#Abigail Hobbs is still alive

[fruityspaceboy]

Abigail: *bringing her boyfriend home and they kiss in front of them*

Will: *shocked* Jesus Christ !

Hannibal: *disgusted* It’s like a car crash… You can’t take your eyes of it…

[rearranging-deck-chairs]

hang on are cougars like panthers

[super-who-locked-me-in-here]

Just gonna slip this in here bc it's my #1 Abigail song and it's relevant to these quotes and I love sharing it 👀

hannibal nbc "buffet froid" x "mizumono"

[licensetocannibalize]

Hannibal Season 4 Predictions:

Frederick Chilton gets hit by a meteor. And Lives.

Abigail Hobbs is revealed to be alive, after Will Graham successfully faked her death at the end of season 2.

Winston the dog swims to Cuba to reunite with Will Graham.

Hannibal has a 2,000 page long Wedding binder. He is still waiting for Will Graham to propose.

Will Graham takes up deep-sea fishing.

Jimmy Price and Brian Zeller celebrate their tenth wedding anniversary.

A wing in the BAU is named in Beverly Katz honor.

Alana Bloom and Margot Verger happily raise their family.

Jack Crawford heads task force dedicated to locating the Murder Husbands. Clarice Starling is his first draft.

[pesky--dust]

We all laugh (or get annoyed) at Jack for being stupid. I do it myself, but let me stand up for him right now.

Let me start quite obviously: Jack had no ill intentions when he brought Will Graham into the FBI's work. He was convinced that Will could save lives and was ready to support him in that — he wanted Alana Bloom to be his psychological support, and when she refused, he went to the psychiatrist she recommended — Hannibal Lecter.

Yes, I'm annoyed myself with how he keep putting pressure on Will (e.g. episode Coquilles: "You go back to your classroom and there’s more killing that you could have prevented, it will sour that classroom forever") and his way of thinking, which he admitted to Hannibal Lecter in Buffet froid, which I will show with a fragment of the script of the said episode:

(that feeling when you agree with cannibalistic serial killer)

It was after Coquilles in which Will said that he want to quit because it is bad for him, so no Jack, I don't think Will feels the same way.

But this post was supposed to be a defense of Jack Crawford, so let's get back on topic.

Jack didn't know the truth about Hannibal, he didn't know that Will had autoimmune encephalitis, and he had no reason not to believe Hannibal that what was wrong with Will was psychological. After all, Dr. Lecter was the psychiatrist recommended to him! And Jack had every right to believe that Hannibal was giving Will the psychological help he needed in his work with the FBI.

And Hannibal prepared the ground for the version that Will has a mental disorder. The story that Hannibal presented made sense: due to his empathy disorder, Will began to believe that he was G.J. Hobbs and continued his work, ultimately taking the life of his daughter.

Jack recruited Will to work with the FBI, believing in his abilities, but Hannibal made him believe that the job had broken Graham mentally. And it's not unusual for disappointed patients to blame their therapists, so it would be quite a natural turn of events for Will to start claiming that Hannibal is the copycat killer, just to avoid being the one to blame. And there was no evidence against Hannibal, because he took care of it.

And now let me focus on the episode titled Yakimono.

Miriam Lass turned out to be alive. Hannibal's partial fingerprint was found at the place where she was held! And on top of that, Dr. Chilton referenced a cannibalistic joke he heard from Hannibal! And Jack ignored it all!!!

But are you sure? In my opinion, he was already planning to use Will again. I think Jack started to suspect something when Beverly Katz was murdered. In Futamono, he tested the food served at Hannibal's party. No human flesh was found there. With Yakimono though, Will's honey pot act in regards of Hannibal begins.

And my theory may seem to make no sense to you, but let me dig into it.

Let me show you a deleted scene from Kaiseki which I find particularly important, crucial one, here:

Tl;dr: Hannibal is social anti social, Will can shape him somehow, because Hannibal believes that Will is as unique as him himself.

Which leads to the conclusion that���

To catch Hannibal, the FBI must take advantage of his weakness towards Will.

And during his honey pot act, Will was still working with Jack, so why wouldn't Jack trust him? However, in Mizumono, Will called Hannibal, warning him, which led to the bloodbath, so why, even after hearing in Aperitivo that Will wanted to run away with Hannibal and a part of him would always want to (Dolce), did Jack continue to trust him? I think it was because Jack thought Will blamed himself for Abigail's death and since he was trying so hard to be a parent to her, he thought that if he ran away with Hannibal, Abigail would be still alive. And in the end, Will "got" Hannibal arrested, right?

Why did Jack allow Hannibal's fake escape in The Wrath of the Lamb and involved Will in that?

In my opinion it connects with the paragraph from earlier. Three years had passed, Will had gotten married, adopted his wife's son, so he had mentally recovered from the bloodbath and the death of his surrogate daughter, right? He told Jack he was really happy, right?

Will may have warned Hannibal and wanted to run away with him, but he was the reason Hannibal was caught. Three years have passed and Will has gotten himself together. In front of Jack he was playing (at least partially) about how he doesn't want to be drawn into the "game" he was playing with Hannibal again, he warned Molly that when he came back he would be different (he didn't come back), he said Alana that seeing Hanniabal for the first time in three years made him feel like Hannibal was looking through to the back of his skull; felt like a fly flitting around in there (... and the Woman Clothed with the Sun), he assured her that he wouldn't let Hannibal into his head again. Will seemed to be traumatized by all this. Up until...

This is the scene where Will is in Jack's office watching what the Dragon has done to Chilton (The Number of the Beast is 666). He looks terrified, panicked, and then suddenly… he becomes sort of relaxed, calm? Would you agree with that? I guess so. But have you ever noticed that there is a transition between these two reactions? It is in front of Jack and Alana that he is terrified, in front of Bedelia he is calm and admits to her that maybe he exposed Chilton to the Dragon on purpose because he actually hates him (just like in the book, although in the book he set Freddy Lounds up to the Dragon).

Will played in front of Jack until the end. Even when suggesting using Hannibal as bait, Will pretends he's not 100% sure it will work, even though he already had a deal with Francis Dolarhyde (The Wrath of the Lamb). It was us as the audience who knew this, not Jack.

I think that Jack believed Will, because he wanted to; it was his way of trying to rehabilitate himself after what Will had to go through because of him because Jack didn't believe him from the beginning that Hannibal was the Copycat. I think that after it turned out that Hannibal was not only the Copycat Killer, but also the Chesapeake Ripper, Jack decided to never doubt Will's abilities again. And that doomed him, just as Kade Prunnell and Alana Bloom predicted.

[i-bit-the-dust-it-was-yummy]

Hannibal nbc’s found family concept is just a lot of shared trauma (and murder).

Will never had a family, really, Hannibal had his family "taken" from him at a young age, and Abagails family was dysfunctional enough for her father to kill her mother and then try to kill her.

So, they created their own.

Hannibal became the father figure Abigail really needed, and wanted. She bonded with him, and killed with him in a way she was proud-ish of. In a way she could get with Garret Jacob Hobbs. Hannibal grew to care for Abigail, and eventually went through with what her father never finished.

As much as I despise the feminization of Will Graham, he is the mother of their family. (The murder family)

Will became the mother figure Abigail created in her mind, after her mother’s death. Abigail and Will never bonded with one another as well as her and Hannibal did. They had a weird tension with one another, but they still had love. Wills love for Abigail felt like one of a mother, which he never had.

In the end of it all, tying in their ‘Murder family’, and Abigails original family every thing is the opposite.

Abagails story starts by being the sole survivor of her family in the kitchen, but ends up being the only one truly dead in the murder family. She also ends up with no new scar than the one she had before.

