE Revision - 11-20-01 60A.

Graham, Willingham,andChiltonwatch on aMONITORas Lecter's guards pushhim backinto hiscell, standhim up right,and

'

WHITELocked 61.

begi n thecarefulunstrappingprocess .Rankin continuesto mopnea rby ,movinggraduallyawayfromtbecell.

DOLARH~DE (V. 0.) "Untilthen,dear Doctor,I remain yourmost ...AvidFan."

Grahamand Willinghamexchangeatense glance.Didit work?

Bl INT.TASK FORCE OFFICE.DAY. 81

Crawford,on a phone,swivelstowardsGraham,who isjust returning,accompaniedbyBoWJnan.Nearby,afax machineis startingto CLATTER.

He hangsup andthe threeof themgather impatientlyaround the incomingfax.FinallyCrawfordrips it fromthemachine. He spreadsthe flimsyouton a desk.They huddleoverit.

That'sit. That'sit. Lectercalled him apilgrim whenwe talked.

Bowman sitsdown,aligns the faxpreciselywith thecorners of the blotter. He studiesi tintentlyasCrawfordcalls ove rBaker,one ofthe otheragents.

SLOERevision 11-20-01 62.

As Bakerrushes toa phone,Crawford looksat Bowman.

' Galatianshasonly sixchapters.

Samewith "Jonah6:8"- Jonah has fourchapters. He wasn'tusing a Bible.

GRAHAM • Thenthe ToothFairy namedthe book to use .He specifiedithis note. In thepart Lectertoreout.

CRAWFORD • Theytried sodiumamytal onhim three yearsago tryingto find outwheLe he burieda Princetonstudent. He gave thema recipefor dip. Besides, if we sweathimwe lo seth e connection.

GRAHAM -- If theTooth fairypicked thebook, th enit1 ssomethingheknewLecter would havein hiscel l.

WHITELocked - 63.

Bowmanis alreadystuffingthefa.xintobis briefcase.

Be hurriesout .Crawfordlooksathis watch,shakeshie head.

Theylook ato neanotherunhappily.A beat.

BLUERevision 11-20-01 64.

Crawfordfinallynods. Reaches forhis phone.

Copiesof the tabloidRATTLEdowna metal conveyorbelt, droppinginto openracks,where othermachinesbundleand wire them,thenroll themalong. Dust risesas PRESSMEN move about. TheNOISE isTHUNDEROUS.

SUPER TITLE:NATIONALTATTLERBUILDING.CHICAGO.IL,

A hand reachesintothe streamofdescendingnewspapers, pulls outa copy. A PAIR ofFBI AGENTS,wearingheadsets againstthe din,ignore thefront pagenews (•KEAo TRANSPLANT!","ASTRONOMERSGLIMPSEGOO!!t•),flippinginstead ' tothebackpages,the classifieds,tilltheyfind. ••

Lecter'ssmall boxedmessage.beginning•oEARPILGIM..."

The ROARof the PR£SSROOMnow CROSSFAOEStotheRINGING of ...*

...aTELEPHONEon Crawford'sbedsidetable,wakinghim .He ' grabs thereceiver,then takesa quickglance athis WIFE: stillsleeping. He rollsawayfrom her,murmurs.

Bowman,exhausted,sitsamidstbooks, scrawledlegalpads, waddedpapers,and propped-upPolaroidsofLecter'scell. He'sstaringat a copyof The Joy of Cooking.

INTE RCUTTING-

CHERRY Revision 3-26-02 65.

In the distance,beyond Graham's hotel,the White Houseis illuminated. Fountainssplash on theMall.

Graham, in a tee shirtand boxers, sitsup on the edge of his bed. He turnson a lamp, glancingat his clock: 1:23.

Crawford,still in pajamasand slippers, isnow sitting on • the edgeof the bed. He's got on his readingglasses.

INTERCUTTING-

As Grahamis abruptly onhis feet. Staring, withhorrified prescience,at his own face inthe bedroom mirror.

Graham's receiverdangles, abandoned ...

CHERRY Revision - 3-26 -0 2 66.

,-. 88 OMITTED 88· AND AND

A SWAT TEAM, sh otgunsproppedon their hips,has formeo a defensive cordon aroundthe yard, as DEPUTIESemerge from thehouse ,shepherdingthe fr i ghtenedMollyandJosh . Still inpajamas and r ob es,theylookstunned,more like prisoners thanpeople who've justbeen rescued. ..

9 1 EXT.ISOLATED AIRSTRIP.VIRGINIA. DAWN. 91

Preceededby a PAIR OF FBIAGENTS, and trailedby TWO OTHERS carryingtheir bags, Mollyand Josh emerge froma private jet,climbing down its stepsto a runway.

Grahamis waiting for themon the tannac. His eyesmeet Molly's. She stops. He stepsforward, a bit tentatively. She lookshim up and down, thencomes to him witha light kiss. Josh walks up besidehis dad, a bit uncertainly., Graham dropsto one knee tohug his son. THE FBIAGENTS ease a discreetdistance away ,theireyes scanning thesmall hangarsnearby, the fringes ofthe airfield...

THREE BIG ORDERLIES aremethodicallystripping Lecter'scell of books,drawings, mattress, clothes- everything thatisn't bolted down- and dumping these intoa laundry cart.

Lecter, unmaskedbut strapped onhis hand truck, is forced to watch froma corner. There's acurious grace abouthim, a calmness,even in restraints.

At his desk,Chilton stirs some personalpapers with his gold pen. Smirksat the Doctor, enjoyinghis humiliation.

CHERRYRevision 3-26-02 67.

Ch i ltonreddens,staringathim . Then snaps atan orderly.

AERIALVIEW of an old white clapboardfarmhouse,bordered by a barn, split-railfences. Beyond these, wide fields,distant woods .Two unmarked SUVs areparked out front. Goldenlight, almost dusk.

Graham andMolly sit on a glider. A silence.

CHERRY Revision - 3-26-02 68.

Graham is helpingJosh unpackhis duffel, as theboy lines up his fe~ sal vagedtreasuresona bureau. •

JOSH * Whywould be want me tobe dead when he doesn'teven knowme?

Graham is immeasurablysaddened. Looksfor words .

Josh digests this silentlyfor a moment.

GRAHAM • Maybe we shouldtalk about that. • (pause) What happenedwith Lecter. it bothered me a lot, Josh...-Notjust thathe hurt me. Thathe fooled me so badly. I kept thinkingthere must be some way I should' veknownsooner. That maybe I could' vesavedlives. And then I quit feelinganything.. .I couldn't eatand I stopped talking to anybody. Igot really depressed. So a doctor askedme to go into a special hospital,and I did. After awhile I got somedistance on it. (MORE)

CHERRYRevision 3-26-02 69.

Joshnods. Graham ismoved by his son'scourage. Scoops himinto bis arms. Josh returns thehug gratefully.

CRAWFORD {V .0.) * Atlanta PD nailedhim, Will.He had a fake BureauID and was tryingto get the Leedsfamily autopsyphotos...

Bulletholes punch intobales of hay, kickingup dust and strawas they miss theirtarget: a largemilking can.

Molly,the shooter, standsholding Graham's .44in both hands. When shepauses, Graham reachesout, steadiesher grip. They'reboth wearing earmuffs.The gun isheavy, its recoil hard tohandle, but she keepson -gamelytrying.

Finallyone bullet punchesa hole in the can,low and to one side.

When thegun finally ciicksempty, he gently takesit away from her.She looks at him, triesto smile. Buthis expressionis that of a man whohas witnessedan irrevocable loss.

Freddy Lounds,seen through a two-waymirror, slouchesat a bare Formicatable, smoking nonchalantly. Graham andCrawford stare in athim through the glass.

CHERRY Revision 3- 19-02 69A.

Anold brick apartmentbuilding, in a mixed ,partlycommercial neighborhood. We FOCUSon the third- floorcornerunit.

