Fathers and Daughters
Original Airdate: November 12, 1984

[Chris's loft]

(there are flowers with a note on 'It's nice to be back'. The remains of candlelit meal on the table. An open box of chocolates. Part consumed drinks. Clothes randomly scattered around. Dory is in bed with Chris)
CHRISTINE: We don't have to move from this exact spot.
DORY: What ever do you mean? (Chris laughs) You asked for a new romance.
CHRISTINE: Oh, that's not what I was talking about.
DORY: I keep reading all the columns about...
CHRISTINE: No.
DORY: ...how women expect more out of love. Like in fresh mown hay, with flowers in their hair. Do you want the flowers?
CHRISTINE: No.
DORY: Breakfast in bed?
CHRISTINE: Hm. Are you gonna cook?
DORY: I'm gonna have it delivered. I'm a modern man.
CHRISTINE: Of course you are.
DORY: I am!
CHRISTINE: Oh, come on!
DORY: Croissants. (Chris starts to laugh) Coffee. Quiche and juice. Served by a butler. In bed. In a tuxedo. Who is about to arrive in ten minutes.
CHRISTINE: Are you kidding me?
DORY: I am not kidding. And I think that you should at least be presentable before he comes.
CHRISTINE: Dory! Come on, you're lying!
DORY: I'm not! He's gonna be here! ...In ten minutes.
CHRISTINE: Ten minutes.
DORY: Ten minutes.
CHRISTINE: Maybe he'll be late.
(they begin to kiss)

[Manhattan street]

(Charlie hurries out of a Donut Shop with a paper bag, newspapers under his arm and carrying his lunchbox)

[Chris's loft]

(Dory is up and in a dressing gown. There is a knock at the door. He opens it)
CHARLIE: What's going on?
DORY: Oh, good, you're here. Ah, look. The lady's still in the shower. Do you think you could be changed and set up... (hearing Chris) Oh, it's too late. (dragging Charlie in) Look, I really want this to be something special. OK? (handing Charlie the flowers) Put these on the tray. (he goes to Chris) Chris, breakfast is ready. (to Charlie who is looking totally bemused) Is there something we should do? Or just get back in bed?
CHRISTINE: (lifts a towel from over her eyes) OK!
DORY: (pointing to Charlie who is standing there transfixed) Taa, taaa!
CHRISTINE: Pop!
(Chris looks at Dory wondering what to believe)

[Outside a luxury apartment block]

CHRISTINE: You don't know my father.
MARY BETH: Oh, certainly, Christine. He knows you... He knows that you're sexually ...active.
CHRISTINE: Well, thank you for the discreet phrase! It happened at a time I wasn't ready for it.
MARY BETH: I'm not sitting on judgement. I just... I mean, you told him about Dory. Right?
CHRISTINE: It's one thing for a father to... ...for my father, you know, to know that I know men. It's a whole different ball game for him to walk in just like that. I don't know what to do.
MARY BETH: Do you want any advice?
CHRISTINE: No, I do not!
(they continue to argue)
MARY BETH: What are we gonna find this morning?
CHRISTINE: Well, I hate suicides.
MARY BETH: Would you rather have a nice juicy murder?
CHRISTINE: Yes.

[Luxury apartment block foyer]

MacDONALD: (the doorman to a uniformed officer) Surprised everybody in the building, you know?
MARY BETH: Detectives Cagney and Lacey, Fourteenth.
UNIFORMED OFFICER: Upstairs, seventeen B.
MacDONALD: (to Mary Beth) It's such a shame. A real shame. They're very nice people, the Tantons, you know? They tip very well.
MARY BETH: Thank you.

[Tantons' lounge]

(Forensics is there. A priest folds up his sash and picks up his bible)
MARY BETH: (seeing somebody they met in Open and Shut Case) Oh, Lord, that's what's-his-name.
CHRISTINE: Dr. Sinclair, the medical examiner. Terrible puns, 'If you'll excuse the expression'
CHRISTINE: (as the priest leaves) Father.
DR. SINCLAIR: Ah, the lady detectives, Casey and Lacey.
CHRISTINE: Cagney and this is Detective Lacey. So what do we have?
DR. SINCLAIR: I assure you, you don't wanna look. A handgun under the temple is very messy.
MARY BETH: Have you any idea on motive?
DR. SINCLAIR: You might say 'He lost his head'!
CHRISTINE: Oh, come on, Sinclair, will you give us a break, just this once?
DR. SINCLAIR: You can't expect me to just pass those things up, can ya? There's a note in the typewriter.
CHRISTINE: Anyone touched it?
DR. SINCLAIR: Deceased and widow. She found it. She's in her bedroom. Separate ...bedroom. Look, if I get the body out of here now, I can have a preliminary for ya by this afternoon.
CHRISTINE: (to a member of the forensics team) Are you through with your part of this?
(he nods)
DR. SINCLAIR: (as Chris goes to unzip the body bag) Sure you wanna do that?
(Chris zips the bag back up)
DR. SINCLAIR: OK boys, take him away. I'm gonna try to read what's left of this crime.
(Chris goes over to the window and looks out. She is obviously distressed by what she had seen)

