Silence of the lambs
Executive Summary
Overview
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 and Stakes: Not provided
Comparable Scripts:
Pass/Consider/Recommend
Explanation:
USP:
Market Analysis
Budget Estimate:Not provided
Target Audience Demographics: Not provided
Marketability: Not provided
Not provided
Not provided
Profit Potential: Not provided
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice in the screenplay is concise, descriptive, and focused on action and dialogue. The dialogue is straightforward, realistic, and impactful. The narrative description is vivid and evocative, creating a sense of tension and atmosphere. The scene direction is clear and focused, enhancing the overall mood and themes of the screenplay.
Best representation: Scene 38 - The Confrontation. Scene 38 is the best representation of the author's voice. The concise and action-driven style is evident in the dialogue and scene direction. The description effectively establishes the stakes for the characters and contributes to the overall suspense and tension of the scene.
Memorable Lines:
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Hotel Shootout | "Tense" | 9 | 8 | 9 | 6 | 8 | 6 | 8 | 8 | 9 | 0 | 8 | 9 | 0 | 7 | 7 | 8 | 8 | 9 | 9 | |
| 2 - Clarice's Assignment | "tense" | 8 | 7 | 8 | 4 | 7 | 5 | 8 | 8 | 8 | 0 | 9 | 9 | 0 | 6 | 6 | 9 | 9 | 10 | 8 | |
| 3 - Interview at the Asylum | "Tense" | 8 | 7 | 8 | 8 | 9 | 5 | 8 | 9 | 8 | 0 | 9 | 8 | 0 | 6 | 7 | 9 | 8 | 10 | 9 | |
| 4 - Clarice Interviews Dr. Hannibal Lecter | "Tense" | 8 | 7 | 9 | 8 | 8 | 6 | 8 | 9 | 9 | 0 | 7 | 8 | 0 | 8 | 9 | 9 | 7 | 9 | 8 | |
| 5 - Confrontation and Reflection | "Tense, emotional" | 8 | 7 | 8 | 6 | 9 | 7 | 9 | 8 | 9 | 0 | 7 | 8 | 0 | 8 | 7 | 7 | 9 | 10 | 8 | |
| 6 - Investigating Leads | "Tense" | 9 | 8 | 9 | 0 | 9 | 6 | 0 | 0 | 7 | 0 | 8 | 9 | 0 | 7 | 8 | 0 | 0 | 0 | 0 | |
| 7 - Investigating the Storage Unit | "Tense" | 9 | 8 | 9 | 6 | 7 | 5 | 8 | 9 | 8 | 0 | 7 | 9 | 0 | 6 | 8 | 9 | 8 | 8 | 7 | |
| 8 - Gruesome Discovery | "Dark, Suspenseful" | 9 | 7 | 9 | 6 | 8 | 8 | 9 | 8 | 9 | 0 | 10 | 9 | 0 | 8 | 6 | 8 | 9 | 9 | 8 | |
| 9 - Negotiations and Revelations | "Tense" | 9 | 8 | 9 | 9 | 10 | 9 | 8 | 8 | 9 | 0 | 10 | 9 | 0 | 8 | 8 | 9 | 8 | 10 | 9 | |
| 10 - Abduction | "" | 7 | 7 | 8 | 7 | 7 | 6 | 8 | 8 | 9 | 0 | 9 | 8 | 0 | 7 | 6 | 9 | 9 | 10 | 8 | |
| 11 - Preparation and Revelation | "Dark, Suspenseful" | 9 | 8 | 9 | 7 | 8 | 6 | 8 | 9 | 6 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 8 | 9 | 8 | |
| 12 - Revealing Secrets | "Intense" | 8 | 7 | 9 | 6 | 8 | 6 | 9 | 8 | 8 | 0 | 9 | 7 | 0 | 8 | 9 | 9 | 9 | 8 | 10 | |
| 13 - Arrival at the Funeral Home | "Tense" | 7.5 | 7 | 8 | 4 | 7 | 5 | 8 | 7 | 6 | 0 | 6 | 7 | 0 | 6 | 7 | 8 | 8 | 9 | 8 | |
| 14 - Investigating the New Victim | "Suspenseful" | 8 | 8 | 9 | 5 | 7 | 5 | 8 | 8 | 7 | 0 | 8 | 9 | 0 | 6 | 6 | 8 | 8 | 9 | 9 | |
| 15 - Investigating the Funeral Home | "Intense" | 9 | 8 | 9 | 6 | 7 | 6 | 9 | 8 | 9 | 0 | 10 | 9 | 0 | 9 | 6 | 9 | 8 | 10 | 9 | |
| 16 - Investigating the Victim | "Tense" | 9 | 8 | 9 | 0 | 8 | 6 | 0 | 0 | 9 | 0 | 10 | 10 | 0 | 8 | 7 | 0 | 0 | 0 | 0 | |
| 17 - Investigating the Victim | "Suspenseful" | 9 | 8 | 9 | 8 | 7 | 6 | 9 | 9 | 8 | 0 | 10 | 9 | 0 | 7 | 6 | 8 | 9 | 10 | 10 | |
| 18 - Investigating the Victim | "Suspenseful" | 8 | 7 | 9 | 6 | 8 | 6 | 8 | 8 | 8 | 0 | 8 | 9 | 0 | 7 | 8 | 9 | 8 | 10 | 9 | |
| 19 - Negotiating with Lecter | "Tense" | 9 | 8 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 0 | 9 | 9 | 0 | 9 | 10 | 9 | 9 | 9 | 8 | |
| 20 - Investigating the Victim | "Tense" | 9 | 8 | 9 | 9 | 8 | 6 | 10 | 8 | 8 | 0 | 8 | 10 | 0 | 7 | 9 | 10 | 10 | 10 | 10 | |
| 21 - Negotiations and Betrayal | "Intense" | 9 | 8 | 9 | 10 | 10 | 8 | 9 | 8 | 9 | 0 | 9 | 9 | 0 | 8 | 9 | 10 | 7 | 9 | 8 | |
| 22 - Negotiations and Ultimatums | "Intense" | 9 | 8 | 9 | 6 | 10 | 7 | 9 | 9 | 9 | 0 | 10 | 9 | 0 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 23 - Clarice's Anger | "Tense" | 9 | 8 | 9 | 0 | 8 | 6 | 0 | 0 | 7 | 0 | 7 | 9 | 0 | 8 | 8 | 0 | 0 | 0 | 0 | |
| 24 - Transfer to Memphis | "" | 8 | 8 | 7 | 6 | 5 | 3 | 8 | 9 | 5 | 0 | 7 | 7 | 0 | 6 | 6 | 7 | 8 | 9 | 8 | |
| 25 - Desperation in the Basement | "Suspenseful" | 8 | 7 | 9 | 0 | 8 | 5 | 0 | 0 | 9 | 0 | 9 | 8 | 0 | 7 | 6 | 0 | 0 | 0 | 0 | |
| 26 - Confrontation and Consequences | "tense" | 8 | 7 | 8 | 0 | 8 | 7 | 0 | 0 | 9 | 0 | 8 | 8 | 0 | 7 | 7 | 0 | 0 | 0 | 0 | |
| 27 - Confrontation | "Tense" | 9 | 8 | 9 | 0 | 9 | 7 | 0 | 0 | 9 | 0 | 10 | 9 | 0 | 8 | 9 | 0 | 0 | 0 | 0 | |
| 28 - The Little Girl | "Tense, Psychological" | 9 | 9 | 8 | 0 | 10 | 8 | 0 | 0 | 7 | 0 | 7 | 7 | 0 | 9 | 9 | 0 | 0 | 0 | 0 | |
| 29 - Desperate Escape | "Intense" | 8 | 7 | 8 | 7 | 9 | 8 | 5 | 8 | 9 | 0 | 8 | 9 | 0 | 8 | 7 | 7 | 7 | 9 | 8 | |
| 30 - Confrontation in the Cell | "Tense" | 8 | 8 | 9 | 6 | 8 | 8 | 8 | 9 | 9 | 0 | 10 | 9 | 0 | 9 | 7 | 10 | 9 | 9 | 8 | |
| 31 - Escape and Confrontation | "Suspenseful" | 8 | 7 | 9 | 6 | 8 | 7 | 8 | 9 | 9 | 0 | 10 | 9 | 0 | 8 | 6 | 9 | 9 | 9 | 8 | |
| 32 - Confrontation and Escape | "Intense" | 9 | 8 | 9 | 7 | 8 | 6 | 9 | 8 | 9 | 0 | 10 | 10 | 0 | 8 | 7 | 9 | 8 | 10 | 9 | |
| 33 - Escape and Revelation | "Tense" | 8 | 7 | 9 | 5 | 8 | 7 | 8 | 9 | 9 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 10 | 9 | 10 | |
| 34 - Clarice's Revelation | "Intense" | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 0 | 9 | 9 | 0 | 9 | 8 | 9 | 9 | 10 | 10 | |
| 35 - Suspension and Departure | "Tense" | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 0 | 10 | 9 | 0 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 36 - Confrontation and Revelation | "Tense" | 9 | 8 | 9 | 0 | 9 | 8 | 0 | 0 | 10 | 0 | 10 | 9 | 0 | 9 | 8 | 0 | 0 | 0 | 0 | |
| 37 - Clarice Discovers the Killer's Secret | "Suspenseful" | 9 | 8 | 9 | 7 | 7 | 7 | 9 | 9 | 9 | 0 | 10 | 9 | 0 | 7 | 6 | 10 | 9 | 10 | 10 | |
| 38 - On the Hunt | "Suspenseful" | 8 | 9 | 8 | 8 | 7 | 6 | 9 | 7 | 9 | 0 | 10 | 8 | 0 | 7 | 7 | 8 | 9 | 10 | 10 | |
| 39 - The Confrontation | "Suspenseful" | 10 | 8 | 9 | 0 | 8 | 5 | 0 | 0 | 9 | 0 | 10 | 9 | 0 | 6 | 7 | 0 | 0 | 0 | 0 | |
| 40 - Confrontation at Mr. Gumb's House | "Suspenseful" | 9 | 8 | 9 | 0 | 7 | 6 | 0 | 0 | 9 | 0 | 9 | 9 | 0 | 8 | 7 | 0 | 0 | 0 | 0 | |
| 41 - Showdown with Mr. Gumb | "Suspenseful" | 9 | 9 | 10 | 0 | 8 | 7 | 0 | 0 | 10 | 0 | 10 | 10 | 0 | 9 | 7 | 0 | 0 | 0 | 0 | |
| 42 - Confrontation in the Cellar | "Suspenseful" | 9 | 8 | 10 | 0 | 9 | 7 | 0 | 0 | 9 | 0 | 10 | 9 | 0 | 8 | 7 | 0 | 0 | 0 | 0 | |
| 43 - Confrontation and Rescue | "Tense, suspenseful" | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 10 | 9 | 0 | 10 | 9 | 0 | 8 | 7 | 10 | 8 | 9 | 9 | |
| 44 - Final Confrontation | "Tense" | 10 | 9 | 10 | 7 | 9 | 8 | 8 | 9 | 10 | 0 | 10 | 9 | 0 | 10 | 8 | 9 | 8 | 10 | 9 | |
Scene 1 - Hotel Shootout
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
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:
Scene 2 - Clarice's Assignment
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
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:
Scene 3 - Interview at the Asylum
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
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:
Scene 4 - Clarice Interviews Dr. Hannibal Lecter
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 9
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:
Scene 5 - Confrontation and Reflection
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
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:
Scene 6 - Investigating Leads
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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:
Scene 7 - Investigating the Storage Unit
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 8
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:
Scene 8 - Gruesome Discovery
- Overall: 9.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 6
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:
Scene 9 - Negotiations and Revelations
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 8
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:
Scene 10 - Abduction
- Overall: 7.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
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:
Scene 11 - Preparation and Revelation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Brigham steers as they pass hangars, parked planes, an
airstrip. Clarice holds a big fingerprint kit and a
weekend bag.
BRIGHAM
Jack's pretty tough on you, isn't he?
Impatient...
CLARICE
Sometimes.
BRIGHAM
He's got a lot on his mind besides
Buffalo Bill... His wife, Bella, is
real sick. Comatose... I'm tellin' you
about it now, 'cause he may never.
Clarice absorbs this in silence as they stop near an
ancient, rather dilapidated Beechcraft. Its door is open,
the twin props and beacons already turning. Brigham turns
to her, holding out his small canvas bag.
BRIGHAM
(continuing)
You're goin' in the field, so you
gotta have full kit. Take this - it's
my own...
35.
Clarice opens the bag, stares at the big blue gun nestled
in its shoulder holster. She looks up at him, touched.
BRIGHAM
(continuing)
Wear it, don't ever leave it in your
purse. Dry fire it whenever you get
the chance. And do your exercises.
CLARICE
I will... I promise.
BRIGHAM
Listen, I hope you never need a thing
I've taught you. But you've got
something... Jack sees it, I do too.
If you ever need to, you can shoot.
She nods, climbs out. Then she looks back in at him.
They're both moved by this rite of passage, but a little
embarrassed.
BRIGHAM
(continuing)
Bless you, Starling...
CUT TO:
INT. BEECHCRAFT PLANE - DAY (FLYING)
CLARICE'S POV - Out the plane's window, at the landscape
far below. Wisps of cloud, a quilt of farms.
Clarice turns from the window, looks at a think folder in
her lap. The cover reads "Case File: / BUFFALO BILL."
Clarice is moody, distracted. She hesitates, then opens
the file, begins to scan.
INSERTS - HER POV
Police forms, some handwritten... Typed lab reports; we
catch words, phrases: "Autopsy Protocols", "Histamine
Analysis"... Grainy enlargements of bullet slugs, showing
matched grooves... And then a stack of victim photos. The
first one, taken from a good distance away, shows a nude
female body, face down on a pebbly riverbank, surrounded
by bits of litter.
Clarice hesitates again, then flips this photo to look at
the next. It makes her flinch, just slightly. Quickly she
turns through several more photographs, trying hard to
concentrate.
36.
CRAWFORD (O.S.)
He keeps them alive for three days.
NEW ANGLE
shows Crawford standing over her, swaying with the plane's
motion. Behind him, the open cockpit door, the pilot's
back. Crawford sits, removing sunglasses. He rubs his eyes.
CRAWFORD
Why, we don't yet know... There's no
evidence of rape or physical abuse
prior to death. All the mutilation you
see there is post-mortem.
(a beat; he glances
at her)
I'm hot, are you hot? Bobby, it's too
damned hot back here...
The pilot adjusts a valve. Crawford turns to her again.
CRAWFORD
(continuing)
So. Three days. Then he shoots them,
skins them -usually just the torsos -
and dumps them. Each body in a
different river, in a different state,
downstream from an interstate
highway. The water leaves us no
fingerprints, fibers, DNA fluids - no
trace evidence at all. That's Fredrica
Bimmel, the first one...
A COLOR PHOTO - IN CLARICE'S HANDS
shows a pretty, plump-cheeked brunette, in her high school
graduation cap and gown. She smiles at us with touching
optimism.
CRAWFORD (O.S.)
A big girl, like all the rest. Went
about 160... Her corpse was the only
one he took the trouble to weight
down, so actually, she was the third
girl found. After her, he got lazy...
NEW ANGLE
as Clarice stares at the girl's face, moved. Crawford
pulls a map from the file, spreads it out. It shows the
central and eastern U.S., with widely-spaced, hand-drawn
markings.
37.
CRAWFORD
Blue square for Belvedere, Ohio, where
the Bimmel girl was abducted. Blue
triangle where her body was found -
down here in Missouri. Same marks for
the other four girls, in different
colors. This new one, today... washed
up here.
(he marks with a
Flair pen)
Elk River, in West Virginia, about six
miles below U.S. 79. Real boonies.
CLARICE
There's no correlation at all between
where they're kidnapped and where
they're found...?
(he shakes his head)
What if - what if you trace the
heaviest-traffic routes backwards from
the dump sites? Do they converge at
all?
CRAWFORD
Good idea, but he thought of it, too.
We've run simulations, using different
vectors and the best dates we can
assign. You put it all in the
computer, and smoke comes out. No,
this one is different. Then one has
seen us coming...
CUT TO:
Scene 12 - Revealing Secrets
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 9
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
Talk about him, Starling. Tell me what
you see.
CLARICE
(choosing her words
carefully)
He's a white male... Serial killers
tend to hunt within their own ethnic
group. And he's not a drifter - he's
got his own house, somewhere. Not an
apartment.
38.
CRAWFORD
Why?
CLARICE
What he does with them - takes
privacy... Time, tools... He's in his
30's or 40's - he's got real physical
strength, but combined with an older
man's self-control. He's cautious,
precise, never impulsive... This won't
end in suicide, like they often do.
CRAWFORD
Why not?
CLARICE
He's got a real taste for it now. And
he's getting better at his work.
CRAWFORD
(a beat; impressed)
Maybe you've got a knack for this...
I guess we're about to find out.
CLARICE
(quietly, evenly)
Like I have a "knack" for Dr. Lecter?
He studies her a few moments, measuring her anger.
CRAWFORD
Okay, Starling. Let's have it.
CLARICE
You haven't said a word today about
that garage. Or what I found there.
CRAWFORD
What should I say? You did fine work.
We'll wait on the lab.
CLARICE
You knew. You knew from the start that
Lecter held the key to this... But you
weren't up front with me. You sent me
in to him naked.
CRAWFORD
(beat)
Are you finished?
39.
CLARICE
He starts this - buzzing in me, in my
head. He makes me feel violated... You
used me, Mr. Crawford.
A shadow of regret passes over his face, but he answers
sternly.
CRAWFORD
Number One. Maybe there's a
connection, maybe not. Lying and
breathing are the same thing to
Lecter. Number Two. If I'd sent you in
there with something to hide from him,
he'd have known it, instantly. He'd
never have trusted you.
She starts to answer, then is silent. He is right. By now
the two cars are entering a tidy little town - tree-lined
streets, wooden houses, one-story shops, mountains in the
background. They slow, turn.
CRAWFORD
(continuing)
Number Three, I didn't bring you along
today just because you can do first-
rate forensics. If Lecter is becoming
part of this case, you've got the most
current read on him. And Number
Four - you don't have to like me, or
the way I do things. But you do have
to keep a cool head. Especially now...
Because from here on out, you'll know
everything I do. Are we straight on
that?
Clarice nods, silently; it's as close to an apology as
she's likely to get. She stares out the windshield.
JUST AHEAD OF THEM
the highway patrol cruiser noses into a curb, next to
other police cars, facing a big white frame house. Its
sign reads "Potter Funeral Home." Two troopers climb from
the car.
Crawford parks too, then kills the engine. He turns to
her, removing his sunglasses, gestures to the case file.
40.
CRAWFORD
(softly)
You think about him long enough, you
get a feel for him... Then, if you're
lucky, out of all the stuff you know,
one little part of it tugs at you,
tries to get your attention... You let
me know when that happens, Starling.
Live right behind your eyes, today.
Don't try to impose any patterns on
this guy. Just stay open and let him
show you...
One of the troopers, impassive in his sunglasses and hat,
peers in through Crawford's window. Crawford nods to him,
then turns back to Clarice.
CRAWFORD
(continuing)
School's out, Starling.
CUT TO:
EXT. SIDEWALK OF THE FUNERAL HOME - POTTER, WEST VA. - DAY
SOUND of organ music, as Clarice, carrying her fingerprint
kit, mounts some steps to the sidewalk. She stops, seeing -
COUNTRY PEOPLE
in their somber best, filing into the mortuary for a
service. The music - "Shall We Gather At The River?" - is
issuing from the open double doors. Several of the
mourners glance over at her curiously.
ANGLE ON CLARICE
staring back at the mourners, hearing the music, as a
sense memory is triggered in her...
IN FLASHBACK - LOW ANGLE, MOVING
as we approach, down the aisle of a country chapel, an
open wooden coffin. Sad country faces turn, looking at us
from the flanking pews. The b.g. organ hymn is "Shall We
Gather...?"
THE SAD, 10 YEAR-OLD CLARICE
in her best dress, is reluctantly approaching the casket.
Her hands are held by the plump hands of unseen matrons.
41.
CHILD'S POV
on the looming coffin... closer and closer... until
finally she can see, lying inside it... her dead father,
arms folded, his marshal's badge still pinned to his lapel.
CRAWFORD (V.O.)
Starling...?
NEW ANGLE (PRESENT DAY)
as the grownup Clarice turns towards the impatient
Crawford. Like her, he carries a large case.
CRAWFORD
We're around back.
CUT TO:
Scene 13 - Arrival at the Funeral Home
- Overall: 7.5
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 7
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.
The MUSIC is closer. Crawford shakes hands with the
sheriff.
CRAWFORD
Sheriff Perkins? Jack Crawford, FBI...
This is Officer Starling. We
appreciate your phoning us.
SHERIFF
(grim, unsociable)
I didn't call you. That was somebody
from the state attorney's office...
'For you do a thing else, I'm gon'
find out if this girl's local. It
could just be somethin' that outside
elements has dumped on us.
He casts a sidelong, unhappy glance at Clarice.
CRAWFORD
Wellsir, that's where we can help. If -
SHERIFF
I don't even know you, Mister... Now
we'll extend you ever courtesy, just
soon as we can, but for right now -
42.
