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  • 1. Episode 101: “Aperitif”Written byBryan FullerDirected byDavid SladeBased on the CharactersCreated byThomas HarrisPROPERTY OF:GAUMONT INTERNATIONAL TELEVISION LLC©2012 CHISWICK PRODUCTIONS, LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BEPERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THEPRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. 
  • 2. Photo by Robert Trachtenberg
  • 3. Will Graham sits serenely amongst the carnage on a yogamat. A POLICE OFFICER and SUITED DETECTIVE herd theCrime-Scene Photographer and the remaining team ofCoroners out the door.Will Graham takes a breath, exhales, then closes hiseyes.A PENDULUMIt swings in the darkness of Will Graham’s mind, keepingrhythm with his heart beat. FWUM. FWUM. FWUM.ON WILL GRAHAMHis eyes are closed. The PENDULUM is now outside hishead. It swings behind Will, wiping away in its wakethe gush of arterial spray from the wall. FWUM. ThePENDULUM swings on the other side of the window, wipingaway the OFFICERS and POLICE CARS in front of the house.FWUM. The PENDULUM swings across the stained carpetlifting the blood. FWUM. The PENDULUM swings acrossthe blood spattered SECURITY KEY PAD and the rust-colored dried drops vanish. FWUM.(NOTE: The PENDULUM is a stylistic device, our REVERSEMETRONOME rewinding Will to a TIME BEFORE THE MURDERS.)The crime scene has now been decriminalized in Will’smind.Will Graham opens his eyes and stands, turns and walksBACKWARDS toward the front door (which shows signs of aviolent forced entry), opening it behind him, back-stepping outside before closing it again. CAMERAREVEALS THE DOOR IS NOW PRISTINE, PRE-FORCED ENTRY.EXT. HOME - NIGHT - CONTINUOUS - WILL’S P.O.V.Will walks backward out the front door, across the lawn,over the sidewalk. He is alone in the neighborhood inhis P.O.V.TEASERCLOSE ON - WILL GRAHAMA handsome, haunted man with a naive focus. REFLECTIVELIGHT flashes across his face, lighting up his eyes. AllSOUND IS DULLED as if his ears were blocked, the AMBIENTNOISE of Will’s circulatory system provides an organic hum.He stares into middle-distance as CAMERA PULLS BACK TOREVEAL we are --INT. HOME - LIVING ROOM - NIGHTArterial spray splashes a wall near a blood-soaked carpet.Through the windows we see DOZENS OF OFFICERS and as manyPOLICE CARS. A CRIME-SCENE PHOTOGRAPHER takes pictures. Ateam of CORONERS remove TWO BODIES -- THERESA and THOMASMARLOW, both 30s/40s. A tableau of horrible violence.1 2
  • 4. MARLOW HOUSE2POLICEPOLICEAMBULENCEPOLICEWILLGRAHAMWILLGRAHAM2WILLGRAHAMWILLGRAHAMPOLICEPOLICEAMBULENCEPOLICEWILL GRAHAMPOLICEPOLICEAMBULENCEPOLICEWILLGRAHAMWILLGRAHAMPOP WIDE - OMNISCIENT P.O.V.The Police Officers, Detectives,Coroners and Crime-SceneSpecialists all part or standby, averting their eyes as theyintentionally avoid looking atWill Graham backwards walkingthrough them toward the shadowyyard across the street.A Police Officer breaks protocoland sneaks a peek at Will. ASUPERIOR OFFICER snaps andpoints at the Officer, whoquickly fixes his gaze on theground in front of his feet.ON WILL - WILL’S P.O.V.The street is empty. ThePENDULUM STOPS SWINGING,snapping into place as Willsnaps into focus. He watchesthe quiet house (he just back-walked out of) from across thestreet. Through the partiallycurtained windows, he can seethe silhouettes of (stillliving) Theresa and ThomasMarlow.Will watches them for a longmoment, taking in theirdomesticity, then walks withpurpose for the front door.3 4Illustration by David Slade
  • 5. OVERHEAD SHOT - OMNISCIENT P.O.V.The crowd of Officers, Detectives, Coroners andSpecialists parts to allow Will Graham a direct path.ON WILL - WILL’S P.O.V.He marches to the front door and VIOLENTLY KICKS IT IN.The HOME SECURITY ALARM BLARES. Thomas Marlow rushesdown the stairs, two steps at a time, moving tointercept Will.Will raises a TOWEL-WRAPPED ARM. Thomas realizes toolate that it’s concealing a GUN. Will SHOOTS HIM TWICETHROUGH THE NECK. The FIRED SHOTS, ENTRY WOUNDS, EXITWOUNDS, and PLUMES OF TERRYCLOTH DEBRIS are all QUICKCUT SLOW MOTION.WILL GRAHAMI shoot Mr. Marlow twice,severing jugulars and cartoidswith near surgical precision.He will die watching me takewhat is his away from him.This is my design.Theresa Marlow is frantically pushing the panic codeinto the HOME SECURITY KEY PAD when Will SHOOTS HERexpertly THROUGH THE THROAT, missing her jugular,BREAKING HER NECK and peppering the KEY PAD with blood.She drops to the floor.WILL GRAHAM (CONT’D)I shoot Mrs. Marlow expertlythrough the neck. This is nota fatal wound. The bulletmisses every artery. She isparalyzed before it leaves herbody. Which doesn’t mean shecan’t feel pain. It just meansshe can’t do anything about it.This is my design.5 6
  • 6. Will finishes punching in “OFF” on the ALARM CODE andthe BLARING HOME SECURITY ALARM is mercifully silenced.The PHONE IMMEDIATELY RINGS. Will picks it up.VOICE ON TELEPHONEThis is DDX Security. Who amI speaking with?Will hangs up the phone, breaking character as he asks:WILL GRAHAMI need the Incident Report fromthe Home Security company.CAMERA REVEALS Will is now holding the Incident Report.WILL GRAHAM (CONT’D)" (perusing the report)This was recorded as a falsealarm. There was a false alarmlast week. " "" (then)He tapped their phone.SMASH CUT TO:EXT. HOUSE - TELEPHONE POLE - NIGHT - OMNISCIENT P.O.V.A PHONE COMPANY REPAIRMAN has climbed to the top of thetelephone pole and is examining an open CUSTOMER SERVICEBOX.PHONE COMPANY REPAIRMANYup.SMASH BACK TO:INT. HOME - LIVING ROOM - NIGHT - WILL’S P.O.V.As before, Will holds the land line in one hand and hisown smart phone in the other.VOICE ON TELEPHONEThis is DDT Security. Who amI speaking with?Will holds his SMART PHONE to the phone receiver as hewatches Theresa Marlow bleed to death, paralyzed by theshot through her neck, unable to say a word. He pressesa button:SMART PHONE THERESATheresa Marlow.VOICE ON TELEPHONECan you please confirm yourpassword for security purposes.SMART PHONE THERESA" (another button)Tea kettle.VOICE ON TELEPHONEThank you, Mrs. Marlow. Wedetected a front door alarm.SMART PHONE THERESA"(another button)Yes, that was me. That was myfault. Sorry about that.VOICE ON TELEPHONEIs there anyone in the housewith you at this time, Mrs.Marlow?SMART PHONE THERESA" (another button)I’m just here with my husband.It’s all good. We’re good.7 8
  • 7. VOICE ON TELEPHONEDo you require any furtherassistance at this time?SMART PHONE THERESA" (another button)No. Thank you so much forcalling. Sorry about the falsealarm.Will hangs up and looks sympathetically at TheresaMarlow.WILL GRAHAMAnd this is where it gets trulyhorrifying for Mrs. Marlow.INT. F.B.I. ACADEMY - LECTURE HALL - DAYWill Graham lectures a CLASSROOM OF F.B.I. TRAINEES. ACHRYON tells us we are --are --F.B.I. ACADEMY, QUANTICO, VIRGINIAWILL GRAHAMEveryone has thought aboutkilling someone one way oranother. Be it your own handsor the hand of God. Now thinkabout killing Mrs. Marlow.A SERIES OF MARLOWE HOME CRIME SCENE PICTURES areprojected on the screen behind Will.WILL’S P.O.V. - THE TRAINEESHe surveys the lecture hall for social appearances. TheTrainees’ eyes are always OUT OF FRAME, at most weglimpse brows, lids, the occasional lash -- but nevereye contact.9 10Photo by David Slade
