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Goodnight, Sweet Prince, by Mary S. Van Deusen
At the time I wrote this, I was already represented for two movie screenplays by the Jay Garon Agency out of NYC, who had subcontracted me to Writers & Artists in Hollywood. Brian, one of the 6 agents I had turned down to go with Garon had, in the meantime, become an extremely dear friend, and he offered to get a TV script to the Forever Knight producer. I obtained permission from my agent for him to do that. Brian arranged with Parriott that he'd read my script, so I quickly wrote one. Brian mailed on Tuesday, and Parriott called him on Thursday asking about my credits. Unfortunately, I didn't have any. Besides, they really wanted a Canadian writer and, though I didn't know it, they were dumping the characters I was writing about for another set. But it was still all wonderfully exciting. |
GOODNIGHT, SWEET PRINCE
TEASER
FADE IN:
EXT. BACK YARD - LATE AFTERNOON
PATTI, 9, sprawls across porch steps, surrounded by carelessly discarded
dolls and toys. She reads to herself from a book, following the words with
her finger, her attention frequently distracted.
Her MOTHER, early 30's, kneels close by in rose garden planting a new rose
bush.
PATTI
Mom?
MOTHER
Uh huh?
Her mother scoops dirt out of hole.
PATTI
Can I go bike riding now?
Against the porch is a new two-wheel bike, the store tags still attached.
MOTHER
I told you, Patti, home work first.
Her mother throws in some fertilizer and chemicals and stirs the soil.
The bike shines in sun as the SOUNDS of unseen children grow louder. The
woman concentrates, carefully arranging the rose roots in the hole. The
little girl looks longingly at the new bike. Her mother shakes the dirt off her
hands and reaches for the next bush.
Patti slips quietly over to her bike and, watching her mother over her
shoulder to make sure the woman doesn't notice, walks the bike around the
corner of the house.
EXT. STREET IN FRONT OF SMALL TORONTO HOUSE - LATE AFTERNOON
Getting on her bike, Patti peddles furiously away, eyes alight with her
successful escape.
EXT. STREET SEVERAL BLOCKS AWAY - LATE AFTERNOON
Patti rides down the street, pleased with herself and her adventure. Cars
pass her and stop at the end of the block. She reaches the light and stops
beside a black van. The passenger window rolls down.
MAN (O.S.)
I have a kitten here I'm trying to give
away. Know anybody who wants one?
The girl is undecided whether to ignore the stranger or look at the kitten. A
MEOW decides the issue.
PATTI
Can I see it?
MAN (O.S.)
If you hurry. The light's about to
change.
Patti carelessly drops her bike to the sidewalk and hurries to the opening
door. She looks into the van.
PATTI
It's so cute!
An orange tabby kitten sits on the seat. The girl leans in to pet it. Suddenly,
she's pulled into the van. As she struggles, the kitten jumps out. The van
door closes and the van speeds away.
EXT. BACK YARD - LATE AFTERNOON
The mother sits back on her heels and proudly surveys her new roses.
MOTHER
Aren't they beautiful, Patti?
When no answer is heard, the woman turns and looks at the porch. It's
empty.
MOTHER
(continuing)
Patti?
Seeing the empty spot where the bicycle had been, the mother runs out of
her yard.
EXT. STREET IN FRONT OF SMALL TORONTO HOUSE - LATE AFTERNOON
The mother looks frantically up and down the street.
MOTHER
Patti! Patti!
The empty street gives back no answer to her distress.
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
EXT. TORONTO SKYLINE (STOCK) - SUNSET
EXT. STREET CORNER - NIGHT
NICK and SCHANKE watch as the TECHNICAN dusts the bike for prints.
SCHANKE
I hate this kind of case!
NICK
She's not dead yet. Nat said the other
three girls weren't killed for days. Until
we find her body, there's a chance.
SCHANKE
Jennie's been asking for this bike. I
asked her what was wrong with her old
one.
OFFICER (O.S.)
(calling)
Detective?
An ELDERLY WOMAN and a POLICE OFFICER, 30's, stand to the side. Nick
waves then he and Schanke walk over to join them. The woman cuddles the
kitten which was last seen jumping out of the van.
WOMAN
Speeders. I keep calling. Last month I
gave the police 46 license plates. 46.
Did they put up a single speed trap?
OFFICER
Detective Knight, this is Mrs. Soxer.
She thinks she got the license number
of the van that picked up the little girl.
WOMAN
30 miles an hour it's posted. That van
was doing at least 40.
NICK
You saw the girl taken?
WOMAN
She got in by herself. If I'd realized
what was happening, I would have
called sooner.
OFFICER
Mrs. Soxer came over while we were
examining the bike.
Nick reaches out to pet the kitten. It hisses. Nick concentrates on the
kitten (HEARTBEATS begin). It relaxes, beginning to purr. Nick takes the
kitten in his arms and pets it (HEARTBEATS stop).
WOMAN
Isn't he adorable? What sort of
monster would throw away an angel
like this.
Nick remembers one.
EXT. LIBRARY - OXFORD (1830'S) - NIGHT
La Croix and Nick watch Janette trying to coax a kitten from beneath a
bench. It hisses.
JANETTE
Mon petit chat. Are you hungry?
NICK
I think it's wondering the same about
you.
Janette pointedly ignores him and makes encouraging noises to kitten.
When it won't come, she concentrates (HEARTBEATS begin). It purrs, and
goes to Janette who scoops it up, stands and pets it (HEARTBEATS stop).
JANETTE
Come back to Paris, Nicholai. If you
want to study ideas, I have some I could
let you investigate.
Nick responds to the invitation with a brief caress.
NICK
Ideas that would undoubtedly shock
the entire Oxford student body.
LA CROIX
Nicholas, the knight, the man of action.
A scholar now.
NICK
It is fascinating to study history and
hear people argue over why we did
what we did.
JANETTE
The past is dry and dull. It's over! Why
waste your time there when the
present can be so exciting?
