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H A N N I B A L

                                    

                            Screenplay
                                by
                          Steven Zaillian



                                  
                         Based on the Novel
                                by
                           Thomas Harris


                                 

                                 

                                 

                                 

     Revision
     February 9, 2000












     INT. PANEL VAN - DAY

     Clarice Starling is dead, laid out in fatigues across a bench
     in the back of a ratty, rattling undercover van.  Three other
     agents sit perched on the opposite bench, staring at her
     lifeless body.

                          BURKE
               How can she sleep at a time like this?

                          BRIGHAM
               She's on a jump-out squad all night;
               she's saving her strength.

     INT. UNDERGROUND GARAGE - DAY

     Gray cement walls blur past as the panel van descends a
     circular ramp to a lower level.  As it straightens out, the
     view through the windshield reveals a gathering of men and
     vehicles - marked and unmarked DC police cars - and two black
     SWAT vans.

     The panel van - with Marcell's Crab House painted on its
     sides - pulls to a stop.  The back doors open from the inside
     and Starling is the first one out - well-rested and alert -
     hoisting down her equipment bag.

     One of the DC policemen, the one whose girth and manner
     say he's in charge, watches the woman by the van slip into a
     Kevlar vest, drop a Colt .45 into a shoulder holster, and a
     .38 into an ankle holster.  She straightens up, approaches
     the men and lays a street plan across the hood of one of
     their cars.

                          STARLING
               All right, everyone, pay attention.
               Here's the layout -

                          BOLTON
               Excuse me, I'm Officer Bolton, DC Police.

                          STARLING
               Yes, I can see that from your uniform
               and badge, how do you do?

                          BOLTON
               I'm in charge here.

     Starling studies him a moment.  He sniffs as if that might
     help confirm his weighty position.

                          STARLING
               You are?

                          BOLTON
               Yes, ma'am.

     Starling's glance finds Brigham's.  His says, Just let it
     go.  Hers says back, I can't.

                          STARLING
               Officer Bolton, I'm Special Agent
               Starling, and just so we don't get off
               on the wrong foot, let me explain why
               we're all here.

     Brigham shakes his head to himself in weary anticipation of
     her 'explanation.'

                          STARLING
               I'm here because I know Evelda Drumgo,
               I've arrested her twice on RICO warrants,
               I know how she thinks.  DEA and BATF, in
               addition to backing me up, are here for
               the drugs and weapons.  You're here, and
               it's the only reason you're here, because
               our mayor wants to appear tough on drugs,
               especially after his own cocaine
               conviction, and thinks he can accomplish
               that by the mere fact of having you tag
               along with us.

     Silence as the gathering of agents and policemen stare at her
     and Bolton.

                          BOLTON
               You got a smart mouth, lady.

                          STARLING
               Officer, if you wouldn't mind, I'd
               appreciate it if you took a step or two
               back, you're in my light.

     Bolton takes his time, but eventually backs away a step.

                          STARLING
               Thank you.  All right.
                   (re: the street plan)
               The fish market backs on the water.
               Across the street, ground floor, is the
               meth lab --

     EXT. FISH MARKET AND STREETS - DAY

     The Macarena blares from a boom box.  Snappers, artfully
     arranged in schools on ice, stare up blankly.  Crabs scratch
     at their crates.  Lobsters climb over one another in tanks.

     One of the black SWAT vans turns down a side street.  The
     other takes an alley.  The Marcell's Crab House van continues
     straight along Parcell Street.

     INT. PANEL VAN - DAY

     A 150-pound block of dry ice tries to cool down the heat
     from all the bodies in the van - Starling and Brigham, the
     two other agents, Burke and Hare, and her new best friend,
     Officer Bolton.  As they drive along, Bolton watches as she
     takes several pairs of surgical gloves from her equipment
     bag, slips one pair on, and hands the rest to the others, the
     last pair offered to him.

                          STARLING
               Drumgo's HIV positive and she will spit
               and bite if she's cornered, so you might
               want to put these on.
                   (Bolton takes the gloves and
                    puts them on)
               And if you happen to be the one who
               puts her in a patrol car in front of the
               cameras, and I have a feeling you will
               be, you don't want to push her head down,
               she'll likely have a needle in her hair.

     EXT. FISH MARKET AREA - DAY

     The swat vans pull into position, one to the side of the
     building across from the fish market, the other around back.
     As the battered van pulls to the curb in front, a mint low-
     rider Impala convertible, stereo thumping, cruises past.

     INT. PANEL VAN - DAY

     The thumping fades, leaving the Macarena filtering in.
     Starling pulls the cover off the eyepiece of a periscope
     bolted to the ceiling of the van and makes a full rotation
     of the objective lens concealed in the roof ventilator, catching
     glimpses of:

     A man with big forearms cutting up a mako shark with a
     curved knife, hosing the big fish down with a powerful hand-
     held spray.

     Young men idling on a corner in front of a bar.  Others
     lounging in parked cars, talking.  Some children playing by
     a burning mattress on the sidewalk; others in the rainbow
     spray from the fishmonger's hose.

     The building across from the fish market with the metal door
     above concrete steps.  It opens.

                          STARLING
               Heads up.

     A large white man in a luau shirt and sandals comes out
     with a satchel across his chest, other hand behind the case.
     A wiry black man comes out the door behind him, carrying a
     raincoat, and behind him, Evelda Drumgo.

                          STARLING
               It's her.  Behind two guys.  Both
               packing.

                          BRIGHAM
                   (into a radio)
               Strike One to all units.  Showdown.
               She's out front, we're moving.

     Starling and the others put on their helmets.  Brigham racks
     the slide of his riot gun.  The back doors opena and Starling
     is the first one out, barking -

                          STARLING
               Down on the ground!  Down on the ground!

     No one gets down on the ground - not Evelda Drumgo, not her
     men, none of the merchants or bystanders.  The Macarena keeps
     blaring.

     Drumgo turns and Starling sees the baby in the blanketed
     sling around her neck.  She can also hear the roar of a big
     V8 and hopes it's her backup.

     Drumgo turns slightly and the baby blanket flutters as the
     MAC 10 under it fires, shattering Brigham's face shield.  As
     he goes down, Hawaiian Shirt drops his satchel and fires a
     shotgun, blowing out the car window next to Burke.

     Gunshots from the V8, a Crip gunship, a Cadillac, coming
     toward Starling.  Two shooters, Cheyenne-style in the rolled-
     down window frames, spraying automatic fire over the top.

     Starling dives behind two parked cars.  Hare and Bolton
     fire from behind another.  Auto glass shatters and clangs on
     the ground.

     Everyone in the market scrambling for cover, finally hitting
     the fish-bloodied cement.  The Macarena still blasting.

     Pinned down, Starling watches the wiry black man drop back
     against the building, Drumgo picks up the satchel, the gunship
     slowing enough for someone to pull her in.

     Starling stands and fires several shots, taking out Hawaiian
     Shirt, the other man by the building, the driver of the accel-
     erating Cadillac, one of the men perched on the window frames
     - drops the magazine out of her .45 slams another in
     before the empty hits the ground.

     The Cadillac goes out of control, sideswiping a line of
     cars, grinds to a stop against them.  Starling moving toward
     it now, following the sight of her gun.  A shooter still
     sitting in a window frame, alive but trapped, chest
     compressed between the Cadillac and a parked car.  Gunfire
     from somewhere behind Starling hits him and shatters the rear
     window.

                          STARLING
               Hold it!  Hold your fire!  Watch the door
               behind me!  Evelda!

     The firing stops but the pounding of The Macarena doesn't.

                          STARLING
               Evelda!  Put your hands out the window!

     Nothing for a moment.  Then Drumgo emerges from the car, head
     down, hands buried in the blanket-sling, cradling the crying
     baby.

                          STARLING
               Show me your hands!
                   (Evelda doesn't)
               Please!  Show me your hands!

     Evelda looks up at her finally, fondly it seems, doesn't show
     her hands.

                          DRUMGO
               Is that you, Starling?

                          STARLING
               Show me your hands!

                          DRUMGO
               How you been?

                          STARLING
               Don't do this!

                          DRUMGO
               Do what?

     She smiles sweetly.  The blanket flutters.  Starling falls.
     Fires high enough to miss the baby.  Hits Drumgo in the neck.
     She goes down.

     Starling crawling in the street, the wind knocked out of
     her from the hits to her chest, to her vest.  Reaches Drumgo,
     blood gushing out of her onto the baby.  She pulls out a
     knife.  Cuts the harness straps.  Runs with the baby to the
     merchant stalls as enterprising tourists click shots from the
     ground with disposable cameras.

     Starling sweeps away knives and fish guts from a cutting
     table.  Lays the baby down.  Strips it.  Grabs the handheld
     sprayer and washes at the slick coating of HIV positive blood
     covering the baby, a shark's head staring, Macarena pounding,
     disposable cameras clicking, the river of bloody water
     running along a gutter to where Brigham lies dead.

     EXT. ARLINGTON CEMETERY - DAY

     Gray sky.  Rain coming down.  A large gathering, many in
     uniform, standing in wet grass around an open grave, the rain
     spilling off the rims of their umbrellas.

     A casket is being lowered in.  Starling watches as it
     decends, watches the gears of the hoist working and the box
     disappearing beneath the edge of the muddy hole, not allowing
     herself to cry, or to meet the eyes of certain other mourners
     watching her.

     EXT. ARLINGTON CEMETERY - LATER - DAY

     Long line of parked cars, some marked, most not, many with
     government plates.  Smoke plumes from the exhaust of the one
     idling nearest, a Crown Victoria.

     Inside the car, Starling sits in the front passenger seat
     with a cardboard box on her lap, a middle-aged man in Marine
     dress blues beside her at the wheel.  The wipers slap back
     and forth.

                          HAWKINS
               You like to think when it's over your
               things would fill more than one cardboard
               box.

     Starling touches the things in the box:  a BATF badge, a
     couple of laminated clip-on ID cards with Brigham's face on
     them, a medal, a pen set, a compass paper-weight, two guns
     and a framed desk photo of a dog.

                          HAWKINS
               John's parents don't want it.  Any of
               it.  Except the dog.  Don't want to be
               reminded.

                          STARLING
               I want to be reminded.

                          HAWKINS
               I figured.  He was your last compadre on
               the street, wasn't he.

                          STARLING
               My last compadre.

     He sits watching her touch the things, and will continue to
     do so as long as she wants.  Eventually, she folds down the
     cardboard flaps.  Hawkins looks up ahead -

                          HAWKINS
               All they'll get with tinted windows is
               pictures of themselves, but it won't stop
               them from trying.  You ready?

     She is.  He pulls away from the curb.  A handful of wet
     photographers appears in the windshield's view up ahead.  As
     the car passes, their cameras swing around to point at
     Starling's side of it and flash like stars.

     INT. CONFERENCE ROOM - FBI DC FIELD OFFICE - DAY

     The words "Fidelity, Bravery, Integrity" skew as a glass
     door opens.  Starling comes in to find several men awaiting
     her, all balanced on Florsheim wingtips and tasseled Thom
     McAn loafers.

                          PEARSALL
               Agent Starling, this is John Eldredge
               from DEA; Assistant Director Noonan, of
               course you know; Larkin Wayne, from our
               Office of Professional Responsibility;
               Bob Sneed, BATF; Benny Holcome, Assistant
               to the Mayor; and Paul Krendler - you
               know Paul.  Paul's come over from Justice
               - unofficially - as a favor to us.  In
               other words, he's here and he's not here.

     A couple of the men bobbed their heads at the mention of
     their names; none offered his hand.  Starling sits a thin
     manila folder on her lap.  A silence stretches out as each
     man regards her.  Finally -

                          SNEED
               I take it you've seen the coverage in
               the papers and on television.
                   (nothing from Starling)
               Agent Starling?

                          STARLING
               I have nothing to do with the news, Mr.
               Sneed.

                          SNEED
               The woman had a baby in her arms.  There
               are pictures.  You can see the problem.

                          STARLING
               Not in her arms, in a sling across her
               chest.  In her arms, she had a MAC 10.
               Mr. Pearsall?  This is a friendly
               meeting, right?

                          PEARSALL
               Absolutely.

                          STARLING
               Then why is Mr. Sneed wearing a wire?

     Pearsall glances to Sneed and his tie clasp.  Sneed sighs.

                          SNEED
               We're here to help you, Starling.
               That's going to be harder to do with a
               combative attitude like -

                          STARLING
               Help me what?  Your agency called this
               office and got me assigned to help you on
               the raid.  I gave Drumgo a chance - two
               chances - to surrender.  She didn't.  She
               fired.  She shot John Brigham.  She shot
               at me.  And I shot her.  In that order.
               You might want to check your counter
               right there, where I admit it.

     A silence before the man from the Mayor's Office speaks up -

                          HOLCOME
               Ms. Starling, did you make some kind
               of inflammatory remark about Ms. Drumgo
               in the van on the way?

                          STARLING
               Is that what your Officer Bolton is
               saying?
                   (he chooses not to say)
               I explained to him, and the others in
               the van, that Drumgo was HIV positive and
               would think nothing of infecting them,
               and me, any way she could given the
               chance.  If that's inflamma -

                          HOLCOME
               Did you also say to him at one point
               that a splash of Canoe is not the same
               as a shower?
                   (she doesn't answer)
               Did Officer Bolton smell bad to you?

                          STARLING
               Incompetence smells bad to me.

                          HOLCOME
               You shot five people out there, Agent
               Starling.  That may be some kind of
               record.  Is that how you define
               competence?

     A beeper goes off.  Every one of the men checks the little
     box on his belt.  It's Noonan's.  He excuses himself from the
     room.

                          STARLING
               Can I speak freely, Mr. Pearsall?
                   (he nods)
               This raid was an ugly mess.  I ended
               up in a position where I had a choice of
               dying, or shooting a woman carrying a
               child.  I chose.  I shot her -

     FLASHCUT to Drumgo - hit in the neck by Starling's bullet -
     silently falling to the ground -

                          STARLING
               I killed a mother holding her child.
               The lower animals don't do that.  And I
               regret it.  I resent myself for it.  But
               I resent you, too - whichever of you
               thinks that by attacking me, bad press
               will go away.  That Waco will go away.  A
               mayor's drug habit.  All of it.

     FLASHCUT to Drumgo, lying dead in the road, then back here
     again to Starling, "watching" her in silence.

     Noonan pokes his head in, gestures to Pearsall to join him
     in the anteroom.  Krendler invites himself along.  Sneed and
     Holcome get up and stare out the window.  Eldredge paces, his
     wingtips soundlessy dragging on the carpet.

                          WAYNE
               I know you haven't had a chance to write
               your 302 yet, Starling, but -

                          STARLING
               I have, sir.  A copy's on its way to
               your office.  I also have a copy with me
               if you want to review it now.  Everything
               I did and saw.

     She hands it to him.  He begins leafing through it.
     Pearsall and Krendler reappear -

                          PEARSALL
               Assistant Director Noonan is on his way
               back to his office, Gentlemen.  I'm going
               to call a halt to this meeting and get
               back to you individually by phone.

     Sneed cocks his head like a confused dog.

                          SNEED
               We've got to decide some things here.

                          PEARSALL
               No, we don't.

                          SNEED
               Clint -

                          PEARSALL
               Bob, believe me, we don't have to decide
               anything right this second.  I said I'll
               get back to you.
                   (Pearsall's look to Starling
                    says she's free to leave; she
                    gets up)
               And, Bob?

     Pearsall grabs the wire behind Sneed's tie and pulls it down
     hard, the adhesive tape taking some chest hair along with it -
     judging from the grimace - as it comes away from his skin.

                          PEARSALL
               You ever come in here wired again, I'll
               stick it up your ass.

     INT. HALL OUTSIDE - MOMENTS LATER

     Krendler - the only man who didn't speak in the meeting -
     idles outside.  As Starling approaches -

                          KRENDLER
               That was no free lunch, Starling.
               I'll call you.

     She keeps going.  He admires the back of her legs.

     EXT. COUNTRY CLUB - MIAMI - DAY

     Jack Crawford misses a 20-foot putt by inches.

                          GOLF PAL
               Oh ... bad luck, Jack.

     Crawford stares at the missed shot.  Then spikes across the
     18th green, taps it in, and groans the way anyone over forty
     does as he bends down to retrieve it.

     Pocketing it he turns, sees Starling standing outside the
     club house.  She waves, bending just a couple of fingers, and
     he smiles, pleased, but not surprised to see her.

     EXT. MIAMI - DAY

     Crawford and Starling driving in his car, the clubs in the
     back seat.  Palm trees float by.

                          STARLING
               What's your handicap?

                          CRAWFORD
               My handicap is I can't play golf.

                          STARLING
               Maybe better clubs would help.

                          CRAWFORD
               I play with the best clubs money can buy.
               It's not the clubs, it's a woeful lack of
               talent.

                          STARLING
               Or interest.

     He nods - yeah, that's the real problem with it - turns onto
     another street.

                          CRAWFORD
               Were my flowers at John's service okay?
               Lot of times, flowers by wire, you never
               know.

                          STARLING
               They were canary daffodils.
                   (he groans)
               I put your name on my flowers.

                          CRAWFORD
               Thank you.

                          STARLING
               Thank you.  For the call.  At the
               Inquisition.  I don't know what you said
               to them, but it worked.

                          CRAWFORD
               Don't thank me too quickly.

     EXT. MIAMI - DAY

     Downtown.  Skyscrapers.

     INT. BUILDING - DAY

     Frameless glass doors in a sleek office building, etched:
     Allied Security, Threat Assessment, Miami, Los Angeles, Rio
     de Janeiro.  Crawford holds one open for Starling and
     follows her into a handsome reception area.

                          RECEPTIONIST
               How was it?  Better today?

                          CRAWFORD
               The clubs are in the dumpster downstairs
               if anyone wants them.

     He leads Starling deeper into the place, past pairs of men
     in nice suits conferring in the doorway of a kitchenette and
     over by a long bank of filing cabinets.  Male and female
     secretaries move about.

                          CRAWFORD
               Nice, huh?  This could all be yours,
               Starling.  I can get you a PI ticket in
               Florida tomorrow, you can chase insurance
               scams, extortion against the cruise
               lines, put down the gun and have some fun
               with me.

     Crawford accepts a handful of pink phone-message slips as
     they come past his secretary's desk, holds another door open
     and Starling steps into his office.

                          STARLING
               Tempting.

                          CRAWFORD
               Just wait.

     The door closing softly behind her says, "expensive
     hardware."

     INT. CRAWFORD'S OFFICE - DAY

     They sit, Crawford behind his mahogany desk, Starling in a
     comfortable chair.  As he rifles through the phone
     messages -

                          CRAWFORD
               The call I made wasn't to Assistant
               Director Noonan.  Whoever called him, I
               don't know.  I called Mason Verger.

     He lets the name sink in, lets her dive for it, try to
     place it.  She can't.  It's familiar but doesn't connect to
     anything stable.

                          CRAWFORD
               Lecter's fourth victim, Starling.
               The one who lived, if you can call it
               living.  The rich one.

     He slides over a couple of photographs of a young man with a
     kind, trusting face.  Now she remembers him.

                          CRAWFORD
               I told Mason I wanted you off the
               street.  I told him what I told you when
               I left the Bureau, "You go out with a gun
               enough times, you will be killed by one."
               I told him I want you where you belong,
               in Behavioral Science.  Know what he said?

                          STARLING
               He can speak?

                          CRAWFORD
               It's about the only thing he can do.
               He said, after a very long pause, "Oh,
               what a good idea, Jack."
                   (Crawford tries to smile)
               Who he called, I don't know.  Someone
               higher up than anyone in that room with
               you.  Maybe Representative Vollmer, who
               Mason may not own, but does rent from
               time to time.

     Silence as Starling tries to take it all in.  She looks up
     with a question forming in her mind, and Crawford nods before
     she can say it.  Very matter of fact -

                          CRAWFORD
               Yeah, that's right, it means going back
               on the Lecter case.

     He busies himself with the phone messages again, arranging
     them in little, prioritized piles on his desk, as if perhaps
     this conversation is about nothing more important than a
     simple missing person case.

                          STARLING
               What if I said to you I'd rather not
               do that?  What if I said to you I prefer
               the street?

                          CRAWFORD
               You think this is a cheap deal?  What
               you were getting was a cheap deal.  What
               they say about federal examiners is true:
               they arrive after the battle and bayonet
               the wounded.  You're not safe on the
               street anymore.

     Starling takes another look at the photographs of Verger.

                          STARLING
               Has something happened on the case?

                          CRAWFORD
               Has Lecter killed anybody lately?  I
               wouldn't know, I'm retired from all that.
               Mason doesn't know either, but he does
               apparently have some new information -
               which he'll only share with you.

     They consider one another for a long moment.  Finally -

                          CRAWFORD
               He's not pretty, Starling.  And I don't
               just mean his face.

     EXT. MARYLAND - DAY

     Bare trees.  Overcast sky.  Starling's Mustang growling along
     the rain-slicked expressway.

     INT. MUSTANG - MOVING - DAY

     A Maryland state map spread out across the passenger seat.
     Starling's eyes darting back and forth between the black and
     red route-veins and the shrouded countryside out beyond the
     slapping wiper blades.

     An exit sign - and the exit itself - looms suddenly and
     rushes across the right side of her windshield.  She curses
     to herself.  It's the exit she wanted, but now it's gone,
     shrinking in her rearview mirror into the mist.

     EXT. THE VERGER ESTATE - DAY

     Coming back the other way along a service road, Starling
     slows to consider a chain-link gate stretched across a muddy
     road, then continues on.

     At the gate house of the main entrance, a security guard
     checks her name against a list.  He seems reluctant to get
     himself or his clipboard wet, but not her identification,
     handing it out past the edge of his umbrella to her.

     The Mustang negotiates a long circuitous drive, taking her
     deeper and deeper into vast forest land.  Eventually, though,
     a good mile from the gate house behind her, the trees give
     way to a clearing, and she sees the big Stanford White-
     designed mansion emerging from the mist up ahead.

     A man waits under an umbrella out front, indicates to her
     where to park - anywhere, one should think - there's enough
     space for fifty cars - then comes around to the driver's side
     and opens the door.

                          CORDELL
               Ms. Starling.  Hi.  I'm Cordell.  Mr.
               Verger's private physician.

                          STARLING
               How do you do?

     She gathers her things out from under the map:  file folder,
     micro-cassette recorder, extra tapes and batteries.  He helps
     her out, then presses up against her to help maximize the
     umbrella's effectiveness.

                          CORDELL
               Shall we make a run for it?

     As they hurry toward the porch - if it can be called a
     porch, as grand an entrance as a king's, or English rock
     star's manor - Starling notices the building's one modern
     wing, sticking out like an extra limb attached in some
     grotesque medical experiment.

     INT. VERGER'S MANSION - DAY

     They cross through a living room larger than most houses,
     then down a hall, their shoes moving along a Moroccan runner,
     sleeves past portraits of important-looking dead people.

     As they cross a threshold there's an abrupt shear in style:
     the rich carpet giving way to polished institutional floors,
     the portrait-lined walls to shiny white enamel.

     Cordell reaches for the handle of a closed door in the new
     wing, and Starling notices line of lights appear around the
     jamb where there were none.

     As the door opens, she squints.  Two small photographer's
     spots on stands pitch narrow beams of light into her face and
     seem to follow her progress into the room.

                          CORDELL
                   (a whisper)
               One's eyes adjust to the darkness.
               This way is better.

     He leads her to a sitting area where a print of William
     Blake's "The Ancient of Days" hangs above a large aquarium
     divided in two by a wall of glass - an ell gliding around on
     one side, a fish on the other.  A bank of security monitors
     completes the decor.  To the spotlight -

                          CORDELL
               Mr. Verger, Ms. Starling is here.

     The light stands flank a hospital bed, the beams effectively
     camouflaging the figure on it in their glare.

