Executive Producer: Bryan Fuller

Executive Producer: Martha De Laurentiis

Executive Producer: Steve Lightfoot
Executive Producer: Chris Brancato
Consulting Producer: Jesse Alexander

Sakizuke

Written by
Jeff Vlaming
and
Bryan Fuller

Directed by
Tim Hunter

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Based on the characters created by

Thomas Harris

Episode #202

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Final Shooting Script

PROPERTY OF:
GAUMONT INTERNATIONAL TELEVISION LLC

2014

CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE
PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR
WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC.

HANNIBAL
"Sakizuke"
TEASER
EXT. GRAIN SILO - NIGHT
Establishing.

CAMERA PROWLS as it PUSHES IN.

INT. GRAIN SILO - NIGHT

A SRI LANKAN MAN, dead clouded eyes staring, lies on his
side, naked in a pronounced question-mark posture.
And he appears to SHUDDER... because the CORPSE SEWN SNUGLY
along the length of his back is MOVING AS WELL. But the
rejuvenation is an illusion, their movement created by -ROLAND UMBER
Alive, last seen coming to consciousness in Ep. #201,
desperately trying to free himself from this nightmare.
The flesh of his left side, like the bodies around him,
shines with a coat of RESIN. But his legs, torn and
bleeding, have been pulled free from the stitching.
Only his arm stays anchored to the corpse beside him. With a
determined YANK, STITCHES SNAP, FLESH TEARS and Roland
SCREAMS. The cry soars up into the huge cylinder hes in.
But Roland Umber is free.
EXT. FARMYARD - GRAIN SILO - NIGHT
The SILO DOOR shakes and rattles against the paddle lock
securing it closed. Finally, bolts pop and the door swings
open, Roland Umber stumbling out into the night.
The night is dark, moonless, and all he can see are the dark
shapes and shadows of an old shed building and the hulking
corpses of old machinery and cars. The exterior of the silo
feels derelict, a junkyard, bounded by the whispering
blackness of a cornfield.
CAMERA FOLLOWS close behind Roland Umber who moves as best as
his resin-coated skin and his injuries allow. His head
swivels, searching, and then his EYES SQUINT at what looks
like the distant blinking lights of civilization. But it is:
HEADLIGHTS
Suddenly, Roland is fixed in their glare, blinded and
bewildered. Puts an arm to his eyes to shade them.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

ROLAND UMBER
Blazing headlights suddenly hurtle toward him.

He runs for:

THE LABYRINTH OF ABANDONED CARS

The PICKUP races toward him. As Roland dives behind old
metal, the pickup skids to a halt. The BRIGHT SPOTLIGHTS
aimed at the junkyard, transforming it into a contrasting
field of bright light and black shadows.
Roland Umber hunkers down behind a rusted-out car.
CAMERA FINDS the pickup as the drivers door clunks open and
the KILLER steps out, loading a rifle. He walks in front of
his own headlights, scanning the junkyard in silhouette.
ON ROLAND
Behind him, the eye of the flashlight travels across the
empty cars, searching. He climbs inside an unlocked TERCEL,
narrowly escaping the BEAM of his Pursuer's torch.
CAMERA FOLLOWS THE PURSUER
Winding through cars, led by his flashlight shining on the
Tercel's AERIAL ANTENNA which still SHUDDERS. The Pursuer's
hand grasps the car door handle, WRENCHES it open -- and we
see the OPPOSITE DOOR IS OPEN. Roland Umber is gone.
Suddenly, the Killer swings round -- FLASHLIGHT flaring out
the LENS -- cornstalks still swinging where someone brushed
through them...
ON ROLAND
The cornstalks tight and ominous around him. Breathless, he
watches as the FLASHLIGHT sweeps the corn, then points at him.
He bolts, running away through the rows of corn.
OPEN FIELD
Roland Umber bursts out of the stalks and RUNS across the
open field, headed for a line of TREES.
ON THE CORNSTALKS
The Pursuer emerges from the rows and raises his gun.
THROUGH THE SCOPE
The CROSSHAIRS find Roland as he nears the line of trees.

2.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

ON ROLAND UMBER
He is about to enter the COVER OF TREES. P'KEET! A SHOT
rings out and a nearby tree is hit by a bullet, spraying bark.
Roland keeps charging forward and disappears in the woods.
EXT. WOODS - NIGHT
Roland Umber STUMBLES blindly through the trees, a BOBBING
FLASHLIGHT searches for him in the background. Branches
CLACK and CRACKLE off his coated skin. Then, a NOISE ahead -a RUSHING SOUND. Cars? Irrigation of a family farm?
From behind, a sound hes certain of: his Pursuer closing in.
A glance over his shoulder and the FLASHLIGHT BEAM confirms.
Roland Umber runs faster. CAMERA TRAILS BEHIND and we see
trees ahead THINNING. He finds a reserve of speed, buoyed by
the road or freeway or farmhouse that could lie ahead.
THE REVERSE SIDE OF THE TREES
Roland Umber emerges from the thicket of trees and DROPS
ABRUPTLY OUT OF FRAME.
POP WIDE
Roland Umber falls off a cliff's edge, hitting an outcropping
of rock and ricocheting off of it.
Gravity delivers his body to the river, where the current
takes hold of it and CARRIES IT DOWNSTREAM.
Above him, the Pursuer appears at the trees' edge, hidden by
the flashlight's HALO, searching the embankment in vain.
WILL GRAHAM (V.O.)
(pre-lap)
I've lost the plot.
FADE IN:
ON WILL GRAHAM
As CAMERA PUSHES IN:
WILL GRAHAM
I'm the unreliable narrator of my
own story.
CAMERA reveals we are --

CUT TO BLACK.

3.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

INT. BSHCI - THERAPY HALL - DAY

Will sits across from HANNIBAL and ALANA BLOOM, who stand
behind a white line on the stone floor. Despite the defiance
Will showed Hannibal when he last visited, he is more civil.
He appears wrung-out. Haunted.
WILL GRAHAM (CONTD)
I'm trying to place myself
somewhere in the frame of my mind
and I have no bearings. No
landmarks to tell me who I am.
You
are
are
are

ALANA BLOOM
have an incomplete self. We
who we are in the now and we
the sum of our memories. There
pieces of you... you can't see.

Will chews on his words before muttering:

WILL GRAHAM
I'm afraid to see. I don't know
who I am anymore and I'm afraid.
HANNIBAL
Without remembering, you're seized
by something imagined. It has the
brilliant immediacy of a childhood
fantasy and is just as real.
Will hangs his head, trying to contain his emotions.
WILL GRAHAM
I don't know what's worse.
Believing I did it or believing you
did it... and did this to me.
He finally glances up at Hannibal, eyes brimming.
ALANA BLOOM
Hannibal's not responsible, Will.
And neither are you. We have to get
to the truth of what happened. It's
the only way you can move forward.
Will forces himself to confront despite overwhelming emotion.
WILL GRAHAM
(to Hannibal)
I felt so betrayed by you. All that
felt real to me was the betrayal. I
trusted you. I needed to trust you.

