Jane Doe #37
Original Airdate: February 14, 1983

[Central High School classroom]

(Mary Beth is addressing a Senior Class Girls' Club Careers Day session)
MARY BETH: There are more opportunities for women in police work than ever before, and I'm not only talking about career advancement. Police work also offers personal fulfilment, which I can vouch for, and a chance to serve humankind. Detective Cagney...
CHRISTINE: Anybody have any questions?
MARY BETH: Anybody? ...Come on, girls.
(one girl raises her hand, obviously disinterested, like the rest of the class)

[Precinct House yard]

(the duo returns in the Squad car)
CHRISTINE: What is happening in high schools today? Can you believe the girls they sent us to talk to? I mean, all they can think of is meeting these guys and riding around in cars ...What is that?
MARY BETH: Isn't it you and me that always complain there aren't enough women on the force? If they don't send us to recruit, who are they gonna send? Isbecki?
CHRISTINE: Perfect. Those bimbos'd love it. Excuse me, Mary Beth, I'm complaining about bimbos at my age.
MARY BETH: It means you're thinking about it. Which means you are thinking about your birthday.
MARY BETH: It means you're thinking about you taking your father for a nice meal.
CHRISTINE: No. No, he's going on a jaunt with his cronies.
MARY BETH: Oh, Chris, that's a shame! ...Well, come and have dinner with me and the family.
CHRISTINE: No. Thanks anyway.
MARY BETH: How about Stewart? Cagney's free for birthday dinner.
CHRISTINE: Mary Beth, I just wanna forget my birthday this year. OK?
MARY BETH: OK. Sure. Course there was this delicious fashion accessory I saw it in Bloomindales. I thought it would just suit your colour.
CHRISTINE: What colour?
MARY BETH: You'll never know.
CHRISTINE: Wait a minute.
(she follows Mary Beth inside)

[Samuels' office]

(he is eating something)
SAMUELS: You got how many points?
PETRIE: Just seven.
SAMUELS: Just seven! Petrie, where did you get assessed?
PETRIE: At one of those sub-cultural race events?
SAMUELS: You go on down to Delancey Street and they'll tell ya. Now get to hell outta here, I wanna finish my lunch! (seeing the duo is back) Cagney! Lacey! In here.
MARY BETH: Oh, you don't wanna eat that, sir. Remember your stomach.
SAMUELS: Well, it's my stomach. What are you? My mother?
MARY BETH: No sir.
(Samuels has handed Chris a file)
MARY BETH: For us?
CHRISTINE: Does this mean we're off the recruiting detail?
SAMUELS: No, you're still on recruiting, and you've got this case.
MARY BETH: Thank you, sir.
CHRISTINE: 'Jane Doe'. Got no ID. No leads at all.
SAMUELS: No, they found her body over by the river this morning. This little old bag lady with a rhinestone tiara. See if you can establish an ID so we can let next-of-kin know and arrange for the disposal of the body.
CHRISTINE: Any indication of rape or robbery?
SAMUELS: Like I said, she's a little old bag lady. Probably one of her fellow vagrants snitched her for a pint of Muscatel.
CHRISTINE: She must have had a name.
SAMUELS: Probably a dozen names. Go on over there. Ask some questions. Write it up. I don't want you taking too much time away from recruiting.
CHRISTINE: (as Mary Beth goes to leave) Wait a minute. Lieutenant, about this recruiting business...
SAMUELS: This is top Department priority right now. Direct from Gracie Mansion. Look, do you wanna see the memos?
MARY BETH: No sir. Thank you, sir. We'll look into Jane Doe. Come on, Chris. ...Come on!

[Squad car]

(parked on a Manhattan street)
MARY BETH: What is the plan on this Jane Doe?
CHRISTINE: Generally they walk by here. We just sit and wait.
MARY BETH: Oh, look at that. I just saw her sister. Look at this, with the baby carriage.
CHRISTINE: Let's go.
(an old lady passes the car. The duo gets out)

[Manhattan street]

MARY BETH: Excuse me, ma'am, could we have a word with you?
(the lady dives into the rubbish in the carriage)
BABY CARRIAGE LADY: I know how to defend myself! (she pulls out a hair drier and points it at the duo) Don't mess with me!
(Chris puts up her hands)
MARY BETH: We're police officers.
BABY CARRIAGE LADY: (lowering the hair drier) I ain't broken no laws! ...I'm moving on.
MARY BETH: Do you wanna go after her?
CHRISTINE: No. No. Not a whole lot.
MARY BETH: It's a shame though, the way they live. ,,,There, but for the grace of God, go you or I.
CHRISTINE: No me, kid. ...Anyway, wanna start with the corner bar?

