Monday, April 25, 2011

 

Treme No. 11: Accentuate the Positive

BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.


By Edward Copeland
It's All Saints Day 2006 and it's brought many out to the cemetery to visit their lost loved ones, some with flowers, some by touch and others — since they most hail from the Treme section of New Orleans — in music. It's been 14 months since Hurricane Katrina ravaged their city, though only seven months have passed since the end of the first season and the start of the second season of Treme, which premiered last night. The episode begins as a young boy named Robert (Jaron Williams) sits on the steps to his house, practicing his trumpet, when his mother opens the door and yells at him to take it down the street because he's "working her last nerve." Robert's musical journey begins as does the episode's, which suddenly switches its view to that of the cemetery. We first see some women, dressed in white, lighting candles and burning incense around a tombstone before we spot the hand of Antoine Batiste (Wendell Pierce) placing flowers on the grave of his late musical mentor Daniel Moses Nelson with one hand while holding his trombone with the other. Nelson's tombstone inscription reads, "Straight Ahead and Strive For Tone" and Antoine follows the adage by playing for his lost teacher. Treme the series aims for the same mission.


The season premiere, written by co-creator Eric Overmyer from a story by Overmyer and Anthony Bourdain (Yes, that Anthony Bourdain) and directed by Anthony Hemingway, a producer on Treme and director of two of last season's episodes, including one of the best, "All on a Mardi Gras Day." Hemingway includes an interesting shot immediately following Antoine's trombone playing for his friend. The camera slowly moves through some kind of tunnel-like structure — I'm not sure what — which leads back to the cemetery where we find Albert Lambreaux (Clarke Peters) placing a single rose on a tombstone. Briefly, we cut away from the cemetery to see Toni and Sofia Bernette (Melissa Leo, India Ennenga) purchasing some desserts at a recently reopened Italian ice cream parlor. Toni compliments the owner, Angelo Brocato III, and welcomes him back to New Orleans. After this short interlude, we return to the cemetery where the notes from Antoine's trombone can still be heard. The late David "Daymo" Brooks' mother (Venida Evans) runs her fingers across her son's name on the family crypt and crosses herself. She then receives a reassuring pat on her shoulder from her daughter LaDonna Baptiste-Williams (Khandi Alexander). We see Albert again, leaning down at the grave where he placed the rose and see it belongs to Lorraine Carter Lambreaux "BELOVED WIFE AND MOTHER." Back at the ice cream parlor, Sofia tells her mother that she wishes her dad was there. At the cemetery, Antoine finally finishes his playing while young Robert's trumpet-playing walk leads him past the cemetery where Albert is busily touching up tombstones with paint until Robert's music catches his attention. He peeks around the corner of one of the tombstones and spots the boy and gives a knowing nod.

Sonny (Michiel Huisman), without Annie as either a musical or romantic partner, continues to try to exist as a street musician, singing and playing on keyboards until he's drowned out by a louder band playing across the street. "Poseurs," he shouts to no one in particular. Viewers suddenly get greeted by an unusual street scene — lots of traffic on crowded roadways, including classic yellow cabs, and skyscrapers. Yes, we're in a different city that begins with New, but it ends in York, not Orleans, and that's where we find Janette Desautel (Kim Dickens), working as one of many chefs in the kitchen of the upscale Manhattan restaurant Brulard. I bet that this is where Bourdain's part of the story credit comes from. The eatery takes its name from the master chef who runs the place, Enrico Brulard (Victor Slezak, in a hysterical performance) who is part dictator and part lunatic. Brulard grabs one of the men in the kitchen and tells him to get him some lobster. Never mind that Janette cusses that it's near closing time and the poissonnier (Paul Fitzgerald) tells her that they don't have any lobster, so this poor lackey will have to hunt late at night for fresh lobster. "Make sure they're happy," Brulard tells the man as he sends him out. "I want peppy lobsters." Janette and her fellow worker continue to grumble about their barking mad boss and her associate offers Janette a bit of advice: Never look in his eyes. "That's how he gets you. He crawls into your brain and takes a big dump on it."