4.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

HANNIBAL
You can trust me.
Will winces, feeling the burn of wanting to believe Hannibal.
WILL GRAHAM
I'm... very confused.
Of course
perceived
effect on
rock into

ALANA BLOOM
you are. Ideas and
experiences have the same
our minds as tossing a
a pond. It all ripples.

HANNIBAL
Let us help you, Will.
(then)
Let me help you.
Will clenches, holding his feelings at bay as he admits:
WILL GRAHAM
I need your help.
He's finally overcome with the emotion and can no longer hold
back the tears now running down his cheeks.
OFF Alana watching helplessly, Hannibal watching curiously...
INT. BSHCI - CELL BLOCK - DAY
Will is led in shackles down the long corridor by a GUARD and
a NURSE. Will's head is hung low, clearly still emotional
from the confessional meeting with Hannibal and Alana Bloom.
INT. BSHCI - WILL GRAHAM'S CELL - DAY
The door CLANGS shut and the guard and nurse step away.
CAMERA PUSHES IN ON Will weeping quietly as the guard's
footsteps recede down the hall and end with a CLOSED DOOR.
Once alone, Will's weeping ceases almost immediately. OFF
his face going cold and calculating... a game is afoot.
CUT TO BLACK.
END OF TEASER

5.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

ACT ONE
INT. HANNIBAL LECTER'S OFFICE - WAITING ROOM - DAY
CAMERA PUSHES IN ON BEDELIA DU MAURIER lost in pensive
thought as she waits. Finally, Hannibal OPENS the door.
HANNIBAL
This is a pleasant surprise.
BEDELIA DU MAURIER
May I come in?
INT. HANNIBAL LECTER'S OFFICE - DAY
Dr. Du Maurier ENTERS, followed by Hannibal. She takes in the
space. She smiles faintly, something clearly on her mind.
Please.

HANNIBAL
Sit.

She doesn't.
BEDELIA DU MAURIER
I won't be staying long.
HANNIBAL
I'm curious. What couldn't wait
until our next session?
BEDELIA DU MAURIER
We don't have a next session.
(off his look)
I'm no longer your therapist.
Hannibal pauses, an imperceptible wound.
HANNIBAL
May I ask why?
BEDELIA DU MAURIER
I reached the limit of my efficacy.
I don't believe I can help you.
HANNIBAL
(wry)
Are you giving me a referral?
BEDELIA DU MAURIER
I'm not. I'm just ending our
patient-psychiatrist relationship.
HANNIBAL
You tried to end it before.

6.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

BEDELIA DU MAURIER
I'm grateful for your persistence
with engaging me after my attack.
However, in light of all that's
happened with Will Graham, I've
begun to question your actions.
Particularly, your past actions
with regards to me. And my attack.
HANNIBAL
Did you share these questions with
Jack Crawford?
BEDELIA DU MAURIER
No. Nor am I going to. I would
look just as guilty as you. And
perhaps that's what you intended.
HANNIBAL
What exactly am I guilty of?
BEDELIA DU MAURIER
Exactly, I can't say. I had to draw
a conclusion from what I glimpse
through the stitching of the person
suit you wear. And the conclusion
I've drawn is... you are dangerous.
HANNIBAL
I'm sorry you feel that way.
She studies him one last time, then:
BEDELIA DU MAURIER
Please don't come to my home again.
(then)
I'll show myself out.
She moves to the door, opens it.

Before she steps through:

HANNIBAL
I'm resuming Will Graham's therapy.
BEDELIA DU MAURIER
To what end? Besides your own.
HANNIBAL
He asked for my help.
BEDELIA DU MAURIER
Then maybe you deserve each other.

7.

HANNIBAL Ep. #202 "Sakizuke"

And with that, she EXITS.

FINAL DRAFT

09/25/13

OFF Hannibal...
CUT TO:

INT. BAU - MORGUE - DAY

Roland Umbers body lies on a slab. BEVERLY speaks across it
to JACK CRAWFORD. JIMMY PRICE and BRIAN ZELLER are there.
Hannibal is there as well, silent and observing.
JIMMY PRICE
His name is Roland Umber. Has the
same profile as the other victims.
Lived alone, disappeared from home,
large dose of heroin in his system.
Zeller leans forward to see around Hannibal.
BRIAN ZELLER
Only major difference is the eyelet
punctures are all uniformly torn.
He indicates the torn punctures on Roland Umber's body.
JACK CRAWFORD
This victim wasn't unstrung. He
was ripped from his moorings.
HANNIBAL
Whatever his imperfection, it was
enough to aggravate the killer into
tearing him down.
BEVERLY KATZ
He was discarded in a tributary
four hundred miles away from
anything that feeds into the dam
where the first victims were found.
HANNIBAL
Like dandelion seeds, casts bodies
in every direction but his own.
Leaning forward, Zeller finds Hannibal is in his way again.
Hannibal steps back and bumps into Beverly.
BRIAN ZELLER
We know they're dead when they hit
the water. Their lungs are dry.
But the buffeting in the current
causes so many postmortem injuries,
you can't tell them apart from the
ones they got when they were alive.

8.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

Beverly gently guides Hannibal to a more strategic spot.

BEVERLY KATZ
Stand here, please.
HANNIBAL
There may be trace evidence
preserved in the craquelure.
The what?

JACK CRAWFORD

Hannibal points to a series of TINY CRACKS IN THE RESIN.

HANNIBAL
It's French for the cracks that
appear on an oil painting as it
drys and becomes rigid with age.
(off their looks)
Cracks are not always weaknesses.
A life lived accrues in the cracks.
BEVERLY KATZ
Could be something in there. Fiber,
debris, might help track where the
bodies were before they got dumped.
Jack is still puzzled by:
JACK CRAWFORD
What do the victims have in common?
Beverly displays the victims' PHOTOGRAPHS on a table.
BEVERLY KATZ
What if it isn't what they have in
common. What if it's what makes
them... different.
On the table, the victims PHOTOGRAPHS -- and Roland Umber's -are arranged as Will did to feature the victims as -BEVERLY KATZ (CONTD)
Each of these people has a slightly
different flesh tone. It could be
like a color palette.
Jack, Jimmy and Brian stare at Beverly, not sure where she's
going. But Hannibal is. He nods, thinking.

