Aperitivo (spec script - Hannibal)

HANNIBAL

"Aperitivo"

Written byDiane Carol Harder

Based on the characters created byThomas Harris

Liliath & Penumbra(323) [email protected]

PREVIOUSLY ON HANNIBAL:

In the final episode of season two, all hell broke loose.

Hannibal realized Will Graham wasn't becoming like him after all, but was instead enacting an elaborate plan to trap and capture him. Feeling betrayed by the one person he'd considered a friend, he unleashed his fury and attempted to kill everyone - Will, Jack Crawford, Alana Bloom, Abigail Hobbs - everyone. Then he left.

At the end of the credits, we saw him on a plane with Bedelia Du Maurier (his psychiatrist), flying to Europe.

ii

HANNIBAL“Aperitivo”

TEASER

FADE IN:

CLOSE ON A SKULL, GRAVEN IN A FLOOR.

TWO PAIRS OF WELL-DRESSED FEET step in front of it and stop.

CAMERA PULLS OUT to reveal we’re in --

INT. NORMAN CHAPEL - NIGHT

Soft candlelight glows off the columns and arches, playing with the features of the saints in mosaic there.

A CHYRON reveals we are in --

PALERMO, SICILY

CAMERA FINDS HANNIBAL LECTER and BEDELIA DU MAURIER, two very stylish tourists, standing at the door leading into the nave, admiring the view.

BEDELIABeautiful. And severe.

HANNIBALJust as I remembered it.

A PRIEST approaches them.

PRIEST(in Sicilian, with

subtitles)Can I help you?

HANNIBAL(in Sicilian, with

subtitles)No, thank you, Patri. I know my way around.

The priest bows to them and leaves.

Hannibal looks past him, and in the corner is a GHOSTLY FIGURE.

ON HANNIBAL

He tilts his head to the side, curious.

REVERSE to REVEAL the Ghostly Figure is actually a GHOSTLY WILL GRAHAM, holding his innards in as they attempt to spill out of the GASH in his stomach (*which Hannibal gave him in episode #213).

Hannibal and Bedelia walk by. She doesn’t notice anything.

CLOSE ON Hannibal, as he allows himself a small smile.

CAMERA moves around him and into the light...

Then it moves out of the light and finds --

EYES, panning and scanning, reflecting the glow of a COMPUTER SCREEN. We are --

INT. DORM ROOM - NIGHT

Typical flophouse decor of a male sophomore abode --

EXCEPT WILLIAM BLAKE’S PAINTING, THE GREAT RED DRAGON AND THE WOMAN CLOTHED WITH THE SUN, IS HANGING ON THE WALL. This is the original, not a poster.

We are in Hannibal’s “mind palace.”

CAMERA PANS to find FELIX BUTLER (19), thin and wearing a hoodie that desperately needs washing, hunched over his LAPTOP, watching something with his headphones on.

JOSEF ADDLEMAN (19) enters, with wet hair and a towel around his waist. He walks over to his roommate and punches him in the shoulder.

Felix takes his headphones off.

FELIX BUTLERWhat?

JOSEF ADDLEMANWhat’re you watching?

A faint smile appears on Felix’s face. He pulls the headphones out of the computer’s port, and the sound of SCARED BREATHING fills the room.

He motions for Josef to lean in.

FELIX BUTLERI’ve been bingeing this new web series. Something like Marble Hornets. It’s creepy as hell.

HANNIBAL "Aperitivo" Diane Carol Harder 2.

ON SCREEN, it’s a first person, found footage type of video, and whoever is holding the camera is currently running through a mass of TREES.

MATCH CUT TO:

P.O.V. SHOT of branches flying toward the camera, and HANDS reaching out to bat them away. We are --

EXT. WOODS - NIGHT

The only light is the one on the CAMERA strapped to the chest of RACHELANN PISANI (25). She is bleeding from scratches all over her face and arms, panicked, and running for her life.

Looking for a place to hide, she peers through the trees around her and sees an old DEER BLIND.

She runs to it --

PAST THE VENUS DE MILO (WHICH IS STANDING OUTSIDE), WITHOUT NOTICING IT.

She starts to climb up inside the structure.

CUT TO:


Josef has pulled up a seat.

JOSEF ADDLEMANNo way. That’s the worst idea.

ON SCREEN the camera follows the trajectory of the climb.

JOSEF ADDLEMAN (CONT’D)She’s totally gonna be found there.

FELIX BUTLERWhere else should she hide?

Josef shrugs.

JOSEF ADDLEMANSomewhere not so obvious.

Felix smirks.

FELIX BUTLERSays the guy who hid under the covers for dorm-wide Hide and Seek.


Josef punches him in the shoulder again.

JOSEF ADDLEMANShut up!

Felix SHUSHES him and points to the screen.

ON SCREEN, the camera moves to the window of the deer blind to peer outside.

In the woods, in the distance, is a tall, SLENDER MAN in a dark suit and tie, his face obscured.

CUT TO:

INT. DEER BLIND - NIGHT

Rachelann jumps back from the window and stifles a SCREAM.

She looks around for something to block the door.

There’s an ornate set of armor standing in the shadows in the corner --

BUT SHE DOESN’T SEE ANYTHING (*she can’t - it’s not part of her world).

Fighting back her tears, she creeps back toward the window to look back outside.

CUT TO:


Both boys lean close to the screen.

ON SCREEN the camera looks outside. We can hear that Rachelann’s hyperventilating now.

SLENDER MAN IS GONE.

The breathing slows down.

SLAM. SLAM. SLAM.

The camera whips around.

SLENDER MAN IS CLIMBING INSIDE THE DEER BLIND.

There’s a SCREAM.

Slender Man reaches toward the camera.


IT GOES BLACK.

Josef hits the side of the monitor, trying to make the video come back.

After a moment, he turns to Felix.

JOSEF ADDLEMANAre they all like this?

Felix nods.

JOSEF ADDLEMAN (CONT’D)Tiiight. Let’s do a response.

Felix smiles.

ON SCREEN, the mouse pointer clicks on the video camera icon.

Next to the webcam, the light glows RED.

