so has anyone watched the Lecter movies, i love them especially the second one, the only bad thing about them is they replaced jodey foster with some half rate chick. but i love how in the second movie Hannibal basically admits that he loves clarice and the way he kisses her was just the greatest thing in the world, she trying to kill him and he backs her up against the fridge and puts her pony tail in the freezer and shuts the freezer door and breakes off the handle the simply asks... " would you ever tell me ' if you love me you'd stop? and clarice said "not in a million years." his responce..." thats my girl." then he kisses her and the best thing he never tries to eat her just kisses her oh so passonately and while he does that, she hand cuffs him. that has to be my favorite love movie ever.
cannibal falls in love with the woman trying to encarserate him. Awwwwe.... every womans dream.

He only eats people who are rude or nasty. He wouldn't eat her.
And Julianne Moore is hardly just some 'half rate chick'.


And since i don't see why this is in the Paranormal Media section, i'll move it to the movie section.

i just ment that i had never seen her in any other movie so i dont know if she is a good actor or not but they should have kept jodey foster

I do agree with that.

is this Christina?

well hellllooo Christina....

*a little in joke, sorry*

It is an awesome movie. But I like Red Dragon. Ralph Fiennes is hot. I love it where he makes love to the blind chick. He is sweet but disturbed.

Never seen julianne moore in any other movies?! The forgotten? Cookies Fortune? Jurassic Park Lost: World? the Fugitive?
Anyway, back on topic. I loved these movies too. But I still haven't seen the last one. Hannibal is probably my favorite too.

red dragon......

o my..that one part...

Oh yeah girl I know. He is hot.

mmhmm....

Have any of you read the books? They are so much better than the movies.

but no Ralph Fiennes. This makes me sad. I will see about reading them though.

He does have beautiful eyes doesn't he?

Especially in this movie. He is real strong too. Nice body.

i have to admit the books are better, in the second book that one drug dealer in the begining with the baby her head was supossed to explode insted they shot her in the heart. who else kindof felt proud when hannibal kissed her, i applauded.

He loves her I thought it was sexy.

i know he loved her which i thought it was funny when they suspended her with that fake evidence from that half eated dude, saying that hannibal was in love with her, which he clearly is. i think they should have made the third movie about that but insted they put that guy in starlings place and the whold red dragon thingy. i didnt think he was that cute, i still dont see why he ate the original painting unless he thought that would get rid of the voices from the reddragon.

I think eating the painting was part of his transformation.

I heard that Jodi Foster turned down the other movies because she didn't like how the realtionship turned. She didn't want her character to be dominated by Hannibal.

how cool was it at the end of Hannibal how Lecter told the butler to push the deformed guy into the pit of vicious worthogs and said that he could always blame it on lecter. i thought that was soooo kick ass. i fell in love with anothony hopkins after watching that movie, very pleasant dream i had too. wierd, but pleasant.

For real. Oh and anthony hpkins is hot too. His voice and his character as lector. Very appealling.

the way he moves speaks and acts is hot and the very thought of being in clarices possition would make me jittery with weak knees. i believe the purpose for the second movie was not to watch that joe patzzi being hung like his grandfather not to see the half eaten man's revenge, but to show that hannibal has compassion and is capable of loving and that he has self control. he can chose when to eat and who to eat like hannible stated to joey (the man who ate his own brain.) " i dont like people who are nasty and rude." i think that was hannibal's biggest reason for falling in love with clarice starling was that during the whole time that hannibal knew her she was never rude nor nasty to him, but she treated him like a human being even when all she wanted was news about buffilo bill. i think a part of clarice loves lecter also just for his class and gentleman like skills sure he ate his victems but she could love a man who did what he thought was justice and i think that she was attracted to him because of his selfcontrol. like when she was shot after saving his life and he aided her in taking the bullet out insted of having a snack, of when she woke up after he healed her and she was dressed in a fancy dress and new shoes, we the adience knew that he didn't take advantage of her because that's not his style he would rather sweet talk her in those riddles he loves so very much and then maybe make her dinner.... but Hannibal is not a bad guy and that's why so many people love his character. my ex boy friend stated after i showed him silience of the lambs, that he would loved to be like Hannibal exept the eating people part. and i am sure that many people would love to have that much control with one's knowledge of things and be able to show it on a daily basis. the one thing that hannibal reflects in all of the movies is not maddness, its compassion all he wanted was a room with a window with a view of a tree of water, except in reddragon i truely believe he just wanted that new detective dead i mean common he was trying to ask Hannibal for help and Hannibal only answers to clarice. i think they should continue the sequels and have it so clarice comes back from her suspention and all the little cases that she solves the only one that she thinks about is hannibal. i think thats why she didn't fight when he kissed her she simply hand cuffed him. and i think it was cute how he was all like." i really am pressed for time darling. we can finish these acts some other time." and of couse he was speakling about the kissing. i think it would be nice if lecter could have some one like that in his life.
this is a copy of the end of the script

SHE MOVES TO HIM, AS HE COMPLIES, AND REMOVES HANDCUFFS, AND
CUFFS THE MAN AROUND A POLE. HE STARTS TO REMONSTRATE, AND
SHE HITS HIM ON THE HEAD WITH HER GUNBUTT. SHE EXITS THE
TACKROOM, AND ENTERS THE BARN AND ADVANCES ON THE MAULED
AND BEATEN FORM OF LECHTER.

