Forever Knight (1992) s03e20 Episode Script
Francesca
[.]
[HISSES.]
[BREATHING HEAVILY.]
[.]
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: First sip is like explosion.
We taste everything.
I know his dreams, his fears, his loves.
I can feel myself against him.
Taste my own blood returning through his.
He's younger than me.
A crusader turned away from the light.
I can taste the sands of Jerusalem in his veins.
Sweet with his hunger for me.
I die a hundred times in his arms.
He dies in mine.
He dies in mine.
He dies in mine! WOMAN: Frank.
Frank.
It's okay.
You're safe now.
You're with me.
I think that's enough for today.
What happened? Was I there? I think we're making progress, yes.
What--? What did I say? Who was I? Frank, the point of past-life regression is to help us understand what's causing your fears.
It's not about who you were or even what you remember.
It's about who you are now.
But I am remembering.
It's still experimental therapy.
You'll have to give it time, but we'll get there.
You have to understand how disturbing this is for me.
We'll pick it up next time right where we left off.
It'll be all right.
[.]
FRANK [ON TAPE.]
: I die a hundred times in his arms.
He dies in mine.
He dies in mine! Dan Chase, poet, lived in Parkdale.
According to the canvass teams, he was last seen walking down Queen Street a few blocks from here.
Took a knife straight to the heart.
Death would have been pretty much instantaneous.
His throat was slashed after death, and he was drained of blood.
The stains around the body are pretty minor.
Looks like the killer took the blood away with her.
Could it be some kind of cult ritual? LAMBERT: I don't know, but she left a distinctive calling card.
Clear as a fingerprint, if you can find a suspect to compare it to.
Lucien.
It's been so long.
And who is this fair traveler? Nicholas Chevalier.
Nicholas, allow me to introduce one of your sisters: Comtesse du Montaigne.
Francesca.
The Nicholas of whom I've heard so much? You did not do him justice.
LACROIX: I hope this doesn't inconvenience you, Francesca, but we found ourselves in urgent need to travel.
As though my master could ever inconvenience me.
You know you will always be welcome in any home of mine.
There, you see? Did I not tell you? You did.
What he did not tell me was how beautiful you really are.
In truth, I would not have believed him.
[CHUCKLES.]
I was about to dine.
I hope you will join me.
LACROIX: Of course.
Francesca's estate is known for its rare vintages.
And I have a special treat for tonight.
I hope you like music.
VETTER: Do you ever have the feeling of déjà vu? I beg your pardon? I just feel like this is all familiar somehow.
I don't know what it is, but I don't like this one.
Well, there's no sign of sexual assault.
My best guess is that the killer gets off on this.
She's substituting killing for sex.
I'd say that we are looking for a woman with a highly repressed sexuality.
[.]
LAMBERT: You've been awfully quiet about this one.
Have you checked the stomach contents? The victim ate, uh, within two hours before death, probably less.
Expensive pâté, steak, caviar and a good merlot.
The condemned man's last meal.
Or was he being fattened for the kill? The kiss print: a mixture of blood and lipstick, the victim's blood.
She's drinking their blood.
Nick, look, I-I know that there are no fang marks-- There wouldn't be.
Killed with a knife to the heart.
Sudden death.
Sweetens the blood, but it stops the circulation.
[SIGHS.]
We need the beating heart to feed, to bring the blood to the neck.
If the victim's dead, the body has to be drained.
So this is a vampire.
I've seen it done before.
Well chosen, my dear.
The man has a master's touch.
He was the toast of the season in Paris.
It's easy to see why.
It's rare to see one play with such passion these days.
You have a brilliant future ahead of you, sir.
Thank you, monsieur.
Comtesse.
That will do for tonight, Faubert.
Inform the others.
As I said, Nicholas, the comtesse is known for the quality of her entertainment.
It's worth the ride to Avignon.
Especially when one has to leave Paris in such a hurry.
[CHUCKLES.]
How ever did you convince them to come down here? Musicians, even great ones, are woefully unrewarded.
I offered the hospitality of my home and my estate.
He was pathetically grateful to accept.
KNIGHT: Must all your guests sing for their supper, comtesse? All my guests must earn my approval, monsieur.
You will not have to sing.
LAMBERT: Then you know who we're looking for.
There was someone once, but she's dead.
Just got a call.
Looks like we've got another one.
Parking garage in the Beaches.
[.]
[INDISTINCT CHATTER.]
MAN: So, Vetter, you got another one.
Go swallow a sock, Fuller.
You make nice.
I'm just putting two and two together.
You're out of your jurisdiction, I figure you got called in special.
Maybe we're doing a favor for the 88th.
Oh, yeah, 'cause Reese and Captain Jacobson get along so well.
Ha! So, Tracy, word is you got a dead guy with a kiss print on his forehead.
What? I got sources.
I was born yesterday? So Reese is pushing you to play it close to the vest, don't scare the public, don't tip off the psycho chick.
But I know you, Tracy.
You got imagination.
You know you can use the media on this one.
I'll break it wide open, right? No? No.
Friend of yours? Reporter, putting two and two together and getting five.
I dated him once.
Oh, yeah? Anything serious? No, I mean, I dated him once.
Oh.
Heh.
FRANK: It's so quiet in the halls.
I can hear every heartbeat.
WOMAN: Who's here? Francesca.
What year is it, Francesca? I'm not sure.
Seventeen And where are you? In my home on the Côtes du Rhône.