  • 8. WILL GRAHAM (CONT’D)Why did she deserve this? Tellme your design. Tell me whoyou are.INT. F.B.I. ACADEMY - HALLWAY - ON JACK CRAWFORD’S BACKHe walks down the corridor toward Will Graham’s lecturehall.INT. F.B.I. ACADEMY - LECTURE HALL - DAYJACK CRAWFORD (weathered, austere, strongly built late40s) ENTERS as the TRAINEES file out of the classroom.There are scattered SMITTEN GLANCES tossed Will Graham’sdirection, who is naturally oblivious because he isactively avoiding eye-contact with everyone, even as hewarns his exiting students:WILL GRAHAMThe sad, dull truth of thesecrimes is they can usually bereduced to a male penetrativecontrol issue. I am expecting ahigher level of scrutiny.The last of the TRAINEES EXITS and Will notices he’salone in his lecture hall with the weathered, austereman.JACK CRAWFORDMr. Graham.Will quickly puts on a pair of glasses as Jackapproaches.INCLUDE: WILL’S P.O.V. - JACK CRAWFORDThe TOP RIM OF WILL’S GLASSES are strategicallypositioned to BLOCK JACK’S EYES and prevent direct eye-contact.JACK CRAWFORD (CONT’D)I’m Special Agent Jack Crawford.I lead the Behavioral ScienceUnit.WILL GRAHAMWe’ve met.Jack knows full well they’ve met but didn’t intend tobroach.JACK CRAWFORDYes, we had a disagreement aboutthe museum when we opened it.1211
  • 9. WILL GRAHAMI disagreed with what you named it.JACK CRAWFORDThe Evil Minds Research Museum?WILL GRAHAMIt’s a little hammy, Jack.Jack likes Will’s directness and returns the favor:JACK CRAWFORDYou’ve hitched your horse to ateaching post. I understand it’snot easy for you to be sociable.WILL GRAHAMI’m just talking at them. I’mnot listening to them. It’s notsocial.Jack gently pushes Will’s glasses up the bridge of hisnose so he’s forced to make fleeting eye contact.JACK CRAWFORDWhere do you fall on thespectrum?Will picks up the rhythm and syntax of Jack’s voice:WILL GRAHAMMy horse is hitched to a postcloser to Aspergers andAutistics than narcissists andsociopaths.JACK CRAWFORDBut you can empathize withnarcissists and sociopaths.WILL GRAHAMI can empathize with anybody.Less to do with personalitydisorders than an activeimagination.Jack smiles at that, leans in, then:JACK CRAWFORDCan I borrow yourimagination?EXT. F.B.I. ACADEMY GROUNDS - QUANTICO, VIRGINIA - DAYCAMERA FOLLOWS Jack Crawford leading Will Graham acrossa field of TRAINEES on a FIRING RANGE as another GROUPOF TRAINEES in matching sweats jogs by.JACK CRAWFORDEight girls from eightdifferent Minnesotacampuses abducted in thelast eight months.Photo by David Slade13 14
  • 10. Photo by David Slade
  • 11. WILL GRAHAMI thought there were seven.JACK CRAWFORDThere were.WILL GRAHAMWhen did you tag the eighth?JACK CRAWFORDAbout three minutes before Iwalked into your lecture hall.WILL GRAHAMYou’re calling them “abductions”because you have no bodies?JACK CRAWFORDWe have nothing. No bodies.No parts of bodies. Nothingthat comes out of a body. Wehave lonely swabs in usedevidence kits.WILL GRAHAMThen those girls weren’t takenfrom where you think they weretaken.JACK CRAWFORDWhere were they taken from?WILL GRAHAMI don’t know. Someplace else.17 18
  • 12. A MAP OF MINNESOTASEVEN BLUE SQUARES dot the map corresponding with SEVENGRADUATION or CASUAL PICTURES of the SEVEN MISSINGGIRLS.JACK CRAWFORD’S VOICEAll abducted on a Friday sothey’re not reported missinguntil Monday. However he’scovering his, tracks he needsthe weekend to do it.CAMERA PULLS BACK TO REVEAL we are --INT. F.B.I. ACADEMY - JACK CRAWFORD’S OFFICE - DAY19 20
  • 13. Jack TACKS an EIGHTH BLUE SQUARE to the map and hands aSENIOR PROM PORTRAIT of Elise Nichols to Will.WILL GRAHAMNumber eight?JACK CRAWFORDElise Nichols. St. Cloud Stateon the Mississippi. DisappearedFriday. Supposed to house sitfor her parents over theweekend. Feed their cat. Nevermade it home.WILL GRAHAMOne through seven are dead,don’t you think? He’s notkeeping them around. Gothimself a new one.JACK CRAWFORD" (agreeing)We’re focusing on Elise Nichols.Will takes in the smiling hopeful faces next to BLUESQUARES.WILL GRAHAMThey all look like Mall ofAmerica. That’s a lot of wind-chaffed skin.JACK CRAWFORDSame hair color. Same eyecolor. Roughly same age,height, weight. What is itabout all these girls?WILL GRAHAMIt’s not about all of thesegirls. It’s about one of them.He pins Elise Nichols’ photo next to the EIGHTH BLUESQUARE.WILL GRAHAM (CONT’D)He’s like Willy Wonka. Everygirl he takes is a candy bar.Hidden amongst all those candybars is the one, true intendedvictim, which if we followthrough on the metaphor, wouldbe your Golden Ticket.JACK CRAWFORDWarming up for his GoldenTicket or reliving whatever hedid to her.WILL GRAHAMGolden Ticket wouldn’t be thefirst taken and she wouldn’tbe the last. He would hidehow special she is. I mean, Iwould. Wouldn’t you?JACK CRAWFORDI’d like you to get closer tothis.WILL GRAHAMYou have Heimlich at Harvardand Bloom at Georgetown.They do the same thing I do.JACK CRAWFORDThat’s not really true, is it?You have a specific way ofthinking.WILL GRAHAMHas there been a lot ofdiscussion about the specificway I think?21 22
  • 14. JACK CRAWFORDYou make jumps you don’texplain.WILL GRAHAMThe evidence explains.JACK CRAWFORDThen help me find someevidence.Will studies the beautiful milquetoast faces on the map.WILL GRAHAMThat may require me to besociable.EXT. NICHOLS’ HOME - NIGHTEstablishing. A CHYRON tells us we are --DULUTH, MINNESOTAINT. NICHOLS’ HOME - LIVING ROOM - NIGHTElise’s PARENTS. They are sick with worry. Mr. Nicholsis rationalizing while Mrs. Nichols seems almostresigned.MR. NICHOLSShe could have gone off byherself. She was a veryinterior young woman. Shedidn’t like living in a dorm. Icould see how the pressure ofschool might have gotten to her.She likes trains. Maybe shejust got on a train and...Will Graham and Jack Crawford sit opposite Mr. and Mrs.Nichols as he trails off. Hard to convince evenhimself. Will continues to avoid eye contact with theNichols.MRS. NICHOLSShe looks like the othergirls.JACK CRAWFORDShe fits the profile.MR. NICHOLSCould Elise still be alive?JACK CRAWFORDWe simply have no way ofknowing.A previously silent Will Graham offers an odd question:WILL GRAHAMHow’s the cat?MRS. NICHOLSWhat?WILL GRAHAMHow’s your cat? Elise wassupposed to feed it. Was thecat weird when you came home?It didn’t eat all weekend.Must have been hungry.The Nichols are initially unsure how to respond, then:MR. NICHOLSI didn’t notice.WILL GRAHAMHe took her from here.(off Jack’s look)She got on a train. She camehome. She fed the cat. Andhe took her.Jack doesn’t hesitate to pull out his phone and dial.2423