LECHTER
Good morning, Clarice.

STARLING
Can you walk? Are your legs working...?

LECHTER
Perhaps... shall we see...?

STARLING
I'm going to cut you loose. With all due
respect, Doctor, if you f*** with me,
I'll shoot you dead, do you
understand...? Do right and you'll live
through this.

LECHTER
Spoken like a Protestant.

STARLING TAKES OUT A KNIFE, AND BEGINS TO CUT THE DOCTOR LOOSE.

LECHTER (cont'd)
I'll do the rest, if you give me the
knife.

SHE LOOKS OVER HIS SHOULDER, AT THE FORKLIFT COMING DOWN THE
HILL.

STARLING
No, I don't think so.

LECHTER HAS FREED HIMSELF, AND IS CHAFING HIS LIMBS TO
RESTORE CIRCULATION.

STARLING (cont'd)
(AS SHE POINTS TO THE FORKLIFT)
I'm going to subdue our friends, coming
down the hill, and I want you to cuff
em, and to put em inside with the other
fella... My car is
(SHE GESTURES BACK AT THE WOODS)

LECHTER
Other fellow? There should have been
two of them...?

ANGLE

ON THE SECOND ABDUCTOR, IN THE LOFT OF THE BARN, HOLDING HIS
DARTGUN. HE FIRES.

ANGLE CU

ON STARLING, WHO EXTRACTS A DART FROM HER BICEP. SHE LOOKS
AROUND, AND FALLS, DAZILY. HER PISTOL FALLS THROUGH THE BARS
INTO THE PIGPEN.

ANGLE

ON THE MAN IN THE LOFT, AS HE RELOADS, AND SIGHTS ON
LECHTER, WHO IS KNEELING BY STARLING. WE SEE LECHTER PICK UP
HER PISTOL, AND FIRE AT THE MAN IN THE LOFT.

ANGLE. THE MAN IN THE LOFT, HE FALLS AGAINST A RAILING, HE
DROPS HIS DARTRIFLE.

IT DROPS INTO THE PIG'S PEN.

HE DROPS, DEAD, INTO THE PIG'S PEN.

ANGLE. ON THE PIGS, AS THEY GO WILD, TRYING TO EAT THE
RIFLE.

ANGLE

ON THE FORKLIFT AND THE GURNEY, AS IT ENTERS THE BARN.

ANGLE

ON CORDELL DRIVING THE FORKLIFT.

VERGER
What's happening, would you please...?

ANGLE

ON LECHTER, AS HE MOVES TO STARLING, AND PULLS HER AWAY FROM
THE PIGPEN, HE TRIES TO REACH THROUGH THE BARS FOR HER
PISTOL, BUT IT IS JUST OUT OF REACH.

HE LOOKS UP.

ANGLE

ON VERGER AND CORDELL, APPROACHING LECHTER.

CORDELL
Stop there, would you, please, Doctor...?

LECHTER
The girl could use some help.

VERGER
You're free...

LECHTER
...which of us is free...?

VERGER
Yes, to cease to Hope is the Greatest
Crime. The Greatest crime. Perhaps the
only crime. I never ceased to hope!

LECHTER
The girl needs help.

VERGER
And what would be of Greater Help, than
to release her, from the bonds of this
sordid earthly existence. DON'T YOU
THINK? IN WHICH THE INNOCENT ARE
TORTURED IN WAYS WHICH WOULD MAKE THE
ANGUISH OF THE DAMNED SEEM TAME AND
UNIMAGINATIVE, DON'T YOU THINK? BLIND
HIM AGAIN, AND PREPARE HIM AND HER FOR
THE PIGS!
(CORDELL, HOLDING A GUN,
ADVANCES ON LECHTER)

LECHTER
...might I make a suggestion...?

VERGER
...after you' re dead. AND WHEN I GIVE
THE WORD, do you understand...when I give
the word...

ANGLE

ON LECHTER, BEING BOUND, AND HOISTED UP, AGAIN, ON THE BEAM.

CORDELL
...fraid, that's about it, Doctor.

LECHTER
Let the girl go.

CORDELL
Why?

LECHTER
For a consideration.

CORDELL
'fraid it's too late.

VERGER
...when I...
(PAUSE)

CORDELL CONTINUES THE FINAL PREPARATIONS OF LECHTER.

LECHTER
...what has she done to harm you...?