END OF TEASER


ACT ONE

CLOSE ON a CREAM or LOTION of some sort, in a small tub.

A PAIR OF FINGERS dips into it --

-- then SLATHERS it over a LONG SCAR.

REVEAL WILL GRAHAM

Standing in front of a mirror, applying COCOA BUTTER to the nasty scar across his abdomen. We are --

INT. WILL GRAHAM’S HOUSE - MORNING

Will looks up at his own reflection --

AND CATCHES A GLIMPSE OF HANNIBAL STANDING BEHIND HIM, WATCHING, IN A CORNER.

HANNIBALSomething to remember me by.

Will turns --

But no one is there.

He pulls on a shirt, now self-conscious.

CUT TO:

INT. F.B.I. ACADEMY - LECTURE HALL - DAY

Will is now lecturing a classroom of F.B.I. TRAINEES. A CHYRON tells us we are --

F.B.I. ACADEMY, QUANTICO, VIRGINIA

But, if you look closely, you can faintly see a frescoed wall in the background, in the shadows, that really shouldn’t be there. It overlaps the true walls of the Academy’s classroom.

But nobody seems to notice. (*We’re still in Hannibal’s “mind palace.”)

On the SCREEN behind Will flashes a picture of a WOMAN (30’s), shot in the stomach and lying in her bed, her eyes open in a death stare.


WILL GRAHAMUpon examining Mrs. Leeds, I discovered talcum powder on her leg.

Will turns to look up at the image.

WILL GRAHAM (CONT’D)There was no talcum in the Leeds’ bathroom, so I deduced that Mrs. Leeds’ murderer had removed his talcum-filled rubber glove to touch her.

Will turns back to his class, only to see JACK CRAWFORD standing at the door.

Will looks away from him, avoiding eye contact.

WILL GRAHAM (CONT’D)And that’s why I asked Mr. Price to dust her eyelids, to see whether her murderer had also opened her eyes while his gloves were off.

Jack plants himself, ready to wait.

WILL GRAHAM (CONT’D)And that’s how we found the partial fingerprint we have today to help us in our search.

The Trainees begin gathering their things and preparing to leave.

WILL GRAHAM (CONT’D)Don’t forget to read Mr. Price’s treatise, so you can understand how he was able to grab a fingerprint off the inside of an eyelid.

The last of the Trainees leaves. Jack waits for Will to pack up his things.

Will takes his time, knowing Jack is waiting for him.

Finally, Will just stops and SIGHS.

WILL GRAHAM (CONT’D)What is it, Jack?

OFF Jack’s growing smile...


INT. JACK CRAWFORD’S CAR - DAY

Jack drives while Will sits in the passenger seat.

It’s slightly too bright outside. Slightly unnatural.

Jack looks over at Will, who just stares outside, morose.

JACK CRAWFORDThe victim is a young woman, fresh out of grad school, and none of her friends or family know why she was out in the woods last night.

WILL GRAHAMWhat makes this the F.B.I.’s case?

JACK CRAWFORDThe local PD’s noticed similarities between this and a couple of their other cases. They think they may be linked.

WILL GRAHAMAnd what are those similarities?

JACK CRAWFORDThe way they were found afterward. Each was propped up into a seated position. And the way they were murdered - the killer used no weapon other than his hands.

Will nods, still staring outside.

Jack SIGHS.

JACK CRAWFORD (CONT’D)We tried, Will. We almost got him.

WILL GRAHAMAlmost isn’t good enough. Now he’ll be harder than ever to catch.

He turns to Jack.

WILL GRAHAM (CONT’D)And I’m fresh out of clever ideas. Aren’t you?

Jack returns his attention to driving. He knows Will is right.


EXT. WOODS - DAY

It’s still a bit too bright out.

LOCAL POLICE and F.B.I. AGENTS swarm the scene. An AMBULANCE and PARAMEDICS also stand at the ready nearby. A CHYRON tells us we are in --

BIRMINGHAM, ALABAMA

Will follows Jack into the crowd, which parts like waves to let them through. Everybody knows who they are.

At the foot of a tree sits Rachelann Pisani’s body, head lolling and hands in her lap, as if she were a doll returned to its cupboard after play.

Will stands in front of her, takes a deep breath, exhales, then closes his eyes.

A PENDULUM

It swings in the darkness of Will’s mind, keeping rhythm with his heartbeat. FWUM. FWUM. FWUM.

ON WILL GRAHAM

His eyes are closed. The pendulum is now outside his head. It swings behind Will, wiping away in its wake the mess of LOCAL COPS and F.B.I. AGENTS. FWUM. The pendulum swings again and the AMBULANCE and PARAMEDICS are gone. FWUM. FWUM.

He opens his eyes and walks BACKWARDS through the woods and toward the old deer blind (*past the Venus de Milo, which is still there). BACKING up to the ladder, then turning to look at it and up. FWUM.

We are now --

EXT. DEER BLIND - NIGHT

The stars look like they’re from Van Gogh’s Starry Night painting. (*All of this is still inside Hannibal’s “mind palace.”)

Will, now dressed in Slender Man’s suit, looks at the door at the top of the ladder, tilting his head to one side.

WILL GRAHAMAll I need is to get inside.

He charges up the ladder at the door, SLAMMING his shoulder against it. SLAM. SLAM. SLAM.


He bursts through the door and climbs inside, taking us into:

INT. DEER BLIND - NIGHT

Rachelann SCREAMS and cowers in one corner. Neither of them pays attention to the suit of armor on the other side of the room. (*Note: Rachelann’s not wearing the camera in this version.)

WILL GRAHAMYou see me before I kill you. This is my design.

Will reaches for her, grabbing her by the throat and squeezing.

WILL GRAHAM (CONT’D)I use my own hands to choke the life out of you, so I can feel my strength increase as yours decreases.

She struggles to free herself, but he lifts her from the ground, her feet kicking futilely in the air.

WILL GRAHAM (CONT’D)I like it that you struggle. It’s more entertaining that way.

He squeezes harder, and her eyes bulge.

Then he takes her and slams her against the wall until she stops moving.

