Silence of the lambs

Genres: Thriller, Crime, Drama, Horror

Overview Silence of the Lambs follows FBI trainee Clarice Starling as she is assigned to interview the dangerous serial killer Dr. Hannibal Lecter. As Clarice delves deeper into the case, she forms a complex relationship with Lecter and uncovers the twisted motives of another killer, Buffalo Bill. The story culminates in a high-stakes confrontation where Clarice must rely on her skills and strength to save a victim and bring the killers to justice.

Theme The central themes of Silence of the Lambs include psychological manipulation, gender dynamics, isolation and confinement, power and control, and violence and its consequences.

Characters The main characters in Silence of the Lambs include Clarice Starling, a determined and resourceful FBI trainee; Jack Crawford, a seasoned FBI agent and Clarice's mentor; Dr. Hannibal Lecter, a brilliant and manipulative psychiatrist; Senator Ruth Martin, a powerful politician; Catherine Martin, a captive victim of Buffalo Bill; and Buffalo Bill, a sadistic and disturbed serial killer.

Conflict The main conflict in Silence of the Lambs revolves around Clarice's pursuit of the serial killer Buffalo Bill and her complex relationship with Dr. Lecter. As Clarice investigates the case, she must navigate the psychological manipulation of Lecter and the dangerous world of the killers. The conflict evolves as Clarice uncovers the twisted motives of Buffalo Bill and races against time to save a victim.

Story Telling Silence of the Lambs employs a suspenseful and psychological storytelling approach, focusing on the intense interactions between the characters and the exploration of their motivations and psychological dynamics. The use of dialogue and character development drives the narrative forward, creating tension and intrigue.

Tone and Style The overall tone of Silence of the Lambs is tense, unsettling, and psychological. The script combines elements of crime, horror, and thriller genres to create a unique and gripping narrative. The style is characterized by its attention to detail, complex character dynamics, and exploration of dark and disturbing themes.

Setting The story is primarily set in various locations, including an FBI training academy, an asylum for the criminally insane, and the lair of the serial killer. The settings play a crucial role in establishing the atmosphere and adding to the suspense and danger of the story.

Audience Silence of the Lambs is intended for mature audiences who enjoy psychological thrillers and crime dramas. It appeals to those who appreciate complex characters, suspenseful storytelling, and thought-provoking themes.



Note: The ratings are the averages over each scene.
The Percentile is against the screenplays in our library.
Title
Grade
Percentile
Overall8.9  100
Concept 7.9  65
Plot 8.9  100
Characters 8.8  96
Dialogue 7.9 66
Emotional Impact 8.1 87
Conflict Level 8.6 85
At least one Character Changes in the scene 7.2 92
Story Moves Forward 8.8 97
High Stakes 9.3 94
Internal Goal Score 8.0 48
External Goal Score 7.2 35
Originality Score 6.4 38
Engagement Score 8.3 23
Pacing Score 8.5 68
Formatting Score 9.0 63
Structure Score 8.6 78



Genres: Thriller, Crime, Drama, Horror



Summary In the movie, FBI trainee Clarice Starling impresses her instructor and fellow trainees with her skills during a training exercise. She is then chosen to interview the infamous serial killer, Dr. Hannibal Lecter. Clarice meets with Dr. Lecter multiple times, where he challenges her and provides valuable information about the killer they are pursuing, Buffalo Bill. Clarice continues her investigation, uncovering clues and connecting the dots. However, she faces setbacks and is taken off the case by her superiors. Determined to catch Buffalo Bill and save his captive, Catherine Martin, Clarice defies orders and continues her pursuit. As the movie progresses, the tension builds, leading to a climactic confrontation between Clarice and Buffalo Bill in his dark and sinister cellar. Will Clarice be able to save Catherine and apprehend the killer?


Screenplay Story Analysis

Story Critique The plot/story of the screenplay is engaging and suspenseful, with a strong focus on the relationship between Clarice and Dr. Lecter. The scenes involving their interactions are particularly tense and captivating. The character arcs of Clarice and Dr. Lecter are well-developed, with Clarice's determination and resourcefulness contrasting with Dr. Lecter's manipulative and enigmatic nature. The dialogue is sharp and effectively conveys the psychological dynamics between the characters. The visual elements, such as the barred cell and the drawings on the walls, add to the unsettling atmosphere of the story. However, there are some scenes that feel repetitive and could benefit from tighter pacing. Additionally, the scene involving the storage unit lacks conflict and could be further developed to increase tension. Overall, the story is compelling and well-executed, but could benefit from some refinements.

Suggestions: To improve the story, consider tightening the pacing in certain scenes to maintain a consistent level of tension throughout. Additionally, explore ways to heighten the conflict in the storage unit scene, perhaps by introducing a new obstacle or increasing the stakes. Consider further exploring the character arcs of secondary characters, such as Crawford and Chilton, to add depth and complexity to the overall narrative. Finally, ensure that each scene serves a clear purpose in advancing the plot and developing the characters, eliminating any unnecessary repetition.

Note: This is the overall critique. For scene by scene critique click here



Summary of Scene Level Analysis

Scene Strengths
  • Intense action sequence
  • Strong characterization
  • Effective use of suspense
  • Strong setup of the main conflict, well-developed characters, effective dialogue
  • Strong emotional impact, character development, and insight into Clarice's past
Scene Weaknesses
  • Limited character development
  • Some dialogue feels cliché
  • Limited emotional impact
  • Lack of significant character change
  • Limited screen time for other characters
Suggestions
  • Focus on further developing the supporting characters, giving them more screen time and depth
  • Revise the dialogue to make it more impactful and memorable, avoiding clichés
  • Strengthen the emotional impact of key scenes, exploring the characters' internal struggles more deeply
  • Create more significant character changes throughout the screenplay to increase the dramatic tension
  • Add more visual action and dynamic scenes to balance the dialogue-heavy moments

Note: This is the synthesis. See scene by scene analysis here


How scenes compare to the Scripts in our Library

Note: The ratings are the averages of all the scenes.
Title
Grade
Percentile Before After
Plot 8.9  99 The usual suspects: 8.8 Silence of the lambs: 8.9
Overall 8.9  99 Everything Everywhere All at Once: 8.8 Silence of the lambs: 8.9
Story Forward 8.8  95 Squid Game: 8.7 Silence of the lambs: 8.8
Characters 8.8  95 Community: 8.7 Casablanca: 8.8
High Stakes 9.3  93 Die hard: 9.2 Silence of the lambs: 9.3
Character Changes 7.2  91 The sweet hereafter: 7.1 The whale: 7.2
Emotional Impact 8.1  86 The Shawshank Redemption: 8.0 the boys (TV): 8.1
Conflict Level 8.6  85 Birdman: 8.5 Silence of the lambs: 8.6
Structure 8.55  76 Narcos: 8.54 Silence of the lambs: 8.55
Pacing 8.48  66 Breaking Bad: 8.47 Silence of the lambs: 8.48
Dialogue 7.9  63 Amadeus: 7.8 heathers : 7.9
Concept 7.9  61 The usual suspects: 7.8 Titanic: 7.9
Formatting 9.00  48 Killers of the flower moon: 8.96 Severance: 9.00
Internal Goal 7.95  45 Birdman: 7.94 Silence of the lambs: 7.95
Originality 6.39  36 Narcos: 6.38 Silence of the lambs: 6.39
External Goal 7.23  34 What we do in the shadows: 7.18 Silence of the lambs: 7.23
Engagement 8.30  21 Breaking bad, episode 306: 8.29 Silence of the lambs: 8.30



See the full analysis by clicking the title.

1 Hotel Raid Tense, Suspenseful, Action-packed 9 8 96 8 689989878 78999
2 Meeting with Crawford Tense, Mysterious, Serious 9 8 97 9 687889977 88899
3 Meeting Dr. Lecter Suspenseful, Intense, Dark 9 8 97 9 7879810978 88899
4 Meeting Dr. Lecter Suspenseful, Intense, Dark 9 8 99 10 7879910988 99998
5 Clarice's Emotional Flashback Tense, Emotional, Reflective 9 8 76 9 887677779 78899
6 Investigating Lecter Tense, Suspenseful, Serious 9 8 96 9 787979968 97898
7 Investigating the Storage Unit Suspenseful, Intense, Mysterious 8 7 86 7 587686776 69998
8 The Disturbing Discovery Suspenseful, Eerie, Alarming 9 8 96 8 787989879 78999
9 Negotiation in the Shadows Tense, Mysterious, Intense 9 8 96 10 7879810978 109998
10 The Abduction Tense, Suspenseful, Shocking 9 8 95 8 778899979 79898
11 Investigation and Revelation Tense, Moody, Distracted, Moved, Embarrassed 9 8 95 9 787879967 87898
12 Revelations Tense, Serious 8 7 86 9 787888976 68999
13 Investigation at the Funeral Home Tense, Unsettling, Grim 8 7 86 9 687879867 87899
14 Investigating the Body Suspenseful, Intense, Grim 9 8 96 8 687788977 88999
15 Investigating the Killer Tense, Suspenseful, Dark 9 8 96 9 7879710968 87898
16 Investigating a New Lead Suspenseful, Intense, Dramatic 9 8 95 8 789979968 77998
17 Investigating the Moth Suspenseful, Mysterious, Intense 9 8 96 8 687768977 78899
18 Investigating Leads Tense, Suspenseful, Serious 8 7 85 9 687879977 99898
19 Negotiating with Dr. Lecter Suspenseful, Intense, Dark 9 8 99 10 7899810998 910998
20 Revelations in the Cellar Tense, Eerie, Suspenseful 9 8 98 9 887989988 89999
21 Negotiating with the Devil Tense, Suspenseful, Intense 9 8 99 10 88798101089 99898
22 Negotiating with Lecter Tense, Suspenseful, Intense 9 8 96 9 8879910978 109898
23 Negotiating with Lecter Tense, Suspenseful, Serious 9 8 96 9 7879710978 88899
24 Negotiating with the Devil Suspenseful, Intense, Disturbing 9 8 96 9 887979979 88899
25 Desperate Escape Tense, Desperate, Suspenseful 9 8 96 8 78798108710 78899
26 Confrontation and Consequences Suspenseful, Intense, Dramatic 9 8 96 8 787999978 79898
27 Clarice confronts Dr. Lecter Suspenseful, Intense, Mysterious 9 8 99 10 8879910988 99898
28 The Lambs Are Screaming Tense, Emotional, Suspenseful 9 8 99 10 9878799810 99899
29 Desperate Measures Suspenseful, Intense, Serious 9 8 96 9 887979968 87998
30 Confrontation and Escape Suspenseful, Intense, Dark 9 8 96 9 887109101089 89999
31 Escape from the Courthouse Suspenseful, Intense, Horror 9 8 96 9 8899810978 89998
32 Escape from the Courthouse Suspenseful, Intense, Dramatic 9 8 96 9 8879810978 89999
33 Escape from the Cell Tense, Suspenseful, Dark 9 8 95 9 8879710968 87899
34 Uncovering the Pattern Tense, Suspenseful, Desperate 9 8 96 8 787889978 78999
35 Desperate Negotiations Tense, Dramatic, Intense 9 8 96 9 8879910979 88899
36 Escape from the Cellar Tense, Suspenseful, Dark 9 8 97 9 7879810889 89999
37 Uncovering the Pattern Suspenseful, Intense, Dark 9 8 95 8 7879910968 77898
38 The Hunt Continues Tense, Suspenseful, Determined 9 8 96 8 787879967 78899
39 The Hunt for Buffalo Bill Tense, Suspenseful, Dark 9 8 94 8 7769810968 77998
40 Confrontation in the Cellar Tense, Suspenseful, Dark 9 8 97 9 7879810978 88899
41 Confrontation in the Cellar Tense, Suspenseful, Fearful 9 8 99 9 7879810988 89999
42 Confrontation in the Cellar Tense, Suspenseful, Dark 9 8 96 9 7879810978 89999
43 Confrontation in the Cellar Tense, Suspenseful, Intense 9 8 96 9 889999979 810998
44 Confrontation in the Cellar Suspenseful, Intense, Menacing 9 8 97 9 8879810989 109998


Scene 1 - Hotel Raid
THE SILENCE OF THE LAMBS

by

Ted Tally


Based on the novel by

Thomas Harris




This screenplay has been converted to a PDF file by ScreenTalk™
http://www.screentalk.org
FADE IN:

INT. GRUBBY HOTEL CORRIDOR - DAY (DIMLY LIT)

A woman's face BACKS INTO SHOT, her head resting against
grimy wallpaper. She is tense, sweaty, wide-eyed with
concentration. This is CLARICE STARLING, mid-20's, trim,
very pretty. She wears Kevlar body armor over a navy
windbreaker, khaki pants. Her thick hair is piled under a
navy baseball cap. A revolver, clutched in her right hand,
hovers by her ear. She raises a speedloader, in her left
hand, locks it into her cylinder, twists and reloads.

CLOSE ON

A guest room door, with a small, wired pack attached to
its knob. Suddenly, wish a sharp CRACK!, the knob
explodes, and the door bursts open.