Sonny may be continuing to show off his musical skills to anyone who will listen on the streets of New Orleans, but his ex has definitely moved on careerwise. Annie (Lucia Micarelli) plays indoors now, having hooked up with the band the subdudes (cq) for a tour. The band's leader even singles out her fine fiddle playing and then tells the audience that they might not know the next number, but if you're familiar with New Orleans as Annie is, you definitely will. Back in New Orleans, 16-year-old Sofia Bernette, sits in front of her bedroom mirror with her laptop open, picking up where her late father left off on YouTube: Using the name Sofia B Real from New Orleans, she rails against the incompetence of the recovery effort. "You may have forgotten about us, but we're still here. You may talk about the so-called recovery. It sucks — the big one. Fourteen months, it ought to be getting better here. Fourteen months, it ought to be getting easier. It ought to be getting fixed. You feel me? Well, it isn't. It gets harder every day. There are still a hundred thousand empty houses in New Orleans, at least. A hundred thousand families that can't get home. Everyone in this frickin' city is on pain killers or booze. No kidding — 85 percent of this city is doped just to cope. And you need an AK-47 just to go out at night. And the frickin' National Guard is patrolling our city like we're in Fallujah or something. You know what? Drop and gimme me 50, you fucking fuck." As her rant ends, Sofia cranks up the radio.

What Sofia was listening to at home happened to have been "Drop and Gimme 50," a tune 10th Ward Buck, that was being spun by Davis McAlary (Steve Zahn), who amazingly has retained his employment as a disc jockey at the radio station for the past seven months. However, from the look on his face and the determined march of his boss Darnell Nichols (Darien Sills-Evans) as he springs into the booth, Davis' job may be on thin ice. Davis says he thought he went home hours ago, but Nichols said he came back when he heard what he was playing. Nichols tells him to mix up the music a bit and Davis says he will, but he has gin in his system. Nichols says that if McAlary spills anything on the control board, he will pay for this one. "Empty threat," Davis responds. "Then you'd have me around for the next 20 years working it off." His boss tells him to add some brass band, jazz, rock and roll, etc. "I don't even mind you playing a little bounce," Nichols says. "Just not nonstop." Davis returns to the air and urges listeners to go take in some live music — and bring a gun. He dedicates his next record to someone very much on his mind and we cut to Annie performing another number. Sonny isn't playing at the moment. He's at a live venue, just drinking and talking with a friend about life in Holland. If he'd been listening to Davis' show, he should have taken his advice, because two gunmen burst in and open fire.

Police Lt. Terry Colson (David Morse, now a series regular) finds himself fielding a call from a New York Times reporter. He tells the person on the phone that they expect the four wounded to recover. "Sorry to disappoint you. I know that five dead would make a better story," Colson says. Colson does end up admitting to the reporter that they have no leads as Sgt. Percillina "Percy" Bechet (Deneen Tyler) drops a folder on his desk. Unable to shake the reporter's call, it continues. "No, things were worse last spring than this summer. I'm sure it is having an impact on tourism. That piece of mayhem didn't have anything to with Katrina," Colson says, raising his voice. "He was a vet. Iraq. Listen. Listen. I read the notes, I went to the scene. Stuff like that can happen anywhere. The stove and the refrigerator, but he didn't either, not like that guy in the East Village years ago. Did you mention that in your article? You're welcome." Colson finally brings the call to a close. He tells Bechet that he thinks the Times lives for the latest tragedy from New Orleans and asks her what she has. Bechet tells him that two "knuckleheads" see another couple of "knuckleheads" in a club, go to their car, bring out their guns. Colson complains that his phone is ringing off the hook. "A shooting in the Quarter gets everybody's attention," she tells him. "It got mine," Colson replies.

Arnie (Jeffrey Carisalez), the Houston bar bouncer turned New Orleans roofing contractor, picks up his cousin by marriage Nelson Hidalgo (new regular Jon Seda) at the airport. Hidalgo asks how business is going and Arnie says it's booming, impressing Hidalgo.

In New York, Janette bids adieu to a one-night stand and awaits critical comments from her two male roommates, tattoo-covered Nick and Chas, who currently are getting stoned for breakfast. At first, they wonder if it's a good idea to have a fling with someone she works with, but Janette sets them straight. "First of all, he's not from my restaurant. I got take out on the way home," she tells them. They offer her some of their weed, but she declines, asking if they work stoned, but they say they don't have to be in until 2, though they imagine she needs her brain where she works. Coughing, Nick (James Ransone, whom you might recognize as Ziggy from Season 2 of co-creator David Simon's previous series The Wire) says, "I would not want to be fucked up at all at Brulard." Chas (Derek Cecil) concurs. "Yeah. The dude senses fear." Nick adds, "Then he fucks with you just to prove that he can fuck with you." "Good cook though, right?" Chas asks. "Oh, he's a great cook," Nick replies, adding "right?" and looking to Janette for confirmation. She takes another sip of coffee, finishes putting on her coat and cold weather wear and heads outdoors.

