Moonlight 1X5

2009-04-09 アップロード · 956 視聴

1.05 - Arrested Development

Written by: Chip Johannessen
Directed by: Michael Fields
Transcribed by: Lovecat



CUT TO HOSPITAL
[Beth and Josh are leaving an exam room]

JOSH: There. If Dr. Rosin says it's okay, it's okay. Feel better now?

BETH: I felt fine before.

JOSH: Well, I feel better. That is one weird cut. I mean two. It was pretty crazy out there in the desert, wasn't it?

BETH: Yeah, a little.

JOSH: It's strange that Mick hasn't even stopped by since, at least to see how you are.

BETH: I'm fine.

JOSH: It's just, for a while it was like he was there every time we opened the door, and now he sort of disappeared. It wasn't something I said, was it?

[Beth remembers Mick biting her and zones out]

BETH: Sorry, what?



CUT TO HOSPITAL LOBBY
[Mick is walking in]

MICK'S VOICE OVER: If I've learned anything in 85 years, it's that what you want doesn't always matter.

[Mick tries to shield himself from the sunlight and runs into a woman with a baby]

WOMAN: Watch it!

MICK: Sorry.

MICK'S VOICE OVER: You can want to get from here to there. You can want to be on time. You can want to avoid someone for their own good because say, you drank their blood out in the desert, but if the universe wants something different... well, you can run, but you can't hide.

[Mick tries to get in an elevator but it's full. He turns around to get the other one and Beth and Josh come out]

BETH: Mick.

MICK: Hi.

BETH: We were just talking about you.

JOSH: Yeah, we were.

MICK: What are you doing here-

BETH: -so what are you doing- Oh. We're, uh, here for a blood test.

MICK: A blood test? Are, are you two-

BETH: -getting married? No, no. Uh, for this. Josh thought I might have tetanus. You know, from the chain-link fence?

MICK: Ah.

BETH: So what are you doing here?

MICK: Same. Blood...work. I-I-I have to get some blood work done.

BETH: You know, I left you a message.

MICK'S VOICE OVER: Actually, she left four.

MICK: I must have missed that somehow.

BETH: Well, you know now, so call when you get a chance.

JOSH: Or better yet, come by tomorrow night. We're having a few friends over to celebrate one year together.

BETH: Oh, I don't think... Mick doesn't wanna-

MICK: No, I would, want to, uh, but I can't. I'm sorry. But congratulations, that's, you know, one year, that's, uh, that's really something.

JOSH: Thanks.

MICK: See ya.



CUT TO AN APARTMENT
[An unrecognizable man is on the computer looking at escorts]

MICK'S VOICE OVER: There's what we want, then there are the million coincidences we have no control over, the events that put us in a certain place at a certain time and change our lives forever. Who controls these coincidences? All I know...it's not us.

[The man prints out one ad and leaves his house]



CUT TO A HALLWAY
[The man is knocking on a door, a woman answers]

WOMAN: Oh, no, honey. I just can't. Not with you. So run along, and we'll call it even.

MAN: You know, your picture was a lot prettier.

[The man forces himself into the apartment]



CUT TO BUZZWIRE NEWSROOM
[Beth is working on the computer]

MAUREEN: Hey, wake up, girl. We got a live one. Recipes?

BETH: Oh, Josh and I are having some friends over tonight.

MAUREEN: 'Coq in a reduction sauce'?

BETH: It's French for 'chicken.'

MAUREEN: Still.

BETH: You said you had a live one?

MAUREEN: Oh, dead, actually. You're gonna like this.

BETH: An escort?

MAUREEN: Mm-hmm. Juicy stuff, too. My source said, quote, 'a very distinctive M.O.'

BETH: You think this is-

MAUREEN: -like the San Francisco guy, yeah. The way this has been in the news brings out all the perverts. Look for a copycat angle.

BETH: I'm all over it.

MAUREEN: You know, the degree you like this stuff almost makes me uncomfortable.



CUT TO MICK'S OFFICE
[Mick is talking to a couple]

WOMAN: She came out here to be an actress.

FATHER: She was in 'Our Town' in tenth grade. She was the main one. You know, the one that does all the talking.

