HANNIBAL
Screenplay by
David Mamet
From the Novel by
Thomas Harris
September 8, 1999
INT MIDWIVES OFFICE DAY.
FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED
TO A BULLETIN BOARD. "COMMON SENSE FOR NURSING MOTHERS,"
ET CETERA.
A LOWER-CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW,
OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS
HER BROW AS SHE WALKS TO THE REGISTRATION DESK.
MOTHER
It's hotter inside than it is outside...
with the air conditioning.
REGISTRAR
Would you sign in here, please..? You know,
we're closing in half an...
MOTHER
I just came to drop off my payment....
SHE DROPS AN ENVELPE ON THE DESK.
AS SHE LEAVES WE SEE THE DOOR OPEN, AND THE DREARY SUBURBAN
SPRAWL PARKING LOT BEHIND. CAMERA PANS HER PAST CLARICE
STARLING, WHO IS SITTING, VERY HOT AND PREGNANT, ON A
BENCH. THE MOTHER EXITS, AND EVELDA DRUMGO, A VERY BEAUTIFUL
AFRICAN AMERICAN WOMAN, HOLDING A NEWBORN, ENTERS. SHE
LOOKS AROUND, GOES TO THE REGISTRAR, AND SIGNS IN.
REGISTRAR
...that'll just be a minute.
DRUMGO SITS, SHE AND STARLING EXCHANGE A LOOK.
BEAT.
STARLING
S'hotter inside than it is outside...even
with the air conditioning.
(SHE LOOKS AT HER WATCH, THEN
UP AT THE WALLCLOCK.)
DRUMGO
You nervous...?
STARLING
Evone tells me: I shoulda been in, fi,
six, months ago.... thizz my first
checkup.
DRUMGO
Gonna be fine. You ask your momma.
STARLING MUTTERS.
DRUMGO (cont'd)
...what...?
STARLING
....I didn't realize I said it out
loud.
DRUMGO
Said what?
STARLING
I'm an orphan.
DRUMGO
Well, then, you're a lucky girl, cause
that baby's gone to be your family.
(TO THE RECEPTIONIST)
...I've got an appointment....
THE RECEPTIONIST IS GONE, DRUMGO GOES TO PEER OVER THE
RECEPTION DESK.
ANGLE ON STARLING
STARLING
That is a lovely thing to say.
DRUMGO
Waal...
STARLING
It gets, um... it gets so lonely sometime.
DRUMGO
(SITS. COMFORTS THE CHILD)
What'd you say, hon...?
STARLING
I said sometime it gets so...
DRUMGO
Well, don't you worry, cause that baby's
gone take care of that.
SHE BRUSHES BACK THE HAIR FROM THE SIDE OF HER FACE.
ANGLE INS.
ON A BARRETTE IN HER HAIR. WHICH WE SEE BEARS A SMALL
MICROPHONE.
ANGLE ON STARLING, AS SHE HITCHES HERSELF UP IN HER SEAT,
AS IF TO FIND A COMFORTABLE POSITION.
ANGLE INSERT.
ON THE BACK OF HER DRESS. WHERE WE SEE THE PRINT OF A
SQUARE BOX, AS STARLING'S HAND MANIPULATE A SMALL KNOT
THROUGH THE DRESS. NEXT TO IT WE SEE THE PRINT OF A
PISTOL UNDER THE DRESS.
ANGLE
ON STARLING AND DRUMGO.
STARLING, AS SHE FIDDLES WITH THE BARRETTE ONCE AGAIN.
STARLING (cont'd)
I wonder if you could just, sit down,
talk with me a moment...
ANGLE XCU ON STARLING, HOLDING THE BARRETTE, AS SHE SPEAKS TO
DRUMGO.
STARLING (cont'd)
Cause, you know, I'm sitting here all
alone. Do you know what I mean?
(PAUSE)
Cause I feel it's getting late for
me... do you know...? That I've Waited
Too Long...
ANGLE ON DRUMGO, AS SHE STANDS IN THE EMPTY RECEPTION AREA,
AND LOOKS AT IT AND THEN BACK TO STARLING .
DRUMGO
(PAUSE)
Waited too long, hon...?
(PAUSE)
(SHE LOOKS AT STARLING )
STARLING
How's your child?
STARLING STANDS, AND MOVES TO LOOK OUT OF THE WINDOW.
ANGLE XCU ON DRUMGO, AS SHE LOOKS AT STARLING.
ANGLE, HER POV
THE DRESS, STUCK BY SWEAT, TO STARLING'S BACK, REVEALS THE
PISTOL AND TRANSMITTER.
ANGLE
ON STARLING, AS SHE SITS DOWN AGAIN.
DRUMGO
...what?
STARLING
I said how's your baby...?
DRUMGO
You want to hold him...?
STARLING
Waal...
DRUMGO
'bout time you learned...
SHE HANDS THE BABY TO STARLING.
SHE GOES INTO THE CHILD'S DIAPERBAG AND TAKES OUT A PISTOL,
AND LEVELS IT AT STARLING, AS SHE MOVES TO LOOK OUT THE
WINDOW.
DRUMGO (cont'd)
...where's your friends...?
SHE MOVES TO STARLING, AND FRISKS HER, AND REMOVES HER
PISTOL, AND THE TRANSMITTER FROM THE BELT AT HER BACK...
DRUMGO (cont'd)
...you're here all by yourself, honey....
STARLING
Give it up, Evelda.
DRUMGO
Well, you know my name, honey, but I
don't know yours...
STARLING
Give it up.
DRUMGO
Hey, you know, I never thought of
that...
SHE STARTS GETTING INTO THE NURSES GARB.
DRUMGO (cont'd)
Ain't this a picture, though, cause you
know you ain't the first girl, ever got
lef, in a position, waiting at the
doctor's. You can't trust men, child,
don't you know that.... old as you
are...?
SHE WALKS BACK TOWARD STARLING, SCOOPS UP HER CHILD, PEEKS
OUT THE WINDOW, AND STARTS FOR THE DOOR.
DRUMGO (cont'd)
Cause, see, they'll always let you down.
Terrible thing, to do to an orphan...
SHE LEANS BACK TOWARD STARLING, GRABS HER HAIR, AND PULLS HER
BACK AND KISSES HER ON THE LIPS, AND RETIRES AND EXITS.
ANGLE
ON STARLING, AS SHE LOOKS OUT OF THE WINDOW. AT A CAR, WHICH
IS IN THE FAR END OF THE PARKING LOT, IT ACCELERATES, AND
SCREECHES UP TO THE DOOR, AND EVELDA, CARRYING HER CHILD,
GETS IN TO THE STILL MOVING CAR, WHICH STARTS TO TAKE OFF.
ANGLE EXT THE MIDWIVES CENTER.
STARLING, CROUCHING AT THE DOOR, RETRIEVES A BACKUP WEAPON
FROM HER ANKLE HOLSTER. SHE EMERGES FROM THE DOORWAY.
ANGLE
IN THE PARKING LOT, DRUMGO AND CHILD, GETTING HAULED INTO
THE CAR. A FIGURE IN THE BACKSEAT OF THE CAR, SHOOTING OVER
THE ROOF, APACHE STYLE, FIRES AT STARLING, AS THE CAR PEALS
OUT OF THE PARKINGLOT.
STARLING TAKES COVER.
BEAT.
STARLING, ALONE, WALKS INTO THE NOW EMPTY PARKINGLOT. SHE
SITS ON A LOW CONCRETE DIVIDER. HOLD. A VAN PULLS IN.
FOLLOWED BY ANOTHER CAR, AND TEN SWAT CLAD COPS PILE OUT,
AND APPROACH STARLING.
STARLING SLOWLY LOOKS UP.
STARLING
....where were you...?
(SHE LOOKS AT HER WATCH. )
SWAT OFFICER
(AS SEVERAL OTHER OFFICERS
MOVE INTO THE MIDWIVES
CENTER.)
...we, we didn't hear the go-ahead.
STARLING
(AS SHE HANDS HIM THE SMALL
RADIO TRANSMITTER)
Yeah, well, you didn't get it cause your
radio went dead. The backup plan was,
17.45, you guys are the Cavalry...
SHE GETS UP AND WALKS AWAY FROM THE DOORSTEP, TO A SEDAN,
WHICH IS PULLING UP. AS SHE GOES, SHE TAKES OFF THE FAKE
BELLY SHE HAS BEEN WEARING.
ANOTHER SWAT AGENT TAKES THE RADIO AND LOOKS AT IT.
SECOND SWAT OFFICER
...what'd you do, sweat it out, short
out the leads...? Got a little hot in
there.....?
SHE FLINGS THE FAKE STOMACH AT HIM.
SECOND SWAT OFFICER (cont'd)
...what happened to Right to Life...?
(HE LAUGHS)
STARLING ROUNDS ON HIM, HITS HIM SEVERAL TIMES, AND THROWS
HIM TO THE GROUND.
STARLING
What happened to Right to Life? What
happened to right to my life...? I'm in
there, carrying the mail for all you
drugstore cowboys, si'in in a van playin
with each other's Velcro...
(THE OFFICER STARTS TO GET UP)
You wanna get up, you wanna get up?
Here I am...
TWO FBI TYPES GET OUT OF THE NEWLY ARRIVED SEDAN.
FBI TYPE
What happened to the girl...?
STARLING
(AS SHE GETS INTO THE SEDAN)
Get me out of here...
INT CONFERENCE ROOM FBI HEADQUARTERS DAY.
STARLING IS NOW DRESSED IN A T-SHIRT AND JEANS. SHE HAS
CLEANED HERSELF UP. KRENDLER, A CLEAN-CUT STUDENT COUNCIL
TYPE AROUND FORTY IS HOLDING FORTH. AROUND THE CONFERENCE
TABLE ARE THE FATHERLY JACK CRAWFORD, AND VARIOUS OTHER
POLITICOS.
KRENDLER GESTURES AT THE TABLE, WHICH HOLDS THE BURNT OUT
RECEIVER, THE FAKE "PREGNANT" STOMACH WORN BY STARLING,
AND A PHOTO, HE HOLDS THE PHOTO. WE SEE IT IS DRUMGO, A
SURVEILLANCE PHOTO.
KRENDLER
And you let her get away.
STARLING
Sir, with all due respect....
CRAWFORD
Just a moment. Starling didn't...
KRENDLER
Well, well, well, well, well, she went
in there, to apprehend a Dangerous Felon.
Went in there with her gun, Came out,
without the Felon, without the gun...
STARLING STARTS TO SPEAK, AND CRAWFORD STILLS HER.
CRAWFORD
I had... one moment, I had an agent in
there, waiting for backup from...
KRENDLER
...she couldn't act on her own..? Where
is the FBI's vaunted Initiative, where..?
STARLING
Sir:
CRAWFORD
Shut up, Starling...
STARLING
I could have acted on my own. I was
told...
CRAWFORD
Starling, I've ordered you to shut...
STARLING
..I was instructed that this was a
Joint Task Force, the FBI, BATF, and the
Mayor's Special...
KRENDLER
You find something objectionable to
working in partnership with....
STARLING
Sir, I'm in Law Enforcement, I was out
there, dealing with an armed and
dangerous...
KRENDLER
You were given backup....
STARLING
THEN WHERE WAS IT? I'm sent out
there... I'm told that the arrest must
be a joint...
KRENDLER
I'm saying: ... and what's wrong with that.
STARLING
And I'm telling you: You wanna throw a
Birthday Party: Every kid gets a Chance
to Play, that's fine, but...
KRENDLER
No, I don't get you...
STARLING
Due respect, you don't, sir, your
precious Joint Operation. FBI, ATF, DC
SWAT, it's alphabet soup, we don't have
the same Radio Freqs, we don't...
KRENDLER
Oh, is this your political position,
you're opposed to Joint...
STARLING
I'm opposed to being part, Your Rainbow
Coalition. Evelda Drumgo? I could of
took her down in a snap of the fingers--
But-- I'm out there, and my Rules of
Engagement...
MAYOR'S REP
The Rainbow Coalition, what is that,
excuse me...
KRENDLER
And what are you, our Token Woman?
STARLING
I don't mind being the token woman, what
I'm suggesting, send me out there with a
token man... who are these Warriors,
Ľour cobbled together Strike Force? I'm
in the room with a fugitive felon...
CRAWFORD
Starling...?
STARLING
One moment, and they're at the Seven-
Eleven. They botched the fallback plan,
they...
KRENDLER
And, fine, alright, and fine... what are
youdoing, this whole time?
STARLING
Sir, I was, as instructed, waiting for
the Arrival of the Strike Force.
{PAUSE)
CRAWFORD
I think that's...
{HE STARTS TO RISE, AND THE
MEETING BEGINS TO BREAK UP)
Starling, I'm sure these gentlemen...
KRENDLER
And how did she get close enough to
disarm you?
ANGLE TIGHT ON STARLING, AS SHE BEGINS TO EXIT, MUTTERING.
STARLING
...spend some time on the streets. Ask
me then...
KRENDLER
Thank you, that's not responsive. How
did our Miss Drumgo get...
ANGLE EXT THE CONFERENCE ROOM. A CORRIDOR AT FBI HQ.
VARIOUS MEMORABILIA IN GLASS CASES, GLASS CASES HOLDING
FIREARMS. STARLING AND CRAWFORD EXIT. AS THEY DO, A GROUP
OF TWENTY MEN AND WOMEN WEARING NAMETAGS WALKS BY,
ESCORTED BY A GUIDE.
ONE GOOD-LOOKING MEDITERRANEAN TYPE (PAZZI) TRIES TO LOOK
AT STARLING AS THE GROUP GOES PAST.
ANGLE CU ON PAZZI.
WE SEE HIM, AND READ THE NAMETAG. (C. PAZZI.
INTERNATIONAL POLICE ACADEMY. ITALY) .
GUIDE
(VO)
....a compendium of the Bureau's most
celebrated cases. Which you have in
your Course Study Guide. Now; This
afternoon...
ANGLE, ON THE GROUP AS THEY OPEN THEIR BLUE COURSE STUDY
GUIDE.
STARLING AND CRAWFORD TURN A CORNER. PAZZI LOOKING AFTER
THEM, HE THEN, RELUCTANTLY, TURNS AWAY, BACK TO THE GROUP
HE IS PART OF.
ANGLE ON STARLING AND CRAWFORD, AS THEY DRAW AWAY FROM THE
CONFERENCE ROOM GROUP.
CRAWFORD
(SOTTO)
...how'd you let her get that close to
you...?
IN THE B.G. WE SEE AN AIDE COME UP TO KRENDLER, AND HAND
HIM A FILE. STARLING WAVES OFF CRAWFORD'S QUESTION.
CRAWFORD (cont' d)
...how'd she get next to you?
STARLING
(AS IF TEARING OFF THE
BANDAID )
...she gave me her baby.
KRENDLER, AND THE AID WALK TOWARD CRAWFORD. THE AIDE
WHISPERS SOMETHING TO KRENDLER.
KRENDLER
(TO CRAWFORD)
She threw a punch at a man on the team.
CRAWFORD
Well, you know, that happens, on the
street.
KRENDLER
What is that supposed to mean...?
CRAWFORD
I think its meaning is clear.
KRENDLER
What, you're saying she was overwrought.
CRAWFORD
That could be.
KRENDLER
Because that's understandable, because.
She blew the raid.
CRAWFORD
She was there, alone, sir, she was in a
burning building, waiting for your folks
to come through the wall. And...
STARLING STARTS AWAY, IN DISGUST.
KRENDLER
One moment, I'm not done with you...
(TO CRAWFORD, AS KRENDLER
MOTIONS HIS AIDE TO HAND HIM
A FILE)
Give him the file...
AIDE
I thought it was going to go down the
line, to....
KRENDLER
No, no, no, I want the girl to do it...
THEY GO INTO A HUDDLE, AND STARLING MOVES AWAY, WAITING.
SHE LOOKS AROUND, AND SHE AND WE DISCOVER SHE IS STANDING
IN FRONT OF THE "LECHTERIANA" SECTION OF THE FBI DISPLAY.
THE GUIDE IS ADDRESSING THE VISITING FOREIGN COPS.
GUIDE
Of the apprehension of Hannibal
Lechter. Here we have a WANTED poster...
AS THE GUIDE SPEAKS WE CUT BETWEEN STARLING, HOPING TO HEAR
HER FATE, AND THE MEN TALKING ABOUT HER.
GUIDE (cont'd)
(VO)
Offered by an Unnamed Source, Three
million Dollars for information leading
to the apprehension of Hannibal Lechter.
It is, of course, a bounty poster, the
only one of its kind, it was never
distributed, the contact number was
disconnected, and the trail of the
person offering the reward was covered
so skillfully, that...
PAZZI
(VO)
(IN A CULTURED ATTRACTIVE
ITALIAN ACCENT)
...would you be so kind...?
STARLING TURNS TO PAZZI, HOLDING A CAMERA. SHE HESITATES,
THEN REALIZES HE WANTS HER TO TAKE HIS PHOTO IN FRONT OF THE
POSTER.
STARLING
Yeah, sure.
PAZZI MOVES IN FRONT OF THE POSTER. WE SEE THE REFLECTION
IN THE GLASS FRONTING THE POSTER, AND STARLING MOVES TO
ELIMINATE IT .
GUIDE
(VO)
....Of the Hannibal Lechter Case.
Lechter is, as you know, still at
large. Here we see the implements used
in his escape from Prison. If you will
turn to your course syllabus, Page....
ANGLE
ON STARLING, AND THE GUIDE, BEYOND HER, AS THE STUDENTS
AGAIN TAKE UP THEIR BLUE BOOKS, AND TURN TO THE PAGE
INDICATED BY THE GUIDE.
PAZZI COMES BACK TO STARLING.
SHE HANDS HIM THE CAMERA.
PAZZI
....a lovely perfume...
STARLING
Glad you like it.
GUIDE
(HE TAKES US TO A DISPLAY OF
A PHOTOGRAPH OF LECHTER'S
HAND, WHICH SHOWS SIX
FINGERS, AND AN X-RAY,
WHICH, SIMILARLY SHOWS SIX
FINGERS.)
....of Dr. Lechter's left hand. His left
hand, which had a sixth, vestigial,
fully formed sixth finger. You would
think that a man with a mark so easily
identifiable, would...
THE GUIDE SPOTS STARLING.
GUIDE (cont'd)
...and, speaking of the Lechter Case.
THE GUIDE MOVES, AS IF TO INCLUDE STARLING IN THE TOUR.
ANGLE ON STARLING WHO GIVES THE GUIDE THE WAVE OFF.
STARLING RETREATS AS THE GUIDE CHANGES GEARS.
GUIDE (cont'd)
And, speaking of the Lechter case, I
would like to complete our tour of the
gallery with three other instances of
Criminals Still At Large. To complete
our tour, and....
(HE CHECKS HIS NOTES)
Oh, and to complete your Course of
..Study, by...
WE SEE THE GROUP OF KRENDLER, CRAWFORD, ET ALL, BREAK UP,
AND BEGIN TO MOVE TOWARD STARLING. SHE APPROACHES THEM,
TO HEAR THEIR NEWS.
KRENDLER
(TO CRAWFORD)
Your girl's a menace. Here, givver
this... Getter off the street and teach
her some humility.
(OF THE FILE)
CRAWFORD
(LOOKING AT THE FILE)
I don't think so...
KRENDLER
Well, then, you have insufficient
information. I'm grateful for this
opportunity to set you straight.
HE LEAVES CRAWFORD LOOKING AT THE FILE, AND WALKS OFF,
TOWARD STARLING, WHO LOOKS HIM IN THE EYE, AS HE PASSES.
HOLD.
KRENDLER (cont'd)
(TO STARLING, IN PASSING)
Yeah, get on to your sea-daddy,
Starling. Old as you are... ain't you
ashamed, still lookin' for your Pappy...?
STARLING WALKS UP TO CRAWFORD, WHO IS LOOKING AT THE FILE.
CRAWFORD
...what has he got against you?
STARLING
Why would you say that? Because he sent
me in there to be killed...?
(OF FILE)
What is this...?
CRAWFORD
...what's he got against you?
STARLING
(AS SHE TAKES THE FILE)
(ABSENTLY)
He once made me an improper suggestion.
INT GYMNASIUM DAY
JOHN BRIGHAM, A BUFF AND ROUGH AND TOUGH MARINE TYPE, IS
LECTURING TO A GROUP OF RECRUITS.
BRIGHAM
Big man, little man... Fair fight, the
good Big Man's gonna win. But we don't
mean to send you out there to fight
fair...
BRIGHAM LOOKS UP. ANGLE HIS POV. A DOOR IN THE BACK OF A
SMALL RAISED BLEACHER SECTION OPENS, AND STARLING COMES IN,
HOLDING THE FILE, SHE LOOKS DOWN TOWARD BRIGHAM.
ANGLE
ON BRIGHAM, AS HE NODS AT STARLING, AND THEN RETURNS TO
ADDRESS HIS GROUP OF STUDENTS.
BRIGHAM (cont'd)
And, in a gunfight, what just happened
to the Big Man? He's at a disadvantage.
Inney?
HE MOVES TO THE GROUP OF STUDENTS, AND APPROACHES A RATHER
LARGE YOUNG MAN.
BRIGHAM (cont'd)
Stand up.
(THE MAN DOES SO, AND TAKES
HIS PLACE ON THE MAT, IN FRONT
OF BRIGHAM)
Big man, now, he's just a bigger target.
Let's turn it around. Pull your
sidearm.
(THE YOUNG RECRUIT TAKES OUT A
BRIGHT YELLOW, OBVIOUSLY
RUBBER PISTOL FROM HIS
HOLSTER)
ANGLE ON STARLING, AS SHE PERUSES THE FILE. SHE SHAKES HER
HEAD IN DISGUST. SHE LOOKS DOWN AT BRIGHAM AND MOUTHS, "I
NEED TO SEE YOU..."
ANGLE, ON BRIGHAM, ON THE MAT, ADDRESSING THE PUPIL, HE NODS
BACK, AT STARLING, AND TOUCHES HIS WATCH, AND MIMES, "LATER,
FOR DRINKS."
BRIGHAM (cont'd)
(TO THE STUDENT)
Now, an arrest? You aim to shoot me, or
you just playing show and tell. You
don't want to shoot me, you just deprived
yourself of one of your hands. You fool,
I got two hands, you got one. So:
what's the gun good for? Force? No.
It's good for control. You can control
through force, but you can also control
through....
ANGLE, ON STARLING, AS SHE EXITS, THROUGH THE BACK OF THE
GYM.
ANGLE. HOLD ON BRIGHAM, ADDRESSING THE STUDENT, WHO LOOKS
OVER HIS SHOULDER TOWARD THE DIRECTION OF BRIGHAM'S GAZE.
BRIGHAM (cont'd)
Misdirection....
(HE MOVES TO THE STUDENT AND
THROWS HIM TO THE GROUND)
Misdirection, My Friend. You're pointing
a gun at me, looking in the
oth'direction, WHO THE HELL DO YOU THINK
YOU ARE...?
ANGLE, ON STARLING, BACK IN THE CORRIDOR, AS SHE OPENS THE
FILE, AND LOOKS AT IT AGAIN, AND SHAKES HER HEAD.
INT PSYCHIATRIST'S OFFICE DAY.
STARLING IS TALKING TO A MIDDLE AGED WOMAN.
WOMAN
(PSYCHIATRIST)
..that you went into police work to
control your rage....
STARLING STARTS TO LAUGH.
STARLING
Well, that would be a poor choice,
wouldn't it...
PSYCHIATRIST
Tell me why...?
STARLING
(SHAKES HER HEAD, STILL
LAUGHING)
I'm sorry, I don't mean to be impolite.
Because, you know, you can't understand.
PSYCHIATRIST
Then tell me.
STARLING
Well, you know, you know, you know, the
point is: I can't tell you. Cause you
haven't been there. You haven't done it.
And that's all there is.
PSYCHIATRIST
(PAUSE. SHE CHECKS HER NOTES)
...and to have done it, means, can mean
to accept, not only danger, but
betrayal...?
STARLING
....that's right.
PSYCHIATRIST
..and humiliation? What is this new
job they've...?
STARLING
No. That's right. That's all part of
it.
PSYCHIATRIST
Then, that being so, why is today
special? Why have you come back to see
me? Is it that new file they gave you?
STARLING
I don't think so.
PSYCHIATRIST
Then what brings you back?
STARLING
I don't know. Do you know...?
PSYCHIATRIST
Yes. I think I do.
(PAUSE. STARLING LOOKS AT
HER, AS IF TO SAY, THEN,
PLEASE, REVEAL IT)
I think it is a phrase you used with
that woman. You told her you were an
orphan.
(STARLING STARTS SHAKING HER
HEAD)
You used, to your mind, your most
private fears.
STARLING
...no...
PSYCHIATRIST
...you called up memories of your father
to...
STARLING
...no...
PSYCHIATRIST
...barter with her. To appeal to her,
and you feel that...
STARLING
No, I don't think so...
PSYCHIATRIST
It is you who have betrayed...
STARLING
...no.
PSYCHIATRIST
Your father. It is not they, who...
STARLING
Well, no...
(SHE LOOKS AT HER WATCH)
That's... I appreciate your help, but...
(SHE RISES)
INT COPBAR NIGHT.
STARLING IS DRINKING WITH ARDELIA MAPP, A CONTEMPORARY, AND
ARDELIA'S BOYFRIEND, JIM. THERE ARE VARIOUS EMPTY BOTTLES
IN FRONT OF THEM.
STARLING IS LOOKING DOWN AT THE FILE WE SAW EARLIER, AND
SCOWLING.
MAPP AND JIM LOOK ON. A WAITRESS COMES BY.
MAPP
You want another drink, honey...?
STARLING
I want the same drink. Cause it did me
good... but I already drunk it, so,
barring that, yes, I would like another.
THE WAITRESS EXITS.
STARLING (cont'd)
B'cause it's one of the few things, in
the world, which are effective
an'predictable.
MAPP
What's that, Baby?
STARLING
Alcohol. Where both its life-enhancing
And its life destroying qualities...
(SOUND OF CHEERING, THEY LOOK
TO THE SIDE)
...not unlike some Hindu God...
MAPP PICKS UP THE FILE, AND LOOKS AT IT.
MAPP
I guess the only thing is Suck it
Up...
STARLING
Well. Excellent... I'm...
THERE IS A SOUND OF RENEWED CHEERING, AND HEADS TURN.
ANGLE THEIR POV.
A TABLE OF THE "INTERNATIONAL POLICE SCHOOL" STUDENTS,
DRINKING, AND WEARING "GIMME CAPS," WHICH ARE PASSED OUT BY
AN ARRIVING JOHN BRIGHAM.
ANGLE.
BRIGHAM, BEING CONGRATULATED AND THANKED BY THE VARIOUS
FOREIGN COPS.
BRIGHAM PASSES OUT CAPS WHICH ARE BLAZONED "FBI ACADEMY,
QUANTICO, VIRGINIA."
WE SEE BRIGHAM NOTICE STARLING, ET AL, AND EXCUSE HIMSELF.
ONE OF THE FOREIGN COPS CALLS AFTER HIM.
FOREIGN COP
Semper Fi.
BRIGHAM
...truer words were never spoken...
CAMERA TAKES HIM TO THE STARLING TABLE, WHERE STARLING,
DRUNK, IS LOOKING THROUGH THE FILE.
STARLING
Our Mister Frendler to, to, to humiliate
me, though....
MAPP
What else's he goin to do with his day,
he can't work, and he won't steal...
BRIGHAM SITS, AND KISSES STARLING.
STARLING
Oh baby, oh baby....
BRIGHAM
Bad beat today.
STARLING
Hey, I'm fine. Whaddizit, you, how's
your day, our gallant International
Neighbors...?
MAPP
Look what they put her on...
SHE TAKES THE FILE FROM STARLING AND HANDS IT TO BRIGHAM.
STARLING
No, that is code-word material, that's
what that is....
ANGLE ON BRIGHAM AS HE PICKS UP THE FILE. IT CONTAINS A
CATALOGUE FROM AN AUCTION HOUSE, AND WE READ: FROM A
COLLECTOR: DRAWINGS AND SKETCHES BY HANNIBAL LECHTER:
THESE NEVER-BEFORE OFFERED ITEMS WERE ORIGINALLY IN THE HIGH-
SECURITY CELL OF THE MASS KILLER... (ETC.)
AND, BELOW, WE SEE VARIOUS ARCHITECTURAL SKETCHES.
ANGLE ON STARLING, BRIGHAM, AND SO FORTH.
MAPP
They got her cleaning out the privvies.
BRIGHAM
(OF THE AUCTION CATALOGUE)
What does this mean?
MAPP
Slap her wrist, they got her, chasing
down the auction houses, drawings of
Mr.Lechter, come up for sale.
BRIGHAM
Why's she chasing'em down...?
MAPP
Find out: is he selling'em, he needs the
money, o'r'izzey buying them, f'Old Times
sake...
BRIGHAM
That's weak. The man's long gone, he's
not coming back, buy up a drawing...
STARLING
No, but that is the Will of the
Institution. To instill a proper
Probity, Humility, deference, in the
prideful Individual.....COULD I, DOES
ANYONE THINK, HAVE ANOTHER BEER...?
JIM
This Jackal Krendler, trine a shame
her, cause they botched the raid.
BRIGHAM
Evelda Drumgo.
STARLING
COULD I GET A DRINK,
(TO BRIGHAM)
N'I don't care, you see, what all they
got me doin, for I'd rather be doin'
makework, than be doin' pub'l'relations
with THE DIRTY DOZEN, one Hispanic, one
Librarian, one Jew, and One from Column
A, and One from Column...
(A DRINK IS SET BEFORE HER,
SHE REACHES FOR IT. SHE
LOOKS UP.)
Thank you.
PAZZI IS BRINGING HER A BEER.
PAZZI
An Honor. Carlo Pazzi....
STARLING
No, y'know, I never doubted it...
PAZZI
You were kind enough, today, to take my
photograph.
STARLING
Well, that's you see, what I am, kind
and feeling.
MAPP
You should get Married.
STARLING
That's what I should do. Tell me why?
MAPP
Because, baby, you're looking to find
love in an institution, that's your only
chance....
STARLING
Yeah, but who would marry friendless
me...
(TO PAZZI)
Howabout you, Romeo...?
PAZZI
(SHOWS HIS WEDDING RING)
...sadly...
STARLING
Hey, lost again.
PAZZI
But perhaps, there is some, some less
radical solution.
STARLING
I'm sure there is, but my young Friend
here, would kill you.
(SHE GESTURES AT BRIGHAM)
PAZZI
His feelings do him honor. And I have
come, simply, to pay my respects to the
great Clarice Starling...
(HE BENDS OVER TO KISS HER
HAND.)
STARLING
The great and beautiful...
PAZZI
Is it necessary to say of the sea
that it is salt, that the stars are far,
that...
