The Silence of the Lambs Page #14

Synopsis: FBI trainee Clarice Starling works hard to advance her career, including trying to hide or put behind her West Virginia roots, of which if some knew would automatically classify her as being backward or white trash. After graduation, she aspires to work in the agency's Behavioral Science Unit under the leadership of Jack Crawford. While she is still a trainee, Crawford does ask her to question Dr. Hannibal Lecter, a psychiatrist imprisoned thus far for eight years in maximum security isolation for being a serial killer, he who cannibalized his victims. Clarice is able to figure out the assignment is to pick Lecter's brains to help them solve another serial murder case, that of someone coined by the media as Buffalo Bill who has so far killed five victims, all located in the eastern US, all young women who are slightly overweight especially around the hips, all who were drowned in natural bodies of water, and all who were stripped of large swaths of skin. She also figures that Crawford
Genre: Crime, Drama, Thriller
Director(s): Jonathan Demme
Production: Orion Pictures Corporation
  Won 5 Oscars. Another 54 wins & 44 nominations.
 
IMDB:
8.6
Metacritic:
85
Rotten Tomatoes:
95%
R
Year:
1991
118 min
2,659 Views


He casts a sidelong, unhappy glance at Clarice.

CRAWFORD:

Well sir, that's where we can help.

If -

SHERIFF:

I don't even know you, Mister... Now

we'll extend you ever courtesy, just

soon as we can, but for right now -

CRAWFORD:

Sheriff, this, ah - this type of sex

crime has some aspects I'd rather

discuss just between the two of us.

Know what I mean?

He indicates Clarice with his eyes. The sheriff hesitates,

nods, then lets Crawford guide him into a small office,

closing the door behind them. Muffled WORDS from there.

CLARICE:

burning at this slight, is left alone with the troopers, who

peek at her with shy curiosity. She pulls her blazer a bit

tighter, self-conscious about her bulging shoulder holster.

ANGLE ON THE OFFICE DOOR

as, after a few more moments, the sheriff and Crawford emerge.

The sheriff, still not very happy, addresses his deputy.

SHERIFF:

Oscar, run fetch Dr. Akin from the

chapel. And tell Lamar to come on

when he's done playin' that music.

CUT TO:

INT. EMBALMING ROOM - DAY

Crawford, in one corner of the room, has set up a Litton

Policefax fingerprint transmitter. SOUND of many men's low

voices, in background. He is on the phone, and has to speak

loudly.

CRAWFORD:

I need a six-way linkup! Chicago,

Detroit, Cleveland, St. Louis,

Atlanta, and Dallas... What?... Can

you hear me...?

He looks around, frustrated by the noisy circus atmosphere.

CLARICE:

is pulling on a pair of surgical gloves. She raises her voice,

turning up her natural accent by several notches.

CLARICE:

Gentlemen. You officers and gentlemen!

Listen here a minute, please. There's

things I need to do for her...

WIDER ANGLE:

as we see that the small room is very crowded with deputies

and troopers. They gradually fall silent, looking at her.

CLARICE (O.S.)

Y'all brought her this far, and I

know her folks would thank you if

they could. Now please - go on out

and let me take care of her... Go

on, now.

The men look at one another, a little bashfully, then begin

to to file out, whispering among themselves. As they go, a

bright green body bag is REVEALED, tightly zipped, lying on

a porcelain embalming table. It is almost the only modern

object in this Victorian room, with its glass-paned cabinets

and faded wallpaper, decorated with cabbage roses.

FAVORING CRAWFORD

as he looks at Clarice with a new degree of respect. Men

brush by him, till finally only two are left: DR. AKIN, a

family g.p., and LAMAR, a lean, whiskey-reddened mortician.

SOUND of the door closing. Lamar dabs around his nostrils

with Vicks VapoRub.

CRAWFORD:

(on phone)

We're starting. Tell everybody to

stand by for fingerprint transmission.

CLARICE:

at a side counter, has turned back to her open fingerprint

kit. She is lifting out a camera when she hears the ZIPPER

of the body bag being slowly opened, behind her...

One gloved hand flies to her mouth as she reacts,

involuntarily, to the sudden smell. She blinks at her

reflection in the cabinet glass, then steels herself to turn,

look at the corpse.

CLARICE:

(pause; softly)

Bill...

She steadies herself by raising her camera, takes a FLASH

photo.

LOW ANGLE - LOOKING UP, FROM BENEATH TABLE

as Dr. Akin gently lifts aside one of the dead girl's arms.

A piece of fishing line, with multiple hooks, is still snagged

around it, dangling. Crawford leans in for a closer look.

DR. AKIN

Wrongful death... She'll have to go

to the state pathologist at Claxton

when you're done.

(Crawford nods)

I better - get on back for the rest

of that service. Lamar'll help you.

(shaken)

Lord almighty...

He leaves, and Clarice leans INTO SHOT, taking another photo.

CRAWFORD:

What do you see, Starling?

CLARICE:

Well, she's not local. Her ears are

pierced three times each, and she's

wearing green glitter nail polish.

Looks like town to me...

CLOSE ANGLE:

on the calf of one of the girl's legs, as Clarice trails the

inside of her bare wrist along the skin.

CLARICE (O.S.)

She waxed her legs, I think... A big

girl, just like the others - but she

was careful about her appearance...

UPWARD ANGLE AGAIN

as Lamar joins them for a closer look.

CLARICE:

Two of the fingernails are broken

off, and there's - dirt or grit under

the others. She tried to claw her

way through something... I'll scrape

out samples after I've printed her.

Rate this script:4.0 / 1 vote

Ted Tally

Ted Tally (born April 9, 1952) is an American playwright and screenwriter. A graduate of Yale, he has received awards including the Academy Award for Best Adapted Screenplay, the Writers Guild of America Award, the Chicago Film Critics Award, and the Edgar Award from the Mystery Writers of America. more…

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Submitted on April 07, 2016

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