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65 pages 2 hours read

John Dudley Ball

In the Heat of the Night

Fiction | Novel | Adult | Published in 1965

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Chapters 1-3Chapter Summaries & Analyses

Chapter 1 Summary

On a hot night in Wells, South Carolina, white police officer Sam Wood patrols the city. Sam feels a sense of pride performing his nightly duties; he knows he serves an important role for the townsfolk. He fills out a section of his report, and then debates whether to take a break or patrol the poor part of town. Sam’s reluctant to go to the poor side where the Black residents of Wells live, but he presses onward: “That was the only part of his job he actively disliked, but it had to be done. Reminding himself again of the importance of his position, he decided to let the break wait for a bit” (1-2). He crosses the highway, and the road becomes uneven. After driving through the Black neighborhoods, Sam visits a poor white area. He spots Delores Purdy, a 16-year-old girl visible from her bedroom window. She’s completely naked, and Sam admires her youthful figure but her unkempt appearance is off-putting. Sam considers telling Delores people can see her from the street, but it’s very late, so he continues his patrol instead.

Sam stops at an all-night diner. He converses with young counterman Ralph about the results of a recent boxing match. An Italian boxer won. Sam doesn’t care for Italians, but he’s happy a white person beat the opposing Black boxer. Ralph wonders why there are so many Black champions in boxing, and Sam believes it’s because they feel pain differently. They discuss an upcoming music festival, which the town hopes will increase tourism and stimulate their economy. Enrico Mantoli, the festival’s conductor, is in town overseeing the final preparations. After their small talk, Sam resumes his patrol.

The heat bears down on Sam. He drives, ready for another night of monotonous patrolling, but then he spots something in the road. He drives closer and discovers it’s a body—that of Enrico Mantoli. Sam is anxious because he “had not had any special course of training for his job; he had simply been put on the payroll, had been briefed for a day on his new duties, and then had gone to work” (6). However, he recalls the textbooks he read after joining the force: Never assume a person is dead. Sam calls for an ambulance. He tries to comfort Enrico, placing a hand on the man’s head. Enrico is unresponsive, and Sam feels blood oozing out of the man’s skull. 

Chapter 2 Summary

It’s four in the morning now. Bill Gillespie, the chief of police, wakes up to his phone ringing, knowing it must be bad news. The desk clerk, Pete, tells Bill about Enrico. Bill gives some commands and leaves for the crime scene. Originally from Texas, Bill’s only been chief for nine weeks, but he’s a self-assured police officer: “Despite the fact that he was only thirty-two, Bill Gillespie had abundant confidence in his own ability to meet whatever challengers were thrown at him” (10). Bill realizes he doesn’t know where the crime scene is and angrily calls Pete back.

Bill arrives at the crime scene and asserts himself as the leader of the investigation. Enrico’s wallet is missing. His body is still warm, and the doctor on site believes he died less than an hour ago. Bill sends Sam to the railroad station to look for people trying to leave town. Sam obeys. He secretly wishes for Gillespie to fail in his investigation, but he forces the thought away. He’ll do everything he can to help Gillespie find the killer, even if he doesn’t like Bill. Sam searches the station: He checks the baggage room segregated for white people and finds nothing. He checks the segregated baggage room for black people next and finds a Black man sitting inside. The man is clearly not local: “Sam sized him up at a glance, and knew at once that he did not belong in Wells. He was fairly slender and dressed up in city clothes, including a white shirt and a tie. Sam guessed that he might be about thirty, but it was always hard to tell about blacks” (13).

Sam restrains the man, puts him into a chokehold, searches him, and finds a wallet full of money. Sam barks, ordering the man into the back of his police cruiser. The man obeys without saying a word. Sam takes the suspect to the police station, proud of himself for his swiftness and toughness. Sam and Bill interrogate the man in Bill’s office. The Black man’s name is Virgil Tibbs. Virgil is clearly urbane and cultured, and Sam worries that this will complicate the case: “The idea forced itself on Sam that this was an educated black, one of the sort that hung around the United Nations in New York, according to the newsreels. That might make it a little harder for Gillespie” (16). Virgil says he was waiting for the train to Washington to visit his mother. When Sam shows Bill the wallet full of money, Bill decides no Black man could earn that kind of cash. Virgil insists he earned his money in Pasadena, California, where he himself is a police officer. 