STARLING
No,I get it, this is my Cavalier. This
gents my Italian Knight. Take this...
(SHE REMOVES A SCARF FROM HER
NECK AND HANDS IT TO HIM)
For this shall be my gage, and you can
take it into battle.
PAZZI
Thank you.
STARLING
Or clear your windshield with it.
PAZZI
(SMELLS THE NECKERCHIEF)
...what a lovely perfume.
STARLING
Waal, you c'n only get it in one shop in
Alexandria Virginia, n'that's where I'm
going, cause I'm goin home, f'i can get
n'y'one, Of That Nature, to take her
there...
BRIGHAM
C'mon, pal.
STARLING
All y'got to do is ask...
(SHE REACHES FOR HER PURSE,
AND KNOCKS THE FILE OFF OF
THE TABLE)
ANGLE INS.
IT FALLS TO THE FLOOR, WE SEE VARIOUS AUCTION CATALOGUES,
AND AN X-RAY OF A HUMAN HAND. PAZZI STOOPS AND GATHERS THE
FILE UP.
BRIGHAM TAKES THE FILE, AND STARLING TAKES IT FROM HIM.
ANGLE IN.
WE SEE A DRAWING OF WHAT APPEARS TO BE A STATUARY. A
LION'S HEAD, THE LION HOLDING A BIRD IN ITS MOUTH.
ANGLE ON STARLING AS SHE HOLDS THE DRAWING.
STARLING
...this one is my favorite. It has not
title. They should call it "fetch,"
whaddaya think...?
PAZZI
I know it well.
STARLING
Do you. What does that mean?
PAZZI
It is a gravestone in the cemetery of
______ in my native Florence.
MAPP LOOKS AT THE PICTURES IN THE CATALOGUE.
MAPP
Yeah, we got all sort of "funeray
Sculpture," here, I guess they mean
statues in Graveyards. Brazil, the Tomb
of Karl Marx, London, Here's one in
Scandinavia...
PAZZI
Florence, as you may not know, is famed
for...
STARLING
Yeah, I'm sure it's famed for lotsa
things, and you're one'a'them...
PAZZI
...but: this particular statue...
STARLING DOWNS A BEER, AS BRIGHAM BEARS HER AWAY.
STARLING
Waal, you hold fast to that thought, as
I'm sure, that's a "clue"...
PAZZI
....this is perhaps an inappropriate
time... but, I would like to say, it is
an honor to meet the Woman who solved
the celebrated Hannibal Lechter...
STARLING
I din't solve it, I didn't 'solve it'. I
just sat a dance out with him. Facts,
facts, facts. Facts, close the case,
cavalier.
PAZZI
...a case, so, so fascinating, so...
STARLING SURREPTITIOUSLY SIGNALS BRIGHAM THAT HE MAY REMOVE PAZZI.
BRIGHAM
It was all of that, SON...
PAZZI
..what makes a man ... what makes him...
Eat Human Flesh...?
STARLING
Yeah, well, they solved that: turns
out, he'uz a cannibal...
MAPP
Show'm the FBI Handshake...
STARLING
I am no going to show you the secret
handshake!
(SHE STARTS TO STAND)
BRIGHAM
(AS HE LEADS PAZZI OFF)
C'mon, pal, I'm gone to buy you a
drink...
HE WALKS PAZZI OFF, STUFFING SOME MONEY IN PAZZI'S JACKET
POCKET.
HE LEAVES PAZZI AMONG HIS FOREIGN COHORTS.
ANGLE ON MAPP, STARLING, AND JIM, AT THEIR TABLE.
MAPP
Yeah, well, it's a raw wound, innit,
you're gonna bump it, every time you
turn around... but you know what the
trick is...?
STARLING
...not to turn around.
BRIGHAM RETURNS, AND STARTS TO LEAD STARLING, THROUGH THE
KNOT OF DRUNKEN COPS.
IN THE BG WE SEE PAZZI, AT HIS TABLE, POINTING OUT
STARLING, THEY TURN TO LOOK AT HER, WE SEE ONE OF THE
FOREIGN COPS, LEAN OVER TO ASK MORE INFORMATION OF PAZZI,
AND, THEN, TURN BACK, TO DO A DOUBLETAKE AT THE RETREATING STARLING.
ANGLE
ON BRIGHAM, HELPING STARLING.
BRIGHAM
You want to get married...?
STARLING
You tol me you wuunt ask me again til
I'm ready....
BRIGHAM
You're ready now.
STARLING
I'm not.
BRIGHAM
That's what you think...
EXT STARLING'S APARTMENT BUILDING NIGHT.
BRIGHAM AND STARLING WALKING UP, STARLING SWAYING A LITTLE,
HE HOLDS OUT HIS HAND FOR THE KEY, AND SHE GIVES IT TO HIM.
STARLING
...mos kind...
WE HEAR A CAR COMING UP THE STREET BEHIND THEM.
BRIGHAM OPENS THE DOOR.
THERE IS A FLASH OF LIGHT FROM INSIDE THE HOUSE. AS
STARLING IS ABOUT TO ENTER. SHE PUSHES BRIGHAM OFF TO THE
SIDE OF THE DOOR, AND UNHOLSTERS HER PISTOL.
BEAT.
STARLING LOOKS AT BRIGHAM WHO LOOK UNCOMPREHENDING. ANOTHER
CAR IS HEARD COMING UP THE ROAD, AND WE SEE ITS HEADLIGHT
SHINE ON AND REFLECT FROM A MIRROR INSIDE STARLING'S DOOR.
BRIGHAM LEADS STARLING INTO THE HOUSE.
HE CLOSES THE DOOR, AND TAKES HER TO THE SOFA.
SHE SITS, AND PICKS UP A PHOTOGRAPH IN AN EASELFRAME FROM THE
COFFEETABLE.
STARLING (cont'd)
Hey, now, what was I afraid of... I'm
shooting at shadows...
BRIGHAM
Is that what you're afraid of...?
ANGLE INS ON THE PHOTOGRAPH, SHOWS A TALL HANDSOME MAN IN
WESTERN HAT, WEARING A BADGE, HIS HAND ON THE SHOULDER OF A
YOUNG BLONDE GIRL.
ANGLE ON STARLING, AS SHE PUTS THE PHOTO DOWN.
STARLING
Then you tell me, then.
BRIGHAM
You want me to solve all your problems
tonight...?
STARLING
I feel...
(SHE STARTS TO LAUGH)
I feel they're Out to Get Me...
BRIGHAM
And who is "they?"
STARLING
...they're sending me. Out to get
Shot. Hounding me.... they're...
(PAUSE)
BRIGHAM
...the whole world's out to get you...
STARLING
How crazy is that.
BRIGHAM
Well, you wanna shoot back, it give you a
big target...
STARLING
(SLEEPILY)
How crazy is that....
ANGLE, INS. ON THE LECHTER FILE, AND THE PHOTO OF HANNIBAL
LECHTER.
WE SEE BRIGHAM PUT IT DOWN ON THE TABLE NEXT TO THE PHOTO.
HOLD, LIGHTS GO OFF.
BEAT. STARLING'S HAND COMES INTO THE FRAME, SWEEPS THE
LECHTER PHOTO AND FILE ONTO THE FLOOR, AND REPLACES IT WITH
THE PHOTO OF THE WESTERN GARBED MAN AND THE LITTLE BLONDE
GIRL.
BEAT.
THE LIGHT GOES ON AGAIN.
WE SEE STARLING SWING TO A SITTING POSITION ON THE COUCH.
SHE SIGHS. SHE SHAKES HER HEAD TO CLEAR IT, AND SHE PULLS
THE HANNIBAL FILE TO HER. SHE PICKS UP A PENCIL, AND A PAIR
OF READING GLASSES FROM THE TABLE, AND BEGINS MAKING NOTES
ON THE FILE.
ANGLE INS.
THE AUCTION CATALOGUE, AN FBI FILE, READING, "SALE OF STOLEN
HANNIBAL LECHTER MATERIAL."
EXT VIRGINIA HIGHWAY DAY.
STARLING'S FBI SEDAN SPEEDING PAST, ON AN EMPTY COUNTRY ROAD.
THE CAR PULLS OVER ONTO THE SHOULDER.
ANGLE INT THE CAR.
STARLING, TAKING OUT A MAP. SHE LOOKS AT THE MAP. LOOKS
AROUND. SHE THROWS THE CAR INTO REVERSE, AND REVERSES
SEVERAL HUNDRED YARDS QUICKLY.
ANGLE INT THE CAR.
STARLING LOOKS FROM THE MAP ACROSS THE ROAD.
ANGLE HER POV.
A BARELY DISCERNIBLE BREAK IN THE FOLIAGE, BEAT, THEN
STARLING' S CAR PULLS ACROSS THE ROAD, AND INTO THE POV AND
ENTERS THE BREAK.
ANGLE EXT THE CAR.
EMERGING FROM A THICK WOODS, THE CAR IS HINGED BY THE CAMERA
ONTO THE PARK OF A COUNTRY ESTATE, THE CAR DISAPPEARS INTO A
SMALL DIP IN THE LANDSCAPE.
ANGLE EXT THE CAR, AT A GATEHOUSE, PREVIOUSLY HIDDEN BY THE
CONTOUR OF THE LAND. WE SEE A SMALL DECREPIT GATEHOUSE IN
STONE, AND, BEYOND IT, A FLIMSY AND ANCIENT BARRICADE, AN
OLD GAMEKEEPER TYPE IN TWEEDS COMES OUT OF THE GUARDHOUSE.
HE IS CARRYING A MUG OF COFFEE AND HAS A NAPKIN TUCKED INTO
HIS COLLAR. HE REMOVES THE NAPKIN AND APPROACHES THE CAR.
STARLING FLASHES HER CREDENTIALS TO THE OLD MAN, WHO HOLDS
A CLIPBOARD.
STARLING
Special Agent Clarice Starling, to see
Mason Verger.
THE MAN AMBLES BACK INTO THE GATEHOUSE.
ANGLE INT THE GATEHOUSE, THE OLD MAN ENTERS, AND CAMERA
PULLS BACK TO SHOW, IN A ROOM OFF THE MAIN ROOM, THE FIT
BODYGUARD TYPES, WATCHING STARLING ON A TV MONITOR. THERE IS
A RAFT OF ELECTRONIC EQUIPMENT IN THE ROOM, AND A RACK WITH
SEVERAL ASSAULT RIFLES ON IT. ONE OF THE GUARDS IS TYPING
ONTO A COMPUTER TERMINAL. HE LOOKS AT THE RESULT, AND
GLANCES UP AT STARLING, ON THE SCREEN, AND NODS "OKAY" TO THE
OLD MAN. THE OLD MAN AMBLES OUT TO THE BARRIER, HAVING
PICKED UP AN OLD CLIPBOARD AT WHICH HE SQUINTS.
THEN, SATISFIED, HE RAISES THE BARRIER, AND STARLING'S CAR
GOES THROUGH.
EXT A MAGNIFICENT COUNTRY ESTATE HOUSE.
A POTATOCHIP VAN IS PARKED TO ONE SIDE IN THE WIDE DRIVE.
AN OLD RETAINER HOLDS OPEN THE DOOR FOR STARLING, AS SHE
EXITS FROM HER SEDAN, AND HE SHOWS HER INTO A LARGE
OPEN MORNING ROOM, IN WHICH WE FIND TWENTY YOUNG CHILDREN
OF VARIOUS RACES, ROMPING ON A SELECTION OF NEW TOYS.
CAMERA TAKES STARLING THROUGH A MODERN KITCHEN, WHERE
SEVERAL WHITE UNIFORMED COOKS ARE WORKING HAPPILY, ONE IS
OPENING A VAST TIN OF POTATOCHIPS. ONE OF THEM IS REMOVING A
TRAY OF COOKIES FROM THE OVEN, SEVERAL TYKES WAIT HAPPILY
NEARBY. THE COOK WITH THE TRAY OF COOKIES GIVES STARLING
A WIDE GRIN.
THE RETAINER TAKES STARLING PAST THE KITCHEN, TO A DOUBLE
DOOR, WHICH HE OPENS TO REVEAL A CORRIDOR BEYOND, AND A
LARGE FIT MAN IN HIS THIRTIES, WEARING AN ORDERLY'S WHITES,
COMING TOWARD THE CAMERA.
CORDELL
Agent Starling, would you come with
me...?
CORDELL BOWS TO THE OLD RETAINER, WHO RETIRES.
CORDELL AND STARLING WALK DOWN THE CORRIDOR.
STARLING
The children...?
CORDELL
...they're from Baltimore....
STARLING
I've never heard that he...
CORDELL
It's not something he wants to
publicize, Ma'am. It's just something he
does.
BEAT.
STARLING
I won't take much of his time.
CORDELL
He's glad to help. ...it's just a
question of his physical condition. You
Understand...
CAMERA TAKES STARLING DOWN A CORRIDOR LINED WITH
HUNTINGPRINTS. AT THE END OF THE CORRIDOR AN OLD WOMAN
SITS IN A WOODEN CHAIR, KNITTING.
THEY HAVE STOPPED. WAITING FOR THE WOMAN TO LOOK UP.
STARLING'S GAZE IS DRAWN BY AN OLD, CREWEL-WORK "SAMPLER"
FRAMED ON THE WALL BY THE OLD WOMAN'S CHAIR. AND OBVIOUS
ANTIQUE. IT READS:
"DO NOT GIVE INTO ADVERSITY. DO NOT TRUST TO PROSPERITY."
ANGLE ON CORDELL AND STARLING, AS STARLING LOOKS AT THE
SAMPLER, AND THE OLD WOMAN LOOKS UP FROM HER KNITTING.
SHE SITS IN FRONT OF A HALF-OPENED DOOR, WHICH WE SEE IS
THE DOOR TO A LINEN CLOSET.
CORDELL (cont'd)
...y'get enough breakfast, Rosie...?
BEAT. XCU ON THE OLD WOMAN, AS SHE LOOKS AT STARLING, AND
THEN NODS TO CORDELL, AS IF TO SAY, "THAT IS THE CORRECT
CODE."
ANGLE INS.
HER HAND DROPS TO THE BACK OF THE WOODEN CHAIR, AND PRESSES
A BUTTON CONCEALED IN THE LEG.
ANGLE
THE GROUP IN THE CORRIDOR, THE "LINEN CLOSET," OPENS, TO
REVEAL, BEYOND IT, WHAT APPEARS TO BE A SURGICAL FACILITY,
OR HIGH-TECH HOSPITAL ROOM.
INT THE HIGHTECH ROOM.
THERE IS A NURSE, SITTING AT A STATION, MONITORING VARIOUS
LIFESIGN DISPLAYS. SHE LOOKS UP BRIEFLY, AS CORDELL AND
STARLING ENTER .
NURSE
(TO CORDELL)
Five minutes...
CORDELL NODS, AND TAKES STARLING DEEPER INTO THE ROOM. WE
BEGIN TO HEAR THE SUSURRUS OF A MECHANICAL BREATHING
APPARATUS. CAMERA GOES WITH STARLING INTO THE ROOM, WHERE WE
SEE A HOSPITAL BED, WITH A SCREEN IN FRONT OF IT, AND
VARIOUS TELEVISION DISPLAYS ABOVE IT, ANGLED TO BE SEEN FROM
THE BED.
STARLING APPROACHES THE BED, AND LOOKS DOWN AT THE FIGURE
IN IT. WE SEE HER FACE, BUT THE FIGURE IS SCREENED. THE
FIGURE, VERGER, SPEAKS BREATH BY BREATH, WITH AN OBVIOUS
ELECTRONIC ENHANCEMENT.
VERGER
Aren't they beautiful, Miss Starling...
STARLING LOOKS UP AT THE CHILDREN PLAYING.
ANGLE HER POV.
ONE OF THE CHILDREN FALLS OFF A SMALL PLASTIC SLIDE, AND
CRIES, A NURSE RUNS TO HIM.
VERGER (cont'd)
Well, now, you see, one of them's hurt.
And what will make it better? Love.
Isn't that odd.
(PAUSE)
He think's he's hurt his knee--but the
assurance, the assurance, the assurance
that someone cares (WHEEZE WHEEZE)
Suggests the hurt was elsewhere.
STARLING
Mr. Verger, thank you for your time.
VERGER
For the worst hurt, of course, that
which will not heal, is the conviction
no one cares.
STARLING
I've come to see you, sir, about an
Auction...
SHE HOLDS UP THE CATALOGUE TO HIM.
ANGLE INS
"DRAWINGS AND MEMORABILIA RELATING TO THE SERIAL KILLER,
HANNIBAL LECHTER."
ANGLE
ON CORDELL, AS HE COMES CLOSE, DONNING SURGICAL GLOVES, AND
TAKES THE CATALOGUE, AND HOLDS IT TOWARD VERGER.
VERGER
Ah, yes, ah yes. Our Doctor Lechter...
And have they sent you, once again to
capture him? How terrible for you...
STARLING
No, sir, it's not my job to capt... why
do you say how terrible?
VERGER
Because we must leave the past in the
past. (WHEEZE WHEEZE)
(CORDELL TURNS A PAGE)
Ah. And here we have artifacts of, yes,
my own encounter with him...
CORDELL TURNS THE PAGE QUICKLY.
VERGER (cont'd)
No, no. That's alright. Yes. Lechter's
drawings of me. Before... and, of
course, after... Now: you are not sent
to pursue him. Then your visit baffles
me.
STARLING
Sir, various drawings, done by Dr.
Lechter, while in prison, stolen from the
prison after his escape, have surfaced
and are being sold at auction. Several
large reserve bids have been placed on
them. I have to ask if you've placed
those bids.
VERGER
Because?
STARLING
Because if it was not you, then, perhaps
it was Dr. Lechter, trying to reclaim
his own property.
VERGER
And why would you suspect me, of this
ghoulishness?
STARLING
Because, sir, you are the only one of his
victims who lived. And because you have
large resources.
VERGER
Large resources, Starling, which I prefer
to devote elsewhere....
STARLING LOOKS UP, AS WE SEE THE IMAGE ON THE TELEVISION
CHANGE TO THE CHILDREN EATING THE COOKIES, AND THE IMAGE
CHANGES AGAIN TO SHOW A SMALL DISPENSARY, AND THE KNEE OF THE
CHILD WHO FELL BEING BANDAIDED BY A NURSE.
STARLING
Due respect, sir...
SHE PRODUCES A COPY OF THE WANTED: HANNIBAL LECHTER POSTER
WE SAW AT THE FBI.
STARLING (cont'd)
Due respect, after your, after your...
VERGER
My encounter.
STARLING
Someone offered three million dollars
bounty on Dr. Lechter's head.
(PAUSE)
CORDELL
The identity of the person offering the
bounty was never established.
VERGER
Yes, but we know who it was, and I will
tell you, Agent Starling, what you know
to be true. I offered the bounty. It
was illegal, and, worse, it was wrong.
And I thank God every day that I did not
compound my sinful life by the stain of
a murder. Do you (WHEEZE) Agent
Starling: do you know God?
(PAUSE)
STARLING
...sir...?
VERGER
Isn't it funny? You can look on my
face (WHEEZE WHEEZE) which you would
grant me, is the most hideous sight you
will see in what I hope is a long life.
You can look at me. Which shows (WHEEZE)
a Strength which must come from strong
(WHEEZE) strong convictions. (WHEEZE)
But you shy when I say the name of
God.
THE NURSE COMES UP, HOLDING THE TAPE OF A LIFESIGNS
MACHINE, SHE NODS TO CORDELL AND INDICATES THE MONITORS.
NURSE
(TO STARLING)
...I'm sorry..
(MEANING, YOU MUST GO.)
STARLING
Yes, then, you're saying that you
haven't bid upon these drawings.
VERGER
I have not, I would not. For life
(WHEEZE) life goes on Starling. And,
wait, wait, I wish to talk to you...
I'm... (WHEEZE) (TO THE NURSE, WHO IS
TAKING STARLING'S ARM) One moment. I was
afflicted, do you see, but my affliction
was not in my meeting with your Dr.
Lechter. I was afflicted before.
Before. Do you see? In my arrogance.
Do not (WHEEZE) Do not curse God when
you are humiliated. Listen to me:
embrace it, and you embrace life....
Listen, and you hear the word of
God...
STARLING IS LED AWAY BY THE CONCERNED NURSE. CORDELL LINGERS
BEHIND, AT AN UNSEEN BEHEST OF VERGER.
THE NURSE STARTS PREPARING A HYPO AT HER STATION.
STARLING
...will he be alright...?
THE NURSE, DISTRACTED, NODS, AND RETREATS TOWARD VERGER
WITH THE HYPO.
CORDELL COMES OUT TO STARLING.
INT CORRIDOR, COUNTRY HOUSE, DAY. STARLING AND CORDELL ARE
WALKING, BEYOND THEM, WE SEE VARIOUS CHILDREN PLAYING UNDER
ADULT SUPERVISION. A CARETAKER TYPE IS HOLDING A SMALL
GOAT, WHICH THE CHILDREN ARE PLAYING WITH.
CORDELL OPENS THE GLASS DOOR, AND HE WALKS STARLING THROUGH
THE SCENE OF THE CHILDREN AND THE GOAT.
CORDELL
Mr. Verger wanted me to give you
this...
(HE HANDS HER A SMALL PRINTED CARD)
ANGLE ON STARLING, AS SHE GLANCES AT THE CARD.
ANGLE INS THE CARD READS:
"DO NOT GIVE INTO ADVERSITY..."
SHE GLANCES AT IT, AND, DISMISSIVELY, PUTS IT IN A POCKET.
CORDELL (cont'd)
And he has asked me to ask you something.
STARLING
What would that be?
CORDELL
(PAUSE)
He... would consider it a favor if he
could make a donation. To a charitable
institution of your choice.
(PAUSE)
STARLING
Now, why in the world would he do that?
CORDELL
I... think... he was.... he was
touched, by your reaction. To his
appearance.
STARLING
What reaction?
CORDELL
Exactly.
STARLING
(AS SHE HANDS HIM A CARD)
Please, I do not... I don't want to
trouble him. But if you or he have any
notlon, who would be buying Dr. Lechter's...
CORDELL
Do you know the seller?
STARLING
We've subpoenaed the Auction House's records.
CORDELL
Try Barney Clark.
STARLING
(TAKING OUT A NOTEBOOK)
He is...?
CORDELL
He was the orderly, during Dr. Lechter's
stay in Prison.
STARLING
And how would you know that?
CORDELL
Before "The Change," Mr. Verger was...
he made quite a study.
(PAUSE. STARLING MAKES A NOTE.
SHE LOOKS AROUND.)
STARLING
You should get the kids a dog...
CORDELL
....I hardly think so... after "The
Incident"...
STARLING
No, no, of course not.
SHE STARTS TO GET INTO HER CAR.
CORDELL
...Mr. Verger would be pleased to make a
contribution, to the charitable...
STARLING
Tell him to give it to an orphanage.
STARLING CLOSES THE CAR DOOR.
HOLD. ON STARLING, WATCHING THE CHILDREN FOR A MOMENT.
THEN SHE TAKES THE CARD FROM HER POCKET AND GLANCES AT IT.
IT READS :
"DO NOT GIVE INTO ADVERSITY, DO NOT TRUST TO PROSPERITY.
BE AWARE OF FORTUNE'S HABIT--SHE WILL DO JUST AS SHE
PLEASES. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE
KIND.
ANGLE
ON STARLING, AS SHE STARTS TO PUT THE CAR IN GEAR, PUTTING
DOWN THE NOTE. THEN SHE HESITATES, AND BEGINS TO CRY.
LOWERING HER HEAD, BEYOND HER WE SEE THE POTATOCHIP VAN,
PARKED IN THE DRIVEWAY, AND THE CHILDREN ROMPING WITH THE
GOAT.
INT PSYCHIATRIST'S OFFICE DAY.
STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST.
PSYCHIATRIST
...that you could ~go beyond the
institution."
STARLING
Yes.
PSYCHIATRIST
What does that mean?
STARLING
(PAUSE)
I saw a man today, a man so hideously
deformed who'll spend his life in a
hospital bbb...
PSYCHIATRIST
Yes, so you said. But what does that
mean: to go beyond The Institution.
STARLING
(TAKES A TISSUE FROM A BOX ON
THE DESK)
If he could overcome... his need for...
for self-ratification...
PSYCHIATRIST
...would you use a small word?
STARLING
For approval.
PSYCHIATRIST
What's wrong with approval?
(PAUSE)
You admired that man.
STARLING
Yes.
PSYCHIATRIST
How do you think that made him feel?
(AFTER A PAUSE. SHE CHECKS
HER NOTES)
What does that mean, "to go beyond the
institution...?"
(PAUSE)
STARLING
I told that woman I'm an orphan.
PSYCHIATRIST
...you are an orphan.
STARLING
But... but....but.... you're right. I
used it. To bargain. For her
sympathy... I used it--to "whore myself
out"--
(PAUSE)
PSYCHIATRIST
Welcome to the human race.
(STARLING SHAKES HER HEAD IN
NEGATION. PAUSE)
Do you know, there are people who admire
you? Reasonable people.
(PAUSE)
Why don't you find them...?
PAUSE. STARLING LOOKS UP, AT THE NEW CONCEPT.
INT FBI HEADQUARTERS DAY.
STARLING, WALKING DOWN A CORRIDOR. CAMERA HINGES HER TO
"BEHAVIORAL SCIENCE." SHE STICKS HER HEAD IN, AND ASKS,
OF AN AIDE:
STARLING
Y'see John Brigham...?
AIDE
...I...
CRAWFORD STICKS HIS HEAD OUT OF HIS OFFICE, HE PUTS HIS
PIPE ASIDE, AND CALLS TO STARLING... SHE COMES IN, AND HE
HOLDS UP AN X-RAY.
CRAWFORD
Look at this:
STARLING
You seen John Brigham...?
CRAWFORD
This just came in, over the transom.
Fella, works for a Plastic Surgeon,
Argentina. Look here:
STARLING
...what'm I looking at...?
CRAWFORD
A fellow with five fingers.
STARLING
...standard issue...
CRAWFORD
Not for our Doctor Lechter. This...
(HE GLANCES AT NOTES)
Purports to be an x-ray of the hand of
a ...white male...mmmm....mmmm...., after
the removal of a vestigial sixth digit.
Left Hand. It purports to be the x-ray
of Dr. L...
STARLING
Am I on that case, sir...?
(PAUSE)
CRAWFORD
No.
(PAUSE)
STARLING
Well, then--I wouldn't want to be taken
for a hobbyist...
THE AIDE COMES IN, HOLDING A PHONE.
AIDE
Agent Brigham is in the Library.
STARLING
(TO CRAWFORD)
Excuse me...
(THE AIDE AND CRAWFORD
EXCHANGE A SURPRISED LOOK)
SHE EXITS
INT LIBRARY DAY
BRIGHAM, IN THE LIBRARY, BENT OVER A LAWBOOK.
A NOTE IS SLIPPED OVER THE BOOK. IT READS, "YES, I WILL
MARRY YOU."
ANGLE
ON BRIGHAM, AS HE READS THE NOTE.
BRIGHAM
This isn't signed.
STARLING
(VO)
Hard up as you are, at your age? Whadda
you care? Surrender.
BRIGHAM
~Don't shoot, G-Men..."
STARLING SITS DOWN NEXT TO HIM. BEAMING.
BRIGHAM (cont'd)
Why?
STARLING SMILES AND STARTS TO MAKE A PERT ANSWER. SHE GETS A
BIT TEARY, AND BRIGHAM LEADS HER OUT OF THE LIBRARY.
ANGLE, A BALCONY OFF THE LIBRARY.
STARLING HANDS BRIGHAM THE CARD SHE GOT FROM VERGER.
STARLING
(AS BRIGHAM READS}
You know what, he's right. Fella: had
his life taken from him, by a maniac.
Fella. He's laying there, he'll never
get off that bed. He can't move, a
Monster...
(SHE SHAKES HER HEAD, AND
LEANS INTO BRIGHAM. TIGHT TWO
SHOT)
...a monster fed his face to the dogs.
(BEAT}
N'he said that it saved his life.
(SHE STARTS TO LAUGH)
He's spend'n his life helping Children.
How corny is that...? But, you know
what: I give up. Let's get married and
spoil a buncha Kids...
(THEY EMBRACE.)
ANGLE INT THE LIBRARY
BRIGHAM AND STARLING ENTER, AS HE GOES TO GATHER UP HIS
MATERIALS.
AN AGENT HURRIES THROUGH.
AGENT
Starling: They got a x-ray. They think,
they might have a lead on Lechter.
STARLING
Wherever he is, that's fine with me...
AGENT
They...
STARLING
Yeah, I know.
THE AGENT LOOKS AT HER WONDERINGLY, AND, THEN, AS IF SHE
HAS NOT UNDERSTOOD.
AGENT
(AS HE PRODUCES A XEROX OF AN
X-RAY)
They got a Radiologist Assistant, Buenos
Aires, guy, amputation of a Sixth
Finger...and it seems to've left a scar,
uh oh....
STARLING
That ain't my case. They assigned me,
go do some legwork, Theft of Government
Property. Tha's what I'm gonna do, and
then go home and burn the roast. How
the hell about that--I'm gonna swim with
the current, and I don't care where he
is.
AS BRIGHAM IS GATHERING HIS STUFF, HE DROPS THE CARD
STARLING GAVE HIM, ON THE FILE WHICH WAS STARLING'S. WE
READ: "NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE
KIND." AND, AS BRIGHAM'S HANDS COME INTO THE FRAME TO
GATHER THE MATERIAL UP, WE SEE THE AUCTION HOUSE CATALOGUE,
AND THE PHOTO OF THE DRAWING, AND STARLING'S NOTES: LION
AND BIRD, MARBLE SCULPTURE __________ CEMETERY, FLORENCE,
ITALY.
INT ALITALIA AIRLINER DAY.
ANGLE INS.
AN ITALIAN PASSPORT, A DEBARKATION CARD, SEVERAL SNAPSHOTS,
SHUFFLED INTO THE GROUP, BY A MAN'S HANDS. WE SEE THE
SNAPSHOT OF PAZZI IN FRONT OF THE MASON VERGER WANTED
POSTER. SNAPS OF PAZZI, IN SWAT GEAR, ON THE RANGE AT
QUANTICO, WEARING A FBI "GIMME" HAT, A POSTCARD OF THE
LINCOLN MONUMENT, V.O. AN ITALIAN VOICE URGING ALL PASSENGERS
TO REMAIN SEATED UNTIL ET CETERA.
ANGLE INT THE CABIN OF THE AIRLINER.
THE ITALIAN STEWARDESS IS USHERING FOLKS OFF THE PLANE. WE
SEE PAZZI PUTTING ALL HIS PAPERS TOGETHER, AND HE REACHES
DOWN A FLIGHTBAG FROM THE OVERHEAD, AND JOINS THE LINE OF
EXITING PASSENGERS.
