Original Airdate: January 6, 1986

[Laceys' kitchen]

MICHAEL: Mum, quick! How much is a third of an eighth?
MARY BETH: Is that the homework you told me you didn't have last night?
HARVEY JR. [OC]: Mom, I can't find my blue shirt! Did you wash my blue shirt?
MARY BETH: Wear your brown plaid one.
HARVEY: (as he comes in she gives him a packed lunch) I told you not to make me one. I'm having lunch at Rossini's. (he gives a kiss) You're glowing, Mary Beth. You're glowing this morning!
HARVEY JR.: (comes in wearing the brown plaid shirt) The pants won't go with this shirt!
MARY BETH: Do not read me the riot act for washing your dirty clothes. 'Thank you' would be polite.
HARVEY JR.: (sarcastically) Thank you.
MICHAEL: Mum! Mum, this isn't working. Help me!
MARY BETH: What is the lowest common denominator, Michael?
MICHAEL: That's what I can't get!
MARY BETH: What is three times... (she drops a bottle she has just got out of the refrigerator as she rushes back across the kitchen. The phone rings) Harvey! Would you get the phone? (to Michael) What's the matter? Can't you answer the phone?

[Laceys' kitchen/Detectives' Squad room]

MARY BETH: (answering the phone) Hello!
CHRISTINE: Mary Beth, what did you do with the Goldberg file?
MARY BETH: Christine, I've got a brand new quart of mayonnaise all over my linoleum! I've got a relentless family (shouting out so they can all hear it) that is driving me straight to Bellevue, and you sweet-talk me into doing some piece that I haven't written one half word of. And I haven't seen the Goldberg file, and that was three and a half weeks ago.
CHRISTINE: This is Happy Families and how would you like to play?
MARY BETH: (breaking out laughing) I'm sorry. I'm sorry, Christine, it's been a morning and a half.
CHRISTINE: Go ahead. Make me jealous. Are you still in your robe?
MARY BETH: Oh yeah. Life of Reilly, Christine. Life of Reilly. You wanna eat your heart out. I don't have to be in the shower until noon.
CHRISTINE: Are you doing OK?
MARY BETH: Harvey says I'm glowing. Now how's everything down in the Squad room? Did you make any progress on the Harris rape?
CHRISTINE: I know it's the same guy. I just can't find the connection.
MARY BETH: (to Michael) The lowest common denominator is twenty-four. Three twenty-fours and eight twenty-fours is how many twenty-fours?
MICHAEL: Eleven.
CHRISTINE: What is that? Secret lover code?
MARY BETH: Yeah, honey.
HARVEY JR.: (comes in wearing a blue plaid shirt and shouts) Bye.
MARY BETH: Where was it?
HARVEY JR.: That's good.
MARY BETH: Bye. (into phone) If they came into the world as teenagers there wouldn't be a population explosion. (as he packs up his school books she gives him a kiss) That's good, Michael.
CHRISTINE: Yeah. (seeing Samuels standing there) I gotta go.

[Detectives' Squad room]

CHRISTINE: Lieutenant!
SAMUELS: Where is the Goldberg report? It was due yesterday.
CHRISTINE: You know, that is interesting. I was just discussing that very thing with Detective Lacey.
SAMUELS: You're second whip here, Sergeant. Don't make me run after your paperwork.
CHRISTINE: Certainly not, Lieutenant.
(her desk is piled up with files. She gets some money out of her desk)

[Precinct House front desk]

(she gets a bar out of the candy machine giving it the traditional kick)
SARA JONES: Sergeant Cagney?
SARA JONES: I'm Police Officer Sara Jones.
CHRISTINE: (shaking her hand which Sara keeps hold of) It's a pleasure.
SARA JONES: I've been waiting to meet you ever since I was in training at the Academy. You're a great role model.
CHRISTINE: (Sara is still hanging on) Thanks.
SARA JONES: No. I mean it. Not many of us can make it up to the rank.
CHRISTINE: Well, it's hard work and clean living, Officer.
SARA JONES: (as Chris turns away) You know, at the rate you're going I wouldn't be surprised if one day you turned out to be the first woman Commissioner.
CHRISTINE: (turning back) Before I go back to my desk, do you wanna tell me what it is you want? ...Now that the flattery's over.
SARA JONES: Well, I hope it pays off.
CHRISTINE: Take a shot.
SARA JONES: OK. You've got a partner that's on leave. I figure you're probably getting buried under a mound of paperwork, and you're hating every minute of it. Right?
CHRISTINE: Keep going.
SARA JONES: Well, you can steal me for ninety days. Modesty aside, I'm efficient, I'm well organised and I'm really fast with reports.
CHRISTINE: What are you getting at?
SARA JONES: Well, if I get your desk cleared off and there's enough time left over, I get a chance to hang on your coat tails and watch you in action.
CHRISTINE: Make a few points for your gold shield?
SARA JONES: Sergeant Cagney, I would never look a gift point in the mouth.

[Samuels' office]

SAMUELS: (looking at a baguette) Tongue and chopped liver! Now how was it possible that I ordered pastrami and it comes up tongue and chopped liver?
CHRISTINE: (pointing to Sara standing out in the Squad room) Lieutenant, she says I can steal her for ninety days. What do you say?
SAMUELS: I don't know.
CHRISTINE: Lieutenant, I've been busting my gut on the Harris investigation, and I'm up to my bangs in paperwork. She's good! Her record is good. ...And I need the help.
SAMUELS: Oh yeah? I'm sure Jones is gonna be thrilled to be out of uniform so she can do your filing!
CHRISTINE: Well, we've all paid our dues, so I'm gonna show her the ropes.
SAMUELS: OK. If you want her, talk to Coleman,. If it's OK with him, it's OK with me.
CHRISTINE: Thank you, Lieutenant.