[Mrs. Tanton's bedroom]

MRS. TANTON: I got home about ...ten o'clock last night. He didn't remember to tell me he was gonna be working on anything. He doesn't like me to disturb him when he's working, so I went right to bed. I woke up about, I guess it was four o'clock and I went out into the corridor and I spotted that he wasn't in his room, but I wasn't worried because he often falls asleep in his study, and it was er, six ...when I found him.
MARY BETH: I appreciate how hard this is on you but we have to do it. Do you have any idea why your husband would wanna kill himself.
MRS. TANTON: Have you read the note?
CHRISTINE: Yes, but it was er, pretty vague.
MRS. TANTON: He said there was no ...purpose ...anymore. ...You live with a man for twenty-five years ...and there are things about him that you don't know. ...I was a stranger.

[Luxury apartment block foyer]

MARY BETH: I don't like it. It doesn't feel right.
CHRISTINE: I agree. It's not often you see a typed suicide note.
MARY BETH: Yeah, with no signature. Plus, listen to this here. (reading from her notes) 'I apologise to my daughter, Jane, and my wife for all the pain I have caused. I have been neither a good father nor a good husband for which I ask forgiveness from you both'. Now what kind of man's gonna worry about how they feel when he's about to kill himself?
CHRISTINE: A care-full man.
MARY BETH: What when he's gonna plaster himself all over the room? I don't buy it.
MacDONALD: Cab, ma'am?
CHRISTINE: No thanks. We've got our own.

[Street outside apartment block]

MARY BETH: And what kind of wife wakes at four AM and then waits two hours to check on her husband?
CHRISTINE: Listen, Mary Beth, not everybody's as happily married as you and Harvey.
MARY BETH: What are you blaming me for? You're the one that wanted a homicide!
CHRISTINE: Look, Mary Beth, we're not gonna get anywhere. And meanwhile Samuels wants the Lokoski report. 'Right away'!
MARY BETH: Well, we can work on the Lokoski report until we get the autopsy. And then we'll get on it. What's the problem?
CHRISTINE: You know what the problem is.

[Detectives' Squad room]

SAMUELS: Cagney, have you got the report on the Lokoski case yet?
CHRISTINE: I'm working on it right now sir.
SAMUELS: OK. I wanna see it this afternoon. Right?
CHRISTINE: On your desk! (to Mary Beth) Did you talk to the medical examiner?
MARY BETH: Yes. He said 'Give us half an hour'. He said... Oh, never mind.
CHRISTINE: What did he say?!
MARY BETH: He said he had 'A good head start on it'.
CHRISTINE: A very sick man.

[Tantons' lounge]

MARY BETH: We're sorry to have to go through it again, Mrs. Tanton, but in light of the medical examiner's report we have to ask you a few more questions.
MRS. TANTON: OK.
CHRISTINE: Do you know anybody who would want to harm your husband?
MRS. TANTON: No. He was a very ...popular man.
MARY BETH: No known enemies. None at all.
MRS. TANTON: No.
CHRISTINE: Business. Did he ever discuss any problems with running his business with you?
MRS. TANTON: No.
MARY BETH: There was no sign of forced entry and nothing was missing?
MRS. TANTON: Not that I'm aware of.
CHRISTINE: It appears that whoever shot your husband was someone that he probably knew. Did he mention anyone coming to visit him here last night?
MRS. TANTON: No.
(Mrs. Tanton gets up and turns away)
MARY BETH: Well, Mrs. Tanton, we're gonna have to talk to a few other people. Business associates, friends, Your daughter, Jane...
MRS. TANTON: Jane! Why would you bring her into this?
MARY BETH: Her father may have said something to her.
MRS. TANTON: No. They ...rarely spoke to each other.
MARY BETH: Yes, ma'am. We'd still like to talk to her.
MARY BETH: No.
MARY BETH: I beg your pardon.
MRS. TANTON: I'm afraid I can't allow that. She's er, a very emotional girl.
CHRISTINE: Sorry, but it's necessary. In fact it would help us if you could give the names and addresses of other...
(at that point Mrs. Tanton staggers and then steadies herself)
MRS. TANTON: It's no use.
MARY BETH: Ma'am?
MRS. TANTON: You don't need to talk to anyone else. (she sits down) I killed my husband.

