Go ahead and take Money and Run

Interrogators Paul Bishop and Mary Hanlon Stone attempt to discover where contestant Paul Bustamante hid the $100k. Created by Jerry Bruckheimer Television, Profiles Television and Warner Horizon Television. Executive producers, Bruckheimer, Bertram van Munster, Jonathan Littman, Elise Doganieri, Philip Morrow co-executive producers, KristieAnne Reed, Mark Dziak supervisory producer, Shannon McGinn story producers, Micheal DiMaggio, Kendall Seyer, Ismael Soto director, van Munster. With: Paul Bishop, Mary Hanlon Stone.Producers have spent years attempting to decipher how you can perform a reality-based crime/caper show, and allow they accountable for "The Astonishing Race" in the future near to cracking the code. "Go ahead and take Money and Run" requires lots of arcane and convoluted rules, but tha harsh truth -- giving a couple an hour or so to cover $100,000, then releasing a set of detectives to locate it -- must hold an audience's attention within the same undemanding way many procedurals do. Think about it as being "CSI: Low-Budget Analysis." The setup initially seems goofier compared to Woodsy Allen movie of the identical title: An extremely grave-searching actor hands a few (within the premiere, a set of siblings in episode two, a couple) a brief-case that contains the money, then directs these phones a vehicle having a Gps navigation locator. They are given an hour or so to locate a hiding place, along with a mobile phone, that they use mostly in order to throw detectives from the scent by placing calls, a log which is obtainable towards the researchers. Next, both are locked in separate confinement and asked by interrogators Mary Hanlon Stone and Paul Bishop, who're the only real recurring figures within the formula. This provides the gamers an chance to get a cops-and-thieves scenario, such as the mental tools accustomed to "break" a suspect. Oh, so that as Columbo would say, yet another factor: The rotating detectives split the $100,000 when they discover the cash prior to the 48-hour deadline (public workers are under compensated, in the end), supplying each side having a financial incentive. Both teams of participants also discuss their high-minded plans your money can buy (an unwell parent, a kid's wedding), developing a mild rooting interest. However the fun largely comes from the interrogation sequences and imagining how you might fare under similar pressure, facing a detective trained in the skill of stumbling up suspects. Obviously, in true Bruckheimer-esque fashion, everything works overtime production-smart -- the background music, the editing -- to promote suspense. Because of the natural limits (it isn't such as the cops can open a can of whup-ass in it) and modest stakes, "Homicide" this is not. Still, the show (slated for any six-episode summer time flight) signifies a breezy diversion, with apparent possibility to return and plug a gap left with a canceled series come fall. In a nutshell, expect if ABC takes the concept and runs by using it.Digital camera, Tom Cunningham production designer, Junior Meyer lead editor, Eric Beetner music, David Vanacore Music casting, Paul Gordon. 60 MIN. Contact John Lowry at john.lowry@variety.com