CORDELL
Yes, do you know, you're right...
(HE PAUSES)
...Mr. Verger...?
(PAUSE)
Mr. Verger, Sir? He's ready...
(PAUSE)

ANGLE ON CORDELL, AS HE LEAVES THE TRUSSED LECHTER, STEPPING
OVER STARLING, AND PROCEEDS BACK TOWARD THE GURNEY, WHICH IS
HALF HIDDEN BY THE PIGPEN.

ANGLE

HIS POV. AS HE COMES AROUND THE CORNER, THE CHILD
FRANKLIN HAS THE BOWL OF POPCORN, AND IS SEEN FEEDING POPCORN
TO VERGER.

ANGLE CORDELL'S POV.

THE LIFESIGNS DISPLAY OF VERGER. A SINGLE BLIP, A LONG
PAUSE, ANOTHER IRREGULAR BLIP. A LONG PAUSE.

ANGLE CORDELL, AS HE ADVANCES ON THE CHILD.

CORDELL (cont'd)
Hey, Franklin. Hey. Tell you what, if
you'd just stop doing that, I'm going to
give you something nice.

FRANKLIN
He don't like popcorn.

CORDELL
No. And...

FRANKLIN
I like Popcorn...

CORDELL
...yes, if you'll, just step away...

FRANKLIN
You give me whatever I want...?

CORDELL
Yes. You know I will. That's right.

FRANKLIN
Awright.

FRANKLIN STEPS AWAY. AND CORDELL RUNS UP TO VERGER AND
TRIES TO REVIVE HIM.

ANGLE

ON FRANKLIN, AS HE MOVES AROUND THE PEN, AND PULLS A LEVER
WHICH OPENS THE GATE.

ANGLE

ON THE PIGS, AS THEY START TO MOVE INTO THE AREA OCCUPIED BY
CORDELL AND VERGER.

ANGLE

ON FRANKLIN.

FRANKLIN (cont'd)
You know what I want...?

ANGLE

ON CORDELL, BENT OVER VERGER, AS HE LOOKS BACK.

ANGLE ON FRANKLIN.

FRANKLIN (cont'd)
I WANT KITTYKAT!!!

ANGLE

ON CORDELL, AS HE SEES THE PIGS APPROACHING, HE STARTS TO
SCREAM.

ANGLE

ON FRANKLIN, AS HE CLIMBS UP TO THE AREA WHERE WE SEE
LECHTER.

LECHTER
Let me down, son, let me down.

FRANKLIN
What'll you do for me?

LECHTER
I'll take you home.

FRANKLIN
Ain't got no home.

LECHTER
Then what would you like...?

FRANKLIN COMES OVER AND WHISPERS TO HIM.

ANGLE

ON HANNIBAL, AS HE RECOILS. BEAT. THE SOUND OF
SCREAMING STOPS.

PAUSE

HANNIBAL
(PAUSE)
Yes. You shall have it...

FRANKLIN
Then you goin to hell...

HANNIBAL
...that's right...

FRANKLIN LOOSES THE ROPE WHICH HOLDS LECHTER, AND LECHTER
ENTERS THE PIGPEN. WE SEE THE PIGS, AT THE FAR END,
SAVAGING WHAT WE ASSUME TO BE THE FORMS OF VERGER AND
CORDELL.

ANGLE

ON HANNIBAL, AS HE STOOPS TO THE FORM OF STARLING, AND
GATHERS HER UP. THE PIGS ADVANCE ON HIM, AND THEN STOP...
HE STEPS THROUGH THEM, AND OUT OF THE BARN.

ANGLE EXT THE BARN.

STARLING, PUT DOWN IN THE GRASS. BEAT. SHE STIRS. SHE HALF-
OPENS HER EYES.

ANGLE, HER POV LECHTER, WALKING TOWARD HER, BEHIND HIM THE
VERGER ESTATE BURSTING INTO ROARING FLAMES.

ANGLE

ON FRANKLIN, STANDING BY THE FLAMES, LOOKING AT LECHTER, AS
HE WALKS UP TOWARD STARLING.

ANGLE

ON LECHTER, AS HE PICKS UP STARLING, WE SEE A SECURITY CAR
COMING DOWN THE DRIVE, AS LECHTER AND STARLING FADE INTO
THE WOODS.

DISSOLVE TO:

INT SUMPTUOUS, ELEGANT DININGROOM.

STARLING, IN A DECOLLETE EVENING GOWN, STANDING IN FRONT OF
A PERFECT PRESENTATION OF BACCARAT AND LIMOGES.

ANGLE HER POV.

LECHTER, IN A TUXEDO, STANDING AGAINST THE BALCONY OF THE
ROOM, WHICH LOOKS OUT ON THE SEA. HE SMILES AT HER.

LECHTER
You look lovely.

STARLING
Thank you.
(SHE MOVES TO SIT, AND
LECHTER COMES UP AND HOLDS
HER CHAIR FOR HER)
No, I know you'd prefer "I'm glad you
find me so..."

LECHTER
I'd prefer you to say what you feel.

STARLING
What is that that smells so wonderful.

