沉默的羔羊 剧本

汉尼拔博士所在的牢房，当 主角第一次进入时，摄影师 藤本使用了一个近乎360度原 地旋转的主观镜头：此镜头 起幅是三台监视器，分别是 汉尼拔的牢笼；正在上楼梯 的巴尔的摩精神病医院的主 管奇顿医生以及汉尼拔牢笼 外的走道。随后是一名荷枪 实弹的警卫在检查枪械，落 幅则是一名告诫主角注意事 项的工作人员。
交叉蒙太奇
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一方面，上司带着大批警员登上直升机直奔凶手的老巢；另一方 面，训练有素的Clarice在死者曾经工作过的李普曼夫人家发现了 bill的蛛丝马迹，往下一个可疑地点赶去。
光线运用
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THANKS
下一个长镜头是穿着运动服，扎着马尾辫的Clarice 跑出，镜头节奏随之加快，也在不经意间塑造了一 种坚强自立的女性形象，在还没有对白之前就交代 了人物的状态和性格，从而使观众更快地进入角色 状态。
镜头分析
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镜头分析
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叙事蒙太奇
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关于童年的Clarice的镜头都是通过短短几十秒的蒙太奇 镜头从现实世界插入一个回忆的片段，用插叙的方式展 示的。
Байду номын сангаас
镜头分析
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Daily Reports---SherryToday I want to tell you something about the film ‘the silence of the lambs’ , maybe it is a horror film, because Hannibal lecter who has been in prison for 8 years is not only a very famous psychiatrist but also be called ‘Hannibal the Cannibal’. He likes eating human’s organs. The polices all think that he is a monster ,a pure psychopath.Agent Clarice is a FBI trainee, a series of murders happened in her city. The killer is a abnormal killer called ‘Buffalo Bill’, who likes to skin his humps. And at that time five women has been killed with their skin cut. Clarice’s task is to visit Dr. Hannibal lecter, face-to-face talk with him, so that she can obtain the criminal psychological behavior data to help solve crimes. However Doctor lecter wants Clarice tell him her personal experience so that he will tell her some points about the criminal. At the end of this film ,Clarice has caught Bill successfully. And Hannibal has escaped from the prison with his wit.This film is the frist part of the series. In fact, it reveals the secret of the heart, each of us has the most reluctant to say the most painful experience. Just like Bill, he has been maltreated by his stepmother and he wants to be a woman but no hospital wants to help him. These are the reasons why he is so extreme. And I think the most import thing is that don’t let those unhappy memory change our characters.。

R
FБайду номын сангаас史 1 ，
N
史达林的童年生活是很不幸的，这给她的心理带来了很严重的阴 影。母亲在她年幼时便去世了，父亲成为了史达林唯一的依靠。 然而十岁时作为警察的父亲被劫匪枪杀，这给史达林带来了巨大 的创伤，尤其是对罪犯产生了严重的心理障碍，她害怕、孤独、 无助、落寞而又弱小。父亲的意外死亡是史达林第一个心理阴影。 父亲死后她去了一个有牧场的亲戚家，当她听到即将被宰杀的羔 羊凄厉惨叫时，她依旧是害怕，但还是尽力去解救那些可怜的羔 羊，但是她抱着跑了几里路的羊被抓到后还是被杀了，之后她也 被送到了孤儿院，她更加孤独和无助了。这件事在她的心理造成 了第二个阴影。在两个阴影的影响下，史达林极度的希望自己能 够强大起来，不仅可以保护自己还可以保护他人，但是她无法摆 脱童年阴影带来的心理创伤，她依旧恐惧，尽管自己有了力量， 但内心深处依旧认为自己像羔羊一样弱小。
自己的问题。他的反社会的出现一定导致他的变形只是死亡，而不是死后的复生。
变态的精神病专家莱达教授 这是个象征阴影的角色，他具有救世的情结。至少在最后他逃离时将一个警察象耶酥一 样扎在那里可以反映出一些。他的吃人可能和一种原始的力量感有关，在南太平洋上以 前所流传的曼纳信仰象征一类意思。当一个人试图去获得力量时，那些原始人就去杀另
变态杀人犯“野牛”比尔 从精神分析的客体心理学分析，变态杀人犯“野牛比尔”的杀人和剥取女性人皮以完成 女性服装的事件最大的可能来自其幼年时的冲动，就是“野牛比尔”的母亲多数在养育 上存在很大问题，甚至可能是精神分裂症患者。“野牛比尔”在被关怀和性别分化上存 在严重的问题，这导致他的心理发育根本还是停留在幼稚期，而试图通过一种幼稚的行 为来导致其内心的冲动的满足。他在被害者嘴里所放的蛹充分说明说明了他希望自己变 成女性的一种希望。其实变成女性是他自己希望获得母亲之爱的象征，他通过自己变成

? The film also tells us that, for all kinds of difficulties experienced in life, like a heart that Silence of the Lambs, at any time call or even a burst of energy that can not control: Some people will be even more strong to face later in life, the people who get lost in the abyss of their own are unable to control; for these we need is a sincere heart.
? 在汉尼拔眼中人类都是可悲的芸芸众生，为了自己的利益挣扎求生，却逃不出命运的 屠刀，最终都会被生活无情的吞噬，就像愚蠢惊恐的待宰羔羊一般，无知麻木可怜可 悲。汉尼拔可以说一直在用一种冷酷的理智俯视人类，就像一个无情的神，神不知仁 为何物，以万物为刍狗，无法改变人类的悲剧，所以无动于衷。直到他遇到了克拉丽 丝，这个因着天性的敏感洞悉人类的悲剧，却哭泣着想要拯救哪怕一只羔羊的牧女， 这个瘦小柔弱却企图用双肩背负世间所有苦难的女孩。两个人好像目标相似但做法却 又完全相反，所以汉尼拔对克拉丽丝的爱既是惺惺相惜也是对于异己的美好灵魂的守 护。
? 影片也告诉我们，对于所经历生活中的种种苦难，犹如心 底那沉默的羔羊，随时都在叫甚至于爆发出自己也无法控 制的能量：有的人会愈加坚强来面对以后的生活，有的人 却会迷失于自己都无法掌控的深渊；对于这些我们所需要
的只是一颗真诚的心。
Thank you！
? Hannibal was in the dungeon, he is a high IQ, quick thinking, but highly perverted middle-aged man, and is cannibalism spree, he asked Clarisse my personal experience for their own analysis in exchange for his assistance. Clarisse's thinking ability is not Dr. opponent, but she showed commendable courage and sincere, have also proved Clarisse looking for right person.

