#gjh talks

[gingerjunhan]

People (me) DIED 😖

He is so beautiful I am so jealous I am in awe of his beauty he is just so so so so ajdoendiwnsownsj Han Hyeongjun they could never make me hate you 😔😔😔😔

[hannibalismos-jaaneman]

will wasn't crying for himself in ko no mono, he was crying for hannibal.

[tethered-heartstrings]

Hi sorry if I'm bothering you, I just had a question? I noticed that in season three (the first part, with the Italian names) (Italian is my first language) the names are out of order. Like, S3E2 being called "Primavera" (Spring) aside, we have "Appetizers" "Second course" "Apéritif" "Side dish" "Sweets" and "Digestive". And that's not the usual order?

You usually have Apéritif late afternoon/early evening, then you sit at the dinner table and the courses are: Appetizers, Main Course (which is replaced by Spring, but I enjoy the allegory), Second Course with Sides, Sweets and lastly Digestive (or coffee lol).

So yeah I was wondering if you knew whether there was any reason for this change?

Again sorry to bother, also I love you blog. Thank you very much and have a nice day :)

V

omg you aren’t bothering me at all this is a great question!

Let me start off by saying I do not know Italian, but I have some ideas as to the naming schematic.

“Apéritif” is the first episode of season one, and from what I looked up, an apéritif is an alcoholic drink used to stimulate the appetite. As it is the first episode of the show, it is meant to entice an audience to watch the rest of the show, so it makes sense that this episode is enticing the appetite of the viewer. Also, the first glimpse we get of Hannibal in this episode is him eating a meal, and as the titular character who has a particular appetite, we are kind of appealing to his appetite as well. And the first meeting he has with Will also indirectly stimulates his appetite and interest in Will as a person and his involvement with the GJH case and his decisions to intervene. Hannibal wanting to “see what would happen” is his appetite being stimulated. “Apéritif” is also a French word derived from Latin “aperire” which means “to open” which makes a lot of sense as it is the opening of the entire show.

The first episode of season 3, “Antipasto” makes sense as it is the first course of a meal, and thus the first episode of the season. “Secondo” I take to mean a second course, so pretty straight forward.

I wonder if “Apertivo” (aka appetizer) is next because we kind of go back in time a bit to Will being in the hospital and truly seeing how thing occurred, and not his hallucination with Abigail being alive. Like going back “before” the meal. We also see Will back in Hannibal’s kitchen, going back to where everything went down, but there is a peace there as if it was before it all happened. And Abigail is there, too. Granted, Will “knows” she is dead now, but it still feels like before when she was alive. Like Will is trying to take little pieces of life before, little bites of something more savory than the reality he is in. It is also before Will really confronts Hannibal again, seeing and talking to him directly. So maybe the use of “appetizer” is more of this episode and events in it happening before other things. The events of this episode happening before the “meal” episodes as it goes back in time a little bit.

While “Dolce” and “Digestivo” are in the “correct” order, I still want to talk about them. “Dolce” meaning sweet is so perfect because of the Uffizi Gallery scene, because it is so tender and perfect. And “Digestivo” is also perfect, because digestives are supposed to aid in digestion, and Hannibal was planning to eat Will. And not only could it be interpreted as literally helping the meal digest, but also the aftermath of having killed and eaten Will, having to digest the reality that not only is Will dead, but that Hannibal killed him. And that Will’s flesh is finite, and eventually there will be nothing left of him, and soon even the taste of him, the feel of him between his teeth, will be lost to Hannibal, nothing more than a memory.

I also found that bitter digestifs contain carminative herbs intended to aid in digestion. There are a lot of herbs that fall into this category, but two of them being parsley and thyme, which are herbs in the soup Hannibal spoon fed to Will while he was drugged prior to his head being cut open. Hannibal even says the soup is “more for my sake than yours,” after Will comments on how it isn’t very good. And I know that it technically happens in “Dolce” but the end of “Dolce” and beginning of “Digestivo” overlap and blur together a bit like they do. And in “Digestivo”, Will even comments on how he doesn’t have Hannibal’s “appetite”, thus tying it all in together a bit.

As a side note, I also love “Primavera” meaning spring, because this episode is another stage of Will’s becoming and his growth, shedding an old skin. We see a new perspective of what happened in “Mizumono”, and I think “Spring” is a very fitting title for this episode!

thank you for this ask and hope you have a nice day as well!!

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

Okay so we all know how much Hannibal (and Will) like to use the God imagery for themselves as killers. Everyone is always going on about the line Hannibal has about "Killing must feel good to God, too. He does it all the time. And are we not created in his image?" and there's all this talk about how Hannibal sees Will as his God and how God is all powerful and a murderer and everything.

BUT

I think people are really overlooking another line in this context.

When Will states to the academy students "Everyone has thought about killing someone, one way or another, be it at your hand or the hand of god." IT GIVES ME SUCH BIG THOUGHTS.

Because I know that by the end of that statement, what Will means is "you hope someone dies whether you do it or it's some random accident or happenstance of fate/destiny" but something about the way he said it just kicks at my brain because I feel like he's saying "you hope someone dies, whether you physically do it yourself or you will it into existence as the responsibility or action of another higher being".

AND THAT'S WHAT GETS ME! Will doesn't know yet that Hannibal thinks of him as a God, as all powerful, as one of the most righteous killers that could ever be (with the right push). But by phrasing it the way he did, Will is not just talking about himself, but he's unknowingly also talking about Hannibal. If you won't do something by your own hand, manipulate the gods into doing it, right?

For Hannibal the two parts of the statement are different: killing by his own hand is his own acts as the Chesapeake Ripper, the Copycat, Il Monstro, and/or whoever else he might've been when he killed people, whereas killing someone through the hand of God is what Will does, because Hannibal has created a world where he can manipulate God as he sees and worships him.

Yes, Hannibal sent Will in the direction of Garrett Jacob Hobbs and Randall Tier when he could've handled them himself, but that was not his design for the two of them. Hannibal's design for GJH and Randall were to kill them through the hand of God.

Idk if this all makes sense but I was having feelings and thoughts about gods being malleable and victim to manipulation and specifically of Will in that role through Hannibal's devotion.

[stranded-labyrinth]

Hi I wanted to know your take on the Will and Abigail dynamic? I know Hannibal nurtured that paternal feeling in Will, but Will never truly knew her. He had this version of her in his head that he could control, how she reacted to him etc but barely talked to her irl. yet I feel like their relationship is exaggerated when people discuss it or portray it in fics. Will too, in a way, saying how he still dreams about her, that he’s teaching her how to fish. Why do you think Will holds on to the ideal? bc if Abigail had lived, she wouldn’t live up to this image he created. She’s flawed and actually more like Hannibal than Will. Sorry for the rambling but it’s interesting to dissect!

okay, so here's the thing for me.

Will had a version of her in his head, certainly, but between him and Hannibal, Will was NOT the one using Abigail as a tool. Hannibal did definitely care about her, we know that for a fact, but she was still a tool for him to use. Will was coping to hell and back, but fantasizing about fatherhood is different from straight up using her to tie him closer to someone else like Hannibal did.

Will didn't get to interact with her much because the opportunity was taken from him. granted, he felt exceptionally betrayed when he realized what she had done and contributed to, but he didn't want her dead. the next time he sees her is Mizumono, and that's where he discovers that Hannibal's plan this whole time has still been to essentially craft this little family with him, to start back from what they had before. a family Will never got to fully engage with unless Hannibal sewed the seeds for it, only for the opportunity to be taken from him. twice.

i feel like people's exaggeration of their relationship is a two way street, honestly: some people exaggerate the bond they had, while others exaggerate the lack thereof.

i also like to try to turn people's attention to the fact that Abigail was shocked when Hannibal gutted Will. not just because of the act itself, but because Hannibal had been allowing Abigail to expect that the three were going to leave together. Abigail fully expected this little family to come into fruition, because Hannibal invited her in on his plans for it, seeing as she had literally no one else to turn to. that doesn't necessarily mean that Abigail was going to somehow love Will like a father, but she did anticipate some kind of family dynamic, just like Hannibal had allowed Will to anticipate back in season 1.

while Will and Abigail both certainly have agency in what happened, i feel like people have a tendency to put the blame for their messy dynamic on Will instead of on the one who filled both Will and Abigail's heads with the idea that they would be a family. Hannibal is the one who named Will's feeling as "paternal", and he fed that as much as he could.

not to mention, Abigail is plenty capable of manipulating those around her. she knew exactly what she did, and she knew what she had enjoyed doing. she allowed everyone to believe she was the perfect victim, because it was saving herself to do so.

there's a lot more to say about the concept of Abigail having believed Will to be more like GJH when Hannibal was more like him, but i don't want to just end up rambling more than i already have LOL. i just believe that if the murder family became a thing, Abigail would probably end up manipulating the shit out of Will by feeding into his paternal feelings because it would save her, much like she did with GJH, and much like she did even with Hannibal. only, with Hannibal, nothing could save her.

