And so we gather momentum into the final episode of the series. Season 3 has been the most diffuse of the series to date, and has left me wondering more than once where this is going, knowing full well that this is also the last full season, but the penultimate episode seems to be drawing strings together with the sense that there will be some form of ending.
The open focuses on Terry Colson, being shown just how isolated he has become in Homicide, left without back-up to be beaten, not badly in absolute terms, but painfully enough to register for the whole hour, and for bad bruising to register. It’s known he’s been letting the FBI in, it’s made known to him that he’s made a breach that can’t be healed, but he’s denied a transfer out by a vindictive Captain. The only was Terry’s getting out of a Department that will give him nothing is to quit.
How he will react we have yet to see, but in one quarter the sun begins to shine. Toni Bernette takes her findings, her suspicions, her own year-old breach with Terry, to the FBI, but to the Agent with whom Terry is liaising. Who can tell her, in no uncertain terms, that she’s not him wrong. For Toni, who’s backing down on the Arbrea case because she can’t protect her own daughter, let alone any witnesses, it’s a moment of sunshine too. She turns up with beer, and more importantly a smile. We won’t get to see the apology, but we know it’s due and she won’t be afraid to make it.
And Toni’s decision to let things simmer down brings its own reward, a eye-witness to identify the brutal Officer Wilson as the killer – executioner – of Arbrea. At the same time, Everett has written his story on Glover’s killing, has armoured himself against the smears NOPD are preparing, and is going to print.
But if these strands are positives, as is Sonny’s acceptance into Linh’s family, as her fiance, there are negatives and negatives. LaDonna is being screwed by neighbours and noise inspector alike over the music from her bar, but the threats being made by her assailant’s cohort come at last to fruition: a late call summoning her to Gigis, a burning Gigis, destruction of that independent part of her life. She comes to sit with Albert, undergoing his chemo, in need of peace and quiet.
Janette Desautel has peace and quiet, and silence, but doesn’t want it. The restaurant is a success, but not the success she wants. They have a signature dish that the public loves, that they’re flocking in too eat, in such numbers that they can almost cook nothing else. It’s not the restaurant she wants and she’s taking it out on her old New York room-mate and going to the flat alone, with nothing but takeaway and Graham Crackers to eat.
And there’s a crash elsewhere. Davis McAlary’s R’n’B Opera has nose-dived. Aunt Mimi won’t finance it, all it will be is a limited CD sampler. Melodramatic and petulant as he has not been since the first series, pre-Annie, he hollers and boozes, he swears off music, he turns up at Annie’s mixing session and tries to take over, goes home and writes a screamingly petulant Fuck You song…
In the morning, she’s leaving by taxi, a gig in Texas, she told him. When are you back, he asks? Annie gets in the taxi.
Desiree is getting more deeply involved in the campaign against the City knocking down viable homes. Nelson Hidalgo slickly walks away from NOAH, looking to the bigger picture. Delmond’s being warned about the National Jazz Centre. Albert’s dubious about letting them have his Indian costumes, for ‘posterity’ at an admission charge. Antoine’s concerned about members of his school band, about potential and continuity and music.
And Sofia’s offstage, in Florida.