Christina Nobel: Good evening, Toronto. This is CTOK 92.3 FM, and we're talking about your intimate secrets.... Larry, tell me, what's on your mind tonight.
Larry: Oh, this is really kinky....
Christina: Go on.
Larry: I can't believe I'm admitting this, but I really get off watching my wife make it with other guys.
Christina: Oh really. Well that's something to admit, Larry. Do you have have any fantasies when you watch?
(Larry laughs(?))
Christina: What do you think, Larry? (He laughs some more) Okay, you ponder that one while we move on to...Carol, you're on the air, talk to me.
Matthew: (Using some device that changes his voice to sound like a woman) You turn me on.
Christina: 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?
Matthew: Oh, I like real people, too.
Christina: Good. What do you want to talk about?
(Matthew puts the device down)
Christina: Carol...are you there?
Matthew: Hello, Doctor.
Christina: Who am I talking to?
Matthew: Not who you think.
Christina: Okay, Mister 'not who I think,' you want to pick up where Carol left off?
Matthew: Well, I want to talk about...blondes, sexy blondes, that I can talk to, and say, 'I'm not going to hurt you if you respect my feelings.'
Christina: I bet your girlfriends love that.
Matthew: Oh yeah. Well, she knows she doesn't respect my feelings, so she just tries to beg for mercy instead.
Christina: Oh? This is sounding a little twisted to me.
Matthew: Yeah, it is. Maybe that's why it is so much fun. I can't even help what happens next, Doctor.
Christina: You can't, huh? And what is it that comes next?
Matthew: What comes next is I wrap the cord around her neck....
Christina: Wait a minute.
Matthew: Pull it tight.
Christina: No. Look, this isn't good. If this is your idea of a joke, I'm going to have to take you off the air.
Matthew: Too late. She's dead.

Matthew (on tape): Too late. She's dead.
(Stonetree stops the tape)
Stonetree: You say you have no idea who this could have been? Never heard this voice before?
Christina: No, I don't, I haven't. And I know voices. I've been doing call in shows a long time.
Stonetree: Your station have caller ID?
Christina: No, our policy guarantees anonymity on all of our calls.
Stonetree: Makes for a...hotter show.
Christina: Something like that.
(Stonetree hits a button on his phone)
Desk Sergeant: Yes, Captain?
Stonetree: Yeah, is Nick around?
Desk Sergeant: Yeah, he's around here somewhere.
Stonetree: Somebody get him for me. (Back to Christina) Uh, we'll get somebody on it.
Christina: Well, uh, what happens next?
Stonetree: 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.
Christina: What about the victim?
Stonetree: Well, so far, there isn't one.
Christina: You're going to look, aren't you?
Stonetree: Well, we'll do everything we we can...on what we got.
(Christina takes that in, puts out her cigarette, stands, and gathers up her stuff)
Christina: Is there anything more I can do?
Stonetree: No there isn't, except get some sleep. Let us wrangle it from here, huh?
Christina: Yeah. (Leaves and runs into Nick as he come in)
Nick: the meter still running?
Christina: Sorry, I didn't see you.
Nick: Oh, that's okay.
Christina: Thank you.
Nick: No problem.
Christina: Sorry. (She slips by)
Nick: It's okay.
Nick: You been telling her stories again?
Stonetree: She couldn't handle it if I had. That was Dr. Cristina Nobel.
Nick: The radio shrink?
Stonetree: 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.
Nick: On the air?
Stonetree: Right on the radio. Beamed out to the whole city.
Nick: And you think its a hoax?
Stonetree: Well, I have no proof that it isn't.
Nick: Well, I don't know. She didn't look as if she was on a publicity tour.
(Stonetree doesn't answer, takes the ashtray and dumps it out, setting it back down)