[Corner bar]

MARY BETH: Hi ya. Detective Lacey, Fourteenth Squad. This is Detective Cagney. Do you mind if we ask you some questions?
BARTENDER: What about?
MARY BETH: A dead woman was found down the street this morning. Possible homicide. No identification. Apparently destitute, homeless. Do you know anything about her?
BARTENDER: Look, I let 'em come in here, sleep now and then, but I don't get involved in their problems.
MARY BETH: She wore like er, a rhinestone tiara.
BARTENDER: Oh yeah. Yeah. Mary, ...Queen of Scots.
CHRISTINE: Would you be more comfortable talking about this at the station office. It doesn't matter to me...
MARY BETH: Come on. Come on.
BARTENDER: Look, she told everybody she was a descendent of Mary, Queen of Scots, so, that's what they called her. She was a little baddie but no worse than most of them.
MARY BETH: Did she live anywhere? A mission. Residential hotel. Maybe with a friend.
BARTENDER: Mostly the subway. She got the Ladies' room, on the concourse level of the World Trade Center. A lager lady, they called her.
MARY BETH: Thank you.
CHRISTINE: Appreciate your help.
BARTENDER: Don't mention it.

[Subway Ladies' room]

(the duo is talking to Elsie, a bag lady)
ELSIE: I tell ya. 'Listen to Elsie, and button up and move on!' But she didn't listen and went and got herself dead! Serve's her right!
MARY BETH: You talked to her last night? ...Hey, lady, look at me when I'm talking to you. ...Did you talk to her last night?!
ELSIE: Passed her on the B and P platform at Penn station. She said she was going upstairs to tell the police that she saw something bad happening.
CHRISTINE: What did she say?
ELSIE: I told her, 'Mary, don't you be going to no police!' She said she was going, so I went downstairs to catch the local to Brooklyn and old Mary went and got herself dead. Damn!!!
MARY BETH: You said she was taking the B and P last night.
ELSIE: Yes!!!
CHRISTINE: That's on Thirty-seven. That's us!

[Precinct front desk office]

LUBIN: Here you are.
(he hands Chris the log book)
CHRISTINE: Enrique Hernandez, William Norris, Theo Dimitri, Ivan Nolan, Cletus Jefferson. That's it, but no women. What time did you get in this morning?
LUBIN: Seven AM. You wanna talk to Coleman, he's on nights this week.
CHRISTINE: Would you call him and ask him to get in here as fast as he can?
LUBIN: He's probably sleeping now. He's not going to appreciate it.
CHRISTINE: Just give him a call, Will you, Sergeant? Hey, Isbecki, what time did you get off last night?
ISBECKI: Five-thirty.
MARY BETH: Anybody from the day shift stay late?
ISBECKI: Why don't you check with La Guardia? He booked two hookers just before shift change.

[Detectives' Squad room]

MARY BETH: Hey, Paul.
CHRISTINE: La Guardia, Isbecki said that you got stuck late here last night.
LA GUARDIA: Unfortunately. Two lovelies were holding up traffic on Eighth Avenue.
CHRISTINE: Did a woman come in here? A derelict type.
MARY BETH: Bag lady.
LA GUARDIA: They come in here all the time at nights. It's warm. ...Wait a minute! There was a real fruitcake in here last night. Talked to Coleman.
CHRISTINE: Well, what did she say?
LA GUARDIA: Nothing memorable, or even comprehensible for that matter. She'd had a bellyful. Was looking to get locked up.
MARY BETH: Did she give a name?
LA GUARDIA: Name? (thinking) Coleman said she was Mary, Queen of Scots. Fallen on hard times no doubt!
CHRISTINE: Harder than you think.
MARY BETH: You don't remember anything she said?
COLEMAN: Oh, she was classy.
CHRISTINE: Oh, come on, Coleman, you must remember something. Think!
COLEMAN: I'm not very alert in the morning.
MARY BETH: It's three o'clock in the afternoon, Coleman.
COLEMAN: Yeah. Where were you at four AM?
MARY BETH: Helping my son, Michael, throw up.
COLEMAN: The lady was mumbling about something. Something about 'Dirty something', 'Dirty...
LA GUARDIA: Dirty! 'Dirty sex', wasn't that it?
COLEMAN: No. 'Dirty fix'? 'Dirty fix sheet' Maybe she ran Numbers?
CHRISTINE: Anything else?
COLEMAN: 'Red man' That's right. 'Red man off of...' something.
MARY BETH: Red man?
COLEMAN: 'Pier', ',...off of pier'. Maybe an indian on a pier.
LA GUARDIA: I still think it was 'Dirty sex'.
COLEMAN: Come on, La Guardia, you're booking too many hookers.
SAMUELS: Would anyone like to tell me what the hell is going on out here?
MARY BETH: It's our Jane Doe, sir. Before she DOA'd she showed up here. She talked to La Guardia and Coleman.
CHRISTINE: We're trying to reconstruct what it is she said.
SAMUELS: Well, what did she say?
COLEMAN: (yawning) She was plastered.
LA GUARDIA: Coleman thinks he heard 'Dirty fix sheet'. I heard 'Dirty sex'. We both heard 'Red man'.
COLEMAN: Yeah, '...off a pier'. No, wait a minute, there was something else. 'Hocus pocus'! Do you remember that, La Guardia?
LA GUARDIA: (clapping his hands in realisation) That's right! 'Hocus pocus'.
SAMUELS: What, have you people been drinking or something?
COLEMAN: No, Lieutenant, she was. The bag lady.
SAMUELS: Oh, that's terrific. In the meantime I would like to suggest that we all get back to work. Cagney and Lacey, check with the Medical Examiner's Office. See if they've put anything together. La Guardia, you're doing court on that arraignment, and Coleman, (as Coleman yawns again) you go back to bed. Ladies, don't forget you're expected at City College, five PM, room three-seventeen, Graduate Employment seminar.
(Samuels goes off)
CHRISTINE: One week! I'm giving him one week and then he can go to professional recruiters.

