Mad City (1997) Movie Script

Any comments about | a possible indictment?
I have to get to the hospital.
Perhaps you can empathize | with the people...
...who've been wiped out | of their savings.
- What about them? | - No comment.
You know how many people | you've hurt?
How many senior citizens | over the age of 65...?
Mr. Burns may have had | no comment for KXBD...
...but he may find his voice | for the district attorney.
Inquiries made prompted | an investigation...
in the Foothill Federal Bank scandal.
- We're not using that. | - It's an exclusive.
It's conjecture.
Let me have another crack. | Tell him to answer me.
- Why? | - You're not a judge. We're not a jury.
- Lou, you know him, right? | - Yes.
- You play golf. | - Yes.
His wife has cancer. Leave him alone.
- Wait. Three questions. | - No.
He's a sleaze. He stole money.
He took the savings...
We say that the man has no comment. | We don't ambush him at work.
- I just wanna ask him one question. | - No!
You are relentless, you know?
You forget, we cover the news...
...of this area | for the people of this area.
And we are not going anyplace. | Are we going anyplace, Max?
- If they wanted me in New York... | - They don't.
You better come to terms with that.
In the 11 months I've been here, | you've gone from a 3 share to a 9.
Excuse me! Excuse me, people!
Whose week was it | to kiss Max Brackett's ass?
- It makes you look like network. | - There's a line I won't cross.
I'm not asking you that.
I'm saying, move the line, | you get the story.
- Bob, are you going out to the museum? | - Yeah.
Mr. Brackett's taking that assignment.
The state has let off | some people there.
You'll relate to the story.
- I have to finish my edit. | - I'll do it.
You are an asshole.
- What am I? | - A wonderful human being.
Laurie? Go down to the museum | with Mr. Brackett.
You could run tape. | Maybe we'll use it.
She's an intern.
Then you can be her mentor. | Teach her how to move the line.
- Hi. | - I'm gay.
- Mr. Brackett? | - Max.
- Max, can I put a microphone on you? | - Yes.
We'll get the curator to tell us | why the museum faces budget cuts.
Then we'll find a few locals | to tell us...
...that without it, | the city's a dog kennel.
And then you're taking me to lunch.
- Answer. | - You're done.
- That the answer? You did it wrong. | - What?
It's much better on the lapel.
- We're looking for the curator. | - I know you. TV, right?
- Right. | - You're the TV guy.
- You're the museum guy. | - The guard.
- The museum has financial problems? | - Tell me about it.
There used to be two of us. | You never know who's gonna be next.
Maybe we'll get you | to say that on camera.
All right. You'll find | Mrs. Banks through there.
- We don't pay much. | - More than I make here.
Not the Mohawks. The Miwoks | are from northern California...
...and have a rich past.
We exhibit the largest display | of Indian baskets...
...assembled by a museum.
Some say it's not responsible to pour | money into a dying institution.
Then let's close the libraries | and symphonies.
If we do not learn from our past, | we will be...
... doomed to relive it.
- Yes, Mort. | - I see dinosaurs.
The fear is that the museum | might share the same fate.
That's right, Mort.
- Very good. Thanks.
- It's okay, Mort. | - Okay, we're clear.
- You must've done this before. | - Good heavens, no. I haven't.
I feel strongly about the museum. | My great-grandfather founded it.
I thank you and wish you the best.
Hey, you, come on down from there.
- In the next room is a stuffed dodo. | - No!
- The mike. | - Why are they together?
One's Cretaceous, | the other's Jurassic.
- Yes, I know. Come on, let's go. | - Why are they together?
Stop being such an idiot.
Wanna get some B-roll outside?
- Where's the bathroom? | - Right there.
Get ready. | I'll do a standup for the news.
Sorry. Sorry.
I'm in front of the museum...
...where the past collides | with the present.
No, you're standing at the urinal | at the museum. Look who's here.
Your friend, Dick, | an upstanding young man.
No, no longer upstanding.
Tell me, Dick, what's your comment?
Max, I think you should get packed.
I got screwed there. | But that's more than you get here.
As long we're on the subject, | I have a little tickle...
...for that camera girl working | for you. Really?
She's just right for me.
Sam? You shouldn't be here.
Mrs. Banks, you gotta listen.
- I don't have to do anything. | - One minute.
- There's nothing I can do. | - I'll take a reduction.
- Do you have a hearing problem? | - No.
- This is out of my hands. | - But...
You're wasting both of our times. | You must leave now.
You get out of here!
Right now!
Now will you listen? | Will you listen now?
Are you? Are you gonna listen to me?
- You gotta be kidding. | - No, I'm not.
Hold up, hold up!
Now just stay there, okay? | And hush up.
And don't be scared of the gun. | I gotta talk to her.
I need five minutes with you, | that's all.
- Don't point that at me. | - Just be quiet.
Is this some kind of a joke?
It won't be so funny | when the police arrive.
Shut up!
Give me the keys.
Come on, give me the keys.
- Come over here. This way. | - Quietly.
Laurie? Laurie?
- I hope we get to see shooting. | - Yeah.
Van 2, this is Laurie.
from Max Brackett?
Okay. Mr. Brack... I mean, Max?
- There's a man with a gun in here. | - Where are you?
- The museum. | - Okay, I'm gonna call the police.
No, call Lou first. | We have to go live again.
I think I should call...
We have real news going on here. | Don't blow this.
Okay, I'll call Lou.
Lou, line three. | It's Laurie. It's urgent.
- It's Brackett. What do you got? | - Gunman.
He's got a rifle and a canvas bag, | maybe more firepower.
He's holding two adults and some kids.
Laurie, how soon | before you can power back up?
- Two minutes. | - That's too long.
Tell Dohlen to go live with Max. | Hostage situation.
Mort's gonna throw it to you. | Listen to me.
There are kids involved. | We don't want grandstanding.
