"Hannibal", unproduced draft, by David Mamet



   









                            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, 
                ¥our 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, 1999HANNIBAL

                          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, 
                ¥our 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