Schanke: Never listen to the stuff. The job's enough of a reminder of what a colorful world we live in.
Nick: I know what real fear looks like. She was scared.
Schanke: Yeah, scared that the ratings might slip.
Nick: No. She had that cornered look, like she'd gotten in too deep.
Schanke: Oh, come on, Nick! You know that I worry for you? Every time you fall for this damsel in distress routine! For our information, Christina Nobel is a hardened pro. I'll bet you right now she's back in the saddle again, so to speak. A slice of heath-crunch pie says I'm right. Here.
Christina (on radio): Those listeners who were tuned in last night, pretty intense. Ah, the police are looking into it and we're going to try and 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 to that part of yourself to a situation or a person. The lines are open. Kaylee(?), talk to me.
Kaylee: 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.
Kaylee: Or maybe it was the good side, being bad....
Schanke: See what I mean? Last week she had a guy on talking about making out with his mother-in-law. The week before that the subject was single women who've made it with pizza delivery boys. I mean, come on! She even had a discussion about--
Nick: I thought you never listened to that stuff, Schank?
Schanke: Well, you know.... Once in a while I do.
Nick: Oh, once in a while, yeah.
Schanke: Research.

(Back to the radio show)
Kaylee: You know how it is. One thing led to another. If ??? you better believe it.
Ted (Tech Guy): Hector on line one. I'm taking a ???. (Leaves)
Christina: Hello hector, can you top Kaylee?
Matthew: My name's not Hector, Doctor, but I think I can talk anyway.
Christina: Go ahead.
Matthew: Yeah, in a sec. First I want to find out if you slept okay last night.
Christina: Perhaps a more appropriate question is how did you sleep?
Matthew: I was too excited to sleep. I'm still too excited to sleep. Besides, no one sleeps in the bridal suite.
Christina: Are you alone?
Matthew: What? In the bridal suite. Aren't you listening? She's even blushing like a little blushing bride.
Christina: What kind of a person is she?
Matthew: 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. (...more in the background of the next bit)

Nick: (Having pulled over to the curb) Take over the wheel.
Schanke: Where are you going?
Nick: Call in what's going on. I'll meet you back at the station.
Schanke: Well, you have no idea what we're-- Knight!

Schanke: 81, dispatch, Kilo. Turn on C-TOK for another possible homicide in progress.
Dispatch: I've got a call-in. Spedina(?) and Queens. It's an emergency.
Schanke: Knight's out of the car, I'm solo.
Dispatch: Then respond alone, it's an emergency.
(Schanke hesitates a moment, and then slides over and starts the car)

Matthew: She's listening to you, Doc. Every useless word you say.
Christina: Please...before you do anything--
Matthew: You know what I'm gonna do. I'm gonna let nature run its course. I'm gonna blow her bits. I have to do what I'm told. I always do what I'm told.
(Christina holds up a pad of paper with '911' written on it, and the Tech guy picks up the phone)
Christina: Who's telling you to do this?
Matthew: Who's telling me? I don't know. What's important is she's nothing, and that she has to die.

LaCroix: (Holding a knife by a man's throat) Because he is 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.

Christina: You're talking about taking a life here. Please don't hurt her. Please, let her go.
(A couple seconds of silence, then a gunshot. Christina slumps back in her chair, and a moment later Nick comes in.)

Woman: I really didn't want to call the police, but I know something is wrong, I-I just know it.
Schanke: How do you know?
Woman: Well, the dog, he's been barking like crazy in here, and nobody's seen her for two days.
(They go in further into the apartment, and Schanke turns on the light and they find the woman tied to the bed (first victim).)

Schanke: Apparently, she was a freelance photographer. According to the neighbors, the last time anyone saw her was two nights ago.
Natalie: 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....
Nick: But understanding it psychologically is another matter, right?

