From Richard Price

The Night Of – Season 1, Episode 7: “Ordinary Death”

HBO’s The Night Of
Season 1, Episode 7: “Ordinary Death”
Directed by Steven Zaillian
Teleplay by Richard Price & Zaillian

* For a review of the previous episode, “Samson and Delilah” – click here
* For a review of the finale, “The Call of the Wild” – click here
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Detective Dennis Box (Bill Camp) is at the scene of another homicide; one that bears a striking resemblance to the murder of Andrea Cornish.
In court, Nasir Khan (Riz Ahmed) has to see the pictures of Andrea’s bloody, desecrated body along with everyone else. District Attorney Helen Weiss (Jeannie Berlin) does her best to steer the evidence where she hopes the jury will see it go. Her Medical Examiner pal, Dr. Chester, repeats the line he’d been working on the last time we saw him. Once Chandra Kapoor (Amara Karan) gets at the doc things start slipping. The whole testimony on his part does not look good after she pokes holes in both what he’s said, as well as his reputation. She is a sly lawyer in her own right, even compared to Weiss.
Meanwhile, John Stone (John Turturro) has become honed in on Don Taylor (Paul Sparks), stepfather to Andrea. He’s keeping a close eye on the guy. Especially after Chandra, in court, makes clear the wounds on Andrea’s corpse look like a crime of passion; a personal one. And though we don’t know everything, Naz did not know Andrea before that night.
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Sadly it’s Safar Khan (Poorna Jagannathan) who suffers most, it seems. She is torn up having to see the pictures of the supposed crime Naz committed. She seems adrift, alone even within her own family. Salim (Peyman Moaadi) isn’t having any better of a time. He finds himself an object of derision in his own community, as other Muslims don’t look pleased with his family bringing shame on them all. Worse still, his own business partners Tariq (Mohammad Bakri) and Yusuf (Nabil Elouahabi) are essentially turning their backs on him. They’ve blamed Naz for bringing shame “on all of us,” they tell him. “You are the father of a killer,” says Tariq. Now that is brutal. I like that the series shows the good and the bad of the Muslim community. While trying to show the positive aspects, they also don’t shy from showing how within their own communities there’s so much of this type of thing; guilty before proven innocent.
Lots of anger being thrown at the Khans, from graffiti poised towards the community in general right down to rocks tossed through their windows.
All the while Stone keeps his eye on Don as he woos women for their money. Plus, Johnny gets to keep his feet moving since they’re no longer wracked by the bubonic plague. He’s got all sorts of information rolling in on Don. He even gets in contact with an older woman that was once romantically involved with him. She actually had to call the police because he strangled her. A bit of money and then the Don problem went away. So he’s got himself a history of nastiness.

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A witness for the prosecution tells the court he bought Adderall off Naz at school. Turns out the young Muslim had customers. He has secrets in his past. Not so innocent after all. But a murderer? Nah.
With his feet fixed, John’s already got a new rash started on his neck. In other news, his family – what’s left of it – is falling apart. One thing gets better, another gets worse. The tragic life of a Greek-like figure, that Stone.
At Rikers, Naz is getting along well enough. At least he’s not doing sexual favours like Petey (Aaron Moten) whose mother smuggles in the drugs that Naz takes in for Freddy Knight (Michael K. Williams). Then again, having to swallow drug balloons from a strange woman’s vagina isn’t exactly glorified behaviour. Especially considering Naz does it now without hesitating, not a single choke. Similar to how his behaviour is described in court, by a man on the witness stand testifying about Naz’s incident of violence years ago nearly killing another student.
And yet again, another secret. A second act of violence, not known by the defence. Naz threw a full Coke can at someone’s head and busted him up good. Hearing this in open court like that rocks Chandra. Her idea of Nasir seems to constantly be changing.
Poor Salim and Safar. They’re giving up everything to pay for their son’s defence. They pawn off jewellery, anything possible just to keep their boy with a lawyer. What’s sad is that Safar is really beginning to doubt the illusions of her son; they’re becoming just that, a mirage.
Finally, Don confronts John. He does so in fairly violent fashion, though not enough to freak anybody out, other than Stone. A threat’s been made. Easy to see that Andrea’s stepfather might have more rage in him than anybody knows.