ANGLE
IN THE JETWAY, AN ARMED SOLDIER, HIS SMG SLUNG IN FRONT OF
HIM, IS READING AN ITALIAN NEWSPAPER.
AS THE JETWAY PULLS UP TO SNUGGLE WITH THE JET, THE SOLDIER
DROPS THE PAPER ONTO THE STOOL BEFORE HIM, AND COMES TO
ATTENTION.
ANGLE
IN THE PLANE, THE STEWARDESS OPENS THE DOOR, THE PASSENGERS
EXIT, SHE AND PAZZI EXCHANGE A BRIEF, WHISPERED FLIRTATION AS
HE PASSES. AS HE MOVES PAST HER, SHE GIVES A SMALL WHOOP IN
RESPONSE TO SOME CLANDESTINE CARESS OF HIS.
A WHISPERED CONFERENCE BETWEEN THE TWO.
STEWARDESS
....is that the way for a Public Official
to act?
PAZZI
(SHRUGS)
You represent Italy. Call it an
inspection...
STEWARDESS
Shouldn't that be carried out in Depth?
PAZZI
...I have to get back to my wife...
HE SHRUGS SADLY, AND MOVES PAST HER.
CAMERA TAKES PAZZI INTO THE JETWAY, WHERE WE NOW SEE TWO
PLAINCLOTHES COP TYPES, WAITING, AS PAZZI COMES THROUGH
THEY NOD TO HIM, AND THE GROUP STARTS TO EXIT OUT OF THE
SIDE WALKWAY OF THE JETWAY.
PAZZI (cont'd)
...what's up...?
ONE OF THE MEN REACHES FOR THE PAPER, WHICH THE SOLDIER HAS
DROPPED, AND TAKES IT WITH HIM.
ANGLE EXT THE JETWAY.
THE GROUP OF THREE DESCENDS ONTO THE TARMAC UNDER THE
JETWAY, WHERE THERE IS A CAR WITH A BLUELIGHT ON IT, WAITING.
THEY GET INTO THE CAR, AND ONE OF THE COPS HANDS THE PAPER
TO PAZZI.
ANGLE INT THE CAR, AS IT PROCEEDS THROUGH THE AIRPORT.
PAZZI TURNS TO THE PAGE INDICATED.
COP ONE
How was America?
PAZZI
(LOOKING AT THE PAPER)
Bad coffee, and women with excessive
ankles.
COP ONE
...nightmare.
PAZZI
What's up...?
COP ONE
(POINTING TO PAPER)
Doctore Carlo Fanelli, curator of the
Pallazo Capponi, 2 months missing.
PAZZI
Yeah, so where is he?
COP ONE
Somewhere where his family are offering
a thirty grand reward for Information, so
on.
PAZZI
They got that kind of money?
COP ONE
Their family owns...
HE SPEAKS, BUT THE NOISE OF A JET RUNNING UP WASHES OUT HIS
INFO. PAZZI'S EYES, HOWEVER, GROW WIDE.
PAZZI
Well, let's find him...
COP ONE
...buya lot of pasta for your wife.
COP TWO
She don't eat pasta, that's how come
she's so slim.
COP ONE
Heresa file onnaguy, you got a meeting,
the Palazzo Capponi, at four thirty.
PAZZI
I can't even go home and change...?
COP TWO
What'd you bring me...?
THE CAR IS STOPPED AT A BARRIER. A GUARD COMES OUT, AND THE
COP DRIVING FLASHES OFFICIAL LOOKING INFO AT HIM.
INT THE CAR.
PAZZI DISTRIBUTES TWO FBI ACADEMY HATS, TO THE TWO COPS.
THE CAR PASSES THROUGH THE BARRIER. CAMERA TRACKS WITH IT
THROUGH THE "ARRIVALS" ROUNDABOUT. AND WE SEE TWO
BILLBOARDS, THE FIRST ANNOUNCES, THE FLORENCE BALLET, WITH
APPROPRIATE DATES AND INDUCEMENTS. THE SECOND, SHOWS A
GUILLOTINE, AND ANNOUNCES: INSTRUMENTS OF ATROCIOUS
TORTURE. NOW THROUGH OCTOBER, ET CETERA.
INT THE CAR.
PAZZI
What else did I miss...?
ONE OF THE MEN GESTURES AT THE "TORTURE" POSTER.
COP ONE
Atrocious Torture. Hit of the Season,
you want, I know a guy can get you a
ticket.
PAZZI
...are they hard to get?
COP ONE
Impossible.
PAZZI
(SHAKING HIS HEAD SADLY)
...what a world.
INT PAZZI'S APARTMENT DAY.
A NICE MODERN SMALL APARTMENT. ANNA PAZZI, A VERY BEAUTIFUL
WOMAN OF AROUND THIRTY IS STANDING IN THE HALL, AS PAZZI
ENTERS.
HE BEGINS KISSING HER, AND CAMERA MOVES THEM INTO THE BEDROOM.
ANNA
What's the rush? What's the rush...?
PAZZI
Aren't you glad to see me?
ANNA
Tell me about your trip... what did you
bring me...?
HE STOPS, AND RUMMAGES IN HIS CASE, AND BRINGS OUT A
BOTTLE OF PERFUME. HE GIVES IT TO HER. SHE LOOKS
DISAPPOINTED.
ANNA (cont'd)
...and?
PAZZI
I brought you my passion and my wish that
this afternoon will be for you an
experience of ecstasy...
SHE FENDS HIM OFF.
PAZZI (cont'd)
...what?
ANNA
I can't think.
PAZZI
...you don't have to think.
ANNA
We have to talk about money...
PAZZI
I'm on the track of a reward, which...
ANNA
A reward...
PAZZI
I'm going to tell you later....
ANNA
A reward for what?
PAZZI
Some museum director disappeared.
ANNA
And?
PAZZI
They're offering...
(AS HE MOVES HER TOWARD THE
BED)
ANNA
...you haven't found him yet.
PAZZI
What is this, a whorehouse, or are you
my wife?
ANNA
You've gone off to America, on your
Vacation...
PAZZI
...I was working...
ANNA
...please...
PAZZI
I swear to you...
ANNA
...and I want to talk to you about your
promotion..
PAZZI
Yes? My promotion...?
ANNA
I want to talk to you about your salary.
Because I can't...
HE TAKES OFF HIS JACKET, HE TAKES THE PERFUME BOX FROM HER,
AND THROWS IT INTO THE OPENED SUITCASE. HE MOVES HER TOWARD
THE BED.
ANGLE
ON THE SUITCASE, WHERE WE SEE THE PERFUME HAS LANDED IN
THE VERY SCARF WHICH STARLING GAVE TO PAZZI EARLIER, ALSO IN
THE STILL-LIFE IS PAZZI'S PASSPORT CASE, OUT OF THE TOP OF
WHICH WE SEE PEEKING A BIT OF THE PHOTOGRAPH SHOWING THE
WANTED POSTER "THREE MILLION DOLLARS REWARD FOR THE
WHEREABOUTS OF THE MONSTER, HANNIBAL LECHTER."
THEY CONTINUE TO TALK, AS THE AUDIENCE READS THE INFORMATION
IN THE INSERT.
PAZZI (cont'd)
(VO)
(CONCLUDING)
I need you, y'understand, I need you...
ANNA
(VO)
...everybody needs something...
WE SEE THE LIGHT GO OUT IN THE ROOM (I. E. ON THE INSERT SHOT)
PUTTING THE ROOM INTO SEMI-DARKNESS.
EXT PALLAZZO VECCHIO DAY.
THE SEDAN WITH PAZZI AND COP ONE COMES TO A HALT.
COP ONE THROWS A POLICE PASS ON THE DASHBOARD, AND THEY GET
OUT, COP ONE HURRYING.
PAZZI
(FOLLOWING, AS HE TIES HIS TIE)
Hold up a minute...
COP ONE
You spend the afternoon in Bed?
PAZZI
First things first.
COP ONE
You take this much time over everything?
PAZZI
That's why my wife adores me.
INT PALAZZO VECCHIO, VARIOUS RECONSTRUCTION AND RENOVATION
GOING ON.
PAZZI AND COP ONE MOUNT THE STAIRS.
COP ONE
Carlo Fanelli, Dottore, missing two
months. He was the Director of the
Museum. Which, since his absence...
THEY HAVE ARRIVED ON A LANDING. VARIOUS RESTORATION CREWS
ARE AT WORK. PROFESSOR RICCI, A CONTEMPORARY OF PAZZIS,
COMES UP TO HIM.
RICCI
Ah, Pazzi. How was America...?
THEY TURN THEIR HEADS. AT THE SOUND OF SHOUTING.
ANGLE THEIR POV.
A LARGE SALON, ITS DOUBLE DOOR OPEN, AND TEN CHAIR ARRANGED
AROUND A TABLE, ALL FULL OF SEATED OLDER MEN, OF WHOM SEVERAL
ARE EXPOSTULATING WITH ANOTHER FIGURE, UNSEEN.
ANGLE ON RICCI, PAZZI, ET AL.
RICCI (cont'd)
We may need you to stop bloodshed.
PAZZI
What're they on about?
RICCI
They're grilling the applicant for the
Vacant Post.
PAZZI
Speaking of the Vacant Post.
RICCI
Dottore Fanelli...
COP
He hasn't, by any chance, wandered back
in?
AS COP ONE TALKS WITH RICCI, CAMERA GOES OVER THE SHOULDER
OF PAZZI, WHO, GINGERLY ENTERS THE SALON, TO THE SIGHT AND
SOUND OF THE OLD MEN ARGUING WITH EACH OTHER.
ANGLE, HIS POV. THE OLD MEN AT THE TABLE.
SOGLIATO, A FELLOW IN HIS SEVENTIES, IS HOLDING THE FLOOR.
SOGLIATO
Now: our applicant holds in his hand,
in his Non-Italian-Hand, a note, from
Dante Aligheri himself. Would he
recognize it, I think not...
ANOTHER OLD MAN
You want the job for your nephew.
SOGLIATO
Indeed I do. Because he is my Nephew?
No. Because he....
A THIRD OLD MAN
Let him read the note...
SOGLIATO
Yes, fine, of course he can read the
note. His Italian is admirable, for a
straniero. But is he familiar with...
ANGLE
ON THE MAN, PREVIOUSLY UNSEEN OF WHOM THEY ARE TALKING.
THE MOVEMENT OF THE POV REVEALS HIM, STANDING ALONE, BACK TO
CAMERA, BEFORE A HALF CLOTH-COVERED TAPESTRY, DRESSED IN A
MAGNIFICENT SUIT, USING HALF-GLASSES TO LOOK DOWN AT A NOTE
IN HIS HAND.
SOGLIATO (cont'd)
(VO)
The personalities of pre-Renaissance
Florence? I think not.
THE MAN (HANNIBAL LECHTER/DR. FELL) STILL SEEN FROM THE REAR--
STILL LOOKING AT THE NOTE--NODS TO INDICATE HE HAS HEARD.
ANGLE HIS POV
THE TABLE OF OLD MEN, AND BEYOND THEM, PAZZI.
RICCI APPEARS AT PAZZI'S SIDE, AND SPEAKS IN WHISPERS.
RICCI
(SOTTO)
...a Dr. Fell. A Brazilian, I think.
Applying for Fanelli's post.
PAZZI
(VACANTLY)
Brazilian.
(RICCI HANDS SOME FORMS TO PAZZI)
RICCI
It would seem.
SOGLIATO
(VO)
What if he came upon a note in, the
Capponi Library, this great Italian
Institution, which he now graces us with
his bid to Direct, a note from Guido de
Cavalcanti. Would he recognize it, I
think not.
ANGLE ON DR. FELL, STILL SEEN FROM THE REAR, AS HE TAKES A
SILK SQUARE FROM HIS BREAST POCKET, AND CLEANS HIS HALF-
GLASSES, THEN FOLDS THEM AND PUTS THEM AND THE SQUARE BACK
IN HIS POCKET.
SOGLIATO (cont'd)
(VO)
Would you care to address that, Dr.
Fell...?
BEAT. DR. FELL TURNS TO CAMERA, STILL HOLDING THE NOTE.
HE TAKES SEVERAL PACES, TO LOOK AT THE NOTE IN A SHAFT OF
SUNLIGHT.
HE IS STANDING BESIDE THE STATUE OF JUDITH AND HOLOFERNES.
HE NODS AT THE NOTE, AS IF CONFIRMING SOMETHING. THEN HE
LOOKS UP.
DR. FELL
Cavalcanti replied publicly to Dante's
first sonnet. Do you know it, Professor
Sogliato? I believe it's worth your
time: Listen to the way he makes an
instrument of the Italian vernacular,
which he called the vulgari eloquentia--
the eloquent voice of the people:
Allegro me sembrava amor tenedo/Meo core
in mano, e ne la braccia avea/Madonna
involta in un drappa dormedo/Poi la
svegliava a d'esto ardeno/Lei paventosa
umilmente pascea/Appreso gir lo ne vedea
paingendo. If Dante had written to a
Cavalcanti, it would, of course, have
been to Andrea, the most literary of his
brothers....
SOGLIATO
...why do you want this job?
DR. FELL
In the hope, that someday, I should come
across such a note. I thank you
gentleman for your kind attention, and
hope you will consider...
THE MEETING IS ABOUT TO BREAK UP, THE OLD MEN ARE RISING,
FELL HANDS BACK THE NOTE, WHICH IS ENCASED IN A PROTECTOR,
RICCI COMES FORWARD WITH PAZZI, AND BEGINS INTRODUCING HIM
TO THE COMMITTEE.
RICCI
...investigating the disappearance of
Dottore Fanelli...
PAZZI
Who, can you think, who would want to
harm Dr. Fanelli, did he have any
enemies, that...
COMMITTEE MEMBER
...I have never met a man who was so
well beloved.
PAZZI
...he was wealthy...
COMMITTEE MEMBER
He had nothing. He lived in a garret.
His work was his life, he...
PAZZI
...his family has offered a large
reward.
ANGLE ON FELL, WHO GOES TO THE PEDIMENT OF THE STATUE OF
JUDITH AND HOLOFERNES, AND PICKS UP A SMALL SKETCH BOOK,
WHICH IS OPENED AT A SKETCH OF THE STATUE, HE PUTS THE
BOOK UNDER HIS ARM. ANGLE ON PAZZI AND THE COMMITTEE
MEMBER.
COMMITTEE MEMBER
His older brother offers the reward,
Fanelli had nothing, he....
ANGLE.
PAZZI HALF TURNS HIS HEAD, TO SEE SEVERAL COMMITTEE MEMBERS
CONGRATULATING DR. FELL, WHO IS PUTTING ON HIS COAT.
COMMITTEE MEMBER (cont'd)
...will have, of course to be examined
by the Studiolo, to confirm the
appointment, but I think I can assure
you, that the Committee...
DR. FELL
...you are most kind...
ANGLE, ON PAZZI, WHO IS STILL BEING TALKED AT BY THE
COMMITTEE MEMBER.
COMMITTEE MEMBER
..who would benefit from his
disappearance? No one. No one has but
lost by it...
ANGLE
PAZZI STARTS TOWARD DR. FELL.
PAZZI
(TO THE COMMITTEE MEMBER)
...would you excuse me...?
ANGLE EXT THE SALON, ON THE LANDING, FELL IS BEING ADDRESSED
BY RICCI.
RICCI
...will have to face the Studiolo, in
their meeting next week. And I, for
one, wish you the best.
FELL SHAKES HIS HAND, AND STARTS DOWN THE STAIRCASE.
CAMERA GOES WITH HIM, WE HEAR PAZZI VO.
PAZZI
Dottore...
FELL TURNS, AND PAZZI COMES TO CATCH UP WITH HIM.
PAZZI (cont'd)
Pazzi, Rinaldo, Commendatore,
Prefatura...
FELL
Of course, Commendatore...
CAMERA TAKES THEM DOWN THE STAIRS, AS THEY TALK.
PAZZI
Could you tell me: did you ever meet
your predecessor, Dottore Fanelli...?
FELL
I never met him. I knew him only from
his writings.
PAZZI
I know that the officers who first
investigated his disappearance searched
for a note, a farewell note, a suicide
note...
FELL
...yes.
PAZZI
You have taken over his offices, is that
not so?
FELL
It is only temporary, until my
confirmation by...
PAZZI
Of course, in his offices, if you come
across anything, any personal papers of
his, anything, however trivial, would
you contact me, please... Are his
personal effects still at the Palazzo?
FELL
Yes. Packed and with an inventory.
(HE HESITATES, AND LOOKS AT
PAZZI)
PAZZI AND FELL WALK OUT OF THE MUSEUM.
ANGLE EXT THE MUSEUM.
PAZZI
I'll have them picked up.
PAZZI GESTURES TO HIS COLLEAGUE.
PAZZI (cont'd)
May we drop you?
FELL
Thank you, I am most happy to walk in
this most magnificent of cities.
FELL STARTS PULLING ON HIS GLOVES, HE HANDS HIS SKETCHBOOK
TO PAZZI FOR A MOMENT. PAZZI LOOKS DOWN.
ANGLE PAZZI'S POV
FELL'S LEFT HAND, HAS A SCAR ON THE BACK IN THE SHAPE OF A
3.
PAZZI
May I ask you a personal question, Dr.
Fell?
FELL
If your duty requires it.
PAZZI
You have a recent scar on the back of
your hand.
FELL
And you have a new wedding ring on yours?
La Vita Nuova?--
(HE SMILES.)
PAZZI
You looked oddly at me, back on the
landing.
FELL
Yes, it must be hard to be a policeman.
Is it hard? Must one, then, be
constantly suspicious?
PAZZI
Why did you look at me that way?
FELL
(SMILES)
I saw a man in disheveled clothing, but
clean. Just dressed--in the middle of
the...
FELL SHAKES HIS HEAD, ASKING TO HAVE THE QUESTION
WITHDRAWN.
PAZZI
...please...
FELL
(SHRUGS, SMILES)
I saw a man, somewhat fatigued.
Quickly dressed, a bit dishevelled. In
the middle of the day.
(SMILES)
An old story. And then I saw the
clothing was fresh--therefore: a man who
dressed at home. And then I remarked
the new wedding ring. And so: the
story gave me pause. A lovely story. A
new, and a beloved wife. I wish you joy.
(FELL STARTS TO EXIT)
PAZZI WALKS WITH HIM.
PAZZI
You assemble this, on the instant, from
these few observations?
FELL
(SHRUGS)
I'm a historian. It is our task to
assemble the seemingly unconnected into
the obvious.
PAZZI
...your scar..?
FELL
My scar is a war-wound.
PAZZI
How so?
FELL
Carpal-tunnel syndrome. From a life of
typing. Commendatore. History,
a hazardous profession.
FELL AND THEN PAZZI STOP.
FELL (cont'd)
You are a Pazzi of the Pazzim are you
not?
PAZZI
Yes. How did you know?
FELL
You resemble a figure from the Della
Robia Rondels, in your family's chapel at
Santa Croce.
PAZZI
It was Adresa de Pazzi, depicted as John
the Baptist. You have seen the chapel?
FELL
I have had the honor.
(HE BOWS AND STARTS OFF.
PAZZI GOES AFTER HIM.)
FELL TURNS TO HIM.
FELL (cont'd)
I wondered that an officer of your
exalted rank should come, so late,
into the case.
PAZZI
And? Then?
FELL
I wonder no longer. You were out of the
country.
PAZZI
How could you know?
FELL
I sense...
(HE TOUCHES HIS NOSE)
The faintest whiff of a perfume, whose
base, whose base, whose base is
"Hamamelis" ... it is witch-hazel--such
a clean scent. No, not a European scent.
I would say it is a scent of the New
World. I would say, you have been in
America. Have I struck home?
PAZZI
You know America?
FELL
...you have brought this perfume...
brought this perfume. Back. Back from
America. To your New Wife...
(HE PICKS UP HIS HAND, AND
GLANCES DOWN AT PAZZI'S
WEDDING RING.)
You have given it to her, and some of...
(HE SMILES)
Some of 'her perfume' has found its way
back onto you. Lucky man. Lucky man,
indeed.
HE BOWS, AND STARTS TO TAKE HIS LEAVE, FROM THE STARTLED
PAZZI. PAZZI COMES TO HIS SENSES, AND HANDS A CARD TO FELL.
PAZZI
Should you come across anything which...
FELL
You will be the first I call.
FELL TURNS TO LEAVE, TURNS BACK, AND TAKES HIS HAND AND,
GENTLY RUBS IT ON THE LAPEL OF PAZZI'S SUITJACKET, HE THEN,
DELICATELY, HOLDS THE HAND UNDER HIS NOSE, AND NODS, AS IF
IN AGREEMENT WITH HIMSELF.
HE NODS, AND WALKS OFF INTO A PARK.
ANGLE ON PAZZI, WHO LOOKS AFTER FELL. HE WALKS BACK TOWARD
THE CAR. HE TURNS, TO LOOK AFTER FELL, AND WE SEE HE IS
STANDING BY A LINE OF PEOPLE, A QUEUE, UNDER A BANNER WHICH
PROCLAIMS, "ATROCIOUS INSTRUMENTS OF TORTURE."
PAZZI SHAKES HIS HEAD, AS IF TO CLEAR IT, AND STARTS TOWARD
HIS CAR, WHERE COP ONE OPENS THE OOOR FOR HIM.
ANGLE
ON FELL, AS CAMERA TAKES HIM INTO THE PARK, WHICH, WE SEE,
IS A CEMETERY.
HE SITS ON A BENCH, AND TAKES OUT HIS SKETCHBOOK, AND BEGINS
TO DRAW.
ANGLE HIS POV.
A PIECE OF FUNERAY STATUARY, THE LION, HOLDING THE BIRD IN
HIS MOUTH.
ANGLE ON DR. FELL, SKETCHING. TIGHT.
HE SKETCHES, HE RAISES HIS HAND TO HIS NOSE AND INHALES, AND
NODS AGAIN.
ANGLE, FROM THE SIDE, WE NOW SEE THE STATUE AND FELL'S
DRAWING. HE IS DRAWING, NOT THE STATUE, BUT A SKETCH OF
CLARICE STARLING.
DISSOLVE TO:
EXT MARYLAND MISERICORDIA HOSPITAL DAY.
VARIOUS UNFORTUNATE PEOPLE, ENTERING THE HOSPITAL; LEAVING
THE HOSPITAL, A VAST GIANT OF A MAN, SHRUGGING HIMSELF INTO
AN ARMY FATIGUE JACKET OVER ORDERLY'S WHITES. (BARNEY)
ANGLE
STARLING, STANDING AT A BUSSTOP, READING A PAPER.
ANGLE INS.
IN THE PAPER IS SECRETED A PHOTO OF BARNEY, ON FBI XEROX
FORM, WITH HIS NAME, AND DESCRIPTION.
ANGLE
STARLING WAITS AT THE BUSSTOP. BARNEY PASSES IN FRONT OF
HER, AND CONTINUES WALKING. STARLING FOLDS THE PAPER AND
GOES AFTER HIM.
ANGLE
RUNDOWN RESIDENTIAL NEIGHBORHOOD, DAY.
BARNEY, NOW HOLDING A SMALL BAG OF GROCERIES, CROSSES THE
STREET.
WE SEE STARLING IN THE BG.
BARNEY STOPS, IN THE MIDDLE OF THE ROAD. WE SEE HE IS
LOOKING UP OVERHEAD.
ANGLE INS HIS POV.
A DOVE, CIRCLING IN THE SKY.
ANGLE XCU.
BARNEY LOOKING UP, PUZZLED, AND THEN HE LOOKS DOWN.
ANGLE HIS POV.
IN THE ROAD AHEAD, A DEAD DOVE.
BARNEY WALKS INTO THE POV, PICKS UP THE DOVE, AND WALKS TO A
SMALL RATTY VERGE OF PARK. HE PUTS THE DOVE DOWN, LOVINGLY
IN THE GRASS, AND WE WATCH, AS THE OTHER DOVE LANDS ON A
FENCE, NEARBY.
BARNEY STARTS TO WALK TOWARD THE LIVE BIRD.
ANGLE
OVER THE BIRD, ONTO BARNEY, WITH STARLING WALKING UP BEHIND
HIM.
BARNEY HESITATES, HIS BACK STILL TO STARLING.
BARNEY
Are you attracted by Death?
(PAUSE)
It is the one great mystery, is it not?
Anyone who would say otherwise must be a
hypocrite. Don't you think...?
HE TURNS FOR THE FIRST TIME AND LOOKS AT HER.
BARNEY (cont'd)
...or are you only attracted by power...
(HE CHANGES HIS TACK AND TONE.)
How are you, Agent Starling?
STARLING
Ah, Barney: you've got a good mernory.
BARNEY
You know why that is? Because there
are so few things I need to forget.
Would you agree, for the record, that I
have not been read my rights?
STARLING
I have not read you your rights.
BARNEY
Would you mind saying that into your
bag...?
STARLING STARTS TO OPEN HER BAG, AND SPEAKS INTO IT.
STARLING
I hereby acknowledge that...
BARNEY
And now I have "dociled" you, have I
not? By forcing your obedience.
STARLING
(SMILING)
Then why did you chose to inform me of
it...?
BARNEY
To show...
(PAUSE)
in my ability to squander. What one
might deem an advantage... that my
strength is greater than yours...
STARLING
Oh yeah? Wanna arm wrestle...?
BARNEY
If you'll come down the street I will
make you a cup of coffee.
INT BARNEY'S APARTMENT DAY.
AS THEY ENTER, THE APARTMENT WITH MANY DEADBOLTS. STARLING
ENTERS WARILY AND TAKES A SEAT WITH HER BACK TO THE WALL, IN
THE SMALL STUDIO.
AS BARNEY BEGINS MAKING COFFEE.
BARNEY
You almost took down Evelda Drumgo.
STARLING
Well. Word gets around.
BARNEY
...what hindered you...?
STARLING
It wasn't my day.
BARNEY
Perhaps you did not have the support
you required.
STARLING
It's a poor workman who blames his tools.
BARNEY
Or, perhaps...
STARLING
...how are things at the Hospital?
BARNEY
It's a growth business.
STARLING
What have they got you doing?
BARNEY
Orderly.
STARLING
I would have figured you an R.N. by now,
or, maybe Med School.
BARNEY
I prefer to stay in the Less Frivolous
professions.
STARLING
(TAKES OUT A NOTEBOOK)
You lasted eight years, as Orderly, in
Dr. Lechter's prison ward.
BARNEY
Yes, I presumed it was about him.
STARLING
...you...
BARNEY
I'm struck by your phraseology. I did
not last with him. I was privileged to
enjoy his company during that time.
STARLING
(GETTING DOWN TO BUSINESS, AS
SHE TAKES OUT A PENCIL.)
I'm looking for...
BARNEY
He said, and these were his words, he
valued our time together, because I was
civil.
STARLING
Did you ever think, did you think, after
he escaped, he would come after you?
BARNEY
He told me, he preferred to Eat the Rude.
Or: "natural composting." Do you think
he'd come after you...?
STARLING LOOKS OUT THE WINDOW.
ANGLE HER POV
OUT THE WINDOW, SE SEE THE DOVE CIRCLING THE DEAD DOVE ON THE
RATTY PIECE OF GRASS.
STARLING
(TURNING BACK)
What...?
BARNEY
I asked you how you like your coffee...?
We have black and bitter. As the Soul of
Man. Or light and sweet, as the world-
view of the self-delusive.
STARLING
We got a bunch of materials, coming up
at auction. Materials which disappeared
from Dr. Lechter's cell, drawings he
made, his books.
BARNEY
Yes?
STARLING
And I'd like your help, determining
who's bidding for their purchase.
BARNEY
Why me?
STARLING
Waal, because your selling'em... Two
years ago, his annotated Dictionary of
Cuisine, by Alexander Dumas, went for
sixteen thousand dollars.
Seller's affidavit of ownership, signed
Cary Panz. P.A.N.Z. Sounds to me like
an Orderly. Whadja clear on the book?
Ten, twelve grand?
BARNEY
...very good.
STARLING
Here's what they want you to do: we
want the rest of the stuff you stole from
his cell.
BARNEY
...why?
STARLING
Let's just say they got a passion for
collectibles...
BARNEY
You said "here's what they want you to
do..." Why?
STARLING
Now, whyn't you help us?
BARNEY
That would adversely impact my income.
STARLING
Not as much as being jailed for theft of
Government Property, or for failure to
pay income tax, on undisclosed income.
BARNEY
We could skip the Gavotte.
STARLING
Say it in English.
BARNEY
Lechter's not buying up his Memorabilia.
He keeps it all in his "mind," do you
see...?
STARLING
Then who's buying it?
BARNEY
(SHRUGS)
There's one or two freaks, and, for a
"Pass," I'll rat them out to you...
(HE TAKES A PENCIL, AND PUTS A
COUPLE OF NAMES IN HER BOOK,
LEANING OVER HER)
STARLING
That's the spirit...
ANGLE, BARNEY AS HE LEANS OVER, LOOMING OVER STARLING.
BARNEY
...aren't you afraid of me...?
STARLING
You want me to be?
BARNEY
I'd prefer it...
(HE FINISHES WRITING)
But it's just a vacant exercise.
HE AND STARLING FINISH THEIR COFFEE. HE BEGINS TO WALK HER
OUT.
ANGLE EXT BARNEY'S APARTMENT, AS THEY EXIT.
STARLING
A vacant exercise, why...?
BARNEY
You said "here's what they want you
to do." Aren't you part of them
anymore...? Aren't you part of the FBI?
'No Girl's Allowed,' or what? Have you
transgressed...?
STARLING
Let's keep it to business, shall we?
BARNEY
...why have they stuck you on this silly
little roust?
STARLING
...they did it for a lark.
BARNEY
Oh, Good. The ornithological
leitmotif...
HE TAKES HER OVER TO THE DEAD BIRD. HE PICKS UP THE DEAD
BIRD, AND SMOOTHS ITS FEATHERS. HE ADDRESSES THE CIRCLING
DOVE.
BARNEY (cont'd)
Off you go. You've grieved enough.
Anything more would be self-indulgence.
STARLING
(AS SHE LOOKS AT HER BOOK OF
NAMES)
Who are these guys...?
BARNEY
Rich, comic book freaks.
STARLING
And why is it a vacant exercise?
BARNEY
Because we both know who's buying the
Lechteriana.
STARLING
Who would that be.
BARNEY
(AS IF STATING THE MOST
OBVIOUS FACT.)
Mason Verger. For he cannot be free.
Dr. Lechter refashioned his body so it
mirrors his soul, what an impossible
injustice. Can you be free....?
STARLING
No, you're wrong about Verger.
BARNEY
Oh, yes. He's found Peace.
