Date: Wed, 22 Apr 1998 14:27:52 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 01/08 To: FKFIC-L@LISTS.PSU.EDU FOREVER KNIGHT "Bonne nuit, mes enfants" ACT ONE FADE IN: INT. PARIS, DRAWING ROOM, 19TH CENTURY NIGHT CLOSE on a hand holding a pocket watch, which reads 3:00. The hand puts the pocket watch away, and then moves to a violin case, which is then carefully closed. The elegant hands tenderly hinge the locks on the case. One hand gently brushes across the case once. We hear an audible SIGH. REVEAL LUCIEN LACROIX, in period clothing, as he picks the violin case up from the piano bench it is sitting on. He walks to the other side of the room, and sets the violin case down gently in a corner. He straightens up and looks pointedly across the room. We FOLLOW his gaze, and from his POV; we see JANETTE DUCHARME, in her splendour, sitting, poised, on a chair. Her expression is one of careful calm, and somewhere in her eyes we can read a look of slight pity. They hold a long look. It is evident that he is not going to say a word. He turns, and starts out of the room. Her voice stops him. JANETTE I'm sure he has just been detained..... LaCroix stops walking, we see his back straighten, but he does not turn around. LACROIX Yes. How convenient. JANETTE LaCroix, please-- He whirls around as though angry, but his face displays no emotion. LACROIX --Please what? JANETTE Do not judge Nicolah harshly, mon pere. (off his look) He loves to play music with you, you know this. I'm sure there's a reason-- LACROIX --A reason? Yes, there is. He is a selfish child who takes his family for granted. ANGLE Janette; there's really not much she can say in answer to the truth, so she remains quiet. The silence in the room is deafening for a few moments, then slowly, LaCroix turns around and walks out of the room. This takes a few moments, as it is a large room, and the only sound we hear are his polished shoes clicking on the wooden floor as he walks. Off the quiet and overly gentle closing of the door, we, CUT TO: CLOSE on a door gently opening. REVEAL DETECTIVE NICHOLAS KNIGHT, as he walks through the door and enters, INT. LACROIX' LIVING ROOM, PRESENT NIGHT LaCroix was not expecting company, and he is startled out of his reverie. He is holding his violin case; there are other pieces of memorabilia strewn about the coffee table in front of him. LaCroix is either packing his belongings, or cleaning out his cluttered memories. When Nick comes through the door, LaCroix glares at him, clearly embarrassed at being caught drifting through the past, and for not realizing Nick was near. LACROIX Don't you knock? KNIGHT I did, but you didn't answer. Nick looks at the coffee table contents, and takes it in. KNIGHT (CONT) LaCroix, what are you doing? LACROIX What does it look like? KNIGHT It looks like you're preparing for a white elephant sale... LaCroix glares at the younger man, but says nothing. Nick gets very close to the ancient, concerned. KNIGHT (CONT) So, what are you doing? LACROIX You're the Detective. KNIGHT Is something wrong? LACROIX (evenly) No. Nick isn't buying it. LaCroix almost never lets Nick sense his emotions, and yet, very clearly, Knight can feel his sire's inner turmoil. Nick very tenderly reaches down and sets his hand on LaCroix' shoulder. The ancient reacts only by looking slightly in the direction of the hand. A moment passes, then LaCroix abruptly stands up and walks over to a window, setting the violin case down almost violently on his way. Big elephant in the room. LaCroix has his back to Nick, and he's not saying a word. Nick finally walks over to the violin case, picks it up and gently removes the violin. He looks at it, lovingly, as though recalling many fond moments associated with the instrument. KNIGHT (re: violin) This brings back a lot of memories... LaCroix turns and sees the violin in Nick's hands. LACROIX Yes, and not all of them fond ones. The two men hold a long look. Nick finally breaks the eye contact, as he replaces the violin in its case. KNIGHT You seem.....angry. LaCroix stalks over to Nick, until he is standing very, very close. So close, in fact, that their faces are almost touching. LaCroix' face shows no emotion, but his eyes are full of barely contained fury. LACROIX Just when were you going to tell me that my-- (beat, LaCroix looks away) --that Janette was in Toronto? ANGLE Nick; oops. How did the old Roman find *that* out? Off Nick's look, we, SMASH CUT TO: MAIN TITLES INT. LACROIX' LIVING ROOM NIGHT KNIGHT (gently) LaCroix, Janette asked me to keep it to myself, and-- LACROIX --And you concluded that what I did not know, would not hurt you. ANGLE Nick; bingo. LaCroix walks away from Nick. LACROIX (CONT) (evenly) Dishonesty does not suit you, Nicholas. KNIGHT (sarcastic) I didn't lie to you, LaCroix. And when it comes to secrets, you're hardly one to cast aspersions-- LaCroix turns around and his eyes are golden orbs full of fury. Nick is clearly caught off guard by the ancient's anger. LACROIX --Get out. KNIGHT But-- LaCroix grabs Nick by the wrist, very hard. LACROIX --Do not make me do something you shall regret. They hold a very long look. The sadness in Nick's eyes is clearly readable, and LaCroix slowly releases Nick's wrist. Nick walks to the door, LaCroix just staring him down the entire way. Nick turns as he opens the door. They hold one more look. Nick starts to speak, but is silenced by a furious look from LaCroix. On the closing door, we, CUT TO: EXT. TORONTO STREET NIGHT Nick and DETECTIVE JEFFREY PLATT are riding in the Caddy, on their way to a crime scene. It's deathly quiet in the car, save the lone voice of the Nightcrawler coming from the radio. As LaCroix' voice goes on, we CLOSE on Nick, as he listens.... LACROIX (O.C.) The cruelty of children, gentle listeners. Is it that they are truly more malicous than we; or is it just their innocent appearance, that makes the discovery of their deceit so much harsher to digest? (beat) A parent is expected to love his child unconditionally, without reservation; and yet the child is often reticent to give so much as a kind word back. As one watches a child grow, and teaches him, and.....loves him; one must also except that the once precious bond between parent and child, disolves into hatred and spite for everything the parent represents. (beat) And where, mes amis, does it end? With the death of the parent? Or does it end much sooner, when the child takes his first steps toward his own desires, disregarding the love of his father, as no more than a stifling blanket. (beat) Food for thought, as they say. Bonne nuit, mes enfants. On Nick, we, CUT TO FLASHBACK: INT. HOUSE IN PARIS 19TH CENTURY NIGHT Nick enters the drawing room. Janette is sitting in the same chair, reading a book. She looks up when the smiling Nick enters. Janette is not amused. JANETTE Where have you been? KNIGHT A party.... JANETTE Did you forget that you promised to play through some new music with LaCroix? ANGLE Nick; no, he didn't forget, something better just came up, that's all. KNIGHT No. JANETTE Nicolah, what has gotten into you? (off his look) LaCroix was disppointed, not to mention me.. Nick walks over to Janette, and gets quite close, in a seductve manner. KNIGHT I can make it up to you... Janette stands up, making it clear that she is not going to give into him. JANETTE I am not the one to whom you should be making amends. Nick's face registers his irritation. He is tired of this discussion. KNIGHT Don't be ridiculous, Janette. You know he only does these things in an attempt to keep me under his thumb. I'm not a child, and I don't need him controlling my existence. They hold a long look. Janette's face indicates that she in no way is buying what he's spouting. JANETTE I think you know that is not enirely true. Janette heads for the door, then as an after thought, turns back to face him, her hand on the door knob. JANETTE (CONT) You know, Nicolah, someday he is going to become tired of the disrespect you show him, and he will leave you. Nick looks at her and starts to laugh. She opens the door. JANETTE (CONT) Laugh now, mon cher, but you may find that losing LaCroix was never what you really wanted. KNIGHT Don't count on it. Janette exits, off the close of the door, we, CUT TO: CLOSE on a door opening. Nick