Stonetree: Well?
Nick: Well what? Do you want me to take a wild guess?
Stonetree: Do I have a choice?
Schanke: 'Fraid not, so far we don't have a weapon or a motive.
Nick: But we think this might be the victim of last night's on-air murder.
Stonetree: Why?
Natalie: The progression of rigor mortis indicates she's been dead between eighteen and twenty-four hours.
Nick: The time of the call-in.
Stonetree: Not enough.
Schanke: There's got to be another link here somewhere.
Nick: Wait a sec. Where's the phone?
Schanke: It's bagged, were checking it for prints.
Nick: Let me see. (Takes the phone and goes to plug it in) Well, here's to modern conveniences. Automatic redial. (Hits it)
Receptionist: CTOK radio, can I help you?

Nick: According to the voice analysis, the guy's young. Maybe twenty or so. No more than twenty-five. Caucasian.
Schanke: Yeah, and he must have known her somehow 'cuz there's no sign of forced entry, not to mention the place is crawling with prints.
Nick: Unless he followed her home from the store.
Schanke: Then I say...happy date.
Stonetree: And I say we hold on to our speculation until we got more to go on. Hopefully very shortly we'll have more to go on.
Nick: Yeah, like the body of a second victim.
Stonetree: Well, assuming that there is one. There's still a chance that tonight's call was a copy-cat.
Nick: Okay, I'll get a dub of tonight's tape. If the voice print matches, at least we know the answer to one question.
Schanke: Maybe we'll be able to pick up some background noise off of this time to get a location.
Nick: ??I think there?? might be an easier way. Let's put a trace on Nobel's phone lines at the station.
Stonetree: Let's keep this one under wraps. No press, no one. Anything that 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'd better start checking hotel bridal suites.
Schanke: Well, how come he gets the live ones?
Stonetree: They like him.

(Note regarding the below...yes, I know it's a different number than's what's said (before it was 92.3 FM))
Christina: Welcome back, Listeners, this is CTOK 93.4 FM, and we're live on the air.

Station owner?: Everything plugged in, ready to go?
Nick: 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?
Station owner: Oh, she's one of those driven types. All the driven people I know smoke. You want coffee?
Nick: No thanks. Mind if I listen in?
(Signals the Ted (the tech guy), and he makes it so they can hear what she's saying)
Christina: Thanks for hanging in there, and for sharing all your feelings. Feelings that all of us....
Nick: Think she can handle it?
Station owner: Don't worry about her. She's a pro.
Christina: ....the anger. It's the subject of tonight's show.
Station owner: What? No! No. (Waves hands at her through the window) The subject of tonight's show is women who love too much.
Christina: ...CTOK. The lines are open. Hello, Susan, you're on the air.
(The owner guy walks off, frustrated)
Susan: Hi, I feel so terrible about what happened to that poor woman. I'm scared.
Christina: I understand. Are you single?
Susan: Yes. And I'm still looking for Mister Right. I'm seeing a lot of guys. ....know them. Should I be more careful?
Christina: Of course, you ??should always ???
(In this, the tech guy gets a call--it's Matthew again--he signals Nick and Christina during the next line)
Susan: ???? I'm going to be way more careful from now on. I think you're doing real good work.
Christina: Thank you for your call, Susan. (Switches callers with a signal from Nick) Hello, you're on CTOK. Who am I speaking with?
Matthew: Guess.
Christina: Why? Do I know you?
Matthew: You may think you do, but there's knowing someone and then there's really knowing someone, and I don't think you have a clue, Doctor.
Christina: Then why don't you give me one.
Matthew: (In a high pitched voice) Help, help, don't hurt me.
Christina: You like that sound, don't you. That's the sound of someone who's afraid. The sound of a woman who's afraid.
Matthew: Afraid of me.
(Nick signals for her to keep talking)
Christina: Why do you like making them afraid?
Matthew: You know perfectly well.
Christina: No, I don't. Why don't you tell me? Talk about it.
Matthew: Maybe I'd rather do something about it that talk about it, you know? I mean, that's the problem with shrinks, you just sit around. You are a shrink, aren't you?
Christina: A psychiatrist.
Matthew: So why aren't you in an office with a couch and a big swivel chair. Whoops...did I hurt your feelings? Maybe you weren't good enough.
(Nick again signals for her to continue)
Christina: You didn't call to talk about my feelings, you called to talk about your feelings.
Matthew: How do you know? (He hangs up, and of course that means they didn't get the trace)