Will, the mother in this, gets cut first, like Abigail’s mother. Instead of dying first, he bleeds until eventually passing out. He survives but left with a scar.

Hannibal, aka Garret Jacob Hobbs in this situation, stabbed the both of them, but ends up unharmed and alive. He is the sole person unharmed in this situation. Unlike Hobbs who had the most scars when he was killed.

Thank you for coming to my Ted talk.

[maxwiththeaxe]

Has anyone taken advantage of the fan fiction idea of Hannibal being in a mafia?

Family dead from other mafia family, got into killing and cannibalism, rebuilt the mafia family he had to its prime again before meeting Will.

Maybe Will accidentally gets involved by the classic “oops I saw something I shouldn’t” or maybe was involved in something gone bad for Hannibal to be like “They might not see it as an acccident or something” to get Will to be in his debt and then they become bestiiieeesss.

Will can get involved with Jacob Hobbs who could be just a low ranking thug or something that he accidentally kills.

Hannibal maybe has a little talk with Will to be like “yo, we don’t need you blubbering about our very new trade with the East coast when we just started” and tries to intimidate him.

Maybe Will doesn’t stay away since the guilt eats him alive and his daughter Abigail didn’t even know her dad was a thug. He tries to help in any way that isn’t too creepy like leaving tips for her at her normal teen job of serving or something.

Hannibal, who already set up steps to ensure that Abigail has plenty of money to live a good life, doesn’t want Will spilling the beans that her dad was a thug since Hannibal already pulled a lot of strings to make the death look unrelated to the mob and the suspicious amount of money suddenly appearing look not so suspicious after reaching out to some connections.

Hannibal holds the info above Will that he can at any time have the cops know that Will killed Jacob Hobbs with one phone call.

Will still has difficulty staying away, even ends up hiring Abigail for dog sitting. Hannibal is like “seriously?”.

Will ends up telling law enforcement, taking the risk that they may convict him since he was withholding criminal activity info in an attempt to stop everything once and for all. But it is bad timing because Abigail is starting to wonder about the circumstances around her father’s death.

When Abigail Hobbs realizes that stuff is shady, she dies after being in the wrong place wrong time where a crossfire occurs after Hannibal attempts to return to Europe where his main mafia stuff is.

People want a scapegoat, Will is thrown in prison. Agents attempt to talk to him about it, but Will is inconsolable since Abigail is dead and the same agents he helped to almost catch Hannibal were now in front of him talking about how they found Abigail’s blood but not her body.

Hannibal has Abigail return with him to Europe, Abigail misses Will and Hannibal does too but doesn’t say shit about it.

The day before Will is to be convicted for Abigail’s death and other stuff, the case is thrown out after some unknown reason.

Will is pissed about Abigail, and Hannibal knows that. He sends Randal to try to take care of Will for him, but Randal fails and Will now has intentionally killed someone and pretty brutally, setting up his corpse as a sign to Hannibal.

Hannibal is kinda like “leave me alone, but don’t because I kinda like is hehehe”

Buuuuut at some point Abigail figures out Will is also in the country and wants to visit and such, but the agents did some digging around and made a few calls to see what Will was up to in Europe since many weren’t convinced he didn’t kill Abigail, for her to die after a stand off where the police were like “yo your dad was a criminal, and your new dad Hannibal is the reason why” for Abigail to be like “bitch stfu” and she dies by getting shot.

Will gets shot too, almost dies too, but lives and is hospitalized and arrested. There has to be discussion first to know if he will be sent back or not since he was involved in now two cases in different countries.

While they figure that out, which will take a while, Hannibal gets his men to drug Will and wheelchair him out if there to him.

Will is AGAIN inconsolable, now in a foreign place, with a foreign man who might or might not kill him, he has no interest in hanging out with Hannibal no matter the fatherly bond they may have shared with Abigail.

Will gets an offer by one of Hannibal’s men who was secretly hoping to get Hannibal since he had some past trouble from Hannibal’s mafia stuff, and Will takes his offer out of desperation since he is grieving the loss of Abigail.

Hannibal has a close call but lives, and he is kinda like “maybe this dude needs some time after what happened, maybe he should go back home”.

Hannibal gives him a new identity to start anew, and sends Will back to America for Will to try to piece back a life he had before in idk Maine or something so he can be a fisherman since Will would probably like that.

Will has a small boat, his little cabin, and his side hustle or selling fish for some income, but mainly is off grid.

Hannibal focuses on strengthening the connection of the East coast to Europe for better Western international relations.

Will on the other hand, had a lot of thinking to do. And sets off on his boat to Europe because why not?

Off to Europe he goes like a little pirate.

Will decided to visit a place Hannibal mentioned, the fancy church in Europe that Hannibal imagines in his mind palace to forgive Hannibal. Hannibal is like “damn, cool” and then they meet up at the museum and yada yada yada I can continue it if anyone is interested. Just an idea.

[rey-jake-therapist]

I often wondered why Hannibal told Abigail he couldn't protect "in THIS life"... It seemed like a strange choice of words, especially coming from a man who always choose wisely the words he chooses...

It's only today that it hit me: Abigail didn't just remind him of Mischa. She WAS Mischa in his mind. Or he dearly hoped she would be. I don't know if Hannibal believes in a concept as abstract as reincarnation, but when he regrets he couldn't protect Abigail in "this life", that's what it evokes to me: that Hannibal is looking for reincarnations of his sister in every female figure he bonds with; Abigail seemed to be the perfect receptacle for Mischa's spirit as he could be both a sibling and a father figure to her, just like he was to Mischa...

And it explains also his tears, when he talked about Abigail's death to Bedelia while she wasn't really dead: I think he was genuine when he said a part of him kept hoping for proofs that "Abigail" was still alive: in his mind, Abigail/Mischa effectively died in Gareth Jacob Hobbs' house...

[hayleythecannibal]

TWISTED MINDS: Act III- Chapter Twenty-Eight Primavera

TW: Crime scenes, Gore, Implied Death, Death, Cannibalism, Guns, Mental Heath, Pregnancy, Talks of tragic loss

Warning this is Fem!reader. You can also find this on Wattpad and A03 under the name @HayleyMarieOfficial. Comment if you want to be added to the taglist.

Taglist: @punkin-time @miaowkitty @gabriella-aesthetic @urlocalfanficwriter @dilfdemolisher

Twisted Minds Masterlist

HOSPITAL - WILL GRAHAM'S ROOM - DAY-

WILL GRAHAM'S EYES Slowly flutter open. He gasps, wincing as he draws air into his rib cage. He takes in his surroundings to find he is… A hospital bed holds him. Glowing monitors flank him. His abdomen is freshly bandaged and stitched.

His eye finds a WALL CLOCK. In his shifting, blurring vision, the numbers sag and drift onto the wall. Will stares a moment -- until the minute hand CLICKS. Time is passing and will continue to pass. This is no fiction of his mind. He gazes over at a Sleeping Y/N, One hand on a small bump and another holding his.

A FIGURE Until now unseen, moves at the foot of Will's hospital bed. A DOCTOR Inspecting Will's chart. He replaces it and turns and smiles, pleased to see Will is conscious.

“How do you feel?” The man's question seems almost alien in its simplicity. “Thirsty.” The doctor hands Will the hospital-issue cup next to the bed, and Will drinks slowly through the straw. The doctor looks to the open door of the ICU; an indistinct shadow indicates someone standing just around the corner.

“Feel well enough for a visitor?” The doctor exits through the door. Though it's still open, Will cannot see out it... until his visitor enters: ABIGAIL HOBBS Pale like Will, in a hospital gown of her own. She stands on the threshold, staring at him. Will stares back and his thoughts and ours are the same – Abigail is alive.

