on starling, as she sits down again.
on starling, as she looks out of the window. at a car, which is in the far end of the parking lot, it accelerates, and screeches up to the door, and evelda, carrying her child, gets in to the still moving car, which starts to take off.
in the parking lot, drumgo and child, getting hauled into the car. a figure in the backseat of the car, shooting over the roof, apache style, fires at starling, as the car peals
on starling, and the guide, beyond her, as the students again take up their blue books, and turn to the page
on brigham, as he nods at starling, and then returns to
on brigham, helping starling.
the group in the corridor, the "linen closet," opens, to reveal, beyond it, what appears to be a surgical facility,
on cordell, as he comes close, donning surgical gloves, and takes the catalogue, and holds it toward verger.
on starling, as she starts to put the car in gear, putting down the note. then she hesitates, and begins to cry. lowering her head, beyond her we see the potatochip van, parked in the driveway, and the children romping with the
on brigham, as he reads the note.
in the jetway, an armed soldier, his smg slung in front of him, is reading an italian newspaper.
in the plane, the stewardess opens the door, the passengers exit, she and pazzi exchange a brief, whispered flirtation as he passes. as he moves past her, she gives a small whoop in
on the suitcase, where we see the perfume has landed in the very scarf which starling gave to pazzi earlier, also in the still-life is pazzi's passport case, out of the top of
on the man, previously unseen of whom they are talking. the movement of the pov reveals him, standing alone, back to camera, before a half cloth-covered tapestry, dressed in a magnificent suit, using half-glasses to look down at a note
on fell, as camera takes him into the park, which, we see,
starling, standing at a busstop, reading a paper.
rundown residential neighborhood, day.
over the bird, onto barney, with starling walking up behind
cordell, standing by verger's bed. cordell holds a folder marked "department of child welfare. city of baltimore."
in the bed, verger, his face obscured by a television
on a tv screen, we see the camera track, and take the frightened franklin, and the nurse standing next to him,
from behind franklin, as his body obscures our view of verger, and we hear the electronically enhanced voice of
on verger's bed, and on cordell behind him, glancing through
on cordell, who reacts to some sign from verger, and nods,
on cordell, who gives the package to franklin.
on franklin, holding the poison, he looks up as verger
on cordell, who is now at a small wetbar, mixing vodka and
on cordell, as he pushes a button on a console. on the
on one of the video screens, we see a sheet labelled "confidential fbi not for distribution." and we see, in various squares below, the drawings by lechter, the various
on mrs. pazzi, as fell appears at their side, she turns to
in the gloom, lechter-fell, looking at them appraisingly.
on pazzi, rearranging the file. we see, in an insert, the scarf, the "man wanted" poster, and fbi case study on hannibal lechter, and we hold on the "three million dollars reward."
frontal on fell, as he stops playing. he picks up a glass of wine which has been resting on the clavier, and takes one of
on a small dark boy, dressed in rags, in the blowing snow,
the boy, backing across a small courtyard into the open door
pazzi at his desk. we see the file labelled: disappearance
on pazzi, at his desk. he puts down the fbi report, and picks up the fanelli report, and leafs through it.
on pazzi, as he puts down the report.
pazzi in the phonebooth. we hear a recorded announcement: we're sorry, this number is no longer in service. if you
on brigham, on the ground. twitching. he is shaking his head, dazed.
on starling as she fires at evelda. she runs forward, and
on starling, as she looks up.
a television screen, showing the shot from the helicopter. screen bears the small logo, supered in the lower right corner:
back on the street. starling, holding the baby, is walking through the scene of the carnage. she sees brigham, raising himself to an elbow, and he mouths, "i'm alright"
on starling, standing in the middle of the street. brigham
on starling, as she turns, to look at the scene, of the dying
the tv image, with the logo on it, we see it zoom in on starling looking up, she then walks, dazedly, toward the obviously dead brigman, and sits, several feet from him. we
we see the television is in verger's room, and we are shooting over verger's form, we see the back of his head, and, beyond him, cordell.
on pazzi, standing in front of a vault. the vault is full of currency. a small clerktype, is finishing filling up a small valise with currency. he glances at the fat banker,
on dr. fell, who is walking toward him.