Christina: Stupid. I screwed up. I shouldn't have confronted him. I scared him off.
Nick: 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.
Christina: Well, I guess if I wasn't so rusty I would have figured that out for myself.
Nick: Rusty? What do you mean?
Christina: Never mind. You know what they say. Use it or lose it.
Nick: Yeah.
Christina: I just wish I knew if this guy was for real.
Ted: There's a call for Detective Knight, uh, should I put it on the speaker?
Nick: Who is it?
Ted: It's a Detective Schanke.
Nick: Oh, Schanke. Well, he's your biggest fan. He must have been listening in. Put him through.
Schanke: Hey Knight, I'm calling form the hotel. We got body number two, room 623, the bridal suite.
Christina: Body number two? You found victims? But you never said....
Nick: I'll be right there, Schanke. I'm sorry, I hope you understand, it's police business. (He turns and starts out)
Christina: (She goes after him) 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?
Nick: We'll talk later, okay? I can't talk to you now. (He leaves)

Schanke: We figure he might have lured her in here on the looky-loo pretence of showing him the room. Other than that, everything, the phone, the way the body was made up--the same as last time.
Nick: So now it's just a race against time.
Schanke: It tends to be that way when you're dealing with a serial killer.

(And Nick zones off....)

(Janette's behind the man (who's gagged), putting a crown on his head, laughing)
Janette: LaCroix! LaCroix, look! He does look like your father, doesn't he?
Nick: 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.
Nick: You sicken me, LaCroix.
LaCroix: Don't watch.

Forensic: Nick. Nick? Excuse me, I'll get this to the lab. (Takes the evidence bag Nick's holding) You should have a fingerprint report by noon.
Nick: Yeah, thanks.
Schanke: Which would be a big help if the guy has a criminal record.
Nick: What about a psychiatric record? Anything on that?
Schanke: Still working on a warrant. I mean, if this guy does have a record, his MO will stick out like a sore thumb.
Nick: How many psychotics can there be that are in to makeup?
Christina: (entering, from the open door) You'd be surprised.
Schanke: Hey, excuse me, Lady, the elevator's closed off. How'd you get in?
Christina: Oh, ways of navigating back staircases. I came to help. Christina Nobel.
Nick: (leans in and whispers to Christina) Detective Schanke.
Christina: Oh, you must be Detective Schanke. One of my biggest fans.
Forensic guy: (with a clip board and a tube of lipstick in a bag attached to it) Excuse me.
Nick: Thanks ???. (Signs the paper on the clip board)
Christina: He used that lipstick on the victim. He was dressing her up, wasn't he?
Nick: Let's say you're right. How do you arrive at something like that?
Christina: Well, women don't crush their lipstick when they apply it. And three of my internship years were spent in forensic psychia--
Schanke: Excuse me, Nick. Need I remind you of certain directives from on high, if you get my drift.
Christina: Look, I understand that this is a guarded investigation, but just let me have a look around, you know? Maybe I can give you a better idea of who you're looking for.
Schanke: Well, we're about to take off and forensics is going to pick up the rest of the evidence later this morning.
Nick: It's all right, Schanke, I'll stay with her.
Christina: Thanks.
Schanke: I hope you left the keys to the Caddy. (He leaves)
Nick: Okay, boys, you can wrap it up. I'll close up here when I'm done. (They leave)

(Schanke's at the reception window for King's Mill Psychiatric Hospital, holding his badge up)
Nurse: 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.
Schanke: Yeah, right. (Puts his badge away and pulls out a warrant) Does a warrant count?