[Detectives' Squad room]

(the next day Sara is sitting at Chris's desk which is tidy and there is a filing rack on it)
ISBECKI: (coming up with a coffee) There you go.
ISBECKI: (sitting on Chris's desk) You know, it's the beat that Uniforms come to hate.
SARA JONES: You had a rough time, huh?
ISBECKI: Me?! No. Like a duck to water. Hey Sara. Listen, if you have any questions, just ask.
SARA JONES: Thank you, Detective.
ISBECKI: Well, Sara, I'm sure you must have some questions. You know, the computer, the files, Samuels' views. (Chris comes in and is walking past) What I'm doing Saturday night.
SARA JONES: OK, Detective, I do have one question for you. You know how you're sitting on the desk?
SARA JONES: Aren't you afraid of damaging your sciatic nerve?
CHRISTINE: (coming up to Isbecki) She's right, Victor. So why don't you put your bones in your own chair before you injure yourself?
ISBECKI: (pointing to Chris) This girl's got a great sense of humour.
CHRISTINE: He should know. He's usually why I'm laughing.
SARA JONES: (getting up as Isbecki goes off) I was up early and I just wanted to get started.
CHRISTINE: (looking at her desk which is tidier) I'd say you did more than just get started! You didn't happen to find the Goldberg file, did you?
SARA JONES: Mm hm. (giving her the file) It's back on your left marked A.
CHRISTINE: It's supposed to be in C.
COLEMAN: (coming up) Sergeant Cagney, call for you on two.
CHRISTINE: Thank you, Coleman.
COLEMAN: (putting it in front of Sara) This electric pencil sharpener is for lead pencils only!
CHRISTINE: (into phone) Cagney, Fourteenth Squad.
COLEMAN: (plugging it in) Lipstick, eyebrow pencils. Death!
CHRISTINE: (into phone) Yeah.
SARA JONES: (trying it) Oh, this is great!
CHRISTINE: (into phone) What time?
SARA JONES: No eyebrow pencils, I promise.
CHRISTINE: Thanks, Sergeant.
COLEMAN: OK, so there's no misunderstanding, this is a loan for ninety days only. That's it.
CHRISTINE: Anything that lands on this desk ...stays! (putting her hand on it before Coleman) That's sweet of you, Sergeant. Thank you and good-bye! (as Coleman walks off) He's all right. He'll go away.
SARA JONES: He's not so bad.
CHRISTINE: I've just got a call from Lexington Hospital. Another rape victim brought in. I'm going down there. You stay here and continue the good work!
SARA JONES: Oh look, I've already made a dent in some of your paperwork. (pursuing Chris) How about letting me go along?
CHRISTINE: No, I can't. (nodding towards him in the office) I haven't cleared it with Samuels.
SARA JONES: Look, I'll make a deal with you. I tag along now, and then I promise to stay as late as it takes to finish things up.
CHRISTINE: All right.

[Lexington Hospital corridor]

(the rape victim is wheeled along with drips attached and attendant staff. A worried-looking man follows)
TANNOY: Nurse Di Falco contact five-six-one-seven. Nurse Di Falco contact five-six-one-seven.
SARA JONES: We'll have to wait here.
CHRISTINE: (to the man) Excuse me, Mr. Jacoby.
MR. JACOBY: (stunned) Eh.
CHRISTINE: Sorry, I know this is a bad time.
CHRISTINE: I'm Sergeant Cagney, Fourteenth Squad. This is Police Officer Jones. We wanna ask you a few questions.
MR. JACOBY: They just took my wife into surgery.
CHRISTINE: Yes, I know. It would help us a lot if we could get some answers to some questions as soon as possible.
MR. JACOBY: Do you know what he did to her? He kicked her in the back so hard, she may lose a kidney. They can't stop the bleeding inside. What kind of animal does such a thing?
CHRISTINE: Well, that's what we wanna find out. Now you took your children to see their grandparents in Boston last night. (he nods) Your landlord found your wife this morning. Do you remember anything unusual when you left?
CHRISTINE: We believe that the attacker stalked your wife beforehand, so if there's anything that you can rememb...
MR. JACOBY: Sergeant!!! I don't leave my house as if it was a war zone!! I didn't see...! ...I didn't see anything. (he walks to the other side of the corridor) My God. ...My God. ...Do you think I would have gone if I imagined ...such a thing would have happened?
CHRISTINE: (having followed him) No, I don't.
SARA JONES: (joining them) Mr. Jacoby. Listen. We're all angry. And we all want to stop the man who hurt your wife. And the best thing that you could do for us now, ...and for her, is to help us. ...Please.
MR. JACOBY: You're right. ...Forgive me. I'm sorry.
SARA JONES: There's no need to apologise. We understand. (with her notebook ready) So just take it slowly. Now what time last night did you leave for Boston?
MR. JACOBY: We were trying to catch the seven-thirty shuttle, but we were running a little late.

[Lexington Hospital reception]

CHRISTINE: (as they walk out) It's the same guy. I know it.
SARA JONES: The one in the Harris rape?
CHRISTINE: That one and lots of others. The info matches across the board. He attacks from behind so the woman cannot identify him. He nails her with a knife to the throat and tells her if they try to look, he'll kill her.
SARA JONES: And then when it's over, he beats her unconscious.

