[Detectives' Squad room]
PROSTITUTE: ...in Red's apartment.
LA GUARDIA: Red shot Liz?
LA GUARDIA: Debbie shot Liz?
PROSTITUTE: No way! Debbie was in the shower.
LA GUARDIA: Well, who shot Liz?
PROSTITUTE: My money's on Lance.
LA GUARDIA: Berette's husband?!
PROSTITUTE: He's still real hung up on her. Say, if you've never watched these shows, how come you know all the people in 'em?
LA GUARDIA: I got hooked on "Beyond the Horizon" when I worked nights. I found I really missed it when I went over to day shifts.
(he locks her in the holding cell)
PROSTITUTE: So work nights, like me.
LA GUARDIA: My daughter gave me one of those video recorders for Christmas. I tape all the shows. Then on weekends I catch up.
PROSTITUTE: Not a terrible idea. I could use one myself for the Summer.
LA GUARDIA: How's that?
PROSTITUTE: Tourist days bring the tourist season.
(Mary Beth comes in with Richard White)
RICHARD WHITE: I've already been to the Westchester Police. If she turns up, they'll let me know but they're not even gonna look for her.
MARY BETH: (inviting him to sit down) Please.
RICHARD WHITE: I can't just sit around and wait! I'm going out of my mind.
CHRISTINE: Your wife was last seen at the Sullivan Theatre, Mr. White?
RICHARD WHITE: She goes to a matinée every Wednesday with her girl friends. This is an idea that I never liked. The three of them going alone into a city like this. It's a dangerous place for women.
MARY BETH: Mr. White, this is awkward, but we do have to ask a question.
RICHARD WHITE: All right. Westchester Police have already asked. No. My wife and I were not having marital difficulties. She is a good wife and mother to our two little girls. Now please, ...find her.
MARY BETH: Yes sir.
CHRISTINE: We'll certainly do what we can, Mr. White.
MARY BETH: I think the Westchester Police had the right idea. Who'd wanna run away from all of this?
CHRISTINE: People want more.
MARY BETH: Oh, come on, what 'More!? You've got two beautiful daughters, a husband that adores her and a nice home ...and a safe neighbourhood. And every Wednesday, a day out with the girls. Shopping and culture. I wouldn't want much more.
CHRISTINE: I grew up here.
MARY BETH: Around here?! ...With your mother, right?
CHRITINE: And my grandmother and my brother.
MARY BETH: Oh yeah. How come I never hear about your brother?
CHRISTINE: He lives in California now.
MARY BETH: There's telephones, Christine.
CHRISTINE: Yeah, I must ring him sometime. ...I haven't talked to him since my mother died.
MARY BETH: I'm sorry. ...So was your old house as fancy as these here?
CHRISTINE: Yeah, I guess.
MARY BETH: Where is it? Is it close? We could go by later. Take a look if you want.
CHRISTINE: Na, no.
[Linda Carson's garden in Westchester]
(Helen White's two friends, in tennis gear, are sitting beside the swimming pool)
LINDA CARSON: Last Wednesday, Helen left in the middle of the second act to go to the Ladies' room. She never returned.
MARY BETH: You looked for her?
LINDA CARSON: Of course!
CHRISTINE: Well, then what? Did you call the police? Did you report it to management?
LINDA CARSON: I told an usher.
CHRISTINE: I see. (to Marsha) Did Mrs. White ever indicate to you she was having trouble at home?
MARSHA REYNOLDS: No. No problems.
CHRISTINE: (to Linda) How about you?
LINDA CARSON: You mean, did she run away from home?
MARY BETH: Do you think that's a possibility, ma'am?
LINDA CARSON: Oh, anything's possible.
(the two women laugh)
MARY BETH: Did she have er, friends or family in the city.
MARSHA REYNOLDS: Er, I don't know.
CHRISTINE: (to Linda) Do you?
LINDA CARSON: No, her husband would know about that. You'd have to check with him. (calls out. A maid has come out of the house with a man in tennis gear) Oh, there's Chet! We'll be with you in a whiz, Chet.
MARSHA REYNOLDS: Oh, we don't mean to be rude but we did book a tennis lesson for three o'clock.
LINDA CARSON: You were a half hour late.
(the duo walks away from the front door after the maid has shown them out)
MARY BETH: Do you believe those two?
CHRISTINE: Their friend disappears and they're worried about making a tennis lesson.
MARY BETH: People have different ways of dealing with their emotions, Christine.
CHRISTINE: Forget the emotion routine, Mary Beth. A couple who have their hair done to play tennis?!
[Precinct front desk office]
PETRIE: Mary Beth, you have a phone call, .
MARY BETH: Thanks.
