The Sopranos Season Two, Episode by Episode Review

EDITOR'S NOTE: IF YOU DON"T CARE ABOUT MY RAMBLING PERSONAL STORY BELOW, SKIP TO THE FONT CHANGE AND CLEARLY MARKED EPISODE 1 REVIEW A FEW PARAGRAPHS DOWN, WHERE THE REVIEWS BEGIN

The Sopranos changed my life. It was the cherry on top of 1999, the greatest year of my life. I was fortunate enough to turn 18 that year, the year human culture and civilization peaked, the greatest year in cinema, one of the greatest years in music, and the year The Sopranos, perhaps the greatest television show ever made, premiered. I was fortunate enough to have a schoolfriend, Robbie, who had HBO, and who thought I should be introduced to the show. He recorded the series for me week to week from nearly the beginning in 1999. In 2000, in the busy months leading up to our high school graduation, he did the same again. However, this time, I fell behind. I think that back in 2000, I had realized that because Robbie was leaving (he had decided to go to college in his native state of Kansas, far away from my beloved Louisiana), I wasn't going to have a direct line to The Sopranos anymore...so I preemptively stopped watching it to spare myself the pain of losing it when he was gone (I mean, I was sad he was leaving too...). Thankfully, TV on DVD soon became a huge market, and these episodes were available on disc barely a year after they aired. As soon as they were, I rented them from Blockbuster...and The Sopranos obsession began anew...

Now, for the first time in over 20 years, and for its 25th anniversary, I'll be running the second season of The Sopranos throughout the rest of 2025, and will post a quick review of every individual episode on this very post. Each new review will appear here on the first day of each month (two in November and December). I can't wait to watch and talk about these episodes. 

Lord above, things ain't been the same since The Sopranos walked into town... 

EPISODE 1 -- "Guy Walks into a Psychiatrist's Office..."
Written by: Jason Cahill; Directed by: Allen Coulter

Originally Aired: 1/16/2000

Season Two opens up with a montage revealing the new, post-Y2K Sopranos normal. Tony seems happy and has sex with his mistress. Christopher pays someone to take the stockbroker license exam for him, then heads up the crew's new boiler room scam. Paulie and Silvio do their thing (in Paulie's case, one of the Bada Bing's strippers). Dr. Melfi, ousted from her office due to the violence against Tony by Livia and Junior, hosts clients in a hotel room. Livia, after a suspicious, stroke-like event, undergoes physical therapy at a hospital. Junior is still in prison. This new normal is immediately upended, though. Tony's best friend and crew member,  Big Pussy Bonpensiero, suddenly appears in Tony's driveway after having been missing for months. The two go down to Tony's basement and have a volatile argument, as Pussy tries to convince Tony that he's been down in Puerto Rico, getting his ailing back worked on and falling in love. Tony is furious that Pussy was gone for so long without contacting him, but Pussy is angry that the crew suspected him of being a rat, when the accusation came from a known dirty cop, and another rat was found. Tony eventually lets Pussy back in, and the crew even give Pussy the money they've collected for him as they did his routes while he was away, but Tony is clearly skeptical about his close friend's innocence. Pussy isn't the only unexpected visitor, though. Tony's hippie older sister, Janice, has suddenly arrived home from her hippie adventures out west. Tony knows this means he's in for paying Janice's bills, debts, and needed repairs, as well as whatever other river of hippie foolishness down which she's decided to sail. However, Janice ends up causing even more stress than Tony envisioned, as she's angry that Tony is selling Livia's old house, and steals the FOR SALE sign from the yard. Janice also doesn't fully understand the reason Tony refuses to associate with their mother in any way (Unbeknownst to Janice, Livia attempted to have Tony whacked in the previous season). A visit from Tony's younger sister, Barbara, the one member of the family who seems to have made a clean break from Jersey and "this thing of ours" can't even help. It must be said that Aida Turturro, who joins the full time cast permanently in this episode as Janice, does an excellent job of making Janice profoundly irritating, the kind of person that doesn't necessarily seem to have ill intentions, but whose actions always cause illness. In this case, Tony receives a visit from his old friend, the panic attack, as he starts to black out and crashes his car yet again. Tony's wife, Carmela, does an excellent job of both proposing the cure for Tony's issues and missing the point completely. Carmela is right that Tony needs Dr. Melfi, who is refusing to associate with Tony ever again (one of Melfi's patients, who couldn't meet at the new hotel office, committed suicide, and Melfi blames Tony). However, Carmela willfully ignores the reasons for Tony's malaise--for instance, she complains it's been forever since they've had sex, but that's because Tony's mistress is already meeting his needs, not because he's stressed (Carmela can both smell the mistress on Tony's clothes AND is awake when Tony comes home late every night); also, Tony is stressed because he is a mob boss involved in a Carmela-benefitting illicit criminal enterprise, where death and prison are always lurking around the corner, not just because life has brought changes. Still...life goes on. Tony has a gossiping capo, Phillip Parisi, whacked. Christopher predictably messes up his new boiler room job and Tony has to scold him. Tony's crew is still making money. In "Guy Walks into a Psychiatrist's Office..."'s final scene, Tony comes home from lunch to find Carmela in the kitchen. The camera focuses on a more than usually made up Carmela, as she moves around the kitchen. Carmela's body is objectified in a way that the audience can both see that she is desirable and that Tony finds her desirable. However, when Carmela offers to warm up some leftovers, a grateful Tony takes them, then sits at the kitchen table in silence as Carmela sits across from him and begins to open the mail...and suddenly, Carmela no longer feels like an object of desire...but Tony's surrogate mother.

