Everything in this Dortmunder crime scene is still under the impression of the past, in which Martina Bönisch (Anna Schudt) was shot. It was foreseeable that the now halfway stabilized extreme type Peter Faber (Jörg Hartmann) would be brought into a considerable lopsided position by this loss. In “You’re staying here” you can now watch him trying to get his feet on the ground again. First of all, the Schrat-looking desperado runs where there is no ground and jumps into the pool of the Herdecker pumped storage power plant. The actor Hartmann grew up in Herdecke, and when he looks for Faber’s roots in this episode, he also touches on his own a bit.
Hartmann wrote the book with chief author Jürgen Werner, and Richard Huber is the director. Anyone who would have expected Faber to go crazy again and lose himself completely, as he did when he started work a good ten years ago, will not be served appropriately – after all, they’ve had that before, and Hartmann doesn’t want to tell the same story over and over again (see also today’s page three). So they tell how Faber travels back to his childhood when he was traumatized long before he later lost his wife and child in an assassination attempt. He meets his father, the barber shop from before, “Salon Engel”, it is a lovingly furnished one sentimental journey, not only because Father Faber slowly disappears against the light because of dementia. Through the music Faber finds access to the memory, he hears an old song, “The Crystal Ship” by the Doors, and then he looks into his room, and then suddenly he’s back in the situation from back then. The parents argue.
With all Dortmund-typical escalations: a melancholic story. The case itself – only a trace of blood remains of a real estate shark – pales in comparison to the mourning work of the commissioners. “So I’m going into town now and have a drink on Martina,” says Faber to his young colleagues Jan Pawlak (Rick Okon) and Rosa Herzog (Stefanie Reinsperger). And then, early in the morning, the three of them sit close together – and close together – on the bench at the bus stop, while the 452 bus drives past them, crying softly. Whoever is in the subject sees the details and recognizes the references. Rosa Herzog feels guilty about Bönisch’s death, she does everything to make up for what cannot be made up for. And so they continue to tell the story of Faber’s sad office cactus, which suddenly even blooms thanks to Rosa’s care.