Date: Thu, 16 Sep 1999 20:18:12 -0400 From: vampwrtr@INNOCENT.COM Subject: In the Name of the Father 01/12 To: FKFIC-L@LISTS.PSU.EDU usual disclaimers. permission to mel to archive, all others please ask. comments to vampwrtr@aol.com This story is a two part script, so there will be 24 parts eventually.... Cheers, V --------- FOREVER KNIGHT "In the Name of the Father" Part I ACT ONE FADE IN: INT. LC'S LIVING ROOM - DUSK LUCIEN LACROIX is sipping a glass of bloodwine. There is a momentary WHOOSH or air behind him, and a slight blur. From LaCroix' lack of reaction, we know that he has not noticed it. We shoot from the blur's POV; LaCroix frowns and turns toward the direction of our blur, but he shrugs it off. Momentarily, he sets down his drink, and looks once again around the room. Something doesn't feel right. He walks toward his desk, opens a drawer and pulls out Divia's cameo. He looks at it: The pain of her death, still palpable. On LaCroix, we, DISSOLVE TO: EXT. CAR JUNKYARD - 1996 - NIGHT LaCroix watches as Divia's body burns to ashes. As the last of the embers burns out, a single tear rolls down his cheek. He ignores it. He walks toward the still smoking ashes on top of the car, and he gently scoops some up into his hand. It burns him, but he pays no attention. He turns his back to the camera, as he scatters her remains on the wind. When he turns back toward the car, his eyes are filled with tears. She is gone. Truly gone. Forever. LaCroix leans his arms on the top of the car, where the last of her ashes sit. He picks up the ashes with his blistered and bleeding hands, all the while, sobbing silently. On LaCroix, we, DISSOLVE BACK TO: INT. LC'S LIVING ROOM - PRESENT - CONTINUOUS CLOSE on the face of LaCroix. He looks extremely pale and his brows are furrowed. He looks down again, at the cameo he is now holding. He still misses her, despite all that transpired. It remains a regret that he cannot erase, and yet, there had been no choice. He slams his eyes shut as he grabs the cameo tightly in his fist, trying in vain to block out the hurt. On him, we, DISSOLVE TO: INT. ROMAN DWELLING - POMPEII, 67 A.D. - NIGHT SELINE is in labour. An older woman, ADRIANA and several younger women are helping her. CLOSE on a nearby archway, as a figure peaks through the shadows. We recognize the figure as LaCroix, when he was the mortal General, Lucius. BACK to the room. ADRIANA Breathe, Seline. (beat) The father should be here, waiting outside, for the child. SELINE He can't be. The older woman snorts in disgust. ANGLE LACROIX; he is here, but unofficially. He glares. ADRIANA He should at least acknowledge his own child. It's not as if everyone does not already know-- SELINE --Enough Adriana. This is more than painful, without such reminders.... Seline wails as a contraction hits her. ANGLE LACROIX; he is concerned. ADRIANA You must push, Seline. Seline's breathing is rapid and shallow as the birthing process continues. SELINE I'm trying.... Seline SCREAMS louder. ADRIANA That's it....here it comes. We hear the SCREAM from a baby. ANGLE LACROIX; he is a father. He tries to get a better look in the room, but he does not want to be discovered. SELINE Adriana....a girl or a boy? ADRIANA It is a girl. ANGLE SELINE; slight disappointment. ADRIANA (CONT) (re; disappointment) Seline? SELINE I was wishing for a boy. ADRIANA He would still not acknowledge it. SELINE You don't know that. Adriana hands the baby girl to Seline. ANGLE LACROIX; he wants to see his child, but he cannot. He must watch from the shadows. ADRIANA What will you call her? SELINE Divia. LACROIX (sotto) My daughter. On LC, we, DISSOLVE BACK TO: INT. LC'S LIVING ROOM - PRESENT - CONTINUOUS LaCroix looks down at his hand, which is holding Divia's cameo. He takes a deep breath, and then he carefully sets the cameo down on his desk. We hear another displaced WHOOSH of air, the blur goes past the frame, and again, he doesn't seem to be entirely aware of it. He frowns in the direction of where the blur was. Then, he stalks to the door and exits, SLAMMING the door on his way out. On this, we, CUT TO: EXT. SUBURBAN BACKYARD - DUSK SANDY, a young blonde girl, 12 or 13 years of age, is at a picnic table, painting. ANGLE MRS. NADINE WINSLOW, as she comes to the screen door at the back of the house. NADINE Sandy.....Sandy, put your things away. Dinner will be ready in a minute. SANDY Okay, Mom. Sandy begins to put her things away. In a whir of air and confusion, a darkly clad figure swoops down from out of nowhere, and grabs Sandy from behind. We are shooting from the darkly clad figure's POV as we see Sandy try to scream. She never utters a sound, as the figure covers her mouth, and pulls her head to the side, exposing her neck. In a moment, the figure is gone, and Sandy's body falls to the ground. Sandy's mother comes to the door, and opens it, walking outside. NADINE Sandy, what is taking you so-- She sees the little girl on the ground, and we ANGLE NADINE as the horror of the sight hits her. She SCREAMS. Off her scream, we, SMASH CUT TO: MAIN TITLES EXT. SUBURBAN BACKYARD - NIGHT DETECTIVE NICK KNIGHT, along with DETECTIVE JEFFREY PLATT enter the now taped off crime scene. We see Nadine Winslow, and her husband, MR. TOM WINSLOW, sitting on the edge of the picnic table, facing away from the covered body on the grass. They are visibly upset and shaken, and they are being questioned by a uniformed cop. Platt stops off to question the parents. Nick walks by and heads toward the body. A woman is leaning over the body, examining it. KNIGHT What have you got, Nat? The woman stands and turns, and we REVEAL DR. NATALIE LAMBERT. NATALIE Sandy Winslow, thirteen years of age.... She leans into Nick, so only he can hear. NATALIE (CONT) Exsanguination is the apparent cause of death. ANGLE KNIGHT; uh-oh. They hold a look. He bends down and removes the cover off the body. ANGLE NICK; the girl beares a striking resemblance to Divia. He looks at her neck, and the two small puncture marks. NATALIE (CONT) There's more.... He stands, and she hands him a matchbook. INSERT; matchbook from the Raven. He looks up at her sharply, in question. NATALIE (CONT) It was in the victim's hand. KNIGHT Anyone else know about it? Natalie shakes her head. He slips the matches into his pocket. NATALIE Nick...that's evidence from a crime scene. KNIGHT Just let me make some inquiries quietly first. I'll get back to you. Natalie just rolls her eyes. On his hasty exit, we, CUT TO: EXT. RAVEN - NIGHT A lot of people are going in and coming out. It's busy, and we, CUT TO: end part 01/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. SOUNDBOOTH - NIGHT LaCroix is preparing his stint as the Nightcrawler, when he is suddenly hit with a terrible sensation. He sits quickly down in his chair. On LaCroix, we see the images of his mind, INTERCUT with images of him in the moment; MONTAGE OF IMAGES A. Sandy Winslow painting a picture. B. A blur of motion, the girl is overpowered by a presence. C. Sandy Winslow is drained and falls to the ground. D. Nadine Winslow discovers the body and screams. BACK TO LACROIX in the Soundbooth. His breathing is heavy and he looks pale. Where did those images come from? CUT TO: INT. RAVEN - NIGHT It's loud, dark, smoke filled, and the booming beat of music is pelting the establishment. Nick enters and makes his way toward the bar. He spots MAURICE behind the bar. They hold a look and a smile and Nick raises his eyebrows in question. Maurice nods toward the end of the bar, and we FOLLOW his gaze. CLOSE on JANETTE DUCHARME, sitting on a barstool, sipping a glass of blood. She looks over at Nick, and smiles, sorta. Nick walks over and kisses her on the cheek. JANETTE Well, to what do we owe such an honoured and unannounced visit? KNIGHT Can't I just come by to say hello? JANETTE Of course you can Nicolas, but you never do. They hold a long look. He knows she's right. He has a tendency to only show up when he needs something, and this time is no different. He looks away, then back at her. KNIGHT I need to speak with him. Janette looks back toward the Soundbooth. Nick smiles and starts past her, she grabs his sleeve. JANETTE Something has been bothering him, Nicolas, please tread lightly. KNIGHT Nothing ever truly bothers LaCroix, Janette. He just enjoys making it appear as though he's irritated. Janette glares at him, seriously. Nick sort of laughs it off and we FOLLOW him down a hallway. He stops in front of the