EPISODE 2 -- "Do Not Resuscitate"
Written by: Robin Green & Mitchell Burgess and Frank Renzulli; Directed by: Martin Bruestle

Originally Aired: 1/23/2000

Deceit, including self-deception, are at the heart of The Sopranos. Neither one of Tony's families would work without it. Carmela, Meadow, and Anthony, Jr. all know that their patriarch is a mob boss, but they have to live day to day pretending that he is a run of the mill businessman. Tony and his crew engage in violent and duplicitous behavior, and yet act like they are upstanding citizens. New characters and plotlines in Season Two heighten this tension with the the truth, and "Do Not Resuscitate" makes this element of the show as explicit as ever. The episode kicks off with trouble at a construction site. A group of black men, led by the Reverend Herman James, Jr., are picketing the site. The owner of the company, Jack Massarone, is already providing Tony kickbacks in the form of no-show jobs, but Tony insists that if Massarone wants help with the protestors, he needs to pay up. Massarone does, and Tony later sends a goofy crew of mobsters with bats to break up the protests. Meanwhile, Tony finally breaks the ice with his Uncle Junior, visiting him in prison. In one of the episode's more bizarre cases of self-deception, Junior is obsessed with getting Tony to forgive Livia...because Junior has somehow convinced himself that Tony's mother had nothing to do with the previous season's hit attempt on Tony. Despite the fact that Livia not only wanted the hit on Tony, but played Junior like a fiddle in order to have the hit carried out, Junior wants Tony to forgive Livia and blames himself for Tony hating her. Tony saw the smile on Livia's face when she faked having a stroke at the end of the previous season, as Tony accused her of trying to have him killed, and he knows his evil mother without a doubt is the one who tried to orchestrate his demise. She is the villain in Tony's story, as concrete evidence backs up the fact that the infanticide obsessed mother tried to have her own son murdered. Deep down, Junior knows it too, but the old man has convinced himself it isn't the case. There are even FBI recordings, which Tony has heard, that prove Livia consciously manipulated Junior into carrying out the hit on Tony, but the old man won't relent. Even when Junior gets out of prison, is relegated to house arrest, slips and has a violent fall in the shower, refuses an ambulance, and has to humiliatingly have Tony carry him to the car for a ride to the hospital, the hobbled old man is still begging Tony to make peace with his murderous mother. Meanwhile, Tony's newly arrived in Jersey sister, Janice, is also trying to make peace with Livia. Janice still doesn't know that Tony hates Livia because Livia tried to have Tony whacked, but after visiting with Livia a few times, she at least understands and is reminded of how difficult and acidic their mother is. Janice has been frustrating Tony's attempts to sell Livia's house. After Janice plays some old timey music that strikes a chord with Livia, Livia suddenly admits that she has money hidden somewhere in her house. Luckily for Janice, Tony has grown so frustrated with having his mooching sister sharing his house, while also constantly having to hear that sister talk about Livia's house, that he tells Janice that she and Livia can be stuck together at the old matriarch's place. He gives Livia's home to them, finally getting the annoying Janice out of his mobster's fortress of solitude, while also ensuring he no longer needs to worry about his mother's house. Perhaps this move is not so lucky for Janice, though. As much as Janice tells herself that her motives are altruistic, and that she is moving in with her mother to take care of her, the money is the actual motivator...and a moment late in the episode, where Livia whines on and on, and Janice dreams of pushing her down the stairs proves it. Livia also gets her taste of the episode themes through the title, as she hears that Tony and Janice have discussed a "Do Not Resuscitate" plan involving her. Saying "I don't know what you're talking about" when she knows exactly what someone is talking about is an ongoing Livia gag, but this information actually seems to strike a chord in the duplicitous, wicked old woman that she can't pretend not to understand. This episode also acts as the introduction for Bobby Baccalieri, who will become an integral character for most of the rest of The Soprano's run. Bobby, grossly overweight, is known as the "nice" mobster. He has never killed anyone, and that holds true for the majority of the series' run. He is known for his virtues...but he is a mobster. Mostly removed from the action this episode is the returned Pussy, who meets with his FBI handler--as indignant as Pussy acted toward Tony in the previous episode about accusations of being a rat, Pussy is, indeed, a rat. However, no one in the series is as easy or consummate a liar as our sociopathic main character, Tony. Early in the episode, Tony tries to visit Reverend James, Jr.'s home. The Reverend is out, but his elderly father is in. Tony is pleased to find that the old man is a World War II vet. Throughout the series, Tony has shown to have a minor obsession with World War II, and he excitedly asks James, Sr. if he ever watches the History Channel. James, Sr. responds that he does not watch television. At the end of the episode, Tony returns, only to find that James, Sr. has passed away. He gives his condolences to James, Jr....and an envelope with his share of the cash from Massarone. It turns out that Tony and the not so good Reverend were colluding together. The Reverend was only picketing at Tony's secret behest, so that the two men could milk the poor construction owner for more money.  Fake a crisis, and an unknowing Massarone, who is already paying, has to pay up more to make it go away. The ethics of this aren't anything that will keep Tony awake at night. And now that Janice is out of his house, he'll sleep more soundly than ever.