(Isbecki is at the desk, looking smart)
CHRISTINE: Bad day in court, Isbecki.
CHRISTINE: You look like you've been dragged through the mud, pal.
ISBECKI: Hey, who cares about court, Cagney? The real police work's done in the streets. (looking at the man he is booking on) Car thief. We caught him in the act.
CHRISTINE: (looking at the man) Wow! Just you and Petrie, huh? No SWAT Squads!
ISBECKI: Hey, I'm not a guy to have time to make small talk with you, Detective. I've got some reports to fill out. (to the man) Come on.
CHRISTINE: Hey, Petrie.
CHRISTINE: What's with your collar?
PETRIE: The kid ran. We chased him through a muddy salvage yard. (laughing) Victor hit him with a flying tackle.
CHRISTINE: (laughing) You're kidding. He splashed his suit.
PETRIE: His best and only suit.
CHRISTINE: Your perp looks like a kid.
PETRIE: He may be a juvenile. He's not carrying any ID and he won't tell us his name.
CHRISTINE: The Lieutenant in?
MARY BETH: (coming out of the Squad room) Christine, we're going to the morgue. We've got a body that might be our Helen White.
[Detectives' Squad room]
SAMUELS: We're gonna lose the personal touch.
LA GUARDIA: The computer's just a tool, Bert. What's there to be afraid of?
SAMUELS: (talking to La Guardia) Yea, yeah, yeah, I know what this... (he stops when he sees Isbecki's perp)
SAMUELS: What are you doing here?! ...I asked you a question!
ISBECKI: We're processing a grand larceny auto, Lieutenant. Caught the kid in the act.
(Samuels grabs the perp by the lapels and pulls him to his feet and slaps him across the face)
SAMUELS: Now you told me you were through with that garbage! Is this how you keep your word!
(as Samuels pulls back his fist to punch the perp, Isbecki, Petrie and La Guardia physically restrain him. The duo looks on)
LA GUARDIA: Come on, Lieutenant! Hold it! Come on.
ISBECKI: Come on. Relax!
SAMUELS: Na. Get him out of my sight!
PETRIE: (to the perp) What did you ever do to him?
DAVID SAMUELS: I made the mistake of being his son!
[Precinct House yard]
MARY BETH: Do we say something to Samuels about his boy.
CHRISTINE: What do you say?
MARY BETH: Imagine your own kid, arrested, brought into the precinct. I'd die if it was one of mine.
CHRISTINE: It happens. A lot of cops' kids give trouble.
MARY BETH: Not all cops' kids.
(as they go to get in the Squad car)
CHRISTINE: I did.
MARY BETH: You did? What?
CHRISTINE: Shoplifting. Ice skates. Twelve years old.
CHRISTINE: My mother let me let me stew in juvenile hall overnight.
MARY BETH: Did she? You were twelve?!
CHRISTINE: I stopped in until my dad found out about it and he came and sprung me.
MARY BETH: It was a pretty rough thing for her to do.
CHRISTINE: Why. I'm the one that got in trouble.
MARY BETH: But still, leaving your kid overnight in jail. I mean you must have felt... I don't know. What...
CHRISTINE: Worked, didn't it. I never stole again.
(the duo looks at a woman's body)
MARY BETH: What do you think, Chris?
DR. JAMAL: Strangled, yes.
CHRISTINE: Where was the body found?
DR. JAMAL: Manchester Hotel in the West Fourteenth. The body was fully clothed but there was evidence of a recent coital.
DR. JAMAL: Doubtful. I will send you a complete report as soon as we have completed our autopsy.
MARY BETH: Thank you, Doctor.
CHRISTINE: Thank you.
MARY BETH: I'll never get used to looking at dead bodies.
MARY BETH: Who's gonna call Richard White?
CHRISTINE: You are.
MARY BETH: Why me?
CHRISTINE: You have more compassion than I do, Mary Beth.
MARY BETH: You say that, Christine, because you don't wanna make the call.
CHRISTINE: I'm no good at this stuff, Mary Beth. I just blurt it out.
MARY BETH: That's the best way to do it.
MARY BETH: (as they pass a phone booth) Hey, hey!
(Mary Beth spins a coin)
CHRISTINE: (into phone) Yeah. Mr. White. ...Hi. This is Detective Cagney. ...We found your wife.
[Manchester Hotel reception desk]
DESK CLERK: I'm not Mary Woodhouse, honey. They sign in, pay their money. I give 'em the key. After that, what they do is their business.
CHRISTINE: Well, right now it's police business, so why don't..
MARY BETH: (reading from the hotel guest book) 'Smith, Smith, Jones, Smith'. Ah, an original thinker. 'Brown'.