and Jeffrey enter a crime scene. Their POV; INT. APARTMENT NIGHT The apartment, which was clearly nice at one time, is in shambles. Everything that could have been picked up and thrown, was... PLATT I'm gonna check with the uniforms. Nick nods, and makes his way over to DR. NATALIE LAMBERT, who is leaning over the body of a woman, 40ish, face beaten almost past recognition. Natalie looks grim. KNIGHT Nat? NATALIE Mrs. Ponselle, 43. Husband did a swift job.... KNIGHT Husband? NATALIE No sign of forced entry, the neighbours have called the police before because of the arguing, and he was seen leaving in a hurry earlier tonight, after a loud argument. KNIGHT (joking) You a coroner or a detective? ANGLE Natalie; she is not in the mood for jokes. Not about this. KNIGHT (CONT) Kidding, kidding.... NATALIE Sorry...I guess I just don't have much of a sense of humour about this. KNIGHT Domestic violence. It never ends happily, does it? Off Natalie, contemplating Nick's comment, we, CUT TO: end part 01 vampwrtr@innocent.com Date: Wed, 22 Apr 1998 14:28:27 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 02/08 To: FKFIC-L@LISTS.PSU.EDU EXT. HOUSE IN REMOTE AREA OF TORONTO NIGHT The camera swings around in a circular PAN of the grounds. Whoever lives here takes exquisite care of the gardens. Everything is immaculate. It is not modest, but is not overdone either; rather, the modicum of good taste. The Caddy pulls up the drive. Nick gets out and goes to the door. He RINGS the bell, and the door opens. CLOSE on Janette. They smile at each other, and Nick goes into the house. We FOLLOW him into, INT. JANETTE'S HOUSE CONTINUOUS Nick looks around. It is so Janette; extremely tastefully done, but never overstated. Janette is dressed simply in jeans and a sweater. She brings two glasses of "wine" from a bar, hands one to Nick and proceeds to indicate that they should sit on the couch. They do. He looks at the glass. JANETTE It's cow, Nicolah. I thought I'd try it your way. (off his grin) It is so good to see you. KNIGHT And you. JANETTE I'm glad you took up my offer to drop by and say hello. Janette studies him for a moment. Something isn't quite right. It's not purely a social visit. JANETTE (CONT) But, this isn't just a happenstance visit, is it? KNIGHT No, I'm afraid it isn't. (off her look) He knows. Plain, simple. No question. They both knew it would be only a matter of time. Janette takes a slow sip from her glass. JANETTE How? KNIGHT I don't know. Janette stands up and begins pacing. JANETTE (CONT) Is he angry? KNIGHT That you're here and didn't tell him, very. That I didn't tattle on you, livid. Never any question. It's about her, but it isn't. LaCroix is more angry at Nicholas than Janette, and she knew it would be that way. JANETTE Of course. KNIGHT Perhaps you should-- JANETTE --No, Nicolah. (beat) I don't want to see him. KNIGHT But, Janette, LaCroix is-- JANETTE --Nothing to me now. ANGLE Nick's look; how can she say that? KNIGHT Janette, you don't mean that.... JANETTE Yes, I do. (beat) He never even tried to contact me after you... Her voice dies away, leaving the sentiment unfinished. Nick looks at her. He understands that she feels on the one hand abandoned by LaCroix; But Nick also understands on some level, that it was probably too difficult for LaCroix to see her. KNIGHT Janette, it was painful for him as well. JANETTE I doubt it caused him so much as a passing thought. (beat) Do not lie for him. KNIGHT I'm not. (off her look) You were the one to always tell me that I should work on my relationship with him... Perhaps it is time for you to take your own advice and bury the hatchet. JANETTE Yes, right in his head. KNIGHT Janette... JANETTE It is all right. I've no doubt that he's only angry because we did not tell him. He won't come looking for me. KNIGHT How can you be so sure? JANETTE Nicolah, I've known him for a thousand years, and I know that unless it would somehow suit his purposes, he will not seek me out. KNIGHT He might just want to see you.... JANETTE Non, Nicolah. You are his family, not me. KNIGHT Janette, you were a daughter to him for half of his existence. Consider that in his mind, maybe you still are. He might miss you, you know. Off Janette's skeptical look, we, CUT TO: INT. MORGUE NIGHT Natalie has just finished the autopsy on Mrs. Ponselle. As she snaps a glove off and tosses it in the trash, Nick enters. KNIGHT Finished with Mrs. Ponselle? NATALIE Yep, just now. KNIGHT And? NATALIE Cause of death; multiple blows to the head, which in turn caused hemmoraghing. (beat) Reese says the prime suspect right now is the husband. KNIGHT Yeah, we discovered half the guy's clothes are gone from the apartment. (beat) It gets better. (off his look) They have a son. NATALIE How old is he? KNIGHT Seventeen. Off Nat, we, CUT TO: INT. SOUNDBOOTH NIGHT And the Nightcrawler is runnin' wild... LACROIX How is it that we are supposed to cope with loss? A wife loses a husband, a child his father, a father his...daughter. I am not merely speaking in terms of death, my dear listeners; no, sometimes we lose loved ones in ways we couldn't have imagined. Life everlasting. What is it if one must spend it alone? CUT TO: EXT. TORONTO STREET CONTINUOUS Nick is in the Caddy, and is tuned to the Nightcrawler. He is glaring at the radio, after LaCroix' last statement. LACROIX (CONT, O.C.) A father creates his children not only to further his own dreams of immortality, but also because he wants to share his life with them. His very existence, his very life's essence. (beat) What does it mean when his children throw his gifts back into his face? (beat) Call me and tell me about your parental nightmares, if you dare... On Nick as he shakes his head and shuts the radio off, we, CUT TO: INT. JANETTE'S HOUSE NIGHT Her living room is filled with several people, all of whom are immortal types. We CLOSE on a flyer that one of them has in his hand. It reads: "Looking for a better unlife? Visit the Underground of the Undead." Janette takes up a position more or less in the middle of the room. JANETTE You're all here, because for one reason or another, you are no longer satisfied with your Immortal lives, such as they are. (beat) I am proof that returning to a life of mortality is possible, no matter what others in the Community have tried to tell us. (beat) Together we can create an Underground of like minded immortals. Our own community; one that *lives* with mortals, not just preys upon them. My, how times have changed. Off this, we, FADE OUT: END ACT ONE end part 02 vampwrtr@innocent.com Return-Path: Date: Wed, 22 Apr 1998 14:31:38 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 03/08 To: FKFIC-L@LISTS.PSU.EDU ACT TWO =46ADE IN: EXT. TORONTO SKYLINE DUSK The sun sets on the Toronto skyline, signaling another evening for the children of the night. CUT TO: INT. RAVEN NIGHT It's just prior to opening. LaCroix is sitting at the bar, doing a little paperwork. MAURICE is setting up the bar as he likes it. It is a companionable silence. CLOSE on Maurice, as he picks up a piece of paper. It is the same colour as the flyers we saw in Janette's house. Maurice is clearly contemplating bringing it to LaCroix' attention. Finally, he gently slides the paper on top of the stack in front of LaCroix. MAURICE Thought you might be interested in this... LaCroix looks the paper over, and frowns. LACROIX And just what in this dark world ever made you think that? MAURICE The logo... CLOSE on the paper LaCroix is holding; in the corner of the page, is the UU (Underground of the Undead) logo, and there are three very small initials under it: JdC. LaCroix frowns as the nickel drops. He looks up sharply at Maurice. LACROIX (re; paper) Where did you get this? MAURICE A couple of young ones were in last night, and they left it here. I didn't want it to fall into the wrong hands, if you know what I mean. ANGLE LaCroix; he does indeed know of what the Irishman is speaking. LACROIX (sotto) Oh Janette, what have you done... On LaCroix, as he looks away, his face an unreadable mask, we, CUT TO FLASHBACK: INT. BEDROOM 19TH CENTURY PARIS DAY LaCroix is lying on a huge wooden bed, on top of a rather large stack of pillows, sleeping the sleep of the undead. His clothes from the opening flashback, have been tossed on the