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In court once more, Dt. Box is on the stand. He is a pretty rational, sensible talking man. He doesn’t beat around the bush, even as Chandra gives him a proper going over.
Alone together, Naz and Chandra talk. He wonders why she defends him, lamenting that his father is the only one who believes him. Not even his mother. There’s an air of sexual tension, and then Chandra leans in to kiss Naz. Images of the night Andrea died flash, her and Naz embracing. Ah. No good for their professional relationship, that’s for damn sure. This can only complicate things further.
Chandra has Dr. Katz (Chip Zien) on the stand. He talks about a missing knife from a set found in the brownstone. He also testifies that the wounds on Naz’s hand were not from stabbing. That it came from a game of five finger fillet (though she incorrectly calls it mumblety-pegs). Katz pokes a lot of holes in the evidence of the prosecution, as best he can. Remember that odd picture he took in the apartment? Well, he’s got an answer for that one, too. Smart chap. Weiss gets hold of him then to try poking her own holes, such as attempting to link Naz and O.J. Simpson in a snide remark. She goes at him head-on. Admirable. But clearly she’s only trying to sneak one past the goal post.

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John finds the picture of Naz’s inhaler. He wonders what happened to it, then the young Muslim tells him about Box having given it to him that night in the holding cell. So John goes to see the retiring detective, along with a subpoena.
Quickly, Stone and Chandra have him back on the stand. She asks him about the interviews, witnesses, all sorts of things. She eventually brings into question Box’s mishandling of the inhaler. He willingly admits to having given it to Naz. Chandra spins it to look as if Box took the inhaler from the evidence in order to ensure their narrative fit; can’t stab someone 22 times and take hits off your puffer, right? Box does his best to deflect. However, there’s no guarantee this won’t reflect badly on him, or the prosecution.
Back at Rikers, Naz finds Petey dead in the shower. He cut his wrists to pieces, to not suffer the sexual abuse any longer. That’s terrifying tragic. Naz looks on in desperate sadness. In Freddy’s cell, the big man doesn’t know about the real reason for the kid dying. And the rapist, he sits there trying to keep Naz silent. Even sadder.
In private, Naz confides in Freddy the reality of Petey’s suicide. This precipitates a shiv being made. The rest, you can guess. Criminal justice within the criminal justice system.
What about the real justice?

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Another fine episode from HBO’s excellent series. One last episode left! Its title is, fittingly from Jack London, “The Call of The Wild” – will the truth all come out? You can be sure of it.

The Night Of – Season 1, Episode 6: “Samson and Delilah”

HBO’s The Night Of
Season 1, Episode 6: “Samson and Delilah”
Directed by Steven Zaillian
Teleplay by Richard Price & Zaillian

