Return-Path: Date: Fri, 12 Jun 1998 01:47:22 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 01/08 To: FKFIC-L@lists.psu.edu usual disclaimers. permission to archive to mel moser, thanks mel. comments to the author at vampwrtr@innocent.com this story, while not sexually graphic in content, is adult in theme, and should therefore be considered as not suitable for children. reader discretion is advised. anyone who needs a laugh after reading this, give this url a try: http://members.aol.com/vampwrtr/forever_lacroix/ FOREVER KNIGHT "Black and White" ACT ONE FADE IN: INT. OFFICE NIGHT DANIELLE HART, late 20's, pretty, dressed in a business suit, and a dead ringer for Fleur {where is CR when you need her?}, is shuffling papers in an executive's office. By the framed marketing art on the walls, we can assume that this is the office of an advertising executive. MR. JAMES RAND, 40's, nice suit, is straightening his tie and putting on his jacket. Hart obviously admires him. HART Congratulations on winning the Spring account, Mr. Rand. RAND It was a major coup, since that account is worth millions, and Sandoval's firm has had it for years. HART Well, it went to the better firm, if you ask me, with the more talented advertising people... RAND (smiles) Thanks, Danielle. I'm calling it an evening. Don't work too late. HART I won't, Mr. Rand. RAND Good night, then. HART Good night, sir. Rand exits. Danielle goes about her business, straightening things up and filing papers. She lights a cigarette, holding it in her right hand, so she can use her pen in her left. The phone RINGS. Danielle answers it. HART Rand, McNally and Webster, this is Danielle, may I help you? INTERCUT: INT. OFFICE NIGHT MR. RICHARD SANDOVAL, late 50's, expensive suit, in an office quite similar to that of Rand's; another advertising exec. SANDOVAL This is Mr. Sandoval, I'd like to speak with Mr. Rand please. INTERCUT: HART I'm sorry Mr. Sandoval, but you just missed him. INTERCUT: SANDOVAL (beat, damn) Mmm....I needed to check to see what time our meeting tomorrow morning is... INTERCUT: Hart looks around and sees Rand's briefcase on his desk. HART Just a moment, Mr. Sandoval, I think his calendar is here, I'll check. Hart sets the receiver down and opens the briefcase. She shuffles some papers, and pulls out the appointment book, opens it to a page and picks up the phone. HART (CONT) Mr. Sandoval, he has you written in at nine o'clock tomorrow morning. INTERCUT: SANDOVAL Very well, Ms. Hart, thank you for checking. Good night. INTERCUT: HART Good night. Hart hangs up the phone and starts to put the appointment book back, when she notices a bank statement from the Cayman Islands sticking out of a folder marked: Sandoval. It is a transfer statement in the sum of $500,000 dollars from one account to an account number that she recognizes as Rand's. Looking around nervously, Hart opens the folder to put the statement back, and we CLOSE on a police record with a picture of what can only be a younger Sandoval. From Hart's POV; we read that Sandoval was arrested for Manslaughter. It doesn't take a rocket scientist to figure out that Rand is blackmailing Sandoval, who is none other than the Rand firm's biggest competitor. ANGLE Hart; confusion. Rand wouldn't, he couldn't....but here it is in black and white. A split second decision: Hart takes the file folder and we FOLLOW her into an adjacent office that has a xerox machine and inner office mail cubbies in it. She quickly makes copies of everything in the folder. Grabbing a manila envelope she stuffs it with the xeroxes she made. We hear a KEY in a lock; someone's coming. Hastily, she addresses the envelope to Rick Slater, and shoves it in one of the inner office mail boxes. We FOLLOW her back into Rand's office, where she returns the Sandoval folder to Rand's briefcase. Hart is just closing his briefcase, when Rand enters. He stops short and they hold a look. She smiles, trying to cover. He just stares at her. HART Mr. Rand....I thought you left already... RAND (re; briefcase) So I see. HART Sorry, but Mr. Sandoval called, and he needed to know what time your meeting tomorrow was, so I checked your appointment book. I hope you don't mind. RAND (covering) No, no, of course not. Thanks for taking care of it. (beat) I actually came back when I realized I left my briefcase here. Hart is a little nervous, and decides to take her leave. HART Well, I was just leaving, so I'll see you tomorrow. RAND (suspicious) Okay, see you tomorrow. Hart exits. Rand walks over to his briefcase and opens it up, inspecting it. He picks up his appointment book and sees the Sandoval folder under it. The nickel drops; she must have seen it, that's why she was acting so nervous. He heaves a sigh as he picks up the phone and dials a number. RAND (CONT) We have a problem. My secretary, Danielle Hart...I think she's seen the file on Sandoval. (beat) I'm rather sure, yes. (long beat) That's your end. Take care of her. Make it look like a suicide. I'll take care of things on my end. He hangs up the phone. He takes his jacket off, rolls up his sleeves and loosens his tie. Then he picks up a picture frame, and smashes the glass on the corner of his desk, tossing the frame to the floor. He tosses several other items in the room, smashing some, and allowing others to just fall to the floor. He picks up a glass shard, and wincing, uses it to cut his own hand. Looking around, satisfied with the new decor, Rand picks up the phone again and dials. DISPATCHER (O.C.) 65th Precinct, may I help you? RAND Yes you may. This is Mr. Rand of Rand, McNally and Webster... I'm afraid that I have to report a rather unfortunate incident involving my secretary. Off Rand, we, CUT TO: INT. HART'S APARTMENT NIGHT Danielle Hart is in her nightgown, preparing for bed. We hear the BUZZER to her front door. She looks at a clock: 10:30. She frowns but goes to the door. She looks through the peep hole, obviously recognizes the person, and opens the door. We are from the POV of the caller as the door opens. HART What are you doing here? How did you get my home address? A large person enters her apartment and overpowers her. We don't see a face, just clothes. Black clothes. Her mouth is covered by a black gloved hand. Off the terrified eyes of Danielle Hart, we, SMASH CUT TO: MAIN TITLES INT. HART'S APARTMENT NIGHT CLOSE on DETECTIVE NICHOLAS KNIGHT, his face slightly grimaces at the sight before him. This must be an extremely gruesome murder scene for Nick to flinch. REVERSE ANGLE to Nick's POV; a fairly elaborate shrine to the Virgin Mary, complete with a Bible, cross and other religious objects. DETECTIVE JEFFREY PLATT comes up behind him. PLATT Hey Nick... Knight practically jumps out of his skin. PLATT (CONT) Instead of paying homage, how about inspecting the crime scene? Nick frowns and follows Jeffrey. We FOLLOW them into the bedroom of Hart's flat. ANGLE Nick, as he sees Hart; she looks like his sister to him.... On Nick, we, CUT TO FLASHBACK: EXT. GARDEN 13TH CENTURY NIGHT Claire and LaCroix share a kiss..... CUT BACK TO: INT. HART'S BEDROOM CONTINUOUS Nick closes his eyes momentarily. Then, putting his best professional face on, he surveys the scene. Nick's POV: The room is well ordered and neat. The only thing out of place, is Danielle Hart's dead body lying on the bed. Next to her on the covers, to her left, is an empty bottle, presumably some type of sleeping pills. On the nightstand to her left, is the glass of water that she must have used to slosh down the pills. Suicide. Neat. He spots a picture on the nightstand; it is of Hart smiling, holding a bouquet of white roses. Nick looks around, no one is paying any attention. He puts the picture into his