CRAWFORD
Sheriff, this, ah - this type of sex
crime has some aspects I'd rather
discuss just between the two of us.
Know what I mean?
He indicates Clarice with his eyes. The sheriff hesitates,
nods, then lets Crawford guide him into a small office,
closing the door behind them. Muffled WORDS from there.
CLARICE
burning at this slight, is left alone with the troopers,
who peek at her with shy curiosity. She pulls her blazer
a bit tighter, self-conscious about her bulging shoulder
holster.
ANGLE ON THE OFFICE DOOR
as, after a few more moments, the sheriff and Crawford
emerge. The sheriff, still not very happy, addresses his
deputy.
SHERIFF
Oscar, run fetch Dr. Akin from the
chapel. And tell Lamar to come on when
he's done playin' that music.
CUT TO:
Scene 14 - Investigating the New Victim
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
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.
CRAWFORD
I need a six-way linkup! Chicago,
Detroit, Cleveland, St. Louis,
Atlanta, and Dallas... What?... Can
you hear me...?
He looks around, frustrated by the noisy circus atmosphere.
CLARICE
is pulling on a pair of surgical gloves. She raises her
voice, turning up her natural accent by several notches.
43.
CLARICE
Gentlemen. You officers and gentlemen!
Listen here a minute, please. There's
things I need to do for her...
WIDER ANGLE
as we see that the small room is very crowded with
deputies and troopers. They gradually fall silent, looking
at her.
CLARICE (O.S.)
Y'all brought her this far, and I know
her folks would thank you if they
could. Now please - go on out and let
me take care of her... Go on, now.
The men look at one another, a little bashfully, then
begin to to file out, whispering among themselves. As they
go, a bright green body bag is REVEALED, tightly zipped,
lying on a porcelain embalming table. It is almost the
only modern object in this Victorian room, with its glass-
paned cabinets and faded wallpaper, decorated with cabbage
roses.
FAVORING CRAWFORD
as he looks at Clarice with a new degree of respect. Men
brush by him, till finally only two are left: DR. AKIN, a
family g.p., and LAMAR, a lean, whiskey-reddened
mortician. SOUND of the door closing. Lamar dabs around
his nostrils with Vicks VapoRub.
CRAWFORD
(on phone)
We're starting. Tell everybody to
stand by for fingerprint transmission.
CLARICE
at a side counter, has turned back to her open fingerprint
kit. She is lifting out a camera when she hears the ZIPPER
of the body bag being slowly opened, behind her... One
gloved hand flies to her mouth as she reacts,
involuntarily, to the sudden smell. She blinks at her
reflection in the cabinet glass, then steels herself to
turn, look at the corpse.
CLARICE
(pause; softly)
Bill...
44.
She steadies herself by raising her camera, takes a FLASH
photo.
LOW ANGLE - LOOKING UP, FROM BENEATH TABLE
as Dr. Akin gently lifts aside one of the dead girl's
arms. A piece of fishing line, with multiple hooks, is
still snagged around it, dangling. Crawford leans in for
a closer look.
DR. AKIN
Wrongful death... She'll have to go to
the state pathologist at Claxton when
you're done.
(Crawford nods)
I better - get on back for the rest of
that service. Lamar'll help you.
(shaken)
Lord almighty...
He leaves, and Clarice leans INTO SHOT, taking another
photo.
CRAWFORD
What do you see, Starling?
CLARICE
Well, she's not local. Her ears are
pierced three times each, and she's
wearing green glitter nail polish.
Looks like town to me...
CLOSE ANGLE
on the calf of one of the girl's legs, as Clarice trails
the inside of her bare wrist along the skin.
CLARICE (O.S.)
She waxed her legs, I think... A big
girl, just like the others - but she
was careful about her appearance...
UPWARD ANGLE AGAIN
as Lamar joins them for a closer look.
CLARICE
Two of the fingernails are broken off,
and there's - dirt or grit under the
others. She tried to claw her way
through something... I'll scrape out
samples after I've printed her.
45.
She takes another FLASH, then quickly reloads film.
LAMAR
Them fishhooks are set too close
together. No wonder the Franklin boys
was scared to say they found her.
CLARICE
Think they were runnin' a trotline?
Crawford and Lamar both look at her curiously.
CLARICE
(continuing; to
Crawford)
It's a Fish and Game violation. Like
poaching. There's a big fine.
LAMAR
Right... Are you from around here?
CLARICE
They do it lots of places.
CRAWFORD
Get photos of her teeth. Then we'll
fax her fingerprints to Washington,
try to trace her through Missing
Persons.
SIDE ANGLE - CLOSE ON THE DEAD GIRL'S FACE
staring blue eyes, short reddish hair. Clarice sets the
Polaroid, with its special attachments, against the face,
while Lamar gently retracts the lips. Each time the camera
FLASHES, there's a bright glow inside the cheeks.
NEW ANGLE - CHEST HIGH
as Clarice examines a developing print.
CLARICE
She's got something in her throat.
She hands the print to Crawford; he and Lamar look at it,
as she searches in her kit.
LAMAR
When a body comes out of the water,
alots of times there's like, leaves
and things in the mouth.
46.
Clarice holds up a pair of forceps. She glances at
Crawford, who nods. She bends over, partially OUT OF SHOT,
and after a few moments reappears, holding up a small,
brown cylindrical object. She turns this in the air, as
they all stare.
CRAWFORD
What is it - some kind of seed pod?
LAMAR
Nawsir, that's a bug cocoon. But how
come that to get way down in there?
'Less somebody shoved it in...
Clarice and Crawford exchange a glance.
CRAWFORD
She'll be easier to print if we turn
her over. Lamar, will you give me a
hand?
LAMAR
Yessir, I will.
Clarice takes a jar from her kit, carefully drops the
cocoon inside. SOUND of the men's heavy efforts as they
turn over the body, off screen. She seals the jar, staring
into it at the cocoon.
CRAWFORD (O.S.)
Starling - what do you make of these?
She turns to look.
HER POV
low on the corpse's back, over the shoulders, two neat,
triangular patches of skin are missing.
NEW ANGLE - TWO SHOT
as Clarice looks at Crawford.
CLARICE
I don't know. I didn't see those on
any of the other girls...
CRAWFORD
They weren't there. Get close-ups.
Clarice raises her camera, leans in for another FLASH.
CUT TO:
47.
Scene 15 - Investigating the Funeral Home
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
Clarice sits outside, with her head on her knees, drained.
She looks up wanly as Lamar appears, offers her a can of
Coke.
CLARICE
Thanks, I'm not thirsty.
LAMAR
No, hold it under your chin, there,
and on your temples. Cold'll make you
feel better. It does me.
She smiles, touched, and takes the can. When Lamar sees
Crawford coming outside, he tactfully departs. Crawford
sits beside her; there's a brief silence. She soothes
herself with the can.
CRAWFORD
When I told that sheriff we shouldn't
talk in front of a woman, that really
burned you, didn't it?
(she is silent)
That was just smoke, Starling, I had
to get rid of him. You did well in
there.
CLARICE
It matters, Mr. Crawford... Other cops
know who you are. They look at you to
see how to act... It matters.
CRAWFORD
(beat)
Point taken.
She looks at him a moment, then offers the can. He opens
it.
CRAWFORD
(continuing)
When we get back, I want you to run
that bug by the Smithsonian, see if
they can identify it. Maybe it's got
some limited range, or it only breeds
at certain times of year... You found
it, Starling, you deserve the credit.
48.
CLARICE
I'm wondering if he's done that
before - placed a cocoon, or an
insect. It would be easy to miss in an
autopsy, especially with a floater...
Can we check back on that?
CRAWFORD
(shakes his head)
The other girls are in the ground.
Exhumations are upsetting for the
families. I'll do it if I have to,
but -
CLARICE
Then have the lab check Raspail's head.
(he looks at her)
Dr. Lecter's patient - have them probe
his soft-palette tissues... They'll
find another cocoon.
CRAWFORD
You seem pretty sure of that.
CLARICE
Raspail was killed by the same man
who's killing these girls. And Lecter
knows him. Maybe even treated him...
You think so, too, don't you? Or you'd
never have sent me to that asylum.
He looks at her for a moment, then sips again.
CRAWFORD
Before we caught him, Lecter had a big
psychiatric practice in Baltimore. But
he travelled all over the country -
teaching, consulting... Christ, even
testifying in murder trials. Who knows
how many potential psychos he turned
loose, just for the fun of it...?
DISSOLVE TO:
INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT)
A shadowy male figure looks down at us, leaning over the
edge of a deep hole. He holds a little white poodle in his
arms, stroking it. This is MR. GUMB, aka "Buffalo Bill."
49.
MR. GUMB
(softly)
Rub the cream on your skin. Rub it in
gooood...
CATHERINE MARTIN
looks up at him. She is standing on the cement bottom of
the pit, or oubliette, about 15 feet below floor level.
The pit is bare, except for a futon and a plastic toilet
bucket, from which a thin string rises up to the basement.
She's soaking wet, in an orange jumpsuit, and holds a
squeeze bottle of skin lotion. She struggles to sound calm.
CATHERINE
Mister... my family will pay cash.
Whatever ransom you're askin' for,
they -
REVERSE ANGLE - UP TOWARDS MR. GUMB
MR. GUMB
Rub it in! Or you'll get the hose
again.
The little dog squirms in his arms, BARKING excitedly.
MR. GUMB
(continuing)
Yes, it will, Precious, won't it? It
will get the hose!
SIDE ANGLE - AT PIT BOTTOM
as Catherine kneels, turning slightly away from him.
CATHERINE
(under her breath)
Oh God... oh God...
She unzips her jumpsuit, part-way, then squeezes some of
the lotion onto a palm. She reaches inside her suit, rubs
it on.
CATHERINE
(continuing)
Mister, if you let me go, I won't
press charges, I promise. You've only
has me here a couple days, and -
MR. GUMB (O.S.)
No. Just one day...
50.
CATHERINE
Is that all...? See - see, my mom is
a real important woman... Well, I
guess you already know that. She'll
pay you, no questions asked. Whatever
cause you represent - Iran,
Palestine - she'll see that -
A sudden blinding glare of light silences her. She looks
up, shielding her eyes.
HER POV
a floodlamp is descending, attached to a small basket.
MR. GUMB
Put the bottle in the basket. No funny
business, or you'll be sorry...
NEW ANGLE - CATHERINE
as the basket stops, and she steadies it. But as she slips
the bottle in, she sees something, O.S., just at the
fringe of the light. She hesitates, looks closer... then
begins to scream, hysterically, again and again. Her
outflung hand hits the lamp, and in its swaying glare, we
see - high on the concrete walls, all around her -
BLOODY FINGER TRACKS
dried now, brownish - left by many pairs of frenzied
hands...
CUT TO:
Scene 16 - Investigating the Victim
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
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
You better come see this.
CUT TO:
INT. RECREATION ROOM - FBI ACADEMY - DAWN
CLOSE ON a TV screen, filled with a photo of Catherine
Martin.
51.
TV ANCHOR (V.O.)
... was listed at first simply as a
missing person, but is now believed to
have been kidnapped by the serial
killer known only as "Buffalo Bill."
The photo disappears, replaced by the TV ANCHOR himself.
TV ANCHOR
Memphis Police sources indicate that
the missing girl's blouse has been
identified, sliced up the back, in
what has become a kind of grim calling
card. Young Catherine Martin, as we've
said, is the only daughter of U.S.
Senator Ruth Martin -
CLARICE
looks at Ardelia, surprised. Other trainees are drifting
into the rec room, some whispering among themselves.
Clarice stares back at the TV intently.
TV ANCHOR (O.S.)
... the Republican junior senator from
Tennessee. And while her kidnapping is
not at this point considered to be
politically motivated, nevertheless it
has stirred the government -
BACK ON THE TV ANCHOR
TV ANCHOR
... to its highest levels, the
president himself being said to be,
and I quote, "intensely concerned."
Just moments ago, Senator Martin made
this dramatic personal plea...
SENATOR MARTIN (TV FOOTAGE)
fills the screen, in a halo of lens flare, as she speaks
to a jostling crowd of reporters on the front steps of her
Georgetown home. A tall woman, late 40's, with a strong,
taut face.
SEN. MARTIN
I'm speaking now to the person who is
holding my daughter. Her name is
Catherine... You have the power to let
Catherine go, unharmed. She's very
gentle and kind - talk to her and
you'll see. Her name is Catherine...
52.
Clarice is moved by what she sees. Other trainees are all
around her.
CLARICE
(whispers)
Boy, is that smart...
ARDELIA
Why does she keep repeating the name?
CLARICE
Somebody's coaching her... They're
trying to make him see Catherine as a
person - not just an object.
ON THE TV AGAIN
SEN. MARTIN
You have a chance to show the whole
world that you can be merciful, as
well as strong. Please - I beg you -
release my Catherine...
NEW FOOTAGE
as we see (NIGHT, TELEPHOTO) - a taped-off section of
Catherine's parking lot. Technicians, with instruments,
are kneeling by the crushed grocery bag.
2ND TV ANCHOR (V.O.)
Meanwhile. in Memphis, the
investigation continued throughout the
night, as state and local authorities
were joined at the kidnap scene by
agents of the FBI...
MOVING ANGLE (STILL TV FOOTAGE)
as Jack Crawford is seen striding towards the front door
of Catherine's apartment, followed by Burroughs and other
agents. One of them moves quickly towards the CAMERA,
waving it back.
REC ROOM ANGLE - FAVORING ARDELIA
as the other trainees send up a brief, ironic cheer. But
Ardelia turns sympathetically towards the troubled Clarice.
53.
ARDELIA
I don't know whether to say "I'm
sorry," or "Congratulations." But
girl? - you just went prime time.
CUT TO:
EXT. SMITHSONIAN - MUSEUM OF NATURAL HISTORY - DAY
The massive Victorian building looms over Constitution
Avenue. Clarice quickly mounts the steps, carrying a small
plastic box.
CRAWFORD
I don't think he knew that she's a
Senator's child. She's a big girl,
Starling, like all the rest. We're
going on the theory she was randomly
targeted by size...
CUT TO:
INT. MUSEUM CORRIDOR - DAY
Clarice, now accompanied by a museum guard, walks through
an eerie landscape of dinosaur bones - crouching skeletons
with blank eye sockets, gaping fangs.
CRAWFORD (V.O.)
By now, Bill's had her for 36 hours.
That leaves us just 36 more, before he
kills her... But maybe, just maybe,
Starling, we caught a real break this
time - thanks to you.
(beat)
We found another bug, in Raspail's
head.
CUT TO:
Scene 17 - Investigating the Victim
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
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.)
Time, Pilch! My move.
PILCHER (V.O.)
No fair! You lured him with produce.
54.
WIDER ANGLE
shows two entomologists, both 30ish, hunched over the
board. RODEN is a pudgy redhead; PILCHER is lean, quite
handsome.
RODEN
Tough noogies! It's still my turn.
CLARICE (O.S.)
If the beetle moves one of your men,
does that count?
They look up, delighted to see Clarice in the doorway.
Both men are hopelessly smitten by her.
RODEN
Of course it counts. How do you play?
PILCHER
(grins)
Officer Starling. Welcome back.
CUT TO:
INT. ENTOMOLOGY CORRIDOR - DAY
MOVING ANGLE as Clarice and the two men go briskly down a
hall lined with mounted insects, in all shapes and sizes.
Roden peers at Clarice's new cocoon, in its box.
RODEN
Where the hell did this one come from?
It's practically mush.
CLARICE
You really don't want to know.
PILCHER
Your West Virginia specimen gave us
quite a bit of trouble, but I finally
managed to narrow his species through
chaetaxy - studying the skin.
RODEN
I'm the one who found his perforating
proboscis! Are you wearing a gun,
right now?
(Clarice nods)
Ooh, cool! Can I see it? Can I?
55.
PILCHER
Just ignore him. He's not a Ph.D.
CUT TO:
INT. LABORATORY - DAY
VERY CLOSE (MAGNIFICATION) on the sliced cocoon, as Roden
uses tweezers and a dental probe to ease out the sodden
chrysalis.
RODEN (O.S.)
The whole trick is to remove the
chrysalis without destroying it... The
wings are just like wet tissue paper...
THE TWO MEN
are hunched over a formica table, peering through square
magnifiers into stainless trays. Clarice watches
curiously. Of their two specimens, Pilcher's moth is in
much better condition - a big brown creature, its wings
outspread on towel paper.
PILCHER
(without looking up)
What do you do when you're not
detecting, Officer Starling?
CLARICE
I try to be a student, Dr. Pilcher.
PILCHER
Ever get out for cheeseburgers and
beer? The amusing house wine...?
CLARICE
(smiles)
Not lately. But maybe someday.
He looks up at her, shyly. A little moment passes between
them, before Roden straightens, exultant.
RODEN
Positive match!
CLARICE
You're sure?
56.
RODEN
(points with his
dental probe)
West Virginia... Baltimore. Officer
Starling, meet Mister Acherontia styx.
He moves aside for Clarice to get a closer look at
Pilcher's specimen. She leans forward, intently.
HER POV (MAGNIFICATION)
the wide, furry, brown back of the moth. And there, right
between the wing bases - wonderful and terrible to see -
is nature's perfect reproduction of a ghostly human skull.
RODEN (O.S.)
Better known to his friends as the
Death's-head Moth...
PILCHER (O.S.)
The Latin name comes from two rivers
in Hell. Your man - he drops these
girls into rivers, every time. Didn't
I read that?
FAVORING CLARICE
as she looks up at him, awed, excited, almost trembling.
CLARICE
And there's no way - no natural way -
these could've wound up in the bodies?
PILCHER
(shakes his head)
They live in Malaysia. In this
country, they'd have to be specially
raised, from imported eggs.
CLARICE
(pause, then softly)
Dr. Lecter...
As the two men stare at her, puzzled, we hear a SOUND
UPCUT - the wail of police SIRENS - and...
CUT TO:
EXT. U.S. ROUTE 95 - DAY (AERIAL SHOT)
An awesome armada of police vehicles swings through an
intersection, while normal traffic is held back by highway
patrol cruisers.
57.
The lead cars turn off, hit the entrance ramp to the
freeway - SIRENS going, tires SQUEALING, red flashers...
CLOSER ANGLE
on a speeding surveillance van, with long antennas and a
small satellite dish, near the head of the motorcade.
CRAWFORD (V.O.)
Maybe we can trace how he buys the
bugs, starting with U.S. Customs...
CUT TO:
Scene 18 - Investigating the Victim
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 8
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.
CRAWFORD (O.S.)
Maybe we can locate some of Raspail's
old lovers. Maybe, someday...
CLARICE AND CRAWFORD
sit in swivel seats at the rear, by a big window. Clarice
can't resits an occasional peak at the trailing motorcade,
awed and a bit thrilled to be the center of so much
attention.
CRAWFORD
But for Catherine Martin, it all comes
down to you and Lecter. You're the one
he talks to.
CLARICE
He's already offered to help... What
would happen if we just showed our
cards - asked him for Bill?
CRAWFORD
He offered to help, Starling, not to
snitch. That wouldn't give him enough
chance to show off. Remember, Lecter
looks mainly for fun. Never forget fun.
CLARICE
But if he knew we have so little time -
58.
CRAWFORD
If we act too anxious, he'll make us
wait. He'll let the Senator keep
hoping, day after day, until Catherine
finally washes up. That'd be the most
fun of all.
CLARICE
I think he means it, this time. I
think he'll deal.
CRAWFORD
What would it take?
CLARICE
Transfer to a new prison. With a view
of trees, he said, or even water...
Can we swing that?
CRAWFORD
(shakes his head)
State to federal jurisdiction... We
can do it - eventually - but we'll
never get all the clearances in time.
Can you convince him a deal's already
in place?
CLARICE
You'll back me up with some paperwork?
(he nods)
Then I'll try. But wouldn't this have
more weight coming from the Senator
herself?
CRAWFORD
(hesitates)
She doesn't know what we're up to. And
we can't afford to let her find out.
Clarice looks at him, surprised.
CRAWFORD
(continuing)
She's the mother, Starling. She can't
possibly comprehend what Lecter is.
She'd make the mistake of pleading
with him. Begging him... He'd feast on
her pain till the last second of that
girl's life...
CUT TO:
59.
INT. BALTIMORE STATE HOSP. FOR THE CRIMINALLY INSANE - DAY
Chilton approaches, walking briskly down a corridor in the
administration wing. He looks quite agitated.
CRAWFORD (V.O.)
We can't trust Frederick Chilton,
either. He's greedy and ambitious. If
he knew about Lecter's link to Bill,
he's go straight to the newspapers...
Chilton falls into step beside Clarice, who has her
briefcase. He points his gold pen at her accusingly.
CHILTON
What you're doing, Miss Starling, is
coming into my hospital to conduct an
interview, and refusing to share
information with me. For the third
time!
CLARICE
Dr. Chilton, I told you - this is just
routine follow-up on the Raspail case.
CHILTON
He's my patient! I have rights!
(grabs her arm,
stopping her)
I'm not just some turnkey, Miss
Starling. I shouldn't even be here
this afternoon. I had a ticket to
Holiday on Ice.
She stares at him, with pity and distaste, till he lets go.
CLARICE
I'm acting on instruction, Dr. Chilton.