Abigail stands in front of Will's hospital bed, Taking Y/N’s Hand. Pillows prop Will up. They look at one another. A reunion neither thought they would ever see. After a moment: “They told me he knew exactly how to cut me. They said it was surgical. He wanted us to live.”

“He left us to die.”

“But we didn't.” Abigail averts her eyes, still looking for rhyme and reason. “He was supposed to take me with him. We were all supposed to leave together. He made a place for us.”

“Abigail…”

“Why did you lie to him?” Will has to consider that a moment, then: “The wrong thing being the right thing to do was too ugly a thought.”

“He gave you a chance to take it all back, and you just kept lying. No one had to die.” An almost-imperceptible wince from Will. “It's hard to grasp what would've happened, could've happened. In some other world... did happen.”

“Having a hard enough time dealing with this world. Hope some of the other worlds are easier on me.”

“Everything that can happen happens. Has to end well, and it has to end badly. Has to end every way it can. This is the way it ended for us.”

“We don't have an ending. He didn't give us one yet. He wants us to find him.” An awake Y/N murmurs in her stage of waking up. Strange for Will to hear that, and stranger yet to believe it.

“After everything he's done, you would still go to him?” Abigail quietly nods.

“If everything that can happen happens, you can't really do the wrong thing. You're just doing what you're supposed to do.”

EIGHT MONTHS LATER - NORMAN CHAPEL - DAY

The chapel's vast interior rings with the multiple languages of the travelers shuffling about the place. Among the TOURISTS, we find, A heavily Pregnant Y/N, Will, and Abigail as they enter. Abigail gazes up at the apse of the chapel and JESUS PANTOCRATOR -- "Ruler of All," an exquisite Byzantine mosaic.

Saint Andrew is depicted on His one side, Saint Paul on His other. The saints' tempera-painted eyes, their unfettered focus -- like Abigail’s -- on their savior. “Even in an enlightened world, we come here to feel closer to God.”

“Do you feel closer to God?” Abigail asks, as I adjust my FBI identification Badge. Because Will and Jack were forced to retire from the Bureau, I have become the Acting Head of the BAU. alongside some new profilers, Gideon and Rossi.

“God's not who I came here to find.” They move further into the chapel, admiring its beauty. Abigail notices a PRIEST watches them; she stares at him a moment, then averts her eyes. “Do you believe in God?” Abigail wonders if she does even as she asks it.

“What I believe is closer to science fiction than anything in the Bible.” Abigail notes the various people sitting and praying; she speaks low so only Will can hear her: “We all know, but no one ever says God won't do a Goddamned thing to answer anybody's prayers.”

“I'm sure answering prayers can be complicated, otherwise He would do it all the time. God can't save any of us because it's inelegant.”

“God allows bad things to happen because it's... elegant.”

“More elegant than stopping the universe to prevent an earthquake, put out a fire, cure cancer. Elegance is more important than suffering. That's His design.” I say as I stand from a Pew.

“You talking about God or Hannibal?” Abigail asks, “Hannibal's not God. Wouldn't have any fun being God. Defying God, now that's his idea of a good time.” I chuckle and rub my belly. Will raises his head, taking in the murals of saints and apostles that decorate the gilded ceilings.

“Nothing would thrill Hannibal more than to see this roof collapse midMass, packed pews, choir singing. He would just love it. And he thinks God would love it, too. Thats What Hannibal sees when he steps inside the frescoed walls of his own mind.”

“Do you feel closer to him here?”

“This isn't Hannibal, it's just where he begins. Beyond this, far and complex, light and dark, is the vast structure of his mind. A thousand rooms, miles of corridors. Everything he remembers, wonderfully and fearfully reconstructed.”

“Why "fearfully"?”

“Hannibal is well armed against the physical world, but there are places within himself he can't safely go. But we can. If we find them. And that's how we'll find him.” Will says as he moves my hair out of my face.

NORMAN CHAPEL - NIGHT-

A HORRIFIC TABLEAU In the center of the chapel's floor, constructed directly above the inlaid skeleton. At first glimpse, it appears to be A HUGE HUMAN HEART. But a second look reveals it's A MAN'S BODY, SKINNED -- limbs and back broken and folded to create the anatomical parts and chambers of the organ. The victim's head, hands and feet are missing, stumps portraying the muscle's severed vessels.

The faux organ hovers above the floor, supported by a makeshift tripod formed by a TRIO OF SWORDS run through the body. Down each blade, blood trickles. A bloody valentine awaiting its intended

NORMAN CHAPEL – DAY-

The white sheet belongs to a row of HOSPITAL PRIVACY SCREENS being erected around the broken and mutilated corpse. VARIOUS POLIZIA SCIENTIFICA AGENTS are busy working around the body. Camera FLASHES bounce off the white sheet dramatically. passing the priest speaking to a local officer, INSPECTOR DONAGGIO, in hushed tones.

Will and Y/N as they enter the chapel, moving with inconspicuous purpose through the CSI agents, reacting to the silhouette of a beating heart near the altar.

“Its him?” Before Will can respond, We’re rapidly approached by a Palermo poliziotto, named LAMANNA, who holds up a waving hand: “Per favore, signore. È proibito qui. La cappella è chiusa.” Will nods to the poliziotto, his eyes still on the display.

“I'm sorry, I don't speak–” Will says confused, I roll my eyes and am about to respond when- “The chapel is closed.”

“Signore…sono la dottoressa Y/N L/N, capo dell'unità di analisi comportamentale dell’FBI.” I try to introduce myself, But the Man is already gone…Me and Will turn to leave, trying to glimpse what we can of the crime scene investigation.

We see Inspector Donaggio talking with the priest, who is now pointing in Will's direction. Donaggio shouts across the chapel at Poliziotto LaManna and Will: “LaManna, non lasciarlo uscire. Voglio parlare con lui.”

“What did he say?” Will turns to me, “He said, he wants to talk to us.”

PALERMO POLICE STATION - BULLPEN - DAY-

past rows of desks, various POLIZIOTTI working in an office haze, some at their own desks, others gathered around Inspector Donaggio's desk.

Will and I sit in a row of empty chairs, a common area, waiting to be summoned for questioning. “Signor Graham...Dr. L/N….” We turn to see CHIEF INSPECTOR RINALDO PAZZI sitting down in a nearby chair. Even as he speaks, he sits facing forward as to obscure the obviousness of their conversation. “Chief Investigator Rinaldo Pazzi. Questura di Firenze.”

“You're a long way from Florence.”

“You're a long way from Baltimore. I read everything I can find on FBI profiling methods. I've read all about your incarceration. Its nice to meet the new Head of the BAU.” Pazzi says, shaking my hand. I smile softly.

“Keep reading. I was acquitted.”

“You come to Palermo and soon – very soon -- a body is discovered, sculptural in its mutilation.” Will doesn't respond. “The priest at the Cappella dei Normanni said you've been spending a lot of time there.”

“I've been praying. Haven’t you heard, I'm going to be a dad.” Will’s hand graces my lower back.

“There is some comfort in prayer. It leaves you with the distinct feeling you're not alone. Will studies Pazzi a moment, and then: “Signore…” Will turns to see Inspector Donaggio walking toward us, signaling for us to follow.

“Vieni con me.” As Will rises and follows Donaggio back to his desk, he glances back at Pazzi one last time. “Ciao.” I smile back, “Ciao.”

PALERMO POLICE STATION - STAIRWELL - DAY-

Will makes his way down the stairs, Guiding Y/N carefully toward Abigail who is waiting on the landing below. He smiles, happy to see her; she indicates Inspector Pazzi leaning against the bannister, a yellowing envelope tucked under his arm.

