.html> Cagney and Lacey Transcripts - The Psychic

The Psychic
Original Airdate: October 21, 1985

[Detectives' Squad room]

(the duo is in Samuels' office with him and a man and two women, one, Michelle Zal, is staring out into the Squad room. Samuels's and the man, Howard Tanner, are shouting at one another)
SAMUELS: I understand.
HOWARD TANNER: You don't understand anything. (pointing at the duo) And all I get is a couple of women! (Chris says something to him) Then why would she run away?
(the argument continues. Chris opens the office door to walk out)
SAMUELS: Sergeant Cagney! Hold it right there! Look, Mr. Tanner, I won't have you insulting my officers. I have to agree with Cagney and Lacey that the evidence points to a runaway.
HOWARD TANNER: (shouting at Chris) Do you hear me?!
SAMUELS: Will you lower your voice in here?!
(Chris closes the office door and re-enters the argument)

[Samuels' office]

SAMUELS: (approaching the woman staring out into the Squad room) Madam Zal is not a trained police officer.
MADAM ZAL: ... in Europe.
HOWARD TANNER: You must have heard about her finding that kid that kid in Belgium. The boy that was kidnapped. It was on TV and everything.
SAMUELS: You have not brought any new evidence. Any facts...
MADAM ZAL: But I have seen a vision. I have very strong senses, whether you believe in my powers or not.
MARY BETH: Mrs. Zal, a feeling that Mrs. Tanner is in danger does not give us anything new to work with.
DOROTHY GANTNEY: (Nora's mother) Well, it doesn't make any sense that Nora would go away without telling Howard.
COLEMAN: (coming in) Excuse me, Lieutenant, there's a pack of reporters out in the booking area. They say that some lady psychic is giving a Press conference.
MADAM ZAL: (leaving) Thank you, Sergeant.
SAMUELS: This should have been cleared through me, Tanner. I do not appreciate grandstanding.
HOWARD TANNER: (following Madam Zal) We're gonna force you to do something, whether you like it or not.
SAMUELS: (following him, followed by Chris) This is a Police Precinct! Damn it!!
DOROTHY GANTNEY: Mrs. Zal wanted some pictures, and I know you have one that Howard gave you. But this is a more recent picture. It's with a church choir. She wanted to sing "La Boheme" since she was a girl. Um, but, she got married, you know. Every little helps.
MARY BETH: Yes ma'am. Thank you. You never can tell.

[Detectives' Squad room]

(the duo, Petrie and Isbecki are watching Madam Zal with the TV crew)
ISBECKI: She's the one that helped find the two dead bodies.
PETRIE: (taking Isbecki away) Yeah, Come on, Victor.
ISBECKI: I saw her on TV. She is not a bad looking woman.
MADAM ZAL: ..isn't important here. What's important is that we find Nora Tanner.
TV REPORTER: Will you be working closely with the police?
MADAM ZAL: I'm prepared to cooperate with any source, spiritual or otherwise. In previous cases where I've assisted the police, they have been very helpful.
CHRISTINE: (quietly) She knows how to play the circus, doesn't she?
MARY BETH: (quietly) Yeah, guess who's gonna wind up the clown?
TV REPORTER: (shouting across to Samuels) Lieutenant Samuels, do you believe she's been a victim of foul play?
SAMUELS: No. No, we no evidence in that direction.
MADAM ZAL: I disagree. There's no question that Mrs. Tanner is in danger. Grave danger.
LYNNE SUTTER: Does that mean that you think she's dead?
MADAM ZAL: The family has been kind enough to provide me with some pictures. (looking at the pictures) I am hoping to get a reading. ...I see the New York skyline. ...I see Nora Tanner's face. ...I see... She's running. I'm sorry, Mr. Tanner, your wife is frightened and she's being pursued. ...And I see no escape.
(there is a barrage of flash bulbs)


(the duo are having lunch)
CHRISTINE: (to the waitress bringing drinks) Thank you.
MARY BETH: Do you want the last half of my egg salad?
CHRISTINE: What's wrong with it?
MARY BETH: Nothing's wrong with it, Christine. I'm just not hungry. (pushing the salad across) Take the pickle too.
CHRISTINE: Somehow I fancy that it is that you don't like the pickle.
MARY BETH: It figures. I don't like dill.
CHRISTINE: I'll tell you what you don't like. Madam Zal. ...Excuse me. Mrs. Zal.
MARY BETH: Do you?
CHRISTINE: Hm. She's got style.
MARY BETH: More like a mad troll. She's got style, taking over the entire Squad room. Making money out of other people's misery.
CHRISTINE: Well, I'm, gonna make a prediction. I think she's gonna fall flat on her face. (she picks up the bill) Let's go.
MARY BETH: (picking up her milk) Don't rush me.
CHRISTINE: Oh, sorry, I forgot. She needs plenty of calcium.
MARY BETH: A girl?
CHRISTINE: Well, why not? A little girl. And then I could buy her pretty little sweet dresses. And when she's in her teens, I can take her out carousing and drinking with attractive young men.
MARY BETH: That's reassuring, Christine.
MARY BETH: You're gonna be a dirty old lady?
CHRISTINE: Ha. A dirty young lady. ...True?