BLUE Revision 11-20-01 70.

Grahamsits ata desk ina blandlyfurnishedefficiency. Proppedbesidehim is abrutish "artist'srendition"ofthe killer. Lounds,notepadat the ready,interviewshimwhile a Tattlerphotographerrecordstheevent. Crawfordwatches laconicallyfromthe sidelines.

He catchesCrawford'seye. Crawfordmouths:"Lecter. "

Crawforddriftsbehindthe photographer,craninghisneck tostudy what . he'sframing.Loundscatchesthismove.

The photographernods,FLASHING away . . .

PHOTOANGLES: BehindGraham 1downinthe cornerof thewindow, a restaurantsign("HONG FAT NOODLECO.")

WHITELocked - 71.

and streetsign (ffJlstSTREETNW,")clearlyin dicateout location. Graham andthe telltalesign6are caughttogether, FRAME afterFRAME.

Crawford catchesGraham'seye.Nods: thephotos lookgood.

Hewaves forhis photographertopack up.Smirks atCrawfo~d.

He breezesout, followedbyhis photographer.Grahamrises, lookingsourly atthe artist'srendering.Shakesbis bead.

BLUE Revision - 11-20-01 72.

Crawf ordloo ksathimsearchingly. •

99 OMITTED 99*

At asidewalkstand, bundlednewspapershavebeen dwuped in toapile. The NEWSIE, inhisapron, issortingand checkingoff h i sdel i veries.Hiskioskisstilldark, • shuttered. Latenight,not muchstreet activity. •

MOVINGANGLE ona pair ofblack zipperedbootsas they approachthe squattingnewsie,thens topbehindhim .The • boots'owner staresdownat .•.

The frontpageof the Tattler.quarteredbytwine: "TOOTH FAIRYI MPOTENT!!!/TOPSLEOT,HREVEALSHISLURIDSECRETS," abovea smilingphoto ofLounds andGraham .Graham'sarm is aroundthe reporter'sshoulders:bestof buds.

This silent,loo mingpresencemakesthenewsieuneasy. •

N£WSIE (t wists ,looksup ) You again. Howmany times Igotta tell ya,pal, you'llhave towait till Iopen? Come back4 a . m.

A swi tchbladebloo msinOolarhyde'shand.Flas hesdo wn. The dealerstares,alarmed,as the twineon the bundleparts with a POP. A cl eancopyisplu c kedfromthecenter,spilling the rest. Then Dolarhydewalksaway, ashis silverdollar RINGSon the side walk .The newsier is es,flushed.

SLOE Revision 11-20-01 13.

Inthree stridesDolarhydeisback. Rightin hisface.

Dolarhydeturnsdisdainfully,stridesavay,as theman's frightenedgazefollowshim.

~ black280ZX comesdowna citystreet, makesa fast,cocky~ .. turninto theentranceof an undergroundparkinglot. •

Lounds,behindthe wheel,swoopsdown a ramp,then through • the vastundergroundlot. He's evidentlyearly;thelot is • almostempty. He SCREECHES toastop, staringin annoyance...•

A bigblack vanis in hisparkingspace. ♦

Loundscli.robsoutofhiscar, leavesit idling,and stalks over tothe van. A shadovvfigurecan be seeninside.

Lounds bangsrudelyon thevan's window,thenpoints atthe paintedwords on thewall:"MR. FREDERICK LOUNDS."Thevan's dark windowpowersdown witha softWHOOSH.

A powerfulleft hand firesout,grabsthe backof Lound's neck, jerkshis faceforwardinto a soakedragheld by the righthand. He strugglesa few moments,thengoeslimp.

Th eblackvan emergesfrom thegarage,turns sedatelyright, passing a fatSECURITYGUARD,smoking underthepaper's big frontsign. •

BLOE Revision - 11-20- 01

73A.

As the vanstarts upthe long hilly block,awayfrom the bu ilding,agray s edanisapproachingf romtheother di re ction...

BLUE Revision 11-20-01 14.

The sedanpausesas the fatguardcrosses thesidewalkto greet itsoccupants:TWOFBI AGENTSin darksuits. One of them flashesID. Impressed,the guardpointshelpfully towardsthe garage'sentrance,andthe sedancontinuesthat way.

Lounds issemi-conciousbutoddly upright. Hiseyes flutter, then open .He'sdisoriented. Stareswoozily..•

The dustyold ballroomSWIMSINTO VIEW. Sheetedcotsand bedpans. Tall drapedwindowsdarkenthe room...

Lounds triesto turnhis head,cannot. Criesout softlyas somethingtugs hishair. Hiseyes straindownwards. . .

He's wearingonly underpants.When hetries tolift h.is rightarm,we see hisskin stretch. Fromthe solesofhis bare feetto the backof hishead, hehas beenglued into oneof theold woodenarmchaix;~.He'sfightingpanic, even before hehears SOFTFOOTFALLS,approachingfrombehind. ,

TheFOOTSTEPSSTOP. Ominoussilence. Lounds becomesshrill.

Loundsis confused,thinkingfast. Triesto s tea dyhisvoice.

BLUE Revision 11-20-01

DOLARHYDE{0.S.) Accordingto you,I'm a vicious, pervertedsexualfailure. A "bottom- feedinglowlife"who's aboutto "go down inflames." (pause) You know now,don'tyou?

The old chairCREAKSas itbegins toturn.

He squeezeshis eyesshut ashe slowlyrevolves.

YELLOWRev i sion 1-14-02 76.

DOLARHYDE {O. S.)(CONT'D) Openyour eyes and lookat me . If youwon't open themyourself, I'll stapleyour eyelids toyour forehead.

Lounds opens hiseyes, very reluctantly,and finds himself blinking i ntoaglow of white radiance...

Dolarhyde standsbefore him, starkly litby the beam of a slide projector,with his "normal" teethinserted. Now he • slowly turns hisback on Lounds, droppinghis kimono...

His great back musclesflex, rippling thefantastic tattoo that reproducesBlake's monster. Wingroots flare over his ribs. The brillianttail drops along oneleg, curling about bis calf. The Dragonturns his head slowly,looks over his shoulder at Lounds,with his awful rictusof a smile.

Dolarhyde pulls the robeback on as he movesOUT OF LOUN'D'S VIEW. A blank squareof wall is left as a screen.

Dolarhyderaises a remotecontrol, CLICKS it. Blake 'sRed Dragon fillsthe wall,beamed from a projector ona table near Lounds. Dolarhyde standsbehind him.

Do you see now?

Dolarhydebegins to rapidly runthrough his other slides. CLICK . Mrs, Jacobialive. Oneof his own surveillance photos.

CLICK . Mrs. Leedsalive . Another distantsurveillance shot.

YELLOWRev ision 1-14-02 77 .

CLOSE ON Lounds•horrified gaze,as more slides CLICK on, one afteranother. He is near tears.

Dolarhyde comescloser, hovers over h i m .Eyesflashingin co ldfury.

A tapere co rdersitsbesidethe pro jector. Dolarhydelifts itsmicrophone ,clips itonto the chair near Lo unds'head.

YELLOWRevision 1-14-02 78.

Lounds, You and theother pismires...

He squats,bringing his terrifyingface very close.

Lounds isnear fainting. Dolarhydeswitches the recorder ON, then looksat him again.

Sunset; the skyover the old house isnow a purple bruise.

l.05 INT. DOLARHYDE'S HOUSE. BALLROOM.NIGHT. 105

Close by Lounds, the taperecorder is stillrunning. He looksdrained, but morehopeful. He alwayswas a good taiker.

No response,except for an oddNOISE. We've heard itbefore. The MOIST CLACKETYSOUNDof denturesbeing ins erted...