floor, which is not quite his normal m.o., witnessed by the fact that the room, for the most part, is immaculate. Janette quietly enters the room. Careful not to wake him, she picks up his clothes, and hangs them on a nearby chair. She slowly creeps to one side of the bed, and peers at the sleeping LaCroix. She watches him for a moment, reaches her hand out, as though she were going to run her hand across his brow, but changes her mind. Then, she turns to leave. Just before she gets to the door; LACROIX (monotone) Is there something you needed, Janette? Janette is clearly startled, and before she turns around, she takes a calming breath. Not knowing what to expect from him, given she has entered his boudoir uninvited, she turns around ever so slowly and walks back over to the side of the bed, where she stands, almost at attention. LACROIX (CONT) You did not answer me... JANETTE I....I only wanted to check on you, to see that you were all right. LACROIX And why wouldn't I be? JANETTE I only thought-- LACROIX --Whatever it was you thought, it was wrong. Her eyes display the smallest amount of fear in them. LaCroix sizes her up for a moment, and decides that she meant well... LACROIX (CONT) (softening) Why aren't you asleep? JANETTE I....wasn't sleepy. LaCroix pats the bed, indicating that he wants her to sit down. She does, but she still seems overly tense; afraid that he may take his anger out on her. He looks at her. LACROIX You're troubled.... (she nods) About Nicholas? (she nods) You must not be. JANETTE I want us to be happy again, as a family.. LACROIX That is all I have ever wanted. LaCroix stares at her for a moment. Her eyes are so sad, and so in need. He holds his arms out to her, and she falls into them, resting her head on his chest. She is visibly trembling, and LaCroix tightens his arms around here. Gently he smooths her hair. LACROIX (CONT) Do not take this so much to heart, Janette. Nicholas is stubborn, he will come around. Janette sits up enough to look at him in the eyes. JANETTE But he hurts you so, LaCroix. LaCroix glares at such a statement. Janette, fearful that she may have overstepped the already stretched boundries, begins to pull away from him. They hold a long look. Slowly, his eyes soften, and he pulls her next to him, so that she is lying on top of the bed, curled up in his arms. LACROIX And some day, ma cherie, so might you. That is one of the....hazards, shall we say, of parenting. (beat) It is not the first time, and I'm sure it shall not be the last. Janette closes her eyes, and off LaCroix tenderly stroking her hair as she falls asleep, we, CUT BACK TO: INT. RAVEN CONTINUOUS LaCroix is shaken from his memory, by Maurice. MAURICE Boss? Will you be needing a drink? LACROIX What? MAURICE A drink, do you need one? LACROIX No, thank you, Maurice. (beat) I'm going to finish this paperwork in the back... LaCroix picks up his papers and exits. Off Maurice watching the ancient go,= we, CUT TO: INT. PRECINCT NIGHT Platt is at his desk. Nick enters. Platt looks at his watch. Nick just glares at Platt, who continues looking from his watch to Nick, silently demanding an explanation. KNIGHT Consider it a tribute to my first partner. PLATT The souvlaki guy? KNIGHT (fondly) Yeah, Schanke. CAPTAIN JOE REESE yells at them from the door of his office. REESE Knight, Platt, get in here. We FOLLOW Knight and Platt into, INT. REESE'S OFFICE CONTINUOUS REESE (CONT) Nice of you to get here, Nick. I was beginning to wonder... KNIGHT Sorry, Cap. REESE Got a lead on the Ponselle case. (off their looks) The picture we circulated paid off. Mr. Ponselle was seen this morning at a diner over on Queen Street. You two are on stake out tonight. PLATT Oh man, I hate-- REESE --No, no, Jeffrey, I don't wanna hear about how you hate stakeouts. Just think of it as time well spent getting to know your partner. Platt just stares at Nick, who stares back. PLATT I don't have ta dance with him, do I? REESE Only if you piss me off. KNIGHT Did you get any useful information out of the son? REESE Kid's name is Jason, and no, not really. He wasn't home when it happened, and naturally, he was pretty damned upset. KNIGHT Where is he now? REESE Child services has him. PLATT Poor kid. REESE I want this guy. KNIGHT We'll get him, Cap. Off their exit, we, CUT TO: EXT. QUEEN STREET NIGHT The Caddy pulls up across the street from a Diner. Nick and Jeffrey look at each other. PLATT Well, are you going in and drinking nine hundred cups of coffee while we wait for this guy, or what? KNIGHT I'll wait here in the car, you can have the nine hundred cups of coffee. PLATT =46igures. Platt gets out of the car, sticks his head back in just as Nick is switching on the radio. PLATT (CONT) Don't get so engrossed in that Nightcrawler guy that you zone out and leave me hangin'.... KNIGHT I wouldn't dream of it. Platt just gives him a "yeah right" look and he walks across the street and goes into the diner. The sweet voice of the Nightcrawler fills the Caddy. LACROIX (O.C.) Enough is enough. We have all heard this saying many times over. How, gentle listeners, do we know when we've had enough? When our friends only find time for us if convenient? When our lovers think of us only in passing? When our children forsake us for other interests? (beat) A friend of mine once said that the only pure form of loving is that form which expects nothing in return. Love that is truly unconditional, mes amis, is a love that truly binds. Sometimes though, we must wait for the shoe to drop; for the final song to be sung, before we understand that. (beat) What is it that sings in your hearts, my children? Is it a song of triumph, or a dirge of unending pain? A tune full of sorrow or joy? Call me and tell me all about it. I'm here, and I'm listening... Nick glares at the radio, and turns it off. On Nick, we, CUT TO FLASHBACK: INT. 19TH CENTURY FOYER, PARIS NIGHT LaCroix and Janette are standing in the foyer, dressed to the nines. LaCroix looks very impatient. Janette is trying to remain carefully passive. Nick enters looking scruffy; obviously not dressed to go anywhere with LaCroix and Janette... LACROIX Nicholas? (off his look) Why aren't you ready? KNIGHT Ready? LACROIX We have tickets tonight, for the Berlioz premiere, remember? (off Nick's look) Le Th=E8=E2tre-Lyrique, Les Troyens =E0 Carthage.... KNIGHT Oh. Well, maybe you two should go without me... LaCroix does not look surprised, just extremely irritated. LACROIX And why, pray tell, should we wish to do that? KNIGHT Um... LACROIX Oh I see. You have other, more interesting plans. LaCroix walks dangerously close to where Nick is standing, and he leans in. LACROIX (CONT) This adolescent behaviour is wearing very thin, Nicholas. Nick just glares at LaCroix, but does not answer. LACROIX (CONT) (carefully contained) As you wish. LaCroix says not one more word. He holds the door open for Janette, who turns toward Knight before she exits; they hold a long look. Janette walks through the door, and without looking back, LaCroix follows her. Off Knight, we, CUT BACK TO: EXT. TORONTO STREET CONTINUOUS Nick is sitting in the Caddy. He is slightly shaken by the memory that overtook his mind. He looks across the street to the diner; Nick's POV; nothing goin' on there. We can see Jeffrey sitting at a table by the window, drinking his 100th cup of coffee. Only 800 more to go.... Off this, we, CUT TO: INT. SOUNDBOOTH NIGHT LaCroix is putting away his goodies for the night. As he puts away a final cd, a piece of paper on his console catches his attention, he picks it up. His POV; it is the flyer from Janette's little meeting. On LaCroix, as he comes to a decision, we, CUT TO: end part 03 vampwrtr@innocent.com Date: Wed, 22 Apr 1998 14:32:27 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 04/08 To: FKFIC-L@LISTS.PSU.EDU INT. JANETTE'S HOUSE NIGHT Janette is sitting in her bedroom, at a desk. There is an open laptop in front of her and she is madly typing away. The first edition of an Underground newspaper, no doubt. She is very engrossed in her work. We hear the sound of a displaced WHOOSH. Janette sort of notices it, looks around her room, but sees nothing, so goes back to her laptop. CLOSE on Janette, her face full of concentration. An elegant hand suddenly grips her left shoulder from