《沉默的羔羊》故事节选一、《沉默的羔羊》故事简介《沉默的羔羊》是托马斯·哈里斯所著的一部著名的悬疑小说。

小说以一个有关精神病罪犯的连环杀人案为背景，从一个聪明绝顶的警探和一位受害者之间的取证过程开始，揭示了充满谎言和诡计的阴谋与推理的故事，成为世界文学史上的经典之作。

二、《沉默的羔羊》故事章节梗概1. 第一章：接案逆境在凶手尚未被捕的情况下，代号为“水晶巴特勒”的主角克拉林·斯塔克警官接手了这一连环杀人案。

他在听父亲的话之后，通过精心的分析调查，逐渐发现了凶手的线索。

2. 第二章：发现新线索在上司的指导下，克拉林·斯塔克进一步发掘了凶手的罪恶过程，发现了新线索并向法庭提交了证据。

同时他也结识了时隔多年后再次出现的老同学凯瑟琳·马汀，并与她产生了感情。

3. 第三章：内外困扰凶手布法洛在监狱中接受心理医生的访谈时，透露了他的一些想法和内心世界。

而此时凯瑟琳也因为段委员会的事情与上级矛盾不断，对克拉林的感情产生了疑虑。

4. 第四章：望眼欲穿凶手布法洛在接受采访时，对记者说出了一些感人的话，引起了社会上的一些关注。

同时亚历山大，一个与布法洛有关的女性死于异地，使得这桩案件愈加复杂。

克拉林在分析证据时，也逐渐接近了凶手的真相。

5. 第五章：揭露真相克拉林和凯瑟琳在一起的那天，凶手被抓住了。

在审讯中，布法洛企图逃脱责任，试图威胁和嘲弄警方。

但是，凯瑟琳的勇气和冷静终于使得证据确凿，凶手最终被绳之以法。

而克拉林也摆脱了他内心的压抑，在新的一天迎来了新的生活。

三、《沉默的羔羊》故事评价《沉默的羔羊》以其精细的故事情节、难以言喻的紧张氛围和出色的人物刻画成为了文学、电影、电视剧等多个媒体领域中的经典之作。

它不仅是人们探讨心理与罪恶关系的代表作，也是一部关注品质和情感的经典之作。

电影《沉默的羔羊》对白教你分析犯罪者心理
到底谁是杀人犯？请看电影中专家探究犯罪者心理的程序：
联邦调查局实习生克拉丽丝请教精神病专家汉尼拔博士：你教我怎么做？
汉尼拔博士引导克拉丽丝说：首要的原则是简易；同时，凡事都要问它是什么？它有什么本质？这个人做了什么？他这样做是为了满足什么？（愤怒、社会认同、性困惑……），他这样做他贪图的是什么？他的贪图就是他的本性。

……
试问我们自己：我们怎样才会开始贪图？我们是否找到了我们贪图的东西？……我们看见日常的东西就开始贪图，你可有感到一些眼睛在盯着你？你的眼睛又可有寻找你要的东西？
（简述为：汉尼拔说：首要的原则是简易，再就是他贪图什么？……我们是怎样开始贪图我们每天见到的东西的？）
【注】根据电影对白稍有语句调整。

沉默的羔羊的故事沉默的羔羊（The Silence of the Lambs）是一部由乔纳森·戴米（Jonathan Demme）执导，于1991年上映的美国犯罪惊悚电影。

该片改编自托马斯·哈里斯（Thomas Harris）的同名小说，讲述了FBI实习特工克拉丽斯·斯特林（Clarice Starling）与危险的系列杀手汉尼拔·莱克特（Hannibal Lecter）之间的心理对决。

以下是沉默的羔羊的故事。

第一章：克拉丽斯的调查克拉丽斯·斯特林进入FBI学院接受培训，由于她的英勇和冷静，她被特工杰克·克劳福德（Jack Crawford）选中参与一项重要的任务。

一名名叫布法罗比尔（Buffalo Bill）的连环杀手正在肆虐，他绑架年轻女性，剥下她们的皮。

克劳福德希望克拉丽斯能够与另一名系列杀手汉尼拔·莱克特进行接触，以获取他对布法罗比尔的潜在线索。

第二章：莱克特的援助汉尼拔·莱克特是一名以食人为乐的精神病医生，同时也是一名危险的犯罪分子。

他被关押在巴尔的摩公立精神病院，克劳福德派克拉丽斯去与他交谈，希望他能提供对布法罗比尔的线索。

克拉丽斯进入监狱，与莱克特进行了几次对话。

莱克特给了她一些暗示和提示，但同时也试图挖掘她过去的伤痛。

第三章：追踪布法罗比尔在莱克特的指导下，克拉丽斯开始追踪布法罗比尔。

她访问了被布法罗比尔绑架的女性的家人和朋友，试图找到线索。

她还与一位名叫计·斯塔林（Katharine Martin）的幸存者进行了面对面的交流，希望从她那里获取更多的信息。

克拉丽斯的努力逐渐使她接近布法罗比尔的真实身份。

第四章：危险的逃脱克拉丽斯离开监狱后，莱克特顺利地从警察护送的过程中逃脱。

他开始了一个危险的游戏，通过与克拉丽斯保持联系，并在背后支持她来引导她追踪布法罗比尔。

这个过程中，他向克拉丽斯透露了一些关于自己过去的秘密，以及他背后的黑暗力量。

绝望之中，比尔开始产生性变态的心理，他疯狂地残杀 了多名年轻女性，专杀身材高大丰满的漂亮女孩，饿得 皮肤松弛了，剥下她们的皮为自己缝制衣服并且事后在 被害女子的嘴里，放上一只昆虫蛹的标本。 早年亲情的剥夺会影响日后的犯罪行为。心理学 家鲍尔比认为，母亲和儿童之间依恋关系的中断，是以 后的越轨行为的一种重要征兆。晚近对精神病态的解释 强调了这种内容，在这些解释种内容，在这些解释中， 把敌意和明显缺乏焦虑看成是对依赖和无力感这些痛苦 感情的一种防卫反应。这些痛苦感情是在早年的母亲的 遗弃和母亲的反复无常中产生的。
三、关于羔羊
为什么叫沉默的羔羊？ 谁是羔羊？？
三、人物分析
1、野牛比尔:破蛹化蝶或飞蛾扑火 夜晚，一位体态丰满的胖姑娘驾车回家，她正准备 上楼，不远处，一位男人正在费力地往车上搬东西，她 动了侧隐之心，主动帮助那个人，不料在车上，那人突 然举起榔头，朝胖女人猛击过去，接着慌忙关上门，把 昏过去的胖姑娘翻了身，用剪刀剪开她的衣服，女人丰 满的腰和臀部渐渐露了出来，“好极了!”，他开车消失 在黑夜里……卡路梅特市，一幢红墙黑顶的房子孤零零 地立在街旁。昏黑的室内，凶手比尔正在专心致志地缝 着真人皮女人衫，在迪斯科强烈的旋律中，他戴上女人 的首饰，乳房上缀着宝石，扭动着身体，自言自语做着 各种诱人动作。
他不愿接受调查问卷上的那些心理咨询，他 根本就对那一套不屑一顾。但是当史黛丽出现在 他面前，那双看似坚定的眼神中隐约闪烁着不安 与惊恐引起了他的兴趣。他最感兴趣的是津津有 味地鉴赏别人的痛苦以及细致人微地掠取他人的 隐私。他有非凡的洞察力，能看透一切，所以当 史黛丽第一次出现在他的面前时，他一眼就看出 了她卑微的出身和争强好胜的性格。他用主动提 供行为科学部一直在设法缉拿却始终没有成功的 杀人凶手—剥了五张人皮的变态凶手“野牛比尔” 的线索来套取史黛丽埋藏于心中多年的童年记忆。