  • 15. JACK CRAWFORD" (to phone)The Nichols house is a crimescene. I need ERT immediately.Zeller, Katz, Jimmy Price, aphotographer.The Nichols are trying to wrap their minds around thequick flurry of action and what it means to their littlegirl.MR. NICHOLSWhy is it now a crime scene?WILL GRAHAMCan I see your daughter’s room?MR. NICHOLSPolice were up there thismorning.INT. NICHOLS’ HOME - ELISE NICHOLS’ CLOSED BEDROOM DOORMr. Nichols leads Will, who pulls on gloves as theyapproach. Will warily eyes the CAT pawing at the dooreager to go inside. Will stops Mr. Nichols fromreaching the door knob.WILL GRAHAMI’ll get that. Mr. Nichols,would you put your hands in yourpockets and avoid touchinganything please?MR. NICHOLSWe’ve been in and out of hereall day.WILL GRAHAMYou can hold the cat if it’seasier.Mr. Nichols picks up the cat as instructed. Will wrapsa gloved hand around the knob and opens the door.ELISE NICHOLS’ BEDROOMThe light from the hallway streaks across the floor andup the wall as Will ENTERS. He stands just inside thedoor, immediately noticing the OPEN WINDOW. He flickson the light switch, illuminating the room. He stares.ELISE NICHOLSShe lays coffin-style in her bed, dressed in pajamas asif she had JUST gone to sleep. The gray pallor of herskin, the clean PUNCTURE WOUNDS visible under herpajamas, and her un-breathing bosom are immediatelyevident to Will. Sadly, Mr. Nichols fails to notice.Blinded by hope, he steps forward.MR. NICHOLSElise?Will raises a gloved hand, stopping Mr. Nichols.WILL GRAHAMI need you to leave theroom.Realizing the worst, Mr. Nichols abruptly drops the cat.END OF ACT ONE2625
  • 16. ACT TWOON WILL GRAHAMJack Crawford steps INTO FRAME, speaking quietly:JACK CRAWFORDYou’re all wired. You talk it outto us when you feel like it, don’tsay anything when you don’t feellike it. Take as long as youwant. We will come in when youtell us.Will nods. Jack stands and EXITS FRAME.REFLECTIVE LIGHT flashes across Will’s face, lighting uphis eyes. All SOUND IS DULLED as if his ears wereblocked, the AMBIENT NOISE of Will’s circulatory systemprovides an organic hum. CAMERA PULLS BACK TO REVEAL weare --INT. ELISE NICHOLS’ BEDROOM - NIGHTThe CRIME-SCENE PHOTOGRAPHER takes pictures. JIMMYPRICE (50, solid, focused) dusts the window forfingerprints. BEVERLY KATZ (30s, bright-eyed yet weary)combs for hairs and fibers. BRIAN ZELLER (early 30’s,handsome) shines a light under Elise’s box spring,exposing a cracked bed board. Jack Crawford herdsPrice, Katz and Zeller out the door.INT. NICHOLS’ HOME - BATHROOM - NIGHTWill scoops up water in his hands from the faucet in thesink to wash down the last two Aspirin from his nowempty bottle. He splashes water on his face, dries itwith his shirttail.EXT. ELISE NICHOLS’ BEDROOM - SECOND FLOOR WINDOWWill Graham has climbed out the window onto the porchroof. He sits on the gritty shingles. He hugs hisknees, his damp shirt pressed cold across his back. Hesnorts the night air to cleanse the smell of EliseNichols death from his nose.From his vantage point, he can see POLICE OFFICERS,POLICE CARS and other CRIME SCENE SPECIALISTS assembledon the lawn. Mr. and Mrs. Nichols are treated in theback of an Ambulance.Will Graham takes a breath, exhales, then closes hiseyes.A PENDULUMIt swings in the darkness of Will Graham’s mind, keepingrhythm with his heart beat. FWUM. FWUM. FWUM.ON WILL GRAHAM - WILL’S P.O.V.He OPENS HIS EYES and he is standing outside EliseNichols’ Bedroom Window. The neighborhood is quiet andempty. No Police. No Police Cars. No Ambulance.2827
  • 17. He looks through the window glass to Elise Nicholssleeping soundly in her bed. Will quietly opens thewindow.INT. ELISE NICHOLS’ BEDROOM - NIGHT - WILL’S P.O.V.Will stands over Elise Nichols, very much alive. Hewatches her for a quiet moment. Tears well in Will’seyes, then...Will bears down on Elise’s chest with his knee, crackingribs as he simultaneously squeezes her throat shut withhis hands. It’s sudden and horrible and violent. Eliseis immediately startled out of a deep sleep into terror.Elise struggles, her face swelling with pressure,capillaries in her skin and the whites of her eyeWRINKLE and BURST. Tears stream down her cheeks as shetries to scream but cannot. The bed board finally SNAPSand with it, Elise dies.OMNISCIENT P.O.V. as CAMERA REVEALS Beverly Katz has notleft the room, as instructed. She’s standing over EliseNichols’ dead body, which she exposed by peeling backsheets.BEVERLY KATZYou’re Will Graham.WILL GRAHAMYou’re not supposed to be in here.BEVERLY KATZYou wrote the standard monographon time of death by insectactivity.She indicates her tweezers and what’s between them.BEVERLY KATZ (CON’T)Found velvet in two of the wounds." (then)You’re not real F.B.I.?WILL GRAHAMI’m a special investigator.BEVERLY KATZNever been an F.B.I. Agent?WILL GRAHAMStrict screening procedures.BEVERLY KATZDetects instability. Youunstable?Jack Crawford hurries in, as annoyed with Beverly asWill.JACK CRAWFORDYou’re not supposed to be inhere.BEVERLY KATZFound antler velvet in two ofthe wounds. Like she wasgored. Was looking forvelvet in the other woundsbut I was interrupted.CAMERA REVEALS Brian Zeller is now standing next toWill.BRIAN ZELLERDeer and elk pin their prey,put all their weight on theantlers and try to suffocatethem. That’s how they wouldkill a fox or a coyote.Will very subtilely retreats from the conversation.JACK CRAWFORDElise Nichols was strangledand suffocated. Ribs werebroken.3029
  • 18. BRIAN ZELLERIt’s not rutting season. Maledeer aren’t competing for femaledeer this time of year.WILL GRAHAMAntler velvet is rich innutrients. It actually promoteshealing. He may have put it thereon purpose.JACK CRAWFORDYou think he wanted to heal her?WILL GRAHAMHe was trying to undo as much ashe could, given he already killedher.JACK CRAWFORDHe put her back where he foundher.WILL GRAHAMWhatever he did to the others, hecouldn’t do it to her.JACK CRAWFORDIs this his Golden Ticket?WILL GRAHAMNo. This is an apology.The “apology” catches in Will’s throat and hangs in theair. He runs his hand over his forehead and takes adeep breath.WILL GRAHAM (CONT’D)Does anyone have any Aspirin?INT. AIRPLANE CABIN - NIGHTWill PLOPS into an uncomfortable Coach Class Seat,cracks open another Aspirin sample pack and swallowsthem.MATCH CUT TO:INT. WILL GRAHAM’S CAR - NIGHTWill PLOPS behind the steering wheel. He reaches intohis pocket and pulls out several empty Aspirin packs.TIME CUT TO:INT. WILL GRAHAM’S CAR - CITY ROAD - NIGHTWill stares into middle distance as he drives,hypnotized by the pavement unfurling ahead of him.HEADLIGHTS reflect off of SOMETHING in the distancemoving down the empty road.Will squints over the steering wheel as he approachesthe certain SOMETHING and finally realizes what it is...EXT. WILL GRAHAM’S CAR - CITY ROAD - NIGHTWill slows considerably as he pulls along side A DOG. Arope around its neck suggests it was once tied tosomething. No collar, matted fur, nevertheless it trotswith determination, barely acknowledging Will as herolls down his window.WILL GRAHAMHello.The stray Dog stops and allows Will to drive past. Willslows to a stop and gets out of his car, at which pointthe dog abruptly turns around and heads the oppositedirection.Despite being absolutely exhausted emotionally andphysically, Will gets back in his car and u-turns on theroad to pursue the dog who is keeping a steady pacetrotting away.Will goes around the Dog, blocking both lanes of theroad ahead of it Police Car style. The Dog trots aroundhis car in a half-circle, continuing down the road onthe other side.3231