STARLING
Well, if he hasn't, I'm vastly
mistaken.
BARNEY
(PAUSES, AND LOOKS AT HER
INTENTLY)
And have you found Peace..?
(PAUSE)
ANGLE, ON BARNEY, AS HE STARTS PUTTING THE DEAD BIRD IN
HIS POCKET.
STARLING
What'll you do with the bird...?
BARNEY
Pluck it, and eat it. It was so good to
see you..
BARNEY GOES BACK INTO HIS APARTMENT BUILDING.
INT FBI HEADQUARTERS DAY.
STARLING IS COMING INTO THE READYROOM AREA, AND PASSES JOHN
BRIGHAM.
BRIGHAM
How you doin?
STARLING
M'I gonna see you tonight?
BRIGHAM
That's right.
STARLING
Then I'm doing fine.
BRIGHAM
What's new onna street?
STARLING
All Quiet Along the Potomac...
A TECHNICIAN WALKS BY AND STARLING RIPS A PAGE OUT OF HER
NOTEBOOK AND HANDS IT TO HIM.
STARLING (cont'd)
Can we run this guy down?
TECHNICIAN
Who is he?
STARLING
His job description? He's a comic book
freak.
TECHNICIAN
Whadda we want him for...?
STARLING
Insufficient Animation. Just get me his
vital signs, will you...?
(TO BRIGHAM)
Catcha later...
(SHE WALKS ON.)
ANGLE INS.
THE X-RAY MARKED HANNIBAL LECHTER. NEXT TO IT, A SKETCH
OF THE BACK OF THE HAND, WITH A SCAR, IN THE SHAPE OF A
NUMERAL 3 ON IT.
A TECHNICIAN IS DISCUSSING THE MATERIALS WITH CRAWFORD.
TECHNICIAN
Which would, of necessity, have left
this scar in the shape of the number "3."
CRAWFORD
Why a Three?
TECHNICIAN
It requires two flaps to close the area
between the...
STARLING PASSES.
CRAWFORD
Starling: come look at this: did you
see this?
STARLING
Yes sir, I saw it.
(HE HANDS HER A COPY OF THE X-
RAY.)
CRAWFORD
(NODS)
We have a memo here, from your friend Mr.
Krendler at the Justice Department.
STARLING
I am all attention.
CRAWFORD
He requests your presence, once again,
as part of...
HE HANDS HER THE MEMO.
INT FBI CAFETERIA DAY.
STARLING COMES DOWN THE STEAMTABLE LINE WITH A TRAY. CAMERA
TAKES HER TO MAPP, WHO IS EATING LUNCH, STARLING SITS.
STARLING
Just the person I'm looking for.
MAPP
And why would that be...?
STARLING SITS AND STARTS TO EAT. MAPP PICKS UP THE MEMO
FROM THE SMALL FOLDER ON STARLING'S TRAY.
STARLING
Because you're going to help me plan a
party.
MAPP
You're going to do that?
STARLING
I'm going to do it, and you're going to
catch the bouquet.
MAPP READS THE MEMO.
MAPP
The Multi-Jurisdiction Task Force: read
alphabet soup, for the continued
pursuit, and in preparation for the
apprehension of the fugitive, Evelda
Drumgo. The man's hazing you.
STARLING
My daddy would say: accept with glee the
things you cannot change.
MAPP PICKS UP THE X-RAY.
MAPP
I'll tell you what: I should go in
there, volunteer to fill up his Female
Quota.
(OF THE X-RAY. SHE HOLDS IT
UP, SEEKING INFORMATION)
STARLING
Mr. Crawford asked my opinion. Here
we've got a purported x-ray, Dr.
Lechter's surgery. Do we keep it
secret, or broadcast it?
MAPP
Saying what, "Look out for a guy with ten
fingers...?"
STARLING
Yeah, that's too Hip for the Room.
MAPP
(OF THE NOTE)
You stay offa this Alphabet Soup Detail,
all this half-baked, cowboy stuff, till
after you get your mind cleared.... you
don't wanna go out there a half-step
slow...
STARLING
I don't wanna go out there at all...
MAPP
What do you want to do? You want to jam
up that sonofabitch Krendler.
STARLING
No. I want to buy a dog.
(PAUSE)
MAPP
What broke you free, Girl?
STARLING
I met a man, and His Troubles Were
Greater Than Mine...
SHE EXTRACTS THE SMALL CARD VERGER HAS GIVEN HER. AND WE SEE
IT, AS SHE LOOKS AT IT.
"DO NOT GIVE IN TO ADVERSITY. DO NOT TRUST TO PROPERTY.
NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE KIND."
INT VERGER'S MANSION--PLAYROOM--DAY.
HAPPY SMALL CHILDREN PLAYING. ONE SMALL BOY, SMILING, IS
APPROACHED BY A LOVELY YOUNG NURSE, DRESSED IN WHITE. SHE
WHISPERS TO HIM AND HE SMILES AND NODS, AND TAKES HER
HAND, AS THEY WALK OFF.
ANGLE INT VERGER'S MEDICAL FACILITY.
WE SEE THE YOUNG CHILD, FRANKLIN, BEING LED OFF ON A TV
SCREEN. WE SEE HIS PROGRESS ONTO ANOTHER SCREEN SHOWING THE
HALL, AND THE OLD WOMAN, ROSIE, KNITTING.
ANGLE
CORDELL, STANDING BY VERGER'S BED. CORDELL HOLDS A FOLDER
MARKED "DEPARTMENT OF CHILD WELFARE. CITY OF BALTIMORE."
HE IS FINISHED READING IT.
CORDELL
"...and age-appropriate large and small
motor skills. His unfortunate home
situation has made it necessary for
Franklin to form immediate attachments
with adults, which we understand to have
contributed to many instances of his
abuse."
SOUND OF A "WHOOSH," AS A DOOR OPENS, CORDELL CLOSES THE
FOLDER. HE LOOKS TOWARD THE DOOR.
ANGLE
IN THE BED, VERGER, HIS FACE OBSCURED BY A TELEVISION
MONITOR. WE HEAR THE WHIR OF A TV CAMERA.
WE SEE THE CAMERA, ABOVE VERGER'S BED, MOVING.
ANGLE
ON A TV SCREEN, WE SEE THE CAMERA TRACK, AND TAKE THE
FRIGHTENED FRANKLIN, AND THE NURSE STANDING NEXT TO HIM,
THE NURSE MOTIONS FRANKLIN FORWARD.
ANGLE, ON CORDELL, LOOKING DOWN AT VERGER. (NB THROUGHOUT,
VERGER SHOULD NEVER BE SEEN. HE IS INFERRED THROUGH THE
REACTIONS OF THOSE AROUND HIM. AND HE, AND IN PARTICULAR,
HIS FACE SHOULD ALWAYS BE OBSCURED--A TEASE--BY THIS OR THAT
INTERVENING OBJECT.)
CORDELL NODS, AS IF IN RESPONSE TO A SIGN FROM VERGER. HE
LAYS THE HOSPITAL FOLDER ON A SORT OF XEROX MACHINE.
ANGLE ON VERGER'S ELECTRONIC DISPLAY. THE VARIOUS TV
SCREENS, THE HOSPITAL FOLDER, NOW COMING INTO VIEW ON A
SCREEN ON WHICH WE READ THE LOGO OF THE BALTIMORE CHILD
WELFARE, AND "JAMES, FRANKLIN, BORN JUNE 5, 1991," AND A
PHOTO OF HIM. ON THE ADJACENT SCREEN WE SEE THE YOUNG BOY
COMING FORWARD AT THE URGING OF HIS NURSE. HIS EYES
GROWING WIDE WITH FEAR.
ANGLE
FROM BEHIND FRANKLIN, AS HIS BODY OBSCURES OUR VIEW OF
VERGER, AND WE HEAR THE ELECTRONICALLY ENHANCED VOICE OF
VERGER CONVERSING WITH HIM.
VERGER
Are you Franklin ?
FRANKLIN
...Franklin.
VERGER
Where do you live?
FRANKLIN
With Mama and Shirley and Stringbean.
ANGLE SHIFT TO OVER VERGER, ONTO THE FRIGHTENED BOY. IN THE
BG WE SEE THE NURSE BEATING A STRATEGIC RETREAT TO THE DOOR,
AND AFTER HER EXIT, WE SEE HER APPEAR ON THE SCREEN WHICH
SHOWS THE CORRIDOR, TAKING A CHAIR ACROSS FROM "ROSIE," WE
SEE HER SIT AND TAKE OUT A BOOK AND READ. AS VERGER TALKS
WITH FRANKLIN, WE SEE THE INFORMATION ON THE "TEXT" SCREEN
SCROLL, WHICH NEW INFO WE SEE REFLECTED IN VERGER'S
QUESTIONS.
FRANKLIN (cont'd)
But Stringbean, he in and out.
VERGER
In and out. Yes. And Mama... and Mama,
is not your real Mama, is she Franklin?
FRANKLIN
She my foster.
VERGER
She's not the first foster that you've
had. Is she?
FRANKLIN
No.
(THE CHILD LOOKS AROUND, AND,
FINDING NO SUPPORT, LOOKS
BACK AT VERGER.)
VERGER
Do you like it at your home, Franklin?
FRANKLIN
(FRIGHTENING)
We got KittyKat...
VERGER
Yes.... yes...
FRANKLIN
...and Shirly, let me sleep with her
sometime.
VERGER
Yes. Franklin, you can't live there
anymore. With Mama and Shirly and
Kittykat. You have to go away.
FRANKLIN
...who say...?
VERGER
The government says. Mama has lost her
job, so she can't be your foster
mother. The police found a marijuana
cigarette in your home. You can't see
Mama anymore. Or Shirley. Or Kitty
Cat. That's what the Government says...
ANGLE XCU ON FRANKLIN.
VERGER (cont'd)
...or perhaps they just don't want you
anymore. Could that be? And, do you
know what will happen to Kitty Cat? When
you go away. The police will take her,
and they'll give her a shot. With a
shiny needle. They'll give Kitty Cat a
shot. And it will hurt her. And then
she will die.
FRANKLIN TAKES THE TAIL OF HIS SHIRT FROM HIS PANTS AND
HOLDS IT TO HIS EYES.
ANGLE
ON VERGER'S BED, AND ON CORDELL BEHIND HIM, GLANCING THROUGH
A FILE.
CORDELL LOOKS UP AT THE WAILING OF FRANKLIN.
VERGER (cont'd)
Come here...
(BEAT.
FRANKLIN COMES FORWARD, HIS
FACE SCREWING UP IN TERROR AS
THE DETAIL OF VERGER BECOME
MORE APPARENT. HE STOPS
MOVING FORWARD.)
Do you know how you keep kittycat from
getting a shot? Franklin? No? Do you
know. Then come here...
FRANKLIN COMES FORWARD.
VERGER (cont'd)
You can keep Kitty Cat from
getting a shot if...
ANGLE
ON CORDELL, WHO REACTS TO SOME SIGN FROM VERGER, AND NODS,
AND TAKES A SMALL PACKAGE FROM A POCKET IN HIS COAT.
ANGLE
ON CORDELL, WHO GIVES THE PACKAGE TO FRANKLIN.
VERGER (cont'd)
If you give him this...
ANGLE ON FRANKLIN, AS HE LOOKS DOWN AT THE PACKAGE IN HIS
HANDS.
ANGLE INS:
IT IS A PACKAGE OF RAT POISON.
ANGLE
ON FRANKLIN, HOLDING THE POISON, HE LOOKS UP AS VERGER
TALKS.
VERGER (cont'd)
You can keep her from getting the shot,
if you give her that rat poison
yourself...
ANGLE, HOLD ON FRANKLIN, WHO BEGINS TO WEEP COPIOUSLY.
ANGLE, ON THE VIDEO SCREEN SHOWING FRANKLIN, AS WE HEAR A
SERVO MOTOR, AND THE SCREEN ZOOMS IN TO SHOW A TEAR.
ANGLE
ON CORDELL, WHO IS NOW AT A SMALL WETBAR, MIXING VODKA AND
VERMOUTH AND POURING THEM INTO A MARTINI SHAKER.
HE GLANCES OVER, AND NODS.
ANGLE
ON CORDELL, AS HE PUSHES A BUTTON ON A CONSOLE. ON THE
SCREEN OVER VERGER'S BED WE SEE THE NURSE IN THE HALL
REACT. SHE PUTS HER PAPERBACK BOOK INTO HER POCKET, AND
RISES, AND WE SEE HER ENTER VERGER'S ROOM, AND STAND BY
THE DOOR.
VERGER (cont'd)
Goodbye, Franklin.
CORDELL WALKS FRANKLIN TO THE DOOR.
VERGER (cont'd)
...remember what we talked about.
WE HEAR VERGER'S ELECTRONICALLY AMPLIFIED BREATHING BECOME
EXCITED, AND ON THE LIFESIGNS SCREENS, WE SEE HIS VITAL
SIGNS BECOME MORE AGITATED, AND THE NURSE, AND CORDELL
START TOWARD THE BED.
VERGER (cont'd)
(AS HIS BREATHING QUIETS)
No, I'm fine...
WE SEE CORDELL START BACK INTO THE ROOM, AND THEN, AT THE
SOUND OF VERGER'S VOICE TURN AWAY AGAIN.
ANGLE, AT THE DOOR, CORDELL SIGNS TO THE NURSE, AND
STOOPS TO THE CRYING FRANKLIN.
CORDELL TAKES A STERILE PLASTIC BAG FROM HIS POCKET, HE
REMOVES FROM IT A CLAMP, IN THE JAWS OF WHICH ARE A SMALL
SQUARE OF COTTON GAUZE. HE STOOPS TO FRANKLIN, AND
CAREFULLY TAKES ONE OF FRANKLIN'S TEARS ONTO THE GAUZE. HE
NODS TO THE NURSE, WHO EXITS WITH FRANKLIN.
HE DISAPPEARS FROM THE SHOT.
ANGLE ON VERGER.
VERGER (cont'd)
..what have we heard from our friend at
the FBI...?
ANGLE ON CORDELL, AS HE TAKES AN ENVELOPE, AND EXTRACTS A
XEROX OF AN X-RAY AND PUTS IT ON THE SCREEN, WE SEE IT IS
THE "BRAZILIAN" X-RAY OF LECHTER'S HAND. WE SEE AN IMPRINT
AT THE TOP OF THE X-RAY--THE PATIENTS NAME AND THE LAB
NAME RIPPED AWAY--ALL THAT REMAINS ARE THE WORDS "...DO
BRAZIL."
CORDELL
Most current information shows the
result of an operation for the removal
of a sixth digit, the left hand of a man.
VERGER
Can we identify it as Dr. Lechter?
CORDELL
Not with any certainty we...
VERGER'S BREATHING AGAIN BECOMES EXCITABLE.
VERGER
Why did he come back?
CORDELL
Our operatives in Brazil have been
empowered to offer a reward of....
VERGER
...WHY DID HE COME BACK? WHY DID THE BOY
TURN BACK...?
CORDELL
...are you alright, sir...?
VERGER
HE TURNED BACK INTO THE ROOM. Where have
we Seen it Before.
CORDELL
Seen what, sir..?
VERGER
The puppy comes back. If you lie on the
ground. The Puppy with return. Why?
Do you know why...? TO KILL YOU. IT
THINKS YOU HAVE FALLEN AND ARE POWERLESS.
IT COMES BACK TO TEAR YOUR THROAT.
THAT'S WHY THE CHILD TURNED BACK. As
Lechter will return back. You see? To
the sight of his oppressor wounded.
He will return to savage our beloved Miss
Starling. Bring me a drink.
CORDELL TURNS, BACK TO THE CONSOLE.
WE SEE CORDELL TURN, AND APPROACH THE BED, HOLDING THE
MARTINI ON A TRAY.
HE PUTS THE TRAY DOWN ON THE BEDTABLE.
ANGLE INS.
WE SEE, ON THE SMALL METAL HOSPITAL TRAY, THE MARTINI SHAKER,
THE MARTINI GLASS, AND A SMALL BEAKER, IN WHICH IS THE CLAMP
WHICH BEARS THE GAUZE PAD WHICH BEARS FRANKLIN'S TEARS.
CORDELL SHAKES THE SHAKER, POURS IT INTO THE GLASS, AND
DROPS THE GAUZE PAD INTO IT, AND HANDS IT TO VERGER.
CORDELL
Your drink, sir.
VERGER
It's time to step up the pressure on
our Sweet Miss Starling. ...call our
friend at the F.B.I. And, instead of
finding Lechter, let's help Him find us.
ANGLE
ON ONE OF THE VIDEO SCREENS, WE SEE A SHEET LABELLED
"CONFIDENTIAL FBI NOT FOR DISTRIBUTION." AND WE SEE, IN
VARIOUS SQUARES BELOW, THE DRAWINGS BY LECHTER, THE VARIOUS
FUNERAY SKETCHES.
CAMERA COMES IN ON ONE OF THE MIDDLE, LEFT, WHICH SHOWS THE
LION WITH A BIRD IN ITS MOUTH.
EXT FLORENCE PARK NIGHT.
THE STATUE OF THE LION HOLDING THE BIRD. A COUPLE WALKING
PAST.
PAZZI
...the purpose of the exercise... is it
because they are expensive...
MRS. PAZZI
They aren't expensive, you got them
through your connections.... speaking of
which:
PAZZI
Fine, thank you, but
MRS. PAZZI
Speaking of which, I want you also to
get us tickets for the Opera...
PAZZI
...whatever is within my power...
MRS. PAZZI
...and that is what you need to expand.
PAZZI
I don't understand.
MRS. PAZZI
(SHE STOPS AND ADDRESSES HIM)
We are here on sufferance. I am here...
PAZZI
...why are we here in the first place...?
MRS. PAZZI
Because it is exclusive... because
everyone will be here...
CAMERA TAKES THEM PAST A SIGN ANNOUNCING "EXHIBITION
INSTRUMENTS OF ATROCIOUS TORTURE," AND A VELVET ROPE, AND
VARIOUS WELL DRESSED PEOPLE WAITING TO GET IN.
PAZZI WALKS TO THE HEAD OF THE LINE, AND SHOWS HIS TICKETS,
AND IS ADMITTED.
ANGLE INT. THE EXHIBIT HALL.
AN IRON MAIDEN. A COFFIN SHOWING SPIKES ON ONE SIDE, THE
OTHER SIDE EMPTY, IS AN IMPROVISED ENTRY TO THE EXHIBIT.
PAZZI AND HIS WIFE ENTER, SHE STOPS TO GOSSIP WITH A WELL
DRESSED COUPLE.
MRS. PAZZI (cont'd)
Mrs. Demetrio, how good to see you...
ANGLE ON PAZZI, AS HE DRIFTS AWAY. WE SEE HIM STARING AT
VARIOUS THUMBSCREWS, A RACK, A GUILLOTINE. HE STOOPS TO READ
A PLACARD. HIS WIFE COMES UP BEHIND HIM.
MRS. PAZZI (cont'd)
You see, that is my point.
PAZZI
...my love...
MRS. PAZZI
...they asked us to dinner. How can we
accept if we cannot return the...
PAZZI
I am on the track of...
MRS. PAZZI
Yes, yes, yes, your thirty thousand
dollars reward, which you would have to
split with your team, which, if you get
it, will not buy me a new watch...
(SHE STOPS TO GREET ANOTHER COUPLE)
PAZZI
...what do you expect me to...
HE STOPS, AND TURNS AWAY, WHEN HE SEES THAT SHE IS
ENGROSSED. HE IS NOW LOOKING AT A TORTURE WHEEL. HE
STOPS AND LOOKS INTENTLY INTO THE GLOOM OF THE ROPED OFF
EXHIBIT.
ANGLE HIS POV
INSIDE THE EXHIBIT, IN A DARK CORNER, THE FIGURE OF A MAN.
SKETCHING.
ANGLE XCU ON FELL, LECHTER, IN THE GLOOM, SKETCHING.
WE SEE A GOOD SKETCH OF THE WHEEL, ON WHICH HE HAS ADDED
ARCHITECTURAL NOTES ON ANGLES AND DISTANCES. HE TURNS,
FEELING SOMEONE LOOKING AT HIM.
ANGLE HIS POV.
PAZZI, BEYOND THE VELVET ROPE. PEERING INTENTLY, RETURNING
FELL'S GLANCE.
DOUBLECUTTING: WE RETURN TO PAZZI, STARING, WE SEE HIM MAKE
A QUICK ADDENDUM TO THE SKETCH OF THE TORTURE WHEEL. AND
THEN RETURN TO PAZZI, LEANING OVER TO PEER MORE CLOSELY
INTO THE GLOOM.
MRS. PAZZI
So, the question: as always, Rinaldo,
the question is one of mmm...
ANGLE
ON MRS. PAZZI, AS FELL APPEARS AT THEIR SIDE, SHE TURNS TO
HIM.
FELL
Commendatore would you do me the honor of
introducing me.
PAZZI
Darling, Dr. Fell. My wife Madame Pazzi.
FELL
(HE BENDS TO KISS HER HAND)
Enchante.
GUIDE
The exhibit is closing. The exhibit is
closing in Ten Minutes... please make
your way to the...
MRS. PAZZI
Dr. Fell. You are not Italian.
FELL
Sadly, no. And I find that birth is one
of the few things in life which study
and a pleasant attitude can not amend.
What do you think?
MRS. PAZZI
And how do we account for the interest
of such a charming man, an interest in
Torture?
PAZZI
Dr. Fell is studying for his examination
by the Studiolo.
FELL
Indeed I am. And the connection,
between Dante, and, in fact, between
your illustrious forebears... if you'd
come with me, I could show you...
HE HOLDS UP THE ROPE, AS TO LEAD THEM BACK INTO THE
EXHIBIT.
PAZZI
But the exhibit is closing.
FELL
How unfortunate.
PAZZI STARTS TO HELP HIS WIFE ON WITH HER WRAP.
FELL (cont'd)
May I...?
HE TAKES THE WRAP, AND BEGINS TO DRAPE IT AROUND HER
SHOULDERS.
ANGLE EXT THE EXHIBIT. ON THE STREET, THE CURIOUS ARE
EXITING.
FELL CONCLUDES PUTTING THE WRAP ON MRS. PAZZI.
FELL (cont'd)
What a lovely perfume. I believe I
recognize it, do I not...?
MRS. PAZZI
My husband brought it to me from
America.
FELL
A wonderful country...
AN OLDER MAN CALLS PAZZI AWAY.
MRS. PAZZI
You know it?
FELL
I have had many excellent meals there.
MRS. PAZZI
And yet, they are not know for their
cuisine.
FELL
(SMILES)
...should love to correct your error.
(PAUSE)
MRS. PAZZI
Well, perhaps sometime we...
PAZZI REJOINS THE GROUP.
PAZZI
Darling...
FELL
Well, if you will excuse me. Madame.
What a pleasure.
HE MOVES AWAY.
PAZZI
The commissioner is going round the
Cafe...
MRS. PAZZI
...did he invlte us...?
PAZZI
No. Invite us? No, he simply...
MRS. PAZZI
Then we cannot go.
PAZZI
Because...?
MRS. PAZZI
Because we cannot pay...
HE LEADS HER OFF, THE TWO OBVIOUSLY HAVING A FIGHT.
ANGLE
IN THE GLOOM, LECHTER-FELL, LOOKING AT THEM APPRAISINGLY.
INT PAZZI'S APARTMENT NIGHT.
PAZZI SITTING IN SHIRTSLEEVES, HIS TIE UNDONE, A HALF FULL
GLASS OF WHISKY IN FRONT OF HIM, AT HIS DESK. HIS DESK FULL
OF PAPERS. HIS WIFE IN A HOUSEDRESS. RANTING.
MRS. PAZZI (cont'd)
...constant humiliation. And why?
PAZZI
"Because we don't have any money."
MRS. PAZZI
....because we don't have any mmm...
PAZZI HOLDS UP A FOLDER.
PAZZI
The Case that I am working on...
MRS. PAZZI TAKES THE FOLDER AND FLINGS IT DOWN.
MRS. PAZZI
It's a joke. You're a joke. You're a
joke. You don't know what money is--
your idea of money...
(SHE PICKS UP ANOTHER FILE ON
THE DESK, AND TAKES OUT THE
SCARF GIVEN TO PAZZI BY
STARLING)
...spend it on a whore on your 'business
trip.' That is the fine limit of your
ambitions...
ANGLE
ON PAZZI, REARRANGING THE FILE. WE SEE, IN AN INSERT, THE
SCARF, THE "MAN WANTED" POSTER, AND FBI CASE STUDY ON
HANNIBAL LECHTER, AND WE HOLD ON THE "THREE MILLION DOLLARS
REWARD."
ANGLE ON THE TWO, HIS WIFE STORMING OUT.
MRS. PAZZI (cont'd)
And if you do not find some money.
Soon. I'm leaving you.
(BEAT)
And I want tickets to the Opera.
SHE CLOSES THE DOOR OF HIS STUDY.
INT FELL'S STUDY NIGHT.
FELL, IN A SMALL ELEGANT CHAMBER OF A PALAZZO. PLAYING A
CLAVIER. HE STOPS TO ADJUST A PAGE ON THE MUSIC STAND IN
FRONT OF HIM. HE RESUMES PLAYING.
ANGLE HIS POV
THE MUSIC STAND. IT HOLDS NOT MUSIC, BUT THE SKETCH WE SAW
HIM DO EARLIER OF STARLING. WE SEE HIS HAND ADJUST THE PAGES
ONCE AGAIN, AND THE SKETCH OF STARLING IS HALF-OBSCURED BY
THE SKETCH WE SAW FELL MAKE OF THE TORTURE WHEEL. AT THE
TOP OF THE SKETCH WE SEE THE ADDED FACES OF PAZZI AND MME
PAZZI, SKETCHED BY FELL AT THE EXHIBIT.
ANGLE
FRONTAL ON FELL, AS HE STOPS PLAYING. HE PICKS UP A GLASS OF
WINE WHICH HAS BEEN RESTING ON THE CLAVIER, AND TAKES ONE OF
THE SKETCHES AND GAZES INTENTLY AT IT.
HE SHIVERS SLIGHTLY, AND TURNS UP THE COLLAR OF HIS
JACKET.
ANGLE, AS HIS POV.
SNOW BLOWING ACROSS A SMALL WINDOW, THE WINDOW RATTLING.
THE SNOW BLOWS THE SHADE. INSIDE THE WINDOW WE SEE
BEARDED SOLDIERS, COOKING OVER A SMALL FIRE MADE ON THE
FLOOR OF THE DISHEVELLED HOME.
ANGLE
ON A SMALL DARK BOY, DRESSED IN RAGS, IN THE BLOWING SNOW,
LOOKING INTO THE WINDOW.
ANGLE HIS POV.
WE SEE THE SOLDIER COME TOWARD THE WINDOW AND FASTEN IT
AGAINST THE WIND.
ANGLE
THE BOY, BACKING ACROSS A SMALL COURTYARD INTO THE OPEN DOOR
OF A SMALL FACTORY BUILDING.
INT DARK FACTORY BUILDING NIGHT.
STARLING IS MOVING THROUGH THE BUILDING, AGAINST THE WALL,
HUGGING THE WALL. SHE HEARS A SOUND, AND TURNS. SHE LOOKS
DOWN.
ANGLE HER POV--A SMALL BADGE WITH A BULLETHOLE IN IT, LYING
ON THE FLOOR. SHE LOOKS UP TO THE SOUND OF RUNNING, AND SEES
A FIGURE FLITTING ACROSS AN OPENING.
ANGLE
STARLING RAISES HER PISTOL AND PULLS THE TRIGGER.
NOTHING HAPPENS. SHE LOOKS AT THE PISTOL. IT IS JAMMED, SHE
TRIES TO CLEAR IT QUICKLY, WE SEE A HAND ON HER SHOULDER, SHE
TURNS.
ANGLE HER POV
IT IS THE FACE OF LECHTER.
STARLING RAISES THE PISTOL AND FIRES. WE SEE THE PISTOL
EXPLODE.
WE HEAR SCREAMING.
ANGLE INT STARLING'S BEDROOM. STARLING, SITTING UP IN BED,
SCREAMING. MAPP BURST IN TO THE ROOM. FOLLOWED BY HER
BOYFRIEND, JIM, WHO CARRIES A GUN, AND SWEEPS THE ROOM. MAPP
SITS BY STARLING.
SHE QUIETS STARLING.
MAPP
What was it.
(STARLING SHAKES HER HEAD)
What was it, honey?
ANGLE XCU ON STARLING, WHO MUTTERS.
STARLING
...something about my father...?
MAPP
...what?
STARLING
(AS SHE SHAKES HER HEAD TO
CLEAR IT, AND RISES)
Do you think you could make a cup of
coffee, cause I'm going to work.
ANGLE ON JIM. HE LOOKS OUT THE WINDOW, AT THE DAWN. HE
LOOKS AT HIS WATCH, AND AT MAPP. HE SHRUGS.
INT VERGER'S ROOM, NIGHT.
VERGER'S VARIOUS VIDEO SCREENS, SHOWING HALF-SEEN PICTURES OF
CHILDREN PLAYING.
VERGER
(TO CORDELL)
Show me the pigs.
CORDELL COMES AND STANDS BY THE BED. HE PICKS UP A
TELEPHONE, AND TOUCHES SOME BUTTONS ON THE CONSOLE. WE SEE
ONE OF THE VIDEO SCREENS COME TO LIFE, AND WE SEE A BARN,
AND A COUPLE OF RATTY LOOKING GENTLEMEN WITH COFFEECUPS.
VERGER (cont'd)
Good morning, Gentlemen.
THEY TUG THEIR FORELOCKS.
CORDELL
...may we see it, please?
GENTLEMAN
(WITH A THICK MIDEUROPEAN
ACCENT)
We have them trained the two things: to
come on the whistle, and to attack the
figurine.
WE SEE THE OTHER GENTLEMEN BRING FORWARD A SCARECROW.
GENTLEMAN (cont'd)
...can you see the pig...?
WE SEE THE CAMERA SCAN, AND WE SEE TWO LARGE WILD BOARS IN A
PEN.
WE SEE THE ONE MAN PUT THE SCARECROW OVER A FENCE.
GENTLEMAN (cont'd)
We stuff the figure with mean scraps, at
first, of course, the pigs is...
VERGER
Do it...
CORDELL
...Let's see the pigs, please.
THE GENTLEMAN BLOWS HIS WHISTLE. THE PIGS RUN AT THE
FIGURINE AND STOP. WE HEAR THE SOUND OF HUMAN SCREAMS.
GENTLEMAN
We tape the screams, to get them used
to the
(HE MUMBLES, LOOKS TO HIS
FRIEND FOR HELP)
SECOND GENTLEMAN
...distraction.
GENTLEMAN
...as you recommend,
(SHRUGS)
I think they like it. They will
eventually.
