Unusual Occurrence
Original Airdate: November 26, 1984

[Squad car]

(in the evening the duo is on patrol)
CHRISTINE: The next time they have one of these things I'm out of town. Let Samuels go before the firing squad and get shot at.
MARY BETH: They have a right to be angry. It's tough enough to raise kids without gangs and dope pushers on every corner. You have to sympathise, Christine.
CHRISTINE: Fine! But I mean, but why do we have to be the villains? First they let criminals run wild in the streets. Then they accuse us of harassing the locals because they housing Puerto Ricans in a low-rent district. Please! You can't win this one.
MARY BETH: It's not meant to be a contest.
CHRISTINE: Everything's a contest.
MARY BETH: I disagree, Christine.
CHRISTINE: Including getting in the last word with you.
MARY BETH: This is true. ...Oh, would you pull up over here. I wanna get some milk for the boys' breakfast.
CHRISTINE: You mean the kids can't eat their Krispy Krinkles dry. Real men eat their Krispy Krinkles dry.

[Manhattan street]

(Mary Beth goes into a store. Chris hears breaking glass a couple of times. She secures the car and gets out. As she gets to the alleyway just beyond the store Mary Beth has gone into, she hears breaking glass again)

[Alleyway]

(moving carefully up the alleyway with her hand on her gun there is more breaking glass. Turning a corner she sees a youth with a baseball bat breaking windows)
CHRISTINE: What do you think you are doing?!
(the youth continues to batter the window)
CHRISTINE: You wanna hold it right there, I'm a police officer. (the youth doesn't stop) I said knock it off! (taking out her gun) OK, you just put that thing down, mister. Nobody needs to get hurt here.
(the youth starts swinging at her)
CHRISTINE: I'm warning you! (he swings, letting out a yell) Put it down! ...Put it down!! ...I said put it down. Don't make me shoot.
(a big swing threatens her head. She fires)

[Store]

MARY BETH: (pointing to some breadsticks) What are these things here?
STOREKEEPER: Palitos.
MARY BETH: Palitos? Dos, por favor.

[Alleyway]

(the youth is still swinging and yelling)
CHRISTINE: What's the matter with you, mister? Let it go!

[Manhattan street]

(Mary Beth comes out of the store and goes towards the car. She stops when she sees Chris is not in it)

[Alleyway]

(the youth continues to swing at Chris. She fires again)

[Manhattan street]

(Mary Beth hears the shot. She runs into the alleyway)
MARY BETH: Christine!

[Alleyway]

MARY BETH: Christine! ...Cagney!! ...Are you OK?! (seeing Chris walking slowly towards her) Are you OK?
(Mary Beth finds the youth in the ground and checks his pulse)
CHRISTINE: He just kept coming at me. He did. I shot him in the shoulder. I just hope he's not dead.
MARY BETH: Are you OK to stay here? I'm gonna get an ambulance.

[Manhattan street]

(later the ambulance is there. And the TV)
PEREZ: (to cameraman) You get a close-up of that, Mike. (as the stretcher is wheeled up to the ambulance) Real tight. Real tight. He's got some damage on him. ...OK. Let's get some crowd reaction. ...Over here.
(he starts talking to the gathered crowd in Spanish)
MARY BETH: ...when I called in.
RAULINO: We'll take your statement at the precinct.
MARY BETH: Yes sir. Is there anything else?
RAULINO: Yes, I suggest you two get your story straight before we get there.
MARY BETH: Keys, Chris. ...Christine, the keys to the car.
UNIFORMED OFFICER: (to Chris) Good shot.
CHRISTINE: I just wish I'd had a forty-five. (as the officer opens the car door for her) Thank you.
(Mary Beth dumps the shopping)

[Interview room]

GRECO: How many times did you order him to halt?
CHRISTINE: At least three or four.
GRECO: Which is it? Three times or four times?
CHRISTINE: Three.
GRECO: Then what?
CHRISTINE: Then there was no response. I was getting worried. He was not getting the warnings. Not even after the first gunshot. The first thing I could think was that the kid was high on something. Maybe PCP.
GRECO: I don't wanna know what you think right now. What I'm interested in is the facts of what actually happened. ..You got it? ...Now you fired two shots?
CHRISTINE: The first time I went for the shoulder.
GRECO: Why?
CHRISTINE: Because I didn't wanna kill him. If I'd have had a forty-five, a shoulder hit would have taken him down. And he would be in better shape.
GRECO: And obviously as an experienced detective you should know you never fire your weapon to wound. You only fire your weapon to kill.
CHRISTINE: I don't agree with you.
GRECO: OK, then what?
CHRISTINE: It's just like I told you before.
GRECO: Tell me again.

