Right to Remain Silent
Original Airdate: March 9, 198

[Manhattan street]

MARY BETH: Are you still sore from last night?
CHRISTINE: Only when I sit, stand or walk.
MARY BETH: Oh, you should have seen me my first time on skates.
CHRISTINE: Yeah. (as she steps off the pavement) Ow! I began my career on skates on the wrong foot. (they are negotiating a gridlock. Cars are hooting. As the traffic begins to move, one car hoots a struggling Chris. To the driver) Hey, take it easy, buddy! What a way to spend the morning. Eight million stories in The Naked City and we have to listen to Mrs. Vermaelen again.
(Mary Beth giggles)
MARY BETH: Did you ever see this picture "Thin Ice"? Tyrone Power and Sonja Henie. Oh, she was something, Chris. She had a full skating outfit with tights and sparkle.
CHRISTINE: Yeah, and you all fell in love with her and went out and bought skates.
MARY BETH: Yeah. next morning. Of course, we didn't have ice rinks in my neighbourhood.
CHRISTINE: (to another pedestrian as he cuts between them) Hey! I'm not gonna do it again, Mary Beth.
MARY BETH: Oh, come on, we all had fun. The whole gang of us. How come you didn't bring anybody?
CHRISTINE: I'm not meeting anybody right now.
MARY BETH: Still not speaking to David, huh?
CHRISTINE: Huh!
MARY BETH: How's O'Brien?
CHRISTINE: It's wasteland out there, Mary Beth. Let's forget it, all right?
MARY BETH: How come Ginger didn't show up? I was looking forward to finally meeting Ginger.
CHRISTINE: Maybe there isn't any Ginger. Did you ever think of that?
MARY BETH: Why would Isbecki wanna pretend to have a girlfriend?
CHRISTINE: Why does Esposito talk about his ex-wife all of the time when he's living with his fiancée.
(they hear an agitated voice coming from up in the building they are next to)
MARY BETH: Up there. (they go to the entrance to the building. To Chris as they draw their guns) Ready? (a woman and child come out) We're the cops, Lady! What's happening?
WOMAN: Upstairs. I think on the seventh floor!
CHRISTINE: Where's the back entrance?
WOMAN: There! Right around the corner!
MARY BETH: (to the woman as they go away) Take it slow. Take it easy. Thank you.
(Mary Beth goes into the building)

[Alley]

(Chris hears a shot and goes into the building. Mary Beth goes up the stairs and turns a corner. A girl, Michelle Bennet, is standing over a body)
MARY BETH: Police! Don't move! Put the gun down and back away. (no movement) Put the gun down! ...I said put it down. (cocking her gun) Now.
(Chris comes round a corner beyond the body with her gun raised. Michelle sees her)
CHRISTINE: Freeze!! Drop the gun!! Drop it!
(she puts the gun down. She raises her arms and seems to mouth words. Mary Beth pins her to the wall)
MARY BETH: We are the police. You're under arrest.
(she starts yelling but only making indistinguishable sounds)
CHRISTINE: (examining the body) He's dead.
MARY BETH: You have the right... (more sounds) Do you think she's retarded?
CHRISTINE: I think she's deaf.
(more sounds)

[Detectives' Squad room]

(Michelle is in the holding cell)
ESPOSITO: Geez, Victor, if you needed skating lessons, you could have asked me. We could have started with triangulation.
ISBECKI: Esposito, the day I need lessons from you on anything...
PETRIE: (coming up to Isbecki) Claudia and I were hoping finally to have a chance to meet Ginger.
ISBECKI: Oh, Ginger was really disappointed too. But she couldn't let down her mother. You know how that is?
ESPOSITO: No. How is it?
(Isbecki flees. Petrie and Esposito giggle)

[Ladies room]

MARY BETH: (at the hand basin) One more inch and I'd have downed that kid.
CHRISTINE: But you didn't.
MARY BETH: I would have had to shoot her.
CHRISTINE: And it would have been clean, Mary Beth.
MARY BETH: (snapping round to Chris) I know that! I did the right thing. A person who has a gun in her hand doesn't give the other person a lot of options.
CHRISTINE: Tell me about it! It's real easy to see how young and innocent they look afterwards. ...That's afterwards.
MARY BETH: It was either gonna be her or me.
CHRISTINE: Try and remember that.
MARY BETH: There wasn't anything I could have done different. You give a warning. They get a chance to put their weapon down. They get a choice. I played everything by the rules.
CHRISTINE: It's all you could do.
MARY BETH: Because I didn't know she was deaf, she didn't have a choice.
CHRISTINE: Mary Beth, that is not your...
MARY BETH: (snapping round again) I know that!!
CHRISTINE: We've both been there before. There's no time to play "Twenty Questions". You assess, you decide and you act.
MARY BETH: That's what I did.
CHRISTINE: (quietly) Right.
MARY BETH: Right!