                          STARLING
               Good morning, Mr. Verger.

                          MASON
               Cordell, do you address a judge as Mr?

     The voice is steady and resonant.  An "educated" voice, not
     unlike Lecter's.  Before Cordell can answer him -

                          MASON
               Agent Starling is her proper title,
               not "Ms."

                          CORDELL
               Agent Starling.

                          MASON
               Correct.  Good morning, Agent Starling.
               Have a seat.  Make yourself comfortable.

                          STARLING
               Thank you.

     Starling sits with her things.  Snaps open the little door of
     her cassette recorder to verify there's a tape inside.

                          MASON
               Was that a Mustang I heard out there?

                          STARLING
               Yes, it was.

                          MASON
               Five-liter?

                          STARLING
               '88 Stroker.

                          MASON
               Fast.

                          STARLING
               Yes.

                          MASON
               Where'd you get it?

                          STARLING
               Dope auction.

                          MASON
               Very good.

                          STARLING
               Mr. Verger, the discussion we're going
               to have is in the nature of a deposition.
               I'll need to tape record it if that's all
               right with you.

                          MASON
               Cordell, I think you can leave us now.

                          CORDELL
               I thought I might stay.  Perhaps I could
               be useful if -

                          MASON
               You could be useful seeing about my
               lunch.

     Starling gets up, but not to see him out.  Once he's gone -

                          STARLING
               I'd like to attach this microphone to
               your - clothing, or pillow - if you're
               comfortable with that.

                          MASON
               By all means.

     She walks slowly toward the bed, or rather to the lights,
     uncertain exactly what position Verger may be in - on his
     back, his side; she has no way of knowing.

                          MASON
               Here, this should make it easier.

     A finger like a pale spider crab moves along the sheet and
     depresses a button.  The lights suddenly extinguish and
     Starling's pupils dilate.  As her eyes adjust to the darkness
     Verger's face materializes in it like something dead rising
     up through dark water:

     Face is the wrong word.  He was no face to speak of.  No
     skin, at least.  Teeth he has.  He looks like some kind of
     creature that resides in the lowest depths of the sea.

     She doesn't flinch.  Maybe the hand with the microsphone
     recoils an inch or two, but that's it.  She clips it to the
     flannel lapel of his pajamas, drapes the skinny cord over the
     side of the pillow and sets the recorder on the medical table
     next to the bed.

                          MASON
               You know, I thank God for what happened.
               It was my salvation.  Have you accepted
               Jesus, Agent Starling?  Do you have
               faith?

                          STARLING
               I was raised Lutheran.

                          MASON
               That's not what I asked -

                          STARLING
               This is Special Agent Clarice Starling,
               FBI number 5143690, deposing Mason R.
               Verger, Social Security number -

                          MASON
               - 475-98-9823 -

                          STARLING
               - at his home on the date stamped above,
               sworn and attested.
                   (she drags over a chair)
               Mr. Verger, you claim to have -

                          MASON
               I want to tell you about summer camp.
               It was a wonderful childhood experience -

                          STARLING
               We can get to that later.  The -

                          MASON
               We can get to it now.  You see, it all
               comes to bear, it's where I met Jesus and
               I'll never tell you anything more impor-
               tant than that.  It was a Christian camp
               my father paid for.  Paid for the whole
               thing, all 125 campers on Lake Michigan.
               Many of them were unfortunate, cast-off
               little boys and girls would do anything
               for a candy bar.  Maybe I took advantage
               of that.  Maybe I was rough with them -

                          STARLING
               Mr. Verger, I don't need to know about
               the sex offenses.  I just -

                          MASON
               It's all right.  I have immunity, so
               it's all right now.  I have immunity from
               the U.S. Attorney.  I have immunity from
               the D.A. in Owings Mills.  I have
               immunity from the Risen Jesus and nobody
               beats the Riz.

                          STARLING
               What I'd like to know is if you'd ever
               seen Dr. Lecter before the court assigned
               you to him for therapy?

                          MASON
               You mean - socially?
                   (laughs)

                          STARLING
               That is what I mean, yes.  Weren't you
               both on the board of the Baltimore Phil-
               harmonic?

                          MASON
               Oh, no, my seat was just because my
               family contributed.  I sent my lawyer
               when there was a vote.

                          STARLING
               Then I'm not sure I understand how he
               ended up at your house that night, if
               you don't mind talking about it.

                          MASON
               Not at all.  I'm not ashamed.

                          STARLING
               I didn't say you should be.

                          MASON
               I invited him, of course.  He was too
               professional to just sort of "drop in."
               I answered the door in my nicest come-
               hither leather outfit.

     FLASHCUT of the door opening, revealing Verger, in his
     leather gear, his face young and pretty.

                          MASON
               I was concerned he'd be afraid of me,
               but he didn't seem to be.  Afraid of me;
               that's funny now.

     FLASHCUT of Verger leading Lecter upstairs, each with a glass
     of wine in hand.

                          MASON
               I showed him my toys, my noose set-up
               among other things - where you sort of
               hang yourself but not really.  It feels
               good while you - you know.

     FLASHCUT to some dogs watching Verger with the noose around
     his neck, and Lecter offering him some amyl nitrite.

                          MASON
               Anyway - he said, Would you like a
               popper, Mason?  I said, Would I.  And
               whoa, once that kicked in I knew it was
               more than simple amyl, it was some kind
               of custom meth-angel-acid highball.
               Lovely.  I was flying -

     FLASHBACK to Mason's image in a full-length mirror shattering
     as Lecter kicks it.

                          MASON'S VOICE
               The good doctor came over with a piece
               of broken mirror.  Mason, he said -

                          LECTER
               - show me how you smile to get the
               confidence of a child.

     Lecter holds a shard of mirror glass in front of him.

                          LECTER
               Uh-huh.  Do you ever smile?  Oh, I see
               how you do it.
               Now Mason, let's say you had to hide
               that kindly, fictitious mask?  How would
               you do it?

     Verger tries to look serious, or mean, but his features are
     just too sweet, even with a noose around his neck.

                          LECTER
               No, I still see it.  Try again.
                   (Verger tries again)
               No.  No, I'm afraid not.  Try this.
                   (hands him the glass)
               Try peeling off your face with this and
               feeding it to the dogs.

     As Verger lifts the broken glass to his face -

     BACK TO the faceless Verger in the bed, his claw of a hand
     gripping invisible glass -

                          MASON
               Well, you know the rest.
                   (shrugs)
               Seemed like a good idea at the time.

     Starling looks like someone who has just received much more
     information than she ever needed or wanted.  Cordell comes in
     quietly with Verger's lunch on a rolling cart, and trying not
     to interrupt, arranges the silverware and pours some water.

                          STARLING
               Mr. Verger, you -

                          MASON
               Are you shocked, Agent S?

                          STARLING
               You indicated to -
                   (her eyes dart to the tape, and
                    his follow them)
               - to my office - that you've received
               some kind of new information.

                          MASON
               Look in the drawer of the end table.

     Starling takes out a pair of thin cotton gloves and puts
     them on.  In the drawer she finds a large manila envelope and
     in it, an x-ray of an arm.

                          STARLING
               Where did this come from?

                          MASON
               Buenos Aires.  I received it two weeks
               ago.

                          STARLING
               Where's the package it came in?

                          MASON
               The package it came in... good question.
               I don't know.  There was nothing written
               on it of interest.  Did I throw it out?

     Starling smells a rat, but keeps it to herself.  Takes a
     closer look at the x-ray while Cordell busies himself climb-
     ing a step ladder next to the aquarium.

                          MASON
               Think it will help?  I hope so.  I hope
               it'll help you catch him, if for no other
               reason than to heal the stigma of your
               recent dishonor.

     She switches off the tape recorder.

                          STARLING
               Thank you, that's all I -

                          MASON
               Did you feel some rapport with Dr.
               Lecter in your talks at the asylum?
               I know I did while I was peeling.

                          STARLING
               We exchanged information in a civil way.

                          MASON
               But always through the glass.

                          STARLING
               Yes.

                          MASON
               The eel and fish become accustomed to
               each other through the glass.  They're
               even company for one another.

     Cordell's gloved hand grips the snapper and transfers it to
     the other side of the aquarium, where the eel at once rips a
     piece out of it.  Starling tries to ignore it and reaches to
     unclip the microphone from Verger's pajames lapel.

                          MASON
               Isn't it funny?

     Nothing is particularly funny to her right now.

                          STARLING
               What's that?

                          MASON
               You can look at my face, but you shied
               when I said the name of God.

     INT. EVIDENCE STORAGE - QUANTICO - DAY

     A clerk is cataloging strange items from another case as
     Starling inspects what he brought her on Lecter.  There's not
     much there.  One cardboard box-worth, some files, video tape.

                          CLERK
               Not finding what you want?

                          STARLING
               Are you sure this is all of it?

                          CLERK
               That's all of it now.  There used to be
               more, but it's been picked over little by
               little over the years.  It's worth a lot
               of money in certain circles.  Like the
               cocaine that disappears around here.
               Little by little.

     INT. BASEMENT - BEHAVIORAL SCIENCE - DAY

     The room Starling's been given to work out of used to be
     the department's basement darkroom.  There's almost nothing
     in it now.  Couple of old enlargers, chemical trays, an ugly
     rented couch, a metal desk, a computer, and a blackboard on
     wheels she has chalked with the headings "Lecter" and
     "Verger," a few scribbled notes under each name.

     She's taken the video tape from the paltry contents of the
     evidence box and puts in in a VCR.  In a moment, a scene in
     black and white, captured by a security camera at the
     Baltimore State Hospital for the Criminally Insane, plays out
     in silence:

     Lecter wired up for an EKG.  A female nurse getting too
     close.  Lecter attacking her.  Biting her.  A black orderly
     rushing in and roughly subduing him, breaking his arm in the
     process, then attending to the fallen nurse.

     INT. BASEMENT - BEHAVIORAL SCIENCE - LATER

     A cursor blinks in a search panel.  Starling types in
     "Hannibal Lecter," enters it and waits.

     The laptop screen fills with a listing of sites, the first
     20 of 611,046, according to the engine.  A banner to one side
     offers, "Amazon.com ... Hannibal Lec ... Save up to 50% ...
     Shop-4-Pokemon."

     One of the listings is the FBI's own consumer site, others
     refer to published articles by and about Lecter, but most
     have names like, "Hannibal's Chamber of Horrors," and
     "Fava Beans Anyone?"

     Starling scrolls down to the bottom query panel to narrow
     her search.  Adds, "memorabilia," and hits Enter.  The screen
     fills with another listing of sites, like, "Kenny's Trading
     Post," and, "World Wide Collectibles," with brief
     descriptions of some of the wares offered:

     "Credit card receipt from Dean & DeLuca w/genuine signature
     of Hannibal Lecter, $550 OBO / PP."

     "Mark McGuire 1998 season home run ball (#67), w/papers,
     all reasonable offers considered."

     "Flatware w/etched lions on handles, owned by Hannibal
     Lecter.  24 pieces, one spoon missing.  Real.  No dealers.
     $6,500."

     "Hockey, basketball (and non-sports) trading cards."

     "Lecter victim (#3) Sam Sirrah's death certificate.  Not a
     Xerox.  Nice frame.  Price upon request."

     "Hannibal Lecter's '62 Mercedes.  Really.  Only two owners
     since incarceration.  Clean.  85,000."

     "Valentine card from H. Lecter.  Signed.  Sweet sentiment.
     Hate to part with it but need money.  $950."

     No x-rays.  Starling thinks.  Clears the address in the top
     panel and types something else.  A new screen appears, headed
     with bold, colorful lettering:  "eBay."

     She types in "Hannibal Lecter" again.  Hits the "Find it!"
     button.  An auction screen appears.  14 items.  "H. Lecter x-
     ray" second from the top.  "Item #194482661."  61 bidders.
     In red:  "Ends in 49 Mins."

     She highlights the item and is taken to the details screen.
     Scrolls down.  No photo, but there is a description:  "Left
     arm x-ray of Hannibal Lecter.  Very rare.  Slightly used
     metal light box included."

     She backs up to the previous screen.  Last bid, "$7,200."
     Next increment, $100.  She types in "$10,000" and hits Enter.

     INT. SCI-FI COMICS - DAY

     Strange denizens - collectors - roam the shelves lined with
     plastic-sheathed science fiction comic books - browsing and
     humming - each in his own world.

     In truth, they're not really browsing; they're stealing
     glances at Starling, the only woman in the place, and the
     most beautiful one any of them has ever seen in real life.

     In truth, she isn't really browsing either.  She's stealing
     glances at the proprietor behind the glass-top, trading card-
     filled, counter.

                          CUSTOMER
               December you mean -

                          PROPRIETOR
               No, not December.  November.  Volume
               Four, Number Four.  Worst.  Issue.  Ever.

     The customer moves on.  Starling wanders over and several
     pairs of eyes wander with her.  A tape of the X-Files plays
     on a small television set at one end of the counter, which
     the proprietor pays more attention to than her.  Quietly -

                          STARLING
               I'm interested in Hannibal Lecter
               memorabilia.

     The man's head slowly turns to her with the most withering
     of looks.  She's the last person on earth who'd be interested
     in Hannibal Lecter memorabilia.

                          PROPRIETOR
               I don't handle Hannibal Lecter
               memorabilia.  Hannibal Lecter memorabilia
               - real Hannibal Lecter memorabilia -
               would have to be stolen.  I don't deal in
               stolen goods.  Try Sotheby's.

                          STARLING
               I'm confused.

                          PROPRIETOR
               You're a policeman, of course you're
               confused.

                          STARLING
               Not exactly.

                          PROPRIETOR
               Oh, all right.  Police woman.  I keep
               the politically-correct comics in the
               back.  By the toilet scrubber.

     She show him her identification.  Her FBI shield.  Some
     of the other customers see it, too, and - crushed - begin
     gliding toward the door.

                          STARLING
               I'm confused because I just paid you ten
               thousand dollars for an x-ray of Hannibal
               Lecter.  I don't want to wait for you to
               send it, I want to pick it up now.

     The dime drops.  Just a fleeting spark of realization.

                          PROPRIETOR
               No, if you paid me ten thousand dollars
               for an x-ray of Hannibal Lector, I would
               possess a money order, or cashiers check,
               for ten thousand dollars, which I do not.
               You bid ten thousand dollars for an
               x-ray of Hannibal Lecter.  I've decided,
               in the interim, not to sell it.  You're
               free to write a nasty comment about me
               on the e-Bay message board.

                          STARLING
               I'm free to write a nasty comment about
               you on your arrest report.

                          PROPRIETOR
                   (sighs)
               The x-ray I was thinking of selling,
               but have now decided against, is not of
               Hannibal Lecter.  How do I know this?
               Because it's of me.  This arm.
                   (pointing to it, then to the
                     other one)
               No, this one.

     Now she sighs.  She should just leave.

                          PROPRIETOR
               Wait a minute.  I know you.
                   (he brightens considerably)
               You're -

     He rummages behind the counter and comes up with a recent,
     plastic-wrapped issue of the National Tattler tabloid, with
     gory pictures of the shoot-out and the screaming headline -
     "DEATH ANGEL:  CLARICE STARLING, THE FBI'S KILLING MACHINE."

                          PROPRIETOR
               Would you be so kind, Miss Starling,
               as to sign this for me?  I apologize for
               my - um - my -

                          CUSTOMER'S VOICE (O.S.)
               Rude -

                          PROPRIETOR
               Rude - behavior - before.

     He delicately slips the newspaper from its plastic cover.
     Checks the condition of the tip of a fine-line Sharpie.  His
     eyes are eager now, his demeanor painfully solicitous, like a
     sweetly disarming little boy waiting for the baseball players
     to finish batting practive.  Starling turns and leaves.

     EXT. MARYLAND-MISERACORDIA GENERAL HOSPITAL - DAY

     A wailing siren.  Ambulance pulling up in front of an
     Emergency Entrance.  Paramedics climb out, hoist down a
     gurney and the bleeding gunshot victim on in, and hurry him
     in past the automatic doors.  The doors thump shut.

     A moment later they open again and an orderly - same one
     from the tape - steps out, finished with his shift, coat over
     his uniform.  He hitches up his collar and steps out into the
     drizzling rain as Starling, across the street in a hooded
     sweatshirt, watches.

     EXT. STREETS - LATER - DAY

     The orderly moves along a wet sidewalk, heading home,
     Starling following at a distance.  He stops.  She stops.  He
     glances to something in the middle of the street.  A dead
     dove, one wing fluttering in the wind.  He looks up.  Sees
     its mate pacing on a wire.  Car tires hiss past below.

     Starling watches as he crosses to the center of the street,
     picks up the dead dove and pockets it, crosses back and
     continues on.  She, and the surviving bird, follow.

     INT. APARTMENT BUILDING - UPSTAIRS HALL - DAY

     Starling knocks.  Waits.  The door opens and the orderly
     peers out with the dead dove in his hands.

                          STARLING
               Hi, Barney.  I need to talk with -

                          BARNEY
               Would you agree, for the record, Officer
               Starling, I've not been read my rights?

                          STARLING
               This is just informal.  I just need to
               ask you about some stuff.

                          BARNEY
               How about saying it into your handbag?

     Starling opens her purse and speaks down into it as though
     there were a troll inside -

                          STARLING
               I have not Mirandized Barney.  He is
               unaware of his rights.

     Barney widens the door so she can come in.

     INT. BARNEY'S APARTMENT - CONTINUOUS

     Barney sets the dove on a desk and drags a computer mouse
     to the "file close" x.  Just before the screen reverts to the
     AOL Welcome page, Starling glimpses the site he was on when
     she interrupted him with her knock - stock quotes.

                          STARLING
               How you been?

     He doesn't answer.  Sits his huge frame down on his desk
     chair.  She moves some newspapers aside on a couch, one of
     which shows a photo of her from the Drumgo raid.  They
     consider each other for a moment.  Eventually -

                          STARLING
               Barney, back when you turned Dr. Lecter
               over to the Tennessee Police -

                          BARNEY
               They weren't civil to him.  And they're
               all dead now.

                          STARLING
               Yeah.  They only managed to survive his
               company three days.  You survived him six
               years at the asylum.  How'd you do that?
               It wasn't just being civil.

                          BARNEY
               Yes, it was.

     They both hear something - a flutter - and glance out to the
     fire escape.  The dead dove's mate has landed on the railing.

                          STARLING
               Did you ever think, once he escaped,
               he might come after you?

                          BARNEY
               No.  He told me once that, whenever
               feasible, he preferred to eat the rude.
               "Free-range rude," he called them.

     He smiles.  Glances out the window again to the cooing dove.
     Picks up the dead one, carries it out and sets it down on the
     wet grating.

                          STARLING
               Any idea what happened to all his stuff?
               His books and papers and drawings and -

                          BARNEY
               Everything got thrown out when the place
               closed.

     He comes back in.  She starts to say something, hesitates.
     Once she starts on this subject, she knows one of them will
     wind up very unhappy.

                          STARLING
               Barney, I just found out that Dr.
               Lecter's signed copy of The Joy of
               Cooking went to a private collector for
               sixteen thousand dollars.

                          BARNEY
               It was probably a fake.

                          STARLING
               The seller's affidavit of ownership
               was signed, Karen Phlox.  You know Karen
               Phlox?  You should.  "She" filled out
               your employment application, only at the
               bottom she signed it, Barney.  Same thing
               on your tax returns.

     Long silence.  Then Barney sighs.

                          BARNEY
               You want the book?  Maybe I could get
               it back.

                          STARLING
               I want the x-ray.  From when you broke
               his arm after he attacked that nurse.

     Barney gets up again, but doesn't run off to get it.  He
     slowly paces around.

                          BARNEY
               We talked about a lot of things, late at
               night, after all the screaming died down.
               We talked about you sometimes.  Want to
               know what he said?

                          STARLING
               No, just the x-ray.

                          BARNEY
               Is there a reward?

                          STARLING
               Yeah.  The reward is I don't have my
               friend the Postal Inspector nail you on
               Use of the Mails to Defraud, you don't
               get ten years, and you don't come out
               with a janitor's job and a room at the Y,
               sitting on the side of your bunk at night
               listening to yourself cough.

     He stares at her, gets up finally, disappears into the
     bedroom.  Starling looks out to the fire escape again.  The
     surviving dove has dropped down and is now walking in circles
     around its lifeless mate.

     Barney returns with a file box and a large envelope.  Hands
     it all to her.  She unfurls the string-clasp.  Pulls out an x-
     ray of an arm.  A radiologist's and Lecter's names are on it.

                          BARNEY
               I'm not a bad guy.

                          STARLING
               I didn't say you were.

                          BARNEY
               Dr. Chilton is a bad guy.  After your
               first visit, he began taping your conver-
               sations with Dr. Lecter.

     He produces from his jacket pocket several cassette tapes.
     As he hands them to her -

                          BARNEY
               I was good to you.  Tried to make it
               easy for you the first time you came down
               to the violent ward to interview Dr.
               Lecter.  Remember?

                          STARLING
               Yes.

                          BARNEY
               You remember saying thank you?

     She doesn't because she didn't, and now regrets it.

                          STARLING
               I'm sorry.  Thank you.

                          BARNEY
               You mean it?

                          STARLING
               Yes.

                          BARNEY
               I'm going to show you something then.
               I don't have to show it to you, remember
               that.  But I believe your gratitude is
               sincere.

     He goes to a fuse box on the wall.  Takes something out of
     it.  Turns around to face Starling, wearing the famous mask
     from Silence of the Lambs, and her hand flashes toward her
     sidearm, a movement quickly stopped.

                          BARNEY
               This is my retirement fund.
                   (removes the mask)
               If you'll let me keep it.  I can a lot
               of money for this and get out of here for
               good.  I want to travel, and see every
               Vermeer in the world before I die.

     She thinks about it, doesn't immediately answer him.  He
     walks out onto the fire escape again and addresses the bird -

                          BARNEY
               Go on.  You've grieved long enough.

     He shoos the dove away, picks up the dead one, comes back
     in and drops it in the wastebasket by his desk.

                          STARLING
               What did he say?  About me?  Late at
               night.

                          BARNEY
               We were talking about inherited, hard-
               wired behavior.  He was using genetics in
               roller pigeons as an example.
               They go way up in the air and roll over
               backwards in a display, falling toward
               the ground.  There are shallow rollers
               and deep rollers.  You can't breed two
               deep rollers or the offspring will roll
               all the way down, crash and die.  He
               said, "Officer Starling is a deep roller,
               Barney.  Let's hope one of her parents
               was not."

     As Starling gets up and gathers everything except the mask,
     she hears the surviving dove call out once from somewhere in
     the trees.

     INT. FBI LAB - DAY

     The two x-rays, one overlaid on the other, clipped to a
     light box.  A technician adjusts them so the bone structures
     correspond in position as closely as possible and points out
     to Starling -

                          TECHNICIAN
               They're the same arm.  The discrepancy is
               the dates.  This one -

     He slides the x-rays apart, touches a thin gray line on one
     of them -

                          TECHNICIAN
               - shows the hairline fracture he
               sustained in the fight with the orderly.
               This one -
                   (the other x-ray)
               - the more recent one, supposedly,
               doesn't.  This is the newer of the two -
                   (the other one)
               - the one from the asylum.

     INT. BEHAVIORAL SCIENCE - LATER

     Starling puts the earliest-dated cassette into a player,
     presses "play," walks up to the blackboard and under Verger's
     heading - below "Meat-packing heir" and some other notes -
     writes, "He lies."  From the tape player -

                          LECTER'S VOICE
               Surely the odd confluence of events
               hasn't escaped you, Clarice.  Jack Craw-
               ford dangles you in front of me, then I
               give you a bit of help.  Do you think
               it's because I like to look at you and
               imagine how good you would taste?

