HANNIBAL

"Aperitivo"
Written by
Diane Carol Harder

Based on the characters created by

Thomas Harris

Liliath & Penumbra

(323) 647-5327
dch@liliathandpenumbra.com

ii
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.

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 were 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.
BEDELIA
Beautiful. And severe.
HANNIBAL
Just 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

2.

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 doesnt 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 BLAKES 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 Hannibals 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.
What?

FELIX BUTLER

JOSEF ADDLEMAN
Whatre you watching?
A faint smile appears on Felixs face. He pulls the
headphones out of the computers port, and the sound of
SCARED BREATHING fills the room.
He motions for Josef to lean in.
FELIX BUTLER
Ive been bingeing this new web
series. Something like Marble
Hornets. Its creepy as hell.

HANNIBAL

"Aperitivo"

Diane Carol Harder

3.

ON SCREEN, its 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:
INT. DORM ROOM - NIGHT
Josef has pulled up a seat.
JOSEF ADDLEMAN
No way. Thats the worst idea.
ON SCREEN the camera follows the trajectory of the climb.
JOSEF ADDLEMAN (CONTD)
Shes totally gonna be found there.
FELIX BUTLER
Where else should she hide?
Josef shrugs.
JOSEF ADDLEMAN
Somewhere not so obvious.
Felix smirks.
FELIX BUTLER
Says the guy who hid under the
covers for dorm-wide Hide and Seek.

HANNIBAL

"Aperitivo"

Diane Carol Harder

4.

Josef punches him in the shoulder again.

Shut up!

JOSEF ADDLEMAN

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.
Theres an ornate set of armor standing in the shadows in the
corner -BUT SHE DOESNT SEE ANYTHING (*she cant - its not part of
her world).
Fighting back her tears, she creeps back toward the window to
look back outside.
CUT TO:
INT. DORM ROOM - NIGHT
Both boys lean close to the screen.
ON SCREEN the camera looks outside. We can hear that
Rachelanns 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.
Theres a SCREAM.
Slender Man reaches toward the camera.

HANNIBAL

"Aperitivo"

Diane Carol Harder

5.

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 ADDLEMAN
Are they all like this?
Felix nods.
JOSEF ADDLEMAN (CONTD)
Tiiight. Lets 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

HANNIBAL

"Aperitivo"

Diane Carol Harder

6.

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 GRAHAMS HOUSE - MORNING
Will looks up at his own reflection -AND CATCHES A GLIMPSE OF HANNIBAL STANDING BEHIND HIM,
WATCHING, IN A CORNER.
HANNIBAL
Something 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 shouldnt be
there. It overlaps the true walls of the Academys classroom.
But nobody seems to notice. (*Were still in Hannibals mind
palace.)
On the SCREEN behind Will flashes a picture of a WOMAN
(30s), shot in the stomach and lying in her bed, her eyes
open in a death stare.

HANNIBAL

"Aperitivo"

Diane Carol Harder

7.

WILL GRAHAM
Upon examining Mrs. Leeds, I
discovered talcum powder on her
leg.
Will turns to look up at the image.
WILL GRAHAM (CONTD)
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 (CONTD)
And thats 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 (CONTD)
And thats 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 (CONTD)
Dont forget to read Mr. Prices
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 (CONTD)
What is it, Jack?
OFF Jacks growing smile...

HANNIBAL

"Aperitivo"

Diane Carol Harder

INT. JACK CRAWFORDS CAR - DAY

Jack drives while Will sits in the passenger seat.
Its slightly too bright outside. Slightly unnatural.
Jack looks over at Will, who just stares outside, morose.
JACK CRAWFORD
The 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 GRAHAM
What makes this the F.B.I.s case?
JACK CRAWFORD
The local PDs noticed similarities
between this and a couple of their
other cases. They think they may be
linked.
WILL GRAHAM
And what are those similarities?
JACK CRAWFORD
The 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 (CONTD)
We tried, Will. We almost got him.
WILL GRAHAM
Almost isnt good enough. Now hell
be harder than ever to catch.
He turns to Jack.
WILL GRAHAM (CONTD)
And Im fresh out of clever ideas.
Arent you?
Jack returns his attention to driving. He knows Will is
right.

8.

HANNIBAL

"Aperitivo"

Diane Carol Harder

9.

