Executive Producer: Bryan Fuller

Executive Producer: Martha De Laurentiis

Executive Producer: Steve Lightfoot
!

“The Number of the Beast is 666”

!
Written by
Jeff Vlaming
&
Angela LaManna
and
Bryan Fuller
&
Steve Lightfoot
!
Directed by
Guillermo Navarro
!
!
Based on the characters created by
Thomas Harris
!
!
!
Episode #312 Final Shooting Script

PROPERTY OF:
GAUMONT INTERNATIONAL TELEVISION LLC
©2015 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE
PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR
WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC.
 HANNIBAL
"The Number of the Beast Is 666"

TEASER
THE SILVER SURFACE OF A SHARD OF MIRROR

PULL OUT to reveal it is placed in MOLLY's eye.

CAMERA moves slightly to see WILL GRAHAM's reflection in it.

GO WIDE

THE FRAME is now filled with Blake's The Great Red Dragon and
the Woman Clothed in Sun -- the Dragon rampant over the
woman's body.

CAMERA moves into the painting as the background deepens,

pushes past the Dragon, onto the woman. As we watch, his
tail coils and tightens on her body.

And now we see she has Molly's face, mirrors in her eyes.
PUSH IN CLOSER and CLOSER until we see Will reflected in the
mirrors, her face raised in supplication to him.

And then we REVERSE to --

MOLLY/THE WOMAN'S POV

As if looking out of the painting, and we see --

THE GREAT RED DRAGON

Standing in a NULL BLACK VOID, and he has Will Graham's face.

CUT TO:
INT. BEDELIA'S HOME OFFICE - DAY

Will sits opposite BEDELIA, mid-therapy.

WILL GRAHAM
I look at my wife and I see her
dead. I see Mrs. Leeds and Mrs.
Jacobi lying where Molly should be.

BEDELIA DU MAURIER
Do you see yourself killing her?

WILL GRAHAM
Yes. Over and over.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 2.

BEDELIA DU MAURIER
It's hard to predict when brittle
materials will break. Hannibal
gave you three years to build a
family and a life, confident he'd
find a way to take them from you.

WILL GRAHAM
And he has.
BEDELIA DU MAURIER
Aggression can be an effective
means of maintaining order in a
relationship.

WILL GRAHAM
What's he going to take from you?

BEDELIA DU MAURIER
Is it important to you that he take
something from me?

WILL GRAHAM
Hannibal has agency in the world.

BEDELIA DU MAURIER
Hannibal has no intention of seeing
me dead by any other hand than his
own, and only then if he can eat me.
He's in no position to eat me now.

WILL GRAHAM
If you play, you pay.
BEDELIA DU MAURIER
You've paid dearly. That knowledge
will lie against your skin forever.
(then)
It excites him to see you marked in
this particular way.

WILL GRAHAM
Why?
BEDELIA DU MAURIER
Why do you think?

Will studies her, amused/annoyed by the psychiatric game.

WILL GRAHAM
Bluebeard's wife. Secrets you're
not to know, yet sworn to keep.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 3.

BEDELIA DU MAURIER
If I'm to be Bluebeard's wife, I
would've preferred to be the last.

A moment as Will considers that, then:

WILL GRAHAM
Is Hannibal in love with me?

BEDELIA DU MAURIER
Could he daily feel a stab of
hunger for you and find nourishment
in the very sight of you? Yes.
(then)
But do you ache for him?

Will doesn't answer, only stares. Finally:

BEDELIA DU MAURIER (CONT’D)

Once you catch the Red Dragon, your
wife and son can go home again.
(then)
Can you?
OFF Will...
FADE TO BLACK.
UP FROM BLACK

We find... The Number of the Beast Is 666.

As the beast raises his arm to point, and the Dragon lowers
down and stands rampant before him.

CAMERA moves past the beast and onto the face of the lamb
lying between them. Behind him stands the Dragon, and as his
wings unfurl...
DISSOLVE TO:
INT. BSHCI - HANNIBAL LECTER'S CELL - DAY

HANNIBAL sits at his table, looking through the glass at JACK

CRAWFORD. The Dragon's wings momentarily extending from
Hannibal's back, stretching across the cell.
HANNIBAL
Will's thoughts are no more bound
by fear or kindness than Milton's
were by physics. He is both free
and damned to imagine anything.

JACK CRAWFORD
Now that he's imagined the worst.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 4.

HANNIBAL
Like ducklings, we imprint on those
ideas that grab our attention.

JACK CRAWFORD
What's got your attention? God,
the Devil and the Great Red Dragon?

HANNIBAL
Lest we forget the Lamb.

JACK CRAWFORD
Will is the Lamb of God?

HANNIBAL
Hide us from the wrath of the Lamb.

JACK CRAWFORD
Who's "us"?
HANNIBAL
You, me and the Great Red Dragon.
(then)
The Lamb's wrath touches everyone
who errs. His retribution is even
more deadly than the Dragon's.

JACK CRAWFORD
It is for you.
HANNIBAL
The seals are being opened, Jack.
The lamb is becoming a lion. "For
the great day of his wrath is come;
and who shall be able to stand?"

JACK CRAWFORD
I'll still be standing.

HANNIBAL
Is your conscience clear?

JACK CRAWFORD
As clear as yours.

HANNIBAL
Righteousness is what you and Will
have in common. "In righteousness
the Lamb doth judge and make war."
War against the Great Red Dragon.

JACK CRAWFORD
He's not the Dragon, you are. The
Devil himself bound in the pit.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 5.

HANNIBAL
Then that makes you God, Jack.

Hannibal comes closer to the glass.

HANNIBAL (CONT’D)
All gods demand sacrifices.
CUT TO:
FRANCIS DOLARHYDE

Kneeling on the floor in a shaft of light. We are --

INT. DOLARHYDE'S HOUSE - ATTIC - NIGHT

Francis looks up at the painting of The Great Red Dragon and

the Woman Clothed in Sun that hangs over his ledger.

CAMERA PUSHES IN to a CLOSE SHOT of the Dragon. Dolarhyde's

hands reach INTO FRAME and claw at the painting, peeling up
the paper in jagged tears. Then the torn paper bleeds.

CAMERA reveals the Dragon painting is actually the tattoo on

Dolarhyde's back. He is reaching behind his back and
scratching into the inked flesh depicting the Red Dragon.

CLOSE -- as his fingernails leave raw grooves in his skin.

OFF his face, tormented and yet defiantly blasphemous...

CUT TO BLACK.

END OF TEASER
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 6.

ACT ONE
JACK CRAWFORD

Center punched -- hands folded in his lap. Listening with a

benedictory expression. Inscrutable.