NICK
Ideas can be exciting. It's like solving a
mystery to try to see behind men's
thoughts - to understand their reasons,
hopes, what makes them m ore than
that kitten in your arms.
LA CROIX
You forget, Nicholas, to you that's all
they are.
Two students pass by. La Croix indicates them.
LA CROIX
A meal. (pets kitten) A snack.
Janette turns away from him and murmurs to kitten.
LA CROIX
(continuing)
They invent meaning for their lives to
make death palatable. And what does it
get them? In the end, they still die.
NICK
Perhaps so, but can't death itself have
meaning? Consider that candle.
A candleabra burns on a table in a window behind them.
NICK
(continuing)
It is made of wax and wick and yet it's
only in the burning, in its death, that it
has any purpose.
La Croix takes the kitten from Janette. It purrs beneath the sensuality of
his stroking.
LA CROIX
And after it has burned, what is it then?
Nothing! Don't think, Nicholas. Feel!
For us, meaning is the removal of that
barrier between blind instinct and
awareness. This little creature already
knows that. Study him if you must.
Carelessly, La Croix drops the kitten onto the bench. Startled from its
drugged contentment, it MEOWs, then runs away. La Croix laughs.
EXT. STREET CORNER - NIGHT - RESUME SCENE
Nick stares into his memory.
SCHANKE (O.S.)
Nick? The car?
Nick breaks from his trance to find Schanke staring. Reorienting himself,
he hands back the kitten.
NICK
Yes. You say you saw the car.
WOMAN
A black van. It ran the light so I wrote
down the license number. I always do,
but do you think anyone cares?
NICK
(to officer)
Have you checked out the plate yet? Do
we have a name?
OFFICER
Not exactly, Detective.
NICK
Well, why not exactly?
The officer takes Mrs. Soxer's purse, opens it and displays the contents.
Inside the purse are m any small scraps of paper. Schanke picks out one of
the scraps on which is written a license number. He looks at the rest.
SCHANKE
Great!
EXT. PRECINCT - NIGHT
INT. PRECINCT - SQUAD ROOM - NIGHT
Nick and Schanke sit at their desks. Schanke is on phone.
SCHANKE
I know computers go down, Norma, but
there's a little girl being held
some where in this city by a serial killer
and I don't think she wants to wait for
the technician to get back from dinner.
(pause) Then go get him. I'll spring for
a sandwich. Hello?
Schanke slams down phone while Nick watches sympathetically.
NICK
There must be a printout.
SCHANKE
Nada. Departmental efficiency
experiment. They're saving trees. Can
you believe it?
NATALIE walks up to them.
NICK
Find anything?
NATALIE
No. Since my computer's down, I just
thought I'd come over and see if you
had anything.
SCHANKE
It's a technological revolution alright.
And we're the victims!
Schanke gets up and storms away.
NATALIE
Did I miss something?
NICK
The little girl. She looks like Jennie.
NATALIE
These cases make m e feel like I'm
dipping into a pool of human slime.
NICK
There's a dark side to humanity.
EXT. OXFORD INN (1830'S) - EVENING
Nick, Janette and La Croix stand outside inn as YOUNG MEN hurry in.
Roughly printed sign reads "COCK FIGHT TODAY."
JANETTE
So this is why you don't come back with
us, Nicholai. Cock fights. How
fascinating.
LA CROIX
Oh, but they are. How much easier to
find prey amid the confusion and
revelry. And the very atmosphere
(inhales deeply) excites the senses.
The door to the inn opens. A MAN, 40's, drags BOY, 8, by his jacket and
throws him out the door to the ground.
MAN
Don't bother me when I'm drinking.
You can tell your ma I'll be home when
I'm home.
The man reenters inn, slamming the door. The boy awkwardly gets up, a
bruise darkening his cheek. Nick goes over and touches his shoulder. The
boy cringes.
NICK
Are you hurt, my lad?
The boy shakes his head, edging away. Nick tries to grip him, but the boy
slips out of his hand and runs away. Nick starts to follow but Janette puts a
hand on his arm.
JANETTE
You can't save the waifs of the world,
Nicholai.
LA CROIX
(indicating inn)
Perhaps not, but I do believe our
Nicholas has made his choice for the
evening.
A slow, frightening smile comes over Nick.
INT. PRECINCT - SQUAD ROOM - NIGHT - RESUME SCENE
NICK
But being human means having the
ability to choose between good and
evil. Not everyone chooses well.
Natalie touches him lightly. A hair on his shirt draws her attention. She
picks it up to examine.
NATALIE
A redhead?
NICK
With four feet and a tail. One less waif
in the world.
NATALIE
You took in a cat?
NICK
(shaking his head)
They recognize us. Instinct. The
witness who saw the car found a kitten.
CAPTAIN COHEN walks up to Nick and Natalie.
COHEN
How are you coming with the license
number of that van?
NICK
We're waiting for the computer to come
back up.
COHEN
Not again!
SCHANKE
Coming through.
Cohen and Natalie step aside to let Schanke, his arms full of printouts,
through to Nick's desk. He drops them.
NICK
I thought they saved the tree.
SCHANKE
This one got sawed down six months
ago.
Schanke begins bursting apart the printouts.
SCHANKE
(continuing)
As long as our man hasn't gotten new
wheels in the last half year, we've got
him.
COHEN
You're going to need some help,
detectives.
She looks around the room at the OTHER DETECTIVES to decide who's
available.
COHEN
(across room)
Stuart. McGinnis. Give Knight and
Schanke some help here.
NATALIE
You're going to have a long night.
COHEN
It's going to be a lot longer for that
little girl.
EXT. PET STORE BACK ROOM - NIGHT
Cacophany of BARKING from cage after cage of puppies. In last cage Patti
sits huddled against the bars, her mouth taped shut and her hands bound.
On her frightened face, paths of tears m ark her cheeks. Through the bars,
the puppy in the next cage licks at her face.
