Twice?
Give him a chance to kill me.
Go on, then.
Seduce me with your wares.
Full restoration of your privileges.
Plus computer access to the AMA archives.
One hour a week under supervision, of course...
but it's a one-time offer.
lt expires the minute l walk out of here.
Bit measly, don't you think?
Turn it down, then. See what terms you get from Chilton.
Are these threats, William?
l'm waiting, Doctor. Or maybe you've got nothing left to sell.
A little sample, then. Why not?
-Seen the Blake, have you? -Yes.
No, you've looked but not seen.
Transformation is the key.
The man-dragon...
his ugliness transformed by power.
Look for a miIitary record with combat training.
Look for extensive tattooing...
and corrective surgery, most likely to the face.
Come on, l'm past that already and you know it.
Give me what l need.
How is he choosing the women?
l've already suggested how. The answer was in front of you.
-You looked but didn't see. -Bullshit! No riddles!
Just tell me.
No!
LECTER: lt's your turn.
l asked you before for a small courtesy...
and you responded rudely.
Before l tell you anything more...
you will make certain arrangements for me.
What kind of arrangements?
Oh, nothing much.
Shall we say dinner and a show?
You ready to tell me what kind of outing this is?
Nope.
You're just full of surprises, aren't you, D?
Yep.
WARFlELD: He's about six feet away.
Can you smell him?
Yeah.
Now, he's a little noisy, but he's sedated, l assure you.
Doctor HassIer's about to fix his broken tooth.
Glad you could come, Ms. McClane.
We appreciate the infrared fiIm, by the way.
WARFlELD: Two more steps.
l'll put your left hand on the edge of the table.
Now, he's right in front of you.
Take your time.
[Tiger bays drowsily]
-D? -l'm here.
You go ahead.
[Suspenseful instrumental music]
[Tiger growls sleepily]
Here.
Why don't you try this?
[Strong heartbeat]
[Clock ticking]
Nine steps from the front door to the clock...
and three more to this room.
Sorry. Force of habit.
[Jazz music plays]
That beautiful tiger, this house, this music....
l don't think anybody knows you at all, D.
Everybody wonders about you, though.
Especially the women.
What do they want to know?
They find you...
very mysterious and interesting.
Did they tell you how l look?
They said that you have a remarkable body.
That you're very sensitive about your face but you shouldn't be.
Oh, and...
they asked me if...
you are as strong as you look.
And?
l said l didn't know.
[Record stops playing]
[Seductive jazz music plays]
Where the hell are you, D?
Here you are.
Do you want to know what l think about it?
Now, would you show me where the bathroom is?
[Slow, suspenseful instrumental music]
[Seductive jazz music plays]
l have to do a little work.
-lf l'm keeping you from work... -No.
-...l'll go. -l want you to be here.
l do. lt's just a tape l need to watch.
It won't take Iong.
-Do you need to hear it, too? -No.
May l keep the music?
[Suspenseful instrumental music]
What's it about?
Some people l'm going to meet.
So then...
it's what? lt's a corporate promo? Some kind of homework?
lt's homework. Yeah.
That's a good idea.
lt's so important to be prepared.
My God, are you ever!
[Dramatic instrumental music]
[Tense instrumental music]
[Dolarhyde whimpers in panic]
DOLARHYDE: No. l won't give her to you. No.
[Suspenseful instrumental music]
Please, just for a little while.
[Crying] No! You're hurting me!
[Dramatic instrumental music]
No...
she's nice.
She's okay.
[Climactic instrumental music]
l had a really terrific time last night.
But this morning you seem like a different person.
-ls something wrong? -l have to go now.
-l have to go away. -Where?
On a trip.
-When will l see you again? -Reba, you have to get out. Now.
METCALF [Voiceover]: Dear Mr. Graham.:
Here are the Jacobis' personaI effects, as discussed.
I hope these things might heIp you.
Good hunting. Byron MetcaIf.
[Soft piano music]
CRAWFORD: How many more times are we going to watch this?
WlLL: " See them living," he said, " right in front of you."
It's something about these home movies.
Lecter keeps saying, " You looked, but didn't see."
CRAWFORD: Lecter says a lot of things.
Sad damn thing. But we already knew that.
We can't afford to let Lecter waste our--
No. Again.
MS. HARPER: Your dissertation must be nearly finished, Mr. Crane.
DOLARHYDE: Nearly.
lt's nice to be able to connect a face with a name...
after all our correspondence.
But, you know, you don't look like l imagined you looked.
What did you think l looked like?
Different.
[Soft piano music]
[Yells surprise]
[Mouths] Thank you.
Right there! There.
WlLL: That's what he wanted the bolt cutter for.
To cut that padlock and go in through the basement.
WlLL: But that's a different door.
l don't get it. The one l saw was flush steel with deadbolts.
Jacobi had a new door installed. Beginning of January, l think.
lt's in here somewhere.
CRAWFORD: Think he cased the house with the old door?
He brought the bolt cutter, didn't he?
He was sure he'd need it.
Why case it two months in advance and not check it?
l don't know. He was ready with the bolt cutter...
like at the Leeds' house.