WILL GRAHAM (O.S.)

We don't have anything else.

We are --

INT. BAU - JACK CRAWFORD'S OFFICE - DAY

Will Graham paces before the desk. ALANA BLOOM sits in a

chair, watching him.
JACK CRAWFORD
Eight people dead in a month. We
can't play a long game.
(then)
I say we go for it. You know and I
know it's the best way to bait him.

WILL GRAHAM
Got me on the hook, now you're
dangling me to catch a bigger fish.

JACK CRAWFORD
You suggested it.

WILL GRAHAM
You're thrilled you didn't have to.
ALANA BLOOM
You fooled yourselves once into
believing you were in control of
what was happening. Are you still
under that delusion?

Will glances at Alana and, for a brief moment, her eyes and
mouth are covered by JAGGED SHARDS OF MIRROR. He looks away.

WILL GRAHAM
The Dragon does have a certain
abstract curiosity about me.
(then)
All psychopaths are narcissists.
They love to read about themselves.

ALANA BLOOM
Even Hannibal read TattleCrime.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 7.

WILL GRAHAM
If you were smart, Jack, you would
use Freddie Lounds.

JACK CRAWFORD
She would need to interview you,
Will. Take your picture.

WILL GRAHAM
I'm in it now. Can't go home as
long as he's loose. I really bad-
mouth the Red Dragon in TattleCrime
and then give him a shot at me.

JACK CRAWFORD
It would have to be a pretty good
shot. What about the setup?

WILL GRAHAM
Something open. Someplace where he
can get close. I don't think he'd
snipe. He might fool me, but I
can't see him with a rifle.

Jack listens like an owl. Saying nothing. Will looks at him.

ALANA BLOOM
Feels like a trap to me. And it'll
feel like a trap to him. Unless
you have a professional voice to
legitimize what you're saying.

WILL GRAHAM
Someone to hide the wire of the
snare. Are you volunteering?

Now both of them are looking at Alana. She shakes her head.

ALANA BLOOM
No. I'd have to be a fool.
CUT TO:
FREDERICK CHILTON

He examines a copy of The American Journal of Psychiatry.

DR. CHILTON
Since your commitment, you've done
some brilliant articles for The
American Journal of Psychiatry.

We are --
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 8.

INT. BSHCI - HANNIBAL LECTER'S CELL - DAY

Hannibal sits at his table, entertained by Frederick Chilton

pacing before the glass. Chilton's anger is palpable.

HANNIBAL
Thank you, Frederick.

DR. CHILTON
I just finished reading your most-
recent piece. Extraordinary stuff.

HANNIBAL
It's a particularly good one.

DR. CHILTON
It, uh... it may be my favorite.
I've seen a lot of hostility. But
this was quantifiably bitchy. Do
you think I'm your nemesis?

HANNIBAL
No. Nemesis? No.

DR. CHILTON
You refuted my entire book.

HANNIBAL
It didn't hold up to scrutiny.

Chilton inclines his chin, goes on the offensive.

DR. CHILTON
Of course it didn't, I was lying.
On your behalf. To save your life.
You refuted your insanity defense.
I went out on a limb for you and
you went up there and sawed it off.

HANNIBAL
"Wood burns because it has the
proper stuff in it; and a man
becomes famous because he has the
proper stuff in him." You don't
have the proper stuff, Frederick.
DR. CHILTON
I'm a best-selling author. The
journals only still publish you for
the freak value of your byline.

A mercenary smile as Chilton relishes his next words.

HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 9.

DR. CHILTON (CONT’D)

The attention given to you is
dwindling since you've been
overshadowed by another creature.
That book is writing itself. I
think I'll call it The Dragon
Slayer. All I need is the ending.

Hannibal smiles -- not the reaction Chilton hoped to evoke.

HANNIBAL
Fate has a habit of not letting us
choose our own endings, Frederick.

DR. CHILTON
This is the ending fate has chosen
for you. Your teeth will go and
your strength. Nobody will be
afraid of you anymore. After Dr.
Bloom's reign, you'll be out in the
ward. The young ones will push you
around and use you for sex. All
you'll get to read is what you
write on the wall. You've seen the
old ones. They cry when they don't
like the stewed apricots.

Dr. Chilton stares for just a moment longer, then fishes a

copy of Hannibal the Cannibal from his briefcase on the floor.

DR. CHILTON (CONT’D)

I'm just going to leave an extra
copy of my book right over here.
I've personalized the inside cover.

Chilton places the book on the table by the doors as they

BUZZ open. He takes one last glance over his shoulder to see
Hannibal is still watching him even as the doors close.

INT. BSHCI - CELL BLOCK - DAY

Chilton straightens his jacket, glancing up to see Alana

Bloom leaning against the far wall.
DR. CHILTON
Are you here to remonstrate me with
"I told you so"s?

ALANA BLOOM
That's not why I'm here.
CUT TO:
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 10.

JACK CRAWFORD

Ever the alligator, Jack explains:

JACK CRAWFORD
She's here because we need someone
who is less concerned about the
whole truth than the best story.

CAMERA PULLS BACK to reveal we are --

INT. HOTEL - WILL GRAHAM'S ROOM - DAY

CAMERA reveals Jack is referring to FREDDIE LOUNDS who is

setting up a recording device in the room, equidistant
between Dr. Chilton, Will Graham and herself.

Behind Will and Chilton is a window and, outside it, OUT OF

FOCUS but visible, is a large city fountain on the street
below; beyond it, the familiar dome of the Capitol building.

JACK CRAWFORD (CONT’D)

(to Dr. Chilton)
You lay out your theories and then
Will aggravates them on the record.

FREDDIE LOUNDS
(to Will)
You're making statements no
investigator would ever make and no
straight newspaper would credit.
WILL GRAHAM
You're not a straight newspaper.
You sell T-shirts that say, "The
Tooth Fairy Is a One-Night Stand."

FREDDIE LOUNDS
I can get you one, if you like. You
small or medium? Small, I bet.
They're not selling so well since you
started calling him "The Dragon."
DR. CHILTON
The killer's objection to the name
"Tooth Fairy" is likely grounded in
the homosexual implication of the
word "fairy." Tedious, I know, but
if you really want to piss him off,
that's what you should call him.

JACK CRAWFORD
The Tooth Fairy it is.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 11.

CLOSE ON A RECORDING DEVICE

Freddie presses the "record" button. The LED readout begins

to crawl as it begins to record.