[Manhattan street stall]

(Petrie and Isbecki are questioning a stall trader)
DUFFY: Well, I looked around. I didn't see anything, Mister. I thought maybe a good strong wind had set the alarm off. So I sent the cat home. Now I see my Elvis Presley memorial decanter is gone!
PETRIE: What was its value exactly?
DUFFY: Are you kidding? It was priceless! ...Well, once you take away all the sentimental value, it was worth about ...eight hundred bucks.
ISBECKI: (turning to another man) And you're our witness?
ISBECKI: Could you describe who you saw?
PETRIE: Would you tell us what you saw?
WITNESS: Oh sure. He was all in silver...
(there is a picture of Elvis Presley on the wall)
WITNESS: ...and he sparkled.
WITNESS: And wore this big cloak of shiny gold like pirate's treasure or something. Do you want that I should talk to one of them sketch artists?
PETRIE: No, I don't think that'll be necessary.

[Laceys' kitchen and lounge]

(Mary Beth is banging pans about while she washes up. Harvey is working in the lounge)
HARVEY: Do you know, I think of every thing you do, I hate missing persons the most.
MARY BETH: I beg your pardon?
HARVEY: Do you know what I mean? You take the whole thing too personally.
MARY BETH: Don't start, Harve. I can't use you going into one of your theories on this.
HARVEY: Oh, one of my theories, huh? Do you think it's a coincidence that you get like this every time you get a missing person?
MARY BETH: I don't get like anything.
HARVEY: Oh, you don't, huh? Let me tell you something, Mary Beth. You know, and I know, that every time you get one of these cases, we are talking about your father.
MARY BETH: My father?! Did you hear me say 'father'? When did I ever mention 'father'?
HARVEY: Let's face it, Mary Beth. He's on your mind at these times. That's all. He took off and you didn't know whether he was dead or what.
MARY BETH: He took off, Harve. Period. Selfish bastard. If he was dead, I'd know it.
HARVEY: Oh. What are you? An Egyptian seer?
MARY BETH: What are you? Edgar Cayce the Second?
HARVEY: Oh, no, no, no. I just thought that every time you get one of these cases...
MARY BETH: Will you just cut it, Harve?
HARVEY: OK. Sure. Whatever you say, babe.
(she puts the last bit of washing up down quietly and creeps up behind him and puts her hands over his eyes)
HARVEY: Oh, come on, Mary Beth, you're getting me all wet.
MARY BETH: What am I wearing?
HARVEY: What are you wearing?
MARY BETH: Mr. Tanner couldn't even tell us what his wife was wearing....
MARY BETH: ...the day she disappeared. What am I wearing?
HARVEY: What are you wearing? ...You're wearing your ...blue pants and your yellow blouse.
(she goes back to the sink)
HARVEY: Well, I got the blue pants right.
MARY BETH: My yellow blouse? What yellow blouse? I don't even own a yellow blouse.
HARVEY: Ah, Mary Beth, some things are just not important enough to remember.
MARY BETH: Oh, terrific! That's perfect, Harve! (getting very emotional) I could disappear tomorrow morning and you couldn't tell anybody what the hell I look like! (rushing out) Oh, I don't know, she was a short blonde in a pretty little yellow blouse.
HARVEY: (shaking his head) Missing persons.

[Detectives' Squad room]

(Coleman comes in and admires his 'Lacey Baby Quinella' sign. He then goes over to Madam Zal who is sitting waiting for the duo)
COLEMAN: I saw you on the Carson Show the other night. You were terrific.
MADAM ZAL: Thank you.
COLEMAN: I couldn't believe you actually knew what was in Carla's purse. Can you predict something's gonna happen before it does?
MADAM ZAL: Sometimes.
COLEMAN: Like, um, the sex of a baby. Can you predict that?
MADAM ZAL: Very often.
COLEMAN: Or the birth-weight, say, or even the date of birth?
MADAM ZAL: I'm sure Sergeant McKendrick is thanking you for the gambling.
COLEMAN: There ain't no Sergeant McKendrick.
MADAM ZAL: Is this the 'Lacey Baby Quinella'? (Coleman nods) Detective Isbecki already asked the same questions.
(Coleman leaves)

[Samuels' office]

(Knelman is looking at a case file)
KNELMAN: (to the duo) Oh, it looks to me that you did a very perfunctory job on this one. (to Mary Beth) What's the matter? Are you getting tired?
CHRISTINE: We're carrying eleven other cases, Inspector. I'm convinced this is a runaway. It's all there. The evidence. the profile.
KNELMAN: Well, have you checked if this lady has used her credit cards? I mean er, plane ticket, hotel, restaurant.
MARY BETH: Sir, we're not supposed to do that unless there's evidence of a crime.
SAMUELS: Inspector, I have been following this very closely and, believe me, they have played it right down the line.
KNELMAN: I see. So now we have a psychic and the media to contend with. Bert, do you remember that Steve McCarthy case, don't you? Yeah, yeah. Who was in charge of that? Oh! Taylor? Down at the Twelfth. (to the duo) Well, the family called in a psychic. And the psychic said that the boy would be found in a lake. Well, everybody laughed. That was until the body was found in the middle of Lake Placid. Now the paper ran that... How many days? Five? Six? And as I recall, Taylor was asked to take a very early retirement. Well, that's not gonna happen here, is it, Bert?
(Samuels has listened disinterestedly throughout)
MARY BETH: So, you want us to work with the psychic, sir?
KNELMAN: Oh! You just read my mind. (to Chris) She just read my mind. (handing Mary Beth the file as he leaves) Have a good day.
CHRISTINE: Lieutenant, we're just making headway on the Godfrey homicide.
SAMUELS: Turn it over to Aspromante and Kazak. Knelman wants you to work with the psychic. You work with the psychic!
MARY BETH: Yes sir.

