NYPD Blue: Summary/Review by Amanda Wilson aka Puedo01@aol.com
Season 8 Episode 11
"Peeping Tommy" 3/20/01
Teleplay by Victor Bumbalo, Matt Olmstead, Nicholas Wootton
Story by Bill Clark & Victor Bumbalo
Directed by Michael Watkins
What's not to like? Read on before you try to float me an answer. This show was great!
Re-live it. Read the summary:
SHOOTING ANDY: Whilst tooling around the precinct one rainy morning chatting on the cell phone with Katie about Theo's attempts to ditch a coat he hates, Andy spies a young white man bobbing down the street dull-faced and unaware. About 50 feet behind the dull one are two young black men who look to Andy like they're about to take the white guy down.
Andy circles the block and when he comes back to where the trio was, he finds that the two black men have indeed taken the white guy down by bonking him on the head and stealing his wallet. Andy stops, shouts for the robbers to stop and helps the white guy up and into his car. He tells the victim he's a cop, but the victim seems anything but happy to have been rescued. He lets Andy toss him in the back of the car but asks aloud what he's doing.
Andy gets in the car and takes off after the black guys who have jumped into a waiting car not far away and taken off. Andy follows them into an alley and then around another corner. The car full of thieves is stopped at a red light--they've been so far unaware that anyone has followed. Andy stops and gets out of his car. He tells the victim to sit tight and get a license plate number.
Weapon drawn, Andy cautiously approaches the car of thieves. One of the men in the back seat turns around. Seeing Andy, he raises a weapon of his own and shots ring out. Andy shoots several times into the back of the car. Windshield shattered, the car lurches forward as the driver takes off.
Andy runs back to his own car shouting at a nearby shop owner who poked his head out at the sound of shots to call 911. Andy opens the car door and shouts at the victim for the plate number. It is then he realizes the victim has taken off. He's left standing alone in the street with a smoking gun.
Later, Andy is recounting his story to the Duty Captain and Lt. Fancy. It's an unpleasant task, but Andy knows he has to get through it. Cpt. Dowling asks if Andy's sure he saw a muzzle flash from the guys in the car. Andy says he is.
Danny and Diane enter the room to tell Fancy and Andy that three black males with gunshot wounds have gone to Bellevue Hospital. Fancy and the detectives go there. Fancy tells Andy to stop by to make an ID when he's finished with the Captain.
At the hospital, Assata Burke has just gotten treatment for a minor wound. His friend and his cousin are in more serious shape. Assata tells Danny, Diane and Art how he, his friend and his cousin were at a bar all night and were driving his cousin home before heading back to college in Albany. He says out of no where, a big white guy showed up and started shooting.
Danny knows the bar they visited is a haven for drugs, but Assata denies they had any. In fact, he seems indignant that a white cop would assume he's a drug user as he tells Danny that he and his friends go there to dance. Diane runs the robbery scenario but Assata denies that too. He tells them he's on the Dean's List at school. He swears there was no gun. He seems shocked that the man who shot at them was a cop, and he thinks the cop just shot at the wrong car.
In the hallway, the detectives discuss the case. Andy shows up to make his ID, but Art stops him. He tells Andy the kid's story can't be proved wrong because there's no gun. Andy is sent away. Danny promises him they're going to work the case hard.
Back at the house, Sgt. Martens from Internal Affairs shows up to talk to Fancy. He tells Art that there's a lot of heat from the higher ups on this matter. They want to make a statement to the press by 6pm. Art is furious that he's only got about seven hours to clear Andy. Martens is suspicious but he tells Art that no one's trying to hurt Andy--it's just a huge case for the media and the Commissioner has to tell them something.
Art relays this to Andy and tells him also that the brass wants him to go see a shrink at Lefrak City right away. Seeing a shrink is common practice after such shootings, but Andy is put off by the order to do it right away. Worried and angry, he leaves the squad.
In the coffee room a short time later, Baldwin and Valerie are chatting a bit about their date. All seems fairly friendly until Valerie announces her suspicions that Andy's shooting at the three black kids may not have been clean. Baldwin balks at this and turns cold on her. He defends Andy as a good cop. She protests, citing rumors and old news she's heard about Andy and his drinking.
Minutes later, Diane and Andy return to the house with good news. Uniforms found the wallet of a white kid named Eli Beardsley in the area of the take down and shooting. They believe they've found their victim. At Fancy's direction, Diane and Danny fax the driver's license photo to Andy at Lefrak City so he can make and ID. Then they go to the victim's Soho address.
