Al Giardello is shot and the detectives of the Baltimore Homicide Unit return to work to solve the case, including Howard, Munch, Bayliss, Meldrick, Bolander and Kellerman.Al Giardello is shot and the detectives of the Baltimore Homicide Unit return to work to solve the case, including Howard, Munch, Bayliss, Meldrick, Bolander and Kellerman.Al Giardello is shot and the detectives of the Baltimore Homicide Unit return to work to solve the case, including Howard, Munch, Bayliss, Meldrick, Bolander and Kellerman.
- Nominated for 1 Primetime Emmy
- 1 nomination total
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- TriviaAccording to Tom Fontana, Ed Begley Jr. is indeed playing his character Dr. Victor Ehrlich character from Fontana's previous show St. Elsewhere (1982). He is not mentioned by name to avoid having to get legal clearances.
- GoofsIn the last scene, as Lt. Giardello, now a ghost, enters the squad room, walking between Mike and Pembleton, Giancarlo Esposito is unable to completely ignore him, and unconsciously moves his arm.
- Quotes
Tim Bayliss: So, you... you'll take me in.
Frank Pembleton: 'I'm gonna take you in' - are you wild?
Tim Bayliss: No - you'll take me in, Frank.
Frank Pembleton: [Shakes his head] No.
Tim Bayliss: Did I take... a bullet for you? Huh?
Frank Pembleton: No, no, cut it out...
[Tim lunges at Frank]
Tim Bayliss: Did I take a bullet for you or not, huh?
Frank Pembleton: I am NOT taking you in...
Tim Bayliss: DID I TAKE A BULLET FOR YOU? I take a bullet for you, and you take a bullet for me - now THAT is square business, Frank!
Frank Pembleton: This is not taking a bullet for you, this is you wanting me to toss your ass in the jackpot! You're confessing to a murder, Tim, do you understand that?
Tim Bayliss: So you want someone else should take me in? Someone else should bust me...
Frank Pembleton: No. No, no...
Tim Bayliss: Is that what you want? Then it HAS to be you!
Frank Pembleton: NO, NO, no! No...
Tim Bayliss: [Grabs Frank] Frank, listen to me! Listen. I've thought about eating my gun, and I'm gonna EAT that gun RIGHT NOW if you don't do the right thing for me, Frank, for right here!
[Gestures to his head]
Tim Bayliss: I have no other... no other option, Frank. Please...
Frank Pembleton: [sighs] So you thought about putting a gun to yourself?
Tim Bayliss: Yeah. Yeah, you'd be saving my life, I dunno for how long, but for now... at least you would.
Frank Pembleton: [Takes a deep breath] I believe that you did not mean to do this killing.
Tim Bayliss: ...yeah, you believe what you want to believe. That's okay.
Frank Pembleton: So we're gonna turn around, right now, and we're gonna go back inside. Okay?
Tim Bayliss: [Anguished, he takes out his badge] Never put off the inevitable, Frank. It's gotta be what it's gotta be.
[Presses the badge into Frank's hand]
Frank Pembleton: [Crying] Son of a bitch...
- ConnectionsEdited from Homicide: Life on the Street: Forgive Us Our Trespasses (1999)
- SoundtracksPick Myself Up
Written and Performed by Peter Tosh
The premise is extremely promising (for those who don't know): Lt. Giardello is the front-running Baltimore mayoral candidate, whose primary issue is the decriminalization of drugs. During a campaign stop, he is shot (but not killed) by an unknown assailant. This event brings every regular character (and I mean everyone) back to investigate the crime and visit Giardello in the hospital. [This brilliant premise is also frustrating to me as a long-time fan. If NBC had given the show one more full season (and let the producers know it would be the last) there could have been some intriguing episodes leading to the campaign.]
As a fan it's satisfying in sense to see all the regular characters again, but it's also a tremendous burden on the film. Several scenes do nothing to enhance the story: Shepherd and Ballard repeatedly watch videotape of the shooting in an an attempt to find a lead; Mike Giardello and Kellerman roust everyone who might have a grudge; Med. examiners discuss medical advancements at Gee's bedside. These and a few other scenes only serve to give some members of the bloated cast a reason to make an appearance. What probably would have worked brilliantly as a 40-minute series finale just doesn't cut it as a full-length film.
Fortunately, this substantial shortcoming is largely redeemed by the film's conclusion, which is set-up perfectly by the writers. The final twist is a complete and devastating surprise that's entirely believable and satisfying in the spirit of the original series. Even if "Homicide: The Movie" is more than a bit diluted, it works as an appropriately bitter-sweet coda for one of the best shows in the history of television.