[Manhattan street]

CHRISTINE: There are never any witnesses. He attacks these women in older apartment buildings. He breaks in from the fire escape when the women are alone.
SARA JONES: He must be pretty agile. Not even your firemen can escape from the bottom. What about time and location?
CHRISTINE: You see, that's where there is no shape is. The attacks are all over the city, all hours of the night, every day of the week. But I know there's a pattern.
SARA JONES: Did you run anything through the computer?
CHRISTINE: Yeah, about a dozen different ways. There's nothing in it. I'm gonna nail him, though. I can't prove it yet but I know it's him. I can feel it.

[Laceys' lounge]

(Mary Beth is standing behind the ironing board, using it a lectern)
MARY BETH: 'My fellow police officers' What do you think, Christine? 'Fellow police officers' or 'Sister police officers'. What do you say?
HARVEY: (before Chris can say anything) Good opening, babe! Good opening, either way.
CHRISTINE: 'Fellow' is better.
MARY BETH: 'My fellow police officers, the Policewomens Endowment Association has asked me to talk to you about maternity benefits. Those we already have, and those we feel we still need'.
HARVEY: Good! Right to the point!
MARY BETH: Harve! will you stop interrupting?!
HARVEY: I'm sorry. My lips are sealed.
MARY BETH: 'Those...' This is so boring, Christine. So boring. Maybe I should start with a joke. They always tend to start with a joke. What do you think?
CHRISTINE: Well they told me in Public Speaking, all right? 'Tell them what you're gonna tell them. Tell them, and then tell them what you told them'!
MARY BETH: I don't know why I let you talk me into this. I always get so rattled. Every time I have to testify I get the shakes. I've been doing that for years.
HARVEY: Come on, Mary Beth. 'My fellow officers, the PEA has asked me here tonight...'
MARY BETH: talk to you about maternity benefits.' OK. 'Those we already have, and those we still feel we need. Believe me, I was here when we were starting, and we've come along way, baby'. (Harvey laughs) 'The important thing...'.
CHRISTINE: That makes a joke?!
MARY BETH: Well, I thought it was kind of cute. (Mary Beth is upset. Chris tries to placate her) I'm not gonna do it.
CHRISTINE: Mary Beth, I'm sorry. I'm a bit under the weather. Maybe I should hear your speech another night.
MARY BETH: Do you have something on your mind?
CHRISTINE: The Harris case. I'm dreaming about it. I'm sorry, Harvey.
MARY BETH: Well, maybe you'll dream up a connection.
CHRISTINE: There is a connection!!! I'm telling ya, I feel it. There's a connection!!
MARY BETH: You'll get it, Christine. Now you've got somebody to help you with the paperwork, you'll have more time.
CHRISTINE: (getting up) OK. Do you remember Rene McKowski?
MARY BETH: Oh, Chris, yeah.
CHRISTINE: He was run in again for murder. He told me a joke. (she goes behind the ironing board) It goes like this. Sit right down, Harve Right? (Harvey laughs. Chris giggles) It was about this Saint Bernard and this er, chicken.
CHRISTINE: We're in a bar.
MARY BETH: I don't think so.
(Harvey smiles, anticipating)
CHRISTINE: Well, it was a thought.
MARY BETH: I don't think so.

[Precinct House front desk]

(Chris comes in. Sara is at the computer terminal. The officer who normally operates it is sitting watching)
CHRISTINE: (to the officer) Are you taking a short vacation?
SARA JONES: Sergeant! Last night I got to thinking about the Harris case. How you were able to tie the MOs with all the other rapes. But you couldn't find a common link. So I went back over the computer checks.
CHRISTINE: That must have taken all night!
SARA JONES: You ran a check on victim's destinations.
CHRISTINE: Yeah, but it came up empty. The women were working all over the city.
SARA JONES: I took it a step further. What if it wasn't where they were going but the routes they took to get there. (handing Chris a sheet of paper) So I made some calls.

[Detectives' Squad room]

(back at Chris's desk with a map propped up in front of them)
SARA JONES: Mrs. Harris was visiting her dentist weekly. Now she would get on a BMT at 28th and Broadway, Olga Nathan had lunch with her friends every week. Now she would start off in Soho but she would get off here. 28th and Broadway. And when the third woman's route started crossing the same point I began calling all the others and asking if they got on or off the subway with any kind of regularity at 28th and Broadway. Every victim that I could reach passes this corner.
CHRISTINE: It's a little more than a coincidence.
SARA JONES: Yeah, that's what I said. I'd say that the rapist makes his first contact with his victims here.
CHRISTINE: You said your strong suit was paperwork.
SARA JONES: I just followed your lead, Sergeant.


