"THE SILENCE OF THE LAMBS" (1991)

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

WITHWITH CLARICE - MOVING SHOTCLARICE - MOVING SHOT

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

CUT TO:CUT TO:

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

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

CLARICE'S POV - SLOW MOTIONCLARICE'S POV - SLOW MOTION

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

THETHE SUSPECT'S HANDSSUSPECT'S HANDS

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

2.2.

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

THETHE "HOSTAGE""HOSTAGE"

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

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

THETHE "HOSTAGE""HOSTAGE"

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

Clarice relaxes, lowering her gun. The lights brighten.Clarice relaxes, lowering her gun. The lights brighten.

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

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

3.3.

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

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

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

SPECIAL AGENT JACK CRAWFORDSPECIAL AGENT JACK CRAWFORD

sits on the top step of the aisle, looking down at her. Hesits on the top step of the aisle, looking down at her. He isis 53, strongly built.53, strongly built. He rises impassively, exits throughHe rises impassively, exits through thethe back door. He carries a think manila envelope underback door. He carries a think manila envelope under oneone arm.arm.

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

CUT TO:CUT TO:

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

4.4.

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

Clarice stops walking, goes very still. A beat.Clarice stops walking, goes very still. A beat.

5.5.

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

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

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

6.6.

CUT TO:CUT TO:

CRIMINALLY INSANECRIMINALLY INSANE -- DAYDAY

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

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

NEWNEW ANGLE - REVEALS CLARICEANGLE - REVEALS CLARICE

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

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

7.7.

CUT TO:CUT TO:

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

CUT TO:CUT TO:

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

8.8.

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

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

9.9.

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

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

Sensing her tension, he indicates a nearby securitySensing her tension, he indicates a nearby security monitor.monitor.

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

CUT TO:CUT TO:

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

Clarice flinches momentarily, but then walks on.Clarice flinches momentarily, but then walks on.

10.10.

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

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

CUTTING BETWEEN THEMCUTTING BETWEEN THEM

asas Clarice comes a measured distance closer.Clarice comes a measured distance closer.

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

11.11.

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

SheShe sits in the folding metal desk-chair. He waitssits in the folding metal desk-chair. He waits politely till she's settled, then sits down himself, facespolitely till she's settled, then sits down himself, faces herher happily.happily.

12.12.

AA pause, then Clarice takes the questionnaire from herpause, then Clarice takes the questionnaire from her case.case.

13.13.

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

SheShe rolls him the questionnaire, in his sliding food tray.rolls him the questionnaire, in his sliding food tray. HeHe rises, glances at it, turning a page or tworises, glances at it, turning a page or two disdainfully.disdainfully.

14.14.

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

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

15.15.

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

TheThe dark figure suddenly flings his palm towards her, anddark figure suddenly flings his palm towards her, and --

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

16.16.

CUT TO:CUT TO:

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

17.17.

MOVING ANGLE - THE GIRL'S POVMOVING ANGLE - THE GIRL'S POV

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

CUT TO:CUT TO:

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

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

CUT TO:CUT TO:

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

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

18.18.

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

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

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

CUT TO:CUT TO:

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

19.19.

SheShe pauses, expecting some soft of approval for herpauses, expecting some soft of approval for her cleverness.cleverness.

20.20.

ANGLE ON CLARICEANGLE ON CLARICE

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

21.21.

SheShe slams her receiver into its cradle.slams her receiver into its cradle.

ANGLE ON CRAWFORDANGLE ON CRAWFORD

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

CUT TO:CUT TO:

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

TheThe nurse nods, hands him the chart, and goes. He glancesnurse nods, hands him the chart, and goes. He glances atat it, then sets it aside. He crosses to -it, then sets it aside. He crosses to -

DISSOLVE TO:DISSOLVE TO:

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

CUT TO:CUT TO:

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

22.22.

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

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

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

SheShe gives him her flashlight and camera, drops the mat ongives him her flashlight and camera, drops the mat on thethe ground, then sets the bumper jack in place, under theground, then sets the bumper jack in place, under the center of the door. She pumps on the jack handle as thecenter of the door. She pumps on the jack handle as the door SQUEALS slowly up, but it won't go higher than aboutdoor SQUEALS slowly up, but it won't go higher than about 1818 inches, despite all her exertions. She spreads out theinches, despite all her exertions. She spreads out the rubber mat on the cement, takes the flashlight from Mr.rubber mat on the cement, takes the flashlight from Mr. Yow, then lies on the mat.Yow, then lies on the mat.

CUT TO:CUT TO:

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

23.23.

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

CUT BACK TO:CUT BACK TO:

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

CUT BACK TO:CUT BACK TO:

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

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

24.24.

CLARICE'S POV - UPWARD, SHIFTINGCLARICE'S POV - UPWARD, SHIFTING

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

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

HERHER POV - SHIFTINGPOV - SHIFTING

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

Clarice recoils, alarmed, then steadies herself.Clarice recoils, alarmed, then steadies herself.

25.25.

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

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

HERHER POV - MOVING LIGHTPOV - MOVING LIGHT BEAMBEAM

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

ONEONE GLOVED HAND slidesGLOVED HAND slides off the lap, brushing Clarice'soff the lap, brushing Clarice's thigh.thigh.

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

26.26.

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

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

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

CUT TO:CUT TO:

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

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

CUT TO:CUT TO:

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

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

27.27.

CUTTING BETWEEN THEMCUTTING BETWEEN THEM

Clarice and the darkened call - as she tries again.Clarice and the darkened call - as she tries again.

TheThe food carrier suddenly SWISHES out of the cell, makingfood carrier suddenly SWISHES out of the cell, making herher jump up. In its tray is a clean, folded white towel.jump up. In its tray is a clean, folded white towel. SheShe hesitates, then crosses, takes this.hesitates, then crosses, takes this.

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

28.28.

29.29.

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

30.30.

ButBut Dr. Lecter only smiles, enigmatically.Dr. Lecter only smiles, enigmatically.

AsAs Clarice stares at him, unsure how to respond -Clarice stares at him, unsure how to respond -

DISSOLVE TO:DISSOLVE TO:

NIGHTNIGHT

CATHERINE MARTIN takes a long toke from a bong pipe. SheCATHERINE MARTIN takes a long toke from a bong pipe. She isis 21, a tall, big-boned, rather fleshy girl with long21, a tall, big-boned, rather fleshy girl with long brown fair. Her head is on the lap of her boyfriend, CODY;brown fair. Her head is on the lap of her boyfriend, CODY; they're sprawled on a couch in the den of her well-they're sprawled on a couch in the den of her well- furnished apartment. The TV in on, with low SOUND.furnished apartment. The TV in on, with low SOUND.

31.31.

HeHe starts to rise, but she pushes him back.starts to rise, but she pushes him back.

SheShe rises, goes out the front door.rises, goes out the front door.

CUT TO:CUT TO:

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

Catherine hesitates, then crosses towards the man.Catherine hesitates, then crosses towards the man.

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

CUT TO:CUT TO:

32.32.

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

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

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

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

CUT TO:CUT TO:

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

DISSOLVE TO:DISSOLVE TO:

33.33.

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

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

ANGLE ON THE DOORANGLE ON THE DOOR

asas John Brigham, the gunnery instructor, sticks his headJohn Brigham, the gunnery instructor, sticks his head in.in.

CUT TO:CUT TO:

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

34.34.

CUT TO:CUT TO:

Brigham steers as they pass hangars, parked planes, anBrigham steers as they pass hangars, parked planes, an airstrip. Clarice holds a big fingerprint kit and aairstrip. Clarice holds a big fingerprint kit and a weekend bag.weekend bag.

Clarice absorbs this in silence as they stop near anClarice absorbs this in silence as they stop near an ancient, rather dilapidated Beechcraft. Its door is open,ancient, rather dilapidated Beechcraft. Its door is open, thethe twin props and beacons already turning. Brigham turnstwin props and beacons already turning. Brigham turns toto her, holding out his small canvas bag.her, holding out his small canvas bag.

35.35.

Clarice opens the bag, stares at the big blue gun nestledClarice opens the bag, stares at the big blue gun nestled inin its shoulder holster. She looks up at him, touched.its shoulder holster. She looks up at him, touched.

SheShe nods, climbs out. Then she looks back in at him.nods, climbs out. Then she looks back in at him. They're both moved by this rite of passage, but a littleThey're both moved by this rite of passage, but a little embarrassed.embarrassed.

CUT TO:CUT TO:

CLARICE'S POV - Out the plane's window, at the landscapeCLARICE'S POV - Out the plane's window, at the landscape farfar below. Wisps of cloud, a quilt of farms.below. Wisps of cloud, a quilt of farms.

Clarice turns from the window, looks at a think folder inClarice turns from the window, looks at a think folder in herher lap. The cover reads "Case File: / BUFFALO BILL."lap. The cover reads "Case File: / BUFFALO BILL." Clarice is moody, distracted. She hesitates, then opensClarice is moody, distracted. She hesitates, then opens thethe file, begins to scan.file, begins to scan.

INSERTS - HER POVINSERTS - HER POV

Police forms, some handwritten... Typed lab reports; wePolice forms, some handwritten... Typed lab reports; we catch words, phrases: "Autopsy Protocols", "Histaminecatch words, phrases: "Autopsy Protocols", "Histamine Analysis"... Grainy enlargements of bullet slugs, showingAnalysis"... Grainy enlargements of bullet slugs, showing matched grooves... And then a stack of victim photos. Thematched grooves... And then a stack of victim photos. The first one, taken from a good distance away, shows a nudefirst one, taken from a good distance away, shows a nude female body, face down on a pebbly riverbank, surroundedfemale body, face down on a pebbly riverbank, surrounded byby bits of litter.bits of litter.

Clarice hesitates again, then flips this photo to look atClarice hesitates again, then flips this photo to look at thethe next. It makes her flinch, just slightly. Quickly shenext. It makes her flinch, just slightly. Quickly she turns through several more photographs, trying hard toturns through several more photographs, trying hard to concentrate.concentrate.

36.36.

TheThe pilot adjusts a valve. Crawford turns to her again.pilot adjusts a valve. Crawford turns to her again.

AA COLOR PHOTO - IN CLARICE'S HANDSCOLOR PHOTO - IN CLARICE'S HANDS

shows a pretty, plump-cheeked brunette, in her high schoolshows a pretty, plump-cheeked brunette, in her high school graduation cap and gown. She smiles at us with touchinggraduation cap and gown. She smiles at us with touching optimism.optimism.

37.37.

CUT TO:CUT TO:

Crawford steers, following a highway patrol car along aCrawford steers, following a highway patrol car along a winding mountain road. Clarice has the file open on herwinding mountain road. Clarice has the file open on her lap. He glances at her, inscrutable behind his sunglasses.lap. He glances at her, inscrutable behind his sunglasses.

38.38.

HeHe studies her a few moments, measuring her anger.studies her a few moments, measuring her anger.

39.39.

AA shadow of regret passes over his face, but he answersshadow of regret passes over his face, but he answers sternly.sternly.

SheShe starts to answer, then is silent. He is right. By nowstarts to answer, then is silent. He is right. By now thethe two cars are entering a tidy little town - tree-linedtwo cars are entering a tidy little town - tree-lined streets, wooden houses, one-story shops, mountains in thestreets, wooden houses, one-story shops, mountains in the background. They slow, turn.background. They slow, turn.

Clarice nods, silently; it's as close to an apology asClarice nods, silently; it's as close to an apology as she's likely to get. She stares out the windshield.she's likely to get. She stares out the windshield.

JUST AHEAD OF THEMJUST AHEAD OF THEM

thethe highway patrol cruiser noses into a curb, next tohighway patrol cruiser noses into a curb, next to other police cars, facing a big white frame house. Itsother police cars, facing a big white frame house. Its sign reads "Potter Funeral Home." Two troopers climb fromsign reads "Potter Funeral Home." Two troopers climb from thethe car.car.

Crawford parks too, then kills the engine. He turns toCrawford parks too, then kills the engine. He turns to her, removing his sunglasses, gestures to the case file.her, removing his sunglasses, gestures to the case file.

40.40.

OneOne of the troopers, impassive in his sunglasses and hat,of the troopers, impassive in his sunglasses and hat, peers in through Crawford's window. Crawford nods to him,peers in through Crawford's window. Crawford nods to him, then turns back to Clarice.then turns back to Clarice.

CUT TO:CUT TO:

SOUND of organ music, as Clarice, carrying her fingerprintSOUND of organ music, as Clarice, carrying her fingerprint kit, mounts some steps to the sidewalk. She stops, seeingkit, mounts some steps to the sidewalk. She stops, seeing --

ANGLE ON CLARICEANGLE ON CLARICE

staring back at the mourners, hearing the music, as astaring back at the mourners, hearing the music, as a sense memory is triggered in her...sense memory is triggered in her...

ININ FLASHBACK - LOW ANGLE, MOVINGFLASHBACK - LOW ANGLE, MOVING

asas we approach, down the aisle of a country chapel, anwe approach, down the aisle of a country chapel, an open wooden coffin. Sad country faces turn, looking at usopen wooden coffin. Sad country faces turn, looking at us from the flanking pews. The b.g. organ hymn is "Shall Wefrom the flanking pews. The b.g. organ hymn is "Shall We Gather...?"Gather...?"

THETHE SAD, 10 YEAR-OLD CLARICESAD, 10 YEAR-OLD CLARICE

inin her best dress, is reluctantly approaching the casket.her best dress, is reluctantly approaching the casket. HerHer hands are held by the plump hands of unseen matrons.hands are held by the plump hands of unseen matrons.

41.41.

CUT TO:CUT TO:

AA young deputy, several state troopers, and a SHERIFF areyoung deputy, several state troopers, and a SHERIFF are allall waiting, as Crawford and Clarice enter. The dim,waiting, as Crawford and Clarice enter. The dim, cluttered corridor doubles as storage space - there's acluttered corridor doubles as storage space - there's a treadle sewing machine, a soft-drink machine, a tricycle.treadle sewing machine, a soft-drink machine, a tricycle. TheThe MUSIC is closer. Crawford shakes hands with theMUSIC is closer. Crawford shakes hands with the sheriff.sheriff.

HeHe casts a sidelong, unhappy glance at Clarice.casts a sidelong, unhappy glance at Clarice.

42.42.

HeHe indicates Clarice with his eyes. The sheriff hesitates,indicates Clarice with his eyes. The sheriff hesitates, nods, then lets Crawford guide him into a small office,nods, then lets Crawford guide him into a small office, closing the door behind them. Muffled WORDS from there.closing the door behind them. Muffled WORDS from there.

ANGLE ON THE OFFICE DOORANGLE ON THE OFFICE DOOR

as,as, after a few more moments, the sheriff and Crawfordafter a few more moments, the sheriff and Crawford emerge. The sheriff, still not very happy, addresses hisemerge. The sheriff, still not very happy, addresses his deputy.deputy.