沉默的羔羊part1窗外飘着鹅毛大雪，室内的暖气却开出一片温情。

欧式古典风格的家具，厚重的颜色和展示窗里的收藏彰显着主人丰富的人生阅历，纯白的意大利羊绒地毯上看不见一点灰尘，看来主人对家庭环境要求极高。

摆满了菜肴的餐桌旁边是一张智能化的*** 椅，种种都告诉我，此时只剩下陈雪个人在房间里哭泣。

这次的交易比之前很多次都要靠谱。

只是我走近时，发现扶手下赫然是两只轮子。

原来主人坐着轮椅，行动不便，也难怪我进来时发现大门是自动的，而且已经打开，他一定按照我们的约定设置好了时间。

轮椅背对着大门，谨慎的职业习惯使然，我并没有先开口询问。

我慢慢靠近餐桌，希望在这个过程中听见主人的声音，不过直到我走到轮椅旁边，才看见一个花白头发的老人安静地睡在上面，我看着客户资料上显示的买家年龄，他应该就是我要找的买家宁国胜。

老年人的睡眠时间总是不稳定，晚餐就在身边，一碟美味的辣子鸡和咖喱鸡块，都是我爱吃的菜，我闻着很有食欲，可是看上去还没有动过。

我轻轻摇了摇他，他的一只手滑落，猛地搭在扶手上。

这个动作让我胸口一紧，下意识去试探他的呼吸。

之后的几秒钟我一动不动，他死了！周围没有血迹、没有挣扎的狼藉，一切平和得像短短的小憩，可他却真的没有了呼吸。

报警之后我的呼吸慢慢放平缓，事已至此我要做的就是尽力配合，或许还要花一点时间组织语言，以便警察对我盘问时可以对答如流，避免被当做杀人凶手。

“姓名。

”“林笛。

”“年龄。

”“二十八。

”“你是做什么的？”“玩玉石的。

”我看到警察抬头瞟了我一眼，我知道在他们看来，赌石如赌命，我们这样的人做着风险很大的买卖，不排除会为财杀人铤而走险。

“来这里干什么？”“我是正经商人，你看这家人这么有钱就知道我们是来做玉石交易的了。

他是我的买家，今天上午刚确定的验货时间。

”“你们约定的几点？你又是几点到的这里？”“我们约定的时间是晚上六点，我做生意向来守时，这个别墅区又在离市区这么远的半山上，我多计算了些时间，所以早到了半个小时。

Clarice Starling: I don't know. I didn't have any food, any water and it was very cold, very cold. I thought, I thought if I could save just one, but... he was so heavy. So heavy. I didn't get more than a few miles when the sheriff's car picked me up. The rancher was so angry he sent me to live at the Lutheran orphanage in Bozeman. I never saw the ranch again. 克拉丽丝：我不知道，我没有食物和水，天气很 冷，我想如果我可以哪怕只救出来一只，可是……他 太重了。当我搭上治安官的车，我还没跑出几英里。 农场主很生气，他把我送进波兹曼的路德教会孤儿院， 我再没看到过那家农场。
The Silence of the Lambs
a crime and horror film

directed by Jonathan Demme

The main characters
• Jodie Foster as Clarice Starling • Anthony Hopkins as Dr. Hannibal Lecter
• •
Plot
Clarice Starling is pulled from her training at the FBI Academy and tasked with interviewing Hannibal Lecter, a former psychiatrist and incarcerated cannibalistic serial killer, believing Lecter’s insight might be useful in the pursuit of a serial killer nicknamed “Buffalo Bill”, who skins his female victims' corpses.

第5章1.沉默的羔羊克拉丽斯是联邦调查局的见习特工。

她所在的城市发生了一系列的命案，凶手是一名专剥女性的皮的变态杀人犯“野牛”比尔。

迄今为止，受害的女性已达5人。

克拉丽斯的任务是去一所戒备森严的监狱访问精神病专家汉尼拔博士，同他进行面对面的交谈，以此获取罪犯的心理行为资料来帮助破案。

汉尼拔被关在地牢里，他是一位智商极高、思维敏捷但有些精神变态的中年男子，并且是个食人狂，他要求克拉丽斯说出个人经历供自己分析以换取他的协助。

克拉丽斯的思维能力完全不是博士的对手，她临阵脱逃了。

不久，警方又发现了一具女尸。

根据验尸分析：凶手使受害人活了3天，死前没有强暴或虐待的迹象，凶手喜欢身材较胖的女子，常常把她们饿得皮肤松弛之后才杀死。

克拉丽斯又发现了两个新的线索：其一，死者背部被剥去了两块菱形的皮；其二，死者喉咙里有个小手指大的虫茧。

据昆虫专家分析，这是源于亚洲的一种蛾，被称为“地狱昆虫”。

又有一位女子被绑架了，这一次是参议员的女儿。

克拉丽斯向博士求助，博士仍对她进行心理分析，克拉丽斯说出童年的最痛苦的回忆是父亲去世后的一段日子，她寄住在办牧场的姨母家里，可是两个月后就逃走了，但从此常常听到羔羊的惨叫……博士提示克拉丽斯，蛾的特征是变，由虫变成蛹，又由蛹变成蛾，“野牛”比尔也想变，由于童年时遭到过继母的虐待，比尔产生了种种变态心理，他去过变性手术中心，但是遭到了拒绝……他们的谈话被主治医生齐顿窃听去，他想抢头功，于是对汉尼拔进行严酷的审讯，然而一无所获。

克拉丽斯闻讯赶来，经过一番心理分析，汉尼拔了解了克拉丽斯为什么总会听到羔羊的惨叫，可正当博士要说出凶手的名字时，齐顿带卫兵赶来把克拉丽斯架走了。

不久。

博士利用齐顿丢下的圆珠笔做成钥匙打开了手镣，杀死了卫兵，逃之夭夭。

克拉丽斯一个人继续寻找线索，逐渐把对象锁定在一个叫詹米-冈的人身上，因为他曾在海关提过一箱来自苏里南的活毛毛虫，还去过变性中心。

克拉丽斯找到了“野牛”比尔的住处，她和凶手在阴森的地下室里发生了激烈较量。

《沉默的羔羊》一念成佛,一念成魔欲望被包裹在名为人的躯壳之中，经过命运的浸润、洗涤，最终破茧而出的，究竟会是什么？，奥斯卡获奖史上西部片《沉默的羔羊》，让我们看到社会中的独行者在蜕变、寻求解放的挣扎于为难。

