Hannibal
Writers: Steven Zaillian
HANNIBAL
Screenplay by
David Mamet
From the Novel by
Thomas Harris
September 8, 1999
INT MIDWIVES OFFICE DAY.
FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED
TO A BULLETIN BOARD. "COMMON SENSE FOR NURSING MOTHERS,"
ET CETERA.
A LOWER-CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW,
OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS
HER BROW AS SHE WALKS TO THE REGISTRATION DESK.
MOTHER
It's hotter inside than it is outside...
with the air conditioning.
REGISTRAR
Would you sign in here, please..? You know,
we're closing in half an...
MOTHER
I just came to drop off my payment....
SHE DROPS AN ENVELPE ON THE DESK.
AS SHE LEAVES WE SEE THE DOOR OPEN, AND THE DREARY SUBURBAN
SPRAWL PARKING LOT BEHIND. CAMERA PANS HER PAST CLARICE
STARLING, WHO IS SITTING, VERY HOT AND PREGNANT, ON A
BENCH. THE MOTHER EXITS, AND EVELDA DRUMGO, A VERY BEAUTIFUL
AFRICAN AMERICAN WOMAN, HOLDING A NEWBORN, ENTERS. SHE
LOOKS AROUND, GOES TO THE REGISTRAR, AND SIGNS IN.
REGISTRAR
...that'll just be a minute.
DRUMGO SITS, SHE AND STARLING EXCHANGE A LOOK.
BEAT.
STARLING
S'hotter inside than it is outside...even
with the air conditioning.
(SHE LOOKS AT HER WATCH, THEN
UP AT THE WALLCLOCK.)
DRUMGO
You nervous...?
STARLING
Evone tells me: I shoulda been in, fi,
six, months ago.... thizz my first
checkup.
DRUMGO
Gonna be fine. You ask your momma.
STARLING MUTTERS.
DRUMGO (cont'd)
...what...?
STARLING
....I didn't realize I said it out
loud.
DRUMGO
Said what?
STARLING
I'm an orphan.
DRUMGO
Well, then, you're a lucky girl, cause
that baby's gone to be your family.
(TO THE RECEPTIONIST)
...I've got an appointment....
THE RECEPTIONIST IS GONE, DRUMGO GOES TO PEER OVER THE
RECEPTION DESK.
ANGLE ON STARLING
STARLING
That is a lovely thing to say.
DRUMGO
Waal...
STARLING
It gets, um... it gets so lonely sometime.
DRUMGO
(SITS. COMFORTS THE CHILD)
What'd you say, hon...?
STARLING
I said sometime it gets so...
DRUMGO
Well, don't you worry, cause that baby's
gone take care of that.
SHE BRUSHES BACK THE HAIR FROM THE SIDE OF HER FACE.
ANGLE INS.
ON A BARRETTE IN HER HAIR. WHICH WE SEE BEARS A SMALL
MICROPHONE.
ANGLE ON STARLING, AS SHE HITCHES HERSELF UP IN HER SEAT,
AS IF TO FIND A COMFORTABLE POSITION.
ANGLE INSERT.
ON THE BACK OF HER DRESS. WHERE WE SEE THE PRINT OF A
SQUARE BOX, AS STARLING'S HAND MANIPULATE A SMALL KNOT
THROUGH THE DRESS. NEXT TO IT WE SEE THE PRINT OF A
PISTOL UNDER THE DRESS.
ANGLE
ON STARLING AND DRUMGO.
STARLING, AS SHE FIDDLES WITH THE BARRETTE ONCE AGAIN.
STARLING (cont'd)
I wonder if you could just, sit down,
talk with me a moment...
ANGLE XCU ON STARLING, HOLDING THE BARRETTE, AS SHE SPEAKS TO
DRUMGO.
STARLING (cont'd)
Cause, you know, I'm sitting here all
alone. Do you know what I mean?
(PAUSE)
Cause I feel it's getting late for
me... do you know...? That I've Waited
Too Long...
ANGLE ON DRUMGO, AS SHE STANDS IN THE EMPTY RECEPTION AREA,
AND LOOKS AT IT AND THEN BACK TO STARLING .
DRUMGO
(PAUSE)
Waited too long, hon...?
(PAUSE)
(SHE LOOKS AT STARLING )
STARLING
How's your child?
STARLING STANDS, AND MOVES TO LOOK OUT OF THE WINDOW.
ANGLE XCU ON DRUMGO, AS SHE LOOKS AT STARLING.
ANGLE, HER POV
THE DRESS, STUCK BY SWEAT, TO STARLING'S BACK, REVEALS THE
PISTOL AND TRANSMITTER.
ANGLE
ON STARLING, AS SHE SITS DOWN AGAIN.
DRUMGO
...what?
STARLING
I said how's your baby...?
DRUMGO
You want to hold him...?
STARLING
Waal...
DRUMGO
'bout time you learned...
SHE HANDS THE BABY TO STARLING.
SHE GOES INTO THE CHILD'S DIAPERBAG AND TAKES OUT A PISTOL,
AND LEVELS IT AT STARLING, AS SHE MOVES TO LOOK OUT THE
WINDOW.
DRUMGO (cont'd)
...where's your friends...?
SHE MOVES TO STARLING, AND FRISKS HER, AND REMOVES HER
PISTOL, AND THE TRANSMITTER FROM THE BELT AT HER BACK...
DRUMGO (cont'd)
...you're here all by yourself, honey....
STARLING
Give it up, Evelda.
DRUMGO
Well, you know my name, honey, but I
don't know yours...
STARLING
Give it up.
DRUMGO
Hey, you know, I never thought of
that...
SHE STARTS GETTING INTO THE NURSES GARB.
DRUMGO (cont'd)
Ain't this a picture, though, cause you
know you ain't the first girl, ever got
lef, in a position, waiting at the
doctor's. You can't trust men, child,
don't you know that.... old as you
are...?
SHE WALKS BACK TOWARD STARLING, SCOOPS UP HER CHILD, PEEKS
OUT THE WINDOW, AND STARTS FOR THE DOOR.
DRUMGO (cont'd)
Cause, see, they'll always let you down.
Terrible thing, to do to an orphan...
SHE LEANS BACK TOWARD STARLING, GRABS HER HAIR, AND PULLS HER
BACK AND KISSES HER ON THE LIPS, AND RETIRES AND EXITS.
ANGLE
ON STARLING, AS SHE LOOKS OUT OF THE WINDOW. AT A CAR, WHICH
IS IN THE FAR END OF THE PARKING LOT, IT ACCELERATES, AND
SCREECHES UP TO THE DOOR, AND EVELDA, CARRYING HER CHILD,
GETS IN TO THE STILL MOVING CAR, WHICH STARTS TO TAKE OFF.
ANGLE EXT THE MIDWIVES CENTER.
STARLING, CROUCHING AT THE DOOR, RETRIEVES A BACKUP WEAPON
FROM HER ANKLE HOLSTER. SHE EMERGES FROM THE DOORWAY.
ANGLE
IN THE PARKING LOT, DRUMGO AND CHILD, GETTING HAULED INTO
THE CAR. A FIGURE IN THE BACKSEAT OF THE CAR, SHOOTING OVER
THE ROOF, APACHE STYLE, FIRES AT STARLING, AS THE CAR PEALS
OUT OF THE PARKINGLOT.
STARLING TAKES COVER.
BEAT.
STARLING, ALONE, WALKS INTO THE NOW EMPTY PARKINGLOT. SHE
SITS ON A LOW CONCRETE DIVIDER. HOLD. A VAN PULLS IN.
FOLLOWED BY ANOTHER CAR, AND TEN SWAT CLAD COPS PILE OUT,
AND APPROACH STARLING.
STARLING SLOWLY LOOKS UP.
STARLING
....where were you...?
(SHE LOOKS AT HER WATCH. )
SWAT OFFICER
(AS SEVERAL OTHER OFFICERS
MOVE INTO THE MIDWIVES
CENTER.)
...we, we didn't hear the go-ahead.
STARLING
(AS SHE HANDS HIM THE SMALL
RADIO TRANSMITTER)
Yeah, well, you didn't get it cause your
radio went dead. The backup plan was,
17.45, you guys are the Cavalry...
SHE GETS UP AND WALKS AWAY FROM THE DOORSTEP, TO A SEDAN,
WHICH IS PULLING UP. AS SHE GOES, SHE TAKES OFF THE FAKE
BELLY SHE HAS BEEN WEARING.
ANOTHER SWAT AGENT TAKES THE RADIO AND LOOKS AT IT.
SECOND SWAT OFFICER
...what'd you do, sweat it out, short
out the leads...? Got a little hot in
there.....?
SHE FLINGS THE FAKE STOMACH AT HIM.
SECOND SWAT OFFICER (cont'd)
...what happened to Right to Life...?
(HE LAUGHS)
STARLING ROUNDS ON HIM, HITS HIM SEVERAL TIMES, AND THROWS
HIM TO THE GROUND.
STARLING
What happened to Right to Life? What
happened to right to my life...? I'm in
there, carrying the mail for all you
drugstore cowboys, si'in in a van playin
with each other's Velcro...
(THE OFFICER STARTS TO GET UP)
You wanna get up, you wanna get up?
Here I am...
TWO FBI TYPES GET OUT OF THE NEWLY ARRIVED SEDAN.
FBI TYPE
What happened to the girl...?
STARLING
(AS SHE GETS INTO THE SEDAN)
Get me out of here...
INT CONFERENCE ROOM FBI HEADQUARTERS DAY.
STARLING IS NOW DRESSED IN A T-SHIRT AND JEANS. SHE HAS
CLEANED HERSELF UP. KRENDLER, A CLEAN-CUT STUDENT COUNCIL
TYPE AROUND FORTY IS HOLDING FORTH. AROUND THE CONFERENCE
TABLE ARE THE FATHERLY JACK CRAWFORD, AND VARIOUS OTHER
POLITICOS.
KRENDLER GESTURES AT THE TABLE, WHICH HOLDS THE BURNT OUT
RECEIVER, THE FAKE "PREGNANT" STOMACH WORN BY STARLING,
AND A PHOTO, HE HOLDS THE PHOTO. WE SEE IT IS DRUMGO, A
SURVEILLANCE PHOTO.
KRENDLER
And you let her get away.
STARLING
Sir, with all due respect....
CRAWFORD
Just a moment. Starling didn't...
KRENDLER
Well, well, well, well, well, she went
in there, to apprehend a Dangerous Felon.
Went in there with her gun, Came out,
without the Felon, without the gun...
STARLING STARTS TO SPEAK, AND CRAWFORD STILLS HER.
CRAWFORD
I had... one moment, I had an agent in
there, waiting for backup from...
KRENDLER
...she couldn't act on her own..? Where
is the FBI's vaunted Initiative, where..?
STARLING
Sir:
CRAWFORD
Shut up, Starling...
STARLING
I could have acted on my own. I was
told...
CRAWFORD
Starling, I've ordered you to shut...
STARLING
..I was instructed that this was a
Joint Task Force, the FBI, BATF, and the
Mayor's Special...
KRENDLER
You find something objectionable to
working in partnership with....
STARLING
Sir, I'm in Law Enforcement, I was out
there, dealing with an armed and
dangerous...
KRENDLER
You were given backup....
STARLING
THEN WHERE WAS IT? I'm sent out
there... I'm told that the arrest must
be a joint...
KRENDLER
I'm saying: ... and what's wrong with that.
STARLING
And I'm telling you: You wanna throw a
Birthday Party: Every kid gets a Chance
to Play, that's fine, but...
KRENDLER
No, I don't get you...
STARLING
Due respect, you don't, sir, your
precious Joint Operation. FBI, ATF, DC
SWAT, it's alphabet soup, we don't have
the same Radio Freqs, we don't...
KRENDLER
Oh, is this your political position,
you're opposed to Joint...
STARLING
I'm opposed to being part, Your Rainbow
Coalition. Evelda Drumgo? I could of
took her down in a snap of the fingers--
But-- I'm out there, and my Rules of
Engagement...
