1.07 - The Ringer
Written by: Josh Pate
Directed by: Chris Fisher
Transcribed by: pinkpaisley
[CUT TO MICK'S APARTMENT]
[There is a fire blazing in the background. He is doing some exercises]
MICK'S VOICE OVER: One thing you learn when you live forever: it's not to get too set in anything, 'cause it's all gonna change. Just when it seems like everything is going your way and you're maybe even patting yourself on the back. That's when it happens.
[CUT TO STREET]
[Firemen are rushing inside the building of an old hotel. There are lots of people around. Mick is watching the whole scene. Some firemen are having a hard time pulling the switch on a fire hydrant. Mick helps with one hand]
[Mick walks away, in awe of the fire. Beth is also at the scene with a camera man]
BETH: Try to get some shots of the entrance, but be as discreet as you can.
[Beth walks up to Mick]
BETH: Sad, isn't it?
MICK: You think they're gonna be able to save it?
BETH: The warden said they might be able to save a couple of the top floors, but most of the interior is wood. It was built in the 20s.
MICK: 1927. My parents used to bring me here for brunch after church on Sundays.
BETH: I keep forgetting how old you are. It must be really frustrating having the power to help people but not being able to do anything.
MICK: If only you knew. [Beth walks away]
MICK'S VOICE OVER: At the oddest time, you might find yourself feeling lucky. Like maybe you found somebody. And bam! That's exactly when the ex-wife shows up.
[Mick sees a photographer taking pictures of the scene. She looks exactly like Coraline]
MICK'S VOICE OVER: Coraline. The woman who turned me into a vampire.
[CORALINE'S HOUSE, EARLY 50'S]
[Mick is playing guitar at the party. Coraline is walking around]
BAND MEMBER #1: Something else, isn't she?
MICK: Yeah. I wouldn't kick her out of bed for eating crackers.
BAND MEMBER #1: What I would give to go home with that.
BAND MEMBER #2: Forget it. She drops more in a day at Saks than you make in a year.
[Coraline sees Mick looking at her and smiles at him]
CUT TO PRESENT
[Mick approaches the woman he thinks is Coraline]
MORGAN: No. Sorry.
MICK: Sorry. You look just like someone I used to know.
MORGAN: Ex-girlfriend, maybe?
[There is a big explosion in the building]
MORGAN: Does this usually work for you?
MICK: This isn't a pick up. You look just like her.
MORGAN: Listen. Just so you know it's not a big turn on when you tell somebody that they look like your ex.
MICK: What's your name?
[Beth walks up to them, smiling]
BETH: You guys know each other?
MICK: No, we just met.
BETH: So, you don't know each other?
MICK: I thought we did. But I guess we don't. I'm Mick.
MORGAN: Morgan. Now we know each other.
MICK: How do you two know each other?
BETH: I buy a lot of her photos for BuzzWire.
MICK: How long have you two worked together?
BETH: Couple months? She just moved here Chicago.
MORGAN: What's with the interrogation?
BETH: He's a private investigator. Can you tell?
MORGAN: Oh, okay. Yeah... Well, I'm gonna get back to it. It was nice meeting you.
[Morgan walks away and Mick continues to watch her]
BETH: So, he eh, the fire inspectors says he found lighter fluid and dirty rags in the dumpster over there. Hey? Did you hear me?
BETH: They think it's arson.
[Mick doesn't respond, instead he keeps watching Morgan]
BETH: I'm gonna wrangle some quotes. I'll catch you later. [She leaves]
MICK'S VOICE OVER: There is a good reason I never expected to see Coraline again. I killed her.
CUT TO JOSEF'S OFFICE:
[Mick and Josef walk in]
MICK: I gotta talk to you.
JOSEF: Well, this better be good. Dawn is in fifteen minutes and I'm about to go home and hit the ice box.
MICK: I saw Coraline last night.
JOSEF: Coraline? You mean Coraline Coraline?
MICK: Yeah, that Coraline.
JOSEF: Was she dead?
JOSEF: Well, then it can't be Coraline. You killed her, remember?
MICK: Yeah, I'm aware of that. I was at the Franklin fire downtown. There was this photographer there. She was a dead ringer for Coraline.
JOSEF: Well, everbody's got a twin somewhere.
MICK: It wasn't a twin. Josef, it was her. She-she moved the same, she talked the same.