(handing him a card)
This is the U.S. Attorney's number.
Now please - either discuss this with
him, or let me do my job.
She walks away, leaving him speechless with frustration
and hostility. He clicks his pen, watching her go.
CUT TO:
Scene 19 - Negotiating with Lecter
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 10
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
drawings, books, and bedding have been restored.
DR. LECTER
Wouldn't you say, Clarice, that for a
United States Senator, you're an odd
choice of messenger?
Clarice, sitting again at the desk-chair, is taking papers
from her briefcase.
CLARICE
I was your choice, Dr. Lecter. You
chose to speak to me. Would you prefer
someone else now? Or perhaps you don't
think you can help us.
DR. LECTER
That is both impudent and untrue...
Tell me, how did you feel when you
viewed our Billy's latest effort?
(beat; he smiles)
Or should I say, his "next-to-latest"?
CLARICE
By the book, he's a sadist.
DR. LECTER
Life's too slippery for books,
Clarice. Typhoid and swans came from
the same God.
(beat)
Tell me, Miss West Virginia - was she
a large girl?
CLARICE
Yes.
DR. LECTER
Big through the hips. Roomy.
CLARICE
They all were.
DR. LECTER
Mmm. And what else...?
CLARICE
She had an insect deliberately
inserted in her throat. That hasn't
been made public yet. We don't know
what is means.
61.
DR. LECTER
Was it a butterfly?
CLARICE
(pause; staring at
him)
A moth... How did you predict that?
DR. LECTER
I'm waiting for your offer, Clarice.
Enchant me. Clarice looks down at her
papers, taking a moment to collect her
thoughts. She looks up at him again,
evenly.
CLARICE
If you help us find Buffalo Bill in
time to save Catherine Martin, the
Senator promises you a transfer to the
V.A. hospital at Oneida Park, New
York, with a view of the woods nearby.
Maximum security still applies, but
you'd have reasonable access to books.
He is silent. She rises, moves closer, carrying papers.
CLARICE
(continuing)
Best of all, though - one week a year
you'd get to leave the hospital and go
here.
(points to a map)
Plum Island. Every afternoon of that
week you can walk on the beach or swim
in the ocean for up to one hour. Under
SWAT team surveillance, of course...
His face remains neutral. She puts the papers in his food
tray.
CLARICE
(continuing)
Copy of the Buffalo Bill case file,
copy of Senator Martin's terms. Her
offer is final and non-negotiable. If
Catherine dies -
(she slides his tray
through)
You get nothing.
A measured beat, before he rises smoothly, crosses, and
looks down at the papers, without touching them.
62.
DR. LECTER
"Plum Island Animal Disease Research
Center." Sounds charming.
CLARICE
That's just part of the island. It has
a very nice beach. Terns nest there.
DR. LECTER
Terns... If I help you, Clarice, it
will be "turns" with us, too. Quid pro
quo. I tell you things, you tell me
things. Not about this case, though -
about yourself. Yes or no?
(she is silent)
Yes or no, Clarice. Catherine is
waiting. Tick-tock, tick-tock...
She looks at him. A beat. They are standing uncomfortably
close.
CLARICE
Go, Doctor.
DR. LECTER
What's your worst memory of childhood?
(she hesitates)
Quicker than that. I'm not interested
in your worst invention.
CLARICE
The death of my father.
DR. LECTER
Tell me. Don't lie, or I'll know.
Clarice cannot bear the feverish excitement in his eyes.
She looks past him, hesitating again.
CLARICE
He was a town marshal... one night he
surprised two burglars, coming out the
back of a drugstore... They shot him.
DR. LECTER
Killed outright?
CLARICE
No. He was strong, he lasted almost a
month. My mother - dies when I was
very young, so my father had become -
the whole world to me... After he left
me, I had nobody. I was ten years old.
63.
DR. LECTER
You're very frank, Clarice. I think -
it would be quite something to know
you in private life.
CLARICE
Quid pro quo, Doctor.
DR. LECTER
The significance of the moth is
change. Caterpillar into cocoon into
beauty... Billy wants to change, too,
Clarice. But there's the problem of
his size, you see. Even if he were a
woman, he'd have to be a big one...
CLARICE
(puzzled)
Dr. Lecter, there's no correlation in
the literature between transsexualism
and violence. Transsexuals are very
passive.
DR. LECTER
Clever girl. You're so close to the
way you're going to catch him - do you
realize that?
CLARICE
No. Tell me why.
DR. LECTER
After your father's death, you were
orphaned. What happened next?
(Clarice drops her
gaze)
I don't imagine the answer's on those
second-rate shoes, Clarice.
CLARICE
I went to live with my mother's cousin
and her husband in Montana. They had
a ranch.
DR. LECTER
A cattle ranch?
CLARICE
Horses - and sheep...
DR. LECTER
How long did you live there?
64.
CLARICE
Two months.
DR. LECTER
Why so briefly?
CLARICE
I - ran away...
DR. LECTER
Why, Clarice? Did the rancher fuck you?
CLARICE
(angrily)
No.
DR. LECTER
Did he try to?
CLARICE
No...! Quid pro quo, Doctor.
DR. LECTER
Billy's not a real transsexual, but he
thinks he is. He tries to be. He's
tried to be a lot of things, I except.
CLARICE
You said - I was very close to the way
we'd catch him.
DR. LECTER
There are three major centers for
transsexual surgery: Johns Hopkins,
the University of Minnesota, and
Columbus Medical center. I wouldn't be
surprised if Billy has applied for sex
reassignment at one or all of them,
and been rejected.
CLARICE
On what basis would they reject him?
DR. LECTER
The personality inventories would trip
him up. Rorschach, Wechsler, House-
Tree-Person... He wouldn't test like
a real transsexual.
CLARICE
How would he test?
65.
Suddenly Dr. Lecter snarls, loudly, stretching. Clarice
take a sharp step backwards before he smiles, turning his
movement into an elaborate yawn. He gathers the papers
from his tray.
DR. LECTER
That's enough, I think. Happy hunting.
Oh, and Clarice - next time you will
tell me why you ran away. Shall I
summarize?
CLARICE
(shaken)
Yes, Doctor. Please.
CUT TO:
Scene 20 - Investigating the Victim
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 9
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.)
You should try to obtain a list of
males rejected from all three gender
reassignment centers...
PULLING BACK
we see a big wire cage, holding several of the moths. They
crawl over the humus floor or feed at honeycombs, wings
pumping lazily. In the distant background, the incongruous
SOUND of show music.
DR. LECTER (V.O.)
Check first the ones rejected for
lying about criminal records...
CONTINUOUS MOVING ANGLE
at about knee level, as we leave the cage, and begin to
TRAVEL through this eerie, dimly-lit warren of a cellar.
As we go - occasionally TURNING corners, or skirting the
dark openings of unexplored passages - various objects
loom briefly INTO VIEW, overhead - a stainless-steel work
table... a big sink... jars of chemicals... neat racks of
gleaming knives...
66.
DR. LECTER (V.O.)
Among those who tried to conceal their
past, look for severe childhood
disturbances, associated with
violence... Possibly you'll find a
childhood incarceration... Then go to
their personality tests...
We pass a row of female mannequins, some nude, some
wearing colorful leather jackets, designer knockoffs, in
various stages of completion... then a huge maroon
armoire, in Chinese lacquer; its double doors are slightly
ajar... The jaunty background. MUSIC is growing even
louder: Fats Waller singing "Bye Bye Baby." And now we
hear something else, too - the rapid CLICKING of a sewing
machine...
DR. LECTER (V.O.)
(continuing)
Study their drawings, especially.
Billy's house drawings will show no
happy future... No baby carriage, out
in the yard. No pets, no toys, no
flowers, no sun...
We TURN another corner, and there is Mr. Gumb himself. As
we APPROACH, his wide back is to us; he's hunched over an
old-fashioned sewing machine, humming cheerfully, and
working a piece of material that we mercifully cannot see.
A female wig rests near him on a head form. He wears a
hairnet and a beautiful kimono, and pumps the treadle with
his bare feet.
DR. LECTER (V.O.)
(continuing)
His females will be more crudely
sketched than him males - but he'll
compensate by adding exaggerated
adornments... jewelry, big breasts...
And his tree drawings - oh, his trees
will be frightful...
Next to Mr. Gumb is an antique phonograph - source of the
MUSIC. His little dog, Precious, perches by his plump
ankles. As we PASS Mr. Gumb, Precious scurries away from
him, panting happily, and we FOLLOW the little dog down
another corridor, the music starting to fade behind us...
67.
DR. LECTER (V.O.)
(continuing)
Billy hates his own identity, he
always has - and he thinks that makes
him a transsexual. But his pathology
is a thousand times more savage... He
wants to be reborn, Clarice. He will
be reborn...
At the end of this final corridor, the cellar widens into
a low-ceilinged chamber, with two additional doorways, and
in the center of this is the gaping circle of the
oubliette. Precious sniffs her way over to the edge -
excited, tail wagging - than BARKS happily as we hear a
hoarse, ghostly moan from below.
CATHERINE (O.S.)
Pleeeeeeeease.....!
DISSOLVE TO:
INT. DR. LECTER'S CORRIDOR - DAY
MOVING ANGLE - CLOSE ON Dr. Lecter's slippered feet, which
rest on the shelf of a rolling hand truck. RISING along
his tilted form, we see that his ankles are linked by
steel restraints... his legs, waist, upper torso, and arms
are bound by heavy canvas webbing... beneath the webbing
is a strait-jacket... and over his face is a hockey mask.
CHILTON (V.O.)
Bad news, Hannibal...
WIDER ANGLE
shows that Dr. Lecter, on the handtruck, is being pushed
down his corridor by Barney, and back into his open cell.
CHILTON (V.O.)
Gourmet magazine has rejected your
recipe for braised kidneys...
CUT TO:
Scene 21 - Negotiations and Betrayal
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 9
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.
68.
CHILTON
Perhaps you should have been less
specific about what kind.
(to Barney)
Stand him by the toilet. Then leave us.
Barney props the hand truck into position, then both
orderlies go. Chilton finishes another letter, sighs
happily.
CHILTON
(continuing)
Such a lot of correspondence! I can
hardly wait to analyze it in more
detail... But first things first.
Tossing letters onto the cot, he rises, crosses out into
the corridor, and bends to remove a small tape recorder
from underneath Clarice's desk. He waggles it triumphantly
at Dr. Lecter.
CHILTON
(continuing)
I thought she might be looking for a
civil rights violation in Migg's
death, so I bugged you... Not a word
to me in all these years, Hannibal.
Then Crawford sends his bit of fluff
over here, and you just turn to jelly.
It's too pathetic.
SIDE ANGLE - TWO SHOT
as Chilton, back in the cell, leans tauntingly close to
the front of Dr. Lecter's mask.
CHILTON
You still think you're going to walk
on some beach, and see the birdies? I
don't think so, Hannibal... I called
Senator Ruth Martin, and she never
heard of any deal with you. She never
heard of Clarice Starling, either.
They scammed you, Hannibal...
CLOSE ON Dr. Lecter's glittering eyes, behind their slits.
CHILTON
(continuing)
When Crawford gets through milking
you, he's giving you to Baltimore
Homicide for the Raspail murder.
(more)
69.
CHILTON (cont'd)
And they're preparing some special
surprises for you right now, in my
electroshock room.
DR. LECTER'S POV (FRAMED BY EYE-SLITS)
first looking at Chilton's moving lips... then LOWERING to
his soft, white, inviting throat...
CHILTON
The Starling bitch wants you to rot
here, in this little box, till your
teeth fall out and you're soiling
diapers. You've seen the old ones,
Hannibal. They weep when their stewed
peaches get cold. That'll be you, too.
Unless - you trade with me.
FAVORING CHILTON
as he sits chummily on the table.
CHILTON
There never was a deal with Senator
Martin - but there is now. I've been
on the phone for hours, Hannibal, on
your behalf. Here's what you get: if
you identify Buffalo Bill, and the
girl is found in time, Senator Martin
will have you transferred to Brushy
Mountain State Prison, in Tennessee...
CLOSE AGAIN ONDR. LECTER'S EYES
as they shift restlessly, away from Chilton - then
suddenly lock onto something. They widen with interest.
CHILTON (O.S.)
The Governor has already agreed. You
get books, a view of the woods, and
plenty of exercise time...
DR. LECTER'S POV - EXTREME CLOSEUP
On the cot, carelessly left there, lying half-hidden under
the letters and the rumpled sheet... is Chilton's gold pen.
CHILTON (O.S.)
And best of all, you'd be out of Jack
Crawford's reach, forever. The Senator
will verify these terms on the phone,
and guarantee them in writing...
70.
BACK ON DR. LECTER
as he stares a moment longer at the pen, then shifts his
eyes towards Chilton. We can almost hear his brain
clicking.
CHILTON (O.S.)
In exchange, I get your full
cooperation in publishing a
professional account of this - my
successful interviews with you. You
publish nothing. And I get exclusive
access to any material from Catherine
Martin... So. Do you accept my demands?
(pause)
Answer me, Hannibal.
A beat. Dr. Lecter is silent. Chilton sticks his face INTO
SHOT, almost intimately close to the mask. He is agitated.
CHILTON
You'll answer me now, or by God,
you'll answer to Baltimore Homicide.
Who is Buffalo Bill?
DR. LECTER
(pause; then softly)
I'll tell the Senator herself. But
only in Tennessee...
CUT TO:
Scene 22 - Negotiations and Ultimatums
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 9
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.
DR. DANIELSON
I'm not having a witch hunt here, Mr.
Crawford! Our patients are decent, non-
violent people with a real problem.
CRAWFORD
Dr. Danielson, the man we want was
never your patient. It would be
someone you refused because he tries
to conceal a record of criminal
violence. Please, Doctor - time is
eating us up. Just show me the ones
you've turned away.
71.
Danielson enters a cramped, stainless steel nurse's
gallery, with Crawford following, and pours himself a cup
of coffee.
DR. DANIELSON
(adamantly)
Examination and interview materials
are confidential. We've never violated
an applicant's trust, and we never
will.
CRAWFORD
You want to see a violation? This is
a violation...
He takes a black & white photo from his folder, slaps it
down in front of Danielson. From our angle, we can't see
it clearly.
CRAWFORD
(continuing)
Her name is Kimberly Jane Emberg, she
was just ID'd. I met her on a slab in
West Virginia. And sometime tomorrow,
or tomorrow night, he's going to do
the same thing to Catherine Martin.
DR. DANIELSON
That's a childish, bullying stunt, Mr.
Crawford. I was a battlefield surgeon,
so you can put away your picture.
Burroughs sticks his head in, looking for Crawford.
BURROUGHS
Phone, Jack. Director Burke.
CRAWFORD
(snaps)
In a minute!
Burroughs hurriedly retreats. Crawford strains for
patience.
CRAWFORD
(continuing)
Look... search your own records, if
you prefer. You can do it a lot faster
than us, anyway. If we find Buffalo
Bill through your information, I'll
suppress it. Nobody has to know this
hospital cooperated.
72.
DR. DANIELSON
I doubt very much that the FBI or any
other government agency can keep a
secret, Mr. Crawford. Truth will
out... And then what? Will you give
Johns Hopkins a new identity? Put a
big pair of sunglasses on this
building, and a funny nose?
CRAWFORD
Oh, that's clever, Dr. Danielson. Very
humorous. You like the truth? Try this.
(right in his face,
enraged)
He kidnaps young women and kills them
and rips their skins off. We don't
want him to do that anymore. If you
don't help me, just as fast as you
can, then the Justice Department is
going to ask publicly for a court
order, We'll ask twice a day, just in
time for the morning and evening news.
And each one of our press conferences
will focus on Dr. Danielson, over at
Johns Hopkins, and how we're still
hoping for his cooperation. And every
time there's any news on the
case -when Catherine Martin floats,
when the next one floats, and the next
one - why, we'll just issue another
press release about good ol' Dr.
Danielson, over at Johns Hopkins -
complete with all his humorous fucking
remarks.
DR. DANIELSON
(pause; stiffly)
It may be that - I could confer with
my colleagues on this. And get back to
you.
CRAWFORD
Would you, Doctor? That would be so
kind.
CUT TO:
INT. THE SURVEILLANCE VAN - DAY
Crawford is on the scrambler phone. Burroughs watches
silently.
73.
CRAWFORD
(on phone; stunned)
Transferred...?
CUT TO:
INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY
HAYDEN BURKE, the FBI Director, swivels in his big chair.
Lean, late 40's, very distinguished. His desk is flanked
by flags.
DIRECTOR BURKE
(on phone)
Already airborne for Memphis. Senator
Martin's meeting him at the airport.
(uneasily)
Jack - did you make some soft of
promise to Lecter, in the Senator's
name?
Listening to the answer, he looks uncomfortably across his
desk at PAUL KRENDLER, the Deputy Attorney General - 40,
very tanned, modish haircut. Krendler is irritable,
impatient.
DIRECTOR BURKE
(continuing; on phone)
We're going to have to talk about
this, Jack. The Senator's mad as hell.
Paul Krendler's over here from
Justice, she's asking him to take
charge in Memphis... I know that...
But you're still in command of the
task force, and Lecter's plane can
still be ordered back. It's your call,
Jack - but I want it now.
CUT BACK TO:
INT. THE SURVEILLANCE VAN - DAY
Burroughs starts to make an objection, but Crawford stills
him with a hand motion. He is taut, frustrated. Long pause.
CRAWFORD
(into phone)
Let him land.
CUT TO:
74.
Scene 23 - Clarice's Anger
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Clarice opens her door, stares out at Crawford. She's just
slipping on her blazer, over her shoulder holster. She's
furious.
CLARICE
Chilton has killed her, hasn't he?
That slimy little bastard! We were so
close with Lecter - and now her last
chance is gone.
CRAWFORD
Let's get some coffee and talk.
CUT TO:
EXT. FBI ACADEMY GROUNDS - QUANTICO - DAY
MOVING ANGLE on Clarice and Crawford, as they walk along
a sidewalk, sipping from paper cups. The surveillance van
trails them slowly, radios CRACKLING.
CLARICE
Are you in trouble over this, Mr.
Crawford? Can Senator Martin do
something to you?
CRAWFORD
I'm 53, Starling. If I found Jimmy
Hoffa on national TV, I'd still have
to retire in two years. It's not a
consideration. But you are...
(beat)
You've done enough. If I keep you out
of school any longer, you'll be
recycled. Cost you six months, at
least. I can guarantee you readmission
here, but that's about it.
(he stops,
looks at her)
Now's your chance, Starling. Go back to
class. Leave Bill to me.
CLARICE
If you didn't want me chasing him, you
shouldn't have taken me to that
funeral home.
He looks at her steadily, then nods. They walk on.
75.
CLARICE
(continuing)
Lecter is still the key, I know he is.
Whatever he told me about Bill is just
as good now as it was before.
CRAWFORD
Or just as worthless. But I want you
in Memphis, close to him. Maybe when
he gets tired of toying with Senator
Martin, he'll talk to you again.
There's a plane waiting for you now at
the airstrip.
She smiles at this acknowledgment; he never thought she's
quit.
CLARICE
I lied to Lecter. I'll need some kind
of peace offering... Can I get the
drawings from his cell?
CRAWFORD
Good idea. Meantime, try to get a feel
for Catherine Martin. Her apartment,
her friends... how he might've stalked
her. I'm going to the other two
clinics, Minnesota and Ohio.
(he crumples his cup,
tosses it)
Now's the hardest part, Starling. Use
your anger, don't let it keep you from
thinking. Just keep your eyes on
Catherine. We've got less than 30
hours.
CLARICE
(hesitates)
Mr. Crawford... can those cops down
there handle Dr. Lecter?
CRAWFORD
(grimly)
They'll use their best men. But they
better by paying attention...
CUT TO:
Scene 24 - Transfer to Memphis
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 5
- Dialogue: 6
CLOSE ON Dr. Lecter. Behind his mask, the alert, searching
eyes.
76.
CRAWFORD (V.O.)
He will...
OFFICERS PEMBRY AND BOYLE
two sturdy, well-armed, veteran prison guards - are
checking Dr. Lecter's restraints with clever, careful
fingers.
BOYLE
Welcome to Memphis, Dr. Lecter. I'm
Officer Boyle, this is Officer Pembry.
We aim to treat you just as nice as
you treat us. Act like a gentlemen,
you'll get three hots and a cot.
PEMBRY
But we ain't pussy-footin' with you,
buddy ruff. You get cute, try to bite
somebody? - we'll tie your asshole in
a knot. You savvy?
DR. LECTER
Oh yes, Officer Pembry. I certainly do.
The officers turn away, Boyle signing a clipboarded form.
PEMBRY
(under his breath)
Shit, he's just an ol' broke-dick.
Won't be no trouble as all if he don't
flip out.
BOYLE
Dr. Chilton...?
NEW ANGLE - WIDER
as we see that we're in a vast, dusty hangar. Parked to
one side: an EMS ambulance and four highway patrol
cruisers; a dozen troopers stand quietly chatting and
smoking over there. Prentiss is pacing impatiently,
casting anxious glances towards the open hanger doorway.
BOYLE
If you'll please sign right here, sir,
we'll have us a legal transfer.