“Is Will Graham and The Head of the Behavioral Analysis Unit here because of the body at the cappella, or is the body here because of Will Graham and Dr. L/N?” Will glances at Abigail who moves off inconspicuously. “Why are you here?”

“I'm like you. I do what you Two do. We share the gift of imagination.”

“I've got the scars of a man who grabbed his gift by the blade.” Will says as he rubs my belly. “You grabbed the wrong end. Those moments when the connection is made, in that synaptic spasm when the thought drives through the red fuse, that is my keenest pleasure.”

“Knowing.” I say softly. “Knowing. Not feeling. Not thinking. You know who murdered that man and left him in the Cappella Palatina.” Pazzi looks at me, I tilt my head with a smile. “Don't you?”

“I met him twenty years ago. Il Mostro, the Monster of Florence. It was his custom to arrange his victims like a beautiful painting.” That gets our attention. “Il Mostro created images that stayed in my mind. I can still see his tableaux peripherally.”

“Like looking beside an object to see it in the dark.” Pazzi takes PICTURES out of the yellowing envelope tucked under his arm, hands them to Will.

“Twenty years ago, I was dwelling on a couple found slain in the bed of a pickup truck in Impruneta…...bodies placed, strewn and garlanded with flowers, the woman's left breast exposed.”

PALERMO POLICE STATION - STAIRWELL - DAY-

“Like a Botticelli.” I say, I rub my belly. I gaze at the macabre art made from bodies in front of me. “Exactly like a Botticelli. His painting Primavera still hangs in the Uffizi Gallery in Florence, just as it did twenty years ago.” As Inspector Pazzi pulls another picture from his envelope...

BOTTICELLI'S PRIMAVERA; The painting depicting a group of mythological figures in an orange grove.A woman in diaphanous white is being seized by a winged male from above. His cheeks are puffed, expression intent, and his unnatural complexion separates him from the other figures.

“The garlanded nymph on the right, her left breast exposed, flowers streaming from her mouth as the pale Zephyrus reaches for her.” Pazzi Explains, Will looks at the picture of the Botticelli, and the dead couple who honor it.

“Match. Match.”

“At the Uffizi Gallery... that's where you met il Mostro.” I look from the bodies to Pazzi with curiosity. And he lived this long to tell the tale. Hmm.

“That's where I met this man.” Pazzi produces a BLACK-AND-WHITE PHOTOGRAPH from the yellowing file folder, and Will takes it.

Its subject – HANNIBAL LECTER- Twenty years younger.

“The Monster of Florence.”

UFFIZI GALLERY - DAY-

Primavera hangs in the sparsely-populated museum. “To find the inspiration il Mostro used was a triumph. I went to the Uffizi and stood before the original Primavera day after day, and most days… I’d see a young Lithuanian man as transfixed by the Botticelli as I was. As transfixed as I imagined il Mostro would be. And every day I saw him…”

“...he would recreate the Primavera in pencil, just as he did in flesh.”

NORMAN CHAPEL - TWILIGHT-

Somber shadows have replaced stained-glass daylight. Will and Y/N stand with Inspector Pazzi in the empty church. Evidence of the crime scene investigation is still present, but the sculpturally-mutilated body has been removed.

“I knew. It was the best moment of my life. A moment of epiphany that made me famous and then ruined me.” Will reacts; Inspector Pazzi is a pale, older version of himself, with an entirely-different history with the Monster.

“In haste and heat of ambition, the Questura nearly destroyed the young man's home, trying to find evidence.”

“He doesn't leave evidence.” I say knowingly…..Pazzi Looks at me. “No, he doesn't.” I smile; “He eats it.”

“Another man -- not an innocent man, but innocent of those crimes -- was a dream suspect. He was convicted on no evidence except his character.”

“Blame has a habit of not sticking to Hannibal Lecter.” Will says knowingly. “It has a habit of sticking to you.” Uncomfortable memories, all too raw. In the background, the DULL BANGING of a door as a POLIZIOTTO enters:

“No, no. La chiesa è chiusa. Questa è ancora una scena del crimine.” Pazzi hands Will a folder full of crime scene photos, and approaches the poliziotto, showing his badge.

“Commendatore Rinaldo Pazzi. Questura di Firenze. Sto consultando sull'inchiesta.” Pazzi guides the poliziotto to the exit. “Posso parlare con te fuori?”

We watch as Pazzi glances back over his shoulder one last time before disappearing with the poliziotto. Will stands there a moment, holding Pazzi's crime scene folder. “My love?” I say softly, “Hmm”

“Open the Folder.” Finally, almost reluctantly, he pulls a single photo from the folder.

He takes a breath, exhales, then closes his eyes. We hear the slow THUD of his HEARTBEAT keeping rhythm with the AMBIENT HUM of his CIRCULATORY SYSTEM. A PENDULUM It swings in the darkness of Will Graham's mind, keeping rhythm with his heartbeat. FWUM. FWUM.

His eyes are closed. FWUM. The PENDULUM is now outside his head. It swings behind Will, wiping away the evidence flags. FWUM. The police tape. FWUM.

The HUMAN HEART SCULPTURE. we are no longer in the picture -- The human heart sculpture stands alone as it was intended. Will circles the sculpture, studying it.

“I splintered every bone, fractured them... dynamically. Made you malleable. I skinned you. Bent you, twisted you and trimmed you. Head, hands, arms and legs. A topiary.” The human heart sculpture swells slightly with a low THWUB. “This is my design.”

THWUB-THWUB. The human heart sculpture appears to be beating. Will starts slowly to back away from it, toward the altar. “A valentine written on a broken man.” The body SHUDDERS. One broken arm strains against the cording holding it in place. SNAP! The cord BREAKS and the arm PULLS FREE. Another broken limb BREAKS THE STITCHES holding it fast... and then another...

Bowed in a parenthetical curve, it begins to STRAIGHTEN. Vertebrae realign, setting forth sickly POPS and CRACKS. He stumbles back, unnerved, tripping on the altar steps. More restraints SNAP as another limb realigns... and next, a leg. What resembles a nightmare flower blossoming, the body – still without hands, feet or head -- resurrects its form…

THE BODY, Unfolding now, approximating its original shape, starts crawling forward as its cording and stitching hangs and drags. It crabs forward on stumps and knees. THUD. SLIDE... directly for Will. . FROM THE STUMPS OF THE SEVERED ARMS AND LEGS Horrifying BLACK HOOVES emerge, scraping and pulling at the marble floor, almost fawn-like, as it moves toward Will.

FROM THE SEVERED NECK Two points SPROUT from the raw meat, growing, blossoming bilaterally into familiar shapes -- a PAIR OF ANTLERS. No head emerges to support them -- only the antlers. As the ANTLERED NIGHTMARE that unfurled from Antony Dimmond's corpse is nearly upon him…

NORMAN CHAPEL - NIGHT-

Will leans against the altar, sweating, breathing heavily. He opens his eyes to see Y/N and Abigail walking toward him. “I do feel closer to Hannibal here.” He suppresses a small, uneasy laugh. “God only knows where I would be Without you and Him.”

“What did you see?”

“He left us his broken heart.”

“How did he know we were here?” Abigail asks, In our shared delusion I know its not her. Its a figment of what we want to be reality.

“He didn't. But he knew we'd come.” I say softly. “He misses us.” Strange for Will to consider, but he remains suspicious. “Hannibal follows several trains of thought at once without distraction from any, and one of the trains is always for his own amusement.”

“He's playing with us.”

“Always.” I smirk softly, I take a seat on the steps. My back is killing me, between the heels and the belly. He tosses the photos of the broken man heart on the altar, steps in front of Abigail. “You still want to go with him?”

“Yes.”