MAYOR'S REP
The Rainbow Coalition, what is that,
excuse me...
KRENDLER
And what are you, our Token Woman?
STARLING
I don't mind being the token woman, what
I'm suggesting, send me out there with a
token man... who are these Warriors,
Ľour cobbled together Strike Force? I'm
in the room with a fugitive felon...
CRAWFORD
Starling...?
STARLING
One moment, and they're at the Seven-
Eleven. They botched the fallback plan,
they...
KRENDLER
And, fine, alright, and fine... what are
youdoing, this whole time?
STARLING
Sir, I was, as instructed, waiting for
the Arrival of the Strike Force.
{PAUSE)
CRAWFORD
I think that's...
{HE STARTS TO RISE, AND THE
MEETING BEGINS TO BREAK UP)
Starling, I'm sure these gentlemen...
KRENDLER
And how did she get close enough to
disarm you?
ANGLE TIGHT ON STARLING, AS SHE BEGINS TO EXIT, MUTTERING.
STARLING
...spend some time on the streets. Ask
me then...
KRENDLER
Thank you, that's not responsive. How
did our Miss Drumgo get...
ANGLE EXT THE CONFERENCE ROOM. A CORRIDOR AT FBI HQ.
VARIOUS MEMORABILIA IN GLASS CASES, GLASS CASES HOLDING
FIREARMS. STARLING AND CRAWFORD EXIT. AS THEY DO, A GROUP
OF TWENTY MEN AND WOMEN WEARING NAMETAGS WALKS BY,
ESCORTED BY A GUIDE.
ONE GOOD-LOOKING MEDITERRANEAN TYPE (PAZZI) TRIES TO LOOK
AT STARLING AS THE GROUP GOES PAST.
ANGLE CU ON PAZZI.
WE SEE HIM, AND READ THE NAMETAG. (C. PAZZI.
INTERNATIONAL POLICE ACADEMY. ITALY) .
GUIDE
(VO)
....a compendium of the Bureau's most
celebrated cases. Which you have in
your Course Study Guide. Now; This
afternoon...
ANGLE, ON THE GROUP AS THEY OPEN THEIR BLUE COURSE STUDY
GUIDE.
STARLING AND CRAWFORD TURN A CORNER. PAZZI LOOKING AFTER
THEM, HE THEN, RELUCTANTLY, TURNS AWAY, BACK TO THE GROUP
HE IS PART OF.
ANGLE ON STARLING AND CRAWFORD, AS THEY DRAW AWAY FROM THE
CONFERENCE ROOM GROUP.
CRAWFORD
(SOTTO)
...how'd you let her get that close to
you...?
IN THE B.G. WE SEE AN AIDE COME UP TO KRENDLER, AND HAND
HIM A FILE. STARLING WAVES OFF CRAWFORD'S QUESTION.
CRAWFORD (cont' d)
...how'd she get next to you?
STARLING
(AS IF TEARING OFF THE
BANDAID )
...she gave me her baby.
KRENDLER, AND THE AID WALK TOWARD CRAWFORD. THE AIDE
WHISPERS SOMETHING TO KRENDLER.
KRENDLER
(TO CRAWFORD)
She threw a punch at a man on the team.
CRAWFORD
Well, you know, that happens, on the
street.
KRENDLER
What is that supposed to mean...?
CRAWFORD
I think its meaning is clear.
KRENDLER
What, you're saying she was overwrought.
CRAWFORD
That could be.
KRENDLER
Because that's understandable, because.
She blew the raid.
CRAWFORD
She was there, alone, sir, she was in a
burning building, waiting for your folks
to come through the wall. And...
STARLING STARTS AWAY, IN DISGUST.
KRENDLER
One moment, I'm not done with you...
(TO CRAWFORD, AS KRENDLER
MOTIONS HIS AIDE TO HAND HIM
A FILE)
Give him the file...
AIDE
I thought it was going to go down the
line, to....
KRENDLER
No, no, no, I want the girl to do it...
THEY GO INTO A HUDDLE, AND STARLING MOVES AWAY, WAITING.
SHE LOOKS AROUND, AND SHE AND WE DISCOVER SHE IS STANDING
IN FRONT OF THE "LECHTERIANA" SECTION OF THE FBI DISPLAY.
THE GUIDE IS ADDRESSING THE VISITING FOREIGN COPS.
GUIDE
Of the apprehension of Hannibal
Lechter. Here we have a WANTED poster...
AS THE GUIDE SPEAKS WE CUT BETWEEN STARLING, HOPING TO HEAR
HER FATE, AND THE MEN TALKING ABOUT HER.
GUIDE (cont'd)
(VO)
Offered by an Unnamed Source, Three
million Dollars for information leading
to the apprehension of Hannibal Lechter.
It is, of course, a bounty poster, the
only one of its kind, it was never
distributed, the contact number was
disconnected, and the trail of the
person offering the reward was covered
so skillfully, that...
PAZZI
(VO)
(IN A CULTURED ATTRACTIVE
ITALIAN ACCENT)
...would you be so kind...?
STARLING TURNS TO PAZZI, HOLDING A CAMERA. SHE HESITATES,
THEN REALIZES HE WANTS HER TO TAKE HIS PHOTO IN FRONT OF THE
POSTER.
STARLING
Yeah, sure.
PAZZI MOVES IN FRONT OF THE POSTER. WE SEE THE REFLECTION
IN THE GLASS FRONTING THE POSTER, AND STARLING MOVES TO
ELIMINATE IT .
GUIDE
(VO)
....Of the Hannibal Lechter Case.
Lechter is, as you know, still at
large. Here we see the implements used
in his escape from Prison. If you will
turn to your course syllabus, Page....
ANGLE
ON STARLING, AND THE GUIDE, BEYOND HER, AS THE STUDENTS
AGAIN TAKE UP THEIR BLUE BOOKS, AND TURN TO THE PAGE
INDICATED BY THE GUIDE.
PAZZI COMES BACK TO STARLING.
SHE HANDS HIM THE CAMERA.
PAZZI
....a lovely perfume...
STARLING
Glad you like it.
GUIDE
(HE TAKES US TO A DISPLAY OF
A PHOTOGRAPH OF LECHTER'S
HAND, WHICH SHOWS SIX
FINGERS, AND AN X-RAY,
WHICH, SIMILARLY SHOWS SIX
FINGERS.)
....of Dr. Lechter's left hand. His left
hand, which had a sixth, vestigial,
fully formed sixth finger. You would
think that a man with a mark so easily
identifiable, would...
THE GUIDE SPOTS STARLING.
GUIDE (cont'd)
...and, speaking of the Lechter Case.
THE GUIDE MOVES, AS IF TO INCLUDE STARLING IN THE TOUR.
ANGLE ON STARLING WHO GIVES THE GUIDE THE WAVE OFF.
STARLING RETREATS AS THE GUIDE CHANGES GEARS.
GUIDE (cont'd)
And, speaking of the Lechter case, I
would like to complete our tour of the
gallery with three other instances of
Criminals Still At Large. To complete
our tour, and....
(HE CHECKS HIS NOTES)
Oh, and to complete your Course of
..Study, by...
WE SEE THE GROUP OF KRENDLER, CRAWFORD, ET ALL, BREAK UP,
AND BEGIN TO MOVE TOWARD STARLING. SHE APPROACHES THEM,
TO HEAR THEIR NEWS.
KRENDLER
(TO CRAWFORD)
Your girl's a menace. Here, givver
this... Getter off the street and teach
her some humility.
(OF THE FILE)
CRAWFORD
(LOOKING AT THE FILE)
I don't think so...
KRENDLER
Well, then, you have insufficient
information. I'm grateful for this
opportunity to set you straight.
HE LEAVES CRAWFORD LOOKING AT THE FILE, AND WALKS OFF,
TOWARD STARLING, WHO LOOKS HIM IN THE EYE, AS HE PASSES.
HOLD.
KRENDLER (cont'd)
(TO STARLING, IN PASSING)
Yeah, get on to your sea-daddy,
Starling. Old as you are... ain't you
ashamed, still lookin' for your Pappy...?
STARLING WALKS UP TO CRAWFORD, WHO IS LOOKING AT THE FILE.
CRAWFORD
...what has he got against you?
STARLING
Why would you say that? Because he sent
me in there to be killed...?
(OF FILE)
What is this...?
CRAWFORD
...what's he got against you?
STARLING
(AS SHE TAKES THE FILE)
(ABSENTLY)
He once made me an improper suggestion.
INT GYMNASIUM DAY
JOHN BRIGHAM, A BUFF AND ROUGH AND TOUGH MARINE TYPE, IS
LECTURING TO A GROUP OF RECRUITS.
BRIGHAM
Big man, little man... Fair fight, the
good Big Man's gonna win. But we don't
mean to send you out there to fight
fair...
BRIGHAM LOOKS UP. ANGLE HIS POV. A DOOR IN THE BACK OF A
SMALL RAISED BLEACHER SECTION OPENS, AND STARLING COMES IN,
HOLDING THE FILE, SHE LOOKS DOWN TOWARD BRIGHAM.
ANGLE
ON BRIGHAM, AS HE NODS AT STARLING, AND THEN RETURNS TO
ADDRESS HIS GROUP OF STUDENTS.
BRIGHAM (cont'd)
And, in a gunfight, what just happened
to the Big Man? He's at a disadvantage.
Inney?
HE MOVES TO THE GROUP OF STUDENTS, AND APPROACHES A RATHER
LARGE YOUNG MAN.
BRIGHAM (cont'd)
Stand up.
(THE MAN DOES SO, AND TAKES
HIS PLACE ON THE MAT, IN FRONT
OF BRIGHAM)
Big man, now, he's just a bigger target.
Let's turn it around. Pull your
sidearm.
(THE YOUNG RECRUIT TAKES OUT A
BRIGHT YELLOW, OBVIOUSLY
RUBBER PISTOL FROM HIS
HOLSTER)
ANGLE ON STARLING, AS SHE PERUSES THE FILE. SHE SHAKES HER
HEAD IN DISGUST. SHE LOOKS DOWN AT BRIGHAM AND MOUTHS, "I
NEED TO SEE YOU..."
ANGLE, ON BRIGHAM, ON THE MAT, ADDRESSING THE PUPIL, HE NODS
BACK, AT STARLING, AND TOUCHES HIS WATCH, AND MIMES, "LATER,
FOR DRINKS."
BRIGHAM (cont'd)
(TO THE STUDENT)
Now, an arrest? You aim to shoot me, or
you just playing show and tell. You
don't want to shoot me, you just deprived
yourself of one of your hands. You fool,
I got two hands, you got one. So:
what's the gun good for? Force? No.
It's good for control. You can control
through force, but you can also control
through....
ANGLE, ON STARLING, AS SHE EXITS, THROUGH THE BACK OF THE
GYM.
ANGLE. HOLD ON BRIGHAM, ADDRESSING THE STUDENT, WHO LOOKS
OVER HIS SHOULDER TOWARD THE DIRECTION OF BRIGHAM'S GAZE.
BRIGHAM (cont'd)
Misdirection....
(HE MOVES TO THE STUDENT AND
THROWS HIM TO THE GROUND)
Misdirection, My Friend. You're pointing
a gun at me, looking in the
oth'direction, WHO THE HELL DO YOU THINK
YOU ARE...?
ANGLE, ON STARLING, BACK IN THE CORRIDOR, AS SHE OPENS THE
FILE, AND LOOKS AT IT AGAIN, AND SHAKES HER HEAD.
INT PSYCHIATRIST'S OFFICE DAY.
STARLING IS TALKING TO A MIDDLE AGED WOMAN.
WOMAN
(PSYCHIATRIST)
..that you went into police work to
control your rage....
STARLING STARTS TO LAUGH.
STARLING
Well, that would be a poor choice,
wouldn't it...
PSYCHIATRIST
Tell me why...?