pocket. DR. NATALIE LAMBERT comes into frame, removing a pair of gloves, and her voice practically makes him jump. NATALIE (sotto to Nick) You look a little pale. Don't tell me this is too gruesome for your ....tastes. KNIGHT (glaring, covering) Actually, it was the shrine in the living room that did it. NATALIE Ah, the home for wayward vestal virgins. KNIGHT Anything out of place here? NATALIE Not as far as I can tell. Straight forward, looks like a suicide. No note though. KNIGHT When? NATALIE I'd say about three hours ago, maybe less. PLATT Three hours....pills. Suicide, no noisy weapons involved... How did we find out about it so quickly? REESE (O.C.) Easy. They all turn toward the doorway and the sound of the voice. CAPTAIN JOE REESE is standing there. REESE (CONT) Her boss, James Rand-- PLATT --Of Rand, McNally and Webster? REESE That's the one-- NATALIE --Aren't they the ad firm who did all of those hilarious ads for the oatmeal cereal? REESE Yeah-- KNIGHT --Isn't that the ad with the Scottish guy-- PLATT --I don't think that guy's really Scottish-- KNIGHT (nb impression) --It's no' oatmeal! All laugh save Reese, who is tired of being interrupted. REESE If you children are finished now, we do have a dead woman lying in the room with us... PLATT, NATALIE, KNIGHT (muttering) Sorry.... REESE Apparently, Ms. Hart went a little off the deep end tonight, and attacked her boss, Mr. James Rand. Her body was discovered by a couple of the guys from the assault squad, when they came here to question her regarding the attack on Rand. PLATT So we were called in because.... REESE Because it's standard procedure, Jeffrey. PLATT It just seems so straight forward, this suicide. KNIGHT (sotto to Platt) Yes, but, Jeffrey, you know that things-- KNIGHT & PLATT --are not always what they seem-- PLATT --Yeah, yeah, I know. REESE All right already, if the Felix and Oscar hour is over, can you two get to work asking some questions of the neighbours? Off Knight and Platt looking properly chastised, we, CUT TO: end part 01 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ Date: Fri, 12 Jun 1998 01:47:16 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 02/08 To: FKFIC-L@LISTS.PSU.EDU EXT. RAVEN NIGHT Establishing shot of Raven at night. CUT TO: INT. RAVEN/LC's OFFICE NIGHT LUCIEN LACROIX is at his desk, a stack of mail is before him. He is opening the bills and setting them aside; looking rather bored with the entire affair. In between the bills, is a postcard, which falls out. He frowns, picks it up and we CLOSE on the postcard; it is of the skyline of Manhattan. He flips it over and we read with him: "Mon pere, je suis bien. New York est toujours joli; mais elle est ne Paris. Tu me manques. Je t'aime - Janette." There is no return address on the card. ANGLE LaCroix; his eyes betray a slight sadness, but his mouth curves up into a slight smile. It is a bittersweet reminder. He slips the card into his inside jacket pocket. He returns to his bills momentarily, but then he frowns. We CLOSE on LaCroix, as the reality of a sensation hits him. He quickly gets up and heads out. We FOLLOW him into the main part of the club, where a situation has arisen. MAURICE is at the bar, and he is having words with a mortal. It looks close to blows. LaCroix glances around; too many mortals to handle this the vampiric way. LaCroix walks over to the man, grabs his shoulder from behind and spins him around. REVEAL a very drunken James Rand, standing with a friend, who is dressed in all black. RAND Who the hell are you? LACROIX (smiling smoothly) Someone with whom you do not wish to quarrel. RAND Right. Rand tries to turn back around, but LaCroix has him in a solid grip. The friend makes a move, only to find that Maurice has ahold of him from the back. Rand glares, LaCroix smiles the smile of a shark about to feed... RAND (CONT) Let go of me. LACROIX (to Maurice) Problem Maurice? MAURICE Tried to cut him off, boss, for the obvious reason. He wouldn't hear of it. LACROIX I see. And what a naughty boy you are, Mr.... RAND Rand. LaCroix hustles Rand into a darkened corner. We hear a HEARTBEAT. LACROIX (whammying) It is time to go home, Mr. Rand. You will go home, and you will not come back to this club. Ever. RAND I will not come back... LACROIX (smiling) Good. (beat) Now get out. Rand, clearly in a state of whammy, exits. LaCroix watches him go, with the odd friend in tow. LaCroix heads over to the bar, and Maurice hands him a glass of 'wine'. MAURICE (sotto) Thanks....too many mortals at the bar, or I would have done it myself. LACROIX Does he come here often? MAURICE He's been here before, with that fellow in black. They're both in advertising... LACROIX He is quite fortunate that he was not dinner... Off the two of them enjoying a good laugh, we, CUT TO: INT. MORGUE NIGHT Nat is at her desk, when Nick and Jeffrey enter. KNIGHT Have any news for us? NATALIE You mean regarding Danielle Hart? (off his nod) Afraid not. It's exactly what it appeared to be. She died from an overdose of valium. PLATT Looks like this one is straight out there. She goes berserk, attacks her boss, goes home, takes a bunch of sleeping pills and dies. Open and shut. Nick says nothing. Nat and Platt exchange a glance; now what? NATALIE Nick? KNIGHT Sorry, I can't help but wonder... PLATT What? KNIGHT Well....by the looks of her apartment, we can assume that she was catholic. NATALIE So? PLATT So you're gonna say that a Catholic wouldn't do it, because the Church teaches that to take your own life is a mortal sin, and you'll never make it to the pearly gates. KNIGHT Exactly. PLATT Doesn't stop 'em Nick. KNIGHT Maybe not. (beat) Just for the hell of it, let's at least make sure the bottle of valium was actually hers. NATALIE Bottle had her name on it, and the tox screen confirms that it was the same drug. PLATT Does it matter? (off his look) I mean, there was no sign of force. She took the pills, Nick. If that's not suicide.... KNIGHT Nat, is there any indication of whether she was right or left handed? NATALIE I....don't know... The follow Nat over to the autopsy table. She checks both hands. And smiles at Nick. NATALIE Cigarette stains on her right hand... KNIGHT Meaning she was probably left handed. NATALIE Most likely. Most people hold things in their secondary hand, to leave their primary hand free to write or do other more important tasks. PLATT At the scene, the bottle was on the left side of her body, as though it fell out of her left hand. NATALIE Exactly, but if she were left handed.. KNIGHT The bottle would have been in her right hand, so that her left hand could twist off the cap. NATALIE Nick, sometimes you amaze me... PLATT That's my partner... KNIGHT (embarrassed) It's almost dawn, we'd better call it a night. See you Nat... Off Knight and Platt's exit, we, CUT TO: EXT. TORONTO SKYLINE DAY Stock shot establishing daytime. CUT TO: INT. RAND, MCNALLY AND WEBSTER DAY The office has the buzz of an office with a story. Several workers are around, quietly gabbing the gossip of Danielle Hart's sad end. RICK SLATER, 30's, very good looking, impeccable suit, enters the main office, carrying the manila envelope he just retrieved from the xerox room. TIM approaches him, and follows Slater through the room, during; TIM Morning Rick. SLATER Morning Tim. TIM Terrible news about Danielle. SLATER I can't believe she's gone, Tim... TIM Did you hear about her attack on Mr. Rand? SLATER Yes, on the way up in the elevator, no less, though I find it pretty hard to believe. Slater KNOCKS on the door, and then enters. Tim does not follow Slater into Rand's office, but we do, INT. RAND'S OFFICE CONTINUOUS Rand is at his desk, looking appropriately solemn and hungover. Sleezebag. RAND