[Medical Examiner's Office]

KEPPLER: Do you want me to skip the Latin?
CHRISTINE: Yes. We just need time of death, probable cause, identification of MO, identity of the victim.
KEPPLER: Well, let's see. She was bought it between ten PM and midnight, last night. 'Cause of death', 'Massive cerebral haemorrhage brought on by blunt instrument trauma, bla, bla, bla'.
MARY BETH: She got hit on the head.
KEPPLER: Very hard. Judging from the cranial fracture, it was a lead pipe, a tyre iron or maybe a gun butt. We didn't pick up any fragments.
CHRISTINE: Was she drunk?
KEPPLER: 'Blood alcohol'. Here we go. 'Point ten percent' Technically, yes. She'd cop a DWI if she was stopped driving a car, but she wasn't blind drunk. Maybe half a bottle of wine.
CHRISTINE: How about her physical description?
KEPPLER: Five feet, four and a half inches. Ninety-seven pounds.
MARY BETH: That's all she weighed?
KEPPLER: There was all sorts of evidence of malnutrition. She was missing some of her teeth!
MARY BETH: How old?
KEPPLER: That's weird. When I first laid her out I had her around fifty, maybe older, but organs and skin tone showed she was much younger. I think around thirty-five.
CHRISTINE: Thirty-five?
KEPPLER: You age fast when you live in the subways.
MARY BETH: All, right, can you help us out with the ID?
KEPPLER: Well, we took photos and prints but she doesn't have a record. It's not gonna go anywhere.
MARY BETH: Clothing labels? Possessions?
KEPPLER: The clothes were all old. Without labels. Indistinguishable. 'Personal property' 'Two subway tokens, thirty-one cents, a corkscrew, a half-eaten candy bar, an empty lipstick tube and a rhinestone tiara'.
MARY BETH: OK. Thanks. Send us a copy of that report, could you, Keppler.
KEPPLER: You got it.
CHRISTINE: So, what happens to her? The usual?
KEPPLER: Yeah, if no one claims her within fifteen days, we dump her in a city plot and throw some dirt over her.
CHRISTINE: Without a name?
KEPPLER: She's got a name. 'Jane Doe, number thirty-seven'.

[Manhattan street outside the Medical Examiner's Office]

(Chris looks at her watch)
CHRISTINE: Oh, I've just remembered something. Can you do that City College thing without me?
MARY BETH: Oh, you're killing me!
CHRISTINE: No. I'm sorry. I forgot it. I have dental appointment that I made. I forgot all about. I better look for a cab.
CHRISTINE: So will you cover for me?
(Chris whistles a cab and goes for it)
CHRISTINE: I owe you one.
MARY BETH: Right. ...Keys?
CHRISTINE: (throwing her the car keys) Right.

(the cab pulls up into a back alley with vagrants hanging around. Chris goes into a non-descript looking building)

[Shelter canteen]

