Cagney & Lacey Transcripts - Date Rape

Date Rape
Original Airdate: February 21, 1983

[Detectives' Squad room]

(in the Squad room Mary Beth, alone, is typing away. In the background there is much shouting and whooping. The cry 'Birthday!' rings out. An attractive blonde wearing a red Santa coat with 'Birthday Stripper' emblazoned on the back comes into the Squad room from somewhere else in the building carrying a ghetto blaster. She is preceded by Petrie with a camera. She is followed by the male detectives and Chris. She gives La Guardia a quick peck. Samuels has his arm around La Guardia and gives him a friendly squeeze. The blonde turns and opens her coat to loud acclamation)
CHRISTINE: What does it feel like being fifty-six, La Guardia?
ISBECKI: (to La Guardia) You've probably forgotten what to do. Right? La Guardia.
LA GUARDIA: I may be a year older but I'm not dead yet!
ISBECKI: Listen, if you ever need a refresher course, come and talk to me. They don't call me 'The Professor of Love' for nothing.
SAMUELS:(to Isbecki) They say 'There are those who can, do, and there are...
SAMUELS/CHRISTINE: ...those who can't, sleep!'
(the party breaks up. Chris goes across to Mary Beth)
CHRISTINE: You left early. You missed the best part!
MARY BETH: You know, it makes me uncomfortable.
CHRISTINE: Really. Why? ...Oh, come on, Mary Beth, it's all in fun. She wasn't upset by it, why should you be? (quietly) I think you're missing something very significant.
MARY BETH: I'm sorry, Christine, but there is nothing significant about a skinny young girl taking her clothes off in front of a lot of strangers. That's sad and degrading and not something I wanna be part of.
CHRISTINE: She didn't find it degrading, Mary Beth. (quietly) You just think, a year ago they wouldn't invite us to anything. They're finally accepting us as one of them.
MARY BETH: Never one of my major goals, Christine.
COLEMAN: (coming up) Gotta a request for a lady cop. You two doing anything? ...Well, the victim's in the interview room. Carole Mitchell, aged thirty-two. Seems a little bit hostile. Insists on talking only to a lady cop.

[Interview room]

CHRISTINE: (giving Carole a coffee) There you go.
MARY BETH: Sit down. ...Please.
CAROLE MITCHELL: Well, you two seem human enough.
MARY BETH: I beg your pardon?
CAROLE MITCHELL: Begging your pardon. I don't wanna start off on the wrong foot, you know, but this is hard for me to talk about.
CHRISTINE: We understand. Why don't you sit down, take a deep breath and just start from the beginning.
CAROLE MITCHELL: (sitting down) All right. ...I was raped.
MARY BETH: I'm sorry. Can you tell us where it happened?
CAROLE MITCHELL: In my apartment.
CHRISTINE: He broke in?
CHRISTINE: You let him in?
CAROLE MITCHELL: I was on a date with him.
CAROLE MITCHELL: How did I know that you would say 'Oh'?
MARY BETH: I'm sorry. I didn't mean anything by it.
CAROLE MITCHELL: It' OK. You know, it gets worse. I met him in a singles bar. Had a drink with him. In fact, I even ordered a second round.
Then we went back to my apartment. We had another drink. I even let the guy kiss me. What do you two ladies think about that?
CHRISTINE: (the duo looks at one another) We don't think anything.
MARY BETH: Can you tell us what happened then?
CAROLE MITCHELL: He wanted to go to bed. Well, I don't know. It's just something weird. The guy's just creepy. I mean, I told him 'No'. You know, I asked him to leave. And he just got crazy.
MARY BETH: How do you mean 'Crazy'.
CAROLE MITCHELL: He started shouting and screaming. I mean, he comes up with this old story, you know, You can't say 'No' to me after you've got me all worked up like this. And the he just... He... just beat me up very badly and raped me.
CHRISTINE: He beat you?
CAROLE MITCHELL: My face, my arms and my neck. It's all faded now.
CHRISTINE: How long ago did this happen?
CHRISTINE: Well, why did you wait so long to report it?
CAROLE MITCHELL: Why. Because I heard how insensitive cops are. That's why this is not my most favourite thing to do!
MARY BETH: We understand that, Miss. Mitchell.
(Chris gets up with her notes)
CAROLE MITCHELL: At first I tried. I told myself the best thing to do was try and forget about it!
CAROLE MITCHELL: And so he called me again yesterday! Asked me out again like nothing had happened and when I told him to leave me alone, he starts screaming. Like before. I mean, this man is a lunatic and I'm scared. He's gonna hurt me again and I know it. Can you stop him? Can you arrest him?
MARY BETH: Yes, ma'am, if you will sign a complaint.
CAROLE MITCHELL: His name is Ed Ravenswood. He told me he sings at The New World City Opera. He said he's a baritone. He told me that!