     There's a pause.  Starling, remembering the moment clearly
     even now, mouths along with her recorded voice -

                          STARLING'S VOICE
               I don't know.  Is it?

     INT. CELL - BALTIMORE STATE HOSPITAL FOR THE CRIMINALLY
     INSANE - DAY - (FLASHBACK - 1994)

     It's Lecter's cell.  And it's almost pitch black.  Then,
     as he turns a rheostat, the lights slowly rise, revealing the
     cell to be almost empty, stripped of its books.  He's lying
     on his cot.

                          LECTER
               I've been in this room for eight years,
               Clarice.  I know they will never - ever -
               let me out while I'm alive.  What I want
               ... is a view.

     EXT. FLORENCE - DAY

     One of the most magnificent views in the world.

     Drifting across it, then down, reveals a piazza below.
     Outside a cafe, a figure in a dark overcoat, his back to us,
     drops crumbs to a hundred pigeons surrounding him.

     Closer, the pigeons swirl around his shoes.  And slowly the
     figure turns to face us.  It's not Hannibal Lecter.  It's
     someone we don't recognize.

     He lets go the last of the crumbs, brushes his gloves
     together, and crosses toward the ancient Palazzo Vecchio,
     glancing once at its high, stone walls and arched windows,
     its medieval bell tower soaring into the sky.

     INT. PALAZZO VECCHIO - DAY

     Checking his watch, but in no hurry, he climbs a flight
     of marble steps.  Unlike here, one more often smokes indoors
     than out, and the man lights an MS cigarette, his reward for
     reaching the landing.

                          ECHOING VOICE
               The Capponi correspondence goes back to
               the 13th Century.  Dr. Fell might hold in
               his hand, in his non-Italian hand, a note
               from Dante Alighieri himself, but would
               he recognize it?  I think not -

     He follows the echoing voice to the open doorway of a large
     frescoed room, the Salon of Lilies, where another gentleman,
     loitering outside it, pats at his pockets.  The man we've
     been following offers, along with an outstretched hand
     holding his pack of cigarettes -

                          PAZZI
               They're still arguing.

                          RICCI
                   (nodding)
               The curatorship.  Sogliato wants the
               job for his nephew.  The scholars seem
               satisfied with the temporary guy they
               appointed.

     Pazzi lights Ricci, glances down the hall to the far end,
     where a janitor slowly guides a floor polisher back and forth
     like a big, weak motorcycle, then crosses to and peers into
     the Salon:

     It's under long-term restoration, scaffolding everywhere.
     A large assembly of men ranging in age from middle-aged to
     the Middle Ages, it seems, are gathered around a long 12th-
     century table.  The echoing voice belongs to -

                          SOGLIATO
               You have examined him in medieval
               Italian, and I'll not deny his language
               is admirable.  For a straniero.  But what
               if he came upon a note in the Capponi
               library, say, from Guido de'Cavalcanti to
               Dante?  Would he recognize it?  I think
               not.

     Pazzi isn't sure which one is Fell.  Scanning the room 
     from the doorway, he tries to locate the source of the voice,
     but it's difficult, the high ceillings playing hell with the
     acoustics -

                          DR. FELL
               Professor Sogliato, if I might.
               Cavalcanti, as we all know, replied
               publicly to Dante's first sonnet in La
               Vita Nuova.  If he commented privately as
               well, if he wrote to a Cappono, to which
               would it be?  In your opinion?
                   (Sogliato clearly can't even
                    name the Capponi)
               No?  Not even a guess?  Andrea, don't you
               think?  Since he was more literary than
               his brothers.

     Several of the other scholars nod their heads in agreement,
     which only embarrasses Sogliato more.  Pazzi knows which man
     at the table Fell is now, however he - and we - still can't
     see his face, seated as he is with his back to the door.

                          SOGLIATO
               If he is such an expert on Dante let
               him lecture on Dante - to the Studiolo.
               Let him face them, if he can.

                          DR. FELL
               I'd look forward to it.  Shall we set 
               the date now?

     Sogliato has had enough and gets up, noisily gathering his
     things.  As the meeting breaks up some of the other committee
     members shake Fell's hand.  Pazzi comes in and approaches
     Fell - from behind - as the others straggle out.

                          PAZZI
               Dr. Fell?

     Fell turns.  Of course, it's Hannibal Lecter.

                          PAZZI
               Chief Inspector Rinaldo Pazzi of the
               Questura.

                          DR. FELL
                   (shaking his hand)
               Commendatore.  How can I be of service?

                          PAZZI
               I'm investigating the disappearance of
               your predecessor, Signore de Bonaventura.
               I was wondering if -

                          DR. FELL
               Predecessor implies I have the job.
               Unfortunately, I don't.  Not yet.  Though
               I'm hopeful.  They are letting me look
               after the library.  For a stipend.

     Fell begins gathering his books and papers, placing them
     neatly in his satchel.

                          PAZZI
               Yes.  Well -

                          DR. FELL
               What do you think happened to him?

                          PAZZI
               To your - to the Signore - who can say?
               Perhaps he ran off.  Bad debts.  Bad love
               affair.  I was wondering if you might -

                          DR. FELL
               Not another victim of Il Mostro?

                          PAZZI
               What?  No.  That I'm sure.  We find Il
               Mostro's victims.  He makes sure we find
               them.

                          DR. FELL
               Or she.

                          PAZZI
               Or she.

                          DR. FELL
               I never actually met Signore de
               Bonaventura.  I have read several of his
               monographs in the Nuova Antologia.

                          PAZZI
               The officers who first checked, didn't
               find any sort of - farewell or - suicide
               note.  I was wondering if -

                          DR. FELL
               If I happen to come across anything in
               the Capponi Library, stuffed in a book or
               a drawer - yes, I'll call you at once.

     He accepts Pazzi's card and slips it under a paperclip
     holding some of his notes together.

                          PAZZI
               Thank -

                          DR. FELL
               You've been reassigned.

     Pazzi was just turning to leave.  Turns back.

                          PAZZI
               Pardon?

                          DR. FELL
               You were on the Il Mostro case, I'm sure
               I read.

                          PAZZI
               That's right.

     And it was a humiliation being taken off of it, which he
     would no doubt rather not discuss here.

                          DR. FELL
               Now you're on this.  This is much less -
               grand - a case, I would think.

                          PAZZI
               If I thought of my work in those terms,
               yes, I guess I'd agree.

                          DR. FELL
               A missing person.

     Fell says it like it's not worth saying.  Pazzi's had enough
     and turns to leave again.

                          DR. FELL
               Were you unfairly dismissed from the
               grander case?  Or did you deserve it?

     Pazzi looks back again.  Fell isn't even looking at him;
     putting things in his case.

                          PAZZI
               Regarding this one, Dr. Fell.  Are the
               Signore's personal effects still at the
               Palazzo?

                          DR. FELL
               Packed neatly in two cases with an
               inventory.  Alas, no note.

                          PAZZI
               I'll send someone over to pick them up.
               Thank you for your help.

     He starts to leave again.

                          DR. FELL
               Have you thought about Botticelli?

     Pazzi looks back again.  What is Fell talking about?

                          PAZZI
               Not since middle school art class, I'm
               afraid.

                          DR. FELL
               Those awful pictures in the papers
               of The Monster's victims.  His careful
               arrangement of the young lovers' bodies.
               The flowers.  The women's exposed left
               breast.  The tableaux remind me of
               Botticelli.  Don't they, you?

     Frankly, it never occurred to him.  Fell points to a place
     just behind Pazzi and he turns to see a beautiful Botticelli
     in a carved gold frame, the woman lying in flowers, her left
     breast exposed.  Fell shrugs as he closes his satchel.

                          DR. FELL
               Maybe a clue.

     EXT. FELL'S RESIDENCE - NIGHT

     A row of family palaces in an ancient street.  A figure
     walking on the cobblestones.  Only vaguely familiar, his path
     leads us to the front of an old residence, its windows behind
     iron grates, all but one on an upper floor dark.  The figure
     continues on down the street, but we go inside -

     INT. FELL'S RESIDENCE - NIGHT

     Even though the foyer is dark, we can tell it's large and
     high-ceilinged.  We become aware of music - Bach's Goldberg
     Variations - but can't be sure where it's coming from.

     We notice a staircase and decide to climb it.  It's longer
     than we thought at first - its steps made of thick slabs of
     ancient stone, its rail of cold hammered iron.

     We reach the landing.  Notice a small darkened room to
     one side.  But the music seems to be coming from elsewhere, so
     we continue on, down the hall to a pair of tall double doors,
     open, allowing us into the main salon.  The music seems to be
     coming from somewhere in here.

     We move through the room, illuminated only faintly by the
     occasional candle, look up to see that the height of the room
     disappears into darkness, then down again as we are almost
     upon the figure sitting at a piano.

     Lecter's fingers move among the yellowed ivory keys.  He
     plays the Bach piece well, every so often glancing to a lyre-
     shaped music stand.  But coming slowing around the stand, we
     discover there is no sheet music on it, but instead a copy of
     the National Tattler with a picture of a black woman dead in
     the street, and another picture of Clarice Starling - the
     FBI's "ANGEL OF DEATH" - washing down a baby next to the
     head of a shark.

                          LECTER'S VOICE
               Dear Clarice, I have followed with
               enthusiasm the course of your disgrace
               and public shaming.  My own never
               bothered me, except for the inconvenience
               of being incarcerated, but you may lack
               perspective -

     The music continues over:

     INT. FELL'S RESIDENCE - LATER - NIGHT

     Sitting at a 16th Century refectory table in a pool of lamp
     light, Lecter dips the tip of a fountain pen into an etched
     glass bottle of ink and signs the letter he has just written.

                          LECTER'S VOICE
               In our discussions down in the dungeon,
               it was apparent to me that your father -
               the dead night watchman - figures large
               in your value system.

     He adds a brief post-script, folds the linen-fiber paper over
     once, careful to line up the edges, gives it a sharp crease.

                          LECTER'S VOICE
               I think your success in putting an end to
               Jame Gumb's career as a couturier pleased
               you most because you could imagine your
               father being pleased.

     He places the letter in an envelope that is already addressed
     to Special Agent Clarice Starling, and seals it with wax.  He
     places it into another, slightly larger envelope that already
     has written on it a Las Vegas, Nevada, address.

     EXT. FLORENCE - DAY

     Lecter strolls across a bridge over the Arno and drops his
     envelope into a post box on the other side.

                          LECTER'S VOICE
               Now you are in bad odour with the
               FBI, alas.  Do you imagine Daddy shamed
               by your disgrace?  Do you see him in his
               plain pine box, crushed by your failure?
               The sorry, petty end of a promising
               career?

     EXT. LAS VEGAS - DAY

     A U.S. Mail carrier's truck pulls into the parking lot of a
     strip mall.

                          LECTER'S VOICE
               Do you dream now, not of screaming
               lambs, but of yourself doing the menial
               tasks your mother was reduced to after
               the addicts busted a cap on Daddy?

     INT. RE-MAILING SERVICE - LAS VEGAS - DAY

     Piles of mail on the counter.  A middle-aged man slits open
     the envelope from Italy, takes out the smaller envelope, puts
     a stamp on it, drops it onto a pile of outgoing mail and
     throws the larger envelope away.

                          LECTER'S VOICE
               What is worst about this humiliation?
               Is it how your failure will reflect on
               them?  Is your worst fear that people
               will forever now believe your parents
               were indeed trailer camp tornado-bait
               white trash?  That you are?  Hmmm?

     INT. FBI BASEMENT - DAY

     The letter is among stacks of others in a metal cart as it is
     wheeled along a basement corridor.

                          LECTER'S VOICE
               I couldn't help noticing on its rather
               dull public web site, Clarice, that I've
               been hoisted from the Bureau's Archives
               of the Common Criminal up to the more
               prestigious 10 Most Wanted list.

     The mail cart comes to and past a door on which, instead of
     a nameplate, is Scotch-taped a piece of legal pad paper with
     one hand-scrawled word:  "Starling."

                          LECTER'S VOICE
               Coincidence?  Or are you "back on the
               case?"

     INT. STARLING'S LECTEREUM - CONTINUOUS

     The mail room boy navigates the short maze of black right-
     angled darkroom walls that lead to the room itself.

                          LECTER'S VOICE
               I imagine you sitting in a dark base-
               ment room, bent over papers and computer
               screens at clerk's distances that mocks
               the prairie distance in your eyes.  A
               zoo hawk, one wing hanging down.

     The mail room boy sets three or four things down on
     Starling's desk.

                          LECTER'S VOICE
               Is that fairly accurate?  Tell me
               truly, Special Agent Starling.  Regards,
               Hannibal Lecter, M.D.

     The music ends.  To the mail room boy -

                          STARLING
               Thanks.

     He doesn't immediately leave.  He watches her tack to a
     bulletin board the last of several newspaper clippings and
     Internet downloads of grisly unsolved murders world-wide.

                          GEOFFREY
               How's it going?  Any leads?

                          STARLING
               They're all leads.  They just don't lead
               to him.

     She sits at her desk to take a look at the mail.  Geoffrey
     wanders over to take a look at the clippings.  He grimaces at
     one of them.

                          GEOFFREY
               I don't know how you live with this
               stuff.

                          STARLING
               Oh, God.

     He turns.  She's looking at one of her pieces of mail.

                          STARLING
               It's from the Guinness Book of World
               Records congratulating me on being "The
               Female FBI Agent Who Has Shot The Most
               People."

     She throws it in the wastebasket, picks up the envelope
     with the wax seal and fine copperplate writing, and somehow
     immediately knows who it's from.

                          STARLING
               Geoffrey - ?  Would you excuse me.

     He sees she isn't looking at him.  Leaves with his cart.
     Annoyed at herself for getting her paw prints all over the
     letter, she reaches for her key chain, slits the envelope
     with the Swiss Army knife on it, and extracts and unfolds the
     letter with the blade.  As she reads it, there is a faint
     echoing refrain of Bach's Goldberg Variations, and -

                          LECTER'S VOICE
               P.S.  Clearly this new assignment is not
               your choice.  Rather, it is part of "the
               bargain."  But you accepted it, Clarice.
               Your job is to craft my doom.  As such,
               I'm not sure how well to wish you.
               Ta-ta.  H.

     INT. FBI LAB - DAY

     Digitized images of the letter alongside "Early Lecter"
     handwriting samples on a computer monitor.

                          TECHNICIAN
               The letter was written by Lecter, but you
               could probably tell that just from
               reading it.

     Starling nods.  Other images replace the writing analyses:
     sets of fingerprints.

                          TECHNICIAN
               Naturally, there were several prints on
               the envelope, including yours -

                          STARLING
               - sorry -

                          TECHNICIAN
               On the letter itself there's only one
               "partial" - here - not enough to hold
               up in court, but -

                          STARLING
               We know it's him.  Where he was when he
               wrote it is what I need.

     The image changes again - a greatly magnified patch of the
     letter that reads, "screaming lambs."

                          TECHNICIAN
               The paper isn't going to help.  Yes, it's
               linen fiber.  Yes, it's on the expensive
               side.  No, it's not so rare that you
               couldn't find it in a thousand stationery
               stores the world over.
               Same with the ink.  Same with the wax.
                   (an image of the envelope
                    appears on the monitor)
               The post mark.  Las Vegas.  You could
               check it out, but odds are it came from a
               a re-mailing service.  Afraid you're out of
               luck.

                          STARLING
               What about the crease?

                          TECHNICIAN
               The what?

     INT. PERFUMERY - NEW JERSEY - DAY

     Stainless stell tweezers pluck the letter from the evidence
     bag and hold it, crease up, under an enormous nose.  The nose
     sniffs only once, but long, taking in a faint, pleasant aroma
     of residue and a lot of air.

     The hand clutching the tweezers clutching the letter are
     passed to another - feminine - hand, which holds it up to
     another enormous nose with wide nostrils.  This nose sniffs
     once and hands the tweezers to another - masculine - hand.
     This one lifts the letter to the biggest nose of all.

                          BIGGEST NOSE
               Hand soap ... Raw ambergris base ...
               Tennessee lavender ... mountain sage ...
               trace of something else ...

                          LESS BIGGEST NOSE
               Fleece.

                          LEAST BIGGEST NOSE
               Fleece.

                          BIGGEST NOSE
               It's fleece, isn't it.  Lovely.

     The other two "perfume engineers" nod.  All three, and
     Starling, are sitting in a sterile laboratory environment.

                          STARLING
               What's ambergris?

                          BIGGEST NOSE
               Ambergris is a whale product.  Alas,
               much as we'd like to, we can't import it.
               Endangered Species Act.

     The other two shake their heads as if to say, What a load of
     crap that Endangered Species Act is.

                          STARLING
               Where isn't it illegal?

                          BIGGEST NOSE
               Japan, of course.  Couple of places in
               Europe.  You'd almost certainly find it
               somewhere in Paris.  Rome.  Amsterdam.

                          LESS BIGGEST NOSE
               Maybe London.

                          LEAST BIGGEST NOSE
               But not at Harrod's.  Small, exclusive
               shops.  This bouquet was hand-engineered
               to someone's specifications.

                          STARLING
               Is there any way of knowing which shops?

                          BIGGEST NOSE
               Of course.  We'll give you a list.
               It'll be short.

     The Biggest Nose can't resist taking one last savoring sniff
     before returning the letter to the plastic bag.

     EXT. FLORENCE - DAY

     Vespas, Fiats and Innocenti speed around a traffic circle.
     Pedestrians move along the boulevard.  We follow one man who
     seems vaguely familiar - we glimpsed him briefly several days
     ago walking past Fell's residence just before we went in, and
     once before that, if we recall, polishing the floor in the
     Palazzo Vecchio.

     Right now, though, we're more interested in Pazzi who joins
     the frame coming toward us, and we follow him instead, to and
     up the steps of the Questura building.

     INT. QUESTURA - DAY

     A black and white step-framed image of Dr. Fell entering a
     small perfume shop.  It plays on a monitor sitting atop two
     VCR decks, one on Play, the other Record, the operator, a
     young agent, smoking as he writes out a label.

     Pazzi hangs his coat on a rack, crosses through the large
     room, and sits at his desk which happens to be right next to
     the VCR, which he pays no attention to.  At the next desk,
     Ricci sits working on a crossword puzzle.

                          PAZZI
               I need opera tickets.

                          RICCI
                   (without looking up)
               Don't think I have any on me.

                          PAZZI
               It's sold out, whatever it's called.

     A couple of Pazzi's colleagues, ones who are now working on
     the Il Mostro case instead of him, surrounded by
     photographs and clippings on the crimes, exchange a look.

                          DETECTIVE
               It's the pretty young wife with the
               ever-open beak who needs opera tickets.

     Pazzi glances over at them, not sure he heard right.  One
     sneaks a glance at the other.  It's all they can do to keep
     from laughing.  The tape of the customers coming and going
     at the perfume store contines, but Pazzi doesn't notice.

                          PAZZI
               Botticelli.

                          DETECTIVE
               What?

                          PAZZI
               He arranges his victims like that
               Botticelli painting.  You hadn't noticed?

     As Pazzi glances away from them, he catches a glimpse of the
     monitor, of Fell coming into the perfume shop again.  He gets
     up and the Il Mostro detectives, thinking he's coming for
     them, decide to go out for coffee.

                          PAZZI
               Back that up.

                          YOUNG AGENT
               What?  I can't back it up.  I'm making a
               copy.  I'm recording.

     The black and white images of customers, most of them women,
     continue, until Pazzi hits the stop button and spins the jog.
     The young agent groans, but not too loud; Pazzi far outranks
     him.  The image reverses.  Pazzi freezes it on one of the
     step frames that shows Dr. Fell.

                          PAZZI
               What is this?

                          YOUNG AGENT
               Security camera from a perfume shop on
               Villa Della Scula.  FBI through Interpol
               requested a copy.

                          PAZZI
               Why?

                          YOUNG AGENT
               They didn't say.

                          PAZZI
               They didn't say?

                          YOUNG AGENT
               It was actually kind of weird.  Like
               they were making a point of not saying.

     Pazzi unpauses it.  Watches Fell approach the counter and
     then wait, it seems, for a long time as the perfumer mixes up
     some kind of concoction.  Money exchanges hands and Fell,
     with his purchase, leaves.

     INT. PAZZI'S APARTMENT - STUDY - NIGHT

     As a search engine works, Pazzi glances down at copies of
     Fell's state work permit and Permesso di Soggiorno resting
     next to the computer.  The video cassette is there, too.
     And the over-night mailer.

     The FBI's consumer home page appears on the screen.  Pazzi
     selects the 10 Most Wanted button, and in a moment, the list
     - with pictures - is displayed.

     The World Trade Center bombing mastermind is #1.  Beneath
     him, nine other, lesser bombers and murderers, none of whom
     look anything like Fell.

     He shifts back to the main page.  Selects Archives.  The
     50 Most Wanted list appears - bank robbers and killers and
     arsonists, all with photos or police sketches, all but one
     man.  He scrolls down, stops.  Dr. Fell - Hannibal Lecter -
     "Hannibal the Cannibal" - is looking right at him.

                          ALLEGRA
               Rinaldo.

     He doesn't seem to hear her as he begins reading the text
     under Lecter's digitally-enhanced picture.

                          ALLEGRA
               Rinaldo.

     He glances up finally.  His young wife - who is indeed pretty
     - stands in the doorway of the study.

                          PAZZI
               I'm sorry.

                          ALLEGRA
               Are we going to the Teatro Michahelles?

                          PAZZI
               Yes.

                          ALLEGRA
               You got tickets.

                          PAZZI
               No.  But I will.  In fact, I was just
               about to look here.
                   (on the Internet)

                          ALLEGRA
               Please not the third balcony.  I would
               like to see it.

                          PAZZI
               Not in the balcony.  No matter what the
               cost.

     Unconvinced the promise will hold, she leaves the room.

     Pazzi opens his filofax to the F tab, finds a number written
     under no heading, a code, enters it into his computer and in
     a moment is taken to the FBI's private VICAP site - Violent
     Criminal Apprehensopn Program.

     He types in Lecter and scans the internal 302 reports that
     are displayed, many of them prepared by Special Agent Clarice
     Starling.

     He returns to the server screen.  Begins a new search.
     Hannibal Lecter.  Many of the same sites Starling found are
     listed, the ones posted by nuts.

     He scrolls down to the Refine Search panel.  Adds one word
     to his Hannibal Lecter query.  Reward.  Hits Return.

     Only one site includes the word in its page name.  Pazzi goes
     to it.  No graphics other than the same picture the FBI site
     showed.  No indication of whose site it is.

     Dry text describes Lecter, reminds the reader he should be
     regarded as armed and dangerous, and encourages informants to
     call the provided FBI number with any information.

     There is also a private number listed - European dialing
     code, not U.S.  Oh, and one more small piece of information.
     The reward.  $3,000,000.

     INT. STARLING'S LECTEREUM - DAY

     The place is looking more and more like a museum, the
     bulletin and blackboards covered now with notes and newsprint
     photos, including some of Il Mostro's young victims.

     Paul Krendler makes his way through the right-angled
     passageway leading into the darkened room.  The only light is
     coming from a monitor showing Lecter's escape from Memphis,
     as caught by high-angle security cameras.

     He considers a display Starling has erected to Lecter's nine
     known victims.  One is Mason Verger.  Another, a man attached
     to a tool shop peg board with metal rods piercing his body as
     in an illustration next to it of the medieval Wound Man.

     He becomes intrigued by a sketch on a standing easel of
     Starling, signed by Hannibal Lecter.  A piece of cloth has
     been tacked at the neck and drapes down like a sari.  Is she
     naked underneath it?  Krendler has to find out.  As he
     carefully lifts the cloth -

                          LECTER'S VOICE
               What is your worst memory of childhood?

     He jumps, startled, sees Starling sitting in a corner, in the
     shadows, next to the cassette deck.