[Precinct staircase/Detectives' Squad room/Samuels' office]

SAMUELS: No! Case closed. Time to move on.
MARY BETH: Yes sir. Only ...we are not entirely satisfied, sir.
SAMUELS: Why? You got a confession. The DA's Office is happy. What more do you want?
MARY BETH: Yes sir, we got a confession. What we didn't get was a motive.
CHRISTINE: She told us she killed him. She told us where the gun was. She typed the note. She waited 'til morning. But ...she refuses to say why she killed him.
SAMUELS: They've been married for what, twenty-four, twenty-five years. Tell her, Lacey! It happens in a marriage sometimes.
MARY BETH: True sir, but what we're trying to say is, we asked her why. She said it wasn't important. Nothing mattered but that she done it.
CHRISTINE: That's unacceptable. So with your permission, we'd like to stay on it.
SAMUELS: Yeah, but you've still got the warehouse break-ins, Right?
MARY BETH: Yes sir.
SAMUELS: And the social security muggings. And I've yet to see the Lokoski report on my desk. Right?
MARY BETH: Yes sir.
SAMUELS: So you've still got time to mess around with a case that's all wrapped up. Huh?
MARY BETH: With all due respect, sir, we would really like....
SAMUELS: Hey, wait, Lacey. You wanna have some more work? OK. (going out of his office) I've got some more work for ya. OK!
CHRISTINE: (as they follow him) Oh, no sir. That's fine. Thank you, sir.
SAMUELS: (picking up two files and handing them each one) Annual Performance Evaluation. Mary Beth Lacey. Christine Cagney. Look 'em over, initial 'em, return 'em. I don't think you're gonna be too unhappy.
CHRISTINE: Thank you, sir.
MARY BETH: So, what do we do now, partner?
CHRISTINE: The Lokoski report first.
(they read the evaluations)
CHRISTINE: What's that?! (thrusting her evaluation in Mary Beth's hand) Would you look at this?!
MARY BETH: There's eleven categories in the evaluation. You've got highest grades in ten of them. And the second highest in the other one.
CHRISTINE: Communication skills. He says that I'm sometimes...
(she rips the evaluation back out of Mary Beth's hand)
CHRISTINE: It makes me sick. 'Brusque!' I've never been brusque in my life! If I wanted to marry him, he'd never call me 'Brusque'. He'd say that I was aggressive! Mary Beth, let me ask you. You tell me the truth. Do you find me brusque?
MARY BETH: Well, Christine, I understand how you feel, but sometimes you are a little ...less than tactful.
CHRISTINE: But never 'Brusque'! I'm gonna have a talk with him. (she knocks on the office door) Excuse me, Lieutenant! (she closes the office door)

[Samuels' office]

SAMUELS: Oh, Cagney. Oh, come on in. You know, I've been thinking about it and er, maybe I was a little hasty. I've been looking over the Tanton file again and er, I don't like it either. Take a day. Talk to a few people. And then we'll re-evaluate.
(she looks down at her evaluation)
SAMUELS: Something else?
CHRISTINE: No sir. Thank you. (as she goes out) Thank you, sir. (and closes the office door after her) ...Brusque.

[Sixteenth Precinct House yard]

(Charlie Cagney is pacing up and down at night)
CHARLIE: Hey, Dory!
DORY: Hello, Mr. Cagney. How ya doing?
CHARLIE: Say, you got a minute for a drink?
DORY: Sure.
CHARLIE: Come on. There's a little place around the corner. Come on.

[Charlie's apartment]

(there is banging at the door)
CHARLIE: (in his pyjamas) I'm coming! I'm coming! Hold ya horses!
(he opens the door and Chris rushes in)
CHARLIE: Oh, Chris, come in. Something wrong?
CHRISTINE: You're damn right something's wrong! What do you think you were doing tonight?!
CHARLIE: Do you want some coffee? I'll heat some up or make you some fresh.
CHRISTINE: Answer me something! Do you plan to cross-examine every one of my boy friends?!
CHARLIE: Oh, will you slow down! All I did was buy the guy a cup of coffee.
CHRISTINE: What you were doing? ...You were trying to find out if ...his intentions were honourable, or something!
CHARLIE: Oh, come on, Christine!
CHRISTINE: Which is none of your business!!
CHARLIE: Just you wait one minute, young lady! It sure as hell is my business. It's a father's business to know who his daughter's ...associating with.
CHRISTINE: Sleeping with!!! That's what you wanted to say. I am an adult!
CHARLIE: And I'm a father! Your father!! I raised you, Christine, and I love you. And what you do...
CHRISTINE: ...to some extent always reflects back on you.
CHARLIE: Eventually.
CHRISTINE: I'm hardly what you would call promiscuous. I am thirty-eight years old, Daddy! And anybody I choose to spend my time with...
CHARLIE: Anybody you choose to sleep with....
CHRISTINE: ...is nobody's business but my own. ...Charlie, you're the one that told me that a parent's job was to become obsolete. You said that it had to end. Yes, you did. At eighteen, or twenty-one.
CHARLIE: No, no, no...
CHRISTINE: Or somewhere! It had to end.
CHARLIE: Not if you care. If you care, it never ends. It's just that the job description changes.
CHRISTINE: If I wanted you to meet Dory, I would have introduced you! I just wasn't ready.
CHARLIE: Oh, now that's terrific. That is really terrific! He's good enough to sleep with, but he's not good enough to meet me. Huh?! I tell you, there's something wrong with a guy who gets you come crying here because I buy him a cup of coffee.
CHRISTINE: Do you know what he told me? He thought it was nice. I don't! (as she leaves) You leave him alone, Charlie.
CHARLIE: (shouting after her) Oh yeah! Well then, answer me this. How can you get serious with anyone who roots for the lousy Boston Celtics!

