Chris Thormann must confront the fact that the assailant who shot and blinded him is up for parole, and he might get it. Pembleton and Bayliss investigate the murder of a chef, and the ... See full summary »



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Episode cast overview, first billed only:
Billie Rader (as Monica Kenna)
Robert Bornarth ...
Ray Felton ...


Chris Thormann must confront the fact that the assailant who shot and blinded him is up for parole, and he might get it. Pembleton and Bayliss investigate the murder of a chef, and the family's background of abuse triggers bad memories for Bayliss. Written by dav3id-2

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Release Date:

11 April 1997 (USA)  »

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Aspect Ratio:

1.33 : 1
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Did You Know?


This episode takes place in March 1993 and April 1997. See more »


Det. Tim Bayliss: [to Pembleton] Now, you want to call that first bullet self-defense, fine. First one's on the house. Second bullet, you want to say that that was shot in fear, that's great, that's no problem because, you know, we're going to give her a two bullet handicap. But the third shot, Frank, the one where he's down on the floor, and he's of no threat to anyone at all, Frank, come on...
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References The Silence of the Lambs (1991) See more »

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User Reviews

When Bayliss and Pembleton switched places
6 November 2008 | by See all my reviews

In typical Homicide fashion, Double Blind bravely juggles with many shades of gray. In the first storyline, Bayliss (Kyle Secor) and Pembleton (Andre Braugher) follow the case of a man who used to brutally beat up his wife and was killed by his daughter; in the second, Lewis (Clark Johnson) has to support Thormann (Lee Tergersen), a police officer shot and blinded (A Shot in the Dark, season one) by Flavin, a criminal who is now up for parole after saving the life of a prison guard.

The plot lines are the thematic flip side of each other: in the first, we have the killing of a despicable man seen through the eyes of the murderer; in the second, the prospect a redeemed convict might go free is shown from the point of view of his victim. The show, as usual, raises problematic questions but gives no easy answers. Ultimately, the daughter is caught by the same legal system which had been unable to help her; Flavin's parole is denied, and yet Thormann's life will never be the same again. There are no winners, just a great sense of loss.

Intriguingly, in this episode Bayliss and Pembleton switch their trademark attitudes. Far from being out of character, this is an example of sharp psychology from the writers. Pembleton, the self-righteous public avenger, for once identifies with the girl, possibly out of pity for his own neglected wife. On the other hand, sensitive Bayliss becomes more and more inflexible: as a former victim of domestic abuse himself, morally condemning the young girl is a way to distance himself from his own painful past.


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