- Don't worry. We got good stuff. | - Keep the line open.
Okay, we're live.
We go to Max Brackett, | who's inside the museum...
...with a hostage situation. Max?
no more than...
Mobilize every camera | and audio crew.
- Most of them are children. | - What are his motives?
I can tell you that the gunman | does seem very agitated.
Do you have any means of escape?
- Can you hear me? | - Think about what you're doing.
- Can you hear me, Max? | - Does Jen know you're here?
Max, can you...
I don't know how much...
- Be calm. | - I got two things to tell you.
I'm not as long as you hold that gun...
- Mrs. Banks. | - Why should I? This is absurd.
- Mrs. Banks! | - Get that away from me!
Oh, God!
Oh, Cliff? Cliff? Please.
- That was a shot? | - Cut the feed.
before we pulled the plug.
- What asshole pulled the plug? | - We're still live.
You did it. You did it.
He's okay. He's okay.
Could be dying. | You want that on camera?
They didn't pull the plug | when the "Challenger" blew up.
Our viewers don't need to see blood.
We're telling them what's happening. | Mort is.
and you're giving them radio.
- It's the story of your career.
In 24 hours there's 1000 people here. | If you don't record it, they will.
- Please don't blow this. | - Go.
Yeah, move.
We have reestablished our live | hookup to the museum. Max?
Yes, Mort, I am still here.
Sorry, the camera's not responding.
approaching the wounded man.
I can't make him out.
Why are we on TV?
Oh, my God. You're bleeding.
- Can you walk? | - I don't know.
I just called the ambulance.
Max, how are the children?
These kids are very frightened.
They're together in the lobby | with the curator next to them.
keeping them calm.
A man has been shot.
situation here.
Oh, God.
We're live. | Max Brackett, KXBD News.
Wanna tell us why you're here? | You don't? Okay.
- We lost him. | - What happened?
Max, can you hear me?
Max Brackett, are you there?
Max, are you there?
with Max Brackett, reporting...
This is not news, brothers.
Stories like this happen every day.
What we have here is news | for all time in the word of God.
Out of there! Back up! | There's an armed man inside!
Franklin, Johnson, I want those people | off the steps now!
What happened?
Sir, can you tell me who shot you? | How do you feel?
Sir, can you tell us who shot you? | Are you all right?
Can you tell us who shot you? | One man? Two men?
There's the chief!
Chief Lemke, | do you have any plans yet?
- Any statement? | - What are you going to do?
the victim is Clifford Williams...
... a security guard at the museum.
Mom! It's Dad.
- In front of the museum.
Flooding has claimed four lives. | Coming up... unexpected role for pigeons | in New York at the United Nations.
We'll have that story when we return.
We're back in two.
I heard you talking | during the broadcast. What's up?
Hostage situation.
- Who's feeding us this? | - Our affiliate in Madeline.
Guess who the reporter | in the museum is. Max Brackett.
I knew that bastard | would pop up again.
Here's the tease you use | at the top of the hour.
I'm not sharing a broadcast with him.
Say, "The situation's unfolding. | Tune in tonight for an update."
I'm not teasing a story | I know nothing about.
I promise a story, it evaporates. | How does that make me look?
- It comes from above. | - We're back in 30.
- Foolishness because somebody thinks | this is a good lead-in.
- Back in 20. | - With Brackett, it won't evaporate.
Kevin, it's a guy getting shot, | bunch of kids taken hostage.
It's good television. | And no other net has it.
He can't be trusted. I'm not going | on the air with that crazy man.
- Kind of before the beginning of time. | - Five, and...
I wanna find out how Brackett got | there and what the hell he's doing.
to use firepower...
It was an accident, moron.
- Boys. | - It's broken.
I just want my job back.
Now look at this. Look at this!
Look. I'm never gonna | get my job back now.
Everybody knows who I am, | where I...
Everyone knows where I am | because of you.
- No, because you shot someone. | - Shut up, newsboy.
Did you do this | to get your job back?
What do you think?
That's for you.
If you make contact...
...tell them everyone is okay. | You'll buy yourself time.
I'll tell them they better back off | because I will shoot someone.
I'll throw your body | out the front door.
- I wouldn't do that. | - Why not?
That'll make them jumpy. They might | do something we'll all regret.
Remember that hostage situation | in Torrance years ago?
- Car dealership. | - Four people died. One was the gunman.
- Shut up! | - I was there. I covered that story.
- Hello? | - This is Chief Alvin Lemke.
Am I speaking to the man | responsible for this?
- Yep, you are. | - Could I have your name, please?
Hey, how's that guy Cliff? | Is he all right?
No, he's in the hospital! | May I have your name?
You gotta know I didn't mean | to shoot him. That was an accident.
That's a good thing.
We'll take that into account | if you give up now.
- I don't think so. | - He's a killer.
I can't do that.
What are your demands?
- My what? | - What do you want?
Hold on.
- He said, "What are my demands?" | - Tell him.
I don't got any. | I didn't plan this.
Miss, you're making | my job very difficult.
Tell them that you'll talk | when you're ready.
- And no bodies out the front door. | - All right.
I want everybody to back off, | and I'll talk when I'm good and ready.
Hello? He hung up.
- How was that? | - Sounded good to me.
That was good. That was good. | All right.
Okay. Okay. Okay.
Why don't you kids just sit down? | Just sit down.
All right, now what's next?
Give up or you get yourself | some demands.
- Like what? | - Money.
- Ransom. | - I can't take money I didn't earn.
I want my job back.
You gotta ask for a fast car, | a Learjet, or a Greyhound bus.
You need a valid demand, | or you'll make them nervous.
- I came to get my job back. | - Why did you bring a gun?
- I want her to listen! | - Who?
Mrs. Banks!
...I can't go out there. | If I do, I'll be put in prison.
- I can't take care of my family there. | - There's different ways of giving up.
- Ways? | - Can I show you something?
