Return-Path: Date: Fri, 5 Jun 1998 20:53:33 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 01/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU usual disclaimers. permission to mel moser to archive, thanks mel. comments to author at vampwrtr@innocent.com unusual disclaimer: the subject matter of this story, while unfortunately demonstrated within our society, may be of a sensitive nature to some readers. if you are offended or upset easily, don't go there... FOREVER KNIGHT "Please Remember Me" ACT ONE FADE IN: INT. ER NIGHT Several DOCTORS and NURSES are moving rapidly around a gurney containing a small little girl, approximately six years of age. The child is suffering from lacerations on her face and upper body, and it is clear by the faces of the hospital staff, that this is very serious. DR. JAKE WITTFIELD, 30's, wire rimmed glasses, is in charge. JAKE Who's on call for Neuro? NURSE Steiner. JAKE Get him down here, stat. The nurse moves to comply. Wittfield is checking vitals, while others are applying compresses to stop bleeding, splinting an arm, etc. JAKE (CONT) Was this child in an accident? Where are her parents? NURSE Parents are in the waiting room....and the father says the little girl slipped down the basement stairs. ANGLE Jake; really? JAKE We need an Orthopod down here as-- Before he can finish his sentence, an alarm begins to beep. JAKE (CONT) Damn it.....she's coding. Crash cart, stat! These people spring into overdrive, as one nurse wheels in a crash cart. She hands the paddles to Wittfield, someone else squeezes jelly on the paddles, and... JAKE (CONT) Clear! Everyone clears. He hits her with the paddles. Nothing happens. JAKE (CONT) Clear. Again, still nothing. JAKE (CONT) 400 joules. A nurse ups the wattage, he waps the little girl again. Flatline. JAKE (CONT) 450... He's met with a blank stare from the nurse. JAKE (CONT) Nurse, I said, 450. NOW. NURSE But, she's so little... JAKE And she'll be more than a little dead if we don't do it. Nurse complies. He hits the girl again, nothing. She's gone. The silence in the room is deafening. All we can hear is the steady flatline coming from the EKG machine. Finally, slowly, they begin removing needles and equipment from the little girl. Wittfield puts the paddles down. He looks completely devastated. NURSE It wasn't your fault, Jake. You did everything you could.. JAKE And it wasn't enough. This little girl shouldn't be dead. She shouldn't even be here.... (beat) I want an autopsy done on her, immediately. NURSE Okay, I'll see to it. Slowly, Jake makes his way out of the ER and we FOLLOW him into, INT. WAITING ROOM CONTINUOUS Jake walks over toward a middle-aged couple, who stand when they see him. MR. JONATHAN STRAPP, and MRS. OLIVIA STRAPP are in their mid forties, and from the way they are dressed, we assume, not without means. OLIVIA My little girl? JAKE I'm sorry, Mrs. Strapp, there's no easy way to tell you this-- OLIVIA --Oh my God, no... Olivia collapses against her husband, who puts his arm around her, supporting her. STRAPP Did....did she suffer? JAKE (beat) No.... ANGLE Jake; he's lying, big. STRAPP Thank you for trying. We know you did everything you could... JAKE I'm sorry. Jake slowly leaves the room. Off the devastated parents, we, SMASH CUT TO: MAIN TITLES INT. PRECINCT NIGHT Nick and Jeffrey are at their desks, in the middle of a friendly little argument. PLATT You are so wrong. KNIGHT Oh? How's that? PLATT Statistically speaking, a lot of couples are havin' their first child around forty. KNIGHT Oh, come on, Jeffrey. Where do you get this stuff? Nat enters and stares at the two of them. Babies? They're discussing....babies? All conversation ceases when they see her. NATALIE Oh, please, don't stop on my account... KNIGHT Hi Nat....you're a doctor, you can settle this. (off her look) Jeffrey insists that about half of all first time parents are over 40... NATALIE Well, not being an OBGYN, I can't say for sure, but from what I've read, Nick, Jeffrey's right. More and more people are waiting to have their first child. KNIGHT Hmm.... NATALIE (sotto to Nick) Can I see you for a sec...alone? KNIGHT Sure. Everything okay? NATALIE Yeah.. KNIGHT Jeffrey, Nat and I are going to get a cup of coffee, be back in a few. PLATT Sure, leave me here with the desk work, Knight, no problem. Nick smiles as he grabs Nat and they head into, INT. OBSERVATION ROOM CONTINUOUS KNIGHT What's up? NATALIE Look, it might be nothing, but-- KNIGHT --but..... NATALIE (sighs) A friend of mine is head of trauma over at County. Last night, a couple came in with their six year old daughter. The little girl had multiple lacerations, broken ribs, fractured arm....Nick, this kid looked like she'd been in a major car accident. KNIGHT And? NATALIE And, the father insisted that she fell down some stairs. KNIGHT Nat...what does this-- NATALIE --Hear me out. Jake - that's my friend - had an autopsy done at the hospital. The preliminary findings revealed a lot of other older wounds, including several bones that hadn't ever been set properly. He sent the body over to me-- KNIGHT --Nat, you're not supposed to get involved with-- NATALIE --Nick, it looks like a case of child abuse to me. And the child is dead. So that makes it-- KNIGHT --Murder. NATALIE Exactly. And Nick, there's more.... (off his look) There were signs of sexual abuse. Off Nick exhaling deeply, we, CUT TO: CLOSE on the irritated face of CAPTAIN JOE REESE. REESE No. No. This is not our jurisdiction. This is clearly a case for child services. INT. REESE'S OFFICE NIGHT Nick, Nat and Reese are going at it. NATALIE But Captain, if the parents beat her to death, which is what it looks like to me, then it's murder. REESE Natalie, I hate to remind you of this, but you had no business performing an autopsy on this child. NATALIE I have every right, Captain....who's going to remember the innocent in this society, if we don't? If no one else ever does, Nick will. On Nick, we, CUT TO FLASHBACK: end part 01 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:52:57 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 02/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU EXT. LOG CABIN NORTHERN ARIZONA NIGHT Establishing shot of cabin and time. Evidenced by the horses tied up at the front porch, and the pine trees, we are in the late 1870's, probably in what has become Sedona, Arizona. CUT TO: INT. LOG CABIN 1870'S NORTHERN ARIZONA NIGHT LUCIEN LACROIX, JANETTE DUCHARME and Nick are sitting in the cabin. It's sorta cozy, and it's late, evidenced by Janette's yawn. She is curled up on a couch of the period, and she's wearing a dress from the period, though it smacks more of Paris, then it does the expansive old west. LaCroix is wearing a three piece black suit from the period, with a black string tie; a black cowboy hat sits nearby him. He's reading a book. Nick is pacing by the fireplace, which is lit. He's dressed in a suit of the period, and his waistcoat is quite colourful. KNIGHT LaCroix, how can you sit there and read? LaCroix glances in Nick's direction, but says nothing. JANETTE What else do you expect him to do in this hell hole of a country, Nicolas? There is no night life, other than reading and hunting. KNIGHT Hunting..... (to LaCroix) Was it necessary to kill the old woman? You could simply have taken a little blood, hypnotized her and sent her on her way; she need not have died... LaCroix slams his book shut and stands up abruptly. LACROIX Nicholas, if you insist on staying in this barren wasteland, then you will