STARLING
(SHAKES HER HEAD, STILL
LAUGHING)
I'm sorry, I don't mean to be impolite.
Because, you know, you can't understand.
PSYCHIATRIST
Then tell me.
STARLING
Well, you know, you know, you know, the
point is: I can't tell you. Cause you
haven't been there. You haven't done it.
And that's all there is.
PSYCHIATRIST
(PAUSE. SHE CHECKS HER NOTES)
...and to have done it, means, can mean
to accept, not only danger, but
betrayal...?
STARLING
....that's right.
PSYCHIATRIST
..and humiliation? What is this new
job they've...?
STARLING
No. That's right. That's all part of
it.
PSYCHIATRIST
Then, that being so, why is today
special? Why have you come back to see
me? Is it that new file they gave you?
STARLING
I don't think so.
PSYCHIATRIST
Then what brings you back?
STARLING
I don't know. Do you know...?
PSYCHIATRIST
Yes. I think I do.
(PAUSE. STARLING LOOKS AT
HER, AS IF TO SAY, THEN,
PLEASE, REVEAL IT)
I think it is a phrase you used with
that woman. You told her you were an
orphan.
(STARLING STARTS SHAKING HER
HEAD)
You used, to your mind, your most
private fears.
STARLING
...no...
PSYCHIATRIST
...you called up memories of your father
to...
STARLING
...no...
PSYCHIATRIST
...barter with her. To appeal to her,
and you feel that...
STARLING
No, I don't think so...
PSYCHIATRIST
It is you who have betrayed...
STARLING
...no.
PSYCHIATRIST
Your father. It is not they, who...
STARLING
Well, no...
(SHE LOOKS AT HER WATCH)
That's... I appreciate your help, but...
(SHE RISES)
INT COPBAR NIGHT.
STARLING IS DRINKING WITH ARDELIA MAPP, A CONTEMPORARY, AND
ARDELIA'S BOYFRIEND, JIM. THERE ARE VARIOUS EMPTY BOTTLES
IN FRONT OF THEM.
STARLING IS LOOKING DOWN AT THE FILE WE SAW EARLIER, AND
SCOWLING.
MAPP AND JIM LOOK ON. A WAITRESS COMES BY.
MAPP
You want another drink, honey...?
STARLING
I want the same drink. Cause it did me
good... but I already drunk it, so,
barring that, yes, I would like another.
THE WAITRESS EXITS.
STARLING (cont'd)
B'cause it's one of the few things, in
the world, which are effective
an'predictable.
MAPP
What's that, Baby?
STARLING
Alcohol. Where both its life-enhancing
And its life destroying qualities...
(SOUND OF CHEERING, THEY LOOK
TO THE SIDE)
...not unlike some Hindu God...
MAPP PICKS UP THE FILE, AND LOOKS AT IT.
MAPP
I guess the only thing is Suck it
Up...
STARLING
Well. Excellent... I'm...
THERE IS A SOUND OF RENEWED CHEERING, AND HEADS TURN.
ANGLE THEIR POV.
A TABLE OF THE "INTERNATIONAL POLICE SCHOOL" STUDENTS,
DRINKING, AND WEARING "GIMME CAPS," WHICH ARE PASSED OUT BY
AN ARRIVING JOHN BRIGHAM.
ANGLE.
BRIGHAM, BEING CONGRATULATED AND THANKED BY THE VARIOUS
FOREIGN COPS.
BRIGHAM PASSES OUT CAPS WHICH ARE BLAZONED "FBI ACADEMY,
QUANTICO, VIRGINIA."
WE SEE BRIGHAM NOTICE STARLING, ET AL, AND EXCUSE HIMSELF.
ONE OF THE FOREIGN COPS CALLS AFTER HIM.
FOREIGN COP
Semper Fi.
BRIGHAM
...truer words were never spoken...
CAMERA TAKES HIM TO THE STARLING TABLE, WHERE STARLING,
DRUNK, IS LOOKING THROUGH THE FILE.
STARLING
Our Mister Frendler to, to, to humiliate
me, though....
MAPP
What else's he goin to do with his day,
he can't work, and he won't steal...
BRIGHAM SITS, AND KISSES STARLING.
STARLING
Oh baby, oh baby....
BRIGHAM
Bad beat today.
STARLING
Hey, I'm fine. Whaddizit, you, how's
your day, our gallant International
Neighbors...?
MAPP
Look what they put her on...
SHE TAKES THE FILE FROM STARLING AND HANDS IT TO BRIGHAM.
STARLING
No, that is code-word material, that's
what that is....
ANGLE ON BRIGHAM AS HE PICKS UP THE FILE. IT CONTAINS A
CATALOGUE FROM AN AUCTION HOUSE, AND WE READ: FROM A
COLLECTOR: DRAWINGS AND SKETCHES BY HANNIBAL LECHTER:
THESE NEVER-BEFORE OFFERED ITEMS WERE ORIGINALLY IN THE HIGH-
SECURITY CELL OF THE MASS KILLER... (ETC.)
AND, BELOW, WE SEE VARIOUS ARCHITECTURAL SKETCHES.
ANGLE ON STARLING, BRIGHAM, AND SO FORTH.
MAPP
They got her cleaning out the privvies.
BRIGHAM
(OF THE AUCTION CATALOGUE)
What does this mean?
MAPP
Slap her wrist, they got her, chasing
down the auction houses, drawings of
Mr.Lechter, come up for sale.
BRIGHAM
Why's she chasing'em down...?
MAPP
Find out: is he selling'em, he needs the
money, o'r'izzey buying them, f'Old Times
sake...
BRIGHAM
That's weak. The man's long gone, he's
not coming back, buy up a drawing...
STARLING
No, but that is the Will of the
Institution. To instill a proper
Probity, Humility, deference, in the
prideful Individual.....COULD I, DOES
ANYONE THINK, HAVE ANOTHER BEER...?
JIM
This Jackal Krendler, trine a shame
her, cause they botched the raid.
BRIGHAM
Evelda Drumgo.
STARLING
COULD I GET A DRINK,
(TO BRIGHAM)
N'I don't care, you see, what all they
got me doin, for I'd rather be doin'
makework, than be doin' pub'l'relations
with THE DIRTY DOZEN, one Hispanic, one
Librarian, one Jew, and One from Column
A, and One from Column...
(A DRINK IS SET BEFORE HER,
SHE REACHES FOR IT. SHE
LOOKS UP.)
Thank you.
PAZZI IS BRINGING HER A BEER.
PAZZI
An Honor. Carlo Pazzi....
STARLING
No, y'know, I never doubted it...
PAZZI
You were kind enough, today, to take my
photograph.
STARLING
Well, that's you see, what I am, kind
and feeling.
MAPP
You should get Married.
STARLING
That's what I should do. Tell me why?
MAPP
Because, baby, you're looking to find
love in an institution, that's your only
chance....
STARLING
Yeah, but who would marry friendless
me...
(TO PAZZI)
Howabout you, Romeo...?
PAZZI
(SHOWS HIS WEDDING RING)
...sadly...
STARLING
Hey, lost again.
PAZZI
But perhaps, there is some, some less
radical solution.
STARLING
I'm sure there is, but my young Friend
here, would kill you.
(SHE GESTURES AT BRIGHAM)
PAZZI
His feelings do him honor. And I have
come, simply, to pay my respects to the
great Clarice Starling...
(HE BENDS OVER TO KISS HER
HAND.)
STARLING
The great and beautiful...
PAZZI
Is it necessary to say of the sea
that it is salt, that the stars are far,
that...
STARLING
No,I get it, this is my Cavalier. This
gents my Italian Knight. Take this...
(SHE REMOVES A SCARF FROM HER
NECK AND HANDS IT TO HIM)
For this shall be my gage, and you can
take it into battle.
PAZZI
Thank you.
STARLING
Or clear your windshield with it.
PAZZI
(SMELLS THE NECKERCHIEF)
...what a lovely perfume.
STARLING
Waal, you c'n only get it in one shop in
Alexandria Virginia, n'that's where I'm
going, cause I'm goin home, f'i can get
n'y'one, Of That Nature, to take her
there...
BRIGHAM
C'mon, pal.
STARLING
All y'got to do is ask...
(SHE REACHES FOR HER PURSE,
AND KNOCKS THE FILE OFF OF
THE TABLE)
ANGLE INS.
IT FALLS TO THE FLOOR, WE SEE VARIOUS AUCTION CATALOGUES,
AND AN X-RAY OF A HUMAN HAND. PAZZI STOOPS AND GATHERS THE
FILE UP.
BRIGHAM TAKES THE FILE, AND STARLING TAKES IT FROM HIM.
ANGLE IN.
WE SEE A DRAWING OF WHAT APPEARS TO BE A STATUARY. A
LION'S HEAD, THE LION HOLDING A BIRD IN ITS MOUTH.
ANGLE ON STARLING AS SHE HOLDS THE DRAWING.
STARLING
...this one is my favorite. It has not
title. They should call it "fetch,"
whaddaya think...?
PAZZI
I know it well.
STARLING
Do you. What does that mean?
PAZZI
It is a gravestone in the cemetery of
______ in my native Florence.
MAPP LOOKS AT THE PICTURES IN THE CATALOGUE.
MAPP
Yeah, we got all sort of "funeray
Sculpture," here, I guess they mean
statues in Graveyards. Brazil, the Tomb
of Karl Marx, London, Here's one in
Scandinavia...
PAZZI
Florence, as you may not know, is famed
for...
STARLING
Yeah, I'm sure it's famed for lotsa
things, and you're one'a'them...
PAZZI
...but: this particular statue...
STARLING DOWNS A BEER, AS BRIGHAM BEARS HER AWAY.
STARLING
Waal, you hold fast to that thought, as
I'm sure, that's a "clue"...
PAZZI
....this is perhaps an inappropriate
time... but, I would like to say, it is
an honor to meet the Woman who solved
the celebrated Hannibal Lechter...
STARLING
I din't solve it, I didn't 'solve it'. I
just sat a dance out with him. Facts,
facts, facts. Facts, close the case,
cavalier.
PAZZI
...a case, so, so fascinating, so...
STARLING SURREPTITIOUSLY SIGNALS BRIGHAM THAT HE MAY REMOVE PAZZI.
BRIGHAM
It was all of that, SON...
PAZZI
..what makes a man ... what makes him...
Eat Human Flesh...?
STARLING
Yeah, well, they solved that: turns
out, he'uz a cannibal...
MAPP
Show'm the FBI Handshake...
STARLING
I am no going to show you the secret
handshake!
(SHE STARTS TO STAND)
BRIGHAM
(AS HE LEADS PAZZI OFF)
C'mon, pal, I'm gone to buy you a
drink...
HE WALKS PAZZI OFF, STUFFING SOME MONEY IN PAZZI'S JACKET
POCKET.
HE LEAVES PAZZI AMONG HIS FOREIGN COHORTS.
ANGLE ON MAPP, STARLING, AND JIM, AT THEIR TABLE.
MAPP
Yeah, well, it's a raw wound, innit,
you're gonna bump it, every time you
turn around... but you know what the
trick is...?
STARLING
...not to turn around.
BRIGHAM RETURNS, AND STARTS TO LEAD STARLING, THROUGH THE
KNOT OF DRUNKEN COPS.
IN THE BG WE SEE PAZZI, AT HIS TABLE, POINTING OUT
STARLING, THEY TURN TO LOOK AT HER, WE SEE ONE OF THE
FOREIGN COPS, LEAN OVER TO ASK MORE INFORMATION OF PAZZI,
AND, THEN, TURN BACK, TO DO A DOUBLETAKE AT THE RETREATING STARLING.
ANGLE
ON BRIGHAM, HELPING STARLING.
BRIGHAM
You want to get married...?
STARLING
You tol me you wuunt ask me again til
I'm ready....
BRIGHAM
You're ready now.
STARLING
I'm not.
BRIGHAM
That's what you think...
EXT STARLING'S APARTMENT BUILDING NIGHT.