[Interview room]

MADAM ZAL: (coming in with the duo) We'll leave the rest to the amateurs. (Chris invites her to sit down) Thank you. We all want the same thing. Find Nora Tanner.
CHRISTINE: Well, that sideshow in here yesterday with the reporters. Is that part of the way you work?
MADAM ZAL: Detective, we all have an interest to present the case with a little more colour, a little out of the ordinary and they're disappointed if they don't get it.
CHRISTINE: Well, we're not here to please your fans, Mrs. Zal. This is our job.
MADAM ZAL: Now it's my job too. If you keep an open mind you'll find me reasonable and easy to work with.
CHRISTINE: Is that an official prediction?
MARY BETH: The Lieutenant said you have some further information for us, ma'am.
MADAM ZAL: Yes. I saw Nora Tanner this morning ...when I woke up. She was in a grassy area surrounded by trees...
CHRISTINE: Terrific. Now yesterday you saw the New York skyline.
MADAM ZAL: I can't pretend to reconcile the two. I simply see what I see. (looking at Mary Beth) Nora was in distress. Outdoors. And there were horses all around. I called Mr. Tanner to find out if Nora had had any connection with horses. He said 'No' That's why it makes it more strange.
MARY BETH: Yes ma'am. (getting up) Well, ...thank you for the information.
MADAM ZAL: I'm not finished, Detective. I saw many, many horses. I had a very strong sense of Nora Tanner being trampled to death by horses.

[Central Park]

(the duo is on a bench. Two horses canter past)
MARY BETH: Now, this has been terrific, Christine. Striding through stables. Look at my shoes.
CHRISTINE: You have to admit, Mary Beth, Central Park does have trees, grass and horses. Where else in New York are we gonna find trees, grass and horses?
MARY BETH: Attica. Roosevelt Raceway. We could go State Fair, Syracuse.
CHRISTINE: Great. (as they get up) I hate this. We're in a no-win situation. No matter what we do, we're gonna end up looking stupid. If we find the lady they're gonna say' Hey, the psychic was right'. If we don't find the lady they're gonna say 'Hey, they were stupid'. I don't know why we even bother. The woman is a runaway. Probably has every good reason.
MARY BETH: To take off without a word is a very selfish thing to do.
CHRISTINE: You left home once.
MARY BETH: For one day! Twenty-four hours, the fourteen years we've known each other. And I've suffered from guilt the whole time. And I called Harvey. And this is something else all together
CHRISTINE: Mary Beth, you also stayed home because you wanted to. You had a choice. this woman has a choice, but for some reason she doesn't wanna go home
.MARY BETH: What I'm saying Christine is that it is not fair to her family. She has responsibilities. She can't go round thinking only about herself.
CHRISTINE: It's not quite the same thing. This woman does not have a child at home anymore. And if she's in a bad relationship, I say, good for her for getting out. A lot of women stay too long.
MARY BETH: The trouble with you Christine is that you don't understand about responsibilities. And commitment.
CHRISTINE: I understand perfectly, Mary Beth. That's why I'm single.
(Chris gets in the car. Mary Beth has to knock to be let in)
MARY BETH: Thank you.
CHRISTINE [OC]: You're welcome.

[Ladies room]

(Mary Beth is sitting on the bench with her feet up checking her eye makeup. Chris is checking herself in the mirror)
MARY BETH: We know she's not in the morgue. We know she's not in a hospital. We know she took her clothes and cosmetics from home. And a picture of her son in the Marines.
MARY BETH: Did you see how her mother started to cry when she saw the empty picture frame? And Madam Zal uses her. Takes advantage of her. That woman charges twenty-five thousand dollars. Some sweet racket she's got.
CHRISTINE: The woman has had some success. She done the same thing in Europe. She's helped the police with what, seven cases?
MARY BETH: She was wrong in three of them.
CHRISTINE: It's better than fifty-fifty.
MARY BETH: I bet she still collected the money. You don't believe in that psychic garbage, do you?
CHRISTINE: No! I went to one once. (Mary Beth looks surprised) He said I was gonna get married, live on a farm and have four kids. You think it's too late?
MARY BETH: It's never too late, Christine.
(Mary Beth leaves. Chris rechecks herself in the mirror)

[Outside the Laceys' apartment]

(Mary Beth gives her eye makeup a final touch up. She finds the door on the chain and knocks)
HARVEY [OC]: Coming, babe.
(he opens the door and has his eyes covered)
HARVEY: Tan sweater, er, tan dress, tan shoes, golden earrings.
MARY BETH: What else?
HARVEY: What else.
MARY BETH: (coming in) What else?

