The women in Naval officer, Neil Campbell’s life do not get along. His mother Marian (Linda Grey) and his pregnant wife April (Gabrielle Carteris) seem to be competing for his love. After he goes out to sea, Monica enters their life as an artist commissioned to paint a “portrait of Mrs. Campbell”. We soon learn that Marian is desperately in need of a bone marrow transplant and Neil cannot return home from sea. As the situation worsens, April volunteers to donate marrow despite her pregnancy.

At this point we come to know the secret that Marian has been hiding for her entire life, that she has a mentally challenged son, Tommy, who has been raised in facilities all of his life. Although Marian has always loved and cared for her son, she was encouraged by her parents to give him up as punishment for the sinful behavior that conceived him. As Marian’s health worsens, Tommy emerges as the only viable bone marrow donor and, with the help of Andrew, the Angel of Death, the operation is arranged and is successful. April gives birth to a healthy baby girl and the entire family is united with the return of Neil. Monica’s painting is then revealed to be a portrait of the whole family.

Note: John Dye became a series lead starting with this episode.

While working at the post office, Monica meets Max, who is responsible for handling “dead” letters addressed to Santa Claus, the Easter Bunny, and God. A Holocaust survivor, Max answers children’s letters to God by telling them there is no God and not to place their faith in a fantasy. One little girl, Tanya Brenner, continues sending God letters, even though Max only answered the first one and ignored the rest. Andrew, who has met the child, and Monica entice Tess to ask God if they can read the letters. After receiving permission, they learn that Tanya’s father is very ill and that his girlfriend, Sandy has been abusing the girl. Monica is outraged and wants to help, but Tess reminds her that Max, not Tanya is her assignment.

Taking matters into her own hands, Monica arranges for Max to see a drunken Sandy hit the girl. Following this encounter, Max follows her home, where her dying father beseeches the postal worker to find Tanya a new home. Shaken, Max runs away. When he doesn’t show up for work the next day, Monica goes to visit him. Tanya has disappeared and Max is wracked with guilt. The angel reveals herself and gently persuades him to do something. He decides to look for the girl, finding her at her late father’s apartment. While treating Tanya to a meal at the diner, Max is spotted by policemen and arrested for suspicion of kidnapping. Monica visits a despondent Max in jail, informing him that men, not God were responsible for the Holocaust

When Andrew emerges on the scene, Max remembers seeing him at the Auschwitz barracks in 1944. The Angel of Death reminds Max of his father’s faith, revealing that he died on his feet praising God and asking Him to walk with his son. Overcome by memories, the postal worker weeps. Meanwhile, Tess persuades the diner owner to tell the police Max did not abduct Tanya but was trying to help her. Once that matter is cleared up, Max applies to be her foster father, so the two of them can become a family. As Monica, Tess, and Andrew watch unseen, Max opens a mysterious package that contains a pair of children’s shoes–his own–with the carved inscription “Lieber Gott,” German for “Dear God.”

Monica and Tess are assigned to Detective BOB CHAMPNESS (Bill Nunn) at the Center for Missing Children. Champness is very good at this job, but is haunted by his failures: the children who have died or have simply never been found. Andrew, the Angel-of-Death, is also taking his shift at the center. Andrew is intrigued by computers, and shows Monica how computer simulated age progression works.
Monica discovers that KATHLEEN (Jasmine Guy), a Dark Angel, is Bob’s new girl friend, and is pushing Bob to the breaking point. She distracts him from his cases and undermines all the good he has done for missing children, pushing him close to quitting his job. In a dueling revelation scene, Monica defeats Kathleen and brings Bob back from the influence of evil. Then, with the help of Andrew’s age progression expertise, Monica helps Bob solve a 15 year old missing child case.

What happens if you go into a coma, wake up five years later and discover you’ve lost everything that mattered to you? When we open STEVE (Brad Whitford) is celebrating the opening of he and his partner MATTHEW’s (David Morin) architectural firm. Then his son falls off the roof, but is miraculously unhurt. Monica caught him, and unseen to the family, she also examines an angel key chain. This causes Steve to take his second car, a dumpy little model, and he’s thrown out in an accident.
When Steve wakes up, five years have passed, and we learn that his wife BONNIE (Jane Kaczmarek) has fallen in love with Matthew. Thinking he was a permanent vegetable, she’s divorced Steve. Steve’s house looks completely different, even his dog doesn’t remember him. Steve reacts in rage, he breaks up Bonnie and Matthew’s impending nuptials. Monica meanwhile feels so badly about causing all this trouble that she steps away from her assignment. AL (Brenda Vaccaro) is dispatched to talk sense into her. What is revealed is that Steve had carried on a legacy of abuse: there was a wooden spoon that he had been beaten with and he had been beating his son with. When he finally confronts this secret, he’s able to forgive himself, let go of his rage and let Bonnie get on with her life.

