Forever Knight (1992) s01e10 Episode Script

WOMAN: Good evening, Toronto.
This is CTOK, 92.
3 F.
M.
and we're talking about your intimate secrets.
Larry, tell me, what's on your mind tonight? LARRY: Oh, this is really kinky.
Go on.
I can't believe I'm admitting this, but I really get off watching my wife make it with other guys.
Oh, really? Well, that's something to admit, Larry.
Do you have any fantasies when you watch? [LARRY CHUCKLES.]
What do you think, Larry? [LARRY GIGGLES.]
Okay, you ponder that one while we move on to Carol, you're on the air.
Talk to me.
CAROL: You turn me on.
Oh, well, thank you.
Is that because you find it easier to be intimate on the phone than it is with a real, live person? Oh, I like real people too.
Good.
What do you want to talk about? Carol, are you there? MAN: Hello, doctor.
Who am I talking to? Not who you think.
Okay, Mr.
Not-Who-I-Think.
You want to pick up where Carol left off? Well I want to talk aboutblonds.
Sexy blonds that I can talk to and say "I'm not going to hurt you if you respect my feelings.
" I bet your girlfriends love that.
Oh, yeah.
Well, she knows she doesn't respect my feelings, so she just tries to beg for mercy instead.
Oh, this is sounding a little twisted to me.
[CHUCKLING.]
Yeah, it is.
Maybe that's why it's so much fun.
I can't even help what happens next, doctor.
You can't, huh? And what is it that comes next? What comes next is is I wrap the cord around her neck CHRISTINA: Wait a minute.
Pull it tight No, look, this isn't good.
Uh, if this is your idea of a joke, I'm going to have to take you off the air.
Too late.
She's dead.
[ .]
NARRATOR: He was brought across in 1228.
Preyed on humans for their blood.
Now, he wants to be mortal again To repay society for his sins To emerge from his world of darkness From his endless forever night.
[GROWLS.]
MAN: Pull it tight Too late.
She's dead.
You say you have no idea who this could have been? Never heard this voice before.
No, I don't.
I haven't.
And I know voices.
I've been doing call-in shows a long time.
Your station have caller ID? Our policy guarantees anonymity to all our callers.
Makes for a "hotter" show.
Something like that.
Mm.
[BUZZES INTERCOM.]
MAN: Yes, captain? Yeah, is Nick around? Yeah, he's around here somewhere.
Somebody get him for me.
Yeah.
Uh, we'll get somebody on it.
Well, uh, what happens next? I'm afraid there isn't a lot to go on.
We'll have the tape analyzed for background noise and do a voice profile.
Well, what about the victim? So far there isn't one.
But you're going to look, aren't you? We'll do everything we can with what we got.
[SIGHS.]
Well, then I guess there's nothing more I can do.
No, there isn't.
Except get some sleep and let us worry about it from here on.
Whoa! Is the meter still running? Uh Sorry, I didn't see you.
Oh, that's okay.
Here.
Thank you.
No problem.
Sorry.
It's okay.
You been telling your stories again? Nothing she couldn't handle if I had.
That was Dr.
Christina Noble.
The radio shrink? Yeah.
Although what her show has to do with real psychiatry Real psychiatry helps people.
Apparently, some guy murdered a woman during a call-in on her show.
On the air? Right on the radio.
Beamed out to the whole city.
And you think it's a hoax? Well, I have no proof that it isn't.
Well, I don't know.
She didn't look as if she was on a publicity tour.
I can never listen to the stuff.
The job's enough of a reminder of what a colorful world we live in.
I know what real fear looks like.
She was scared.
Scared that her ratings might slip.
No, she had that cornered look, like she'd gotten in too deep.
Oh, come on, Nick.
You know, I worry for you.
Every time, you fall for this damsel-in-distress routine.
For your information, Christina Noble is a hardened pro.
I bet you right now, she's back in the saddle again, so to speak.
Slice of Heath Crunch pie says I'm right.
Here.
[TURNS ON RADIO.]
CHRISTINA: Those listeners who were tuned in last night-- Pretty intense.
Uh, the police are looking into it and we're going to try to continue with all the best talk in town.
Tonight, we're talking about the shadow side of ourselves.
I want you to share with me those times you feel you've responded from that part of yourself to a situation or person.
