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Enhanced Description of Blind Justice

The settings

The squad room: Located on the second floor of a modern red brick building, the 8th Precinct squad room is ‹LŠ shaped, entered at the short leg from a hallway that contains vending machines and an elevator. The floor is bright blue linoleum tiles with scattered black tiles at the corners of the room. The walls are concrete block, painted a gray blue. The ceiling is a grid of rectangles some with plastic light panels most with a small square silver grid. The doors are royal blue with brushed silver colored silver handles. Electrical conduit runs along some walls to wall mounted light switches and outlets. The entrance to the squad room is through a door labeled ‹ Detective SquadŠ. It has a window in it and a side light to the left. The area is framed on two sides, to the left and straight ahead, by a 30Š high brush silver colored square metal railing with a swinging gate leading into the main portion of the room which is the long leg on the ‹LŠ. Thick plastic panels are inserted between the metal bars in the railing. Attached to the gate is a hexagonal red and white metal ‹StopŠ sign. Against the wall to the right is a wooden seat with high back and arms. To the left is a work area with a 5‰ desk that buts up to the railing. On it are a lamp, fax machine and computer monitor and keyboard. A metal-framed chair is pushed in under the desk. Along the entrance wall to the left are a lateral file two drawers high, a table with notebooks and file organizers on top, two 4 drawer file cabinets, followed by another lateral file that end in the corner to the space. Making a 90 degree turn, and moving right, the far left block wall has a door to the observation room which is a small space with two way glass giving a view into the interview room1 on the other side of the wall. To the right of the observation room door is a bulletin board with election posters for the DEA, papers with phone numbers and 3 maps making the locations of Rape, Robbery and Homicide. Above are framed pictures of men in suits or police uniforms. Below are 3 black file cabinets about 30Š high, with drawers 9Šx3Š. On top of the cabinets are wire in baskets, a file organizer, and a Manhattan phone book. To the right of the bulletin board is a wall scone of brushed silver bars in a half circle with a curved white plastic panel. The wall angles back 18Š and has small 3‰ high file cabinet in the space. Next is the door to interview room 1. Along the walls are wanted posters, hot sheets, and a poster that reads: ŠNew York City Detectives š the greatest in the worldŠ over a picture of the NYPD gold shield. The large room has a wall of casement windows opposite the entrance. There are ten in all, 6‰ high by 4‰ wide with two rectangular windows at the top and one rectangular one that opens into the room and is operated by a crank. They have fine wire mesh inside are covered with gunmetal gray venetian blinds. The view from the window is of the street below and buildings across the street. Below the windows are heat and air units with wood cases painted bright blue with metal air vents near the top. These cases create a shelf under the windows. On the shelves are file organizers, file boxes, notebooks and in and out trays. In front of the cases are low bookcases, credenzas, and file cabinets. On the wall to the right are three more windows, also with blinds, with a view to Lt. Fisk‰s office. Below the windows are three file cabinets of varying heights, a credenza with small 3‰x5‰ file drawers, magazine file boxes, a mail sorter with multiple vertical openings, and a wire in basket. To the right of the windows is a door with a glass panel of wire mesh, a small decal of a fluttering American flag and a metal kick plate on the bottom leads into the office. Above the door is multicolored exposed wire. The squad room has four groups of desks that run down the middle of the room. There are three to a group: two with their backs pushed together and the third butted up to the one side. Tom and Marty use two facing desks in the second sets from Fisk‰s office. Tom has his back to the office and Marty faces it. Karen has the desk in that same group that abuts the other two and faces the entrance to the room. Jim has a desk in the next group to the left that also faces the entrance. The last group of desks, those closest to the interview room, has just two desks back to back. The desks have wood grained Formica tops with black metal bases, silver metal trim and three drawers: one file at the bottom a smaller one above it and a narrow middle drawer. The desks have lamps, all black, some gooseneck, and some with organizers at the base for paperclips, pens and notepaper. Some are fluorescent and some use incandescent bulbs. The chairs range from metal frame with rounded backs and navy blue upholstery, to black vinyl with arms rests and black rubber wheels or casters and various shaped and sizes of backs. Most of the desks have phones; some have computer monitors and keyboards. Many have flip page two ring calendars and mismatched trash baskets.

Settings to be described soon:

• Fisk‰s office
• Interview Room1
• Interview Room 2
• Locker room
• Holding cell
• Dunbar‰s Apartment

The characters:

Jim Dunbar: played by Ron Eldard: is of average height and build, fair complexion, oval face, blue eyes, light brown hair worn short on the sides and about 1Š on top some times with blonde tips. He has a _Š long scar on his left temple. He wears dark oval shaped glasses. He wears dark suits to work, dark shirts with similarly dark toned ties and tops it with a tobacco brown trench coat with a tan, red, white and black plaid lining. His dark shoes have thick soles.