MOTHER: Suddenly we couldn't reach her. All her letters came back, and her phone was disconnected.

MICK'S VOICE OVER: I'd heard the same story for decades. Small town beauty leaves home looking for excitement and gets it. Used to be it ended with her dancing in a cage on Sunset or if she was lucky, living in some apartment paid for by a gentleman three times her age, but lately, I'd been hearing something else.

FATHER: People all over town knew, but nobody told us. We were the last ones to know.

MICK: That she was on the internet as an escort?

MOTHER: We tried that number, but she never called us back.

FATHER: And they review them on the internet, like sows at auction.

MICK: I'm gonna find her for you. I promise.

FATHER: Thanks.



CUT TO CRIME SCENE
[Beth is lurking]

LT. CARL: Hey, everyone, back. Hey, no pictures. Cameras off, come on, guys. We need to keep everybody back. Take a little private job.

[Beth crosses the 'crime scene' tape]

LT. CARL: Hey. Hey, I said everyone back. Beth, come on. You know the drill.

BETH: Who are those guys in suits?

LT. CARL: Oh, they heard the apartment's available. Thought they might take it.

BETH: Are they F.B.I.?

LT. CARL: No comment.

BETH: Can I quote you on that?

LT. CARL: Look, we're dealing with a serious situation here. I need you to back off, okay? Please. For once.

BETH: Is it like San Francisco, the escort killer there? A copycat or did he come to L.A.?

OFFICER: All right, everyone back. Coming out.

BETH: Is that why the F.B.I.'s here? He's come to L.A.?

LT. CARL: Beth, you know what you need? You need an 'off' switch.



CUT TO JOSEF'S APARTMENT
[Mick and Josef are talking and a man is working on a computer]

JOSEF: So, your reporter friend. Uh, what's her name?

MICK: You know her name.

JOSEF: Yeah, but... right. So how's it going since, uh, happy hour?

MICK: Fine.

JOSEF: Oh, knowing you, it means you're avoiding her. You're a romantic in the abstract, my friend, but the reality of fang on flesh-

MICK: Look, you said you could help me find the missing girl.

JOSEF: Did I?

MICK: Yes.

JOSEF: What do you think he's here for?

MICK: Your new valet?

JOSEF: No, maestro of all things telephonic. Rider England. Mick St. John.

RIDER: I hear you're looking for someone.

MICK: Right.

RIDER: 'A perfect 10.' What'd she do? She break your heart?

MICK: No, her parents'.

RIDER: Well, she requires references. You know that.

MICK: Yeah, I'm not looking to hook up. I-I just need the address.

RIDER: No problem.

JOSEF: You hear that? No problem.

MICK: No problem.

JOSEF: Boy, a lot's changed in 400 years.

MICK: Yeah, there's no regular cathouses anymore.

JOSEF: Yeah, another casualty of the digital age. Now it's categories. Blondes, Asians, busty, mature. Equestrian. Choice, choice, choice. It's very efficient, very American.

MICK: You sound almost nostalgic.

JOSEF: Whatever happened to the good old days of four girls on a street corner undercutting each other?

RIDER: Okay. Here we go. Wilshire Corridor. God, these pros do love their high-rises.

MICK: Thank you, gentlemen.



CUT TO BETH'S APARTMENT
[Beth and Josh are with their guests having dinner]

MARISSA: All right, listen up. To you both, together a year now.

EVERYONE: Cheers.

MARISSA: Hey, wait. I'm not through.

JOSH: Is anyone else dying of thirst here?

MARISSA: To you and to that moment you first met.

BETH: Okay, don't even-

MARISSA: -the only two cars in a parking lot the size of Rhode Island collide. You said let an insurance adjuster call it an accident. I call it fate. So, to, um...

JOSH: Insurance adjusters.

MARISSA: Fate.

EVERYONE: To fate. Cheers.

[Beth's phone starts ringing]

BETH: Oh, I'm sorry. I'm kind of expecting a call right now. [on the phone] Hey. Yeah, I'm good. Uh, yeah. I can tonight. Um, maybe in, like, two or three hours? Right now? No, I-I'm--I'm kind of in the middle of something. No, no, I want to. Okay. [to everyone] I'm sorry about that. I've got this weird case I'm working on. I've got a window to get into the morgue tonight.

