Date: Tue, 21 Sep 1999 18:22:02 -0400 
From: vampwrtr@INNOCENT.COM 
Subject: In the Name of the Father Part II 01/12 
To: FKFIC-L@LISTS.PSU.EDU 


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FOREVER KNIGHT

"In the Name of the Father"

Part II

ACT ONE

FADE IN:

INT. LC'S BEDROOM - NIGHT

LUCIEN LACROIX is lying in bed, awake, but weak. DETECTIVE NICK KNIGHT is
standing at the foot of the bed, arms folded across his chest, looking on.
Nick looks concerned. DR. NATALIE LAMBERT is sitting on the edge of the
bed, carefully examining the reopened wound in LaCroix' neck. JANETTE
DUCHARME is standing off to the side, looking on. Janette looks irritated
in addition to worried.

KNIGHT
Well?

NATALIE
Better. Almost healed.

KNIGHT
I don't understand how this happened.
How did the wound reopen?

NATALIE
Don't know, Nick.
(to LaCroix)
The question is, how do you feel?

LACROIX
I assure you doctor, I am quite fine.
(to all)
Now would you all please stop hovering?

NATALIE
You still look weak.

LACROIX
(irritated)
I said, I'm fine.

Natalie rolls her eyes as she gets up from the bed, and begins to put her
medical equipment back into her bag. Nick takes her by the arm, and leads
her a few paces away from the bed.

KNIGHT
Is he going to be all right?

NATALIE
I suppose so, Nick. I don't really
know what happened to make him so
weak in the first place.

KNIGHT
Divia's bites seem to linger....

NATALIE
You got over yours quickly enough,
I seem to recall....

KNIGHT
Yes, but she didn't come that close
to draining me. I don't know.....

LACROIX
I can hear the two of you, you know.

Nat and Nick exchange an amused glance.

NATALIE
(to LC)
I was just leaving.
(beat, serious)
My advice to you, LaCroix, is to stay
put for a day or two. A sudden move
could make you dizzy or worse, cause
you to pass out.

Nat grabs her bag and heads to the door.

NATALIE (CONT)
And whatever else you may think yourself
capable of, no flying around.

LaCroix glares at her. Janette is still glaring at LaCroix. Nick smiles at
LC and then walks toward Natalie.

KNIGHT
I'll walk you out, Nat.
(to Janette)
I'll be back in a minute.

Janette doesn't respond, she just continues glaring. Nat and Nick exit.
LaCroix looks toward his daughter.

LACROIX
What are you glaring at, Janette?

Janette advances, arms crossed, toward the bed.

JANETTE
You knew that Divia was back long
before it became apparent to any
one else, but you said nothing.

LACROIX
What would you have had me say?

JANETTE
You knew she would try and harm you--

LACROIX
--Janette....I don't want to hear
another word about it. Now let it
go.

JANETTE
She won't stop until she kills you.
You know that.

LACROIX
She could have killed me before,
but she did not.

JANETTE
You are deluding yourself, because
she is your mortal daughter, and no
matter what she has done, you still
love her.

ANGLE LACROIX; Janette has just punched a huge button.

LACROIX
Enough, Janette. I am warning you....

Janette glares.

JANETTE
Yes, you are perpetually warning me.

She turns and heads toward the door.

JANETTE (CONT)
Two daughters has always been one
too many for you, hasn't it?

Janette storms out, slamming the door behind her. On a slightly surprised
LaCroix, we,

CUT TO:
INT. RAVEN - NIGHT

Janette is at the bar, drinking. Business is booming. MAURICE comes into frame.

MAURICE
Miss Janette, I hate to ask, but
seein' as I'm swamped out here,
and the rest of the staff is as
well, could you possibly see yourself
clear to fetch a couple of bottles
of the house special from downstairs?

Janette cocks an eyebrow at him at first, then she smiles.

JANETTE
It is not a problem Maurice. How many
do you need?

MAURICE
I'm thinkin' three will do nicely.

Janette starts away.

MAURICE (CONT)
I appreciate it, Miss Janette.

She smiles and exits, and we,

CUT TO:

end part 01
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INT. BACK HALLWAY IN RAVEN - NIGHT

Janette walks down the hallway, heading toward the cellar stairs. We hear a
slight WHOOSH; Janette stops and frowns. Did she hear something? She looks
behind her; nothing. She shrugs it off and we FOLLOW her into,

INT. CELLAR STAIRCASE - CONTINUOUS

Janette starts down the staircase and feels the presence again. She tries
to peg it, but she can't get it. She walks down the stairs and at the
bottom of the landing, she stops once again.

INT. CELLAR - CONTINUOUS

Janette looks about the room, her POV; nothing but wine racks, bottles and
candles. Nothing out of place. She shakes her head and walks toward the
bottles. We hear a LAUGH and Janette stops cold. What was that? She looks
around again.

JANETTE
Hello? Is someone down here?

Nothing. Janette is glaring. She starts walking toward a large oak barrel,
when a black blur of movement comes toward her. CLOSE on the evilly smiling
face of DIVIA, vamped out, as she lunges for Janette. Janette vamps out as
she tries to fight back, but Divia is far too strong. In a swirling
dervish, the two of them fight. It escalates, bottles, candles and racks go
flying. Divia gets the best of Janette with a blow to the head, and the
latter falls with a thud to the floor. Divia grabs the body and in a WHOOSH
of displaced air, she is gone. On the now demolished but empty room, we,

CUT TO:

INT. LC'S BEDROOM - NIGHT

LaCroix, sensing that Janette is in trouble, bolts up from bed and starts
to head toward the door.

LACROIX
Janette....

The fast movement is too much for him. He grabs his head and goes down for
the count. On his unconscious body, we,

SMASH CUT TO:

MAIN TITLES

EXT. RAVEN - NIGHT

Nick is standing with Natalie at her car, when he staggers, catching
himself. Nat grabs him.

NATALIE
Nick, what's wrong?

Nick's face registers confusion and almost panic.

KNIGHT
Janette.....

Nick recovers and runs toward the Raven, with Natalie close behind. On
their exit, we,
CUT TO:

INT. RAVEN - NIGHT

Nick and Nat enter, and make their way quickly to the bar. Maurice looks up
at Nick and frowns at the panicked expression on Nick's face.

KNIGHT
Where is Janette?

MAURICE
She went downstairs, to get a couple
of bottles of--

That's as far as Maurice gets, when Nick heads quickly toward the direction
of the cellar, once again, Natalie following closely behind. On Maurice, we,

CUT TO:

INT. CELLAR - NIGHT

Nick and Nat enter to find the disheveled cellar. Nick frowns, he and Nat
exchange a look.

NATALIE
Nick....?

Without a word, Nick heads back up the stairs, Nat following. On their
exit, we,

CUT TO:

INT. LC'S BEDROOM - NIGHT

Nick and Nat enter quickly, to discover LaCroix, on the floor, just
starting to come around. They go to him, and Natalie tries to check him
over, but he waves her off, irritated.

LACROIX
I'm fine, Dr. Lambert.

LaCroix, holding his head, starts to get up. Nick grabs his arm, and helps
him. LaCroix glares, but says nothing.

KNIGHT
What happened?

LACROIX
Apparently, I got up too quickly.

LaCroix suddenly remembers why he got up so quickly.

LACROIX (CONT)
Janette.....

LaCroix tries to break free of Nick's grasp, but Nick tightens his grip,
steadying LaCroix.

KNIGHT
You felt it as well?

LACROIX
Yes, but when I got up, I was dizzy.
That's the last thing I remember.

Nick, with Nat's help, gently guides LaCroix back to the bed.

KNIGHT
I think you'd better lie down.

Natalie pulls the covers back over the Ancient, and is rewarded for her
efforts, with an icy glare. She rolls her eyes at him.

KNIGHT (CONT)
Did you sense anything else?

LaCroix looks at Nick sharply.

LACROIX
I don't know. Janette's panic was
.....overwhelming.

The two men exchange a look of worry and of understanding.

KNIGHT
Maurice said she went down to the
cellar to find a couple of bottles.
When Nat and I arrived, the cellar
was in shambles, and there's no
sign of Janette.

LaCroix closes his eyes, and takes a long breath. After a moment he reopens
them.

LACROIX
I think it safe to assume that we
know who has her.