have to allow me a few....indulgences. KNIGHT You were not invited to come along, LaCroix. You followed me, and no one has asked you to stay. LaCroix' face takes on a slightly amused look, one eyebrow raising slightly. LACROIX And leave you to your own devices Nicholas? If I had done that, I fear that bounty hunter would have received payment for your head by now.... Nick glares at him. LaCroix suddenly frowns. KNIGHT What? LACROIX Shhh... Janette, LaCroix and Nick are all staring at the front door. We finally hear it, a HEARTBEAT, steady. LaCroix starts toward the door, but Nick stops him. KNIGHT Let me handle this. Whoever it is, I shall get rid of him. LACROIX (smiling evilly) If only that were true... Nick glares, and walks to the door, he opens it, and from Nick's POV; nothing. There is no one there, until Nick looks down. On the front porch, is a basket, with a blanket, and buried in the blanket; a baby. Nick looks around the porch, but there is no sign of anyone else. ANGLE Knight; he looks a little dumbfounded. Slowly, unsure, he bends down and picks up the basket, bringing it inside. He closes the front door. ANGLE Janette and LaCroix; what in the hell is *that*? JANETTE Nicolas? KNIGHT It's...it's.... Janette quickly moves and looks for herself. JANETTE ....A baby. ANGLE LaCroix; he makes quite an unpleasant face. LACROIX Get rid of it. JANETTE (beat) She is rather cute... LACROIX *She*, Janette? JANETTE A little baby girl. LACROIX I don't care what it is, dispose of it. KNIGHT LaCroix, we can't just leave it out here, in the middle of nowhere... LACROIX Well other than making a tasty little snack of it, Nicholas, I certainly hope you are not suggesting that we.....keep it.... The bundle begins crying. Hungry, no doubt. Janette glares at both men. JANETTE Enough. Both of you. *She* is not an *it*. And I think she is hungry... KNIGHT What do we feed it....I mean...her? LACROIX We're not feeding it. If we feed it, we'll never get rid of it.... JANETTE LaCroix.... Janette moves to LaCroix and begins deploying her feminine charms upon him. She leans into him seductively, smiles her best smile, and gently caresses his cheek. JANETTE (CONT) Mon cher, surely we can-- LaCroix just smiles at her. No way. LACROIX --No, Janette. We are not keeping it, and that's final.... Off this, we, CUT BACK TO: INT. REESE'S OFFICE CONTINUOUS REESE Nick, hello? Did you hear me? Knight? KNIGHT What? Sorry, Cap... REESE Check into this; if it is murder, then somebody's got to do something about it. KNIGHT Right, thanks. Off Nick and Nat's exit, we, CUT TO: EXT. RAVEN NIGHT Establishing shot of the Raven..... CUT TO: INT. RAVEN NIGHT MAURICE is standing behind the bar, attending to customers. LaCroix enters. LACROIX A glass please, Maurice. Picking up on the irritation in LaCroix' voice, Maurice wastes no time pouring a glass of "wine" for the ancient. He sets the wine glass down, gently in front of LaCroix. MAURICE Getting Miss Janette settled in are ya? LaCroix merely raises an eyebrow at his bartender. This sends Maurice into a fit of laughter, which prompts the ancient to set his glass down on the bar and glare at the Irishman. MAURICE (CONT) Now come on, boss, it can't be all *that* bad, having your daughter move in with you.... it is only while her place is being remodeled, right? LACROIX Maurice, neither of my children has lived with me for almost a century. (beat) Do you have any idea how much closet space I'll have to give up? As LaCroix takes another long sip of his blood wine, Janette enters. JANETTE (to LaCroix) There you are...I've had to empty your walk-in closet-- LaCroix almost spits out the blood wine, slightly gagging on it. Never imagining that it had anything to do with what she said, Janette gently pats his back, as though burping a baby. JANETTE (CONT) --Are you all right, LaCroix? LACROIX (incredulous) My.....closet? JANETTE Oui, the one in your bedroom. It was the only one with a high enough rack for my full length gowns. ANGLE LaCroix; full length gowns? Maurice and LaCroix exchange a glance: Women! JANETTE (CONT) What? A woman needs certain things.... LaCroix and Maurice both begin chuckling to each other at Janette's expense. ANGLE Janette; Men! Janette exits in a huff. LaCroix takes another long drink. Maurice shakes his head. LACROIX Well, I guess I had better go 'face the music'....not to mention assess the damage to my normally organized domain. LaCroix sets the glass down. MAURICE How long is the remodel going to take? LACROIX At least a month... The two men share a look; a month? Might as well be forever. MAURICE & LACROIX Too long! LaCroix straightens his back, adjusts his jacket, and on his exit, we, CUT TO: EXT. TORONTO STREET NIGHT Nick and Nat are in the Caddy, and they're listening to you know who.... LACROIX (O.C.) Responsibilities, my children. There always seems to be a myriad of them in one's life. A parent has responsibilities to his child, the teacher to his student, the.... homicide detective to his Captain-- Nat and Nick exchange a glance. How does LaCroix do that? LACROIX (CONT, OC) --And what of society's responsibilities to itself? Who remembers the downtrodden, the lost? (beat) Where do we, as citizens, draw the line of a society which foists responsibilities upon us regarding the sick, the homeless, the underprivileged? (beat) Or is it indeed a society's responsibility to take care of *all* of its citizens. Personally, I feel it's survival of the fittest. (beat) Let's discuss....the phone lines on Nightwatch are open.... Nick switches the radio off, as they pull up to a curb in a residential neighbourhood. They both get out of the car, and approach the path to a rather large, nice looking house. They walk up to the porch, and Nick knocks on the front door. The door opens, and we see Mr. Jonathan Strapp standing there in a nice suit. STRAPP Yes, may I help you? KNIGHT Mr. Strapp? STRAPP Yes... Nick pulls out his ID and shows it to the man. KNIGHT I'm Detective Nick Knight, Metro Homicide. This is Dr. Natalie Lambert, County Coroner. STRAPP Yes? KNIGHT May we come in? STRAPP It's not the best time, what is this about? NATALIE Mr. Strapp, I'm sorry, but it's about your daughter. Strapp looks down at the floor, and then silently steps aside, and Nat and Nick enter, INT. STRAPP'S HOUSE NIGHT The decor is lush; these people have money. Olivia Strapp is sitting in a beautiful red dress, on a rather lovely period divan. Throughout the following, Strapp remains fairly cool; Mrs. Strapp, however, becomes more and more agitated as time goes on. STRAPP This is my wife, Olivia. KNIGHT Mrs. Strapp, I'm Detective Knight, this is Dr. Lambert. OLIVIA Hello. STRAPP Detective...you said this was about our....daughter. KNIGHT Yes.... (beat) You'll forgive me, but this is a bit awkward. (off their looks) You see, after some preliminary investigation, we have discovered that your daughter's wounds are not consistent with the fall you two described in your statement at the hospital. STRAPP I don't understand... what does our daughter's death have to do with a homicide Detective? NATALIE Mr. Strapp, after the autopsy was done at the hospital, Dr. Wittfield called me in. As the County M.E., I was obligated to contact Detective Knight regarding my findings. STRAPP Are you in some way insinuating that my wife and I were responsible for our daughter's death? KNIGHT We're not accusing you of anything.... (off his look) At this point, I am investigating the circumstances surrounding your daughter's death. NATALIE