当女主人公史达琳通过一层又一层的大门时，我们不难想象脑子里关押着怎样的恶魔——才需要重重枷锁去拷打。

配角奇顿医生口中诉说着诡异令人恐惧又好奇的言词，也不由让人想入非非，这些环境的渲染和次要人物的语言，都侧面刻画英雄形象了汉尼拔博士的形象——一个眼神冰冷、苍白病态、疯癫无状的变态杀人狂浮现在人们脑中，事情也仿佛像西方人预料的那样发展，的其他两个犯人正如人们设想中的杀人狂：他们精神错乱、姿态颓废，对女性恶意挑逗，但这正和博士形成了鲜明的对比。

牢房中的小孩子笑容和善，衣着整洁，头发梳理得一丝不苟，仿佛是一位温文尔雅的绅士，如果不是他身着囚服，被隔离在厚厚的开孔后面，谁又会认为他是一个不正常的可以人因呢？在与女士的谈话中，他彬彬有礼，展现出良好的教养；在对史达琳进行心理侧写时，他狂傲却又睿智，让人因对他的学识感到敬佩。

短短几分钟的片段就让我们对普林斯顿大学汉尼拔博士产生了浓厚的兴趣——是什么让锉口这位高收入高学历的知识分子变成了变态食人魔？答案在影片中并没有揭示，但在系列中前传《少年汉尼拔》有揭晓：二战时期，年少的汉尼拔本是世家小公子，12岁时父母被纳粹炸死，相依为命的妹妹也被饥饿的纳粹士兵分食，目睹这一切的他也患上了PTSD（创伤后应激障碍），变得沉默寡言，被叔父收养的他在叔父意外死亡后彻底陷入了疯狂之中，骇人听闻和杀戮唤醒了潜藏体内的恶魔。

汉尼拔是被脚部的，他的身上野兽存在着天使与恶魔，一方面他有人性中善的一面，他作为贵族的教养和知识的熏陶使其从不伤害对他彬彬有礼的人；深陷在看到深陷同母异父的史达琳时，他也帮助其改变，摆脱噩梦。

当另一方面他也有人性尚佩县的一面，童年的创伤使他残酷、冷静而且嗜血，对待阻碍自己的人看待毫不留情，优雅地啃食着敌人的痛苦和绝望。

最佳女主角（剧情类） 朱迪· 福斯特 最佳导演 (提名) 乔纳森· 戴米 最佳男主角（剧情类） (提名) 安东尼· 霍 普金斯 最佳编剧 (提名) Ted Tally Best Motion Picture - Drama (提名) 柏林国际电影节 1991 金熊奖 (提名) 乔纳森· 戴米 英国电影学院奖(BAFTA Film Award) 1992 最佳男主角 安东尼· 霍普金斯 最佳女主角 朱迪· 福斯特 最佳原创配乐 (提名) 霍华德· 肖 最佳音响 (提名) Skip Lievsay 最佳影片 (提名) Ronald M. Bozman 最佳影片 (提名) Edward Saxon 最佳改编剧本 (提名) Ted Tally
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又有一位女子被绑架，这一次的失踪者 是参议员的女儿。汉尼拜尔以转移到看得 见自然风景的监狱为条件向监狱医生提供 了线索，可是却受到了欺骗。愤怒的汉尼 拜尔设法获得了转移出监狱的机会，并逃 出了看守极其森严的铁笼。而此时，受到 汉尼拜尔指点的史黛丽也开始越来越接近 凶手。在一段惊心动魄的接触后，史黛丽 终于击毙了“野牛比尔”，救出了参议员 的女儿。
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经济丰收
影片《沉默的羔羊》影片上映后,在1991年连 续5周位居票房冠军 仅第一周的票房收入就高达1500万美元
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名誉丰收
在1992年第64届奥斯卡金像奖中，《沉默的 羔羊》一片共获得了五项大奖: 最佳影片奖 最佳男主角奖 (安东尼· 霍普金斯) 最佳女主角奖 (朱迪· 福特斯) 最佳导演奖 (乔纳森· 戴米) 最佳剧本改编奖
1.背景介绍 2.电影分析 3.人物分析 4、宗教象征 5、羔羊象征 6、心理分析 7、类型片：恐怖片
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真正的主角-汉尼拔
• • • • • • • • • • Hannibal Lecte: Why do you think he removes their skins, Agent Starling? 汉尼拔：你为什么认为他给他们剥了皮， 史达琳特工？ Hannibal Lecte: Enthrall me with your acumen. 汉尼拔：施展一下你聪慧的魅力。 Clarice Starling: It excites him. Most serial killers keep some sort of trophies from their victims. 克拉丽丝：这让他兴奋。大多连环杀手 都会保留一些来自于受害者的纪念品。 Hannibal Lecte: I didn't. 汉尼拔：我就没有。 Clarice Starling: No. No, you ate yours. 克拉丽丝：是的，你把那些都吃了。
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部被剥去了两块菱形的皮； 其二，死者喉咙里有个小 手指大的虫茧。据昆虫专 家分析，这是源于亚洲的 一种蛾，被称为“地狱昆
剧情介绍
• 又有一位女子被绑架了，这一次是 参议员的女儿。克拉丽丝向博士求 助，她给博士开出参议员承诺的如 果她女儿获救的话汉尼拔可以获得 的好处，克拉丽丝拿出自己的故事 和汉尼拔“交换信息”，她小时候 父亲因公殉职后她被送到远方亲戚 家，在那个农场度过一段时间，后 来因为某个原因逃跑了，博士提示 克拉丽丝，疑犯使用的是所谓
沉 默 的 羔 羊 【 犯 罪 心 理 学 】
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沉默的羔羊 - 1991年系列电影第一 部 《沉默的羔羊》是一部改编自托马 斯· 哈里斯同名小说的惊悚电影，由 乔纳森· 戴米执导，朱迪· 福斯特、 安东尼· 霍普金斯等人主演。 该片讲述了实习特工克拉丽斯为了 追寻杀博 士，汉尼拔给克拉丽斯提供了一些 线索，最终克拉丽斯找到了野牛比 尔，并将其击毙。 素材都来自于《FBI心理分析术： 我在FBI的20年》的作者，罗伯特 •K•雷斯勒的工作手记。