“He gave you back to us. Then took you away. Lucy and the football. He just keeps pulling you away.” Will is contemplative a moment, then suddenly sad: “What if no one died? What if we all left together? Like we were supposed to. After he served the lamb. Where would we have gone?”

“In some other world?”

“In some other world.”

“He said he made a place for us.” Will fights back his emotion, then: “A place was made for you, Abigail, in this world. The only place we could make for you.” Abigail looks up at Will and Then to me.

the – NEWLY-HEALED SCAR On her neck DARKENS. The broad line of shiny tissue grows red, like a second smile drawn in lipstick. And then it SPLITS and starts to BLEED. And bleed and bleed. It's a mortal injury -- the same one that left Abigail dead on Hannibal's kitchen floor. Our punishment.

Red pulses down Abigail's front and neither me nor Will try to stem its flow. His eyes unwavering from Abigail's until we reveal no one is beside Will. No one but Y/N.

He's seated in front of the altar, hand on his Fiancee’s belly.

the chapel, finding the CHORUS OF SAINTS AND APOSTLES, a streaming drapery of figures painted onto the high walls and ceiling. CAMERA continues to prowl until it focuses on one figure in particular.

reveal the figure is not part of the extensive mural; it is, in fact, HANNIBAL LECTER. He looks down at Will and Y/N sitting stoically at the altar. Hannibal watching, not moving, part of the chapel...

NORMAN CHAPEL – NIGHT-

Pazzi enters from the back of the church, calling out: “Are you praying?” Will considers that, shakes his head, then: “Hannibal doesn't pray. But he believes in God. Intimately.”

“I wasn't asking Hannibal Lecter.” Will's eyes are drawn to the ceiling and the murals overhead. He strokes Y/N’s back as she rests her head on his shoulder. “I think my prayers would feel constricted by the saints and apostles and Jesus Pantocrator.”

“Not buoyed?”

“Not these prayers.” Pazzi looks to the ceiling, following Will's gaze. “I hope my prayers escaped, flown from here to the open sky and God.” Will stands and helps Y/N as he does so, exploring the vicinity of the crime scene. “Praying you catch him? You should be praying he doesn't capture you.”

“I didn't head the Questura di Firenze for nothing.” Will glances into the GATED STAIRWELL under the pulpit.

“You couldn't catch him when he was just a kid, what makes you think you're going to catch him now?” I ask curiously “You.” A small, polite scoff from Will, unable to take his eyes off the small stairwell to the catacombs. I roll my eyes.

“What makes you think we want to catch him?” Pazzi studies Will -- does he mean to kill Hannibal?

The volume of his CIRCULATORY SYSTEM rises in his ears, drowning out Pazzi speaking in the background.

the gate, OVER THE LIP OF THE FLOOR, to find a small series of steps leading to a WOODEN DOOR. A small gap between the door and the landing. BLOOD starts to seep under the door. He stares, the sound of his CIRCULATORY SYSTEM fills his ears with a rhythmic ebb and flow.

Will slowly turns back to Pazzi. “If you could possibly be content, I would suggest you let il Mostro go.” I say softly, “Can't do that any more than you can.”

“He's going to kill you, you know. Usually right about these things.” Will says, all politeness out the window. “He let you both know him. He sent you his heart. Where has he gone now?”

“He hasn't gone anywhere. He's still here.” Will's glance down the stairwell, to the catacomb door…

NORMAN CHAPEL - CATACOMBS - NIGHT-

The catacombs are flooded with BLOOD-TINTED WATER. through the long corridor, like exploring a sunken submarine, passing SUBMERGED CORPSES, Will floats in the flooded corridor, holding his breath. As he can't hold his breath any longer.

He squeezes his eyes closed, and we... He opens his eyes, no longer submerged in his subconscious, and takes a small breath, preparing himself. We are --

NORMAL CHAPEL - CATACOMBS - NIGHT-

Punic stone two millennia old. Will listens, carefully monitoring his breath. He sees the walkway, weaving through DOZENS OF MUMMIFIED CORPSES, leads down into a darkened maze, only partially illuminated by infrequent candlelight. Following the ancient fortress wall as it leads him deeper into less-aged corridors of the chapel's crypts and catacombs.

Overhead, bare bulbs occasionally light the way, but mostly the underground circuit remains shrouded in shadow. In the distance ahead, Will hears unhurried footsteps. “Hannibal.”

The unhurried footsteps stop as Will’s shout echoes along the passageways. No reply. A moment, then the footsteps resume their march.

Will arrives at a fork in the corridors and he considers his choices. Clicks of Heels behind him. “Y/N, are you insane?!?” Will turns around. “Honey, we know this already, I am no more sane than you.” I chuckle.

“This was stupid, you are 8 months pregnant. You shouldn't be down here.” I give him a look. Footfalls come deep from within the darkness; someone is there. Will runs after them, dogged, into the black. I slip off my heels and follow as quickly as I can.

A moment behind Them – PAZZI Arrives at the head of the walkway. He draws his gun and pauses for only a second before he follows Will and Y/N. As the black swallows him as well...

We Pause at a JUNCTION in the subterranean maze. It widens to include a SERIES OF PILLARS, adorned with MUMMIFIED CORPSES, surrounded by passages branching off in different directions. The clatter of footsteps changes. Due to the shape of the gallery and the conducting power of the walls, the sound RICOCHETS, seemingly coming from both directions...

Another beat and Will looks to his rear, realizing it’s no trick of sound -- someone is behind him as well… PAZZI Continues his pursuit as quickly as the darkness allows. His breathing is heavy and his gun leads him like a dowsing rod, his finger on the trigger.

PAZZI Hears only his own footsteps as he arrives at – THE JUNCTION

The same one Will and Y/N encountered. Pazzi slows, taking in the pillars and the many passages... any of which Hannibal or the couple might have taken. He pivots, the seasoned cop, but there are too many blind spots. Too many angles to cover.

“Signor Graham...Dr. L/N” Suddenly – We Approach from behind Pazzi; the inspector is spun around. We’re Calm, quiet, yet unnerved. “You shouldn't be down here alone.”

“I’m not alone. I'm with you two.” I laugh softly, like that would protect him. “You don’t know whose side we’re on.” Pazzi stares at Will, cautious. “What are you going to do when you find him? Your il Mostro?”

“I'm curious about that myself.”

“You and I carry the dead with us, Signor Graham. We both need to unburden. There's no arguing the point.”

“Why don't you carry your dead back to the chapel before you count yourself among them. Will drifts away from him. “You're already dead, aren't you?” ...disappearing in the dark. “Buonanotte, commendatore.” I dismiss him. He stands there in the dark, alone. Listening.

Hannibal has not slipped away. Still and silent as the stone itself, he waits like a spider for Pazzi to come his direction.

Pazzi takes a last look in the darkness where Will disappeared, and he starts back toward the tunnel entrance. He moves deeper into the catacombs. preceding him and, as Will passes the pillar where Hannibal was concealed, we see Hannibal is gone -- no one is there. Will pushes forward...

Will’s imagination has flooded the catacombs in blood-red water. Treading deeper into the tunnels, propelled by guilt. No one materializes and Will moves on nevertheless… No intermittent bulbs light the passage. The frame of the corridor is lost to near utter darkness. Will pauses again.

“I forgive you.” His voice RINGS down the depthless inky black. I place my hand on his back, softly scratching it. I forgave Hannibal long ago….I was just waiting for Will to.

HANNIBAL Stands, hiding among the mummified corpses. He hears the plaintive offering -- and the echo that answers it -- but he says nothing in reply. Instead, Hannibal takes a silent sidestep and is swallowed entirely by the shadows.

WILL Stands, forlorn, with only darkness behind him, awaiting a response that is not to come.

