Date Sat, 18 Jul 1998 164746 -0400 Reply-To vampwrtr@INNOCENT.COM Sender Forever Knight TV show stories From vampwrtr@INNOCENT.COM Subject Lost Lambs 01/12 To FKFIC-L@lists.psu.edu usual disclaimers.  permission to mel moser to archive . comments to the author at  vampwrtr@innocent.com FOREVER KNIGHT "Lost Lambs" ACT ONE FADE IN EXT. THE GOLDEN NOODLE RESTAURANT  NIGHT Police cars and emergency units fill the screen.  Red lights flashing, men wearing bullet proof vests, guns drawn, waiting.  Everyone's attention is on the door of the restaurant.  In the middle of the ruckus, is a police car, and behind its protective doors we find CAPTAIN JOE REESE, complete with bullhorn. DETECTIVE NICK KNIGHT, and DETECTIVE JEFFREY PLATT have their guns drawn and are standing nearby. REESE (on bullhorn) Give it up, Packard, there's no good way outta this one. We hear a voice emanating from within the surrounded restaurant. PACKARD (O.C.) No way.  There's no way I'm goin' back... REESE Calm down, Packard, let's talk about it.... Reese motions Nick and Jeffrey to go around to the back of the building. They exit.  We, CUT TO EXT. BACK OF RESTAURANT  NIGHT Nick and Jeffrey survey the alley and the back door to the restaurant. There are some sharp shooters positioned on the roofs of the surrounding buildings; this will preclude Nick from performing any vampiric entrances. Platt and Knight look at each other. KNIGHT After you partner... PLATT Oh sure, I've been recuperating for a month, and now you want me to go first. KNIGHT I was just being polite. Nick steps in front of Jeffrey, and the two of them collide in the doorway. They hold a long glare.  Laurel and Hardy live. PLATT One of us has to move. KNIGHT Then please let it be you. Platt rolls his eyes, but steps out of the way.  The two of them enter the building.  We FOLLOW them into, INT. KITCHEN OF RESTAURANT  CONTINUOUS Knight and Platt examine the room; a fairly standard restaurant kitchen. Many pots are boiling over, because the cooks are no longer attending to them.  Jeffrey takes a big whiff from a pot close to the edge of the stove. He likes the smell, so he stops to see what it is.  ANGLE KNIGHT; what is Platt doing?  Knight rolls his eyes, as Jeffrey sticks a finger in the pot, and then sticks it in his mouth.  He looks over at Nick and smiles. Quickly Platt goes to Nick. PLATT (whispers) Moo goo gai pan. KNIGHT (sotto) Do you suppose you could offer it up, and stay in the moment with me? Nick turns and covers the rest of the ground to the door which leads to the dining room. PLATT (mutters) Spoiled Sport.... Jeffrey follows Nick to the door.  They hold a look.  Nick quietly and smoothly peeks through the glass in the upper part of the door.  He ducks his head back down quickly. KNIGHT (sotto) There's only the one man in there with a gun.  The rest of the people appear to be hostages. PLATT (sotto) One guy?  The entire police force of Toronto is out here for one guy? Geez, now would be a good time to hit the rest of the city.... KNIGHT Put a lid on it, Jeffrey. Nick turns his attention back to the door, and no sooner is his back turned, Platt does a little kindergartner impression of his partner.  Nick turns back, and Platt just smiles, looking innocent.  Nick frowns and shakes his head. KNIGHT (CONT) I'll go in, slowly.  When I'm close enough, give me a distraction. PLATT You always get the fun part. Nick just shakes his head at Jeffrey, and heads quickly out the door. Jeffrey watches his partner through the glass in the door. PLATT (CONT) (whines) Golly gee, Batman, do you think I could drive the Batmobile next time? ANGLE NICK; he *heard* that....  From Platt's POV; Nick crawls along the floor, heading toward PACKARD, who is near the front of the restaurant. There are only about five people in the dining room, including Packard. Jeffrey moves as close as he dares to the stove, and he sticks his finger in a big pot, and brings it to his mouth.  ANGLE PLATT; Eww....what is that?  He looks into the pot, PLATT'S POV; dirty silverware and utensils, soaking in hot, soapy water.  Oh, gross. PACKARD (O.C.) Who the hell are you? ANGLE PLATT; Uh-0h.  Platt looks out into the dining room, and Packard has spotted Nick, oops.  Jeffrey grabs the pot of silverware and as he lets it go to the floor, we, CUT TO INT. DINING ROOM  CONTINUOUS We hear the CLATTER of the pot and silverware, and Nick moves with almost vampiric speed to Packard, whose attention is on the kitchen door.  Nick grabs the man's gun, and lands a solid punch into his jaw, knocking him out.  The people in the room applaud, Nick smiles at them.  ANGLE PLATT through the little window in the door; Grrrr.... On this, we, SMASH CUT TO MAIN TITLES INT. RESTAURANT DINING ROOM  NIGHT Cops are moving about, cleaning up and interviewing the witnesses.  ANGLE NICK & PLATT NICK A pot loaded with silverware? That's your idea of a distraction? PLATT It worked didn't it? Reese sticks his nose in. REESE The Clank heard 'round the world... This elicits laughter from Nick and all the other cops around.  Platt glares. PLATT I got the job done and this is what I get.... Platt stalks off. KNIGHT Clank heard around the world; good one, Cap. REESE Stole it from one of the reporters outside. KNIGHT Reporters? The Captain just smiles.  We PICK-UP Platt, who is trying to get a statement from SIX, 40ish, a bit sloppy, genius IQ, and appears to be a total wacko. PLATT I need your name, sir. SIX I've already given you my identification.  It is Six. PLATT What, you think you're on Star Trek?  I need your name, you know, first and last. Six just gives Platt a blank look. PLATT (CONT) Oh man....okay, where do you live? Six smiles, grabs Platt and takes him over to a window.  Six points toward a star that Platt can't see. SIX Right there, on Torrelium. Platt follows Six's pointed finger, and then slowly gazes back at Six.  Oh yeah, total, complete wacko.  Certifiable.  Platt shakes his head.  A COP passes through the frame; COP (to Platt) Good going, Clanker... Platt turns and glares.  When he turns back around, Six is gone. PLATT Hey...where'd he go? Six?  Six.... We FOLLOW Platt through the restaurant and back into, INT. KITCHEN  CONTINUOUS Six is standing near the chopping station when Platt enters. PLATT There you are. What are you doing? SIX Looking at all the shiny tools.  Maybe I can build a transmitter and contact home. PLATT Just like ET.... Off this, we, CUT TO EXT. PRECINCT  NIGHT Establishing stock of the precinct, and we, CUT TO INT. PRECINCT  NIGHT Platt is at his desk, Six is sitting in Nick's chair.  Reese enters. REESE (re; Six) Jeffrey, what are you doing? PLATT Waiting. REESE And you're waiting because.....? PLATT I've been unable to identify him, but I've called Hudson. They're on their way. SIX Did you call for a shuttle to come and take me back to Torrelium? PLATT Yeah, yeah. (sotto to Reese) This nut belongs in a rubber room. REESE See that he doesn't get in the way. PLATT No problem, right Six? Reese starts off. SIX Whatever you say, Captain Jeffrey. Reese turns back and stares at Platt. REESE Captain? PLATT Well, I uh-- REESE --Save it. Reese starts away, and on his exit we hear him mutter; REESE (CONT) Gone a month and he comes back delusional... PLATT You want anything to eat or drink? SIX Do you have any Walerian Chocolates? PLATT Wal-a-what? SIX Walerian Chocolates. They're the best in the galaxy you know. PLATT Whatever.  I can get you a Snickers bar, if ya want it. SIX Is it chocolate? PLATT Yep. SIX Okay. Platt looks around for the appropriate babysitter.  