The lines are open.
Kaylie, talk to me.
KAYLIE: Hi, Christina.
I think it was the shadow side of me that made me have an affair with my husband's brother.
CHRISTINA: Go on.
KAYLIE: Or maybe it was the good side of me just being bad.
See what I mean? Last week, she had a guy on who was talking about making it with his mother-in-law.
The week before that, the subject was single women who have made it with pizza delivery boys.
I mean, come on.
And she even had a discussion about-- I thought you never listened to that stuff, Schanke.
Well, you know, once in a while, I do.
Oh, once in a while, yeah.
Research.
[SNORTS.]
You know how it is.
One thing led to another.
Hector is on one, and I'm taking five.
Hello, Hector.
Can you top Kaylie? MAN: My name's not Hector, doctor.
But, uh I think I can top anyone.
Go ahead.
Yeah, in a sec.
First I want to find out if you slept okay last night.
Perhaps a more appropriate question, how did you sleep? [MAN CHUCKLES.]
I was too excited to sleep.
I'm still too excited to sleep.
Besides, no one sleeps in the bridal suite.
Are you alone? What? In the bridal suite.
Aren't you listening? [MUFFLED MOANING.]
She's even blushing like a little blushing bride.
[WOMAN MOANS.]
What kind of a person is she? I think what's important is she's a good housekeeper.
Too bad she's not going to be around to clean up the mess I make of her.
CHRISTINA: I'd like to talk to her.
Take over the wheel.
Where are you going? Call in what's going on.
I'll meet you back at the station.
But you have no idea what we're-- Knight! Turn on CTOK.
We got another possible on-air homicide in progress.
DISPATCHER: I got on Spadina and Queen.
It's an emergency.
Knight's out of the car, I'm solo.
Then respond alone.
It's an emergency.
[SIGHS.]
CALLER: She's listening to you, doc.
Every useless word you say.
CHRISTINA: Before you do anything You know what I'm going to do.
I'm going to let nature run its course.
I'm going to blow her mind to bits.
I have to do what I'm told.
I always do what I'm told.
Who's telling you to do this? Who's telling me? I don't know.
What's important is she's nothing.
And that she has to die.
LACROIX: Because he's nothing, Nicholas.
That's why he's going to die.
And because we're nothing, Nicholas.
That's why he's going to die slowly.
You're talking about taking a life here.
Please don't hurt her.
Please.
Let her go.
[GASPING.]
[GUNSHOT.]
[DOG BARKING.]
I really didn't want to call the police, but I know something's wrong.
I-- I just know it.
How do you know? Well, the dog, he's been barking like crazy in here, and nobody's seen her for two days.
[GASPS.]
SCHANKE: Apparently, she was a freelance photographer.
According to the neighbors, the last time anybody saw her was two nights ago.
This stuff makes vampires look like cute little schoolboys.
You know, I see this thing over and over.
I understand why it happens technically, but-- But understanding it psychologically is another matter, right? Mm-hm.
I'll give you a hand.
Well? Well, what? You want me to take a wild guess? Do I have a choice? We don't have a weapon or motive.
This might be the victim of last night's on-air murder.
Why? The progression of rigor mortis indicates she's been dead between 18 and 24 hours.
Time of the call-in.
Not enough.
There's got to be another link here somewhere.
Wait a sec.
Where's the phone? It's bagged.
We're checking it for prints.
Let me see.
Why, here's to modern conveniences.
Automatic redial.
[PHONE DIALING.]
WOMAN: CTOK Radio.
Can I help you? KNIGHT: According to the voice analysis, the guy's young, 20 or so, no more than 25, Caucasian.
SCHANKE: Yeah, and he must have known her somehow, because there's no sign of forced entry, not to mention that the place is crawling with prints.
KNIGHT: Unless he followed her home from the store.
No, I say it had to be a date.
And I say we hold on to our speculation until we've got more to go on.
Hopefully very shortly we'll have more to go on.
Like the body of a second victim? Assuming there is one.
There's still a chance that tonight's call was a copycat.
Okay, I'll get a dub of tonight's tape.
If the voiceprint matches, at least we know the answer to one question.
Maybe we'll be able to pick up some background noise off it this time, pin a location.
KNIGHT: Well, hang on a second.
There might be an easier way.
