In the Heat of the Night (1988–1995): Season 3, Episode 7 - Time of the Stranger - full transcript
A private investigator from New York who comes to Sparta to investigate a missing child case falls to her death after the meeting she had set up with a local dance teacher named Kate Morell, in whom Officer Parker Williams has a crush on. When Detective Virgil Tibbs questions the woman, he has a feeling that she isn't telling the whole story which doesn't go over too well with Parker.
♪ IN THE HEAT OF THE NIGHT
♪ I'VE GOT TROUBLES
WALL TO WALL ♪
♪ IN THE HEAT OF THE NIGHT
♪ YEAH
♪ MUST BE AN ENDING
TO IT ALL ♪
♪ OH
♪ BUT HOLD ON
♪ IT WON'T BE LONG
♪ JUST YOU BE STRONG
♪ AND IT'LL BE ALL RIGHT
♪ IN THE HEAT OF THE NIGHT
♪ IN THE HEAT
OF THE NIGHT ♪
NO.
YOU CAN'T.
NO.
NO! GET OUT!
MOM.
MOM, IT'S O.K.
IT'S O.K.
YOU'RE ALL RIGHT.
IT WAS JUST A DREAM.
OH, JAYCEE!
IT'S OVER NOW.
IT'S AWFUL. I'M SORRY.
SHH.
I DIDN'T MEAN
TO SCARE YOU.
YOU DIDN'T.
[KNOCK ON DOOR]
[KNOCK KNOCK]
OH.
[KNOCK KNOCK]
I BET I KNOW
WHO ELSE I WOKE UP.
OUR FAVORITE NEIGHBOR.
[PARKER]
KATE, IT'S ME.
GET THE DOOR, HONEY.
O.K.
[KNOCK KNOCK]
[KNOCK KNOCK]
IS EVERYTHING ALL RIGHT?
WHAT HAPPENED?
NOTHING NEW.
ONE OF MOM'S NIGHTMARES.
SHE'S O.K. NOW.
KATIE, GIRL, YOU
SCARED ME TO DEATH.
I'M SORRY.
I'M EMBARRASSED.
NO, I WAS JUST
GETTING HOME.
I MEAN, I PULLED
THE LATE SHIFT.
ARE YOU SURE
EVERYTHING'S
ALL RIGHT?
OH, POSITIVE.
YOU'RE SWEET FOR CHECKING.
NO PROBLEM.
IF THERE'S EVER
ANYTHING YOU NEED...
I'LL HAVE MOM
SCREAM AGAIN.
YOU WATCH IT,
LITTLE'UN.
GOOD NIGHT.
AND THANKS AGAIN.
GOOD NIGHT.
SHE GOT A PHONE CALL
THAT GOT HER JUMPY.
WHO WAS IT?
DIDN'T ASK. JUST
HANDED HER THE PHONE.
IT WAS SOME WOMAN.
[HORN HONKS]
[SIREN]
MA'AM, YOU RAN
A RED LIGHT
AND DARN NEAR
HIT SOMEBODY.
SORRY, OFFICER.
I DIDN'T EVEN SEE IT.
MARGE WINTHROP.
NEW YORK.
WELL, YOU'RE A LONG
WAY FROM HOME.
TELL ME ABOUT IT.
WELCOME TO MISSISSIPPI,
MISS WINTHROP.
YOU HAVE A NICE VISIT
NOW, YOU HEAR?
THANKS.
IT'S A SURPRISE. DON'T
TELL ANYBODY AT THE SCHOOL.
BE RIGHT
WITH YOU FOLKS.
YEAH, O.K. WELL, HOW'S
OLD MARVIN AND THE KIDS?
UH-HUH.
GOT TO GO. SEE YOU.
UH, CHIEF.
WE'RE HAVING A SURPRISE
BIRTHDAY PARTY
FOR KATE MORELL.
I WAS JUST MAKING
SOME PHONE CALLS
FOR HELPING OUT
HER DAUGHTER JAYCEE.
KATE MORELL.
MMM-MMM.
W-WHAT DO YOU MEAN
BY THAT?
HMM?
KATE MORELL.
MMM-MMM.
WELL, I MEAN SHE'S
A BEAUTIFUL WOMAN,
PARKER,
THE TYPE OF WOMAN
THAT WOULD DRESS UP
ANY PARTY.
THAT'S ALL.
THAT'S RIGHT.
WHOO.
I WANT A PHOTOCOPY
OF 119.
SORRY.
AND THANK YOU.
SORRY,
AND YOU'RE WELCOME.
ALL RIGHT!
SET IT UP! PERFECT!
THERE YOU GO.
OH, GOOD!
GOOD HIT.
ONE MORE POINT.
I NEED TO SEE IT.
LET'S GET ANOTHER
ONE GOING. COME ON!
GOOD POINT, GIRLS.
GOOD SERVE.
SET IT UP.
GOOD! GO FOR IT!
YOU DID IT.
ALL RIGHT!
GET IT OVER! OH!
[WHISTLE BLOWS]
GOOD GAME. ALL RIGHT,
HIT THE SHOWERS, GIRLS.
HEY, YOU REALLY PUT
AWAY THAT PRACTICE GAME.
EASY. I CAN DO IT
ON TOE OR TAP,
BLOWING BUBBLES
AND BLINDFOLDED.
GET OUT OF HERE.
PARKER TELL YOU
ABOUT MOM'S PARTY?
WE'LL BE THERE.
WE? YOU BRINGING
THE HEAT WITH YOU?
YOU'RE SUPPLYING
FOOD AND DRINKS.
I'LL SUPPLY
THE SECURITY SYSTEM.
SEE YA.
[MUSIC PLAYS]
OH, NO, NO, NO,
NO, NO.
COME ON.
YOU CAN'T SHOW OFF
LIKE THAT.
I NEED SOME AIR.
YOU HEAR WHAT I HEAR?
I'M LOOKING AT IT.
HOW ABOUT
YOU TAKE THE BALLET,
I TAKE THE JAZZ?
O.K.
O.K. COME ON, PARTNER.
HI THERE.
HI.
YOU GIRLS GO ON
UPSTAIRS WITH JAYCEE.
HI.
KATE, LAURA LYNN
IS REAL GRACEFUL,
BUT I TELL YOU,
THAT DEBBIE--SHE
MUST TAKE AFTER ME.
THAT'S MY PROBLEM NOW.
THEIR FATHER THINKS
THAT ANYTHING
INVOLVING THE ARTS--
LIKE DANCING--
IS A WASTE OF MONEY,
BUT HE THINKS
EVERYTHING
EXCEPT BEER AND TV
ARE A WASTE.
WHEN HE SEES
THEIR FIRST RECITAL,
HE'LL BE A BELIEVER.
SEE YOU IN TWO HOURS.
ALL RIGHT.
HIT IT, BOY.
YEAH, HIT IT.
HIT IT.
NO MORE "YASSAH, BOSS."
SHOULDN'T YOU BE DOING
YOUR HOMEWORK, HON?
[TELEPHONE RINGS]
[RING]
HELLO.
HELLO, KATE.
I'M HERE NOW.
I KNOW. I SAW YOU ACROSS
FROM THE STUDIO TODAY.
I WANT TO TALK
TO YOU.
YOU NEED
TO TALK TO ME.
THE SYCAMORE
STREET BRIDGE.
YOU KNOW IT?
YES.
MEET ME THERE
AT MIDNIGHT.
AND COME ALONE.
YOU HAD YOUR CHANCE.
YOU DON'T
WANT TO TAKE IT,
TAKE THE CONSEQUENCES.
DON'T DO THIS, PLEASE.
YOU THINK YOU DESERVE
SPECIAL CONSIDERATION
AFTER WHAT YOU DID?
WHO ARE YOU TO JUDGE,
TO BREAK INTO MY LIFE?
DON'T DO THIS, PLEASE!
LET GO.
LISTEN, PLEASE!
AAH!
WHAT DO YOU THINK?
I THINK IT'S FLOWERY.
MMM.
O.K.
WHAT ABOUT THIS?
OOH.
YELLOW.
I THINK IT'S...
VERY YELLOW...
MAYBE TERMINALLY SO,
BUT IT'S NICE!
OH, COME ON, BABY,
IT'S NICE.
YEAH.
IT'S NICE.
I GOT TO GET
TO SCHOOL.
O.K.
YOU KNOW, YOU'RE
BEING WONDERFUL
ABOUT THIS.
I MEAN--
NOT THE PAINT,
THE PAPER--
THAT'S ALL HELPING,
BUT YOU'RE THE ONE
THAT'S MAKING
THE DIFFERENCE.
I ALMOST LAUGHED
IN THIS ROOM.
I KNOW.
I THINK IT'S
'CAUSE YOU'RE FINALLY
GETTING OVER THE--
YOU KNOW,
YOU'RE ABOUT OVER IT.
YOU'RE GETTING
OVER IT.
YOU CAN SAY RAPE.
IT'S O.K.
LISTEN. WHEN--
[TELEPHONE RINGS]
TALK ABOUT TIMING.
IT WOULDN'T BE HARD
TO FALL OVER
THAT LITTLE RAILING.
YEAH,
OR BEEN PUSHED.
MAYBE JUMP.
JUMPERS USUALLY GO
FROM HIGHER PLACES.
I'M GOING TO TAKE
A LOOK FROM UP THERE.
A BRAKEMAN FOUND HER
ABOUT 5:15 AND PHONED IN.
MORNING, CHIEF.
YEAH, MORNING.
ANY GUNSHOT WOUNDS,
ANY STAB WOUNDS?
NO, SIR. SHE'S
JUST ALL BUSTED UP.
CAN I SEE HER?
YEAH.
WHO IS SHE?
WELL...
ACCORDING TO THIS,
NAME'S MARGE WINTHROP.
PRIVATE INVESTIGATOR
FROM NEW YORK.
PRIVATE INVESTIGATOR.
WELL, WELL, WELL.
HEY, CHIEF.
WE GOT SIGNS OF
A STRUGGLE UP HERE.
AND THE CAR THAT WAS
PARKED BY THE MUNICIPAL
BUILDING--
IT'S HERE.
WHAT CAR?
VIRGIL THINKS
HE SAW THIS WOMAN
IN TOWN
YESTERDAY AFTERNOON.