Here. No, it's dangerous.
You got another window in this place? | Listen.
Slowly. Slowly.
- Ever arrested? | - No.
- That's very good. | - American bald eagle.
I want you to look at this.
See those people?
Not the cops, not the news media.
I want you to look. Go on. | See? The people.
- Public opinion. | - I guess.
It's a powerful force. | You got a problem right now.
Those people hate your guts.
Holding kids hostage is a no-no. | At best, they think you're nuts.
But I'm not.
I mean, not usually. | Jenny tells me I don't think.
Who's Jenny?
- My wife. | - And you're...?
I don't think you're crazy.
You're an ordinary guy | who's popped his top.
You must connect with those people.
They know what it's like to lose their | job, or know someone who has.
They'll understand | if you give them a chance.
What you might want to do, | before you give up... let those people know | what you're about.
If I put a camera on | and interview you...
...and you tell them what's going on, | they'll want to know.
Don't you?
That's your jury pool out there.
All right.
- Exchange the kids for the interview. | - No.
You help them, they help you.
- One. One, that's it. | - One's good.
I can't do that. I can't put | a hostage-taker on television.
I understand, but he's insisting | that I put him on now.
"As a good faith gesture, | I'll let a child go."
"Once Mr. Brackett has put me on TV, | I will...
...consider releasing others."
- No, you let everybody go first. | - Hold on.
- He said let everybody go. | - He can't negotiate with your emotions.
Don't negotiate my emotions.
Hello, Sheriff Lemke, Max Brackett. | I know the rules about these things...
Is he listening to us?
- No, he's not. | - Is he pointing his weapon?
I can guarantee Mr. Baily's sincere. | I think things will become unstable...
...if you don't grant him this. | - Jesus!
I don't like this.
- I know. | - Tell him I'm upset.
But this man is very upset, sir.
Things are very unpredictable here.
All right, look...
Okay. I want this over quickly, | understand?
That's all you're gonna get.
They'll want to know | what's in the bag.
- Nothing. | - May I look?
Oh, man!
My brother-in-law uses it | to clear stumps on his farm.
Why bring it here?
I wanted Mrs. Banks | to believe I was serious.
The gun's not enough?
I wanted to impress her!
- What are you gonna do with it? | - I just want to go home.
You don't need it anymore. | I'll take it.
Now, go. Just go.
- How do I know you're coming back? | - You're the best show in town.
Wait a minute. | Wait!
Come here. | I need to ask you something.
- I need you to talk to my wife. | - Sure.
When she finds out about this | she's gonna be upset, big-time.
- The press will be all over her. | - Oh, man!
Want me to fix it so | only I can talk to her?
- Only me? | - Just you.
You got it.
You watch yourself.
Stay here.
Are the children all right?
Go get your camera.
- How are the kids? | - They're fine.
What's the story?
He has enough dynamite to level | the place, so don't piss him off.
- Jesus! | - Excuse me.
- I'm Mr. Brackett's assistant. | - Come here. Don't get cocky.
You want your TV show, | then you cooperate with me.
You scratch my back...
The cameras are on my back | and your face is on all channels.
In front of the camera, | I'll say you're in charge.
- May I go? | - What's his name?
Sam Baily. Please?
- You're hitting a pressure point. | - I got the parents over here.
Tell us what's going on in there.
Your children are fine.
We're doing everything we can | to resolve the situation quickly.
You won't believe this, | but your kids are playing inside.
When will it end?
The police have no control | so a news guy runs things?
I'm not running anything.
- What if I decided to get my kid? | - That's not a good idea.
- Why?
You'd put all the kids in danger. | Mister Mayor.
Cochran and I are trying | to bring them home for dinner.
Don't talk to the press. | Network orders. We're going national.
Sorry, guys, we've been promoted.
when I report it.
on the situation in the museum.
It's good to see you safe. | This is a remarkable job you're doing.
I was just...
to help the children.
I'm optimistic that...
Should we bring Broyles from | San Francisco if this takes hold?
We can ask, but what for?
- Brackett was born for this job. | - Look at him. He's a pig in shit.
Kevin, anyone ever feel him out | for anchor work?
That's an anchor?
Look at him. I wouldn't even | buy a new car from that guy.
He'd never sit at a desk. | He likes to be where bullets fly.
He got too hot to keep around | after your little incident.
Little incident?
- Are we suffering from memory loss? | - He did two years in the sticks.
He learned his lesson. | He chilled.
going back inside the museum.
to release one child.
What about that girl in the glasses?
- You're asking me? | - I got to choose somebody.
- Do you have children? | - Two.
- Could you bear saving one? | - Quiet.
Let all of them go. That's how you'll | get people to sympathize with you.
Everybody's gonna go home, | but you gotta take turns.
I can give, and hope...
...there will be a peaceful resolution, | without further violence.
Be careful, Max...
...and Godspeed. | - Thank you. Godspeed.
- Clear. | - Mort has Shakespeare writing for him.
We were number one.
- What happened with the guard? | - What?
You left the camera | and went to help him.
He was hurt.
Why not take the camera | if you're going to be humane?
Because I can't...
I can't hold it and help | at the same time.
By not having the camera...
...we lost footage | nobody else would've had.
You must decide whether | you are part of a story...
...or will record the story. | - Max, it's Lou.
I want you with me from | the start to the end of the story.
Hi, Lou. | You having fun?
I ask for fluff and you | get a hostage situation.
I guess I'm just not | one of your fluffy kind of reporters.
He's average, married with kids. | He flipped.
- What does he want?
Wants his job and to be heard. | Dignity.
- A good place to be.
If you're uncomfortable, | we don't have a contract.
- Network called.
- You're back in the saddle, cowboy. | - There's nothing like old friends.
Look at this jerk. | What a showboat!
Zoom in.
It's a military helicopter!
Which one gets to leave?
- Maybe that girl in the glasses. | - Which one?