VERGER
Make them eat the figurine.
GENTLEMAN
They will, sir. We train them, to the
figurine, eventually, they consume a
man, say, 80 kilos, say, in...
VERGER
(TO CORDELL)
...tell them...
CORDELL
We don't want the man consumed. No. We
want to put the man's feet through the
bars, and have the pigs... and have the
pigs eat his feet.
GENTLEMAN
(NODS)
...they eat his feet...
VERGER
Yes. It's all a question of bait--isn't
it...?
ON THE TV SCREEN WE SEE THE PIGS NOSING THE DUMMY.
VERGER (cont'd)
...make them eat the dummy.
GENTLEMAN
...they eat the dummy, sir, they eat the
man... I keep them hungry. When... when
do we think this man arrives.
VERGER
Is it necessary to know?
GENTLEMAN
Well, I don't want to starve them too
long. They die.
VERGER
Oh, no, no. It won't be that long.
THE CAMERA ZOOMS IN ON THE PIGS. IN AN UPPER SCREEN WE SEE
A CHICKEN WANDERING OUTSIDE THE PEN. THE CHICKEN WANDERS
INTO THE PEN. ON THE FIRST SCREEN WE SEE ONE OF THE PIGS
TURN, AND RUN BLINDINGLY QUICKLY ACROSS THE ENCLOSURE, AND IN
A CU WE SEE THE FEW FEATHERS THAT ARE THE REMAINDER OF THE
CHICKEN.
ANGLE
ON VERGER AND CORDELL.
VERGER (cont'd)
No, I don't think it will be too very
long at all.
(TO CORDELL)
Please call our friend at the FBI.
SOUND OF A PHONE HIGH SPEED DIALLED.
VERGER (cont'd)
(TO PHONE)
Hello. Do you know who this is? I
think it's time to finish the preparation
of our friend. Miss Starling. I'm fine,
how are you...?
INT PSYCHIATRIST'S OFFICE DAY.
STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST.
ANGLE INS
STARLING HOLDS THE CARD READING, "BE KIND, BE HAPPY."
ANGLE ON STARLING SPEAKING:
STARLING
...to, to... to be in control of my...
my emotions.
PSYCHIATRIST
Yes, but no one is in control of their
emotions.
(PAUSE)
that's all we have time for today...
(SHE STARTS TO RISE)
STARLING
(PAUSE)
I don't understand.
PSYCHIATRIST
You said: that you have "decided."
That your... your feelings of
persecution, as you put it are a "self-
indulgence," and you are going to put
them aside. And get on with your job.
STARLING
That's right.
PSYCHIATRIST
And you have decided to accept... to
accept this "emotion," as you put it, to
the ...
the "sweepings. of the Lechter case.
STARLING
Yes.
PSYCHIATRIST
And you've decided to get married.
(PAUSE)
You've decided a lot of things.
(PAUSE)
But, in spite of your decisions--you are
still "nagged" by feelings of: despair,
of failure of... you still have the
nightmare, you...
STARLING
What is your point?
PSYCHIATRIST
That if decision were a useful tool,
you wouldn't be here.
(PAUSE)
Why are you here...?
STARLING
I..
PSYCHIATRIST
...yes...?
STARLING
(AS SHE RISES)
I want to do something positive...
PSYCHIATRIST
You want some advice.
STARLING
Yes.
PSYCHIATRIST
Your life has been defined by
institutions. The Orphanage where you
were raised, the FBI Academy, the
Bureau. If the Institution is your
life, accept it. Ask to be reinstated on
the "Drumgo" task force. Play their
game.
STARLING
...why?
PSYCHIATRIST
Because it's the game you've chosen.
That's really all we have time for.
INT ITALIAN POLICE DETECTIVE SQUAD HQ FLORENCE.
A HATRACK WITH THE "GIMME" CAP FROM THE FBI INTERNATIONAL
POLICE ACADEMY ON IT.
PAZZI ENTERS, AND HANGS HIS HAT ON THE HATRACK, HE IS
SPEAKING WITH HIS SUPERIOR.
PAZZI
...a liaison position...
SUPERIOR
And what does that mean?
PAZZI
...I feel that...
SUPERIOR
"A liaison position with the Opera."
(PAUSE)
THE SUPERIOR TAKES PAZZI INTO A SMALL OFFICE AND CLOSES THE
DOOR.
SUPERIOR (cont'd)
Rinaldo, what happened to you?
(PAUSE)
You want me to reach out for tickets to
the Opera. Say so. What is that young
girl doing to you...?
PAZZI
Could you get me tickets to the Opera.
SUPERIOR
She must be something special After Dark.
PAZZI
I can't remember.
(PAUSE. THE SUPERIOR NODS
SAGELY)
I've got to make some money.
SUPERIOR
(PICKS UP A FILE)
Thirty thousand dollars reward. In the
whereabouts of Il Dottore Fanelli, or the
apprehension of his...
PAZZI
...yes, yes, yes....
HE SIGHS, HE TAKES THE FILE, AND LEAVES THE OFFICE.
PAZZI (cont'd)
Could you help me with tickets to..
SUPERIOR
The short term problem is the tickets--
The long-term problem is your wife.
PAZZI SHAKES HIS HEAD.
ANGLE
PAZZI AT HIS DESK. WE SEE THE FILE LABELLED: DISAPPEARANCE
OF DOTTORE ENNIO FANELLI.
ANGLE PAZZI AT HIS DESK.
A COLLEAGUE COMES BY.
COLLEAGUE
Naldo, you want Opera Tickets...?
PAZZI
Can you help me?
COLLEAGUE
No, but I'm going. If you like, I'll
tell you what you missed.
THE COLLEAGUE LEAVES.
THE SUPERIOR RETURNS.
SUPERIOR
And the related problem is your job.
Aha. And here it all comes together. To
get a promotion you must keep your job. To
keep your job you must solve this
case. Solve the case, and the reward
may help you keep your wife. In short,
the solution to all your problems lies in
This File: The Disappearance of Il
Dottore Fanelli.
THE SUPERIOR POINTS TO A FILE ON PAZZI'S DESK.
PAZZI NODS, AND PICKS UP THE REPORT.
ANGLE INS. THE REPORT:
....identified by the following: acute anesthesia or a hper-
acute sense of smell. Capable of distinguishing quantities
of substance by smell.
ANGLE ON PAZZI, AS HE LEAFS THROUGH THE REPORT, WONDERINGLY.
ANGLE INS, THE REPORT.
...phenomenal capacity for languages. Known perfect fluency
in Russian, German, Spanish, French, and Italian. In
addition...
ANGLE ON PAZZI, AS HE LEAVES THROUGH THE REPORT AGAIN.
ANGLE THE REPORT.
...notable in all scenes of abduction: 1) The condiments
were missing from the Kitchen Area. 2) ...
ANGLE THE REPORT
...of indeterminate sexuality. But remarkably attractive to
women. This "Hyper-charm" ** Sudonis, et al: PSYCHOPATHOLOGY
of the serial killer, is most pronounced in...
THE PAGES RIFLE, AND WE READ:
...knowledge of the Italian Renaissance, with a particular
emphasis on Architecture (see: LECHTER, THE ARTIST) and
Literature. During his first recorded incarceration, he
confounded the Prison Psychiatrist By Quoting Dante on...
ANGLE ON PAZZI. AS HE LOOKS AT THE REPORT.
ANGLE HIS POV: THE REPORT ON THE DISAPPEARANCE OF FANELLI,
STILL LYING ON THE DESK. ANGLE, ON THE REPORT HE IS HOLDING,
HE TURNS TO THE COVER, WE READ IT IS: FBI INTERNATIONAL
POLICE ACADEMY. CASE BOOK.
THE PSYCHOPATHIC KILLER. #3: HANNIBAL LECHTER.
ANGLE
ON PAZZI, AT HIS DESK. HE PUTS DOWN THE FBI REPORT, AND
PICKS UP THE FANELLI REPORT, AND LEAFS THROUGH IT.
ANGLE INS: HIS POV. THE REPORT, WE READ:
...apartment was untouched, showing no signs of his
departure, hurried or otherwise. Note: his housekeeper did
testify that "all the condiments had been removed from the
kitchen," but this was discounted as fanciful and...
ANGLE
ON PAZZI, AS HE PUTS DOWN THE REPORT.
HE LOOKS AT THE TWO REPORTS SIDE BY SIDE, A COLLEAGUE COMES
UP BEHIND HIM.
COLLEAGUE
Commendatore, if you're looking for Opera
Tickets....
PAZZI WAVES HIM AWAY, HE OPENS HIS DESK, AND TAKES OUT AN
ENVELOPE OF SNAPSHOTS. HE LEAFS THROUGH THEM AND WE SEE
PAZZI ON THE RANGE AT QUANTICO, IN A CLASSROOM, IN FRONT OF
THE LINCOLN MEMORIAL, AND IN FRONT OF THE WANTED POSTER,
FOR LECHTER.
ANGLE XCU, THE NUMBER ADVERTISING A THREE MILLION DOLLAR
REWARD.
ANGLE, ON PAZZI AS HE STARTS TO PICK UP THE PHONE, THEN
HESITATES. HE RISES, AND GOES TO THE HATSTAND TO TAKE HIS
HAT.
EXT FLORENCE STREET.
ANGLE INS.
THE SNAPSHOT, THE WANTED POSTER, SOUND OF A PHONE BEING
DIALED.
ANGLE
PAZZI IN THE PHONEBOOTH. WE HEAR A RECORDED ANNOUNCEMENT:
WE'RE SORRY, THIS NUMBER IS NO LONGER IN SERVICE. IF YOU
FEEL YOU HAVE DIALED IN ERROR....
PAZZI HANDS UP THE PHONE. HE STARTS TO WALK AWAY. AS HE
DOES SO, THE PHONE RINGS, HE GOES BACK TO THE TELEPHONE.
PAZZI
(ON HIS PHONE)
Hello....?
VOICE ON PHONE
...what did you want?
(PAUSE)
PAZZI
I know where he is.
VOICE ON PHONE
I'm sure I don't know who you mean.
PAZZI
I know where he is.
VOICE ON PHONE
And why should we believe you?
PAZZI
I know something no one knows.
(PAUSE)
He has had his finger removed. On his
left hand.
(PAUSE)
It left a scar.
(PAUSE)
VOICE ON PHONE
What shape is the scar?
PAZZI
I want the money.
VOICE ON PHONE
What shape is the scar?
PAZZI
The shape of a Three.
INT VERGER'S ROOM. CORDELL IS ON THE PHONE.
CORDELL
(ON PHONE)
...on positive identification. And the
remainder of the Reward, upon his
apprehension by the appropriate Legal
Authorities.
(HE HANGS UP)
ANGLE
ON THE VIDEOS ABOVE VERGER'S BED. THEY SHOW THE PIGS BEING
FED.
VERGER
Where was the call from.
CORDELL
Somewhere in Italy.
VERGER
Make plans for Lechter's abduction.
CORDELL STARTS AWAY, THEN TURNS BACK.
CORDELL
...then we won't need to tether Miss
Starling as our lure.
VERGER
That operation has begun. Are we God,
that we would Meddle with it...? No, on
the other hand...
INT OPERA HOUSE NIGHT.
STARLING, DRESSED IN FINERY. SHE IS WATCHING A WESTERN
BALLET A LA AGNES DE MILLE, THE DANCERS ARE DRESSED IN
COWBOY GARB.
NEXT TO HER WE SEE A VERY FAT WOMAN ASLEEP. BEHIND THE OLD
WONAN TWO OPERAGOERS ARE WHISPERING THEIR DISPLEASURE.
STARLING EXCHANGES A LOOK WITH HER DATE. WE DO NOT SEE
HIM, ONLY HER ACROSS HIS SHOULDER. SHE LOOKS DOWN.
ANGLE HER POV
ON THE FLOOR WE SEE HER FEET AND HIS FEET IN COWBOY BOOTS.
STARLING BENDS DOWN AND RETRIEVES A BADGE CASE, SHE OPENS IT
IN THE INSERT AND REVEALS IT IS A WATCHMAN'S BADGE WITH A
HOLE IN IT, SHE HANDS THE BADGE TO THE MAN, WE SEE HE
HOLDS, ON HIS LAP, A WESTERN HAT, WITH A BULLETHOLE IN THE
CROWN.
OPERAGOER
How can she sleep at a time like this?
How can she...
DISSOLVE TO:
INT SWAT VAN
WE SEE THE SWAT COPS WE SAW IN THE FIRST SEQUENCE. THEY
ARE STUFFEO INTO A VAN IN FULL ASSAULT GEAR. ONE OF THE
COPS IS TALKING ABOUT SOMETHNG JUST OUT OF SHOT.
TAPED TO THE WALL OF THE VAN IS A LARGE GRAINY BLOWUP OF
EVELDA DRUMGO.
COP
...sleep at a time like this...?
BRIGHAM
(ALSO IN ASSAULT GEAR)
She's resting. She's conserving her
strength, perhaps you should do the
same.
WE SEE HE IS TALKING ABOUT STARLING WHO IS, INDEED, ASLEEP,
SITTING IN THE VAN.
TEAM LEADER
Stand by.
BRIGHAM NUDGES STARLING, WHO WAKES UP.
ANGLE EXT THE VAN. IT IS PULLING UP OUTSIDE A FISH MARKET,
ALONGSIOE THE RIVER. VRRIOUS WORKERS ARE HOSING DOWN THE
FISH ON ICE. WE SEE THE VAN, A US POSTAL SERVICE VAN, COMING
AROUND THE CORNER.
ANGLE INT THE VAN.
TEAM LEADER (cont'd)
...Starling...
HE DEFERS TO HER, SHE MOVES TO THE CENTER OF THE CROWDED VAN
AND PEEKS THROUGH THE PERISCOPE.
ANGLE HER POV
THE SCENE JUST SEEN FROM OUTSIDE THE VAN. A LOWRIDER CAR
PULLING UP.
STARLING
Yeah, it looks clear outside the... wait
a moment..... we got... it's a gunship...
BRIGHAM NUDGES HER ASIDE AND LOOKS THROUGH THE EYEPIECE OF
THE PERISCOPE.
HE HOLDS A SHORT CONVERSATION WITH A WALKIE TALKIE.
BRIGHAM
Brigham. Go.
(PAUSE)
Affirmative.
(PAUSE)
Okay, Happiness is a Green Light. We've
got Evelda in the kitchen, cooking. The
dope's D.E.A.
(HE NODS TO ONE OF THE MEN IN
THE VAN.)
We want her on Interstate Transportation
of some firecrackers. Starling: you've
got Drumgo, you know her from before.
STARLING
I know her by the Back.
BRIGHAM
...these guy'll back you up.
OFFICER
We're gonna be your Couch Potatoes.
STARLING
Pray that it may be so. She will fight.
Last time, she had a nine mil, three
magazines, mace in her purse, a Razor
round her neck, and a shank in her
hair. She will walk over you, you give
her a chance. I'm gonna asker to give
it up, she balks, I want some real help.
Nevermind Watching my Back, I want some
weight on her.
OFFICER
You got it.
TECHNICIAN
We've got some action, coming out of the
building.
STARLING
I don't want you Huskies stand'n around,
watching us Mud Wrestling.... Drurngo is
HIV positive, and I don't wanna be in
there, swap spit with her...
ANGLE. ON THE RIVER. A BOAT, CRUISING.
A SWAT OFFICER IS TALKING ON A WALKIE.
SWAT OFFICER
I've got you, three hundred yards from
the Factory. We're going in the back
door.
HE LOOKS OUT.
ANGLE, HIS POV. VARIOUS SMALL FISH FACTORY SHEDS, AND WE
SEE THE PHONE VAN, MOVING SLOWLY, BETWEEN THEM.
ANGLE
IN THE VAN.
STARLING MOVES TO THE BACK. SHE IS OBSERVING THE
STREETSCENE THROUGH THE SMOKED GLASS IN THE REAR OF THE
VAN.
SWAT OFFICER (cont'd)
...how we looking back there?
ANGLE, STARLING'S POV
THE FISH STALL, A WORKER, HOSING DOWN THE ICED FISH.
WE SEE A SMALL METAL DOOR, IN THE SIDE OF THE BUILDING OPEN,
AND A HEAVYSET MAN COMES OUT, CARRYING A BASKET IN HIS
ARMS.
STARLING
Heads up!
ANGLE, STARLING'S POV.
HE IS FOLLOWED BY ANOTHER MAN, CARRYING A RAINCOAT, AND WE
SEE A GLIMPSE OF A WOMAN BEHIND THEM.
BRIGHAM
(ON THE RADIO)
Strike one to all units; Evelda
Drumgo's coming out behind two shooters.
Showdown Showdown Showdown. Put em on
the ground, as quietly as we can.
Boat's due in thirty seconds, let's do
it.
ANGLE EXT THE VAN.
THE SWAT TEAM COMES OUT, LED BY STARLING. EVELDA STEPS
FROM BETWEEN THE TWO MEN.
ANGLE, ON STARLING, AS SHE ADVANCES. WE SEE BRIGHAM BEHIND
HER.
BRIGHAM (cont'd)
...make sure you...
STARLING MOVES AWAY FROM BRIGHAM, TOWARD EVELDA AND HER
GOONS AS STARLING ADVANCES WE SEE EVELDA BEYOND HER, AND THAT
SHE CARRIES A BABY IN A SLING, IN HER ARMS.
STARLING
(TO THE MEN BEHIND HER)
Wait Wait Wait!
STARLING CAREFULLY HOLSTERS HER PISTOL AND RAISES HER HANDS.
STARLING (cont'd)
Evelda! Give it up! Come to me, Baby!
(OUT OF THE SIDE OF HER
MOUTH, TO THE MEN BEHIND
HER.)
...give her a place to go... give her a
place to go.... Come on Evelda. Nothing
to it. I swear to god.
WE HEAR A SQUEAL OF TIRES.
ANGLE XCU ON STARLING, AS HER FACE SCREWS UP, AND HER HEAD
TURNS FRACTIONALLY TOWARD THE DIRECTION OF THE SOUND.
STARLING (cont'd)
Ev...
STARLING'S EYES GROW VERY WIDE.
ANGLE HER POV.
EVELDA HAS PRODUCED A SMALL SMG FROM BEHIND HER BABYSLING,
AND IS SPRAYING THE STREET.
ANGLE, ON STARLING, AS SHE LOOKS AROUND. BRIGHAM FALL, HIT,
BY HER SIDE. AND SEVERAL OTHER SWAT MEMBERS BEGIN RUNNING
FOR COVER. THE MAN WITH THE RAINCOAT DROPS IT, TO REVEAL A
SAWED OFF SHOTGUN. HE FIRES AT STARLING. SHE GOES DOWN IN
THE STREET.
ANGLE ON STARLING IN THE STREET.
AS SHE PICKS HERSELF UP FROM THE PAVEMENT, AND CRAWLS TOWARD
THE SAFETY OF A PARKED CAR.
A CADILLAC SEDAN IS COMING DOWN THE STREET, THE SAME APACHE
STYLE SHOOTER WE SAW PREVIOUSLY IS SHOOTING OVER THE ROOF,
AT THE POLICE. THE CAR SCREECHES INTO A FISHTAIL, AND
EVELDA, STILL SHOOTING, GET INTO THE BACKSEAT. THE CAR BURNS
RUBBER, TRYING TO ACCELERATE.
STARLING EMERGES FROM HER COVER AND FIRES AT THE CAR. THE
WINDSHIELD SPATTERS, AND A TIRE BLOWS OUT. THE CAR CRASHES
INTO A FISH STALL.
SOUND OF A HELICOPTER.
TWO SHOOTERS TRY TO SLITHER OUT OF THE CRUSHED CAR.
STARLING, ADVANCING TOWARD THEM, SHOOTS THEM BOTH.
ANGLE, HER POV.
EVELDA, AND THE BABY, IN THE BACKSEAT. THE BABY CRYING.
STARLING ADVANCES ON THEM.
STARLING (cont'd)
(TO THE COPS)
SECURITY SECURITY! WATCH THE FISH HOUSE
DOOR BEHIND ME. GET MY BACK. Evelda.
Evelda. Put your hands out of the
window.
ANGLE
ON BRIGHAM, ON THE GROUND. TWITCHING. HE IS SHAKING HIS
HEAD, DAZED.
STARLING (cont'd)
Evelda. Show me your hands. Come on.
Please. Show me your hands.
ANGLE, ON EVELDA.
EVELDA
Well, it's you, chile. It's my friend
the orphan...
STARLING
Give it up, Evelda.
EVELDA
You said you din' have no friends--but
I'm your friend-- I understand you....
STARLING
Think about the baby... show me your
hands.... Evelda? Show me your hands...
EVELDA
F'that's the thing to do...
SHE WITHDRAWS A HAND FROM THE BABYSLING, SHOWING A SMALL
PISTOL, WHICH SHE LEVELS AT STARLING.
ANGLE
ON STARLING AS SHE FIRES AT EVELDA. SHE RUNS FORWARD, AND
TAKES THE SCREAMING BABY FROM EVELDA'S ARMS. THE BABY IS
COVERED IN BLOOD.
STARLING RUNS TO THE STILL RUNNING HOSE WHICH THE FISH
WORKER DROPPED, AND SLUICES DOWN THE BABY.
SOUND OF HELICOPTER.
ANGLE
ON STARLING, AS SHE LOOKS UP.
ANGLE HER POV.
THE HELICOPTER SHOWS A CAMERAMAN HANGING OUT OF THE DOOR ON
A SLING, AND THE LOGO WCTU, TV 10.
ANGLE
A TELEVISION SCREEN, SHOWING THE SHOT FROM THE HELICOPTER.
SCREEN BEARS THE SMALL LOGO, SUPERED IN THE LOWER RIGHT
CORNER:
TV 10, NEWS LIVE.
WE SEE, FROM ABOVE, STARLING, HOSING DOWN THE BABY, AND
WALKING INTO THE MIDDLE OF THE STREET. WE HEAR THE SOUND OF
AN AMBULANCE, AND THE HELO SHOT SHIFTS TO AN AMBULANCE
SCREAMING AROUND THE CORNER.
ANGLE
BACK ON THE STREET. STARLING, HOLDING THE BABY, IS WALKING
THROUGH THE SCENE OF THE CARNAGE. SHE SEES BRIGHAM, RAISING
HIMSELF TO AN ELBOW, AND HE MOUTHS, "I'M ALRIGHT..."
STARLING WALKS ON, PAST THE CAR, WITH THE DEAD BODIES.
PARAMEDICS COME OUT OF THE STOPPED AMBULANCE, AND ONE OF THEM
TAKES THE INFANT FROM THE DAZED STARLING.
STARLING HELPS BRIGHAM TO HIS FEET. HE STANDS WOOZILY, HE
BEGINS TO UNBUCKLE THE KEVLAR PROTECTIVE VEST HE WEARS.
BRIGHAM
I...
STARLING
What, What, I can't hear you...
BRIGHAM
Are you alright...?
THEY ARE SCREAMING OVER THE SOUND OF THE HELICOPTER.
STARLING
I almost shot the baby...
BRIGHAM
Who called the TV CREWS...?
ANGLE
ON STARLING, STANDING IN THE MIDDLE OF THE STREET. BRIGHAM
CALLS ANOTHER COP OVER.
BRIGHAM (cont'd)
Sergeant...
AN OFFICER, FOLLOWED BY ANOTHER, COMES UP TO BRIGHAM. THE
THREE ADVANCE TOWARD THE SCENE AT THE PARKED CAR.
STARLING TURNS TOWARD THEM.
STARLING
Security!!!
WE SEE THE SECOND OFFICER PICK UP THE SHOTGUN FROM THE ARMS
OF THE "RAINCOAT" MAN.
BRIGHAM
(TURNING BACK, TO RESPOND TO
STARLING, HE DRAWS HIS HAND
ACROSS HIS THROAT)
They're dead... standdown, it's alr...
ANGLE
ON THE OFFICER PICKING UP THE SHOTGUN. IT DISCHARGES.
ANGLE ON BRIGHAM, AS HE FALLS, FELLED BY THE SHOTGUN BLAST.
ANGLE
ON STARLING, AS SHE TURNS, TO LOOK AT THE SCENE, OF THE DYING
BRIGHAM.
SHE STARTS TO TAKE A STEP TOWARD HIM, AND STOPS.
SHE LOOKS UP AT THE HELICOPTER.
ANGLE
THE TV IMAGE, WITH THE LOGO ON IT, WE SEE IT ZOOM IN ON
STARLING LOOKING UP, SHE THEN WALKS, DAZEDLY, TOWARD THE
OBVIOUSLY DEAD BRIGMAN, AND SITS, SEVERAL FEET FROM HIM. WE
SEE SEVERAL OFFICERS COMING FORWARD TOWARD HER.
VERGER
(VO)
...you forgot to cancel the plan.
ANGLE
WE SEE THE TELEVISION IS IN VERGER'S ROOM, AND WE ARE
SHOOTING OVER VERGER'S FORM, WE SEE THE BACK OF HIS HEAD,
AND, BEYOND HIM, CORDELL.
CORDELL
...sir...?
VERGER
Waal, Nobody's Perfect... What do we hear
from our songbird in Switzerland?
INT SWISS LAWYER'S OFFICE DAY.
A JOLLY FAT SWISS BANKER, SMILING, A LOVELY HEIDI-ESQUE
MOUNTAIN SCENE VISIBLE IN THE WINDOW BEHIND HIM.
ANGLE
ON PAZZI, STANDING IN FRONT OF A VAULT. THE VAULT IS FULL
OF CURRENCY...A SMALL CLERKTYPE, IS FINISHING FILLING UP A
SMALL VALISE WITH CURRENCY. HE GLANCES AT THE FAT BANKER,
AND NODS.
THE FAT BANKER COMES FORWARD, AND MOTIONS AT THE BAG.
BANKER
One hundred thousand dollars, Signori.
The remainder of the three million.
(HE MOTIONS TO THE VAULT)
Upon the person-in-question's
apprehension. Would you prefer a
cheque...?
ANGLE, ON PAZZI, GRINNING AT THE MONEY.
PAZZI
No, no thank you, I...
PAZZI GLANCES BACK TOWARD THE DOOR, CLOSING ON THE VAULT.
PAZZI (cont'd)
...and the Remainder, you said. ..?
BANKER
After you have, in the words of our
friends, the Americans, Put him On the
Spot.
PAZZI
But is that necessary...
BANKER
(SHRUGS)
It is necessary, if you wish the
remainder of the money.
(HE NODS TO HIS CLERK, WHO
CLOSES THE DOOR ON THE
VAULT)
Shall we drive you to the airport...?
PAZZI
(STILL LOOKING AT THE CLOSING
VAULT, SHYLY)
I...I thought I'd do some shopping...
INT FLORENCE OPERAHOUSE NIGHT.
APPLAUSE IS DYING OUT, THE CURTAIN IS FALLING, SPECTATORS
ARE STANDING TO LEAVE.
IN THE HOUSE, HEADS TURN AT THE SIGHT OF A VERY BEAUTIFUL
WOMAN. IT IS MME PAZZI IN A COUTURE DRESS, AND JEWELS
BACKING. SHE IS ACCOMPANIED BY PAZZI, WHO IS DRAPING HER
SHOULDERS IN A FURCOAT.
PAZZI BOWS THIS WAY AND THAT, TO ADMIRING COUPLES, AS THEY
MAKE THEIR WAY UP THE AISLE.
MRS. PAZZI
(TO PAZZI)
...how can I thank you?
PAZZI
Ask me when we get home.
MRS. PAZZI
Oh, my program...
PAZZI TURNS BACK, HE IS WALKING AGAINST THE PRESS OF EXITING
OPERAGOERS, AND IS HAVING DIFFICULTY.
ANGLE
ON DR. FELL, WHO IS WALKING TOWARD HIM.
FELL
Ah, Commendatore... you, too, admire
Mozart.
PAZZI
(PAUSE)
Who does not?
FELL
If such there breathe, I'm sure you
could unearth him...
(PAUSE)
Your reputation does you honor.
(PAUSE)
PAZZI
I've left my program...
FELL
Take mine.
(HE HANDS HIS PROGRAM TO
PAZZI, AND THEY START UP THE
AISLE)
Ah. And is that your wife...
(THEY GAIN THE SIDE OF MME.
PAZZI.)
Signora.
(HE BENDS TO KISS HER HAND)
Can it be that you are lovelier, even,
than at our last encounter...?
MRS. PAZZI
My mother told me to ignore the
blandishments of charming men.
FELL
Then, she, herself, possessed some
knowledge of the Greater World...How
pleased am I to see you looking so
well...
PAZZI IS CALLED AWAY, BY AN EXITING OPERAGOER, AND HE
LEAVES RELUCTANTLY, LOOKING BACK, WITH APPREHENSION, AT FELL
AND HIS WIFE.
THE TWO, CHATTING, JOIN HIM.
FELL (cont'd)
Commendatore, your wife tells me you are
taking her away on Vacation.
PAZZI
...long overdue.
FELL
(AS THEY EXIT, ONTO THE STREET
IN FRONT OF THE OPERA, AND
MANY CARS AND LIMOS, PULLING
UP TO RECEIVE THE EXITING, ET
CETERA.)
Back to America...?
(PAUSE)
(WHILE PAZZI LOOKS ON WITH
CONSTERNATION)
When first we met you'd just returned
from America.
MRS. PAZZI
How wonderful of you, to hold that
information in your busy mind...
FELL
...how so?
MRS. PAZZI
...you told me you were studying for
your examination by the Studiolo...
FELL
And how good of you to remember it.
Then, this trip, then, is not a return
to America...
MRS. PAZZI
No, this is pleasure...
FELL
And what was the trip before...?
MRS. PAZZI
That, that was business...
PAZZI TRIES TO MANEUVER HIS WIFE AWAY FROM FELL. CAMERA
TAKES THEM AROUND A CORNER, TO A "NO PARKING, LOADING ZONE,"
SIGN, IN WHICH WE SEE A POLICE SEDAN, AND ONE OF PAZZI'S
MEN. HE IS WEARING THE GIMME HAT PAZZI BROUGHT BACK FROM
THE STATES.
ANGLE ON FELL, AS HE LOOKS OVER AT THE DRIVER.
ANGLE HIS POV.
THE HAT, "FBI INTERNATIONAL POLICE ACADEMY, QUANTICO
VIRGINIA."
THE DRIER TAKES OFF THE HAT, AND OPENS THE DOOR TO THE
SEDAN FOR THE PAZZIS.
ANGLE, ON FELL, AS HE TAKES HIS LEAVE.
FELL
Business. Yes. How much better. To
travel for the Pure Enjoyment of the
thing, of the variety of the
world....yes...
(PAUSE)
Just to Get Away.
(PAUSE)
I'm surprised they can spare you, in the
midst of your investigation.