[ear-motif]

girl you are literally so funny

ok time number one of willy g running to his buddy's house at an inopportune time after a thing happens

[tiny-b3r]

I haven’t rewatched Hannibal since like 2019 when I finished the series the first time. I put S1ep1 just for fun now and:

Will: He’s eating them … (talking about GJH)

*Cut to Hannibal having and savoring an elaborate dinner*

They just KNOW they ate with that. Like I’ve loved this show, I remember it being absolutely incredible, I recommend it to anyone that’ll listen. But little details like that I’m like yeah this is why this is peak. They were cooking, the gas was ON.

[honor-every-part-of-you]

In today’s episode of “Stuff I Only Noticed Going Through The Show Shot-by-Shot“

In s1e4, when Will is talking about feeling synced with GJH, Hannibal asks how Will felt when he saw Marissa Shule (Hannibal’s kill in the antler room). Will says he felt guilty because he felt like he’d killed her.

Will goes on to talk about feeling like they were synced, like they were eating or showering or sleeping at the same time every day.

The flashbacks to GJH imply that he’s referring to feeling synced with GJH, but at no point in the dialogue did they switch back from talking about Hannibal’s kill. And Will knows Marissa wasn’t killed by GJH. He thinks about seeing Marissa on the antlers, then talks about feeling synced with the killer with an expression of furtive pleasure, even pride.

Hannibal asks, “Even after he was dead?” and the ambiguity is broken, but it’s interesting that even so early in their relationship, Will was subconsciously sensing the blurring of self with Hannibal.

[thesprunklings]

watch the sprunklings fopr me okay

hi this is a blog run by one (1) system and we have a lot of sprunki introjects so we made a blog this post will be updated if we get more we say slurs sometimes. only the ones we can reclaim we are bodily a minor, 18+ blogs dni terfs, proship, "maps" (pedos), racists, bigots dni we're a crazy fag.

special interest is will wood if you talk to us about will wood we will explode /pos grey [any pronouns except she/her] i dont do very much bu ti really like messing around with emojis and being a bad influence on the funs 🐀

brud nany pron ouns i e at dirt and d i eloev lreanring 🪣

OWOAKSKXCXKC //LIEMME LIME IT THEY HE I GJH HHJ JHGHFJHG DJHC JHDFK HDFGFKJD 🦎

Fun Bot Any pro nouns I do not mind I love to play and sing with my friends and family 🤖

FunComputer Any pronouns also I love to play and have fun 🖥️

[gingerjunhan]

Hi guys! Just a little reminder that my request box is open! ☺️

I mentioned in my previous post that I have a class this semester that I had to make a Tumblr account for, so now I (unfortunately) associate this website with homework every time I log on. BUT!! After a talk with a friend of mine, I realized that my professor shouldn't get in the way of me having an outlet to do something I love :)

So requests are open!!! Feel free to send something in, and happy Live and Fall day!! 🩷🩷

[fatalism-and-villainy]

This is great! A couple more things I would add -

The bit about the tableau reminds me of the DVD commentary on this episode, where Bryan was talking about Will having come "full circle" by analyzing his own crime scene, and speaking in his own voice when he says "this is my design". Will thinks of his empathy profiling as talking to the killers - he tell Abigail that looking looking for GJH was "like talking to his shadow suspended in dust". And here, it's his victim whose shadow he's talking to, his victim who is also his own shadow, and he's communing with him to understand himself ("can you see you?" "clearer and clearer").

Also, the Manhunter reference made me realize that Wrath of the Lamb also remixes the "breaking through the window" imagery with Dolarhyde, but in the reverse - instead of Will breaking into Dolarhyde's house, it's Dolarhyde breaking into - symbolically - Hannibal and Will's house (he kills families in their homes). Will has already chosen to enter the belly of the beast, and of course by killing Dolarhyde he solidifies his identity as a killer.

i want to talk about randall tier

hannibal draws a lot of inspiration from manhunter (1986), which was the first film adaptation of the hannibal books, and i want to talk specifically about the scene where randall crashes through will's window, because it derives from a scene in manhunter. i am going to compare these two scenes, and use this to further my discussion of hannibal, which will be the focus of this. (there is a TLDR at the end of this!)

in manhunter, at the end of the movie, will runs and crashes through dolarhyde's window, shattering it and directly jumping into a fight with him. now, there is a copious amount of imagery in manhunter depicting will talking to his reflection in glass, windows, etc as if his reflection is dolarhyde. we get the sense that dolarhyde is inside of will’s head, and they start to blur as will has to relate and empathize more and more with dolarhyde to catch him. 

will crashing through the window is him meeting the darkest parts of himself face-to-face – now, he and dolarhyde are on the same side of the glass. will kills dolarhyde, which represents will overcoming (or, at least, suppressing) his violent urges and the turmoil that comes with understanding killers so deeply.

so, will crashing through the glass to meet dolarhyde is him meeting the ‘bad’ part of himself, the part that understands killers and lets them inside of his head, and by killing dolarhyde, he defeats this darker part of himself. will graham, in typical 80s fashion, ends the movie stable in his morality and can return to his heterosexual family life and watch the sunset with his wife and child.

the scene in hannibal is a bit different. instead of the identity parallel being between will and dolarhyde, it is between will and randall tier. randall is (if i am not mistaken) the first patient of hannibal’s we meet that has undergone his “therapy” and is considered a success. this is when we fully start to grasp what it is that hannibal does with his “therapy.” and what will could Become if he accepted hannibal's guidance.

instead of solely will’s violent urges, like dolarhyde represented in manhunter, randall tier represents, in a way, what will could be: a 'balanced' person who embraces his violence and becomes one with it. randall tier has the same violent urges and the dissonance in his identity that will has, but he accepts it, embraces it, and revels in what he is. 

so, when randall crashing through will’s window, will not only comes face to face with himself, but the Higher Self that hannibal is guiding him to Become. this is why randall is depicted as the raven stag, and then the stag man: will is forced to come face to face with who hannibal is guiding him to be, hannibal's influence, and has to confront how to handle his violent urges once again by being forced to kill in self defense. however, his fight with randall does not represent him overcoming these violent urges, as was in manhunter. the fight does actually facilitate will’s Becoming. will throws his shotgun away and chooses to use his hands to kill randall, as hannibal suggested. through Will’s fight with and murder of randall tier, he actually becomes closer to his Higher Self and his Becoming.

this is furthered by will's choice to make randall tier into a tableau. will’s first tableau. in will’s pendulum conversation with randall, it is made even clearer: will says “you forced me to kill you” and randall replies “i didn’t force you to enjoy it.” !!!!!

TLDR: in manhunter, will crashes through the window to meet a man who represents the darkest parts of himself. by killing dolarhyde, will defeats this dark part of himself and fortifies his sense of morality. hannibal flips this completely around. in hannibal, randall crashes through will’s window. will comes face to face with him, who, in a sense, represents his Higher Self and who will could be if he accepted hannibal's guidance. his fight with randall marks the start of him beginning to embrace this intimate violence hannibal has been talking about. by killing and displaying randall in a tableau, will revels in his violent urges by killing him with his hands and enjoying it and becomes closer to his Higher Self and his Becoming. instead of will overcoming his violent urges through this fight between a him and a representation of his violence like in manhunter, will killing randall fuels these urges.

[fatalism-and-villainy]

More thoughts about the dynamic I talked about here:

It’s telling that the way Abigail engages with Hannibal re: Nick Boyle’s death is very different from the way she engages with Will about it (and by extension, that the way Hannibal engages with Will about GJH’s death is very different from how he engages with Abigail about Nick Boyle’s death).

That is to say, Hannibal’s initial, outward response to Abigail killing Nick Boyle is primarily disapproval - foregrounding what she’s most trying to conceal about herself, and positioning himself as a moral authority who’s making a considerable sacrifice to protect her:

Hannibal: This isn’t self-defense, Abigail. You butchered him. Abigail: I didn’t. Hannibal: They will see what you did. And they will see you as an accessory to the crimes of your father. Abigail: I wasn’t. Hannibal: I can help you, if you ask me to. At great risk to my career and my life. You have a choice. You can tell them you were defending yourself when you gutted this man. Or we can hide the body. (1.3)

Later, he changes tack and allows that Abigail did do the right thing and that self-defense is an excusable motive:

Abigail: You’re glad I killed him. Hannibal: What would be the alternative? That he kill you? (1.3)

And:

Abigail: In the dream, I wonder how I could live with myself, knowing what I did. Hannibal: And when you’re awake? Abigail: When I’m awake, I know I can live with myself. And I know I’ll just get used to what I did. Does that make me a sociopath? Hannibal: No. It makes you a survivor. (1.4)

This change in approach is partly by design, I think - his more condemnatory initial approach impresses on Abigail the worst possible interpretation of her actions (and hints at the fact that he can see through the front she’s putting up), in order to get her to trust him, and then gradually he starts to show qualified approval and emphasize her agency to move behind her father’s influence. And his emphasis on self-defense in their conversation at the end of Potage serves as a way of deflecting Abigail’s sharp inference that he might be a serial killer. But he consistently only approves of Abigail committing murder in utilitarian terms, rather than emphasizing any satisfaction Abigail might have gotten from it.

