Date: Sun, 12 Jul 1998 12:04:10 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: New Balance 01/12 To: FKFIC-L@LISTS.PSU.EDU Status: usual disclaimers. permission to mel moser to archive, thanks mucho! comments to the author at vampwrtr@innocent.com FOREVER KNIGHT "New Balance" ACT ONE FADE IN: EXT. TORONTO STREET NIGHT DETECTIVE NICK KNIGHT and DETECTIVE JEFFREY PLATT are in the Caddy. The lush voice of Lucien LaCroix is on the radio. LACROIX (V.O.) Life, gentle listeners....what a fragile entity it is. So easily snuffed out by that which is stronger, better or faster. Is it merely fate which determines how we live and when we die, or is it something more palpable, something more .....tangible that puts an end to our existence? (beat) Survival of the fittest; that's our motto here on Nightwatch, my children. Platt and Knight exchange a glance, and Platt rolls his eyes. PLATT How many loose screws does this guy have? KNIGHT I lost count a long time ago.... Platt smiles. LACROIX (V.O.) How each of us responds when life is hanging in the balance; this is the defining moment for many. Agree or disagree? Let's discuss..... Platt switches the radio off. PLATT He's a wacko, Nick, I'm sure of it. Defining moment; what a load of crap. Do the men in white coats know about him? KNIGHT I thought it was you they were on to..... Platt glares as they stop at a light, right next to a convenience store. Platt looks over at the store. PLATT Hey...I could use a cup of Jo....how 'bout it? KNIGHT So long as it doesn't define your moment as a human being, Jeffrey. PLATT Ha-ha. Aren't you just the Jack Benny of the Police Force? Knight grins, and pulls into the parking lot, which is empty. Jeffrey gets out of the car and shuts the door. He leans in through the open window. PLATT (CONT) Try not to get too bored without me. KNIGHT I'm sure I'll find something to occupy my mind. Platt disappears into the store. Knight turns the radio back on to CERK. A black Buick pulls into the parking lot, and two men; ADAM SVEELY, 20's, and CURT ADLER, 20's, small, wiry, dark hair, get out and walk into the store. Nick doesn't really notice them. LACROIX (V.O.) Let's hear from our next caller.... CALLER (V.O.) I think we have to make the most of every moment. We only get one crack at it, and personally, I think people who waste it ought to be shot..... Nick glares at the voice on the radio, and we, INTERCUT: INT. CONVENIENCE STORE CONTINUOUS Jeffrey is pouring himself a cup of coffee from the counter in the back of the store. Sveely and Adler, now wearing black ski masks, are standing in front of the cash register; they have not seen Platt. As Jeffrey is adding milk to his java, the two young men pull guns on the clerk. SVEELY Empty the register. The CLERK hesitates. SVEELY (CONT) Now. ANGLE PLATT; he ducks and pulls his gun; they obviously still haven't noticed him. He moves along the floor, making his way down an aisle, toward the register. ADLER Put the cash in here. Adler hands the clerk a bag. The clerk begins to clean out the drawer. Jeffrey is about on them. SVEELY Hurry up. The clerk hands the bag back to Adler. Jeffrey stands up and levels his gun. PLATT Police, freeze... INTERCUT: EXT. CONVENIENCE STORE CONTINUOUS Nick is in the caddy listening to the Nightcrawler. LACROIX (V.O.) "Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing...." We hear a GUNSHOT from inside the convenience store. Nick is startled. He grabs his police radio mike. KNIGHT This is 81 Kilo, requesting immediate backup. Shots fired at 57 Queen street. Officers need assistance. DISPATCHER (V.O.) We copy 81 Kilo. All units, attention all units.... Nick pulls his gun and gets out of the car, he runs toward the convenience store door. As he gets there, the door flies open, knocking him to the ground. Sveely and Adler, still wearing ski masks, come out at a run. Adler heads to the black Buick in the parking lot and gets in. Sveely points his gun at Nick and fires. Nick returns fire and drops Sveely where he stands. Adler, in the meantime, has gotten into the car and is burning rubber getting out, firing at Nick on his way. Nick looks toward the car, thinks about chasing him, but looks back toward the convenience store. NICK'S POV; through the now open door, we see Platt lying in a pool of his own blood on the floor. ANGLE KNIGHT; shock and terror. Nick holsters his gun and runs into the store. We FOLLOW him into, INT. CONVENIENCE STORE CONTINUOUS KNIGHT (to clerk) Call an ambulance...NOW! The clerk moves to the phone and makes the call in the BG. Knight goes to Platt and gently lifts him up. Platt groans in pain as Nick puts Jeffrey's head in his lap. KNIGHT (CONT) Easy, Jeffrey, I'm here. PLATT (through pain) Think this is my defining moment, Nick? ANGLE KNIGHT; he hopes not. Platt loses consciousness. On Nick, we, CUT TO FLASHBACK: EXT. VIRGINIAN TOWN 1861 NIGHT Nick and his friend, JOHN, 30's, nice looking, are walking down a street. We hear GUNSHOTS coming from the saloon. A MAN comes bolting out of the saloon, wielding a gun. John and Nick exchange a look, and before Nick can stop him, John has pulled his gun, and is heading in the direction of the man. JOHN Hey....you, stop... The man turns, sees John and fires, dropping John where he stands. Nick vamps out, but too many others have taken to the streets, and he has no choice but to hide the vampire. He goes to his friend. KNIGHT John...no... On Nick, we, CUT BACK TO PRESENT: INT. CONVENIENCE STORE CONTINUOUS KNIGHT Don't you die on me, Jeffrey. On Knight looking terrified, we, SMASH CUT TO: MAIN TITLES INT. HOSPITAL WAITING ROOM NIGHT Nick, CAPTAIN JOE REESE and several uniformed officers are milling about the waiting room. Nick looks as tight as a rubber band about to snap. Reese watches Knight, then walks over to him. REESE Why don't you sit down for awhile? KNIGHT Can't. REESE Tell me what happened. KNIGHT Jeffrey went in to get a cup of coffee, and when the hit went down, he tried to stop it. (beat) Any word on the one I shot at the scene? REESE He didn't make it, Nick. His name was Adam Sveely, he was 21, and lived in Toronto. No priors. And, if he fired at you once in the parking lot, then he couldn't have been the one to shoot Jeffrey. (off his look) Sveely's gun was only missing one bullet. It was probably the kid's first job. KNIGHT So the shooter is still out there.... REESE Do you remember the car? KNIGHT Black Buick. REESE Plate number? KNIGHT I could only make out part of the plate... N2G. REESE That's an odd first three for a plate. Nick shrugs. Reese pats his shoulder. They hold a look. They're both worried that Platt won't make it. They've been here before. REESE (CONT) I'll get somebody on it. On Nick, we, CUT TO: CLOSE on a license plate that reads: N2GALS. REVEAL the black Buick, parked in front of a warehouse. CUT TO: INT. WAREHOUSE NIGHT Curt Adler is in a storage house of stolen goods. He's standing with MR. JORDAN PALCONE, 40's, looks like mafia. They are surrounded by stolen tv's, stereos, computers and what nots. PALCONE What happened to Sveely? ADLER Cop shot him. PALCONE And? ADLER And he's dead. PALCONE You're certain? ADLER Yeah, Mr. Palcone, I'm sure.... PALCONE Rumour has it you shot the cop. ADLER Yeah, so? Palcone grabs a hold of Adler and shoves him into some boxes. PALCONE That was stupid. ADLER No choice. He was in the store. PALCONE Oh, this was just a brilliant hit all the way around, wasn't it? (off his look) What did you get? ADLER Not much. Little over a hundred bucks. PALCONE That's all? ADLER It was a convenience