LECHTER
I hope you'll find it so.
(HE POURS HER A GLASS OF
WINE)
Yes. It's good to see you regaining
your strength...

STARLING
Thanks to you...

WE SEE LECHTER EXCUSE HIMSELF, AND RETIRE INTO THE KITCHEN.
WE SEE HIM TAKING DOWN SAUCEPANS, AND MIXING WHAT APPEARS TO
BE A MARINADE.

LECHTER
Now, what were we last speaking of...?

STARLING
We were speaking of my father...

LECHTER POURS THE MARINADE INTO A PAN, LIGHTS THE FLAME IN
THE STOVE, WIPES HIS HANDS, AND RETURNS TO THE DININGROOM.

LECHTER
...I'm sorry....?

STARLING
...we were speaking of my father...

LECHTER
Indeed we were.

STARLING
...and my need for The Institution...

LECHTER
Freud, do you know...? Freud
psychoanalyzed patients in One Afternoon.

STARLING
And how did he do that?

LECHTER
He saw the truth, and spoke it...

STARLING
I'm afraid, this wine is making me
woozy...

LECHTER
...you have to eat...

LECHTER RETURNS TO THE KITCHEN, INDICATING "ONE MOMENT."

LECHTER (cont'd)
(AS THE CAMERA TAKES HIM TO
THE KITCHEN, AND WE HALF-SEE
THE TORSO OF A MAN SITTING
IN A KITCHEN CHAIR)
You've sought out The Institution all
your life, as you with it to replace your
Father. This is obvious. Less obvious
is this: that you require the
institution not to support you, but to
FAIL. FOR THIS KEEPS YOUR FATHER ALIVE.

ANGLE

ON STARLING, SITTING, NODDING, AS SHE DRINKS HER WINE. SHE
PUTS THE GLASS DOWN, A TRIFLE WOOZY.

LECHTER (cont'd)
...as this keeps your father alive. The
truth is two-fold, and the truth is one:

THE WIND FROM THE OCEAN BLOWS A STRAND OF HAIR ACROSS HER
EYES, SHE BRUSHES IT BACK.

LECHTER (cont'd)
(VO)
That every man is fallible, that every
institution, being made of men, cannot
but be corrupt...

ANGLE ON STARLING, LOOKING DOWN AT HER HAND.

ANGLE HER POV.

THE HAND IS COVERED WITH MUD AND BLOOD.

ANGLE, STARLING, LOOKING PERPLEXED, AT THE KITCHEN WHERE WE
SEE THE FORM OF LECHTER, MOVING ACROSS THE KITCHEN.

ANGLE

ON LECHTER.

AS WE SEE, HE CARRIES A SCALPEL, HE MOVES TOWARD THE HALF-
SEEN FORM OF THE MAN IN THE CHAIR.

HE BENDS DOWN OVER THE MAN, AND WE SEE THAT HE CARRIES A
SCALPEL AND A SMALL MEDICAL SAW...

LECHTER (cont'd)
...the only art in this dish, of course,
is that it must be fresh...

ANGLE

ON STARLING, IN THE ROOM, AS SHE PICKS UP A SMALL ROSEBUD
FROM THE CUT CRYSTAL BUDVASE IN FRONT OF HER.

SHE LOOKS AT IT WOOZILY, AND IT FALLS FROM HER FINGERS.
SHE BENDS DOWN.

ANGLE, HER POV, THE FLOOR.

THE ROSEBUD, ON A FILTHY, TORN LINOLEUM FLOOR, HER LEGS
ENCASED IN THE MUDDY PANTS WE SAW HER IN AT VERGER'S FARM.

ANGLE

ON STARLING, AS SHE STRAIGHTENS, HOLDING THE ROSE. WE SEE A
LOOK OF CONSTERNATION ON HER FACE. HER FACE IS BLOODY, AND
COVERED IN MUD, WE SEE SHE IS NOT IN A SUMPTUOUS
DININGROOM, BUT IN A SLUM.

ANGLE HER POV

LECHTER, IN THE KITCHEN, IN TUXEDO, MOVING PAST THE DOORWAY.

ANGLE INT THE KITCHEN.

LECHTER, AS WE NOW SEE, IN THE FILTHY KITCHEN OF A SLUM.
COOKING ON A HOTPLATE. DRESSED IN WORKCLOTHES, CAMERA TAKES
HIM, FROM BEHIND, TO THE SLUMPED FORM OF THE MAN, CAMERA CUTS
OFF AT THE MAN'S SHOULDERS, WE SEE LECHTER, FROM THE BACK,
LIFTING SOMETHING FROM THE DIRECTION OF THE MAN'S HEAD, AND
CARRYING IT BACK TO THE FILTHY TABLETOP, WHERE, AS HE SPEAKS,
HE BEGINS KNEADING IT WITH FLOUR, WE SEE THE PAN SIZZLING
ON THE HOTPLATE.

ANGLE

IN THE SLUM ROOM. STARLING, DAZED, AND LECHTER, REENTERING.