[Detectives' Squad room]

COLEMAN: (to the duo as they come back in from the interview room) So, what does she want? I got a bet with Isbecki. I say it was rape. He says it was non-support of a battered wife.
MARY BETH: (pointing to Chris's notes) Can I see that?
SAMUELS: So, what kinda case is it?
CHRISTINE: She was raped.
MARY BETH: We're gonna run his name through BCI.
SAMUELS: She knows his name?
MARY BETH: Well, she was on a date with him.
ISBECKI: (reading the notes) Met him in a bar. Took him home. You know what this smells like to me? A one-night stand that never called back.
COLEMAN: Sure. The chick get's upset. Turns him into the cops. Is that revenge?
LA GUARDIA: Classic 'Woman scorned' and all that.
MARY BETH: Paul! The woman was raped. Read your penal code. 'Sexual intercourse without consent'.
ISBECKI: Hey, don't be so literal. What do you think us guys are? Mind readers or something?
CHRISTINE: What do ya mean?
ISBECKI: Hey, women always say 'No. Sometimes they mean 'Yes'. But usually they mean 'Maybe'. Am I wrong?
PETRIE: I think you're over-generalising.
COLEMAN: I think the man knows what he's talking about, all right?
SAMUELS: Do you know who Thelma's most famous hero of all time is? Rhett Butler. So romantic, she says. So how come, when Rhett Butler throws Scarlett down on the bed, that's romance, but when some poor slob does it, that's rape?
MARY BETH: With respect, sir, if you don't know the difference between rape and romance, then you've got a serious problem.
(Mary Beth goes off)
COLEMAN: Is it her time of month or what?

[The New World City Opera backstage]

(Mary Beth is waiting)
RICHARDS: (into phone) Two camels, one elephant and a sufficiency of the usual clutterai. ...Perfecto! ...On the thirtieth. ...Hasta la wego. Ciao. Sainara. (rings off) And all that jazz! We're doing "Aida". (half singing) Mood so boring! (hands out scripts) Any way, sorry to keep you hanging, Officer.
MARY BETH: Detective. ...Lacey. I'm investigating a rape charge.
RICHARDS: Ah, our favourite diva is molesting the tenors again? Or, knowing her tastes, perhaps something a bit more, outré?
MARY BETH: Mr. Richards, I'm sorry if you find this funny. I do not. A young woman was raped by one of your performers. The man's name is Ed Ravenswood.
RICHARDS: Ed Ravenswood?! My dear, Ed Ravenswood does not work here. Has never worked here. But I do know where you can find him.

[Detectives' Squad room]

(Isbecki is slapping cologne on his face with the aid of a mirror . He goes over to Chris's desk, pulls up a chair back-to-front and sits down close to her. She has the phone to her ear)
ISBECKI: How do you like the cologne?
CHRISTINE: On someone else. Sorry, Isbecki, you set me up. Wait. (into phone) What about their basses and tenors. ..OK. Thanks for your help.
CHRISTINE: (to Mary Beth who has just returned) He's not a member of any of the performers' unions.
MARY BETH: Forget it!
CHRISTINE: What, they've never heard of him at The City Opera?
MARY BETH: No, they've heard of him. Full name, Edgar Ravenswood.
CHRISTINE: So he sings there?
MARY BETH: No, they've seen him there. He's the hero of some opera, "Lucia di Lammamoor"
ISBECKI: He's a married guy. He has to be! All married men on the make use an alias. Isn't that right, Petrie?
PETRIE: What? Don't look at me. I wouldn't know.
ISBECKI: Just being hypothetical.
LA GUARDIA: It's not at all unreasonable in the light of the new Canfield Report on male sexuality.
ISBECKI: This is a flaky case.
PETRIE: Do you still think you have a crime here, Christine?
CHRISTINE: I don't know. I haven't heard him sing yet!
(general male laughter)
MARY BETH: Would you knock it off! ...OK. ...I'm going home.
CHRISTINE: I'll see ya tomorrow. (to the others) Excuse me.

[Locker room]

MARY BETH: A woman has been hurt out there or maybe since you got in with the guys, you forgot about that.
CHRISTINE: No, I remember.
MARY BETH: Oh, I was beginning to wonder.
CHRISTINE: Is it too much to ask you to lighten up a little?
MARY BETH: Yeah. Sure. You heard any good rape jokes lately?!
CHRISTINE: Mary Beth, please. I know people get hurt ...every day. Some of the stuff we see, if we took it in without some kind of joke, how would we deal with it? Makes us a little crazy, so sometimes I laugh. That's what I do.
MARY BETH: Well there's certain things I don't laugh at.
CHRISTINE: And I'm sorry. That's my way. That's what I do. OK?
MARY BETH: I don't know. I'll think it over. Have you got any hand lotion?
COLEMAN: (calling from behind the temporary curtain) Ladies! La Guardia's niece is here. You're not gonna wanna miss this.
MARY BETH: La Guardia's niece?!

[Detectives' Squad room]