Christy Dunbar: played by Rena Sofer: is several inches shorter than Jim, petite, very fair complexion, heart shaped face, green eyes, dark arching brows, dark brown hair past her shoulders. She wears it down, parted on one side with soft curls falling on her shoulders or pulled up smoothly in a twist. At home she wears jeans, pants, shirts and sweaters.

Hank: is a tan, sable and black German shepherd male with a black muzzle, black around his eyes and ears. His tan head gives way to sable and black along his back, flanks and tail. His under belly is light. Hank‰s shoulder is about mid thigh on Jim.

Characters to be described soon:

• Karen Bettancourt
• Lt. Gary Fisk
• Det. Tom Selway
• Det. Marty Russo
• Det. Terry Jansen
• Dr. Allan Galloway

Full Cast and Crew for "Blind Justice" (2005)

Directed by Gary Fleder

Cast (in credits order)

Ron Eldard .... Detective Jim Dunbar
Marisol Nichols .... Detective Karen Bettancourt
Rena Sofer .... Christie Dunbar
Reno Wilson .... Detective Tom Selway
Frank Grillo .... Detective Marty Russo
Michael Gaston .... Lt. Gary Fisk

Guest Appearances for "Pilot" Episode: #101--8 March 2005

John Michael Bolger .... Uniform; John Cenatiempo .... Uniform #1; Shawn Doyle .... Randy Lyman; Adam Kulbersh .... Reporter #2; Sonny Marinelli .... Terry Jansen; Kate Reinders .... Kim Chenowith; Eden Rountree .... Paula Wheaton; Scott Sahadi .... Police Officer; Deborah Teng .... Wen; Guy Torry .... Eddie; Christine Toy .... Reporter #1; Don Clark Williams .... Reporter #3; Mao Zhao .... Wen's Father;

Crew

Edited by Jonathan Shaw; Production Designer Paul Eads; Directory of Photography Rick Bota; Music by Mike Post; Casting by Junie Lowry Johnson. Scott Genkinger; Producer Jeffrey Downer; Producer Dayna Bochco; Executive Producer John Badham; Executive Producer Bill Clark; Executive Producer Matt Olmstead; Executive Producer Nicholas Wooton; Co-Producer Jeremy Beim; Associate Producer Tom Keene;

Costarring

Wen Deborah Teng; Wen's fahter Zhao Mao; Reporter #1 Christine Toy Johnson; Reporter #2 Adam Kulbersh; Reporter #3 Don Clark Williams; Uniform #1 John Cenatiempo; Unit Production Manager Jeffery Downer; Unit Production Mananger Michele Girodano; First Assistant Director Jay Tobias; Second Assistant Director Timothy Lonsdale; First Assistant Director Kirstin Bernstein; Costume Designer Mary Jane Fort; Camera Operator Chris Hayes; First Assistant Camera Kathina Szeto; Chief Lighting Technician Brett Laumann; Key Grip Charles Saldana; Script Supervisor Haley McLane; Production Sound Mixer Jay Meagher; Technical Consultant Lynn Manning; Visual Effects Supervisor Petra Holtorf; Set Decorator Mary Ann Biddle; Costume Supervisor Mary-Anne Aston; Head Makeup Artist Limberly Greene; Head Hair Stylist Judith Crown; Production Accountant Candace Mongomerty-Lira; Production Coordinator Mitchell Bell; Art Director Mindy Roffman; Lead Person Randy Bostic; Property Master Anthony Klaiman; Construction Coordinator Duke Tomassick; Transportation Coordinator Jerry Henry; Location Manager Claudia Eastman; 2nd Second Asst. Director Carla Bowen; Stunt Coordinator Ron Stein; Colorist Randy Beveridge; Fire/Infero Artist O.T. Haight; Supervising Sound Editor Thierry Couturier; Re-recording Mixers Andrew D'addario, Lisle Engle; Music Editor Libby Pedersen; Assistant Editors Damon Fecht, Debra Weinstein; Post Porduction Assistant Kevin Goldblum; Asst. to Steven Bochco Michelle Debraudt; Asst. to Matt Olmstead & Nicholas Wooton Sonny Postiglione; Asst. to Bill Clark Bridgid Scofield; Asst. to Gary Fleder Mary Beth Basile; Asst. to Dayna Bochco Danielle Collins; Asst. to Caroline James Marian Devney; Casting Associate Deborah George; Executive in Charge of Production Caroline Jim; symbol for Registered Mark - an uppercase r in a circle) Telecine & Electric Assembly by Westwind Media; Post Porduction Visual Effects by yU+co[efx]; Post Production Sound provided by Todd Studio; Camera Systems Provided by Panavision Hollywood; Filmed at Twentieth Century Fox Studio; Copyright CMMV A day in the Boch co., LLC. All rights reserved; A Day in the Boch co., LLC is the author of this program for purposes of copyright and other laws. Color by Foto-Kem; Information from: IMDB.com

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