CLOSE ON DR. CHILTON

CAMERA PULLS OUT as he speaks authoritatively:

DR. CHILTON
The Tooth Fairy's actions indicate
a projective delusion compensating
for intolerable feelings of
inadequacy. Smashing mirrors ties
these feelings to his appearance.

CAMERA PUSHES IN on Jack watching with a python's patience.

WILL GRAHAM
Not only is the Tooth Fairy insane,
he is ugly and impotent.

Will's abrupt interruption and "interpretation" momentarily

throws Dr. Chilton off, but he quickly recovers.

DR. CHILTON
There's a strong bonding of
aggressive and sexual drives that
occurs in sadists at an early age.

WILL GRAHAM
He's a vicious, perverted, sexual
failure. An animal.

Dr. Chilton stares at Will, then continues:

DR. CHILTON
The savage acts aimed primarily at
the women, and performed in the
presence of family, are clearly
strikes at a maternal figure.
WILL GRAHAM
The Tooth Fairy's the product of an
incestuous home.

Freddie laps this up as she scribbles notes.

DR. CHILTON
This is the child of a nightmare.

The compassion of those words hangs in the air a moment,

forcing Will to consider their weight, then:
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 12.

CLOSE ON THE RECORDING DEVICE

Freddie presses the "stop" button and it ceases to record.

POP WIDE
JACK CRAWFORD
We need a key shot taken in your
"Washington hideaway."

As she speaks, Freddie produces an ARTIST'S CONCEPT DRAWING

of Francis Dolarhyde, something more akin to Frankenstein's
monster, lurking in the shadows, with a cleft palate.

FREDDIE LOUNDS
I'd love something like you in a
bathrobe, at the desk, poring over an
artists's conception of the Fairy.

WILL GRAHAM
I'll stand by the window. Make
sure you can see the fountain and
the Capitol dome behind me. The
Red Dragon has to be able to find
this place, if he wants to.

Will stands next to the window, the Capitol dome in the deep
background, as Freddie readies the lens on her camera.

CAMERA VIEWFINDER'S POV

The fountain below can be clearly seen behind them, as well

as the Capitol dome. Will takes an awkward pose. Just
before Freddie can shoot -- Will looks at Chilton.

WILL GRAHAM (CONT’D)

Would you like to be in the
picture, Frederick?

DR. CHILTON
One for the dust jacket.

Dr. Chilton joins Will and adopts his best media pose -- but
just before the shutter, Will raises his arm and places it
round Chilton in comradely fashion.

The FRAME FREEZES on this shot of brothers in arms. Will's

location clear. CAMERA PUSHES IN on Jack watching...

CUT TO BLACK.

END OF ACT ONE

HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 13.

ACT TWO
EXT. DOLARHYDE'S VAN - DAY

ON FRANCIS DOLARHYDE through the windshield as he drives,

eyes forward, intent.

On the passenger seat, a copy of TattleCrime -- with Will and

Chilton grinning from the cover.

EXT. HOTEL - FOUNTAIN - DAY

Will Graham and Jack Crawford walk past the fountain toward
his hotel.
JACK CRAWFORD
This whole procedure is too passive
for my taste. We are playing games
in the dark of the moon.

WILL GRAHAM
He thinks he can do anything.
Maybe he thinks he can stop. If he
can hold off until we catch him,
maybe we can help him make it stop.

JACK CRAWFORD
He almost killed your wife and son.

WILL GRAHAM
Hannibal almost killed them.

Jack studies Will, then notes the light in the sky changing.
JACK CRAWFORD
Pedestrian traffic falls off around
7:15. You should go for a walk
around 8:30 or so. He'll have to
come over open ground to get close.

WILL GRAHAM
He'll want to get close.

JACK CRAWFORD
I have snipers with night-vision on
the roofs. You'll wear body armor.

Will smiles at Jack -- who's he kidding?

WILL GRAHAM
Seven out of eleven times, he's
gone for the headshot, Jack.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 14.

Will turns, taking in the possible arena of his next showdown

with the Dragon.

ELEVATOR DOORS

They open revealing Dr. Chilton. We are --

INT. PARKING GARAGE - TWILIGHT

CAMERA leads Dr. Chilton across the parking lot, flanked by

TWO FBI AGENTS, as Chilton talks on the phone:

DR. CHILTON
Dr. Lecter gave me misleading
answers in my interviews. I will
refute his refutations in my new
book, Blood and Chocolate.

They cross to an FBI SUV parked and waiting, unlocking the

vehicle remotely as they approach.

INT. FBI SUV - TWILIGHT

One of the FBI agents opens the back passenger door and Dr.
Chilton climbs inside. As CAMERA PUSHES across the dashboard
toward Chilton, we see through the rear windows, behind him,
the FBI agents moving toward their respective doors.

DR. CHILTON
Supermarket tabloids love Hannibal
Lecter more than alien abductions.
That's his demographic now.

SPLAT. SPLAT. Two blasts of gore splash across the rear

windows as both FBI agents take headshots and drop.

DR. CHILTON (CONT’D)

We know who his fans are.

CAMERA PUSHES through the headrests to a CLOSE ON DR.

CHILTON. He reacts, noticing:
CHILTON'S POV -- THE REARVIEW MIRROR

The blood-spattered rear windows are in clear view.

ON CHILTON

He leans forward slightly. Before he can process what he is

seeing in the rearview, the passenger door is suddenly yanked
open and Chilton is violently JERKED OUT OF THE SUV.
CUT TO BLACK.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 15.

MUSIC PLAYS

A record on a turntable.

We FADE UP onto the face of Dr. Chilton, groggy; sanitary

napkins cover his eyes and mouth. We are --

INT. DOLARHYDE'S HOUSE - LIVING ROOM - NIGHT

Chilton is in shorts, upright in an old wooden wheelchair

that is wheeled from OUT OF FOCUS into FOCUS. He faces the
wall, as if he is a misbehaved child.

FRANCIS DOLARHYDE
Would you like a blanket?

Chilton doesn't answer, even as the sanitary napkins are

peeled from his eyes and mouth.

FRANCIS DOLARHYDE (CONT’D)

I'll get you a blanket.

STAY ON CHILTON as a figure looms behind him, OUT OF FOCUS,

and a blanket is tucked around him. He struggles for focus,
finds himself facing into the corner of a room.

A bottle of ammonia is put under Chilton's nose and he

reacts, pulling his head away, eyes flying open.

Behind Chilton, the out-of-focus Dolarhyde sits on the couch;

the sound loud to Chilton's highly-tuned ears.

DR. CHILTON
My back hurts. My skin. Did I get
burned? Hope to God I'm not burned.

Only now do we go to Dolarhyde, wearing his mesh mask,

watching Chilton's back.

