Tru Calling
Murder In The Morgue

Episode Report Card
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Shoot first; don't even bother with the questions

Harrison "The Lech Connection" Davies and Tru "Twerpico" Davies walk down a busy street of The City. Harrison is spitting out a bunch of gambling terms the writers heard once in a noir movie. Tru ignores him and appears to be looking for something. Harrison tries to use their creepy, incestual relationship to get her attention by saying he's thinking of getting his nipples pierced, but she still ignores him. He demands to know what's going on. She doesn't want to get into it.

Suddenly Tru sees an older African-American (or African-Canadian, more likely) woman crossing the street, and she starts running toward her. Tru gets caught up briefly in a second or two of slow motion, but manages to grab the woman and push her out of the way before she gets run down by a passing car. Rather than being grateful, the woman is all pissy and bitchy. Which is a little funny, but also rather dumb. It would make sense if it weren't so obvious that Tru hadn't just saved the woman's life, but we all saw the car just zoom by, honking its horn. The woman says that Tru has been sneaking around and asking questions about her all day. She thinks Tru is stalking her. So we're having a yesterday moment. Why the hell did Tru need to sneak around and ask questions about a pedestrian getting killed by a car? All she needed to know was the name, time, and location, which she was no doubt told when the body came to the morgue. Stupid show. The woman threatens to sue Tru and blah blah blah. Tru says she was just trying to help. The woman says, "I don't need your help!" as she angrily strides out into the street, where she's promptly hit by a second car and killed. Actually, no, but wouldn't that have been hysterical?

Oh dear, I seem to have stepped all over the clever transition. I'm so sorry. We cut to a woman in a wedding gown, saying, "I do," to herself over and over again as she looks in a mirror. See, after the woman on the street says she doesn't need any help, we cut to the woman who will need help today saying, "I do." Isn't that just so clever? Dear writers of Hollywood: Stop spending so much time figuring out fancy ways of cutting from one scene to the next, and spend more time making sure that your plots make sense and your characters behave like recognizable human beings. Thank you. The bride practices different ways of saying, "I do," even putting on a stern face as though she's answering the question, "Do you want to witness the execution of the man who tortured and killed your baby?" rather than "Do you take this man to be your lawful, wedded husband?" There's a knock at the door, and the bride invites the person in. We don't see who it is, but the bride sees the person in the mirror and looks surprised. She stands up and turns around and gets as far as "What are you…?" when a gunshot rings out and she falls to the floor, a small spray of blood artfully decorating the mirror.

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Tru Calling




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