CHRISTINE: Excuse me.
SUPERVISOR: Coffee's in the urn and dinner's served at six.
CHRISTINE: No. I need some information. Could you help me?
SUPERVISOR: As soon as I've finished setting up.
CHRISTINE: I'm a police officer, Fourteenth Squad.
SUPERVISOR: This gonna take long?
CHRISTINE: A woman was killed around here late last week...
(the female supervisor, who walks with the aid of a walking stick, shushes her)
SUPERVISOR: (taking Chris to one side) Come on. Come with me. (pointing to other people in the canteen) I don't want any of them to hear about it. If they find out one of them's been killed they'll get hysterical. I'll get hundreds of women just begging to sleep on my floors. ...Tell me, why is it you people always show up after one of them gets killed?
CHRISTINE: We do what we can.
SUPERVISOR: Don't we all.
CHRISTINE: The dead woman's name... Well, she called herself Mary, Queen of Scots. ...Did you know her?
(the supervisor nods)
CHRISTINE: Can you tell me anything about her?
SUPERVISOR: Here, (she hands Chris a knife) make yourself useful. Get that pile of potatoes, cut 'em into small pieces. Well, she used to come in here now and then. More then than now. Said to me she that she didn't like to get hand-outs, so I did what I could for her, but...
CHRISTINE: (looking at the food being prepared) Do you do this every day?
SUPERVISOR: Yeah. Two meals a day when I get something to feed 'em. I used to do three meals a day 'til the City cut me down. It kept out the cold. They'd rather see those ladies sleep on the subway. Apparently it's healthier.
CHRISTINE: Did she have any friends, do you know?
SUPERVISOR: No. These women don't form friendships. One tends to go paranoid when everything you own goes into a couple of shopping bags. Oh, honey, make those slices smaller. They gotta last a couple of days.
SUPERVISOR: Oh, would you get me those carrots over there, please.
CHRISTINE: Yeah. There must be someone that she would talk to. A friend of some kind.
SUPERVISOR: Yes. She used to hang around with a regular, called Maurice.
SUPERVISOR: Mm, hm. Fifty-ish, short little man. Thick stubble. Hit the sauce a lot.
CHRISTINE: Well, where can I find him?
SUPERVISOR: I don't know. I haven't seen him in weeks.
CHRISTINE: Can't you tell me anything about her? I mean the woman had a real name. She must have come from somewhere. ...Oh, is that funny?
SUPERVISOR: Oh, no. I mean, a typical woman, comes to New York, looking for work, or excitement, or whatever. She gets a job. She loses a job. She falls a couple of months behind in rent. So, they throw her out of her apartment. And she puts all of her things in a subway locker. And she sleeps on the train one night. Two nights. Maybe three nights. Before she knows it, it's a way of life. ...You'd be amazed how many of them there are out there. And a lot of 'em started out just like you. Pretty, middle-class ladies. ...You married, honey?
(Chris shakes her head)
SUPERVISOR: Any money in the bank?
CHRISTINE: Not much.
SUPERVISOR: Couldn't happen to you, eh? ..Of course not! It always happens to somebody else. ...It's funny, you start off being queen of the senior prom, and then you wind up being queen of the B and P.

[Detectives' Squad room]

MARY BETH: (into phone) You take it out the oven when the top is light brown. ...Light brown means light brown, Harve, as opposed to dark brown. ...Honey, if you overcook my lasagne you're gonna wear it. ...All right, I gotta go. I'll talk to ya tomorrow.
(Chris has just come back in looking down in the mouth)
MARY BETH: How's ya tooth?
CHRISTINE: (feeling her face) Much better. ...Thank you.
CHRISTINE: How was City College?
MARY BETH: Oh, you would have loved it. They wanted to know all about early retirement and pension benefits. One girl asked me, did she'd have to pay her parking tickets if she joins the force. ..Listen, do you wanna come home and eat lasagne with us? You know it'll be pretty good if Harvey doesn't worry it to death.
CHRISTINE: Oh, no thanks, I'm gonna do some work tonight.
MARY BETH: Do you need me to stay?
CHRISTINE: No, I want you to go home. You sound awful. Go to bed and take a glass of whisky with you. I don't wanna see you until tomorrow.
MARY BETH: All right. ...Are you sure?!
CHRISTINE: Yes. You'll be much better if you take it easy.
MARY BETH: I'll see you tomorrow.
CHRISTINE: Love to Harvey and the kids.
(Chris goes to a filing cabinet and gets out a pile of photos of missing women. It's 7.03 PM. At 10.45 PM she is still there, so is Samuels. A storm is raging. She has made many pages of notes trying to decipher what 'Mary' was saying to Coleman and finally lands up with '36th street pier, DEAD MAN OFF OF A PIER'. She goes to a map on the wall showing the roads, piers and rail links in the vicinity of 36th Street)

[36th Street Pier building]

(there is a police launch with an ambulance standing by)
LT. SANDUSKY: Nippy out here this morning, isn't it?
LT. SANDUSKY: I hate to send my boys down in weather like this. (offering her a hip flask) Do you want some?
CHRISTINE: No. Thanks.
LT. SANDUSKY: You sure?
CHRISTINE: No. Really.
LT. SANDUSKY: Regulations permit a sip of medicinal brandy when you're diving. ...If we don't find something pretty soon I'm gonna bring 'em up.
CHRISTINE: (looking down at the river) Maybe the body drifted. ...No?
LT. SANDUSKY: How long you been driving for certification testing?
OFFICER [OC]: Lieutenant, we got something.
(on the launch a body is being hauled out of the water)

[Samuels' office]