EPISODE 3 -- "Toodle-Fucking-Oo"
Written by: Frank Renzulli; Directed by: Lee Tamahori
Originally Aired: 1/30/2000

After receiving a tip from a policeman "friend," Tony drives to his mother's vacant house, only to find that his drunken daughter, Meadow, has thrown a party that exploded from just a few friends, to a huge crowd of heavy drinkers and drug users. Though the cops break things up, the house is totally wrecked. Tony angrily drives Meadow home, though the next morning, he and Carmela struggle with how to punish her, somehow feeling like Meadow has all the power. They settle on a punishment a secretly smirking Meadow has decided, a three-week credit card confiscation, though now they're subject to Meadow's frequent requests for cash, as she needs money for gas and other things. Janice, soon to move into the now wrecked house with Livia, pops in to find the place trashed and drenched in vomit and spilled beer. She then speeds to the Soprano household, where she's staying for free, throwing a screaming fit about Meadow's actions. An incensed Tony and Carmela tell Janice she has no right to tell them how to parent, and Janice storms off as if she too is their teenage daughter, with Meadow peeping in on the argument from upstairs. But there is much worse trouble brewing outside the Soprano household. In Season One, boss, Jackie Aprile, passed away, making room for Tony and Junior's battle for Jersey mob leadership. It turns out that Jackie has an older brother, Richie, who has been in prison for the last ten years, and Richie, who is also uncle to Adriana La Cerva, has been released. Richie leaves prison like a ball leaves a cannon, immediately heading to his former associate's pizza parlor, and brutally beating him in front of all of his customers and employees. Richie then comes back to his mob brethren with a huge chip on his shoulder, and threatens Christopher to never lay hands on his niece again (unless Christopher marries her). Though Richie is given gifts by the others and promised that he will eventually be given back what he once had by current acting boss, Tony, Richie is indignant, claiming that Tony has no right to give what does not belong to him. Tony promises the pizza parlor owner, Beansie, that he will protect him from Richie, but Richie shows back up and attacks Beansie with his car, likely crippling Beansie for life (guesting action film director, Lee Tamahori, cues up these violent beats better than they've ever been done on the show before). Tony then tells Richie that he better shape up, or that there will be a problem, but Richie is clearly not impressed by Tony's show of intimidation. As Richie, David Proval gives an incredible performance, as, despite James Ganfolfini's acting prowess and much larger size, Richie's lack of fear is completely believable. In fact, if anything, it is Richie, with his shark-like stare and constant irritation, that's intimidating. Richie also makes romantic moves on Janice, who he apparently dated in high school, running into her at yoga, which he says he picked up in prison to mellow out--humorous, as Richie is clearly the least mellow character the show has yet introduced. Richie also makes moves toward Livia and Junior, trying to get on their better side to get a leg up on Tony. Incredibly, in just this one episode, Richie Aprile feels like he's always been around and like more of a threat to Tony than anyone ever has. And finally, Tony, while out with his crew and Brooklyn boss, Johnny Sack, sees Melfi. Or rather, Melfi, who is out getting tipsy with some girlfriends, sees Tony. She and her giggling friends say hello, and as she's leaving, she tells Tony "Toodle-oo!" Melfi is later angry with herself, telling her own therapist she behaved like a ditzy girl. Here the episode receives its title and a decoder for its central theme. Melfi is starting to feel like she abandoned a patient, Tony, at his time of greatest need, and is starting to feel guilty. In fact, instead of being proud that she left behind the toxic relationship she had with Tony as his therapist, she now feels like she deserted her responsibilities as a therapist. The consequences for Tony's actions toward Melfi late in Season One should easily be that Melfi never sees him again. The decision to stop seeing Tony--Melfi's first instinct--was correct. However, now it appears that Melfi will once again be Tony's therapist, and the mob boss will face no consequences for his actions. Likewise, Meadow threw a huge party in Tony's mother's house, trashing it, and her consequences are essentially zero, as she may not have a credit card, but still has parents who pay all her expenses. Janice yells at the owners of the house where she stays for free, but Carmela later apologizes and tells Janice she can stay as long as she wants. Richie beats up Beansie, receives a warning, then cripples Beansie for life, then receives...another warning. The Sopranos world is full of bad behavior and there are rarely consequences, at least not early on. The Sopranos world is also populated by sociopaths, chief among them Tony himself. As "Toodle..." comes to a close, Tony returns to his mother's house to have the locks changed, only to receive one of the biggest shocks of the entire series. As our central character looks into the window, he sees a sweating, dirty Meadow, on her hands and knees, scrubbing vomit off the old wooden floors. This easily, with any common sense employed, with any enforcement of "you made this mess, you clean it up," should have been the punishment administered by Tony and Carmela. Two parents who clearly understand right and wrong, actions and consequences, would never think that a child who has just made a mess has all the power. This should have been an easy punishment for Tony and Carmela to devise, and they should have had Meadow cleaning up the moment she sobered. Instead, it is a self-directed punishment. Meadow might be as morally compromised as anyone else on The Sopranos--her clothes and home and Discover card are bought and paid for with blood--but unlike her father or the volcanic Richie Aprile, the properly self-mortifying Meadow has a conscience.

EPISODE 4 -- "Commendatori"
Written by: David Chase; Directed by: Tim Van Patten
Originally Aired: 2/06/2000

