Date: Wed, 13 Jan 1999 22:52:05 -0500 From: vampwrtr@INNOCENT.COM Subject: The Loved Ones 01/12 To: FKFIC-L@LISTS.PSU.EDU usual disclaimers. permission to mel moser to archive. comments to author at: vampwrtr@aol.com FOREVER KNIGHT "The Loved Ones" ACT ONE FADE IN: EXT. TORONTO STREET NIGHT DETECTIVE NICK KNIGHT and DETECTIVE JEFFREY PLATT are riding along in the Caddy. PLATT So let me get this straight. You're saying that you don't think people should have to feel obligated to spend the holidays with their families, if it's an uncomfortable situation. KNIGHT Exactly. Why should people feel burdened in that manner? I mean, you can choose your friends, but your relatives... PLATT I don't know, Nick, sometimes I think you're one olive short of a Martini. Nick smiles at Jeffrey, but then something at the side of the road catches his attention. NICK'S POV; MR. HALIFAX N. MARCIUS, 80ish, tattered clothes, beaten, stumbling along the road. The man has no coat, despite the fact that the temperature is well below freezing. ANGLE NICK; what the hell? He pulls over, and Nick and Jeffrey get out of the car. Nick goes to the old man, who practically falls into Nick's arms. KNIGHT What happened to you? Were you mugged? PLATT What's your name, there, fella? Hal doesn't respond. Instead, he collapses in Nick's arms. On this, we, SMASH CUT TO: MAIN TITLES INT. HOSPITAL ER NIGHT Hal is lying on a gurney. Nick and Jeffrey are standing a little ways away from the cubicle. DR. LOU NATALE, 40's, is just finishing his evaluation of the old man. The doctor comes over toward Nick and Jeffrey and motions for them to follow him. They move out of ear shot of Hal. NATALE You're the officers who brought him in tonight? KNIGHT Yeah, I'm Detective Knight, this is my partner, Detective Platt. Hand shakes around. NATALE You have no idea if he has any relatives? KNIGHT No, we found him on the side of the road, no identification on him. PLATT Poor old guy was half frozen to death. Somebody probably mugged him and that's why he's got no wallet. NATALE Yes, that could be. He has a broken arm. We're sending him to x-ray to take some pictures. (beat) He'll have to spend the night here, maybe a day or two. KNIGHT Fine. That'll give us time to see if we can find out who he is and what happened to him. NATALE I'll let you know when he's up to answering some questions. KNIGHT Thanks. Natale exits frame. Platt glares at Nick. PLATT What is the matter with you? KNIGHT What? PLATT Reese is not going to let us handle this Nick. (off a look) In case you've forgotten, we're homicide detectives. That means we investigate murders, not muggings of little old guys.... KNIGHT We don't have a case right now. Let's at least find out who he is and what happened to him. PLATT Yes, and maybe we should fly to Rome and help out the Pope. Nick exits. On Platt rolling his eyes, we, CUT TO: EXT. RAVEN NIGHT Establishing shot, and we, CUT TO: INT. RAVEN NIGHT As we DOLLY through the club, we see many patrons having a good time. It's very crowded, the music is loud, and we, CUT TO: INT. LACROIX' APARTMENT NIGHT There is a lot of action in here as well. Workers of all types are moving in and out, carrying items of furniture as well as building materials of all kinds. It seems clear that the redecoration of this apartment is in full swing. JANETTE DUCHARME is seen coming in and out of frame, carrying a clipboard, and telling the workmen, AD LIB, what to do, where to go, and of course, how to be. In the middle of all of the massive confusion, sits LUCIEN LACROIX, looking like a cat about to implode. His leather wing-backed chair is one of the few remaining pieces of furniture. Obviously, it has not been removed, because he is sitting in it. He is silently watching the mess around him, and he looks horrendously unamused. His posture is very straight and still, and his face registers practiced boredom. The give away are his eyes, which show irritation. His head goes one way, watching people, then another. He looks as though he might just reach out one of these times and take a swipe at one of them. Janette happens by, and she's the one he grabs. She stares at him. He stares back, eyebrow cocked at her. JANETTE LaCroix, I am very busy right now. What is it? LACROIX You said a 'few things'.... You were only going to change a 'few things'. This is not a 'few things', Janette. This is not even close to a 'few things', no, this is very nearly what I'd call everything. You are redoing everything. Janette smiles at him, and pats his hand as she leans in toward his face. JANETTE I had not realised how absolutely dreadful this apartment had actually become, mon cher, until I really looked. Now, I'm very sorry, but I really must supervise this, if it is to be done correctly. (beat) Oh, and if you don't mind, LaCroix, I need you to find another place to sit. (off a glare) Well really, we cannot keep that dreadful chair. You have had it for two centuries, and it looks like it. Before he can argue, she lightly kisses his lips and then disappears. He is infuriated by the brush off. He looks around at the chaos, and then sinks lower into his leather chair, which is the only piece of furniture now remaining. If we didn't know better, we'd almost think he looked sulky.... Off this, we, CUT TO: end part 01 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. MORGUE NIGHT DR. NATALIE LAMBERT is standing in the room, clipboard in hand, notating a few things on a case. The doors open, and an ORDERLY wheels in a gurney with a covered body. Natalie sort of glares at him. ORDERLY Sorry Dr. Lambert. This one was just brought in. It shouldn't take too long. An old lady died in her apartment, natural causes I'm sure... He exits. Natalie rolls her eyes then walks over to the body and pulls back the cover. ANGLE NATALIE; shock, sadness. She knows the old lady. NATALIE Oh Patricia.....oh damn. On Natalie, looking quite upset, we, CUT TO: EXT. PRECINCT NIGHT Establishing stock, and we, CUT TO: INT. PRECINCT NIGHT Nick and Jeffrey are at their desks. Nick's phone RINGS, he answers it. KNIGHT Detective Knight... NATALE (V.O.) A little progress report on our mystery man, Detective Knight. KNIGHT And? NATALE (V.O.) He's going to be fine, but he does have a broken arm, and he's a little dehydrated. I'd say he's been wandering for at least a day or so. KNIGHT Does he know who he is? NATALE (V.O.) Well, that's the odd part. There's no sign of head trauma, but he insists he doesn't know his name or where he came from. KNIGHT Hmm.... NATALE (V.O.) One other thing, his x-rays showed a lot of prior injuries. Broken bones, fractures, that sort of thing. Just thought you should know. KNIGHT Thanks.... Nick hangs up the phone. PLATT Who was that? KNIGHT Dr. Natale, from the hospital. PLATT And? KNIGHT And our mystery man remains just that, a mystery. PLATT Wanna run fingerprints? KNIGHT Guess we'll have to... On the two of them getting up and putting their coats on, we, CUT TO: EXT. HOSPITAL NIGHT Establishing stock, and we, CUT TO; INT. HOSPITAL NIGHT Nick and Platt move through the hallways, until they stop outside a door to a room. They enter. Mr. Hal Marcius is lying in his bed, looking much better than the last time we saw him. Nick smiles at the old man. KNIGHT Hi there, I'm Detective Knight, this is Detective Platt. We're the ones who found you earlier tonight. MARCIUS Oh, oh, well, thank you then. PLATT You're looking much better sir. MARCIUS Yes, I'm feeling much better. (beat) It's a nice place here. KNIGHT Yes, well, we were wondering if we could ask you a few questions. MARCIUS Sure. Already told the young fellow what I knew though... PLATT Young fellow...oh, you mean Dr. Natale? MARCIUS Yes, that's the one. KNIGHT Well, we'd like a few minutes, if you don't mind. MARCIUS Nope. Go 'head. PLATT Well sir, we were sort of wondering how it was that