Mr. Lonelyhearts
Original Airdate: December 6, 1982

[Detectives' Squad room]

LA GUARDIA: Yeah, by the way, I've been telling my brother about ya, Christine, and he's dying to meet ya.
CHRISTINE: Oh, gee, La Guardia...
(Chris tries to get away, La Guardia follows her)
LA GUARDIA: Listen, he's having a party. Great food. A lotta drinks.
CHRISTINE: Oh, no, I'm busy.
LA GUARDIA: Christine, he's a great guy.
CHRISTINE: La Guardia, I know he's a great guy. It's just that I can't make it tonight.
LA GUARDIA: It's not tonight. It's tomorrow night...
CHRISTINE: I can't make it then either.
(she escapes into the Ladies' room. Mary Beth is there)

[Ladies' room]

CHRISTINE: La Guardia.
MARY BETH: I can't believe you're ducking out on his brother. How many men have you met who own their own place?
MARY BETH: I'll tell you what. Give me a blind date, I'll go. 'Cos, really, he's a sweet guy.
CHRISTINE: I know he's a sweet guy. I just don't want anything to do with him. I just don't feel like going out with anybody right now.
MARY BETH: You've found someone. Who is he?
CHRISTINE: To tell you the truth I have not been on a date in several weeks.
MARY BETH: What have you been doing with yourself?
CHRISTINE: What's it to you? I happen to like being alone. I like the quiet. It cleanses the system.

[Detectives' Squad room]

(the duo comes back in, still talking)
CHRISTINE: Well, you gave up smoking.
MARY BETH: Yeah, three times.
CHRISTINE: You don't think I can do it, do ya?
MARY BETH: I didn't say anything.
CHRISTINE: I'm sick and tired of dating one night stands. I'm no longer in that rut.
MARY BETH: That's easy to say when there's nobody else in the race.
SAMUELS: Here. This is Detective Lacey. Mr. Waits is here from Vermont and he's, er, lost his wife.
MARY BETH: I'm sorry.
ED WAITS: I didn't lose her. Something happened.
MARY BETH: We'll try and take care of it, sir. Right this way.
(Chris meanwhile is studying a printout. Lynne Sutter, a crime reporter, comes up)
CHRISTINE: Hi, Lynne. I saw your story on the lingerie gang. It was good stuff.
LYNNE SUTTER: Thanks. (indicating Mary Beth) What you got there?
CHRISTINE: Missing person.
LYNNE SUTTER: Sounds interesting. See ya around.
ED WAITS: Waits.
ED WAITS: ...I, T, S.
(Chris returns to her desk)
ED WAITS: Who's she?
MARY BETH: Detective Cagney.
ED WAITS: My wife's sick. Bad. Something to do with her blood. Too many cells. She's been taking treatment at this hospital, St. Matthews. ...Not staying, an outpatient. I went there to find her. They said she's never been admitted.
MARY BETH: Does she have an apartment here.
ED WAITS: I've been there already. She's disappeared. Something's happened.
MARY BETH: Well, sir, we don't really call someone a missing person until they've been gone seventy-two hours. How long have you been looking?
ED WAITS: Three days. Next time ask the question before you tell the rules.
MARY BETH: I'll remember that.
ED WAITS: They did something. Something went wrong at that hospital and the doctors don't want anybody to know.
CHRISTINE: Is it possible you went to the wrong place?
ED WAITS: I'm not a fool. I'm not crazy, whatever you think. It happened! Are you going to do something about it or do I have to do something myself. Just let me know!. I don't have to...
MARY BETH: I will take care of it, sir, but I'm going to need some information.
ED WAITS: Her name Julie Carson Waits.
ED WAITS: ...S, O, N. I've got a picture.
MARY BETH: Great. ...Lovely.

[St. Matthews Hospital reception]

NURSE: There's no Julie Waits in here. I told you the guy was psycho.
CHRISTINE: Try Carson.
MARY BETH: Could there be some kind of mistake in the records?
NURSE: Oh, anything's possible. Once in a while we misplace them but they turn up sooner or later. ...No, no Carson.
CHRISTINE: She was being treated by a Dr. Joseph Altman.
NURSE: Ah, yes, he's affiliated here.
CHRISTINE: Where do we find him?

[Dr. Altman's consulting room]

DR. ALTMAN: She was here from Vermont?
DR. ALTMAN: It's unlikely she'd come to me.
DR. ALTMAN: I'm not that good. I'm competent. I'm a good doctor, but I'm not someone you'd travel that far to see. What was I supposed to be treating her for?
MARY BETH: A blood disorder.
DR. ALTMAN: That's impossible?
(he opens a door showing them eye charts on the wall)
DR. ALTMAN: I'm an ophthalmologist.


