Differences from the finished episode so far:
1. The place where the grave robbers were digging around isn't a cemetery, but what is simply described as a "medieval ruin," with "Stonehenge-type standing stones." This may be why the script refers to them as "relic robbers" instead of grave robbers, since they're explicitly there digging for artifacts, not robbing the dead. The final episode's use of a cemetery, making them actual grave robbers, is far more ghoulish.
2. Jack is named Mac. The name change was likely done to avoid confusion with Mac Mange.
3. Tom is described as missing part of one ear and wearing an eyepatch.
4. Both of them use shovels, instead of Tom using a pickaxe.
5. There's extra dialogue as Jack--I mean Mac complains (extra bits underlined): "Digging here could send us to the slammer. Besides
, this old boneyard is supposed to be cursed."
6. More extra dialogue: Mac asks "Whaddaya think it is?", referring to the chest, with Tom insisting, "Our ticket to easy street!"
7. Instead of a blindingly bright light, noxious green gas pours out of the chest when Tom pries it open.
8. The Pastmaster has a stopwatch instead of a pocketwatch, and is found holding it in one hand instead of clutching it to his chest.
9. Tom's line "This old watch has gotta be worth plenty of--" is missing the word "of," as he's cut off by the Pastmaster awaken slightly sooner than in the finished episode.
10. The script describes the Pastmasters "eyes
" opening, suggesting he isn't missing one of them.
11. More extra/different dialogue (underlined): "I am the Pastmaster imprisoned in there by those fools on the Council of Elders
12. More extra dialogue: Mac asks "Council of Elders? W-What's he talkin' about?" Tom replies, "How do I know? Guy's dressed like he's been buried since the Dark Ages!"
13. Extra dialogue as the Pastmaster runs toward the clocktower: "The Council was smart enough not to bury the Tome of Time with me."
14. Mac's line "I told you this place was cursed" occurs after the Pastmaster has run off to look for his book, not before like Jack's. He also picks up his shovel in preparation for leaving, something Jack doesn't do until Tom suggests capturing the Pastmaster.
15. Tom's line, "We're gonna sell that old gnome to the museum, watch and all!" is slightly different: "We're gonna sell the museum that old gnome... watch and all!"
16. The Pastmaster says "Curse that
Council!" instead of "Curse the
Council!" (differences underlined)
17. Mac and Tom scream as the zombie kats attack, something the grave robbers weirdly don't do in the finished episode. They just sort of gasp and grunt, with the ensuing "fight" against the zombies being bizarrely silent except for the undead kats' moaning.
18. The Pastmaster hides behind a wall instead of a tree when the Enforcers show up.
19. When the Enforcers shoot and (re?) kill the zombies, the Pastmaster looks at his (stop)watch and comments sadly: "Alas, reanimating old bones is the only power you possess... for now. But that will all change when I find the Tome of Time."
20. Minor change: the first pilot (named King according to the script for Destructive Nature
) says "But
Headquarters wants us to take it over to the Museum of History," and the chopper is already airborne again when he says this.
21. The chopper is described as having runners (landing skids) instead of wheels. This is unusual, as this was the third script written. You'd think by now Glenn Leopold would know that the Enforcer chopper design was finalized, unless this script (and the two preceding it) were written before the main models had been completed.
22. Instead of dissolving to the spinning centrifuge, we dissolve to an extreme closeup of Razor's face as he strains against the G-forces. Sorry, I mean Jake. Weirdly, Leopold refers to them as Chance and Jake during this sequence, not T-Bone and Razor, even though no mention is made of them being maskless.
23. The SWAT Kats are described as not wearing their flight helmets, when they plainly do in the finished episode.
24. The centrifuge is said to (somehow) be in the main part of the hangar, as opposed to in what appears to be its own little room in the finished episode. Though it (again, somehow) being in the main area would explain why the alarm and phone are right there on the wall, unless the SWAT Kats have those in every room of their underground base.
25. Jake says "Of course, I
didn't see it" before unstrapping himself from his seat, not after.
26. No holding up of two fingers as Chance says "Two outta three!"
27. Callie's car is described as being parked in front of the museum in the exterior establishing shot, when it isn't there (and AFAIK doesn't appear at all) in the finished episode.