- That one. | - Good. Let's give them two.
- I said one. | - You shot a black man.
People will make an issue of that.
Showing kindness to a black | makes it harder to play the race card.
You understand?
- Two kids are being released! | - Hurry up!
All right, what happened?
Did he treat you okay? | Let them say something!
Next to the van. There she is.
Maybe I'll see my mom.
I hope I see my mom.
Look! A bigger one.
I came in. I was, I don't know, | 20 minutes late and...
You see, the night before | we had a softball game. We won.
I had a double and a triple.
We were happy. We had a party, | and I had...
...three beers, | something like that.
The next day I came to work | and Mrs. Banks told me to come in...
Leave out the ball game, | and the drinks.
- But we drank. I mean, I drank. | - But that's not why you got fired.
Don't give them that impression. | Start from "Mrs. Banks..."
Mrs. Banks... See, she didn't ask me. | She tells you what to do, okay?
It's like those dinosaurs | her great-granddaddy made. I mean...
...he put them there. | That's enough for her.
I don't know what you're | talking about.
- She does. | - We can leave out the dinosaurs.
- Mrs. Banks said... | - "We have two security guards."
"We don't need them | because we gotta cut back."
"We need one. | So Cliff, who's been here longer...
...he, you know..."
I said, "Fine. I'll take less money | or less hours."
But she didn't listen.
Did it ever occur to you | that I deal with problems...
...bigger than your economics?
That I run the museum, | not my employees' careers?
- I came to you twice. You didn't... | - I couldn't at that moment.
Don't turn it around.
You only want things your way.
Walk over there and make sure | the buffalo are grazing.
- Bison. | - I stand corrected.
Let me ask you:
Is this the first time you came | to see her? Today?
- No. The second time. | - The second time.
I want you to tell me what | you were feeling when she fired you.
- This will sound stupid, but... | - Go ahead.
You know that thing in a car | that measures miles?
- The meter. | - It goes back to zero.
That's what was going on in my mind.
- I couldn't tell my wife. | - You couldn't tell her you were fired?
I'd get dressed for work every day, | like a fool, and...
...go to a movie theater | and spend the day...
...eating popcorn, thinking.
And when you came here, | what did you want?
- I just wanted her to listen. | - Did you want to hurt her?
Not really.
Why'd you grab a gun and explosives | if you didn't want to hurt her?
- I don't know. | - You have to know.
Sam, this is critical.
When you grabbed that gun, | what went on in your head?
I thought of my babies.
Good point. What about them?
You see, if I lose my job, | I lose my house and my benefits...
...and I can't take care of them | if I lose my benefits.
I'm in front of Sam Baily's house with | his best friend, Travis Bartholomew.
That's right. I know Sam well.
We go fishing.
Is he weird or what?
Who is this guy? Who is this guy?
- Does he have a temper?
If we could talk to a few of them...
Mr. Brackett said | that we only talk to him.
- Dangerous, yeah.
Dangerous. Whatever, you know?
You heard it from Sam's best friend. | Thank you very much.
How could Sam do this to us? | How could he?
There's some activity in the house. | Let's get a statement.
They're standing in my flowers! | That does it! That does it!
Would you get out of my flowers? | Do not stand in my flowers!
Has your husband been in contact | with you? Can we get a statement?
Jackson is with the victim's wife. | I'm being completely blocked out.
- Ready? | - Anytime.
Your husband was kept on at the museum.
The white man who was let go, shot him.
- Did race have anything to do with it? | - Cliff and Sam were friends.
Sam didn't blame Cliff | for what happened.
At least, I don't think he did.
Christ, I'm going to hate this.
Chief, showtime.
Here we go.
It's about to start.
in the Museum of Natural History...
... to meet the hostage-taker.
We bring you an exclusive report.
- Max Brackett is inside the siege. | - Key in the graphic.
a loving husband...
...and a devoted father of two.
You've got a mortgage, | car and medical bills... bills, electricity bills, | gas bills, clothing bills...
...and, by the way...'re fired.
I just want to say that I'm...
I didn't mean to shoot that guy, Cliff. | That was an accident.
I used to complain about my paycheck.
And then when...
...when I didn't get it no more, | I realized that was the last...
That little piece of paper | was the only thing...
...holding my life together. | And...
You know, I seen people | out on the street, living...
...I thought they were maybe | like bums or like junkies.
I seen this family live...
I seen a family living in a box.
I imagined my babies living in a box | and I couldn't stand it. I went crazy.
And about the gun...
It ain't nothing, really.
I've seen on TV shows...
...where they flash a gun | and it gets them attention.
I thought | maybe if I brought the gun in...
...that Mrs. Banks, | who's my boss...
...she would...
...she would listen, you know, | for maybe just even five minutes.
You know, but I don't know | if people listen to guys like me.
every day, and people don't listen.
We're a good family. | We don't do drugs...
...and we don't cause trouble.
- We go to church. | - I go to church with my family.
But I don't think anybody listens | to someone like me.
I don't think anybody cares about us.
He shot a man in cold blood...
...and I feel like bringing him | to Christmas dinner.
Let's run a nationwide poll | and see how this guy is playing.
I don't know if anybody's listening.
- Are they? | - You're Sam Baily.
The law is pushing in on you.
Because of an impulsive act, you're | trapped in the fight of your life.
Your sole demand is simple | to the point of absurdity...
...and yet dauntingly complex.
I just want the police to...
I just want everybody | to forget about it...
... and let me go home.
Yeah, right.
He's my friend.
I'm praying for him.
he'll forgive me.
I'm sorry, Cliff.
The kids, you know, they're fine. | They're happy.
Look. They're okay.
- Look, we're on TV! | - Kids, please sit down.
The kids are seeing themselves on TV.
Start over right now about the kids. | Talk about the kids.
I never hurt them. | I'd never hurt them.
I got kids of my own.