(PAUSE, PAZZI LOOKS BACK)
of the disappearance of my
predecessor...
ANGLE, AS MRS. PAZZI PULLS PAZZI INTO THE CAR.
MRS. PAZZI
(WHISPERING TO HIM)
Take me home and make love to me...
ANGLE, ON FELL, AS PAZZI WAVES TO HIM, THROUGH THE CAR WINDOW
GLASS, AND THE CAR PULLS AWAY, LEAVING FELL STANDING IN THE
ALLEYWAY. BEAT. HE NODS, AS IF CONFIRMING SOMETHING TO
HIMSELF.
HE STARTS BACK OUT OF THE ALLEYWAY, INTO THE PRESS OF HUMANITY.
MAN'S VOICE
(VO)
Time to get something to eat...
ANGLE XCU
ON FELL, AS HE LOOKS AFTER THE DEPARTING CAR.
FELL
(TO HIMSELF)
Yes, quite...
ANGLE, THE MAN SPEAKING TURNS, AND IS STARTLED TO SEE FELL.
MAN
I beg your pardon.
FELL
You suggested it was time to get
something good to eat.
MAN
I thought that you were...
(HE SEES ANOTHER MAN
APPROACHING HIM)
Ah! Where shall we eat...?
(THE TWO WALK OFF)
FELL
(TO HIMSELF)
...where shall we eat. And what shall
we eat.
INT PAZZI'S APARTMENT.
HALF SEEN, THROUGH A PANNING SHOT OF A HALFOPEN DOOR, PAZZI
AND HIS WIFE MAKING LOVE. WE HEAR PAZZI CALLING:
PAZZI
...Laura...Laura...Laura...
ANGLE
ON FELL, IN THE SHADOWS, AS HE CLOSES THE FRONT DOOR
SOUNDLESSLY BEHIND HIM. HE STANDS FOR A MOMENT, LOOKING,
CAMERA THEN TAKES HIM INTO THE APARTMENT WHERE HE FINDS THE
KITCHEN.
INT THE KITCHEN, FELL TAKES A KNIFE FROM A MAPLE BLOCK, TRIES
ITS EDGE, REPLACES IT, TAKES OUT A CLEAVER, AND NODS. HE
LOOKS ABOVE, AND TAKES DOWN A COPPER SAUCEPAN FROM THE POT
RACK. HE OPENS THE REFRIGERATOR, GLANCES BRIEFLY INSIDE,
AND NODS, IN SATISFACTION, AND CLOSES IT.
HE PICKS UP A DISHTOWEL, TRIES IT BETWEEN HIS HANDS, TESTING
ITS STRENGTH.
HE PUTS IT DOWN, DISSATISFIED.
HE BEGINS TO PROWL THROUGH THE APARTMENT, HE PASSES ANOTHER
HALF OPEN DOOR, AND WE SEE PAZZI AND HIS WIFE, HALF GLIMPSED,
BEYOND, FELL MOVES INTO A SMALL STUDY.
ANGLE
THE BACK OF THE DESK CHAIR, HOLDS A MAN'S SPORTCOAT, AND A
TIE.
FELL MOVES TOWARD THE CHAIR, PUTS HIS CLEAVER DOWN ON THE
DESK, AND TRIES THE TIE BETWEEN HIS HANDS, TESTING HIS
STRENGTH.
HE NODS, SATISFIED, AND PICKS UP THE CLEANER.
ANGLE INS
THE CLEANER, WHICH IS LAYING ON TOP OF THE FILE REGARDING THE
DISAPPEARANCE OF DOTTORE FANELLI, BENEATH IT, HALF COVERED,
IS THE FBI LOGO.
WE SEE FELL'S HAND RAISE THE FIRST FILE, TO LOOK AT THE
SECOND, AND WE READ: "FBI REPORT, THE PSYCHOPATHOLOGY, ETC,
OF HANNIBAL LECHTER."
ANGLE CU.
ON FELL, AS HE NODS TO HIMSELF, HE THEN LOOKS DOWN AT
SOMETHING ELSE.
ANGLE HIS POV.
A SCARF, PEEPING OUT OF THE HALF-OPEN DESK DRAWER.
ANGLE INS.
FELL'S HAND DRAWS OUT THE SCARF. NESTLED IN THE SCARF IS
THE PHOTO OF PAZZI IN FRONT OF THE WANTED POSTER.
ANGLE ON FELL, AS HE LOOKS AT THE PICTURE. HE THEN BEGINS TO
PEER VERY CLOSELY AT IT. HE PICKS UP THE MAGNIFYING GLASS
FROM THE DESK, AND WE SEE, IN A HUGE INSERT, THAT HE IS
MOVING THE MAGNIFYING GLASS TO ATTEMPT TO MAKE OUT THE
FIGURE REFLECTED IN THE GLASS COVERING THE WANTED POSTER, ID,
THE FIGURE OF THE PHOTOGRAPHER, IS STARLING.
ANGLE XCU
INS THE JUST SEEN OUTLINE OF STARLING, HOLDING THE CAMERA.
ANGLE
FELL, LOOKING AT THE PHOTO. HE THEN GLANCES AT THE SCARF,
PICKS IS UP, AND, QUESTIONINGLY, SNIFFS IT ONCE, AND THEN
AGAIN. HE HOLDS THE SCARF TO HIS FACE. HE RUBS IT
BETWEEN HIS HANDS, AND SMELLS HIS HANDS.
ANGLE PAZZI BEDROOM.
MRS. PAZZI
...and then, we're going to Greece...
PAZZI
Yes, but the important thing, as I've
said...
MRS. PAZZI
...get me a cigarette.
PAZZI GETS UP FROM THE BED, AND WRAPS HIMSELF IN A SHEET,
AND PROCEEDS INTO THE STUDY.
PAZZI
The essential thing. The essential
thing, is that we must be absolutely
quiet about...
HE PULLS OPEN THE DESK DRAWER, AND TAKES OUT A PACK OF
CIGARETTES.
HE LOOKS WONDERINGLY, AT THE DRAWER, BEAT. HE SHRUGS, HE
IS ABOUT TO START BACK INTO THE BEDROOM, HE GLANCES AT THE
CURTAINS, BLOWING IN THE OPEN WINDOW, HESITATES.
MRS. PAZZI
...what is it?
HE LOOKS INTO THE DESK, SHAKES HIS HEAD. BEAT.
AND THEN RETURNS INTO THE BEDROOM.
MRS. PAZZI (cont'd)
...you've forgotten the cigarettes.
PAZZI TURNS, AND LOOKS BACK TOWARD THE OPEN WINDOW, AND THE
BLOWING SHADES.
EXT FLORENTINE PARK NIGHT.
A YOUNG WOMAN WALKS PAST THE CAMERA. SHE TAKES US TO FELL,
WHO IS SITTING ACROSS FROM THE STATUE OF THE LION AND THE
BIRD, HE IS PICKING HIS TEETH, AND, VERY DELICATELY, TAKES
OUT A SCARF, AND WIPES HIS MOUTH. WE SEE IT IS THE SCARF
WHICH HE STOLE FROM PAZZI, HE TAKES OUT THE PHOTOGRAPH OF
THE WANTED POSTER, AND LOOKS AT IT, AS HE WALKS THROUGH THE
PARK.
CAMERA TAKES HIM OUT OF THE PARK, PAST THE YOUNG WOMAN, WHO,
WE SEE, HAS RETURNED TO A STROLLER, WHICH IS EMPTY, SHE IS
TALKING TO A UNIFORMED POLICEMAN, AND GESTURING, "ABOUT THIS
HIGH..." SHOWING THE HEIGHT OF HER CHILD. HE AND THE
WOMAN START LOOKING IN THE BUSHES.
ANGLE
ON FELL, LEAVING THE PARK, HE WALKS PAST AN APPLIANCE STORE,
IN THE WINDOW OF WHICH WE SEE, TEN SILENT TV SCREENS, AND A
TALKING HEAD ANNOUNCER.
THE SCENE SHIFTS TO THE HELICOPTER FOOTAGE OF STARLING.
WE SEE PHOTOS DISPLAYED OF STARLING, NEXT TO THE PEOPLE SHE
SHOT IN THE SHOOTOUT, AND A VISBO PROCLAIMS, "KILLER OF
FIVE, THE DEATH ANGEL: CLARICE STARLING."
EXT STARLING'S HOUSE, DAY.
STARLING, MAPP, AND JIM, MAPP'S BOYFRIEND, ARE COMING OUT OF
THE HOUSE WITH CRAWFORD, ESCORTED TOWARD SEVERAL CARS OF
WHAT IS OBVIOUSLY A FUNERAL CORTEGE.
A SEDAN PULLS UP, AND KRENDLER GETS OUT.
KRENDLER
I came to pay my...
STARLING
...get outta my way, you sonofabitch...
KRENDLER
I realize, you're under a lot of....
STARLING
You put my friend in the ground, with
your mickeymouse TaskForce... Izsat
the kind of Headlines that Preserve and
Promote, you, sir?
SHE STARTS PUSHING HIM, AND CAMERA PANS, TO A GROUP OF
NEWSVANS, CORDONED OFF, AROUND THE CORNER, AND HELD IN BAY
BY VARIOUS POLICE. STARLING IS BEING SUBDUED BY CRAWFORD
ET AL.
STARLING (cont'd)
(AS SHE PUSHES AT KRENDLER)
Izzat the kind of publicity will aid Our
Run for Congress? You swine, you...
KRENDLER
(SHRIEKING AT HER)
You're out she's out...
SHE IS BEING DOCILED, AND LED AWAY.
KRENDLER (cont'd)
(SHOUTING AFTER HER)
You country Cornpone BITCH--hey, you
Trailer Trash BITCH, you still looking
for your Daddy, Beat you up, to show he
Loves you?
ANGLE. ON STARLING, STANDING BY THE LINE OF CARS. SHE
SEES SOMETHING, AND TURNS.
ANGLE XCU STARLING AS SHE LOOKS. KRENDLER CONTINUES HIS
HARANGUE.
ANGLE HER POV.
ON THE REAR DECK OF A CAR, A STETSON HAT, WITH A BULLET
THROUGH IT, AND AN OLD SQUARE POLICEBADGE, WITH A BULLETHOLE
THROUGH IT .
KRENDLER (cont'd)
(VO)
Looking for your Daddy, fuck you and
mark you up, an...
ANGLE
ON STARLING, AS SHE BLINKS, AND SHAKES HER HEAD TO CLEAR
IT.
THE SEDAN DRIVES OFF, AS SHE STRAINS TO LOOK AFTER IT.
KRENDLER (cont'd)
Well, here I am, you...
STARLING SHAKES HER HEAD AGAIN, FINDS HERSELF FACING
KRENDLER, AND PUNCHES HIM IN THE STOMACH. KRENDLER GOES
DOWN. STARLING IS SUBDUED BY HER COMFORTERS. SHE STRAINS
TO LOOK AFTER THE DEPARTING CAR.
INT VERGER'S ROOM.
ON THE TV STARLING, BEING PULLED OFF OF KRENDLER.
ANGLE, OVER VERGER, ONTO CORDELL.
VERGER
Quod videt monumentum, circumspice.
Need I translate?
CORDELL
If you would see him monument, look
around you.
VERGER
Show me the Pigs.
THE VIDEOSCREEN CHANGES, TO SHOW THE PIGS, ATTACKING THE
DUMMY MAN.
CORDELL
Telephone call. From Switzerland, sir.
VERGER CONVERSES IN GERMAN, WITH THE SWISS. HE IS TOLD
THAT THEY CAN HAVE A DATE, AND THAT A PACKAGE WILL BE
COMING HIS WAY SOON.
ANGLE. ON VERGER, LOOKING AT THE PIGS.
EXT FLORENTINE PALAZZO. NIGHT.
PAZZI, WALKING DOWN THE STREET. NERVOUSLY ADJUSTS HIS SCARF.
ANGLE
A BRIGAND, LOUNGING BY A VAN, NODS IMPERCEPTIBLY, AT PAZZI,
WHO CONTINUES WALKING.
THE BRIGAND GOES INTO THE BACK OF THE VAN.
ANGLE INT THE VAN.
THERE IS ANOTHER BRIGAND INSIDE. THERE ARE SEVERAL FIREARMS
IN A RACK, AND A HOSPITAL GURNEY WITH HEAVY RESTRAINTS. THE
SECOND BRIGAND IS LOADING AN ODD LOOKING SHOULDER WEAPON.
SECOND BRIGAND
I hit him with the beanbag gun, you stand
by: he's still flopping...
THE FIRST BRIGAND NODS, AND TAKES A CAPPED HYPODERMIC
SYRINGE FROM THE SECOND MAN.
SECOND BRIGAND (cont'd)
Just make sure he's alive, because I've
already spent the bonus...
THE FRUIT MAN NODS TO THE SECOND, AND WE SEE PAZZI
PROCEEDING UP THE STAIRS INTO THE PALAZZO.
INT A SALON AT THE PALAZZO, NIGHT.
A WORKER IS MOVING A FLOOR POLISHER ACROSS THE MARBLE FLOOR
OF THE SALON, IN AN ANTEROOM BEYOND WE HEAR FELL LECTURING.
THE WORKER NODS DIFFERENTIALLY, AT SOMEONE OFF SCREEN.
WE SEE HE HAS NODDED AT PAZZI, WHO TAKES US TO THE DOOR OF
THE SALON.
HE WIPES HIS HANDS NERVOUSLY, HE MOPS HIS BROW, HE LOOKS AT
HIS WATCH.
HE LOOKS INTO THE SALON.
ANGLE HIS POV
FELL, IN FRONT OF A LECTERN. A SLIDE MACHINE IS SHOWING A
PAINTING OF A HANGED FIGURE ON A HUGE DRIPCLOTH AT THE BACK
OF THE SALON.
ANGLE, ON PAZZI, AS HE MOVES TO THE SIDE, IE, OUT OF THE
DOORWAY TO THE SALON, HE GLANCES OVER HIS SHOULDER, TO MAKE
SURE HE IS OUT OF THE SIGHT OF THE WORKMAN WITH THE FLOOR
POLISHER. HE SEES THE WORKMAN TURN THE POLISHER OFF AND
BEGIN COILING THE LONG ELECTRIC CORD. PAZZI TAKES A SMALL
FLAT AUTOMATIC FROM A HIP HOLSTER. CHECKS THE CHAMBER, AND
SLIPS IT INTO HIS JACKET POCKET. HE PROCEEDS BACK TO THE
DOORWAY, WHERE WE AND HE SEE FELL, BEYOND, LECTURING TO A
COMPANY OF SIX MEN, IN THE SALON.
FELL
(LECTURING)
Della vigna was disgraced and blinded
for his betrayal of his emperor's trust-
-through avarice. Avarice and hanging
(HE GESTURES TO THE PAINTING)
are linked in the ancient and the
madeadeval mind.
ANGLE ON PAZZI, AS HANNIBAL (FELL) SPEAKS, HE MOVES TO A
WINDOW, AND WIPES HIS HAND AGAIN, AND WE SEE HIM LOOK DOWN
AT THE VAN IN THE STREET, AND WIPE HIS HANDS, MUCH OF THIS
SPEECH PLAYS AS VOICE-OVER AS HE DOES SO.
FELL (cont'd)
Judas and Pier Della Vigna are linked in
Dante by the avarice he saw in them, and
their subsequent deaths by hanging. Ah
Commendatore Pazzi...
ANGLE ON FELL, AS HE SPEAKS TO PAZZI, HALF-SEEN IN THE DOORWAY.
FELL (cont'd)
You are welcome. Since you are closest
to the door, would you close the door, to
improve the quality of the image.
(PAZZI DOES SO)
You will be interested in this,
Commandatore, as there are two Pazzi's
already in Dante's inferno...
ANGLE ON FELL, AS HE WALKS FORWARD, BETWEEN THE CHAIRS OF
THE SIX OLD MEN (THE STUDIOLO) WHO SIT LISTENING TO HIS
LECTURE. A FEW TAKE NOTES.
FELL (cont'd)
(TO THE OLD MEN)
Camicion de Pazzi, as you know, murdered
a kinsman, and rests in hell awaiting the
arrival of a Second Pazzi. But it's not
you: it's Carlino, who will rest
forever in hell for the crime of
Treachery.
ANGLE XCU, ON FELL, LOOKING AT PAZZI.
ANGLE ON PAZZI, UNDER THE WITHERING STARE. BEAT.
FELL (cont'd)
(AS HE CONTINUES BACK TO HIS
LECTERN)
Avarice, and Hanging, then.
(HE GESTURES TO THE PHOTOGRAPH
OF THE PAINTING)
On the next occasion, you might like to
discuss the matter of Chewing. Chewing
in Dante: Count Ugolino, chewing the
back of the archbishop's head--Satan,
with his three Faces, chewing Judas,
Brutus, and Cassius... all three
traitors. Is it not? Thank you all for
your kind attention.
THE SCHOLARS APPLAUD HIM, TWO STAND, AND TAKE HIM BY THE
HAND.
ANGLE ON PAZZI AT THE DOOR. HE OPENS THE DOOR, AND THE OLD
MEN OF THE STUDIOLO EXIT, CHATTERING HAPPILY ABOUT THE
LECTURE. FELL COMES OUT, THE LAST OF THE SALON.
FELL (cont'd)
Would you say that I've preserved my
job, Commendatore?
PAZZI
I'm not a scholar, Dottore. But it
seemed as if they, as if they...
FELL
Yes, I think I amused them. To what do
I owe...?
PAZZI
I require...
FELL
...yes, yes, yes...
HE FOLLOWS FELL BACK INTO THE ROOM, WHERE FELL BEGINS
PUTTING AWAY HIS MATERIAL IN THE D1RTY SALON.
FELL (cont'd)
...the effects of my predecessor.
PAZZI
I'd like to walk home with you, and...
FELL
Yes, of course, and we'll collect them.
I won't be a minute...
ANGLE ON PAZZI AS HE WALKS UP TOWARD FELL.
HE PUTS HIS HAND IN THE JACKET POCKET.
ANGLE INS
THE HAND, SEEN THROUGH THE CLOTH, GRIPPING THE AUTOMATIC
PISTOL.
ANGLE
ON FELL, AS HE BEGINS TO PACK UP THE SLIDE PROJECTOR, AND
THEN HESITATES.
FELL (cont'd)
Ah, no. I should have shown them this
one..
(HE TAKES OUT A SLIDE AND PUTS
IT IN THE PROJECTOR)
This one will interest you: let me see
if I can improve the focus...
WE SEE THE IMAGE OF A HANGED MAN APPEAR ON THE DROPCLOTH.
THERE IS A PLAQUE DRAPED AROUND THE NECK OF THE HANGED MAN.
FELL (CONT'D)
Can you make it out, can you make out
the name on the plaque?
FELL WALKS UP TO THE IMAGE DISPLAYED ON THE DROPCLOTH, PAZZI
WALKS BEHIND HIM.
FELL (cont'd)
(LOOKING AT THE IMAGE)
It says Pazzi. Pazzi. And a rude, a
very rude poem, this is your ancestor.
Francesco, hanging outside the Palazzio
Vecchio. Outside These Very Windows.
HE TURNS AND FIXES PAZZI WITH HIS GAZE.
ANGLE, FELL, HIS FACE SEEN IN THE DARK, IN THE BEAM OF THE
SLIDE PROJECTOR.
HOLD.
FELL (cont'd)
On a related subject Signor Pazzi, I must
confess to you: I'm giving serious
thought to eating your wife.
FELL JERKS THE DROP CLOTH DOWN OVER THE TWO OF THEM.
ANGLE XCU, ON PAZZI'S FACE AS HE SEES THE CLOTH COMING DOWN.
ANGLE INS
HIS HAND, GOING INTO HIS POCKET, AS HE TRIES TO BRING OUT
THE PISTOL.
ANGLE
ON THE FACE OF FELL, AS HE ADVANCES, UNDER THE CLOTH,
ON PAZZI, FELL TAKES A SMALL SPONGE AND A BOTTLE FROM HIS
POCKET, AND DUMPS LIQUID FROM THE BOTTLE ONTO THE SPONGE,
AND GRABS PAZZI BY THE HAIR, PUTS HIM INTO A CHOKEHOLD, AND
HOLDS THE SPONGE TO PAZZI'S FACE.
ANGLE EXT, THE DROP CLOTH, AS WE SEE THE EFFECTS OF THE
STRUGGLE, AND HEAR THE SMALL PISTOL GOING OFF.
ANGLE EXT THE PALAZZO.
THE LAST MEMBER OF THE STUDIOLO, COMING OUT, A WORKMAN
FOLLOWS HIM, AND BEGINS LOCKING THE DOOR.
ANGLE
ON THE BRIGANDS, AT THEIR VAN, THEY LOOK AT EACH OTHER,
ONE CHECKS HIS WATCH.
ANGLE INT THE SALON.
THE FLOOR POLISHER. MOVING, AS IF OF ITS OWN VOLITION,
ACROSS THE FLOOR.
ANGLE
ON PAZZI, TIED TO THE PODIUM, HIS MOUTH GAGGED.
ANGLE
ON LECHTER, AS HE COILS UP THE LONG ORANGE CORD OF THE
FLOOR POLISHER, DRAWING IT TOWARD HIM.
FELL (cont'd)
Yes. Your Wife. Laura. L'Orange, which
is the topnote of her skin, wouldn't you
say? Or do I grow too personal? but
that is what I think of, when I think of
her. And how could I but think of her?
I haven't had a bit all day. The kidney
and the liver would be su1table for a
dinner tonight. But the rest of the meat
should hang for a week, in these cool
conditions. Wouldn't you say? Nod once
for yes.
(PAUSE)
If you tell me what I need to know,
then it would be convenient for me to
leave without my meal. And Mrs. Pazzi
will remain unscathed. I'll out the
questions to you, and we'll see: I
saw at the theatre you had betrayed me.
And, when the police didn't come, it was
clear you had sold me out. Was it to
Mason Verger? Blink one for yes.
ANGLE ON PAZZI. BEAT. THEN HE BLINKS ONCE.
FELL (cont'd)
Thank you. And now: Are his hit men
waiting outside?
(PAZZI BLINKS ONCE)
Was that a single blink? Yes. Thank
you.
FELL FINISHES HIS COILING OF THE ROPE, AND WE SEE HE HAS
FASHIONED A HANGMAN'S NOOSE.
FELL TAKES OUT A STILETTO, AND IT OPENS. HE ADVANCES TOWARD
PAZZI, WHO TRIES TO RECOIL.
FELL (cont'd)
No, no. I'm going to take the tape off.
Please do not scream. Do you think you
can keep from screaming?
(HE TAKES THE TAPE OFF)
...would it help if I were to cut your
BOWELS OUT...?
WE SEE HIM MAKE A SWIPE AND HEAR PAZZI START TO SCREAM.
FROM OUTSIDE THE WINDOW OF THE SALON, WE SEE PAZZI, TAPED TO
THE PODIUM, BEING IMPELLED, SCREAMING, TOWARD THE WINDOW.
ANGLE
ON THE LIGHTED PIAZZA OF THE PALAZZO, TOURISTS LOOK UP AT THE
SCREAMING.
BEAT.
ANGLE XCU, ON THE CONTORTED FACE OF PAZZI, LOOKING DOWN, AN
ORANGE NOOSE AROUND HIS NECK, AS THE PODIUM TILTS THROUGH
THE OPEN WINDOW.
ANGLE
THE TWO BRIGANDS AT THE VAN. REACTION TO THE SOUND OF THE
SCREAMING, RUN AROUND THE CORNER. THEY LOOK UP TO SEE PAZZI,
STILL TAPES TO THE PODIUM, HANGING BY THE ORANGE CORD.
ANGLE, ON THE VILLAINS, STANDING UNDERNEATH, AS GOUTS OF
BLOOD FALL ON THEM.
BRIGAND ONE
...cover the backdoor. If he comes out,
Kill him.
BRIGAND TWO
...the bonus was for...
BRIGAND ONE
Kill him, and cut him.
HE RUNS TO THE FRONT OF THE PALAZZO, HOLDING HIS SHOULDER
ARM DOWN ALONGSIDE HIS SIDE.
HE RUNS PAST THE LOCKED FRONT DOOR, AND TOWARD AN ALLEYWAY.
WE HEAR THE SIRENS OF POLICE CARS. BRIGAND ONE SLOWS HIS
WALK, AND PROCEEDS INTO THE ALLEYWAY. HE SEES A SMALL DOOR,
IN THE SIDE OF THE PALAZZO, AND A LIGHT BEYOND.
ANGLE INT THE DOOR.
A SMALL STAIRCASE. THE BRIGAND ENTERS, HE LOOKS UP.
WE HEAR THE SOUND OF RAPIDLY DESCENDING FOOTSTEPS. THE
BRIGAND MOUNTS THE STEPS, HOLDING HIS RIFLE BEFORE HIM. THE
SOUND OF THE FOOTSTEPS CONTINUES.
ON THE SECOND FLOOR, THE BRIGAND SHELTERS HIMSELF IN A ROOM,
OFF THE LANDING. THE SOUND OF THE DESCENDING FOOTSTEPS
CONTINUES.
ANGLE ON THE BRIGAND, HIDING BEHIND THE DOOR. THEN HE TURNS
HIS HEAD.
ANGLE, HIS POV.
WE ARE IN A LAUNDRY ROOM.
THE SOUND OF THE FOOTSTEPS IS, IN FACT, A CLOTHESDRYER. IN
ITS GLASS DOOR IN THE SIDE, WE SEE A MAN'S SHOE GOING
AROUND.
ANGLE THE BRIGAND, AS HE LOOKS, THEN TO THE SIDE.
ANGLE, HIS POV, IN THE SIDE OF THE ROOM, THE LEGS OF A DEAD
MAN PROTRUDE FROM A CLOTHES HAMPER, HE WEARS ONLY ONE SHOE.
ANGLE XCU
ON THE BRIGAND, AS HE TURNS.
ANGLE
OVER HIM WE SEE HANNIBAL, SMILING, AS HE ADVANCES.
ANGLE
ON THE STILETTO, AS IT ENTERS THE BRIGAND'S BELLY.
ANGLE EXT THE PALAZZO.
SEVERAL COP CARS PULLING UP, AN AMBULANCE, A NEWSTRUCK.
A BOY ON A MOTO.
HANNIBAL
Young man...
THE BOY TURNS. HANNIBAL IS STANDING NEXT TO HIM.
HANNIBAL (cont'd)
Young man, I am desperate. If I am not
at the Piazza Bellosguardo in ten
minutes, it is the end of marriage.
(HE HANDS A BUNDLE OF NOTES
TOWARD THE BOY)
Do you think you could help me....?
ANGLE
IN THE PIAZZA, THE BODY OF PAZZI IS BEING LOWERED, IN THE
BG WE SEE HANNIBAL, RIDING ON THE BACK OF THE MOTO, AND
AWAY.
INT VERGER'S ROOM, NIGHT.
A SMALL CHILD IS EATING POPCORN OUT OF A CROCKERY BOWL. WE
SEE HIS FACE, SMILING, IN THE GLOW OF A TELEVISION.
ANGLE OVER VERGER AND THE CHILD.
VERGER
...how do you like it?
CHILD
It's real funny.
CORDELL COMES UP HOLDING A PHONE. BEAT.
VERGER
Tell me the good news.
CORDELL
He escaped...
VERGER
Have the child taken to bed.
CHILD
I wanna see more...
CORDELL PUSHES A BUTTON ON HIS CONSOLE, AND WE SEE, ON THE
VIDEO, MONITORS, A NURSE LEAVING THE HALLWAY AND ENTERING
VERGER'S ROOM. AS CORDELL TAKES THE CHILD TO HER WE SEE
THAT VERGER AND THE CHILD HAVE BEEN WATCHING THE PIGS ATTACK
THE MAN-SIZED DUMMY, WHICH THEY NOW DO WITH ALACRITY.
CORDELL
What do you want me to do?
VERGER
Follow Starling, stake out Starling.
Increase the pressure on Starling. He
will come to her.
INT STARLING'S HOME DAY.
STARLING IS SITTING, AFFECTLESS, IN FRONT OF A FULL CUP OF
COFFEE AT HER KITCHEN TABLE.
CRAWFORD SITS OPPOSITE HER.
CRAWFORD
And I brought this for you...
STARLING
What is it?
HE PRODUCES A SHOEBOX, SHE OPENS IT, IT CONTAINS VARIOUS
MEMORABILIA OF BRIGHAM. A PHOTO OF HIM IN THE ARMY, TWO
SERVICE PISTOLS, HIS BADGE.
CRAWFORD
Out of John Brigharn's Locker...
SHE NODS.
CRAWFORD (cont'd)
Waal...
STARLING
I know you did what you could.
HE SHRUGS. SHE STARTS TO WALK HER OUT.
CRAWFORD
I'm going to work for your
reinstatement...
STARLING
Reinstatement to what? There ain't
nobody there...
HE OPENS THE DOOR, AND THEY ARE ASSAULTED BY FLASHBULBS, AND
A SCAD OF NEWSPEOPLE, WHO HAVE BROKEN THE BONDS, AND ARE
PUSHING HER UP TO THE FRONT DOOR.
NEWSIE
Starling, Agent Starling: what do you
have to say to the New Accusations...?
STARLING
New...?
NEWSIE
You've been accused of...
ANGLE, TELEVISION SET, TRAVEL OFFICE DAY.
IT SHOWS STARLING, BEING HOUNDED BY THE NEWSIES.
NEWSIE (cont'd)
...leaking information to the Press,
which resulted in the botched...
ANGLE, THE STRICKEN FACE OF STARLING.
SECOND NEWSIE
Agent Starling: what was your reaction
to your indictment...?
BRIGHAM
...indictment...?
SECOND NEWSIE
The district attorney today...
STARLING AND CRAWFORD LOOK AT EACH OTHER. HE SHEPHERDS
HER BACK INTO THE HOUSE.
ANGLE
A DISGUISED HANNIBAL LECHTER, GOT UP AS A RETIREE, IS
SITTING IN AN ENGLISH TRAVEL AGENT'S OFFICE. POSTERS OF
TOURS ON THE WALL, A SIGN READING 'BRITTOURS.' AN OLD TRAVEL
AGENT IS FILLING OUT FORMS.
TRAVEL AGENT
Majorca, Greece.... oh, Aaand Turkey....
Mr. Bates, you're treating yourself to a
Holiday you'll remember for...
SHE LOOKS UP, TO SEE HANNIBAL, LOOKING AT THE TELEVISION.
ANGLE HIS POV
THE STRICKEN FACE OF STARLING, AS SHE IS SHEPHEARDED BACK
INTO HER HOUSE. A TALKING HEAD COMES ON AND SPEAKS WITH A
BRITISH ACCENT.
TALKING HEAD
Of the American FBI agent, Clarice
Starling, shown here, in her dramatic gun
battle, last week, with...
