Pete's called in by an arrogant movie producer to investigate murder on a film set.
And here I thought I was so smart thinking that opening scene was badly done. But it's no accident; instead, the scene blends in quickly with the plot. Looks like somebody substituted lots of eye-candy to make up for a spotty narrative. A couple of camera angles plus Tracey Roberts' R-rated performance are pushing the limits of TV censorship of the day. Also, the verbal fencing scene between Pete and the producer (Lauter) is a little gem of snappy give- and-take. Then too, catch Sid Melton, a familiar low-brow comic actor, as the bookie. Here he gets to play it straight. All in all, the storyline may be lacking, still the series trademarks of style and imaginative staging compensate for a lot.
And here I thought I was so smart thinking that opening scene was badly done. But it's no accident; instead, the scene blends in quickly with the plot. Looks like somebody substituted lots of eye-candy to make up for a spotty narrative. A couple of camera angles plus Tracey Roberts' R-rated performance are pushing the limits of TV censorship of the day. Also, the verbal fencing scene between Pete and the producer (Lauter) is a little gem of snappy give- and-take. Then too, catch Sid Melton, a familiar low-brow comic actor, as the bookie. Here he gets to play it straight. All in all, the storyline may be lacking, still the series trademarks of style and imaginative staging compensate for a lot.