And the person who does validate that for her is, of course, Will, when they compare notes on killing her father vs. killing Nick Boyle:

Abigail: I thought there was something wrong with me, because I didn’t feel ugly when I killed Nick Boyle. I felt good. That’s why it was so easy to lie about it. Will: Like you didn’t do anything wrong. Abigail: Feel like you’d done something wrong when you killed my dad? Will: I felt terrified. And then… I felt powerful. Abigail: It felt good. To get to end it, to stop it all. (1.12)

They’re both nodding so vigorously by the end of that exchange, just fully understanding in that moment how the other is feeling. And significantly, Hannibal doesn’t set himself up as someone with whom she can unload those feelings on, or find that kind of understanding with! Obviously he doesn’t want to go mask-off about being a serial killer immediately, but he doesn’t even drop any hints with about the appeal of murder; and meanwhile with Will, where he’s got all his “it’s beautiful, in its own way” and “killing must feel good to God” and “not flesh and blood but light and air and colour” lines. Aside from his initial intimation that she had darker motives, his approach with Abigail is mostly affirming her best qualities, suggesting she’s not like her father and that she had no choice but to kill Nick Boyle. And Will ends up being the one to affirm Abigail’s darker qualities.

And, well - my sense of why Hannibal takes this approach is that he was hoping for exactly that. He wanted Abigail to go to Will with those feelings, to be drawn to Will because he offered a potential source of a specific kind of validation and understanding that she wasn’t getting from Hannibal - and thus, for Abigail to help draw out Will’s murderous impulses in turn. Just as he used the prospect of protecting Abigail to push Will’s sense of ethics a little bit farther out. They were both the bait, for each other.

[tethered-heartstrings]

I’m rewatching the show for the 473858393929th time and I don’t have anyone to soundboard off of so I pose you this question: When do you think was the first time in the show that Hannibal understands that he has real feelings for Will? I’m at the end of season 1 and I feel like it hasn’t quite hit him yet but there are inklings.

On the other end of the question, when do you think is the first time Will understands his feelings for Hannibal? It’s very obvious that it’s always there but like….when in between seasons one and the last episode of season two does it really happen in your eyes?

I think Hannibal seeing Will in "Aperitif" is the closest to love at first sight that I have seen. As far as him realizing/accepting his love for Will, I would say that happens in "Fromage". Hannibal is very much a "fuck around and find out" at someone else's expense. He sent Will to a known serial killer. He probably assumed a GJH 2.0 would happen, and that Will would come back needing more therapy/comfort from another fatal encounter.

But when Budge showed up at his office alive, there is a noticeable panic on Hannibal's face. He had no way of knowing that Will was accompanied by two officers, so when Tobias says he killed two officers, Hannibal's first thought is that Will is dead. And that hurts. More than he anticipated. He has killed plenty of people, but hasn't felt this level of loss and sadness in a long time.

When the ordeal is over, his expression and heart nearly shatters when seeing Jack come in, eyes begging that Will would follow. For a few seconds, his fear that Will was actually gone encompassed him. He visibly relaxes upon seeing Will actually alive. Hannibal saying "I was worried you were dead" was genuine; he really thought Will was killed and he was hurt.

That love continues to develop, making Will's betrayal that much more painful in Mizumono. Hannibal loved Will, and opened himself up to him, something he had never truly done with someone else. Yes, Hannibal framed Will for his crimes and sent him to prison in his stead, but that doesn't mean Hannibal didn't love Will. But Hannibal is very "preserve self at all costs". I think it is something he regretted, but also something he believed had to be done. Going to prison was not an option for him, and he knew Will would survive. Even the way Hannibal commits violence against Will is distinctly different than how he commits it against others, because he does truly loves Will.

Will's situation is a lot more complicated. I think in the back of his mind, deep down, he loves Hannibal somewhere in season 2. He cares for Hannibal, which is why he told Hannibal to run, why he still went to Hannibal's house, why he leaned into the knife and let himself be hurt and held. But I don't think he really acknowledged that love, not until s3. He called Hannibal his "friend" to Jack, which is true. He did consider Hannibal his friend, but it was so much more than that, too much for words, and not something he would want to admit to Jack. (hi, sorry boss, i love the cannibal teehee <3)

He forgives Hannibal in the catacombs, and I do believe that to be a genuine forgiveness. He even tells Hannibal they are blurred, and he isn't sure they could survive separation. That is a pretty roundabout way of saying "I love you". However, I think Will may not want to love Hannibal in that moment. Will makes an attempt on Hannibal's life, and I think Will associates love with violence. If he killed Hannibal, it wouldn't be out of malice, but a desperate attempt to free himself from Hannibal. Perhaps even to fulfill the promise of intimately killing him with his hands (knife is cheating, but shh). And the violence+love connection is perpetuated when Hannibal saws his head open to eat him, because to cannibalize is to love. Hannibal was planning to kill and eat Will even before he knew Will was planning to kill him, because that is how he knew how to love (apparently talking about your feelings isn't a possibility lol).

But still.... I don't think Will really acknowledges his love for Hannibal until near the end of the show. Because I think part of accepting his love for Hannibal is realizing Hannibal loves him, too. And once Will understood Hannibal loved him, his own love for Hannibal burst forth, unable to be contained.

And once Will realizes this, he gives Hannibal the best thing he can, given the circumstance. He pulls them both off the cliff, to be together, unified, into death or into the next life. Truly blurred and beautiful.

[carg0-toad]

hhrrhrhrhrhr i need to talk about this stupid hannibal fic i'm writing so bad but to no avail WRAH pls it's got funny assassin plot and silly masquerade plot and abigail is alive in it but Will also ate GJH PLEASE IM A STARRR hear me out hear me OUT

[shiplessoceans]

About to watch the season 2 finale. Pray for me, here we go:

- is Will really so dumb that he thinks he's sweet talked Hannibal into giving himself up? Surely not.

- Omg Will coaching both of them on how to act. Jack on what to do and Hannibal on how.

- He's playing them off each other omg. Will you hussy.

- I'm not convinced Abigail is dead, no body no crime and an ear does not count.

- Omfg will you aren't supposed to help him burn evidence you are so downbad

- Take your boyfriend on a romantic first date burning all the evidence of your cannibalistic mideeds

- "When we are gonna and the FBI is long behind us" DID HE JUST INVOKE THE RUNNING AWAY TOGETHER TROPE OOOOOH FUCK OH FUCK OH FUCK MISERY INCOMING

- 'if I am apprehended I will live in my memory palace, that is big. So big will omg. I have many leather bound books and it smells of rich mahogany'

- 'Mentally closing yourself off in your big throbbing mind palace without me big boy?'

-Did he just SMELL HIM AND VLOSE HIS EYES? JUST FUUUUCK ALREADY?

- omg Hannibal in this suit. The flannel red and blue. Fuck. He's obsessed with Will and flooded with violence.

- "We could disappear now. Tonight." WELP ITS BEEN NICE KNOWING YOU FUCK BYE GUYS THATS IT FOR ME. I CANT DO THIS ANYMOTE I EREFUSE TO ME GOOD OMENS OUR FLAG WHAT WE DO IN THE SHADOWS-ED AGAIN I CANT COPE DO YOU HEAR ME

- My roommate is yelling at me, I can't make it out but sometimes along the lines of the Bane speech in the Dark knight Rises. 'you merely adopted the dark, etc etc' alright fine I'll keep watching.

- 'To the truth then, and all it's consequences.' Hannibal: you idiot, we could have been...us.

- Ohhhh they 'gimme your badge and gun'ned Jack!

- this ticking clock is fucking me up aaaargh

- ohhhh shit. Seems like you're on the wrong side of the law now Will. Maybe you should run away with Hannibal idk

-He WARNED HIM LIKE HANIBAL WARNED GJH I can't.

- I am so scared for Jack.

-And now I'm scared for Alana.

Fuck fuck fuck fuck fuck.

- FUCKING KNEW ABIGAIL WASNT DEAD.

- oh will honey.

- WHAT

- HE BUILT A LIFE FOR HIM

- AND THEN SMASHED IT IN FRONT OF HIM.

-Will making sure Hannibal knows he didn:t want him dead WHILE BLEEDING OUT ON THE FLOOR.