CUT TO:CUT TO:

Crawford, in one corner of the room, has set up a LittonCrawford, in one corner of the room, has set up a Litton Policefax fingerprint transmitter. SOUND of many men's lowPolicefax fingerprint transmitter. SOUND of many men's low voices, in background. He is on the phone, and has tovoices, in background. He is on the phone, and has to speak loudly.speak loudly.

HeHe looks around, frustrated by the noisy circus atmosphere.looks around, frustrated by the noisy circus atmosphere.

43.43.

TheThe men look at one another, a little bashfully, thenmen look at one another, a little bashfully, then begin to to file out, whispering among themselves. As theybegin to to file out, whispering among themselves. As they go,go, a bright green body bag is REVEALED, tightly zipped,a bright green body bag is REVEALED, tightly zipped, lying on a porcelain embalming table. It is almost thelying on a porcelain embalming table. It is almost the only modern object in this Victorian room, with its glass-only modern object in this Victorian room, with its glass- paned cabinets and faded wallpaper, decorated with cabbagepaned cabinets and faded wallpaper, decorated with cabbage roses.roses.

44.44.

SheShe steadies herself by raising her camera, takes a FLASHsteadies herself by raising her camera, takes a FLASH photo.photo.

LOWLOW ANGLE - LOOKING UP, FROM BENEATH TABLEANGLE - LOOKING UP, FROM BENEATH TABLE

asas Dr. Akin gently lifts aside one of the dead girl'sDr. Akin gently lifts aside one of the dead girl's arms. A piece of fishing line, with multiple hooks, isarms. A piece of fishing line, with multiple hooks, is still snagged around it, dangling. Crawford leans in forstill snagged around it, dangling. Crawford leans in for aa closer look.closer look.

HeHe leaves, and Clarice leans INTO SHOT, taking anotherleaves, and Clarice leans INTO SHOT, taking another photo.photo.

UPWARD ANGLE AGAINUPWARD ANGLE AGAIN

asas Lamar joins them for a closer look.Lamar joins them for a closer look.

45.45.

SheShe takes another FLASH, then quickly reloads film.takes another FLASH, then quickly reloads film.

Crawford and Lamar both look at her curiously.Crawford and Lamar both look at her curiously.

SIDE ANGLE - CLOSE ON THE DEAD GIRL'S FACESIDE ANGLE - CLOSE ON THE DEAD GIRL'S FACE

staring blue eyes, short reddish hair. Clarice sets thestaring blue eyes, short reddish hair. Clarice sets the Polaroid, with its special attachments, against the face,Polaroid, with its special attachments, against the face, while Lamar gently retracts the lips. Each time the camerawhile Lamar gently retracts the lips. Each time the camera FLASHES, there's a bright glow inside the cheeks.FLASHES, there's a bright glow inside the cheeks.

NEWNEW ANGLE - CHEST HIGHANGLE - CHEST HIGH

asas Clarice examines a developing print.Clarice examines a developing print.

SheShe hands the print to Crawford; he and Lamar look at it,hands the print to Crawford; he and Lamar look at it, asas she searches in her kit.she searches in her kit.

46.46.

Clarice holds up a pair of forceps. She glances atClarice holds up a pair of forceps. She glances at Crawford, who nods. She bends over, partially OUT OF SHOT,Crawford, who nods. She bends over, partially OUT OF SHOT, andand after a few moments reappears, holding up a small,after a few moments reappears, holding up a small, brown cylindrical object. She turns this in the air, asbrown cylindrical object. She turns this in the air, as they all stare.they all stare.

Clarice and Crawford exchange a glance.Clarice and Crawford exchange a glance.

Clarice takes a jar from her kit, carefully drops theClarice takes a jar from her kit, carefully drops the cocoon inside. SOUND of the men's heavy efforts as theycocoon inside. SOUND of the men's heavy efforts as they turn over the body, off screen. She seals the jar, staringturn over the body, off screen. She seals the jar, staring into it at the cocoon.into it at the cocoon.

SheShe turns to look.turns to look.

NEWNEW ANGLE - TWO SHOTANGLE - TWO SHOT

asas Clarice looks at Crawford.Clarice looks at Crawford.

Clarice raises her camera, leans in for another FLASH.Clarice raises her camera, leans in for another FLASH.

CUT TO:CUT TO:

47.47.

Clarice sits outside, with her head on her knees, drained.Clarice sits outside, with her head on her knees, drained. SheShe looks up wanly as Lamar appears, offers her a can oflooks up wanly as Lamar appears, offers her a can of Coke.Coke.

SheShe smiles, touched, and takes the can. When Lamar seessmiles, touched, and takes the can. When Lamar sees Crawford coming outside, he tactfully departs. CrawfordCrawford coming outside, he tactfully departs. Crawford sits beside her; there's a brief silence. She soothessits beside her; there's a brief silence. She soothes herself with the can.herself with the can.

SheShe looks at him a moment, then offers the can. He openslooks at him a moment, then offers the can. He opens it.it.

48.48.

HeHe looks at her for a moment, then sips again.looks at her for a moment, then sips again.

DISSOLVE TO:DISSOLVE TO:

AA shadowy male figure looks down at us, leaning over theshadowy male figure looks down at us, leaning over the edge of a deep hole. He holds a little white poodle in hisedge of a deep hole. He holds a little white poodle in his arms, stroking it. This is MR. GUMB, aka "Buffalo Bill."arms, stroking it. This is MR. GUMB, aka "Buffalo Bill."

49.49.

REVERSE ANGLE - UP TOWARDS MR. GUMBREVERSE ANGLE - UP TOWARDS MR. GUMB

TheThe little dog squirms in his arms, BARKING excitedly.little dog squirms in his arms, BARKING excitedly.

SIDE ANGLE - AT PIT BOTTOMSIDE ANGLE - AT PIT BOTTOM

asas Catherine kneels, turning slightly away from him.Catherine kneels, turning slightly away from him.

SheShe unzips her jumpsuit, part-way, then squeezes some ofunzips her jumpsuit, part-way, then squeezes some of thethe lotion onto a palm. She reaches inside her suit, rubslotion onto a palm. She reaches inside her suit, rubs itit on.on.

50.50.

AA sudden blindingsudden blinding glare of lightglare of light silences her. She lookssilences her. She looks up,up, shielding her eyes.shielding her eyes.

NEWNEW ANGLE - CATHERINEANGLE - CATHERINE

asas the basket stops, and she steadies it. But as she slipsthe basket stops, and she steadies it. But as she slips thethe bottle in, she sees something, O.S., just at thebottle in, she sees something, O.S., just at the fringe of the light. She hesitates, looks closer... thenfringe of the light. She hesitates, looks closer... then begins to scream, hysterically, again and again. Herbegins to scream, hysterically, again and again. Her outflung hand hits theoutflung hand hits the lamp, and in its swaying glare, welamp, and in its swaying glare, we seesee - high on the concrete walls, all around her -- high on the concrete walls, all around her -

BLOODY FINGER TRACKSBLOODY FINGER TRACKS

dried now, brownish - left by many pairs of frenzieddried now, brownish - left by many pairs of frenzied hands...hands...

CUT TO:CUT TO:

Clarice is at her desk, exercising her right hand with theClarice is at her desk, exercising her right hand with the grip flexer, while simultaneously studying a thick lawgrip flexer, while simultaneously studying a thick law book. Ardelia sticks her head in the door, excited.book. Ardelia sticks her head in the door, excited.

CUT TO:CUT TO:

CLOSE ON a TV screen, filled with a photo of CatherineCLOSE ON a TV screen, filled with a photo of Catherine Martin.Martin.

51.51.

TheThe photo disappears, replaced by the TV ANCHOR himself.photo disappears, replaced by the TV ANCHOR himself.

BACK ON THE TV ANCHORBACK ON THE TV ANCHOR

52.52.

Clarice is moved by what she sees. Other trainees are allClarice is moved by what she sees. Other trainees are all around her.around her.

ONON THE TV AGAINTHE TV AGAIN

2ND TV ANCHOR2ND TV ANCHOR (V.O.)(V.O.) Meanwhile. in Memphis, theMeanwhile. in Memphis, the investigation continued throughout theinvestigation continued throughout the night, as state and local authoritiesnight, as state and local authorities were joined at the kidnap scene bywere joined at the kidnap scene by agents of the FBI...agents of the FBI...

MOVING ANGLE (STILL TVMOVING ANGLE (STILL TV FOOTAGE)FOOTAGE)

asas Jack Crawford is seen striding towards the front doorJack Crawford is seen striding towards the front door ofof Catherine's apartment, followed by Burroughs and otherCatherine's apartment, followed by Burroughs and other agents. One of them moves quickly towards the CAMERA,agents. One of them moves quickly towards the CAMERA, waving it back.waving it back.

RECREC ROOM ANGLE - FAVORING ARDELIAROOM ANGLE - FAVORING ARDELIA

asas the other trainees send up a brief, ironic cheer. Butthe other trainees send up a brief, ironic cheer. But Ardelia turns sympathetically towards the troubled Clarice.Ardelia turns sympathetically towards the troubled Clarice.

53.53.

CUT TO:CUT TO:

TheThe massive Victorian building looms over Constitutionmassive Victorian building looms over Constitution Avenue. Clarice quickly mounts the steps, carrying a smallAvenue. Clarice quickly mounts the steps, carrying a small plastic box.plastic box.

CUT TO:CUT TO:

Clarice, now accompanied by a museum guard, walks throughClarice, now accompanied by a museum guard, walks through anan eerie landscape of dinosaur bones - crouching skeletonseerie landscape of dinosaur bones - crouching skeletons with blank eye sockets, gaping fangs.with blank eye sockets, gaping fangs.

CUT TO:CUT TO:

CLOSE ON an live, enormous, rhinoceros beetle, as itCLOSE ON an live, enormous, rhinoceros beetle, as it weaves its clumsy way among the men on a chessboard,weaves its clumsy way among the men on a chessboard, before finally stepping off the edge, onto a lettuce leaf.before finally stepping off the edge, onto a lettuce leaf.

54.54.

They look up, delighted to see Clarice in the doorway.They look up, delighted to see Clarice in the doorway. Both men are hopelessly smitten by her.Both men are hopelessly smitten by her.

CUT TO:CUT TO:

MOVING ANGLE as Clarice and the two men go briskly down aMOVING ANGLE as Clarice and the two men go briskly down a hall lined with mounted insects, in all shapes and sizes.hall lined with mounted insects, in all shapes and sizes. Roden peers at Clarice's new cocoon, in its box.Roden peers at Clarice's new cocoon, in its box.

55.55.

CUT TO:CUT TO:

VERY CLOSE (MAGNIFICATION) on the sliced cocoon, as RodenVERY CLOSE (MAGNIFICATION) on the sliced cocoon, as Roden uses tweezers and a dental probe to ease out the soddenuses tweezers and a dental probe to ease out the sodden chrysalis.chrysalis.

HeHe looks up at her, shyly. A little moment passes betweenlooks up at her, shyly. A little moment passes between them, before Roden straightens, exultant.them, before Roden straightens, exultant.

56.56.

HeHe moves aside for Clarice to get a closer look atmoves aside for Clarice to get a closer look at Pilcher's specimen. She leans forward, intently.Pilcher's specimen. She leans forward, intently.

AsAs the two men stare at her, puzzled, we hear a SOUNDthe two men stare at her, puzzled, we hear a SOUND UPCUT - the wail of police SIRENS - and...UPCUT - the wail of police SIRENS - and...

CUT TO:CUT TO:

AnAn awesome armada of police vehicles swings through anawesome armada of police vehicles swings through an intersection, while normal traffic is held back by highwayintersection, while normal traffic is held back by highway patrol cruisers.patrol cruisers.

57.57.

TheThe lead cars turn off, hit the entrance ramp to thelead cars turn off, hit the entrance ramp to the freeway - SIRENS going, tires SQUEALING, red flashers...freeway - SIRENS going, tires SQUEALING, red flashers...

CUT TO:CUT TO:

TheThe van is crammed with an impressive array of hi-techvan is crammed with an impressive array of hi-tech equipment, all CLICKING and HUMMING. Burroughs is talkingequipment, all CLICKING and HUMMING. Burroughs is talking quietly on a scrambler phone, while another agent works aquietly on a scrambler phone, while another agent works a computer.computer.

CLARICE AND CRAWFORDCLARICE AND CRAWFORD

sitsit in swivel seats atin swivel seats at the rear, by a big window. Claricethe rear, by a big window. Clarice can't resits an occasional peak at the trailing motorcade,can't resits an occasional peak at the trailing motorcade, awed and a bit thrilled to be the center of so muchawed and a bit thrilled to be the center of so much attention.attention.

58.58.

Clarice looks at him, surprised.Clarice looks at him, surprised.

CUT TO:CUT TO:

59.59.

Chilton approaches, walking briskly down a corridor in theChilton approaches, walking briskly down a corridor in the administration wing. He looks quite agitated.administration wing. He looks quite agitated.

Chilton falls into step beside Clarice, who has herChilton falls into step beside Clarice, who has her briefcase. He points his gold pen at her accusingly.briefcase. He points his gold pen at her accusingly.

SheShe stares at him, with pity and distaste, till he lets go.stares at him, with pity and distaste, till he lets go.

SheShe walks away, leaving him speechless with frustrationwalks away, leaving him speechless with frustration andand hostility. He clicks his pen, watching her go.hostility. He clicks his pen, watching her go.

CUT TO:CUT TO:

Dr.Dr. Lecter sits at his table, languidly sketching withLecter sits at his table, languidly sketching with charcoal on butcher paper.charcoal on butcher paper.

60.60.

HeHe uses his own hand and forearm as a model. His otheruses his own hand and forearm as a model. His other drawings, books, and bedding have been restored.drawings, books, and bedding have been restored.

Clarice, sitting again at the desk-chair, is taking papersClarice, sitting again at the desk-chair, is taking papers from her briefcase.from her briefcase.

61.61.

HeHe is silent. She rises, moves closer, carrying papers.is silent. She rises, moves closer, carrying papers.

HisHis face remains neutral. She puts the papers in his foodface remains neutral. She puts the papers in his food tray.tray.

AA measured beat, before he rises smoothly, crosses, andmeasured beat, before he rises smoothly, crosses, and looks down at the papers, without touching them.looks down at the papers, without touching them.

62.62.

SheShe looks at him. A beat. They are standing uncomfortablylooks at him. A beat. They are standing uncomfortably close.close.

Clarice cannot bear the feverish excitement in his eyes.Clarice cannot bear the feverish excitement in his eyes. SheShe looks past him, hesitating again.looks past him, hesitating again.

63.63.

64.64.

65.65.