behind her. Janette jumps at the touch. Another hand appears on her right shoulder, pinning her down in the chair. We hear an icy voice, LACROIX (O.C.) Et tu? Janette shows a little fear, but she hides it fairly well. She does not try to move as she speaks to him. JANETTE I am surprised it took you this long. LaCroix slides his hands down her arms, until his hands are resting on the edge of the desk, his arms pinning her still. He leans down, very close against her back, until his mouth is at her ear. LACROIX By choice, I assure you. JANETTE I did not presume otherwise. LACROIX Very good, my dear. JANETTE I take it that you are here for a purpose... LACROIX (snapping) Is that any way to greet your-- (calming) ......An old friend? There is a slight sting in his tone, that of course, being the only clue to any emotion from him. This is not lost on Janette. Slowly she turns to look at him, and he moves away, turning his back to her, looking out the window. Janette stays in the chair. JANETTE Why are you here? ANGLE LaCroix; his face has a slight smile on it, but it is a smile of irony, not joy. He still has his back to her. LACROIX Perhaps I merely wanted to see you, is that so unthinkable? JANETTE If that was it, you would have come calling long before now, LaCroix. LACROIX (covering) Quite right, my dear. ANGLE Janette; ouch. Who told him he could turn the tables? He finally turns back around, his stony mask well in place. He saunters back over to within a foot or so of her. From an inside jacket pocket, he pulls out the flyer. Janette quickly looks away. LACROIX (CONT) Imagine my embarrassment when this was shown to me at the Raven. JANETTE It has nothing to do with you. LACROIX Really? JANETTE We are no longer....related, LaCroix. My actions do not reflect upon you. LACROIX Is that so? ANGLE Janette; what does he mean by that statement? LACROIX (CONT) You think that because you threw away the gift of immortality that I gave you, that it ends there? (beat) Think again, Janette. (long beat) While Nicholas might be your sire now, you wouldn't be here if it hadn't been for me. You are still very much my responsibility, even if you do not think so. JANETTE I do not require your interference, nor your advice. LaCroix is getting angry, she's punching some of his hot buttons. He takes a menacing step closer to her, which causes her to stand up. LACROIX You may not require my advice, Janette, but you're going to hear it. You cannot act this irrationally, this irresponsibly-- JANETTE --I am not acting irresponsibly-- LACROIX --And what if one of these flyers comes to the attention of an Enforcer, hmm? What then? ANGLE Janette, well now, she had not really thought that far ahead with this business. LACROIX (CONT) That's what I thought. (beat, whispering) Don't you realize how dangerous this is? They hold a long look. She knows, she doesn't care. She sees the barest flicker of something in his eyes. What is it? Possession? Affection? Love? She decides to take the high road, and avoid facing any emotions that she'd just as soon keep stuffing down. JANETTE It is no longer any of your concern. You have no business here. ANGLE LaCroix as he bristles at her words. Any affection that may have been apparent in his eyes a moment ago, is gone now, replaced by the stony look of a practiced persona. LACROIX As you wish. Before she can say anything or change her mind, we hear the WHOOSH of displaced air, and he is gone. Off Janette, quite alone, we, CUT TO: INT. PRECINCT NIGHT Nick and Platt enter, both dragging just slightly. REESE Have fun you two? PLATT Hardly. I'm going to be up all day now, because of all the coffee I put away. KNIGHT No sign of him. The next shift showed up, so we're calling it a night. REESE Fine. There's always tomorrow. KNIGHT Cap? (off Reese's look) I'd like a chance to question the son; any possibility of my doing that at the start of tomorrow night's shift? REESE Yeah, I suppose I can arrange that. What're you thinking? KNIGHT Nothing really, I just want to get a better idea about the father. PLATT What makes you think that by talking to an adolescent, you'll get an accurate depiction of his old man? ANGLE Knight; what indeed....On Nick, we, CUT TO FLASHBACK: INT. DRAWING ROOM 19TH CENTURY PARIS NIGHT Nick is brooding in the drawing room. LaCroix and Janette enter the foyer, laughing. Nick gets up and we FOLLOW him into, INT. FOYER CONTINUOUS LaCroix and Janette stop laughing when Nick enters the room. JANETTE Nicolah, you're home... KNIGHT I was waiting to hear about the opera. JANETTE You would have enjoyed it very much. KNIGHT Were the singers good? JANETTE Excellent. KNIGHT Come, sit down and tell me all about it. Janette follows Nick, heading toward the Drawing Room. LaCroix heads toward the stairs. KNIGHT (CONT) LaCroix? Aren't you coming? LACROIX No. They hold a look. Nick decides not to push it. KNIGHT Good night, then. LACROIX Bon nuit, mon enfant. (to Janette) Ma cherie, do not forget about tomorrow night. JANETTE I won't. He smiles at his daughter, and heads up the stairs. Nick frowns as he watches him go. KNIGHT Tomorrow night? JANETTE We are going to hear one of Mozart's piano concertos... KNIGHT I love Mozart. JANETTE I'm sorry, mon cher, but LaCroix only purchased two tickets. (off Nick's look) He did not think you would want to go.... KNIGHT He knows how much I love Mozart. He just wants to punish me for tonight. JANETTE And last night, and the night before that-- KNIGHT --Stop it, Janette. You know LaCroix is just being cruel. JANETTE Have it your way, Nicolah. But LaCroix is not the only one who has behaved cruelly. (beat) He may not show it, but we both know he is not impervious to hurt feelings. KNIGHT Yes, he can dish it out, but can he take it? Janette and Nick glare at each other. Off Nick fuming, we, CUT TO: INT. PRECINCT CONTINUOUS Nick has zoned out and is coming back... PLATT Hey, jello brains-- Where do you go? KNIGHT Sorry, I was just thinking about what you said. (beat) Maybe it does take forever for a son to appreciate his father. PLATT I didn't say forever. I just said through the adolescent years. Aren't you through those yet? KNIGHT (sotto) Given my life expectancy, I doubt it. PLATT What? KNIGHT Time to go home... Off Knight's exit, we, CUT TO: INT. RAVEN NIGHT It's late, there aren't very many people still invibing or dancing. LaCroix is sitting at the bar, indulging in a glass of blood wine. Maurice is puttering behind the bar in the BG. Nick enters. LaCroix says nothing, he just looks at Knight, expectantly waiting. Nick sits down next to LaCroix. There is an uncomfortable silence lying between them like a big elephant in a skirt dancing on the bar. KNIGHT I'm sorry I upset you before. LACROIX You did not upset me. Yeah, okay, if you say so...a really long beat goes by. KNIGHT I couldn't break my word to Janette. LACROIX Fine. KNIGHT You're still angry... LACROIX No. KNIGHT LaCroix-- LACROIX (growling) --What do you want of me? Nick is a little taken aback by LaCroix' barely contained anger. He waits a moment, then, KNIGHT (careful) Perhaps your understanding. LACROIX You've had that and my patience for centuries... (off Nick's look) If you've come here to warn me off of Janette, you needn't bother. KNIGHT (alarmed) What did you do? LACROIX (incredulous) Really, Nicholas. I merely meant that I went to see her and she has made her position on the matter immensely clear. LaCroix pulls the flyer from his pocket and puts on the bar in front of Nick. LACROIX (CONT) However, if you don't mind a little parental advice: I think it would be a good idea if you would talk her out of this insanity. Clearly her time spent as a mortal did significant damage to her brain function. Nick rolls his eyes at LaCroix, until he reads the flyer. KNIGHT Has she lost her mind? LACROIX And you thought I was merely being facetious-- KNIGHT --To print these and hand them around in public... What if-- LACROIX --Yes, what if.... KNIGHT LaCroix, surely you're not going to just-- LaCroix stands up abruptly, causing Nick to stop in mid thought. LACROIX --Janette does not wish to see me, Nicholas, and I no longer have any responsibility toward her. She is your problem, deal with her. LaCroix begins to walk away, clearly done with the entire subject. KNIGHT Is that