DESK CLERK: It doesn't mean anything to me.
CHRISTINE: Would your memory be refreshed if we went back down to the station. Better than saying 'It doesn't mean anything to me'.
DESK CLERK: I told you she came in here two or three times a month with some guy.
CHRISTINE: Same guy?
DESK CLERK: Every time. ...Sometimes he came in with other women. But she was true and loyal. Looked to me like she really had the hots for him. They didn't even wait for the elevator.
CHRISTINE: So this man came in, what at least once a week, and you can't even describe him to us at all. Is that right?
DESK CLERK: Two arms, two legs.
CHRISTINE: You are really pressing your luck with me, lady.
DESK CLERK: Sue me.
CHRISTINE: All right, let's go.
MARY BETH: Christine.
CHRISTINE: No! No!
MARY BETH: Come on, lady, you wanna help us here? We're looking for a murderer.
DESK CLERK: He had this scar. (indicating from the corner of her right eye to the mouth) Ran from here to here. He was dark and swarthy ...and really put together.
MARY BETH: What about name?
DESK CLERK: Could be Smith. Could be Jones.
MARY BETH: Could be Brown. Right?
DESK CLERK: You got it.
(a cleaner empties a waste paper basket)
SAMUELS: Aw, that late already, huh?
[Detectives' Squad room]
(a woman looking down in the mouth comes in)
LA GUARDIA: Thelma!
THELMA: (as La Guardia embraces her) Hello, Paul.
LA GUARDIA: It's been such a long time.
THELMA: What are you doing, working so late?
LA GUARDIA: Well, there were a few things I had to take care of. Bert didn't say anything about you coming down to the station.
THELMA: He didn't know. I tried to arrange bail for David. I was hoping to take care of it so that I didn't have to appeal to Albert.
(she strides towards Samuels' office. Outside La Guardia hears a row break out, puts his coat on and leaves)
SAMUELS: ...He broke the law! He has got to learn that actions have consequences. Every time he gets into trouble, you think I can bail him out! Just like that, huh?! Then he turns round and runs round the streets again. My kid! Thinks he's untouchable!
THELMA: I am not asking you to bail him out!
SAMUELS: No, but your asking me to co-sign a loan amount!
THELMA: It's my loan. I will be responsible for it.
SAMUELS: Yeah, yeah. You'll be responsible. Do you think that I'm gonna allow him to drive you into financial ruin. No sir! I don't need that!
THELMA: You have your way of dealing with our son. I've got mine! If I wanna take out another mortgage on the house, that is my choice!
SAMUELS: No. no, no, no, it's not. Not while I'm still paying for it, it's not. No, Thelma, I'm not gonna allow that. I'm not gonna allow you to do that. No, not for yourself, and not for our son, either!
SAMUELS: You're controlling our lives, aren't you?
SAMUELS: No, no, I'm not.
THELMA: You hide away from us in this little office. You don't wanna know anything about us.
THELMA: (as she leaves) I can't believe you'd let your own son sit in jail when you could get him out!
[Marsha Reynold's lounge in Westchester]
CHRISTINE: This isn't a missing wife anymore. We got a homicide here and you two women are the last people to see her alive.
LINDA CARSON: We've told you everything.
MARY BETH: No ma'am, I don't think so. You see we've established the time of your friend's death between noon and three PM.
CHRISTINE: You never went to the theatre. did you, Marsha?
LINDA CARSON: You don't have to talk to them.
CHRISTINE: I wouldn't listen to that advice, Mrs. Reynolds, because it's lousy. Seeing as everything you've said up to now has been a lie. Considering you were the last person to see your friend alive, I would say that would make you a very good suspect. At least the best one we've got.
MARY BETH: Marsha, it would be so much easier if you would tell us just what happened. (Marsh looks at Linda) ...Come on.
MARSHA REYNOLDS: (hesitantly) Helen ...wasn't at the theatre. Neither was Linda. It was just me. ...Wednesdays we'd go into the city but only one of us would go to the theatre. Meanwhile the other two would er, (looking again at Linda) have an adventure.
CHRISTINE: You had lovers!
MARY BETH: Who was Helen involved with?
MARSHA REYNOLDS: I don't know.
MARSHA REYNOLDS: No, no, we didn't tell each other so that we wouldn't have to lie to cover.
CHRISTINE: How thoughtful.
MARSHA REYNOLDS: My husband... My husband might find out.
MARY BETH: You're a material witness, Marsha, the likelihood he will.
MARSHA REYNOLDS: He'll divorce me, I know it.
CHRISTINE: You should have thought of that before.
LINDA CARSON: Oh, wow, why didn't I think of that.
CHRISTINE: It was just like my mother sitting there.