[Detectives' Squad room]

(the duo comes back in. Another detective is talking to a tall blonde)
CHRISTINE: (to the blonde) Hi, Anne. (pointing to the holding cell) What he hell is going on?!
MARY BETH: Who put her in there?!
CHRISTINE: I told you to watch her. She's not difficult to handle!
ISBECKI: What am I, Cagney? Your babysitter?!
MARY BETH: (letting Michelle out) She hasn't done a rain dance yet, Victor. We don't need false arrests here. OK, come on. (Michelle backs away and raises her hand and sits down) Come on out. (Mary Beth takes her by the elbow and guides her out) OK. Come. Sit here. OK? Sit! (Michelle sits down) Yeah. Do you understand me? ...Do you read lips. (Michelle makes writing signs on her palm) Paper?
(Michelle nods. Mary Beth gives her a pad and pen)
CHRISTINE: I thought you said she didn't read.
MARY BETH: She didn't understand what I wrote down for her before. (Michelle writes and hands the pad to Mary Beth) 'Call my daddy'. (handing the pad to Chris) The kids could write better than that in the Third-grade.
CHRISTINE: CHRISTINE: Well, you don't have to be literate to pull a trigger.
(as Chris goes to her desk, Mary Beth makes telephoning gestures)
CHRISTINE: (on the phone, but to Mary Beth) No answer.
SAMUELS: (coming up) You got an interpreter yet?
MARY BETH: Coleman called one, Lieutenant.
SAMUELS: (indicating Michelle) This her?
MARY BETH: Yes sir.
SAMUELS: Are you sure she's deaf?
MARY BETH: I think so, sir.
SAMUELS: (going behind Michelle and raising his arm) Let's see if she understands a crack across the head! (Michelle makes more writing signs) Yeah, I guess she's deaf. Well, what's the matter? Have you never seen a perp fake it before?! (Coleman comes up and gives Michelle a mug) I want you to give her a spoon with her food. ...You know, she's a murder suspect. I want her treated like one!
CHRISTINE: Yes Lieutenant.
SAMUELS: Do think she knows what's going on?.
CHRISTINE: I don't know.
SAMUELS: What about the interpreter?!
COLEMAN: It's gonna take a couple of hours, Lieutenant.
SAMUELS: Did you tell them it's an emergency?!
COLEMAN: I did!
SAMUELS: The Press is gonna love this, you know.
(Samuels goes off)
COLEMAN: Cagney.
CHRISTINE: Yeah?
COLEMAN: David Keeler's on the line.
CHRISTINE: You know what to tell him.
MARY BETH: (looking at what Michelle has written) I don't know when you're gonna go home. (no response) You are under arrest. (pointing to the mug) Is this OK? (making a stirring sign) Do you want some cream or something?

[Precinct House front desk]

(the duo is walking in with Todd Feldberg)
FELDBERG: So, who's next with you two? Mother Goose? Santa Claus?
MARY BETH: We didn't choose this case, Mr. Feldberg.
FELDBERG: (going up the stairs to the interview room) I seem to have pickets all around my office. People will fire obscenities at me as I stalk down the hall.
CHRISTINE: Feldberg, give us a break, all right?
FELDBERG: Now why do I get this feeling that you two were put on this Earth as a trial from God, who for some reason is testing my patience?
CHRISTINE: Maybe it's because you're so biblical, Feldberg. You know, ponderous and outdated.

[Interview room]

MARY BETH: (to the interpreter, Helen Grovner) Ask her 'Why did she go into...' (Michelle knocks on the table and points to herself) Oh, I'm sorry. (Helen Grovner uses sign language) Why did you go into the building?
(Michelle replies in sign language)
HELEN GROVER: 'I went to talk to...' (Helen Grover gets her to repeat the person's name in sign language) 'Freddie...' (more sign language) 'Barrows'.
MARY BETH: Is the name of the man that was shot?
(more sign language. Michelle shakes her head, not understanding. The question is repeated. Michelle nods her head)
HELEN GROVER: 'Yes'.
SAMUELS: (coming in) How's it going?
MARY BETH: We're just getting started, sir.
CHRISTINE: The dead man's name is Freddie Barrows.
SAMUELS: Is she doing all right?
MARY BETH: Yes sir, she seems to be?
SAMUELS: (to Michelle) Do you understand what this is all about?
HELEN GROVER: 'Yes'.
SAMUELS: Where's her lawyer?
CHRISTINE: She didn't want one, Lieutenant.
MARY BETH: No. She says she ...has nothing to hide, sir.
SAMUELS: (to Feldberg) Kosher for you?
FELDBERG: It's up to her. You can't force her to have Counsel present.
SAMUELS: Everything by the book.
MARY BETH: Yes sir.
(Samuels leaves)
CHRISTINE: (to Helen Grover) Would you ask her to ...please, start at the beginning and tell us exactly what happened.
HELEN GROVER: 'I went to talk to Freddie. Because he sell drugs to my kid brother, Bobby. He's only eleven years old'.
MARY BETH: So you bought a gun and went to stop Mr. Barrow?
HELEN GROVER: 'No! I went to talk to him'.
MARY BETH: How could you talk to him, Miss. Bennet?
HELEN GROVER: 'He knows signs'.
CHRISTINE: Oh, come on! Are you gonna tell us, a deaf drug dealer?
HELEN GROVER: 'He knows signs!'.
CHRISTINE: You can't expect us to believe this?
HELEN GROVER: 'Why,...' (Michelle repeats her response more animatedly)'...because you can't sign?. ...Maybe his mother's deaf. ...Maybe his sister's deaf. ...I don't know! I don't care! ...I went to beg for my brother's life. ...I'm telling you the truth! ...I'm not lying! ...Why can't you believe me! ..Is it because I'm deaf?'.
MARY BETH: (switching off the tape recorder) Take a second here and calm down. Do you want a glass of water or something?
HELEN GROVER: 'No'.
MARY BETH: Take a deep breath and ...slow it down.
CHRISTINE: OK? (switching back on the tape recorder) You were telling us about Freddie Barrows.
HELEN GROVER: 'I went to Freddie to ask him to stop, ...and he laughed. ...Started touching me all over. ...I tried to run away. ...But, he grabbed me ...and dragged me into his apartment. ...We were struggling and he ripped my shirt and tried to pull it off. ...And then I saw the gun in his belt! ...I grabbed it and so did he. ...And we struggled. ...And we fell on the floor. ...And the gun went off!'.
CHRISTINE: Who was holding the gun when it was fired?
HELEN GROVER: 'We both were'.
MARY BETH: You both fired the gun?
(Michelle nods)
CHRISTINE: Then what happened?
HELEN GROVER: 'I got free... ...and I noticed you. ...And then I saw you coming ...and then I dropped the gun. (pointing to Mary Beth) I didn't know you were behind me. ...Thank you for not shooting me. (gesturing towards Mary Beth) Thank you!'.

