This scene in Potage (1.3)
Hannibal and Will, having discovered Marissa Schurr’s body, share a quiet moment together, speaking in low conspiratorial tones about the evidence and potential suspects (and of course we know that Hannibal knows exactly what happened.)
For Hannibal, participating in this, sharing this moment with Will, observing Will’s delicious mind in action, and feeling their mutual connection grow, is utter bliss.
And then Jack blunders in and starts in on Will, stating accusingly:
‘You brought Abigail Hobbs back to Minnesota to find out if she was involved in her father’s murders, [Yes, Jack, just like you advocated he do, merely a few scenes back] and another girl dies’.
Will completely ignores Jack at first (yay, Will). Will shows Hannibal evidence left by the murderer on the body, and in so doing allows Hannibal to get in nice and close, (enough to feel Will’s warmth and probably get a nice long sniff of the object of his affections):
But Jack, being Jack, continues to badger Will, all the while advancing on him, before Will finally looks appealingly to Hannibal:
A significant moment for our fiercely anti-social Will. I’m not even entirely sure he would be conscious of the fact that he is looking to Hannibal for help here.
And Hannibal, of course, chivalrously steps in on Will’s behalf, as usual hitting the perfect note with his measured ‘Agent Crawford.’
And Jack has one last dig, naturally.
Really, from that awkward moment when he readjusted Will’s glasses in Apertif, Jack’s paternalistic treatment of Will makes it very easy for Hannibal to not only alienate Will from Jack, but more importantly, to pull Will towards Hannibal, himself.
There’s another wonderfully interesting moment in this scene.
When Will tells Hannibal that Garrett Jacob Hobbs didn’t kill Cassie Boyle;
And Hannibal replies, blandly: ‘I know’
The score hits a warning note and Will looks sharply askance at Hannibal:
After which Hannibal adds: ‘He would have honoured every part of her.’
Nice save Hannibal!
Or was it? As Will regards Hannibal thoughtfully (doubtfully) for a long moment.
Which brings to mind a wonderful discussion I read (I will try to find and insert a link, I have it somewhere in my likes) about that moment in Sorbet when Will looks significantly at Hannibal while he saves a victim’s life in the ambulance, and whether or not that, and this, represent Will’s willful (excuse the pun) suppression of a truth that should have been obvious to him much earlier, or cognitive dissonance.
And this is also interesting because a) doesn’t our Hanners love to live life on the edge? I mean, he spends his time dancing between outrageous recklessness (see Apertif, where Jack is looking at Hannibal’s sketches, and the wound man drawing is clearly visible underneath - oh Jack!!) and assiduous caution.
It’s a beautiful thing to watch!