I GAVE HER A TICKET
YESTERDAY.
SHE'D BEEN STAYING OUT
AT THE KLING MOTEL.
HADN'T CHECKED OUT YET.
THAT MEANS SHE
HADN'T FINISHED
HER BUSINESS IN TOWN.
WHATEVER THAT WAS.
GO WAKE UP HANNAPIN
AT THE PHOTO SHOP.
TELL THEM TO BLOW UP
THIS LADY'S LICENSE.
THEN CIRCULATE
THE PICTURES AROUND.
YES, SIR.
JAMISON.
BRING SOME EQUIPMENT.
WE GOT SOME
FOOTPRINTS HERE.
TAKE SOME PICTURES,
MAKE CASTS, O.K.?
YEP.
SWEET,
GIVE ME A HAND?
LET'S GO.
I'LL GO OVER
TO THE MOTEL.
I GUESS WHOEVER
SHE WAS INVESTIGATING
CLOSED THE CASE, HUH?
WELL...I'VE DECIDED
TO REOPEN IT.
ALL RIGHT. GO AHEAD.
MS. TIBBS,
YOU EVER SEEN
THIS WOMAN BEFORE?
I SWEAR I SAW THIS WOMAN
ACROSS THE STREET YESTERDAY.
IT WAS AFTER
THE LAST GYM PERIOD.
YEAH, I REMEMBER.
SHE WAS RIGHT OVER THERE.
WHAT WAS SHE DOING?
DID SHE TALK TO YOU?
NO. SHE JUST
STAYED THERE.
KATE, DO YOU RECOGNIZE
THIS WOMAN FROM SOMEPLACE?
UH, NO. WHO IS SHE?
WAS SHE.
SHE'S DEAD.
WHAT HAPPENED?
THEY THINK SOMEONE
THREW HER OFF
THE TRAIN OVERPASS.
THAT'S AWFUL. WHY?
WELL, JAYCEE, SHE WAS
A PRIVATE INVESTIGATOR.
LOOKING FOR SOMEBODY
IN SPARTA?
WELL, WE THINK SHE
MIGHT HAVE FOUND THEM...
OR THEY FOUND HER.
LADIES, MORNING.
THANKS FOR YOUR HELP.
BYE-BYE. BYE, BUBBA.
BYE, SWEETIE. BYE, KATE.
IF SHE WAS
ON A CASE,
THERE SHOULD BE
SOMETHING HERE--
FILES, EXPENSE SHEET,
RECORD OF LEADS,
CONTACTS, OR SOMETHING.
FOR AN OLD CASE,
YEAH,
BUT IT MIGHT BE
SOMETHING NEW.
MAYBE.
YOU KNOW,
JOSIE OVER
AT THE MUNICIPAL BUILDING
SAID SHE PHOTOGRAPHED
SOMETHING,
BUT WHERE'S
THE PHOTOGRAPH?
IT'S NOT IN HER CAR
OR HER PURSE.
MAYBE WHOEVER
PUSHED HER TOOK IT.
UH, WELL,
WAIT A MINUTE.
LET'S SEE.
WHAT IS THIS?
UH...IS THIS IT?
LET'S SEE.
WELL, IT COULD BE.
IT'S A RENEWAL APPLICATION
FOR A BUSINESS LICENSE
DATED 1989
FOR KATE MORELL.
SHE'S THAT WOMAN
THAT PARKER'S
KIND OF SWEET ON.
IS THIS A SINGLE WOMAN?
WITH A DAUGHTER
WHO HAPPENS TO BE
ALTHEA'S STUDENT.
OH, YEAH.
DO YOU KNOW EITHER
MOTHER OR DAUGHTER?
TO SAY HELLO TO.
YOU OUGHT TO TALK
TO PARKER.
YOU OUGHT TO TALK
TO PARKER.
I OUGHT TO FIND OUT MORE
ABOUT THIS UNFORTUNATE
WINTHROP WOMAN.
I'M SORRY.
I AM REALLY...
I'M REALLY SORRY
ABOUT MAKING YOU
COME ALL THE WAY
DOWN HERE LIKE THIS.
PARKER, PLEASE, JUST
STOP APOLOGIZING.
I DON'T REMEMBER YOU
EVEN LEAVING YOUR JACKET.
WELL, I DID.
I FEEL REALLY DUMB
ABOUT IT,
LEAVING MY BADGE
IN IT.
IF I LOSE
ANOTHER BADGE,
THE CHIEF
WILL KILL ME.
I CAN'T IMAGINE ANYBODY
GETTING MAD AT YOU.
YOU'RE TOO SWEET.
SWEET?
REALLY?
ME?
WE'LL FIND IT.
SURPRISE!
SURPRISE!
SURPRISE!
WHEW!
♪ HAPPY BIRTHDAY TO YOU
♪ HAPPY BIRTHDAY TO YOU
♪ HAPPY BIRTHDAY,
DEAR KATE ♪
♪ HAPPY BIRTHDAY TO YOU
THANK YOU, THANK YOU.
WAIT, WAIT.
NOW I'VE GOT
TO MAKE A WISH.
WE WEREN'T CERTAIN
HOW MANY CANDLES TO USE.
I SHOULD HOPE NOT.
I WAS A CHILD BRIDE.
YOU'RE THE BEST, MOM.
HAPPY BIRTHDAY, MOM.
I LOVE YOU.
DRINKS ARE OVER THERE.
AREN'T WE AWESOME?
I CAN'T BELIEVE
YOU DID THIS, BABY.
I KNOW SOMEBODY WHO
DID LEND SOME HELP HERE.
WHO COULD THAT BE?
UH, I DON'T KNOW.
YOU KNOW WHAT
THIS STINKER DID?
HE TOLD ME THAT
HE LOST HIS BADGE.
HEY, QUIET EVERYBODY,
QUIET.
YOU DON'T LOOK FESTIVE.
I'M NOT.
I HAVE TO TALK
TO KATE.
I--I CAN'T TELL YOU
WHAT THIS MEANS TO ME.
I NEVER THOUGHT
THAT I WOULD EVER FIND
A PLACE LIKE THIS,
WITH SO MANY
KIND PEOPLE AND...
A SAFE PLACE FOR ME
TO RAISE MY DAUGHTER.
I FEEL LIKE I'M GOING
TO GET ALL WEEPY-EYED.
WILL YOU GO TURN UP
THE MUSIC, PLEASE?
LET'S CUT THE CAKE.
HI. HI, VIRGIL.
UH, THANKS FOR COMING.
HAPPY BIRTHDAY,
KATE.
WANT ME TO GET YOU
WINE OR SOMETHING?
NOTHING, THANKS.
HERE.
UH...KATE,
I'M SORRY, BUT, UH,
I HAVE TO ASK YOU
A FEW QUESTIONS
CONCERNING THE DEATH
OF A WOMAN HERE.
EVER SEE THIS FACE?
SERGEANT SKINNER HAD
A COPY OF THIS
AT THE SCHOOL TODAY.
AND, YEAH, I SAW IT
ON THE 6:00 NEWS.
EVER SEE IT
BEFORE TODAY?
NO, I DON'T THINK SO.
SURE YOU DON'T WANT
SOME WINE?
NO, NO, NO, NO, NO.
YOU SEE, KATE,
ONE OF THE MOTHERS
SAID SHE SAW
THIS WOMAN
ACROSS THE STREET
FROM YOUR STUDIO.
REALLY?
YEAH, YEAH.
UH, MARGE WINTHROP.
SHE PHOTOSTATED A COPY
OF YOUR BUSINESS LICENSE.
ANY IDEA WHY?
NOPE, I--I
REALLY DON'T.
KATE, WE'RE
YOUR FRIENDS HERE.
YOU DON'T HAVE TO
HIDE THINGS FROM US.
I DON'T KNOW WHAT YOU'RE
TALKING ABOUT, VIRGIL.
DETECTIVE T.
YEAH?
I THINK
THAT'S ENOUGH.
NO, PARKER, IT ISN'T.
KATE, YOU SEE--
KATIE SAID
SHE DIDN'T KNOW ANYTHING,
SO SHE DOESN'T
KNOW ANYTHING.
PARKER...
BACK OFF.
I SAID...
LEAVE THE LADY ALONE.
PARKER, I WANT YOU
TO SPEND 30 MORE MINUTES
AT THIS PARTY,
AND THEN REPORT TO ME
AT THE STATION.
YES, SIR.
CHIEF, THAT PRIVATE EYE'S
ON THE LINE.
SWITCH IT OVER HERE.
PUT THE NEW YORK CALL
ON THE CHIEF'S LINE.
DID VIRGIL CALL IN?
HE'S ON HIS WAY.
MR. ARKIN?
I'M ON.
YOU SAID SHE WAS
KILLED IN A FALL.
WHAT DID YOU MEAN--
ACCIDENT?
MAYBE NOT, SIR,
WE HAVE EVIDENCE
SHE MIGHT HAVE BEEN PUSHED.
WAIT.
HERE'S THE CHIEF.
MR. ARKIN,
I'D LIKE TO KNOW
WHAT YOUR AGENT
WAS WORKING ON DOWN HERE.
FIRST OF ALL,
SHE'S NOT MY AGENT.
WELL, UH...
THIS CARD WE GOT
OUT OF HER WALLET SAYS,
"WELCH, ARKIN, AND WINTHROP,
PRIVATE INVESTIGATORS."
SHE HAD THAT
PRINTED HERSELF.
WE DON'T USE CARDS.
SHE'S BEEN GONE
1 1/2 YEARS.
WE FIRED HER.
WHY'D YOU DO THAT?
SHE WAS
A NO-GOOD CROOK.
I'LL EXPLAIN
WHEN I ARRIVE.
COMING HERE?
PLANE TO NEW ORLEANS,
THEN DRIVE UP.
SOMEBODY'S GOT TO
CLAIM THE BODY,
ARRANGE A FUNERAL.
THAT'S NICE OF YOU,
CONSIDERING EVERYTHING.
THAT'S THE LEAST
I CAN DO.
I WAS MARRIED TO HER
10 YEARS.
CHIEF.
WE MAY HAVE
AN INTERNAL PROBLEM
WITH PARKER.
GOT ANYTHING TO DO
WITH THAT DANCING LADY?
DID HE TELL YOU
WHAT HE WAS WORRIED ABOUT?