  • 19. EXT. ROAD - NIGHTThe Dog with the rope around its neck continues itssojourn into the night, undeterred by anything up untilthis point.CAMERA REVEALS the Dog trotting past Will sitting on hiscar, unwrapping a BAG OF HOTDOGS from a CONVENIENCESTORE BAG. The Dog stops and accepts Will’s bribe.EXT. WILL GRAHAM’S HOUSE - PORCH - NIGHTThe Dog stands patiently as Will SHAVES off clumps ofmatted hair with an ELECTRIC TRIMMER, tossing them in awoolly pile.TIME CUT TO:The Dog stands patiently in a tub as Will massages aSOAPY LATHER through his furry coat and around the baldpatches.TIME CUT TO:The Dog stands patiently as Will gently towel-dries andsimultaneously blow-dries him next to a SPACE HEATER.TIME CUT TO:INT. WILL GRAHAM’S HOUSE - NIGHTThe Dog stands patiently in his kennel looking up atWill.WILL GRAHAMWinston. This is everybody.Everybody. This is Winston.CAMERA REVEALS EIGHT FORMALLY STRAY DOGS staring atWinston in the safety of a new dog kennel. Will is adog collector.An ALPHA DOG steps forward and growls at Winston. Willquickly corrects the aggressive mutt with a sharp lookand a:WILL GRAHAM (CONT’D)Tsssst.Alpha steps back into line, sits, then lays downobediently.WILL GRAHAM (CONT’D)That’s right.3433
  • 20. Illustration by David Slade35 36
  • 21. INT. WILL GRAHAM’S BATHROOM - SHOWER - NIGHTWill lets the hot water wash over him, surrounded bysteam. The steam GROWS MORE DENSE and then slowly andonly slightly, THINS REVEALING Will is now STANDING INTHE MISTY FOREST OF THIS MIND. He is deep in thought,barely noticing the STAG walking through the mistyforest fog only 20 feet away.SNAPPING BACK TO THE SHOWER, Will shuts off the water.INT. WILL GRAHAM’S HOUSE - NIGHTThe entire pack is huddled together sleigh-dog stylesurrounding Winston’s dog kennel. Will sleeps quietlyin his bed on the other side of the room. Moonlight-cast tree branch shadows stretch along the walls andacross the ceiling. Then there’s another breathing inthe room.Will calmly opens his eyes, holding his own breath as helistens for the second breather. The mysteriousbreathing continues as Will turns to see laying in bednext to him:ELISE NICHOLSShe’s wearing the nightie Will found her in, appearingexactly as she did in her own bed, but now she’s in his.As Will reaches out to touch her, the ANTLER-LIKE TREEBRANCH SHADOWS shift and stretch, piercing Elise throughher wounds, re-impaling her and pulling her into theDARKNESS.Elise slowly recedes into the SHADOWS and disappears.ON WILL GRAHAMHe jolts awake in his bed, soaking wet withperspiration. Elise Nichols was lying next to him onlyin a dream. His shirt and underwear clingindiscriminately as he throws back the damp sheets andclimbs out of bed. He EXITS peeling off clothes like awet bathing suit that then slaps to the floor.Will ENTERS, pulling on a dry t-shirt and underwear,lays a beach towel down on the wet bed, then crawlsinside. He pulls the sheets back over himself, heavinga deep sigh.END OF ACT TWO3837
  • 22. ACT THREEUNDERWATERSPLOOSH. A FACE breaks the surface in a FLURRY OFBUBBLES, sinking TOWARD CAMERA, filling THE FRAME. It’sWill.MATCH CUT TO:WILL GRAHAMHe stands over a sink, splashing water on his face,rattled.CAMERA REVEAL we are --INT. F.B.I. HEADQUARTERS - BATHROOM - NEXT DAYWill pats his face dry with paper towels as Jack ENTERS,impatient, having been looking for Will for some time.JACK CRAWFORDWhat are you doing inhere?WILL GRAHAMI enjoy the smell ofurinal cake.JACK CRAWFORDMe, too. Lets talk.An AGENT ENTERS to use the facilities.Jack holds the door.JACK CRAWFORD (CONT’D)Use the ladies room.The Agent abruptly turns and EXITS. Will eyes Jackclosing the door, realizing he’s not getting by withoutconversation.JACK CRAWFORD (CONT’D)Do you respect my judgement,Will?WILL GRAHAMYes.JACK CRAWFORDWe have a better chance ofcatching this guy if you’re inthe saddle.WILL GRAHAMI’m in the saddle. Justconfused which direction I’mpointing. I don’t know thiskind of psychopath. Never readabout him. I don’t even knowif he’s a psychopath. He’s notinsensitive. He’s not shallow.4241
  • 23. JACK CRAWFORDYou could tell something abouthim or you wouldn’t’ve saidthis was an apology. What’s heapologizing for?WILL GRAHAMCouldn’t honor her. He feels bad.JACK CRAWFORDFeeling bad defeats the purpose ofbeing a psychopath, doesn’t it?WILL GRAHAMYes. It does.JACK CRAWFORDThen what kind of crazy is he?WILL GRAHAMHe couldn’t show her he loved herso he put her corpse back where hekilled it. Whatever crazy that is.JACK CRAWFORDYou think he loves these girls?WILL GRAHAMHe loves one of them, and I thinkby association, he has some formof love for the others.JACK CRAWFORDThere was no semen or saliva.Elise Nichols died a virgin andthat corpse kept her promise.WILL GRAHAMThat’s not how he’s loving them.He wouldn’t disrespect them thatway. He doesn’t want these girlsto suffer. He kills them quicklyand, to his thinking, with mercy.JACK CRAWFORDThe sensitive psychopath. Herisked getting caught to tuckElise Nichols back into bed.WILL GRAHAMHe has to take the next girlsoon. He knows he’s going to getcaught. One way or the other.4443
  • 24. CUT TO:INT. F.B.I. HEADQUARTERS - HAIR AND FIBER - DAYA small, enclosed work space in a sealed, clean room.ON BEVERLY KATZShe has Elise Nichols’ NIGHTIE suspended from a hangerover a table covered with white paper. Working underbright lights in the draft-free room, she brushes thenightie with a metal spatula, working with the wale andacross it, with the nap and against it. Something fallsthrough the still air:A TINY CURL OF METALIt falls to the paper. Beverly studies it with brighteyes:BEVERLY KATZI got you.CUT TO:A METAL PIPEIt’s secured in a vise positioned against the PIPECUTTER’S JAWS. The cutter’s knurled handle turns as asmall amount of CUTTING OIL is applied to the blade,seeping over it.EXTREME CLOSE UPThe cutter is rotated and the blade is tightened,cutting into the pipe, shaving curls of metal as THREADSare carved.A TINY CURL OF METALIt falls in similar fashion as it did in the crime lab.Instead of white paper, it lands on a pile of metalshavings.A CAR DOOR SHUTS and CAMERA REVEALS we are --EXT. CONSTRUCTION SITE - DAYCAMERA FINDS the car, a Minnesota girl gets out. She isof the same hair color, eye color, weight and height asElise Nichols and the seven young women before her.Her name is ABIGAIL HOBBS.She offers a small wave to the PIPE THREADER. One dirtyhand offers a small wave in return. She knows herkiller.CUT TO:4645