MARY BETH: You're jealous, Chris. Do you remember how we used to be?
CHRISTINE: Mm. It's not just the corner of 28th and Broadway. She's got it pinpointed down to the uptown end of the BMT.
MARY BETH: Holding up a dress against herself) Now why would they do this to a pregnant person?
CHRISTINE: She wanted the corner covered for twenty-four-hour surveillance.
MARY BETH: And you don't even know who you're looking for?!
CHRISTINE: Oh, she's got an answer for that. She's got every man who lived in the Precinct who's been arrested for a sex crime in the last five years. That's eleven hundred and twenty-two assorted creeps, weirdoes and perverts. (as Mary Beth tries another dress) That's good! Huh? She's convinced that whoever it is lives within a couple of blocks of the subway entrance and that's where he meets his women and stalks them.
MARY BETH: Well, a lot or those men would have moved ...or died.
CHRISTINE: Or they're in prison. But she's already weeded them out. You see. So now we're down to three hundred. Fifty-seven of whom are either known or suspected rapists. And not one of them lives near 28th and Broadway. So we've gotta go back to the area and talk to the regulars. Vendors and... Anyway it's a long shot.
MARY BETH: Still, it was a good idea.
CHRISTINE: Oh, she's smart! I'm telling you. That's great detective work, the subway entrance. (Mary Beth is holding up another dress) It's a bad colour.
MARY BETH: I hate spending money on clothes this late in a pregnancy.
CHRISTINE: Don't you have anything at home in your closet you can wear to the...
MARY BETH: Don't start, Christine! You're the one who got me talking to, who knows, how many policewomen, about the privilege of going on maternity leave. I'm not gonna do it dressed in (opening her coat) a turquoise pump tent. I'm may be glowing but I don't wanna push it.
CHRISTINE: Fine. You ought to see Jones out on the streets. Plugs ...right into my lead! It's like she's been my partner for years.
MARY BETH: Well, that's nice to hear!
CHRISTINE: Oh... Oh... Actually she's quite green in a lot of areas. I would never let her hear it. I don't have to tell you, Mary Beth. It takes a cop years and years...
MARY BETH: Christine.
MARY BETH: Bag it!
MARY BETH: (holding up another dress) What do you think of this then?
CHRISTINE: It's missing something.
MARY BETH: The bow.

[Detectives' Squad room]

NEWMAN: (handing Chris a message as she comes in) Cagney, it's someone you should see.
CHRISTINE: (taking the message) Dr. Ripland. Is this your therapist, Newman?
NEWMAN: Researcher, Columbia University. I was there investigating an animal theft.
CHRISTINE: A stolen lab rat? Like going home again, isn't it?
NEWMAN: (following as she walks away) I was telling Dr. Ripland about spontaneous regeneration going on at the Precinct. You know, once there was one female officer who was ambitious and liked to hog computer time.
CHRISTINE: (having signed in she pushes past him) Excuse me, Newman.
NEWMAN: And then all of a sudden there were two, and I asked myself, 'Is this like an amoeba that splits into two beings all by itself?'.
CHRISTINE: Great! It's great idea!! Fine, Newman!
NEWMAN: (following her to her desk) Actually it's an awesome thought. Cloning. You and your little Cagneys marching down Fifth Avenue.
CHRISTINE: Not half as frightening as a pack of Newmans strolling down Broadway.
SARA JONES: (rushing in) Sergeant! I've got him.
SARA JONES: The rapist. His name is William Brown.
CHRISTINE: Jones. Yesterday we had over fifty suspects.
NEWMAN: (Newman getting up to let Sara sit down) This has gotta be good!
SARA JONES: Fifty suspects who lived in the Precinct. Now I went back over the victims. Most of them took the subway at midday or in the evening. That's lunch hour or after quitting time for somebody who works in the area. (putting down a sheet of paper) Now Brown is the only rapist we have who does.
CHRISTINE: Alleged rapist. How the hell did you find out where Brown works? That wasn't on his file.
SARA JONES: I went for a forty-nine for his credit history. Works addresses for the past five years.
CHRISTINE: It's a big risk for someone who hasn't been charged.
SARA JONES: How many times have you done it, Sergeant?
NEWMAN: She's got you there.
CHRISTINE: Newman, go... clone yourself.
NEWMAN: For you, Sergeant, anytime.
CHRISTINE: All right, since you've got everything so well covered. What's next?
(Sara smiles broadly)


(Chris and Sara are watching the entrance to BMT Uptown 28 St Station from the opposite side of the road)
SARA JONES: Brown's been standing there almost half an hour.
CHRISTINE: He can stand there all day if he wants to. Nobody's gonna take a man who looks like that as a threat.
(a woman stops in front of Brown and looks in her handbag. Brown comes up behind her)
SARA JONES: Wait. Wait! Watch!
(as she takes out a cigarette, Brown gives her a light. They smile at each other and he watches in which direction she goes off)


CHRISTINE: (to an assistant) Mrs. Brown, why did you drop the assault charges against your husband.
MRS. BROWN: The first time he said it would never happen again.
SARA JONES: And the second time?
MRS. BROWN: He gave me concussion. I then filed for a divorce settlement. And took the kids away from him.
CHRISTINE: There's another case of a woman who brought sexual assault charges against your husband. She also dropped them when she left town.
MRS. BROWN: I don't know any thing about that. I told you. That was a part of my life I wanna forget.
(as Mrs. Brown goes round to the other side of the display where she is putting books, Chris indicates to Sara to follow her one way while she goes the other)
SARA JONES: Mrs. Brown, please, we need your help.
MRS. BROWN: Do you know what it was like being married to him? I think it was two years ago and I still have nightmares about him coming back. I can't go through that again. Now I don't know anything that can help you. I just wanna keep myself and my kids well away from him. I'm sorry. Look I've gotta get back to work.

[Subway pedestrian underpass]

SARA JONES: You know, two women have been abused and threatened by Brown. His ex-wife has long dark hair like all the victims. And he was brought in twice for questioning as a possible rape suspect.
CHRISTINE: Brown has never been convicted of anything. We don't have one witness or one victim who can positively identify him.
SARA JONES: You saw his military record. Airborne Rangers. You need agility to be a paratrooper. And his victims were in upper storey apartments.
CHRISTINE: It's not enough, Jones! I'll tell you , Samuels is never gonna go for it. Listen, I've been doing this a long time. And the hardest thing to learn, trust me, is to be patient and not jeopardise the whole case.
SARA JONES: If we don't do something, Brown is gonna keep attacking women. Now what if he kills one? Do we tell her family it happened because we played it by the book?...Let's have a shot with Samuels.
CHRISTINE: Hey, go for it. All right! But don't say I didn't warn you.

