Episodes
| No. in series |
No. in season |
Title | Directed by | Written by | Original air date | U.S. viewers (million) |
|---|---|---|---|---|---|---|
| 10 | 1 | "Bop Gun" | Stephen Gyllenhaal | Teleplay: David Simon & David Mills Story: Tom Fontana |
January 6, 1994 (1994-01-06) | 16.3 |
| Baltimore detectives Felton (Daniel Baldwin) and Howard (Melissa Leo) investigate the murder of a tourist who was shot to death in front of her husband Robert Ellison (Robin Williams) and their two young children. The case receives considerable attention from the press and police officials. Ellison struggles with feelings of helplessness and guilt, and becomes offended by the insensitivity of the detectives investigating the case. When the seemingly good-natured 19-year-old Vaughn Perkins (Lloyd Goodman) is identified as the shooter, Howard becomes convinced he is taking the fall for his friends, and desperately tries to learn the truth while Felton closes the case. | ||||||
| 11 | 2 | "See No Evil" | Chris Menaul | Paul Attanasio | January 13, 1994 (1994-01-13) | N/A |
| A friend (Michael Chaban) of Felton kills his ill father (Wilford Brimley) in an assisted suicide, and a suspicious Lewis (Clark Johnson) is assigned to the case. Felton tries to convince Lewis to dispose of evidence so his friend will go free. Lewis wrestles with his conscience, but ultimately decides to help Felton. Meanwhile, Bolander (Ned Beatty) resists new sensitivity training requirements based on his lack of trust for therapists, stemming from his failed marriage. When Pembleton (Andre Braugher) and Bayliss (Kyle Secor) investigate the killing of a drug peddler, Pembleton suspects a police shooting, which upsets Lt. Giardello (Yaphet Kotto). | ||||||
| 12 | 3 | "Black and Blue" | Chris Menaul | Teleplay: James Yoshimura Story: Tom Fontana |
January 20, 1994 (1994-01-20) | N/A |
| As Pembleton continues his investigation into a suspected police shooting, Giardello pressures him to pursue civilian suspects. To make a point, Pembleton elicits a confession from an innocent man (Isaiah Washington), but Giardello realizes he cannot accept it. Ultimately, Giardello helps Pembleton find the real shooter, a police lieutenant (Michael S. Kennedy) with whom Howard had an affair and for whom she still harbors romantic feelings. Meanwhile, as Munch (Richard Belzer) runs into problems in his love life, the normally-lonely Bolander strikes up a relationship with a young waitress named Linda (Julianna Margulies). | ||||||
| 13 | 4 | "A Many Splendored Thing" | John McNaughton | Teleplay: Noel Behn Story: Tom Fontana |
January 27, 1994 (1994-01-27) | N/A |
|
Pembleton and Bayliss investigate the S&M-related murder of a young woman, which initially makes Bayliss uncomfortable, but ultimately forces him to confront his own darker side. The detectives eventually learn the woman was killed by her neighbor, who accidentally choked her to death during rough sex. In another case, Lewis and Crosetti (Jon Polito) pursue a suspect who killed a man over a $1.49 pen. Lewis is deeply shaken by the seemingly pointless motive. Meanwhile, the despairing Munch crashes the first date of Bolander and Linda, ruining their evening by venting his romantic woes, until Linda offers him words of encouragement. Final appearance of Det. Steve Crosetti |
Read more about this topic: Homicide: Life On The Street (season 2)
Famous quotes containing the word episodes:
“Twenty or thirty years ago, in the army, we had a lot of obscure adventures, and years later we tell them at parties, and suddenly we realize that those two very difficult years of our lives have become lumped together into a few episodes that have lodged in our memory in a standardized form, and are always told in a standardized way, in the same words. But in fact that lump of memories has nothing whatsoever to do with our experience of those two years in the army and what it has made of us.”
—Václav Havel (b. 1936)
“What is a novel if not a conviction of our fellow-men’s existence strong enough to take upon itself a form of imagined life clearer than reality and whose accumulated verisimilitude of selected episodes puts to shame the pride of documentary history?”
—Joseph Conrad (1857–1924)