(Isbecki is back in front of his mirror)
PETRIE: (pointing to the cologne) Is this stuff gonna work tonight?
SAMUELS: Never fails?
ISBECKI: (using a mouth spray) Yeah, never fails.
SAMUELS: So, what do you think, ladies? Is this man, here, irresistible to the female gender?
CHRISTINE: What, you got a date?
ISBECKI: Yeah, La Guardia's trading me three night shifts if I'll show his niece around town.
SAMUELS: Really looks good. You know, Ronni is gonna love you.
MARY BETH: You do, Isbecki, you look good.
ISBECKI: I like a blind date. (La Guardia is looking apprehensive) No, tell me then, is she a very distant relative?
LA GUARDIA: Victor, I promise you, Ronni doesn't look anything like me.
SAMUELS: I've seen her.
RONNI [OC]: Uncle Paul!
LA GUARDIA: Ronni! You look lovely!
RONNI: Thank you.
LA GUARDIA: Mary Beth Lacey.
LA GUARDIA: Chris Cagney.
LA GUARDIA: Mark Petrie. The Lieutenant you know. And this is Victor Isbecki.
RONNI: (he takes her hand) How do you do, Victor. Uncle Paul's told me so much about you.
ISBECKI: It's er, really good meeting you, Ronni.
RONNI: He never mentioned how good-looking you were.
ISBECKI: You're pretty attractive yourself.
RONNI: I can tell this is going to be an evening to remember.
ISBECKI: Me too. Come on, let's get outta here. I thought maybe we start off with some drinks.
CHRISTINE: (shouts after them) Nice to have met you, Ronni.
ISBECKI: I hope you like French food.
LA GUARDIA: (shouts after them) Enjoy yourselves.
(as the happy couple disappear they all break out giggling)
MARY BETH: Well, she seemed like a very nice girl to me.
SAMUELS: (hardly able to speak while laughing) You should see his Raquel Welsh impression.
LA GUARDIA: Ronni is Ronald, a female impersonator!
(next day Isbecki comes in looking less than happy)
MARY BETH: (into phone) Yes. ...I'll hold.
LA GUARDIA: So Victor, how was your date?
ISBECKI: I'm gonna get ya, Mr. La Guardia, I promise.
LA GUARDIA: Hey, don't be mad at me. It was the Lieutenant's idea.
ISBECKI: The Lieutenant, huh. Well, I guess I owe him one.
COLEMAN: So, when did you find out, Isbecki?
ISBECKI: I don't wanna talk about it?
COLEMAN: Come on. Tell us, when d'ya find out?
ISBECKI: After dinner he invited me home to meet his wife ...and kids.
(La Guardia and Coleman clap and laugh)
MARY BETH: (into phone) Yes, do you show a listing of members by physical type? ...Height, weight, age range, colouring, all that. ...Yes. ...Directly. Yes. ...Yes. Thank you.
CHRISTINE: Good morning.
COLEMAN: Morning.
CHRISTINE: I just want to say, Isbecki, that I think you and Ronni, make a perfectly beautiful couple.
ISBECKI: (forcing a smile) Thanks Cagney. ...Actually, she reminds me a lot of you. But I do think you make the better man.
COLEMAN: Good one, Isbecki.
CHRISTINE: Oh, thank you, Victor, but really you give me way too much credit. Around here I don't have that much competition. (Chris and Coleman share the joke) Oh, come on, Victor, you're not really mad are you? We're just kidding.
ISBECKI: Geeze, why would I be mad?
CHRISTINE: (to Coleman) Whoops. Morning, Mary Beth
MARY BETH: Morning.
CHRISTINE: Er, can I talk to you? In the john.
MARY BETH: I'm waiting on a phone call, here.
CHRISTINE: OK. I went by Carole Mitchell's bar last night.
(Isbecki has come up behind them)
CHRISTINE: And the bartender doesn't remember our Mr. Ravenswood. Isbecki, do you wanna get out of here?
ISBECKI: I'm just getting some coffee.
CHRISTINE: How long could it take? (Isbecki mumbles something) What? Do wanna hear this? Well, come on. Come on all of ya! The bartender doesn't remember our guy, but he does remember Carole Mitchell. He says she goes into the bar a lot. In fact, sometimes she even takes a guy home with her.
ISBECKI: What a surprise. And here I was thinking she was a Vestal Virgin.
LA GUARDIA: We called them roundheels when I was in high school.
ISBECKI: Hey, every school had one. We had one with big legs and a moustache.
COLEMAN: So what. All cats are great in the dark.
MARY BETH: Thank you, gentlemen, for the view from the gutter. (to Isbecki) Excuse me.
CHRISTINE: That's why I wanted to talk to you in the bathroom.
MARY BETH: Sensitive of you, ...Christine.

[Laceys' bedroom]

(Mary Beth is massaging Harvey's left shoulder)
HARVEY: That's perfect. Right there. You got it, you got it.
MARY BETH: Tell the truth, Harve, do you think I'm making a big deal?
HARVEY: No. I understand why you're upset. I mean, the guys, they all sound like a bunch of jerks.
MARY BETH: Yes. And Christine? (no reply so she pushes in the shoulder) You do! You think I'm making a big deal!
HARVEY: Aw, come on. A little humour. Eh? Maybe it's not in the best of taste but it helps the tension. How does it hurt anybody?
MARY BETH: I don't know. It makes us all less ...less human to each other.
HARVEY: Maybe you have to be sometimes. Yeah? It's a tough job you've got.
MARY BETH: You are saying exactly the same thing that Christine said to me.
HARVEY: So, maybe she's got a point. Why don't call it a difference of opinion and live with it?
MARY BETH: I don't know, Harve, because I have to say what I believe in. Don't I?
MARY BETH: I can't just bite my tongue if ...something bothers me.
HARVEY: That's OK but just don't make everybody else the bad guy because they don't see everything the way that you do.
MARY BETH: Harve, how come every time I ask you to tell the truth, you tell the truth? You never take my side!
HARVEY: OK. OK. From now on I'm just gonna take your side. Huh?
HARVEY: All right. I'll take this side, (indicating her side of the bed) right here.
(they begin to wrestle in bed)
MARY BETH: Harvey, don't tickle me.