I just don't have a job to take care | of them. I don't know how I will.
I'm sorry. I couldn't be sorrier.
- That's my daddy. | - Come back here.
Come here.
Mommy wants to watch Daddy.
I just want to go home, okay? | Just...
I want to go. That's my demand. | That's it, right there.
Hey, wait. Sam, wait.
I hope I don't have to | go through that again.
We're not finished yet. | You know why?
Because people watching this right now | are saying, "Yeah, right."
"He's holding a gun on helpless kids..."
I ain't holding no gun on kids. | They're okay.
They think you are. They think | you should be shot, executed...
...strung up.
For those who are saying this, | what do you have to say to them?
- I hope you never go through this. | - You say it to them.
I hope nobody ever has to go through | what I'm going through, that's all.
Your name is Sam Baily.
You're asking for | the most poignant ransom of all:
While we have it in our hearts to give, | we're not the law.
Why'd you bring up the shotgun?
I'm Max Brackett.
We're clear. | I thought it was great.
- Why'd you bring it up? | - It was for your own benefit.
- It didn't seem like it. | - It was important.
- All right, now what? | - Now what?
Now we wait.
- Take a look. | - Is anybody listening?
Is anybody listening
See what I mean?
Sam Baily's all over the place. | Television, radio, newspapers.
Look at the front page of the "Times".
Turn the radio up.
He is under pressure.
so I think we should let him walk.
The situation's a shame, isn't it?
A man takes children hostage.
This is America. | It can make you crazy.
Hollander arrived the next morning.
You'll see why Hollander | still hates Brackett's guts.
They were live.
What's it like out there?
It's basically a mess.
There's a kind of a...
over many acres.
- Yes, there are.
What condition are they in?
- Were they mutilated?
We're hoping...
Were they...?
Were they broken up?
They fell out of the sky.
Were there any body parts?
if I saw any body parts?
were reports of sharks in the area.
But don't let the fact that the...
stop you. You're just doing your job.
- No.
for me, and for you.
You can see the vultures there...
to see these body parts.
If you want a body part, I'll get a...
What do you want?
You can have your pick.
- Have a seat.
All of it.
It'd be interesting to see them | together again.
I thought of that. One here, one there. | It'd be good for 2 or 3 points.
At least.
- I wanna show you something. | - It's gonna be tough.
- Not for me. | - Good morning.
- How are you? | - Just great.
59% of the American people are showing | compassion for an armed felon.
He asks for forgiveness, everyone | says, "Sure". It's fascinating.
- What do we do? | - We're covering it.
Brackett's interview was brilliant.
You want to double-team it? | You and Brackett.
I'm not sharing my time with him. | I will cover the story from there.
- It could be over by tomorrow. | - Brackett won't let it be over.
This has the potential to be huge. | We gotta jump all over this.
The guy's a poster child | for the disenfranchised. Why? How?
It's good television. | No other net has it.
- It's a great story. | - And Brackett?
I'll take care of him.
- Special Agent Dobbins, FBI. | - The situation is stable, sir.
We have TVs in Washington. | We know the situation.
Every time I scratch it's on TV.
I'll drive. | Have the militias arrived yet?
No. At least I don't think so.
I was across the street. | How'd you do this?
We're very sneaky.
- I guess. | - This way, sir.
What's the plan? | I'm under pressure to act.
We don't move until | public opinion's on our side.
- People are beginning to like him. | - Wire him, please.
That'll change.
They'll get bored or he'll do something | to make them turn on him.
By then we'll be in a position | to take him out.
Is there anything I shouldn't say?
Get in front of the cameras. | Say we'll wait as long as it takes.
- We won't play games with kids involved. | - Good.
- I got shots from inside! | - Must be his shotgun.
What's going on?
- What? | - Calm down.
The phone...
Hey, what's that about?
- Don't worry? Was anybody hurt?
Nobody's been hurt. | It was an accident.
The phone rang and the gun went off.
You can't shoot and expect me | not to storm in.
You don't want that.
We had a deal, right?
Are you taping?
We kept up our end. | It's time to end this.
What about my end of the bargain? | The demand.
- Do we get to forget about all this? | - I can't let you go.
You won't be allowed to walk away.
The only option you have is to give up.
I'm gonna make the options. | Come up with something else.
- Take the shells out. | - Plan didn't work, newsboy.
Did you hear me? What are those?
I did Air Force night duty. | I never fell asleep.
- Can I see them? | - It's just caffeine.
- You don't want to lose control. | - I'm sorry about that, okay?
- I didn't mean to scare you. | - I'm not scared.
You guys sleep good?
- Not really. | - Sort of.
I guess. | Now I'm kind of hungry.
You're hungry?
- Sam, you've got to let them go now. | - Follow me!
- Where are you going? | - Let's go, quickly.
Look at all the animals.
Now what's the magic word?
- Open Sesame? | - Good guess.
What do you want?
- Nice, huh? | - Whose side are you on?
The good guys'.
- Doesn't look that way. | - Sam needs a lot of help.
You're so concerned, huh?
It's the difference between | one and 10 years.
Does this insanity benefit | your career?
I hope so. It benefits yours as well.
This is the most famous museum | in the country.
You'll have dodos | and dinosaur bones up the wazoo.
You can have a lot. | You can have two.
Sam T-shirts!
We're providing Americans what they | were denied at Ruby Ridge and Waco:
Witnesses to the actions | of so-called law enforcement.
But you agree with the calling | for a peaceful surrender?
Is that a trick question?
of putting children in harm's way.
- I know.
Keep an eye on them.
by racial quotas.
- What do you plan on doing? | - What's he saying?
They fired you and kept Cliff. | You shot Cliff. He's black.
- Some might say you're prejudiced. | - I gotta get on TV and say I ain't.
They won't let you | do another interview.
- I'll give them one kid. Five kids. | - Bad idea.
We did an interview. We built what | is probably a positive image.