EXT. WOODS - DAY

Its 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 Pisanis 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 Wills 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 theyre from Van Goghs Starry Night
painting. (*All of this is still inside Hannibals mind
palace.)
Will, now dressed in Slender Mans suit, looks at the door at
the top of the ladder, tilting his head to one side.
WILL GRAHAM
All I need is to get inside.
He charges up the ladder at the door, SLAMMING his shoulder
against it. SLAM. SLAM. SLAM.

HANNIBAL

"Aperitivo"

Diane Carol Harder

10.

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: Rachelanns not wearing the camera in this
version.)
WILL GRAHAM
You see me before I kill you. This
is my design.
Will reaches for her, grabbing her by the throat and
squeezing.
WILL GRAHAM (CONTD)
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 (CONTD)
I like it that you struggle. Its
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 (CONTD)
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:

HANNIBAL

"Aperitivo"

Diane Carol Harder

11.

EXT. DEER BLIND - DAY

Its still just slightly too bright, and no one is paying
attention to the famous statue standing nearby. (*They
cant.)
Will, now back in his regular clothes, climbs out of the deer
blind to find Jack waiting for him.
WILL GRAHAM
This is where he killed her.
JACK CRAWFORD
Why not just leave the body here?
WILL GRAHAM
He didnt need it anymore.
Jack signals for the Police and F.B.I. Agents to mark off the
deer blind.
JACK CRAWFORD
So? He still couldve left it here.
Will walks back toward the car.
WILL GRAHAM
But that wouldve been
disrespectful to her. He didnt
want to treat her like cast-off
garbage.
Jack shouts after him:
JACK CRAWFORD
But killing her wasnt
disrespectful?
Will doesnt turn back.
WILL GRAHAM
Not to him.
OFF Jack, deciding to let him go.
END OF ACT ONE

HANNIBAL

"Aperitivo"

Diane Carol Harder

12.

ACT TWO
CLOSE ON - THE DEAD WOMANS BACK AND SHOULDERS
Theyre 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. Were still in Hannibals mind
palace.
Rachelanns 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 doesnt cast a shadow, since shes
actually dead.)
JACK CRAWFORD
Find anything?
Jimmy stands up, moving the goggles on top of his head.
JIMMY PRICE
Not 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 Rachelanns clothing.
BEVERLY KATZ
Before we get into a lecture on
proper skin care JIMMY PRICE
Your skin is your largest organ!
Exfoliation and moisturization are
two foundational elements to
keeping it healthy.
Beverly pretends not to have heard him.

HANNIBAL

"Aperitivo"

Diane Carol Harder

BEVERLY KATZ
- I examined the victims clothing
above the areas where the bruising
appears and found bits of synthetic
thermoplastic polymer. Most
commonly known as nylon.
JACK CRAWFORD
Nylon? She was wearing a strap of
some kind?
WILL GRAHAM
Judging from the bruises, it was
more like a harness.
BRIAN ZELLER
You think the killer was into
bondage?
Will shakes his head.
WILL GRAHAM
No. He does capture his prey, but
not through bondage. That would be
too easy.
BEVERLY KATZ
Well, Id like to think I wouldnt
make binding me too easy.
WILL GRAHAM
He likes to entice his victims into
their deaths instead. Hes more of
a Venus Fly Trap than a spider with
a fly.
JACK CRAWFORD
Right. He enjoys feeling them
struggle against him.
WILL GRAHAM
It 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 (CONTD)
Were looking for someone
unassuming and under-appreciated,
who doesnt look as powerful as
they are.

13.

HANNIBAL

"Aperitivo"

Diane Carol Harder

14.

JIMMY PRICE
Well, that really narrows things
down.
JACK CRAWFORD
Hes right. Im going to need more
to go on.
WILL GRAHAM
I dont have anything more yet.
Jack looks up and nods for Zeller, Katz, and Price to leave
the room.
Then he moves closer to Will.
Tell me.

JACK CRAWFORD

WILL GRAHAM
Im having trouble doing this.
JACK CRAWFORD
Doing what? What you do?
Will looks up at him.
WILL GRAHAM
I cant go back there, into that
place in my mind. Its too dark.
Itll be harder for me to find my
way back out.
JACK CRAWFORD
You dont have to go so far this
time, Will. I promise. And Ill 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 straightbacked as he leans into the music of Bachs 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

15.