Suddenly Dr. Lecter snarls, loudly, stretching. ClariceSuddenly Dr. Lecter snarls, loudly, stretching. Clarice take a sharp step backwards before he smiles, turning histake a sharp step backwards before he smiles, turning his movement into an elaborate yawn. He gathers the papersmovement into an elaborate yawn. He gathers the papers from his tray.from his tray.

CUT TO:CUT TO:

VERY CLOSE ON a cocoon, split along its back, as a livingVERY CLOSE ON a cocoon, split along its back, as a living Death's-head Moth wriggles torturously free. Trembling andDeath's-head Moth wriggles torturously free. Trembling and damp, the new creature clings to a sprig of nightshade.damp, the new creature clings to a sprig of nightshade.

CONTINUOUS MOVING ANGLECONTINUOUS MOVING ANGLE

atat about knee level, as we leave the cage, and begin toabout knee level, as we leave the cage, and begin to TRAVEL through this eerie, dimly-lit warren of a cellar.TRAVEL through this eerie, dimly-lit warren of a cellar. AsAs we go - occasionally TURNING corners, or skirting thewe go - occasionally TURNING corners, or skirting the dark openings of unexplored passages - various objectsdark openings of unexplored passages - various objects loom briefly INTO VIEW, overhead - a stainless-steel workloom briefly INTO VIEW, overhead - a stainless-steel work table... a big sink... jars of chemicals... neat racks oftable... a big sink... jars of chemicals... neat racks of gleaming knives...gleaming knives...

66.66.

WeWe pass a row of female mannequins, some nude, somepass a row of female mannequins, some nude, some wearing colorful leather jackets, designer knockoffs, inwearing colorful leather jackets, designer knockoffs, in various stages of completion... then a huge maroonvarious stages of completion... then a huge maroon armoire, in Chinese lacquer; its double doors are slightlyarmoire, in Chinese lacquer; its double doors are slightly ajar... The jaunty background. MUSIC is growing evenajar... The jaunty background. MUSIC is growing even louder: Fats Waller singing "Bye Bye Baby." And now welouder: Fats Waller singing "Bye Bye Baby." And now we hear something else, too - the rapid CLICKING of a sewinghear something else, too - the rapid CLICKING of a sewing machine...machine...

WeWe TURN another corner, and there is Mr. Gumb himself. AsTURN another corner, and there is Mr. Gumb himself. As wewe APPROACH, his wide back is to us; he's hunched over anAPPROACH, his wide back is to us; he's hunched over an old-fashioned sewing machine, humming cheerfully, andold-fashioned sewing machine, humming cheerfully, and working a piece of material that we mercifully cannot see.working a piece of material that we mercifully cannot see. AA female wig rests near him on a head form. He wears afemale wig rests near him on a head form. He wears a hairnet and a beautiful kimono, and pumps the treadle withhairnet and a beautiful kimono, and pumps the treadle with hishis bare feet.bare feet.

Next to Mr. Gumb is an antique phonograph - source of theNext to Mr. Gumb is an antique phonograph - source of the MUSIC. His little dog, Precious, perches by his plumpMUSIC. His little dog, Precious, perches by his plump ankles. As we PASS Mr. Gumb, Precious scurries away fromankles. As we PASS Mr. Gumb, Precious scurries away from him, panting happily, and we FOLLOW the little dog downhim, panting happily, and we FOLLOW the little dog down another corridor, the music starting toanother corridor, the music starting to fadefade behind us...behind us...

67.67.

AtAt the end of this final corridor, the cellar widens intothe end of this final corridor, the cellar widens into aa low-ceilinged chamber, with two additional doorways, andlow-ceilinged chamber, with two additional doorways, and inin the center of this is the gaping circle of thethe center of this is the gaping circle of the oubliette. Precious sniffs her way over to the edge -oubliette. Precious sniffs her way over to the edge - excited, tail wagging - than BARKS happily as we hear aexcited, tail wagging - than BARKS happily as we hear a hoarse, ghostly moan from below.hoarse, ghostly moan from below.

DISSOLVE TO:DISSOLVE TO:

MOVING ANGLE - CLOSE ON Dr. Lecter's slippered feet, whichMOVING ANGLE - CLOSE ON Dr. Lecter's slippered feet, which rest on the shelf of a rolling hand truck. RISING alongrest on the shelf of a rolling hand truck. RISING along hishis tilted form, we see that his ankles are linked bytilted form, we see that his ankles are linked by steel restraints... his legs, waist, upper torso, and armssteel restraints... his legs, waist, upper torso, and arms areare bound by heavy canvas webbing... beneath the webbingbound by heavy canvas webbing... beneath the webbing isis a strait-jacket... and over his face is a hockey mask.a strait-jacket... and over his face is a hockey mask.

CUT TO:CUT TO:

Chilton lounges on Dr. Lecter's cot, casually reading hisChilton lounges on Dr. Lecter's cot, casually reading his large stack of private correspondence, and makinglarge stack of private correspondence, and making notations with his gold pen on a little pad. Anothernotations with his gold pen on a little pad. Another orderly mops the floor.orderly mops the floor.

68.68.

Barney props the hand truck into position, then bothBarney props the hand truck into position, then both orderlies go. Chilton finishes another letter, sighsorderlies go. Chilton finishes another letter, sighs happily.happily.

Tossing letters onto the cot, he rises, crosses out intoTossing letters onto the cot, he rises, crosses out into thethe corridor, and bends to remove a small tape recordercorridor, and bends to remove a small tape recorder from underneath Clarice's desk. He waggles it triumphantlyfrom underneath Clarice's desk. He waggles it triumphantly atat Dr. Lecter.Dr. Lecter.

SIDE ANGLE - TWO SHOTSIDE ANGLE - TWO SHOT

asas Chilton, back in the cell, leans tauntingly close toChilton, back in the cell, leans tauntingly close to thethe front of Dr. Lecter's mask.front of Dr. Lecter's mask.

CLOSE ON Dr. Lecter's glittering eyes, behind their slits.CLOSE ON Dr. Lecter's glittering eyes, behind their slits.

69.69.

DR.DR. LECTER'S POV (FRAMED BY EYE-SLITS)LECTER'S POV (FRAMED BY EYE-SLITS)

first looking at Chilton's moving lips... then LOWERING tofirst looking at Chilton's moving lips... then LOWERING to hishis soft, white, inviting throat...soft, white, inviting throat...

CLOSE AGAIN ONDR. LECTER'S EYESCLOSE AGAIN ONDR. LECTER'S EYES

asas they shift restlessly, away from Chilton - thenthey shift restlessly, away from Chilton - then suddenly lock onto something. They widen with interest.suddenly lock onto something. They widen with interest.

DR.DR. LECTER'S POV - EXTREME CLOSEUPLECTER'S POV - EXTREME CLOSEUP

OnOn the cot, carelesslythe cot, carelessly left there, lying half-hidden underleft there, lying half-hidden under thethe letters and the rumpled sheet... is Chilton's gold pen.letters and the rumpled sheet... is Chilton's gold pen.

70.70.

BACK ON DR. LECTERBACK ON DR. LECTER

asas he stares a moment longer at the pen, then shifts hishe stares a moment longer at the pen, then shifts his eyes towards Chilton. We can almost hear his braineyes towards Chilton. We can almost hear his brain clicking.clicking.

AA beat. Dr. Lecter is silent. Chilton sticks his face INTObeat. Dr. Lecter is silent. Chilton sticks his face INTO SHOT, almost intimately close to the mask. He is agitated.SHOT, almost intimately close to the mask. He is agitated.

CUT TO:CUT TO:

MOVING ANGLE - as the very impatient Crawford, clutchingMOVING ANGLE - as the very impatient Crawford, clutching aa folder, strides down a hall beside DR. DANIELSON - earlyfolder, strides down a hall beside DR. DANIELSON - early 50's, severe, in a lab coat. Nurses, doctors, glance as50's, severe, in a lab coat. Nurses, doctors, glance as they pass.they pass.

71.71.

Danielson enters a cramped, stainless steel nurse'sDanielson enters a cramped, stainless steel nurse's gallery, with Crawford following, and pours himself a cupgallery, with Crawford following, and pours himself a cup ofof coffee.coffee.

HeHe takes a black & white photo from his folder, slaps ittakes a black & white photo from his folder, slaps it down in front of Danielson. From our angle, we can't seedown in front of Danielson. From our angle, we can't see itit clearly.clearly.

Burroughs sticks his head in, looking for Crawford.Burroughs sticks his head in, looking for Crawford.

Burroughs hurriedly retreats. Crawford strains forBurroughs hurriedly retreats. Crawford strains for patience.patience.

72.72.

CUT TO:CUT TO:

Crawford is on the scrambler phone. Burroughs watchesCrawford is on the scrambler phone. Burroughs watches silently.silently.

73.73.

CUT TO:CUT TO:

HAYDEN BURKE, the FBI Director, swivels in his big chair.HAYDEN BURKE, the FBI Director, swivels in his big chair. Lean, late 40's, very distinguished. His desk is flankedLean, late 40's, very distinguished. His desk is flanked byby flags.flags.

Listening to the answer, he looks uncomfortably across hisListening to the answer, he looks uncomfortably across his desk at PAUL KRENDLER, the Deputy Attorney General - 40,desk at PAUL KRENDLER, the Deputy Attorney General - 40, very tanned, modish haircut. Krendler is irritable,very tanned, modish haircut. Krendler is irritable, impatient.impatient.

CUT BACK TO:CUT BACK TO:

Burroughs starts to make an objection, but Crawford stillsBurroughs starts to make an objection, but Crawford stills himhim with a hand motion. He is taut, frustrated. Long pause.with a hand motion. He is taut, frustrated. Long pause.

CUT TO:CUT TO:

74.74.

Clarice opens her door, stares out at Crawford. She's justClarice opens her door, stares out at Crawford. She's just slipping on her blazer, over her shoulder holster. She'sslipping on her blazer, over her shoulder holster. She's furious.furious.

CUT TO:CUT TO:

MOVING ANGLE on Clarice and Crawford, as they walk alongMOVING ANGLE on Clarice and Crawford, as they walk along aa sidewalk, sipping from paper cups. The surveillance vansidewalk, sipping from paper cups. The surveillance van trails them slowly, radios CRACKLING.trails them slowly, radios CRACKLING.

HeHe looks at her steadily, then nods. They walk on.looks at her steadily, then nods. They walk on.

75.75.

SheShe smiles at this acknowledgment; he never thought she'ssmiles at this acknowledgment; he never thought she's quit.quit.

CUT TO:CUT TO:

CLOSE ON Dr. Lecter. Behind his mask, the alert, searchingCLOSE ON Dr. Lecter. Behind his mask, the alert, searching eyes.eyes.

76.76.

OFFICERS PEMBRY AND BOYLEOFFICERS PEMBRY AND BOYLE

twotwo sturdy, well-armed, veteran prison guards - aresturdy, well-armed, veteran prison guards - are checking Dr. Lecter's restraints with clever, carefulchecking Dr. Lecter's restraints with clever, careful fingers.fingers.

TheThe officers turn away, Boyle signing a clipboarded form.officers turn away, Boyle signing a clipboarded form.

NEWNEW ANGLE - WIDERANGLE - WIDER

asas we see that we're in a vast, dusty hangar. Parked towe see that we're in a vast, dusty hangar. Parked to oneone side: an EMS ambulance and four highway patrolside: an EMS ambulance and four highway patrol cruisers; a dozen troopers stand quietly chatting andcruisers; a dozen troopers stand quietly chatting and smoking over there. Prentiss is pacing impatiently,smoking over there. Prentiss is pacing impatiently, casting anxious glances towards the open hanger doorway.casting anxious glances towards the open hanger doorway.

Chilton instinctively pats his shirt pocket for his goldChilton instinctively pats his shirt pocket for his gold pen; it's gone. He searches other pockets, with growingpen; it's gone. He searches other pockets, with growing unhappiness.unhappiness.

77.77.

TWOTWO BLACK STRETCH LIMOSINESBLACK STRETCH LIMOSINES

glide smoothly into the hangar, stop. Secret Serviceglide smoothly into the hangar, stop. Secret Service agents pour out of the lead car, form a cordon. A driveragents pour out of the lead car, form a cordon. A driver opens the rear door of the second car, and Krendler stepsopens the rear door of the second car, and Krendler steps out, followed by the Senator's assistant, with aout, followed by the Senator's assistant, with a briefcase, followed, as last, by the Senator herself.briefcase, followed, as last, by the Senator herself. Barely glancing around, she strides towards Lecter.Barely glancing around, she strides towards Lecter.

NEWNEW ANGLE -DR. LECTER AND SEN. MARTINANGLE -DR. LECTER AND SEN. MARTIN

asas she stops, struck by the bizarre spectacle of hisshe stops, struck by the bizarre spectacle of his restraints. The others instinctively keep a distance, butrestraints. The others instinctively keep a distance, but Chilton, with theatrical relish, unstraps and removes Dr.Chilton, with theatrical relish, unstraps and removes Dr. Lecter's mask.Lecter's mask.

They stare at one another for a long moment: the SenatorThey stare at one another for a long moment: the Senator tense, almost haggard, the madman with his unearthly poise.tense, almost haggard, the madman with his unearthly poise.

HeHe assistant unsnaps his briefcase, reaches for the form.assistant unsnaps his briefcase, reaches for the form.

Krendler raises a pad, poised to take notes.Krendler raises a pad, poised to take notes.

78.78.

HeHe flicks his tongue obscenely.flicks his tongue obscenely.

TheThe Senator stills him with a hand. She is trembling.Senator stills him with a hand. She is trembling.

They start towards the car, but he calls out, stopping her.They start towards the car, but he calls out, stopping her.

79.79.

DISSOLVE TO:DISSOLVE TO:

CLOSE ON scraps of food - peas, chicken bones - lying onCLOSE ON scraps of food - peas, chicken bones - lying on thethe cement floor of the pit, near the foil tray of a TVcement floor of the pit, near the foil tray of a TV dinner.dinner.

80.80.

SheShe hurls the bucket upwards.hurls the bucket upwards.

ATAT THE LIP OF THE OUBLIETTETHE LIP OF THE OUBLIETTE

thethe bucket sails out, bounces LOUDLY, then falls backbucket sails out, bounces LOUDLY, then falls back inside.inside.

ANGLE ON THE DOG, PRECIOUSANGLE ON THE DOG, PRECIOUS

whowho is elsewhere in the basement, worrying a toy. Sheis elsewhere in the basement, worrying a toy. She cocks an ear, making a low GROWL, then sets off tococks an ear, making a low GROWL, then sets off to investigate.investigate.

DOWN IN THE PITDOWN IN THE PIT

Catherine swings the bucket again, trying another cast.Catherine swings the bucket again, trying another cast.

PRECIOUS TROTS UPPRECIOUS TROTS UP

then pauses, staring curiously towards...then pauses, staring curiously towards...