The old wheelchairis abruptly spunabout, and Lounds finds

,,

himself staringdirectly into the faceof Dolarhyde. The brown-stained, crookedsmile of the Dragon. Whonow lunges forward, his fangsparting to rip offLounds's lips..•

The fat security guardis out front again,at his sidewalk post, munching a donut. It's very early,no traffic. He hears a STRANGE SQUEAKINGNOISE. Looks up thehilly block...

It seemsto be coming fromup there, over thebrow of the hill. Getting LOUDER. Then shrill, high- pitchedSCREAMING...

BLUERevision 11- 20 - 01 79.

The guard'sheadcocks inpuiilement, Whatthe,.,?

A humanfireballappears,rollingdown themiddleof the s treet,t r ailingsmokeandflames.Itveers,stri kesaparked car, overturns,one wheel spinningwhileflamesenvelopethe blackeningfigureof FreddyLounds.

The spoolsof a cassettetap~turnslowly,next toa padded mailer. The mailer,sealedin a clearevidencebag,is addressedto "WillGraham,c/o FBI Headquarters,Washin gton."

Cr awford,hisfacedark, sitsat thehead ofthe table. Around i t:Bowman,Katz,Price,Rankin,Willingham,andBaker.

No onewantst olookat Graham. He sitsa littleapa rtfrom t heothers,staringathis handson thetable,as if they bel ongedtosomeoneelse.

Cr awf or dreachesout,punchesthe~ button.

Cr awfordlooksathim. Gr ahamsta r esatthetable.Crawford, expressionless,pushesfastfo rw ard,th enafteramoment punchesQ.!s.yagain.

BLUERevision 11-20-01 80.

SOUNDof the wheelchairCREAKING,thenhorrible,part-mu~fled SCREAMING. Aftera few secondsPricereachesout, turnsit 2.f..!.Eventheoldman, fortyyearson the job,looksshaken.

A long,awful silence. FinallyCrawfordclearshis throat.

A glanceat Graham,still faraway.The othersshift uneasily.

,

Theylook athim. Herises, crossesto awall map.

He drawsa bigcircle,in red marker,with Chi cagoatits center. Looksat Rankin,Willingham,and Baker .

- distributionMondaynight.

(MORE)

YELLOWRevision 1-14-02 81.

They nod, jottingnotes. Craw f ord'senergy,hisruthless determination,are lifting everyone'sspirits a bit.

The others rise, withBowman taking the evidencebag and tape player. Crawfordand Graham are left alone. A beat.

Crawfordwaits. Graham shakeshis head. Frustrated,bitter.

WHITE Locked - 82.

Crawford looks at him unhappily.A long beat.

Leete::smilesupthroughthe plasticbarrier.Be•s sitting o nth efloor,hisback tothe wallof his denudedcell.

Graham sitson thecorridorfloor, closeto thebarrier.

~ Your celllooks biggerwithno books in it.

Graham'svoic etightens.Anenormous effortof co ntr ol.

WRITE Locked - 83.

Somethingmovesbe~ind thepale eyes,l i kesparksinaeave.

8LUE Revision 11-20-01 84.

Reba sitsnext to Dolarhydeashe drives. His fingerstap playfullyon the steeringwheel. He'sstill highfrom Freddy.

She hears thesmilein his voice. She'shappy too .

BLUERevision 11-2 0-01 85.

DR. WARFIELD, amiddle-agedblackveterinarian,guidesReba acrossa tiled floorby oneelbow. Dolarbydeis behindthem.

OR.HASSLER, ina l a bcoatandheadmirror,turnsaway from his patientto smileat Reba.

Sheis excited,nervous. Turnsher face,searching.

Grippingthe edgeof a steelwork tablewithher lefthand, she reachesoutslowly withher righttill itencounters£ thickcoat of fur. She flattensherhand, thenmoves it gently,tentati velyatfirst,acrossan orange-and black- stripedpelt. . .

Reba'sface makesquick, jerkymovements- blindisms- that she hasspent yearsschoolingherselfagainst.

Warfieldand Hasslersee herforget herselfandare glad.

She moveson, ci rcli ngthetable.Underhot lights,a drugged ,sleepi ngBengaltigerliesonhis r i ghts i de . •

BLUE Revisi on- 11-20- 01 85A.

Ten feetl ong,815 pounds.Rebalooks tinybeside him,and • sovulnerable. •

SLOE Revision 11-20-01 86.

Her hand trailsdownthetail, then over the furrytesticles. Brieflyshe cupsthern,thenmoveson •..

Oolarhyde,watchingfromthe shadows,istense withhis own excitement.A bead ofsweat tricklesdownhis face.

The t iger'seyesareopen. His tonguelollswetlyfrom his mouth ,wherewesee a brokenfang. Rebafeels hisears, the widthof the head,and then,verycarefully,touchesone of the incisors. Sheis flushed,elated. ..

Dr. Warfieldputshis stethoscopeinherears, thenguides her fingersdownwardwiththe diaphragm.

Dolarhydestares,transfixed,arousedby thegreat beast, the woman'slivingproximityto suchpower .•.

Her handson therhythmicchest, hershining,joyfulface upturned,Reba isfilledwi ththe tigerheart'sBRIGHT THUNDER...

Reba'scane,exploring,tapsalong thehall. Itpassesthe baseof thetall clock,findsthe edgeof theballroom's archway,thenopenair beyond. Shemutters toherself.

Shepauses,turningher faceback towardsOolarhyde.

Helooks ather frominside thefront door. Astoundedat himselfthathe ' sbroughtherhere. TheCLOCKECHOES a bit.

She brushesagainsta fringedlampshade,touchesit.

He g la ncesupuneasilyatGrandmother'sportrait.

BLOE Revi s ion ll-20-01 87.

SOUND OPCUT- BixBeiderbecke' s"Bockin'Chair."ECHOING slightly,as itis playedon •• .

..•awind-up gra.maphone,toonesideof thevast room . Outsidethe tallwindows,the lightis fading. Almostdark.

Reba, ina big chair,sipsbeer froma bottle,listeningto the old-timeyjazz. Dol a rhydesi t sonacouchnearby, uneasilyupright,facingthe TV. Hispalms rubs weatonhis thighs.

He looksat her, hispredator'seyessuddenly wary .

,

She catchesthe edgein his voice;itpuzzles her .

He looksaway. His reflectionstaresbackat him fromthe blank TV screen. Thisdisturbshim.

Hi sfacedarkens;he'sdangero uslysilent.She sensesit.

BLUERevision 11-20-01 88.

The MUSIC hasSTOPPED; theNEEDLESCRATCHES.A tensepause.

He rises uncertainly,startstowardstherecordplayer. She drainsherbottle,then rises,too.

Shesteps forward,brushingagainsthim. He freezes,alarmed.

Shefinds hismouth withher fingersandkisseshim, quickly, lightly,beforehe canstop her. Thenpulls awayas he stares ather, astonished.

As thetoiletFLUSHES,Reba turnsaway fromthe sink,lo cates a towel. Thenshe patsher hair,primpinga bit. Shecan't see thatthe medicinecabinet'smirrorhasbeen removed. She can 'tseeGrandmother'steeth,waitinginth ei rsquat glass. Blackenedby driedblood...

As Reba navigatesbackintothe room,the Beiderbeckeis PLAYINGAGAIN. Dolarhydekneels bythe TV,feeding at ape into theVCR. He rises,holding theremote,crossesto Reba. His voicesoundsthick, almostfrightened.

WHITELocked - 89.

He'ssteeringher towardsthebig chair.Insteadshe releases bisarm, goesto thecouch, sits.Thisunsettleshim a bit.

DOLARHYDE

He sitson theother endof thecouch. Looksat herwarily., ThenswitchesON his VCRremote.Be MUTESTHE TV SOUND,aa the BeiderbeckeCONTINUESTOPLAY...