LECHTER (cont'd)
That the institution cannot but be
corrupt, and, therefore, it cannot be
but an act of complicity to seek to
appease it.

HE MOVES BACK INTO THE KITCHEN, PUTS THE BREADED PIECES OF
CUTLET INTO THE PAN, THE FIRE SHOOTS UP.

LECHTER (cont'd)
So many civilizations eat their slain
enemies... what do you think...? How
much better to devour a person
physically, than to devour his spirit.
Which is, of course, the purpose of the
institution.

HE REMOVES THE MEAT FROM THE PAN, AND FORKS IT ONTO A TIN
PLATE.

LECHTER (cont'd)
(REENTERING THE DININGROOM)
:and that is the especial surprise,
I've prepared for You!

STARLING
I feel weak...

LECHTER
(NODDING)
...you must eat.

SHE LOOKS DOWN AT THE TABLE. SHE PICKS UP HER FORK.

ANGLE HER POV

THE LOVELY LINEN TABLE, THE STEAMING MEAT ON THE LIMOGES
PLATE.

A HUGE COCKROACH, SCURRYING ACROSS THE TABLECLOTH.

ANGLE

ON STARLING, AS SHE RISES, UNSTEADILY, IN HER MUDDY
CLOTHES...

STARLING
...1 don't understand...

SHE WALKS TOWARD THE BALCONY WINDOW, LOOKING OUT AT THE
OCEAN.

ANGLE HER POV.

OUT THE WINDOW, A SQUALID CITY STREET, SEEN FROM THE THIRD
FLOOR.

A COUPLE OF CARS STOPPING AT THE END OF THE STREET.

ANGLE, ON STARLING, AS SHE TURNS BACK TOWARD LECHTER.

LECHTER
(IN THE KITCHEN)
The gift, of course is not the meal--
but the identification--which of us does
not need help? The identity, of your
true enemy...?
...for you always sought to befriend, to
wish the love of those who wished you ill.

ANGLE, ON LECHTER, STANDING BEFORE THE FIGURE TIED TO THE
CHAIR.

LECHTER (cont'd)
Come here--he is in no pain, there are
no nerves in the brain, come here...

ANGLE, LECHTER'S POV THE FIGURE OF CRAWFORD TIED TO THE
CHAIR.

LECHTER MOVES TO HIM AND EXTRACTS FROM HIS UPPER POCKET, A
XEROX OF THE PHOTO OF THE BADGE WITH THE HOLE IN IT.

LECHTER (CONT'D)
Come here, I'm going to cure you.

ANGLE HIS POV.

STARLING, IN THE SLUMROOM, LOOKING OUT OF THE WINDOW.

ANGLE

STARLING, DAZED, LOOKING OUT OF THE WINDOW, LECHTER COMES
UP BEHIND HER, AND LOOKS OUT.

ANGLE HIS POV.

THE SLUM STREET, A VAN NOW PULLING UP, A SQUAD OF SWAT
OFFICERS APPROACHING A PARKED CAR.

ANGLE

ON LECHTER AND CLARICE.

LECHTER APPROACHES HER.

ANGLE HIS POV,

STARLING, IN THE BEAUTIFUL GOWN, HE MOVES AS IF TO CARESS
HER BREAST.

ANGLE ON STARLING, AS SHE LOOKS DOWN. WE SEE SHE IS NOW
CLOTHED IN HER FILTHY CLOTHES, AND LECHTER IS FRISKING
HER.

ANGLE

LECHTER, FRISKING THE FILTHY STARLING, TAKES OUT THE
MARINECORP HATBADGE, WHICH WE SAW EARLIER, HE BREAKS IT
OPEN, AND REVEALS A MICROTRANSMITTER.

LECHTER (cont'd)
Oh, no. Oh, NO. They've put a beeper on
you. How careless of me. How finally
careless, Do you think? Have I erred on
Purpose? Eh? Or am I just unlucky?
Could one not say that's the essential
question of Philosophy...?

ANGLE ON STARLING, DAZED, LOOKING ON.

STARLING
Might I have some more of the wine...?

ANGLE ON LECHTER, AS HE MOVES TO A BACK WINDOW.

STARLING, AS SHE RISES, AGAIN, IN HER BALLGOWN.

STARLING (cont'd)
Because, I find I like the effects. You
may say that it's inebriation, but it
seems
(SHE SMILES)
This lovely evening, in particular.... it
seems to reward me with clarity...
(SHE LAUGHS)

THERE IS A SOUND BEHIND HER. THE BEAUTIFUL FRENCHDOORS
OPEN AND ADMIT A HAPPY COTERIE OF GOWNED WOMEN AND FORMAL
DRESSED MEN, THEY ARE ALL CHATTERING THEIR JOY AT SEEING
HER.

STARLING (cont'd)
....or perhaps, it is just the heat... I
was just saying to the Doctor...
(SHE GESTURES)

ANGLE HER POV THE OPEN WINDOW, THE SHADES BLOWING.