Lets put a trace on Noble's phone lines at the station.
STONETREE: And let's keep this one under wraps.
No press, no one.
Anything the entire city doesn't already know is ours and ours alone.
Nick, I want you to go down to the radio station tomorrow.
In the meantime, we better start checking hotel bridal suites.
Oh, uh, how come he gets the live ones? They like him.
CHRISTINA: Welcome back, listeners.
This is CTOK, 93.
4 FM, and we're live on the air.
Everything plugged in, ready to go? Yeah, all we have to do now is wait for him to get an itchy dial finger.
She's got some habit for a doctor, huh? Oh, uh, she's one of these driven types.
All the driven people I know smoke.
You want coffee? No, thanks.
Mind if I listen in? [FLIPS ON SPEAKER.]
that you're hanging in there, and for sharing all your feelings.
Uh, feelings that all of us could Think she can handle it? Don't worry about her.
She's a pro.
the helplessness, the anger, it's the subject of tonight's show.
What?! No, no.
The subject of tonight's show: "Women Who Love Too Much.
" that's 555-CTOK.
The lines are open.
Hello, Susan.
You're on the air.
SUSAN: Hi.
I feel so terrible about what happened to that poor woman, and scared.
I understand.
Are you single? Yes, and I'm still looking for Mr.
Right, and I date a lot of guys [DIALS.]
know them.
Should I be more careful? Of course, but all the time, Susan, not just for now.
This is the Christina Noble Show.
[BEEP.]
And I know it.
I'm going to be way more careful from now on.
[TED KNOCKS ON GLASS.]
I think you're doing real good work.
Thank you for your call, Susan.
Hello.
You're on CTOK.
Who am I speaking with? MAN: Guess.
Why? Do I know you? You may think you do.
[LOW CHUCKLE.]
But there's knowing someone, and there's really knowing someone.
And I don't think you have a clue, doctor.
Then why don't you give me one? IMITATES WOMAN'S VOICE: Help, help, don't hurt me.
You like that sound, don't you? That's the sound of someone who's afraid, the sound of a woman who's afraid.
Afraid of me.
[MOUTHING.]
Why do you like making them afraid? You know perfectly well.
No.
I don't.
Why don't you tell me? Talk about it.
Maybe I'd rather do something about it than talk about it, you know? I mean, that's the problem with shrinks.
You just sit around.
You're a shrink, right? A psychiatrist.
So why aren't you in an office with a couch and a big swivel chair? Oops.
Did I hurt your feelings? Maybe you weren't good enough.
[MOUTHING.]
You didn't call to talk about my feelings.
You called to talk about your feelings.
How do you know? [BEEPS.]
[DIAL TONE.]
CHRISTINA: Stupid.
I screwed up.
I shouldn't have confronted him.
I scared him off.
No, no, you were great.
We'll catch him next time.
I'm sure he'll call again.
I think he's getting used to the attention.
Well, I guess if I wasn't so rusty, I would have figured that out for myself.
Rusty? What do you mean? Never mind.
You know what they say.
Use it or lose it.
Yeah.
I just wish I knew if this guy was for real.
There's a, uh, call for Detective Knight.
Uh, should I put it on the speaker? Who is it? It's a Detective Schanke.
Oh, Schanke.
He's your biggest fan.
He must have been listening in.
Put him through.
SCHANKE: Hey, Knight, I'm calling from the hotel.
We got body number two.
Room 623, the bridal suite.
Body number two? You've found victims? But you never said I'll be right there, Schanke.
I'm sorry.
I hope you understand.
It's police business.
But, damn it, Nick for all I know, my show could be the whole cause of this.
I mean, that doesn't make it my business too? We'll talk later, okay? I can't talk to you now.
We figure he might have lured her in here on a looky-loo pretense of showing him the room.
Other than that, everything-- the phone, the way the body was made up-- same as last time.
So now it's just a race against time.
Tends to be that way when you're dealing with a serial killer.
[MAN MURMURS FEARFULLY.]
[PLEASED CHUCKLE.]
Lacroix! Lacroix, look.
He does look like your father, doesn't he? KNIGHT: If you're going to drink his blood, do it and be done with it.
LACROIX: My poor, miserable friend.
What a shallow existence you must be enduring.