Rick.... SLATER Morning, Mr. Rand. I'm really sorry about Ms. Hart. RAND Yes Rick, it was a real tragedy. Awkward moment. Big elephant in room... RAND (CONT) Was there something else? SLATER (hesitant) Kind of... Rand just stares, get on with it then... Slater shows him the envelope. Too bad he doesn't know Rand's the bad guy. SLATER (CONT) I found this in my mail slot this morning. It's Danielle's writing on the front. RAND So? SLATER So the contents are pretty disturbing. ANGLE Rand; She did see the file, *and* she made copies... RAND (cool) What's in it? Pulls out xeroxes and shows them to Rand, who looks appropriately shocked. SLATER Sandoval was arrested for manslaughter about 35 years ago. RAND Geez...something like that gets out, it could ruin him... SLATER There's more. Somebody was blackmailing him. RAND Why do you say that? SLATER The bank statement from the Caymans.... RAND Have you shown this to anyone else? SLATER No. Brought it right to you. RAND I think that's best, Rick. (beat) It may have been Danielle. SLATER Blackmail, Danielle? No... RAND Listen Rick, we only thought we knew Danielle. Who would have imagined, until last night, that she would have been capable of any of the things that she did? Rand takes the packet from Slater. RAND (CONT) I'll take care of this, don't give it another thought. SLATER You'll see that the police get it? RAND Of course. It could be important. Slater starts out. RAND (CONT) And Rick? (off his look) I think it best not to mention this to anyone. After all, poor Danielle is dead, it wouldn't do to have staff speaking ill of her. SLATER I won't mention it. RAND Fine. Slater exits, closing the door. Rand smiles, as he shakes his head - it's like taking candy from a baby, more or less. He pulls his wastebasket over to his desk, dumps the entire envelope into it, and pulling a lighter out of his pocket, lights it up. As it is burning, Rand picks up the phone, and dials. RAND It's me....we have another little problem that needs your attention. Off this, we, FADE OUT: END ACT ONE end part 02 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:47:09 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 03/08 To: FKFIC-L@LISTS.PSU.EDU ACT TWO FADE IN: EXT. TORONTO SKYLINE DUSK The sun sets over the skyline of Toronto, establishing night. CUT TO: INT. PRECINCT NIGHT Nick and Jeffrey are at their desks working. Reese enters. REESE Can one of you two Hardy Boys please tell me why I still don't have a written report of the Hart case on my desk? Knight and Platt exchange a look: You tell, no you, no you....Reese is watching the silent volley, with increasingly less patience. Finally, when Reese looks like he's about to explode: PLATT We're uh, not quite sure that this was a suicide, Cap. REESE Let me get this straight. (litany) We have a dead body, we have an empty bottle of sleeping pills, we have a coroner's report confirming the cause of death, we have no signs of forced entry, we even have a motive, given her strange behaviour at her job, and you two are gonna sit there and look me in the eye and tell me you're not sure it's a suicide? I don't believe this.... KNIGHT Captain, could you just give us a couple of days? The bottle of pills was on her left side so was the water...except that she would have twisted off the cap with her left hand, because she was left-handed; and she would have poured the pills into that hand: She would have had to put the water glass in her right hand-- Reese just stares at Nick; he's babbling. Platt jumps in. PLATT --It's just an instinct, Cap, but we need a little more time to be sure here... REESE (beat) One more day, and then I need you on some other cases. PLATT Thanks, Cap... Knight and Platt exit, before Reese can change his mind. REESE (sotto to no one) Why is it I always feel like I've been maneuvered by those two? A UNIFORM is walking by, and: UNIFORM Because you have been, Captain... The uniform keeps right on walking, just in case. REESE (muttering) Everybody's a damn critic.... On Reese, we, CUT TO: EXT. TORONTO STREET/CADDY NIGHT Jeffrey and Nick are on their way to visit Mr. Rand, and guess who's on the radio... LACROIX (O.C.) Instinct and intuition, gentle listeners. How is it that sometimes we just know the truth of the matter with no dependable proof of fact? Intuition is often touted as a woman's charm, and instinct, a man's self preservation. (beat) What if they are one and the same, my children? What if women and men are not as drastically different as we are led to believe? I offer the possibility, that we are *all* creatures of instinct. (beat) The active part of existence consists of powerful instincts, some of which are gentle and continuous; others violent and short; some baser, some nobler, and all are necessary. ANGLE Nick; you talkin' to me? Platt and Knight just exchange a glance. Platt's not gonna say anything for once, he just looks out his window. Off Knight thinking, we, CUT TO: INT. RAND'S HOUSE NIGHT Rand is in his study along with Platt and Knight. RAND I've already answered these questions when the police came to my office. KNIGHT Humour us. RAND Fine. Danielle Hart worked for me for three years. In that time, she was a model employee; always on time, worked extra hours, never complained. I have no idea what caused her to snap. Maybe she was having personal problems. I don't know. PLATT She gave you no explanation for attacking you? RAND I've already told you. She came into my office, started screaming about wages and lost it. That's really all I can tell you. We hear a RING. Knight grabs his cell phone out of his pocket. KNIGHT Knight. (beat) On our way. He puts his phone away and nods to Platt. KNIGHT (CONT) We may want to speak with you again Mr. Rand, but at the moment, I'm afraid another of your employees has been attacked. RAND What? Who? KNIGHT Rick Slater. RAND Oh my God...another one dead... KNIGHT He's not dead. The attacker was not successful. ANGLE Rand; oh shit... RAND (stunned) He's not-- (covering) Thank God. ANGLE Nick; what's wrong with this picture? Nick and Platt exchange a look. PLATT We'd better go... KNIGHT Until later, Mr. Rand...we'll see ourselves out. Knight and Platt exit. On Rand looking a little worried, we, CUT TO: EXT. TORONTO STREET/CADDY NIGHT PLATT You just may be right about this, partner. Did you see his face when you said this Slater guy's not dead? KNIGHT Yes, he looked a little disappointed. Off this, we, CUT TO: INT. SLATER'S APARTMENT NIGHT Slater is sitting on the couch, a cup of cocoa in hand. The apartment is nicely furnished, if a little effeminate. Reese is standing nearby, and there are several other officers and uniforms around. Knight and Platt enter. KNIGHT Cap... REESE He was just getting ready for bed, when he was attacked. Man in black, wearing a ski mask. Must have come in through a window via the fire escape. PLATT Any words exchanged? REESE Nope. Slater fought the guy and managed to slash him with a kitchen knife. Boys from the lab have already taken a blood sample. Apparently the guy was scared off and left through the front door. KNIGHT Looks like Danielle Hart might have been murdered after all. REESE Nick, we don't know that the two cases are related. As far as I'm concerned, there is still no evidence that says Danielle Hart didn't take her own life, even with your meanderings about her being a South Paw. These two things could be unrelated. KNIGHT Come on, Cap...two attacks in as many nights on two employees of the same ad firm? REESE Rand is an owner... KNIGHT I wasn't talking about Rand... PLATT Captain, Rand had a really strange reaction to the news that Slater was attacked, but lived to tell about it. REESE Conjecture, Jeffrey? That's not like you. Been