THE FOOTAGE COMES ON OF THE GUN BATTLE.
TRAVEL AGENT
Mr. Bates...? Mr. Bates...?
TALKING HEAD
Dismissed from the FBI, she, it seems,
is under criminal indictment for...
ANGLE ON HANNIBAL, AS HE TURNS BACK.
HANNIBAL
Could I, do you believe, change my
Destination...?
TRAVEL AGENT
Well...well...what did you have in
mind...?
INT FBI HEADQUARTERS DAY.
CRAWFORD AND KRENDLER BOTH LOOKING AT CNN.
CNN NEWSIE
(AS WE SEE ANOTHER REPLAY OF
THE SHOOTOUT)
...criminal indictment.... in quite a
surprising move, against agent, that is,
Former Agent...
ANGLE ON CRAWFORD, AS HE LOOKS AT KRENDLER, SNORTS IN
DISGUST, AND WALKS AWAY.
INT VERGER'S ROOM, DAY.
SOUND OF A RINGING PHONE. CORDELL COMES OVER AND HOOKS IT UP
FOR VERGER
CORDELL
...it's the F.B.I.
VERGER
Yes. Good. No. He will come. He will
come. Do not let up on our Angel
Starling. No. Now you must keep a
constant watch on her. Use your toys--A
transmitter in her car, a.... keep her
in your sight... Do not let up, and he
will come back for the wounded bird.
(PAUSE)
He will find a way.
ANGLE. HIS POV. THE TELEVISION SET.
A WILD BOAR THRASHING HIMSELF AGAINST HIS BARS.
ANGLE, ON ANOTHER SCREEN, THE SCENE FROM A WIDER ANGLE, WE
SEE HIS KEEPER, HOLDING A SLAB OF RAW MEAT, AND WAVING IT AT
THE BOAR, JUST BEYOND THE BARS. THE BOAR THROWS HIMSELF
AGAINST THE BARS, AND THE MAN RECOILS, AND RETIRES WITH THE
MEAT.
INT JETLINER TOURIST SECTION NIGHT.
A FAT MAN WEARING A BRITTOURS BUTTON, COMES DOWN THE AISLE,
HOLDING A PLASTIC CUP FULL OF BEER.
HE MOVES SLOWLY THROUGH THE FULL AISLE, SOME PASSENGERS
STANDING, CHATTING THE OTHERS UP. THE STEWARDESS,
DISTRIBUTING MINUTE PLASTIC CONTAINERS OF FOODS. HOLD ON
HIS BUTTON, WHICH HE WALKS INTO CLOSE UP.
IT READS: BRITTOURS, CANADA, US, MEXICO, PERU! HI. MY NAME
IS PHIL!
ANGLE
ON A YOUNG WOMAN ASLEEP, A BABY AT HER BREAST. THE
STEWARDESS COMES BY OFFERING THE SANDWICHES, SHE IS
SHHHSHED BY THE OLD MAN SITTING NEXT TO THE YOUNG MOTHER, HE
INDICATES "SHE IS SLEEPING," SHE OFFERS THE SANDWICHES TO
THE MAN (DR. LECHTER) AND HE DECLINES.
THE DISTRACTED STEWARDESS PASSES HIM ONE IN ANY CASE.
HE TAKES IT, AND PUTS IT NEXT TO A MAGAZINE HE IS READING.
HE SIGHS, HE TURNS OUT HIS LIGHT, AND PULLS DOWN THE
SHADE. LEANING OVER THE SLEEPING FORM OF A YOUNG BOY WHO HAS
THE WINDOW SEAT.
HANNIBAL REACHES OUT HIS TRAVEL BAG FROM UNDER HIS SEAT, AND
REMOVES A HALF-BOTTLE OF WINE, AND A TIN OF PATE. HE LOOKS
AROUND TO SEE HE IS UNOBSERVED. HE LOOKS BACK.
ANGLE INS.
THE YOUNG BOY HAS SHIFTED, AND HIS ARM LIES ACROSS THE TIN
OF PATE. HANNIBAL'S HAND PICKS UP THE YOUNG BOY'S ARM.
ANGLE XCU.
HANNIBAL LOOKING AT THE ARM.
ANGLE HIS POV.
HIS HAND, CIRCLING THE SKINNY ARM.
INT BOMBED OUT BUILDING DAY--SEEN THROUGH A SNOWY WINDOW.
A YOUNG TATTERED GIRL, HER ARM HELD BY A VAST SOVIET
SOLDIER, IN A FILTHY UNIFORM.
HE NODS TO A GROUP OF FIVE OF THE COMRADES, WHO ARE STANDING
AROUND A FIRE, MADE IN THE CORNER OF THE BUILDING.
ONE MAN ENTERS BEARING WOOD, AND STACKS IT NEXT TO THE FIRE,
HE SMILES OVER AT THE GIRL AND LICKS HIS LIPS.
THE MAN HOLDING THE GIRL EXTRACTS A VERY WORN AND SHINY
BAYONET FROM HIS BELT SCABBARD, AND STARTS DRAGGING THE GIRL
AWAY.
SOUND OF SCREAMS.
ANGLE EXT THE BURNTOUT BUILDING.
A YOUNG BOY, IN THE SHADOWS, SHIVERING, WATCHING THE SCENE.
ANGLE HIS POV.
THE SOLDIER, LEADING THE YOUNG GIRL OFF, SOUNDS OF SCREAMS.
YOUNG GIRL
Let go, let go, let go.
ANGLE
ON HANNIBAL IN THE PLANE. THE WOMAN NEXT TO HIM IS HISSING:
YOUNG MOTHER
What are you doing to my son? Let
him go!
THE STEWARDESS COMES UP.
YOUNG MOTHER
He's...what is he doing to my SON?
HANNIBAL
I beg your pardon, Madame, I was
replacing his...
HE MOVES TO PUT THE BOYS ARM BACK, AND HIS EYES MEET THE BOY'S.
ANGLE, THE BOY, CU STARING AT HANNIBAL.
ANGLE CU.
HANNIBAL, STARING AT THE BOY.
HANNIBAL (cont'd)
(TO THE TWO WOMEN)
I was trying...
STEWARDESS
...he was trying not to wake him.
HANNIBAL
I beg your pardon, if I caused you any
Consternation.
THE WOMAN GIVES HIM A "DON'T DO IT AGAIN," LOOK, AND TURNS
BACK TO HER NOW BAWLING INFANT.
HANNIBAL TURNS BACK TO LOOK AT THE SOMBER BOY. BEAT. OF HIS
DELICACIES.
HANNIBAL (cont'd)
...would you like some...?
HE STARTS TO OPEN THE TIN.
ANGLE ON THE BOY, WHO LOOKS AT THE TIN, AND THEN OVER AT HIS
MOTHER.
HANNIBAL (cont'd)
(AS HE INTERPRETS THE BOY'S
LOOK)
Your mother would disapprove. Of your
taking food from a stranger.
(PAUSE. THE BOY NODS)
Ah. But she's asleep..
(THE BOY SEES THE LOGIC OF THE
ARGUMENT, AND SMILES.
HANNIBAL BEGINS TO OPEN THE
TIN.)
(AS HE LEANS IN TOWARD THE
BOY, CONSPIRATORIALLY)
And it's important, as I'm sure she's
said, to Eat New Things!
XCU ON HANNIBAL SMILING AT THE CHILD
HANNIBAL (cont'd)
(TO HIMSELF)
so important...
EXT. FARM AREA. VERGER ESTATE. DAY.
THE ROMPING KIDS, PLAYING WITH THE GOAT. CAMERA GOES WITH
CORDELL, WHO WAVES AT THE CHILDREN AND THE NURSES.
ANGLE, A GARAGE. A POTATOCHIP VAN. AS CORDELL APPROACHES,
TWO MEN IN POTATOCHIP DELIVERY UNIFORMS DESCEND FROM THE VAN.
CORDELL APPROACHES THEM, AND HANDS THEM EACH A COUPLE OF
SHEETS OF PAPER.
HE CONVERSES WITH THEM, WHILE THE NURSE AND THE KIDS AND THE
GOATS FROLIC IN THE FOREGROUND.
ANGLE INT THE VAN.
THE TWO MEN, AS THEY CLOSE THE DOORS, AND START OFF. WE
SEE THEM AS THEY PULL OUT, WE SEE CORDELL WALKING THROUGH THE
STABLE AREA. WE SEE THE VAN SLIDE THROUGH THE VERGER
ESTATE TOWARD THE OLD GATEHOUSE.
ON THE DASHBOARD, ONE HAS SPREAD ONE OF THE SHEETS OF PAPER,
AND WE SEE IT IS OF STARLING, THE NEXT SHEET IN AN OLD PHOTO
OF HANNIBAL.
MAN ONE
...be easier if we just kill him.
MAN TWO
Be easier on everyone but us...
THE OTHER MAN NODS HIS AGREEMENT.
EXT. PIG AREA DAY.
TWO BOARS GO INSANE AT THE ADVENT OF CORDELL. WE SEE HIM
THROUGH THE STOUT BARS OF THEIR ENCLOSURE.
CAMERA TAKES HIM INTO THE PIGBARN, WHERE THE GENTLEMAN, THEIR
TRAINER, IS SEEN CONSTRUCTING A NEW ENEMY.
GENTLEMAN
(LOOKING UP AT CORDELL)
It's going to be long...?
CORDELL SHRUGS
GENTLEMAN (cont'd)
Is going to be much longer, we should
feed them...
CORDELL
Mmm. Is it going to work?
THE GENTLEMAN MOVES TO A TAPE PLAYER, AND TURNS IT ON, AND WE
HEAR A SCREAM. HE NODS AND TURNS IT OFF.
GENTLEMAN
The problem, if it is: the tape is not
the true scream, an' the dummy, of
course, is not the true man. BUT. Yes,
yes, I think, is close enough....
CORDELL
So: the two problems are: they should
be fed, and they should practice on a
real...
THE GENTLEMAN TURNS HIS BACK ON CORDELL AND IS MOVING THE
TAPE MACHINE.
ANGLE ON THE GENTLEMAN, WITH CORDELL BEHIND HIM.
GENTLEMAN
Yes. You could say, that the two, the
two prob...
ANGLE
XCU ON THE GENTLEMAN, AS HE TURNS TO CAMERA, LOOKING AT
CORDELL, HE OPENS HIS MOUTH TO SCREAM.
ANGLE EXT PLAY AREA.
THE CHILDREN WITH THE GOAT, PLAYING, WE HEAR A BRIEF, FAR OFF
SCREAM.
TWO CHILDREN LOOK AT EACH OTHER, PAUSE, SHRUG, AND GO BACK TO
THEIR GAME.
INT STARLING' S BEDROOM DAY.
STARLING, DISHEVELLED, SITTING ON HER BED. IN THE DARK
ROOM.
SHE IS LOOKING AT A PHOTO OF THE TEXAN AND THE LITTLE
GIRL.
ANGLE, THE SHOEBOX, HOLDING BRIGHAM'S MEMORABILIA,
STARLING'S HAND DRAGS IT ACROSS THE BED.
ANGLE
ON STARLING, AS SHE TAKES OUT BRIGHAM'S CREDENTIALS AND BADGE
HOLDER.
SHE LOOKS AT HIS PHOTO ON THE CREDENTIALS. LOOKS AT HIS
PHOTO IN THE MARINES, LOOKS AT THE PHOTO OF THE TEXAN AND
THE LITTLE GIRL. SHE TAKES BRIGHAM'S USMC HATBADGE, THE
EAGLE AND FOULED ANCHOR, AND LOOKS AT IT, AND PUTS IT IN HER
POCKET.
SHE TAKES OUT BRIGHAM'S SERVICE PISTOL, DROPS THE MAG, CHECKS
THE CHAMBER.
MAPP
(VO)
Sad day.
STARLING
...what...?
MAPP
N'not that sad.
ANGLE ON STARLING, LOOKING AT MAPP, WHO HAS JUST ENTERED THE
ROOM.
MAPP (cont'd)
Problem with suicide, y'know what they
say?
STARLING
No.
MAPP
Every suicide kills two.
STARLING
Yeah. Well. They're a talkative buncha
commentators.
MAPP
You got a lot of people love you,
Starling.
STARLING
Trouble is, they all seem to die.
MAPP
Y'want to gimme Brigham's pistol?
STARLING
What would you guess, Ardelia?
MAPP
You goin to shoot yourself?
(PAUSE)
MAPP SHRUGS, GETS UP, GOES TO THE DOOR, TURNS BACK.
MAPP
Don't shoot yourself.
STARLING
Why?
MAPP
Cause I'm tired, cleaning up after you.
(STARLING GIVES A WAN GRIN)
Why dontcha gimme the gun?
STARLING SHAKES HER HEAD.
MAPP (cont'd)
Gimme the rounds...
STARLING THINKS, HANDS HER THE MAGAZINE AND THE SPARE ROUND.
MAPP (cont'd)
Whyn'tcha go see that Headshrinker nobody
knows you're seeing...? N'you make her
earn her keep...
STARLING SIGHS, AND RISES FROM THE BED.
MAPP (cont'd)
(EXITING.}
...you brush your hair first...
EXT STARLING'S APARTMENT BUILDING DAY
STARLING EXITS, THE STREET IS QUIET, ACROSS THE STREET. AN
OLD MAN IS FINISHING LOADING HIS OLD PUSH-MOWER ONTO THE
BACK OF A TRUCK.
STARLING WALKS TO HER CAR, AND GETS IN.
ANGLE INT THE POTATOCHIP VAN.
THE TWO MEN IN FRONT. ONE NODS TO THE OTHER, THEY TAKE
OFF, MOVING PAST THE OLD LAWNCARE MAN AND HIS TRUCK.
INT PSYCHIATRIST'S OFFICE DAY.
THE BOX OF TISSUES. A HAND TAKES A TISSUE.
ANGLE STARLING, HAVING TAKEN THE TISSUE, SITTING ACROSS
FROM THE KINDLY OLD PSYCHIATRIST.
PSYCHIATRIST
(CHECKING HER NOTES}
...the dream of your Father.
STARLING DABS HER EYES WITH THE TISSUE. SHAKES HER HEAD.
PSYCHIATRIST (cont'd)
Well, you're a courageous woman. Have
courage, and tell me.
STARLING
He was shot...he was shot. On his
rounds. And... and...
PSYCHIATRIST
That's when you went to the Orphanage...
EXT PSYCHIATRIST'S OFFICE. PARKING LOT DAY.
STARLING'S CAR.
THE LAWNMOWER MAN'S TRUCK PULLS UP NEXT TO IT. WE SEE THE
OLD MAN HOBBLE OUT, AND PROCEED TO STARLING'S TRAVERSED DOOR,
HE TAKES OUT A PICK AND PICKS THE LOCK.
ANGLE INT THE CAR.
WE SEE THAT IT IS LECHTER. HE PUTS HIS FACE ON THE
LEATHER-COVERED STEERINGWHEEL, AND SMELLS THE AROMA. HE
SMILES. HE TAKES A SMALL PACKAGE FROM THE BOSOM OF HIS
OVERALLS. WE SEE IT IS A BUNCH OF VIOLETS. HE TAKES THE
SCARF OFF HIS NECK, AND WRAPS THEM AROUND THE VIOLETS, AND
PLACES THE BOUQUET ON THE DASHBOARD.
HE SITS IN THE CAR.
HE GETS OUT, AND WE SEE HIM GO TO THE TAILBED OF HIS TRUCK
AND BEGIN TO REMOVE THE LAWNMOWER.
INT PSYCHIATRIST'S OFFICE DAY.
STARLING, A TISSUE TO HER FACE.
STARLING
And all he left us: the Country brought
back his hat, and his badge... both with
a bullethole in them. An' that's what he
left us. That's what I said.
PSYCHIATRIST
And you have been dreaming... dreaming
about this Hat, and...
STARLING
(WAVES HER OFF, AS IF THIS IS
NOT THE IMPORTANT POINT)
And. I always said, he was a P'lice
officer.
PSYCHIATRIST
...yes...?
STARLING
But. He was a night watchman. That's
what he was. N'They brought back, his
hat, his badge, an his timeclock.
(SHE LAUGHS)
N'then they took me off.
(THE PSYCHIATRIST MAKES A NOTE)
I saw... I saw. Clear as day, do you, do
they call it a delusion? His hat an his
badge. Clear as day, bulletholes and
all.
PSYCHIATRIST
When?
STARLING
But they were not there. Yesterday. Is
that called a Delusion...?
SHE STARTS TO CRY. THE PHONE RINGS. THE PSYCHIATRIST PICKS
IT UP.
STARLING (cont'd)
B'cause, you know, whatever it is, I can't
take it anymore...
PSYCHIATRIST
(COVERING THE PHONE)
I'm sorry. I'll have to take this in
the other room.
THE PSYCHIATRIST EXITS, HOLDING THE PHONE. STARLING SITS FOR
A MOMENT CRYING. SHE GOES TO THE TISSUEBOX ON THE
PSYCHIATRIST'S DESK. SHE FINDS IT EMPTY, SHE SEES THE EDGE
OF A NEW BOX IN THE DESKDRAWER. SHE OPENS THE DRAWER.
ANGLE IN THE DRAWER.
A FILE ON STARLING: MARKED 'TALKING POINTS,' AND A PHOTOCOPY
OF HER FATHER'S BADGE WITH THE HOLE THROUGH IT.
ANGLE ON STARLING, AS SHE LOOKS FROM THE FILE, AND THEN
PROCEEDS TO THE DOOR TO THE NEXT ROOM, WHICH SHE OPENS
QUIETLY.
ANGLE HER POV
THE PSYCHIATRIST ON THE PHONE. TALKING SOFTLY.
PSYCHIATRIST (cont'd)
Not too far from a complete breakdown.
Well, several things would--you've done
the Badge, I suggest...
THE PSYCHIATRIST, SENSING A PRESENCE, TURNS. SHE SEES
STARLING, AND STARTS TO RUN OUT AN EXIT DOOR.
ANGLE, IN THE HALL, STARLING PURSUING THE PSYCHIATRIST.
ANGLE EXT THE PARKINGLOT.
HANNIBAL IS MOWING THE GRASS, LOOKING AT THE ENTRANCE TO
THE PSYCHIATRIST'S BUILDING, SOME HUNDRED YARDS AWAY.
ANGLE INT THE POTATOCHIP VAN.
ONE OF THE MEN IS TALKING ON A WALKIE.
MAN
...got her staked out. Yeah, she's still
in with the...
WE HEAR THE BUZZ OF THE LAWNMOWER.
MAN (cont'd)
I said: she's still in with the...
HIS SPEECH IS DROWNED OUT BY THE LAWNMOWER. HE TURNS TO
ROLL UP HIS WINDOW, AND SIGHS, AND GLARES IN THE DIRECTION OF
THE LAWNMOWER MAN.
ANGLE HIS POV.
LECHTER, AS HE TAKES OFF HIS HAT TO WIPE THE SWEAT FROM HIS
EYES.
ANGLE INT THE VAN.
THE POTATOCHIP MAN, STARING AT LECHTER, AND THEN PICKING UP
THE PHOTO OF LECHTER WHICH IS ON HIS DASHBOARD.
MAN (cont'd)
(INTO WALKIE)
One moment...
ANGLE, EXT THE PSYCHIATRIST BUILDING DAY.
STARLING CATCHES UP WITH THE PSYCHIATRIST, SHE STARTS TO
SHAKE HER.
STARLING
...who paid you... who...
ANGLE ON LECHTER, AS HE IS WATCHING THE TWO. HE SENSES
SOMETHING, AND BEGINS TO TURN.
ANGLE
ONE OF THE POTATOCHIP ABDUCTORS, SINKS TO ONE KNEE, AND
RAISES AN ODD LOOKING RIFLE, AND FIRES.
ANGLE
CU LECHTER, AS HE PUSS A SMALL RED DART FROM HIS NECK, AND
BEGINS TO SLUMP.
ANGLE
ON STARLING, AND THE PSYCHIATRIST, AS STARLING SPOTS
SOMETHING OVER THE OLDER WOMAN'S SHOULDER.
ANGLE HER POV.
TWO MEN, MANHANDLING THE FALLEN LAWNMOWER MAN INTO THE
POTATOCHIP VAN.
ANGLE ON STARLING, AS SHE RELEASES THE PSYCHIATRIST, WHO
FALLS, STARLING ADVANCES TOWARD THE VAN.
ANGLE
AT THE BACK OF THE VAN, LECHTER STARTS TO COME TO LIFE. HE
KICKS OUT, AS HE IS BEING PUT INTO THE VAN, AND DISLODGES A
SMALL OBJECT ON THE FLOOR.
ANGLE
ON ONE OF THE MEN, AS HE PULLS LECHTER OFF THE FLOOR OF THE
VAN, AND ADMINISTERS ANOTHER SHOT.
ANGLE
ON LECHTER'S FEET, AS THEY CLEAR THE BACK OF THE FLOOR OF
THE VAN, AND THE BACK GATE COMES DOWN ON THE VAN. A PACKAGE
OF POTATOCHIPS FALLS, DISLODGED BY LECHTER.
ANGLE
ON STARLING, AS SHE RUNS TOWARD THE DEPARTING VAN, WHICH
PEELS OUT OF THE PARKINGLOT.
SHE IS NOW STANDING BY HER CAR. SHE LOOKS INTO THE CAR.
ANGLE, INT THE CAR.
STARLING'S HAND, REMOVES THE BOUQUET, SHE REMOVES HER SCARF.
CAMERA TAKES HER TO THE SPOT WHERE THE VAN STOOD. SHE
LOOKS DOWN AT THE ASPHALT.
ANGLE HER POV. THE BAG OF POTATOCHIPS.
ANGLE. ON STARLING, AS SHE BENDS DOWN TO RETRIEVE THE
BAG OF CHIPS.
ANGLE INT CONVENIENCE STORE DAY.
THE STORE FRONTS ON THE PARKINGLOT, WE SEE STARLING, HER CAR
BEYOND HER, RUNNING INTO THE STORE.
STARLING (cont'd)
FBI where's your phone...?
SHE GOES BEHIND THE COUNTER, PICKS UP THE PHONE AND DIALS.
STARLING (cont'd)
(INTO PHONE)
Mapp. Get me Ardelia Mapp. Well. Get
in touch with her. Tell her...
CONVENIENCE STORE OPERATOR
...could I see some I.D.?
STARLING
Tell her that....
CONVENIENCE STORE OPERATOR
...you're really going to need to show
me some identification.
WE SEE THE CONVENIENCE STORE OPERATOR MOVE TOWARD A CORNER
OF HIS COUNTER AND THE BUTT OF A BARELY CONCEALED PISTOL.
ANGLE, ON STARLING.
STARLING
..this is Clarice Starling..
(PAUSE)
...this is not a personal message...I...
(PAUSE)
I...
SHE HANGS UP THE PHONE.
ANGLE INT STARLING'S ROOM. DAY.
INSERT, ONTO THE BED, WE SEE THE BOX OF MEMORABILIA. WE
SEE STARLING PRODUCE THE PISTOL, RUMMAGE IN THE BOTTOM OF
THE BOX, COME UP WITH A SPARE MAGAZINE, AND SEAT IT IN THE
GUN.
ANGLE, INT. THE KITCHEN OF STARLING AND MAPP'S APARTMENT,
WE SEE THE DOOR CLOSING BEHIND STARLING, AND A NOTE TAPED
TO THE DOOR.
THE NOTE READS: MAPP. MASON VERGER SNATCHED LECHTER. I'VE
GONE AFTER THEM.
WE HEAR THE SOUND OF THE CAR ENGINE STARTING UP OUTSIDE.
INT VERGER'S ROOM NIGHT.
THE CHILD WE SAW EARLIER, STILL ASLEEP ON THE SOFA, HIS BACK
TO CAMERA.
VERGER
(VO)
Yaaasss...
RACK FOCUS TO A PREVIOUSLY OUT OF FOCUS TV SCREEN IN THE
FOREGROUND, WHERE WE SEE,
ANGLE INS
A TV PICTURE OF A MEDICAL TEXTBOOK, SHOWING A MULTICOLORED
PLATE, THE ANATOMY OF THE FEET.
VERGER (cont'd)
Yaas. Turn the page, please....?
ANGLE
IN THE ROOM, WE SEE A MECHANICAL CONTRIVANCE TURN THE PAGE.
VERGER IS IN HIS BED. ON ANOTHER SCREEN WE SEE THE PIGS,
AND CORDELL WALKING PAST THEM, AND INTO THE BARN.
ANGLE INT THE BARN.
CORDELL WALKS PAST A CAMERA, AND NODS TO IT.
ANGLE INT THE ROOM.
THE SAME SEEN ON THE TV SCREEN.
VERGER (cont'd)
..and how is our prize...?
ANGLE
LECHTER, SHACKLED TO A BEAM OF WOOD, TWO FEET OFF THE
GROUND. EYES CLOSED.
CORDELL COMES UP TO HIM. HE NODS TO THE TWO POTATOCHIP MEN,
WHO RETIRE.
CORDELL
...thank you...
(TO LECHTER)
And how are you this evening, Doctor?
No, we know that you're awake...
VERGER
(VO)
Good evening, Dr. Lechter. Thank you
for coming. I am sorry that we could
not meet under more pleasant
circumstances.
ANGLE XCU ON LECHTER, AS HE LOOKS UP.
ANGLE HIS POV, A SMALL TV CAMERA SET NEAR THE CEILING, ITS
RED LIGHT ON.
VERGER (cont'd)
(VO)
But you will recall what the last time we
met, you drugged me, and induced me, in
that state, to scrape my face off and
FEED IT TO THE DOGS. DID THAT DIVERT
YOU? TELL HIM WHAT WE ARE GOING TO DO
TO RECIPROCATE!!!
CORDELL
...the bad news is: we're going to stick
your feet through those bars tomorrow,
and feed them to our pigs.
VERGER
(VO)
Thank you, Cordell.
LECHTER
(SPEAKING GROGGILY)
...but will that satisfy you?
VERGER
Why should you care?
LECHTER
It is not that I care for you--but
that I posses an enquiring mind. What
will you do when I am gone? When you
have nothing to occupy your thoughts,
save the memory of your own folly, and,
more to the point, stupidity.
VERGER
ARE YOU DONE?
LECHTER
(PAUSES TO THINK, THEN, AS IF
SURPRISED)
Yes.
VERGER
You don't wish to beg...?
LECHTER
Would that add to your mirth?
VERGER
Explain in depth the plan we have for
him. Until tomorrow.
ANGLE ON LECHTER, AS HE LOOKS UP AT THE TV CAMERA.
AS CORDELL SPEAKS, HE REMOVES A KNIFE, AND BEGINS CUTTING
AWAY THE LEGS OF LECHTER'S PANTS, REMOVING HIS SOCKS AND
SHOES ET CETERA.
ANGLE HIS POV
THE LIGHT IN THE CAMERA FLIPS OFF.
ANGLE
ON LECHTER AND CORDELL.
LECHTER
One would have thought he'd keep me
under observation. To savor his
triumph.
CORDELL
No, I think he proffers to spend his
happy hours with his playmates.
LECHTER
...young boys, still...?
CORDELL
...here's to child abuse!
LECHTER
Mmm...
CORDELL
...and then, he'll be coming down.
LECHTER
You said the bad news...
CORDELL
Yes, I did.
LECHTER
I believe that your tone implied that
there was some good news.... and, do you
know... there might be good news for
you...
CORDELL
Oh, yes, what? You'd bribe me, to, to,
to, "release" you...?
LECHTER
I can make you rich.
CORDELL
And I expect you to.
(HE LEANS CLOSER TO HANNIBAL)
Let's talk like two medical men
(HE PRODUCES A SMALL CASE,
WHICH HOLDS TWO HYPODERMICS)
LECHTER'S HEAD STARTS TO SWAY.
CORDELL
Come on, stay with us. Look here: I
could get behind you, and give you a
spinal, tomorrow, you wuunt feel
anything down there, a l'il pulling is
all. N'I'll tell you what, after he's
got his jollies, ten, f'teen minutes,
I'll come down here, give you a shotta
this
(HE TAKES A VIAL FROM HIS
POCKET)
stop your heart, an that's you done, an
there's an end to it. What do you
say...?
(CORDELL REMOVES A CELLPHONE
FROM HIS POCKET)
I know you got lotsa money, evabody says
so. I know how that stuff works, take
it out, move it around...
(LECHER'S HEAD BEGINS TO DROOL)
...stay with me now, fuss with it...
Whatsay we call your banker now, tell him
a code... move that money to me, he
confirms it, and I fix you up Right
Now...
(HE HOLDS UP THE SYRINGE AND
SQUIRTS IT)
Whatsay?
LECHTER
(MUMBLING)
..suitcase...locker...
CORDELL
Come on, Doctor, then you can sleep...
LECHTER
(MUMBLING)
...unmarked hundreds....
CORDELL
....what...?
(HE LEANS FORWARD. FROM THE
BACK WE SEE LECHTER'S HEAD
COME UP AND MOVE TO BIT
CORDELL)
ANGLE EXT THE BARN.
A SOUND OF SCREAMING, THE TWO POTATOCHIP MEN RUN IN GUNS
DRAWN, TO SEE CORDELL. HOLDING HIS HAND TO HIS BLOODY
FACE.
MAN ONE
...you wan me to shoot im?
CORDELL
That's the last think I want...
(TO LECHTER)
Our other option is to beat you for a
while, with this axe handle, here. I
suppose this is what it feels like.
ANGLE
ONE OF THE ABDUCTORS (THE POTATOCHIP MEN) GOES TO A CONSOLE
AND TURNS ON THE SOUND OF RECORDED SCREAMING. HE LOOKS DOWN
AT THE PIGS WHO, HEARING THE SCREAMING, COME TO THE SIDE OF
THE PEN. HE LOOKS BACK TOWARD THE DIRECTION OF CORDELL, AND
LECHTER, AND WINCES.
HE RAISES THE AXE HANDLE AND PREPARES TO STRIKE.
INT VERGER'S ROOM.
THE SHAPE OF VERGER ON THE BED.
VERGER IS SEEN IN THE FLICKER OF THE TV SCREEN.
VERGER
Oh yes. Oh, yes, come here... Come
here...Up Lad, When the Journey's Over,
they'll be time enough for Sleep...
WE SEE THE FORM RISE FROM THE BED, AND RISE AND WALK TOWARD
VERGER.
VERGER (cont'd}
Yes. Come here. For what good is
Television, Educational as it may be,
if it is not also entertaining.....come--
have some popcorn...
WE HEAR THE SOUND OF THE AXE HANDLE HITTING SOMETHING.
VERGER (cont'd)
(TO THE TV)
Make it last, make it last, for
godsake, make it last....don't "hurt"
him...!
ANGLE EXT. COUNTRY ROAD, NIGHT.