store. PALCONE What they hell were you thinking? Why bother hitting a store that doesn't keep much cash? ADLER It was Sveely's idea. PALCONE How convenient. Palcone holds out his left hand, which has a heart with a sword piercing it tattoed at the wrist. Adler puts a wad of cash in the waiting hand. Palcone counts out some for Adler and hands it back to him. PALCONE (CONT) Make a better choice next time, got it? ADLER Yeah, I got it. PALCONE And Adler, you'd better hope that cop doesn't die. (off his look) I don't need a cop killer in this organization. On Adler, we, CUT TO: EXT. HOSPITAL NIGHT Establishing shot of hospital, and we, CUT TO: INT. HOSPITAL WAITING ROOM NIGHT Reese and Knight are still waiting, along with some uniforms. Nick is pacing and Reese is sitting, watching Nick pace. DR. NATALIE LAMBERT enters. NATALIE I just heard... (off looks) How is he? REESE Don't know yet. Natalie goes to Nick. NATALIE Are you okay? KNIGHT Yeah. NATALIE You sure? KNIGHT Yeah. ANGLE NATALIE; yeah, right. NATALIE Where was he hit? KNIGHT Chest. NATALIE How long have they been in surgery? KNIGHT A few hours.... ANGLE NAT; uh-oh. KNIGHT (CONT) What? NATALIE Sorry....it's just, if it were simple, they should be done already. KNIGHT What do you mean, simple? NATALIE Nick, if they're still in there, chances are, the bullet hit the heart. On Nick, we, CUT TO FLASHBACK: INT. DOCTOR'S OFFICE 1861, VIRGINIA NIGHT Nick is standing next to a surgeon's table of the period. John, not doing well, is lying on the table, with a gun shot wound in the chest. DR. LANGE, 50's, is preparing to dig out the bullet. KNIGHT (to John) Hold on, John, It'll be all right. JOHN Yeah, I know... Lange motions for Knight to follow him. We FOLLOW them into, INT. WAITING ROOM CONTINUOUS LANGE I have to be honest with you, his chances are limited. KNIGHT Can't you get the bullet out? LANGE Sure I can; that's not the problem. (off his look) It may have hit the heart, and that I can't fix. On Nick, we, CUT BACK TO PRESENT: INT. HOSPITAL WAITING ROOM CONTINUOUS KNIGHT Nat....he can't die. I can't let him. Natalie gets very close to him. NATALIE Nick, you may not have a choice. KNIGHT (glaring) I always have a choice. Natalie positively glares daggers at him. On the two of them holding a long and nasty look, we, CUT TO: INT. RAVEN CELLAR NIGHT LUCIEN LACROIX and MAURICE are searching for a bottle amongst the many shelved bottles in the cellar. LaCroix looks slightly....anxious. LACROIX Anything, Maurice? MAURICE Not yet. LACROIX It's got to be here. MAURICE You're sure? ANGLE LACROIX; yeah, I'm sure. ANGLE MAURICE; oops, won't question that again. They hold the look. Maurice finally grins. MAURICE (CONT) When is she to arrive? LACROIX (looks at watch) In an hour. LaCroix begins frantically looking for the special bottle again. Maurice watches him for a moment, amused. He shakes his head at LaCroix. MAURICE We'll find it. LACROIX Indeed. Maurice smiles as he grips a bottle from the shelves and lifts it to admire it. MAURICE Is this the one? LaCroix comes over and takes a look. A smile lights up his face. LACROIX It is indeed, thank you Maurice. LaCroix takes the bottle and exits quickly, looking as much like an excited little boy as is possible for him. Maurice smiles. MAURICE (muttering) Now I've seen it all. On Maurice grinning, we, CUT TO: INT. HOSPITAL WAITING ROOM NIGHT Natalie, Nick and Reese, along with some uniforms, are still waiting. Nick is standing near a window, staring out at nothing. Reese and Nat exchange a look, she gets up and walks over to Knight. She crosses her arms upon reaching him. He does not turn to look at her. NATALIE What are you thinking? KNIGHT I....don't know. NATALIE Really? Knight looks her in the eyes. KNIGHT What is taking so long? NATALIE Try and relax.... KNIGHT I should have gone into the store with him. NATALIE Don't be ridiculous, Nick. You couldn't have known; and you're not Jeffrey's keeper. Nick looks at his watch. KNIGHT I need to make a phone call. NATALIE At this hour? Nick just looks at her. She gets the idea, and moves off. Nick pulls out his cell phone and dials a number. We hear a RING, then another RING. We, INTERCUT: INT. RAVEN/LC'S LIVING ROOM CONTINUOUS LaCroix picks up the phone. LACROIX Yes? KNIGHT LaCroix... LACROIX Where are you? KNIGHT At the hospital. A long beat of silence goes by. LACROIX I take it there is a problem? KNIGHT My partner....he's been shot and...it doesn't look good. LACROIX Yes, well, mortals do die, Nicholas. You've seen it before. KNIGHT LaCroix-- LACROIX --Never mind. I shall make your apologies, though I doubt all will be forgiven that easily. A DOCTOR wearing scrubs enters. Nick sees him. KNIGHT I have to go. LACROIX Very well. Nick puts his cell phone back in his pocket. Reese and Natalie stand up. The tension in the room is like a thick, nasty cloud. Nick approaches the doctor, who has a rather grave look on his face. KNIGHT Doctor? DOCTOR He made it through the surgery. ANGLE NICK, NAT AND REESE; relief. KNIGHT But? DOCTOR I won't lie to you. He has less than a forty percent chance. (off their looks) The bullet hit his heart; we had to repair a damaged aorta, and in the process, he lost a lot of blood. Nick and Nick are too stunned to speak. Reese cleans up. REESE Thank you, Doctor. DOCTOR I wish I could be more positive. The doctor exits. REESE (to Nick) He's a fighter, Nick. KNIGHT Forty percent.... NATALIE Nick, you can't focus on that...Jeffrey's tough, he can pull through. Reese pats Nick's shoulder. REESE You should go home, Nick. KNIGHT Not yet. REESE (sotto to Nat) Keep an eye on him? NATALIE Yeah, okay. Reese exits. Natalie stands next to Nick; he looks as though he might just fall over. NATALIE (CONT) Nick.....give him a chance, he's tenacious. KNIGHT I won't lose another partner, Natalie. I won't. NATALIE Nick, you have no idea what Jeffrey would want. KNIGHT Maybe not, but I know what I want-- NATALIE --This isn't about you. (softens) You can't just make a decision like this for someone else. You of all people should know that. KNIGHT (sighs) I do....but I feel so helpless, there's only one thing I can do to save him. (beat) I can't let him die. NATALIE (gently) No one want him to die, Nick, but you can't just bring him across either. You're not thinking clearly right now, you're too upset. Nat looks at him with soft eyes. ANGLE NICK; he is so thankful for her compassion. His eyes fill with tears as he looks at her. Nat thinks about it for a minute, and her resolve weakens. Then slowly, she holds her arms out to him. Nick practically falls into her embrace. Natalie cradles him, and Nick holds onto her for dear life. On Natalie taking care of Nick, we, FADE OUT: END ACT ONE ACT TWO FADE IN: INT. RAVEN/LC'S LIVING ROOM NIGHT The room is lit with hundreds of candles. The formerly elusive special bottle is sitting on the table, with two glasses by its side. LaCroix, looking rather spectacular in a black Armani suit, is pacing like a caged cat. He looks at his watch. He paces. On the bottle, we, MATCH CUT TO: CLOSE on another 'wine' bottle. INT. RAVEN NIGHT WIDEN to Maurice pouring glasses at the bar. Lots of people around, partying. CLOSE on a black pair of stiletto heels. They are walking through the Raven. We can see many other pairs of shoes parting the way for the black stilettos. Maurice looks up and smiles, widely, though we do not get to see at what, or to whom, he is smiling; we assume it just may be the owner of the black stiletto heels. MAURICE He's waiting for you upstairs, and might I say, I