9.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

HANNIBAL
The color of our skin is so often
politicized, it would almost be
refreshing to see someone revel in
the aesthetic for aesthetic's sake.
If it weren't so horrific.
(then)
We're supposed to see color, Jack.
That may be all this killer has
ever seen in his fellow man. Which
is why it's so easy for him to do
what he does to his victims.
BEVERLY KATZ
Which is why there will be a lot
more bodies on his color palette.
HANNIBAL
(to Beverly)
A fascinating insight, Ms. Katz.
It's as if Will Graham himself were
here in the room with us.
Jack turns his scrutiny from the photos to Beverly herself.
JACK CRAWFORD
Yes, it is.
INT. BAU - JACK CRAWFORDS OFFICE - DAY
Beverly sits facing Jack who stands, gazing out his window.
JACK CRAWFORD
How's Will Graham?
She opens her mouth to answer, but before she can:
JACK CRAWFORD (CONTD)
Shut your mouth.
(then)
Is there a reason you didn't come
to me before talking to him?
BEVERLY KATZ
I figured you'd say no.
JACK CRAWFORD
You figured correctly.
BEVERLY KATZ
But I knew you'd want to say yes.
JACK CRAWFORD
You knew that?

10.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

BEVERLY KATZ
You put me in an awkward position,
Jack. I had to go because I knew
you wouldn't. If you had gone like
you wanted, I wouldn't have had to.
(then)
Why didn't you?
Jack stares at Beverly, then decides to remain calm.
JACK CRAWFORD
Because Will Graham is either
delusional or a psychopath, neither
of which I can trust.
BEVERLY KATZ
Fine. So don't trust him.
listen to him.

Just

JACK CRAWFORD
I'm listening. This is what I hear.
If he is delusional, I made him that
way. If he is a psychopath, then
everything in my gut is wrong.
She watches him, absorbing everything he's said.
BEVERLY KATZ
You think he's innocent.
JACK CRAWFORD
I don't know what I think.
She's not intimidated and responds evenly:
BEVERLY KATZ
I think he still wants to save
lives. That's what I think.
JACK CRAWFORD
Ive bent rules here in the name of
trying to save lives. But there is
an internal investigation. I am
under a microscope. The Office of
the Inspector General has ordered a
psych evaluation to determine my
competency to sit in that chair.
BEVERLY KATZ
I'm sorry, Jack.
(then)
What do you want me to do? If you
don't want me to go back, I won't.

11.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

Jack glances around his office, heaves a deep sigh and

gathers his thoughts. Finally:
JACK CRAWFORD
We didn't have this conversation.
And since we didn't have this
conversation, you should do what
you believe it is your job to do.
(then)
Do you know what your job is?
Yes, I do.

BEVERLY KATZ

JACK CRAWFORD
Then do it.
CLOSE ON A SPIDERWEB OF CRACKS
In what appears to be a smooth, glazed terra cotta surface.
CAMERA PULLS BACK to reveal we are -INT. BAU - EVIDENCE PROCESSING - NIGHT
Hannibal stands over Roland Umber's body. At the back of the
room, Price and Zeller are busy at work. Hannibal swings a
metal arm holding a magnifying lens and asks:
HANNIBAL
(re: the lens)
May I?
BRIAN ZELLER
Knock yourself out.
ON HANNIBAL
His eyes drift back to the CRACKS IN THE RESIN-COATED SKIN.
A notion floats behind his eyes and takes purchase.
He leans in and very inconspicuously SMELLS the craquelure on
the corpses wrist without drawing anyone's attention.
CLOSE ON HIS NOSTRILS
They flare as he draws its scent.
EXTREME CLOSE ON THE CRAQUELURE
CAMERA MOVES OVER THE CRACKS IN THE RESIN, almost as if an
alien landscape. Suddenly, the chemical compounds that
create the scent become VISIBLE, forming TINY SPROUTS in the
cracks of the resin that begin to grow.

12.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

As CAMERA PUSHES IN TO MICRO-FOCUS, the sprouts transform

into a dense row of tall STALKS OF CORN.
MATCH CUT TO:
EXT. CORNFIELD - DAY
CAMERA MOVES OVER THE CORNFIELD until it finds a clearing.
Hannibal stands in front of the morgue table displaying
Roland Umber's body, surrounded by acres and acres of corn.
MATCH CUT TO:
INT. BAU - EVIDENCE PROCESSING - NIGHT
Hannibal stands upright after being bent over the body,
looking through the magnifying lens. He considers the
craquelure of the corpse and smiles almost imperceptibly.
END OF ACT ONE

13.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

ACT TWO
INT. BSHCI - THERAPY HALL - DAY
CAMERA CRAWLS TOWARD AND OVER the THERAPY CAGES to find
Hannibal running his shoe over the line of tape on the floor.
Will sits on a stool in the belly of his own therapy cage. He
has resumed his act of wounded bird and it remains authentic.
HANNIBAL
I've been advised to stay on this
side of the white line.
WILL GRAHAM
Select patients have taken to
urinating on the therapists.
(off his look)
The stone youre standing in front
of? If it were wood, itd be warped.
HANNIBAL
I would argue, drawing a line might
encourage a pissing contest.
WILL GRAHAM
I'm not interested in a pissing
contest with you, Dr. Lecter.
Please. Pull up your chair.
Hannibal scoots his chair across the white line and sits.
HANNIBAL
You said the light from friendship
won't reach us for a million years,
that's how far away we were. I hope
our friendship feels closer today.
WILL GRAHAM
Friends have a symmetrical
relationship. Psychiatrist and
patient, that's unbalanced.
HANNIBAL
There is a power differential
between psychiatrist and patient.
One that I'm well aware of,
particularly with my own therapist.
WILL GRAHAM
But we're just having conversations.
Hannibal smiles, seeing a glimpse of the old Will Graham.

14.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

HANNIBAL
You threatened me with a reckoning.
WILL GRAHAM
I did. I can't claim
unconsciousness on that one.
HANNIBAL
You were searching for something in
your head to incriminate me. I can
only assume you didn't find it.
WILL GRAHAM
Not much in there I recognize.
HANNIBAL
Whatever you remember, if you do
remember, will be a distortion of
reality. Not the truth of events.
WILL GRAHAM
I'm realizing that.
Hannibal studies Will, inscrutable as to what he sees.
HANNIBAL
Beverly Katz has come to see you.
Yes.

WILL GRAHAM

HANNIBAL
Does she show you pictures?
Yes.

WILL GRAHAM

HANNIBAL
Wouldn't want Alana Bloom to worry
you're dwelling on anything morbid
in what's to be a time of recovery.
WILL GRAHAM
It's the only thing that feels
normal.
HANNIBAL
The violence?
WILL GRAHAM
The structure of understanding the
violence. That feels normal.

