Spencer finds himself framed for the murder of his client's husband, who she claimed was trying to kill her.
I've seen two Spencer-centric episodes so far, and I'm left wondering if there was a conscious decision made with these old Warner Bros. shows with rotating stars that the main lead would get the better scripts. As a previous reviewer has noted Boris Sagal's directing is a lot more interesting than the story. The biggest surprise is how suddenly the frame-up begins. The music cues vary between action pieces that would be at home in a Secret Agent episode and silly (sometimes stereotypical) cues in the vein of post-Roy Huggins Maverick episodes.
I will, however, gives props for the band in the bar playing "Someone to Watch Over Me" as Mrs. Stacy pleads with Spencer to take her case, as well as, in another scene (as was the case in "Lovely Lady, Take Pity"), the use of "It Had to Be You" playing in the background.
The best scenes are the ones with Stu Bailey, particularly the phone call scene in the middle with both him and Kookie in the office and the phone in the foreground. The episode even ends with Bailey.
The inquest scene is flat (an earlier reviewer pointed out). What was the point? Was the audience really supposed to be on the edge of its seat wondering who shot Mr. Stacy? Outside of that, there's nothing revealed that we couldn't have learned without Spencer becoming a fugitive--or Spencer running a background check on his client before taking the case.
I hope Sagal's talents are put to use on more compelling material in the course of this series, as "The Well-Selected Frame" pretty much qualifies as filler.