[Raulino's office]

RAULINO: But you only heard the one shot.
MARY BETH: Yes. when I came out of the store. When I was inside, I couldn't here myself think. (putting her hands to her ears) You know the music was blasting so loud.
RAULINO: What kind of music?
MARY BETH: Spanish music, ...It was loud. Very loud music.

[Interview room]

GRECO: Why were you sure he was breaking in?
CHRISTINE: Well with a bat as big as he had he wasn't trying to hide anything.
GRECO: A Smart Alec attitude isn't gonna help your case, Detective Cagney.
CHRISTINE: My case?
GRECO: Oh, I believe the penal law calls it 'attempted murder'.
CHRISTINE: Well, I call it self-defence!
GRECO: Of course you do. Because you're involved up to your eyeballs in this one. But just be true to us investigators. Declaring the protests of innocence aren't exclusive in a court of law. What if they say in evidence you think you did a good shooting?! Now are you gonna make my job easier or stay on your high horse all night long?!
CHRISTINE: OK. Let's take it from the top.
GRECO: That's my line.

[Raulino's office]

MARY BETH: I told you, when I got there he was unconscious. He couldn't hold on to anything. I don't know what more you want me to say.
RAULINO: All right, now let's settle for anything that could help your partner.

[Interview room]

GRECO: Would you have shot the second time if he had not raised the bat?
CHRISTINE: (turning the tape recorder round and talking very close to it) I wouldn't have shot the first time or the second time if my life had not been in danger.
(she turns the tape recorder back)
CHRISTINE: Well, what would you have done?
GRECO: (turning off the recorder) Off the record, without backup, without witnesses, with a juvenile alleged to be unarmed.
CHRISTINE: You saw those broken windows!
GRECO: I saw broken windows up and down the alley and up and down East 118th Street and all over the godforsaken neighbourhood! Who could say who's responsible or when! How if he had a throwaway gun, off the record.

[Laceys' kitchen]

(there is a knock)
HARVEY: Mary Beth?
MARY BETH [OC]: Yes.
(he opens the door)
MARY BETH: I thought you'd have gone to bed.
HARVEY: You sounded pretty shook up on the phone. Are you OK? (no reply) Did you eat?
MARY BETH: Mm mm.
HARVEY: (going to the fridge) I'll scramble up some eggs.
MARY BETH: Honey, I don't want anything.
HARVEY: Hey, hey, you gotta eat. (getting stuff from the fridge) How's Chris?
CHRISTINE: Oh, she's all right, ...I guess. I mean, you know Christine. If she wasn't all right you would never know it. It shouldn't have happened, Harve. I mean, we stopped by a market... It makes me very angry. If I've told her once, I've told her two hundred and fifty times 'Don't go off by yourself'.
HARVEY: (coming to hold her) Easy, easy, it's all over! Come on. I'll sprinkle some Parmesan cheese on it the way you like it. (he slaps her bottom) OK?
MARY BETH: He was real young, Harvey. Like er, two, three years older than Harvey Jr., maybe. ...His poor mother.
HARVEY: Was it a good shoot?
MARY BETH: Yes. Yeah, he was coming at her with a baseball bat. He tried to kill her. Why does a kid do something like that?
HARVEY: (beating the eggs) I'll get some milk. It'll flip better.
MARY BETH: That's why we went by the market store.
HARVEY: I got some on the way home.

[Chris's loft]

(Chris comes in and dials a phone number)
DORY: (on phone) Hello. This is Dory McKenna. I'm not home right now but if you want to leave a message, please do so right after the tone and I'll get right back to you.
CHRISTINE: (into phone) Oh, hi. Can you call me when you get home. Er... ...Just give me a call.
(she switches on the TV and goes into the bathroom)
WEATHERMAN: (on TV) ...some parts of Connecticut and tomorrow there'll be highs of fifteen in Metropolitan New York with the winds coming in at ten to fifteen miles per hour. Well, that's it for the weather. Back to you, Pam.
PAM: Thank you. And now for a special report, live, from East 118th Street in Manhattan, we go to our crime reporter, Arturo Perez, on the scene.
PEREZ: (on TV) Pam, I'm here in Spanish Harlem at the scene of a shooting at approximately seven PM this evening. The police cars and ambulance are gone but the residents of this community are angry and confused at another in a series of police shootings in their neighbourhood. Tonight an unarmed, fifteen year-old Puerto Rican boy, Escuse Pinero, was shot and critically wounded by a police detective.
(Chris is in the shower)

[Hospital reception]