* For a review of the previous episode, “The Season of the Witch” – click here
* For a review of the next episode, “Ordinary Death” – click here
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Mr. Stone (John Turturro) is doing his best to take care of the cat, still. Despite his terrible allergies. He keeps the cat locked in the room, cleans out its litter and feeds it through opening the door quick, tossing everything in. But why does he do it? Because it’s the right thing to do. Similar with how he’s starting to feel about Nasir ‘Naz’ Khan (Riz Ahmed), whose own concerns mount by the day, sitting at Rikers Island with Freddy Knight (Michael K. Williams) and watching the top dog prisoner prepare then smoke some drugs. At least now, after the favour he did for Freddy, Naz can call his parents; he has a cellphone, courtesy of Knight.
What more is to come from their relationship?
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Safar Khan (Poorna Jagannathan) and her husband Salim (Peyman Moaadi) are in dire straits financially. Without her husband, Safar is out trying to find work. She’s a tough woman, I hope we get to see more of her character. At the same time, Detective Dennis Box (Bill Camp) is digging into the Facebook account of Naz. He starts to see maybe a side of the young Muslim which may not be good for the prosecution. Or, are there deeper secrets to Nasir we’ll soon find out?
Well, D.A. Helen Weiss (Jeannie Berlin), she’s busy trying to make the drug intake of Naz look proper for their version of the story. As her unlikely competition, Jackie Stone, is busy juggling his life and that of Naz alongside the horror story of his feet. I love that we get a ton of Stone’s character amongst everything else, but further than just that his feet are representative of the mindset in which he’s lived so long, to the detriment of his health while pursuing case after case trying to chase the all-American glorious dollar.
All this time, Naz is in prison falling farther into the lifestyle. Even has himself some knuckle tattoos.
We can’t forget Chandra Kapoor (Amara Karan); another of my favourite characters. She watches video footage of Naz at a gas station the night of the murder. A man in a hearse stops, though doesn’t get any gas, and then leaves when Naz does, too. Hmm. Now that is suspicious right there. Leave it to Chandra. I have a feeling she’s the most underestimated of the entire crew of lawyers in the series. Once she tracks down the hearse driver he’s full of eeriness, lots of misogyny and the like. When he mentions some biblical verse, this is where I imagine Samson and Delilah comes in, giving us our title.

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John drinks a bit of strange powder the Asian doctor gave him. Another supposed cure. It’s amazing he can even keep his head on straight. A terrified Chandra shows up at his door, though. She has a Bible with her. She talks about Samson and Delilah, reading verse for John. “Thats what he thinks of women,” she tells John re: the hearse driving mortician. Could this man have anything to do with the case, or merely a red herring?
Back to Rikers, Naz is constantly doing push-ups, always honing his image. First, push-ups. Then, tattoos. What comes next is anybody’s guess. Paralleled with Naz figuratively and literally pumping up his image is Box flicking through his past. What the detective begins unravelling is there’s a rage underlying the identity of Nasir Khan; he was involved in an altercation at school where he nearly paralysed another student, luckily only breaking an arm. But there’s a temper in Naz we’re not exactly seeing outwardly just yet, only in glimpses.
But what I wonder now is: could Naz actually have killed Andrea? Is there a chance? Because we never actually saw what happened. We assume Trevor Williams (J.D. Williams) and his buddy may have done something. However, at this point the doubt is creeping in. Perhaps that’s what Richard Price is aiming for. To plant the seed, let it grow. Except never sure, until the end, where it’s headed. Love, love, love it.
Also, the jury is being sorted out. Yet we’re privy to a real view of the selection, as a group of people up for the “honour” of doing their citizen duty fall asleep watching a video introducing them to the process.
John and Chandra are beginning to see that Naz has a problem with the truth. Afterwards, the young Muslim explains himself to Chandra. He talks about post-9/11, the hate to which he was subjected because of his skin and his religion, the fights and the beatings. This is what led to his fight with the boy at school. He challenges Chandra’s view of him, wondering if she believes he’s capable of having killed Andrea. Little flashes of the night come back in pieces to Naz. I can’t imagine what else he might remember down the line.
One thing’s for sure – the state has piles of evidence against Nasir at their disposal. They’re fitting to bury him under anything and everything they can.
I love how suspenseful and tense much of this series has been. This episode in particular is so well edited, scored, shot, paced, that all of the suspense is at the forefront reeling us in tight. When Salim arrives at Chandra’s door, delivering food, we’re almost as surprised as she. I half expected it to be the unsettling mortician hearse driver. A wonderfully put together sequence.


