Hannibal Lecter has sent a handwritten note to Jack Crawford, cordially inviting him to dinner. As Jack informs Will of this, Will recounts his last therapy session with Hannibal Lecter. They spoke of the melody between Hannibal, Jack and himself. Destiny and dinner, in repose. As Jack continues the details of the plan, Will connects the words of both Jack and Hannibal in co-occurrence. Essentially, when the time comes, will you do what is necessary?
Will goes home and as he stands before his front door. He notices his dogs are barking and growling. The ghost of Garret Jacob Hobbs is sitting on his front porch. Will picks up a rifle sitting near Hobbs and aims through the trees at a stag.
In the hospital, Bella Crawford is dying slowly and painfully from lung cancer. As she lies in her bed breathing haggardly, Hannibal sits at her bedside. She tells him how profound forgiveness is, and how his saving her moved the meaning. Though she is not still alive because she wants to be, she understands he saved her because she couldn't abandon Jack. She does however have a favour to ask of Hannibal. That Hannibal save Jack for her, as he saved her for Jack.
At the FBI headquarters Freddie Lounds tells Will about her plans for her soon to be resurrection. Will warns her that he wouldn't count any of them as survivors just yet. Will requests, after this is all over, she not write about Abigail. She can write about WIll and Hannibal, but let Abigail rest in peace.
In Hannibal's office, papers and notebooks are being dropped from the mezzanine. Hannibal, with Will's help, is burning his notes on all his patients in order to save them the scrutiny of the FBI once he and Will have left. . Hannibal notes that even though they are leaving it behind, he will still have the office in his memories. Will asks if he will be keeping it in his memory palace. Hannibal replies about the vastness of his palace, even by medieval standards. He recalls the foyer of the Norman Chapel in Palermo. A single reminder of mortality; a skull graven in the floor. Will responds that all he needs is a quiet stream. As they collect more papers from a stack on the desk, Hannibal catches a familiar scent from Will's back. As he closes his eyes to identify the smell, he recognizes it as Freddie Lounds. Hannibal's gaze goes dark as he watches Will return to the fire, tossing more papers into the flames.
Alana Bloom is talking to Will at headquarters. She barely sleeps, her mind swarming with nightmares. Darkness surrounds her and she cannot escape. She feels poisoned. Will says they are all poisoned. All it took was the traumatic. Alana tries to understand the trap Will and Jack are putting into place, she knows that Hannibal could also be goading them into one. Will knows this as well, but cannot stop what has been put into motion.
That evening Hannibal is having dinner with Will. He asks if Will knows what an imago is. The last stage of transformation. It's also a term used from the dead religion of psychoanalysis, an image of a loved one buried in the unconscious. Carried with us all our lives. Both men have concepts of one another, both too curious for any ideals. Will asks if it is ideal that Jack die. By now, Will views it as preordained. It is necessary. He asks Will if he wanted to, they could disappear tonight. Feed Will's dogs, leave a note for Alana and never see her or Jack again. Almost polite. Hannibal doesn't want a sacrifice, but Will needs Jack to know. If Will were to confess to Jack now, Hannibal would forgive him. Jack however, isn't offering forgiveness, he wants justice. To see Hannibal as he is and what Will has become. The truth. After a brief silence passes between them Hannibal raises the wine glass to his mouth in a toast. To the truth then, and all its consequences. He barely allows the wine touch his lips.
Back at headquarters Kade Prurnell, has found out about their plan and is shutting it down, starting with Jack. What they are going about is entrapment, and violating someone's personal rights and property. She points out Jack's distraction by his wife's sickness is making him rash in his decision making and pledges to file an inquiry, while also putting Jack on forced compassionate leave. Jack hands over his gun and badge, then he is escorted from the premises.
Alana tries to stand against Kade Prurnell's decision, but she is already looking over Jack's files on the case. She has frozen Hannibal's passport but beyond that nothing has been done. Alana retorts that Hannibal had already opened his doors to the FBI and no evidence was found to implicate him. The only way to catch him is in the act and she knows Jack and Will are the best chance of doing that. Kade points out the mutilated photos of Randall Tier laying in front of her but Alana says she has to believe that Will was maintaining his cover identity. Kade then reveals both men are being taken in to custody for questions about these acts, and even with a warning from Alana that Jack knew what she would plan and that won't stop him, the conversation ends.
Jack visits Bella at home but she is asleep. He kisses her forehead before he leaves.
Will's house phone is ringing. It's Alana. She has called, in tears, to warn him and Jack about the warrants out for their arrest. As she says this, the FBI pull up outside Will's home. He ducks as the headlights go through the window, grabs a gun from under his craft desk and tells her goodbye. He hangs up, takes a jacket from a coat rack and goes out the back.