door to the Soundbooth. LaCroix looks up at him and glares. Nick is slightly surprised by the glare. LaCroix slips a cd into a machine, hits a button, and then looks expectantly at Nick, who enters, INT. SOUNDBOOTH - CONTINUOUS Nick closes the door behind himself, and the two hold a long look. Shirley Bassey's version of "Somehow" is playing in the BG. LaCroix just waits for Nick to initiate the conversation. Nick decides the direct approach is best, and he dives right in. KNIGHT Where were you earlier tonight? LaCroix looks at him sharply. LACROIX Excuse me? KNIGHT Earlier tonight, where were you? LACROIX I heard you the first time, Nicholas. They glare at each other, for a long beat. KNIGHT LaCroix, we can do this the easy way, or we can do it the hard way. I'd prefer the former. Where were you? LaCroix glares at his son. LACROIX If you must know, I was upstairs. KNIGHT Can anyone corroborate that? LACROIX I beg your pardon? KNIGHT There was a murder earlier-- LACROIX --I do not see what that has to do with me. KNIGHT The....victim was drained by one of our kind. ANGLE LACROIX; the perfect picture of calm and ease, but he's wondering if this is related to the images that hit him. KNIGHT (CONT) You don't seem surprised. LACROIX One of our kind killed a mortal. What's so surprising about that? KNIGHT One of our kind killed, LaCroix, and left the body of the thirteen year old girl where her parents would find her, drained and with bite marks. ANGLE LACROIX; it is as the images in his mind. LaCroix just looks at Nick, and says nothing. Nick debates whether to mention that the girl resembles Divia. He decides not, and pulls the matchbook out of his pocket and hands it to LaCroix. KNIGHT (CONT) The child was holding this in her hand. LaCroix looks at The Raven matchbook. He looks back up at Nick. LACROIX So? KNIGHT So, I want to know what you know about this, LaCroix. LaCroix flings the matchbook back at Nick and moves back around his console. LACROIX I don't know anything about it, Nicholas. Now if you will excuse me, I have other things with which to occupy my time. Nick steps in, toward the console, very close to LaCroix. KNIGHT You've lied plenty of times before. LaCroix just smiles at him, and says nothing. KNIGHT (CONT) If I find that you had anything to do with this, I'll-- In a sudden move, LaCroix grabs Nick's hand, hard, making Knight wince. They stare at each other. LACROIX Don't threaten me, Nicholas. LaCroix tosses the hand down, and Nick cradles it, frowning at LaCroix. It was the last thing he had expected. After a moment, LaCroix turns his attention to the cd situation. Nick stares another moment, then slowly and quietly, exits. We FOLLOW him back out to the bar, and Janette. JANETTE Nicolas? What happened? KNIGHT He almost broke my hand. JANETTE I told you to be careful. (beat) He's been rather touchy lately. Don't say I didn't try to warn you. Nick looks back toward the Soundbooth. JANETTE (CONT) Nicolas, leave it alone. Whatever is bothering him, I'm sure he'll deal with it. He looks at her; does she know more than she is telling? KNIGHT I can't leave this alone. (off her look) There was a murder, Janette. One of our kind has involved not only me, but the mortals. I think LaCroix knows who did it, or worse-- JANETTE --Don't be ridiculous. He wouldn't just leave a body out where the police would find it. KNIGHT Not unless he's playing another one of his sick games to try and get to me. JANETTE It's always about you, isn't it? KNIGHT The victim looks so much like-- He looks away. JANETTE Like? KNIGHT Divia. On Janette's frown, we, CUT TO: end part 02/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. MORGUE - NIGHT Natalie has just finished the autopsy on Sandy Winslow. She is visibly upset by the experience as she slams her equipment down. Nick enters. KNIGHT Nat, what's wrong? NATALIE What's right? (beat) Why a thirteen year old child? (beat) Did you find anything out at the Raven? KNIGHT I'm afraid not. LaCroix was not very cooperative. NATALIE LaCroix? Why did you question him? Why not Maurice, or Janette or somebody? Nick walks over to the body, and looks once again at the face. KNIGHT (covering) I don't know, I guess I just thought he might know something. ANGLE NATALIE; there's more than meets the eye here, but for the moment, she'll let it go. NATALIE Okay.....so now what? KNIGHT Investigate it like we would any other murder, I guess. NATALIE And my report on the cause of death? KNIGHT Can you stall? NATALIE I suppose, but not for long, Nick. It wouldn't be fair to the family. Nick nods, distractedly. On the face of Sandy Winslow, we, CUT TO: INT. LC'S APARTMENT - NIGHT LaCroix is standing with his back to Janette in the living room. A heated argument is in progress. JANETTE Tell me what is going on. LACROIX Nothing is going on. JANETTE Don't lie to me. I can sense your anger, LaCroix, your..... (nickel drops) =2E....confusion? He whirls around, his eyes golden orbs of anger. He snarls at her, getting very close. LACROIX It would be in your best interest to drop this, Janette. I promise you. She looks a little taken aback by his anger, but presses forward anyway. JANETTE (concerned) Something is wrong. What? Disais-moi, si vous pl=E2it. LACROIX I've already told you that there is nothing wrong. JANETTE This is about her isn't it? (off a glare) This is about your mortal daughter. ANGLE LACROIX; absolute anger that Janette has hit it on the head. JANETTE (CONT) Nicolas told me about the mortal who was killed tonight, and how much she resembles her-- ANGLE LACROIX; what? He steps threateningly close to Janette. LACROIX --What do you mean? ANGLE JANETTE; uh-oh, he didn't know. JANETTE Surely he told you. ANGLE LACROIX; No, he did not, but the images he saw in his mind are now even more disturbing. LACROIX (re; Nick) That's why he came to me. (louder) Damn him. He looks sharply at her. He can't stand the fact that she knows. LaCroix can't stand for anyone to get too close to him, and more importantly, his feelings. LACROIX (CONT) And damn you. LaCroix exits quickly. ANGLE JANETTE; his zing had the appropriate effect, she's hurt. On this, we, CUT TO: INT. MORGUE - NIGHT It's the wee hours of the morning, and there's no one around. Nat is gone for the evening, and the lights are mostly out, save for one at the end of the room, which is always left on. We hear a displaced WHOOSH of air. LaCroix lands next to the table upon which Sandy Winslow's body is lying. ANGLE LACROIX; this normally sure being looks very unsure, as several emotions play across his face. He reaches out for the sheet that is covering the girl's body, and he gingerly pulls it back, uncovering her face. He involuntarily pulls a sharp intake of air as he sees the resemblance. ANGLE LACROIX; it's quite striking. On LaCroix, we, DISSOLVE TO: INT. ROMAN DWELLING - POMPEII 67 A.D. - NIGHT This room is the Roman version of a nursery. There are several archways leading from this room into other corridors and parts of the dwelling. We see a shadowy figure slip back a bit in one of them. Seline is holding a baby girl, rocking her. The baby is CRYING. SELINE Shhh....don't worry little one. Someday you will meet your father. He cannot ignore you forever.... The baby stops crying. She sets the child down in a crib, smiles at her and exits. From an archway, LaCroix quietly slips into the room, and over to the crib. He stares down, at the infant's face, and he smiles in spite of himself. He looks around, as though he were about to do something that he should not. Somewhat tentatively, he leans down into the crib and lifts the child. The baby makes a few gurgling noises, because he's not holding her properly. He frowns. The baby frowns. He glares at her, not really meaning to, but the baby begins to WAIL again. LaCroix looks quite startled. He looks from the archway through which Seline exited, to the baby; back and forth. LACROIX (nervous) Shh.....hush....oh dear. He is still holding the child in a most uncomfortable position. The baby's SCREAMS are increasing. He finally pulls the child up, into his arms, and she begins to quiet. As she settles into him, he gently rocks her, and a smile appears on his face, in spite of it all. The baby begins to COO. LACROIX (CONT) (sotto to baby) It is best that we keep these little midnight visits quiet. We wouldn't want your mother to get the wrong idea. He rocks her and she smiles up at him. He cannot help but be entranced