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
EXT. DRIVEWAY - HOUSE - NIGHT
Nick and Schanke walk slowly past a black van whose side reads "Toronto
Elderly Association." Handwritten "Just Married" sign and shoes adorn the
vehicle.
SCHANKE
Why do I think we just scored a great
big zero for the night?
NICK
Maybe it's a diversion. Who gets
married in a black van?
They walk up steps to porch, past rocking chairs to door.
SCHANKE
Someone who doesn't have another
car. Trust me on this one, partner. And
it's your turn to wake them up.
Nick makes a face, but rings the bell. No lights go on. He rings again. Waits.
They're getting impatient. Third ring, they're looking at one another.
Light comes on, door opens. MAN and WOMAN, 80's, appear in doorway,
both wide awake and disheveled, woman incongruous in black peignoir and
carrying baseball bat. Schanke looks expectantly at Nick to handle
explanations.
INT. BACK ROOM PET SHOP - NIGHT
Door opens and MAN, 30's, enters wearing coveralls and carrying cleaning
equipment. He walks up to the first cage where a puppy tries eagerly to get
to him. He reaches into his pocket and pulls out a dog biscuit which he feeds
to the puppy.
MAN
There you go.
The man walks on to the next cage, opens the door and pets an excited
puppy who tries to climb into his arms.
MAN
(continuing)
Yes, you're a good boy. No, stay in
there. Here's your cookie. (gives
biscuit, closes door) We'll play
tomorrow.
Patti bangs her feet on the cage. Hearing the noise, the man walks to her
cage and looks at her, a wide smile spreading over his face.
MAN
(continuing)
Everybody wants attention. I bet
you're hungry, too. Soon as we get
home I'll microwave some TV dinners
for us.
The man cleans up his equipment. Patti watches in fear. Unnoticed by him,
she twists her hands trying to get them loose. Her bonds are loosening.
MAN
(continuing)
I don't like cages. When I come to
clean, I let all the dogs out to play. I
can't have pets where I live. (laughs)
But I bet I can sneak you in.
He starts to open her cage. She cringes back.
EXT. ALLEY BEHIND PET SHOP - NIGHT
The man pulls Patti, her feet untied so she can walk, out the back door of
the store and over to the van. Opening the van door, he lifts her in.
MAN
We can get going as soon as I make sure
I haven't left anything behind. I'm so
excited that you can come home with
me. Don't get lonesome.
INT. VAN - NIGHT
As soon as the man closes the door, Patti struggles with her bonds. They
come loose. Ripping off her gag, she hurries to the door, her breathing
ragged with fear. She opens the van door. The alley is empty. She gets out.
EXT. ALLEY BEHIND PET SHOP - NIGHT
The alley is long, straight and empty. Across from the pet store an opening
can be seen in the boarded-up door of a condemned building. She listens to
NOISES coming from the pet store and runs into the abandoned building.
After a moment, the man emerges from the pet store with mops and pails.
He closes and locks the store door, then takes his supplies to the van. He
stops, realizing the door is open, drops his supplies and looks inside van.
The van is empty. The man moves to the middle of alley, looking for the
girl. His frustration and anger grows.
MAN
Everyone runs away from me. I don't
like it!
Silence. He sees the opening to the condemned building. He smiles happily,
almost innocently.
MAN
(continuing)
I know where you are.
He goes through the opening after the girl.
INT. CONDEMNED BUILDING - ENTRY AREA - NIGHT
The man enters and looks around. The room in which he stands is large. It
might have been used for storage or as a factory. The walls are stained and
broken. Empty boxes, broken furniture and debris lie around - a thousand
hiding places.
INTERCUTTING INT. BUILDING/INT. BOX
The man walks slowly through the room - looking, listening. Within a box
the girl cowers, finger in mouth to stop herself from crying. The man
knocks aside a packing crate. There's nothing there. He walks on, his way
lit by streetlights shining through upper windows.
A beam of light comes through a hole in the box. Patti puts her eye to the
box. Immediately in front of her eye the man walks by. Patti sticks her
finger again in her mouth to stifle a scream.
The man continues to poke through boxes, moving farther from her. Patti,
trying to watch him while crouching awkwardly, loses her balance. The
SOUND of her landing echoes through the empty room. The man stops.
MAN
I knew you were in here!
Patti freezes. The man looks around. There are too many places to hide and
the source of the sound unclear.
MAN
(continuing)
We're playing Hide and Seek! That's
okay. You can have till I count to a
hundred but we can't play long cause
I'm getting hungry.
The man hurries out, closing the door behind him. At first Patti doesn't
trust he's gone, but the dark silence is scary too.
Patti throws off the box and runs to the door. It won't open. She cries, not
knowing what to do. She looks frantically around. The windows are too
high. She runs from the door back into the room.
EXT. CADDY - NIGHT
Driving through Toronto streets.
INT. CADDY - NIGHT
SCHANKE
That was embarrassing!
NICK
Waking up the newlyweds?
SCHANKE
Who said we woke them up? (pause)
Ever wonder what you'll be like when
you're old?
NICK
You mean grey hair and rheumatism?
Sometimes.
SCHANKE
Kids visiting, bringing their kids.
(thinking) I wonder if I should have
bought Jennie that bike.
INT. CONDEMNED BUILDING - NIGHT
As Patti runs, the floor cracks beneath her. She falls, her leg scraped and
painful. The door to the alley CREAKS open. She gets up and runs on.
Man walks in with the puppy that had been licking Patti.
MAN
I hope you're hidden good 'cause I've
got help. Okay, boy, can you find her?
INTERCUTTING INT. CONDEMNED BUILDING/INT. SHAFT - NIGHT
The man lets the puppy loose to run randomly about as he walks slowly
down the aisle. Patti's face is scrunched, eyes closed. The puppy sniffs and
gambols happily from side to side. Excitedly, it begins to scratch at a box.
MAN
(continuing)
Good boy, we got her!
The man walks over and moves the box with his foot, exposing fast food
containers.
MAN
(to room)
One point to you.
