Written by David Greenwalt
Green Revision 8/6/07
This article describes creative differences between the script and the episode that aired. Minor differences from the actors not delivering lines exactly as written are not included. The article assumes that the reader has seen the episode enough times to recognize scenes from short descriptions. Probably the best way to read the article is to cue up Moonlight on the computer or DVD player and watch or listen to the episode as you read the article.
Abbreviations used in the script:
- EXT. Exterior (location)
- INT. Interior (location)
- V.O. Voiceover
- O.S. Offscreen
- ND Nondescript
- B.G. Background
I immediately noticed a difference in style in "Out of the Past" (OOTP) compared
to "Twilight" and "No Such Thing as Vampires" (NSTAV). Perhaps revealing their
origins in a novel (Trevor Munson's Angel of Vengeance), the stage directions of
"Twilight" and NSTAV often describe characters' thoughts and feelings, just
as prose fiction does. For example, in NSTAV:
- Beth looks him up and down, appraising. There's something about him, but she
can't quite put her finger on it.
- Mick nods, a little wearily, emotion was not his strong suit in 1985.
- Beth knows she only has one chance with her attacker: keep him talking.
(The copyeditor in me also noticed that "Twilight" and NSTAV contain the same
types of typos and spelling errors as Angel of Vengeance, such as
consistently using "blond" instead of "blonde" when referring to a female! Then again, both "Twilight" and
OOTP use "story" instead of "storey" when refering to how many floors a building has...)
In contrast, OOTP has few notes about what characters are thinking and feeling.
Instead, OOTP relies on spot-on dialogue and specific visual details to reveal the
characters' inner lives:
- The two men glare at each other. Is this about to escalate? But, Lee Jay takes
a step back —
- She's saying it to Josh, but she's locking eyes with Mick.
- She stares at him horrified. The man she's so drawn to is a vampire. Blood
dribbling down his face. Mick: "Don't... look at me."
OOTP also shows Moonlight settling into series-mode vs. pilot-mode. There are relatively few differences between the OOTP script and episode compared to
the "Twilight" and NSTAV scripts and episodes. For example, scenes in OOTP
follow the same order as the script whereas in "Twilight" and NSTAV many scenes
in the original scripts got shuffled around in the editing room before the
final presentation/episode.
Teaser
The teaser begins with Lee Jay leaving his prison cell, not the prison:
INT. PRISON CELL - DAY
THROUGH THE BARS, a prisoner is faintly visible in the back of the small cell, REVEALED now as a GUARD opens the heavy door with an ominous CLANG.
It's LEE JAY SPALDING, 46, hair cut military tight, heavily muscled. He's forged himself into a potent weapon over the past twenty years and the smile he flashes now does little to dispel his menace. He stands, exits the cell, bulging DUFFLE BAG over a shoulder.
In the episode, as Mick explains his history with Lee Jay to Josef, Mick's line,
"A woman is dead because of me," leads into the first flashback. In the script, that line occurs in a short scene between the parking garage and street alley flashbacks:
INT. MICK'S DOWNTOWN APARTMENT, LIVING QUARTERS - DAY
Mick and Josef continue.
MICK A woman is dead because of me.
JOSEF A lot of women are dead because of me.
Off Mick's look...
JOSEF (CONT'D) Not lately.
Mick and Josef pass the bottle of blood back and forth between them like Tequila.
MICK When I caught up with Lee Jay, I was going to kill him. No question. He was a dead man. But I messed up.
In the script, in the alley flashback, Mick first approaches Lee Jay with his human face, then goes into vamp mode:
EXT. ALLEY - NIGHT - FLASHBACK
CHYRON: 1983
A MAN (LEE JAY SPALDING at 20) throws a duffle bag into his Chevy Nova. In a hurry to hit the road.
Something is moving down the street. Fast. Too fast. And it's not a car. It's a man. Lee Jay looks up, amazed as hero, MICK ST. JOHN, is suddenly on him.
LEE JAY How did --?
MICK You killed her.
Lee Jay grabs a tire iron - swings it at Mick's head. Mick grabs the tire iron, holds it fiercely and, to Lee Jay's shock, bends it right out of Lee Jay's hand.