HE ONCE THOUGHT
KATE MORELL
WAS RUNNING
FROM SOMEBODY,
MAYBE HER HUSBAND.
JAYCEE'S FATHER?
I RECKON.
WHAT ARE YOU THINKING?
WHAT A SHAME IT
WOULD BE IF PARKER
GOT HIMSELF
INTO TROUBLE
FOR COVERING UP
A MURDER.
IT'S HAPPENED TO ME.
MORE THAN ONCE.
NOW IT'S HAPPENED TO YOU.
IT WILL AGAIN.
WHEN POLICE DUTY RUNS
STRAIGHT INTO SOME
PERSONAL PROBLEM
OR CUTS ACROSS
PERSONAL INTERESTS,
HOW WILL YOU HANDLE THAT
IN THE FUTURE?
I'LL DO MY DUTY.
WITHOUT
ANY RESERVATIONS?
YES, SIR,
NO RESERVATIONS.
WELL, ALL RIGHT.
CHIEF?
DO YOU WANT ME
TO SAY, I'M SORRY?
I'M SORRY.
IT JUST SEEMED
LIKE LOUSY TIMING.
IT WAS KATE'S
BIRTHDAY PARTY.
THE DETECTIVE
COMES OUT THERE
AND STARTS GRILLING HER
ABOUT SOME STRANGER.
SOME STRANGER
WHO WAS THROWN
FROM AN OVERPASS.
KATE WASN'T INVOLVED
WITH THAT.
PARKER, KATE IS THE REASON
THE DEAD WOMAN
CAME TO SPARTA
IN THE FIRST PLACE, O.K.?
KATE DIDN'T KNOW HER.
WELL, KATE WAS LYING.
DON'T SAY THAT!
SEE WHAT I MEAN?
WILL YOU QUIT
PLAYING THE FOOL?
CHIEF,
SHE'S A NICE WOMAN.
NICE WOMEN HAVE
BEEN KNOWN TO LIE!
LIGHTS OUT?
MM-HMM.
MM-HMM.
WAS WHAT YOU DID
AT THE PARTY
REALLY NECESSARY?
I AM INVESTIGATING
A CASE, BABE.
JAYCEE AND PARKER
KNOCKED THEMSELVES OUT
TO THROW A PARTY,
AND YOU COME IN
AND START GRILLING KATE
ABOUT SOME STRANGER.
SOME STRANGER?
BABY, A WOMAN WAS KILLED
IN THIS TOWN.
YOU DON'T THINK KATE
KNEW ANYTHING
ABOUT THAT, DO YOU?
THAT'S NOT
WHAT I SAID, ALTHEA.
THAT'S NOT
AN ANSWER.
O.K.
NOW, I DON'T KNOW THAT KATE
KILLED THIS WOMAN,
BUT I DO KNOW
KATE KNOWS WHY SHE'S DEAD.
O.K.? LIGHTS OUT?
MM-HMM.
YEAH.
NO, I'M STILL WORRIED.
THESE ARE THE CASTS?
IT FITS.
IT'S KATE MORELL'S.
HER NAME'S IN IT.
WHERE'D YOU GET IT?
OVER AT HER PLACE.
KIND OF EASY,
WASN'T NOBODY OVER THERE.
HERE'S
OUR SEARCH WARRANT.
MISS MORELL'S THE ONLY ONE
IN TOWN SELLS THIS SHOE.
WE CHECKED
AND CALLED AROUND.
THEY'RE CALLED
CHARACTER SHOES.
THEY MAKE THEM
ESPECIALLY FOR DANCERS.
NO DOUBT THOSE
OTHER IMPRESSIONS
BELONG
TO THE DEAD WOMAN?
NO DOUBT.
CHARACTER SHOES,
HUH?
WELL, WELL.
WELL, THIS
LITTLE NUMBER...
LOOKS LIKE IT'S DONE
A BIT OF DANCING.
MAYBE A BIT
OF RUNNING, TOO.
YOU KNOW I DON'T
LIKE TO GET INTO
YOUR BUSINESS.
MM-HMM.
AND I DON'T WANT
TO BE PULLED IN
BY IT, EITHER.
BUT...
THIS IS PERSONAL.
I LIKE KATE MORELL,
AND I'M
VERY FOND OF JAYCEE.
AND?
AND AFTER YOU LEFT
THE PARTY LAST NIGHT,
WELL, THERE WERE WORDS
BETWEEN THE TWO OF THEM.
JAYCEE SAID SOMETHING
FUNNY WAS GOING ON.
SHE WANTED TO KNOW
WHAT IT WAS.
KATE SAID NOTHING.
JAYCEE SAID,
"WHO WAS ON THE PHONE?
WHY DID YOU GO OUT?"
WELL, WELL, WELL.
DOES THAT MEAN ANYTHING?
YEAH.
THAT MEANS A LOT.
I FEEL LIKE AN INFORMER.
WHAT ARE YOU
TRYING TO DO?
HELP SOMEBODY.
ISN'T THAT RIGHT?
YEAH.
WELL,
THEN DON'T WORRY.
YOU'RE DOING
THE RIGHT THING.
BUT I STILL FEEL WORRIED.
"JAYCEE MORELL, BORN
IN BOSTON, 1974.
"SCHOOLS
IN NEW YORK,
SPOKANE, DENVER,
"LOUISVILLE, AND
SPARTA, MISSISSIPPI.
"GOOD HEALTH, NO
DISABLING AILMENTS.
GOOD ATTENDANCE.
GOOD STUDENT."
"A" IN ALGEBRA?
NOW, LET'S SEE.
BUBBA?
HI, CHERYL.
WHEN I HEARD THERE
WAS A COP HERE,
I KNEW IT WAS VIRGIL.
HELLO.
HOW YOU FEELING?
I'M FINE.
I'M COMING AROUND.
WHAT'S UP
WITH THE MORELLS?
WELL, NOT VERY MUCH NEW.
WE'RE CHECKING
DIFFERENT CITIES,
SCHOOLS,
THINGS LIKE THAT.
TO TELL YOU THE TRUTH,
I'M CONCERNED
ABOUT PARKER.
YOU KNOW, HE'S REAL SAD
ABOUT THIS WHOLE THING.
I THINK HE WAS
GETTING READY
TO BUILD THE A-FRAME
AND THE PICKET FENCE.
I HAVE
AN AWFUL FEELING
JAYCEE'S GOING
TO GET HURT.
I JUST DON'T
KNOW HOW.
ME, NEITHER,
BUT I HAVE
THAT SAME FEELING.
I DIDN'T MEAN
DISRESPECT.
KATIE'S REALLY
SPECIAL TO ME.
WHEN, UH,
SHE FIRST MOVED IN,
I HELPED HER CARRY IN
HER STUFF.
YOU KNOW, THE BOXES,
THE COUCH.
ONE DAY.
I WAS A GONER.
I FELL IN LOVE SO FAST.
SHE RESPOND TO YOU?
WELL...
THERE, UH...
REALLY ISN'T ANY ROOM
IN KATIE'S LIFE
FOR ANYBODY
BUT HER DAUGHTER JAYCEE.
SHE REALLY DOESN'T LET
ANYBODY GET THAT CLOSE,
AND SHE MUST
HAVE BEEN HURT
REAL BAD SOMETIME.
YOU MEAN HER HUSBAND?
I DON'T KNOW.
I DON'T EVEN KNOW
IF THERE WAS A MARRIAGE.
DETEC--
EXCUSE ME.
CHIEF SAYS MEET HIM
AT MISS MORELL'S
DANCE STUDIO.
YEAH, YEAH.
YOU KNOW
WHAT I THINK?
I THINK THAT MAYBE
KATE MORELL
DOESN'T KNOW
A GOOD THING
WHEN SHE SEES ONE.
ARMS FIRST AND SECOND.
DEMI PLIE.
NOW GRAND PLIE
ALL THE WAY DOWN.
ARMS THROUGH FIRST.
AND SECOND.
NOW TAKE IT OVER.
AND STRETCH IT
ALL THE WAY BACK.
AND KEEP YOUR ARM THERE.
GOOD.
FRONT.
AND TOGETHER.
FRONT.
GOOD. OPEN SIDE.
BIG STRETCH.
AND NOW REACH BACK.
TOGETHER.
NOW REACH BACK.
AND TOGETHER.
AND BACK.
TOGETHER.
THANK YOU, LADIES.
THAT WAS WONDERFUL.
THANKS FOR BEING
SO GOOD,
NOW OFF TO
THE DRESSING ROOMS.
SCOOT.
GIRLS SEEM TO BE
ENJOYING THEMSELVES.
WHERE'S YOUR MAMA?
SHE'S NOT HERE.
I THOUGHT
I'D BE BOUND TO FIND HER
AT THIS HOUR.
THERE SHE IS,
SURE ENOUGH.
HELLO, CHIEF.
JAYCEE, HELP THE KIDS
SORT OUT THEIR STUFF.
DON'T KEEP SENDING
ME OUT OF THE ROOM.
PLEASE?
THEY DON'T MATCH,
AND SHARON CAN'T GET
BUTTONED IN BACK.
HONEY, LET ME TALK
TO THE CHIEF ALONE.
LIBBY'S MOM CAN
TAKE YOU HOME.
I'LL BE HOME SOON.
DON'T WORRY.
WHEN MARGE WINTHROP
WAS KILLED THE OTHER NIGHT,
WHERE WERE YOU?
I DON'T HAVE TO
ANSWER QUESTIONS.
I DON'T KNOW WHAT
YOU'RE TALKING ABOUT.
SHE WAS PUSHED OFF
A RAILROAD OVERPASS
BY ANOTHER WOMAN.
AND, UH...
WE KNOW THAT, UH...
THAT THIS SHOE
BELONGED TO THAT WOMAN.
YOUR NAME IS IN IT.
MASSACHUSETTS SAYS
NOT ONLY IS THERE
NO RECORD OF YOUR
MARRIAGE LICENSE
OR DIVORCE,
THERE'S NO RECORD
OF JAYCEE'S BIRTH.
STAY OUT
OF MY DAUGHTER'S LIFE.
WILL YOU, PLEASE?
THERE'S NO PETITION
FOR CUSTODY.
