Moonlight 1X9

2009-04-09 アップロード · 910 視聴

1.09 - Fleur de Lis

Written by: Gabrielle Stanton, Harry Werksman
Directed by: James Whitmore Jr.
Transcribed by: pinkpaisley

BETH'S VOICE OVER: Memories can be fragile.

[Beth is desperately knocking on Mick's door]

BETH: Mick! Mick!

BETH'S VOICE OVER: Something is a whisper one moment. Powerful as a scream the next.

[Mick opens the door, shirt open]

BETH: I got the proof. She's been lying to us. Stalking us. Morgan is Coraline.

MICK: I know she is.

BETH: You know?

[Coraline comes down the stairs, dressed in one of Mick's shirts]

BETH'S VOICE OVER: I spent so long hiding from my past.

MORGAN: Hi, Beth.

BETH'S VOICE OVER: Ignoring the whispers.

BETH: How could you?

MICK: This is not what you think.

BETH'S VOICE OVER: But I remember everything now. And the screams are the only thing I can hear.

[Beth walks over to Coraline and stakes her through the heart]

[24 hours earlier. Beth is outside in a car, watching Morgan. Mick walks up to the car]

MICK: Hey. I got your message.

BETH: Get in.

MICK: You wanna tell me what you're doing here?

BETH: Get in.

MICK: Okay. Okay... Does this seem healthy to you?

BETH: Morgan is quite the exhibitionist, isn't she? See? That got your attention. So tell me about her.

MICK: Who?

BETH: Your ex-wife.

MICK: What do you wanna know?

BETH: Well, we got time, so why don't we start from the beginning? How did she become a vampire?

MICK: Coraline was turned in the early 1700's, in France. She was a courtesan.

BETH: Oh, she was a hooker.

MICK: No. More like a friend of the court.

BETH: She still got the moves.

MICK: Beth, that's not her.

BETH: Was the sex good?

MICK: You understand that right?

BETH: So, you were on and off for like, 33 years? Was it the sex that kept you coming back?

MICK: What is this?

BETH: She kidnapped me when I was 4. Took me from my bed. Terrorized me. Almost killed me.

MICK: Yeah, Coraline did that. Not the woman you are currently stalking.

BETH: You sure? A hundred percent? No room for doubt?

[Morgan leaves her apartment]

MICK: Get down, get down!

BETH: Look, if that's the same woman who destroyed my childhood, I've gotta know. Are you telling me you can't understand that?

MICK: Alright. What do you want me to do?

BETH: If Coraline reinvented herself as Morgan, there must be something she forgot to cover up. Some piece of evidence left behind.

MICK: You're the one who told me that her story checked out.

BETH: On the surface. But now, I wanna dig deeper. You've got to keep her occupied.

MICK: How am I supposed to do that?

BETH: Just turn on the Mick St. John charm. What girl could resist?

MICK: Alright, listen to me. If Morgan is Coraline and I'm not saying she is, if, and she realizes that you suspect her, I don't know what she'll do.

BETH: I'll be careful. But one way or another, I will finally find out the truth. We both will.

[There's a client, who hands Mick a photograph]

MICK: Pretty.

MR. HAGGANS: My wife, Tina. I want you to follow her. I wanna know where she goes and who she sees.

MICK: So, what makes you think she's cheating on you?

MR. HAGGANS: I didn't say she was.

MICK: I've been doing this job for a while now, Mr. Haggans. Men wants his wife followed, he thinks she's having an affair.

MR. HAGGANS: Tina is my second wife. Obviously much younger. I've given her financial stability, social status and what I expect in return is fidelity. Lately, she's been distant. Secretive. If she were an employee, I'd suspect that she was interviewing for another job.

MICK: But she's not an employee. She's your wife.

MR. HAGGANS: Principal's the same. I'm the CEO of a Forbes 500 company. If my trophee wife is stepping out, I wanna know about it before my board of directors does. And I want someone with no ties to me to be looking into it. 25.000 now, another 25.000 upon delivery of all audio and photo surveillance.

MICK: I know a photographer who would be perfect for this job.

MR. HAGGANS: I hope he knows how to keep his mouth shut. You're the only person who knows about this. Anything shows up on the internet, I'll know who leaked it and there will be severe consequences. Do I make myself clear?

MICK: Chrystal.

MR. HAGGANS: She's leaving my office building on Bunker Hill today around 1PM.