ISBECKI: If the guy had more money than me, I could understand it. He's just a graduate student,
PETRIE: In what?
ISBECKI: Romance languages.
PETRIE: He must be doing something right, Victor.
ISBECKI: Yeah. Probably told her some mushy stuff in some language. Russian probably.
PETRIE: Russian isn't a romance language.
ADMINISTRATOR: (coming in) I've checked with the physician. The patient is in critical condition. I'm sorry, detectives, but we cannot release a blood sample while the patient is not in a mental condition to consent.
PETRIE: (going after her) Excuse me, ma'am, but it's potential evidence. It could influence the way this case is being handled.
ADMINISTRATOR: It is a violation of the patient's right, not to mention The Fifth Amendment, protection against self-incrimination.
ISBECKI: (stopping her) Excuse me, ma'am, but I don't think you understand there's a fellow officer's career and reputation on the line here.
ADMINISTRATOR: I'm terribly sorry but my responsibility is to the patient. Now if you'll excuse me, I have business to attend to.
ISBECKI: (after she has gone) She just loves to bust your chops.
PETRIE: She's just doing her job.
ISBECKI: Marcus, can I ask you something? ...You're married. Right? ...You're approaching your early middle-years. Right?
PETRIE: Early middle-years?
ISBECKI: Well, you're not twenty-one anymore.
PETRIE: Don't remind me.
(Petrie calls the lift)
ISBECKI: You er... Well, do you think er, a drop off in ...performance as you're getting older...
PETRIE: Victor, this is very personal stuff.
ISBECKI: Well, this is talk for partners. Right? I mean, if I can't talk to you about this kind of thing, who else can I talk to about it?
PETRIE: Well, er, for me, from a purely physiological point of view, ...yes.
ISBECKI: What do you do about it?
PETRIE: What can you do? Any way, there are other things important to a woman besides er, familiarity.
ISBECKI: Right. ...Like what?
PETRIE: Like er, empathy, ...tenderness, ...er, you know, technique.
ISBECKI: Technique.
PETRIE: Technique.
ISBECKI: Marcus, I have read " Essentialist Woman". I have also been aware of all the erogenous zones from A to Z. Believe me, there's nothing wrong with my technique.
(the lift arrives)

[Samuels' office]

CHRISTINE: Lieutenant, I resent this.
SAMUELS: It's standard operating procedure, Cagney. Officers involved in a shooting incident are assigned to clerical duties pending the outcome of the Firearms Review Team investigation, that's all. ...Greco.
CHRISTINE: Is Greco behind me?
SAMUELS: The Firearms Review Team is behind you, whether or not you've got the good sense to realise it.
MARY BETH: Christine, I'm sure it'll all be cleared up in a day or two, and... Right, sir?
SAMUELS: There are no outside caseloads for the duration of an internal investigation. Now Lacey here is gonna be getting all the blisters while you are leading the life of Reilly. I'd say 'You enjoy it while you can'. Right, Lacey?
MARY BETH: Yes sir. (to Chris) Doesn't sound too bad to me.
CHRISTINE: So how long do I get to be so lucky?
SAMUELS: Well, until we get all the evidence before a Grand Jury and they rule that there was no improper behaviour. ...Four days, five days. A week at the most. Not long.
(Daniels from Internal Affairs comes in)
DANIELS: Oh, well, look if it isn't the talk of the town herself. (holding out a newspaper) Seen this?
SAMUELS: Yeah, I saw it.
DANIELS: The afternoon edition's even juicier.
(the duo look at the newspaper)
MARY BETH: It must have been a slow day for the news.
DANIELS: May I direct your attention to the second paragraph. 'Allegedly armed with a baseball bat, a fifteen year-old resident of a largely Puerto Rican community was shot at point-blank range by off-duty detective Christine Cagney who claims that the youngster was threatening her with bodily harm'.
CHRISTINE: Well, there you go. You can't always believe newspaper reports but those are the facts.
DANIELS: Well, what publicity is ever based on the facts? We look bad! What do you think the Community Watch Campaign is all about? We need to improve our image in Spanish Harlem, not destroy it!
CHRISTINE: The fact that he's Puerto Rican juvenile does not automatically make him innocent!
MARY BETH: Well, how do we know he didn't have a record a yard long and a mile wide?
DANIELS: It makes no difference if he's a convicted axe-murder. How long, Bert?
SAMUELS: Juvenile records are sealed. We have to subpoena them.
CHRISTINE: We have to subpoena records from our own department?
DANIELS: He's a juvenile!
CHRISTINE: Yeah, a juvenile with the strength of four men twice his size and a hardwood bat to back him up! I've already told the review officer that I thought he was on drugs.
DANIELS: That's pure conjecture on your part.
CHRISTINE: (to Samuels) You got any evidence he was on PCP?
SAMUELS: Petrie and Isbecki went to the hospital this morning and we er, can't order a DD45 while the boy is still in a coma. We have to wait for the patient's consent.
CHRISTINE: Well, there must be some way we can get round that.
SAMUELS: Not unless the boy er, dies.
DANIELS: That's all we need. Here come the vultures. (to Chris) I don't want you saying anything to the Press. Anything at all. You got that, Cagney?!