think he's a little nervous. CLOSE on the black heels again, as they walk away from the bar. Off this, we, CUT TO: INT. RAVEN/LC'S LIVING ROOM NIGHT LaCroix is still pacing. We hear a KNOCK on the door. He smiles and walks over to open the door. LACROIX' POV as he opens the door; CLOSE on a pair of black stiletto heels. We FOLLOW LaCroix' gaze as he PANS up from the heels, to legs clad in black fish net stalkings, a 3/4 length gown, with a slit up the leg; a very form fitting black bodice, and finally we REVEAL JANETTE DUCHARME, a somewhat seductive smile on her face. ANGLE LACROIX; wow, she has taken his breath away..... They hold a look for a moment. LACROIX May I say that you look positively radiant... JANETTE New York agrees with me. LaCroix holds out his hand, which Janette gently clasps with her own. He guides her through the door, closing it behind them, and then over to the table with the bottle. He turns and pours two glasses. He hands Janette a glass and holds his out to toast her. JANETTE Are we not waiting for Nicolas? LACROIX I'm afraid that Nicholas has been....detained. (off her look) Police business or something. Janette looks disappointed, which in turn causes LaCroix to show the slightest hint of annoyance. LACROIX (CONT) You are disappointed.... ANGLE JANETTE as the nickel drops; she takes in the room, the bottle, LaCroix' appearance: He went to a lot of trouble for her homecoming. She tenderly puts a hand to the side of his face. JANETTE Of course not, mon pere. He takes the hand off of his face, and kisses it. LACROIX (re; 'wine') I've been saving this particular vintage for just this occasion. Janette tastes it and approves. JANETTE It's wonderful. She stretches up, and lightly touches her lips to his. LaCroix smiles at her. He indicates the couch, and the two of them sit down on it. LaCroix suddenly looks uncomfortable. Janette takes the hand closest to her and holds it in her lap. He allows it, but continues to say nothing. JANETTE (CONT) It is good to see you. LACROIX And you. (carefully neutral) How long will you stay? JANETTE I do not know. I rather like New York, and I've become....involved in the fashion industry there. LACROIX Really? JANETTE Yes.....socially only at this point, but who knows, perhaps I will design a line of clothing. LACROIX Indeed. He seems slightly distracted. He can sense Nicholas. JANETTE Is everything all right? LACROIX Of course. No, it's not. They hold a look. He stands up, sets his glass down and walks a few paces a way. JANETTE It's Nicolas, isn't it? LACROIX (covering) No. JANETTE Is he all right? LACROIX Yes, I told you, he is tied up with his little mortal world. LaCroix turns back to face her, his features carefully neutral. He walks over and sits very close to her on the couch. LACROIX (CONT) I do not wish your first night home to be tainted by Nicholas' mortal games. ANGLE JANETTE; LaCroix is hiding something. She smiles carefully at him. JANETTE Of course not. Off the two of them jockeying silently for the upper hand in the room, we, CUT TO: INT. PLATT'S HOSPITAL ROOM NIGHT Nick is sitting by Platt's bed. He is unconscious. Natalie is standing behind Nick. NATALIE It's getting close to dawn, you know. KNIGHT Yeah, I know. NATALIE Nick.... KNIGHT (beat) You don't have to stand guard you know. (off her look) I'm not going to do anything to him. (beat) I need time to think. He gets up and heads toward the door. NATALIE Listen, I know now is not the best time, but I need you to swing by the morgue in the near future, if you can manage it. KNIGHT Why? NATALIE I need some blood from you so I can try out a little something I've whipped up. KNIGHT The virus from that Harper guard who died? NATALIE Yes. Nick smiles, but it quickly fades, as he looks at Jeffrey. NATALIE (CONT) Nick..... KNIGHT I can't help it. Just when I might be able to regain my humanity, my life....Jeffrey might lose his. On this, we, CUT TO: EXT. TORONTO SKYLINE DUSK The sun sets over the Toronto skyline. On this, we, CUT TO: EXT. PRECINCT NIGHT Establishing stock of the precinct, and we, CUT TO: INT. PRECINCT NIGHT Nick enters, and Reese comes out of his office. REESE It's about time. KNIGHT Sorry, I stopped off at the hospital, to see how Jeffrey was doing. REESE And? KNIGHT The same. REESE (beat, gently) We have a list of registered black Buicks that contain the first three digits you gave me. We've got a list of 142 possibilities in Toronto. KNIGHT 142? That's a lot. REESE Yeah, but it's a place to start. (beat) By the way, Natalie called, she wants you to swing by the morgue and get the report on the dead kid, Sveely. KNIGHT Okay...I think I'll do that now, if it's okay with you. REESE Just don't get lost. KNIGHT Right. Off Nick's exit, we, CUT TO: INT. RAVEN/LC'S APARTMENT NIGHT LaCroix opens the door to Janette's old room, and from his POV; we see Janette asleep in the bed. He smiles. Some part of him likes having his family around him, even if he'd never admit that to a breathing being. He walks into the room and sits on the bed, watching her sleep. Janette's eyes suddenly pop open, and he smiles at her. LACROIX Sleep well? JANETTE Yes. What time is it? LACROIX Half past eight. JANETTE Why did you let me sleep so late? LACROIX I saw no reason to awaken you, my dear. JANETTE Have you heard from Nicolas? LACROIX I'm afraid not. (mixing) Now that he's getting along with his doctor friend, he seems to have once again forgotten all about his family. Janette frowns. LACROIX (CONT) Do not fret, my dear. I'm sure it's just another passing fancy in time. LaCroix has a somewhat dangerous smile on his face. JANETTE What are you not telling me? LACROIX Why Janette, I'm wounded. JANETTE LaCroix.... He stands up and walks toward the door, the smile still on his face. LACROIX The good doctor thinks she has found a cure yet again. LaCroix begins to laugh, and what an evil sound it is..... JANETTE A cure? LACROIX Don't sound so hopeful, Janette. You and I both know that outside of the one in a billion occurence which happened to you, there is no such thing as a cure for vampirism. LaCroix exits. On Janette thinking about it, we, CUT TO: INT. MORGUE NIGHT Natalie is working on a report at her desk. Nick enters. KNIGHT Captain said you have a report on Sveely... NATALIE Yeah, nothing out of the ordinary, except for the tattoo on his left hand. KNIGHT Tattoo? NATALIE Yeah, here, take a look at this picture. Nat pulls out a picture from a packet on her desk. We CLOSE on an 5x7 of a tattoo; it is a tattoo of a heart with a sword piercing its center. NATALIE (CONT) Rather distinctive, wouldn't you say? KNIGHT Yeah, I would....if I can find the artist who rendered it, I might be able to find out who this kid used to hang around with. Great work, Nat, thanks. NATALIE (beat) How's Jeffrey? KNIGHT Same. NATALIE Sorry. She moves over to a table and pats it, indicating that she wants him to sit on it. NATALIE (CONT) If you wouldn't mind.... Nick sits down, and Nat draws a blood sample. KNIGHT What are you going to do with it? NATALIE Let it play with the virus, then look at it under a microscope. KNIGHT Hmmm...sounds fun. (beat) You really think this might work? NATALIE Worth a try, I'd say... He starts out toward the door. NATALIE (CONT) Nick...have you given any more thought about-- KNIGHT --No. NATALIE Maybe you need to let him go. Nick looks heart broken at that suggestion. Without uttering a word, he exits. On Nat, we, CUT TO: INT. APPLIANCE STORE NIGHT Curt Adler and DAVE, 20's, are looking around the store. A customer is just leaving, now they're