MICK: Just one more question, Mr. Haggans. You obviously don't trust your wife. Do you love her?

MR. HAGGANS: I own her, Mr. St. John. That's all you need to know.

[Mick is waiting. Morgan joins him]

MICK: I wasn't sure that you'd show up.

MORGAN: Yeah. Me either. Notice I chose a public place. You're buying, right?

MICK: Yes. Of course.

WAITER: Ready to order?

MORGAN: I'm gonna have the Carpaccio plate with some french fries and this burgundy here, the Roman-Conti Richebourg.

WAITER: Excellent choice. And for you, sir?

MICK: Oh, nothing for me. I'm on a special diet.

MORGAN: Yeah, you and everybody else in this town. Body image freaks. Okay, so, if you're not here to break bread then what's this about?

MICK: I want to apologize.

MORGAN: I would think so.

MICK: The other night, I was completely out of line.

MORGAN: That's an understatement.

MICK: There's absolutely no excuse for the way I acted.

MORGAN: Now, are you talking about when you ripped off my clothes or threw me to the ground or just generally scaring the crap out of me? Which one?

MICK: Pretty much all of the above. It's just that you look so much like someone I know. Knew. A long time ago.

MORGAN: If that's the way you acted towards her too, I gather it didn't end very well.

MICK: No. No, it didn't. But I wanna make it up to you. I have a surveillance case. I need a photographer. It's gonna be ten thousand dollars for a couple of days work.

MORGAN: Ten thousand dollars?

MICK: Yeah.

WAITER: The Roman-Conti Richebourg.

MORGAN: Apology accepted. Thank you.

WAITER: You're very welcome.

MORGAN: French fry?

MICK: No thanks.

MORGAN: Are you sure?

MICK: Why don't you enjoy them for me.

MORGAN: So, what's this case about?

MICK: Husband thinks his wife is having an affaire and he wants proof before he confronts her.

MORGAN: Hmm. Sordid.

MICK: Well, you can't always judge.

MORGAN: No, I meant that in a good way.


MORGAN: About this ehm... ex-girlfriend that I remind you so much of... What happened? Did she cheat on you or...?

MICK: Ex-wife actually and no. Fidelity wasn't our problem. It was just a very complicated relationship. It's probably best if we leave it there.

MORGAN: That sounds like a story.

MICK: So, do you want the job or not?

MORGAN: Let me see, ten thousand dollars to follow people around and take pictures of them having sex. I'm in.

[Beth is behind her computer doing research on courtesans]

BETH'S VOICE OVER: Digging into a person's background these days is pretty simple. Google search here, credit check there. But when their background goes back almost 300 years: Journalism 101. Begin at the beginning. Go back to where it all started.

[Coraline gets branded with a Fleur de Lis]

[Beth is doing some research on courtesans]

MAUREEN: What's that?

BETH: Oh ehm, a Fleur de Lis. Did you know that French courtesans were branded with them back in the 18th century? It's like a permanent scarlet letter.

MAUREEN: Oh. Does this have something to do with Paris Hilton?

BETH: Ah, no.

MAUREEN: Then I don't care. Do you have a story you're working on?

BETH: I do, actually. I'm off to do some research now.

MAUREEN: Good. Bring me something sexy that I can lead with.

BETH: Sex, betrayal, murder. This one's got it all.

[Mick and Morgan are going after Tina]

MORGAN: Ooh, she's pretty. But for fifty grand he could update her to a new model.

MICK: There's a lot of people around. A lot of cell phones. That means a lot of inference. I'm gonna have to stay close if Haggans wants all this on tape.

MORGAN: I'll keep moving and try to get clean shots.

MICK: Okay. This is for you. Keep the line open. You let me know if you see anything that I don't, okay?

MORGAN: This is so 'Bourne Identity', I love it! Okay.

MICK: Target entering plaza from North East corner.

MORGAN: I'm on her.

MICK: I think we got something.

MORGAN: I see him! What are they saying?

MICK: There too much interference. I'm gonna have to get closer.

[Cut to Tina and Owen walking down the plaza]

TINA: Okay, so I know you're going to the office tonight.

OWEN: Look, don't worry. I've got it all worked out.

TINA: I don't know. Sometimes I feel like we've waited too long.

OWEN: I told you, nobody else knows. It's just us.

TINA: How can you be sure that he doesn't know?