STARLING'S CAR, COASTING DOWN THE HILL. THE OLD GATEHOUSE TO
VERGER'S PROPERTY, SEEN IN THE MOONLIGHT.
ANGLE
STARLING, MOVING THROUGH THE MOONLIT NIGHT, THROUGH THE
WOODS.
WE SEE THE MUSTANG, BEHIND HER, COVERED WITH BOUGHS, IN THE
WOODS, AND BEYOND THAT, BELOW HER, THE GUARDHOUSE.
CAMERA TAKES HER UP TO A BARBEDWIRE FENCE, CAMOUFLAGED, WITH
BRUSH WOVEN INTO IT. A LARGE TREE STANDS NEXT TO THE FENCE,
WITH A BOUGH RUNNING FROM THE NEAR SIDE TO THE FAR SIDE.
ANGLE, STARLING LOOKS AT IT, AND SMILES. SHE WALKS FORWARD,
LOOKING INTENTLY AT THE GROUND.
ANGLE, HER POV. A SMALL TRIPWIRE, SUSPENDED SIX INCHES OFF
THE GROUND, COVERS THE AREA IN FRONT OF THE SO-ATTRACTIVE
TREE. STARLING FOLLOWS THE TRIPWIRE DOWN, PARALLEL TO THE
FENCE. SHE STEPS OVER THE TRIPWIRE AND PROCEEDS DOWN,
WATCHING THE FENCE, LOOKING INTENTLY.
SHE GOES INTO A GULLY WHERE WE SEE THAT A RUNOFF OF A STREAM
IS ERODING A HOLE UNDERNEATH THE BARBEDWIRE FENCE.
ANGLE, ON STARLING, AS SHE GETS DOWN ON THE GROUND, TAKES A
STICK AND PROBES IN THE FLOW OF WATER UNDERNEATH THE
FENCE. SHE NODS, SATISFIED, AND BEGINS TO USE THE STICK TO
ENLARGE THE OPENING UNDER THE FENCE.
INT VERGER' S ROOM. NIGHT.
CORDELL (cont'd)
Mr. Verger...?
VERGER
I'm awake. Oh. Is it Time!
CORDELL STARTS TO PUSH THE GURNEYBED OUT OF THE ROOM.
VERGER (cont'd)
Oh, yes, one waits so long, and then, and
then ...ALMOST BY MAGIC...Yes, proceed.
Please.... proceed...
CORDELL STARTS TO EXIT.
CAMERA SEES THE GURNEY BED, WITH VERGER ON IT, A SMALL
COUCH, ON WHICH IS A YOUNG BOY, ASLEEP, IN FRONT OF A
SILENT TELEVISION, A BOWL OF POPCORN BY HIM.
EXT THE PIGBARN. DAWN.
ANGLE ON STARLING, ADVANCING FROM THE WOODS, PISTOL IN
HAND. SHE HEARS SCREAMING. SHE HESITATES, THEN MOVES
CLOSER.
ANGLE, HER POV.
ONE OF THE ABDUCTORS, TEASING THE PIGS, PUSHES A PAIR OF
STUFFED DUNGAREES THROUGH THE ENCLOSURE.
ANGLE ON STARLING, WHO TURNS HER HEAD.
HER POV:
AT THE MAIN HOUSE, BY THE POTATOCHIP VAN, THE GURNEY EMERGES,
WHEELED BY CORDELL. IT MOVES TOWARD A FORKLIFT TRUCK.
ANGLE AT THE GURNEY.
CORDELL
..It won't be long now, sir...
VERGER
OHFORGODSAKE, get ON with it.
CORDELL MOVES TO THE FORKLIFT, STARTS IT, AND IT MOVES
TOWARD THE GURNEY.
ANGLE ON STARLING, AS SHE WATCHES THE FORKLIFT GENTLY PICK UP
VERGER IN THE GURNEYBED. THE SOUND OF SCREAMING STOPS.
SHE SEES THE ABDUCTOR TURN OFF THE MUSIC, AND RETREAT INTO
THE BARN.
ANGLE
STARLING, MOVING ALONGSIDE THE PIG'S ENCLOSURE.
SHE MOVES TO A WALL OF THE BARN.
ANGLE HER POV IN THE BARN. LECHTER, MANACLED AND BOUND TO A
BEAM.
SHE SEES AN ABDUCTOR MOVING TOWARD HIM. LOWERING HIS BEAM TO
THE GROUND, AND THEN MOVING OFF, INTO THE TACKROOM, OFF.
ANGLE IN THE BARN.
STARLING BURSTS INTO THE TACKROOM.
STARLING
(TO THE ABDUCTOR)
On the ground, on the ground...
SHE MOVES TO HIM, AS HE COMPLIES, AND REMOVES HANDCUFFS, AND
CUFFS THE MAN AROUND A POLE. HE STARTS TO REMONSTRATE, AND
SHE HITS HIM ON THE HEAD WITH HER GUNBUTT. SHE EXITS THE
TACKROOM, AND ENTERS THE BARN AND ADVANCES ON THE MAULED
AND BEATEN FORM OF LECHTER.
LECHTER
Good morning, Clarice.
STARLING
Can you walk? Are your legs working...?
LECHTER
Perhaps... shall we see...?
STARLING
I'm going to cut you loose. With all due
respect, Doctor, if you fuck with me,
I'll shoot you dead, do you
understand...? Do right and you'll live
through this.
LECHTER
Spoken like a Protestant.
STARLING TAKES OUT A KNIFE, AND BEGINS TO CUT THE DOCTOR LOOSE.
LECHTER (cont'd)
I'll do the rest, if you give me the
knife.
SHE LOOKS OVER HIS SHOULDER, AT THE FORKLIFT COMING DOWN THE
HILL.
STARLING
No, I don't think so.
LECHTER HAS FREED HIMSELF, AND IS CHAFING HIS LIMBS TO
RESTORE CIRCULATION.
STARLING (cont'd)
(AS SHE POINTS TO THE FORKLIFT)
I'm going to subdue our friends, coming
down the hill, and I want you to cuff
em, and to put em inside with the other
fella... My car is
(SHE GESTURES BACK AT THE WOODS)
LECHTER
Other fellow? There should have been
two of them...?
ANGLE
ON THE SECOND ABDUCTOR, IN THE LOFT OF THE BARN, HOLDING HIS
DARTGUN. HE FIRES.
ANGLE CU
ON STARLING, WHO EXTRACTS A DART FROM HER BICEP. SHE LOOKS
AROUND, AND FALLS, DAZILY. HER PISTOL FALLS THROUGH THE BARS
INTO THE PIGPEN.
ANGLE
ON THE MAN IN THE LOFT, AS HE RELOADS, AND SIGHTS ON
LECHTER, WHO IS KNEELING BY STARLING. WE SEE LECHTER PICK UP
HER PISTOL, AND FIRE AT THE MAN IN THE LOFT.
ANGLE. THE MAN IN THE LOFT, HE FALLS AGAINST A RAILING, HE
DROPS HIS DARTRIFLE.
IT DROPS INTO THE PIG'S PEN.
HE DROPS, DEAD, INTO THE PIG'S PEN.
ANGLE. ON THE PIGS, AS THEY GO WILD, TRYING TO EAT THE
RIFLE.
ANGLE
ON THE FORKLIFT AND THE GURNEY, AS IT ENTERS THE BARN.
ANGLE
ON CORDELL DRIVING THE FORKLIFT.
VERGER
What's happening, would you please...?
ANGLE
ON LECHTER, AS HE MOVES TO STARLING, AND PULLS HER AWAY FROM
THE PIGPEN, HE TRIES TO REACH THROUGH THE BARS FOR HER
PISTOL, BUT IT IS JUST OUT OF REACH.
HE LOOKS UP.
ANGLE
ON VERGER AND CORDELL, APPROACHING LECHTER.
CORDELL
Stop there, would you, please, Doctor...?
LECHTER
The girl could use some help.
VERGER
You're free...
LECHTER
...which of us is free...?
VERGER
Yes, to cease to Hope is the Greatest
Crime. The Greatest crime. Perhaps the
only crime. I never ceased to hope!
LECHTER
The girl needs help.
VERGER
And what would be of Greater Help, than
to release her, from the bonds of this
sordid earthly existence. DON'T YOU
THINK? IN WHICH THE INNOCENT ARE
TORTURED IN WAYS WHICH WOULD MAKE THE
ANGUISH OF THE DAMNED SEEM TAME AND
UNIMAGINATIVE, DON'T YOU THINK? BLIND
HIM AGAIN, AND PREPARE HIM AND HER FOR
THE PIGS!
(CORDELL, HOLDING A GUN,
ADVANCES ON LECHTER)
LECHTER
...might I make a suggestion...?
VERGER
...after you' re dead. AND WHEN I GIVE
THE WORD, do you understand...when I give
the word...
ANGLE
ON LECHTER, BEING BOUND, AND HOISTED UP, AGAIN, ON THE BEAM.
CORDELL
...fraid, that's about it, Doctor.
LECHTER
Let the girl go.
CORDELL
Why?
LECHTER
For a consideration.
CORDELL
'fraid it's too late.
VERGER
...when I...
(PAUSE)
CORDELL CONTINUES THE FINAL PREPARATIONS OF LECHTER.
LECHTER
...what has she done to harm you...?
CORDELL
Yes, do you know, you're right...
(HE PAUSES)
...Mr. Verger...?
(PAUSE)
Mr. Verger, Sir? He's ready...
(PAUSE)
ANGLE ON CORDELL, AS HE LEAVES THE TRUSSED LECHTER, STEPPING
OVER STARLING, AND PROCEEDS BACK TOWARD THE GURNEY, WHICH IS
HALF HIDDEN BY THE PIGPEN.
ANGLE
HIS POV. AS HE COMES AROUND THE CORNER, THE CHILD
FRANKLIN HAS THE BOWL OF POPCORN, AND IS SEEN FEEDING POPCORN
TO VERGER.
ANGLE CORDELL'S POV.
THE LIFESIGNS DISPLAY OF VERGER. A SINGLE BLIP, A LONG
PAUSE, ANOTHER IRREGULAR BLIP. A LONG PAUSE.
ANGLE CORDELL, AS HE ADVANCES ON THE CHILD.
CORDELL (cont'd)
Hey, Franklin. Hey. Tell you what, if
you'd just stop doing that, I'm going to
give you something nice.
FRANKLIN
He don't like popcorn.
CORDELL
No. And...
FRANKLIN
I like Popcorn...
CORDELL
...yes, if you'll, just step away...
FRANKLIN
You give me whatever I want...?
CORDELL
Yes. You know I will. That's right.
FRANKLIN
Awright.
FRANKLIN STEPS AWAY. AND CORDELL RUNS UP TO VERGER AND
TRIES TO REVIVE HIM.
ANGLE
ON FRANKLIN, AS HE MOVES AROUND THE PEN, AND PULLS A LEVER
WHICH OPENS THE GATE.
ANGLE
ON THE PIGS, AS THEY START TO MOVE INTO THE AREA OCCUPIED BY
CORDELL AND VERGER.
ANGLE
ON FRANKLIN.
FRANKLIN (cont'd)
You know what I want...?
ANGLE
ON CORDELL, BENT OVER VERGER, AS HE LOOKS BACK.
ANGLE ON FRANKLIN.
FRANKLIN (cont'd)
I WANT KITTYKAT!!!
ANGLE
ON CORDELL, AS HE SEES THE PIGS APPROACHING, HE STARTS TO
SCREAM.
ANGLE
ON FRANKLIN, AS HE CLIMBS UP TO THE AREA WHERE WE SEE
LECHTER.
LECHTER
Let me down, son, let me down.
FRANKLIN
What'll you do for me?
LECHTER
I'll take you home.
FRANKLIN
Ain't got no home.
LECHTER
Then what would you like...?
FRANKLIN COMES OVER AND WHISPERS TO HIM.
ANGLE
ON HANNIBAL, AS HE RECOILS. BEAT. THE SOUND OF
SCREAMING STOPS.
PAUSE
HANNIBAL
(PAUSE)
Yes. You shall have it...
FRANKLIN
Then you goin to hell...
HANNIBAL
...that's right...
FRANKLIN LOOSES THE ROPE WHICH HOLDS LECHTER, AND LECHTER
ENTERS THE PIGPEN. WE SEE THE PIGS, AT THE FAR END,
SAVAGING WHAT WE ASSUME TO BE THE FORMS OF VERGER AND
CORDELL.
ANGLE
ON HANNIBAL, AS HE STOOPS TO THE FORM OF STARLING, AND
GATHERS HER UP. THE PIGS ADVANCE ON HIM, AND THEN STOP...
HE STEPS THROUGH THEM, AND OUT OF THE BARN.
ANGLE EXT THE BARN.
STARLING, PUT DOWN IN THE GRASS. BEAT. SHE STIRS. SHE HALF-
OPENS HER EYES.
ANGLE, HER POV LECHTER, WALKING TOWARD HER, BEHIND HIM THE
VERGER ESTATE BURSTING INTO ROARING FLAMES.
ANGLE
ON FRANKLIN, STANDING BY THE FLAMES, LOOKING AT LECHTER, AS
HE WALKS UP TOWARD STARLING.
ANGLE
ON LECHTER, AS HE PICKS UP STARLING, WE SEE A SECURITY CAR
COMING DOWN THE DRIVE, AS LECHTER AND STARLING FADE INTO
THE WOODS.
DISSOLVE TO:
INT SUMPTUOUS, ELEGANT DININGROOM.
STARLING, IN A DECOLLETE EVENING GOWN, STANDING IN FRONT OF
A PERFECT PRESENTATION OF BACCARAT AND LIMOGES.
ANGLE HER POV.
LECHTER, IN A TUXEDO, STANDING AGAINST THE BALCONY OF THE
ROOM, WHICH LOOKS OUT ON THE SEA. HE SMILES AT HER.
LECHTER
You look lovely.
STARLING
Thank you.
(SHE MOVES TO SIT, AND
LECHTER COMES UP AND HOLDS
HER CHAIR FOR HER)
No, I know you'd prefer "I'm glad you
find me so..."
LECHTER
I'd prefer you to say what you feel.
STARLING
What is that that smells so wonderful.
LECHTER
I hope you'll find it so.
(HE POURS HER A GLASS OF
WINE)
Yes. It's good to see you regaining
your strength...
STARLING
Thanks to you...
WE SEE LECHTER EXCUSE HIMSELF, AND RETIRE INTO THE KITCHEN.
WE SEE HIM TAKING DOWN SAUCEPANS, AND MIXING WHAT APPEARS TO
BE A MARINADE.
LECHTER
Now, what were we last speaking of...?
STARLING
We were speaking of my father...
LECHTER POURS THE MARINADE INTO A PAN, LIGHTS THE FLAME IN
THE STOVE, WIPES HIS HANDS, AND RETURNS TO THE DININGROOM.
LECHTER
...I'm sorry....?
STARLING
...we were speaking of my father...
LECHTER
Indeed we were.
STARLING
...and my need for The Institution...
LECHTER
Freud, do you know...? Freud
psychoanalyzed patients in One Afternoon.
STARLING
And how did he do that?
LECHTER
He saw the truth, and spoke it...
STARLING
I'm afraid, this wine is making me
woozy...
LECHTER
...you have to eat...
LECHTER RETURNS TO THE KITCHEN, INDICATING "ONE MOMENT."
LECHTER (cont'd)
(AS THE CAMERA TAKES HIM TO
THE KITCHEN, AND WE HALF-SEE
THE TORSO OF A MAN SITTING
IN A KITCHEN CHAIR)
You've sought out The Institution all
your life, as you with it to replace your
Father. This is obvious. Less obvious
is this: that you require the
institution not to support you, but to
FAIL. FOR THIS KEEPS YOUR FATHER ALIVE.
ANGLE
ON STARLING, SITTING, NODDING, AS SHE DRINKS HER WINE. SHE
PUTS THE GLASS DOWN, A TRIFLE WOOZY.
LECHTER (cont'd)
...as this keeps your father alive. The
truth is two-fold, and the truth is one:
THE WIND FROM THE OCEAN BLOWS A STRAND OF HAIR ACROSS HER
EYES, SHE BRUSHES IT BACK.
LECHTER (cont'd)
(VO)
That every man is fallible, that every
institution, being made of men, cannot
but be corrupt...
ANGLE ON STARLING, LOOKING DOWN AT HER HAND.
ANGLE HER POV.
THE HAND IS COVERED WITH MUD AND BLOOD.
ANGLE, STARLING, LOOKING PERPLEXED, AT THE KITCHEN WHERE WE
SEE THE FORM OF LECHTER, MOVING ACROSS THE KITCHEN.
ANGLE
ON LECHTER.
AS WE SEE, HE CARRIES A SCALPEL, HE MOVES TOWARD THE HALF-
SEEN FORM OF THE MAN IN THE CHAIR.
HE BENDS DOWN OVER THE MAN, AND WE SEE THAT HE CARRIES A
SCALPEL AND A SMALL MEDICAL SAW...
LECHTER (cont'd)
...the only art in this dish, of course,
is that it must be fresh...
ANGLE
ON STARLING, IN THE ROOM, AS SHE PICKS UP A SMALL ROSEBUD
FROM THE CUT CRYSTAL BUDVASE IN FRONT OF HER.
SHE LOOKS AT IT WOOZILY, AND IT FALLS FROM HER FINGERS.
SHE BENDS DOWN.
ANGLE, HER POV, THE FLOOR.
THE ROSEBUD, ON A FILTHY, TORN LINOLEUM FLOOR, HER LEGS
ENCASED IN THE MUDDY PANTS WE SAW HER IN AT VERGER'S FARM.
ANGLE
ON STARLING, AS SHE STRAIGHTENS, HOLDING THE ROSE. WE SEE A
LOOK OF CONSTERNATION ON HER FACE. HER FACE IS BLOODY, AND
COVERED IN MUD, WE SEE SHE IS NOT IN A SUMPTUOUS
DININGROOM, BUT IN A SLUM.
ANGLE HER POV
LECHTER, IN THE KITCHEN, IN TUXEDO, MOVING PAST THE DOORWAY.
ANGLE INT THE KITCHEN.
LECHTER, AS WE NOW SEE, IN THE FILTHY KITCHEN OF A SLUM.
COOKING ON A HOTPLATE. DRESSED IN WORKCLOTHES, CAMERA TAKES
HIM, FROM BEHIND, TO THE SLUMPED FORM OF THE MAN, CAMERA CUTS
OFF AT THE MAN'S SHOULDERS, WE SEE LECHTER, FROM THE BACK,
LIFTING SOMETHING FROM THE DIRECTION OF THE MAN'S HEAD, AND
CARRYING IT BACK TO THE FILTHY TABLETOP, WHERE, AS HE SPEAKS,
HE BEGINS KNEADING IT WITH FLOUR, WE SEE THE PAN SIZZLING
ON THE HOTPLATE.
ANGLE
IN THE SLUM ROOM. STARLING, DAZED, AND LECHTER, REENTERING.
LECHTER (cont'd)
That the institution cannot but be
corrupt, and, therefore, it cannot be
but an act of complicity to seek to
appease it.
HE MOVES BACK INTO THE KITCHEN, PUTS THE BREADED PIECES OF
CUTLET INTO THE PAN, THE FIRE SHOOTS UP.
LECHTER (cont'd)
So many civilizations eat their slain
enemies... what do you think...? How
much better to devour a person
physically, than to devour his spirit.
Which is, of course, the purpose of the
institution.
HE REMOVES THE MEAT FROM THE PAN, AND FORKS IT ONTO A TIN
PLATE.
LECHTER (cont'd)
(REENTERING THE DININGROOM)
:and that is the especial surprise,
I've prepared for You!
STARLING
I feel weak...
LECHTER
(NODDING)
...you must eat.
SHE LOOKS DOWN AT THE TABLE. SHE PICKS UP HER FORK.
ANGLE HER POV
THE LOVELY LINEN TABLE, THE STEAMING MEAT ON THE LIMOGES
PLATE.
A HUGE COCKROACH, SCURRYING ACROSS THE TABLECLOTH.
ANGLE
ON STARLING, AS SHE RISES, UNSTEADILY, IN HER MUDDY
CLOTHES...
STARLING
...1 don't understand...
SHE WALKS TOWARD THE BALCONY WINDOW, LOOKING OUT AT THE
OCEAN.
ANGLE HER POV.
OUT THE WINDOW, A SQUALID CITY STREET, SEEN FROM THE THIRD
FLOOR.
A COUPLE OF CARS STOPPING AT THE END OF THE STREET.
ANGLE, ON STARLING, AS SHE TURNS BACK TOWARD LECHTER.
LECHTER
(IN THE KITCHEN)
The gift, of course is not the meal--
but the identification--which of us does
not need help? The identity, of your
true enemy...?
...for you always sought to befriend, to
wish the love of those who wished you ill.
ANGLE, ON LECHTER, STANDING BEFORE THE FIGURE TIED TO THE
CHAIR.
LECHTER (cont'd)
Come here--he is in no pain, there are
no nerves in the brain, come here...
ANGLE, LECHTER'S POV THE FIGURE OF CRAWFORD TIED TO THE
CHAIR.
LECHTER MOVES TO HIM AND EXTRACTS FROM HIS UPPER POCKET, A
XEROX OF THE PHOTO OF THE BADGE WITH THE HOLE IN IT.
LECHTER (CONT'D)
Come here, I'm going to cure you.
ANGLE HIS POV.
STARLING, IN THE SLUMROOM, LOOKING OUT OF THE WINDOW.
ANGLE
STARLING, DAZED, LOOKING OUT OF THE WINDOW, LECHTER COMES
UP BEHIND HER, AND LOOKS OUT.
ANGLE HIS POV.
THE SLUM STREET, A VAN NOW PULLING UP, A SQUAD OF SWAT
OFFICERS APPROACHING A PARKED CAR.
ANGLE
ON LECHTER AND CLARICE.
LECHTER APPROACHES HER.
ANGLE HIS POV,
STARLING, IN THE BEAUTIFUL GOWN, HE MOVES AS IF TO CARESS
HER BREAST.
ANGLE ON STARLING, AS SHE LOOKS DOWN. WE SEE SHE IS NOW
CLOTHED IN HER FILTHY CLOTHES, AND LECHTER IS FRISKING
HER.
ANGLE
LECHTER, FRISKING THE FILTHY STARLING, TAKES OUT THE
MARINECORP HATBADGE, WHICH WE SAW EARLIER, HE BREAKS IT
OPEN, AND REVEALS A MICROTRANSMITTER.
LECHTER (cont'd)
Oh, no. Oh, NO. They've put a beeper on
you. How careless of me. How finally
careless, Do you think? Have I erred on
Purpose? Eh? Or am I just unlucky?
Could one not say that's the essential
question of Philosophy...?
ANGLE ON STARLING, DAZED, LOOKING ON.
STARLING
Might I have some more of the wine...?
ANGLE ON LECHTER, AS HE MOVES TO A BACK WINDOW.
STARLING, AS SHE RISES, AGAIN, IN HER BALLGOWN.
STARLING (cont'd)
Because, I find I like the effects. You
may say that it's inebriation, but it
seems
(SHE SMILES)
This lovely evening, in particular.... it
seems to reward me with clarity...
(SHE LAUGHS)
THERE IS A SOUND BEHIND HER. THE BEAUTIFUL FRENCHDOORS
OPEN AND ADMIT A HAPPY COTERIE OF GOWNED WOMEN AND FORMAL
DRESSED MEN, THEY ARE ALL CHATTERING THEIR JOY AT SEEING
HER.
STARLING (cont'd)
....or perhaps, it is just the heat... I
was just saying to the Doctor...
(SHE GESTURES)
ANGLE HER POV THE OPEN WINDOW, THE SHADES BLOWING.
CAMERA COMES BACK TO STARLING, WHO IS IN HER RAGS, WITH THE
SWAT TEAM ENTERING THE ROOM.
STARLING (cont'd)
But, do you know, do you know, I'm not
feeling altogether....
SHE SWOONS. A SWAT MAN CATCHES HER.
SWAT MAN
...I've got her...
ANGLE
IN THE SLUMROOM, WE SEE THAT A SWAT TEAM HAS ENTERED. ONE OF
THEM HAS CAUGHT THE FAINTING STARLING IN HIS ARMS. THE
SEVERAL MEN PROCEED TOWARD THE BACK OF THE KITCHEN.
STARLING
(AS WE SEE SHE IS IN
KRENDLER'S ARMS)
...may be the heat....
KRENDLER
Let's get her out of here....
SWAT OFFICER, FROM THE KITCHEN. AS HE GAZES IN THE
DIRECTION OF CRAWFORD.
STARLING
But as my father used to say...
SWAT OFFICER
(IN KITCHEN)
...ohmiGod.
DISSOLVE TO:
EXT TEXAS GRAVEYARD DAY.
A NEW MARBLE HEADSTONE BEING LOWERED ONTO A GRAVE. IT IS
ORNATE AND SOLID, AND READS: JAMES RANDALL STARLING, HUSBAND
AND FATHER. DIED 1975.
ANGLE
STARLING STANDING BY THE GRAVE, HOLDING FLOWERS, BEHIND HER
STAND MAPP AND HER BOYFRIEND. BEHIND THEM STAND AN OFFICIAL
LOOKING MAN, WHO HOLDS HIS STETSON, REVERENTLY, IN FRONT OF
HIM. IN THE BG WE SEE A TRUCK MOVING SLOWLY DOWN THE
DUSTY CEMETERY ROAD.
ANGLE
ON STARLING, AS SHE KNEELS, AS THE STONE IS PLACED,
PUTTING A SMALL BOUQUET OF FLOWERS NEXT TO IT. AS SHE
KNEELS, AND CAMERA CRANES DOWN, WE READ THE BOTTOM OF THE
INSCRIPTION: "DIED 1975. HE WILL NEVER KNOW HOW HE WAS
MISSED."
ANGLE
ON STARLING, AS SHE STANDS, AND MAPP COMES, AND PUTS HER ARM
AROUND HER.
MAPP
That's why it's a stone, you know, It
means Don't Come Back.
STARLING NODS, AND THEY TURN AWAY, AND WALK AWAY FROM THE
GRAVE. IN THE BG WE SEE ANOTHER GROUP OF MOURNERS, WEARING
WESTERN GARB. STARLING AND HER GROUP CROSS A SERVICE ROAD,
IN FRONT OF THE OLD TRUCK.
STARLING
Well. No. He can't come back.
MAPP
Baby, that's the beginning of wisdom.
MAPP PUTS HER ARM AROUND STARLING, AS THEY WALK OFF.
STARLING NODS, THAT SHE UNDERSTANDS, AND LAYS HER HEAD ON
MAPP'S SHOULDER.
WE SEE SEVERAL GRAVEDIGGERS SITTING ON THE BACK. THE MAN IN
THE PASSENGER SEAT, WEARING A STRAW WESTERN HAT, TURNS, TO
LOOK AT STARLING AND THE GROUP. IT LOOKS LIKE LECHTER.
ANGLE ON STARLING, AND HER GROUP, AS THE MAN IN THE TRUCK
MOMENTARILY CATCHES HER EYE.
ANGLE
ON STARLING, AS SHE WALKS THROUGH THE GRAVEYARD.
A GLINT OF LIGHT PLAYS ACROSS HER FACE, AND SHE SQUINTS.
ANGLE HER POV.
THE LIGHT HITTING THE SHOVEL OF THE GRAVEDIGGER IN THE
STRAW HAT. THE GRAVEDIGGER IS HALF HIDDEN BY THE GROUP HE
WALKS WITH.
ANGLE
OVER MAPP, WHO IS TALKING, AND ONTO STARLING, AS SHE STARES
AT THE GRAVEDIGGER, WHO IS APPROACHING HER.
ANGLE
ON HER BODY, AS SHE REACHES TO HER BELT FOR A SIDEARM.
ANGLE
TIGHT ON THE TWO WOMEN, AS STARLING LEANS IN.
STARLING
(SOTTO)
Give me your gun...
ANGLE
ON MAPP, AS SHE LOOKS AT STARLING.
MAPP
...what...?
ANGLE
ON STARLING, AS SHE LOOKS AT THE APPROACHING FIGURE.
ANGLE HER POV
THE GRAVEDIGGER, AS HE EMERGES FROM THE GROUP. WE SEE HE IS
A NONDESCRIPT LABORER.
ANGLE
ON STARLING AND MAPP.
MAPP (cont'd)
...what, what did you say...?
ANGLE
ON STARLING, AS SHE SHAKES HER HEAD.
ANGLE
ON THE LABORER, AS HE PASSES BY AN ARRIVING, OLDER LIMOUSINE,
STARLING AND MAPP IN THE BACKGROUND.
ANGLE
ON STARLING AND MAPP, AS MAPP AND JIM TAKE THEIR LEAVE FROM
STARLING, WHO IS INDICATING, "I JUST WANT TO BE ALONE FOR A
WHILE."
WE SEE MAPP NOD, AS SHE AND JIM GET INTO THEIR CAR.
ANGLE ON STARLING, AS SHE WALKS BACK TOWARD HER FATHER'S
GRAVE PAST A SMALL BLACK CLAD FAMILY, WHO ARE EMERGING FROM
THE LIMO.
ANGLE XCU
ON STARLING, AS SHE LOOKS AT THE OFFENDING FIGURE.
ANGLE HER POV.
THE MAN TURNS MORE TO CAMERA, AND WE SEE HE IS A NONDESCRIPT
LABORER.
ANGLE
ON STARLING, AS SHE TAKES HER LEAVE OF MAPP AND MAPP'S
FRIEND, WE SEE THEM PASS BY ANOTHER SMALL FUNERAL, SEVERAL
BLACK CLAD MOURNERS AND AN OLD LIMOUSINE, AT THE GRAVESIDE.
STARLING CHATS WITH MAPP FOR A MOMENT, OBVIOUSLY SAYING SHE,
STARLING, WANTS TO STAY ON AT THE GRAVE. MAPP NODS, AND SHE
AND HER FRIEND GET INTO THEIR CAR AND DRIVE AWAY.
ANGLE
ON STARLING, AS SHE PASSES BY THE OTHER FUNERAL, BACK TOWARD
HER FATHER'S GRAVE.
ANGLE INT THE LIMO. WE SEE, THROUGH ITS WINDSHIELD, STARLING
CROSS, AND MOVE OUT OF FRAME.
WE SEE THE BLACK COATED ARM OF THE LIMO DRIVER MOVE. HIS
HAND COMES UP TO THE REARVIEW MIRROR, AND WE SEE STARLING IN
THE REARVIEW MIRROR, AND WE SEE THE DRIVER'S HAND HAS THE
SMALL SCAR IN THE SHAPE OF THE NUMERAL THREE.
FADE OUT.
HANNIBAL
A SCREENPLAY BY
DAVID MAMET
COPYRIGHT (C) 1999
DRAFT SEPTEMBER 5, 1999