Nick enters, and sees Six at his desk.  Platt sees Nick. KNIGHT What is he doing at my desk? PLATT You're just in time.  I've gotta get Starman here some chocolate, so you're on babysitting duty 'til I get back. Platt heads off. KNIGHT Hey, what about my desk? PLATT (O.C.) (fading) You figure it out, just don't lose him, he wanders. Nick stares at Six, who smiles at Nick.  Nick smiles back. KNIGHT I don't suppose I could interest you in sitting over here, in Jeffrey's chair, could I? Six shakes his head no. KNIGHT (CONT) I thought not. Nick sits in Platt's chair, and makes a face at the loud SQUEAK the chair makes as Nick sits.  Six laughs at Nick.  Nick is not amused.  He glares. KNIGHT (CONT) Is someone coming for you, uh....Mister... SIX Six.  Just call me Six.  That is my designation. KNIGHT Designation? SIX Um, you call them names. KNIGHT (grins) Who are you really? SIX I've told you, Six. Nick leans in, conspiratorially. KNIGHT Did Jeffrey put you up to this? SIX (beat) I'm from Torrelium. KNIGHT So I've heard.... SIX You don't believe me, do you? KNIGHT Well, it is a little odd.... SIX That's okay, no one ever believes me. KNIGHT How did you get here? SIX I took a shuttle from Torrelium to Jupiter. KNIGHT Uh, no, I mean, how did you get here, in Toronto? Six looks down; it's the first time we've seen a slight look of panic on his face.  Through the following, Six becomes increasingly more upset. KNIGHT (CONT) It's all right, I won't tell anyone else. SIX I came to your planet as a fugitive. (off a look) I escaped from Sector Seven. KNIGHT Sector Seven? SIX (flustered) Yes.  It's on Jupiter, and....I don't.... KNIGHT It's all right. SIX I don't want to talk about Sector Seven. A commotion is heard near the front desk.  Nick turns and sees a prisoner trying to break free.  He turns back to Six. KNIGHT Don't move. Nick gets up and heads toward the commotion.  Six looks around, lots of noises and people.  He gets up and heads toward a way out.  On his exit, we, CUT TO INT. PRECINCT  LATER Nick is sitting in his chair.  Reese is standing near Jeffrey's chair, and Platt is pacing. PLATT (to Nick) How could you...lose him? KNIGHT I told you-- PLATT --I heard you the first time. KNIGHT Then why did you ask again? The two of them hold an irritated look. PLATT We've got to find him. We can't let the poor guy wander the streets thinking he's an alien from another planet. REESE Feeling sympathy pains? PLATT There's no telling what late night talk show he'll end up on. MATCH CUT TO CLOSE on a microphone and the pair of full lips speaking into it. INT. RAVEN/SOUNDBOOTH  NIGHT LACROIX (O.C.) Refuge, mes amis.  How many times in one's life must one seek shelter from a storm? Or possibly from something stronger, more...violent? CUT TO EXT. ATM MACHINE AT BANK  NIGHT A woman, ALICE JOHNS, 30's brunette, blue eyes, pretty, is getting money out of the ATM.  A man comes up behind her.  In the dark, we see only the flashing of a long, silver blade. CLOSE on the knife; the handle has Chinese characters on it. She screams, he stabs her multiple times.  He grabs her money and her purse.  We can't really see his face.  He runs off, and we, CUT BACK TO INT. RAVEN/SOUNDBOOTH  NIGHT REVEAL LUCIEN LACROIX doing his stint as the Nightcrawler. LACROIX (CONT) So many situations to run away from, so little time.... INTERCUT INT. COFFEE SHOP  NIGHT Six is sitting at the counter, drinking a cup of Jo; he looks a little tossled.  The short order COOK, who has nothing to do, since the place is empty, is standing behind the counter, listening to the radio.  And wouldn't you know?  It's tuned to CERK, and we hear the voice of LaCroix. It captures the attention of Six. LACROIX (CONT) I've known many in my lifetime, who have felt the need to run.  Some have been...shall we say, very powerful tacticians, and some have merely been heads of State.  All of them have been weak.  Too weak to do anything but run away and seek refuge from that which they will not face.... Six stares at the radio. LACROIX (CONT) ...that which follows them no matter where they go  Themselves. (beat) Go ahead and seek your refuge in the night, gentle listeners, for tomorrow, you will find that running solves nothing. (beat) Bonne nuit.... END INTERCUT INT. COFFEE SHOP  CONTINUOUS The cook shuts the radio off, Six glares at him. COOK What?  It's over. SIX What was that, please tell me. COOK You've never heard of the Nightcrawler? (off a blank stare) You're not from around here, are you? SIX No, I'm not. COOK He broadcasts every night from some joint called the Raven. SIX A Raven...isn't that a type of large, black warm-blooded vertebrate, which is covered in feathers? On the Cook staring at the oddball before him, we, CUT TO EXT. RAVEN  NIGHT Establishing stock of our fave joint, and we, CUT TO INT. RAVEN  NIGHT There are many things that fly here, but certainly no feathers....  A fairly crowded night of party-heartys.  As we move through the room, we see it all, and we PICK-UP JANETTE DUCHARME, as she glides through the room, heading toward the bar.  As she arrives at the bar, we CLOSE on the smiling face of MAURICE. MAURICE The usual? JANETTE Thank you, Maurice. Maurice pours her a glass of blood and hands it to her.  As she sips it, she glances around the bar, and she stops in mid sip when she gets to the end of the bar.  JANETTE'S POV; Six, sitting quietly, drinking straight from a bottle of concentrated Ribena.  Ribena?  Ewww.....  Janette scowls. JANETTE Maurice, who is that, how did he get here, and why is he drinking ....*that*? MAURICE Well Miss Janette, I'm afraid I'm only going to be able to give you one out of three.  He says he likes sweet fruity drinks.... JANETTE I was unaware that we even stocked it..... MAURICE Believe it or not, some of our regulars-- (off her look) Mortal, regulars, like it watered down on ice with a little vodka. Janette makes a face as though she smelled something really bad.... JANETTE He does not look as though he belongs here. MAURICE Uh, no, he does not. (beat) It might do well for us to get him out of here before LaCroix shows up.... (off her look) He heard a broadcast tonight, and-- JANETTE --And that's why he's here. MAURICE (nods) Took quite a shining to LaCroix' monologue.  I'm afraid he's a......fan. ANGLE JANETTE; oh dear. MAURICE (CONT) And Miss Janette.... (points to his head) I'm afraid he's a fang or two shy of a feeding. JANETTE Of course he is, Maurice. (off a look) He liked LaCroix' monologue didn't he? Maurice chuckles.  Janette walks over to Six, who smiles at her. JANETTE (CONT) New in town? SIX Do you work here? JANETTE (irked) I most certainly do not. (beat) I am......a co-owner. SIX Oh. (beat) Do you know the Nightcrawler? JANETTE Yes, I have been informed of your....interest in the show. SIX I'm sure he can help me. JANETTE (excuse me?) Help you? SIX Yes, you see I'm trying to get home, to Torrelium, and I thought-- JANETTE --Where? SIX Torrelium. JANETTE Torrelium. SIX Yes.  It's in the next galaxy... JANETTE And you think LaCroix-- (off a confused look) Um, the Nightcrawler, can help you? SIX Oh yes.  I recognized his voice right away. (off a look) He's one of us. Janette is now trying to hold back a smile.  This could be rather fun.... JANETTE Really? SIX If I could just meet-- LaCroix steps into frame. LACROIX --Janette, is there a problem? ANGLE JANETTE having a tough time keeping a straight face. JANETTE Problem?  No, not for me.... She smiles coyly and walks away.  