15.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

HANNIBAL
You're missing pieces of yourself.
Careful what you replace them with.
(then)
What did you see in the pictures?
WILL GRAHAM
This killer. He's not stringing
his victims up. He's stitching
them together. Every body is a
brushstroke. He's making a human
mural.
HANNIBAL
Why does he do it?
WILL GRAHAM
He's missing pieces, too.
ON JACK CRAWFORD
He listens to a MAN'S VOICE, who calmly advises:
DR. DEY (O.S.)
An "evaluation" measures worth.
CAMERA PULLS BACK to reveal we are -INT. DR. DEYS OFFICE - DAY
No somber hues of Hannibals office or the modern simplicity
of Bedelias. This office exudes austere civil service.
DR. ADAM DEY, the Bureau psychiatrist, faces Jack. He begins
the psych review session like dozens preceding this one.
DR. DEY (CONTD)
Anxiety on your part is expected.
JACK CRAWFORD
I'm not anxious. I'm actually very
curious what you have to say about
my state of mind and my competency.
DR. DEY
I'd be anxious if I were you.
JACK CRAWFORD
Because most psychiatrists in your
position are compelled to reduce
patients to items on a checklist?
Yes.

DR. DEY

16.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

JACK CRAWFORD
I'm here as much to better
understand myself as I am to be
evaluated by you.
DR. DEY
That's refreshing. Most people
sitting in that chair don't
appreciate the process.
JACK CRAWFORD
The scrutiny of others has never
made me uncomfortable.
DR. DEY
And the empathy of others?
does that make you feel?

How

Jack studies him -- whose empathy is he referring to?

JACK CRAWFORD
I don't mistake understanding for
empathy. I realize somebody can
understand me without knowing me.
Not easy to know another person.
DR. DEY
It's often easier to understand
someone if you don't know them.
(then)
How well did you know Will Graham?
JACK CRAWFORD
Before I shot him or after?
Yes.

DR. DEY

JACK CRAWFORD
Before I shot him, I thought I knew
him pretty well. I thought he was
my friend. After I shot him, I
wondered if I ever knew him at all.
DR. DEY
You weren't prepared for that.
JACK CRAWFORD
I was trained to prepare instincts,
reactions, gestures, get them by
heart so I could act even when I am
uncertain, even when I have doubt.

17.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

DR. DEY
Have you prepared yourself for Mr.
Graham's criminal trial?
JACK CRAWFORD
Now that I am anxious about.
DR. DEY
I understand the prosecution will
be seeking a federal death penalty.
JACK CRAWFORD
That's what's got me anxious. I'm
afraid Will Graham is going to die
and I still won't know who he is.
Dr. Dey's silence encourages Jack to continue.
JACK CRAWFORD (CONTD)
The last act of certainty I had
regarding Will was shooting him.
It was the only thing I could do in
that moment to help him. I haven't
been able to help him since.
INT. BSHCI - WILL GRAHAMS CELL - DAY
Beverly stands on the other side of the bars, holding an
abridged file of photographs and forensic data.
WILL GRAHAM
Dr. Lecter has advised me against
dwelling on anything morbid.
BEVERLY KATZ
I know you want to stop these
murders as much as I do.
WILL GRAHAM
Reasons to stop multiple murders do
occur readily to me, but I'm going
to need something in return.
Beverly stares at Will, curious what game he's playing.
BEVERLY KATZ
There are things you don't have.
can talk to the chief of staff.
Chilton?

WILL GRAHAM

BEVERLY KATZ
He's being very cooperative.

18.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

WILL GRAHAM
Of course he is. He loves when I
have visitors. He's recording
every word. He's gossipy that way.
BEVERLY KATZ
What do you want, Will?
WILL GRAHAM
I'm wondering if you can get me the
thing I really want.
Try me.

BEVERLY KATZ

WILL GRAHAM
I want you to ignore all the
evidence against me.
BEVERLY KATZ
You're right. I can't get that.
WILL GRAHAM
How many more colors is this killer
going to add to his box of crayons?
BEVERLY KATZ
Say I were to ignore the evidence
against you, what then?
WILL GRAHAM
Strike it from your mental record.
Start over. If I'm guilty, you'll
find more evidence. If I'm not
guilty, maybe you'll find that too.
All right.

BEVERLY KATZ
I'll keep looking.

WILL GRAHAM
Good. Let me have the file then.
I'll tell you what I think.
Beverly puts the file in a tray, slides it through the bars.
WILL GRAHAM (CONTD)
Do you mind if I do this privately?
Yes.

BEVERLY KATZ

She places the folding chair against the opposite wall, sits.

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ON WILL
He rips the envelope open, leaving torn edges where the
staples were. He shakes BAU PHOTOS out of a padded envelope.
Shots of Roland Umber at BAU. Will glances at Beverly
through the bars and returns his attention to the pictures.
Will focuses on the photos and he CLOSES HIS EYES.
A long beat before the AMBIENT CELL BLOCK SOUNDS are replaced
as the DRONE of Wills BLOOD FLOW presides.
He OPENS HIS EYES, glancing down at the photo in his hands,
of Roland Umber's wounds. He lowers the photo to reveal
Roland Umber on a metal table. We are -INT. BAU - MORGUE (HEIGHTENED STATE OF WILL'S MIND)
The environment is wrapped in shadow and mood. Will now
stands over Roland Umber's corpse on a metal table, Beverly
behind him on the other side of the glass wall. Will stares
at the RAGGED WOUNDS WHERE FLESH TORE AWAY FROM STITCHING.
WILL GRAHAM
Skin isn't as discolored as the
other victims'. Looks fairly wellpreserved, all things considered.
(to the corpse)
Why would I throw you away?
INTERCUT WITH:
INT. BSHCI - WILL GRAHAM'S CELL (OMNISCIENT POV)
CAMERA FOLLOWS WILLS GAZE to the ENVELOPE the photos came
in. Its end had been STAPLED SHUT, but when it was opened
and where the staples were removed, THE PAPER IS TORN.
WILL GRAHAM
Did Roland Umber have any priors
with substance abuse?
Beverly watches Will standing in the middle of his cell, as
if he's in the BAU, his back to her in the corridor.
BEVERLY KATZ
He was in an outpatient treatment
program for drug addiction.
Heroin?

WILL GRAHAM

BEVERLY KATZ
Among others.

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ON WILL GRAHAM - BAU (HEIGHTENED STATE OF HIS MIND)

Will studies poor Roland Umber, dead on the slab.
WILL GRAHAM
Had a high tolerance for opiates,
the overdose didn't kill him. He
survived what was done to him.
(then)
He tore himself free. He ran.
END INTERCUT.
INT. BSHCI - WILL GRAHAM'S CELL - DAY
Will finally turns to face Beverly.
BEVERLY KATZ
How did he end up in the water?
WILL GRAHAM
Killer didn't put him there. He'd
have put him back in the mural if
he caught him. Other bodies were
dumped. Roland Umber got away.
BEVERLY KATZ
Got away from where?
WILL GRAHAM
This killer needs someplace private
to do what he does. A warehouse, a
farm, someplace abandoned, upstream
from where the body was found.
It'll be close to the water.
Thank you.