                          STARLING
               Can I help you, Mr. Krendler?

                          KRENDLER
               Jesus.  What are you doing sitting there
               in the dark?

                          STARLING
               Thinking.

     She gets up.  Lets the tape of Lecter's voice continue.
     Krendler works at slowing the pace of his heart, at regaining
     most of his unpleasant hauteur.

                          KRENDLER
               Some people in Justice are thinking,
               too.  They're thinking, what exactly is
               she doing about Lecter?

                          STARLING
               Thinking.  About cannibalism.

                          KRENDLER
               What's the point of that, are you
               catching a crook, or writing a book?

                          STARLING
               Aren't you curious why he dines on his
               victims?

                          KRENDLER
               Not particularly, no.

                          STARLING
               To show his contempt for those who
               exasperate him, I think.

     Which she wouldn't mind showing Krendler in similar fashion.

                          STARLING
               Or, sometimes, to perform a public
               service.  In the case of the flautist,
               Benjamin Raspail -
                   (shows him a picture)
               - he did it to improve the sound of the
               Baltimore Philharmonic Orchestra, serving
               the not-so-talented flute player's sweet-
               breads to the board with a nice Chateau
               d'Y quem at forty-six hundred dollars a
               bottle.  That meal began with green
               oysters from the Gironde, followed by the
               sweetbreads, a sorbet and then, you can
               read here in Town & Country:  A notable
               dark and glossy ragout, the constituents
               never determined, on saffron rice.  Its
               taste was darkly thrilling with great
               bass tones that only the vast and careful
               reduction of the fond can give.

     Krendler is looking at her, not at the magazine.  Then -

                          KRENDLER
               I always figured him for a queer.

                          STARLING
               Now why would you say that, Paul?

                          KRENDLER
               All this artsy-fartsy stuff.  Chamber
               music and tea-party food.  Not that I
               mean anything personal, if you've got a
               lot of sympathy for those people.

     There wasn't a lot of spin on his words, but they carried an
     inkling of implication which she doesn't misinterpret.  She
     ignores it, though, and him, looks through her receipts.

                          KRENDLER
               What I came here to impress upon you,
               Starling, is I'd better see cooperation.
               There are no little fiefdoms.  I want to
               be copied on every 302.  Work with me and
               your so-called career here might improve.
               If you don't, all I have to do is draw a
               line through your name rather than under
               it, and it's over.

     He turns to leave.

                          STARLING
               Paul?  What is it with you?  I told you
               to go home to your wife.  That was wrong?

                          KRENDLER
               Don't flatter yourself, Starling.  Why
               would I hold that against you?  That was
               a long time ago, and besides, this town
               is full of cornpone country pussy.

     He seems pleased he came up with the phrase so easily.

                          KRENDLER
               That said, I wouldn't mind having a go
               with you now if you want to reconsider.

                          STARLING
               In the gym, anytime.  No pads.

     He smiles.  Leaves.  She sits down at her desk, listens
     to his footsteps down the hall fade, glances at the tape of
     Lecter's escape.

     EXT. FLORENCE - DAY

     A fistful of 1,000-lira coins makes a dull ching as Pazzi
     shakes them in his hand like dice he's not sure he wants to
     throw.  He's staring at a pay phone ten paces away.  No one's
     using it.  It's his if he wants it; clearly he isn't sure.

     He finally walks over to it.  Lifts the receiver.  Presses 
     in the sequence of numbers scribbled in pen on the back of
     the hand that holds the change.

     A series of long distance tones beeps like a tinny death
     knell.  A tinny recorded voice tells him to deposit 9,000-
     lira for the first three minutes.

     He drops nine coins in the slot with a shaky hand.  The
     call connects and another recorded voice tells him the number
     he has dialed is no longer in service.

     He hangs up, relieved.  Begins to walk away with his so-
     called reputation intact.  The phone rings.  He looks back at
     it.  It rings again.  He begins to walk toward it.  It rings
     again.  He reaches for it, hesitates, picks it up, and hears
     a voice - not recorded - American accent - a man.

                          VOICE
               Yes?
                   (Pazzi doesn't answer)
               Hel-lo?

                          PAZZI
               I have information about Hannibal Lecter.

                          VOICE
               Does it include where he is now?

                          PAZZI
               Is the reward still in effect?

                          VOICE
               Yes, it is.  Have you shared your infor-
               mation with the police, sir?

                          PAZZI
               No.

                          VOICE
               I'm required to encourage you to do so.

                          PAZZI
               Uh-huh.  Is the reward payable under ...
               special circumstances?

                          VOICE
               Do you mean a bounty?  It's against
               international convention and U.S. Law to
               offer a bounty for someone's death, sir.

                          PAZZI
               I mean in the case of, say, someone
               who might not ordinarily be eligible to
               accept a reward.

                          VOICE
               May I suggest you contact an attorney,
               sir, before taking any possible-illegal
               action?  There's one in Geneva who's
               excellent in these matters.
               May I recommend an attorney?  May I give
               you his toll-free number?

     The voice enunciates the number clearly.  Pazzi writes it on
     the back of his hand next to the other one, the pen shaking.

                          VOICE
               Thank you for calling.

     The call disconnects.  Pazzi takes a breath.  Crosses the
     street to another pay phone.  Dials the toll-free number and
     pockets the coins.  The call connects.  Another male voice.
     This one with a dry, Swiss, lawyerly tone:

                          VOICE 2
               Hello -

                          PAZZI
               Yes.  I was just speaking with someone
               who suggested I -

                          VOICE 2
               There is a one hundred thousand dollar
               advance.  To qualify for the advance, a
               fingerprint must be provided - in situ -
               on an object -
                   (the voice is a recording)
               Once the print is positively identified,
               the balance of the money will be placed
               in escrow at Geneva Credit Suisse, and
               may be viewed at any time subject to 24-
               hour-prior-notification.  To repeat this
               message in French, press 2.  In Spanish,
               press 3.  In German, press 4.  In
               Japanese -

     INT. CAFE RESTROOM - LATER - DAY

     Pazzi scrubs at his hands like Lady Macbeth, trying to get
     the stain of the phone numbers off his skin, the black ink
     clouding the water pooling in the sink before going down
     the drain.

     INT. STARLING'S LECTEREUM - DAY

     A security tape of mostly-Japanese customers entering and
     exiting an exclusive Tokyo perfumery plays on Starling's VCR.
     The mail room boy watches it as Starling speaks on the phone -

                          STARLING
               Is it possible it went out with the
               regular mail?

                          YOUNG AGENT'S VOICE
               No.  No, I over-nighted it.  I filled
               out the slip myself.

     INT. QUESTURA - INTERCUT

     It's the same young agent who copied the security tape -

                          YOUNG AGENT
               This was the day after your request.
               I did it right away.  I don't understand
               what happened.  You should have it.

     INT. STARLING'S LECTEREUM - CONTINUED

     There are three other tapes, marked with the names of stores
     in Paris, Rome and Amsterdam, stacked on top of the machine
     that plays the Japanese perfumery.

                          STARLING
               I don't.  Can you send me another one?

                          YOUNG AGENT'S VOICE
               I'll have to make another one.

                          STARLING
               I'd appreciate it.

     She hangs up.  Geoffrey gestures to the monitor.

                          GEOFFREY
               Nothing, huh?

                          STARLING
               Nothing yet.  Still waiting on Florence
               and London.  London says they're sniffing
               around.  I don't know, is that British
               humor?

     EXT. PALAZZO CAPPONI - DAY

     Pazzi's clean finger presses a button on the intercom set
     into the stone wall of the entry.  As he waits, he glances up
     at the security camera, then down at the hammered-iron handle
     on the door.  No way to get a print off that.

                          DR. FELL'S VOICE
               Buongiorno.

                          PAZZI
               Dr. Fell?  It's Inspector Pazzi.

                          DR. FELL'S VOICE
               Yes, I can see.

     A buzzer releases the lock and Pazzi pulls the door open.

     INT. PALAZZO CAPPONI - DAY

     As Fell leads Pazzi across the main salon upstairs, past
     furniture draped with sheets, the inspector's glance darts
     from object to object he'd like to steal for prints - a
     glass, a book, a vase, a pen.

                          DR. FELL
               I should've encouraged you to bring
               someone along.  The cases, I'm afraid,
               are on the heavy side.

                          PAZZI
               Maybe you could help me with them.

                          DR. FELL
               Hmmmm.

                          PAZZI
               Just down the stairs I mean.

     They reach two big suitcases, closed.  Two typewritten sheets
     of paper rest on a small table next to them.

                          PAZZI
               Is that the inventory?

                          DR. FELL
               Yes.

                          PAZZI
               May I see it?

                          DR. FELL
               Of course.

     Pazzi waits for Fell to hand it to him.  Unfortunately, it's
     just as close to him.  Once it's clear Fell has no intention
     of picking it up, Pazzi does - carefully, but not too
     carefully - and pretends to read it.

                          DR. FELL
               You are a Pazzi of the Pazzi, I think.
                   (Pazzi doesn't answer)
               Wasn't it at the Palazzo Vecchio your
               ancestor was hanged?  Francesco de'Pazzi?
               Thrown naked with a noose around his neck
               from the window?  Writhing alongside the
               archbishop against the cold stone wall?

     Pazzi stares at Fell, who only pleasantly smiles back.

                          DR. FELL
               I found a nice rendering of it here in
               the library the other day.  If you'd like
               perhaps I could sneak it out for you.

                          PAZZI
               I'd think that might jeopardize your
               chances for permanent appointment to the
               curatorship.

                          DR. FELL
               Only if you told.
                   (Fell smiles again)
               Remind me.  What was his crime?

                          PAZZI
               He was accused of killing Giuliano
               de'Medici.

                          DR. FELL
               Unjustly?

                          PAZZI
               No, I don't think so.

                          DR. FELL
               Then he wasn't just accused.  He did it.
               He was guilty.

     A knowing look from Fell makes Pazzi wonder if he somehow
     knows he knows he's Lecter.

                          DR. FELL
               I'd think that would make living in
               Florence with the name Pazzi
               uncomfortable, even 500 years later.

                          PAZZI
               Not really.  In fact, I can't remember
               the last time - before today - someone
               brought it up.

                          DR. FELL
               But people don't always tell you what
               they're thinking ...  They just see to it
               you don't advance.
                   (then)
               I'm sorry, I too often say what I'm
               thinking.  I'll be right back to help
               you.

     Fell leaves Pazzi alone in the room ...

                          FELL'S VOICE
               Any developments in the Il Mostro case?

                          PAZZI
               I believe my colleagues are checking
               suspects' homes to see if they have any
               Botticelli prints.

                          FELL'S VOICE
               In their homes?  That would be rather
               obvious, wouldn't it?

                          PAZZI
               Serial killers are obvious.  Their
               primary motivation is to be obvious, to
               be noticed.

                          FELL'S VOICE
               But not caught.

     In another room, Fell opens a drawer and takes out a pair of
     leather gloves.

                          PAZZI'S VOICE
               Yes, that too, I think.

                          DR. FELL
               Not really.

                          PAZZI'S VOICE
               Yes.

                          FELL'S VOICE
               Hmmm.

     In the salon, Pazzi peers closely at the handles of the
     suitcases to see if he can tell which, if either, has the
     better print.  It doesn't matter really; in a few moments
     he'll get another, fresh one.

                          FELL'S VOICE
               By the way, the room you're standing in was
               built in the 15th-century.

                          PAZZI
               It's beautiful.

                          FELL'S VOICE
               Yes.  Unfortunately, I think the heating
               system was installed just about the same
               time.

     Fell reappears pulling on the gloves.  Elaborating a shiver,
     he rubs them together.

                          FELL
               All right, let's drag these things down.
               They're as heavy as bodies.

     INT/EXT. PERFUMERY - DAY

     From across the street, Pazzi watches Fell inside the small
     shop browsing at the glass bottles that line the shelves, his
     ungloved hands clasped behind his back like someone looking
     at great art, his nose taking in the cacophony of scents.

     The hands unclasp.  A finger reaches to a bottle - but
     doesn't touch it - moving slowly back and forth an inch away
     from the label as a reading aid.  The hands return then to
     their clasped position behind the back.

     EXT. CAFE - LATER

     Fell, alone at a table, his hand grasping a wine glass
     firmly, bringing it to his lips, and setting it back down.
     Pazzi, watching from across the street, smiles ... until
     Fell takes a last sip, touches a napkin to his lips, slides
     the cloth across the glass in a single, mechanical motion,
     gets up and leaves.

     INT. JEWELRY STORE - DAY

     Pazzi's hands peel tens of thousands of lira from his money
     clip as a jeweler's hands rub a soft cloth at the blank face
     of a silver ID bracelet.

                          JEWELER
               What would you like engraved on it, sir?

                          PAZZI
               Nothing.

                          JEWELER
               May I apply an anti-tarnish coating?

                          PAZZI
               No.

     EXT. ROAD TO PRATO - DAY

     Sollicciano, the dreaded Florentine jail.

     INT. JAIL - WOMEN'S DIVISION - DAY

     A young woman's eyes drift down from Pazzi's tie clasp, to
     his wedding band, to his silver ID bracelet.  In a crowd on
     the street, she could remove all three in an instant and he
     wouldn't even notice they were gone until he got home.

                          ROMULA
               What do you want?  Information?

                          PAZZI
               What sort of information would you be
               willing to give me, Romula?  Names and
               descriptions of fifteen Gypsy pickpockets
               who never existed?  No, what I want is to
               get you out of here.  And to make your
               arrest record permanently disappear.  In
               exchange, all I want from you is the
               usual thing.  Only I want you to fail.

     EXT. FELL'S RESIDENCE - DAY

     Fell emerges from his residence with a cloth shopping bag.
     As he walks away on the cobblestoned street, a Vespa - with
     Pazzi driving and Romula holding him around the waist - races
     past and disappears into the traffic.

     EXT. VERA DAL 1926 - LATER

     Pazzi and Romula, on the parked scooter, watch Fell inside
     the exclusive food shop selecting figs and white truffles.

                          PAZZI
               When you fumble for his wallet, he'll
               catch you by the wrist -

                          ROMULA
               I've done this a few times, Inspector -

                          PAZZI
               Not like this.  If there isn't a clean
               print on that bracelet -
                   (on her wrist now)
               - it's back to Sollicciano.

                          ROMULA
               If there's a problem and someone helps,
               don't hurt him.
               My friend doesn't know anything, and
               won't take anything, let him run off.

                          PAZZI
               There won't be a problem.  The man can't
               afford a problem.  He'll want to get away
               from you more than you will from him.

     Here he comes, out the door of the shop, the little bell
     above it tinkling.  Pazzi waits a moment, then starts the
     Vespa, puts it in gear.  As he blends in among cars racing
     past Fell, the sound of a choir practicing - somewhere -
     begins and carries over:

     INT. CHURCH OF SAN CROCE - LATER

     Tourists drop 200-lira pieces into coin boxes that trigger
     light to be thrown across the great frescos of Christ.  The
     clicking timers wind down after only a few moments and the
     murals plunge back into incense-smoky darkness.

     Pazzi, lurking in the vast cathedral by Galileo's grave,
     points with his chin to a transept to the left of the main
     altar.  There, Romula can see the kneeling shape of a lone
     figure and the outline of his shopping bag.

     Fell has brought along his art supplies and uses some now
     to carefully make a charcoal rubbing of an inscription in the
     stone.  To keep his hands clean, he wears a pair of thin
     cotton gloves.

     A bell sounds.  Midday closing.  Sextons coming out with
     their keys to empty the coin boxes.  Tourists looking around
     puzzled in the dark, not yet understanding they all have to
     leave.  Pazzi watches Fell rise from his labors, carefully
     place the charcoal rubbing in his shopping bag and pull the
     gloves off.

                          PAZZI
                   (a whisper)
               Okay?

     She nods, moves away to the entrance of the church.  The
     crowd will force Fell to pass right by her here.  Troubled by
     something, though - a feeling - she looks down.  Sees she's
     standing on the tomb of Michelangelo.  Steps off and whispers
     to the slab -

                          ROMULA
               Sorry.

     Fell is coming toward her in the dark, oblivious to what is
     about to happen.  Someone reaches into a purse and fishes out
     a 200-lira coin.

     Romula begins to move toward the dark shape moving toward
     her.  Her friend and protector, Gnocco, falls in a couple
     steps behind her.  A hand drops the coin in a slot.

     Just as Romula and her target are upon one another, a light
     goes on illuminating a fresco of a bloodied Christ and Fell's
     eyes, looking straight into hers and chilling her heart.  The
     ticking of the coin box accompanies an awkward moment before
     Romula manages -

                          ROMULA
               Excuse me.

     She continues past Fell, the bracelet - untouched - jangling
     dully on her wrist.  Fell looks back over his shoulder at the
     woman.  She looks back over hers for a second, and the light
     goes out leaving him in silhouette.

     Fell walks away out past the doors and into the blinding
     sunlight.  Pazzi wanders around in the dark and finally finds
     Romula at a font, scrubbing her hands in the holy water.

                          ROMULA
               That's the Devil.

     She takes the bracelet off and hands it to Pazzi.  He watches
     water drip from it and his hands to the floor.

                          PAZZI
               So I'll drive you back to jail then.

                          ROMULA
               Yes.

     She splashes holy water on her face.  Pazzi shakes his head
     and glances away, watches absently as a sexton empties one of
     the coin boxes, then notices Gnocco, standing in the shadows.

     EXT. PIAZZA SANTO SPIRITO - NIGHT

     The dark water of the Arno drifts slowly under a bridge.  On
     the left bank, by the fountain, Gnocco and some other Gypsies
     share a joint.  In between hits, Gnocco slices up an orange,
     his eyes hazy but his hand quick with the blade, the juice of
     the fruit dripping onto his fingers.

                          GNOCCO
               Two million lire.

                          PAZZI
               Fine.

                          GNOCCO
               Give me the bracelet.

                          PAZZI
               Wash your fuckin hands.

     EXT. VIA SAN LEONARDO - NIGHT

     Steep cobbled ill-lit street.  Gnocco leaning in a dark,
     gated niche built into a high stone wall protecting villas
     inside.  He finishes a joint, tosses it away.  Spits on the
     bracelet and wipes it clean with the tail of his shirt.  As
     he's about to put it on his wrist, his jacket vibrates.  With
     his free hand he removes a cell phone from the pocket.

                          PAZZI'S VOICE
               He's coming.

     The call disconnects.  Gnocco slips the phone back into the
     pocket, clasps the bracelet around his wrist and steps out of
     the shadows.

     Several people appear around the corner, all of them well-
     dressed.  A show must have just let out.  Gnocco walks up the
     narrow street toward the column of advancing bobbing heads,
     keeping his eyes on one of them.  Fell.

     Gnocco and the group are upon each other.  Stoned and
     swimming against the current, the pickpocket angles toward
     his mark, bumps into him, reaches inside the elegant coat,
     feels the wrist with the bracelet seized in a terrific grip,
     twists it free hardly breaking stride, and emerges from
     the tail of the throng.

     He veers into another dark niche and bends over slightly
     to catch his breath.  In a moment, quick footsteps announce
     Pazzi's arrival.

                          GNOCCO
               I got it.  He grabbed me just right.
               Tried to hit me in the balls, but he
               missed.

     He holds out the arm with the braclet for Pazzi to take it
     off.  As the Inspector works carefully at the clasp, Gnocco
     sucks in another deep breath of air.

                          GNOCCO
               Jesus -

                          PAZZI
               What - ?

     Gnocco suddenly collapses to one knee, the bracelet pulling
     from Pazzi's hands.  Blood begins to gush out of a neat tear
     in his pants.

     More confuses than in pain, Gnocco looks down at the blood
     only to have it spray up into his face.  Trying to ignore the
     blood - even as it sprays on him - Pazzi works to get the
     bracelet off, and finally frees it.

     Gnocco stares dumbly at himself in his praying position,
     then tries to stop the flow of blood with his hand.  As he
     collapses against the iron gate.  Pazzi sets the bracelet in
     the box it came in, pockets it, then reaches into Gnocco's
     bloody pocket and takes the phone.

                          PAZZI
               Here, let me help you.

     Gnocco looks up at Pazzi gratefully, feels his hand being
     moved away from the wound and held, feels nothing pressed in
     its place, feels his blood drainging out of his body, then
     feels nothing.  He's dead.

     Pazzi gets up.  Takes out a handkerchief.  Wrapped inside is
     a used syringe.  He tosses it on the ground and walks away.

     INT. VERGER'S CHAMBER - DAY

     Verger, lying in the dark, watches a technician in a pool
     of bright light in the sitting area using a cordless power
     screwdriver to back out the screws that secure the bracelet
     to the jeweler's stand.  Carefully, he lifts it out of the
     velvet box and sets it on a china plate.

     A few flecks of dried blood fall onto the porcelain.  More
     dried blood encrusts the silver.  He dusts the bracelet with
     Dragon's Blood powder, angles a hot lamp at it and
     photographs the one - in situ - print.

     He comes around the tripod then and lifts the print, tapes it
     to a slide and compares it to Lecter's FBI print card under a
     microscope.  The swirling lines come into sharp focus.

                          TECHNICIAN
               Middle finger of the left hand.  Sixteen
               point match.

     EXT. SARDINIA - DAY

     On a mountain farm deep in central Sardinia, a young man
     wheels an empty, battered metal gurney along the fence-line
     of a large pen.

     Inside the adjacent shed, another young man picks through a
     pile of old clothes.  In a corner, a third young man shuffles
     through a small handful of audio cassette tapes.

     Carlo and his gurney arrive.  His brother Matteo has chosen
     an ensemble of pants and shirt, and lays it out on the sheet.
     Carlo's cell phone rings.  He flips it open.

                          MASON'S VOICE
               Carlo?

                          CARLO
               Mason?

                          MASON'S VOICE
               Ciao, Bello.  Come stai?  You have all
               your shots?  There's a nasty winter flu
               going around.

                          CARLO
               Am I coming to see you?

                          MASON'S VOICE
               Soon, I think, but first I need you to
               pack off the boys.  Yes, I know, the day
               you never thought would arrive, has.
               Got a pencil?

     Carlo grabs a pen and a scrap of paper from the trestle
     table by the gurney, where his brother is now filling the
     clothes with meat and acorns and entrails and bread.

                          MASON'S VOICE
               You need to get certified cholera
               inoculations - well, not you - and Ace-
               promazine for sedation.  That's a-c-e-p-r-
               oh, the hell with it, you'll find it.
               Cordell will fax the Veterinary Service
               forms directly to Animal and Plant Health
               - but you need to get the veterinary
               affidavits from Sardinia.

     As Carlo scribbles the shipping instructions, Piero decides
     on a tape, drops it in and carries the boom box outside.

                          MASON'S VOICE
               The airbus will await you in Cagliari.
               Count Fleet Airlines.  The crates can be
               no larger than four-by-six - it's as bad
               as carry-on rules.  An on-board inspector
               has to travel with them.  They'll be met
               at Baltimore-Washington Airport - not the
               Key West quarantine facility - by my
               people who will clear them through
               Customs.  Va bene?

                          CARLO
               Got it.

                          MASON'S VOICE
               How are they?

                          CARLO
               They're really big, Mason.  About two
               hundred and seventy kilos.

                          MASON'S VOICE
               Wow.

     Someone starts screaming outside; a recorded male voice from
     the boom box.  Matteo splashes some expensive cologne on the
     stuffed clothes and wheels the gurney out.

                          MASON'S VOICE
               Oh, I called at a good time.  I can
               hear that.  Would it be too much trouble
               to take the phone outside?

     Carlo walks out to the pen with the phone.  Matteo is there,
     lowering the gurney while Piero raises the volume on the boom
     box.  The recorded screams echo out across the mountains - a
     fitting overture for the dark shadows coming out of the
     woods.

     EXT. BANK - GENEVA - DAY

     The unassuming facade of Geneva Credit Suisse.