JOSEF: You talked to this person?
MICK: Yeah. Her name is Morgan. She works with Beth.
JOSEF: And did Beth recognize her as Coraline?
JOSEF: If it really was the woman who kidnapped her as a child, I would think that Beth would have a few opinions about it.
MICK: Beth doesn't remember me from back then and I'm the one who rescued her. What do you remember from when you were 4?
JOSEF: Well, it was 1603, Mick. It's reasonable to be a little hazy.
MICK: Look. Beth has suppressed the whole trauma, okay? Josef, I know this sounds crazy, but you gotta see her.
JOSEF: And did this Morgan person have a long history of drinking blood?
MICK: No. She's not a vampire. I was close enough to tell.
JOSEF: Well Mick, if she's not a vampire then she can't be Coraline.
CUT TO BUZZWIRE
[Beth and Morgan are sorting out Morgan's photos of the fire]
BETH: I was thinking I could take these reaction shots to the fire and write a piece about what this landmark hotel has meant to people over the years.
[Maureen walks in]
MAUREEN: What is this ladies' NPR? I mean, I need a celebrity angle. A dead body or something. Sex it up a bit and get back to me.
BETH: Maureen always goes for the lowest common denominator. Don't worry. I'll wear her down.
MORGAN: Thank you so much for your support.
BETH: Oh please. Anything to keep me away from restaurants and fashion shows.
[Morgan gets up and she is wearing a bandage on her arm]
BETH: Oh my God, what happened? Did you get burnt?
MORGAN: Oh, no. It's just a little incident.
BETH: A little incident? Look at your arm!
MORGAN: It's just a couple stitches.
BETH: What happened?
MORGAN: Believe it or not, some guy broke into my house last night and we scaffold.
BETH: You fought him?
MORGAN: You bet I did. He was taking my cameras.
BETH: Did you tell the police?
MORGAN: Of course, but you know how the police are. They just acted like they had all this more important stuff to do than, you know, help me track down my stolen equipment.
BETH: You did tell them he attacked you?
MORGAN: Oh, what I would give to just get my hands on that little punk.
BETH: Not so much as getting your cameras back.
MORGAN: What about that P.I. friend of yours? Do you think he could help?
BETH: I thought you weren't very impressed by him.
MORGAN: Well, he seemed persistent.
CUT TO MICK'S APARTMENT
[Beth knocks and Mick opens the door]
BETH: Hey. I am sorry to stop by without calling, but since I know you're a night person, I thought you might be up.
MICK: Well, you know me too well. [He hears more footsteps and turns to the door to see Morgan]
MORGAN: Hey Mick.
MICK: Hey. Morgan. [She enters the apartment]
BETH: Morgan has a problem I thought you might be able to help her with.
[Cut to Morgan and Beth sitting down, Morgan is telling her story. Mick is pacing around]
MORGAN: I had jewelry out in plain sight that he ignored completely.
MICK: So, it was just the cameras?
MORGAN: W-which is why I attacked him. You wouldn't believe what a digital Nikon costs these days.
MICK: You attacked the thief?
MORGAN: Well, I had mace. Which turns out pissed him off just enough for him to then gush me with my own letter opener.
BETH: Look, she needs her cameras back, Mick. It's her livelihood.
MORGAN: Beth said that you were the best.
MICK: Oh, she did, huh?
BETH: Yeah. Several times actually. Maybe you could go by her apartment. Check it out. See if there is anything to go by.
MORGAN: And also, if it helps, I would absolutely recognize the thief if I saw him again. I never forget a face.
[CORALINE'S HOUSE, 1950'S]
[At the party, Coraline beckons Mick to come to her]
CORALINE: Can't you guys play something that'll get this snore on its feet?
MICK: [laughs] Like what?
CORALINE: I don't know, like Winony Harris or Little Willie John or just something with a little bit more rhythm?
MICK: Well, gee, I don't know if this crowd would like the devil's music.
CORALINE: That's why I want you to play it.
MICK: How about 'Good Rockin' Tonight'?
CORALINE: How about 'Ain't That Just Like a Woman?'? I think that that would be much more shocking. Don't you?
MICK: On one condition.
CORALINE: My name is Coraline.
MICK: I didn't say what the condition was.