CAMERA COMES BACK TO STARLING, WHO IS IN HER RAGS, WITH THE
SWAT TEAM ENTERING THE ROOM.

STARLING (cont'd)
But, do you know, do you know, I'm not
feeling altogether....

SHE SWOONS. A SWAT MAN CATCHES HER.

SWAT MAN
...I've got her...

ANGLE

IN THE SLUMROOM, WE SEE THAT A SWAT TEAM HAS ENTERED. ONE OF
THEM HAS CAUGHT THE FAINTING STARLING IN HIS ARMS. THE
SEVERAL MEN PROCEED TOWARD THE BACK OF THE KITCHEN.

STARLING
(AS WE SEE SHE IS IN
KRENDLER'S ARMS)
...may be the heat....

KRENDLER
Let's get her out of here....

SWAT OFFICER, FROM THE KITCHEN. AS HE GAZES IN THE
DIRECTION OF CRAWFORD.

STARLING
But as my father used to say...

SWAT OFFICER
(IN KITCHEN)
...ohmiGod.

DISSOLVE TO:

EXT TEXAS GRAVEYARD DAY.

A NEW MARBLE HEADSTONE BEING LOWERED ONTO A GRAVE. IT IS
ORNATE AND SOLID, AND READS: JAMES RANDALL STARLING, HUSBAND
AND FATHER. DIED 1975.

ANGLE

STARLING STANDING BY THE GRAVE, HOLDING FLOWERS, BEHIND HER
STAND MAPP AND HER BOYFRIEND. BEHIND THEM STAND AN OFFICIAL
LOOKING MAN, WHO HOLDS HIS STETSON, REVERENTLY, IN FRONT OF
HIM. IN THE BG WE SEE A TRUCK MOVING SLOWLY DOWN THE
DUSTY CEMETERY ROAD.

ANGLE

ON STARLING, AS SHE KNEELS, AS THE STONE IS PLACED,
PUTTING A SMALL BOUQUET OF FLOWERS NEXT TO IT. AS SHE
KNEELS, AND CAMERA CRANES DOWN, WE READ THE BOTTOM OF THE
INSCRIPTION: "DIED 1975. HE WILL NEVER KNOW HOW HE WAS
MISSED."

ANGLE

ON STARLING, AS SHE STANDS, AND MAPP COMES, AND PUTS HER ARM
AROUND HER.

MAPP
That's why it's a stone, you know, It
means Don't Come Back.

STARLING NODS, AND THEY TURN AWAY, AND WALK AWAY FROM THE
GRAVE. IN THE BG WE SEE ANOTHER GROUP OF MOURNERS, WEARING
WESTERN GARB. STARLING AND HER GROUP CROSS A SERVICE ROAD,
IN FRONT OF THE OLD TRUCK.

STARLING
Well. No. He can't come back.

MAPP
Baby, that's the beginning of wisdom.

MAPP PUTS HER ARM AROUND STARLING, AS THEY WALK OFF.
STARLING NODS, THAT SHE UNDERSTANDS, AND LAYS HER HEAD ON
MAPP'S SHOULDER.

WE SEE SEVERAL GRAVEDIGGERS SITTING ON THE BACK. THE MAN IN
THE PASSENGER SEAT, WEARING A STRAW WESTERN HAT, TURNS, TO
LOOK AT STARLING AND THE GROUP. IT LOOKS LIKE LECHTER.

ANGLE ON STARLING, AND HER GROUP, AS THE MAN IN THE TRUCK
MOMENTARILY CATCHES HER EYE.

ANGLE

ON STARLING, AS SHE WALKS THROUGH THE GRAVEYARD.

A GLINT OF LIGHT PLAYS ACROSS HER FACE, AND SHE SQUINTS.

ANGLE HER POV.

THE LIGHT HITTING THE SHOVEL OF THE GRAVEDIGGER IN THE
STRAW HAT. THE GRAVEDIGGER IS HALF HIDDEN BY THE GROUP HE
WALKS WITH.

ANGLE

OVER MAPP, WHO IS TALKING, AND ONTO STARLING, AS SHE STARES
AT THE GRAVEDIGGER, WHO IS APPROACHING HER.

ANGLE

ON HER BODY, AS SHE REACHES TO HER BELT FOR A SIDEARM.

ANGLE

TIGHT ON THE TWO WOMEN, AS STARLING LEANS IN.

STARLING
(SOTTO)
Give me your gun...

ANGLE

ON MAPP, AS SHE LOOKS AT STARLING.

MAPP
...what...?

ANGLE

ON STARLING, AS SHE LOOKS AT THE APPROACHING FIGURE.

ANGLE HER POV

THE GRAVEDIGGER, AS HE EMERGES FROM THE GROUP. WE SEE HE IS
A NONDESCRIPT LABORER.

ANGLE

ON STARLING AND MAPP.

MAPP (cont'd)
...what, what did you say...?