     INT. CREDIT SUISSE VAULT - DAY

     A bank clerk and another man, both in business suits, work
     their keys to open four deep lock boxes with brass plates.

     INT. ADJACENT PRIVACY ROOM - DAY

     Alone in this severe, scrubbed, very Swiss room, Pazzi can
     hear the sound of wheels.  In a moment a cart with four large
     metal deposit boxes is pushed in.

     The clerk excuses himself.  The other man raises the lids of
     the boxes revealing three hundred banded blocks of non-
     sequential hundred dollar bills.

     Pazzi watches the man tear the paper bands off ten of the
     neat stacks and set the loose bills in a counting machine.
     The numbers on the LCD display climb.

                          MR. KONIE
               The full balance of the money is
               payable upon receipt of the doctor alive.
                   (the same dry Swiss voice Pazzi
                    heard on the phone recording)
               Of course, you won't have to seize him
               yourself, but merely point him out to us.
               In fact, it's preferable to all concerned
               if that's the extent of your involvement
               from this point.

                          PAZZI
               I prefer to stay involved.  To make sure
               things go right.

                          MR. KONIE
               Professionals will see to that, sir.

                          PAZZI
               I'm a professional.

     The glowing LCD display stops at $100,000.

     INT. FLORENCE PERFUMERY - DAY

     Flushed with the feeling that one of the bundles of money
     makes against his thigh, Pazzi enters the exlusive shop and
     browses at the bottles of scents on the shelves.

                          PERFUMER
               May I help you, sir?

                          PAZZI
               Yes.  Yes, you may.

     INT. PAZZI'S APARTMENT - EVENING

     An aria can be heard as Allegra Pazzi, sitting at her
     dressing table in her underclothes, uncaps a small unlabeled
     bottle of perfume and carefully touches a drop to her wrist.

     Across the bedroom, knotting a new tie that drapes against a
     handmade linen shirt that still shows the fold-creases, Pazzi
     watches as his wife lifts the wrist to her beautiful face,
     smells the scent on it and smiles to herself.

     Pazzi smiles, too, to himself, as he watches her place
     another drop on the other wrist and two more just under her
     diamond-studded ear lobes.

     It's almost like watching sex.

     INT. TEATRO MICHAHELLES - NIGHT

     The aria fills the grand darkened interior of the theatre.
     In a private box overlooking the stage, Pazzi sits with his
     wife's hand in his - he in his new Sulka suit, she in her new
     evening gown.  The scalped tickets for these seats must have
     cost him a fortune, but then he can afford it now.

     A whiteness down below, caught by the bounce of a stage
     light, draws Pazzi's attention from the diva.  The bright
     glow belongs to the starched French cuffs of a white dress
     shirt poking out of dark sleeves, the hands intertwined, the
     chin resting on them.

     It's Dr. Fell, engrossed in the drama, lost in the harrowed
     beauty of the prima donna's voice.  But then, the head come
     around like an owl's, the eyes peering up to the private box.
     Pazzi had a second of opportunity to look away but missed it,
     and now their eyes meet.

     Pazzi involuntarily squeezes his wife's hand.  The pressure
     draws a loving look from her, but Pazzi's is still locked on
     Fell's enigmatic little smile, much as he wishes it wasn't,
     until a crescendo in the music - finally - draws Fell's
     head and eyes back to the stage.  Applause.

     EXT. TEATRO PICCOLOMINI - NIGHT

     A crush of theatergoers maneuvers for cabs.

                          DR. FELL
               Enjoy the performance, Commendatore?

     Pazzi and his wife, waiting for a free cab, turn to see Fell
     standing behind them.  He smiles pleasantly.

                          PAZZI
               Very much.  Allegra, this is Dr. Fell,
               Curator of the Capponi Library.

                          DR. FELL
               Curator protempore, Signora Pazzi.  I'm
               honored.

     Pazzi's eyes follow Fell's hand as it reaches to and holds
     his wife's, his wrist bowing slightly.  Allegra smiles at his
     grace and the graceful tone of his voice.

                          ALLEGRA
               Is that an American accent, doctor?

                          DR. FELL
               Canadian, wrung through the eastern sea-
               board of America.

                          ALLEGRA
               I've always wanted to visit.  New England
               especially.

                          DR. FELL
               Umm.  It's nice.  I've enjoyed many
               excellent meals there.

     Pazzi would very much enjoy leaving, and looks away hoping to
     see a driver interested in his patronage.

                          DR. FELL
               Did I notice you following the score,
               Signora?  Hardly anyone does it anymore.
               Would this interest you?

     From a portfolio under his arm, he produces a hand-copied
     score on parchment - c. 1688 - each page in a plastic sleeve.

                          DR. FELL
               I've marked in overlay some of the
               differences from the modern score, which
               might amuse you.  Please take it.

                          ALLEGRA
               Look at this, Rinaldo.

                          PAZZI
               I can see it.

     And both of their hands, Fell's and hers, on it.

                          ALLEGRA
               I did have some trouble with the
               recitative at the beginning.

                          DR. FELL
               Dante's first sonnet from La Vita Nuova.
               He saw Beatrice Portinari across a chapel
               and he loved her at that instant and for
               the rest of his life.  But then had a
               disturbing dream -

                          ALLEGRA
                   (reading from text)
               Joyous Love seemed to me, the while
               he held my heart in his hands, and in his
               arms, My lady lay asleep wrapped in a
               veil -

                          DR. FELL
                   (continuing from memory)
               He woke her then, and trembling and
               obedient, she ate that burning heart out
               of his hand.  Weeping, I saw him then
               depart from me.

                          ALLEGRA
               He saw her eat his heart!
                   (Fell likes that as much as
                    she does)
               Do you believe a man could become
               so obsessed with a woman from a single
               encounter?

                          DR. FELL
               Could he daily feel a stab of hunger
               for her?  Find nourishment in the very
               sight of her?  I think so.  But would
               she see through the bars of his plight,
               and ache for him?

     Allegra waits for the answer, but Fell doesn't have it; he
     just looks away wistfully as his fingers slide away from the
     plastic like snakes.

                          ALLEGRA
               Thank you for this.

     Fell's nod says, I'm your servant.  Pazzi pulls open the back
     door of a cab.

                          DR. FELL
               Commendatore.
                   (as he shakes Pazzi's hand)
               A ...  lle ...  gra ...

     It's all Pazzi can do to keep from arresting the man as he
     watches Fell rape his wife with a kiss of her hand.  His head
     stays down there longer than it should as he savors the aroma
     emanating from her wrist.  Finally the head rises back up and
     Pazzi all but shoves Allegra into the cab.  As Fell watches
     after it driving away, a couple passes behind them.

                          THEATERGOER
               Let's get something to eat.

                          DR. FELL
                   (to himself)
               Yes, quite.

     The hand that held Allegra's when he kissed it comes up to
     his face.  He takes in the residue of the scent.

     INT. STARLING'S HOUSE - LATE NIGHT

     Empty coffee cup and dinner debris on Starling's desk.
     Sitting at her computer, she types in a code summoning the
     FBI's private VICAP site.  Navigating deep into it with other
     codes, she reaches a page with a query panel and types in -
     "cookies."

     The screen fills with long lines of text - words and numbers
     and slashes and hyphens - the "fingerprints" left by everyone
     who has accessed the site over the last year.

     Most have addresses within the FBI itself and Justice
     Department; the majority of the rest from Interpol and other
     internationl police organizations.  The scrolling list goes
     on forever.

     She narrows her search to show only those who have visited
     the VICAP Lecter files, then narrows it further to those who
     have "knocked" more than twenty times in the last month.

     Her own screen name - "cstarling" - appears on the new list
     more than any other.  There are also several flagged hits by
     "pkrendler."  She smiles at one name - "jcrawford."  He isn't
     supposed to be accessing the VICAP files anymore, now that
     he's retired, but just can't help himself.

     The next heaviest user is a name she doesn't recognize.
     Someone who calls him or herself, "pfrancesco."  She stares
     long at the screen name and finally whispers to it -

                          STARLING
               Could that be you, Doctor?

     EXT. CEMETERY - FLORENCE - NIGHT

     We slowly approach - from someone's moving point of view -
     a pair of young lovers walking toward us under the trees.  As
     they draw closer - oblivious to us, and our breath, and our
     footsteps on the cobblestone path -

     Pazzi enters his own POV.  Once past the lovers, he takes
     out a pencil-thin Maglite and rakes its narrow beam across
     names on the chipped-marble tombstones he passes, the light
     settling eventually on someone called "Lorenzo Mametti."

     He tosses a cheap bunch of wilting flowers onto the grave
     and looks around for whoever it is he's supposed to be meet-
     ing here.  A shadowy figure emerges almost soundlessly from
     behind a crypt and Pazzi finds the face with his pen light.

                          CARLO
               Please.

     Pazzi snaps it off.  Carlo comes out into the open looking
     like a grave digger in his work clothes, perches on a squat
     headstone, and first offering one to Pazzi, who declines,
     lights himself a cigarette.

                          CARLO
               I want him in the open street with not
               a lot of people around.

                          PAZZI
               How will you take him down?

                          CARLO
               That's my business.

                          PAZZI
               It's my business too.

                          CARLO
               You're a cop, aren't you.

                          PAZZI
               I asked you a question.

                          CARLO
               Yeah, you're a cop, all right.  I'll stun
               him with a beanbag gun, net him, give him
               a shot.

                          PAZZI
               He has to lecture tomorrow night.  It
               won't be strange if I attend; he actually
               thinks I'm interested.  Can you do it
               that soon?

                          CARLO
               Will you walk with him or are you afraid
               of him?

                          PAZZI
               I'll do what I'm paid to do and so will
               you, only I'll be better paid for it.

     Carlo removes his hat and bows his head as if to pray.
     Someone is walking on a path intersecting theirs down by the
     mausoleums.  The figure disappears behind the stone walls.

                          PAZZI
               I want him out of Tuscany fast.

                          CARLO
               Believe me, he'll be gone from the face
               of the earth fast.  Feet first.

     INT. STARLING'S LECTEREUM - DAY

     Starling glances from an international number jotted down on
     her blotter to the phone on which she's dialing it.  A paused
     time-coded frame of Lecter at the Florence perfumery, taking
     in a scent on his hand, glows on her television as she
     listens to a European ring.

     INT. QUESTURA - SAME TIME - EVENING

     Pictures of Il Mostro's victims stare at the detective who
     picks up the ringing phone.

                          DETECTIVE
               Questura.  Pandolfini.

                          STARLING'S VOICE
               I'd like to speak with Chief Inspector
               Rinaldo Pazzi, please.  I'm Agent Clarice
               Starling with the American FBI.

     The detective puts her on hold and shouts "Pazzi!" across
     the room to where Pazzi was just grabbing his coat off the
     rack to leave.  He holds the receiver up, then cradles it.
     Pazzi groans.  Keeps his coat on.  Lifts the receiver of
     another phone near him and pushes the blinking light.

                          PAZZI
               Pazzi.

                          STARLING'S VOICE
               Inspector Pazzi, it's Agent Starling with
               the FBI.  How do you do?

     He was doing fine until this instant.

     INTERCUT him here and Starling in her basement room -

                          PAZZI
               Actually I was just leaving for the day,
               can I call you back tomorrow?

                          STARLING
               This won't take long.  I'd appreciate it.

     Pazzi groans again to himself as he glances to the clock.

                          STARLING
               I wanted to thank you, first of all,
               for sending me the security tape from the
               perfume store.

     The security tape?  Pazzi thought he buried that tape.

                          STARLING
               When I say you, I mean your department.
               Agent Benetti.  Is he there?  Can I speak
               with him?

     Pazzi is looking right at the young man pouring himself a cup
     of water at the dispenser.

                          PAZZI
               I'm sorry, he's gone home.

                          STARLING
               That's all right.  I should tell you this
               rather than him anyway -

                          PAZZI
               I'm late for an important lec - an
               important appointment -

                          STARLING
               The person I'm looking for, Inspector -
               who was indeed shown on that tape - is
               Hannibal Lecter.

                          PAZZI
               Who?

                          STARLING
               Dr. Hannibal Lecter.  You've never heard
               of him?  He's quite well-known, at least
               in America.

                          PAZZI
               I'm sorry, I'm not familiar -

                          STARLING
               And the tape confirms that he is - or was
               recently - in Florence.

                          PAZZI
               Really.

                          STARLING
               He's a very dangerous man, Inspector
               Pazzi.  He's killed nine people - that we
               know of.

                          PAZZI
               We know about dangerous men around here,
               too, unfortunately.

                          STARLING
               Il Mostro.

                          PAZZI
               Yes.
                   (pause)
               You don't think -

                          STARLING
               No, I don't.  The crimes of Il Mostro
               bear no resemblance to Lecter's in ... in
               style.

                          PAZZI
               I really have to go, Miss -

                          STARLING
               Starling.  Just another minute.  Are
               you sure you've never heard of him?

                          PAZZI
               I haven't -

                          STARLING
               Because I'm confused.  I'm confused
               by that because someone there has been
               accessing our private VICAP files on Dr.
               Lecter with some regularity, on your
               computer.

                          PAZZI
               Everybody uses everybody's computer here.
               Maybe one of the detectives on Il Mostro
               was looking at profiles of killers to -

                          STARLING
               I'm speaking about the computer at your
               home, sir.

     Silence on both ends of the line.  A printout on her desk
     shows the Internet trail.  Scribbled on a Post-It stuck to it
     is "pfrancesco = rinaldo pazzi."

                          STARLING
               You're trying to catch him yourself,
               aren't you, Inspector?  For the reward.
               I cannot warn you strongly enough against
               that.  He killed three policemen down in
               Memphis, while he was in custody, tearing
               the face off one of them - and he will
               kill you too if you -

     He hangs up on her.

     INT/EXT. PALAZZO VECCHIO - LATER - EVENING

     As the sky darkens, floodlights across the piazza blink on
     and wash across the rough stone walls of the Palazzo Vecchio.
     As bats fly out from the jack-o'-lantern teeth of the
     parapets the image suddenly goes to -

     BLACK AND WHITE - a security monitor in the foyer, on which
     a guard watches the creatures circling the building looking
     for darker quarters.

     A clunking sound draws our attention, but not his, to the
     stairs, where we briefly glimpse the bottom half of a hand
     truck - with something big strapped to it - as it's pulled
     with some effort up the top steps.

     UPPER HALL

     The hand truck is wheeling toward us now, along the long
     hall, and we see that it is a lectern - as big as a pulpit -
     strapped to it.  We watch it coming, and the worker pushing
     it - that same man again, the Palazzo's custodian - into -

     THE SALON OF LILIES

     - where the restorers are climbing down from their
     scaffolding, closing up their cans of spirits and paints,
     packing up to leave for the day.

     Metal folding chairs have been arranged on the drop cloths
     covering the floor in split rows of six.  Fell is at a small
     table in back of them, setting up a slide projector.  He
     turns it on and angle its bright white light onto a home
     movie screen draping off the arm of its metal stand.

     He sees the custodian coming in with the hand truck and
     points out to him that he'd like the lectern up front, to one
     side of the screen.

     The screen.  It's too small.  The projector light spilling
     way wide of its edges.  The drop cloth hanging from the
     scaffolding behind it would work much better.

     As the custodian unstraps and sets up the lectern, Fell takes
     down the little screen, sets it aside, and stands before the
     cloth, smoothing at its flickering folds.

     The last of the restorers straggles out.  The custodian
     unplugs and coils the long orange cord of the floor polisher,
     hand-over-elbow.  Fell adds a brown extension cord to the
     projector remote and snakes it along the ersatz aisle between
     the chairs to the lectern.

     He sets some books on the podium, places his hands on its
     sides to test the comfort of its height - it's satisfactory -
     and looks out over his invisible audience.

     The custodian is finished straightening up.  Fell watches
     him cross behind the back row of folding chairs, approach the
     open doorway, and pauses for a few moments - too many moments -
     to gaze up at the Botticelli before leaving.

     EXT. PALAZZO VECCHIO - NIGHT

     A great shadow rears up against the floodlit wall.  It
     belongs to Pazzi, as he crossed the piazza, glancing once to
     Carlo and his brother Matteo smoking next to a van before
     disappearing into the palazzo's front entrance.

                          FELL'S VOICE
               Avarice and hanging are linked in the
               medieval mind -

     INT. SALON OF LILIES - NIGHT

     The "dragons" of the Studiolo - and Sogliato - face us in the
     folding chairs, listening to the lecture -

                          FELL'S VOICE
               St. Jerome writes that Judas' very
               surname - Iscariot - means 'money,' or
               'price.'

     A ringing phone interrupts.  The heads all turn.  Pazzi,
     standing just inside the doors, gropes for his cell phone,
     extracts it from his jacket pocket.

                          FELL
               Ah, Commendatore Pazzi.

                          STARLING'S VOICE
               It wasn't easy, but I got this number
               without telling them why, Inspector Paz -

     He hangs up on her.  Switches off the phone's power.

                          PAZZI
               Sorry.

                          FELL
               Not al all.  Welcome.  Since you are
               closest to the lights, would you be so
               kind as to dim the lights?

     Pazzi twists a dimmer on the wall and the lights come down.

                          FELL
               Thank you.  You'll be interested in
               this, Commendatore, since there is a
               Pazzi already in Dante's Inferno.

     An art slide appears on the drop cloth.  Fell improves the
     focus with the remote.

                          FELL
               Here is the earliest known depiction
               of the Crucifixion, carved on an ivory
               box in Gaul about A.D.  Four Hundred.  It
               includes the death by hanging of Judas,
               his face upturned to the branch that
               suspends him.
                   (the slide changes)
               And here he is, on the doors of the
               Benevento Cathedral, hanging with his
               bowels falling out as St. Luke the
               physician described him in the Acts of
               the Apostles - still looking up.

     The shadow of a bat flies across the image, but everyone, so
     accustomed to the occurence, ignores it.

                          FELL
               In this plate, from a fifteenth-
               century edition of the Inferno, Pier
               della Vigna's body hangs from a bleeding
               tree.  I will not belabor the obvious
               parallel with Judas Iscariot.

     Pazzi, still in the back of the room, tries desperately to
     separate the legs of a folding chair without having them
     squeak.

                          FELL
               But Dante Alighieri needed no drawn
               illustration.  It is his genius to make
               Pier della Vigna, now in Hell, speak in
               strained hisses and coughing sibilants as
               though he is hanging still.  Listen as he
               drags with the other damned his own dead
               body to hang upon the thorn tree:

     Fell's normally composed face pains as he recites from memory
     Dante's words of the agonal Pier della Vigna -

                          FELL
               Come l'altre verrem per nostre spoglie,
               ma no pero ch'alcuna sen rivesta, che non
               e giusto aver cio ch'om si toglie.
               Qui le strascineremo, e per la mesta
               selva saranno i nostri corpi appesi,
               ciascuno al prun de l'ombra sua molesta.

     A single metallic squeak from the back of the room punctuates
     the last word.

                          FELL
               Avarice, hanging, self-destruction,
               with avarice counting as self-destruction
               as much as hanging.  And what does the
               anonymous Florentine suicide say in his
               torment at the end of the canto?
                   (pained)
               Io fei gibetto a me de le mie case.
               I - I make my own house be my gallows.
                   (pause)
               Thank you for your kind attention.

     Now there are, gratefully, a lot of chair squeaks as the
     scholars stand to applaud Fell and come around him to shake
     his hand.  Pazzi has to step aside to keep from being knocked
     over by Sogliato leaving.

     The lights stay dimmed.  Pazzi makes his way to Fell and
     waits, as an autograph-seeker waits, for the last of the fans
     to shake the doctor's hand and step away.

                          PAZZI
               I'm not a scholar, but I think you've
               got the job.  Can I buy you a celebratory
               drink?

                          FELL
               How kind of you.  Yes, I'd like that.
               I'll just be a minute gathering my
               things.

     As Fell takes his tomes from the lectern and carries them
     back to the projector table, Pazzi switches the power back on
     his cell phone.  Nothing happens.  He realizes he has pressed
     the ring/vibrate, not the power button, powers it up now and
     makes a call.

                          PAZZI
               Allegra, cara, I'll be home just a
               little later than I said.  I'm taking Dr.
               Fell out for a drink.

     INTERCUT Carlo, outside, watching the entry of the Palazzo.

                          CARLO
               I can see the people coming out now.

     Back in the Salon, Pazzi hangs up.  Fell gathers his slides.

                          FELL
               Oh, I should've shown them this one.
               I can't imagine how I missed it.  This
               one will interest you.

     He drops the slide in front of the projector bulb and the
     image appears on the drop cloth:  a drawing of a man hanging
     naked beneath the battlements of this palace, the Palazzo
     Vecchio, from the exact same angle we saw on the security
     monitor.

                          FELL
               Can you make it out all right?

     It's a little blurry but Fell works with the remote and the
     illustration passes back and forth across the plane of focus.
     Keeping the remote in one hand, he takes a rag from his
     satchel with the other, and approaches Pazzi, his silhouette
     against on the drop cloth looming large as he comes.
     
                          FELL
               There's a name down here, can you see it?

     Pazzi comes close to look.  The projector's focusing motor
     purrs as Fell works it with the remote.  The lettering
     sharpens:  Francesco Pazzi.  Cheerfully -

                          FELL
               It's your ancestor, Commendatore.
               Hanging beneath these very windows.  On
               a related subject, I must confess to you
               I'm giving serious thought to eating
               your wife.

     He pulls at the heavy drop cloth.  It comes down,
     enveloping Pazzi.  Fell seizes him around the chest and
     presses the ether-soaked rag over the canvas where Pazzi's
     face must be - the image of his hanging ancestor splashed
     across the wall under the scaffolding.

     EXT. PALAZZO VECCHIO - NIGHT

     At the back of the van, its doors open, Carlo unzips a black
     vinyl guitar gig-bag.  Inside is his beanbag stun rifle.  He
     sets it next to the case and leans past the side of the door
     to check on his brother, Matteo, stationed across the piazza
     at the far end of the palazzo.

     From Matteo's position - if he were looking - he could
     see that his brother Carlo would like him to pay attention.

     Matteo is paying attention, only it's to a young couple in a
     car parked in the shadows across the street, necking.

     A rock hits Matteo's pant leg and he finally looks up to his
     brother by the van, who is saying with the arm that threw the
     rock, What's the matter with you?

     Neither one of them pays any attention to the worker sitting
     on the ledge of the fountain - the custodian from the Palazzo
     Vecchio - who glances up from time to time from the tip of
     his burning cigarette to the young lovers in the car.

     INT. SALON OF LILIES - NIGHT

     Pazzi's gun, his plastic handcuffs strips and his wallet sit
     next to Fell's work permit and permesso di soggiorno on the
     podium.

     Fell himself is standing next to it, working the plug-end
     of the long orange floor polisher cord into a hangman's noose
     with the traditional thirteen wraps.  Finishing, he crosses
     the room with it, the tail of the orange snake uncurling and
     slithering after him.

                          FELL
               If you tell me what I need to know,
               Commendatore, it would be convenient for
               me to leave without my meal.  I'll ask
               you questions and then we'll see.

     Pazzi is cinched to the hand truck with the same canvas
     straps used to secure the lecturn on its journey up to the
     salon.  With his mouth taped, it's difficult for him to
     express his gratitude.

                          FELL
               Was it Mason Verger you sold me to?
               Blink twice for yes.  Yes.  Thank you.
               Are his men waiting outside?  Umm hmmm.
               And one of them smells like tainted boar
               sausage?  Was that a single blink?  Oh,
               now you're confused.  Try not to be
               confused or I may have to fillet Signora
               Pazzi after all.  Have you told anyone in
               the Questura about me?  No, I thought
               not.  Have you told A-lle-gra?  No.
               You're sure?  I believe you.