CORALINE: That's always the condition. [She kisses him on the cheek and walks away]
CUT TO MORGAN'S APARTMENT
[Mick, Beth and Morgan are there]
BETH: Wow, I love your place, Morgan. It's so cool.
MORGAN: Thank you. I have this like 50's thing I am trying to shake. [to Mick] So, what can I tell you?
MICK: Why don't you start with what happened?
MORGAN: Okay. I was in my bedroom and it was about three in the morning. I was asleep and then that's when I heard a rattling at the front door.
[They walk into the bedroom and Mick picks up a book from the nightstand titled Remembrance of Things Past]
MICK: Were you alone?
MORGAN: Now, is that part of your investigation or-
MORGAN: Yes. I was alone. [They stare at each other]
BETH: Okay. I think we've established you were alone.
MICK: So, what next?
MORGAN: Oh, then I leave the bedroom and come out here and I see that there's this man at my desk. And like I said, he left jewelry, keys to my BMW, cash.
BETH: He wasn't after cash.
MORGAN: I mean my cameras are worth at least eight grand. He took those.
MICK: Maybe he was interested in what was inside the cameras.
MICK: They said it was arson, right? Well, maybe your thief was the one who set the fire.
BETH: Maybe he thought you took a picture of him.
MICK: Yeah, those arsonists. They really stick around to watch the burn.
MORGAN: Well, if he's after photos, then he is out of luck, because I don't let anybody see these until I sell them.
[She takes a chain from her neck that has a storing device on it and plugs it in the computer. She starts looking through the photos on her computer]
MICK: What is that?
MORGAN: It's a fire.
MICK: No. In the fire.
MORGAN: Nothing, I don't think.
BETH: No. Look. There is something. Right there.
MORGAN: You know, I think I have some shots where I wracked to the building. Hold on one second. [She enlarges a photo and it is a man who is seen killing a woman] That's him. That's the thief.
BETH: He's killing her.
MICK'S VOICE OVER: Seeing that photo was like looking into the past. Reliving a nightmare.
MORGAN: He saw me. That must be why he wanted the photos.
BETH: You caught a murder on camera.
CUT TO JOSEF'S OFFICE
[Mick is pacing around nervously]
MICK: You wouldn't believe these photographs, Josef. It's like outtakes from the night...
JOSEF: The night you killed your wife.
MICK: You know what, it's like somebody staged this whole thing for me.
JOSEF: Can you hear yourself right now?
MICK: No, it's like- it's like Coraline is baiting me with these photos.
JOSEF: Coraline is dead. You saw her die with your own eyes.
MICK: I never saw the ashes.
JOSEF: Oh. In the 22 years since she died you never told me that.
MICK: I never told anybody that. I never thought she could possibly survive. I left Coraline trapped in an inferno that night, man! Just like the woman in these photos.
JOSEF: Mick. Look at me. Coraline did not come back from the undead to exact revenge on you.
MICK: You know how dangerous she was.
JOSEF: Yeah! I've known her for a century more than you. And she is capable of anything. But not even she could pull off a resurrection.
JOSEF: Coraline drove you crazy the whole time you knew her. Now she's dead and she's still driving you crazy. You need to let it go.
CUT TO BUZZWIRE
[Mick is talking to Beth]
MICK: So, tell me more about Morgan.
BETH: Ehm... [she puts her hand over Mick's and quickly withdraws]
MICK: Like, who'd she work for in Chicago?
BETH: Everybody. She was a stringer.
MICK: But legit stuff.
BETH: She has shot for The Tribune, NewsCorp, ehm, I don't know. She's got a reputation for being a kind of gritty crime photographer. We've been running her pictures for a couple of years.
MICK: And you met where?
BETH: At a crime scene. Kinda like how I met you, actually. Why are you so interested in Morgan?
MICK: Just standard due diligence.
BETH: On a client?
MICK: Yeah. 'Know Your Client'. Private Eye 101.
BETH: Hmm, okay. I'm just not used to being grilled about a girl that you're after, so...
MICK: I'm not after her.
BETH: I wouldn't have picked her as your type.
MICK: This isn't about types.
BETH: Even if it is, it's fine. It's your business.
MICK: You're jealous.
BETH: Don't flatter yourself.
MICK: Okay. Look, I just need some info on her time in Chicago. Can you look into it and get back to me?
BETH: Sure. Are you gonna turn her photos in to the police?