[Interview room]

(Jane Tanton is pacing up and down. The duo comes in)
JANE TANTON: Do you know what you've done? Do you have any idea what you have done? This is a false arrest. You have the wrong person in custody. Now I'm a law student. Under a writ of habeas corpus I'm gonna sue you for every penny...
CHRISTINE: Wait a minute, lady. Your mother confessed to shooting your father.
JANE TANTON: Well, she didn't! She couldn't have! He killed himself. He couldn't live with himself any longer, so he did the...
MARY BETH: We have the medical examiner's report inside. I'm sorry. It could not have been suicide.
JANE TANTON: Well, that doesn't mean my mother did it. She couldn't have. I mean, if you knew what kind of a person... The kindest, gentlest soul...
MARY BETH: We appreciate how hard this is on you, Miss. Tanton.
JANE TANTON: (turning to Chris) Did she tell you she had a heart condition? That this is the kind of thing could kill her.
CHRISTINE: We'll call Rikers. We'll have the doctor examine her.
JANE TANTON: You don't understand. My mother would never hurt anybody! Never!! ...My father ...ruined her life. He made it hell for her. And she never once complained. She never even complained. I used to beg her to leave him and she said she couldn't. That we had to love him no matter what, because that's the way he was. (to Mary Beth) Now, can you understand that?
MARY BETH: Miss. Tanton, we're trying to understand, but why would she tell us that she killed him?
(Jane Tanton turns and continues talking to Chris)
MARY BETH: I'm asking you about your mother, Miss. Tanton!
CHRISTINE: What is this that he did? Did he beat her?
JANE TANTON: (turning away) He deserved to die! The man was pure evil. He deserved worse than...
CHRISTINE: Nobody deserves to die. There must be a reason why she killed him.
JANE TANTON: She didn't kill him!!!
CHRISTINE: She confessed to it!!
MARY BETH: Miss. Tanton, ...do you think maybe you better go home now?
JANE TANTON: No!! ...No, I won't!
CHRISTINE: Jane...
JANE TANTON: No! Are you deaf?!
CHRISTINE: No.
JANE TANTON: Don't you listen to me!
CHRISTINE: Yes.
JANE TANTON: My mother's trying to protect me. She didn't kill the bastard. I did.

[Feldberg's office]

(the duo are in with the Deputy DA, Todd Feldberg)
CHRISTINE: What? Are you blaming us?
FELDBEG: Who else? Two confessions! Let's say one of our confessed murderers... No, worse, worse. Make it both of our ladies ...changes her mind. Then what? Who do I file against? What? (he gets up and starts collecting files) Pick one. Any one. And then what? Now I'll tell you what. Smart defence lawyer takes it to a bleeding-heart jury. 'How can we ever really know what happened on that fateful night? ...Is it not better that a hundred guilty women be set free, than one poor unfortunate be unfairly convicted'
CHRISTINE: Excuse me, but how exactly is it our fault?
FELDBEG: I will reiterate. I am not going to trial like this. OK? So you either tie them in together or you blow the air out of one of their stories or we will all pray that we will get out of this without looking like a bunch of jerks. Capiche? ...I'd appreciate it, ladies. (he opens the door holding an armful of files) Good-bye! ...And good luck.
MARY BETH: (as she leaves) How exactly was it our fault?

[Detectives' Squad room]

CHRISTINE: (into phone) Yes, Miss. Manchester. ...All right. Thank you.
(she rings off)
CHRISTINE: Bingo. It is confirmed. We have a motive.
MARY BETH: OK. Why aren't I happy?
CHRISTINE: Mary Beth, come on. You never believed Jane's confession. I never believed in the confession, so we were right.
MARY BETH: Is the mother's confession for real?
CHRISTINE: I don't know. She had a damned good reason for murdering her husband.
MARY BETH: So, ...we go confront Jane ...and we get her to retract. Oh. I really hate this.
CHRISTINE: Hey! it's not my favourite thing either. Do you wanna be bad cop or good cop?
MARY BETH: Oh, it's up to you. Take your pick.

[Rikers Island Interview room]