The public is fickle.
They're on a short leash of sympathy. | We have a narrow opportunity.
Think of when you'll give up, | when you'll let them go.
- I can't let them say bad things. | - Wanna debate neo-Nazis and destroy...?
People gotta start saying good things | about me! My friends, my wife.
Let's call her. It's a good idea.
- I can't talk to my wife. | - Why not? She's probably worried.
- Oh, man. She'll just yell. | - You should talk to her.
You should talk to her. | You said you would.
Tell her to say good things about me.
- When? | - My friends too. Now.
Someone's coming out!
Brackett's out.
- How are the kids? | - What's the condition of the kids?
- Any more children gonna be released? | - Anybody injured?
- Over here! | - Whose side are you on?
- Tell me he's coming out. | - He wants another story.
- Absolutely not. | - He'll release five kids.
He wants me to interview his wife | and a few others.
- "No" to releasing five kids? | - I want all the kids out.
Five and a teddy bear?
Don't get cute with me, Brackett. | I want him out here and arrested.
Prison terrifies him. TV keeps him calm. | I'll interview his wife...
Pull the plug anytime you want.
You're walking around. | You're supposed to be a hostage.
Let him do it.
Do it, but you and Baily | better not be playing games.
Son of a gun.
Who's the FBI guy?
Maybe I know him.
Do you know Sam Baily's making you | the most famous cop... the United States of America?
On TV, with those sunglasses, | you're so sexy.
Mr. Williams is still unconscious | here in room 404.
Doctors are cautious about | infection caused... the bullet in his abdomen.
Cliff Williams cannot know | that his attacker...
...became something of a folk hero...
...his words tapping into a nationwide | movement of discontent.
What about Cliff Williams?
What about Cliff
With the shattered dream
Sam tries real hard.
Sometimes he screws things up | because he's...
Tell me, what kind of a husband | is Sam?
He's a good husband.
He's a good husband... long as you... | You have to help to keep him...
...pointed in the right direction.
But I don't understand that. | That's not like him.
Jenny, did you make him lunches | the last few days?
He makes his own.
He's already fired and yet | he kept making himself lunches...
...kept putting on his uniform | and kept pretending to go to work.
How do you feel about that?
About what?
That he was afraid | to tell you that he was fired?
Do you scare him?
He didn't want to worry me.
Because he was scared? | Is that a sign of a good marriage?
We had a good marriage. | We have a good marriage.
Did he tell you we didn't?
I'm sure it's good. | But it seems at times you treat him... a child.
He is like a child sometimes.
And he likes calling himself | my third child.
- It's a bad question. | - I'm sorry, I didn't mean to...
- Do you still love him? | - Yes, I love my husband.
I love my husband very much! | He's the most gentle...
He's the kindest man I've ever known! | The parents...
Grab her. | We'll put her on with Sam.
- Jenny, we want you to talk to him. | - You have to be careful about that.
- There's no telling how he'll react. | - This doesn't concern you.
- He's sensitive about her. | - Come with me.
- Please don't do this now. | - You asked the right question.
- I got that sick taste in my mouth. | - So much for bubble gum.
That's too gross for me.
- I'm Max's assistant. | - Sam? Sam.
Hi, Jen.
What are you doing, Sam?
- I guess I got myself in a jam, huh? | - You've got to come out right now.
How are the sprouts?
that's how they are.
They want to put me in prison.
I don't want any more argument.
I want you to come out now.
Is that you on TV?
- Put away the gun and come out. | - Get away from her!
- Now. | - Put Brackett on!
Forget about Brackett.
Put the gun down and come out.
You tell them right now | I ain't going to prison!
- Please, put the gun down. | - Go home! Go home, Jenny!
I'm gonna get him out myself.
I'll get him out myself!
Give me the horn.
Speak into here. | Push the button. Talk there.
Listen, I'd think twice about this.
Please don't do this.
Listen to me!
You've got to stop this nonsense.
- Think about our kids. | - Shut up!
They're waiting for you.
Please, come out.
Please, listen to me.
- Sam, please come out now. | - Shut up!
Do you hear me, Sam?
... come out now.
That is enough! Stop it!
- Sam, stop! | - Hold your fire!
Sam, please, | that's enough now! No!
- Stop! | - This is on your head!
Get away!
Get away from the window! | They'll kill you!
- Come on. | - It's open!
- Why'd you let her say those things? | - You stand there, they'll kill you.
- What? | - You let her say those things.
I didn't, and that's not a good reason | to start shooting.
- You said you'd talk alone. | - It was the chief's idea.
People were beginning to like you, then | you start shooting out the windows...
...and your image is down the drain.
I just got crazy when I seen her on TV. | All the people around her...
What have I done? | What have I done?
Tell me you won't throw dynamite | out the window.
You know I'm not gonna do that.
I screwed up.
I screwed up.
I'm gonna go outside...
...I'll do some damage control, | and you'll be okay.
I'll send you to do interviews. | I'll give you the names and questions.
- Why can't you do it? | - I'll be with Sam. He's getting edgy.
And tell Lou to send over | the editing bay.
- I forgot. | - What's that?
The editing bay is here.
Kevin Hollander is coming here.
- What do you mean? | - The editing bay is here for him.
- He's going to try to freeze us out. | - Why?
He'd love to steal a story from us.
- Kevin Hollander? | - You like him.
- It's our story. He wouldn't do that. | - All right, reporter, go to work.
- Thank you. | - Listen.
This is our story, nobody else's.
I'm depending on you. | It's too early to celebrate. Go.
Don't touch me. | I'll get arrested.
Would you say Sam is a religious man?
Yes. Sam is religious.
But you should understand | I mean proud...
...and he's kind...
Do you think Sam is a fun guy?
Fun? | Yeah, he's a real fun guy.
In what way?
Gullible. You could always | play jokes on him.
- No. Violence?
No. He's not a violent man.