MARY BETH: Oh, Chris, is that why she and Charlie got divorced?
CHRISTINE: No, my mother didn't have affairs. ...At least none that I know about. ...She was just lonely. ...She cut herself off from everything, especially after the divorce.
MARY BETH: Maybe she still loved your dad.
CHRISTINE: I never asked her. She and my brother were closer.
MARY BETH: How old were you when she died?
CHRISTINE: Nineteen. I was in Europe with the school at the time.
MARY BETH: Oh, so you had to come back, huh, for the funeral, huh?
CHRISTINE: No, I didn't. (she stops the car and points) There it is!
(across the street is a large, porticoed house)
MARY BETH: That's your house!
CHRISTINE: That's it.
MARY BETH: That's a mansion, Christine!
CHRISTINE: Six bedrooms, three have baths, a den, a tennis court, servants' quarters, three quarters of an acre of land.
MARY BETH: For you and your mother, your brother, your grandmother. That's fantastic, that enormous house. ...It's the first time you've seen it since your family sold it?
CHRISTINE: No, I've seen it before.
MARY BETH: What a lucky start, huh? I mean, all of that. You and your brother. You must have wonderful memories.
CHRISTINE: Yeah, let's go. We're gonna hit the traffic on the way back.
(at night Samuels visits his son who is sitting huddled in a blanket in a cell with his back to Samuels. There is a storm brewing)
SAMUELS: David, I...
(he looks at the officer on duty who leaves)
SAMUELS: You OK, son? ...Huh? ...Detective Isbecki er, got an enquiry from another precinct about you. That's why they're holding you. I didn't know whether anybody had explained to you why you were still here. ...Your mother was by er, yesterday. She seems to think that ...I'm the bad guy ...in this whole deal. ...I suppose you do too, huh? ...Davie, ...I know you think you got some kind of a ...raw deal. ...I never had enough time ...for you kids. I know, I know that, damn it. ...I did the best that I knew how. (David starts to whistle quietly) You know, Davie, ...when I was a kid, men were taught ...people were taught ...different things. ... What people are taught today, ...it's different. Please don't whistle. I wanna talk to ya. (David continues to whistle) I was supposed to be the best damn cop that I could be. And I was supposed to put food on the table for your mother and for you kids. ...And I did that, Davie, ...and you were supposed to love me. And you were supposed to respect me! ...I don't know anything else. That's the way it was supposed to be. ...Davie, it's complicated for me too. ...Did you know that? ...I don't know all the answers, Davie. (a long pause. Samuels moves behind David to the other side. David stops whistling) I've spent a lot of time ...feeling guilty ...about all the time that I've put into my work, ...and about divorcing you're mother. ...But, Davie, I want you to know ...That if I could do it all over again, I don't think that I could... I don't think that I would ...do it any differently. ...And now, Davie, you've gotta make the life for yourself. And you've gotta quit blaming me for the mess that you've got yourself into. (Samuels walks back towards the door) I'm telling you the truth, David.
(the rain is hammering down outside. Unable to sleep, Harvey cuddles Mary Beth from the back)
MARY BETH: Harve?
MARY BETH: Do you think we have enough excitement in our marriage? (he gives her a peck on the neck, she kisses his hand) Thinking about those women, you know, sneaking around, fooling around.
MARY BETH: It's depressing, Harve. ...Harvey?
HARVEY: (sleepily) What?
MARY BETH: I don't know if I'm more depressed about them, or Chris , or Samuels and his kid. ...I mean, Harve, you know, ...you think you know people. ...He hit his kids. ...And you oughta see the palace that Christine grew up in, Harve. Huh! Unbelievable! ...It's unbelievable. ...What's sad too, you know, she hasn't talked to her brother since she was nineteen. ...And there's a lot of unfinished business with her mother too. ...I worry about her Harve, I do. ...Because she keeps everything inside, you know?
MARY BETH: Thank you, Harvey Lacey, you're scintillating! Scintillating! Helping to ease my mind through all of this! ...Oh, will you keep your cold feet on your side of the bed, please. ...Thank you.
HARVEY: You're welcome.
MARY BETH: You're my husband. You have no right to have feet that cold. ...Night, babe.
RICHARD WHITE: I was going through some of Helen's personal items and I came across this. (he gives Chris an envelope) It's filth.
(in the envelope there are several photos and a piece of paper)
CHRISTINE: Do you know the man in these pictures, Mr. White?
RICHARD WHITE: No, but this letter was enclosed. And evidently, whoever it is, this slime, he was threatening to send me the photographs of their afternoon activities unless she brought him five thousand dollars.
MARY BETH: Have you checked your bank account, sir?
RICHARD WHITE: Nothing unusual.