[Mick is trying to get a better shot at catching sound and crashes into a cart]

MORGAN: Wow, she sees you! Mick!

OWEN: What's the matter?

TINA: Nothing. I'm just being paranoid.

MORGAN: What are they saying?

MICK: This microphone is not picking up anything.

MORGAN: That was a money shot.

OWEN: Okay, you go and when you go home, act natural, okay? It's planned out, but if he finds out...

TINA: I know. He'll kill us. Talk to you later.

MORGAN: Mick, I got it. It's full frame. The kiss... I'm amazing. What's your problem? We can go up to Haggans right now with this photo. It'll be like the easiest ten grand ever.

MICK: Yeah, I don't think we should do that.


MICK: I just heard Tina say that Haggans is gonna kill her.

[Mick and Morgan are reviewing the surveillance]

MICK: You know, after the kiss, I heard what Tina and Owen were saying.

MORGAN: You were right about the interference.

MICK: Cell phones, traffic noise. It's gonna take a while to sort this out. No, that's not it. It was right around here. I heard it. I heard it. The man said: 'but if he finds out' and then Tina responded 'you know he'll kill us'. I swear to you, I heard it.

MORGAN: I mean, it could be a figure of speech, you know, like 'I'd kill for a burger, right now'. You're not gonna really kill somebody for the hamburger.

MICK: It didn't sound like that to me.

MORGAN: And you're sure it was them talking?

MICK: I'm positive. Maybe the mic missed it.

MORGAN: And you think your ears can pick up something that a $5000, digital uni-directional microphone can't?

MICK: Look, what if Haggans isn't thinking about divorce? What if he's actually gonna use this evidence as an excuse to murder his wife?

MORGAN: Wouldn't divorce be easier?

MICK: Yeah and it would also be more public. Haggans doesn't strike me as the kind of man that wants his personal life on display.

MORGAN: Well, you met him. Does he strike you as the kind of man that would be capable of murder?

MICK: Anybody is capable of murder. Given the right circumstances.

MORGAN: Haggans hired you to get information. You're not responsible for what he does with it, okay?

MICK: I'm not gonna get those people killed.

MORGAN: No info, no pay check.

MICK: Alright. I'll talk to Haggans again, okay?

MORGAN: You're gonna ask him if he's planning on murdering his wife?

MICK: You know what? I might try something a little more subtle than that.

MORGAN: Well, on the way, we can stop by BuzzWire. I'm friendly with one of the sound guys and maybe he can help us clean up some of this audio.

[Beth breaks in]

BETH'S VOICE OVER: I had a boyfriend in college who taught me how to pick locks. Thought it was a cool party trick. He also taught me how to chug a beer in one gulp. Not really as useful as an adult. It's one thing to be in someone's space when they invite you in. They make the bed, clean the dishes, hide the bong. But when they're not expecting company, that's when you see how someone really lives. So, let's see how Morgan really lives.

[Mick walks in and is stopped by Haggans' assistant]

MICK: I need to see Mr. Haggans.

ASSISTANT: Mr. Haggans isn't here.

MICK: I can see him.

ASSISTANT: Well, yes. He's here, technically, but I've been given strict orders not to disturb him.

MICK: Okay. Why don't you just tell him Mick St. John is here to see him?

ASSISTANT: When Mr. Haggans gives me an order, I take it very seriously.

MICK: You tell him, or I'm gonna tell him myself.

ASSISTANT: Mr. Haggans wants to know if you have the surveillance he requested. If so, I have been instructed to give you your final payment.

MICK: I'm not giving this surveillance to anybody but Mr. Haggans. Personally. You tell your boss when he's ready to see me, he can have his surveillance. Not before.

[Mick and Morgan enter an elevator]

MORGAN: How did that go?

MICK: Haggans wouldn't see me.

MORGAN: Okay, doesn't mean he's the murderer, though.

MICK: Doesn't mean he's not. I'm gonna keep following Tina till I know for sure.

[Owen enters and later Tina enters as well. Mick moves closer to Coraline to make sure he isn't seen. The elevator stops and everyone gets out.]

TINA: Billmore hotel room 713. One hour.

MORGAN: We should follow him.

MICK: They're gonna be at the Billmore in an hour.

MORGAN: Wait. How did you know that?

MICK: Trust me.