     Fell comes around behind Pazzi to the back of the hand truck,
     hooks the cord-noose around one of its handles and gently
     tips it back.

                          FELL
               Here we go.  Hold on.

     Pazzi struggles against the straps.  He struggles to speak,
     to beg, but all that comes past the tape over his mouth is a
     purr.  Fell wheels him close to a balcony, fully uprights the
     hand truck again, takes the noose from the handle, drapes it
     delicately around Pazzi's neck and tightens the slack.

                          FELL
               Your heart is palpitating.  I can see it.

     Pazzi's heart is beating so hard the fabric of his jacket is
     fluttering.

                          FELL
               No.  That's not your heart.

     Fell slips a hand under the taut lapel as if to extract
     Pazzi's heart.  Instead he finds in there the cell phone.
     It vibrates silently in Fell's hand.

                          FELL
               Who could that be?  Should I answer it?

     Why not.  Fell flips it open.

                          FELL
                   (brightly)
               Pronto.

                          STARLING'S VOICE
               I've gone above you, Inspector.  I've
               spoken to your section chief.  Someday
               you'll thank me - or you won't - I
               don't care - you'll be alive.
                   (silence)
               Inspector Pazzi?

                          LECTER
               I'm afraid I have bad news, Clarice.

     INT. STARLING'S LECTEREUM - SAME TIME

     Dead silence except for a low rumble from the boiler room.
     Starling at her desk, like a statue clutching a phone.
     Finally -

                          STARLING
               Is he dead?

                          LECTER'S VOICE
               You got my note.  I hope you liked the
               hand cream.  I had it made especially for
               you.

                          STARLING
               Is he dead, Dr. Lecter?

                          LECTER'S VOICE
               Clarice, there's nothing I'd love
               more in the world than to chat with you.
               Unfortunately, you've caught me at an
               awkward moment.  Forgive me.

     INT. SALON OF LILIES - CONTINUED

     Lecter closes up the phone.  Switches off the power.  Returns
     it to Pazzi's breast pocket.

                          LECTER
               An old friend.

     He glances off with the faintest hint of wistfulness.  The
     wall behind the scaffolding is still displaying the slide of
     the hanging Francesco Pazzi.  Fell looks back to his great-
     great-great-great-great-cousin.

                          LECTER
               What do you think?  Bowels in?  Or out,
               like Cousin Francesco?

     Pazzi's eyes blink and blink and blink and blink in terror.

                          LECTER
               Oh, now you are confused.  I'll decide
               for you, if you'll permit me.

     Flash of a knife as it comes up Pazzi's front.  Another
     swipe as it severs his attachment to the dolly.  One push and
     the railing catches Pazzi at the waist.  He goes over it, the
     orange cord trailing, the ground coming up in a rush, the
     floor polisher yanked down and sliding across the floor,
     gathering up the drop cloth and slamming against the railing.
     Pazzi's neck snaps and his bowels, and phone, spill out.

     EXT. PALAZZO VECCHIO - NIGHT

     The lovers in the car break their embrace at the sound of the
     phone clattering to the ground, and stare up into the face of
     the palazzo custodian - Il Mostro - standing just outside the
     windshield with a big knife in his hand.  He runs.

     Carlo is running too, from the the van toward the palazzo,
     yelling to his brother -

                          CARLO
               Cover the back.  If he comes out just
               kill him, cut him.

     Matteo hurries around back.  Carlo jumps the steps three at
     a time to the front doors as the security guard comes out to
     see the thing in color that he couldn't quite make out in
     black and white on his monitor.

     INT. SALON OF LILIES - NIGHT

     The great doors of the salon stand ajar.  Carlo swings his
     gun around them onto the projected illustration of the
     hanging figure on the wall.

     EXT. ALLEY - NIGHT

     Matteo, knife out, stands before the back door of the
     palazzo.  Breathing hard, he reaches slowly for the handle,
     careful to position himself in a way that will allow the door
     to act as his shield if it opens.  He grasps the handle and
     pulls.  It's locked.  As the hand is letting go and coming
     away, the door suddenly swings open hard into his face -

     INT. SALON OF LILIES - NIGHT

     Carlo hears the cry coming from the rear of the building.
     He runs from the salon and down the back stairs, stumbling
     down them, catching himself, reaching the back door that's
     standing open.

     EXT. ALLEY - NIGHT

     He emerges from the doorway, leading with his gun, sees his
     brother on the ground, covered in blood, hurries to him and
     kneels.  Matteo's dead.

     EXT. PIAZZA VECCHIO - NIGHT

     A crowd is gathering, peering up at the spectacle that is
     Rinaldo Pazzi swaying slowly back and forth against the stone
     walls, lit up as if in a stadium under the floodlights.

     A motorcycle comes toward the square on a narrow side street.
     A figure steps out into the glare of its headlight.  The
     cyclist slows to a stop.

                          LECTER
               Young man, if I'm not at the Piazza
               Bellosquardo in ten minutes, my wife will
               kill me.

     Lecter's gloved hand offers a 50,000-lira note.

                          MOTORCYCLIST
               That's all you want?  A ride?

                          LECTER
               That's all.

     He hands the cyclist the bill and climbs on back, careful not
     to touch the young man with his hands, lest he get the wrong
     idea.  The Moto-Guzzi turns around and speeds off the way it
     came, away from the piazza.

     FADE TO BLACK

     And out of the black materializes -

     A BLACK AND WHITE image of Pazzi, small and stark in the
     floodlights, swinging against the wall of the Palazzo
     Vecchio.

     INT. STARLING'S LECTEREUM - DAY

     The event, captured on tape by the security camera across the
     piazza, copied and sent by the Questura at her request, plays
     on Starling's VCR setup.  As she watches it -

     INT. VERGER'S CHAMBER - DAY

     A copy of a copy of the tape - at the same point in the
     action - plays for Verger.  Noticing something - some move-
     ment in an upper corner of the frame - he reverse-searches
     the tape with his remote to look at it again.

     The movement belongs to a silhouette of a figure appearing
     briefly on the balcony above the hanged Pazzi.  An arm of the
     figure rises up and the hand waves - not down to Pazzi - but
     across to the viewer.  Verger freezes the image and studies
     it for a long moment in silence.  Eventually -

                          MASON
               Cordell?  To you:  Does that look like
               a wave goodbye? ... Or hello?

     INT. STARLING'S LECTEREUM - CONTINUED

     Starling's copy of the tape frozen on the same frame.  She,
     too, reverse-searches it and plays the wave again, no doubt
     wondering the same thing Verger is.  Her phone rings.

                          STARLING
               Starling.

                          CRAWFORD'S VOICE
               Don't tell anyone but I'm sitting here
               watching an mpeg off the VICAP of a man
               swinging from a rope against a building
               in Florence.

                          STARLING
               It's an electrical cord, Mr. Crawford,
               and you know you shouldn't be doing that.

     INT. CRAWFORD'S OFFICE - MIAMI - SAME TIME

     The same image glows on Crawford's computer screen.

                          CRAWFORD
               Ummm, I can't see it that clearly but I
               can see his intestines hanging out.  And
               the figure on the balcony waving.

     INT. STARLING'S LECTEREUM - CONTINUED

     She unpauses her better quaility tape and the wave plays
     again.

                          STARLING
               If I was concerned -

                          CRAWFORD'S VOICE
               You should be concerned.  Where do you
               think he'll go, now that you've disturbed
               his comfortable life?

                          STARLING
               Not here.  Somewhere else he can live
               without denying himself the things he
               likes.

                          CRAWFORD'S VOICE
               What does he like?

                          STARLING
               You know.  Good food, good wine, music,
               books -

                          CRAWFORD'S VOICE
               He likes you, Starling.  Seven years
               gone, not a trace, and he writes to you.
               You know what that means.

                          STARLING
               No.

                          CRAWFORD'S VOICE
               The stalker who says he likes you is
               far more dangerous than the one who says
               he wants to kill you.

     EXT. VERGER'S FARM - DAY

     The holes in the side of the livestock truck aren't big
     enough to see what's inside.  The guard at the main entrance,
     clipboard in hand, jumps back when something bangs up against
     the metal wall of the trailer.  To the driver -

                          GUARD
               You have to turn around - or back down
               - go half a mile up the frontage road to
               a gate - then up the service road.

     As the truck begins to turn around, the guard waves
     Cordell's car through.  Barney is in the passenger seat.

     INT. VERGER'S CHAMBER - DAY

     A man with glasses and a dry comb-over sits staring into the
     glare of Verger's bed-lights.

                          DR. DOEMLING
               I don't understand what you think he can
               offer.

                          MASON
               A second opinion, doctor.  I know that's
               anathema to those in your profession, but
               it's not in mine.

     Cordell leads Barney into the darkened chamber.

                          MASON
               Speak of the devil.  Welcome, Barney.
               I'm Mason.  This is Dr. Doemling, who is
               head of the Baylor University Psychology
               Department.  He holds the Verger Chair.

                          BARNEY
               How do you do?

     Barney sets down a pink dessert box tied with stirng and
     offers his hand to the doctor, receiving back for his trouble
     a limp shake.  Peering into the lights he can see beyond them
     only the vague shape of the figure in the hospital bed.

                          MASON
               I see you've brought dessert.  That's
               very kind.  Cookies?  I might be able to
               get a cookie down somehow.  So Barney -
               is Barney your real name by the way?

                          BARNEY
               Yes.

                          MASON
               First of all, Barney, thank you for the
               wealth of wonderful items you've provided
               me from your personal Lecter treasure
               trove.  I've enjoyed them immensely.

                          BARNEY
               Thank you for outbidding everyone.  Is
               Mason your real name?

                          MASON
               Oh, yes.  Please sit.  Yes, beside Dr.
               Doemling is fine.  That's his real name,
               too.  There.  Good.  Now -

                          DR. DOEMLING
               Barney, if I could ask, what exactly is
               your professional training?

                          BARNEY
               I have an LPN.

                          DR. DOEMLING
               You're a licensed practical nurse.

                          BARNEY
               Yes.

                          DR. DOEMLING
               Good for you.

                          MASON
               Okay, everybody has everybody's real
               names and credentials now.  Except mine.
               Mine are, well, I'm just very wealthy,
               aren't I?  Okay.  Let's begin.

                          DR. DOEMLING
               Barney, while you were working at the
               state hospital - I assume not as licensed
               practical nurse -

                          BARNEY
               - as an orderly -

                          DR. DOEMLING
               - as an orderly - you observed Clarice
               Starling and Hannibal Lecter interacting.

                          BARNEY
               Interacting?

                          DR. DOEMLING
               Talking to one another.

                          BARNEY
               Yes.  Yes, it seemed to me they -

                          DR. DOEMLING
               I can see you're eager to justify your
               consulting fee, but why don't we start
               with what you saw, not what you thought
               about what you saw.

                          MASON
               Barney's smart enough to give us his
               opinion.  Barney, give us your opinion of
               what you saw.  What was it between them?

                          BARNEY
               Most of the time Dr. Lecter didn't
               respond at all to visitors, he would
               just, for instance, open his eyes long
               enough to insult some academic who was
               there to look him over.
                   (he looks Doemling over)
               With Starling, though, he answered her
               questions.  She interested him.  She
               intrigued him.  He thought she was
               charming and amusing.

                          MASON
               Uh-huh.

                          DR. DOEMLING
               You can judge what Hannibal Lecter found
               amusing?  Just how do you go about that,
               Nurse Barney?

                          BARNEY
               By listening to him laugh, Dr. Dumling.

                          DR. DOEMLING
               Doemling.

                          BARNEY
               Sometimes Dr. Lecter and I would talk
               when things got quiet enough.  About the
               science courses I was taking and -

                          DR. DOEMLING
               Some kind of mail-order courses in
               psychology?

                          BARNEY
               No, sir.  I don't consider psychology a
               science, and neither did Dr. Lecter.

     A small laugh from behind the lights.

                          MASON
               And about her?  You talked about her?

                          BARNEY
               I can just repeat what he told me about
               her.

                          MASON
               That's why you're here.

                          BARNEY
               He said things like how she was
               charming the way a cub is charming a
               small cub that will grow up to be a big
               cat - one that you can't play with later.
               She had a cub-like earnestness, he said.

                          MASON
               Does she still in your opinion?  Have
               you seen her lately?

                          BARNEY
               Yes, I have, and no, I don't think she
               does.  That quality in her, I think, is
               gone.

                          MASON
               So Clarice Starling and Hannibal Lecter
               became ... friendly.

                          BARNEY
               Inside a kind of formal structure, yes.

                          MASON
               And he was fond of her.

                          BARNEY
               Yes.

                          MASON
               Thank you, Barney.  Thank you very
               much for your candor.  And keep all those
               wonderful products coming.  Cordell, see
               that Barney receives a real nice tip.

                          DR. DOEMLING
               Goodbye, Nurse Barney.

                          BARNEY
                   (picking up the pink box)
               Mr. Verger -

                          MASON
               The cookies.  Yes, let's have one.

                          BARNEY
               It's not cookies.

     He opens the box.  It's the Lecter mask.  Verger stares long
     at it in reverential silence.  Finally -

                          MASON
               How much?

                          BARNEY
               Two hundred and fifty.  Thousand.

                          MASON
               Cut Barney a check, Cordell.  Now.

     Barney sets the mask on the bed and leaves.  Verger hooks a
     talon-like finger over the wire and holds on.  Eventually he
     comes out of his reverie -

                          MASON
               So what do you think, doctor?  Does
               Lecter want to fuck her or kill her or
               eat her or what?

                          DR. DOEMLING
               Probably all three, though I wouldn't
               want to predict in what order.

                          MASON
               Hmmm.

                          DR. DOEMLING
               No matter how Barney might want to
               romanticize it and try to make it Beauty
               and the Beast, Lecter's object - as you
               know from personal experience - is always
               degradation and suffering.  He comes in
               the guise of a mentor - as he did to you -
               and her - but it's distress that excites
               him.  To draw him - if that's the goal -
               she needs to be distressed.  If you want
               to make her attractive to him, let him
               see her distressed.  Let the damage he
               sees suggest the damage he could do.

                          MASON
               When the fox hears a rabbit scream, he
               comes running ... but not to help.

     EXT. VIRGINIA STATE PARK - DAY

     A rabbit on a path, staring, listening, hears the footsteps
     before we do and bounds away back into the woods.  Starling
     appears a moment later, running on the same dirt path through
     the trees, two or three miles into her five-mile run, working
     up a sweat.

     She hears footsteps before we do, too, and, like a rabbit,
     bounds off the path.  Stopping just off it, she bends to
     catch her breath, then picks up a dead branch.

     The footsteps and the panting close in.  She lets the first
     running man go past, but grabs the second one, throws him to
     the ground, straddles him and pushes the branch against his
     throat.  At once calm but firm -

                          STARLING
               Don't say a word.

     She needn't warn him; the young man seems too terrified to
     speak.  Starling reaches behind his track suit, pulls out his
     .38, and keeping the branch tight against his neck, lets the
     other runner, who's running back now, know that she has his
     friend's gun.  To him, again very calmly, as he nears -

                          STARLING
               Stop.  Catch your breath.  Take your
               gun out very slowly with your left hand,
               set it on the ground and take five steps
               away from it.

     The second young man does exactly as he's told.  Then -

                          STARLING
               All right.  Who are you?

                          2ND RUNNER
               We work for Jack Crawford.  We're
               supposed to keep an eye on you.  To keep
               you safe from - you know - Hannibal the
               Cannibal.

                          STARLING
               Show me.

     He knows what that means, and shows her identification from
     Crawford's private security firm.

     She gets up off the other one then, tosses the branch away
     and walks over to the gun resting on the fallen leaves.  She
     picks it up.

                          STARLING
               Okay, here it is:  I don't need you
               looking after me.  I'm not in any danger.
               If you talk to him before I do tell him
               that.

                          2ND RUNNER
               Yes, ma'am.

     She returns the guns to each of them, first giving the one on
     the ground a hand up.

                          STARLING
               Sorry if I hurt you.

     She leaves them, continues on her run.  As the one she threw
     to the ground dusts himself off, the perspective changes to -

     A VIEW THROUGH BINOCULARS

     - of the two private security men off in the distance.

     They blur then as the binoculars are shifted.  Trees, too,
     blur across the lenses.  The view overtakes Starling, returns
     and follows her, focusing as she runs through the trees,
     staying on her until she disappears down a sloping path.

     Lecter lowers the small, expensive field glasses.  Returns
     them to their case slung over his shoulder.  Crosses the dirt
     parking area to her mustang.  Peers inside and sees no
     blinking red light on the dash.

     He takes out a slim jim.  Slips it down and across the
     driver's side jamb, tripping the lock.  He opens the door
     and sits in the bucket seat a long moment before delicately
     touching the ten and two o'clock points on the leather-clad
     steering wheel where her hands rest most often.  He leans
     closer to smell her on the leather.  Then licks it.

     INT. KRENDLER'S DC TOWNHOUSE - NIGHT

     Krendler, just back from a jog himself, sweaty T-shirt and
     headband, sits with Cordell and reads a postcard from London
     sheathed in plastic, written in Lecter's distinctive copper-
     plate.  Finishing, he looks up at a speaker phone -

                          KRENDLER
               I'm not sure I understand.

                          MASON'S VOICE
               You don't have to understand, Paul.  All
               you have to understand is what it's worth
               to you.

                          KRENDLER
               No, I don't understand why she didn't
               turn this over; she's such a - straight
               arrow.

     INT. VERGER'S CHAMBER - SAME TIME

     Looking at his speakerphone, Verger sighs.  Maybe he's making
     a terrible mistake.  Maybe Krendler is just too stupid to be
     of any real use to him.  As if to a child -

                          MASON
               She didn't turn it over because she
               didn't receive it.  She didn't receive
               it because it was never delivered to her.
               It was delivered to me for a nice
               gratuity to a not-so-nice mail room boy.

                          KRENDLER'S VOICE
               Oh.  Ohhh.

     The realization, and Krendler's look of admiration that
     follows it, only make Verger worry more about his stupidity.

                          MASON
               So what do you think?

                          KRENDLER'S VOICE
               I think you'd have been better off if
               you hadn't gotten her out of trouble in
               the first place.

                          MASON
               Woulda, shoulda, coulda - I meant, what
               do you think of the money?

     INT. KRENDLER'S TOWNHOUSE - CONTINUED

                          KRENDLER
               Five.

                          MASON'S VOICE
               Well, let's just toss it off like,
               "five."  Let's say it with the respect it
               deserves.

                          KRENDLER
               Five hundred thousand dollars.

                          MASON'S VOICE
               That's better, but not much, but don't
               say it again.  Will it work?

     Krendler considers the forged postcard again.  Eventually -

                          KRENDLER
               It won't be pretty.

                          MASON'S VOICE
               What ever is?

     INT. ASSISTANT DIRECTOR NOONAN'S OFFICE - DAY

     Starling sits next to her boss, Pearsall, and across from
     his boss, Noonan.  Krendler, too, is there, and a federal
     marshal standing in a corner of the quiet room.

                          NOONAN
               Would you identify yourself, please,
               for the record.

                          STARLING
               Special Agent Clarice Starling.  Is
               there a record, Director Noonan?  I'd
               like there to be since I have no idea
               what this is about.  Do you mind if I
               run a tape?

     She takes a little Nagra from her purse, sets it on the desk
     and turns it on.

                          NOONAN
               Tell her the charges.

                          KRENDLER
               Withholding evidence and obstruction of
               justice.

     The marshal sets the postcard with the familiar-looking
     copperplate in front of Starling.  Her eyes move quickly back
     and forth across the lines of words.  She doesn't touch it.

                          NOONAN
               Like to comment?  On tape?

                          STARLING
               Yes, I would.  I've never seen this
               before in my life.

                          KRENDLER
               How do you account for it being found in
               your - office - your - basement?

                          STARLING
               Found by who?

                          KRENDLER
               By me.

                          STARLING
               I don't think you want me to answer that,
               Mr. Krendler.  Let me ask you this:  What
               possible reason might I have to withhold
               it?

                          KRENDLER
               Perhaps because of the nature of its
               content.  It reads like a - like a love
               letter to me.

     As Krendler comes over and hovers over her shoulder, it's all
     she can do to keep herself from slugging him.

                          STARLING
               Has it been tested for prints?

                          NOONAN
               No prints on it.  None on the last one.

                          STARLING
               Handwriting (analysis) - ?

                          KRENDLER
                   (before Noonan can answer)
               Did you ever think, Clarice, why the
               Philistines don't understand you?  It's
               because you're the answer to Samson's
               riddle:  You are the honey in the lion.
               Sounds like him to me.

                          STARLING
               Do you mean, Mr. Krendler, like a
               homosexual?

                          KRENDLER
               Like a nut with a crush.

     Noonan, not a bad guy, chooses his next words carefully -

                          NOONAN
               Clarice, I'm placing you on
               administrative leave until Document
               Analysis tells me, unequivocally, a
               mistake's been made.  In the meantime
               you'll remain eligible for insurance and
               medical benefits.
               Please surrender your weapons and
               identification to Agent Pearsall.

     Looking steadily at Krendler, Starling takes out her .45,
     drops the clip into her hand, shucks the round out of the
     pistol's chamber and sets it all down on the desk.  As she
     places her ID next to it, Pearsall asks her sadly -

                          PEARSALL
               Backup sidearm?

                          STARLING
               Locked in my car.

                          PEARSALL
               Other tactical equipment?

                          STARLING
               Helmet and vest.

                          NOONAN
                   (to the marshal)
               You'll retrieve those when you escort
               Miss Starling from the building.

     The marshal comes toward her.

                          STARLING
               I want to say something.  I think I'm
               entitled.

                          NOONAN
               Go ahead.

                          STARLING
               I think Mr. Mason Verger is trying to
               capture Dr. Lecter himself for the
               purpose of personal revenge.  I think Mr.
               Krendler is in collusion with him and
               wants the FBI'S effort against Dr. Lecter
               to work for Mr. Verger.  I think Mr.
               Krendler is being paid to do this.

                          KRENDLER
               It's a good thing you're not sworn here
               today.

                          STARLING
               Swear me!  You swear, too!

                          NOONAN
               Starling.  If the evidence is lacking,
               you'll be entitled to full reinstatement
               without prejudice - if you don't do - or
               say - something in the meantime that
               would make that impossible.

     Starling just keeps staring at Krendler as she gathers her
     Nagra and purse.  Finally, she glances over to her boss and
     friend, Pearsall, who mouths -

                          PEARSALL
               Sorry, Starling.

     She lets the marshal lead her from the room.

     INT. DEPARTMENT STORE - DAY

     Lecter, clutching a shopping bag, stands in the electronics
     department before a wall of television sets all tuned to the
     same channel, local news, a talking head with an inset of a
     photograph of Starling.

                          TALKING HEAD
               - relieved of field duty pending an
               internal investigation into the charges.
               Starling, a 7-year vetern on the Bureau
               began her career with an assignment to
               interview lethal madman, Hannibal Lecter -

                          LECTER
               - Doctor -

                          SALES CLERK
               May I help you, sir?

     Lecter glances to the young sales clerk, a teenager with a
     name tag.

                          LECTER
               I was looking for some good steak knives,
               Toby, but I'm afraid I got distracted.

                          SALES CLERK
               Kitchenware, right over there.

                          LECTER
               Thank you.

     The clerk walks away.  Lecter glances back to the TVs to see
     that a black and white inset photograph of himself has been
     added to the one of Starling.

                          TALKING HEAD
               - receiving information from him which
               led to killer Jame Gumb and the release
               of his hostage Catherine Martin, daughter
               of the former U.S. Senator from
               Tennessee.

     Lecter glances over to "Toby," who is busy pointing out to
     a customer the features of various VCRs, his back to the
     screens.  Footage of Krendler appears on them -

                          KRENDLER ON TV
               FBI and the Justice Department are
               looking carefully into the charges, and
               yes, they are serious.  But I want to say
               this:  Starling's one of the best agents
               we have and having known her for a number
               of years now, I would be very surprised
               if the accusations turn out to be true.
               It's much too soon to condemn her.