Mr. Strapp...Mrs. Strapp... are you sure that your daughter's injuries were inflicted with a fall down a staircase? STRAPP That's what we said at the hospital, because that is what happened. KNIGHT We will need both you and your wife to come down to the station tomorrow night, and make a statement. STRAPP Naturally. OLIVIA Get out. Get out of my house. KNIGHT (beat) Of course. I do apologize for the inconvenience, and you have our condolences on the death of your child. OLIVIA GET OUT. Mr. Strapp sees Nat and Nick to the door. STRAPP You'll have to forgive my wife, she is...understandably distraught. NATALIE Certainly. KNIGHT Good night. STRAPP Good night. The door closes, and we are on the, EXT. FRONT PORCH CONTINUOUS Nick and Nat head for the Caddy. NATALIE Well, that was....weird. KNIGHT To say the least. NATALIE Did they, or did they not look as though they were planning to go out? KNIGHT Definitely. I'd hardly call that red dress 'mourning' material. NATALIE Not to mention that he was one cool customer. Nick helps Nat into the car, and closes the door. He leans on her side of the car. KNIGHT Something doesn't feel right about this. (off her look) One way or another, we'll get to the bottom of it. He turns, looks back at the house, goes to his side of the car, gets in, starts up, and on the Caddy's exit, we, FADE OUT: END ACT ONE end part 02 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:52:32 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 03/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU ACT TWO FADE IN: INT. PRECINCT/INTERROGATION ROOM NIGHT Olivia and Jonathan Strapp, Nick, and Platt are in the interrogation room, going at it. PLATT Tell us about the night you took your daughter, Charla, to the hospital. STRAPP My wife and I went to the opera that night. PLATT Who stayed with Charla? STRAPP My wife's brother, Charlie. KNIGHT Did the fall occur while you were out? STRAPP No. PLATT When did it occur? STRAPP We came home from the opera, said good night to Charlie, and then my wife went to check on Charla. KNIGHT And then? STRAPP Charla wasn't in her room. She was in the basement. PLATT Why? STRAPP Our basement is sort of a play room.....toys and stuffed animals. KNIGHT Didn't her Uncle put her to bed? STRAPP Yes. She was there when we arrived home. She must have gotten up during the night, and fallen. PLATT And you discovered here how? STRAPP My wife found her in the middle of the night, when she stopped into Charla's room to check on her, and discovered that she wasn't in bed. Then she found her in the basement. Knight and Platt don't buy it, something isn't right. KNIGHT Mrs. Strapp, do you have anything to add? OLIVIA No, I don't. PLATT Were you the one who found her, Mrs. Strapp? OLIVIA (long beat) Yes. KNIGHT Where was she? OLIVIA At the bottom of the stairs. Mrs. Strapp breaks down into tears, and her husband moves to comfort her. STRAPP That's enough, can't you see how upset you're making my wife? PLATT I'm sorry sir, but we have to ask these questions. KNIGHT How do you explain all of the old injuries that were found, Mr. Strapp? STRAPP What are you talking about? PLATT Old injuries, broken bones, scars.... KNIGHT Are you saying you have no knowledge of them? STRAPP I.... PLATT Mrs. Strapp? She just buries her head into her husband's chest. A long, uncomfortable silence goes by, then, KNIGHT Mr. Strapp, we're going to need to speak with your brother in law. STRAPP Go ahead. Can we go now? PLATT Yeah, as soon as Dr. Lambert takes a blood sample from you. STRAPP Blood sample? What the hell for? KNIGHT Just for a test comparison we're doing, that's all. INTERCUT: INT. OBSERVATION ROOM CONTINUOUS Reese and Nat are in the observation room, and have been taking in the entire conversation. NATALIE This is awfully fishy. REESE You can say that again, somebody isn't telling the truth here. (beat) Either the mother is covering for the uncle somehow, or-- NATALIE --or? REESE You found evidence of sexual abuse, Nick tells me... NATALIE Yes. REESE Maybe the father's not the stand up guy he works so hard to represent. Off this, we, CUT TO: EXT. RAVEN NIGHT Establishing shot of the Raven's entrance... CUT TO: INT. RAVEN/LC's OFFICE NIGHT LaCroix is at his desk, taking care of some paperwork. We hear a KNOCK at the door, and NANCY the waitress comes in, carrying a large manila envelope. NANCY We're having a good night, and Maurice said I should bring this back to you. LaCroix takes the envelope. LACROIX Did you count it, my dear? NANCY Just over $2500, all in big denominations. LACROIX (raises eyebrow) Really? And to what do we owe this sudden trend in spending? NANCY I think to whom, not what... (off his frown) Miss Janette. LACROIX Oh, I see... NANCY I'll need some smaller bills if you have them, for change. LACROIX Indeed. LaCroix takes a key and unlocks the petty cash drawer. Without really looking, he reaches in and pulls out what he expects to be a small till. However, as he lifts it onto the desk, what we see is a tray full of women's makeup. ANGLE LaCroix as he looks down and sees the make-up. His eyes get a bit wide, and an eyebrow shoots up. He quickly looks across his desk at Nancy, and from LaCroix' POV; Nancy is attempting, unsuccessfully to cover her surprise and amusement. She always did wonder if that was the secret to LaCroix' eyebrows.... LACROIX This is not what it appears to be. NANCY (yeah, right) No, no, of course not. LACROIX (irked) Janette has obviously run out of room upstairs, and has now expanded her stores down here. NANCY Mmm-hmm.... LaCroix positively glares at the woman, as he stands up. She looks a tiny bit worried now. LACROIX I take it, my dear, that there will be no mention of this to any of the other employees? NANCY Um....no, no... LACROIX (shark smile) Good. He moves around the desk, walks over to her and straightens the straps to her sleeveless blouse, from behind. He does it in such a way, that it sends chills up Nancy's spine; but we're not sure if it's pleasure that causes it, or fear.... LACROIX (CONT) It just wouldn't do to have staff talking. NANCY No, it wouldn't. LACROIX I'm so glad we understand each other. He turns her around abruptly to face him; her face shows slight fear; he is smiling throughout. LACROIX (CONT) Tell Janette I wish to see her...immediately. He reaches into his pocket, pulls out a wad of cash, and hands it to the waitress. LACROIX (CONT) This ought to take care of the petty cash problem. NANCY Thank you. Nancy leaves as quickly as she can. LaCroix, looking in the direction of her wake, begins snickering. LACROIX It takes so little to frighten the young ones... Off this, we, CUT TO: INT. MORGUE NIGHT Nat is just putting a liver onto the scale, Nick enters. KNIGHT Hey Nat-- As usual, he has scared the living daylights out of her, and she nearly drops the liver on the floor. NATALIE AAHHGGHH!! (beat) When will you ever stop sneaking up on me like that? Men. *Immortal* Men... KNIGHT (not) Sorry. Women. *Mortal* Women.... NATALIE No, you're not! KNIGHT Nat, I'm a vampire who doesn't hunt, drink human blood, or associate much with my own kind... I've got to have *some* fun with it. NATALIE So that means you get to scare your mortal friends to death? Nick shrugs, Natalie turns back to her liver, and notates the weight on a pad. As she pushes past Nick, she gives him a playful glare. NATALIE (CONT All right, so what do you really want here, other than to have a little undead fun? KNIGHT The gynecological exam on Charla Strapp, did you finish it? NATALIE I'm