(the duo arrive outside the Huntington Hotel just off Broadway)
[Outside room 306]
MARY BETH: Thank you so much for your cooperation, Mr. Ramirez. If we can be of any assistance to you...
(as Mary Beth tries to hand him a card, Mr. Ramirez closes the door on the duo)
MARY BETH: ...please don't hesitate to call.
CHRISTINE: (to children are doing graffiti on the corridor walls) Excuse me. (to Mary Beth) A picture of poverty on our doorstep.
MARY BETH: Hey, only five more floors to go to go.
CHRISTINE: (as they go up to another floor) This one is not my fault, Mary Beth.
MARY BETH: Understood. You don't decide.
CHRISTINE: If you wanna get angry, get angry with Samuels.
MARY BETH: I'm not angry with anybody.
CHRISTINE: If they'd put me in charge instead, we wouldn't have this sort of job. But, oh no, he had to seek out some special assignment and we end up with Mr. Fluffy kid.
MARY BETH: And you have shown enormous restraint, Christine.
CHRISTINE: Yes, I think so. Thornton is the only lieutenant in history who would send his second whip on unfounded nine-eleven calls.
MARY BETH: Maybe he used his finger.
CHRISTINE: And we know which finger.
[Outside another room]
(Mary Beth knocks.)
FRANK DECKMAN: (coming up) Ladies! Hi. Frank Deckman, building manager. Sorry I wasn't around when you arrived.
CHRISTINE: Sergeant Cagney.
MARY BETH: I'm Detective Lacey.
FRANK DECKMAN: (seeing the shields) Oh, yes. The security guy told me that you was up here.
CHRISTINE: Is that the drunk with the stick?
FRANK DECKMAN: (he nods) I got a complaint on the plumbing upstairs.
(he sticks a cigar back in his mouth)
MARY BETH: According to your clientèle, in the last few months you have had complaints, including an elevator crash, a furnace fire, three stabbings and two drug overdoses, Mr. Deckman.
CHRISTINE: When we asked for a dead body, there wasn't one?
FRANK DECKMAN: You didn't have a body?
CHRISTINE: No, not a report of a body, Mr. Deckman. Actually it was seven reports. It means that someone in this building is keeping nine-one-one ringing off the hook with false alarms.
FRANK DECKMAN: Now what kind of person would do something like that?
CHRISTINE: That's what brings us to your little corner of Paradise.
MARY BETH: Our tapes indicate that the voice on the calls is the same. It's a juvenile, probably male.
FRANK DECKMAN: It's the Welfare!! They don't care who they send over here! We get the ones, like Gorvel up in five-oh-three. The mothers just out of the joint, the kids are running wild... (Chris jumps as leaking water from a long time hole in the ceiling goes down her neck)
FRANK DECKMAN: (looking up) Oh, geeze.
CHRISTINE: What is that?!!!
FRANK DECKMAN: That? I'm sorry, ladies, I gotta go.
CHRISTINE: (taking her hat off) Tell me it isn't a toilet.
MARY BETH: (looking at the leak) Nah. I don't suppose we should try the elevator? (Chris stalks off) I guess not.
[Outside room 503]
LINDA GORVEL: I don't even have a phone. I don't know anything about any phone calls.
CHRISTINE: (as she tries to close the door) Mrs. Gorvel, there's a payphone in the lobby. And the manager of your building seems to think that you leave your children unsupervised.
LINDA GORVEL: (throwing the door wide open) They're right here!!! You're looking right at 'em!
(a very young boy is sitting on the floor chewing the ear of a teddy bear. An older boy is drawing on a wall)
MARY BETH: Ma'am, it's possible if you're not home...
LINDA GORVEL: (shouting to the older boy) If it's you, damn you!!! Can't keep out of trouble for five minutes!!
HENRY GORVEL: I didn't do nothing.
MARY BETH: We'd like to talk with your son, ma'am.
LINDA GORVEL: Henry, get over here.
[Inside room 503]
HENRY GORVEL: If I wanted to play Dime and Drop, I wouldn't waste it on cops.
MARY BETH: That isn't what we're asking you, Henry.
HENRY GORVEL: I didn't make any lousy phone calls lately. I've got better things to do.
(he goes and sits in front of a TV)
CHRISTINE: If you should see anything suspicious (handing the mother the phone number) give us a call.
(Linda Gorvel throws the piece of paper with the phone number on the floor when the duo have gone)
MARY BETH: (outside the building) I'll be scraping this place off my boots for a week.
CHRISTINE: Now, now, Mary Beth, there but for the grace of God...
(there is the sound of a window slamming from overhead and a brick drops on the pavement just behind them)
CHRISTINE: (looking up and yelling) What the hell is that?!!!
MARY BETH: (pulling Chris back as she runs towards the entrance) Christine! Do you really wanna go back inside there? Huh? There's a thousand people in this hotel. We really can't arrest them all.
CHRISTINE: (looking up again) I'm telling ya, if that Gorvel kid dials nine-one-one again, I'll have him for throwing bricks at cops!!! Little bastard!!!
MARY BETH: Come on.
(Chris looks up again, turns and finds garbage bags stacked up against the passenger door of the Squad car)
CHRISTINE: What is this?!!!