     Lecter smiles at Krendler's image.  He always smiles upon
     finding himself in the presence of bad liars.

     INT. STARLING'S HOUSE - NIGHT

     Silent.  Still.  Then the lock turning in the front door.
     It opens.  Starling, looking weary, carries in a cardboard
     box, her things from her desk at "the office," no bigger than
     Brigham's was.  As she passes us -

     Later.  Laundry room.  Absently dropping clothes in a
     washing machine filling with water, she then slides down to
     the floor in despair, her back against the warm enamel -

     Later.  Living room.  Pouring herself a neat Jack Daniels
     to the accompaniment of the first message on her answering
     machine, the voice sounding almost as tired as her -

                          CRAWFORD'S VOICE
               Hey.  It's Jack.  How you doing?  I'm
               sure it's not as bad as it looks.  I feel
               it's my fault.  I got you into all this.
               Call me.  Make me feel better.

     She carries the drink to the sofa, lies down, hasn't bothered
     to turn off any lights.  Drinks as the second message plays -

                          BARNEY'S VOICE
               It's Barney.  Remember me?  I got your
               number from, uh - I mean I know it's un-
               listed, but, I, ummm, I'm pretty good on
               the computer ...
               - save a few bucks on my phone bill,
               don't arrest me -
                   (she smiles; closes her eyes)
               I'm sorry, uh - about what happened to
               you.  I feel bad.  For you.  I was, umm,
               wondering if you might want to call me if
               you get the chance - 555-7026.
                   (in a firmer tone:)
               I think she's nice.  She's always been
               nice to me.  Polite.  Don't you think?

     Tight on Starling's cassette deck - the spindles turning
     the tape inside.  Stack of other tapes she got from Barney
     lying next to it.

                          LECTER'S VOICE
               Do you know what a roller pigeon is,
               Barney?

     Starling is asleep on the sofa now.  Still in her clothes.

                          LECTER'S VOICE
               They climb high and fast, then roll
               over and fall just as fast toward the
               earth.  There are shallow rollers and
               deep rollers.  You can't breed two deep
               rollers, or their young will roll all the
               down, hit, and die.  Officer Starling is
               a deep roller, Barney.  We should hope
               one of her parents was not.

     The tape reaches its leader an stops.  The green power
     light stays on.  Then it goes off, then comes back on again:
     an electrical interruption that is quickly reestablished.

     INT. BASEMENT - STARLING'S HOUSE - SAME TIME

     A basement window slightly open.  A piece of insulated wire
     clipped to the alarm contacts.  A shadow of a figure floating
     away from it.

     The figure moves toward the stairs, passing a rusty bicycle
     hanging on the wall and some shooting trophies gathering dust
     on a shelf, and begins up the stairs.

     INT. STARLING'S HOUSE - MOMENTS LATER

     The microwave oven's glowing reset numbers "88:88" are
     obsured a moment as the figure soundlessly passes.  Ice
     tumbles from the refrigerator's ice-maker into the bin.

     In the living room, Starling is still asleep, her empty
     glass resting on a wood coffee table.

     A digital desk clock blinks "00:00."  Tiny sounds echo in the
     dark house - the hum of the furnace, the whistle of a pant
     leg touching fabric on a chair, slick pages being turned ...
     a sigh.

     EXT. STARLING'S HOUSE - DAWN

     The basement window, closed now, reflecting the glow of
     sunrise.  Power lines against the red sky.  A pigeon sitting
     on the wire, calling out once.

     INT. STARLING'S HOUSE - DAWN

     Starling wakes in the same position she fell asleep.  In
     front of her is her empty glass.  Set down not on top of the
     wood as she left it, but on a thick magazine.

     She knows that's not right.  Sits up enough to see the
     cover of the magazine.  Italian Vogue.  Edge of a Post-It
     peeking out from the pages.  She uses the Post-It to turn
     to the marked page.  A glossy Prada advertisement for
     expensive - unsensible - shoes.

     He's been in her house.  Right here as she slept.  She's up
     fast, rushing to her bedroom.  The the closet.  Pulling down
     from the top shelf the box containing Brigham's guns and ID.
     
     She slams a clip into the .45.  As she's loading the little
     .38, the phone rings, startling her.  She stares at it on the
     night stand next to the alarm clock:  10:30 A.M.  It rings
     again.  She slowly crosses toward it.  Another ring.  She
     lifts the receiver.  Says nothing.  Hears nothing.  Until -

                          RECORDED VOICE
               If you're not receiveing frequent flyer
               miles on your credit card, you're missing
               out on -

     She hangs up.  Returns to loading the gun.  The cell phone
     on her hip rings, and a bullet falls to the floor.  She pulls
     the phone from its holster.  Answers it, again, by saying
     nothing.  Only listens.  Hears a little static.  Connection
     to another cell phone probably.  Then -

                          LECTER'S VOICE
               The power on that battery is low,
               Clarice.  I would've changed it, but I
               didn't want to wake you.  You're going to
               have to use the other one.  In the
               charger.  Hopefully the light on it is
               green by now.

     The charger is right in front of her on the dresser.  And the
     light on it is green - fully charged.

                          LECTER'S VOICE
               - because this is going to be a long
               call and I can't let you off because -
               even though you've been stripped of your
               duties, I know you won't abandon them,
               you'll try to put on a trace.  So we'll
               disconnect only long enough for you to
               exchange the battery in the phone for the
               one in the charger.  Shall we say - three
               seconds?  That should be enough.  You can
               change the clip on a .45 quicker than
               that.  So when I tell you to, disengage
               the dying battery.  That'll disconnect
               us.  I'll speed dial back.  If you've
               succeeded in your task in the allotted
               time - wonderful.  If not? Well maybe
               some other time.  Are you ready?

                          STARLING
               Yes.

                          LECTER'S VOICE
               Go.

     It looks like changing the clip in a gun - the low battery
     falling away from the body of the phone into her hand, the
     charged one slapped in its place in just over two seconds.
     She hits the power button.  The LCD display lights up and
     beeps.  The phone rings and she flips it open.

                          LECTER'S VOICE
               Very good.

                          STARLING
               Thank you.

                          LECTER'S VOICE
               Get in your car.

     She begins gathering the guns and holsters and ammo.

                          LECTER'S VOICE
               Oh, all right, bring the guns if you
               want.  But remember, if you get caught
               with a concealed, unlicensed firearm in
               the District of Columbia, the penalty
               is pretty stiff.

     INT. STARLING'S MUSTANG - MOVING - DAY

     She's in the far right lane of a highway.  Keeping just under
     the speed limit.  The cell phone rests atop the open ashtray.

                          LECTER'S VOICE
               The reason we're doing it like this,
               Clarice, is because I'd like to see you
               as we speak.  With your eyes open.  No,
               it doesn't excite me.  Yes, it pleases
               me.  You have very shapely feet.
               Call it out.

                          STARLING
               Exit 14-A.  Three hundred yards - two
               hundred - one hundred - fifty -

                          LECTER'S VOICE
               Take it.

     She veers onto the ramp without a signal.  A van, several
     lengths back, takes the exit, too.

     INT. UNION STATION - DAY

     Starling enters the huge, echoing interior of the station
     with a crush of travelers and Christmas shoppers.  She has
     the phone to her ear, and through it, can hear the sounds not
     dissimilar to those around her.

                          LECTER'S VOICE
               I thought, to begin, you might tell me
               how you're feeling.

                          STARLING
               About what?

                          LECTER'S VOICE
               The masters you serve and how they've
               treated you.  Your career, such as it is.
               Your life, Clarice.

     The place is not just trains, but also a mall of stores, many
     of them playing Christmas music.  Outside one of them, on the
     second tier, Lecter, cell phone to his ear, watches Starling
     trying to sort out the cacophony of sounds down below.

                          STARLING'S VOICE
               I thought we might talk about yours.

                          LECTER
               Mine?  What is there to say about mine?
               I'm happy.  Healthy.  A little nomadic at
               the moment but that'll soon change.  You,
               though.  You, I'm worried about.

     Carlo and Piero, without phones, have entered the building
     and brush past people as they scan its interior, looking for
     and eventually spotting Starling rising up an escalator.

                          STARLING
               I'm fine.

                          LECTER'S VOICE
               No, you're not.  You fell in love with
               the Bureau - with The Institution - only
               to discover, after giving it everything -
               that it doesn't love you back.  That it
               resents you, more than the husband and
               children you gave up to it ever would.

     Lecter is going down an escalator as Starling approaches
     where he was just moments ago, outside the Gap Kids store.

                          LECTER
               Why is that, do you think?  Why are you
               so resented?

                          STARLING'S VOICE
               Tell me.

                          LECTER
               Tell you?  Isn't it clear?  You serve
               the idea of order, Clarice - they don't.
               You believe in the oath you took - they
               don't.  You feel it's your duty to
               protect the sheep - they don't.  They
               don't like you because they're not like
               you.  They're weak and unruly and
               believe in nothing.

     She's lost him.  Peers down over the railing.  Listens to the
     background sounds in her phone.

                          STARLING
               Mason Verger wants to kill you, Dr.
               Lecter.  Turn yourself in to me and I
               promise no one will hurt you.

                          LECTER'S VOICE
               Will you stay with me in my prison cell?
               Hmmm?  I suppose it wouldn't be that much
               worse than yours.

     She hears a bell clanging.  Sees a Salvation Army "soldier"
     in the far distance below, his back to her, his arm moving up
     and down, but can't tell if it synchronizes with the sound in
     her phone.

                          LECTER'S VOICE
               Mason doesn't want to kill me, Clarice,
               any more than I wanted to kill him.  He
               wants me to suffer in some - unimaginable
               way.  He's rather twisted, you know.
               Always has been.  Have you had the
               pleasure?

                          STARLING
               I have.

                          LECTER'S VOICE
               Attractive, isn't he.  But back to you -

     She steps off the down escalator and heads toward the
     Salvation Army soldier and his little kettle hanging from the
     tripod, the bell in her phone diminishing proportionally, it
     seems, as she nears the live one.

                          LECTER'S VOICE
               I want to know what it is you think you
               will do, now that all you cared about in
               the world is gone.  Will you work as a
               chambermaid at a motel on Route 66, like
               Mom?

                          STARLING
               I don't know, Dr. Lec -

                          LECTER'S VOICE
               Don't you want to harm those who have
               forced you to consider it?  I know you
               never would, but wouldn't you like to?
               Wouldn't it feel good?  It's all right to
               admit it.  It's perfectly natural.  To
               want to taste the enemy.

     She stops moving.  Listens.  Hears Jingle Bells in her phone.

                          LECTER'S VOICE
               Are you thinking?  Or tracking, Ex-
               Special Agent Starling?

     Jingle Bells begins to fade in her phone.  He's moving again.
     She turns.  Carlo and Piero do an abrupt about-face.  But not
     before Starling sees them.

                          STARLING
               They're following me, Dr. Lecter.

                          LECTER'S VOICE
               I know.  I see them.  Now you're in a
               real dilemma, aren't you?
               Do you continue to try to find me,
               knowing that you're leading them to me?
               Do you have so much faith in your
               abilites that you believe you could
               somehow - simultaneously - arrest me -
               and them?  It could get messy, Clarice.
               Like Memphis.

     She can hear another voice - both "live" and in the phone -
     "Ho, Ho, Ho, Merry Christmas" - and can see above heads in
     the distance, a department store Santa Claus in a painted
     plywood sleigh.  She moves toward him.

                          LECTER'S VOICE
               What if I did it for you?

                          STARLING
               Did what?

                          LECTER'S VOICE
               Harmed them, Clarice.  The ones who've
               harmed you.  What if I made them scream
               apologies?  No, I shouldn't even say it
               because you'll feel - with your perfect
               grasp on right and wrong - that you were
               somehow - accompli - even though you
               wouldn't be.

                          STARLING
               Don't - help me.

                          LECTER'S VOICE
               No.  Of course not.  Forget I said it.

     She's closing in on the sleigh and the barricade of kids and
     parents around it, her free hand settling on the stock of her
     .45, Carlo and Piero closing with her several steps back.

                          SANTA CLAUS
               Ho - Ho - Ho.

     Lecter sees her and the Sardinians pushing through the crowd.

                          LECTER
               Ho, ho, ho, indeed.  I think I'll be
               going now.  I have some shopping to do
               anyway.  Chin up, Clarice.  Merry
               Christmas.

     He disconnects the call.  Starling breaks through the front
     of the crowd, moving just in front of the sleigh to scan the
     faces all around her.  Lecter is gone.

     EXT. D.C. DOWNTOWN - DAY

     Traffic crawls past Christofle.

     INT. CHRISTOFLE - DAY

     An armed security guard's glance drifts across Lecter
     pointing out to a saleswoman the Gien French china he'd like
     to purchase.

     Later, she rings up several purchases as Lecter looks on,
     credit card out:  the plates, a set of aperitif glasses and
     Riedel crystal, linen place mats and napkins, 19th-century
     silverware with a pleasing heft like good dueling pistols.

     INT. HAMMACHER SCHLEMMER - DAY

     Lecter chooses a set of exquisite copper saute pans and a
     couple of whisks.  Elsewhere, a salesman demonstrates for him
     the adjustable height of the flame on a portable 35,000 BTU
     stainless stell grill.

     INT. MEDICAL SUPPLY STORE - DAY

     And finally, to complete his batterie de cuisine, he pays for
     a newly-new Stryker autopsy saw.

     EXT. CHESAPEAKE BAY - EVENING

     A late-model, but not new, Ford Ranger pickup pulls into
     the driveway of a small yet charming cottage nestled in the
     woods.

     Lecter climbs out and gathers his bungy-corded shopping bags
     from the truck bed, including the one with the distinctive
     powder blue coloring.

     He leaves the boxed Parker grill in back, at least for the
     moment, carries the rest of his purchases to the front door,
     fiddles with the lock to get it open and disappears inside.

     INT. STARLING'S HOUSE - EVENING

     Light bleeds along the edges of a scanner.  Images appear
     on Starling's computer screen:  Brigham's FBI identification
     next to a photo-booth picture of her.  Using a paint-program,
     she replaces his photo with hers and prints it out.

     INT. WINE STORE - ANNAPOLIS - DAY

     As a wine merchant leans slightly to take a closer look at
     Starling's new ID, laminated now, she closes its leatherette
     holder.  Christmas Muzak plays softly from somewhere.

                          STARLING
               You're sure it was Chateau d'Y quem.

                          WINE MERCHANT
               Not only was it Chateau d'Y quem, it was
               Chateau d'Y quem - sixty-seven.  The best
               bottle of wine in the store.

                          STARLING
               Can I see the tape?  If his car was
               parked out front, you may have caught the
               license plate.

     EXT. STREET - ANNAPOLIS - SAME TIME

     The rear license plate of the Ford Ranger.  10-foot Noble
     Christmas tree in back.  The pickup parked across the street
     from the shopping center the wine store is part of.

     Behind the windshield, Lecter carefully surveys the people
     and vehicles in the large parking lot and those appearing and
     disappearing in his side and rearview mirrors, well aware
     that one of them could contain the Sardinians.

     INT. WINE STORE - CONTINUED

     Starling has come behind the counter to join the merchant as
     he fast-forwards through a security tape on a small black and
     white monitor.

     EXT. STREET - CONTINUED

     Still in his truck, Lecter watches the parking lot across
     the street.  He watches the trunk lid of a yellow cab spring
     open and the driver setting his elderly fare's grocery bags
     into it.  He watches a man struggling to twine a big Douglas
     fir to the roof of a sub-compact that's too small for it.  He
     watches a rolling, rattling cart without anyone attached to
     it.

     INT. WINE STORE - CONTINUED

     Starling watches the fuzzy video tape.  Watches the man come
     in wearing a parka and mittens and a billed cap pulled low
     enough to hide his face, but can't make out the license
     plates on the cars parked outside.

     EXT. STREET / PARKING LOT - SAME TIME

     Lecter puts the same hat on, unlatches his door, climbs
     down.  He crosses the street to the lot and walks past parked
     cars, a box in his hand wrapped in Christmas angels paper.

     INT. WINE STORE - CONTINUED

     The video tape shows the wine merchant returning from the
     back room, wiping dust from a bottle and displaying its label
     to the man in the billed hat.  Through the window of the
     store now, if she was looking, she would see the same man
     approaching her Mustang.

     EXT. PARKING LOT - CONTINUED

     A slim jim drops down the sleeve of Lecter's overcoat into
     his hand.  A barrel of a rifle, somewhere, rises.  The blade
     of the slim jim slides down between the driver's side jamb
     and trips the lock.  Something slaps at the air across the
     lot.  Something silver embeds itself in Lecter's neck.

     INT/EXT. WINE STORE / PARKING LOT - CONTINUOUS

     Starling glances up at the air-rifle sound.  Glimpses a
     figure outside collapsing against the open door of her car.

     Squealing tires.  A van racing across the lot sends a cart
     crashing into the door panel of an Audi.

     The Christmas gift falls to the pavement.

     Starling pulls out Brigham's .45 and the wine merchant
     retreats quickly to the back room.  She runs from the store
     and kneels to aim at the van just as a Lincoln Towncar pulls
     up right in front of her, blocking her view.

     The van's back doors fling open and two men leap down,
     grabbing Lecter.

     Starling back on her feet, aims over the hood of the Lincoln.

                          STARLING
               Hold it!  FBI!  On the ground!

     The handicapped parking placard and two old panicked faces
     in the windshield of the Lincoln.  The screech of its tires
     as it almost runs Starling over as she comes around it.

     The back doors of the van yanked shut from inside.

     Starling running toward the van, then kneeling again to aim
     as it takes off -

     An oblivious couple sharing the weight of a Christmas tree
     twenty yards ahead, blocking the clear shot she almost had.
     
     The van sliding into the street and accelerating.

     Starling running to her car and writing down the license
     plate number in the dirt on its hood.

     Then seeing beside her slashed front tire, the trampled
     Christmas package.  The box torn open.  The Prada shoes.

     INT. FBI DC FIELD OFFICE - AN HOUR LATER - DAY

     Halos around the mundane contents of a purse as it passes
     through an x-ray machine; the visitor it belongs to stepping
     through the metal detector.  Shouldering the purse she
     crosses the lobby to the elevators, passing Pearsall coming
     the other way.  He strides to where Starling waits - on the
     street side of the security station - unable, in her current
     lowly status, to get any deeper into the building.

                          STARLING
               I know the first thing a hysteric says
               is, "I'm not a hysteric," but I'm not a
               hysteric.  I'm calm.

                          PEARSALL
               I'll ask you one time.  Think before you
               answer.  Think about every good thing you
               ever did here.  Think about what you
               swore.  What did you see?

                          STARLING
               Two men in a van.  A third driving.
               Another man shot and put into the back.
               I've given you the license plate and I'm
               reporting it all again to you, Clint
               Pearsall, at SAC Buzzard's Point.

     He glances at the purse hanging from her shoulder.  No doubt
     her Nagra is in it and taping.  Finally -

                          PEARSALL
               All right.  I'll go with it as a
               kidnapping.  I'll send someone out there
               with the local authorities - if he'll let
               us on the property without a warrant -

                          STARLING
               I'm going, too.  You could deputize -

                          PEARSALL
               You're not going.  Unless you want to be
               arrested.  You're going home where you'll
               wait for me to call and tell you what, if
               anything, we found.

     He turns and strides away.

     EXT. VERGER'S ESTATE - NIGHT

     Cordell standing amidst several idling marked and unmarked
     police cars as the officers climb in and shut the doors.

                          OFFICER
               Please thank Mr. Verger for letting us
               look around.  Sorry if we inconvenienced
               him.

                          CORDELL
               Not at all.  He's always happy to see
               you.  He also wanted me to wish you and
               your families a Merry Christmas for him,
               and to assure you this'll not effect, in
               any way, his annual contribution to the
               Police Benevolence Fund.

     One of the plain clothes men speaks into a cell phone -

                          FBI AGENT
               Nothing here, Clint ... We're sure.

     INT. VERGER'S CHAMBER - SAME TIME

     The flashing lights of the patrol cars flare across the
     black and white security monitors as the police drive away.
     Verger, watching from his bed, presses a button on a remote
     that dials a number.

     INT. VAN - NIGHT

     The ringing of a cell phone cuts through the voices and
     static of a police scanner.  Carlo answers it.

                          MASON'S VOICE
               How is he?

     Lecter lies unconscious, handcuffed and bound on the floor
     of the van.  One of Piero's hands - perilously close to the
     doctor's mouth - feels for the pulse on his neck.  The
     other holds a milk shake.

                          CARLO
               Sleeping.

                          MASON'S VOICE
               Bring him home.

     EXT. PARKING LOT - NIGHT

     The van's headlights blink on as it pulls out of the fast food
     restaurant.

     INT. STARLING'S HOUSE - NIGHT

     The phone rings here in the darkened house.  The machine
     answers it.

                          PEARSALL'S VOICE
               Pick up, Starling... There was nothing
               out there... I'm going to say it again in
               case you didn't hear me clearly before:
               You are not a law officer while on
               suspension.  You're Joe Blow.  For your
               sake I hope you're just in the bathroom.

     EXT. VIRGINIA HIGHWAY NEAR VERGER'S FARM - NIGHT

     The police cars, their flashing lights dark now, pass
     Starling's Mustang, headlights off, parked on a turn-out.

     INT. VERGER'S MANSION - NIGHT

     Cordell's shoes move along the same Moroccan runner as in
     the first scene; only now there are others, work boots, three
     sets, moving along with them, and the wheels of a hand truck.
     They all cross onto the polished linoleum floor.

     INT. VERGER'S CHAMBER - NIGHT

     The hand truck stops.  Strapped to it is a singletree, a
     thick oak crosspiece from a horse cart harness, and tied to
     it with rope, Hannibal Lecter, wearing the famous mask from
     The Silence of the Lambs.  Just coming out of the sedative
     from the dart, he squints into the lights surrounding the
     hospital bed.

                          MASON
               Hylochoerus Meinertzhageni ...
               Does that ring a bell from high school
               biology, doctor?  No?  I could list its
               most conspicuous features if that would
               help jog the memory.

     Suddenly the lights go out, allowing Lecter - and us - to see
     Verger in the shadows in his bed.

                          MASON
               Three pairs of incisors, one pair of
               elongated canines, three pairs of molars,
               four pairs of pre-molars upper and lower,
               for a total of forty-four teeth.

     Lecter is conscious, but seems not be particularly interested
     in the science lecture.

                          MASON
               The meal will begin with an apertivo
               tartare.  Your feet.  The main course -
               the rest of you - won't be served until
               seven hours later, but during that time
               you'll be able to enjoy the effects of
               the consumed appetizer with a full-
               bodied saline drip.

     No reaction, that can be read at least, from Lecter.

                          MASON
               Much as I'd love to, I won't be joining
               you at the table since I can't move, but
               I will be watching a 3-camera video feed
               here, and I'll try to stay awake.
                   (he smiles as much as he's
                    able; then)
               I guess you wish now you'd fed the rest
               of me to the dogs?  Hmmm?

                          LECTER
               No, Mason.  I much prefer you the way
               you are.

                          MASON
                   (pause; then buoyantly)
               So.  Dinner at eight?  Bon appetit.

     EXT. VERGER'S ESTATE - DAY

     Starling's Mustang creeps along the service road without the
     aid of its headlights.  Up ahead about a quarter mile, in the
     trees, she can see the glare of a floodlight.

     She stops.  Pulls the trunk release.  Climbs out and comes
     around to it.  Rummages around the debris inside and selects
     four pairs of cuffs, extra ammo, a knife and a flashlight.