  • 25. EXT. F.B.I. ACADEMY - DAYCAMERA FINDS Jack Crawford walking with DR. ALANA BLOOM,a beautiful Psychology Professor in her 30s.A CHYRON tells us we are --F.B.I. ACADEMY, QUANTICO, VIRGINIAJACK CRAWFORDGraham likes you. He doesn’t thinkyou run any mind games on him.ALANA BLOOMI don’t. I’m as honest with himas I’d be with a patient.JACK CRAWFORDBeen observing him during yourguest lectures at the academy?ALANA BLOOMNever been in a room alone withWill. I want to be his friend.And I am. You already asked me todo a study on him. I said no.JACK CRAWFORDSeemed a shame not to takeadvantage, academically speaking.ALANA BLOOMAnything scholarly on Will Grahamwould be published posthumously.JACK CRAWFORDWhy aren’t you ever alone withhim?ALANA BLOOMBecause I have a professionalcuriosity about him.4847
  • 26. JACK CRAWFORDIf he caught you peeking, he’dsnatch down the shades?ALANA BLOOMNormally I wouldn’t even broachthis, but what do you think one ofWill’s strongest drives is?Jack knows exactly what she’s getting at.JACK CRAWFORDFear. He deals with huge amountsof fear. Comes with imagination.ALANA BLOOMIt’s the price of imagination.JACK CRAWFORDI wouldn’t put him out there if Icouldn’t cover him -- if Icouldn’t cover him eighty percent.ALANA BLOOMI wouldn’t put him out there.JACK CRAWFORDHe’s out there. And I need himout there. And I need you to makesure he’s not left out there.ALANA BLOOMYou really don’t want mecommenting on this in any officialcapacity. It wouldn’t reflectwell on you.Jack heaves a frustrated breath and exhales:ALANA BLOOM (CONT’D)Promise me something, Jack. Don’tlet him get too close.JACK CRAWFORDHe won’t get too close. I canpromise you that.CUT TO:A BLACK BODY BAGA HAND reaches into FRAME and begins to UNZIP. We are--INT. F.B.I. HEADQUARTERS - EXAMINATION ROOM - DAYBeverly Katz and Brian Zeller hover over the examinationtable as Jimmy Price continues to UNZIP the BODY BAG,all wearing gloves, aprons and splash visors.JIMMY PRICETried her skin for prints. Ofcourse, nothing. We did get ahand spread off her neck.BEVERLY KATZReport say anything aboutnails?BRIAN ZELLERHer fingernails were smudgedwhen we took scrapings. Thescrapings were where she cuther palms with them. She neverscratched him.BEVERLY KATZCurly piece of metal is allwe got.Beverly sneaks a flirtatious smile as CAMERA FINDS Will.WILL GRAHAM" (absently)We should be looking atplumbers, steamfitters, tool-workers.Will is also outfitted in gloves, an apron and a splashvisor (perched on top of his head). He flips the visordown and his breathing is amplified in his ears as itfogs his vision.5049
  • 27. He takes a breath and forces himself to look in the bag.CAMERA MOVES INTO THE BODY BAGThere is no body, only darkness. And the SOUND ofWILL’S BREATH bouncing off the splash visor.ELISE NICHOLSShe stands naked in that darkness, a deathly pallor.ANTLERS SPROUT LIKE BRANCHES from her WOUNDS. TinyCRIMSON STREAMS defy gravity, climbing antlers andfloating upward in beads.Will SNAPS BACK TO:INT. F.B.I. HEADQUARTERS - EXAMINATION ROOM - DAYAs before. Zeller, Katz, Price continue theirexamination.BRIAN ZELLEROther injuries were probably butnot conclusively postmortem." (to Beverly Katz)She wasn’t gored.BEVERLY KATZShe has lots of piercings thatlook like they were caused by deerantlers. I didn’t say the deerwas responsible for putting themthere.WILL GRAHAMShe was mounted on them. Likehooks. She may have been bled.Beverly and Jimmy glance at Will. Brian Zeller is toodistracted by his investigation of the abdominal wound.BRIAN ZELLERHer liver was removed. He took itout and put it back in. See.JIMMY PRICEWhy cut out her liver if hewas just going to sew it backin again?All muscle tone in Will’s face goes slack.WILL GRAHAMSomething was wrong with themeat.Zeller looks up from the liver -- how did Graham know?BRIAN ZELLERShe has liver cancer.The facts briefly ricochet around Will’s mind, then:WILL GRAHAMHe’s eating them.CUT TO:INT. DINING ROOM - NIGHTTo the strains of Goldberg Variations by Bach, CAMERACRAWLS across a well-appointed dining room table withplace settings for one serving a beautifully preparedand presented liver. As fork and knife respectfully cutmeat......CAMERA REVEALS a handsome, professorial man in his40s. Erudite and as well appointed as his dining room.He cuts a piece of liver, skewering it with his forkbefore applying a balance of garnishes with his knife.He takes a bite.Meet HANNIBAL LECTER.END OF ACT THREE5251
  • 28. Photo by David Slade
  • 29. Illustration by Janice Poon55 56
  • 30. Illustration by Patti Podesta5857
  • 31. ACT FOURBLACKThe sound of a grown man’s quiet sobbing.ON HANNIBALHe watches the OFF-SCREEN SOBBING MAN inscrutably for anuncomfortably long moment, studying him.THE SOBBING MANA handsome, well-groomed gent in his 30s named FRANKLYN.He tries to find dignity in his tears as he reachesout...FRANKLYNPlease...Hannibal hands him the box of tissues he is reachingfor.FRANKLYN (CONT’D)I hate being this neurotic.Franklyn wipes his eyes and nose.HANNIBALIf you weren’t neurotic, Franklyn,you would be something much worse.CAMERA POPS WIDE TO REVEAL we are --INT. HANNIBAL LECTER’S OFFICE - DAYImmaculate, filled with antiques and artifacts and agallery of books in the fashion of Sir John Soane.Hannibal sits in an arm chair across from Franklyn, whogathers his emotions.A CHRYON tells us we are --BALTIMORE, MARYLAND Illustrations by Patti Podesta6059
  • 32. 6261Illustrations by Patti Podesta
  • 33. HANNIBALOur brain is designed toexperience anxiety in shortbursts, not the prolonged foamylathers of duress your neurosesseem to enjoy. It’s why you feelas though a lion were on the vergeof devouring you.He eyes the tissue Franklyn tosses on the side table.HANNIBAL (CONT’D)You have to convince yourself thelion is not in the room. When itis, I assure you, you will know it.THE DOORHannibal opens it to usher Franklyn out and finds JACKCRAWFORD waiting patiently on his doorstep.JACK CRAWFORDDoctor Lecter?HANNIBALI hate to be discourteous, butthis is a private exit for mypatients.JACK CRAWFORDI’m Special Agent Jack Crawfordwith the F.B.I. May I come in?HANNIBALYou may wait in the waiting room.Hannibal eyes his credentials, then dismisses Franklyn.HANNIBAL (CONT’D)I’ll see you next week, Franklyn." (to Jack Crawford)Unless of course this is about him.JACK CRAWFORDOh, no, this is all about you.INT. HANNIBAL LECTER’S OFFICE - WAITING ROOM - DAYJack Crawford cools his heels, idly picks up a magazine.The door opens and Hannibal steps into the doorway.HANNIBALPlease. Come in.Hannibal blinks and forces a flat smile.INT. HANNIBAL LECTER’S OFFICE - DAYJack surveys Hannibal’s collection of books andartifacts, admiring his art, as the doctor follows himin.HANNIBALMay I ask how this is all about me?JACK CRAWFORDYou can ask. But I do need to askyou a few questions first." (then)Are you expecting another patient?HANNIBALWe’re all alone.6463
