The Silence of the Lambs Page #17

BACK ON THE TV ANCHOR

TV ANCHOR:

...to its highest levels, the

president himself being said to be,

and I quote, "intensely concerned."

Just moments ago, Senator Martin

made this dramatic personal plea...

SENATOR MARTIN (TV FOOTAGE)

fills the screen, in a halo of lens flare, as she speaks to

a jostling crowd of reporters on the front steps of her

Georgetown home. A tall woman, late 40's, with a strong,

taut face.

SEN. MARTIN

I'm speaking now to the person who

is holding my daughter. Her name is

Catherine... You have the power to

let Catherine go, unharmed. She's

very gentle and kind - talk to her

and you'll see. Her name is

Catherine...

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

around her.

CLARICE:

(whispers)

Boy, is that smart...

ARDELIA:

Why does she keep repeating the name?

CLARICE:

Somebody's coaching her... They're

trying to make him see Catherine as

a person - not just an object.

ON THE TV AGAIN:

SEN. MARTIN

You have a chance to show the whole

world that you can be merciful, as

well as strong. Please - I beg you -

release my Catherine...

NEW FOOTAGE:

as we see (NIGHT, TELEPHOTO) - a taped-off section of

Catherine's parking lot. Technicians, with instruments, are

kneeling by the crushed grocery bag.

2ND TV ANCHOR (V.O.)

Meanwhile. in Memphis, the

investigation continued throughout

the night, as state and local

authorities were joined at the kidnap

scene by agents of the FBI...

MOVING ANGLE (STILL TV FOOTAGE)

as Jack Crawford is seen striding towards the front door of

Catherine's apartment, followed by Burroughs and other agents.

One of them moves quickly towards the CAMERA, waving it back.

REC ROOM ANGLE - FAVORING ARDELIA

as the other trainees send up a brief, ironic cheer. But

Ardelia turns sympathetically towards the troubled Clarice.

ARDELIA:

I don't know whether to say "I'm

sorry," or "Congratulations." But

girl? - you just went prime time.

CUT TO:

EXT. SMITHSONIAN - MUSEUM OF NATURAL HISTORY - DAY

The massive Victorian building looms over Constitution Avenue.

Clarice quickly mounts the steps, carrying a small plastic

box.

CRAWFORD:

I don't think he knew that she's a

Senator's child. She's a big girl,

Starling, like all the rest. We're

going on the theory she was randomly

targeted by size...

CUT TO:

INT. MUSEUM CORRIDOR - DAY

Clarice, now accompanied by a museum guard, walks through an

eerie landscape of dinosaur bones - crouching skeletons with

blank eye sockets, gaping fangs.

CRAWFORD (V.O.)

By now, Bill's had her for 36 hours.

That leaves us just 36 more, before

he kills her... But maybe, just maybe,

Starling, we caught a real break

this time - thanks to you.

(beat)

We found another bug, in Raspail's

head.

CUT TO:

INT. MUSEUM OFFICE - DAY

CLOSE ON an live, enormous, rhinoceros beetle, as it weaves

its clumsy way among the men on a chessboard, before finally

stepping off the edge, onto a lettuce leaf.

RODEN (V.O.)

Time, Pilch! My move.

PILCHER (V.O.)

No fair! You lured him with produce.

WIDER ANGLE:

shows two entomologists, both 30ish, hunched over the board.

RODEN is a pudgy redhead; PILCHER is lean, quite handsome.

RODEN:

Tough noogies! It's still my turn.

CLARICE (O.S.)

If the beetle moves one of your men,

does that count?

They look up, delighted to see Clarice in the doorway. Both

men are hopelessly smitten by her.

RODEN:

Of course it counts. How do you play?

PILCHER:

(grins)

Officer Starling. Welcome back.

CUT TO:

INT. ENTOMOLOGY CORRIDOR - DAY

MOVING ANGLE as Clarice and the two men go briskly down a

hall lined with mounted insects, in all shapes and sizes.

Roden peers at Clarice's new cocoon, in its box.

RODEN:

Where the hell did this one come

from? It's practically mush.

CLARICE:

You really don't want to know.

PILCHER:

Your West Virginia specimen gave us

quite a bit of trouble, but I finally

managed to narrow his species through

chaetaxy - studying the skin.

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