Six is smiling a huge smile at his new hero.  LaCroix glares.  Six continues smiling, and begins fingering LaCroix' lapel, checking out the material of the suit.  LaCroix' eyebrow raises in barely contained anger.  How dare this mortal touch his suit.  We hear a maniacal giggle from Janette, OC.  LaCroix glances in the direction of the giggle.  Something is rotten in Denmark.  On LaCroix knowing he's been somehow had, we, FADE OUT END ACT ONE ACT TWO FADE IN INT. PRECINCT  NIGHT Nick is sitting at his desk, a slightly mischievous look is on his face. Several cops around the precinct nudge each other as Platt enters and walks over to his desk.  There is a newspaper clipping sitting there.  Platt gets a glare on his face, as he picks up the paper.  We CLOSE on the clipping's caption "The Clank heard 'round Toronto."  Platt glares at Nick, who is not really containing his amusement.  Then Platt looks around to the rest of the cops, most of whom have burst into laughter. PLATT Yeah, yeah, have your fun.  I try and do my job, and I wind up with a damn mention in the paper as-- ALL --The Clanker. Everyone is laughing, including Nick.  Platt is not amused.  He crumples up the paper and tosses it into the can.  Platt sits down in his chair. PLATT (for benefit of all) God forbid we'd get any police work done around here. The cops in the room go back to doing what they do, and Nick finally looks up at Platt. KNIGHT Oh come on, Jeffrey, they're just kidding around... PLATT Yeah, well.... Reese enters. REESE Any news on your missing alien? PLATT Not yet.  We put out an APB last night, haven't heard a word. KNIGHT Maybe he caught a shuttle back to... where was it? REESE Torrelium. Nick and Reese share a smile. PLATT Have a little compassion. The poor guy's just confused. REESE Listen, I want the two of you to get cracking on the ATM stabbing. I don't wanna have a rash of these things. Nick gets up. KNIGHT I'll go see if Natalie has finished the autopsy then... PLATT I'll come with you. Knight and Platt exit.  On Reese, we, CUT TO INT. RAVEN  NIGHT Maurice is serving up scads of drinks, and Six is glued to his new chair, at the end of the bar, drinking Ribena from the bottle.  He is staring at the opposite end of the bar.  We CLOSE on Janette and LaCroix, who are standing where Six is staring.  LaCroix is standing with his back toward Six. LACROIX Janette this is not amusing.  This damned mortal is driving me mad with questions. JANETTE He is a little confused, I think, LaCroix. LACROIX A little?  He's lucky I did not make a meal of him last night. (off her look) I am hesitant, as I still remember the unpleasant reaction I had the last time I drank tainted mortal blood... JANETTE Oh LaCroix...he's harmless. LACROIX That's easy for you to say. (off her look) He's not following you all around, and staring... Janette runs a seductive finger down LaCroix' throat. JANETTE Mon pere.... LACROIX (nickel drops) You feel sorry for him, don't you? JANETTE Well... LACROIX Janette, this habit you have picked up of adopting strays is simply not attractive. JANETTE He has no where to go. LACROIX And how is that our problem? She begins to answer, but is silenced when LaCroix raises a hand in warning. LACROIX (CONT) No, no, I don't want to hear it.  This is a club, not a half way house for lost mortals. Even ones who think they are aliens. Janette starts to leave, but LaCroix grabs a hold of her arm. LACROIX (CONT) Where are you going? JANETTE What's the matter, don't want to deal with him on your own? LACROIX (yes) Don't be daft. Janette looks over LaCroix' shoulder. JANETTE Don't look now, mon cher, but he's on his way over here. LaCroix gets a slightly panicked look on his face.  He turns to glance in the direction of Six, and when he turns back, Janette is gone.  Six stands next to LaCroix, smiling the smile of an over zealous fan.  A growl escapes from LaCroix' lips.  On this, we, CUT TO INT. MORGUE  NIGHT Nick and Platt enter the lab.  Their faces take on an odd look, and we watch as they tilt their heads slightly, as if trying to see something upside down.  We go to their POV; and we CLOSE on a pair of gravity boots, hanging upside down in a doorway.  REVEAL DR. NATALIE LAMBERT, attached to the gravity boots.  Her long hair is hitting the floor.  Nick and Jeffrey exchange a look.  Nat's eyes are closed, a pair of Walkman head phones are on her ears, and she has no idea that the two men are there.  Nick puts a finger to his lips.  Platt watches, as Nick creeps over to Natalie, gets on the floor, near her face and then tickles her nose.  Nat's eyes snap open and we ANGLE NAT'S POV; Nick vamped out, nose to nose with her.  She screams.  Jeffrey and Nick start laughing, the former not even aware of the full extent of the joke.  Natalie yanks her headphones off and starts yelling. NATALIE What the hell is wrong with the two of you? Sneaking up on a person in a morgue?  Are you nuts? Nick and Jeffrey are still laughing, and Nat starts struggling to get out of the boots, but of course, in her anger, she can't.  This causes the two men to laugh even harder. NATALIE (CONT) Don't just stand there, Nicholas B. Knight, get me outta these things! Nick helps Nat out of the boots and sets her down on the floor.  She glares at both of the men. KNIGHT Come on Nat, it was just a joke. NATALIE (re; the vamp out) This is not Halloween. PLATT Halloween? They ignore the question. KNIGHT (to Nat) What were you doing? NATALIE Trying to relax. KNIGHT Upside down? NATALIE Never mind.  I assume that you two pranksters did not come over here just to terrorize me. PLATT Did you finish the autopsy on the Jane Doe who was stabbed at the ATM? NATALIE Yeah, it's right here. She hands Platt the report. KNIGHT And? NATALIE And she died from multiple stabbings to her chest and abdomen.  Nothing unusual.  Looks like it might have been done with a kitchen knife. KNIGHT A kitchen knife? PLATT There was no kitchen knife at the scene, that's for sure. NATALIE That's your people's problem.  Besides Jeffrey, I heard kitchen utensils was your new area of expertise. Isn't that why they're calling you The Clanker? Nick and Nat start laughing.  On Platt's glare, we, CUT TO INT. RAVEN/SOUNDBOOTH  NIGHT LaCroix as the Nightcrawler.... LACROIX Hiding.  Now there's something many learn to do as children. People pick up this skill whilst playing a harmless game in a school yard, not ever realizing the danger it may pose as an adult. (beat) People hide from many things, gentle listeners; first from their parents, then their responsibilities, then from their own children, and finally, some even hide from themselves. LaCroix frowns and looks toward the door of the Soundbooth.  Someone is there.  He smiles devilishly. LACROIX (CONT) And what are you hiding from, mes amis?  You can tell me...I promise not to tell a soul, living or otherwise.... LaCroix giggles, and flips a switch on the console.  With vampiric speed and stealth, he moves to the door and pulls it open.  Nothing is there.  He frowns.  He knows he wasn't imagining it.  He steps into the hallway, and when he turns back toward the Soundbooth, we REVEAL the smiling face of Six, now dressed in all black, just like his idol.  LaCroix is actually startled.  Quickly recovering, he glares. SIX I didn't mean to startle you, Mr. Nightcrawler-- LACROIX My name is not Mr. Nightcrawler, and you did not startle me. SIX Oh.  Sorry.  You looked startled. LaCroix glares, and suddenly notices Six's new duds. LACROIX (re; clothes) What is the meaning of this? SIX I....I just wanted-- LaCroix starts moving in on Six.  