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Scene Map 44
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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THE SILENCE OF THE LAMBS by Ted Tally Based on the novel by Thomas Harris
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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.
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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
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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...
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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 -
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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
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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.
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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
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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?
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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;
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INT. BRIGHAM'S JEEP CHEROKEE - DAY (DRIVING) Brigham steers as they pass hangars, parked planes, an airstrip. Clarice holds a big fingerprint kit and a weekend bag. BRIGHAM
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INT. RENTAL CAR - DAY (DRIVING) Crawford steers, following a highway patrol car along a winding mountain road. Clarice has the file open on her lap. He glances at her, inscrutable behind his sunglasses. CRAWFORD
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INT. FUNERAL HOME - BACK CORRIDOR - DAY A young deputy, several state troopers, and a SHERIFF are all waiting, as Crawford and Clarice enter. The dim, cluttered corridor doubles as storage space - there's a treadle sewing machine, a soft-drink machine, a tricycle.
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INT. EMBALMING ROOM - DAY Crawford, in one corner of the room, has set up a Litton Policefax fingerprint transmitter. SOUND of many men's low voices, in background. He is on the phone, and has to speak loudly.
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EXT. BACK STEPS OF THE FUNERAL HOME - DAY Clarice sits outside, with her head on her knees, drained. She looks up wanly as Lamar appears, offers her a can of Coke. CLARICE
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INT.CLARICE'S DORM ROOM - FBI ACADEMY - DAWN Clarice is at her desk, exercising her right hand with the grip flexer, while simultaneously studying a thick law book. Ardelia sticks her head in the door, excited. ARDELIA
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INT. MUSEUM OFFICE - DAY CLOSE ON an live, enormous, rhinoceros beetle, as it weaves its clumsy way among the men on a chessboard, before finally stepping off the edge, onto a lettuce leaf. RODEN (V.O.)
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INT. THE SURVEILLANCE VAN - DAY (DRIVING) The van is crammed with an impressive array of hi-tech equipment, all CLICKING and HUMMING. Burroughs is talking quietly on a scrambler phone, while another agent works a computer.
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INT. DR. LECTER'S CELL AND CORRIDOR - DAY Dr. Lecter sits at his table, languidly sketching with charcoal on butcher paper. 60. He uses his own hand and forearm as a model. His other
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INT. MR. GUMB'S CELLAR - DAY VERY CLOSE ON a cocoon, split along its back, as a living Death's-head Moth wriggles torturously free. Trembling and damp, the new creature clings to a sprig of nightshade. DR. LECTER (V.O.)
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INT. DR. LECTER'S CELL - DAY Chilton lounges on Dr. Lecter's cot, casually reading his large stack of private correspondence, and making notations with his gold pen on a little pad. Another orderly mops the floor.
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INT. JOHNS HOPKINS - GENDER IDENTITY CLINIC - DAY MOVING ANGLE - as the very impatient Crawford, clutching a folder, strides down a hall beside DR. DANIELSON - early 50's, severe, in a lab coat. Nurses, doctors, glance as they pass.
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INT.CLARICE'S DORM ROOM - DOORWAY - DAY Clarice opens her door, stares out at Crawford. She's just slipping on her blazer, over her shoulder holster. She's furious. CLARICE
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INT. AIR NATIONAL GUARD HANGER - MEMPHIS, TENNESSEE - DAY CLOSE ON Dr. Lecter. Behind his mask, the alert, searching eyes. 76. CRAWFORD (V.O.)
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INT. MR. GUMB'S BASEMENT - DAY (DIMLY LIT) CLOSE ON scraps of food - peas, chicken bones - lying on the cement floor of the pit, near the foil tray of a TV dinner. CATHERINE (O.S.)
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INT. BEDROOM CLOSE ON an open, multi-tiered jewelry box, resting atop a bureau, as Clarice's fingers pick through costume jewelry. Clarice closes the box, and is just turning away when a
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INT. HISTORICAL SOCIETY ROOM - 5TH FLOOR Pembry, at a desk by the door, looks up from examining the unrolled pile of Dr. Lecter's drawings. PEMBRY You know the rules, ma'am?
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THE LITTLE GIRL in her winter coat, slips noiselessly towards the open barn door. She ducks into the shadows to avoid a ranch hand, who passes her with a squirming bundle of some kind. He goes into the barn, and she edges after him reluctantly.
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INT. GARMENT SWEATSHOP - DAY MOVING ANGLE - MR. GUMB'S POV as he pushes a rolling rack of completed leather garments, each wrapped in plastic, down as aisle. SOUND of many sewing machines, all clattering at once, as he passes row on row of work