Precious with her tail wagging, BARKS - greedy butPrecious with her tail wagging, BARKS - greedy but suspicious.suspicious.

81.81.

CLOSE ON CATHERINECLOSE ON CATHERINE

asas she sinks to the cold cement. She slaps aside the foilshe sinks to the cold cement. She slaps aside the foil tray, the scraps of food, sobbing in utter despair.tray, the scraps of food, sobbing in utter despair.....

DISSOLVE TO:DISSOLVE TO:

CLOSE ON a framed photo of Sen. Martin and Catherine, heldCLOSE ON a framed photo of Sen. Martin and Catherine, held inin Clarice's cotton-gloved hands. Powdered fingerprints onClarice's cotton-gloved hands. Powdered fingerprints on thethe glass.glass.

Clarice glances up from the photo, smiles disarmingly at -Clarice glances up from the photo, smiles disarmingly at -

AA young STATE TROOPER sitting in Catherine's easy chair.young STATE TROOPER sitting in Catherine's easy chair. HeHe smiles back at her, then relaxes, returns to hissmiles back at her, then relaxes, returns to his newspaper. He also wears gloves.newspaper. He also wears gloves.

CUT TO:CUT TO:

Clarice closes the refrigerator door, glances around.Clarice closes the refrigerator door, glances around.

82.82.

AA big REEL-TO-REEL TAPE RECORDER has been set up on thebig REEL-TO-REEL TAPE RECORDER has been set up on the breakfast counter, attached to Catherine's phone. Two newbreakfast counter, attached to Catherine's phone. Two new redred phones are hooked up as well.phones are hooked up as well.

CUT TO:CUT TO:

Clarice slides open the medicine cabinet's mirror, looksClarice slides open the medicine cabinet's mirror, looks inside. She reaches in, pokes carefully amongst theinside. She reaches in, pokes carefully amongst the lotions.lotions.

CUT TO:CUT TO:

AA ceiling hatch bangs open, sending up dust clouds.ceiling hatch bangs open, sending up dust clouds. Clarice, lit from underneath, pokes her head through,Clarice, lit from underneath, pokes her head through, looking around.looking around.

CUT TO:CUT TO:

Flat on her back, Clarice wriggles out from underFlat on her back, Clarice wriggles out from under Catherine's bed. She sits up, brushing dust from her faceCatherine's bed. She sits up, brushing dust from her face andand hair.hair.

CUT TO:CUT TO:

CLOSE ON an open, multi-tiered jewelry box, resting atopCLOSE ON an open, multi-tiered jewelry box, resting atop aa bureau, as Clarice's fingers pick through costumebureau, as Clarice's fingers pick through costume jewelry.jewelry.

Clarice closes the box, and is just turning away when aClarice closes the box, and is just turning away when a figure suddenly looms INTO SHOT, giving her a bad start;figure suddenly looms INTO SHOT, giving her a bad start; sheshe cries out softly.cries out softly.

Senator Martin is revealed, staring at her suspiciously.Senator Martin is revealed, staring at her suspiciously.

83.83.

Krendler enters from the hallway, looks at Clarice.Krendler enters from the hallway, looks at Clarice.

Overcome, she hurries from the room. Krendler shuts theOvercome, she hurries from the room. Krendler shuts the door behind her, points sternly at Clarice.door behind her, points sternly at Clarice.

84.84.

Clarice, burning, starts for the door, then turns back.Clarice, burning, starts for the door, then turns back.

Clarice reacts, surprised. Krendler takes a foldedClarice reacts, surprised. Krendler takes a folded computer sheet from his pocket, shoves it at her. Shecomputer sheet from his pocket, shoves it at her. She takes it, reads.takes it, reads.

Krendler moves in very close to her, pale with anger.Krendler moves in very close to her, pale with anger.

CUT TO:CUT TO:

TheThe old courthouse is a massive Gothic stronghold, with anold courthouse is a massive Gothic stronghold, with an armada of police cruisers parked at the curb.armada of police cruisers parked at the curb.

Clarice climbs from her rented car, SLAMMING the doorClarice climbs from her rented car, SLAMMING the door angrily. Holding a rolled-up pile of papers - Dr. Lecter'sangrily. Holding a rolled-up pile of papers - Dr. Lecter's drawings - she starts determinedly up the steps. A nearbydrawings - she starts determinedly up the steps. A nearby commotion makes her pause.commotion makes her pause.

Dr.Dr. Frederick Chilton in a sea of interviewers and mini-Frederick Chilton in a sea of interviewers and mini- cams, is preening grandly.cams, is preening grandly.

85.85.

Clarice carefully avoiding his gaze, slips up the stepsClarice carefully avoiding his gaze, slips up the steps andand inside.inside.

CUT TO:CUT TO:

SGT. TATE, a Memphis policeman, is studying Clarice's ID.SGT. TATE, a Memphis policeman, is studying Clarice's ID. HeHe looks up at her from his command desk, a bit doubtfully.looks up at her from his command desk, a bit doubtfully.

HeHe picks up a phone, murmurs into it. As he does so,picks up a phone, murmurs into it. As he does so, Clarice glances aroundClarice glances around this main ground floor lobby.this main ground floor lobby.

CUT TO:CUT TO:

Clarice and OFFICER MURRAY, a young patrolman, ride up inClarice and OFFICER MURRAY, a young patrolman, ride up in anan old-fashioned, CREAKING, metal-cage elevator. He isold-fashioned, CREAKING, metal-cage elevator. He is excited.excited.

86.86.

CUT TO:CUT TO:

Pembry, at a desk by the door, looks up from examining thePembry, at a desk by the door, looks up from examining the unrolled pile of Dr. Lecter's drawings.unrolled pile of Dr. Lecter's drawings.

HeHe waves her on her way, but retains the drawings for now.waves her on her way, but retains the drawings for now.

MOVING ANGLE - WITH CLARICEMOVING ANGLE - WITH CLARICE

asas she crosses the big, spare, white octagonal room. Ashe crosses the big, spare, white octagonal room. A massive, temporary iron cage has been installed; Officermassive, temporary iron cage has been installed; Officer Boyle sits facing its barred door. He rises, nods, movingBoyle sits facing its barred door. He rises, nods, moving away to allow her privacy.away to allow her privacy.

INSIDE THE CAGEINSIDE THE CAGE

aa cot and a small table, each bolted to the floor, and acot and a small table, each bolted to the floor, and a limsy paper screen, hiding a toilet. Dr. Lecter sits atlimsy paper screen, hiding a toilet. Dr. Lecter sits at thethe table, his back to her, studying the Buffalo Bill casetable, his back to her, studying the Buffalo Bill case file. He now wears a green prison jumpsuit. A smallfile. He now wears a green prison jumpsuit. A small cassette player is chained to the steel table.cassette player is chained to the steel table.

SheShe stops at a striped police barricade, before his bars.stops at a striped police barricade, before his bars.

87.87.

HeHe spins in his swivel chair, stops neatly. A coy smile.spins in his swivel chair, stops neatly. A coy smile.

HeHe spins again in his chair, playfully.spins again in his chair, playfully.

MOVING ANGLE - FAVORING CLARICEMOVING ANGLE - FAVORING CLARICE

asas she circles the cage, trying to keep his face in sight.she circles the cage, trying to keep his face in sight.

88.88.

CLOSE ANGLE - TWO SHOTCLOSE ANGLE - TWO SHOT

asas he rises, pained by her ignorance, and crosses to thehe rises, pained by her ignorance, and crosses to the bars.bars.

89.89.

SheShe turns from him. He presses closer, gripping the bars.turns from him. He presses closer, gripping the bars.

HIGH ANGLES (2ND STORY) - THE CHILD'S POVHIGH ANGLES (2ND STORY) - THE CHILD'S POV

Shadowy men, ranch hands, are moving in and out of aShadowy men, ranch hands, are moving in and out of a nearby barn, carrying mysterious bundles. The mens' breathnearby barn, carrying mysterious bundles. The mens' breath isis steaming... A refrigerated truck idles nearby, itssteaming... A refrigerated truck idles nearby, its engine adding more steam. A strange, almost surrealisticengine adding more steam. A strange, almost surrealistic scene...scene...

90.90.

THETHE LITTLE GIRL'S POVLITTLE GIRL'S POV

asas the open doorway LOOMS CLOSER... Bright lights inside,the open doorway LOOMS CLOSER... Bright lights inside, straw bales, the edgesstraw bales, the edges of stalls, then moving figures...of stalls, then moving figures...

AA third cowboy stretches out the lamb's neck, raises athird cowboy stretches out the lamb's neck, raises a bloody knife. Just as he's about to slice its throat -bloody knife. Just as he's about to slice its throat -

BACK TO THE ADULT CLARICEBACK TO THE ADULT CLARICE

staring into the distance, shaken, still trembling fromstaring into the distance, shaken, still trembling from thethe child's shock. We see Dr. Lecter, over her shoulder,child's shock. We see Dr. Lecter, over her shoulder, studying her intently.studying her intently.

91.91.

TheThe tiny figure stops,tiny figure stops, and after a few moments sinks toand after a few moments sinks to thethe ground, hunched over in dispair.ground, hunched over in dispair.

92.92.

BACK TO SCENEBACK TO SCENE

asas the adult Clarice turns, staring into his feverishthe adult Clarice turns, staring into his feverish eyes. She shakes her head, unwilling - or unable - to sayeyes. She shakes her head, unwilling - or unable - to say more.more.

Clarice struggles, pulling free of them for a moment.Clarice struggles, pulling free of them for a moment.

93.93.

HeHe holds out the file, arm extended between the bars. Sheholds out the file, arm extended between the bars. She hesitates, then reaches to take it.hesitates, then reaches to take it.

VERY CLOSE ANGLE - SLOW MOTIONVERY CLOSE ANGLE - SLOW MOTION

asas the exchange is made, his index finger touches herthe exchange is made, his index finger touches her hand, and lingers there, just for a moment.hand, and lingers there, just for a moment.

HERHER POV - MOVINGPOV - MOVING

asas Dr. Lecter, head cocked in a smile, slowly recedes...Dr. Lecter, head cocked in a smile, slowly recedes...

DISSOLVE TO:DISSOLVE TO:

MOVING ANGLE - MR. GUMB'S POV as he pushes a rolling rackMOVING ANGLE - MR. GUMB'S POV as he pushes a rolling rack ofof completed leather garments, each wrapped in plastic,completed leather garments, each wrapped in plastic, down as aisle. SOUND of many sewing machines, alldown as aisle. SOUND of many sewing machines, all clattering at once, as he passes row on row of workclattering at once, as he passes row on row of work tables. The seamstresses, mostly black or Hispanic, glancetables. The seamstresses, mostly black or Hispanic, glance upup as he passes, then quickly avert their eyes, hisas he passes, then quickly avert their eyes, his presence disturbing them in some nameless way.presence disturbing them in some nameless way.

94.94.

AA thin FOREMAN in a flowery shirt, sees him approaching.thin FOREMAN in a flowery shirt, sees him approaching. HeHe rises from his desk and comes over cheerfully, as therises from his desk and comes over cheerfully, as the rack rolls to a stop.rack rolls to a stop.

HeHe seizes one of the dangling jackets, pulling up theseizes one of the dangling jackets, pulling up the plastic wrapper. He examines it, stroking the sleeve.plastic wrapper. He examines it, stroking the sleeve.

TheThe foreman quickly releases the jacket.foreman quickly releases the jacket.

Mr.Mr. Gumb's hand reaches INTO SHOT, snatching an envelopeGumb's hand reaches INTO SHOT, snatching an envelope from him. The foreman is watching him walk away, as afrom him. The foreman is watching him walk away, as a seamstress comes over to take the rack of garments. Theseamstress comes over to take the rack of garments. The foreman is vaguely troubled, but shakes it off. He strokesforeman is vaguely troubled, but shakes it off. He strokes thethe jacket again, admiringly.jacket again, admiringly.

SOUND UPCUT - Glenn Gould playing Bach's GoldbergSOUND UPCUT - Glenn Gould playing Bach's Goldberg Variations...Variations...

CUT TO:CUT TO:

Clarice, in a line of other passengers, is moving slowlyClarice, in a line of other passengers, is moving slowly towards a departure ramp. Through a huge plate glasstowards a departure ramp. Through a huge plate glass window, we can see her plane. She glances back over herwindow, we can see her plane. She glances back over her shoulder atshoulder at

95.95.

AA pair of UNIFORMED COPS brawny and impassive, their armspair of UNIFORMED COPS brawny and impassive, their arms folded, waiting to make sure she board the flight.folded, waiting to make sure she board the flight.

Clarice sighs, turning wearily back towards the jetway.Clarice sighs, turning wearily back towards the jetway. TheThe BACH CONTINUES, as we...BACH CONTINUES, as we...

CUT TO:CUT TO:

NIGHTNIGHT

CLOSE ON a steaming, rather elegant dinner tray, beingCLOSE ON a steaming, rather elegant dinner tray, being carried by Pembry, as he approaches Dr. Lecter's cell.carried by Pembry, as he approaches Dr. Lecter's cell.

Pembry grunts, sets the tray down. Boyle joins him,Pembry grunts, sets the tray down. Boyle joins him, handing him a riot baton and a Mace cannister, whichhanding him a riot baton and a Mace cannister, which Pembry fastens to beltPembry fastens to belt clips. Boyle is similarly armed,clips. Boyle is similarly armed, andand carries a ring of keys.carries a ring of keys.

INSIDE THE SCREENINSIDE THE SCREEN

Dr.Dr. Lecter sits fully clothed on the toilet - swayingLecter sits fully clothed on the toilet - swaying slightly, eyes closed,slightly, eyes closed, lost in the music, tongue workinglost in the music, tongue working inin his cheek. Suddenly, like magic, a little shiny piecehis cheek. Suddenly, like magic, a little shiny piece ofof metal protrudes from his lips. He plucks it out, opensmetal protrudes from his lips. He plucks it out, opens hishis eyes.eyes.

96.96.

ININ EXTREME CLOSEUPEXTREME CLOSEUP

hehe is holding the pocket clip from Prentice's disassembledis holding the pocket clip from Prentice's disassembled penpen - a straight, thin strip of metal, with a circular- a straight, thin strip of metal, with a circular collar at one end, a square edge at the other.collar at one end, a square edge at the other.

ININ EXTREME CLOSEUPEXTREME CLOSEUP

thethe straight end of the clip now forms a tiny right angle,straight end of the clip now forms a tiny right angle, andand the circular end anchors nicely between his fingers.the circular end anchors nicely between his fingers.

OUTSIDE THE CELLOUTSIDE THE CELL

Pembry and Boyle turn as the toilet FLUSHES, and Dr.Pembry and Boyle turn as the toilet FLUSHES, and Dr. Lecter reappears, looking jaunty.Lecter reappears, looking jaunty.