NATALIE
Divia?

LaCroix glares very sharply at Natalie, and then at Nick.

LACROIX
How comforting to know that our
family laundry has been aired to
the world, Nicholas.

KNIGHT/ NATALIE
LaCroix, Natalie is covering / Oh, get over yourself. You
for the Community. I had to / think the entire world just
tell her the truth of the / spins on its axis for you?
matter. / Grow the hell up.

LaCroix just stares at both of them. For a long moment, there is only an
awkward silence in the room. LaCroix, by far the most uncomfortable, looks
away.

KNIGHT
There's no point in our arguing
amongst ourselves. The important
thing right now, is to find Janette,
before--

His voice cuts out, unable to complete the thought. LaCroix looks at his
son. They hold a long look. Finally, quietly,

KNIGHT (CONT)
I don't understand how Divia could
have regenerated. You're certain
that you--

LACROIX
(growling)
--Of course I'm certain.
(beat, quieter)
I burned her body, until only ash
remained.

LaCroix looks down, the memory of it, burdening him. Natalie makes a move
toward him, but Nick stops her with a touch on her arm and a slight shake
of his head. Nick lightly touches LaCroix' shoulder in comfort.

KNIGHT
Can you sense her, LaCroix?

LaCroix looks at his son, and we can see the pain in his eyes.

LACROIX
Yes.....when she allows it. I have
been....aware of her for the past week
or so. I just couldn't believe what
my senses were telling me, much less
accept it.

Nick squeezes his father's shoulder.

KNIGHT
Janette is still alive, I'm sure of it.

LACROIX
Yes, as am I. At least for the
moment.

NATALIE
What purpose would it serve, to
kill her?

LaCroix looks sharply at Natalie.

LACROIX
Only one.
(off a look)
To get to me.

On LaCroix, we,

CUT TO:

end part 02
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EXT. ABANDONED FACTORY - NIGHT

Establishing shot of a dilapidated factory, and we,

CUT TO:

INT. ABANDONED FACTORY - NIGHT

As we DOLLY through the old beer factory, we see a lot of trash, along with
empty old crates and the like. On one of the crates, we see the logo of the
now defunct beer company; Vesuvius Lager. How appropos. It is very dark in
the factory, save for a small amount of natural light coming in through the
few windows of the place, and a flickering light emanating from a doorway.
We move toward the doorway, and through it, and we are in a large office
type room. Lit candles are the source of the flickering light. The windows
of this room have been covered with large sheets of dark material. In the
centre of the room, is a huge wooden table. On it, lay Janette. She is
being held by small wooden stakes, which have been driven through her
wrists. A long rope has secured her legs down. Divia leans over Janette's
face, and she smiles. She picks up a small vile from a nearby table, and
removes the cork. She sprinkles the Holy Water on Janette's face, and of
course, smoke begins rising from the area it hits. Janette awakens with a
SCREAM, and as she tries to move, the stakes in her wrists pull at her
wounds, causing her to cry even more. She looks at her captor, who just
smiles.

JANETTE
Why have you brought me here?

DIVIA
An interesting first question. I
would have thought you would wish
to know who I am.

JANETTE
I know who you are, Divia. That
does not interest me. What do you
want?

Divia laughs.

DIVIA
Very good. I have no interest in
you either, though you have your uses.

Janette laughs, even through her pain.

JANETTE
He will not come for me, Divia.
A heart as cold as his does not
feel the pain of separation.
(beat)
But, you don't really know him,
do you? How could you; he chose
to destroy you, as opposed to
spending eternity with you.

Divia vamps out and scratches Janette hard, across the face.

DIVIA
Open your mouth again, and I will
close it for you, permanently.

On Janette, we,

CUT TO:

EXT. TORONTO SKYLINE - DAY

The sun rises and sets over the Toronto skyline, and we,

CUT TO:

EXT. RAVEN - NIGHT

The Caddy pulls up and Nick gets out, and we,

CUT TO:

INT. RAVEN - NIGHT

LaCroix is at the bar, taking a sip from a glass, as Nick enters. Nick sees
LaCroix, and makes a beeline. Their conversation is sotto between them.

KNIGHT
What are you doing out of bed?

LACROIX
I'm fine. I need to move about
the city, Nicholas, if I expect
to find them.

KNIGHT
You're not strong enough, LaCroix.
I can sense that. I'll do it.

LaCroix looks at Nick sharply.

LACROIX
Absolutely not.

They hold a look.

KNIGHT
You have no say in the matter.

Nick starts to exit, LaCroix stands and grabs his son, hard.

LACROIX
Nicholas, you were lucky that you
survived her once. You may not be
so lucky again.

Nick shakes himself loose.

KNIGHT
LaCroix, you are in no condition to
control this, either mentally or
physically.

LaCroix looks away.

KNIGHT (CONT)
(gently)
I can sense the turmoil, and your...
....worry.

LaCroix glares at Nick.

KNIGHT (CONT)
You aren't yourself right now, and
that makes you vulnerable.

LACROIX
Don't be daft--

KNIGHT
--I'm right, and you know it.

LaCroix looks away once more. Nick is right. The Ancient sighs. Nick can
sense that LaCroix is fighting with his own emotions, and he's trying to
shut Nick out. Nick puts a hand on LaCroix' shoulder, gently squeezing it.

KNIGHT (CONT)
Don't do that, LaCroix. Don't try
to shut me out. You can't handle
this one alone.

LaCroix stands, glaring at Nick.

LACROIX
I do not need help, Nicholas. This
is my responsibility. I will find
Divia, do what needs to be done,
and hopefully, Janette will be none
the worse for wear. You need not
be involved.

KNIGHT
Everyone needs help, LaCroix, even
you.

LaCroix glares at Nick, and then exits. On Nick, we,

CUT TO:

INT. ABANDONED WAREHOUSE - NIGHT

Janette is still attached in the same lovely way to the table. Divia stands
nearby, packing a backpack with things like stakes and holy water.

JANETTE
Why are you doing this?

No answer, not so much as a look from Divia.

JANETTE (CONT)
If it's his attention you want,
why don't you just go to him and
talk to him? Or are you afraid?

Nothing.

JANETTE (CONT)
Ah, but that's it, isn't it?
You're afraid that he doesn't
love you--

Divia whirls around, vamped out, and she walks toward Janette.

DIVIA
--He has never loved me. He does
not know how to love. He denied
me when we were mortal, and he
denied me after I gave him his
immortal life.

Divia comes back to normal, and she laughs in Janette's face.

DIVIA (CONT)
Surely you don't think he loves
you, do you? He can't love anyone,
nor can he accept love. He is a
heartless coward, who must pay for his
transgressions. I will make him pay
with those he has created....

Divia picks up her bag and smiles.

JANETTE
Where are you going?

Divia smiles again.

DIVIA
To see LaCroix' precious son.

Divia disappears in a WHOOSH of air. On Janette, we,

FADE OUT:

END ACT ONE


end part 03
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ACT TWO

FADE IN:

EXT. PRECINCT - NIGHT

Nick pulls up in the Caddy and gets out. He frowns. He can sense a presence
nearby. He looks around the area, but can see nothing. He shakes his head
and walks toward the doors of the building, and we,

CUT TO:

INT. PRECINCT - NIGHT

Platt is sitting at his desk, when Nick enters, looking distracted.

PLATT
Nice of you to show up, Knight.

Nick looks toward his partner, but didn't really hear what Platt said.

KNIGHT
Yeah....

Platt just looks at Nick, who takes his coat off and sits down at his desk.

PLATT
Listen Nick, Reese is about to
blow a gasket, and we're going to
be the unlucky recipients, if we
don't find a way to blow open this
serial case.

Nick didn't hear Platt. Platt glares.

PLATT (CONT)
Hello....earth to Starman....Knight,
pay attention.

Nick looks at Jeffrey.

KNIGHT
What?

PLATT
Oh man, what is wrong with you? We
need to get a move on this case, Nick.

KNIGHT
Right.

Platt shakes his head.

PLATT
(mutters)
Of all the guys in the universe, I
have to draw Sulky Space Boy for a
partner.

KNIGHT
(clueless)
We have any leads on the serial case?

ANGLE PLATT; gimme a break.