Jack arrives early for dinner at Hannibal's. He thanks Hannibal for his friendship. Hannibal notes that the most beautiful quality of true friendship is to understand someone. To be understood with absolute clarity. As he says this, he sets the knife he was using to cut meat aside, atop a bowl leaf greens and carrots. Jack sees the motion in its most definitive, and he accepts this is the clearest of moment of their friendship. They begin to fight.
The Fight Edit
He goes for his gun as Hannibal picks up the knife. The knife hits first and forces Jack to lose his grip and drop his weapon to the floor. Hannibal jumps the counter as Jack pulls the blade out of his hand. Hannibal ducks his slashes and catches Jack's arm, knocking the knife from his grip with a hard elbow to the forearm. Jack counters with a left hook which Hannibal blocks and they grab onto each other. Hannibal steps on the gun quickly, and slides it under the counter and out of reach. They spin in an attempt to imbalance or shake the other off, and Jack kicks at Hannibal's leg pulling free enough to unbar himself from Hannibal's grip. He grabs Hannibal around the waist and charges him into a glass cupboard.
When Hannibal's feet hit the ground, he attempts to punch Jack in the face but Jack dodges, following with a right handed punch which Hannibal blocks. Jack's left hook follows before Hannibal can prepare himself and he takes the blow to his abdomen. Reeling from the force, Jack is able to grab hold and throw Hannibal to the counter, however, Hannibal takes advantage of this and grabs a tea kettle, which he uses to strike Jack across the head. Jack stumbles, but manages to stay standing and takes hold of Hannibal from the back and throws him into the wooden floor cupboards. As they both analyse one another, Jack’s face is determined to finish this while Hannibal looks tired and uncertain. Jack moves in quickly, with another left jab at Hannibal's side which Hannibal takes hold of to counter with his own left fist. It lands squarely on Jack's jaw but he stands firm, striking Hannibal back. He goes for another right blow, but Hannibal blocks with his left, twists it around Jack's right in a bar. Before he can continue Jack pushes his hand against Hannibal's shoulder and throws him against the cupboard but Hannibal grabs his arm, then releases it to send a solid blow to Jack's side. Now partially shook off, Hannibal brings around another blow aimed for Jack's head. Jack blocks and grabs more firmly at Hannibal's shirt, but Hannibal spins Jack behind him and body slams him into the cupboard. Hannibal’s look had been a ruse.
It is raining outside now, and Alana has come to Hannibal's home. She sees the front door is ajar and is immediately alarmed.
Inside the home, Hannibal has an apron now and he turns it over in his hands waiting for the right moment to counter. Jack has regained hold of a knife and lunges at Hannibal with it, daring. He slashes again and Hannibal moves aside, another slice and Hannibal counters, throwing the apron around Jack's forearm and kneeing him in the elbow. The knife flies free, and Jack swings with a left that Hannibal blocks with determined ease now that the blade is gone. Hannibal comes back against him with a left hook and Jack falls straight to the ground. As he attempts to get up, Hannibal follows and when Jack turns to see what he is doing, Hannibal weightily throws the fridge door open against his face, closing it again, decisively.
Back outside Alana has decided to enter the domicile. Lowering her umbrella as she steps into the house, she listens to the battle raging in the kitchen.
Hannibal has taken advantage of Jack's downtime and retrieved another knife. He spins it deftly and turns to Jack, who has risen, his tie now wrapped around his wounded hand, now ready to throw left and right punches. Hannibal dodges and takes hold of Jack's right arm, heaving him down onto the counter to impale him. Jack gets a wooden cutting board in the way just in time but Hannibal switches to using both hands, forcing the knife and the board closer to Jack's throat.
Alana stands in the entryway and pulls out her phone. She dials 911 and reports gunshots as she pulls a pistol out of her purse.
Jack has Hannibal around the head now and throws him onto the floor. Before Hannibal can get up, Jack grabs him by the back of the collar, lifts up his head and throws a punch into his face.
Alana enters Hannibal's open doorway.
Jack has Hannibal over his back now, using his tie as a snare around Hannibal's neck. He yells as Hannibal struggles and gasps for breath, or so he has lead Jack to believe. Unbeknownst to him, Hannibal has his fingers in the way of the pressure. As he goes limp and Jack catches his breath, he searches the floor calmly for a shard of glass without Jack noticing, then drives a piece heavily into the side of Jack's neck.