[Precinct House front desk]

(returning from the interview room)
CHRISTINE: Don't you think it's peculiar that this drug dealer knew how to sign?
MARY BETH: Yeah, that's quite a coincidence.
HELEN GROVER: Not necessarily. I'm not supposed to talk about the case. All I'm supposed to do is to translate. But I'll say this. That was just one hell of a lonely kid.
CHRISTINE: If you'll forgive me, you seemed to have a hard time understanding her.
HELEN GROVER: Well, she hasn't had much of a signing education. Or any education for that matter. It's all kind of rudimentary.
MARY BETH: How come she can't read lips?
HELEN GROVER: Well, some deaf people try, and they just can't do it. My parents were both deaf, they were both professionals and they never really mastered it. A lot of the spoken language is invisible on the lips. You have to ask people to repeat it, and you feel stupid. Many people just can't imagine how it is. There's more to listening with your hands than your ears. It's the only solution.
MARY BETH: Thank you very much for your help, Miss. Grovner.
HELEN GROVER: Sure. Look. (giving Mary Beth a card) Call me any time.
MARY BETH: (shaking her hand) Thank you.
CHRISTINE: (taking Helen Grover's proffered hand) Yes. Thanks.

[Detectives' Squad room]

(in the evening Mary Beth comes in with Harvey. She takes him to a quiet corner)
MARY BETH: I can't go with you.
HARVEY: Mary Beth, this is the Tri-State Home Alarm Expo.
MARY BETH: I'm sorry, honey.
HARVEY: It's only one night. And being a contractor, I can swing a deal on a top-rated system.
MARY BETH: Yeah, but you don't want me to help.
HARVEY: Yes, I do, honey. How long is this gonna take? I will wait.
MARY BETH: I'm staying, Harve.
HARVEY: You're staying. What does that mean?
MARY BETH: I'm spending the night here.
HARVEY: (shouting) You're spending the whole night!!!
MARY BETH: Harvey!
HARVEY: Mary Beth, what the hell is going on here?
MARY BETH: I wanna stick around and make sure this kid is OK.
HARVEY: That's really great, Mary Beth, but what about taking care of your own family?
MARY BETH: Don't do this to me.
HARVEY: Remember you've got three kids at home who you are not gonna see tonight because you're feeling guilty.
MARY BETH: (shouting) I'm doing this, Harvey!!
HARVEY: There was no way you could know that she was deaf. She could have killed you too.
MARY BETH: Go ahead. Go to the Expo. Think about the best alarm system, huh? You give the boys and Alice a kiss from me, will ya?
HARVEY: Go home and kiss 'em yourself.
(he walks out. Later Mary Beth is reading her Shakespeare. She closes the book and picks up the book and goes out)

[Detention cell]

MARY BETH: (she is still holding the book. Through the bars to Michelle) What are you doing awake? Do you know what time it is? (pointing at Michelle) You... (putting her head on her hand) are supposed to be sleeping. (as Michelle sits up and puts the blanket round her shoulders) You OK? (hugging herself) What, are you cold? (taking her own cardigan off) Here, take this here. (she tosses it through the bars. Gesturing) Now put that on. ...Go ahead. (Michelle puts it on and gestures 'Thank you') There. I knew a deaf kid once. I mean, not a kid. Really a baby. (putting her hands to her ears) A deaf... (then cradling her arms and rocking them) baby. Jeanie we called her. (touching her hair) Jeanie with the light brown hair. Do you know that song? Oh, gee, what am I talking about? You never even heard music, did ya? ..I'm sorry. (pointing to her self) I... (putting her hands on her chest) am sorry. ...I oughta be home watching my own baby. Anyway, to the Assistant, (making the cradling motion again) who took Jeanie, I said I was gonna watch out for her. ...Follow up. ...Do you know what I mean? But she... (breaking up) she slipped through the crack. (Michelle puts her hands through the bars onto Mary Beth's arm) I'm not gonna let that happen to you. (shaking her head) OK? (Michelle nods) OK. You go to sleep. (putting her head on her hand again) Go to sleep. And I'm gonna sit right here. (sitting down) I'll sit here, and I'll read my book. OK? You go to sleep. (gesturing Michelle back to the bed and putting her hands over her eyes) Go to sleep! Go to sleep.
(Michelle settles down and Mary Beth gives her a wave)

[Detectives' Squad room]