- He tried to protect him. It's garret Jacob Hobbs all over again. This time Will called and Abigail died inadvertently. Ugh.

- BEDELIA IS GOING WITH HIM? OH she is just a broken woman at this point isn't she?

- Will knows Hannibal loves him right?

Am unwell.

Legit didn't think Hannibal would be this gay. Holy shit it's so fucking gay omg.

How did straight people watch this?

For context I am up to episode 12 of season 2.

Season 1 was homoerotic. Season 2 is just gay as shit but like merchant ivory gay where there is zero plausible deniability unless you squint reeeeally hard and deny reality and rely on your stiff upper lip British sensibilities to pretend it's just fellows being chaps.

The 'love scene' with intercuts seriously just made me ferally angry. Like yelling at the TV:

"You have got to be FUCKING kidding me!!!!"

My roommate just cackling along in the background. They are enjoying my anguish far too much.

[honor-every-part-of-you]

Hannibal S1E4 Timestamp List

And we’re back in the saddle!

0:00 opening credits 0:21 cut to black 0:22 Recap 0:52 cut to black 0:53 text on screen: Baltimore, Maryland 0:56 Exterior of H's house 0:59 W and H in H's chairs in profile H leaning forward W talking about walking at night and looking back at his house in the night 1:09 Exterior of W house lit up in the distance at night 1:16 Medcloseup on Will - I't really the only time I feel safe 1:21 H leans forward in profile - you stood in the breathing silence of GJH's home 1:27 W listening in profile - H - the very spaces he moved through 1:30 mecdloseup on H in quarter profile - tell me will did they speak to you? 1:33 silent flashback to w entering hobbs's kitchen 1:36 W very intense - with noise and clarity 1:40 H still staring intently - you could sense his madness like a bloodhound 1:44 W - I tried so hard to know GJH 1:47 flashback to GJH with knife to Abi's throat 1:50 W - to see him 1:52 flashback to W shouting - GJH, FBI! 1:54 W remembering unhappily 1:55 flashback of GJH slitting Abi's throat 1:56 flashback of GJH stumbling backwards as he's being shot 1:57 flashback of W continuing to fire at GJH 1:58 W past the signs and vials 2:03 flashback of w putting pressure on Abi's wound - beyond the lines on the police report 2:05 the pixels on those 2:07 flashback of W putting pressure on abi's wound 2:09 w - printed faces of sad dead girls 2:13 flashback of terrified w looking over to see GJH in the corner looking back 2:17 flashback of bloodspattered w looking toward GJH 2:18 w subtley shaking his head 2:21 H staring at w - how did you feel seeing melissa impaled in his antler room (is he hoping for w to admit to the same level of congruence?) 2:26 w staring at h in a daze 2:27 flashback to ms hanging from the antlers 2:29 w blinks out of the daze - (quietly) guilty 2:35 H - because you couldn't save her? 2:37 w - because I felt like I killed her 2:40 flashback to W examining marissa 2:42 closeup on w examining marissa 2:43 wideshot of w and h facing each other, w leans forward in emphasis 2:43 w - I got so close to him, sometimes it felt like we were doing the same things 2:54 h listening to w talk about feeling synced with GJH 2:56 W - showering or sleeping at the same time 2:59 H - even after he was dead? 3:00 closeup on W considering the question 3:02 flashback to GJH dead in the corner of the kitchen 3:04 W nods and confirms 3:06 H - like you were becoming him? 3:10 W remembers his nightmare of killing Abi 3:12 closeup of W killing Abi, while insisting he knows who he is 3:14 W - I'm not GJH, Dr Lecter (oh Will, you weren't empathizing with GJH, you were empathizing with Marissa's killer) 3:16 closeup on H considering W's statement 3:19 Opening Credits 3:39 Cut to black 3:40 closeup of maggots on moldy food 3:44 medcloseup of maggots on moldy food 3:46 closeup of bloodspattered family portrait 3:48 blood on individual family pictures 3:50 medshot of corpses at moldy dinner table 3:56 zoom in on closeup of W looking into camera, half light half dark on his face, shift into warm colors of pendulum time 4:05 cut to black 4:06 pendulum swinging over black background 4:08 wideshot of pendulum reversing flies on moldy food 4:11 pedulum reversing flies, then mold on Christmas Ham 4:15 zoom out from closeup on W now in pendulum time 4:19 blood on Christmas table reversing 4:23 zoom out on W continues to medwide shot 4:24 reverse bloodspatter on individual portraits 4:26 reverse bloodspatter on group family portrait 4:28 medcloseup blood fully reverses on mother, she begins to sit up 4:31 Entire family sits up from the positions where they died 4:32 closeup on Christmas ham 4:34 zoom out from closeup on W as he begins to narrarate the murder scene, finish on wide shot of entire family at table 5:02 W points to little girl and tells her to eat her "growing foods" 5:06 little girl immediately eats forkful of broccoli 5:10 zoom back in on W as he cont to narrarate with smug/stern expression 5:35 closeup on W as camera flashes 5:35 camera flash on W's face 5:36 closeup on W's eyes as camera flashes 5:36 camera flash on W's eyes 5:37 extreme closeup on W's eye with camera flash 5:40 closeup on W staring 5:42 wideshot on W and mother sitting at the table with the rest of the family slumped over dead 5:47 W turns from table to mother 5:50 mother looks sadly at W 5:53 W looks regretfully at mother, aims a gun at her 5:59 W pulls trigger 5:59 W shoots mother 5:59 mother is shot in the forehead 6:01 blood spatter from mother on group family portrait 6:02 blood spatter on individual portraits 6:03 mother falls forward onto table while W continues sorrowful thousand yard stare 6:05 Jack watches W as he mentally recreates the scene, then interrupts to ask what W sees 6:18 medcloseup on J - Who's family values? 6:23 J watches W - no answer 6:26 H's bentley driving along a country road 6:32 H drives up to W's house 6:40 H exits car, framed by W's porch 6:48 W's dogs look up toward fron of the house 6:49 H looks in through windows to see W's dogs waiting at the door 6:52 H walks up to W's door and pulls a chain of sausages out of a paper bag 7:03 H enters W's house, holds sausage out to dogs 7:14 med shot on dogs catching sausage bites 7:17 med shot on H begining to walk between the dogs 7:18 H walks across the room to W's piano and tries a note 7:34 medcloseup on H standing up from W's piano and looking down toward the dogs 7:37 medwideshot on H in front of W's fireplace and bookshelves, turning and considering the room 7:41 closeup on a boat motor on a stand 7:43 H pulls open a drawer to reveal undershirts and socks 7:47 medwideshot of H closing the drawer and continuing to look around 7:52 H approaches W's fly tying station and leans down to look through the magnifying glass 7:56 closeup of H's eye through the magnifying glass 7:58 H sits down at W's fly tying station 8:00 H moves the magnifying glass away from the fly in progress 8:03 wideshot of H in profile sitting at the fly tying station and petting one of the dogs 8:05 closeup of H considering the fly tying equipment 8:07 H pulls a feather out of a tray 8:09 closeup of H positioning the feather onto the fly in progress 8:10 H winding a thread around the addition to the fly in progress 8:12 closeup of H's hands adjusting the fly in progress 8:15 closeup of H winding the thread around the fly in progress 8:17 medshot of H continuing to wind the thread 8:18 closeup of the thread being wrapped the last time 8:20 closeup of H looking closely at the fly in progress 8:21 closeup of the fly being tied off 8:23 H sets down the tool while holding the thread on the fly in progress 8:25 closeup on the thread being snipped off the completed fly 8:28 medshot of H stroking the completed fly 8:29 closeup on H stroking the completed fly and removing it from the tying station 8:31 medshot on H removing the completed fly from the tying station 8:32 closeup on H pressing the hook of the completed fly into his thumb until it bleeds 8:38 closeup on the fly being lowered to reveal the bead of blood on H's thumb 8:40 closeup on H putting his thumb to his mouth to suck off the blood 8:47 bloodspattered group family portrait from the opposite angle as before 8:50 camera flash on the blood spattered group family portrait 8:50 medshot of W in profile listening to J describe the family while CSI takes pictures 8:53 J walks along table describing the family 8:56 medshot on W off center pointing out that one of the children is missing from the tabeau 8:58 J continues walking while looking at notes to confirm missing child 9:00 gloved hand picking up blood spattered picture of young boy 9:03 W looking down in classical painting pose looking down toward picture while cameras flash 9:05 00:09:05:11 9:05 camera flashes as W looks at child's portrait 9:05 medshot on J - possible runaway probable abduction 9:08 medshot on W - or both 9:08 camera flash on W saying Or Both 9:09 J - when misery rains, it pours 9:11 camera flash on J - when misery rains it pours 9:11 closeup of blood spattered picture of family's children including missing boy 9:13 W looking down on pictures, saying they depict layers of lies 9:16 camera flash on W looking down at children's pictures 9:18 J listening to W looking uncomfortable (I should start numbering that description 9:20 J crouches to take a picture - Norman Rockwell with a bullet 9:22 first camera flash as Jimmy says Norman Rockwell with a bullet 9:22 second camera flash as Jimmy says Norman Rockwell with a bullet 9:25 B - no broken windows or torn screens 9:27 camera flash on B - no broken windows 9:27 wideshot of J listening to B, gestures - they probably rang the front door 9:30 first camera flash on J looking toward front door 9:30 second camera flash on J looking toward front door 9:30 B looking to side - bullet holes 9:31 wideshot of whole team around the table as B points out bullet holes 9:33 camera flash on wideshot of team around the table 9:33 second flash on wideshot of team around the table 9:34 W still in rennascence martyr pose, looks back at table of portraits 9:37 closeup of bloodspattered picture of mother kissing the missing boy holding a stuffed octopus 9:40 medcloseup on W as he looks down at picture 9:43 wideshot on team standing around table as Z describes evidence 9:46 wideshot on Z describing low angle of shot as J looks closely at the table 9:48 medcloseup of W turning to side - when did jessie go missing? 