[Laceys kitchen/lounge]

HARVEY: Oh, OK, the boys ate dinner. Don't worry about the dishes. Harvey Jr. can take care of those before he goes to school tomorrow.
MARY BETH: Oh, forget about the dishes? What are you doing? Where are you going?
HARVEY: Tuesday.
MARY BETH/HARVEY: Bowling night.
HARVEY: (picking up his bowling bag and going to leave) See you tonight.
MARY BETH: I'll try not to wake you.
MARY BETH: Harve, what would you say if I asked you to skip bowling tonight?
HARVEY: What's the matter? The missing persons case. Something's wrong at work.
MARY BETH: No, not work.
HARVEY: Everything OK with the baby? Are you feeling all right?
MARY BETH: Harve, what I'm feeling like is talking.
HARVEY: Talking? What about.
MARY BETH: Maybe we'll think of something, Harve. Am I the only one in this marriage feeling that we're passing one another like ships in the night?
HARVEY: Oh, not last night, babe. (he gives er a peck) Last night the ships collided.
MARY BETH: Look, that's true, Harve, but one collision out of every ten days is not enough. (he continues to peck her neck and lips) We need to spend more time together. We need to talk to each other more.
HARVEY: You're right. Let's talk.
(Mary Beth smiles and follows him to the settee)
HARVEY: You first.
(she flutters her eyelashes at him and then turns her eyes back and forth indicating the bedroom. No response)
MARY BETH: The guys are waiting, Harve.
HARVEY: The guys are waiting. (he gets up) The guys are waiting, Harve. (giving her a peck) I'll see you at midnight.
(after he has left, she takes out her mirror and cleans off her eye makeup)

[Detectives' Squad room]

(the duo is watching, Jimmy, a uniformed officer operating a computer terminal, getting off a printout. Petrie and Isbecki are standing behind them)
PETRIE: You almost finished?
CHRISTINE: Five minutes. Tops.
ISBECKI: Well, hurry it up there, will ya? We've got a man out there stealing Elvis Presley memorabilia. We've gotta get him off the streets.
MARY BETH: (taking the printout) She said her son enlisted in the Marines six months ago. Right?
CHRISTINE: Yeah. The same month that she opened the chequeing account.
MARY BETH: Well, that figures. For some reason she figures that there's no reason for her to stay.
CHRISTINE: OK. So she opens a chequeing account, saves up enough money and then she takes off. I'd like to know where she got that kind of money.
MARY BETH: Maybe she was stealing from her household allowance.
CHRISTINE: (pointing to the printout) That much?!
MARY BETH: A little bit each week. It adds up.
CHRISTINE: Look at this. Credit card charge from a hotel in Burlington, Vermont, two weeks ago.
MARY BETH: Let's get the hard copy and check the signatures. We'll call the police in Burlington and have them see if the woman matches Nora's description.
CHRISTINE: Well I hope they get back to us before Madam Zal has another hot flash. (to Petrie) Your turn.
PETRIE: Thanks. OK, Jimmy, When last seen our perp was wearing a silver jumpsuit.

(Madam Zal is having a vision. '...and his robe... No, it's a coat. ...It's a white coat. ...I'm sure. Look for a man in a white coat.')

[Manhattan street]

CHRISTINE: (showing a photo to a street seller) Do you know anything about a Nora Tanner.
TUTTI-FRUTTI MAN: Sorry lady. Do you want the ice cream or not?
MARY BETH: (into a payphone) Yes. Harvey Lacey, please. ...Excuse me? ...No, I'm not the woman that called fifteen minutes ago. ...His wife. What woman?. ...Well, when he comes back, would you please tell him that his wife called? ...Yeah, and would you ask him to please bring home a dozen eggs and a quart of apple juice. ...Yeah. ...On his way home. ...Yeah. ...Thank you very much. (when she rings off, Chris hands her an ice cream) Thank you very much.
CHRISTINE: Now, what do you think? How many men in New York do you think wear white coats to work, Mary Beth? Huh? A hundred thousand.
MARY BETH: Maybe more.
CHRISTINE: We've talked to her doctor, pharmacist, her dentist. Not to mention the grilling I just gave the tutti-frutti man. That leaves us ninety-nine thousand, nine hundred and ninety six to go. You'd think a husband would know if she was a runaway. How did he not know he'd married into trouble?
MARY BETH: It's not always that simple.
CHRISTINE: Come on, Mary Beth, you know Harvey. You'd know if something was wrong with him. Of course you would. How can a person live with somebody and not know that something's wrong?
(Mary Beth throws the ice cream away and joins Chris in the car)

[Squad car]

POLICE RADIO: All units. Ten-thirty. Possible homicide. Central Park Carousel. All units in the vicinity, respond. Repeat, the Central Park Carousel.
MARY BETH: (into radio) Car twenty-one responding. We're on our way.