MICK (CONT'D) Tried to make it look like suicide.
Mick smashes him hard in the mouth, then goes FULL VAMP, scaring the crap out of Young Lee Jay.
LEE JAY My God! What are you!
Lee Jay fights for his life. No use. Off Lee Jay's horror as Mick leans in and BITES DOWN HARD on his face.
Then Mick looks up, blood dripping from his mouth as a bright LIGHT hits his face.
In the next scene, as Lee Jay leaves prison and meets up with his henchmen, the script gives one of the henchmen a name: Cam is the guy who throws Lee Jay's duffel bag in the car trunk.
In the script, Lee Jays books are: The Vampire Dictionary, The Life and Death of Vampires, and Myths and Realities of Vampirism. In the episode, Bloodlines: Vampire Lore is used in place of The Life and Death of Vampires.
Act One
In Beth's nightmare, the script refers to the location where Coraline held young Beth as the Brown Derby, the same location used in the NSTAV script, indicating that the NSTAV flashbacks probably hadn't been filmed at the time OOTP was written.
The script describes Buzzwire:
We sweep through the bullpen taking in the "it's always casual Friday", web-hipster vibe of the Buzzwire Offices. This is a 24 hour office, like a casino, time has no meaning.
In the episode, Julia's question to a random Buzzwire staffer is not in the script:
"Do you know where I can find Beth Turner?" Beth's last line in the scene is different from the script:
"Yeah. I mean the Mick St. John I know is like thirty. This happened twenty-five years ago. This can't be the same guy."
BETH I know him, I mean... this can't be the same guy. The Mick I know is like thirty.
The next scene where Beth brings Mick the "thanks for saving me from a psycho serial killer" gift is a bit more awkward in the script. In the episode, Mick replies right away:
"Oh. Twenty-five-year-old single malt. Thank you." In the script:
She hands him the bottle. He holds it awkwardly. As if not sure what to do with it.
BETH (CONT'D) I'm sorry. Do you not drink? I didn't know. I mean, that's fine, I just...
MICK No. I drink.
BETH Oh, ok. Good.
MICK Thanks. Really.
In the metal shop scene, the script indicates that Lee Jay has some artistic skill:
INT. METAL SHOP - DAY
A man wearing a WELDING HELMET works with an ACETYLENE TORCH, cutting through a metal pipe. As the cut length of pipe clangs to the floor, he pulls back his helmet to reveal it's Lee Jay. He turns off the torch and inspects his handiwork.
Behind him we see a couple of large intricate sculptures made from different lengths of pipe. They're actually very good.
In the episode, after dumping out the stakes Lee Jay asked him to get, Cam asks,
"Wooden stakes. Are we pitching a tent?" which makes the stake/camping connection more clear than what's in the script:
CAM We going camping?
In the script, the next scene starts with Mick already sitting and talking to retired detective Bobby Desmond as Bobby has tea. In the episode, Mick arrives at the door. The script also refers to Bobby's home as a house, not an apartment. In the script, Mick has a nickname for Bobby:
MICK Good to see you, Dez.
In the episode, Mick just calls him Bobby.
Bobby's last line, "Give me some of that," is not in the script.
In the script, the location of Lee Jay's book release party is the Biltmore hotel. The script even suggests using the lobby of the WB Theatre to stand in for the Biltmore.
The exchange between Mick and Beth is slightly different in the script:
BETH Mick, what're you doing here?
MICK I wanted to talk to you, apologize. I was kind of abrupt this morning.
BETH No, it's fine. Everyone's entitled to their opinion, free country, right?
MICK I brought you something.
He hands her the case file.
MICK (CONT'D) It's the case file from Lee Jay's arrest. You should know the truth.
BETH You really think this is the place?
MICK Open it.
BETH You know, I'm a little busy right now.
Mick's confrontation with Lee Jay is also slightly different in the script:
LEE JAY (CONT'D) If I got this right, a stake in the heart paralyzes you. Could make an interesting display for the world to see - maybe put you in one of my new sculptures. Twenty five years in the box I've had a lot of time to think.