MAN: You'd rather be at the morgue?

BETH: No, not 'rather.' It's just... you know, I can-I can probably get in tomorrow morning.

JOSH: No, it's okay. If you have to, you have to.

[Beth goes out the door and Josh follows her]

BETH: Thank you for being so understanding.

JOSH: Yeah, I'm so understanding.

BETH: Okay, you're mad.

JOSH: I'm not mad.

BETH: Well, you're something.

JOSH: Look, you have to admit, it's pretty rude. Those are your friends in there. Now you invite them here, and then he calls, and you bail.

BETH: Who calls?

JOSH: Mick St. John.

BETH: That wasn't Mick St. John. That was a contact I have at the morgue.

JOSH: Well, what would you have thought? I saw the way you two looked at each other when we bumped into him.

BETH: Oh, for goodness sakes.

JOSH: Honestly, I couldn't miss it.

BETH: Now is not the right time to have this conversation.

JOSH: Not the right time? It's our anniversary. One year together, and I cooked the chicken for you. Your friends are here.

BETH: I said I'll be back as soon as I can.

JOSH: You know what? Take your time.



CUT TO CRIME SCENE
[Mick is looking around]

MICK'S VOICE OVER: Normally, vampires don't have to frequent women in the trade. Between willing freshies and your basic vamp appeal, there's just no need. But this was different. A vampire had been here. Even through the door, I could smell it. Struggle, resistance and ultimately, defeat. And it wasn't just the victim. It was the vampire who did it to her.



CUT TO MORGUE
[Beth is there with her contact]

CONTACT: You gotta hurry. My boss will be back any minute.

BETH: It won't take long.

CONTACT: What are you looking for?

BETH: I'll know when I see it. Why haven't they identified her?

CONTACT: Mm. They have, kind of.

BETH: Not according to this.

CONTACT: Well, she had one of those stripper names, you know. We give her 'Jane Doe' until we find out who she really is.

BETH: Oh, my god. He did this? You think it's funny?

CONTACT: Hey, you pay me fifty bucks to see a dead girl naked. I assume you're up for anything.

BETH: You're sick. Do you know that?

CONTACT: Shh. It's my boss.

[Beth hides. The boss walks in with Mick and the missing girl's parents]

CONTACT: Good evening, Sir.

MICK: You sure you want to do this?

FATHER: We have to know.

MICK: Okay.

[They look at the body]

MICK: I'm sorry.

MOTHER: It's not her. It's not her.

[They leave. Mick goes to where Beth is hiding]

MICK: Everybody's gone now. You can get up. What are you doing here?

BETH: I was just about to ask you the same thing.

MICK: No, the person hiding around the corner in the other room gets to go first.

BETH: There is a sexual predator on the loose.

MICK: I don't know if "sexual" is the right word, but there was rumours about an odd M.O.

BETH: A biter?

MICK: That's an understatement.

BETH: I don't mean to cast aspersions, but I think it might be a, uh...

MICK: It's a vampire. An extremely frustrated and dangerous one.

BETH: So, your turn.

MICK: What?

BETH: What are you doing here? You tracking the same guy?

MICK: No, I'm looking for a missing girl, the daughter of that couple I was with. She's working as an escort.

BETH: Not this escort?

MICK: No. They said that this is the girl that their daughter came to L.A with after high school. They were roommates, I guess.

BETH: So, wait a second. You brought those people here, thinking they were gonna see their dead daughter?

MICK: First, I went to a condo, thinking I'd find their live daughter, but that happened to be a crime scene.

BETH: Which crime scene?

MICK: Wilshire corridor.

BETH: Yeah. That's how I ended up here, too. I'm freezing. Let's get out of here.

[They walk out of the room]

BETH: Okay, I'm just gonna say it. Don't you think it's a little weird, us running into each other here?

MICK: Not really. What do you mean?

BETH: I mean you've been avoiding me.

MICK: No, I haven't.

BETH: Yes, you have. Ever since...you know, the desert, you've been dodging my calls, avoiding me, and then we run into each other twice, first downtown and now here. Following two completely different paths, we end up in the same place. Don't you think that's a little strange?