Nicholas, I hope that someday you will come to realize and appreciate the greater depths of satisfaction that can be plumbed in killing for the pleasure for the sheer creativity of doing it.
You sicken me, Lacroix.
Don't watch.
[FAINT POLICE RADIO CHATTER.]
Nick Nick? Excuse me.
I'll get this to the lab.
You should have a fingerprint report by noon.
Yeah.
Thanks.
Which would be a big help if the guy has a criminal record.
What about a psychiatric record? Anything on that? Still working on a warrant.
I mean, if this guy does have a record, his M.
O.
will stick out like a sore thumb.
How many psychotics can there be that are into makeup? You'd be surprised.
Excuse me, lady.
The elevator's closed off.
How did you get in? I'm a wizard at navigating back staircases.
I came to help.
Christina Noble.
[WHISPERING.]
Detective Schanke.
Oh, you must be Detective Schanke, one of my biggest fans.
DAN: Excuse me.
Oh, thanks, Dan.
CHRISTINA: He used that lipstick on the victim.
He was dressing her up, wasn't he? Let's say you're right.
How do you arrive at something like that? Well, women don't crush their lipstick when they apply it.
And three of my internship years were spent in forensic psychiatry.
Excuse me, Nick, need I remind you of certain directives from on high, if you get my drift? I understand this is a guarded investigation.
Just let me have a look around.
Maybe I can give you a better idea of who you're looking for.
We're about to take off.
Forensics will pick up the rest later this morning.
It's all right, Schanke.
I'll stay with her.
Thanks.
[LOUD SIGH.]
I hope you left the keys to the Caddy.
KNIGHT: Okay, boys, you can wrap it up.
I'll close here when I'm done.
WOMAN: Granted, most of this stuff makes pretty interesting reading material, but this isn't a lending library.
There's no access to patient's records without authorization.
Yeah, right.
Does a warrant count? Man, oh, man, oh, man.
Don't you have any of this on computer? Your warrant specifies our records, not our database.
CHRISTINA: Did he have intercourse with his victims? No.
Possibly impotent.
So sex isn't the key.
But power, control is.
Yes.
And not the way you think.
He was dressing them up to conquer them, but it's really his way of conquering his own fear.
Well, that's interesting.
And the fact that both rooms were largely undisturbed.
Now, from your point of view that means that there was little or no struggle.
For me, it would suggest that the fantasy started the moment the women walked in or the moment he walked in.
He stalked them, he was ready for them.
So he knew them? Well enough to know that he could find them alone or get them alone.
The first victim Um I think he probably just met her that night.
Maybe she mentioned something about listening to my show.
Okay.
Any idea what he was like? Um, the lab reports said that the hair samples came back Caucasian.
Yeah.
I'd add to that attractive, intelligent, charming.
A guy with a lot going for him.
Yes.
Everything except the most important thing self-esteem.
He doesn't feel part of the human race.
Less than.
So the rules that apply for us don't apply for him.
That's what enables him to go on killing, punishing.
Punishing women.
Yes.
And himself.
You see, each murder is an act of self-hatred.
Each murder confirms his belief that he's worthless.
I had a patient once.
A 15-year-old boy.
Yeah? He was so severely abused by his mother it took me a year before he'd even look at me.
Yeah, I finally gained his trust, and he opened up to me.
And then he started to respond to me the way he responded to his mother.
Transference.
Yeah, that's what they call it.
And I just wasn't having any success dealing with it in the therapy, so I decided the professional thing to do was to put him in the hospital.
And you blame yourself for that? I let him down.
I abandoned him.
Sounds to me like you handled the situation like you were trained to handle it.
Yeah.
I was trying to work the way I was trained.
[SIGHS.]
I obviously missed a few crucial lectures.
Whoa, you're being a little hard on yourself, don't you think? Psychiatry doesn't promise miracles.
Why expect yourself to be a miracle worker? After he was discharged, he brutalized and killed his mother.
So that's why you left the practice? Yeah.
That's why I gave up my couch for a phone.
My respectability for pop psychology.
Clearly, a vocabulary full of Freudian terminology and a diploma don't make one a good doctor.
So our killer could be acting out his fantasy.
His fantasy of killing his mother.
Yes.
It's possible.
But it's not his mother.
So that's why he has to do it over and over again.
JEANETTE: He does look like your father, doesn't he? How can you be so cruel? It was bred into me.