Dr.Dr. Lecter sits on the floor, legs straight, then wrigglesLecter sits on the floor, legs straight, then wriggles backwards. He stretches his arms behind him, hands andbackwards. He stretches his arms behind him, hands and wrists through the bars, with two bars between them, andwrists through the bars, with two bars between them, and clasps his hands.clasps his hands.

Pembry comes around the cell to squat behind Dr. Lecter.Pembry comes around the cell to squat behind Dr. Lecter. HeHe tugs his hands farther out, rather roughly, handcuffstugs his hands farther out, rather roughly, handcuffs hishis wrists. He shakes the cuffs, making sure of them, thenwrists. He shakes the cuffs, making sure of them, then nods to Boyle.nods to Boyle.

NEWNEW ANGLE - AT CELL DOORANGLE - AT CELL DOOR

asas Boyle picks up the dinner tray, and Pembry crossesBoyle picks up the dinner tray, and Pembry crosses around. Pembry takes the keys from Boyle, unlocks the cellaround. Pembry takes the keys from Boyle, unlocks the cell door, and pushes it inward. Boyle goes inside with thedoor, and pushes it inward. Boyle goes inside with the tray.tray.

97.97.

VERY CLOSE ONVERY CLOSE ON

...... Dr. Lecter's hands, outside the bars, as the makeshiftDr. Lecter's hands, outside the bars, as the makeshift key, held between the tips of his right index and middlekey, held between the tips of his right index and middle fingers, searches for the keyhole of the cuffs. And findsfingers, searches for the keyhole of the cuffs. And finds it.it.

NEWNEW ANGLE - FAVORING BOYLEANGLE - FAVORING BOYLE

asas he finishes clearing the drawings, then turns backhe finishes clearing the drawings, then turns back towards Dr. Lecter, stooping to pick up the tray.towards Dr. Lecter, stooping to pick up the tray.

BOYLE'S RIGHT HANDBOYLE'S RIGHT HAND

isis just inches from the tray when Dr. Lecter's hand dartsjust inches from the tray when Dr. Lecter's hand darts INTO SHOT, snapping a handcuff onto his wrist.INTO SHOT, snapping a handcuff onto his wrist.

VARIOUS ANGLES - EACH BLURRING INTO STOP-ACTIONVARIOUS ANGLES - EACH BLURRING INTO STOP-ACTION

Pembry starting into the cell, reaching for his riotPembry starting into the cell, reaching for his riot baton...baton...

Dr.Dr. Lecter smashing against the cell door, driving it intoLecter smashing against the cell door, driving it into Pembry, pinning him across the chest, against the doorPembry, pinning him across the chest, against the door frame...frame...

Boyle, on one knee on the floor, digging desperately inBoyle, on one knee on the floor, digging desperately in hishis pants pocket for his handcuff key...pants pocket for his handcuff key...

Pembry's hand, mashed against his body by the door, as hePembry's hand, mashed against his body by the door, as he strains frantically tostrains frantically to reach the baton at his waist...reach the baton at his waist...

Pembry's eyes, widening in horror as he stares at...Pembry's eyes, widening in horror as he stares at...

Dr.Dr. Lecter's bared teeth, flashing towards him...Lecter's bared teeth, flashing towards him...

Dr.Dr. Lecter gripping Pembry's face in his jaws, shaking itLecter gripping Pembry's face in his jaws, shaking it likelike a dog shakes a rat...a dog shakes a rat...

Boyle finding his key,Boyle finding his key, but in his terror dropping it...but in his terror dropping it...

98.98.

Dr.Dr. Lecter yanking the mace can and riot baton from theLecter yanking the mace can and riot baton from the dazed Pembry's belt, spraying him in his bloody face, thendazed Pembry's belt, spraying him in his bloody face, then clubbing him to his knees...clubbing him to his knees...

Boyle, mouth open in a silent scream, finding his keyBoyle, mouth open in a silent scream, finding his key again, unlocking the handcuff, but then, as he starts toagain, unlocking the handcuff, but then, as he starts to rise, seeing...rise, seeing...

Dr.Dr. Lecter standing over him, with the riot baton raisedLecter standing over him, with the riot baton raised high; he swings it viciously down, again and again andhigh; he swings it viciously down, again and again and again... Then normal SOUND and MOTION are restored as weagain... Then normal SOUND and MOTION are restored as we gogo to -to -

CLOSE ANGLE ONCLOSE ANGLE ON

thethe cassette player, and the portrait of Clarice, both nowcassette player, and the portrait of Clarice, both now flecked with blood. In addition to the Bach, we now hearflecked with blood. In addition to the Bach, we now hear soft PANTING, close by, and whimpering SOBS in thesoft PANTING, close by, and whimpering SOBS in the background.background.

ANGLE ON DR. LECTERANGLE ON DR. LECTER

eyes closed, lost in a favorite passage of the music. Hiseyes closed, lost in a favorite passage of the music. His bloody fingers drift airily with the notes, as hisbloody fingers drift airily with the notes, as his breathing slows to normal. He opens his eyes, sighsbreathing slows to normal. He opens his eyes, sighs contentedly, looks down.contentedly, looks down.

LOWLOW ANGLE ON PEMBRYANGLE ON PEMBRY

asas he crawls, with torturous slowness, towards the commandhe crawls, with torturous slowness, towards the command desk, and the phone. He is crying, but franticallydesk, and the phone. He is crying, but frantically determined.determined.

PEMBRY'S POV - PARTIALLY BLURRED, THEN CLEARINGPEMBRY'S POV - PARTIALLY BLURRED, THEN CLEARING

Above the desk, hanging from pegs, are his and Boyle'sAbove the desk, hanging from pegs, are his and Boyle's holstered revolvers...holstered revolvers...

CUT TO:CUT TO:

99.99.

TheThe bronze arrow above the elevator swings towards "5,"bronze arrow above the elevator swings towards "5," then indicates a stop there, at the top floor.then indicates a stop there, at the top floor.

FAVORING SGT. TATEFAVORING SGT. TATE

atat his command desk, as he stares at the indicator.his command desk, as he stares at the indicator. Another cop, JACOBS, sits on the desk's edge, flippingAnother cop, JACOBS, sits on the desk's edge, flipping through a magazine; many more cops can be seen beyondthrough a magazine; many more cops can be seen beyond them, idling in the lobby.them, idling in the lobby.

AA GUNSHOT, and then, moments later, TWO MORE quick ones,GUNSHOT, and then, moments later, TWO MORE quick ones, echo down the nearby stairwell. Sgt. Tate jumps to hisecho down the nearby stairwell. Sgt. Tate jumps to his feet, grabs a radio mike, as the other cops stir, confusedfeet, grabs a radio mike, as the other cops stir, confused andand noisy.noisy.

BACK ON SGT. TATEBACK ON SGT. TATE

asas he reacts. The other cops, behind him, are now in ahe reacts. The other cops, behind him, are now in a full uproar, shouting, pulling out guns.full uproar, shouting, pulling out guns.

100.100.

Sgt. Tate lifts the microphone again.Sgt. Tate lifts the microphone again.

CUT TO:CUT TO:

HIGH ANGLE on Sgt. Tate as he leads a five-man squad, allHIGH ANGLE on Sgt. Tate as he leads a five-man squad, all inin bulletproof vests, up the stone stairs. They move fastbulletproof vests, up the stone stairs. They move fast butbut carefully, covering each other from landing to landingcarefully, covering each other from landing to landing with drawn revolvers, shotguns. The distant Back MUSICwith drawn revolvers, shotguns. The distant Back MUSIC makes a ghostly echo in here...makes a ghostly echo in here...

CUT TO:CUT TO:

AA thin rectangle of light on the floor from the openthin rectangle of light on the floor from the open elevator door. We can't see inside. The MUSIC soundselevator door. We can't see inside. The MUSIC sounds closer.closer.

MOVING ANGLE - OVER TATE'S SHOULDERMOVING ANGLE - OVER TATE'S SHOULDER

asas he reaches the side of the elevator, hesitates, thenhe reaches the side of the elevator, hesitates, then spins to point his gun inside. It's empty. He backs away.spins to point his gun inside. It's empty. He backs away.

CUT TO:CUT TO:

ANGLE on the door, from inside, its lettering reversed onANGLE on the door, from inside, its lettering reversed on thethe frosted glass. The Bach is VERY LOUD.frosted glass. The Bach is VERY LOUD.

101.101.

After a moment the door is shouldered open, hard enoughAfter a moment the door is shouldered open, hard enough forfor the glass to shatter, Tate following his gun inside,the glass to shatter, Tate following his gun inside, moving low, then other cops appearing behind him in themoving low, then other cops appearing behind him in the doorframe. They all freeze, staring in utter horror.doorframe. They all freeze, staring in utter horror.

ATAT THE OTHER BODYTHE OTHER BODY

aa cop gently removes a revolver from the bloody fist.cop gently removes a revolver from the bloody fist. Murray, the young patrolman, brings his ear reluctantlyMurray, the young patrolman, brings his ear reluctantly close to the gory face. A bloody bubble appears there; theclose to the gory face. A bloody bubble appears there; the wreckage GROANS, very softly.wreckage GROANS, very softly.

Tate crosses, kneels to see for himself. Murray looksTate crosses, kneels to see for himself. Murray looks green.green.

102.102.

TheThe other cop, checking the cylinder of Pembry's gun,other cop, checking the cylinder of Pembry's gun, holds up one finger toholds up one finger to Tate.Tate.

CUT TO:CUT TO:

VARIOUS ANGLES on a floodlit scene of barely controlledVARIOUS ANGLES on a floodlit scene of barely controlled pandemonium. Flashing red lights, men shouting commands,pandemonium. Flashing red lights, men shouting commands, SIRENS in the distance. SWAT members, in full gear, leapSIRENS in the distance. SWAT members, in full gear, leap from a black van... fan out... swarm up the steps... EMSfrom a black van... fan out... swarm up the steps... EMS orderlies unload a gurney from an ambulance... Cops kneelorderlies unload a gurney from an ambulance... Cops kneel forfor cover behind cars, aiming guns and rifles up at thecover behind cars, aiming guns and rifles up at the windows...windows...

CUT TO:CUT TO:

AA trio of EMS orderlies work fast over the body, alreadytrio of EMS orderlies work fast over the body, already strapped on its gurney. Then bandage a big plastic airwaystrapped on its gurney. Then bandage a big plastic airway into place, over the butchered face, checking for a pulseinto place, over the butchered face, checking for a pulse atat the neck. Young Murray crouches, sickened, gripping athe neck. Young Murray crouches, sickened, gripping a bloody fist.bloody fist.

103.103.

OneOne orderly massages the heart. Another is popping aorderly massages the heart. Another is popping a plasma bag, ready to insert the needle, when the bodyplasma bag, ready to insert the needle, when the body starts convulsing.starts convulsing.

Quickly the gurney is elevated, wheeled out of the room,Quickly the gurney is elevated, wheeled out of the room, with cops rushing forward to open the doors, help push,with cops rushing forward to open the doors, help push, SWAT men are running by in the hall, automatic rifles atSWAT men are running by in the hall, automatic rifles at thethe ready...ready...

CUT TO:CUT TO:

Sgt. Tate, riding downSgt. Tate, riding down with Jacobs, has his radio out.with Jacobs, has his radio out.

AA spot of blood falls on his cheek. He and Jacobs stare atspot of blood falls on his cheek. He and Jacobs stare at each other. Another spot hits his shoulder. They look up.each other. Another spot hits his shoulder. They look up.

Sgt. Tate motions for silence, as both men draw their guns.Sgt. Tate motions for silence, as both men draw their guns.

CUT TO:CUT TO:

TheThe elevator doors open, and Tate and Jacobs hurry out,elevator doors open, and Tate and Jacobs hurry out, stepping quickly to the side. Tate reaches back in and -stepping quickly to the side. Tate reaches back in and -

104.104.

OTHER COPS are rushing up to them, curious, as TateOTHER COPS are rushing up to them, curious, as Tate frantically pushes them aside, gesturing for silence.frantically pushes them aside, gesturing for silence.

CUT TO:CUT TO:

TwoTwo SWAT officers, PETERSON and KUBELL, turn a key,SWAT officers, PETERSON and KUBELL, turn a key, unlocking and opening this floor's elevator doorway. Theunlocking and opening this floor's elevator doorway. The shaft is dark. Lying prone, they inch up to the edge,shaft is dark. Lying prone, they inch up to the edge, Peterson extends a mirror, on a long pole, out into thePeterson extends a mirror, on a long pole, out into the shaft.shaft.

ININ THE MIRROR (DISTORTED BY THE ANGLE)THE MIRROR (DISTORTED BY THE ANGLE)

IsIs a distant figure, in a green prison jumpsuit, lying ona distant figure, in a green prison jumpsuit, lying on hishis stomach, atop the elevator. A shiny revolver is nearstomach, atop the elevator. A shiny revolver is near oneone hand.hand.

Peterson nods to Kubell, who switches ON the flashlight,Peterson nods to Kubell, who switches ON the flashlight, asas Peterson shouts down the shaft.Peterson shouts down the shaft.

105.105.

ANGLE ON THE COPS AGAINANGLE ON THE COPS AGAIN

asas Peterson mutters to Kubell.Peterson mutters to Kubell.

VERY CLOSE ONVERY CLOSE ON

TheThe figure below, as Kubell's gunshot ROARS, echoingfigure below, as Kubell's gunshot ROARS, echoing hugely in the shaft, and a slug rips through thehugely in the shaft, and a slug rips through the jumpsuited leg. The figure doesn't stir.jumpsuited leg. The figure doesn't stir.

CUT TO:CUT TO:

AA small army of cops is now covering the elevator doorway,small army of cops is now covering the elevator doorway, from both sides. Tate crouches next to the SWAT COMMANDER.from both sides. Tate crouches next to the SWAT COMMANDER.

TheThe SWAT commander hands his radio to another cop, thenSWAT commander hands his radio to another cop, then looks at Tate. A long, tense moment. Then he waves alooks at Tate. A long, tense moment. Then he waves a signal.signal.

106.106.

CUT TO:CUT TO:

InIn the rear chamber, a young EMS ATTENDANT is bracedthe rear chamber, a young EMS ATTENDANT is braced against the vehicle's sway. Behind him, the stretcheredagainst the vehicle's sway. Behind him, the stretchered form of his patient, and, through a curtained opening, theform of his patient, and, through a curtained opening, the driver. SOUND of the siren.driver. SOUND of the siren.

Behind him, in slightly BLURRED FOCUS, the bloody figureBehind him, in slightly BLURRED FOCUS, the bloody figure sits slowlysits slowly upright...upright...

Suddenly he stops, becoming aware of a strange HISSING. HeSuddenly he stops, becoming aware of a strange HISSING. He turns, puzzled...turns, puzzled...