After hearing this, Valerie is forced by Baldwin to take a bite of crow.
In Soho, Danny and Diane meet Mrs. Beth Beardsley, Eli's mother. She's acting very strange, but lets them in to her well-appointed apartment. She says she's not sure if her son is home but will check. She shoots several backward glances at the detectives as she retreats to the back of the house. Danny and Diane figure the kid has been in trouble before and has one of those mothers who enables him to continue fucking up his life.
Eli comes out to the living room and tells the story of how his wallet was lost, not stolen. He says he's never been in the neighborhood where the wallet was found and he has no idea what they're talking about. Eli seems a little giggly and goofy. He refuses to go to the station house to talk or even to pick up his wallet. He says they can just mail him the ID.
Danny and Diane are forced to leave with nothing. Danny's convinced he's a skel and begins to butter up the doorman, Pete Vitello, for information. The doorman tells him Eli's a pain-in-the-balls skel who's been in and out of drug rehab. Danny promises him a favor and gives him some money to call when the kids leaves the place again.
Meanwhile, at Lefrak City, Andy is speaking with an oily little nutcracker who's about half his age. He's asking Andy several adversarial questions, and making it clear that he thinks there's good reason to believe Andy shot at the kids solely because they're black. Andy is vague on the point of his own racism, but makes it clear he shot the kids because they shot at him first. Despite this, the snot-nosed shrink makes the incredible statement that if Andy followed the kids because they're black, he must have shot at them for the same reason. Andy comes uncorked and tells the little bastard to stick it in ass. He leaves then, and reports to Art that the shrink report will be unfavorable.
Danny and Diane come home with the bad news that Eli won't confirm Andy's story. Andy is even more worried now and about to blow up at everyone. Danny assures him they're not giving up. Danny knows junkies, and he and Diane are going to follow this one until he scores and then bust him.
After they leave to do that, Andy has a moment alone with Art. He asks if Art believes his story. He says he doesn't care what else happens, but just wants to know that Art knows he did the right thing. Art says he does know that. Andy tells him that means a lot to him. They exchange words of respect.
Cynthia calls that second and asks Andy if he's all right. Surprised, Andy asks why he wouldn't be. He learns she's heard about the shooting. He downplays it to her, but he's clearly angry. He makes an excuse to get off the phone fast. Later, he sees her uncle, Eddie Gibson, in the hallway. He grabs Eddie's arm and reads him the riot act for talking out of school. He says what happens on the job is none of Cynthia's business. Eddie promises he won't do it again, but he's not left with a good vibe from Andy.
Danny and Diane's stakeout turns fruitful in a hurry as Eli the junkie has already had his morning score screwed up and needs a fix pretty fast. They see him leave the apartment just as Pete calls to tell them he's leaving. They don't have to follow him too far before he buys some shit off a dealer. He's an easy collar.
Back at the house, he proves even easier. They promise to work on the drug charge and he spills the whole story that Andy told, right down to a fine description of the "ghetto fabulous" gun he saw. Andy, Fancy and ADA Valerie are all watching from the observation room.
Later, Baldwin confronts Valerie gently. She allows as how she ought to give a guy a chance. Baldwin suggests she lighten up, too. She admits she might try that then immediately asks him to dinner. He says he'll get back to her. She walks away and two seconds later he gets back to her with a dinner plan that she accepts.
In the locker room, Danny and Andy have a chance to talk. Andy, a little unsure about whether enough time has passed for him and Danny to be over their "bump," humbly offers his gratitude. Danny admits easily that he owes Andy that and much more. The two men shake hands warmly. All is forgiven and they're completely square with each other.
PEEPING TOMMY: A robbery at a bar has Detectives Medavoy and Jones busy. Three white men wearing ski masks robbed a bar and a few customers in the wee hours. One of the patrons, a young woman named Ellen, was taken into the ladies room and raped by two of the robbers.
There is no description of the men but someone said they drove away in a late model white Chevy and two numbers from the plate were noted.
At the crime scene, Detective Connie McDowell arrives to offer assistance. She filled in at the 1-5 when Danny was in a jam and is back now to be another pair of hands during Andy's jam up. Greg is suspicious--he thinks she's an IAB mole.
The three detectives head off to Bellevue to interview the rape victim. Connie speaks with her while Greg and Baldwin watch. She gets the woman to describe what happened, but the woman is not sure she could make an ID. She knows the men took off their ski masks while they raped her, but says she had been drinking a bit and tells Connie the men had her face shoved into the sink during the rape.