MICK: Not yet. I'm gonna wait and see if I find a body at the hotel first.
CUT TO THE FRANKLIN HOTEL
[A fire inspector is inside the building, looking around. Mick taps him on the shoulder and the inspector goes into defensive mode]
MICK: Woah, woah. Mick St. John, California Fidelity. I am one of their investigators. Everybody get out okay?
INSPECTOR: No casualties so far. Still a lot of debris to get through, though.
MICK: What do you think about these arson rumors?
INSPECTOR: I can't say anything about an ongoing investigation. Sorry. Supervisor is kind of a hard ass.
MICK: Yeah, I work for an insurance company, I get it. Okay, I'm gonna take a couple of happy snaps and I'll get out of your way.
INSPECTOR: Don't touch anything.
[The officer leaves the building and Mick starts looking around and finds the ashes of a woman]
CUT TO MORGAN'S APARTMENT:
[Mick enters as Morgan opens the door]
MICK: Found a woman's body at the hotel, right where you took your pictures.
MORGAN: You're kidding?
MICK: I also forwarded your photographs to the police.
MICK: I'm just gonna dust for prints before homicide gets here.
MORGAN: Please. You know what; the police didn't do that the first time.
MICK: Yeah, they usually don't for a break-in. But they will now, though.
[Mick finds a set of clean fingerprints on Morgan's door, using his breath to expose them. Morgan starts playing a song on her computer: "Ain't That Just Like a Woman?"]
MICK: That's one of my favorite songs. How could you know that?
MORGAN: You know how you feel like you really know somebody even if you haven't known them that long?
MICK: How does that happen?
MORGAN: Just one of those great mysteries. I don't know.
MICK: Past life, maybe.
MORGAN: Yeah, maybe. Any luck?
MICK: Yeah. I got a few clean prints. But it'll only help if your thief is in the system.
[Mick turns to the computer where Morgan has the photos of the fire]
MICK: It's hard to believe you caught it on camera.
MORGAN: [She zooms in on one of the pictures] Where they able to identify the woman?
MICK: Not yet. There wasn't much left.
MORGAN: Just ashes, huh?
MICK: Yeah, they just got a couple of bits of pelvis and a few molars to go by.
MORGAN: That has got to be the worst way to die. Can you imagine the pain before you actually die, what you'd have to endure? Your hair singed off, your skin's blistering...
MICK: It's a bad way to go, no doubt.
MORGAN: Bad? It's horrific.
[Mick takes a closer look at the photo on the screen]
MICK: There's something on her back. [Morgan zooms in]
MORGAN: What is it?
MICK: It's a tattoo.
[CORALINE'S HOUSE, 1950'S]
[Ain't That Just Like A Woman is playing. Everybody is gone and the band is packing their stuff. Coraline walks up to Mick with a bottle of wine]
CORALINE: You wanna get wet?
MICK: You don't even know my name.
CORALINE: Do I need to?
MICK: Maybe you should come to one of my real gigs.
CORALINE: This was one of your real gigs. [She turns her back to him] Will you give me a hand?
[Mick unzips her dress and sees a tattoo on her shoulder]
[Cut to present]
MORGAN: This is good. It could be a lead to identify her, right? You're sure that's a tattoo?
MICK: Yeah. It's a Fleur de Lis.
CUT TO BUZZWIRE
[Mick is talking to Beth]
BETH: So, I spoke to her editor of three years at Reuters in Chicago. He said she was the best thing he'd ever had. I don't know exactly what you're looking for.
MICK: That Morgan is who she says she is.
BETH: Well, I found nothing to say that she isn't Morgan Vincent from Highland Park. Northwestern, class of 2000. Daughter of Bob, sister of Jennifer.
MICK: You spoke to her family?
BETH: Yeah. You should have heard how ridiculous I sounded talking to her father on the phone, pretending to be from the Wild Cat Alumni board.
MICK: Okay. So, she's legit.
BETH: Unless she's doing a really good job of faking it.
MICK: What is going on, Mick?
BETH: You're absolutely sure that you never met Morgan before a few months ago?
[Morgan walks up to them]
MORGAN: My ears were burning. Did you hear any feedback on the fingerprints yet?
BETH: There's fingerprints now?
MORGAN: Yeah, Mick picked them up at my place last night.
MICK: Speaking of which, I better get back to it. I should have something this afternoon. [He leaves]
MORGAN: Was that... Was that a little look? Are you guys an item?