We’re on the verge of the trial, which is poised to be possibly the most intense and interesting portion of Season 1. What I dig most in this episode is that John has finally beaten the foot pain. His feet, at least right now, are cured. He’s able to actually wear a pair of shoes for the first time in so long. He looks professional, for once, and this will hopefully give him a bit of an edge, finally without pain and not worrying about the zombified flesh at his toes.
Moreover, Freddy proves to be looking out consistently for his friend Naz. He offers a white shirt and black tie, although the young man refuses. In court, Stone then has to switch his own shirt over for Naz to wear; another stroke of honesty for Mr. Knight. Interesting.
But on we go, into the opening statements and ready to see the court proceedings at the trial of Nasir Khan. “This case isnt about Andreas life, its about her death,” Weiss explains to the jury. Afterwards, Chandra gives a poignant, brief opening statement that makes her look pretty strong. A good start. Things will get rough, as the trial wears on and the ugly truths and dark corners are brought into the light.
When Naz is back home, in prison, Freddy bonds with him some more. About himself. He talks about why he’s in Rikers instead of another place, leading to the discovery that Freddy has a couple “bodies on” him. Worse, he leads Naz into smoking some drugs – what I imagine is heroin – and this is the beginning of further trouble in Khan’s life. So, whereas Freddy seems to have his best interests in mind when it comes to Naz’s court appearances, he’s not always looking out for him like he should.


In court, Naz watches the video of him getting pulled over by the police on that fateful night. One of the officers is on the stand giving her statement, if not a bit hyperbolic. The knife is discussed, as well as the fact Naz tried to run. Doesn’t look good when the video of the station is shown where Naz attempts breaking free from the cops surrounding him.
Naz, a.k.a Sinbad – which is what he has tattooed across his knuckles now – discovers more about the prison life than he had hoped. He sees one of Freddy’s crew getting a blowjob from another young inmate who recently came in, the one whose mother helped smuggle the drugs in last episode. Following this event, Naz calls Chandra. Far as he falls into the mitt of Freddy, there’s still shock when he sees what’s happening around him. So he talks to her for comfort, if only for a minute. Even the cell is more of him becoming further criminal, as he gets money for letting others use it; more criminality, all the time.
Next day in the shower, Freddy’s boy puts a blade to Naz, right at the neck, and threatens him over the blowjob he witnessed. Great, more and more issues each passing day.
On the outside, Johnny’s mind is constantly working. He wonders how Andrea afforded to live in such an expensive brownstone apartment. He starts to dig into the records, finding an Evelyn Cornish – deceased – linked to the place. Finally, Stone has tracked down the guy he snapped a picture of arguing with Andrea’s stepfather Don Taylor (Paul Sparks) at the funeral, a chartered personal accountant named Ray Halle. This gives us a better idea of Don.
And it muddies the waters. Seems like Naz really ended up in the middle of a life that was burning all around Andrea. No telling anymore exactly what the story is, as Naz, Don, everybody has a secret they’re keeping, just as it is in real life.
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What a powerful episode, all around. This series is just fascinating, from writing up to the visual aesthetic and overall execution. Next episode is “Ordinary Death” and I’m looking forward to another big heap of revelation.

The Night Of – Season 1, Episode 4: “The Art of War”

HBO’s The Night Of
Season 1, Episode 4: “The Art of War”
Directed by James Marsh
Written by Richard Price