KNIGHT: No.
No, we're killers, not torturers.
I was referring to a more insidious kind of breeding.
[CHUCKLES.]
You're right.
The resemblance is uncanny.
Tell me you love me Father.
Say, "I love youOedipus.
" Say, "I'm sorry, Oedipus.
" And, "Forgive me, Oedipus, my son, "for the treacherous introduction to the world that I gave you.
" Oedipus killed his father by accident.
Nobody believes that.
Not anymore.
[MAN CRIES OUT.]
Well, I've got to tell you, you were helpful in there.
You've got a talent for that.
Haven't stretched in a while.
You know, I talk to people every night on the radio, but back there, I felt like my old self.
Maybe you should try it more often.
Well, let's not get too carried away.
No, I mean it.
You should talk to Stonetree.
Well, maybe we should, uh, save the accolades till after we've tested my accuracy.
Uh, look, I've got to tie up some loose ends, so, uh, I'll see you tonight at the station.
Yes See you then.
What were you thinking letting her in on that site? She's practically press.
The whole city's going to know every detail.
Including every potential copycat psycho from here to Great Bear Lake.
She's a team player, captain.
She's putting herself out to help us, huh? I mean, she profiled the killer.
Oh, she did, did she? Oh, well, I've got to hear this.
What's he, single? Old-fashioned? Likes to take moonlit walks? If you're going to hire a psychiatrist for this case, let's get a real one.
[PHONE RINGING.]
Yeah? MAN: Schanke's on the line.
All right, put him on.
[BEEP.]
What do you want? Boy, am I getting the runaround here.
For this, I want overtime.
What have you got? Blisters on my corneas for one thing, and about 30 more boxes of files to go through.
Is Knight there? Yeah, I'm here.
Listen, give me a hand here.
Did Suzy Freud give you any clues as to what I'm looking for? Any young male in the last five years with a record of violence towards women especially mothers, sisters, grandmothers.
Maybe a recent discharge? [CHUCKLES.]
Oh, okay, that's great.
That's fabulous.
Let me just write this down.
That's N-O-R-M-A-N Bates.
Norman Bates.
Hasta la bye-bye.
[SIGHS.]
[WHISPERS.]
Who cares? Hello, Norman.
Come to Papa.
[BELT CLATTERING.]
Hey.
How you doing? [PHONE RINGING.]
Hello, this is the Christina Noble Show.
No, no, but I expect her in any minute.
Uh Well, uh No, I understand.
Um, maybe she's still in her car.
Hold on a second.
CHRISTINA: Yeah.
TED: Dr.
Noble, it's Ted.
I have a call here for you, and he says he doesn't want to talk to you at work.
Too shy or something.
Who is it? Well, that's why I figured you'd want to take the call.
It's a former patient of yours.
Yeah, yeah, put him through, Ted.
Hello? Hello? Are you there? MAN: Dr.
Noble, is that you? Yes, who's this? You might not remember me.
Well, sure I will.
You were a patient of mine, weren't you? Yeah.
Matthew.
Matthew Reed.
Do you remember? Yes, yes, of course, Matthew.
I remember you.
How are you? Well, not so good, actually.
I've been out of the hospital for about a year and was doing okay.
Listened to you on the radio a lot.
Yes? That's good.
Well, the stuff that's been happening on the radio I don't know, it just really disturbs me.
I'm really affected by it, I guess.
Matthew, I hear what you're saying.
I think you should go to a hospital as soon as possible.
Can you do that? No, I don't want to go back there.
Look, I'm sorry I called.
No, you should have called.
It's good that you called.
Are you on your way to the station? Yeah, we're going to put out the trace again.
Well, I've got something that might help.
What is it? Well, after much time and trouble and a little bit of the luck of the Schanke, my best guess out of at least 50 candidates Any previous homicides? One.
His mother when he was 15.
Sat around with the body for a couple days before he called the cops.
She had blond, curly hair.
No But his shrink does.
Dr.
Christina Noble.
I want to help you.
We can talk.
I'm afraid to go out.
Well, that's okay.
I'll come to you.
Where are you? Greer and Fifth.
Ferry Apartments, Number 9.
I'll be right over.
[ROCK MUSIC PLAYING.]