THETHE POCKETKNIFE BLADEPOCKETKNIFE BLADE

inin Lecter's fist, flashes high in the air...Lecter's fist, flashes high in the air...

CUT TO:CUT TO:

MOVING ANGLE on the EMS ambulance, as it races alongMOVING ANGLE on the EMS ambulance, as it races along normally, its SIREN blazing, the heavy flow of trafficnormally, its SIREN blazing, the heavy flow of traffic parting to make way for it.parting to make way for it.

107.107.

Then suddenly it begins to weave erratically, changingThen suddenly it begins to weave erratically, changing lanes, before drifting dangerously to a full stop, almostlanes, before drifting dangerously to a full stop, almost side-ways. Cars swerve to avoid hitting it, HONKINGside-ways. Cars swerve to avoid hitting it, HONKING angrily...angrily...

AA BIG GREEN INTERSTATE SIGNBIG GREEN INTERSTATE SIGN

...... that reads "Memphis International Airport / 2 miles."that reads "Memphis International Airport / 2 miles."

CLOSE ANGLE - THROUGH AMBULANCE WINDSHIELDCLOSE ANGLE - THROUGH AMBULANCE WINDSHIELD

Dr.Dr. Lecter's face is slowly REVEALED, as he wipes acrossLecter's face is slowly REVEALED, as he wipes across itit with a fistful of gauze, tossing it aside...with a fistful of gauze, tossing it aside...

DISSOLVE TO:DISSOLVE TO:

MOVING ANGLE, rushing with dizzy swiftness over theMOVING ANGLE, rushing with dizzy swiftness over the prairie, over waving grasses... a long passage... beforeprairie, over waving grasses... a long passage... before wewe come at last to the girl Clarice, sitting with hercome at last to the girl Clarice, sitting with her lamb, hunched in despair. She rises, her face tear-lamb, hunched in despair. She rises, her face tear- stained, and turns from us. Holding the lamb, she startsstained, and turns from us. Holding the lamb, she starts back the way she came...back the way she came...

CUT TO:CUT TO:

MOVING ANGLE, very rapid, down this road... coming at lastMOVING ANGLE, very rapid, down this road... coming at last toto a stopped highway patrol car. Clarice, with her lamb,a stopped highway patrol car. Clarice, with her lamb, isis standing in the car's headlights. She starts wearilystanding in the car's headlights. She starts wearily towards the sheriff...towards the sheriff...

CUT TO:CUT TO:

CRANE ANGLE - sweeping rapidly DOWN into the barnyardCRANE ANGLE - sweeping rapidly DOWN into the barnyard towards the arriving highway patrol car, as it stops...towards the arriving highway patrol car, as it stops... RUSHING to the little girl as she steps from the car,RUSHING to the little girl as she steps from the car, holding the lamb.holding the lamb.

108.108.

TheThe dark figure of the rancher ENTERS FRAME. As he roughlydark figure of the rancher ENTERS FRAME. As he roughly takes the lamb from her, we HOLD on a CLOSEUP of hertakes the lamb from her, we HOLD on a CLOSEUP of her face - stunned, blank. She EXITS FRAME...face - stunned, blank. She EXITS FRAME...

CUT TO:CUT TO:

MOVING ANGLE - CLARICE'S POV as she walks towards the openMOVING ANGLE - CLARICE'S POV as she walks towards the open barn doorway... It looms CLOSER... The rancher isbarn doorway... It looms CLOSER... The rancher is revealed, a shadowy figure, pinning the lamb on therevealed, a shadowy figure, pinning the lamb on the killing table. His knife hand sweeps up high, thenkilling table. His knife hand sweeps up high, then holds... He turns TO CAMERA, his face breaking into theholds... He turns TO CAMERA, his face breaking into the light - and it is the face of Dr. Lecter. He smiles hislight - and it is the face of Dr. Lecter. He smiles his terrible smile at the young Clarice...terrible smile at the young Clarice...

CUT TO:CUT TO:

MOVING ANGLE - coming in very CLOSE on the adult Clarice'sMOVING ANGLE - coming in very CLOSE on the adult Clarice's face -shocked, devastated - as she stands alone by theface -shocked, devastated - as she stands alone by the dangling receiver...dangling receiver...

CUT TO:CUT TO:

CLOSE ON a shower head, as water suddenly blasts out.CLOSE ON a shower head, as water suddenly blasts out. Clarice moves INTO SHOT, as she scrubs her face and hairClarice moves INTO SHOT, as she scrubs her face and hair compulsively, almost desperately, unable to get clean...compulsively, almost desperately, unable to get clean...

CUT TO:CUT TO:

Clarice is hunched on her cot, in a bathrobe, her hairClarice is hunched on her cot, in a bathrobe, her hair wet. The Buffalo Bill case file, a think bundle, rests bywet. The Buffalo Bill case file, a think bundle, rests by herher feet. Ardelia hovers anxiously nearby.feet. Ardelia hovers anxiously nearby.

Clarice looks up. Her eyes are red-rimmed with exhaustion,Clarice looks up. Her eyes are red-rimmed with exhaustion, andand something close to despair. She reads Ardelia'ssomething close to despair. She reads Ardelia's thought.thought.

109.109.

Ardelia sits beside her, touches her arm.Ardelia sits beside her, touches her arm.

Ardelia stares back at her. SOUND UPCUT - the low throb ofArdelia stares back at her. SOUND UPCUT - the low throb of aa washing machine...washing machine...

CUT TO:CUT TO:

Clarice has spread out the case file across two washingClarice has spread out the case file across two washing machines. Ardelia, cross-legged on a dryer, studiesmachines. Ardelia, cross-legged on a dryer, studies another pile of forms. Nearby is their laundry basket,another pile of forms. Nearby is their laundry basket, detergent box.detergent box.

110.110.

SheShe holds up the map, with its location markings for theholds up the map, with its location markings for the kidnapping and body dump sites. Clarice takes it, looks.kidnapping and body dump sites. Clarice takes it, looks.

INSERT - THE MAPINSERT - THE MAP

with newly inked words in Dr. Lecter's precise, elegantwith newly inked words in Dr. Lecter's precise, elegant hand.hand.

NEWNEW ANGLE - TWO SHOTANGLE - TWO SHOT

asas Clarice looks up at Ardelia, puzzled but excited.Clarice looks up at Ardelia, puzzled but excited.

They search among the inserts. Clarice finds theThey search among the inserts. Clarice finds the graduation photo.graduation photo.

111.111.

Clarice moves, on fire, unable to keep still.Clarice moves, on fire, unable to keep still.

SheShe stops, turns. She grabs the photo of Fredrica fromstops, turns. She grabs the photo of Fredrica from Ardelia, stares at it. She looks up, trembling.Ardelia, stares at it. She looks up, trembling.

CUT TO:CUT TO:

Clarice and Crawford are seated in front of DirectorClarice and Crawford are seated in front of Director Burke, who's at his desk. Another chair is empty, becauseBurke, who's at his desk. Another chair is empty, because Krendler is pacing. All four are nearing their boilingKrendler is pacing. All four are nearing their boiling points.points.

112.112.

AA long silence, as they all struggle to regain composure.long silence, as they all struggle to regain composure. Crawford, who was at the point of striking Krendler,Crawford, who was at the point of striking Krendler, finally retakes his seat. Burke looks sadly at Crawfordfinally retakes his seat. Burke looks sadly at Crawford andand Clarice.Clarice.

113.113.

Clarice and Crawford stare back at him, drained. A longClarice and Crawford stare back at him, drained. A long andand very painful silence. Not even Krendler looks happy.very painful silence. Not even Krendler looks happy.

CUT TO:CUT TO:

Clarice and Crawford walk out slowly, stand there aClarice and Crawford walk out slowly, stand there a moment, not knowing what to say, not wanting to face eachmoment, not knowing what to say, not wanting to face each other.other.

HeHe stares at her sadly. He looks, for the first time,stares at her sadly. He looks, for the first time, defeated, old beyond his years.defeated, old beyond his years.

114.114.

HeHe stares at her, a long moment. Catherine's life.stares at her, a long moment. Catherine's life. Clarice's passion, and future. His loyalty to the Bureau.Clarice's passion, and future. His loyalty to the Bureau. Call it.Call it.

SheShe raises her hand to him. She wants to touch him face,raises her hand to him. She wants to touch him face, oror his neck, but can't. Finally she takes his money andhis neck, but can't. Finally she takes his money and card.card.

HeHe watches, frightened for both of them, as she backswatches, frightened for both of them, as she backs away, smiles, then turns, racing towards the surveillanceaway, smiles, then turns, racing towards the surveillance van.van.

SOUND UPCUT - the scratchy recording of Fats WallerSOUND UPCUT - the scratchy recording of Fats Waller SINGING, as we...SINGING, as we...

CUT TO:CUT TO:

115.115.

CLOSE ON the needle of the Victrola, on the spinningCLOSE ON the needle of the Victrola, on the spinning record, as Mr. Gumb's fingers lift away. MUSIC continuesrecord, as Mr. Gumb's fingers lift away. MUSIC continues inin background.background.

CLOSE ON the moth cage, as Mr. Gumb's fingers searchCLOSE ON the moth cage, as Mr. Gumb's fingers search through the humus, and find a plump new cocoon, lifting itthrough the humus, and find a plump new cocoon, lifting it out. The door of the cage is left open, and one or two ofout. The door of the cage is left open, and one or two of thethe adult moths flutter out.adult moths flutter out.

CLOSE ON a clean towel, beside the sink. The cocoon isCLOSE ON a clean towel, beside the sink. The cocoon is gently placed in readiness alongside four shiny skinninggently placed in readiness alongside four shiny skinning knives.knives.

CLOSE ON a stainless steel Colt Python, with a six-inchCLOSE ON a stainless steel Colt Python, with a six-inch barrel, as the cylinder is spun, and the hammer gets abarrel, as the cylinder is spun, and the hammer gets a practice cock. The metallic CLICK is deep and loud. A notepractice cock. The metallic CLICK is deep and loud. A note ofof alarm has entered Mr. Gumb's voice.alarm has entered Mr. Gumb's voice.

LOWLOW ANGLE on Mr. Gumb, wearing the kimono, as he walksANGLE on Mr. Gumb, wearing the kimono, as he walks through his sewing workroom. His back is to us; he isthrough his sewing workroom. His back is to us; he is looking anxiously under the furniture. He stops,looking anxiously under the furniture. He stops, straightens. Genuinely scared.straightens. Genuinely scared.

LOWLOW ANGLE - OVER THE PIT OPENINGANGLE - OVER THE PIT OPENING

Towards Mr. Gumb, as he stops at one of the doorways ofTowards Mr. Gumb, as he stops at one of the doorways of thethe oubliette chamber. He stares inside; his face inoubliette chamber. He stares inside; his face in shadows.shadows.

116.116.

From the distant bottom of the pit, we hear Catherine'sFrom the distant bottom of the pit, we hear Catherine's voice.voice.

Mr.Mr. Gumb's fist flies to his mouth, and he sags againstGumb's fist flies to his mouth, and he sags against thethe doorframe. A little groan escaped him; the dog answersdoorframe. A little groan escaped him; the dog answers with a series of YIPS.with a series of YIPS.

UPWARD ANGLE, FROM THE PIT BOTTOMUPWARD ANGLE, FROM THE PIT BOTTOM

asas Mr. Gumb's dark shape leans cautiously over the edge.Mr. Gumb's dark shape leans cautiously over the edge.

REVERSE ANGLE ON CATHERINEREVERSE ANGLE ON CATHERINE

crouched to one side, clutching the dog to her chest.crouched to one side, clutching the dog to her chest. Seeing Mr. Gumb, the dog squirms frantically, BARKING.Seeing Mr. Gumb, the dog squirms frantically, BARKING.

Catherine yanks the dog up, into his line of fire,Catherine yanks the dog up, into his line of fire, screaming at him,.screaming at him,.

Tucking the dog under one arm, she grabs its muzzle,Tucking the dog under one arm, she grabs its muzzle, twisting the head. The dog WHINES piteously.twisting the head. The dog WHINES piteously.

117.117.

AndAnd abruptly he vanishes. SOUND of his footsteps, rushingabruptly he vanishes. SOUND of his footsteps, rushing off.off.

DISSOLVE TO:DISSOLVE TO:

HIGH ANGLE as a rented sedan pulls up to the curb, stops.HIGH ANGLE as a rented sedan pulls up to the curb, stops. After a moment Clarice climbs out, a bit stiffly. Double-After a moment Clarice climbs out, a bit stiffly. Double- checking this address, she glances up from a folded streetchecking this address, she glances up from a folded street mapmap to -to -

ANAN OLD, THREE-STORY WOODEN HOUSEOLD, THREE-STORY WOODEN HOUSE

inin a row of similarly shabby homes, all backing onto aa row of similarly shabby homes, all backing onto a narrow river. A path of boards, laid over mud, leads backnarrow river. A path of boards, laid over mud, leads back along this house towards the brown water. SOUND ofalong this house towards the brown water. SOUND of hammering from there.hammering from there.

CUT TO:CUT TO:

118.118.

AnAn awesome huddle of pigeon coops sprawls by the brackishawesome huddle of pigeon coops sprawls by the brackish water. The birds' COOING mixes with the HAMMERING. A tall,water. The birds' COOING mixes with the HAMMERING. A tall, gaunt man in a knit cap is obsessively pounding nails intogaunt man in a knit cap is obsessively pounding nails into aa new coop.new coop.

HeHe stares back at her,stares back at her, warily.warily.

CUT TO:CUT TO:

HIGH ANGLE - LOOKING DOWN as Mr. Bimmel leads Clarice upHIGH ANGLE - LOOKING DOWN as Mr. Bimmel leads Clarice up aa steep flight of steps. The bannister is worn, sags a bit.steep flight of steps. The bannister is worn, sags a bit.

Clarice pauses, at theClarice pauses, at the landing, to look at a framed photo:landing, to look at a framed photo: thethe familiar graduation portrait. Others pictures showfamiliar graduation portrait. Others pictures show Fredrica as a young girl, toddler, infant - plump andFredrica as a young girl, toddler, infant - plump and hopeful at each age.hopeful at each age.

CUT TO:CUT TO:

CLARICE'S POV - MOVING SLOWLY as she takes in floweryCLARICE'S POV - MOVING SLOWLY as she takes in flowery chintz curtains... posters of Madonna and Blondie... achintz curtains... posters of Madonna and Blondie... a twin bed, with worn, stuffed animals on the pillow... . atwin bed, with worn, stuffed animals on the pillow... . a bigbig sewing machine in the corner.sewing machine in the corner.

119.119.

AA BIG TORTOISESHELL CATBIG TORTOISESHELL CAT

isis rubbing against her ankles.rubbing against her ankles.

ININ A FULL-LENGTH MIRRORA FULL-LENGTH MIRROR

sheshe and the cat stares back at their own reflection...and the cat stares back at their own reflection...