* For a review of the previous episode, “A Dark Crate” – click here
* For a review of the next episode, “The Season of the Witch” – click here
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Nasir ‘Naz’ Khan (Riz Ahmed) is finding that things are getting pretty rough at Rikers Island. The burning of his bunk makes clear, there are worse things to come. Like a declaration of intent.
At home, John Stone (John Turturro) is getting his ankles covered with Crisco, wrapped up in Saran. Headed to the jailhouse, as usual. Representing killers. Yet you can see there’s a sense of loss, something missing in him. There’s something clear and different about the people he usually represents and the young Muslim man in jail for murder/rape.
And at their home, Salim and Safar Khan (Peyman Moaadi & Poorna Jagannathan) have the media just about crashing down their door.
Their son Naz is having the worst time, obviously. He’s discovered that there are completely different rules for surviving on the inside than the outside. You’ve got to look but “not look” someone in the eyes. You have to constantly be on your guard and pumping up your masculinity. If not, you’re “fair game.”
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Detective Dennis Box (Bill Camp) runs into Stone, as the latter is out trying to get a beat on what may or may not have happened at Andrea Cornish’s (Sofia Black D’Elia) house. Of course Box dismisses the sly lawyer. But Stone winds up seeing Don Taylor (Paul Sparks), stepfather to the deceased, lose his cool with another man at the girl’s funeral. So, he snaps a little video.
What I like is that it looks as if we’re starting to head towards a kind of redemption song for Jacky, I think. He’s now got further doubts about Naz’s guilt. He wants to know the truth, maybe for the first time. Instead of gunning for a big pay day. Morality’s tricky like that. It can make even some of the worst types change their minds. John isn’t terrible, though he is shady. Let’s hope that changes.
There are other troubles for the Khan family. Salim and Safar are finding their other son, Hasan (Syam Lafi), is discriminated against at school because of what’s going on. This is where the writing of Richard Price excels. Because he gets into the repercussions, the far-reaching consequences of when someone is in jail for murder and their family is left behind in the wake. Great depth to the story they’re telling.
Stone runs across a rehab facility linked to a picture from Andrea’s phone. He winds up talking to a guy named Edgar (Max Casella) willing to cough up information for a price. I guess if there’s any way John hopes to get ahead, cash is king.
Naz is getting schooled in jail by Calvin Hart (Ashley Thomas) on how to live by the code of the criminal behind bars. At the same time, I wonder what’s going to happen with Freddy Knight (Michael K. Williams); he keeps a watchful eye over the young Muslim. What exactly is Freddy’s interesting there? I feel like he’s a good guy, while the others – the vultures – soar around Nasir.
On the side, John brings what he got from Edgar to Chandra (Amara Karan), employee to Alison Crowe (Glenne Headly) now handling the Khan case. I suppose Stone isn’t changing too much. Not yet. He’s charging $500 for the information; a markup on what he paid Edgar.
Heading out on a prison transport, Naz gets a new, different coloured jumpsuit to put on. Courtesy of Freddy. Now, that’s interesting. Any meaning to that? I’m better there is, absolutely.
At the courthouse, the Khans are all but terrorised heading inside, as Box heads in relatively left alone, and John eats a hot dog in obscurity. Alison is busy readying Naz for his first appearance – she gives similar advice to that of Calvin, in that he should make eye contact, but not full-on. Intriguing little point that parallels nicely. Moreover, Alison says she’s glad they didn’t put him in an orange jumpsuit. Looks like ole Freddy’s a guardian angel after all, or so it seems. Better than that Alison proves herself worthy of taking on such a tough case. She drops “9/11 profiling” and “media pressure” and dances all over the place. Still, it doesn’t do anything for bail. So in Rikers he stays.
We also see the Khans struggling, as if they’re being suppressed, even by Alison. Salim wants to address people at the press conference, but it isn’t even entertained.