[Samuels office]

SARA JONES: Let us put Brown under twenty-four-hour surveillance.
SAMUELS: I'm sorry, I haven't got the manpower.
SARA JONES: Lieutenant, this has to be a priority right now.
SAMUELS: Officer, everything that happens in this Precinct is a priority. If I had the manpower I would give every suspect a police escort. You don't even have a pattern here on when the guy hits.
SARA JONES: We're supposed to be protecting people for God's sake! We know who the rapist is!
SAMUELS: You think you know!
SARA JONES: William Brown has been brutalising women for over two years! He's gotta be stopped!
SAMUELS: Well, he's not gonna be stopped unless you build a better case. With what you've got here, the most you can do is get Brown arrested. Maybe even take it as far as a hearing. But it's not gonna stick! The man's gonna turn around and be right back out on the street again. And for what?! Huh? A lot of hoopla, time wasted. For nothing!!
(Sara walks out and slams the door. Chris has just looked and listened)
SAMUELS: Did you get your paperwork done?
CHRISTINE: And then some.
SAMUELS: The girl's gotta learn how to pace herself.
CHRISTINE: Hark who's talking.
SAMUELS: Yeah, I work hard, Cagney. So do you! But we're professionals. We try to keep some emotional distance from the job.
CHRISTINE: A case like this, Lieutenant, it's tough to keep a distance.


CHRISTINE: (handing Sara a drink) Here you go.
CHRISTINE: (trying to get past a tall man in a business suit) Do you mind? (about the man) Cute. Married.
SARA JONES: Not bad at all. It gives 'New York's Finest' a whole new meaning.
(they sit down)
CHRISTINE: Mm hm. This is where my Dad used to hang out.
SARA JONES: He's a cop too?
CHRISTINE: Yeah. Well he was. He's retired now.
SARA JONES: I figured you were second generation.
CHRISTINE: Third, actually. Pop's father was in Queens when it was still a cow patch.
SARA JONES: My family's from St. Louis. I miss them a lot.
CHRISTINE: Listen. About what happened today with Samuels. Don't take it to heart. OK? It's a part of the job. (Isbecki comes up behind Sara and puts his hands over her eyes. She leaps up, grabbing one wrist and slams him over the table) Hey, hey, hey, hey! Take it easy!
ISBECKI: (getting up) Gee.
SARA JONES: Never creep up on somebody like that, Detective. You should know better! ...I mean, weren't you the one who told me I should be ready for anything.
ISBECKI: Yeah. (going off) I better watch you.

[Laceys' bedroom]

MARY BETH [OC]: Are you ready, honey?
HARVEY: (shouting) Ten minutes ago I was ready, Mary Beth.
(Mary Beth comes in wearing the dress which required a bow, with a bow at the waist)
MARY BETH: Ta da. What do you say?
HARVEY: Oh it's great.
MARY BETH: Too much?
HARVEY: No, it's nice. It's bright.
MARY BETH: Is it too loud?!
HARVEY: No! You want them to see you in the back row. Right?
MARY BETH: (looking in the mirror) It is. It's too much.
HARVEY: Oh, honey, I didn't say that. (getting up off the bed and going to her) You look beautiful, (giving her a kiss) beautiful.
MARY BETH: Yeah? Christine didn't like it either.
MARY BETH: She said she did, but I don't think she knew even what I had on.
HARVEY: Is she still hung up by that rape case?
MARY BETH: Yeah. She called this afternoon. They know who the man is.
HARVEY: So that's good. So she's feeling better.
MARY BETH: No. Worse. They can't touch him. Not enough evidence to hold up in court.
HARVEY: So she puts him on a hot seat and then she bluffs him into a confession. You two do it all the time.
MARY BETH: Harvey, this is an educated man. He's white-collar. Vice-president of something or other. Twice before he was brought in on assault charges. Both times he had his attorney there before the ink was dry.
HARVEY: Oh, I get it. The crud doesn't have any dirt under his fingernails, so the law works differently for him. That's justice, kiddo!
MARY BETH: It happens all the time. Harve. These men know how to choose their words and then they bring in character witnesses with important jobs. Fair or not, it impresses the jury. (turning in front of the mirror) Bow or not?
HARVEY: The bow!
MARY BETH: If we push too hard before we have enough for a case, they get off and we end up on the wrong end of a lawsuit.
HARVEY: Well, that's it? You guys just give up?
MARY BETH: No, we don't give up! We work harder.
HARVEY: Mary Beth, you keep the dress. The back row is lucky to see you.

[Samuels' office]

SAMUELS: (shouting out into the office and beckoning) Cagney! (closing the door) Sergeant Cagney, this is William Brown and his attorney, Mr. Bronston Ferber.
BRONSTON FERBER: Sergeant, you and your partner as harassing my client. Mr. Brown has certain rights under the law. If you don't stop what you're doing, you're gonna be sorry, very sorry.

[Locker room]

(Chris comes in with Sara. She draws the curtain)
CHRISTINE: I just got out of a meeting with Mr. Bronston Ferber, attorney for William Brown. You remember him? Mr. Ferber is very angry with the NYPD. In fact he's so angry that he's thinking about filing charges of harassment because you went over the top on this. You apparently went out and talked to the Browns' neighbours for the second time! Now where the hell did you get the idea that you could handle an interrogation on my case without me?
SARA JONES: I was just trying to help out.
CHRISTINE: By calling Brown a rapist before he's even been charged, you're setting us up for a lawsuit!
SARA JONES: All right. Maybe I got a little too eager on this one. I'm sorry.
CHRISTINE: Sorry, doesn't cut it, Jones! ...Either you play it by the book or we land up with egg on our face. Now I put you on this case because I thought you'd act like a detective an not like a rookie!
SARA JONES: You brought me in because you wanted your paperwork done. And that's fine with me. I was just grateful for the opportunity. I would have taken on the garbage detail if it meant a chance to work with you. I guess I was too anxious to prove myself. I made a mistake. It won't happen again, I promise.
CHRISTINE: (after a pause) Don't promise. Just think about what you're doing next time. OK?
SARA JONES: Yes, Sergeant.