I'm moving to the bed.
He's here.
Fast asleep.
Who's there? The face The man from my dreams.
Do you know who he is? I can still taste him on my lips.
Feel him in my veins.
I can see him.
[HISSES.]
No! Frank, it's okay.
I know who he is! I know who he is! I know who he is! [PANTING.]
Who is he? My lover and my k-killer.
Nicholas Chevalier.
[HEART BEATING.]
[PANTING.]
[SIGHS.]
[.]
[DOORKNOB JIGGLING.]
FRANK [ON TAPE.]
: We are drawn together from the first time I see him.
Even in the shadow of our master, he's the one I see.
I have to have him.
[.]
[BOTH CHUCKLE.]
Good morning.
Francesca.
Francesca.
Shh.
We said all we needed to, last night.
[CHUCKLES.]
[PANTING.]
[CHUCKLING.]
Shh.
Later, later.
Drink.
[CHUCKLES.]
Delicious, isn't it? I believe he's at the height of his talent.
My God, F-Faubert.
Yes.
Drink more.
LAMBERT: So you could tell who it was from just one sip? Who it was, what he thought, who he loved.
How he died.
You have to understand that every drop of blood has your whole life in it.
It's not just our food.
It's the way we feel life.
Imagine if you could know someone's soul just by sharing their blood.
Everything you know, everything you are, transformed into touch and taste.
Imagine the temptation to take just one sip.
One sip, and then another, and another.
To take them inside you and know every secret.
To let them know yours.
To be them.
That's why it's such a tough habit to break.
VACHON: Stabbed and then drained, huh? You could have a connoisseur on your hands.
There are vampires who get off on the death rush.
These days, with everybody being real careful about not making a lot of extra bodies, it's an expensive taste, but it's like anything else.
You can always find people who will cater to any request for a price.
You mean, like a blood broker? You said the blood was being collected, right? [SIGHS.]
From a poet? You can always find a market for a special vintage.
Poet, musician, even an actor brings a premium if you have the right customer.
I've heard of people working in that line, but I don't know any.
Well, that could explain why there's no connection between the victims.
There's no common denominator.
If the killer is a vampire, could she be collecting them? Different memories, different lives? I'll buy that.
The thing that doesn't fit is the bodies, both found in very public places.
For a blood collector, part of staying in business would be cleaning up after yourself.
I don't think this is a professional, Vachon.
There's something about the murder sites.
It's just a feeling-- No, these are personal.
Trace, if it is a vampire What am I gonna do when I find her? I don't know.
FRANK [ON TAPE.]
: I've lived here almost 400 years.
It is my home.
The bedis walnut with ivory linen sheets, and a square-cornered canopy with sheer curtains, and green velvet that matches the drapes.
I keep the curtains drawn in the daytime.
But at night, I can see the moon from the window over the bureau.
I keep the men downstairs.
But the others, the ones like me, I bring here.
Someone's here now.
Lucien.
And who is this fair traveler? Nicholas Chevalier.
FRANK [ON TAPE.]
: Nicholas, say hello to one of your sisters, the Comtesse du Montaigne, Francesca-- Francesca du Montaigne.
All right, Dr.
Kadlec, tell them exactly what you told me.
Doctor.
[SIGHING.]
Well, normally I wouldn't be breaking doctor-patient privilege, but I guess that goes out the window in a case where the patient could be dangerous.
It's about the article in the paper about the murders, the kiss? Go on.
I have a patient who has been describing certain thoughts, certain fantasies.
At least I thought they were fantasies.
Fantasies that resemble these killings? We had a very intense session yesterday.
And then early tonight he broke into my office, and he stole the tapes of our sessions.
Wait a minute.
He? REESE: Whoa, you haven't heard the best part yet.
Frank has been undergoing past-life regression as part of his therapy.
And the dominant personality in these sessions has been female.
REESE: Apparently, he thinks he's the reincarnation of some 18th-century countess.
A vampire.
FRANK [ON TAPE.]
: The timing is very important.
A knife slides home in a single stroke and freezes time, pouring everything they're feeling into their blood.
They're caught between lust and fear.
When I taste their blood, I taste that.
A lust for me, a fear of me.
There is nothing sweeter.
That's the only tape I still have.
It was in the machine.
He must have missed it.
Sounds like it could be our guy, all right.
Tell us about him.
Frank Lopietro.
He came to me about three months ago.
He had been overtaken by these dreams where he saw himself as a woman, making love to a man.
He was feeling the urge to be this woman.
He was always heterosexual.
This was something that was new to him, something he wanted to control.
Which one of you decided he'd been a woman in a former life? Traditional psychotherapy had failed him, captain.
Hypnotic regression h-has been a useful tool for me and my patients.
To me, it doesn't matter whether their memories of past lives are real or fantasy.
It's a way of unlocking their deepest hopes and fears of seeing themselves in a clear light.
Frank's stories are all from a female perspective.
The perspective of Francesca du Montaigne, a vampire who lived and died and killed KNIGHT: Francesca, how could you do this? Why? I thought you appreciated artists as I do.
Appreciated art.
[ANGRILY.]
I don't appreciate it by killing it.
What other way is there for us? Can't you feel it coursing through our veins? His talent, his essence.
His genius, his passion wasted.
Not wasted, savored.
Immortalized with us.
Let us have the instrument brought.
You can play as he played.
[PANTING.]
It will last maybe two hours, no more.