by the small life which he helped to create. So much destruction in his life, and yet, here, in his arms, a small piece of eternity. His child. He's already completely, and hopelessly in love with her. He gently kisses her forehead. On this, we, DISSOLVE BACK TO: INT. MORGUE - PRESENT - CONTINUOUS CLOSE on LaCroix. His eyes are clouded with tears, yet not one dares to fall. He draws an uneven breath, as he continues to stare at the girl before him. It is difficult to tell if his reaction is all in the past, or if there is something from the present haunting him. Guilt perhaps? Tenderly, he reaches out and brushes back a lock of blonde hair from the girl's face. LACROIX I am sorry, little one. On this, we, =46ADE OUT: END ACT ONE end part 03/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com ACT TWO =46ADE IN: INT. LACROIX' BEDROOM - DAY He is tossing in his bed. On LaCroix, we see the images in his DREAM; LACROIX' DREAM EXT. PARKING LOT - NIGHT A small, blonde woman walks to her car. The woman looks small and petite, almost like a child. The Parking lot is deserted, save for a few cars parked around. The woman frowns and looks over her shoulder, nothing there. We hear nothing. The woman reaches her car, and as she puts her key in the door, she is hit from behind by a blur of black. On the woman's SCREAM, we, CUT TO: INT. JANETTE'S BEDROOM - DAY Janette is asleep in her bed. From another room we hear LaCroix YELL in his sleep. LACROIX (O.C.) No.....Divia! No..... Janette's eyes open quickly, as she hears him. She gets up and we FOLLOW her out of her bedroom, through a hallway, another door, and into, INT. LC'S BEDROOM - CONTINUOUS LaCroix is still YELLING, AD LIB, Janette goes to him and shakes him. JANETTE LaCroix....LaCroix, wake up! Mon p=E8re, wake up. His eyes snap open, and he stares at her. The fear in his icy blue eyes is apparent for only a split second, then it is gone. She tenderly strokes his forehead, trying to calm him. He glares at Janette. LACROIX What? JANETTE You were having a bad dream-- LACROIX --I do not dream. They hold a long look. He glares at her. She adjusts his covers, then slowly, Janette gets up from the bed, and quietly walks out, leaving the door slightly ajar. LaCroix lets out an uneven sigh. He stares at the ceiling for a moment, then he throws back the covers and gets out of bed. There will be no more sleep today. On this, we, CUT TO: INT. JANETTE'S BEDROOM - LATER Janette is sitting at her desk. She is staring out the window. We can hear PACING on a wood floor off in the distance. We FOLLOW her through the Hallway, until she is standing just outside LaCroix' bedroom door, which is ajar. JANETTE'S POV; LaCroix is pacing around in his bedroom. Janette glances in the direction of his pacing and sighs. She can't help him if he won't even talk to her. She knows it's about Divia, and wants to help him, but her hands are tied. On Janette, we, CUT TO: EXT. PRECINCT - NIGHT Establishing stock of place and time. CUT TO: INT. PRECINCT - NIGHT Platt is sitting at his desk, Nick is leaning on Platt's desk. PLATT I don't get this. I've interviewed the whole damned neighbourhood and nobody saw a damned thing. How can that be? A little girl is paintin' in her backyard, somebody comes in, kills her, and nobody sees or hears a freakin' thing. Not even her parents. Nothing. Not a god dam-- KNIGHT --Jeffrey, calm down. Platt glares. PLATT How can you be so cool about this? We've got crap, nothing, nada.... A little thirteen year old girl is dead, Nick. Don't you have any damned feelings about that? Nick reaches for Jeffrey's shoulder, but Platt jerks away, gets up and walks out, glaring the whole way. KNIGHT Jeffrey..... He's gone. CAPTAIN JOE REESE enters. REESE Knight, get in here. We FOLLOW Nick as he heads into, INT. REESE'S OFFICE - CONTINUOUS Reese is pacing behind his desk. Nick enters and closes the door. REESE Where the hell did your partner go? KNIGHT I don't know, Cap, he just-- REESE --Can't anybody just do his damned job around here? I've got a stack of unsolved cases, some kind of parade blocking up my streets, and the Crown wants to know why we haven't caught the perp who killed Sandy Winslow yet. Then there's always the duty of finding a place to host the annual precinct party. And do you know that Dr. Lambert still hasn't filed her report? Reese finally looks at Knight, who is just staring at him. Reese looks away. REESE (CONT) Damn....sorry. KNIGHT It's okay. This case seems to have put everyone's nerves on edge. REESE Murder is always a crappy thing, but when it happens to a child.... KNIGHT Why don't I go see what's keeping Nat's report? REESE I was hoping you'd volunteer. Knight starts out. REESE (CONT) And Nick, I want this guy. On a slab. ANGLE NICK; and if it's LaCroix? Nick smiles weakly at Reese and exits. Off Reese, we, CUT TO: INT. MORGUE - NIGHT Nat is at her desk, doing paperwork. Nick enters. KNIGHT Reese is wondering about the report on Sandy Winslow. NATALIE So am I. Nick looks away. KNIGHT Sorry, Nat..... NATALIE Let me write the report and turn it in. KNIGHT And what are you going to say? NATALIE That she died of exsanguination from an unknown cause. KNIGHT And the bite marks? NATALIE I've covered for the Community before, though I'm not very happy about it. KNIGHT I know. He leans into her and kisses her cheek. KNIGHT (CONT) Thanks Nat. NATALIE You owe me. KNIGHT I'm sure you'll think of a way to collect. He smiles and exits. NATALIE You can count on it. On Nat, we, CUT TO: end part 04/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. PRECINCT - NIGHT Knight and Platt are sitting at their desks. PLATT This is lame. KNIGHT Lame? PLATT We have no leads, Nick. Nothing. What if this wacko hits again? KNIGHT Let's hope that it was an isolated incident, Jeffrey-- Reese overhears Nick, as he enters. REESE --We no longer have an isolated incident, gentlemen. (off their looks) Parking lot, downtown. Same M.O. PLATT Great. KNIGHT Let's go. Off their exit, we, CUT TO: EXT. PARKING LOT - NIGHT Natalie is bent over the victim. Knight and Platt enter. KNIGHT Nat? NATALIE Bad news, Nick. KNIGHT Same as before? NATALIE Exactly. And, the victims, even though different in age, have a slight physical resemblance. Nick and Nat exchange a look. PLATT Looks like we have a serial killer on our hands. I'm gonna go check with the uniforms who first arrived on the scene, see what they know. Nick nods as Platt clears frame. KNIGHT (to Nat) Serial vampire is more like it. Neck wound? NATALIE Uh-huh. (beat) Nick, this isn't good. KNIGHT You're preaching to the choir here.... (beat) Anything else? NATALIE The victim was clutching this... Natalie hands Nick a shiny object. ANGLE NICK as his eyes open very wide in surprise. CLOSE on the object in Nick's hands: A silver sword pin, exactly like the one LaCroix used to wear. NATALIE (CONT) (re; his reaction) You recognize it? KNIGHT (long beat) It belongs to LaCroix. They hold a look. NATALIE And the plot thickens.... On Nick, we, CUT TO: INT. SOUNDBOOTH/RAVEN - NIGHT LaCroix is speaking into the microphone, and the Nightcrawler is on the air.... LACROIX There is an anonymous saying, gentle listeners; 'If there is anything better than to be loved, it is loving.' (beat) But what of the beings too weary of battles and games fought on this soil called love? What of them? The heart that has grown cold over time, having seen too much; any memory of what it once meant to love, having faded away, in a long forgotten corner, like an old family photograph. INTERCUT: EXT. TORONTO STREET - NIGHT Nick driving in the Caddy, listening to Daddy Dearest. LACROIX (CONT) (beat) I think these older beings usually know that love is nothing more than a delusion, handed down through the centuries by evil gnomes, who derive their own contemptuous pleasure in watching others suffer, all in the name of love. Let us never forget, my children, that love is a four letter word. It matters not what kind of love it is; be it romantic love, or the love of a father for a child. It is all the same. It is nothing more than the sham of some oversized troll, crouching under a bridge, pushing levers. Nick glares at the radio. LACROIX (CONT) And for the truly evolved, love is nothing more than a mere annoyance, to be swatted away like a fly, at the first buzz of an appearance. Here on Nightwatch, our motto is; It is better not to have loved and lost, than to have ever loved at all. Nick shakes