Sonny wakes up less than pleased to find that the two men he now shares his apartment with since he kicked Annie out are using it as a place to conduct drug deals, though they insist "it's cool" and it's how they come up with their part of the rent each month. Arnie takes his cousin Nelson to one of his work sites and introduces him to one of the workers, Riley (Tim Bellow), the man whose business he took over thanks to LaDonna forcing him to or face criminal charges for trying to rip her off on Gigi's roof repairs. Albert washes some dishes at Poke's when the past comes walking through the former bar's door — Poke (George Wilson) himself. Albert smiles at the sight of the man but the first words out of Poke's mouth are, "Where's my sign?" Antoine and Desiree visit Desiree's mother's abandoned house and actually find a photo album untouched by water after more than a year sitting on top of a cabinet. Her mother has decided to unload the property to the Road Home project*, a federally funded, state-run homeowner aid program where the property gets bought back at its pre-hurricane value, minus insurance. Antoine asks how long it would take to get the money. Desiree says it is supposed to take four-six weeks to find out the amount after you file the paperwork. Her family can't afford to fix it, so they'll take whatever they give them. The big problem is the company requires the deed for the house and it's been in her family dating back to her grandfather and she doesn't know how to get around that. Realizing they need a way home and Desiree refuses the walk to the nearest bus stop, Antoine whips out his trusty cell to call a cab and Desiree again tells him to get a "job job." He suggests moving to the Musicians' Village. She's skeptical of relocating to the Ninth Ward and qualifying for a mortgage. "We might have to get married," she warns him. The idea of matrimony puts a stricken look on Antoine's face.

Toni tries to bring Alison Myers (LeToya Luckett), her new assistant, a transplant from California who has only been in New Orleans since September, up to speed on her cases, including some shootings at a second line on MLK weekend. "If there's violence after a second line, NOPD always blinks with clubs," Toni informs her. She adds that after that, they bumped permit fees to justify police overtime for two hours before and after an event. "Next thing you know, they'll be trying to make the Indians have permits and then there will be blood in the streets," Toni says, waving one of her high heels. Alison asks then if she's suing the city to roll back the fees. "It's a huge thing. It's about sustaining the culture. The city's always at war with the Indians, musicians, the second liners about noise, curfew, permits...They just don't get it. We came so close to losing everything, you'd think they'd appreciate what we have," Toni tells her. She adds that she's representing one of the families in the Danziger Bridge case. Alison promises she'll get up to speed. Toni tells her that she'll spare her the details of what's going on at home with Sofia and school, but she's not taking any new cases and then she dashes off to court.

Delmond Lambreaux (Rob Brown) plays a New York gig promoting his new CD. At the after party, while chatting with some attendees, the subject of New Orleans comes up and one of the concertgoers admits that she wouldn't know he's from New Orleans just by listening to his music. The conversation grows heated when one man asks how the recovery is going and compares it to 9/11 and Ground Zero still being a hole in the ground five years later. It gets worse when the subject turns to New Orleans music itself. One of the men says Delmond "transcends" New Orleans just like Wynton (as in Marsalis) but Delmond argues that Marsalis embodies that city. Another man joins in, calling New Orleans jazz "Dixieland jazz" and a "tourist economy minstrel show," finally getting Delmond steamed enough to say, "Fuck you all. You don't know what you're fuckin' talking about" and walking off.

Antoine has wrangled an energetic gig with Bonerama at Tipitina's with a group of trombonists when one of the other musicians summons Batiste to the microphone and he actually sings for a change instead of just playing his bone. Back in New York, Delmond and his date Jill Hudson (Danai Gurira) have gone to a rooftop where Delmond still seethes about the party conversation with the Empire State Building standing in the background. "Fuckin' know-it-all New Yorkers," Delmond groans as Jill claims they were trying to be sympathetic. She also points out that she's heard Delmond say many of the same sort of things such as New Orleans music belongs in a wax museum. He says he's never used the word minstrel. "You are always talking about how it's never going to be the same," Jill says. "I get to say that," Delmond insists. "They don't." As the real-life owner of Tipitina's, sousaphonist Matt Perrine, pays Antoine for his night's work, he tells him that he should do more vocals. The crowd enjoyed it. Batiste starts asking Matt, who also has his own group, Sunflower City, what's it like. He tells him it's a rush, satisfying. Antoine tells him he's been contemplating the crossroads in his life such as when he picked up the trombone instead of the trumpet. "You ever wish you were out front playing a trumpet or harmonica or something?" Antoine asks since Perrine's sousaphone also is a sizable instrument, and Matt admits he does and asks if Antoine is thinking of switching instruments. "I'm playing with you about picking up the trumpet," Batiste says. "I'm thinking about pussy." Antoine says it's too late for him to switch instruments, but he does seriously think about all the women he could have had if he'd chosen the trumpet. Delmond shows strong evidence for that.