FRANCIS DOLARHYDE
Burned? Burned. No. You just
rest here.
DR. CHILTON
What am I doing here?

FRANCIS DOLARHYDE
Atoning, Dr. Chilton.

Fear crosses Chilton's face. He tries desperately to move,

eyes darting. CLOSE ON his arms and back, as we see that he
has been glued with epoxy to the chair itself. He strains to
no avail. His heart HAMMERS in his ears.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 16.

DR. CHILTON
I haven't seen your face. I
couldn't identify you. I don't
know what you look like.

FRANCIS DOLARHYDE
Do you know who I am?

DR. CHILTON
I don't want to know, believe me.

FRANCIS DOLARHYDE
According to you, I'm a vicious,
perverted sexual failure. An
animal. You know now, don't you?

DR. CHILTON
Yes.
FRANCIS DOLARHYDE
Why did you lie, Dr. Chilton?

Dolarhyde stands with a CREAK of springs and moves behind

Chilton. ON CHILTON'S FACE as the figure looms behind him.

FRANCIS DOLARHYDE (CONT’D)

Do you understand what I'm doing?
DR. CHILTON
No. But I think I've got an
opportunity to understand. And
then all my readers could
understand, too.

FRANCIS DOLARHYDE
Do you feel privileged?

DR. CHILTON
It's a privilege, but I have to
tell you -- man to man -- that I'm
scared. It's hard to concentrate
when you're scared. If you have a
great idea, you wouldn't have to
scare me for me to be impressed.

Dolarhyde leans over his shoulder now and Chilton closes his
eyes once more.
FRANCIS DOLARHYDE
"Man to man." You use that phrase
to imply frankness. But you see, I
am not a man. I have become Other
and More than a man.
(MORE)
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 17.

FRANCIS DOLARHYDE (CONT'D)

Do you believe that God is in
attendance here? Are you praying
to him now?
DR. CHILTON
I pray mostly when I'm scared.

FRANCIS DOLARHYDE
Does God help you?

DR. CHILTON
I don't know. I don't think about
it after. I ought to.

FRANCIS DOLARHYDE
You ought to. Um-hmmmm. There are
so many things you ought to
understand. In a little while,
I'll help you understand.

Dolarhyde starts to turn the chair toward him.

DR. CHILTON
No, I don't want to see you.

FRANCIS DOLARHYDE
When I turn you round, open your
eyes and look at me, or I'll staple
your eyelids to your forehead.

STAY ON CHILTON as he slowly spins around. He squeezes his

eyes closed, can't help himself, but a finger gently taps him
on the forehead and he slowly opens them --

CHILTON'S POV

Dolarhyde, in the mesh mask and kimono, towers over him,

impressively tall from this angle, mask rolled to show his mouth.

DR. CHILTON
Oh, my dear God Jesus.

BING-BONG. And then, incongruous, cutting through the music,

the doorbell chimes -- once, and then again. Dolarhyde looks
caught in indecision. Hope flutters across Chilton's face.

REBA MCCLANE (O.S.)

D? It's Reba.

A moment as Dolarhyde and Chilton exchange a glance.

FRANCIS DOLARHYDE
Make a sound and I'll kill her.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 18.

EXT. DOLARHYDE'S HOUSE - NIGHT

REBA McCLANE stands on the doorstep, muffled in a large coat,

holding a soup container. Huffing against the cold.

The door opens and Dolarhyde stands there, taking her in.

REBA MCCLANE
I don't like surprises. I bet you
don't, either. I tried to call you.
(then)
May I come in? I won't be long. I
asked my taxi to wait.

INT. DOLARHYDE'S HOUSE - FOYER - NIGHT

Dolarhyde closes the door behind Reba as she stands in the

foyer. Reba takes in familiar elements of the house -- the
TICKING of a large clock looms loud in her ears.

REBA MCCLANE
How're you feeling?

A nasal whisper from the mask pressing against Dolarhyde's nose:

FRANCIS DOLARHYDE
Okay.
REBA MCCLANE
Your office said you were sick.

FRANCIS DOLARHYDE
The flu. You shouldn't be here.

REBA MCCLANE
I brought you soup.

She walks toward the living room. Comfortable in this space

now. Following the sound of the music. Dolarhyde follows...

INT. DOLARHYDE'S HOUSE - LIVING ROOM - NIGHT

ON CHILTON as he watches Reba enter. Hope dies as he sees

that she is blind. Dolarhyde looms behind her.
REBA MCCLANE
I didn't come just to give you
soup, D. I guess I'm guilty of
liking you. Demonstrably guilty.
And I know you like me, too.
FRANCIS DOLARHYDE
(barely audible)
I do.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 19.

That small admission takes a weight off Reba's shoulders.

Chilton's eyes flick from Reba to Dolarhyde and back, trying
desperately to read their dynamic, holding his breath.
REBA MCCLANE
I've learned that withdrawal can be
a strategy to avoid pain.
(then)
I have a deep vein of cripple's
anger in me; while I can't get rid
of it, I've made it work for me.
It's fueled my independence and
strengthened my determination to
wring all I can from every day.

Dolarhyde looks to Chilton -- and steps closer to Reba. Not

intimate, but threatening, as Dolarhyde's bulk trembles,
trying to maintain control.
REBA MCCLANE (CONT’D)
I'm not so scarred by life that I'm
incapable of love. I hope you
aren't, either. Enjoy the soup.

Reba turns and exits. Dolarhyde follows her to the door. ON

CHILTON silently watching a possible savior leave the room.
CUT TO:
THE SNAP AND WHIR AS A SLIDE PROJECTOR KICKS INTO LIFE
ON CHILTON as light hits his face, reflected off the screen.
FRANCIS DOLARHYDE
Do you want to know what I am?
DR. CHILTON
More than anything. I was afraid
to ask.
FRANCIS DOLARHYDE
Look.

The first slide is Blake's painting, The Great Red Dragon and
the Woman Clothed in Sun.
FRANCIS DOLARHYDE (CONT’D)
Do you see now?
DR. CHILTON
I see.
Dolarhyde runs through slides. CLICK. MRS. JACOBI alive.
FRANCIS DOLARHYDE
Do you see?
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 20.