his head and shuts off the radio. LaCroix sounds like he's going off the deep end. CUT TO: EXT. RAVEN - NIGHT Nick pulls up to the curb in the Caddy. CUT TO: INT. RAVEN - NIGHT Janette is sitting at the bar, Maurice is tending, Nick enters. He kisses Janette on the cheek. She smiles. He looks very serious. JANETTE Nicolas, this constant look of seriousness is very boring. They smile at each other. Nick looks down, then back at her again. KNIGHT How is LaCroix? JANETTE As opposed to what? KNIGHT Janette.... JANETTE Nicolas, we both know you did not come here because you are concerned for him. ANGLE NICK; true enough. KNIGHT There was another murder tonight. Another drained body, complete with bite marks from one of our kind. They hold a look. JANETTE What has this to do with him? Nick holds up the sword pin, and they again hold a look. KNIGHT Murder victim was holding it. (beat) It is his, isn't it? Janette takes the pin and looks at it, handing it back to him. JANETTE You will have to ask him. KNIGHT Janette-- JANETTE --Non, Nicolas. If you want to accuse him, go ahead, but I will not be involved in it. (beat) You never give him the benefit of the doubt. You never have. KNIGHT Janette, I have another dead mortal female, who looks a lot like Divia. First the matchbook, and now the pin. What am I to think? Nick slowly starts away, Janette grabs his sleeve and leans in, close. JANETTE (CONT) Nicolas, please, don't-- KNIGHT --I have to, Janette. (beat) Why are you being so overprotective all of a sudden? JANETTE Unlike you, I am worried about him. KNIGHT The one thing we'll never have to worry about with him, Janette, is his instinct for self-preservation. He exits. On Janette, we, CUT TO: end part 05/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. LC'S LIVING ROOM - NIGHT LaCroix is standing, ramrod straight, in front of the window, staring out. In his hand, he is holding Divia's cameo, absent mindedly stroking it. He frowns, as he senses Nicholas outside the door. We hear a KNOCK. LaCroix ignores it. We hear another KNOCK. LaCroix puts the cameo into his pocket, as Nick opens the door. Nick frowns as he sees LaCroix standing by the window. Nick closes the door. KNIGHT (re; knock) Have you gone deaf? LACROIX Selectively, perhaps. Nick frowns. LaCroix has not turned to face his son. Nick walks over toward LaCroix and stands right behind him. KNIGHT I believe I have something that belongs to you. As LaCroix turns to face Nick, the latter pulls the sword pin out of his pocket. LaCroix gently takes it from his son's hands. LACROIX It's been missing for a very long time. Where did you find it? KNIGHT At the scene of a murder. LaCroix looks up sharply, and they hold the look. LACROIX Are you telling me that you think I carelessly left it there for you to find? LaCroix laughs. It is a very hollow sound. Nick frowns. KNIGHT I'm asking you to tell me what happened, LaCroix. LaCroix stalks over to the bar, and pours himself a glass of blood. Another murder; is it the one he saw in his dream? KNIGHT (CONT) The first victim was a thirteen year old girl, killed in her own backyard. A Raven matchbook still clutched in her hand. The second victim was a twenty one year old female, killed in a parking lot. ANGLE LACROIX; uh-oh, it is like his dream. KNIGHT (CONT) Magically, she's holding your sword pin. There is no connection between the two victims, except for-- LACROIX --Except for me. KNIGHT Yes. LACROIX (smiling) So you're here to arrest me, Nicholas? Nick glares. KNIGHT If you want to get at me, LaCroix, then do so, but don't use mortals or risk our Community in this way. LaCroix studies his son. LACROIX If you think me guilty, Nicholas, then by all means, try and prove it. LaCroix smiles viciously. LACROIX (CONT) Not that I would allow you to play through with your little mortal farce. Not this time. The two men hold a long look. KNIGHT Tell me why the victims both look shockingly like Divia. LaCroix glares sharply at Nicholas, and speaks through gritted teeth. LACROIX I have no idea. Nick softens as he sees the flicker of intense hurt in the icy blue eyes, and he takes a tentative step toward his father. KNIGHT I didn't say it to hurt you. I only want to get to the truth. LACROIX (sneers) The truth, Nicholas? You seem to have already made up your mind that I am guilty. KNIGHT You haven't told me otherwise. LaCroix looks very intensely into Nick's eyes. His gaze never reflects any emotion, but his voice is very thick when he speaks. LACROIX I shouldn't have to. ANGLE NICK; he remembers well the pain he saw on LaCroix' face, the night Divia died. The pain he sees now. On Nick, we, CUT TO: INT. NICK'S LOFT - NIGHT Nick and Natalie are in the kitchen. Nick sets the Raven matchbook and the sword pin in a kitchen drawer. Natalie is putting together some nasty concoction in the blender. Nick keeps looking at it, sneering unconsciously throughout their exchange. NATALIE Janette doesn't know anything about the murders? KNIGHT If she does, she's not telling. NATALIE You haven't told me everything, I can feel it. Nick looks away, then abruptly begins pacing. After several long beats, he speaks. KNIGHT Both victims look like Divia. NATALIE Oh my God..... KNIGHT LaCroix was very strange when I talked to him. He didn't deny it, or admit it. It was almost as if he didn't know himself. (beat) If he's lost control, Nat.... Nick's voice trails off. NATALIE (dubious) You think he's gone serial on us, and is killing his daughter over and over? KNIGHT I don't know. The only thing I do know, is that if he's going off the deep end, I don't know how I'll stop him, short of-- His voice cuts out. He can't finish the thought. Nat goes to him and takes his hand in hers. Then she looks at him, smiling reassuringly. NATALIE Let's not get ahead of ourselves. First things first. Maybe we're missing something. I'll go back over the bodies and I'll measure the bite circumference. Maybe it isn't him. The hold a look; yeah, right. Natalie hands him the glass filled with the concoction from the blender. He makes a face. NATALIE (CONT) What are you, five? It won't bite. On Nick, who isn't so sure it won't bite, as he takes a sip we, MATCH CUT TO: CLOSE on LaCroix as he takes a sip from a wine glass. INT. LC'S LIVING ROOM - NIGHT LaCroix is sitting on the couch. On the coffee table in front of him, is an ancient cup made from pottery. The cup is decorated with a very faded painting of a large mountain; it looks as though it was done by a child. He is staring at the cup. Janette enters. They hold an uncomfortable look. He looks tired, drawn. She sits next to him. The silence in the room is very heavy. Janette gently picks up the cup, with a questioning look. JANETTE (re: cup) I've never seen this before. It looks very old. He glares at Janette. Her brow wrinkles. She'll have to try another tact to get him to open up. JANETTE (CONT) You've never told me about her, LaCroix. Please... He stands up abruptly. LACROIX There is nothing to tell. She is dead, end of story. JANETTE (beat) Nicolas never told me what happened. He always thought that you should be the one to tell me. LACROIX There is nothing relevant to tell. He glares at her. LACROIX (CONT) Good night, Janette. LaCroix takes the cup from her and exits. On Janette, we, CUT TO: EXT. RAVEN - NIGHT We are shooting from the blur's POV, as Maurice comes out of the alleyway door, and dumps a trash bag into the dumpster. Maurice looks around the alley, frowning. He senses something, but can't put a finger on it. He shakes his head and goes back inside. We FOLLOW this mystery person's POV up, toward the second floor apartments. On this, we, CUT TO: INT. LC'S BEDROOM - NIGHT LaCroix is pacing like a madman in his room. He has the cup in his hand. He looks very tense. The cameo, is sitting on his nightstand. He glares toward his window. He frowns. Tentatively, he walks over to the window, and opens it. He looks out, and sees nothing. He shakes his head at himself. He closes the window, and continues his pacing. On LaCroix, we, DISSOLVE TO: INT. SELINE'S HOUSE - POMPEII - 69 A.D. - DAY Seline is playing with a small child, Divia. There are some other women around the room. LaCroix watches from the doorway. After a few moments he walks into the room, startling Seline. LACROIX So, this is.........your daughter. Seline looks up, startled. SELINE Lucius, I was unaware that you had returned. LACROIX Indeed. Seline stands up, and cradles the