MICK Me too.
The two men glare at one another. Is this about to escalate? But, Lee Jay takes a step back --
LEE JAY Mick.
Lee Jay suddenly HEAD-BUTTS the mirror, smashing it. Then AGAIN. Broken glass and blood splatters both men. Lee Jay bleeds from a HEAD WOUND.
Next, in the episode, Lee Jay specifically yells, "Mick St. John. He did this to me," and Julia exclaims,
"Lee Jay! Lee Jay! What—what happened? Oh my God, we have to get you to the hospital." In the script:
STEVE is covering the action with the Buzzwire cam as people congregate.
LEE JAY The man is crazy.
PARTY GOER Somebody help.
BUZZCAM POV as Steve shoots a couple more party-goers rushing to Lee Jay. Mick exits the bathroom, blood on his shirt.
LEE JAY Please, I don't want any more trouble.
Act Two
In the script, as the party is breaking up, Lee Jay's request to not call the police is to a hotel security guard. In the episode, the request is to Julia.
In the episode, after Mick tells Beth that Lee Jay injured himself, Beth says,
"That's ridiculous." In the script:
BETH You know what that sounds like? Kind of crazyland.
The Buffy-speak-type word "crazyland" hearkens back to David Greenwalt's previous job writing for Buffy the Vampire Slayer and Angel.
The script has an extra bit at the end of the scene:
Mick watches intensely as the Valet pulls up with Julia's car. Lee Jay gets in the passenger side. As they drive away, Mick moves off...
MICK (CONT'D) Trust me.
WITH MICK
Who pulls out the G.P.S. tracker with the blinking light showing Julia's location. Behind him...
BETH (calling after him) It was your father's case, right? So why would Lee Jay want to set you up?
No response from Mick.
The 1983 flashback with Mick and Eileen Hannigan also has an extra bit:
EILEEN I went to the police, got a restraining order.
MICK Let me guess, he's ignoring it.
EILEEN He burned it in front of me. You never think the person you love will turn out to be a monster.
MICK No, you don't. (beat) He do that to you?
Mick indicates the fading yellow bruise high on her right cheek. She had tried to hide it with makeup. She nods.
The next scene in the alley is longer in the script:
EXT. ALLEY - EVENING - FLASHBACK
CHYRON: 1983
LEE JAY SPALDING at 20, young, tough prick with a bad attitude moves toward his souped-up Chevy Nova and finds Mick lounging on his car, arms crossed.
LEE JAY Get off my car.
MICK You're Lee Jay right?
LEE JAY So?
Mick's not moving anywhere.
LEE JAY (CONT'D) Get off.
Lee Jay takes a shot at Mick, who slips the punch, hits him three times in the ribs before he knows what happened. Mick grabs his hair and pulls his head down. Face meets knee. Nose explodes. Mick shoves him on the hood.
MICK I'm only going to say this once. If you ever hurt Eileen again, so much as touch a hair on her head, I come back, only next time I'm not so gentle.
Mick pulls Lee Jay face to face.
MICK (CONT'D) Tell me you understand.
LEE JAY I understand.
MICK Good.
Lee Jay looks up as Mick walks off. Realizes a few other BYSTANDERS have witnessed his disgrace. Off Lee Jay, fury growing...
In the next flashback, the script describes Josef's office:
INT. JOSEF'S OFFICE - NIGHT - FLASHBACK CONTINUES
CHYRON: LOS ANGELES 1983
Josef's office, appropriately redressed for the early 1980s. Lots of chrome, black lacquer, Patrick Nagel prints. Duran Duran's "Hungry Like The Wolf" plays on the stereo.
In the script, the freshie-tasting is a lot less sexy:
The redhead Freshie moves to Mick and sits on his lap, offering him her neck and shoulder. Mick distends his fangs, bites down brutally and takes a long drink barely retaining control. Josef does the same to the blonde. A hideous sight.
In the episode, Bobby's line, "Looks like suicide: gun in hand, shot through mouth," at the scene of Eileen's murder, and the replay of Mick vamping on Lee Jay then running off when the cops arrive, are not in the script.