PLATT
Hello......? I just finished explain--
(beat)
Oh, never mind. When you decide to
get with the program, Knight, let me
know. I'll be down in the library,
trying to dig up some information.
Any information on the M.O. of this
case would be better than what we've
got right now, which is a big, fat,
zero, in case you need reminding.

Platt exits. Nick frowns; he has no idea why Jeffrey is being so pissy.
Knight is far too distracted to do anything here. He looks at his watch,
stands up, grabs his coat and exits. Off this, we,

CUT TO:

EXT. TORONTO - NIGHT

We are moving in the air through the city at a rather fast pace. Then, with
a WHOOSH, LaCroix lands on a deserted street in a rundown section of town.
He walks as though searching for something, and he is - any sound, smell,
or thought that might lead him to Divia and Janette. He is batting
zero..... He takes flight once more, and on this, we,

CUT TO:

EXT. PRECINCT - NIGHT

Nick comes out of the main doors and walks over toward the Caddy. He stops
and looks around; he feels it again. Or does he? He glares about, and
continues to walk toward the car. He takes one more look around, then gets
in the car and drives off. On the exit of the Caddy, we,

CUT TO:

EXT. WATERFRONT - NIGHT

LaCroix lands near the downtown waterfront. He moves between abandoned
buildings, trying to sense something, anything. There is nothing. He stops,
closes his eyes and concentrates. He thought he might have felt something
for a moment, but if it was ever there, it is gone just as quickly. He
sighs and takes off once more, and we,

CUT TO:

EXT. RAVEN - NIGHT

Nick pulls up in the Caddy, gets out and enters the Raven.

CUT TO:

INT. RAVEN - NIGHT

Another busy night, dancing bodies everywhere, both mortal and immortal.
Nick winds his way toward the bar. Maurice comes to Nick almost immediately.

KNIGHT
Is he back?

MAURICE
Haven't seen him, and he's late
for his show.

Nick looks worried.

MAURICE (CONT)
I don't mean to pry, Nick, but
what is goin' on? First Miss
Janette disappears, and now
LaCroix--

KNIGHT
(snaps)
--LaCroix hasn't disappeared.
(beat)
Sorry Maurice, I didn't mean to
take it out on you. Look, just
keep your eyes and ears open, will
you?

MAURICE
Yes, but, what am I looking for?

Nick frowns.

KNIGHT
If you see one of our kind; one
who looks quite.....young, but is
very old - She is small and blonde -
don't approach her, but contact me
immediately.

MAURICE
And LaCroix?

KNIGHT
He'll know if she's here.

ANGLE MAURICE; he doesn't get it, but okay, whatever.

MAURICE
All right Nick.

Nick smiles and exits. On Maurice, we,

CUT TO:

EXT. RAVEN - NIGHT

Nick comes out of the front door, and pauses, frowning. There it is again.
This is getting old. He doesn't see a thing, gets in his car and drives
off. ANGLE DIVIA; she smiles. He is hers. She takes off, and not a second
later, LaCroix lands. He frowns, she was here. Where did she go? On
LaCroix, we,

CUT TO:

end part 04
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INT. PRECINCT - NIGHT

Reese enters the bullpen, just as Platt is walking toward his desk,
carrying a stack of files. They almost collide.

REESE
Jeffrey...where the hell is your
partner?

PLATT
Nick?

REESE
Yes, Nick, unless there's been a
change I don't know about....

PLATT
Sorry, he was here earlier.

REESE
Well, he isn't now.

PLATT
I'll, um, find him....

REESE
You do that. And what about the
serial murders?

PLATT
By digging back a few years, Cap,
I have found a few other unsolved
cases, that have the same M.O. in
regard to the cause of death.

REESE
Any other connection between them?

PLATT
Afraid not.....unless you want to
count Dr. Lambert.

REESE
(huh?)
Natalie.....what has she got to do
with it?

PLATT
Nothing, except that she was the
coroner in each of these unsolved
cases.

REESE
Coincidence, Jeffrey.

PLATT
You know, I thought that at first
too, but after looking through the
files, many of these cases weren't
hers, until she took them over by
her own request.

They hold a look.

REESE
Jeffrey, I don't like what you're
insinuating...

PLATT
Neither do I, but it's right here,
in black and white.

REESE
Let me look through these, and in
the meantime, go find your partner.

On Platt's nod, we,

CUT TO:

EXT. TORONTO STREET - NIGHT

Nick is driving in the Caddy, and the Nightcrawler is on.....

LACROIX (V.O.)
Misplaced vengeance, gentle listeners.
That is our subject for the evening.
Transferring one's hate from the object
of our hate to an innocent bystander,
for instance. Making the innocent pay
for the sins we have perceived others
to have committed against us, is an
act of pure cowardice. And cowardice,
unlike fear, mes amis, has no use at
all.
(beat)
Dishonesty, cowardice and duplicity are
not mere acts of impulse; no, they are
the acts of the weak, perpetrated upon
the strong. But in the end, my children,
it is the strong that survive.
(beat)
Might I suggest that the cowardly come
out and show themselves for what they
truly are. Show yourself to the one
you hate, and not to those around him.

ANGLE NICK; LaCroix is calling her out. He makes a face, turns the car
around, and heads back, toward the Raven.

KNIGHT
Damn you, LaCroix....

LACROIX (V.O.)
If it is vengeance you wish, then take
it; but take it from whence it comes.
(beat)
I dare you.

On the Caddy speeding down the road, we,

CUT TO:

EXT. RAVEN - NIGHT

Nick pulls up and gets out of the Caddy, and he storms into the Raven.

CUT TO:

INT. RAVEN - NIGHT

Nick quickly walks through the club; many near him clear out of his way. He
walks toward the back and disappears into a hallway.

CUT TO:

INT. SOUNDBOOTH - NIGHT

LaCroix is putting away a cd or two, when Nick opens the door and walks in,
madder than hell. He SLAMS the door. LaCroix merely glances, and says
nothing.

KNIGHT
What the hell do you think you're
doing?

An eyebrow raises at Nick, but LaCroix does not respond.

KNIGHT (CONT)
Damnit....are you trying to get
Janette killed?

LaCroix looks up sharply.

LACROIX
I think you know that is not the
case, Nicholas.

KNIGHT
Then what was that monologue trying
to prove?

LACROIX
I was merely making a point.

KNIGHT
You were trying to call her out,
LaCroix. I think that will only
get Janette killed, not to mention,
you.

LaCroix frowns at Nick; Nick is sincere, he is worried. LaCroix softens,
slightly.

LACROIX
If I don't get her out in the open
we will most likely not be able to
find her. Besides, it will be to
my advantage, if she is angry, and
comes out to play on my terms, instead
of vice versa.

Nick shakes his head; ever the cool general, plotting his strategy, is LaCroix.

KNIGHT
If you have a plan, I'd like to
hear it.

LACROIX
It's not so much a plan, as consulting
books written by Dr. Spock, Nicholas.
You mustn't forget, that Divia is nothing
more than a child, really.

KNIGHT
Yes, but this child's bite is far
worse than her bark.

On the two of them, we,

CUT TO:

end part 05
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INT. MORGUE - NIGHT

Nat is at her desk, muddling through paperwork. Platt enters. Natalie looks
up, and is slightly surprised at the visit, but smiles at him.

NATALIE
Well, Jeffrey, what brings you
over here?

PLATT
Hi Natalie. I was wondering if
I could talk to you for a minute.

NATALIE
Sure, what about?

Platt brings a chair next to Nat's and sits down in it. Natalie frowns.

NATALIE (CONT)
Jeffrey, is something wrong? Is
Nick all right?

PLATT
Nick's fine. Well, as fine as
his brand of weirdness gets, anyway.
(beat)
I wanted to talk to you about an
odd coincidence I found tonight, when
looking for related cases to our serial
killer.
(off a look)
It seems you've been the sole examiner
on any and all cases that involve
exsanguination. I was wondering why
that is.....

NATALIE
(covering)
Oh Jeffrey, I'm sure it's just a
coincidence. I am a medical examiner,
and I just happened to be the attending,
that's all.

Natalie tries to turn her attention back to her pile of papers, but Platt
isn't buying.

PLATT
Are you saying it's a coincidence that
for each case that you were not assigned,
you requested assignment?

Natalie looks sharply at him.

NATALIE
What exactly are you suggesting, Detective?
That I had something to do with the
murders?