KATE, THERE IS
NO LEGAL EVIDENCE
CONNECTING YOU
TO JAYCEE ANYWHERE.
WHEN AND WHERE DID
YOU HAVE THIS GIRL?
KATE, YOU'RE GOING TO
HAVE TO COME DOWN
TO THE STATION
AND EXPLAIN SOME THINGS.
SHE CALLED ME,
I WENT TO
THE OVERPASS.
WHAT DID SHE WANT?
$50,000.
SHE KNEW
SOMETHING ABOUT ME
AND SAID IF I PAID,
SHE WOULDN'T TELL.
AND YOU REFUSED?
I SAID I COULD
COME UP WITH 25,
BUT I KNEW
THAT WOULDN'T DO.
EVEN IF
I GAVE HER 50,
SHE WOULD WANT MORE
SOONER OR LATER.
SO I--ALL I COULD DO
WAS PLEAD FOR
SYMPATHY.
THAT'S WHAT I DID.
WHAT DID SHE DO?
SHE STARTED
TO WALK AWAY.
I GRABBED HER
TO BEG HER NOT TO--
SHE PULLED--
PUSHED ME AWAY.
I HELD ON TO HER.
WE BOTH FELL
INTO THE...
GUARDRAIL,
AND...
SHE WENT OVER.
I DID NOT MEAN
TO KILL HER.
WHO COULD THINK MOM
COULD KILL THAT LADY
OR KILL ANYBODY?
WELL AS FAR AS I KNOW,
SHE HASN'T BEEN CHARGED
WITH ANYTHING.
WE JUST WANT
TO TALK TO HER.
WHY ARE THEY
EVEN TALKING TO HER?
WELL, HONEY,
THERE'S A LOT OF THINGS
WE GOT TO FIND OUT,
IF JUST FOR YOUR SAKE.
WE SHOULD HAVE
GONE AWAY AGAIN.
WE'D LEFT BEFORE.
WE SHOULD HAVE
DONE IT AGAIN.
HEY, BUBBA.
THE CHIEF AND VIRGIL
ARE AT THE CAFE.
THEY GOT THAT
NEW YORK VISITOR.
HOW'S MY MAMA?
THEY TELL ME
SHE'S DOING FINE.
HAVEN'T YOU SEEN HER?
I JUST CAN'T
GO BACK THERE.
I KNOW I OUGHT TO,
BUT--
IT'S O.K.
I UNDERSTAND.
WHY DON'T YOU TAKE
HER BACK THERE?
SURE. COME ON.
BUBBA.
DO YOU THINK
ANYTHING COULD BE
SAVED FROM THIS?
A KIDNAPPING
IS PRETTY SERIOUS STUFF.
BUT SHE'S A GOOD WOMAN.
YEAH? WELL. I DON'T KNOW,
A JUDGE LOOKING DOWN
FROM A BENCH
MAY NOT SEE THAT.
HEY, HEY...
JUST, UH...
KEEP THINKING
THEM GOOD THOUGHTS.
LET'S JUST SEE
WHAT HAPPENS.
O.K.
I WAS IN BOSTON.
I WAS WITH A MEDIOCRE
LITTLE DANCE COMPANY.
BY THAT TIME,
I WAS GOING
WITH A LEAD DANCER.
AND WHEN I TOLD HIM
I WAS PREGNANT,
HE LEFT.
THAT WAS MY DAD?
NO, HONEY.
ANYWAY, I WENT
TO NEW YORK.
I DON'T KNOW WHY.
I WAS REALLY SCARED...
AND VERY LONELY,
BUT I WAS GOING
TO HAVE A BABY.
AND I WANTED THAT BABY.
BUT SHE DIED.
I LOST HER.
SWEETIE...
I HAVE TO TELL YOU THIS.
I GOT VERY SICK...
MIXED UP.
I COULDN'T MAKE SENSE
OUT OF THINGS.
I COULDN'T SEEM TO FIND
MY WAY AROUND PLACES
OR FACES.
REALITY JUST DISAPPEARED.
I DIDN'T KNOW
WHAT TO DO.
I DIDN'T WANT TO LIVE,
BUT I COULDN'T SEEM
TO FIND THE RIGHT WAY
TO KILL MYSELF.
BUT THEN ONE DAY...
OUTSIDE SOME STORE
SOMEWHERE...
I SAW THE MOST
BEAUTIFUL BABY.
I TOOK HER.
IT WAS YOU.
I'VE NEVER LET GO
OF YOU SINCE.
FORGIVE ME.
[BELL RINGS]
THE CHIEF AND MR. TIBBS
ARE OVER THERE FOR YOU.
[BELL RINGS]
I SUPPOSE
THIS IS MR. ARKIN
FROM NEW YORK.
CHIEF GILLESPIE.
MY CHIEF INVESTIGATOR
MR. TIBBS.
HOW DO YOU DO?HOW ARE YOU?
CAN I GET YOU
SOMETHING?
COFFEE. BLACK.
CHERYL, A CUP OF BLACK
COFFEE HERE, PLEASE.
WELL, STRANGE CASE,
ISN'T IT?
SAD CASE.
YOUR FORMER WIFE
WORKING THIS CASE
ALL THESE YEARS.
DON'T PUT THAT ON ME.
WE DIDN'T KNOW IT.
MARGE WAS ON HER OWN.
WHEN SHE WORKED FOR US,
SHE BLACKMAILED CLIENTS.
SAME THING AS HERE.
YEAH, BUT WAY BEFORE
WE KNEW,
WE DROPPED THAT CASE.
SO YOU QUIT LOOKING
FOR KATE MORELL?
WE DIDN'T HAVE A NAME
IN THE BEGINNING.
THE PERSON TURNED OUT
TO BE KATE MORELL.
WE DIDN'T HAVE A NAME,
WE DIDN'T HAVE A LEAD.
PERSONALLY,
I NEVER FIGURED SHE'D
SHOW UP IN A SMALL TOWN.
SHE NEEDED BIG TOWNS.
SHE WAS
A PROFESSIONAL DANCER.
THANKS.
I KEEP THINKING
SHE'S SITTING
IN THAT PLACE,
CURLED UP
AND CRYING,
AND I WON'T BE THERE
IF SHE HAS
A NIGHTMARE.
WHEN I WAS
LITTLE,
WE USED TO SIT
ON THE FLOOR
FOR HOURS,
COLORING
TOGETHER.
SHE'D ALWAYS
LET ME HAVE
THE PURPLE AND
VIOLET CRAYONS.
THEY WERE
MY FAVORITES.
YOU WANT ME TO
GO TO BED, HUH?
NO, NOT IF YOU WANT
TO TALK.
SHE ALWAYS
LET ME TALK...
AS MUCH
AS I WANTED TO.
SHE FED ME ICE CREAM
WHEN I HAD
MY TONSILS OUT.
SHE BRAIDED MY HAIR
EVERY MORNING.
AND SHE LIED TO ME.
BUT I DON'T CARE
WHAT SHE DID WRONG.
I GUESS I SHOULD BE
MAD OR SOMETHING,
SHOULDN'T I?
OH, HONEY,
I CAN'T TELL YOU
ABOUT SHOULDS
OR SHOULDN'TS.
SOME PEOPLE
KNOW ABOUT THEM.
I DON'T.
SHE'S JUST...
SHE'S...
I KNOW.
SHE'S YOUR MOM.
YES.
SHE'S MY MOM.
IT'S O.K.
I'VE BEEN
A GOOD MOTHER.
UH-HUH.
TO THE WRONG CHILD.
EVERY DAY
FOR THE LAST 15 YEARS,
YOU'VE BEEN STEALING
THAT CHILD
OVER AND OVER AGAIN.
NO.
YOU DID.
EVERY MORNING
YOU GOT UP,
YOU MADE YOURSELF
BREAKFAST.
YOU MADE
THAT SAME DECISION
OVER AND OVER AGAIN.
I WONDER
WHAT KIND OF HELL
YOU THOUGHT
YOU WERE PUTTING
HER PARENTS THROUGH--
IF YOU THOUGHT
ABOUT IT AT ALL.
[DOOR OPENS]
NOW...
NOW...
I THINK YOU KNOW
WHAT TO DO.
DO IT.
ALL RIGHT.
DON'T BE LONG.
YOU HAVE TO BE SAFE.
THAT'S ALL THAT MATTERS.
NO. YOU AND ME
TOGETHER--
THAT'S WHAT MATTERS.
PLEASE?
I HAVE TO GO
TO PRISON.
I'LL LIVE CLOSE BY.
I CAN GET A JOB
AND SEE YOU EVERY DAY.
OH, BABY, THEY WON'T
LET YOU DO THAT.
YOUR REAL MOTHER
AND FATHER ARE HERE.
AN INVESTIGATOR
BROUGHT THEM DOWN
FROM NEW YORK.
CHIEF GILLESPIE...
HE CHECKED THEM OUT.
THEY'RE
VERY GOOD PEOPLE.
I DON'T CARE.
THEY NEVER STOPPED
LOOKING FOR YOU.
I'M NOT GOING
WITH THEM.
THERE'S NOWHERE ELSE
TO GO.
I'M SO SORRY.
I LOVE YOU SO MUCH.
AND I WON'T EVER LOVE
ANYBODY ELSE.
PLEASE, MOM.
SHH, BABY.
YOU TRY.
PLEASE TRY,
IF YOU LOVE ME.
I'LL CALL YOU
EVERY DAY, IF I CAN.
MOM-- I PROMISE.
I CAN'T DO THIS
UNLESS I KNOW
YOU'RE O.K.
YOU KEEP DANCING.
SORRY, MA'AM.
CHIEF,
WHERE'S THE HOPE HERE?
IF YOU'RE ASKING ME
TO REVEAL THE FUTURE,
VIRGIL...
I CAN'T. I CAN'T.
I MEAN, IT'S TERRIBLE
FOR THOSE PARENTS,
BUT THEY
COULDN'T LOOK AT IT.
THEY DIDN'T KNOW
WHAT WAS HAPPENING
TO THEIR DAUGHTER.
THEY WANTED TO FIND OUT.
SO WOULD YOU.
WHEN THE TRUTH
COMES OUT,
IT'S ALWAYS TERRIBLE
FOR SOMEBODY.
YEAH, BUT LOOK
AT THIS--
THIS IS TERRIBLE
FOR EVERYBODY, ISN'T IT?