Albert and his fellow tribe members load up cars with their equipment as Poke tells them, a bit sorrowfully, that Albert had to know he'd be coming back sooner or later. Poke tells them he appreciates them clearing out so quickly and anytime they want him to open up for Indian practice, just let him know. While the other men speak, Albert stays noticeably silent throughout the loading except for the loud slamming of car doors and he shoots Poke an icy glare as he gets into the car and drives away. At Davis' apartment, McAlary takes care of his version of cleaning. He tosses the dust off a throw rug and douses it with a spray, hides a bunch of dirty clothes in a closet and then he faces the kitchen. He starts by systematically knocking empty beer bottles one by one off the counter's edge into the trash can. Then he stares at the overflowing sink full of dirty dishes. He picks up the first one, looks at it a moment and decides discarding it in the trash makes for an easier solution than cleaning it. He moves to the next plate, uses his thumb to scrape at whatever food remnants remain and trashes it as well. Finally, he grabs the whole stack of dirty dishes and dumps all of them into the garbage. He does a half-hearted job at making the bed, sprays the apartment some more and straightens the kitchen table, blowing dust off it, wiping it briefly and tossing the dustcloth as far as he can.

Arnie drives Nelson downtown for a meeting with powerful banker C.J. Liguori. The name means nothing to Arnie, but Nelson describes him as "one of the powers behind the throne, a kingmaker." Understandably, Arnie asks how Nelson would know such a person, but Hidalgo says he's "a friend of my friends." Arnie inquires if this C.J. "whatever" is really going to make Nelson a king, but Nelson just winks. At the banker's office, the large assortment of plaques, photos and awards adorning C.J.'s wall enthralls Nelson until he addresses Liguori (Dan Ziskie) about his family, which is very large. Nelson admits he has no kids yet, but that he comes from a large family himself — Hidalgo resides as the exact middle child of 13 kids, with six older and six younger siblings. Hidalgo brings greetings from Texas Gov. Rick Perry as well as other Texas GOP leaders. "We've been through a lot here," C.J. says. "We still have a long way to go. Nobody's been through what we've been through in this country, not since the San Francisco earthquake but it's an ill wind that blows no good, you understand what I'm saying?" "Never let a disaster go to waste," Hidalgo responds. Liguori explains that New Orleans had been on a downward slide for a long time in terms of crime, schools and infrastructure and this presents a second chance for the city. "At one time, we were the biggest city in the South, then Houston, Atlanta, Dallas — they all left us in the dust," C.J. continues, before asking if Nelson has heard the talk in Dallas that he's heard everywhere of people asking why New Orleans should even be rebuilt. "The mouth of the Mississippi? There has to be a port here. The nation needs New Orleans," Liguori declares, "and there's no reason why New Orleans can't be a great city again." He adds that there is a lot of money to be made there and Nelson tells him that's why he's there. As both stand for Nelson to leave, Hidalgo admires the view of the great river and C.J. points out that it's the west bank of the Mississippi. "But we're looking east?" Nelson says, puzzled. "I know. It's confusing."

Davis tinkers on his piano at composing a new song when Annie walks in and he greets her with a "Hey" and gets a "Hey you" back. Davis tells Annie how glad he is to see her and she concurs before they share a long embrace. Not only has Davis been able to hold on to his D.J. job for seven months, it appears what looked like the start of a tenuous relationship at the end of season one has held up as well, only it looks in much better shape than the job. He asks how the tour went and Annie says it was awesome — they even let her jam with them during their set every Saturday night. Davis asks if any of the guys hit on her, but Annie insists they were "perfect gentlemen" though Davis is skeptical since he knows most of them and their horndog ways, but he does have faith in Annie to resist if they tried. Despite Davis's haphazard effort at the job, Annie turns, quite seriously, and says, "Davis, you cleaned for me." He points out that it sort of smells like a free meadow.