MICK: You know what? I'm not big on categorizing things into strange and not.

BETH: Wow. Vampires make really bad liars. Go on. Admit it.

MICK: I just don't think we need to make this into a big deal.

BETH: It is a big deal. I fed you. You were dying out there, and I brought you back to life with my blood. With my blood. Mick. And now we're here, together.

MICK: What do you want me to say? Huh? What-what do you want me to say?

BETH: I want you to admit that something happened between us.

MICK: Okay. Okay, something happened.

BETH: If you're gonna say it like that...

MICK: So what if I called you back, huh? What then?

BETH: What do you mean?

MICK: You understand that I'm a vampire, right?

BETH: Yeah.

MICK: And don't you have some dinner that you're giving?

BETH: All I'm saying is that I'm here, and so are you, and there must be a reason. Help me track the killer, and I think you'll find the girl.



CUT TO STREET
[A girl is standing by a newsstand and her cell phone rings]

CHERISH: Yeah?

MAN: Hi, Cherish.

CHERISH: Who is this?

MAN: I'm a friend of your old roommate, Jazzmyn.

CHERISH: Huh. How is she?

MAN: Good. Never better. She says 'Hi'.

CHERISH: Really? 'Cause we kinda had a falling out after she swiped my old web site.

MAN: Yeah, she's sorry about that. She said I should give you a call.

CHERISH: Look, I'm private now. Not really into expanding my circle of friends.

MAN: I could offer a substantial donation.

CHERISH: 500 roses?

MAN: Okay.

CHERISH: Per hour?

MAN: Fine.

CHERISH: And you're sure Jazzmyn won't get all skeezy about this?

MAN: I promise you, she won't say anything.



CUT TO NEWSROOM
[Beth is working and Marissa comes by]

MARISSA: You'd think by now you'd know how to spell 'predator.'

BETH: Marissa.

MARISSA: So was the morgue exciting?

BETH: I'm sorry I had to bail.

MARISSA: Don't apologize to me. Apologize to the man who burned dinner.

BETH: Is he mad?

MARISSA: No, not really. That's kind of the point. What's going on with you two, anyway?

BETH: What do you mean?

MARISSA: You've been together for a year, and yet you're not even living together.

BETH: We have sleepovers.

MARISSA: Exactly. Don't you think it's time to get serious?

BETH: I am serious.

MARISSA: About stiffs in the morgue. Is there someone else?

BETH: No.

MARISSA: Really?

BETH: No. No. Where-where is this coming from anyway? I thought you said Josh and I were fated.

MARISSA: Fate's fine, but at some point, the humans gotta step in and make it happen. Fate's not gonna get the extra keys made and move your stuff into his apartment. I mean, if that's what you want. The universe sends you a sign and you just...

[Beth's phone rings. It's Mick.]

MARISSA: ... you see? That's a sign, but you gotta answer the call.

BETH: It's not Josh.

[Beth answers]



CUT TO JOSEF'S APARTMENT
[Mick, Josef and Rider are there]

RIDER: The dead escort's name was Natalie Hall. Professional name, Jazzmyn, two 'z's and a 'y' Voted 'most likely to succeed' by her high school class. Not sure how the others fared, but that's seeming unlikely at this point. Favourite quote, 'Have fun in the sun, get laid in the shade.'

MICK: Careful what you wish for, right?

[Beth arrives]

MICK: Josef, Rider, meet Beth Turner.

JOSEF: Beth Turner, 'BuzzWire.' Such a beautiful woman on the internet.

BETH: Thank you...I guess. So are you gonna tell me what I'm doing here?

RIDER: Mick said she had a great voice.

MICK: Rider here has got a list of all of the incoming calls to the dead escort's website during the last 24 hours of her life. One of them is probably the killer.

BETH: So you want me to call the numbers?

JOSEF: Quick study.

BETH: And what, talk to him?

MICK: If we're lucky, yeah.

BETH: What am I supposed to say? I've never spoken to a serial killer before.

JOSEF: Oh, you know, be polite. You know, 'please', 'thank you.'

MICK: Just do whatever-

RIDER: -whatever escorts do.

MICK: Yeah.