hangin' around with your partner too long, haven't you? PLATT Too many nights of listening to the Nightcrawler, no doubt. Knight approaches Slater. KNIGHT Mr. Slater, I'm Detective Knight. Can I ask you a few questions? SLATER Sure. KNIGHT How long have you worked for Rand, McNally and Webster? SLATER Two years, why? What has that got to do with this? KNIGHT Maybe nothing, maybe everything. Did you know Danielle Hart? SLATER Sure, I worked with her everyday. KNIGHT Do you think she killed herself? SLATER I find it hard to believe, but then, how well do we really know people? KNIGHT Did she seem odd to you the day she died? SLATER No....well, she did leave a really odd envelope in my mailbox at work. KNIGHT An envelope? What was in it? SLATER Some rather incriminating papers about Richard Sandoval. KNIGHT Who is Richard Sandoval? SLATER Our firm's biggest competitor. KNIGHT Why did Danielle give you the papers? SLATER I don't know. There was no note in the envelope. The only reason I know it was Danielle, is because I recognized her hand writing on the front. KNIGHT What did you do with it? SLATER I gave it to Mr. Rand. He said he'd take care of it. ANGLE Nick; I'll bet he did. KNIGHT Mr. Slater, this could be really important..did you make copies of the papers. SLATER No, I didn't think about it. (off Nick's look) It's not a problem though. I remember what was in it. KNIGHT Really? SLATER Photographic memory. Nick smiles. KNIGHT Captain....I think you'd better hear this... Off Nick, we, CUT TO: end part 03 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:47:02 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 04/08 To: FKFIC-L@LISTS.PSU.EDU INT. PRECINCT NIGHT It's really late, everyone's tired, but they have a full statement from Slater. REESE Well Nick, looks like your Miss Hart was in over her head if she was blackmailing Sandoval. KNIGHT I'll lay odds that she discovered someone else in that office was blackmailing Sandoval-- PLATT --And I'll lay a bet that our extortionist is none other than Rand. REESE We'll pick Sandoval up for questioning. Meanwhile, I want you and Platt to put Slater in protective custody. SLATER You think I need protection? REESE Mr. Slater, it's entirely possible that someone wants you dead for that photographic mind of yours. PLATT We picking up Rand as well? REESE You bet. I'll have the next shift take care of that. We can hold both of them for at least the next 24 hours. You two can question them tomorrow night. KNIGHT (to Platt) My place or yours? PLATT Flip ya for it? Off a coin tossing in the air, we, CUT TO: INT. NICK'S LOFT DAWN Nick, Platt and Slater are standing in the living room. KNIGHT Mr. Slater, you can have the bedroom, Jeffrey and I will fight over the couch, and I'll win... PLATT Aw c'mon, Nick... KNIGHT It was your idea to flip a coin, Jeffrey.... SLATER Can I use your phone? KNIGHT May I ask where you're calling? SLATER It's not a toll call... KNIGHT That's not the point, Mr. Slater. You're here because we need to protect you, if you tell people where you are, it more or less defeats the purpose. SLATER I won't...I just need to let my....significant other know I'm all right. KNIGHT Fine. Just don't tell her your location. SLATER Uh...I won't... Nick motions Jeffrey into the kitchen, so Slater can have some privacy. Slater dials the phone. SLATER (CONT) Honey..it's me.... (beat) I know, I'm sorry.. (beat) Look, I-- (beat) No, I-- Platt glances at Knight; a little trouble with the 'little woman'... SLATER (CONT) Phillip, I was attacked tonight. ANGLE Platt; what? Phillip? PHILLIP? Nick is slightly amused by Platt's expression, at least at first. PLATT (sotto to Nick) Whoa....his girl's a guy....I mean, this guy's a-- KNIGHT --Jeffrey... PLATT But Nick-- KNIGHT --Jeffrey, get over it. What's the big deal? PLATT Nothing...it's just-- KNIGHT --Yes? PLATT Well, I'm not very comfortable around ....those kinds of people. KNIGHT *Those* kinds of people? You mean non-heterosexual people, Jeffrey? PLATT Yeah, you know, fa-- KNIGHT --Thank you, Jeffrey, I've got the idea. ANGLE Nick; he's a little taken aback at his partner's reaction. Talk about believing you know somebody... SLATER I'll call you when I can. (beat) I love you too. ANGLE Platt; Eww, gross.... Slater hangs up the phone. Nick comes back into the living room, but Jeffrey's shoes seem to be nailed down to the linoleum. KNIGHT Everything all right? SLATER Yeah, fine. I'm, um, really tired... KNIGHT Sure....anything you need should be up there, help yourself. SLATER Thanks. Slater exits upstairs. Platt finally comes into the living room. KNIGHT Come on, Jeffrey, he's not going to bite you. PLATT How do you know? KNIGHT Trust me, *his* kind doesn't bite.... But *my* kind does.... PLATT Gives me the creeps... KNIGHT For such a modern guy, Jeffrey, sometimes you're unbelievably archaic... PLATT I just don't think it's natural, Nick....men with other men... On Knight, we, CUT TO FLASHBACK: INT. HOUSE 1575 SPAIN DAY This is a fairly simple dwelling and it is deserted. The front door is wildly flung open, and Nick and LaCroix stumble in, the latter quickly slamming the door along with the harmful rays of day out. Nick falls to the floor, the sun's rays having harmed him more than LaCroix. LaCroix gently helps Nick up, and the two of them collapse onto the divan, which is one of the few pieces of furniture in the room, and it is rather decrepit. ANGLE Nick; his eyes are wide with fear. KNIGHT We almost didn't make it. LACROIX But we did make it, mon fils. Nick is cradling his left arm, which is cut and burned. LACROIX (CONT) Let me see it. LaCroix gently takes it from him, inspects it, then licks away the blood that he finds there; vampiric instinct kicking in, his eyes taking on a slightly golden glow. LACROIX (CONT) (smiling) No permanent damage done, you will be fine. LaCroix strokes Nick's cheek, and gets up from the divan. Before he can walk away, Nick stands up and touches LaCroix' arm. KNIGHT Will they continue to look for us? LACROIX Most likely. You are afraid? KNIGHT (beat) A little. LACROIX You needn't be. ANGLE Nick; his eyes are still betraying his fear. LaCroix sighs a little more heavily than he perhaps intended, but he holds his arms out, and Nick falls into his father's embrace. KNIGHT The things they said, LaCroix....it isn't true. LaCroix pushes Nick away a little. LACROIX Nicholas, you can no longer judge yourself by the morals of mortals. Do you still not understand this? (beat) A vampire's.....urges....his... instincts, are not comparable to that of a human's. KNIGHT I know. LACROIX Then you know that to us, feeding is feeding. Men, women, it does not matter. We can take the same enjoyment from a man's blood that we get from a woman's....they saw you with your mouth to a man's neck, Nicholas, what did you expect them to say? KNIGHT But they said that we-- LACROIX --I heard what they said, Nicholas. They simply do not understand the link that holds us together, the power of sharing blood, nor the brotherhood that is ours in this immortal life. They see the two of us together, without a woman for companionship, and they make assumptions. They do not understand the difference between sexual attraction and blood lust. They cannot. KNIGHT (hesitant) But it isn't only blood lust for you. Fleur-- LACROIX (angry) --I was not attracted to your sister for her blood, Nicholas. I was in love with her, as a mortal man is in love with a woman. The lust of her blood came to me stronger than almost any other's, *because* I was attracted to more than just her blood. (beat, calming) When I was mortal, I was attracted to women, sexually speaking. When it comes to blood lust, a vampire makes no such distinction. He