BRIGHAM AND STARLING WALKING UP, STARLING SWAYING A LITTLE,
HE HOLDS OUT HIS HAND FOR THE KEY, AND SHE GIVES IT TO HIM.
STARLING
...mos kind...
WE HEAR A CAR COMING UP THE STREET BEHIND THEM.
BRIGHAM OPENS THE DOOR.
THERE IS A FLASH OF LIGHT FROM INSIDE THE HOUSE. AS
STARLING IS ABOUT TO ENTER. SHE PUSHES BRIGHAM OFF TO THE
SIDE OF THE DOOR, AND UNHOLSTERS HER PISTOL.
BEAT.
STARLING LOOKS AT BRIGHAM WHO LOOK UNCOMPREHENDING. ANOTHER
CAR IS HEARD COMING UP THE ROAD, AND WE SEE ITS HEADLIGHT
SHINE ON AND REFLECT FROM A MIRROR INSIDE STARLING'S DOOR.
BRIGHAM LEADS STARLING INTO THE HOUSE.
HE CLOSES THE DOOR, AND TAKES HER TO THE SOFA.
SHE SITS, AND PICKS UP A PHOTOGRAPH IN AN EASELFRAME FROM THE
COFFEETABLE.
STARLING (cont'd)
Hey, now, what was I afraid of... I'm
shooting at shadows...
BRIGHAM
Is that what you're afraid of...?
ANGLE INS ON THE PHOTOGRAPH, SHOWS A TALL HANDSOME MAN IN
WESTERN HAT, WEARING A BADGE, HIS HAND ON THE SHOULDER OF A
YOUNG BLONDE GIRL.
ANGLE ON STARLING, AS SHE PUTS THE PHOTO DOWN.
STARLING
Then you tell me, then.
BRIGHAM
You want me to solve all your problems
tonight...?
STARLING
I feel...
(SHE STARTS TO LAUGH)
I feel they're Out to Get Me...
BRIGHAM
And who is "they?"
STARLING
...they're sending me. Out to get
Shot. Hounding me.... they're...
(PAUSE)
BRIGHAM
...the whole world's out to get you...
STARLING
How crazy is that.
BRIGHAM
Well, you wanna shoot back, it give you a
big target...
STARLING
(SLEEPILY)
How crazy is that....
ANGLE, INS. ON THE LECHTER FILE, AND THE PHOTO OF HANNIBAL
LECHTER.
WE SEE BRIGHAM PUT IT DOWN ON THE TABLE NEXT TO THE PHOTO.
HOLD, LIGHTS GO OFF.
BEAT. STARLING'S HAND COMES INTO THE FRAME, SWEEPS THE
LECHTER PHOTO AND FILE ONTO THE FLOOR, AND REPLACES IT WITH
THE PHOTO OF THE WESTERN GARBED MAN AND THE LITTLE BLONDE
GIRL.
BEAT.
THE LIGHT GOES ON AGAIN.
WE SEE STARLING SWING TO A SITTING POSITION ON THE COUCH.
SHE SIGHS. SHE SHAKES HER HEAD TO CLEAR IT, AND SHE PULLS
THE HANNIBAL FILE TO HER. SHE PICKS UP A PENCIL, AND A PAIR
OF READING GLASSES FROM THE TABLE, AND BEGINS MAKING NOTES
ON THE FILE.
ANGLE INS.
THE AUCTION CATALOGUE, AN FBI FILE, READING, "SALE OF STOLEN
HANNIBAL LECHTER MATERIAL."
EXT VIRGINIA HIGHWAY DAY.
STARLING'S FBI SEDAN SPEEDING PAST, ON AN EMPTY COUNTRY ROAD.
THE CAR PULLS OVER ONTO THE SHOULDER.
ANGLE INT THE CAR.
STARLING, TAKING OUT A MAP. SHE LOOKS AT THE MAP. LOOKS
AROUND. SHE THROWS THE CAR INTO REVERSE, AND REVERSES
SEVERAL HUNDRED YARDS QUICKLY.
ANGLE INT THE CAR.
STARLING LOOKS FROM THE MAP ACROSS THE ROAD.
ANGLE HER POV.
A BARELY DISCERNIBLE BREAK IN THE FOLIAGE, BEAT, THEN
STARLING' S CAR PULLS ACROSS THE ROAD, AND INTO THE POV AND
ENTERS THE BREAK.
ANGLE EXT THE CAR.
EMERGING FROM A THICK WOODS, THE CAR IS HINGED BY THE CAMERA
ONTO THE PARK OF A COUNTRY ESTATE, THE CAR DISAPPEARS INTO A
SMALL DIP IN THE LANDSCAPE.
ANGLE EXT THE CAR, AT A GATEHOUSE, PREVIOUSLY HIDDEN BY THE
CONTOUR OF THE LAND. WE SEE A SMALL DECREPIT GATEHOUSE IN
STONE, AND, BEYOND IT, A FLIMSY AND ANCIENT BARRICADE, AN
OLD GAMEKEEPER TYPE IN TWEEDS COMES OUT OF THE GUARDHOUSE.
HE IS CARRYING A MUG OF COFFEE AND HAS A NAPKIN TUCKED INTO
HIS COLLAR. HE REMOVES THE NAPKIN AND APPROACHES THE CAR.
STARLING FLASHES HER CREDENTIALS TO THE OLD MAN, WHO HOLDS
A CLIPBOARD.
STARLING
Special Agent Clarice Starling, to see
Mason Verger.
THE MAN AMBLES BACK INTO THE GATEHOUSE.
ANGLE INT THE GATEHOUSE, THE OLD MAN ENTERS, AND CAMERA
PULLS BACK TO SHOW, IN A ROOM OFF THE MAIN ROOM, THE FIT
BODYGUARD TYPES, WATCHING STARLING ON A TV MONITOR. THERE IS
A RAFT OF ELECTRONIC EQUIPMENT IN THE ROOM, AND A RACK WITH
SEVERAL ASSAULT RIFLES ON IT. ONE OF THE GUARDS IS TYPING
ONTO A COMPUTER TERMINAL. HE LOOKS AT THE RESULT, AND
GLANCES UP AT STARLING, ON THE SCREEN, AND NODS "OKAY" TO THE
OLD MAN. THE OLD MAN AMBLES OUT TO THE BARRIER, HAVING
PICKED UP AN OLD CLIPBOARD AT WHICH HE SQUINTS.
THEN, SATISFIED, HE RAISES THE BARRIER, AND STARLING'S CAR
GOES THROUGH.
EXT A MAGNIFICENT COUNTRY ESTATE HOUSE.
A POTATOCHIP VAN IS PARKED TO ONE SIDE IN THE WIDE DRIVE.
AN OLD RETAINER HOLDS OPEN THE DOOR FOR STARLING, AS SHE
EXITS FROM HER SEDAN, AND HE SHOWS HER INTO A LARGE
OPEN MORNING ROOM, IN WHICH WE FIND TWENTY YOUNG CHILDREN
OF VARIOUS RACES, ROMPING ON A SELECTION OF NEW TOYS.
CAMERA TAKES STARLING THROUGH A MODERN KITCHEN, WHERE
SEVERAL WHITE UNIFORMED COOKS ARE WORKING HAPPILY, ONE IS
OPENING A VAST TIN OF POTATOCHIPS. ONE OF THEM IS REMOVING A
TRAY OF COOKIES FROM THE OVEN, SEVERAL TYKES WAIT HAPPILY
NEARBY. THE COOK WITH THE TRAY OF COOKIES GIVES STARLING
A WIDE GRIN.
THE RETAINER TAKES STARLING PAST THE KITCHEN, TO A DOUBLE
DOOR, WHICH HE OPENS TO REVEAL A CORRIDOR BEYOND, AND A
LARGE FIT MAN IN HIS THIRTIES, WEARING AN ORDERLY'S WHITES,
COMING TOWARD THE CAMERA.
CORDELL
Agent Starling, would you come with
me...?
CORDELL BOWS TO THE OLD RETAINER, WHO RETIRES.
CORDELL AND STARLING WALK DOWN THE CORRIDOR.
STARLING
The children...?
CORDELL
...they're from Baltimore....
STARLING
I've never heard that he...
CORDELL
It's not something he wants to
publicize, Ma'am. It's just something he
does.
BEAT.
STARLING
I won't take much of his time.
CORDELL
He's glad to help. ...it's just a
question of his physical condition. You
Understand...
CAMERA TAKES STARLING DOWN A CORRIDOR LINED WITH
HUNTINGPRINTS. AT THE END OF THE CORRIDOR AN OLD WOMAN
SITS IN A WOODEN CHAIR, KNITTING.
THEY HAVE STOPPED. WAITING FOR THE WOMAN TO LOOK UP.
STARLING'S GAZE IS DRAWN BY AN OLD, CREWEL-WORK "SAMPLER"
FRAMED ON THE WALL BY THE OLD WOMAN'S CHAIR. AND OBVIOUS
ANTIQUE. IT READS:
"DO NOT GIVE INTO ADVERSITY. DO NOT TRUST TO PROSPERITY."
ANGLE ON CORDELL AND STARLING, AS STARLING LOOKS AT THE
SAMPLER, AND THE OLD WOMAN LOOKS UP FROM HER KNITTING.
SHE SITS IN FRONT OF A HALF-OPENED DOOR, WHICH WE SEE IS
THE DOOR TO A LINEN CLOSET.
CORDELL (cont'd)
...y'get enough breakfast, Rosie...?
BEAT. XCU ON THE OLD WOMAN, AS SHE LOOKS AT STARLING, AND
THEN NODS TO CORDELL, AS IF TO SAY, "THAT IS THE CORRECT
CODE."
ANGLE INS.
HER HAND DROPS TO THE BACK OF THE WOODEN CHAIR, AND PRESSES
A BUTTON CONCEALED IN THE LEG.
ANGLE
THE GROUP IN THE CORRIDOR, THE "LINEN CLOSET," OPENS, TO
REVEAL, BEYOND IT, WHAT APPEARS TO BE A SURGICAL FACILITY,
OR HIGH-TECH HOSPITAL ROOM.
INT THE HIGHTECH ROOM.
THERE IS A NURSE, SITTING AT A STATION, MONITORING VARIOUS
LIFESIGN DISPLAYS. SHE LOOKS UP BRIEFLY, AS CORDELL AND
STARLING ENTER .
NURSE
(TO CORDELL)
Five minutes...
CORDELL NODS, AND TAKES STARLING DEEPER INTO THE ROOM. WE
BEGIN TO HEAR THE SUSURRUS OF A MECHANICAL BREATHING
APPARATUS. CAMERA GOES WITH STARLING INTO THE ROOM, WHERE WE
SEE A HOSPITAL BED, WITH A SCREEN IN FRONT OF IT, AND
VARIOUS TELEVISION DISPLAYS ABOVE IT, ANGLED TO BE SEEN FROM
THE BED.
STARLING APPROACHES THE BED, AND LOOKS DOWN AT THE FIGURE
IN IT. WE SEE HER FACE, BUT THE FIGURE IS SCREENED. THE
FIGURE, VERGER, SPEAKS BREATH BY BREATH, WITH AN OBVIOUS
ELECTRONIC ENHANCEMENT.
VERGER
Aren't they beautiful, Miss Starling...
STARLING LOOKS UP AT THE CHILDREN PLAYING.
ANGLE HER POV.
ONE OF THE CHILDREN FALLS OFF A SMALL PLASTIC SLIDE, AND
CRIES, A NURSE RUNS TO HIM.
VERGER (cont'd)
Well, now, you see, one of them's hurt.
And what will make it better? Love.
Isn't that odd.
(PAUSE)
He think's he's hurt his knee--but the
assurance, the assurance, the assurance
that someone cares (WHEEZE WHEEZE)
Suggests the hurt was elsewhere.
STARLING
Mr. Verger, thank you for your time.
VERGER
For the worst hurt, of course, that
which will not heal, is the conviction
no one cares.
STARLING
I've come to see you, sir, about an
Auction...