Uniforms arrive at the house later with three white men who had been driving a late model white Chevy. Greg tries to explain to Fancy how they were picked up, but he fails miserably. Connie steps up and explains. Baldwin fills in the blanks with how these guys are also suspects in several other similar robberies. So far, however, no one has been raped in those hold-ups.
They speak with Jake, one of the three. Connie and Greg work him well together, letting him know that when there are three perps involved, one of them almost always gives up the others. Jake is very nervous and jumpy, but doesn't respond much, even to Baldwin's trademark Vulcan neck pinch. They then tell Jake he's going to be in a line up. He doesn't care.
Ellen comes in to see the three men in line-ups. She wants so much to do the right thing, but can't pick any one of them out. She begs Connie to help her make the ID, but Connie can't. Connie tries to reassure her, but Ellen leaves tearfully, upset that now the men are going to walk.
Fancy tells the detectives to kick the three men. They tell him they're going back to the bar now that there's a different crowd there, and do a re-canvass. They're also going to talk to the owner.
At the bar, owner Tommy Reedle tells the cops the same story they've already heard. He's speaking, though, from behind one of his barflies who is perched on a corner seat and won't move out of the way. Connie tells this barfly, Ernie, that it's in his best interest to move. He finally agrees to, but after taking a good look at her front porch, decides it'd be fun to accidentally pour his drink down her shirt and then do the gentlemanly thing by helping her wipe it up.
He makes the drink go down her shirt, but he's grabbed up by Baldwin before he can offer his sleeve to the damsel. Ernie gets himself thrown out of the bar. Connie gets some club soda and retires, very pissed off, to the bathroom to clean up.
She slams and locks the bathroom door and looks around at the place where Ellen was raped the night before. Still pissed off, she removes her shirt, and sporting a black lace demi-bra, she begins using the club soda to wash out the stain. She then places the wet shirt under the hand dryer and casually leans back to stare off into space as the shirt dries.
She's gazing upward blankly when something catches her eye. It's a hole in the dropped ceiling, or is it? She puts her shirt down, grabs her mini Mag-Lite and climbs up on an overturned trash can to see what's so strange about that hole. What she finds is a hidden camera. She's really pissed now as she knocks the ceiling tile out and pulls the camera cord down.
A few minutes later, Connie comes marching (clothed) out of the ladies room and up to Tommy who is in the middle of explaining again to Greg and Baldwin what happened. Connie interrupts to ask how long Tommy has owned the bar: 16 years. And just to be sure she's giving him the benefit of the doubt, she asks how long he's run it: same answer. Immediately, she smacks him hard on the face, grabs his shirt and drags him into the ladies room with Greg and Baldwin trailing behind.
She grabs the camera cord and shoves it in his face. Tommy finally admits he's got tapes. And that the tape of the rape is in his apartment.
They pick up the same three white guys and haul them into the house. Instead of Jake, they talk to Mitch. They sit him in front of a television. He denies the robbery and the rape, but is very, very scared. They play the tape for him, and he watches in amazement at the sight of himself and his friend shoving Ellen into the sink. He turns his head away.
Baldwin grabs him and shoves his face into the TV and tells him to watch. We see Mitch grab his ski mask, tear it off his face and look up right into the hidden camera as he begins to rape Ellen.
Those three skels in the joint for good, Fancy approaches McDowell to compliment her on her work. He also gives her the news that she's been reassigned to the 1-5 permanently. She's very happy about it.
First, I can't say enough about how good this show looked. It jumped right off the screen. Michael Watkins & Associates were creative and innovative and brought a lot of life to the old girl. There were so many incredible shots. I'll try to list a few later. Hey, good on ya mates.
SHOOTING ANDY: What makes this episode so good is that there's action in it. (I could say that about this season in general, in fact: lots more moving around and lots less sitting on their butts in the station house.)
The very small police chase was totally cool. Blue isn't about big, speedy Starsky & Hutch chases-- and thank God they didn't do that because it would have been totally out of place--and this chase fit right in with the usual upbeat but not overdone tempo of the show.
Andy's domestic phone call helped take the edge off, too. This was a good device to make it clear that he wasn't just out cruising around looking for trouble. His mind was on his son, but his eyes were doing his job. The shooting itself was vague enough: we saw the gun clearly, which helped sell Andy's story, but it was hard to tell who shot first.