[Detectives' Squad room]

(Mary Beth comes in and puts a paper bag in front of Chris)
CHRISTINE: What's on? (taking a pastry from the Bag) Oh, from Michelle's.
MARY BETH: I'm sorry ...if I've been a pain.
CHRISTINE: No big deal. Do you want one of these?
MARY BETH: No, I've got doughnuts (pointing to her bag) from Melba.
ISBECKI: (to Chris) What you doing today? It's all set up.
MARY BETH: Oh, God. I've got appointment all afternoon.
CHRISTINE: You'll find a way. We're all counting on ya.
(Samuels is getting himself a coffee)
ISBECKI: Excuse me, sir. Lieutenant Berwick's office called. They wanna meet with you. He suggested lunch at er, Luigi's. Twelve-thirty.
SAMUELS: Internal Affairs! What have did I do to deserve this. (looking at her pastry) What have you got there, Cagney?
MARY BETH: Do you wanna doughnut, sir.
SAMUELS: Hey, give me one of these. Hey.
MARY BETH: They're sticky.
SAMUELS: Why didn't you get some fresh ones?
ISBECKI: (to Chris after Samuels has gone back in his office) OK? Twelve-twenty-five. Do not forget.
MARY BETH: What is going on?
CHRISTINE: May I see you in the conference room?

[Ladies' room]

CHRISTINE: Isbecki's getting back at Samuels for the Ronni joke.
MARY BETH: How's that?
CHRISTINE: The Berwick thing's all been set up. I'm supposed to call the restaurant and leave a message that the meeting has been cancelled.
MARY BETH: That's kind of a dumb joke.
CHRISTINE: Yeah, except that Isbecki has a lady who's gonna put the moves on the Lieutenant while he's waiting.
MARY BETH: A lady, you mean an actress? ...You mean a hooker!
CHRISTINE: Well, she doesn't look like a hooker. ...I mean, this is a great morale builder for the Lieutenant. He's gonna think she's hot stuff! ...You're upset again. ...It's a practical joke. We're paying him back.
MARY BETH: I get the picture.
CHRISTINE: I mean, nothing's gonna happen. The Lieutenant can spot a hooker a mile away. ...He'll get a kick out of it.
LA GUARDIA [OC]: Ladies! Telephone.
MARY BETH: (rushing out) Yeah!

[Detectives' Squad room]

MARY BETH: (into phone) OK. We're on our way. (to Chris) The Fifty-third has got a guy in custody confessing to a whole string of rapes. Come on.
CHRISTINE: Do you think... Do you think he's involved with Carole Mitchell?
MARY BETH: Do I know? Let's go find out. (Chris looks at her watch) Is something the matter?
CHRISTINE: Oh no. No,'s OK. Let's go and check it out.

[Fifty-third Precinct office]

SERGEANT: Well that's Parker's mug shot to show your victim but I don't think he's your boy.
MARY BETH: His physical description sounded pretty close.
SERGEANT: Yeah, but not the MO. Parker liked to do it in alleys, you know, he likes to humiliate his victims.
MARY BETH: Oh, I see, as opposed to raping them in their own homes, which is not humiliating.
SERGEANT: Well, excuse me, I thought you were a cop not some Gloria Steinem.
CHRISTINE: (looking at her watch) Can I use your phone?
SERGEANT: Yeah, go ahead.
CHRISTINE: (into phone) Er, yeah, huh. Would you page Lieutenant Samuels for me please. ...No, I just wanna leave him a message. ...Yeah. Would you tell him the meeting has been cancelled. No reschedule. The matter has been resolved. ...Yeah, that's it. ...OK. Thank you.
(she rings off)
CHRISTINE: (to the sergeant) Er, thank you. We're gonna be seeing the victim late this afternoon so we'll see what she makes of him. Thank you
MARY BETH: Bye bye. Regards to the wife.

[Detectives' Squad room]

(the duo returns)
CHRISTINE: I wanna ask the Lieutenant his opinion.
MARY BETH: What you want is for him to come out and get you off this case.
CHRISTINE: What is it with you? I wanna run it by him. OK?
ISBECKI: If you're going in there, make it in about five or ten. OK?
CHRISTINE: What are you talking about?
(Chris still goes towards Samuels' office)
ISBECKI: He's just come back from the restaurant. ...Whistling!
CHRISTINE: Oh, thanks.
ISBECKI: The theme from "Gone with the Wind".
(Chris suddenly stops)
CHRISTINE: Hey, Mary Beth, do you wanna listen to this or not?
MARY BETH: All right. As long as you don't go in there and force him to welch.

[Samuels' office]

(he is whistling and admiring a new tie)
CHRISTINE: Excuse me, Lieutenant, could we talk to you for a minute? We need your opinion about a case.
SAMUELS: Hey, I must be doing everything right.
SAMUELS: Well, first of all I meet this very charming young lady in a restaurant, Then I dodge a bullet from IAD and finally my two favourite detectives have asked me for my opinion. Hey, sit down, sit down.
CHRISTINE: Thank you. It's about Carole Mitchell.
SAMUELS: Oh yes, the date rape.
MARY BETH: Yes sir.
CHRISTINE: I think we're up against a dead end.
MARY BETH: What we're trying to figure out is what we should do next, sir.
SAMUELS: Well, if you want my advice, don't knock yourselves out.
SAMUELS: Even, assuming for argument's sake, if you've got a case here, it's a waste of time looking for the perp. There is no conviction percentage. No jury is gonna buy a woman going out on a date and then hollering 'Rape!'.
MARY BETH: I think that some juries might, sir. What about a jury of her peers?
SAMUELS: You mean women? Oh, be realistic, will ya, Lacey? In my experience women are even harder than men. Anything else?
MARY BETH: No sir.
SAMUELS: If you don't get a lead on this pretty quick I'm gonna want you to put it on the back burner, because you've got other more pressing things you could be pursuing. ...You got it?