In the episode, in the next scene at Buzzwire, Beth's comment, "That's the weird thing. His father wasn't a cop. Or a P.I. In fact, there's no record of him at all," omits a famous brand name:
BETH That's the weird thing. I've been Google-ing and his father wasn't a cop. Or a P.I. I can't find any record of him at all.
A bit later, the episode has an extra line not in the script: "Lee Jay's arresting officer, Bobby Desmond. Maybe he can tell me why Mick's obsessed with this case." In the script:
BETH Lee Jay's arresting officer, Bobby Desmond.
The next scene at Bobby's house is longer in the script:
INT. DETECTIVE DESMOND'S HOUSE, LIVING ROOM - DAY
Beth sits with Desmond. They drink tea.
BETH So you never thought Eileen's shooting was a suicide either?
DESMOND Why hire someone to protect you if you're planning to kill yourself anyway?
BETH Eileen's blood was on Lee Jay when you found him.
DESMOND Yeah, Lee Jay sid she shot herself in front of him. Forensics couldn't verify the blood spatter after Mick apprehended him. I guess the blood samples got contaminated somehow.
BETHH I hear Lee Jay got beat up pretty badly.
DESMOND Well yeah, Mick did a number on him. The man had an enviably clear sense of right and wrong.
BETH You mean he had a temper.
DESMOND Hey. Lee Jay had it coming. Everyone knew that.
No way Desmond is ever going to say anything bad about Mick. He's smiling at the memories.
BETH Like father, like son.
DESMOND Huh?
BETH His son has a temper, too.
DESMOND Who does?
BETH His son. Mick... junior, I guess. He's obsessed with Lee Jay just like his dad.
DESMOND No, no, no. Mick never had a son. Never even married. Guys like us, the work is our family.
BETH No. Mick had a son. I know him.
DESMOND Darlin', I've known Mick St. John for over thirty-five years and I'm telling you, there's no son. The man is one of a kind. Ask him yourself.
BETHH He's still alive?!
DESMOND And kickin'. He was just here the other day all riled up about Lee Jay getting out.
Off Beth -- Huh?!
In the script, Mick discovers Lee Jay in his loft, peering into the hidden fridge. In the episode, Lee Jay is already lounging in the armchair with a book and blood bag.
Act Three
In the parking garage, there appears to be a bunch of small ad-libs as Josef and Mick argue, notably:
- After Josef suggests he can get a book deal after 25 years in prison, Mick's sarcastic
"Well, thank you" is not in the script.
- After Josef tells Mick he is off his game, Mick's "What did you say?" and Josef's
"You heard me" is not in the script either.
- Josef says, "Why didn't you kill him, Mick? Why didn't you take this guy out?" then adds a
"Why didn't you end him!" that's not in the script.
In the script:
JOSEF Though on the positive side, in 25 years you could probably get a book deal.
Mick scowls again.
JOSEF (CONT'D) You're way off your game, pal.
MICK He had 25 years to plan his next move. You wouldn't have seen it coming either.
JOSEF That's not even what I meant. (then) Why didn't you just kill him, Mick? Why didn't you take him out?
MICK With Lee Jay alive there's at least the chance the truth will come out.
JOSEF You're sure that's it. It's not that you're afraid what some blonde reporter might think of you if you'd given the guy what he deserves.
MICK Look, I got a chance here to erase a regret.
JOSEF I really don't see how. (then) You're going to have to split, you know that. New town, new identity. I know a guy who does relocations. Works with a lot of vamps.
MICK I leave and more people will die. I'm not going.
In the script, when Mick shows up at Beth's apartment, there's a bit more hostility between Mick and Josh:
AT THE DOOR
It's Mick.
JOSH (CONT'D) You're Mick St. John.
Mick thinks about lying. Doesn't.
MICK Is Beth here?
JOSH No.
He starts to shut the door as WHAP. Mick stops it with his foot. Surprisingly solid.
Beth appears behind Josh, having heard Mick at the door. Mick pushes past Josh.