Chilton instinctively pats his shirt pocket for his gold
pen; it's gone. He searches other pockets, with growing
unhappiness.
77.
BOYLE
(continuing)
Use mine.
PEMBRY
Here they come.
TWO BLACK STRETCH LIMOSINES
glide smoothly into the hangar, stop. Secret Service
agents pour out of the lead car, form a cordon. A driver
opens the rear door of the second car, and Krendler steps
out, followed by the Senator's assistant, with a
briefcase, followed, as last, by the Senator herself.
Barely glancing around, she strides towards Lecter.
NEW ANGLE -DR. LECTER AND SEN. MARTIN
as she stops, struck by the bizarre spectacle of his
restraints. The others instinctively keep a distance, but
Chilton, with theatrical relish, unstraps and removes Dr.
Lecter's mask.
CHILTON
Senator Martin, meet Dr. Hannibal
Lecter.
They stare at one another for a long moment: the Senator
tense, almost haggard, the madman with his unearthly poise.
SEN. MARTIN
Dr. Lecter, I've brought an affidavit
guaranteeing your new rights... You'll
want to read it before I sign.
He assistant unsnaps his briefcase, reaches for the form.
DR. LECTER
I won't waste your time and
Catherine's time bargaining for petty
privileges. Clarice Starling and that
awful Jack Crawford have wasted far
too much already. I only pray they
haven't doomed the poor girl... Let me
help you now, and I'll trust you when
it's all over.
SEN. MARTIN
You have my word. Paul?
Krendler raises a pad, poised to take notes.
78.
DR. LECTER
Buffalo Bill's real name is William
Rubin. I met him just once. He was
referred to me in April or May, 1980,
by my patient Benjamin Raspail. They
were lovers, but Raspail had become
very frightened. Apparently Rubin had
murdered a transient, and - done
things with the skin. He thought if I
could cure Billy, then Billy'd be safe
from the police, and he's be safe from
Billy... Obviously, he was wrong.
KRENDLER
We need his address, a physical descr-
DR. LECTER
Did you nurse Catherine?
SEN. MARTIN
(pause; startled)
What...?
DR. LECTER
Did you breast-feed her?
He flicks his tongue obscenely.
KRENDLER
You son-of-a -
The Senator stills him with a hand. She is trembling.
SEN. MARTIN
Yes... I did.
DR. LECTER
Toughened your nipples, didn't it...?
(a beat; then
rapidly, bored)
Six foot one, strongly built, about
190 pounds. Hair brown, eyes pale
blue. He'd be about 35 now. He said he
lived in Philadelphia, but may have
lied. That's really all I can
remember, Senator - but if I think of
any more, I'll let you know.
SEN. MARTIN
(to the others)
Let's go with it.
They start towards the car, but he calls out, stopping her.
79.
DR. LECTER
Senator Martin...! You can't trust
Jack Crawford or Clarice Starling.
It's such a game with these people.
They're determined to get the arrest
for themselves. The "collar," I think
they say.
SEN. MARTIN
Thank you, Doctor. I'll keep it in
mind.
DR. LECTER
Oh, and Senator...? Love you suit.
DISSOLVE TO:
Scene 25 - Desperation in the Basement
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 6
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.)
(muttering, feisty)
Close enough to fuck is close enough
to fight...
CATHERINE
is hunched over in concentration. The plastic toilet
bucket is on her lap, and she has yanked down its cotton
string.
CATHERINE
Get my legs round your neck, you
goddamn creep, I'll send you home to
Jesus...
HER FINGERS
are tying a chicken bone to the bucket's handle, where it
meets the string. The other end of the string is tied to
her wrist.
SHE STANDS
gathers the coiled string in one hand, and swings the
bucket by its handle, calculating this distance up to the
basement floor.
CATHERINE
Okay, Precious. Time for a treat...
80.
She hurls the bucket upwards.
AT THE LIP OF THE OUBLIETTE
the bucket sails out, bounces LOUDLY, then falls back
inside.
ANGLE ON THE DOG, PRECIOUS
who is elsewhere in the basement, worrying a toy. She
cocks an ear, making a low GROWL, then sets off to
investigate.
DOWN IN THE PIT
Catherine swings the bucket again, trying another cast.
THE BUCKET LANDS
two feet beyond the pit's edge, rolls a bit, stops.
PRECIOUS TROTS UP
then pauses, staring curiously towards...
VERY LOW ANGLE (DOG'S POV)
the enticing chicken bone, six feet away. It twitches as
Catherine tugs on the string, edging the bucket back
towards the pit.
Precious with her tail wagging, BARKS - greedy but
suspicious.
CATHERINE
staring upwards, pulls again, even so gently, at the
string.
CATHERINE
(softly)
Preeeeecious...! C'mon, boy, nice
yummy bone... c'mon, you little shit...
PRECIOUS
edges reluctantly closer... then suddenly rushes in,
seizing the bone in her teeth. She tries to run away with
it, but Catherine is pulling her towards the hole, working
her like a hooked fish. Her toenails scrabble as she tries
to stop.
81.
CATHERINE
stares desperately, unable to see how she's doing.
CATHERINE
Hang on, boy... hang on...
PRECIOUS
still fights for the bone, GROWLING, as the bucket rocks
precariously on the edge of the pit. A long, seesaw
battle... until finally, when one of her forelegs slips
momentarily into the hole, she panics and lets go. The
bucket flops over the edge.
CATHERINE
crouches, covering her head as the bucket bounces off her.
CATHERINE
Nooooo...!
THE LITTLE DOG
furious, BARKS down at her, then trots away in disgust.
CLOSE ON CATHERINE
as she sinks to the cold cement. She slaps aside the foil
tray, the scraps of food, sobbing in utter despair...
DISSOLVE TO:
INT. CATHERINE MARTIN'S APARTMENT - LIVING ROOM - DAY
CLOSE ON a framed photo of Sen. Martin and Catherine, held
in Clarice's cotton-gloved hands. Powdered fingerprints on
the glass.
Clarice glances up from the photo, smiles disarmingly at -
A young STATE TROOPER sitting in Catherine's easy chair.
He smiles back at her, then relaxes, returns to his
newspaper. He also wears gloves.
CUT TO:
INT. KITCHEN
Clarice closes the refrigerator door, glances around.
82.
A big REEL-TO-REEL TAPE RECORDER has been set up on the
breakfast counter, attached to Catherine's phone. Two new
red phones are hooked up as well.
CUT TO:
INT. BATHROOM
Clarice slides open the medicine cabinet's mirror, looks
inside. She reaches in, pokes carefully amongst the
lotions.
CUT TO:
INT. ATTIC CRAWL-SPACE
A ceiling hatch bangs open, sending up dust clouds.
Clarice, lit from underneath, pokes her head through,
looking around.
CUT TO:
INT. BEDROOM
Flat on her back, Clarice wriggles out from under
Catherine's bed. She sits up, brushing dust from her face
and hair.
CUT TO:
Scene 26 - Confrontation and Consequences
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
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
figure suddenly looms INTO SHOT, giving her a bad start;
she cries out softly.
Senator Martin is revealed, staring at her suspiciously.
SEN. MARTIN
Who are you, please? I thought the
police were through in here.
CLARICE
I'm Clarice Starling, Senator. FBI.
83.
SEN. MARTIN
(softly, very angry)
Clarice Starling...
(calls out)
Paul? Would you come in here,
please...?
Krendler enters from the hallway, looks at Clarice.
SEN. MARTIN
(continuing)
Miss Starling, you may know the Deputy
Attorney General, Mr. Krendler. Paul,
this is the trainee that Jack Crawford
sent to Lecter... She lied to him,
pretending to have my authority, and
thus jeopardized this entire
investigation. Now she has the further
gall to invade my daughter's privacy,
again without permission. If her
little games have killed my baby...
Overcome, she hurries from the room. Krendler shuts the
door behind her, points sternly at Clarice.
KRENDLER
You're out of line, Starling, and
you're off this case. Back to Quantico.
CLARICE
Sir, Mr. Crawford instructed me -
KRENDLER
Your instructions are what I'm giving
you now. Jack Crawford answers to the
Director, and the Director answers to
me. My God, Crawford's losing it...!
He shouldn't even be on this, with his
wife sick as she is... How the hell
did you get in here, anyway? He gave
you -what? Some kind of special ID?
Let's have it.
CLARICE
(stubbornly)
I need the ID to fly with my gun. The
gun belongs in Quantico.
KRENDLER
Gun. Jesus. Turn in the ID as soon as
you get back. The gun, too. Be on the
next plane, Starling, there's one in
90 minutes.
84.
Clarice, burning, starts for the door, then turns back.
CLARICE
Mr. Krendler... Dr. Lecter trusts me.
Or at least, he used to. If I could
just -
KRENDLER
Lecter has already named Buffalo Bill.
Clarice reacts, surprised. Krendler takes a folded
computer sheet from his pocket, shoves it at her. She
takes it, reads.
KRENDLER
(continuing)
He gave us a perfectly good
description, and we're on it now, so
we won't be needing your little
novelty act any longer - or his,
either. He's under close guard at the
courthouse, pending a prison transfer.
The next plane, Officer.
CLARICE
Sir, doesn't this "William Rubin"
strike you as - I don't know - kind of
vague?
Krendler moves in very close to her, pale with anger.
KRENDLER
Do you need a police escort, Starling?
Or do you think you can find the
airport by yourself?
CLARICE
Yes sir. I can find it by myself.
CUT TO:
EXT. SHELBY COUNTY COURTHOUSE - DAY
The old courthouse is a massive Gothic stronghold, with an
armada of police cruisers parked at the curb.
Clarice climbs from her rented car, SLAMMING the door
angrily. Holding a rolled-up pile of papers - Dr. Lecter's
drawings - she starts determinedly up the steps. A nearby
commotion makes her pause.
Dr. Frederick Chilton in a sea of interviewers and mini-
cams, is preening grandly.
85.
Clarice carefully avoiding his gaze, slips up the steps
and inside.
CUT TO:
INT. COURTHOUSE - GROUND FLOOR - DAY
SGT. TATE, a Memphis policeman, is studying Clarice's ID.
He looks up at her from his command desk, a bit doubtfully.
SGT. TATE
Are you with Mr. Krendler's people?
CLARICE
I just left him.
SGT. TATE
Access to Lecter is strictly limited.
We've been getting death threats.
(hesitates again)
Log in, and check your weapon.
He picks up a phone, murmurs into it. As he does so,
Clarice glances around this main ground floor lobby.
HER POV
The building looks like an armed fort. Cops with shotguns
guard the front door, both ends of the hall, the foot of
the stairs, the single elevator. More of them are coming
and going.
MURRAY (V.O.)
Shoot, we haven't had this kinda
security since the President came
through town...
CUT TO:
INT. ELEVATOR - MOVING
Clarice and OFFICER MURRAY, a young patrolman, ride up in
an old-fashioned, CREAKING, metal-cage elevator. He is
excited.
MURRAY
Every cop in Tennessee wants a look at
this guy. 'Sit true what they're
sayin' - he's some kinda vampire?
86.
CLARICE
(beat)
I don't have a name for what he is.
CUT TO:
Scene 27 - Confrontation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
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?
CLARICE
Yes, Officer Pembry. I've questioned
him before.
He waves her on her way, but retains the drawings for now.
MOVING ANGLE - WITH CLARICE
as she crosses the big, spare, white octagonal room. A
massive, temporary iron cage has been installed; Officer
Boyle sits facing its barred door. He rises, nods, moving
away to allow her privacy.
INSIDE THE CAGE
a cot and a small table, each bolted to the floor, and a
limsy paper screen, hiding a toilet. Dr. Lecter sits at
the table, his back to her, studying the Buffalo Bill case
file. He now wears a green prison jumpsuit. A small
cassette player is chained to the steel table.
DR. LECTER
(without turning)
Good afternoon, Clarice.
She stops at a striped police barricade, before his bars.
CLARICE
I thought you might want your drawings
back... Just until you get your view.
DR. LECTER
How very thoughtful... Or did Crawford
send you here for one last wheedle -
before you're both booted off the case?
CLARICE
Nobody sent me. I came on my own.
87.
He spins in his swivel chair, stops neatly. A coy smile.
DR. LECTER
People will say we're in love.
(beat)
Pity you tried to fool me, isn't it?
Pity for poor Catherine. Tick-tock...
He spins again in his chair, playfully.
MOVING ANGLE - FAVORING CLARICE
as she circles the cage, trying to keep his face in sight.
CLARICE
Dr. Lecter, you find out everything.
You couldn't have talked with this
"William Rubin", even once, and come
out knowing so little about him... You
made him up, didn't you?
DR. LECTER
Clarice... you're hardly in a position
to accuse me of lying.
CLARICE
I think you were telling me the truth
in Baltimore - or starting to. Tell me
the rest now.
DR. LECTER
I've studied the case file, have
you...? Everything you need to find
him is right in these pages. Whatever
his name is.
CLARICE
Then tell me how.
DR. LECTER
First principles, Clarice. Simplicity.
Read Marcus Aurelius. Of each
particular thing, ask: What is it, in
itself, what is its nature...? What
does he do, this man you seek?
CLARICE
He kills w-
DR. LECTER
(sharply, as he stops)
No! That's incidental.
88.
CLOSE ANGLE - TWO SHOT
as he rises, pained by her ignorance, and crosses to the
bars.
DR. LECTER
What is the first and principal thing
he does, what need does he serve by
killing?
CLARICE
Anger, social resentment, sexual frus-
DR. LECTER
No, he covets. That's his nature. And
how do we begin to covet, Clarice? Do
we seek out things to covet? Make an
effort to answer.
CLARICE
No. We just -
DR. LECTER
No. Precisely. We begin by coveting
what we see every day. Don't you feel
eyes moving over your body, Clarice?
I hardly see how you couldn't. And
don't your eyes move over the things
you want?
CLARICE
All right, then tell me how -
DR. LECTER
No. It's your turn to tell me,
Clarice. You don't have any more
vacations to sell, on Anthrax Island.
Why did you run away from that ranch?
CLARICE
Dr. Lecter, when there's time I'll -
DR. LECTER
We don't reckon time the same way,
Clarice. This is all the time you'll
ever have.
CLARICE
Later, listen, I'll -
89.
DR. LECTER
I'll listen now. After your father's
murder, you were orphaned. You were
ten years old. You went to live with
cousins, on a sheep and horse ranch in
Montana. And - ?
CLARICE
And - one morning I just - ran away...
She turns from him. He presses closer, gripping the bars.
DR. LECTER
Not "just," Clarice. What set you off?
You started what time?
CLARICE
Early. Still dark.
DR. LECTER
Then something woke you. What? Did you
dream...? What was it?
IN FLASHBACK
The 10-year old Clarice sits up abruptly in her bed,
frightened. She is in a Montana ranch house; it almost
dawn. Strange, fearful shadows on her ceiling and walls...
a window, partly fogged by the cold; eerie brightness
outside.
CLARICE (V.O.)
I heard a strange sound...
DR. LECTER (V.O.)
What was it?
THE CHILD RISES
crosses to the window in her nightgown, rubs the glass.
CLARICE (V.O.)
I didn't know. I went to look...
HIGH ANGLES (2ND STORY) - THE CHILD'S POV
Shadowy men, ranch hands, are moving in and out of a
nearby barn, carrying mysterious bundles. The mens' breath
is steaming... A refrigerated truck idles nearby, its
engine adding more steam. A strange, almost surrealistic
scene...
90.
CLARICE (V.O.)
Screaming! Some kind of - screaming.
Like a child's voice...
THE LITTLE GIRL
is terrified; she covers her ears.
DR. LECTER (V.O.)
What did you do?
CLARICE (V.O.)
Got dressed without turning on the
light. I went downstairs... outside...
Scene 28 - The Little Girl
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 10
- Dialogue: 9
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.
CLARICE (V.O.)
I crept up to the barn... I was so
scared to look inside - but I had to...
THE LITTLE GIRL'S POV
as the open doorway LOOMS CLOSER... Bright lights inside,
straw bales, the edges of stalls, then moving figures...
DR. LECTER (V.O.)
And what did you see, Clarice?
A SQUIRMING LAMB
is held down on a table by two ranch hands.
CLARICE (V.O.)
Lambs. The lambs were screaming...
A third cowboy stretches out the lamb's neck, raises a
bloody knife. Just as he's about to slice its throat -
BACK TO THE ADULT CLARICE
staring into the distance, shaken, still trembling from
the child's shock. We see Dr. Lecter, over her shoulder,
studying her intently.
DR. LECTER
They were slaughtering the spring
lambs?
91.
CLARICE
Yes...! They were screaming.
DR. LECTER
So you ran away...
CLARICE
No. First I tried to free them... I
opened the gate of their pen - but
they wouldn't run. They just stood
there, confused. They wouldn't run...
DR. LECTER
But you could. You did.
CLARICE
I took one lamb. And I ran away, as
fast as I could...
IN FLASHBACK
a vast Montana plain, and crossing this, a tiny figure -
the little Clarice, holding a lamb in her arms.
DR. LECTER (V.O.)
Where were you going?
CLARICE (V.O.)
I don't know. I had no food or water.
It was very cold. I thought - if I can
even save just one... but he got so
heavy. So heavy...
The tiny figure stops, and after a few moments sinks to
the ground, hunched over in dispair.
CLARICE (V.O.)
(continuing)
I didn't get more than a few miles
before the sheriff's car found me. The
rancher was so angry he sent me to
live at the Lutheran orphanage in
Bozeman. I never saw the ranch again...
DR. LECTER (V.O.)
But what became of your lamb?
(no response)
Clarice...?
92.
BACK TO SCENE
as the adult Clarice turns, staring into his feverish
eyes. She shakes her head, unwilling - or unable - to say
more.
DR. LECTER
You still wake up sometimes, don't
you? Wake up in the dark, with the
lambs screaming?
CLARICE
Yes...
DR. LECTER
Do you think if you saved Catherine,
you could make them stop...? Do you
think, if Catherine lives, you won't
wake up in the dark, ever again, to
the screaming of the lambs? Do you...?
CLARICE
Yes! I don't know...! I don't know.
DR. LECTER
(a pause; then, oddly
at peace)
Thank you, Clarice.
CLARICE
(a whisper)
Tell me his name, Dr. Lecter.
DR. LECTER
Dr. Chilton... I believe you know each
other?
NEW ANGLE
as Clarice turns, startled, and the fuming Chilton seizes
her elbow. Pembry and Boyle are beside him, looking grim.
CHILTON
Out. Let's go.
PEMBRY
Sorry, ma'a m - we've got orders
tohave you put on a place.
Clarice struggles, pulling free of them for a moment.
93.
DR. LECTER
Brave Clarice. Will you let me know if
ever the lambs stop screaming?
CLARICE
(moving closer to the
bars)
Yes. I'll tell you.
DR. LECTER
Promise...?
(she nods. He smiles)
Then why not take your case file? I
won't be needing it anymore.
He holds out the file, arm extended between the bars. She
hesitates, then reaches to take it.
VERY CLOSE ANGLE - SLOW MOTION
as the exchange is made, his index finger touches her
hand, and lingers there, just for a moment.
DR. LECTER'S EYES
widen, crackling at this touch, like sparks in a cave.
DR. LECTER
Good-bye, Clarice.
CLARICE
hugging the case file to her chest, stares back at him as
the men crowd in on her, pushing her away.
HER POV - MOVING
as Dr. Lecter, head cocked in a smile, slowly recedes...
DISSOLVE TO:
Scene 29 - Desperate Escape
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
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
tables. The seamstresses, mostly black or Hispanic, glance
up as he passes, then quickly avert their eyes, his
presence disturbing them in some nameless way.
94.
A thin FOREMAN in a flowery shirt, sees him approaching.
He rises from his desk and comes over cheerfully, as the
rack rolls to a stop.
FOREMAN
Hello, dear! Punctual as always. And
what have you brought us today?
He seizes one of the dangling jackets, pulling up the
plastic wrapper. He examines it, stroking the sleeve.
FOREMAN
(continuing)
Oh, marvelous... You know, I always
say you're the Leonardo of leather.
MR. GUMB (O.S.)
(a harsh whisper)
Oil.
FOREMAN
Pardon...?
MR. GUMB (O.S.)
You're leaving oil on the skin.
The foreman quickly releases the jacket.
FOREMAN
Of course... You'll be wanting your -
Mr. Gumb's hand reaches INTO SHOT, snatching an envelope
from him. The foreman is watching him walk away, as a
seamstress comes over to take the rack of garments. The
foreman is vaguely troubled, but shakes it off. He strokes
the jacket again, admiringly.
FOREMAN
(continuing; to
seamstress)
I wish we had a dozen like him...
SOUND UPCUT - Glenn Gould playing Bach's Goldberg
Variations...
CUT TO:
INT. MEMPHIS INTERNATIONAL AIRPORT - LOUNGE AREA - DUSK
Clarice, in a line of other passengers, is moving slowly
towards a departure ramp. Through a huge plate glass
window, we can see her plane. She glances back over her
shoulder at
95.
A pair of UNIFORMED COPS brawny and impassive, their arms
folded, waiting to make sure she board the flight.
Clarice sighs, turning wearily back towards the jetway.
The BACH CONTINUES, as we...