it? LACROIX Yes, that's it. KNIGHT After a thousand years, poof, you're just done with her? LACROIX Perhaps I am not making this clear enough to reach through your rather thick skull. (w/out emotion) Janette is no longer my daughter. She has made it her wish that I stay out of her life. Since I have no responsibility toward her, I see no reason in prolonging the inevitable. Got it? ANGLE Nick; what's wrong with this picture? LACROIX (CONT) Now, if you will excuse me, I have other more pressing matters which require my attention. LaCroix leaves quickly. Nick is stunned. Maurice, who's been observing the entire business from behind the bar, approaches Nick. MAURICE You look like you might need a little refreshment. KNIGHT No, thanks Maurice. (re; LaCroix) Occasionally, he still surprises me. MAURICE No surprise there, my boy. (off Nick's look) He can sit here all night and spout off about how she's no longer his responsibility, that she's no longer his daughter. Doesn't change the fact that he's loved her that way since the day he made her; nothing I know of on this earth's gonna change that. It's called bein' a parent, and nobody should have to tell you that he is a very devoted one. KNIGHT Devoted....I'm not sure I would have used that word to describe it... MAURICE Don't misunderstand me. His heart can be as icy as they come....however, where his family is concerned, I've only witnessed one motivation from the man. Love. (off Nick's disbeliving look) Granted, it's his own kind of love, but let's face it, in his day as a mortal, a father wasn't exactly expected to outwardly show his affection for his children. Make no mistake, lad, he doesn't want you to see that he's vulnerable to anything; least of all, to you. (beat) Maybe his children are the only things still able to touch his heart. KNIGHT (nickel drops) And from his point of view, in one way or another, his children have all betrayed him. Even me. Especially me......but Nick can't admit these things out loud. Off Nick realizing a biggie, we, FADE OUT: END ACT TWO end part 04 vampwrtr@innocent.com Date: Wed, 22 Apr 1998 14:32:58 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 05/08 To: FKFIC-L@LISTS.PSU.EDU ACT THREE =46ADE IN: INT. PRECINCT NIGHT Nick, Platt, Reese and JASON PONSELLE, 16, clean cut, are in the interrogation room. Jason, whose left hand is bandaged, is sitting at the table with Nick. Reese and Platt are standing in the room. KNIGHT Do you know any reason why your father would have done this, Jason? JASON No....I...no, I don't know. They were always arguing. KNIGHT About what? JASON Money mostly. KNIGHT How do you mean? JASON My father worked two jobs, so he could save some money, and maybe buy a restaurant or something. A place of his own. KNIGHT Your mother didn't want him to do that? JASON She said she did. KNIGHT So why did they argue about money, then? Jason is hesitant to answer. REESE It's okay, son. You can tell us about it. We're here to help you. JASON My mother kept spending the money. KNIGHT The money your father had saved? Jason nods. REESE What did she spend it on? JASON Clothes, stuff. KNIGHT What kind of stuff. JASON Junk. PLATT Junk? JASON Yeah, knickknacks, plates, household stuff... KNIGHT That must have made your father fairly angry. JASON Yeah. PLATT (re; bandaged hand) What'd you do to your hand? Knight and Reese exchange a look - what has that got to do with this? JASON (shrugs) Got caught in a door jam... Reese takes the question control back. REESE He was pretty tight with money, your father? JASON No, not really. He just didn't want her to spend the money he set aside for the restaurant. PLATT What made your father so angry the other night? Jason just looks at the table, reluctant. KNIGHT Jason, we can't get to the bottom of this, if you don't help us. JASON I don't wanna hurt my dad... KNIGHT Just tell us what happened. JASON I was in my room, when he came home. My mother had been shopping, and there were bags of new clothes in the living room. (beat) My father wanted the check book. I guess she must have given it to him, because he went into a rage... The boy is having a hard time getting out the story. Reese puts a gentle hand on his shoulder. REESE It's okay, Jason, take your time, son. JASON They were yelling at each other, I heard some glass smash against the wall-- KNIGHT What happened then? JASON I...don't know. I left. I crawled out my bedroom window. I couldn't take it anymore... The boy begins to sob uncontrollably. Knight and Reese exchange a look, off this, we, CUT TO: EXT. TORONTO STREET NIGHT Platt and Knight are heading toward the diner on Queen street, in the Caddy. PLATT Ya know, Jason's old man is worth quite a bit more money than ya'd be able to guess just looking at their apartment. (off Knight's look) I checked into their financial affairs, and there were the joint accounts with the mother and the father, but there are also several accounts in the father's name only. KNIGHT So the guy put money away that his wife couldn't spend. Given what the boy told us, that doesn't seem so odd. PLATT No, it doesn't, except that the wife is not the beneficiary on the other accounts, the kid is. KNIGHT You think Jason knows? Platt shrugs. KNIGHT (CONT) What are you getting at, Jeffrey? PLATT Well Nick, with the mother and the father out of the way, the kid gets it all. KNIGHT The father is not dead, at least not that we know of. PLATT But if he's sent up for murder one, what difference will it make? KNIGHT I noticed you were awfully quiet when we were questioning him. (beat) You think Jason did it? PLATT There's something not right with the kid. I don't think he's telling us everything he knows. Maybe he's not as fond of his father as he pretends to be. On Knight thinking, we, CUT TO FLASHBACK: EXT. STREET IN PARIS 19TH CENTURY NIGHT LaCroix and Janette are walking arm in arm up a street. JANETTE The concert was wonderful. Thank you for getting the tickets. LACROIX It was quite lovely indeed. They walk in a companionable silence for a few moments. LaCroix seems slightly distracted with the nagging feeling that they are being followed. Then he smiles slightly. He stops walking, Janette turns to him. JANETTE What is it? LACROIX Nothing. I just remembered something I need to...take care of. Go on to the party at Madame Bouche=E8's without me, and I'll be along in a moment. JANETTE LaCroix? He leans forward and kisses her on the forehead. LACROIX There is no cause for concern, just do as I ask. JANETTE Oui, mon pere. Janette starts up the street. We hear a displaced WHOOSH and LaCroix is gon= e. CUT TO: end part 05 vampwrtr@innocent.com Return-Path: Date: Wed, 22 Apr 1998 14:33:14 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 06/08 To: FKFIC-L@lists.psu.edu EXT. PARIS STREET 19TH CENTURY NIGHT Nick is walking amongst the shadows. Nick's POV; Janette is walking alone. Nick stops and frowns. We hear a displaced WHOOSH, but Nick doesn't seem to notice it. LACROIX (O.C.) Why are you looking for me in front of you, when I am right here? Nick turns and sees LaCroix standing behind him. KNIGHT What game are you playing? LACROIX Me? You're the one who has been following Janette and I since we left the concert hall. (off his look) Really Nicholas, did you think I did not sense you? KNIGHT I don't care what you think. LACROIX Very well then. LaCroix turns to leave. Nick's voice calls him back. KNIGHT Where are you going? LACROIX If you must know, Janette and I were invited to a reception at Madame Bouche=E8's. KNIGHT Madame Bouche=E8? She is said to give the most wonderful parties in all of Paris... LACROIX Yes. LaCroix starts to leave again. KNIGHT LaCroix? (off his impatient look) May I go with you? LACROIX (smiling) Whatever for? You have shown little or no interest in being seen in public with your family Nicholas, until now. And now, you only wish to come along so that you can attend one of Madame Bouche=E8's soire=E8's. I do not think so. LaCroix turns and leaves. Off Nick feeling rejected, we, CUT BACK TO: EXT. TORONTO STREET CONTINUOUS We're still in the Caddy with the zoned out Knight and Platt. PLATT Nick? KNIGHT Huh? Sorry. I was just thinking about fathers and sons... PLATT One of these days, I fully expect your head to explode from all the thinking you do. Off