SAMUELS: (into phone) Yes, Captain. ...Yeah. We'll make sure they get all the paperwork. ...Right.
(he rings off)
SAMUELS: Benny Bartelli. Small-time mob boss from Brooklyn. He was handcuffed with two slugs in his head.
SAMUELS: Oh yeah. Organised Crime Control Bureau's got a whole book on this guy.
CHRISTINE: So, can we get right on it?
MARY BETH: Well, what do you mean, sir, it was Chris who turned up the body.
CHRISTINE: Come on, Lieutenant, it's our case!
SAMUELS: Was your case, not anymore. You can go back to recruiting now. Organised Crime's got jurisdiction over all gang-related cases.
CHRISTINE: What about Jane Doe? She's not involved with the mob.
SAMUELS: Yeah, well, they're operating on a theory that the two cases are connected. You see, she witnesses the dumping? So presumably the same guy who killed Bartelli came back to get her to keep her from talking. Sound plausible?
MARY BETH: Yes sir.
SAMUELS: OK. Cagney, you gotta get up to OCCB some time today, and turn over your case file. Investigating officer name is Travis, Gilbert Travis.
MARY BETH: It isn't fair, sir.
SAMUELS: Since when's life fair, huh, Lacey? But I'll tell you I've got some terrific news for you. I gotta a phone call today from Community Affairs and they love the job you've been doing on recruiting.
CHRISTINE: Well, I'm glad somebody's getting a bang out of it.
SAMUELS: Matter of fact they've been trying to clear a fund for er, some kind of TV commercial. You know, 'Join the Force. See the World' kind of a thing, and today, finally, authorisation came through and guess who they have chosen to star in it! (the duo points at each other) The both of yous.

[TV commercial director's office]

DIRECTOR: Perfect, absolutely perfect. Something to drink? White wine? Mineral water?
CHRISTINE: No thank you.
DIRECTOR: Terrific looks. Just terrific.
MARY BETH: You understand that we've never done this type of thing before.
DIRECTOR: Nothing to worry about. All you have to do is act it out.
MARY BETH: We're not actors, we're police officers.
DIRECTOR: That's just what I want. Real people. I wanna give this spot the feel of the streets.
MARY BETH: Well, we know streets. We can give you streets.
DIRECTOR: Precisely. You'll be coming from your gut.
DIRECTOR: Motivation. Dimension. The patina of realism over the glitz.
CHRISTINE: Look, can we just do whatever it is ...you do. I'm kinda pressed for time.
DIRECTOR: Sure. You know... I was afraid they were gonna send me a couple of blonde beach bunnies straight from Malibu.
(Mary Beth turns to Chris and giggles. Chris looks unmoved)
DIRECTOR: But you two, you've got the-girl-in-the-subway look. Real, down to earth, and not overly good-looking!
MARY BETH: You mean it? (Chris isn't happy) It's us?
(Mary Beth giggles again)

[Detectives' Squad room]

(Mary Beth comes in and is waylaid by Isbecki and Petrie pulling her leg about the TV commercial)
PETRIE: Hey Lacey, would you sign my rap sheet?
MARY BETH: Knock it off.
ISBECKI: Temperamental, isn't she?
PETRIE: I should say so.
ISBECKI: (singing and dancing) 'Hooray for Hollywood. Da, da, da, da. Hollywood'
(they both collapse laughing)
MARY BETH: Jealous. ...Jealous. ...Jealous.
(her phone rings)

[Detectives' Squad room/Chris's loft]

MARY BETH: (into phone) Detective Lacey, Fourteenth.
MARY BETH: Oh, hi ya. What happened at OCCB?
CHRISTINE: Nothing. I turned over my case file and they thanked me.
MARY BETH: Anything on our Jane Doe?
CHRISTINE: No. I told 'em she was probably nothing to do with Bartelli. They just tuned out on everything else I had to say.
MARY BETH: Well that stinks.
CHRISTINE: I thought so. Listen, will you tell Samuels I went straight home after OCCB. Say I went away for the weekend.
MARY BETH: Is that what I'm saying, or is that what you're doing?
CHRISTINE: Well, you just have a nice one with Harvey and the boys.
MARY BETH: Ah, Chris, about your birthday.
CHRISTINE: Mary Beth, you promised to stop it!
MARY BETH: I broke down. I went to Bloomindales anyway. It's a sweater in buttercup yellow with coloured buttons.
CHRISTINE: Mary Beth,...
MARY BETH: Happy birthday.
CHRISTINE: Thank you.