WILL GRAHAM (CONT’D)But once the fight is over, I make your death quick. This is also my design.

Leaning over her, he grabs her head and gives it a quick twist. CRACK.

He stands and takes a moment to look at her, lying there, limp on the floor.

CLOSE ON WILL GRAHAM

He smiles.

CUT TO:


EXT. DEER BLIND - DAY

It’s still just slightly too bright, and no one is paying attention to the famous statue standing nearby. (*They can’t.)

Will, now back in his regular clothes, climbs out of the deer blind to find Jack waiting for him.

WILL GRAHAMThis is where he killed her.

JACK CRAWFORDWhy not just leave the body here?

WILL GRAHAMHe didn’t need it anymore.

Jack signals for the Police and F.B.I. Agents to mark off the deer blind.

JACK CRAWFORDSo? He still could’ve left it here.

Will walks back toward the car.

WILL GRAHAMBut that would’ve been disrespectful to her. He didn’t want to treat her like cast-off garbage.

Jack shouts after him:

JACK CRAWFORDBut killing her wasn’t disrespectful?

Will doesn’t turn back.

WILL GRAHAMNot to him.

OFF Jack, deciding to let him go.

END OF ACT ONE


ACT TWO

CLOSE ON - THE DEAD WOMAN’S BACK AND SHOULDERS

They’re all bruised in a criss-cross.

CAMERA PULLS OUT to REVEAL we are --

INT. B.A.U. - MORGUE - DAY

The glass of the walls has hints of stained glass, but is only slightly tinted. We’re still in Hannibal’s “mind palace.”

Rachelann’s body lies, stomach down, on one of the slabs while JIMMY PRICE leans in close, using magnifying goggles to examine the bruising for fingerprints.

Jack and Will enter, with BRIAN ZELLER and BEVERLY KATZ close behind. (*Note: whenever Beverly appears, there is a slight aura around her and she doesn’t cast a shadow, since she’s actually dead.)

JACK CRAWFORDFind anything?

Jimmy stands up, moving the goggles on top of his head.

JIMMY PRICENot in terms of fingerprints. But Ms. Pisani certainly could have used a good exfoliating.

Beverly moves toward the board and attaches some BLOWN UP PHOTOS of Rachelann’s clothing.

BEVERLY KATZBefore we get into a lecture on proper skin care -

JIMMY PRICEYour skin is your largest organ! Exfoliation and moisturization are two foundational elements to keeping it healthy.

Beverly pretends not to have heard him.


BEVERLY KATZ- I examined the victim’s clothing above the areas where the bruising appears and found bits of synthetic thermoplastic polymer. Most commonly known as nylon.

JACK CRAWFORDNylon? She was wearing a strap of some kind?

WILL GRAHAMJudging from the bruises, it was more like a harness.

BRIAN ZELLERYou think the killer was into bondage?

Will shakes his head.

WILL GRAHAMNo. He does capture his prey, but not through bondage. That would be too easy.

BEVERLY KATZWell, I’d like to think I wouldn’t make binding me too easy.

WILL GRAHAMHe likes to entice his victims into their deaths instead. He’s more of a Venus Fly Trap than a spider with a fly.

JACK CRAWFORDRight. He enjoys feeling them struggle against him.

WILL GRAHAMIt makes him feel powerful. It makes him feel better about his situation. He feels trapped somehow, so he traps others to regain some control.

Will turns to Jack.

WILL GRAHAM (CONT’D)We’re looking for someone unassuming and under-appreciated, who doesn’t look as powerful as they are.


JIMMY PRICEWell, that really narrows things down.

JACK CRAWFORDHe’s right. I’m going to need more to go on.

WILL GRAHAMI don’t have anything more yet.

Jack looks up and nods for Zeller, Katz, and Price to leave the room.

Then he moves closer to Will.

JACK CRAWFORDTell me.

WILL GRAHAMI’m having trouble doing this.

JACK CRAWFORDDoing what? What you do?

Will looks up at him.

WILL GRAHAMI can’t go back there, into that place in my mind. It’s too dark. It’ll be harder for me to find my way back out.

JACK CRAWFORDYou don’t have to go so far this time, Will. I promise. And I’ll be your tether.

OFF Will nodding, unconvinced...

INT. PALAZZO CAPPONI - MAIN SALON - EVENING

Expansive. The low candlelight leaves the corners in shadows, and makes the draped furniture look like ghosts in the dark.

The light glows redly on an ornate harpsichord and on the man sitting at its keyboard: Hannibal. Elegant and straight-backed as he leans into the music of Bach’s Goldberg Variations, he plays with his eyes closed.

As he finishes, he smiles and opens his eyes, turning his glance toward a silhouette near the heavily-draped window.


The silhouette turns, and for a brief moment she is HIS AUNT, LADY MURASAKI (late 20’s), as Hannibal first knew her, her long, sleek black hair shining in the moonlight like the feathers of a raven.

But then she turns all the way toward him and is Bedelia, looking at him, her eyebrow raised in question.

BEDELIAI was enjoying your playing. Why did you stop?

HANNIBALI’m starting to get hungry. Feel like having Italian?

Bedelia smiles and gives him a slight nod.

Hannibal returns the smile and closes the keyboard.

CUT TO:

INT. PALAZZO CAPPONI - BASEMENT - EVENING

Old stone walls and dirt floors. An OLD ITALIAN MAN (70’s) sits, bound to a chair, his head forced back and a feeding tube down his throat.

Hannibal, now wearing a rubber apron and gloves, approaches him.

CLOSE ON the old Italian man as his eyes widen. He tries to struggle, but the bonds are too strong.

Hannibal removes a glove and feels him under his right ribcage.

HANNIBALYes, I think you’re ready.

He puts the glove back on and leans close to the man’s ear.

HANNIBAL (CONT’D)(in Italian, with subtitles)

I apologize. I was an avid reader of your monographs in the Nuova Antologia, and I agree with you in regards to Dante’s first sonnet. I believe I would have enjoyed discussing these views with you, but unfortunately, I need your curator position on the Belle Arti Committee.


He removes the feeding tube and the man begins to SHOUT.