As Monica studies a sleeping man in a run-down apartment, Tess appears and informs her she’s in the wrong place–801 Cedar in Jacksonville, Florida rather than Jacksonville, Illinois.  After using her angelic powers to tidy the apartment, Monica stoops to pick up a bag under the bed when the police burst in.  The bag she’s holding is full of cocaine, and the police arrest her.  During interrogation, her claim that she’s an angel makes her a candidate for a mental hospital.  At her arraignment, Monica alone can see Sam, the angel from special services.  He tells her the simple mistake of going to the wrong address has set events in motion that have to play out, but no matter what happens God will never leave nor forsake her.

Monica is assigned a court-appointed attorney, Jake Stone, a Vietnam veteran and hardened cynic.  He tries to convince her to plead guilty but mentally ill.  She refuses, however, and insists on a competency hearing.  In the meantime, Monica is remanded to a psychiatric hospital where she shares a room with Claire, who also claims to be an angel but keeps repeating the phrase, “May Day.”  At the hearing, Jake produces Terry Hayman, the woman from Jacksonville, Illinois that Monica was supposed to help.  Terry describes her encounter with Tess, which corroborates Monica’s story.  The judge declares her competent to stand trial, but anxious to avoid placing angels on trial is ready to dismiss charges based on a legal technicality.

A skeptical Jake tells her a real angel would resemble Claire, whom he met in Vietnam.  During the fall of Saigon, Jake attempted to rescue a little girl, May Ling, nicknamed “May Day.”  As he helicoptered away, the girl fell from his grasp but was rescued by Claire.  Realizing that Claire is indeed an angel, Monica asks to return to the mental hospital.  There, Monica helps Claire remember who she is.  In turn, the newly restored angel helps Jake resolve his anger toward God.  Returning to 801 Cedar Street, Monica and Tess learn that the building is going to become a home for orphans and child survivors of trauma and run by Executive Director May Ling Gustafson.

Club Indigo, once St. Louis’ premier blues and jazz club, has fallen hard times. Its owner, SAM (Hal Linden), is getting on and his grandson ZACH (Geoffrey Nauffts) arrives to convince his grandfather to sell the club and move into a nursing home. Sam resists. He’s always told Zach that “The Countess” told him “do nothing, ’til you hear from me” and he’s sticking to those words. Zach assumes that Sam has embroidered the past greatness of the club, and that he’s made up stories of all the jazz greats who played there and were friends. Especially that story about “The Countess”–the mysterious singer who arrived in the sixties and put the club back on the map.

Whether these stories are true or not, it’s apparent that Sam should really be in a nursing home–he’s losing his memory as well as his physical well-being. But Sam has always had an open-mic night on Mondays, and despite his grandson’s protests, proceeds to hire Monica to M.C. Monday’s open-mic performance. When we see that Andrew, the Angel-of-Death, is a border in Sam’s basement, we sense that Monday’s open-mic night might be his last. Zach tricks Sam into signing a power of attorney agreement so that he can do what he thinks is best for his grandfather. But then, to Zach’s astonishment, the singer Al Jarreau shows up–Sam’s stories were all true, including the one about “The Countess”.

We see in a flashback that “The Countess” was actually Tess. The final open-mic night is a triumph: a packed house gets to hear music and tributes to Sam from B.B. King, Dr. John, and Al Hirt. And then “The Countess” makes a return appearance. She brings down the house, as Sam passes away. Zach reconsiders selling Club Indigo; instead he’ll transform it to The Sam Brown Blues Museum.