SHE HOLDS UP THE CATALOGUE TO HIM.
ANGLE INS
"DRAWINGS AND MEMORABILIA RELATING TO THE SERIAL KILLER,
HANNIBAL LECHTER."
ANGLE
ON CORDELL, AS HE COMES CLOSE, DONNING SURGICAL GLOVES, AND
TAKES THE CATALOGUE, AND HOLDS IT TOWARD VERGER.
VERGER
Ah, yes, ah yes. Our Doctor Lechter...
And have they sent you, once again to
capture him? How terrible for you...
STARLING
No, sir, it's not my job to capt... why
do you say how terrible?
VERGER
Because we must leave the past in the
past. (WHEEZE WHEEZE)
(CORDELL TURNS A PAGE)
Ah. And here we have artifacts of, yes,
my own encounter with him...
CORDELL TURNS THE PAGE QUICKLY.
VERGER (cont'd)
No, no. That's alright. Yes. Lechter's
drawings of me. Before... and, of
course, after... Now: you are not sent
to pursue him. Then your visit baffles
me.
STARLING
Sir, various drawings, done by Dr.
Lechter, while in prison, stolen from the
prison after his escape, have surfaced
and are being sold at auction. Several
large reserve bids have been placed on
them. I have to ask if you've placed
those bids.
VERGER
Because?
STARLING
Because if it was not you, then, perhaps
it was Dr. Lechter, trying to reclaim
his own property.
VERGER
And why would you suspect me, of this
ghoulishness?
STARLING
Because, sir, you are the only one of his
victims who lived. And because you have
large resources.
VERGER
Large resources, Starling, which I prefer
to devote elsewhere....
STARLING LOOKS UP, AS WE SEE THE IMAGE ON THE TELEVISION
CHANGE TO THE CHILDREN EATING THE COOKIES, AND THE IMAGE
CHANGES AGAIN TO SHOW A SMALL DISPENSARY, AND THE KNEE OF THE
CHILD WHO FELL BEING BANDAIDED BY A NURSE.
STARLING
Due respect, sir...
SHE PRODUCES A COPY OF THE WANTED: HANNIBAL LECHTER POSTER
WE SAW AT THE FBI.
STARLING (cont'd)
Due respect, after your, after your...
VERGER
My encounter.
STARLING
Someone offered three million dollars
bounty on Dr. Lechter's head.
(PAUSE)
CORDELL
The identity of the person offering the
bounty was never established.
VERGER
Yes, but we know who it was, and I will
tell you, Agent Starling, what you know
to be true. I offered the bounty. It
was illegal, and, worse, it was wrong.
And I thank God every day that I did not
compound my sinful life by the stain of
a murder. Do you (WHEEZE) Agent
Starling: do you know God?
(PAUSE)
STARLING
...sir...?
VERGER
Isn't it funny? You can look on my
face (WHEEZE WHEEZE) which you would
grant me, is the most hideous sight you
will see in what I hope is a long life.
You can look at me. Which shows (WHEEZE)
a Strength which must come from strong
(WHEEZE) strong convictions. (WHEEZE)
But you shy when I say the name of
God.
THE NURSE COMES UP, HOLDING THE TAPE OF A LIFESIGNS
MACHINE, SHE NODS TO CORDELL AND INDICATES THE MONITORS.
NURSE
(TO STARLING)
...I'm sorry..
(MEANING, YOU MUST GO.)
STARLING
Yes, then, you're saying that you
haven't bid upon these drawings.
VERGER
I have not, I would not. For life
(WHEEZE) life goes on Starling. And,
wait, wait, I wish to talk to you...
I'm... (WHEEZE) (TO THE NURSE, WHO IS
TAKING STARLING'S ARM) One moment. I was
afflicted, do you see, but my affliction
was not in my meeting with your Dr.
Lechter. I was afflicted before.
Before. Do you see? In my arrogance.
Do not (WHEEZE) Do not curse God when
you are humiliated. Listen to me:
embrace it, and you embrace life....
Listen, and you hear the word of
God...
STARLING IS LED AWAY BY THE CONCERNED NURSE. CORDELL LINGERS
BEHIND, AT AN UNSEEN BEHEST OF VERGER.
THE NURSE STARTS PREPARING A HYPO AT HER STATION.
STARLING
...will he be alright...?
THE NURSE, DISTRACTED, NODS, AND RETREATS TOWARD VERGER
WITH THE HYPO.
CORDELL COMES OUT TO STARLING.
INT CORRIDOR, COUNTRY HOUSE, DAY. STARLING AND CORDELL ARE
WALKING, BEYOND THEM, WE SEE VARIOUS CHILDREN PLAYING UNDER
ADULT SUPERVISION. A CARETAKER TYPE IS HOLDING A SMALL
GOAT, WHICH THE CHILDREN ARE PLAYING WITH.
CORDELL OPENS THE GLASS DOOR, AND HE WALKS STARLING THROUGH
THE SCENE OF THE CHILDREN AND THE GOAT.
CORDELL
Mr. Verger wanted me to give you
this...
(HE HANDS HER A SMALL PRINTED CARD)
ANGLE ON STARLING, AS SHE GLANCES AT THE CARD.
ANGLE INS THE CARD READS:
"DO NOT GIVE INTO ADVERSITY..."
SHE GLANCES AT IT, AND, DISMISSIVELY, PUTS IT IN A POCKET.
CORDELL (cont'd)
And he has asked me to ask you something.
STARLING
What would that be?
CORDELL
(PAUSE)
He... would consider it a favor if he
could make a donation. To a charitable
institution of your choice.
(PAUSE)
STARLING
Now, why in the world would he do that?
CORDELL
I... think... he was.... he was
touched, by your reaction. To his
appearance.
STARLING
What reaction?
CORDELL
Exactly.
STARLING
(AS SHE HANDS HIM A CARD)
Please, I do not... I don't want to
trouble him. But if you or he have any
notlon, who would be buying Dr. Lechter's...
CORDELL
Do you know the seller?
STARLING
We've subpoenaed the Auction House's records.
CORDELL
Try Barney Clark.
STARLING
(TAKING OUT A NOTEBOOK)
He is...?
CORDELL
He was the orderly, during Dr. Lechter's
stay in Prison.
STARLING
And how would you know that?
CORDELL
Before "The Change," Mr. Verger was...
he made quite a study.
(PAUSE. STARLING MAKES A NOTE.
SHE LOOKS AROUND.)
STARLING
You should get the kids a dog...
CORDELL
....I hardly think so... after "The
Incident"...
STARLING
No, no, of course not.
SHE STARTS TO GET INTO HER CAR.
CORDELL
...Mr. Verger would be pleased to make a
contribution, to the charitable...
STARLING
Tell him to give it to an orphanage.
STARLING CLOSES THE CAR DOOR.
HOLD. ON STARLING, WATCHING THE CHILDREN FOR A MOMENT.
THEN SHE TAKES THE CARD FROM HER POCKET AND GLANCES AT IT.
IT READS :
"DO NOT GIVE INTO ADVERSITY, DO NOT TRUST TO PROSPERITY.
BE AWARE OF FORTUNE'S HABIT--SHE WILL DO JUST AS SHE
PLEASES. NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE
KIND.
ANGLE
ON STARLING, AS SHE STARTS TO PUT THE CAR IN GEAR, PUTTING
DOWN THE NOTE. THEN SHE HESITATES, AND BEGINS TO CRY.
LOWERING HER HEAD, BEYOND HER WE SEE THE POTATOCHIP VAN,
PARKED IN THE DRIVEWAY, AND THE CHILDREN ROMPING WITH THE
GOAT.
INT PSYCHIATRIST'S OFFICE DAY.
STARLING IS TALKING TO A KINDLY OLDER WOMAN PSYCHIATRIST.
PSYCHIATRIST
...that you could ~go beyond the
institution."
STARLING
Yes.
PSYCHIATRIST
What does that mean?
STARLING
(PAUSE)
I saw a man today, a man so hideously
deformed who'll spend his life in a
hospital bbb...
PSYCHIATRIST
Yes, so you said. But what does that
mean: to go beyond The Institution.
STARLING
(TAKES A TISSUE FROM A BOX ON
THE DESK)
If he could overcome... his need for...
for self-ratification...
PSYCHIATRIST
...would you use a small word?
STARLING
For approval.
PSYCHIATRIST
What's wrong with approval?
(PAUSE)
You admired that man.
STARLING
Yes.
PSYCHIATRIST
How do you think that made him feel?
(AFTER A PAUSE. SHE CHECKS
HER NOTES)
What does that mean, "to go beyond the
institution...?"
(PAUSE)
STARLING
I told that woman I'm an orphan.
PSYCHIATRIST
...you are an orphan.
STARLING
But... but....but.... you're right. I
used it. To bargain. For her
sympathy... I used it--to "whore myself
out"--
(PAUSE)
PSYCHIATRIST
Welcome to the human race.
(STARLING SHAKES HER HEAD IN
NEGATION. PAUSE)
Do you know, there are people who admire
you? Reasonable people.
(PAUSE)
Why don't you find them...?
PAUSE. STARLING LOOKS UP, AT THE NEW CONCEPT.
INT FBI HEADQUARTERS DAY.
STARLING, WALKING DOWN A CORRIDOR. CAMERA HINGES HER TO
"BEHAVIORAL SCIENCE." SHE STICKS HER HEAD IN, AND ASKS,
OF AN AIDE:
STARLING
Y'see John Brigham...?
AIDE
...I...
CRAWFORD STICKS HIS HEAD OUT OF HIS OFFICE, HE PUTS HIS
PIPE ASIDE, AND CALLS TO STARLING... SHE COMES IN, AND HE
HOLDS UP AN X-RAY.
CRAWFORD
Look at this:
STARLING
You seen John Brigham...?
CRAWFORD
This just came in, over the transom.
Fella, works for a Plastic Surgeon,
Argentina. Look here:
STARLING
...what'm I looking at...?
CRAWFORD
A fellow with five fingers.
STARLING
...standard issue...
CRAWFORD
Not for our Doctor Lechter. This...
(HE GLANCES AT NOTES)
Purports to be an x-ray of the hand of
a ...white male...mmmm....mmmm...., after
the removal of a vestigial sixth digit.
Left Hand. It purports to be the x-ray
of Dr. L...
STARLING
Am I on that case, sir...?
(PAUSE)
CRAWFORD
No.
(PAUSE)
STARLING
Well, then--I wouldn't want to be taken
for a hobbyist...
THE AIDE COMES IN, HOLDING A PHONE.
AIDE
Agent Brigham is in the Library.
STARLING
(TO CRAWFORD)
Excuse me...
(THE AIDE AND CRAWFORD
EXCHANGE A SURPRISED LOOK)
SHE EXITS
INT LIBRARY DAY
BRIGHAM, IN THE LIBRARY, BENT OVER A LAWBOOK.
A NOTE IS SLIPPED OVER THE BOOK. IT READS, "YES, I WILL
MARRY YOU."
ANGLE
ON BRIGHAM, AS HE READS THE NOTE.
BRIGHAM
This isn't signed.
STARLING
(VO)
Hard up as you are, at your age? Whadda
you care? Surrender.
BRIGHAM
~Don't shoot, G-Men..."
STARLING SITS DOWN NEXT TO HIM. BEAMING.
BRIGHAM (cont'd)
Why?
STARLING SMILES AND STARTS TO MAKE A PERT ANSWER. SHE GETS A
BIT TEARY, AND BRIGHAM LEADS HER OUT OF THE LIBRARY.
ANGLE, A BALCONY OFF THE LIBRARY.
STARLING HANDS BRIGHAM THE CARD SHE GOT FROM VERGER.
STARLING
(AS BRIGHAM READS}
You know what, he's right. Fella: had
his life taken from him, by a maniac.
Fella. He's laying there, he'll never
get off that bed. He can't move, a
Monster...
(SHE SHAKES HER HEAD, AND
LEANS INTO BRIGHAM. TIGHT TWO
SHOT)
...a monster fed his face to the dogs.