Chapter 3 Summary

Sam feels conflicted about Virgil. He doesn’t like Black people, but he also doesn’t like Bill’s demanding and aggressive behavior—plus Virgil makes Bill’s life difficult. Bill berates Sam’s police skills: Why didn’t he question Virgil before bringing him in? Sam defends himself and almost lets out a racist slur: “When I found this n*— this man in the railroad station, I brought him in immediately so I could carry out the rest of your orders” (18-19). Bill doubts the validity of Virgil’s police credentials: There are no Black police officers in the South.

Sam takes Virgil to a holding cell, where Virgil passes the time reading a book. Sam goes to the bathroom segregated for white people and fills Pete in on the latest: The Pasadena Police Department spoke with Bill, confirming that Virgil is a homicide detective with an excellent record. They offered Virgil’s services if Bill needs help. If Bill botches the investigation, he’ll likely be fired. He doesn’t want to ask Virgil for guidance because he’s Black, even though Virgil has more experience and expertise.

Enrico’s body arrives from the hospital. Bill, reluctantly, asks Virgil to examine the body. While Virgil examines Enrico, Bill gets food at the all-night diner and is blunt and assertive with the staff. Driving back to the station, he worries about how to proceed with the investigation. He decides he’ll get Virgil to leave as soon as possible; he refuses to believe a Black man has expertise: “Nobody could tell him that a colored man could do anything he couldn’t do” (24). Bill returns to the police station and is frustrated Virgil is still examining the body—what more is there to learn? Bill finds Sam in his office, and they talk about Virgil. Sam appreciates Virgil’s confidence, but he avoids sounding too admirable. Virgil enters the office and asks where he can wash his hands. Bill directs him to the washroom for Black people, knowing there’s no soap or towels. After, Virgil offers to give his findings from his examination, but Bill declares he knows everything he needs to. Bill doesn’t need Virgil’s help, and Virgil can leave town soon. Pete comes in next, with more news. They’ve arrested Harvey Oberst, a man with a troubled past. They found him with Enrico’s wallet.  

Chapters 1-3 Analysis

The first three chapters of In the Heat of the Night establish the setting and imbue it with conflict, introducing topics of race and class that will continue to be developed. Sam’s job as a police officer gives insight into the characteristics of the city he protects. As he travels through multiple parts of Wells, the reader learns that Wells, South Carolina, is a segregated city where economic class is a strong divider as well. A section of the poor part of town is meant specifically for Black residents is less maintained and literally on the other side of the tracks: “He crossed the highway, deserted in both directions, and bumped onto the rough pavement of the sprawling Negro district” (2). The community has abandoned its poor white people, too: The “poor white neighborhood [was] a place for those who had no money, no prospect of any, or who just didn’t care” (2). Wealthier characters in Wells judge the poor. When Sam sees Delores naked in her window, her youthful figure entices him, but he is put off by her unkemptness: “she was always unwashed, or seemed to be” (3). Delores might be young and beautiful, but her low economic standing marks her as inferior.

The early chapters introduce several main characters whose behavior reveals the normalized and systemic racism of the South. Sam’s job is to serve and protect, but he’s also racist toward Black people. When he finds Virgil in the storage room at the railroad station, he’s immediately aggressive toward him, speaking to him in a commanding and demeaning fashion. Sam, who sees Black people as a monolithic, degrading stereotype, is surprised that Virgil doesn’t fit his preconceptions: “He did not have the big butt Sam was accustomed to on many Negroes, but that didn’t mean he was frail” (14). Bill, the chief of police, likewise exemplifies a racist mindset. Examining Virgil’s wallet, Bill refuses to believe that a Black man could be financially stable: “Colored couldn’t make money like that, or keep it if they did, and he knew it” (16). Bill has a negative view of Black people and resists evidence that conflicts with his worldview. The fact that Sam and Bill are authority figures solidifies that racism isn’t just present in Wells, but is imbedded into its culture.

Ball uses heat and darkness to build an even more tense and uncomfortable atmosphere, where even the environment is oppressive: “At ten minutes to three in the morning, the city of Wells lay inert, hot and stagnant. Most of its eleven thousand people tossed restlessly” (1). Even night brings no rest to the people of Wells, who cannot find peaceful sleep—setting an appropriate tone for a crime novel. Sam intuits that the heat will stay for several days, suggesting that the narrative will continue to rely on these elements of physical unpleasantness to build drama.

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