The silhouette turns, and for a brief moment she is HIS AUNT,
LADY MURASAKI (late 20s), 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.
BEDELIA
I was enjoying your playing. Why
did you stop?
HANNIBAL
Im 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 (70s)
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.
HANNIBAL
Yes, I think youre ready.
He puts the glove back on and leans close to the mans ear.
HANNIBAL (CONTD)
(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 Dantes 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

16.

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. Were back in Hannibals mind palace.
The tray of coffee is being carried by RYAN JACOBSON (early
30s), a tall and wiry editors 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.
EDITOR
I dont care whose fault it was, I
need it fixed NOW. I cant do my
job with you guys screwing up the
footage like this.
ASSISTANT
I dont know how this happened - I
swear I logged all the dailies-

HANNIBAL

"Aperitivo"

Diane Carol Harder

17.

The editor cuts them off with the wave of a hand and nods at
Ryan.
EDITOR
You can just leave those, then, I
dont 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 JACOBSON
Are you sure you dont need my help
here?
The Second Assistant Editor gives him a withering look.
SECOND ASSISTANT
Well 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.
Sorry!

RYAN JACOBSON

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 JACOBSONS 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

18.

INT. RYAN JACOBSONS HOUSE - LIVING ROOM - NIGHT

Filled with the tchotchkes of a life long finished, this
place still has the feel of an old womans 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 Ryans 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 theres a NOTIFICATION that hes received a new
comment on something hes posted.
He smiles and logs on to the YouTube-like site.
ON SCREEN WE SEE RYAN JACOBSONS THE OWNER OF RACHELANN
PISANIS SNUFF VIDEO.
Below the video, theres 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, dickmunchThe video pauses.
CLOSE ON Ryan Jacobson as he smiles, the light of the screen
making his face glow an eerie green.
CUT TO:

HANNIBAL

"Aperitivo"

Diane Carol Harder

19.

EXT. PARK - NIGHT

Its a quiet, bright night full of stars. Even the trees are
perfectly still. Its all very much like a painting. (*were
still in Hannibals mind palace.)
Ryans van sits parked in the parking lot. A SMART CAR pulls
up next to it and parks. Felix and Josef climb out.
JOSEF ADDLEMAN
So fetch. I cant believe were
going to be in the series.
Felix doesnt answer, but hes 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 (CONTD)
Tight! I guess its already
started!
FELIX BUTLER
But we dont know what to do.
Josef shrugs.
JOSEF ADDLEMAN
Just go with the flow, bro.
Felix hesitates, but puts his camera on, too.
Then they walk into the woods.
FELIX BUTLER
So what are we looking for?
Anything.

JOSEF ADDLEMAN

Theres a CRACK OF A TWIG.

Felix stops and looks around.
FELIX BUTLER
What was that?
Josef rubs his hands together.

HANNIBAL

"Aperitivo"

Diane Carol Harder

20.

JOSEF ADDLEMAN
Goodie. Its starting.
They look around -SUDDENLY, THERES A GLIMPSE OF SLENDER MAN IN THE TREES
BEHIND THEM.
Felix SHOUTS and starts to run away. Josef LAUGHS and follows
him.
FELIX BUTLER
Where can we hide?
JOSEF ADDLEMAN
I dont know!
Through the branches, the DEER BLIND comes into view.
JOSEF ADDLEMAN (CONTD)
Oh god - definitely not there.
Just then, Felix trips.
Ow! Help!

FELIX BUTLER

Josef laughs and stops to help him.

JOSEF ADDLEMAN
Idiot. How clich will this be?
SUDDENLY, SLENDER MAN IS THERE.
Josef laughs.
JOSEF ADDLEMAN (CONTD)
Hey man - my friends hurt. Can we
cut and start again?
But Slender Man doesnt 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

HANNIBAL

"Aperitivo"

Diane Carol Harder

21.