BEVERLY KATZ

WILL GRAHAM
I'm curious. What'd Hannibal Lecter
have to say about Mr. Umber?
BEVERLY KATZ
He thinks the killer tore him down,
dumped his body like the others.
WILL GRAHAM
That may be what he said, but not
necessarily what he thinks.
A ROW OF CORN
CAMERA PUSHES THROUGH the stalks to find:

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EXT. FARMYARD - GRAIN SILO - DUSK

A GRAIN SILO looms behind, a royal sentry in a bearskin hat.
Hannibal, his CLEAR PLASTIC SUIT over his traditional threepiece, crosses the property. He walks along the field of
corn, toward the grain silo.
He approaches the silo and regards a steep METAL STAIRCASE on
its outer wall, leading to a silo opening twenty feet up.
Hannibal sees mud clumped on the lower steps -- STILL MOIST.
Hannibal turns his gaze UPWARD from the locked door and
begins to climb the metal staircase.
Hannibal reaches the upper opening. He steps into the silos
upper catwalk AS CAMERA FOLLOWS OVER HIS SHOULDER to see...
INT. GRAIN SILO - CONTINUOUS
...the TRUE ORDER in the carnage on the silo floor. SEEN FROM
ABOVE, the mass grave reveals its intended form and purpose:
The bodies, with their variety of shades and positioning,
form a UNIFIED PICTURE -- the image of a huge, GLOWERING EYE.
A stern, unblinking representation frozen in resin and death.
HANNIBAL
Sees LIGHT come through the lower opening. A man -- THE KILLER
-- enters with a lantern and a resin tank with a spray wand.
Hello.

HANNIBAL

CAMERA ANGLING UP
From the silo floor and behind the Killer who spins to see
Hannibal in his plastic suit, watching from above.
CLOSE ON HANNIBAL with the utmost sincerity:
HANNIBAL (CONTD)
I love your work.
CUT TO BLACK.
END OF ACT TWO

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ACT THREE
A PANEL TRUCK PULLS TO A STOP
Not an ambulance. On its side: "MONTGOMERY COUNTY CORONER" lit
by the strobe of PULSING RED-AND-BLUE POLICE LIGHTS.
CAMERA FINDS a SECOND TRUCK -- "FREDERICK COUNTY CORONER"... a
third: "CARROLL COUNTY CORONER." Beyond it, "HOWARD COUNTY."
WIDEN FURTHER to see we are -EXT. FARMYARD - DAY
A full-blown crime scene, populated by considerable local and
state police presence. FBI PERSONNEL work amongst them.
BODY BAGS have been lined up. Each pile flapping in the wind,
weighted down with a heavy stone, ready to be filled.
ON BEVERLY AND HANNIBAL
They approach the silo, navigating around the CRIME SCENE
PERSONNEL and between waiting rows of body bags.
BEVERLY KATZ
You and Will Graham are a good team.
You gave us the "what" we were
looking for. He gave us the "where."
(off his look)
Corn dust in the craquelure.
HANNIBAL
And Will's insight?
BEVERLY KATZ
He didn't think Roland Umber was
discarded. He escaped. We just
had to go upstream from where his
body was found until we hit corn.
HANNIBAL
We do make a good team.
They approach Jack Crawford near the silo and Beverly hands
Hannibal off. Jack hands Hannibal crime scene gloves.
JACK CRAWFORD
Dr. Lecter. Follow me. Might want
to prepare yourself. You haven't
seen anything like this before.
HANNIBAL
I'm sure I haven't.

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INT. GRAIN SILO - DAY

CAMERA LEADS Jack and Hannibal inside, MOVING ACROSS the
expanse of bodies like dunes of sand made flesh. Hannibal
takes in the magnitude of the horrific display. Jack turns
to see him staring, genuinely awestruck.
JACK CRAWFORD
How can being human go so bad?
HANNIBAL
When it comes to nature versus
nurture, I choose neither. We are
built from a DNA blueprint and born
into a world of scenario and
circumstance we don't control.
JACK CRAWFORD
Praise the mutilated world.
I do.

HANNIBAL

Hannibal glances around, up into the ceiling, wondering:

HANNIBAL (CONTD)
What does it look like from above?
Jack hands him an iPad. On it, a DIGITAL PHOTOGRAPH reveals
the human mural from above. It's very clearly an eye.
HANNIBAL (CONTD)
Fascinating.
JACK CRAWFORD
This feels ritual. In the vicinity
of voodoo. Is it human sacrifice?
HANNIBAL
I'm not sure if it's an offering,
but it's certainly a gesture.
To who?

JACK CRAWFORD

Turning to the human mural, Hannibal points to the CAUCASIAN

MAN in the fetal position at the center of the brown iris,
one leg tucked under the other as if it has been amputated at
the knee. We will call him the REFLECTED MAN.
HANNIBAL
The eye looks beyond this world,
into the next, and sees the
reflection of man himself.
(MORE)

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HANNIBAL (CONT'D)
Is the killer looking at God? A
challenge of equals? "I can be as
terrible as you. I can take and I
can create."
JACK CRAWFORD
Sounds like human sacrifice to me.
HANNIBAL
Not to appease, but to defy.
JACK CRAWFORD
Is it an existential crisis?
HANNIBAL
If it were an existential crisis, I
would argue there wouldn't be any
reflection in the eye at all.
JACK CRAWFORD
Someone who could do this... are
they likely to keep doing it?
HANNIBAL
This could be his beginning and/or
his end.
JACK CRAWFORD
You said he doesn't see people.
sees... material.

He

HANNIBAL
Those in the world around him are a
means to an end. He uses them to
do what he is driven to do.
ON JACK
As he considers Hannibal's words, we PRE-LAP:
JACK CRAWFORD (V.O.)
Will Graham was a means to an end.
I used him. To do what I was
driven to do. I saved lives...
INT. DR. DEYS OFFICE - DAY
Jack sits facing his OIG therapist, Dr. Dey.
JACK CRAWFORD
...at the expense of his. I
thought anything I could put Will
through, he would fight his way
back to himself, but I was wrong.

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DR. DEY
Maybe he's still fighting.
JACK CRAWFORD
Maybe he's not.
DR. DEY
Point is, you don't know. It's
okay to not know. Can't know
everything. You can't be certain
of it all.
JACK CRAWFORD
Knowing that Will descended into
such savage behavior... changed the
way I see him. The way I see
people. The world feels darker.
DR. DEY
And you're worried who else in your
life could change so drastically?
JACK CRAWFORD
I'm feeling guilty, not paranoid.
DR. DEY
You can't take responsibility for
someone else's actions.
JACK CRAWFORD
I'm not. It's not just the guilt
of what I did to Will Graham, it's
the guilt of watching so many lives
fall apart because of what I did.
DR. DEY
What did you do?
JACK CRAWFORD
I pushed him. When I was warned to
stop, I kept pushing.
DR. DEY
You miscalculated.
I failed.