SAMUELS: (coming in with the duo and looking at a file) This Barrows was a real winner.
CHRISTINE: Yeah, he's been away twice for dealing and once for attempted rape.
MARY BETH: Looks like Miss. Bennet did us a favour, Lieutenant.
SAMUELS: What, Barrows being dirty? The rest, who knows?
CHRISTINE: According to the computer he was barely eighteen years old.
SAMUELS: How about Forensics?
MARY BETH: They seem to confirm her story, sir. Both sets of prints were on the gun.
CHRISTINE: We're not sure whose gun it is.
MARY BETH: Well Barrows prints were all over the cartridges. That would indicate ownership.
CHRISTINE: Lieutenant, what do we do with this?
SAMUELS: We sit on it! The DA made it clear. He doesn't wanna charge her unless we've got a case. The Press is all over him.
CHRISTINE: Putting a girl on Death Row for murdering a dealer! It's not exactly a career move.
MARY BETH: Especially when everything points to her being the victim.
SAMUELS: So, go on out there and bring me something. I wanna cut this girl loose or indict her (slapping the file into Mary Beth's hand) and I wanna do it soon.
MARY BETH: Yes sir.

[Metal workshop]

MARY BETH: Has your daughter been in any kind of trouble before, Mr. Bennet?
PAUL BENNET: No. Just the usual things for a kid her age.
CHRISTINE: What are the usual things?
PAUL BENNET: Well, you know, school problems. Nothing really. She's basically a good kid.
CHRISTINE: Your son said that Michelle was not in school.
PAUL BENNET: That's what I mean. Truancy. She didn't go. They made her feel stupid.
MARY BETH: Has she been bothered by anything lately?
PAUL BENNET: I wouldn't know. I never learnt sign language.
MARY BETH: I see.
PAUL BENNET: Look, I lost two jobs. I don't have a lot of free time. Besides her brother, Bobby, picked it up from the social worker who used to come by. The two of them talk.
CHRISTINE: Does Bobby know a man called Freddie Barrows?
PAUL BENNET: Yesterday was the first time I heard the name.
CHRISTINE: Well, Michelle says he's been dealing drugs for your son.
PAUL BENNET: Then why don't you go and check the drug pushers? Instead of throwing deaf kids in jail.
MARY BETH: We are trying to understand what happened here, Mr. Bennet.
CHRISTINE: So your son and your daughter are close. Is that what your saying?
PAUL BENNET: Ever since their Mom went off. It's been kind of like the two of them against the world.
CHRISTINE: Could you give us a list of your daughter's friends?
PAUL BENNET: I can't keep tabs on her every minute! You don't know what it's like with a deaf kid.
MARY BETH: You're not the mailman, you're her father!!
PAUL BENNET: It hasn't been easy for me either! Raising two kids alone!
CHRISTINE: We'll be in touch, Mr. Bennet.
PAUL BENNET: When are you gonna let her go? I need her to look after her brother. (shouting after the duo as they walk out) Since you can't keep the City clean!

[Manhattan street]

MARY BETH: What kind of a man is that? He could have done something. There's programmes for people like her.
CHRISTINE: You know how the bureaucracy works. It takes half the afternoon just to get an appointment.
MARY BETH: For you child you wait.
CHRISTINE: (looking at her watch) Mary Beth, I cannot work late tonight. I have a have to start a cooking session at five-thirty. Is there any place around here that sells wild rice?
MARY BETH: Wild rice! I doubt it. You're cooking!
CHRISTINE: Yeah.
MARY BETH: Did you find some signs of life in the romantic wasteland?
CHRISTINE: Just Tony. I owe him dinner five times over.
MARY BETH: Well he sounds very romantic to me.
CHRISTINE: Tony Stantinopolis?
MARY BETH: Yeah, the man in your building. Right?
CHRISTINE: Mary Beth, (taking her elbow and stopping her) I told you about him.
MARY BETH: Yeah! Tall. Muscles. Funny. What more do you want?
CHRISTINE: Heterosexual!
MARY BETH: Oh!! Well, sometimes a leopard could change his spots. And chicken is a very middle-of-the road dish, Christine.
CHRISTINE: I already told you he was gay six months ago.
MARY BETH: Well, I don't remember you telling me anything of the sort. But maybe you ...you still have hopes then.
CHRISTINE: (walking on) Meanwhile we've gotta tell Samuels we've come up with zilch on Michelle.
MARY BETH: It's not exactly zilch. We know the brother was a user. We know Barrows fed his habit.
CHRISTINE: Yeah. I'd still like to have one witness.

[Newsstand]

NAT WEINREICH: Ah, this neighbourhood's not what it used to be. Drug pushers operated just around the corner. But it didn't bother us and they left you alone.
MARY BETH: Mr. Weinreich, could you describe the man you saw running down the alley when you first heard the gunshot?
NAT WEINREICH: Hey. Will you call me Nat? He was tall and thin.
MARY BETH: Can you remember what he was wearing, sir?
NAT WEINREICH: Nat. Blue jeans, I think and a brown jacket. He was in a hell of a hurry, I'll tell you that.
CHRISTINE: Meaning running?
NAT WEINREICH: That's what I said.
MARY BETH: Nat, do you think you could recognise this man if you saw his picture?
NAT WEINREICH: I think so.
MARY BETH: Well, would you mind coming down the station after work and take a look at some photographs?
CHRISTINE: Like first thing tomorrow morning?
MARY BETH: Or tonight if you could spare the time.
(Chris glares at Mary Beth)
NAT WEINREICH: OK.
MARY BETH: Thank you. (as Chris goes to say something to Mary Beth) There's no reason for that girl to spend another night in jail if she doesn't have to. Come on. It's almost five o'clock. You go home and I'll take care of it.
CHRISTINE: No, it's all right.
MARY BETH: It doesn't take two of us to open a book. Go ahead. I'll sign you out. Go and get wild rice.
CHRISTINE: All right. Thanks.
NAT WEINREICH: Whoa.
(he then says something in Hebrew)
CHRISTINE: I beg you pardon.
NAT WEINREICH: (raising his finger) There's one behind but first you can't dance at the wedding.
(Chris raises her finger to Nat and the duo then raises fingers to each other)