[theredofoctober]

BONUS MANNA CONTENT

Between writing chapters I may drop fragments of 'Little One's diaries regarding her captivity under Will and Hannibal. Chronologically out of order

Characters: Reader or Little One (OC)/Will Graham

TW: eating disorders, noncon, kidnapping

---

FUNERAL BELL

Diary,

I've forgotten what wind feels like, in here. The air is so still that I can almost see it, silver prisms cutting across everything like shattered glass. The wind, the rain, I hear it all the time, but what it felt like on my skin I don't remember, whatever's left of the sensation out of focus, like a mirage, like a dream.

I used to spend hours staring out of windows, waiting for appointments and difficult conversations to be over. Now it seems it's almost all I do, hopeless and forlorn. The leaves are maroon, and so many cleave to the branches still that it's like the world beyond Hannibal's house is holding a ragged breath, waiting for me to do something.

Waiting for me to do wrong.

I've grown superstitious, in this dark place, death place, this cenotaph of shadows. Every cobweb and shrouded corner is hungrier than I am, desperate for someone to throw its secrets to the light.

My fathers— they made me like this.

If they are men, and just men, then I'd fear to know anyone beyond these walls again in horror that they, too, might hide that sanguine appetite, not only to kill, but fuck and torment as they will, and anyone they want.

They didn't sleep with Abigail Hobbs, but tossed her between their affections like orcas toying with a stone-battered seal, tearing her to pieces in their ruinous embrace.

They tear and tear at me, too, but I don't die, will never die.

I've always believed that, in some way, my absence of eating made me immortal, cleansed me to such strengths that no ailment could touch me, no failure of organs, nor any symptom common to the things I did. Bed sores, losing my monthly blood, and all the bad temper I could summon failed to break me; even now, cold and logical before the desk my jailer brought for me, I'm sure my illness makes me special, blessed as the saints were that starved, as I do.

This struggle between me and the men— it makes all three of us feel so very much more alive, I see that now. But I resent the power they take from me, that they would quench the last fire I had to survive the nights I can't undo.

I use them, for what they will give me, which isn't much, unless I play their girl. It's getting easier, even without the drugs, to the point that when I hear that whimpering voice, and see the crumpled pantomime of my expression in a mirrored surface, I ask myself: am I just pretending, or is that me? Has that always been me, the fossil of my first self, dug forcefully to the surface?

I can't stop thinking about this afternoon, and what I did to purchase the rarity of a phone call to my parents. Hannibal will no longer allow it— I become too agitated, he says; he doesn't like me crying for others. He's possessive, like that, they both are. My pain is distilled in their bottles, to be savoured by its brewers alone.

Today I clambered onto Will's lap and offered myself for him to drink. I ground myself upon his desperation, watched veins rise upon his clenched fists as I made him hard under the malice of my motions. I tasted the malt of his sweat and the cologne on his pretty white neck as I kissed my way up to his red mouth.

"One," he said, grimly— he always says 'One', a grudging attempt at Dr Lecter's nickname for me. "What are you doing?"

"I want that call, Daddy," I whimpered, into his throat —the veins in it jump-jump-jumped; I wanted to crack them in my teeth like shells and watch him cool in waxen death in Dr Lecter's armchair. I wanted to cry in his shoulder like a princess orphaned by war. I wanted him to fill up the volcanic yawn of my hunger with his fingers and cock to pestle my grief.

"Hannibal said no, but I'll let you do anything," I said— traitor, fork-tongued liar. "I just want to hear their voices. Please, please, please—"

Will ran so hot beneath me I thought I'd made him ill with my affection. I think maybe I had. He wanted to fuck me until I wept; he wanted to put me to bed as though I was very small, and forget that he'd ever touched me, I could feel it.

"If he said no, then why are you asking me?" he asked, through gritted teeth, but I felt his hands on my waist, touching me so awkwardly, with so much needy want that suddenly I needed him inside me, just to squeeze my knuckles shut around that spare shred of power.

"Because you love me," I said, looking into the November waves of his soft eyes, "and I hate you. And you don't want me to hate you. So help me. Please. Please. Please."

I put my tongue into his slick mouth and he moaned so pathetically that I was in awe, for a moment, that he was my captor, and I was not his. But then he was ripping at his buckle like a monk fallen before God in his love of women, and I remembered that I was afraid of him— too late, as the perspiring moon flesh of his hands drew me apart, and he thrust his cock in me with my mouth still on his.

The pleasure— I wish I could pick it out like a knot, that I could put a pin through a doll of it and see it die. But I still feel it all, now, the shift of his pelvis up into mine, his shaking hands on the back of my neck, on my thighs, promise in every fumbled grasp.

I hated him, held back tears even as my middle gleamed with the dirt of him inside me.

"You can call home in the morning," he said, between kisses that will haunt me like the dead. "I'll convince Dr Lecter that you've earned it. And... I think you have."

I lay in his lap, afterwards, his seed warm within me, my face in his shirt, breathing him in, wishing the spores of his pale skin alone could kill me.

Galerina marginata, they call the Funeral Bell, a mushroom that poisons its eater. I'm starting to think that I'm like that, to Will and Hannibal; for every bite of me they dig, dig down into an earthen darkness.

I think I want to see how far they'll go.

[rearranging-deck-chairs]

Hi hello I watched all of carmilla in a weekend when I was 17 because a student teacher who in retrospect I had a bit of a crush on mentioned that she knew one of the actresses. also I am pretty invested in all your recent vampire stuff because I watched iwtv in 2 days last week because your edit intrigued me

oh hiiii 🫶 thank you for indulging me. thats so cool that you watched iwtv! did it live up to the expectation?

i also watched carmilla at 17! or like, 17-19. i found it when s2 had just started and followed it to the end. did something permanent to my brain but i think it was a good thing. on rewatch now im like, i was right to like this. like it's a solid show, it's good. it has its flaws obviously but it's well written, the emotional moments still get me, i can see why i liked it and i still like it now even when it's not anymore, you know, meeting every need that baby gay me didnt even know they had

what it doesnt reaallyy do though - i dont remember if i posted abt this or if i left it in my drafts but - is explore vampirism as a concept. their subject matter is more lesbianism than vampirism. which is great! thats what they wanted to do and they did it and it's very good. but reading interview with the vampire the book rn im realising how much potential vampires have to be metaphors for like so many things and i started wondering like 'wait, did carmilla just not really engage with it or did it all go over my head'. but it just didnt really engage with it all that much. which again is fine bc that wasnt what they were doing. im glad they were more about the lesbianism than the vampirism

but there's this interesting difference in framing, because in iwtv they keep calling armand 'ancient' right? and emphasising how old he is. and he's like 500? and i was like 'wait isnt carmilla like 400?'. she isnt, shes 340, but still, thats getting there, you know? and we know quite a lot about her history, but kind of just the Big Events. when she was turned, the events of the novella, coffin of blood, silas. thats sort of what we know. but none of the long lonely slog of history day to day you know? with armand i feel like we can really feel how much time everything takes. how every one of those years is made up of single days. with carmilla i dont feel that as much. i keep kind of thinking about daniel, when louis calls him a boy in the first episode, saying "im an old man, with all the triggers that come with it"

because carmilla might look 18 (or mid twenties at this point) but she has lived all that time. shes also seen her native land be claimed by like a succession of ruling powers, right? like armand. shes been buried alive, like louis. when lestat is born, shes already 80 years old, shes lived a whole human lifetime, and the entire adult part of it shes been a vampire. shes lived through 1680-1870 being a lure. i compared her to abigail hobbs in some tags on a post, i dont know if youre familiar with hannibal the tv show, but i do also kinda keep thinking about that comparison