CUT TO:
Scene 30 - Confrontation in the Cell
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
NIGHT
CLOSE ON a steaming, rather elegant dinner tray, being
carried by Pembry, as he approaches Dr. Lecter's cell.
PEMBRY
(shouts)
Ready when you are, Doc!
IN THE CELL
the BACH is issuing from the cassette player. Beside it,
on the table, the pile of Dr. Lecter's drawings. The top
one is an accurate, sensitive portrait, from memory, of
Clarice. Beyond the table, we see Lecter's shadowy form,
seated behind the paper screen. He calls out from there.
DR. LECTER (O.S.)
Just another minute, please!
Pembry grunts, sets the tray down. Boyle joins him,
handing him a riot baton and a Mace cannister, which
Pembry fastens to belt clips. Boyle is similarly armed,
and carries a ring of keys.
PEMBRY
Sumbitch demanded lamb chops for
dinner, extra rare.
BOYLE
(laughs)
What you reckon he'll want for
breakfast - some fuckin' thing from
the zoo?
INSIDE THE SCREEN
Dr. Lecter sits fully clothed on the toilet - swaying
slightly, eyes closed, lost in the music, tongue working
in his cheek. Suddenly, like magic, a little shiny piece
of metal protrudes from his lips. He plucks it out, opens
his eyes.
96.
IN EXTREME CLOSEUP
he is holding the pocket clip from Prentice's disassembled
pen - a straight, thin strip of metal, with a circular
collar at one end, a square edge at the other.
DR. LECTER
lines up his thumbnail just shy of the square edge, then
braces it against the stainless steel toilet rim. He
pushes down, hard, using both hands for leverage. After a
moment he smiles, holding up the result, and twirling it
before his eyes.
IN EXTREME CLOSEUP
the straight end of the clip now forms a tiny right angle,
and the circular end anchors nicely between his fingers.
OUTSIDE THE CELL
Pembry and Boyle turn as the toilet FLUSHES, and Dr.
Lecter reappears, looking jaunty.
PEMBRY
Okay, Doc, grab some floor. Same drill
as lunchtime.
Dr. Lecter sits on the floor, legs straight, then wriggles
backwards. He stretches his arms behind him, hands and
wrists through the bars, with two bars between them, and
clasps his hands.
DR. LECTER
I'm ready when you are, Officer Pembry.
Pembry comes around the cell to squat behind Dr. Lecter.
He tugs his hands farther out, rather roughly, handcuffs
his wrists. He shakes the cuffs, making sure of them, then
nods to Boyle.
NEW ANGLE - AT CELL DOOR
as Boyle picks up the dinner tray, and Pembry crosses
around. Pembry takes the keys from Boyle, unlocks the cell
door, and pushes it inward. Boyle goes inside with the
tray.
DR. LECTER
watches as Boyle approaches the table, above five feet
from him. Boyle has to set his tray down on the floor to
clear off some of the mess of drawings. The MUSIC plays on.
97.
VERY CLOSE ON
... Dr. Lecter's hands, outside the bars, as the makeshift
key, held between the tips of his right index and middle
fingers, searches for the keyhole of the cuffs. And finds
it.
NEW ANGLE - FAVORING BOYLE
as he finishes clearing the drawings, then turns back
towards Dr. Lecter, stooping to pick up the tray.
BOYLE'S RIGHT HAND
is just inches from the tray when Dr. Lecter's hand darts
INTO SHOT, snapping a handcuff onto his wrist.
BOYLE
looks up, astonished, to find himself right in the
grinning face of Dr. Lecter - who just as quickly rolls
sideways, and snaps -
THE OTHER CUFF
around the bolted leg of the table. And suddenly all
natural SOUND and MOTION are suspended, as the MUSIC soars
much louder, each separate note of it now echoing
distinctly, and we see...
VARIOUS ANGLES - EACH BLURRING INTO STOP-ACTION
Pembry starting into the cell, reaching for his riot
baton...
Dr. Lecter smashing against the cell door, driving it into
Pembry, pinning him across the chest, against the door
frame...
Boyle, on one knee on the floor, digging desperately in
his pants pocket for his handcuff key...
Pembry's hand, mashed against his body by the door, as he
strains frantically to reach the baton at his waist...
Pembry's eyes, widening in horror as he stares at...
Dr. Lecter's bared teeth, flashing towards him...
Dr. Lecter gripping Pembry's face in his jaws, shaking it
like a dog shakes a rat...
Boyle finding his key, but in his terror dropping it...
98.
Dr. Lecter yanking the mace can and riot baton from the
dazed Pembry's belt, spraying him in his bloody face, then
clubbing him to his knees...
Boyle, mouth open in a silent scream, finding his key
again, unlocking the handcuff, but then, as he starts to
rise, seeing...
Dr. Lecter standing over him, with the riot baton raised
high; he swings it viciously down, again and again and
again... Then normal SOUND and MOTION are restored as we
go to -
CLOSE ANGLE ON
the cassette player, and the portrait of Clarice, both now
flecked with blood. In addition to the Bach, we now hear
soft PANTING, close by, and whimpering SOBS in the
background.
ANGLE ON DR. LECTER
eyes closed, lost in a favorite passage of the music. His
bloody fingers drift airily with the notes, as his
breathing slows to normal. He opens his eyes, sighs
contentedly, looks down.
HIS POV
By the sprawled legs of Boyle lie various objects that
spilled from his pants pocket - coins, a comb, a big
pocketknife.
DR. LECTER
picks up the pocketknife, examines it happily. About a
four-inch blade. He becomes aware of the WHIMPERING, off
screen, turns.
LOW ANGLE ON PEMBRY
as he crawls, with torturous slowness, towards the command
desk, and the phone. He is crying, but frantically
determined.
PEMBRY'S POV - PARTIALLY BLURRED, THEN CLEARING
Above the desk, hanging from pegs, are his and Boyle's
holstered revolvers...
CUT TO:
99.
Scene 31 - Escape and Confrontation
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 6
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.
Another cop, JACOBS, sits on the desk's edge, flipping
through a magazine; many more cops can be seen beyond
them, idling in the lobby.
SGT. TATE
What is this shit...? Did somebody go
up to five?
(Jacobs shakes his
head)
Call Pembry, ask him what -
A GUNSHOT, and then, moments later, TWO MORE quick ones,
echo down the nearby stairwell. Sgt. Tate jumps to his
feet, grabs a radio mike, as the other cops stir, confused
and noisy.
SGT. TATE
(continuing; into
mike)
CP, shots fired on five! Repeat, shots
fires on five! Outside posts look
sharp, we've got a... Ho-ly shit.
THE BRONZE ARROW
has begun to descend. Down to 4, then past 4...
BACK ON SGT. TATE
as he reacts. The other cops, behind him, are now in a
full uproar, shouting, pulling out guns.
SGT. TATE
(to the others)
SHUT UP...! Guard mount, double up on
your outside posts. Bobby, get the
vests. Rainey, Howard, cover that
fucking elevator if it comes all the
way to -
A COP (O.S.)
It stopped!
100.
THE BRONZE ARROW
has, indeed, frozen at 3.
Sgt. Tate lifts the microphone again.
SGT. TATE
(into mike)
Seal off a ten-block radius. Get me
the SWAT team and an ambulance, double
quick. We're going up.
CUT TO:
INT. STAIRWELL - NIGHT (DIMLY LIT)
HIGH ANGLE on Sgt. Tate as he leads a five-man squad, all
in bulletproof vests, up the stone stairs. They move fast
but carefully, covering each other from landing to landing
with drawn revolvers, shotguns. The distant Back MUSIC
makes a ghostly echo in here...
CUT TO:
INT. THIRD FLOOR CORRIDOR - NIGHT (DIMLY LIT)
A thin rectangle of light on the floor from the open
elevator door. We can't see inside. The MUSIC sounds
closer.
SGT. TATE
approaches very cautiously, gun aimed. The other cops,
behind him, fan out silently to set up angles of fire,
checking the various office doors - all locked - as they
creep up.
MOVING ANGLE - OVER TATE'S SHOULDER
as he reaches the side of the elevator, hesitates, then
spins to point his gun inside. It's empty. He backs away.
SGT. TATE
(shouts at ceiling)
Pembry? Boyle...?
CUT TO:
INT. HISTORICAL SOCIETY ROOM - NIGHT (BRIGHTLY LIT)
ANGLE on the door, from inside, its lettering reversed on
the frosted glass. The Bach is VERY LOUD.
101.
After a moment the door is shouldered open, hard enough
for the glass to shatter, Tate following his gun inside,
moving low, then other cops appearing behind him in the
doorframe. They all freeze, staring in utter horror.
SGT. TATE
Oh no... no...
THEIR POV
is a brief snapshot from hell. The two uniformed bodies,
one sprawled on its back near the door, the other still in
the cell, have been savaged by a knife. Blood and gore
everywhere. The faces are unrecognizable.
SGT. TATE
struggles for control, as the other cops move grimly
around him, into the room. He pulls his walkie-talkie from
his belt.
SGT. TATE
(into mike)
Command post... Two offi-
(a beat; clears his
throat)
Two officers down. Prisoner is
missing. Repeat, Lecter is missing...
He's stripped the bed, might be making
a rope, check all windows. Where the
fuck is my ambulance?
IN THE CELL
a cop angrily punches OFF the music. Jacobs kneels with
his fingers on Boyle's neck.
JACOBS
Boyle is dead, Sarge. His gun's gone...
AT THE OTHER BODY
a cop gently removes a revolver from the bloody fist.
Murray, the young patrolman, brings his ear reluctantly
close to the gory face. A bloody bubble appears there; the
wreckage GROANS, very softly.
MURRAY
This one's alive!
Tate crosses, kneels to see for himself. Murray looks
green.
102.
SGT. TATE
Take ahold of him where he can feel
your hands, son. Talk to him.
MURRAY
What's his name, Sarge?
SGT. TATE
It's Pembry, now talk to him, God
dammit.
(into radio, looking
around)
Boyle's dead, Pembry's read bad.
Lecter is missing and armed - he took
Boyle's gun...
The other cop, checking the cylinder of Pembry's gun,
holds up one finger to Tate.
SGT. TATE
(continuing; into
radio)
Pembry got off one round - there's a
chance Lecter was hit. We heard a
total of three shots fired, so he's
got four left... He's got a knife, too.
CUT TO:
Scene 32 - Confrontation and Escape
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
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
orderlies unload a gurney from an ambulance... Cops kneel
for cover behind cars, aiming guns and rifles up at the
windows...
CUT TO:
INT. HISTORICAL SOCIETY ROOM - NIGHT
A trio of EMS orderlies work fast over the body, already
strapped on its gurney. Then bandage a big plastic airway
into place, over the butchered face, checking for a pulse
at the neck. Young Murray crouches, sickened, gripping a
bloody fist.
MURRAY
You're just fine, Pembry, lookin'
good, buddy, you're gonna make it...
103.
One orderly massages the heart. Another is popping a
plasma bag, ready to insert the needle, when the body
starts convulsing.
ORDERLY
Downstairs - let's go!
Quickly the gurney is elevated, wheeled out of the room,
with cops rushing forward to open the doors, help push,
SWAT men are running by in the hall, automatic rifles at
the ready...
CUT TO:
INT. THE ELEVATOR - DESCENDING - NIGHT
Sgt. Tate, riding down with Jacobs, has his radio out.
SGT. TATE
(into mike)
Ten-four, Lieutenant. I'm on the
elevator, bringing it down. Pembry and
Boyle are both cleared, top three
floors secured, main stairwell
secured. He's somewhere on -
A spot of blood falls on his cheek. He and Jacobs stare at
each other. Another spot hits his shoulder. They look up.
THEIR POV
Blood is dripping slowly from the corner of the service
hatch.
Sgt. Tate motions for silence, as both men draw their guns.
SGT. TATE
(into mike)
Uh, we're pretty sure he's somewhere
on two, sir... That's all for now,
over.
CUT TO:
INT. GROUND FLOOR LOBBY - NIGHT
The elevator doors open, and Tate and Jacobs hurry out,
stepping quickly to the side. Tate reaches back in and -
CLOSE ANGLE
Locks the elevator into position, with its doors open.
104.
OTHER COPS are rushing up to them, curious, as Tate
frantically pushes them aside, gesturing for silence.
SGT. TATE
(whispers)
He's on the roof of the elevator!
CUT TO:
INT. THIRD FLOOR CORRIDOR - NIGHT
Two SWAT officers, PETERSON and KUBELL, turn a key,
unlocking and opening this floor's elevator doorway. The
shaft is dark. Lying prone, they inch up to the edge,
Peterson extends a mirror, on a long pole, out into the
shaft.
IN THE MIRROR (DISTORTED BY THE ANGLE)
Is a distant figure, in a green prison jumpsuit, lying on
his stomach, atop the elevator. A shiny revolver is near
one hand.
PETERSON
whispers into a radio, as Kubell carefully tips an assault
rifle, with a flashlight taped to its barrel, over the
edge.
PETERSON
I see him... There's a weapon by his
hand. He's not moving...
RADIO VOICE
Can you get the drop?
PETERSON
We got the drop.
RADIO VOICE
One warning. Then take him out.
Peterson nods to Kubell, who switches ON the flashlight,
as Peterson shouts down the shaft.
PETERSON
Quinn!! put your hands on your head!!
IN THE MIRROR
the green figure shows no movement.
105.
ANGLE ON THE COPS AGAIN
as Peterson mutters to Kubell.
PETERSON
Put one in his leg.
VERY CLOSE ON
The figure below, as Kubell's gunshot ROARS, echoing
hugely in the shaft, and a slug rips through the
jumpsuited leg. The figure doesn't stir.
PETERSON
staring down the shaft, raises his mike again.
PETERSON
No movement.
RADIO VOICE
Okay, Johnny, hold your fire...
CUT TO:
Scene 33 - Escape and Revelation
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 7
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)
We're coming into the car, we're
opening the hatch. Watch his hands.
Any fire will come from us. Affirm?
PETERSON'S VOICE
Got it.
The SWAT commander hands his radio to another cop, then
looks at Tate. A long, tense moment. Then he waves a
signal.
MOVING ANGLE
as we follow a picked team of four SWAT cops, in full body
armor, rushing into the elevator car. Two men move to the
corners, aim assault rifles at the ceiling. A third man
sets a stepladder in place, and the fourth man, armed with
a big Colt, hurries up the ladder and unclips the hatch.
106.
CLOSE ON
... the service hatch, as the hinged cover drops open, and
a body tumbles through, dangling head first, until it's
caught at the waist. We see the back of the head.
SGT. TATE
shoulders through the SWAT cops for a closer look. He
turns towards the SWAT commander, astonished.
SGT. TATE
That's Pembry!
CUT TO:
INT. EMS AMBULANCE - MOVING
In the rear chamber, a young EMS ATTENDANT is braced
against the vehicle's sway. Behind him, the stretchered
form of his patient, and, through a curtained opening, the
driver. SOUND of the siren.
ATTENDANT
(into radio mike)
He's comatose, but his vital signs are
good. Pressure's 130 over 90... Yeah,
90! Pulse 85...
Behind him, in slightly BLURRED FOCUS, the bloody figure
sits slowly upright...
ATTENDANT
(continuing)
His convulsions have stopped, but he's
got so much loose skin on his face,
it's hard to tell if -
Suddenly he stops, becoming aware of a strange HISSING. He
turns, puzzled...
THE POCKETKNIFE BLADE
in Lecter's fist, flashes high in the air...
CUT TO:
EXT. SIX-LANE FREEWAY - NIGHT (ARC LIGHTS)
MOVING ANGLE on the EMS ambulance, as it races along
normally, its SIREN blazing, the heavy flow of traffic
parting to make way for it.
107.
Then suddenly it begins to weave erratically, changing
lanes, before drifting dangerously to a full stop, almost
side-ways. Cars swerve to avoid hitting it, HONKING
angrily...
CLOSER ANGLE
on the stopped ambulance. After a long, still moment, the
wind-shield wipes come one, incongruously, then stop. Then
the SIREN is shut OFF, and the flashers. The ambulance
starts rolling again - at first jerkingly, then with
increasing speed. We follow it for several more moments,
until is passes - and we LINGER on...
A BIG GREEN INTERSTATE SIGN
... that reads "Memphis International Airport / 2 miles."
CLOSE ANGLE - THROUGH AMBULANCE WINDSHIELD
Dr. Lecter's face is slowly REVEALED, as he wipes across
it with a fistful of gauze, tossing it aside...
DISSOLVE TO:
EXT. MONTANA PLAIN - DUSK - (IN FLASHBACK)
MOVING ANGLE, rushing with dizzy swiftness over the
prairie, over waving grasses... a long passage... before
we come at last to the girl Clarice, sitting with her
lamb, hunched in despair. She rises, her face tear-
stained, and turns from us. Holding the lamb, she starts
back the way she came...
CUT TO:
EXT. COUNTRY DIRT ROAD - NIGHT - BRIGHT MOONLIGHT
MOVING ANGLE, very rapid, down this road... coming at last
to a stopped highway patrol car. Clarice, with her lamb,
is standing in the car's headlights. She starts wearily
towards the sheriff...
CUT TO:
EXT. RANCH BARNYARD - NEAR DAWN
CRANE ANGLE - sweeping rapidly DOWN into the barnyard
towards the arriving highway patrol car, as it stops...
RUSHING to the little girl as she steps from the car,
holding the lamb.
108.
The dark figure of the rancher ENTERS FRAME. As he roughly
takes the lamb from her, we HOLD on a CLOSEUP of her
face - stunned, blank. She EXITS FRAME...
CUT TO:
EXT. BARN - NIGHT
MOVING ANGLE - CLARICE'S POV as she walks towards the open
barn doorway... It looms CLOSER... The rancher is
revealed, a shadowy figure, pinning the lamb on the
killing table. His knife hand sweeps up high, then
holds... He turns TO CAMERA, his face breaking into the
light - and it is the face of Dr. Lecter. He smiles his
terrible smile at the young Clarice...
CUT TO:
INT. FBI DORM - PAY PHONE IN HALLWAY - NIGHT
MOVING ANGLE - coming in very CLOSE on the adult Clarice's
face -shocked, devastated - as she stands alone by the
dangling receiver...
CUT TO:
INT. SHOWER STALL - FBI DORM - NIGHT
CLOSE ON a shower head, as water suddenly blasts out.
Clarice moves INTO SHOT, as she scrubs her face and hair
compulsively, almost desperately, unable to get clean...
ARDELIA (V.O.)
They found the ambulance...
CUT TO:
Scene 34 - Clarice's Revelation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
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
In the parking garage at Memphis
airport. The crew was dead. He killed
a tourist, too. Got his clothes,
cash... By now he could be anywhere.
Clarice looks up. Her eyes are red-rimmed with exhaustion,
and something close to despair. She reads Ardelia's
thought.
109.
CLARICE
No. He won't come after me.
ARDELIA
Why not?
CLARICE
(bitterly)
It would be rude. And he wouldn't get
to ask any more questions...
Ardelia sits beside her, touches her arm.
ARDELIA
Clarice - you did the best anybody
could have for Catherine Martin. You
stuck your neck out for her and you
got your butt kicked for her and you
tried. It's not your fault it ended
this way.
CLARICE
The worst part - the thing that's
making me crazy - is that Bill is
right in front of me. Only I can't see
him...
(touching the case
file)
Lecter said, everything I need to
catch him is right here, in these
pages...
ARDELIA
Lecter said a lot of things.
CLARICE
(shakes her head)
He's here, Ardelia.
Ardelia stares back at her. SOUND UPCUT - the low throb of
a washing machine...
CUT TO:
INT. LAUNDRY ROOM - ACADEMY DORM - NIGHT (VERY LATE)
Clarice has spread out the case file across two washing
machines. Ardelia, cross-legged on a dryer, studies
another pile of forms. Nearby is their laundry basket,
detergent box.
110.
ARDELIA
(surprised)
Hey, is this Lecter's handwriting?
She holds up the map, with its location markings for the
kidnapping and body dump sites. Clarice takes it, looks.
INSERT - THE MAP
with newly inked words in Dr. Lecter's precise, elegant
hand.
DR. LECTER (V.O.)
Clarice, doesn't this random
scattering of sites seem overdone to
you? Doesn't it seem desperately
random - like the elaborations of a
bad liar? Ta... Hannibal Lecter.
NEW ANGLE - TWO SHOT
as Clarice looks up at Ardelia, puzzled but excited.
CLARICE
"Desperately random." What does he
mean?
ARDELIA
Not random at all, maybe. Like there's
some pattern here...?
CLARICE
But there is no pattern. There's no
connection at all among these places,
or the computers would've nailed it!
They're even found in random order.
ARDELIA
Well, except for the one girl.
CLARICE
(beat)
What girl?
ARDELIA
The one that was weighted down. Where
is she...? Fred something.
They search among the inserts. Clarice finds the
graduation photo.
111.
CLARICE
Fredrica Bimmel, from Belvedere, Ohio.
The first girl taken, but the third
body found... Why?
ARDELIA
'Cause she didn't drift. He weighted
her down.
CLARICE
But why? He didn't weight the others.
Clarice moves, on fire, unable to keep still.
CLARICE
(continuing)
The first, what the hell did Lecter
say about... "First principles," he
said. Simplicity... What does this guy
do, he "covets." How do we first start
to covet? "We covet what we see -"
She stops, turns. She grabs the photo of Fredrica from
Ardelia, stares at it. She looks up, trembling.