[Detectives' Squad room]

DANIELS: (coming out of the office) We'll have an official statement this afternoon.
PEREZ: Can we see the officer involved?
DANIELS: She has no statement to make at this time.
PEREZ: She doesn't?
(Daniels looks over his shoulder to the office and then, pursued by Perez backs towards it)
PEREZ: I think she'd like to tell us what the NYPD can do to regain the trust of the residents of Spanish Harlem. How can it approve of the shooting of an innocent...
(Chris fights her way past Daniels to Perez shouting. Samuels and the other detectives hustle her away)
DANIELS: ...in Department investigations are prohibited. We are aggressively investigating the situation to determine that the officer on record acted within Department guidelines. I assure you no individual who may contaminate the integrity of the best of our men and women in blue will be tolerated.
SAMUELS: (to Perez and the TV crew) OK! That's it! Show's over! (he shepherds them out) You do it some place else. My officers have got work to do.
PEREZ: (to Samuels) So do I, Officer.
SAMUELS: Lieutenant! Lieutenant Samuels.
PEREZ: I take it your Detective Cagney' commanding officer?
SAMUELS: Good guess.
PEREZ: Then you're the man responsible for releasing Cagney's record.
SAMUELS: Excuse me?
PEREZ: A Freedom of Information deal. 'Any private citizen is entitled to request the record of a public servant for examination'.
SAMUELS: That's right. Any private citizen has the right to go through the proper channels! ...Including you, mister!
PEREZ: Don't worry, Lieutenant, the paperwork's on its way!

[Locker room]

CHRISTINE: (rushing in) I don't believe this. (to Mary Beth who is following) Do you hear!!
MARY BETH: Yes.
CHRISTINE: That creep tried to kill me. Have you got any aspirin? Now I can't get his arrest sheet without some subpoena! But any jerk can come in off the street and get my record!
MARY BETH: That's the law, Chris.
CHRISTINE: Yeah, well, it's damn unfair!
MARY BETH: That too. ...So, where you dancing off to?
CHRISTINE: To see Dory.
MARY BETH: You finally got in touch with him, huh?
CHRISTINE: No. Not really. My answering machine got his answering machine, and they said we'd get together tonight.
MARY BETH: (as Chris rushes out) I'll see ya tomorrow. ...Chris, if you wanna talk and Dory's...
CHRISTINE: Mary Beth,...
MARY BETH: ...telephone.
CHRISTINE: I don't want any of your Mother Teresa routine. I'm just fine. OK?
MARY BETH: Sure.

[Chris's loft]

DORY: (on answer-phone) Oh, Cagney, aren't you at home? It's McKenna calling you from beautiful downtown Trenton. We're down here on the trail of some major suppliers and I'm telling you I'm so close to collaring the main man, I can sniff him. I'll give you a ring as soon as I get in town. Oh, and by the way, I've got a surprise for you. You're gonna love it.
CHARLIE: (on answer-phone) Hi, officer-daughter. I'll be free and you can get me from eight o'clock on.

[Bar]