JACK CRAWFORD

DR. DEY
This's our second session. I rarely
see a patient a third time. I work
a tic sheet, write up my findings
and that chair empties.
(MORE)

09/25/13

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DR. DEY (CONT'D)

I only learn how accurate my
evaluations are after the fact.
When I hear secondhand that an
employee is back on track, or one
has been let go.
(then)
Or that they've taken their own
life. Or someone else's.
JACK CRAWFORD
"Dynamics of the job" is the
official Bureau line.
DR. DEY
We all fail, Jack.
JACK CRAWFORD
Yes, we do. I look at my friend.
And I see a killer. And I'm
failing to reconcile those things.
DR. DEY
You lost faith in Will Graham, you
didn't lose faith in yourself.
That's what you have to reconcile.
THE HUMAN MURAL
The EYE composed of bodies stares back, TINY NUMBERED FLAGS
dot iris and pupil. A new TINY "21" NUMBERED FLAG is planted.
BEVERLY KATZ
Forty-seven bodies. We've
identified nineteen of them, but
not this one.
CAMERA PULLS BACK to reveal we are -INT. BAU - MORGUE - NIGHT
The HUMAN MURAL is an ENLARGED PHOTOGRAPH. CAMERA PULLS BACK
to reveal it's mounted on an easel between the bodies of
Roland Umber and Reflected Man, side by side on tables.
JIMMY PRICE
No record of fingerprints. He was
never arrested, never had a job
that required any kind of security
clearance or background check.
VARIOUS BODIES are present in the BAU, not only in the
morgue, but in the hall, on tables, gurneys, morgue drawers.

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BRIAN ZELLER
Hopefully he's been to a dentist.
JACK CRAWFORD
Why am I looking at this man?
BEVERLY KATZ
Stitch patterns on John Doe TwentyOne match Roland Umber.
Beverly indicates the lateral stitches on both John Doe
Twenty-One and Roland Umber; both travel similar lines.
JACK CRAWFORD
John Doe Twenty-One was Roland
Umber's replacement in the mural?
JIMMY PRICE
But bigger.
He indicates the leg, amputated below the knee.
BRIAN ZELLER
Too big, really. Killer cut off
his leg to make him fit.
ON THE BUTCHER BLOCK
The BUTCHER'S PAPER is UNWRAPPED, revealing the missing leg.
ON THE MEAT SAW
The BLADE separates the foot from the ankle in a single
slice. We are -INT. HANNIBAL LECTER'S HOUSE - KITCHEN - NIGHT
CAMERA PUSHES THROUGH THE PANTRY DOOR as Hannibal meat-saws
the rest of the leg into MEDALLION-SIZED SLICES.
BACK TO:
INT. BAU - MORGUE - NIGHT
Jack studies John Doe as Zeller, Price and Katz look on.
BEVERLY KATZ
He changed colors mid-brushstroke.
JACK CRAWFORD
"The eye looks beyond this world,
into the next, and sees the
reflection of man himself." There
wasn't supposed to be a reflection.

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THE MISSING LEG - HANNIBAL LECTER'S KITCHEN

Hannibal dices vegetables, adding them to a roasting pan
along with a sprinkle of sea salt. Next, he carefully places
the medallions on top of the vegetable medley.
BACK TO:
INT. BAU - MORGUE - NIGHT
JACK CRAWFORD
This killer was having an
existential crisis after all.
A BEAUTIFUL PLATE
A ladle of RISOTTO ALLA MILANESE pours onto the plate,
surrounded by vegetables, sprinkled with herbs and spices and
finally crowned with a perfectly-roasted SECTION OF TIBIA
BONE, standing upright in a MEDALLION OF HUMAN BEEF.
BACK TO:
INT. BAU - MORGUE - NIGHT
JACK CRAWFORD
How did he find his faith?
INT. HANNIBAL LECTER'S HOUSE - DINING ROOM - NIGHT
Using a MARROW SPOON to scoop the marrow from the center of
the bone, Hannibal takes a bite of the OSSOBUCO and washes it
down with a sip of a perfectly-paired wine.
CUT TO BLACK.
END OF ACT THREE

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ACT FOUR
INT. BAU - JACK CRAWFORD'S OFFICE - DAY
CAMERA PUSHES IN ON Jack as he works at his desk.
intercom BUZZES and a woman's voice announces:

His

WOMAN'S VOICE (V.O.)

A Dr. Bedelia Du Maurier is at
security. She's asking to see you.
Jack reacts, curious and thoughtful.
JACK CRAWFORD
Authorize a visitor's pass.
TIME CUT TO:
Jack Crawford approaches and sits casually next to Bedelia Du
Maurier in the lounge chairs at the rear of his office.
JACK CRAWFORD (CONTD)
What can I help you with, doctor?
BEDELIA DU MAURIER
Closure.
(then)
This perhaps should and may have to
be our last conversation, at least
on the subject of Hannibal Lecter.
Jack studies her a moment, then asks:
JACK CRAWFORD
Are you pleading the Fifth?
BEDELIA DU MAURIER
No. I simply can't offer you any
more insight than I already have.
JACK CRAWFORD
Not accounting for future insights?
BEDELIA DU MAURIER
I feel it would be irresponsible if
I continued to see Hannibal Lecter.
JACK CRAWFORD
Irresponsible for who?
For me.
(then)

BEDELIA DU MAURIER
(MORE)

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BEDELIA DU MAURIER (CONT'D)

I can only help Hannibal if I'm in
a secure place. Emotionally. I'm
not feeling secure at the moment.
So I'm recusing myself from the
situation. I hope you understand.
JACK CRAWFORD
I'm not sure I do.
BEDELIA DU MAURIER
Hannibal and I have both been
traumatized by dangerous patients.
He had his Will Graham. I had mine.
JACK CRAWFORD
Hannibal doesn't strike me as
particularly traumatized. And,
frankly, neither do you.
BEDELIA DU MAURIER
I've been doing considerable
thinking about my attack. Too much
thinking. Nevertheless, it's been
a necessary-but-unpleasant reminder
that I have unresolved issues.
JACK CRAWFORD
Have you thought about seeing a
psychiatrist?
BEDELIA DU MAURIER
I'm losing faith in the profession.
JACK CRAWFORD
I'm trying to find it.
(then)
Maybe Hannibal can help you resolve
your issues. He's very good.
BEDELIA DU MAURIER
I'm doing my best to avoid working
out my issues with Hannibal Lecter.
Bedelia gathers her coat, standing to leave.
BEDELIA DU MAURIER (CONTD)
Good-bye, Agent Crawford.
(then)
Obviously, I can't control whether
or not you or the FBI contacts me,
I can only tell you what I told
Hannibal. I prefer that you don't.