ACT THREE
CLOSE ON A COTTON SWAB as it dabs at a ROUND WOUND.
CAMERA PULLS OUT to REVEAL were 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 shes actually dead) is carefully
exploring the gash in Felix Butlers chest. His body is lying
on a slab next to Josef Addlemans corpse, which Brian and
Jimmy are examining.
Will stands nearby, watching.
WILL GRAHAM
Do these new victims also have
bruising on their shoulders?
Brian nods and moves next to Beverly, to watch her work.
BRIAN ZELLER
This 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 (CONTD)
This guys 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 Felixs chest wound.
Gotcha.

BEVERLY KATZ

BRIAN ZELLER
Is that wood? Was he impaled on a
branch or something?
BEVERLY KATZ
I cant be sure until I test it,
but it sure looks like it.

HANNIBAL

"Aperitivo"

Diane Carol Harder

22.

Jimmy shivers.
JIMMY PRICE
Reminds me of that seen from The
Hand That Rocks The Cradle. You
know, when shes impaled on the
fence? Still gives me the heebie
jeebies, all these years later.
Will looks at him, realizing something.
WILL GRAHAM
Our killers filming his victims.
Or having them film him.
Beverly looks at him, cluing in.
BEVERLY KATZ
That would explain the shoulder
bruising. Theyre wearing chestmounted cameras.
Brian shakes his head.
BRIAN ZELLER
What about this impalement?
Wouldnt the camera have been in
the way?
JIMMY PRICE
Not if he uses those little cameras
- you know - the ones they use for
all the sports videos now?
BRIAN ZELLER
You mean GoPros?
They all look at Jimmy.
JIMMY PRICE
What? I like to watch skateboarding
videos. So sue me.
WILL GRAHAM
Hes doing this for an audience.
But the audience doesnt know its
real.
MATCH CUT TO:

HANNIBAL

"Aperitivo"

Diane Carol Harder

23.

INT. F.B.I. ACADEMY - JACK CRAWFORDS 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 Addlemans response
video begins to play, on mute.
JACK CRAWFORD
Each 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 (CONTD)
And they were all responding as
fans to a new web series theyd
discovered, called Slender Mans
Revenge.
Jack opens a window showing a new video thats been uploaded,
showing Felix and Josefs murders.
JACK CRAWFORD (CONTD)
These videos are property of an
anonymous account, all posted using
the IP addresses of public WiFi
locations, so we still dont know
who this Slender Man is.
He scrolls down the screen, revealing hundreds of comments
with embedded URLs.
JACK CRAWFORD (CONTD)
These fans all think this is fake.
Just entertainment. And theyre
praising its production values.
Jack stops and looks at Will.
JACK CRAWFORD (CONTD)
Hes killing off his fans. Thats
not usually how these things work.
Will shakes his head.
WILL GRAHAM
Our killer identifies with Slender
Man, is trying to become him.
(MORE)

HANNIBAL

"Aperitivo"
Diane Carol Harder
WILL GRAHAM (CONT'D)
And he believes hes doing Slender
Mans fans a favor by allowing them
to participate in making him come
to life.

24.

JACK CRAWFORD
Remind me never to get on this
guys 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 JACOBSONS EYES.
The pupils dilate to the point where the irises are nearly
gone.
REVERSE ANGLE ON Ryans 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 JACOBSONS 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 chefs knife to slice it between its two lobes.
We are --

HANNIBAL

"Aperitivo"

Diane Carol Harder

25.

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 theyre 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.
HANNIBAL
Foie gras al cartoccio, with a port
wine and balsamic vinegar
reduction.
BEDELIA
It looks lovely, Hannibal.
He sets Bedelias 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.
Delicious.

BEDELIA (CONTD)

Next to her, an elbow juts into frame.

HANNIBAL

"Aperitivo"

Diane Carol Harder

26.

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.
HANNIBAL
Cooking 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.
BEDELIA
Following 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: HANNIBALS 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.
HANNIBAL
Yes. 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

"Aperitivo"

Diane Carol Harder

27.

HANNIBAL (CONTD)
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

HANNIBAL

"Aperitivo"

Diane Carol Harder

28.