MARY BETH: (beckoning her to come round to the driver's door) Come on. (Chris throws her hat on top of the bags) In the car, Chris.
MARY BETH: One hour and nineteen minutes from now I will be in Paris in another century.
CHRISTINE: Ah, "Les Miserables".
MARY BETH: Finally, we waited long enough.
CHRISTINE: (with her mail) I wonder what purpose junk mail has in the grand scheme of things.
MARY BETH: What is all that?
CHRISTINE: An Alcoholics Anonymous brochure. Go to a meeting. Talk to my sponsor. Read the big book. Eat, sleep and do not drink, no matter what.
MARY BETH: Hard to say. If you don't open it right away, you'll miss something.
CHRISTINE: Like what?
MARY BETH: Letter from an old flame. Postcard from Tahiti. I don't know, something exciting.
CHRISTINE: Mary Beth, when was the last time you ever got a postcard from Tahiti?
MARY BETH: June seventeen, nineteen sixty-two.
CHRISTINE: I had to ask.
MARY BETH: That was when my mother's second cousin, Roy, when he was in the Merchant Marine. And I used to get postcards from all over the world. And I couldn't wait to get home to check out the mailbox. You know, maybe get a parcel. The mail always seemed dramatic, somehow. It hasn't changed. (Chris seems absorbed by an item of mail) Christine?
MARY BETH: What is it?
CHRISTINE: It's er, a bill from the warehouse where Charlie's stuff is stored.
MARY BETH: Oh.
CHRISTINE: Seems like introductory offer has expired. The low, low price for the nine-by-nine space in the most protected place in Brooklyn has just tripled.
(Mary Beth whistles)
CHRISTINE: Yeah. I'll probably go clean it out. ...Or torch it.
MARY BETH: Or maybe you'd wanna save something for his grandchildren. (Chris gives Mary Beth a stare) What do you think? Is there anything there you wanna keep?
CHRISTINE: I don't even know what's there, Mary Beth. It all looks the same. I'll chuck it away. One minute it was Charlie's apartment, the next minute it was empty.
[Precinct House front desk]
(as the duo come in the door Mary Beth knocks a uniformed officer at the end of a queue at the desk)
MARY BETH: Sorry.
CHRISTINE: Excuse me. Thank you.
MARY BETH: (to the bag lady) Hi ya, Josie.
COLEMAN: Hey, Cagney.
CHRISTINE: Yes, Coleman. (calling out towards the Squad room and office) False phone calls and misdemeanours are still on the books!
COLEMAN: Say, what I'm trying to tell you is...
CHRISTINE: No jokes about nine-eleven calls. Just give me a minute.
COLEMAN: No, jokes, I'm...
CHRISTINE: (snatching a message from him) Thank you, Coleman.
MARY BETH: (taking her message) Thank you.
CHRISTINE: (going to the candy machine) I'm trying to be civil despite his cheap jokes in this precinct.
MARY BETH: Michael done a B plus on his Social Studies.
CHRISTINE: Brains like a computer. Playing around with all his diodes.
MARY BETH: Michael?
CHRISTINE: Thornton!! Whereas Samuels, good old mister 'Hey, I'm in your corner, Cagney!', he just drop kicks into the deep field and marches out of the stadium! That I will not forgive.
COLEMAN: (coming out from behind the desk) Cagney!
CHRISTINE: What?! Lieutenant ...Samuels would like to see you in ...his office.
SAMUELS: What do you think. Hardly recognise the old man, huh? I'm telling you Cagney, it is amazing what you can do with a little healthy eating, swimming and...
SAMUELS: Oh, yeah! Good non-stressful aerobic workout for the cardiovascular system.
CHRISTINE: That was your special assignment?! Swimming.
SAMUELS: (sitting down beside Chris) Yeah. To tell you the truth, it was a flare up. You know, in the old ticker. Angina. But the best thing that ever could have happened to me.
CHRISTINE: Knelman said that you were on some sort of secret investigation.
SAMUELS: I didn't want anybody to worry. Cagney. Come on, I waited for you, to talk to you. Boss to boss. I didn't want to talk (pointing towards the Squad room. There is a knock at the door) to anybody out there.
MARY BETH: (coming in) Pardon me. I'm sorry to interrupt. Welcome back, sir. (Samuels gets up and goes towards her) Oh, you look sensational!
SAMUELS: Oh, thank you Lacey.
CHRISTINE: He's been swimming.
MARY BETH: You look so healthy, sir, and thin and young. Much younger. This special assignment agrees with you, huh?
SAMUELS: Oh yeah!
MARY BETH: Are you back with us now, sir?
SAMUELS: Oh yeah! Back in the saddle.
MARY BETH: Well, you're a sight for sore eyes, I can say, sir.
CHRISTINE: (getting up) Detective, don't we have some pressing police business to attend to?
MARY BETH: It's another nine-eleven from the Huntington Hotel.
CHRISTINE: Ah. Well. (taking the call from Mary Beth) Let's see. Well, Lieutenant, we must go.
MARY BETH: Uniforms have been despatched.
CHRISTINE: Mary Beth, come on, this is our case.
