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Classic US TV
'Police Woman'
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<blockquote data-quote="Snarky Oracle!" data-source="post: 83755" data-attributes="member: 57984"><p><strong>No Place to Hide. </strong>After a murder occurs in a seedy motel and a college professor is shot to death in his campus chemistry lab, and the bullets match despite the crimes seemingly having no reason to be connected, it becomes apparent to Pepper that someone has been hired to knock off participants in the federal witness protection program.</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/PWhide1_zpsahabqawq.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 774px" /></p><p></p><p>Posing as a mini-skirted nurse in the hospital where a wounded witness (Mark Harmon in a cameo) to the latest killing is convalescing, Crowley and the guys shoot to death the hit man once he arrives, is spotted, and attempts his escape. The unit then turns their attention to the grumpy federal agent with great hair (Stephen Young) who oversees his agency's local office, and Pepper takes her place as a secretary, quickly focusing on the mousy, "...30, and in love for the first time..." desk mate who shows up late to work and has a boyfriend whose photo looks suspiciously like Quentin Channing (David Selby).</p><p></p><p>Inviting the girl, Mary Anne (Katherine Justice), over to her apartment for drinks and chit-chat, Pepper and she ramble about their modest lives when Pepper reveals coffee table periodicals which have the latest killing on the cover. Upset, Mary Anne leaves suddenly, and approaches her evil suitor about why the names she keeps providing him are repeatedly turning up dead. He explains to her the obvious, that he's using her to locate these protected witnesses, and that if she doesn't continue, she can be charged as an accomplice -- or worse. The girl walks into the hallway and sobs on a bench.</p><p></p><p>Back at The Witness Semi-Protection Program office, Mary Anne is now uncomfortable around Sergeant Anderson, and even screams for Pepper to "leave me alone!" when confronted in the file room -- which today would lead their coworkers to assume that Pep made a lesbo pass at the girl. Chasing her down into the lobby where she's calling Quentin on the phone, and then out onto the street, Pepper watches from the front steps of the building as the distraught Mary Anne runs into traffic and is sideswiped by a car.</p><p></p><p>Back at headquarters, Pepper nudges barely-injured Mary Anne into grudgingly admitting the entire thing by saying, "<em>I</em>'<em>m not saying that you <strong>knew</strong>, I'm not saying that you wanted anything to happen -- but it <strong>has</strong>.</em>..", and the girl sobs again.</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/PWhide2_zpsm30kd0ut.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 790px" /></p><p></p><p>Armed with the identity and location of the next hit, Pepper and Crowley rush to the Veteran's Administration to save the female physical therapist from assassination, the woman shot at (and missed, in a sun-streaked but badly edited sequence) by the killers in the bushes high above the field. The gang chases after the thugs, catch them, and Crowley makes a provocative crack about "heads or tails" while flipping a coin to see who pays for drinks and dinner.</p><p></p><p>[ATTACH=full]39942[/ATTACH]</p><p></p><p>This is likely my favorite period of POLICE WOMAN, where the show is tight and very competently produced, Pepper is an idealized woman both ethereal yet down-to-earth, there is the simmering feeling of gravity and portend, everything glows like it's a movie, and it's all mostly set to musical cues, forlorn and sacred, Richard Shores originally composed for "Smack" and "Target Black."</p><p></p><p>And the ratings are really high.</p></blockquote><p></p>
[QUOTE="Snarky Oracle!, post: 83755, member: 57984"] [B]No Place to Hide. [/B]After a murder occurs in a seedy motel and a college professor is shot to death in his campus chemistry lab, and the bullets match despite the crimes seemingly having no reason to be connected, it becomes apparent to Pepper that someone has been hired to knock off participants in the federal witness protection program. [IMG width="774px"]http://i17.photobucket.com/albums/b78/Marky888/PWhide1_zpsahabqawq.jpg[/IMG] Posing as a mini-skirted nurse in the hospital where a wounded witness (Mark Harmon in a cameo) to the latest killing is convalescing, Crowley and the guys shoot to death the hit man once he arrives, is spotted, and attempts his escape. The unit then turns their attention to the grumpy federal agent with great hair (Stephen Young) who oversees his agency's local office, and Pepper takes her place as a secretary, quickly focusing on the mousy, "...30, and in love for the first time..." desk mate who shows up late to work and has a boyfriend whose photo looks suspiciously like Quentin Channing (David Selby). Inviting the girl, Mary Anne (Katherine Justice), over to her apartment for drinks and chit-chat, Pepper and she ramble about their modest lives when Pepper reveals coffee table periodicals which have the latest killing on the cover. Upset, Mary Anne leaves suddenly, and approaches her evil suitor about why the names she keeps providing him are repeatedly turning up dead. He explains to her the obvious, that he's using her to locate these protected witnesses, and that if she doesn't continue, she can be charged as an accomplice -- or worse. The girl walks into the hallway and sobs on a bench. Back at The Witness Semi-Protection Program office, Mary Anne is now uncomfortable around Sergeant Anderson, and even screams for Pepper to "leave me alone!" when confronted in the file room -- which today would lead their coworkers to assume that Pep made a lesbo pass at the girl. Chasing her down into the lobby where she's calling Quentin on the phone, and then out onto the street, Pepper watches from the front steps of the building as the distraught Mary Anne runs into traffic and is sideswiped by a car. Back at headquarters, Pepper nudges barely-injured Mary Anne into grudgingly admitting the entire thing by saying, "[I]I[/I]'[I]m not saying that you [B]knew[/B], I'm not saying that you wanted anything to happen -- but it [B]has[/B].[/I]..", and the girl sobs again. [IMG width="790px"]http://i17.photobucket.com/albums/b78/Marky888/PWhide2_zpsm30kd0ut.jpg[/IMG] Armed with the identity and location of the next hit, Pepper and Crowley rush to the Veteran's Administration to save the female physical therapist from assassination, the woman shot at (and missed, in a sun-streaked but badly edited sequence) by the killers in the bushes high above the field. The gang chases after the thugs, catch them, and Crowley makes a provocative crack about "heads or tails" while flipping a coin to see who pays for drinks and dinner. [ATTACH type="full" width="787px" alt="PWlose_car_zpsx6niwrgr.jpg"]39942[/ATTACH] This is likely my favorite period of POLICE WOMAN, where the show is tight and very competently produced, Pepper is an idealized woman both ethereal yet down-to-earth, there is the simmering feeling of gravity and portend, everything glows like it's a movie, and it's all mostly set to musical cues, forlorn and sacred, Richard Shores originally composed for "Smack" and "Target Black." And the ratings are really high. [/QUOTE]
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'Police Woman'
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