He was not a remarkable student.
who say we failed Sam.
to provide a safety net.
for this situation is Sam Baily.
A compassionate bastard.
We failed Sam Baily.
to provide a safety net.
That's what you said.
- Yeah. | - The parents won't speak to me.
They must speak.
The mother's crying and the father | stutters. They won't talk.
- Yes.
Mrs. Baily, | I'm really sorry to bother you...
...but I'm trying to help your son.
I was wondering if he has a horse...
...or a dog.
I wanna use it in a story.
I wanna show the people that Sam can't | be that bad if he has a dog he loves.
Go, follow.
We've had him since Sam | got back from the Air Force.
Old Rex. | He's almost 15 years old now.
We nearly lost him last year.
Sam was a wreck. | He stayed up with him all night...
...made sure he kept warm.
He's really a sweet boy.
He's confused, but...
...all he's trying to do is get by.
- Sam was a wreck. | - That's the most important interview.
See that? | That's on the money.
You got that sweet old woman | saying how Sam loves...
...that pathetic, mangy, | tick-ridden dog.
Who's here?
- Who's coming? | - I have no idea.
Max is over there.
See if we can get them | something to drink.
I'll get it.
I see a great underlying theme here.
Baily's tapping into something | the working class can relate to.
What's the matter? | Your numbers taking a dip?
Have a seat, Max. | Look, sit down.
Let's cut the crap.
We've had our problems in the past.
But you want to get back | on the network, right?
You're talking to it. | If you can be a team player...
...this is your ticket back in.
When can I meet Baily? The network | wants a one-on-one with me.
He can't do a one-on-one. He's | in the middle of committing a crime.
- You've done okay. | - I spent a day and a night with him.
He'll talk to me. | I'm "the man America trusts for news".
Don't let a marketing slogan | go to your head.
- Coffee? | - Ready in five minutes.
Maybe you could both speak to him, | make it more comfortable for him.
- You're the one who saved the guard. | - No. Yes. I mean, I helped.
- You're doing a new piece on Baily. | - Yes, but it's Max's story.
- Thanks. | - I want to see it.
I want to see it now.
for clemency but the law says no.
This is Max Brackett reporting.
- That's a testimonial to the man. | - We don't judge people before trial.
We don't make them celebrities either. | He's committing a felony.
We're packaging what people | who knew Baily said about him.
- I'll cover the felonies in lead-in. | - I own this story.
This story is the property of KXBD. | It's the network's.
I need to make some changes in this. | I want to see everything you shot.
When am I gonna meet with Baily? | I need to prepare my one-on-one.
What? | Yeah. Yeah, I know.
- I can't even guarantee he'll do it. | - He'll jump at it.
They all do.
- Excuse me. | - One second.
Play nice. | This could be very good for you.
- Excuse me, Max. | - What?
- Coach Bob is arriving. | - What?
- With the food for the kids. | - Oh.
I'll keep it in mind.
- And the kids? | - They're okay.
Why don't you get Hollander | off my back?
I can't. I can't wrestle | 300-pound gorillas!
You guys got the pizza?
That's it?
We're dying here!
You can't keep this all to yourself!
Go to hell, Max!
- Asshole! | - What's going on?
Get them | to take those skins off, please.
I need you to come back down here | and take the skins off.
These kids get bored visiting museums. | Imagine being trapped in one.
Have a hamburger.
You guys knock it off! | Get down here! I gotta talk to you!
That was awesome.
Everybody, come here!
Come here!
Everybody, quick!
The rain's heavy.
Where are we going?
Hey, Mr. Indian Man.
What's that? | You want me to tell them?
I'll tell them the story.
Get over there. He wants me to tell | you the story. Sit down over there.
You kids, you know the name | of this Indian?
This guy's name is Big John, | and he's a friend of mine.
Do you know what kind of Indian he is?
A Miwok Indian.
Do you know how to say "Miwok"?
That's good. | The Indians used to own this country.
They owned it. | This was their home.
I think I found one of | their arrowheads once.
You did?
If Big John finds out, | he'll come and get it.
So, the Miwok Indians, | they lived off the land.
They had, you know... | They had their own crops.
They hunted and built tepees like this.
And, you know, | they had kids just like you.
Big John was the chief of them.
Do you know what a chief is?
- The chief is the boss. | - That's right. The boss.
The chief is a good boss.
And a good boss knows | how to take care of his people!
He's too close to the kids.
The white man came along.
He wanted to take the land | away from the Indians.
So he killed all of Big John's people. | He killed his friends.
He killed his family.
He's got his rifle on the kids.
That made him so sad, | he just stood at the top of the valley.
He looked down and saw | that everybody he loved was killed.
And he just started | to do an Indian dance... bring them back to life.
But it didn't work.
And he was so sad | that his heart froze.
- Is he still alive? | - You bet he is.
When the museum found him, | he was like this:
When I started to work here, | his hand was up here like this:
And every day I noticed it | came down like this:
Then I realized he was just | waving goodbye.
Let's go! Run!
Pick him up! | Pick him up! Run!
Behind the buffalo!
- I hope we get to see some more! | - That was cool!
Chief, it's for you!
What are you doing? | We got kids in here!
Sam, it wasn't us. | No, it wasn't us.
A nutcase made it | through the perimeter.
He says it wasn't him.
If this happens again, | I'm going to tell the parents...'re taking potshots at their kids.
I suggest that you tell | the FBI agent you're standing with...
...that I said so.
One moment, please. | Anything else, Sam?
Thank you.
Dobbins, you're a jack-off.
doesn't it?
is using the Steve Martin defense.
- Hasn't been used in years.
Well, excuse me!
Jay Leno knows who I am.
Oh, man.
- He's a nice man. | - You met him?
I did a story on antique cars. | He collects them.
Who else you met?
Everyone from the Pope to Mel Gibson.
Mel Gibson? What's he like?
