Homicide Episode Guide: Narcissus

Written by Yaphet Kotto

Directed by Jean de Segonzac

After a series has been on the air for long enough, it is common for actors on the show to step behind the camera---  Clark Johnson and Kyle Secor have already done so this season. It is much rarer, though, that an actor will write an episode of a series. Indeed, I know of only two series where this has happened --- The X-Files and Homicide. In this latter case Yaphet Kotto would be the only actor to do so, and he would do it three times, starting with ‘Narcissus’.

The episode that Kotto delivers is a thought provoking one for many reasons. The first is that it deals with tricky racial issues. Despite the fact that a third of the leads, half the regulars  and a goodly amount of the guest cast was black, Homicide  did not often show episodes involving racial strife (which is especially ironic considering how many murders are caused for that very reason). Here, Kotto delves in to it deeply by having the episode center around a black organization called  the African Revival Movement. Headed by an ex-Baltimore police calling himself Burundi Robinson (members draw their names from African countries) the movement involves itself with reaching out and trying to help the black community from soup kitchens to finding jobs for the homeless.

But there is an ugly side to the Movement, as we find out when one of its members is murdered. Talking with a witness, Munch and Pembleton learn that Robinson has been sleeping with many of the young women in the movement. Because of this Robinson had him killed.

But there is far more to this case than just the murder. When Frank and Munch show up on the crime scene Colonel Barnfather is present, trying to curtail the search for the killer. When the killer—another member of the ARM is found Captain Gaffney talks to him after which he refuses to talk to the police. Later, he fouls up a wiretap on Robinson by demanding the name of the witness. 

These scenes show some stunning insights into Barnfather and Gaffney. We know from past events that Barnfather is a manipulative and political animal but here he reveals he has a conscience. Arriving at the crime scene, he allows Pembleton to quote procedure on him and stop him from pulling rank. For the first time on the show, he draws a line in the sand as to what he thinks it right. Gaffney, on the other hand, reveals what a cruel and mercenary bastard he is. Not only does he pull rank on Gee repeatedly, he bullies Ed Danvers and near the episodes climax, is willing to go over Barnfather’s head. This is the first time that we have seen all the brass not on the same side and  we realize that even though they don’t show it often, sometimes the high ranking officers have consciences of their own

Frustrated by this, Giardello comes up with a brilliant idea as to make the killer talk. He, Pembleton and Munch call the murderer into the box, and then have a conversation about the case as if he isn’t there.  After revealing some brutal truths they spook the murderer into giving Robinson up. But when they try to arrest Robinson, he barricades himself in the ARM headquarters and it is only through Frank’s actions that a riot doesn’t break out.

Realizing the potential for a massacre Gee goes in the building—without a gun--- and asks to talk to Robinson. And here we have one of the most shocking revelations that the series would do, period. The man who has been manipulating the brass to protect Robinson is none other then Deputy Commissioner Harris. Turns out Harris and Robinson were partners twenty-five years ago and after they busted a major dealer, Harris stole those drugs from evidence control and sold them back to the dealer. With both of them on the hook, Harris convinced Robinson to handle ‘damage control’-- Robinson took the rap for Harris in exchange for the money. From this incredible corruption, Harris has risen to great heights in the Baltimore PD. And now that he has his feet to the fire Harris has no trouble betraying a case—and authorizing QRT to kill his former partner.

They never get the chance, though. Giardello tries to convince Robinson to surrender but the most he does is release all the women and children. Hours pass as the tension mounts. Finally, QRT and the squad storm the building. In the basement they find Robinson and fifteen of his followers dead in a mini- Jonestown.

However, the most stunning element is the denouement. Gee can rage all he wants about bringing down Harris, but in the end the average American watching at home doesn’t give a damn about black people killing each other. A couple is shown watching the news unfold on television. They look at it dispassionately and change channels, utterly uninterested. We never learn if this ever goes any further than this episode, but after this Harris was written out of the series--- small justice for those involved.

Kotto clearly demonstrates in this episode that he has the rhythm of Homicide down cold. Issues such as the Mahoney shooting and Bayliss’ absence from the squad are dealt with briefly but in style. Stivers is having trouble coming to grips with the murder of Mahoney--- she hasn’t been sleeping or eating. Kellerman, however, has no problem with it. But the downward spiral is still to come. Kotto also shakes things up by having Frank tell a bizarre news story that Munch is known for telling occasionally.

 More than that he demonstrates that he understands the hierarchy of the PD. Ultimately it plays like a typical episode—which is what he was aiming for. The sequence between Robinson and Giardello is the most unrealistic but Kotto and Roger Robinson (playing Burundi) make it work very well--- particularly in their last exchanges when Burundi bets his final actions on the flip of an imaginary coin --- and then tells him ‘You lose.’ Watching it still sends chills down my spine.

The one flaw of the show comes by the fact that again half the cast is ignored—Kyle Secor, Clark Johnson and Melissa Leo are given nothing to do. Still, ‘Narcissus’ is a fascinating story that shows a lot of different twists on characters that we would not expect. It also asks the question about what role the black man really has in society. Put another way, is Gee a black man who’s a cop or a cop who happens to be black. For him, the former seems to be true. For Frank, the latter seems more relevant. And for someone like Harris, he doesn’t seem t be ether. Sometimes power means you lose parts of yourself, and in Harris’ case he gave up everything.

My score: 4.25 stars.