Homicide Episode Guide: Partners

Written by David Rupel; story by Tom Fontana and Julie Martin

Directed by John McNaughton

                           Homicide  was a great show  but on rare occasions the writers would  have problems utilizing characters who weren’t detectives. They managed to do a good job with Al Giardello, but they dropped the ball on a few other supporting characters--- a shame because the actors involved were usually better than the material they got. The most obvious examples of this were videographer J.H. Brodie and Chief Medical Examiner Juliana Cox. Though there were interesting aspects to their personalities, it was often a struggle to have them have more than token appearances on the show.

                           The most extreme example of this was Megan Russert, a woman  whose position on the force seemed to rise or fall on the inclination of the writers. We have already seen attempts to include her in places  she doesn’t belong in ‘All Through the House’ and ‘Nothing Personal’. ‘Partners’  tries the opposite  by having the show follow Russert into places that we wouldn’t normally see. In this  case, we see her working with her former partner from narcotics Douglas Jones who has just transferred to her command. There is some real potential to explore the dynamics of being superior to  someone you used to work with---- somebody who you have become friends with. However, rather than explore this avenue, Fontana and company focus  on the relationship between Jones and his wife Natalie  and the familiar specter of spousal abuse.  From the moment that Russert shows up at the hospital after  Natalie’s injury, we are driven down a path that is seen on almost every other crime show on TV: involving a battered wife.

This is not to say that this can’t be the stuff of great drama. (Indeed, two years later Homicide  would do an exceptional job in an episode with a similar story.) But we don’t really see that here. Mainly we are dragged down the role of a familiar journey of a detective being criminal.. There are possibilities here but they mostly go unrealized.

                           Though burdened with a heavy-handed  central story, this remains an enjoyable episode because of the side plots. For one thing, we have  the fallout of the scandal involving Congressman Wade that began in the last episode. Since Pembleton has resigned, the department (particularly Deputy Commissioner Harris) is concerned of what he will do.  Initially, it seems that Frank will tell the truth and the consequences be damned. However, before he testifies, Gee confronts him and tries to get him to face the fact that he had allowed himself to be used by the bosses and pride brought him down. Still, we’re not sure how this is going to play out--- until we are in the courtroom proper. At the last conceivable minute, Pembleton swallows his pride and takes one for the team. But, as he makes clear to Harris (who tries to weasel himself  into being on Frank’s side) he didn’t do it for him or because he expects advancement. He did it for the department, and he  makes it clear he won’t do it again. Harris doesn’t forget this, and will use the incident to punish the shift in the future.

Frank uses this as an opportunity to get his badge back. Part of this is because of his miserable and hilarious failings as a domestic (he tries but can not cook a decent dinner), part of this is because his wife talks some sense into him, but most of it is because Frank is a murder police through and through. It’s in his blood.

                           And anyway Bayliss  needs a partner.. In the course of this episode, he tries to work with Lewis (who is also a solo act) but this go incredibly badly. The problem isn’t Emma Zoole but rather the fact that Meldrick insists on driving. We have never seen hen behind the wheel before, and given what happens, we don’t particular want to see it again. He gets lost on the way to a crime scene, drives the wrong way down a one way street, drives on the sidewalk, and finally crashes into a parked car sending Bayliss to the emergency room. We don’t know how  he’s going to squeeze through this but he does mainly by following his lawyers advice and saying ‘he’s not sure’ whether he did anything wrong.

            `           This partnership would not have worked out even if this hadn’t happened because Bayliss spends it trying to convince Gee to rehire Frank. When Frank makes an unexpected appearance at The Waterfront Tim tries to bring his partner in by  talking up an old case. As is his style Frank refuses to pay attention now, but later will return to work having absorbed every detail of the file. He still doesn’t acknowledge Tim as his partner, but then he probably wouldn’t under torture.

                        In the midst of all this confusion, The Waterfront finally has its grand opening. The first real customer is Bolander but soon it becomes a real party atmosphere. The Waterfront will last until the end of the series but though it must turn a profit (they wouldn’t be able to hold on to it otherwise) it won’t be much more than a place where the police gather. This isn’t bad  we will see how the squad thinks.

            ‘Partners’ is saddled with problems  and never becomes much more than an average episode. But even the average episode has notable repercussions. It could have been more but its good enough to satisfy.

My score: 3 stars.