I have watched quite a few Cold Case episodes over the years, beginning with Season 1 episodes back in 2003-2004. And while most have been good, this particular episode was not only the best of the best, but has few rivals in the Emmy categories. Though some may not agree with the story content (i.e. the male-to-male romantic relationship), I doubt that anyone could watch this without being deeply moved within their spirit.
The story is essentially about a case that was reopened, based on the testimony from a dying drug dealer. The two central actors are two police officers in the 1960's named Sean Coop (aka, the cold case victim who goes by his last name, Coop) and his partner, Jimmy Bruno.
In the story, Coop is single, a Vietnam war vet, with a deeply troubled past. Jimmy, however, is married, with children no less. Both are partners on the police force and form not only a friendship, but a secret romantic relationship that they both must hide from a deeply and obviously homophobic culture prevalent at that time.
The flashback scenes of their lives are mostly in black and white, with bits of color now and then sprinkled throughout. Examples include their red squad car, the yellow curtains gently blowing by the window in Jimmy's bedroom, where Jimmy's wife watched Coop and Jimmy drink, fight, and then kiss each other while being in an alcohol-induced state. I found it interesting that only selected items were colored in the flashback scenes, with everything else in black and white. I still have not figured out the color scheme and rationale.
The clearly homophobic tension between fellow patrol officers and the two central actors only heightens the intensity of the episode. One key emotional scene was when Coop was confronted by his father after the baptism of Jimmy's baby. In this scene, Coop's father, Sarge, who was a respected fellow officer on the force, confronts Coop about the rumors surrounding Coop's relationship with Jimmy. One can feel sorry for Coop, at this point, as the shame and disgrace of Coop's father was heaped upon Coop - "You are not going to disgrace our family...and you're not my son, either." - clearly indicative of the hostile views of same-sex relationships of that era.
Additional tension can also be seen in the police locker room where Coop and another officer go at it after Coop and Jimmy are labeled "Batman and Robin homos".
As for the relationship between Coop and Jimmy, it's obvious that Coop wanted more of Jimmy in his life. Once can see the tension in Jimmy's face as he must choose between his commitment to his wife and kids, his church, and yet his undying devotion to Coop.
In the end, Jimmy walks away from Coop, realizing that he cannot have both Coop and his family at the same time. Sadly, Coop is killed, perhaps because of his relationship with Jimmy, but Coop may also have been killed for his knowledge of drug money and police corruption that reached higher up in the force.
The most moving scene in the whole episode was when Coop, as he sat dying from gunshot wounds in his squad car, quietly spoke his last words over his police radio to his partner: "Jimmy...we were the lucky ones. Don't forget that."
The soundtrack selection was outstanding throughout the episode. I enjoyed the final scene with the actor Chad Everett, playing the still grieving Jimmy, only much older by now, and clearly still missing his former partner, Coop.
I highly recommend this episode and consider it the best. It is without a doubt the most well-written, well-acted, and well done of all Cold Case episodes that I've ever seen.

Movies like these are to the originals what Album Oriented Rock stations are to what music used to be like - repetitive, boring, and drained of all the original energy by a committee of corporate drones. I AM glad that Aragorn wasn't typecast as an expectant psycho by this P.O.S. Go back and watch the 1971 version, count the things that would NEVER be included in a modern version, and thank whatever deity you worship that someone somewhere in the distant past had the balls to write and shoot an original concept movie that wasn't based on someone else's ideas, and wasn't passed through a corporate board before it saw the light of day.