you came to be on the side of the road, beaten... MARCIUS Which road was it? Platt and Knight exchange a look. KNIGHT Uh, it was Mt. Pleasant Road. MARCIUS Mt. Pleasant Road...hmm.... Can't say as I've ever heard of it, fellas... PLATT Do you know what happened to you? Were you mugged? Did someone steal your wallet? MARCIUS I don't remember. Platt and Knight exchange another look, and Nick turns to the old man, with a smile. KNIGHT You won't mind then if we take your fingerprints, hmm? MARCIUS Did I do somethin' wrong? PLATT No sir. We're just hoping it might help us figure out who you are and where you belong. You've probably got family and loved ones out there pretty worried about you. ANGLE MARCIUS; maybe, maybe not. He smiles weakly, and off this, we, CUT TO: end part 02 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. MORGUE NIGHT Natalie is just finishing the autopsy on Patricia. Yes, she should have handed it over to someone else, but somehow, she couldn't. Natural causes? Yes. Advanced cancer that had gone without treatment. Patricia had gone without saying a word. How could Natalie not have noticed it? She pulled the gloves off her hands with a snap. She is very angry at Patricia, at herself; at the world. Nick enters......bad timing.... KNIGHT Hi Nat, watcha-- Natalie SCREAMS out of fright, then turns on him, madder than hell. NATALIE --Do you have to do that? I am really tired of you sneaking up on me like that. Can't you see I'm busy.... Nick just stares at her. Wow. A tidal wave of something.... Natalie holds the look, then abruptly turns her back on him, as the tears can no longer wait. Nick frowns. He takes a step toward her, placing a hand on her shoulder gently. KNIGHT Nat, what's wrong? What's happened? Natalie turns quickly back to him, hot tears streaking down her face. NATALIE I just had to perform an autopsy on a friend, and.. and... She breaks down, crying. Nick pulls her into his arms, holding her. She gets it back together fairly quickly, but stays in his embrace. NATALIE (CONT) I'm sorry, Nick. I didn't mean to take it out on you. KNIGHT It's okay. NATALIE No, it's really not. I'm sorry.... KNIGHT Let's forget about it. (beat) What happened to your friend? Nat breaks out of his embrace, and walks over toward the body on the table. NATALIE Patricia Crowley. I've known her for about a few years. She'd lived in my building years before I moved there. (beat) God....I just can't believe that she was lying there, in my building, and I didn't know it... KNIGHT Nat, you're not omnipotent. NATALIE Yeah, I know. KNIGHT Natural causes? NATALIE Yes. Cancer. KNIGHT Then you knew it was coming. NATALIE No. (off a look) It was in its advanced stages, and she never told me she was sick. (beat) God, I even bought her excuses of old age decline, and I'm a doctor. KNIGHT Natalie..... NATALIE I know, I know, I'm doing it again. KNIGHT Does she have any family? NATALIE No, none. KNIGHT Sad. NATALIE Nick, what happens in a case like this, legally, I mean. KNIGHT You mean her belongings? NATALIE No, I mean, if someone wanted to arrange for burial, but has no legal claim... KNIGHT That could be expensive, Nat. NATALIE Yeah, I know. But she deserves better than to be thrown into a crematorium, with no memorial, Nick. KNIGHT I suppose, if someone wished to come forward, it could be arranged. (beat) And you know you can count on me for a contribution... NATALIE I know. He kisses her on the forehead and starts to exit. NATALIE (CONT) Hey, what brought you by in the first place? KNIGHT Oh, well, I needed some medical advice on a case we have, but it'll wait until tomorrow. NATALIE You sure? KNIGHT Yeah, I'm sure. NATALIE Thanks. KNIGHT I'll see ya... On Nick's exit, we, CUT TO: INT. LACROIX' APARTMENT NIGHT LaCroix, still sitting in the leather chair, and Janette, are glaring at one another. There are two workmen, one on either side of the chair, poised to carry it away, once the "burden" in it disappears. JANETTE Are you going to stand up, or do I have to have them carry you out with the chair? LACROIX You are not removing this chair, Janette. JANETTE The hell I'm not. She motions for the workmen to remove it, with LaCroix still in it. No sooner do they shrug and begin to lift it, we hear a HEARTBEAT, and LaCroix is staring into one of the man's faces. LACROIX Put the chair down. Now. The men start to lower it. Janette takes up like minded thinking; JANETTE Get rid of it. Now. They pick it up again. LACROIX Put it down... They lower it. JANETTE Pick it up... They pick it up. LaCroix and Janette glare at each other. JANETTE (CONT) (to LC) This is getting us nowhere, fast. LACROIX This chair has been with me-- He remembers the workmen. LACROIX (CONT) --my family since the 17th century. It is not going anywhere now. JANETTE LaCroix, it is an old, worn out disgusting chair, and it is not staying. She motions to the workmen who start to carry it out. LaCroix snarls, and the men hesitate, and look to Janette, who rolls her eyes. JANETTE (CONT) (to men) He is not going to bite. (to LC) Are you? They hold a long look. Janette smiles, there are too many people around for him to do anything rash and they both know it. She has him. JANETTE (CONT) (to men) Get rid of the chair, with or without the baggage in it! The two men look at each other, and decide it would be immensely easier to carry the chair out, senza the baggage, and they summarily dump LaCroix onto the floor. He is outraged. As he stands up, his eyes are glowing, and Janette must step in the way to keep him from having a fast meal. The men quickly exit. JANETTE (CONT) Now, now, mon pere, you know how eating when you're angry gives you indigestion... This infuriates him more, but Janette just smiles and exits. On LaCroix, supremely irritated, we, CUT TO: INT. PRECINCT NIGHT Nick is at his desk, Jeffrey is just entering with a cup of coffee. Nick's phone RINGS. He answers. KNIGHT Detective Knight... NATALE (V.O.) It's Dr. Natale, detective, and I'm afraid we have a little problem. KNIGHT I'm listening.. NATALE (V.O.) Your mystery man slipped out of bed and right out of this hospital. We've looked everywhere, but he's long gone. KNIGHT Great. Uh, thanks for calling. Nick hangs up the phone. PLATT What? KNIGHT Our little old man is now amongst the missing. PLATT What? How? KNIGHT Seems he just walked out. PLATT And nobody noticed him? KNIGHT Apparently not. I call that pretty damned sloppy.... PLATT I just call it 'HMO'... KNIGHT (beat) Shall we? PLATT Shall we what? KNIGHT Go find him? PLATT Next thing ya know, you'll have me chasin' cats who've climbed up trees. KNIGHT I wouldn't go that far. (off a look) Trust me. PLATT Trust you? Where have I heard that before? On Knight and Platt exiting, we, FADE OUT: END ACT ONE end part 03 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ ACT TWO FADE IN: INT. LEGAL OFFICE OF WILLIAM GREY DUSK The office of William Grey, ESQ., is one of understated elegance. It's not the office of a lawyer that one would expect of a little old lady who lived in Natalie's building and died of untreated cancer. Natalie is sitting in a large leather chair, in front of a desk. She is looking around, as there is no one else in the office with her. From NAT'S POV, we see many different items in the office, including many antique clocks, all of which TICK and CHIME loudly, and Grey's law degree, framed on the wall. INSERT Diploma: Degree given in the year 1972. WILLIAM GREY, 30's, nice suit, enters from a door. He doesn't look even close to 50, but according to the date he received his degree, he'd have to be. Perhaps his name should be Dorian. Nat stands and sort of stares at him, surprised by his looks. GREY Dr. Lambert, thank you for coming on such short notice. They shake hands, and Nat sits back down, Grey moves to sit behind his desk. GREY (CONT) Is something