He is just plain tired of this wacked out mortal.  We hear a HEARTBEAT as LaCroix focuses in on the main artery in the man's neck.  LaCroix' eyes change to a golden colour.  Six is ecstatic, instead of being frightened. SIX (CONT) I knew it!  I knew you were one of us! LaCroix looks startled yet again  One of whom?  He stops on a dime. LACROIX What do you mean? SIX You're an alien, just like me!! That's it.  LaCroix moves in to take his reward.  Janette enters. JANETTE LaCroix!  No! Janette grabs a hold of LaCroix and separates him from Six, putting herself in between them.  LaCroix growls at her; he intends to have his snack. Janette holds her ground. JANETTE (CONT) LaCroix....please. Pour moi. LaCroix' eyes revert and he stands aside.  Janette looks into Six's eyes and we hear a HEARTBEAT. JANETTE (CONT) (whammys) You did not see anything unusual.  You heard the broadcast and that was all. SIX Heard the broadcast.... Janette steers Six toward the door, and he disappears back into the Raven. She starts past LaCroix, who grabs a hold of her wrist, hard enough to make her wince. LACROIX Get rid of him, or I most certainly shall. JANETTE I thought you were worried that his blood was tainted. LACROIX You deprived me of what might have been a very tasty snack, Janette. A long beat goes by.  She presses her body into his. JANETTE If that is what has upset you, I think I can offer a satisfactory recompense. They smile seductively at each other.  Off this, we, CUT TO INT. PRECINCT  NIGHT Nick and Platt enter to find Jeffrey's desk covered in silverware and pots. Many cops around the room, begin laughing as Platt sees the mess.  Jeffrey glares at them.  Nick is trying hard not to laugh, but failing miserably. PLATT Okay, okay.....enough. KNIGHT (laughing) Now Jeffrey, take it as a token of how much everyone loves and appreciates you. Jeffrey picks up a fork and makes a gesture with it towards Nick. PLATT Fork you, Knight.... This elicits yet more laughter.  Jeffrey begins noisily cleaning the clutter off his desk.  Reese enters. REESE What in the hell is that racket-- He stops dead when he sees Jeffrey, the silverware and pots.  Reese glares around the room, and most return to their work. REESE (CONT) I don't suppose you could cut down on the clanking? Platt glares and Nick has to pretend to cough, in order to cover up his laughter. PLATT (grits teeth) I'll try, Captain. Reese turns to Nick. REESE And you....what have you got on our Jane Doe? KNIGHT I have a name. (off a look) Alice Johns. REESE What took so long? Platt's phone RINGS and he answers it and has a conversation AD-LIB, in the BG. KNIGHT She's not a Canadian citizen, so we had to wait for Interpol. REESE And the bank tape? KNIGHT Unfortunately the tape is so old the images are blurred.  We've sent it to a lab though, and we're hoping that they can enhance it. Platt hangs up the phone. PLATT That was the film lab, they'd like us to swing by tonight. KNIGHT Let's go... REESE Oh by the way, I've got a list of escaped mental patients from Institutions within a hundred mile radius. KNIGHT And? REESE And what?  It's your case, I expect you to plow through the paperwork.  I'll be sure it's here waiting for you when you get back. I'm afraid that many of the listings are over two years old. PLATT That'll take awhile.  In the meantime Six is out there, somewhere.... REESE Jeffrey, get rid of this crap on your desk, or you'll never outlive the name of the Clanker. Several in the room snicker.  Platt glares, tosses the last of the junk into the big pot, and carries it off with him.  Off Knight and Platt's exit, we, CUT TO CLOSE on a pair of lips speaking into a microphone. SIX (O.C.) (doing LC impression) I am the Nightcrawler, and, I love you all.... INT. RAVEN/SOUNDBOOTH  NIGHT REVEAL Six, sitting at LaCroix' console, speaking into his microphone. Fortunately, the red on air light is not lit.  Janette enters. JANETTE Six....you shouldn't be in here... SIX I was just practicing. JANETTE Well, why don't you practice somewhere else? If LaCroix finds you in here, he will not be the slightest bit amused. SIX Do you think he'd let me use some of this equipment to contact a shuttle, so that I can go back to Torrelium? JANETTE He's somewhat....protective of this equipment. SIX Oh.  At the rate I'm going, I'm never going to get home. JANETTE Where do you live, Six? SIX I've told you, on-- JANETTE --No, I mean when you're here, in Toronto. Six is not forthcoming. JANETTE (CONT) Where do you stay? You can tell me. SIX I've been staying at a room down the street. JANETTE A room? SIX Yes.  It has a place to sleep, a place to clean and one of those little boxes with the funny pictures in it. JANETTE Little....oh, you mean a television. SIX Yes.  Television. JANETTE You're staying in a Motel then? SIX I was... JANETTE What do you mean, was? SIX Miss Janette, I'm afraid that I have no more money to give to the man who lets me stay in the room. JANETTE Where did you get the money you've been giving him? SIX I don't remember. JANETTE You must know... SIX You don't believe me? He's becoming agitated. JANETTE It's not that I don't-- SIX --You're the only one who has ever believed me about any of it. JANETTE It's important to you that someone believes you, isn't it?  I know how that can be. SIX On my world, everyone believes everyone else. Families have very, very trusting close relationships....nothing like here. ANGLE JANETTE; at the mention of Families she stiffens slightly. JANETTE (beat) Where are you going to stay tonight? SIX The alley outside is quiet, I can stay there. Janette thinks for a moment.  LaCroix was quite clear in his wishes regarding Six, and when he finds out what she is about to do, well, there's going to be hell to pay. JANETTE Six, can you handle a broom? SIX A what? JANETTE A broom.  You know, it's a big stick with bristles on the end of it.... SIX Oh, a cleaning instrument. Sure I know how to use one. Torrelium is a very clean planet. JANETTE Fine.  I tell you what, if you would be willing to work for me, I will give you a place to stay, until you figure out where you're going. SIX You mean I can stay here, at the Raven? JANETTE Yes, but Six, you must promise me that you will be very quiet during the day, and that you will not mention a word of this to LaCroix. SIX You want me to keep a secret from Mr. Nightcrawler? JANETTE I'm afraid that this little....arrangement needs to be between us. SIX You've been very nice to me, Miss Janette. I can keep your secret. JANETTE Then we have a deal. On the beaming smile of Six, we, FADE OUT END ACT TWO ACT THREE FADE IN INT. FILM LAB  NIGHT Nick and Platt are sitting in an editing room.  MITCHELL, an editor, is going through the tape with them. INSERT bank tape of Alice John's murder, with Mitchell in voice over. MITCHELL (O.C.) She's about to get her money, that's when we first see the edge of the perp in the frame. Here, in the lower left hand corner, see it, that's the glint of the knife blade. I'll put us into slow motion. The tape of Alice John's murder goes to SLO-MO. MITCHELL (CONT, O.C.) Here he's telling her to give him the money.  And now he starts stabbing her. His face is pretty well hidden from the lens, and what we do have, well the tape quality pretty much obliterates it.  The only thing that has really improved is the picture of Alice Johns... PLATT How can banks and other companies who use this type of surveillance get away with this schlock? MITCHELL Simple Detective, there's no law that says otherwise. There is one other thing. Platt looks over at Nick, who is slightly zoned out.  