9:50 J stands up - a little over a year ago 9:53 meshot of W nodding and turning back to pictures 9:55 closeup on mother kissing missing boy picture again 9:58 W back in martyr pose looking thoughtful 9:59 exterior of abi's psych facility 10:04 mirrored shot of Abi running her hand over her scar then covering it with a scarf 10:18 extreme wide shot of Abi and Alana walking through outdoor corridor 10:21 Alana walking next to Abi - sharing will help normalize 10:24 Abi looking skeptically at Alana - I'm not normal, not anymore 10:30 landscape shot of other patients at the facility with a and abi walking in background 10:37 A and Abi walking - trauma can arrest vocal development 10:44 medwideshot of A and A from front - victims can broadcast victimhood / not me / that's not necessarily true 10:52 Abi looks irritated and curious at Alana 10:53 Alana to Abi - your victimhood has a high profile 10:55 Abi - a celebrity victim, somone asked if I kept my stained clothes 11:02 Alana - how did that make you feel? 11:04 Abi - like I want to go home, but I don't have a home anymore 11:10 Alana - you will, I'll help you find it 11:14 Abi looks skeptical 11:16 Alana - give the support group another chance 11:20 Abi, angry - support groups are sucking the life out of me 11:21 Alana - isolation can suck just as much 11:25 Abi looks stubborn 11:28 Alana - you have to find someone to relate to in this experience 11:32 medwide shot across H's desk, H looks up at knock on the door 11:36 H opens office door 11:38 Alana gives H chirpy Hi 11:39 H looks stern - do you have an appointment? 11:40 Alana - do you have a beer? 11:43 H's stern expression cracks, smiles, moves aside to invite Alana in 11:44 Alana smiles and accepts invitation 11:45 Alana walks by H, H closes the door, they're comfortable with close proximity 11:49 wideshot of H bringing drinks to sit next to Alana on settee, A thinks Abi might have low-grade depression 11:56 H and A toast their drinks 12:09 H watches A drink his beer and smirks (you little shit) - she? 12:12 Alana to H - nothing wrong with a little self-medication, right doctor? 12:16 H toasts the statement and drinks as A takes in a deep breath 12:20 camera begins to circle around the settee as they discuss keeping abi in the facility 12:25 camera cont to circle as H suggests releasing Abi 12:30 camera conts to circle as they argue 12:37 camera slows as they argue 12:42 camera comes to a stop, Alana - Abi's in no condition to tackle real-world issues 12:45 H - I'm not suggesting abandonment 12:50 Alana - this is a girl who was very attached to her parents 12:53 H listens as Alana says Hannibal stepping in would be a crutch 12:56 Alana - Abi needs to figure things out in a clinical environment 13:04 H bows to Alana - I defer to the passion of my esteemed collegue 13:09 Alana looks like she thinks H is teasing 13:10 H - passion is good, it gets blood pumping 13:13 H and A toast each other again - no clink 13:16 wideshot of W looks on from foreground TSS processing bodies in the lab 13:18 medshot of J looks under a blanket at a body on a lab bench 13:22 wideshot with J looking at another body 13:24 medshot on J looking through a file folder 13:26 wideshot with TSS turning to look at W 13:29 medshot on Will starkly backlit  - why do you say that? 13:31 med closeup on Z - because family friction is a catalyst for personality development 13:35 medcloseup on W starkly backlit 13:37 medcloseup on B, smiling toward W and glaring at Z 13:39 wideshot on TSS with J walking toward black blanketed body 13:43 medwideshot of W looking uncomfortably toward J 13:45 medshot of J looking under black body blanket 13:47 medcloseup on Z smirking at W and looking away 13:49 medwideshot of J and W standing on either side of body on lab bench 13:52 medwideshot of Jimmy and B listening to Z talking 13:53 medcloseup W starkly backlit 13:55 Z turning from away from camera toward camera, smile falling 13:57 med wide shot of W walking from corner of room toward lab benches 13:59 Z looking irritated and frustrated as W walks past 14:01 med wide shot of W walking by B and looking back to Z - or lousy onese 14:03 med wide shot of Z giving irritated grin and nodding at W's comment 14:05 med shot of J handing photo printout to W across body blanket 14:07 W in martyr pose facing J 14:08 closeup of mother with bullet wound lying on dinner plate 14:11 medcloseup on J discussing photo 14:14 W listening to J, turing back to photo 14:19 closeup on mother's corpse with bullet wound in forehead on lab bench 14:21 medcloseup on W looking up at J in sad realization 14:23 J nodding at W in sad realization 14:24 cut to black 14:27 closeup on H looking almost directly to camera - Tell me about your mother 14:30 closeup slight zoom out on W - some lazy psychiatry Dr Lecter, low hanging fruit 14:34 closeup on H - I suspect that fruit is on a high branch, very difficult to reach 14:39 closeup on W - so is my mother 14:43 closeup on H - an interesting place to start 14:45 medshot on W - tell me about your mother, let's start there 14:50 med shot on H with an "I see your shit" expression - both my parents died, orphan until Uncle Robertus adopted me 15:00 med shot on W - YOU have "orphan" in common with Abigail Hobbs 15:03 medshot on H - WE have a lot in common with Abi - she's already demonstrated an aptitude for the psychological 15:11 medshot on W - something so foreign about family, never connected to the concept 15:22 wideshot on both - you made your own family - I connected a family of strays, thank you for feeding them 15:32 H nods - I was refering to Abi 15:37 medshot on W, who's smile falls and he looks away 15:41 medshot on H, stares at W - tell me about the turner family, were they affluent? 15:46 medshot on W, looking annoyed - they lived like they had money, we were poor, moved from one boatyard to the next 16:01 medshot on H - always the new boy at school, always the stranger 16:03 closeup on W - always 16:05 H - what grudge was this mother's killer harbouring against her? 16:09 W, shakes head, thinking - motherhood 16:12 H - not motherhood, a perversion of it 16:17 W looks up, thinking 16:20 buiscuit with assorted veggie looking things 16:26 wideshot on J starting to eat before H has sat (bad manners, Jack) and smiling up at H's description of the food 16:28 wideshot on H - you promised to deliver your wife to my dinner table 16:31 wideshot on J - we'll have to polish up our act, what am I about to put in my mouth? 16:39 wideshot on H - rabbit 16:39 wideshot on J holding up fork and laughing - he should have hopped faster 16:41 wideshot on H grinning - yes he should have 16:43 insert of man wearing black and red plaid running through trees in a panic and tripping 16:44 closeup on large piece of meat being butchered 16:44 closeup on chunk of meat being flambe'd in a skillet 16:45 H grinning - fortunately for us, he did not 16:52 J chewing and talking with his mouth full (is he suicidal??) - our friend will seems haunted today 16:55 H - we don't know what nightmares lie coiled beneath will's pillow 16:58 medcloseup on J - children killing other children is not that unfamiliar a concept to Will 17:03 medcloseup on H - you still suspect Abigail? 