cannot, if he is to survive. Our blood is who and what we are Nicholas. If I choose to share that with those I....love, then so be it. I don't care what the mortals make of something they will never understand. KNIGHT But that doesn't make us-- LACROIX --Homosexuals in the mortal sense of the word? No, it does not, Nicholas. (beat) But let me ask you; does it really matter, this mortal idea of sexual labeling? This puritanical society cannot possibly understand a vampire's heart. I am beginning to wonder if you understand it.... Off Nick, we, CUT BACK TO: INT. NICK'S LOFT CONTINUOUS On Nick, as he comes back to the present. KNIGHT You know, Jeffrey, what seems natural to one man, or one Nation, or one species, might not seem natural to another. It's all a matter of perspective, isn't it? Off Jeffrey frowning, we, FADE OUT: END ACT TWO end part 04 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:46:55 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 05/08 To: FKFIC-L@LISTS.PSU.EDU ACT THREE FADE IN: INT. NICK'S LOFT SUNSET Nick is watching, from a slight distance, the last rays of sunlight as it disappears from his window. Platt enters. PLATT Why? Why do you get to go interrogate Rand and Sandoval, and I have to sit here and babysit the swisher? KNIGHT Jeffrey-- PLATT --No, don't you 'Jeffrey' me. I mean it.... KNIGHT I never knew you were so homophobic. (off his look) The experts say that we are repelled by that which were are attracted to-- PLATT --No, no. Don't you pin that psycho-babble on me, Knight. No sir... KNIGHT Calm down, Jeffrey. It's just for a few hours.... Maybe it will do you some good. PLATT I don't see how. KNIGHT Maybe you can find out, that Rick Slater isn't a bad guy because he's gay, Jeffrey. If you'd give him half a chance, you might find that you have things in common. PLATT Oh, right. Like he'd ever go to Hockey games. KNIGHT How do you know if you don't take the time to find out? (beat) Or are you so afraid of him, you won't give him a chance? PLATT Why are you coming at me like this? KNIGHT Jeffrey, I don't think that stereotyping is healthy. Especially for a cop. It's not what people look like on the outside, or evne what views they might hold that counts; it's who they are on the inside that matters. PLATT What are you, my spiritual guide? KNIGHT Maybe. You seem to need one... Slater enters. Nick smiles; Jeffrey looks like he's about to run and hide under the couch. KNIGHT (CONT) All right guys, I'm outta here, I'll see you later. (sotto to Platt) Remember what we talked about. PLATT (sotto) What you lectured about you mean... Off Nick's smile, we, CUT TO: INT. PRECINCT NIGHT Nick is in the interrogation room with Sandoval. KNIGHT You were being blackmailed, were you not, Mr. Sandoval? Sandoval just glares at Knight, says nothing. KNIGHT (CONT) We know all about the manslaughter charge, the bank transfers and ad account shuffles. I just need a name. Who was it? Still nothing. KNIGHT (CONT) Mr. Sandoval, let me paint you a clear picture of what is going on here. We have evidence that you were being blackmailed. Evidence that was given to someone by a woman who is now dead. (beat) Perhaps it was Danielle Hart who was blackmailing you, and maybe she's dead because you became tired of it. SANDOVAL That is a damned lie. KNIGHT Fine. Then tell me who it was. Nothing. KNIGHT (CONT) I have all the time in the world, Mr. Sandoval, believe me. Do you? (off his look) I'm sorry. We know about your illness. SANDOVAL You have no right-- KNIGHT --Mr. Sandoval. We have every right to do what is necessary within the law to get to the bottom of Danielle Hart's death. SANDOVAL (beat) Rand. He's the one who has been blackmailing me. (beat) He threatened to tell my family, Detective. I have so little time left as it is, I didn't want to waste it trying to explain a piece of ancient history that was the mistake of a young kid. He wanted me to sell out to him, turn over all my ad accounts, give him my business. I built this business from the ground up. It's for my son, not for James Rand. KNIGHT Do you have a business partner? SANDOVAL Sure, William Jensen. He's been my partner from the beginning. Before that, he was my lawyer. Still is my lawyer... KNIGHT And how does he feel about your son getting your business interest, and if you'll forgive me, sooner rather than later? SANDOVAL Bill doesn't know I'm sick, Detective. KNIGHT We found out. (beat) Where were you the night of Danielle Hart's death? SANDOVAL Perhaps you should be asking that of Rand.... KNIGHT He was being questioned by police at the time of Danielle Hart's death. SANDOVAL That's one hell of an alibi... KNIGHT Yes it is. If he was involved, then it means he was working with someone else. Do you have any idea who that might be? (off a negative nod) Anyone who might gain, by exposing you and causing you to sell out to Sandoval? SANDOVAL If there is, I can't think of who it might be. A KNOCK sounds at the door. Nick opens it, and we REVEAL MR. WILLIAM JENSEN, 50's, nicely dressed in a black suit. JENSEN I'm William Jensen, Mr. Sandoval's business partner, and attorney. (to Sandoval) I hope you didn't say anything incriminating before I arrived, Richard. ANGLE Nick; there's something familiar about this guy, but what? Off this, we, CUT TO: INT. MORGUE NIGHT Nat is finishing up an autopsy. Nick enters. NATALIE Hey...what's up? KNIGHT I was wondering if you're sure about the time of Danielle Hart's death. NATALIE (glaring) As sure as medical pathology will allow me to be, yes. (beat) Why? KNIGHT Sorry....I'm just looking to place Rand with her, but I can't. NATALIE He have an alibi? KNIGHT Air tight one, yes. NATALIE An accomplice? KNIGHT Has to be. He seems distant, a little...weird. NATALIE (changes subject) Where's your partner? KNIGHT Off babysitting the other intended victim. NATALIE Everything okay? KNIGHT Yeah, I guess so. (beat) No, it's not. (off her look) I haven't known Jeffrey that long, Nat, but I like him... NATALIE And this is a problem? KNIGHT No, but his bigotry is. NATALIE Bigotry? KNIGHT Well, I don't think generally speaking, but in some areas, yes. NATALIE Any specific area? KNIGHT Homosexuality. NATALIE Why were you guys discussing that? KNIGHT It came up. NATALIE And? KNIGHT Jeffrey's terrified of the entire issue. NATALIE Duh, Nick...Jeffrey is a devout Catholic...a lot of people who hang onto some of the more dogmatic ideas of the Church feel that any preference other than a heterosexual one is evil. Damn shame, but there it is. KNIGHT It's ignorant, Nat. NATALIE That people will judge others for something that's not really their business in the first place? Yeah, that is ignorant, but people do it all the time, and don't forget Nick, everyone is entitled to his opinion; you and I don't have to agree with that opinion, but he has a right to feel how he feels. KNIGHT I know. NATALIE (beat) Why is this bothering you so much? KNIGHT It just seems archaic. NATALIE Is that the only reason? KNIGHT (smiling) No, it just reminded me of something that happened a long time ago, that's all. NATALIE (kidding) What, were you and LaCroix outed? ANGLE Nick; well, sorta....ANGLE Nat; oops.... NATALIE (CONT) Nick? KNIGHT Not in the way you mean. We used to share blood, Nat... NATALIE So? That's what you guys do, isn't it? KNIGHT Yes. It's hard to explain. Sharing blood with the one who brought you across is....well, it's very intimate. NATALIE Intimate? KNIGHT Yes. It's not the same as mortal physical love, but in some ways, it is even more powerfully emotional. NATALIE Okay, so you and LaCroix were intimate as vampires a zillion years ago. Why is this bothering you now? KNIGHT I'm not sure. NATALIE Well, no one can figure that