PLATT
No, but Natalie, you've got to understand
how odd this looks.

NATALIE
What I understand, is that a friend of
mine is questioning not only my ability
to perform my job, but also my integrity.

Platt looks away; he feels awful about questioning her, but he can feel
that there is something more here than meets the eye.

NATALIE (CONT)
Does Nick know you're here?

PLATT
No. Just Reese.

ANGLE NATALIE; oh, great.

NATALIE
Do you honestly think I have something
to do with this, Jeffrey? You think
I'm covering up for someone?

PLATT
I just want to hear you say it, Natalie.

Natalie makes a disgruntled snort. She turns to him, her eyes blazing with
anger.

NATALIE
Fine. I have nothing to do with the
cases. I'm not covering up for anyone.

They stare at each other. Platt slowly gets up, puts the chair back, never
breaking eye contact with her. He doesn't believe her, but he's going to
let it go. For now.

PLATT
Thanks Natalie, and I'm sorry I had
to ask.

NATALIE
Good night, Jeffrey....

Platt exits. Natalie quickly begins gathering her things. She picks up the
phone and dials a number.

NATALIE (CONT)
Nick, it's Nat....I just had a really
weird visit from Jeffrey. I think we
have a problem.
(beat)
I'd rather discuss it in person. I'm
on my way over.

Nat hangs up the phone and exits, and we,

CUT TO:

EXT. MORGUE - NIGHT

Platt watches Nat exit the building from within his car. She gets into her
car, and drives off. He follows her. Off this, we,

CUT TO:

EXT. NICK'S LOFT - NIGHT

Divia smiles as she stares at the loft. On this, we,

CUT TO:

INT. NICK'S LOFT - NIGHT

Nick is standing in front of the painting of Janette. We hear a displaced
WHOOSH, and Nick turns to find himself face to face with Divia. He
involuntarily takes a step backward.

KNIGHT
Divia....

DIVIA
We meet again.

She notices the painting.

DIVIA (CONT)
Lovely likeness of her....well,
at least it used to be.

She smiles, Nick takes a threatening step toward her.

KNIGHT
What have you done to her?

DIVIA
(smiling)
Nothing that I'm not going to do
to you.

Nick takes a few steps back, trying to make his way toward the fireplace,
and the wooden staff leaning against the wall.

KNIGHT
Why are you doing this? Revenge?

DIVIA
Revenge, yes, and personal satisfaction.
The two of you tried to destroy me.

KNIGHT
We were obviously unsuccessful.

DIVIA
Obviously.

KNIGHT
He does love you; though I will
never understand how....

Divia hisses at him, and as she lunges for him, he grabs the staff and
tries to stake her with it. He misses as she dodges. The elevator cranks
into operation. Nick looks toward it, and hears Nat's heartbeat. His face
registers horror, as Divia looks toward the elevator and smiles.

KNIGHT (CONT)
Natalie.....No!

Divia heads toward the elevator, just as the doors open, Nick vamps out and
is on Divia in a second, and there is a fight. Natalie tries to get the
staff, but can't. Divia thrashes an arm at Natalie, and sends the woman
flying, her head striking the brick wall across the room with a sickening
thud. Natalie slumps to the floor. Nick lunges for Divia, who aims the
staff at his chest, and stakes him where he stands, though she misses his
heart. Nick's face registers surprise. He slumps to the floor. Divia,
laughing at her handiwork, grabs Nick and in a WHOOSH takes off. We,

CUT TO:

INT. RAVEN - NIGHT

The place is pretty well cleaned out for the evening. Maurice is cleaning
up, and LaCroix is sitting at the bar, drinking a glass of blood. LaCroix
suddenly bolts up from the chair, reaching for his chest. Maurice comes
immediately to his side.

MAURICE
Boss? LaCroix, what's wrong?

ANGLE LACROIX; his eyes are wide with fear.

LACROIX
Nicholas.....

Maurice gently eases LaCroix onto a barstool, off this, we,

CUT TO:

INT. NICK'S LOFT - NIGHT

The loft is torn up, and Natalie is lying in a pool of her own blood,
slumped on the floor. Platt enters from the elevator. First he sees the
broken furniture et al, then he spots Natalie and runs to her.

PLATT
Natalie.....oh my god....

He gets up and runs to the phone, picks it up and dials.

PLATT (CONT)
Dispatch....police emergency. I
need an ambulance at Detective Knight's
loft, immediately.

On this, we,
FADE OUT:

END ACT TWO

end part 06
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ACT THREE

FADE IN:

EXT. TORONTO SKYLINE - DAY

The sun rises and sets across the Toronto skyline, and we,

CUT TO:

EXT. HOSPITAL - NIGHT

Establishing place and time, and we,

CUT TO:

INT. HOSPITAL CORRIDOR - NIGHT

Reese, Platt and others are milling about in the hallway.

REESE
We still have no line on Knight.
Jeffrey, you sure you didn't see
anything or anyone else?

PLATT
Nothing. The place was in shreds
and Natalie out on the floor when
I got there. That's it.

REESE
Great, and now I have a missing
Detective, in addition to an
unconscious coroner.

Platt looks very upset. LaCroix, clad in scrubs, walks by the little group,
in the BG. He nods at the police guard in front of Natalie's door, and
slips into,

INT. NATALIE'S HOSPITAL ROOM - NIGHT

Natalie is unconscious. LaCroix walks over to her chart, picks it up and
examines it. He frowns. He puts the chart back, and walks over to the side
of the bed. He studies the woman for a moment, and we aren't sure if he's
considering having a little snack, or what. Finally, he sits gently down on
the edge of the bed. His voice is very soft when he speaks.

LACROIX
Dr. Lambert.....Dr. Lambert, can you
hear me? I need you to wake up, doctor.
(beat)
Natalie? Wake up.

Natalie's eyes flutter slightly, and finally, they open. She looks in panic
first at LaCroix, and then at the rest of the room, when she realizes he's
in the room with her, alone. He puts his hands on her shoulders. His voice
is still very soothing.

LACROIX (CONT)
It's all right. I won't harm you.

NATALIE
What are you doing here? Where's
Nick?

LaCroix frowns; that's what he wanted to ask her.

LACROIX
Do you remember what happened?

NATALIE
No.....I.......
(beat)
I went to Nick's loft, and Divia was
there. I'm sure it was her.

LACROIX
And?

NATALIE
And they were fighting. I got in
the way, and that's the last thing
I remember.

Natalie winces in pain, and reaches for her head. LaCroix gently takes her
hand, before she can touch her head.

LACROIX
I wouldn't touch it, if I were you.

Natalie retracts her hand quickly.

NATALIE
What's happened to Nick?

LACROIX
I think it safe to assume that Divia
now has both Nicholas and Janette.

NATALIE
What are we going to do?

LaCroix looks at Natalie, slightly amused.

LACROIX
I'm afraid that we are going to do
nothing. I am going to find them,
and you are going back to sleep.

Natalie tries to sit up.

NATALIE
No way--

She slams her eyes shut in pain. LaCroix gently eases her back to the bed.

LACROIX
Remember what you told me about
sudden moves, doctor? I think now
would be a good time to heed your
own advice.

Natalie glares at him.

NATALIE
I can't just lie here, LaCroix.

LACROIX
You can, and you will.
(off her look)
Trust me, it will be better this
way.

She just rolls her eyes; trust him? Trust him? Hah. He smiles at her, and
she gets a worried look on her face. We hear a HEARTBEAT as LaCroix
concentrates on Natalie.

LACROIX (CONT)
I hope you'll forgive me, doctor,
but it will be much easier for me
to move about if you are unconscious
and unable to answer any questions
the police may have. I want you to
sleep, Dr. Lambert. I want you to
close your eyes and sleep. You will
sleep until I return and wake you.
Do you understand?

NATALIE
Sleep, until you wake me.

LACROIX
Good girl.

Natalie's eyes close, and LaCroix smiles.

LACROIX (CONT)
You're so much more agreeable when
you're not awake, Dr. Lambert.

On LaCroix' exit, we,

CUT TO:

end part 07
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INT. ABANDONED WAREHOUSE - NIGHT

Nick and Janette, both unconscious, are on their own tables, which have
been placed nearby each other. Janette is still held via stakes in her
wrists, and Nick has a stake still protruding from his chest. He looks
close to death. There is no sign of Divia. Janette comes to and looks at
Nick.