MALE CALLER: I want to talk aboutblonds.
Sexy blonds.
night is full Of empty fire The hounds of hell Whisper to sigh There's no way KNIGHT: I know what real fear looks like.
She was scared.
There's no reason To the rhyme Tonight CHRISTINA: Tonight, we're talking about the shadow side of ourselves.
I want you to share with me those times you feel you've responded from that part of yourself to a situation or person.
KNIGHT: You sicken me, Lacroix.
LACROIX: Don't watch.
The night calls My name If you could Only see NATALIE: This stuff makes vampires look like cute little schoolboys.
always see The dark of the glass Moon rises With a hissing sound CHRISTINA: Damn it, Nick.
For all I know my show could be the whole cause of this.
They'll be arriving Before dawn They'll be arriving CHRISTINA: He used that lipstick on the victim.
The night calls My name CHRISTINA: He doesn't feel part of the human race.
Less than.
So the rules that apply for us don't apply for him.
The night calls My name KNIGHT: How can you be so cruel? LACROIX: It was bred into me.
KNIGHT: No.
No, we're killers, not torturers.
LACROIX: I was referring to a more insidious kind of breeding.
I'm crying out In despair KNIGHT: She's a team player, captain.
She's putting herself out to help us, huh? I mean, she profiled the killer.
The heart beats strong, But until It makes its way In for the kill It's always darkest Before dawn It's always darkest Before dawn KNIGHT: She had long, curly hair.
SCHANKE: No, but his shrink does.
Dr.
Christina Noble.
KNIGHT: His fantasy of killing his mother.
CHRISTINA: Yes, it's possible.
But it's not his mother.
So that's why he has to do it over and over again.
The night calls my name [MUSIC CONTINUES.]
Yeah Hello, out there.
This is Christina Noble.
And our subject is cross-dressing.
Where's Dr.
Noble? She's not coming in tonight.
Not coming in? No, no, we're running highlights from an earlier show.
Highlights, yeah.
Where's she gone? I don't know.
She got a call from a former patient.
What's wrong? How can I get in touch with her? Uh, you could try her car phone.
Thanks.
[GATE SQUEAKS.]
RECORDED VOICE: The mobile customer you've dialed is away from the phone or has traveled beyond the service area.
MAN: I suppose I should be ashamed, but I'm not.
RECORDED CHRISTINA: Good.
Accept yourself CHRISTINA: Hello, Matthew.
I can't believe you're here.
It's been so long.
You've grown up.
Your voice has changed.
You've changed.
In some ways.
Good ways, I'm sure.
They released you from the hospital.
I think they were getting sick of me.
Yeah, captain, I'll need back-ups standing by.
I think Christina's in danger.
No, I don't.
That's what I'm trying to find out.
I'll call you.
A purse.
My mother had one like it.
I think my mother's was It was a little bigger.
No, maybe not.
You want to talk about her, Matthew? I've been thinking about her.
Yeah? I've been thinking about her a lot.
[MACHINE BEEPS.]
What for? In case he calls in.
KNIGHT: Well, hello there.
And good evening, Toronto.
This is Nick Knight, sitting in for Dr.
Christina Noble.
Come on, let's have some callers.
Why don't you have a cigarette? [STAMMERS.]
You still smoke, don't you? Habits die hard.
They do.
I've really found that.
And I, I kind of Kind of feel responsible for yours.
How? What, you mean, I didn't-- I didn't cause you totake it up? [SIGHS.]
Matthew.
You haven't forgotten all the work we did getting you to stop taking the blame for things? Some things I should be blamed for.
No, not the way your mother treated you.
You never deserved that.
Not at the time.
KNIGHT: Well, the lines are open if anyone out there feels like talking.
Tonight's subject is fantasy.
Have you ever acted yours out? [BOLTS CLICKING.]
Why are you locking the door? Are you afraid I'll leave? You left before.
You left me in the hospital.
You needed more help than I could give you.
Matthew, I tried.
But you weren't as well then as you are now, and you'd suffered so much.
You needed a place to heal.
No, you left me because you didn't care about me.
You're just like my mother.
You're the exact same.
I did care, I did.
It's just that You needed a different kind of support system.
It was like a prison.
I had to escape.
I'm glad you're still keeping your hair like that.
Curly.
I thought you might be.
