The news of Maddie's marriage affects the office but not David, as he appears happy with the news. A woman asks Blue Moon to approach her husband's mistress with an offer of money to go away. She later kills him in self defence.



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Episode complete credited cast:
Lauren Baxter
Anthony Baxter
Katie Layman ...
Bridget Graves (as Kathleen Layman)
John C. Anders ...
James F. Dean ...
Patricia Lee Willson ...


The news of Maddie's marriage affects the office, but not David. He appears happy as he knows the baby is not his but does not really want to believe she is married. However, Maddie gives Agnes an explanation for why she married Walter. A woman wants to save her marriage and asks Blue Moon to approach her husband's mistress with an offer of money to go away. When she kills him in self defence, Herbert is suspicious and works out what must have happened. Written by jem

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Release Date:

9 February 1988 (USA)  »

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Aspect Ratio:

1.33 : 1
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User Reviews

6 November 2009 | by (CGSM,Soseaua Nationala 49) – See all my reviews

One of the very best episodes in the whole series, and a welcome rectifying of the soap—opera course taken by the two private investigators' idyll; there are several exciting moments—Hayes' discourse about the males in her life, Herbert's tirades, Addison's references to some TV series of the '80s, the final chase. Maddie sternly refuses to take her husband's name; she gives a wonderful discourse to an astounded Dipesto. And she's upset by Addison's imperturbable air. Take my word—Viola's best scenes are not those with Agnes—but those with his chief, Addison. Viola and DiPesto are as interesting as Hayes' parents; but Viola and Addison are awesome. Herbert Viola is very likable in this episode.

The two detectives (--three whether we count Viola--) have again a case—a jealous wife willing to regain her unfaithful husband. The case is a typically MOONLIGHTING one; there are plenty of references to the TV shows' world. And Viola delivers some breathtaking tirades using his full—fledged rhetoric.

With this episode, EEK A SPOUSE, the TV series returns in full shape, with the screwball and the essentially ironic romance, the final extravagant chase, Viola's impetuousness and rhetorical brio.

The fact that most of the MOONLIGHTING scripts were, as crime dramas, slapdash (not in the sense that they were ironical or playful or funny and not edge—of—the—seat mysteries, but that they didn't even exist as crime stories), is Polichinelle's secret; the 2nd part of the statement being that none really cared about this, the detective element being a mere pretext for the screwball—for the very substantial and highly differentiated screwball and interplay opposing the two charming actors. This wonderful TV series was so good because it has been so much crafted.

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