The series tells the story of the family lives of the police officers working in a special team of the Istanbul Police Department's Public Security Department and their adventures on the streets of Istanbul. The team encounters different and diverse human stories during their missions. The Istanbul Police Chief Rıza Soylu (Zafer Ergin), with his years of experience and fatherhood, approaches these stories, which at times make them smile and at other times are heartbreaking, and guides the other young members of the team.

顾雄与章捷民的两家酒帘经常为了利益冲突而拼个你死我活。曾经与顾雄共过患难的周志强与章捷民的妹妹珍妮相恋，令章捷民为之气结。 　　为了珍妮，章捷民与顾雄两帮人马发生大激斗。拉扯之中，章捷民刺死了顾雄，怒火中烧的周志强也误杀了章捷民，事情越闹越大……

A woman's love for and devotion to a married man results in her being relegated to the "back streets" of his life.

顾雄与章捷民的两家酒帘经常为了利益冲突而拼个你死我活。曾经与顾雄共过患难的周志强与章捷民的妹妹珍妮相恋，令章捷民为之气结。 　　为了珍妮，章捷民与顾雄两帮人马发生大激斗。拉扯之中，章捷民刺死了顾雄，怒火中烧的周志强也误杀了章捷民，事情越闹越大……

Back Street is a 1961 film made by Universal Pictures, directed by David Miller, and produced by Ross Hunter. The screenplay was written by William Ludwig and Eleanore Griffin based on the novel by Fannie Hurst. The music score is by Frank Skinner. The film stars Susan Hayward, John Gavin and Vera Miles. 　　The story follows two lovers who have limited opportunities to get together because one of them is married. 　　It was nominated for Academy Award for Best Costume Design, Color (Jean Louis). Unlike the previous film versions, this one gives Susan Hayward plenty of opportunity to appear in Jean Louis's spectacular gowns. This was a trademark of Ross Hunter's remakes of older "weepies"; he emploied the same method in Lana Turner's versions of Imitation of Life and Madame X. 　　Of all three screen versions of Back Street, this 1961 production took the most dramatic license with the novel. It is different from both the 1932 and 1941 screen versions in many ways - changing the names of several characters and updating the story to what was then the present day. Good examples of how the plotline was sensationalized in this third version are the attempted suicide and the fatal car crash.

A woman's love for and devotion to a married man results in her being relegated to the "back streets" of his life.

Hong Kong Butcher tells the story of a looney, sexually inadequate cab driver who takes out his frustrations on hapless women by cutting them up and preserving their genitals a la Ed Gein. Director Jeffrey Lau, credited here as China Chung, begins the film with a 'documentary' segment focusing on the insane folks who inhabit the streets of Hong Kong. Our antagonist fits nicely among them, because he is shamelessly crazy. Any chance he may have at a semi-normal relationship with one girl he meets is dashed when he takes her on a metal-crunching daredevil car ride after first meeting her, then goofily harasses her at her apartment door the following day when she refuses to let him in. At night the guy cruises the streets of Hong Kong in his cab, grabbing a woman now and again to knock unconcious and carry to his apartment where he hacks them up, then has sex with them. He displays his victim's parts in plastic cases, and prances around his apartment in ecstasy looking at them. He shoots pictures of it all and casually takes the photos to be developed at the corner store. 　　Lau populates the film with prostitutes and cabaret singers, which helps to give it an added layer of sleaze. And the soundtrack music is all over the place: there's 80's Asian trash pop, 70's analog synth bubbling, and a healthy sampling of Brian Eno's Music for Films. I really liked how it all worked. Not much story here, just the episodic goings on in the crazy dude's life. Worth checking out, even given the crude subs and substandard sound.

Hong Kong Butcher tells the story of a looney, sexually inadequate cab driver who takes out his frustrations on hapless women by cutting them up and preserving their genitals a la Ed Gein. Director Jeffrey Lau, credited here as China Chung, begins the film with a 'documentary' segment focusing on the insane folks who inhabit the streets of Hong Kong. Our antagonist fits nicely among them, because he is shamelessly crazy. Any chance he may have at a semi-normal relationship with one girl he meets is dashed when he takes her on a metal-crunching daredevil car ride after first meeting her, then goofily harasses her at her apartment door the following day when she refuses to let him in. At night the guy cruises the streets of Hong Kong in his cab, grabbing a woman now and again to knock unconcious and carry to his apartment where he hacks them up, then has sex with them. He displays his victim's parts in plastic cases, and prances around his apartment in ecstasy looking at them. He shoots pictures of it all and casually takes the photos to be developed at the corner store. 　　Lau populates the film with prostitutes and cabaret singers, which helps to give it an added layer of sleaze. And the soundtrack music is all over the place: there's 80's Asian trash pop, 70's analog synth bubbling, and a healthy sampling of Brian Eno's Music for Films. I really liked how it all worked. Not much story here, just the episodic goings on in the crazy dude's life. Worth checking out, even given the crude subs and substandard sound.

影片分为“一块钱大小的UFO”“小流氓”“老流氓”“流着的夜”四个章节。 　　一个10岁的小孩莫小飞渴望成长，常常将自己幻想成大人，并去追求一个30岁的女老师。然而女老师并没有爱上他，还骂他是个“小流氓”。莫小飞终于发现自己无法平等的参与到成人世界中，他多么想快点长大。 　　一个50岁的大人李少华二十五年前被判“流氓罪”入狱，刑满释放后，他发现美好的过往已然不再，在这个在他看来荒唐的时代，人人都成了流氓，而且自己也莫名其妙的成了一个流氓导演的“作品”。 　　在同一个流着的夜里，一个人在期待未来，一个人在回首过去。一切都在不可避免的流逝，正如外面的雨夜。

影片分为“一块钱大小的UFO”“小流氓”“老流氓”“流着的夜”四个章节。 　　一个10岁的小孩莫小飞渴望成长，常常将自己幻想成大人，并去追求一个30岁的女老师。然而女老师并没有爱上他，还骂他是个“小流氓”。莫小飞终于发现自己无法平等的参与到成人世界中，他多么想快点长大。 　　一个50岁的大人李少华二十五年前被判“流氓罪”入狱，刑满释放后，他发现美好的过往已然不再，在这个在他看来荒唐的时代，人人都成了流氓，而且自己也莫名其妙的成了一个流氓导演的“作品”。 　　在同一个流着的夜里，一个人在期待未来，一个人在回首过去。一切都在不可避免的流逝，正如外面的雨夜。