I can't help but wonder where the story would have gone if we hadn't seen the gun. I imagine there was some debate over this while the episode was in production. Showing the gun made us sure Andy was in the right. We knew it all along, even as others doubted him. But I wonder how it would have been if we hadn't seen the gun? It might have been edgier still to leave us with a bit of doubt. Certainly we, like Andy's squad mates, would not have suspected he was drunk or on some racist hate binge, but we might have wondered if he'd been distracted, or if his underlying bigotry in concert with his distraction made him a little trigger-unsure.
That would have worked well also with the terrific performance by Assata, who nearly had me convinced it was possible that Andy got the wrong car even though I saw the gun.
I'm enjoying the small sprinkling of media that's been used to spice things up this season. I've always felt that to ignore the existence of the media (except to make Benita a whore for a few episodes), was a mistake. I realize the show isn't about media but about cops, but in this day and age, hell EVERYTHING is about the media, especially the cops.
Of course, media folks are always portrayed as evil bastards, even when they aren't even present. It was the fact that the Commissioner wanted to make a statement to the media by 6pm that put everything on the fast track. This seems fairly realistic. If this had happened in real life the media would have been all over it 400 times by 6pm and the perceived pressure could have been enormous. I'm betting the mayor would have had made a statement by noon...and what time did the shooting happen? 6:30? Al Sharpton would have had a statement by 9.
At any rate, given the worldwide knowledge of such trouble for the NYPD, it's smart of this show to deal with it. And given the other givens, like it's an hour-long TV drama and the good guys have to win, they've done a fair enough job with it.
Compared to Danny's jackpot, this one seems a much more fair and realistic treatment of the subject.
Andy's visit to the shrink was decidedly anit-shrink. I do wonder about the realism of this. Are the shrinks they use really that stupid? He seemed more like he was testing the veracity of Andy's story rather than testing Andy's state of mind. Additionally, any bonehead who would say something like: "If you rolled on them just because they were black, you can't divorce yourself from that at the time of the shooting" couldn't possibly have made it through Shrink School.
Fuck yeah, you can! You can do it about the time someone--black, white, green or blue--pulls out a big shiny gun and tries to blow your face off. And even if you can't, it's irrelevant when you're about to die. Death and it's evil twin, Almost Got My Ass Blow Off, are the great equalizers. If Andy's racist tendencies lead him to look harder at those black kids then accuse him of profiling. But he, like any cop, would have shot at anyone who shot at him first.
Art understood that, and I think that's a fine thing. However, I did cringe (and this is the only place I did) when Andy said, "I don't care what else happens, as long as you know I did the right thing." That was so unlike Andy. How could he not care about what else happened? Of course he cared. He could have lost his job, been hauled around in front of the swarming media in handcuffs, charged with assault or worse and put on trial. How could you not care about that? I understand the need to wrap things up with Art and Andy, but this was a little much. Also, the "I respect you" lines were not necessary. What's the old adage about writing? It's better to show it than to say it. These actors are fully capable of showing it--they have shown it and did in that scene. Those words--which seemed a bit awkward--weren't really necessary.
An absolutely perfect example of showing rather than saying exists in this very episode, in fact, in the final scene with Andy and Danny. It is without question the best scene these two have ever done together, and you can see clearly why hiring Rick Schroder was a great idea.
I read someone's comment this week (and I'm sorry I can't put a name to it) that what's good about Sorenson is that his flaws show like Kelly's did. That's true. He's such a perfect imperfect human. Schroder plays it so very well, too. That last scene was his. He conveyed so much in his face: the shame of his own screw ups, the extreme pride in his successful attempt to save Andy, the relief he felt at making things right with Andy, and the happiness to be back in Andy's good graces. And them not hugging--perfect. The handshake was the way to go for sure. It was warm, meaningful, genuine. A hug would have been too much, just like those "I respect you" lines earlier.
Also perfect: the small scenes where Danny and Diane are interacting on a personal level. All is forgiven here, too, as Danny sticks his foot in his mouth again. This time, though, it makes them both smile.
I know this whole story was Andy's, but I think Schroder turned in the best performance of the week. He was awesome.
And on a completely different note: ADA Heywood---ugh. She was supposed to get her comeuppance, I guess. Too bad she didn't understand it. This was, again, a major clinker in an otherwise fine little symphony of writing, directing and acting. All systems are failing fast in this attempt at sexual tension between her and Baldwin. The plane is going down! Eject! Eject!
PEEPING TOMMY: Each of Blue's new characters seems to arrive with a pretty big bang, or in Det. Connie McDowell's case, a pretty big slap.