09/25/13

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INT. BSHCI - THERAPY HALL - DAY

Beverly Katz and Hannibal Lecter sit side by side, the
personification of good and evil working as one.
CAMERA SLOWLY RACKS until the bars of a metal cage come into
focus in the foreground, sectioning the now-blurry figures of
Beverly and Hannibal into separate participants.
REVERSE ANGLE
To reveal we were in Will Graham's POV. In the belly of his
cage, he stares back at them, saying nothing.
WILL GRAHAM
Now you're just taking advantage.
You're going to burn me out before
my trial and then where will I be?
BEVERLY KATZ
Can't afford to let you burn
yourself out for nothing, but maybe
for something?
WILL GRAHAM
What would Jack say?
HANNIBAL
Jack Crawford's excellent
administrative instincts are not
often tempered by mercy.
WILL GRAHAM
Clearly.
(to Beverly)
If you brought him as a psychiatric
safety net, I've fallen through
that net before. No offense.
Hannibal nods, none taken.

Beverly cuts through Will's BS.

BEVERLY KATZ
I'm devoting a lot of time to this
mural, Will. It's hard for me to
focus on anything else I've been
tasked to do. Could use your help.
Subtle, but perhaps not subtle enough for Hannibal.
walks the crime scene photos over to Will.

Beverly

Will, getting the drift, begins to flip through the crime

photos, studying each momentarily before moving to the next.

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HANNIBAL
During the nineteenth century, it
was wrongly believed the last image
seen by the eyes of a dying person
would be fixed on the retina.
As Will finds the overhead photo of the eye.
HANNIBAL (CONTD)
What would be the last image fixed
on this dying eye?
ON WILL GRAHAM (WILL'S POV)
He takes a breath, exhales, then closes his eyes.
A PENDULUM
It swings in the darkness of Will Graham's mind, keeping
rhythm with his heartbeat. FWUM. FWUM.
ON WILL GRAHAM
His eyes are closed. FWUM. The PENDULUM is now outside his
head. It swings behind Will, wiping away Hannibal and
Beverly. FWUM. The PENDULUM swings and the CORRIDOR outside
his cell PLUNGES INTO DARKNESS. FWUM. The PENDULUM swings
and the floor under his feet goes completely dark.
ON THE CRIME SCENE PHOTO
The picture of the HUMAN MURAL FILLS FRAME. CAMERA PULLS UP
AND OFF THE PHOTO to reveal WILL STANDING IN DARKNESS. As
the CAMERA CONTINUES UPWARD, LIGHT SLOWLY ILLUMINATES THE
FLOOR AROUND WILL, REVEALING DOZENS OF CADAVERS. We are -INT. GRAIN SILO - DAY (WILL'S POV)
Will Graham stands amongst the mural of bodies, still holding
the photo of the carnage in his hands.
FWOOM.

The PENDULUM swings and the photo disappears.

FWOOM.

FWOOM. The PENDULUM STOPS SWINGING, snapping into place as

Will snaps into focus. He turns, taking in the bodies.
WILL GRAHAM
I made you pliable. Molded you.
Set you and sealed you where you
lay. This is my design. A dead
eye with vision and consciousness.

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HIGH ANGLE
Will, a large speck of dust in the eye, stares upward,
searching for what the eye sees.
WILL GRAHAM (CONTD)
I am fixed and unseeing... unless
someone else sees me.
Will glances down at the Reflected Man in the mural.
WILL GRAHAM (CONTD)
Someone else has. They were here.
ON HANNIBAL - BSHCI - THERAPY HALL (OMNISCIENT POV)
Hannibal stands with Beverly, watching Will.
almost-imperceptible smile.

He smiles an

ON WILL - GRAIN SILO (WILL'S POV)

Will steps carefully over the bodies until...
WILL GRAHAM
One of these things is not like the
other things. One of these things
just doesn't belong.
...he is standing over the Reflected Man.
WILL GRAHAM (CONTD)
Who are you? Why are you so
different from everyone else? I
didn't put you here.
(then)
You... are not my design.
Suddenly, a NOISE from above causes Will to look to the
ceiling where a SILHOUETTED FIGURE watches from above, his
antlers rising majestically into the air.
REVERSE ANGLE
CAMERA LOOKS DOWN to see Will now lying NAKED, his LEG
MISSING, his body CONFIGURED into the opening in the mural
where the Reflected Man once was.
CLOSE ON A NEEDLE
SUDDENLY PIERCING Wills forearm and pulling THREAD through,
drawing the length through.

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He looks from the SUTURES through his arm to the one wielding
the needle. The LIGHT SILHOUETTES THE FIGURE... until it
SHIFTS and we see its HANNIBAL LECTER, eerily comforting.
HANNIBAL
Killing must feel good to God, too.
He does it all the time, and are we
not created in His image?
OFF Will, immobilized, with a dawning realization...
ON WILL
He looks up from the photo.

We are now --

INT. BSHCI - THERAPY HALL - DAY

Beverly and Hannibal watch Will, waiting for him to draw a
conclusion from his process. Will tries to gather himself
together, knowing Hannibal is watching him closely.
WILL GRAHAM
The killer is in the mural.
BEVERLY KATZ
What do you mean? Literally?
WILL GRAHAM
I mean, the man you're looking for
has been sewn into his own mural.
(re: the picture)
This man.
BEVERLY KATZ
What happened to his leg?
WILL GRAHAM
Whoever sewed him in... took a
piece of him. As a trophy.
Question is, who sewed him in.
HANNIBAL
He must have had a friend.
OFF Hannibal giving nothing away -CUT TO BLACK.
END OF ACT FOUR

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ACT FIVE
INT. DR. DEYS OFFICE - DAY
Dr. Dey is at his desk, signing paperwork.
front of him, coat in hand.

Jack stands in

DR. DEY
You passed your psych eval, Jack.
JACK CRAWFORD
That the extent of your diagnosis?
DR. DEY
My diagnosis is, you're an
intelligent man and being smart
spoils a lot of things.
(then)
Go back to work.
JACK CRAWFORD
Not as satisfying as I hoped.
DR. DEY
You're troubled because you still
care about Will Graham.
JACK CRAWFORD
I care about who I thought he was.
DR. DEY
One quality in a person doesn't
necessarily rule out any other
quality. They can exist side by
side, good and terrible.
JACK CRAWFORD
Love the sinner, hate the sin.
DR. DEY
A little churchy, but yes.
JACK CRAWFORD
The next time I'm supposed to see
Will is in court.
Dr. Dey studies Jack, considering how best to advise.
DR. DEY
I've spoken to the families of
murderers. They experience a
complex series of emotions similar
to what you've been going through.
Anxiety, shame, anger, guilt.