(BEAT}
N'he said that it saved his life.
(SHE STARTS TO LAUGH)
He's spend'n his life helping Children.
How corny is that...? But, you know
what: I give up. Let's get married and
spoil a buncha Kids...
(THEY EMBRACE.)
ANGLE INT THE LIBRARY
BRIGHAM AND STARLING ENTER, AS HE GOES TO GATHER UP HIS
MATERIALS.
AN AGENT HURRIES THROUGH.
AGENT
Starling: They got a x-ray. They think,
they might have a lead on Lechter.
STARLING
Wherever he is, that's fine with me...
AGENT
They...
STARLING
Yeah, I know.
THE AGENT LOOKS AT HER WONDERINGLY, AND, THEN, AS IF SHE
HAS NOT UNDERSTOOD.
AGENT
(AS HE PRODUCES A XEROX OF AN
X-RAY)
They got a Radiologist Assistant, Buenos
Aires, guy, amputation of a Sixth
Finger...and it seems to've left a scar,
uh oh....
STARLING
That ain't my case. They assigned me,
go do some legwork, Theft of Government
Property. Tha's what I'm gonna do, and
then go home and burn the roast. How
the hell about that--I'm gonna swim with
the current, and I don't care where he
is.
AS BRIGHAM IS GATHERING HIS STUFF, HE DROPS THE CARD
STARLING GAVE HIM, ON THE FILE WHICH WAS STARLING'S. WE
READ: "NONE OF THIS IS IN YOUR CONTROL. BE HAPPY. BE
KIND." AND, AS BRIGHAM'S HANDS COME INTO THE FRAME TO
GATHER THE MATERIAL UP, WE SEE THE AUCTION HOUSE CATALOGUE,
AND THE PHOTO OF THE DRAWING, AND STARLING'S NOTES: LION
AND BIRD, MARBLE SCULPTURE __________ CEMETERY, FLORENCE,
ITALY.
INT ALITALIA AIRLINER DAY.
ANGLE INS.
AN ITALIAN PASSPORT, A DEBARKATION CARD, SEVERAL SNAPSHOTS,
SHUFFLED INTO THE GROUP, BY A MAN'S HANDS. WE SEE THE
SNAPSHOT OF PAZZI IN FRONT OF THE MASON VERGER WANTED
POSTER. SNAPS OF PAZZI, IN SWAT GEAR, ON THE RANGE AT
QUANTICO, WEARING A FBI "GIMME" HAT, A POSTCARD OF THE
LINCOLN MONUMENT, V.O. AN ITALIAN VOICE URGING ALL PASSENGERS
TO REMAIN SEATED UNTIL ET CETERA.
ANGLE INT THE CABIN OF THE AIRLINER.
THE ITALIAN STEWARDESS IS USHERING FOLKS OFF THE PLANE. WE
SEE PAZZI PUTTING ALL HIS PAPERS TOGETHER, AND HE REACHES
DOWN A FLIGHTBAG FROM THE OVERHEAD, AND JOINS THE LINE OF
EXITING PASSENGERS.
ANGLE
IN THE JETWAY, AN ARMED SOLDIER, HIS SMG SLUNG IN FRONT OF
HIM, IS READING AN ITALIAN NEWSPAPER.
AS THE JETWAY PULLS UP TO SNUGGLE WITH THE JET, THE SOLDIER
DROPS THE PAPER ONTO THE STOOL BEFORE HIM, AND COMES TO
ATTENTION.
ANGLE
IN THE PLANE, THE STEWARDESS OPENS THE DOOR, THE PASSENGERS
EXIT, SHE AND PAZZI EXCHANGE A BRIEF, WHISPERED FLIRTATION AS
HE PASSES. AS HE MOVES PAST HER, SHE GIVES A SMALL WHOOP IN
RESPONSE TO SOME CLANDESTINE CARESS OF HIS.
A WHISPERED CONFERENCE BETWEEN THE TWO.
STEWARDESS
....is that the way for a Public Official
to act?
PAZZI
(SHRUGS)
You represent Italy. Call it an
inspection...
STEWARDESS
Shouldn't that be carried out in Depth?
PAZZI
...I have to get back to my wife...
HE SHRUGS SADLY, AND MOVES PAST HER.
CAMERA TAKES PAZZI INTO THE JETWAY, WHERE WE NOW SEE TWO
PLAINCLOTHES COP TYPES, WAITING, AS PAZZI COMES THROUGH
THEY NOD TO HIM, AND THE GROUP STARTS TO EXIT OUT OF THE
SIDE WALKWAY OF THE JETWAY.
PAZZI (cont'd)
...what's up...?
ONE OF THE MEN REACHES FOR THE PAPER, WHICH THE SOLDIER HAS
DROPPED, AND TAKES IT WITH HIM.
ANGLE EXT THE JETWAY.
THE GROUP OF THREE DESCENDS ONTO THE TARMAC UNDER THE
JETWAY, WHERE THERE IS A CAR WITH A BLUELIGHT ON IT, WAITING.
THEY GET INTO THE CAR, AND ONE OF THE COPS HANDS THE PAPER
TO PAZZI.
ANGLE INT THE CAR, AS IT PROCEEDS THROUGH THE AIRPORT.
PAZZI TURNS TO THE PAGE INDICATED.
COP ONE
How was America?
PAZZI
(LOOKING AT THE PAPER)
Bad coffee, and women with excessive
ankles.
COP ONE
...nightmare.
PAZZI
What's up...?
COP ONE
(POINTING TO PAPER)
Doctore Carlo Fanelli, curator of the
Pallazo Capponi, 2 months missing.
PAZZI
Yeah, so where is he?
COP ONE
Somewhere where his family are offering
a thirty grand reward for Information, so
on.
PAZZI
They got that kind of money?
COP ONE
Their family owns...
HE SPEAKS, BUT THE NOISE OF A JET RUNNING UP WASHES OUT HIS
INFO. PAZZI'S EYES, HOWEVER, GROW WIDE.
PAZZI
Well, let's find him...
COP ONE
...buya lot of pasta for your wife.
COP TWO
She don't eat pasta, that's how come
she's so slim.
COP ONE
Heresa file onnaguy, you got a meeting,
the Palazzo Capponi, at four thirty.
PAZZI
I can't even go home and change...?
COP TWO
What'd you bring me...?
THE CAR IS STOPPED AT A BARRIER. A GUARD COMES OUT, AND THE
COP DRIVING FLASHES OFFICIAL LOOKING INFO AT HIM.
INT THE CAR.
PAZZI DISTRIBUTES TWO FBI ACADEMY HATS, TO THE TWO COPS.
THE CAR PASSES THROUGH THE BARRIER. CAMERA TRACKS WITH IT
THROUGH THE "ARRIVALS" ROUNDABOUT. AND WE SEE TWO
BILLBOARDS, THE FIRST ANNOUNCES, THE FLORENCE BALLET, WITH
APPROPRIATE DATES AND INDUCEMENTS. THE SECOND, SHOWS A
GUILLOTINE, AND ANNOUNCES: INSTRUMENTS OF ATROCIOUS
TORTURE. NOW THROUGH OCTOBER, ET CETERA.
INT THE CAR.
PAZZI
What else did I miss...?
ONE OF THE MEN GESTURES AT THE "TORTURE" POSTER.
COP ONE
Atrocious Torture. Hit of the Season,
you want, I know a guy can get you a
ticket.
PAZZI
...are they hard to get?
COP ONE
Impossible.
PAZZI
(SHAKING HIS HEAD SADLY)
...what a world.
INT PAZZI'S APARTMENT DAY.
A NICE MODERN SMALL APARTMENT. ANNA PAZZI, A VERY BEAUTIFUL
WOMAN OF AROUND THIRTY IS STANDING IN THE HALL, AS PAZZI
ENTERS.
HE BEGINS KISSING HER, AND CAMERA MOVES THEM INTO THE BEDROOM.
ANNA
What's the rush? What's the rush...?
PAZZI
Aren't you glad to see me?
ANNA
Tell me about your trip... what did you
bring me...?
HE STOPS, AND RUMMAGES IN HIS CASE, AND BRINGS OUT A
BOTTLE OF PERFUME. HE GIVES IT TO HER. SHE LOOKS
DISAPPOINTED.
ANNA (cont'd)
...and?
PAZZI
I brought you my passion and my wish that
this afternoon will be for you an
experience of ecstasy...
SHE FENDS HIM OFF.
PAZZI (cont'd)
...what?
ANNA
I can't think.
PAZZI
...you don't have to think.
ANNA
We have to talk about money...
PAZZI
I'm on the track of a reward, which...
ANNA
A reward...
PAZZI
I'm going to tell you later....
ANNA
A reward for what?
PAZZI
Some museum director disappeared.
ANNA
And?
PAZZI
They're offering...
(AS HE MOVES HER TOWARD THE
BED)
ANNA
...you haven't found him yet.
PAZZI
What is this, a whorehouse, or are you
my wife?
ANNA
You've gone off to America, on your
Vacation...
PAZZI
...I was working...
ANNA
...please...
PAZZI
I swear to you...
ANNA
...and I want to talk to you about your
promotion..
PAZZI
Yes? My promotion...?
ANNA
I want to talk to you about your salary.
Because I can't...
HE TAKES OFF HIS JACKET, HE TAKES THE PERFUME BOX FROM HER,
AND THROWS IT INTO THE OPENED SUITCASE. HE MOVES HER TOWARD
THE BED.
ANGLE
ON THE SUITCASE, WHERE WE SEE THE PERFUME HAS LANDED IN
THE VERY SCARF WHICH STARLING GAVE TO PAZZI EARLIER, ALSO IN
THE STILL-LIFE IS PAZZI'S PASSPORT CASE, OUT OF THE TOP OF
WHICH WE SEE PEEKING A BIT OF THE PHOTOGRAPH SHOWING THE
WANTED POSTER "THREE MILLION DOLLARS REWARD FOR THE
WHEREABOUTS OF THE MONSTER, HANNIBAL LECHTER."
THEY CONTINUE TO TALK, AS THE AUDIENCE READS THE INFORMATION
IN THE INSERT.
PAZZI (cont'd)
(VO)
(CONCLUDING)
I need you, y'understand, I need you...
ANNA
(VO)
...everybody needs something...
WE SEE THE LIGHT GO OUT IN THE ROOM (I. E. ON THE INSERT SHOT)
PUTTING THE ROOM INTO SEMI-DARKNESS.
EXT PALLAZZO VECCHIO DAY.
THE SEDAN WITH PAZZI AND COP ONE COMES TO A HALT.
COP ONE THROWS A POLICE PASS ON THE DASHBOARD, AND THEY GET
OUT, COP ONE HURRYING.
PAZZI
(FOLLOWING, AS HE TIES HIS TIE)
Hold up a minute...
COP ONE
You spend the afternoon in Bed?
PAZZI
First things first.
COP ONE
You take this much time over everything?
PAZZI
That's why my wife adores me.
INT PALAZZO VECCHIO, VARIOUS RECONSTRUCTION AND RENOVATION
GOING ON.
PAZZI AND COP ONE MOUNT THE STAIRS.
COP ONE
Carlo Fanelli, Dottore, missing two
months. He was the Director of the
Museum. Which, since his absence...
THEY HAVE ARRIVED ON A LANDING. VARIOUS RESTORATION CREWS
ARE AT WORK. PROFESSOR RICCI, A CONTEMPORARY OF PAZZIS,
COMES UP TO HIM.
RICCI
Ah, Pazzi. How was America...?
THEY TURN THEIR HEADS. AT THE SOUND OF SHOUTING.
ANGLE THEIR POV.
A LARGE SALON, ITS DOUBLE DOOR OPEN, AND TEN CHAIR ARRANGED
AROUND A TABLE, ALL FULL OF SEATED OLDER MEN, OF WHOM SEVERAL
ARE EXPOSTULATING WITH ANOTHER FIGURE, UNSEEN.