(the duo comes in and speaks to the Maitre d)
CHRISTINE: A table for two. Cagney.
(the Maitre d goes off)
CHRISTINE: So, what do think. Are you OK if I try and handle him.
MARY BETH: That's how it looks, doesn't it? ...What are you smiling at?
FATHER JOHN: Oh, hi ya, Christine.
CHRISTINE: Hi. (she shakes hands with John and acknowledges the guy with him, Frank) Hello. ...Mary Beth Lacey, Father John.
FATHER JOHN: Hi. Just John. It makes people less nervous.
MARY BETH: You're a priest!
FATHER JOHN: I'm a priest.
FRANK: I'm Frank.
CHRISTINE: Oh, it's nice to meet you.
FATHER JOHN: Oh, we just stopped by after the youth centre's basketball game.
CHRISTINE: Oh, how did you do?
FRANK: It was not a victory, you know.
FATHER JOHN: But we're improving though, ever since Frank joined us.
MAITRE D: Miss Cagney, your table's ready.
CHRISTINE: Oh, thanks. (to John and Frank) Whenever. (to Frank) It's a pleasure to have met you.
FRANK: Indeed. I hope I get to see you again sometime.
MARY BETH: Bye bye.
(they sit at the table)
MARY BETH: I wish my priest looked like that.
CHRISTINE: You don't have a priest.
MARY BETH: I would if he looked like that!
CHRISTINE: He looked gorgeous.
MARY BETH: Guess what I went through when I quit smoking. Couldn't pass up a packet of cigarettes without wanting to grab it.
CHRISTINE: Mary Beth, come on, the man is a priest!
MARY BETH: What are you getting so jumpy about?
(Mary Beth begins to laugh)

[Detectives' Squad room]

(Mary Beth locks a detainee in the holding cell)
MARY BETH: Just behave yourself. I'm in no mood...
(her phone goes)
MARY BETH: (into phone) Detective Lacey, Fourteenth. ...Oh yes. ...Sure. ...She's right here.
CHRISTINE: (into phone) Detective Cagney. ...Oh, hi! No, no, no. I don't mind Father John giving you my number. ...I don't understand. ...You're not a priest.
MARY BETH: He's not a priest!
CHRISTINE: (into phone) Well, it was a just natural assumption., come on. ...Ha, ...ha. ...I'm not a cop, cop. I'm a detective. ...Well, I don't know. It's up to you. ...If you like. (she grabs a pad. Mary Beth hands her a pen) ...Yeah. OK. ...Sure. ...All right, I will. ...Bye.
MARY BETH: So he's gorgeous and he's not a priest. Did he ask you out?
CHRISTINE: He's just given me his number. OK?
MARY BETH: Well, did you tell him you would go out with him?
CHRISTINE: Did you hear the word 'Yes' pass from these lips?!
MARY BETH: I didn't hear the word 'No' either.
(Chris gets up and storms away from her desk. Mary Beth follows her)
MARY BETH: Are you gonna go... Are you gonna go out with him or not?
CHRISTINE: I swore. Remember?
MARY BETH: I certainly do.
(Petrie looks at the board where Chris is pinning up a paper with Julie Waits' photo on it)
PETRIE: What's she up to now?
PETRIE: Donna Moline ...or whatever she's calling herself.
MARY BETH: You know her?
PETRIE: Business acquaintance. Haven't seen her in a few years. She's looking good. When I was still in uniform I collared her a couple of times.
CHRISTINE: For what?
PETRIE: Prostitution.
(later the duo is comparing photos from the records with that of Julie Waits)
CHRISTINE: What have you got?
MARY BETH: Donna Moline, born June sixteen, nineteen fifty-five. Ran away August, sixty-eight. Prostitution, January seventy, street prostitute, streets, Harlem. Her parents live in Brooklyn, Park Slope. Last collar was a little over five years ago.
ED WAITS: Detective Lacey.
MARY BETH: Oh, Lord. Do you wanna tell him?
ED WAITS: Did you find her?
CHRISTINE: Good morning, Ed.
ED WAITS: Did you find her?
MARY BETH: Well, Mr. Waits, it's not that easy. Sit down.
ED WAITS: Don't give me any excuses. Did you go to that hospital, like I told you?
MARY BETH: Yes sir. She was, er, she was never there. They had no record of her on file. Dr. Altman never saw her either.
ED WAITS: He's lying. I've been getting his bills for two years.
CHRISTINE: Did you pay them?
ED WAITS: Of course. Julie sends me copies of his bills. I send her cheques to pay him. I don't care about the money. I just want my girl well.
ED WAITS: She's sick. Bad. She's tried to hide it from me in her letters, but last week she sent me a copy of her will.
MARY BETH: Her will?
ED WAITS: She said it was time we started thinking about these things. She told me to send her a copy of my will too. I've already left her everything.
MARY BETH: Sir, was she aware of this?
ED WAITS: That's not what she wanted. She's trying to keep me from worrying. But I thought it through. My girl's dying. I've got to find her.
MARY BETH: We'll find her for you. You gave us that home address.
ED WAITS: She uses her maiden name there. She'd lived there before and she said it'd be cheaper there if they didn't know she'd gotten married. Some kinda law.
CHRISTINE: Er, do you have a phone number?
(Samuels comes out of his office)
SAMUELS: Lacey (he gestures her to come to him. To Chris) And you too.
MARY BETH: We'll be right back.
SAMUELS: Who's that over there?
CHRISTINE: The missing person, the man from Vermont.
SAMUELS: Come on, you finished that.
MARY BETH: We haven't found her yet.
SAMUELS: Yeah, I know. The guy married a hooker. She's skipped on him.
MARY BETH: Sir, he doesn't know.
SAMUELS: Well, tell him! Let him go back home. You two have got more than a dozen cases between the two of yous.
MARY BETH: We'll manage.
CHRISTINE: Do you think we're doing this because we feel sorry for him?
SAMUELS: I'm not thinking about it all. I want you off!
CHRISTINE: Look, there's money involved. Possible fraud.
SAMUELS: Oh, you wanna get down to cash, huh? How about the four hundred thousand dollar Brownstone arson?
MARY BETH: We're working on that!
SAMUELS: Right. That! Not this! Now wrap it up and get going!
(his phone goes)
SAMUELS: Now! (into phone) Samuels! ...What?!
MARY BETH: (looking across at Waits) Yes or no?
CHRISTINE: How do you feel about slipping lunch?