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JACK CRAWFORD
Because they blame themselves for
fostering a monster.
So do you.

DR. DEY

JACK CRAWFORD
How do they cope?
DR. DEY
I've found the most successful at
coping often stay in touch with
their imprisoned loved ones.
JACK CRAWFORD
You want me to visit Will Graham.
Dr. Dey looks at Jack long and hard.
DR. DEY
I want you to forgive Will Graham
so you can forgive yourself.
OFF Jack as that sinks in...
CUT TO:
EXT. RIVER - DAY
CAMERA FLOATS ACROSS THE WATER to find Will Graham fly
fishing. He casts his lure and watches it land with a small
PLIP that breaks the surface of the river.
He shades his eyes from the sun, his gaze falling to the
water flowing around his waders. A PALE BODY DRIFTS BY just
beneath the surface. Will startles as a KLAXON SOUNDS.
We are -INT. BSHCI - WILL GRAHAM'S CELL - DAY
Will stands in the middle of his cell. Footsteps approach
from down the hall and a chair SLIDES on the concrete floor.
His eyes follow the action, but CAMERA REMAINS on Will.
WILL GRAHAM
I don't know you.
CAMERA reveals Bedelia Du Maurier.
She sits across from Will.

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BEDELIA DU MAURIER
My name is Bedelia Du Maurier.
WILL GRAHAM
You're Hannibal Lecter's therapist.
What's that like?
She studies him, somehow identifies with him.
BEDELIA DU MAURIER
I've heard so much about you, I
almost feel as though I know you.
You don't.

WILL GRAHAM

BEDELIA DU MAURIER
No, I don't, but I understand you
better than I thought. I wanted to
meet you before I withdraw.
WILL GRAHAM
What are you withdrawing from?
BEDELIA DU MAURIER
Social ties.
WILL GRAHAM
You're a psychiatrist. Isn't our
sense of self a consequence of
social ties?
BEDELIA DU MAURIER
It certainly is in your case. It
may be small comfort, but I am
convinced Hannibal has done what he
believes is best for you.
WILL GRAHAM
That's not small comfort, that
would be no comfort.
BEDELIA DU MAURIER
You can transform this experience.
(then)
The traumatized are unpredictable
because we know we can survive. You
can survive this happening to you.
WILL GRAHAM
Happening to me.
Bedelia steps right up to the bars.

09/25/13

38.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

NURSE (O.S.)
Step away from the bars.
step away from the bars.

09/25/13

Ma'am,

GATE KLAXON SOUNDS as a NURSE and GUARD ENTER the cell block.
Will Graham joins Bedelia at the barrier of his cell and she
whispers so quietly she may be only mouthing the words:
BEDELIA DU MAURIER
(almost inaudible)
I believe you.
A nurse and guard approach from down the corridor.
Okay.

NURSE
That's enough.

Come with us.

Will stares at her, a wave of emotion washing over him as

Bedelia steps away, gathered by the nurse and a guard and
escorted back down the corridor.
ON WILL GRAHAM
CAMERA PUSHES IN as he begins to tremble. A great relief
having heard three simple words he's needed to hear.
EXT. BEDELIA'S HOUSE - NIGHT
Time-lapse establishing.
INT. BEDELIA'S HOUSE - FOYER - NIGHT
CAMERA MOVES THROUGH the darkened hall until FRAMING an
EXTREME CLOSE-UP ON THE FRONT DOORKNOB.
THE SOUND OF A KEY IN THE DOOR
Breaks the quiet. LIGHT SPILLS in as the door opens. Not
Bedelia but Hannibal who enters with a key of his own in his
GLOVED HAND. The transparent plastic of his bespoke CRIME
SCENE OVER-SUIT catches the light of a distant streetlamp.
He quietly moves inside, closing the door behind him.
THROUGH THE ARCH OF THE LIVING ROOM
Hannibal creeps further into the hall and asks the darkness
no questions. He turns to the living room as CAMERA PULLS
BACK to reveal almost every piece of Bedelia's furniture is
beneath a clear plastic cover. All the furniture has been
protected against dust for an indefinite period of time.

39.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

He takes in the shroud over the chairs. He walks the room's

periphery, searching for some sign that she isn't truly gone.
Hannibal pauses and sees something on Bedelia's chair.
A CUT-GLASS PERFUME BOTTLE
Hannibal takes in the shadow of Bedelia's fragrance and picks
it up, considers it for what it is: a memento of friendship.
HANNIBAL (V.O.)
(pre-lap)
Youre not alone, you know...
CLOSE ON A HYPODERMIC NEEDLE
Deftly withdrawn from a vein.

WIDEN to reveal we are --

INT. GRAIN SILO - DUSK (FLASHBACK)

The Muralist is lying, unclothed, in his own mural. He is
configured into the space from which Roland Umber pulled
free. A SHADOW cast by the gas lantern moves over him.
HANNIBAL
Is in his plastic suit, kneeling, the syringe in hand.
HANNIBAL
In The Resurrection, Piero della
Francesca placed himself in the
fresco. Nothing flattering -- he
depicted himself as a simple guard
asleep at his post. Your placement
should be much more meaningful.
The Muralist's face, increasingly complacent, clouds over:
MURALIST
It's not finished.
HANNIBAL
I'm finishing it for you.
finish it together.

We'll

He trades the hypo for a LARGE CURVED NEEDLE and FILAMENT.

Hannibal LICKS the tip to thread latter through the former.
HANNIBAL (CONTD)
When your great eye looked to the
heavens, what did it see?
Nothing.

MURALIST

40.

HANNIBAL Ep. #202 "Sakizuke"

FINAL DRAFT

09/25/13

Hannibal glances up to the roof of the silo.

HANNIBAL
Not anymore.
MURALIST
There is no God.
HANNIBAL
Certainly not with that attitude.
God gave you purpose. Not only to
create art, but to become it.
MURALIST
Why are you doing this to me?
HANNIBAL
Your eye will now see God reflected
back. It will see you.
Hannibal leans over and begins SEWING the man down.
HANNIBAL (CONTD)
When God looks down at you, don't
you want to be looking back at Him?
Hannibal sews.
And sews.

Blood flows.

More blood.
Yes.

Then, incredibly:

MURALIST

As the narcotic takes hold, his life ebbing away, the

Muralist recalls their agreement:
MURALIST (CONTD)
What is it you wanted from me?
Only this.

HANNIBAL

CAMERA PULLS UP AND AWAY as Hannibal stitches the Muralist

into his own masterwork, making Will Graham's forecast come
to pass. A valentine. And just as Will intended.
CUT TO BLACK.
END OF EPISODE

41.