Nick, we, CUT TO: EXT. DINER ON QUEEN STREET NIGHT The Caddy pulls up to the curb. Knight and Platt hold a look. PLATT Come on, Knight, I drank the coffee last night. It's your turn. KNIGHT I don't like coffee. PLATT =46ine, order something else. CUT TO: CLOSE on a plate of French Fries smothered with catsup. WIDEN to reveal Nick's face, not looking very forward to the prospect on the plate. INT. DINER NIGHT Nick looks at the fries, and looks out the window, glaring. Nick's POV; the smiling face of Platt, in the window of the Caddy across the street. Off Nick's irked face, we, CUT TO: INT. RAVEN NIGHT Maurice is at the bar, taking care of business. LaCroix enters from the back, carrying a glass of "wine" with him. He looks around at the crowd. As he makes his way through the bodies, many patrons clear a path for him. His very demeanor is menacing. He approaches the bar, and the people near the end that he walks up to, suddenly leave. He just stares after them. Maurice walks over to him. MAURICE A slightly less threatening scowl, might not cause them all to clear out, you know. LaCroix just raises a warning eyebrow at his bartender. MAURICE (CONT) Have it your own way, just don't blame me when the receipts for the night are low. LaCroix glares harder and the bartender moves away. LaCroix reaches into his pocket and pulls out a crumpled newspaper. He spreads it out on the bar in front of him. LaCroix' POV; the title of the newspaper is: "The Nightly Crawler", and the UU logo is under the title. LACROIX (muttering) The Nightly Crawler..... How original. Thoroughly disgusted, LaCroix crumples the paper into a ball and tosses it into a trash can behind the bar. Irritated, he abruptly gets up from the bar and stalks through the Raven, causing patrons to scatter out of his way. Maurice watches him from the bar. When LaCroix is gone, the bartender walks over to the trash can LaCroix tossed the paper into, and retrieves the ball out of the garbage. He uncrumples it and as he reads it, his face takes on a look of comprehension. He looks in the direction that LaCroix went. On Maurice, we, CUT TO: INT. DINER NIGHT Nick looks positively green. Several plates are piled on the table, all of them still covered in catsup. A WAITRESS, 40's, gum chewin', dyed-hair-wearin', bang-em-up kinda gal, approaches the table. WAITRESS So how 'bout it, sailor? (off Nick's look) Another order of fries with your catsup? ANGLE Nick; he looks like he might puke. He manages a nod. She exits. He looks out the window, his POV; Platt smiling at him through the Caddy window. KNIGHT (muttering) I hope I puke these fries out all over your pin head, Jeffrey.... Off an unamused Knight, we, CUT TO: EXT. JANETTE'S HOUSE NIGHT The lights are on, and we can see Janette in the living room, glass of wine in one hand, book in the other, curled up on her couch. We hear the sound of a displaced WHOOSH. It is LaCroix. He watches her. On LaCroix, we, CUT TO FLASHBACK: INT. LIBRARY 19TH CENTURY PARIS NIGHT LaCroix is sitting in a leather, winged-back chair, ensconced in a book. Janette enters, and scowls at LaCroix, who has not bothered to look up from his tome. JANETTE What are you doing? LACROIX (does not look up) I believe it's called reading... JANETTE No. Why are you in here reading? (off his look) Did you not promise Nicolah a game of chess? LACROIX (smiling like a shark) So I did. JANETTE He's been sitting in the drawing room, waiting for you for the past half hour. LACROIX (back in book) So he has. JANETTE LaCroix-- LACROIX (warning) --I do not see how this concerns you, my dear. JANETTE I thought you were trying to strengthen your bond with him, not sever it-- He stands up abruptly and is in her face, which causes Janette to catch her breath. LACROIX --When I require your opinion, I shall ask for it, Janette. Until that time, might I suggest that you follow the advice of the nursery rhyme, and practice being seen and not heard. Preferably in another room. ANGLE Janette; Whoa, that was hitting below the belt. How can he become so cruel so quickly? She opens her mouth to speak, but halts when he glares at her in warning. She thinks better of it, and closes her mouth. With a dismissive smirk, LaCroix sits back down in his chair and goes back to his book. Janette stands as still as a statue for a moment, then silently, she turns and exits. LaCroix does not so much as move a muscle, until he hears the sound of the door CLOSING. He looks up from his book, and looks in the direction that Janette just exited. His face is like alabaster, save the small sadness evident in the icy blue eyes. Vulnerability is not this man's bag; no, he'd rather his children hate him, then allow them to see a weakness. On LaCroix, we, CUT BACK TO: EXT. JANETTE'S HOUSE CONTINUOUS ANGLE LaCroix; it is almost an unreadable expression on his face. Carefully stoic, matter of fact; as though viewing a giraffe at the zoo, instead of a beautiful woman he called daughter for a thousand years. For a brief moment, there is a flicker in his eyes; an all too vivid pain of loss. He looks as though he wants to approach her, and for a second, we think he might go in through a window or something, but he does not. As quietly and secretly as he arrived, he leaves. Off Janette, still blissfully unaware of the ancient's visit, we, CUT TO: INT. DINER QUEEN STREET NIGHT Nick is positively chartreuse. There are five plates on the table, and there isn't gonna be a sixth. At least not while Jeffrey Platt is still breathing. The door to the Diner opens and casually, almost in a carefree kinda way, MR. JONATHAN PONSELLE, 40's average looking, enters. Nick, through his haze of twirling French fries, almost does a double take. It really is Ponselle. Nick looks out toward the Caddy, Nick's POV; Platt is already out of the car, and is headed toward the front door of the Diner. Nick looks back toward Ponselle, who has now taken a seat at the counter. The gum-chewin', dyed-hair-wearin', toughie waitress has approached Ponselle. Slowly, nonchalantly, Nick moves toward Ponselle. WAITRESS Hey there, Johnny. How the hell are ya tonight? PONSELLE Just fine, how are you? WAITRESS Can't complain too loudly. No sir. What'll it be? PONSELLE Eggs over easy, bacon, crisp and can you serve it up with Fries this time? ANGLE Nick on the word "fries"; His face scrunches up in a most painful way at mere mention of a French fry.... WAITRESS Sure honey, no problem. The waitress exits. Platt has just entered the front door. He and Nick are now on either side of Ponselle. Ponselle has now noticed the two of them, and he frowns. Nick and Platt come to a stop right next to the guy, one on each side of him. Nick flashes a badge. KNIGHT Jonathan Ponselle, I'm Detective Knight, this is Detective Platt, Metro-Homicide. You're under arrest for the murder of your wife, Mary Ponselle. ANGLE Ponselle; what is this man talking about? His wife is dead? DEAD? PONSELLE What? No, I......Mary, she can't be dead....How could you say I killed her? Ponselle is either truly distraught or one of the better actors in Canada. Platt and Knight exchange a look. KNIGHT (re: Ponselle's reaction) Another out of work actor? Platt shrugs, grabs a hold of Ponselle, who is ad-libbing his innocence, and handcuffs him. Platt, Knight and Ponselle exit. WAITRESS Well don't that just beat all.... Off the gum-chewin' waitress, we, =46ADE OUT: END ACT THREE end part 06 vampwrtr@innocent.com Return-Path: Date: Wed, 22 Apr 1998 14:33:33 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 07/08 To: FKFIC-L@lists.psu.edu ACT FOUR FADE IN: INT. PRECINCT NIGHT Knight and Platt are in the interrogation room with Ponselle. Reese is watching them from the observation room. PONSELLE I swear, I didn't do it. KNIGHT You argued with your wife about money, and then you brutally beat her to death. PONSELLE No, I didn't. KNIGHT We have witnesses who saw you leaving the building that night, after your argument. After your wife was dead. PONSELLE That's impossible. I wasn't there that night. (off Knight's look) My wife and I decided to try a separation. I checked into the Astor motel on Queen four days ago. Call them. KNIGHT Don't worry, we will. Knight looks at Platt, who exits the room. PONSELLE You'll see, I didn't do it. KNIGHT Mr. Ponselle, just