Escape? You Didn't you say they released you? One of the orderlies used to listen to your show.
He used to bring this little radio in on his night shifts.
That's how I first heard it.
It was like talking to you.
Hearing your voice in the night.
Wonder what they're doing without you.
Probably running a tape.
KNIGHT ON RADIO: We talked to Linda, but she was afraid to act out hers.
There must be somebody out there who's not afraid to push the envelope.
Come on, Toronto.
Who's that? It must be a guest host.
The ultimate fantasy in life, not in dreams.
Fantasy, huh? Hi, Toni.
TONI: I'm not afraid.
KNIGHT: Great, talk to me.
Well, my fantasy is being in an elevator at work In the dark.
Oh, yes.
[BEEP.]
Let's hear someone else.
Okay, I think we've got a caller.
Hello, you're on CTOK.
Fantasy, huh? What if I told you I was acting mine out right this minute? [BEEP.]
So your fantasy is to talk on the radio, huh? [BEEP.]
Oh.
No, I've done that a few times.
My fantasy is something else.
Why don't you tell us about it? And give me some details so we can savor it right along with you.
Detail, you want detail? I'll give you detail.
[LONG BEEP.]
Did you get the address? Damn it! I blew it.
I blew it! I stayed on too long, they'll have made the trace.
You're me.
Matthew, where are you taking me? Shut up! Please give me the gun.
You know I won't hurt you.
Get out there! [GRUNTS.]
Get up.
I can't.
I hurt myself.
I said, get up! I can't! Damn it! Damn it! I did it again! I screw everything up! Please, Matthew.
Put the gun down.
You really don't want to kill me.
You left me.
You kept telling me it wasn't my fault the way I was! That it was my mother's fault! But then I killed her, and they all blamed me! You blamed me! No, if we'd blamed you you would've been in a prison, not a hospital.
Don't you see that? You hate me.
And you lied to me.
No, I didn't lie to you.
You cheated me.
Matthew, I never cheated you.
I was trying to help you.
Don't you see that? Somewhere inside you believe that.
[GASPS.]
I hate you, Mother.
And I'm going to kill you for making me hate you.
KNIGHT: Put the gun down, Matthew.
[ELECTRICAL CRACKLING.]
[MATTHEW SCREAMING.]
[SCREAMING DIES OUT.]
You all right? [BREATHES HEAVILY.]
What is it? Uh, my ankle.
I I think I twisted it pretty badly.
You did everything you could to help him.
Yeah.
[BREATHES DEEPLY.]
You sure you're okay? I'm okay.
[BREATHES DEEPLY.]
I'm okay.
[SIRENS WAILING IN DISTANCE.]
WOMAN: Hi.
We're talking kinky here on CTOK.
MAN: Yeah, but, uh, how kinky is that? I mean, what is kinky, anyway? Good question.
What do you think? Well, my girlfriend-- well, we're engaged now-- she got me into this, uh, whipped cream thing.
And that's why you're engaged? [CLICKS BUTTON ON RADIO.]
[ .]
ANNOUNCER: You have been listening to Rigoletto Here you go, Schanke.
Thanks.
Since when do you like opera? Or is this just another aspect of your self-administered media literacy program, hm? [CLICKS.]
WOMAN: The hour is late and the mood is kinky here on CTOK.
This is Marsha I thought so.
Give me a break.
I just wanted to hear how the new host was working out.
Oh, yeah, sure.
Tonight, I want to hear from all the uniformed men in the city.
What's it like? Do women really get turned on by your uniform? Come on, guys, tell us about your experience.
We'll be right back after the break with more kinky talk on CTOK.
Schanke, come on.
Would you cut me some slack? Are you kidding? This subject was invented for you.
I'm sure you got some old war stories.
[DIALING.]
Wait, wait.
Hang it up, hang it up! Hang that up! Repression is a serious thing, Schanke.
[DIALING.]
Hang it up, hang it up.
Give it to me.
No, it's almost as bad as denial.
I don't want to see you in denial.
I mean, it's unhealthy.
Keep it up and in no time, you'll be on Dr.
Noble's new couch, huh? I can't believe you're doing this.
MARSHA: Hello.
Are you a man in uniform? Yeah, just hang on a second, okay? Hello? Yes, you're on the air.
It happened when I was a rookie [ .]