WELL, VIRGIL,
IF YOU ASK ME,
IT'S ONLY TERRIBLE
FOR EVERYBODY
WHEN THE TRUTH
DOESN'T COME OUT.
♪ I'VE GOT TROUBLES
WALL TO WALL ♪
♪ IN THE HEAT OF THE NIGHT
♪ YEAH
♪ MUST BE AN ENDING
TO IT ALL ♪
♪ OH
♪ BUT HOLD ON
♪ IT WON'T BE LONG
♪ JUST YOU BE STRONG
♪ AND IT'LL BE ALL RIGHT
♪ IN THE HEAT OF THE NIGHT
♪ IN THE HEAT
OF THE NIGHT ♪
NO.
YOU CAN'T.
NO.
NO! GET OUT!
MOM.
MOM, IT'S O.K.
IT'S O.K.
YOU'RE ALL RIGHT.
IT WAS JUST A DREAM.
OH, JAYCEE!
IT'S OVER NOW.
IT'S AWFUL. I'M SORRY.
SHH.
I DIDN'T MEAN
TO SCARE YOU.
YOU DIDN'T.
[KNOCK ON DOOR]
[KNOCK KNOCK]
OH.
[KNOCK KNOCK]
I BET I KNOW
WHO ELSE I WOKE UP.
OUR FAVORITE NEIGHBOR.
[PARKER]
KATE, IT'S ME.
GET THE DOOR, HONEY.
O.K.
[KNOCK KNOCK]
[KNOCK KNOCK]
IS EVERYTHING ALL RIGHT?
WHAT HAPPENED?
NOTHING NEW.
ONE OF MOM'S NIGHTMARES.
SHE'S O.K. NOW.
KATIE, GIRL, YOU
SCARED ME TO DEATH.
I'M SORRY.
I'M EMBARRASSED.
NO, I WAS JUST
GETTING HOME.
I MEAN, I PULLED
THE LATE SHIFT.
ARE YOU SURE
EVERYTHING'S
ALL RIGHT?
OH, POSITIVE.
YOU'RE SWEET FOR CHECKING.
NO PROBLEM.
IF THERE'S EVER
ANYTHING YOU NEED...
I'LL HAVE MOM
SCREAM AGAIN.
YOU WATCH IT,
LITTLE'UN.
GOOD NIGHT.
AND THANKS AGAIN.
GOOD NIGHT.
SHE GOT A PHONE CALL
THAT GOT HER JUMPY.
WHO WAS IT?
DIDN'T ASK. JUST
HANDED HER THE PHONE.
IT WAS SOME WOMAN.
[HORN HONKS]
[SIREN]
MA'AM, YOU RAN
A RED LIGHT
AND DARN NEAR
HIT SOMEBODY.
SORRY, OFFICER.
I DIDN'T EVEN SEE IT.
MARGE WINTHROP.
NEW YORK.
WELL, YOU'RE A LONG
WAY FROM HOME.
TELL ME ABOUT IT.
WELCOME TO MISSISSIPPI,
MISS WINTHROP.
YOU HAVE A NICE VISIT
NOW, YOU HEAR?
THANKS.
IT'S A SURPRISE. DON'T
TELL ANYBODY AT THE SCHOOL.
BE RIGHT
WITH YOU FOLKS.
YEAH, O.K. WELL, HOW'S
OLD MARVIN AND THE KIDS?
UH-HUH.
GOT TO GO. SEE YOU.
UH, CHIEF.
WE'RE HAVING A SURPRISE
BIRTHDAY PARTY
FOR KATE MORELL.
I WAS JUST MAKING
SOME PHONE CALLS
FOR HELPING OUT
HER DAUGHTER JAYCEE.
KATE MORELL.
MMM-MMM.
W-WHAT DO YOU MEAN
BY THAT?
HMM?
KATE MORELL.
MMM-MMM.
WELL, I MEAN SHE'S
A BEAUTIFUL WOMAN,
PARKER,
THE TYPE OF WOMAN
THAT WOULD DRESS UP
ANY PARTY.
THAT'S ALL.
THAT'S RIGHT.
WHOO.
I WANT A PHOTOCOPY
OF 119.
SORRY.
AND THANK YOU.
SORRY,
AND YOU'RE WELCOME.
ALL RIGHT!
SET IT UP! PERFECT!
THERE YOU GO.
OH, GOOD!
GOOD HIT.
ONE MORE POINT.
I NEED TO SEE IT.
LET'S GET ANOTHER
ONE GOING. COME ON!
GOOD POINT, GIRLS.
GOOD SERVE.
SET IT UP.
GOOD! GO FOR IT!
YOU DID IT.
ALL RIGHT!
GET IT OVER! OH!
[WHISTLE BLOWS]
GOOD GAME. ALL RIGHT,
HIT THE SHOWERS, GIRLS.
HEY, YOU REALLY PUT
AWAY THAT PRACTICE GAME.
EASY. I CAN DO IT
ON TOE OR TAP,
BLOWING BUBBLES
AND BLINDFOLDED.
GET OUT OF HERE.
PARKER TELL YOU
ABOUT MOM'S PARTY?
WE'LL BE THERE.
WE? YOU BRINGING
THE HEAT WITH YOU?
YOU'RE SUPPLYING
FOOD AND DRINKS.
I'LL SUPPLY
THE SECURITY SYSTEM.
SEE YA.
[MUSIC PLAYS]
OH, NO, NO, NO,
NO, NO.
COME ON.
YOU CAN'T SHOW OFF
LIKE THAT.
I NEED SOME AIR.
YOU HEAR WHAT I HEAR?
I'M LOOKING AT IT.
HOW ABOUT
YOU TAKE THE BALLET,
I TAKE THE JAZZ?
O.K.
O.K. COME ON, PARTNER.
HI THERE.
HI.
YOU GIRLS GO ON
UPSTAIRS WITH JAYCEE.
HI.
KATE, LAURA LYNN
IS REAL GRACEFUL,
BUT I TELL YOU,
THAT DEBBIE--SHE
MUST TAKE AFTER ME.
THAT'S MY PROBLEM NOW.
THEIR FATHER THINKS
THAT ANYTHING
INVOLVING THE ARTS--
LIKE DANCING--
IS A WASTE OF MONEY,
BUT HE THINKS
EVERYTHING
EXCEPT BEER AND TV
ARE A WASTE.
WHEN HE SEES
THEIR FIRST RECITAL,
HE'LL BE A BELIEVER.
SEE YOU IN TWO HOURS.
ALL RIGHT.
HIT IT, BOY.
YEAH, HIT IT.
HIT IT.
NO MORE "YASSAH, BOSS."
SHOULDN'T YOU BE DOING
YOUR HOMEWORK, HON?
[TELEPHONE RINGS]
[RING]
HELLO.
HELLO, KATE.
I'M HERE NOW.
I KNOW. I SAW YOU ACROSS
FROM THE STUDIO TODAY.
I WANT TO TALK
TO YOU.
YOU NEED
TO TALK TO ME.
THE SYCAMORE
STREET BRIDGE.
YOU KNOW IT?
YES.
MEET ME THERE
AT MIDNIGHT.
AND COME ALONE.
YOU HAD YOUR CHANCE.
YOU DON'T
WANT TO TAKE IT,
TAKE THE CONSEQUENCES.
DON'T DO THIS, PLEASE.
YOU THINK YOU DESERVE
SPECIAL CONSIDERATION
AFTER WHAT YOU DID?
WHO ARE YOU TO JUDGE,
TO BREAK INTO MY LIFE?
DON'T DO THIS, PLEASE!
LET GO.
LISTEN, PLEASE!
AAH!
WHAT DO YOU THINK?
I THINK IT'S FLOWERY.
MMM.
O.K.
WHAT ABOUT THIS?
OOH.
YELLOW.
I THINK IT'S...
VERY YELLOW...
MAYBE TERMINALLY SO,
BUT IT'S NICE!
OH, COME ON, BABY,
IT'S NICE.
YEAH.
IT'S NICE.
I GOT TO GET
TO SCHOOL.
O.K.
YOU KNOW, YOU'RE
BEING WONDERFUL
ABOUT THIS.
I MEAN--
NOT THE PAINT,
THE PAPER--
THAT'S ALL HELPING,
BUT YOU'RE THE ONE
THAT'S MAKING
THE DIFFERENCE.
I ALMOST LAUGHED
IN THIS ROOM.
I KNOW.
I THINK IT'S
'CAUSE YOU'RE FINALLY
GETTING OVER THE--
YOU KNOW,
YOU'RE ABOUT OVER IT.
YOU'RE GETTING
OVER IT.
YOU CAN SAY RAPE.
IT'S O.K.
LISTEN. WHEN--
[TELEPHONE RINGS]
TALK ABOUT TIMING.
IT WOULDN'T BE HARD
TO FALL OVER
THAT LITTLE RAILING.
YEAH,
OR BEEN PUSHED.
MAYBE JUMP.
JUMPERS USUALLY GO
FROM HIGHER PLACES.
I'M GOING TO TAKE
A LOOK FROM UP THERE.
A BRAKEMAN FOUND HER
ABOUT 5:15 AND PHONED IN.
MORNING, CHIEF.
YEAH, MORNING.
ANY GUNSHOT WOUNDS,
ANY STAB WOUNDS?
NO, SIR. SHE'S
JUST ALL BUSTED UP.
CAN I SEE HER?
YEAH.
WHO IS SHE?
WELL...
ACCORDING TO THIS,
NAME'S MARGE WINTHROP.
PRIVATE INVESTIGATOR
FROM NEW YORK.
PRIVATE INVESTIGATOR.
WELL, WELL, WELL.
HEY, CHIEF.
WE GOT SIGNS OF
A STRUGGLE UP HERE.
AND THE CAR THAT WAS
PARKED BY THE MUNICIPAL
BUILDING--
IT'S HERE.
WHAT CAR?
VIRGIL THINKS
HE SAW THIS WOMAN
IN TOWN
YESTERDAY AFTERNOON.
I GAVE HER A TICKET
YESTERDAY.
SHE'D BEEN STAYING OUT
AT THE KLING MOTEL.
HADN'T CHECKED OUT YET.
THAT MEANS SHE
HADN'T FINISHED
HER BUSINESS IN TOWN.