[Post Office box centre]

(the centre assistant, Burt, comes in with a file)
BURT: Yeah, he came in yesterday. He was really upset about something too. His wife? What state was that?
MARY BETH: Vermont.
BURT: Vermont. OK. I gotta remember that. In case I get a part some time. I can use it.
CHRISTINE: You're an actor?
BURT: Sure, (indicating round the office) we all are.
BURT: Here it is. Here she is. Julie Carson.
MARY BETH: No alternate address or telephone number.
BURT: No. Well, that's weird. They usually do.
MARY BETH: What is this MO in the corner?
BURT: Money order. How she pays the bills.
CHRISTINE: But she uses your number for the answering service.
BURT: Yeah. You can't get even get a mailbox here unless you do. She never gets any messages though.
CHRISTINE: How do you know?
BURT: I listen. Well you see, most of them come in and take messages and that's it. Now I observe, and that's what actors do. Life! I get a lot of life passing through my ears.
MARY BETH: Would you check the box to see if there's anything else?
BURT: Oh, no, her box is empty.
CHRISTINE: Is there any way you can tell when the last pickup was made?
BURT: No. Boy, we gotta real mystery here, don't we?
BURT: See, what did I tell ya. Life.
MARY BETH: Thank you.
CHRISTINE: (to herself) Actors.

[Mrs. Moline's apartment]

MRS. MOLINE: I haven't seen my daughter for six to eight years.
MARY BETH: Can you tell us where Donna is now?
MRS. MOLINE: I wish I could but I understand the past is so hard to live in. Well, I don't even know her married name. She never said.
MARY BETH: When did you talk to her?
MRS. MOLINE: I got a letter from her. It was Christmas before last. She married a very nice man from New England. She just sent me a picture of the wedding. ...(she goes to a drawer and gets it out) She looks fine, doesn't she? People can change, you know. ..Hard to imagine Donna living out in the country. She loved New York so much. I mean, that's why she ran away. Well, if she hadn't met those people. Well it's all passed now.
(Chris takes the photo out of its mount. The photographer's name on the back is Steven Ross, Connecticut)
MARY BETH: Do you still have the letter?
MRS. MOLINE: I must have thrown that out with the cards. I feel so silly.

[Samuels' office]

SAMUELS: What did I tell you two this morning?
MARY BETH: We did this on our lunch hour.
SAMUELS: Your lunch hour? Four hours! Behind my back!
CHRISTINE: All right, but it paid off, (indicating the wedding photo) didn't it?! Look at it! We're talking about possible bigamy, fraud.
(she chucks the photo on his desk)
SAMUELS: Don't you throw things at me! Yeah, we're talking a lot of possibilities here. How about facts, huh?! This case has, maybe, a twenty percent solvability. Maybe, assuming there's a case here at all! I've given Isbecki the arson assignment. You're off this. If I ever hear about this again, or if I ever find out about that the two of you didn't drop it. Do I have to finish my sentence. (he opens the office door and points for them to leave) All right, thanks for your cooperation.
(Chris spots somebody through the Detectives' Squad room door window and pulls Mary Beth back to have a look. They go out with a knowing look on their faces)