MARY BETH: Did your wife have any access to any funds of her own?
RICHARD WHITE: No. No.
CHRISTINE: Manhattan postmark, dated last Friday. No return address. The letter is signed 'The Marquis de Sade'.
(Mary Beth comes in and closes the door)
MARY BETH: We've got a new development in the Helen White case, sir. The husband found some photos when he was going through her things.
SAMUELS: (disinterestedly) What type of photos?
MARY BETH: Compromising photos, sir, and a blackmail letter.
SAMUELS: Run 'em through Forensics.
MARY BETH: Yeah, we're doing it, sir.
SAMUELS: OK. Good. Let me know where that leads.
MARY BETH: With respect, sir, is there something I can do?
MARY BETH: (standing by a trophy and not looking at her) Maybe you should rethink it. Look at everything again with a fresh eye. Talk to the husband. (sitting down and putting his head on his hand) Talk to the friends of the victim. Somebody knows something they're not telling ya. Probably everybody does. You'll find it. ...Something else?
MARY BETH: No. ...Thank you, sir.
(she goes out, closes the door and looks back at a very forlorn Samuels)
CHRISTINE: (pointing to one of the photos in a viewer) You can't get a lab trace on this, can you?
OFFICER GREEN: No. One of those instant jobs, high-speed film.
MARY BETH: Well, Officer Green, what can you tell us about these photos?
OFFICER GREEN: Well, they're kinda rococo, huh? (looking at a photo) Did you catch the black tape?
CHRISTINE: We caught it, thank you. What we need is some forensic evidence, OK?
OFFICER GREEN: Well, forensically speaking, we got male and female Caucasians apparently in flagrente delicto in a room fifteen by eighteen. The approximate time of day from the soap opera on the TV is two-thirty to three o'clock PM. Don't you love it? They're watching TV during the festivities. Yeah, bedspread is cheap fabric, probably polyester, n'est ce pas.
CHRISTINE: Yes, look we know where it happened, we know who the woman is, what we need an ID on the man.
OFFICER GREEN: The Marquis de Sade?
CHRISTINE: That's correct.
OFFICER GREEN: (handing Mary Beth one of the photos) I love the alps, a little over passé maybe, but er... (reading from a report) 'Six foot, six one. A hundred and seventy-five to a hundred and ninety pounds. Twenty five to thirty years of age. Dark hair, dark complexion.' Oh, there's a three-inch scar under the right eye. (pointing to photo Mary Beth is still holding) Distended naval. How clinical do you want me to go on this.
MARY BETH: You've gone far enough. Are there any objects in the room that we could connect the man with?
OFICER GREEN: Well there are some keys on the night table but that won't go anywhere. (picking up another photo) Yeah, you've got a packet of cigarettes in a holder but the brand name is non-trackable. And you gotta a matchbook.
CHRISTINE: Can you read that matchbook?
OFFICER GREEN: What do you think they pay me for? It's one of those strip joints for females only. The Male Room, over on Essex Street.
(the duo is in a crowd of women watching a hunk take off his horned animal-head helmet, flex his muscles, and cavort about on the floor to whoops from the women)
COMPERE: (on roller skates) Well, what do you think, ladies? Do you love him? Is he primitive enough for ya?
MARY BETH: (into phone) It's true, Harvey. ...I know what it sounds like, but it's police work, Harve. ...I am not having a good time!
(the stripper removes his trunks and goes over to the crowd and gives one of the women a kiss. Chris is nearby, smiling)
COMPERE: Let's have it for The Barbarian!
MARY BETH: (into phone) Harvey Lacey, you get your mind out of the gutter! I'll see you later.
COMPERE: Now, ladies get ready for a special delivery from The Male Room. Come out here, guys.
(the bare-chested male waiters with collars and bow ties line up. The crowd continues to whoop and holler)
CHRISTINE: How do they compare with Harvey?
MARY BETH: Button it, will ya, Chris.
CHRISTINE: You missed The Barbarian. He was quite cute.
MARY BETH: Oh, that's all right. Standing around ogling half-naked men is not my thing.
(a waiter hands them drinks)
CHRISTINE: You're supposed to be looking for a half-naked suspect.
COMPERE: Thank you, guys. Your hosts, ladies. Let's put 'em to work! And now, ladies, hang on to your seats. For those of you that treasure the dark side of fantasy, The Male Room is proud to present ...The Marquis de Sade!
(out of smoke comes a hooded man who cracks a whip and begins to cavort to music)
MARY BETH: Same outfit as in the picture.
CHRISTINE: Six feet, six one? ...Dark. Same body.
(he moves around the audience)
COMPERE: Isn't he something, ladies? Does he give you what you want?