Back in Rikers, someone cuts Naz walking through a corridor, blindly slicing his arm. A little later he goes to see Freddy. The former boxer and the young man chat. Naz wants to know: “Why me?” This prompts a story from Freddy, about his pride, his accomplishments. He is very proud of having graduated high school, keeping his diploma on in a frame right there in his cell. They go on to talk about books – Sun Tzu’s The Art of War and The Other Side of Midnight by Sidney Sheldon, Jack London and his novel The Call of the Wild. Most of all, they bond. It isn’t every single day an educated, real person walks through the gates of prison – like a “care package” for Freddy’s own brain. He wants to help Naz survive his stay.
I can only wonder what this will bring between Nasir and Calvin, who isn’t exactly impressed with Freddy and his high profile prison status. Not to mention Calvin is quite a vicious cat in his own right.
There’s also trouble around the city. People are lashing out at anybody, Sikh, Muslim, and using anti-Arab slurs. This is pressuring D.A. Helen Weiss (Jeannie Berlin) to try and get the Khan case settled quick. Yikes.
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In the Rikers gym, Freddy brings a decent sized guy in to box with him. This is actually a way for Freddy to size the man up about a possible cellphone business being run without his permission. All ending in a good, hard beating at the hands of the former boxer. Further serves as a bit of a lesson to Naz, seeing what happens to people who cross the man himself.
Poor Stone is out searching for an end to his skin pain. A doctor prescribes him a heavy dose of testosterone to fix his issues. The guy’s stuck in an epidermal hell.
At the same time, D.A. Weiss is trying to suss out a deal with Alison. They throw different charges about, terms, sentences, as if a young man’s life is not on the line. Alison starts bringing the deals to Naz. He isn’t looking to plead out. He knows he’s innocent. Also, he wonders why Chandra isn’t around. Maybe he’s slowly understanding that Alison isn’t all she appears either. Let’s face it – lawyers have records, they don’t like to lose. But when Naz gets back to his bunk he finds a note from Freddy: TAKE THE DEAL. Nobody’s exactly thrilled. The Khans don’t like to hear that their boy will plead guilty just to get a reduced sentence. That will forever tarnish him, and them, too.
At the courthouse, Chandra goes in to talk with Naz. She explains things about how pleas work, deals, so on. He appreciates being talked to “like a person.” However, this woman is the only one talking truth to him. She advises that if he believes in his innocence, the deal is not worth taking. And this is setting up the fight we’re ready to see, Naz does not feel right letting things go this way. Stone even thinks he should take the deal, mostly out of a lost sense of youth, I think. Everybody, except the parents and secretly Chandra, wants the deal.
But when the chips come down, Naz can almost remember the night in question. Just not quite. He won’t make up murdering Andrea. He can’t. Simply because it isn’t true. When Alison confronts her client, he tells her to quit. She does.
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Now Chandra is the main attorney. No more pro-bono work for the firm. Quite a change.
Once Naz gets back to jail, Calvin eventually tosses a nasty mix of water and other things onto his arm, burning him up. Yeah, we know where the snakes are lurking. And you can be sure that Naz will start calling in Freddy favours at this point. Only thing that’s for sure: Rikers is about to get fucking intense.
Say the words to me, Nasir,” Freddy asks. And with that, he does say them. What comes next is sure to be rough.
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What a spectacular episode. All around. There’s a lot going on and I’m interested to see how Price juggles all the various plots and stories happening. Great mix of emotions happening. Next is “The Season of the Witch” – hoping for more wild stuff. Willing to bet we can count on that.

The Night Of – Season 1, Episode 1: “The Beach”

HBO’s The Night Of
Season 1, Episode 1: “The Beach”
Directed by Steven Zaillian
Teleplay by Richard Price (The WireThe Color of MoneySea of LoveRansom)