WHATEVER THAT WAS.
GO WAKE UP HANNAPIN
AT THE PHOTO SHOP.
TELL THEM TO BLOW UP
THIS LADY'S LICENSE.
THEN CIRCULATE
THE PICTURES AROUND.
YES, SIR.
JAMISON.
BRING SOME EQUIPMENT.
WE GOT SOME
FOOTPRINTS HERE.
TAKE SOME PICTURES,
MAKE CASTS, O.K.?
YEP.
SWEET,
GIVE ME A HAND?
LET'S GO.
I'LL GO OVER
TO THE MOTEL.
I GUESS WHOEVER
SHE WAS INVESTIGATING
CLOSED THE CASE, HUH?
WELL...I'VE DECIDED
TO REOPEN IT.
ALL RIGHT. GO AHEAD.
MS. TIBBS,
YOU EVER SEEN
THIS WOMAN BEFORE?
I SWEAR I SAW THIS WOMAN
ACROSS THE STREET YESTERDAY.
IT WAS AFTER
THE LAST GYM PERIOD.
YEAH, I REMEMBER.
SHE WAS RIGHT OVER THERE.
WHAT WAS SHE DOING?
DID SHE TALK TO YOU?
NO. SHE JUST
STAYED THERE.
KATE, DO YOU RECOGNIZE
THIS WOMAN FROM SOMEPLACE?
UH, NO. WHO IS SHE?
WAS SHE.
SHE'S DEAD.
WHAT HAPPENED?
THEY THINK SOMEONE
THREW HER OFF
THE TRAIN OVERPASS.
THAT'S AWFUL. WHY?
WELL, JAYCEE, SHE WAS
A PRIVATE INVESTIGATOR.
LOOKING FOR SOMEBODY
IN SPARTA?
WELL, WE THINK SHE
MIGHT HAVE FOUND THEM...
OR THEY FOUND HER.
LADIES, MORNING.
THANKS FOR YOUR HELP.
BYE-BYE. BYE, BUBBA.
BYE, SWEETIE. BYE, KATE.
IF SHE WAS
ON A CASE,
THERE SHOULD BE
SOMETHING HERE--
FILES, EXPENSE SHEET,
RECORD OF LEADS,
CONTACTS, OR SOMETHING.
FOR AN OLD CASE,
YEAH,
BUT IT MIGHT BE
SOMETHING NEW.
MAYBE.
YOU KNOW,
JOSIE OVER
AT THE MUNICIPAL BUILDING
SAID SHE PHOTOGRAPHED
SOMETHING,
BUT WHERE'S
THE PHOTOGRAPH?
IT'S NOT IN HER CAR
OR HER PURSE.
MAYBE WHOEVER
PUSHED HER TOOK IT.
UH, WELL,
WAIT A MINUTE.
LET'S SEE.
WHAT IS THIS?
UH...IS THIS IT?
LET'S SEE.
WELL, IT COULD BE.
IT'S A RENEWAL APPLICATION
FOR A BUSINESS LICENSE
DATED 1989
FOR KATE MORELL.
SHE'S THAT WOMAN
THAT PARKER'S
KIND OF SWEET ON.
IS THIS A SINGLE WOMAN?
WITH A DAUGHTER
WHO HAPPENS TO BE
ALTHEA'S STUDENT.
OH, YEAH.
DO YOU KNOW EITHER
MOTHER OR DAUGHTER?
TO SAY HELLO TO.
YOU OUGHT TO TALK
TO PARKER.
YOU OUGHT TO TALK
TO PARKER.
I OUGHT TO FIND OUT MORE
ABOUT THIS UNFORTUNATE
WINTHROP WOMAN.
I'M SORRY.
I AM REALLY...
I'M REALLY SORRY
ABOUT MAKING YOU
COME ALL THE WAY
DOWN HERE LIKE THIS.
PARKER, PLEASE, JUST
STOP APOLOGIZING.
I DON'T REMEMBER YOU
EVEN LEAVING YOUR JACKET.
WELL, I DID.
I FEEL REALLY DUMB
ABOUT IT,
LEAVING MY BADGE
IN IT.
IF I LOSE
ANOTHER BADGE,
THE CHIEF
WILL KILL ME.
I CAN'T IMAGINE ANYBODY
GETTING MAD AT YOU.
YOU'RE TOO SWEET.
SWEET?
REALLY?
ME?
WE'LL FIND IT.
SURPRISE!
SURPRISE!
SURPRISE!
WHEW!
♪ HAPPY BIRTHDAY TO YOU
♪ HAPPY BIRTHDAY TO YOU
♪ HAPPY BIRTHDAY,
DEAR KATE ♪
♪ HAPPY BIRTHDAY TO YOU
THANK YOU, THANK YOU.
WAIT, WAIT.
NOW I'VE GOT
TO MAKE A WISH.
WE WEREN'T CERTAIN
HOW MANY CANDLES TO USE.
I SHOULD HOPE NOT.
I WAS A CHILD BRIDE.
YOU'RE THE BEST, MOM.
HAPPY BIRTHDAY, MOM.
I LOVE YOU.
DRINKS ARE OVER THERE.
AREN'T WE AWESOME?
I CAN'T BELIEVE
YOU DID THIS, BABY.
I KNOW SOMEBODY WHO
DID LEND SOME HELP HERE.
WHO COULD THAT BE?
UH, I DON'T KNOW.
YOU KNOW WHAT
THIS STINKER DID?
HE TOLD ME THAT
HE LOST HIS BADGE.
HEY, QUIET EVERYBODY,
QUIET.
YOU DON'T LOOK FESTIVE.
I'M NOT.
I HAVE TO TALK
TO KATE.
I--I CAN'T TELL YOU
WHAT THIS MEANS TO ME.
I NEVER THOUGHT
THAT I WOULD EVER FIND
A PLACE LIKE THIS,
WITH SO MANY
KIND PEOPLE AND...
A SAFE PLACE FOR ME
TO RAISE MY DAUGHTER.
I FEEL LIKE I'M GOING
TO GET ALL WEEPY-EYED.
WILL YOU GO TURN UP
THE MUSIC, PLEASE?
LET'S CUT THE CAKE.
HI. HI, VIRGIL.
UH, THANKS FOR COMING.
HAPPY BIRTHDAY,
KATE.
WANT ME TO GET YOU
WINE OR SOMETHING?
NOTHING, THANKS.
HERE.
UH...KATE,
I'M SORRY, BUT, UH,
I HAVE TO ASK YOU
A FEW QUESTIONS
CONCERNING THE DEATH
OF A WOMAN HERE.
EVER SEE THIS FACE?
SERGEANT SKINNER HAD
A COPY OF THIS
AT THE SCHOOL TODAY.
AND, YEAH, I SAW IT
ON THE 6:00 NEWS.
EVER SEE IT
BEFORE TODAY?
NO, I DON'T THINK SO.
SURE YOU DON'T WANT
SOME WINE?
NO, NO, NO, NO, NO.
YOU SEE, KATE,
ONE OF THE MOTHERS
SAID SHE SAW
THIS WOMAN
ACROSS THE STREET
FROM YOUR STUDIO.
REALLY?
YEAH, YEAH.
UH, MARGE WINTHROP.
SHE PHOTOSTATED A COPY
OF YOUR BUSINESS LICENSE.
ANY IDEA WHY?
NOPE, I--I
REALLY DON'T.
KATE, WE'RE
YOUR FRIENDS HERE.
YOU DON'T HAVE TO
HIDE THINGS FROM US.
I DON'T KNOW WHAT YOU'RE
TALKING ABOUT, VIRGIL.
DETECTIVE T.
YEAH?
I THINK
THAT'S ENOUGH.
NO, PARKER, IT ISN'T.
KATE, YOU SEE--
KATIE SAID
SHE DIDN'T KNOW ANYTHING,
SO SHE DOESN'T
KNOW ANYTHING.
PARKER...
BACK OFF.
I SAID...
LEAVE THE LADY ALONE.
PARKER, I WANT YOU
TO SPEND 30 MORE MINUTES
AT THIS PARTY,
AND THEN REPORT TO ME
AT THE STATION.
YES, SIR.
CHIEF, THAT PRIVATE EYE'S
ON THE LINE.
SWITCH IT OVER HERE.
PUT THE NEW YORK CALL
ON THE CHIEF'S LINE.
DID VIRGIL CALL IN?
HE'S ON HIS WAY.
MR. ARKIN?
I'M ON.
YOU SAID SHE WAS
KILLED IN A FALL.
WHAT DID YOU MEAN--
ACCIDENT?
MAYBE NOT, SIR,
WE HAVE EVIDENCE
SHE MIGHT HAVE BEEN PUSHED.
WAIT.
HERE'S THE CHIEF.
MR. ARKIN,
I'D LIKE TO KNOW
WHAT YOUR AGENT
WAS WORKING ON DOWN HERE.
FIRST OF ALL,
SHE'S NOT MY AGENT.
WELL, UH...
THIS CARD WE GOT
OUT OF HER WALLET SAYS,
"WELCH, ARKIN, AND WINTHROP,
PRIVATE INVESTIGATORS."
SHE HAD THAT
PRINTED HERSELF.
WE DON'T USE CARDS.
SHE'S BEEN GONE
1 1/2 YEARS.
WE FIRED HER.
WHY'D YOU DO THAT?
SHE WAS
A NO-GOOD CROOK.
I'LL EXPLAIN
WHEN I ARRIVE.
COMING HERE?
PLANE TO NEW ORLEANS,
THEN DRIVE UP.
SOMEBODY'S GOT TO
CLAIM THE BODY,
ARRANGE A FUNERAL.
THAT'S NICE OF YOU,
CONSIDERING EVERYTHING.
THAT'S THE LEAST
I CAN DO.
I WAS MARRIED TO HER
10 YEARS.
CHIEF.
WE MAY HAVE
AN INTERNAL PROBLEM
WITH PARKER.
GOT ANYTHING TO DO
WITH THAT DANCING LADY?
DID HE TELL YOU
WHAT HE WAS WORRIED ABOUT?
HE ONCE THOUGHT
KATE MORELL
WAS RUNNING
FROM SOMEBODY,
MAYBE HER HUSBAND.
JAYCEE'S FATHER?
I RECKON.