(outside the corner bar at night. Maurice walks past a parked car and goes into the bar. A man gets out of the car and follows him in)

[Corner bar]

BARTENDER: Well, what d'ya do, Maurice? Knock over parking meter?
MAURICE: I didn't do nothing. (sorting his change) A dollar ten, a dollar twenty, one, two three, four, five. Give me a shot of your best Scotch.
BARTENDER: (to the man) What'll it be?
(Chris comes in)
BARTENDER: You again! Look, I told you everything I knew.
CHRISTINE: I'm looking for a guy named Maurice. Can you help me?
(the bartender nods in Maurice's direction)
CHRISTINE: (mouths) With the hat?
(the bartender nods again)
CHRISTINE: Thank you. (she goes and sits on the barstool next to him) Maurice?
MAURICE: (slurring) Can't you let a man have a drink in peace?
CHRISTINE: I heard you knew Mary.
MAURICE: I don't mind telling you I am fed up to here with you people. God knows, social graces! You're like locusts, asking questions. No manners.
CHRISTINE: I'm not a cop.
MAURICE: (taking off his hat) Nice to hear it. I don't even have the decency of buying you a drink.
CHRISTINE: You're kidding. Bartender, could we have a drink over here, please? Just leave the bottle.
CHRISTINE: Mary was my aunt. And I'm trying to find out what happened to her.
MAURICE: Springfield.
CHRISTINE: Yes, that's right.
MAURICE: Shame about Mary, she should have kept her mouth shut.
(he throws back his drink and Chris pours him another)
CHRISTINE: There you go.
MAURICE: My dear girl, you've been brought up right.
CHRISTINE: Thank you. When was the last time you saw Mary?
MAURICE: The night she got killed. It was right after she went to the cops. They wouldn't listen to her so she told me.
CHRISTINE: What did she tell you?
MAURICE: I didn't tell the cops this because they don't have no manners.
CHRISTINE: No, I've heard.
MAURICE: But she saw what was written on the truck.
CHRISTINE: What do you mean?
MAURICE: Pandora Trucking Inc. Ho-Ho-Kus, New Jersey. Yes, I just love that word! Ho-Ho-Kus, sounds like Pocahontas, yeah?
CHRISTINE: Yeah. What else did she tell you?
MAURICE: Nothing. She just said that she was scared. I was gonna help her with the Port Authority and the people that run it.
CHRISTINE: Maurice, I'm gonna give you my home phone number. All right. I want you to call me if you remember anything more about that night. You call me day or night, OK? (putting a piece of paper on which she has written her phone number in his jacket top pocket) I'm gonna put it right up here. ...Here it is.
(he kisses her hand)
CHRISTINE: I'm glad to have known your friend.
(Chris leaves. The man from the car approaches Maurice with a money note in his hand)
MAN FROM CAR: That bottle's nearly half-gone already.
(as Maurice takes the money note, the man picks Chris's phone number from Maurice's pocket and leaves)

[Corridor/office at the Organised Crime Control Bureau]

(still at night. The cleaners are in)
CHRISTINE: The trucking company is in Ho-Ho-Kus. Hocus pocus, Pocahontas, get it. Can you just run it through your computer?
TRAVIS: I'm afraid the operator already went home. In fact, you're lucky you caught me here. I'm normally long gone by this hour.
CHRISTINE: But you should have been watching the bar. You could have got Maurice. The longer we wait the easier it's gonna be to bury it.
TRAVIS: I don't think you understand how we operate this unit. This isn't a SWAT team. We like to move carefully here.
CHRISTINE: You've already got two murders here!
TRAVIS: Do you know how many mob murders there are in this city every year, (showing her a newspaper headline 'MASSACRE') huh?
CHRISTINE: Would you at least follow up on the identification of Jane Doe?
TRAVIS: All right. How do you propose I do that?
CHRISTINE: You call up the Springfield, Pennsylvania Police Department and see if there's a missing persons file on her.
TRAVIS: OK. We'll look into it. Springfield, you say?
TRAVIS: Oh ho. I better hurry. I'm gonna miss that last express.
CHRISTINE: (pointing to the case file) When?
TRAVIS: Ten twenty-three.
CHRISTINE: I mean, when are you gonna check on Springfield?
TRAVIS: It's gonna take some time.
CHRISTINE: For God's sake! They're gonna dispose of the body and nobody will ever know who she was!
TRAVIS: There was no material evidence on the body!
CHRISTINE: You aren't even gonna check on this Springfield tip, are you?
TRAVIS: Sure. Yeah. I'll let ya know if we come up with something. OK?
CHRISTINE: Don't bother.
(he picks up the phone and dials a number after Chris has stormed out)

(Chris returns to her loft. She notices the door is open. She draws her gun, kicks the door open, turns on the light and sees the place has been wrecked)

[Laceys' bedroom]

