Thomas Harris - The Silence of the Lambs

He opened his studio door to brilliant light-- floodlights and incandescent tubes, color-corrected to daylight, were fastened to ceiling beams. Mannequins posed on a raised floor of pickled oak. All were partly clad, some in leather and some in muslin patterns for leather garments. Eight mannequins were doubled in the two mirrored walls-- good plate mirror too, not tiles. A makeup table held cosmetics, several wig forms, and wigs. This was the brightest of studios, all white and blond oak.

The mannequins wore commercial work in progress, dramatic Armani knockoffs mostly, in fine black cabretta leather, all roll-pleats and pointed shoulders and breastplates.

The third wall was taken up by a large worktable, two commercial sewing machines, two dressmaker's forms, and a tailor's form cast from the very torso of Jame Gumb.

Against the fourth wall, dominating this bright room, was a great black armoire in Chinese lacquer that rose almost to the eight-foot ceiling. It was old and the designs on it had faded; a few gold scales remained where a dragon was, his white eye still clear and staring, and here was the red tongue of another dragon whose body has faded away. The lacquer beneath them remained intact, though it was crackled.

The armoire, immense and deep, had nothing to do with commercial work. It contained on forms and hangers the Special Things, and its doors were closed.

The little dog lapped from her water bowl in the corner and lay down between the feet of a mannequin, her eyes on Mr. Gumb.

He had been working on a leather jacket. He needed to finish it-- he'd meant to get everything out of the way, but he was in a creative fever now and his own muslin fitting garment didn't satisfy him yet.

Mr. Gumb had progressed in tailoring far beyond what the California Department of Corrections had taught him in his youth, but this was a true challenge. Even working delicate cabretta leather does not prepare you for really fine work.

Here he had two muslin fitting garments, like white waistcoats, one his exact size and one he had made from measurements he took while Catherine Baker Martin was still unconscious. When he put the smaller one on his tailor's form, the problems were apparent. She was a big girl, and wonderfully proportioned, but she wasn't as big as Mr. Gumb, and not nearly so broad across the back.

His ideal was a seamless garment. This was not possible. He was determined, though, that the bodice front be absolutely seamless and without blemish. This meant all figure corrections had to be made on the back. Very difficult. He'd already discarded one fitting muslin and started over. With judicious stretching, he could get by with two underarm darts-- not French darts, but vertical inset darts, apexes down. Two waist darts also in the back, just inside his kidneys. He was used to working with only a tiny seam allowance.

His considerations went beyond the visual aspects to the tactile; it was not inconceivable that an attractive person might be hugged.

Mr. Gumb sprinkled talc lightly on his hands and embraced the tailor's form of his body in a natural, comfortable hug.

"Give me a kiss," he said playfully to the empty air where the head should be. "Not you , silly," he told the little dog, when she raised her ears.

Gumb caressed the back of the form at the natural reach of his arms. Then he walked behind it to consider the powder marks. Nobody wanted to feel a seam. In an embrace, though, the hands lap over the center of the back. Also, he reasoned, we are accustomed to the centerline of a spine. It is not as jarring as an asymmetry in our bodies. Shoulder seams were definitely out, then. A center dart at the top was the answer, apex a little above the center of the shoulder blades. He could use the same seam to anchor the stout yoke built into the lining to provide support. Lycra panels beneath plackets on both sides-- he must remember to get the Lycra-- and a Velcro closure beneath the placket on the right. He thought about those marvelous Charles James gowns where the seams were staggered to lie perfectly flat.

The dart in back would be covered by his hair, or rather the hair he would have soon.

Mr. Gumb slipped the muslin off the dressmaker's form and started to work.

The sewing machine was old and finely made, an ornate foot-treadle machine that had been converted to electricity perhaps forty years ago. On the arm of the machine was painted in gold-leaf scroll "I Never Tire, I Serve." The foot treadle remained operative, and Gumb started the machine with it for each series of stitches. For fine stitching, he preferred to work barefoot, rocking the treadle delicately with his meaty foot, gripping the front edge of it with his painted toes to prevent overruns. For a while there were only the sounds of the machine, and the little dog snoring, and the hiss of the steam pipes in the warm basement.

When he had finished inserting the darts in the muslin pattern garment, he tried it on in front of the mirrors. The little dog watched from the corner, her head cocked.

He needed to ease it a little under the arm holes. There were a few remaining problems with facings and interfacings. Otherwise it was so nice. It was supple, pliant, bouncy. He could see himself just running up the ladder of a water slide as fast as you please.

Mr. Gumb played with the lights and his wigs for some dramatic effects, and he tried a wonderful choker necklace of shells over the collar line. It would be stunning when he wore a décolleté gown or hostess pajamas over his new thorax.

It was so tempting to just go on with it now, to really get busy, but his eyes were tired. He wanted his hands to be absolutely steady, too, and he just wasn't up for the noise. Patiently he picked out the stitches and laid out the pieces. A perfect pattern to cut by.

"Tomorrow, Precious," he told the little dog as he set the beef brains out to thaw. "We'll do it first thing tomooooooorooow. Mommy's gonna be so beautiful ! "

Starling slept hard for five hours and woke in the pit of the night, driven awake by fear of the dream. She bit the corner of the sheet and pressed her palms over her ears, waiting to find out if she was truly awake and away from it. Silence and no lambs screaming. When she knew she was awake her heart slowed, but her feet would not stay still beneath the covers. In a moment her mind would race, she knew it.

It was a relief when a flush of hot anger rather than fear shot through her.

"Nuts," she said, and put a foot out in the air.

In all the long day, when she had been disrupted by Chilton, insulted by Senator Martin, abandoned and rebuked by Krendler, taunted by Dr. Lecter and sickened by his bloody escape, and put off the job by Jack Crawford, there was one thing that stung the worst: being called a thief.

Senator Martin was a mother under extreme duress, and she was sick of policemen pawing her daughter's things. She hadn't meant it.

Still, the accusation stuck in Starling like a hot needle.

As a small child, Starling had been taught that thieving is the cheapest, most despicable act short of rape and murder for money. Some kinds of manslaughter were preferable to theft.

As a child in institutions where there were few prizes and many hungers, she had learned to hate a thief.

Lying in the dark, she faced another reason Senator Martin's implication bothered her so.

Starling knew what the malicious Dr. Lecter would say, and it was true: she was afraid there was something tacky that Senator Martin saw in her, something cheap, something thieflike that Senator Martin reacted to. That Vanderbilt bitch.

Dr. Lecter would relish pointing out that class resentment, the buried anger that comes with mother's milk, was a factor too. Starling gave away nothing to any Martin in education, intelligence, drive, and certainly physical appearance, but still it was there and she knew it.