WITH CLARICE - MOVING SHOT

as she runs around a corner, through a cloud of smoke. She
shoulders aside the shattered door and rushes inside, gun
at the ready in both hands...

CUT TO:

INT. HOTEL ROOM - DAY

CLARICE'S POV - MOVING - as she first sees, sitting on the
edge of a bed - a FEMALE HOSTAGE. Black, late 20's,
gagged, hands behind her back. Then, SWIVELLING... she
sees a startled MALE SUSPECT, white, mid-20's, standing by
a window with a rifle in his hands. He is turning towards
her...

Clarice drops into a combat crouch, gun extended, and
shouts.

CLARICE
Freeze! FBI!

CLARICE'S POV - SLOW MOTION

all natural SOUND suspended - as the Suspect faces her
with a strange, pleading expression. The rifle is rising
in his hands, but oddly enough, it is held across his
chest, not pointing. Then another puzzling detail
registers...

THE SUSPECT'S HANDS

are taped to his gun, away from the trigger; he couldn't
use it even if he tried. Suddenly we hear a metallic
CLICK, which registers with unnatural amplification, as -
2.


Clarice reacts, drops to the floor, rolling sideways, and -

THE "HOSTAGE"

pulls a revolver out from behind her back, still in SLOW
MOTION, raising it in her untied hands. She fires
repeatedly, flames leaping from the muzzle; the SOUND is
an echoing roar in these close quarters, but -

Clarice has come up on one knee, beside an armchair, and
is already firing back herself, two quick SHOTS, which
send -

THE "HOSTAGE"

pitching over the bed, backwards, to shudder and lie still
in a haze of gunsmoke. Clarice rushes to her, clamping one
knee down on her gun hand, still keeping her covered in
case of movement. HOLD for a few beats... then we hear the
shrill blast of a WHISTLE from somewhere, off screen, as
normal ACTION and SOUND are restored.

BRIGHAM (O.S.)
Okay, people, good exercise...

Clarice relaxes, lowering her gun. The lights brighten.

PULLING BACK

we see that we're in some sort of auditorium, with the
"hotel room" and its "corridor" built as a training set.
JOHN BRIGHAM walks onto this set, thumbing a stopwatch.
Mid-40's, ex-Marine. His T-shirt's lettering says
"Firearms Instructor / FBI Academy."

BRIGHAM
Starling's reaction time was
excellent. Let's break. Critique in
five.

A class of about forty young FBI trainees, of both sexes,
begins to rise from their seats, mingling and chatting.

Clarice nods amiably to the "Suspect", then gives her
"Hostage" a hand up. It's ARDELIA MAPP, her roommate. Her
broad, clever face breaks into a big smile, as they both
remove ear plugs. Clarice's voice has just a soft trace of
southern accent.

ARDELIA
Damn, Clarice, how'd you make me?
3.


CLARICE
(indicating her gun)
Never cock. Just squeeze.

ARDELIA
(grins)
I love it when you talk dirty.

As Brigham joins them, Clarice can't resist a star pupil's
little smile of pride. He frowns good-naturedly.

BRIGHAM
What're you laughin' at, Junior G-Man?
She got off four rounds to your two.

He takes out a steel-coiled grip flexer, drops it onto her
palm.

BRIGHAM
(continuing)
One hundred reps, each hand, every
day. Now tidy up, the Section Chief
wants to see you.

He nods a direction, then moves off. Clarice, with her
smile finally fading, looks out into the auditorium.

SPECIAL AGENT JACK CRAWFORD

sits on the top step of the aisle, looking down at her. He
is 53, strongly built. He rises impassively, exits through
the back door. He carries a think manila envelope under
one arm.

Ardelia who is helping Clarice unbuckle her bullet-proof
vest, follows her worried gaze.

CLARICE
What'd I do?

ARDELIA
Stay cool. Just remember to call him
"God."

CUT TO:
Genres: ["Thriller","Crime","Drama"]

Summary FBI trainee Clarice Starling participates in a training exercise where she successfully rescues a hostage and neutralizes a suspect. Her quick reaction time and sharp shooting skills impress her instructor and fellow trainees. After the exercise, Clarice is approached by Special Agent Jack Crawford, who informs her that the Section Chief wants to see her. Clarice is unsure of what she did wrong but is advised to stay calm and respectful when meeting the Section Chief.
Strengths
  • Intense action sequence
  • Strong characterization
  • Effective use of suspense
Weaknesses
  • Limited character development
  • Some dialogue feels cliché

Ratings
Overall

Overall: 9

The scene is well-executed and engaging, showcasing Clarice's skills and setting up her future interactions with Special Agent Jack Crawford. The tension and suspense are effectively conveyed, and the action sequence is thrilling. The scene also introduces the theme of Clarice's determination and competence as an FBI trainee.


Story Content

Concept: 8

The concept of a training exercise that simulates a real-life hostage situation is intriguing and provides an opportunity to showcase the protagonist's abilities. It also sets up the contrast between Clarice's skills and the male suspect's lack of control over his weapon.

Plot: 9

The plot of the scene revolves around Clarice successfully rescuing a hostage and neutralizing a suspect during a training exercise. This showcases her abilities and establishes her as a capable and determined protagonist. The scene also hints at a future meeting with the Section Chief, creating anticipation for what comes next.

Originality: 6

The level of originality in this scene is moderate. While it follows the expected format and structure for its genre, the specific details and actions of the characters are unique to this story. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters in the scene, particularly Clarice Starling and Special Agent Jack Crawford, are well-defined and intriguing. Clarice's quick thinking and sharp shooting skills make her a compelling protagonist, while Special Agent Jack Crawford's mysterious demeanor adds depth to the scene. The interaction between Clarice and her roommate Ardelia Mapp also provides some lighthearted moments.

Character Changes: 6

While there is not a significant character change in this scene, it establishes Clarice as a capable and determined protagonist. Her successful rescue of the hostage showcases her skills and sets up her character arc.

Internal Goal: 8

The protagonist's internal goal in this scene is to demonstrate her skills and abilities as an FBI agent. This reflects her deeper need for validation and recognition in her profession.

External Goal: 9

The protagonist's external goal in this scene is to successfully complete a training exercise and impress her instructors. This reflects the immediate challenge of proving herself as a capable agent.


Scene Elements

Conflict Level: 9

The scene is filled with conflict, both physical and emotional. Clarice faces the conflict of rescuing the hostage and neutralizing the suspect, while also dealing with the pressure of impressing her instructor and meeting the Section Chief. The conflict adds tension and keeps the audience engaged.

Opposition: 8

The opposition in this scene is strong, as the protagonist faces a suspect with a rifle and a hostage with a hidden revolver. The audience is unsure of how the protagonist will overcome these obstacles.

High Stakes: 9

The stakes are high in the scene as Clarice must rescue a hostage and neutralize a suspect. Her actions have consequences, and the intense situation adds urgency to the scene.

Story Forward: 8

The scene moves the story forward by establishing Clarice's abilities and her upcoming meeting with the Section Chief. It sets up future conflicts and challenges for the protagonist.

Unpredictability: 7

This scene is unpredictable because it introduces unexpected elements, such as the taped hands of the suspect and the revolver of the hostage. The audience is unsure of how the situation will unfold.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 8

The scene elicits a strong emotional response from the audience due to the intense action and suspense. The audience feels the adrenaline and tension alongside Clarice as she navigates the dangerous situation.

Dialogue: 7

The dialogue in the scene is concise and serves the purpose of advancing the plot and establishing character dynamics. There are some humorous exchanges between Clarice and Ardelia, adding a touch of levity to the intense situation.

Engagement: 8

This scene is engaging because it starts with a tense situation, involves action and suspense, and showcases the protagonist's skills and abilities.

Pacing: 9

The pacing of this scene is effective in creating tension and maintaining the audience's interest. The action is fast-paced and the dialogue is concise.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, action lines, and dialogue in the correct format.

Structure: 9

The structure of this scene follows the expected format for its genre. It begins with a description of the setting, introduces the protagonist, and progresses through a series of actions and dialogue.


Critique null
Suggestions null



Scene 2 - Meeting with Crawford
EXT. FBI ACADEMY GROUNDS, QUANTICO, VIRGINIA - DAY

Crawford is watching a group of trainees on the firing
range, as Clarice joins him. He looks tired, haunted.
Between master and student, we sense a subtle, muted tug
of sexuality.
4.


CRAWFORD
Starling, Clarice M., good morning.

CLARICE
Good morning, Mr. Crawford.

CRAWFORD
Your instructors tell me you're doing
well. Top quarter of the class.

CLARICE
I hope so. They haven't posted
anything.

CRAWFORD
A job's come up and I thought about
you. Not really a job, more of - an
interesting errand. Walk me to my car,
Starling.

They begin to cross the academy grounds. A group of
trainees jogs by, in matching sweats, following a p.e.
coach.

CRAWFORD
(continuing)
We're trying to interview all of the
serial killers now in custody, for a
psychobehavioral profile. Could be a
big help in unsolved cases. Most of
them have been happy to talk to us.
They have a compulsion to boast, these
people... Do you spook easily,
Starling?

CLARICE
Not yet.

CRAWFORD
You see, the one we want most refuses
to cooperate. I want you to go after
him again today, in the asylum.

CLARICE
Who's the subject?

CRAWFORD
The psychiatrist - Dr. Hannibal Lecter.

Clarice stops walking, goes very still. A beat.

CLARICE
The cannibal...
5.


Crawford doesn't respond, except to study her face.

CLARICE
(continuing)
Yes, well... Okay, right. I'm glad for
the chance, sir, but - why me?

CRAWFORD
You're qualified and available. And
frankly, I can't spare a real agent
right now.

He walks on again, at a faster clip. She hurried to keep
up.

CRAWFORD
(continuing)
I don't expect him to talk to you, but
I have to be able to say we tried...
Lecter was a brilliant psychiatrist,
and he knows all the dodges.
(hands her the manila
envelope)
Dossier on him, copy of our
questionnaire, special ID for you...
If he won't talk, then I want straight
reporting. How's he look, how's his
cell look, what's he writing? The
Director himself will see your report,
over your own signature - if I decide
it's good enough. I want that by 0800
Wednesday, and keep this to yourself.

They're reached his car. His driver stamps on a cigarette,
climbs in behind the wheel. BURROUGHS, his assistant, says
something into a walkie-talkie, then opens the back door.
But Crawford pulls her aside, a hand on her shoulder. His
intensity is scary.

CRAWFORD
(continuing)
Now. I want your full attention,
Starling. Are you listening to me?

CLARICE
Yes sir.

CRAWFORD
Be very careful with Hannibal Lecter.
Dr. Chilton at the asylum will go over
the physical procedures used with him.
(more)
6.


CRAWFORD (cont'd)
Do not deviate from them, for any
reason. You tell him nothing personal,
Starling. Believe me, you don't want
Hannibal Lecter inside your head...
Just do your job, but never forget
what he is.

CLARICE
(a bit unnerved)
And what is that, sir?

CHILTON (V.O.)
Oh, he's a monster. A pure
psychopath...

CUT TO:

INT. CHILTON'S OFFICE - BALTIMORE STATE HOSPITAL FOR THE
CRIMINALLY INSANE - DAY

CLOSE ON an ID card held in a male hand. Clarice's photo,
official-looking graphics. It calls her a "Federal
Investigator."

CHILTON (O.S.)
It's so rare to capture one alive.
From a research point of view, Dr.
Lecter is our most prized asset...

DR. FREDERICK CHILTON looks up from her card. A smarmy
little peacock, behind a vast desk; he's conceived an
instant, hopeless letch for Clarice. He smiles, stroking
her card with his beloved gold pen.

CHILTON
You know, we get a lot of detectives
here, but I must say, I can't ever
remember one so attractive...

NEW ANGLE - REVEALS CLARICE

now wearing a more feminine skirt suit. Hair neatly
coiled, elegant shoulder bag, briefcase. He has rudely
left her standing.

CHILTON
Will you be in Baltimore overnight...?
Because this can be quite a fun town,
if you have the right guide.

Clarice tires, unsuccessfully, to hide her distaste for
him.
7.


CLARICE
I'm sure it's a great town, Dr.
Chilton, but my instructions are to
talk to Lecter and report back this
afternoon.

CHILTON
(pause, sourly)
I see.
(beat)
Let's make this quick, then. I'm busy.

CUT TO:
Genres: ["Crime","Thriller"]

Summary FBI trainee Clarice Starling is approached by Special Agent Jack Crawford, who informs her that she has been chosen to interview the notorious serial killer Dr. Hannibal Lecter. Despite her initial shock, Clarice accepts the task and is given instructions on how to handle the interview. Meanwhile, Dr. Frederick Chilton, the psychiatrist at the asylum where Lecter is held, expresses his interest in Clarice and attempts to flirt with her.
Strengths "Strong setup of the main conflict, well-developed characters, effective dialogue"
Weaknesses "Lack of strong emotional impact, dialogue could be more memorable"

Ratings
Overall

Overall: 9

The scene effectively sets up the main conflict and establishes the tone of the film. The dialogue is well-written and the characters are intriguing. The scene could benefit from a stronger emotional impact and more memorable lines.


