Homicide Episode Guide: Strangled, Not Stirred

Written by Linda McGibney; story by Julie Martin and Anya Epstein

Directed by Jay Tobias

Part of the problems that I had with Homicide came mainly in the last two seasons of its run. Specifically, the previews of the episode. In several of the shows, the story would set up a mystery and then spoil it by identifying the killer. Now, since  on Homicide, who committed the murder was often the least important part of the episode, this wasn’t a tremendous loss. But in episode like ‘Strangled, Not Stirred’ where the final revelation  is supposed to come as a huge shock, it doesn’t help when the promo has the killer confessing why she did it.

Admittedly, it doesn’t help matters that the teaser of the episode seems to reveal immediately who the killer is--- Nick Montgomery, an attractive man who we see with his wife buying drinks for an attractive young woman  at a trendy nightclub on Charles Street. He walks her to her car, kisses her, and then subdues her with a stun gun. The next morning Ballard and Gharty are investigating her murder. Because we know (or at least think we know) who the killer is, it takes a bit of the oomph out of the investigation as the two detectives go through the process--- identifying the body, visiting the M.E. and learning about the stun gun, checking the background of the patrons of the nightclub where the victim was last seen.

What energy we get comes from watching Ballard getting worked up about the victim being described as a ‘Saturday Night Hun’--- someone who goes to clubs dressed to the nines looking for love. It’s pretty obvious that Ballard is pissed because she fits the victim profile, and things only get worse when a second single woman who had also been in a Charles Street nightclub alone.

Throughout this episode we keep cutting back to the Montgomery’s, where all of the interplay suggests that Nick was the only killer and his wife Helen is clueless. Therefore, when Helen comes in bringing her husband’s stun gun, we seem to believe her as the wronged wife until Nick being pressed reveals that Helen was the actual killer--- all of which would be more shocking if we didn’t know that they had both done it. Then again, maybe the problem is that the writing is unusually flat for Homicide  and its hard to work up any kind of thrill or excitement. The big shock comes when they both give each other up without any thought. When Ballard asks why Helen did this when they could have gotten away with the murders had they  both been quiet, she says that she was upset because the second killing was done by the husband alone. In other words, he ‘cheated’ on her. (It turns out they committed several murders traveling across the country.

What energy comes out of the central story comes from Callie Thorne’s work as Ballard.  Just as in ‘All is Bright’, it is clear that she initially feels empathy for the female murderer.  She initially refuses to believe Helen Montgomery’s guilt because she thinks the husband is a misogynistic pig.  Closer to home, she is more upset about both victims who are clearly ‘there-but-for-the-grace-of-God’ her. She also reveals to Falsone after the case is closed that she left Seattle partly because she wanted a new challenge and partly to meet Mr. Right. Apparently she hasn’t found the latter (one wonders what happened to the boyfriend mentioned in ‘All Is Bright’) This will eventually lead her to follow the choice that would be the worst decision that the writers of Homicide  ever made. But that’s next year.

The only major subplot is important--- the Mahoney killings that we learned about in last week’s episode. Drug murders like this are usually very difficult to close. But someone has been mailing the detectives investigating the murders anonymous letters that identify the murderers, motives and witnesses to the killings. They reveal that half the Mahoney organization is murdering the other half. When Pembleton asks a witness why they’re doing this, he tells him that its about money and information--- these were never a particularly close people to begin with. When Frank asks who’s winning the war, the witness c an only say “Ain’t it you?” Seems to be that way.

You’d think the squad would be happy about being handed closed cases. They’re not. They all know (but no one is saying) that Meldrick has been providing the anonymous tips. Giardello knows this too, and doesn’t like what is happening. He catches up with Lewis and tells him that he’s worked out with the trial board a solution that will lift his suspension but that Barnfather wants him to transfer out of Homicide. Gee’s says that he’s willing to negotiate further but tells Lewis bluntly that he had better stop screwing around with the Mahoney organization. Unfortunately, once something like this gets started its almost impossible to stop on command. The squad will learn this the hard way.

‘Strangled, Not Stirred’ has some good moments in it but for the most part its mediocre, flatly written and not as interesting as some of the other stories that have been told this year. Honestly, it seems more reminiscent of the USA show Silk Stalkings  than what we see on Homicide.  The murders are more sensational than usual but not as interesting. Sadly, in the last couple of seasons the former will occur more than the latter.

My score: 2.5 stars.