[Precinct front desk office]

(Lynne Sutter is at the candy machine. The duo comes up)
CHRISTINE: Hi Lynne. How's things?
LYNNE SUTTER: Terrible. You two gonna have anything new for me on that article before deadline?
CHRISTINE: No, I wish we could. We had a great story but...
(Mary Beth looks hard at Chris. Chris nudges her and carries on)
CHRISTINE: .. which she (indicating Lynne Sutter) was the person to write.
MARY BETH: I was just thinking the same thing. Too bad.
LYNNE SUTTER: Why? Who did you give it to?
CHRISTINE: Nobody. It's not a story anymore. Samuels says drop the case.
LYNNE SUTTER: What was it?
CHRISTINE: Missing person case. Old man comes to New York because his sick wife has disappeared. And that's just the beginning.
LYNNE SUTTER: I have exclusive?
CHRISTINE: You would, but now there's no story. So I don't know.
LYNNE SUTTER: Stick around.
(with that Lynne Sutter goes off into the office)

[Detectives' Squad room]

(Lynne Sutter is in with Samuels. The duo are getting a coffee and trying not to be seen watching Samuels' office)
MARY BETH: Don't look.
(Lynne Sutter leaves and Samuels comes out)
SAMUELS: Girls, can I see you a minute, please?

[Samuels' office]

SAMUELS: Interesting thing about this missing persons case. Seems that Lynne Sutter agrees with you. As a matter of fact she's threatening to write an alternate story on the heartlessness of the polices turning away this poor old man. Refusing to help. I guess you're back on it.
MARY BETH: Yes sir.
CHRISTINE: Thank you.
SAMUELS: (as they turn to leave) By the way ...she says she's gonna start running the story in the Sunday edition, matter what its status.
CHRISTINE: She can't do that. If it gets out while we're working on it, Donna Moline'll go underground and blow the whole thing. We've just started!
SAMUELS: Yeah, I told her that but she doesn't seem to care. I guess you two got your work cut out for ya, don't you?
CHRISTINE: Anything else?
SAMUELS: Yeah, I've been going over your DD5s for the past few weeks, ...and they're not very complete.
CHRISTINE: That's the way we've always done those forms. That's the way everyone does them.
SAMUELS: Well, I want you to do them again for the whole past month, and I want them in by tomorrow morning.
CHRISTINE: Oh, come on, Lieutenant. Lacey's already got to drive up to Connecticut tonight to find that photographer.
CHRISTINE: Well, I've sorta got a date.

[Middle Eastern restaurant]

(a waiter brings a dish of food)
FRANK: Ah, what have we got here? Thank you.
CHRISTINE: You're really in to this stuff, huh?
FRANK: I am a certified adventurer.
FRANK: How about yourself?
CHRISTINE: Good. Listen, I had a chance to drive to Connecticut tonight, but, er, Mary Beth won the toss.
FRANK: Mary ...Beth?
CHRISTINE: Yeah. We work together. You met her the other night in the bar.
FRANK: Oh. right!
CHRISTINE: So... Um, scholarship, ...first marriage, ...volunteer work at the youth centre, director. What else?
FRANK: Sheets.
FRANK: Um, sheets. I've just designed and sold an original watercolour for a sheet manufacturer. What's so funny?
CHRISTINE: Nothing. (chewing some food) Excuse me. Nothing. There's absolutely nothing funny about you.

[Mr. Mathers lounge]

(he is wheelchair-bound and looking at the photograph)
MR. MATHERS: Where did you get this?
MARY BETH: From your wife's mother. She didn't know your name but I traced the photographer. He remembered you.
MR. MATHERS: Now, why are you lying to me?
MARY BETH: I'm not.
MR. MATHERS: My wife had no family. Her parents died when she was ten.
MARY BETH: Sir, it would help if I can ask you just a few questions first.
MR. MATHERS: Is she all right?
MARY BETH: Yes sir, as far as I know.
MR. MATHERS: She has to be careful. She is not used to sickness.
MARY BETH: What is wrong with her?
MR. MATHERS: Her blood. I think it's leukaemia. ...I can't ask her.
MARY BETH: Who is her doctor?
MR. MATHERS: Er, Altman. Joseph Altman. He's supposed to be the best. She got sick about ten days after our wedding, and the treatments were going on and on. I believe that she was getting better when she came home this last time. But after a week or two ...she was bad again.
MARY BETH: How did you and Julie meet each other?
MR. MATHERS: Ha. Well, it was through a personal column in one of those magazines. You know we had never set eyes on one another until the night before our wedding. Ha, ha, ha, but I knew, I knew she was the one.