Story Content

Concept: 8

The concept of a young FBI trainee being tasked with interviewing a notorious serial killer is compelling and sets up a high-stakes situation. The scene effectively introduces this concept and creates intrigue.

Plot: 9

The plot of the scene revolves around Clarice being assigned to interview Hannibal Lecter. It moves the story forward and establishes the main conflict. The pacing is well-executed and keeps the audience engaged.

Originality: 7

The level of originality in this scene is moderate. While the concept of interviewing a serial killer for a psychobehavioral profile is not entirely unique, the specific dynamics between the characters and the protagonist's internal and external goals add freshness to the familiar situation. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


Character Development

Characters: 9

The characters in the scene, particularly Clarice and Crawford, are well-developed and intriguing. Their interactions create tension and establish their motivations. Dr. Chilton adds an element of creepiness and serves as a potential antagonist.

Character Changes: 6

There is not much character change in this scene, but it sets up the potential for growth and development for Clarice as she navigates her assignment and interacts with dangerous individuals.

Internal Goal: 8

The protagonist's internal goal in this scene is to prove herself and excel in her training. This reflects her deeper need for validation, recognition, and advancement in her career.

External Goal: 7

The protagonist's external goal in this scene is to interview Dr. Hannibal Lecter, a serial killer, and gather information for a psychobehavioral profile. This goal reflects the immediate challenge of obtaining information from a difficult and non-cooperative subject.


Scene Elements

Conflict Level: 8

The conflict in the scene arises from Clarice being assigned to interview Hannibal Lecter, a dangerous and unpredictable individual. The tension between Clarice and Crawford adds to the conflict.

Opposition: 8

The opposition in this scene is strong as the protagonist is faced with the challenge of interviewing a non-cooperative and dangerous serial killer. The audience doesn't know how the interaction will go and there is a sense of uncertainty and tension.

High Stakes: 9

The stakes are high in the scene as Clarice is tasked with interviewing a dangerous serial killer. The potential consequences of her actions and the danger she faces create tension and suspense.

Story Forward: 9

The scene moves the story forward by introducing the main conflict and setting up Clarice's assignment. It establishes the stakes and creates intrigue for the audience.

Unpredictability: 7

This scene is unpredictable because it presents the protagonist with a challenging and unexpected task of interviewing a dangerous serial killer. The audience doesn't know how the interaction will go and what obstacles the protagonist will face.

Philosophical Conflict: 6

There is a philosophical conflict evident in this scene between the protagonist's belief in her abilities and the challenge of dealing with a dangerous and manipulative individual like Dr. Lecter. This conflict challenges her values and worldview by forcing her to confront her own limitations and fears.


Audience Engagement

Emotional Impact: 7

The scene lacks a strong emotional impact, but there is a sense of unease and tension throughout. Clarice's initial shock at being assigned to interview Lecter and her interaction with Dr. Chilton evoke some emotional response.

Dialogue: 8

The dialogue in the scene is well-written and effectively conveys information about the characters and the plot. It could benefit from more memorable lines or moments of wit.

Engagement: 8

This scene is engaging because it introduces a compelling conflict, establishes the protagonist's goals, and creates tension through the dialogue and the interaction between the characters.

Pacing: 8

The pacing of the scene contributes to its effectiveness by gradually building tension and maintaining the audience's interest through concise and impactful dialogue.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, dialogue, and action lines in a clear and organized manner.

Structure: 9

The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters, presents the protagonist's goals, and sets up the conflict and tension.


Critique
  • The scene could benefit from more visual description to help the reader better imagine the settings and characters.
  • The subtle, muted tug of sexuality between Crawford and Clarice feels unnecessary and distracting from the main plot.
  • The dialogue could be more concise and impactful, with less exposition and more character-driven moments.
  • Dr. Chilton's character could be more fully developed to make his interest in Clarice more believable and less creepy.
  • The emotional tone of the scene could be heightened with more attention to the characters' body language and nonverbal cues.
Suggestions
  • Consider adding more visual description to help the reader better imagine the settings and characters.
  • Remove the unnecessary subplot of sexuality between Crawford and Clarice to keep the focus on the main plot.
  • Revise the dialogue to be more concise and impactful, with less exposition and more character-driven moments.
  • Develop Dr. Chilton's character more fully to make his interest in Clarice more believable and less creepy.
  • Pay more attention to the characters' body language and nonverbal cues to heighten the emotional tone of the scene.



Scene 3 - Meeting Dr. Lecter
INT. ASYLUM CORRIDOR - UPPER FLOOR - DAY

Clarice flinches as a heavy steel gate CLANGS shut behind
her, the bolt shooting home. Chilton walks ahead of her.

CHILTON
Lecter carved up nine people - that
we're sure of - and cooked his
favorite bits. We've tried to study
him, of course - but he's much too
sophisticated for the standard tests.
And my, does he hate us! Thinks I'm
his nemesis... Crawford's very clever,
isn't he? Using you.

CLARICE
How do you mean, Dr. Chilton?

CHILTON
A pretty young woman, to turn him on?
I don't believe Lecter's ever seen a
woman in eight years. And oh, are you
ever his "taste" - so to speak.

CLARICE
I graduated magna from UVA, Doctor.
It's not a charm school.

CHILTON
Good. Then you should be able to
remember the rules.

CUT TO:

INT. DIFFERENT CORRIDOR - LOWER FLOOR - DAY

A darker, even grimmer area. Heavy grids over the lights.
Distant SLAMMINGS and faint, hoarse SHOUTS. They walk
briskly.
8.


CHILTON
Do not reach through the bars, do not
touch the bars. You pass him nothing
but soft paper - no pens or pencils.
No staples or paperclips in his paper.
Use the sliding food carrier, no
exceptions. Do not accept anything he
attempts to hold out to you. Do you
understand me?

CLARICE
I understand.

CHILTON
I'm going to show you why we insist on
such precautions... On the afternoon
of July 8, 1981, he complained of
chest pains and was taken to the
dispensary. His mouthpiece and
restraints were removed for an EKG.
When the nurse bent over him, he did
this to her...

He hands Clarice a small, dog-eared photo. Looking at it,
she is stopped in her tracks. This pleases Chilton.

CHILTON
(continuing)
The doctors managed to re-set her jaw,
more or less, and save one of her
eyes. His pulse never got over eighty-
five, even when he ate her tongue.
(pauses, he smiles)
I keep him in here.

He turns, pushes a button. A steel door BUZZES slowly
open, and BARNEY - a big, impassive orderly - awaits them
in an anteroom. On its walls: restraints, mouthpieces,
Mace, tranquilizer guns.

CLARICE
(quickly blocking him)
Dr. Chilton - if Lecter feels you're
his enemy - as you've said - them
maybe I'll have more luck by myself.
What do you think?

CHILTON
(annoyed)
You might have suggested that in my
office, and saved me the time.
9.


CLARICE
But then I would've missed the
pleasure of your company.

She holds out the photo. A beat. He grabs it, jaw
twitching.

CHILTON
When she's finished, bring her out.

He turns on his heel, goes. Barney smiles reassuringly.

BARNEY
Hi, I'm Barney. He told you, don't get
near the bars?

CLARICE
(shaking his hand)
Clarice Starling. Yes, he did.

BARNEY
Okay. Past the others, it's the last
cell. Stay to the middle. I put out a
chair for you.

Sensing her tension, he indicates a nearby security
monitor.

BARNEY
(continuing)
I'm watching. You'll do fine.

Clarice nods gratefully. She looks down the long corridor,
takes a deep breath, walks into it. He watches her go.

CUT TO:
Genres: ["Thriller","Crime","Drama"]

Summary FBI trainee Clarice Starling is taken to the asylum to meet the notorious serial killer Dr. Hannibal Lecter. Dr. Chilton, the psychiatrist at the asylum, warns Clarice about Lecter's dangerous nature and provides her with instructions on how to handle the interview. Clarice expresses her confidence and suggests that she might have better luck interviewing Lecter alone. She is then led to the cell by Barney, an orderly who reassures her. The scene ends with Clarice walking down a long corridor towards Lecter's cell.
Strengths "The scene effectively builds suspense, introduces compelling characters, and sets up the central conflict of the story."
Weaknesses "There are no significant weaknesses in this scene."

Ratings
Overall

Overall: 9

The scene is highly effective in building suspense and introducing the central conflict of the story. The dialogue is sharp and engaging, and the setting adds to the overall tension.


Story Content

Concept: 8

The concept of a young FBI trainee being tasked with interviewing a dangerous serial killer is intriguing and sets up a compelling premise for the story.

Plot: 9

The plot is well-developed in this scene as it establishes the mission for Clarice and introduces the main antagonist, Dr. Lecter.

Originality: 7

The level of originality in this scene is moderate. While the setting of an asylum and the presence of a manipulative antagonist are familiar elements in the thriller genre, the specific dynamics between the characters and the ethical dilemmas they face add a fresh approach to the scene. The authenticity of the characters' actions and dialogue contributes to the originality of the scene.


Character Development

Characters: 9

The characters are well-defined and their interactions create tension and intrigue. Clarice's determination and Dr. Chilton's manipulative nature are particularly compelling.

Character Changes: 7

While there is not a significant character change in this scene, it sets up the potential for character growth and development for Clarice as she faces the challenges ahead.

Internal Goal: 8

The protagonist's internal goal in this scene is to prove herself capable and competent in dealing with the dangerous and sophisticated Hannibal Lecter. This reflects her deeper need for validation, her fear of failure, and her desire to succeed in her career as an FBI agent.

External Goal: 7

The protagonist's external goal in this scene is to navigate the asylum and establish a professional relationship with Dr. Chilton. This goal reflects the immediate circumstances and challenges she is facing, such as gaining access to Hannibal Lecter and gathering information for her investigation.


Scene Elements

Conflict Level: 9

The conflict between Clarice and Dr. Chilton, as well as the impending meeting with Dr. Lecter, creates a high level of tension and suspense.

Opposition: 8

The opposition in this scene is strong, as the protagonist faces manipulation and power struggles from Dr. Chilton. The audience is unsure of how the protagonist will navigate these obstacles and whether she will be able to achieve her goals.

High Stakes: 10

The stakes are high as Clarice is tasked with interviewing a dangerous serial killer and must navigate the treacherous environment of the asylum.

Story Forward: 9

The scene moves the story forward by introducing the central conflict and setting up the mission for the protagonist.

Unpredictability: 7

This scene is unpredictable because it introduces a manipulative antagonist and presents ethical dilemmas for the protagonist. The audience is unsure of how the protagonist will navigate the situation and whether she will be successful in her goals.

Philosophical Conflict: 6

There is a philosophical conflict evident in this scene between Dr. Chilton and Clarice. Dr. Chilton sees Clarice as a means to manipulate and control Hannibal Lecter, while Clarice sees herself as an independent and capable agent who can handle the situation on her own. This conflict challenges Clarice's beliefs about her own abilities and the ethics of using someone as bait.


Audience Engagement

Emotional Impact: 8

The scene evokes a sense of unease and anticipation, which resonates with the audience and creates an emotional impact.

Dialogue: 8

The dialogue is sharp and reveals important information about the characters and their motivations. It effectively conveys the tense atmosphere of the scene.

Engagement: 8

This scene is engaging because it introduces a high-stakes situation and establishes the power dynamics between the characters. The sharp dialogue and tense atmosphere create a sense of anticipation and intrigue, keeping the audience invested in the outcome.

Pacing: 8

The pacing of the scene contributes to its effectiveness by gradually building tension and maintaining a sense of urgency. The concise and evocative narrative description, as well as the sharp dialogue, create a rhythm that keeps the scene engaging and propels the story forward.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, dialogue, and action lines in a clear and organized manner. The formatting enhances the readability and flow of the scene.

Structure: 9

The structure of this scene follows the expected format for its genre. It begins with an establishing shot and introduces the characters and their goals through dialogue. The scene then transitions to a different corridor, maintaining a clear progression of events. The structure effectively builds tension and sets up future conflicts.


Critique
  • The scene could benefit from more visual descriptions to create a more vivid setting for the audience.
  • The dialogue between Chilton and Clarice feels a bit on-the-nose and could be more subtle.
  • The inappropriate comments made by Chilton towards Clarice could be toned down to avoid coming across as gratuitous.
  • The conflict between Chilton and Clarice could be heightened to create more tension in the scene.
  • The emotional tone of the scene could be more consistent throughout.
  • The scene could benefit from more character development for Clarice and Chilton.
  • The ending of the scene feels abrupt and could be better developed.
Suggestions
  • Add more visual descriptions to create a more immersive setting for the audience.
  • Rewrite the dialogue between Chilton and Clarice to be more subtle and nuanced.
  • Tone down the inappropriate comments made by Chilton towards Clarice to avoid coming across as gratuitous.
  • Heighten the conflict between Chilton and Clarice to create more tension in the scene.
  • Ensure the emotional tone of the scene is consistent throughout.
  • Develop the characters of Clarice and Chilton more fully to make them more compelling.
  • Develop the ending of the scene to make it more satisfying and less abrupt.



