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Ex Police Cars For Sale
- police cars
- A police car is the description for a vehicle used by police, to assist with their duties in patrolling and responding to incidents.
- (police car) cruiser: a car in which policemen cruise the streets; equipped with radiotelephonic communications to headquarters
- (Police car (slang)) Black and white is an American slang term for a police car that is painted in large panels of black and white or generally any "marked" police car.
- for sale
- For Sale is the fifth album by German pop band Fool's Garden, released in 2000.
- purchasable: available for purchase; "purchasable goods"; "many houses in the area are for sale"
- For Sale is a tour EP by Say Anything. It contains 3 songs from …Is a Real Boy and 2 additional b-sides that were left off the album.
Fine-tuning the white-knuckled car chase formula of its predecessor, Driver 2 features more of the same high-speed, inner-city vehicular mayhem, and casts players once again as Tanner, a hard-boiled undercover cop who’s posing as a badass getaway driver–this time, to stop an international mob war.
With computer-animated cinematic sequences doing the lion’s share of the storytelling, players must guide Tanner through more than 40 action-packed missions in four different city settings, this time on foot–which primarily allows Tanner to carjack other vehicles–as well as behind the wheel.
While it can be of a lot of fun to play, Driver 2 is no joy ride. The missions can be quite unforgiving and require many restarts to complete, and the cops are quite determined–even at the “Easy” setting. Also, the game’s coarse, choppy 3-D graphics often get in the way of things, with slowdowns disrupting the game’s pace, and buildings and such popping up out of nowhere. –Joe Hon
Drive like a bat out of hell in four different city settings
Action now takes place on foot, as well as behind the wheel
One- and two-player minigames add replay value
“Film director” option lets players edit their own car-chase sequences
Missions can be quite unforgiving–requiring many restarts to complete
Coarse, choppy 3-D graphics make gameplay more difficult than it needs to be
The quayside at the Mayflower Cruise Terminal was packed with spectators taking photographs and waving flags.
Homemade banners, bunting and flags hung from the ship’s railings whilst a flotilla of small boats and passenger ferries filled the upper reaches of Southampton Water.
As she pulled away from the berth to the accompaniment of the traditional marching band, thousands of balloons were released from her upper decks, whilst daytime-fireworks were launched from the roof of 106 berth shed.
Fire tugs and the flotilla of craft escorted Canberra down river as she set sail on her final commercial voyage.
The last-ever fare paying passengers were in good sprits and in the mood for a party.
The 20-day cruise would take them into the Mediterranean as far to the east as Haifa.
As she left Gibraltar for the last time on 13th September, small boats sailed out of the harbour with her blowing their whistle and hooters – and a Royal Navy warship gave a water salute from her deck hoses and a moving exchange of whistle ensued.
Everywhere she went Canberra was given the send-off she deserved.
When she and Oriana were both anchored in Cannes on 25th September, passengers were able to go across in tenders for a visit on P&O’s new flagship.
Later that day, the ‘Golden Cockerel’, a large metal silhouette of a cockerel on a pole – traditionally carried by the fastest ship in the fleet – was handed over to Oriana in a ceremony eagerly watched by passengers of both ships, to the accompaniment of Gerard Kenny singing the song he had written specially for Canberra.
Canberra final return to Southampton was to be even more spectacular than that of her send off nearly three weeks earlier.
The 30th September dawned cold and very foggy.
The usual early morning arrival had been delayed to allow the ship to dock at lunchtime, giving spectators and the media a real feast. It’s apparent now that P&O wanted it to be a happy memory for everyone – the last memory they would have of Canberra.
The fog was too thick for people on the Isle of Wight to see anything as Canberra sailed past Cowes, but miraculously, as the ship made her turn at Calshot, the mist began to lift and the flotilla of small boats – the likes of which had not been since in Southampton since 1982 – began to catch a glimpse of the Great White Whale.
There were ships and boats of all sizes, from tiny dinghies to the Shieldhall and Waverley.
She was escorted by HMS Cornwall who took up position astern.
Together, everyone made their way up Southampton Water – all the time the visibility improving.
Firetugs joined the foray, then there was a flypast by a single Canberra bomber and Gazelle helicopters in a V formation.
The Red Devils – the display team of the Parachute Regiment dropped into Mayflower Park, whist the ship was given a gun salute as she passed.
In the upper swinging ground as she turned for berthing, hundreds of coloured balloons were released from upper decks of Canberra.
She came alongside and began to make fast her lines to the music of a military marching band.
Then it was over.
Every VHF radio for miles around crackled with the countdown to Rory Smith’s command to "Finish with engines" – following which were the sounds of hundreds of boats blowing their whistles and horns.
The boats and the crowds began to disperse, and then the final passengers disembarked and everything was quiet again. It was then time for a massive crew party!