DR. CHILTON
Yes.
CLICK. Mrs. Jacobi with mirror shards in her eyes, dead.
FRANCIS DOLARHYDE
Do you see?
DR. CHILTON
Yes.
CLICK. MRS. LEEDS alive.
FRANCIS DOLARHYDE
Do you see?
DR. CHILTON
Yes.
CLICK. Mrs. Leeds with shards of mirror in her eyes, dead.
FRANCIS DOLARHYDE
Do you see?
DR. CHILTON
Yes.
CLICK. Frederick Chilton himself in the TattleCrime photo.
FRANCIS DOLARHYDE
Do you see?
DR. CHILTON
Oh God.
FRANCIS DOLARHYDE
Do you see?
DR. CHILTON
Please no.
FRANCIS DOLARHYDE
No what?
DR. CHILTON
Not me.
FRANCIS DOLARHYDE
Are you going to tell more lies
about me, Dr. Chilton?
DR. CHILTON
Oh no, no. No-no-no.
FRANCIS DOLARHYDE
Why did you tell lies, Dr. Chilton?
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 21.

DR. CHILTON
The police told me to. It was what
they said.
FRANCIS DOLARHYDE
You quote Will Graham.
DR. CHILTON
Graham told the lies. Graham.
FRANCIS DOLARHYDE
Will you tell the truth now? About
me. My work. My Becoming. My
Art, Dr. Chilton. Is this Art?
DR. CHILTON
Art.
CLICK. The Great Red Dragon and the Woman Clothed in Sun.
FRANCIS DOLARHYDE
You said I, who see more than you,
am insane. I, who pushed the world
so much further than you, am
insane. I have dared more than
you. I am the Dragon and you call
me insane? Before me, you are a
slug in the sun. You are privy to
a great Becoming and you recognize
nothing. You are an ant in the
afterbirth. It is in your nature
to do one thing correctly: Before
me you tremble. Fear is not what
you owe me, Dr. Chilton.
(dropping his kimono)
You owe me awe.

The carousel slide projector shuts off, light dimming.

Dolarhyde stands for a moment, head down, then leaves.
CAMERA lingers on Chilton as he listens for anything. After
a moment, Dolarhyde returns, carrying a lunchbox and a
thermos. Chilton watches him with trepidation.
FRANCIS DOLARHYDE (CONT’D)
(re: the lunchbox)
For your trip back home.
(re: the thermos)
Ice, we'll need that.

Dolarhyde raises a camera and attaches it to a tripod. He

turns Chilton around to face the camera, the screen now
behind him. He turns the projector on behind the screen,
rear-projecting film on the screen behind Chilton.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 22.

FRANCIS DOLARHYDE (CONT’D)

Before we go, we'll tape a little
while. Repeat after me...
CLOSE-UP -- Chilton's reflection in the camera's lens.
TIME CUT TO:
CLOSE ON THE VIDEO CAMERA

The "pause" button is pressed and the image of Dr. Chilton

through the viewfinder remains. We are --
INT. DOLARHYDE'S HOUSE - LIVING ROOM - NIGHT

Dolarhyde steps out from behind the video camera, addressing

Chilton still glued to the wheelchair.
FRANCIS DOLARHYDE
That's all, Dr. Chilton. You did
very well.
DR. CHILTON
You'll let me go now?
FRANCIS DOLARHYDE
I will. There's one way, though,
that I can help you better
understand and remember.
Dolarhyde turns away, places the thermos on a table.
DR. CHILTON
I want to understand. And I've got
a very good memory.
CLOSE ON THE VIDEO CAMERA
Dolarhyde presses "record" and the timer starts rolling.
ON CHILTON

Hope dies in his eyes as Dolarhyde turns back and smiles,

revealing his brown-stained killing teeth. He's a monster.

He leans into Chilton, intimately, a hand on Chilton's heart --

as if to kiss him -- and then BITES OFF HIS LIPS.
OFF Chilton's scream...

END OF ACT TWO

HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 23.

ACT THREE
ON A COLORLESS VISTA

A gray-blue fog, void of trees or life. Then, suddenly, the

image moves -- and we see a tiny arrow, a computer cursor,
shift the ghostly X-ray image to arrive at --

A HAZY, OBLONG SHAPE.

O.S. keyboard CLICKS and the image enhances in size. Still

unidentifiable, but the object isn't solid. No pointed ends.

A GLOVED HAND

Removes a padded envelope from the package scanner. Sans

postmark, we see its addressee: "Hannibal Lecter, Baltimore
State Hospital for the Criminally Insane." No return address.

The gloved hand transfers the envelope to a GUARD (visible

from shoulders down) who takes it and turns away.
CUT TO:
THE YELLOW PADDED ENVELOPE

The envelope appears to move through space on its own accord

until CAMERA reveals it is being carried by Alana Bloom.

We are --

INT. BSHCI - CORRIDOR - DAY

Alana carries the padded envelope inexorably headed for --

INT. BSHCI - HANNIBAL LECTER'S CELL - DAY

CH-CHUNK! The delivery tray jerks open and the envelope

lands inside it, address up. Another CH-CHUNK and it's gone.

HANNIBAL
Hand delivered.

Alana doesn't respond, just stares.

HANNIBAL (CONT’D)
May I open it privately?

ALANA BLOOM
You may not.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 24.

HANNIBAL

Takes it and sits, curious, examining the block capitals of

the address. He tears open the envelope and a smaller
envelope slips out. Alana watches carefully.

In the second envelope, Hannibal finds a gauze-wrapped

bundle. He unrolls it, curiosity piqued, to reveal a pair of
pink, leech-like PIECES OF FLESH.

FREDERICK CHILTON'S LIPS.

Hannibal's at once intrigued and flattered. He considers the

two wet offerings starkly vivid against the white bandaging,
then shows them to Alana on the other side of the glass.

ON ALANA

As CAMERA PUSHES IN...

TIME CUT TO:
CLOSE ON A CARD

Words written in a personal, emotional hand:

"With These He Offended Me."

ON HANNIBAL
HANNIBAL
Dr. Chilton often offended me with
his ignorant drivel. So I
certainly understand the sentiment.

CAMERA PULLS BACK to reveal he is in a straightjacket,

secured to his hand truck. We are --

INT. BSHCI - HANNIBAL LECTER'S CELL - DAY

Alana is inside Hannibal's cell, along with Jack. Hannibal

is behind the table, which has been returned to the room,
flanked by two ORDERLIES standing behind him in the shadows.
On the table is the package and its contents. Alana has her
eyes down on the card. Jack glances at the package contents.

JACK CRAWFORD
Where's the other one?

CAMERA tilts down to the same gauze -- and the SINGLE LIP
lying there.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 25.

HANNIBAL
This one can provide you anything
the other one can.

Hannibal smiles, the cat who ate the canary, or the lip.

HANNIBAL (CONT’D)
I'm sorry, Jack. The tragedy of
what's happened to Frederick has
put me in an excellent humor.