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INT. SHELBY CO. COURTHOUSE - HISTORICAL SOCIETY ROOM - NIGHT CLOSE ON a steaming, rather elegant dinner tray, being carried by Pembry, as he approaches Dr. Lecter's cell. PEMBRY
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INT. COURTHOUSE - GROUND FLOOR LOBBY - NIGHT The bronze arrow above the elevator swings towards "5," then indicates a stop there, at the top floor. FAVORING SGT. TATE at his command desk, as he stares at the indicator.
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EXT. STREET IN FRONT OF COURTHOUSE - NIGHT VARIOUS ANGLES on a floodlit scene of barely controlled pandemonium. Flashing red lights, men shouting commands, SIRENS in the distance. SWAT members, in full gear, leap from a black van... fan out... swarm up the steps... EMS
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INT. GROUND FLOOR LOBBY - NIGHT A small army of cops is now covering the elevator doorway, from both sides. Tate crouches next to the SWAT COMMANDER. SWAT COMMANDER (into radio mike)
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INT.CLARICE'S DORM ROOM - NIGHT Clarice is hunched on her cot, in a bathrobe, her hair wet. The Buffalo Bill case file, a think bundle, rests by her feet. Ardelia hovers anxiously nearby. ARDELIA
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INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY Clarice and Crawford are seated in front of Director Burke, who's at his desk. Another chair is empty, because Krendler is pacing. All four are nearing their boiling points.
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INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON the needle of the Victrola, on the spinning record, as Mr. Gumb's fingers lift away. MUSIC continues in background. MR. GUMB (O.S.)
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INT. BIMMEL HOUSE - STAIRCASE - DAY HIGH ANGLE - LOOKING DOWN as Mr. Bimmel leads Clarice up a steep flight of steps. The bannister is worn, sags a bit. MR. BIMMEL I don't know nothin' new to tell ya.
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INT. FBI TURBOJET - FLYING - DAY Crawford sits at a communications console, with Burroughs, in headphones, by his side. This forward section of the cabin is crammed with hi-tech equipment, all lit up and WHIRRING. Through a window we see clouds, part of the
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INT. SAVING & LOAN - BELVEDERE - DAY STACY HUBKA - short, perky, early 20's - sits nervously at her desk, talking to Clarice, who jots in her notebook. In the background. beyond them, bank tellers, lines of waiting customers, MUZAK.
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INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) Slowly, savoring the moment, Mr. Gumb aims the big Colt, which is already cocked, using both hands... He is just about to squeeze the trigger, when we hear his DOOR BUZZER, surprisingly loud and close by. He turns,
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INT. MR. GUMB'S PARLOR - DAY Clarice, pulling her notebook from her shoulder bag, glances around the musty-looking room. MR. GUMB (O.S.) That horrible business, I shiver every
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INT. MR. GUMB'S CELLAR - DAY MOVING ANGLE - WITH CLARICE - hurrying down the steps. More SCREAMS; they seem to be coming from the left door. Clarice goes that way, entering a brick-walled passage - pipes over-head, naked bulbs. The lighting, though dim, is
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INT. MR. GUMB'S WORKROOM - DAY (GREEN LIGHT) Clarice emerges from the bathroom in a half-crouch, arms out, both hands on the gun, extended just below the level of her unseeing eyes. She stops, listens. In her raw- nerved darkness, every SOUND is unnaturally magnified -
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INT. ACADEMY DORM - REC ROOM - THAT NIGHT A LOUD party is underway - food, beer, dancing - as the new grads celebrate ferociously. Ardelia weaves her way through the crowded room, reaches Clarice, who is flanked by her special guests - Pilcher and Roden, the two ardent

Silence of the lambs

FBI agent Clarice Starling engages in a shootout, disarming a suspect and earning praise.

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Overview

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Unique Selling Point

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

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Claude
 Recommend
Story Facts

Genres: Action, Thriller, Crime, Drama, Psychological Thriller, Mystery, Horror

Setting: Not provided, Not provided

Themes: Determination and Resilience, Personal Trauma and Healing, The Power of Manipulation, Gender Identity and Dysphoria, Moral Ambiguity and Ethical Dilemmas

Conflict & Stakes: Not provided

Mood: Not provided

Comparable Scripts: The Silence of the Lambs, Se7en, Zodiac, Mindhunter, The Girl with the Dragon Tattoo, Seven Seconds, The Bone Collector, True Detective, Mystic River, Gone Girl

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 8.00
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis

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Scene-Level Percentile Chart
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Writer Exec

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Unique Voice
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Writer's Craft
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Memorable Lines
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Tropes
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World Building
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Correlations
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Loglines
Presents logline variations based on theme, genre, and hook.