沉默的羔羊剧本《沉默的羔羊》剧本角色：克拉丽斯·斯塔林（Clarice Starling） - 年轻的FBI特工汉尼拔·莱克特（Hannibal Lecter）- 剧中的连环杀手杰克·克劳福德（Jack Crawford） - FBI特工，克拉丽斯的上司布弗洛（Buffalo Bill）- 化名为James Gumb，杰米虐待动物的恶魔其它配角：警察，恶棍，牢头等。

场景：美国弗吉尼亚州，FBI训练学院，监狱等。

第一幕场景：FBI特训学院的教室（克拉丽斯·斯塔林坐在教室里，翻阅着资料，注视着黑板。

）杰克·克劳福德：克拉丽斯，来我办公室一趟。

克拉丽斯：好的，杰克。

（克拉丽斯跟着克劳福德走进办公室。

）杰克·克劳福德：克拉丽斯，我有个任务想交给你。

有一个连环杀手肆虐于各地，他的作案手法非常残忍，我们已经逮捕了凶手的情报。

克拉丽斯：杀手叫什么名字？我能看他的档案吗？杰克·克劳福德：他叫汉尼拔·莱克特，之前他是一名精神病学家。

他的智商非常高，但是他相信吃人的理论。

我给你一堆档案资料，希望你能从中找到线索，帮助我们解决这个案子。

克拉丽斯：好的，我会努力的。

（克拉丽斯接过杰克递给她的档案，离开办公室。

）第二幕场景：犯人汉尼拔·莱克特的囚室（克拉丽斯走进了汉尼拔的囚室，防护人员在旁边观察。

）汉尼拔·莱克特：你好，克拉丽斯。

我等你很久了。

克拉丽斯：你好，汉尼拔。

你知道为什么我来见你吗？汉尼拔·莱克特：当然，你要我帮你寻找连环杀手的线索。

你急需进展。

克拉丽斯：是的，你能帮我吗？汉尼拔·莱克特：我可以帮助你，但是你必须对我坦诚相待。

告诉我你的过往。

克拉丽斯：我来自一个贫困家庭，被人养大。

我想成为FBI特工，我想帮助他人，挑战和超越自己。

（汉尼拔微笑了一下。

）汉尼拔·莱克特：你是个坚强的女孩，我能感受到你的意志力。

中英文《沉默的羔羊》电影经典台词Hannibal Lecter: You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well scrubbed, hustling rube with a little taste. Good nutrition has given you some length of bone, but you're not more than one generation from poor white trash, are you, Agent Starling? And that accent you've tried so desperately to shed? Pure West Virginia. What's your father, dear? Is he a coal miner? Does he stink of the lamb? You know how quickly the boys found you... all those tedious sticky fumblings in the back seats of cars... while you could only dream of getting out... getting anywhere... getting all the way to the FBI.汉尼拔：你知道我是怎么看你的？你拿着不错的包却穿着廉价的鞋，看上去像个乡巴佬。