finished, but I'm waiting for the results from a couple of tests. (off his look) >From the samples I took, we should be able to determine the perp's blood type. KNIGHT That would be helpful. Natalie is quiet for a few moments, thinking. KNIGHT (CONT) Nat? NATALIE Sorry...I was just wondering what kind of monster could be so cruel to a little child. KNIGHT It takes all kinds. On Nick, we, CUT TO FLASHBACK: end part 03 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:52:07 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 04/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU INT. LOG CABIN 1870'S SEDONA NIGHT We hear the unpleasant sound of a baby SCREAMING bloody murder. Janette and Nick are standing around a makeshift crib, and LaCroix is pacing in the BG. KNIGHT Janette, what should we do? JANETTE (unreal) Why are you asking *me*? KNIGHT Well, you're the.... the.... JANETTE *Woman*? KNIGHT Well, yes. JANETTE And so you think I know why she's crying? KNIGHT I thought women just sort of...know these things. Doesn't it come naturally to you or something? ANGLE Janette; she is furious. Men! JANETTE You really are still living in the dark ages from whence you originate, aren't you? Janette stomps to the other side of the room. Nick is staring at the baby, in a rather helpless manner. LaCroix will have no more of it. He storms in toward the screaming child. LACROIX If *one* of you does not get it to stop that incessant screaming, I will stop it for you. The meaning is clear; LaCroix will have her as a snack... JANETTE Non, LaCroix, please... LACROIX Janette, it was you who wanted to keep it, so you'd better think of what to do with it. (to Nick) And I thought it was intolerable when you insisted on keeping that slobbering mass of fur.... LaCroix stomps off and stands in front of the fireplace, glaring at the baby. Janette finally, gingerly picks up the baby, and holds it, sorta. The Baby continues to scream. She looks helplessly at Nick. LaCroix is licking his chops. Off Nick, wondering what to do, we, CUT BACK TO: INT. MORGUE CONTINUOUS On Nick as he comes out of the past. NATALIE It would have to take some pretty sick wacko to hurt a child... KNIGHT Yes, you can say that again.... Off this, we, CUT TO: EXT. RAVEN NIGHT Establishing shot of the Raven. CUT TO: INT. RAVEN/LC'S OFFICE NIGHT Janette, decked out as usual, is standing near the desk, and LaCroix is pacing in front of her, like a caged animal. LACROIX Janette, surely you must understand why I'm.... ....irritated? JANETTE Oui. You're upset because I embarrassed you. LACROIX Embarrassed? Don't be daft. You went into my desk, removed the petty cash till and replaced it with.... (he picks up lipsticks) ........*these*. (beat) Imagine my surprise when I reached in for a handful of small change, and came out with a handful of lipsticks.... She lets him tirade, and waits him out. Men. JANETTE Oui. As I said, you are angry because you felt foolish in front of someone who works for you. ANGLE LaCroix; she is exasperating at times. Women. LACROIX Just....confine your ....storage to the upstairs apartment. Comprenez-vous? JANETTE Oui. LACROIX C'est bon. She walks over to him, and gently kisses his cheek. JANETTE I am sorry... ANGLE LaCroix; he knows. His look softens, ever so slightly. LACROIX Very well then. (re; her outfit) You do look lovely, my dear; I'm sure the patrons appreciate your effort on their behalf. JANETTE Et vous? LACROIX (whispers) C'est magnifique... She smiles, and starts to leave, but turns back at the sound of his voice. LACROIX (CONT) Judging by the receipts, the patrons seem to be quite happy to have you back, Janette. ANGLE Janette; the patrons? Why can't he just admit *he's* happy to have her back? Her face takes on a slightly melancholy look, and is a little sad. Perhaps there is more to this than meets the eye.... JANETTE (beat) I missed you as, well, mon pere. ANGLE LaCroix; slight irritation that she knows him so well. But he smiles smoothly. JANETTE (CONT) Will you share a bottle with me later? LACROIX A lovely idea..... Janette smiles and exits. ANGLE LaCroix; something is bothering him. He isn't quite sure what. It's something not quite palpable; it's yet out of his reach. He looks in the direction of Janette's exit. Yes, something about Janette...but what? Off LaCroix, shaking his head slightly, we, CUT TO: EXT. TORONTO STREET NIGHT Nick and Jeffrey are in the Caddy, and Nightwatch is on. Through the monologue, as we angle both Knight and Platt, it is clear that they agree with everything the Nightcrawler is saying.... LACROIX (O.C.) The never ending Battle, my children. The battle between the sexes.. (beat) What does it take to understand the female psyche? Must one be a trained psychologist in order to converse with them? (beat) It matters not what type of woman it is, mind you. Young or old, intelligent or not, mortal or..... ANGLE Nick; he's not going to say it, is he? LACROIX (CONT O.C.) (he giggles evilly) ...a fantasy, women are such dichotomous creatures. How are we mere males expected to communicate with them? (long beat) What's this, gentle listeners? A caller..... NATALIE (O.C.) How can you sit there and spout this....this... ....*crap*? ANGLE Knight and Platt; sure sounds like Natalie's voice.... NATALIE (CONT O.C.) Isn't it bad enough that women have had to spend the last two millennium *proving* themselves equal? Now we have to listen to some creepy crawler on the radio telling us how difficult we are? Et tu! PLATT Wow....Nat's going off the deep end here, Nick. KNIGHT (re; it's LaCroix) More than you can possibly imagine... LACROIX (O.C.) (very amused) Well, well, do I sense some...bottled up hostility? NATALIE (O.C.) You bet your sweet petunia you do... LACROIX (O.C.) And, my dear, can you tell me why it is that women blame everything from child birth to a broken finger nail on men, when more often than not they've brought trouble upon themselves? NATALIE (O.C.) (outta control) Why you self-righteous, indignant, infuriating, left-over from some war ravaged defunct Empire... ANGLE Nick; oh no.... NATALIE (CONT O.C.) ...chauvinistic relic-- LACROIX (O.C.) (like velvet) --I think, my dear.... Natalie, that *that* is quite far enough. Don't you agree? We can positively hear the smile on LaCroix' face! Nick just shakes his head. He switches the radio off. PLATT How did that creep in the night know it was Natalie? KNIGHT (covering) I think they've met... PLATT Uh-huh.... Nick looks at the addresses of the houses and pulls to the curb. He and Jeffrey get out of the car and walk up the path, and we are at, EXT. DUVALL'S HOUSE NIGHT Platt pounds on the door. It is slowly opened by CHARLIE DUVALL, Olivia Strapp's brother, he is in his late 40's, pudgy and wearing a really old, nasty bathrobe. DUVALL What the hell do you want? They pull out their I.D.'s. PLATT I'm Detective Platt, this is Detective Knight, Metro Homicide. DUVALL So... who died? Platt and Knight exchange a look; what a peach. KNIGHT Mr. Duvall, may we come in please? DUVALL At this hour? You guys know what time it is? PLATT We apologize for the lateness of the hour, but we need to speak with you regarding the death of your niece, Charla Strapp. DUVALL Yeah, too bad about her, she was a sweet kid. (beat) Come on in. You two want a beer? KNIGHT Uh, no thanks. We're on duty.. DUVALL Right. Mind if I have a cold one? PLATT Go right ahead sir. We follow them into, INT. DUVALL'S KITCHEN CONTINUOUS What a mess; or more accurately, what a pig sty. This guy is either mentally