And then it will be gone.
And then I shall have another brought from Paris.
Or would you prefer a painter? Or a dancer? [LAUGHING.]
KADLEC: He, uh, sublimated his hunger for sexual attention into this vampire fantasy, complete with mysterious lover, the dark and dangerous Nicholas Chevalier.
Francesca du Montaigne is a-- A manifestation of his desire projected onto another facet of his personality that he could feel separate from.
She was a way of controlling his own impulses.
The vampire fantasy is a-- Is an archetype that's deeply embedded in our collective unconscious.
It stems from, uh, the sublimation of sexual desire.
The deeper the frustration, the greater the-- The desire.
And in creating Francesca, Frank created a persona who had the freedom that he's never had, a sexual freedom.
REESE: But how does that get into killing? Well, in the vampire myth, killing is sexual.
Sexual freedom becomes the freedom to kill.
VETTER: If he believed he was a vampire, then he'd believe he had the permission to kill.
That's part of his nature.
Or, um, anyway, that's part of the myth.
Yes, but then myth can be very powerful.
Exactly.
But to be honest, I think I'm getting in way over my head.
I've been treating Frank for gender confusion, for issues of sexuality and identity, not for violent tendencies.
Not for anything like this.
Cap, I think we should have a look at his place.
Okay, I think I can scare up a search warrant.
Dr.
Kadlec, we need you to sit down with a sketch artist.
This shouldn't take long.
That's fine.
Okay, good.
Vetter, get her set up with Marcot.
[EXHALES.]
Uh, Knight? I've been on the force for a long time.
I've seen nut cases who thought they were everything from Louis XIV to Elvis's alien love-child.
Let's keep this one in the real world, okay? Yeah, I'll do my best.
[.]
[KNOCKING ON DOOR.]
KNIGHT: Police.
Open up.
Mr.
Lopietro, open up.
[SIGHS.]
Nick? No one's home.
LACROIX: Francesca du Montaigne is dead.
KNIGHT: I think she's back.
Reincarnation? Is that what you're suggesting? Well, I have seen stranger things in my time.
Men who walk through fire, children born speaking long-dead languages, and Harry Houdini had rather a nifty trick with handcuffs and a tank full of water.
This isn't a trick, Lacroix.
I don't know how it happened, but somehow this man knows Francesca, has her soul.
Or her soul has him.
Yes, which means that she is truly immortal, defying the corporeal laws that are supposed to bind even those of our kind.
So whose laws will you use against this killer, Nicholas? And who will you arrest, him or her soul? If this is Francesca reincarnate, I doubt that she remembers you fondly.
[MICROPHONE CLICKS.]
Here is an interesting dilemma for you, gentle listeners.
Where does responsibility lie for what we do in our lives? Is payment in full rendered for our sins at the hour of our death? There is talk that this life is but one of many in a cycle of lives without end.
Should this be so, should immortality be our common bond, what is its purpose? What does it mean? I hope that our arrival does not inconvenience you, my dear.
Do we return to this mortal coil unfettered by our sins or burdened by them? Perhaps we are not forgiven as easily as some would believe.
Perhaps to be immortal in this way is an eternal judgment, a true life-sentence, from which we, as sinners, can never be absolved.
Here's a sketch for Lopietro, APB.
Now that we know who we're looking for, we'll find him.
Um, doctor, you mentioned dreams.
That Frank was dreaming about his past life.
Is thatusual? Well, troubling dreams are often an indication that something hidden on a subconscious level is trying to reveal itself.
Recurring instances of déjà vu are also good indicators of that.
Maybe your subconscious is trying to tell you something.
It could be something in your childhood or in your further past, orit could be something that's right in front of you, but you don't see it.
Usually, all the clues are there.
We just can't put them together because we're not open to self-discovery.
You come by my office if you like.
Uh No, I-- I couldn't.
Mm.
Not everyone is ready to face their own secrets, to take a glimpse at their inner selves.
LAMBERT: Reincarnation? Is it so hard to believe? Nick, I am in the habit of believing before breakfast every day, starting with you.
But I must admit that I'm having just a little bit of trouble with this one.
We're talking about a guy who is convinced that he knew you in a past life, that he was a vampire, a female vampire, and now he's killing the way she did, but he's not a vampire.
He remembers me, he remembers Francesca.
Nat, you didn't hear the tape.
You weren't in that room.
How could he know what he knows if it's not true? He knows my name.
He knows what I am.
I don't know.
Maybe someone's messing with your head.
Uh, Lacroix? Why would he do that? Because he's evil? Uh-- Uh, sorry.
What if this is real? This is Francesca? What does that say about vampires? About our souls? That they go on forever? That the evil in me will just infect someone else if and when I die? That evil can't be destroyed? No, I don't believe evil can be destroyed.
Controlled, maybe, like we're trying to do with you, but never destroyed.
Then why are we bothering? Because evil is a part of the human condition, Nick.
Curing you won't eradicate the evil in you, but it will help you to control it.
VETTER: You think it could be true? Eighteenth-century vampires? Nicholas Chevalier? Sounds more like a romance novel to me.
But it's real for Frank.
There's something in his subconscious that's creating this fantasy.
A buried memory trying to be heard.
Well, let's just hope we find him before these memories make him kill again.
Bye.
Gordon.
We found a witness with a, uh, tip on your "kiss of death" killer.
Captain wants this composite in the paper tomorrow.
