One genre "The Pitt" uses is the mystery story. In that particular story format, a crime has occurred in the past--detectives must do the delicate work of an investigation. A wrong move can (unintentionally) bring about the silence of a crucial witness. While doing the work of probing, two detectives can become closer (or can get pulled apart).
A recent episode concerns a young woman who may or may not be the victim of trafficking. Her employer seems overbearing; the employer never takes a hint, never leaves the examination room. (At the same time, the employer is clearly very pregnant--an odd, intriguing detail.)
The doctor wants the victim to admit that she is a victim. But an emphatic series of questions might cause the victim to run away. The ambiguous semi-victory here concerns a special pen. The pen has a phone number for victims to call--but the number is concealed within the inner organs of the pen, so a pimp will not realize exactly what the pen "means" for the victim. The victim in this case refuses several pamphlets, but it seems that she does take the pen. Unless the employer took the pen? I hope we'll never know.
When writing "The Sopranos," David Chase sometimes angered viewers with his commitment to mystery. He never really concluded the "Pine Barrens" episode. He never explained the finale. He never firmly stated that Ralph murdered his own horse for money.
I personally like an unanswered question here and there--and I hope that Gemmill will take a few notes from David Chase.
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