child in her arms. LaCroix walks toward her, and Seline does not seem eager to hand him the girl. SELINE I was wondering how long you would wait before you came to pay your respects. He glares at her; she is not according him the proper regard due to a man of his position. He looks around at the other women, silently daring them to return his stare. They all look down. LACROIX Do not over step your bounds, Seline. Is it not enough that I am here, now? She just looks at him. He steps closer, still holding Seline's eyes. Finally he looks down at the child, and glares. It's a good show. LACROIX (CONT) Does the child have a name? SELINE Divia.......I did not think it appropriate to name her after... her father's family. They hold a knowing look. LACROIX A wise choice, I am sure. SELINE Would you like to hold her? LaCroix looks uncomfortable, and he quickly glances around the room, but all eyes are looking down or away. Seline hands him the child, who begins to CRY. He reluctantly takes her in his arms, and surprises Seline; first, by holding the girl properly, and second, when the child stops crying. Divia recognizes him. SELINE This is indeed odd, Lucius. She does not usually take to strangers. He leans in closer. LACROIX (sotto) One can always recognize family, Seline. Seline glares at him. On LaCroix' smile, we, DISSOLVE BACK TO: INT. LC'S BEDROOM - PRESENT - CONTINUOUS LaCroix shakes his head, and looks toward the window once more, frowning. He has an uneasy feeling. He looks down at the cup and frowns again. He almost feels as though he's sensing--but no, that's impossible. He lets out a sigh, and sets the cup down on the nightstand next to the cameo. He takes his jacket off and hangs it on a chair. We hear a soft KNOCK on his door. He sighs. It's Janette, he can sense her. He shakes his head. LACROIX What is it, Janette? The door opens, and tentatively, Janette enters, carrying a glass of blood. JANETTE I thought you might like a drink before you go to sleep. His look softens slightly, and he sighs. He takes the glass from her, and gently sets it on the nightstand. He can sense her great worry. She sees the cameo and cup, and they exchange a look. LACROIX There is no cause for concern. She looks at him; worry has taken over her features. She knows that he won't let her close; he isn't going to talk to her. He won't let her love him. There is nothing she can do, and she knows it. Silently, she exits. He senses the strange presence again, and he frowns. On LaCroix, looking worried himself, we, FADE OUT: END ACT TWO end part 06/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com ACT THREE =46ADE IN: INT. OFFICE - NIGHT A SECRETARY prepares to leave for the day. She is young, blonde, and looks a little like you-know-who. The door opens and in a whir of motion and wind, a dark streak flies in, and the Secretary is a dead body within seconds. On the dead Secretary, we, CUT TO: INT. RAVEN - NIGHT Janette is sitting at the bar. LaCroix is standing nearby, looking distracted. Janette and Maurice both look at the Ancient, and then they exchange a look of worry between them. Janette leans into LaCroix, lightly touching his hand. JANETTE LaCroix? LACROIX (distracted) Hmmm? JANETTE Are you all right? LACROIX Yes. Janette and Maurice exchange another look, as she moves away from LaCroix. ANGLE LACROIX and INTERCUT images from the Office murder. He's seeing it through someone else's eyes. LaCroix frowns and sits down quickly. He felt her. It had to be her. He looks as though a train just ran over him. Janette is concerned and goes to his side, gently stroking his shoulders with her hand. JANETTE Mon p=E8re......what is it? LaCroix quickly puts his stoic mask in place, his eyes, hooded. He looks casually at her. LACROIX Nothing. Merely a passing.... =2E..thought. Janette gives him a dubious look. He looks away, and shrugs her hand off of his back. ANGLE LACROIX; he closes his eyes, as he looks away. Something is indeed wrong. Very wrong. On this, we, CUT TO: INT. OFFICE - NIGHT People zooming all around. Police tape and uniforms. Reese is talking with Platt AD LIB in BG, and Nick is talking with Natalie. KNIGHT Don't tell me, let me guess. NATALIE If you guessed blonde, small, looks like someone else you knew, you'd be right. KNIGHT Drained, with bite marks in the neck. NATALIE Right. Natalie hands him a piece of paper. He carefully looks at it, and frowns. CLOSE on the piece of paper. Written in blood are the following words: "In nomine Pater". ANGLE NICK; it is looking worse and worse for LaCroix. He and Nat exchange a look. NATALIE (CONT) I'm afraid that I didn't get first crack at that note, so you can't just lose it like the matches and the pin. (beat, re; note) What does it mean? KNIGHT "In nomine Pater"....In the name of the father. They hold an intense look. NATALIE (beat) Nick.....he's out of control. KNIGHT (defensive) You don't know that.... NATALIE We both know it. How much more evidence do we have to make disappear? Natalie's voice is becoming a little loud, and Nick looks around to see if anyone noticed; but no one appears to have. He leans back into Nat. KNIGHT Janette says he's been acting odd lately. What if his mind has...... His voice trails off, unable to finish the thought. Nat rolls her eyes. NATALIE Right; he kills somebody to get your attention, and you're worried about him? (beat, resolute) I'm not covering up anymore, Nick. No more. Not for him. Nick looks at Nat; he is struggling with his emotions. He is very worried about LaCroix. KNIGHT And if I snap someday, Nat? Are you just going to turn your back on me, like you're asking me to do to him? On Nat thinking about it, we, CUT TO: EXT. TORONTO STREET - NIGHT Nick is driving in the Caddy, the Nightcrawler's voice fills the car. LACROIX (V.O.) The world in which we live, is governed more by appearances than realities, my children. It makes truly knowing, feel as though it were always just beyond our grasp. And what of the truths that we do know? When our own senses of what must be, begin to fail us, where do we turn? Sometimes it is quite necessary for us to look outside of the possible and even the probable to see reality beyond illusion. (beat) Discovering where doubt ends, and trust begins; that, gentle listener, is the real issue that plagues you. Do you trust what you see? Or do you trust your senses, and those truths that you have always known? (beat) A man must sometime stand alone with his convictions, as others see only what their eyes show them. And think how lonely a place it is for those who cannot share their fears and their doubts with anyone. How lonely is it for those who must shoulder their losses and their regrets quietly, in the shadows of the darkest night? The lion among us, who cannot let even those closest to him into his heart, because he no longer believes in the existence of love. He cannot trust anyone with his hopes, dreams, fears or secrets. What loneliness is more lonely than distrust? Nick stares at the radio. He pulls out his cellphone, and dials a number, th= en, KNIGHT Janette, it's me..... (beat) Yes, I've had it on.....Keep him there. I'm on my way. He tosses the phone to the seat, and speeds up the car. On this, we, CUT TO: end part 07/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. RAVEN - NIGHT Janette is near the bar, and is just hanging up the phone, when LaCroix comes whizzing through from the Soundbooth, and he has a coat on. Janette gently touches his sleeve, he turns and glares at her. JANETTE Where are you going? LACROIX Out. JANETTE LaCroix, I need to speak with you, alone. LACROIX Later. JANETTE Non, now. He glares at her hand, and she removes it. He gestures toward the Soundbooth, and we FOLLOW them back through the club, and into, INT. SOUNDBOOTH - CONTINUOUS Janette walks in, and he follows her, closing the door. He stands as still as a statue, just inside the door. She just stares at him, he loses patience. LACROIX Well Janette, I am waiting. JANETTE I am very worried about you. LACROIX So you have said. He studies her and frowns. She's stalling. He smiles at her. LACROIX (CONT) You're a very naughty girl, Janette, trying to keep me here until Nicholas arrives. He walks threateningly close and plays with her hair. His anger has slightly tinged his eyes. She looks frightened. LACROIX (CONT) You both think I killed the mortals. How....comforting. He leans in and lightly kisses her mouth; she is still scared. Then, he