Scene 4 - Meeting Dr. Lecter
INT. DR. LECTER'S CORRIDOR - DAY

MOVING SHOT - with Clarice, as her footsteps ECHO. High to
her right, surveillance cameras. On her left, cells. Some
are padded, with narrow observation slits, others are
normal, barred... Shadowy occupants pacing, MUTTERING...
Suddenly a dark figure in the next-to-last cell hurtles
towards her, his face mashing grotesquely against his bars
as he hisses.

DARK FIGURE
I c-can sssmell your cunt!

Clarice flinches momentarily, but then walks on.
10.


DR. LECTER'S CELL

is coming slowly INTO VIEW... Behind its barred front wall
is a second barrier of stout nylon net... Sparse, bolted-
down furniture, many softcover books and papers. On the
walls, extraordinarily detailed, skillful drawings, mostly
European cityscapes, in charcoal or crayon.

Clarice stops, at a police distance from his bars, clears
her throat.

CLARICE
Dr. Lecter... My name is Clarice
Starling. May I talk with you?

Dr. Hannibal Lecter is lounging on his bunk, in white
pajamas, reading an Italian Vogue. He turns, considers
her... A face so long out of the sun, it seems almost
leached - except for the glittering eyes, and the wet red
mouth. He rises smoothly, crossing to stand before her;
the gracious host. His voice is cultured, soft.

DR. LECTER
Good morning.

CUTTING BETWEEN THEM

as Clarice comes a measured distance closer.

CLARICE
Doctor, we have a hard problem in
psychological profiling. I want to ask
for your help with a questionnaire.

DR. LECTER
"We" being the Behavioral Science
Unit, at Quantico. You're one of Jack
Crawford's, I expect.

CLARICE
I am, yes.

DR. LECTER
May I see your credentials?

Clarice is surprised, but fishes her ID card from her bag,
holds it up for his inspection. He smiles, soothingly.

DR. LECTER
(continuing)
Closer, please... clo-ser...
11.


She complies each time, trying to hide her fear. Dr.
Lecter's nostrils lift, as he gently, like an animal,
tests the air. Then he smiles, glancing at her card.

DR. LECTER
(continuing)
That expires in one week. You're not
real FBI, are you?

CLARICE
I'm - still in training at the Academy.

DR. LECTER
Jack Crawford sent a trainee to me?

CLARICE
We're talking about psychology,
Doctor, not the Bureau. Can you decide
for yourself whether or not I'm
qualified?

DR. LECTER
Mmmmm... That's rather slippery of
you, Officer Starling. Sit. Please.

She sits in the folding metal desk-chair. He waits
politely till she's settled, then sits down himself, faces
her happily.

DR. LECTER
(continuing)
Now then. What did Miggs say to you?
(she is puzzled)
"Multiple Miggs," in the next cell. He
hissed at you. What did he say?

CLARICE
He said - "I can smell your cunt."

DR. LECTER
I see. I myself cannot. You use Evyan
skin cream, and sometimes you wear
L'Air du Temps, but not today. You
brought your best bag, though, didn't
you?

CLARICE
(beat)
Yes.

DR. LECTER
It's much better than your shoes.
12.


CLARICE
Maybe they'll catch up.

DR. LECTER
I have no doubt of it.

CLARICE
(shifting
uncomfortably)
Did you do those drawings, Doctor?

DR. LECTER
Yes. That's the Duomo, seen from the
Belvedere. Do you know Florence?

CLARICE
All that detail, just from memory...?

DR. LECTER
Memory, Officer Starling, is what I
have instead of view.

A pause, then Clarice takes the questionnaire from her
case.

CLARICE
Dr. Lecter, if you'd please consider -

DR. LECTER
No, no, no. You were doing fine, you'd
been courteous and receptive to
courtesy, you'd established trust with
the embarrassing truth about Miggs,
and now this ham-handed segue into
your questionnaire. It won't do. It's
stupid and boring.

CLARICE
I'm only asking you to look at this,
Doctor. Either you will or you won't.

DR. LECTER
Jack Crawford must be very busy indeed
if he's recruiting help from the
student body. Busy hunting that new
one, Buffalo Bill... Such a naughty
boy! Did Crawford send you to ask for
my advice on him?

CLARICE
No, I came because we need -
13.


DR. LECTER
How many women has he used, our Bill?

CLARICE
Five... so far.

DR. LECTER
All flayed...?

CLARICE
Partially, yes. But Doctor, that's an
active case, I'm not involved. If -

DR. LECTER
Do you know why he's called Buffalo
Bill? Tell me. The newspapers won't
say.

CLARICE
I'll tell you if you'll look at this
form.
(he considers, then
nods)
It started as a bad joke in Kansas
City Homicide. They said... this one
likes to skin his humps.

DR. LECTER
Witless and misleading. Why do you
think he takes their skins, Officer
Starling? Thrill me with your wisdom.

CLARICE
It excites him. Most serial killers
keep some sort of trophies.

DR. LECTER
I didn't.

CLARICE
No. You ate yours.

A tense beat, then a smile from him, at this small
boldness.

DR. LECTER
Send that through.

She rolls him the questionnaire, in his sliding food tray.
He rises, glances at it, turning a page or two
disdainfully.
14.


DR. LECTER
(continuing)
Oh, Officer Starling... do you think
you can dissect me with this blunt
little tool?

CLARICE
No. I only hoped that your knowledge -

Suddenly he whips the tray back at her, with a metallic
CLANG that makes her start. His voice remains a pleasant
purr.

DR. LECTER
You're sooo ambitious, aren't you...?
You know what you look like to me,
with your good bag and your cheap
shoes? You look like a rube. A well-
scrubbed, hustling rube with a little
taste... Good nutrition has given you
some length of bone, but you're not
more than one generation from poor
white trash, are you Officer
Starling...? That accent you're trying
so desperately to shed - pure West
Virginia. What was your father, dear?
Was he a coal miner? Did he stink of
the lamp...? And oh, how quickly the
boys found you! All those tedious,
sticky fumblings, in the back seats of
cars, while you could only dream of
getting out. Getting anywhere -yes?
Getting all the way - to the F...B...I.

His every word has struck her like a tiny, precise dart.
But she squares her jaw and won't give ground.

CLARICE
You see a lot, Dr. Lecter. But are you
strong enough to point that high-
powered perception at yourself? How
about it...? Look at yourself and
write down the truth.
(she slams the tray
back at him)
Or maybe you're afraid to.

DR. LECTER
You're a tough one, aren't you?

CLARICE
Reasonably so. Yes.
15.


DR. LECTER
And you'd hate to think you were
common. My, wouldn't that sting! Well
you're far from common, Officer
Starling. All you have is the fear of
it.
(beat)
Now please excuse me. Good day.

CLARICE
And the questionnaire...?

DR. LECTER
A census taker once tried to test me.
I ate his liver with some fava beans
and a nice chianti... Fly back to
school, little Starling.

He steps backwards, then returns to his cot, becoming as
still and remote as a statue. Frustrated, Clarice
hesitates, then finally shoulders her bag and goes,
leaving the questionnaire in his tray. But after just a
few steps, as she passes -

MIGG'S CELL

She sees that creature at his bars again, hissing at her.

MIGGS
I b-bit my wrist so I c-can diiiieeee!
S-ee how it bleeeeeeeeds?

The dark figure suddenly flings his palm towards her, and -

CLARICE

is spattered on the face and neck - not with blood, but
with pale droplets of semen. She gives a little cry,
touching her fingers to the wetness. Stunned, near tears,
she forces herself to straighten up and walk on, fumbling
for a tissue. From behind her, Dr. Lecter calls out, very
agitated.

DR. LECTER (O.S.)
Officer Starling... Officer Starling!

Clarice slows, stops. She shudders, but makes the very
difficult choice to turn, walk back, stand again in front
of -
16.


DR. LECTER
Who's shivering with rage. For an
instant his face opens, and we catch
a glimpse into hell itself. Then he's
composed again.

DR. LECTER
(continuing)
I would not have had that happen to
you. Discourtesy is - unspeakably ugly
to me.

CLARICE
Then please - do this test for me.

DR. LECTER
No. But I will make you happy... I'll
give you a chance for what you love
most, Clarice Starling.

CLARICE
What's that, Dr. Lecter?

DR. LECTER
Advancement, of course.
(beat)
Go to Split City. See Miss Mofet, an
old patient of mine. M-O-F-E-T... Now
go. Go.
(a smile)
I don't think Miggs could manage again
so soon, even if he is crazy - do you?

CUT TO:
Genres: ["Thriller","Crime","Drama"]

Summary FBI trainee Clarice Starling is taken to the asylum to meet the notorious serial killer Dr. Hannibal Lecter. Despite warnings about his dangerous nature, Clarice expresses confidence and suggests interviewing Lecter alone. In their first meeting, Lecter tests Clarice's credentials and engages in a psychological game, challenging her to look at herself and write down the truth. The scene ends with Clarice leaving the questionnaire and encountering a disturbing incident with another inmate.
Strengths "The scene effectively builds tension and suspense, showcases strong dialogue and character dynamics, and sets up the central conflict."
Weaknesses "The scene could benefit from further exploration of Clarice's emotional state and internal struggle."

Ratings
Overall

Overall: 9

The scene is highly engaging and gripping, with strong dialogue and tension between the characters. It effectively sets up the central conflict and establishes the complex relationship between Clarice and Dr. Lecter.


Story Content

Concept: 8

The concept of a young FBI trainee interviewing a notorious serial killer adds intrigue and suspense to the scene. The psychological profiling aspect and the exploration of the characters' motivations and backgrounds enhance the depth of the concept.

Plot: 9

The plot of the scene revolves around Clarice's meeting with Dr. Lecter and their initial interaction. It effectively introduces the central conflict and sets up the trajectory of the story.

Originality: 9

The level of originality in this scene is high. The unique situation of a young FBI trainee seeking the help of a brilliant and dangerous serial killer creates a fresh approach to the crime thriller genre. The authenticity of the characters' actions and dialogue adds to the originality, as they are portrayed with depth and complexity.


Character Development

Characters: 10

The characters of Clarice Starling and Dr. Hannibal Lecter are well-developed and intriguing. Their contrasting personalities and the power dynamics between them create compelling tension and drive the scene.

Character Changes: 7

While there is not a significant character change in this particular scene, it sets the stage for potential character development and transformation for both Clarice and Dr. Lecter.

Internal Goal: 8

The protagonist's internal goal in this scene is to gain Dr. Lecter's cooperation and assistance with a psychological profiling problem. This reflects her deeper need for knowledge and expertise to solve the case and her fear of not being able to solve it without his help.

External Goal: 7

The protagonist's external goal in this scene is to get Dr. Lecter to answer a questionnaire and provide insights into a serial killer case. This goal reflects the immediate challenge of gathering information and evidence to catch the killer.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, both in terms of external danger (Dr. Lecter's dangerous nature) and internal tension (the psychological power play between Clarice and Dr. Lecter).

Opposition: 9

The opposition in this scene is strong, as Dr. Lecter challenges and manipulates Clarice, testing her resilience and determination. The audience is unsure of how she will respond and whether she will be able to overcome his psychological tactics.

High Stakes: 10

The stakes are extremely high in the scene, as Clarice is facing a dangerous and manipulative serial killer. The outcome of the interview and the potential information she can gather are crucial for the investigation.

Story Forward: 9

The scene moves the story forward by introducing the central conflict, establishing the relationship between Clarice and Dr. Lecter, and setting up the investigation into Buffalo Bill.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists and turns in the dialogue and the unpredictable behavior of Dr. Lecter. The audience is kept on edge, not knowing how the interaction between the characters will unfold.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the clash between Dr. Lecter's intelligence, manipulation, and sadistic nature, and Clarice's determination, professionalism, and resilience. This conflict challenges Clarice's beliefs, values, and worldview, as she is forced to confront her own fears and vulnerabilities while dealing with a dangerous and unpredictable individual.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including tension, fear, and defiance. The disturbing incident with the other inmate adds an additional layer of emotional impact.

Dialogue: 9

The dialogue in the scene is sharp, intense, and filled with subtext. It effectively conveys the psychological game being played between Clarice and Dr. Lecter, adding depth to their interaction.

Engagement: 9

This scene is engaging because it creates a sense of suspense, intrigue, and psychological tension. The interactions between the characters, the sharp dialogue, and the unpredictable nature of Dr. Lecter's responses keep the audience invested in the scene.

Pacing: 9

The pacing of the scene contributes to its effectiveness by gradually building tension and suspense. The rhythm of the dialogue and the pauses between the characters' lines create a sense of anticipation and keep the audience engaged.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes clear scene headings, character names, dialogue, and action descriptions. The formatting enhances the readability and flow of the scene.