because you may have checked into a hotel four days ago, does not mean that you couldn't have gone back to your wife's apartment, and killed her.... PONSELLE I wasn't there, I'm telling you.... KNIGHT Look, Ponselle, your son also said he heard you arguing with your wife that night. ANGLE Ponselle; his son *heard* them arguing? But....the nickel drops. Ponselle looks at his hands. He takes in a slow breath of air, as though trying to calm himself and face an insurmountable decision. Knight frowns, watching Ponselle. PONSELLE You're right. I....did it. I...I killed Mary. Ponselle breaks down into a crying puddle of a man. Knight looks toward the one-way mirror. ANGLE Reese; we have our man...or do we? Off this, we, CUT TO: INT. REESE'S OFFICE NIGHT Nick enters the office, Reese is at his desk, doing paperwork. Nick has a scowl on his face. REESE Nick, something bothering you? KNIGHT Ponselle. REESE Nick, the man gave us a full confession, what more do you want? KNIGHT Jeffrey checked, and Ponselle really did check into the Astor motel four days ago. Reese just looks at Knight; so what? KNIGHT (CONT) Cap, the guy kept hanging out in a neighbourhood diner. The waitress called him by his first name. If he really killed his wife and fled the scene, why hang around? Why not just take the money and run? REESE His son, remember? KNIGHT Yes, his son. They hold a look. REESE What are you thinking? KNIGHT Jeffrey's had a funny feeling about this from the beginning. I'm starting to think he's right. REESE Why is it I don't think I wanna hear this? KNIGHT You didn't see Ponselle's face when we told him his wife was dead. I honestly don't think he knew. Besides, you saw how he changed his story in the interrogation room when I mentioned that his son said he heard his parents arguing. That's when he admitted it. REESE So what are you suggesting? KNIGHT Maybe Ponselle is protecting his son. Off Reese, we, CUT TO: EXT. TORONTO SKYLINE DAWN The sun rises above the Toronto skyline. CUT TO: INT. NICK'S LOFT DAY We see the light beginning to stream into Nick's living room. He is sitting on the couch, and picks up the remote. He hits a button, and the shutters close. On Nick, we, CUT TO FLASHBACK: EXT. LEFT BANK OF THE SEINE 19TH CENTURY PARIS NIGHT Nick is staring out at the water. We hear the sound of a displaced WHOOSH. Nick doesn't turn around. It could only be one person. Nick says nothing. LaCroix walks into frame. LACROIX Are you going to stand here and brood all night? Nick still says nothing. LaCroix frowns and takes a step closer to his son. LACROIX (CONT) Really Nicholas, pouting is not very attractive. Nick just remains, looking out at the water. Doing his best to ignore his sire. LaCroix comes closer yet, now directly behind Nick. The ancient leans into his son's ear. LACROIX (CONT) (smiling evilly) Perhaps you would like to stake me to the nearest tree. That gets him. Nick turns around, vamped out, and the two vampires are standing nose to nose. LaCroix smiles, further infuriating Nick. KNIGHT (growling) As a matter of fact, I would. LaCroix smiles, raises an eyebrow and allows his eyes to change colour, and his fangs to descend. LACROIX Then by all means, Nicholas, give it your best try, if you dare. Nick lunges at LaCroix, who simply feigns to the right, and Nick careens to the ground. LaCroix laughs. Nick gets up and flies at him, this time capturing LaCroix by the throat. KNIGHT (snarling) Is this what you want? You have to be so cruel that your own bombastic creations hate you? LACROIX (smiles) Nicholas, Nicholas, you really do have a flair for the dramatic.... Nick is no longer in the mood for LaCroix' smug remarks. He tightens his grip on the ancient, and begins to try to twist his Master's head off. LaCroix is not amused. He snarls at Knight, and turns the tables, upending Nick where he stands. Knight hits the ground, hard. LaCroix is on top of him in a millisecond, pinning Nick's hands to the ground. LACROIX (CONT) You should know better than to attack me, Nicholas. KNIGHT Kill me, then, you'll put me out of my misery. ANGLE LaCroix; This is not what he envisioned as a happy family when he brought Nick across...LaCroix' eyes change back to their normal blue, and he lessens the pressure on Nick, though he does not yet let go. LACROIX Is that really what you think I want, to kill you? To make you miserable? (beat) Do you honestly think that you beare no responsibility in any of this Nicholas? Nick just glares at LaCroix. An answer in itself. He lets Nick up. LACROIX (CONT) How little you understand after all this time. The two of them are standing up, facing each other now. KNIGHT It is you who does not understand. I do not wish to be like you, LaCroix. I am not like you. I have to be free to find my own way, with or without your blessing. For a moment there is a flicker of hurt in the ice blue eyes staring at Nick, but just as quickly it is gone, replaced by the stony stare of a practiced General. LACROIX You will never be rid of me Nicholas. No matter how far you go, or how hard you try, I am the one inescapable fact of continuity in your eternal existence. Off Nick, we, CUT BACK TO: INT. NICK'S LOFT CONTINUOUS Nick sighs as he reaches for the phone. As he picks up the phone, he changes his mind and sets it back down. Off Nick, we, CUT TO: EXT. TORONTO SKYLINE DUSK As the sun sets over the skyline, we, CUT TO: INT. PRECINCT NIGHT Platt is filing some papers when Nick enters. PLATT Hey Nick. KNIGHT You know Jeffrey, I've been thinking about what you said regarding Jason Ponselle.. PLATT And? KNIGHT And I think you may have a point. PLATT Yeah, you're not the only sharp cookie on the block, Knight..... KNIGHT Yeah, I know.... (beat) We've got motive, we can place him, by his own admission, at the scene-- PLATT --He's the approximate same build and height as his father. KNIGHT And if he was wearing one of his father's suits... PLATT Then it easily could have been Jason whom the neighbour saw leaving that night. KNIGHT And, it could have been Jason arguing with his mother, that the neighbours heard. PLATT Problem is, we've got a signed, sealed confession from his father. And I don't think the man's gonna change his story and send up his kid. KNIGHT I don't think this was premeditated though. (off Platt's look) Maybe Jason simply sided with his father about the money. He might have even resented his mother for the fact that his father moved out. They may have gotten into an argument, and he just lost control. PLATT Now he's too scared to admit it, and his father is willing to take the blame in order to save his son. KNIGHT Some father's are very protective... PLATT We need proof Nick. Solid evidence. We'll probably never get them to change their stories. KNIGHT I feel a trip to the morgue coming on. Off their exit, we, CUT TO: end part 07 vampwrtr@innocent.com Date: Wed, 22 Apr 1998 14:33:54 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Bonne nuit, mes enfants 08/08 To: FKFIC-L@LISTS.PSU.EDU EXT. RAVEN NIGHT Janette is watching the entrance from a distance. After several moments, she works up her nerve and enters. We FOLLOW her into, INT. RAVEN CONTINUOUS The club is rockin' and rollin'. Dancing bodies everywhere. ANGLE Janette; it's not exactly her taste in decor, but then, she did give the club to LaCroix. She walks around, taking it all in. She stops in her tracks. Janette's POV; LaCroix is sitting at the end of the bar, talking to Maurice. Janette ducks behind a pillar, and watches LaCroix. We listen in with Janette, to the conversation. MAURICE We're doin' a fine business tonight, boss. LACROIX Yes, Maurice, so we are. MAURICE You're awfully....subdued this evening. LACROIX Really? Maurice gets slightly nervous from the edginess of LaCroix' tone. MAURICE No offense intended. LACROIX Then none taken. MAURICE (changing subject) How's Nick? LACROIX Busy with his mortal game of cops and robbers no doubt. MAURICE And.....Janette? LaCroix gives Maurice an absolutely seething look. Maurice holds his breath for a moment, wondering if LaCroix is going to snap him in half. LACROIX My dear Maurice, you really shouldn't make a habit of asking questions, the answers of which do not concern you. MAURICE I've known you a long time, LaCroix, and I think you know I intend no disrespect