Nick can't believe how much the woman on the film looks like Janette....Mitchell points us back to the video screen and we return to INSERT of murder tape. MITCHELL (CONT O.C.) Right here, we got a good close up of the knife as he's using it.... FREEEZE FRAME on a CLOSE of the knife, and it's a large chef's knife, with Chinese characters on the blade. MITCHELL (CONT O.C.) I've been able to digitally enhance the image of the knife. KNIGHT Those look like Chinese letters on the blade. PLATT I don't suppose it says his name on it? KNIGHT No Clanker, it doesn't. Jeffrey glares, Nick smiles. KNIGHT (CONT) But it does have a restaurant name on it. The Golden Noodle. PLATT You think somebody from the other night is involved? KNIGHT Not just somebody, Jeffrey.... PLATT Six? (off a nod) Oh come on, Nick.  The guy's two shots short of a Martini.  Besides, why would he commit a murder? KNIGHT That's what we've got to find out by finding out who he really is. PLATT I feel a long day coming on.... He and Platt hold a look. MITCHELL I take it you two know this restaurant? KNIGHT It's a favourite of Jeffrey's. MITCHELL Oh yeah, I saw the article in the paper.  That's the place that you-- PLATT --Don't say it.  Just don't say the "C" word. On Mitchell and Nick smiling, we, CUT TO EXT. RAVEN DAY Establishing time and place... and we, CUT TO INT. RAVEN DAY Six is prowling through the Raven.  We FOLLOW him around as he entertains himself.  He does a little dance by himself on the empty dance floor.  Then he does a little tap number on top of the bar.  This is followed by a spectacular bump and grind bit in front of the painting on the wall behind the bar.  Then he runs along the top of the bar and slides on it.  He jumps down and heads toward the Soundbooth.  On his entrance into the booth, we, CUT TO INT. LC'S LIVING ROOM  CONTINUOUS Janette is cuddled up to LaCroix on the couch, his arm around her protectively, she is sound asleep, he is barely dozing.  They were either up late talking, or....something.  We hear the sound of a tool CLANKING onto a floor, somewhere off in the distance.  LaCroix' eyes snap open, and they are golden.  He can sense movement from downstairs.  His sudden movement disturbs Janette, who wakes up and sees his glowing eyes. JANETTE LaCroix?  What's wrong? LACROIX (calm) I heard something.  There is someone downstairs. ANGLE JANETTE; alarm.  Yes there is someone downstairs, and she knows who it is... JANETTE (covering) I'm sure it was nothing. LACROIX Are you doubting my senses? JANETTE Of course not, it's just.... Her voice drifts off.  LaCroix studies her; she's covering something.  He softly kisses her neck a few times.  It is seductive, but dangerous; this is not lost on Janette. LACROIX What are you hiding from me? JANETTE Nothing. He grabs a hold of her roughly. LACROIX Why is it that I do not believe you? She stares at him, defiantly.  He finally smiles at her, allowing his rough grip to turn into a soft, caressing one. JANETTE You look tired. LACROIX Yes....perhaps it is time for me to go to bed. Hmm...he's giving in awfully easily.  Janette frowns.  He kisses her quickly on the lips and gets up from the couch. LACROIX (CONT) Don't stay up too late. JANETTE No, I won't. He disappears down the hallway and we hear the door to his bedroom CLOSE. Janette lets out a breath of air. JANETTE (CONT) Six...what are you up to? Off Janette's exit, we, CUT TO INT. NICK'S LOFT  DAY Nick and Platt are sitting at the kitchen table.  Nick is shuffling through papers.  Lists of escaped wackos from all different types of Institutions. He is making piles.  When he finishes, he tosses the largest file to the floor.  Then he picks up the medium sized one and hands it to Jeffrey.  He takes the smaller one.  Jeffrey glares. PLATT Why do I have the big one? KNIGHT You do not have the big one. (off his look) The big one is on the floor. PLATT This one is bigger than yours. KNIGHT You are such a baby.  Give me that.... Knight grabs Platt's stack, and hands Platt the smaller stack. KNIGHT (CONT) Happy now? PLATT Immensely. They each look at their prospective stacks.  Nick looks through the first one, and tosses it to the floor, on the big stack.  Platt looks at Nick. PLATT (CONT) (re; folder) Why did you do that? KNIGHT What? PLATT You threw the first one of your stack onto the big stack. KNIGHT Because it isn't what we're looking for... PLATT How do you know?  You barely looked at it. ANGLE NICK; he's toying with a whammy here..... PLATT (CONT) I'm over here painstakingly going through these files, and you sorta glissando through yours and toss it, with a loud thud, I might add, onto the floor. (beat) Wacko, Fruitcake.....what? You think one of them is going to say Murderer on it? I think not. KNIGHT Are you done? PLATT Done?  I'm just gettin' started. KNIGHT (singing softly) Somewhere, over the rainbow// skies are blue//and the dreams that you dare to dream//really do come true.... ANGLE PLATT; What is he doing?  As Jeffrey talks, Nick keeps right on singing, and going through files, oblivious to anything and everything Platt does. PLATT                                      KNIGHT This is to annoy me?                Someday I'll wish upon To ignore me?  It ain't             star//and wake up where gonna work.  You can sing            the clouds are far behind all day long.  I don't               me//Where troubles melt care.  I can make my own             like lemon drops//a-way noise you know.....                   above the chim-- KNIGHT (re; Platt's noise) You wouldn't. PLATT Oh yeah?  Whaddya got in that kitchen? KNIGHT All right, all right. What do you want? PLATT Your stack. KNIGHT But you started with my stack. PLATT I think it's an easier stack than mine. KNIGHT Easier? PLATT Yeah. KNIGHT Here. Knight shoves the stack of files at Jeffrey and takes Jeffrey's away from him.  Nick is just shaking his head. KNIGHT (CONT) Can we get to work now? Platt is smiling.  Nick just shakes his head.  On Jeffrey, happy as a clam, we, CUT TO INT. RAVEN DAY Janette is quietly walking downstairs in the Raven.  She can hear metal TINKERING coming from the Soundbooth.  We see from JANETTE'S POV as she opens the door to the booth;  Six has dismantled LaCroix' broadcast equipment.  ANGLE JANETTE; terror. JANETTE Six!!  What have you done?  Are you mad? SIX Have I done something wrong?  You told me to be quiet, and so-- He sees her face.  She looks quite worried. SIX (CONT) Why do you look so afraid, Miss Janette? JANETTE You must put this back together immediately, Six. If LaCroix sees it like this, he'll-- LACROIX (O.C.) --Rip both of your heads off bare handed and drop them into boiling pots where they belong. ANGLE SIX & JANETTE as they freeze.  Slowly they turn around, and from their POV we see; LaCroix filling the door frame.  His eyes are glowing orbs of red, and he has a truly demonic smile upon his face. JANETTE LaCroix, I can explain. LACROIX (growling) I doubt that, Janette. I sincerely do. (beat) I told you to get rid of him. JANETTE I know. LACROIX Then why, prey tell, is he still here, having ripped apart my sound equipment? SIX Mr. Nightcrawler-- LACROIX (roaring) --You sit down and shut up until it's your turn. (beat) And don't call me Mr. Nightcrawler. (to Janette) Well, Janette?  I am waiting... LaCroix looks as though he might explode from anger.  Janette walks over and stands right in front of him. JANETTE There is no explanation, LaCroix.  