[Detectives' Squad room]

(in the evening)
CHRISTINE: (into phone) ...Look I know we've been over this before, Miss. Turner, but if there was anything new you could recall, I...
SARA JONES: (into phone) ...I understand that you never actually saw him...
CHRISTINE: (into phone) ...a distinctive smell, a...
SARA JONES: (into phone) ...anything special you can remember about his voice. An accent. Anything.
CHRISTINE: (into phone) ...All right. I'm sorry to have bothered you again. Thank you.
SARA JONES: (into phone) ...I know. I know. ...Thank you.
CHRISTINE: Anything? (Sara shakes her head) That was the last two. Nobody remembers anything that ties it to Brown Damn it! He cannot be that smart.
SARA JONES: He isn't. We'll get him. It just a matter of time. That's all. Just a matter of time.
(Sara's phone rings)
SARA JONES: (into phone) Jones, Fourteenth. ...Mr. Jacoby! How's your wife? ...Oh, I'm sorry. I'm sorry to hear that. ...No, I know. Of course not. ...Well, listen. You have our number here. ...The case is gonna change. OK? ...OK. (ringing off) Mrs. Jacoby isn't gonna be able to talk to us.
CHRISTINE: She's worse?
SARA JONES: Since she regained consciousness, she hasn't spoken or recognised anyone. Including her husband. ...He said that the doctors had recommended transferring her to a psychiatric ward.
CHRISTINE: (as Sara puts her head in her hands) You're looking beat. Why don't we call it a night?
SARA JONES: Mm. ...Right.
CHRISTINE: Do you wanna stop for a hamburger on the way home? I'd love the company.
SARA JONES: Thanks. I'll take a rain check. My date wouldn't like being stood up for a good-looking blonde. Even if it is my partner.
CHRISTINE: See you tomorrow.
(Chris picks up the phone and dials)

[Corner of 28th and Broadway]

(Chris, driving the Squad car around the corner near the subway entrance, sees Sara driving the other way)

[Lacey's lounge/kitchen]

(Chris is clearing the table while Mary Beth washes up)
CHRISTINE: I'm telling you, she lied to me. She said she'd back off. She said she had a late date. She has no reason to go anywhere near Brown.
MARY BETH: Neither do you.
CHRISTINE: It's on my way. And I didn't stop and I'm not the one who overstepped before!
MARY BETH: Christine, it's her first case out of uniform. She got carried a little away. That's all. It still happens to you. Remember all those nights you spent sitting up at you desk over Albert Grand? Your eyes were so bloodshot, I thought you were gonna go blind.
CHRISTINE: I hear you, Mary Beth. But it is different with Jones. I'm telling you it's more than gung ho. Anyway, it bothers me. She's a smart cop who can detect a pattern nobody else sees. She can pick up the slightest clue, and then she blows the whole thing by going overboard! It doesn't make any sense. I'm telling you, there's something wrong.
MARY BETH: Talk to her.
CHRISTINE: Yeah, I tried.
MARY BETH: Well, what about her record? Is there anything there?
CHRISTINE: It's clean.
HARVEY [OC]: Mary Beth!
MARY BETH: (shouting) Yeah?
HARVEY [OC]: Honey, I'm sorry I'm late. (as Mary Beth rushes to the door) Honey, he would not let me go.
(she opens the door)
HARVEY: What are you doing? Honey, you're not ready. We've got twenty minutes to class.
MARY BETH: Harve, the night class is supposed to help me relax, and I can't do that when I'm being rushed.
CHRISTINE: Kitchen's done.
MARY BETH: Thank you, Christine.
CHRISTINE: (taking her coat) Hi ya, Harve.
(Mary Beth suddenly stops and gives a couple of little cries)
CHRISTINE: Mary Beth, what's the matter?!
MARY BETH: It's a contraction.
CHRISTINE: Oh, my God!! Harvey, what do we do? Call the hospital. I will call the hospital. You stay with Mary Beth.
HARVEY: (looking at his watch) Chris, it's OK! Not to worry. It's only a Braxton Hicks contraction. Sometimes known as forced labour. It's a uterine contraction that gradually increases in intensity and frequency going into the third trimester. As the uterus becomes more irritable.
MARY BETH: It's like your mother with me.
HARVEY: Yeah. It can be brought on by over-activity or by fatigue. But it can never be accompanied by the breaking of the waterbed.
HARVEY: (after looking at his watch for a few more seconds) Better, babe.
MARY BETH: Yeah. Fine! ...OK. Let's go.
(as the Laceys go out of the door, Chris staggers a bit and holds on to the wall)
MARY BETH: (rushing back) Christine, are you all right?!
CHRISTINE: (recovering) I'm fine. No, I'm fine.