turns abruptly and exits. Janette exhales a huge sigh of relief, on this, we, CUT TO: EXT. RAVEN - NIGHT Nick pulls up to the curb in the Caddy, on this, we, CUT TO: INT. RAVEN - NIGHT Janette is standing at the bar. Nick enters and makes a beeline for her, through the crowd. JANETTE He is not here. Nick looks at her. KNIGHT Janette-- JANETTE --I did what I could, but he knew. (beat) He believes that we both think him gulity. KNIGHT You say that as though you think it bothers him. JANETTE (admonishing) Use your vampiric senses, Nicolas. What do they tell you? ANGLE NICK; he frowns as he senses LaCroix' emotions, which are rather raw. He looks at Janette. KNIGHT (surprised) He isn't completely blocking us out..... JANETTE He is too upset. And, I think he is concentrating very hard on something else. KNIGHT Divia? (off a nod) But that's impossible. She's dead. JANETTE I think it is time that you tell me everything you know, Nicolas. He makes a face. JANETTE (CONT) For LaCroix' sake, you must. On Nick, knowing it's true, we, CUT TO: EXT. PARK BY LAKE - NIGHT Shirley Bassey's "There's No Such Thing As Love" is playing while LaCroix is slowly walking by the water. His hands are in his pockets, and his head is down. He looks sad and forlorn; and worse, utterly alone. There are only three things that this being fears, and absolute loneliness is one. On LaCroix, we, DISSOLVE TO: MONTAGE OF LACROIX' THOUGHTS The Music continues. A. LaCroix holding Divia as a child. B. Divia makes him cover his eyes. She holds out a cup made of pottery, that has a child's rendition of Vesuvius painted on it. We recognize it as the new version of the ancient cup we saw earlier. She giggles, and he opens his eyes. Upon seeing the cup, he takes it from her and examines it, smiling at her. Holding the cup in one hand, he wraps his arm around Divia with the other, pulling her to him. He holds the child, who has grabbed him by the neck, and he kisses her on the head. C. Divia, around seven years of age, is building a Roman version of a sand castle on the beach. LaCroix walks up behind her and smiles. She turns, and when she sees him, she runs to him, throwing her arms around him. He picks her up and kisses her. He holds her in one arm, and they chatter about the sandcastle. D. LaCroix smiles and holds his arms out to his daughter, now 12 or so; she smiles and turns away from him. He frowns. E. Vesuvius has erupted, and Divia puts the bite on LaCroix. F. An ancient Egyptian tomb, LaCroix grabs a scythe, turns, and beheads his own child. G. Nick stakes Divia, who calls out for LaCroix as she dies. H. LaCroix lights Divia's wrapped body on fire. DISSOLVE BACK TO: EXT. PARK BY LAKE - CONTINUOUS LaCroix is leaning on a railing for support. His eyes are shut. The song finishes, and we hear a WHOOSH of displaced air. LaCroix turns, but sees nothing. He glares, he knows he sensed one of his kind. Maybe he is cracking up. On LaCroix, haunted, we, CUT TO: INT. RAVEN - NIGHT Nick has finished telling Janette what he knows, and her eyes are misty. She frowns at Knight. KNIGHT He burned her body to ashes that night. It's one of the few times I've ever seen him show his pain. And even then, it was...controlled. JANETTE My heart grieves for him, Nicolas. KNIGHT It's not a wonder that he's finally going over the edge. I don't think he's ever allowed himself to grieve. Not really. JANETTE So you think that these murders are an expression of his grief? (beat) I cannot accept this as truth. KNIGHT Janette, you live with him. You should have some idea. JANETTE (beat, guilty) I don't know. He does not sleep anymore. Even the drain of day on our kind is not enough to make him rest. He's been having dreams. I can sense some of them, but mostly all I can feel is his turmoil. KNIGHT He knows more than he's told us. I'm certain of that. JANETTE Then one thing, at least, has not changed. On Janette, we, CUT TO: INT. MORGUE - NIGHT Natalie is measuring the wounds in the necks of the victims. She notates the sizes on a chart nearby. We hear a displaced WHOOSH, and then we CLOSE on an elegant male hand, as it touches Natalie's shoulder. She SCREAMS, jumps and turns around, and finds herself staring into the face of LaCroix. NATALIE (alarmed) What are you doing here? LACROIX I thought if I was to take the blame, that I should at least see the evidence first hand. He walks past her, and looks at the three dead bodies, lying on the tables. He is fighting an emotion that is threatening to appear on his face. He inspects the neck wounds of one, and he frowns. A very small bite circumference. He turns to Natalie, who is staring at him warily. LACROIX (CONT) Have you measured these marks? NATALIE That's what I was doing when you barged in..... He raises an eyebrow at her. NATALIE (CONT) (nonchalant) Nick know you're here? LaCroix smiles dangerously at her. LACROIX No.... She moves a little further away from him. He smiles again. LACROIX (CONT) I do assure you Doctor Lambert, if it was harm I had intended, it would already have been inflicted. NATALIE Don't take it personally, but I'd really appreciate it, if you'd mosey along, and let me get back to work. He glares at her. LACROIX When I'm ready. You said you've measured; what did you discover? NATALIE I haven't finished, but the circumference of the bite seems fairly small. LACROIX Indeed. Natalie decides to fight fire with fire. NATALIE I don't suppose you'd be willing to give me a circumference sample, would you? It backfires; LaCroix smiles evilly. LACROIX Certainly, but how will you measure your own neck, Doctor? She steps further away from him. He laughs. LACROIX (CONT) I take it that is not what you had in mind? NATALIE You know damn well it isn't. Natalie turns to reach for a dental impression pad, but before she can turn again, he is standing right behind her, breathing on her neck. She pulls in a sharp intake of air, and she's trembling. NATALIE (CONT) C-could you give me a little space here? LaCroix ever so gently, moves her hair, exposing her neck. Natalie looks absolutely terrified. NATALIE (CONT) Please, don't.... He smiles, as he places a very soft, chaste kiss on her neck. LACROIX How little do they see what is, who frame their hasty judgments upon that which seems to be. (beat) Remember that things are not always as they appear, Dr. Lambert. In a blast of displaced air, he is gone. Natalie closes her eyes, she is trembling. He scared her to death. On Nat, we, CUT TO: end part 08/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. MORGUE - LATER Natalie is still trembling. She is sitting at her desk, her head in her hands. We hear a displaced WHOOSH, and a hand reaches into frame, touching her shoulder. She SCREAMS and turns to see Nick. He pulls her into his arms, comforting her. KNIGHT I'm sorry. I got here as soon as I could. What happened? She pulls away from him and sits back down. He sits on the edge of her desk, right next to her. NATALIE He was here. KNIGHT Who was here? (nickel drops) LaCroix? LaCroix was here? He looks alarmed. KNIGHT (CONT) Are you okay? Did he hurt you? NATALIE I'm fine. He just scared the crap out of me. Nick studies her. KNIGHT Nat.....did he...? NATALIE Put the whammy on me? No, I don't think so. But he did get his point across, very dramatically I might add. Nick looks confused, but waits for her to continue. NATALIE (CONT) Contrary to what we may have thought, he seems very much in control of himself, Nick. If he wasn't, I'd be lying on one of those tables right now. (off a look) Don't ask. Besides, the circumference of the bite is too small for it to be him. Of course, it would be better to have a sample of his bite to compare it with, but I don't think I'm going to ask for that again. It has to be somebody with a much smaller mouth. ANGLE NICK; complete relief. KNIGHT A woman? NATALIE Probably. Got somebody in mind? KNIGHT I don't know...... NATALIE You think he's covering for someone. KNIGHT Maybe..... NATALIE Well, this is just becoming as clear as mud. KNIGHT One step at a time, Nat. Let me try and stop us from having any more bodies added to the collection, and then I'll think of some way for us to close it all out, officially. On Nick's exit, we, CUT TO: EXT. RAVEN - PREDAWN LaCroix is about to walk in the door, when he senses that ever annoying presence again. He turns and looks along the streets, nothing. Not a soul in sight. He sighs and looks down. He walks into, INT. RAVEN - CONTINUOUS