CLARICE
(continuing)
"- every day."
ARDELIA
(softly)
Hot damn, Clarice.
CLARICE (V.O.)
He knew her...!
CUT TO:
Scene 35 - Suspension and Departure
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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.
CLARICE
Maybe he lives in this, this
Belvedere, Ohio, too! Maybe he saw her
every day, and killed her sort of
spontaneously. Maybe he just meant
to... give her a 7-Up and talk about
the choir. But then -
112.
KRENDLER
Starling -
CLARICE
But then he had to cover up, make her
seem just like all the rest of them.
That's what Lecter was hinting!
KRENDLER
The market in Lecter hints is way
down, today, okay? I've got two good
men dead in Memphis, and three
civilians. I've got -
CRAWFORD
Who the hell's fault is -
KRENDLER
- a U.S. Senator who's half out of her
head because her daughter's going to
be murdered today! And all because of
your mind games with fucking Lecter!
CRAWFORD
If you hadn't interfered, he'd still
be in custody in Baltimore!
BURKE
Jack -
KRENDLER
You sent in a green recruit, with a
phony goddamn offer -
CRAWFORD
You're just trying to cover your ass
for letting him escape!
BURKE
THAT'S ENOUGH! All of you...
A long silence, as they all struggle to regain composure.
Crawford, who was at the point of striking Krendler,
finally retakes his seat. Burke looks sadly at Crawford
and Clarice.
BURKE
(continuing; very
reluctantly)
Starling, I'm afraid I have no choice.
You're suspended from the Academy.
(more)
113.
BURKE (cont'd)
(Crawford starts to
interrupt)
Not another word!
(to Clarice)
This is pending a reevaluation of your
fitness for the service. I promise
you'll get a fair hearing.
(pause)
Jack... you're ordered to take
compassionate leave. You'll spend the
rest of the day briefing the AG's
office, then transfer command of the
task force, effective by 1800 hours.
(beat)
I'm sorry, Jack... Go home. Take care
of Bella.
Clarice and Crawford stare back at him, drained. A long
and very painful silence. Not even Krendler looks happy.
CUT TO:
EXT. SIDEWALK OUTSIDE FBI BUILDING - DAY
Clarice and Crawford walk out slowly, stand there a
moment, not knowing what to say, not wanting to face each
other.
CLARICE
All his victims are women... His ob-
session is women, he lives to hunt
women. But not one women is hunting
him - except me. I can walk in a
woman's room and know three times as
much about her as a man would.
(beat)
I have to go to Belvedere.
CRAWFORD
You heard them. I don't have that
authority anymore.
CLARICE
You do until six p.m.
He stares at her sadly. He looks, for the first time,
defeated, old beyond his years.
CRAWFORD
Ohio is cold ground. Picked over, ten
months ago. Our people worked it, so
did the locals.
114.
CLARICE
But not from this angle. Not thinking
he knew her. You've got to send me!
CRAWFORD
I'm Bureau for 28 years, Starling. I
won't disobey orders, not even now.
CLARICE
But I just became a private citizen.
I can go anywhere I want to.
CRAWFORD
With ID and a gun...? Impersonating a
federal agent is a felony.
CLARICE
He's going to kill her, Mr. Crawford.
This morning, or maybe at noon, but
today, and Belvedere's our last
chance. I'm flying there, right now,
unless you stop me. You want my ID?
Here - take it...
He stares at her, a long moment. Catherine's life.
Clarice's passion, and future. His loyalty to the Bureau.
Call it.
CRAWFORD
(pulls out his wallet)
There's about $300 here... And a
hotline code number. They'll patch you
through to me, wherever I am.
She raises her hand to him. She wants to touch him face,
or his neck, but can't. Finally she takes his money and
card.
CLARICE
Thank you.
He watches, frightened for both of them, as she backs
away, smiles, then turns, racing towards the surveillance
van.
SOUND UPCUT - the scratchy recording of Fats Waller
SINGING, as we...
CUT TO:
115.
Scene 36 - Confrontation and Revelation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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.)
(calling out)
Preeeeecious...!
CLOSE ON the moth cage, as Mr. Gumb's fingers search
through the humus, and find a plump new cocoon, lifting it
out. The door of the cage is left open, and one or two of
the adult moths flutter out.
MR. GUMB (O.S.)
(continuing)
Precious, come on Precious! Busybusy
day today...
CLOSE ON a clean towel, beside the sink. The cocoon is
gently placed in readiness alongside four shiny skinning
knives.
MR. GUMB (O.S.)
(continuing)
Momma's gonna be sooo beautiful!
CLOSE ON a stainless steel Colt Python, with a six-inch
barrel, as the cylinder is spun, and the hammer gets a
practice cock. The metallic CLICK is deep and loud. A note
of alarm has entered Mr. Gumb's voice.
MR. GUMB (O.S.)
(continuing)
You come here this minute, you little
scamp!
LOW ANGLE on Mr. Gumb, wearing the kimono, as he walks
through his sewing workroom. His back is to us; he is
looking anxiously under the furniture. He stops,
straightens. Genuinely scared.
MR. GUMB
Precious...?
LOW ANGLE - OVER THE PIT OPENING
Towards Mr. Gumb, as he stops at one of the doorways of
the oubliette chamber. He stares inside; his face in
shadows.
116.
MR. GUMB
Sweetheart...?
From the distant bottom of the pit, we hear Catherine's
voice.
CATHERINE (O.S.)
She'd down here you sack of shit.
Mr. Gumb's fist flies to his mouth, and he sags against
the doorframe. A little groan escaped him; the dog answers
with a series of YIPS.
UPWARD ANGLE, FROM THE PIT BOTTOM
as Mr. Gumb's dark shape leans cautiously over the edge.
MR. GUMB
Precious, are you all right?
REVERSE ANGLE ON CATHERINE
crouched to one side, clutching the dog to her chest.
Seeing Mr. Gumb, the dog squirms frantically, BARKING.
CATHERINE
Get me a telephone. Lower it down to
me. Do it now, mister! I don't want to
have to hurt this little dog.
UPWARD ANGLE
on Mr. Gumb, as, with a cry of fury, he whips the Colt
from inside his kimono. The muzzle gleams as he takes aim.
Catherine yanks the dog up, into his line of fire,
screaming at him,.
CATHERINE
You shoot motherfucker you better kill
me quick or I'll break her fucking
neck, I swear to God!
MR. GUMB (O.S.)
(wails)
Nooooooo!
Tucking the dog under one arm, she grabs its muzzle,
twisting the head. The dog WHINES piteously.
CATHERINE
Back off, you son of a bitch! Back off!
117.
UPWARD ANGLE
as Mr. Gumb cries out again - a terrible, inarticulate
scream of rage and anguish. But then he slowly lowers his
gun.
REVERSE ANGLE
On Catherine, as she maintains her grip.
CATHERINE
That's better... Now get me a live
telephone. Get a long extension and
lower is down here... And you better
do it fast, too, 'cause I think her
leg's broken. She's in pain, mister,
she need a vest.
MR. GUMB
stares down at her, a long beat, breathing heavily.
MR. GUMB
You think she's in pain? You don't
know what pain is. But you're going to
find out...
And abruptly he vanishes. SOUND of his footsteps, rushing
off.
CATHERINE
begins shaking, hands and arms twitching uncontrollably.
She hugs the little dog tight to her chest, buries her
face in its fur, sobbing...
DISSOLVE TO:
EXT. RESIDENTIAL STREET - BELVEDERE, OHIO - DAY
HIGH ANGLE as a rented sedan pulls up to the curb, stops.
After a moment Clarice climbs out, a bit stiffly. Double-
checking this address, she glances up from a folded street
map to -
AN OLD, THREE-STORY WOODEN HOUSE
in a row of similarly shabby homes, all backing onto a
narrow river. A path of boards, laid over mud, leads back
along this house towards the brown water. SOUND of
hammering from there.
CUT TO:
118.
EXT. BIMMEL HOUSE - BACK YARD - DAY
An awesome huddle of pigeon coops sprawls by the brackish
water. The birds' COOING mixes with the HAMMERING. A tall,
gaunt man in a knit cap is obsessively pounding nails into
a new coop.
CLARICE
approaches him, and the man lowers his hammer. He has red-
rimmed eyes of watery blue. His face is deeply seamed.
CLARICE
Mr. Bimmel...?
He stares back at her, warily.
CUT TO:
Scene 37 - Clarice Discovers the Killer's Secret
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
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.
The police been back here so many
times already... Fredrica went into
Columbus on the bus to see about a
job. She left the interview OK. She
never come home.
Clarice pauses, at the landing, to look at a framed photo:
the familiar graduation portrait. Others pictures show
Fredrica as a young girl, toddler, infant - plump and
hopeful at each age.
MR. BIMMEL
(continuing)
Her room's how she left it. Just shut
the door when you're done.
CUT TO:
INT. FREDRICA'S BEDROOM - DAY
CLARICE'S POV - MOVING SLOWLY as she takes in flowery
chintz curtains... posters of Madonna and Blondie... a
twin bed, with worn, stuffed animals on the pillow... . a
big sewing machine in the corner.
119.
CLARICE
turns, absorbing nuances. There is loneliness here, an
echo of desperation under this steeply pitches ceiling. A
shrill MEOW, and she looks down...
A BIG TORTOISESHELL CAT
is rubbing against her ankles.
CLARICE
picks up the cat, scratches behind his ears. She glances
up.
IN A FULL-LENGTH MIRROR
she and the cat stares back at their own reflection...
CUT TO:
CLARICE
sitting at the desk, turns the pages of a high school
yearbook. The cat is curled on her lap...
CUT TO:
CLARICE
kneeling by the old Decca record player, flips through LPs
and singles. The cat has wandered off...
CUT TO:
CLARICE
pulling a string to light up the closet. She is surprised
and intrigued to see an extensive wardrobe, groaning from
the rod. A shelf above the rod is stacked high with sewing
supplies, in clear plexiboxes. She flips through the
hanging clothes, pulls out one dress, on its hanger, for
a closer look.
THE DRESS
is very big, to fit Fredrica, but beautifully cut. Some of
the seams still look unfinished. She turns it around, sees
a blue tissue dressmaker's pattern still pinned to the
back.
120.
FAVORING THE SEWING MACHINE
as Clarice turns, looks towards it. She hangs the dress on
the closet door knob, crosses to sit at the machine. She
takes off its dust cover. She runs one hand over the cool
metal, as a taunting memory forms in her mind.
DR. LECTER (V.O.)
Billy wants to change, too, Clarice.
But there's the problem of his size,
you see...
She turns, looks again at the unfinished dress. Suddenly
she straightens, her attention riveted by something...
CLARICE'S POV
On the printed pattern, down at the lower back of the
outlined dress, are two bold black triangles. We RUSH
CLOSER to there shapes, before jumping back to -
CLARICE
who stares at them, starting to tremble.
DR. LECTER (V.O.)
Even if he were a woman, he'd have to
be a big one...
IN FLASHBACK
those missing triangles of skin on the dead girl's back,
in the funeral home in West Virginia...
CLOSE ON CLARICE
as she jumps to her feet, with a fierce joy.
CLARICE
Sewing darts. You bastard.
CUT TO:
INT. BIMMEL PARLOR - DOWNSTAIRS - DAY
Clarice paces, in an exuberant rush, amidst the worn
furniture.
CLARICE
(into phone)
He's making himself a "woman suit,"
Mr. Crawford - out of real women!
(more)
121.
CLARICE (cont'd)
And he can sew, this guy, he's really
skilled. A dressmaker, or a tailor -
CRAWFORD (V.O.)
Starling -
CLARICE
That's why they're all so big -
because he needs a lot of skin! He
keeps them alive to starve them
awhile - to loosen their skin, so
that -
CRAWFORD (V.O.)
Starling, we know who he is! And where
he is. We're on our way now.
CLARICE
(pause; surprised)
Where?
CUT TO:
Scene 38 - On the Hunt
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
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
jet's wing.
CRAWFORD
(into speaker phone)
Calumet City, edge of Chicago. I'll be
on the ground in 45 minutes with the
Hostage Rescue Team. I'm back in
charge, Starling. He's mine.
INTERCUTTING
as Clarice reacts; her happiness for Crawford is tinged
with disappointment at being so suddenly out of the hunt.
CLARICE
(on phone)
Sir, that's great news. But how -
CRAWFORD
Johns Hopkins finally came up with a
name for us. We fed him into Known
Offenders, and he came up cherries.
(more)
122.
CRAWFORD (cont'd)
(takes a paper from
Burroughs)
Subject's name is "Jamie Gumb," AKA
"John Grant." Lecter's description was
accurate, he just lied about the name.
INSIDE THE JET - MOVING ANGLE
from the rear of the cabin forward, as we slowly PASS the
twelve-man HRT. They're seated in full gear, hardshell
armor, quietly checking and rechecking their bulging cases
of weapons - silencer automatics, shotguns, stun
grenades...
CRAWFORD (O.S.)
This Gumb's a real beauty. Slaughtered
both his grandparents when he was
twelve, and did nine years in juvenile
psychiatric. Where, Starling, he took
vocational rehab, and learned a useful
trade...
INTERCUTTING
CLARICE
Sewing...
CRAWFORD
Take a bow. Customs had some paper on
his alias. They stopped a carton two
years ago at LAX - live caterpillars
from Surinam. The addressee was "John
Grant." Calumet Power & Light's given
us two possible residences under that
alias. We're hitting one, Chicago
SWAT's taking the other.
CLARICE
(eagerly)
Chicago's only about 400 miles from
here. I could be there in -
CRAWFORD
No, Starling, there isn't time. And
you've still got crucial work to do in
Ohio. We want him for murder, not
kidnapping. I'm counting on you to
link him to the Bimmel girl, before
he's indicted.
Clarice tries hard to swallow her disappointment.
123.
CLARICE
Yes sir... I'll do my best.
CRAWFORD
(pause; gently)
Starling - you've earned back your
place in the Academy. We never
would've found him without you, and
nobody's ever going to forget that.
Least of all me.
CLARICE
Yes sir. Thank you, sir...
CRAWFORD
switches off, feeling bad for her. On the console near
him, the fax machine starts to CHATTER. He turns, looks.
BURROUGHS (O.S.)
Here he comes, Jack.
CLOSE ON
an emerging sheet, as Gumb's face is printed out. We see
just his hair, then the top of his forehead, before we...
CUT TO:
EXT. BIMMEL BACK YARD - DAY
Clarice walks slowly across the yard, absorbing all this
news, before suddenly leaping into the air and pumping her
fist in triumph, with a happy yelp. Then she sees -
MR. BIMMEL
staring at her in surprise. He sits by his coops, smoking.
CLARICE
somewhat embarrassed, crosses over to him.
CLARICE
Mr. Bimmel... did Fredrica ever
mention a man named Jamie Gumb, from
Calumet City? Or John Grant?
(he shakes his head)
Did she know any men that sew?
124.
MR. BIMMEL
She sewed for everybody. Stores,
ladies, whatever. I don't know about
men.
CLARICE
Who was her best friend, Mr. Bimmel?
Who'd she hang out with?
CUT TO:
EXT. AN ISOLATED RUNWAY - O'HARE AIRPORT - DAY
The FBI turbojet is parked, its gangway down. Crawford,
Burroughs, and the HRT squad, carrying their bags of
weapons, CLATTER rapidly down the metal steps...
STACY (V.O.)
Freaked me out. Get your skin peeled
off, is that a bummer...?
CUT TO:
Scene 39 - The Confrontation
- Overall: 10.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
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.
STACY
They said she was just rags, like
somebody -
CLARICE
Stacy, did Fredrica ever mention a man
named Jamie Gumb? Or John Grant?
(Stacy shakes her
head)
Do you think she could've had a friend
you didn't know about?
STACY
No way. She had a guy, I'da known,
believe me. Sewing was her life, she
was really great at it. Poor Freddie.
CLARICE
Did you ever work with her?
125.
STACY
Oh sure, me'n Pam Malavesi used to
help her do alterations for old Mrs.
Lippman. Lots of people worked for
her, she had the business from all
these retail stores? But she was like,
totally old, it was more'n she could
handle.
CLARICE
Where does Mrs. Lippman live? I'd like
to talk to her.
STACY
She died. She went to Florida to
retire, like two years ago? She dies
own there.
Clarice reacts, disappointed at the ending of this trail.
STACY
(continuing; beat;
shyly)
Is that a pretty good job, FBI agent?
CLARICE
I think so.
STACY
You get to travel around and stuff? I
mean, better places then this?
CLARICE
Sometimes you do.
STACY
Freddie was so happy for me when I got
this job. This - toaster giveaways,
and Barry Manilow on the speakers all
day - she thought this was really hot
shit. What did she know, big dummy...
Suddenly she's fighting tears. Clarice reaches to hug her.
CUT TO:
EXT. RESIDENTIAL STREET - CALUMET CITY, ILLINOIS - DAY
WIDE ANGLE on what appears to be, at first, a calm,
ordinary neighborhood of working class two- and three-
story houses. But the street is strangely quiet, deserted.
126.
After a few moments, we become aware of movement - armed,
dark-clad figures creeping swiftly and in silence from
shrubs to garage corners, from parked cars to porches,
appearing and then disappearing...
CUT TO:
INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT)
CLOSE ON Mr. Gumb, as he settles a big pair of infra-red
night-vision goggles over his eyes. Moths flutter past his
face. His mouth is set in a grim line...
CUT TO:
EXT. STREET IN CALUMET CITY - FRONT YARD - DAY
An HRT cop, prone beneath a hedge, is joined by a 2nd HRT
Cop, who throws himself to the grass beside him. They both
take aim with their scoped rifles at -
TELEPHOTO ANGLE (WITH RIFLE CROSSHAIRS)
The front door of a big, nearby, split-level house...
CUT TO:
INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT)
CLOSE ON a fuse box, as Mr. Gumb reaches in, flips a
switch. The lights go out. SOUND of a second switch, and
the cellar is bathed in a green glow...
CUT TO:
EXT. STREET IN CALUMET CITY - NEIGHBOR'S HOUSE - DAY
A little boy, riding his tricycle in his driveway, is
suddenly startled to find himself staring into the grim
face of -
A MEMBER OF THE HRT
crouched by his garage, armed to the teeth. As the little
boy starts to cry, the cop pulls him into the shadows,
covering his mouth.
CUT TO:
127.
INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT)
Mr. Gumb, in his kimono and goggles, creeps silently
through his workrooms - knees bent, painted toes places
ever so delicately, the Colt held aloft - as more moths
flutter past him in the eerie light...
CUT TO:
EXT. STREET IN CALUMENT CITY - DAY
A florist's van turns the corner, comes slowly down the
street and stops at the curb in front of the split-level.
The driver, in a gray deliveryman's uniform and cap,
climbs out of the cab, walks briskly to the panel door, on
the street side of the van, and slides it open. He leans
in, comes out with a long, thin red-ribboned floral box,
starts calmly towards the house...
CUT TO:
INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT)
MR. GUMB'S POV - MOVING ANGLE on the top of the oubliette,
a glowing green circle in the dark, as it draws closer and
closer... and then Catherine comes INTO VIEW, at the
bottom of the pit. She is crouched, exhausted, staring
straight up at him - but she can't see him in this infra-
red darkness. Precious is curled into her stomach, asleep.
The futon is up to Catherine's waist, but there's a clear
shot at her head and neck.
MR. GUMB
Looking down at her, smiles...
CUT TO:
EXT. STREET IN CALUMET CITY - SUSPECT'S HOUSE - DAY
MOVING ANGLE on the "deliveryman," seen from behind, as he
mounts three steps to the split-level's front porch.
Tucked into the small of his back if a 9 mm. automatic.
CRAWFORD AND BURROUGHS
have slipped out of the van, and are crouched behind it
now, with drawn guns, watching tensely as -
128.
THE "DELIVERYMAN"
settles the floral box in the crook of his left arm,
reaches out with his right hand towards the buzzer...
CUT TO:
Scene 40 - Confrontation at Mr. Gumb's House
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
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,
startled, and sees -
A DUSTY BLACK METAL BOX
the extension buzzer, mounted high on the wall, which is
making the hideous, grating JANGLE. It finally stops, but
not before waking Precious, who starts frantically
BARKING, off screen., as -
MR. GUMB
raises his gun again, spinning back towards -
HIS POV - THE PIT BOTTOM
where Catherine, hearing but still not seeing him, quickly
yanks the futon over both herself and the dog. Instantly
the two of them become one squirming, indistinguishable
mass.
MR. GUMB
bites his lip, his aim wavering, as he can't decide where
to safely place his shot. The maddening BUZZER sounds
again, even more insistently, and he cries out with
frustration and fury. But as the BUZZER continues, he
reluctantly uncocks his gun, looking up angrily towards
his front door...
CUT TO:
INT. MR. GUMB'S FRONT DOOR - DAY
The door opens, on a chain, and Clarice peers in, smiling.
CLARICE
Good afternoon... I wonder if you
could help me. I'm looking for Mrs.
Lippman's family?
129.
Mr. Gumb frowns out at Clarice. For the first time ever,
we get a well-lit view of his bland, pale-eyed moon of a
face.