wrong, doctor? NATALIE Um, no...it's just, well, no offense or anything, but I guess I was expecting an older man. Her eyes flash toward the law degree, and Grey catches her. He smiles. GREY Ah yes, the degree. That's my father's degree. NATALIE Oh, of course. (beat, changes subject) I must say I'm a little perplexed. GREY Perplexed, Dr. Lambert? NATALIE Well, I only knew Patricia the last year of her life, and the impression I had was that she didn't really have anything, or anyone. GREY Yes, well, appearances can sometimes be quite deceiving. Grey looks at his watch, then out the window. NATALIE Are we waiting for something? GREY Actually, yes, we are. We're waiting for the other benefactor of Ms. Crowley's will. NATALIE I thought she had no family. GREY This benefactor is an old friend of hers, from what I gathered. Grey looks out the window once more. GREY (CONT) He should be here shortly, and then we can get on with the reading of the will. On Natalie, wondering, we, CUT TO: EXT. TORONTO SKYLINE DUSK The sun sets over the Toronto skyline, and we, CUT TO: INT. PRECINCT NIGHT Nick is sitting at his desk, Jeffrey enters. PLATT Any news on our missing old timer? KNIGHT None. PLATT (grinning) Well, I've got the answer to at least part of the puzzle. KNIGHT Oh? PLATT Fingerprints came back. Mr. Halifax N. Marcius, a retired public relations rep. His son put out a missing person's report this morning. KNIGHT Got an address? Platt grins, and holds up a piece of paper. PLATT Does the postman deliver? On their exit, we, CUT TO: INT. LACROIX' APARTMENT NIGHT We hear a lot of loud BANGS, DRILLS and SAWS. There is a lot of reconstruction happening here, and it is extremely noisy. Janette looks very calm and poised, despite the loudness of the ordeal. She is standing in the midst of what was once the living room, and is now just a room. LaCroix enters, and his face displays his incredible annoyance at the noise, not to mention, the situation. LACROIX (yelling to be heard) How long must I endure this? JANETTE They will work quickly, mon cher. Do not worry. LACROIX I will be deaf, shortly. JANETTE It is not possible for one of our kind to suffer permanent damage from noise, LaCroix. LACROIX How do you know? He glares and starts out. JANETTE Where are you going? LACROIX I have an appointment. (beat) And if I'm lucky, it will take a very long time, and I will not have to come back here and endure this Symphony of Home Improvements. LaCroix exits in a huff. On Janette, shaking her head at him, we, CUT TO: EXT. MARCIUS' HOUSE NIGHT Platt and Knight stand at the front door. Platt RINGS the bell, and shortly, it opens. MR. PHILLIP MARCIUS stares at them. PHILLIP Yes, may I help you? Platt flashes a badge. PLATT I'm Detective Platt, this is Detective Knight, Metro Homicide. We're here about your father... PHILLIP Oh my god... PLATT No, no, your father was not murdered. Uh, may we come in? PHILLIP Yes, of course. On Marcius holding the door open, we, CUT TO: INT. MARCIUS' HOUSE NIGHT Phillip Marcius, and his wife, JAN are sitting in their living room. Knight is standing near the mantle, and Platt is doing the talking. PHILLIP So you're saying you had him but you lost him? PLATT Well, not exactly, but, in a nutshell, yeah. PHILLIP Oh that's just great. JAN Phillip, calm down. I'm sure the officers can explain. (to Platt) You can explain, can't you? Platt smiles feebly. PLATT Sure, sure, we can explain it. He grabs Nick, pulling him in. PLATT (CONT) Can't you Nick? On Nick, we, CUT TO: end part 04 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. GREY'S OFFICE NIGHT Natalie is sitting in the chair, looking a little uncomfortable. She now has a cup of coffee, which she sips from, nervously. We hear the TICKING of the many clocks in the room. It's all so...Vincent Priceish. Grey is sitting in his chair, hands clasped neatly upon his desk. He has a strange smile on his face, and he is staring at Nat. She is truly getting the heebies. We hear a KNOCK on the door. Nat almost drops her cup. Grey stands. GREY Well, that should be our man now. Grey walks over to the door and opens it, out of frame. We're on Nat, and, GREY (CONT, O.C.) Nice to see you. As the two men make their way into the room. Nat's face goes positively ashen in colour. She is almost gaping. GREY Dr. Lambert, I'd like you to meet-- NATALIE --LaCroix, what are you doing here? REVEAL LACROIX; smiling his best shark smile at Natalie. GREY Oh, I guess you two already know each other then. LACROIX Yes, the doctor and I are... .....old friends. GREY Good, good. Grey moves behind his desk, LaCroix comes closer to Natalie, who is just glaring at him. Grey sits down and looks at them, expectantly. GREY (CONT) If you two would take your seats, we can begin. LACROIX Please doctor, do sit down. Natalie says nothing, but sits down in her chair. LaCroix sits in the chair next to her. She eyes him warily, and he smiles at her smugly. Grey pulls out a document and begins to read: GREY I, Patricia Crowley, being of sound mind, do hereby leave this last will and testament. While I have nothing of earthly value, in the traditional monetary sense, there are things belonging to me upon which I place great personal value. It is my wish that these items be given to the parties I have named herein. Grey pauses and flashes a slight smile at Nat and LaCroix. Then, GREY (CONT) First, to my dearest and oldest friend, Lucien LaCroix, I leave my most treasured possession: My locket. ANGLE LACROIX; a slightly amused smile graces his lips, then he realises he is being observed and the bemused expression quickly turns to something much darker. LACROIX (snapping) What? GREY & NATALIE Nothing. Grey and Natalie hold a look for a moment, each wondering if the other knows. GREY (CONT) And to my new found friend Natalie, who has shown many kindnesses to an old woman, I leave my other most valued treasure: My hope chest. ANGLE NAT; she smiles, how sweet. ANGLE LACROIX; he is incredibly irritated at this for some unknown reason.... LACROIX That is most inappropriate. NATALIE & GREY What? LACROIX Nothing. Grey and Nat frown at each other, then; GREY (CONT) In closing, it is my wish that what little money I do have, be used to cover burial costs. It is my wish that Natalie Lambert and Lucien LaCroix decide the particulars. I trust their good judgment in this matter. Natalie and LaCroix stare at each other; oh, joy. GREY (CONT) Well, that seems to be it. (to LaCroix) I have the locket here for you. Grey reaches into his pocket, extracts a key, unlocks a drawer in his desk and pulls out the locket. He hands it to LaCroix, who quickly puts it in his pocket. Natalie is quite curious, but LaCroix glares at her. GREY (CONT) As to the hope chest, Dr. Lambert, I'm afraid I've no idea to what she is referring. NATALIE It's okay. I know where it is. ANGLE LACROIX; oh dear. Natalie shakes Grey's hand. NATALIE (CONT) Thank you, Mr. Grey. I appreciate your time. GREY It has been a pleasure, Dr. Lambert. NATALIE (to LaCroix) When? LACROIX What? NATALIE When do you want to do it? LACROIX I beg your pardon? NATALIE (nickel drops) In your dreams. (beat, calming) She asked us to handle burial arrangements. When? LACROIX I'll take care of it. NATALIE Not on your life. (whispers) Or your undead one. (beat) She wanted us both to do it, and that's the way it's gonna be. LaCroix sneers slightly. He can think of many tortures, but having to spend time with Nick's mortal pet is not one he ever considered even in the ballpark. LACROIX Oh, joy..... LaCroix shakes Grey's hand. LACROIX (CONT) Thank you William, I'm sure I'll see you again. GREY Yes, I'm sure our paths will cross, Lucien. Natalie is just staring. Of course they know each other, and that law degree isn't Grey's father's. She glares at LaCroix. LACROIX (CONT) Shall we, doctor? On Nat, irritated, we, CUT TO: EXT. GREY'S