alone, along with the SALESMAN. They quickly put ski masks on, then move toward the salesman. Adler draws his gun and points it at the man. ADLER (to salesman) Move and I'll blow your head off. (to Dave) Hurry up... Dave goes to the door and motions. Several other MEN wearing ski masks enter, and they quickly begin to clear the place out of tv's and stereo's. Adler is leaning his left hand on the counter. We FOLLOW the salesman's gaze and we CLOSE on a tattoo on Adler's hand. It's a heart with a sword piercing the center. Off this, we, CUT TO: INT. PRECINCT NIGHT Nick is at his desk doing some research. Reese enters. REESE Nick...I think your man just robbed a small tv store over on Grand. Appliance Store at 135. KNIGHT On my way... On Nick's exit, we, CUT TO: INT. APPLIANCE STORE NIGHT Cops everywhere, the salesman is standing there talking to one of them. Nick enters and walks up to the salesman. KNIGHT What happened? SALESMAN Whole crew of ski mask wearing guys cleaned me out. KNIGHT Was one of them a small, wiry guy? SALESMAN Yeah, he was sorta the ringleader. On Nick, we, CUT TO: INT. MORGUE NIGHT Nat mixes Nick's blood sample with some concoction in a vial. She then puts some of that mixture onto a slide, and puts it under the microscope. She looks into the scope. She frowns. LACROIX (O.C.) Find anything interesting? Natalie, startled, screams, and almost knocks the microscope off the counter. She whirls on LaCroix, and she's hopping mad. NATALIE What are you doing here, and why did you sneak up on me? LACROIX Is that any way to greet an old friend? He looks slightly dangerous, and Natalie doesn't feel any too safe. She looks around for any kind of weapon; none is forthcoming. He laughs at her, and the tone of it is clearly menacing. LACROIX (CONT) My dear Dr. Lambert, if it was harm I intended this evening, it would already have been inflicted. NATALIE How comforting. They hold a long look. NATALIE (CONT) Why are you here? LACROIX (covering) I was merely wondering if you had seen Nicholas. NATALIE No, I haven't.... She's very jumpy; could it be that sample on the slide? LACROIX My, my, for such a normally courageous mortal, you are rather jumpy this evening, wouldn't you say? He moves closer, backing her into the counter. He runs a finger along her cheek, and down to her jaw, settling a finger just under her chin, angling her face up to his. He is very close, and he is scaring the bejesus out of Lambert. LACROIX (CONT) Now just what would make you suddenly so edgy around me? Could it be that you're hiding something from me, hmm? NATALIE Please leave. LACROIX When I'm ready. He lets go of her and begins just sort of looking around the lab. NATALIE What are you doing? He ignores her. NATALIE (CONT) Why are you upset? He turns around to face her, and he looks rather irritated. LACROIX You have lied to me, Dr. Lambert. And here I thought we could finally trust each other.... NATALIE What are you talking about? LACROIX You said that Nicholas wasn't here, but on the contrary, I can smell his blood quite clearly. (beat) Tsk, tsk, tsk. What a naughty little mortal we are being this evening. He starts walking slowly toward her again, and she looks quite terrified. Nick enters. LaCroix halts, Natalie looks relieved and Nick looks confused. Without turning around, LaCroix smiles and speaks to his son. LACROIX (CONT) Well, well....I believe the expression is: Look what the cat dragged in. LaCroix turns and the two men are staring at each other. KNIGHT What are you doing here? (beat, confused) Nat, are you all right? NATALIE Barely.... LACROIX Oh really, Dr. Lambert, don't exaggerate. Nick moves in between LaCroix and Nat. KNIGHT You haven't answered me, LaCroix...why are you here? LACROIX My dear Nicholas, have you forgotten that your sis--excuse me, your daughter is in town... (LC glances at Lambert) You are planning on seeing her, are you not? ANGLE NAT; she had no idea, and she doesn't look thrilled. KNIGHT No, I haven't forgotten. I have been busy. LACROIX Ah....of course. Too busy for your family; but not too busy to come here and do.......what? LaCroix knows damn well what, but the game is so much fun for him. Big elephant in the room. Looks fly between Nat and Nick. LaCroix is very amused, and taking it all in. LACROIX (CONT) (smiling) Well, never mind. I'm sure whatever it is, it can wait. (beat) Will I see you later, Nicholas? KNIGHT (irked) Yes.... LaCroix takes off in a vampiric WHOOSH. Nick and Nat let out the air they'd each been holding in. NATALIE Do you think he knows? KNIGHT You can count on it. I can feel his anger. NATALIE Great....now we're back to doing our high wire act. (beat) I think I liked him better when he was in his Docile Dr. Doolittle mode.... KNIGHT (beat) I think we may have just taken a huge step backward where LaCroix is concerned. NATALIE Dandy. Nick's cell phone RINGS. He answers it. KNIGHT Knight. (beat) I'm on my way. He puts the phone away. They hold a look of dread. NATALIE Jeffrey? KNIGHT He's taken a turn for the worse, Nat. NATALIE I'll come with you. Off their exit, we, FADE OUT: END ACT TWO ACT THREE FADE IN: INT. JEFFREY'S HOSPITAL ROOM NIGHT The Doctor is standing at the foot of the bed, notating in Jeffrey's chart. A nurse and some orderlies are rolling a crash cart out of the room. Nat and Nick enter. The Doctor looks up. DOCTOR It was close, but he's holding his own. NATALIE What happened? DOCTOR He coded. His heart is none to stable at the moment, given the recent trauma it received. Nick walks over toward Jeffrey, and gently takes his partner's hand. On Nick, we, CUT TO FLASHBACK: INT. DOCTOR'S OFFICE 1861 NIGHT Nick is pacing in the waiting room. Dr. Lange enters. LANGE I'm sorry. (off his look) I've done all I can. He won't live much longer. If you want to talk to him, you'd better do it now. Nick looks stunned. He walks into the surgery room, and goes to John, who is lying on the table. John stirs when Nick takes his hand. KNIGHT How're you doing? JOHN Dying, I believe... KNIGHT John-- JOHN --Naw, don't lie to me Nick, it won't change nothin'... KNIGHT John, it doesn't have to go this way. JOHN What do ya mean? KNIGHT I mean, you don't have to die. On the confused face of John, we, CUT BACK TO PRESENT: INT. JEFFREY'S ROOM CONTINUOUS Nick is staring at Jeffrey. The doctor returns the chart to the foot of the bed. NATALIE Thank you, doctor. The doctor nods at Nat and exits. Nat watches Nick, who is now sitting on the edge of the bed. She walks over to him, arms folded across her chest. NATALIE (CONT) Penny for your thoughts. KNIGHT He could have died, and I would have been too late to do anything about it. NATALIE I can't believe you're even considering this... You're losing it, Nick. KNIGHT Maybe what I'm tired of losing, are friends. ANGLE NATALIE; she's not quite sure how to feel about this...after all, he almost killed her, and didn't try to save her by bringing her across. There's a long, awkward beat. Nick looks at her, and she walks over to the window. He gets up and goes to her. KNIGHT (CONT) Nat...this has nothing to do with what happened between us. That was.. .....different. NATALIE It was different all right, you were going to let me die. KNIGHT As opposed to condemning you to this darkness, yes. NATALIE And what about Jeffrey? You seem quite ready and willing to condemn him. KNIGHT It's different. NATALIE Oh? How? KNIGHT (hesitant) I.....don't feel the same way about Jeffrey, that I feel about you. ANGLE NAT; and just how is that? NATALIE That's an easy answer Nick, and we both know it. KNIGHT