VETTER: Of course, the captain thinks his whole memory is a fantasy.
Even the guy's own doctor thinks so, but I don't know.
It could be real.
Does the name Nicholas Chevalier mean anything to you? Uh Where did you hear that? Lopietro said they were lovers in 1755 when he was Francesca.
Maybe this Chevalier guy is still around.
Maybe he's the connoisseur we're looking for.
Uh I don't think so, Trace.
But he is a vampire? Huh? Is he? Do you know him? So there is something to this guy's story.
He was a vampire in a past life? Uh-- Maybe there's another explanation, you know.
You know, there-- No.
There is something about this case.
Something so familiar.
I just couldn't put my finger on it.
It's like [SIGHS.]
It's like Lisa Kadlec said, it is right there in front of my face.
I-- I am-- I'm just not I'm just not seeing it.
So, Mr.
Fuller, is there anything in particular that I can help you with? Eighteenth-century vampires, wasn't it? What is this about? It's about this man.
I'm sorry, I can't help you, Mr.
Fuller.
I want you to leave right now.
Now, I looked you up, Dr.
Kadlec.
Aromatherapy, hypnosis, past-life regression.
Pretty unusual bag of tricks.
Get out.
This guy a patient of yours? I am not going to discuss this with you.
Did he confess to you about the killings? Goodbye, Mr.
Fuller.
Goodbye.
[KNOCKING ON DOOR.]
I told you, Mr.
Fuller-- The police were at my house, Dr.
Kadlec.
I saw them pull up.
You didn't send them, did you? Oh, my God.
FRANK [ON TAPE.]
: The police were at my house, Dr.
Kadlec.
I saw them pull up.
You didn't send them, did you? KADLEC: Oh, my God.
That was left running in her office at around 11:30 this morning.
No one's seen her since.
Do you know who else was on that tape, Mr.
Fuller? You.
Sure I was there.
She's a witness.
I have a story to cover.
KNIGHT: You saw the composite, but you didn't see Frank Lopietro go into her office? [CHUCKLING.]
Oh, believe me, that would have been a story.
Honest, detective.
The only other person there was some woman.
Wait a minute.
What did she look like? I don't know.
Um Tall, dark hair, long dress.
I didn't really notice.
How tall? Taller than you? Yeah, I think so.
I don't think those composites are gonna do the units much good.
You think he was dressed up like this Francesca woman? I think he becomes Francesca when he kills.
We should have the composites altered.
VETTER: Uh, coming, Gordon? Oh.
Ahem.
[DOOR OPENS.]
You should eat.
Frank, you don't want to do this.
You came to me because you wanted my help.
Frank, you still need that help.
I came to you because I was confused, doctor.
I didn't know who I was or why I was feeling what I felt, but now I know who I am, what I am.
Are youFrancesca? I am all that is left of her.
Her body died long ago, but I still remember her beauty, her passion, her needs.
Faubert MAN: The comtesse, my lord.
She's mad or cursed.
I beg you, before she returns Come away, Nicholas.
The chef does not spend his time in the slaughterhouse.
Is that what they are to you, Francesca, cattle? Each one fed on the finest steak and goose liver.
But they are human, Francesca, as we once were.
They are no more to us than cattle are to them.
Stop! What are you doing? Go! Quickly go! [FRANCESCA YELLING.]
[KNIGHT GRUNTING.]
[GROANS.]
You know, Nick, if this is Francesca, she could be just a little annoyed with you.
That's what Lacroix said.
He's feeding his victims like Francesca did.
That means he has to be keeping them somewhere private, somewhere What? She said it.
The chef in the slaughterhouse.
[.]
Eat.
I'm not hungry.
Frank, listen to me.
Francesca isn't real.
She's a part of you, a part that craves love and attention.
She is a part of me, but she's real, and she craves more than just love.
She craves blood.
Frank, please, you don't want to do this.
Frank does not decide.
I decide.
I wonder What do you taste like, doctor? Frank, this isn't real.
You're not a vampire.
Police.
Put down the knife.
Let her go.
Chevalier? You killed me.
Let her go.
I know who you are, and I know how to kill you.
[HISSING.]
It'snot the first time you've killed me, Nicholas Chevalier.
There will be anothertime.
How's Lisa Kadlec doing? Oh, she's fine.
I talked to her today.
But she doesn't remember anything after Frank broke into her place.
Probably just as well.
Yeah.
Something about this case gave me the creeps from the beginning.
I'm just glad it's over.
So? It was Francesca.
I'm sure of it.
[SIGHS.]
And now? Well, he's dead, and she's gone.
For now.
But her soul will come back.
VETTER: So I I'm not even sure why I'm here.
The case, I guess.
It really got to me, you know? I even had a dream that it was me lying there.
What makes you think that? Maybe I Maybe I was, you know? Maybe I was there.
Maybe I was one of the ones that she killed.
Tracy maybe you should examine what's going on in your life right now that might make you think that.
Doctor, how can you be so sure it's not real? I meanit's a possibility that these things exist, vampires.
Okay, Tracy, um I want you to sit back, shut your eyes and imagine yourself sinking into the chair.
Nice deep breaths.
Let your muscles relax.
Now, we're gonna count backwards from 10, and when we reach one, I want you to tell me where you are and who you are.
Ten, [EXHALES.]
BOTH [IN UNISON.]
: nine, eight, seven, six, five, four, three [PLAYING VIOLIN SOLO.]