OFFICE NIGHT LaCroix escorts Natalie toward her car. NATALIE You don't need to see me to my car. I know where it is. LACROIX Yes, but there are many dangers to the night, my dear. NATALIE Afraid your pal Grey might be a little hungry? He grabs her and stops on a dime. Nat looks a little uneasy. LACROIX He is not my 'pal'. He is not one of *my* kind. That gets her attention. If he isn't a vampire, then what the hell is he? NATALIE But, he doesn't look a day over 30, and that law degree reads 1972. And I know he lied about it being his father's. LaCroix sighs, slightly impatient with the thought process of a mortal. LACROIX Has it not occurred to you, doctor, that there are quite possibly other things besides vampires which go bump in the night? ANGLE NATALIE; Ewww.... LaCroix takes her arm more gently and guides her to her car. NATALIE I guess we'll go coffin hunting tomorrow then? (off a look) I meant tomorrow night. LACROIX Indeed. NATALIE You must know quite a bit about 'em.... Natalie laughs at her own joke. LaCroix is not amused. LACROIX Mind your p's and q's doctor; the only thing I know about coffins, is that dead mortals usually wind up there. (beat, smiling) Pleasant dreams. The threat is clear to Natalie, who glares at him. He starts to walk away. NATALIE I'm not buying your nasty vampire routine. I haven't forgotten what you did, LaCroix. And don't think I've given up. I intend to use our imposed time together to try and pry the truth loose from you. (beat, smiling) Pleasant dreams. LaCroix keeps his back to her through her little rant. As soon as she finishes he takes off in a WHOOSH of sound. On Nat, we, CUT TO: end part 05 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. PHILLIP MARCIUS' HOUSE NIGHT Jan and Phillip are still answering questions from Platt and Knight. KNIGHT Do you have any idea where he might go, or why? PHILLIP I've told you, detective. My father is suffering from Alzheimer's, he's always forgetting his name, where he lives, us.... PLATT So you think his being on Mt. Pleasant Road was just an accident? ANGLE NICK; why is Jeffrey asking it that way? They hold a look. JAN He probably didn't know what street he was on. PHILLIP You two can't possibly know what it's like to deal with a parent who's reverted into behaving like a child. We have to take care of him twenty four hours a day, he can't be left alone-- He stops when Jan touches his hand. It is obviously a very emotional and slightly sore subject. PLATT That's why it's called family, Mr. Marcius; it's not always pleasant, but it's the reality of responsibility. PHILLIP He was always such a strong man.... On Nick, we, DISSOLVE TO FLASHBACK: INT. CASTLE BRABANT 1233 FRANCE NIGHT FLEUR has recently given birth to her son, Andre, and Janette and Nick are making the obligatory homage. We are watching the scene from someone's pov, behind a pillar. Nick picks up the child, and cradles him. The baby CRIES. REVEAL LACROIX, who is watching from the shadows. His stoic face does not reveal the turmoil within, but his eyes show hints of it. In a WHOOSH he is gone, but Nick looks up, he knows his master was there. On Nick and Janette who exchange a look, we, CUT TO: EXT. CASTLE BRABANT 1233 NIGHT LS; LaCroix sits alone on the bench he once shared with Fleur. He holds a single white rose. Janette enters and sits next to him. Even from the distance, we can see the pain on his face. Nick watches from a short distance away; his expression is one of confusion. He has only known LaCroix to be strong, never vulnerable. We cannot hear the dialogue, but Janette speaks to LaCroix, and whatever she says affects him greatly. He turns away from her, but she grabs him into her arms and holds him. On Nick, we, CUT BACK TO PRESENT: INT. MARCIUS' HOUSE CONTINUOUS On Nick as a realization hits him. KNIGHT Sometimes even the strong show signs of vulnerability. Even our Fathers, who we grow up to believe are impenetrable. Platt and Knight exchange a look, and we, CUT TO: EXT. TORONTO STREET NIGHT Platt and Knight are driving back to the precinct. It's quiet in the car for a few moments, then, PLATT You got the same weird feeling I did back there, didn't you? KNIGHT Weird feeling? PLATT Yeah, like the son isn't giving us the whole banana. KNIGHT I don't know. Maybe. At the very least, I find it odd that Dr. Natale didn't mention any signs of Alzheimer's to us. (beat) And what was that bit about Mt. Pleasant Road? PLATT I dunno. It just seemed odd, close to the cemetery. KNIGHT Like maybe he was going for a visit? PLATT Maybe. Nick shrugs and switches on the radio. It's time for the NightCrawler. LACROIX (V.O.) It is quite easy for children to criticize the actions of their parents, having never been parents themselves. But what happens when reality hits, gentle listener, and the child discovers that he is father to the man? (beat) It is a responsibility that comes to us all--well, most of us anyway. You wake up one morning, and discover that the man who gave you everything, indeed, gave you your life, can no longer tie his shoes, much less hold a conversation with you. (beat) Some of you will rise to the occasion. (laughs) But some of you will not. Some of you, mes amis, will not find it within your hearts to care for the very man who changed your proverbial dirty diapers. (beat) Still others of you will suddenly decide that you simply no longer require your father's advice, nor his presence. (beat) It seems to me that the most hurtful of all, is the child who spurns not the parent who has himself turned childlike, but rather, the parent who is quite aware that he is being turned away. And what about that, my children? LaCroix laughs maniacally, and Nick switches off the radio, glaring. PLATT Why do we listen to that nutbar? KNIGHT Must be in the genes.... PLATT (beat) You got some mighty strange Levi's, partner. Mighty strange. On Platt and Knight, we, CUT TO: EXT. TORONTO STREET NIGHT Hal Marcius is wandering the streets. He looks cold, but he also looks like a man with a mission. On Marcius, we, FADE OUT: END ACT TWO end part 06 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ ACT THREE FADE IN: INT. LACROIX' APARTMENT DUSK And the messes continue. The floors have been refinished, and the walls are being painted. At least it's quiet. Well, almost. Janette enters. JANETTE (to painter) Make sure your paint does not touch the wood trim of the door frames. It cost a lot of money to have those refinished, and if I find one little paint speck, I will have to take it out of your hide. The painter just stares at her, and Janette moves on to the fellow who is the electrician. He is putting in new light fixtures. JANETTE (CONT) (to electrician) Please be sure to hang the fixtures straight. There are few things I hate more than seeing crooked fixtures in an apartment..... The electrician stares at her, and she moves onto the man who is installing an alarm system. JANETTE (CONT) (to installer) You have the code I gave you, non? (off a nod) Bon. I do not wish to discover that I cannot shut this infernal thing off if it decides to go off for no reason in the middle of the day. This man also stares at her, and she moves on toward the hallway, but stops when she notices LaCroix staring out the window, as the last of the sun's rays disappear. He is holding the locket in his hand. Janette approaches him. JANETTE (CONT) LaCroix? Do you like the way the apartment is beginning to look? LACROIX (distracted) Yes, of course. JANETTE (frowning) I thought you might like the trim and baseboards to be refinished in their natural woods, to match the floors. LACROIX Yes. JANETTE (glaring) I thought you might enjoy it if I removed all of your Armani suits and had them burned in a large bon fire. LACROIX Yes. JANETTE LaCroix! He turns, frowning at her. LACROIX Yes? JANETTE You hate it, don't you? LACROIX Hate