  • 34. JACK CRAWFORDNo secretary?HANNIBALWas pre-dispositioned to romanticwhims. Followed her heart to theUnited Kingdom. Sad to see her go.Hannibal dangerously alone with Jack Crawford, whostudies framed meticulous pencil drawings of Parisianlandscapes.JACK CRAWFORDAre these yours, Doctor?Hannibal indicates an immaculate rendering of a school.HANNIBALAmong the firsts. My boardingschool in Paris when I was a boy.JACK CRAWFORDIncredible amount of detail.Hannibal picks up a pencil and cuts a point with ascalpel, blowing the shavings off the tip to reveal itssharpness.HANNIBALLearned very early a scalpelcuts better points than a pencilsharpener.Hannibal sits down the pencil, but not the scalpel. Helistens to Jack, eyes drifting to the F.B.I. Agent’sjugular.JACK CRAWFORDI understand your drawing got youan internship at Johns Hopkins.As we become aware of the steady rhythm of Hannibal’sheartbeat, his nostrils flair and his eyes dilate, as heexhales a very calm observation.HANNIBALI am beginning to suspect you areinvestigating me, Agent Crawford.An eerie stillness as if lightning were about to strike.JACK CRAWFORDYou were referred to me by AlanaBloom in the psychology departmentat Georgetown.Hannibal’s demeanor changes ever so slightly.HANNIBALMost psychology departments arefilled with ham radio enthusiastsand other personality-deficients.Dr. Bloom would be the exception.JACK CRAWFORDYou mentored her during herresidency at John Hopkins?HANNIBALI learned as much from her as shelearned from me.JACK CRAWFORDShowed me your paper in TheJournal of ClinicalPsychiatry. EvolutionaryOrigins of Social Exclusion.HANNIBALAnd?JACK CRAWFORDVery interesting, even to alayman.6665
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  • 36. HANNIBALA layman? So many learnedfellows going about in thehalls of Behavioral Science atthe F.B.I. and you consideryourself a layman?JACK CRAWFORDI do when I’m in your company,Doctor. I’d like you to helpme with a psychologicalprofile.OFF Hannibal’s piqued interest...CLOSE ON - WILLThe FRAMES OF HIS GLASSES strategically positioned toblock eye contact, yet giving the impression of lookingat someone.CAMERA REVEALS we are --INT. F.B.I. - JACK CRAWFORD’S OFFICE - DAYWill Graham sits with Hannibal Lecter and Jack Crawford.A CHRYON tells us we are --7069Photos by David Slade
  • 37. F.B.I. Academy, Quantico, VirginiaHANNIBALTell me then, how manyconfessions?JACK CRAWFORDTwelve dozen last time Ichecked. None of them knewdetails. Until this morning.Then everyone knew details.Some genius in Duluth PD tooka picture of Elise Nichols’body with their phone andshared it with a few closefriends. Freddy Lounds ran iton Tattlecrime.com.WILL GRAHAMTasteless.HANNIBALDo you have trouble with taste?WILL GRAHAMMy thoughts are often not tasty.HANNIBALNor mine. No effective barriers.WILL GRAHAMI make forts.HANNIBALAssociations come quickly.WILL GRAHAMSo do forts.Hannibal notices Will avoiding looking anyone in theeye.7271
  • 38. WILL GRAHAM" (to Jack)Please don’t psychoanalyze me.You won’t like me when I’mpsychoanalyzed. Now if you’llexcuse me, I have to go give alecture on psychoanalyzing.He scoots out of his chair and EXITS, leaving Hannibaland Jack Crawford alone in the office.JACK CRAWFORDMaybe we shouldn’t poke himlike that doctor. Maybe use aless direct approach.HANNIBALWhat he has is pure empathy.And projection. He can assumeyour point of view, or mine --and maybe some other points ofview that scare him. It’s anuncomfortable gift, Jack.Perception’s a tool that’spointed on both ends.Hannibal studies the PHOTOS of the Minnesota murdervictims.HANNIBAL (CONT’D)This cannibal you have himgetting to know... I think Ican help good Will see hisface.CUT TO BLACK.END OF ACT FOURHANNIBALNot fond of eye contact,are you?Will unapologetically continues to avoid eye contact.WILL GRAHAMEyes are distracting. You seetoo much. You don’t see enough.And it’s hard to focus whenyou’re thinking those whites arereally white or they must havehepatitis, or is that a burstvein? So I try to avoid eyeswhenever possible.Hannibal isn’t deflected from making his observations.HANNIBALI imagine what you see and learntouches everything else in yourmind. Your values and decencyare present yet shocked at yourassociations, appalled at yourdreams. No forts in the bonearena of your skull for thingsyou love.Hannibal has just described Will Graham to a letter, buthe is not about to give him the satisfaction of knowingit.WILL GRAHAMWhose profile are you working on?" (to Jack)Whose profile is he working on?HANNIBALI’m sorry, Will. Observing iswhat we do. I can’t shut mineoff any more than you can shutyours off.Will doesn’t appreciate the intrusion into his psyche.7473
  • 39. Illustration by Patti Podesta7675
  • 40. ACT FIVECASSIE’S DEAD BODYShe has similar WOUNDS across her torso to the ones seenon Elise Nichols, as well as TWO LARGE PUNCTURES on herchest. The ANTLERS she is impaled on tastefully maskher nudity, along with the small MURDER OF CROWSgathered around her.CAMERA PULLS BACK TO REVEAL...A HORRIFIC TABLEAUCassie’s body is mounted like a TABLE TOP on ANTLERTABLE LEGS belonging to the SEVERED HEAD of a TROPHYSTAG. The CROWS give the impression of guests at adinner table.We are --EXT. MINNESOTA FIELD - MORNINGCAMERA CONTINUES PULLING BACK under the POLICE TAPE,which Jack Crawford and Will Graham are presentlystepping over.WILL GRAHAMI feel like I’m dreaming.JACK CRAWFORDThe head was reported stolen lastnight about a mile from here.WILL GRAHAMJust the head?Brian Zeller, Beverly Katz, and Jimmy Price are combingthe immediate area for forensic evidence. Jack and Willstare as Beverly and Brian Zeller attempt to shoo thecrows away.7877
  • 41. THE MISSING LUNGSRaw and cleaned. We are --INT. HANNIBAL LECTER’S HOME - KITCHEN - NIGHTHannibal charmingly massages the air out of the lungs tothe strains of Strauss, pressing the lungs flat.EXT. MINNESOTA FIELD - MORNINGWill has finally turned away to give his soul somerelief. Jack Crawford and Brian Zeller stand over thetable that is CASSIE’S BODY. Beverly Katz and JimmyPrice work nearby.WILL GRAHAMOur cannibal loves women. Hedoesn’t want to destroy them. Hewants to consume them. Keep somepart of them inside. This girl’skiller thought she was a pig.JACK CRAWFORDYou think this is a copy cat?JACK CRAWFORDMinneapolis homicide has alreadymade a statement. They’re callinghim the “Minnesota Shrike.”WILL GRAHAMLike the bird?JIMMY PRICEShrike’s a perching bird.Impales mice and lizards onthorny branches and barbed wire.Rips their organs right out oftheir bodies. Puts them in alittle birdie pantry and eatsthem later.JACK CRAWFORDCan’t tell if it’s sloppy orshrewd.WILL GRAHAMHe wanted her to be found thisway. It’s the homicidalequivalent of fecal smearing.It’s petulant. I almost feel likehe’s mocking her. "" (then)Or he’s mocking us.JACK CRAWFORDWhere’d all his love go?WILL GRAHAMWhoever tucked Elise Nichols intobed didn’t paint this picture.Brian Zeller looks up from Cassie’s mounted corpse.BRIAN ZELLERHe took her lungs. I think shewas still alive when he cut themout.QUICK POP TO:8079