[Detectives' Squad room]

(Nat and Coleman are sitting looking at a book of mug shots. They converse in Hebrew. Mary Beth is standing overlooking them)
COLEMAN: (to Mary Beth) You know, 'What was, was'. That kind of stuff.
ISBECKI: (grabbing Mary Beth's elbow) You got a minute?
MARY BETH: Can't it wait until tomorrow. I'm kind of busy here.
ISBECKI: It's personal.
MARY BETH: What is it?
ISBECKI: You know I really respect your opinions.
MARY BETH: Today, Victor.
ISBECKI: What kind of woman do you think people see me with?
MARY BETH: Excuse me?
ISBECKI: Well, when you think of me going out. What does she look like?
MARY BETH: To tell you the truth I haven't given it a lot of thought lately.
ISBECKI: (stopping her as she tries to leave him) It's important to me.
MARY BETH: Er... Attractive. ...Amply endowed. ...Uncomplicated.
ISBECKI: An airhead with a great body?
MARY BETH: That's exactly what I meant.
ISBECKI: Thanks a lot.
MARY BETH: Sure. Any time.
(she goes back to Nat and Coleman)
COLEMAN: Found him.
MARY BETH: Larry Wilson, aka Quentin Bushey.
NAT WEINREICH: That's the man I saw running down the alley! A face like his I couldn't forget.

[Detention cell]

MARY BETH: How ya doing, kid? (Michelle doesn't see or hear her. A female uniformed officer opens the cell and lets Mary Beth in) Hi ya. (Michelle is bouncing a ball) Stoopball, huh? My son, Michael, used to play stoopball all the time when we had a stoop. I would too a thousand years ago. (Michelle circles her lips with her fingers, indicates her throat and points towards Mary Beth) Yeah. ...Yeah, I wish I understood you too. (she ruffles Michelle's hair who then straightens it. As Mary Beth pulls up a stool and sits down opposite Michelle, she throws the ball against the wall behind Mary Beth, who ducks) Are you warm enough?
HELEN GROVNER: (coming in) Sergeant Lacey.
MARY BETH: Yeah. Detective Lacey. How ya doing, Mrs. Grovner.? Thanks for coming down.
HELEN GROVNER: It's my job.
(the officer lets her into the cell)
MARY BETH: I have a couple of questions I wanna ask her. (Helen Grovner signs the question as Mary Beth asks it) Michelle, was anybody else around when Freddie Barrows attacked you?
HELEN GROVNER: 'No. No one'.
MARY BETH: Are you positive?
HELEN GROVNER: 'I just told her 'No'. Doesn't she believe me?'.
MARY BETH: (as Michelle signs) What's she saying?
HELEN GROVNER: 'When can I go home? When? I'm worried about my brother. Who's gonna take care of him'.
MARY BETH: Oh, I already called Social Services and somebody's gonna check in on him. Now Michelle (going and sitting beside Michelle and opening the mug shot book) did you ever see this man? This man here.

[Chris's loft]