BETH: Okay. [in a seductive voice] Whatever you want.

[They dial the first number]

MAN: Hello?

BETH: Hey.

MAN: Who is this?

BETH: It's me, Jazzmyn.

MAN: Oh, you.

BETH: So, uh, I was thinking...

MAN: What? What were you thinking?

BETH: You know.

MAN: No, I don't know, you idiot whorebag. I told you never to call me here.

[He hangs up]

BETH: I messed up.

MICK: No, you didn't.

BETH: I ruined it.

MICK: You didn't. It's fine. It's not him. He thinks she's alive. He's not who we're looking for, really. You were, uh, I mean, she was...

JOSEF: Very impressive.

RIDER: Hot. Very, very hot.

RIDER: Next?

[They dial the next number]

MAN: Hello?

BETH: Hey.

MAN: Cherish?

BETH [to Mick]: Cherish?

[Mick nods]

MAN: Is that you? Are you there?

BETH: Yeah, I'm here. Where else would I be?

MAN: We're still on for today, right?

BETH: Can't wait. That's why I'm calling you.

MAN: Good. I'm really glad. You seem really nice. We're gonna have a blast. So?

BETH: Yeah?

MAN: See you at Greenies.

BETH: Wait. He hung up. That's weird. Kind of reminded me of high school. Sounds like he wants a girlfriend, not a hooker.

JOSEF: Does anyone know where Greenies is?

MICK: I've never heard of it.

RIDER: I'll poke around. Meanwhile, call was traced to a landline, 1730 Los Feliz. If the plan is for today, you might wanna hurry.

MICK: Let's go.



CUT TO STREET
[Mick and Beth are walking]

BETH: So your friends... are they, um...

MICK: What?

BETH: You know.

MICK: Vampires? Can't tell, can you? Scary.

[They arrive at 1730 Los Feliz and stand by the door]

BETH: It doesn't sound like-

[Mick breaks into the apartment. He looks around and sees two figures and attacks, pinning them on the floor]

WOMAN: Get your hands up! Turn around. Turn around.

LT. CARL: Let them go! Put your hands on your head. Now!

MICK: All right, all right.



CUT TO GREENIES
[Cherish is there waiting and the man arrives]

MAN: Cherish?

CHERISH: Sure. Why not?

MAN: Finally, it's you. I saw your picture.

CHERISH: Just sit down, okay?

[You can see his face now. He's just a teenager]

CHERISH: Uh, you know what? Get me a double?

[The teenager's fangs come out and he puts them back in]



CUT TO APARTMENT
[Mick and Beth are there with the police]

WOMAN: Mick St. John. Do you have any idea how close you came to getting shot? [She keeps yelling at Mick]

MICK'S VOICE OVER: Do you have any idea how close you came to getting your face ripped off? I never understood what it is about humans and yelling. Not that I don't appreciate that flushed, blood-in-the-face look more than I used to, back before I became a vampire. It's just that whatever relief elevating your blood pressure brings causes you to miss things, important things.

WOMAN: You got that?

[Mick sees a picture]

LT. CARL: What's that?

MICK: I don't know. Looks like some old photo.

LT. CARL: Looks like old hookers or something.

WOMAN: Could we just stick to the case here, not waste time on some stupid-ass picture?

[Mick notices a journal on a table]

LT. CARL: The feds have this guy nailed. He's a loner, 38 to 45 years old, tortured animals as a child, wet his bed. That freezer? It's a place to keep trophies of his victims.

[Mick signals the journal with his eyes to Beth]

MICK: So you say he's 38, huh?

LT. CARL: It's 38 to 45. Profiling's not an exact science.

[Beth puts the journal under her jacket]

MICK: I'll say. They said we can go.

[Mick and Beth leave]

MICK: He's a kid, maybe 16 years old.

BETH: 16?

MICK: Well, going on 200, I saw a picture.

BETH: Ugh, awkward age.

MICK: You're not kidding. You know, boys that age think about sex 20 times a minute, and that's a scientific fact? Times two centuries, that's gotta take a toll.

BETH: Shouldn't we tell the police?

MICK: Well, he's a vampire. It's probably healthier all around if we don't.