[Squad car]

CHRISTINE: I did not influence him!
CHRISTINE: I just wanted to check some things out. I just wanted to find out how far off base I was.
MARY BETH: Hey, Chris, you don't believe her. You don't think it was rape.
CHRISTINE: Mary Beth, listen to me, this is not something I'd say in front of the guys. I go out a lot. You know that. I also say 'No' a lot.
MARY BETH: Oh yeah? Well, my goodness!
CHRISTINE: The point is when I say 'No' they get that I mean 'No'!
MARY BETH: Chris, I can't believe that you said that.
CHRISTINE: What did I say?
MARY BETH: You said it. Carole Mitchell could not possibly have been raped.
CHRISTINE: That is not what I meant. You know it!
MARY BETH: Well, you live and learn. OK?
CHRISTINE: I did not say that.
MARY BETH: I can tell you there are several hundred people every year who are not so lucky.
CHRISTINE: Please. Mary Beth, I'm not gonna fight with you. All right, we will take these pictures over to Carole Mitchell. We will see what she wants to do and then we will take it from there.

[Carole Mitchell's apartment]

CAROLE MITCHELL: No. No. It's not this guy.
MARY BETH: You sure?
CAROLE MITCHELL: Yeah, I'm sure.
CHRISTINE: And he's never bothered you again?
MARY BETH: (handing Carole a box) Miss. Mitchell, these are résumés, photos and publicity from the New World City Opera Company. Do you wanna look at them, please, and call us as soon as you can?
CAROLE MITCHELL: And what if he isn't in here?
MARY BETH: Well, then we'll er, we'll keep looking.
CHRISTINE: To tell you the truth, the chances then will be pretty slim that we find him.
CAROLE MITCHELL: It breaks you heart, doesn't it?
CHRISTINE: Look, I'm not gonna lie to you. Even if we do find him we're gonna have a helluva time convicting him.
(the phone goes. The answer-phone volume is turned up)
CAROLE MITCHELL: (answer-phone outgoing message) Hi there. Leave a message. I'm really looking forward to talking to you.
MARTY: (on answer-phone) Hi baby. It's Marty. Last night was great. Let's do it again. Soon.
(Carole turns off the answer-phone)
CAROLE MITCHELL: Oh, look at you two. You're standing there so busy judging me, huh. Because I pick up guys in a bar?
MARY BETH: No ma'am.
CAROLE MITCHELL: Well, where else am I supposed to meet someone? You know, I work in an office with three women. What am I supposed to do? Sit home and wait for Prince Charming to come knocking at my door?
MARY BETH: I think that you could be more careful.
CAROLE MITCHELL: No. What you really think is that I'm a tramp and I don't have the right to say 'No'.
MARY BETH: That's not true, Miss. Mitchell.
CAROLE MITCHELL: I thought women cops would be different. You're not, just beads and dresses.
CHRISTINE: Hey, you wait just one damn minute!
MARY BETH: We're trying to help you!
CAROLE MITCHELL: I don't need this garbage.
CHRISTINE: Lady! You think this is garbage? Wait 'til you see what a defence attorney'll do with you.
CAROLE MITCHELL: I'm not gonna give him a chance, see. I don't care. Let's just drop the whole thing right here. Let's just forget it!
MARY BETH: Miss. Mitchell, we want to get this man as much as you do.
CAROLE MITCHELL: No, you don't. ...Get out. ...Go on. Get out. ...Go on.

[Downstairs corridor]

(the duo comes out of the lift in Carole's apartment block)
CHRISTINE: That's one tough cookie. You're right. She should be more careful.
MARY BETH: Do you think that she was giving that guy mis-signals before.
CHRISTINE: Whatever happened before, it's seems to be over now. ...She'll be OK.

[Outside Carole's apartment block]

MARY BETH: So we close it out?
CHRISTINE: The victim doesn't wanna press charges.

[Detectives' Squad room]

ISBECKI: Closing off the date rape, huh? Just like I said, more date than rape, right?
CHRISTINE: No. She's leaving town. Summerside.
(he walks away)
MARY BETH: Oh, I'm sorry, sir, no doughnuts this morning.
SAMUELS: Oh, that's all right, I'm on a diet.
LA GUARDIA: Whatever you're doing, I hope you're not going for that high protein propaganda. Lifid levels and triglyceride. It's the worst. Only refined carbohydrates ...and vegetables. That's the way to go.
MARY BETH: You do look very nice this morning, sir. You're very dressed up.
SAMUELS: Oh yeah. I and er, Lois, that's the woman that I met at the restaurant the other day, we/re going out together again tonight.
SAMUELS: Lacey, do you think she'd like the opera?
MARY BETH: The opera, sir?
(Isbecki is sniggering)
SAMUELS: Oh, I don't like the opera much myself. It's just that I thought it would make a good impression. So, do you think you could call the guy you were talking to over there at the opera and get me some good seats?
MARY BETH: Well sir, I don't know that that's a good idea, sir.
SAMUELS: I... I don't mean I want any freebies or anything like that. Oh, no, no. I'll pay whatever it takes. It just that I wanna make sure I get good seats. ...I would appreciate it. (as he goes away he calls out) La Guardia! Come on, talk to me about the diet. What do think, I should cut out toast.
LA GUARDIA: No, carbohydrates are fine. Cut out sugars and fats.
(Coleman comes up)
ISBECKI: Would you believe this? He's taking a hooker to the opera!
COLEMAN: As long as she doesn't charge by the act.
MARY BETH: Guys, I don't think it's funny. I don't think this is funny at all. I think that the joke should be called off.
CHRISTINE: Hey, Mary Beth, do you wanna go in there and tell the Lieutenant he's fallen for a prostitute.
(a phone goes. Isbecki and Coleman are giggling)
PETRIE: For you, Mary Beth, on two.
MARY BETH: Thank you. (into phone) Detective Lacey. ...One. ...No. ...Oh my God.