There he was ready with a glass cutter.
He must've seen the glass when he walked in the neighborhood.
No. You can't see that door from the yard.
There's a porch lattice in the way.
Jack, he knew the inside of the houses.
Remarkable, isn't it?
Two hundred years old.
[Suspenseful instrumental music]
Yet so fresh.
So vivid.
[Soft piano music]
[Suspenseful instrumental music]
He almost looks alive, doesn't he?
[Dramatic instrumental music]
[Harrowing instrumental music]
We've just gotten a report here from the....
[Woman screams]
[Dramatic instrumental music]
CRAWFORD: Do you stiII have the Jacobis' check stubs...
and credit card statements?
We're looking for any kind of service call or purchase...
that might've required a stranger...
to enter the house.
CRAWFORD: A repairman, delivery guy. METCALF: Anybody in the house.
CRAWFORD: Yeah. METCALF: We checked.
CRAWFORD: l know we checked that...
but now we got to go back to before January.
METCALF: Last year's purchase orders. CRAWFORD: Yeah.
WlLL: No collar. CRAWFORD: But please hurry. lt's urgent.
No collar.
CRAWFORD: Metcalf says-- WlLL: No collar.
The dog had no collar in a neighborhood of dogs...
but he knew which was theirs.
Same with the Jacobis' cat. No collar, but he knew.
WlLL: He knew about the padlock. He knew about the pane of glass.
He knew the Iayout. He knew how to get in.
Every goddamn thing he needed to know was on this....
Oh, Jesus.
ls Metcalf still on the phone? Give it!
Byron, it's Graham.
You said Niles Jacobi took a few keepsakes. Do you have a list?
METCALF: Yeah, right here.
l need to know if something he took was a home video.
A full-length VHS tape, compiled from shorter tapes.
METCALF: I see one videotape. WlLL: Yes?
METCALF: But it says, " Meet the Jacobis. "
lt's Chromalux.
CRAWFORD: We just got a fax.
An incident at the Brooklyn Museum.
A guy attacked two empIoyees, and get this...
ate the Blake painting.
WlLL: What?
That's him. lt's got to be.
lf that painting meant so much to him, why destroy it?
And why didn't he kiII those two women at the museum?
They both got a good look at him.
Maybe he's trying to stop.
[Suspenseful instrumental music]
[Dramatic instrumental music]
Mr. Crawford, all you've got is a hunch.
l've got 382 employees, and they've got a union.
l can't just turn you loose on their files.
Not without a court order.
There are privacy issues. The company's exposure.
One of the employees has already killed 1 1 people...
that we know of.
lf he gets away tonight...
what's the company's exposure on that?
-l'll get our lawyers here-- -We don't have time for that.
WlLL: Listen!
We're looking for a white male, 25 to 35...
-right-handed with brown hair. -No--
Listen! Please. He's strong. He's possibly a bodybuilder.
He might have some kind of facial disfigurement.
He drives a van or a panel truck.
That sounds like Mr. D.
Oh, my God.
Who's Mr. D?
Francis Dolarhyde, Manager of Technical Services.
What does he do exactly?
He maintains the equipment for tape transfers.
Would he have access to people's home videotapes?
He has access to every tape that comes through here.
Thanks for dinner, and thanks for letting me vent.
Look, no problemo.
Reba, listen, l know it's not my place to say this....
Go on.
Well, if Dolarhyde is really as moody as you say he is...
maybe you ought to keep some distance.
l mean, what do you really know about the guy?
l appreciate your concern, Ralph. Really.
And l promise l'll give it some thought.
-Hey, have a great vacation. -Thanks.
-See you in a week. -Good night.
[Ominous instrumental music]
RALPH: l had a great time. REBA: Good night.
RALPH: Good night!
[Ominous instrumental music]
Ralph, just 'cause l'm feeling vulnerable--
[Harrowing instrumental music]
DOLARHYDE: Wake up.
You wandered around in the house while l was asleep, didn't you?
REBA: What?
The other night, did you find something odd?
Did you take it and show it to somebody? Did you do that?
D? What is it?
What's happening?
-Sit still or he'll hear us! -Who will?
He's upstairs.
He wants you, Reba.
l thought he was gone, but now he's back.
D, you're scaring me.
l didn't want to give you to him.
l did a thing for you today so he couldn't have you.
l was wrong.
You made me weak and then you hurt me.
[Police car sirens]
No.
No, you can't have her!
Please don't let him have me.
REBA: You won't.
l'm for you.
You like me. l know you like me. Take me with you.
Take you with me? Yes. Put out your hand.
FeeI this. That's a shotgun.
A 1 2-gauge magnum. Do you know what it'll do?
l wish l could have trusted you. l wanted to trust you.
You felt so good!
So did you.
-Please don't hurt me now. -lt's all over for me.
[Reba gasps in panic]
-Where are you? -l can't leave you to him.
DOLARHYDE: Do you know what he'll do? He'll bite you to death.
He'll hurt you so bad! l can't let that happen.
