Television Review: Wanted Dead or Alive: Part 1 (Homicide: Life on the Street, S7X06, 1998)

Wanted Dead or Alive: Part 1 (S07E06)

Airdate: 13 November 1998

Written by: James Yoshimura
Directed by: Robert Harmon

Running Time: 43 minutes

In its seventh and final season, Homicide: Life on the Street embarked on a series of poor creative choices, oscillating between overcooked character studies and overly convoluted plots. Amidst this unevenness, however, the series occasionally hit its stride, particularly in its willingness to adopt a two-part structure for stories that demanded greater narrative depth. This decision was notably successful in two consecutive episodes—Wanted: Dead or Alive and Kellerman, P. I.—that tackled themes lying on the periphery of traditional law enforcement. The first such episode, centres on the morally ambiguous world of bounty hunting, a subject rarely explored in mainstream police procedurals at the time. By eschewing the constraints of a single episode, the writers allowed the story to breathe, weaving a complex web of motivations, ethical dilemmas, and real-world consequences that resonated far beyond procedural tropes

The first instalment opens with a rare, jarring act of violence for a show that often prioritised procedural nuance over graphic spectacle. A cold open introduces the viewer to a trio of bounty hunters—Dennis Knoll (Christopher Meloni), P.J. Johnson (Kris Arnold), and Jerry Lichte (Vic Noto)—raiding the home of Eric Scales to apprehend Joe Errico (Rico Rosetti), a fugitive who skipped bail on drug charges. The scene immediately establishes the blurred lines between justice and vigilantism: the bounty hunters, acting as hired enforcers, barge into Scales’ home with aggressive force, only for Errico to open fire. In the ensuing chaos, P.J. Johnson mistakenly identifies Eric Scales as the shooter and kills him. This tragic misfire sets off a chain of events that exposes the inherent risks and moral compromises inherent to bounty hunting. The episode’s inciting incident is both visceral and thematically rich, contrasting the cold calculus of the profession with its human cost. The fallout is swift: all three bounty hunters are arrested, but P.J. is charged with manslaughter, a legal consequence that ironically fuels his resolve to pursue Errico further, viewing the fugitive’s escape as a personal affront. Knoll and Lichte, however, offer their assistance to the Homicide Unit in tracking down Errico, reasoning that capturing him would also lead to P.J.’s apprehension—a pragmatic but morally fraught partnership that underscores the episode’s central tension between duty and self-interest.

The narrative escalates with a high-octane car chase through Baltimore’s streets, a sequence that culminates in a disastrous outcome for the Homicide team. Detective Lewis and an elderly female passenger are critically injured when one pursuing vehicle collides with another car, a moment that refuses the typical Hollywood trope of action scenes sparing civilians. This realism is a hallmark of the episode’s direction, as helmed by Robert Harmon, whose background in action-horror (evident in The Hitcher) lends the sequence a visceral, unglamorous edge. Unlike many crime dramas that sanitise violence, Homicide here acknowledges the collateral damage of police work, a choice that amplifies the episode’s gritty tone.

While the bounty hunting plot drives the episode forward, its true strength lies in its quieter, character-driven subplots. Perhaps most compelling is the simmering conflict between Detectives Gant and Munch, a running tension that takes on new dimensions here. After a night of heavy drinking at the Waterfront Bar, Gant returns to the station disoriented, only to learn he had spent the evening recounting his experiences as a Vietnam War veteran. Munch, an unapologetic 1960s counterculture adherent who proudly opposed the war, seizes the opportunity to mock Gant’s patriotism and question his moral authority. The exchange quickly spirals into a clash of ideologies and ethnic identities: Gant, a patriotic blue collar Irish Catholic, and Munch, a Jewish liberal, wield their backgrounds as weapons, each seeking to delegitimise the other’s worldview. This dynamic is both uncomfortable and revelatory, exposing the personal animosities that underpin professional relationships. Unlike earlier seasons, where their banter was often playful, here the stakes feel higher—a reflection of the show’s willingness to confront its characters’ vulnerabilities as they near their final season.

The script, written by James Yoshimura, further enriches the narrative by exploring the ethical ambiguities of bounty hunting through the perspectives of the Homicide Unit. Lt. Giardello voices the institutional disdain for the profession, dismissing bounty hunters as “people who hunt down others for money,” while Detective Brenda Leigh Johnson (Shepard) reveals a grudging respect for Knoll, acknowledging their past collaboration in the Fugitive Squad. This duality is mirrored in Knoll himself, portrayed with rugged charisma by Meloni, whose performance subtly hints at the moral complexity beneath his tough exterior. The actor’s later fame in Law & Order: SVU as Detective Stabler is ironic, given the stark contrast between his roles: here, Knoll operates in a shadowy, morally grey zone, far removed from the rigid proceduralism of his later character.

The episode also underscores the pervasive influence of drugs, framing them as the catalyst for the entire tragedy. Eric Scales’ death stems from his association with Errico, a fugitive entangled in the drug trade, while his widow, Angie (Suzanne Grover), spirals into addiction almost immediately after his murder. Even Errico’s mother (Marylin Bennett) is portrayed as a victim, forced to help capture of her son to avoid losing a home. These subplots collectively paint a bleak portrait of systemic failure, where poverty, addiction, and the criminal justice system perpetuate cycles of suffering. The writers avoid melodrama, instead opting for a stark, observational tone that amplifies the human toll.

A subtle yet effective touch is the subplot involving the Giardellos—father and son both working in law enforcement. Captain Gaffney suggests a joint interview to capitalise on their familial connection for public relations, but Lt. Giardello brusquely declines, underscoring the generational and professional divides within the family. This moment, brief but telling, adds another layer to the episode’s exploration of institutional and personal loyalties.

The episode concludes on a gripping, morally ambiguous cliffhanger that sets up its sequel. The car chase’s aftermath leaves two people hospitalised, a stark reminder of the human cost of high-stakes police work. Unlike many crime dramas, Homicide refuses to sanitise this violence, instead using it to question the efficacy of aggressive policing tactics. The unresolved tension between the bounty hunters, the Homicide Unit, and Errico’s continued evasion leaves audiences anticipating the sequel’s resolution while reflecting on the episode’s central themes of accountability and justice.

A minor but intriguing detail emerges in a conversation between Lewis and Bayliss, who debate 1950s and 1960s Westerns featuring bounty hunters. Lewis’s confusion over specific titles—mixing up classic series—serves as a nostalgic nod to the era’s pop culture, though its relevance is likely lost on contemporary viewers unfamiliar with those shows. This moment, while charming for fans of television history, underscores the series’ occasional indulgence in niche references that may alienate younger audiences.

Overall, Wanted: Dead or Alive: Part I is a standout entry in Homicide: Life on the Street’s final season. It leverages the two-part structure to explore complex themes with depth and nuance, offering a realistic portrayal of bounty hunting’s ethical quandaries and the collateral damage of law enforcement. While the series’ final season is uneven, this instalment reaffirms the show’s ability to tackle unconventional subjects with intelligence and heart, leaving a lasting impression on fans of police procedurals and character-driven drama alike.

RATING: 7/10 (+++)

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