"Seven Eleven" This is the series at its most DALLAS-y. You've got Larry Hagman in his best early-JR mode, Mrs Scottfield, and a jaunty John Parker score. Even the title almost sounds like "Sue Ellen". Pepper meets her snitch, Hester, in a darkened alleyway but Hester is blown away by a faceless assailant in a shadowed corner with a double-barrelled shotgun. Pepper chases the gunman but he escapes. Crowley and the squad descend on the site and Crowley chews Pepper out for daring to have an entire scene in which he wasn't involved. Pepper and Joe Styles go to inform Hester's nearest and dearest (Albert Popwell) about her expiration, and to request if he knows anything of the drug shipment Hester was attempting to tell Pepper about. He claims ignorance and then calls Styles the N-word, back in that brief era, circa 1971 thru ROOTS 1977, when TV attempted to toss in the occasional racial epithet for purposes of realism before realizing that the term was just too ugly... But the scene works because it gives us a taste of what Pepper was originally like: a raspy-voiced, flinty-eyed tough cookie -- before that cookie eventually crumbled into a dithery polite woman with a creme-filled pastry who rarely raised her voice let alone her .38 police special. Back at the station, Crowley figures out that Hester's cryptic clue that "Seven Eleven --- it's plain..." wasn't a pre-mortem attempt to sound glib and sassy but in fact "it's plain" actually meant "it's a plane," a flight due in from Vancouver where the junk will be delivered. But the squad's attempt to bust the drug ring is foiled when they run head on into the fed narcs who planned to do the exact same thing. Pepper then poses as a stewardess to investigate the flight's crew, after she claims to have never wanted to be a flight attendant (later retconned to her having spent years on a jet liner) and she quickly buddies up to a fellow stewardess (Karen Carlson) while navigating the flying hands of various amorous pilots. Pepper follows Mrs Scottfield into the toilet where the latter makes the drop, pardon the expression, and Pepper informs her that she's in a lot of trouble. Pepper then takes her place once she realizes none of Mrs Scottfield's contacts have ever laid eyes on her. So Pepper waits by the airport locker where the ruffled go-between (Chuck McCann) usually finds the stash of drugs; she demands the doomed gofer take her to his leader, and Pepper winds up at a marina bar where JR Ewing, over a bourbon, makes googly eyes at Sergeant Anderson and she ups the ante: she wants an increase in salary, and he wants what JR usually wants from attractive women. Pepper agrees to his terms, but only after she gets her money... It's a very pre-'Who Shot JR?' scene. Only I guess now it's: Who Shot Hester? JR, always the boy in a grown man's suit, goes and asks his business daddy, Atticus Ward (John Larch) on a nearby yacht, if he can have some extra flash so he can boink Sergeant Anderson. His daddy pulls rank and says he wants to get a taste of Pepper first, leaving JR predictably frustrated. Grabbing Pepper by the elbow, JR escorts her from the marina bar to the car when he discovers a pistol in her purse; naturally nervous about lovely ladies with firearms, JR grabs Pepper by the hat, and she slaps him for messing up her hairdo. Continuing to navigate the marina and its bars without losing his grip on her elbow, JR eventually delivers Pepper and the junk to his boss who then informs his horny protégé that Pepper is not the girl JR thinks she is: her face doesn't match up with the porno shots they've been blackmailing Mrs Scottfield with. Below deck, Pepper gets a little nervous when she hears the yacht engine start up, probably remembering that girls with guns and drugs don't wind up too well when they're with JR Ewing and near bodies of water. Crowley and the gang show up and saves the day, JR makes a quick escape dive off the yacht, the coast guard appears out of nowhere to collar him, and the episode ends all John Parker-y and whatever.