He moves away from the area followed by the puppy. Hidden in a ventilator
shaft, Patti gasps, trying not to cry. The man and puppy walk down the
aisle.
INT. CADDY - NEAR DAWN
Schanke looks at storefronts as they drive past.
SCHANKE
I think there's a donut place around
here that opens early for the factories.
NICK
Come on, Schank. It's almost morning.
SCHANKE
We never got dinner. Just slow down
and let me look.
Grudgingly, Nick slows down. Schanke looks at stores. As they pass an
alley, he turns in his seat.
SCHANKE
Stop!
Nick stops the car.
SCHANKE
That alley we passed. Back up.
NICK
(backing up)
It's in an alley? They must not get much
business.
They stop in front of an alley, down which can be seen a black van, its back
door ajar.
SCHANKE
I'm going to be seeing black vans in m y
sleep. Is that number familiar?
While Nick looks at the sky which is lightening, Schanke pulls out a list and
looks up number, shows it to Nick.
SCHANKE
(continuing)
Here.
NICK
The last two digits are reversed.
SCHANKE
Maybe Mrs. Soxer's dyslexic.
NICK
You mean she switches numbers?
SCHANKE
Why not? It's worth a try.
INT. CONDEMNED BUILDING - NEAR DAWN
The puppy runs to the wall and scratches at a drop cloth. The man arrives.
He pulls the cloth away, revealing a small shaft. He looks into the shaft.
Patti huddles at the blocked end, face turned away, eyes closed.
The puppy scrambles into the shaft, makes his way to the girl and jumps
into her lap.
MAN
That was fun.
Patti holds the puppy, crying. It licks at her tears.
INT. CADDY - NEAR DAWN
Nick and Schanke look in the back of the van. There's rope and a wide piece
of tape on the floor. Nick picks them up. He and Schanke look at one
another.
NICK
The next donuts are on me.
SCHANKE
I'll remind you of that.
Closing van door, they move to the center of the alley and look around.
Nick looks at the condemned building and listens with vampire senses
(HEARTBEATS begin, end).
NICK
They're in there.
As Nick looks at the sky, Schanke moves to the doorway. Realizing Nick
isn't behind him, Schanke looks back impatiently.
SCHANKE
(stage whisper)
Come on, partner.
Nick follows him over.
NICK
It's almost sunrise, Schank.
SCHANKE
You're worried about blisters when
that kid is worrying about god knows
what. I'll buy you sunscreen.
Schanke turns away and enters building. Sky lightening over rooftops.
Nick hurries after him.
INT. CONDEMNED BUILDING - NEAR DAWN
Nick comes up behind Schanke. Together they move quietly through the
building, looking left and right. The windows show a lightening sky. Nick
stops and listens (HEARTBEATS begin, end).
INT. CONDEMNED BUILDING - NEAR SHAFT - NEAR DAWN
The man looks down the shaft at the huddled girl clutching puppy. He tries
to crawl in but doesn't fit.
MAN
You know I'm gonna get you. Why don't
you just come out?
Patti buries her face in the puppy's fur. The man looks around the floor,
sees a stick and brings it back. Leaning into the shaft, he tries to poke the
girl but his stick is too short. Patti screams.
INT. CONDEMNED BUILDING - NEAR DAWN
Nick and Schanke stand listening to Patti's SCREAM. Nick runs toward the
sound, Schanke behind him. As Nick passes a support beam, the floor
beneath him cracks and breaks, opening a hole through which can be seen
the basement below. Nick falls through the hole.
Schanke hurries forward and peers down. Nick is caught partway down on
debris. Near to Schanke the support column tilts at an angle, its own
support beginning to give. Schanke leans forward and reaches out his
hand.
NICK
Get back! It won't hold you.
Ignoring him, Schanke takes Nick's hand to pull him up. The floor collapses
and they fall amid clouds of dust. The support beam collapses, bringing
down the ceiling.
INT. CONDEMNED BUILDING - NEAR SHAFT - DAWN
Debris rains down. The man runs. W hen the dust clears, the shaft is
blocked and BARKING is the only sound heard.
INT. CONDEMNED BUILDING - BASEMENT - DAWN
Schanke lies unconscious, head near Nick's feet. His leg, near Nick's head,
is covered with blood. As Nick tries to move, a spasm of pain crosses his
face. A piece of wood passes through his leg, pinning it to the floor.
Nick looks up. Above his head is a pickup-sticks pile of debris. A pointed
stake just above his chest restricts his ability to rise. Nick stares at it, then
closes his eyes in unconsciousness.
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN:
INT. LAB - MORNING
Natalie works at desk organizing information from open file folders. She
looks up as Cohen walks in.
NATALIE
You're here late.
COHEN
Don't remind me. Have you heard from
Detective Knight?
NATALIE
I assume he's in bed by now.
(stretches) Which is where I'm going as
soon as I finish looking through the files
of these three other little girls. What's
up?
COHEN
Schanke's wife called and he hasn't
come home.
NATALIE
Schanke not go home to Myra? Do the
swallows decide not to return to
Capistrano? This sort of case gets to us
all. I wouldn't worry yet.
COHEN
I always worry about my detectives.
That's part of my job.
INT. CONDEMNED BUILDING - SHAFT - MORNING
Patti huddles at the back of the shaft with the puppy.
COHEN (O.S.)
Their job is to worry about that little
girl.
Patti looks toward the shaft opening which is now blocked by debris. A hole
in the debris lets through a single ray of light. Dumping the puppy off her
lap, the girl crawls to the blockage and attempts to widen the hole.
Some pieces move, others don't. The hole widens letting in more light. The
puppy barks. Patti reaches down to shush it. She looks back at the hole.
Inches away, the man's face fills the space. She screams.
INT. CONDEMNED BUILDING - BASEMENT - MORNING
With the SCREAM sounding faintly in the distance, Nick struggles to free
himself. He's unable to do so. He raises himself enough to see Schanke,
who is still unconscious, his leg covered with blood. Nick grips Schanke's
leg to staunch the bleeding.