On theTV, a homevid~o.KIDS ina big hedgedback yardhaving a waterbattle,circlingand laughing.TWO BOYSand aYOO'NGER GI.RI..Thisfamily(theSHER.MANS}isnewto us.Behindthem, a largehandsomehouse.A dog runsabout, barkingsilently.

CAMERAMOVES SHAKILYto catchMRS. SHERMANasshe comes outside,througha screendoor, carryingsodatowardsa picnic table. CAMERAZOOMSIN ONHER.•• a beautifulwomanincutoff shorts anda skimpyhaltertop.

Reba slidescloserto Oolarhydeon thecouch.Their thighs brush together.Hetenses.She smiles,snugglingcloser.

DOLARHTI>E SomepeopleI'm goingto meet.

Rebaleansher softweight againstDolarhyde'sshoulder.Re glancesather uncertainly,thenback atthe screen.

I nthevideo,anotherday. DAD onthe rec room sofawitha beer,lookinga bit drunk.Rainoutside thetransomwindow. CAMERAPANS toMo m andthe~wo youngerkids,rummagingthrough an oldtrunk.Dress-upfun in frontof a tallmirror.Boas, big s hoes,acowboyhat .The oldestboy mustnow bethe cam'.!raman...

YELLOW Revision 1-14-02 90.

Rebastret chesup to nuzzleDolarhyde' scheek,th eside of his neck. Whispers into hisear.

Her han dismovi ng ,downbelow. She smiles wickedly.

He ' sten s e ,incrediblyaroused.Sitsverystill, forcing all his attentionon the screen,as slowly, carefully, Reba's lips brushdown his chest, thenhis abdomen, until herhead moves OUT OFFRAME...

In the yideo .Mrs.Sherman ,in abig garden-party hat, turns, striking a posef o rtheCAMERA,her hand at the back of her neck. There' sacameo at her throat. Dolarhyde FREEZE-FRAMES this mornent . . .

Staring at th eTV,Dolarhyde trembles. Sweat trickles down his t emple. Aftera few moments his jawtenses, his head arches back...

On the arm of the couch,his clenched fingertipspop through the upholstery .

ANGLE ON Mrs .Sherman'sbeautiful, frozen fac e,asthe scratchyJAZZ CONTINUES, andWE MOVECLOSER AND CLOSER on her rad i ant,doomedsmile...

11 5 INT .GRANDMOTHER'SBEDROOM/FORMERDINING ROOM.DAY. 115

Dolarhydewakes up, puzzledfor an instant becausehe's not in hisgarret bed. Hiseyes widen as he remembers. He smiles shyly. Turns his headto the pillow beside him .No Reba.

He sitsup ,naked under thetwisted sheets of Grandmother's old four-poster. Her clothesare strewn acr o ssthefloor, • but she ' sgone.His smile fades.

I na risingpanic, wearing onlyunderpants, Dolarhyderushes out intothe hall, looks up anddown it. No Reba .

He turns witha start, looks at theold woman in the portrait.

BLUE Revision- 11-20-01 90A.

He backsawayfrom her,frightened, and then has a terrible thought. Heturns, racingtowardsthe stairs.

,

YELLOW Re vision 1-14-02 91.

1 17 INT. STAIRCASE. DAY. 1 11

Dolarbyde poundsup the steps, whimperinga little as be fli ngshimse l faroundtheturns.

He s tepsinto the doorway,panting abit . . .

She'snot up here, either. His frightenedface stares back at him from the workoutmirrors.

He rushesacross the garretto his gun safe,hastily works *

..

theco .mbinationlock ,yanksopenthe door. His great ledger, cameraequipment, shotgunand Glock are allneatly arranged, undisturbed.He backs awayfrom the safe, wild-eyed,confused. •

Oolarhydelooks up, wailingat the Dragon in theposter.

Covering hi searsagainst theawful sound, he spins a~ay, towards thewindow. Then he spotsReba ,through thepanes. She's down inthe yard, wanderingabout.

11 9 EXT. DOLARHYDE'S YARD.DAY. 119

Rebaturns around andaround, trailing herhands on the silks oft hetall meadow grasses. Enjoying the sun ' swarmthon her smi ling,upturned face. She wears Dolarhyde'skimono.

YELLOWRev is ion 1-14-02 92.

DRAGON'S VOICE

SHE ISMIJm . ..!

Dolarhyde staresat Reba, the Dragon roaringi nhis head .

DRAGON'S VOICE

THEY 'REALL MINE .LEEDS . JACOBI. NOWTHIS ONE. TAKE YOUR GUN AND~ HER !

DOLARHYDE

No ! She'sniiiiicel

Dolarhyde lurches to thesafe, grabs the sawed-offshotgun, * sticks the muzzle into hisown mouth.

DRAGON'S vorcE

He squeezes his eyes shut. His finger tightens on the trigger. The Dragon's v o icesoftensabit, cunningly.

Do larhydel o werstheshotgun,trembling.

Still terrified,he finds himself staringat the printed words across thebottom of his poster...

•...BROOKLYNMUSEUM OF ART. •

1 21 INT .DOLARHYDE'SVAN. DAY. 121

Dola rh ydepullsupin front of Reba's duplex. His frenzy has passed buthe's still tense, darklybrood i ng.Reba sits beside hirni nahu rt,puzzled silence. Finallyshe breaks i t.

BLUE Revi sion- 11-20-01 93.

DOLARJiYOE On a trip.

He looksather yearningly,as fearstrainshis voice.

Herjaw clenches. Angrilyshe opensherdoor, climbsout withher cane. As hedrives awayquickly,she standson the sidewalk,her faceturnedafterhim, tearsin her eyes.

Restingon a longtableare four:bigFedEx cartons,already opened .Some ofthe unpackedcontentsare spreadout: letters,photoalbums, kids'schoolnotebooks. We catcha glimpseof a silver-framedphoto: theJacobifamily.

Graham,hunchedover the table,searchesobsessivelythrough the lastcarton. Somethingnear thebottom catcheshis eye . His expressionchanges.

He liftsout of thecarton aplastic ziplockbag. Holds t hi sup,starin gatthelooseVHS-c tapesinsideit. . .

SOUND UPCUT: Bach'sKeyboard ConcertoinF Minor.which CONTINUES UNDERthefollowing. . .

Lecter c arefullycaressesso me pearsauceontoasliverof foieqras,th enliftsthis fromits platewith a silverfork.

BLUERevision 11-20-01 94.

Lets ithesitat~by his lips,an exquisiteself-torment, beforehis tongueemergespinkly tosavor it.

WIDER ANGLEREVEALSthathis cell hasbeen fullyrestored. The Doctoris din i ngcalmlyathistable,whichis covered by finecloth andexquisitelyset withbone china,a glass of wine,even a vaseof f~esh-cutroses. . .

Dolarhydegets outof a taxi,then leansdown,pays the CABBIE,who drivesaway, leavinghimon a sidewa lk.JOGGERS pass him,DOGWALKERS. He hasa knapsackoverone shoulder. He turns,staring upat ...

A massiveGreek Revivalbuilding,withbotanicalgardens.

SUPERTITLE:BROOKLYNMOSEOMOF ART. NYC.

Avideotapeplays. withits SOUNDMUTED. In thetape, 9- yearold DONALDJACOBIblows outthe candleson abirthday cake,as hisfamily watches.A time/datesta mp.reads • "1/18/89. " ,

Grahamgrips aremote control,veryintense,utterlyfocussed on theTV screen. Crawfordis impatient.

On the TV. theSCENEABRUPTLYSHIFTS. Now thewhole family is outside;Mom hasthe camera. Theoutsidebasementdoor swings open,andMR. JACOBIcomes upthe stepscarryinga new ten-speedbicycle,festoonedwithballoonsand ribbons. Donald rushesovergleefully,hugginghis Dadthen wiggling the handlebars.

CHERRYRevision 3-26-02 95 .

Stubbornlyh estabs the remote,rewinding. Crawfordsighs.