(The nurse takes him to a room labeled 'Medical Records, HR. 0900-1600', which is filled to the brim with stacked boxes of files)
Schanke: Man, oh man, oh man.... Don't you have any of this on computer?
Nurse: Your warrant specifies our records, not our database. (She walks off)

Christina: Did he have intercourse with his victims?
Nick: No.
Christina: Possibly impotent. So sex isn't the key.
Nick: But power, control, is?
Christina: Yes. But not the way you think. He was dressing them up to conquer him, but it's really his way of conquering his own fear.
Nick: That's interesting. And the fact that both rooms were largely undisturbed.
Christina: Now from your point of view that means there was little or no struggle. For me it would suggest that the fantasy started the moment the women walked in, the moment he walked in. He stalked them, was ready for them.
Nick: So he knew them.
Christina: Well enough to know that he could find them alone or get them alone. The first victim...I think he probably just met her that night. Maybe she mentioned something about listening to my show...?
Nick: Okay, any idea what he was like?
Christina: The lab report said that the hair samples came back Caucasian?
Nick: Yeah.
Christina: I'd at to that attractive, intelligent, charming....
Nick: A guy with a lot going for him.
Christina: 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.
Nick: Punishing women.
Christina: 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 fifteen year old boy.
Nick: Yeah.
Christina: He was so severely abused by his mother that it took me a year before he would look at me. Now, I finally gained his trust, he opened up to me, and then he started to respond to me the way he responded to his mother.
Nick: Transference.
Christina: Yeah, that's what they call it. And I just wasn't having any success dealing with it in therapy, so, I decided the professional thing to do was to put him in a hospital.
Nick: And you blame yourself for that?
Christina: I let him down. I abandoned him.
Nick: Sounds to me like you handled the situation the way you were trained to handle it.
Christina: Well, I was trying to work the way I was trained. I obviously missed a few crucial lectures.
Nick: Whoa, you're being a little hard on yourself, don't you think? Psychiatry doesn't promise miracles. Why do you expect yourself to be a miracle worker?
Christina: After he was discharged, he brutalized and killed his mother.
Nick: So that's why you left the practice.
Christina: Yeah. That's why I gave up my couch for a phone. My respectability for pop psychology. Clearly a vocabulary of Freudian terminology and a diploma don't make one a good doctor.
Nick: So, our killer could be acting out his fantasy. 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.
(Flashback starts while still in this scene, with Janette's voice)

(LaCroix is standing behind the man, holding the man's head back so that he's looking up with a knife to his throat. Janette's behind LaCroix, and Nick's across from them.)
Janette: He does look like your father, doesn't he?
Nick: How can you be so cruel?
LaCroix: It was bred into me.
Nick: No. No, we're killers, not torturers.
LaCroix: I was referring to a more insidious kind of breeding. You're right. The resemblance is uncanny. Tell me you love me, father. Say, 'I love you, Oedipus.' Say 'I'm sorry, Oedipus,' and 'forgive me, Oedipus, my son, for the treacherous introduction to the world that I gave you.'
Nick: Oedipus killed his father by accident.
LaCroix: Nobody believes that. Not anymore. (Kills the man with the knife (stabs him with it, from what I can tell))

Nick: Well, I've got to tell you you were helpful up there. You've got a talent for that.
Christina: Haven't stretched it for a while. You know, I talk to people every night on the radio, but back there I felt like my old self.
Nick: Well, maybe you should try it more often.
Christina: No, let's not get too carried away.
Nick: No, I mean it. You should talk to Stonetree.
Christina: Well, maybe we should save the accolades until after we've tested my accuracy.
Nick: Ah, look, I've got to tie up some lose ends, so uh, I'll see you tonight at the station.
Christina: Yes. See you then. (She turns and starts off)
(Nick goes to the Caddy, gets in, and once she's out of sight, gets out and gets in the trunk)