Scripts don't often tell actors how to deliver lines, but the script gets specific for this bit:
BETH Then why did you run? Why didn't you stay there, say what happened? Tell the police?
He looks at her.
MICK (VO) Because I'm a vampire. (different emphasis) Because I'm a vampire. (different emphasis) Because I'm a vampire. (then) There is no good way to say it.
The end of the scene is slightly longer in the script:
MICK I didn't do anything. He came to my place...
JOSH And what? Shot himself?
Meant rhetorically, but...
BETH That's what Lee Jay does.
Her calm certainly settles her boyfriend.
BETH (CONT'D) He staged murders before, Josh. It's all in the police files. See for yourself.
She's saying it to Josh, but she's locking eyes with Mick. Josh moves off to look at the file, giving them some space.
BETH (CONT'D) I really need to know you're telling me the truth.
MICK I am. You know I am.
BETH Because if you're not... (then) What do you want me to do?
MICK Just put the facts up for everyone to see. The case files. (then) You want to thank me for saving your life, trust me now.
She looks into Mick's eyes. It looks like she does.
BETH We can do better than the case files.
Off Beth, with a plan. As she grabs a VIDEOCAM...
However, Mick's voiceover isn't in the script: "I know. I said my image couldn't be captured, but that was back in the days of silver emulsion and film. Digital has changed all that." Maybe this bit was a late addition to cover up a possible inconsistency from earlier when Beth showed Mick his photo in Wronged Man and the script said:
MICK (V.O.) That picture was from 1950, back before I became a vampire. When film could still capture my image.
Beth's advice is not in the script either: "Okay, it's going to be best if you look straight into camera. Okay, ready? On my count."
In the episode, Steve's comment while watching Mick's video is "I can't believe she's doing this." In the script:
STEVE Where does she come up with this stuff?
In the episode, the scene showing the video playing on "CDS" screens and a CDS staffer saying,
"Hey, Walt. This is Jerry. You gotta catch this video on Buzzwire. St. John is coming clean," is not in the script, nor is the following voiceover of an announcer saying,
"CDS L.A. news has just obtained this dramatic new video that has surfaced... under very suspicious circumstances..."
Instead, the script has:
INT. METAL SHOP - NIGHT
Cam and the other cons watching.
CAM Not looking forward to telling Lee Jay about this.
As they watch, grimacing...
In the episode, Lee Jay's "Hey beautiful" and Julia's
"Are you okay? Let's get you out of here" as she wheels Lee Jay out the hospital are not in the script.
Mick is less jumpy in the script:
INT. BETH'S APARTMENT - NIGHT - LATER
Beth sits with her laptop, going through the flood of emails pouring into her mailbox.
JOSH I can't believe how many media outlets have picked this story up.
BETH Buzzwire's got the biggest syndicated feed on the net.
JOSH So what's next, though?
MICK I think it's his move.
She looks up to where Mick sits on the counter. He doesn't seem concerned.
Act Four
Lee Jay's blackmail scene is slightly longer in the script:
INT. BETH'S APARTMENT/ INT. METAL SHOP - NIGHT
Beth still holds the phone as Lee Jay rails..
INTERCUT AS NEEDED ON PHONE BETWEEN LEE JAY AND MICK.
LEE JAY Put him on.
BETH What do you mean?
LEE JAY Put him on!
She hands Mick the phone, then moves to the wireless base station where she picks up the receiver. Listening in as...
MICK What do you want?
LEE JAY Watch your tone with me.
MICK (same inflection) What do you want?
Lee Jay loses it now. Beth is listening in as...
LEE JAY You do not talk to me that way! You hear?! You forget who you're talking to! I know what you are! Mick!
A silence. Lee Jay settles.
LEE JAY (CONT'D) I saw your newscast, very convincing for a professional liar. Now here's what I want. I want you out of my life. I want you to go to the nearest police station, and turn yourself in.
MICK I didn't do anything. I'm not going to say I did.
In the episode, after Beth plays back the recording of Lee Jay, Josh volunteers an idea. In the script, Beth prompts Josh to do something:
The two men turn toward Beth, standing at the base station where she has recorded the conversation.
