The Episode of ‘Homicide: Life on the Street’ that Traumatized a Generation
Nearly 30 years ago, in December 1997, primetime audiences watched in stunned silence as an hour of sheer dread unfolded on screen, in what could only be described as a commuter’s worst nightmare. Directed by Gary Fleder and widely regarded as one of the finest hours in television history, the Homicide: Life on the Street episode “The Subway” turned passive viewers into emotionally wrecked witnesses by the time the credits rolled.
Season 6, Episode 7 opens outside the Baltimore Police Department’s Homicide Unit on a beautiful morning, following a cluster of people navigating the hustle of their daily commute. Among them is John Lange (played by Vincent D’Onofrio), rushing to catch his train. As he sprints past buskers and fellow commuters, he slips from view until it is too late. The horrified reactions of the surrounding crowd make it instantly clear to viewers that something terrible has happened to the young professional.
Then we see it. John is wedged between the train and the cement platform. He is alive, but in bad shape.
NBC
Detectives Frank Pembleton (Andre Braugher) and Tim Bayliss (Kyle Secor) arrive to investigate and head down to assess the condition of the victim. What they find is harrowing: his body is twisted in an unnatural, almost inhuman way. His spinal cord has been completely severed, and the fact that he’s still alive is a medical anomaly.
But he won’t be for long. Any movement — by him or the train — will result in instant death. The only small blessing is that John appears to be in no pain.
It is unclear whether John was deliberately pushed or accidentally nudged, but one thing is certain: he needs to know the truth about his condition. Pembleton tries to ease into the conversation, asking John a few questions, but John quickly grows agitated. “I’d like to talk to whoever the hell will get me out of this!” he shouts.
John confirms that his family lives out of state. When Pembleton asks if he has any local friends or relatives they can contact immediately, the question shifts the tone. John begins to realize he is not okay. Far from it.
The fear and dawning awareness that Vincent D’Onofrio begins to convey is heartbreaking as John slowly understands that these may be his final moments. He mentions his girlfriend, Sarah, but explains she is an avid jogger and could be hard to locate. Pembleton presses for a full description, knowing this may be John’s only chance to say goodbye to someone familiar and loved.
John is now scared and confused. The EMT keeps telling him he is okay to keep him calm, but it is clear he is not. His condition is critical. He starts shouting at the medics as the realization sets in that no lifesaving measures are being taken. In that moment, he understands there is very little that can be done.
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John begins to fight with an EMT, who creates a Catch-22 situation with the dying man, refusing to give him painkillers because it might diminish his chances of being saved, but at the same time, admitting he has a “million to one” chance of survival. Pembleton excuses the EMT as John begins to lash out, angry at the situation and everyone and everything involved.
As the gravity of the situation sinks in, John lashes out at Pembleton, first in anger, then in bitterness and grief over his life and the choices he has made. The camera never pulls away from his face as he wags his finger and slowly dissolves into his sorrow, consumed by the realization that his time is running out. It is a masterclass in acting.
Meanwhile, Detectives Meldrick Lewis (Clark Johnson) and Paul Falsone (Jon Seda) are out looking for Sarah with no luck.
Attempts are made with airbags to save John’s life, but the effort proves fruitless. John is beginning to experience more pain, and as his death seems inevitable, he takes Pembleton’s hand for comfort.
Sarah still cannot be found.
A suspect is arrested for pushing John over a minor altercation.
It is John’s last moments on Earth. He is holding the hand of a man he has never met until an hour ago. The EMTs scream out his stats as he hopes for Sarah to miraculously make an appearance. John is now crying as Pembleton brings his head close to his to shield him from the chaos. Firefighters and police swarm around them as they attempt to lift the train. In their attempt to save his mangled body, John begins to hallucinate from the agony.
“The leaves on a sugar maple tree when a storm is coming, they’ll turn over to the tree…”
John looks to Pembleton and says, “My name. I need to give you my name.” “Your name is John Lange.” “No, it’s not.” Pause. “I’m okay.”
John then dies in the arms of the firefighters.
Pembleton heads upstairs to meet his fellow detectives and take a good look at the man who pushed his friend onto the tracks of a train. When asked how he is doing, Pembleton responds: “I’m okay.”
As they drive away, an oblivious Sarah jogs by.
A grueling, gripping 46 minutes of television, “The Subway” features some of the finest acting ever seen on the small screen. It remains etched in the minds of those who watched it live, discovered it through binge-watching, or sought it out after hearing about its impact in articles like this one. The chemistry between Vincent D’Onofrio and Andre Braugher is palpable, transforming the episode into what feels like a two-hander stage play — one that grabs hold of the heart and refuses to let go. It is the reason why Homicide: Life on the Street is regarded as one of the first — and best — prestige shows, setting the stage for what was to come.
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