what? JANETTE The apartment! LACROIX The apartment? No, it's fine. JANETTE Fine. It's fine. Oh, bon. She heads off in a huff, muttering. JANETTE (CONT) (fading away) Fine....it is just fine... LaCroix looks at the locket in his hand. INSERT; locket. It is a picture of LaCroix and a woman in her late 20's. Judging by her hairstyle and their clothes, the picture is approximately sixty years old. We surmise that it's Patricia Crowley. He closes the locket and puts it in his pocket. He's making his mind up about something. In the meantime, the painter has worked his way over to the window through which LaCroix is looking. LaCroix frowns; he feels something on his pants. He looks down. LACROIX' POV; white paint on his black pants. The painter can *feel* the stare. He looks up at LaCroix. PAINTER'S POV; a very angry vampire. The painter sort of tries to wipe off LC's pant leg with a rather foul cloth from his back pocket. LaCroix growls. The painter gets the message and slinks away. On LaCroix, we, CUT TO: INT. PRECINCT NIGHT Nick is sitting at his desk. Platt enters. PLATT Nick, Nick....a guy matching Mr. Marcius' description was spotted over on Mt. Pleasant Road. KNIGHT Let's go. As they are about to exit, CAPTAIN JOE REESE enters. REESE And just where do you two think you're rushing off to? PLATT Uh, we're, we're...tell him where we're goin' Nick. Nick glares. REESE Yes, Detective Knight, do tell me where you two are going. KNIGHT Well, you see Cap, we sort of found this old guy the other night and-- REESE --And you two walnuts just thought you'd help out the missing persons bureau? (beat) I don't think so. I have something else for you two. PLATT But Cap-- REESE --No, no but's Jeffrey. KNIGHT This guy was just spotted Captain, it won't take long. PLATT Besides, the poor old guy's pretty confused, and he sort of knows me and Nick. REESE Why is it I get the feeling I'm being bamboozled? PLATT Bamwhatled? REESE Bam--nevermind. Go. Hurry back. They don't wait for a second, they're gone. REESE (CONT) Now how is it I'm Captain, and they wind up tellin' me how it's gonna be? On Reese, we, CUT TO: EXT. NATALIE'S APARTMENT BUILDING NIGHT LaCroix lands and enters Nat's building, off this, we, CUT TO: INT. NATALIE'S APARTMENT BUILDING NIGHT LaCroix walks past several doors, then comes to one at the end of the hall. He 'let's himself in', and we FOLLOW him into, INT. PATRICIA CROWLEY'S APARTMENT NIGHT This apartment is fairly quaintly furnished. There are not that many "keepsakes" strewn about, as one might expect from someone who lived to be in her 80's. LaCroix quickly moves to the bedroom, and looks under the bed. LACROIX' POV; a small chest, Crowley's "hope chest". He pulls it out, and reaches into it, extracting a few items. We can't really discern what these items are, except that there is a small book, an old paper, a relatively new envelope, and two small shiny items. He puts the chest back, and on his WHOOSHING exit, we, CUT TO: EXT. SLUMBER PINES MEMORIAL PARK NIGHT Natalie is standing just outside the front entrance to the mortuary services building of this rather huge, if somewhat nauseating cemetery. Near the front gates of the cemetery, there is a man dressed in a rather large, furry grey mouse costume. He is handing out maps to the cemetery. There is a banner near him with a slogan which reads, "Slumber Pines Park, we're as quiet as mice, so your eternal rest is nice." A tram keeps stopping by the front gate, to take visitors to see their loved ones. If Disneyland had a cemetery, this would be it. Natalie glares at the tram; this place is nothing short of seriously creepy, and definitely not normal. She looks impatient. She keeps checking her watch. On Nat, waiting, we, CUT TO: EXT. MT. PLEASANT ROAD NIGHT Nick and Jeffrey are driving fairly slowly in the Caddy, looking for Hal. Nothing so far. As they pass Mt. Pleasant Cemetery, they look at each other. PLATT You don't suppose....? KNIGHT That he's here visiting loved ones? PLATT No....maybe he's just wondering around, lost in there. KNIGHT Worth a look. Nick flips a "U" and turns into the front gates of the cemetery. On this, we, CUT TO: EXT. SLUMBER PINES NIGHT Natalie is still waiting. We hear a WHOOSH and LaCroix appears, startling her. NATALIE You know, I'm really getting tired of that... LACROIX Shall we? NATALIE You're a half hour late. Not even so much as a muttered, 'I'm sorry doctor'. LaCroix glares. It's fairly clear that they will get nowhere fast if he doesn't acquiesce. He sighs and then plasters a smile upon his face. LACROIX If it will somehow bring this evening to a close in a quick and quiet fashion, then yes, Dr. Lambert, I do upon bended knee, most humbly apologise for my tardiness, and I hope that this will not effect our budding friendship. ANGLE NATALIE; g-ross. NATALIE Sorry I asked... His smiles widens, and they enter the building. On this, we, CUT TO: end part 07 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. SLUMBER PINES MORTUARY NIGHT LaCroix and Natalie enter, and both are a little taken aback at the sights which hit them. LaCroix covers it with a somewhat stoic look, but Natalie's eyes are practically bugging out with amazement. We DOLLY through the room. This is a large foyer, and the decorations slightly resemble a badly decorated 70's house in Malibu. There is a rather sick shade of green shag carpeting on the floor, wood paneling on the walls, and one of the ugliest chandeliers in captivity hanging from the ceiling. As if that were not enough, there are knickknacks cluttering every possible clutterable surface in the room. There is a couch at one end, that is sort of an orange and brown plaid. One just knows if one were to touch it, that it would, at the very least, feel horribly scratchy, and at the very worst, it might sprout fangs and bite. The coffee table in front of the couch is a maple early-American job, and is covered with magazines ranging from Modern Fisherman to Ebony. As eclectic a collection as the decor..... ANGLE LACROIX and NATALIE; he has plastered the mask on his face, but an eyebrow has cocked up about as far as it can go and still be attached to his face. Natalie's eyes are very wide, and she looks utterly gobbsmacked. LaCroix is the first to recover from the sensory overload. LACROIX Why is it one expects a panel to rotate and a glass piano to appear with Liberace in the middle of it? Natalie just slowly turns her head to stare at him. She can't believe he just voiced that thought. A smile appears on her face. NATALIE A joke, LaCroix? That's hardly your style. LACROIX Yes, well, given the circumstances within which we currently find ourselves, it seemed only fitting to stay within the surreal context of the room. Don't you agree? NATALIE I have to ask: Where did you find this place? Funerals R Us? LACROIX (irked) We have William Grey to thank for this little venture into Fantasy Island on Faery Dust. Natalie laughs. NATALIE My god, there really is a sense of humour hidden somewhere behind that stoic mask. He just cocks an eyebrow at her; whether it's in response to the mention of "god", or just in response to her observation regarding his humour, we do not know. A panel in the wall moves, and for a moment, we're afraid of what it may reveal; however, it is only the mortician. MR. LEE QUANTRILL, 40's, indeed Liberace gone bad in a black suit, walks over, smiling one of the largest fake smiles known to humanity. He extends his hand to LaCroix, who very reluctantly shakes it. Naturally, it's a 'dead fish' hand shake, and if LC is capable of getting the heebies, he's got them now. LEE (smiling) Welcome to Slumber Pines. I'm Lee Quantrill, the mortician. Please allow me to extend to you my deepest sympathy regarding the passing of your loved one. (beat) It is only one, isn't it? LaCroix and Natalie exchange a look. NATALIE Uh, yeah. Just