CHARLIE: I'm telling ya, it's part of the territory. Now, what did I tell you right from the start. You've got to keep on your toes at all times. All times! I'll never forget one time we were frisking a couple of guys down on Canal Street. Now just as I took this switch-knife, Christine, I'm telling ya it was that long, out of this punk's shirt. And then his partner shoves my partner and starts to run. Well, Jack the Ripper here, gets the jump on me ands leaves me ...south of the border. He's turned into some kind of a crazy octopus. He's grasping me and then clawing. And the he's trying to get his hands on the blade. Well, I'm telling ya it took every bit of juice I had my hand on my piece before he finished me off.
CHRISTINE: So what happened?
CHARLIE: I did what came naturally. I shot the creep before he sliced me. Hey, they only fool with Charles Fitzgerald Cagney once.
CHRISTINE: Did he die?
CHARLIE: Nah. He was pretty tough. But he did all his time at Attica as I recall. I'll tell you another thing. He never came on my beat again.
CHRISTINE: So, did the Department stay behind you?
CHARLIE: Behind me? Hey, I got a commendation from the Commissioner. I was doing my job, Chrissie. Protecting the streets of New York City. Your fellow officers respect you for that and people look up to ya.
CHRISTINE: Yeah, well, police work's a little more complicated now, Charlie.
CHARLIE: Yeah, I know. You go before, what is it? A review board. You practically have to have the guy's permission before you shoot. Then they ask you six hundred questions.
CHRISTINE: Questions I don't mind. I know we are accountable.
CHARLIE: Hey, hey! A guy comes at you with a baseball bat trying to do it again, what are you supposed to do?! (hearing something on the TV) Do you hear what the Knicks are doing? Can you believe those Jets? They go for three and they miss. Do you wanna another drink?
(Chris nods)
PAM: (on TV) ...of last night's shooting in Spanish Harlem.
CHRISTINE: I don't wanna see this. I do not wanna see it!
CHARLIE: Hey, hey, hold it. You've got nothing to be ashamed of. You're among friends here.
PEREZ: (on TV) ...the mother of the victim, still in a serious condition from gun shot wounds he suffered last night in a darkened alleyway on 118th Street in Spanish Harlem.
PEREZ: Senora Pinero, can you share this moment with us?
MRS. PINERO: (on TV) I have been...
(she puts her hand to her head and he takes a sheet of paper from her)
PEREZ: (on TV) This is sad. Very sad. And now the universal language worth a thousand words.
(he holds up a photo of a young boy to the camera)
PEREZ: (on TV) The image of a beloved son ...shown here in the robes he wore as an altar boy at St. Ursula's Church. A good boy who worked hard to support his widowed mother.
CHRISTINE: I don't believe this.
CHARLIE: He's just milking it.
PEREZ: (on TV) ...because an off-duty police officer thought she heard noises in the alleyway that Escuse was walking through on his way home. Thought the baseball bat that he had used just a few short hours before in the playing field behind St. Ursula's Church was a weapon. But, that a young brown-skinned boy out after dark at night...
(Chris starts to get up)
CHARLIE: What are you doing?
CHRISTINE: I'd rather get some dinner than stomach that crap!
CHARLIE: Hey, wait a minute! Wait a minute! There's nobody in the world that would believe you'd shoot a kid like that unless you had real provocation.
CHRISTINE: He tried to kill me!!! That isn't provocation enough?
CHARLIE: Yeah, yeah, sure. That's what I said. You've got witnesses to back you up. Right?
CHRISTINE: Forget it, Charlie.
CHARLIE: Where you going?! I'm on your side. (Chris leaves) She's got a temper just like her mother.

[Detectives' Squad room]

(Samuels is with Mary Beth as Chris comes in very slowly and signs in. The room goes silent)
CHRISTINE: What's the matter with you? ...Hey, guys! Just another big TV star. You don't have to worry. I mean, how can I forget my friends who knew me when... Huh? I mean, it would be nice if somebody said a little 'How are you this morning?'.
MARY BETH: Christine. Christine, the boy died in hospital at six-fifteen this morning.

[Ladies room]

(Chris is brushing her hair)
MARY BETH: I think you must have strong roots. Me, I'd have a fistful of hair by now.
CHRISTINE: Are you afraid what they're gonna do with this?
MARY BETH: Christine, the facts of the case are gonna prove...
CHRISTINE: Yeah. Right. I guess no one ever listens to facts when you've got a media guy like that planning those melodramatic stunts. Uh, uh. Like last night. Did you love the bit about the kid taking care of poor widow and mother?
MARY BETH: Maybe he was. One way or another it doesn't matter because he fact is...
CHRISTINE: It matters a whole lot! What matters a whole lot is the members of the Grand Jury will have seen Perez's report. I mean, that guy makes me out to be some gunslinger who's on the street blasting away underprivileged children.
MARY BETH: It was self-defence.
CHRISTINE: You're damn right it was! And I'm the one who's getting crucified here. ...I did what any good cop would have done. Right?
MARY BETH: I remember how I felt when I found out I found out it was my bullet that killed that kid.
CHRISTINE: I asked you a question.
MARY BETH: Your life was in danger. You saved your life. Any cop worth his salt who gave a damn for their self or the job would do the same thing. So make peace with it, huh?
CHRISTINE: Yeah. ...At least they'll now be able to run a blood test.