[Corridor outside Chris's loft]

CHRISTINE: You didn't really have to walk me home.
FRANK: I didn't know I was. I thought we were just walking.
CHRISTINE: Yeah, it seems that you're good at that.
FRANK: I'll check on those Knicks tickets for us for tomorrow night.
CHRISTINE: Good. Well...
(he tries to kiss her. She allows him a couple of pecks)
CHRISTINE: Er, my father's sleeping.
FRANK: I thought you said you lived alone.
CHRISTINE: I do ...normally, er, but he's having his apartment painted so he's staying with me.
FRANK: For how long?
CHRISTINE: Oh, as long as necessary. ..Well, I'll talk to ya tomorrow, huh?
CHRISTINE: Er, keys. Good night.
FRANK: Good night, Christine.
(she dives inside quickly and shuts the door)

[Chris's loft]

CHRISTINE: (to herself) Who said you was it?

[Detectives' Squad room]

(Mary Beth comes in with Lynne Sutter)
MARY BETH: When we told you about the story we did not expect this sort of time pressure.
LYNNE SUTTER: No, you expected me to go to Samuels, get you what you wanted and that would be that. Do you think I'm new at this?
MARY BETH: You know any kind of publicity now is going to blow the whole thing. I promise, you'll get your story.
LYNNE SUTTER: Hey, I've already got it, one way or another. Good luck.
MARY BETH: Morning Petrie.
PETRIE: Good morning.
SAMUELS: What happened to your DD5s?
MARY BETH: Sir, can you go easy for a little while. I know you're angry.
SAMUELS: Angry? What would I have to be angry about?
MARY BETH: Sir, I got in from Connecticut four o'clock this morning. I'm about to about to go and push through all the work on the mailboxes...
SAMUELS: Tough life, huh? But at least you got an interesting case to work on.
CHRISTINE: (into phone) ...but I needed to raise this with you now, but that's when I remembered about my class tonight. ...Oh, it's nothing. It's just something that interested me in my youth. ...Er, but how about during the day? ...A quick lunch? ...Oh, good! Robson's at one o'clock? ...I'll see you there. Bye.
(she rings off. Mary Beth has been listening)
CHRISTINE: Stop smiling.
MARY BETH: He got ya, huh?
CHRISTINE: Nobody got anybody.
MARY BETH: Then how about you're not seeing him during the night? You don't take any classes.
CHRISTINE: I know it, but I wanted to watch that TV special on Agamemnon's tomb.
(they both laugh)
CHRISTINE: I would like to get to know him first.
(Ed Waits comes in)
MARY BETH: Oh, you ready for this?

[Interview room]

MARY BETH: Sir, this man also married Julie two months after you did.
(Mary Beth shows him the Mathers' photograph)
ED WAITS: Not her.
CHRISTINE: Oh I can't believe this.
MARY BETH: Sir we realise this isn't easy.
(Mary Beth shows him a records' document. After a pause)
ED WAITS: She had a hard life. Told me that right away. First letter. I didn't care then, don't now.
MARY BETH: Mr. Waits, look at this. ...Please. ...Please. ...You can see.
(she shows him the Mathers' photograph again)
ED WAITS: It's him. Reverend Burnell.
CHRISTINE: Let's look.
ED WAITS: The minister who married us. It's her uncle. Burnell. She had him. He could perform the ceremony. He came up that morning. I didn't like him. Tried to. He kept rushing, like it was something we should just want to get over with. Wedding's a sacred thing. It's him. He's making her do these things.
CHRISTINE: Ed, that is not true.
ED WAITS: Don't tell me. I lived all my life without somebody. I didn't need anyone, until her. ...I was fifty-nine when we got married. It's a long time to be alone. I could have gone on. I wasn't gonna put my faith in someone who didn't deserve it! She's my wife! None of your lies is gonna change that!
(with that he leaves)

[Manhattan street]

(Ed Waits is wandering along and pauses outside the Clarkton Hotel)


FRANK: Hi, Christine.
CHRISTINE: Oh, I hope you don't mind, I ordered. I'm sort of pressed for time.
FRANK: No, it's fine. I hope there's no problem.
CHRISTINE: Oh, no, no. I've got sixty four and a half minutes. Besides I wanted to see you.
FRANK: Listen, I don't know remember if I told you but last night was different...
CHRISTINE: Well the restaurant sure was anyway.
FRANK: Do you know what I'm saying to you?
CHRISTINE: Yes I do. Well, as I was saying I went ahead with the ordering, but the truth is I don't know what you like to eat.
FRANK: I'm an adventurer. Remember?
CHRISTINE: That's right. Where did you say you went to school?
FRANK: University of Pennsylvania.
CHRISTINE: Right! In Philadelphia!
FRANK: Uh hm.
CHRISTINE: Right. Right. So you went there on a basketball scholarship?
FRANK: Uh hm. ...Is everything OK?
CHRISTINE: Oh, perfect. Why?
FRANK: Oh, you just seem a little nervous.
CHRISTINE: Oh, no, no, I'm just interested. I would like to get to know you.
FRANK: I think we know each other pretty well.
(the food, a cheese board, arrives)
CHRISTINE: Oh, thank you.
FRANK: Oh, um, Buddy Rich is playing at The Bottom Line. Do want to catch a set Thursday night.
CHRISTINE: You like jazz.
FRANK: Yeah. Can we go?
CHRISTINE: Thursday night. Oh, gee, I can't. I can't. I have this thing, ...but lunch would be good.
FRANK: Well, I think they're playing through to Saturday.
CHRISTINE: At night.
FRANK: Most nightclubs are closed during the day.
CHRISTINE: Of course they are. The truth is it's just the whole week that's bad. Especially the weekend, after five.