BETH: Oh, my god. Natalie Hall. This belonged to the dead escort.

MICK: Just keep it hidden until we're in the car. They're still watching us.

[They get in the car. Beth finds a picture of Natalie and Cherish in the journal]

BETH: Look.

MICK: That's her. That's the girl I'm looking for.

BETH: You think he's with her?

MICK: There's a good chance. Does that say 'Greenies'?

BETH: There's a number on the back.

MICK: Call it.



CUT TO GREENIES
[Cherish and the teenager vampire are talking]

CHERISH: So what's the deal? Are you a virgin?

TEENAGER VAMPIRE: Depends on what you mean.

CHERISH: I mean would I be your first?

TEENAGER VAMPIRE: My first? Not really.

CHERISH: How old are you?

TEENAGER VAMPIRE: I said.

CHERISH: 21, sure. I mean, really.

TEENAGER VAMPIRE: Really? 197 and a half.

CHERISH: Look, you seem like a nice kid. Are you sure that...

[Her phone rings. He stops her from answering and gives her money]

TEENAGER VAMPIRE: Don't answer it.

CHERISH: Okay, okay, just...



CUT TO STREET
[Mick and Beth are in the car driving to Greenies]

BETH: It went to Cherish's voice mail.

MICK: It's a public place at a crowded pier. She should be okay until we get there.

BETH: How far is it anyway?

MICK: It's just at the beach. We're almost there.



CUT TO GREENIES
[Cherish and teenager vampire talking]

TEENAGER VAMPIRE: So we can go on the rides, play some games.

CHERISH: Rides?

TEENAGER VAMPIRE: Yeah, the roller coaster's killer. You'll love it.

CHERISH: I don't have time for all that.

TEENAGER VAMPIRE: Come here.

CHERISH: It can wait.

TEENAGER VAMPIRE: I want you closer.

[She moves a bit, but he pulls her stool closer to him]



CUT TO STREET
[Mick and Beth in the car]

BETH: So how does it work, anyway?

MICK: What?

BETH: Just, you know, the sex thing.

MICK: Your parents never told you?

BETH: They somehow skipped the part involving vampires. Vampires and humans, I mean. [Mick stares at her] Oh, I'm talking totally hypothetically, believe me.



CUT TO GREENIES
[Cherish and teenager vampire talking]

TEENAGER VAMPIRE: Kiss me.

[She gives him a peck on the cheek. Some teenagers pass by laughing]

TEENAGER VAMPIRE: Like you mean it.



CUT TO STREET
[Mick and Beth in the car]

MICK: You wanna know how it works? It doesn't, okay? It doesn't work.

BETH: So it's impossible?

MICK: It's not impossible. It's inadvisable. It never ends well.

BETH: Never?

MICK: We're almost there. You should check that number again.

BETH: Okay.



CUT TO GREENIES
[Cherish and the teenager vampire are still talking. She kisses him again and he grabs her leg.]

CHERISH: Maybe you should just calm down.

TEENAGER VAMPIRE: You know what? Maybe you should just do what you're paid for.

CHERISH: I'm out of here.

[Her phone rings again]

TEENAGER VAMPIRE: Do not answer that.

CHERISH: [on the phone] Yeah?

[He grabs her and the phone falls on the floor]

TEENAGER VAMPIRE: Sit still.



CUT TO PIER
[Mick and Beth are getting out of the car]

MICK: Do you have her? What's going on?

BETH: I can't tell. Listen.

MICK: Hello?



CUT TO GREENIES
[The teenager vampire is holding Cherish]

MICK: [on the phone]: Cherish? Cherish?

TEENAGER VAMPIRE: Now give me the phone.

MICK: [on the phone] Anybody there?

TEENAGER VAMPIRE: You're coming with me. This way.

[He takes her to the back of Greenies by the bathrooms. Mick is talking to him on the phone]

MICK: I can hear you and I know what you are. I understand why you're doing this. The bordello. Is that it? Who turned you? What did they do? Are you there? Let her go. I know you want to.

TEENAGER VAMPIRE: Who are you? Who are you?

MICK: My name is Mick St. John. I know you're a vampire.

TEENAGER VAMPIRE: Where did you get this number?

