In the Season One episode 1966, the distillery buildings were extensively used to represent East Berlin, where the flashback (and much of the story) was set.
Exterior views of the district as a whole provided street views, as cars drove by the old brick buildings in dimly lit night scenes. The Berlin wall was hinted at in the distance.
One of the buildings became State Archive No. 7, the library and depository in which Nick hopes to discover a copy of the Abarat. The exterior of the building was filmed with the addition of appropriate signage.
Most of the interior views of State Archive No. 7 were shot in a stone-built cellar. This was entered by a wooden staircase. In the room at the bottom, a large table with some chairs provided a crude office where the curator and his staff (actually his children) worked at cataloguing the collection. Further into the cellar, there were shelves and boxes of uncatalogued material. It is here that Nick hopes to find the Abarat, with the help of the curator—or, more particularly, of his daughter Lili. To get their assistance, he offers to show them a secret tunnel out of East Berlin.
This tunnel is supposedly under an old church, and appears on a map that Nick shows the curator. Another building on the site was used to represent the church and the tunnel.
When LaCroix betrays Nick and his friends to the Staasi, Nick keeps his promise and takes them to the church. With the secret police in pursuit, they make their way through the tunnel. Nick has to betray the secret of his true vampire nature in order to get them safely to the other side, where he leaves them in the West.
He then returns to East Berlin, hoping to continue his search for the Abarat. However, he discovers State Archive No. 7 in flames. LaCroix has burned the building down in order to ensure that Nick knows that he has no chance of finding the book, and the promise it holds for a cure for vampirism.
The Distillery District served two functions in the Season Two premiere, Killer Instinct. First, it provided the location for the flashback, in which LaCroix trains Nick in the ways of the vampire shortly after bringing him over in 1228. And second, it provided the location for the climax of the main plot.
In several scenes interspersed among the acts of the episode, viewers were shown something of the lessons that LaCroix considered it necessary to provide for the young vampire he had just brought across. First, he hides himself in what appears to be a crypt, and requires Nick to locate him through the bond between them. LaCroix's echoing voiceover in the scene has often been interpreted as some form of vampire telepathy between a master vampire and those he has brought over. However, when Nick suggests that this makes him his slave, LaCroix denies that that is the form of their relationship. His next lesson then demonstrates to Nick the pleasure that vampires feel in hunting and killing a human victim.The bond between Nick and LaCroix had, thought the former, been broken when he killed his master in the second half of the series premiere, Dark Knight: The Second Chapter. However, throughout Killer Instinct, Nick is haunted by echoes of the bond. Finally, he realizes that LaCroix must not be dead; and that he has returned to Toronto to force Nick to move on by framing him for a series of murders.
Nick therefore breaks out of jail and goes in search of his master, using the bond between them in order to locate him, just as LaCroix himself had taught him how to do. He finds LaCroix in an abandoned factory. The two confront each other, LaCroix certain that he needs to whip his protegé back into line, and Nick certain that he needs to assert his independence. They fight through the building, with Nick finally holding off his master by using two broken spars of wood as a makeshift cross.Meanwhile, as the police hunt Nick as an escaped murder suspect, his friend, Dr. Natalie Lambert takes her suspicions about the identity of the real serial killer to Nick's partner, Det. Schanke. Schanke decides to confront Jeff Morris himself, not knowing that the commander of their new precinct, Captain Cohen, suspects that he is aiding Nick and has him followed.
So, as Schanke pursues Morris through an abandoned factory, Captain Cohen and her back-up are pursuing Schanke. Eventually, she catches up just as Schanke confronts Morris, and hears the man admit to being the real murderer. He is persuaded to surrender, and taken into custody. Neither Schanke nor Cohen ever suspect that, at the same time, Nick is himself in a different building in the area, fighting LaCroix.
Gooderham and Worts DistilleryEdit
In 1832, James Worts and William Gooderham built a windmill on the edge of Lake Ontario. In 1837, a distillery was added, and the factory continued to expand. By the late nineteenth century, the firm of Gooderham & Worts was the largest distillery in the British Empire and, for a time, in the world. Over thirty Victorian buildings comprise the Distillery District, as it is known today.
During the Great War (1914-18), prohibition legislation was enacted, and the Gooderhams placed the distillery at the disposal of the British Government, free of charge, to produce acetone and ketone for the manufacture of explosives. However, when prohibition was not lifted immediately after the war, they sold the business to Harry C. Hatch. A few years after he also acquired Hiram Walker's Sons, production was largely shifted to that company's Windsor plant. The Toronto factory was used to produce rum and industrial alcohol until 1990.
In 2001, the site was redeveloped as an arts and cultural centre, retaining and adapting the Victorian industrial buildings. It is still used as a film site.