Let's get this bra situation out on the table. It was cheesy. C'mon, you know it was! But somehow, I didn't mind it too much. Yes, there was a definite Charlie's Angel's factor here---Charlotte Ross may just have defined Jiggle TV for the 21st century---but I like her anyway.
Sure she wanted to wipe up the mess, but really, did she have to? Could she have mopped up with a bar towel and expensed the shirt? Could she have put a little club soda on a towel and dabbed at the shirt while she was wearing it? Sure. And that's what makes the choice to strip it off and then perform the task of tearing up the ceiling while wearing her black lace demi-bra so goddamn cheesball. It's just, well, unrealistic as hell. I think your first instinct when you know you discover you're being secretly filmed in your bra in a bar bathroom would be to cover up and THEN tear the place down. Yeah, she knew she'd get the recording later, but I'm talking about first instincts.
Even if you want to buy that one, you can't buy that she's going to lean her half-naked body up against that filthy wall so she can daydream while drying her shirt. No way. That place was disgusting. Any woman who would demand club soda to clean a stain off her shirt is NOT going to then lean her bare flesh up against that filth.
However, and please read me carefully here before sending me email in Connie's defense, everything else Det. McDowell did had me near to cheering, and so I don't care so much about the bra right now. It'll be in the back of my mind, and I'll pull it out again when and if this character goes in to cheese mode again, but this time I'm letting it skate.
Let's move on to everything else she did after the famed bra scene: She marched out, smacked Tommy and dragged his sorry ass into the bathroom. That was cool.
She worked that skel Jake with Greg perfectly. It's like they'd been working together for years.
I know lots of you may condemn (or praise) Charlotte Ross as a barbie doll, but I like the way she's playing Connie. Just as long as the focus is not continually on her breasts, I'll be OK with the new woman on the squad. I am impressed with her natural blend of femininity and toughness. (As we see with Ms. Beauvais, this is not always an easy thing to portray.)
*Garcelle Beauvais makes it to the opening credits.
*Great writing for Greg again. He's suspicious of Connie, as he would be, and he even makes his little phone calls. Of course, he's wrong. But when it comes to what counts, he comes through every time. He played off her perfectly in the scene with Jake.
*What's up with Baldwin and the Vulcan neck pinch? I know, I know... it's big attention getter. I've read where, if you're strong enough, it's one of the most painful things you can do to someone without leaving marks or internal injuries. But I think for fun we need to name this move after him somehow. Take if from Vulcan to Baldwin. I'm open to ideas.
*Andy helps everyone last week, everyone helps Andy this week. Good, because as much as I know Andy has had to evolve, I sure don't him getting too saintly.
*Speaking of that, Andy gets a little bent out of shape and suddenly it's "Gay John" again. Rude bastard. Gotta love him.
*Some of the great shots this week that blew the dust off our show:
-The birdseye view of Andy standing in the street alone after the shooting, swearing and knowing his day was pretty much fucked.
-The shot through the hospital room door (red door) as it shut after Andy left. We were on his side of it. Not only was the view of the rest of the squad obscured, but the sound was muted as well. Very nice touch to add to Andy's isolation.
-Mitch and his face into the TV which was showing the rape (which was fairly graphic, by the way).
-One of my favorite shots was a real quick one of the faces of Danny and then a second later Diane as they headed out Fancy's office to stake out Eli. They both turned at the same time to give Andy a reassuring look. First you see one, then the other. That was really solid.
*Valerie seemed a perfect biotch where Andy is concerned. Where does she get off? A lawyer ought to know better than to draw conclusions from circumstantial evidence. Oh, wait, right...she's an ADA; that's her job.
*Is it just me or is this relationship between Cynthia and her uncle just a little too... I dunno... Deep South. Something's not right here. I didn't want to believe last week when Eddie spoke so to Andy the night after he slept with Cynthia that she'd told Eddie anything. But now I'm starting to wonder. What woman talks to her uncle everyday about a man she's seeing? I just find this odd. It seems like they make it a point to talk to each other about Andy.
*Andy sure spit the word "girlfriend" out like a mouthful of haggis. He's gone out three times with her and slept with her, so what it is that makes her a girlfriend or not? Any man care to enlighten me? Or was this just for show for the uncle? I should think Andy would expect that to get right back to Cynthia.
*So, did John have his date with John??? Some of us want to know. ;)
*I like the new woman in the squad. I think it's fair to assume that she and Diane will work together a lot. Here's what I hope for that: that they can laugh a little bit once in a while. I don't want competition, cat fights or a mother-daughter thing. A nice, normal, female friendship would be nice.