(he takes off a glove and gives it to Mary Beth)
MARY BETH: Thank you.
COMPERE: Do you want him to take it off for ya?
(the Marquis removes his hood)
CHRISTINE: Scar on the right cheek.
MARY BETH: Come on, let's take him and get outta here.
CHRISTINE: Hey, wait a minute! I wanna see the rest. He's not going anywhere in that outfit.
COMPERE: He can be so good for you.
CHRISTINE: (to Mary Beth in a WC) We're gonna have to talk to him some time.
MARY BETH [OC]: Yeah, what's he gonna say.
CHRISTINE: 'Cagney! Lacey! Get in here!'
MARY BETH: (coming out) What?!
CHRISTINE: Watch this. 'This is shoddy police work!'
MARY BETH: He's the man in the pictures. We know we saw him. The Marquis de Sade, that's the name he works under.
CHRISTINE: (still impersonating Samuels) 'Yeah, you gonna take this to court. Do you know what you got? You got nothing! ...You got no handwriting match. You don't even have a positive ID from that expert. You've got no prints!
...You don't even have a weapon!'
MARY BETH: She was strangled, ...sir.
CHRISTINE: 'Very good, Lacey. And your guy's got two hands. ...Huh, open and shut case. Aha! Go on, get out here, the both of ya.'
MARY BETH: (making to leave) Yes sir. (turning back) Sir? He did know Helen White, and he sees a lot of women, ...sir.
CHRISTINE: (quietly) 'So, he's a hustler, Lacey.'
MARY BETH: Huh?
CHRISTINE: 'There's no law against that. ...Do ya here me. I'm telling the both of ya, I'm not going to the DA and press murder charges when I don't have any evidence.'
MARY BETH: Well, we still got the blackmail motive!
CHRISTINE: (sits down)'Let me ask you something, Lacey.'
MARY BETH: Sir?
CHRISTINE: (pointing to the bench beside her) 'Sit down.'
MARY BETH: Yes sir.
CHRISTINE: 'You wanna do some good police work?'
MARY BETH: Yes sir.
CHRISTINE: 'OK, you tell me how this guy can be taking picture of Helen White the whole time he's hustling her. I mean, who is this guy? Houdini!'
MARY BETH: (laughing) He must have had an accomplice.
CHRISTINE: (they look at one another, smile and shake hands) 'Very good, Cagney.'
MARY BETH: Hey!
CHRISTINE: I would have thought of it! That's it. We've finally convinced ourselves, we've got a case.
MARY BETH: Right.
CHRISTINE: Do you what he's gonna say to us? He's gonna say 'Why didn't you go in the room? Why didn't you check the windows'?
MARY BETH: Well we didn't know about the pictures, yet.
CHRISTINE: Yeah, but we know now.
MARY BETH: So?
CHRISTINE/MARY BETH: Back to the hotel!
(Samuels. from his office, sees his son being brought down from the cells. David looks back at his father imploringly. He seems to mouth 'Please' several times. After he has gone Samuels puts his head in his hands)
[Manchester Hotel room]
CHRISTINE: (backing up towards a window) This is definitely the angle from which the pictures have been taken. Wait a minute!
(she throws up a sash window)
CHRISTINE: Maybe he took the photos from out there.
(immediately outside there is nothing. Just beyond there is a fire escape)
CHRISTINE: (looking out of the window) Have a look, Mary Beth. Go easy.
MARY BETH: (looking out of the window) Some guy could have climbed up off the street. (back inside) Look at this. How do they do it?
CHRISTINE: Well, you're the mother of two. You're asking me!
MARY BETH: I am not talking about that, I'm talking about logistics.
CHRISTINE: (laying back on the bed) Logistics! Well, ...
MARY BETH: They've got kids to take care of. They've got tennis lessons, a house to look after. I mean, where do they find the time, let alone the energy.
CHRISTINE: They've got full-time domestic help. They go to a gym twice a week. They have facials. They take a lot of vitamins.
MARY BETH: No, but I mean, how do they meet the guys? How do they get them to take them to like, this here.
CHRISTINE: Well, I mean... I guess I'd go to a nice cocktail lounge on Madison or Lexington and the Forty's, huh? A little perfume strategically placed, buy yourself a sweet dress. Undo one or two, I think three buttons would be nice undone on you, Mary Beth. Are you asking me this personally or is this er, professionaly?
MARY BETH: Nobody likes a wiseacre, Christine.
CHRISTINE: You asked me. I'm trying to help you out here.
DESK CLERK: Knock, knock.
CHRISTINE: Hey, we're kinda busy, OK?
DESK CLERK: Would you hurry? I need the room.
MARY BETH: Now?!