the one. LEE Oh, too bad. We have a special on twin caskets this week... Another look passes between LaCroix and Natalie. LEE (CONT) Have you folks taken the tour of the grounds yet? They are quite beautiful, even in the dark. We offer them every forty five minutes, and they leave from the front gate. LACROIX (impatient) We do not wish to take a tour, thank you Mr. Quantrill. What we would like to do, is look at the caskets you have, choose one, and then make arrangements for burial. Quantrill gets rather close to LaCroix, examining him. LEE I take it that it was your loved one who passed on then? LACROIX No, I'm shopping for a friend. Natalie lays a very gentle hand on the Ancient's arm, to shush him. He glares at her and she removes it. They hold a look. NATALIE Could we take a look at what you have, Mr. Quantrill? He continues to eye LaCroix as he answers Natalie. LEE Certainly, Madame. This way please. He disappears down a hallway, and reluctantly, Natalie and LaCroix begin to follow him. NATALIE I think from now on, I should do the talking. LACROIX Fine. Let's just get this over with. NATALIE What's the matter LaCroix? This place giving you the creeps? Natalie is terribly amused, but LaCroix is not. It is indeed giving him the creeps. On their exit, we, CUT TO: EXT. MT. PLEASANT CEMETERY NIGHT Nick and Jeffrey are driving through the cemetery, looking for the missing Hal. Platt looks out, and sees a figur, up a hill. PLATT Hey, Nick...look, up there. Knight looks, and with his vision, he can see that it's Hal. KNIGHT That's our man. PLATT How the hell do you know that from here? KNIGHT I ate a lot of carrots when I was little. Platt glares, and they both get out of the car. They start walking up the hill. It's a little windy and cold, not to mention a little dark. Platt looks a little spooky. Knight looks at his partner. KNIGHT What's the matter Jeffrey? Afraid you might see somebody you know? Nick makes a sort of Halloweenish face and noise. PLATT Very funny, Knight. Let's just say I wouldn't spend my off hours here and leave it at that. They walk the rest of the way in silence, and as we approach the figure, we see that it is indeed Halifax Marcius. He is sitting on the ground, in front of tombstone. INSERT; tombstone. It reads: Margaret Marcius, born May 4th, 1917, died June 12th, 1997. RESUME SCENE. Nick and Platt look at each other; poor old guy. KNIGHT Mr. Marcius? Hal turns and sees the two detectives. This guy isn't so out of it. He answered his name, and he knew enough to find his dead wife's grave. Two and two is not making four. PLATT Mr. Marcius sir, why don't you come with us, and we'll take you home? MARCIUS I don't want to go home. Why do you think I'm here? KNIGHT Why don't you want to go home sir? MARCIUS I'm a burden to my son and his family. It's their time, mine should be over. PLATT Your son and his family are very worried about you. Halifax looks at Platt. KNIGHT Come on, we at least need to get you out of the cold. (to Platt) Let's take him back to the hospital, let the doctor check him out, make sure he's okay. PLATT Come on old timer, up we go. Nick and Platt each take an arm, and off the three of them walking back down the hill, we, CUT TO: end part 08 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. SLUMBER PINES/LEE'S OFFICE NIGHT LaCroix and Natalie are sitting in chairs on the opposite side of Lee's desk. Quantrill is giving them the business. LaCroix looks quite close to exploding, and Natalie just wants to keep LaCroix from having Quantrill for brunch. LEE So you see, if you order the deluxe package, you can save an extra seventy dollars. LACROIX We have already explained to you, countless times, Mr. Quantrill, that money is not an object here. LEE And will this be cash or credit Mr. LaCroix? LACROIX (smiling) I always pay for things in cash, Mr. Quantrill. LEE Ah yes, no record of it that way. LaCroix sneers at the insinuation, and Natalie glares at him. Lee begins filling out a form, and is quite oblivious to them. LACROIX (sotto to Nat) This annoying little gnat has no idea how close he is to extinction. NATALIE (sotto to LC) LaCroix, just.... please, we're almost done. Keep a lid on it. He glares at her. Lee's phone RINGS, he answers. LEE Yes? (beat) Oh dear. Well, put it back on.... (beat) Oh.....Oh yes, well I do...hmmm.... Yes, I'll be right there... He hangs up the phone and stands, heading toward the door. LEE (CONT) A little unexpected emergency has arisen. One of my makeup artists has accidentally scraped the nose off of an accident victim. (beat) Do help yourselves to some coffee, and I'll hurry right back. He exits quickly. Nat gets up and goes to the coffee urn, and pours herself one. She looks up to find LaCroix staring at her. NATALIE What? LACROIX Nothing. NATALIE You were staring at me. LACROIX I was not. NATALIE You were. LACROIX I do not stare. NATALIE Fine. Call it whatever you want, why were you doing it? LaCroix looks away and says nothing. Nat goes and stands in front of him, and she leans on the desk. NATALIE (CONT) Ever since you--well, ever since Halloween, I've felt something. He looks sharply at her. Oh dear. LACROIX I already told you, you are mistaken about whatever it is that you think you remember. NATALIE I am not mistaken. He sighs, as though completely bored. NATALIE (CONT) You can sit there and do your boredom act all night, it won't change the facts, LaCroix. (beat) I want to know why you did it. LACROIX You know, mortals are so dreary. You become fixated upon a subject, no matter how absurd, and you're like a bulldog with a piece of meat in it's teeth. NATALIE Fine, we'll move on. How did you know Patricia Crowley? LACROIX That's none of your business. NATALIE She lived in my building for a year and a half. I never saw you drop by for a visit. LaCroix stands, growing quite tired of her questions, and he stands very close to her. LACROIX You're assuming, Dr. Lambert, that I would have used the front door. NATALIE (beat) How long did you know her? He sighs. Natalie is not going to stop dogging him until he gives her a bone. Fine. LACROIX If you must know, Dr. Lambert, Miss Crowley and I had known each other for many years. (beat, softens) She was a very dear friend. NATALIE I'm sorry, I didn't know. LACROIX And now that you do, what difference does it make? NATALIE None, I guess. ANGLE NATALIE; except that now I don't hate you quite as much as I did before. Quantrill interrupts the interrogation. Nat and LaCroix hold a look, then they sit down. LEE Super glue is the most amazing product ever created. (beat) Now, where were we? LaCroix and Nat exchange an odd look; this man is very strange indeed. On this, we, CUT TO: INT. HOSPITAL NIGHT Nick and Platt stand in a cubicle with Dr. Natale and Hal. KNIGHT How is he? NATALE Pretty damned good for an old guy who's been out wandering in this weather. PLATT How far advanced is the Alzheimer's? NATALE Who told you he has Alzheimers? PLATT His son. KNIGHT You mean he doesn't? NATALE Not unless he's developed it within the past twenty four hours he doesn't. On Knight and Platt, something smells very rotten here, and we, FADE OUT: END ACT THREE end part 09 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ ACT FOUR FADE IN: INT. HAL'S HOSPITAL ROOM NIGHT Nick, Jeffrey and Hal are in the room, talking AD LIB, when Phillip and Jan rush in. PHILLIP Dad...we've been so worried. Where have you been? Hal looks slightly fearful. KNIGHT We found him in a cemetery. JAN (to Hal) Were you trying to visit Marge again? MARCIUS You won't ever take me to see her. PHILLIP Oh now dad, you know that's not true. (beat) I'm going to go find the doctor and see when we can take you home. Nick FOLLOWS Phillip out, and we go into, INT. HALLWAY CONTINUOUS KNIGHT Mr. Marcius....can I speak with you a moment? PHILLIP Sure. KNIGHT Did you know that