ANGLE

ON STARLING, AS SHE SHAKES HER HEAD.

ANGLE

ON THE LABORER, AS HE PASSES BY AN ARRIVING, OLDER LIMOUSINE,
STARLING AND MAPP IN THE BACKGROUND.

ANGLE

ON STARLING AND MAPP, AS MAPP AND JIM TAKE THEIR LEAVE FROM
STARLING, WHO IS INDICATING, "I JUST WANT TO BE ALONE FOR A
WHILE."

WE SEE MAPP NOD, AS SHE AND JIM GET INTO THEIR CAR.

ANGLE ON STARLING, AS SHE WALKS BACK TOWARD HER FATHER'S
GRAVE PAST A SMALL BLACK CLAD FAMILY, WHO ARE EMERGING FROM
THE LIMO.

ANGLE XCU

ON STARLING, AS SHE LOOKS AT THE OFFENDING FIGURE.

ANGLE HER POV.

THE MAN TURNS MORE TO CAMERA, AND WE SEE HE IS A NONDESCRIPT
LABORER.

ANGLE

ON STARLING, AS SHE TAKES HER LEAVE OF MAPP AND MAPP'S
FRIEND, WE SEE THEM PASS BY ANOTHER SMALL FUNERAL, SEVERAL
BLACK CLAD MOURNERS AND AN OLD LIMOUSINE, AT THE GRAVESIDE.

STARLING CHATS WITH MAPP FOR A MOMENT, OBVIOUSLY SAYING SHE,
STARLING, WANTS TO STAY ON AT THE GRAVE. MAPP NODS, AND SHE
AND HER FRIEND GET INTO THEIR CAR AND DRIVE AWAY.

ANGLE

ON STARLING, AS SHE PASSES BY THE OTHER FUNERAL, BACK TOWARD
HER FATHER'S GRAVE.

ANGLE INT THE LIMO. WE SEE, THROUGH ITS WINDSHIELD, STARLING
CROSS, AND MOVE OUT OF FRAME.

WE SEE THE BLACK COATED ARM OF THE LIMO DRIVER MOVE. HIS
HAND COMES UP TO THE REARVIEW MIRROR, AND WE SEE STARLING IN
THE REARVIEW MIRROR, AND WE SEE THE DRIVER'S HAND HAS THE
SMALL SCAR IN THE SHAPE OF THE NUMERAL THREE.

FADE OUT.



HANNIBAL

A SCREENPLAY BY

DAVID MAMET

COPYRIGHT © 1999

DRAFT SEPTEMBER 5, 1999

in this particuluar one i dont think they kiss but i will find the script where they do.

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 ...

errr...was it necessary to post the script like that? you could have just linked us...

just trying to help

i saw all of them,and i loved them all.julianne moore is one hot babe,not some half assed actress,she has a nice ass.i'm looking for somebody to eventually make a hannibal weekly series!

That would be awesome. A series. Great idea. But it has to be anthony hopkins.

i've read the books i liked them better then the movies

No kidding... link vs 10 mins of scrolling.


I've seen all the Lecter movies, and I always wanted more gore. I mean, sure you can see what he does to his victims afterwards, but not as they are dying in most cases.

the series if there is going to be one should have the original cast you know, anthony and jodey. wouldnt be right with out them. my mind cant contenplate the reasons why hannibal loves clarice, it's been bugging me the whole weekend. just the love that was in Hannibal's eyes when he kissed her, then how his eyes slowly opened only to find out that he was now handcuffed.

given the chance you would deny me my life, no? my freedom.

i've come half way around the world to watch you run into the woods, run with me.

ON HANNIBAL, AS HE STOOPS TO THE FORM OF STARLING, AND
GATHERS HER UP. THE PIGS ADVANCE ON HIM, AND THEN STOP...
HE STEPS THROUGH THEM, AND OUT OF THE BARN.

ANGLE EXT THE BARN.

STARLING, PUT DOWN IN THE GRASS. BEAT. SHE STIRS. SHE HALF-
OPENS HER EYES.

ANGLE, HER POV LECHTER, WALKING TOWARD HER, BEHIND HIM THE
VERGER ESTATE BURSTING INTO ROARING FLAMES.

ANGLE

ON FRANKLIN, STANDING BY THE FLAMES, LOOKING AT LECHTER, AS
HE WALKS UP TOWARD STARLING.

ANGLE

ON LECHTER, AS HE PICKS UP STARLING, WE SEE A SECURITY CAR
COMING DOWN THE DRIVE, AS LECHTER AND STARLING FADE INTO
THE WOODS.

DISSOLVE TO:

INT SUMPTUOUS, ELEGANT DININGROOM.

STARLING, IN A DECOLLETE EVENING GOWN, STANDING IN FRONT OF
A PERFECT PRESENTATION OF BACCARAT AND LIMOGES.

ANGLE HER POV.