DESK CLERK: Businessman's special.
[Detectives' Squad room]
SAMUELS: (putting on his coat) Cagney, it's nine-thirty. What are you doing still here?
CHRISTINE: Just cleaning up some work.
SAMUELS: You were off shift four hours ago.
CHRISTINE: So were you.
SAMUELS: Crossword puzzle?
CHRISTINE: It helps me relax. ...Lieutenant, I wanted to say that I'm sorry about David.
SAMUELS: Yeah. What is there to say? You turned out all right. (he sits down beside her) And your old man was a cop.
CHRISTINE: My problem was with my mother.
SAMUELS: (jumping up) Hey, hey, you see, you kids, no matter what we do for you, you kids, you've gotta stick it to us parents!
CHRISTINE: I just thought I was right.
SAMUELS: Now, don't smart mouth me! Sometimes I think that kid of mine hates me so much.
CHRISTINE: I don't think that's true, Lieutenant.
SAMUELS: Is that right? So, what are you telling me? Now that everything is OK between you and your mother?
CHRISTINE: Well, no because...
SAMUELS: Well, you've got a responsibility to your parents. Do you know that! You've got a responsibility to your family. Parents are the people too! ...It's like a two-way street! (as he leaves) Cagney! Call your mother!
(Chris sits there looking very depressed and confused)
[Precinct House yard]
(the duo are walking out with the DA, Morris Katz, back to his car)
MORRIS KATZ: You've got gar nichts, ladies!
MARY BETH: Gar nichts?
MORRIS KATZ: Nada. Nothing! You don't have enough evidence against the guy. Do you think District Attorneys make cases out of air?
MARY BETH: The desk clerk made a positive ID. And on the day of the murder the two of them went in together and he came out alone.
MORRIS KATZ: Bop kits.
CHRISTINE: I don't wanna hear bop kits! Some smart defence lawyer will argue that there was somebody else up there. Blah. Blah. The trial will go on two months. The jury will vote 'Not guilty'. Reasonable doubt!
(he drops a book. Mary Beth picks it)
MORRIS KATZ: Thanks, no thanks.
CHRISTINE: So what, he just walks away!
MORRIS KATZ: Yes. ...Right?
[Detectives' Squad room]
(a bag lady is just sitting down as the duo comes back in)
CHRISTINE: Hi ya, Josie.
MARY BETH: Hey, Marcus, how's the Lieutenant?
PETRIE: He hasn't come out of his office yet.
ISBECKI: Coleman went in there and he nearly took his head off.
MARY BETH: The arraignment's at four, right? (they go over to La Guardia who is sitting at their desks looking at a file) Hey, Paul?
LA GUARDIA: Oh, I hope you don't mind.
CHRISTINE: What's to mind? This case ain't going nowhere.
LA GUARDIA: Right.
CHRISTINE: The DA's just left here.
LA GUARDIA: Good.
MARY BETH: Why good?
LA GUARDIA: I think I have I have a new theory about your case.
MARY BETH: You do?!
LA GUARDIA: Could we go somewhere private. This is a little embarrassing.
MARY BETH: Ladies' room.
[Manhattan street outside Richard White's office]
(the duo gets out of the Squad car)
CHRISTINE: (Chris is holding the case file) Personally I don't think it's gonna work.
MARY BETH: Why not, it always worked for Columbo.
CHRISTINE: We're not Columbo.
MARY BETH: (pulling up the collar of her raincoat) Watch me.
(La Guardia has looked at the clock before he knocks and enters. It's thirty-five minutes past noon)
SAMUELS: Did you hear someone say 'Come in'?
LA GUARDIA: I thought you might wanna talk, Bert.
SAMUELS: Well, you thought wrong. ...Close the door on your way out.
MARY BETH: He's kept us waiting thirteen minutes.
CHRISTINE: Columbo would never have stood for this.
(Mary Beth pulls up her collar again)
RICHARD WHITE: (coming in) Cagney. Lacey.
MARY BETH: (rushing to shake his hand) Oh, sir, we are so sorry to take up your time like this, sir.
RICHARD WHITE: Something come up?
CHRISTINE: Well, we just came by, Mr. White, to tell you the DA dropped the charges against our suspect.
RICHARD WHITE: Some little technicality?
CHRISTINE: Oh, no, Mr. White. We just had the wrong guy. It seems that the man we had had been set up.
MARY BETH: Yes sir, but we weren't turned off from it, were we? I mean, sometimes, you get a hold of a piece of evidence (looking through the file) and then you look at all the wrong things. Do you happen to have one of those videotape recorder things, sir?
RICHARD WHITE: I don't see what this has to do...
