Among Season Five's highlights, Have a Conscience features one of the most memorable, brilliantly written sequences in the whole series.
The episode focuses on Mike Kellerman's (Reed Diamond, superb) breakdown: newspapers which accused him now make no mention of the trial's result; obnoxious Gaffney mocks him; finally, another murder - a Korean shopkeeper who wanted to free his neighbourhood from drug dealers - is committed by goons hired by drug lord Luther Mahoney (a suitably slimy Erik Todd Dellums).
In the climax, a suicidal Kellerman confronts his partner and friend Meldrick Lewis (Clark Johnson, who, until writing ruined his character in the last seasons, was brilliant): in a long, memorable scene, Kellerman threatens to shoot himself and Meldrick has to talk him out of suicide.
What strikes me every time is how great writing is. Kellerman's behaviour is totally believable, and so are his arguments: with his self-pity, bitterness and anger (towards everybody, even Meldrick), he is tragic, desperate and, in a realistic note, even petty (like when he insults Crosetti to anger Meldrick ).
And Diamond does a marvellous job - the transition between various attitudes (from passive to aggressive, from cynicism to someone who is obviously calling for help) is natural and convincing.
10/10
The episode focuses on Mike Kellerman's (Reed Diamond, superb) breakdown: newspapers which accused him now make no mention of the trial's result; obnoxious Gaffney mocks him; finally, another murder - a Korean shopkeeper who wanted to free his neighbourhood from drug dealers - is committed by goons hired by drug lord Luther Mahoney (a suitably slimy Erik Todd Dellums).
In the climax, a suicidal Kellerman confronts his partner and friend Meldrick Lewis (Clark Johnson, who, until writing ruined his character in the last seasons, was brilliant): in a long, memorable scene, Kellerman threatens to shoot himself and Meldrick has to talk him out of suicide.
What strikes me every time is how great writing is. Kellerman's behaviour is totally believable, and so are his arguments: with his self-pity, bitterness and anger (towards everybody, even Meldrick), he is tragic, desperate and, in a realistic note, even petty (like when he insults Crosetti to anger Meldrick ).
And Diamond does a marvellous job - the transition between various attitudes (from passive to aggressive, from cynicism to someone who is obviously calling for help) is natural and convincing.
10/10