[Lexington General Hospital room]

(Carole, her head bandaged, is on oxygen)
DOCTOR [OC]: She's lucky she's alive.
CHRISTINE [OC]: What's the prognosis?
DOCTOR: You mean, will she survive? I don't know. I think so. If she comes out of the coma. I don't know. I hope so. When? In her own good time.
MARY BETH: That's the best you can do?
DOCTOR: Ain't medical science wonderful?
CHRISTINE: One last question, Doctor. Is there any sign of er, sexual assault?
DOCTOR: Oh, she was raped, no doubt about it.

[Hospital car park]

MARY BETH: (thumping the bonnet of the car) It was that same guy, Christine!
CHRISTINE: I know it was the same guy.
MARY BETH: What is happening to us here?
CHRISTINE: What do you mean?
MARY BETH: The woman told us she was scared of him. And we didn't listen. All we listened to was the guys' funny jokes and all we cared about was our lousy conviction percentage!
CHRISTINE: (slamming the car door) You don't mean us, you mean me!
MARY BETH: No, I mean us. I mean, I let that nonsense get to me and it kept me from doing my job.
CHRISTINE: I'm not wasting time feeling guilty, Mary Beth, I'm gonna find that bastard and bring him in.

[Samuels' office]

SAMUELS: (seeing Chris come in) Cagney! Can I see you, please?
CHRISTINE: We're reopening the file on Carole Mitchell. We're going over to her apartment.
SAMUELS: Oh, good. Good, I want you to er, find that scum.
SAMUELS: Close the door. This is more of a personal kind of matter. Go on, sit down. I didn't how to ask er, one of the guys. ...And... And, I guess, I thought you would know a lot about this kind of stuff. (sitting down next Chris) Something that er, Lacey said about ...romance. The Rhett Butler thing.
SAMUELS: Yeah, well, Thelma was right. Yeah. Sure. There should have been more romance. I always thought there was. After a while er, know... Anyway what I really want is, now, is for it to be better. Do you know what I mean?
SAMUELS: I... I... I don't know why. I feel like such a clot. You know, you see with Lois it's er... She's the first since Thelma and I... And er, ...she's like my first date!
(they both chuckle)
CHRISTINE: It's awkward, I know.
SAMUELS: Oh, gee, so much has changed since I was a kid going around with girls. ...I mean er, what? Candy? Flowers? Cagney, do you like that kind of stuff?
CHRISTINE: From the right guy.
SAMUELS: When I was a kid, in my time, you were lucky if you got a kiss on the third date. (Chris chuckles) Last night Lois seemed interested in me and I er, I was afraid. I didn't know. I wasn't sure. You know what I mean? Maybe it was too soon. I want it to be right this time. ...Does this make any sense to you, all.
(Chris looks blankly at him for a few seconds)
SAMUELS: Oh. Hey, hey! This is stupid. Oh, er, who do I think you are? A Vera Athey. Well... OK. Ok. Thank you. Thank you for listening to this over-the-hill fifteen year old. (he opens the door for her to leave) Cagney.
SAMUELS: Just forget everything that I said, OK?

[Ladies' room]

(Chris rushes in followed by Mary Beth)
CHRISTINE: He really likes her!
CHRISTINE: The Lieutenant.
MARY BETH: The hooker? You mean a lot?
CHRISTINE: He wants me to tell him how to get her to like him!
MARY BETH: Oh, that poor man. That lonely man.
CHRISTINE: He's gonna be so hurt. He's gonna be so humiliated when he finds out.
LA GURDIA [OC]: Ladies. I believe someone ordered up a file.
MARY BETH: We'll think of something. ...Come on, we gotta get to Carole Mitchell's place.

[Carole Mitchell's apartment]