WHAT ARE YOU THINKING?
WHAT A SHAME IT
WOULD BE IF PARKER
GOT HIMSELF
INTO TROUBLE
FOR COVERING UP
A MURDER.
IT'S HAPPENED TO ME.
MORE THAN ONCE.
NOW IT'S HAPPENED TO YOU.
IT WILL AGAIN.
WHEN POLICE DUTY RUNS
STRAIGHT INTO SOME
PERSONAL PROBLEM
OR CUTS ACROSS
PERSONAL INTERESTS,
HOW WILL YOU HANDLE THAT
IN THE FUTURE?
I'LL DO MY DUTY.
WITHOUT
ANY RESERVATIONS?
YES, SIR,
NO RESERVATIONS.
WELL, ALL RIGHT.
CHIEF?
DO YOU WANT ME
TO SAY, I'M SORRY?
I'M SORRY.
IT JUST SEEMED
LIKE LOUSY TIMING.
IT WAS KATE'S
BIRTHDAY PARTY.
THE DETECTIVE
COMES OUT THERE
AND STARTS GRILLING HER
ABOUT SOME STRANGER.
SOME STRANGER
WHO WAS THROWN
FROM AN OVERPASS.
KATE WASN'T INVOLVED
WITH THAT.
PARKER, KATE IS THE REASON
THE DEAD WOMAN
CAME TO SPARTA
IN THE FIRST PLACE, O.K.?
KATE DIDN'T KNOW HER.
WELL, KATE WAS LYING.
DON'T SAY THAT!
SEE WHAT I MEAN?
WILL YOU QUIT
PLAYING THE FOOL?
CHIEF,
SHE'S A NICE WOMAN.
NICE WOMEN HAVE
BEEN KNOWN TO LIE!
LIGHTS OUT?
MM-HMM.
MM-HMM.
WAS WHAT YOU DID
AT THE PARTY
REALLY NECESSARY?
I AM INVESTIGATING
A CASE, BABE.
JAYCEE AND PARKER
KNOCKED THEMSELVES OUT
TO THROW A PARTY,
AND YOU COME IN
AND START GRILLING KATE
ABOUT SOME STRANGER.
SOME STRANGER?
BABY, A WOMAN WAS KILLED
IN THIS TOWN.
YOU DON'T THINK KATE
KNEW ANYTHING
ABOUT THAT, DO YOU?
THAT'S NOT
WHAT I SAID, ALTHEA.
THAT'S NOT
AN ANSWER.
O.K.
NOW, I DON'T KNOW THAT KATE
KILLED THIS WOMAN,
BUT I DO KNOW
KATE KNOWS WHY SHE'S DEAD.
O.K.? LIGHTS OUT?
MM-HMM.
YEAH.
NO, I'M STILL WORRIED.
THESE ARE THE CASTS?
IT FITS.
IT'S KATE MORELL'S.
HER NAME'S IN IT.
WHERE'D YOU GET IT?
OVER AT HER PLACE.
KIND OF EASY,
WASN'T NOBODY OVER THERE.
HERE'S
OUR SEARCH WARRANT.
MISS MORELL'S THE ONLY ONE
IN TOWN SELLS THIS SHOE.
WE CHECKED
AND CALLED AROUND.
THEY'RE CALLED
CHARACTER SHOES.
THEY MAKE THEM
ESPECIALLY FOR DANCERS.
NO DOUBT THOSE
OTHER IMPRESSIONS
BELONG
TO THE DEAD WOMAN?
NO DOUBT.
CHARACTER SHOES,
HUH?
WELL, WELL.
WELL, THIS
LITTLE NUMBER...
LOOKS LIKE IT'S DONE
A BIT OF DANCING.
MAYBE A BIT
OF RUNNING, TOO.
YOU KNOW I DON'T
LIKE TO GET INTO
YOUR BUSINESS.
MM-HMM.
AND I DON'T WANT
TO BE PULLED IN
BY IT, EITHER.
BUT...
THIS IS PERSONAL.
I LIKE KATE MORELL,
AND I'M
VERY FOND OF JAYCEE.
AND?
AND AFTER YOU LEFT
THE PARTY LAST NIGHT,
WELL, THERE WERE WORDS
BETWEEN THE TWO OF THEM.
JAYCEE SAID SOMETHING
FUNNY WAS GOING ON.
SHE WANTED TO KNOW
WHAT IT WAS.
KATE SAID NOTHING.
JAYCEE SAID,
"WHO WAS ON THE PHONE?
WHY DID YOU GO OUT?"
WELL, WELL, WELL.
DOES THAT MEAN ANYTHING?
YEAH.
THAT MEANS A LOT.
I FEEL LIKE AN INFORMER.
WHAT ARE YOU
TRYING TO DO?
HELP SOMEBODY.
ISN'T THAT RIGHT?
YEAH.
WELL,
THEN DON'T WORRY.
YOU'RE DOING
THE RIGHT THING.
BUT I STILL FEEL WORRIED.
"JAYCEE MORELL, BORN
IN BOSTON, 1974.
"SCHOOLS
IN NEW YORK,
SPOKANE, DENVER,
"LOUISVILLE, AND
SPARTA, MISSISSIPPI.
"GOOD HEALTH, NO
DISABLING AILMENTS.
GOOD ATTENDANCE.
GOOD STUDENT."
"A" IN ALGEBRA?
NOW, LET'S SEE.
BUBBA?
HI, CHERYL.
WHEN I HEARD THERE
WAS A COP HERE,
I KNEW IT WAS VIRGIL.
HELLO.
HOW YOU FEELING?
I'M FINE.
I'M COMING AROUND.
WHAT'S UP
WITH THE MORELLS?
WELL, NOT VERY MUCH NEW.
WE'RE CHECKING
DIFFERENT CITIES,
SCHOOLS,
THINGS LIKE THAT.
TO TELL YOU THE TRUTH,
I'M CONCERNED
ABOUT PARKER.
YOU KNOW, HE'S REAL SAD
ABOUT THIS WHOLE THING.
I THINK HE WAS
GETTING READY
TO BUILD THE A-FRAME
AND THE PICKET FENCE.
I HAVE
AN AWFUL FEELING
JAYCEE'S GOING
TO GET HURT.
I JUST DON'T
KNOW HOW.
ME, NEITHER,
BUT I HAVE
THAT SAME FEELING.
I DIDN'T MEAN
DISRESPECT.
KATIE'S REALLY
SPECIAL TO ME.
WHEN, UH,
SHE FIRST MOVED IN,
I HELPED HER CARRY IN
HER STUFF.
YOU KNOW, THE BOXES,
THE COUCH.
ONE DAY.
I WAS A GONER.
I FELL IN LOVE SO FAST.
SHE RESPOND TO YOU?
WELL...
THERE, UH...
REALLY ISN'T ANY ROOM
IN KATIE'S LIFE
FOR ANYBODY
BUT HER DAUGHTER JAYCEE.
SHE REALLY DOESN'T LET
ANYBODY GET THAT CLOSE,
AND SHE MUST
HAVE BEEN HURT
REAL BAD SOMETIME.
YOU MEAN HER HUSBAND?
I DON'T KNOW.
I DON'T EVEN KNOW
IF THERE WAS A MARRIAGE.
DETEC--
EXCUSE ME.
CHIEF SAYS MEET HIM
AT MISS MORELL'S
DANCE STUDIO.
YEAH, YEAH.
YOU KNOW
WHAT I THINK?
I THINK THAT MAYBE
KATE MORELL
DOESN'T KNOW
A GOOD THING
WHEN SHE SEES ONE.
ARMS FIRST AND SECOND.
DEMI PLIE.
NOW GRAND PLIE
ALL THE WAY DOWN.
ARMS THROUGH FIRST.
AND SECOND.
NOW TAKE IT OVER.
AND STRETCH IT
ALL THE WAY BACK.
AND KEEP YOUR ARM THERE.
GOOD.
FRONT.
AND TOGETHER.
FRONT.
GOOD. OPEN SIDE.
BIG STRETCH.
AND NOW REACH BACK.
TOGETHER.
NOW REACH BACK.
AND TOGETHER.
AND BACK.
TOGETHER.
THANK YOU, LADIES.
THAT WAS WONDERFUL.
THANKS FOR BEING
SO GOOD,
NOW OFF TO
THE DRESSING ROOMS.
SCOOT.
GIRLS SEEM TO BE
ENJOYING THEMSELVES.
WHERE'S YOUR MAMA?
SHE'S NOT HERE.
I THOUGHT
I'D BE BOUND TO FIND HER
AT THIS HOUR.
THERE SHE IS,
SURE ENOUGH.
HELLO, CHIEF.
JAYCEE, HELP THE KIDS
SORT OUT THEIR STUFF.
DON'T KEEP SENDING
ME OUT OF THE ROOM.
PLEASE?
THEY DON'T MATCH,
AND SHARON CAN'T GET
BUTTONED IN BACK.
HONEY, LET ME TALK
TO THE CHIEF ALONE.
LIBBY'S MOM CAN
TAKE YOU HOME.
I'LL BE HOME SOON.
DON'T WORRY.
WHEN MARGE WINTHROP
WAS KILLED THE OTHER NIGHT,
WHERE WERE YOU?
I DON'T HAVE TO
ANSWER QUESTIONS.
I DON'T KNOW WHAT
YOU'RE TALKING ABOUT.
SHE WAS PUSHED OFF
A RAILROAD OVERPASS
BY ANOTHER WOMAN.
AND, UH...
WE KNOW THAT, UH...
THAT THIS SHOE
BELONGED TO THAT WOMAN.
YOUR NAME IS IN IT.
MASSACHUSETTS SAYS
NOT ONLY IS THERE
NO RECORD OF YOUR
MARRIAGE LICENSE
OR DIVORCE,
THERE'S NO RECORD
OF JAYCEE'S BIRTH.
STAY OUT
OF MY DAUGHTER'S LIFE.
WILL YOU, PLEASE?
THERE'S NO PETITION
FOR CUSTODY.
KATE, THERE IS
NO LEGAL EVIDENCE
CONNECTING YOU
TO JAYCEE ANYWHERE.
WHEN AND WHERE DID
YOU HAVE THIS GIRL?
KATE, YOU'RE GOING TO
HAVE TO COME DOWN
TO THE STATION
AND EXPLAIN SOME THINGS.