17:05 J - maybe the nightmare under will's pillow is that he was wrong about her 17:11 wide on H - children transport us to our childhoods, will may feel the tug of life before the fbi and you 17:18 closeup on J 17:19 closeup on H - simple times fixing boats with dad - that time is an achor streamed behind him in heavy weather 17:27 J nods thoughtfully 17:30 night falls over building obscured by trees 17:32 wideshot on the front of W's house as he lets the pack out 17:43 dogs snuffle around the base of a tree 17:48 W watches the dogs run around, not happy but content 17:55 extreme up angle of sun obscured by the FBI building 17:59 medwideshot of Z examining mother's bullet wound 18:00 Jimmy and Bev at a lab bench describing evidence 18:02 Bev and Jimmy in foreground at bench with Z in center background at body tables 18:08 medwideshot of Z walking around body table discussing asymmetries cause by puberty 18:14 medshot on B and Jimmy in profile saying no one's seen Jessie Turner in over a year 18:17 medwideshot on Z saying he extrapolated from measurements at time of abduction to establish height/weight limits 18:20 medwide on Bev and Jimmy at bench zooming in facing camera 18:22 medshot on Z - he'd be four foot eighty pounds tops 18:25 return to over Bev and Jimmy's shoulder, Jimmy examining a game controller - god's gift to trace analysts 18:27 medshot on Jimmy at bench examing game controller, saying there's no matches 18:32 medshot on Bev going through papers at bench 18:34 Bev and Jimmy in profile medwide, ruled out family's prints 18:36 fingerprint analysis on computer screen 18:38 medcloseup on J and B J looking quarter profile to camera, B looking to bench in profile 18:40 fingerprint analysis on computer screen 18:41 medwideshot on Z looking thoughtful and sad - the Lost Boys 18:42 Jimmy stands up and walks to the computer screen - I think I found on of them 18:46 tracking shot through W's classroom as he lectures on hickeys, saying in their current case the bite marks don't have suck bruises 18:59 wideshot on Jack storms into lecture hall announcing class is dissmissed and telling everyone to get out 19:02 medwideshot W behind his desk holding papers looks up toward J 19:03 medwideshot as J approaches desk and turns around to look at students 19:04 medwideshot on J and W as J yells at students to leave 19:06 wideshot on students shuffling and packing their things 19:09 medwide on J and W, J glowering at students and W dropping papers in frustration 19:12 J crosses arms and sits on edge of desk as students file out 19:14 medwide on J and W - You're making it hard to provide an education Jack, we found a match for another missing kid 19:27 tracking wide shot on J and W at desk 19:31 W realizes how many similarities there are between the families 19:41 J stands and turns to face W - we're ready when you are and you're ready now so let's go 19:43 W looks grim - you're expecting a crime scene 19:48 Balcony and railing in nice suburban house with Christmas decorations, panning down to living room with bodies of the family 20:01 medcloseup on adult man with bullet hole in forehead lying on the ground 20:03 medwide shot on blonde woman with bullet hole in forehead slumped over on sofa surrounded by wrapped presents 20:05 shot of fireplace surrounded by detrius of Christmas morning 20:07 charred and blackened body of child curled up in the fireplace 20:09 swat team passes garlanded staircase followed by team visibly reacting to a bad smell 20:19 medcloseup on swat, J and W entering living room, still flinching from the smell 20:21 wideshot of team entering living room and seeing the dead family 20:24 medcloseup on W with Jimmy in background looking grim as he surveys the scene 20:27 cut to black 20:30 exterior of FBI 20:32 wideshot of team in the lab surrounded by new set of bodies, saying the mother was killed last again 20:38 medwideshot on J listening to W 20:41 medwideshot on W - not exactly the same, something went wrong 20:43 Bev and Z looking at mother's body - not single present under the tree for mother 20:45 J turns around to look, W in background - they took her presents they took her motherhood 20:48 up angle on Z saying she was shot multiple times 20:51 Z facing away from camera pointing out that the first bullet didn't kill the mother 20:53 W listening to description of crime absorbing the imagery 20:56 Bev pointing out that the bullet would hav caused brain damage 20:59 W - her body went into convulsions 21:00 Z - shot her again to put her out of her misery, but with a different gun 21:04 medshot on Jack and Jimmy - so someone else shot Connor's mom 21:06 W still processing 21:08 wideshot on full team, J asks who the burned child in the fireplace is 21:09 J pulls back blanket to reveal the burned body 21:11 W looking at ceiling says he thinks it's connor frist 21:13 J and J turn to look at w 21:15 W - he'd been prepped to shoot his mother, not watch her suffer 21:16 wideshot on everyone looking at the burned boy again 21:17 J talking to Jimmy - connor couldn't put his panic back in the bottle so he got shot too 21:20 W - whoever shot him, disowned him 21:26 camera looking at RV through diner window, pulls back to see a woman and three boys sitting at a table looking sad 21:37 medcloseup on teenage boy looking toward woman 21:39 medcloseup on woman and small boy - I couldn't make him understand, the family you're born into isn't really family 21:45 medcloseup on second small boy listening to woman 21:47 closeup on woman - we're making our family 21:51 second small boy - what happened to your family? 21:53 teenager - we are her family 21:55 medcloseup of teenager and second boy in profile, tense - I meant your other family 21:59 woman- the family you think is family is just a stepping stone 22:04 teenager and second boy look up at woman 22:06 woman looks at second boy with concern - you feeling okay sweetie pie? 22:10 teenager insists "he's fine" angry at second boy 22:12 woman - CJ - gentle scolding 22:14 teenage looks back at his milkshake 22:16 woman looks toward teenager with exasperation 22:18 second boy looks down at the table warily 22:19 woman smiles and takes a deep breath - are you excited to go home? 22:23 second boy keeps eyes down on table 22:25 closeup on woman - even if it is to say goodbye, because we're your family now christopher 22:28 second boy looks up toward woman 22:29 closeup on woman with gentle smile - you can only have one family 22:33 wideshot of W sitting at his desk in his empty lecture hall 22:36 wideshot with W in foreground, Bev opens lecture hall door 22:39 wideshot as W continues to stare at his computer 22:42 medwideshot on Bev walking into the lecture hall with coffee, smiling 22:46 W continues to stare at the computer 22:48 Bev smirks - ever hear of Willard Wiggin? 22:50 tracking shot of Bev walking toward W - he's an artist who does micro sculptures 22:56 W continues to stare at computer, Bev walks around the desk - he's so focused he works between his heartbeats 23:00 W stares stock still 23:03 Bev walks up to W's side and looks at his computer 23:07 missing child posters on a computer screen 23:12 medwide shot at Bev leans over to look closer 23:18 W in profile with Bev looking at him - ritalin etc can delay growth 23:22 W rubs forehead as he describes medical side effects 23:26 B stands and smiles - Willard Wiggin had a lonely childhood 23:33 W looking up at Bev sitting on the edge of the desk - who is Willard Wiggin? 23:36 Bev laughs and says Price got a match on the bullet from a murder involving a 13 year old boy 23:43 W leans back listening to Bev, catches on to the connection 23:49 Bev describing the old case 23:53 W looking apprehensive - 13 year old milk carton material? 23:58 CJ's missing poster on the computer screen 24:08 medshot on full team looking at computer screen, saying CJ was too nice a kid to become a sophisticated murderer and kidnapper 24:27 tracking shot on CJ walking through store aisles and coming around to stare at Christopher 24:41 Woman finds money in her purse and hands it over to the cashier with a smile 24:46 CJ stares menacingly toward Christopher 24:48 Christopher so frightened he wets himself 24:55 woman accepts change and turns to notice Christopher's accident 24:57 medshot on woman and cashier smiling then looking worried as they realize what happened 24:59 Christopher snaps away from CJ to look at woman 25:02 woman looks worried an checks Christopher for fever 25:08 Christopher watched woman as she stands to get napkins 25:09 woman grabs a bunch of napkins, mops up puddle, and apologizes to cashier 25:19 Christopher looking down passively as woman cleans up 25:21 Woman stands up to reassure Christopher that he shouldn't be embarrased because accidents happen, smiles sweetly 25:27 Christopher looks back at CJ 25:29 quick zoom in on CJ continuing to stare threateningly 25:35 Hannibal opens the door of his office - good evening Will 25:38 W stands up looking especially grumpy and carrying a bag 25:40 H steps aside to let W in, looking interested in the bag 25:42 wideshot of W walking into H's office with agitated body language, throws bag onto setee 25:44 closeup of bag landing on settee, a wrapped gift showing in pocket 25:45 wideshot as H closes the office door and turns to look at W 25:46 H nods and points at the bag and gift 25:47 medwideshot on W taking his jacket off and saying the gift was for abigail 25:50 H still standing by the door - was? 25:50 wideshot - I thought better of it, I was upset, maybe still am 25:57 closeup on H carefully tucking the gift into the pocket - what is it? 26:00 W in profile H in foreground stands up 26:03 H walks toward W, turns to sit in his chair - you want to teach her how to fish? 26:08 H sits, leans back, crosses legs, links hands, and looks at W questioningly - her father taught her to hunt 26:10 W figeting with the stuff on H's desk - that's why I thought better of it 26:12 H stares at W's ass - feeling paternal Will? 26:14 W turns harshly to H - aren't you? 26:16 medcloseup on H looking up toward W - yes 26:17 W nods strongly and continues to look around 26:19 H continues to eye W - Dr Bloom advised against taking too personal an interest 26:23 W turns away from H 26:24 H looking lusty at W's agitation - tell me, why are you so angry? 