deranged, or a cousin to Porky the Pig....bottles, cans, dirty dishes, magazines, you name it, it's lying around. DUVALL Sorry about the mess, my wife and I have recently separated. PLATT Sorry to hear that. DUVALL Don't be, other than taking care of the house, she's a real pain in the-- KNIGHT --Uh, Mr. Duvall, about your niece... DUVALL Yeah, what do you want to know? PLATT We believe that her death might not have been an accident. ANGLE Duvall; yeah, so? KNIGHT When you left your sister's house the night Charla died, are you sure that the little girl was still alive? DUVALL Sure I'm sure. PLATT You saw her then, as you were leaving? DUVALL Well, no, but she was alive the last time I did see her... KNIGHT And that was? DUVALL When I tucked her into bed for the night. PLATT Approximately what time was that, Mr. Duvall? DUVALL I dunno...around seven or so. Charla was fussy, but she went to bed anyway. KNIGHT (beat) Mr. Duvall, do you have any reason to believe that your sister or her husband would harm their child? DUVALL No, no way. They loved that kid. PLATT And....abuse, what about that? ANGLE Duvall: what? DUVALL What do you mean? KNIGHT Any kind of abuse. Did they ever hit her, yell at her.... DUVALL An occasional spanking I guess, when she did something she wasn't supposed to. PLATT And....sexual abuse, Mr. Duvall? DUVALL You mean like... KNIGHT We mean just that, sexual abuse. DUVALL You two are dead wrong about that.....Jonathan would never do that to Charla. Never. (beat) He's not the type. Off Knight and Platt exchanging a look, we, FADE OUT: END ACT TWO end part 04 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:51:35 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 05/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU ACT THREE FADE IN: INT. PRECINCT NIGHT Reese and Platt are in the Captain's office. PLATT It doesn't make sense. How could Strapp not have noticed that his kid's arm had been broken? REESE I don't know. If it were my kid-- PLATT --If it were your kid, it wouldn't have happened... REESE True enough. Knight enters, carrying some papers. PLATT Well? KNIGHT Mr. Strapp is a computer software salesman. He travels. A lot. REESE So? KNIGHT So maybe he wouldn't have known his kid broke her arm... PLATT You're saying the mother did it? KNIGHT I'm not saying anything just yet.... Natalie enters. NATALIE Sorry to interrupt guys, but I just got the results from the cervical sample. REESE And? NATALIE And the perp has blood type O. PLATT Great, universal donor. ANGLE Nat; that's not all... KNIGHT What else, Nat? NATALIE Mr. Strapp is blood Type O. Reese, Platt and Knight exchange a look. REESE Go get him. That's enough evidence for suspicion... Off their exit, we, CUT TO: EXT. TORONTO STREET NIGHT Nick and Jeffrey in the Caddy, are on their way to arrest Strapp. Nick looks lightyears away. PLATT What now, Knight? Don't you think Strapp did it? KNIGHT Not sure. (beat) We didn't take a blood sample from the uncle... PLATT Why would the uncle kill her? KNIGHT Why would the father? PLATT Easy. Strapp was forcing himself on his daughter. She threatens to tell, and he pushes her down the stairs. KNIGHT Maybe. (beat) Or maybe the uncle pushed her.... PLATT You can never tell what kind of wacko is gonna hurt a kid... KNIGHT Or what kind isn't. On Nick, we, CUT TO FLASHBACK: INT. LOG CABIN 1870's ARIZONA NIGHT We hear a baby SCREAMING. What a surprise. Nick and Janette look slightly horrified. LaCroix is standing quite a ways away, not looking. KNIGHT You do it. JANETTE Why should I do it? KNIGHT Because-- JANETTE --If you say because I'm a woman, Nicolas, I'm going to break you in half... That's exactly what he was going to say. He falls silent. JANETTE (CONT) Mon cher? Cat got your tongue? Nick just glares at her. LaCroix' face turns slightly up into a smile, though he doesn't move any closer. LACROIX Yes Nicholas, please tell us why Janette should be the one to do the dirty deed? KNIGHT Fine. I'll do it. (makes face) Give me the clean cloth.... Janette gingerly hands Nick a cloth; it is obviously a diaper. Nick is making a face as though he's just smelled something really bad. He probably did. Off this, we, CUT BACK TO: EXT. TORONTO STREET CONTINUOUS The Caddy pulls up to Strapp's house. As Nick and Jeffrey head toward the front door, we CLOSE on Nick; he hears that which Jeffrey cannot hear, an argument coming from within. OLIVIA (O.C.) You were never here, how dare you accuse me.... STRAPP (O.C.) I'm not accusing you of anything, Olivia. I just want to know why you never told me our daughter had so many accidents. OLIVIA (O.C.) The child was accident prone. You knew that... Platt bangs on the front door. The argument within ceases. Strapp opens the door. PLATT Jonathan Strapp, you are under arrest for suspicion of the murder of Charla Strapp. STRAPP What? You're nuts. KNIGHT Mr. Strapp, please don't make this difficult. PLATT Turn around sir. STRAPP No. KNIGHT Mr. Strapp, turn around please. STRAPP I didn't do anything. I certainly didn't kill my own child... PLATT Please turn around, Mr. Strapp... KNIGHT (whammying) Turn around, now. Strapp turns, Platt frisks him, then puts handcuffs on him. Mrs. Strapp is in the BG, but she says nothing. She glares at Knight and Platt. STRAPP (to Olivia) Olivia? OLIVIA What? STRAPP Tell them. Tell them I didn't kill our daughter. OLIVIA Fine. He didn't do it. Platt and Knight exchange a look - what a strange reaction. Off this, we, CUT TO: EXT. PRECINCT NIGHT Establishing stock of the Precinct at night. CUT TO: INT. PRECINCT NIGHT Reese and Platt have Strapp in the interrogation room. Nat and Nick are watching from the observation room, and we're watching with them from their POV. STRAPP I swear to God I didn't do this. My God....I couldn't kill my little girl. REESE Your blood type matches that of the perp. You had opportunity, and based upon that opportunity, you had motive. STRAPP But she was just a little baby.....I...couldn't... wouldn't... Strapp is reduced to a mass of emotions. On Nick, we, CUT TO FLASHBACK: end part 05 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:51:06 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 06/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU INT. LOG CABIN 1870'S SEDONA DAY The baby is in her make shift crib, and naturally, she's SCREAMING. There appears to be no one else around. A door to the left opens, and LaCroix, dressed in sleepwear, comes out into the main room. He looks irritated. Really irritated. He glares in the direction of the offending noise, and then he looks at another closed door. He walks over to the door and opens it quietly. LaCroix' POV; Nick and Janette are in bed, sound asleep, or so they appear. LaCroix shakes his head, and rolls his eyes. He closes the door. He turns back toward the transgressing child and sighs. He walks to the crib, and looks at the baby. For a moment, we aren't sure if he's going to have a little snack or what, but then, reluctantly, he reaches in and picks up the child. Unlike Janette and Nick, LaCroix knows how to pick up a baby. It may have been almost two centuries, but he has not forgotten. He gently cradles the child, somewhat caught up in his far away thoughts of another baby girl, whom he cradled quietly at night, unobserved. The child immediately hushes in his arms. LaCroix does not notice the door to Nick and Janette's room open. Nick steps into the main room, closes the door and stands there, quietly observing. We CLOSE on the face of the baby, as a smile comes