Now homeless again, Albert and his friends arrive at his home. Lambreaux unchains the gate and steps inside the darkened structure which remains much like the last time he laid eyes on it. The unmoving ceiling fan hangs motionless above them. LaDonna comes home and Larry (Lance E. Nichols) turns on the bedside lamp and reaches for the remote control until he hears her say from the other room, "You're not going to turn on the TV, are you?" He quickly puts the remote back down with the expression of a kid caught doing something he shouldn't and says, "No." Larry says to remember to thank her mother for taking the boys. LaDonna tells him her mom didn't want to stay over. She just wanted to check out Daymo's grave and visit a bit before heading back to Baton Rouge. LaDonna brings them both glasses of water and tells her husband she likes it when he shouts when they're making love. Larry didn't realize he had been, but LaDonna says he was at the end and mimics his "Oh, baby. OH, BABY!" He says he figures he's safe as long as he sticks to baby and she give him a playful tap, "As long as you thinkin' bout me." "Who else?" LaDonna tells him that now that her mother lives with them in Baton Rouge, he can visit in New Orleans more since they don't have any privacy on the weekends up there. She asks how early he has to leave in the morning and he tells her his first patient is at 9, but his mood has changed and he wants to know when she is coming home. LaDonna says she is home. "No, this is your mama's home and she's not coming back. We need to sell this place. We need to sell the bar," Larry declares. "I ain't selling the bar, Larry," LaDonna tells him. He tells her she has no reason not to now that her mother has moved to Baton Rouge. LaDonna tries to change the subject by disappearing beneath the covers.

"You've got to spread joy up to the maximum/Bring gloom down to the minimum/Have faith or pandemonium's/Liable to walk upon the scene," is where we come in on the lyrics to the song that gives this episode its title, currently being sung by Annie, John Boutte and two other musicians sitting on stools at The Spotted Cat Music Club with Annie occasionally bringing out her violin while others strum a guitar and play a trombone right after the lyric "Don't mess around with Mister In-Between/No, don't mess around with Mister In-Between." Could Sonny be Mister In-Between? Because that's when we spy him watching from the bar. Back in the New York kitchen of Brulard, the usual chaos reigns. The restaurant's namesake has four entrees laid out in front of him and he's carefully arranging parsley and whatnot atop them until he suddenly explodes and sweeps all four plates off the table to the sound of shattering and shouts, "Fuck it!" Then, in a calmer voice, Brulard says, "Start again. Table 14. One cod. One salmon. One pigeon. Two ducks." Then his voice registers anger again. "And do you think this time we can get those ducks right Mr. fucking grill man. Do you think that might be in the realm of possibility that you cook two duck breasts properly and you dress them before you slice them and not fuck over your co-workers and my customers by doing miserable, half-assed, thoroughly unacceptable work?" Janette watches with both sympathy for the grill man (Alon Shaya) being chewed out and contempt for the son of a bitch she works for now when she once was her own boss.

At home, Toni looks disturbed to find that Sofia has followed her late father's path with an angry YouTube rant, complete with Creighton's expletives that Toni's uncertain she likes hearing her teenage daughter broadcasting to the world over the Internet. Back at The Spotted Cat, Annie, Boutte and the other musicians have moved off their stools to perform a standing set at the same club and Sonny somehow has horned into the performance on guitar. By this time though, Davis has arrived to wach his woman perform. Annie's violin solo brings a big grin to Davis' face. At the song's completion, Annie politely tells Sonny, "That was nice," shakes his hand and quickly says, "See ya" and heads to Davis. They hug and she says it must be rough on Sonny, so Davis goes to talk to him. He tells him about her coming off a tour with the subdudes and how great she's doing. "The sky's the limit," Sonny says. Davis says it was good to see him and heads back to Annie as Sonny takes a big swig of his beer.

Nelson shows up at his cousin's work site in a spiffy rental car and catches Arnie having trouble giving instructions to his crew. Hidalgo tells him they can't understand him because his Spanish sucks, but he wants to take him to lunch. Arnie suggests a dive, but Nelson remind him that he's in New Orleans with a reputation for great food. Besides, he's heard of a place. Already having lunch are Lt. Colson and Toni, disagreeing over the details of a shooting. Toni says the only people firing were cops and Terry wants to know how she could possibly know that and she just gives him a look that reads, "Come on now." Colson says he guesses it will all get sorted out. She asks him when the police plan to stop harassing the Jackson Square musicians. "Are we going to fight about that too?" he asks. Toni just smiles and Terry switches subjects to Sofia, asking how she's doing. "Depressed. Angry. Anxious. Aren't we all?" Toni replies. "Everybody is out of their mind," Colson concurs. Toni asks about the lieutenant's children. He says when he gets his son on the phone, it's always, "Sure dad. Uh-huh." Toni says it sounds familiar. Colson says it's been six months, referring to Creighton, but Toni corrects him that it's been seven. "Things getting any better?" he asks. "Worse I say," Toni admits. Terry asks if she wants to talk. "It was an accident, but you know," she says, indicating that they both know that isn't true, but that Sofia doesn't know the truth.