NICK
Schank? Stay awake!
Schanke starts awake.
SCHANKE
Has anyone come?
NICK
Not yet. But you shouldn't fall asleep
after a head injury.
SCHANKE
It's not my head that hurts - it's my leg.
Schanke tries to get more comfortable, winces in pain.
NICK
Take it easy. Someone will see the cars
in the alley and investigate. It won't be
long.
SCHANKE
We're great rescuers, aren't we? That
creep is probably long gone and I didn't
even write down the license number of
the van.
NICK
They're still in here.
SCHANKE
How do you know?
NICK
I know.
SCHANKE
Then what are we doing here?
Schanke tries to get free but immediately cries out in pain. Nick struggles
to hold onto his bleeding leg.
NICK
There's nothing we can do! Until
someone gets us out of here, all we can
do is wait.
SCHANKE
And Patti?
NICK
She waits, too.
Reluctantly, Schanke relaxes back. He stares up.
SCHANKE
I'd kill for a donut oozing with jelly.
Aren't you hungry?
Nick's hand, covered with blood, grips Schanke's leg to form a tourniquet.
Fresh blood still oozes onto his hand. Nick looks at the blood, then looks
away.
INT. LOFT - MORNING
Natalie opens the elevator door and, hesitantly, enters room. She looks
around. The room is empty.
NATALIE
Nick? Are you here?
She goes to stairs and, part way up to loft, pauses.
NATALIE
(continuing)
I'm coming upstairs. Nick?
She continues.
INT. NICK'S BEDROOM - MORNING
Natalie reaches loft. It's empty, the bed still made. She looks around. A
note by the bed catches her attention. CALL JANETTE. Embarrassed at
invading Nick's privacy she hurries back down the stairs.
INT. CONDEMNED BUILDING - BASEMENT - LATE MORNING
Groans and creaking of timbers precede the sudden settling of the debris.
Dust rises, revealing the stake closer to Nick's chest. He looks up helplessly
as he pulls at Schanke's tie which is around Schanke's leg.
SCHANKE
I'm feeling really funny.
NICK
You've lost some blood. You're just a
little weak.
Nick looks at Schanke's leg, soaked with blood. He pats Schanke with his
free hand.
SCHANKE
Nick, have you ever thought about
dying? I mean really thought about it?
NICK
You're not going to die.
SCHANKE
One minute here. Next minute gone. It
doesn't make a lot of sense, does it?
Nick retreats to his memories.
EXT. FOREST CLEARING - 1830 - NEAR DAWN
The man from the tavern lies on the ground, two puncture marks in his
neck. Nick sits on a fallen tree contemplating the body. Janette enters the
clearing.
JANETTE
Nicholai! What is taking you so long?
The sun is almost up. We must get back
to your room.
NICK
Alas, poor Yorick.
La Croix joins them.
LA CROIX
We have to go. (looks at Nick) What are
you doing, Nicholas?
NICK
Have you ever wondered what death
really is?
JANETTE
He's crazy! It's all this schooling.
La Croix walks to the body, turns it over with his foot.
LA CROIX
The world's a bubble and the life of Man
less than a span; Who then to frail
mortality shall trust, but limns on
water, or but writes in dust.
Nick looks up to La Croix's face.
LA CROIX
(continuing)
Dust, Nicholas. To be swept under the
earth's rug. Of no more value than that.
NICK
You don't think death a transition to a
life more eternal than ours?
JANETTE
You're both crazy! Can we leave before
we find out what this death of yours
does mean?
INT. RAVEN - LATE MORNING
The club is closed for the day, cleaning done. MIKLOS watches Janette with
some concern. She stares into space and drinks, her fingers nervously
tapping the glass.
MIKLOS
I'll stay if you want company.
JANETTE
No. Go home. I'll be fine.
Miklos shrugs, reluctantly turns and leaves. At the door, he passes Natalie
coming in.
MIKLOS
We're closed.
Janette looks up, recognizes Natalie with a grimace of inevitability. She
gestures for him to let Natalie pass.
JANETTE
(to herself)
Of course.
Natalie hurries down the stairs and over to Janette.
JANETTE
(continuing)
So, you've lost Nicholai again. Why
must you keep looking for him here?
I'm not his keeper.
NATALIE
Nick isn't home and neither is Schanke.
I hoped you might know something.
JANETTE
I know enough to let him make his own
mistakes.
NATALIE
Don't you care that something could be
wrong?
JANETTE
Why must you always assume that
Nicholai needs our help? He's not such
a child that he doesn't know to come in
from the sun. Let him live his own life.
I do.
Natalie angrily turns to leave. She stops and turns back, uncertain of
overstepping.
NATALIE
I thought Nick said the two of you
shared a bond.
The admission is difficult after all their years together.
JANETTE
It's weak. Sometimes I can barely feel
him.
INTERCUT FLASHES JANETTE'S CONCERN/NICK'S PAIN
Janette takes a long drink to stop the memories.
JANETTE
(continuing)
It's what he wants.
Natalie leaves. Janette stares into her glass.
INT. COLLAPSED AREA - LATE MORNING
Nick's leg is still spiked, his face pale from his own blood loss and strained
from pain. Nick tries to reach the spike but its angle gives him no leverage.
Nick lifts slightly to check Schanke. Schanke's eyes are closed. Nick falls
back down again.
Nick raises his hand and looks at it. His hand is covered with Schanke's
blood. Driven by instinctive need, Nick's hand rises toward his mouth.
Schanke GROANS quietly. Nick regains control, dropping his hand. The
effort isn't easy. His face reflects the strain.
INT. LA CROIX'S ABODE - LATE MORNING
La Croix's face is still and motionless - intense. The sound of Schanke's
GROANS continue, but now as if coming from a distance.
FADE OUT.