The old expression "wherever you go, you take yourself with you," is fully exercised in Season Two's "Commendatori," which sends three of The Sopranos' most prominent characters, including its lead, to Italy. Tony has to visit a distantly related crime family in Naples, The Camorra's, in order to move some stolen cars. Tony takes Paulie and Christopher along with him, but on account of this being a business trip, leaves Carmela and the rest of his family behind. Carmela is resentful, but later seems secretly overjoyed when she gets to live vicariously through Pussy's wife, Angie, who confides to Carmela that she has decided to leave her often absent and callous husband. Carmela gleefully passes on this juicy gossip to anyone who will pick up a phone, but when she gives the issue more thought, she realizes that she can't leave Tony, and that Angie will be free, while she herself is stuck. Eventually, Carmela confronts Angie to try to make sure she also stays trapped in her misery, using the pair's shared Catholic faith as a reason not to break the sacrament of marriage. A constantly droning "Con te partirò" by Andrea Bocelli slyly soundtracks this melodrama, but little does Angie know, one of the reasons her husband has been so absent and callous, even to her recent cancer scare, is that he is currently under the thumb of the FBI. While meeting with his government handler, Agent Lipari, at a distant Party store, Pussy runs into Jimmy Bones, a mob associate who moonlights as a party clown. A terrified Pussy could care less about Angie's biopsy, until he whacks Jimmy and no longer has to worry about the mouthy clown ratting. Pussy heads straight home from hammering the clown to death with a bouquet for his wife, and though she beats him with the flowers, there's a looming feeling in the petal-filled air that she's no longer going to leave him. Apparently, Carmela won't be losing her fellow Bocelli fan and partner in married-to-the-mob misery. Meanwhile, Tony's big trip to Italy isn't going as expected. The Camorra boss is old and senile, his son-in-law is in prison, and his daughter, Annalisa, is essentially acting as head of the family. While the sultry woman's first interactions with Tony feel flirtatious--so much so that our lead antihero is soon having sex dreams of her where he's dressed as a centurion--she soon proves herself to be a tough negotiator. Meanwhile, Christopher, who blabs nonstop of visiting classic Italian landmarks, notices one of the Italian mobsters has track marks on his arm, and spends the rest of the episode shooting up in a hotel room, just as he would back in New Jersey. Paulie is more game to explore all Italy has to offer, but he constantly annoys Tony, while finding all his attempts at connecting to Italy and its citizens rebuffed...until he finally employs a prostitute...just as he would have in Jersey. Paulie also mistakenly picks up the term (and episode title),  "Commendatori," as a greeting, not realizing it is an ancient honorific that is no longer in use, befitting The Sopranos' overall themes and Tony's Season One line, "I came in at the end. The best is over," quite well (the doomy jazz that plays at the Italian restaurant during the episode's central meeting with the Camorra's furthers this feeling). Meanwhile, Tony lowers the offered price on the stolen vehicles under the condition that Annalisa will send Furio, one of Annalisa's best men, to work in Tony's crew back in America. Annalisa accepts, and it seems the trip is a success for both parties. However, on the trip home, Tony reveals that he got the vehicles for far, far less than Annalisa is paying him, pulling a big swindle, just like he would have done in Jersey. As the trio arrive back home, Christopher hurriedly buys souvenirs at the airport, while Tony is sullen, missing Italy. However, as he looks upon the smokestacks and grey urban decay of home, Paulie smiles. Tony arrives home with boxes of luxury Italian goods and calls for an upstairs Carmela. Carmela hesitates for a moment, but then proves who she will be throughout the rest of the series: no matter how much she might think about, play at, or even begin or work through the process of leaving...she won't. 

EPISODE 5 -- "Big Girls Don't Cry"
Written by: Terrence Winter; Directed by: Tim Van Patten
Originally Aired: 2/13/2000