The lunch does not disappoint Nelson who asks Arnie why he didn't tell him about the city earlier, but Arnie insists he's been urging him to come down for six months. Hidalgo asks his cousin where's a good spot for them to hear some good music that night "because there's more to life than money." Yes, indeed. There's paperwork, lots of paperwork, which Albert is combing through under a desk lamp in his shell of a house and punchng numbers into an adding machine. He finds a check and stares at it. The distance between Sofia and Toni at dinner has as a physical measure as much as a psychological one as Toni asks how school was and gets a nonspecific "OK" in response. She tells her daughter she hasn't seen any tests or quizzes recently and Sofia tells her mom there haven't been any. Toni asks what she's reading in English and Sofia tells her Frederick Douglass' autobiography. "Parent-teacher conferences are coming up soon. I'm not in for any surprises, am I?" Toni inquires with concern, receiving only a shrug in response. The more boredom the girl exhibits, the more worry you can hear in Melissa Leo's voice and see in the face of her subtle performance as Toni, such a stark contrast to her wild, scenery-chewing turn that just got her the Oscar for The Fighter. "Sofia, are you making new friends?" The teen tells her mom she has the same ones she had last semester, before turning the sarcasm back on full throttle. "The school is gorgeous, state of the art. The teachers are just the best, so caring and committed. The student body is so perfectly Benettoned that it makes me want to puke," Sofia intones. "I just asked a simple question. I don't need your sarcasm," Toni replies, adding a slightly sterner tone. "Status quo. Everything's status quo," Sofia says as she takes her dinner out of the room. You hear a door slam once she's gone.

Annie, with Davis at her side, actually watches a performance for a change instead of giving one as the couple takes in a show at Tipitina's. "How do they put that all together?" she asks Davis as the varied styles of Galactic, the Dirty Dozen Brass Band and Juvenile merge together to play. "This is New Orleans, we put everything together," Davis tells her. "Do you know what gumbo ya-ya really means? Everyone talks at once." The jam they're listening to mixes rap with more traditional jazz instruments. Davis encourages Annie to play with the rapper, sometime, but she doesn't think so. In New York, Janette sits at a bar, drinking alone and looking around, almost as is if she might be looking for "take out" again.

On the street, Sonny stands behind a police line listening to Baby Boyz Brass Band really bring it on to the enjoyment of passing pedestrians, who drop donations their way. Also in the crowd is the boy Robert from the show's opening, still struggling with his trumpet. A man asks how long he's been playing and Robert says two months, but it's hard. The man reassures him it will get easier. The music begins to be drowned out by the wail of sirens and flashing lights can be seen in the distance. Lt. Colson arrives and asks the detective already on the scene what he knows. "Straight up robbery. Two kids on bikes, a little slow picking up her purse," the detective reports. Colson takes the slow walk to the victim lying dead in the street. He stares down for a moment before crouching for a closer look. He then hears the trumpet. He stands and spots Robert. "Kid, there's a curfew. What the fuck are you doing? Go home."

*Hat tip to Dave Walker's Treme explained column at the Times-Picayune for clearing that up for me.

Special thanks to Facebook friend KD for help with some character and actor names.


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Comments:
Morse and Leo's chemistry is so good I keep arguing with myself about whether or not there's a new romantic undercurrent there.
 
I don't think there could be. We know she's not healed and got Sofia to deal with and I'm not sure what his family situation is beyond having a son. Is there a Mrs. Colson? Beyond that, I think their two professions would just keep them butting heads too often, just as we see in an upcoming episode where he doesn't want to be perceived by his fellow cops as being her helper since she's sued so many of them.
 
I am glad though that Annie has been paired with Davis. I never disliked her, just her story last year but now it's so much easier to like her character since she's not tethered to Sonny.
 
I loved to see Davis' unadulterated joy when he watches and listens to Annie as opposed to Sonny's simmering resentment. That's the difference to me. If she can't be with someone as talented, she should be with someone who loves her for her talent. When has "you cleaned for me" ever been so sweet?
 
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