JANE TANTON: I am telling you, I did it. Now what more do you bloodsuckers want? You have to let my mother go.
MARY BETH: No, Miss. Tanton, we don't have to anything of the kind.
JANE TANTON: I did it. It's my fault.
CHRISTINE: Fine. Do you remember the name of Denise Manchester? Twenty-seven years old. Part time ...model. ...I love that. She's living in The Village in an apartment rented under your father's name.
JANE TANTON: I know who she is.
CHRISTINE: I bet you do. Now Miss. Manchester was under the impression that your father was going to leave your mother and marry her.
JANE TANTON: My mother told me. It kind of got my attention.
CHRISTINE: Mm hm. Do you think that's why your mother killed him? After twenty-five years of marriage! What are you? A mind reader! I've had it.
MARY BETH: Miss. Tanton, I can understand why you confessed. You're close to your mother. You can only sympathise with her, and it's natural that you would want to help her. But you are a law student. Is that correct? (Jane starts to laugh) And you know what two confessions could do to our case. (Jane Tanton starts to laugh uncontrollably) ...Are you OK?
JANE TANTON: Oh, oh, ho. I am fine! It's you that's not OK. You people know everything. You're so...
CHRISTINE: Oh, can it!
JANE TANTON: Oh, shut up and listen to me! You don't know anything! My father wasn't leaving my mother for another woman. He was leaving her for two little girls.
MARY BETH: I beg your pardon.
JANE TANTON: Denise Manchester has two little girls.
CHRISTINE: I don't know what you're talking about.
MARY BETH: Miss. Tanton, did your father... What I'm trying to say. ...Did your father...
JANE TANTON: He molested me. He was a horrible, disgusting man. I hated him. Every night I prayed to God that he wouldn't do it anymore. I wanted him to die.
MARY BETH: Oh Lord, I'm sorry.
JANE TANTON: Sorry?! My father ...forced me to have sex with him from the age of ten, until I could get out of the house. ...Only it wasn't over then. ...All the hate ...and the mess ...and the guilt. My life ...was a disaster. Two years of law school. That's all. ...I never finished anything. ...My marriage. ...Men. ...I think about that horrible filth. I wanna die! More than that, I want him dead!
MARY BETH: He is dead.
CHRISTINE: Jane, did you kill him?
JANE TANTON: When I heard about Denise Manchester and her two daughters. (crying) Two little innocent girls. I couldn't let him do that again. I went there to tell him that I was going to expose him if he went ahead with the wedding. And do you know what he did? ...He laughed at me. Do you wanna know why I killed him?! ...My life is a sewer ...and it's his fault ...and he laughed at me. (as Mary Beth moves to comfort her) No!
(after Jane Tanton has been taken away)
CHRISTINE: You OK?
MARY BETH: First time I worked on an incest case was a kid not yet nine years old. She'd be about the age Jane Tanton is now and I was wondering if she still hurts today the way that that woman does. ...Oh, I don't know. No matter how long I do this, how many hard-lucks I see, sometimes I get one, and then I think 'When am I gonna get tough?'. I mean, why do I keep subjecting myself... Family... Family stuff is the worst. Husbands and wives. Children and parenthood is the stuff that is supposed to make life ...good. Right? And then all of a sudden it all gets twisted up, and there's more and more grief. ...Whew! I'm sorry. So sorry. ...I'll be OK.
CHRISTINE: You're OK. It's just the rest of us.

[Rikers Island visitors interview area]

(the Tantons' lawyer arrives)
MONTGOMERY: Good afternoon.
CHRISTINE: Mr. Montgomery?
MONTGOMERY: Yes.
CHRISTINE: I'm Detective Cagney.
MONTGOMERY: (shaking hands) How do you do, Detective.
CHRISTINE: Detective Lacey.
MONTGOMERY: Detective.
MARY BETH: Hello.
(Mary Beth points to the chair at the interviewing screen. Mrs. Tanton comes in)
MONTGOMERY: Hello, Julia.
MRS. TANTON: Hello, Sam.
MONTGOMERY: Let's sit down. Now I wanna go on record again that my client is talking to you over my objections.
CHRISTINE: (making notes) Got it, Mr. Montgomery. ...Mrs. Tanton, you have read your daughter's statement?
MRS. TANTON: Yes. I didn't want to. I'm so sorry Janie had to tell this to strangers.
MARY BETH: You knew about it all the time, didn't ya?
MRS. TANTON: No. Never. I didn't know anything until then. Until that night. I came home early ..and they were shouting so loud, they didn't even hear me come in. At first I was frightened. I didn't even recognise their voices. So I listened. ...And I... I couldn't believe what Jane was accusing him of. ...It was ...too horrible, and then she was gone. We didn't even see each other. And I went into the study ...and there was someone there ...that I had never seen before ...in my life. ...Never. ...In twenty-five years. That's when I knew it was true. ...Peter just looked at me. He didn't even seem surprised to see me, ...and he said ...'Julia, this is all your fault. The whole thing. You didn't satisfy me. You were always too sick'. ...I was too sick? ...And then I remembered all of the times that Janie had asked her to take her with me. ...Asked me not to leave her alone ...with him. ...She begged me to send her to boarding school. To send her camp. Anywhere. ...It never occurred to me. ...I got Peter's gun from his bedroom and I came back into the study. He was sitting there at his desk ...working. ...And I came up behind him...
MONTGOMERY: Er, Julia, I don't think...
MRS. TANTON: No!!! Sam, the only thing that matters now is that people believe me. You must believe me. I shot him. I shot him!!
CHRISTINE: You didn't say why.
MRS. TANTON: I wanted to protect her. ...Her reputation. That's all I can do for her now, you see.
CHRISTINE: But you see now, she has confessed!
MRS. TANTON: But she's lying. My daughter is lying ...to save me. ...Can you imagine? To save me.