[Central Park Carousel]

(the carousel is stationary. Forensic teams are there. Madam Zal arrives in a patrol car. The duo sees her arrive and they look at each other. Later)
TV REPORTER: Your prediction has come true. Mrs. Zal. How does that make you feel?
MADAM ZAL: I'm terribly sorry for the family. They have my deepest sympathy, but I saw bad signs here from the beginning.
TANNER: (to the duo) If you people had looked for Nora when I asked you to, this wouldn't have happened.
DOROTHY GANTNEY: Howard, please.
TANNER: I don't know how to help you any more than we already have.
MARY BETH: Where were you last night, Mr. Tanner?
TANNER: I told you. I worked the night shift.
MARY BETH: All night, sir? You didn't take any breaks?
TANNER: I don't know. An hour, maybe.
CHRISTINE: Did you go anywhere?
MARY BETH: Are you sure, sir? Not even for a bite to eat?
TANNER: What's the matter? You don't believe me.
MARY BETH: No, it's not that, sir. In these cases we have to ask the family first.
TANNER: Look, lady, I don't understand this. I've been after you people for weeks to find my wife. To find my wife! ...And now my wife's dead. You. You got nothing better to do than give me the third degree? I've had it up to here with you people.
(Tanner goes off)
DOROTHY GANTNEY: I'm sorry. He doesn't know what he's saying. He's so upset. He loved her very much.
MARY BETH: (as Dorothy Gantney goes after Tanner) Yes ma'am. We understand that.

[Outside the Laceys' apartment]

(Mary Beth unlocks the door and it is immediately pushed closed in her face)
HARVEY [OC]: No you don't, Mary Beth.
MARY BETH: Harvey, what are you doing there?!
HARVEY [OC]: No you don't, not until you give me the magic word.
MARY BETH: Harvey?
HARVEY [OC]: What am I wearing, Mary Beth?
MARY BETH: I'm not in the mood for jokes, Harve. OK?
HARVEY [OC]: Come on, Mary Beth, what am I wearing?
MARY BETH: Would you quit teasing?
HARVEY [OC]: You want your hard-working husband feeling like he's been taken for granted lately? What have I got on?!
MARY BETH: Um... You're wearing er, a blue plaid shirt, the one that I mended in the pocket last week, and a white T-shirt underneath, and grey pants, and a brown cowhide belt with er, what do you call it, a target belt buckle. Right? Am I right? How am I doing? That just solves it. Right? Huh?
HARVEY [OC]: Bad. Not bad, Mary Beth, but not good enough.
(Harvey opens the door and opens his dressing gown)
MARY BETH: That's very funny, Harve.

[Laceys' lounge/kitchen]

MARY BETH: I called you at work today. They said you were out or something. Or busy with all your phone calls or something. Did you get my message?
HARVEY: Mary Beth, I am sorry. I just got a little mixed up. I didn't know if you wanted milk and eggs, juice and eggs, a cereal or what. My mum called and she was a little bit under the weather and she just wanted me to get a couple of things from the store too.
MARY BETH: Muriel called you?! You know, just before I called?
MARY BETH: Oh , that's wonderful. (she gives him a kiss) That's wonderful, Harve.
HARVEY: Muriel calls me every week. (she kisses him again) If it makes you this happy, maybe I'll have her call me every day.
MARY BETH: Yeah, morning or night?
HARVEY: For you, babe,...
(they continue to kiss)
HARVEY: Mary Beth, don't you think you've been wearing a little bit too much makeup lately? Hm?
(he puts his arm round her and they move off into the apartment)

[Nashville Trading]

ISBECKI: Could you give us some more information, Mr. Lundsford?
(they are looking at a tailor's dummy wearing only underpants and holding a guitar)
LUNDSFORD: It's been four months since somebody ripped off the jumpsuit. I didn't have the heart to take the dummy down. I kept feeling maybe the jumpsuit would come back, like Elvis himself.
ISBECKI: Can you describe this jumpsuit?
LUNDSFORD: Can I describe the jumpsuit?! Did 'The King' have hits? Of course I can describe the jumpsuit. (pointing to a large photo on the wall) He wore it in the sixty-nine Vegas performance. It was his second appearance. Well the stars came out that night, gentlemen, let me tell you. You had your George Hamiltons, your Tom Joneses, your Sammy Davises Jr.s.
PETRIE: Mr. Lundsford, the jumpsuit, what did it look like?
LUNDSFORD: It was silver! (touching the photo) Oh, it had sequins all over it! ...Pearls! He sparkled like a Roman candle when he wore it! You know who he did that for, don't you, gentlemen? The man in the back row. Boy, that man cared about everybody.
ISBECKI: Did he wear a belt buckle with this suit?
LUNDSFORD: Did Elvis love his mother? Of course. It was a gold-studded sheriff's badge with diamonds encrusted all over it. Where have you guys been?
PETRIE: Mr. Lundsford, do you know of anyone who seemed particularly interested in that jumpsuit?
LUNDSFORD: Yeah. The Elvis impersonators. They'd love to get their hands on it. They say it is an inspiration. But none of them could afford it.
ISBECKI: Elvis impersonators?
LUNDSFORD: Yeah, the town's lousy with them.