Stonetree: What were you thinking letting her in on that site? She's practically press! The whole city is gonna know every detail, including every potential copy-cat psycho from here to Great Bear Lake!
Nick: She's a team player, Captain. She's putting herself out to help us. I mean, she profiled the killer.
Stonetree: Oh she did, did she? Oh, oh I better hear this. What, is he single? Old-fashioned? Likes to take moon-lit walks? If you're gonna hire a psychiatrist for this case, let's get a real one!
(Nick turns, frustrated, and sits on the desk. The phone rings, and Stonetree hits the intercom button)
Stonetree: Yeah.
Desk Sergeant: Schanke's on the line.
Stonetree: All right, put him on. (He does) What do you want?
Schanke: Boy am I getting the runaround here, for this I want overtime.
Stonetree: What do you got?
Schanke: Blisters on my corneas, for one thing. And about thirty more boxes of files to go through. Is Knight there?
Nick: Yeah, I'm here.
Schanke: Listen, give me a hand here. Did Suzy Freud give you any clues as to what I'm looking for?
Nick: Any young male in the last five years with a record of violence towards women, especially mothers, sisters, grandmothers, maybe a recent discharge.
Schanke: Okay, that's great! That's fabulous! Let me just right this down. That's N-O-R-M-A-N Bates. Norman Bates. Hasta la bye-bye.
(He hangs up. Turns as a woman walks by. He's a bit tired, shakes it off, starts down the hall)
Schanke: (Passing a room with an unattended computer and coming back) Hello, Norman. (Enters) Come to papa. (Checks the hall and closes the door behind him)

Ted: (arriving, seeing someone working) Hey, how are you doing? (The phone rings, which he picks up) Hello, this is the Christina Nobel show. No, no, but I expect her in any minute. Ah, well,, I understand. Maybe she's still in her car, hold on a second.

Christina: Yeah?
Ted: Dr. Nobel 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.
Christina: Who is it?
Ted: Well, that's why I figured you'd want to take the call. It's a former patient of yours?
Christina: (she hesitates a few seconds) Yeah, yeah. Put him through, Ted. (He does so) Hello? Hello, are you there?
Matthew: Dr. Nobel, is that you?
Christina: Yes, who's this?
Matthew: You might not remember me.
Christina: Oh sure I will. You were a patient of mine, weren't you?
Matthew: Yeah. Matthew. Matthew Reed. Do you remember?
Christina: Yes, yes of course, Matthew, I remember you. How are you?
Matthew: 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.
Christina: Yes, that's good.
Matthew: Well, the stuff...the stuff that's been happening on the radio, I, I don't know, it just really disturbs me. I'm really affected by it, I guess.
Christina: Matthew, I hear what you're saying. I think you should go to a hospital as soon as possible. Can you do that?
Matthew: No, I don't want to go back there. Look, I'm sorry I called.
Christina: No, you should have called, it's good that you called.

Schanke: Are you on your way to the station.
Nick: Yeah, we're going to put out the trace again.
Schanke: Well, I have got something that might help.
Nick: What is it?
Schanke: Well, after much time and trouble and a little bit of luck of the Schanke, my best guess out of at least fifty candidates.
Nick: Any previous homicides?
Schanke: One. His mother when he was fifteen. Sat around with the body for a couple of days before he called the cops.
Nick: She had blonde curly hair.
Schanke: No, but his shrink does. Dr. Christina Nobel.

Christina: I want to help you. We can talk.
Matthew: I'm afraid to go out.
Christina: Well, that's okay, I'll come to you. Where are you?
Matthew: ???? and fifth, ???? Apartments, number nine.
Christina: I'll be right over.

(Flashbacks/Nick thinking)
Matthew: I want to talk about...blondes. Sexy blondes.
Nick: I know what real fear looks like. She was scared.
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 to that part of yourself to a situation, or a person.
Nick: You sicken me, LaCroix.
LaCroix: Don't watch.
Natalie: This stuff makes vampires look like cute little schoolboys.
Christina: Damn it, Nick. For all I know my show could be the whole cause of this.
Christina: He used that lipstick on the victim.
Christina: He doesn't feel part of the human race, less than. So...the rules that apply for us, don't apply for him.
Nick: How can you be so cruel?
LaCroix: It was bred into me.
Nick: No. No, we're killers, not torturers.
LaCroix: I was referring to a more insidious kind of breeding.
Nick: She's a team player, Captain. She's putting herself out to help us. I mean, she profiled the killer.
Nick: She had blonde curly hair.
Schanke: No, but his shrink does. Dr. Christina Nobel.
Nick: 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.