Dolarhyde walksdown a corridor,past massive Americanoils. He's carrying anotebook, a hardbackbiography ofWilliam Blake, and hasa special pass clippedto his shirt. No sign of his knapsack. He 1 saccompaniedbya docent, MS.HARPER, a sensible-lookingwoman, severelypretty.

DOLARHYDE * What didyou think I'd look like?

Somethingin his piercinggaze unsettlesher, just a bit.

12 7

OutsideLecter's cellare a PAIR OF CATERERS,in chef's starchedwhites, with astainless steel cart. Both very nervous. one man warmsveal on a chafing dish,while the othercautiously lowers thesoup course into Lecter•spa ss - through. The BACHIS PLAYINGfrom a portable ste re oona secondcart. This alsoholds a TV set and VCR. . .

The Doctor,as he rises totake the covered bowl,comes fa -ce - to-facefor a moment with thefrightened chef. Nods to him politely:Thank you.

BLUERevision - 11-20-01

95A.

On theTY screen,Jacobi againbringsthe bicycleup the steps ofthe basementstainiell. Thedoor s~ingsclosed behindhim. A padlockhangsfrom it. Graham FREEZES THIS fRAME, thenrises,crossingto pointat the screen.

,

YELLOW Revision 1-14-02 96.

Crawford looks ove rhisglasses at the screen. He's got the casefiles spread openin front of him.

Graham looksat him. Crawford'sexpression changes.

Graham'smind races. Somethingteasingly outof reach...

They stareat each other,as ithits them both at once.

GREEN Rev i sion 1-22-02 97.

1 2 9INT. BROOKLYN MUSEUM.PAINTING STUDYAND STORAGE. DAY. 129

Dolarhyde stands ata counter-heightwork table as Ms .Harper reverently opens a flatblack case in frontof him. •

Dolarhydeis tense, almosttrembling. Theyboth look down atthe case' scontents. Ms. Harper smiles.

Theoriginal Blake.watercolorrests on blackcloth. The Red Dragon and thewoman ClothedWith'the sun. Small but powerful. Stunning in itscolor and detail. Like a glowing jewel...

Dolarhydeleans closer, transfixed. Ms. Harperglances a t him,pleased by his passion. Then back at thepainting. '

With intensepleasure, Lectertakes a sip of blood-redwine . He glancesup, over the rim ofhis crystal goblet...

A se curitycamera,high in thecorner. Its lightis on.

The Doctorraises his glass ina silent toast.. .

ON A MONITOR. inthesecurity stronghold,Chilton watchesas Lecter smilinglymocks him. Heturns away, furious,· then storms out ,asthe gμards try tostifle their smiles.

The BACH SOARSLOUDER AND LOUDER, MIXING n ow with.. .

13 2 INT .BROOKLYNMUSEUM. PAINTING STUDYAND STORAGE. DAY. 132

as he stares, sweatyand trembling, atthe Blake watercolor.

Dolarhyde's hand slipsinside his shirt...

Ms. Harper' swholeattention is on thepainting . ..

GREEN Revision 1- 22-02 98 .•

Dolarhyde pulls out ablackjack, slugs Ms. Harper over her filU:.As she goes l i mp hecatchesherin his arms,eases her • with surprising gentlenessto the floor. •

Fora moment suspendedin time , _heisalonewith the Red Dragon, al oneand staring. ..Thenhe snatchesup the watercolor, stuffs-it intohis mouth. chewinghard . •

Adoor open sas a SECRETARYenters from the nextoff i ce, • glancin govera letter. •

SECRETARY • Jeannie, we've justgotten a request * from -

She glancesup in time to seeDolarhyde poking the lastbit w of pape rinsidehis cheek. Lookingback at her witheerie • calm, heswallows. Ms .Harper iscrumpled at his fe et . •

As the secretaryfreezes, eyeswiden i ngwithfear, be lunges It towardsher ... •

Dolarhydewalks briskly down a corridor,past ambling, unsuspectingTOURISTS . He is exhilarated,joyous, invu lnerable.Hevanishes amidst thecrowd ... *

AND AND

Cr aw-fordison thephone, over in the cornerof the room, whil eGraham continuesto stare at the TV screen. The we~ds videotape i snow playing.

On the TV. the Leeds'gray Scotty perks up his ears,run sto the kitchen door. Valerie Le edsand th echi ldrencomei n - c arryinggroceri es.

PINK Rev i s io n1- 2 -02 99 .

Graham is mutteringobsessively to himself.

Crawfordisn't offended. Senses that Graham isvery close to somebreakthrough. He isrocking slightly inhis seat.

Graham reversesthe tape fora few seconds, starts it forward again. Mrs.Leeds and the childrenenter. The door isbehind them . Latticeworkhides theback yard.

He picks up the plasticcontainer thatheld the videotape: ftTHEDEEDSOF THELEEDS!• The familymocked up as Hollywood • stars.

Crawfordstares athim. •

Crawfordholds out thereceiver. Graham rises,grabs it.

PINK Revision 1-2-02 100.

GRAHAM {CONT ID ) r'need to know if oneof the things he took was a home video. A full- length VHS tape, compiledfrom shorter tapes... Yes ...? "Meetthe Jacobis ...?·

As Crawfordfollows Graham's thoughts,picking up onhis excitement,his eyes grow narrowand bright.

Crawford picksup the plastic container. •THE DEEDS OF THE • LEEDS!• Turns itover to read the manufacturer'slabel on * the back:

•CHROMA-LUX,INC. / FILM&VIDEOTAPESERVICES/ ST.LOUIS, MO. 63102.·

Graham looks up fromthe receiver. Staresat Crawford like a roanwho ' sseenaghost. His voice ishushed, awed.

13 7 INT .LECTER' SCELL.DAY. 137

Lecter,in his cell, is likea spider at thecenter of his web,keen to every distantvibration. Now hewatches as ..•

On theTY screen in his corridor,Valerie Leedsleans over, shakesout her tousledhair, then straightens,striking her mock-glamorouspose: that touching,oddly intimatemoment that fatallycaught Dolarhyde' seye.

Lectertakes a tiny, delicioussip of her doom, s~eeterthan any sauterne. His eyes closeslowly in ecstasy...

A smalljet races west, towards thesetting sun .

Crawford, lookingworried, comes downthe jet' saisle, drops into a seatnext to Graham. Shows hima fax.

YELLOWRevision 1-14-02 101.

Graham looks at him, sta rtled,thentakes the sheet.

GRAHAM • That's him, that'sgot to be him. ...

A long, uncertainbeat. Then Crawfordnods. He takes back the fax ,looksat it. Shakes hishead.

Crawford looks at him,surprised.

In the parking lot ofthe factory corrq,lex,undersodi um lights,Dolarhyde paysa · TAXI DRIVER, who departs.He 's back in everyday clothes,carries his knapsack. Freed of theDragon, he looks happier,more relaxed thanwe've ever seenhim. He sta rt stowardshisparked van . Thenstops.

Thebuildings are mostlydark, just a scattering ofcars in the lot. And yet. . .fiveorsix of these ar eclusterednear the loadingdock, by the deliveryvans. A woman -a SECRETARY - gets outof her car, hurriesinside. Summoned herehastily - her hairis in curlers undera scarf.

Dolarhydehesitates, sensing somedisturbance. Cautiously h efollows thewoman into thebu il ding...

14 1 INT .CHROMA-LUX .2ND FLOORCORRU>OR.NIGHT. 141.

Dolarhyde edgesaround a stairwellcorner, looks down...

A long corridor. Lights on in oneof the offices, behinda frosted glassdoor that reads "PERSONNELDEPT.• Inside this room, SHADOWY FIGURES. INDISTINCT VOICES.

As he's puzzlingover this, another noise,nearby - RAPIDLY APPROACHING FOOTSTEPS- makes him pullback, out of sight.