[Detectives' Squad room]

ISBECKI: (coming up reading from a file) Cagney! Preliminary forensics report on Nora Tanner. Cause of death, strangulation. (he slams the file shut as Chris tries to get a look at it) And they've also found traces of blood on her neck. Now my theory is...
CHRISTINE: I'm perfectly capable of reading it and interpreting it myself. Now may I have it, please?
ISBECKI: They also found carpet fibres on her nylons. Now my hunch is that is the key to the case, and if you're smart, Cagney, you'll follow that lead.
CHRISTINE: It's Sergeant Cagney. Now give it to me.
ISBECKI: (shouting after her as she grabs the file and goes to Samuels' office) Talk to the psychic. Ten to one she says I'm right.

[Samuels' office]

SAMUELS: Where's Lacey?
CHRISTINE: Oh, she called and said she'd be a little late this morning, Lieutenant.
SAMUELS: Morning sickness?
CHRISTINE: I don't think so.
SAMUELS: Well, you've got easy duty today. This afternoon you two are gonna make a little house call on Madam Zal. This morning she wants you to go by the grocers, the victim's previous place of employment. She thinks that the killer of Mrs. Tanner is somebody she worked with. It'll all be in the papers this afternoon.
CHRISTINE: What is she? The new Commissioner? I've just got the forensics report. I've gotta check it out.
SAMUELS: Later! Knelman's orders. You follow the psychic's leads. Oh, and by the way, if you run into anyone suspicious she wants you to bring something of theirs back.
CHRISTINE: For what?
SAMUELS: For a reading! For what.
SAMUELS: You're kidding. What am I supposed to say? 'Excuse me. May I have, maybe, a lock of your hair as a souvenir of our meeting?'.
SAMUELS: Hey, Cagney! You're a Sergeant now! You will think of something to say.
CHRISTINE: Yes, Lieutenant.

[Grocery store]

ELI LEAVITT: (stocking up whilst he talks) I always liked Nora. She was different from the other people here.
CHRISTINE: Different? How was she different.
ELI LEAVITT: She talked to me. ...She was special. ...Sometimes I'd take my break ...the same time she took hers. ...Just so we could talk.
MARY BETH: What did you talk about?
ELI LEAVITT: Life. ...Things we wanted to do. ...Things that we'd probably never get to do. ...I'm gonna miss her. ...She was probably the best friend I had.
CHRISTINE: Eli, did she ever want to be anything, you know, more than just friends?
ELI LEAVITT: She couldn't. She was married. ...Anyway, she didn't have time for me. She had another job.
MARY BETH: Another job? She worked as a cocktail waitress in this bar on Third Avenue. ...I took a cab once and I followed her.
MARY BETH: Why did you follow her?
ELI LEAVITT: I liked her. I thought it would be fun if I just showed up and surprised her. I scared her. She really panicked when she saw me. ...She pleaded with me not to tell anyone.
MARY BETH: And did you?
ELI LEAVITT: No. Of course not. It was our secret.
CHRISTINE: Where did you say that bar was, Eli.
ELI LEAVITT: 86th and Third.
CHRISTINE: Well, Eli, you've been a big help to us. Thank you very much. I wanna ask you just one more question.
CHRISTINE: Could I, er, borrow your nametag. ...I'll mail it back tomorrow morning.
ELI LEAVITT: Er... (looking round) I guess it's OK.
CHRISTINE: Great. ...Thanks. ...Thank you.
ELI LEAVITT: Do you want me to get you something with your name on it? Oh! (she looks at Mary Beth and they both smile) No, that's all right. This'll be just fine. Thank you.
MARY BETH: Thank you.
CHRISTINE: (as they walk away) Did you see the white coat?
MARY BETH: I'm pregnant, Christine, not blind.

[Cocktail bar]

STAN ROEDL: (a bartender is looking at a photo) Yeah, sure, I remember her. She called herself Yvonne Webber. Now, will you ladies excuse me? I gotta get ready for the lunch trade. (he puts down the clip-on bow tie he was about to put on) We're pushing for the white wine crowd, you know.
CHRISTINE: What was the last time that you saw her?
STAN ROEDL: Oh, about a month ago.
STAN ROEDL: That's when she quit.
MARY BETH: Did she say why she was quitting, Mr. Roedl?
STAN ROEDL: No. But I knew right from the beginning it wasn't gonna work out. She could only work when her old man was on the night shift. She didn't want him to know about the job. Asked to be paid in cash. Now what kind of guy doesn't want his wife to work?
MARY BETH: Mr. Roedl, did you ever see her leave with a customer?
STAN ROEDL: No, no. She was real clean.
CHRISTINE: Did you ever go out with her?
STAN ROEDL: Nah. I like to stay away from the marrieds. Who needs the aggravation?
(Chris eventually palms the bow tie)
STAN ROEDL: (to Chris) Are you married, honey?
CHRISTINE: Four kids. We live on a farm.
MARY BETH: Thank you, Mr. Roedl.
CHRISTINE: Thank you.
STAN ROEDL: Bye now.
(Roedl looks for the tie)
MARY BETH: (as they go out of the door) Christine!
CHRISTINE: I'll return it tomorrow. Morning. First thing.
MARY BETH: Uh huh?