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CUT TO:CUT TO:

CUT TO:CUT TO:

120.120.

FAVORING THE SEWING MACHINEFAVORING THE SEWING MACHINE

asas Clarice turns, looks towards it. She hangs the dress onClarice turns, looks towards it. She hangs the dress on thethe closet door knob, crosses to sit at the machine. Shecloset door knob, crosses to sit at the machine. She takes off its dust cover. She runs one hand over the cooltakes off its dust cover. She runs one hand over the cool metal, as a taunting memory forms in her mind.metal, as a taunting memory forms in her mind.

SheShe turns, looks againturns, looks again at the unfinished dress. Suddenlyat the unfinished dress. Suddenly sheshe straightens, her attention riveted by something...straightens, her attention riveted by something...

CLOSE ON CLARICECLOSE ON CLARICE

asas she jumps to her feet, with a fierce joy.she jumps to her feet, with a fierce joy.

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Clarice paces, in an exuberant rush, amidst the wornClarice paces, in an exuberant rush, amidst the worn furniture.furniture.

121.121.

CUT TO:CUT TO:

Crawford sits at a communications console, with Burroughs,Crawford sits at a communications console, with Burroughs, inin headphones, by his side. This forward section of theheadphones, by his side. This forward section of the cabin is crammed with hi-tech equipment, all lit up andcabin is crammed with hi-tech equipment, all lit up and WHIRRING. Through a window we see clouds, part of theWHIRRING. Through a window we see clouds, part of the jet's wing.jet's wing.

122.122.

INSIDE THE JET - MOVING ANGLEINSIDE THE JET - MOVING ANGLE

from the rear of the cabin forward, as we slowly PASS thefrom the rear of the cabin forward, as we slowly PASS the twelve-man HRT. They're seated in full gear, hardshelltwelve-man HRT. They're seated in full gear, hardshell armor, quietly checking and rechecking their bulging casesarmor, quietly checking and rechecking their bulging cases ofof weapons - silencer automatics, shotguns, stunweapons - silencer automatics, shotguns, stun grenades...grenades...

Clarice tries hard to swallow her disappointment.Clarice tries hard to swallow her disappointment.

123.123.

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Clarice walks slowly across the yard, absorbing all thisClarice walks slowly across the yard, absorbing all this news, before suddenly leaping into the air and pumping hernews, before suddenly leaping into the air and pumping her fist in triumph, with a happy yelp. Then she sees -fist in triumph, with a happy yelp. Then she sees -

124.124.

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TheThe FBI turbojet is parked, its gangway down. Crawford,FBI turbojet is parked, its gangway down. Crawford, Burroughs, and the HRT squad, carrying their bags ofBurroughs, and the HRT squad, carrying their bags of weapons, CLATTER rapidly down the metal steps...weapons, CLATTER rapidly down the metal steps...

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STACY HUBKA - short, perky, early 20's - sits nervously atSTACY HUBKA - short, perky, early 20's - sits nervously at herher desk, talking to Clarice, who jots in her notebook. Indesk, talking to Clarice, who jots in her notebook. In thethe background. beyondbackground. beyond them, bank tellers, lines ofthem, bank tellers, lines of waiting customers, MUZAK.waiting customers, MUZAK.

125.125.

Clarice reacts, disappointed at the ending of this trail.Clarice reacts, disappointed at the ending of this trail.

Suddenly she's fighting tears. Clarice reaches to hug her.Suddenly she's fighting tears. Clarice reaches to hug her.

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WIDE ANGLE on what appears to be, at first, a calm,WIDE ANGLE on what appears to be, at first, a calm, ordinary neighborhood of working class two- and three-ordinary neighborhood of working class two- and three- story houses. But the street is strangely quiet, deserted.story houses. But the street is strangely quiet, deserted.

126.126.

After a few moments, we become aware ofAfter a few moments, we become aware of movementmovement - armed,- armed, dark-clad figures creeping swiftly and in silence fromdark-clad figures creeping swiftly and in silence from shrubs to garage corners, from parked cars to porches,shrubs to garage corners, from parked cars to porches, appearing and then disappearing...appearing and then disappearing...

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CLOSE ON Mr. Gumb, as he settles a big pair of infra-redCLOSE ON Mr. Gumb, as he settles a big pair of infra-red night-vision goggles over his eyes. Moths flutter past hisnight-vision goggles over his eyes. Moths flutter past his face. His mouth is set in a grim line...face. His mouth is set in a grim line...

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AnAn HRT cop, prone beneath a hedge, is joined by a 2nd HRTHRT cop, prone beneath a hedge, is joined by a 2nd HRT Cop, who throws himself to the grass beside him. They bothCop, who throws himself to the grass beside him. They both take aim with their scoped rifles at -take aim with their scoped rifles at -

TELEPHOTO ANGLE (WITH RIFLE CROSSHAIRS)TELEPHOTO ANGLE (WITH RIFLE CROSSHAIRS)

TheThe front door of a big, nearby, split-level house...front door of a big, nearby, split-level house...

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CLOSE ON a fuse box, as Mr. Gumb reaches in, flips aCLOSE ON a fuse box, as Mr. Gumb reaches in, flips a switch. Theswitch. The lights go out. SOUND of a second switch, andlights go out. SOUND of a second switch, and thethe cellar is bathed in acellar is bathed in a green glow...green glow...

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AA little boy, riding his tricycle in his driveway, islittle boy, riding his tricycle in his driveway, is suddenly startled to find himself staring into the grimsuddenly startled to find himself staring into the grim face of -face of -

AA MEMBER OF THE HRTMEMBER OF THE HRT

crouched by his garage, armed to the teeth. As the littlecrouched by his garage, armed to the teeth. As the little boyboy starts to cry, the cop pulls him into the shadows,starts to cry, the cop pulls him into the shadows, covering his mouth.covering his mouth.

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127.127.

Mr.Mr. Gumb, in his kimono and goggles, creeps silentlyGumb, in his kimono and goggles, creeps silently through his workrooms - knees bent, painted toes placesthrough his workrooms - knees bent, painted toes places ever so delicately, the Colt held aloft - as more mothsever so delicately, the Colt held aloft - as more moths flutter past him in the eerie light...flutter past him in the eerie light...

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AA florist's van turns the corner, comes slowly down theflorist's van turns the corner, comes slowly down the street and stops at the curb in front of the split-level.street and stops at the curb in front of the split-level. TheThe driver, in a gray deliveryman's uniform and cap,driver, in a gray deliveryman's uniform and cap, climbs out of the cab, walks briskly to the panel door, onclimbs out of the cab, walks briskly to the panel door, on thethe street side of the van, and slides it open. He leansstreet side of the van, and slides it open. He leans in,in, comes out with a long, thin red-ribboned floral box,comes out with a long, thin red-ribboned floral box, starts calmly towards the house...starts calmly towards the house...

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MR.MR. GUMB'S POV - MOVING ANGLE on the top of the oubliette,GUMB'S POV - MOVING ANGLE on the top of the oubliette, aa glowing green circle in the dark, as it draws closer andglowing green circle in the dark, as it draws closer and closer... and then Catherine comes INTO VIEW, at thecloser... and then Catherine comes INTO VIEW, at the bottom of the pit. She is crouched, exhausted, staringbottom of the pit. She is crouched, exhausted, staring straight up at him - but she can't see him in this infra-straight up at him - but she can't see him in this infra- redred darkness. Precious is curled into her stomach, asleep.darkness. Precious is curled into her stomach, asleep. TheThe futon is up to Catherine's waist, but there's a clearfuton is up to Catherine's waist, but there's a clear shot at her head and neck.shot at her head and neck.

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MOVING ANGLE on the "deliveryman," seen from behind, as heMOVING ANGLE on the "deliveryman," seen from behind, as he mounts three steps to the split-level's front porch.mounts three steps to the split-level's front porch. Tucked into the small of his back if a 9 mm. automatic.Tucked into the small of his back if a 9 mm. automatic.

CRAWFORD AND BURROUGHSCRAWFORD AND BURROUGHS

have slipped out of the van, and are crouched behind ithave slipped out of the van, and are crouched behind it now, with drawn guns, watching tensely as -now, with drawn guns, watching tensely as -

128.128.

THETHE "DELIVERYMAN""DELIVERYMAN"

settles the floral box in the crook of his left arm,settles the floral box in the crook of his left arm, reaches out with his right hand towards the buzzer...reaches out with his right hand towards the buzzer...

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Slowly, savoring the moment, Mr. Gumb aims the big Colt,Slowly, savoring the moment, Mr. Gumb aims the big Colt, which is already cocked, using both hands... He is justwhich is already cocked, using both hands... He is just about to squeeze the trigger, when we hear his DOORabout to squeeze the trigger, when we hear his DOOR BUZZER, surprisingly loud and close by. He turns,BUZZER, surprisingly loud and close by. He turns, startled, and sees -startled, and sees -

AA DUSTY BLACK METAL BOXDUSTY BLACK METAL BOX

thethe extension buzzer, mounted high on the wall, which isextension buzzer, mounted high on the wall, which is making the hideous, grating JANGLE. It finally stops, butmaking the hideous, grating JANGLE. It finally stops, but notnot before waking Precious, who starts franticallybefore waking Precious, who starts frantically BARKING, off screen., as -BARKING, off screen., as -

HISHIS POV - THE PIT BOTTOMPOV - THE PIT BOTTOM

where Catherine, hearing but still not seeing him, quicklywhere Catherine, hearing but still not seeing him, quickly yanks the futon over both herself and the dog. Instantlyyanks the futon over both herself and the dog. Instantly thethe two of them become one squirming, indistinguishabletwo of them become one squirming, indistinguishable mass.mass.

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TheThe door opens, on a chain, and Clarice peers in, smiling.door opens, on a chain, and Clarice peers in, smiling.

129.129.

Mr.Mr. Gumb frowns out at Clarice. For the first time ever,Gumb frowns out at Clarice. For the first time ever, wewe get a well-lit view of his bland, pale-eyed moon of aget a well-lit view of his bland, pale-eyed moon of a face.face.

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TheThe "deliveryman" yanks a 12 lb. sledgehammer from the"deliveryman" yanks a 12 lb. sledgehammer from the floral box, swings it with all his might against the doorfloral box, swings it with all his might against the door knob, blowing it through as -knob, blowing it through as -

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Mr.Mr. Gumb starts to close the door, only to have ClariceGumb starts to close the door, only to have Clarice push back against it, politely but firmly. She holds uppush back against it, politely but firmly. She holds up herher ID.ID.

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AA bedroom window disintegrates as a flash grenade is shotbedroom window disintegrates as a flash grenade is shot through it, EXPLODING on the floor. An instant later, athrough it, EXPLODING on the floor. An instant later, a black-clad HRT cop dives through the shattered glass,black-clad HRT cop dives through the shattered glass, rolls across the floor, comes up on one knee swivellingrolls across the floor, comes up on one knee swivelling hishis sawed-off shotgun...sawed-off shotgun...

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Clarice and Mr. Gumb, still eyeing each other through theClarice and Mr. Gumb, still eyeing each other through the door crack...door crack...

130.130.

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MOVING ANGLE as Burroughs moves quickly down a hallway andMOVING ANGLE as Burroughs moves quickly down a hallway and enters the living room, where Crawford is standing, withenters the living room, where Crawford is standing, with hishis gun held down by his side, surrounded by several othergun held down by his side, surrounded by several other cops. Burroughs shakes his head: Nothing here...cops. Burroughs shakes his head: Nothing here...

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Mr.Mr. Gumb glances briefly over his shoulder, towards hisGumb glances briefly over his shoulder, towards his kitchen, then turns back to Clarice with a smile.kitchen, then turns back to Clarice with a smile.

ANGLE FAVORING THE COLT PYTHONANGLE FAVORING THE COLT PYTHON

which rests on a counter, just inside the open kitchenwhich rests on a counter, just inside the open kitchen doorway. THROUGH this doorway, we watch as Mr. Gumb, atdoorway. THROUGH this doorway, we watch as Mr. Gumb, at thethe end of his front hall, slips the chain. Clariceend of his front hall, slips the chain. Clarice enters, closing the door behind her.enters, closing the door behind her.

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131.131.

MOVING ANGLE - towards the front door, as frustrated HRTMOVING ANGLE - towards the front door, as frustrated HRT cops file out of the empty house, rifles slung acrosscops file out of the empty house, rifles slung across their shoulders.their shoulders.

WEWE PICK OUT CRAWFORDPICK OUT CRAWFORD

walking across the grass towards the van, when all at oncewalking across the grass towards the van, when all at once hehe stops in his tracks, shaken by a sudden flash ofstops in his tracks, shaken by a sudden flash of intuition.intuition.

CAMERA RUSHES VERY CLOSECAMERA RUSHES VERY CLOSE

onon his stricken face...his stricken face...

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Clarice, pulling her notebook from her shoulder bag,Clarice, pulling her notebook from her shoulder bag, glances around the musty-looking room.glances around the musty-looking room.

Overstuffed furniture,Overstuffed furniture, porcelain figurines. One archwayporcelain figurines. One archway onto the front hall, another onto a dining alcove, andonto the front hall, another onto a dining alcove, and through there, the kitchen. Mr. Gumb is crossing to athrough there, the kitchen. Mr. Gumb is crossing to a rolling desk, raising the top. He bends over, beginsrolling desk, raising the top. He bends over, begins poking through cubby holes. His tone is casual, neutral.poking through cubby holes. His tone is casual, neutral.

Mr.Mr. Gumb stiffens, almost imperceptibly. His back is toGumb stiffens, almost imperceptibly. His back is to her, as he continues opening drawers, rustling papers.her, as he continues opening drawers, rustling papers.

132.132.

CLOSE ON MR. GUMB'S BACKCLOSE ON MR. GUMB'S BACK

asas he continues his rummaging.he continues his rummaging.

OutOut of the folds of his kimono crawls a Death's-head Moth.of the folds of his kimono crawls a Death's-head Moth. ItIt creeps slowly to the center of his back, raising itscreeps slowly to the center of his back, raising its wings.wings.

Very carefully, she drops her notebook back into her bag,Very carefully, she drops her notebook back into her bag, lowers the bag to the floor. With her fingertips shelowers the bag to the floor. With her fingertips she brushes back the edge of her blazer, loosening its drape.brushes back the edge of her blazer, loosening its drape.

133.133.

134.134.

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Clarice hurries inside, moving low, swivelling her gun.Clarice hurries inside, moving low, swivelling her gun.

HERHER POV - MOVINGPOV - MOVING

TheThe kitchen is empty. To one side, a door still shudderingkitchen is empty. To one side, a door still shuddering onon its hinges...its hinges...

ANAN EMPTY STAIRWELLEMPTY STAIRWELL

brightly lit, leading to the cellar. Two doors facing thebrightly lit, leading to the cellar. Two doors facing the bottom, both open. No sign of Mr. Gumb.bottom, both open. No sign of Mr. Gumb.