There is no such thing as an easy answer, Natalie. On Natalie still furious, we, CUT TO: INT. RAVEN/SOUNDBOOTH NIGHT LaCroix is sitting in front of his console, rambling away as the Nightcrawler... LACROIX The subtlety that is the dance of life, mes amis. One struggles to maintain the balance between what is, and what one wants to be. And at each crossroad, we are presented with choices. Choices that sometimes mean life and death for ourselves, as well as those around us. And how do we make these decisions? For some, it is merely a roll of the dice. For others, it is a long drawn out process, filled with questions and the search for the appropriate answers. (beat) In my opinion, the best use of life is to spend it for something that outlasts life. (laughs) But how many of us have a chance at a truly immortal awakening? Only the lucky few, I should imagine... LaCroix looks up, and sees Nicholas through the window. He smiles. LACROIX (CONT) In these matters, my children, the only certainty is that nothing is certain. LaCroix giggles evilly, and flips a switch on the console. The red 'on air' light goes out, and Nick enters. LACROIX (CONT) Well, well, the prodigal son returns... KNIGHT What absurd machination are you planning? LACROIX I beg your pardon? I am not the one who has been covert in my movements, Nicholas. KNIGHT I am hiding nothing, LaCroix. LACROIX Really.... KNIGHT Stay away from Natalie. LaCroix laughs. LACROIX Oh Nicholas, while she is quite clever, she has not found a cure. KNIGHT (provoked) And how would you know? LACROIX (smiles) There is much that I know, which you do not. (beat) Besides, Nicholas, if you are no longer a vampire, whatever will you do to help your mortal partner? (laughs) Quite a dilemma, isn't it? Nick glares. LaCroix gets up and walks over to Nick. The Ancient gets extremely close, making Nick very uncomfortable. LACROIX (CONT) You see Nicholas, I make it my business to know things. LaCroix backs off and opens up the door. Then he turns back to Nick, who is silently fuming. LACROIX (CONT) Janette is waiting to see you upstairs. She's really quite upset with you, because you haven't come to see her. I don't think I'd push it, if I were you. But then, thankfully, I'm not you.... LaCroix laughs again, and exits. On Nick, we, CUT TO: INT. RAVEN/LC'S LIVING ROOM NIGHT Janette is reading on the couch. Nick enters. She looks up and smiles. JANETTE Nicolas.... She goes to him, kisses and hugs him. He's not too enthusiastic. JANETTE (CONT) Well, this is less than flattering... KNIGHT I'm sorry. I am glad to see you. JANETTE But? KNIGHT My partner Jeffrey... he's dying, Janette. JANETTE (nickel drops) And you can't decide whether or not to bring him across. ANGLE NICK; bingo. She leads him to the couch. JANETTE (CONT) Does he know of us? KNIGHT No. JANETTE And I take it that he is not....conscious? (off his nod) Then an informed decision is not possible. So you must decide for him.... KNIGHT It's selfish, Janette. I don't want to lose him. JANETTE I don't suppose you've discussed this with LaCroix? (off his look) I thought not. (off another look) He's rather irritated with you and your doctor friend you know. KNIGHT I really thought he was starting to understand my needs. We've been closer recently then we've been in centuries. I thought he was softening a little. JANETTE Nicolas, he loves both of us in his own way, but I think we both know that he will always try to control us; just as he will always stubbornly persist in trying to work his will. LaCroix believes in his own superiority, you know this. KNIGHT (beat) The only thing I know right now, is that I have to make a decision about Jeffrey. JANETTE And LaCroix? KNIGHT I cannot trust him, Janette. JANETTE Don't you think that's a little harsh, Nicolas? KNIGHT No, I don't. And neither do you. On Janette, we, CUT TO: INT. MORGUE NIGHT The morgue is dark, there is only a desk lamp illuminating the lab. We hear a WHOOSH, and we see LaCroix moving toward Natalie's microscope. He removes the slide in the scope, pocketing it, and he replaces it with another. LACROIX There now, Dr. Lambert, I think you'll find this one so much more fascinating. Off LaCroix' maniacal giggle, we, CUT TO: INT. TATTOO PARLOUR NIGHT A tattoo artist, RANDY, is working on the posterior end of a more than willing subject. Nick enters. Randy looks up. RANDY Ready for a tattoo, mate? KNIGHT Uh, no, not exactly. Detective Knight, homicide. Nick produces his badge. RANDY I run a clean joint. KNIGHT That's not why I'm here. (off his look) I was wondering if you recognized this work... Nick shows Randy the picture of the heart tattoo. RANDY That's quite unusual. KNIGHT Yes....do you recognize it as the work of anyone in particular? RANDY What does this have to do with a homicide? KNIGHT (covering) I'm trying to identify a body that has this tattoo.... RANDY The only person I know of who might have done that, died last year. KNIGHT Anyone else who might be able to help me? RANDY You could try Hilda, over at Tattoos Are You. KNIGHT Thanks. Nick starts out. RANDY Detective...you sure you don't want one, while you're here? On the house... KNIGHT Ah, no thanks, I don't like the sight of blood... On Randy shrugging and Nick grinning, we, CUT TO: MONTAGE: A. Nick goes into "Tattoos Are You". He talks with 'Hilda', she shakes her head no, he leaves. B. Nick goes into another parlour.....no luck. C. And another parlour....nope. D. And another..... On Nick, not finding anything, we, CUT TO: INT. TATTOO PARLOUR NIGHT Nick is standing at a counter, and LUCILLE, 50's, comes out from the back somewhere. LUCILLE Can I help you? KNIGHT I hope so...I'm Detective Knight, Metro Homicide. He flashes his badge. LUCILLE Okay, so, who died? KNIGHT A man who had this tattoo... He shows her the picture. ANGLE LUCILLE; yeah, I know of it, but do I want to get involved.... KNIGHT (CONT) You've seen it before, haven't you? LUCILLE Knowing about this tattoo could make me very dead, Detective. KNIGHT I need your help, Miss.... LUCILEE The name's Lucille. KNIGHT Lucille....A man wearing this tattoo was involved with the shooting of a police officer. Lucille is a smart cookie. She studies Knight. LUCILLE Not just any police officer though, was it? KNIGHT My partner. LUCILLE (beat) I know I'll probably regret this......This tattoo is worn by a group of men, who work for a crime syndicate. KNIGHT I need a name. LUCILLE Boy, you don't want much do you? KNIGHT I want the man who shot my partner. LUCILLE The Palcone Gang...they're the ones who wear that tattoo on their left wrists. KNIGHT (smiles) And if I come back tomorrow, could you put one of these on my left wrist? LUCILLE You're the boss, as long as you pay the cost. Nick kisses her hand. KNIGHT Until tomorrow then, Lucille. Nick exits. On Lucille, we, CUT TO: INT. PRECINCT NIGHT Reese is in his office, doing paperwork. He looks up as Nick enters. KNIGHT Cap....I need anything you've got on the Palcone Syndicate. REESE What in the hell do you want with them? KNIGHT They're the ones who cleaned out the appliance store, not to mention the convenience store. And one of them shot Jeffrey. REESE Slow down, Nick. I know you want to get the guy who shot your partner, but you're too close to this. KNIGHT Captain, please. I need to do it....it might be the only thing I can do for him....... Reese leans back in his chair and studies Nick. Then slowly, he gets up, goes to a file cabinet, opens it and pulls out a thick file. He walks back to his desk, eyeing Nick the whole way. REESE The Palcone family is