(Forensics is at work. The place is topsy-turvy)
FORENSIC OFFICER #1: (to the duo) Don't hold your breath for prints. It looks like he scrubbed 'em off with a cloth.
FORENSIC OFFICER #2: Did you dust this one off?
FORENSIC OFFICER #1: Yeah, I dusted it.
MARY BETH: (who has been looking at something down on the floor) Chris.
CHRISTINE: Here! By you! By you!
MARY BETH: (pointing to the answer-phone) Is this clean here?
FORENSIC OFFICER #1: Yeah, it's clean.
(first message on answer-phone) This is Beverley. Can you come in about half an hour early tomorrow? For a meeting.
(next message, a male voice) This is... Forget it. I don't talk to machines.
(next message, a baritone sings) Marie, adeste...
FORENSIC OFFICER #2: (into phone) We're just about finished. You got anything for us? ...What's the address?
(as the singing continues Chris tries to hush the officer)
CHRISTINE: (as Mary Beth goes to stop the tape) No, wait a minute! Hold it! (to the officer) Shush!
ED RAVENSWOOD: (on answer-phone) This is Ed Ravenswood again. I wanna see you. Can you call me? Three-seven-three...(he rings off)
MARY BETH: Oh, damn! Three-seven...
CHRISTINE: I got it!
ED RAVENSWOOD: (next message on answer-phone) You home?
CAROLE MITCHELL: (on answer-phone) I want you to leave me alone.
ED RAVENSWOOD: (on answer-phone) No, I don't think so.
CAROLE MITCHELL: (on answer-phone) I know who you are. I have a picture of you.
ED RAVENSWOOD: (on answer-phone) Sure.
CAROLE MITCHELL: (on answer-phone) From the Opera. If you don't leave me alone I'll go to the police.
ED RAVENSWOOD: (on answer-phone) Thank you. You got it... (he rings off)
MARY BETH: (to the Forensics officer) You guys, did you see a hardboard box, (indicating the size) like that? With eight-by-ten photos in it?
FORENSIC OFFICER #2: No, I didn't.
(later as they search, Mary Beth finds the box in the bottom of a cupboard)
MARY BETH: Chris, here we go.
(they sort through the photos and other papers)
MARY BETH: Look at that!
(a photo of an opera chorus has a moustache-man's face ringed round)

[The New World City Opera backstage]

RICHARDS: (handing back the photo) I'm afraid I really wouldn't know his name. A super.
MARY BETH: What a janitor?
RICHARDS: A supernumerary. If you're in crowd scenes for five dollars an hour I make it a rule not to know the name of anyone who works for five dollars an hour.
CHRISTINE: (as Richards walks away) Well, don't you keep records or pictures?
RICHARDS: They send me glossies, résumés. Hope springs eternal.
MARY BETH: Why didn't you give us those before?
RICHARDS: My dear, in opera the rapist is usually a principal singer. If I had known you were interested in the ambiance...
CHRISTINE: Well, we are!
MARY BETH: (mouths to Chris) What?
CHRISTINE: He means extras.
RICHARDS: There's hundreds of them!
RICHARDS: You are more than welcome to rummage through the photos if you like. That should be quite a little challenge for you two.
CHRISTINE: Lead the way.

[The New World City Opera office]

(Chris is sorting through a mountain of photos. Mary Beth comes in)
CHRISTINE: No luck. I think, with all these people, one of the opera singers...
MARY BETH: Christine, there's an elephant out there in the hallway.
CHRISTINE: Yeah, it's in "Aida". It makes it twice as boring. Mary Beth, I need a break, where's the ladies here?
MARY BETH: Around the corner, past the camel. Which stack is which.
CHRISTINE: Go from here to there.
(as Chris is going out, the second photo that Mary Beth picks up looks like the man with the moustache)
MARY BETH: Christine. Chris!
MARY BETH: Look at this.

[Casting agency office]

CHRISTINE: We're looking for this man. Your name is on the back of this photo as his agent.
RENATA MYERS: I haven't represented Taylor Bowen for two years now.
MARY BETH: Still, perhaps you can help us here. You must have a file on him.
RENATA MYERS: Probably not. I had a fire in my old offices two years ago.
RENATA MYERS: Now, I have a luncheon appointment...
MARY BETH: I'm... I'm sorry but it's very important that we find him. He... He... We have reason to believe that he raped and brutally assaulted a woman. (Renata Myers turns away and sits down) I didn't mean to upset you like this.
CHRISTINE: You're the only lead that we have.
RENATA MYERS: He attacked me too. ...Three years ago.
(later the three women are sitting in easy chairs)
RENATA MYERS: He is a perfectly good singer. But then there are many, many perfectly good singers. ...I just couldn't give him work. ...And in the end I felt sorry for him, I asked him out to dinner, cheer him up. He called for me at my apartment. We had a drink. ...And then he made a pass at me, ...and when I said 'No' ...he went berserk. ...He beat me up ...and raped me.
CHRISTINE: Did you report this?
RENATA MYERS: I kept going over and over it in my mind ...and wondering, was it something that I'd done! Had I led him on! Well, finally it was just easier to try and forget it ...and pretend it never happened. ...I dropped him as a client. ...I never saw him again. (finally breaking down) Oh, that other woman ...and it's all my fault.
CHRISTINE: It's a lot of people's fault.
MARY BETH: Yeah. ,,,Taylor Bowen. ...We will find him.

[Detectives' Squad room]

MARY BETH: (into phone) Yeah, thanks anyway. (she rings off) Taylor Bowen. The only address they show for him is his agent's.
CHRISTINE: Great, so where do we go from here?
MARY BETH: Back to Carole Mitchell's bar.
ISBECKI: Hey, Lieutenant, you going out with Lois again.
SAMUELS: Yeah. Yes I am.
COLEMAN: Any touch-bums yet?
(Isbecki thumps Coleman on the chest)
SAMUELS: (turning back to Coleman) You can the wise guy stuff. You're talking about a lady. You got it!
COLEMAN: I got it.
(Samuels leaves. La Guardia comes up)
COLEMAN: At the rate he's moving, we're up for a refund!
LA GUARDIA: I didn't bargain for this. It's cost me a fortune.
ISBECKI: I just wanna see his face when he finds out.
(the duo looks up resignedly)

[Lois's apartment]

CHRISTINE: You gotta let him down easy. Tell him there's another guy.
MARY BETH: A husband. ...You were separated but you made up!
CHRISTINE: That's good! ...In fact you went back for the sake of the kids.
MARY BETH: Two kids! And you are moving out of State. Jersey!
MARY BETH: Montana is good!
CHRISTINE: You got that.
LOIS: A husband. ...Two kids. ...Montana. ...Got it.
CHRISTINE: We gotta go.
LOIS: Er, ladies, I may be cheap, but I'm not free.
LOIS: That'll be a hundred and fifty dollars, s'il vous plait.