YELLOW Revision 1-14-02 101A.

The se c retaryfromtheparking lot c omesbyhim ,in a hurry. c arryinga heavyarmload of ledgers. Shereaches the door of the personnel department,pecks on itwith her toe.

~ill Graham opens thedoor for her.

GRAYRev ision 4-25-02 102.

Dola rhydefreezes,stunned...

Thewoman goes in .thedoor closes behind her.

Dolarhydeback saway, thent urns,his running sho esguiec as herushes back downstairstowards the exit.

142 OMITTED 142*

Dolarhyderaces across theparking lot, leaps intothe 'Ir driver'sseat, shuts h isdoor ,yankshis valise fromunder the seat, clawsit open. Pullsout his Glock, jacksa round into the chamber.He's panting,a l mostfrantic.Looksout his window .

No on ecoming...

He forceshimself to take deepbreaths. Then he layshis pistol on theconsole, covers itwith a T- shirt. He starts his engine, thendrives slowlyand quietly away.

The PersonnelManager. MR. FISK, looksworriedly at Crawford.

GRAY Revision 4-25-02 103.

FI SK * Mr. Crawford,all you' vegotis a hunch. But I've got 382employees. And theyhave a union. Idon't see how I c anjustturn you looseon * their files. *

His secretary is grimlyguarding thepile of ledgers and * timesheets. Grahamhovers nearby, frustrated.

CRAWFORD • One of thoseemployees has already killed elevenpeople. Thatwe know of. If he getsaway tonight,what's * the company'sexposure on that? •

FISK * Let me get our lawyersdown here. .. I'm sure you canwork something out .. with them. •

CRJ\,WFORD We don't have timefor that.

Fisk looksback at him unhappily.

Reba's standingoutside her frontdoor~ saying goodnight to Ralph Mandy. His red motorcycleis parked at the curb.

GRAYRevision 4-25-02 103A.

GRAY Revision 4-25-02 104.

Impulsivelyhe leans forward,gives hera quick kiss on the cheek. Reba accepts this.

POV ANGLE, througha windshield,as they separate. Reba smiles. She turns, unlocksher door, asRalph stands by ...

Dolarhydestares at the twoof them fromhis parked van, his eyes turninghard. A grimnew resolve is floodinginto him.

14 7 EXT. REBA'SDUPLEX. FRONT STEPS.NIGHT. 147

Ralph waitsgallantly whileReba closes herdoor, bolts it from inside. Then he turns,starting towardshis bike. .. but Dolarhydeis blockinghis way .

Dolarhyde shoots him inthe face,two quick littlePHUTTS from the silencedGlock. Ralph'sbody tumblesbehind the shrubbery. Then Dolarhyde turns,calmly rings thedoorbell. He waits. Aftera moment, SOUNDSof the door beingUNLOCKED again. Rebaopens it, annoyed.

Dolarhyde clapsa chloroformed clothover her face. She struggles briefly,trying to cry out,then goes limp. He catches her as shesags.

Crouching with Reba,his feverish gazedarts up and downthe street. No witness. His eyes lingerfor a moment on Ralph's red motorcycle, thenshift to his corpse,crumpled behind the hedge. Hismind races. What now ...?

Fisk looks tenselyat Graham, as he breaksinto the standoff.

Fiskand his secretaryexchange a worried glance.

GRAY Revision 4-25-02 lOS .

GRAHAM "' Was heat work today? ..

SECRETARY • Yes.No. He came in early,but he * wenthome sick. •

Graham and Crawfordexchange a glance.Got him.

GRAHAM • That'shim, we've gothim. *

CRAWFORD • We've gotto scramble St.Louis PD, • the Sheriff'sdepartment,and the • State HighwayPatrol. Let'sgo. •

A dripping towel rubsacross Reba's unconsciousface, which stirs,the nshakes fromside to side toescape the wetness.

Hereyelids flutter open .She 'sslumped on thecouch, dazed, disoriented. Dolarhydesits beside her ,verydistraught.

Abruptly shestruggles to rise,but his big hands onher shoulderspush her back. He hisses.

GRAY Revision 4-25-02 105A.

His pa lm coversherrising shriek.

BLOE Revision 11-20-01 106 .

15 0 EXT .STATEROAD 370.NIGHT . 150

A caravanof cars andvans streamsacrossa MissouriRiver bridge, speedingwestquicklybut silently. St.Louis PD, St .LouisSWAT,FBI. Mars lightsflashingto cleartraffic, butno sirens. Onceacross thebridge,the caravanswings rightontoNorth RiverRoad.. .

Dolarhydestillgripsher mouth. He leanscloserto her, hiseyes bla~ing. Theirfacesalmost touching.

She shakesherhead, veryscared.

She startsto shakeherhead again. Then shedoes know. Slowlyshe nods .He uncovershermouth.

He gripsher faceagain, shuttingoffthe sound.

BLUERevision - 11-20-01 101.

In the leadcar,TWO DEPUTIESare inthe frontseat;one drivingand one consultinga map.The radioCRACKLESwith low, urgentVOICES,coordinatingtheracingtask force.

In the backseat,Grahamischeckingthe loadin his .44 Special. He looksat hisfingers,d i scoverstheyare remarkablysteady. He glancesbesidehim at ...

Crawford,who hascaught thismoment. Theireyes meet, briefly,then Crawfordnods:You'llbe okay .

153 I NT.DOLAR.HYDE'SHOUSE.BALLROOM.NIGHT. 1S3

A row ofgasolinecans, theircaps alreadyremoved. Oneby one, Dolarhyde'ssneakeriskickingthem over,as the liquid spill sout,spreadingovertbefloorboar~.•.

Oolarhydepauses,lookingupsharplyat his ceiling.

He picksupa can, franticallysplashingthecots,the drapes. Reba'sheadturns sharply,reactingto thesmeil.

Suddenlyhe'sbeside heragain, holdinghisshotgun.

She touchesthemuzzle.

BLUERevision - 11-20-01 101A.

She nods. Tears streamingdovnhercheeks.

'

PINK Revision 1-2-02 108.

The cold muzzle nowrests in the hollowof her throat.

He sobshelplessly, great spasmsracking his body. Then he's up again, lurching away,still gripping theshotgun as he fumbleswith a pack ofmatches. Strikes one, tossesit. It landswith a WHOOSH as flamesrise instantly. Thick black smoke beginsto fill the air...

Reba, terrified,gets to her feet.

Dolarhyde sways infront of her, backlitby flames, in hellish torment. Slowlyhe raises the shotgun.

Themuzzle trembles inhis hands. He hesitates,stricken.

CLOSE ON Reba'sface,as sheextends her hands pleadingly.

WHITE Locked - 109.

BOTHBARRELSof the shotgunEXPLODEat once.Bloodspatters herface. Shestaggersback, stunned.Thenhears theHEAVY THUMPof a BODYhittingthe floor.

She turnsto run,but stumbleschokingintothe couch.Smoke everywhere.Sheclawsher bandsthrough it,gasping.B.acks awayfrom thecouch, t urninghelplessly.Whichway?Shetakes a fewtentativesteps,arms e>ttended,thenstumblesover something,fallsto herhands andknees.

Her fingerstrailacrossthe floortill theyencountera deadhand, grippingtheshotgun. .•thentravelup thearm, the shoulder•••finallysinkingintothe horriblemushof the face:pulp,bone splinters,aloose eye.

Gaggin9,chokii,g,abefallsbackwards,then scramblesup again.Flames risebehindher, CRACKLING,shootinguptbe drapes.Flames andsmokeeverywhere.She turnsdesperately" Whichway? Thena new sound :th•BONGof thehall clock•••

Ber headturns.BONGBONG. Where ieit. ••?There.Thatway. BONGBONG..• crouchingl ow,underthesmoke, shefeelsher way acrossthe ballroom,bWllpingintocots,rightingherself, ■oving towardsthearchway,towardsthe sound.BONG BONG. Under herbreath,a desperatechant..•

1S4 INT. LEADCAR, POLICECARAVAN.DRIVING.NIGHT. 154

Through thewindshield,passingfields,patchesof woods- then a redglow int hedistance,flickeringagainstlow clouds. Thedeputywith themap pointsexcitedly.