ANGLE ON RICCI, PAZZI, ET AL.
RICCI (cont'd)
We may need you to stop bloodshed.
PAZZI
What're they on about?
RICCI
They're grilling the applicant for the
Vacant Post.
PAZZI
Speaking of the Vacant Post.
RICCI
Dottore Fanelli...
COP
He hasn't, by any chance, wandered back
in?
AS COP ONE TALKS WITH RICCI, CAMERA GOES OVER THE SHOULDER
OF PAZZI, WHO, GINGERLY ENTERS THE SALON, TO THE SIGHT AND
SOUND OF THE OLD MEN ARGUING WITH EACH OTHER.
ANGLE, HIS POV. THE OLD MEN AT THE TABLE.
SOGLIATO, A FELLOW IN HIS SEVENTIES, IS HOLDING THE FLOOR.
SOGLIATO
Now: our applicant holds in his hand,
in his Non-Italian-Hand, a note, from
Dante Aligheri himself. Would he
recognize it, I think not...
ANOTHER OLD MAN
You want the job for your nephew.
SOGLIATO
Indeed I do. Because he is my Nephew?
No. Because he....
A THIRD OLD MAN
Let him read the note...
SOGLIATO
Yes, fine, of course he can read the
note. His Italian is admirable, for a
straniero. But is he familiar with...
ANGLE
ON THE MAN, PREVIOUSLY UNSEEN OF WHOM THEY ARE TALKING.
THE MOVEMENT OF THE POV REVEALS HIM, STANDING ALONE, BACK TO
CAMERA, BEFORE A HALF CLOTH-COVERED TAPESTRY, DRESSED IN A
MAGNIFICENT SUIT, USING HALF-GLASSES TO LOOK DOWN AT A NOTE
IN HIS HAND.
SOGLIATO (cont'd)
(VO)
The personalities of pre-Renaissance
Florence? I think not.
THE MAN (HANNIBAL LECHTER/DR. FELL) STILL SEEN FROM THE REAR--
STILL LOOKING AT THE NOTE--NODS TO INDICATE HE HAS HEARD.
ANGLE HIS POV
THE TABLE OF OLD MEN, AND BEYOND THEM, PAZZI.
RICCI APPEARS AT PAZZI'S SIDE, AND SPEAKS IN WHISPERS.
RICCI
(SOTTO)
...a Dr. Fell. A Brazilian, I think.
Applying for Fanelli's post.
PAZZI
(VACANTLY)
Brazilian.
(RICCI HANDS SOME FORMS TO PAZZI)
RICCI
It would seem.
SOGLIATO
(VO)
What if he came upon a note in, the
Capponi Library, this great Italian
Institution, which he now graces us with
his bid to Direct, a note from Guido de
Cavalcanti. Would he recognize it, I
think not.
ANGLE ON DR. FELL, STILL SEEN FROM THE REAR, AS HE TAKES A
SILK SQUARE FROM HIS BREAST POCKET, AND CLEANS HIS HALF-
GLASSES, THEN FOLDS THEM AND PUTS THEM AND THE SQUARE BACK
IN HIS POCKET.
SOGLIATO (cont'd)
(VO)
Would you care to address that, Dr.
Fell...?
BEAT. DR. FELL TURNS TO CAMERA, STILL HOLDING THE NOTE.
HE TAKES SEVERAL PACES, TO LOOK AT THE NOTE IN A SHAFT OF
SUNLIGHT.
HE IS STANDING BESIDE THE STATUE OF JUDITH AND HOLOFERNES.
HE NODS AT THE NOTE, AS IF CONFIRMING SOMETHING. THEN HE
LOOKS UP.
DR. FELL
Cavalcanti replied publicly to Dante's
first sonnet. Do you know it, Professor
Sogliato? I believe it's worth your
time: Listen to the way he makes an
instrument of the Italian vernacular,
which he called the vulgari eloquentia--
the eloquent voice of the people:
Allegro me sembrava amor tenedo/Meo core
in mano, e ne la braccia avea/Madonna
involta in un drappa dormedo/Poi la
svegliava a d'esto ardeno/Lei paventosa
umilmente pascea/Appreso gir lo ne vedea
paingendo. If Dante had written to a
Cavalcanti, it would, of course, have
been to Andrea, the most literary of his
brothers....
SOGLIATO
...why do you want this job?
DR. FELL
In the hope, that someday, I should come
across such a note. I thank you
gentleman for your kind attention, and
hope you will consider...
THE MEETING IS ABOUT TO BREAK UP, THE OLD MEN ARE RISING,
FELL HANDS BACK THE NOTE, WHICH IS ENCASED IN A PROTECTOR,
RICCI COMES FORWARD WITH PAZZI, AND BEGINS INTRODUCING HIM
TO THE COMMITTEE.
RICCI
...investigating the disappearance of
Dottore Fanelli...
PAZZI
Who, can you think, who would want to
harm Dr. Fanelli, did he have any
enemies, that...
COMMITTEE MEMBER
...I have never met a man who was so
well beloved.
PAZZI
...he was wealthy...
COMMITTEE MEMBER
He had nothing. He lived in a garret.
His work was his life, he...
PAZZI
...his family has offered a large
reward.
ANGLE ON FELL, WHO GOES TO THE PEDIMENT OF THE STATUE OF
JUDITH AND HOLOFERNES, AND PICKS UP A SMALL SKETCH BOOK,
WHICH IS OPENED AT A SKETCH OF THE STATUE, HE PUTS THE
BOOK UNDER HIS ARM. ANGLE ON PAZZI AND THE COMMITTEE
MEMBER.
COMMITTEE MEMBER
His older brother offers the reward,
Fanelli had nothing, he....
ANGLE.
PAZZI HALF TURNS HIS HEAD, TO SEE SEVERAL COMMITTEE MEMBERS
CONGRATULATING DR. FELL, WHO IS PUTTING ON HIS COAT.
COMMITTEE MEMBER (cont'd)
...will have, of course to be examined
by the Studiolo, to confirm the
appointment, but I think I can assure
you, that the Committee...
DR. FELL
...you are most kind...
ANGLE, ON PAZZI, WHO IS STILL BEING TALKED AT BY THE
COMMITTEE MEMBER.
COMMITTEE MEMBER
..who would benefit from his
disappearance? No one. No one has but
lost by it...
ANGLE
PAZZI STARTS TOWARD DR. FELL.
PAZZI
(TO THE COMMITTEE MEMBER)
...would you excuse me...?
ANGLE EXT THE SALON, ON THE LANDING, FELL IS BEING ADDRESSED
BY RICCI.
RICCI
...will have to face the Studiolo, in
their meeting next week. And I, for
one, wish you the best.
FELL SHAKES HIS HAND, AND STARTS DOWN THE STAIRCASE.
CAMERA GOES WITH HIM, WE HEAR PAZZI VO.
PAZZI
Dottore...
FELL TURNS, AND PAZZI COMES TO CATCH UP WITH HIM.
PAZZI (cont'd)
Pazzi, Rinaldo, Commendatore,
Prefatura...
FELL
Of course, Commendatore...
CAMERA TAKES THEM DOWN THE STAIRS, AS THEY TALK.
PAZZI
Could you tell me: did you ever meet
your predecessor, Dottore Fanelli...?
FELL
I never met him. I knew him only from
his writings.
PAZZI
I know that the officers who first
investigated his disappearance searched
for a note, a farewell note, a suicide
note...
FELL
...yes.
PAZZI
You have taken over his offices, is that
not so?
FELL
It is only temporary, until my
confirmation by...
PAZZI
Of course, in his offices, if you come
across anything, any personal papers of
his, anything, however trivial, would
you contact me, please... Are his
personal effects still at the Palazzo?
FELL
Yes. Packed and with an inventory.
(HE HESITATES, AND LOOKS AT
PAZZI)
PAZZI AND FELL WALK OUT OF THE MUSEUM.
ANGLE EXT THE MUSEUM.
PAZZI
I'll have them picked up.
PAZZI GESTURES TO HIS COLLEAGUE.
PAZZI (cont'd)
May we drop you?
FELL
Thank you, I am most happy to walk in
this most magnificent of cities.
FELL STARTS PULLING ON HIS GLOVES, HE HANDS HIS SKETCHBOOK
TO PAZZI FOR A MOMENT. PAZZI LOOKS DOWN.
ANGLE PAZZI'S POV
FELL'S LEFT HAND, HAS A SCAR ON THE BACK IN THE SHAPE OF A
3.
PAZZI
May I ask you a personal question, Dr.
Fell?
FELL
If your duty requires it.
PAZZI
You have a recent scar on the back of
your hand.
FELL
And you have a new wedding ring on yours?
La Vita Nuova?--
(HE SMILES.)
PAZZI
You looked oddly at me, back on the
landing.
FELL
Yes, it must be hard to be a policeman.
Is it hard? Must one, then, be
constantly suspicious?
PAZZI
Why did you look at me that way?
FELL
(SMILES)
I saw a man in disheveled clothing, but
clean. Just dressed--in the middle of
the...
FELL SHAKES HIS HEAD, ASKING TO HAVE THE QUESTION
WITHDRAWN.
PAZZI
...please...
FELL
(SHRUGS, SMILES)
I saw a man, somewhat fatigued.
Quickly dressed, a bit dishevelled. In
the middle of the day.
(SMILES)
An old story. And then I saw the
clothing was fresh--therefore: a man who
dressed at home. And then I remarked
the new wedding ring. And so: the
story gave me pause. A lovely story. A
new, and a beloved wife. I wish you joy.
(FELL STARTS TO EXIT)
PAZZI WALKS WITH HIM.
PAZZI
You assemble this, on the instant, from
these few observations?
FELL
(SHRUGS)
I'm a historian. It is our task to
assemble the seemingly unconnected into
the obvious.
PAZZI
...your scar..?
FELL
My scar is a war-wound.
PAZZI
How so?
FELL
Carpal-tunnel syndrome. From a life of
typing. Commendatore. History,
a hazardous profession.
FELL AND THEN PAZZI STOP.
FELL (cont'd)
You are a Pazzi of the Pazzim are you
not?
PAZZI
Yes. How did you know?
FELL
You resemble a figure from the Della
Robia Rondels, in your family's chapel at
Santa Croce.
PAZZI
It was Adresa de Pazzi, depicted as John
the Baptist. You have seen the chapel?
FELL
I have had the honor.
(HE BOWS AND STARTS OFF.
PAZZI GOES AFTER HIM.)
FELL TURNS TO HIM.
FELL (cont'd)
I wondered that an officer of your
exalted rank should come, so late,
into the case.
PAZZI
And? Then?
FELL
I wonder no longer. You were out of the
country.
PAZZI
How could you know?
FELL
I sense...
(HE TOUCHES HIS NOSE)
The faintest whiff of a perfume, whose
base, whose base, whose base is
"Hamamelis" ... it is witch-hazel--such
a clean scent. No, not a European scent.
I would say it is a scent of the New
World. I would say, you have been in
America. Have I struck home?
PAZZI
You know America?
FELL
...you have brought this perfume...
brought this perfume. Back. Back from
America. To your New Wife...
(HE PICKS UP HIS HAND, AND
GLANCES DOWN AT PAZZI'S
WEDDING RING.)
You have given it to her, and some of...
(HE SMILES)
Some of 'her perfume' has found its way
back onto you. Lucky man. Lucky man,
indeed.
HE BOWS, AND STARTS TO TAKE HIS LEAVE, FROM THE STARTLED
PAZZI. PAZZI COMES TO HIS SENSES, AND HANDS A CARD TO FELL.
PAZZI
Should you come across anything which...
FELL
You will be the first I call.
FELL TURNS TO LEAVE, TURNS BACK, AND TAKES HIS HAND AND,
GENTLY RUBS IT ON THE LAPEL OF PAZZI'S SUITJACKET, HE THEN,
DELICATELY, HOLDS THE HAND UNDER HIS NOSE, AND NODS, AS IF
IN AGREEMENT WITH HIMSELF.