MARY BETH: I thought you said that you didn't want...
CHRISTINE: Unfounded nine-eleven calls, Lieutenant.
SAMUELS: Ah ha.
CHRISTINE: Top priority. (to Samuels) We'll chat later.
MARY BETH: (as they leave) I'm looking forward to it, sir.
[Detectives' Squad room]
MARY BETH: (as Chris strides across the room and grabs her coat) Christine!
CHRISTINE: Who does he think he is? Thinks he can walk back in here just like old times.
MARY BETH: Why are you dragging me back to this hotel?
CHRISTINE: Because it's better than listening to you and Samuels. You act like he's the Wells Fargo riding into town. You know too well that...
MARY BETH: I'm happy he's back.
CHRISTINE: He didn't go on any special assignment, Mary Beth. He went to a health farm for his heart.
MARY BETH: His heart? Is he all right?
CHRISTINE: He didn't die, did he?!
MARY BETH: (following Chris) Christine!!
[Huntington Hotel games room]
(Henry Gorvel is just taking a shot at the pool table. Three other youths see the duo and leave. Mary Beth walks up and takes the ball he is about to hit)
CHRISTINE: Where's the man with the gun?
HENRY GORVEL: How do I know?
MARY BETH: So why did you make the phone call, Henry?
HENRY GORVEL: Why would I call you? When I've got a quarter, I call my bookie.
MARY BETH: Smart kid, huh?
CHRISTINE: Why aren't you in school?
HENRY GORVEL: I'm sick.
MARY BETH: Where's you mother?
HENRY GORVEL: Having her hair done. What do you think?
CHRISTINE: You've been making those calls kid. And then playing with loose bricks.
MARY BETH: (spotting heavy bruising on his arm as he lines up another shot) What happened to your arm?
HENRY GORVEL: Maybe a brick fell on it.
MARY BETH: Did it fall on your neck there too? (he goes to take the shot) Henry, if anybody's hurting you, and you want to talk to us about it.
HENRY GORVEL: What would you do?
(Mary Beth smiles)
CHRISTINE: I think the three-ball in the corner pocket. (he takes the shot) Hang on to your quarters.
CHRISTINE: I've been a little rocky today. It started at ten o'clock this morning with this woman ..drunk, in my face saying 'What's your problem?'. I wanted to say to her, 'I had the same problem as you, lady, except that I haven't had a drink for six months'. ...But what good does it do, eh? ...So I felt so angry, you know. ...And I'm angry at my boss. ...And I was angry ...at this roomful of stuff that my Dad left behind. ...And now I have to go through all of it. ...And I don't want any of it. I don't wanna see it. I don't wanna touch it. I don't wanna any of it in my house! ...And I feel scared.
(Chris is near to tears)
(Chris comes in. There are cardboard boxes and the furniture there. In one box she tentatively touches what looks like a bottle of Champagne)
(they are at "Les Miserables". It is the interval)
HARVEY: Bud a boom, bud a boom, bud a boom, boom, boom. The beat of the French Revolution, Mary Beth, that got the people back on the streets again. Bud a boom, Bud a boom, bud a boom, boom, boom. It felt that were marching right at ya! But no one is moving.
MARY BETH: Ah ha.
HARVEY: Bud a boom, bud a boom, bud a boom, boom, boom. It never changes, Mary Beth. It's that same cycle of poverty perpetuated by people who believe that Ronald Reagan can balance the budget without taxing the rich. And you take a look at the stock market.
MARY BETH: Honey, this is supposed to be fun.
HARVEY: Well, it is fun. I'm having fun.
MARY BETH: Well, couldn't we have fun without the President? Now just enjoy the show.
HARVEY: Art is politics, Mary Beth. Those people up on the stage are starving because the government wouldn't back down either!
MARY BETH: Don't you think they sing nicely?
HARVEY: Oh, I love it. The lights, the music. It's Broadway, babe, but it doesn't change the facts.
MARY BETH: Do you wanna a fact, Harve. Our Welfare hotel from today is right around the corner.
HARVEY: Honey, that is my whole point! No one will spend the money to build low-income housing so the City spends thousands of dollars a month, per person, to keep them in some dingy room in a building that ought to be condemned! It's only the slumlords getting rich!
MARY BETH: (moving away) Honey.
HARVEY: As long as there is an underclass, Mary Beth, there will be another barricade. Bud a boom, bud a boom, bud a boom, boom, boom.
MARY BETH: What about Michael and Alice?
HARVEY: What about 'em?
MARY BETH: What if something happened to us?
HARVEY: Who? Both of us at the same time?
MARY BETH: Muriel is not getting any younger, Harve.
HARVEY: You mean we get hit by lightning on a hang glider built for two?
MARY BETH: Honey.
HARVEY: (beginning to sing and dance with her) 'You'll look sweet upon the seat of...'
MARY BETH: Something could happen.
HARVEY: Well no problem. We'll leave them to science. It'll be a good cause. Or we will them to the blonde in Soho who hasn't shared a room since college. It'll be like Diane Keaton in "Baby Boom".
MARY BETH: I'm not gonna get a serious answer here, right?