Jack and Alana both stare a moment, then:

JACK CRAWFORD
Frederick Chilton disappeared
yesterday, under armed escort.

HANNIBAL
You pretended to burn Freddie
Lounds in a wheelchair to flush me
out. What were you pretending to
do with Frederick Chilton?

JACK CRAWFORD
He profiled the Dragon. For
Freddie Lounds.
ALANA BLOOM
We wanted to enrage him.

HANNIBAL
(re: the lip)
Congratulations.
(then)
You could've provided anything Dr.
Chilton could. That would've been
your lip I was tasting. Again.
ALANA BLOOM
You publicly discredited Dr.
Chilton. By refuting him, you
orchestrated his end by proxy.
HANNIBAL
You orchestrated his end, Alana.
You saw the hole and let him roll
right into it. That's professional
discourtesy.

OFF Alana reeling from that clean, effective blow... PRE-LAP --

growing sounds: a WHOOSHING ROAR. A RUSTY SQUEAL of wheels
turning. OFF the wheels CRUNCHING on asphalt...
HARD CUT TO:
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 26.

EXT. HOTEL - NIGHT

The O.S. sounds grow louder...

CAMERA tilts down to the sloping street. A tranquil winter

night interrupted by --

A SHIFTING, FLUTTERING ORANGE LIGHT

Coming fast down the street. The beacon is seen to be flames

engulfing a wheelchair and its occupant -- Chilton.

The rolling conflagration and its victim roar past CAMERA,

headed directly toward --

THE CITY FOUNTAIN

At the street's junction. The burning wheelchair smashes

into its concrete side, flipping it and its occupant onto the
solid ice-topped surface of the fountain pool. Steam
feathers up until --

C-CRACK... SPLASH!

Chilton and chair break through the surface and plunge into
the water beneath.

The flames -- and Chilton's screams -- end instantly in a

billowing cloud of white.

END OF ACT THREE

HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 27.

ACT FOUR
ON A RIBBON OF CELLULOID

Bearing tiny square holes running along the edges of its

length. 16-mm film.

ON A SPINNING SPROCKET WHEEL

Feeding the film.

Blinding light blasts through a projector lens.

Behind it, the celluloid ratchets past as the lamp hits it.

CLOSE ON the curved glass of the lens as an image is

reflected in it --

Frederick Chilton secured to the wheelchair.

CUT TO:
EXTREME CLOSE-UPS:

Chilton's bandaged face as liquid cascades over it. His

coughs and gags, his eyes scrunched tightly shut, tell us it
is gasoline.

The fuel drips from the wooden wheelchair's arms. Its wheels.

CLOSE ON the flare of a match combusting, coming to life.

EVEN CLOSER ON Chilton's terrified eye reflecting the

pinprick flame -- and what it portends. His hands struggle
against the chair. Glue and skin tear, but not enough.

ON THE PROJECTOR LENS expelling images, relentless and

unfeeling. Its motors and sprockets whirring, building in
volume until:

The gasoline's vapors ignite, a sudden blue -- followed by

the liquid itself, quickly becoming orange.

AND ROILING FLAMES ENGULF THE ENTIRE FRAME.

CUT TO:
A SCREEN

And on it, Chilton appears glued to the wheelchair. We are --

INT. BAU - JACK CRAWFORD'S OFFICE - DAY

Lit by the changing images on the screen, Will, Jack and

Alana silently watch the film unrolling.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 28.

ON SCREEN

Chilton in Dolarhyde's house, secured to the wheelchair,

facing camera. Behind him, a projector screen is silently
playing footage Dolarhyde filmed of Molly and WALTER at
Will's cabin.

Will stares, but says nothing. Chilton is frightened as he

speaks, taking pains to stick to the Dragon's script:

DR. CHILTON
(on screen)
I have had a great privilege. I
have seen with wonder and awe the
strength of the Great Red Dragon.
I lied about Him. All that was
said was lies from Will Graham. He
made me say them. I have
blasphemed against the Dragon.
Even so, the Dragon is merciful.
He knows you made me lie, Will
Graham. Because I was forced to
lie, He will be more merciful to me
than to you, Will Graham.

Chilton pauses and then continues. The group watches in

horrified silence.

Will's pulse pounds in his ears. He glances at Jack and

Alana -- both, for a brief horrifying moment, have mirror
shards in their bleeding eyes. A blink, and they're normal.
DR. CHILTON (CONT’D)
Reach behind you, Will Graham, and
feel for the small knobs on the top
of your pelvis. Feel your spine
between them; that is the precise
spot where the Dragon will snap
your spine. There's much for you
to dread. From my own lips, you'll
learn a little more to dread.

The video image clips as the camera is paused, and then

starts recording again. Dolarhyde's muscular back, with the
Great Red Dragon emblazoned across it, looms INTO FRAME and
Chilton begins screaming horribly.
ALANA BLOOM
Turn it off, Jack.

Alana looks away. Will slides down the wall to his haunches,
head down. Over this, we hear:
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 29.

DR. CHILTON (V.O.)

No... 'o, 'ou 'romised... 'ou
'romised.

Chilton's voice descends into wet, racking, agonized sobs.

ALANA BLOOM
Turn it off.

The monitor clicks off, leaving them in dark silence. Alana

is just as unsettled as Will is. More so.

Bright flashes begin to ignite in the room as Will

hyperventilates. He puts his head between his knees until
the bright spots stop dancing in front of his eyes.

He sits up and we --
MATCH CUT TO:
WILL GRAHAM

He opens his mouth and breathes deep. We are --

INT. BEDELIA'S HOME OFFICE - DAY

Will sits across from Bedelia, a long period of silence

between them. Finally:
WILL GRAHAM
Damn if I'll feel.

She stares at him with buried accusations.

BEDELIA DU MAURIER
Would you like to talk about what
happened to Frederick Chilton?

WILL GRAHAM
The divine punishment of the sinner
mirrors the sin being punished.

BEDELIA DU MAURIER
Contrapasso. If you play, you pay.

WILL GRAHAM
Chilton languished unrecognized
until Hannibal the Cannibal. He
wanted the world to know his face.

BEDELIA DU MAURIER
Now he doesn't have one.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 30.

WILL GRAHAM
Only for radio.

BEDELIA DU MAURIER
We're all making our way through
the Inferno. Dante's pilgrims.

WILL GRAHAM
We're pets, not pilgrims. And the
Great Red Dragon kills pets first.

BEDELIA DU MAURIER
You put a hand on Dr. Chilton's
shoulder for the picture.
(then)
Touch gives the world an emotional
context. The touch of others makes
us who we are. It builds trust.