[Manhattan street]

(it's dark. Ed Waits is still outside the hotel. A car draws up and Julie and Burnell get out and go towards the hotel)
ED WAITS: Julie! ...Julie!
BURNELL: Back in the car! ...Get in the car!
(Julie and Burnell run back to the car and he puts Julie in the car. Ed Waits rushes up)
ED WAITS: What are you doing to her? What are you doing...
(Burnell beats Waits up and knocks him out and then drives off)

[Hospital ER]

ED WAITS: I was right. He's hurting her. He took her, pushed her in the car. I tried to stop him. I gotta help her.
MARY BETH: The man is smart, and he's playing hardball.
CHRISTINE: They may try to contact you. Smooth things over. Are you listening? If they do, pretend to play their game. Do not let them know you've contacted the police.
ED WAITS: All right.
MARY BETH: Whatever happens, do try to keep in touch with us. Don't try and handle it again by yourself, please.
(as they leave Lynne Sutter comes in.)
CHRISTINE: What are you doing here?
LYNNE SUTTER: I checked with the Squad room and they told me where you'd gone. What happened to Mr. Lonleyheart?
CHRISTINE: Lonelyheart?
LYNNE SUTTER: Good headline, isn't it?
CHRISTINE: Very beautiful.

[Post Office box centre]

(an assistant gives the duo mail from Julie's box)
CHRISTINE: Oh, thank you.
BURT: Oooh, you guys gotta a search warrant this time. (pointing to the assistant as she leaves) Is that what that was? Listen. I gotta part. I gotta part with Showcase. There's no money in it, but that's OK. Guess what I'm playing?
(Burt persists even though the duo are studying the mail)
MARY BETH: I give up.
BURT: A convict. It's 'Hello Out There' by Saroyan and I play this young man and he's locked in his cell, and that's why I wanted to talk to you guys.
BURT: I thought maybe you could lock me up overnight. You see I'm having a little problem getting a handle on this role and, er, and I know it's a stretch, but do you guys think you could?
BURT: Well, um, it would be very helpful just to have the experience, you know.
MARY BETH: I'm sorry, we can't do that. Could you leave us alone for a little while?
BURT: Course. Sure. I understand. (as he goes off) I don't know. maybe they should lock me up.
CHRISTINE: Listen to this. (she is holding a bunch of dollar bills) 'Dear Julie, I know you like me to spend our money, but I wanted you to have this.' ...Another one. 'My dear wife, I'm glad to hear the treatments are helping you. You should have seen me smile.' (waving a cheque) There sure is a lot of money around here.
MARY BETH: There's a will and an insurance policy.
(Chris takes a photograph of a wedding out of an envelope with Burnell as the priest)
CHRISTINE: Mary Beth, check this out. It's a different girl.
MARY BETH: I don't believe it. Burnell's had a corporation going. He should start issuing stocks.

[Samuels' office]

MARY BETH: You realise this is only what we've found so far. There could be other addresses.
SAMUELS: There may be, but this is plenty right now.
PETRIE: Interstate? Do you call in the Feds?
SAMUELS: No, no, it's still ours.
ISBECKI: Just how senile are these guys anyhow?
CHRISTINE: How much do you want to know?
SAMUELS: (to Isbecki and La Guardia) I'm putting you two on the boxes.
LA GUARDIA: But Lieutenant...
SAMUELS: No arrest. I just want you to see if anybody picks up. Petrie, you know this Donna or Julie or whoever?
SAMUELS: You go out on the streets, see if you can find any of her old contacts.
ISBECKI: You know her. How did you meet?
PETRIE: Professionally. (looking from the duo to Isbecki) Mine not yours.
SAMUELS: Girls, you were right about this case.
MARY BETH: Thank you, sir.
SAMUELS: If you ever pull that crap behind my back again, you gonna be sorry. You're gonna be sorrier than I think you are right now.
(the duo walks away smiling and laughing)

[Detectives' Squad room]