[Samuels' office]

PEREZ: (conducting a TV interview) But in light of the death of Escuse Pinero, don't you think the NYPD should take a long, hard look at the citizen's complaint on Detective Cagney's record? (Chris comes in) The complaint that charged her with inflicting bodily harm during the routine questioning at a family disturbance.
CHRISTINE: (Perez turns to Chris) Family disturbance?! I'll tell you about family disturbance. The citizen to whom Mr. Perez is referring is one of the biggest pimps in the South Bronx.
SAMUELS: You're off-limits, Cagney!
PEREZ: Does that entitle you to deny the man his civil rights and protection by law. The same way that you denied Escuse Pinero the right to reach manhood.
CHRISTINE: That is not a civil right.
SAMUELS: Button it, Cagney!
PEREZ: Lieutenant Samuels, why does the Department refuse to discipline those officers who use excess force in the line of duty?
SAMUELS: Well, I don't believe that there is sufficient evidence to suggest that Detective Cagney has done anything but serve the citizens of New York City in any but the most responsible and trustworthy manner.
PEREZ: Then why was she overheard to remark at the Pinero shooting-scene that, I'm quoting here, 'I just wish I'd had a forty-five'? Now we presume that to mean that a forty-five could drill a bigger hole and do more damage.
(Chris turns and goes out of the office)
SAMUELS: Now, I'm not gonna comment on hearsay.
PEREZ: Well, will you comment on...
SAMUELS: No, I will not! Now, this interview is finished. Right now! I want you out of my office.

[Detectives' Squad room]

PEREZ: (to cameraman) Did you get the girl going in my face?
(later that evening, Samuels is in his office and Chris is typing. He beckons her to come into the office)

[Samuels' office]

(Chris comes in and Samuels's closes the door)
SAMUELS: Sit down, Cagney. Hey, take the load off.
(Chris continues to stand. Samuels gets a bottle and two mugs out a desk drawer)
SAMUELS: What's the matter? Do you never take a coffee break?
CHRISTINE: A little caffeine wouldn't hurt. ...Thank you.
(she sits down)
SAMUELS: You're in a really good Squad here, huh?
CHRISTINE: I think it's probably the best in the city.
SAMUELS: Do you know how long I've been on the Force?
CHRISTINE: Twenty years?
SAMUELS: Twenty-two.
CHRISTINE: You're a very dedicated man, Lieutenant.
SAMUELS: Who said that magic isn't generally fun? ...Twenty-two years. I've had a lot of close calls, but I've never had a board on taking another person's life. ...That's not what I meant to say. What I meant is... What is it? They give judges and juries six months, a year, maybe more, to make a decision and they expect us to deliver in a split-second. Just like that. ...What... They act like God. But the most you can do is just muster up the best you've got, that's all. ...I guess I was lucky. ...I can't say that I know how you feel right now, because I don't. A lot of cops pull their pension without having to go through what you're going through right now. ...But I'll tell you this much, Cagney, (sitting beside her) I can tell you this, there is not one of us that doesn't wonder what it would be like and how we would act in the same situation. There is not one of us that doesn't understand the kind of guts it takes to go through all this. (Chris takes a swig from the mug and smiles weakly) Well, I imagine er, that you've probably got a few plans for tonight, huh?
CHRISTINE: No, I don't have any.
SAMUELS: Well... Well I do.
CHRISTINE: Well,... (taking a final swig) thank you for the coffee.

[Chris' loft]