onto her lips. ANGLE LaCroix; despite himself, he's smiling back at her. LACROIX (whispering) You'll have to forgive Nicholas and Janette. I am afraid that they have not had my.... .....experience. ANGLE Nick; LaCroix, talking to a mortal baby? KNIGHT And just what 'experience' might that have been? Nick so catches LaCroix off guard, that he almost drops the baby. LaCroix turns around, his eyes glowing gold, embarrassed that he has been caught in the act... LACROIX How dare you-- KNIGHT --Save it. It loses a lot when you're holding a baby... LaCroix just stares at Nick, daring him to continue along this thread of conversation. Nick just smiles at the ancient. LACROIX What was I to do? Let her scream all day, and keep me awake? KNIGHT Her? LACROIX *It*... Knight can barely contain his laughter. LACROIX (CONT) You really are very trying, Nicholas. KNIGHT I've just never seen you behave so... fatherly before. And to a mortal no less. We would expect LaCroix to become infuriated, but instead, an evil grin spreads across his face. ANGLE Nick; why is LaCroix smiling at him? LaCroix promptly stalks over to Knight, depositing his burden into Nick's arms. Immediately the baby begins SCREAMING once again. Nick looks helpless, and completely uncomfortable holding the child. LaCroix just pats Nick on the back. LACROIX Have a good day, Nicholas. I'm going back to sleep. KNIGHT I thought you said the noise would keep you awake... LACROIX I lied. LaCroix disappears into his room, and closes the door. We hear him LAUGH loudly. Nick turns to look at the baby, just in time to catch her puking on his shoulder. Gross. On Nick, as his nightmare is just beginning, we, CUT BACK TO: INT. OBSERVATION ROOM/PRECINCT CONTINUOUS Nick is frowning. Nat looks at him for a moment, then, NATALIE Why are you frowning? KNIGHT I'm not sure. NATALIE Yes you are. KNIGHT I don't think he did it. NATALIE I'm listening. KNIGHT I overheard a conversation that he had with his wife-- NATALIE --Overheard? KNIGHT =46ine, I listened in..... NATALIE Thank you. KNIGHT Anyway, I don't think he knew half of what was going on in his own house when he was away. NATALIE You have another suspect? KNIGHT The uncle. Motive, opportunity. NATALIE Yes, but, wouldn't the parents have blown the whistle? KNIGHT That's the piece that doesn't fit. (beat) If Duvall killed Charla, then the parents would have said that she was dead when they got home. (beat) No...we're missing some piece of this puzzle. I want the uncle's blood type checked. NATALIE Okay...but I need a sample. KNIGHT You'll get one. EXT. RAVEN NIGHT Establishing stock of the Raven at night. CUT TO: INT. RAVEN/LC'S APARTMENT NIGHT Janette is sitting in LaCroix' living room. She is in a very form fitting Diorish gown; black with a low cut back, and low cut front. Her hair is up, and her make up has clearly been applied carefully, specially. She is sitting on an antique settee; this is backlit by the blazing fire in the fireplace, and the many white candles that have been lit and set about the room. There is a small wood table near her, with two antique etched wine goblets and a wine bottle on it. She is obviously waiting for company. We hear MUSIC in the BG, softly playing. It is Loreena McKennitt's "Dante's Prayer". The door gently opens and we CLOSE on LaCroix as he catches sight of Janette; he catches his breath in his throat just slightly; his face is a cross between pride and some form of lust. REVERSE ANGLE to Janette; she is looking for something in his eyes; understanding, love..... We hold their looks for a few beats, the music underscoring the moment. As LaCroix recovers, he gently closes the door, and takes a few steps into the room, still admiring his child. LACROIX A sight this beautiful should be captured on a canvas. She smiles at him. JANETTE I think it was, once... LACROIX Indeed. He walks over to her, still admiring her beauty. Without a word, he picks up the bottle, inspects it, stealing a glance at her from beneath his slightly hooded eyelids. LACROIX (CONT) (re; bottle) An excellent vintage. JANETTE I chose it especially for this moment. He cocks an eyebrow at her; where is she going with this? LaCroix pours two glasses, hands one to her and holds his out toward her, in a toasting gesture. LACROIX I believe that you should have the honour... Janette raises her goblet up, to meet his. JANETTE =C0 perp=E9tuel m=E9moires. ANGLE LaCroix; he frowns. Janette clinks her glass to his, and drinks from her goblet. LaCroix hasn't moved. After a few beats, he sets his glass down on the table, and takes a few steps away, his back to her. LACROIX (nickel drops) Your house isn't being remodeled. You moved your belongings here for me to hold onto for you, didn't you? He turns back to her quickly, to see if his words are true. CLOSE on Janette; yes, they are indeed. LaCroix just stares at her. Janette sets her glass down, stands up and walks over to him. She takes his hands in hers. JANETTE I need to go, LaCroix. He just continues to stare at her; they've had this conversation before, and this time, he's not buying it. JANETTE (CONT) I need to be free to discover what it is I want to do with my life, such as it is. (beat) I miss having a child in my life, LaCroix. A family. LACROIX Your family is here. JANETTE I know this; and I am thankful for it. LACROIX But.... JANETTE But, you and Nicolas cannot be my only reason for staying here. ANGLE LaCroix; why the hell not? His face is stoic, his eyes are set, as though part of a marble statue. JANETTE (CONT) I need you to understand. LACROIX (evenly) I do not. JANETTE There is no purpose for me here. I don't have my paper anymore, the Raven isn't my club; I need to have a direction LACROIX Janette, you have a place here. The club is yours. (beat) The patrons will be quite upset if you leave again. The patrons will? Uh-huh. She just looks at him. He knows it's futile, bu= t, LACROIX (CONT) I forbid you to go. JANETTE LaCroix.... LACROIX No. You are not to leave, Janette. JANETTE I no longer know who I am, LaCroix. I need the freedom to find out. He breaks gently from her grasp and walks over to the mantle of the fireplace, and leans on it with both arms, resting his chin down on his hands. Janette walks up behind him, and tenderly reaches for his neck. She gently squeezes the muscles, trying to loosen the tension that so quickly found its way there. She leans into his ear. JANETTE (CONT) (whispering) Know that you and Nicolas always go with me, in my heart. LaCroix just closes his eyes, in silent defeat. He knows he can't stop her, short of killing her. And he knows all too well, that he can't do that. On Janette rubbing his neck, we, =46ADE OUT: END ACT THREE end part 06 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:50:34 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 07/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU ACT FOUR FADE IN: INT. NICK'S LOFT DAY Nick is sitting on his couch, a bottle of wine nearby. He stabs a button on his remote, and the blinds begin to close out the rising sun. He tosses the remote haphazardly onto the couch. Natalie enters from the elevator. Nick turns and smiles. Nat comes and plops down on the couch. NATALIE Hope you don't mind the intrusion... KNIGHT Not at all. NATALIE Good. I brought a movie... KNIGHT Which one? NATALIE "He said, She said". ANGLE Nick; a girl movie. Aw, man. Women. KNIGHT Is this a flick chick? NATALIE (rolls eyes) That's *chick* flick, and no, I wouldn't call it that. Men. KNIGHT Oh. Definitely is a chick