BETH: Me and Mick? No.
MORGAN: You could have fooled me. Or anybody else for that matter.
BETH: We work together. That's all.
MORGAN: So it's just professional?
BETH: Yes, it's just professional.
MORGAN: I'm a photographer. I see things.
BETH: And I have a boyfriend, remember?
MORGAN: Like that ever stopped anybody.
CUT TO MICK'S OFFICE
[Mick is running the fingerprints through a database. Josef is there too]
MICK: I gotta tell you man, these fingerprints are suspiciously perfect.
JOSEF: A little too perfect, right?
MICK: Take a look at that tattoo. It's a Fleur de Lis.
JOSEF: Hmm, looks like a dog smoking a cigar.
MICK: Coraline had exactly the same tattoo on the same shoulder.
JOSEF: I think it's all in your head, Mick.
MICK: It's not all in my head. [The computer has found a match] Alright, we found our thief. Hank Mottola. Racketeering, trafficking in stolen goods.
JOSEF: Standard issue crook.
MICK: Not standard issue, Josef. This guys's dead. Hank Mottola died three weeks ago from acute pancreatitus.
MICK: So? He died before any of this happens. The fire, the murder, the break-in.
JOSEF: I sense a conspiracy theory coming on.
MICK: When crimes are committed by dead people this doesn't suggest to you any kind of vampire involvement? Our break-in was committed by a dead man. This can only mean one thing.
JOSEF: Ehm, minimum wage PR made a clerical error?
MICK: No. Hank Mottola is a vampire, working with Coraline to stage this whole thing.
JOSEF: Seems a little elaborate, don't you think?
MICK: What's elaborate? Dump a body, fake a few photos...
JOSEF: Come on. You're talking about staging a murder and a fire.
MICK: That exactly parallels the way Coraline died. Don't you see? That's just the kind of mind game that reeks of Coraline.
JOSEF: Or not. You need to take the tinfoil hat of boy. Step back, get some perspective.
MICK: Maybe you could help.
JOSEF: I don't do perspective.
MICK: You can help me look through our thief's house. I could use another set of eyes. And teeth.
CUT TO HANK MOTTOLA'S HOUSE
[Mick and Josef drive up]
JOSEF: So, where are we again? City of Palmdale?
MICK: Next time I'll try to find a Beverly Hills thief.
JOSEF: Thanks. [They get out of the car] Are you sure this is Mottola's house? The alleged killer?
MICK: Who's in league with Coraline. Yeah. I'm sure.
JOSEF: Oh, so now Mottola's in league with Coraline.
MICK: Yeah, that's right. [Mick jump to the roof] Come on.
JOSEF: Why don't you just let me in the door?
JOSEF: Can't we hire someone to do this? Ugh. [He also jumps]
[Cut to inside]
JOSEF: Oh, so this is how the little people live. Ah, vinyl recliners. Have crazed killer written all over them, don't they?
MICK: Ugh, Josef. If you're not gonna help, can you at least be quiet?
JOSEF: I'd love to help, Mick. Just don't know what we're looking for. [Mick hands Josef a photo of Mottola and a woman] Huh, that's weird. That looks just like Coraline, only worse.
MICK: Must be the woman who died in the fire.
JOSEF: Maybe Coraline staged their relationship too.
[Mick takes a book from the shelve]
MICK: Morgan had a copy of this on her bedside table.
JOSEF: A little French for me, I couldn't finish it.
[Mick opens the book and finds a key inside]
MICK: Yeah. It was Coraline's favourite book.
[Cut to bedroom. Mick finds a safe in the closet and opens it with the key]
JOSEF: What do you got?
MICK: Her cameras. Stolen by a guy who's been dead for three weeks.
JOSEF: I gotta get eyes on this girl for myself.
MICK: Yeah. You do.
CUT TO MICK'S OFFICE
[Mick and Josef are waiting. Coraline walks in]
MICK: Hey Morgan. This is my associate, Josef.
JOSEF: It's nice to meet you.
MORGAN: Hmm. The suspense is just killing me. What's the surprise.
MICK: Over here. Go on. Open it.
MORGAN: My cameras! They're all here. How did you do it?
[Mick shows her the photo of Hank and his girlfriend]
MICK: You recognize this guy?