WILL GRAHAM
I put my hand on his shoulder for
authenticity.

BEDELIA DU MAURIER
To establish he really told you
those insults about the Dragon? Or
had you wanted to put Dr. Chilton
at risk? Just a little?
WILL GRAHAM
I wonder.
BEDELIA DU MAURIER
Do you really have to wonder?

WILL GRAHAM
No.
BEDELIA DU MAURIER
Did you know what the Great Red
Dragon would do? You were curious
what would happen, that's apparent.
(off his look)
Is this what you expected?

WILL GRAHAM
I can't say I'm surprised.

BEDELIA DU MAURIER
Then you may as well have struck
the match. That's participation.
(studies him, then)
Hannibal Lecter does indeed have
agency in the world. He has you.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 31.

OFF Will taking that in...

CUT TO:
CLOSE ON A BURNING MATCH HEAD

Held in Dolarhyde's fingertips, but here the flame ebbs

before going out. Smoke winds up from its charred, shrunken
head, but at its core, there's an almost-imperceptible glow.
CLOSE ON A BODY HOIST

Dr. Chilton's burnt body, mostly obscured, rests in the

cradle. A gentle WHIR and the hoist is lowered.

UNDERWATER

A black-and-red burnt body is lowered into the bath.

We are --

INT. BURN CENTER - ICU - NIGHT

Chilton lies in a hydrotherapy tank, still obscured, his

bright red burns a livid indictment of what was done to him.
A NURSE MANAGER is close by, operating the hoist.

CAMERA PULLS BACK, through the curtains, to find Will Graham

and Jack Crawford just outside, standing vigil.
JACK CRAWFORD
He did Chilton like it looked like
you did Freddie Lounds. Hannibal
said he would. In his own way.

WILL GRAHAM
Hannibal told him to.

JACK CRAWFORD
Chilton's trashed. You ought to be
ready for that.

Will nods.
JACK CRAWFORD (CONT’D)
You okay?
WILL GRAHAM
I'm okay. I had the SWAT team.

JACK CRAWFORD
Chilton said your name in the E.R.
when they brought him in.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 32.

CAMERA PUSHES IN ON WILL as he absorbs that, taking a breath.

ON THE CURTAINS

They part as Will approaches the bath, Jack following. Will

steadies his reaction when he sees the extent of the damage.
Chilton is covered in third-degree burns, his lips torn from
his mouth, teeth hanging in the wreckage of his face.

WILL GRAHAM
Frederick, it's Will Graham.

Chilton opens what's left of his eyelids to blindly search

the room. He finds the faces hovering over him.

WILL GRAHAM (CONT’D)

I'm sorry this happened to you.

His eyes lock on Will's. His jaw moves. Angry words wheeze
out as he floats in the bath:

DR. CHILTON
Tooth Hairy.
WILL GRAHAM
Did you see where he took you?
DR. CHILTON
You set ne uh. You knew it.

Ms and Ps are lost in his lipless mouth, but he continues,

his reedy voice growing louder:

DR. CHILTON (CONT'D)

You set ne uh. Tut your hand on ne
in the ticture, like a tet.
JACK CRAWFORD
You understand what he's saying?

WILL GRAHAM
He said, "You set me up. You knew
it. You set me up. Put your hand
on me in the picture, like a pet."
(then, to Chilton)
Did you see anything?

An agonizing moment for Chilton as he responds, every

movement and word bringing agony:

DR. CHILTON
A 'lack woman... she was 'lind...
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 33.

Despite his ruined mouth, the surrogate B is expelled with

enough breath so that it's intelligible.

WILL GRAHAM
"A black woman. She's blind."

JACK CRAWFORD
Reba. The Dragon said her name
when he called Lecter.

THE MOON

Waxing past full. Move down to find --

REBA McCLANE

Walking with precise, measured steps. Thinking, her mind

burdened with what transpired with Dolarhyde. She is --

EXT. REBA MCCLANE'S HOUSE - NIGHT

-- walking toward her front door, tapping with her cane.

As she goes up the front steps, she takes her keys from her
pocket. She puts the key in the lock. Then:

A SHADOW

Moves over her, so slight it could be a cloud crossing the

moon -- and lost to Reba. She starts to open the door...

Then she pauses again at an O.S. sound. Yes, she definitely

heard something. And now we --

CUT TO BLACK.

END OF ACT FOUR

HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 34.

ACT FIVE
CLOSE ON REBA'S FACE

Her eyes fluttering open. Fear entering them as she realizes

she's gagged.
And a vehicle's engine is RUMBLING low. She is --
INT. DOLARHYDE'S VAN - THE REAR - NIGHT

Lying on her side. Her arms are bound together from elbows
to wrists with soft strips of cloth. Her legs are tied the
same way from knees to ankles. A gag across her mouth.

She tries weakly to rise, but she's groggy and retches

against the gag. She sinks down again, her head toward the
front of the van.
REBA'S POV
UNFOCUSED SHAPES in the front of the van.
Dolarhyde can hear her retching.
FRANCIS DOLARHYDE (O.S.)
It won't be long now.

She hears the van turn. They are on gravel now, rocks
PINGING under the floorboard. The van finally stops. The
van rocks as Dolarhyde gets out, the side door sliding open.
CUT TO:
CLOSE ON REBA'S FACE

A mask of tension as she is carried in Dolarhyde's arms,

still bound and gagged.
REBA MCCLANE
D, please. What are you--
FRANCIS DOLARHYDE
SHH. SHHHHHH.

Scared, she goes silent. But her face turns slightly, trying to
process every tiny sound, to take in as much info as she can.
Dolarhyde's FOOTSTEPS on grass. Birds CHIRPING. We are --
EXT. DOLARHYDE'S HOUSE - NIGHT
As he carries her like a bride up the front steps and into:
INT. DOLARHYDE'S HOUSE - LIVING ROOM - NIGHT
In dreamy SLO-MO, he carries her in. She hears his FOOTFALLS.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 35.

On the wood floor. Then softer... on the rug.

Dolarhyde carries her farther. Reba hears TICKING...

CLOSE ON THE CLOCK

CAMERA PUSHES IN as it TICK-TICK-TICKs.

INT. DOLARHYDE'S HOUSE - GRANDMOTHER'S BEDROOM - NIGHT

Dolarhyde enters, carrying Reba, passing a dozen bouquets in

the room. Her nostrils flare as she smells flowers.

STAY CLOSE ON REBA as Dolarhyde carries her in and lays her

on the bed. She tries to sit up. He holds her down with a
powerful hand. Reba tries to talk into the gag, but stops.