CHRISTINE: This is family.
TONY STANTINOPOLIS: I'm glad someone's clearing away the cute from the harmless. They get on my nerves.
CHRISTINE: Me too.
TONY STANTINOPOLIS: I mean, you can't tell a book by its sales pitch. Remember you thought I was Rhett Butler.
CHRISTINE: Dinner will be in twenty minutes. Do you wanna another drink? Scotch?
TONY STANTINOPOLIS: I'm fine, thanks. What is dinner anyway?
CHRISTINE: It's er, wild rice, chicken breasts a la Muriel. Otherwise known as Mary Beth's rice and chicken. With a bottle of wine thrown in.
TONY STANTINOPOLIS: How come someone as beautiful as you turned out to be a woman?
CHRISTINE: Luck of the draw! (there is a knock at the door) Are you expecting somebody?
TONY STANTINOPOLIS: First time I've had your cooking, so I ordered ...a backup pizza.
CHRISTINE: That's gotta be a joke. Yeah, who is it?
DAVID KEELER [OC]: This is David!
CHRISTINE: Oh, shit. David! Go away, please.
DAVID KEELER [OC]: Chris, I have to talk to you.
(Chris opens the door. David flops round the doorpost)
CHRISTINE: Why don't you leave me alone?
DAVID KEELER: I didn't think you'd hear me out.
CHRISTINE: No!! (trying to close the door as he tries to force his way in) David!!!
(Chris rushes and locks herself in the bathroom. David staggers in)
CHRISTINE [OC]: I'm not coming out until you've gone!
DAVID KEELER: Open this door ...right now!!
CHRISTINE [OC]: No! Go away!
DAVID KEELER: (he rattles the door) Chris! (he turns away and then sees Tony. He shouts to Chris) What's going on here?
TONY STANTINOPOLIS: We're having dinner.
DAVID KEELER: Yeah. Who the hell are you?
TONY STANTINOPOLIS: A friend.
DAVID KEELER: Oh. Great. Non-committal. (through the door) That's what I like in a man. (knocking) Chris!!
TONY STANTINOPOLIS: I think she'd like you to leave.
DAVID KEELER: Really? Well, I'd like to hear that from her.
CHRISTINE [OC]: Go a way!
DAVID KEELER: I don't believe I caught your name.
TONY STANTINOPOLIS: Tony. ...Stantinopolis.
DAVID KEELER: Let me guess. You're a purser from a cruise ship.
TONY STANTINOPOLIS: I think you'd better go home and sleep it off.
DAVID KEELER: (he claps once. The Corvette dashboard lights up) It used to be a car, you know.
TONY STANTINOPOLIS: (he claps twice. The light goes out) I heard that. Sixty-eight Corvette.
DAVID KEELER: I gave her that lock.
CHRISTINE [OC]: I paid for it!!!
DAVID KEELER: I helped you pick it out! Why are you cooking him dinner, anyway?
TONY STANTINOPOLIS: It isn't what you think it is.
DAVID KEELER: What ever it is. (Chris has come out of the bathroom) You can't hold a candle to what Chris and I have. Damn it, I love that woman! How about you?
TONY STANTINOPOLIS: It doesn't apply.
DAVID KEELER: What is she? Some kind of quickie? Sandwiched between two of your stewardesses.
CHRISTINE: David, we'll talk later. Maybe you could go home now. OK?
DAVID KEELER: Go ahead. (finishing Chris's Scotch) Have your dinner and Popadopolis. (sitting down) I'm not going anywhere.
TONY STANTINOPOLIS: (taking David's arm) I think you are.
CHRISTINE: Tony! Don't!
(Tony picks David up under the arms)
DAVID KEELER: Hey, I was on the high school wrestling team.
TONY STANTINOPOLIS: (as they struggle) So was I!
CHRISTINE: Would you two stop it!!
DAVID KEELER: (still struggling) A team. One fifty-five! (breaking free and hitting Tony in the face with his swinging arm) Won eight.
CHRISTINE: (stepping between them) Cut it out!!!
TONY STANTINOPOLIS: (to David) If you wanna do this, we can do this!
DAVID KEELER: (as Chris is sandwiched between the two of them) It was a mistake. I'm sorry.
CHRISTINE: David, go home.
DAVID KEELER: (his head sinking on her shoulder) Chris, when can I see you?.
CHRISTINE: David, please leave.
(she sighs resignedly)

[Detectives' Squad room]

MARY BETH: Morning.
CHRISTINE: Morning. You're up early.
MARY BETH: How was your big dinner with Tony?
CHRISTINE: Did you sleep here again last night?
MARY BETH: How was the wild rice?
CHRISTINE: Wilder than you can imagine. Seems to me if you sleep here much longer your clothes are gonna walk home all by themselves.
MARY BETH: We got an ID from Mr. Weinreich last night. (giving the file to Chris) Larry Wilson. I pulled his file.
CHRISTINE: Oh, good. Huh. Interesting history. He's been away for ripping off drug dealers. A couple of shifts for burglary.
MARY BETH: Nineteen related offences.
CHRISTINE: Any connection with the girl?
MARY BETH: I showed her his picture. She never saw him before.
CHRISTINE: Are you sure?
MARY BETH: With his record he could have been hoisting somebody's TV when he heard the shot.
SAMUELS: (coming up) I finally got the ME's report.
MARY BETH: Sir?
SAMUELS: The girl's story checks out. There were fibres from her clothing underneath his fingernails and powder burns on Barrows' hands too. So (giving Mary Beth the report) he could have been the one with the gun.
MARY BETH: I knew it.
SAMUELS: The DA does not want to charge. She's free to go.
CHRISTINE: What about Wilson?
SAMUELS: Who's that?
CHRISTINE: Some possible witness. A high street perp who was ID'ed at the scene.
SAMUELS: Forget about him.
CHRISTINE: I think we ought to keep looking for him.
MARY BETH: It's two separate things, Sergeant.
CHRISTINE: I think you're a little bit involved, ...Detective.
SAMUELS: The bottom line is that the Press is breathing down the DA's neck and he wants to cut the girl loose!
(Isbecki comes in)
PETRIE: You were supposed to be at Young's at eight!
ISBECKI: Sorry, Marcus, we got hung up.
PETRIE: Hung up?!! Do realise what it takes to hold the table at Young's place for an hour and a half with twenty people waiting?
ISBECKI: Look, I called your house. I left a message.
PETRIE: With the babysitter, Victor! She told us when we got home! Now we went to a lot of trouble to make this date and you stood us up!
ISBECKI: Look, it was Ginger's grandmother, OK? She was backing in and all of a sudden a disc went out and we had to get her to an Emergency Room. We were up all night with the doctors. All night!!
ESPOSITO: And I had a date with Princess Stéphanie.
PETRIE: Maybe we should just forget about getting together.