I did what I thought was right. LACROIX Even after I told you-- JANETTE --Yes.  Do you not remember what I asked of you the night I gave you the deed to the Raven? (off his look) I asked that you make sure to always-- LACROIX --Take care of strays like us, yes I remember.  How does that apply in this situation?  He is not of our kind. JANETTE When I said it, I did not intend it toward only our kind. (sotto to LC) I have asked very little of you in almost a thousand years.  Can you not just let this go? LACROIX Why do you care what happens to him?  He is a mere mortal. JANETTE He so reminds me of a lost child, LaCroix. LACROIX Let me tell you something about lost children, Janette; they can be very dangerous. Janette looks quite sad; her eyes have filled with tears.  She turns away from him.  LaCroix looks at her and frowns.  There is something more here. Something hidden.  His anger falls away quickly as he looks at her, and as he remembers his own lost child.  He walks past Janette, who looks slightly alarmed that he will harm Six; however, he walks up to Six, and we hear a HEARTBEAT. LACROIX You have heard nothing. Janette and I never came down here.  You will sit here and repair this sound equipment, until it works perfectly again.  Do you understand? SIX Yes Mr. Nightcrawler... LACROIX And you will cease calling me Mr. Nightcrawler. SIX No more Mr. Nightcrawler... LACROIX Very good. Six turns to face the equipment.  LaCroix leads Janette out.  Off their exit, we, CUT TO INT. NICK'S LOFT  DUSK Nick is putting the files together in a briefcase.  Platt is sound asleep on Nick's couch, his feet, complete with shoes, are up on Nick's coffee table.  Nick frowns when he goes over to Platt and sees the shoes on his table.  Nick picks up Platt's feet, lifts them higher and then drops them to the floor.  Platt wakes up in a hurry. PLATT What?  Whoa.... The unceremonious foot drop unbalances Jeffrey enough, that he slides off the couch.  He hits the floor with a thud.  Nick laughs. KNIGHT Clank, clank.... PLATT When we get out of kindergarten, let me know, Knight... KNIGHT I have something better than kindergarten.... MATCH CUT TO INT. PRECINCT NIGHT Reese, Nick and Platt, in the Captain's office. KNIGHT I found Sector Seven. It's Section Seven at Lind Correctional Facility. (beat) Our man Six is better known as Crawford Hicks. REESE Crawford Hicks, the serial killer?  The one who used to like to watch the police arrive at the scene of his crimes from a dangerously close distance? KNIGHT On the money.  You see, Hicks was moved about two months ago to a minimum security ward, because he complained of chest pains.  When he faked a heart attack, the nurse ran to get a crash cart and he escaped. REESE So The Clanker's alien took us for a ride. What did he want with Alice Johns? Just her money? PLATT 'Fraid not, Cap. This guy always kills the same type of woman. And please stop calling me Clanker.... KNIGHT The victims are always blue-eyed, pretty brunettes. PLATT It says in his case file that he's killing his mother over and over. REESE (beat) Now to our real problem. Where is he? CUT TO INT. RAVEN  NIGHT CLOSE on CRAWFORD HICKS (formerly SIX), as he sweeps around in the kitchen of the Raven.  He sets the broom against a counter, and begins looking around in the drawers.  He stops and smiles as he sees what he wants  His POV; a drawer full of knives.  On this, we, FADE OUT END ACT THREE ACT FOUR FADE IN INT. GOLDEN NOODLE RESTAURANT  NIGHT Nick and Platt are talking to a WAITRESS, and Platt is nibbling on whatever he can get his hands into... KNIGHT Do you remember the man we're asking about? WAITRESS Who could forget? He crazy.....crazy... Platt snags a noodle off a tray that goes by.  Nick glares at him.  Platt shrugs as he stuffs the noodle into his mouth. KNIGHT How many times had Mr. Hicks...uh Six, come in before the other night? WAITRESS Few time...he like our food... KNIGHT Did he ever have anyone with him? WAITRESS No, Mr. Six...he always alone, talking about his stars. Platt swipes another morsel off a passing tray.  Nick smacks his hand. PLATT Ow. KNIGHT This is not a grazing station... On Jeffrey, we, CUT TO INT.  RAVEN/LC'S BEDROOM  NIGHT LaCroix, still in his clothes from the night before, is sitting on top of his bed, leaning against the head board. He is quite wide awake.  Janette, also in her clothes of the previous night, is curled up next to him, fast asleep, her head resting on his chest.  Janette shuffles slightly in her sleep.  LaCroix looks down at her, waits for her to finish moving around, then tightens his arms around her once again.  She is restless; much like she was when he first brought her across.  She awakens with a start, her eyes wide, and LaCroix pulls her closer, attempting to comfort her. LACROIX It's all right Janette. I'm right here. Janette looks at LaCroix, and calming down, she once again rests her head on his chest. LACROIX (CONT) I have not seen you this unsettled in a very long time. Janette says nothing, but she tightens her arms around him, and tries to snuggle in even closer.  LaCroix frowns.  He can sense that she is very upset, but he cannot sense why.  It is a feeling that he has picked up from her before, but he has not felt it in many centuries. LACROIX (CONT) Janette, I have....sensed this turmoil within you before, and yet I know not the reason for it. Janette buries her face further into his chest.  LaCroix shakes his head, and gently entwines his fingers into her hair, caressing the back of her head.  A soft sob escapes from Janette's lips.  LaCroix' frown deepens, as he looks down at her.  He pulls her head up to face him. LACROIX (CONT) Why are you crying? He wipes some of her tears away with his thumbs. LACROIX (CONT) It can't be about this mortal you've taken in, even if you do think of him as some kind of lost child-- Janette abruptly looks away when LaCroix mentions children.  The nickel suddenly drops for him.  He turns her face back to him, and looks deeply into her eyes. LACROIX (CONT) (tentative) Janette? Janette closes her eyes for a moment, and then pushes herself away from LaCroix.  She stands up and wrapping both arms around herself, she walks over to look out the window.  LaCroix stands up, but sensing she needs a little distance, stops himself a few paces away from her.  He waits.  When she finally speaks, Janette's voice is as soft as we've ever heard it, and it is slightly shaky.  This is the most difficult thing she has ever told him; something so painful, she's never spoken of it to anyone. JANETTE The night that you brought me across, you asked me if I indeed was of noble blood, and I said yes. LACROIX I remember. JANETTE But you never asked me how it is that one of noble blood ended up peddling her own flesh to stay alive. LACROIX It was of no consequence to me, Janette.  It was your spirit that captured my attention, not your position in the mortal world. JANETTE (beat) I have lived so long with this remorse; this secret that has haunted me for a thousand years. DISSOLVE TO FLASHBACK INT. 11TH CENTURY HOUSE PARIS  DAY A mortal, and rather pregnant Janette, is standing amidst several older people, amongst them, her MOTHER and FATHER.  Everyone seems rather angry. JANETTE (V.O. from Present) The remorse, at times, has consumed me..... Janette's Father is yelling at her. FATHER Do you not understand how you have brought disgrace and dishonour to this household? JANETTE But Father-- FATHER --Hush.  