JANETTE
Nicolas! Nicolas.........?

She has a panicked look on her face. Nick groans.

JANETTE (CONT)
Nicolas.....

It's a huge effort, but he turns his head to look at Janette.

KNIGHT
Janette....

JANETTE
Lie still, Nicolas. You must not
move, it will only make the pain
worse.

KNIGHT
(grimacing)
Are you all right?

JANETTE
I am in better shape than you.
(beat)
What of LaCroix?

KNIGHT
I don't know.

Divia enters.

DIVIA
Both awake, I see.

They both turn and Janette manages a hiss at Divia, who laughs.

DIVIA (CONT)
Save it.
(beat)
I guess now we find out just how
much Daddy Dearest loves the two
of you, if at all.

KNIGHT
He will not come, Divia. You
might as well finish us off.

DIVIA
(indicates Janette)
You might be right about this
bastardized version of LaCroix'
blood; but you, he'll come for
you. Of this I am sure.

Divia reaches over and wrenches the stake out of Nick's chest. He SCREAMS
in pain. She tosses the stake aside.

DIVIA (CONT)
I want to make certain you're still
alive when he gets here, so that
he can watch me kill you. It
wouldn't do for you to die too
soon.

Divia puts gloves on her hands, smiling. Then she puts a surgeon's mask
over her face. Janette and Nick just stare at her as she reaches into a
container, and extracts rope that has been soaked in garlic. She holds the
rope near Nick's face and he winces.

DIVIA (CONT)
Even one of my years cannot stand
the smell of garlic.

She begins to tie Nick to the table with the garlic drenched rope. Nick
winces as the garlic makes contact with his skin.

JANETTE
Divia, stop this....

DIVIA
And why oh why should I want to
do that? The fun is just beginning.

JANETTE
You're doing this because you think
he doesn't love you.
(off a look)
I know that he does.

DIVIA
I am doing this to make him pay for
his inability to love....

KNIGHT
Janette's right, Divia, he does
love you. I saw it in his eyes
when he first told me of you.
(beat)
He still keeps your Cameo next
to his bed.

Divia is unimpressed.

DIVIA
Oh yes, he told me how much he
loved me the last time we met,
when he said that no one could
love anything as grotesque as me.
(beat)
You are wasting your breath, and
you are as weak as my father. I
will destroy you all. But first,
I will make him suffer by watching
me annihilate both of you.

On Divia, we,

CUT TO:

INT. NICK'S LOFT - NIGHT

Platt is looking around Nick's loft, inspecting the damaged goods and
looking for any clue that he can find. He snoops around the closets,
drawers, in and around the art materials. He finds nothing of interest. He
goes to the fridge and opens it, and of course, finds the wine bottles.

PLATT
He keeps his red wine in the fridge.
Why am I not surprised?

He closes the door and continues snooping around the kitchen. Finally, he
opens the drawer that we saw Nick put the sword pin and matchbook into
during Part I. They are both in plastic bags and marked, as though evidence
from a murder scene. He looks first at the bag with the matches, and we
INSERT the bag, which has a tape across it with the name WINSLOW written on
it. Jeffrey frowns. He looks at the bag with the sword pin on it, and we
INSERT the bag, which has a tape across it with the name DUNCAN on it.
Jeffrey is starting to the get the idea here. He snoops further into this
drawer, and pulls out some pamphlets on CERK and the Nightcrawler's show.
He frowns more. There is a picture of LaCroix in the drawer that Platt
stares at, and then he pulls out a picture of Nick and Janette. CLOSE on
Platt as we,

CUT TO FLASHBACK:

INT. RAVEN 3 MONTHS PRIOR - NIGHT

Nick is at the bar talking to Janette and Maurice. Jeffrey is observing,
unnoticed from a booth in the back. LaCroix approaches Jeffrey, carrying a
drink, and smiling. LC sets the drink down.

LACROIX
Compliments of the house, Detective.

PLATT
How....?

LACROIX
Nicholas is an old.......friend of
mine.

PLATT
Oh.

LACROIX
Do you make a habit of spying on your
partners, Detective Platt?

PLATT
No, I don't. And you are?

LACROIX
Lucien LaCroix, I own this club.

LaCroix follows Platt's eyes, which are staring at Janette.

LACROIX (CONT)
Do not be alarmed, Janette has
also known Nicholas for many years.

Platt drinks from his glass, and LaCroix exits. On this, we,

CUT BACK TO:

INT. NICK'S LOFT - CONTINUOUS

Platt is looking over all the goodies. He picks up the bag with the sword
pin in it. He frowns. There is something familiar about it, but he can't
place it. He puts the matches and the pin in his jacket pocket, returns the
pictures back to the drawer, and on his exit, we,

CUT TO:

INT. PRECINCT - NIGHT

Platt enters and goes quickly to Nick's desk. Platt opens the top drawer
and shuffles through papers and what-nots. Finally, he pulls out a picture
that he remembers having seen there before; a picture of Nick and LaCroix.
Platt pulls it out and stares at it. INSERT picture of Nick with LC, the
latter of whom is dressed in all black, and has a silver sword pin attached
to the collar of his shirt. Platt pulls out the bag with the pin and
compares the two; they are exact. On Platt, we,

INTERCUT:

EXT. TORONTO STREET/ INT. SOUNDBOOTH - NIGHT

Platt is driving along in his car, and he tunes in to CERK. LaCroix is
sitting at his console, purring into the mic.

LACROIX
Responsibility is the thing people
dread most of all. It is the weight
that hangs upon our necks, pulling us
under water time and again, as we
gasp for air, trying to save ourselves.
What is it that we fear so much from
responsibility? Is it truly the
consequences wrought from it, or is it
merely the process and the idea of it?
The idea that if we fail, some dire
price will have to be paid by those
we hold dearest.
(beat)
Everyone has responsibilities, mes amis.
No matter what his station in life, no
matter his morality; we all have them.
For some, the greatest responsibility
in life is the repetitive task of day
to day existence. Getting up to go to
work and plodding along through another
endless succession of requests and bids.
Day after day, week after week, year
after year. In the end, their
responsibilities are met through the
persistence of their ability to coast
along with what is expected of them.
(beat)
And for others, the true responsibility
lies in taking care of those we bring
into the world. And this, gentle listener,
is not always a most pleasant task. The
father who cannot express love to his
children, in the end, must protect them
from not only himself, but also from the
insecurities which shall rise within them
as a Phoenix amidst the ashes.
(beat, velvety soft)
Ultimately, a child raised without the love
of a father, cannot accept love, even
when it is given freely. Perhaps this
is one of the saddest injustices that
the world of responsibility has to offer.
And in the end, maybe responsibility is
the price of greatness.
(beat)
So how about it, my child.....I will not
turn my back on my responsibilities. What
price are you asking? I'm waiting for you.

A phone line lights up on LaCroix' panel. He looks uneasy; he knows it's
Divia. He presses the button.

DIVIA (V.O.)
I have what you want, General.

LACROIX
Yes.
(beat)
But the question remains, where?

DIVIA (V.O.)
I'm sure if you think of home, it
will come to you.....

The line goes dead. On LaCroix, we,

END INTERCUT:

EXT. TORONTO STREET - CONTINUOUS

Platt frowns, turns his car around and heads toward the Raven. On this, we,

CUT TO:

end part 08
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EXT. RAVEN - NIGHT

Jeffrey pulls up in the Caddy and heads into,

INT. RAVEN - NIGHT

Platt walks quickly through the place. Maurice spots him, and moves quickly
to a phone. On this, we,

CUT TO:

INT. SOUNDBOOTH - NIGHT

LaCroix is just hanging up his phone, when Platt stands at the door.
Without turning, LaCroix speaks to him.

LACROIX
Well, Detective Platt....

LaCroix turns, smiling.

LACROIX (CONT)
What a surprise.

PLATT
Obviously.

LaCroix indicates a chair across from his console.

LACROIX
Please, do sit down and make yourself
comfortable.

Platt sits, but looks far from comfortable. LaCroix is still smiling.

LACROIX (CONT)
To what do I owe this.....visit?

PLATT
I want to know how you're involved
in the serial case that Nick and I
have been working on.