(back at their desks Chris is looking at a bunch of messages)
MARY BETH: All of them? ...What is going on with you two?
(the phone goes)
CHRISTINE: Could you take that. I'm going make some coffee.
MARY BETH: (into phone) Detective Lacey. Fourteenth. ..Oh yeah, how are you Frank?
(Chris indicates vigorously that she does not want to take the call)
MARY BETH: (into phone) No, no, I'm sorry. I guess you've just missed her. ...Yes. ...Er, I have no idea. ...What, if you want me to take a message for you, I... ...Sure. ...OK. (she laughs) ...OK. Bye bye.
CHRISTINE: Do want some coffee?
MARY BETH: That's a nice man.
CHRISTINE: Yeah, he's very nice. Do want coffee or not?
MARY BETH: No thank you.
CHRISTINE: It just didn't work out, OK?
MARY BETH: I'm sorry.
CHRISTINE: I told him that I didn't want to sleep with him until we got to know each other better. Soon cooled him off.
MARY BETH: Yes, I guess that's why he's calling every five minutes.
CHRISTINE: Well I said he was a nice guy. He's just being polite.
CHRISTINE: You can't expect me to have an affair with every stranger I pick up in a bar.
MARY BETH: I don't.
CHRISTINE: Well, it wasn't exactly a pickup. We were introduced, a priest. We had a nice evening together and a couple of terrific afternoons I might add, but that is no reason to believe that anything would ever come of it, is it?
CHRISTINE: So what are we arguing about?
MARY BETH: I'm not arguing with you, and as far as I can see he's a decent man.
CHRISTINE: Just let's get back to work, OK? ...Did he leave a message?

[Hotel reception]

DESK CLERK: Mr. Waits, this just came in for you a little while ago. ...Forwarded from Vermont.
ED WAITS: Thank you.
(he reads the letter)
ED WAITS: Can I use your phone?
DESK CLERK: Local phone?
DESK CLERK: Go ahead.
ED WAITS: (into phone) Hello. ...I'm calling for Julie Carson Waits. ...She said I should leave a message. I'm her husband.


(Petrie and the duo are there with Gwen, a hooker)
MARY BETH: Where can we find Donna Moline?
GWEN: I don't know. I've barely seen her since she got off the streets. Burnell made her stay away from me after I turned him down.
CHRISTINE: They asked you to be bartered?
GWEN: It's not a bad deal. It's just seems too weird having them talking to you at all. If I didn't owe Petrie a favour...
PETRIE: That's OK, Gwen. Tell us how the scam runs.
GWEN: Young woman wants to correspond with mature man. Letters come, they pick the ones with potential and decide to correspond.
PETRIE: The man never suspects.
GWEN: There are a lot of lonely people. She tells them she's been sick. After a couple weeks she has to come back to New York for treatment. They fill in some doctors' forms in the beginning to make it look official. He can still get back to me now. I've seen what he can do.
GWEN: Trust me.
(she leaves)

[Hotel room/Phone booth]

(the phone rings)
ED WAITS: Hello.
JULIE: Ed, it's me, Julie. Are you all right.
ED WAITS: Where are you?
JULIE: I've been so worried. I didn't know if I'd ever find you.
ED WAITS: I got your letter this morning. It was forwarded. Why did you run from me on the street?
JULIE: Uncle Burnell didn't realise who you were. He thought you were trying to hurt me. It all happened so fast. Ed, are you all right?
ED WAITS: I'm fine. Didn't know where you were.
JULIE: Did you go to the police?
ED WAITS: They didn't believe me. Thought I was crazy.
(Burnell is in the booth with Julie)
JULIE: I'm just so happy I've found you. I'm much better now, Ed. I just wanna go home. Could you take me home?
ED WAITS: I'll come and get you.
JULIE: No, I'll meet you. I'm staying with Uncle Burnell. It's all the way out in Brooklyn. I'll meet you at the arcade, across from the bus station.
ED WAITS: Tell Uncle Burnell to bring ya. He's been taking care of you, paying for your food and medicine. You're my wife. That's my duty.
JULIE: Uncle Burnell doesn't mind, though it has been kind of expensive.
ED WAITS: You bring him along. I wanna shake his hand. I wanna pay him back.
JULIE: OK, sweetheart.
(he gets a gun out of a bedside cabinet drawer)

[Precinct front desk office]