[Precinct House front desk]

MARY BETH: (rushing in from the Squad room) Yes, Sergeant.
COLEMAN: : Mrs. Grovner says the girl wants to say goodbye to you.
MARY BETH: You all set to go?
(Michelle smiles and signs)
HELEN GROVNER: 'Thank you!'.
MARY BETH: Sometime... Sometimes the system works.
HELEN GROVNER: (Michelle, pointing at Mary Beth) 'You ...believed me'.
(Mary Beth nods and smiles. Michelle takes Mary Beth's hands. Mary Beth gives Michelle a kiss and goes back into the Squad room)

[Detectives' Squad room]

(a smart lady with ginger hair comes up)
GINGER: You must be Marcus.
PETRIE: Yes, I am. Have we met?
GINGER: No, but I've heard so much about you and Claudia. I feel like we're old friends.
PETRIE: (getting up and extending his hand) And you are?
GINGER: Ginger Cohen.
(Esposito has just come up and opens his mouth in surprise)
PETRIE: Ginger... Of course! Ginger Cohen. Manny Esposito, Ginger Cohen.
ESPOSITO: (shaking her hand) Pleasure to meet you!
PETRIE: (offering her his chair) Oh. ...Please. ...Sit down. I am so glad to be finally having a chance to meet you. ...Oh, Victor should be back in a minute.
ESPOSITO: Right, he's... He's up top.
GINGER: How's Claudia feeling?
PETRIE: She's fine.
GINGER: Oh, I'm glad to hear it. Pneumonia's nothing to fool around with.
PETRIE: You're right. Absolutely!
ESPOSITO: Yeah!!
GINGER: Now maybe we can get together.
PETRIE: Claudia and I are looking forward to getting together.
ESPOSITO: (to Petrie) Ask her how her grandmother is. (as Esposito moves off he passes Isbecki coming back) In to the Valley of Death, Victor.
ISBECKI: (to Ginger) Hi.
(Isbecki and Ginger smile at one another self-consciously)
PETRIE: Oh, excuse me.
ISBECKI: (extending his hand to Ginger) Good to see you again.
GINGER: I was in the neighbourhood.
ISBECKI: Look, you know, we have a lot of work to do. Maybe we can ...see each other later and have some dinner.
GINGER: Victor.
(she nods to the door and walks out. Victor follows. Petrie pulls Esposito back as he goes to follow them)

[Precinct House front desk]

ISBECKI: I know what you're thinking and it's not really what it looks like.
GINGER: (putting her fingers on Victor's lips) Quiet. I talk, you listen. I'm a little hurt. Not a lot, because I was expecting something like this. You're not a very good liar. Maybe that's one of the reasons I like you. That and... (he starts to finger the lapel of her Jacket) Not now, Victor! Do you think it was easy for me when I introduced you to my associates and friends at the Faculty party?
ISBECKI: It wasn't?
GINGER: For your information Mao Tse Tung was not famous for his pig accent. The point is ...I stuck with you because I wanted to be with you. That was enough. If you do not wanna be with me, let's end it now, and I'm going. (no reply) Goodbye, Victor.
(as she goes to leave he stops her)
ISBECKI: I've never been able to ...really ...talk to anyone I slept with before. ...And I'd really like to introduce you to my friends.
(he takes her hand and they go back in)

[Ladies room]

CHRISTINE: Samuels is gonna charge me double on this.
MARY BETH: Do know there's a Peeping Tom on night shift?
CHRISTINE: Don't tell me. Let me guess. Moosoki.
MARY BETH: Every time I went to the shower he went back to his desk for binoculars. I searched that room from top to bottom and couldn't find the peephole.
CHRISTINE: Well, at least tonight you can to sleep in your own bed.
MARY BETH: Yeah, if Harve'll have me. A day like today, it feels good to be an officer of the law.
CHRISTINE: Yeah, I'd still feel better if we'd can get a collar out of this. For Wilson was running from something and I'd like to know what.
MARY BETH: I told you, the night team already checked his apartment.
CHRISTINE: So maybe he works nights. Maybe he was seeing a double feature on 42nd Street. Shacking up with his girlfriend. Let's just try again.
MARY BETH: What do you think we're gonna get out of it? Some stupid burglary charge?
CHRISTINE: I don't know. We could shake him, see what falls out. Indulge me, Detective.
(Mary Beth does a mock salute)

[Corridor outside of Larry Wilson's apartment]

CHRISTINE: (knocking) Mr. Wilson, it's the police! Open up.
(she knocks again. She tries the door and finds it open. They draw their guns and push the door open. Larry Wilson is spread-eagled on the bed)
MARY BETH: (into phone) Operator, this is Detective Lacey, Fourteenth Squad. (Chris has checked him and closes his eyes) I'd like you to despatch an ambulance to nine-one-three, 1st Street. Apartment five-four. And put a Rec on it.
CHRISTINE: It could have been her.
MARY BETH: Anybody could have done it, Chris. She's only been on the street four hours.
CHRISTINE: Right. His body's not even stiff yet.
MARY BETH: I'll call Forensics.
CHRISTINE: Can't be a coincidence.