一个整洁干净而强加进一点品味的乡巴佬。

良好的营养让你的骨骼生长，可你还是贫穷白人的后代，是吧，斯塔琳特工？你拼命想摆脱你的口音，纯正的西弗吉尼亚口音。

亲爱的，你的父亲是做什么的？他是矿工？他带着羔羊的臭味？你知道男孩们多快就找到了你……所有那些在汽车后座上令人乏味的笨手笨脚……你梦想逃离，去投奔联邦调查局。

《沉默的羔羊》SilenceOfTheLambs t h e s i l e n c e o f t h e l a m b sscreenplay byted tallybased on the novel bythomas harris2nd draftjuly 28, 1989notefor legal reasons, the names of threeof tom harris's characters have had tobe changed. it is my hope, and certainlytom's, that the original names can berestored in time for the making of thismovie.for the purposes of this draft, however,jack crawford has become 'ray campbell,'frederick chilton has become 'herbertprentiss,' and dr. hannibal lecter iscalled 'dr. gideon quinn.'fade in:int. grubby hotel corridor - day (dimly lit)a woman's face backs into shot, her head resting against grimywallpaper. she is tense, sweaty, wide-eyed with concentration.this is clarice starling - mid-20's, trim, very pretty. she wearskevlar body armor over a navy windbreaker, khaki pants. her thickhair is piled under a navy baseball cap. a revolver, clutched inher right hand, hovers by her ear. she raises a speedloader, inher left hand, locks it into her cylinder, twists and reloads.close ona guest room door, with a small, wired pack attached to its knob.suddenly, wish a sharp crack!, the knob explodes, and the doorbursts open.with clarice - moving shot -as she runs around a corner, through a cloud of smoke. sheshoulders aside the shattered door and rushes inside, gun atthe ready in both hands...cut to: int. hotel room - dayclarice's pov - moving - as she first sees, sitting on the edgeof a bed - a female hostage. black, late 20's, gagged, handsbehind her back. then, swivelling... she sees a startled male suspect - white, mid-20's - standing by a window with a riflein his hands. he is turning towards her...claricedrops into a combat crouch, gun extended, and shouts.claricefreeze! fbi!clarice's pov - slow motion -all natural sound suspended - as the suspect faces her witha strange, pleading expression. the rifle is rising in his hands,but oddly enough, it is held across his chest, not pointing. then another puzzling detail registers...the suspect's handsare taped to his gun, away from the trigger; he couldn't use it even if he tried. suddenly we hear a metallic click, which reg- isters with unnatural amplification, as -claricereacts, drops to the floor, rolling sideways, and -the 'hostage'pulls a revolver out from behind her back, still in slow motion, raising it in her untied hands. she fires repeatedly, flames leaping from the muzzle; the sound is an echoing roar in these close quarters, but -claricehas come up on one knee, beside an armchair, and is already firing back herself, two quick shots, which send -the 'hostage'pitching over the bed, backwards, to shudder and lie still in a haze of gunsmoke. clarice rushes to her, clamping one knee down on her gun hand, still keeping her covered in case of movement. hold for a few beats... then we hear the shrill blast of awhistle from somewhere, o.s., as normal action and sound are restored.brigham (o.s.)okay, people, good exercise...clarice relaxes, lowering her gun. the lights brighten.pulling back -we see that we're in some sort of auditorium, with the 'hotel room' and its 'corridor' built as a training set. john brigham walks onto this set, thumbing a stopwatch. mid-40's, ex-marine. his t-shirt's lettering says 'firearms instructor / fbi academy.'brigham (contd.)starling's reaction time was excellent.let's break. critique in five.a class of about forty young fbi trainees, of both sexes, be- gins to rise from their seats, mingling and chatting.claricenods amiably to the 'suspect', then gives her 'hostage' a hand up. it's ardelia mapp, her roommate. her broad, clever face breaks into a big smile, as they both remove ear plugs. clarice's voice has just a soft trace of southern accent.ardeliadamn, clarice, how'd you make me?clarice(indicating her gun)never cock. just squeeze.ardelia(grins)i love it when you talk dirty.as brigham joins them, clarice can't resist a star pupil's little smile of pride. he frowns good-naturedly.brighamwhat're you laughin' at, junior g-man?she got off four rounds to your two.he takes out a steel-coiled grip flexer, drops it onto her palm.brigham (contd.)one hundred reps, each hand, every day.now tidy up, the section chief wants tosee you.he nods a direction, then moves off. clarice, with her smile finally fading, looks out into the auditorium.special agent ray campbellsits on the top step of the aisle, looking down at her. he is 53, strongly built. he rises impassively, exits through the back door. he carries a think manila envelope under one arm.ardeliawho is helping clarice unbuckle her bullet-proof vest, follows her worried gaze.claricewhat'd i do?ardeliastay cool. just remember to callhim 'god.'cut to: ext. fbi academy grounds, quantico, virginia - daycampbell is watching a group of trainees on the firing range, as clarice joins him. he looks tired, haunted. between master and student, we sense a subtle, muted tug of sexuality.campbellstarling, clarice m., good morning.claricegood morning, mr. campbell.campbellyour instructors tell me you're doingwell. top quarter of the class.claricei hope so. they haven't posted anything.campbella job's come up and i thought about you.not really a job, more of - an interest-ing errand. walk me to my car, starling.they begin to cross the academy grounds. a group of trainees jogs by, in matching sweats, following a p.e. coach.campbell (contd.)we're trying to interview all of theserial killers now in custody, for apsychobehavioral profile. could be abig help in unsolved cases. most of themhave been happy to talk to us. they havea compulsion to boast, these people...do you spook easily, starling?claricenot yet.campbellyou see, the one we want most refusesto cooperate. i want you to go afterhim again today, in the asylum.claricewho's the subject?campbellthe psychiatrist - dr. gideon quinn.clarice stops walking, goes very still. a beat.claricethe cannibal...campbell doesn't respond, except to study her face.clarice (contd.)yes, well... okay, right. i'm glad forthe chance, sir, but - why me?campbellyou're qualified and available. and frankly,i can't spare a real agent right now.he walks on again, at a faster clip. she hurried to keep up.campbell (contd.)i don't expect him to talk to you, but ihave to be able to say we tried... quinnwas a brilliant psychiatrist, and heknows all the dodges.(hands her the manila envelope)dossier on him, copy of our question-naire, special id for you... if he won'ttalk, then i want straight reporting.how's he look, how's his cell look,what's he writing? the director himselfwill see your report, over your own signa-ture - if i decide it's good enough. iwant that by 0800 wednesday, and keep thisto yourself.they're reached his car. his driver stamps on a cigarette, climbs in behind the wheel. burroughs, his assistant, says something in- to a walkie-talkie, then opens the back door. but campbell pulls her aside, a hand on her shoulder. his intensity is scary.campbell (contd.)now. i want your full attention, starling.are you listening to me?clariceyes sir.campbellbe very careful with gideon quinn. dr.prentiss at the asylum will go over thephysical procedures used with him. do notdeviate from them, for any reason. youtell him nothing personal, starling. believeme, you don't want gideon quinn inside yourhead... just do your job, but never forgetwhat he is.clarice(a bit unnerved)and what is that, sir?prentiss (v.o.)oh, he's a monster. a pure psychopath...cut to: int. prentiss's office - baltimore state hospital for the criminally insane - dayclose on an i.d. card held in a male hand. clarice's photo, of- ficial-looking graphics. it calls her a 'federal investigator.'prentiss (contd., o.s.)it's so rare to capture one alive. froma research point of view, dr. quinn isour most prized asset...dr. herbert prentisslooks up from her card. a smarmy little peacock, behind a vast desk; he's conceived an instant, hopeless letch for clarice. he smiles, stroking her card with his beloved gold pen.prentiss (contd.)you know, we get a lot of detectives here,but i must say, i can't ever remember oneso attractive...new angle - reveals clarice -now wearing a more feminine skirt suit. hair neatly coiled, ele- gant shoulder bag, briefcase. he has rudely left her standing.prentiss (contd.)will you be in baltimore overnight...?because this can be quite a fun town,if you have the right guide.clarice tires, unsuccessfully, to hide her distaste for him.claricei'm sure it's a great town, dr. prentiss,but my instructions are to talk to quinnand report back this afternoon.prentiss(pause; sourly)i see.