Nick: (Arriving at the CTOK) Where's Dr. Nobel?
Ted: Ah, she's not coming in tonight.
Nick: Not coming in.
Ted: No, no, we're running pilots from an earlier show. Pilots.
Nick: Where's she gone?
Ted: I don't know, she got a call from a former patient. What's wrong?
Nick: How can I get in touch with her?
Ted: You could try her car phone. (He picked the phone up, hits an automatic dial button, and hands it to Nick.)
Nick: Thanks.
Service message: The mobile customer you have dialed is away from the phone or has traveled beyond the service area.

Christina: Hello Matthew.
Matthew: I can't believe you're here. It's been so long. (He leans forward, out of the shadow)
Christina: (She walks forward) You've grown up. Your voice has changed. You've changed.
Matthew: In some ways.
Christina: Good ways, I'm sure. They released you from the hospital.
Matthew: (He leans back into the shadow again) I think they were getting sick of me.

Nick: (on the phone) Yeah, Captain, I'll need backup 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.

Matthew: A purse. My mother had one like it. (Stands up and approaches Christina, who's a little wary) I think my mother's was...was a little bigger. No, maybe not.
Christina: You want to talk about her, Matthew?
Matthew: I've been thinking about her.
Christina: Yeah?
Matthew: I've been thinking about her a lot. (He walks past her)

(Schanke is at the station, and Nick's sitting down with the headphones on, he stands up and puts them on Schanke)
Schanke: What for?
Nick: In case he calls in.

Nick: Well, hello there, and good evening, Toronto. This is Nick Knight sitting in for Dr. Christina Nobel. Come on, let's have some callers.

Matthew: Why don't you have a cigarette? You still smoke, don't you?
Christina: Habits die hard.
Matthew: They do. I've really found that. And I-I kind of, kind of feel responsible for yours.
Christina: How?
Matthew: Well, you mean I-I didn't cause take it up?
Christina: Matthew, you haven't forgotten all the work we did getting you to stop taking the blame for things?
Matthew: There are some things I should be blamed for.
Christina: Not the way your mother treated you. You never deserved that.
Matthew: Not at the time. (He turns, to lock the door)

Nick: Well, the lines are open if anyone out there feels like talking. Tonight's subject is fantasy. Have you ever acted yours out?

Christina: Why are you locking the door? Are you afraid I'll leave.
Matthew: You left before. You left me in the hospital.
Christina: You needed more help than I could give you. Matthew, I tried, but you weren't as well then as you are now, and-and you'd suffered so much. You needed a place to heal.
Matthew: No, you left me because you didn't care about me. You're just like my mother, you're the same, the exact same!
Christina: I did care, I did. It's just needed a different kind of support system.
Matthew: It was like a prison! I had to escape. Why do you still keeping your hair like that, curly. I thought you might.
Christina: Escape? You...didn't you say they released you?
Matthew: One of the orderlies? Used to listen to your show, used to bring this little radio in on his night shifts. I first heard it. It was like talking to you. Hearing your voice in the night. What are they doing without you? Probably running a tape. (Goes and turns on the radio)
Nick (on CTOK): ...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...
Matthew: Who's that?
Christina: It must be a guest host.
Nick: ....tell me about the ultimate...the ultimate fantasy in life, not in dreams.
Matthew: Fantasy, huh? (Goes over to the phone and calls in as someone else is talking)
Nick: Let's hear someone else. Okay, I think we've got a caller. Hello, you're on CTOK.
Matthew (Calling in): Fantasy huh? What if I told you I was acting mine out right this minute? (Aims a gun at Christina during the last few words)
(Nick nods and Schanke starts the phone trace)
Nick: So your fantasy is to talk on the radio, huh?
Matthew: Oh, no, I've done that a few times. My fantasy is something else.
Nick: Well, why don't you tell us about it, and give me some details so we can savour it right along with you.
Matthew: Detail? You want detail? I'll give you detail.
(They make the trace, and Schanke signals a thumbs up)
(Nick, I think, goes off air)
Nick: Did you get the address?
Matthew: Damn it. I blew it. I blew it! I stayed on too long, they'll have made the trace.
(After slamming the phone down several time, he goes for Christina, and drags her out of the apartment.)