on fell, in the shadows, as he closes the front door soundlessly behind him. he stands for a moment, looking,
the back of the desk chair, holds a man's sportcoat, and a
fell, looking at the photo. he then glances at the scarf, picks is up, and, questioningly, sniffs it once, and then
on fell, leaving the park, he walks past an appliance store, in the window of which we see, ten silent tv screens, and a
on starling, as she blinks, and shakes her head to clear
a brigand, lounging by a van, nods imperceptibly, at pazzi,
on fell, as he begins to pack up the slide projector, and
on the face of fell, as he advances, under the cloth, on pazzi, fell takes a small sponge and a bottle from his pocket, and dumps liquid from the bottle onto the sponge, and grabs pazzi by the hair, puts him into a chokehold, and
on the brigands, at their van, they look at each other,
on pazzi, tied to the podium, his mouth gagged.
on lechter, as he coils up the long orange cord of the floor polisher, drawing it toward him.
on the lighted piazza of the palazzo, tourists look up at the
over him we see hannibal, smiling, as he advances.
on the stiletto, as it enters the brigand's belly.
in the piazza, the body of pazzi is being lowered, in the bg we see hannibal, riding on the back of the moto, and
a disguised hannibal lechter, got up as a retiree, is
on a young woman asleep, a baby at her breast. the stewardess comes by offering the sandwiches, she is shhhshed by the old man sitting next to the young mother, he indicates "she is sleeping," she offers the sandwiches to the man and he declines.
on hannibal in the plane. the woman next to him is hissing:
xcu on the gentleman, as he turns to camera, looking at cordell, he opens his mouth to scream.
on starling, as she takes out brigham's credentials and badge
one of the potatochip abductors, sinks to one knee, and raises an odd looking rifle, and fires.
cu lechter, as he puss a small red dart from his neck, and
on starling, and the psychiatrist, as starling spots
at the back of the van, lechter starts to come to life. he kicks out, as he is being put into the van, and dislodges a
on one of the men, as he pulls lechter off the floor of the van, and administers another shot.
on lechter's feet, as they clear the back of the floor of the van, and the back gate comes down on the van. a package of potatochips falls, dislodged by lechter.
on starling, as she runs toward the departing van, which
in the room, we see a mechanical contrivance turn the page. verger is in his bed. on another screen we see the pigs, and cordell walking past them, and into the barn.
lechter, shackled to a beam of wood, two feet off the
starling, moving through the moonlit night, through the
starling, moving alongside the pig's enclosure.
on the second abductor, in the loft of the barn, holding his
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.
on the forklift and the gurney, as it enters the barn.
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.
on verger and cordell, approaching lechter.
on lechter, being bound, and hoisted up, again, on the beam.
his pov. as he comes around the corner, the child franklin has the bowl of popcorn, and is seen feeding popcorn
on franklin, as he moves around the pen, and pulls a lever
on the pigs, as they start to move into the area occupied by
on cordell, bent over verger, as he looks back.
on cordell, as he sees the pigs approaching, he starts to
on franklin, as he climbs up to the area where we see
on hannibal, as he recoils. beat. the sound of
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.
on franklin, standing by the flames, looking at lechter, as
on lechter, as he picks up starling, we see a security car coming down the drive, as lechter and starling fade into
on starling, sitting, nodding, as she drinks her wine. she puts the glass down, a trifle woozy.
on starling, in the room, as she picks up a small rosebud
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.
in the slum room. starling, dazed, and lechter, reentering.
on starling, as she rises, unsteadily, in her muddy
starling, dazed, looking out of the window, lechter comes up behind her, and looks out.
lechter, frisking the filthy starling, takes out the marinecorp hatbadge, which we saw earlier, he breaks it open, and reveals a microtransmitter.
in the slumroom, we see that a swat team has entered. one of
starling standing by the grave, holding flowers, behind her
on starling, as she kneels, as the stone is placed,
on starling, as she stands, and mapp comes, and puts her arm
on starling, as she walks through the graveyard.
over mapp, who is talking, and onto starling, as she stares at the gravedigger, who is approaching her.
on her body, as she reaches to her belt for a sidearm.
tight on the two women, as starling leans in.
on mapp, as she looks at starling.
on starling, as she looks at the approaching figure.
on starling, as she shakes her head.
on the laborer, as he passes by an arriving, older limousine,
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."
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.
on starling, as she passes by the other funeral, back toward