*I think it's also safe to assume that since we've gotten a preview of Ms. Ross' chesticular region that we'll be seeing more of her...them...whatever. So, let me float the hope that she's not hooked up with Danny too soon. I mean, it's sort of inevitable, especially with the departure of Kim Delaney, and given all the other givens, but not too soon. How about late next season? Or never? Never would work too.
*Actually, if you think about it, someone like Connie may be really good for Danny. She's no gnocchi-making mouse like Mary. And she'd put up with his snot-in-her-hair little boy routine for about a half-second before either laughing in his face or smacking the crap out of him. Where that's concerned, she's the anti-Diane and the anti-Mary rolled into one. This is good. Ok, maybe they can hook up someday. Just not this year.
CAST LEGACIES AND SUNDRY INFO:
First, humble apologies to writer Alexandra Cunningham whom I last week called Alexandria. I'm really, truly sorry. I haven't screwed up this bad since I called Bob Doherty, Rob Doherty. Yikes. Anyway, those of you keeping score: please adjust your notes. :)
Before we do cast, let's talk about some other behind the scenes people who have cool histories. I hope all names are spelled correctly.
Michael Watkins--Our talented director this week was among friends. He's directed Blue several times and has been behind the camera on Brooklyn South, X-Files and CSI, among others. He did an outstanding job with this one, and I hope he'll be back.
Writer Nicholas Wootton: This two-time Emmy contender has been in Bochco's stable for a while now. He's worked on Blue for several years and also on Total Security and City of Angles.
Writer Victor Bumbalo: This is his first Blue script. He wrote a screenplay called Stranger in My House and a teleplay called Dying To Live.
This week we welcome the newest cast member, Charlotte Ross who plays Detective Connie McDowell. Last time she was on, I was unable to do a proper cast legacies section. Now that she's joined the 1-5 on a permanent basis, here's a little background on her:
Charlotte Ross: She's 33 and a Chicago native. Most recently, she played Lori on Beggars and Choosers. She's worked on several other TV shows and TV movies, none of them particularly successful. Her soap background includes a stint on Days Of Our Lives where she played a character with perhaps one of the best cheeseball soap names of all time: Eve Baron Donovan Deveraux. (Try to say that aloud with a straight face.) Ross was nominated twice for Daytime Emmys. Her adventures in guesting on TV shows have taken her to the sets of Frasier, ER, Birdland and Steven Bochco's Murder One. And many of us remember her from two episodes of NYPD Blue back in 1998 when she played Laurie Richardson, the abused wife of a cop. Ross has also done several commercials.
Previously on NYPD Blue: John F. O'Donohue as Eddie Gibson; Scott Allan Campbell as Sgt. Martens.
Eric Balfour (Eli Beardsley): Previously Jesse on Buffy The Vampire Slayer. Also done guest spots on Chicago Hope and Dawson's Creek. Eric was also in the flick What Women Want.
Corey Mendell Parker (Assata Burke)-- He played Todd Bridges in a TV movie about the life and times of those Diff'rent Strokes folks.
Yannis Bogris (Jake)--His big claim to fame prior to this good showing on Blue was that he was a skateboarder in End of Days.
Patricia Harty (Mama Beardsley)--Blondie! It's Blondie! In addition to that incredible credit, her career goes back to a guest spot on The Virginian. It also includes work on Wiseguy (one of the all time greatest shows).
Michael Pasternak (Peter Vitello)--He was on Hill Street Blues.
Timothy Omundson (Seth Werna)-- He jumped ship from the competition, Judging Amy, to come be with us tonight. He's played a recurring role on JA. He also had a recurring role on Xena: Warrior Princess, and even more fun than that, he was on Fired Up with Sharon Lawrence. He did a Seinfeld episode too.
Rounding out the cast: Michael O' Neill as Capt Chuck Dowling; DeLaune Michel as Ellen Carmichael; James Harper as Tommy Reedle; Christopher Boyer as Ernie; Brett Gilber as Darnell Cole; Zach Johnson as Mitch Allred (great name for the embarrassed rapist.)
LINES OF THE WEEK:
I know there were a few but here's my favorite:
Danny describing Eli: "That kid's pure skel, Diane; skelly eyes, skelly habits."
NEXT WEEK: Word comes that Fancy is leaving. Detectives Russell and McDowell form a new partnership over a severed body, and Danny and Andy are back to work as partners again.