28. More of the room where the chest is is described; we see half-finished exhibits and banners in preparation for the upcoming "History of Megakat City" exhibit, as opposed to just cutting straight to Callie and Dr. Sinian talking. Sinian's office door identifying her as the curator is also described. It's visible in the finished episode when the Pastmaster is ransacking the room, but his body mostly blocks it from view.
29. When Callie says "Thanks Dr. Sinian," Sinian insists "Call me Abby," suggesting more familiarity between the two than in the finished episode. In fact, from here on out, Sinian is referred to in the script as Abby.
30. More extra dialogue: Abby asks "The Mayor will be coming to the opening, won't he Miss Briggs?" Callie responds by saying "Callie," insisting the curator call her by her first name just as she had done. These cut bits might explain why they're on a first-name basis in The Ghost Pilot
31. More extra dialogue, as Callie confirms Manx will be there: "Yes, you can count on Mayor Manx. He never misses a good photo opportunity."
32. Callie is also described as putting her notebook into her purse, when it just sort of disappears from existence in the finished episode.
33. What the Pastmaster is doing when we cut to him is different. Instead of hiding behind a column, he's looking into glass-walled exhibits of famous "evil legends." These exhibits are in the finished episode but do not appear to be separated from visitors by glass barriers.
34. Whereas he just walks past his exhibit in the episode, here, the Pastmaster is actually very interested in it and what it means for him personally. He marvels that "So now I'm a legend, eh? But a living one." There's also a mannequin of his younger self in the exhibit, something absent from the finished episode AFAIK (we don't see too much of the exhibit from what I can remember).
35. More extra dialogue: after saying he prefers his past alive, the Pastmaster clarifies, "And it will
be, when I find my book."
36. Minor difference: the guard doesn't start his second line with "the." He says "Museum is closed" instead of "The
museum is closed." Without the "the," it sounds like cave-speak.
37. Instead of being a stuffed animal, the sabertoothed tiger is described as a tar-drenched skeleton, explaining its official name of "Sabertoothed Tiger Zombie" despite the character design change. Its description here in the script is far more ghoulish than it is in the final episode.
38. The dinosaur skeleton doesn't immediately collapse on the guard. It "creaks ominously" when he bumps against it. Only when he looks up at it does it collapse, with the falling bones seen from his P.O.V. in a shot not used in the episode.
39. Callie and Abby react to the sound of the bones hitting the floor, as opposed to the guard's scream as they appear to do in the episode.
40. Callie leaves her purse behind in the room as she and Abby run out. Yes, she clearly does this in the finished episode as this is where the Pastmaster finds it, but the script suggests her leaving it is something that should've been explicitly called attention to.
41. The guard is described as being trapped under the bone pile, but Leopold doesn't confirm if he's alive, and, if he is, whether he's unconscious or not.
42. An entire chase scene not present in the finished episode occurs here. Instead of cutting to the Pastmaster ransacking the back room and eating Callie's lipstick, we see the sabertoothed tiger chasing the two she-kats through the museum. Finally explaining that one unused background of a "cave kat" and "modern kat," we see Abby take Callie into this exhibit, where they hide behind the mannequins from the pursuing tiger. The tiger loses them. The Pastmaster walks past the exhibit, and Abby recognizes him, explaining why she is so certain "It must've been the Pastmaster" who is behind everything later on. Without her and Callie seeing him here, Abby's claim of the Pastmaster's involvement seems like a big leap.
43. To avoid being seen by the Pastmaster, Callie and Abby freeze so he'll think they're mannequins. It works. That or he knows they're real, doesn't care, and just ignores them.
44. After the Pastmaster departs, the sabertoothed tiger reappears and leaps through the exhibit's glass window. Callie and Abby are able to escape because the first things he attacks are the (actual) mannequins. They run through a door, closing it behind them, but the sabertooth tears it off its hinges and resumes his pursuit, and then
we cut to the Pastmaster smashing stuff in the back room yelling about his book.
