This episode opens with a blonde young woman riding a moped being pursued by two men. She successfully escapes them, but disappears. In the meantime a man is found dead at a disused quarry, his face shot to pieces by a Shawn-off shotgun. Montalbano (Luca Zingaretti) is called to investigate, and is drawn into a long-standing Mafia feud involving two families. On the face of it, this seems an open-and-shut case, but the Inspector isn't so sure ...
Compared to earlier episodes, EQUAL TIME has a higher murder count; there appear to be tit-for-tat killings, often bloody and invariably surprising. Montalbano is eventually pulled off the case, as he doesn't appear to be getting anywhere; but like the true individual he is, he blatantly ignores his superintendent's recommendation and continues to investigate. This episode gives a bigger role to Catarella (Angelo Russo), normally a figure of fun confined to the station. Here he actually gets out to guard the scene of the crime, and to be actively involved in catching the villain, even though (characteristically) it is pure chance that dictates he is in the right place at the right time.
Alberto Sironi's production makes intelligent use of historic locations: the great steps leading to the Mafiosi's house; the narrow passages through which Eva is pursued; the lonely vista of the disused quarry; and the seafront beyond which the waves are seen crashing into the bay on an early spring morning.
Structurally speaking this is a tightly plotted piece, with fewer loose ends to tie up at the dénouement.
Compared to earlier episodes, EQUAL TIME has a higher murder count; there appear to be tit-for-tat killings, often bloody and invariably surprising. Montalbano is eventually pulled off the case, as he doesn't appear to be getting anywhere; but like the true individual he is, he blatantly ignores his superintendent's recommendation and continues to investigate. This episode gives a bigger role to Catarella (Angelo Russo), normally a figure of fun confined to the station. Here he actually gets out to guard the scene of the crime, and to be actively involved in catching the villain, even though (characteristically) it is pure chance that dictates he is in the right place at the right time.
Alberto Sironi's production makes intelligent use of historic locations: the great steps leading to the Mafiosi's house; the narrow passages through which Eva is pursued; the lonely vista of the disused quarry; and the seafront beyond which the waves are seen crashing into the bay on an early spring morning.
Structurally speaking this is a tightly plotted piece, with fewer loose ends to tie up at the dénouement.