FRANCIS DOLARHYDE
If I untie you and let you sit up,
will you be good?

She twists her head toward his voice and nods. She feels the
touch of steel on her arms and flinches, but he's only
cutting her bonds. Slowly, she sits up.

REBA MCCLANE
I didn't know you cared this much
about me. I'm glad you feel that
way, but you scared me with this.
(off his silence)
I never hurt you. I never wanted
to. Let's just be friends and have
a good time and forget about this--

FRANCIS DOLARHYDE
Shut up. I'll tell you something.
The most important thing you'll
ever hear. Sermon-on-the-Mount
important. Ten Commandments
important. Got it?

REBA MCCLANE
Yes, D. I--
FRANCIS DOLARHYDE
Shut up. Reba, some remarkable
events have happened in Chicago and
Buffalo. Do you know what I'm
talking about?
(she shakes her head "no")
It's been on the news a lot. Two
groups of people were changed.
Leeds. And Jacobi. The police
think they were murdered.
(MORE)
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 36.

FRANCIS DOLARHYDE (CONT'D)

(then)
Do you know now?

She starts to shake her head, then slowly nods.

FRANCIS DOLARHYDE (CONT’D)
Do you know what they call the
Being that visited those people?

Almost at once, quietly, repelled, she replies:

REBA MCCLANE
The Tooth--
Dolarhyde grips her face with a hand and whispers, pleading:

FRANCIS DOLARHYDE
Think carefully and answer correctly.

Reba searches her memory for the second name -- the proper
name -- sensing her next minute of life rides on the answer.
REBA MCCLANE
It's Dragon something. Dragon...
Red Dragon.
Dolarhyde is close to her. She feels his breath on her face.
FRANCIS DOLARHYDE
I AM THE DRAGON.
Reba recoils, terrified; then Dolarhyde speaks in his own voice:
FRANCIS DOLARHYDE (CONT’D)
The Dragon wants you, Reba. He
always has... but I didn't want to
give you to Him.
REBA MCCLANE
Please. Please don't let him have
me. You won't, please don't, I'm
for you. Keep me with you. You
like me, I know you do.
Francis is torn.
FRANCIS DOLARHYDE
I haven't made up my mind yet, maybe
I can't help giving you to Him. I
will see if you do as I tell you.
Will you? Can I depend on you?

REBA MCCLANE
I'll try. I will try.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 37.

FRANCIS DOLARHYDE
Get up. Stand by the bed.
(she does)
You know where you are in the room?
(she nods)
Know where you are in the house?
(she nods)
Then you know where the front door
is, don't you?
(she nods)
Reba, feel on my chest. Bring your
hands up slowly.

She slowly brings her hands up, moving them toward his face
with the intent to gouge out his eyes and flee. His thumb
and fingers touch lightly on each side of her windpipe.

FRANCIS DOLARHYDE (CONT’D)

Don't do what you're thinking, or
I'll squeeze. Just feel on my
chest. Just at my throat. Feel
the key on the chain? Take it off
over my head. Careful.

Reba lifts off the key so that it's in her grasp.

FRANCIS DOLARHYDE (CONT’D)

Now I'm going to see if I can trust
you. Go close the front door and
lock it and bring me back the key.
Go ahead. I'll wait right here.
(then)
Don't try to run. I can catch you.

CAMERA follows Reba as she slowly moves toward the doorway,

hitting a table on the way out.

ON THE VASES OF FLOWERS

Jostles. Water inside SLOSHING. Reba hears it, stands still

as the water settles. She continues...
INT. DOLARHYDE'S HOUSE - LIVING ROOM - NIGHT

CLOSE ON REBA as she haltingly edges toward the doorway.

Finding her way by sound -- the TICKING grandfather clock --
she walks forward. To the --

INT. DOLARHYDE'S HOUSE - FOYER - NIGHT

Reba approaches the inner doors, slightly ajar, feeling for the
doorknobs. She hesitates, key in hand, puts it in the lock.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 38.

And then... she swings the doors open... and runs directly into
Francis Dolarhyde. He's waiting just inside the outer doors.
She tentatively steps back into the house and he follows.

FRANCIS DOLARHYDE
Take the key out of the door, Reba.
Now lock it and put the key around
my neck. Hang it around my neck.
(she does)
Good. Let's be sure it's locked.

He rattles the doorknob -- it's secure.

FRANCIS DOLARHYDE (CONT’D)

That's good. Now go back to the
bedroom. You know the way.
HARD CUT TO:
CLOSE ON GASOLINE CANS

They are set down on the floor. The air around the nozzles
ripples from the gas fumes.

CLOSE ON REBA'S NOSE

She smells the gas.

FRANCIS DOLARHYDE (O.S.)
Sit in this chair.

We are --

INT. DOLARHYDE'S HOUSE - GRANDMOTHER'S BEDROOM - NIGHT

Reba sits down in the chair next to the bed, exhausted and
defeated. Dolarhyde looms over her.

FRANCIS DOLARHYDE (CONT’D)

Sit still or I can't keep Him
off you.
REBA MCCLANE
Please try.
FRANCIS DOLARHYDE
Put out your hand. Feel this.
Don't grab it, feel it.

Reba reluctantly holds out her hand. She is holding the

barrel of a SHOTGUN. The tip of the gun comes to rest in the
hollow of Reba's throat. She stops breathing.
HANNIBAL Ep. #312 "...the Beast Is 666" FINAL DRAFT 04/08/15 39.

FRANCIS DOLARHYDE (CONT’D)

That's a shotgun, Reba. Do you
know what it will do?
(she nods)
Take your hand down. Reba, I wish
I could have trusted you. I wanted
to trust you. You felt so good.

Tears are rolling down Dolarhyde's cheeks. Francis begins

throwing streams of gasoline around the room, away from Reba.
REBA MCCLANE
So did you, D. I love it. Please
don't hurt me now.
FRANCIS DOLARHYDE
It's all over for me. I can't
leave you to Him. You know what
He'll do. He'll bite you. Better
you go with me.
CLOSE ON A MATCH
It's struck and tossed.
ON REBA

She smells the sulfur of the match and then a WHOOSH. Heat
in the room as the curtains begin to burn, the floor aflame.
FRANCIS DOLARHYDE (CONT’D)
Oh, Reba, I can't stand to watch
you burn.
BLAM! The shotgun roars and Reba is hit by blood and gray
matter. CAMERA PULLS BACK through the remains of a head,
nothing much left above the jaw as it falls OUT OF FRAME.
OFF Reba in shock as the room burns around her...
CUT TO BLACK.

END OF EPISODE