flick... NATALIE By the way, I got the results back on Duvall's blood. Type O. KNIGHT So, he could be the one. NATALIE But if he killed her, then that means her parents are covering for him. Doesn't make sense. KNIGHT No. Damn. We're still missing a piece of the puzzle. NATALIE Too bad you don't have an old uncle Olaf... KNIGHT Uncle who? NATALIE You'll know after the movie. On Nick; great.....off this, we, CUT TO: INT. RAVEN DAY Janette, wearing quite a nightgown and matching peignoir, is wandering through the club. She runs her hand along the bar, on an occasional table or chair. She admires the painting on the wall behind the bar for a moment. She looks around, remembering all of the history. CLOSE on her face; her eyes are brimmed with tears. They quietly begin to fall down her face. LaCroix, wearing a black robe, enters silently. She has no idea he is there. He watches her for a moment, sensing her need to be alone. Once the tears are rushing quickly down her face, LaCroix shakes his head to himself, and walks over to her, taking her by the arms from behind. LACROIX You do not have to leave. Janette lets herself fall back into him a little, allowing him to support her. Her head is resting on his shoulder. LaCroix leans into her ear. LACROIX (CONT) This is still your home. A long beat goes by, then, JANETTE When I left to go to Montreal, it was one of the hardest things I have ever done; but I had your blessing, LaCroix, and that helped make me strong enough to do it. I need your strength again, now... LACROIX Montreal was different. You were leaving for the right reason. JANETTE And leaving to find out who I am is not a good enough reason? LaCroix turns her around to face him. LACROIX Janette, you're running away from yourself. >From things that have hurt you, and what you fear you may become. (beat) You can't run away from yourself. Every where you go, you will be there. She laughs slightly at his lopsided logic. He looks at her, deeply. LACROIX (CONT) You are needed here. There are people who .....depend upon you. Nicholas, to name but one.... Janette looks into his eyes; he needs her, she can see it. But she needs to do this, for herself. JANETTE I must do this, LaCroix Please try and understand. His face displays no sign of emotion. LACROIX (beat,avoiding) Come on, it's past your bed time. JANETTE I will not be gone forever. (off his look) If you could look after my things... LACROIX (false bravado) So I must endure lipsticks in my desk, and gowns in my closet? JANETTE Happily, mon pere; or I shall tell everyone that these items belong to you.... In response, LaCroix just cocks an eyebrow at her, and she is smiling fiendishly. Then the mood changes, as he gets serious again. LACROIX Where will you go? JANETTE I do not know. LACROIX And....Nicholas? JANETTE Will you tell him good-bye for me? LACROIX Janette-- JANETTE --Please, LaCroix. LACROIX (long beat) If that is what you wish. She nods. He puts his arm around her and guides her to the back of the club, where they disappear through a door. We PAN back into the empty club, until we CLOSE on the painting on the wall behind the bar. Off this, we, CUT TO: EXT. PRECINCT NIGHT Establishing night at the precinct... CUT TO: INT. PRECINCT NIGHT Nick is sitting at his desk, he's at his computer, and he's going through medical records. ER record after ER record, hospital after hospital, the release forms are all consistent though: They all have Olivia Strapp's signature on them. Nick frowns. Platt enters. PLATT What are you doing? KNIGHT Checking out Olivia Strapp... PLATT Because? KNIGHT Because I don't think Jonathan Strapp killed Charla, nor do I believe that he abused her. PLATT I hate it when you do this... KNIGHT Jeffrey, I need you to find out more about Olivia Strapp and her brother, Charles Duvall. PLATT Like what? KNIGHT Background check, and let's see if either or both of them has ever spent time in a mental hospital, or at the least received counseling. (beat) In the meantime, I'm going to have a little chat with Duvall. PLATT And when the Captain finds out? REESE (O.C.) When the Captain finds out what? Platt freezes, Nick is grinning; Reese is standing right behind Platt. PLATT When the Captain finds out that my partner is a wacko, he's going to fire him.... REESE A wacko? Nick? Nah.... Reese exits. PLATT (to Nick) You're a pain, you know that? KNIGHT So I've been informed. Knight exits. Off Platt exiting and shaking his head, we, CUT TO: INT. DUVALL'S HOUSE NIGHT Duvall is in his disgusting kitchen, swallowing beer, and Nick is standing before him, grilling him. KNIGHT You haven't told me, Mr. Duvall. How often did you babysit Charla? DUVALL Whenever they needed me too. KNIGHT Did you babysit when Mr. Strapp was away? DUVALL Sure, when Olivia needed a free night, sure. There's no law against that, is there? KNIGHT No. But there is a law against sexually abusing a child... ANGLE Duvall; he looks down. KNIGHT (CONT) Charla was very pretty wasn't she, Mr. Duvall? DUVALL What do you mean by that? KNIGHT The last time I spoke with you, you said that Jonathan Strapp wasn't the type to sexually abuse a child. That indicates that you think you know what kind of man would. Why don't you tell me what kind of man sexually abuses a six year old? DUVALL I....I..don't know what you're talking about... Knight can sense the man is about to break. Just a little further. KNIGHT Sure you do. Maybe a man who has recently divorced a woman who he believed was only good for taking care of his house? A man who might indulge in too much alcohol. A man who babysits a six year old. Did you kill her too, Mr. Duvall? DUVALL (breaks) I didn't kill her. I swear to God I didn't kill her... KNIGHT (pushing) But you did sexually abuse her, didn't you? (beat, nothing) Didn't you? (beat) Didn't you, Mr. Duvall? DUVALL (whispering) Yes. Off Knight, thoroughly disgusted, fighting his instinct to kill this man where he sits, we, CUT TO: end part 07 vampwrtr@innocent.com Return-Path: Date: Fri, 5 Jun 1998 20:50:00 -0400 Reply-To: vampwrtr@INNOCENT.COM Sender: Forever Knight TV show stories From: vampwrtr@INNOCENT.COM Subject: Please Remember Me 08/08 X-To: BigMarkM@classic.msn.com To: FKFIC-L@LISTS.PSU.EDU INT. PRECINCT NIGHT Knight is standing with Reese, Duvall is being taken away by a couple of uniforms. REESE You got a full confession out of him for the abuse? KNIGHT Signed and sealed. REESE And the murder? KNIGHT I don't think he did it. REESE Strapp? KNIGHT Not sure, Cap.... Platt enters, carrying some papers. PLATT Nick, great timing. Platt hands Nick the papers. PLATT (CONT) Olivia Strapp and her brother have been in and out of counseling since they were kids. KNIGHT Don't tell me, let me guess....victims of child abuse? PLATT Exactly. (beat) How did you know? KNIGHT Lucky guess. Unfortunately, things like child abuse are often learned behaviours passed from one generation on to the next. (beat) Sometimes remembering only serves to cause devastation. REESE Truly sad. What about the murder? KNIGHT I think we should pay a visit to Olivia Strapp. Platt and Nick exit, off Reese, we, CUT TO: INT. STRAPP'S HOUSE NIGHT Olivia Strapp is seated on the couch, she looks uncomfortable. Nick is standing in front of the coffee table, Platt a little further away. KNIGHT All of the hospital visits Mrs. Strapp. Tell me about those. OLIVIA I've already told you, Charla was a clumsy child. KNIGHT And she was only clumsy when your husband wasn't in town? OLIVIA I was always the one to take her to the hospital, that's