MORGAN: Yeah, that's him. That's the thief. You're amazing.
MICK: It was nothing special. His prints were in the system. Your cameras were stashed at a safe in his house.
MORGAN: And who's that in the photo?
MICK: I presume that's the woman who burnt to death in the fire. Your thief was her boyfriend, killed her and set the fire to cover it up.
MORGAN: And he came after me because he thought I had incriminating evidence. Right.
MICK: Well, we'll see when the police get a match on her molars.
MORGAN: Wow. So that's that.
MICK: Not quite. There's one little catch.
JOSEF: This is the death certificate of the man named Mottola whose fingerprints were found on your front door. From three weeks prior.
MICK: This guy was dead when you took his pictures.
MORGAN: He faked his own death?
MICK: Or he rose from the grave.
MORGAN: He must have faked it, right? That's the only explanation. Where is he buried?
MICK: He was cremated.
JOSEF: His ashes are now at Hollywood forever.
MORGAN: Well, not if he faked his own death. We need to go to the cemetery and see if his remains are there.
MICK: Don't you think we should let the police handle this?
JOSEF: You got your cameras back. This case is over.
MORGAN: Wait a second. The thief is a dead guy and you guys aren't even just a little bit curious? Come on, you guys, we can't stop now.
CUT TO MICK'S APARTMENT
[Mick and Josef are talking]
JOSEF: You were right. Morgan is a perfect doppelganger for Coraline. She moves like Coraline. She sounds like Coraline.
MICK: She didn't flinch. Even when I baited her about coming back from the dead. The nerve.
JOSEF: But Mick, it isn't Coraline. I could smell Morgan in there. She wasn't a vampire. She's a human. And there is no way to assimilate that fact into any conspiracy theory about Coraline coming back.
MICK: I know, but-
JOSEF: No. There is no buts.
MICK: Well, what if it is Coraline and she's reversed it?
JOSEF: Reversed what?
MICK: You don't even get it, do you? What this means.
JOSEF: It means that you're losing it.
MICK: It means she's found a cure.
JOSEF: A cure? There is no cure for vampirism Mick. And if there was, I would know about it, and not that I would care. And personally, there is no way I'd ever go back to the mortal coil.
MICK: That's you. I would.
JOSEF: You see that? Right there. That's your entire problem. There is no way to un-become a vampire, Mick.
MICK: I think this has to do with Beth. I think Beth is why Coraline has come back now, because she can't stand to see me-
JOSEF: With a human? Is that what you were gonna say?
MICK: She can't stand to see me happy.
JOSEF: I appreciate, you know, the unwritten rule that we don't give each other advice and we don't nag.
MICK: What are you saying?
JOSEF: One of these days, you're gonna have to stop hating what you are.
CUT TO CEMETERY
[Mick and Morgan pull up to the gates at night]
MORGAN: God, this whole story is just so weird.
MICK: No joke.
MORGAN: Just like one of those true stories that sound more like fiction.
MICK: Inadvertently catching a murder on camera?
MORGAN: A horrific murder. Burnt alive, that I happen to catch at that exact moment?
MICK: What are the chances?
MORGAN: Beth thinks it's the angle we need with her editor.
MICK: She does, huh?
MORGAN: Yeah. What's the deal with you two, anyway?
MICK: There is no deal.
MORGAN: She likes you.
MICK: She has a boyfriend.
MORGAN: Well, it's there if you want it, trust me.
MICK: What about you?
MORGAN: Me? [she sighs] Why don't I handle the guards?
MICK: What are you gonna do?
MORGAN: I'll think of something.
[CORALINE'S HOUSE, 1950'S]
[Mick knocks on the door, he is dressed up]
MICK: Why did you leave the other night? We were just starting to have some fun. [He tries to kiss her, but Coraline pulls back]
CORALINE: What night?
[Mick looks past Coraline and sees a man who looks like Mottola sitting on her couch]
MICK: I get it. That's fine. [he walks away]
CUT TO PRESENT
[Morgan is talking to the guards and Mick gets out of the car and goes inside. He finds the urns, but the place for Hank Mottola is empty. He heads for the exit and is attacked by Mottola from behind. Mottola leaves Mick, but Mick follows him outside. He fights Mottola]
MICK: You fight pretty good for a dead guy, Mottola. Just like a vampire. [Mick bites him as Mottola screams]
MORGAN: Mick! [He turns to her in vampire mode, with blood on his chin] You're eyes...