Thedriverstomps hisaccelerator;the carROARS forward. Theother deputyhitsthe SIREN. Crawfordgrabs their microphonefromthecenter console.

CRAWFOJtO Allunits,that's hishouse burning. Watchi tnow,he maybe comingout . Sheriff,weneed a roadblockhere.

Grahamleansforward,between thetwo deputies,staringaa theglow brightensandswells, comingcloser. •.

1S 5 EXT.GRAVEL ROAD. NIGHT. 155

Thelead carROARS pastthe nursinghome sign,SIREN SCREAMING,a stheothercars andvans follow.

BLUE RevisJ.on 11-20-01 110.•

The whole s ceneiseerilylitby their flashingmars lights, as well asby the risi ngflames. . .

~ 156 INT. LEAOCAR, POLICECARAVAN.DRIVING. NIGHT. 156

Suddenlya,WOMANlo oms infrontof them,bathedintheir headlights,lurchingbl i ndlyintothecar'spath...

Thedr i ver,cursing,slamsonhisbrakesas ...

andjust missessmashinginto Rebe. The followingcarsand vansveer quicklyintothe fields,bouncingand swayingover therough ground.

ThenGraham andCrawfordare outof their car,racingtowards • Reba. Grahamgets therefirst, holdsher arms,his face .. c l osetohers,boththeirfaces redin the firelight. •

GRAHAM • FrancisDolarhyde. •

She'sbloody, sooty,half-deafened.Her mouthis working, .. but nothingwillcome out. He shakesher gently. ♦

Deputiesand SWAT copsareracing bythem withdrawn weapons . Graham andCrawfordlook atthe burninghouse, thenback at Reba, ather sightlesseyes.

Graham run sonimpatiently. Cr awfordtakesherarm . •

Heeases heronto thebumper o fapolice c ar ,sitsbeside • he r ,h isarmsaroundher,whi leshesobsint ohisne ck. •

PIN1<Revision 1-2 -02 110A.

Grahamrac e supthe s tepstothe front porch. The front dooris a mass of flames. He hurries along theporch, despite thesearing heat. almostfrantic to get inside. Which way? Whichway? Windows areshattering, more fireleaping out, boilingblack smoke . A deputyhurries up, shoutsat him.

Graham shakeshim off, staringinto the infernoin a trance of frustration,of unspent fury. Only when theman grabs his arm,physically yankinghim backwards, doeshe finally start tocome to his senses. As Graham and thedeputy stumble back downthe steps and intothe yard...

Th~ top ofthe house explodes.the garret and centerroof disintegratingin a vast fireball,as the ground shudders and the WHUMPof the shockwaverocks the police cars. . .

And knocksdown Graham and thedeputy.

Crawford, stillwith Reba, rises,watching anxiously...

But Graham andthe deputy scrambleto their feet again; • they're okay. Sparks and debrisrain down around them.

GREEN Revision 1-22 -02 111 . ·

The deputy moves off,but Graham turnsback, transfixed, staring at...

The rocking chairson the porch, movingeerily as flames take them. One lastride for the ghosts. Dolarhyde's van i sablaze; now itswindows shatter as thegas tank EXPLODES. Trees burn, shrubs; theen tirehilltop isa raging bell.

He stands there, a longtime, watching thehouse burn...

RebaMcclane, in a hospital· gown,sitsup againsta pillow. Bo tharmsand one hand arebandaged from burns. Ber face lookspale, still troubled.Graham is beside her.

GRAHAM • Just to say hi, seehow you're doing. •

REBA • Sure, why not. Who eouldresist a • charmer like me? •

He seestears glinting in her eyes .Le .anscl o ser. •

GRAHAM • Whatever was still humanin him was • only kept alive becauseof you .You • probably saved some lives...You • didn't draw a freak. Youdrew a man • with a freak on his back. •

REBA 11! (shakesher head) • I shouldhave known . •

GRAHAM • Sometimeswe don't. I've beenthere • myself. •

She looks towardshim curiously. Gentlyhe tak esher hand. •

She shakes her head ,wav e shimt owardsthedoor.But she • can't completelyhid e,at the end, a very Reba-likegrin. •

GREEN Revision 1-22-02 lllA.

As Graham leavesReba's ro om.he sees Crawfordsitting in the hall. He 'sholdingsomething, a thickblack book : Dolarhyde' sgreat ledger.Crawford rises.

He gives the ledger toGraham. For a moment theireyes meet .

Graham nods: Thanks. Crawfordsmiles, walks away, leaving Graham alone. He sits, theledger on his lap. Hesitates, thenfinally opens it,meeting the Red Dragon at last. . .

Graham ' sPOV,ashe turns thepages: news clippings,scrawled handwriting...and th~ ; loosebetween two pages, ayellowed oho-toof a littleboy. shylyhiding his mouth as he clings to theskirt of his stem-looking Grandmother on theporch . of theold house. ..

Graham staresat this image.

Molly and Grahamsit together on thedunes below their house. They're in shorts,barefoot. A driftwoodfire ,built in the sand, flickersbefore them . He starespensively at the flames.

GRAHAM When Iread some of his journal,it was so .. .Idon'tknow. Just sosad . I couldn' thelpfeeling sorry for him ...Hewasn't born a monster.He was madeone .It took years of abuse.

YELLOW Revision 1-14-02 112.

Molly looks at hima moment, then kisseshim. Josh c omesup from the surf li ne ,happytosee them smooching .

Josh, inside the walk-inpantry, rwnmages untilhe finds a Hershey bar, a box ofGraham crackers, and a bagof marshmallows. He rips thisopen, chewing one ,ashe exits thepantry, reaching for thedoor. When he swingsi tclosed, FrancisDolarhyde is revealed .standingbehind it.

Josh freezes,speechless, staringinto the crazedyellow eyes. Dolarhyde's voice issoft.

Graham looksup t owardsthe house.

She laughs as he rises,starting up towards thehouse. She t os sesmorewoodon the fire.

Crawford, i nbis readingg lasses,is taking downhis task force maps and photos,putti ngthem away i narchivalcartons. His PHONE RINGS andhe picks it up.

JircunyPrice,looking upset,clutches a receiver. Behind him ,ona steel table, c harredbonefragments.

WHITE Locked - 113.

INTERCUTT ING-

As Crawford,startled,looks downat hisdesk. Restingthere are GrandmotherDolarhyde'sshattered,blackeneddentures.

Thenwhose arethey?

Pricegrabs fora fax, scansit.

Crawfordturns, staringintothe distanceoutbis window.

As Grahampads barefootthroughhis livingroom,he pauses. Somethingis tuggingat theedge of hiseideteker's consciousness.He stops,turns,scanningthe roommore closely. Somethingissubtlydifferent.•.

Graham'sgaie travelsacrossthe couch,co ,ffeetable,the foyer,seenthroughits archway,then bookcases,framed pictures•. .~- ~eturna tothe foyer.Rug, coatrack, and an antiqueconsole,with a glassbowl ofseaahellaresting onit. A mirror,seenat an obliqueangle,hangsabove the console...

Themirror iscracked.One longshard ismissing.

Grahamstares,stunned,his mindracing.Barely a.bletoaccept whatthis couldmean • • .

Suddenlythephone rings,closeby his side,makinghim start. He reachesforIt, t.henstops.Can•tgiveaway hispoaition.

As thephone continuestoring, ins i stently,Grahamstares fearfullytowardsthe stairs,leadingup tothe se co ndfloor.

WHITELocked - 114.