Nick: (to Schanke) Humour me. (Takes the paper with the address on it and leaves)

(As Matthew is dragging her up the stairs)
Christina: Where are you taking me?
Matthew: Shut up!
Christina: Please give me the gun, you know I won't hurt you.
Matthew: (?)Get up here.(?)

(Up on the roof, Matthew pushes her onto the ground)
Matthew: You left me. You kept telling me it wasn't my fault the way I was. It was my mother's fault. But then I killed her and they all blamed me! You blamed me!
Christina: No, I've we'd blamed you, you would have been in a prison not a hospital, don't you see that?
Matthew: You hate me and you lied to me.
Christina: No. I didn't lie to you.
Matthew: You cheated me!
Christina: Matthew, I never cheated you. I was trying to help you. Don't you see that? Somewhere inside do you believe that?
Matthew: (Raising the gun and aiming it at her) I hate you, Mother. And I'm going to kill you for making me hate you....
Nick: (landing behind Christina, vamped out) Put the gun down, Matthew.
(Nick walks around Christina, approaches Matthew, who backs up and shoots Nick/at Nick, eventually into an electrified fence and...well, dies. Nick then goes to Christina.)
Nick: You all right?
(Sees that she's looking to where Matthew is, glances that way, and then back to her.)
Nick: What is it?
Christina: My ankle. I think I twisted it pretty badly.
Nick: You did everything you could to help him.
Christina: Yeah.
Nick: Are you sure you're okay?
Christina: I'm okay. (Then, more firmly:) I'm okay.

(Schanke's sitting in the Caddy, listening to the radio.)
Marsha: (on CTOK) We're talking kinky, here on CTOK.
Caller: Yeah, but uh, how kinky is that? I mean, what is kinky, anyway?
Marsha: Good question. What do you think?
Caller: Well, my girlfriend? Well, we're engaged now. She got me into this ah, whip cream thing.
Marsha: And that's why you're engaged?
Schanke: (changes the channel as Nick comes back) Hey.
Radio: You have been listening to the second act of (?)Regula(?) ??? at (?)Roy Thompson(?) Hall.
Nick: (Handing Schanke some food) Here you go, Schank.
Schanke: Thanks.
Nick: (Just as Schanke's about to take a bite out of his food) Since when do you like opera, or is this just another aspect of your self-administered media literacy program? (Nick turns the radio back.)

Marsha: The hour is late and the mood is kinky here on CTOK. This is Marsha, and I want to hear from you...
Nick: I thought so.
Schanke: Give me a break. I just wanted to hear how the new host is working out, you know.
Nick: Oh yeah, sure.
Marsha: 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: Would you cut me some slack!
Nick: Are you kidding? This subject was invented for you. I mean, I'm sure you've got some old war stories! (Nick starts dialing CTOK on his phone)
Schanke: Hang it up, hang it up. Hang that up!
Nick: Repression is a serious thing, Schanke. (Dials the rest)
Schanke: Hang it up, hang it up! Give it to me! (Tries to get the phone, but gives up)
Nick: 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. Nobel's new couch, huh? (Puts the call through)
Schanke: (Shaking his head) I can't believe you are doing this!
Marsha: Hello, are you a man in uniform?
Nick: Yeah, just hang on a second, okay? (Gives the phone to Schanke and mouths 'go on' or something.)
Schanke: Hello?
Marsha: Yes. You're on the air.
Schanke: It happened when I was a rookie....