ACT FOUR
CLOSE ON two eggs being cracked into a frying pan already
cooking bacon and homefries.
CAMERA PULLS BACK TO REVEAL were in -INT. WILL GRAHAMS HOUSE - MORNING
Will stands in his boxers and a t-shirt, sipping coffee and
cooking breakfast.
Theres a bronze statue in the corner that he seems unable to
see. Were back in Hannibals mind palace.
Suddenly, theres 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 GRAHAMS HOUSE - MORNING
As Alana bends to pet the dogs, Will turns back inside.
WILL GRAHAM
(over his shoulder)
Im just about to have breakfast,
if youd care to join me.
Alana smiles to herself and follows him inside.
INT. WILL GRAHAMS HOUSE - MORNING
Will and Alana sit across from each other, eating breakfast.
He notices shes avoiding eating the bacon.
WILL GRAHAM
I had an aversion to meat for a
while, too, after I realized.

HANNIBAL

"Aperitivo"

Diane Carol Harder

29.

Alana puts her fork down.

ALANA BLOOM
I think itll still be a while
before Im ready.
She looks at him.
ALANA BLOOM (CONTD)
I owe you an apology. I should have
listened to you.
WILL GRAHAM
Yes, you should have. But I
understand why you didnt.
ALANA BLOOM
Hannibal was my mentor. Id known
him for much longer than either you
or Jack.
Will looks at her.
WILL GRAHAM
Thought youd known him.
Alana looks down at the table. She nods.
Just then, Wills phone RINGS.
CLOSE ON the screen: Jack is calling.
Will answers.
WILL GRAHAM (CONTD)
Jack. Hello.
He listens for a moment, then looks at Alana.
WILL GRAHAM (CONTD)
Ill 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

30.

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 shes covered in blood, and has a
large red hole where shes been impaled.
Jack steps up next to Will.
JACK CRAWFORD
This is Petra Van Bommel. She
posted a video less than fortyeight hours ago.
WILL GRAHAM
Fast turnaround.
Jack looks at him - was that a joke?
JACK CRAWFORD
Theres no way we can determine who
this guys next victim will be. He
moves too fast.
Will turns away from him.
WILL GRAHAM
Unless 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 CRAWFORD
Weve been following your coverage
of the story, and believe that your
expertise would help us a great
deal with catching Slender Man.
FREDDIE LOUNDS
You want to use me as bait.
Were --

HANNIBAL

"Aperitivo"

Diane Carol Harder

31.

INT. F.B.I. ACADEMY - JACK CRAWFORDS OFFICE - DAY

Those Expressionist paintings are still on the wall. Were
still in Hannibals mind palace.
Jack refuses to break eye contact with Freddie.
JACK CRAWFORD
Not you so much as your writing.
FREDDIE LOUNDS
You want me to come off as a fan of
this web series so Slender Man will
come after me? Id say that makes
me bait.
Will and Alana exchange a glance behind her back. Thats
exactly what they want.
WILL GRAHAM
I thought you loved being a part of
your stories, Freddie.
Freddie turns and looks at him.
FREDDIE LOUNDS
When Im pretty certain they dont
involve my death.
Will smiles.
WILL GRAHAM
Except that one time.
FREDDIE LOUNDS
Well, that was a fake death, after
all.
Jack clears his throat.
JACK CRAWFORD
The F.B.I. will be keeping watch
over you at all times after the
article is published, of course.
FREDDIE LOUNDS
From a distance, though, right?
Jack SIGHS.
JACK CRAWFORD
Tell me what you want me to give
you for this, Freddie. We need it
to happen.

HANNIBAL

"Aperitivo"

Diane Carol Harder

32.

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

FREDDIE LOUNDS
Exclusive access to everything you
have on Hannibal Lecter so far.
JACK
Cant do that.
information is
jeopardize our
him.

CRAWFORD
Some of the
sensitive and could
future capture of

Freddie sits back in her chair.

Jack leans forward in his.
JACK CRAWFORD (CONTD)
But we might be able to give you
some access.
OFF Freddies slowly growing grin...
MATCH CUT TO:
RYAN JACOBSONS 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 Freddies 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 -- Hannibals 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

33.

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.
CAMERA PULLS OUT to REVEAL we are -EXT. HANNIBAL LECTERS 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 CRAWFORD
Go 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 Jacks watching, then puts it on
before going inside.
INT. JACK CRAWFORDS 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 CRAWFORD
Go! 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 shes actually dead) - emerging from the
shadows all around him and swarming behind him.

HANNIBAL

"Aperitivo"

Diane Carol Harder

34.

INT. HANNIBAL LECTERS 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.
Stop!