(beat)let's make this quick, then. i'm busy.cut to: int. asylum corridor - upper floor - dayclarice flinches as a heavy steel gate clangs shut behind her, the bolt shooting home. prentiss walks ahead of her.prentissquinn carved up nine people - that we'resure of - and cooked his favorite bits.we've tried to study him, of course - buthe's much too sophisticated for the stan-dard tests. and my, does he hate us! thinksi'm his nemesis... campbell's very clever,isn't he? using you.claricehow do you mean, dr. prentiss?prentissa pretty young woman, to turn him on? idon't believe quinn's ever seen a woman ineight years. and oh, are you ever his'taste' - so to speak.claricei graduated magna from uva, doctor.it's not a charm school.prentissgood. then you should be able to rememberthe rules.cut to: int. different corridor - lower floor - daya darker, even grimmer area. heavy grids over the lights. dis- tant slammings and faint, hoarse shouts. they walk briskly.prentissdo not reach through the bars, do nottouch the bars. you pass him nothing butsoft paper - no pens or pencils. nostaples or paperclips in his paper. usethe sliding food carrier, no exceptions.do not accept anything he attempts tohold out to you. do you understand me?claricei understand.prentissi'm going to show you why we insist onsuch precautions... on the afternoon ofjuly 8, 1981, he complained of chest painsand was taken to the dispensary. hismouthpiece and restraints were removedfor an ekg. when the nurse bent over him,he did this to her...he hands clarice a small, dog-eared photo. looking at it, sheis stopped in her tracks. this pleases prentiss.prentiss (contd.)the doctors managed to re-set her jaw,more or less, and save one of her eyes.his pulse never got over eighty-five,even when he ate her tongue.(pause; he smiles)i keep him in here.he turns, pushes a button. a steel door buzzes slowly open, and barney - a big, impassive orderly - awaits them in an anteroom. on its walls: restraints, mouthpieces, mace, tranquilizer guns.clarice(quickly blocking him)dr. prentiss - if quinn feels you're hisenemy - as you've said - them maybe i'llhave more luck by myself. what do you think?prentiss(annoyed)you might have suggested that in my office,and saved me the time.claricebut then i would've missed the pleasureof your company.she holds out the photo. a beat. he grabs it, jaw twitching.prentisswhen she's finished, bring her out.he turns on his heel, goes. barney smiles reassuringly.barneyhi, i'm barney. he told you, don'tget near the bars?clarice(shaking his hand)clarice starling. yes, he did.barneyokay. past the others, it's the lastcell. stay to the middle. i put out achair for you.sensing her tension, he indicates a nearby security monitor.barney (contd.)i'm watching. you'll do fine.clarice nods gratefully. she looks down the long corridor, takes a deep breath, walks into it. he watches her go.cut to: int. dr. quinn's corridor - daymoving shot - with clarice, as her footsteps echo. high to her right, surveillance cameras. on her left, cells. some are pad- ded, with narrow observation slits, others are normal, barred... shadowy occupants pacing, muttering... suddenly a dark figure in the next-to-last cell hurtles towards her, his face mashing grotesquely against his bars as he hisses.dark figurei c-can sssmell your cunt!clarice flinches momentarily, but then walks on.dr. quinn's cellis coming slowly into view... behind its barred front wall is a second barrier of stout nylon net... sparse, bolted-down furni-ture, many softcover books and papers. on the walls, extraordi- narily detailed, skillful drawings, mostly european cityscapes, in charcoal or crayon.claricestops, at a police distance from his bars, clears her throat.claricedr. quinn... my name is clarice starling.may i talk with you?dr. gideon quinnis lounging on his bunk, in white pajamas, reading an italian vogue. he turns, considers her... a face so long out of the sun, it seems almost leached - except for the glittering eyes, and the wet red mouth. he rises smoothly, crossing to stand be- fore her; the gracious host. his voice is cultured, soft.dr. quinngood morning.cutting between themas clarice comes a measured distance closer.claricedoctor, we have a hard problem in psych-ological profiling. i want to ask foryour help with a questionnaire.dr. quinn'we' being the behavioral science unit,at quantico. you're one of ray campbell's,i expect.claricei am, yes.dr. quinnmay i see your credentials?clarice is surprised, but fishes her id card from her bag, holds it up for his inspection. he smiles, soothingly.dr. quinn (contd.)closer, please... clo-ser...she complies each time, trying to hide her fear. dr. quinn's nostrils lift, as he gently, like an animal, tests the air.then he smiles, glancing at her card.dr. quinn (contd.)that expires in one week. you're notreal fbi, are you?claricei'm - still in training at the academy.dr. quinnray campbell sent a trainee to me?claricewe're talking about psychology, doctor,not the bureau. can you decide for your-self whether or not i'm qualified?dr. quinnmmmmm... that's rather slippery of you,officer starling. sit. please.she sits in the folding metal desk-chair. he waits politelytill she's settled, then sits down himself, faces her happily.dr. quinn (contd.)now then. what did miggs say to you?(she is puzzled)'multiple miggs,' in the next cell. hehissed at you. what did he say?claricehe said - 'i can smell your cunt.'dr. quinni see. i myself cannot. you use evyan skincream, and sometimes you wear l'air dutemps, but not today. you brought yourbest bag, though, didn't you?clarice(beat)yes.dr. quinnit's much better than your shoes.claricemaybe they'll catch up.dr. quinni have no doubt of it.clarice(shifting uncomfortably)did you do those drawings, doctor?dr. quinnyes. that's the duomo, seen from thebelvedere. do you know florence?clariceall that detail, just from memory...?dr. quinnmemory, officer starling, is what i haveinstead of view.a pause, then clarice takes the questionnaire from her case.claricedr. quinn, if you'd please consider -no, no, no. you were doing fine, you'd been courteous and receptive to courtesy, you'd established trust with the embar- rassing truth about miggs, and now this ham-handed segue into your questionnaire. it won't do. it's stupid and boring.claricei'm only asking you to look at this, doctor. either you will or you won't.dr. quinnray campbell must be very busy indeed if he's recruiting help from the student body. busy hunting that new one, buffalo bill... such a naughty boy! did campbell send you to ask for my advice on him?clariceno, i came because we need -dr. quinnhow many women has he used, our bill?claricefive... so far.dr. quinnall flayed...?claricepartially, yes. but doctor, that's anactive case, i'm not involved. if youcould -dr. quinndo you know why he's called buffalo bill? tell me. the newspapers won't say.claricei'll tell you if you'll look at this form.(he considers, then nods)it started as a bad joke in kansas city homicide. they said... this one likes toskin his humps.dr. quinnwitless and misleading. why do youthink he takes their skins, officer starling? thrill me with your wisdom.clariceit excites him. most serial killerskeep some sort of - trophies.i didn't.clariceno. you ate yours.a tense beat, then a smile from him, at this small boldness.dr. quinnsend that through.she rolls him the questionnaire, in his sliding food tray. he rises, glances at it, turning a page or two disdainfully.dr. quinn (contd.)oh, officer starling... do you think youcan dissect me with this blunt little tool?clariceno. i only hoped that your knowledge - suddenly he whips the tray back at her, with a metallic clang that makes her start. his voice remains a pleasant purr.dr. quinn (contd.)you're sooo ambitious, aren't you...?you know what you look like to me, withyour good bag and your cheap shoes? youlook like a rube. a well-scrubbed, hust-ling rube with a little taste... goodnutrition has given you some length ofbone, but you're not more than one gen-eration from poor white trash, are you -officer starling...? that accent you'retrying so desperately to shed - purewest virginia. what was your father, dear?was he a coal miner? did he stink ofthe lamp...? and oh, how quickly the boysfound you! all those tedious, stickyfumblings, in the back seats of cars,while you could only dream of getting out.getting anywhere - yes? getting all theway - to the f...b...i.his every word has struck her like a tiny, precise dart. but she squares her jaw and won't give ground.clariceyou see a lot, dr. quinn. but are youstrong enough to point that high-poweredperception at yourself? how about it...?look at yourself and write down the truth.