The recent cunting of ‘Americanisms’ seems to have struck a chord, so in similar vein, I reckon that clichés in American cop shows deserve a bumming.
Previously on ‘NY Blue Homicide Squad’…
Detective McLain (or McLone, or McLeod) is having a tough time. His wife’s left him and he only sees his kids every other Saturday. He’s been hitting the bottle pretty hard lately. To make matters worse, he’s old school, and doesn’t mind bending the rules to make a collar, but he’s just been partnered with Det. McGarrett, a sexy, supersmart 17-year-old blonde with a Ph.D in Criminology. She’s ambitious, but strictly ‘by the book’. Sparks are gonna fly for the first few episodes, after which they’ll go through the fire or take a bullet for each other.
McLain’s under pressure. There’s a serial killer on the loose, and the heat is on. ‘There’s no leads’, says McLain to the Loo-tenant (a black guy or a hard looking bird in a sharp suit). ‘Then get me some’, says the Loo, ‘or ya off the case’. ‘Just gimme 48 hours’, says McLain. ‘Ya got 24’, says the Loo, ‘now get outta my office’.
McLain’s desperate. We know this because in the ‘washroom’, he splashes one handful of water on his face, then grimaces at the haggard features reflected back in the mirror.
Enter officer McLatino. You’ve never heard of him before, but McLain knows him well. They were at the academy together, and rookies on the street. McLatino promptly gets axed by our killer, leaving McLain to console the grieving family. After a brief ‘do you remember that time when…’, McLain leaves, pledging to get the son of a bitch, because now it’s personal.
Suddenly there’s a break. Using her incredible computer skills, McGarrett has cross-matched a part print from a crime scene. ‘Bring the perp in’, says the Loo. ‘Lets end this now’.
Cut to an interview room, where a sneering eye-roller, who’s ‘lawyered up’ with a stone faced bird, confronts our heroes. After 30 seconds of sparring (have to keep things moving along to accommodate the adverts) the perp says ‘they got nothin’ on me, let’s get outta here’, at which point the mouthpiece slams a folder shut with a snarling ‘we’re done here’. ‘It’s over’, says the Loo. ‘The Chief’s bringing in the Feds’.
‘We can still do this’, says McLain to McGarrett, as they begin the process of bonding. ‘Look how the previous 47 axe murders all took place within a half block radius of this mechanic’s shop on 23rd. Records show our suspect did a mechanic’s course while on rehab. It’s a long shot, but I got a hunch about this; let’s stake the place out’.
Several hours later, and it’s dark. Our duo is sitting in a car parked in front of a shabby building, reminiscing about how each other’s dad was a cop, and how they always wanted to be a cop, secure in the knowledge that they can’t be spotted from just across the road.
Suddenly a hooded figure enters the garage, carrying a violin case shaped like an axe. There’s a muffled scream. ‘Call for backup!’ yells McGarrett. ‘No time,’ says McLain, ‘ He’s got somebody in there. We gotta go in!’. With a shout of ‘armed police, freeze!’, they kick the door in, whereupon the suspect promptly legs it up the nearest fire escape and on to the roof. ‘Get round back’ yells McLain, and heads up onto the pitch black roof. He edges from shadow to shadow, before leaping out in an armed stance. Suddenly the killer’s in the open, swinging wildly. ‘Drop your weapon!’ yells McLain, but the killer keeps coming and then trips, pitching over the railing to land on the sidewalk with a satisfying *splat*. Cue sirens in the distance…
Back at the precinct office. ‘Ya done good’, says the Loo. ‘You two are gonna make a fine team. Let’s get a drink’. ‘Yeah, and you’re buying!’ says McLain. Cheesy grins and high fives all around, as the leads weave their way between the ethnically balanced, no dialogue extras on the way to the door. Fade to credits. Wash, rinse and repeat for the next 500 episodes.
Welcome to the world of American cop show clichés, cunters. You know you love it. Way to go.
Nominated by Ron Knee