[Samuels' office]

SAMUELS: (coming back in) OK. So where were we?
MARY BETH: Well sir, er, we're back where we started. Now we've got two motives to go with the two confessions.
SAMUELS: We've gotta go for independent corroboration. A third party. Otherwise all we've got here is a mess.
CHRISTINE: We talked to the girlfriend. Her two daughters are in the custody of her ex-husband and she swears that neither child was ever left alone with him.
MARY BETH: She is of course shocked. Angry about the accusations. Says it isn't possible. She says the man wasn't like that. Mother and daughter are making it all up to try and get off.
SAMUELS: So, I see two avenues of exploration. The doorman at the Tantons' co-op.
MARY BETH: Yes sir.
SAMUELS: Also the live-in maid.
CHRISTINE: Yeah. Isabella... (looking ate her notes) 'Isabella Aragon'. The only other address we had on her didn't pan out. They'd never heard of her.
SAMUELS: Sounds like an illegal alien situation, which means she doesn't wanna be found.
MARY BETH: Of course, we don't even know for sure that she was there that night.
SAMUELS: What chance she did it?
CHRISTINE: I don't think so. According to Mrs. Tanton she speaks no English. Remember the typed note? It was perfect English. All the way down to the non-dangling participle.
SAMUELS: And I thought this one was gonna be a grounder. ...OK. Get on it.
MARY BETH: Yes sir. Thank you, sir.

[Detectives' Squad room]

CHRISTINE: So where are we gonna start?
MARY BETH: Check the co-op again.

[Tantons' lounge]

MacDONALD: (ushering the duo in) Here we are then.
MARY BETH: Sure about the maid?
MacDONALD: Oh, I never miss a looker like that. I've got ESP. You know what I mean?
CHRISTINE: No.
MacDONALD: Extra Sexual Prescription.
CHRISTINE: Ah!
MacDONALD: Now that young beauty was nipping out the back way carrying a paper bag of clothes. It would have been very hard to miss a baby doll like that.
CHRISTINE: Well, thank you Mr. MacDonald. Where is Isabella's room?
MacDONALD: Just right that way.
CHRISTINE: Thank you.
MacDONALD: (to Mary Beth) I always er, like to help the er, boys in blue, as it were, ha. I have an uncle in the force...
MARY BETH: Thank you, Mr. MacDonald.
MacDONALD: Oh. All right. Yes. Right.

[Isabella's bedroom]

(as Mary Beth starts to search the room)
CHRISTINE: So she was here that night.
MARY BETH: So she'll know.
CHRISTINE: Maybe she'll know.
MARY BETH: If we can find her.
CHRISTINE: Even if we do, I doubt she's gonna testify.
MARY BETH: Well right now, I'd settle for talking to her.
CHRISTINE: (she has found a newspaper cutting) Hey, Mary Beth!
MARY BETH: Yes.
CHRISTINE: Look what I've found.
MARY BETH: What?
CHRISTINE: (reading from the cutting) 'Padre George Tate' What does that say?
MARY BETH: 'Associate d...'. 'Salvadorian Aid Society'. El Salvador actually.

[Church]

(a padre comes in and crosses himself before the altar)
CHRISTINE: Excuse me. Father Tate?
FATHER TATE: Yes.
CHRISTINE: (in a hushed voice) Yes, I'm Detective Cagney. This is Detective Lacey. We're hoping that you could help us find someone.
FATHER TATE: I see. Then I'm afraid that I can't help you.
MARY BETH: Excuse me, Father, we're not with Immigration and Naturalization. We're working on a homicide investigation.
CHRISTINE: A Mr. Tanton. He and his wife had a cleaning lady named Isabella Aragon? She could be a help to us, Father.
MARY BETH: We don't wanna deport her. We wanna talk to her.
FATHER TATE: You realise that er, most of the people that I deal with at the Salvadorian Aid Society, the distinction between the INS and the NYPD is er, very blurred. There's not a lot of trust there.
MARY BETH: Would they trust you?
FATHER TATE: I don't know if I could trust you. ...I don't know.
CHRISTINE: But you could find her?
FATHER TATE: Maybe. ...But it would be on my terms!
CHRISTINE: Which are?
FATHER TATE: She's free to go after she's answered your questions. No detention!
MARY BETH: That may not be our choice, sir.
FATHER TATE: It will be, the way I set it up.
CHRISTINE: (pulling Tate back) Excuse me, Father. Sorry, ...Father. I don't like the way you're doing this deal.
FATHER TATE: Well, who does? It's you're the ones with the problem. Listen to me. I'm not stupid. I know the advantage of having cops in my debt. Salvadorian Aid Society is my own crusade. It isn't sanctioned by my church. So I learn the hard way that if I don't take care of these people and myself ...that nobody else will. Now if I find Isabella Aragon, I want guarantees, and the only guarantees that I trust are my own! ...Now if that isn't acceptable ...then go in peace, ...and may God be with you.
(Tate leaves. Chris turns to the altar and crosses herself)

[Detectives' Squad room]

CHRISTINE: I'm getting a candy bar. Do you want a candy bar?
MARY BETH: Relax, Christine. The priest said he'd call tonight.
CHRISTINE: He said 'Maybe' he'd call.
MARY BETH: A definite 'Maybe'. Relax!
CHRISTINE: How can I relax! Do you wanna a candy bar or not?! Huh? Everybody's leading us around by the nose. The mother. The daughter. The priest. (as Mary Beth follows Chris to the candy machine) Everybody's running this case but us!