five brothers, all of whom control some region of Canada. Just how do you think you're going to meet them, Nick? Walk up and introduce yourself? KNIGHT I think I may have discovered the right calling card, Cap. Reluctantly, Reese hands Knight the file. REESE Don't make me regret this. KNIGHT I won't. Thanks... On Nick's exit, we, CUT TO: EXT. RAVEN DAWN Establishing shot of the Raven and the hour, and we, CUT TO: INT. RAVEN/LC'S LIVING ROOM DAWN LaCroix is pulling the heavy draperies closed, when Janette enters. He does not need to turn, to know she is there. LACROIX I thought you were asleep. JANETTE Then your senses have dulled. LACROIX My, my, we're in a mood.... He turns to face her, an annoying smile on his lips. JANETTE Do not patronize me. Why are you doing this to him? LACROIX Why am I doing what to whom? JANETTE Nicolas. LACROIX Oh...that. JANETTE Yes, that. (beat) The slide that you undoubtedly removed from Dr. Lambert's possession fell out of your pocket.... His smile fades slightly. Janette just stands her ground. They hold a look. It is obvious that he will not be rid of her until he offers something in the way of an explanation. He motions toward the couch. Reluctantly, she sits. He begins pacing in front of the couch. She sighs. =46inally, JANETTE (CONT) Are you going to say something, or am I expected to sit here and get a stiff neck watching you wear a hole in your carpet? (off his look) Every time within the past two hundred years, that you and Nicolas get closer, you suddenly do something to push him away from you, all the while claiming that you only want what's best for him. (off another look) Did it ever occur to you that what is best for him, might be your love and support? He makes a face at her and stops pacing. Another long beat goes by. He stands over her, and runs his fingers through the curls of her dark hair. LACROIX I have always said that your exquisite beauty is matched by your intelligence. JANETTE Do not attempt to placate me with flattery, LaCroix. We both know that you say one thing and do another. What I want to know now, is why. LACROIX (mocking) We have become quite bold with our newly found independence, have we not? She glares and waits. He sighs and finally sits down on the couch, at the opposite end from Janette. LACROIX (CONT) You know his heart, just as I do. What do you think will happen to him, if he believes that there is no cure for what he perceives as his curse? (off her look) Do you suppose that he might just give up and give in to death? A very real possibility, I should think. JANETTE Are you saying that you believe there is no such thing as a cure? (off his look) I am proof positive that there is-- LACROIX --You are proof that a one in a billion occurence manifested itself. We both know what happened when Nicholas tried it. (beat, whispers) And that was almost the end of him. ANGLE JANETTE as she looks at LaCroix. He really loves Nick; she knows that, but there is something more there. Finally, the nickel drops. JANETTE You would do anything, including give him false hope, if that would insure his survival, wouldn't you? ANGLE LACROIX; bing-a-ringo. He gets up from the couch and stalks over to the bar, placing his hands on it, leaning. LACROIX I am not the one who is giving the false hope, Janette. Janette gets up and walks over to him. JANETTE Perhaps not, but you are the one who provides fuel for the fire, by fighting against him. LACROIX (whispers) Nicholas needs his foolish quest in order to survive, Janette. JANETTE And if he were to actually be successful in his quest? LaCroix glares at her, but says nothing. Janette smiles; it's a little backwards, but she cannot fault LaCroix for his logic, at least on this issue. JANETTE So, you keep him off balance, allowing him to believe that you are trying to keep him from that which you are convinced does not exist. (beat, softly) It is a lot of trouble to go to, for someone who always insists he has such a cold, unfeeling heart. (beat) Maybe it would be better to let him be, LaCroix... He glares at her. LACROIX (angry) Janette-- JANETTE --Shh... She holds his face between her two hands. JANETTE (CONT) Je ne parlerai jamais pas. Esp=E9res-moi. LACROIX (beat) Je fais. Janette kisses him lightly on the lips. They hold a long look. LaCroix is looking at her as though he might just plant a serious kiss on her. Guess we'll never know, because on the two of them probing each other's eyes, we, =46ADE OUT: END ACT THREE ACT FOUR FADE IN: EXT. TORONTO SKYLINE DUSK The sun sets over the skyline of Toronto, and we, CUT TO: EXT. TATTOO PARLOUR NIGHT The Caddy pulls up, and Nick gets out. We FOLLOW him into, INT. TATTOO PARLOUR CONTINUOUS As he opens the door, we hear the RING of the doorbell, and Lucille enters and smiles when she sees Nick. LUCILLE Well, well look what blew in. KNIGHT Any chance of a tattoo? LUCILLE You know once I put it on you, you're either stuck with it, or we have to take it back off, which is somewhat painful. KNIGHT Maybe I'll like it so much, I'll want to keep it.... LUCILLE Come on, then. Lucille disappears into the back, and Nick follows her. Off this, we, CUT TO: INT. MORGUE NIGHT Natalie is just finishing an autopsy. She strips off her gloves and gown, depositing them into the can for used equipment. She walks over to her desk, gets a notebook, which contains a lot of her research for Nick, and then walks over to her microscope. She sets the notebook down, and then peers through the scope. She frowns, and adjusts the microscope. NATALIE (muttering) What the hell.... On Nat, we, CUT TO: INT. TATTOO PARLOUR NIGHT Nick is back at the counter with Lucille, and he's reaching into his pocket for cash to pay her. He hands her some cash, then he looks at his left wrist. CLOSE on Nick's wrist; a heart with a sword piercing its center. LUCILLE When you're ready, I'll be happy to remove it, free of charge, Detective. KNIGHT Thanks Lucille, but I doubt that removal will be necessary. On Lucille; yeah, he's a weird one all right....and we, CUT TO: INT. PLATT'S ROOM NIGHT Reese is sitting by the bed; Jeffrey is still unconscious. Nick enters. He and Reese exchange a glance. KNIGHT No improvement? REESE Sorry, Nick. A long beat goes by. KNIGHT I read the files on the Palcones. Real charmers. REESE And no one has ever been able to catch them. It's as if some magical force is protecting them... KNIGHT Not a magical force, just good old fashion secrecy. Nick shows Reese the tattoo. REESE What the hell is that for? KNIGHT The Palcone's Cap...this is how they recognize each other. REESE Now wait a minute, Nick-- KNIGHT --I have a list of places that are frequented by the few known members of the family, and I'll start there. REESE Nick, I don't like this; you're pushing the envelope, and for the wrong reasons. KNIGHT The guy who shot Jeffrey, shot with intent to kill, and I want him. REESE And I suppose even if I ordered you to stop, you wouldn't. Knight says nothing, but it's pretty clear that the Captain's assessment is quite correct. Nick is not going to stop until he has this guy. Reese sighs. REESE (CONT) You watch your back, Nick. I don't need another cop in here. KNIGHT Save your worrying for Jeffrey. He needs all the help he can get. Nick looks at Jeffrey. Off Nick's exit, we, CUT TO: INT. BAR NIGHT Busy bar, Nick enters and goes to the BARTENDER. BARTENDER Can I help you? KNIGHT Maybe. I'm looking for a friend...He has a tattoo, just like mine. Nick shows him the tattoo. The bartender looks, but does not react. KNIGHT (CONT) Seen him? BARTENDER