HARVEY: Well how about Frannie, the Fascist, Lemada? She can burn Alice's little golden book. Or the man from Texas can give him boxing lessons. I got it! I got it! Arizona.
MARY BETH: Not funny, Harvey.
HARVEY: Your father could teach him land speculation.
(the lights flash and music starts for the end of the interval)
MARY BETH: Separate cabs back to Queens, Harve?
HARVEY: Oh, yes, Mary Beth, but first ...we got a date with destiny. (he givers her a kiss) Bud a boom, bud a boom, bud a boom, boom, boom. Bud a boom. Bud a boom. Bud a...
[Detectives' Squad room]
MARY BETH: Morning.
CHRISTINE: Morning. How was "Les Mis"?
MARY BETH: Oh, it's politics, Christine.
CHRISTINE: Harvey loved it.
MARY BETH: (looking at something of Charlie's from the warehouse) That's nice.
MARY BETH: How did it go?
CHRISTINE: (Mary Beth sits by Chris) Hm. Charlie wasn't there. It's a room full of a lot of stuff. So I sent most of it over to the Third Street Mission. I didn't wanna help out the drunks.
MARY BETH: You look good.
CHRISTINE: Thanks! (looking at her sweater) I predict early Spring.
BASIL: (putting a small vase containing a rose and other white flowers in front of her) This arrived for you, Sergeant.
CHRISTINE: Thanks, Basil!
MARY BETH: Oh, you're right. Spring has sprung.
(Mary Beth grabs the card with the flowers as Chris goes to look at it)
CHRISTINE: From David?
MARY BETH: 'Dinner tonight'. (as Chris smells the flowers) It looks like love, Chris.
CHRISTINE: Red is for love, Mary Beth. White is for passion.
MARY BETH: Are you and David er, you know.
CHRISTINE: Not exactly. ...Yet.
(she takes the card)
MARY BETH: What are you waiting for?
CHRISTINE: It's like high school. You know, first date. Flirt in the hallway. Then you go to a football game You hold hands. ...And you kiss. ...You allow a little ...light petting.
MARY BETH: And then?
CHRISTINE: As I recall you do something more. OK?
MARY BETH: Sounds like healthy activity for two and some.
CHRISTINE: (picking up the phone) Mary Beth, my idea is getting juiced up to do things we were not capable of doing before. Certainly not remembering it in the morning.
MARY BETH: Oh.
CHRISTINE: (into phone) David? ...I loved the rose. ...And the suggestion on dinner. ...How about my place? ...Sure I'm sure! ...We'll do scaloppini, sautéed without wine. How's that? ...Seven o'clock OK? ...OK. I'll see you then.
MARY BETH: Your place, huh?
MARY BETH: (getting up) The grass has ris.
COLEMAN: (about the flowers) I wonder where the birdies is. Got another call last night from your hotel. Report of a woman held at knifepoint. The Uniforms on the scene, they couldn't find anything.
MARY BETH: (taking the message) Thank you, Sergeant.
CHRISTINE: Oh, send it over to Thornton, huh? A bon voyage to a man and his microchips.
MARY BETH: (about the message) This makes no sense, Christine. If the kid doesn't want us, how come he keeps calling?
CHRISTINE: Target practice. I'll sign him up for the Olympic brick casting team.
MARY BETH: I don't like the bruises.
CHRISTINE: Mary Beth, what twelve-year old kid doesn't have bruises?!
MARY BETH: The mother was verbally abusive. We heard that. We could pull the kid for observation and see if the phone calls stop.
CHRISTINE: What is it? Some sentimental attachment to Drex. Come on, Mary Beth. Thornton is gone. All right. Let's just bounce it over to Uniforms and we'll get on with some grown-up detective work. Now which one do you want? Columbus triple purse snatching or West End DA.
(Chris chucks the files over to Mary Beth)
MARY BETH: (having looked at them) West End.
(later Samuels comes out of the office with Esposito who helps him on with his coat. Chris is putting on her coat)
ESPOSITO: Thirty laps in the pool. Thirty minutes on the light cycle. Then you finish up with a nice rub down.
SAMUELS: Oh, no need to do this!
ESPOSITO: Oh no! This is my... This is my treat! Because you're worth it, my friend.
(Esposito goes off)
MARY BETH: Good night, sir.
SAMUELS: Oh, good night. Lacey. Cagney.
MARY BETH: 'My friend'?
CHRISTINE: They're bonding. I got an early meeting. Do you wanna walk with me to the subway?
MARY BETH: No. You go ahead. I gotta catch up on something here.
MARY BETH: Have a nice dinner. 'Hello' to David.
(as soon as Chris has gone, Mary Beth grabs her handbag and coat)
[Outside room 503]
HENRY GORVEL [OC] :Who is it?
MARY BETH: (as the door partially opens) Detective Lacey.
HENRY GORVEL: What do you want?
[Inside room 503]
MARY BETH: (pushing her way in) Do you think I only come when you call, huh?
HENRY GORVEL: I didn't make any calls.
MARY BETH: No good, kid, we got your voiceprint ID.
HENRY GORVEL: I'm a minor.
MARY BETH: Mm hm. Where's your mother?