Structure: 8

The structure of this scene follows the expected format for its genre. It introduces the setting, establishes the characters' goals and conflicts, and builds tension through dialogue and actions. The scene progresses logically and effectively.


Critique
  • The scene starts off with a shocking and unsettling moment when the dark figure in the cell hisses an inappropriate comment towards Clarice. This sets the tone for the tension and unease that permeates the rest of the scene.
  • The dialogue between Clarice and Lecter is engaging and reveals important information about both characters. However, there are moments where the dialogue feels a bit forced and unnatural, particularly when Lecter dismisses the questionnaire and makes inappropriate comments about Clarice's appearance.
  • The pacing of the scene could be improved. There are moments where the dialogue feels a bit stagnant and could benefit from more dynamic exchanges between the characters.
  • The ending of the scene, with Clarice being harassed by another inmate and Lecter calling out to her, adds an additional layer of tension and leaves the audience wanting to know what will happen next.
  • The visual elements, such as the barred cell and the drawings on the walls, help to create a claustrophobic and eerie atmosphere that enhances the overall tone of the scene.
Suggestions
  • Consider revising the dialogue to make it feel more natural and less forced. Focus on creating more dynamic exchanges between Clarice and Lecter that reveal their personalities and motivations.
  • Work on improving the pacing of the scene by adding more action or movement to keep the audience engaged.
  • Consider adding more visual descriptions to enhance the atmosphere and setting of the scene.
  • Explore ways to heighten the tension and conflict between Clarice and Lecter, perhaps by introducing more obstacles or challenges for Clarice to overcome.
  • Consider adding more subtext and layers to the dialogue to deepen the characters' motivations and relationships.



Scene 5 - Clarice's Emotional Flashback
EXT. THE HOSPITAL - PARKING LOT - DAY

The grim gothic pile of the asylum looms overhead as
Clarice rushes out the front doors. She is badly shaken,
almost stumbling, as she rubs at her face. She looks
around for, and finally, with some relief, spots -

HER CAR

an old Pinto, parked nearby. This image begins to BLUR...

CLOSE ON

her face, fighting tears, as the CAMERA begins to WHIRL
AROUND her, almost dizzily. She is seeing, in her mind's
eye -
17.


IN FLASHBACK

a screen door banging open, on a wooden porch, and a 10-
year old girl - the young Clarice - rushing outside, down
the front steps, and running joyfully across her front
yard to -

MOVING ANGLE - THE GIRL'S POV

a car - late 60's vintage - parked in the dirt road. A
MAN, Clarice's father, is just climbing out. He's tall,
handsome, and has a marshal's badge pinned on his dark
suit. He grins, seeing her, and spreads his arms wide as...

THE YOUNG CLARICE

rushes into them, and he sweeps her up in a hug, spinning
her around, the CAMERA SPINNING with them, and capturing
both their laughing faces, before we abruptly return to -

THE ADULT CLARICE

alone in the parking lot, sagging against her car. Her
face is buried in her arms, she shoulders shaking. SOUND
UPCUT - a steady, rapid series of GUNSHOTS, as we

CUT TO:

INT. FBI ACADEMY FIRING RANGE - DAY

Clarice, in a combat stance, and wearing a sound-muffling
headset, is squeezing off ROUND after ROUND at

A MOVING TARGET

The sillouette of a man, approaching along a track. Her
shots, tightly grouped, are all finding the center chest.
The target stops, quite close to her, still swaying.

Clarice stares at it, deftly working her speedloader. Then
she puts a final, emphatic shot right through THE FIGURE'S
FOREHEAD.

CUT TO:

INT. FBI ACADEMY LIBRARY - NIGHT

CLOSE ON a microfilm monitor - a grainy newsphoto of Dr.
Lecter, scrawling past, with an accompanying story ("New
Horrors in Cannibal Trial"), dated 1980.

Clarice is punching keys on the terminal. Other trainees
study at nearby tables.
18.


She pauses, jotting a note on her pad, as Ardelia comes
by, carrying an armful of books.

ARDELIA
Phone call, Clarice. It's God.

CLARICE
Thanks, Ardelia.

MOVING ANGLE

as Clarice rises, grabbing her notebook, and follows
Ardelia past high metal bookstacks.

ARDELIA
You missed Fourth Amendment law.
Unlawful seizure, real juicy stuff.
Where were you all afternoon?

CLARICE
Pleading with a crazy man, with come
all over my face.

Ardelia stares at her, figures it's a put-on, laughs.

ARDELIA
Damn. Wish I had time for a social
life.

Clarice grins, as Ardelia indicates a phone receiver
resting on the check-out desk, then moves on. Clarice
picks it up.

CLARICE
(on phone)
Mr. Crawford?

CUT TO:
Genres: ["Thriller","Drama"]

Summary After a training exercise and being chosen to interview Dr. Hannibal Lecter, Clarice is overwhelmed by emotions and has a flashback to a joyful childhood memory with her father. She then receives a phone call from Mr. Crawford.
Strengths "Strong emotional impact, character development, and insight into Clarice's past."
Weaknesses "Dialogue could be more impactful."

Ratings
Overall

Overall: 9

The scene effectively conveys Clarice's emotional state and establishes her personal connection to the case, creating a strong emotional impact on the audience.


Story Content

Concept: 8

The concept of exploring Clarice's past and her emotional vulnerability adds depth to her character and enhances the overall story.

Plot: 7

The plot progresses as Clarice is chosen to interview Dr. Lecter, setting up a crucial encounter that will drive the story forward.

Originality: 6

The level of originality in this scene is moderate. While the setting of a hospital parking lot and the protagonist's internal struggles are familiar elements, the use of flashback and the specific details of the protagonist's past experiences add a fresh approach to the scene. The authenticity of the characters' actions and dialogue contributes to the overall originality.


Character Development

Characters: 9

Clarice's character is further developed through her emotional flashback and her determination to face Dr. Lecter alone. Other characters, such as Mr. Crawford and Dr. Chilton, also contribute to the scene's dynamics.

Character Changes: 8

Clarice experiences a significant emotional change as she confronts her past and prepares to face Dr. Lecter, showing growth and determination.

Internal Goal: 8

The protagonist's internal goal in this scene is to cope with her emotional turmoil and trauma. It reflects her deeper need for healing and her fear of reliving past traumatic experiences.

External Goal: 7

The protagonist's external goal in this scene is to continue her training at the FBI Academy and gather information on Dr. Lecter. It reflects the immediate circumstances and challenges she is facing in her career as an FBI agent.


Scene Elements

Conflict Level: 6

The conflict is primarily internal, as Clarice battles her emotions and prepares to face Dr. Lecter. There is also a hint of external conflict with Dr. Chilton's flirtation.

Opposition: 7

The opposition in this scene is moderate. The protagonist faces internal opposition in the form of her emotional turmoil and trauma, as well as external opposition in her training at the FBI Academy and her pursuit of information on Dr. Lecter.

High Stakes: 7

The stakes are high as Clarice prepares to interview a notorious serial killer and faces her own emotional demons.

Story Forward: 7

The scene moves the story forward by establishing Clarice's emotional state and her upcoming interview with Dr. Lecter.

Unpredictability: 7

This scene is unpredictable because it transitions between different time periods and locations, keeping the reader engaged and curious about the protagonist's past experiences.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions in the audience through Clarice's vulnerability and the contrast between her past and present.

Dialogue: 7

The dialogue effectively conveys the necessary information and showcases the characters' personalities, but it could be more impactful.

Engagement: 8

This scene is engaging because it introduces the protagonist's internal struggles and sets up the central conflict of the story. The use of flashback adds intrigue and the emotional turmoil of the protagonist keeps the reader invested.

Pacing: 8

The pacing of the scene contributes to its effectiveness by alternating between moments of tension and emotional introspection. The use of flashback and the quick cuts between different locations create a dynamic rhythm.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes clear scene headings, action lines, and dialogue formatting.

Structure: 9

The structure of this scene follows the expected format for its genre. It effectively transitions between different locations and time periods, providing clear visual cues for the reader.


Critique
  • The scene could benefit from more action or movement to break up the dialogue-heavy nature of the scene.
  • The dialogue between Clarice and Lecter could be more dynamic and engaging. It feels somewhat stagnant and predictable.
  • The harassment from the other inmate at the end of the scene feels forced and unnecessary. It doesn't add much to the overall story or character development.
  • The visual elements of the scene could be more impactful. The barred cell and drawings on the walls are mentioned, but not really utilized to their full potential.
  • The emotional tone of the scene is effective, but could be heightened with more attention to the characters' body language and nonverbal cues.
Suggestions
  • Consider adding more physical action to the scene, such as Clarice pacing or Lecter moving around his cell.
  • Try to make the dialogue between Clarice and Lecter more unpredictable and engaging. Consider adding more subtext or hidden agendas to their conversation.
  • Consider removing the harassment from the other inmate at the end of the scene, or finding a way to make it more impactful to the story.
  • Utilize the visual elements of the scene more effectively, such as having Lecter interact with the drawings on the walls.
  • Pay more attention to the characters' body language and nonverbal cues to heighten the emotional tone of the scene.



Scene 6 - Investigating Lecter
INT. CRAWFORD'S HOUSE - STUDY - NIGHT

Crawford, in a cardigan, sits in a wing chair in the book-
lined study of his suburban home. He turns the pages of
Clarice's memo as they talk. His tone is sharp.

CRAWFORD
I've read your interim memo on Lecter.
You sure you've left nothing out?
19.


INTERCUTTING

CLARICE
It's all there, sir, practically
verbatim.

CRAWFORD
Every word, Starling? Every gesture?

CLARICE
(a bit heatedly)
Right down to the kleenex I used.
(he is silent)
Sir, why? Is something wrong?

CRAWFORD
He mentioned a name, at the very end.
"Mofet..." Any followup on her?

CLARICE
I spent all evening on the mainframe.
Lecter altered or destroyed most of
his patient histories, prior to
capture. No record of anyone named
Mofet. But "Split City" sounded like
it might have have something to do
with divorce. I tracked it down in the
library's catalogue of national yellow
pages.
(glancing at her
notes)
It's a mini-storage facility outside
Baltimore, where Lecter had his
practice.

She pauses, expecting some soft of approval for her
cleverness.

CRAWFORD
Well? Why aren't you there right now?

CLARICE
Sir, that's a field job. It's outside
the scope of my assignment. And I've
got a test tomorrow on -

CRAWFORD
Do you recall my instructions to you,
Starling? What were they?

CLARICE
To complete and file my report by 0800
Wednesday. But sir -
20.


CRAWFORD
Then do that, Starling. Do just
exactly that.

CLARICE
Sir, what is it? There's something
you're not telling me.

CRAWFORD
(beat)
Miggs has been murdered.

CLARICE
(startled, upset)
Murdered...? How?

CRAWFORD
The orderly heard Lecter whispering to
him, all afternoon, and Miggs crying.
They found him at bed check. He'd
swallowed his own tongue... Chilton is
scared stiff the family will file a
civil rights lawsuit, and he's trying
to blame it on you. I told the little
prick your conduct was flawless.
(beat)
Starling...?

CLARICE
I'm here, sir, I just - I don't know
how to feel about it.

CRAWFORD
You don't have to feel any way about
it. Lecter did it to amuse himself.
Why not, what can they do? Take away
his books for awhile, and no jello...
(a bit softer)
I know it got ugly today. But this is
your report, Starling - take it as far
as you can. On your own time, outside
of class. Now carry on.

ANGLE ON CLARICE

as we hear the loud CLICK of Crawford hanging up. She
stares at her receiver, stung by his abruptness.

CLARICE
Well God damn it! You old creep.
Creepo son of a bitch. Let Miggs
squirt you and see how you like it.
21.


She slams her receiver into its cradle.

ANGLE ON CRAWFORD

as he flips aside her memo, then rises, wearily. He leaves
his study, flicking off the lamp, and pads away in his
slippers.

CUT TO:

INT. CRAWFORD'S BEDROOM - NIGHT

A private nurse, in white, stands marking a clipboard
chart, as Crawford enters his tidy bedroom.

CRAWFORD
I'll take over, Patricia. You get some
rest.

The nurse nods, hands him the chart, and goes. He glances
at it, then sets it aside. He crosses to -

BELLA CRAWFORD

who lies in an elevated hospital bed. Nearby are an oxygen
tank and mask, floral arrangements. Her breathing is
shallow, very labored. Crawford looks down at his comatose
wife for a long moment, tenderly brushes a strand of her
hair back into place, then bends over to kiss her
forehead. SOUND UPCUT - THUNDER and RAIN...

DISSOLVE TO:

EXT. "SPLIT CITY MINI-STORAGE" - DUSK (RAINING)

An orange neon sign, streaked with rain, identifies out
location. It looms over a hurricane fence, topped with
barbed wire. Inside, row on row of garage-sized,
cinderblock sheds.

MR. YOW (V.O.)
Unit 31 was leased for ten years. Pre-
paid in full... The contract is in the
name of "Miss Hester Mofet."