MR. GUMB
They don't live here anymore.
CUT TO:
EXT. FRONT DOOR OF SUSPECT'S HOUSE - CALUMET CITY
The "deliveryman" yanks a 12 lb. sledgehammer from the
floral box, swings it with all his might against the door
knob, blowing it through as -
MOVING ANGLE
Crawford and Burroughs race towards the door, guns up...
CUT TO:
EXT. MR. GUMB'S FRONT DOOR - DAY
Mr. Gumb starts to close the door, only to have Clarice
push back against it, politely but firmly. She holds up
her ID.
CLARICE
Excuse me, but I really do need to
talk to you. This was Mrs. Lippman's
house. Did you know her?
MR. GUMB
(beat)
Just briefly. What's the problem,
Officer?
CUT TO:
INT. SUSPECT'S HOUSE - CALUMENT CITY - DAY
A bedroom window disintegrates as a flash grenade is shot
through it, EXPLODING on the floor. An instant later, a
black-clad HRT cop dives through the shattered glass,
rolls across the floor, comes up on one knee swivelling
his sawed-off shotgun...
CUT TO:
EXT. MR. GUMB'S FRONT DOOR - DAY
Clarice and Mr. Gumb, still eyeing each other through the
door crack...
130.
CLARICE
I'm investigating the death of
Fredrica Bimmel. Who are you, please?
MR. GUMB
Jack Gordon.
CLARICE
Mr. Gordon, did you know Fredrica when
she worked for Mrs. Lippman?
MR. GUMB
No. Wait... Was she a great, far
person? I may have seen her, I'm not
sure...
CUT TO:
INT. SUSPECT'S HOUSE - CALUMET CITY - DAY
MOVING ANGLE as Burroughs moves quickly down a hallway and
enters the living room, where Crawford is standing, with
his gun held down by his side, surrounded by several other
cops. Burroughs shakes his head: Nothing here...
CUT TO:
INT. MR. GUMB'S FRONT HALLWAY - DAY
Mr. Gumb glances briefly over his shoulder, towards his
kitchen, then turns back to Clarice with a smile.
MR. GUMB
Mrs. Lippman had a son, maybe he could
help you. I have his card somewhere.
Do you mind stepping inside, while I
looks for it?
CLARICE
Thanks.
ANGLE FAVORING THE COLT PYTHON
which rests on a counter, just inside the open kitchen
doorway. THROUGH this doorway, we watch as Mr. Gumb, at
the end of his front hall, slips the chain. Clarice
enters, closing the door behind her.
CUT TO:
131.
EXT. FRONT YARD OF SUSPECT'S HOUSE - CALUMET CITY - DAY
MOVING ANGLE - towards the front door, as frustrated HRT
cops file out of the empty house, rifles slung across
their shoulders.
WE PICK OUT CRAWFORD
walking across the grass towards the van, when all at once
he stops in his tracks, shaken by a sudden flash of
intuition.
CAMERA RUSHES VERY CLOSE
on his stricken face...
CRAWFORD
Clarice.
CUT TO:
Scene 41 - Showdown with Mr. Gumb
- Overall: 9.0
- Concept: 9
- Plot: 10
- Characters: 8
- Dialogue: 7
Clarice, pulling her notebook from her shoulder bag,
glances around the musty-looking room.
MR. GUMB (O.S.)
That horrible business, I shiver every
time I think about it...
Overstuffed furniture, porcelain figurines. One archway
onto the front hall, another onto a dining alcove, and
through there, the kitchen. Mr. Gumb is crossing to a
rolling desk, raising the top. He bends over, begins
poking through cubby holes. His tone is casual, neutral.
MR. GUMB
Are they close to catching somebody,
so you think?
CLARICE
I think we may be, yes.
Mr. Gumb stiffens, almost imperceptibly. His back is to
her, as he continues opening drawers, rustling papers.
CLARICE
(continuing)
Mr. Gordon, did you take over this
place after Mrs. Lippman died?
132.
MR. GUMB
Yes. I bought the house from her, two
years ago.
CLARICE
Did she leave any records here? Tax or
business records? Maybe a list of
employees?
CLOSE ON MR. GUMB'S BACK
as he continues his rummaging.
MR. GUMB
No, nothing at all. Has the FBI
learned something? Because the police
here don't seem to have the first
clue...
Out of the folds of his kimono crawls a Death's-head Moth.
It creeps slowly to the center of his back, raising its
wings.
MR. GUMB
(continuing)
Do you have his description yet, or
some fingerprints...?
CLARICE
unaware, is still glancing around the room. For several
agonizing moments, we think she won't see the moth - but
then she turns, does see it, and her eyes freeze. A beat
of pure fear. A tremendous struggle to keep her voice calm.
CLARICE
No... no, we don't.
Very carefully, she drops her notebook back into her bag,
lowers the bag to the floor. With her fingertips she
brushes back the edge of her blazer, loosening its drape.
MR. GUMB
turns back towards her cheerfully, holding out a business
card.
MR. GUMB
Ahhh. Here's that number.
CLARICE
keeps her distance. They are about ten feet apart.
133.
CLARICE
Good, thank you. Mr. Gordon, do you
have a phone I can use?
MR. GUMB
is about to reply when the moth suddenly flies up from
behind him, flutters past his face. He turns, looking at
it. He looks back at Clarice, his mouth still open.
HER EYES
are unmoving, locked on his.
HIS EYES
stare back at her, widen. And they know each other.
MR. GUMB
(softly)
In the kitchen. I'll show you.
CLARICE
whips her gun out, gripping it in both shaking hands.
CLARICE
Freeze!
MR. GUMB
slowly tilts his head to one side, smiles at her.
CLARICE
tries to force more authority into her voice.
CLARICE
Okay... Okay, Mr. Gumb, you're under
arrest. Down on the floor, hands and
legs spread, move it.
MR. GUMB
turns, then all at once, in two quick steps, he is gone,
disappearing into his dining alcove, then kitchen.
CLARICE
hesitates, just a split second, to shoot him in the
back - and then it's too late.
134.
CLARICE
Shit!
CUT TO:
INT. MR. GUMB'S KITCHEN - DAY
Clarice hurries inside, moving low, swivelling her gun.
HER POV - MOVING
The kitchen is empty. To one side, a door still shuddering
on its hinges...
CLARICE
rushes to this - pauses - then elbows the door aside,
aiming her gun down -
AN EMPTY STAIRWELL
brightly lit, leading to the cellar. Two doors facing the
bottom, both open. No sign of Mr. Gumb.
CLARICE
hates this, hates this, which door, it's a trap, what to
do: she is very scared, but suddenly hears -
The distant SCREAM of Catherine Martin, somewhere down
there in that killing maze.
CLARICE
rushes through the doorway, and down the stairs.
BEHIND HER, ON THE KITCHEN COUNTER
there's an empty space; the Colt Python is gone.
CUT TO:
Scene 42 - Confrontation in the Cellar
- Overall: 9.0
- Concept: 8
- Plot: 10
- Characters: 9
- Dialogue: 7
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
incandescent; Mr. Gumb has switched off his infra-red
system. Clarice comes to a T-shaped intersection, stops.
Another SCREAM, again to her left, and the BARKING of a
dog...
135.
CLARICE
follows her gun around the corner, looking right.
EMPTY PASSAGEWAY
but doors opening off it - he could be lurking behind any
of them. She looks left... sees an opening onto some kind
of chamber. The noises are LOUDER, coming from there.
CLARICE
moves cautiously towards this chamber...
CUT TO:
INT. OUBLIETTE CHAMBER - DAY (DIMLY LIT)
Clarice moves in, hugging the wall, gun swivelling...
HER POV - MOVING
the open top of the pit... beyond it, the other two
doorways, opening onto this room - Jesus, he could come
through either one of them, or come up behind her... She
moves to the pit, looks down, very briefly, sees Catherine
SCREAMING, hysterical, and a little white dog BARKING...
CLARICE
kneels, staring up from one door to another, she can't
cover them all, she's totally exposed - and what's a dog
doing there?
CLARICE
FBI, Catherine, you're safe.
CATHERINE
Safe, SHIT, he's got a gun! Getmeout.
GET ME OUT!
CLARICE
You're all right! Where is he?
CATHERINE
Get me out!
CLARICE
I'll get you out! Just be quiet so I
can hear. Shut that dog up.
(still swivelling)
Is there a ladder? Is there a rope?
136.
CATHERINE
I don't know! get me out!!
CLARICE
Catherine. Listen to me. I have to
find a rope. I have to leave this
room, just for a minute, but -
CATHERINE
NOOOOO! You fucking bitch don't you
LEAVE ME down here, DON'T YOU-
CLARICE
Shut UP!
(then, louder)
The other officers will be here any
minute! you're perfectly safe now!
Ignoring Catherine, whose shouts turn to sobs, she backs
away, turns, picks one of the other doorways, moves into
it quickly.
CUT TO:
INT. NEW PASSAGEWAY - DAY (DIMLY LIT)
CLARICE'S POV - MOVING down this passageway, towards a new
room... pausing at the doorway, straining to hear... no
sound except Catherine's CRYING, not in the background.,
and Clarice's own RAPID BREATHING. Then she crouches -
LOWER ANGLE - bursts forward, through the doorframe,
sidestepping...
CUT TO:
INT. WORKROOM - DAY (DIMLY LIT)
Clarice weaves back and forth, half-crouched, gun out,
back to the wall. Her face glistens with sweat, as she
takes in...
HER POV - MOVING NERVOUSLY
Mr. Gumb's sewing machine... his swivel chair... the old
Victrola... Big moths are crashing into the light bulbs,
overhead; they're everywhere. Suddenly, from just behind
her, a CLICK and a HUM, and -
CLARICE
spins, almost shoots, before seeing -
137.
A SMALL REFRIGERATOR
with its thermostat just switching ON.
CLARICE
gasps for breath, fighting for calm. She turns again,
slashing her free hand at the moths, moving quickly on...
CUT TO:
INT. SKINNING ROOM - DAY (DIMLY LIT)
Clarice moves past the mannequins, all of them naked
now... then quickly past the huge Chinese armoire, ready
to shoot into it. Its doors yawn open; it is empty except
for several padded hangers... She moves on, past the big
sink, with its DRIPPING faucet... the counter, with its
gleaming knives... the rows of chemical jars. At the end
of this room is
A CLOSED DOOR
Clarice starts to open it, then hesitates. Looking around,
she seizes a wooden chair, wedges it under the door know,
sealing off this section of the cellar. With her back thus
defended, she turns, softly retracing her steps.
CUT TO:
INT. WORKROOM - DAY (DIMLY LIT)
Passing again through the workroom, Clarice pauses, seeing
a half-curtained door, to one side, that she had
previously skirted. She crosses to the door, listens and
hears no sound inside, takes a deep breath and reaches for
the knob. She twists it, and, as it turns, shoves hard and
follows her gun inside, all in one quick move...
CUT TO:
INT. BATHROOM - DAY (BRIGHTLY LIT)
An old-fashioned bathroom: tiled floor, sink, toilet - and
a big, free-standing tub. An opaque shower curtain,
suspended from an oval ring, hides whatever might be
inside.
CLARICE
centers her gun on the curtain, at chest height, and yanks
it aside with her left hand. No one standing there.
Something lower down catches her eye.
138.
She leans in, stares more closely, not understanding, at
first, that she's seeing -
A FEMALE HAND AND WRIST
sticking up from the tub, which is filled with hard red-
purple plaster. The hand is dark and shrivelled, with pink
nail polish and a dainty wristwatch. As -
CLARICE
is reacting with horror to this sight, the lights go out,
to be replaced, a split-second later, by the eerie green
glow of Mr. Gumb's infra-red system. Clarice cries out,
turns blindly, reaching for the door, can't find it, free
hand clawing desperately into what is, for her, utter
darkness. SOUND of Catherine KEENING again, in the far
distance. Clarice stumbles, goes to her knees, rights
herself, finally clutches the door frame...
CUT TO:
Scene 43 - Confrontation and Rescue
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 7
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 -
the HUM of the refridgerator... the TRICKLE of water...
her own terrified BREATHING, and Catherine's faraway,
echoing SOBS... Moths smack against her face and arms. She
eases forward, then stops again, listens... She eases
forward again, following her gun, and creeps directly in
front of, and then past -
MR. GUMB
who has flattened himself against a wall, arms spread like
a high priest, Colt in one hand. He wears his goggles and
kimono, and under that - draping down over his naked arms,
like some hideous mantle - his terrifying, half-completed
suit of human skins. This is an exquisite moment for
him - a ritual of supreme exhaltation. He smiles at
Clarice as, completely unaware, she moves beyond him,
exposing her back. Very slowly and quietly he steps out
behind her, taking his gun in both hands, aiming...
CLOSE ON
the Colt Python as - in SLOW MOTION - his thumbs cock the
hammer, the SOUND registering as a LOUD METALLIC CLICK,
and -
139.
CLARICE
spins, still in SLOW MOTION, flame already leaping from
her gun muzzle, as we see -
THE TWO FIGURES
almost at point-black range, guns ROARING hugely, one
FLASH from Mr. Gumb, and onetwothreefour FLASHES from
Clarice, overlapping his, and then, as the ECHOES crash
deafeningly -
CLOSE ONCLARICE - LOW ANGLE -
with NORMAL SPEED RESTORED, as the side of her face hits
the floor, and she is gasping, stunned by the noise and
flames; there is blood on her check, and an ugly powder
burn, but she ignores them, twisting to yank her
speedloader from her jacket pocket, locking it blindly
onto her gun's cylinder, reloading, right in front of her
face, then rolling onto her stomach, aiming her gun upward
again, blinking her dazzled eyes, straining to locate him
in the darkness... Where is he, where...? Then, as the
ECHOES finally fade, she hears something else - a
tortured, sucking, WHISTLE from perhaps eight feet away...
MOVING ANGLE - WITH CLARICE
as she crawls forward, on her elbows, following her gun,
until it bumps against Mr. Gumb's shoulder. He is lying on
his back, chest a bloody mess. She slides her muzzle
against his head, hard, but he doesn't move; another shot
isn't needed. He stares upwards, through his goggles,
bloody lips working. He tries to speak, but cannot. One
hand reaches slowly upwards, the fingers twitching, as if
to seize something, overhead... Then a final, ghastly
groan, his hand drops, he is head. Clarice feels for a
pulse at his neck, making sure. Then, and only then, does
she permit herself to roll over, collapsing onto her back
beside him.
OVERHEAD ANGLE
down at the two faces - intimately close together, like
lovers on their pillow. Then, as we PULL SLOWLY AWAY, we
see that her staring eyes, and his dead gaze, are both
locked onto -
140.
A DEATH'S-HEAD MOTH -
perched on an infra-red bulb, overhead, its wings pumping
slowly. SOUND UPCUT - wailing SIRENS, many excited VOICES,
as we...
DISSOLVE TO:
EXT. MR. GUMB'S HOUSE - DUSK
The front porch of the tall Victorian house is bathed in
a glare of TV lights, police and ambulance flashers. Cars
and vans and even a firetruck choke the street; cops,
reporters, EMS workers and curious civilians swarm around
the ineffective barricades. The BUZZ of their voices goes
even higher as
CLARICE
dazed, her face bandaged - comes out of the house, walking
protectively beside Catherine, who is wheeled on a gurney.
They are followed out by uniformed cops, then two firemen
with an extension ladder. Catherine, blinking in
confusion, is still clutching the little dog, and refuses
to give her up even as she's trundled into an ambulance.
Clarice sways with exhaustion; everyone seems to be
shouting at her at once, pulling her sleeve. She tries to
fight free of them, desperate for a familiar face.
AN OHIO HIGHWAY PATROL CAR
pulls up, stops, and Crawford climbs out of the back seat.
He makes his way anxiously through the press of bodies,
stopping when he sees Clarice.
THEY LOOK AT ONE ANOTHER
for a long moment, Crawford choked with pride for her,
with sorrow for her ordeal, with love, but unable to find
any words. And then he does.
CRAWFORD
Starling... your father sees you.
And then all at once she is sobbing, her knees giving way,
but he is there to catch her, he is hugging her fiercely.
HOLD ON them for a long beat.
141.
DIRECTOR BURKE (V.O.)
(over loudspeaker)
Congratulations! You are now officers
of the Federal Bureau of
Investigation...
DISSOLVE TO:
EXT. GROUNDS OF THE FBI ACADEMY - WEEKS LATER - DAY
The forty members of Clarice's class, resplendent in their
best dark suits and dresses, rise, cheering themselves,
then turn happily to wave to their audience, as APPLAUSE
mounts. Beyond them, on a gaily tented platform, the
Director stands behind his podium.
CLARICE AND ARDELIA
look at one another solemnly. Ardelia holds up both fists,
in a power shake, and Clarice taps them with her own. She
is radiantly beautiful in a navy dress and pearls, the
thin scar on her cheek almost healed. Ardelia turns,
waving towards the crowd, the Clarice's thoughts are
elsewhere. She turns, searching among the dignitaries on
the platform, till she locates
CRAWFORD
who smiles back at her with quiet pride, and offers a
little salute.
CLARICE
grins - more happy than we've ever seen her - then turns
to wave towards the crowd with the others.
MOVING ANGLE
over the admiring sea of spectators, several hundred of
them, still rising from their folding chairs, APPLAUDING
in celebration of these special young people, this
perfect, sunlit day. SOUND UPCUT - rock music, laughter -
as we...
DISSOLVE TO:
Scene 44 - Final Confrontation
- Overall: 10.0
- Concept: 9
- Plot: 10
- Characters: 9
- Dialogue: 8
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
scientists. Ardelia has to shout at Clarice over the din.
142.
ARDELIA
Agent Starling! Telephone!
CLARICE
(surprised)
Agent Mapp! Thank you!
She nods to Pilcher, leaves them. Roden, who is quite
happily drunk, grabs the startled Ardelia around the waist.
RODEN
Hel-lo, gorgeous! Let's get down.
Ardelia looks at Pilcher, confused.
PILCHER
Just ignore him. He's not a Ph.D.
CUT TO:
INT. DORM HALLWAY - NIGHT
Clarice picks up the dangling pay phone, speaks happily.
CLARICE
Starling.
DR. LECTER (V.O.)
Well, Clarice, have the lambs stopped
screaming...?
She freezes, stunned by the familiar voice. Then she
turns, waving frantically towards
ARDELIA
who is just inside the rec room door, at the end of the
hall, lost in conversation with Pilcher and Roden. Ardelia
glances at her briefly but misunderstands, waves
cheerfully back.
DR. LECTER (V.O.)
Don't bother with a trace, I won't be
on long enough.
CLARICE
turns back, gripping the phone more tightly.
CLARICE
Where are you, Dr. Lecter?
CUT TO:
143.
EXT. A CLEAR NIGHT SKY
Very beautiful, glittering with countless stars.
DR. LECTER (O.S.)
Where I have a view, Clarice...
MOVING DOWN
we see a rolling lawn, a curving bay. Boats ride at
anchor, lights shimmering...
DR. LECTER (O.S.)
Orion is looking splendid tonight, and
Arcturus, the Herdsman, with his
flock...
DR. LECTER
smiles into his mobile phone. He is stretched out on a
lounger, on a tiled patio, languidly paring an orange with
a penknife. His appearance is quite altered - a beard,
glasses, lighter hair. He's has some cosmetic surgery, as
well.
DR. LECTER
(into phone)
Your lambs are still for now, Clarice,
but not forever... You'll have to earn
it again and again, this blessed
silence. Because it's the plight that
drives you, and the plight will never
end.
CLARICE
Dr. Lecter -
DR. LECTER
I have no plans to call on you,
Clarice, the world being more
interesting with you in it. Be sure
you extend me the same courtesy.
CLARICE (V.O.)
You know I can't make that promise.
DR. LECTER
Goodbye, Clarice...
(and then, softly)
You looked - so very lovely today, in
your blue suit.
CUT TO:
144.
INT. DORM HALLWAY - NIGHT
As Clarice reacts, the fill weight of his words sinking in.
CLARICE
Dr. Lecter... Dr. Lecter...!
But only a DIAL TONE comes from the phone. She is still
staring at her receiver, in shock, as we -
CUT BACK TO:
EXT. THE MOONLIT PATIO
Dr. Lecter sighs, sets his phone down, then rises. Popping
an orange section into his mouth, he turns towards the
brightly lit house. Stepping delicately over the sprawled
body of a uniformed security guard, he walks in through
open french doors.
CUT TO:
INT. A BOOKLINED STUDY
In a swivel chair, amidst the wreckage of his papers and
books, is the writhing figure of Dr. Frederick Chilton.
The extreme intricacy of his bindings recalls Dr. Lecter's
own former restraints. His screams are muffled by the tape
over his mouth; he stares at Dr. Lecter like a rabbit
trapped in headlights.
DR. LECTER
Considers him for a genial moment, then raises the little
pen-knife. His eyes are twinkling.
DR. LECTER
Well, Dr. Chilton. Shall we begin?