(the door buzzer is going)
HARVEY: What? What time is it?
MARY BETH: Twelve-thirty.
HARVEY: Who do you think it is at this hour?
MARY BETH: It's probably four-B, dropped dead.
HARVEY: Razudo! If that's who it is. I'm gonna kill him. That's what I'm gonna do. Kill him. All right! All right! (looks through the spy hole) It's Chris.
CHRISTINE: Champagne!
MARY BETH: Do you have any idea what time it is?
CHRISTINE: I wanna drink champagne.
(Chris strides in. The Laceys look at one another)
CHRISTINE: You'll notice we're drinking this fine French champagne out of a tacky plastic American cups.
MARY BETH: Well, we got good glasses here.
CHRISTINE: That is because all of my crystal has been smashed to pieces. The Irish crystal that my mother left me.
MARY BETH: Chris, will you please tell me what's going on?
CHRISTINE: My birthday. My father stood me up. Stewart is off, God knows where. You and I are stuck on that lousy recruiting panel which you and I hate. And my loft was just completely trashed. So who says you can't you can't have it all? Cheers!
MARY BETH: Oh, Chris, your loft? What? The crystal in your loft.
HARVEY: How could they do that? You're a cop, for God's sake. Something because you're a cop?
CHRISTINE: They took pictures of my parents when they were still together.
They took knives and slashed all of my couches. They threw ketchup all over everything. My clothes... The note said 'Back off'! Do you hear, Harvey?! I'm telling you, Mary Beth, I'm gonna nail those bastards.
HARVEY: Well, listen Chris, you don't get angry...
MARY BETH: (to Harvey) Now, now, don't talk nonsense here. (to Chris) You're scaring me now! You let OCCB handle that! That's what they're get paid for.
CHRISTINE: OCCB! What, like they care?! ...What about Mary? Do you think OCCB cares about her? Hell, no! ...Harvey, this woman died weighing ninety-seven pounds. She was Mary Beth's and my age. Now, you tell me how this happens. She dies, no family, no friends and her entire life ends up in a shopping bag.
MARY BETH: Well, Chris, it happens. It happens in life. It can happen to any one of us.
CHRISTINE: Not to me! ...She died so lonely. Alone.
MARY BETH: All of us die alone.
CHRISTINE: But we die with names. Her name was not Jane Doe, number thirty-seven. The woman had a name and I am gonna find out what it is.
MARY BETH: Mm. (raising her cup) Mary, Queen of Scots.
(they all toast Mary)

[Manhattan street]

(two radio patrol cars, sirens blaring, roar around a corner and screech to halt. The crews jump out, guns drawn and take up the firing position behind the car doors. The duo, in uniform, is crewing one of the cars)
MARY BETH: (making a cheesy smile) As you can see, police work is rewarding and fulfilling. It affords professional opportunities...
DIRECTOR: Cut! ...That's not quite it, honey. I don't want you to be looking there when you're saying your lines.
MARY BETH: Well, where am I supposed to be looking?
DIRECTOR: You're supposed to be looking at the camera.
MARY BETH: But your saying the bad guys were over there!
DIRECTOR: The bad guys are over there but I need you to look at the camera.
DIRECTOR: (shouts to the film crew) OK, let's do it again.
(the cars come roaring round the corner again. This time Mary Beth can't get her door open)
(the director comes across and pulls the door lock up. Take 19)
MARY BETH: As you can see, police work is rewarding and fulfilling. The Department offers programmes of training in criminology and... Er...
SCRIPT SUPERVISOR: 'Community relations.'
MARY BETH: I knew it. 'Community Relations.'
(the director is getting frustrated. Take 23)
MARY BETH: As you can see, police work is exciting and fulfilling. And...
(more takes, more 'Cut!'s. Take 35)
CHRISTINE: There's never been a better time for women to join the force.
MARY BETH: You can continue (reading from prompt boards) ...with your education while serving ...in the NPYD.
DIRECTOR: Suppose we take a break. OK?
MARY BETH: I'm sorry.
(the director puts his head in his hands. Chris puts her arm round Mary Beth and they move away)
MARY BETH: I never felt so stupid in my entire life.
CHRISTINE: It's all right. This is a very stupid film.
(as they continue to console one another a car draws up. Travis gets out)
TRAVIS: Hey, Cagney!
(he beckons her over)
TRAVIS: New career?
CHRISTINE: It's for television.
TRAVIS: I just thought you'd like to know that your lead panned out. It led us to Pandora Trucking, a front operated by a wise guy from Queens. We think we know what the who the trigger man was.
CHRISTINE: Terrific.
TRAVIS: Wait a minute. We're going off to make the collar now. Do you wanna come?
CHRISTINE: You don't need me.
TRAVIS: I don't suppose we do but I just thought you'd like to be in on it.
CHRISTINE: Sorry, Mary Beth.
MARY BETH: Christine!
CHRISTINE: (as she gets in the car) I owe him a drink.
DIRECTOR: Where's she gone? She can't leave.
MARY BETH: She just did, sir.
(he throws his copy of the script on the ground in disgust)