26:27 medwideshot of W turned away from H - I'm angry because I know I can't help those boys 26:31 medcloseup on W - I can't give them back what they just gave away 26:35 medcloseup on H looking thoughtful - family 26:36 wideshot with W in foreground trying to calm down - yeah 26:39 H looks back up and listens to W 26:41 wideshot with W in foreground walking into the shadow of a cabinet - we call them the lost boys 26:47 H still looking contemplative - it's our responsibility to help Abi find her way 26:55 exterior of Abi's psychiatric facility 26:59 Abi closes book, camera zooms out to reveal H sitting next to her - I don't think I'm allowed to leave after I climbed the fence 27:09 medshot on H explaining that he's one of Abi's guardians and he made arrangements 27:12 Abi - where are we going? 27:14 H - my home, I'll cook and bring you back before bedtime 27:23 medwideshot on Abi and H - can I spend the night? I don't like sleeping here 27:27 medcloseup on H - you have to sleep in your own bed - this isn't my bed - tell me about your bad dreams 27:36 slow zoom in on Abi looking down and describing a dream of Marissa sending her pictures of NB gutted 27:52 H - how you left him 27:54 Abi looking up at H in distress and aprehension 27:56 H looks back patiently 27:59 Abi - even though she's dead I worry she's going to tell everyone and they'll think I'm just like my dad 28:06 H continues to listen 28:08 closeup on Abi as she sits up - sorry can't talk about this in group 28:15 H - you don't have that luxury 28:17 Abi nods and steels herself - I'll just have to get used to lying 28:20 H smiles proudly 28:22 wideshot of Abi standing up and goes to her dresser as H turns to stand up 28:24 H stands - you only have to lie a about one thing, and when you're with me you don't have to lie about anything 28:32 tracking shot - Abi puts on jacket as H returns book to dresser and squares it up - in my dream I wonder how I can live with myself, when I wake up I know I can 28:51 medshot on Abi - does that make me a sociopath? 28:54 H - it makes you a survivor - opens door for Abi and closes it behind them 29:05 cut to black 29:08 exterior of H's house 29:10 extreme closeup of mushrooms at the bottom of a glass kettle as water begins to fill 29:13 mushrooms in kettle as water fills again 29:15 mushrooms floating at surface of water in kettle 29:16 closeup of glass kettle with mushroom tea turning from upside down to rightside up 29:22 closeup of mise en platz in steel ramikens 29:23 closeup on H's hands cutting into white round vegetable 29:26 Abi watches H cooking 29:28 medwide shot on H cooking and Abi standing across the counter - have you thought about applying for schools? 29:30 medshot on Abi - my dad killed girls at all the schools I applied to 29:35 H, blinking - perhaps that can wait then 29:38 medshot on Abi looking at H with determined expression - I want to work for the FBI 29:41 medcloseup on H, smiles - I would certainly feel safer if you were in the FBI protecting my interests 29:48 Abi, knowing exactly what he means - they wouldn't let me because of dad 29:54 medcloseup on H - only if they believe that's in your nature too 29:57 Abi - nature vs nurture 29:58 medshot of H looking up at Abi - you're not your father's daughter, not anymore 30:02 Abi, upset, looks down 30:04 medcloseup on H, looking compassionate and speculative - what if it weren't painful anymore to think of him? 30:12 Abi confused shaking her head - my dad? 30:15 H - yes. Have you ever tried psylocibin? 30:21 med two shot, Abi - mushrooms? that's what's in the tea? 30:26 medshot of H - yes 30:27 medwideshot of H  walking around counter to pour out tea -  you need to supplement your traumatic memories with positive associations 30:40 medcloseup on H leaning over the tea - no more bad dreams abigail 30:42 closeup on H's hands pouring tea from glass pot into gold rimmed cups 30:44 medcloseup on Abi in profile looking skeptical - you want me to do drugs? 30:46 medwide shot on H finishing pouring the tea - I want you to do this drug with my supervision 30:52 medcloseup of H handing Abi the teacup - do you trust me? 30:56 medcloseup of Abi in profile looking at H like are you kidding, but takes a deep breath and reaches for the teacup 31:00 closeup of Abi taking the teacup from H 31:03 medwideshot of H watching Abi accept the teacup 31:05 Abi sips the tea, looking up at H 31:09 H watches Abi drink and smiles 31:10 closeup on evidence board tracking the murders down the eastern seaboard 31:17 medwideshot on J and Bev looking at the evidence board 31:19 very wide shot of tss listening to J with W against the back wall 31:22 medwideshot of J listening to Jimmy 31:24 medwideshot of Jimmy over J's shoulder, turns to listen to Z 31:26 medshot on Z - trying to construct a geographical pattern when the murders are weeks apart 31:30 medwide on W - we have other patters, middle children from traditional affluent families 31:37 closeup on Bev looking concerned at W 31:39 very wide shot on whole team with J walking back to the evidence board 31:42 closeup on pictures of missing boys on evidence board 31:45 slow zoom in on medshot of W - what kind of kid follows a kid who does this? 31:54 J and Z looking toward W - there's no indication these kids came from abusive families 31:57 slow zoom on closeup of W - capture bonding, a passive psychological response to a new master 32:20 sausage and eggs on brioche in a skillet on H's stove 32:22 medshot on H tending to stuff on the counter and stove, looks up and smiles at Abi 32:25 Abi looks down with disoriented and queasy expression 32:27 autumn trees shaking and warping in Abi's drugged memory 32:29 Abi sighting the deer with her rifle beside GJH 32:30 closeup on Abi pulling the trigger 32:32 medcloseup on deer looking toward camera with bloody ear 32:33 crane shot of Abi firing her rifle among autumn leaves beside her dad 32:34 Abi back in H's kitchen looking down in a daze 32:36 GJH and Abi in the cabin, GJH walking Abi through butchering the deer- remember just like we talked about 32:37 closeup on Abi's hunting knife 32:38 closeup on Abi's hand stroking through the deer's fur 32:40 closeup on Abi as she begins to butcher the deer 32:41 medshot on Abi and NB as she stabbs him 32:41 medcloseup on NB as he looks down in pain at the knife 32:42 closeup on Abi's frightened and horrified face as she pulls the knife through NB's torso 32:43 medshot on Abi in H's kitchen, she lets go of the teacup, which falls 32:44 teacup falls to the floor and shatters with heavy blur and some slow motion 32:47 H looks up from the stove to look at the broken teacup as Abi looks down at her hands, distracted 32:48 Abi still watching her hands, tilts head and asks if Dr Bloom approved thisr 32:52 medwide shot of Abi walking stiffly off screen while H walks forward to assess the mess 32:56 closeup of Abi in profile as she walks through kitchen, her attention caught on something else 32:58 closeup on fruit in a wooden bowl wavering from the drugs 33:00 medshot of Abi in profile selecting an organge fruit 33:03 closeup on H kneeling and picking up the shards of the teacup - you and I will have many secrets 33:07 Abi drops into the armchair in the corner, examining her orange fruit 33:09 H turns away from looking at Abi, back to the floor where the shards are 33:11 closeup on orange fruit being fiddled with in Abi's hands, smearing slowly from the drugsr 33:14 medshot on Abi navelgazing at the orange fruit 33:17 medshot on H kneeling in profile- it can be a spiritual experience for patients 33:19 medcloseup on Abi putting her fruit down and turning to concentrate on H 33:22 medshot upangle of H walking toward Abi - psychological trauma is an affliction of the powerless, I want to give you your power back 33:26 closeup on Abi looking dazed and nauseaus - I don't feel so good 33:29 H knees in front of Abi with reasurring expression - That will pass, let it wash over you 33:33 medcloseup on Abi with an intense expression as H cradles her face 33:36 closeup on H - through you, let me be your guide 33:40 Abi looks over to the kitchen counter - you're making breakfast for dinner? 33:45 closeup on H as he grins at Abi 33:46 medwideshot on H standing up and walking back to the kitchen counter, Abi grinning happily 33:49 medshot on H walking around counter talking about the history of breakfast for dinner 33:53 medwide shot of H catching a peeled potato on the edge of his knife 33:54 medshot on H holding up the speared potato with a showy grin 33:55 medshot on Abi making an exaggerated impressed expression 33:56 medshot on H continuing to cook - taste is not only biochemical it's also psychological 33:59 medcloseup on Abi looking from the potatos to the stove 34:00 closeup on sausage and eggs in the skillet 34:02 medcloseup on Abi - sausage and eggs was the last meal I had with my parents 34:04 medshot on H with reassuring smile - it's also the first meal you're having with me 34:09 medshot on Abi smiling with wide eyes 34:11 Alana, Bev, and Will in the lab around a table covered in paper evidence 34:15 closeup on Alana holding a folder with a missing child printout on the front 34:17 medwide on W over A's shoulder, speculating on the personality of the remaining Lost Boys 34:29 medshot on Bev reading description of one potential Lost Boy 34:39 medshot on Alana - what makes these boys susecptible? 