  • 42. Photo by David Slade
  • 43. POP BACK TO:EXT. MINNESOTA FIELD - CASSIE’S DEAD BODY - MORNINGJack Crawford and Will Graham stare at the horribletableau.WILL GRAHAMHe has a daughter. Same age asthe other girls. Same hair color,same eye color, same height, sameweight. She’s an only child.She’s leaving home. He can’tstand the thought of losing her.She’s his Golden Ticket.JACK CRAWFORDWhat about the Copy Cat?WILL GRAHAMAn intelligent psychopath,particularly a sadist, is hard tocatch. There’s no traceable motive.There’ll be no patterns. He maynever kill like this again.Will turns and crosses under the POLICE TAPE, tossingback:WILL GRAHAM (CONT’D)Have Dr. Lecter work up apsychological profile. You seemto be impressed with his opinion.QUICK POP TO:THE MISSING LUNGS - HANNIBAL LECTER’S DINING ROOMHannibal takes a bite and washes it down with a sip ofwine.Will takes in the open field, considering the stage.WILL GRAHAMI don’t know. Cannibal whokilled Elise Nichols had a placeto do it and no interest in fieldKabuki. He has a house or two,or a cabin. Something with anantler room.QUICK POP TO:THE MISSING LUNGS - HANNIBAL LECTER’S KITCHENHannibal dunks the offal into a gently simmering winestock.Hannibal fries the meat with onions and tomatoes.8483
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  • 45. CLOSE ON SMALL TABLEA beautifully presented breakfast for two served ontupperware containers on top of place settings. Freshlybrewed coffee is poured into the two cups Hannibalcarried.POP WIDE as Hannibal peels lids off the tupperwaredishes.HANNIBAL (CONT’D)I’m very careful about what Iput into my body. Which meansI end up preparing most mealsmyself. A little proteinscramble to start the day.Some eggs, some sausage.Hannibal watches Will take a bite of his breakfastscramble.WILL GRAHAMIt’s delicious. Thank you.HANNIBALMy pleasure.He is genuinely amused and successfully hides it.HANNIBAL (CONT’D)I would apologize for my analyticalambush but I know I will soon beapologizing again and you’ll tireof that eventually so I have toconsider using apologies sparingly.WILL GRAHAMJust keep it professional.HANNIBALOr we could socialize like adults,god forbid we become friendly.CUT TO:EXT. WILL GRAHAM’S HOUSE - FIELD - NIGHTWill stands underneath the sky considering the stars.An eerie moment of silence, then a subtle crunching ofgrass indicates Will is not alone. He glances over tosee...A RAVEN-FEATHERED STAGIt walks quietly through the meadow toward Will, whoholds his breath, taking in the surreal vision of thisbeast. The RAVEN-FEATHERED STAG stops and watches Will.Then a SUDDEN KNOCK-KNOCK-KNOCKING startles the stag andit BOLTS.A CLOSED DOORIt DISTORTS and COMES INTO FOCUS as KNOCK-KNOCK. We are-INT. MINNEAPOLIS MOTEL ROOM - MORNINGWill wraps a robe around himself as he shuffles to thedoor wiping the fresh sleep out of his eyes. He opensthe door REVEALING Hannibal Lecter standing outsideholding two cups, a thermos and a small thermal foodstorage bag.HANNIBALGood morning, Will. May Icome in?Will stares at him.WILL GRAHAMWhere’s Crawford?HANNIBALDeposed in court. Theadventure will be yours andmine today." (then)May I come in?8887
  • 46. Photo by David Slade
  • 47. WILL GRAHAMI don’t find you that interesting.HANNIBALYou will." (”changing the subject”)Agent Crawford tells me you have aknack for the monsters.WILL GRAHAMThat’s a superstition.HANNIBALI called your good friend Dr.Bloom about you. She wouldn’tgossip, not a word. She’s veryprotective of you. Smitten, Iwould say. She asked me to keep aneye on you.Will studies Hannibal, then decides to keep it tobusiness.WILL GRAHAMI don’t think the Shrike killedthat girl in the field.HANNIBALThe devil is in the details.What didn’t your Copy Cat do tothe girl in the field? Whatgave it away?WILL GRAHAMEverything. It’s like he had toshow me a negative so I couldsee the positive. That crimescene was practically gift-wrapped.HANNIBALThe mathematics of human behavior.All those ugly variables. Some badmath with this shrike fellow. Areyou reconstructing his fantasies?What kind of problems does he have?WILL GRAHAMHe has a few.Almost with a wink:HANNIBALEver have any problems, Will?WILL GRAHAMNo.HANNIBALOf course you don’t. You and I arejust alike. Problem free. Nothingabout us to feel horrible about." (then)I think Uncle Jack sees you as afragile little tea-cup, the finestchina used for only special guests.WILL GRAHAMHow do you see me?HANNIBALThe mongoose I want underthe house when the snakesslither by." " (then)Finish your breakfast.9291
  • 48. INT. RENT-A-CAR - DAYWill throws the car into park and begins to unbuckle hisseat belt when he notices Hannibal smiling.WILL GRAHAMWhat are you smiling about?HANNIBALPeeking behind the curtain.Curious how the FBI goes about itsbusiness when it isn’t kicking indoors.WILL GRAHAMWe’re lucky we’re not doing houseto house interviews." (then)We found a little piece of metalin the clothes Elise Nichols hadon. A shred from a pipe threader.HANNIBALJack Crawford wants me to makesure you’re of sound mind andbody... to look for metalpipethreaders?Will can’t help but smile himself.WILL GRAHAMThat’s between you andJack.HANNIBALMust be hundreds of constructionsites all over Minnesota.WILL GRAHAMCertain kinda metal. Certainkinda pipe. Certain kinda pipecoating. So we’re looking atconstruction sites that use thatkinda pipe.HANNIBALAnd what are we looking for?WILL GRAHAMAt this stage, anything really.But mostly anything peculiar.EXT. CONSTRUCTION SITE - DAYWill Graham and Hannibal Lecter step out of their rentalcar and cross toward a CAMPER TRAILER OFFICE.INT. CAMPER TRAILER OFFICE - DAYA flustered, mildly suspicious secretary named DIXIEstares at Will and Hannibal leafing through pages as shetalks on the phone in an ineffective hushed tone.DIXIE" (to phone)Two fellas from the F.B.I.They’re going through drawersnow. Putting papers in fileboxes. Yes. They’re takingthings. No. They didn’t say whe-- Yes, they can." (to Will and Hannibal)What did you say your nameswere?Just then, Will finds a resignation letter of note.WILL GRAHAMGarret Jacob Hobbs.DIXIEOne of our pipe threaders. Thoseare all the resignation letters.Plumbers union requires themwhenever members finish a job." (to phone)I’ll call you back.9493