[Beth is searching through her personal belongings]

BETH'S VOICE OVER: I don't know what I was expecting to find. Impressive shoes, though. Prada, Y-3, Manolo's. I'm in the long line of work. Guess immortals don't shop at Shoe Barn. [She receives a text message from Mick saying he and Morgan are on their way to the apartment. She hides as Mick and Morgan enter the apartment]

MORGAN: I know, I know. This will only take a minute. Or maybe just two minutes. I have one thing I have to pick up. I have a perfect rig for this. And a long lens that will pick up a bead of sweat from like a hundred yards.

MICK: You're enjoying this way too much. You know that, right? [He senses Beth then whispers] Beth? [she waves at him]

MORGAN: Did you say something?

MICK: Yeah, I said come on, hurry up! Let's go!

MORGAN: Okay, I'm just making sure I have everything. Now, let me see... [Mick blocks her path] Are you okay?

MICK: What you've got is good. We don't have much time. Come on. We don't wanna miss anything. Let's go.

MORGAN: Wow. Someone's sure getting into the spirit. [They leave]

[Mick and Morgan have set up the camera and are spying on Tina]

MORGAN: I still don't know how you heard them talking about this. You must have ears like a bat.

MICK: No, not like a bat exactly.

MORGAN: You know, be grateful. I used to date a lot of musicians and after a few years on stage they were just like deaf as doornails.

MICK: Musicians, huh?


[Mick's phone rings and he walks over to another window]

MICK: Hey.

BETH: Hey, can you talk?

MICK: Not really. Where are you?

BETH: Still at Morgan's. That was close.

MICK: Yeah, it was way too close.

MORGAN: Oh, hurry up! The clothes are starting to hit the floor.

BETH: Where are you?

MICK: I'm at a hotel.

BETH: Whose clothes are hitting the floor?

MICK: You know some, I, I... I can't really get into this right now.

MORGAN: Oooh! Oh my God.

BETH: Seriously. What are you guys doing?

MICK: We're working the case.

BETH: Sounds like you're working something.

MORGAN: You have to hurry up or I'm just gonna start without you. This is hot.

BETH: Mick?

MICK: I gotta go. I.. Yeah, I gotta go. [He joins Morgan at the window]

[Beth is flipping through some photographs and finds a picture of Mick from 1952]

[Mick and Morgan are standing next to each other, watching Tina and Owen have sex]

MORGAN: Are they saying anything?

MICK: Not unless they are using deep breathing and moaning as code. Listen to this. [He flips his headphone so they can both listen. They look at each other while hearing the moans and they kiss]

[Cut to the hotel room across the street]

TINA: What would your father think about that?

OWEN: You're his wife. Ask him yourself.

MICK: Haggans' wife is having an affair with his son. Her step son.

TINA: Like that wouldn't be the final nail in our coffin.

[Cut to Mick and Morgan]

MORGAN: That's kinky. And a pretty good motive for murder.

MICK: Yeah.


[Beth is scanning the photo of Mick she found at Morgan's. Mick and Morgan walk in]

MICK: Hey.

BETH: Hey.


BETH: How's the case going?

MORGAN: There's nothing like spending the afternoon cuddled up in a hotel room watching family members have sex.

BETH: Huh?

MICK: There not even actually related. Biologically speaking-

MORGAN: -It was like pay-per-view, but more hair. Do you wanna see the photos? They are so hot.

MICK: You know what I think. No. They're confidential.

MORGAN: You're not blushing right now, but I think you're actually embarrassed. That's so cute. You're so old fashioned.

MICK: No, I'm not.

MORGAN: You weren't so shy when it was happening.

BETH: Well, I'm so glad you guys are working so well together. Seems like you made quite the team.

MORGAN: I was thinking maybe we could make this a permanent arrangement.

MICK: I tend to work alone.

MORGAN: I mean there's got to be something for Beth to do, right? We could make it a threesome or something?

BETH: I would love that, but I've got my own investigation going on. Research on this new story. You know Maureen. Relentless. But ehm, you two have fun.

MICK: Hey, listen. Beth? Morgan and I are gonna be here for a couple of hours. So, maybe eh, I'll see you when you get back.

BETH: Maybe. I'll call you when I'm wrapping up. [She leaves and Mick walks over to Morgan]

MICK: Hey. About what happened at the hotel.

MORGAN: Which part?

MICK: The kiss.