[Residential street]

(there are armed uniformed officers. Bystanders are watching. Travis' car screeches to a halt. They get out)
TRAVIS: (introducing Chris to one of his colleagues) Barton, Cagney. Cagney, Barton.
TRAVIS: Any movement in there?
BARTON: No sir.
TRAVIS: You better send a man round the back.
BARTON: (to a uniformed officer) Rooney, around the back.
TRAVIS: All right, let's go. (to Chris) Stay close to me.
(three uniformed officers armed with rifles, Travis, Barton and Chris position themselves around the front door of a house)
TRAVIS: (knocks) Open up! Police!
BARTON: (hearing crying) I hear someone.
TRAVIS: (the cry says 'Mummy'. He knocks again) Freitas, we have the house surrounded! Open the door slowly and come out with your hands high in the air! ...Do ya hear me!
BARTON: Do you wanna bust it down?
HELEN FREITAS [OC}: He's not here, I don't know where he is.
TRAVIS: You'll have to open up, ma'am.
BARTON: I'll get some tear gas.
CHRISTINE: No! Wait a minute! Come on. There's babies.
TRAVIS: (to one of the uniformed officers) Right. Bust it.
(as the officer prepares to shoot out the door lock, the door opens slowly revealing a woman in a dressing gown and curlers with a young child clinging to her)
HELEN FREITAS: He's not here. I swear it!
(Travis pulls her out)
TRAVIS: (to the uniformed officers) Search the place. (to Helen Freitas) Where is he?
HELEN FREITAS: I don't know. He went out last night and didn't come home.
TRAVIS: Did he take his car with him. Is that it in the driveway?
(Travis jemmies open the boot of the car. There is body in it)
HELEN FREITAS: (running to the car) Victor! Oh, my God! (Barton restrains her) Oh no! Victor! Oh, no, no, no!
(Chris picks up the child)

[Samuels' office]

SAMUELS: (calling her in) Lacey! Please. ...Sit down. ...There. Sit down, please. How's ya cold?
MARY BETH: Oh, it's nothing, sir. Probably just stardust.
(they chuckle)
SAMUELS: I'm gonna give this to ya straight.
SAMUELS: Sometimes er, things just don't work out. Do you know what I mean?
SAMUELS: Sometimes things are entirely outside of our control.
MARY BETH: Can we get to the point, sir?
SAMUELS: I just got a phone call from Community Relations. They're firing you and Cagney off the commercial.
MARY BETH: (standing up) Yes sir. Thank you, sir.
SAMUELS: Well, what, are you happy?
MARY BETH: (looking round to see if Chris is outside) Well, sir, I've got no business being there.
SAMUELS: Well, as a matter of fact, they're hiring a couple of real ones.
MARY BETH: Ha! So they probably got some blonde beach bunnies off of Malibu, right?
SAMUELS: (laughing) Probably. Yes. ...That's er... That's show business.
MARY BETH: If you say so, sir.
SAMUELS: Take care of your cold, Lacey.
MARY BETH: Yes sir.

[Detectives' Squad room]

MARY BETH: Hey, Officer Cagney, guess what? Chris! We got fired off of that commercial. Are you glad?
CHRISTINE: (dismissively) Oh, yeah. That's great.
MARY BETH: So, did you go out there on that collar with them?
CHRISTINE: And I wish I hadn't.
(Mary Beth's phone goes)
MARY BETH: (into phone) Detective Lacey, Fourteenth. ...Ah, yes, hold on. Chris it's that records clerk. On three.
CHRISTINE: (into phone) Detective Cagney. ...Yes, that's right. ...OK. ...Right. Thank you very much. ...Yeah, I will have that verified and I'll get back to ya.
MARY BETH: What is that?
(Chris passes the note she has made to Mary Beth)
MARY BETH: 'Mary Dustin, aged thirty-four. Disappeared April seventh, nineteen seventy-seven'. Is that her?
CHRISTINE: Probably.
MARY BETH: 'Married with two children'. ...So, she had a husband. She had, ...you know, a family. ...Hey, are you crying?
(Chris breaks down. Mary Beth grabs some tissues and takes them to Chris)
MARY BETH: Pull yourself together. Take this. What are you crying for?
CHRISTINE: (using the tissues) I can't really help it.
CHRISTINE: Yes. ...I'm fine. (she points across to the note) Give me that, ...please.
(Mary Beth hands it to her. Chris dials a number)
CHRISTINE: (into phone) Hello, Keppler. Yeah, this is Cagney, Fourteenth Squad. ...Listen, I think I have the name for the 'Jane Doe number thirty-seven'. ...Have you got a pencil? ...I'll hold. (Mary Beth mouths 'Great'. Chris shouts across the room) Hey, guys! It's my birthday! Who's gonna buy me a drink?
(the duo clasps hands)

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