all. PLATT I'm afraid Mrs. Strapp, that I've already done the leg work. These hospital visits coincide with your husband's business trips. (beat) Did your husband sexually abuse your daughter, Mrs. Strapp? Or was it someone else? ANGLE Olivia; he knows. She plays it cool. OLIVIA I don't know what you're talking about... KNIGHT Mrs. Strapp, your brother has already confessed to sexually abusing your daughter. You can't cover for him. Olivia stands up, angry. OLIVIA Cover for Charlie? I'm not covering for Charlie. (beat, psycho) I'm covering for the six year old whore I gave birth to... (off their looks) She must have asked for it, or he wouldn't have done it. (hysterics building) Men don't just do these things, women ask for them to. I had to put an end to it, don't you see? I couldn't let her go on, asking for it... KNIGHT She was a six year old child, Mrs. Strapp. (beat) Like you were. OLIVIA (over the edge) No Daddy...please, no. I don't want it. I'm not a bad girl... Platt and Knight exchange a look, she's gone. Platt gently takes her by the arm, starts giving her her rights as he exits with her. She's still ranting. PLATT You have the right to remain silent. Anything you say can and will be used against you in a court of law.... They exit. Nick walks over to a picture on the table. It's of the three Strapps; a happy family. He picks it up. On Nick, we, CUT TO FLASHBACK: INT. LOG CABIN 1870'S NIGHT A SHERIFF is in the cabin, along with a distraught WOMAN. Nick and Janette are holding the basket with the baby. LaCroix is standing behind them, remaining quiet. SHERIFF We appreciate your taking care of the child. JANETTE It was no bother. KNIGHT She's quite cute. WOMAN My husband went crazy, and left her. He couldn't take her fussing...I was so frightened I would never see her again.... The woman takes the child from Janette and Nick. LaCroix steps forward. LACROIX I take it, Madame, that there will not be a repeat of this circumstance? WOMAN No, of course not. LACROIX Children need to be looked after, cared for, not left on doorsteps in baskets in the rain... This comment illicits a look from both Janette and Nick. LaCroix gently runs a finger along the child's face. Janette and Nick exchange another look. LaCroix catches it and glares at them. SHERIFF Well, thanks again, folks. The Sheriff and the woman exit with the baby. Janette and Nick close the door. KNIGHT LaCroix, you seemed, comfortable with the child. (beat, baiting) Is there something you haven't told us? LACROIX Don't be absurd. KNIGHT I heard you, LaCroix. You said that you had 'experience' that Janette and I did not. ANGLE LaCroix; he's not about to tell *that* story. LACROIX Eavesdropping is a despicable trait, Nicholas. Janette takes Nick by the arm, and heads him toward their shared bedroom. JANETTE I wonder if she'll have any memories of us when she grows. KNIGHT Too young.... Janette precedes Nick into the bedroom. Nick turns back to look at LaCroix' face. CLOSE on LaCroix; the child may not remember him, but he won't forget her. As Nick closes the door, we, CUT BACK TO: INT. STRAPP'S HOUSE CONTINUOUS Nick comes out of his reverie, and puts the picture back, as he lifts up one of just Charla. She looks very sad in the picture. KNIGHT (sotto, to picture) Don't worry, your father will remember you always... Off this, we, DISSOLVE TO: EXT. QUEENSBORO BRIDGE, NEW YORK NIGHT MUSIC begins playing; Loreena McKennitt's "Dante's Prayer". A black limousine drives on the Queensboro bridge. We PAN in a MID SHOT, moving in a slow circle around the bridge, closing on the car. It is sleek, and the lights of the bridge shine off the car's polished finish as it speeds by them. In the distance are the lights of Manhattan. CUT TO: INT. LIMO QUEENSBORO BRIDGE, NEW YORK NIGHT The MUSIC is continuing. Janette is sitting in the back of the long limo. Her eyes are filled with tears, but none have fallen. In her hands, she holds a matchbook from the Raven. She glances down at it. On Janette, we, INTERCUT: JANETTE'S MONTAGE: A. LaCroix bringing her across. B. Nicholas kissing her. C. The three of them at a party sometime in the 18th century. D. The three of them in a train, circa late 19th century. E. Robert and Patrick smiling at her. F. LaCroix' face as she says good bye to him in the Raven. BACK TO: INT. LIMO QUEENSBORO BRIDGE NIGHT The tears are streaking down her face now. The MUSIC is still continuing. On Janette, we, INTERCUT: INT. RAVEN NIGHT The MUSIC is still playing. The club is empty. LaCroix is sitting alone, at the bar. His eyes show his sadness, as he drinks a glass of blood wine, remembering. On LaCroix, we, CUT TO FLASHBACK: INT. RAVEN EARLIER ANGLE Nick's face from LaCroix' POV. LaCroix has just told him Janette is gone. We don't hear their words, as the MUSIC is in the FG; however, we don't have to, their actions tell the story. Nick looks as though he's been punched in the stomach. He asks LaCroix where she went, LaCroix just shakes his head, he does not know. Nick, stunned, turns and exits, without another word. On LaCroix, we, CUT BACK TO: INT. RAVEN CONTINUOUS LaCroix looks up at the painting behind the bar. He raises his glass to it, silently, in a toast. On LaCroix' poignant face, we, INTERCUT: INT. LIMO QUEENSBORO BRIDGE CONTINUOUS Janette stares out the window. The MUSIC continues. She lets out a breath of air, as she wipes away yet another tear. On Janette, we, INTERCUT: INT. NICK'S LOFT NIGHT MUSIC continues...Nick is standing in front of Janette's portrait, with a glass of blood in hand. His eyes show a profound sadness in them as he stares at a women he loves, and has loved for almost 800 years. He raises the glass in silent toast, off this, we, INTERCUT: EXT. LIMO MANHATTAN CONTINUOUS The MUSIC continues, as the limo drives up 5th Avenue. It pulls up in front of the Waldorf-Astoria. Janette's door is opened by the driver, who extends his hand to help her out. She takes his hand and steps out. He moves to get her bags out of the trunk. Janette takes a look around her: New York City. Sadly, she looks down at the matchbook in her hands. It represents so many things to her. Very deliberately, Janette sets the matchbook down on the seat of the car, and closes the door, as if closing a door on her past. Plastering a smile upon her face, Janette walks toward the entrance of the Waldorf Astoria, and the beginning of a new life. We REMAIN on her back, as she walks away and into the hotel. As the song finishes, we, FADE TO BLACK: THE END Lyrics to Dante's Prayer, reprinted without permission When the dark wood fell before me And all the paths were overgrown When the priests of pride say there is no other way I tilled the sorrows of stone. I did not believe because I could not see Though you came to me in the night When the dawn seemed forever lost You showed me your love in the light of the stars. Cast your eyes on the ocean Cast your soul to the sea When the dark night seems endless Please remember me Then the mountain rose before me By the deep well of desire >From the fountain of forgiveness Beyond the ice and the fire. Refrain Though we share this humble path, alone How fragile is the heart Oh give these clay feet wings to fly To touch the face of the stars. Breathe life into this feeble heart Lift this mortal veil of fear Take these crumbled hopes, etched with tears We'll rise above these earthly cares. Cast your eyes on the ocean Cast your soul to the sea When the dark night seems endless Please remember me, please remember me end part 08 vampwrtr@innocent.com