You will be seen and not heard. A man of my position cannot have such an immoral girl for his daughter. JANETTE Please Father-- FATHER --Silence! He paces around her, and Janette begins to cry, fearing the worst.  She looks to her Mother, who looks away. FATHER (CONT) It has been decided that you will be sent away. JANETTE No-- FATHER --You have no say in the matter.  From this day on, I have no daughter, and you have no family. ANGLE JANETTE; cut to the core.  The tears are spilling down her face. DISSOLVE TO EXT. STREETS OF PARIS  11TH CENTURY  NIGHT Janette, now in tattered clothes of the period, is wandering the streets, looking for food or handouts.  She is carrying a screaming child; *her* screaming child. JANETTE (V.O. from Present) My father believed that pregnancy outside of wedlock was the mark of a whore.  I wandered the streets until I met Gregoire, the first of many I was to 'work' for.... Janette is sitting in a dirty gutter, holding the screaming child. GREGOIRE enters the frame; he is smiling at Janette. GREGOIRE What is one so beautiful, who has so recently given birth, doing out here in the cold? (off her look) I can help you.  There are ways for one as... ....comely as you to survive. He looks at the child. GREGOIRE (CONT) However, I am quite afraid that a child complicates matters immensely. (off her look) You will have to leave him. JANETTE Leave him?  He is my child, I cannot just leave him.... GREGOIRE You will not survive out here in the cold.  Neither of you will.  I can save you, but you will have to sacrifice the child. JANETTE I cannot. GREGOIRE Have it your own way.... (beat) I shall be around if you change your mind. Gregoire exits.  Janette, shivering from the cold, cuddles the bundle closer to her own body.  She kisses the baby. DISSOLVE TO MONTAGE A.  Janette looking for food. B.  Janette asking for money. C.  Janette and the child are tossed out of a barn they are sleeping in. They wind up in the snow. D.  Janette walking in the bitter cold, falling, trying to protect the child. E.  Janette falls to her knees in a field, under a tree.  She is crying hysterically.  Off in the distance, we see a dwelling with a light emanating from it. F.  Janette quietly sets her bundle down in front of the door to the dwelling in the field.  She kisses the child and broken-hearted, she runs away. G.  Janette speaks to Gregoire on a Paris street, and putting his arm around her, he leads her off. JANETTE (V.O. during Montage) I had no way to feed my child, to protect him or to make any kind of life for him. He was starving to death. One bitterly cold night, I wrapped him in his blanket and left him.... I left him at the doorstep of a farmhouse.  A man and his wife lived there, and they had two children. I thought he might have a chance with them.  Then I went to Gregoire. DISSOLVE BACK TO PRESENT INT. LC'S BEDROOM  CONTINUOUS LACROIX And the child? JANETTE I do not know.  I never saw him again. Tears are spilling down Janette's face.  ANGLE LACROIX; his own face is filled with the emotion of a parent who knows the loss of a child. LACROIX (slightly stunned) How could I have not tasted this strong an emotional loss in your blood? JANETTE I buried it so deeply within me, I am not surprised that you were unable to read it. (beat, emotional) I abandoned my own child, LaCroix.  My own flesh and blood... LACROIX You left him with people whom you thought would be able to give him more, Janette. To have kept him given your circumstances, would have been far more selfish an act. (beat) A parent sometimes has to sacrifice for the good of the child. JANETTE I left him like a lost lamb with people I did not even know-- Her emotion over takes her and she can no longer speak.  Janette lets her head fall to her chest; she is just as heart broken as the day she left her son.  ANGLE LACROIX; so much has just clicked into place about her that until this moment, he never understood.  LaCroix closes the distance between them, and without saying a word, he wraps his arms around her, embracing her from behind.  He kisses the side of her head, as he gently rocks her in his arms. LACROIX (softly) While I have much doubt about there being a hell beyond the grave, I have no doubt that one exists on this side of it. On LaCroix lovingly holding her, we, CUT TO INT. PRECINCT  NIGHT Nick and Jeffrey enter, still in their long overcoats, to discover a silverware mobile hanging from the ceiling above Platt's desk.  Nick giggles, Platt glares.  Several stifled snickers are heard around the room. PLATT This is getting old, people...really old.... Platt sits down in his chair, ignoring the mobile.  Nick sits down on the edge of Jeffrey's desk. KNIGHT We need to think of some other places to look for this guy, before he kills again. PLATT Yeah, but where?  Toronto's not exactly weensy. KNIGHT I feel like we're missing something... PLATT Yeah, sleep. Natalie enters, sees the mobile, and gives it a little tap with her finger, causing the silverware to clank against each other. NATALIE (re; mobile) Plays your new theme song, eh Jeffrey? Platt glares.  Nat looks at Platt and Knight; they look tired and a little discouraged. NATALIE (CONT) I take it you two have had no luck finding your wacko, huh? KNIGHT None. Platt stands up and begins dismantling the mobile.  He puts the silverware into the pockets of his raincoat. NATALIE It's too bad real life isn't like the movies, then you'd just have to return to the scene of the crime. ANGLE NICK; a light bulb goes on. PLATT What? NATALIE Nick, I wasn't serious... KNIGHT Yeah, I know. PLATT Come on, Nick, the area of the ATM where Alice Johns was killed, was searched with a fine toothed comb.  The murder weapon was never found, nor any other important clue. KNIGHT Yes, but, what if, being true to his M.O., Hicks decided to stick around in the area, and watch the police arrive and discover the dead body? PLATT You're thinking somebody in the area might have seen him? KNIGHT Worth a try. PLATT Damn right it is.... The two of them stand up, ready to try it again. KNIGHT Nat....thanks. He leans in and places a quick kiss on her cheek.  They hold a smile. KNIGHT (CONT) (to Platt) Come on, Clanker, we've got a nut to crack... Nick exits. PLATT I really wish he wouldn't call me that... NATALIE Could be worse, Jeffrey. (off his look) Just think what your nick name might have been if you two had been in a strip bar instead of a restaurant... On Platt's look, we, CUT TO INT. RAVEN  NIGHT The bar is in full swing, Maurice is almost working up a sweat pouring out drinks to the mob.  Hicks is in his usual barstool, chatting up a pretty looking blue-eyed brunette.  Off this, we, CUT TO EXT. BANK ATM  NIGHT The scene of the Alice Johns murder.  Nick and Platt look around.  There's a convenience store on one corner; a gas station on another, and a coffee shop a little further down the road. KNIGHT You want the Gas station, or the convenience store? PLATT I think I've had enough of convenience stores. I'll take the gas station. Off their exits, we, CUT TO INT. RAVEN CELLAR  NIGHT Hicks is finishing up a job on the pretty brunette we saw him with earlier. He drops her very limp body to the floor, blood dripping from the knife in his hand. JANETTE (O.C.) Six?  Six...are you down here? On the deranged smile of Six as he drags the body out of sight, we, CUT TO EXT. GAS STATION  NIGHT Nick and Platt meet up. KNIGHT Any luck? PLATT Nope.  You? KNIGHT Afraid not. They both look toward the coffee shop. KNIGHT (CONT) Come on, I'll buy you a cup of coffee. I hear they've got great silverware... PLATT Doesn't matter, I have my own, remember? Platt flashes a fork from his pocket.  