out for you, Nick. KNIGHT I've spent so many years pushing him away, Nat. Until recently, I had forgotten what it was like to share even a civil conversation with him. NATALIE Maybe you've missed him. ANGLE Nick; yes, in a weird way, he has missed LaCroix. He looks at Nat; how did she get to be so smart? NATALIE (CONT) Nick, as much as LaCroix sometimes drives me crazy, I do understand that he is your family. He..... and Janette. Maybe you just need to spend some time with him. KNIGHT Maybe; or maybe I'm just feeling guilty about the way I've handled certain situations over the years... NATALIE Centuries, you mean.... Nick hugs Natalie for a few moments. Then he kisses her forehead. Off this, we, CUT TO: end part 05 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:46:49 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 06/08 To: FKFIC-L@LISTS.PSU.EDU INT. PRECINCT NIGHT Reese is with Rand in the interrogation room. Nick enters. REESE Where have you been? KNIGHT Sorry, I was checking something out with Nat. (to Rand) So Mr. Rand, shall we discuss the fact that you've been blackmailing Mr. Sandoval, or would you prefer to start with telling us who your accomplice is? Or better yet, why don't you tell us about the envelope you got from Slater. RAND I'm saying nothing without my lawyer. REESE You wanna play hard ball, Mr. Rand? We can do that, but I'm not sure that you'll like the outcome. RAND Bite me. ANGLE Nick; don't tempt me to get rid of you, you slimebucket... KNIGHT I wouldn't say that again, if I were you. REESE Now Mr. Rand, that's not very helpful. Shall we try this again? Off Rand, we, CUT TO: INT. NICK'S LOFT NIGHT Slater is on the couch, watching....a hockey game! Platt comes in from the kitchen, he can't believe his eyes. PLATT Is that the game? SLATER Yep. PLATT You like hockey? SLATER (well, duh) Yeah, why wouldn't I? PLATT Uh, I dunno, no reason. SLATER How 'bout a pizza? PLATT What kind? SLATER Large pepperoni, anchovies, mushrooms, the works. ANGLE Platt; this guy can't be all bad; he likes hockey and pizza. Now the real test; PLATT Do you drink beer? SLATER Love beer. We have any here? PLATT You kiddin'? I stocked up. Nick never has anything good. Off the two of them ad libbing Hockey talk, we, CUT TO: EXT. TORONTO STREET/CADDY NIGHT The Nightcrawler is on, and Nick is listening... LACROIX (O.C.) The vision of man, my children. Is it truly as short sighted as it often appears? There are so many hypocritical beings in this world. Perhaps that is as it should be; but perhaps it is not. Hypocrisy has only as much credence in our lives as we allow it. How much do you allow? (beat) Every man alone is sincere; at the entrance of a second person, hypocrisy begins. It is up to each of us to decide the hypocrisy of our own lives. Take a long look in the mirror and decide. How much self deception have you allowed in? Off Nick glaring at the radio, we, CUT TO: INT. RAVEN/SOUNDBOOTH NIGHT LaCroix has just finished his show. He flicks a switch on his console, and smiles. Nicholas. He looks up, and Nick enters. LaCroix' smile fades. Nick comes in, shuts the door and stands against it, his hands folded across his chest. Silence moves along for a few moments. Finally, LACROIX You're troubled Nicholas. What is it? KNIGHT You always know the answers to everything. You tell me... LACROIX My, my, you're in a mood, aren't you? KNIGHT No. LACROIX (eyebrow raises) It surely sounds like a mood to me. (beat) Would you like to sit down, or are you going to remain there, in the doorway? Nick takes a seat in a chair in the corner of the room, away from LaCroix, who is staring intently at Nick, his gaze never wavering. Nick on the other hand, can't make eye contact. LaCroix says nothing more, he just waits. KNIGHT What kind of sick and twisted creatures are we, LaCroix? ANGLE LaCroix; oh, joy... LACROIX In comparison to what, as if I do not know... KNIGHT Human beings. LACROIX Nicholas, I have... ....felt your irritation all night. What has happened? KNIGHT (changes subject) Have you heard from Janette? LACROIX What exactly, are we avoiding? Nick glares. LACROIX (CONT) (lying) No, I have not heard from Janette. KNIGHT I miss her. LACROIX I know. KNIGHT Do you? LACROIX What kind of question is that, Nicholas? KNIGHT Can't you ever just answer a question, without asking one? LACROIX (sighs) Yes, I miss her. (beat) Janette is not the reason you're in such a foul mood. Nick says nothing. LaCroix forges ahead. LACROIX (CONT) Nicholas, the world is not perfect. Mortals have a tendency to see things in black and white. There are not many of them who can see the gray areas. KNIGHT The gray areas? Don't you mean the darkness, where creatures like us live? LACROIX Our kind cannot live in a black and white world, Nicholas. We do not share the limits of mortals, nor do we share their limited knowledge of what exists in the world and why. KNIGHT What do you mean? LACROIX Take us, for example... There are many mortals, who believe us to be an outdated myth, nothing more. More's the pity for them, as they become our meals, isn't it? (off his look) Oh don't give me that high and mighty look of morality, Nicholas. The questions of right and wrong, natural and unnatural, do not have the same answers for us; and I dare say that some of the more enlightened mortals have begun to see that their world of black and white does not exist, except within the minds of the rigid and the insubstantial. KNIGHT Are you saying that humans can't believe their own will? LACROIX Mortals can believe whatever they wish. What I am saying, Nicholas, is that human beings are judgmental creatures, who are operating without all of the facts, and on limited time and experience. I simply choose not to let it touch me. I advise you to do the same. (beat) The longer you remain tied up within a mortal world, the more confused you will become. ANGLE Nick; he is becoming more confused as to his own beliefs by the second. KNIGHT And you would have me embrace my evil nature, kill and enjoy it. You would have me thrive in this unnatural state of being.... LACROIX You see, Nicholas, you are thinking like a mortal. You are not living in an unnatural state. You are a vampire, plain and simple. Mortal rules do not apply. KNIGHT I do not choose to live the same way as you. I will never stop searching for a cure, LaCroix. Ever. Nick gets up and exits. LACROIX (sotto) I'm counting on it, Nicholas... Off this, we, FADE OUT: END ACT THREE end part 06 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:46:41 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 07/08 To: FKFIC-L@LISTS.PSU.EDU ACT FOUR FADE IN: INT. PRECINCT NIGHT Knight enters, to find Reese waiting for him. REESE Lab work's back. The perp has type O positive. KNIGHT That's rare. REESE Yeah, and that let's out both Sandoval and Rand for sure, neither one of them is type O positive. Nick heads to his computer. REESE (CONT) What are you doing? KNIGHT Sandoval's attorney and partner, Jensen; he looked familiar. I'm just checking him out. REESE And your partner doesn't mind being the sole babysitter? KNIGHT Jeffrey and his new buddy, Rick couldn't wait to get rid of me so they could watch hockey and eat pizza. REESE Great.... Reese exits. Off Nick searching the computer, we, CUT TO: INT. SANDOVAL'S OFFICE NIGHT Sandoval and Jensen are having a drink. SANDOVAL I appreciate that you're representing me, Bill, but I don't think this will go to trial... JENSEN Really? SANDOVAL No. They've got Rand on the blackmail, which gets him off our backs. Both Rand and I have been cleared of killing Danielle Hart. That pretty much takes care of it for me. JENSEN It does, huh? SANDOVAL What does that mean? JENSEN You think I don't