[Squad car]

CHRISTINE: Next stop, Madam Zal's.
MARY BETH: I hope her apartment doesn't smell of incense.

[Madam Zal's apartment]

(Mary Beth is sitting there looking down at burning incense on the coffee table)
MADAM ZAL: (holding the bow tie) This one sees himself as a ladies man. He thinks himself as wild and dangerous. He's relatively harmless. Let's see the other. (taking the name tag which says ELI LEAVITT, PRODUCE) He works in a grocery store.
CHRISTINE: Yeah, that's a tough one.
MADAM ZAL: I'm feeling pain. There's something very disturbing to him about Nora's death. ...And he's ...confused. ...Scared! Very, very scared. You should talk to this man. He knows something about it.
MARY BETH: We're running a computer check on him. (to Chris) I guess we could make a call and see if anything came through.
CHRISTINE: Yeah. (to Madam Zal) Can we use your phone?
MADAM ZAL: Sure. (Madam Zal picks up the receiver and hears a voice) Carol! I need... Excuse me. (she puts the receiver down and goes towards another room)
CAROL: [OC} Mum, I'm talking to Don.
(mother and daughter argue and Madam Zal slams Carol's receiver down)
MADAM ZAL: (coming back) Teenagers! They're so...
CHRISTINE: Un ...predictable! Ha!
MADAM ZAL: That is not funny. (pointing to another phone) That will allow you some privacy?
CHRISTINE: Thank you.(Chris gets up and moves away) Excuse me.
MADAM ZAL: Detective Lacey, you've got two boys. Right?
MARY BETH: How did you know that?
MADAM ZAL: You told me. At the station. Do you remember?
MARY BETH: Oh, yeah.
MADAM ZAL: You're pregnant again.
MADAM ZAL: May I have something of yours to hold?
MADAM ZAL: I'm gonna find out if you're gonna have a daughter this time.
MARY BETH: No thank you.
MADAM ZAL: Oh! You don't believe in any of this stuff, do you?
MARY BETH: Madam Zal, what I don't believe in is charging people twenty-five thousand dollars for a service like yours. In my opinion, I think you're taking advantage of peoples' troubles.
MADAM ZAL: I have a gift. In our society, people who have gifts are well paid. I apologise for making only half as much money as some of these older charities who only operate on a Sunday afternoon.
CHRISTINE: (coming back) Eli was in a mental hospital last year. And up until five years ago he lived in Burlington, Vermont.

[Interview room]

(Chris is giving Eli Leavitt photos one after the other)
CHRISTINE: Did you take these?
CHRISTINE: Did you take these pictures of Nora?
ELI LEAVITT: Yes. Yes. It was the only way that I could have her with me. I wanted to be close to her. It was the only way I could have her with me.
CHRISTINE: This your diary, Eli?
ELI LEAVITT: What are you doing with that?!
CHRISTINE: How about this? Did you write this? 'I want her all to myself. I cannot share her any longer. Why won't she take me seriously.' What do you mean by that?
ELI LEAVITT: Just what it says! I wanted her. Look! I loved her! She wouldn't believe that ...I warned her! I warned her but she wouldn't listen to me.
CHRISTINE: She wouldn't listen to you. Did that make you angry, Eli? (he shakes his head vigorously) What did you do to make her listen to you? Let me tell you. You wrote four days later. 'Nora is having an affair. I know it.' (she shows him the diary entry) What did you do to frighten her?! Did you frighten her for that?!
(Eli shakes his head in his hands)
MARY BETH: Eli, tell me about Burlington, Vermont. ...Eli. Burlington, Vermont?
ELI LEAVITT: It kind of was nice there. It was quiet. Peaceful. It was safe. I told Nora how I knew she could be happy there.
MARY BETH: And you took her there?
ELI LEAVITT: I wanted to. I wanted to be there with her.
CHRISTINE: Were you there, Eli. Were you ever there?
ELI LEAVITT: You don't get it. I loved her. I'll always love her. I could never hurt her. (crying) I'll always love her.
(Mary Beth turns off the tape recorder)

[Line-up room]

(there are six Elvis impersonators lined up. Isbecki, in an Elvis costume and wig is third from the left)
DETECTIVE THOMAS: Take your time. Look at each one closely. We want you to be positive before you identify anybody.
ELVIS TRADER: I would like a closer look at number three.
DETECTIVE THOMAS: Number three, would you step forward, please.
ISBECKI: (to number two) I never thought that looking good and having a great body would be a curse.
ELVIS TRADER: I'm not sure. It might be easier if he had what he normally held.
(Isbecki is given a guitar)

[Corridor outside Pathologist's department office]

MARY BETH: (into phone) Michael, what time did daddy call? ...Well, did he say how late he'd be?