Do you hear music? [.]
[HISSES.]
[BREATHING HEAVILY.]
[.]
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: First sip is like explosion.
We taste everything.
I know his dreams, his fears, his loves.
I can feel myself against him.
Taste my own blood returning through his.
He's younger than me.
A crusader turned away from the light.
I can taste the sands of Jerusalem in his veins.
Sweet with his hunger for me.
I die a hundred times in his arms.
He dies in mine.
He dies in mine.
He dies in mine! WOMAN: Frank.
Frank.
It's okay.
You're safe now.
You're with me.
I think that's enough for today.
What happened? Was I there? I think we're making progress, yes.
What--? What did I say? Who was I? Frank, the point of past-life regression is to help us understand what's causing your fears.
It's not about who you were or even what you remember.
It's about who you are now.
But I am remembering.
It's still experimental therapy.
You'll have to give it time, but we'll get there.
You have to understand how disturbing this is for me.
We'll pick it up next time right where we left off.
It'll be all right.
[.]
FRANK [ON TAPE.]
: I die a hundred times in his arms.
He dies in mine.
He dies in mine! Dan Chase, poet, lived in Parkdale.
According to the canvass teams, he was last seen walking down Queen Street a few blocks from here.
Took a knife straight to the heart.
Death would have been pretty much instantaneous.
His throat was slashed after death, and he was drained of blood.
The stains around the body are pretty minor.
Looks like the killer took the blood away with her.
Could it be some kind of cult ritual? LAMBERT: I don't know, but she left a distinctive calling card.
Clear as a fingerprint, if you can find a suspect to compare it to.
Lucien.
It's been so long.
And who is this fair traveler? Nicholas Chevalier.
Nicholas, allow me to introduce one of your sisters: Comtesse du Montaigne.
Francesca.
The Nicholas of whom I've heard so much? You did not do him justice.
LACROIX: I hope this doesn't inconvenience you, Francesca, but we found ourselves in urgent need to travel.
As though my master could ever inconvenience me.
You know you will always be welcome in any home of mine.
There, you see? Did I not tell you? You did.
What he did not tell me was how beautiful you really are.
In truth, I would not have believed him.
[CHUCKLES.]
I was about to dine.
I hope you will join me.
LACROIX: Of course.
Francesca's estate is known for its rare vintages.
And I have a special treat for tonight.
I hope you like music.
VETTER: Do you ever have the feeling of déjà vu? I beg your pardon? I just feel like this is all familiar somehow.
I don't know what it is, but I don't like this one.
Well, there's no sign of sexual assault.
My best guess is that the killer gets off on this.
She's substituting killing for sex.
I'd say that we are looking for a woman with a highly repressed sexuality.
[.]
LAMBERT: You've been awfully quiet about this one.
Have you checked the stomach contents? The victim ate, uh, within two hours before death, probably less.
Expensive pâté, steak, caviar and a good merlot.
The condemned man's last meal.
Or was he being fattened for the kill? The kiss print: a mixture of blood and lipstick, the victim's blood.
She's drinking their blood.
Nick, look, I-I know that there are no fang marks-- There wouldn't be.
Killed with a knife to the heart.
Sudden death.
Sweetens the blood, but it stops the circulation.
[SIGHS.]
We need the beating heart to feed, to bring the blood to the neck.
If the victim's dead, the body has to be drained.
So this is a vampire.
I've seen it done before.
Well chosen, my dear.
The man has a master's touch.
He was the toast of the season in Paris.
It's easy to see why.
It's rare to see one play with such passion these days.
You have a brilliant future ahead of you, sir.
Thank you, monsieur.
Comtesse.
That will do for tonight, Faubert.
Inform the others.
As I said, Nicholas, the comtesse is known for the quality of her entertainment.
It's worth the ride to Avignon.
Especially when one has to leave Paris in such a hurry.
[CHUCKLES.]
How ever did you convince them to come down here? Musicians, even great ones, are woefully unrewarded.
I offered the hospitality of my home and my estate.
He was pathetically grateful to accept.
KNIGHT: Must all your guests sing for their supper, comtesse? All my guests must earn my approval, monsieur.
You will not have to sing.
LAMBERT: Then you know who we're looking for.
There was someone once, but she's dead.
Just got a call.
Looks like we've got another one.
Parking garage in the Beaches.
[.]
[INDISTINCT CHATTER.]
MAN: So, Vetter, you got another one.
Go swallow a sock, Fuller.
You make nice.
I'm just putting two and two together.
You're out of your jurisdiction, I figure you got called in special.
Maybe we're doing a favor for the 88th.
Oh, yeah, 'cause Reese and Captain Jacobson get along so well.
Ha! So, Tracy, word is you got a dead guy with a kiss print on his forehead.
What? I got sources.
I was born yesterday? So Reese is pushing you to play it close to the vest, don't scare the public, don't tip off the psycho chick.
But I know you, Tracy.
You got imagination.
You know you can use the media on this one.
I'll break it wide open, right? No? No.
Friend of yours? Reporter, putting two and two together and getting five.
I dated him once.
Oh, yeah? Anything serious? No, I mean, I dated him once.
Oh.
Heh.
FRANK: It's so quiet in the halls.
I can hear every heartbeat.
WOMAN: Who's here? Francesca.
What year is it, Francesca? I'm not sure.
Seventeen And where are you? In my home on the Côtes du Rhône.
I'm moving to the bed.