know, Richard? (off his look) All these months you've been sick, planning to leave what *we* built to that no good son of yours, and you think I don't know? ANGLE Sandoval; uh-oh... SANDOVAL Bill, what are you saying? JENSEN I'm saying that there is no way I'm going to allow that, Richard. No way. SANDOVAL (nickel drops) Oh my God, it was you. You killed Danielle... JENSEN So I did. And thanks to you, I have now found out where the only other threat to me is being held. (off his look) Sometimes uniform cops have loose lips if they're rookies. You provided me with the perfect reason to be at the station. I owe you one for that, but I'm afraid you won't be around to collect... Off this, we, CUT TO: INT. PRECINCT NIGHT Nick is still at his computer. He's going through picture files now. Bingo...there is Mr. William Jensen, only that's not the name on the screen. It's Taft Ottley, an extortionist wanted by several governments. Sandoval! Nick picks up his phone and dials a number. No answer. He dials another number: KNIGHT Hello, Mrs. Sandoval? This is Detective Knight, is your husband there? (beat) You're sure he's at his office? (beat) No, no, nothing to worry about. Thank you. He hangs up the phone and exits quickly. Off this, we, CUT TO: INT. SANDOVAL'S OFFICE NIGHT Nick arrives a little late. He enters, gun drawn, to discover Sandoval lying in a pool of blood. We hear a faint and slow HEARTBEAT. Sandoval is still alive. Nick goes to him and turns him over. KNIGHT Mr. Sandoval... SANDOVAL (through pain) Jensen...it's Jensen... KNIGHT I know. (gently) Do you know where he went? SANDOVAL To get Slater. KNIGHT He doesn't know-- SANDOVAL Yes, he does... KNIGHT Take it easy. SANDOVAL Save Slater. Get both of them..... Knight grabs his cell phone and dials a number, but it's too late. Sandoval dies in his arms. Off Nick we, CUT TO: INT. NICK'S LOFT NIGHT Platt and Slater, looking very much like buddies, are on the couch watching a hockey game, drinking beer. PLATT Oh man...did you see that? SLATER That totally sucked. How come the ref didn't call it? PLATT Piece of crap.... SLATER I think we need more pizza. PLATT A brilliant idea. I'll call. Platt gets up and goes into the kitchen, only to walk face first into the barrel of Jensen's gun. Platt just stares at Jensen. Who is this guy? Jensen, wearing gloves, reaches into Platt's holster and removes his gun, then motions with the gun at Platt to move back, slowly, into the living room. The two of them move quietly into the living room, where Jensen shoves Platt back down on the couch. Slater looks at Platt and notices the strange look. SLATER What? They're outta pizza? Platt looks behind himself at Jensen. Slater turns in the direction of Platt's gaze. ANGLE Jensen; oh man, oh man, oh man, to quote an old favourite.... JENSEN Don't move, Mr. Slater. I wouldn't want to splatter the good Detective with your blood prematurely. SLATER So you were the brains behind the whole business? JENSEN It was my idea, yes. I dug up the information on Sandoval, and handed it over to Rand, who did the actual blackmailing. It would have been perfect, if it hadn't been for you and your little friend Danielle Hart. She was easy enough to eliminate, but I hadn't counted on her leaving xerox copies behind. SLATER Or on my photographic memory... JENSEN Something like that. PLATT You'll never get away with this, you know that, don't you? By now, Sandoval must have figured out who screwed him... JENSEN I don't think Sandoval is much of a problem at this point... ANGLE Platt; another one to add to the body count. Platt moves a little, and Jensen shoves his gun into the back of Platt's head. JENSEN (CONT) Now Detective, you wouldn't want to make me nervous, would you? PLATT Uh, no....not really. JENSEN Good.... SLATER What the hell are you waiting for? Why haven't you just killed us already? JENSEN All in good time, Slater. I have to make sure it looks right. After all, I don't want anybody coming after me... Off this, we, CUT TO: EXT. TORONTO STREET/CADDY NIGHT Nick keeps ringing his loft, and he keeps getting the answering machine. This is not good. And to top it off, he is stuck in the traffic jam from hell. He pulls into an alley, gets out of his car, looks around and takes flight. Off this, we, CUT TO: end part 07 vampwrtr@innocent.com Date: Fri, 12 Jun 1998 01:46:33 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Black and White 08/08 To: FKFIC-L@LISTS.PSU.EDU INT. NICK'S LOFT NIGHT Platt and Slater are standing with their backs to the mantle. Jensen is standing a few feet away. He reaches into his pocket and pulls out Platt's gun. JENSEN There now, Detective, we'll use your gun. You're going to shoot Slater, then kill yourself. PLATT Nobody is going to believe that I did that. JENSEN Does it really matter? If the gun angles are correct, and you have powder burns on your fingers, as though you fired the gun... PLATT But I don't-- JENSEN --You will. Jensen takes aim at Platt, who just glares at him. PLATT My partner will hunt you down, Jensen. You better know that... JENSEN Shut up and die like the happy little campy boy that you are. PLATT What? JENSEN Well, you're hangin' out with Slater here, and enjoying it. Guilt by association, Detective. (beat) As a matter of fact, that will be the most likely angle for this. A little lover's spat...Well, that's almost too good of an end for your kind. PLATT My 'kind'? JENSEN Yeah, your kind. SLATER He means-- PLATT --Thanks Rick, I think I get it. (beat) You know Jensen, you're nothing but a judgmental piece of rat dropping that was left to ferment under a rock.... My how Platt's attitudes have changed with a little knowledge and experience.... Jensen aims and pulls the trigger. Before Platt knows what has happened, Slater has thrown himself in front of Jeffrey, taking the bullet. PLATT (CONT) NO!! Platt takes the moment of surprise to disarm Jensen. Nick enters to find Platt standing over Jensen, aiming at his head. Nick looks and sees Slater with a bullet in him. It doesn't take a rocket scientist to figure this out... KNIGHT Jeffrey, put the gun down... PLATT No. Why should he live, Nick? KNIGHT Jeffrey, look at me. Platt looks up at Nick, who begins to whammy him. We hear a HEARTBEAT. KNIGHT Put the gun down, Jeffrey. It isn't worth it. Put the gun down. PLATT Put the gun down... Nick moves in and takes the gun from Jeffrey. He quickly turns on Jensen, drags him to the piano, and handcuffs him to the leg. Nick goes to a phone and dials for an ambulance. Jeffrey, slightly dazed from the whammy, grabs Jensen, who is barely alive. PLATT Why, man? Why the hell did you do that? SLATER You would have done the same for me... PLATT If I'd had the courage. SLATER You would have, Jeffrey. (beat) You overcame your fear of my orientation to get to know me. PLATT (surprise) How did you-- SLATER (wheezing) --I've seen the look before, Jeffrey. You fought your fear and found out it wasn't rational. (coughs) That makes you special. Don't ever forget that... Slater's eyes close, and he is gone. Platt fights his emotions, but the tears stream down his face. Nick hangs up the phone and goes to Jeffrey. He gently pulls Platt away from Slater, and takes Jeffrey into his arms. KNIGHT It's okay, Jeffrey. PLATT (crying) I was so wrong, Nick. I was so wrong. Platt loses it. KNIGHT It's okay. Off this, we, CUT TO: EXT. TORONTO SKYLINE DUSK Establishing shot of day turning into night. Off this, we, CUT TO: INT. FUNERAL PARLOUR NIGHT Jeffrey and Nick are standing a few feet away from the casket which contains Slater. They are paying their respects, in a room filled with a lot of other people. Slater was a popular man. PLATT Look at all these people. KNIGHT A true measure