BETH (to Josh) You're in the D.A.'s office. There must be some way.
Four eyes on Josh as he thinks.
JOSH I've got a friend in public affairs. Maybe I can get him to issue some kind of statement, that Mick is in custody, being arraigned.
MICK Thank you.
In the episode, Mick says, "Okay," instead of "Thank you." Mick's
"Hey, Josh, thank you" comes later, after Beth tells Josh to
"Hurry" as he's leaving.
Beth's dialogue with Mick is in a slightly different order:
MICK No one wants to believe there are monsters like Lee Jay right around us.
BETH You did.
Before the conversation goes any further, Mick pulls the tracker from his pocket.
MICK Want to navigate?
She nods.
MICK (CONT'D) I think we might have a way to find her.
In the episode, Mick explains more: "I think I have a way of finding him. I tagged Julia's car."
In the script, Mick and Beth's conversation in the car is slightly longer:
BETH (CONT'D) Mick. What did he mean?
MICK I don't know.
BETH I don't believe you. Did you know him from somewhere?
MICK How about we get Julia first?
BETH How about you finally answer a question instead of evading, or disappearing.
Mick checks his watch.
MICK Hour's almost up.
BETH Like that.
MICK We all have secrets, Beth. And that's not evading.
She looks at him a long beat, then...
BETH It's strange. In a way I don't quite get you and in another way I feel like I've known you forever.
Finally she looks away, at the GPS and...
BETH (CONT'D) Okay. Stop stop stop. Here.
They've pulled up outside a ND INDUSTRIAL BUILDING sheathed in rotting corrugated siding.
THEIR POV. Metalworking SPARKS from an acetylene torch are visible through a break in the large sliding door.
MICK I'm going in. (beat) Open the glove box.
She does and pulls out an automatic pistol.
MICK (CONT'D) Know how to use that?
Beth takes the gun and expertly loads a clip. Off Mick's look...
BETH My dad's a Republican.
MICK Remember what I said.
BETH (rolls eyes) Call the cops if you're not out in ten minutes. And don't come inside. I got it. I got it.
He gives her one last look, turns and walks away.
BETH (CONT'D) How come the girl always has to stay in the car?
The script has a scene missing from the episode:
INT. ND INDUSTRIAL BUILDING - NIGHT
OVER a figure, crouching at the side of Julia's car, cutting the fender off with an acetylene torch. Wearing a WELDER'S MASK.
Mick approaches stealthily from behind him, then...
The man turns toward Mick. Acetylene torch flaring! Then...
The man points the torch down, pulls the mask up. He's an OLDER GUY we haven't seen before.
OLDER GUY Who are you?
MICK Where'd you get this car?
OLDER GUY What's it to you? I bought it from a guy down the street.
MICK Tell me where he is.
Off Mick, glaring...
INT. MICK'S CAR - NIGHT
Beth watches Mick through the open door, itching to be with him. Curious. Watching as he moves off now, out of sight.
The script also gives Beth more to be curious about:
EXT. METAL SHOP - NIGHT
Mick approaches the building and in a few mindblowing parkeour-like moves, makes his way all the way up to the second story.
INT. MICK'S CAR - NIGHT
Beth looks around, trying to locate him. She goes wide-eyed now as she spots him...
HER POV
Mick high above her on the roof. How did he get there so fast?!
In the script, the order of events is slightly different when Mick finds Julia:
Julia's eyes go wide. Mick puts his fingers to his lips and breaks her flex cuffs. He is helping her up when:
LEE JAY Don't believe everything you see on T.V.
Mick turns to see Lee Jay standing there holding a LIT ACETYLENE TORCH in one hand, a SHOTGUN in the other.
MICK Run.
Mick pushes Julia toward the door and DIVES in the opposite direction.
Lee Jay follows Mick with the shotgun. He FIRES, winging Mick.
And another missing scene:
EXT. METAL SHOP - SAME TIME
Beth hears the shotgun blast and is up and out of the car; she sees Julia running toward her. Beth clicks off the safety to her gun and pulls out her cell phone. Running towards the metal shop, Beth presses her cell phone into Julia's hand.