Hannibal immediately pulls out a KNIFE and SLICES him along the roof of his mouth, then along the arteries of his arms, letting him bleed out.

The Old Man COUGHS and SPLUTTERS, looking at Hannibal with pain in his eyes, and slowly drifts off into unconsciousness.

Hannibal SIGHS.

CUT TO:

CLOSE UP on a tray of COFFEE CUPS being carried down a hallway.

We are --

INT. POST-PRODUCTION HOUSE - HALLWAY - DAY

Dirty white walls covered with B movie posters. Reflections of ancient statues can be seen in the glass of their cheap frames. We’re back in Hannibal’s “mind palace.”

The tray of coffee is being carried by RYAN JACOBSON (early 30’s), a tall and wiry editor’s apprentice. He walks up to one of the many doors, RAPS on it a couple times with his knuckles, and walks inside.

INT. POST-PRODUCTION HOUSE - EDITING SUITE - DAY

A bank of computer monitors lights the dark room with its glow --

-- while a beautiful chandelier hangs from the ceiling, unnoticed.

A GROUP OF THREE INDIVIDUALS are in the midst of a passionate discussion in the middle of the room. These are the EDITOR, the ASSISTANT EDITOR, and the SECOND ASSISTANT EDITOR - three pasty mole people.

EDITORI don’t care whose fault it was, I need it fixed NOW. I can’t do my job with you guys screwing up the footage like this.

ASSISTANTI don’t know how this happened - I swear I logged all the dailies-


The editor cuts them off with the wave of a hand and nods at Ryan.

EDITORYou can just leave those, then, I don’t know, go see if the P.A.s need any help for now.

Ryan steps forward and places the tray next to one of the keyboards.

RYAN JACOBSONAre you sure you don’t need my help here?

The Second Assistant Editor gives him a withering look.

SECOND ASSISTANTWe’ll figure this out, thanks.

Ryan nods and steps back outside.

INT. POST-PRODUCTION HOUSE - HALLWAY - DAY

And immediately bumps into a FEMALE INTERN.

He smiles at her, but she makes a face and quickly walks away.

RYAN JACOBSONSorry!

He turns back in the direction he originally came from, pushing a VERY HEAVY CART of HARD DRIVES out of his way.

CUT TO:

CLOSE ON A DEAD AND TWISTED FRUIT TREE. An OWL sits in its branches, blinking as a set of HEADLIGHTS washes over it.

We are --

EXT. RYAN JACOBSON’S HOUSE - NIGHT

A big, century-old home with a long gravel drive. The nearest neighbor is a half-mile away.

A BEAT-UP VAN pulls up next to the house and cuts its engine. Ryan climbs out and walks inside - right past a large marble fountain that looks out of place.


INT. RYAN JACOBSON’S HOUSE - LIVING ROOM - NIGHT

Filled with the tchotchkes of a life long finished, this place still has the feel of an old woman’s home --

EXCEPT FOR THE WEIGHT SET AND THE DESK IN THE CORNER.

As well as a priceless work of art hung on the wall.

The desk is Ryan’s space, with his TOP-OF-THE-LINE EDITING SUITE and CAMERA EQUIPMENT.

Ryan tosses his jacket aside and logs into his computer.

CLOSE ON his eyes, panning and scanning as he watches the monitor.

ON SCREEN there’s a NOTIFICATION that he’s received a new comment on something he’s posted.

He smiles and logs on to the YouTube-like site.

ON SCREEN WE SEE RYAN JACOBSON’S THE OWNER OF RACHELANN PISANI’S SNUFF VIDEO.

Below the video, there’s a new comment, with a URL. Ryan clicks on it.

ON SCREEN Felix Butler and Josef Addleman appear.

JOSEF ADDLEMAN(onscreen)

Just wanted to say this new web series is totally on fleek.

FELIX BUTLER(onscreen)

What does that even mean, you moron?

JOSEF ADDLEMAN(onscreen)

That I liked it, dickmunch-

The video pauses.

CLOSE ON Ryan Jacobson as he smiles, the light of the screen making his face glow an eerie green.

CUT TO:


EXT. PARK - NIGHT

It’s a quiet, bright night full of stars. Even the trees are perfectly still. It’s all very much like a painting. (*we’re still in Hannibal’s “mind palace.”)

Ryan’s van sits parked in the parking lot. A SMART CAR pulls up next to it and parks. Felix and Josef climb out.

JOSEF ADDLEMANSo fetch. I can’t believe we’re going to be in the series.

Felix doesn’t answer, but he’s jittery with excitement, too.

The two boys walk up to the van and are about to knock on its window --

WHEN THEY SEE TWO GOPROS WITH CHEST HARNESSES ON THE HOOD.

Josef grabs his and puts it on.

JOSEF ADDLEMAN (CONT’D)Tight! I guess it’s already started!

FELIX BUTLERBut we don’t know what to do.

Josef shrugs.

JOSEF ADDLEMANJust go with the flow, bro.

Felix hesitates, but puts his camera on, too.

Then they walk into the woods.

FELIX BUTLERSo what are we looking for?

JOSEF ADDLEMANAnything.

There’s a CRACK OF A TWIG.

Felix stops and looks around.

FELIX BUTLERWhat was that?

Josef rubs his hands together.


JOSEF ADDLEMANGoodie. It’s starting.

They look around --

SUDDENLY, THERE’S A GLIMPSE OF SLENDER MAN IN THE TREES BEHIND THEM.

Felix SHOUTS and starts to run away. Josef LAUGHS and follows him.

FELIX BUTLERWhere can we hide?

JOSEF ADDLEMANI don’t know!

Through the branches, the DEER BLIND comes into view.

JOSEF ADDLEMAN (CONT’D)Oh god - definitely not there.

Just then, Felix trips.

FELIX BUTLEROw! Help!

Josef laughs and stops to help him.

JOSEF ADDLEMANIdiot. How cliché will this be?

SUDDENLY, SLENDER MAN IS THERE.

Josef laughs.

JOSEF ADDLEMAN (CONT’D)Hey man - my friend’s hurt. Can we cut and start again?