Rock’n’Roll star JON BORDERS (A Martinez) has it all: a loving wife, EVIE (Rosalind Allen), a devoted teenage daughter SAMANTHA, and a wiseass son, DYLAN. He relies on Evie for support and she responds by trying to be everywhere and do everything for him. Borders’ comfortable world is turned upside down when Evie, rushing from her daughter’s concert to a TV appearance by Jon, is killed in a car accident. Faced with actually having to raise his children, and deal with their emotional trauma, Borders retreats into work and then rapidly descends into drink and drug use.
Monica, who is Jon’s driver, watches as his attempts to record a new song, “Nowhere”, disappear down the bottle and up his nose. Tess is the kids’ nanny; Samantha slips around her to go out with friends to a concert. But en route they stop at a motel to party. Samantha didn’t plan on this and runs out. She pages her Dad, but he’s too stoned to pick up her page. Eventually Sam hitches a ride with a trucker. When the driver points out they’re right at the spot where Evie died, Sam insists on getting out and staying there alone. she looks down the ravine where her mother died–then slips and falls into it herself. At the bottom, Sam finds her mother ‘s purse, with a notation of a song Evie was writing for Jon. Andrew, the Angel-of-Death, sppears, but then Tess appears also to comfort Samantha.
Back in the recording studio, Monica reveals herself to Jon, pointing out to him that the word NOWHERE may also be read as NOW HERE. She leads him to his daughter, and the show ends with Jon and Samantha on TV, singing the song that Evie wrote.

The sequel to the first season’s Christmas episode “Fear Not”, “The Feather” continues the story of a little church’s congregation now that they’ve seen Monica reveal herself in all her glory. Awed, trying to figure out what it all means, the congregation is susceptible to CHARLES, a con artist posing as a preacher. He seizes a feather which fell from Monica’s dove and holds it up to the congregation as physical proof of the miracle. He’s diverting piles of donation offerings into his own pockets when he’s confronted by WAYNE (Randy Travis)–who turns out to be his brother.

Years ago, Charles and Wayne ran the preacher scam together; Wayne is now a reformed man and he’s determined to stop Charles. The issue is brought to a head when Joey, who’s been ministering to a crack baby that was left in the church, brings the infant to Charles for a healing. Charles can’t do it, of course, but Monica reveals herself again and reminds the congregation that they worshipped a feather instead of a King and their need for fame deafened them to the cries of a little baby. Charles is humbled and the congregation is once again put on the right track.

The Carpenter family gathers as their father, Joe prepares to die at home. Although grown, the siblings demonstrate the roles they have become accustomed to. Kate, the eldest, takes charge like their mother, Elizabeth but is not quite as overbearing. Chris, the middle child, stuns his sisters with the news that he is estranged from his wife. And Kim, the youngest, is the creative one who never seemed to fit in with the rest of the family .

Monica and Tess, as the home-care nurse and interior decorator (respectively), get caught in the crossfire as Chris and Kim resist Kate’s domineering behavior. The angels’ mission is to help expose a family secret before Joe dies. Andrew, the Angel of Death, informs his comrades that that time is rapidly approaching. Amidst a heated argument, Kate exposes the secret–Kim is not Joe’s biological daughter.

Upon returning from a brief trip, Elizabeth convenes a family meeting to discuss the matter. Years ago, she had a torrid affair with her husband’s business partner. Joe forgave his wife and raised Kim as his own daughter. Though this disclosure threatens to tear the family apart, Andrew arranges for Joe to receive a special dispensation: the bed-ridden father is able to walk downstairs, play the hymn, “‘Til We Meet Again,” on the piano and converse lucidly with his family. Monica and Tess urge them to follow his attitude of love and forgiveness. Joe dies with his family gathered around him, singing “‘Til We Meet Again” in four-part harmony.

En route to a wedding in a picturesque mountain meadow, Monica meets an uninvited guest–Andrew, an Angel of Death whom Tess is well acquainted with. The angels’ new assignment focuses on former law school classmates traveling via train to the nuptials. Mark Monfort and Susan Duplain rekindle their passion, having ended their relationship just before graduation.

However, their friend, Lisa Magdaleno is still reeling from the suicide of her fiancé, Doug who was expelled from law school for cheating on an exam. Mark had been unaware of his best friend’s death and more importantly of his own involvement.

Jealous that Doug received a clerkship she wanted, Susan tricked Mark into helping her change Doug’s exam to make it look like he plagiarized. With Andrew’s assistance, Monica shows Mark that Susan’s quest for power and prestige is out of control. After an intense confrontation with her, he turns to Lisa for comfort and support.