if youre not familiar, in the first episode of hannibal the murderer of the week is this guy garrett jacob hobbs who kills and cannibalises girls who resemble his daughter. and later on it turns out she was made to be his lure. like they'd go places and he'd sent her to the victims to make friends and maybe get them back to their home or smth. not sure if they specified all the details. but that's what carmilla did for mother. and in s2 we hear from mattie that while every couple of decades carmilla had to lure victims for the fish god, she also seemed to just enjoy humans between those times, right? like the doctor, gets lonely, gets a new companion. but we've only sort of got mattie's mocking word for it ("dont eat him, hes a poet! or her, shes got such a wonderful voice. or that one, shes just too pretty to ruin"), we don't know exactly from carmilla's point of view what she was doing or why. if mattie's talking about stuff that happened after the blood coffin, 1950-now, then i think it's a fair assumption based on what carmilla says in the s1 sock puppet show that after she'd figured out what the real situation was and what her role in it was, when she'd started trying to save girls from being sacrificed, that she mightve been doing the same trying to save people from becoming mattie's victims. it's probably more likely that she was just trying to find excuses to stop mattie from sucking someone dry rather than actually having like an aesthetic based morality. but it might be a bit of both. im still trying to figure out what her philosophy actually is, like i dont know what existentialism actually means ghkfjghkj but i will

i also found it pretty striking in the movie when shes turning back into a vampire she says like "this was supposed to be done, you know? the blood lust, the self-loathing, the sleeping tied to a chair in my own bedroom". thats what defines her vampirism, wanting blood and hating yourself for it (the third part is a joke/reference to s1 but also i think meaningful for how she sees her relationship with laura when she IS a vampire. little bit of that 'she will reject me for my monstrousness' shining through). and thats what defines vampirism for lots of vampires across the genre obviously, but i dont know, it struck me. we dont get a lot from carmilla's pov, we know a fair amount about her, but the story is always told through laura. we get laura's diaries, but just snippets here and there from carmilla, what shes thinking, how shes feeling

and i love that shes a philosopher. i love that thats how she seems to try and find something to hold onto, in a world that kind of moves around her, having been murdered, kidnapped, turned and groomed to be a lure on the cusp of adulthood, never having been properly loved (the relationship with her father wasnt good she says in s3, and her mortal mother i dont think has ever been mentioned (like laura's)). the only good relationship she seems to have had for the better part of 3 centuries seems to have been mattie, and mattie seems to love being a vampire. i can imagine carmilla just sort of going along with anything mattie wants to do just because shes so desperate for that friendship. not like, against her will necessarily really. but more like, she hasnt even had the space to develop her own will, you know? and philosophy lets you do that. philosophy gives you frameworks to understand the world and to develop your own opinions on it. and by the 21st century she seems to have developed those opinions, she has a sense of her own values, but shes also still stuck in that same situation. shes jaded and cynical in the face of laura's optimism and strong moral code a lot of the time in s1 because she feels probably pretty powerless. like she does what she can to save some girls but at the end of the day shes scared of her mother and she has nowhere else to go really, right?

i like how she grapples with that over the course of the series, in tandem with laura grappling with her black and white morality. she sort of jumps ship from her mother to laura bc theyve fallen in love, but then laura still stuck in her hero thinking refuses to see her monstrous side. not literally bc i think the biological vampirism never seemed to be a problem for laura, but morally. the having murdered. carmilla needs laura to see that and love her while seeing it bc the last girl she loved rejected her for being a vampire.

but you see her kind of swing back and forth in s2. she softens first with laura but then they break up and she leans back hard into the sarcastic cynic defense mechanisms, leans hard into "im a monster, dont expect heroism from me". but thats like, it's sort of learned helplessness i think. it's powerlessness, resignation. bc morally shes not a monster. maybe she doesnt have as strong a drive to help other people as laura does and is a little more selfishly hedonistic in that she just wants to enjoy her/their life, but she doesnt hurt people for fun, she never has. she just sort of didnt have another option for a Really long time. so she pretends she doesnt care. "im a vampire, this is what i do, this is who i am". but clearly from the way she talks about it when she turns back into one, she doesnt enjoy it

and i like how she goes even further in s3, where she starts swinging even more to the heroic side, bc she sees hope. shes like "wow if we kill my mother, i'd be free". theres hope and she becomes like a lot more active. and shes like that at the start of the movie too, a lot happier, a lot more relaxed, and then vampirism is back and bam depression gfhgkjh like shes immediately more gloomy, ashamed of her past and her self, retreats into herself

sorry i just took this as an opportunity to dump all the carmilla thoughts floating in my head on you. you didnt ask fhkghgjh consider this an open invitation to you or anyone else to come talk to me about carmilla

[super-who-locked-me-in-here]

It's really sad to think about how little control Will had over Abigail's fate when you really stop to think about it.

When we see him in the beginning of season 1 figuring out who GJH is, he's aware of Abigail. He doesn't know her, and he doesn't exactly care about her yet (in more than a "I hope this girl is still alive and I have to save as many lives as possible" kind of way). There's this idea that Abigail is the "golden ticket" and yes she's in danger, but it's not immediate danger. At least not until Hannibal steps in and warns GJH of their impending arrival.

Will is relatively calm when he shows up at the Hobbs' house, until Mrs. Hobbs comes stumbling out the front door covered in blood. That's when he realizes the girl he doesn't know, Abigail, is in danger, if she isn't already dead. And he arrives in the kitchen a little too late. And if Hannibal hadn't come with Will, if Hannibal had not been curious to see what would happen, there would have been nothing for Will to do to save Abigail's life. Will could beg Hannibal to save her life, but Hannibal did not have to. He chose to do so to sate his own curiosity and save appearances.

Then Will develops encephalitis, and Hannibal is in control of that too. He knows, and he keeps Will in the dark, and it makes Will a danger to himself and others, to Abigail. He's suddenly not well enough to decipher what is real and what's not for the most part, what are his actions and what are actions taken against him. And Hannibal decides for Will, and for Abigail, that it is time for Abigail to go into hiding, and the only way to do that is by faking her death at Will's expense.

And Hannibal is still keeping Will in the dark in season 2. Will cries to him about missing Abigail, about regretting his actions, about regretting Hannibal's actions as he knows them. But it's over, right? It's done with. When Will betrays Hannibal, he has no idea that he is endangering Abigail. As much as Will probably knew that night in Hannibal's kitchen would likely end in blood, he had no way of knowing it would end with Abigail's blood. Once again, Abigail's fate was in Hannibal's hands, not Will's.

Even after Abigail is dead, she is not gone. She stays with Will, in his mind, for months, and even as she is a figment of Will's own imagination, her actions and words are still under Hannibal's influence, because the part of Will that made that afterimage of Abigail, the part that said "He wanted us to live", still caters to Hannibal's beliefs and best interests which don't always necessarily align with Will's.

Abigail as Will knew her was in death, as she was in life, inexplicably chained to Hannibal. And as much as Will always wanted to know her and care for her, as much as he was compared to Abigail's own biological father, he was the weak link in their little family.