HENRY GORVEL: Out.
MARY BETH: Have you had your supper? (to the younger brother who is still cuddling the teddy bear) Hello Bobby. Who's your friend?
BOBBY GORVEL: Terminator.
MARY BETH: Terminator? Is he er, OK?
BOBBY GORVEL: Yeah.
MARY BETH: He's not gonna bite me or nothing? (Bobby shakes his head. Taking the bear and taking Bobby's arm) Let me see your arm.
HENRY GORVEL: Leave him alone!
MARY BETH: OK, Henry. Here's the deal. First offence, I'm gonna let you off easy. No heavy time, but you have to do some community service. And you can start right here. Clean this place up. (taking the packet of nibbles Bobby was also holding and eating from) Here, give me that. (giving him the bear back) You don't wanna ruin your stomach, huh? Now, how about some fresh fruit? Fresh vegetables, huh?
BOBBY GORVEL: Bananas!
MARY BETH: You better hurry up, Henry, if you want time off for good behaviour. I'm going out to the store and I'll be back. And when I get back, I wanna see this place cleaned up. (as she goes through the door) You've got about eleven minutes, kid.
CHRISTINE: Charlie loved the big bands. He had everybody. Basie, Woody Herman, Andy Kirk and his Twelve Clouds of Joy. (she is looking through some twelve-inch LPs) They were mostly seventy-eights but... I probably should have kept his record player too. You'd have loved his ties though. Grandmother used to say (in a posh accent) 'We could always...'. She used the royal 'We'. 'We could always distinguish Christmas from Easter by the colour of Charles's tie'. Ha. ...Well, he only had two of 'em. One was a red and blue stripe and the other one had swirls on it. He said swirls were supernatural.
(a record starts to play)
DAVID KEELER: May I have this dance?
(after some hesitation, Chris goes to David and he takes her in ballroom hold and they start to dance. The tune is "Till Then")
DAVID KEELER: It was a wonderful meal.
CHRISTINE: Well, I do have my moments.
DAVID KEELER: Must be something in the sauce. We haven't argued all evening.
CHRISTINE: That's because you haven't insisted in telling me about some scum ball you defended today.
DAVID KEELER: And you haven't mentioned all the civil rights which you've trampled on today.
CHRISTINE: Ha. I've been very good. Some poor, downtrodden ex-con got to keep her children because of me. I was the very model of police restraint.
(they dance cheek-to-cheek)
DAVID KEELER: This seems familiar.
CHRISTINE: Mm hm.
(they kiss, then Chris stops)
DAVID KEELER: Are you OK?
CHRISTINE: Yeah. Maybe I should check on the coffee. (they carry on dancing close. She glances at the bed. She giggles)
DAVID KEELER: Yeah.
(she giggles some more)
CHRISTINE: Do you always dance ...like this?
DAVID KEELER: You don't remember?
(they kiss again)
DAVID KEELER: I want you.
CHRISTINE: Not yet.
DAVID KEELER: I know.
CHRISTINE: Come here!
(Chris throws herself into a passionate kiss and then stops)
DAVID KEELER: I just couldn't let you down. I won't...
CHRISTINE: I don't expect you to.
DAVID KEELER: But we should still...
CHRISTINE: I know, be careful. If you don't have anything, I do. (he puts his hand in his pocket and pulls out a condom. They kiss passionately again. In the morning Chris wakes up. She finds him not in bed) David?
DAVID KEELER: Good morning.
CHRISTINE: Hi. What have you got there?
(he brings breakfast on a bed tray)
DAVID KEELER: Bagels, cream cheese pizza, squeezed orange juice.
CHRISTINE: Good morning.
DAVID KEELER: (he kisses her) Good morning. You were sleeping so soundly, I made an early morning deli run.
CHRISTINE: Mmmmm, it looks great.
DAVID KEELER: I wanted it to be perfect.
CHRISTINE: It was perfect.
DAVID KEELER: Let's always keep it that way.
DAVID KEELER: (taking her hand) I really love you.
CHRISTINE: Hey, where are you going?!
DAVID KEELER: (having knelt by the bed) Christine Cagney,...
DAVID KEELER: ...will you marry me?
(her smile goes. She gives a half-laugh)
[Detectives' Squad room]
(Chris comes in and slumps into the chair by Mary Beth's desk)
MARY BETH: Good morning, Chris. ...How was your date with David?
MARY BETH: That good, huh?
CHRISTINE: What are you reading, Mary Beth?
MARY BETH: Oh, this is the PO's report on Linda Gorvel. (quietly) Did you make it with David?
CHRISTINE: Graduated from high school!
MARY BETH: Congratulations!
(they both giggle)
CHRISTINE: Mary Beth, stop grinning at me.
MARY BETH: You're the one that's grinning.
CHRISTINE: (getting up) I am not!
MARY BETH: Oh, yes you are.
COLEMAN: (coming in with a postcard) Listen up, all you cowpokes here! Isbecki seems to be surviving marriage.
MARY BETH: What does he say?
COLEMAN: It says here, (in a Western accent) 'Howdee partners. From the Alamo. Highlight number two of the Victor and Ginger salute to Duke's first annual honeymoon thrash'.