Off this, we, CUT TO INT. RAVEN CELLAR  NIGHT Janette enters the cellar to find Hicks sweeping away with his broom. Janette frowns; she smells something....blood. HICKS What is it Miss Janette? JANETTE I smell...... HICKS Blood? She looks at him; how would he know that?  Hicks smiles.  Janette spots the feet of the victim behind a bunch of shelves.  She looks at Hicks, who smiles. HICKS (CONT) I'm afraid I haven't been totally honest with you Miss Janette. (off her look) I'm not from another planet, and I don't hypnotize very easily. I know what you are. (beat) You're just like all the others.  I can't trust you anymore than I could any of them. Janette is almost too shocked to say anything; but then the anger at being deceived by the mortal takes over, and her eyes change colour. JANETTE You have made a very big mistake. HICKS (smiling) One of us has... Hicks turns the wooden broom over in his hand, and snaps it in two against his leg.  He points a very sharp end in Janette's direction.  Off his deranged smile, we, CUT TO INT. COFFEE SHOP  NIGHT Nick and Platt are at the counter; we recognize it as the same counter Hicks sat at several nights ago.  The Cook is standing behind the counter. COOK It's like I told ya, I don't get many customers in here this late, and he was a real weird one. PLATT Did he give you any indication where he might have been going? COOK Nah.  The only thing he talked about was the radio show. KNIGHT Radio show? COOK Yeah, you know that crack pot who calls himself the Nightcrawler. Your boy was real taken with him.  It was when I told him the show was broadcast from The Raven, that he got real excited... PLATT (to Knight) You don't suppose? KNIGHT That he's been under our noses all along? We can only hope we're this lucky.... Off their exit, we, CUT TO EXT. TORONTO STREET/CADDY  NIGHT Nick is driving quite fast on his way to the Raven.  Jeffrey is on the radio to the precint.  Nick's on his cell phone. KNIGHT LaCroix, it's...Nick. Have you had a strange character hanging around the Raven lately? INTERCUT INT. RAVEN/SOUNDBOOTH  NIGHT LaCroix is at his console, on the phone. LACROIX Nicholas, most of our patrons would probably fall into that category. KNIGHT This one thinks he's an alien.... LACROIX Oh, you mean that horrible little cretin that Janette has adopted-- ANGLE KNIGHT; Janette fits this nut's M.O. for victims.  Not that she could be killed by him, but... KNIGHT --Janette.  LaCroix, this guy is dangerous.  Don't let him out of your sight. And whatever you do, don't leave him alone with Janette, she fits right into his M.O. of desired victim types. LACROIX He's a mortal, what could he possibly do to her? KNIGHT He's quite clever, LaCroix. If he's figured out what you are..... Dead silence from LaCroix' end; what if this guy is a Resistor, and the whammy's never took? KNIGHT (CONT) LaCroix? LACROIX (nickel drops) Janette went to look for him.... KNIGHT And? LACROIX (nickel drops) And that was over half an hour ago.... KNIGHT We'll be there in a few minutes. LaCroix has disappeared; on his end, there is only the phone swinging from its cord. KNIGHT (CONT) LaCroix?  LaCroix? Nick puts his phone away and steps on the gas.  On this, we, CUT TO INT. RAVEN CELLAR  NIGHT Hicks has Janette backed up into a wall, and the sharp end of the stick has pierced her chest, just slightly.  She's wincing in pain. HICKS It's too bad you look so much like Thelma... I really don't want to kill you, but you see, I have to. (beat) I'd love to have the time to get to know more about your kind. I was unaware that such creatures actually existed. LaCroix enters quietly.  Janette sees him, and her eyes reach out to him. His eyes change colour as he realizes what Hicks has done to her.  Hicks spots him and puts more pressure on the sharp piece of wood, causing Janette to cry out. HICKS (CONT) (to LaCroix) Don't come any closer. Even with your superior speed, I will have time to ram this stake right through her heart. LACROIX (growling) And after I kill you, I will merely pull it back out. HICKS Something tells me you don't want to put her through that much pain. LaCroix takes a menacing step forward, testing Hicks' resolve.  Janette screams as Hicks puts a tiny bit more pressure on the stake.  LaCroix stops. HICKS (CONT) That's what I thought. Now back off. LaCroix' eyes revert to blue and he backs off a few steps. JANETTE (crying) LaCroix... LACROIX I am here, Janette. Everything will be all right. Nick and Platt enter, and stop dead at the top of the stairs, before Hicks spots them.   They hold a look.  Platt suddenly smiles, reaches into his pockets, pulls out the silverware, and tosses all of it down the staircase. The pieces clank all the way down, causing a nice diversion of Hicks' attention.   As Hicks looks toward the flying forks, knives and spoons, LaCroix, using vampiric speed, rushes Hicks, dislodging the stake and tossing Hicks into a shelf full of bottles with one hard swipe of his arm. Hicks and the bottles come crashing to the floor.  LaCroix catches Janette and carefully hoists her into his arms.  Nick is staring at Platt. PLATT Clanker's Law, Nick. (off the look) A good diversion is a noisy one.... On Nick's smile, we, CUT TO INT. JANETTE'S BEDROOM  NIGHT Janette is in her bed; Nick is sitting on the edge.  LaCroix is standing off to the side. KNIGHT Janette? JANETTE I'm all right. LACROIX (impatient) I will see to Janette. Your main concern should be how much your mortal partner may have seen in our cellar. KNIGHT I think we're safe. (off a look) He was too busy gloating over his brilliant diversion. Knight leans over and kisses Janette lightly.  She closes her eyes and goes back to sleep.  Nick stands up and goes to LaCroix. KNIGHT (CONT) You're sure she's okay? She seems a little....odd. LACROIX (covering) She is fine, Nicholas. Merely licking her wounds regarding her own obtuse choice in mortal strays. Nick looks at LaCroix. KNIGHT You're not telling me everything. LACROIX It is not mine to tell. (beat) Good night, Nicholas. KNIGHT LaCroix. Nick exits.  Off LaCroix looking at his daughter, we, CUT TO INT. PRECINCT  PREDAWN Nick is sitting at his desk, filling out paperwork.  ANGLE PLATT'S DESK; it is suspiciously devoid of any and all "Objects de Clank".  PICK-UP PLATT entering the room.  Several other cops are shaking his hand and patting him on the back, as he makes his way to his desk.  Platt smiles when he sees his clean desk, and Nick looks up.  Several cops are in the BG pointing in Platt's direction and snickering, though we do not know why. PLATT A clean desk.  Imagine it. KNIGHT Everything squared away with Hicks? PLATT Booked and sittin' in a cell. Whaddya say we call it a night? KNIGHT I'd say it's time. Nick picks up his coat and walks to Platt's side of the desk.  Platt is smiling as he turns. PLATT Maybe I've finally heard the last of The Clanker. As Platt's back becomes visible to the camera, we see several white plastic knives, forks and spoons taped to the back of his coat.  Clearly all the back patting had an ulterior purpose.  Nick spots the plastic silverware and smiles.  He reaches an arm around Platt and pats him, planting another white fork there. KNIGHT Oh, I don't know.... Nick exits.  Jeffrey stares in Nick's direction.  What did he mean by that? Platt shrugs, and off his exit, we, FADE OUT THE END end part 12 vampwrtr@innocent.com http//members.aol.com/vampwrtr/forever_lacroix/