34:43 they're isolated from their brother - a brother without a brother 34:50 medshot on Alana - brothers looking for a mother 34:52 medshot on Bev listening to Alana 34:54 Alana - they're killing the mothers last 34:58 W looks up at Alana and processes the idea 35:01 pan up from desk covered in neat stacks of files to W entering 35:03 medwide shot on J looking up from the computer on his desk - yeah? 35:05 medwide on W - not just CJ, there's a woman a mother figure 35:11 medshot on W - looking to form a family 35:13 medcloseup on J thinking it through - family can have a contagion effect on some people 35:18 medshot on W, with a well yeah expression 35:20 medcloseup on J - it can influence them to adopt similar behaviors and attitudes 35:24 W walks toward J from medshot to medcloseup - this woman wants these children to burst with love for her, she has to erase their families 35:35 medshot on J - she convinces them no one can love them like she does then makes sure of it 35:38 medshot up angle on W saying a security camera caught Christopher close to his family 35:55 wideshot Christopher approaches the front door of a house, rings the bell, looks around, then goes back to the door 36:11 medcloseup on Christopher as the front door opens to him 36:12 wideshot on brunette woman recognizing and grinning at Christopher 36:15 med wide zooming to med of brunette rushing to hug Christopher while he doesn't respond 36:18 medwide on woman hugging Christopher then pulling back to kneel and smile up at him 36:21 medcloseup to closeup of Christopher unresponsive to his mother's reaction 36:28 cut to black 36:31 nice suburban home framed with autumn leaves from across the street 36:36 black SUVs with police lights speeding through the suburban street 36:38 wideshot of SUV's approaching the house 36:40 low up angle of swat teams' boots running through leaves on the lawn 36:42 very wide shot of SUVs pulling up to the house and the team exiting with weapons 36:48 medwideshot of swat approaching the front door and preparing the ram to breach 36:51 swat rams open the door from the perspective of the door 36:52 cut to black 36:53 swat team enters the house and begins to sweep 36:56 swat swarms through house with TSS coming in behind them 36:58 wideshot of swat exiting from the back door3 36:59 wideshot of TSS running through the living room, armed, toward the back door, passing through the wall and panning out to the team arrayed on the patio 37:02 medshot of Christopher standing beside CJ, still impassive 37:03 wideshot of Lost Boys facing off with Christopher's family across an idyllic backyard, CJ raises gun 37:04 wideshot of mother and father panicking and trying to sheild other children 37:06 medshot of Swat firing rifle 37:06 closeup on bullet hitting CJ's shoulder from the back 37:06 medcloseup from back of CJ falling and mother turning toward other children 37:07 wideshot of CJ falling and everyone else running toward center 37:08 wideshot of Christopher running away from the group along walkway 37:09 wideshot CJ falls from grill to ground, Swat gets other Lost Boys to kneel on the ground 37:11 very wide shot TSS and swat swarm off the patio toward family and LBs 37:15 Christopher pushes through white picket gate into pool area, followed by Will 37:21 medwideshot on Christopher turning and pulling gun on Will 37:22 medshot on Will pulling a gun in response 37:23 medwideshot of W gesturing for the Swat member to hold fire 37:24 wideshot of Christopher and Will holding each other at gunpoint, W raises gun off Christopher 37:27 medshot on W with hands in the air telling Christopher to put the gun down 37:29 medshot upangle of Wendy exiting the pool house, patting Christopher's head, then wrapping an arm holding a gun around him 37:35 medshot of W reacting to the situation getting a lot worse 37:37 medshot of Wendy looking intense and Christopher looking resigned 37:39 medshot of W kneeling down, still talking to Christopher 37:41 wideshot of Wendly holding a gun to Christopher and Christopher holding a gun on W kneeling with hands up 37:43 medcloseup of Will putting gun on the ground - please 37:45 medwideshot of Bev screened by trees, firing a gun 37:46 medcloseup of Wendy being shot in the shoulder and falling away from Christopher 37:46 medcloseup of W ducking away then looking up to see what happened 37:48 medshot of Bev running in front of autumn leaves 37:49 medwide shot of Christopher turning away to look down at Wendy 37:50 medshot of Bev continuing to run toward C and W 37:52 medshot of W walking past Swat looking grim 37:55 wideshot of Bev leading Christopher away while Will and Swat look down at Wendy 37:57 med closeup strong upangle W looks down toward Wendy 38:00 medshot slow zoom in on Wendy bleeding on concrete 38:03 medshot up angle Will looks down on Wendy, blinks, and turns away 38:04 closeup on Christopher in the back of a car, zoom out to see Jack get in the driver's seat and looking back at Christopher 38:14 closeup on Christopher - can I go home now? 38:16 medshot on Jack looking back at Christopher - you're not going home for a long time 38:19 closeup on Christopher looking down sadly - you came here to kill your family 38:22 J looking back at Christopher - that's all anybody knows 38:27 closeup on Christopher looking away - I wasn't going to do it 38:30 closeup on J looking back - you're going to have to talk to a lot of people about it 38:38 closeup on christopher - she told us we had to make our own family, asks J if he has a family 38:55 closeup on Jack - I don't have any children, no 38:58 closeup on Christopher looking down, shaking head - then you don't know what it's like 39:04 closeup on J looking up and nodding in acknowledgement 39:08 closeup on Christopher looking down - can I talk to my real mom? 39:14 closeup on Jack, nodding - in a little while, but first I need to to talk to me 39:22 closeup on Christopher looking down sadly 39:25 exterior of Hannibal's house 39:27 medwide shot on Hannibal looking down feigning apologetic expression 39:30 medcloseup on Alana dressing H down for taking Abi out of the facility without consulting her 39:33 medwide on murder puppy getting smacked with a newspaper 39:36 wideshot pan of Alana confronting H 39:40 medcloseup on H looking down apologetically and nodding 39:42 medcloseup on Alana over H's shoulder - I'm not a professional scold, don't put me in this position again 39:48 medshot of Alana walking away from H angrily, H apologizes 39:52 medwide on A over H's shoulder - RUDE! SHOCKINGLY RUDE! 39:56 medwide on H - you have every right to be upset 39:58 medwide on Alana with don't fuck with me expression - where is she? 40:02 medwideshot on H - she's in the dining room 40:04 Alana with a I'm Not Done With You face, turns toward dining room 40:07 medwide on H with abyssal eyes watches Alana walk toward dining room 40:09 wide to med wide as Alana walks around counter past H - Alana, you were right 40:16 medcloseup on Alana - often am, be more specific 40:20 medcloseup on H up angle - she wasn't ready, had anxiety, I gave her a sedative 40:27 medcloseup on Alana looking further enraged - what did you give her? 40:29 closeup upangle on H - only half a valium but she may be hazy 40:34 Abi sitting alone at H's table, looks up sluggishly and looks to side 40:36 wideshot as Alana walks in, smiles and greets Abi, notices a third place setting 40:45 Abi looks up to H 40:47 wideshot of Hannibal pulling out chair from third place setting for Alana 40:50 A sits down to table, Abi dazedly asks if she's hungry 40:59 Alana smiles stiffly - I could eat 41:03 Abi continues to stare vaguely at Alana 41:05 H pours orange juice and notices Abi's focus on Alana - what is it? 41:10 closeup on Abi's creepy dazed smile 41:12 medshot of Alana and Hannibal looking concerned into the camera, shifting out of focus and into Abi's parents and back - what do you see? 41:21 closeup on Abi's creepy smile - I see family 41:29 wideshot of all three at table, H turns to look at alana 41:31 closeup on Jack wearing pajamas and readers in bed, turning and smiling 41:35 wideshot on J sitting in bed - hello 41:37 wideshot of Bella approaching the other side of the bed, avoiding eye contact 41:42 closeup on J putting his readers back on as Bella settles into bed 41:47 medcloseup on J taking the readers back off again - you think it's too late for us to have kids? 41:54 closeup on Bella blinking and turning to Jack with a frustrated expression 41:56 medshot on Jack looking lovingly at  Bella, she blinks at him, thinking 41:58 closeup on Bella withdrawing and turning away 42:01 closeup on Bella faced away - it is for me 42:09 wideshot of J looking over at Bella as she reaches up to turn off her light 42:12 closeup on J turning away from Bella and turning off his own light 42:23 exterior of Will's house with red white and blue lights flashing across it 42:26 wideshot of will's dogs arrayed on beds around a space heater in the fireplace 42:32 med to med closeup of W settling down for sleep 42:45 fade to black 42:46 end credits 43:12 DDLC logo 43:14 Living Dead Guy Logo 43:16 AXN logo 43:19 Gaumont Logo