[Metal workshop]

PAUL BENNET: I dropped her off at home and came back to work.
MARY BETH: It's important that we find her, sir.
PAUL BENNET: If you wanted her that bad, why the hell did you let her go?
CHRISTINE: Yesterday you wanted her out, or don't you remember?
MARY BETH: There has been another development in the case, sir.
PAUL BENNET: Right. That's what you guys always say when you wanna start hounding Michelle again.
CHRISTINE: Oh, this hasn't happened before?
PAUL BENNET: Yes, whenever the cops need a patsy to blame. The poor kid can't even speak to defend herself. You guys make me sick.
CHRISTINE: What kinds of things has she been blamed for?
PAUL BENNET: Hey, why don't you go and give somebody a ticket, huh? Instead of hounding my poor little girl.
MARY BETH: She asked you a question, Mr. Bennet.
PAUL BENNET: Petty stuff. The police never charged her with anything. You can check it out.
CHRISTINE: By protecting her you're not helping her, Bennet.
PAUL BENNET: I don't believe this. What is she? On some kind of a list or something?
MARY BETH: It's a homicide investigation, Mr. Bennet. If you are protecting Michelle, you're in as much trouble as she is.

[Squad car]

(the duo is on stakeout outside the Bennets' apartment block. Mary Beth comes back to the car)
MARY BETH: Coffee?
CHRISTINE: I've already had three cups.
MARY BETH: I had to buy something. They said the bathroom was only for customers.
CHRISTINE: We really did get caught with our pants down on this one, didn't we?
MARY BETH: If I remember correctly you had her picked from the start.
CHRISTINE: Not true. I was just more suspicious, that's all. Hell, I'm suspicious of everybody. Mary Beth, you've gotta stop beating yourself up about this. There's no reason for you to feel guilty.
MARY BETH: How about Larry Wilson's murder?
CHRISTINE: Well, I certainly care more about you than I do about some dead hustler.
MARY BETH: I screwed up, Chris.
CHRISTINE: Not just you, Mary Beth, we both screwed up.
MARY BETH: Chris!
CHRISTINE: What?
MARY BETH: The light went on in her apartment.

[Corridor outside the Bennets' apartment]

(Michelle comes out of the door carrying a bag. Mary Beth grabs her and slams her against the wall. She fleeces her and comes up with a gun which she hands to Chris)
CHRISTINE: Found it on the sidewalk, no doubt.
(Mary Beth cuffs her and turns her around. Michelle shakes her head. Mary Beth holds a card up in front of Michelle)
MARY BETH: You have the right to remain silent.

[Detention cell]

MARY BETH: (Michelle is shaking her head) Don't tell me about your brother because it's nothing to do with your brother. (Helen Grovner is there signing) You went with Wilson to rob Freddie Barrows.
HELEN GROVNER: 'I love my brother. I went to help him'.
CHRISTINE: The Bambi routine doesn't work anymore.
(Todd Feldman, the DA, is there)
MARY BETH: Larry Wilson, specialised in drugs and arms dealing. Now did he recruit you or did you find him?
HELEN GROVNER: 'I don't know anybody named Wilson'.
MARY BETH: Why did you kill him, Michelle? Did he decide to keep all the money for himself?
HELEN GROVNER: 'No! I don't steal. I don't kill'.
CHRISTINE: Or maybe you were afraid that sooner or later we'd bust Wilson and he'd sell you out.
HELEN GROVNER: 'I swear I don't know anybody named Wilson'.
CHRISTINE: Well, your fingerprints were found all over his apartment.
HELEN GROVNER: 'Why are you doing this to me? ...You think I'm daft because I am deaf'.
CHRISTINE: Oh, so you're deaf! I've just decided, we've all got problems. How about the truth, Michelle?!
HELEN GROVNER: 'Do you think I'm a criminal? I'm a kid'.
CHRISTINE: Yeah, you're a kid who killed two people.
HELEN GROVNER: 'Wilson made me do it. ...He said he'd kill me if I didn't. ...I was scared. ...I went to bed. ...But he refused to listen to me'.
(Mary Beth comes and holds Michelle's head between in two hands)
MARY BETH: Don't say it, girlie.
(Michelle leaps to her feet and signs)
HELEN GROVNER: 'I want a lawyer'.
CHRISTINE: (almost under her breath) I guess you do.

[Locker room]

MARY BETH: I should have caught it.
CHRISTINE: She fooled a lot of people.
MARY BETH: That's talking, honest to God. But somebody should have been there for that girl. ...When she was younger, I mean.
CHRISTINE: It was too late for her a long time ago.
MARY BETH: I'm losing my edge. Not picking up on things.
CHRISTINE: Mary Beth, the kid was a great con.
MARY BETH: I screwed up, Christine. (starting to do her eyes) Maybe I'm spreading it too thin. It's a bit strange for me on the street now. Alice and the boys need me more of me than they're getting. And Harvey. Look at me. That's a new shade of eye shadow. Chocolate meringue. How to mess this up.
CHRISTINE: Oh, let me see it. You need a little more shading on that side.
MARY BETH: Er, now I look like a racoon.
CHRISTINE: Do you have a highlighter?
MARY BETH: No.
CHRISTINE: I do. Pink Frost. Like candlelight and roses.
CHRISTINE: (taking a tissue and removing some eye shadow) Here. Let me fix it.
MARY BETH: I've been here all week. Harvey had to go to the Alarm Show all by himself. He had to pick one out all by himself. (getting tearful) I tried to call him today. But the foreman said he couldn't come to the phone. ...He didn't want to.
CHRISTINE: (finishing the eyes) Here, let's see. You see that's much better. Just a little more ...under the brow.
MARY BETH: Wait until he finds out the kid turned out to be a double-murderer. ..I'm never gonna hear the end of this one.
CHRISTINE: Let's see. ...Great eyes!! ...Not to mention the cheekbone.

<Back to the episode listing

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