[Pathologist's department office]

CHRISTINE: I do not need to see the entire report. Just a few pieces of information. Reuben, help us out.
REUBEN COMFORT: I don't wanna start a precedent.
CHRISTINE: Oh, Reuben!
REUBEN COMFORT: Oh. All right. This is a copy of the ME's report.
REUBEN COMFORT: I don't suppose you've seen that one either.
CHRISTINE: But actually we were on our way over there...
REUBEN COMFORT: OK. OK. OK. It looks like she was killed by a man, a strong one at that. He broke her thyroid, cartilage and the hyoid bone.
CHRISTINE: What about the fibres on her nylons?
REUBEN COMFORT: They were from an industrial carpet. The type used in old model GM vehicles.
CHRISTINE: Do you think she was strangled in a car?

[Corridor outside Pathologist's department office]

MARY BETH: (into phone) Ah ha. ...No, you may not have ice cream after dinner. ...Because it rots your teeth, that's why. ...And turn off the TV, Michael. ...No TV on school nights. ...Read a book. ...Goodbye, Michael.
(Chris comes out of the office)
MARY BETH: Did you get anything?
CHRISTINE: Yes. She was killed somewhere else and transferred by car.
MARY BETH: What about the blood on her neck?
CHRISTINE: You're gonna love this. It's from an animal.
MARY BETH: Like from a horse?
CHRISTINE: No, like from a cow.

[Detectives' Squad room]

(Petrie and Isbecki are coming down the stairs)
ISBECKI: And then they came back to me and they asked me to sing "Don't Be Cruel".
PETRIE: So you really looked like the perp, huh?
ISBECKI: Nah. The guy said to me afterwards, he had another sixteen to audition. He liked my voice, though. Said I could have a future in show business.
PETRIE: (giving a sheet of paper to Chris) This just came through. An aeroplane reservation for the Tanner woman.
CHRISTINE: From Burlington to New York on the night she was killed.
MARY BETH: What time did she get in?
MARY BETH: She was killed at approximately one AM. So what happened in those two hours?

[Ladies room]

CHRISTINE: (coming in and shouting) Mary Beth!
MARY BETH: (from a WC) Yes?
CHRISTINE: Eli might have been watching her apartment. He'd know when she came home.
MARY BETH: (coming out of the WC) Maybe she didn't wanna go home. She went to the bar where she had friends, and that leaves us with the bartender.
CHRISTINE: Mary Beth, there's another possibility.
MARY BETH: Oh. Swell. That makes nine. I suggest we call it a night, Sergeant.
CHRISTINE: Now, in the normal case of a murdered runaway wife, who is the prime suspect?
MARY BETH: The husband.
CHRISTINE: Ah ha. We haven't considered him.
MARY BETH: Well, if he was planning to murder her, why would he bring in a psychic with a big reputation?
CHRISTINE: Because maybe he wasn't planning to murder her. Maybe he didn't really know where she was when he hired the psychic. (as Mary Beth goes out) Maybe we've been right all along. (Mary Beth stops and turns) Nora Tanner was a runaway...
MARY BETH: ...and couldn't stay in hiding because of all the publicity. So she comes home, they have a big fight...
CHRISTINE: ...and then he kills her and he plants the body at the Carousel to make the prediction come true.
MARY BETH: Prove it.

[Samuels' office]

SAMUELS: What about the car? He's a truck driver, isn't he? Does he have a car?
MARY BETH: The mother-in-law does.
CHRISTINE: We called her. She loaned it to him that night.
MARY BETH: And guess where he works, sir.
CHRISTINE: He drives a truck for a meat packing company on 10th Avenue.
MARY BETH: (looking at Samuels) Huh?
CHRISTINE: (pointing to the forensics report which Samuels is looking through) Animal blood.

[Outside Tribeca Meat Packing Company]

(the duo arrives in the Squad car and goes up to the guard)
GUARD: Isn't kind of late for two pretty ladies like you to be out late?
CHRISTINE: We're the police. We're looking for a Howard Tanner.
GUARD: Oh, sure. Loading dock sixteen.
CHRISTINE: Well, thank you.

[Inside Tribeca Meat Packing Company]

(there is a blood-stained white coat laying on a table. There isn't anybody around)
MARY BETH: (shouting) Mr. Tanner! ...Detective Lacey, Mr. Tanner!
(a line of hanging beef carcases starts up. The duo draws their guns and move through the dock. The line stops. They hear a sound. A spring-loaded door flaps shut. The duo rushes through the door and another line of carcases starts up. They stop. The line stops. They see another spring-loaded door flapping. They go through the door to the outside)

[Outside Tribeca Meat Packing Company]

(a truck opposite the door starts up with its headlights blinding them As the truck revs up they train their guns at it)
(Chris moves slowly round to the driver's door and opens it)
HOWARD TANNER: (near to breaking down) I didn't mean to kill her. I loved her. How could she leave me like that? How could she leave me?
(he starts to sob)

[Detectives' Squad room]

(the Squad are watching the TV news)
MADAM ZAL: (on TV) As I announced at the Press conference the very first day NYTV brought me on the case, Nora Tanner was running for her life. There was no escape. Tragically it was just as I predicted.
MARY BETH: Just as she had predicted.
CHRISTINE: Maybe the lady has a gift.

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