User Score: 1898
In the scene where Susu is sitting behind the white 1968/69 Mercury Cyclone, notice in the close-ups all across the rear of the car on the center trim, and over the name Cyclone on the right rear quarter panel. The manufacturer and model of the car are covered with a black cloth tape called "Gaffer's" tape. This is to prevent any legal issues with the maker of the car, since both names would be trademarked and copyrighted.
Upon completing his communication with Malloy, Sgt. MacDonald ended his radio transmission with KMA. KMA was the official Federal Communications Commission call sign for Los Angeles. KMA-367 was the designation for Los Angeles Police Department radio transmitters from 1948 through the 1980s, but most of the time, dispatchers would shorten it to just KMA.
Sgt. MacDonald's radio call sign was L20.
To gain access to the drug house at 23rd and Victoria, one had to knock once, wait a few seconds, and then knock again.
The name on the glass door of the retirement facility that J.H. Saulsberry, the 91 year old man from Deadwood South Dakota, has wondered into is Hogan's Guest Home.
At 8:56 in the episode, as Malloy and Reed start to chase a drunk driver in a green Chevy SS through the studio backlot, the house used for the TV show The Munsters can be clearly seen center frame directly behind the cars as they drive past camera.
After giving Mr. Haines a breath test, Malloy remarks that he blew a 3-1. There is a problem with this reference in that if he's referring to .031, that's far below the usual legal requirement of .08 which is almost universally accepted as the point of impairment. If Malloy actually means a .31, that level is almost four times over the legal limit and technically the person with that much alcohol in their system would be dead or unconscious and near death with massive organ failure.
When Reed and Malloy receive the call for the report of a stolen car, Reed reaches over to write something on a notepad. In the wide shot, he is seen wearing a short sleeve uniform shirt, but in the close-up of the same shot, the arm seen writing on the pad has a long-sleeve on it.
At approximately 15:28, as Malloy pulls the squad car over to check out the 58 Ford on the side of the road, the shadow of a reflector known as a "shiny board" can be seen with it's operator on the road center frame where the police car stops.
At 15:40 of the same scene, as the car owner walks up in the wide shot, he walks right into the shadow of the camera and the assistant camera operator because of the bright, direct sun behind them.
When the scene cuts away to Reed listening, and then back to Malloy talking with the car owner, the whole shot is now shaded by flags, no bright sun, and no shadows of crew and camera.
The tag number on the first white Ford convertible Reed and Malloy investigate is LNI452. This is not a valid California tag number. I's were never used as the third letter on the tag right next to a number because there could be confusion looking at the tag at a distance if a "1" and an "I" were back to back. So all I's and O's were never used as the third letter on California tags.
At around 19:15 into the episode, while Malloy and Reed are driving in their police cruiser, a shading device called a "solid" can be seen at the very top edge of the camera's frame. These "flags" are used to keep the reflection off of the windshield so the camera can "see" better through the glass.
During a conversation with Ms. Tipton, Malloy reveals that his birthday falls on March 17th.
The address for the Free Form Swim Wear shop, 4371 N. Central, and 456 Bennington for the woman with a prowler, are both bogus addresses in the Los Angeles area.
Tommy, the boy who got his head stuck in the iron fence, was played by Richard Steele, who acted as a child star in the late 60s and early 70s. He would later work in the industry as a sound editor and sound designer on shows like Heroes, Baywatch Nights, and Matlock.
When Reed and Malloy take the call about the boy with the stuck head, as the patrol car turns and Malloy says "I see it", out the back of the window you see a nice park in the background with some widely spaced trees. But when the camera immediately goes wide a second later, there is no park, but a hedgerow of very thick trees. This lack of continuity comes from shooting the closeup scene while out on a public highway, and then shooting the same wide shot on the studio backlot.
The phone number given by the sultry woman, 763-4699, is not an active number in the Los Angeles area.
The roles of Lee Stanley (Officer Johnson) and Claude Johnson (Officer Brinkman) are mistakenly switched during the closing credits.
After Malloy dons his bullet-proof vest, he tells another officer things to do. Then the other officer says "Right, Reed".
Malloy requests "bullet proof" vests while dealing with the man with the gun. This showed that officers of the day did not routinely wear the then bulky ill-fitting vests, which were not bullet proof, but only bullet resistant. Today's vests are custom fitted and worn by almost all street officers, but are still only resistant.
The address of the Temple Of Love where the 415 fight call happens is 2742 Melrose. There are two locations in the Los Angeles area with that address, both residential areas, one being the "Braille Institute".
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Thrillers, Crime, gunfights, gritty crime scenarios, high stake situations