MORGAN: It was nice, huh?

MICK: Well, sure. But...

MORGAN: Don't be all weird. It doesn't mean anything.


MORGAN: Unless you want it to?

MICK: No. Of course not. I mean...

MORGAN: Oh, I get it. You don't want me to tell Beth. You've got it bad for her, don't you? Which I gotta say, I don't think she is your type.

MICK: Really? And what do you think my type is?

MORGAN: Well, that would be me. Looking so much like the ex and all.

[Mick's phone rings]

MICK: Mick St. John.

ASSISTANT: This is Mr. Haggans' assistant. Mr. Haggans wants to know if you're ready to hand over the materials he requested.

MICK: Well, that depends. Is he ready to meet with me?

ASSITANT: Mr. Haggans will meet with you, if you have the surveillance.

MICK: Okay, you tell him one hour, the Cava restaurant. We can discuss my terms of handing over the surveillance. [Mick hangs up]

MORGAN: You meeting with Haggans?

MICK: Maybe I can find out if he suspects his son as the one involved with Tina.

MORGAN: And what about the surveillance files?

MICK: I'm taking everything back to my office on the way to the restaurant. I'm not giving Haggans anything until I know what he's up to. Let me have your memory card.

[Beth walks in as Josef and a few other people are working]

JOSEF: Well. This is unexpected. [to worker] Sell that. [He walks over to Beth]

BETH: I need to talk to you about Mick. I know you're his friend.

JOSEF: Is he in trouble?

BETH: I don't know. I think so. It's his ex-wife, Coraline.

[Josef snaps his fingers and everybody leaves, leaving him and Beth alone]

JOSEF: Coraline died a long time ago.

BETH: I don't think she did. I think she survived and became human and is masquerading as Morgan Vincent.

JOSEF: Look, I don't know what Mick has told you about me.

BETH: Not much. But I know you're a... vampire. And I know he trusts you.

JOSEF: What do you want?

BETH: The truth. [She hands him the photograph of Mick from 1952]

[Mick is waiting for Haggans]

WAITER: I'm sorry sir, but you can't just keep sitting here, without ordering something.

MICK: I'm waiting for someone.

WAITER: Have a sandwich while you wait.

MICK: No, thank you.

WAITER: Something off the desert menu?

MICK: I'm not hungry.

WAITER: Then why do you keep meeting people at restaurants? Fine. But at this point maybe you should consider you're date's not showing. [the waiter leaves]

[The place is trashed. There are papers and folders everywhere. Mick walks in and calls Morgan at BuzzWire]

MORGAN: How'd it go with Haggans?

MICK: He never showed. He never intended to. It was a ruse to get me out of my office so he could steal the surveillance.

MORGAN: Well, let's go to his office and confront him then?

MICK: No. I have to get to Haggans' son. Haggans now knows about his relationship with Tina.

MORGAN: Alright. I'm gonna look up his address for you right now. Let's see. Okay. Alright, here we go: Owen Haggans, 22 Wedgewood Lane, Bel Air.

MICK: I'm on my way.

MORGAN: Be careful.

MICK: Yeah, yeah.

[Cut to Morgan at BuzzWire who just got off the phone with Mick. Maureen walks up to her]

MAUREEN: I thought you were a photographer?

MORGAN: Yeah, I am. You can still think that.

MAUREEN: Then why do one of my sound guys give me this jump drive to give to you?

MORGAN: Because I asked him to clean up some audio for me. That's why.

MAUREEN: Hmm. What story is this for?

MORGAN: It's eh, it's still in the concept stages, but I think you're really gonna love it. [Maureen leaves]

[Josef and Beth are sitting down at a table, talking]

JOSEF: I met Morgan. And sure, she looks like Coraline. A lot like Coraline, but it's not her. Morgan is not a vampire.

BETH: What if Coraline found a way to become human again?

JOSEF: First Mick, now you. There is no cure for vampirism. There's no magic pill, no 'click your ruby slippers together and rejoin the mortal coil'. Becoming a vampire is a one way street.

BETH: There has to be a way. I think Mick-

JOSEF: -When it comes to Coraline, Mick doesn't think with his big head. You have to understand, Mick and Coraline's relationship was one of those terrifying, completely self-destructive freak shows that you spend your whole life searching for knowing it can only end in one or both of you dead.

BETH: That's your idea if love?