The following evening, Canberra had to make room for Oriana, so in the darkness she was shifted to the recently vacated 38/39 berth – home of the QE2.
As she came alongside, a few of the Indian crew stood on the Promenade Deck watching the quayside activity, whilst further forward others were playing on the passenger ping-pong table – something that would have been unthinkable just a short time before.
With the ship safely alongside and the telephone landline in place, de-storing would start in earnest. The process of de-storing had been well planned.
There was a 36-page exclusion list of things that would not be included in the sale of the ship (buyer and future role were still not known – at least publicly – at the time) and these would all be removed for transfer to other ships and storage facilities.
Coloured tape had been delivered during the call at Piraeus on the Farewell Cruise. Boxes and pallets marked with red tape would be de-stored first.
These were due to be transferred to Oriana and she would be back in Southampton on the 2nd and the 5th of October. Yellow tape indicated things for Victoria, whilst blue would be for Arcadia. White taped goods may be destined anywhere else.
Tamper-proof tape had also been delivered at Piraeus for the high value goods. Cabin C71 was designated the de
Like the novel, script by Josh Friedman ("War of the Worlds") uses the horrific 1947 killing of 22-year-old would-be actress Elizabeth "Betty" Short as a way to delve into the specifically Southern California brand of crime, sleaze, corruption, hypocrisy, cover-up, disillusionment and dream-crushing that has been a staple of resonant pulp fiction for decades.
In this respect, "The Black Dahlia" covers familiar ground, both thematically and in its seductively tawdry atmosphere highlighted by the usual downtown-area locations, deco apartments, constant cigarette smoke, beautiful cars, men in natty suits and hats and women in gorgeous glamour gowns, with the gap between the rich and powerful and those they would keep down never far from the center of things. Add the evocatively bluesy-jazz score and you might almost hear yourself muttering, "Chinatown."
But "Chinatown" it ain’t, not in any department. On its own level, however, new pic generates a reasonable degree of intrigue, initially in the ambiguous relationship among tough L.A. homicide detectives Leland "Lee" Blanchard (Aaron Eckhart), younger partner Dwight "Bucky" Bleichert (Josh Hartnett) — former boxers nicknamed "Fire" and "Ice"– and their voluptuous blond platonic ladyfriend Kay Lake (Scarlett Johansson). What gives with this threesome isn’t revealed until later, but Eckhart in particular takes the opportunity of the opening half-hour set-up to carve a strong impression as a volatile, aggressive cop ready for just about anything on a police force that craves his kind of guy.
In the first big set piece, the camera arches high and low and around and about in covering Lee and Bucky’s stakeout of and shootout with some lowlifes in a lousy neighborhood. As their real target slips away, the mutilated body of a young woman is discovered in a field across the street; she’s been cut in half, disemboweled and drained of blood, her head bludgeoned and her mouth extended by three-inch cuts on each side into a sick grin, details the police are intent on withholding from the public.
Hotshots Fire and Ice take on the case, but their few interviews with those who knew Betty Short yield little other than her grandiose dreams of movie stardom and her good-times attitude toward men, especially those in uniform.
Bucky becomes fixated on a long screen test he discovers in which Betty (Mia Kirshner) was prodded and interrogated by a director (voiced by De Palma himself).
Strangely, the combination of Betty’s killing and the imminent release of a criminal he long ago put away makes the more experienced Lee flip out; with this, the most watchable and compelling character in the picture thus far frequently disappears from view for murky reasons, forcing the lower-voltage Bucky and Kay to the fore.
This changes for the better when Bucky’s investigation into a lesbian angle in Betty’s life leads him to high-society dark lady Madeleine Linscott (Hilary Swank), who turns up during a wonderful for-gals-only supper club production number of "Love for Sale" crooned by none other than k.d. lang. The suggestive sparring between the working-class cop and the classy woman with a pronounced physical resemblance to the murder victim may not be of the highest order, but it’s enough to get them where they need to go, between the sheets and into a hot romance involving untold layers of deception.
Madeleine proves the lowly Bucky’s passport to the rarefied realm of the city’s drippingly wealthy, starting with her family: There’s naughty younger sister Martha (Rachel Miner), batty mother (Fiona Shaw) and strange Scottish father (John Kavanagh). A dinner scene with this quintet is so bizarre you can only laugh, with Shaw’s perf so over the top, albeit intentionally, that it amounts to a curious spectacle unto itself.
The convergence in a marbled lobby with massive surrounding stairs of Bucky, the unhinged Lee and his now ex-con adversary provides the elements for De Palma’s most virtuoso scene, one in which shocking and upsetting violence forever alters the trajectories of several lives and the picture.
Hereafter, revelations about who was up to what become essential, leading to a big and ne