(there is a knock at the door)
CHRISTINE: Who is it?
DORY [OC]: The man of your dreams.
(she lets him in. He is carrying a brown bag)
DORY: Hello. Did you miss me? Well, I missed you. So what do you think of my surprise? Huh?
CHRISTINE: What surprise?
DORY: Aw. (turning to look at her) Take a good look.
CHRISTINE: You've shaved off your moustache.
DORY: Right! ...So what do you think?
CHRISTINE: It's nice. (he starts to get stuff out of the bag and out of the kitchen cupboards) ...You know, Dory, it would have been considerate if you'd let me know you were arriving.
DORY: Why? And spoil the spirit of spontaneous adventure! Ah! Besides, this way I get to surprise any competition that might be lurking around my asset.
CHRISTINE: Actually, I kind of liked your moustache.
DORY: I'll grow it back.
CHRISTINE: Caviar and champagne. So, what's the occasion?
DORY: The champagne is for you and the caviar is for me. The occasion is you and me. And the collaring of the biggest middleman south of Boston and north of DC. And the real sweet part of it is that the guy had just hustled in a shipment of horse worth half a million dollars on the streets. All just waiting for us, neat and clean and as easy as pie.
CHRISTINE: Congratulations.
DORY: What do you think of this caviar? ...McKenna, you are on a roll! (the champagne cork pops) Ah! Bravo! I'll tell you this, Chris, this is one of the largest busts to go down in the Tri-State area since they hauled that trawler up on the Jersey coast.
CHRISTINE: (raising her glass) Here's to the big collar.
DORY: They don't get much bigger.
(there is a period of silence)
DORY: It was a good shoot, Chris. The guy came at you with an intent to kill, and there isn't a cop on the Force that wouldn't have blown him away.
CHRISTINE: I just know he was high on something, Dory. I just know he was. You know those guys, they get on PCP, and they're almost superhuman. They're flying so high that you just can't even attempt to... And they don't hear and they don't feel. ...And that first bullet was like it never even touched him.
DORY: What's the matter? Weren't the lab tests conclusive?
CHRISTINE: Er, haven't got them back yet.
DORY: Well, someone's falling down on the job. I'm gonna kick a little butt and you'll see how fast you can get results.
CHRISTINE: (as he goes to the phone) No, Dory, wait a minute!
DORY: (into phone) Can I have Records?
CHRISTINE: We're still waiting for the subpoena. Dory, listen to me!
DORY: Not after I get through to them.
CHRISTINE: No, Dory, I don't want you involved in it!
(she cuts him off)
DORY: Honey, I'm gonna get this thing fixed up.
(grabbing the receiver from him)
CHRISTINE: No!!! I didn't ask you to fix anything. I don't want you to fix anything!
DORY: What's wrong?
CHRISTINE: I don't want you riding in here on your white horse trying to save the day. ...I'll solve my own problems.
(she throws the remains of her champagne down the sink and grabs a bottle of liquor and pours herself a slug)
DORY: Now what's getting loaded gonna do for you?
CHRISTINE: It seems to me I used to say the same thing to you, not so long ago.
DORY: And it seems to me I finally stopped kidding myself and asked for help.
CHRISTINE: Don't you get smart with me.
DORY: Hey, give me that!
(he tries to wrestle the glass from her. The drink goes over her pyjamas and the glass smashes on the floor)
DORY: I'm sorry.
CHRISTINE: Now look what you did. Look what you did!
DORY: Chris.
CHRISTINE: No! Just get away from me!! ...(crying) Dory, it's getting on top of me. Oh, Dory.

[Detectives' Squad room]

SAMUELS: Lacey, your partner's a little late this morning, isn't she?
MARY BETH: Oh, really, sir, I hadn't noticed. (picking up a file from Chris's desk) But I do know she stayed late last night to finish up these DD5's that you wanted.
SAMUELS: Yeah, OK. You tell her I want to see her as soon as she comes in.
MARY BETH: Yes sir. Er, Lieutenant, I was wondering what... Well, is there anything that I can do to help out.
SAMUELS: Thank you, Lacey. I think I'd like to handle this one on my own, if it's OK with you.
MARY BETH: Oh. (she waves after him) It's OK with me, sir.
PETRIE: How's Chris?
MARY BETH: Late!
PETRIE: Let me know when she gets in.
MARY BETH: I'll put you on the list.
PETRIE: Vitamin E, Victor?
ISBECKI: Yep. I'm having a little problem with my complexion.
PETRIE: It looks OK to me.
ISBECKI: Well, it's always good to take the stuff before you have a problem. You know, I go for preventative medicine.
MARY BETH: Morning.
CHRISTINE: Good morning.
MARY BETH: You look tired out, Christine.
CHRISTINE: Dory's back in town.
MARY BETH: Oh. Well then you had a good night, huh?
CHRISTINE: Had a crazy night.
MARY BETH: I wouldn't get too comfortable. There's three phone calls for you. Petrie wants to talk to you and Samuels wants to see you in his office.
(Chris looks towards the office)
MARY BETH: I don't know. (as Chris goes towards the office) Christine.
(Mary Beth raises a thumb)

[Samuels' office]

CHRISTINE: You wanted to see me, Lieutenant?
SAMUELS: Yeah, nice of you to join us this morning, Cagney.
CHRISTINE: Right. Crazy night.
SAMUELS: Well, it's gonna be a good day. (giving her some files) DD45 is on top. They found point seven-five milligrams of PCP in his bloodstream. His juvenile record's underneath. Three crimes for burglary in the last seven months.
CHRISTINE: So, will that do it?
SAMUELS: I'll be surprised if we don't get a justified homicide from the Grand Jury in twenty-four hours.
CHRISTINE: So, what? That's it?
SAMUELS: Isn't that enough?
CHRISTINE: Thank you, Lieutenant.