JACK CRAWFORD

Slender Man stops and puts his hands up.

JACK CRAWFORD (CONTD)
Turn around!
Slowly, the figure before Jack turns to face him.
BUT WHEN HE DOES, ITS ACTUALLY HANNIBAL.
END OF ACT FOUR

HANNIBAL

"Aperitivo"

Diane Carol Harder

35.

ACT FIVE
INT. HANNIBAL LECTERS 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.
Beverly!

BRIAN ZELLER

Jack looks, slowly, toward the shadow in the corner -WHICH HAS NOW EXPANDED IN THE DARKNESS TO BECOME -INT. OBSERVATORY - NIGHT
BEVERLY KATZS 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 LECTERS HOUSE - KITCHEN - NIGHT
The scene is the same from Jacks 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 Jacks 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

36.

CLOSE ON HANNIBALS FACE

ALANA BLOOM (O.S.)
Hannibal...
(then clearer)
Hannibal.
Hannibal turns to see Alana.
CLOSE ON ALANAS FACE
Another look of betrayed wonderment.
MATCH CUT TO:
EXT. HANNIBAL LECTERS HOUSE - NIGHT
Its the moment when Alana is falling from the upstairs
window of Hannibals 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.
HANNIBAL
Hello, Will.
He turns, and suddenly we are -INT. HANNIBAL LECTERS HOUSE - KITCHEN - NIGHT
Will and Abigail Hobbs stand, looking at him. Its the final
moments of episode #213 again.
WILL GRAHAM
You were supposed to leave.
HANNIBAL
We couldnt leave without you.
He embraces Will, warmly welcoming him with open arms.
But this time, Hannibal hesitates.
He leans into Wills ear.

HANNIBAL

"Aperitivo"
Why?

Diane Carol Harder

37.

HANNIBAL (CONTD)

But Will doesnt answer.

Theres the FLASH of metal as Hannibals 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 Mischas face as she looks up at Hannibal, her eyes
full of betrayal but unable to speak.
SNOW begins to fall and cover her.
CAMERA PULLS OUT to REVEAL we are -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 Beverlys bodies are in there, too.
CLOSE ON HANNIBAL as he watches his sister taking her last
breaths.
Hannibal.
(beat)
Hannibal.

BEDELIA (O.S.)

Hannibal turns, and there is suddenly a LARGE, ORNATE DOOR in

front of him.
He walks through, and immediately finds himself inside -INT. HANNIBALS 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

38.

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.
Hannibal?

BEDELIA (O.S.)

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.
BEDELIA
Are 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 GRAHAM
Do 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.

HANNIBAL

"Aperitivo"

Diane Carol Harder

39.

Then the sound of a ventilator: KERSHICK-KERSHICK.

MASON VERGER (O.S.)
Margot dear, Im bored.
CAMERA emerges from the DARKNESS into -INT. VERGER ESTATE HOUSE - MASONS BEDROOM - DAY
MARGOT VERGER leans over her brother MASONs bed, THE EEL
still swimming in its tireless loop in the background.
MARGOT VERGER
Would you like me to read you
todays stock results?
Mason can only breathe with disdain.
MASON VERGER
No, thank you, thats ever so kind.
He takes a labored breath.
MASON VERGER (CONTD)
I was thinking more along the lines
of having a visitor.
Margot sits down.
MARGOT VERGER
You cant have visitors right now,
Mason. You know what the doctor
said.
MASON VERGER
Well, fine then, spoil sport. But
then Id like to make a phone call.
Margot gives him some side eye.
MARGOT VERGER
I suppose thats okay.
MASON VERGER
Through the private line.
Margot reacts with surprise.
MARGOT VERGER
Why do you need the private line?
MASON VERGER
Thats PRIVATE, Margot.

HANNIBAL

"Aperitivo"

Diane Carol Harder

40.

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 PAZZI
Mi scusi, Mrs. Fell, but is the
good Doctor Fell in?
OFF Bedelias 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 GRAHAMS ROOM - DAY
In the bed lies Will, hooked up to a bunch of machines, and
with a breathing tube down his throat. Hes clearly been in
an induced coma state for a while.

HANNIBAL

"Aperitivo"

Diane Carol Harder

41.

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.
Nurse!

FREDDIE LOUNDS

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

END OF EPISODE