END OF ACT THREE
ACT FOUR
FADE IN:
EXT. TORONTO SKYLINE (STOCK) - SUN MOVING THROUGH NOON
INT. PRECINCT - COHEN'S OFFICE - EARLY AFTERNOON
Cohen works on papers at her desk. Natalie walks in.
NATALIE
Any word yet?
COHEN
Nobody's seen Knight's car and there's
nothing further on the black van.
NATALIE
One of them should have called in by
now. It has to be this case. I'm going
back to the lab and see if I can find
something I missed on those other little
girls.
COHEN
Just don't let your imagination run
away with you, Doctor. These
detectives are good at taking care of
themselves.
INT. CONDEMNED BUILDING - BASEMENT - EARLY AFTERNOON
Schanke grimaces with pain as Nick struggles with tie on his leg. When Nick
is done, Schanke struggles to sit up. He touches his leg, then raises his hand
to see the blood. His hand passes near Nick's face, making Nick's eyes
CHANGE. Nick turns his head aside, gaining control.
SCHANKE
I hate to think what Myra's gonna say
when she tries to get this stuff off my
pants.
NICK
I use cold water and sometimes a
cleaner with bleach.
Schanke wipes the blood off his hand and lays back down, weak from his
loss of blood.
SCHANKE
I should have gotten that bicycle for
Jennie.
NICK
You can get it tomorrow. Come on,
Skank, stay quiet and conserve your
strength.
Schanke lies thinking quietly for a moment.
SCHANKE
You know, Myra's really a wonderful
woman. If I had it to do over, I wouldn't
change a thing. How many people can
say that?
Nick knows he isn't one.
INT. OXFORD LIBRARY - 1830'S - NIGHT
In front of book shelves, Nick sits at a library table covered with books. As
he reads, he writes notes. GRAHAM, a student, approaches, his finger in a
book.
GRAHAM
Nicholas, look at this.
Graham lays the book down for Nick to read.
NICK
Vampires - Causes and Cures. What is
this?
GRAHAM
My lecture for Professor Elger's class.
Metaphysical Phenomena? Shall I
choose vampires or witches' brews?
Ashwood stakes or eye of newt?
NICK
As long as you aren't planning to make
us drink it - eye of newt, by all means.
Perhaps a spell for softening the heart
of a young lady?
GRAHAM
A love spell! Yes!
Graham hurries off, leaving behind the book he brought. Nick picks it up,
shaking his head with amusement, and pages through it. As he reads,
interest begins to outweigh amusement.
From behind the stacks, La Croix strolls out, book in hand, and comes to
stand reading over Nick's shoulder. He laughs. Nick ignores him.
LA CROIX
A Sumatran cure for vampirism. You're
not taking that seriously, I hope. There
is no way back, Nicholas.
NICK
So you've always claimed. You'll
forgive me if I look at what someone
else has to say on the subject.
LA CROIX
Ah, yes. An expert, no doubt. Perhaps
your friend's eye of newt? There is no
cure, Nicholas.
Stubbornly, Nick ignores La Croix and continues reading.
INT. CONDEMNED BLDG - BASEMENT - EARLY PM - RESUME SCENE
Nick shakes off the memory.
NICK
If I had it all to do again? Some things.
Yes.
A timber creaks. Dust rises as the debris shifts. Schanke exhales loudly as
nothing more happens.
SCHANKE
Do you think Patti's still in the
building?
Nick listens as HEARTBEATS begin and end.
NICK
I think they're both here.
INT. CONDEMNED BUILDING - OUTSIDE SHAFT - EARLY AFTERNOON
The shaft opening is almost clear except for a large timber pinned across it.
Using another piece of wood, the man tries to move the timber. Cowering
at the shaft's far end, Patti hides her face in the puppy's fur.
MAN
(emphasizing each word)
I don't see why you don't come out!
The wood he is using for leverage breaks. The man throws it down in
frustration and, sitting on the floor, buries his face in his hands and starts
to cry.
MAN
(tearfully)
Why won't anyone ever play with me?
Angry now, he gets to his feet and tears at the timber. It begins to move.
Patti looks in terror. Gradually, the timber shifts and, with it, the ceiling.
Horrified, the man looks up to see the ceiling begin to fall.
INT. LAB - AFTERNOON
Natalie works on the files at her desk, turning pages, writing notes. As she
sips her coffee, she spills some on her sweater and brushes it off. She looks
closely at the stain and begins to brush more vigorously.
NATALIE
At least black and white fur goes with
most clothes. Think if Sidney was an
orange tabby.
She holds up a strand of Sidney's fur, remembering a previous
conversation.
INT. PRECINCT - SQUAD ROOM - NIGHT
NATALIE
You took in a cat?
NICK
(shaking his head)
They recognize us. Instinct. The
witness who saw the car found a kitten.
INT. LAB - AFTERNOON
Natalie begins furiously looking through her files.
INT. LA CROIX'S ABODE - AFTERNOON
Row upon row of rich, leather-bound volumes fill the shelves of a library as
violin music PLAYS.
Surrounded by his books, La Croix sits in stillness, his concentration still
focused on his connection to Nick.
Across from La Croix is an open window which allows the afternoon light to
slant across the floor away from where he sits in shadow. Out the window,
the sun shines brightly over the rooftops.
EXT. TORONTO SKYLINE (STOCK FOOTAGE)- SUN MOVING DOWNWARD
INT. RAVEN - AFTERNOON
Janette stands at the bottom of the stairs holding scarf and sunglasses and
looks at the doorway leading outside, her fear of the day fighting her desire
to find Nick.
Finally, she turns on her heel and walks back to the bar, throwing her scarf
and sunglasses down in anger.
JANETTE
The threads of our connection are so
weak, Nicholai. The result of this
idiotic desire of yours for mortality.
She pours from a bottle and drinks deeply.
EXT. FOREST - 1830'S - NIGHT
Nick sits on a rock looking indecisively at a bag. Making up his mind, he
takes from the bag a large head of garlic, using only his fingertips. The
smell nauseates him. He puts the garlic on a large rock and uses a small
rock to crush it. The smell knocks him back.