[Detectives' Squad room]

(she passes Petrie. Isbecki is talking to La Guardia)
ISBECKI: So I said to Chantelle 'I think I deserve a second chance'. So she said 'You can't stoke a dead fire' so I said 'It's obviously a mental block between us'
(Petrie gets up to follow Cagney back to her desk)
ISBECKI: So, what do I try to do? Do I try to pick up on how minds work?
LA GUARDIA: You're mirroring her metaphor.
ISBECKI: Yeah. You could say that. Anyway she said 'Speak for yourself' So I said 'Hey, I knew a woman like you once' and she said 'Prove it' So the jury's still out. Saturday night, her place.
LA GUARDIA: Good luck, Victor.
ISBECKI: (taking the top off the jar of vitamin E and popping a pill) No problem.

[Precinct House yard]

CHRISTINE: It looks good, Samuels thinks. No?
PETRIE: No. It's not over yet, Chris.
CHRISTINE: Oh, Samuels has been around.
PETRIE: You know that's not what I mean.
(Mary Beth comes out and sees Petrie talking to Chris. Petrie spots her)
PETRIE: Look, do you think I don't know what's been going on with you? I was in the very same shoes you're standing in right now after I killed that kid up in Harlem. Pretending that the only thing on my mind was putting the shooting and the bad Press behind me and getting on with my job. Lying to myself, just like you are.
CHRISTINE: I've been straight with every single person involved!
PETRIE: Everybody except yourself! Cagney, you killed somebody! ...A real live human being. Not one of those cardboard dummies we blow away in target practice.
CHRISTINE: Yeah, I've killed somebody, but that's what I was trained to do.
PETRIE: Of course, of course. They taught us how to do it. But nobody told us how to deal with the consequences.
CHRISTINE: It's part of the job.
PETRIE: Oh, fine. Does that mean that you can't wish it didn't happen?! That you didn't have the weight of taking the life of some human being on your soul. ...You've got unfinished business, Chris.

[TV studios corridor]

PEREZ: Look, I'm sorry, I have a rent strike I have to cover today.
MARY BETH: What about tomorrow night?
PEREZ: If there's time. If there's time.
MARY BETH: (as Perez walks away) Hey, you had time to build a case against my partner. You made her look like Adolf Eichmann, and now I think you have a responsibility, you know, to set the record straight.
PEREZ: Don't lecture me about responsibility.
(Mary Beth follows him into the studio)

[TV studio]

PEREZ: If it wasn't for people like me El Barrio would be just another hotel in the city.
MARY BETH: Yes, but try this on. It's unfair. Editorialising, it's unethical. And it stinks and you and I both know it!
PEREZ: Ethics is a philosophical term. I don't deal in philosophy. I deal in the real world.
MARY BETH: No realer than mine!
PEREZ: What about poverty? What about the slums? What about unemployment? What about an entire Hispanic community drowning in crime, insufficiently protected by the police. And neglected by City Hall. Huh? What about them?
MARY BETH: How is cutting down one police officer gonna fix any of those things.
PEREZ: Maybe someone in City Hall is listening. Maybe we'll get police protection instead of police brutality.
MARY BETH: Oh, geeze. Brutality! Escuse Pinero tried to kill my partner and she did kill him! And that's a tragedy all the way around and you only told the one side of it.
PEREZ: Yes, I told only the one side of it, but he didn't deserve to die. Escuse Pinero was a kid who made some mistakes. Your partner shot too fast. That's all there is to it!
MARY BETH: No sir, that's not all there is to it. Christine Cagney had to make a decision. Her life depended on it. Now what kind of decisions do you have to make? What colour tie you're gonna wear when you're on TV? (turning to Pam) Pam, have we got those reports on that rent strike in Brooklyn? (Mary Beth turns away frustrated) Anything on UPI?

[Apartment block corridor]

(Chris knocks on the door of apartment 304. The door opens)
CHRISTINE: Senora Pinero? Can I see you, please?

[Apartment 304]

MRS. PINERO: Are you from the Welfare Department?
CHRISTINE: No, I'm sorry. (showing her shield) I'm Detective Cagney.
(Mrs. Pinero points accusingly and shouts in Spanish)
CHRISTINE: He was...
MRS. PINERO: No! (she backs against the wall) No!
CHRISTINE: I want to explain to you. (she picks up the framed photo of Escuse as an altar boy) I never saw him like this. ...When I saw him he was very angry... (Mrs. Pinero starts to sob and turns her face to the wall) and very dangerous. He didn't know what he was doing. ...Mrs. Pinero, I never wanted to kill your son. I just wanted to stop him! ...The drugs just made him too strong. ...Do you understand anything? (she puts the photo back and goes to the door. Mrs. Pinero is now facing Chris) I came here today to ...tell you I'm sorry that your son died. ...And I'm sorry that I was the one who shot him. (beginning to break up herself) I hope you understand.
(she leaves)

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