CORASSA: What was highlight number one?
ESPOSITO: It's been a long time, eh sport.
CHRISTINE: So what does Gorvel's PO say?
MARY BETH: Shoplifting. Two prosecutions.
CHRISTINE: That's not bad for an ex-con.
MARY BETH: Did you see the section here on the battle to get her children back? This makes sound like a candidate for Mother of the Year.
CHRISTINE: Time to give it up, Mary Beth.
MARY BETH: The kids hurt. Rotten, lousy system.
VERNA DEE: It may be lousy, but it sure beats the alternative.
MARY BETH: Have you been in the Huntington Hotel recently?
VERNA DEE: It's probably just like the River Arms used to be. Dirty. Depressing. But affordable on the welfare system.
CORASSA: If the AFDC wouldn't keep paying women to have kids, they'd stop having them and get jobs.
MARY BETH: If you can't get welfare, how you supposed to get a job?
CORASSA: It's a dead-end for junkies!
VERNA DEE: Unless you wait until your children are grown and then join the NYPD and become a foolish detective. Excuse me, I've got suspects to question.
SAMUELS: (coming out of his office with a file) Cagney! I found these witness papers on my desk.
SAMUELS: It's only been sitting there for two weeks!
CHRISTINE: Then they were Lieutenant Thornton's responsibility.
SAMUELS: Well, he isn't here anymore and I'm asking you to handle it. You are still second whip around here, aren't you?
CHRISTINE: It didn't count for much when you were out of the picture.
SAMUELS: (throwing the papers on her desk) Well, I'm back here now!
MARY BETH: And it's good to have you back, sir.
SAMUELS: My office, Sergeant.
SAMUELS: (having had a swig of a pink liquid from a bottle) Staff management is pretty tough on the stomach. All right, I assume this is about Thornton.
CHRISTINE: Yeah. He was put in my job.
SAMUELS: Not by me! Knelman made the assignment.
CHRISTINE: There's another agenda working here, Lieutenant, and you know it. It's called the Old Boy network.
SAMUELS: If that was true, you wouldn't have made sergeant.
CHRISTINE: I took a test and I passed it. They couldn't prevent me from being a sergeant!
SAMUELS: You could have been assigned to a desk!
CHRISTINE: And for that I'm supposed to be eternally grateful and keep my mouth shut! After all, I've done pretty well, don't you think? ...For a girl! (Samuels doesn't react and she goes to leave) Excuse me.
SAMUELS: Cagney. Don't give yourself a hard tackle.
[Detectives' Squad room]
MARY BETH: Did you settle it with the Lieutenant?
CHRISTINE: In a manner of speaking. Where are the witness papers?
MARY BETH: I went halfway on them with Jordan. We'll have them done by tonight. (Chris looks at her) A good second whip knows how to delegate.
CHRISTINE: (smiling) Thank you.
MARY BETH: In Isbecki's absence we get nine on the Ganefield collar.
(Chris smells the rose)
[Precinct house yard]
MARY BETH: Maybe later on this afternoon we could swing by Social Services.
CHRISTINE: What for?
MARY BETH: A follow up on that forty-nine. Just to check if there's a possibility...
CHRISTINE: Mary Beth, I don't wanna talk about this case.
MARY BETH: OK, what do you wanna talk about?
CHRISTINE: (as they get to the Squad car) Well, something funny happens when there's gossip and you don't even bother to ask the details.
MARY BETH: Your evening with David?
CHRISTINE: (shouting to the yard) Can I have your attention, folks.
MARY BETH: Oh, I thought you did wanna talk about it.
CHRISTINE: Since when has that stopped you?
CHRISTINE: Besides, the last time I mentioned a marriage proposal you announced it to the entire Squad room.
MARY BETH: A marriage proposal?! Well, that must have been some scaloppini!
CHRISTINE: (smiling and nodding) Seat belts, Mary Beth!
(later on the street in Manhattan)
CHRISTINE: A stellar success. My heart is just racing. I'm short of breath.
MARY BETH: Oh, you're a lucky woman, Christine.
CHRISTINE: I've just got my life back, Mary Beth. I'm not sure I'm ready for a change.
MARY BETH: Christine, I know that it is difficult for a Cagney to believe, but, Chris, sometimes change is for the better.
CHRISTINE: I love him, Mary Beth.
MARY BETH: Well, then you don't need my advice. I mean, I know you didn't wanna hear it the other day. But now that David's proposed to you... But marriage, Christine. Oh, Christine, this is so beautiful. And it is simply so terrifying and... It is not always easy, but it is the best part of life. ...My life!
CHRISTINE: Would you mind if I called in and took the rest of the day off?
MARY BETH: I'm sure... (swerving the car) I am sure that I can handle it.
CHRISTINE: Thanks. (as the car pulls up) I'm sorry to leave you with such a load.
MARY BETH: Are you gonna see David?
CHRISTINE: I'm gonna go to a beach.
MARY BETH: That helps. (Mary Beth grabs Chris's head and gives her a kiss. Chris is having trouble undoing her seat belt) Here, I can see it. Let me.
[Huntington Hotel lobby]
MARY BETH: Social Services have found an opening in your old neighbourhood.