[Carole Mitchell's bar]

BARTENDER: (looking at the photo) A lot of guys come here. I don't remember him one way or the other.
CHRISTINE: Is there anyone here who would?
BARTENDER: (indicating the piano player) Maybe Billy. He talks to a lot of people. And if he comes my way one more time, tell him from me he's a dead man.
BILLY: (being shown the photo while carries on playing) Sorry, don't know the tune.
MARY BETH: He's a singer. Opera singer.
BILLY: Strictly easy listening. You want opera, go down the street.
CHRISTINE: What do you mean?
BILLY: Trattoria for Italians. They sing you an aria.

[Manhattan street]

CHRISTINE: ..says a guy goes in that bar one night after work and meets Carole Mitchell. (spotting the Italian restaurant advertising opera singing) Here! Here.

[Italian restaurant]

CHRISTINE: (to the head waiter) Detectives Cagney, Lacey. We're looking for a Taylor Bowen. We understand he works here.
MARY BETH: (pointing to the singers on the stage) Look up there!
HEAD WAITER: There is no Taylor Bowen here. I am sorry.
CHRISTINE: (showing him the photo) You may know him by another name.
MARY BETH: (about one of the singers) I am telling you, that's the man.
HEAD WAITER: Oh, yes, Donald Greenglass, the singer with the wig.
CHRISTINE: Let's go.
MARY BETH: Hey. Hey, Chris! Gently.
(Mary Beth checks her handcuffs, grabs back the photo and they let the aria end. As the applause dies down they go up to the stage)
MARY BETH: You see I told you it was him. (to Bowen) Excuse me.
TAYLOR BOWEN: Well, ladies, did you enjoy the performance?
MARY BETH: I wonder if I can trouble you to sign an autograph. I've been saving this picture for a long time.
TAYLOR BOWEN: Have you got a pen?
MARY BETH: I've got a pen right here in my purse. This is exciting. You look so different in your costume.
TAYLOR BOWEN: What's your first name?
MARY BETH: Mary Beth. (as he goes to sign she puts the cuffs around one wrist) Don't move. Get your hands ready. You're under arrest.
(with his free hand he punches Chris in the face, knocking her to the floor. Mary Beth still has hold of his other arm and, putting it up his back she wrestles him to the floor)
MARY BETH: You all right, Chris?
CHRISTINE: Hell, I'm bleeding!
MARY BETH: (to Bowen) I told you not to move! I promise, I don't need much of an excuse.

[Detectives' Squad room]

CHRISTINE: (walking past Isbecki she swings him round by the arm) Isbecki! Follow me!
CHRISTINE: Follow ya? I'll follow ya anywhere, you know.

[Ladies' room]

(Mary Beth, La Guardia, Petrie, Coleman and other detectives are already there)
ISBECKI: Hey, what's this? Some kind of a joke.
CHRISTINE: No joke. (to Mary Beth) May I?
MARY BETH: Certainly.
CHRISTINE: Thank you. Close in guys, it's very simple. The Lieutenant and Lois are finished. And he will never, and I mean 'Never', find out that she was a pro.
COLEMAN: Oh, so when did you get to be such a goody-two-shoes, Cagney?
LA GUARDIA: You've got big bucks invested here.
ISBECKI: It's a joke! What good is a joke without a punch line?
MARY BETH: You wanna a punch line? Try this. All of you gentlemen are guilty of procuring a prostitute, (La Guardia looks at her) which in case you have forgotten, is a crime.
PETRIE: You would turn us in to Internal Affairs?
MARY BETH: In a minute.
CHRISTINE: In a second, if he ever finds out she was a professional. Which of course will never happen, will it?
ISBECKI: What are you two so hot about? It's just a joke.
CHRISTINE: I don't think we have anything more to discuss. Meeting is adjourned.
MARY BETH: So what is it? A bunch of perverts standing around in a woman's john. We would appreciate a little privacy here!
CHRISTINE: (as she and Mary Beth go into the WCs) Gentlemen, excuse me!
(the men leave mumbling/chattering. The duo comes straight back out of the WCs)
MARY BETH: Thank you.
CHRISTINE: Congratulations.

[Detectives' Squad room]

(the duo returns to be confronted by La Guardia, Isbecki, Petrie and Coleman)
ISBECKI: We just gotta a call. Carole Mitchell's coming out of the coma.
LA GUARDIA: They think she's gonna be OK.
PETRIE: Isbecki wanted to be the one to tell you, but we thought we all should.
MARY BETH: Oh, well.
CHRISTINE: Thank you.
MARY BETH: Come on. Come here. Come on. Oh! Wow!
(Mary Beth embraces La Guardia, Petrie and Coleman. Chris shakes Isbecki's hand)

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