HE NODS, AND WALKS OFF INTO A PARK.
ANGLE ON PAZZI, WHO LOOKS AFTER FELL. HE WALKS BACK TOWARD
THE CAR. HE TURNS, TO LOOK AFTER FELL, AND WE SEE HE IS
STANDING BY A LINE OF PEOPLE, A QUEUE, UNDER A BANNER WHICH
PROCLAIMS, "ATROCIOUS INSTRUMENTS OF TORTURE."
PAZZI SHAKES HIS HEAD, AS IF TO CLEAR IT, AND STARTS TOWARD
HIS CAR, WHERE COP ONE OPENS THE OOOR FOR HIM.
ANGLE
ON FELL, AS CAMERA TAKES HIM INTO THE PARK, WHICH, WE SEE,
IS A CEMETERY.
HE SITS ON A BENCH, AND TAKES OUT HIS SKETCHBOOK, AND BEGINS
TO DRAW.
ANGLE HIS POV.
A PIECE OF FUNERAY STATUARY, THE LION, HOLDING THE BIRD IN
HIS MOUTH.
ANGLE ON DR. FELL, SKETCHING. TIGHT.
HE SKETCHES, HE RAISES HIS HAND TO HIS NOSE AND INHALES, AND
NODS AGAIN.
ANGLE, FROM THE SIDE, WE NOW SEE THE STATUE AND FELL'S
DRAWING. HE IS DRAWING, NOT THE STATUE, BUT A SKETCH OF
CLARICE STARLING.
DISSOLVE TO:
EXT MARYLAND MISERICORDIA HOSPITAL DAY.
VARIOUS UNFORTUNATE PEOPLE, ENTERING THE HOSPITAL; LEAVING
THE HOSPITAL, A VAST GIANT OF A MAN, SHRUGGING HIMSELF INTO
AN ARMY FATIGUE JACKET OVER ORDERLY'S WHITES. (BARNEY)
ANGLE
STARLING, STANDING AT A BUSSTOP, READING A PAPER.
ANGLE INS.
IN THE PAPER IS SECRETED A PHOTO OF BARNEY, ON FBI XEROX
FORM, WITH HIS NAME, AND DESCRIPTION.
ANGLE
STARLING WAITS AT THE BUSSTOP. BARNEY PASSES IN FRONT OF
HER, AND CONTINUES WALKING. STARLING FOLDS THE PAPER AND
GOES AFTER HIM.
ANGLE
RUNDOWN RESIDENTIAL NEIGHBORHOOD, DAY.
BARNEY, NOW HOLDING A SMALL BAG OF GROCERIES, CROSSES THE
STREET.
WE SEE STARLING IN THE BG.
BARNEY STOPS, IN THE MIDDLE OF THE ROAD. WE SEE HE IS
LOOKING UP OVERHEAD.
ANGLE INS HIS POV.
A DOVE, CIRCLING IN THE SKY.
ANGLE XCU.
BARNEY LOOKING UP, PUZZLED, AND THEN HE LOOKS DOWN.
ANGLE HIS POV.
IN THE ROAD AHEAD, A DEAD DOVE.
BARNEY WALKS INTO THE POV, PICKS UP THE DOVE, AND WALKS TO A
SMALL RATTY VERGE OF PARK. HE PUTS THE DOVE DOWN, LOVINGLY
IN THE GRASS, AND WE WATCH, AS THE OTHER DOVE LANDS ON A
FENCE, NEARBY.
BARNEY STARTS TO WALK TOWARD THE LIVE BIRD.
ANGLE
OVER THE BIRD, ONTO BARNEY, WITH STARLING WALKING UP BEHIND
HIM.
BARNEY HESITATES, HIS BACK STILL TO STARLING.
BARNEY
Are you attracted by Death?
(PAUSE)
It is the one great mystery, is it not?
Anyone who would say otherwise must be a
hypocrite. Don't you think...?
HE TURNS FOR THE FIRST TIME AND LOOKS AT HER.
BARNEY (cont'd)
...or are you only attracted by power...
(HE CHANGES HIS TACK AND TONE.)
How are you, Agent Starling?
STARLING
Ah, Barney: you've got a good mernory.
BARNEY
You know why that is? Because there
are so few things I need to forget.
Would you agree, for the record, that I
have not been read my rights?
STARLING
I have not read you your rights.
BARNEY
Would you mind saying that into your
bag...?
STARLING STARTS TO OPEN HER BAG, AND SPEAKS INTO IT.
STARLING
I hereby acknowledge that...
BARNEY
And now I have "dociled" you, have I
not? By forcing your obedience.
STARLING
(SMILING)
Then why did you chose to inform me of
it...?
BARNEY
To show...
(PAUSE)
in my ability to squander. What one
might deem an advantage... that my
strength is greater than yours...
STARLING
Oh yeah? Wanna arm wrestle...?
BARNEY
If you'll come down the street I will
make you a cup of coffee.
INT BARNEY'S APARTMENT DAY.
AS THEY ENTER, THE APARTMENT WITH MANY DEADBOLTS. STARLING
ENTERS WARILY AND TAKES A SEAT WITH HER BACK TO THE WALL, IN
THE SMALL STUDIO.
AS BARNEY BEGINS MAKING COFFEE.
BARNEY
You almost took down Evelda Drumgo.
STARLING
Well. Word gets around.
BARNEY
...what hindered you...?
STARLING
It wasn't my day.
BARNEY
Perhaps you did not have the support
you required.
STARLING
It's a poor workman who blames his tools.
BARNEY
Or, perhaps...
STARLING
...how are things at the Hospital?
BARNEY
It's a growth business.
STARLING
What have they got you doing?
BARNEY
Orderly.
STARLING
I would have figured you an R.N. by now,
or, maybe Med School.
BARNEY
I prefer to stay in the Less Frivolous
professions.
STARLING
(TAKES OUT A NOTEBOOK)
You lasted eight years, as Orderly, in
Dr. Lechter's prison ward.
BARNEY
Yes, I presumed it was about him.
STARLING
...you...
BARNEY
I'm struck by your phraseology. I did
not last with him. I was privileged to
enjoy his company during that time.
STARLING
(GETTING DOWN TO BUSINESS, AS
SHE TAKES OUT A PENCIL.)
I'm looking for...
BARNEY
He said, and these were his words, he
valued our time together, because I was
civil.
STARLING
Did you ever think, did you think, after
he escaped, he would come after you?
BARNEY
He told me, he preferred to Eat the Rude.
Or: "natural composting." Do you think
he'd come after you...?
STARLING LOOKS OUT THE WINDOW.
ANGLE HER POV
OUT THE WINDOW, SE SEE THE DOVE CIRCLING THE DEAD DOVE ON THE
RATTY PIECE OF GRASS.
STARLING
(TURNING BACK)
What...?
BARNEY
I asked you how you like your coffee...?
We have black and bitter. As the Soul of
Man. Or light and sweet, as the world-
view of the self-delusive.
STARLING
We got a bunch of materials, coming up
at auction. Materials which disappeared
from Dr. Lechter's cell, drawings he
made, his books.
BARNEY
Yes?
STARLING
And I'd like your help, determining
who's bidding for their purchase.
BARNEY
Why me?
STARLING
Waal, because your selling'em... Two
years ago, his annotated Dictionary of
Cuisine, by Alexander Dumas, went for
sixteen thousand dollars.
Seller's affidavit of ownership, signed
Cary Panz. P.A.N.Z. Sounds to me like
an Orderly. Whadja clear on the book?
Ten, twelve grand?
BARNEY
...very good.
STARLING
Here's what they want you to do: we
want the rest of the stuff you stole from
his cell.
BARNEY
...why?
STARLING
Let's just say they got a passion for
collectibles...
BARNEY
You said "here's what they want you to
do..." Why?
STARLING
Now, whyn't you help us?
BARNEY
That would adversely impact my income.
STARLING
Not as much as being jailed for theft of
Government Property, or for failure to
pay income tax, on undisclosed income.
BARNEY
We could skip the Gavotte.
STARLING
Say it in English.
BARNEY
Lechter's not buying up his Memorabilia.
He keeps it all in his "mind," do you
see...?
STARLING
Then who's buying it?
BARNEY
(SHRUGS)
There's one or two freaks, and, for a
"Pass," I'll rat them out to you...
(HE TAKES A PENCIL, AND PUTS A
COUPLE OF NAMES IN HER BOOK,
LEANING OVER HER)
STARLING
That's the spirit...
ANGLE, BARNEY AS HE LEANS OVER, LOOMING OVER STARLING.
BARNEY
...aren't you afraid of me...?
STARLING
You want me to be?
BARNEY
I'd prefer it...
(HE FINISHES WRITING)
But it's just a vacant exercise.
HE AND STARLING FINISH THEIR COFFEE. HE BEGINS TO WALK HER
OUT.
ANGLE EXT BARNEY'S APARTMENT, AS THEY EXIT.
STARLING
A vacant exercise, why...?
BARNEY
You said "here's what they want you
to do." Aren't you part of them
anymore...? Aren't you part of the FBI?
'No Girl's Allowed,' or what? Have you
transgressed...?
STARLING
Let's keep it to business, shall we?
BARNEY
...why have they stuck you on this silly
little roust?
STARLING
...they did it for a lark.
BARNEY
Oh, Good. The ornithological
leitmotif...
HE TAKES HER OVER TO THE DEAD BIRD. HE PICKS UP THE DEAD
BIRD, AND SMOOTHS ITS FEATHERS. HE ADDRESSES THE CIRCLING
DOVE.
BARNEY (cont'd)
Off you go. You've grieved enough.
Anything more would be self-indulgence.
STARLING
(AS SHE LOOKS AT HER BOOK OF
NAMES)
Who are these guys...?
BARNEY
Rich, comic book freaks.
STARLING
And why is it a vacant exercise?
BARNEY
Because we both know who's buying the
Lechteriana.
STARLING
Who would that be.
BARNEY
(AS IF STATING THE MOST
OBVIOUS FACT.)
Mason Verger. For he cannot be free.
Dr. Lechter refashioned his body so it
mirrors his soul, what an impossible
injustice. Can you be free....?
STARLING
No, you're wrong about Verger.
BARNEY
Oh, yes. He's found Peace.
STARLING
Well, if he hasn't, I'm vastly
mistaken.
BARNEY
(PAUSES, AND LOOKS AT HER
INTENTLY)
And have you found Peace..?
(PAUSE)
ANGLE, ON BARNEY, AS HE STARTS PUTTING THE DEAD BIRD IN
HIS POCKET.
STARLING
What'll you do with the bird...?
BARNEY
Pluck it, and eat it. It was so good to
see you..
BARNEY GOES BACK INTO HIS APARTMENT BUILDING.
INT FBI HEADQUARTERS DAY.
STARLING IS COMING INTO THE READYROOM AREA, AND PASSES JOHN
BRIGHAM.
BRIGHAM
How you doin?
STARLING
M'I gonna see you tonight?
BRIGHAM
That's right.
STARLING
Then I'm doing fine.
BRIGHAM
What's new onna street?
STARLING
All Quiet Along the Potomac...
A TECHNICIAN WALKS BY AND STARLING RIPS A PAGE OUT OF HER
NOTEBOOK AND HANDS IT TO HIM.
STARLING (cont'd)
Can we run this guy down?
TECHNICIAN
Who is he?
STARLING
His job description? He's a comic book
freak.
TECHNICIAN
Whadda we want him for...?
STARLING
Insufficient Animation. Just get me his
vital signs, will you...?
(TO BRIGHAM)
Catcha later...
(SHE WALKS ON.)
ANGLE INS.
THE X-RAY MARKED HANNIBAL LECHTER. NEXT TO IT, A SKETCH
OF THE BACK OF THE HAND, WITH A SCAR, IN THE SHAPE OF A
NUMERAL 3 ON IT.
A TECHNICIAN IS DISCUSSING THE MATERIALS WITH CRAWFORD.