MICK: You're a vampire like me.

TEENAGER VAMPIRE: Oh, like you, huh?

MICK: I know what you're going through.

TEENAGER VAMPIRE: Oh, you know? Is that right?

MICK: I know that you feel cursed, like fate has played a cruel trick on you, like you're gonna wake up one day and realize this was all a mistake, but you don't wake up, not as the years roll by, the decades-

TEENAGER VAMPIRE: Centuries, Mick. 200 years. I didn't choose any of this. It was done to me.

MICK: You can always choose.

TEENAGER VAMPIRE: Sure.

[Mick and Beth get to Greenies. They see the cell phone on the floor and start running around the pier looking for them. They enter a store and find them on a picture booth. Mick grabs him by the neck.]

TEENAGER VAMPIRE: Let go of me! Let me go!

[Mick lets him go because he's holding Cherish by the neck, too. They get out of the booth.]

MICK: You don't have to do this.

MAN: Hey, man, let her go!

[He turns around and slices the man's throat, throws Cherish to Mick and runs away. Mick runs after him. Cherish tries to go, too]

BETH: Wait, wait!

CHERISH: Leave me alone. That guy was gonna kill me.

[Beth hugs her]

BETH: It's okay.

[Mick loses track of him]



CUT TO PIER AT NIGHT
[The teenager vampire comes out of hiding and goes to the amusement park. Mick is out of sight but he can see the teenager vampire and starts talking to him]

MICK: It's all right. It doesn't have to be this way. I know what you're going through. I've been through it myself. You hear me? I know what it's like.

[Mick starts turning on the lights]

TEENAGER VAMPIRE: You think so? You think you know? Couldn't possibly. I mean, you were turned at what, 30? I'm stuck. All I've ever wanted is to grow out of this, and I won't...ever.

MICK: Someone betrayed you.

TEENAGER VAMPIRE: Oh, you think?

[Mick starts looking for him. He jumps on the roller coaster track]

MICK: You're not the only one.

[The teenager vampire turns the roller coaster on]

TEENAGER VAMPIRE: Have you ever loved someone completely? So that she was your whole world? You'd do anything she asked, anything at all. Have you ever loved someone that way? So you forgot about yourself and all you thought about was her?

FLASHBACK
[Mick and Coraline on their honeymoon]

MICK: I'll love you forever. Forever.

CORALINE: Forever.

[Cut back to present]

MICK: Yes.

TEENAGER VAMPIRE: See, I never have.

[He shows up from behind, hits Mick and they start fighting. He gets Mick's head in between the tracks so that Mick is stuck]

MICK'S VOICE OVER: If I've learned anything in 85 years is that what we want doesn't always matter. You can want to get from here to there. You can want to survive. But if the universe wants something different, you can run, but you can't hide.

[The teenager vampire slips and Mick slides away. The roller coaster hits the teenager and decapitates him]



CUT TO BUZZWIRE NEWSROOM
[The parents reunite with their daughter. Mick is watching from a distance]

MAUREEN: Where are the cameras? You're missing the moment.

BETH: They don't want this public.

MAUREEN: 'Beautiful escort nearly killed, reunited with parents'. That's just about the juiciest story we've ever had.

BETH: She doesn't want to be on the internet.

MAUREEN: Since when?

[Beth looks and Mick isn't there anymore]

BETH: I gotta go.



CUT TO PARKING LOT
[Mick is getting ready to drive away but he drops his keys]

MICK'S VOICE OVER: Maybe it's the sum of a million coincidences we don't quite control that brings us to a particular place at a particular time, or maybe it's the choices we make, the actions we take. If there's one thing I've learned in 85 years, it's that what we want, it doesn't always matter.

[Beth's looking for Mick in the parking lot. He gets his keys and gets up and is suddenly facing Beth]

BETH: You just took off.

MICK: Oh, uh, you were kind of tied up with your editor.

BETH: You could at least have said goodbye.

MICK: Good-

[Beth kisses Mick]

MICK: -bye.

MICK'S VOICE OVER: What we want doesn't always matter...

[Beth kisses him again and runs off]

MICK'S VOICE OVER: ... but then again, sometimes it's all that does.

tag·Arrested,Development

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