to you. Twas just a friendly question. If LaCroix is moved, he shows no outward signs of it. He just glares at the bartender, who moves away. ANGLE LaCroix; he senses....something. No, someone. He turns toward the pillar behind which Janette is standing. He frowns, shakes his head, stands up and walks toward the back rooms. Janette lets out the breath she was holding. Off this, we, CUT TO: INT. MORGUE NIGHT Nick, Nat and Platt are standing around Nat's desk. PLATT There's got to be something. Something to prove that it was Jason and not Jonathan. NATALIE How can the two of you be so sure it was the son? KNIGHT Call it instinct. NATALIE Instinct? You want to pin a murder on a seventeen year old out of instinct? PLATT Somethin' like that. Nat rolls her eyes at the two men. KNIGHT Nat, we need to get to the truth.... NATALIE I understand that, Nick. Problem is, I'm not sure how much more this woman's body is going to tell us. KNIGHT Anything might be helpful. NATALIE (sighing) Okie Dokie. Off Knight and Platt smiling, we, CUT TO: INT. PRECINCT NIGHT Platt, Knight, Jason and Ponselle are in the interrogation room, having a chat. KNIGHT I just want to hear this one more time. Jason, you heard your parents arguing the night of the murder? JASON Yeah. PLATT Are you sure it was your father and mother arguing? Or could it have been you and your mother? ANGLE Jason; they know, how? PONSELLE I already told you that I did it. Why are we going through this again? PLATT Because-- KNIGHT --Because we have to write up a report and we want to make sure we have all the correct details Knight and Platt exchange a look. Platt says nothing. Reese enters the room. REESE Nick, Natalie's outside, she wants to talk to you. Knight exits with Reese, we, follow them into the precinct room. NATALIE You were right. There was more, though I don't know if it'll help. (off Nick's look) By analyzing her face, I was able to determine that Mrs. Ponselle's injuries were mostly inflicted on the right side of her face. KNIGHT What has that got to-- NATALIE --Let me finish. The majority of the injuries were on the right side of her head, indicating that she was most likely beaten to death by a left handed person. A right handed person would have done more damage to the left side of her face and head. REESE That's not enough to pin somebody, you two. KNIGHT Yes, but we have a seventeen year old in there with motive, placement and a bandaged left hand.... NATALIE I have an idea.... Off Natalie, we, CUT TO: INT. JANETTE'S HOUSE NIGHT Janette is on the couch in her living room. The radio is tuned to CERK and the Nightcrawler is on.... LACROIX (O.C.) The subject this evening, gentle listeners, is confrontation. More often than not, the most difficult form of confrontation is not with others, but rather with oneself. Confronting one's inner truth is far more challenging than confronting the neighbour's dog for trampling your daisies. (beat) It takes courage and fortitude to look inside yourself for something as simple as the truth. Courage to ask yourself why you ended up alone. Do any of you have that courage, mes amis? Janette turns the radio off. Courage indeed. Off this, we, CUT TO: INT. PRECINCT NIGHT Platt, Knight, Reese, Natalie, Ponselle and Jason are in the interrogation room. Platt places a piece of paper and a pen before each of the suspects. They look up at him. PLATT We just need you to sign your statements. Ponselle picks up the pen with his right hand and signs the paper. Jason picks up the pen with his left hand and signs. Knight and Nat exchange a look. Natalie moves forward and begins to remove the bandage on Jason's hand. JASON Hey-- KNIGHT Settle down, Jason. She's a doctor, she's just going to check your hand. Meanwhile, Natalie has set an odd looking wax mold on the table. She removes the bandage. PONSELLE (re; mold) What's that? NATALIE A mold of the knuckle indentations on your wife's face. Jason's unbandaged hand is very bruised. Jason pulls his hand away from Natalie. PLATT Jason, don't make this more difficult.... Natalie takes the boy's hand and puts it into the mold. An exact fit. REESE Well, well, it would seem we have a matched set. Jason and Ponselle hold a look. Jason bursts into tears. Ponselle gets up from the table and as Natalie moves out of the way, he holds his child, trying to comfort him. PONSELLE Oh Jason, why... Off this, we, CUT TO: INT. JANETTE'S HOUSE NIGHT Janette and Nick are on the couch in the living room. KNIGHT We closed a murder case tonight. A father was set to take the blame for his wife's murder, but it was the son who did it. (beat) He would have gone all the way with it. Taken whatever penalty the court may have given him; all to protect his son. JANETTE Is there a point, Nicolah? In answer, Nick pulls the flyer that LaCroix had given him out of his pocket and shows it to Janette. JANETTE (CONT) Where did you get that? KNIGHT Does it really matter? JANETTE LaCroix. KNIGHT Janette, he's right. What you are doing endangers the community. JANETTE And you are one to talk? She gets up from the couch and begins to pace. JANETTE (CONT) Your never ending quest for mortality. Not that I disagree with it, but how does that make you any less dangerous? KNIGHT I'm not trying to recruit anyone else, Janette. (beat) Please, you must stop this, before it goes any further. JANETTE Oh? KNIGHT Before the wrong people find out. JANETTE Enforcers, you mean. KNIGHT Yes. (beat) Janette, I understand probably better than any of our kind, how much you might want your mortality back. But you must not try to recruit others... JANETTE LaCroix put you up to this. KNIGHT LaCroix has not 'put me up to anything' in at least the last hundred years, and you know it. (off her look) There comes a time, however, when we must recognize that with his age, comes a certain wisdom. At least regarding matters of discretion. A long moment passes, Janette is thinking. JANETTE If it will set your mind at ease, Nicolah, I will consider the matter. KNIGHT Thank you, that's all I ask. JANETTE However, I do this for you, not for LaCroix. I am surprised that you have grown so accepting of him. I remember when you couldn't stand to be on the same continent with him. Nick stands up and goes to her, taking her by the shoulders. KNIGHT I've had a long time to think about it. Like it or not, he's family. (beat) He is my closest friend. (beat) You have said it to me many times, Janette. He has an odd way of showing it most of the time, but in his own way, he does care. About both of us. JANETTE Yes, he cares about controlling us. KNIGHT He likes to try. The least we can do is let him think he has a chance.... There is an evil glint in his eye. Janette smiles at him, then her face turns serious. JANETTE He let me go, Nicolah. LaCroix never did love me the way he loves you. KNIGHT Janette-- JANETTE --No. You know it is true. He would never have let you go so easily. That's a sobering thought. They hold a somber look; to allow LaCroix an inch in one's life, is to possibly wind up giving him a mile, and they both know it. Perhaps LaCroix is not capable of loving even his children after all. Or is he? Off this, we, CUT TO: INT. LACROIX' LIVING ROOM DAWN The sun is starting to creep in through a window. LaCroix closes the drapes. He sits down on the couch and sips at a glass of "wine". He picks up an open book (Howard's End, by E.M. Forester) from the coffee table and begins reading. From the looks of the book, he is near the end. A frown slowly starts to creep across his face. Abruptly he slams the book shut and stands up. There is a certain look of frustration on his face. He grabs his glass and walks over to an antique desk. On it, next to Divia's cameo, is a very old frame, which encases an old picture. It is a picture of Nicholas and Janette, and judging by the clothing, it was taken in the late 1890's. Lovingly, LaCroix picks up the frame and studies the picture held within it. Absent mindedly, his finger is stroking the side of the frame. LACROIX (whispering) Bonne nuit, mes enfants. Gently he sets the frame back down on the desk. ANGLE LaCroix; he believes himself to be a man very much alone, with only eternity to think about it for company. Off this, we, FADE TO BLACK: THE END end part 08 vampwrtr@innocent.com