ANGLE LACROIX; an inward 'oh dear', an outward 'non wrinkle'.

LACROIX
I'm afraid you have me at a distinct
disadvantage, Detective.

PLATT
I doubt that, LaCroix. I truly doubt
that.

LACROIX
You seem....upset, Detective Platt.

PLATT
Yeah, my partner's missing, and the
coroner is unconscious in the hospital.
I've found proof which indicates that
the two of them might be covering up
key evidence in a murder case, as if
they're protecting someone. And you
don't seem to have a care in the world.

LaCroix maintains the outward smoothness.

LACROIX
Indeed, Detective, I am sorry for your
troubles, but I'm afraid I do not see
how any of it relates to me.

Platt reaches into his pocket and pulls out the matches and sword pin.

PLATT
Either of these help jog your memory?

LaCroix just stares at Platt, and says nothing.

PLATT (CONT)
You see, LaCroix, it strikes me very
odd that you and Nick seem to have
known each other, well, forever, and
yet now, when he's missing, you don't
seem to care.

LaCroix glares.

LACROIX
On the contrary, Detective, I assure
you, I am taking measures to locate
Detective Knight.

PLATT
This is your pin, isn't it?

LACROIX
Whatever makes you think that?

PLATT
Maybe the picture of you and Nick
in his desk, that has you wearin' it.

ANGLE LACROIX; whoops.....

LACROIX
Oh, I see.

LaCroix smoothly gets up and closes the door. This is going to require
quiet and privacy. Then, smiling, LaCroix sits back down. He concentrates
on Platt, and we hear a HEARTBEAT.

LACROIX (CONT)
I want you to listen to me very carefully,
Detective Platt. After your shift was
over tonight, you felt very tired. You
went straight home from the precinct, and
fell asleep. You don't remember anything
else.

LaCroix reaches across the console and grabs the matches and pin, putting
them in his pocket.

LACROIX (CONT)
Detective Knight is missing, but
you are confident that he will be
found. You are to go home and
sleep. Do you understand?

PLATT
I have to sleep.....

Platt gets up and exits. LaCroix lets out a long sigh of air. More trouble
than he needed. On LaCroix' exit, we,

CUT TO:

INT. ABANDONED WAREHOUSE - NIGHT

Divia approaches Janette, a large stake in her hand; she is still wearing
gloves. Janette hisses at Divia, who just laughs. Nick is alarmed.

KNIGHT
Divia, what are you doing?

DIVIA
I would think it fairly obvious.

KNIGHT
He'll feel it more if you do it to
me.

Divia smiles, but ignores Nick. She plunges the stake into Janette's chest,
but not her heart. Janette SCREAMS in pain. Nick pulls at his bonds, to no
avail.

KNIGHT (CONT)
Janette....

Divia releases Janette from the table, picks her up and tosses her into the
corner of the room. She moves over to Janette, removes the stake, tossing
it aside, and plants her teeth into Janette's neck, almost draining her.
She drops Janette's body into a heap on the floor.

KNIGHT (CONT)
Janette? Janette....

Divia walks over to Nick.

DIVIA
Save your breath. She can't hear you.

KNIGHT
If he won't love you, then he can love
no one else? Is that it?

Divia scratches Nick hard on the face.

DIVIA
He is incapable of love.

KNIGHT
That is not true. He loved you
once, very much, I think.

Divia laughs.

DIVIA
The great General Lucius? No. He
never loved a single thing in his
mortal life. He should have at
least been grateful to me; grateful
enough to do as I asked, but he is
weak.
(beat)
If he wasn't so weak, I would not
be here now...

ANGLE NICK; what? Divia smiles.

DIVIA (CONT)
You didn't know, did you? It was
his own weak moment that allowed
me to return. He was a pitiful
excuse for a mortal father, and
he is not worthy to be of our kind.

Nick looks toward Janette, who has still not moved. Divia follows his look.
She unties the garlic rope around Nick's wrists. He looks at her cautiously.

DIVIA (CONT)
Go ahead and see to LaCroix' only
daughter. You may as well have one
last moment together before he gets
here and I kill you in front of him.

Nick gets up slowly; woozy from his own ordeal. He glances once again,
cautiously at Divia, and then he moves over to Janette, picking her body up
from the floor. He cradles her close to him.

KNIGHT
Janette? Can you hear me?

Janette does not stir, but Nick can sense that she is still alive, barely.

KNIGHT (CONT)
Hang on, Janette....

Nick bites into his own wrist, and puts it in front of Janette's mouth. She
still does not stir. He looks sharply up at Divia, who smiles.

DIVIA
I wouldn't waste my time or my strength
if I were you. Not that any of it will
matter in the long run.

KNIGHT
What have you done to her?

DIVIA
I made a mistake with you the last time
we met. Let's just say that I won't
underestimate you again; and that goes
for her as well. It won't be much
longer. He's on his way.

Divia pulls a crate over with her foot, and she sits on it. It's fairly
clear that she intends to watch over Nick and Janette until LaCroix shows
up. Nick pulls Janette even closer to him. He hugs her not only for her
comfort, but also for himself. On this, we,

FADE OUT:

END ACT THREE

end part 9
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ACT FOUR

FADE IN:

EXT. HOSPITAL - NIGHT

Establishing stock, and we,

CUT TO:

INT. NATALIE'S ROOM - NIGHT

Natalie is still out. LaCroix enters quickly and quietly. He sits softly on
the bed.

LACROIX
Dr. Lambert....it's time to wake up.

Natalie comes around slowly. She opens her eyes and glares at LaCroix.

NATALIE
You.......you.....how dare you just
knock me out with that hypno thingie
of yours.

LaCroix smiles.

LACROIX
It was the only way in which I could
think of to keep you quiet, doctor.

NATALIE
Yeah, right....Have you found Nick?

LACROIX
Yes and no.

NATALIE
Why is everything always a non answer
with you?

LACROIX
Think of it as one of my enduring
charms, doctor.

NATALIE
In your dreams, fang face; I'd
call you many things, but charming
ain't one of them.

LaCroix' eyebrow shoots up in irritation.

LACROIX
Well doctor, I see rest has not
improved your disposition.

Before Nat can say anything, LaCroix cuts her off with a raised hand.

LACROIX (CONT)
I would love to continue sparring,
but I'm afraid I do have other things
which require my attention.

Natalie just looks at him, as he seems quite sincere. LaCroix holds the
look, then looks away, embarrassed.

NATALIE
Why are you here?

Reluctantly, he pulls an envelope out of his jacket pocket. He runs his
fingers along it.

LACROIX
Inside this envelope are two others.
One is addressed to Janette, and the
other to Nicholas.

He hands it to her. She looks at him, dumbfounded.

NATALIE
Why are you giving this to me?

LACROIX
Because, while I am sure that I will
be able to save them, I am not yet
sure what the price will be.

NATALIE
You don't expect to survive.

LACROIX
Let us just say that it is a distinct
possibility.
(off a glare)
Despite your mortal failings, doctor
I know that you will see to it that
these letters are delivered discreetly,
and that you won't read them.

NATALIE
How do you know that?

He smiles at her.

LACROIX
I just do. I've had many years to
observe human behaviour Dr. Lambert,
and I dare say that you are one of
the more trustworthy of your kind.

NATALIE
A compliment, LaCroix? If I thought
it was worth it, I'd drop dead.

LACROIX
Indeed.

He stands up to go. There is something behind his eyes that Natalie can
see, something palpable.

NATALIE
In your own warped, demented way, you
really do care for them, don't you?

LaCroix glares at her.

LACROIX
They are my children.

NATALIE
(gently)
And....Divia?

LACROIX
(snaps)
She is my daughter.

Natalie examines his face; it is very tense with emotion. They hold another
long look.

NATALIE
You know why she's here, don't you?
You've known all along.

He looks away, guilty. The nickel drops for her.

NATALIE (CONT)
It's more than that, you know how....

LACROIX
What do you want me to say?

NATALIE
I thought you burned her....

LACROIX
Yes.

NATALIE
Then how......?

LaCroix stares at her.

NATALIE (CONT)
Damnit LaCroix, I've protected your
precious Community; and you've even
entrusted me with these letters -
don't you think someone should know
the truth, just in case?

He studies her and then nods.