(she slams the tray back at him)or maybe you're afraid to.you're a tough one, aren't you?claricereasonably so. yes.dr. quinnand you'd hate to think you were common.my, wouldn't that sting! well you're farfrom common, officer starling. all youhave is the fear of it.(beat)now please excuse me. good day.clariceand the questionnaire...?dr. quinna census taker once tried to test me. iate his liver with some fava beans anda nice chianti... fly back to school,little starling.he steps backwards, then returns to his cot, becoming as still and remote as a statue. frustrated, clarice hesitates, then finally shoulders her bag and goes, leaving the questionnaire in his tray. but after just a few steps, as she passes -migg's cell -she sees that creature at his bars again, hissing at her.miggsi b-bit my wrist so i c-can diiiieeee!s-ee how it bleeeeeeeeds?the dark figure suddenly flings his palm towards her, and - clariceis spattered on the face and neck - not with blood, but with pale droplets of semen. she gives a little cry, touching her fingers to the wetness. stunned, near tears, she forces her- self to straighten up and walk on, fumbling for a tissue. from behind her, dr. quinn calls out, very agitated.dr. quinn (o.s.)officer starling... officer starling!clarice slows, stops. she shudders, but makes the very diffi- cult choice to turn, walk back, stand again in front of -dr. quinn -who's shivering with rage. for an instant his face opens, and we catch a glimpse into hell itself. then he's composed again.dr. quinni would not have had that happen to you.discourtesy is - unspeakably ugly to me.then please - do this test for me.dr. quinnno. but i will make you happy... i'llgive you a chance for what you lovemost, clarice starling.claricewhat's that, dr. quinn?dr. quinnadvancement, of course.(beat)go to split city. see miss mofet, anold patient of mine. m-o-f-e-t...now go. go.(a smile)i don't think miggs could manage againso soon, even if he is crazy - do you?cut to: ext. the hospital - parking lot - daythe grim gothic pile of the asylum looms overhead as clarice rushes out the front doors. she is badly shaken, almost stumb- ling, as she rubs at her face. she looks around for, and fi-nally, with some relief, spots -her caran old pinto, parked nearby. this image begins to blur...close onher face, fighting tears, as the camera begins to whirl around her, almost dizzily. she is seeing, in her mind's eye -in flashbacka screen door banging open, on a wooden porch, and a 10-year old girl - the young clarice - rushing outside, down thefront steps, and running joyfully across her front yard to - moving angle - the girl's pov -a car - late 60's vintage - parked in the dirt road. a man, clarice's father, is just climbing out. he's tall, handsome,and has a marshal's badge pinned on his dark suit. he grins, seeing her, and spreads his arms wide asthe young claricerushes into them, and he sweeps her up in a hug, spinningher around, the camera spinning with them, and capturingboth their laughing faces, before we abruptly return to -the adult claricealone in the parking lot, sagging against her car. her faceis buried in her arms, she shoulders shaking. sound upcut -a steady, rapid series of gunshots, as wecut to: int. fbi academy firing range - dayclarice, in a combat stance, and wearing a sound-muffling headset, is squeezing off round after round ata moving target -the sillouette of a man, approaching along a track. her shots, tightly grouped, are all finding the center chest. the target stops, quite close to her, still swaying.claricestares at it, deftly working her speedloader. then she putsa final, emphatic shot right throughthe figure's foreheadcut to: int. fbi academy library - nightclose on a microfilm monitor - a grainy newsphoto of dr. quinn, scrawling past, with an accompanying story ('new horrors in cannibal trial'), dated 1980.clariceis punching keys on the terminal. other trainees study at nearby tables. she pauses, jotting a note on her pad, asardelia comes by, carrying an armful of books.ardeliaphone call, clarice. it's god.claricethanks, ardelia.moving angleas clarice rises, grabbing her notebook, and follows ardelia past high metal bookstacks.ardeliayou missed fourth amendment law.unlawful seizure, real juicy stuff.where were you all afternoon?claricepleading with a crazy man, with comeall over my face.ardelia stares at her, figures it's a put-on, laughs.ardeliadamn. wish i had time for a social life.clarice grins, as ardelia indicates a phone receiver restingon the check-out desk, then moves on. clarice picks it up.clarice(on phone)mr. campbell?cut to: int. campbell's house - study - nightcampbell, in a cardigan, sits in a wing chair in the book-lined study of his suburban home. he turns the pages ofclarice's memo as they talk. his tone is sharp.campbelli've read your interim memo on quinn.you sure you've left nothing out?intercutting -starlingit's all there, sir, practicallyverbatim.campbellevery word, starling? every gesture?starling(a bit heatedly)right down to the kleenex i used.(he is silent)sir, why? is something wrong?campbellhe mentioned a name, at the very end.'mofet...' any followup on her?starlingi spent all evening on the mainframe.quinn altered or destroyed most of hispatient histories, prior to capture. norecord of anyone named mofet. but 'splitcity' sounded like it might have havesomething to do with divorce. i trackedit down in the library's catalogue ofnational yellow pages.(glancing at her notes)it's a mini-storage facility outsidebaltimore, where quinn had his practice.she pauses, expecting some soft of approval for her cleverness.campbellwell? why aren't you there right now?starlingsir, that's a field job. it's outsidethe scope of my assignment. and i'vegot a test tomorrow on -campbelldo you recall my instructions to you,starling? what were they?starlingto complete and file my report by 0800wednesday. but sir -campbellthen do that, starling. do just exactlythat.starlingsir, what is it? there's something you'renot telling me.campbell(beat)miggs has been murdered.starling(startled, upset)murdered...? how?campbellthe orderly heard quinn whispering tohim, all afternoon, and miggs crying.they found him at bed check. he'dswallowed his own tongue... prentissis scared stiff the family will filea civil rights lawsuit, and he's try-ing to blame it on you. i told thelittle prick your conduct was flawless.(beat)starling...?starlingi'm here, sir, i just - i don't knowhow to feel about it.campbellyou don't have to feel any way aboutit. quinn did it to amuse himself.why not, what can they do? take awayhis books for awhile, and no jello...(a bit softer)i know it got ugly today. but this isyour report, starling - take it as faras you can. on your own time, outsideof class. now carry on.angle on clarice -as we hear the loud click of campbell hanging up. she stares at her receiver, stung by his abruptness.claricewell god damn it! you old creep. creeposon of a bitch. let miggs squirt youand see how you like it.she slams her receiver into its cradle.angle on campbell -as he flips aside her memo, then rises, wearily. he leaves his study, flicking off the lamp, and pads away in his slippers.cut to: int. campbell's bedroom - nighta private nurse, in white, stands marking a clipboard chart, as campbell enters his tidy bedroom.campbelli'll take over, patricia. you getsome rest.the nurse nods, hands him the chart, and goes. he glances atit, then sets it aside. he crosses to -bella campbell -who lies in an elevated hospital bed. nearby are an oxygentank and mask, floral arrangements. her breathing is shallow,very labored. campbell looks down at his comatose wife for along moment, tenderly brushes a strand of her hair back into place, then bends over to kiss her forehead. sound upcut -thunder and rain...dissolve to: ext. 'split city mini-storage' - dusk (raining)an orange neon sign, streaked with rain, identifies out loca- tion. it looms over a hurricane fence, topped with barbed wire. inside, row on row of garage-sized, cinderblock sheds.mr. yow (v.o.)unit 31 was leased for ten years. pre-paid in full... the contract is in thename of 'miss hester mofet.'cut to: ext. storage unit number 31 - duskclarice, kneeling before a closed, roll-up metal door, takes aflash photo of its sealed padlock. everett yow, a fat, 60ish chinaman, holds an umbrella over them both. he looks unhappy.clariceso no one's been in here since - 1980?she opens the padlock, using a fat ring of tagged keys, thensets aside both keys and lock.mr. yownot to my knowledge. privacy is a greatconcern to my customers. but, if you saythis is an fbi matter...。