BETH Call the police.
And Beth is off again.
In the script, Mick's confrontation with Lee Jay is again slightly different:
INT. METAL SHOP - SAME TIME
Mick is bent over holding his arm.
LEE JAY Silver buckshot. Had to special order it.
He fires a second blast that hits Mick in the chest. Putting him down.
LEE JAY (CONT'D) Correct me if I'm wrong, but silver's like poison to you.
He tosses the shotgun aside.
LEE JAY (CONT'D) Only thing more deadly to a vampire -- fire.
Lee Jay drops the empty shotgun and CRANKS UP THE FLAME on the acetylene torch to maximum. He moves toward Mick. Mick, still feeling the effects of the silver buckshot, barely dodges a TONGUE OF FLAME.
LEE JAY (CONT'D) But you know what Mick? I think I still suffered worse.
Beth, unseen by either man, enters the room as Lee Jay unleashes another tongue of flame.
LEE JAY (CONT'D) I admit. Part of me wants to know what it's like. To live forever. Powerful. What do you think?
Mick summons his last strength to say...
MICK Never going to happen. The last thing the world needs is an eternal you.
Lee Jay unleashes the flame full bore now as...
BETH'S POV - SLOW MOTION
ANOTHER VOLLEY OF FLAME CATCHES MICK'S COAT ON FIRE. Mick is forced to fall to the ground, attempting to extinguish the flames, threatening to engulf him.
Lee Jay moves in to deliver the fiery deathblow. As Lee Jay stands over Mick...
Beth sees a totemic image of Mick on the ground, an assailant standing over him, and we--
MATCH CUT TO:
INT. BROWN DERBY NIGHT CLUB, STORAGE ROOM - FLASHBACK
--a nearly identical tableau of Mick on the ground, Coraline standing over him.
SNAP BACK TO THE PRESENT
Beth brings her gun up --
Lee Jay is about to blast Mick with fire --
Beth shoots --
Lee Jay goes down, shot in the NECK --
The torch sputters out on the ground --
Beth rushes forward, gun still trained on Lee Jay, who lies dead on the ground.
We hear the sounds of APPROACHING SIRENS in the background.
Beth rushes to Mick, sees his wounds. Gasps.
MICK I thought I told you to wait outside.
Mick looks up at her and their eyes lock. His face is bloody and blackened with soot.
Behind them, policemen burst in --
The replay of Lee Jay's "I'm better than you, I'm stronger than you" speech on the TVs in the warehouse is not in the script.
The "Twilight" and NSTAV scripts make no references to music. Earlier, the OOTP script specifically mentioned that "Hungry Like a Wolf" was playing in the flashback freshie party scene. Here, again, the OOTP script indicates a music cue:
EXT. METAL SHOP - DAWN
MUSIC UP over a SERIES OF IMAGES as the sun rises in the B.G.
The final scene is virtually the same in the script and episode, but I thought you might like to read it anyway:
INT. MICK'S HALLWAY - MORNING
Mick is bleeding from the silver buckshot wounds and getting weaker by the moment. He pushes into his apartment, leaves the door ajar. He's carrying something, concealing it in his arms.
INT. MICK'S APARTMENT - MORNING
Mick in vampire mode, due to loss of blood and his now aching hunger. He drops the blood bags he's carrying on the table. Picks one back up - he's pretty weak. He drinks a little, which runs down his chin. He hears a noise behind him and knows who it is.
It's Beth. Entering. She steps toward him. He doesn't turn.
BETH You ran off again. One second you were there and then you were gone and I just have to know...
Mick, still in vampire mode, a little blood on his mouth, remains with his back to her.
MICK Please leave.
BETH Not without answers. Not this time. I've been dreaming about you. Why?
Beth walks around to face him and sees the answer to her question. She stares at him horrified.
THE MAN SHE'S SO DRAWN TO IS A VAMPIRE.
Blood dribbling down his face.
MICK Don't... look at me.
BETH Oh my God, what are you?
MICK I'm a vampire.
Beth's hand goes to her mouth as she backs toward the door in shock--
END OF SHOW