Janette is sitting alone at the bar, sipping a glass of bloodwine, obviously waiting for him. He sees her and glares as he approaches. LACROIX Did Nicholas ask you to write down my comings and goings? JANETTE You know, I'm really becoming bored with this game-- She stops as she gets a good look at him. He looks very tired and pale; more than that, weary. Weary of life, perhaps. She frowns and reaches for his face, but he jerks out of her reach, glaring. LACROIX I'm going to bed. He starts out, but her voice stops him. JANETTE What for? It is not as though you are actually going to sleep. He turns, and slight surprise registers on his face. JANETTE (CONT) I can still sense you, LaCroix. I know how....upset you've been. He looks down, and after a beat, he slowly walks over to her. LACROIX I can feel your concern, but I'm telling you that there is no reason for it. You will have to trust me, Janette. He turns again, and this time, she catches his hand in hers. He glares and pulls it away. They hold a look. She searches his eyes for a clue, but can find none. He can see the great worry in her eyes: A worry that he has put there. He softens, albeit, only slightly. He lightly touches his hand to the side of her face. LACROIX (CONT) Tu ne tracasses pas, m'amoureuse enfante. Je vais bien. (beat) Comprends? Janette nods, and he responds by lightly kissing her forehead. LACROIX (CONT) Tr=E9s bien. Alors, ils a finit. He abruptly turns his back on her and exits. Janette's arm instinctively reaches for him, but it's too late, he's gone. On Janette, we, CUT TO: INT. LC'S BEDROOM - DAY LaCroix is in a restless sleep. We CLOSE on his face, as we listen in to his thoughts.... DIVIA (V.O.) =46ather...please don't let me die... =46ather.....? LaCroix begins to breathe harder in his sleep. DIVIA (V.O. CONT) Come to me, Lucius, do as I say. LACROIX (moaning) No....... DIVIA (V.O.) (crying) =46ather...... LACROIX Divia...... KNIGHT (V.O.) No. LACROIX Divia.... KNIGHT (V.O.) NO! LaCroix bolts up, straight, and he looks as though he is seeing a ghost. LACROIX' POV; Divia is standing by his bed, staring at him. He blinks his eyes, and then she is gone. He throws back the covers, putting his feet on the floor. He is breathing hard still, from the upsetting images lingering in his mind. He leans his elbows on his knees and cradles his head in his hands. The door to his bedroom opens and Janette enters. She sees him on the bed, and goes immediately to him, sitting next to him. She puts her arm around his shoulders. JANETTE Mon p=E8re? It's all right... She tries to take him in her arms, but he snarls at her, fully vamped out. She quickly stands, backing away from his fury. LACROIX (growling) Leave me. She stares at him, his golden orbs tinging to red. She sees the fear in his eyes; he is afraid of the intimacy of his family; he doesn't want to feel the hurt anymore. What has brought it on, she does not know, but she will not back down. LACROIX (CONT) (furious) Leave me, Janette. JANETTE (whispers) Non. He stands up, snarling at her. LACROIX Do not make me do something you will regret. They hold a very long look. She knows that he is not going to hurt her, despite the threat behind the comment. After a few long beats, Janette takes his hand in both of hers, and never breaking eye contact with him, brings it up to her mouth. She gently kisses each of his fingers at the knuckle. Then, she lowers his hand, lovingly rubbing it. LaCroix' eyes come back first to golden, and then finally to blue. His face takes on a slight look of consternation. He can no longer trust himself. He is not only sensing things that are not there, but seeing them as well. JANETTE =C8coutes-moi: Tu es mon p=E8re, et je t'aime. (beat) I could not love you more, even if I were of your mortal flesh. Her eyes look searchingly into his, which have filled with moisture. He can beare no more. He walks away from her, toward the window, struggling for control. She can feel him mentally and emotionally pushing her away. She goes to him. JANETTE (CONT) Non, LaCroix, don't shut me out. Let me share this with you. He finally looks at her. LACROIX (harsh) It is too personal, and much too painful. (beat, softer) Please go. They hold a long look. Finally, Janette turns, and without another word, she exits. On LaCroix, we, =46ADE OUT: END ACT THREE end part 09 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com ACT FOUR FADE IN: INT. LC'S LIVING ROOM - DUSK LaCroix and Nick are in the middle of a heated argument. KNIGHT You're telling me you know nothing of these murders? ANGLE LACROIX; he looks slightly unsure of himself, which is most odd. Throughout the exchange, LaCroix is quiet, almost defeated. LACROIX I...don't know... Nick is oblivious to his father's clouded comment and tone. He thrusts the Latin note at LaCroix. KNIGHT What does this mean? LaCroix looks at the note, and his pale face turns ashen as the nickel drops. LACROIX In the name of the Father... KNIGHT I know that. Not the translation, LaCroix. The meaning behind it. (beat) You know who's committing these murders, I'm sure of it. Tell me. LaCroix looks at his son. LACROIX I cannot help you, Nicholas. LaCroix hands the note back to Nick. LACROIX (CONT) Please go. KNIGHT We're not finished with this, LaCroix. Nick slams the door on his exit. ANGLE LACROIX; he looks extremely distracted, and he swallows hard. On this, we, CUT TO: INT. PRECINCT - NIGHT Nick enters and is met at his desk by Reese. REESE Your partner just left, to go see if he could pick up a lead from the security guard at the office building where victim number three was found. (beat) I don't mind telling you, Nick. This one scares me. No clues, just dead bodies. KNIGHT Maybe the perp will get tired of our precinct. Reese looks strangely at his detective. It didn't come out right, Nick tries to clarify. KNIGHT (CONT) I just mean, maybe we won't have any more victims. REESE Yes, but we'll still have three unsolved cases sitting here. I want this nutbar caught and put away. KNIGHT I hear you, Cap. Reese exits. Nick looks at his watch and exits as well. On this, we, CUT TO: EXT. TORONTO STREET - NIGHT Nick is driving along in the caddy, listening to the NightCrawler. INTERCUT: INT. SOUNDBOOTH - NIGHT LaCroix is sitting at his console, breathing into his microphone. LACROIX Doubt is about as attractive as two trolls involved in their annual mating ritual. And yet, it fills the minds and hearts of many who walk this earth. Doubt is the killer, mes amis. For those of you who seek it, never fear; doubt will always find what scares you the most, and prey upon your psyche and the very fabric of your being with it. We know accurately, only when we know little; with knowledge, doubt enters. (beat) What do you doubt, my children? Do you doubt a friend's intentions, or a lover's fidelity? Maybe it is the actions of a family member you distrust; ask yourself, is my doubt based in fact and reality, or is it based upon heresay and appearance? (beat) Perhaps the worst doubt of them all comes in the form of self-doubt. It enters one's mind like an aggressive disease, growing one upon the other like bad cells. Self-doubt is the only true killer of us all. It stabs at the healthy like only a killer can, and it reduces them to a pitiful shell of what they once were, making them fear that which they always trusted: Their own judgment, their own mind. (beat) I believe it was George Iles who said: "Doubt is the beginning, not the end, of wisdom". (beat) I could not disagree more. LaCroix stabs a button on his console, and sits like dead weight in his chair. END INTERCUT: EXT. TORONTO STREET - NIGHT As LaCroix' monologue ends, Nick is at a stoplight. He senses a presence nearby. He looks toward the sidewalk, and sees nothing. As he looks back toward the front of his car, we go to NICK'S POV; Divia is standing on the hood of his car. But the apparition is gone as quickly as it had appeared. Nick is stunned. He swallows hard. Was it real, or not? Self-doubt, indeed. Either way, a possiblity now exists, regarding LaCroix' odd behaviour, and his apparent guilt. On Nick, we, CUT TO: INT. SOUNDBOOTH - NIGHT LaCroix is still sitting, unmoving in his chair. We hear a displaced WHOOSH of air, and he looks up. LACROIX' POV; DIVIA standing in front of him. He blinks, and she's still there. He frowns at her; how can she be real? She smiles dangerously at him, then she is gone. LaCroix looks to be on the