But Slender Man doesn’t respond. Instead, he just picks Felix up, walks him over to a sharp branch sticking up from the ground, AND IMPALES HIM.

Josef stops laughing and begins to SCREAM.

He scrambles away for the deer blind.

Slender Man is not far behind.

END OF ACT TWO


ACT THREE

CLOSE ON A COTTON SWAB as it dabs at a ROUND WOUND.

CAMERA PULLS OUT to REVEAL we’re in --

INT. B.A.U. - MORGUE - DAY

The glass walls still have a slight tint of stained glass to them.

Beverly Katz (*who, again, has a slight aura and does not cast a shadow because she’s actually dead) is carefully exploring the gash in Felix Butler’s chest. His body is lying on a slab next to Josef Addleman’s corpse, which Brian and Jimmy are examining.

Will stands nearby, watching.

WILL GRAHAMDo these new victims also have bruising on their shoulders?

Brian nods and moves next to Beverly, to watch her work.

BRIAN ZELLERThis wound is something new, though. All the previous victims - including the ones before Ms. Pisani - died of strangulation, with a side of neck breakage.

He looks up at Will.

BRIAN ZELLER (CONT’D)This guy’s escalating.

Beverly GASPS and puts down the swab. Then she grabs a pair of TWEEZERS from the tray next to her and pulls out a small WOOD SLIVER from Felix’s chest wound.

BEVERLY KATZGotcha.

BRIAN ZELLERIs that wood? Was he impaled on a branch or something?

BEVERLY KATZI can’t be sure until I test it, but it sure looks like it.


Jimmy shivers.

JIMMY PRICEReminds me of that seen from The Hand That Rocks The Cradle. You know, when she’s impaled on the fence? Still gives me the heebie jeebies, all these years later.

Will looks at him, realizing something.

WILL GRAHAMOur killer’s filming his victims. Or having them film him.

Beverly looks at him, cluing in.

BEVERLY KATZThat would explain the shoulder bruising. They’re wearing chest-mounted cameras.

Brian shakes his head.

BRIAN ZELLERWhat about this impalement? Wouldn’t the camera have been in the way?

JIMMY PRICENot if he uses those little cameras - you know - the ones they use for all the sports videos now?

BRIAN ZELLERYou mean GoPros?

They all look at Jimmy.

JIMMY PRICEWhat? I like to watch skateboarding videos. So sue me.

WILL GRAHAMHe’s doing this for an audience. But the audience doesn’t know it’s real.

MATCH CUT TO:


INT. F.B.I. ACADEMY - JACK CRAWFORD’S OFFICE - DAY

The walls are hung with Expressionist paintings that were never there before.

Jack turns his computer monitor to show Will the screen. He clicks PLAY and Felix Butler and Josef Addleman’s response video begins to play, on mute.

JACK CRAWFORDEach of the victims filmed a video that they uploaded to YouTube before they died.

Jack opens another window, clicks PLAY, and a video featuring Rachelann Pisani begins to play, also on mute.

JACK CRAWFORD (CONT’D)And they were all responding as fans to a new web series they’d discovered, called Slender Man’s Revenge.

Jack opens a window showing a new video that’s been uploaded, showing Felix and Josef’s murders.

JACK CRAWFORD (CONT’D)These videos are property of an anonymous account, all posted using the IP addresses of public WiFi locations, so we still don’t know who this Slender Man is.

He scrolls down the screen, revealing hundreds of comments with embedded URLs.

JACK CRAWFORD (CONT’D)These fans all think this is fake. Just entertainment. And they’re praising its production values.

Jack stops and looks at Will.

JACK CRAWFORD (CONT’D)He’s killing off his fans. That’s not usually how these things work.

Will shakes his head.

WILL GRAHAMOur killer identifies with Slender Man, is trying to become him.

(MORE)


And he believes he’s doing Slender Man’s fans a favor by allowing them to participate in making him come to life.

JACK CRAWFORDRemind me never to get on this guy’s good side.

OFF Will, forcing a smile...

CUT TO:

CLOSE ON a hand buttoning a button on a white shirt.

QUICK CUTS OF a black tie being tied, then a black suit jacket being pulled on.

EXTREME CLOSE ON RYAN JACOBSON’S EYES.

The pupils dilate to the point where the irises are nearly gone.

REVERSE ANGLE ON Ryan’s computer monitor.

ON SCREEN is a new response video, in which a BRIGHT, YOUNG CO-ED, PETRA VAN BOMMEL (20), smiles and addresses the camera.

PETRA(on screen)

I just really love how this series has picked up on the themes of TribeTwelve and gone beyond.

EXTREME CLOSE ON RYAN JACOBSON’S MOUTH.

He smiles a small smile.

As he pulls hose over his face to obscure his features, CAMERA MOVES round him, into the DARKNESS beyond...

OUT OF DARKNESS to find --

A LIVER

Lying on a parquet cutting board. Hannibal grasps it firmly, then uses a chef’s knife to slice it between its two lobes. We are --

WILL GRAHAM (CONT'D)HANNIBAL "Aperitivo" Diane Carol Harder 24.

INT. PALAZZO CAPPONI - KITCHEN - EVENING

The centuries-old room has been modernized with every convenience.

In a series of QUICK CUTS: Hannibal deveins the liver, slices it into medallions, and scores each piece with his knife.

He generously seasons this foie gras with sea salt and pepper.

PARCHMENT PAPER AND SHEARS.

Hannibal cuts the paper into a heart shape, then puts chopped vegetables, a medallion of foie gras, and herbs on one half. He splashes it with a bit of olive oil.

He folds the parchment paper in half over the foie gras, then folds the edges shut, using a pallet knife to make the creases sharp.

Placing two of these packages on a cooking sheet, he puts them in the oven.

Once they’re done, he plates them, adding a little bit of port wine and balsamic vinegar reduction for flourish.

CUT TO:

INT. PALAZZO CAPPONI - DINING ROOM - EVENING

A grand room for only two people.

Hannibal brings the plates in to Bedelia.

HANNIBALFoie gras al cartoccio, with a port wine and balsamic vinegar reduction.