Nope. They hold a long look. Nothing more is said, but Nick knows the bartender is just tight-lipped and scared. Nick smiles, then exits. Off this, we, CUT TO: MONTAGE: A. Nick goes into another bar; same bit, nothing comes of it. B. And another bar, no go. C. And a Restaurant, no luck. D. And another joint. Nothing doing... On Nick's dejected look, we, CUT TO: EXT. RAVEN NIGHT The Caddy pulls up to the curb, Nick gets out, and we, CUT TO: INT. RAVEN NIGHT Nick walks through the club; a lot of people. He sees Maurice, and goes to him at the bar. Nick sits on a barstool. MAURICE Troubles Nick? KNIGHT Just not having any luck these days, Maurice. MAURICE Can I get you somethin' Nick? KNIGHT Got any of my kind of vintage around? MAURICE Of course; do you prefer Jersey or Holstein? KNIGHT Everybody's a comedian. Maurice grins, and pours Nick a glass of moo-moo, and hands it to him. Nick takes a sip, and Maurice notices the tattoo. Nick catches the recognition. KNIGHT You've seen this before? MAURICE As a matter of fact, I have. Fellow right over there has one just like it... Nick follows Maurice's gaze, and we CLOSE on Dave. Nick smiles, gets up and picks up his drink. KNIGHT I owe you one, Maurice. MAURICE Sure thing, Nick. Nick sidles up to the end of the bar that Dave and some women are inhabiting. Nick says nothing; instead he just drinks from his glass, making sure to expose the tattoo. His glass is empty. Maurice approaches him. MAURICE Another one, sir? KNIGHT Sure. Maurice takes the glass and replaces it. One of the women with Dave, TANJA, spots Nick and cuddles up to him. TANJA Looking for some company tonight, cutie? KNIGHT Depends. She notices the tattoo, and stares at it. Nick plays dumb. KNIGHT (CONT) (re; her stare) What? TANJA Nothing...it's weird, my friend has a tattoo just like that. KNIGHT Really? TANJA Yeah... She turns and tugs on Dave's sleeve. TANJA (CONT) Dave...hey, Dave... this guy has a tattoo just like yours. Dave turns and glares at Tanja. Then he looks at Nick. Nick smiles smoothly, and nonchalantly flashes Dave his left wrist. Dave flashes Nick his left wrist, and naturally, there is the exact same tattoo on it. They smile at each other. DAVE We've never met, have we? KNIGHT The name's Nick. I'm from Vancouver. DAVE Ah. We appear to have the same employer. KNIGHT Yes, so it appears. DAVE My name's Dave. They shake hands. DAVE (CONT) What brings you to Toronto? KNIGHT (grins) Women troubles. DAVE I know how that is. Solve it? KNIGHT Afraid I wasted the trip, and a lot of cash. DAVE A trip to Toronto is never a waste, Nick. (beat) Need to pick up a little extra cash for the trip home? KNIGHT That would be great. DAVE Come on, I'm sure our mutual friends can help you out. Nick smiles. He looks over at Maurice and winks, and then he follows Dave out. LaCroix comes out of the shadows of the club and watches Nick leave. He and Maurice exchange a look, and LaCroix exits in the same direction that Nick and Dave went. Off this, we, CUT TO: EXT. WAREHOUSE NIGHT It's the same warehouse that we saw earlier; and the black Buick is parked out in front of it. A Ford Taurus pulls up next to the black Buick, and Nick and Dave get out of the car. As they are heading past the Buick Nick takes a look. DAVE Like that one? KNIGHT I like black. DAVE It's Curt's car. You'll like him, he's interesting. KNIGHT Oh, I'm sure I'll find him to my liking. The two of them enter the warehouse. No sooner have they disappeared, we hear a WHOOSH and LaCroix has landed. Off this, we, CUT TO: INT. WAREHOUSE NIGHT Adler, Palcone and two others are going through merchandise. They look up as Dave and Nick enter. PALCONE (re; Nick) Hey, Dave, what the hell are you doing? DAVE Relax, Mr. Palcone.... this is Nick, he's from the Vancouver branch of the family. Nick smiles and extends his right hand to shake with Palcone. Instead of shaking hands, Palcone grabs Nick's left hand and flips his wrist over. He looks at the tattoo. He seems slightly suspicious. PALCONE So...Nick was it? (off a nod) I was unaware that any of my brother's boys were down here. KNIGHT My girl and I had a fight, I followed her here. PALCONE I see. (beat) And what is it that I can do for you? DAVE I told Nick that maybe you could use him, and he could make a few extra bucks for the trip back to Vancouver. PALCONE That was very....neighbourly of you Dave. Dave smiles, but Palcone does not. Dave's smile fades quickly enough. DAVE Did I do something wrong, Mr. Palcone? Palcone smiles and turns to the others in the room. PALCONE Dave here wants to know if he's done anything wrong.... They all laugh. Palcone turns back to Dave, and cuffs him behind the head. PALCONE (CONT) Nah....everything's fine. Get busy helping us with this inventory. Dave, relieved, moves off. Palcone turns to Nick. PALCONE (CONT) What do you do for my brother in Vancouver? KNIGHT I organize jobs mostly. PALCONE So you're Sandy's version of Curt here. Palcone indicates Curt to Nick. Nick smiles; this is Curt, owner of the black Buick, the guy who shot Jeffrey...... Nick sticks his hand out and Curt shakes it. Curt frowns; Nick looks slightly familiar to him. PALCONE (CONT) What's the matter Curt? ADLER This guy looks familiar. KNIGHT I'm pretty sure we've never met before. On Curt as it hits him; this guy was in the convenience store parking lot - he's a cop. Adler draws his gun on Nick. ADLER Mr. Palcone, this guy's a cop. He was at the convenience store. PALCONE You sure, Curt? ADLER Stake my life on it. KNIGHT Interesting choice of words. All hell breaks loose: They have all pulled their guns, and Nick vamps out, staring at Curt. They begin shooting at Nick, who ignores them. The two thugs approach Nick, and he easily gets them out of the way, knocking them out in the process. Dave comes after Nick, but that isn't much of a problem, as Nick snarls and slams Dave's head into a huge packing crate. Dave crumples to the ground. Nick starts toward Adler, who unloads his entire clip into Nick. Palcone wastes no more time, and runs for the door. As he opens it, REVEAL LACROIX standing there, smiling, vamped out. LACROIX Going somewhere so soon? The party is just getting started. LaCroix grabs the man and sinks his teeth into his neck, draining Palcone, and dropping his body right there. LaCroix walks into the room, and discovers Nick holding Curt. Nick is snarling, and is trying to fight for control of himself. He wants to kill this man for what he has done to Jeffrey. LaCroix, blood still running down his chin, smiles. LACROIX (CONT) What are you waiting for, Nicholas? Give in to your nature. This is the one who shot your partner, is it not? Nick looks over at LaCroix, then back at Adler. ADLER (to Nick) God....what are you? LACROIX Detective Knight is your 'defining moment', mortal. Nick is getting closer and closer to Adler's neck; ADLER (crying) I don't want to die. KNIGHT You didn't concern yourself with death when you aimed your gun at my partner. Adler can only cry. Nick tightens his grip. LaCroix is very pleased. LACROIX Take him, Nicholas. (beat) It is the least you can do for your partner. Nick positions himself to strike, but then at the last second, he manages to catch himself. His eyes revert to blue. KNIGHT No! I won't give in to the beast, or to you, LaCroix. (beat) Let human justice take care of him. LACROIX Oh Nicholas, how....anti climatic. LaCroix takes off in a WHOOSH, disgusted. Nick looks into Adler's eyes, and we hear a HEARTBEAT. KNIGHT You never saw me like this. ADLER Never saw you... Off Nick putting handcuffs on