CUT TO:
Genres: ["Crime","Thriller"]

Summary FBI trainee Clarice Starling discusses her report on Dr. Hannibal Lecter with Special Agent Jack Crawford. They mention a name, 'Mofet,' and Clarice reveals her findings about a mini-storage facility outside Baltimore. Crawford instructs her to focus on completing her report and reveals that another inmate, Miggs, has been murdered. Clarice is shocked and conflicted about the situation. The scene ends with Crawford hanging up and Clarice expressing her frustration.
Strengths "The scene effectively builds tension and suspense, reveals important information, and showcases strong character development."
Weaknesses "There are no significant weaknesses in this scene."

Ratings
Overall

Overall: 9

The scene effectively builds tension and suspense, while also revealing important information about the case and the characters involved. The dialogue is sharp and engaging, and the emotional impact is significant.


Story Content

Concept: 8

The concept of interviewing a notorious serial killer and the investigation surrounding him is intriguing and keeps the audience engaged.

Plot: 9

The plot progresses as Clarice uncovers new information about Dr. Lecter and faces challenges in her investigation. The murder of Miggs adds a new layer of conflict and raises the stakes.

Originality: 6

The level of originality in this scene is moderate. While there are no unique situations or fresh approaches to familiar ones, the authenticity of the characters' actions and dialogue adds a sense of realism to the scene.


Character Development

Characters: 9

The characters, particularly Clarice and Crawford, are well-developed and their motivations and emotions are effectively portrayed. Their interactions drive the scene and add depth to the story.

Character Changes: 7

While there is not a significant character change in this scene, it further develops Clarice's determination and emotional conflict.

Internal Goal: 8

The protagonist's internal goal in this scene is to understand the situation and gather information about Lecter and the mention of the name 'Mofet'. This reflects Clarice's desire to excel in her assignment and prove herself to her superiors.

External Goal: 7

The protagonist's external goal in this scene is to complete and file her report by 0800 Wednesday. This reflects the immediate circumstances and challenges she's facing in her assignment.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, with tensions between Clarice and Crawford, the murder of Miggs, and the dangerous nature of Dr. Lecter. The stakes are raised and the scene keeps the audience engaged.

Opposition: 7

The opposition in this scene is strong as Crawford challenges Clarice to go beyond her assignment and pursue the lead on her own. The audience is unsure of how Clarice will respond to this opposition.

High Stakes: 9

The stakes are high in this scene, with the murder of Miggs and the dangerous nature of Dr. Lecter. The characters' reputations and safety are at risk.

Story Forward: 9

The scene moves the story forward by revealing new information about the case and the characters' motivations. It raises the stakes and adds complexity to the investigation.

Unpredictability: 6

This scene is somewhat unpredictable because it introduces the murder of Miggs, which was unexpected. However, the overall direction of the scene is still within the expected narrative arc.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 8

The scene evokes strong emotions, particularly Clarice's shock and frustration. The audience is invested in the characters and their struggles.

Dialogue: 9

The dialogue is sharp, realistic, and reveals important information about the case and the characters' relationships. It effectively conveys tension and conflict.

Engagement: 7

This scene is engaging because it reveals important information about the case and raises questions about Lecter's involvement. The dialogue between the characters is sharp and the tension between them adds to the engagement.

Pacing: 8

The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm and building tension through the dialogue exchanges between the characters.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes proper scene headings, character names, and dialogue formatting.

Structure: 8

The structure of this scene follows the expected format for its genre. It includes clear scene headings, intercutting, and dialogue exchanges between characters.


Critique
  • The scene starts off with a clear objective - Clarice visiting Dr. Lecter to gather information. However, the dialogue between them feels a bit repetitive and could benefit from more depth and nuance.
  • The tension between Clarice and Lecter is established well, but it would be helpful to have more specific actions or gestures that contribute to the tension.
  • Lecter's dismissive and provocative behavior towards Clarice is effective in creating conflict, but it could be further developed to add more layers to their dynamic.
  • The scene ends abruptly with Clarice leaving the questionnaire and being harassed by another inmate. It would be beneficial to have a stronger resolution or a clearer sense of what the outcome of this interaction means for the characters.
  • The visual elements of the barred cell and the drawings on the walls help create a claustrophobic and unsettling atmosphere, but more attention could be given to the visual details to enhance the overall impact of the scene.
Suggestions
  • Consider adding more specific actions or gestures that contribute to the tension between Clarice and Lecter. This could include body language, facial expressions, or small movements that reveal their underlying emotions.
  • Explore ways to deepen the conflict between Clarice and Lecter. This could involve delving into their respective motivations and desires, and finding ways to challenge and provoke each other.
  • Provide a clearer resolution or outcome for the scene. This could involve showing the impact of Clarice's interaction with Lecter on her character development or the progression of the overall story.
  • Pay attention to the visual details of the scene to enhance the atmosphere. This could include describing the specific drawings on the walls or using visual cues to highlight the claustrophobic nature of the cell.



Scene 7 - Investigating the Storage Unit
EXT. STORAGE UNIT NUMBER 31 - DUSK

Clarice, kneeling before a closed, roll-up metal door,
takes a FLASH photo of its sealed padlock. EVERETT YOW, a
fat, 60ish Chinaman, holds an umbrella over them both. He
looks unhappy.
22.


CLARICE
So no one's been in here since - 1980?

She opens the padlock, using a fat ring of tagged keys,
then sets aside both keys and lock.

MR. YOW
Not to my knowledge. Privacy is a
great concern to my customers. But, if
you say this is an FBI matter...

CLARICE
I won't disturb anything, Mr. Yow, I
promise. Be gone before you know it.

Slinging her camera over a shoulder, she tugs at the
handle, but the door won't budge. Another tug, harder - no
good. Mr. Yow stoops to help, puffing hard, but it's
firmly stuck. He sighs.

MR. YOW
We could return tomorrow, with my son.
Or perhaps some workmen...?

Clarice crosses to her Pinto, which faces the shed,
reaches in to turn on her headlights. Mr. Yow blinks in
the sudden brightness. Then she opens her truck, rummaging
inside, and returns with a bumper jack, a flashlight, and
a rubber floor mat.

CLARICE
Would you hold these, please?

She gives him her flashlight and camera, drops the mat on
the ground, then sets the bumper jack in place, under the
center of the door. She pumps on the jack handle as the
door SQUEALS slowly up, but it won't go higher than about
18 inches, despite all her exertions. She spreads out the
rubber mat on the cement, takes the flashlight from Mr.
Yow, then lies on the mat.

CUT TO:

INT. THE STORAGE SHED - DUSK (VERY DARK)

Clarice, backlit, peers under the door. She reaches in,
makes a sweep with her flashlight. We catch shadowy
outlines - boxes, then the flattened tires of a car...
SOUND of rain on the tin roof, and other noises, too -
small RUSTLINGS. Mr. Yow's chubby face appears down beside
Clarice's.
23.


MR. YOW
It smells like mice... I think I hear
them, too - don't you?

Clarice turns onto her back, starts squirming under the
door.

MR. YOW
(continuing)
You're going in there?

CUT BACK TO:

EXT. STORAGE UNIT NUMBER 31 - DUSK

Clarice pulls her head back out again, reaching to take
her camera from him. She hands him a card, trying to
appear nonchalant.

CLARICE
Mr. Yow, if this door should fall
down -ha ha! - or anything else -
would you be kind enough to call this
number? It's our Baltimore field
office. They know you're here with
me... Do you understand?

MR. YOW
Might I suggest tucking your pants
into your socks? To prevent mouse
intrusion.

CLARICE
(beat)
Good idea.

CUT BACK TO:
Genres: ["Crime","Thriller"]

Summary FBI trainee Clarice Starling visits a storage unit to gather evidence related to the case. She enlists the help of Mr. Yow, the owner, to open the door. Clarice explores the dark shed, encountering various items and hearing unsettling noises. She leaves her contact information with Mr. Yow and prepares to enter the shed again.
Strengths "Building suspense, showcasing Clarice's determination, introducing a mysterious setting"
Weaknesses "Limited character development, dialogue could be more impactful"

Ratings
Overall

Overall: 8

The scene effectively builds suspense and maintains a sense of mystery. It also highlights Clarice's character traits and her commitment to solving the case.


Story Content

Concept: 7

The concept of investigating a storage unit adds intrigue to the story and provides an opportunity for suspenseful moments.

Plot: 8

The plot progresses as Clarice takes steps to gather evidence and explore the storage unit. The scene adds depth to the overall story.

Originality: 6

The level of originality in this scene is moderate. While the situation of investigating a storage unit is not entirely unique, the specific actions and dialogue of the characters add authenticity and freshness to the scene.


Character Development

Characters: 7

Clarice's character is further developed as she demonstrates her determination and resourcefulness. Mr. Yow's brief appearance adds a touch of mystery.

Character Changes: 5

There is minimal character change in this scene, as it primarily focuses on Clarice's investigative skills.

Internal Goal: 8

Clarice's internal goal in this scene is to uncover any evidence or clues that may be inside the storage unit. This reflects her deeper need to solve the case and prove herself as an FBI agent.

External Goal: 7

Clarice's external goal in this scene is to open the stuck door of the storage unit. This reflects the immediate challenge she is facing and her determination to access the contents of the unit.


Scene Elements

Conflict Level: 6

There is a mild level of conflict as Clarice encounters obstacles in opening the storage unit door and explores the shed.

Opposition: 8

The opposition in this scene is strong as Clarice faces the challenge of opening the stuck door and the potential obstacles inside the storage unit.

High Stakes: 6

While the stakes are not extremely high in this scene, the investigation is crucial to the overall case.

Story Forward: 7

The scene moves the story forward by providing new evidence and setting up future developments.

Unpredictability: 7

This scene is unpredictable because it is unclear whether Clarice will be able to open the stuck door and what she will find inside the storage unit.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 6

The scene doesn't evoke strong emotions, but it maintains a sense of tension and intrigue.

Dialogue: 6

The dialogue serves its purpose in conveying necessary information and establishing the scene's atmosphere.

Engagement: 9

This scene is engaging because it presents a mystery and raises questions about what may be inside the storage unit. The actions and dialogue of the characters create suspense and intrigue.

Pacing: 9

The pacing of the scene contributes to its effectiveness by maintaining a steady rhythm and building tension as Clarice tries to open the door and explores the storage unit.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, dialogue, and action descriptions.

Structure: 8

The structure of this scene follows the expected format for its genre. It begins with an establishing shot, introduces the characters, and progresses with their actions and dialogue.


Critique
  • The scene lacks conflict, which can make it less engaging for the audience. Consider adding a small obstacle or disagreement between Clarice and Mr. Yow to create tension and keep the audience invested.
  • The dialogue in this scene is minimal, which can make it feel less dynamic. Consider adding some dialogue between Clarice and Mr. Yow to provide more insight into their characters and their relationship.
  • The actions in this scene are straightforward and lack surprises. Consider adding a twist or unexpected discovery during Clarice's investigation of the storage unit to add excitement and intrigue.
  • The emotional tone of the scene is described as curious and investigative, but it could benefit from more depth and complexity. Consider adding layers of emotion to Clarice's character, such as fear, determination, or vulnerability, to make the scene more compelling.
  • The visual elements described in the scene are effective in setting the atmosphere, but consider adding more sensory details to fully immerse the audience in the environment. For example, describe the smell of the storage unit or the sound of rain more vividly.
  • The scene ends with Clarice giving Mr. Yow her contact information and preparing to investigate the contents of the storage unit. Consider adding a cliffhanger or a hint of danger to create anticipation for the next scene.
Suggestions
  • Introduce a small conflict or disagreement between Clarice and Mr. Yow to create tension.
  • Add more dialogue between Clarice and Mr. Yow to provide insight into their characters and their relationship.
  • Include a twist or unexpected discovery during Clarice's investigation of the storage unit to add excitement.
  • Explore deeper emotions for Clarice's character, such as fear, determination, or vulnerability.
  • Enhance the sensory details in the scene to fully immerse the audience in the environment.
  • Consider adding a cliffhanger or hint of danger at the end of the scene to create anticipation for the next scene.



Scene 8 - The Disturbing Discovery
INT. STORAGE SHED - DUSK (VERY DARK)

Clarice squirms, on her back, through the narrow opening.
As she squeezes all the way in, she snags one thigh on the
metal edge of the door. She curses softly, shining her
flashlight on her ripped khakis - there's a small streak
of blood.

MR. YOW (O.S.)
Okay, Miss Starling?

CLARICE
Okay, Mr. Yow...

She shines her light around. In its narrow beam, we see -
24.


CLARICE'S POV - UPWARD, SHIFTING

spiderwebs, everywhere... high stacks of cardboard
boxes... a few dusty pieces of furniture... the big car,
oddly long and tall, covered with a tarp... Suddenly
there's a scurrying of loud MUSICAL NOTES. Clarice turns,
scared, her beam capturing... an old upright piano.

MR. YOW (O.S.)
You're playing a piano, Miss Starling?

CLARICE
That wasn't me.