BEDELIAIt looks lovely, Hannibal.

He sets Bedelia’s plate in front of her, then sits across from her as she samples the fare.

She smiles at him, then takes a sip from her wine.

BEDELIA (CONT’D)Delicious.

Next to her, an elbow juts into frame.


Hannibal turns his head to see ABIGAIL HOBBS sitting there, a LARGE RED GASH ACROSS HER THROAT (*where he sliced it in episode #213). She smiles at him.

Hannibal turns back to Bedelia.

HANNIBALCooking al cartoccio, or as the French say, en papillote, requires placing the food in a heart-shaped piece of parchment, so it can steam and cook in its own juices inside. I see this as a fitting metaphor, since you once accused me of wearing a very well-tailored person suit, as if the real me were hiding inside an elaborate creation.

BEDELIAFollowing through on this metaphor, you realize this means the real you, as you say, was always simmering underneath the veil - or, in this case, paper mask - you were wearing. When something cooks, its fundamental properties are transformed.

Hannibal looks next to Bedelia again, but this time, Abigail is gone --

In her place, a SMALL GIRL (6), with wispy blonde girls and bright maroon eyes: HANNIBAL’S SISTER, MISCHA.

She smiles at him, offering him a PLATE with her own DISMEMBERED ARM on it (*similar in pose to MIRIAM LASS’ arm in episode #106).

Hannibal turns back to Bedelia.

HANNIBALYes. I did not expect the experience to alter me so much, but here we are.

Behind Bedelia stands a SHADOW FIGURE of WILL GRAHAM, with more substance than when he last appeared to Hannibal, and completely black except for the SCARLET WOUND ACROSS HIS BELLY, now closed, where Hannibal cut him.

Hannibal raises his glass as if to Bedelia, but looks at Will over her shoulder.


HANNIBAL (CONT’D)Buon appetito!

Bedelia raises her glass in return --

And Will bows to Hannibal behind her shoulder.

Hannibal smiles as he and Bedelia each take a sip of their wine.

END OF ACT THREE


ACT FOUR

CLOSE ON two eggs being cracked into a frying pan already cooking bacon and homefries.

CAMERA PULLS BACK TO REVEAL we’re in --


Will stands in his boxers and a t-shirt, sipping coffee and cooking breakfast.

There’s a bronze statue in the corner that he seems unable to see. We’re back in Hannibal’s “mind palace.”

Suddenly, there’s a CACOPHONY in the other room as all the DOGS begin to bark.

Will slides the food from the pan onto a plate, then moves to look out the door.

ALANA BLOOM is walking up the steps. She stops when she sees him.

They share a long, silent moment.

Then he opens the door and lets the dogs rush out to greet her.

EXT. WILL GRAHAM’S HOUSE - MORNING

As Alana bends to pet the dogs, Will turns back inside.

WILL GRAHAM(over his shoulder)

I’m just about to have breakfast, if you’d care to join me.

Alana smiles to herself and follows him inside.


Will and Alana sit across from each other, eating breakfast.

He notices she’s avoiding eating the bacon.

WILL GRAHAMI had an aversion to meat for a while, too, after I realized.


Alana puts her fork down.

ALANA BLOOMI think it’ll still be a while before I’m ready.

She looks at him.

ALANA BLOOM (CONT’D)I owe you an apology. I should have listened to you.

WILL GRAHAMYes, you should have. But I understand why you didn’t.

ALANA BLOOMHannibal was my mentor. I’d known him for much longer than either you or Jack.

Will looks at her.

WILL GRAHAMThought you’d known him.

Alana looks down at the table. She nods.

Just then, Will’s phone RINGS.

CLOSE ON the screen: Jack is calling.

Will answers.

WILL GRAHAM (CONT’D)Jack. Hello.

He listens for a moment, then looks at Alana.

WILL GRAHAM (CONT’D)I’ll be there as soon as I can.

Alana stands as Will gets his jacket.

CUT TO:

EXT. DEER BLIND - DAY

Will ducks under the surrounding POLICE TAPE and approaches the flock of FBI AGENTS standing near the Venus de Milo at the foot of the deer blind.


The body of Petra Van Bommel sits on the ground, propped up against the ladder, head lolling and hands in her lap, just like Rachelann Pisani.

The only difference is that she’s covered in blood, and has a large red hole where she’s been impaled.

Jack steps up next to Will.

JACK CRAWFORDThis is Petra Van Bommel. She posted a video less than forty-eight hours ago.

WILL GRAHAMFast turnaround.

Jack looks at him - was that a joke?

JACK CRAWFORDThere’s no way we can determine who this guy’s next victim will be. He moves too fast.

Will turns away from him.

WILL GRAHAMUnless we supply him with someone too juicy to resist.

Jack looks after him. Not sure he likes this new version of Will.

OFF his expression of distaste...

ON FREDDIE LOUNDS

CAMERA moves closer and closer onto her growing horror as she listens to Jack Crawford --

JACK CRAWFORDWe’ve been following your coverage of the story, and believe that your expertise would help us a great deal with catching Slender Man.

FREDDIE LOUNDSYou want to use me as bait.

We’re --


INT. F.B.I. ACADEMY - JACK CRAWFORD’S OFFICE - DAY

Those Expressionist paintings are still on the wall. We’re still in Hannibal’s “mind palace.”

Jack refuses to break eye contact with Freddie.

JACK CRAWFORDNot you so much as your writing.

FREDDIE LOUNDSYou want me to come off as a fan of this web series so Slender Man will come after me? I’d say that makes me bait.

Will and Alana exchange a glance behind her back. That’s exactly what they want.

WILL GRAHAMI thought you loved being a part of your stories, Freddie.

Freddie turns and looks at him.

FREDDIE LOUNDSWhen I’m pretty certain they don’t involve my death.

Will smiles.

WILL GRAHAMExcept that one time.

FREDDIE LOUNDSWell, that was a fake death, after all.

Jack clears his throat.

JACK CRAWFORDThe F.B.I. will be keeping watch over you at all times after the article is published, of course.