HENRY GORVEL: You're taking me away?
MARY BETH: Yes. That's what it needs.
HENRY GORVEL: Bobby too?
MARY BETH: Of course. Terminator too.
HENRY GORVEL: How's my Mom taken it?
MARY BETH: She hasn't seen me yet.
HENRY GORVEL: Why not?
MARY BETH: She'll be staying here for a while, Henry. It'll give her a chance to get back on her feet.
HENRY GORVEL: You mean I leave my Mom here?
MARY BETH: It's temporary, Henry. It's with a nice woman. You get three meals a day. (behind Mary Beth Linda Gorvel comes in) And you get a nice clean place to live.
HENRY GORVEL: No way! I ain't going to no home. (calling the lift as Mary Beth turns too see Linda Gorvel) And neither is Bobby!
LINDA GORVEL: What are you doing with my kids?
MARY BETH: Mrs. Gorvel,...
LINDA GORVEL: Do you think because we've got nothing, you can come around here and...
MARY BETH: I am trying to help here, Mrs. Gorvel.
LINDA GORVEL: And steal my kids!!
MARY BETH: Your kids are going begging as far as I can see.
LINDA GORVEL: I fought to keep my kids (she has a poke at Mary Beth) and I'll fight you if I have to!!
(Henry Gorvel leaps up and wrestles Mary Beth)
FRANK DECKMAN: (intervening) Hey! Hey! What's going on here?!
MARY BETH: (as Henry backs away from Deckman) No, no, no. You take it slow, Mr. Deckman.
LINDA GORVEL: (to Deckman as Henry backs into his mother's arms) You stay away from my kids!
HENRY GORVEL: (shouting at Deckman) Go away! Get to hell out of here and leave us alone!
(the Gorvels back into the lift and go. Mary Beth stares at Deckman)
FRANK DECKMAN: (gesturing with his cigar) Just looking at a smoke alarm.
MARY BETH: Not anymore.
(Mary Beth is kneading dough)
HARVEY: (coming in) I don't know how Alice sleeps with that racket flowing out of Michael's room but she's out like a little angel.
MARY BETH: It was Michael sleeping like an angel when Harve Jr. was into music.
HARVEY: (about the dough) Hard work, baby.
MARY BETH: Yeah.
HARVEY: Just doing your job, babe.
MARY BETH: I see the kid hanging around this hotel lobby, Harvey. All the mixed up kiddos in that place. All that not-being-grown up feeling. Oh, honey, it was so...
MARY BETH: And Mrs. Gorvel screaming at me 'Nobody should steal my babies!', and I wanted to scream back at her 'Yes, they can, lady!' ...And we thought Junior was up there sleeping like an angel. ...I wonder what he's doing, Harve.
HARVEY: Beating yourself up about it won't get him out of the Marines, Mary Beth. And beating yourself up about those welfare kids that lived in a house in Scarsdale.
MARY BETH: (about the dough) I'm putting too much salt.
HARVEY: How do you know.
MARY BETH: Some things you know, Harvey.
(he puts his arm round her and she snuggles up)
(Chris flies in and slams the door. It bounces open)
CHRISTINE: What the hell are you doing going to Samuels behind my back!
MARY BETH: Christine, we get a nine-eleven call. I see bruises on Henry Gorvel. Bingo!! I hear a cry for help. So I go try and answer this cry and the kid turns on me like a creature from "The Exorcist".
CHRISTINE: I, ...your partner and sergeant, do not want an extension on this case! Kapish!
MARY BETH: (closing the door) I think it just went out of my mind, Serge. You see, I got a feeling in this one there's something else.
CHRISTINE: Mary Beth, will you stop going on like you invented intuition. Just give it a rest!
MARY BETH: I beg your pardon. We've got an eight year-old kid who's only partly toilet trained. He's got a teddy bear he names Terminator. I've gotta show the kid how to eat with a knife and fork!
CHRISTINE: You're feeding them now!!
MARY BETH: It's three years before we'll be arresting the older one for stabbing some old man in the subway. And a psychiatrist is gonna tell the court about his tragic childhood. And everybody's gonna say 'Isn't it sad. Too bad, it could have been different'. We see it coming, Chris, and we do nothing about it.
CHRISTINE: Mary Beth, I don't have a magic wand, neither do you. Sometimes you have to accept the loss and just move on.
MARY BETH: Yeah, that's your style. (picking up her handbag) Blow it all. Pull rank and shake loose every time some pip-damned case makes you bored.
COLEMAN [OC]: Cagney, are you in there?
CHRISTINE: What do you want?
COLEMAN [OC]: We got another nine-eleven call from the Huntington Hotel.
CHRISTINE: Let Uniforms handle it!!!
MARY BETH: We are not off this case yet, Sergeant. Are you coming?
[Huntington Hotel lobby]
MARY BETH: (trying to comfort Henry Gorvel) Who did this to you?
HENRY GORVEL: He's raping my Mom.
MARY BETH: Who is?
HENRY GORVEL: He thinks he's her boyfriend. He won't leave her alone.
(Chris knocks at the building manger's door. No reply. She heads off up stairs.