Jack gasps in shock and grabs hold of the wound. He stumbles backward and Hannibal releases the tie with a look of calm triumph. Jack enters the pantry and slams the door behind him, holding it closed with his body. Hannibal, armed now with two knives, walks back then rushes forward, ramming the door with his entire strength. As Jack repositions himself on the floor to better guard himself, the door opens a bit, just in time for him to see Hannibal turn and face for another run at it. Jack slams the door closed in the nick of time.
Alana comes around the corner gun drawn to bear witness to the aftermath. Hannibal leaping forward against the pantry door trying to break it down. She yells his name which causes him to pause and he turns. She asks in a whisper where Jack is to which he replies in a returned whisper "In the pantry." He expresses how much he had hoped they wouldn't have to exchange goodbyes, even if she had found it rude. As he begins to advance on her, she tells him to stop. He does and she tells him she recognizes how blind she was, and Hannibal reassures her that he had worked his hardest for her to remain so. He offers her a chance to escape, which she does not take, instead pulling the trigger on her pistol and finding it empty. Hannibal admits to taking her bullets and at that, she turns and runs. He follows her to the staircase where he discards his knives on a chair and continues up after her. Alana locks herself in one of the rooms and reloads her weapon with bullets she had stored in her purse. She fires at the door in warning and he passes by. Out of the corner of her eye Alana spots someone standing near her. It's Abigail.
As Alana looks at her in shock Abigail apologizes to her before moving forward and shoving her out the window.
Will has arrived by taxi just in time to see Alana on the ground, twitching in shock. He wraps his jacket around her and calls for ERT but she tells him Jack is inside and to go. He takes out his gun and moves through the house. As he enters the kitchen he sees blood seeping out of the pantry, then he too is met with someone he thought was dead. Abigail. She tells him she didn't know what to do, so she just did what he told her. Will asks where he is and she signals over his shoulder with her eyes.
He turns, asserting that Hannibal was supposed to leave, to which Hannibal replies they couldn't leave without him. As they look at each other they have their own moment of clarity between them. Hannibal sighs and places a hand on Will's face, then below his ear to brace for the linoleum knife he plunges into Will's abdomen. Will gasps and collapses into Hannibal's arms. Hannibal tells him time did reverse, and that this place was made for Abigail and Will's world.
He asks if Will understands and Will shakes his head no through the pain. Hannibal lets Will collapse to the floor. Hannibal tells Will he has let him know him and see him. That he gave Will a rare gift and he didn't want it but Will retorts with "Didn't I?" He asks Will if he would deny him his life and Will says no. Hannibal affirms then that Will would only rob him of his freedom. He asks Will if he believed he could change Hannibal as he had been changed by him. Will states that he already did change Hannibal. This causes Hannibal to go silent a moment before he utters that fate and circumstance has returned them to this moment and that he forgives Will. He asks if Will would do the same then turns to Abigail and holds out his hand. He tells Will that he can make it all go away, for Will to wade into the quiet of the stream, before slicing open Abigail’s neck with the linoleum knife. She falls onto the floor beside Will clutching the wound.
Hannibal walks out into the rain and runs a hand down his face. As he heads down the street he is seen shrugging on the coat, with which Will covered Alana with.
Post Credits Scene Edit
In the post credits scene, Air France flies overhead. On the plane a waitress is offering drinks to the passengers. As she passes Hannibal he asks for champagne. She then offers his passenger a drink as well. Bedelia du Maurier declines the offer. They exchange smiles then Hannibal takes a sip of the drink and leans his head back against the seat.
- As scripted, the episode opened with a flash forward to Will, speckled with blood and screaming in pain.
- At one point in the writing process, cowriter Steve Lightfoot advocated for this episode to be done entirely in real time, taking place over the final hour in Hannibal’s house leading up to his bloody slashing spree and escape.
- The writers initially planned to include a flash forward to this episode in “Futamono” similar to the one that opened the season, this time previewing Alana’s perspective entering Hannibal’s house during the Hannibal/Jack fight.
- Bryan Fuller has said that he believes that the horrifying off-screen thing Beverly saw in Hannibal’s basement in “Takiawase” was an imprisoned Abigail.
- When it looked like Gillian Anderson’s availability would not allow her to return as Bedelia, the writers at one point toyed with the idea of having Abigail as Jack’s secret witness in “Tome-wan.” Likewise, at one point, the plan was for Abigail to be on the plane with Hannibal in the post-credits scene of this episode, but the writers realized it would be more effective for Hannibal to kill her in front of Will.
Book to Show Edit
- Hannibal’s dialogue about the chair holding in its molecules the vibrations of all the conversations held in its presence, up through the “orchestrations of carbon” line (“elaborations” in the book), comes from a letter he writes to Clarice in the novel Hannibal after her brutal shootout with Evelda Drumgo. In the book, he is talking about a skillet rather than a chair, and the dialogue refers to her family’s kitchen conversations when she was young.