FREDDIE LOUNDSFrom a distance, though, right?

Jack SIGHS.

JACK CRAWFORDTell me what you want me to give you for this, Freddie. We need it to happen.


Freddie raises an eyebrow. This is too good to resist.

FREDDIE LOUNDSExclusive access to everything you have on Hannibal Lecter so far.

JACK CRAWFORDCan’t do that. Some of the information is sensitive and could jeopardize our future capture of him.

Freddie sits back in her chair.

Jack leans forward in his.

JACK CRAWFORD (CONT’D)But we might be able to give you some access.

OFF Freddie’s slowly growing grin...

MATCH CUT TO:

RYAN JACOBSON’S SLOWLY GROWING GRIN.

REVERSE ON his computer monitor.

TattleCrime.com fills the screen, with a headline reading “NEW SLENDER MAN SERIES BRINGS MORE CRAFT TO THE GENRE” emblazoned in bright red letters.

The screen scrolls down to Freddie’s byline and photo.

Ryan clicks on the link.

CLOSE ON his eyes dilating as he takes in what she wrote.

CAMERA moves into the darkness of his pupils.

A SWEET, QUIET CHORD IS PLAYED ON THE HARPSICHORD...

AS THE DARKNESS BRIGHTENS slightly into candlelight, the chord expands into a single joyful, triumphant note --

INT. PALAZZO CAPPONI - MAIN SALON - NIGHT

CLOSE UP -- Hannibal’s hands move along the keys, slowly, sensuously, caressing each note out of the instrument.

REVEAL Hannibal, alone, sitting at his harpsichord, a sheet of paper sitting on the stand in front of him, only the staff drawn.


He smiles to himself as his song grows in its exultation, ending with its final, gleeful chord.

While the notes still ring in the air, he picks up a fountain pen and leans forward to write them down.

CUT TO:

CLOSE ON a FOR SALE sign, with a sticker announcing this is a FORECLOSURE slapped on it.


EXT. HANNIBAL LECTER’S HOUSE - NIGHT

The foliage has overgrown in the time since Hannibal left town.

CAMERA FINDS Jack Crawford in a car down the block, watching the door. He speaks into a WALKIE-TALKIE:

JACK CRAWFORDGo for Freddie.

Freddie emerges from around a corner, and makes her way to the house.

When she gets to the front door, she finds a GOPRO with a CHEST HARNESS sitting on the front step.

She looks around to see if Jack’s watching, then puts it on before going inside.

INT. JACK CRAWFORD’S CAR - NIGHT

Jack watches the house.

After a few moments, a SHADOW emerges from the darkness and moves toward the front door.

Jack lifts his walkie as he opens his car door.

JACK CRAWFORDGo! Go! Go!

He runs toward the house, with AGENTS - including Price, Zeller, and Katz (*who, again, has a slight aura and does not cast a shadow, since she’s actually dead) - emerging from the shadows all around him and swarming behind him.


INT. HANNIBAL LECTER’S HOUSE - ENTRANCE HALL/STAIRWAY - NIGHT

Jack BURSTS through the door to find Slender Man standing there, his back to him.

Jack signals for the F.B.I. Agents to move into position around him, and points his gun at Slender Man.

JACK CRAWFORDStop!

Slender Man stops and puts his hands up.

JACK CRAWFORD (CONT’D)Turn around!

Slowly, the figure before Jack turns to face him.

BUT WHEN HE DOES, IT’S ACTUALLY HANNIBAL.

END OF ACT FOUR


ACT FIVE

INT. HANNIBAL LECTER’S HOUSE - ENTRANCE HALL/STAIRWAY - NIGHT

Jack is taken aback. He was not expecting Hannibal to be Slender Man.

He shakes his head, as if to clear his vision, then hears a SHOUT from Zeller.

BRIAN ZELLERBeverly!

Jack looks, slowly, toward the shadow in the corner --

WHICH HAS NOW EXPANDED IN THE DARKNESS TO BECOME --

INT. OBSERVATORY - NIGHT

BEVERLY KATZ’S DEATH TABLEAU (EPISODE #205).

Again, Jack moves closer to her to find the bloody, visceral cross section of her innards encased tightly in between VERTICAL GLASS SHEETS.

He turns back toward Hannibal, his face full of wonderment, and suddenly we are --

INT. HANNIBAL LECTER’S HOUSE - KITCHEN - NIGHT

The scene is the same from Jack’s lethal fight with Hannibal from episode #213.

Except this time, Hannibal and Jack just stand facing each other, knowing what is about to come.

Hannibal reaches for the SHARD OF GLASS on the floor.

ON JACK CRAWFORD

Hannibal plunges the SHARD OF GLASS into Jack’s neck. He recoils and stumbles back, clutching his neck. Hannibal acts quickly, picking up a butcher knife and turning on Jack.

Still clutching his neck, Jack stumbles back into...

THE PANTRY

Jack falls inside, kicking the door closed behind him.


CLOSE ON HANNIBAL’S FACE

ALANA BLOOM (O.S.)Hannibal...

(then clearer)Hannibal.

Hannibal turns to see Alana.

CLOSE ON ALANA’S FACE

Another look of betrayed wonderment.

MATCH CUT TO:

EXT. HANNIBAL LECTER’S HOUSE - NIGHT

It’s the moment when Alana is falling from the upstairs window of Hannibal’s bedroom (episode #213).

HIGH ANGLE -- CAMERA MOVES DOWN THE LENGTH OF THE HOUSE as Alana sails through the rain, accompanied by a cloud of shattered glass, in EXTREME SLOW MOTION.

TIME RETURNS ABRUPTLY TO NORMAL as Alana hits the cement outside with a sickening THWACK and a SHOWER OF BROKEN GLASS.

Hannibal stands at the window above, looking down with an expression of impassive curiosity.

HANNIBALHello, Will.

He turns, and suddenly we are --

INT. HANNIBAL LECTER’S HOUSE - KITCHEN - NIGHT

Will and Abigail Hobbs stand, looking at him. It’s the final moments of episode #213 again.

WILL GRAHAMYou were supposed to leave.

HANNIBALWe couldn’t leave without you.