[Precinct front desk office]

MARY BETH: I don't think we ever have much control. Sometimes we just fool ourselves better.
CHRISTINE: What's that supposed to be? Deep and philosophical?
MARY BETH: No, it's what I was thinking about. Do you wanna know what's behind it?
CHRISTINE: (kicking the candy machine) No, not a whole lot.
MARY BETH: Christine, do you remember when you asked me if I thought you were ever brusque?
CHRISTINE: So it's 'Brusque'? Well, I'm sorry. I'm working on it. So tell me your theory.
MARY BETH: If you believe, which I do, that orderliness is a...
CHRISTINE: Is this a long story?
MARY BETH: Nobody ever learned anything with their mouths open, Christine.
CHARLIE: Oh, hi ya, Mary Beth.
MARY BETH: Oh, hi ya, Charlie.
CHARLIE: Officer-daughter?
CHRISTINE: Hi ya, Charlie.
CHARLIE: (to Chris) They told me I'd find ya here.
CHRISTINE: Yeah, we're working late. We're waiting for a phone call.
MARY BETH: Do you want a coffee? I'll get you a coffee, Charlie.
CHARLIE: Oh, no, no, no. You don't have to leave. I've got some tickets for the Knicks game, Friday night. I just wondered if Christine could possibly go.
CHRISTINE: Friday?
CHARLIE: Yeah.
CHRISTINE: Yeah, ...I could go.
CHARLIE: Hey! Yeah. Good. Terrific!! Terrific. ...Hey, listen Chris, hang on to the tickets...
CHRISTINE: No, Charlie, you keep 'em.
CHARLIE: Come on, honey, you know how I am. I'd feel a lot better if you'd hold 'em for me.
CHRISTINE: OK.
CHARLIE: Well, I've got a couple of guys waiting outside for me. I'd better beat it. I'll see ya Friday. Mary Beth.
MARY BETH: See ya.
CHRISTINE: Bye, Charlie.
MARY BETH: Nice.
CHRISTINE: Peace offering. ...Hey, there are three!

[Detectives' Squad room]

MARY BETH: (as they come back in) Oh? No kidding. Maybe he wants you to invite somebody.
CHRISTINE: Who do you think? (looking at the tickets) Oh, Charlie. Guess who the Knicks are playing? ...The Celtics.
MARY BETH: Who else?
(the phone goes)
MARY BETH: (into phone) Detective Lacey, Fourteenth Precinct. ...How ya doing, Father?

[Church]

(the duo arrives and they all exchange handshakes)
MARY BETH: Good evening, Father.
FATHER TATE: Ladies.
CHRISTINE: Father.
(a very young woman is kneeling in a pew)
FATHER TATE: (to the young woman) Isabella. (he speaks to her in Spanish)
MARY BETH: Cómo estás?
ISABELLA: Bien. Usted?
MARY BETH: Not bad.
CHRISTINE: (shaking her hand) Isabella.

[Rikers Island interview room]