[Corridor outside the Laceys' apartment]

CHRISTINE: Listen, Mary Beth, I'm not sure I'm the right one for this. But Harvey's so prepared.
MARY BETH: That's why you're coming to class with us tonight.
HARVEY: Yeah, so you'll be prepared.
MARY BETH: And a million-to-one chance that Harvey doesn't make it to the delivery room. It's just a backup. Don't worry about it.
CHRISTINE: Yeah, that's what they said to me in college when I understudied for Medea.
MARY BETH: You never told me that. What happened?
CHRISTINE: That's why I didn't tell ya.

[Precinct Hose front desk]

SARA JONES: You beat me to it this morning.
CHRISTINE: Yeah, I wanted to collar the computer terminal before anyone else came in.
SARA JONES: Working on Brown?
CHRISTINE: No, not on Brown.

[Ladies room]

CHRISTINE: Why didn't you tell me you'd been raped?
SARA JONES: I don't know what you're talking about.
CHRISTINE: I poked your personnel file. Last year, you were out for three weeks.
CHRISTINE: Your file said that an officer was summoned to your apartment at two o'clock in the morning.
SARA JONES: Yeah, I felt dizzy. I fell down. My landlord called.
CHRISTINE: I checked your medical. The entry is listed as 'injury of undetermined origin'.
SARA JONES: So you've got a cop who couldn't spell influenza.
SARA JONES: What's the big deal, Chris?
CHRISTINE: ...I checked ...on the doctor you listed. ...He's not out of college. ...Why are you burying this? You're not the one who has committed the crime.
SARA JONES: I'm supposed to be able to defend myself.
CHRISTINE: Do you think you're the only cop that's ever been a victim?
SARA JONES: (making to leave) Look, it doesn't matter, Chris. It's over.
CHRISTINE: The hell it is!!! You said you had a date last night.
SARA JONES: You followed me?!
CHRISTINE: I followed a hunch of my own. I didn't expect you to lie to me, Sara. I'm on your side! (Sara sits on the bench) Is Brown the man who raped you?
SARA JONES: No. No, I couldn't get a lead on the man who raped me. Six months investigation. day and night. Nothing.
CHRISTINE: (sitting beside her) Then you heard about the Harris case, huh?
SARA JONES: I thought it might be the same pattern. It wasn't.
CHRISTINE: You couldn't get the guy that hurt you, then you go after Brown?
SARA JONES: At least I can put one bastard behind bars!
CHRISTINE: So, what good does it do you?! You're jeopardising your career!
SARA JONES: (getting up) Brown is getting away with murder!!! He's destroying women's lives and he's the one who's protected by the law!
CHRISTINE: Look, I know it stinks! (getting up) And you're not gonna change it with what you're doing!!
SARA JONES: I'm telling ya, I can stop him!
CHRISTINE: Sara, you go over the edge on this one and you're gonna be stuck in uniform for the next twenty years. ...If you stay on the Force! Listen, take some time off. Get your head straight. You get counselling centres for rape victims.
SARA JONES: I know how it feel's about being raped! I don't need a counselling centre. I need to get a rapist off the streets!
CHRISTINE: I don't wanna put this in your folder. It'll stop you getting a shot at your gold shield.
(Sara goes to leave. Chris rushes and holds the door closed)
CHRISTINE: Sara!!! Brown is not worth it!!
SARA JONES: I can't let him get away, Chris. ...I can't.
(she leaves)

[Samuels' office]

SAMUELS: She won't go for counselling on her own?
SAMUELS: Do you know what will happen if I make a recommendation for Psychiatric Services to see her?
CHRISTINE: I don't want that on her record. She's a good cop, Lieutenant.
SAMUELS: It's cops like that we can't afford. She's off the case, back in uniform. And as of now, she's on police leave.
CHRISTINE: Shouldn't that come from you?
SAMUELS: You're second in command here now, Sergeant.
CHRISTINE: I hate to see the Fourteenth lose this good cop.
SAMUELS: I wish I could tell you that this part of the job is easy.
(Chris goes out and takes Sara on one side while Samuels watches. Chris tells her. Sara turns and looks at Samuels and goes and puts her coat on, picks up her handbag and leaves. Chris turns and looks at Samuels)

[Policewomens Endowment Association]

(under a PEW banner Mary Beth, in the dress, is addressing the audience)
MARY BETH: The most... The most important thing... (coming from behind the lectern) The most important thing is now we now have a choice. (Harvey nods sitting alongside Chris who is smiling) I mean, we can either take maternity leave with pay or we can work right up until the day that we deliver. It's up to us. You see, by sticking together and supporting the union, we have found out we can really change some old ideas. So today... Today... (going back to the lectern) er, in this Department, being pregnant is easier than it used to be. ...A little. (a ripple of laughter) And we two are here to tell ya ...that every little bit helps. Thank you.
(Harvey jumps to his feet and joins the applause. Mary Beth goes for exit right but then decides to come down the steps to Harvey who embraces her)
FEMALE OFFICER: (as they are leaving) Good speech, Detective.
MARY BETH: Thanks, Arlene.
CHRISTINE: You were terrific. I told you it would work.
MARY BETH: You think so?
MARY BETH: I was so nervous, I didn't know if they were sleeping or bored or what.
HARVEY: No, I don't think they were bored.
MARY BETH: What about the joke at the beginning. Was the joke good?
CHRISTINE: They laughed.
HARVEY: They sure did. I heard them.
MARY BETH: A little.
FEMALE DETECTIVE: Excuse me. I just had to say that I was so moved by your speech, Detective Lacey.
MARY BETH: Oh, thank you.
MARY BETH: (looking at the detective's stomach) Good luck.
CHRISTINE: Where are you parked?
HARVEY: Municipal Ferry. You two wait here. I'll pick you up.
MARY BETH: Harve, I've just told a whole room full of women that a police officer who is pregnant is not handicapped. She's as capable as any other police officer.
HARVEY: Right!
MARY BETH: We'll go right ahead with you.
HARVEY: Right.
MARY BETH: (as they walk off) I should have told the other joke. Right?
CHRISTINE: Maybe you should have told the joke about the Saint Bernard and the chicken? (the Laceys turn round and look at Chris) Maybe it was a duck.