[cedarbranch]

fic concept: jack's pov. he gets a tip from freddie lounds that abigail hobbs is alive. freddie doesn't know where she is, but eventually, abigail gets herself caught -- she's alone, and not nearly as practiced in evading the fbi's attention as some people she's known.

when they have her, she's upset, visibly and constantly. she's falling to pieces over something she's been through, but when they question her, she gives up nothing. she won't even admit that she's been with will and hannibal. jack tries to tell her that the fbi can protect her, that she shouldn't fear being honest, and she laughs in his face. he ropes alana into the effort. abigail cries when she sees her, but still gives them nothing more than the same wry smile. you aren't getting it, she tells them. even if i knew where they were, i wouldn't tell you.

when they try to talk to her, it feels like her responses are a joke that they don't understand the punchline to. like she's talking to someone who isn't in the room. it's exactly how will used to talk when no one believed him that hannibal was the ripper, and jack has never felt so tired.

and then she's gone. they never see her again. jack suspects she's dead. they never get the full context: that abigail runs away semi-frequently, but always comes back. that this time the family fight went too far (on an emotional level more than a physical one) and she called freddie lounds. it was out of spite, mostly, since she knew it was one of the few things she could do to really piss off her dads -- but she also wanted clarity, another woman who was simple and forthright about her opinions (if little else), who didn't dance around everything. she regretted it as soon as she hung up the call, and even more once she was found. she knows what happens when people go to freddie lounds and then the fbi. she knows. she spends half the time terrified, knowing she'll go back home, but not knowing if she'll survive it.

meanwhile, will is absolutely LOSING HIS SHIT worried about her -- the article freddie publishes speculating on why abigail faked her death is the only contact they have with her -- and he's about half a second from snapping and going to kill freddie For Real This Time. hannibal is the only one stopping him from doing something monumentally stupid. (hannibal is also pretty annoyed with everyone involved, obviously, but he's confident that abigail won't betray them). when she finally shows up crying on their doorstep, she's scared to let either of them touch her, but when hannibal holds out his arm, she walks into the embrace anyway.

[deerabigailhobbs]

Ever since I found your blog my mind has been plagued with thoughts of adamgail-siblings (in the best way). Sooooooo, what if Garret Jacob Hobbs was so freaked that he started killing at the thought of his daughter moving away was because he's already had a child leave. He's a perfectionist so maybe his family becoming imperfect was what brought him to such extremes?

We know that Abigail is 17 at the start of the show and that the killings started 8 months ago, meaning that she was probably 16 or just 17. So say that older brother Adam left around the same age; Hobbs would see his daughter reach the age that he had one child leave never to return, and panic starting the spree. In the original script Adam gets a call from his mother stating that his father isn't angry anymore. Something happened to make Adam leave, maybe this was his father's anger at some supposed imperfection in his son, or it was a build up of things that caused Adam to leave - and that was what caused his father's anger.

But whatever it was he left, knowing that he would leave his sister in a mess, or maybe he thought it would be better for her with him gone. Either way he gets put in the trap, at the time his parents are still alive, but there's a good chance that 7 out of 8 girls have gone missing already. He tells Lawrence that he wants to spend more time with his family, maybe just spend time with a family that he might not have seen in years, does he consider them all his family anymore? His relationship with his father certainly isn't good.

Abigail is left without her brother from a young age, and when she reaches the age he was when he left and her father snaps- does she resent him for leaving, or for not taking her with him? Is she glad that he left and won't get dragged into this? What would happen if he showed up again, would his father pull him aside as soon as possible and make it so he could never leave them again? Otherwise it could end in another fight and trigger Hobbs killing his whole family without a phone call from Hannibal. Of course things could just go the same way as canon with just the addition of another corpse, Abigail regaining her brother just to lose him just as fast.

If Adam gets out of that bathroom does he head home and meet a horrible fate at the hands of his father, or is he barely finished with recovery when he gets a call from the FBI? Telling him that his father killed his mother, and tried to kill his sister, and was then shot dead by an agent. Could he bring himself to become his sister's guardian after the ordeal he just went through, and would she accept it? When he shows up, do they know who he is? Do they think of him as Adam 'Hobbs' who had changed his name to Stanheight in order to distant himself from his family? Or have they heard about the Jigsaw Killer and know of Adam Stanheight who turned out to also be Abigail's older brother? How do things go down from there? At least Abigail will have someone to rely on and stay by her side, preventing her from killing [INSERT NAME OF GUY WHO'S SISTER GOT KILLED], and preventing Hannibal from getting his claws into her. Or will Hannibal try and pull something to get him out of the way...

First of all, it truly warms my heart when someone says they like my Adamgail siblings AU. I truly didn't expect much of a reaction to it but to know others have fallen in love with their dynamic makes me so so happy :D

Secondly, connecting the dots between Adam's mother saying his father isn't angry anymore and Garret Jacobs... Genius. Jaw dropped. I never even thought of that and I love it.

Adam going through his trap around the same time that Abigail was almost killed is great too. Just imagine going through the most traumatic experience of your life and finding out the sibling, the one person you could trust the most, was hurt and here to see you. Their interactions would be so interesting. Familiar strangers to one another.

And boy, would Adam change the way Abigail's life went post throat slashed. He'd literally be stuck to her side like glue. I can definitely imagine him not being fond of Hannibal and especially Will. I would think Hannibal would try and plan a way to kill him, though I'm not entirely sure how.

I think an interesting way to view it would be that Adam shows up after Abigail kills Nick Boyle. Perhaps he hears about it through the news at a later date and rushes to Minnesota before he can even wave Lawrence goodbye. In that way she's indebted to Hannibal, but she now has someone in her corner, who truly has her best interests at heart. And once Abigail starts to lean into the company of her brother more, that's when Hannibal decides Adam has gotta go.

Or, even if he doesn't show up at all. If, in Mizumono, Abigail doesn't walk towards Hannibal because she knows she has a brother out there, perhaps still has his number stored away in a coat pocket. Abigail followed Hannibal's orders because she had no other option, but with Adam she does. She walks up to Hannibal, appearing docile, then grabs the knife and stabs him sloppily in the neck, just enough time for her to bolt from the house and to a payphone far from the house. That's when she calls Adam, praying that he hadn't changed his phone number all those years, and when he does answer, she's so relieved to hear his voice and asks if he can come get her. And without a second thought he's already asking her where she while rummaging for his car keys.

So many scenarios, I love them <3

[pesky--dust]

Do you have time to speak about the last known moments of Abigail Hobbs’ life? 

In Mizumono Hannibal tells Will: “We couldn’t leave without you.”. Do you get it? Not “we can’t”, not “I cannot”. “COULDN’T”. That particular word shows what's about to happen. It was a zero-sum game: either they run away in three, or Hannibal runs away alone. Will had time to rejoice that Abigail was still alive, that neither he nor anyone else had killed her, only to have Hannibal slit her throat in front of him like a minute later. In Hannibal's eyes, Abigail's survival depended on Will and he betrayed Hannibal, so Hannibal betrayed Abigail.

But wait a second! We have also …and the Woman Clothed with the Sun, where we see what happened behind the scenes of Mizumono: Abigail was in the kitchen with Hannibal, when Will called and we have that conversation between Hannibal and her:

Hannibal: They're coming. 

Abigail: Are we going? 

Hannibal: We're waiting for Will. It's important that he sees you. I want you two to be together.

He had to know already that he is going to kill her (I guess the decision was made during his and Will's last supper), but he didn’t lie to her: he really wanted her and Will to be together (with him) and give her back to Will, because he knew that Will misses her, however since Will betrayed him (again: in Hannibal’s eyes), “It's important that he sees you. I want you two to be together.” has also deeper and more fatalistic meaning: he is going to leave them two together - give her back to Will - and run away on his own. Abigail was supossed to be his present for Will, so since they couldn’t leave in three, he left her with Will in this cruel way and hurting Will the same way he felt hurt.

I've just been thinking a lot about these two episodes lately, so don’t mind me. 

[emiplayzmc]

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{ Garlic bread enthusiast }

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@emiplayzart

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'Delay the Inevitable AO3'

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A one-shot involving an Addison OC x Spamton G. Spamton. Two former and forgotten Addisons rummage around in an alley and end up staying for too long, hiding out in a dumpster from the cold rain.

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