ISBECKI: (to the duo as they come in) Lynne Sutter's looking for ya. She says her story's breaking tomorrow and she wants to know what you're doing with it. I told her you'd call her. Hey, Mary Beth, you've got some company waiting.
BURT: Hello.
BURT: Listen, do you remember what we were talking about?
MARY BETH: I'm sorry, Burt, I told you before I cannot arrest you.
BURT: Wait, we could work something out. I've got some information on that piece you're working on.
MARY BETH: What is it?
BURT: Julie Carson got a message today. I was real surprised when she called in to pick it up. She never has before.
MARY BETH: Who was it from?
BURT: Well, can we work something out?
MARY BETH: Just give me the message. ...I'm not kidding around!
BURT: Neither am I! Look, you know how I feel about my career. Now, the way that I look at it, you got two choices. You can either lock me up for withholding evidence...
MARY BETH: All right! OK.
BURT: We have a deal then?
BURT: OK. She was supposed to call Ed Waits at this number.
MARY BETH: Petrie, arrest this man.
BURT: Thank you!
(Ed Waits is at the arcade)

[Hotel reception]

(Mary Beth is talking to a bellboy. Chris is enquiring at reception)
CHRISTINE: Come on. The desk clerk gave him directions to the arcade and the bus station forty minutes ago.


(Julie runs up and throws her arms around Ed)
JULIE: Ed, I've missed you so much!
(Burnell approaches)
JULIE: Oh, I just thought I'd never find each other. I should have known that couldn't happen to us. ...Er, Ed, this is Uncle Burnell. ..You remember.
BURNELL: Hello Ed. I'm sorry about the other night. You understand I was concerned about our little girl.
(the duo runs towards them)
BURNELL: I didn't realise that...
(Julie has run off)
CHRISTINE: I'll get the girl.
(Ed pulls his gun and sticks it in Burnell's stomach)
ED WAITS: Julie! Julie!
MARY BETH: Hold it! Hey, Mr. Waits. Put it down.
CHRISTINE: (chasing Julie) Come on. Hold it!
BURNELL: Stay away from me.
MARY BETH: Put it down, huh.
(Julie meanwhile has stumbled in the arcade and Chris apprehends her)
MARY BETH: Let me take over. Give it to me.
(Chris comes back with Julie)
MARY BETH: Chris, he's got a gun!
ED WAITS: Let go of her! Let go!
(he fires a shot in the air. Chris has her gun out on him)
MARY BETH: Easy Ed, settle down. Just calm down.
ED WAITS: (to Julie) You don't have to run. You don't have to be afraid. I know he's been making you do these things, but he's not gonna hurt you anymore! ..Stay away! Leave her alone!
CHRISTINE: Now, put down the gun!
ED WAITS: No. I know what you think. You said she was bad.
CHRISTINE: Ed, I'm putting my gun away. I'm unarmed. We're gonna walk towards you.
ED WAITS: It's all right, sweetheart, they won't hurt you. Nobody's gonna hurt you anymore. You'll be safe.
MARY BETH: Don't do this.
ED WAITS: I don't care. He hurt her. I won't let her be hurt anymore. She'll be safe. That's all I want.
CHRISTINE: (to Julie) Tell him the truth.
ED WAITS: Let her go!
CHRISTINE: (to Julie) You're the only one he'll listen to. Tell him!
BURNELL: For God's sake, Donna, tell him the truth.
JULIE: I'm not your wife. I never was. Burnell's my husband. We lied to you.
JULIE: Yes. Let him go.
ED WAITS: Why? ...You loved me.
ED WAITS: I loved you.
MARY BETH: Mr. Waits, give her the gun.
(he hands the gun to Chris)
MARY BETH: (to Burnell) Get over there! Get over there!

[Detectives' Squad room]

MARY BETH: Do you wanna grab some dinner? ...I just thought maybe you might not wanna go right home.
CHRISTINE: I don't know whether to go out with Frank.
MARY BETH: Chris, if he means something to ya, how come did you have to pick him to prove a point.
CHRISTINE: I didn't pick him on purpose. It's just bad timing.
MARY BETH: You pick the timing, lady.
CHRISTINE: Ever think you were burnt out and wondering if you were losing it?
MARY BETH: What do ya mean?
CHRISTINE: I don't know, it's just that's like something inside me isn't ticking anymore. Right at the moment I just couldn't care for anybody.
MARY BETH: Christine,...
MARY BETH: care. You've been eating yourself alive about this man.
CHRISTINE: Good night.
MARY BETH: Night. (into phone) Lynne Sutter's office please.

[Outside Precinct House]

(he is sitting on the steps)
CHRISTINE: Frank. (looking at a box on his knees) What's that?
FRANK: Oh, just a few things I've been putting together. Pictures of the family, some samples of my artwork, my report cards. It's something for us to get to know each other with.
(Chris sits down beside him on the steps)
FRANK: All right, let's see. There's brother and I at Coney Island. My Mom. ... Oh, this is the programme from the first play I ever did. I played the stepson.
CHRISTINE: You wanna forget all that. I'm gonna give you a report card.
(he starts looking in the box. Chris smiles)
FRANK: OK. Report card. ...Report card.

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