The bad news is, we actually have to catch this Motherfucker

The last line on my page of notes from the previous episode was "Kenard's assessment of Omar." That's simply it. I chuckled as he stated, "That's Omar" with the kind of disappointment one reserves for seeing a mythical figure hobbling up as just a man. I chuckled because he said it after Omar had left with the kind of faux-bravado I have, like millions of other kids, sported when troublesome situations were defused and safety was assured. Little did I know that it was the clearest bit of foreshadowing the WIRE has ever slapped on the viewer.

So here lies Omar Little. Much like the tragedy of Achilles', Omar is done in by an unlikely threat. So much so, that even as you knew the scene had carried on too long, you never expected to see the headshot and young Kenard standing there, stunned - now a murderer. The POV and setup of that scene was brilliant. All from Omar's vantage, we here the chime of the door, see Omar's quick survey of the patron, his dismissal of the child and his resulting death. The aftermath was chaos and confusion (written and directed beautifully). The constant scream of the Korean clerk was haunting and conveyed the viewers' inner thoughts: Omar just died.

This is the third major character death in a row, with Bodie and Prop Joe being the other two, where the sense of demise is palpable. Omar's wounded wandering on the corner in daylight played almost as the wounded soldier's last stand. There was also something eerie about how he seemed to be recreating his premiere "Big Bad Wolf" scene scaring the stash out of some low-level hoppers armed with a shotgun, but using just the menace of his words and his reputation.

Much like Jimmy with Stringer, Bunk is given a courtesy call to the crime scene. This homage was extremely touching and far more emotional than the actual death scene. The explanation of the young hoppers grave robbing "souvenirs" from Omar's still warm corpse was gripping and unleashed the full wave of grief and the weight of the loss was realized.

You get the sense that Marlo's last, great threat has been vanquished, but only Marlo sees the joy in this. Chris senses paranoia and perhaps anger for not getting his trophy and finishing his duel with Omar. The scene early in the episode where Michael wisely inquires as to why Omar is not hunted or killed illustrated a clear frustration and fear in Partlow, which was voiced by Snoop. His concern stemming from the thought that maybe, just maybe, Omar is legend. That look was nearly repeated as Chris finds out about the news of Omar's death, only this time his face is filled with surprise and possibly remorse. Similar to when a classic showdown is building in boxing, but one contender loses right before the title fight.

But there is a looming anvil over Chris and Marlo's head too. And it seems, from the previews for the next episode - most likely penned by Pelecanos - that their trip to AC might not happen. It's true WIRE form as everyone's tragic conclusion descends upon them.

And it seems very clear that McNulty's future won't be so bright as, in a hilarious scene, the FBI profilers describe Baltimore's serial killer to a T. "I think they're pretty accurate", McNulty asides to Greggs regarding the Feds report. (Could be the most subtly funny line of the season.) But, that was the only thing humorous about his fate. With his many disclosures to those close to him, and threats from those acquainted with him, it seems that McNulty's little agenda is on the verge of ripping at the seams. The effects are clearly taking a toll on him.

It's a shame that such an emotional impact drapes what was a very tight episode. The brilliant surveillance scenes and drug pattern revelations that made the first season so addictive seem almost lost in this current WIRE landscape. The pieces are coming together for the detail, but there is a sense that all of this intuitive and ingenious work by Freamon/Sydnor is going to be washed away by the flood of the approaching scandal and the ensuing bureaucratic response. As every politician and the unknowing participants duck for cover, McNulty will be sacrificed as the scapegoat, while all other parties exploit the silver lining of his ruse - the clearance of cases, the drop in crime (for this quarter), and, hopefully, the incarceration of Baltimore's real serial killer: Marlo Stanfield/Chris Partlow/Snoop Pearson.

One alarming trend is developing here. As stated earlier, the Kenard line was a glaring bit of foreshadowing. My fear is that the 4 characters used for the three, seemingly throw away, WIRE "prequels" will all meet a tragic fate. Bunk and McNulty are the only ones left and it seems as though they might fall in the whirlwind of this ruse's inevitable unveiling. Bunk may be collateral damage - to steal a line from Season 2 - for his knowledge and acquiescence of the lie. Let's hope it's after he serves the warrant for Partlow's murder.

McNulty has already proven that his fate will resemble that of the dealers and gangsters he so effectively polices. It will end with him in either cuffs or - if Beadie's discussion with him is another case of foreshadowing - dead. I don't see that happening, but her sentiment was somber as I couldn't help but wonder who would be at Omar Little's funeral. RIP. It's all in the game.