He's here.
Fast asleep.
Who's there? The face The man from my dreams.
Do you know who he is? I can still taste him on my lips.
Feel him in my veins.
I can see him.
[HISSES.]
No! Frank, it's okay.
I know who he is! I know who he is! I know who he is! [PANTING.]
Who is he? My lover and my k-killer.
Nicholas Chevalier.
[HEART BEATING.]
[PANTING.]
[SIGHS.]
[.]
[DOORKNOB JIGGLING.]
FRANK [ON TAPE.]
: We are drawn together from the first time I see him.
Even in the shadow of our master, he's the one I see.
I have to have him.
[.]
[BOTH CHUCKLE.]
Good morning.
Francesca.
Francesca.
Shh.
We said all we needed to, last night.
[CHUCKLES.]
[PANTING.]
[CHUCKLING.]
Shh.
Later, later.
Drink.
[CHUCKLES.]
Delicious, isn't it? I believe he's at the height of his talent.
My God, F-Faubert.
Yes.
Drink more.
LAMBERT: So you could tell who it was from just one sip? Who it was, what he thought, who he loved.
How he died.
You have to understand that every drop of blood has your whole life in it.
It's not just our food.
It's the way we feel life.
Imagine if you could know someone's soul just by sharing their blood.
Everything you know, everything you are, transformed into touch and taste.
Imagine the temptation to take just one sip.
One sip, and then another, and another.
To take them inside you and know every secret.
To let them know yours.
To be them.
That's why it's such a tough habit to break.
VACHON: Stabbed and then drained, huh? You could have a connoisseur on your hands.
There are vampires who get off on the death rush.
These days, with everybody being real careful about not making a lot of extra bodies, it's an expensive taste, but it's like anything else.
You can always find people who will cater to any request for a price.
You mean, like a blood broker? You said the blood was being collected, right? [SIGHS.]
From a poet? You can always find a market for a special vintage.
Poet, musician, even an actor brings a premium if you have the right customer.
I've heard of people working in that line, but I don't know any.
Well, that could explain why there's no connection between the victims.
There's no common denominator.
If the killer is a vampire, could she be collecting them? Different memories, different lives? I'll buy that.
The thing that doesn't fit is the bodies, both found in very public places.
For a blood collector, part of staying in business would be cleaning up after yourself.
I don't think this is a professional, Vachon.
There's something about the murder sites.
It's just a feeling-- No, these are personal.
Trace, if it is a vampire What am I gonna do when I find her? I don't know.
FRANK [ON TAPE.]
: I've lived here almost 400 years.
It is my home.
The bedis walnut with ivory linen sheets, and a square-cornered canopy with sheer curtains, and green velvet that matches the drapes.
I keep the curtains drawn in the daytime.
But at night, I can see the moon from the window over the bureau.
I keep the men downstairs.
But the others, the ones like me, I bring here.
Someone's here now.
Lucien.
And who is this fair traveler? Nicholas Chevalier.
FRANK [ON TAPE.]
: Nicholas, say hello to one of your sisters, the Comtesse du Montaigne, Francesca-- Francesca du Montaigne.
All right, Dr.
Kadlec, tell them exactly what you told me.
Doctor.
[SIGHING.]
Well, normally I wouldn't be breaking doctor-patient privilege, but I guess that goes out the window in a case where the patient could be dangerous.
It's about the article in the paper about the murders, the kiss? Go on.
I have a patient who has been describing certain thoughts, certain fantasies.
At least I thought they were fantasies.
Fantasies that resemble these killings? We had a very intense session yesterday.
And then early tonight he broke into my office, and he stole the tapes of our sessions.
Wait a minute.
He? REESE: Whoa, you haven't heard the best part yet.
Frank has been undergoing past-life regression as part of his therapy.
And the dominant personality in these sessions has been female.
REESE: Apparently, he thinks he's the reincarnation of some 18th-century countess.
A vampire.
FRANK [ON TAPE.]
: The timing is very important.
A knife slides home in a single stroke and freezes time, pouring everything they're feeling into their blood.
They're caught between lust and fear.
When I taste their blood, I taste that.
A lust for me, a fear of me.
There is nothing sweeter.
That's the only tape I still have.
It was in the machine.
He must have missed it.
Sounds like it could be our guy, all right.
Tell us about him.
Frank Lopietro.
He came to me about three months ago.
He had been overtaken by these dreams where he saw himself as a woman, making love to a man.
He was feeling the urge to be this woman.
He was always heterosexual.
This was something that was new to him, something he wanted to control.
Which one of you decided he'd been a woman in a former life? Traditional psychotherapy had failed him, captain.
Hypnotic regression h-has been a useful tool for me and my patients.
To me, it doesn't matter whether their memories of past lives are real or fantasy.
It's a way of unlocking their deepest hopes and fears of seeing themselves in a clear light.
Frank's stories are all from a female perspective.
The perspective of Francesca du Montaigne, a vampire who lived and died and killed KNIGHT: Francesca, how could you do this? Why? I thought you appreciated artists as I do.
Appreciated art.
[ANGRILY.]
I don't appreciate it by killing it.
What other way is there for us? Can't you feel it coursing through our veins? His talent, his essence.
His genius, his passion wasted.
Not wasted, savored.
Immortalized with us.
Let us have the instrument brought.
You can play as he played.
[PANTING.]
It will last maybe two hours, no more.
And then it will be gone.