MR. YOW (O.S.)
Oh.

Clarice crawls a bit further. There's hardly room to
stand, but she finally manages to wriggle upright, clawing
away cobwebs, next to the car. Holding her light under one
arm, she takes several FLASH photos of the shed's
interior, ending with the car. Then, slinging her camera
over the shoulder, she folds back the tarp, resting it on
the roof. The resulting clouds of dust make her cough.

THE CAR

is an antique beauty, a 1931 Packard. It's very dusty,
despite the tarp. Curtains close off the back passenger
compartment, but there's a narrow gap in them. More mousy
RUSTLINGS.

CLARICE

peers in through the gap, aiming her flashlight.

HER POV - SHIFTING

as the thin flashlight beam picks out: the broad back
seat... as open album of lacy, old-fashioned Valentines...
a crumpled lap rug, on the floor... and then a pair of
women's shiny, high-heeled pumps... Above these, the hem
of a fancy satin evening gown - and a pair of pale,
stockinged legs.

Clarice recoils, alarmed, then steadies herself.

CLARICE
Mr. Yow? Oh Mr. Yow...? It looks like
somebody is sitting in this car.
25.


MR. YOW (O.S.)
Oh my! Oh my... Maybe you better come
out now, Miss Starling.

CLARICE
Not yet! - just wait for me.
(under the breath)
Maybe in about two seconds.

She leans down with her camera, takes a FLASH through the
gap, then tries the door handle. Locked. So is the front
door. She looks around, aiming her light, and locates a
tangle of coat-hangers, sticking out of a carton of bric-a-
brac. She pulls out one of these, straightens it quickly,
bends the tip into a hook.

CLOSE ANGLE

as she jams this tool inside the join at the top of the
back passenger window, then fishes around till she can
snag the inside door latch, pulling up. A satisfying CLICK.

Clarice opens the door - it hits stacked boxes, and won't
open far -then very cautiously leans inside, aiming her
flashlight.

HER POV - MOVING LIGHT BEAM

revealing more of the evening gown... a pair of hands, in
white, elbow-length gloves - one rests on the lap, the
other atop a large, beaded, drawstring evening bag...
thick strands of costume pearls over the breasts... and
finally the white neck stub of a female mannequin. No face
or head.

CLARICE

sighs with relief. She takes a couple more FLASHES, then
very carefully lifts out the Valentine album, holding it
by the corners, and setting it atop the car. Then she
eases herself inside, onto the back seat, as the springs
SQUEAK loudly.

ONE GLOVED HAND slides off the lap, brushing Clarice's
thigh.

Clarice starts a bit, then pokes at the gloved arm, hard.
She peels back a bit of glove, revealing the white,
synthetic elbow. She smiles, shaking her head at her own
jumpiness, as she reaches over the mannequin's lap to
loosen the evening bag's drawstring.
26.


A SEVERED HUMAN HEAD stares back at her, as the beaded
material slides away.

Clarice lurches back, gasping loudly, and several long,
heart-pounding moments pass before she can make herself
look more closely.

The head bobs gently in a pool of alcohol, in a laboratory
specimen jar. It is a man's head, but grotesquely
transformed, by the addition of heavy makeup, earrings,
and a sodden wig, into a woman's face. Over the years the
makeup has smeared badly, and the pupils have gone almost
milky white.

CLARICE

staring at this terrible thing, is pleased to find herself
quickly regaining control. She murmurs to herself.

CLARICE
Well, Toto, we're not in Kansas
anymore.

CUT TO:

EXT. QUINN'S HOSPITAL - PARKING LOT - NIGHT (RAINING)

A loud clap of THUNDER, as a flash of LIGHTNING
illuminates the eerie towers and barred windows of the
asylum.

MOVING ANGLE on Clarice as she climbs from her car, runs
through heavy rain towards the main entrance, where a
guard admits her.

CUT TO:
Genres: ["Thriller","Horror"]

Summary FBI trainee Clarice Starling explores a storage shed as part of her investigation into Dr. Hannibal Lecter. She discovers an antique car and a mannequin dressed in an evening gown. As she investigates further, she finds a severed human head in a laboratory specimen jar. Despite the shocking discovery, Clarice maintains her composure and continues her investigation.
Strengths "The scene effectively builds suspense and delivers a shocking twist. It showcases Clarice's determination and ability to handle disturbing situations."
Weaknesses "The scene could benefit from further exploration of Mr. Yow's character and his connection to the storage unit."

Ratings
Overall

Overall: 9

The scene effectively builds suspense and delivers a shocking twist, keeping the audience engaged and on edge. The discovery of the severed head adds a gruesome and disturbing element to the story.


Story Content

Concept: 8

The concept of exploring a storage shed and uncovering a disturbing secret is intriguing and adds depth to the overall plot.

Plot: 9

The plot progresses as Clarice uncovers new evidence and faces unexpected challenges. The discovery of the severed head raises the stakes and adds a new layer of mystery to the story.

Originality: 6

The level of originality in this scene is moderate. While the setting of a storage shed and the discovery of a severed head may not be entirely unique, the specific details and the way they are described add a fresh approach to the scene. The authenticity of the characters' actions and dialogue also adds to the originality.


Character Development

Characters: 8

Clarice's character is well-developed and her reactions to the disturbing discovery are believable. The scene also introduces Mr. Yow, the owner of the storage unit, who adds an element of suspense.

Character Changes: 7

Clarice experiences a shift in her emotional state as she confronts the disturbing discovery. She maintains her composure and continues her investigation, showcasing her resilience.

Internal Goal: 8

The protagonist's internal goal in this scene is to investigate the storage shed and find any clues or evidence that may help her in her investigation. This reflects her deeper need to solve the case and prove herself as an FBI agent.

External Goal: 7

The protagonist's external goal in this scene is to search the storage shed for any evidence related to the case she is working on. This reflects the immediate challenge she is facing in gathering information and solving the case.


Scene Elements

Conflict Level: 9

The conflict arises from Clarice's investigation and the disturbing discovery she makes. The scene is filled with tension and suspense.

Opposition: 8

The opposition in this scene is strong, as the protagonist faces obstacles such as the darkness, spiderwebs, and locked doors. The audience is unsure of what she will find and if she will be able to overcome these obstacles.

High Stakes: 9

The discovery of the severed head raises the stakes for Clarice and adds a sense of danger and urgency to her investigation.

Story Forward: 8

The scene moves the story forward by providing new evidence and raising the stakes. It deepens the mystery surrounding Dr. Hannibal Lecter and adds a sense of urgency to Clarice's investigation.

Unpredictability: 7

This scene is unpredictable because it includes unexpected elements such as the discovery of a severed head and the twist of the mannequin's appearance. These elements keep the audience guessing and create suspense.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 9

The scene evokes fear, shock, and relief in the audience. The discovery of the severed head is a powerful and emotionally impactful moment.

Dialogue: 7

The dialogue effectively conveys Clarice's shock and determination. It also adds tension through Mr. Yow's responses.

Engagement: 8

This scene is engaging because it introduces a mysterious and suspenseful setting, presents a potential threat or danger, and ends with a shocking revelation.

Pacing: 9

The pacing of the scene is effective in building suspense and maintaining the audience's interest. The description of the protagonist's actions and the use of short, concise sentences create a sense of urgency and tension.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, and dialogue in the correct format.

Structure: 9

The structure of this scene follows the expected format for its genre. It begins with a description of the setting, followed by character actions and dialogue, and ends with a cliffhanger moment.


Critique
  • The scene lacks conflict, which can make it less engaging for the audience. Consider adding a small obstacle or disagreement between Clarice and Mr. Yow to create tension and keep the audience invested in the scene.
  • The lack of significant dialogue in this scene may make it feel stagnant. Consider adding some dialogue between Clarice and Mr. Yow to provide more insight into their characters and their relationship.
  • The visual elements described in the scene are interesting, but they could be further developed to create a more vivid and immersive setting. Consider adding more specific details about the contents of the storage unit and how they contribute to the overall atmosphere of the scene.
  • The ending of the scene, with Clarice giving Mr. Yow her contact information, feels abrupt and doesn't provide a clear sense of what will happen next. Consider adding a final action or line of dialogue that hints at the next step in the investigation or leaves the audience with a sense of anticipation.
Suggestions
  • Introduce a small conflict or disagreement between Clarice and Mr. Yow to create tension and keep the audience engaged.
  • Add some dialogue between Clarice and Mr. Yow to provide more insight into their characters and their relationship.
  • Develop the visual elements of the scene by adding more specific details about the contents of the storage unit and how they contribute to the atmosphere.
  • Provide a clearer ending to the scene by adding a final action or line of dialogue that hints at the next step in the investigation or leaves the audience with a sense of anticipation.



Scene 9 - Negotiation in the Shadows
INT. DR. LECTER'S CELL AND CORRIDOR - NIGHT (DIM LIGHT)

On a noiseless TV screen, an evangelist rants, waving his
arms. Behind him, a swaying choir in gaudy robes.

CLARICE (O.S.)
It's an anagram, isn't it, Doctor?

PAN TO Clarice, with her wet hair plastered flat, sitting
on the corridor floor to one side of this TV, which has
been stationed so that Dr. Lecter cannot avoid seeing it.

CLARICE
Hester Mofet... "The rest of me." Miss
The-Rest-of-Me... Meaning, you rented
that place.
27.


HER POV

he's lost in shadows; we can't see him. He doesn't respond.

CUTTING BETWEEN THEM

Clarice and the darkened call - as she tries again.

CLARICE
You put those - things in there. Paid
for it in advance, ten years ago...
Why, Dr. Lecter?

The food carrier suddenly SWISHES out of the cell, making
her jump up. In its tray is a clean, folded white towel.
She hesitates, then crosses, takes this.

CLARICE
(continuing)
Thank you.

She sits again, rubbing her wet hair. When he finally
speaks, he's on the floor, too - a deeper, hunching
darkness in the shadows, occasionally striped by the
flickering TV light.

DR. LECTER
Your bleeding has stopped.

CLARICE
How did -
(she stops herself)
It's nothing. A scratch.

DR. LECTER
Why don't you ask me about Buffalo
Bill?

CLARICE
(surprised, a beat)
Why? Do you know something about him?

DR. LECTER
I might if I saw the case file. You
could get that for me.

CLARICE
Why don't you tell me about "Miss
Mofet?" You wanted me to find him. Or
do I have to wait for the lab?
28.


DR. LECTER
(sighs)
His real name is Benjamin Raspail. A
former patient of mine, whose romantic
attachments ran to, shall we say, the
exotic...? I didn't kill him, merely
tucked him away. Very much as I found
him, in that ridiculous car, in his
own garage, after he's missed three
appointments. You'd have him under
"Missing Person" - which, in poor
Raspail's case, could hardly be more
true.

CLARICE
If you didn't kill him, then who did?

DR. LECTER
Who can say...? Best thing for him,
really. His therapy was going nowhere.

CLARICE
Wouldn't it have been easier to just
leave him for the police to find?

DR. LECTER
And have them clomping about in my
life? Oh dear, no... At that time I
still had certain private amusements
of my own.
(beat)
How did you feel when you saw him,
Clarice? May I call you Clarice?

CLARICE
Scared, at first. Then - exhilarated.

DR. LECTER
Ahhh... Why?

CLARICE
Because you weren't wasting my time.

DR. LECTER
Do you have something you use, when
you need to get up your courage?
Memories, tableaux... scenes from your
early life?

CLARICE
I don't know. Next time I'll have to
check.
29.


DR. LECTER
Jack Crawford is helping your career,
isn't he? Apparently he likes you. And
you like him, too.

CLARICE
I never thought about it.

DR. LECTER
Your first lie to me, Clarice. How
sad. Tell me -do you think Crawford
wants you, sexually? True, he's much
older, but - do you think he
visualizes... scenarios, exchanges...?
Fucking you?

CLARICE
That doesn't interest me, Doctor. And
it's the sort of thing Miggs would ask.

DR. LECTER
Not anymore.
(beat)
Surely the odd confluence of events
hasn't escaped you, Clarice. Crawford
dangles you before me. Then I give you
a bit of help. Do you think it's
because I like to look at you, and
imagine how good you would taste...?

CLARICE
I don't know. Is it?

DR. LECTER
Or doesn't this all begin to suggest
to you a kind of... negotiation?
There's something Crawford can give
me, and I want to trade for it. I even
wrote to him, offering my help. But he
hates me, so he won't deal directly.

Dr. Lecter slowly turns up the rheostat in his cell. As
his lights rise, we see that the cell's been stripped
bare. Gone are his books, drawings, mattress - even his
toilet seat. She stands, too, startled. They face each
other.

DR. LECTER
(continuing)
Punishment, you see. For Miggs. Just
like that gospel program. When you
leave, they'll turn the volume way up.
Chilton does enjoy his petty torments.
30.


CLARICE
Who killed Raspail, Doctor...? You
know, don't you?