your father has had several broken bones and fractures that were not set properly? PHILLIP You know, he's old. He falls a lot, and he doesn't always tell us about it. KNIGHT One of them is in his leg. Surely you would have noticed a limp, Mr. Marcius. PHILLIP What the hell are you trying to say Detective Knight? KNIGHT I'm not saying anything. I'm asking you about your father's injuries. I'm wondering if sometimes it isn't just a little frustrating for you to have to take care of your father. (beat) Does he infuriate you to the point where you want to beat him to death? PHILLIP You're accusing me of beating up my old man. I know my rights, I don't have to talk to you without a lawyer. Phillip storms off. KNIGHT Sounds like you might need to call for one. On Nick, we, CUT TO: INT. SLUMBER PINES NIGHT LaCroix, Natalie and Lee are in the "casket room". This room is wall to wall, line after line of coffins. Lee is pointing out the beauty of each of the different models. LEE And this is the creme de la creme of our deluxe line. Notice the silk lining, the pot pourri pillow, and of course, the beautiful walnut finish. (beat) Why don't you try it out, Mr. LaCroix? ANGLE LACROIX; are you nuts? LACROIX Not in your lifetime, you little-- NATALIE --Thanks Mr. Quantrill, but I think we can take your word for it. (sotto to LaCroix) Just whip out the cash, LaCroix, or we'll never get outta here. LaCroix rolls his eyes, but reaches into his pants pocket, extracting a rather large roll of bills. On this, we, CUT TO: INT. LACROIX' APARTMENT NIGHT Janette looks just like a busy set dresser, directing traffic. She's pointing workmen of all types in the directions she wishes the items they're carrying to be. The decor is distinctly Janette. We see a black leather couch go by, with a matching chair. We see very modern fixtures, beds, dressers, it's all Janette. CLOSE on Janette, smiling. On this, we, CUT TO: EXT. TORONTO STREET NIGHT Jeffrey and Nick on their way to see Phillip. PLATT Nick, this is nuts. We have no proof. The Captain's gonna have our hides. KNIGHT I think we can break the guy. You heard what Dr. Natale said, Jeffrey. Hal Marcius has a lot of old broken bones, and other injuries that are consistent with this kind of abuse. Put that with the little conversation I had with him and-- PLATT --Read my lips, Knight. That's circumstantial evidence. We can't convict with that. KNIGHT But it's suspicion, and that's enough for an arrest. I think we can break the kid a little further. PLATT Why is it every time you run off like this, I get to pay the price with the Captain? KNIGHT Because you love me? Nick grins at Platt. Platt glares. PLATT Not right now I don't. But I don't suppose that's going to stop you. KNIGHT Nope. PLATT Great. KNIGHT (serious) Jeffrey, we can't let this go; if we do, the old man will end up dead. I can feel it. PLATT Who suddenly died and appointed you the expert on family dynamics? On Nick, we, CUT TO FLASHBACK: end part 10 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. HOUSE 1880's ENGLAND NIGHT LaCroix, bloodied and battered, is lying on a couch. From the massive wound in his chest, it's obvious that a stake has recently been removed. Janette is trying to get him to feed from her wrist, but he will not. Nick enters. JANETTE Nicolas....where have you been? I need your help. KNIGHT What happened to him? JANETTE Hunters. They staked him and then beat him. Nicolas, he will not drink from me. Nick looks at Janette, and then at LaCroix. KNIGHT What makes you think I can help him? JANETTE You have to try, Nicolas. (beat) Please...he is your father. (off a glare) No matter what you think of him, nor what you two have argued, he will always be the one who made you. Somewhat reluctantly, Nick bites into his own wrist and then holds it to LaCroix' lips. At first there is no response, but then LaCroix begins to drink the blood. Janette and Nick look relieved. On this, we, CUT BACK TO PRESENT: EXT. TORONTO STREET CONTINUOUS PLATT Where, exactly, do you go? KNIGHT What? PLATT When you do that little checking out thing. You know, that little check out thing you do. Where do you go? KNIGHT Just visiting my home planet so that your continuing presence in my life doesn't ruin me. PLATT You're such a comedian. You inherit that from your father or something? KNIGHT I sincerely doubt that. On Knight smiling at the thought, we, CUT TO: EXT. SLUMBER PINES NIGHT LaCroix and Natalie exit the mortuary building and are standing on the steps. It seems a little awkward. He starts to leave, Nat's voice stops him. NATALIE LaCroix.... LACROIX Yes, doctor? NATALIE Can I give you a lift or something? LaCroix chuckles slightly. LACROIX No, doctor, I don't believe that will be necessary. He starts away again. NATALIE LaCroix? He turns to face her. LACROIX Yes? NATALIE You're really not so bad when you aren't trying to be the King of Intimidation. Natalie smiles and exits, toward her car. LaCroix is a little taken aback. Then he recovers a little. LACROIX Says you. On LaCroix as he flies away, we, CUT TO: INT. MARCIUS' HOUSE NIGHT Nick, Jeffrey, Phillip and Jan; a heated argument in process... PHILLIP How dare you come into my house and accuse me of hurting my father. What has he said? PLATT Your father is too afraid to say anything. He doesn't wanna wind up in the streets. KNIGHT Or worse... PHILLIP You have no proof of anything. KNIGHT Ah, so there is reason to look then? Phillip lunges for Nick, and Nick simply grabs the man's arm, bending it back behind him, until Phillip winces. JAN Phillip! Stop! Enough! KNIGHT Yes, I think it's quite enough. PHILLIP You don't understand-- PLATT --What's to understand? You've been beating on a helpless eighty year old man, your father. PHILLIP Nothing is ever good enough for him. Nothing I do is ever what he wants... KNIGHT That doesn't give you the right to abuse him, Mr. Marcius. (to Platt) Read him his rights, Jeffrey. On Platt doin' the litany, we, CUT TO: INT. PRECINCT NIGHT Nick and Jeffrey are in the bullpen. Reese enters. REESE Good job, you two. We've got a full confession from Phillip Marcius. PLATT What's going to happen to the old man? REESE He'll be placed into a governmental facility, until Phillip Marcius has received treatment. PLATT What an ugly situation. REESE Yes, it is... (beat, to Nick) You're awfully quiet, Nick. KNIGHT I was just thinking. PLATT Should we alert the media? KNIGHT No. I was just rethinking my ideas about the holidays and family. PLATT Oh? KNIGHT Yeah. Nick picks up his coat and starts out. PLATT Where you goin'? We got paperwork to do here... KNIGHT I've got something to do. Nick exits. Reese and Platt look at each other. REESE Looks like he left you holdin' the paperwork bag. Again. Reese exits, laughing heartily. PLATT Yeah, sure, make fun of the tall, thin, good looking one.... On Platt, we, CUT TO: EXT. NATALIE'S APARTMENT BUILDING NIGHT Establishing stock, and we, CUT TO: INT. PAT CROWLEY'S APARTMENT NIGHT Natalie slowly walks through the apartment, and goes into the bedroom. She looks under the bed, and pulls out the "hope chest". She pulls it out, sits on the bed, and then opens it. NAT'S POV; nothing, empty. ANGLE NAT; anger. NATALIE That......man! On Nat's angry exit, we, CUT TO: EXT. RAVEN NIGHT Natalie goes charging into the front door of The Raven, and we, CUT TO: end part 11 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/ INT. RAVEN NIGHT Natalie continues on her rampage, through the club, not mindful of whose toes she might have stepped upon. She charges through the back hallway, and up the staircase and, INT. LACROIX' APARTMENT DOOR CONTINUOUS Natalie bangs on the front door of LaCroix' apartment. No answer. She bangs harder and louder. No answer. NATALIE Damnit, you old Roman piece of nasty smelling cheese. I know you're in there. You can hide all you want. I know