- Hannibal’s “fox” quote comes from the novel Hannibal. Dr. Doemling says it to Mason, when suggesting that he might draw Hannibal out of hiding by placing Clarice in distress.
- The scarf on Bella’s head is a detail from The Silence of the Lambs.
- Freddie’s past as a “cancer editor” comes from backstory in the novel Red Dragon.
- In The Silence of the Lambs, families of Hannibal’s victims in his practice successfully sued to have tapes and records of their therapy sessions turned over to the families to be destroyed.
- Hannibal makes his first mention of his memory palace, a concept which was introduced in the novel Hannibal. Hannibal’s description of his palace comes directly from narration in that novel.
- Alana’s dialogue about darkness coming into her comes from narration in The Silence of the Lambs describing Catherine Baker Martin’s emotions while imprisoned at the bottom of Jame Gumb’s well.
- The dialogue about imago as symbol for transformation calls to mind Jame Gumb in The Silence of the Lambs. Hannibal’s dialogue about imago as “term from the dead religion of psychoanalysis” comes from the same novel, where he says these lines to Clarice, speaking specifically about an imago of one’s parents.
- Hannibal saying he’ll make no plans to call on Alana is a paraphrase from the letter he writes to Clarice at the end of The Silence of the Lambs following his escape.
- The piece Brian Reitzell created to score the entire last act of the episode, entitled "Bloodfest," is a slowed-down version of Reitzell's own variation on Bach's "Goldberg Variations." The use of a slowed version of the piece to score Hannibal's escape references his escape in The Silence of the Lambs, where he listens to the piece, and it is said that, "For Dr. Lecter, [...] time slowed and spread as it does in action. For him the notes of music moved apart without losing tempo. Even Bach's silver pounces were discrete notes glittering off the steel around him."
- Hannibal’s home being on Chandler Square comes from a newspaper clipping glimpsed in the opening credits of the 2002 film adaptation of Red Dragon, which mentions Hannibal’s “Chandler Square residence.”
- Hannibal guts Will with a linoleum knife, just as he does in backstory in the novel Red Dragon. However, in the book, the circumstances are entirely different, occurring in Hannibal’s office, on the second occasion Will and Hannibal ever meet, closer to the way Miriam discovers Hannibal in “Entrée.” In the book, Hannibal does not get away, but is captured after stabbing Will.
- Hannibal again references his teacup metaphor from “Kō No Mono,” originally from the novel Hannibal.
- A portion of Hannibal and Will’s parting dialogue (beginning with “You would deny me my life”) comes from the 2001 film adaptation of Hannibal, which changes the novel’s ending. In the film, Hannibal and Clarice speak these lines during the dinner scene as the FBI closes in on Hannibal.
- “Goldberg Variations” is again heard over the end credits, in a more traditional performance by Canadian pianist Angela Hewitt.
- The episode ending with Hannibal on a plane calls to mind the the last chronological appearance of Anthony Hopkins’s incarnation of the character, at the end of the film Hannibal (in a scene adapted from a chapter which takes place earlier in the novel), with Hannibal flying off to an unknown destination.
Cut Scenes Edit
- The Jack/Kade Prurnell scene was edited together from two separate scenes, which took place in different rooms and were originally separated by an act break. As scripted and shot, Alana was the one who told Kade about Jack’s plan. Bryan Fuller has called this a mistake by the writers that would have turned the audience against Alana. In the original scene as shot, Jack is briefing a team of agents in the meeting room for the sting on Hannibal when Kade and Alana enter. Kade clears the room, but tells Zeller and Price to stay. During the course of dressing-down Jack, she asks Zeller and Price if they fabricated evidence. They react uncertainly (Price: “Define ‘fabricate.’” Zeller: “Are you asking if we built something or just lied?”). After Kade notes that they would never get a conviction, Alana chimes in that Jack would have just handed Hannibal his Get Out of Jail Free card. Kade says Jack should thank Dr. Bloom for saving them all a lot of trouble, and Jack responds, “Thank you, Dr. Bloom.” Jack handing over his badge and gun occurred in a separate, wordless scene in his office after the act break. In re-editing the first scene to remove the other agents and Alana, several shots of Jack from the second scene were edited into the earlier sequence as “reaction shots.” Fuller said they digitally changed the backgrounds in a couple of shots, presumably to move Jack from the meeting room to his office.
- In the script, Alana tries to explain herself to Will during her phone call to him: “I... I wanted to find some middle ground between believing the world is perfectly safe and terribly dangerous. I was trying to...” Will, unaware of Jack’s suspension, asks, “What did you do?”
|Season 2 Episodes|