of how good a friend one is... PLATT Yeah, only you don't know cause you're dead. (beat) Case wrapped up? KNIGHT Yes. Jensen not only had a knife slash on his chest, but he's O+ blood type. The only thing better would be a confession, but we don't really need it....Rand is going up the River for blackmail, and as an accomplice to the murders. Danielle Hart was injected with an od of valium. Nat found the needle marks in her leg after checking again. (beat) You all right? PLATT I don't know, Nick. A man died saving my life. A man I was ready to write off a few days ago, simply because he wasn't like me. KNIGHT It's always a danger isn't it - ignorance of others. PLATT Three people are dead, Nick. Danielle because she knew something she wasn't supposed to; Sandoval because he disagreed with his partner, and Slater, because on some level, he felt he had more to prove to be a man. KNIGHT And did he? PLATT No. No way. He was more of a man than I can ever hope to be. ANGLE Nick; Jeffrey is not going to be the same man he was before. Who could be? PLATT (CONT) Nothing scares human beings more than the unknown, Nick. (beat) I wish it had been me. ANGLE Nick; a nickel is dropping for him about his own life... KNIGHT Jeffrey, we all make decisions, and sometimes we live to regret them. Don't cut Slater's decision off at the knees by regretting it for him. It was his to make, not yours... PLATT (beat) And if it hadn't been for you, I would never even have tried to get to know him... KNIGHT I'm your spiritual guide - remember? PLATT Who's yours, Nick? ANGLE Nick; that's easy.... KNIGHT I'll see you later.... ANGLE Jeffrey; it was a high price for another human being to pay, but he learned. Nick exits. Jeffrey walks over to some other men and shakes hands. Off a man who now understands that fear and loathing is borne of ignorance, we, CUT TO: INT. RAVEN/SOUNDBOOTH NIGHT We're on the air... LACROIX And what price have you paid for ignorance, gentle listeners? Whether it was your own ignorance, or the ignorance of another, the price was probably very high. Perhaps even a mortal....soul. LaCroix hesitates, he senses Nick. Nick appears through the window of the booth. LaCroix continues. LACROIX (CONT) We must remember that ignorance is a voluntary misfortune. We choose to remain without knowledge, because knowing a thing might cause us to change and grow. And change is quite frightening to many. (beat) Ignorance breeds monsters to fill up the vacancies of the soul that are unoccupied by the verities of knowledge. These are the monsters that haunt us in the dark of night. The monsters that wait to launch themselves at us when we are most vulnerable. (beat) Check under your beds, boys and girls. You never know who might be lurking there.... LaCroix giggles evilly, and flips a switch on the console, as Nick enters. LaCroix sits back in his chair and waits. Nick walks over and uncharacteristically leans on the console in front of LaCroix. LaCroix just stares, waiting. Nick can't help but smile to himself; for a man who was just preaching about change, he probably hasn't changed much in two millennia.... KNIGHT I wanted to apologize for last night. I was...rude, and I didn't mean to be. (beat) I'm still learning about myself, and my.....nature. ANGLE LaCroix; this is odd. He just stares at Nick. KNIGHT (CONT) Do you remember that night in the loft two years ago? LaCroix looks away; how could he have forgotten? KNIGHT (CONT) If it hadn't been for you, Natalie and I would both be dead; and if she remembered, I'm sure she would hate me. LACROIX I should have minded my own business, and moved on..... (off Nick's amused look) But then, I never could resist a good hypnotic challenge.... They smile at each other. Ice is broken... KNIGHT (serious) I want you to know that I meant what I said then. LaCroix, uncomfortable with the conversation, gets up abruptly from his chair, and begins to busy himself with putting away cd's. Nick can't help but smile to himself yet again. He walks over to where LaCroix is, and gently takes the cd's out of LaCroix' hands, and takes the ancient's hands in his own. LaCroix just looks at Nick, but says nothing. Just as they were that night two years ago in the loft, LaCroix' eyes are slightly misted as he looks at his son. KNIGHT (CONT) You are my closest friend, LaCroix. Now and always. (beat) We won't agree on everything, but that changes nothing-- LaCroix doesn't want to hear anymore right now.... LACROIX --Nicholas-- KNIGHT --Please, I'm not finished. (beat, it's difficult) 769 years ago, I took something away from you, that maybe I didn't have the right to take, LaCroix. I was so busy judging you, and so afraid of what I could not at that time understand, that I made a decision profoundly effecting two of the people that I have.....loved the most in my life, without allowing them to decide for themselves. Life, mortal and immortal, isn't black and white, and it can't be lived as though it were. I was wrong. (beat) I was wrong, and I'm sorry. LaCroix can say nothing, he's too stunned. Nick reaches into his pocket, and extracts the picture of Danielle Hart. KNIGHT (CONT) I know you don't have any keepsake of her, and, this isn't Fleur; but I thought you should have it. He hands the picture of the modern young woman who looks so much like the 13th century woman who was loved by both of them. LaCroix takes the picture and looks at it. ANGLE LaCroix; it can't be. He looks up at Nick, then back down at the picture. His eyes are threatening to rain, but he holds them back. Finally, he looks again at Nick. LACROIX How is this possible? Who is she? KNIGHT Her name was Danielle Hart. LACROIX Was? KNIGHT I'm afraid she's dead. LaCroix closes his eyes momentarily, as if it actually were about Fleur. He then looks at Nick; LACROIX That was the case you were working on this week? KNIGHT Yes. (off his look) We caught her killer. Nick looks at LaCroix; a dangerous glint is in the ancient's eye. KNIGHT (CONT) LaCroix, let the human justice handle it. It has nothing to do with you. LaCroix says nothing, he just stares at Nick. KNIGHT (CONT) I have to go... LACROIX Nicholas..... LaCroix reaches into his own jacket pocket, and pulls out the postcard from Janette. He hands it to Nick. KNIGHT I thought you said you hadn't heard from Janette? LaCroix shrugs. Same ol' same ol'.... Nick stares at the card, then starts slowly to exit. LACROIX Nicholas....she doesn't want to be found right now.... Nick just looks at LaCroix, but says nothing. Like father, like son. Off this, we, CUT TO: INT. LOCAL JAIL NIGHT William Jensen is in his cell, asleep. The moon is shining slightly through the bar-covered open window at the end of his cell. He is awaiting his arraignment; his time for judgment by his peers. We hear a displaced WHOOSH. Jensen's time for judgment by his peers will never come. His body is forcefully yanked off the bed. Jensen's eyes pop open, but before he has a chance to scream, a pair of flashing golden eyes and sharp canines have a hold of him. Jensen's eyes register familiarity, and fear. The sharp teeth rip into his throat, draining him in an instant. A knife flashes in the dark, and further slits the throat to cover up the fang marks. The body drops to the floor. We PAN slowly up the black pant leg of the assailant, and CLOSE on the face of LaCroix, eyes still flashing gold. Blood is dripping down his chin. He looks at the picture of Danielle Hart; his eyes revert to blue. He drops the picture onto the body of Mr. William Jensen. LACROIX Sorry Nicholas, but sometimes justice is black and white. He takes off in a flash. Off the body with the picture sitting on it, we, FADE TO BLACK: THE END end part 08 vampwrtr@innocent.com