     She leaves the trunk ajar, aims the flashlight down, switches
     it on and leads herself with its beam - careful to keep it no
     more than two or three steps ahead - into the woods.

     INT. BARN - NIGHT

     Lecter, still trussed to the singletree, prone now on the
     hand truck, stares up at the rafters where Tommaso sits in a
     cane chair, a rifle in his lap.

     Below, one of three closed-circuit video cameras mounted
     on tripods watches as Carlo, not being too careful about it,
     pierces his wrist with an IV needle.

                          LECTER
               Your brother must smell worse than you
               do by now.

     The blade of Carlo's knife is against Lecter's throat in
     an instant.  From an intercom -

                          MASON'S VOICE
               No, no, no - don't hurt him.

     Lecter smiles at the Sardinian.  The knife slowly comes away
     from his neck, leaving only a little blood.

     Piero meanwhile is adjusting the angle of a gilt-framed
     mirror hanging above the slatted gate Lecter's feet will soon
     be stuck through.

                          MASON'S VOICE
               And turn off that radio, I can't hear
               anything.

     A shortwave radio on a wooden table that's broadcasting a
     soccer game in Italian.  As Piero crosses to it -

     EXT. WOODS - NIGHT

     Starling, still, listens as the already-faint sound of the
     Italian announcer's voice fades to nothing.  She continues on
     again toward the floodlit area beyond the trees until another
     sound stops her.  Another recorded voice.  Begging and
     screaming in Italian.

     Suddenly, through the trees all around her, dark shapes are
     moving fast.  She wants to but dares not point the flashlight
     at them; if they're armed, the beam may as well be a painted
     target on her chest.

     She crouches.  Catches a glimpse of something big running
     close to the ground past the trucks of the trees near her.
     Then it's gone.

     INT/EXT. BARN - NIGHT

     The wild boars appear in the reflection of the large-gold-
     framed mirror, jostling into a semi-circle like berserk
     linemen posing for a team photo.

     Piero dials down the screaming tape.  Carlo rights the hand
     truck, hooks a saline bag to it, and wheels it toward the
     slatted gate.  Tipped back, rolling slowly closer to his
     death, Lecter begins humming Pomp and Circumstance.

     INT. VERGER'S CHAMBER - NIGHT

     Verger, glancing between three monitors displaying the
     upcoming live event, glimpses something in one of them as it
     darts along the fence line of the pen, then disappears.

                          MASON
               What was that?  Cordell?  Did you see
               that?

     INT/EXT. BARN - NIGHT

     A boom of a .45 echoes in the barn.  Tommaso, still up in
     the loft, throws himself down against the planks.

                          STARLING
               Hold it!  Hands where I can see -

     Carlo's hand swings around with a .357 in it.  Starling
     fires once, knocking him back against the gate.  Piero makes
     a move toward the fallen gun, but stops when he sees a slat
     splinter right next to it, the boars surging at the gate to
     get to Carlo on the ground just inside it.

                          STARLING
               Down!

     Piero kneels with his empty hands aloft.  Starling crosses
     quickly with a set of handcuffs.  In the loft, Tommaso crawls
     along the planks as she disappears from his view.  Down below
     Lecter cranes his head to watch Starling pick up the gun.

                          LECTER
               Good evening, Clar -

                          STARLING
               Shut up.

     She kneels.  Lecter tries to bend his head to watch her snap
     a cuff around one of Carlo's wrists.

                          STARLING
               Can you walk?

                          LECTER
               Well, I don't know.  May I try?

     The boars pound against the gate, trying to get at Carlo.
     Starling drags him a couple of feet away and pulls a knife
     from an ankle strap.

                          STARLING
               I'm going to cut you loose.  If you touch
               me, I'll shoot you.

                          LECTER
               Understood perfectly.

                          STARLING
               Do right and you'll live through this.

                          LECTER
               Spoken like a Protestant.

     She cuts one of his arms free, keeping her gun trained on
     Piero, still on the ground by Carlo.  The boars shatter
     another slat.

                          LECTER
               This might go a little quicker if you
               give me the knife.

     She hesitates.  Then gives it to him.  As he cuts at the
     ropes, she works to lock the other end of Carlo's cuffs onto
     Piero's wrist.  As he removes the mask -

                          LECTER
               Clarice?

                          STARLING
               What.

                          LECTER
               My back was turned when you came in.
               Was that a warning shot, or did you kill
               the one in the loft?

     She spins around, aiming up, just as the bullet from the
     rifle slams into her unvested abdomen.  Going down, she pulls
     off three quick shots, hitting Tommaso in the chest.

     As he falls from the loft, the boars come crashing through
     the gate.  Piero desperately tries to get away, dragging the
     dead weight of Carlo behind him.  Lecter lifts Starling from
     the ground, blood running onto his fingers.

     Piero is pulled down.  Lecter, holding Starling, surrounded
     by the animals, too, stands perfectly still as the boars
     ravage the three Sardinians.

     INT. VERGER'S CHAMBER - SAME TIME

     Verger stares in disbelief at the monitor that shows nothing
     but the moving mass of the boars thrashing around but leaving
     alone Lecter's legs.

                          MASON
               Why aren't they - ?  Cordell -

                          CORDELL
               I have to go now -

                          MASON
               No.  In the drawer - right by your
               hand.  Open it.  Open it!

     Cordell opens the drawer revealing a semi-automatic pistol.

                          MASON
               Take it.  Go down there.  Shoot him.

                          CORDELL
               No, I -

                          MASON
               You're involved is what you are.

     He's frightened is what he is.  He's a medical doctor, for
     Christ's sake, not a hunter of madmen.  He stares at Verger.

                          CORDELL
               What did you say - ?

                          MASON
               I said you're involved.  In all of it.

     Cordell seems to understand, nods in resignation, and turns
     as if to take the gun.

                          MASON
               Good.  Now -

     Cordell plunges his hand into the aquarium and turns back
     holding the writhing eel.  Watching him approach the bed with
     it, Verger, for once, is speechless, staring at the serpent's
     clicking teeth.

                          CORDELL
               Good night, Mason.

     As Cordell thrusts the head of the eel toward Verger's gaping
     mouth -

     INT/EXT. BARN - SAME TIME

     Lecter, carrying Starling, stares a couple of the boars in
     the eye, wades through them with impunity, steps out past the
     splintered gate and disappears into the woods ...

     EXT. CHESAPEAKE BAY - EVENING

     A pair of distant headlights floating along the shoreline.

     INT. KRENDLER'S CAR - EVENING

     Krendler, trying to keep the agitation out of his voice,
     speaks with an assistant on his car phone as he negotiates
     the dark ribbon of road.

                          KRENDLER
               I'll be out at my weekend place
               through Sunday.  I don't want any calls
               forwarded.  No, not even him.  Nobody.

     He hangs up.  Wipes at beads of sweat just below the
     sweatband of his jogging ensemble as his destination, his
     weekend cottage, comes into view through the windshield.

     EXT. KRENDLER'S COTTAGE - NIGHT

     The car pulls into the driveway.  Krendler gathers up the
     grocery bag from the passenger seat and carries it toward the
     front door of his cottage, which also happens to be Lecter's.

     INT. KRENDLER'S/LECTER'S COTTAGE - NIGHT

     Krendler comes into the darkened kitchen.  Tries a light
     switch that doesn't work.  Sets the grocery bag on a counter,
     pulls open a drawer and takes out a corkscrew.  As he takes a
     bottle of cheap Chianti from the bag, he notices a simple
     strand of Christmas lights around a window.  Doesn't remember
     hanging them.  Stares, cocking his head the way he does.

                          LECTER'S VOICE
               Oh, good, you brought wine.

     Before Krendler can turn, his mouth is covered with an ether-
     soaked dish towel.

     INT. KRENDLER'S BEDROOM - NIGHT

     Starling's eyes open and slowly take in her surroundings:
     the small, unfamiliar room, the bed she's in, the night stand
     and the empty morphine vials on it, the silver tray with the
     crumpled bullet on it.

     She eases the blanket down enough to see her T-shirt, eases
     the T-shirt up enough to see the bandage, ease the bandage
     away enough to see the stitched gunshot wound.

     She hears quiet Christmas music and muffled voices from
     elsewhere in the house.  Two men speaking in conversational
     tones.  She drags herself from the bed, steadies herself,
     slowly crosses the room to, and down, a hallway.

     At the end of it, she see:  A decorated Christmas tree.
     An archway to a dining room, candles on the dining table.
     Krendler, in his running clothes and sweatband, sitting at
     the head of it.  Lecter, standing beside a portable grill on
     a service cart, stirring at a saute pan with a wooden spoon.

                          KRENDLER
               Are those shallots?

                          LECTER
               Ummm.  And caper berries.

                          KRENDLER
               The butter smells wonderful.

     Starling glances from Krendler's face to his hands.  He
     doesn't seem to notice or care that they're duct-taped to the
     arms of a wheelchair.

     INT. BEDROOM - MOMENTS LATER

     Back in the bedroom, Starling uses her teeth to strip the
     4-pin telephone wire that's been yanked from the wall jack.

     INT. DINING ROOM - SAME TIME

     As Lecter executes a modest flambe with a little brandy -

                          LECTER
               I hope you're hungry, Paul.

                          KRENDLER
               Very.  What's the main course?

                          LECTER
               Oh, you never ask.  It spoils the
               surprise.

     Lecter notices, but seems unconcerned, as the line-light
     blinks on a telephone.

     INT. BEDROOM - CONTINUED

     Starling searches drawers for some kind of weapon as she
     whispers into the phone -

                          STARLING
               I don't have the address, but I think
               the house belongs to the hostage, whose
               name is Paul Krendler -

                          911 OPERATOR
               I have it from the phone number.  Now
               if you can safely do it, get out of the
               house.  Otherwise, stay on the line where
               you are.  The response time should be ten
               minutes.  I'm putting you on hold for
               just a moment.

     Starling hears an unusual sound from the other room, but
     not so unusual that she doesn't recognize it:  It's the whir
     of an autopsy saw.  She sets the receiver on the bed and -

                          911 OPERATOR
               I'm back.  Ma'am - ?

     The phone goes dead as Starling yanks the 25-foot cord from
     the wall and wraps it quickly around her hand, taking it with
     her, perhaps to use as a garrote, as she leaves the room.

     INT. HALL / DINING ROOM - MOMENTS LATER

     She's moving along the hall again.  Hears the whir of the
     saw grinding through - something - then stop.  She picks up a
     heavy glass paperweight from a bookcase shelf and conceals it
     in her hand.

     She reaches the doorway to the living room and adjacent
     dining area.  Sees Lecter straightening Krendler's sweatband.
     The doctor glances up and regards her calmly.

                          LECTER
               Clarice.  What are you doing up?
               You should be resting.  Get back to bed.

                          STARLING
               I'm hungry.

     Krendler's head slowly turns to follow her as she crosses
     into the dining room unsteadily.

                          STARLING
               Hello, Paul.

     He doesn't respond.  He seems in some kind of trance.

                          LECTER
               Paul.  Don't be rude.  Say hello to
               Agent Starling.

                          KRENDLER
               Hello, Starling.  I always wanted to
               watch you eat.

     As Lecter lays out another place setting of fine china (but
     not silverware) for Starling, she sees the spent syringe and
     the autopsy saw on a trivet next to the butane grill.

                          LECTER
               Would you like to say grace?

                          KRENDLER
               Me?  Grace?  Okay.

     He bows his head.  Starling and Lecter don't.  She glances to
     the twisting pendulum of a hurricane clock.  The doctor just
     smiles faintly, well aware of the response time.

                          KRENDLER
               Father, we thank thee for the blessings
               we are about to receive and dedicate them
               to Thy mercy.  Forgive us all, even white
               trash like Starling here, and bring her
               into my service.  Amen.

     As his head comes back up, a single rivulet of blood drips
     out from under the sweatband.  Lecter stirs at his beurre-
     noisette.

                          LECTER
               Paul, I have to tell you, the Apostle
               Paul couldn't have done better.  He hated
               women, too.

     Krendler smiles rather stupidly at Starling.  As much as she
     hates him, she doesn't want to see what she thinks Lecter has
     in store for him, and tries to forestall it with conversation
     and requests -

                          STARLING
               May I have some wine?

                          LECTER
               I don't think that's a good idea,
               Clarice.  Not with the morphine.  Better
               you should have some broth.

     Lecter sets about ladling her and Krendler tureens of it.

                          KRENDLER
               By the way, Starling, that was a job
               offer I worked into the blessing.  I'm
               going to Congress, you know.

                          STARLING
               Are you?

                          KRENDLER
               Come around campaign headquarters.
               You could be an office girl.  Can you
               type and file?  Can you take dictation?
               Take this down:  Washington is full of
               cornpone country pussy.

                          STARLING
               I already took that down.  You said it
               before.

                          LECTER
               Paul.  Please.  Now you are being rude.
               Drink your broth.

     As Lecter puts a straw in the tureen to Krendler's lips
     and whispers something in his ear, Starling eyes the sharper
     utensils on the other side of the table next to the grill.

                          KRENDLER
               This soup's not very good.

                          LECTER
               I admit I added a little something extra
               to yours.  Perhaps it's clashing with the
               cumin.  I assure you, though, you'll love
               the second course, that is if I can serve
               it before Clarice bashes my head in.

     He commands her to show him what's in the hand in her lap
     with a smile and a slight tip of his head.  She obeys,
     setting the paperweight weapon on the table.

                          KRENDLER
               Hey, that's mine.

     Lecter rakes it across to him with a folk like a croupier.
     As Krendler shakes it and watches snow fall on the Capital
     building, he's oblivious to Lecter taking off his sweatband
     revealing the neat incision carved all the way around.

     Starling can do little more than we can as Lecter lifts
     the top of Krendler's head off - staring in disbelief at the
     pinky-gray dome of Krendler's exposed brain.  Lecter reaches
     for a set of tonsil spoons as the butter in the saute pan
     sizzles to a golden brown.

                          STARLING
               I really would like some wine.

     Lecter, poised over Krendler's brain with the tongs, looks at
     her disapprovingly.  She's holding out her empty glass like
     Oliver as the pendulum twists back and forth.

                          LECTER
               All right.  But just a little.

     He sets the spoons down.  Pours some Chateau d'Y quem into
     her glass as he glances to the twisting pendulum.

                          LECTER
               Unlike Paul, I unfortunately can't
               offer you a job in government.  But I am
               curious.  What will you do now?

     Right now her hand is slowly inching across the tablecloth
     toward a serrated knife.  Lecter picks it up and one of the
     tongs and deftly severs the thalamus of Krendler's brain -

                          STARLING
               Doctor Lec -

                          LECTER
               You certainly can't return to the
               bureau.  Not that you'd want to.  Even
               if you could convince them to take you
               back after all this, the Stain of Rein-
               statement would never go away.

     Krendler's eyes look up as if to see what's going on, then
     follow Lecter's hands as he sets his prefrontal lobe in the
     saute pan.

                          KRENDLER
               What did you say?

                          STARLING
               I didn't say anything.

                          KRENDLER
               I had plans for that smart mouth, but
               I'd never hire you now.  Who gave you an
               appointment anyway?

     Lecter picks up the tongs again to scoop out another lobe.

                          LECTER
               The brain itself feels no pain, Clarice,
               if that concerns you.  And Paul certainly
               won't miss this - the prefrontal lobe is
               the seat of manners.

                          STARLING
               Dr. Lecter, your profile at the border
               stations has five features.  I'll trade
               you.  Stop now and I'll tell you what
               they are.

                          LECTER
               Trade?  How does that word taste to you,
               Clarice?  Cheap and metallic like sucking
               on a greasy coin to me.  Your soup is
               getting cold.

     He spoons out a second lobe and stirs it into the pan -

                          KRENDLER
               That smells great.

                          LECTER
               Have a taste, Paul.

     He slides a taste of the "second course" onto a small plate,
     forks a piece and slips it into Krendler's open mouth.

                          KRENDLER
               Ummm, it is good.

                          STARLING
               Dr. Lec -

                          LECTER
               No, I think a new life lies before you.
               A better life.  With me?  Hmmm, there's a
               thought.

     Is he serious?  He seems to be.  Krendler glances stupidly
     from him to her and back again.

                          LECTER
               I came halfway around the world just to
               watch you run in the woods.  Run with me,
               Clarice.

                          KRENDLER
               Who's Clarice?

                          LECTER
               Agent Starling, Paul.  If you can't keep
               up with the conversation, it's better you
               don't try to join in at all.

                          KRENDLER
               Who?

                          STARLING
               Me, Paul.  I'm Starling.

                          KRENDLER
               I don't think you could even answer my
               phones, whoever you are.  That accent is
               just too - Appalachian.  "The Honorable
               Paul Krendler's office."

                          LECTER
               Paul?

                          KRENDLER
               What.

                          LECTER
               Remember what I said before?  If you
               can't be polite to the other guests, you
               have to sit at the kids' table.

     He sets the plates and sauce pan and all the utensils -
     including the knife - in Krendler's lap, and unlocks the
     wheels of the chair.

                          LECTER
               I'll just be a minute cleaning up,
               Clarice.  Don't get up, Paul will help me
               clear.

     As Lecter pushes Krendler toward the kitchen, he glimpses
     on the way the headlights of a line of cars coming silently
     along the shoreline.

                          LECTER
               Think about what I said, but don't drink
               any more wine while you do.  Doctor's
               orders.

     As soon as the door to the kitchen swings shut, she gets
     up, too fast, almost faints, sits back down.  Listening for a
     moment to the scraping of plates, she tries again to stand,
     slower this time.  she blows out a candle, grasps the stem of
     the heavy brass holder and with it and the phone cord, slowly
     crosses toward the closed kitchen door.

     She slowly eases it open, revealing:  Lecter, his back to
     her, scraping the leftovers into Krendler's head and setting
     the plates neatly in the dishwasher.  He closes its door then
     and switches it on, and, keeping his back to her, begins
     wiping down the counters with a dish towel.

     She eases past the door, gripping the heavy candlestick, and
     slowly approaches Lecter from behind, grateful for the hum of
     the dishwasher that covers the creaking of the floorboards.

     Krendler is staring right at her as he shakes his Capital
     paperweight.  She places a finger to her lips to tell him not
     to speak, and he glances away to the tiny falling snow.

                          KRENDLER
               Would you like to swing on a star -
               Carry moonbeams home in a jar -

     The candlestick comes up and hangs there - as if Starling
     isn't entirely sure she wants to crack Lecter's skull open -
     but then it does come down hard right at his head, and -

     Turning, he catches her wrist in his hand and pushes her
     roughly against the refrigerator, toppling the wheelchair and
     Krendler, the rest of his brain and some leftovers spilling
     onto the floor.  Lecter holds Starling firmly in his grip,
     staring at her, intending, it appears, to kill her.  But
     then, quietly -

                          LECTER
               That's my girl.  If you hadn't tried,
               I would have killed you ... But don't try
               again ... I mean it.

     He lets her hands go and she immediately lunges for him
     again.  He grabs her wrists again, pushes her back up against
     the fridge, opens it enough to catch her pnytail in the door
     and shoves the candlestick through the side-by-side handles.

                          LECTER
               Oh, Clarice, you are the honey in the
               lion.  In times to come, whenever you see
               yourself naked, whenever you see the scar
               - the quality of the stitching - you'll
               remember this moment -

     His face, his sharp teeth, come threateningly close to her.
     He kisses her hard on the mouth.

                          LECTER
               - and your lips will burn.

     He steps away, past Krendler and the wheelchair, picks up
     a small Tupperware container from the counter and walks out,
     leaving her to try to free herself.

     EXT. THE COTTAGE - MOMENTS LATER

     Starling comes slowly out onto the porch.  Looks for
     movement in the dark shapes of the trees across the road and
     sees none.  Looks out across the Chesapeake and sees nothing
     in its dark water - except that the little rowboat, once
     tied to the dock, is now gone.

     Feeling faint again - or just tired of it all - she sits on
     the porch swing, slows her breathing and the pounding of her
     heart, listens to the creak of the chains and the growl of
     the approaching police cars, and watches the glare of the
     approaching headlights play across the dark trees of the
     forest ...

                                      DISSOLVE TO:

     A VERMEER

     hanging in a gallery.  Foreign museum visitors strolling
     past, giving it a glance before moving on.  One man, though,
     seems unable to get enough of it, standing before it as if
     before a shrine as the others keep moving past.  It's
     Barney.  The painting, Woman Holding the Balance -

                                     DISSOLVES TO:

     A RECLINING WOMAN

     asleep on a blanket on a beach.  Starling.  A beach ball
     and a Walkman resting beside her.  The cord runs up across
     the scar on her exposed midriff to a light pair of head-
     phones.  Instead of music, she hears static, before -

                          MAN V/O
               How are you covering yourself?

                          WOMAN V/O
               Polaroids, monkey business, and none of
               your business.  I'm not going to run.
               One-point-five-mil, Ricky, flat fee.

     The conversation is overtaken by static again.  Keeping her
     eyes closed, Starling nudges the beach ball and the voices of
     the man and woman, just two tiny figures waist deep in the
     Miami beach surf, reemerge from the static -

                          WOMAN V/O
               No discussion.  Just yes or no.

                          MAN V/O
               Yes.  We'll make the transfer at the
               Sun Trust conference room in the vault.
               I'll bring my lockbox, you bring yours.

     A beachcomber passes, walking along the wet sand between
     Starling on the beach and the couple in the water.  Crawford.
     In the headphones Starling hears -

                          CRAWFORD V/O
               And we'll join the party, too.  That's
               it, Starling.  You just made us our ten
               percent.  And all you had to do was put
               on sun screen.

     She smiles without opening her eyes.  Reaches down out of
     habit to adjust her top to cover the scar.

                          CRAWFORD V/O
               You don't need to hide it.  Your doctor
               did a nice job.  You can hardly see it -

     The roar of a jet covers his last word -

                                      DISSOLVE TO:

     A RECLINING SLEEPING BOY

     in a darkened 747 cabin, window shades down, movie
     flickering.  Stewardesses move down the aisle gathering the
     last of the lunch trays.

     Sitting in coach next to the sleeping six year old boy,
     Lecter, in Toronto Maple Leafs sweats, waits until he's sure
     no one is looking at him, then, careful not to wake the boy,
     reaches down under the seat in front of him, finds a box
     and sets it on his lap.

     It's from Dean & DeLuca.  Tied with a ribbon.  Lecter unknots
     it.  Opens the lid.  Inside are Anatolian figs, pate de foie
     gras, a half-bottle of St. Estephe and some silverware.
     
                          BOY
               What's that?

     Lecter sighs.  Then turns to the boy and makes a smile.

                          LECTER
               Which?

                          BOY
               That.

                          LECTER
               Liver.

                          BOY
               What are those?

                          LECTER
               Figs.

                          BOY
               And that?

     Something in a plastic container.

                          LECTER
               That I don't think you'd like.

                          BOY
               It looks good.

                          LECTER
               It is good.

                          BOY
               Can I have some?

                          LECTER
               You're a very unusual boy, aren't you?

                          BOY
               I didn't eat what they gave me.

                          LECTER
               Nor should you have.  It's not even food,
               as I understand the definition.  Which is
               why I always travel with my own.
                   (the boy smiles; Lecter
                    smiles)
               Are you sure your mother wouldn't
               disapprove of your accepting food from
               a stranger?

                          BOY
               She would.

                          LECTER
               Ah, but she's asleep.

     The boy's eyebrows lift conspiratorially.

                          LECTER
               Which would you like to try?

     The boy points to the plastic container.

                          LECTER
               This?

     The boy nods.  Lecter thinks about it.  Finally -

                          LECTER
               I suppose it's all right.  After all,
               as I'm sure your mother tells you - mine
               certainly did:  It is important to always
               try new things.

     As Lecter dips his fork into the appetizer and feeds it to
     his young, grateful, adventurous fellow traveler -

     FADE TO BLACK