FADE OUT
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| Clarice Starling | Throughout the screenplay, Clarice Starling's character develops from a determined and ambitious FBI trainee seeking Dr. Lecter's help to a resilient and committed FBI agent. Initially shocked and unnerved by the assignment to interview Dr. Lecter, she ultimately agrees to take on the task. Her encounter with Dr. Lecter forces her to confront her own vulnerabilities and insecurities. As Clarice continues her investigation and faces the consequences for her actions, she becomes more determined and committed to her job. Despite the emotional toll it takes on her, Clarice remains steadfast in her pursuit of justice and shows incredible resilience in the face of adversity. | The character arc of Clarice Starling is well-developed and showcases her growth from a trainee to an agent. However, it would be beneficial to delve deeper into the emotional impact of her encounters with Dr. Hannibal Lecter. While it is mentioned that she is emotionally affected, the screenplay could explore her internal struggles and potential internal conflicts further. This would add more depth and complexity to her character arc. | To improve the character arc of Clarice Starling, it would be helpful to include more scenes that delve into her internal struggles and the emotional impact of her encounters with Dr. Hannibal Lecter. This could be achieved through introspective moments, conversations with her mentor or colleagues, or even internal monologues. By exploring her emotional journey in more depth, the audience can better understand and connect with Clarice's growth and transformation throughout the story. |
| Dr. Hannibal Lecter | Dr. Hannibal Lecter starts the movie as an incarcerated serial killer who refuses to cooperate with the authorities. As the story progresses, Lecter forms a manipulative bond with Clarice, helping her catch another serial killer known as Buffalo Bill. In doing so, he reveals personal information about himself, his past, and his taste for cannibalism. Despite his villainous actions, Lecter's involvement ultimately aids in solving the case and provides closure for Clarice and the audience. By the end of the movie, his character arc shows a subtle shift as he assists the protagonist, hinting at potential redemption or a twisted sense of morality. | The character arc of Dr. Hannibal Lecter is intriguing, but it could benefit from clearer development and exploration of his twisted morality. While his assistance in catching Buffalo Bill suggests a potential redemption arc, the movie does not delve deep enough into his character to fully explore this aspect. Additionally, Lecter's arc could have been more satisfying if it was directly linked to the resolution of his own personal conflicts or desires. | To improve the character arc, consider providing more insight into Lecter's past and motivations, which would help establish a stronger foundation for his potential redemption arc. Additionally, tying his transformation more closely to the resolution of his own internal conflicts, such as his desire for control or revenge, would add depth to his character and make his actions more meaningful. Finally, consider utilizing subtle nuances in his interactions with other characters to hint at his shifting morality. |
| Ardelia | Ardelia starts off as a helpful and encouraging friend to Clarice. She interrupts Clarice in the library to inform her of a phone call, showing that she is attentive and considerate. As the story progresses, Ardelia becomes even more crucial to Clarice's success. She acts as a sounding board for Clarice, helping her analyze the case file and offering insights and observations. Ardelia's contributions ultimately lead to a breakthrough realization in the case. Through her constant support and analytical thinking, Ardelia plays a vital role in Clarice's journey to solve the mystery. | The character arc for Ardelia is well-developed, showcasing her supportive nature and analytical skills. However, it lacks individual growth and personal stakes for Ardelia herself. While she serves as an important ally for Clarice, her character arc could benefit from a moment of personal growth, where she overcomes obstacles or faces challenges that test her own courage and abilities. | To improve Ardelia's character arc, consider incorporating a subplot or a personal challenge that allows her to grow and develop as an individual. This could involve her taking a more active role in the investigation, perhaps going undercover, or facing her own fears and limitations. By giving Ardelia more agency and personal stakes, her character arc will become more compelling and well-rounded. |
| Clarice | Throughout the movie, Clarice starts as a focused and determined FBI trainee seeking answers. As she delves deeper into the case and interacts with Dr. Lecter, she begins to display growth in her skills and confidence. She becomes more vocal in expressing her frustrations and confronts her superior, Crawford, about his questionable actions. Despite facing obstacles and setbacks, Clarice remains fiercely determined to solve the case and prove herself as an officer. She negotiates with Dr. Lecter, willing to share personal information about her past in exchange for his help. As the climax approaches, Clarice becomes even more resourceful and daring, using any means possible to escape the basement and find Catherine. In the end, she ultimately succeeds in apprehending Buffalo Bill and saving the victims, showcasing her resilience and unwavering determination. | The character arc for Clarice is well-developed and allows for significant growth and overcoming obstacles. However, it could benefit from further exploration of her personal struggles and traumas, and how they motivate her pursuit of justice. This would add depth to her character and provide a stronger emotional foundation for her actions and decisions throughout the movie. | To improve the character arc, consider delving deeper into Clarice's traumatic childhood experience that haunts her. Show how this experience fuels her determination and gives her a personal stake in solving the case. This can be achieved through flashbacks or conversations with supportive characters. Additionally, exploring how Clarice's resilience and determination are influenced by her mentors and role models in the FBI could enhance her character arc. By highlighting the people who have shaped and inspired her, it would deepen her journey and make her growth more impactful. |
| Dr. Lecter | Dr. Lecter starts as a brilliant and manipulative criminal mind, interested in psychological games and extracting personal information from others. As the story progresses, he agrees to help find Buffalo Bill but only if Clarice opens up about her own past. Through their interactions, Dr. Lecter uses his manipulative nature to compliment the Senator's suit and warns her about Crawford and Clarice. During his conversations with Clarice, he delves into her trauma, probing her motivations and fears. He displays a fascination with her and her potential for change. Dr. Lecter's arc reaches its climax when he escapes from his cell, showcasing his intelligence and twisted nature. In the end, Dr. Lecter thrives on the control he has over Clarice, playing mind games and enjoying the power he has over her. | The character arc for Dr. Lecter is well-established and consistent throughout the movie. However, it could benefit from further exploration of his personal motivations and backstory. While Dr. Lecter's intelligence and manipulative nature are captivating, more insight into his fascination with Clarice and his cannibalistic tendencies would add depth to his character. | To improve the character arc of Dr. Lecter, consider incorporating flashbacks or dialogue that provide insight into his childhood or early experiences that shaped him into a cannibalistic serial killer. This would help the audience understand his motivations better and create a more well-rounded character. Additionally, adding a confrontation or final showdown between Dr. Lecter and Clarice, where both characters are tested emotionally and intellectually, would bring their dynamic to a satisfying conclusion. |
| Mr. Gumb | In the beginning, Mr. Gumb is introduced as the antagonist who has captured and tortured his victim, Catherine. He remains a mysterious and dangerous serial killer, always hiding his true intentions. As the movie progresses, his true nature is revealed, showing him to be a cunning and sadistic killer who takes pleasure in tormenting his victims. His obsession with creating a 'woman suit' from their skin showcases his disturbed mind. However, as the movie nears its climax, Mr. Gumb prepares for his deadly encounter with Clarice, the protagonist. In this confrontation, he reveals his twisted obsession with human skin, ultimately leading to his demise. This character arc showcases Mr. Gumb's transformation from a mysterious and dangerous killer to a disturbed and dangerous killer who meets his ultimate fate. | Overall, the character arc for Mr. Gumb effectively portrays his transformation from a mysterious killer to a disturbed one. However, the arc could benefit from further exploration of his backstory and motivations. While his obsession with human skin is established, delving deeper into his psyche and exploring any possible traumas or psychological factors that contributed to his descent into sadism would add more depth to the character. Additionally, providing more insight into his methods of eluding capture and his manipulation skills would enhance the audience's understanding of his capabilities as a serial killer. | To improve the character arc for Mr. Gumb, consider incorporating flashbacks or moments of reflection that shed light on his past and provide a deeper understanding of his motivations. This could involve exploring any childhood traumas or unresolved psychological issues that contributed to his psychotic behavior. Additionally, showcasing his cunning and manipulative nature through strategic planning and eluding capture would further heighten the tension between him and the protagonist. By delving deeper into his character, the audience will be more invested in his transformation and the ultimate confrontation with Clarice. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Correlation between Tone and Overall Grade | There is a strong positive correlation between the tone of a scene and its overall grade. Scenes with a more tense or suspenseful tone tend to have higher overall grades. |
| Correlation between Emotional Impact and Conflict | There is a moderate positive correlation between the emotional impact of a scene and the level of conflict. Scenes with higher emotional impact tend to have more conflict. |
| Correlation between High Stakes and Move Story Forward | There is a strong positive correlation between the high stakes of a scene and its ability to move the story forward. Scenes with higher stakes are more likely to contribute to the progression of the story. |
| Correlation between Character Changes and Emotional Impact | There is a moderate positive correlation between the character changes in a scene and its emotional impact. Scenes with more significant character changes tend to have a higher emotional impact. |
| Correlation between Dialogue and Overall Grade | There is a moderate positive correlation between the quality of dialogue in a scene and its overall grade. Scenes with better dialogue tend to receive higher overall grades. |
| Correlation between Concept and Plot | There is a strong positive correlation between the concept of a scene and the development of the plot. Scenes with a stronger concept are more likely to contribute to the advancement of the plot. |
| Correlation between Tone and Character Changes | There is a weak positive correlation between the tone of a scene and the character changes. Scenes with a more tense, dark, or intense tone are more likely to have noticeable character changes. |
| Correlation between Emotional Impact and Tension | There is a moderate positive correlation between the emotional impact of a scene and the tension it creates. Scenes with higher emotional impact tend to be more tense. |
| Correlation between Tension and Conflict | There is a strong positive correlation between the tension of a scene and the level of conflict. Scenes with higher tension tend to have more conflict. |
| Correlation between Tension and High Stakes | There is a strong positive correlation between the tension of a scene and the high stakes involved. Scenes with higher tension are more likely to have higher stakes. |
| Correlation between Tension and Emotional Impact | There is a moderate positive correlation between the tension of a scene and its emotional impact. Scenes with higher tension tend to have a higher emotional impact. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Silence of the Lambs | The screenplay shares many similarities with the movie 'The Silence of the Lambs,' as they both focus on FBI agent Clarice Starling's search for a serial killer by seeking the help of the incarcerated cannibalistic psychiatrist Dr. Hannibal Lecter. The structure, tone, and genre of both the screenplay and the movie are dark and suspenseful, with a psychological thriller element. |
| Se7en | The screenplay has similarities with the movie 'Se7en' as both stories revolve around a detective's race against time to catch a twisted and sadistic serial killer. The structure, tone, and themes of both the screenplay and the movie are dark and atmospheric, with a focus on psychological suspense and unsettling crime scenes. |
| Zodiac | The screenplay shares similarities with the movie 'Zodiac' as both stories involve an investigation into a serial killer operating in a specific time period. There is a focus on the detectives' process of uncovering clues and trying to decipher the killer's patterns. Both the screenplay and the movie have a procedural tone with intense character interactions and a sense of intrigue. |
| Mindhunter | The screenplay has similarities with the TV show 'Mindhunter' as both stories explore the psychology of serial killers and the methods used by FBI agents to catch them. The structure and tone of both the screenplay and the show are investigative and psychological, with a focus on character development and a deep dive into the minds of criminals. |
| The Girl with the Dragon Tattoo | The screenplay shares similarities with the movie 'The Girl with the Dragon Tattoo' as both stories involve a determined protagonist investigating a series of gruesome crimes. There is a focus on uncovering dark secrets and solving a mystery. Both the screenplay and the movie have a dark and intense tone, with strong female leads. |
| Seven Seconds | The screenplay has similarities with the TV show 'Seven Seconds' as both stories deal with a murder case that reveals corruption and cover-ups within law enforcement. There is a focus on the moral dilemmas faced by the protagonist and the pursuit of justice. Both the screenplay and the show explore themes of crime, racism, and the impact of social issues. |
| The Bone Collector | The screenplay shares similarities with the movie 'The Bone Collector' as both stories center around a detective and a forensic expert working together to catch a serial killer. There is a focus on the investigation process, crime scene analysis, and the dynamics between the main characters. Both the screenplay and the movie have a suspenseful and thrilling tone. |
| True Detective | The screenplay has similarities with the TV show 'True Detective' as both stories involve a complex and deeply atmospheric investigation of a serial killer. There is a focus on character development and the psychological toll of the case on the detectives. Both the screenplay and the show have a dark and moody tone, with a mix of procedural and psychological elements. |
| Mystic River | The screenplay shares similarities with the movie 'Mystic River,' as both stories delve into the disturbing underbelly of crime and its impact on the lives of the characters. There is a focus on the investigation of a heinous crime and the ensuing emotional turmoil. Both the screenplay and the movie have a tense and dramatic tone, with themes of grief, guilt, and the consequences of violence. |
| Gone Girl | The screenplay has similarities with the movie 'Gone Girl' as both stories involve a thrilling investigation into a missing person case that uncovers dark secrets and manipulations. There is a focus on twists and turns, along with the exploration of complex relationships and the consequences of deceit. Both the screenplay and the movie have a psychological thriller tone with unexpected revelations. |
| Theme | Theme Details | Themee Explanation |
|---|---|---|
| Determination and Resilience | Throughout the screenplay, Clarice demonstrates determination and resilience in her pursuit of Buffalo Bill and her mission to save Catherine. Despite facing numerous obstacles and setbacks, Clarice never gives up and continues to fight for justice. | This theme highlights the protagonist's strong will and determination, showcasing her ability to persevere in the face of adversity. |
| Personal Trauma and Healing | The screenplay explores the theme of personal trauma and the impact it has on the characters, particularly Clarice. Clarice's traumatic childhood experiences with witnessing lambs being slaughtered haunt her and drive her motivation to save Catherine. Through her interactions with Dr. Lecter, Clarice confronts her past trauma and seeks healing. | This theme delves into the psychological and emotional journey of the character, addressing the need to confront and overcome past traumas in order to find healing and growth. |
| The Power of Manipulation | The screenplay explores the power of manipulation through the character of Dr. Lecter. He uses his intelligence and manipulative tactics to influence others and gain control over his surroundings. Clarice, in turn, learns to navigate and utilize manipulation as a means to achieve her goals. | This theme explores the morally ambiguous nature of manipulation and its effects on characters and the plot. It delves into the dynamics of power and control and raises questions about the ethical boundaries of manipulation. |
| Gender Identity and Dysphoria | The screenplay touches upon the theme of gender identity and dysphoria through its exploration of Buffalo Bill's character. The discussion of Bill potentially being a failed transsexual raises questions about the complexities of gender identity and the struggles individuals may face when trying to conform to societal expectations. | This theme explores the sensitive subject of gender identity and how societal norms and expectations can impact an individual's understanding and acceptance of their own identity. |
| Moral Ambiguity and Ethical Dilemmas | The screenplay introduces moral ambiguity and ethical dilemmas through the character of Dr. Lecter. He is a sophisticated and intelligent individual who commits violent and heinous acts. It raises questions about the justification of using criminals like Lecter for law enforcement purposes and the ethical boundaries of justice. | This theme explores the gray areas of morality and ethics, challenging the conventional notions of right and wrong. It delves into the conflicting decisions and choices faced by the characters, forcing them to question their own moral compasses. |
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice in the screenplay is concise, descriptive, and focused on action and dialogue. The dialogue is straightforward, realistic, and impactful. The narrative description is vivid and evocative, creating a sense of tension and atmosphere. The scene direction is clear and focused, enhancing the overall mood and themes of the screenplay. |
| Voice Contribution | The writer's voice contributes to the script by creating a sense of tension, suspense, and atmosphere. The concise and descriptive language helps to build the mood and depth of the screenplay. The strong character dialogue adds realism and depth to the characters, while the vivid narrative description enhances the visual imagery and overall tone of the scenes. |
| Best Representation Scene | 38 - On the Hunt |
| Best Scene Explanation | Scene 38 is the best representation of the author's voice. The concise and action-driven style is evident in the dialogue and scene direction. The description effectively establishes the stakes for the characters and contributes to the overall suspense and tension of the scene. |
Originality
- Overall originality score: 8.5
- Overall originality explanation: The screenplay showcases a high level of originality through its unique situations, fresh approaches to familiar tropes, and authentic character interactions.
- Most unique situations: The most unique situations in the screenplay are the psychological game between Clarice and Dr. Lecter, the exploration of Clarice's vulnerability and isolation in her interactions with Dr. Lecter, and the entomologists' fascination with Clarice and the tension it creates.
World Building
- Physical environment: The world depicted in the screenplay is characterized by a mix of physical environments, including grubby hotel corridors, FBI academy grounds, grim asylums, dimly lit corridors in mental institutions, hospital parking lots, storage sheds, dimly lit cells, well-furnished apartments, funeral homes, embalming rooms, and various crime scenes. These physical environments contribute to the atmosphere and mood of each scene, creating a sense of danger, suspense, eeriness, and tension.
- Culture: Cultural elements depicted in the screenplay include the use of titles such as Mr. and Sir when addressing authority figures, the strict rules and precautions in mental institutions, the presence of mentally ill patients, the fascination of male-dominated entomologists with Clarice, the expectation for FBI agents to be competent and driven, and the celebration in a dormitory. These cultural elements shape the characters' experiences and interactions, reflecting their roles and expectations within their respective worlds.
- Society: Societal structures depicted in the screenplay include hierarchical law enforcement settings with bosses and students, the prison system with officers and inmates, and law enforcement personnel working in conjunction with professionals in the mortuary industry. These societal structures influence power dynamics, control, and the interactions between characters.
- Technology: Technological elements in the screenplay include firearms, surveillance cameras, forensic evidence analysis tools, fingerprint kits, hi-tech FBI equipment, magnification tools used by entomologists, Litton Policefax transmitter, and advanced equipment in an FBI turbojet. These technological aspects contribute to the suspense, urgency, and advancement of investigations within the narrative.
- Characters influence: The unique physical environments, cultural elements, societal structures, and technological aspects shape the characters' experiences and actions. They influence their behavior, decision-making, and interactions with others. The characters navigate through dangerous and violent worlds, adhere to cultural norms and expectations, face power dynamics and hierarchies, and utilize technology to solve cases or escape danger.
- Narrative contribution: These world elements contribute to the narrative by setting the tone, establishing the atmosphere, creating suspense and tension, providing context for the characters' actions, and advancing the plot. The physical environments, cultural elements, societal structures, and technological aspects immerse the audience in the world of the story, enhancing the storytelling and driving the narrative forward.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by highlighting themes of violence, danger, law enforcement, isolation, identity, manipulation, power, trauma, gender, perseverance, and obsession. The physical environments, cultural elements, societal structures, and technological aspects reflect and amplify these thematic elements, adding depth and complexity to the screenplay.
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'The Silence of the Lambs' is a taut, psychological thriller that delves into the complex relationship between FBI trainee Clarice Starling and the brilliant, but disturbed psychiatrist Dr. Hannibal Lecter. The story follows Clarice's investigation into the 'Buffalo Bill' serial killer case, which becomes entangled with Lecter's own twisted past and desire to manipulate Clarice. The screenplay features strong character development, intense dialogue, and well-crafted suspense sequences that keep the audience engaged throughout. While there are a few areas where the pacing and emotional depth could be further explored, the overall narrative is a cohesive and compelling piece of storytelling that would appeal to fans of the thriller genre.
Strengths
- The dialogue between Clarice and Dr. Lecter is exceptionally well-written, with both characters engaging in a battle of wits and psychological manipulation. Their interaction is tense, complex, and reveals new layers of their respective characters. high ( Scene 4 (INT. DR. LECTER'S CORRIDOR - DAY) )
- The scenes depicting the kidnapping of Catherine Martin and the introduction of the antagonist, Mr. Gumb, are thrilling and suspenseful, building a strong sense of dread and tension. high ( Scene 11 (INT. CATHERINE MARTIN'S APARTMENT - MEMPHIS, TENNESSEE - NIGHT) Scene 15 (INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT)) )
- The scene where Clarice and Ardelia work together to uncover the clues and make the crucial connection between Fredrica Bimmel and Buffalo Bill is an excellent example of collaborative problem-solving and character development. medium ( Scene 34 (INT. LAUNDRY ROOM - ACADEMY DORM - NIGHT (VERY LATE)) )
Areas of Improvement
- The dialogue between Crawford and Clarice regarding the decision to allow Dr. Lecter to travel to Tennessee could be fleshed out further to provide more insight into their respective motivations and the ethical dilemma they face. medium ( Scene 9 (INT. SURVEILLANCE VAN - DAY) )
- The scene where Clarice is suspended from the Academy could be expanded to explore the emotional impact on her and her relationship with Crawford in more depth. medium ( Scene 26 (INT. CLARICE'S DORM ROOM - NIGHT) )
MissingElements
- While the screenplay does an excellent job of exploring Clarice's personal history and motivations, there could be more scenes or development focused on Catherine Martin as a character, to further humanize the victim and add emotional resonance to the stakes of the investigation. medium ( Scene 29 (INT. CATHERINE MARTIN'S APARTMENT - LIVING ROOM - DAY) )
NotablePoints
- The opening scene effectively establishes the tone and core conflict of the story, introducing Clarice as a capable but vulnerable trainee who is tasked with engaging the dangerous and manipulative Dr. Lecter. high ( Scene 2 (EXT. FBI ACADEMY GROUNDS, QUANTICO, VIRGINIA - DAY) )
- The climactic confrontation between Clarice and Mr. Gumb is a masterfully crafted sequence, with the use of the infra-red lighting and the slow-motion effects creating a heightened sense of tension and drama. high ( Scene 43 (INT. MR. GUMB'S WORKROOM - DAY (GREEN LIGHT)) )