And then I shall have another brought from Paris.
Or would you prefer a painter? Or a dancer? [LAUGHING.]
KADLEC: He, uh, sublimated his hunger for sexual attention into this vampire fantasy, complete with mysterious lover, the dark and dangerous Nicholas Chevalier.
Francesca du Montaigne is a-- A manifestation of his desire projected onto another facet of his personality that he could feel separate from.
She was a way of controlling his own impulses.
The vampire fantasy is a-- Is an archetype that's deeply embedded in our collective unconscious.
It stems from, uh, the sublimation of sexual desire.
The deeper the frustration, the greater the-- The desire.
And in creating Francesca, Frank created a persona who had the freedom that he's never had, a sexual freedom.
REESE: But how does that get into killing? Well, in the vampire myth, killing is sexual.
Sexual freedom becomes the freedom to kill.
VETTER: If he believed he was a vampire, then he'd believe he had the permission to kill.
That's part of his nature.
Or, um, anyway, that's part of the myth.
Yes, but then myth can be very powerful.
Exactly.
But to be honest, I think I'm getting in way over my head.
I've been treating Frank for gender confusion, for issues of sexuality and identity, not for violent tendencies.
Not for anything like this.
Cap, I think we should have a look at his place.
Okay, I think I can scare up a search warrant.
Dr.
Kadlec, we need you to sit down with a sketch artist.
This shouldn't take long.
That's fine.
Okay, good.
Vetter, get her set up with Marcot.
[EXHALES.]
Uh, Knight? I've been on the force for a long time.
I've seen nut cases who thought they were everything from Louis XIV to Elvis's alien love-child.
Let's keep this one in the real world, okay? Yeah, I'll do my best.
[.]
[KNOCKING ON DOOR.]
KNIGHT: Police.
Open up.
Mr.
Lopietro, open up.
[SIGHS.]
Nick? No one's home.
LACROIX: Francesca du Montaigne is dead.
KNIGHT: I think she's back.
Reincarnation? Is that what you're suggesting? Well, I have seen stranger things in my time.
Men who walk through fire, children born speaking long-dead languages, and Harry Houdini had rather a nifty trick with handcuffs and a tank full of water.
This isn't a trick, Lacroix.
I don't know how it happened, but somehow this man knows Francesca, has her soul.
Or her soul has him.
Yes, which means that she is truly immortal, defying the corporeal laws that are supposed to bind even those of our kind.
So whose laws will you use against this killer, Nicholas? And who will you arrest, him or her soul? If this is Francesca reincarnate, I doubt that she remembers you fondly.
[MICROPHONE CLICKS.]
Here is an interesting dilemma for you, gentle listeners.
Where does responsibility lie for what we do in our lives? Is payment in full rendered for our sins at the hour of our death? There is talk that this life is but one of many in a cycle of lives without end.
Should this be so, should immortality be our common bond, what is its purpose? What does it mean? I hope that our arrival does not inconvenience you, my dear.
Do we return to this mortal coil unfettered by our sins or burdened by them? Perhaps we are not forgiven as easily as some would believe.
Perhaps to be immortal in this way is an eternal judgment, a true life-sentence, from which we, as sinners, can never be absolved.
Here's a sketch for Lopietro, APB.
Now that we know who we're looking for, we'll find him.
Um, doctor, you mentioned dreams.
That Frank was dreaming about his past life.
Is thatusual? Well, troubling dreams are often an indication that something hidden on a subconscious level is trying to reveal itself.
Recurring instances of déjà vu are also good indicators of that.
Maybe your subconscious is trying to tell you something.
It could be something in your childhood or in your further past, orit could be something that's right in front of you, but you don't see it.
Usually, all the clues are there.
We just can't put them together because we're not open to self-discovery.
You come by my office if you like.
Uh No, I-- I couldn't.
Mm.
Not everyone is ready to face their own secrets, to take a glimpse at their inner selves.
LAMBERT: Reincarnation? Is it so hard to believe? Nick, I am in the habit of believing before breakfast every day, starting with you.
But I must admit that I'm having just a little bit of trouble with this one.
We're talking about a guy who is convinced that he knew you in a past life, that he was a vampire, a female vampire, and now he's killing the way she did, but he's not a vampire.
He remembers me, he remembers Francesca.
Nat, you didn't hear the tape.
You weren't in that room.
How could he know what he knows if it's not true? He knows my name.
He knows what I am.
I don't know.
Maybe someone's messing with your head.
Uh, Lacroix? Why would he do that? Because he's evil? Uh-- Uh, sorry.
What if this is real? This is Francesca? What does that say about vampires? About our souls? That they go on forever? That the evil in me will just infect someone else if and when I die? That evil can't be destroyed? No, I don't believe evil can be destroyed.
Controlled, maybe, like we're trying to do with you, but never destroyed.
Then why are we bothering? Because evil is a part of the human condition, Nick.
Curing you won't eradicate the evil in you, but it will help you to control it.
VETTER: You think it could be true? Eighteenth-century vampires? Nicholas Chevalier? Sounds more like a romance novel to me.
But it's real for Frank.
There's something in his subconscious that's creating this fantasy.
A buried memory trying to be heard.
Well, let's just hope we find him before these memories make him kill again.
Bye.
Gordon.
We found a witness with a, uh, tip on your "kiss of death" killer.
Captain wants this composite in the paper tomorrow.
VETTER: Of course, the captain thinks his whole memory is a fantasy.