He embraces Will, warmly welcoming him with open arms.

But this time, Hannibal hesitates.

He leans into Will’s ear.


HANNIBAL (CONT’D)Why?

But Will doesn’t answer.

There’s the FLASH of metal as Hannibal’s hand juts forward, and BLOOD SPRAYS up between them, splashing their faces.

Abigail SCREAMS as Will staggers and falls against the wall.

Hannibal, genuinely sad, moves next to Abigail and grabs her, CUTTING HER THROAT in a single, swift motion.

But this time, when she drops to the ground, Hannibal looks at her and SHE IS MISCHA, HIS SISTER.

CLOSE ON Mischa’s face as she looks up at Hannibal, her eyes full of betrayal but unable to speak.

SNOW begins to fall and cover her.


EXT. LITHUANIA - LECTER HUNTING LODGE - NIGHT (1945)

A large wooden cabin, devoid of light and heat.

Hannibal stands in the yard, his sister dying in front of him, surrounded by the CORPSES of his FAMILY and their SERVANTS.

Will, Jack, Alana, and Beverly’s bodies are in there, too.

CLOSE ON HANNIBAL as he watches his sister taking her last breaths.

BEDELIA (O.S.)Hannibal.

(beat)Hannibal.

Hannibal turns, and there is suddenly a LARGE, ORNATE DOOR in front of him.

He walks through, and immediately finds himself inside --

INT. HANNIBAL’S MIND PALACE - GREAT HALL OF SEASONS - NIGHT

Airy, high-ceilinged, furnished with OBJECTS and TABLEAUX that are vivid, striking, sometimes shocking and absurd, and often beautiful.


THE DISPLAYS are well-spaced and well-lighted like those of a great museum. But the walls are not the neutral colors of museum walls. Like Ciotto, Hannibal has FRESCOED the walls of his mind.

We recognize details that have been hiding like Easter eggs in all the previous scenes.

He stands for a moment at the foot of a great staircase where the RIACE BRONZES stand, admiring them.

BEDELIA (O.S.)Hannibal?

Hannibal turns and walks toward another doorway, opening it and striding through into --

INT. NORMAN CHAPEL - NIGHT

Walking past the altar, Hannibal comes close enough to the candles to make them sway in his breeze.

He moves through the sanctuary and out the door.

INT. PALAZZO CAPPONI - MAIN SALON - NIGHT

Hannibal sits in a chair, facing the window with a thousand yard stare. He blinks and comes back to himself.

Turning, he finds Bedelia standing in the middle of the room, vulnerable in the candlelight.

BEDELIAAre you coming to bed?

Hannibal nods and stands to follow her.

She turns to blow out some of the candles, and Hannibal notices Shadow Will in the corner.

Instead of a bloody gash, he now has a GOLD SCAR crossing his abdomen, as if someone had performed the Japanese art of kitsugi on him.

SHADOW WILL GRAHAMDo you miss me?

Hannibal deliberately turns away from him and blows out the last candle, filling the room with darkness.

The sounds of an ECG BLEEPING monotonously creep in.


Then the sound of a ventilator: KERSHICK-KERSHICK.

MASON VERGER (O.S.)Margot dear, I’m bored.

CAMERA emerges from the DARKNESS into --

INT. VERGER ESTATE HOUSE - MASON’S BEDROOM - DAY

MARGOT VERGER leans over her brother MASON’s bed, THE EEL still swimming in its tireless loop in the background.

MARGOT VERGERWould you like me to read you today’s stock results?

Mason can only breathe with disdain.

MASON VERGERNo, thank you, that’s ever so kind.

He takes a labored breath.

MASON VERGER (CONT’D)I was thinking more along the lines of having a visitor.

Margot sits down.

MARGOT VERGERYou can’t have visitors right now, Mason. You know what the doctor said.

MASON VERGERWell, fine then, spoil sport. But then I’d like to make a phone call.

Margot gives him some side eye.

MARGOT VERGERI suppose that’s okay.

MASON VERGERThrough the private line.

Margot reacts with surprise.

MARGOT VERGERWhy do you need the private line?

MASON VERGERThat’s PRIVATE, Margot.


Margot stands and gives him a withering look. Then she disappears through the plastic curtain surrounding his bed.

DISSOLVE TO:

EXT. FLORENCE - PALAZZO CAPPONI - NIGHT

The cobblestones glitter with damp rain. Stepping into the torchlight outside the IRON GATES is a FIGURE with its raincoat pulled tight.

This is RINALDO PAZZI, Chief Investigator of the Questura, his face aged an extra decade by the stresses of his job.

He pulls out his PHONE and looks again at the image on the screen.

ON SCREEN IS A PICTURE OF HANNIBAL LECTER, with a message offering a generous reward for his capture.

Pazzi puts his phone away and moves inside the gate to the front door and KNOCKS.

After a moment, the door opens, revealing Bedelia.

RINALDO PAZZIMi scusi, Mrs. Fell, but is the good Doctor Fell in?

OFF Bedelia’s expression as she tries to think how to answer...

MATCH CUT TO:

FREDDIE LOUNDS

Walking, slowly pulling a camera out of her coat pocket. We are --

INT. HOSPITAL - DAY

Freddie walks past DOCTORS, NURSES, and PATIENTS, quickly ducking into a room and closing the door behind her.

INT. HOSPITAL - WILL GRAHAM’S ROOM - DAY

In the bed lies Will, hooked up to a bunch of machines, and with a breathing tube down his throat. He’s clearly been in an induced coma state for a while.


Freddie creeps up to his bed and pulls back his blanket to REVEAL a COLOSTOMY BAG.

She quickly SNAPS several pictures.

CLOSE ON WILL GRAHAM

His eyes suddenly open.

He panics, not knowing where he is, choking on his breathing tube.

Freddie smiles - genuinely pleased - hides her camera, and runs out the door.

FREDDIE LOUNDSNurse!

CAMERA stays on Will, as he takes in his surroundings...

END OF EPISODE


Aperitivo (spec script - Hannibal)

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Transcript of Aperitivo (spec script - Hannibal)