Adler, we, CUT TO: INT. RAVEN/LC'S LIVING ROOM NIGHT LaCroix, dressed rather casually for him, in black jeans and a black silk shirt, unbuttoned by several buttons from the top, is sipping a glass of 'wine'. Janette enters and comes up behind the chair he is sitting in. She gently places her hands on his shoulders, and squeezes the slightly taut muscles. LaCroix winces at the pressure on his sore muscles, and resists relaxing under her hands. He glares behind his shoulder at her: What is she up to? A few moments go by. JANETTE (re; shoulders) Better? LACROIX (wary) Mmmm.... He's suspicious, and remains tense. After a moment or so more though, he decides to give into Janette's attention, and allows himself to relax a little. Janette takes the glass out of his hand, and sets it down on a table, then she continues to gently massage him. His face is a mixture of surprise and pleasure; Janette hasn't approached him in this way since before he brought Nick across. Something's up.... LACROIX What are we avoiding, my dear? JANETTE You're so suspicious-- LACROIX --I know you, Janette. You're up to something. Janette runs her hands down his chest, and wraps her arms around him. LaCroix raises an eyebrow; she's laying it on pretty thick. She either wants something, or she's going to tell him something he doesn't want to hear. She nuzzles his neck, causing him to involuntarily react to the sensual touch on what is for him, an extremely sensitive area. He tries to shake her off, but he doesn't try very hard, nor is he successful. LACROIX (CONT) Janette... what are you doing? JANETTE You've been brooding ever since you came back from your little sojourn with Nicolas. LACROIX I do not brood. She tenderly strokes the back of his head with one of her hands. JANETTE If you say so.... (off a glare) It looks like brooding. (beat) Do not worry about Nicolas, he will come back to us. He always does. LaCroix is falling prey to her gentle caresses. His voice becomes thicker and lower with each passing word. LACROIX And you, Janette? (beat) Are you staying in Toronto? Janette, having decided that he's in a pliable enough mood, has begun to place light kisses on his neck. LaCroix, despite trying to resist the effect she is having on him, closes his eyes momentarily. When he reopens them, they are large golden orbs, and his fangs have descended. He takes a hold of Janette's hands with his own, first caressing, and then kissing them. JANETTE Is there still a place for me here? LACROIX Always. JANETTE And Nicolas? LaCroix is barely listening; he is very distracted. LACROIX What about him? JANETTE Give him some breathing room, LaCroix...he needs to have the space to regain his balance, on his own. ANGLE LACROIX; so that's what this is all about, she expects him to steer clear of his own son. Irritated, he pulls her around to the front of the chair in which he is sitting. The spell she was so carefully weaving, is all but broken. He is still vamped out, only now it is out of irritation at himself for having fallen victim to Janette's feminine wiles. LACROIX (growling) --Did Nicholas put you up to this? She looks deeply into his glowing eyes, and then strokes his throat lightly with her hand. She places a soft kiss or two near the main artery in his neck. Her eyes change to a deep golden colour. The effect is immediate upon LaCroix, who, despite himself, can't help but lean into her affections. JANETTE (whispers) No one put me up to anything.....I just want the two of you to be able to set your differences aside.... for both your sakes. Janette knows she has him, when LaCroix lets his head rest against her hand. Their eyes meet. He takes Janette's hands into his own, pulling her down toward him. His glowing amber eyes meeting Janette's golden ones; they hold a long look. A silent understanding passes between them: This moment is about need, and to a certain degree, lust. Their lips are moving ever closer. Slowly, LaCroix opens his mouth, as he gently guides Janette's face ever closer to his own. After a brief hesitation, Janette covers his waiting mouth with hers. On the kiss, we, CUT TO: INT. JEFFREY'S ROOM NIGHT Nick is sitting in the chair beside Jeffrey's bed. On, Nick, we, CUT TO FLASHBACK: INT. DOCTOR'S ROOM, VIGINIA 1861 NIGHT Nick is holding John's hand. KNIGHT Are you sure? JOHN Hell yeah, Nick. I don't think I could live like you... John smiles at Nick, who returns the smile. John's eyes flutter, then close. Nick's smiles fades immediately; John is quite dead. On this, we, CUT BACK TO PRESENT: INT. JEFFREY'S ROOM CONTINUOUS Nat enters, takes in the scene, and walks over to Nick, putting a hand on his shoulder. NATALIE Well, if it isn't the man who brought down the Toronto branch of the Palcone family. Nick looks solemn, not victorious. He reaches out for Nat's hand, and reluctantly, she gives it to him. NATALIE (CONT) You want to tell me how those funny little bite marks wound up on Palcone's neck? KNIGHT LaCroix. NATALIE Figures. He sure is making the rounds isn't he... KNIGHT What do you mean? NATALIE He left a little present for me in my lab. (off his look) Nothing to worry about, but I'll need another blood sample from you. (off another look) He replaced the slide I had of your blood and the virus, with a lovely sample of cow. If it didn't smack so loudly of LaCroix, it would almost be funny. KNIGHT I don't think it's funny. NATALIE You wouldn't. They sit in silence, watching Jeffrey for a few moments. KNIGHT He's not going to make it is he? NATALIE I don't know, Nick. She searches his face for some clue as to what he's thinking. She can't really read him. NATALIE (CONT) What are you going to do? ANGLE NICK; he can't do it. Jeffrey doesn't even know about the existence of vampires, Nick can't just bring him across; he has no idea how Platt might react. He has to let him go. KNIGHT (long beat) I have to let him go. Nat squeezes the hand she is holding. KNIGHT (CONT) (beat) To rob him of his humanity while he sleeps would bring me that much closer to becoming the very instrument of evil that I want so much to eradicate. (beat) You have no idea how close I came to killing the man who shot Jeffrey tonight. NATALIE But you didn't kill him. KNIGHT No, I didn't; but I wanted to. NATALIE A very human response. (off his look) Nick, you're not evil. I think you just sometimes have trouble striking the balance between the vampire and your humanity. KNIGHT Perhaps it's time for me to find a new balance in my life. NATALIE Does that include friends? KNIGHT If they'll have me. Natalie leans down and kisses Nick on the lips. He pulls her hand close to his chest, and he brings her mouth back to his. It's not overly passionate, but it's not pleutonic either. PLATT (O.C.) You two gonna come up for air? ANGLE NICK & NAT; what? They turn to see Jeffrey smiling at them. Nick gets up from the chair and sits on the bed, taking Platt's hand. KNIGHT (emotional) Jeffrey.... PLATT Don't go bonzo mushy on me, Nick. I don't think my heart could take it. Nat moves in and check's Platt's pulse. NATALIE Nice and steady. Looks like you're gonna pull through, Jeffrey. Nat fondly pats Platt's head. PLATT I don't know. (off their looks) I had the strangest dream. KNIGHT What kind of dream? PLATT Well, you had big teeth and glowing eyes; you were a-- (off Nick's look) Never mind. Nick and Nat exchange a look; how much of their conversation did he hear while he was unconscious? On Platt examining Nick's eyes, we, FADE OUT: THE END end part 12 vampwrtr@innocent.com http://memebers.aol.com/vampwrtr/forever_lacroix/