brink of losing it now. He is starting to believe that he is going crazy. Maybe he did commit those murders and he just doesn't remember it. His mind can still sense her presence. He hones in on it. On LaCroix, we, DISSOLVE TO: end part 10 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. SELINE'S HOUSE - 75 A.D. - DAY LaCroix is sitting with several other men, chatting. There are several women around, some of them clinging to the men, some just standing around the outskirts of the room. A SERVANT enters at a run, and heads right for LaCroix. SERVANT General, General, come quickly-- LACROIX --What is the meaning of this intrusion? The servant is fearful, but plows ahead. SERVANT I'm sorry General, but there has been an accident. LaCroix stands up; he is alarmed, but he remains very outwardly cool. LACROIX What kind of accident? Come along, Antonius, tell me, quickly. SERVANT Seline's daughter, General. LaCroix does not want the men at the table to see him react, but inwardly, his stomach does a flip-flop. LACROIX Why do you tell me? SERVANT I was bade by my Mistress, to do so, General. (beat) She thought you might be of assistance..... LaCroix glares at the Servant. LACROIX Very well. Take me to them. (to men at table) Excuse me, gentleman. The men AD LIB comments, and LaCroix exits behind the Servant. We, CUT TO: EXT. FIELD - 75 A.D. POMPEII - DAY Seline is holding the eight year old Divia, who is wailing at the top of her lungs. She is crying for her father. Her leg is cut quite badly, and is bleeding. A Servant is holding a cloth to the girl's leg. LaCroix enters very quickly and goes to Seline and Divia. DIVIA (crying) Father.... LACROIX (to Seline) What happened? SELINE She was playing with some servant children, and fell, landing on a sharp scythe. She has cut her leg very badly. LaCroix kneels down and shoves the servant out of the way. He gently removes the cloth, causing the child to cry out. He frowns when she does; it hurts him more than it does her. LACROIX It's all right Divia. You'll be all right. He holds his arms out to Seline, indicating that he wants the child. She hesitates, he glares, she hands him Divia. The child grabs a hold of LaCroix around the neck, crying into his shoulder. He cuddles her tightly to him as he stands up. He whispers to her. LACROIX (CONT) Shhh, I'm here. Papa's here. On LaCroix holding his daughter very close, we, DISSOLVE BACK TO: INT. SOUNDBOOTH - PRESENT - CONTINUOUS LaCroix does not hear the door to the Soundbooth open, nor does he see Nick enter. Nick frowns as he closes the door. he walks over to LaCroix, and kneels down in front of his father's chair. He can sense that whatever memory LaCroix is reliving, it's a very emotional one. KNIGHT (gently) LaCroix? LaCroix comes out of his reverie, and he blinks away the slight moisture that has come to the corners of his eyes. He stares blankly at his son. Nick gently takes LaCroix' hand in his own. KNIGHT (CONT) I'm sorry I doubted you. I just didn't know what else to think. LaCroix slowly looks at Nick, and hears the words. LACROIX (whispers) I have begun to doubt my own mind, Nicholas. It's as if another's thoughts were becoming my own. (beat) She was here. KNIGHT Divia? You saw her? LaCroix nods, unsure of himself. KNIGHT (CONT) That's a relief... (off a sharp look) You're not the only one. LaCroix slams his eyes shut in abatement. When he reopens them, he looks slightly shaky. He grabs Nick's hand and squeezes it. LACROIX Until this moment, I've doubted it all. The things I have sensed, the images I have dreamed. I had even begun to wonder if I had indeed killed those women, and just couldn't remember......... LaCroix' emotional wall is finally caving in a little. Nick puts an arm around him and pulls him out of the chair. KNIGHT You need some rest. Come on.... LaCroix shakes himself loose from Nick's grip, as the two of them exit. We, CUT TO: end part 11 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@innocent.com INT. LC'S LIVING ROOM - NIGHT Nick is sitting on the couch. Janette enters and sits next to him. JANETTE He is asleep, but I don't know for how long. KNIGHT Why didn't he say something? To have shouldered this alone.... JANETTE Why are you so surprised? You know as well as I that LaCroix is not one to share his heart, much less admit to self-doubt or worse, fear. (off his nod) Do you really think she is alive? KNIGHT I don't know. I saw something. But whether it was real or not, I can't say. (beat) Natalie said the bite circumference is small, like that of a woman.... JANETTE Or a child? They hold a look. JANETTE (CONT) You said LaCroix burned her, Nicolas. How could she have regenerated? It is impossible. KNIGHT Until tonight, I would have agreed with you, but now............. (off her dubious look) Don't forget Janette, that Divia is an ancient of her own rank. She is older and more powerful than even LaCroix. I suspect that she has powers even he does not understand. (beat) And if she is alive, she won't stop until she gets what she wants. JANETTE LaCroix? KNIGHT (nods) LaCroix. As if on cue, a rather chilling and blood curdling SCREAM emanates from LaCroix' bedroom. On Janette and Nick's hasty exit, we, CUT TO: INT. LC'S BEDROOM - NIGHT Janette and Nick enter the room, to find LaCroix, lying face down, on the floor. Nick gets to him first, and gently rolls him over. Blood is running down LaCroix' chest, and it's coming from a bite wound on his neck. LaCroix is unconscious. There are broken pottery shards strewn about; the cup has been smashed. Nick pulls LaCroix into his lap. Janette kneels down next to him. They hold a look. JANETTE Nicolas...? Nick examines the bite wound; it's small, just like the ones on all of the victims. He presses the wound, blood is still flowing from it. KNIGHT The blood isn't stopping. Janette, get me a compress, something to hold it down, until the wound closes. Janette disappears, and reappears with a wash cloth. She hands it to Nick, who presses it to LaCroix' neck. LaCroix begins to stir, and then tries to fight off Nick. Janette helps to hold him still. JANETTE Shhh, easy....it's us. You're safe. LaCroix calms at the sound of her voice, and his eyes flutter open. He looks up at Nick. KNIGHT What happened? Who did this to you? LACROIX (whispers) Divia. Janette and Nick hold a look; their fears may prove quite real. Nick checks under the cloth, but the blood is still oozing fast and furiously. KNIGHT This wound isn't closing. Janette, hold this cloth down on it. Nick hands LaCroix gently off to Janette; he gets up, and starts out. JANETTE Nicolas, where are you going? KNIGHT To call for reinforcements. Nick exits. Janette looks confused. LaCroix is coming around now. LACROIX I believe that means Dr. Lambert. He tries to get up, Janette restrains him. JANETTE Lie still, LaCroix. You must not move too much. Nicolas is right, you are losing a lot of blood. LaCroix gives in, and allows himself to relax into Janette's arms. LACROIX He told you about her. JANETTE Oui. LaCroix averts his eyes from hers, very uncomfortable that she knows, everything. Janette leans down and kisses his forehead. JANETTE (CONT) Just let me love you, mon p=E8re. He closes his eyes. Janette cradles him closer. On this, we, DISSOLVE TO: INT. LC'S BEDROOM - LATER LaCroix is in bed, asleep. Janette is sitting on the edge of the bed, holding his hand. Nick is leaning against the wall. LaCroix' wound, while not healed, has at least closed, in part thanks to Lambert's attention. Natalie is just finishing measuring the bite marks on his neck. She gets up and approaches Nick. NATALIE Same exact size as the others. KNIGHT Why isn't he healing? That wound should be gone by now. NATALIE I don't know. We've given him plenty of blood. It may just take a little time. They hold an uncomfortable look. NATALIE (CONT) (re; Divia) She's come back somehow.... KNIGHT It certainly looks like it.... Nick looks distracted, thinking hard. Nat touches his arm, questioning. NATALIE What is it? KNIGHT I don't understand why she didn't kill him; she had the chance. NATALIE Maybe she's got other plans for him... ANGLE NICK; that's a frightening thought. On Nick, we, CUT TO: CLOSE on the laughing face of DIVIA. EXT. ALLEYWAY OF RAVEN - NIGHT Divia is standing in the alley, laughing. Her laugh goes into ECHO LOOP as w= e, =46ADE TO BLACK: END PART ONE end part 12/12 http://members.aol.com/vampwrtr/forever_lacroix/ vampwrtr@not-so-innocent.com