EXT. OXFORD LIBRARY - 1830'S - NIGHT
In a chair by an open window, La Croix reads by candle-light. Bored,
Janette sits beside him. La Croix freezes.
LA CROIX
Nicholas, you fool!
Reaching out to Janette, La Croix pulls her to him and flies them both out
the window, blowing out the candles in passing.
EXT. FOREST - 1830'S - NIGHT - RESUME SCENE
On the ground Nicholas twists in agony, his shirt open, smashed garlic
smeared over his heart. The forest distorts and spins through his eyes.
As Nicholas spasms, a WHOOSH is heard. La Croix and Janette hurry
forward, stopping as the smell of garlic reaches them. Janette retreats,
nauseated, the vampire in her RISING at the danger.
La Croix holds his place through great control. His anger rises as he
comprehends Nick's situation.
JANETTE
(agonized)
Why would he do this?
LA CROIX
Why do children do whatever you tell
them not to do? To prove they know
more than you.
La Croix looks around.
JANETTE
Here.
She lifts her skirt, ripping a piece from her petticoat, leans forward to hand
it to La Croix and pulls back, sickened by the smell. La Croix prepares
himself, then goes forward to kneel beside Nick.
Using the cloth to avoid touching Nick, La Croix cleans Nick's chest, then
throws the cloth away. Nick turns his face toward La Croix's, who twists
away from his breath. As Nick writhes, La Croix tries to hold him but can't.
La Croix brings his own wrist to his mouth and bites, blood oozing out. He
holds his wrist to Nick's mouth. Even in pain, Nick is drawn to the blood.
Nick grips the wrist and drinks, spasms easing as he does. La Croix's face
reflects his disgust with the situation.
As Nick's body relaxes, La Croix pulls his wrist away and stands, allowing
Nick to drop carelessly to the ground, his recovery already beginning.
LA CROIX
You can never leave us, Nicholas. I
won't allow it! You're playing with
ideas. You have no understanding of
the reality of death.
INT. CONDEMNED BUILDING BASEMENT - LATE AFTERNOON
Nick looks up at the stake above him.
FADE OUT.
END OF ACT FOUR
ACT FIVE
FADE IN:
INT. PRECINCT - COHEN'S OFFICE - LATE AFTERNOON
Cohen hangs up the phone as Natalie impatiently watches.
COHEN
The Gireaux child didn't own a pet at
all. That makes it a perfect score,
Doctor.
NATALIE
Three little girls and all with animal
hairs found on their clothes.
COHEN
That still doesn't give us a lot to go on.
You don't have to register anywhere to
have a litter of kittens.
NATALIE
But how likely is it that whenever this
m an wanted to pick up a child, he
would also happen to have a kitten?
COHEN
If he adopted them from the pound,
there might be records.
NATALIE
What about pet shops?
Cohen picks up the phone again.
INT. CONDEMNED BUILDING - BASEMENT - LATE AFTERNOON
Schanke lies unconscious. Nick, CHANGED, listens to blood PULSE through
the man's veins. Ravenous, he leans forward to bite. The pain in his leg
stops him, bringing him back to awareness.
Nick turns his head to control. When he turns back, his eyes have returned
to normal. He shakes Schanke.
NICK
Schanke? Come on, Schanke, wake up.
SCHANKE
(resisting)
Go away! I need to sleep.
NICK
(pulling on tie)
Not permanently! Come on. I need to
loosen this again.
Awkwardly, Schanke helps, then lies back looking up at debris balanced
above them.
SCHANKE
At least if we don't get out of here, we
won't be the ones to have to do the
paperwork.
NICK
I'd rather do the paperwork.
SCHANKE
Myra's gonna kill me. Forget I said
that. What are we doing here?
NICK
Waiting.
SCHANKE
It feels like we've been here forever.
NICK
Trust me, Schanke. Eternity feels
longer.
Schanke stares up in thought.
SCHANKE
When I was a kid, I used to think about
living forever. Didn't make any sense
that people just - stopped. I figured
somebody had to be first so, why not?
Sound crazy?
NICK
Not to me.
SCHANKE
Then I got older and got married and
had Jennie and death sort of made
more sense.
NICK
How is that?
SCHANKE
Well, knowing that you're going to die
someday is sort of like being on a diet.
You may not get to eat everything you
want, but when you do eat something,
it tastes great!
NICK
Could we not discuss food just now?
The debris CREAKS. Nick and Schanke nervously look up.
EXT. TORONTO SKYLINE (STOCK FOOTAGE) - SUN SETTING
INT. LA CROIX'S ABODE - SUNSET
As La Croix sits listening to the CREAKING of the debris in the distance, he
watches the sun on the floor before him. The splash of light disappears as
the sun sets. Abruptly La Croix stands, ready now to act.
EXT. TORONTO - FLYING (STOCK FOOTAGE) - NIGHT
The city passes by beneath La Croix.
EXT. ALLEY BEHIND PET SHOP - NIGHT
A uniformed POLICEMAN, 30's, puts away his radio and walks slowly past
the Caddy and the black van. He sees the opening to the condemned
building and goes in.
INT. CONDEMNED BUILDING - ENTRY WAY - NIGHT
The policeman enters, draws his gun and flashlight. Slowly he moves
forward, trying to estimate what danger there might be. He hears nothing
and keeps walking.
POLICEMAN
(calling)
Is anyone here?
INT. CONDEMNED BUILDING - BASEMENT - NIGHT
Nick and Schanke listen alertly.
POLICEMAN (O.S.)
Detective Knight? Detective Schanke?
NICK
(shouting)
We're down here.
POLICEMAN (O.S.)
Keep talking so I can find you.
NICK
The floor caved in. We're pinned and
Schanke's hurt. Call for an ambulance.
The policeman appears at the edge of the floor, cautiously looking down at
them.
NICK
(continuing)
Get back from the edge! This place is
like a bunch of pick up sticks.