JOSEF: Well, what can I tell you? I'm a romantic. [He looks at the photograph] This was Coraline's house in Hollywood where they first met. It was quite the scene back then. She could really throw a party.

BETH: So, you knew her?

JOSEF: Met her for the first time in New York. Lincoln was president.

BETH: Mick said she was a courtesan.

JOSEF: Yeah? Coraline was a lot of things to a lot of people. Most of them men.

BETH: But Mick was different?

JOSEF: She wanted him. And got him. Then really worked him over. Eventually, the crazy got to be too much and Mick wanted out. Now, he'd break it off, but Coraline was like a bad drug habit and he kept going back to her.

BETH: Until she took me?

JOSEF: Mick couldn't stand the thought of a child dying because of him. It was too much. It gave him the strength to break away once and for all.

BETH: I remember the fire. I watched her burn. I haven't been able to ask Mick this. I know he feels guilty enough as it is, but why did Coraline choose me?

JOSEF: Maybe she thought she could put a little family together and settle down. You know, like the woman that gets pregnant to save a bad marriage. Either you specifically or you were probably at the wrong place at the wrong time.

BETH: But it didn't work. She didn't get him back.

JOSEF: I think you know Mick better than that.

BETH: And you knew Coraline for a long time. So, if she is back, what does she want?

JOSEF: If Coraline is back, and that's a big 'if', then she's back for Mick.

[Beth is looking around and breaks in]

BETH'S VOICE OVER: I made up my mind to see Coraline's party house for myself. It's one thing to wanna know the truth. It's another to confront it head on. My mind has spent so long trying to protect me, shielding me from what happened. It was the only way that I could feel save. Even now, something inside is screaming: Stop! But I can't and I'm beginning to wonder if I'll ever feel save again.

[Beth finds recent photos of her and Mick on Coraline's desk]

[Mick is knocking on the door and Owen opens]

OWEN: Yeah?

MICK: My name is Mick St. John. I'm a private investigator, hired by your father.

OWEN: Come on in.

MICK: Thanks.

[Morgan is listening to the cleaned up audio. She hears Owen on the tape saying that he and Tina are planning to kill Owen's father]

[He and Mick are talking]

OWEN: So, eh, why would my father hire a private investigator?

MICK: To follow Tina. He suspected that she was having an affair, but he didn't know with whom.

[Mick looks over to Owen's desk and sees his surveillance photos]

MICK: It was you? You broke into my office.

[Tina shoots Mick from behind and a big puddle of blood forms on the floor]

OWEN: We can't take the chance that anyone else knows. We'll never get to my father if he suspects.

TINA: So, we kill him tonight.

[Cut to the house a little while later. The blood has been cleaned, but there is a visible stain. Morgan approaches and knocks on the door]

MORGAN: Mick? Mick? [she tries to call him] Come on, pick up, Mick.

[She hears a cell phone go off below the house. She follows the sound and moves some leaves away when Mick submerges from it, scaring her]

MORGAN: Mick? Here. [she helps him up] Oh, my God.

MICK: They must have hit me from behind.

MORGAN: Oh, my God. Here. [she hands him her scarf, to cover the wound in his neck and helps him walk by letting him lean on her]

MICK: Thank you.

MORGAN: Alright, let's get you to a hospital.

MICK: No. No, I'm fine. It's just a scalp laceration. They're always worse than they look.


MICK: Eh, look.. look worse than they are. That's what I meant.

MORGAN: Haggans wasn't the one planning the murder.

MICK: I know that. Haggans is the intended victim. They're going after Haggans now. We have to get to him first.

[Beth is going into the basement and discovers the room she was kept in by Coraline]

BETH: Oh, my God.

[Beth is a young child as scurries away as Coraline comes down the stairs. She is crying]

CORALINE: Honey? It's okay. You have to go to bed now, okay?

[She picks a struggling Beth up and puts her in bed]

CORALINE: You need to get some sleep tonight. You know why? Because tomorrow is a big day. You're gonna meet your new daddy tomorrow. I'm gonna take you to meet your new daddy.

BETH'S VOICE OVER: This is where she kept me. Alone. Locked in this room. Waiting for her to bring me to meet Mick. To lure him back. To make as a family in her deranged mind.

[Beth breaks off a piece of a chair and now has a wooden stake and runs out of the house]

[Mr. Haggans' assistant is working late. Mick and Morgan walk up to him]

MICK: Hey!