MARY BETH: Well, the prices on them are really going down. (she is holding a magnifying glass) Anyway this fella that we work with, he got one for Christmas. You see, because when he was working nights, he got hooked on this soap opera, er, "Beyond the Horizon". And now that he's working days he can record it and then he can look at it on weekends.
RICHARD WHITE: Detective Lacey, please, I'm rather busy!
MARY BETH: Oh, sir, wait...
RICHARD WHITE: I cannot look at those photographs again. Please!
MARY BETH: Oh, I'm sorry, sir, I really am, sir. I wished you'd look. It's very interesting. See sir, look at the TV set here, sir.
RICHARD WHITE: What does this have to do with it. Get to the point!
MARY BETH: Just look at the woman who's on the TV set.
RICHARD WHITE: What?!
MARY BETH: Liz.
RICHARD WHITE: Liz?!
MARY BETH: Please, because I would never have known myself but this fella we work with, he tells me that this woman, Liz, did not come back from vacation until Wednesday.
RICHARD WHITE: I'm afraid I don't really understand what you ladies are talking about.
CHRISTINE: You're right to be confused, Mr. White. You see that the envelope you gave us was post-marked five days before your wife's death.
RICHARD WHITE: So?
CHRISTINE: So, the pictures couldn't have been in it because the pictures were taken five days later, Wednesday, the day of your wife's murder. So what you did was mail this envelope to yourself and then you dropped the pictures in later.
MARY BETH: On Wednesday the nineteenth, you waited on the fire escape at the Manchester Hotel and you took those pictures, and after her boyfriend left, you let yourself in the room and murdered your wife, didn't you, Mr. White.
CHRISTINE: What we're saying, Mr. White, is that you have the right to remain silent. If you choose to give up the right to remain silent, anything you say can and will be and will be held against you in a court of law. You have the right to speak to an attorney and have the attorney present during the questioning.
[Detectives' Squad room]
(the duo returns and goes and stands by La Guardia)
LA GUARDIA: Was I right?
CHRISTINE: Full confession.
(they break out shouting and slap hands)
MARY BETH: The soap opera stuff was perfect, Paul. You really should take the collar.
LA GUARDIA: Be my guest. Just don't let the word get around the Squad room that I watch that stuff.
CHRISTINE: Our lips are sealed.
LA GUARDIA: Where is he?
CHRISTINE: Down at Central Booking talking to his attorney. I think this calls for champagne. What do you say?
MARY BETH: Who's buying?
CHERISTINE: I'm buying!
LA GUARDIA: I don't think this is exactly the time.
(they look across at Samuels in his office. Petrie and Isbecki join them)
MARY BETH: Thirty-six minutes. He's never gonna make it.
ISBECKI: Do you think someone oughta tell him what time it is?
MARY BETH: (to Petrie) Do you wanna tell him what time it is?
ISBECKI: I think La Guardia oughta go in there.
LA GUARDIA: Why me?
ISBECKI: Oh, you're part of his generation.
PETRIE: Look, the man obviously doesn't want to go and it's none of our business.
CHRISTINE: Petrie's right. It's his decision.
(the duo goes to the coffee table)
MARY BETH: It's making him crazy.
MARY BETH: It's tearing him up.
CHRISTINE: I don't know.
MARY BETH: That's his son. Whatever happened between the two of them, Christine, can be repaired. That's family. You love and hate each other. You argue and fight, but you don't walk away.
(Chris does, straight into Samuel's office)
CHRISTINE: Lieutenant. Last night you told me to call my mother. I didn't do it because my mother died.
SAMUELS: Oh, I'm sorry, Cagney,...
CHRISTINE: No, it's all right, it happened a long time ago. But what I needed to say to you was, that I wish I had,...
SAMUELS: Cagney, please,...
CHRISTINE: ...and now I wish I could... Oh I guess what it is I'm telling ya. (tapping on his desk) I'm just telling ya.
[Detectives' Squad room]
MARY BETH: (as Chris goes past) What did you say to him?
SAMUELS: (to Mary Beth as he comes out, putting on his coat) I've got an appointment. I'll be back in a couple of hours.
(he nods to Chris. They all watch him go)
ISBECKI: He's never gonna make it.
PETRIE: Not unless he goes lights and sirens.
LA GUARDIA: He hasn't gone lights and sirens in years.
ISBECKI: Probably doesn't even know how to work it.
(they hear a siren and smile)
MARY BETH: (to Chris) You said something to him.
CHRISTINE: It's twenty-five to one in California, right?
MARY BETH: Right!
(Chris goes into Samuels' office and closes the door. Mary Beth smiles)
CHRISTINE: (into phone) Hello, Annie. ...It's Christine. ...Is my brother home?