MARY BETH: (to Henry Gorvel as she follows) No, no, no. Henry, you stay here. Look after your brother.
[Outside room 503]
CHRISTINE: (knocking) Police!! Open up!!
MARY BETH: Mrs. Gorvel, open the door.
[Inside room 503]
(Frank Decker is on the bed just doing up his trousers)
CHRISTINE: What's going on here?
FRANK DECKMAN: None of your business.
MARY BETH: I'll tell you what is our business. You assaulted a minor.
FRANK DECKMAN: Who says? That lying little punk.
CHRISTINE: Mrs. Gorvel, you can press charges.
FRANK DECKMAN: What charges?! We're consenting adults.
MARY BETH: Shut up.
CHRISTINE: You don't have to trade sex for favours for a place to live.
LINDA GORVEL: (crying) You mean you don't?
FRANK DECKMAN: Watch what you say, bitch.
MARY BETH: (pushing him back on the bed as he approaches Chris) Hey, I told you to shut up! (to Mrs. Gorvel) Now we are notifying Protective Services, and you better press charges, Mrs. Gorvel. Or you don't have a prayer hanging on to your kids.
LINDA GORVEL: That's great. He gets out. I'll be here. Where are you gonna be?
[Huntington Hotel lobby]
(Uniforms take cuffed Frank Decker out)
MARY BETH: It's not only rotten mothers that beat kids.
CHRISTINE: You were right. Not wrong
MARY BETH: Maybe. Pity we don't have a stronger case on him. What do you bet that Linda Gorvel's not the only one on his dance card?
CHRISTINE: What floor do you wanna start with?
(by the dodgem cars)
CHRISTINE: This is all I ever wanted. The Boardwalk, popcorn balls and the Wonder Wheel. The rest can wait. Me and Scarlett O'Hara. Think about it tomorrow.
DAVID KEELER: That's you.
CHRISTINE: Except tomorrow's here.
DAVID KEELER: That's me.
(walking on to the Boardwalk)
CHRISTINE: I kept thinking, you know, if I could surround myself with all the colours and the smells and the tastes, that maybe it would all come back. Look at this place, David. Even Coney Island isn't forever. ...Or Charlie.
DAVID KEELER: Some things can be forever, Chris. (he takes her in his arms and kisses her. She doesn't kiss back) I love you, Chris. I wanna grow old with you and I wanna eat cute popcorn balls with our grandchildren.
CHRISTINE: If we should have children. (wiping his lips) You left some behind.
DAVID KEELER: So?
CHRISTINE: I'm forty-three years old, David. If I'm not ready to get married now, the chances are that I never will be. ...I love my life as it is.
DAVID KEELER: I don't wanna change it, Christine.
CHRISTINE: You want me to be a grandmother behind a picket fence.
DAVID KEELER: I wanna share a life with you.
CHRISTINE: Yeah, but it's your life. I don't wanna life-changing baby, ...David. And I can't remember who I wanted to be when I grew up. I don't know if I ever wanted a husband and children and two cats in the backyard. If it was part of my dream, it's gone now. I want us to see each other because we want to, not because we have to. ...Come on. I'll pass on the hot dog. We'll get some Chinese and we'll go back to my place. Come on, what do you say?
DAVID KEELER: Chris, I've already tried it your way and I don't wanna be a visitor in your life anymore.
CHRISTINE: I think what we have is good. I don't think marriage makes it better!
DAVID KEELER: Chris, I don't wanna ruin your career.
CHRISTINE: You're not listening to me! Career has nothing to do with this. We just want different things!
DAVID KEELER: Chris, please...
CHRISTINE: No!!! You can't make me less than I am because I don't want marriage. ...David, I'm sorry. I never meant to hurt you. Believe me.
DAVID KEELER: Good-bye, Chris.
(he walks off down the Boardwalk)
(the duo is sitting there with their coats on having just arrived the next morning)
CHRISTINE: Who said 'Change equals psychological loss?'.
MARY BETH: I think it was you.
CHRISTINE: Charlie used to say 'Chrissie, you're just like your old man. You travel light, you keep on moving'.
MARY BETH: You don't have to be like anybody, Chris. You make your own choices.
CHRISTINE: You know, sometimes, the thought of never having my own childhood... I was eight, you know. I was afraid I would disappear from the dream world for all eternity. My life would be meaningless. But most of the time I don't feel it that way.
MARY BETH: You're entitled to your own feelings.
CHRISTINE: No wedding, no baby shower. Are you gonna survive this, Mary Beth?
MARY BETH: Well, what do you want me to say? That there is nothing I would like better than to visit you and David and the kids in a brand new house in Jersey. OK? You're right. That's my fantasy, Chris, yours is different. This is your deal here.
CHRISTINE: Do you remember Camelot? At the end, with Guinivere going off to the convent and King Arthur's going off to fight in battle. And nothing's ever gonna be the same again.
MARY BETH: Oh, that was so sad.
CHRISTINE: I was the only person in the entire theatre that didn't cry their eyes out. ...I didn't feel anything. I kept seeing myself ...sitting in a little cabin ...and then I wanted to leave and then I threw up. I thought it was something that I ate. ...I hate goodbyes.