LACROIX
Are you familiar with the myth of
the Phoenix?

NATALIE
Not really, no.

LACROIX
Every morning at dawn, the sun
god would stop his chariot to listen
to the bird sing a beautiful song while
it bathed in the well. When the bird
was near death, it would build a nest of
aromatic wood and set it on fire. The
bird was then consumed by the flames.
A new phoenix sprang forth from the
pyre. It embalmed the ashes of its
predecessor in an egg of myrrh and
flew with it to Heliopolis, "city of
the sun," where the egg was deposited
on the altar of the sun god.

NATALIE
I'm afraid I don't see the connection,
outside of the ash part....

LACROIX
There are two connections, my dear
doctor. First, the sun god, which
is how I imprisoned Divia twenty
years after Pompeii: It is quite
possible that whilst lying beneath
the seal of Atum-Re, she learned of
his mystical secrets.

Natalie just stares at him.

NATALIE
Oh come on, don't tell me you believe
in all that ancient mystical crap.....

He glares; he does indeed, after all, he lived it. She swallows.

NATALIE (CONT)
Sorry....what's the second connection?

LaCroix walks a few paces away. This is the tough one to tell.

LACROIX
In ancient alchemy, it was said that
the Philosopher's Stone surged from the
holy ash of the phoenix mixed with the
blood of one whose love was in its
purest form.

NATALIE
Purest form?
(nickel drops)
Like a father's unconditional love
for his child....

Natalie and LaCroix stare at each other. He is so uncomfortable, he looks
as though he'd like to just wither into nothingness. He looks away, ashamed
of the emotion.

NATALIE (CONT)
I'm sorry. I know you must have
loved her.

LaCroix turns away, his emotions threatening to overtake him in the moment.
Natalie reaches a hand toward him, but thinks twice and brings the hand
back.

NATALIE (CONT)
I think you still do.....

He whirls on her in anger.

LACROIX
I do not.....feel love. I assure
you doctor, I am quite incapable of
the emotion. And I shall not stand
here and listen to this any longer.

He exits in displaced WHOOSH of air.

NATALIE
Yeah, and I'm the friggin' Queen of
England....

On Nat, we,

CUT TO:

end part 10
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INT. ABANDONED WAREHOUSE - NIGHT

Divia is still sitting on her crate, silently watching Nick cradle Janette.
A smile suddenly forms on Divia's lips, then we hear a displaced WHOOSH as
LaCroix lands behind her. She does not turn around.

DIVIA
Well, well, father. It's about
time. Your children were beginning
to think you didn't care about them.

LaCroix looks at Nick, who looks back into LaCroix' eyes. Then the Ancient
takes a step closer.

LACROIX
Nicholas? Are you all right?

KNIGHT
More or less, but Janette....

LaCroix takes another worried step closer, but Divia is up and snarling at
him. It is clear that he will have to go through her to get to them.
LaCroix stops his advancement and looks back at Nick, then at Divia.

LACROIX
(to Divia, re; Janette)
What have you done to her?

DIVIA
Nothing I would not have done before,
had I known of her existence.

LaCroix takes a threatening step closer.

LACROIX
If you have harmed her permanently,
I will--

DIVIA
--You will what? I hardly think you're
in a position to threaten, Lucius.

He backs down, slightly. Divia backs away a little, getting closer to Nick
and Janette, putting distance between herself and LaCroix.

LACROIX
What do you want, Divia?

DIVIA
Justice. I want you to suffer in
ways that you could only have imagined.

LaCroix smiles.

LACROIX
I believe I've heard that before.

DIVIA
Do sit down, General, and make yourself
comfortable.

Divia indicates the crate that she had occupied moments before. LaCroix
just stares at her. Divia walks closer to Nick and Janette. LaCroix still
does not move. Divia moves to Nick, yanks his head back by the hair, and
flashes her fangs. That gets LaCroix' attention.

LACROIX
If it makes you happy, my dear, I
shall take a seat.

He sits on the crate, and Divia lets go of Nick, who just glares at her. A
long moment of awkward silence sits in the room.

LACROIX (CONT)
I assume that you arranged this little
reunion for a reason, Divia.

DIVIA
Yes father; I want to watch you suffer.

LACROIX
(smiling)
I don't think so.....if that was all
you wanted, the deeds would already
be done.

DIVIA
What are you suggesting, Lucius?

LACROIX
A trade, perhaps?

Divia smiles.

DIVIA
Continue.

LACROIX
Me for them.

DIVIA
That's very nice, father, but
I don't think so. I could have
killed you the other night had
I wanted.

LACROIX
Indeed. And why, prey tell, did
you not?

DIVIA
Because I thought that allowing
you to witness the slow and painful
deaths of your two favourite creations
a far more fitting punishment.

Divia moves toward Janette and Nick again; LaCroix stands.

LACROIX
And just what makes you think I will
allow you to harm them?

DIVIA
You have little choice, Lucius. You
are no match for me; I think you know
that.

She vamps out, grabs Nick by the hair again, preparing to bite him.

LACROIX
(quickly)
I will do as you asked of me all
those centuries ago, Divia.

KNIGHT
LaCroix, no....

Divia hits Nick, hard.

LACROIX
Stay out of this, Nicholas. It
does not concern you.

KNIGHT
LaCroix, you can't...

LACROIX
I can, and I will.
(to Divia)
Do we have an agreement?

She smiles.

DIVIA
I have nothing but hate for you now.
You have nothing to trade for their
lives.

LACROIX
The fact that we are standing here
having this discussion proves otherwise,
my dear.

In a fast move, Divia tosses Nick toward the back wall, and grabs Janette,
hoisting her up toward her own mouth. Divia's fangs flash as she prepares
to bite Janette and drain her completely. LaCroix vamps out.

LACROIX (CONT)
Let go of her, Divia.

Janette finally stirs, at the sound of LaCroix' voice.

JANETTE
Mon p=E8re......?

ANGLE DIVIA; how dare you call him that. Divia growls and pulls Janette's
head back.

DIVIA
He is mine!

Divia sinks her teeth into Janette's throat, and LaCroix lunges for her. He
prys Divia away from Janette, who falls to the floor. Divia easily tosses
LaCroix into a wall, slamming his head hard into the brick. Blood trickles
from LaCroix' head, he shakes it, trying to clear it. Divia is on him
again, slugging him hard across the face. LaCroix goes down to his knees.
Nick has moved to Janette and picked her up. LaCroix grabs at Divia and
gets her around the neck; but it is fairly obvious that he is not going to
be able to hold her for long. She breaks away, tossing him backward, and
she flys to the other side of the room. She reaches behind a crate and
pulls out a can of gasoline. Divia spreads some petrol about the wooden
crates, pulls out a lighter and starts a fire. Nick, still carrying
Janette, goes to LaCroix.

LACROIX
Nicholas.....take Janette and go!
Go now!

KNIGHT
What about you?

LACROIX
I must finish what has been started.
It is my responsibility, and no one
else's.

They hold a long look. Nick's eyes search LaCroix', and there is an
unspoken moment of understanding that passes between them.

KNIGHT
LaCroix....

LaCroix quickly grabs Janette's face, and kisses her. Then he cuffs Nick
behind the head, pulling him close, and kisses him on the forehead, before
shoving him away.

LACROIX
Go quickly....

Nick, carrying Janette, exits. LaCroix turns his attention back to Divia,
who is waiting for him. The warehouse is quickly going up in flames, and
the two vampires stand amid the inferno, staring at each other.

end part 11
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DIVIA
So father, are you prepared to die?

LACROIX
If it means I can take you with me,
then so be it.

DIVIA
Your weakness disgusts me.

LACROIX
(beat)
How I could ever have loved you, is
beyond my own comprehension. However,
you are my responsibility and I shall
not unleash you upon an already troubled
world.
(beat)
If you want me, come and get me.

Divia lunges for him, knocking him to the ground. The flames around them
are building. Divia has the advantage, and pounds his head into the floor.
As she extends her own head back, preparing to strike with her fangs, he
sees his opening, and with a reserve of strength he didn't know he had,
LaCroix turns the tides. He shoves her, off balance, up and then down, to
the floor. She gets up, and he throws himself at her once more, this time,
knocking them both back, into a crate that is partially smashed. One of the
jagged wooden boards, plunges through Divia's back, straight through her
small body, and into LaCroix' stomach. For a moment, they are impaled,
together on the wooden stake. Both of their eyes revert. She has been
struck in the heart and is dying. He is in a lot of pain. He looks into her
eyes.