Even the guy's own doctor thinks so, but I don't know.
It could be real.
Does the name Nicholas Chevalier mean anything to you? Uh Where did you hear that? Lopietro said they were lovers in 1755 when he was Francesca.
Maybe this Chevalier guy is still around.
Maybe he's the connoisseur we're looking for.
Uh I don't think so, Trace.
But he is a vampire? Huh? Is he? Do you know him? So there is something to this guy's story.
He was a vampire in a past life? Uh-- Maybe there's another explanation, you know.
You know, there-- No.
There is something about this case.
Something so familiar.
I just couldn't put my finger on it.
It's like [SIGHS.]
It's like Lisa Kadlec said, it is right there in front of my face.
I-- I am-- I'm just not I'm just not seeing it.
So, Mr.
Fuller, is there anything in particular that I can help you with? Eighteenth-century vampires, wasn't it? What is this about? It's about this man.
I'm sorry, I can't help you, Mr.
Fuller.
I want you to leave right now.
Now, I looked you up, Dr.
Kadlec.
Aromatherapy, hypnosis, past-life regression.
Pretty unusual bag of tricks.
Get out.
This guy a patient of yours? I am not going to discuss this with you.
Did he confess to you about the killings? Goodbye, Mr.
Fuller.
Goodbye.
[KNOCKING ON DOOR.]
I told you, Mr.
Fuller-- The police were at my house, Dr.
Kadlec.
I saw them pull up.
You didn't send them, did you? Oh, my God.
FRANK [ON TAPE.]
: The police were at my house, Dr.
Kadlec.
I saw them pull up.
You didn't send them, did you? KADLEC: Oh, my God.
That was left running in her office at around 11:30 this morning.
No one's seen her since.
Do you know who else was on that tape, Mr.
Fuller? You.
Sure I was there.
She's a witness.
I have a story to cover.
KNIGHT: You saw the composite, but you didn't see Frank Lopietro go into her office? [CHUCKLING.]
Oh, believe me, that would have been a story.
Honest, detective.
The only other person there was some woman.
Wait a minute.
What did she look like? I don't know.
Um Tall, dark hair, long dress.
I didn't really notice.
How tall? Taller than you? Yeah, I think so.
I don't think those composites are gonna do the units much good.
You think he was dressed up like this Francesca woman? I think he becomes Francesca when he kills.
We should have the composites altered.
VETTER: Uh, coming, Gordon? Oh.
Ahem.
[DOOR OPENS.]
You should eat.
Frank, you don't want to do this.
You came to me because you wanted my help.
Frank, you still need that help.
I came to you because I was confused, doctor.
I didn't know who I was or why I was feeling what I felt, but now I know who I am, what I am.
Are youFrancesca? I am all that is left of her.
Her body died long ago, but I still remember her beauty, her passion, her needs.
Faubert MAN: The comtesse, my lord.
She's mad or cursed.
I beg you, before she returns Come away, Nicholas.
The chef does not spend his time in the slaughterhouse.
Is that what they are to you, Francesca, cattle? Each one fed on the finest steak and goose liver.
But they are human, Francesca, as we once were.
They are no more to us than cattle are to them.
Stop! What are you doing? Go! Quickly go! [FRANCESCA YELLING.]
[KNIGHT GRUNTING.]
[GROANS.]
You know, Nick, if this is Francesca, she could be just a little annoyed with you.
That's what Lacroix said.
He's feeding his victims like Francesca did.
That means he has to be keeping them somewhere private, somewhere What? She said it.
The chef in the slaughterhouse.
[.]
Eat.
I'm not hungry.
Frank, listen to me.
Francesca isn't real.
She's a part of you, a part that craves love and attention.
She is a part of me, but she's real, and she craves more than just love.
She craves blood.
Frank, please, you don't want to do this.
Frank does not decide.
I decide.
I wonder What do you taste like, doctor? Frank, this isn't real.
You're not a vampire.
Police.
Put down the knife.
Let her go.
Chevalier? You killed me.
Let her go.
I know who you are, and I know how to kill you.
[HISSING.]
It'snot the first time you've killed me, Nicholas Chevalier.
There will be anothertime.
How's Lisa Kadlec doing? Oh, she's fine.
I talked to her today.
But she doesn't remember anything after Frank broke into her place.
Probably just as well.
Yeah.
Something about this case gave me the creeps from the beginning.
I'm just glad it's over.
So? It was Francesca.
I'm sure of it.
[SIGHS.]
And now? Well, he's dead, and she's gone.
For now.
But her soul will come back.
VETTER: So I I'm not even sure why I'm here.
The case, I guess.
It really got to me, you know? I even had a dream that it was me lying there.
What makes you think that? Maybe I Maybe I was, you know? Maybe I was there.
Maybe I was one of the ones that she killed.
Tracy maybe you should examine what's going on in your life right now that might make you think that.
Doctor, how can you be so sure it's not real? I meanit's a possibility that these things exist, vampires.
Okay, Tracy, um I want you to sit back, shut your eyes and imagine yourself sinking into the chair.
Nice deep breaths.
Let your muscles relax.
Now, we're gonna count backwards from 10, and when we reach one, I want you to tell me where you are and who you are.
Ten, [EXHALES.]
BOTH [IN UNISON.]
: nine, eight, seven, six, five, four, three [PLAYING VIOLIN SOLO.]
Do you hear music? [.]