Homicide Episode Guide: Shot in the Dark

Written By  Jorge Zamacona

Directed By Bruce Paltrow

            One  of the more daring things about ‘Homicide’ especially  in its early years was how it would often have detective processes or investigations that would amount to nothing. Most of the time in police procedurals, an investigative avenue will lead to something substantial that helps lead to some kind of progress being made. Not here.

            Take the central section of ‘A Shot In the Dark’. As the Adena Watson case stretches on  (at this point all of the resources of the police force are no longer on it) Detective Felton comes up with a theory as to where the body might have been stored--- a cool dry place like the trunk of a car. One of the residents of Kirke Avenue had a car like that, and Felton believes that may have been  key to the killing. Bayliss, who has now focused all his energy on the idea that the Araber (a fruit and vegetable salesman) is the killer doesn’t even consider this possible, but Pembleton (who is just as sure that the Araber is not the killer) decides this is possible and goes out with Felton. Sure enough, the suspect says that he no longer has the car in question, claiming that it was repossessed. Felton and Pembleton begin a long search at the Repo Man’s car lot hoping to not find the car.  There is something very Zen about searching for  something you don’t want to find, and the search takes on a theater of absurd feel

            Part of the entertainment comes from watching Felton and Pembleton interacting. As we learned in the Pilot, the two men can barely stand each other: Felton thinks Pembleton is an arrogant loner and Pembleton thinks Felton is a sloppy cop. But there is a more obvious difference between the two, in Pembleton’s unspoken belief that Felton is a racist.  The dialogue between the two men sparks with electricity. We don’t care as much about the search for the car as long as we see Baldwin and Braugher going at it about this explosive subject.

            Around this search, we follow several other stories from previous episodes as well as a few new twists. Again we witness the smarminess and lazy leadership of Captain Barnfather. First we see him expressing concerns about the two red balls while subtly expressing doubts  Gee’s leadership. Then we hear how Barnfather compromised the investigation  of Watson’s murder by revealing a critical piece of evidence. This so enrages Bayliss (already miserable with a cold and a fever)that he phones him at home to call him a butthead. And in the matter of police work, Bayliss must apologize to Barnfather not the other the way around.

            The Thormann shooting is also resolved. The suspect that got named in the anonymous tip in the previous episode turns out to not to be the shooter but rather the tipster. This is nearly compromised in Crosetti’s desire for vengeance. It is up to the more detached Detective Lewis to follow through with the investigation when Crosetti’s vision is blurred. We also see learn more about Crosetti’s shooting (hinted at in the previous episode) and more about how that changed him.

            We also learn that Bolander’s romantic pursuit of Dr. Blythe did not end as well as either of them hope. He is grouchier and  sterner than in the last episode and is so afraid to deal with her that he  leaves the squad room  to pick up a witness rather than talk to her on the phone. Some reviewers would later complain how Ned Beatty’s presence on the show deadened the series. I find that absolutely insane because he was one of the most well developed characters in the shows first seasons. It is rare to meet a character on television who is older than thirty five and has any problems. Stanley Bolander  managed to get beyond the cliché of the veteran detective and infuse it with energy and humor. This was a really well drawn character.

            We also get another insight into the character of Frank Pembleton. When he begins the pursuit of the car, it seems that he is more concerned about proving Bayliss wrong then solving the case. We soon realize that this is not true at all and that he is willing to adapt in order to see that justice is done--- even if that means conforming with Bayliss’ point of view.

            And of course, there is another murder investigation featuring the best and brightest of the crime faction of Baltimore. The shooting of Joseph Cole is another one of the  countless drug related shootings that happen daily. In this case it involves  a bodyguard shooting his employer to get to the man who was using him as a human shield. This particularly brilliant man claims he was doing what his employer told him to do. This too has its origins in reality.

            Though there is a lot less happening in this episode then the previous  three, this episode gives us a great deal of insight into the characters  as well as  well-defined look at some of the issues with race and sex from unlikely participants ‘A Shot In The Dark’ is also notable for showing the detectives in the off-hours at a bar and diner called the ‘Wharf Rat’. If nothing else, the episode should be remembered for John Munch’s karaoke rendition of ‘Mack The Knife’

We don’t get insight into Munch’s character, but his personality is beginning to take a more elaborate shape and adds more entertainment to an already entertaining show.

My score: 4.5 stars