DIVIA
=46ather?

He can barely look at her, the tears in his eyes welling quickly.

DIVIA (CONT)
Why don't you love me?

The pain of the question is almost too much for him to beare.

LACROIX
But I do. I do love you.

DIVIA
Don't leave me here....it's so cold.

He wraps his arms around her and kisses her forehead. She dies in his arms.
He buries his face in her hair, slamming his eyes shut. Then, with the last
of his strength, he tries to detach himself from the stake. He falls to the
ground, and can only lie there in pain. He tries to get to his knees, but
falls down again. On this, we,

CUT TO:
EXT. ABANDONED FACTORY - NIGHT

Nick, with a now conscious Janette, is quickly running from the consumed
building. It doesn't look good for LaCroix. They get far enough away from
the building, when we hear the first EXPLOSION. Nick starts.

KNIGHT
LaCroix!

Janette holds him back.

JANETTE
No, Nicolas, you must not.

KNIGHT
But, LaCroix....

Janette's eyes fill with tears.

JANETTE
He is lost to us, mon cher.

Another EXPLOSION hits, and Janette and Nick must duck for cover as pieces
of debris fly in their direction. Nick looks toward the building. He
squints. Does he see a lone figure, moving weakly toward them? Janette
follows his gaze, and from THEIR POV; we see LaCroix trying to make his way
toward them. Nick and Janette run for him, and meet him about half way.
Upon seeing them, LaCroix sinks to his knees. Nick and Janette kneel next
to him.

KNIGHT
LaCroix?

LACROIX
She is dead.

They hold a long look, then LaCroix looks away. Nick gently rubs his hand
up and down his father's arm.

KNIGHT
I am sorry.

LACROIX
There is no need. I did what had
to be done.

Janette spots the open wound in LaCroix' abdomen.

JANETTE
LaCroix! You're hurt.

Nick inspects the wound.

LACROIX
It is nothing that won't heal....

LaCroix looks back toward the building; and the unspoken words, 'unlike
other wounds' remain unsaid. Janette and Nick exchange a look. Janette puts
her arms around LaCroix' neck, embracing him. Nick puts his arms around
both of them. LaCroix does not react. He is as a soldier who has been shell
shocked in a war. He does not accept their gestures; he does not notice
them. On the haunted look in his eyes, we,

CUT TO:

EXT. RAVEN - NIGHT

Establishing time and place, and we,

CUT TO:

INT. RAVEN - NIGHT

There is a celebration here. We see Nick, Natalie, Reese, Platt and Janette
at the bar. Maurice is standing behind it. Janette is standing off a little
ways from the group. No sign of LaCroix. Many off duty policemen and their
dates are out on the floor dancing. What an odd sight. MUSIC is playing in
the BG. Not the standard Raven fare, either. It's Shirley Bassey's "Someone
Who Cares".

REESE
How exactly did you come up with
this place for a party, Nick?

KNIGHT
I'm on friendly terms with the owners.

Reese laughs, and takes a sip of his drink.

PLATT
I'm sorry Natalie, that I doubted
you.

NATALIE
It's okay, Jeffrey. I know it must
have looked kind of odd.

REESE
Nick, I hate to ask this, but I
just have to - you're sure the perp
went down in the building fire?

Nick and Nat exchange a look.

KNIGHT
Yeah, I'm sure.

Platt and Reese move off, just as LaCroix enters. Nat and Nick exchange
another look. He looks distant, as if nothing matters.

KNIGHT (CONT)
LaCroix, how do you feel?

LACROIX
I'm fine, Nicholas.

LaCroix looks at Natalie.

LACROIX (CONT)
I presume you have something
for me?

Natalie reaches into her purse and pulls out the envelope that LaCroix had
given her in the hospital. She hands it to him, and he quickly puts it in
his jacket pocket. Nick glares at the two of them.

KNIGHT
What's that?

LACROIX
Nothing that need concern you at
the moment, Nicholas.
(to Nat)
Thank you, doctor.

LaCroix starts off, Nick touches his sleeve.

KNIGHT
Where are you going?

LaCroix looks toward Janette.

LACROIX
To ask my daughter if she would
give me the honour of a dance.
(off a look)
Seems a shame to let the music
go to waste.

LaCroix moves over to Janette; Nick and Nat exchange a surprised look. Nick
leans in to Nat.

KNIGHT
What was in that envelope?

NATALIE
I can honestly say I haven't a clue.
(off a glare)
Just be glad that you don't know
either, and leave it at that.

Nick just stares at her. We PICK-UP LaCroix and Janette a few feet away.
Janette has her back to him as he approaches. He walks up very close, but
doesn't touch her. He leans in.

LACROIX
Shall we go out on the dance floor
and show the mortals how it is done?

Janette turns to face him, a drink in her hand. She doesn't look very
happy. She tries to avoid him.

JANETTE
It has been too long since we have
danced as partners. We will no
longer dance well together.

LaCroix takes the drink out of her hand, and sets it on the bar. He holds
her hand in his own.

LACROIX
I have heard that one never forgets.

She moves away from him. He follows and stands behind her.

LACROIX (CONT)
You are still angry with me about
Divia.

She turns to face him, her eyes flashing anger.

JANETTE
Non. I am angry because you won't
let anyone into your heart. Not
me, not even Nicolas.

He is taken aback at her candor. His eyes immediately glaze over with
practiced stoicism and distance. This is not lost on Janette.

JANETTE (CONT)
There, you see....even now, when I
call you on it, you distance yourself.

LACROIX
This is neither the time, nor the
appropriate place, Janette.

JANETTE
It never is, LaCroix. Did you ever
in your entire life, let anyone love
you?

ANGLE LACROIX; yes, once or twice. With less than successful results. He
looks away.

LACROIX
If you will excuse me, Janette....

He starts away, but she takes his hand. He glares at their hands, and then
at her, but she does not back down.

JANETTE
Non. Answer the question.

He glares even harder at her. His lips almost curling into a sneer.

LACROIX
Let go of me.

JANETTE
Non. R=E9pondres-moi.

LaCroix looks around nervously to see if anyone has noticed the slight
altercation between them. No one has, yet.

LACROIX
I will not ask you again.

JANETTE
Nor will I.

The MUSIC changes to Nat King Cole's "Smile". Janette and LaCroix are still
staring at each other, having a contest of wills. As he notices the lyrics
of the song, he looks hurt; as though remembering a terrible pain. He
suddenly looks away. With her free hand, Janette gently tilts his face so
that their eyes meet. They hold a long look. She knows that he is thinking
about Divia. Then, still holding his hand, Janette pulls, and takes him to
the dance floor. He glares at her slightly, but people are watching them
now, and he does not wish to call any further attention to himself. She
stares at him, and reluctantly, he takes her in his arms, as they begin to
dance.

JANETTE (CONT)
Are you so afraid of intimacy?

He looks at her sharply.

LACROIX
I am afraid of nothing.
(beat)
It is merely that my heart is far
too cold, and I am well beyond feeling
such mortal emotions. I should think
you would know that, Janette.

In response, she pulls him closer to her. Reluctantly, he closes his arms
tighter around her, as she leans into his chest. Then she looks at his face
yet again.

JANETTE
What I know, is that you are covering
up your hurt and your pain with denial
and immortality.

ANGLE LACROIX; bingo. His eyes betray the truth for a moment. He takes in a
breath.

JANETTE (CONT)
You are not alone, Papa. Nicolas
and I are with you.

He cannot answer verbally; he is overcome with a flood of emotions that he
wants nothing more than to deny and slam down. Instead, he pulls Janette
tightly to him. As they continue to dance, he rests his head against hers
and closes his eyes. As she feels him relax a little, she tightens her arm
around him and squeezes the hand that is holding hers. He pulls their
joined hands inward, until her hand is close enough for him to kiss. We
PICK-UP Natalie and Nick on the dance floor as they watch LaCroix and
Janette.

NATALIE
(re; LaCroix)
Is he going to be all right?

KNIGHT
I think he may have just taken the
first step in the right direction.

=46ADE TO BLACK:

THE END

end part 12
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