DR. LECTER
I've been in this room for eight
years, Clarice. I know they will
never, ever let me out while I'm
alive. What I want is a view. I want
a window where I can see a tree, or
even water. I want to be in a federal
institution, away from Chilton - and
I want a view. I'll give good value
for it. Crawford could do that for me,
but he won't. You persuade him.

CLARICE
(almost a whisper)
Who killed your patient?

DR. LECTER
Oh, a very naughty boy. Someone you
and Jack Crawford are most anxious to
meet.

CLARICE
Buffalo Bill...?
(incredulous)
Bill killed him, all those years
ago...? That's impossible.

But Dr. Lecter only smiles, enigmatically.

DR. LECTER
Who is he stalking right now, Clarice?
I wonder, don't you? How many more
young women will have to die, before
you trade with me...?

As Clarice stares at him, unsure how to respond -

DISSOLVE TO:
Genres: ["Thriller","Crime","Drama"]

Summary FBI trainee Clarice Starling engages in a tense conversation with Dr. Hannibal Lecter in his cell. They discuss the case of Benjamin Raspail and the possibility of Buffalo Bill being the killer. Dr. Lecter reveals his desire for a window and a view, and suggests that Clarice persuade Jack Crawford to grant him this. The scene ends with Dr. Lecter hinting at the high stakes and the need for a trade.
Strengths "Strong dialogue, intense atmosphere, and compelling character dynamics."
Weaknesses "Some may find the scene overly dialogue-heavy and lacking in visual action."

Ratings
Overall

Overall: 9

The scene is highly engaging and suspenseful, with strong dialogue and character development.


Story Content

Concept: 8

The concept of negotiating with a dangerous criminal for information and favors is intriguing and adds tension to the scene.

Plot: 9

The plot progresses significantly in this scene, with new information about Benjamin Raspail and Buffalo Bill being revealed.

Originality: 6

The level of originality in this scene is moderate. While it explores familiar themes of psychological manipulation and detective work, the specific situations and character dynamics are unique. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 10

The characters of Clarice Starling and Dr. Hannibal Lecter are well-developed and their interactions are captivating.

Character Changes: 7

While there is not a significant character change in this scene, it deepens the understanding of Clarice and Dr. Lecter's motivations.

Internal Goal: 8

The protagonist's internal goal in this scene is to uncover information about Buffalo Bill and gain insight into Dr. Lecter's knowledge. This reflects her deeper need to solve the case and her desire for validation and recognition as an FBI agent.

External Goal: 7

The protagonist's external goal in this scene is to persuade Dr. Lecter to help her and provide information about Buffalo Bill. This reflects the immediate challenge of gaining cooperation from a dangerous and manipulative individual.


Scene Elements

Conflict Level: 9

There is a high level of conflict between Clarice and Dr. Lecter, both in their words and in the underlying power dynamics.

Opposition: 8

The opposition in this scene is strong as Dr. Lecter presents a challenge to Clarice's investigation and personal boundaries. The audience is unsure of how she will navigate the power dynamic and uncover the truth.

High Stakes: 10

The stakes are high as Dr. Lecter hints at the need for a trade and the potential consequences of not cooperating.

Story Forward: 9

The scene provides important information about the case and moves the story forward.

Unpredictability: 7

This scene is unpredictable because it reveals new information about the case and the characters' motivations. The audience is unsure of how the conversation will unfold and what revelations will be made.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the power dynamic and manipulation between Clarice and Dr. Lecter. It challenges Clarice's beliefs about trust, morality, and the lengths she is willing to go to solve the case.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including shock, curiosity, and conflict.

Dialogue: 10

The dialogue is sharp, intense, and reveals important information about the characters and the plot.

Engagement: 9

This scene is engaging because it presents a tense and suspenseful interaction between the protagonist and the antagonist. The dialogue and subtext keep the audience invested in the characters' motivations and the unfolding mystery.

Pacing: 9

The pacing of the scene contributes to its effectiveness by creating a sense of tension and anticipation. The dialogue and action are well-paced, keeping the audience engaged and eager to know more.


Technical Aspect

Formatting: 9

The formatting of this scene follows the expected format for its genre. It includes scene headings, character names, dialogue, and action descriptions in a clear and organized manner.

Structure: 8

The structure of this scene follows the expected format for its genre. It establishes the setting, introduces the characters, and progresses the plot through dialogue and action.


Critique
  • The scene starts with Clarice sitting on the corridor floor, watching a noiseless TV screen. It's not clear why she is watching the TV or how it relates to the scene's purpose of discussing Buffalo Bill.
  • The dialogue between Clarice and Dr. Lecter feels forced and unnatural at times. It could benefit from more subtlety and nuance.
  • The visual elements of the scene, such as the TV screen and the stripped-down cell, could be utilized more effectively to enhance the atmosphere and tension.
  • The conflict between Clarice and Dr. Lecter could be heightened by increasing the stakes or introducing more obstacles for Clarice to overcome.
  • The scene ends abruptly with Dr. Lecter asking Clarice to persuade Jack Crawford to give him a view. It would be more satisfying if there was a stronger resolution or a cliffhanger to keep the audience engaged.
Suggestions
  • Consider revising the opening of the scene to make the purpose of Clarice watching the TV screen clearer and more relevant to the conversation about Buffalo Bill.
  • Work on refining the dialogue between Clarice and Dr. Lecter to make it more natural and nuanced. Focus on creating tension through subtext and subtle exchanges.
  • Explore ways to visually enhance the scene by utilizing the TV screen and the stripped-down cell to create a more unsettling and atmospheric setting.
  • Introduce additional obstacles or challenges for Clarice to overcome during the conversation with Dr. Lecter to heighten the conflict and increase the stakes.
  • Revise the ending of the scene to provide a stronger resolution or a cliffhanger that leaves the audience wanting more.



Scene 10 - The Abduction
INT. CATHERINE MARTIN'S APARTMENT - MEMPHIS, TENNESSEE -
NIGHT

CATHERINE MARTIN takes a long toke from a bong pipe. She
is 21, a tall, big-boned, rather fleshy girl with long
brown fair. Her head is on the lap of her boyfriend, CODY;
they're sprawled on a couch in the den of her well-
furnished apartment. The TV in on, with low SOUND.
31.


CATHERINE
This stuff's givin' me the munchies.
Where's that bag of popcorn?

CODY
Shit. Left the groceries in the car.

He starts to rise, but she pushes him back.

CATHERINE
'S okay, I'll go.

She rises, goes out the front door.

CUT TO:

EXT. PARKING LOT - THE APARTMENT COMPLEX - NIGHT

Catherine straightens, with her bag of groceries, shutting
her car's back door. She sees, a short distance away -

A MAN

standing at the open rear door of a brown panel truck. His
right forearm is in a cast and sling; he is struggling,
unsuccessfully, to hoist an armchair into the truck.
Parked nearby, other cars, RVs, a boat on a trailer. A
thin, breast-high fog fills the lot; arc lights make
yellow pools.

Catherine hesitates, then crosses towards the man.

CATHERINE
Help you with that?

MAN
Would you? Thanks.

His voice is odd, strained, very soft. A fog lamp, set on
end on the ground, distorts his features from below. We
can't get a good glimpse of his face, but his body is
plump, above average height; he's in his mid 30's. She
sets down the bag, then together they easily lift the
chair into the truck.

MAN (O.S.)
Let's slide it up, you mind?

CUT TO:
32.


INT. THE PANEL TRUCK - NIGHT

He climbs inside the truck, ducking under a small hand
winch, and grabs the chair. She hesitates again, but
climbs in after him; together they slide the chair
forward, behind the seats.

MAN
Are you about a size 14?

CATHERINE
(surprised)
What?

Suddenly, in the shadowy dark, he clubs her over the back
of her head with his cast. She moans, slumps unconscious,
sliding off the armchair to lie on her stomach. He pulls
off his cast and sling, tosses them aside, then hops out
of the truck, grabs his lamp, climbs back inside, and
pulls the door shut. He bends over her face with the lamp.
We hear her shallow BREATHING.

MAN
Good.

He peels back the collar of her blouse, reading the size
tag.

MAN
(continuing)
Good.

He carefully slits her blouse up the back, with a pair of
bandage scissors, peeling apart the two halves. There's no
bra strap. He strokes her bare skin delicately, very
happily.

MAN
(continuing)
Gooood...

CUT TO:

EXT. THE PARKING LOT - NIGHT

LOW ANGLE - CLOSE - on Catherine's grocery bag, as her
blouse is tossed out beside it. SOUND of the truck's motor
starting. The truck backs up, one rear wheel knocking over
the bag, partly squashing it. Then is drives away,
taillights shrinking, as a lone orange rolls slowly away
from the bag...

DISSOLVE TO:
33.


INT. FBI ACADEMY CLASSROOM - QUANTICO - DAY

CLOSE ON a large video screen, where a BLURRY image
gradually sharpens, resolving into two separate pieces of
fabric.

INSTRUCTOR (O.S.)
Electron microscopy reveals fiber
"signatures" that are nearly as
distinct as fingerprints...

Clarice sits at a long table, with other trainees. Ardelia
is beside her. Other tables and students in the
background. Each trainee has his own microscope. Clarice
is tired, but straightens, hearing -

INSTRUCTOR (O.S.)
(continuing)
Both of these blouses were worn by
victims of Buffalo Bill. They were
found in two different states, and
four months apart. He always slits
them up the back, like a funeral
suit...

ON THE SCREEN

successively CLOSER VIEWS of the cut fabric edges, until
we are seeing individual threads, big as tree limbs. The
cuts match.

INSTRUCTOR (O.S.)
The bunching you see - this
compression - is characteristic of
scissor cuts, rather than a single
blade. And, as you see - Bill always
uses the same pair...

ANGLE ON THE DOOR

as John Brigham, the gunnery instructor, sticks his head
in.

BRIGHAM
Clarice Starling! Are you in here?

CUT TO:

INT. HALLWAY - CLASSROOM BUILDING - DAY

Clarice and Brigham walk briskly down the hall, passing
other trainees. He carries a small canvas bag.
34.


BRIGHAM
Get your field gear, take stuff for
overnight. You're goin' with Crawford.

CLARICE
Where?

BRIGHAM
Some fishermen in West Virginia found
an unidentified girl's body. It's a
Buffalo Bill-type situation. Been in
the water about a week, and Jack needs
somebody that can print a floater.
Think you can handle it?

CLARICE
(thinking quickly)
I'll need the big fingerprint kit...
and the one-to-one Polaroid, the CU-5,
with film packs and batteries.

CUT TO:
Genres: ["Crime","Thriller"]

Summary FBI trainee Clarice Starling visits a storage unit to gather evidence related to the case. She enlists the help of Mr. Yow, the owner, to open the door. Clarice explores the dark shed, encountering various items and hearing unsettling noises. She leaves her contact information with Mr. Yow and prepares to enter the shed again.
Strengths "The scene effectively builds tension and suspense, showcases Clarice's determination, and provides crucial evidence for the investigation."
Weaknesses "The dialogue could have been more impactful and the scene could have delved deeper into Clarice's internal conflict."

Ratings
Overall

Overall: 9

The scene effectively builds tension and suspense, keeping the audience engaged and on the edge of their seats.


Story Content

Concept: 8

The concept of exploring a storage shed for evidence adds intrigue and mystery to the scene.

Plot: 9

The plot progresses as Clarice uncovers disturbing evidence in the storage shed, furthering her investigation into the case.

Originality: 5

This scene does not contain any particularly unique situations or fresh approaches. The authenticity of the characters' actions and dialogue is realistic and believable.


Character Development

Characters: 8

Clarice's character is well-developed, showcasing her determination and composure in the face of shocking discoveries.

Character Changes: 7

Clarice experiences a shift in her perspective and determination as she continues her investigation despite the disturbing discoveries.

Internal Goal: 7

The protagonist's internal goal in this scene is to satisfy her munchies by finding a bag of popcorn. This reflects her immediate desire for food and comfort.

External Goal: 8

The protagonist's external goal in this scene is to help the man struggling to hoist an armchair into his truck. This reflects her willingness to assist others and her kind nature.


Scene Elements

Conflict Level: 8

The conflict arises from the unsettling discoveries in the storage shed and Clarice's internal conflict about how to proceed.

Opposition: 9

The opposition in this scene is strong, as Catherine's desire to help the man conflicts with the audience's knowledge that he is dangerous and will harm her.

High Stakes: 9

The stakes are high as Clarice uncovers evidence related to the case and faces the possibility of danger in the storage shed.

Story Forward: 9

The scene moves the story forward by providing crucial evidence and furthering Clarice's investigation.

Unpredictability: 7

This scene is unpredictable because the audience does not know how the interaction between Catherine and the man will unfold, and it ends with a surprising twist when the man clubs Catherine over the head.

Philosophical Conflict: 0

There is no evident philosophical conflict in this scene.


Audience Engagement

Emotional Impact: 9

The scene evokes a strong emotional response from the audience due to the shocking discoveries and Clarice's conflicted emotions.

Dialogue: 7

The dialogue between Clarice and Mr. Yow is minimal but effective in conveying the necessary information.

Engagement: 9