* For a review of the next episode, “Subtle Beast” – click here
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As usual, HBO opens us on a nicely produced title sequence, accompanied with music by composer Jeff Russo who many will know from his work on the series Fargo as of late, plus plenty more. Always good to open up on a title sequence that grabs you.
The episode begins with a young man, Nasir ‘Naz’ Khan (Riz Ahmed), as he frequents the various locations at college many do: classrooms, gymnasiums, locker rooms, so on. He’s a real hard worker, studying while everybody around him is mostly disaffected. Then he gets an offer to party with some of the basketball players, clearly not a life he’s used to, but it seems to excite him anyway.
Naz is a Pakistani-American living in Queens, New York. He’s as much connected to his family and their culture as he is to the American world of basketball and night clubs. Or at least he wants to be connected to the latter. Waiting to go out we see Naz practise meeting people, fixing his hair and making sure everything is right.
The night starts out normally. Well, for the most part – Naz has to steal his dad’s cab in order to get to the party. What’s most interesting is the fact he can’t find his way. We see both his inexperience with the city, as well as his general immaturity, not knowing even how to operate the car other than drive it forward. Soon, he ends up with a woman in his cab despite insisting he can’t take any fares. But she talks him into it. Her name is Andrea Cornish (Sofia Black-D’Elia), though we don’t know that, nor does Naz. Not for a while yet.
She’s going far uptown somewhere, looking as if she’d prefer to go anywhere at all. Naz makes a stop when she needs a drink. Outside the gas station, Andrea has a run-in with a hearse driver at whom she inadvertently tosses a cigarette. All these little events pass and Naz wouldn’t once begin to think any of them matter. Why would he?
Off he and Andrea go. They talk; about the cab, about the party. Neither of them get where they were headed originally. Naz stops off near the water where they sit and talk some more. We really get a good insight into Naz’s character as a person in these moments. He seems normal, quiet, laid back and subdued, almost shy even. When Andrea puts a pill in his palm, he refuses. You can tell he’s straight laced. Andrea appears to have a deep seated pain inside her: “I cant be alone tonight,” she tells him. And that begins their evening together, as Naz decides then to take the pills, and dive in, head first.
At one point, Naz hears a guy make a comment about him and bombs, as he walks to Andrea’s place. The two men stop when he questions what was said. An eerie look from one of them after they leave speaks volumes. Inside, Naz and Andrea relax, they drink tequila with limes. They still don’t exchange names. They just drink, and talk, and flirt. Most of all we’re privy to Naz stepping outside his comfort zone and following along, as he says he does, listening to everyone but himself. Perhaps a bit too much this time. They play a game with a knife that ultimately ends with Andrea getting stabbed in the hand. Although that almost turns her on. They embrace, taking off their clothes and falling into bed. We can already see how so much of this is going to add up, if anything bad were to happen.


Naz wakes in the early morning, still dark, and finds Andrea dead in her bed. Murdered viciously. Blood everywhere. He rushes out of her place and takes off down the street to his father’s cab. Only no keys, so back in he goes, and the door’s locked. He has to break a window. Christ, this only gets worse and worse with each passing moment. A nearby neighbour sees Naz go inside. He also takes the bloody knife from their previous night’s foolishness. Oh, man. This is shaping up to be nightmarish in scope. And here we are, in the shoes of Naz, knowing his innocence. When he pulls out with the cab he even cuts someone off. So many events that are adding up to fuck him legally. At a red light, a biker looks over and possibly sees the bloody knife on the cab dashboard.
Tragic, and a slice of real life, as well as how something so innocent on his part could become something so nasty. Naz winds up pulled over by two police officers, which gets worse when they smell the booze off him. The downward spiral now begins to twist. When they get a call, the cops take him with them, and before they do Naz leaves a nice little bloody smear on the door. I love the writing here. It is brilliant and takes us to the heart of what can constitute a false accusation like the one for which Naz is headed.


So the cops find Andrea, bloody and dead. The big American legal machine gears up to start ploughing poor Naz, caught in the wrong place at the wrong time, though it would’ve done a world of good for him to call the police right away. Still, it’s understandable when someone innocent and naive comes up against a dead, savaged corpse, especially belonging to someone he’s just been with sexually. How would you react? Hopefully you’ll never have to know.
Now we’re watching the process move. Detective Dennis Box (Bill Camp) is called in on the stabbing murder. He’s a bit time worn. He enjoys classical music. Generally, he appears to be the man for this type of case. Andrea’s brownstone apartment is now a spectacle with neighbours out looking around, police tape everywhere, cameras trying to poke their heads in. Naz, still not found to have been in the apartment, is being brought to the station in regards to his run-in with the two officers. “Is she dead?” asks Naz to the uniforms transporting him. Probably not a great question to ask at the moment, as he technically shouldn’t know anything about the scene. Uh oh.
Box and the others process the crime scene in all its horrific messiness. Meanwhile, Naz is at the station. He calls home, but hangs up quickly. A million things racing in his head. He’s just waiting for things to come down on his head. Something that plays well is seeing an unruly prisoner blow through, and Naz recoils. We understand so well he’s not used to this world, whatsoever. It frightens him. You can just feel his innocence oozing, and as the audience we’re right in his perspective; unable to prove anything at all, having to wait for the situation to pop. At the brownstone, Box gets more information from the Medical Examiner about time of death, the weapon, and outside the men that ran into Naz previous in the night, making racist statements, they show up talking. The gravity of all these elements coming into play, all poised to make life hellish for Naz, is again some fascinating writing. Hats off to Richard Price and his teleplay.