45. In addition to knocking stuff off of tables, the Pastmaster's tantrum at being unable to locate the Tome of Time also involves tearing up a prepared "History of Megakat City" banner. There's also some more different dialogue here: instead of "Where is my
book?" he says "Where is that
book?", with emphasis on the "is."
46. Interesting detail: the communicator is referred to as a transmitter, and Callie's ID card is explicitly described as being official deputy mayor identification badge. Presumably, at official functions it might be worn on a lanyard or clipped to her lapel.
47. The SWAT Kat alarm is described differently, as more of an "Aooga!" type alarm ("a submarine-type horn"). I'm glad they went with the alarm sound they did in the finished episode(s).
48. What is obviously a phone is described here as a "communication device." Leopold apparently had a much different idea in mind for what the SWAT Kats' end of communications with Callie would look like.
49. I was hoping the deleted chase sequence would explain why the sabertooth enters the room and eats the communicator. I.e., that after briefly losing Callie and Abby, he'd wander in here. But since he's already found them again and is chasing them, he still inexplicably abandons his pursuit for the apparent sole purpose of going into a room he doesn't need to be in, just to eat the talking blinky thing.
50. Chance throws milk into Jake to wake him up instead of water. At least, I think it's water in the finished episode. Also, it's in a cup, not a big bucket.
51. Instead of cutting to the SWAT Kats running (with butts up!
) to the Turbokat, Chance unstraps a still groggy Jake and fireman-carries him over his shoulder.
52. Still carrying Jake, Chance goes to their lockers and gets their "SWAT Kat flight jackets." This despite the fact Leopold already described them in their flight suits. Either this is more evidence of the script having been written before final designs were completed, and T-Bone and Razor were supposed to wear World War II-esque bomber pilot jackets, or Leopold means the strappy G-resistance gear they wear over their jumpsuits.
53. More extra dialogue: "It's SWAT Kat time!"
54. There is not shot of the SWAT Kats running and jumping into the Turbokat (butts up or otherwise) and a lengthy sequence of the jet being lowered into the tunnel and taking off. Instead, it just cuts to the secret entrance at the opposite end of the tunnel in the salvage yard opening, and the jet flying out. The door(s) are also described as being covered in scrap, which seems like it'd be a huge hazard; imagine if, as they opened, said scrap fell into the tunnel and hit the onrushing Turbokat.
55. Leopold now starts calling them T-Bone and Razor, apparently only considering them the SWAT Kats when they have their helmets on. Weird.
56. Razor is "still licking milk" off of himself, presumably in a very feline manner.
57. Instead of saying "Roger!" in response to whether he's homed in on Callie's signal, Razor says "Bingo!" Still no indicating of how they're tracking the signal if its source, the communicator, got destroyed.
58. We finally find out why in the world Callie and Abby go to the roof despite the "We can get out through the garage!" line. Since Leopold effectively recycles what's about to happen later on in Succubus!
, I theorized when recapping that script that the she-kats had, in fact, tried for the garage, only to be forced to go to the roof instead. And I was right. But instead of the stairs, the two try to take the elevator. More evidence that the museum must have an underground parking garage (but then why is Callie's car parked out front in this version, Glenn?!).
59. Although they successfully get inside the elevator, the sabertoothed tiger starts bashing the doors in, using his huge fangs like pry bars to try and forced the closed doors open. We see Callie in action-girl mode here, as it is she who figures out a way to save herself and the curator. She suggests they climb out of the elevator car through the emergency roof hatch, and then they climb up the elevator cables.
60. Somehow, this takes them back into the hallway they were just in before getting on the elevator (how?), and they hop down just as the sabertooth, not realizing his prey has basically outflanked him, finishes busting through the elevator doors to find the lift empty.
61. Callie and Abby only now make their play for the roof ("Guess that leaves the roof!" says Abby), taking a stairwell, with the sabertooth, realizing he's been duped, following them angrily.
The rest of Act I plays out as it does in the finished episode. I'll tackle Act II later.
I wanna clarify that these differences don't necessarily mean much. When I got my Bucky O'Hare
DVD, it included the episode scripts as extras, and even though they were all final drafts, they were, in many places, markedly different from the completed episodes. Final drafts or not, sometimes things just get changed, often drastically, from script to screen, for a variety of reasons.