LECHTER, IN A TUXEDO, STANDING AGAINST THE BALCONY OF THE
ROOM, WHICH LOOKS OUT ON THE SEA. HE SMILES AT HER.

LECHTER
You look lovely.

STARLING
Thank you.
(SHE MOVES TO SIT, AND
LECHTER COMES UP AND HOLDS
HER CHAIR FOR HER)
No, I know you'd prefer "I'm glad you
find me so..."

i think i am falling in love with this hannibal character, minus the eating people, he's rather quite charming, you no?

so am I

yea but hoagy eats people

with some fava beans and some grape flavored....

err yes, anyway....

mmmm, with some nice canti.

Quote: HANNIBAL
"Good you brought the wine."

There was a Hannibal Tv Series??

Love the series love the movies and books.
Great stuff.

Books were a lot better... the movies were still good though

Um, yeah...

Red Dragon was the first Lecter book, but strangely enough the last of the three to be made into a movie (unless you count that piece of crap movie Manhunter, which didn't follow Red Dragon worth squat). Will Graham was the man who caught Lecter, and despite that Lecter gutted him with a linoneum hunting knife when he caught him, went back to him to have him help him one more time. Although the book was quite a bit better, the movie was no slouch... Edward Norton did a good job with Graham.

Did anyone else hear the rumor that there will be two more Lecter books? Harris has been working on them both in unison....

The first one is called The Evil Unmasked, it's a compilary of info in story form outlining Graham's hunt for the "Chesapeake Slasher", Lecter's given name when he killed those 14 people (it was kinda sick how he mused with them only finding 9...). Although we all know how it ends, not much of it was given- a passage in SOTL remembers him killing Ben Raspial (God, I can't spell!)), and Graham gave some post capture behavior from him, but other than that, we haven't seen much of Lecter's own serial killing spree... Although Harris usually spends six or seven years a book, he already had all the info for Lecter written for nearly two decades, so most of the 3-4 years on this were spent researching New England, including the locations he's never been to originally, like the Princeton Campus ("They gave him some Sodium Penathol and Codine nitrate to find out what he did with the Princeton student; he gave them a recipie for dip.")

The second one is considerably further away, but it's a book where Lecter and Starling supposedly die at the end. According to the premise at this point, Lecter and the newly corrupted accomplice Starling are among the most wanted non-terrorists in the world. Interpol agents are in the spotlight in this book, hunting them through several countries, ala Black Sunday. It's just a rumor that they both die, but Harris has said that he would like to end the Lecter series for good, meaning that whatever happens to them will stop the series cold.

that would completely kill me if he ended the series, by the way who else thought that Hannibal's ending sucked, i think that they should of had the ending be that barney saw Lecter and Starling at the opera and they should have left it like that. because if harris does make another book to the series then it turns into a movie how will it play off from Hannibal, like for say if he made a book about Hannibals new life with clarice how would that be explained in the movie since at the end of hannibal he leaves clarice to be confused next to the drifting boat? i dont get it maybe he intended Hannibal to be the last of the series i mean sure theres been talk but that could be just talk you never quite know. any way the man is a genious, i dont think theres anyone here that would deny that statment.

what would be interesting to read would be how they manage every day life and whether or not Hannibal has given up Cannibalism since he has undoubtly found a place for Mischa with in himself. i have started writting my own ending to the hannibal series maybe when i get enough time on this damn thing i'll type it up on a blog. i think it would be funny to think of them intimately heres a senareo: Lecter kisses Clarice around the nape of her neck, she sucks on his ear lobe and then a playful bite on the lobe. Lecter responds by saying. "well now dear if you can bite, i can bite." i think that would be cute. anywho...

~Sibyll~

I cannot believe that one of you called 'Manhunter' a piece of crap. This film was directed by Michael Mann, and is bloody brilliant. It was the first film in which Lector appeared, played ruthlessly cold by Brian Cox. The later 'Red Dragon' was tame and theatrical compared to Mann's version, although Fiennes is a brilliant actor, superb as the psychopathic nazi in Schindler's List.
Ed Norton is way out of his depth in Red Dragon, he his not a heavy enough actor to play the part of Will Graham, tormented by his empathic ability to think like the serial killers he is after. In fact, Norton played Graham like he was an academic. Bill petersen played Graham far better with the edginess it required.
Hopkins in Red Dragon was just too theatrical and he was not much better in Hannibal, just too slick for my tastes. His Lecter is too comic book monster. In Silence of the Lambs, Foster acts Hopkins off the set. Watch Foster when she is cornered in the dark by Buffalo Bill in his basement, and we see her through the lens of the night vision scope, she is astounding. Yet, when you watch Hopkins give his best performance in 'The Bounty' as Captain Bligh, he is simply superb. Foster is my favourite actress, and Julianne Moore is not bad either. It took either stupidity or guts to attempt to follow Foster's performance. Gary Oldman, too, playing the disfigured 'Mason Verger' out-played Hopkins.

Again, everyone to their own tastes.

Regards all

Elysiumfire