Everything could fall in a minute.
Immediately the floor begins to give. The policeman jumps back. Debris
begins to shift.
POLICEMAN (O.S.)
I'm going for help!
Another support beam begins to slip. Debris falls down the hole. A chunk of
plaster hits Schanke on the head. Nick can't get to him as the air fills with
dust. The debris holding the sharpened stake begins to move.
A WHOOSH signals La Croix's arrival. Debris flies as he crashes through it,
throwing it left and right. When the dust clears, the hole over their heads is
empty and La Croix stands in the basement over Nick and Schanke.
La Croix looks at the unconscious Schanke, the blood, and Nick who, though
weak, tries again to reach the stake in his leg. La Croix's anger grows at
what he sees.
LA CROIX
You can lead a mule to water but you
can't make it drink.
NICK
It's my decision.
LA CROIX
I didn't give you eternal life to let you
throw it away so easily.
La Croix takes a medical pouch of blood from his pocket, opens it and
kneels beside Nick who turns his face aside. La Croix dribbles blood onto
Nick's lips.
LA CROIX
(continuing)
Here's the train and here's the tunnel...
Blood spills over Nick's lips until the temptation is too great. He opens his
mouth and swallows, reaching out for the bag which La Croix gives him. La
Croix smiles in triumph as he watches.
LA CROIX
(continuing)
That wasn't so bad, was it?
Nick throws down the empty bag.
NICK
Are you satisfied?
LA CROIX
That you've learned anything? I doubt
it.
NICK
Oh, but I have! I've learned that I can
control enough not to kill even when I
hunger.
LA CROIX
That wasn't the lesson I wanted you to
learn!
NICK
That's the problem with having
children, isn't it? They learn what they
want to learn, not what you want them
to learn.
A distant VOICE alerts them. Rescuers are coming. La Croix, still angry,
looks at Nick, then leans over and pulls the stake out of Nick's leg, ignoring
Nick's pain. La Croix FLIES up out of the basement, through the roof.
Natalie appears from behind a wall shutting them off from the rest of the
basement. She turns her head.
NATALIE
(calling)
I've found them. Over here.
She hurries to the men, glancing at Schanke as she crouches beside Nick.
She touches him gently, part medical, part caring.
NATALIE
(continuing)
You had us so worried. Are you all
right?
NICK
I will be soon enough, but Schanke's
lost a lot of blood.
Natalie moves over to Schanke as COHEN appears from behind the wall,
quickly followed by other OFFICERS.
COHEN
(to Natalie)
How are they?
Natalie feels for the pulse on Schanke's neck. Schanke starts to regain
consciousness.
NATALIE
Schanke needs to get to the hospital.
He's lost blood. Nick seems okay.
The policeman who found them comes to the edge of the hole, though not as
near as when he caused the cave-in.
POLICEMAN
(calling down)
Captain Cohen? I found someone else
trapped in here. A little girl.
Patti emerges from behind the policeman, covered with dust but happy to
be free. She clutches the puppy. The policeman lowers his voice.
POLICEMAN
(continuing)
There's something else you should see,
too. (beat) There's a body.
Cohen hurries off followed by the other officers. Two AMBULANCE
TECHNICIANS, 30's, pass her and make their way to Schanke as Natalie
moves over to Nick. They put Schanke on a stretcher as Natalie helps Nick
up.
NATALIE
(softly)
You look like a mess.
NICK
And you look beautiful.
Natalie picks up the empty bag of blood and looks at Nick quizzically.
SCHANKE
Hey, partner.
NICK
(aside to Natalie)
I'll tell you about it later.
Nick goes over to Schanke.
SCHANKE
Don't you think it's time you returned
some of that Grade A Schanke sauce I
loaned you?
Nick and Natalie look at one another.
NICK
I'd love to, Schank, but...
NATALIE
His condition means that he can't
donate.
SCHANKE
Isn't that always the way? You know
Carter still has my foot massager.
Technicans lift stretcher and start to take it out.
SCHANKE
Hey! Careful there. By the way, can we
stop on the way at that department
store on Queen Street? I need to get a
bicycle for Jennie.
Nick and Natalie laugh as Schanke is carried away.
FADE OUT.
END OF ACT FIVE
TAG
FADE IN:
INT. NICK'S LOFT - NIGHT
Nick, dressed for an evening out, carries his bloody clothes downstairs and
toward the kitchen. As he passes the elevator it opens. Natalie starts to
enter, pauses.
NATALIE
I'm sorry. Are you going out?
NICK
I just needed to feel clean. Weren't you
going to the hospital with Schanke?
NATALIE
(coming in)
It was starting to get crowded there.
NICK
The police family. Yeah. It's one of the
things I like about this job.
Natalie walks over and takes Nick's clothes from him.
NATALIE
Here, let me. (looking at them) Pardon
me if it looks like somebody died in
these.
NICK
Close, but the undead still walk among
us. (shaking his head) And I'd like to
keep doing it for a while longer.
Nick plucks back his clothes and walks to the kitchen to throw them out.
Natalie yawns and follows him.
NATALIE
You're not really dead.
NICK
You know, I think Schanke had it right.
Death is like being on a diet.
Nick walks to the sofa and perches on the back.
NATALIE
What?
Natalie follows him over and curls up on the sofa to listen. She stifles
another yawn.
NICK
(continuing)
Death gives the reason for life. If you
know that you have eternity, then
there's really nothing that makes one
day different from another. Every
sunrise
Nick indicates his painting of the sun.
NICK
(continuing)
looks like every other sunrise. It's only
when you know the days are limited
that each one becomes special.
Nick turns for Natalie's opinion. She's asleep. After watching her
affectionately for a moment, Nick gets up, removes the throw from the
sofa, covers her and kisses her forehead.
Going to the telephone, Nick dials and speaks quietly.
NICK
(continuing)
Janette? Instead of coming over here,
how about if I meet you at the Raven?
(pause, softly) Yeah, I know.
FADE OUT.
THE END