ASSISTANT: Mr. Haggans isn't here.

MICK: Where is he?

ASSISTANT: Gone for the day.

MICK: Where'd he go?

ASSISTANT: I'm not at liberty to sa-

[Mick picks him up and keeps him dangling off the floor]

MICK: Tell me where Haggans is or you better hope this job has a good dental plan.

ASSISTANT: He just left two minutes ago. With his son.

[Mick throws him down and runs out of the office]

[Mick and Morgan leave the office for the elevators]

MICK: You take the elevator.

[Mick jumps down the stairs]

[Haggans and Owen are walking out of the building]

OWEN: You just wait in the car for us.

MR. HAGGANS: So, you're not gonna tell me what the plan is? Where we're going?

OWEN: Oh, come on, dad. That will ruin the surprise.

[Mick walks up to them out of nowhere]

MICK: Surprise.

MR. HAGGANS: Mr. St. John!

[Mick hits Owen]

MR. HAGGANS: Hey! What the hell are you- He's my son!

MICK: Yeah, he's your son. He's also your wife's lover. These two has been conspiring to kill you!

MR. HAGGANS: That's impossible.

[Tina is driving her car at high speed towards Mick and Haggans. Mick pushes him out of the way and Tina swerves]

MICK: Call the police. Now! Now!

[Morgan has walked outside and is now right in the line of the car]

MICK: Morgan!!

[Mick runs towards Morgan and he leaps her off into the air. Tina crashes the car, but she is okay. Mick and Morgan fall to the ground. Morgan on top of Mick]

MORGAN: Holy crap. What was that?

MICK: And they said Jordan had air.

[Mick and Morgan are being interviewed by the police as Tina and Owen are driven off in police cars]

OFFICER: So, the son and the step mom have an affair and conspire to kill the husband/father?

MICK: They probably figured with him out of the way, they could have both the company and each other.

OFFICER: Remind me to have kids.

MICK: Listen, Haggans' assistant, a guy named Tucker, lured me out of my office for Owen. He had to have been working for them.

OFFICER: I'll send a car. You do have evidence to back all this up?

MICK: Audio and visual.

OFFICER: [to Morgan] I'm gonna need those photographs. [she is lost in thought]

MICK: Morgan?

MORGAN: Sorry. Sorry, I'm just still a little freaked out. [she turns to Mick] I've never been almost killed.

MICK: You got everything you need?

OFFICER: Yeah. Go and get cleaned up. Bring everything down to the station tomorrow.

MICK: Come one, let's get out of here.

[He just took a shower and now Morgan is in the shower. He walks in and looks at her through the glass. She sees him staring at her through the door]

MORGAN: Do you want something, Mick?

[Mick opens the door and he kisses her. He sees the fleur de lis on her shoulder]

MICK: Coraline! Coraline.

CORALINE: Are you really surprised? Huh? How many clues did I have to give you? A Proust book. An old song. I even ordered my favourite glass of wine. You really thought you'd killed me, didn't you?

MICK: How have you done this? [they both laugh] Huh? How've you done it?

CORALINE: Become human?

MICK: Yeah.

CORALINE: I thought it would get your attention. You seem to like the human girls.

MICK: You're telling me there's a way back? You're telling me there's a cure?

[There's a knock on the front door]

MICK: Is that what you're telling me?

[Beth is calling from downstairs. Mick hesitates but goes to open the door]

BETH: Mick! Mick!

[Mick opens the door]

BETH: I got the proof. She's been lying to us. Stalking us. Morgan is Coraline.

MICK: I know she is.

BETH: You know?

[Coraline comes down the stairs, dressed in one of Mick's shirts]


BETH: How could you?

MICK: This isn't what you think.

[Beth takes the stake and stakes Coraline]

MICK: No! No! What are you doing? [He pushes Beth out of the way and holds Coraline in his arms] Oh my God. Try not to move. [he turns to Beth] What have you done? [he turns back to Coraline] Listen to me, Coraline. Try not to move. [he turns to Beth] We have to get her to a hospital.

BETH: Stakes don't kill vampires. They just paralyze them.

MICK: She's not a vampire.

BETH: She is Coraline. You just said so yourself.

MICK: She's Coraline, but she's not a vampire! Not anymore. She's human. There's a cure. She has a cure.




Moonlight SeasonⅠ

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