you did it. It's mine, damn you, and I intend to get-- The door flies open and LaCroix is staring at Lambert. The stare is, at the very least, chilling. Natalie swallows. Maybe this was a bad idea. He glares. She stares. They hold the look. LACROIX Roman piece of nasty smelling cheese, doctor? Really. NATALIE Well, maybe not nasty smelling-- LaCroix' growl cuts her off. Natalie summons all her moxie. NATALIE (CONT) Look, I know you took the contents of Pat's chest. She wanted me to have whatever was in there, and I intend to get it. LaCroix stares at her with that look he gets. You know the one; cheeky and irritating.... LACROIX I'm quite afraid I haven't the foggiest idea to what you are-- Janette interrupts at the door, and she's holding a book of poems, which is housing the envelope. JANETTE LaCroix, do you know how this envelope addressed to Natalie wound up on the bookshelf...? Janette voice fades out, as she realises she just blew it. LaCroix looks quite irritated, and Natalie looks rather triumphant. JANETTE (CONT) Oh, dear. LACROIX Yes, oh dear. LaCroix is glaring at Janette. Natalie reaches for the envelope. NATALIE (to Janette) May I? Janette looks at LaCroix, who nods. Natalie takes the envelope. LACROIX This isn't what it looks like. NATALIE Oh, really? It looks like you didn't want me to read whatever was in this letter, LaCroix. (off a glare) Or did I miss something? LaCroix does not answer, he just glares at her. NATALIE I thought not. (beat) Now what else was in the box? It's a stand off. Janette wants to show off the new decor, and she breaks open the silence. JANETTE Where are your manners, LaCroix? Invite the good doctor in. LACROIX Janette-- NATALIE --It's quite all right. I don't want to interrupt, I just want what belongs to me. Janette is disappointed; no showing off the new decor. Natalie and LaCroix hold a long look. He sighs. He gently takes the book of poems out of Janette's hand, and he gives it to Natalie. They hold another look. NATALIE (CONT) How do I know this is everything? His lips curl into a sharkish grin. LACROIX You'll have to trust me. (beat) Good night, Dr. Lambert. There isn't much more she can do, and she knows it. NATALIE LaCroix...Janette... Natalie exits. ANGLE LACROIX; no, it wasn't everything. On LC, we, CUT TO: INT. NATALIE'S APARTMENT NIGHT Natalie enters, and sits on her couch. She pulls the book and envelope out of a pocket. She opens up the book first. INSERT: Book of Poetry. It's a very old book, at least sixty years. RESUME as Natalie opens the front cover. INSERT; dedication inside front cover, which reads: "For Patricia, so that you never forget. Forever Fondly - L." RESUME NATALIE, who is frowning. L? As in LaCroix? She leafs through the book, which is a collection of love poems. In several margins are penciled in remarks. Whether they were penciled in by Patricia or by someone else, we do not know. Natalie carefully sets the book down, and she opens the envelope. She reads: NATALIE (V.O.) My dear friend Natalie! First, forgive me for not telling you the truth of my condition. I saw no reason to burden you with it, anymore than I saw a reason to fight it. I am more than ready to move on to my next adventure! (beat) Enclosed in this chest, you will find that which is most valuable to me. When I was quite young, I found myself in trouble and alone. Were it not for the kindness of a man I did not even know, I doubt I would have survived. (beat) Like everyone else, there were times throughout my life, in which I found myself in need of a reminder of that which is most pure: The willingness on the part of one being to help another. You remind me very much of me at your age, and so, I give to you that which has meant so much to me. Whenever you find yourself in need of a little help, open up the hope chest, and know that a helping hand is always just around the corner. My best to you always, Patricia. On Nat, we, CUT TO: INT. LACROIX' APARTMENT NIGHT The apartment looks quite beautiful, in its new incarnation. It is exquisite, elegant and modern all at the same time, just like Janette. By the fireplace, which is blazing, sits a leather winged back chair, and though it has new upholstery, we know it's LC's chair. Janette is lounging on the couch, reading a magazine. We hear a WHOOSH and she looks up to see Nick standing there. JANETTE Well, look what the cat has dragged in. Nick looks around, at the new decor. KNIGHT I like what you've done with the place. It's much...lighter somehow. JANETTE I am glad someone appreciates it... KNIGHT He hasn't said anything? JANETTE Of course not. Except to say that he was glad I had come to my senses regarding his chair, but that he preferred the old leather. Janette and Nick smile. JANETTE (CONT) So, Nicolas, what brings you by? It is not like you to simply drop in. KNIGHT Let's just say I had a reminder of the importance of family, and leave it at that. JANETTE LaCroix will be pleased. KNIGHT And you, Janette, are you pleased? Janette just smiles at him. On this, we, CUT TO: INT. SOUNDBOOTH NIGHT LaCroix is sitting at his console. The locket is open, and in his hand. As he speaks into the microphone, he begins to open the clasp on the chain. LACROIX One half of knowing what you want, is knowing what you must give up before you get it. Some people know this inherently, whilst others spend years, indeed, entire lifetimes, trying to learn it. A man tries to reach beyond his emotional means in order to help another, only to discover that it is he who has gained from that alliance. (beat) But then, isn't that the calling card of self-sacrifice? And yet, there are those among us who find altruism a tonic too bitter to take. Those who feel burdened by the reward of giving. Those who find self-restraint their only source of salvation. Perhaps they are the weak among us. INTERCUT: INT. NATALIE'S APARTMENT NIGHT Natalie is still on her couch, and the Nightcrawler is on... INT. SOUNDBOOTH CONTINUOUS He reaches into his jacket pocket and pulls out two small shiny objects. As he places them onto the locket chain, we see that it is a pair of wedding bands. One is large, for a man, the other much smaller, for a woman. He reclasps the chain, and looks at the picture in the locket, and the two wedding rings now attached. LACROIX (CONT) It is he, who lives in darkness and fear, who pays the highest price at the end. For in the end, it is the coward among us, who has to live without giving, without ........love. And a coward is almost certainly a man who keeps any leaning toward altruism to himself, because it is easier to have those around him believe him to be bereft of a beating heart. (beat) He is most likely a man of great sorrow. And sorrow, mes amis, makes men sincere. ANGLE NATALIE; her eyes are slightly moist with tears. END INTERCUT: INT. SOUNDBOOTH NIGHT LaCroix flicks a switch and the red on air light goes dark. A light is flashing on his phone, he answers. LACROIX Yes? GREY(O.C.) Nice monologue. LACROIX She is dead, William. Let her rest. It was her wish. GREY (O.C.) My mother didn't know what she wanted. She never did. Wasn't it bad enough that she never even knew who I really was? LaCroix says nothing. GREY (CONT) (beat) You could have saved her. LACROIX It was not what she wanted. GREY (O.C.) I won't forget this, LaCroix. LACROIX (laughing) Do not threaten me, William. It could be quite hazardous to your....youthful looks. The line goes dead. LaCroix hangs up the phone. He leans back in his chair for a moment, looking at the locket. Then he snaps it shut, as if slamaming a piece of his heart closed. He puts the locket in his pocket, stands and walks out of the booth, shutting off the lights and closing the door behind him. On the very dark and empty room, we, FADE TO BLACK: THE END end part 12 vampwrtr@innocent.com http://members.aol.com/vampwrtr/forever_lacroix/