-lt's better if you go with me. -Yes, God, get us out of here!
-l'll shoot you and then myself. -Oh, no.
-l have to shoot you. -No....
l can't do it.
[Screaming] D!
[Gunshot]
[Coughs and pants heavily]
[Clock chimes]
REBA: Three steps to the clock.
From the cIock to the door, nine more.
Oh, God.
[Climactic instrumental music]
What is that? What the hell is that?
That's the place.
Goddamn it!
All units, that's his house that's burning.
[Dramatic instrumental music, sirens blaring]
FBl!
Francis Dolarhyde! Where is he?
He's in there. He is dead.
You know that?
He shot himself in the face. l put my hand in it.
He set fire to the house. He was on the floor, and l--
You all right?
WlLL: That's all l need.
I'd Iike to come back before I Ieave town.
WlLL: See how you're doing. REBA: Sure, why not?
Who could resist a charmer like me?
You know, whatever part of him was still human...
was only kept alive because of you.
You probably saved some lives.
You didn't draw a freak. Okay?
You drew a man with a freak on his back.
l should have known.
No, sometimes you don't. Trust me, l've been there.
Listen to me. There was plenty wrong with Dolarhyde...
but there's nothing wrong with you.
Except your hair.
Your hair is a train wreck.
Can we please do something about that?
For next time, maybe? Please?
That would be nice.
REBA: Thank you. WlLL: Just get some rest.
WlLL: You're gonna be fine.
ANNOUNCER: Dr. Voss, pIease caII Pharmacy 4421.
We found this in his safe.
Thought you might want to take the first look.
CRAWFORD: You've earned it.
[Melancholy instrumental music]
WlLL: When I read his journaI, it was sad.
lt was just so sad.
l couldn't help feeling sorry for him.
He wasn't born a monster.
This guy was made one through years of abuse.
-Hey. -Hey, Dad, can we make s'mores?
-S'mores? -Yeah, s'mores.
-Yeah, you're on. -All right.
-Go look in the pantry. -Okay.
[Telephone rings]
Crawford.
PRlCE: Those remains you found in the rubble.
-They're not Dolarhyde's. -What are you talking about?
-His damn dentures were there. -But not his bones.
Wrong DNA.
Then whose are they?
Saint Louis P.D. is looking for...
a Chromalux employee named Ralph Mandy.
He should be on vacation, so nobody missed him for a week.
-What is taking him so long? -Are you kidding?
lt takes him 20 minutes to get out of bed in the morning.
Yeah, but now l have a serious marshmallow jones.
Josh, what are you doing?
[Suspenseful musical surge]
[Telephone rings]
MOLLY [Recording]: We can't come to the phone. You know the deaI.
Wait for the beep.
CRAWFORD [On machine]: It's Jack. It's DoIarhyde. He's stiII aIive.
I'm scrambIing everything that roIIs or fIies...
but they'II take time to arrive.
WiII?
Christ, WiII, where are you?
[Ominous instrumental music]
[Music builds to a crescendo]
Drop it. Do it now, gumshoe.
Your son is about to change.
Then your wife.
You can watch.
Then I'II take care of you.
Look at you.
l've never seen a child as disgusting as you!
You pissed your pants? How dare you!
You dirty little beast. You want me to cut it off?
Want me to do that, you little freak?
You want me to cut it off?
Do you? Don't cry at me, you little faggot!
Apologize! Say, " l'm sorry, Daddy! l'm a dirty little beast.
" l'm a freak." Say it!
-No. -Say it!
-Dad! -Say it, or l will cut it off!
WlLL: " l'm a dirty little beast.
" Freak! Harelip!
" And no one wiII ever Iove me. "
[Shouting] Josh, run! Run!
[Raging instrumental music]
Get down!
You okay?
[Sudden silence]
MOLLY [From downstairs]: Josh? JOSH: Mom?
MOLLY: Will?
Where are you guys?
I thought I heard some kind of....
WiII?
Molly, get down!
MOLLY: Will!
[Molly gasps and sobs]
[Ominous instrumental music]
WlLL: [Gasps] Shoot....
What?
Shoot him. Shoot him.
[Climactic instrumental music]
[Sirens wail]
JOSH: Mommy?
LECTER [Voiceover]: My dear WiII.: You must be heaIed by now.
On the outside, at Ieast.
I hope you're not too ugIy.
What a coIIection of scars you have!
Never forget who gave you the best of them.
And be gratefuI.
Our scars have the power to remind us the past was reaI.
We Iive in a primitive time, don't we, WiII?
Neither savage nor wise.
HaIf measures are the curse of it.
A rationaI society wouId either kiII me or put me to some use.
Do you dream much, WiII? I think of you often.
Your oId friend, HannibaI Lecter.
[Dramatic instrumental music]
CHlLTON: HannibaI? There's someone here to see you.
Wants to ask a few questions. I said you'd probabIy refuse.
A young woman. Says she's from the FBl.
Though she's far too pretty, if you ask me.
l'll tell her you said no.
What is her name?
[Dramatic instrumental music]
Subtitles by: SOFTlTLER