With no idea where his son is, Salim Khan (Peyman Moaadi) calls around to find him, obviously getting no answer on his boy’s cell. In the meantime, all the pieces are falling together against Naz, as he sits and waits in the station. One thing that’s been passed over is a breathalyzer, so that could be good or bad for him. Depending. Then Box and the two officers with him put it all in place. They eventually find the bloody knife in Naz’s inside jacket pocket. It’s incredibly poignant, this moment. They find the knife right as Box describes what they’re looking for, like the tragic twist of fate curls right onscreen in front of us. At least Box acts friendly. Until Naz flips out and tries to run, yelling that he didn’t do it. Doesn’t help the black guy from the scene, the one who possibly had a hand in actually killing Andrea, is right there to finger Naz as the suspect.
Now the young man is in the box, ready for interrogation. The cop that brought him down recounts what Naz asked about the girl being dead. Everything’s thickening to the point it could choke you. Box sits in for a talk with Naz, about how he met Andrea and the events which led up to those fatal moments. It’s so awful to hear Naz asked the questions necessary, but that’s all part of the process. He tells Box what he can manage. Nothing he says can convince anybody right now. Nothing he says helps him, in any sense. But how can a man be remorseful, be filled with regret if he didn’t commit the murder? For now the interrogation is over. Thus begin the DNA tests and so on. The legal system is pumped up, ready to roll. Naz has to give over his clothes, revealing scratches on his back. Further than that Box, I believe, sees the very timid, shy nature of the guy. Not that he can see the truth, but there’s a glimmer of understanding somewhere within everything for the detective. Likewise, Naz appreciates the slight kindness he’s shown.
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Naz finally decides he wants a lawyer. He locks eyes with Jack Stone (John Turturro), who’s around the station serving a bunch of his low class clients. He looks weary, beaten down, but when he sees Naz, the big doe eyes, and hears the apparent crime which he’s committed, something in Jack lights up, deep inside. One thing we see inside is a break in the chain of evidence, involving the knife and Naz’s clothes. Ahhh, not only are the elements to break down Nazi present, there are those hovering around which Stone, if he’s a good lawyer, will use to their advantage. More instances of solid writing that hopefully will continue as the series does, too.
Jack and Naz meet together. They do a bit of initial talk, re: citizenship and all that good stuff. We see the laid back nature of Jack along with all the lawyer-client introductions. Jack asks about politics, every last thing of which he can think. We start seeing how the American legal system could work against a young Pakistani Muslim such as Naz.
Simultaneously, Box is putting all his bits and pieces together, including the possibly faulty witness Trevor Williams (J.D. Williams) trying to make Naz go down for something he, or his friend, or both of them did. Box begins to wonder if Trevor is credible, seeing as how the guy uses the word “towelhead” and doesn’t exactly have a good view of Muslims.
The pieces are all there, for everyone. It’s just a matter of how and where they’ll fall. As for Naz’s family, his father wants to run to his son, though begins to see the first slippery spot, as his cab isn’t where it ought to be. Just the beginning.
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This first episode sets up a ton of amazing stuff. The writing is beyond impressive and it really caught me off-guard, though I’m always sure HBO is going to put out quality work. Patiently awaiting the next episode named “Subtle Beast” and all it promises. Another hit, to my mind. And there’s a heavy load of emotion winding up to let loose on us.