[Samuels' office]

(seeing Chris come in)
SAMUELS: Cagney!
CHRISTINE: Good afternoon, Inspector.
KNELMAN: Brown's attorney is taking a multi-million dollar lawsuit. Harassment and defamation of character. Do you know what the Press is gonna do with that?
CHRISTINE: We haven't been near Brown since he complained.
KNELMAN: Not according to his lawyer. There's still a cop parked out in front of Brown's place at all hours. His neighbours are willing to corroborate that. And that a policewoman is still badgering them about Brown. Where is Officer Jones?
SAMUELS: On leave.
KNELMAN: Bert, what the hell is going on around here.
SAMUELS: I thought it was best for Officer Jones to take some time off.
KNELMAN: Why. Because she was too involved in the case?
CHRISTINE: She was just trying too hard, Inspector, that's all. She'll make a good detective.
KNELMAN: Yeah? You know what I think? She's still trying. (as he walks out) You better stop it before she gets us all a lot of trouble.

[Outside Sara Jones' apartment block]

(a doorman sees a couple into a cab)
DOORMAN: You were saying?
CHRISTINE: I've been trying to reach her for four hours.
DOORMAN: She left right as I came on duty at five. She's been going out at around that time all week.
CHRISTINE: Any idea when she'll be back?
DOORMAN: Well, Main, the day man, he says that Miss. Jones has been coming in at about seven in the morning. Good for her, I says, she's finally got herself a boyfriend. But then, I've seen her leave with this brown wig on, so I figured she was probably undercover or something. Hey, you're a cop too. How come you didn't know that?

[Sara Jones apartment]

LANDLORD: (letting Chris in) You girls work together?
LANDLORD: Is there something wrong? Has something happened to her?
CHRISTINE: No, no, she's fine.
(Chris picks up a mannequin head and a tress of dark hair. On a wall above a desk is pinned a newspaper cutting headlined 'RAPE' and also many photos of Brown on the street corner talking to women. She sorts through papers on the desk and eventually finds a classified page in a newspaper where in the 'Apartment Houses' section 'Manhattan' entries are ringed round. Chris rushes out with the newspaper)
LANDLORD: Hey, I don't know if I should let you take that!

[Detectives' Squad room]

CHRISTINE: (into phone) A couple! Are you sure? ...All right.
SAMUELS: (coming in without a tie on) What's going on?!
CHRISTINE: I think Jones is setting herself up as bait for the rapist. She's hoping he's gonna follow her. She's got herself a brown wig and she's trying to rent herself up in an apartment somewhere around 28th and Broadway. We're all trying to investigate them.
SAMUELS: All right. (taking his overcoat off) Take it easy, Cagney. We'll find it.
CHRISTINE: Yeah, well, I should have sent her to Psychiatric Services.
SAMUELS: And ruined her career?
CHRISTINE: I should have done something!
SAMUELS: You did!
CHRISTINE: (into phone) Cagney, Fourteenth.
SARA JONES: (on phone) Chris.
CHRISTINE: (into phone) Sara, where are you?!
SAMUELS: (picking up another detective's phone) Put a trace on three-oh!
CHRISTINE: (into phone) Sara, please just tell me where you are.

[Apartment room/Detectives' Squad room]

(Sara is sitting on the bed in a nightdress)
SARA JONES: It's not important. I just wanted to apologise for the way I left.
CHRISTINE: Are you OK? I know what it is you're doing. And you think it's the only way out, but you're wrong, Sara. You're making the worst mistake possible. You don't have ruin your whole life. I mean, we'll get him.
SARA JONES: I'm very glad I had the chance to work with you.
CHRISTINE: Don't be silly. Now, please tell me where you are?
(Sara hears a noise on the fire escape at the apartment window and rings off)

[Detectives' Squad room]

CHRISTINE: (into phone) Sara!!!
SAMUELS: Not long enough.
CHRISTINE: (to the other detectives) Did you guys get anything?
DETECTIVE #1: Sorry, Cagney, no luck.
DETECTIVE #2: Nothing new.
CHRISTINE: (picking up the newspaper and her coat) Three addresses left. I'm gonna try them all.

[Section car]

(as she races along she picks up the newspaper. 727 West 21st Street is highlighted)

[Manhattan street]

(Chris pulls up outside an apartment block. As she rushes out of the car she hears the police radio)
POLICE RADIO: All units in the vicinity of seven-twenty-seven West 21st Street. Agents report a break in and homicide. All units in the vicinity of seven-twenty-seven West 21st Street. Agents report a break in and homicide.
(having listened to the message she jumps back in the car)

[Outside 727 West 21st Street]

(Chris arrives and rushes to a police line. A gurney is being wheeled in)
CHRISTINE: (showing her shield) Sergeant Cagney, Fourteenth Precinct!

[Apartment room]

(having rushed up the stairs she pushes her way into the room)
CHRISTINE: (pushing a uniformed officer out of the way) Let me through!
(Brown is laying on the floor, marked around and being photographed)
INTERVIEWING DETECTIVE: (to Sara who is still sitting on the bed) Did you have any prior knowledge of or dealings with the deceased, William Brown? Is there any statement you wish to make for the record?

This episode was copy checked against an ITV3 repeat in the UK.

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