Alight is on up there.Theanswering machineclickson.

A woodenblockof knives.Graham quietlyslidesa butcher knifefrom itsslot. Inthe distance,the machinebeeps.

As quietlyas hecan, Grahammounts thesteps,the butcher, knife grippedinhis rightfist. Crawford'sdesperatevoice can stillbe heardfrom downstairs.

Graham's headedgesinto viewat the topof the stairs.He looksdownthe hall,bis eyesat floor level.••

Fivedoors.Tvo perside - Josh'sbedroom,bathroom,guest room,closet- in agallery aroundthe railedstaircase. Masterbedroomdownat the end.Each doora potentialaml>uah.

Grahamclimbshigher,standing ina halfcrouch, thenfollows hisblade's point,edgingdown thehall. Hisheartpounding. Everysense torturedtoa razor'sedge .••

Hisbare feetslip quietlyover wornfloorboards,carefully skirtingthe knownloudspots•..

Standi ngbyJosh'sdoor,he takesa deep breath.Tightens hisgrip on theknife.Then quietlypushes thedoor open further...

Dolarhydestandsby thebed, grippingJosh byone powerful forearm.His knapsacklieson the bed .Theshardof mirror is poisedby theboy's righteye. Thehandleend ia wrapped with adish towel.Oolarhyde'smad gazemeetGraham's.

GREENRevision 1-22-02 115 .

Graham hes itates,lookingintohis son's terrified eyes. His mind racing frantically. ..

Graham tosseshis knife to one side:-Dolarhydesmiles.

DOLARHYDE {CONT'D) Your sonis about to Change.Th~ your wife.You_can watch.

Josh, in his fear,has wet his pants.Graham sees this, and something clicks inhis mind. One last,desperate chance. He stares into his son'seyes ,willinghim to understand, even as his voicebecomes harsh and grating,very loud.

Josh,confused, begins towhimper. But theeffect on Dolarhyde isamazing. He freezes,startled, his eyesgoing wide . . .

Dolarhyde'smouth is agape,working sound _lessly.

Josh issobbing. Oolarhyde looksdown at him, upsetby the boy's crying. Disoriented,he begins ·towhimper too. The shard'spoint drops a few inches,trembling in hishand.

Dolarhyde roarswith fury. releasingJosh in order to attack * Graham. He swingsthe shard in awide arc but misses asGraham • steps backwards.Dolarhyde is leftmomentarily off-balance. •

Josh darts aroundOolarhyde and out thedoor .Dolarhyde, * r ecoveringhisbalance, starts after him,but Graham ste-ps • in tohis path,blocking him. Low, hands spread... •

BLUE Revision - ll-20-01 116.

Anot herslash.Thisti.me,Graham'schestis lightlyscored•• •

Thethird slash,a hugeswin ,g,anotherm:iss,leavesDolarhyde momentarilyoffbalance...

Grahamplucksa second,smallerknife frombehindhis back, p l ungesitt o the hiltinpolarhyde•~thigh.Dolarhyde screams. Grahamrunsout in 't othehall.Dolarhydestarts afterhim, staggers,rightshimself. Tossingawaythe shard , he turnsbackto thebed, snatchesup hisknapsack .

As Grahamrunsdown thehall, Dolarhydelurchesintoview behindhim, theknife stillwagglingin histhigh. He's fumblingin hisknapsack. Be pullsout hisGlock asGraham runs intothemaster bed.room_,slammingthedoor.

Grahamlocks thedoor, justas Oolarhydesmashesagainst it . • The panelsseemto bulgeinwards. Graham pushesback,with all hisveight. He turns,sees...

Josh, hidingunderthe bed ,wide-eyed.

Josh shakeshis head. Staringat hisfather'storn chest.

Another smashagainstthedoor . Thenanother. Another. The trimaround thehingesis startingto splinter•••

Graham runsto hiscloset,flings openthe door,pulls dovn a shoeboxfrom a highshelf. Takes outhis Bulldog.44 and flipsoffthe safety. Butwhen he turnsback towardsthe door, ever yt~inghassuddenlygonesilent. Nota sound out there. And then ,afterafewmoments,a distant,female voice, callingout .

Graham'seyesmeet Josh's. Piercedby a · newfear.

Gra hamdropsprone,staringoutthrough thecrack between thedoor andthe jamb. He sees.• .

Molly'sheadappearingas she comesup thestairs. Puzzled, shelooks do wn thehall.It' sempty.

GREENRevision - 1-22- 02 11 7.

She stops. Looki nghis way . Herexpression ch angesas she • sees thebattered door .Then sheapproaches, moving down the hall morewarily . From his low angle.he can now see only her bare feet. They come closer, thenstop, ju stoutside the door. Inch esfro~his eyes.

At the end of thehall,·nolarhyde's running shoes appear. behind her. slippingout of the bathroom. They come closer and closer. silently,one shoe leavingbloody prints. ..

Molly drops, flatteningherself on the floorboards,as ..·,· •

Graham rises to oneknee, aims the . 44 . atthedoor,atwaist level, squeezing the trigger.. .

Dol arhydeis firing the Glock.his bulletspunching through the door at chest height,over Molly's prone figure. .._

The BOOMS are DEAFENING, theentire hallway becominga smoky, flaminghell as the dooris shredded, SHOT after SHOT...

And Dolarbyde is hit in thechest, the thigh, smashed backwards and falling to thefloor. ..

WhileGraham also rocksbackwards, hit in the sh ou lder,and "11i thhischeekslicedopenby a flying splinter. . .

Andthen ,abruptly, the gunsfall silent. Smoke is everywhere.

Mollyturns, terrified, lookingbehind her at Dolarhyde. .

PINK Revision 1-2-02 117A.

Hisbody lies still in apool of blood.

Rising,she looks through theshattered door atGraham, who ' s lying onhis back. She reachesin through a gapinghole, unlocks thedoor, rushes inside. Kneeling, she cradleshis head. He'sbarely conscious,his eyes trying to focuson her . Thenthey look past her. He struggles to speakthrough a mouth filledwith blood.

Molly leanscloser, trying to , understand.Graham whispers urgently.

PINK Revision 1-2-02 118.*

A momentof stunned comprehension. Then she reachesdown, grabs the .44,spinning aroundon her knees, her armsalready rising withthe muzzle as . . .

Dolarbyde' scrazedeyes meet hers. A bloody wraith, trying • to rise. Ittakes all his last strengthto lift theGlock, • but beforehe can squeeze the triggeragain, Molly shoots him three timesin the face . He'spunched backwards, dead. *

Molly is gasping,making soft inarticulatecries. She tu.ms, looks at Josh,still hiding under thebed. Then at Graham. • He -1ooksat herweakly, then hishead sags back. Stops. He • may be dead. •

Lectersits at his desk,writing a letter. His cell has beenrestored to its formerappearance: booksand drawings, beddingand toilet seat;no trace of his finemeal remains.

He looksup thoughtfully, intosome far distance. •

AERIAL VIEW ofa sloop, under easysail, somewhere in the Caribbean.

SUPER TITLE: ONEYEAR LATER.

CLOSER ANGLE - Grahamstands by the lifeline,near the bow. He's bearded now,his hair longerihe looksolder. He's reading Lecter's letter.

YELLOW Revision 1-14-02 118A.

Graham drops the letter overboard,watching fora fewmoments as itswirls away in theboat's wake. Then • heturns,walking backalong the deck to rejoinMolly and Josh at thewheel, as thesloop sails gracefullyaway, over perfectgin-clear wa1:.ers. .•

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Lecter,still composinvhisletter, ignoresDr. Chilton,who ho~eregloatinglyout in thecorridor.

Lecterbecomes verystill. Riaback remainsturned.

Be starts away. , Lecterconsiders.Behindthe strangepale eyes,something moves, the firstquickeningof wondrousnewpossibilities.

THEEND.