[Mick turns around and Mottola is gone. Morgan runs away and Mick goes after her]
MICK: Come back here! Come here! You come here! [He grabs hold of her and doesn't let go]
MORGAN: What's wrong with you?
MICK: You tried to kill me!
MORGAN: What are you talking about?
MICK: I kill you then you kill me and we're even, huh? Is that it?
MORGAN: You're scaring me.
MICK: You set me up in there. It was your idea to check those remains. And then I get ambushed by Hank Mottola. What is he, some friend of yours?
MORGAN: Get away from me. [she struggles free and falls to the ground]
MICK: Just tell me how you did it. Just tell me how you turned human. [She gets up again and Mick goes after her] Show me that tattoo!
MORGAN: What tattoo? [Mick rips her shirt open, but doesn't see a tattoo]
MICK: Where's your tattoo? There's no tattoo!
[Morgan screams. Mick grabs her arm and sees that the wound on her arm is bleeding. He smells her blood]
MICK: You're bleeding. How are you bleeding? How are you bleeding? You should have healed by now. How are you bleeding?
[Morgan runs off. Cut to Mick getting in his car]
CUT TO MICK'S APARTMENT
[Mick is standing, talking to Beth, who is sitting on the couch]
MICK: What did Morgan say?
BETH: Nothing. She refused to talk. I think it's time you tell me what's really going on.
MICK: The truth is: Morgan is the spitting image of my ex-wife. And I was convinced it was Coraline up until last night. You know this murder she's caught on camera?
MICK: That's exactly how Coraline died. Exactly.
BETH: In a fire.
BETH: That woman was murdered.
MICK: So was Coraline.
BETH: By who?
MICK: By me.
BETH: How did that happen?
MICK: You don't know, do you?
BETH: How would I know?
MICK: Have you ever had an intense affair?
BETH: Yeah, the first couple of months of Josh and I were like a honeymoon.
MICK: Well, not the first 6 months. Not a honeymoon. An intense affair. Like-like a fever?
BETH: I was kinda crazy about this guy at college. I don't know. It's a subjective question.
MICK: You'd know if you'd had one. It's like an infection. It burns you up. Makes you do things you wouldn't normally do.
[CUT TO CORALINE'S HOUSE, 1950'S]
[Mick is knocking on the windows. He is drunk]
MICK: Hey! Hey. I know you're in there. [Coraline comes to the door, but doesn't open] Where's your boyfriend. Send him out. I got something for him.
CORALINE: Send who out? There's nobody here.
MICK: The let me in.
CORALINE: I'm not in the habit of letting inebriated men into my house at two in the morning.
MICK: You stood me up. You stood me up three times.
CORALINE: I'm sorry, okay? We'll make it up.
[Coraline walks away and Mick walks around the house, watching her through the windows. Coraline walks to the window and they look at each other. She walks away laughing. Mick takes a chair from the patio and throws is through the window and kisses Coraline]
CUT TO PRESENT
[Mick is sitting on the couch and Beth is standing up]
MICK: I never thought I'd feel that way again.
BETH: What way?
BETH: Then Morgan showed up.
MICK: Yeah. And I went crazy. Chasing ghosts. Nearly got killed. Let a killer get away. After all the parallels to the past, I-I just didn't know what was in my head and what wasn't.
BETH: So, you tried to force her to reveal herself at the cemetery?
MICK: Yeah, but I was wrong. She didn't have a tattoo.
BETH: Were you disappointed?
MICK'S VOICE OVER: The longer you live, the more surprises you get. You think you'd come to suspect the unexpected. But you don't.
CUT TO BUZZWIRE
[Beth is being filmed reporting about the fire]
BETH: Authorities now believe that Mottola faked his own death in preparation for the first degree murder of his girlfriend in the Franklin Hotel fire. The girl has been identified as Diane Apple, 27. As of now, Mottola is still at large. This is Beth Turner for BuzzWire.
MAUREEN: Really great work, Beth. I knew you'd find a way in that sizzles.
BETH: Oh, thank Morgan, not me.
[Beth smiles at Morgan, but Morgan looks away]
CUT TO MORGAN'S APARTMENT
[She is standing in front of a mirror and removes the make-up that covers her Fleur de Lis tattoo]