Christopher shows up to a massage parlor with Adriana, but the parlor is barely a front for a cathouse, run by a coke-sniffing older man and his Asian wife. Christopher has come to collect, but Adriana blows the horn outside impatiently--she's gifted Christopher several sessions in an "Acting for Screenwriters" class as a gift, and she doesn't want him to be late. After being screamed at by the Asian wife, Christopher ineffectually demands the money from the coked out owner. In a pointed moment, full of metaphor for the rest of his storyline this episode, Christopher looks for an object to teach the parlor owner a lesson and grabs an artist's paintbrush off a desk, sticking it in the owner's nose before finally accepting the smaller than expected payout and leaving. Meanwhile, Tony and his crew are eating at Artie Bucco's restaurant for the first time this season, as Bucco makes his first appearance in Season Two, in an episode that reestablishes some of Season One's rhythms. Tony takes Artie aside and asks if he can give Tony's "cousin" from Italy, Furio, a job in his kitchen, to help with the immigration (Tony says he'll pay Furio himself). Ironically, the non mafioso Artie is one of the first to know Furio is coming over, as Tony slowly breaks the news to his crew that they'll be receiving an Old Country addition. Paulie and Silvio take this news well because Furio's arrival also means promotions for the two of them...but Pussy doesn't take it so well, as he's passed over and left out of the loop. This brings Pussy closer to his FBI handler, who can commiserate, but also shows Tony's subconscious leadership savvy--somewhere deep down, he knows Pussy is a rat. Savvy or not, though, Tony is finding himself losing control of his moods. He sweats profusely throughout the episode, and can't stop throwing angry tantrums, beating up a fellow boater when he's goaded out at the dock with his mistress, and ripping the family phone from the wall when he learns Janice is using their mother's house for security on a loan. The latter leads to Tony storming into Livia's house, only to find Richie there in his nightclothes. The two face off in another angry conversation, with Richie again holding his own against Tony. Richie tells Tony that he and Janice have rekindled their high school romance, and Tony lets Richie know that Janice is Richie's problem now. After Furio arrives to a welcome party at the Soprano's residence, Tony visits Hesh for the latter's first significant Season Two appearance. With no therapist in his life, Tony tries to fill the role with Hesh. At first, this proves fruitful, as Tony discovers that his father suffered from the same panic attacks Tony does, but Hesh, particularly upon return visits, just doesn't care to listen to Tony ramble on. Lucky for Tony, he receives a call from Melfi at the time of his greatest need--she just can't stay away from Tony, not only feeling guilty for abandoning him, but admitting that seeing him was "therapeutic" for her. Totally deceiving herself to Tony's nature, she says "He can be such a little boy sometimes," just as the episode cuts to Tony pulling up to the massage parlor with Furio, as the boss hands Furio a bat and tells him to go to work. In one of the series' most brutal and shocking scenes, a violently efficient Furio beats the owner's wife (Tony had told Furio that she was the major issue), hits numerous prostitutes while dragging the wife into the main office, then brutally beats the owner before shooting him in the knee (Tony is shown smiling outside when he hears the