Smokey and the Bandit (Dexter)
From Wikipedia, the free encyclopedia
Episode 3
| "Smokey and the Bandit" | |
|---|---|
| Dexter episode | |
| Episode no. | Season 6 Episode 3 |
| Directed by | Stefan Schwartz |
| Written by | Manny Coto |
| Cinematography by | Alan Caso |
| Editing by | Michael Ruscio |
| Original release date | October 16, 2011 |
| Running time | 50 minutes |
| Guest appearances | |
| |
"Smokey and the Bandit" is the third episode of the sixth season of the American crime drama television series Dexter. It is the 63rd overall episode of the series and was written by executive producer Manny Coto, and was directed by Stefan Schwartz. It originally aired on Showtime on October 16, 2011.
Set in Miami, the series centers on Dexter Morgan, a forensic technician specializing in bloodstain pattern analysis for the fictional Miami Metro Police Department, who leads a secret parallel life as a vigilante serial killer, hunting down murderers who have not been adequately punished by the justice system due to corruption or legal technicalities. In the episode, Dexter finds a serial killer whom he admired during his youth might have re-emerged, while Debra tries to decide what is best for her new position as Lieutenant.
According to Nielsen Media Research, the episode was seen by an estimated 1.50 million household viewers and gained a 0.7 ratings share among adults aged 18–49. The episode received generally positive reviews from critics, who praised the scenes at Miami Metro, but Dexter's storyline received mixed reactions.
Miami Metro is called to a crime scene where a prostitute was murdered, with one tooth removed. Dexter (Michael C. Hall) becomes interested in the case when he finds a connection to The Tooth Fairy, a serial killer from his youth in Oregon who operated under a similar modus operandi that was never caught.
Gellar (Edward James Olmos) and Travis (Colin Hanks) get the jogger, Nathan Roberts (David Monahan), chained at the church, demanding that he must repent to God if he wants to be released. He does, but Gellar does not believe it. Later, Nathan escapes from his chains, only to discover a horse in the church. Travis appears and takes him back, where he asks for forgiveness, to which Gellar declares he is ready. Dexter visits a retirement home and befriends a resident from Oregon, Walter Kenney (Ronny Cox), who could be The Tooth Fairy. Dexter complies with Kenney's needs, such as getting him beer and taking him to a storage unit. He also visits Brother Sam (Mos Def), who wants him to come to Nick's baptism to understand his principles.
Debra (Jennifer Carpenter) is worried over her new lieutenant position, especially when she realizes the amount of tasks at her disposal. She must choose a new detective, but LaGuerta (Lauren Vélez) wants a specific officer to get the position. She also has to deal with a drunk Quinn (Desmond Harrington), who has been dating girls since their break-up. Against LaGuerta's instructions, Debra gets Mike Anderson (Billy Brown) promoted to Detective. Masuka (C. S. Lee) flirts with Ryan (Brea Grant) and is surprised when she accepts his invitation to go on a date. Unaware to Masuka, Ryan has taken a prosthetic hand from a victim of the Ice Truck Killer.
Dexter breaks into Kenney's storage unit and discovers human teeth, concluding he is The Tooth Fairy. He is called by Kenney for help, but he is held at gunpoint by Kenney in his car, who discovered Dexter worked at the police. Dexter willingly crashes his car, and then gets Kenney back to his room. Realizing Dexter is also a serial killer, Kenney warns that he is destined to become just like him. Dexter simply suffocates him to death, and takes the human teeth, preventing Kenney from being exposed as The Tooth Fairy. He takes Kenney's blood slide to his apartment, but he accidentally drops the box, disorganizing them. The following day, four horses gallop the streets, displaying Nathan's dismembered body.
Production
Development
The episode was written by executive producer Manny Coto, and was directed by Stefan Schwartz. This was Coto's fourth writing credit, and Schwartz's first directing credit.[1]