TheThe distant SCREAM of Catherine Martin, somewhere downdistant SCREAM of Catherine Martin, somewhere down there in that killing maze.there in that killing maze.

BEHIND HER, ON THE KITCHEN COUNTERBEHIND HER, ON THE KITCHEN COUNTER

there's an empty space; the Colt Python is gone.there's an empty space; the Colt Python is gone.

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MOVING ANGLE - WITH CLARICE - hurrying down the steps.MOVING ANGLE - WITH CLARICE - hurrying down the steps. More SCREAMS; they seem to be coming from the left door.More SCREAMS; they seem to be coming from the left door. Clarice goes that way, entering a brick-walled passage -Clarice goes that way, entering a brick-walled passage - pipes over-head, naked bulbs. The lighting, though dim, ispipes over-head, naked bulbs. The lighting, though dim, is incandescent; Mr. Gumb has switched off his infra-redincandescent; Mr. Gumb has switched off his infra-red system. Clarice comes to a T-shaped intersection, stops.system. Clarice comes to a T-shaped intersection, stops. Another SCREAM, again to her left, and the BARKING of aAnother SCREAM, again to her left, and the BARKING of a dog...dog...

135.135.

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Clarice moves in, hugging the wall, gun swivelling...Clarice moves in, hugging the wall, gun swivelling...

HERHER POV - MOVINGPOV - MOVING

thethe open top of the pit... beyond it, the other twoopen top of the pit... beyond it, the other two doorways, opening onto this room - Jesus, he could comedoorways, opening onto this room - Jesus, he could come through either one of them, or come up behind her... Shethrough either one of them, or come up behind her... She moves to the pit, looks down, very briefly, sees Catherinemoves to the pit, looks down, very briefly, sees Catherine SCREAMING, hysterical, and a little white dog BARKING...SCREAMING, hysterical, and a little white dog BARKING...

136.136.

Ignoring Catherine, whose shouts turn to sobs, she backsIgnoring Catherine, whose shouts turn to sobs, she backs away, turns, picks one of the other doorways, moves intoaway, turns, picks one of the other doorways, moves into itit quickly.quickly.

CUT TO:CUT TO:

CLARICE'S POV - MOVING down this passageway, towards a newCLARICE'S POV - MOVING down this passageway, towards a new room... pausing at the doorway, straining to hear... noroom... pausing at the doorway, straining to hear... no sound except Catherine's CRYING, not in the background.,sound except Catherine's CRYING, not in the background., andand Clarice's own RAPID BREATHING. Then she crouches -Clarice's own RAPID BREATHING. Then she crouches - LOWER ANGLE - bursts forward, through the doorframe,LOWER ANGLE - bursts forward, through the doorframe, sidestepping...sidestepping...

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Clarice weaves back and forth, half-crouched, gun out,Clarice weaves back and forth, half-crouched, gun out, back to the wall. Her face glistens with sweat, as sheback to the wall. Her face glistens with sweat, as she takes in...takes in...

HERHER POV - MOVING NERVOUSLYPOV - MOVING NERVOUSLY

Mr.Mr. Gumb's sewing machine... his swivel chair... the oldGumb's sewing machine... his swivel chair... the old Victrola... Big moths are crashing into the light bulbs,Victrola... Big moths are crashing into the light bulbs, overhead; they're everywhere. Suddenly, from just behindoverhead; they're everywhere. Suddenly, from just behind her, a CLICK and a HUM, and -her, a CLICK and a HUM, and -

137.137.

AA SMALL REFRIGERATORSMALL REFRIGERATOR

with its thermostat just switching ON.with its thermostat just switching ON.

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Clarice moves past the mannequins, all of them nakedClarice moves past the mannequins, all of them naked now... then quickly past the huge Chinese armoire, readynow... then quickly past the huge Chinese armoire, ready toto shoot into it. Its doors yawn open; it is empty exceptshoot into it. Its doors yawn open; it is empty except forfor several padded hangers... She moves on, past the bigseveral padded hangers... She moves on, past the big sink, with its DRIPPING faucet... the counter, with itssink, with its DRIPPING faucet... the counter, with its gleaming knives... the rows of chemical jars. At the endgleaming knives... the rows of chemical jars. At the end ofof this room isthis room is

CUT TO:CUT TO:

Passing again through the workroom, Clarice pauses, seeingPassing again through the workroom, Clarice pauses, seeing aa half-curtained door, to one side, that she hadhalf-curtained door, to one side, that she had previously skirted. She crosses to the door, listens andpreviously skirted. She crosses to the door, listens and hears no sound inside, takes a deep breath and reaches forhears no sound inside, takes a deep breath and reaches for thethe knob. She twists it, and, as it turns, shoves hard andknob. She twists it, and, as it turns, shoves hard and follows her gun inside, all in one quick move...follows her gun inside, all in one quick move...

CUT TO:CUT TO:

AnAn old-fashioned bathroom: tiled floor, sink, toilet - andold-fashioned bathroom: tiled floor, sink, toilet - and aa big, free-standing tub. An opaque shower curtain,big, free-standing tub. An opaque shower curtain, suspended from an oval ring, hides whatever might besuspended from an oval ring, hides whatever might be inside.inside.

138.138.

SheShe leans in, stares more closely, not understanding, atleans in, stares more closely, not understanding, at first, that she's seeing -first, that she's seeing -

AA FEMALE HAND AND WRISTFEMALE HAND AND WRIST

sticking up from the tub, which is filled with hard red-sticking up from the tub, which is filled with hard red- purple plaster. The hand is dark and shrivelled, with pinkpurple plaster. The hand is dark and shrivelled, with pink nail polish and a dainty wristwatch. As -nail polish and a dainty wristwatch. As -

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Clarice emerges from the bathroom in a half-crouch, armsClarice emerges from the bathroom in a half-crouch, arms out, both hands on the gun, extended just below the levelout, both hands on the gun, extended just below the level ofof her unseeing eyes. She stops, listens. In her raw-her unseeing eyes. She stops, listens. In her raw- nerved darkness, every SOUND is unnaturally magnified -nerved darkness, every SOUND is unnaturally magnified - thethe HUM of the refridgerator... the TRICKLE of water...HUM of the refridgerator... the TRICKLE of water... herher own terrified BREATHING, and Catherine's faraway,own terrified BREATHING, and Catherine's faraway, echoing SOBS... Moths smack against her face and arms. Sheechoing SOBS... Moths smack against her face and arms. She eases forward, then stops again, listens... She easeseases forward, then stops again, listens... She eases forward again, following her gun, and creeps directly inforward again, following her gun, and creeps directly in front of, and thenfront of, and then pastpast - -

139.139.

CLOSE ONCLARICE - LOW ANGLE -CLOSE ONCLARICE - LOW ANGLE -

with NORMAL SPEED RESTORED, as the side of her face hitswith NORMAL SPEED RESTORED, as the side of her face hits thethe floor, and she is gasping, stunned by the noise andfloor, and she is gasping, stunned by the noise and flames; there is blood on her check, and an ugly powderflames; there is blood on her check, and an ugly powder burn, but she ignores them, twisting to yank herburn, but she ignores them, twisting to yank her speedloader from her jacket pocket, locking it blindlyspeedloader from her jacket pocket, locking it blindly onto her gun's cylinder, reloading, right in front of heronto her gun's cylinder, reloading, right in front of her face, then rolling onto her stomach, aiming her gun upwardface, then rolling onto her stomach, aiming her gun upward again, blinking her dazzled eyes, straining to locate himagain, blinking her dazzled eyes, straining to locate him inin the darkness... Where is he,the darkness... Where is he, where...? Then, as thewhere...? Then, as the ECHOES finally fade, she hears something else - aECHOES finally fade, she hears something else - a tortured, sucking, WHISTLE from perhaps eight feet away...tortured, sucking, WHISTLE from perhaps eight feet away...

MOVING ANGLE - WITH CLARICEMOVING ANGLE - WITH CLARICE

asas she crawls forward, on her elbows, following her gun,she crawls forward, on her elbows, following her gun, until it bumps against Mr. Gumb's shoulder. He is lying onuntil it bumps against Mr. Gumb's shoulder. He is lying on hishis back, chest a bloody mess. She slides her muzzleback, chest a bloody mess. She slides her muzzle against his head, hard, but he doesn't move; another shotagainst his head, hard, but he doesn't move; another shot isn't needed. He stares upwards, through his goggles,isn't needed. He stares upwards, through his goggles, bloody lips working. He tries to speak, but cannot. Onebloody lips working. He tries to speak, but cannot. One hand reaches slowly upwards, the fingers twitching, as ifhand reaches slowly upwards, the fingers twitching, as if toto seize something, overhead... Then a final, ghastlyseize something, overhead... Then a final, ghastly groan, his hand drops, he is head. Clarice feels for agroan, his hand drops, he is head. Clarice feels for a pulse at his neck, making sure. Then, and only then, doespulse at his neck, making sure. Then, and only then, does sheshe permit herself to roll over, collapsing onto her backpermit herself to roll over, collapsing onto her back beside him.beside him.

140.140.

AA DEATH'S-HEAD MOTH -DEATH'S-HEAD MOTH -

perched on an infra-red bulb, overhead, its wings pumpingperched on an infra-red bulb, overhead, its wings pumping slowly. SOUND UPCUT - wailing SIRENS, many excited VOICES,slowly. SOUND UPCUT - wailing SIRENS, many excited VOICES, asas we...we...

DISSOLVE TO:DISSOLVE TO:

TheThe front porch of the tall Victorian house is bathed infront porch of the tall Victorian house is bathed in aa glare of TV lights, police and ambulance flashers. Carsglare of TV lights, police and ambulance flashers. Cars andand vans and even a firetruck choke the street; cops,vans and even a firetruck choke the street; cops, reporters, EMS workers and curious civilians swarm aroundreporters, EMS workers and curious civilians swarm around thethe ineffective barricades. The BUZZ of their voices goesineffective barricades. The BUZZ of their voices goes even higher aseven higher as

ANAN OHIO HIGHWAY PATROL CAROHIO HIGHWAY PATROL CAR

pulls up, stops, and Crawford climbs out of the back seat.pulls up, stops, and Crawford climbs out of the back seat. HeHe makes his way anxiously through the press of bodies,makes his way anxiously through the press of bodies, stopping when he sees Clarice.stopping when he sees Clarice.

THEY LOOK AT ONE ANOTHERTHEY LOOK AT ONE ANOTHER

forfor a long moment, Crawford choked with pride for her,a long moment, Crawford choked with pride for her, with sorrow for her ordeal, with love, but unable to findwith sorrow for her ordeal, with love, but unable to find anyany words. And then he does.words. And then he does.

AndAnd then all at once she is sobbing, her knees giving way,then all at once she is sobbing, her knees giving way, butbut he is there to catch her, he is hugging her fiercely.he is there to catch her, he is hugging her fiercely. HOLD ON them for a long beat.HOLD ON them for a long beat.

141.141.

DISSOLVE TO:DISSOLVE TO:

TheThe forty members of Clarice's class, resplendent in theirforty members of Clarice's class, resplendent in their best dark suits and dresses, rise, cheering themselves,best dark suits and dresses, rise, cheering themselves, then turn happily to wave to their audience, as APPLAUSEthen turn happily to wave to their audience, as APPLAUSE mounts. Beyond them, on a gaily tented platform, themounts. Beyond them, on a gaily tented platform, the Director stands behind his podium.Director stands behind his podium.

CLARICE AND ARDELIACLARICE AND ARDELIA

look at one another solemnly. Ardelia holds up both fists,look at one another solemnly. Ardelia holds up both fists, inin a power shake, and Clarice taps them with her own. Shea power shake, and Clarice taps them with her own. She isis radiantly beautiful in a navy dress and pearls, theradiantly beautiful in a navy dress and pearls, the thin scar on her cheek almost healed. Ardelia turns,thin scar on her cheek almost healed. Ardelia turns, waving towards the crowd, the Clarice's thoughts arewaving towards the crowd, the Clarice's thoughts are elsewhere. She turns, searching among the dignitaries onelsewhere. She turns, searching among the dignitaries on thethe platform, till she locatesplatform, till she locates

DISSOLVE TO:DISSOLVE TO:

AA LOUD party is underway - food, beer, dancing - as theLOUD party is underway - food, beer, dancing - as the newnew grads celebrate ferociously. Ardelia weaves her waygrads celebrate ferociously. Ardelia weaves her way through the crowded room, reaches Clarice, who is flankedthrough the crowded room, reaches Clarice, who is flanked byby her special guests - Pilcher and Roden, the two ardenther special guests - Pilcher and Roden, the two ardent scientists. Ardelia has to shout at Clarice over the din.scientists. Ardelia has to shout at Clarice over the din.

142.142.

SheShe nods to Pilcher, leaves them. Roden, who is quitenods to Pilcher, leaves them. Roden, who is quite happily drunk, grabs the startled Ardelia around the waist.happily drunk, grabs the startled Ardelia around the waist.

Ardelia looks at Pilcher, confused.Ardelia looks at Pilcher, confused.

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Clarice picks up the dangling pay phone, speaks happily.Clarice picks up the dangling pay phone, speaks happily.

SheShe freezes, stunned by the familiar voice. Then shefreezes, stunned by the familiar voice. Then she turns, waving frantically towardsturns, waving frantically towards

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143.143.

Very beautiful, glittering with countless stars.Very beautiful, glittering with countless stars.

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144.144.

AsAs Clarice reacts, the fill weight of his words sinking in.Clarice reacts, the fill weight of his words sinking in.

ButBut only a DIAL TONE comes from the phone. She is stillonly a DIAL TONE comes from the phone. She is still staring at her receiver, in shock, as we -staring at her receiver, in shock, as we -

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Dr.Dr. Lecter sighs, sets his phone down, then rises. PoppingLecter sighs, sets his phone down, then rises. Popping anan orange section into his mouth, he turns towards theorange section into his mouth, he turns towards the brightly lit house. Stepping delicately over the sprawledbrightly lit house. Stepping delicately over the sprawled body of a uniformed security guard, he walks in throughbody of a uniformed security guard, he walks in through open french doors.open french doors.

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InIn a swivel chair, amidst the wreckage of his papers anda swivel chair, amidst the wreckage of his papers and books, is the writhing figure of Dr. Frederick Chilton.books, is the writhing figure of Dr. Frederick Chilton. TheThe extreme intricacy of his bindings recalls Dr. Lecter'sextreme intricacy of his bindings recalls Dr. Lecter's ownown former restraints. His screams are muffled by the tapeformer restraints. His screams are muffled by the tape over his mouth; he stares at Dr. Lecter like a rabbitover his mouth; he stares at Dr. Lecter like a rabbit trapped in headlights.trapped in headlights.