gunshot). As Furio robs the owner of every cent lying around the massage parlor office, Melfi calls Tony, and Tony, knowing he has Melfi wrapped around his finger, tells her he doesn't need her. However, she still pencils Tony in, and he's sitting there waiting outside her office when it comes time for the session. The first session back is awkward at first, until Tony mentions to Melfi that his father had the same panic attacks he does. Melfi asks what Tony wants from their sessions and Tony says he "wants to stop passing out," before saying "I want to direct my anger and my power toward the people that deserve it," a blunt statement, that, if Melfi had more self-awareness in the situation, tells her directly that by seeing Tony, she is making him a better criminal. She evens says, facetiously, "If you want to be a better gang leader, read the Art of War," saying this as if it isn't whatt Tony has been doing with their sessions all along, but Tony reminds her that she called him. Tony even tells Melfi exactly what he was doing when Melfi called him, smiling as he does so, but Melfi proceeds on with the session as if she's talking to someone who had a simple domestic issue, asking Tony, "How did it make you feel?" It's back to therapeutic business as usual, as the session evokes the terrorizing thrills of a rollercoaster for Melfi that her own therapist just tried to get her to understand she is using the sessions with Tony to receive. Meanwhile, Christopher is a savant in his acting classes. He takes to the exercises naturally--in fact, this may be the only time in the entire series that Christopher is shown to be competent at anything. During a performance of a scene from Rebel Without a Cause, Christopher blows away his classmates and instructor, as he sobs on cue during a father and son moment. However, this is The Sopranos. Instead of realizing that he's been on the wrong career path, Christopher, the unnatural gangster, but natural artist (again, the paintbrush he subconsciously chooses as a weapon at the start of the episode is no accident), immediately self-destructs. In a scene with the classmate who had played his father in the Rebel Without a Cause reenactment, Christopher suddenly loses it and beats the man (of all the "Wait, where are the cops?" moments in The Sopranos, this might be the most ridiculous, as there are many witnesses, the cops would have been called, and Christopher would have been picked up). Adriana tells Christopher that perhaps his strong emotional reaction is coming from his own complicated feelings about his father's death back when he was a young child, and Christopher's subsequent feelings of abandonment. Whatever the case, the show immediately makes up for the silliness of Christopher's consequence free beating in the earlier scene with one of the most haunting final scenes in its history. To the ghostly strains of Daniel Lanois' spectral "White Mustang II," Christopher lies in bed, unable to sleep. He lights a cigarette, sits on the couch and looks through his screenplay drafts, then suddenly grabs them all, shoves them into a trash bag, and walks them out and throws them into the dumpster. In yet another visual choice that can't be accidental, this trash bag is pure white...and the bags surrounding it in the dumpster are pitchest black. Christopher walks away through a highly illuminated hallway. He could have been a great actor. Instead, he'll be an awful mobster. 

EPISODE 6 -- "The Happy Wanderer"
Written by: Frank Renzulli; Directed by: John Patterson
Originally Aired: 2/20/2000

Coming Soon...