SHE CALLED ME,
I WENT TO
THE OVERPASS.
WHAT DID SHE WANT?
$50,000.
SHE KNEW
SOMETHING ABOUT ME
AND SAID IF I PAID,
SHE WOULDN'T TELL.
AND YOU REFUSED?
I SAID I COULD
COME UP WITH 25,
BUT I KNEW
THAT WOULDN'T DO.
EVEN IF
I GAVE HER 50,
SHE WOULD WANT MORE
SOONER OR LATER.
SO I--ALL I COULD DO
WAS PLEAD FOR
SYMPATHY.
THAT'S WHAT I DID.
WHAT DID SHE DO?
SHE STARTED
TO WALK AWAY.
I GRABBED HER
TO BEG HER NOT TO--
SHE PULLED--
PUSHED ME AWAY.
I HELD ON TO HER.
WE BOTH FELL
INTO THE...
GUARDRAIL,
AND...
SHE WENT OVER.
I DID NOT MEAN
TO KILL HER.
WHO COULD THINK MOM
COULD KILL THAT LADY
OR KILL ANYBODY?
WELL AS FAR AS I KNOW,
SHE HASN'T BEEN CHARGED
WITH ANYTHING.
WE JUST WANT
TO TALK TO HER.
WHY ARE THEY
EVEN TALKING TO HER?
WELL, HONEY,
THERE'S A LOT OF THINGS
WE GOT TO FIND OUT,
IF JUST FOR YOUR SAKE.
WE SHOULD HAVE
GONE AWAY AGAIN.
WE'D LEFT BEFORE.
WE SHOULD HAVE
DONE IT AGAIN.
HEY, BUBBA.
THE CHIEF AND VIRGIL
ARE AT THE CAFE.
THEY GOT THAT
NEW YORK VISITOR.
HOW'S MY MAMA?
THEY TELL ME
SHE'S DOING FINE.
HAVEN'T YOU SEEN HER?
I JUST CAN'T
GO BACK THERE.
I KNOW I OUGHT TO,
BUT--
IT'S O.K.
I UNDERSTAND.
WHY DON'T YOU TAKE
HER BACK THERE?
SURE. COME ON.
BUBBA.
DO YOU THINK
ANYTHING COULD BE
SAVED FROM THIS?
A KIDNAPPING
IS PRETTY SERIOUS STUFF.
BUT SHE'S A GOOD WOMAN.
YEAH? WELL. I DON'T KNOW,
A JUDGE LOOKING DOWN
FROM A BENCH
MAY NOT SEE THAT.
HEY, HEY...
JUST, UH...
KEEP THINKING
THEM GOOD THOUGHTS.
LET'S JUST SEE
WHAT HAPPENS.
O.K.
I WAS IN BOSTON.
I WAS WITH A MEDIOCRE
LITTLE DANCE COMPANY.
BY THAT TIME,
I WAS GOING
WITH A LEAD DANCER.
AND WHEN I TOLD HIM
I WAS PREGNANT,
HE LEFT.
THAT WAS MY DAD?
NO, HONEY.
ANYWAY, I WENT
TO NEW YORK.
I DON'T KNOW WHY.
I WAS REALLY SCARED...
AND VERY LONELY,
BUT I WAS GOING
TO HAVE A BABY.
AND I WANTED THAT BABY.
BUT SHE DIED.
I LOST HER.
SWEETIE...
I HAVE TO TELL YOU THIS.
I GOT VERY SICK...
MIXED UP.
I COULDN'T MAKE SENSE
OUT OF THINGS.
I COULDN'T SEEM TO FIND
MY WAY AROUND PLACES
OR FACES.
REALITY JUST DISAPPEARED.
I DIDN'T KNOW
WHAT TO DO.
I DIDN'T WANT TO LIVE,
BUT I COULDN'T SEEM
TO FIND THE RIGHT WAY
TO KILL MYSELF.
BUT THEN ONE DAY...
OUTSIDE SOME STORE
SOMEWHERE...
I SAW THE MOST
BEAUTIFUL BABY.
I TOOK HER.
IT WAS YOU.
I'VE NEVER LET GO
OF YOU SINCE.
FORGIVE ME.
[BELL RINGS]
THE CHIEF AND MR. TIBBS
ARE OVER THERE FOR YOU.
[BELL RINGS]
I SUPPOSE
THIS IS MR. ARKIN
FROM NEW YORK.
CHIEF GILLESPIE.
MY CHIEF INVESTIGATOR
MR. TIBBS.
HOW DO YOU DO?HOW ARE YOU?
CAN I GET YOU
SOMETHING?
COFFEE. BLACK.
CHERYL, A CUP OF BLACK
COFFEE HERE, PLEASE.
WELL, STRANGE CASE,
ISN'T IT?
SAD CASE.
YOUR FORMER WIFE
WORKING THIS CASE
ALL THESE YEARS.
DON'T PUT THAT ON ME.
WE DIDN'T KNOW IT.
MARGE WAS ON HER OWN.
WHEN SHE WORKED FOR US,
SHE BLACKMAILED CLIENTS.
SAME THING AS HERE.
YEAH, BUT WAY BEFORE
WE KNEW,
WE DROPPED THAT CASE.
SO YOU QUIT LOOKING
FOR KATE MORELL?
WE DIDN'T HAVE A NAME
IN THE BEGINNING.
THE PERSON TURNED OUT
TO BE KATE MORELL.
WE DIDN'T HAVE A NAME,
WE DIDN'T HAVE A LEAD.
PERSONALLY,
I NEVER FIGURED SHE'D
SHOW UP IN A SMALL TOWN.
SHE NEEDED BIG TOWNS.
SHE WAS
A PROFESSIONAL DANCER.
THANKS.
I KEEP THINKING
SHE'S SITTING
IN THAT PLACE,
CURLED UP
AND CRYING,
AND I WON'T BE THERE
IF SHE HAS
A NIGHTMARE.
WHEN I WAS
LITTLE,
WE USED TO SIT
ON THE FLOOR
FOR HOURS,
COLORING
TOGETHER.
SHE'D ALWAYS
LET ME HAVE
THE PURPLE AND
VIOLET CRAYONS.
THEY WERE
MY FAVORITES.
YOU WANT ME TO
GO TO BED, HUH?
NO, NOT IF YOU WANT
TO TALK.
SHE ALWAYS
LET ME TALK...
AS MUCH
AS I WANTED TO.
SHE FED ME ICE CREAM
WHEN I HAD
MY TONSILS OUT.
SHE BRAIDED MY HAIR
EVERY MORNING.
AND SHE LIED TO ME.
BUT I DON'T CARE
WHAT SHE DID WRONG.
I GUESS I SHOULD BE
MAD OR SOMETHING,
SHOULDN'T I?
OH, HONEY,
I CAN'T TELL YOU
ABOUT SHOULDS
OR SHOULDN'TS.
SOME PEOPLE
KNOW ABOUT THEM.
I DON'T.
SHE'S JUST...
SHE'S...
I KNOW.
SHE'S YOUR MOM.
YES.
SHE'S MY MOM.
IT'S O.K.
I'VE BEEN
A GOOD MOTHER.
UH-HUH.
TO THE WRONG CHILD.
EVERY DAY
FOR THE LAST 15 YEARS,
YOU'VE BEEN STEALING
THAT CHILD
OVER AND OVER AGAIN.
NO.
YOU DID.
EVERY MORNING
YOU GOT UP,
YOU MADE YOURSELF
BREAKFAST.
YOU MADE
THAT SAME DECISION
OVER AND OVER AGAIN.
I WONDER
WHAT KIND OF HELL
YOU THOUGHT
YOU WERE PUTTING
HER PARENTS THROUGH--
IF YOU THOUGHT
ABOUT IT AT ALL.
[DOOR OPENS]
NOW...
NOW...
I THINK YOU KNOW
WHAT TO DO.
DO IT.
ALL RIGHT.
DON'T BE LONG.
YOU HAVE TO BE SAFE.
THAT'S ALL THAT MATTERS.
NO. YOU AND ME
TOGETHER--
THAT'S WHAT MATTERS.
PLEASE?
I HAVE TO GO
TO PRISON.
I'LL LIVE CLOSE BY.
I CAN GET A JOB
AND SEE YOU EVERY DAY.
OH, BABY, THEY WON'T
LET YOU DO THAT.
YOUR REAL MOTHER
AND FATHER ARE HERE.
AN INVESTIGATOR
BROUGHT THEM DOWN
FROM NEW YORK.
CHIEF GILLESPIE...
HE CHECKED THEM OUT.
THEY'RE
VERY GOOD PEOPLE.
I DON'T CARE.
THEY NEVER STOPPED
LOOKING FOR YOU.
I'M NOT GOING
WITH THEM.
THERE'S NOWHERE ELSE
TO GO.
I'M SO SORRY.
I LOVE YOU SO MUCH.
AND I WON'T EVER LOVE
ANYBODY ELSE.
PLEASE, MOM.
SHH, BABY.
YOU TRY.
PLEASE TRY,
IF YOU LOVE ME.
I'LL CALL YOU
EVERY DAY, IF I CAN.
MOM-- I PROMISE.
I CAN'T DO THIS
UNLESS I KNOW
YOU'RE O.K.
YOU KEEP DANCING.
SORRY, MA'AM.
CHIEF,
WHERE'S THE HOPE HERE?
IF YOU'RE ASKING ME
TO REVEAL THE FUTURE,
VIRGIL...
I CAN'T. I CAN'T.
I MEAN, IT'S TERRIBLE
FOR THOSE PARENTS,
BUT THEY
COULDN'T LOOK AT IT.
THEY DIDN'T KNOW
WHAT WAS HAPPENING
TO THEIR DAUGHTER.
THEY WANTED TO FIND OUT.
SO WOULD YOU.
WHEN THE TRUTH
COMES OUT,
IT'S ALWAYS TERRIBLE
FOR SOMEBODY.
YEAH, BUT LOOK
AT THIS--
THIS IS TERRIBLE
FOR EVERYBODY, ISN'T IT?
WELL, VIRGIL,
IF YOU ASK ME,
IT'S ONLY TERRIBLE
FOR EVERYBODY
WHEN THE TRUTH
DOESN'T COME OUT.