MARY BETH: We talked to Isabella Aragon. She says she was there. She heard you arguing and she heard you leave and the she heard gunshots.
JANE TANTON: You're bluffing. If you could really prove anything you wouldn't have to talk to me. You'd just release me.
MARY BETH: Smart. OK. You mother wants to plead guilty and the DA's Office won't make a deal unless you withdraw your plea.
JANE TANTON: I did it. It's my fault.
MARY BETH: No, honey, you may think it's your fault. (just then Mrs. Tanton is brought in) But I know you didn't do it.
JANE TANTON: (seeing her mother) No! Get her out of here! I want to talk to you without my lawyer.
CHRISTINE: We've already called him, Jane.
MARY BETH: We're just gonna sit here and wait with you.
JANE TANTON: I know my rights and this is unconstitutional.
MARY BETH: Not if we don't ask you any questions.
CHRISTINE: We're just gonna wait to see if anybody wants to talk.
MRS. TANTON: Jane.
JANE TANTON: (drawing away) Oh, no.
MRS. TANTON: Jane, you look so pale. Are you all right?
JANE TANTON: This is never gonna do any good.
MRS. TANTON: I 've missed talking to you. Please, let me do this.
JANE TANTON: It's my fault.
MRS. TANTON: It was never your fault.
JANE TANTON: I had to give him sex, especially because you were sick. You wouldn't so I had to, he said. I'm sorry, mother. (crying) I'm sorry. I love you. How can I make it up to you?
MRS. TANTON: To me? You didn't do anything to me, Jane. It was him. It was all him.
JANE TANTON: I hate myself. I disgust myself for doing it. How could I have done it.
MRS. TANTON: He made you do it.
JANE TANTON: I should have made him stop.
MRS. TANTON: Janie, you were too little, and I wish you had come to me, sweetheart, because I would have made him stop.
JANE TANTON: I couldn't. I couldn't tell you because you were too sick.
MRS. TANTON: Jane, I'm you mother.
JANE TANTON: (turning to face her mother) You didn't want to be my mother. You wanted to be my friend.
MRS. TANTON: I guess that what I thought you wanted too. We had such a good time together. Didn't we have fun, Jane? (turning to the duo) I still can't believe he was...
JANE TANTON: (approaching her mother) Is that it? A child for life. Is that it?
MRS. TANTON: I can't.
JANE TANTON: Did you know?
MRS. TANTON: Oh God. Oh, no.
JANE TANTON: You had to know!
MRS. TANTON: I'll swear you.
JANE TANTON: How could you not know?
MRS. TANTON: I swear you I did not know.
JANE TANTON: Don't tell me you didn't know something. No! You knew! You knew and you just didn't do anything about it because all you cared about was keeping your marriage together. All you cared about was what other people think!
MRS. TANTON: If I'd suspected ...I would have taken you away. I would have taken you away with me. ...You've got to believe me, Jane. Please. Please believe me, Jane, I didn't know ...until I heard you that night. And then I had to kill him. I ...killed him.
JANE TANTON: (sinking to the floor) I'm glad he's dead.
MRS. TANTON: (clasping her hands together and sinking to the floor as well) Don't be glad, Jane.
MARY BETH: Mrs. Tanton, can I say something now? (Mrs. Tanton looks from Mary Beth to Jane) ...Jane, I think that your mother wants to accept responsibility for his killing, and I know that you have accepted responsibility as well. You didn't do anything. Anything. You're not guilty of anything.
MRS. TANTON: (to Jane) Let me do this. ...Please. You have to go on. You have the rest of your life, sweetheart. ..Please, if you could just find it in your heart, to forgive. ...Baby, just try and forgive me.
JANE TANTON: (going to embrace her mother) Oh, Mummy!
MRS. TANTON: I love you, Jane.
JANE TANTON: I love you, Mummy.

[Rikers Island cafeteria]

FELDBERG: (coming rushing up to the duo having a coffee) I love it! You guys are fantastic. I really mean it. Coffee on me. We finish up the paperwork and Jane Tanton walks. The old lady cops a manslaughter and does light time. Now she deserves worse, but, at least, I don't detect this is another 'sympathetic jury' for which I am deeply grateful. Guess you guys can figure out everyone, huh?
CHRISTINE: (for the coffee) Thanks.
FELDBERG: Cream? Sugar?
MARY BETH: No thanks.
FELDBERG: And best of all I get off on my weekend on time. Taking my lady for a romantic two days out at Mount Park. ...Come on! Cheer up! You guys did good.
MARY BETH: Yes, sir.
FELDBERG: (looking at his watch) Oh! Oh. Oh. Listen, I've gotta get a move on. I've gotta beat the traffic on the LIE. Listen! You guys have a good weekend too. ....Right? Congratulations. Good-bye.
MARY BETH: Have you got anything on for the weekend?
CHRISTINE: Er, the ball game with my father.
MARY BETH: Oh, Celtics1
(they laugh)
CHRISTINE: How about you?
MARY BETH: Heavy date in Queens.

[Chris's loft]

(as they come in)
CHARLIE: Must have been blind not to see it.
CHRISTINE: Two refs and not one of them blew the whistle!
DORY: Yeah, but you two people were the only people in The Garden that saw it.
CHARLIE: What are you talking about! Bird gave him an elbow. He misses that shot and we're in overtime!
CHRISTINE: (to Dory) And Ferris has five fouls...
DORY: It wouldn't have meant a thing!
CHRISTINE: I'm telling you, we should have walked away with the game.
CHARLIE: It wouldn't even have been close.
CHRISTINE: Do you want coffee?
DORY: Yep.
CHARLIE: Oh, no, that's OK. I've gotta go to Jersey in the morning. I've gotta get up early.
CHRISTINE: Oh. OK.
DORY: Charlie, I'll go with you. (Chris looks up) We can share a cab together.
CHARLIE: (to Dory) How come?
CHRISTINE: Pop!
CHARLIE: Hold it. You stay out of this. (to Dory) Now you listen to me pal. It makes no difference to me when you leave this apartment. You can leave in five minutes. You can leave in five hours. I don't care when you leave. But you are not gonna leave at the same time as I do, because I wouldn't believe that for a minute. ...So, officer-daughter, I'll see you in a couple of days. (to Dory) And you, I am telling you, Bird threw an elbow!
CHRISTINE: Pop.
(she smiles at her father)
CHARLIE: Me too.
(he twitches his mouth)

<Back to the episode listing

Cagney & Lacey ® and related marks are trademarks of Metro Goldwyn Meyer. Copyright © 1981, Present. The Cagney & Lacey web pages on this site are for educational and entertainment purposes only. All other copyrights property of their respective holders.