Cum să faci o mulțime de adena rapid,

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Bayliss is convinced Tucker murdered year-old Adena Watson, but Pembleton is less confident. Since they have already interviewed Tucker multiple times, the court will not allow him to be bothered anymore if he does not confess after this interview, and the detectives have only twelve hours to elicit a confession before Tucker walks free. Pembleton starts off acting friendly while Bayliss, who has taken the Watson case very personally, is more aggressive.

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Adena used to work for Tucker, taking care of his horse. Pembleton brings up Tucker's alcoholismbut Tucker said he gave up drinking because he used to black out, insisting he hasn't had a drink in sixteen months. Tucker also insists he hadn't seen Adena for three days before she died, but Bayliss shows him she had soot on her skirt that matched soot from Tucker's barn, indicating she was there the day she was killed.

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During a moment of anger, Bayliss nearly presses Tucker's face against a hot pipe on the wall, but Pembleton stops him. Tucker still angrily insists he did not kill her, and he agrees to submit to a polygraph test. When Bayliss leaves, Pembleton speaks to Tucker in a soft and comforting tone, trying to get Tucker to trust him. Pembleton suggests Tucker had a drink and blacked out the night he killed Adena, and he seems close to getting a confession before Tucker once again insists he is innocent.

With four hours left before the deadline, Bayliss returns and says Tucker failed the polygraph test.

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Bayliss and Pembleton then aggressively team up on Tucker, talking quickly and intimidating him with repeated questions. They bring up a previously dropped statutory rape charge against Tucker involving a year-old girl, then suggest he attempted to have sex with Adena and killed her because she resisted.

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They confront Tucker with gruesome crime scene photos of Adena and ask him if he is sure he didn't kill her, to which a frightened and confused Tucker replies, "Not cum să faci o mulțime de adena rapid now, I'm not. He claims Pembleton has the attitude of a man trying to distance himself from his African American heritage because he is ashamed to be black.

Tucker also accuses Bayliss of hiding a "dark side" inside him that he is afraid to embrace. Eventually, Tucker admits he harbored pedophilic feelings for Adena, and feels shame that the "one great love of my life was an year-old site- uri pentru câștigarea de bitcoin. He breaks down and cries, but still insists he did not kill her.

Three Men and Adena - Wikipedia

The hour time limit elapses and the detectives fail to get a confession. Tucker is released and Bayliss is miserable he was unable to close the case. Pembleton, who has a new respect for Bayliss, tries to comfort him by saying he is now convinced Tucker is the killer, but Bayliss is no longer so sure. Production[ edit ] The episode was the final acting role of Moses Gunn pictured.

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The interrogation room at the homicide division, colloquially referred to by detectives as "The Box", is a setting that appears in almost every episode of Homicide: Life on the Street.

While filming an interrogation scene there in " Gone for Goode ", the first episode of the first seasondirector Barry Levinson commented to Fontana that the acting from Andre Braugher and Kyle Secor was so effective, an entire episode could be filmed revolving strictly around an interrogation.

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The comments partially inspired Fontana to write "Three Men and Adena". It was Gunn's final acting role before his death in December Elements of the interview in "Three Men and Adena" were incorporated from real-life police interrogations in that case. The Wallace case was never solved, and Fontana insisted that the Watson case in Homicide remain unsolved as well, despite pressure from NBC for a more satisfying conclusion.

Fontana said, "We never solved it because we felt that it would be a disservice to the real girl, to have this fake TV solution. Because it's not O. Fontana said, "It was so chilling and I was like, 'Oh man, how do you get there?

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We were doing a drama in which it was just as dangerous, in a certain way, as if we were on stage and it was happening right there before our very eyes. And we got a lot of very interesting, spontaneous human emotion by filming it that way, and I loved it. I absolutely adored it. Andre Braugheractor [2] Martin Campbell spent three days of preparation on the "Box" set, analyzing it from every angle to learn the feel of the room. The actors shot about 14 pages of dialogue each day, [2] and had a very small amount of rehearsal time before shooting.

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According to Fontana, Campbell never shot a scene from the same angle twice, "So the entire hour keeps changing the point of view of the camera, so that you never get tired of being in that room. Braugher said the experience felt more like staging a play than shooting a television episode, and allowed for a feeling of spontaneous human emotion in the performances.

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He wanted the character to have a genuine feeling of cum să faci o mulțime de adena rapid for Adena Watson, but the strong feelings do not specifically mean he killed the girl. Braugher praised Fontana for creating such a three-dimensional character in Tucker, and said, "Fontana's genius is that we are never quite certain as to what it is that we have on our hands.

The episode received a 7.

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In the Washington, D. Sun writer David Zurawik said Fontana's playwriting background was deeply infused in the episode, which he called a "landmark hour" that it "put three men and a few sticks of battle-scarred, municipal-green furniture and somehow managed to show us the human soul and the heart of darkness". He called the episode "claustrophobic, cynical and ultimately painful" and particularly praised the performances of Braugher and Secor, and the fact that it was not a happy ending.

Kalat, writer of Homicide: Life on the Street: The Unofficial Companion, described the episode as "an astonishing tour de force of writing and acting that demonstrates all of Homicide's best qualities".

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He also praised the chemistry between Braugher and Secor, particularly when they found a common voice during the interrogation. Leonard praised the tension, the setting and the writing, particularly when Tucker turned the tables on the detectives. Mendoza also said, "The claustrophobia of The Box contributes to the palpable tension.

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Zurawik also said, "Stark and minimalist, the episode was musical theater as much as television, a celebration and explosion of language; an angry, urban opera with the voices of Bayliss and Pembleton coming together and then falling back as Tucker sings a final aria of rage and contempt.

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