  • 49. Dixie hangs up the phone and scoots out from around herdesk.WILL GRAHAMDid Mr. Hobbs have a daughter?DIXIEMight have.WILL GRAHAMEighteen or nineteen, wind-chaffed? Plain but pretty? Shewould have auburn hair. Aboutthis tall.DIXIEMaybe. I don’t know. I don’tkeep company with these people.HANNIBAL" (to Will)What is it about Garret JacobHobbs you find so peculiar?WILL GRAHAMLeft a phone number. No address.HANNIBALTherefore he has something tohide?Will shrugs, not putting too much weight on the matter.WILL GRAHAMEveryone else left an address." (then, to Dixie)You have an address for Mr.Hobbs?CUT TO:EXT. CAMPER TRAILER OFFICE - DAYWill, Hannibal and Dixie haul file boxes from the make-shift office building to the trunk of their rental car.Hannibal allows himself to knock a box out of the trunk,scattering papers. Will and Dixie stoop to pick themup.WILL GRAHAMI got it.As Will and Dixie pick up the pages, Hannibal returnsto:INT. CAMPER TRAILER OFFICE - DAYHannibal waits as the door hinges closed and latcheswith a CLICK, watching Dixie and Will clean up the messhe made. Satisfied, Hannibal picks up the phone withhis sleeve.INT. HOBBS RESIDENCE - KITCHEN - MORNINGA bright, intelligent young woman, ABIGAIL HOBBS (seenearlier), answers the PHONE her mother LOUISE (40s) andfather JACOB (40s) are preparing breakfast in thebackground. Abigail is a Minnesota girl like EliseNichols and the rest.A CHYRON tells us we are --BLOOMINGTON, MINNESOTAABIGAILHello? Just a second." (to her father)Dad. It’s for you.JACOBWho is it?9695
  • 50. ABIGAILCaller i.d. said it was blocked.She hands Jacob the phone and he presses it to his ear.JACOBHello.INT. CAMPER TRAILER OFFICE - MORNINGHannibal speaks simply and clearly into the officephone:HANNIBALMister Garrett Jacob Hobbs?JACOBYes.HANNIBALYou don’t know me and I suspectwe’ll never meet. This is acourtesy call. Listen verycarefully. Are you listening?JACOBYes.HANNIBALThey know.CUT TO BLACK.END OF ACT FIVE9897
  • 51. Photo by David Slade
  • 52. ACT SIXCLOSE ON - WILL GRAHAMREFLECTIVE LIGHT flashes across his BLOOD-SPATTEREDface, illuminating his eyes. His clothes are alsoBLOOD-STAINED. Something horrible happened since thelast time we saw Will.ALL SOUND IS DULLED and the AMBIENT NOISE of Will’scirculatory system provides an organic hum. He staresinto-middle-distance as CAMERA PULLS BACK TO REVEAL weare --EXT. HOBBS HOUSE - DAY -- ESTABLISHINGA cozy, well-kept tract home stands unobtrusivelyamongst aesthetically similar homes. BLOOD-SPATTEREDWill leans against his rental car idling across thestreet.A circus of AMBULANCES, PARAMEDICS, POLICE CARS andOFFICERS.ON WILL GRAHAMHe takes a breath, exhales, then closes his eyes.A PENDULUMIt swings in the darkness of Will’s mind. FWUM. FWUM.FWUM.ON WILL GRAHAMHis eyes are still closed. The PENDULUM is now outsidehis head. It swings in front of his eyes, wiping awaythe POLICE CARS and OFFICERS. FWUM. The PENDULUMswings across his bloodied face and the horrible streaksof madness vanish.Will opens his eyes. We are --Photos by David Slade102101
  • 53. ON HANNIBAL LECTORHe strolls casually up the walk, barely glancing at thelifeless body of Louise Hobbs stepping deliberately overit.He pauses in the broken doorway, listening closely.HARD CUT TO:INT. HOBBS HOUSE - MAIN FLOOR - DAYThe wild-eyed contrast to Dr. Lector, WILL GRAHAM workshis way from room to room, gun first. Adrenaline allowshim to ignore the splatters of blood defacing the wallsand floors.WILL GRAHAMGarret Jacob Hobbs? F.B.I.Will stops cold at the sight before him as he movesinto:INT. HOBBS HOUSE - KITCHEN - DAYGarrett Jacob Hobbs behind his DAUGHTER, ABIGAIL,slashing at her throat. The wide-eyed girl has herweight against him, chin tucked down, gasping for air.TIME SLOWS TO A CRAWL as the SOUND YIELDS to the AMBIENTNOISE of Will’s circulatory system.Will raises his pistol. BLAM. BLAM. BLAM. He firesinto Hobbs’s exposed upper chest, one after another.Hobbs doesn’t go down. He keeps slashing. Will keepsshooting.BLAM. BLAM.EXT. HOBBS HOUSE - CAR - DAYThe crime scene has now been decriminalized in Will’smind.Will pops an Aspirin behind the wheel of the rental car.Lector unbuckles his seatbelt on the passenger side.Will thinks a moment before getting out.Hannibal smiles, a hint of excitement.EXT. HOBBS HOUSE - DAY - SLOWER MOTIONWill walks purposefully to the front door, trying hisbest not to look uncomfortable. Hannibal purposefullylags behind. Will is halfway to the door when itsuddenly opens:LOUISE HOBBSBleeding and wheezing, she is shoved down the porchsteps in a heap, the door slamming shut behind her.ON WILL GRAHAMHe rushes to DYING LOUISE HOBBS. Her alabaster skin insharp contrast to the crimson pouring out of it.Multiple wounds puncture her torso and arms. She graspshaltingly for Will, streaking him with her blood.Her cold hand clutches his wrist as her body spasms.She’s already gone and Will knows this.He pries her slick, red fingers from his wrist, tryingnot to see the last flickers of pain and fear excitingher face.THE DOORWill smashes into it with everything he’s got. It’s hardto say whether the sickening crack was from his shoulderor the its wood frame. He gives it a well-placed kick,and another, splintering it little-by-little until hecan stumble INSIDE.104103
  • 54. Photo by David Slade
  • 55. Will’s eyes are glazed. He’s shutting down. Behind him:ON HANNIBALHe moves swiftly to Abigail, addressing her wounds asshe stares at her dying father even as her own lifeebbs. Will gently raises her glassy eyes to his own asHannibal works.Will doesn’t look away.MATCH CUT TO:BLOOD SPATTERED WILL GRAHAMHe leans against the rental car staring at the CRIMESCENE CIRCUS. He watches as PARAMEDICS haul Abigailinto the back of their AMBULANCE. Hannibal continues tohold her hand, crawling in beside her as a PARAMEDICpulls the doors shut.With one last deep cut, Hobbs finally falls. Hannibalsteps into the kitchen, his inscrutable expressionsuddenly registering genuine pity and regret as he sees:ABIGAIL HOBBSHer struggle to breath underscored by the WHEEZE of airthrough her slashed wind-pipe. Will applies pressure tothe wounds, scooping Abigail onto his lap. He looks upto see:GARRET JACOB HOBBSHe hisses at Will Graham through dying, jagged breath.JACOBSee? See?107 108
  • 56. Photo by David Slade
  • 57. CUT TO:INT. F.B.I. ACADEMY - HALLWAY - MORNINGCAMERA FOLLOWS JACK CRAWFORD down the corridor towardWill Graham’s lecture hall. But when he gets to thedoor he notices instead of Will Graham at the front ofthe class, it’s Dr. Alana Bloom mid-lecture. Crawfordknocks to get her attention. She crosses to the doorand opens it a crack.JACK CRAWFORDWhere’s Graham?She considers Crawford and how to answer him best, then:ALANA BLOOMYou said he wouldn’t get too close.Before Jack can respond, she as respectfully as possiblecloses the door in his face and returns to her lecture.INT. HOSPITAL - CORRIDOR - MORNINGWill walks under the horrible glare of hospitalfluorescents, passing HOSPITAL SECURITY as he rounds acorner turning into:INT. HOSPITAL - PATIENT ROOM - MORNINGWill ENTERS to find Abigail Hobbs integrated into anelaborate weave of life-saving technology. CAMERAREVEALS sleeping in a chair next to her bed is HANNIBALLECTER.He’s holding her hand, offering a tiny comfort.Will Graham quietly sits in the empty chair next toLecter watching his unconscious care for the girl theyboth saved.CUT TO BLACK.THE END111112