I threw him softball questions. | He threw me softball answers.
He plays softball?
I play softball. | We'd get along good.
I bet your wife didn't know | she was getting a celebrity...
...when she said yes, did she?
She knew exactly what she was getting.
Thirty-five years old and...
...the only job I can get is guarding | a museum at $8 an hour...
- How long you been doing it? | ...and I can't even keep that.
Five years.
I was in the Air Force, but I left | because they wouldn't let me fly.
- Why not? | - No college.
- Why didn't you go to college? | - No money.
The results ain't in, but | it appears that I ain't too bright.
- Guess what. I didn't go either. | - Get out.
I couldn't afford it.
Then how'd you get to be so smart?
The results aren't in yet, but rumor | has it I got by on my charm.
That's something | that you got a lot of.
- Charm. | - Charm.
- Charm. Personality. | - I ain't got no personality.
Sure you do, otherwise people | wouldn't be responding to you.
Then I could do | one of those TV shows?
Why not? | You're already famous.
Yeah, but I'm famous in a bad way.
It doesn't make any difference on TV. | People know who you are.
- Like them fishing shows. | - I heard you were a big fisherman.
I'd like to do a fishing show.
Fish all day on TV and you get to go | see the best spots.
All the new equipment.
I'd like that.
I'll tell you what. When this is over, | I'll recommend you to my station.
Nah. It's over for me.
Things are bad, but at least people | are sympathizing with you now.
- Am I going to jail? | - Best-case scenario, you'll do time...'ll get some probation. | Then, "Sam Baily's Catfish Corner".
Yeah, right.
Stranger things have happened. | I was up and I was down.
Now I'm up again, | thanks to you.
Who knows? You might be back in your | wife's arms sooner than you think.
They got too much light, them kids.
Back in my loving woman's arms again
- You married? | - Been there.
You got kids?
- One out of three. | - What's that mean?
One kid, three wives. | My last wife didn't even wait...
...for me to leave. | She took off with the kid.
I couldn't leave my family.
You'd be surprised | what you can learn to live with.
You don't want to take those.
Sam, why don't you | get yourself some sleep?
Nothing's gonna happen, I promise.
- Can I go to the candy room? | - We're hungry.
Yeah. Go, go.
they are suggesting that...
...if you have any control | over the situation... wouldn't be a bad idea | if he surrendered in the evening.
- Thursdays are particularly weak.
Oh, Jesus, Marty.
I know, Max. I know.
They're asking...
Tell them Hollander is trying to | steal my story.
They know that. They're asking you | to let him have Baily.
In exchange, | they're offering you your own show.
Magazine, "60 Minutes" format, | investigative, in-your-face...
They say, it remains to be seen... will have editorial freedom.
But it's national and they're | talking about real money.
Do I lock the deal down?
and not have a future.
T-shirts here! Get your Sam T-shirts!
One size fits all!
What a circus.
They tried to cut a deal | in the Foothill fraud case.
They didn't think anybody | would notice.
Brackett was right. Banker's a crook.
- Laurie, I'd like to assign you to... | - You can help me with something.
If Baily doesn't talk tonight, | I'll need a sidebar.
Think you could plug me in | out in the field?
I wanted to free you up | to work on the bank fraud.
People have lost their life savings. | Nobody's covering the story.
- My name is Cliff Williams. | - It's not the microphone. Talk louder.
Mrs. Williams, | could you please come...
- Don't touch me. | - No one's allowed.
I must advise against this. | Your husband isn't strong enough.
Mrs. Williams, | I saved your husband's life.
His first interview | should be with Kevin Hollander.
We really need the money.
Three, two...
Cliff, Sam Baily, | the man who shot you... pleading for forgiveness. | How do you feel about that?
I know Sam. | I don't think he meant to hurt me.
- The doctor said I'll be okay.
- I got no problem with Sam. | - See? You're a very lucky man.
- How's that? | - He just gave you his blessing.
- Did Cliff get money to do that show? | - Sure. It's a tabloid.
Big bucks. Show business.
- How much? | - I don't know. Ten grand.
Ten grand?
If he can get 10 grand, I could get 50. | I'm the whole deal.
- I thought this wasn't about ransom. | - This ain't about ransom.
- It's about show business. | - Sam.
Left, right, left.
You shoot a guy, take hostages, | and want money.
- How will that look to those people? | - I gotta make money for my family.
Later you'll write a book, | make a TV movie...
I know people who can help you. | But not now.
I need to check out how much | them shows pay. You go do that.
It's just the kids playing around. | What is it?
- Hollander wants to see you out here. | - That's it? Fine.
What's up?
You want to make money on this? | Call the tabloids.
You don't need me. | I got Kevin Hollander out there.
We planned to do an important show | on you. Do what you want.
Kevin Hollander? He's here?
Larry King wants to make you an offer.
An hour. You and your boy.
- Talk to my agent. | - It's global. Networks can't compete.
- I have something else going for him. | - Max, come here.
- You know where to reach me. | - Yeah.
- What did Gottsegen want? | - I'll give you three guesses.
The network wants you | to turn Baily over to me.
- I'm doing a prime-time special. | - Very creative.
Maybe you could get him | a variety show.
Little fuck, if you want to get back | on the network, turn Baily over now.
Don't screw this up for yourself.
Sam belongs to the network, okay?
You hired her.
You taught her.
Oh, come on, Max.
How is this going to end?
- I'm getting out of here. | - Or what?
- They're not going to let you go. | - Max Brackett said...
Max Brackett is not your friend.
If you had listened to me | for five minutes...
I wish I had listened to you.
But this is bigger | than you and me now.
They're forcing you | to do something drastic.
I don't want to scare you, | but they're...
They're ready to kill you, Sam.
And Max Brackett | is not going to stop them.
You've been so sweet to me, | how can I say no?
You've got your show.
All right. That's smart.
- What? | - Congratulations.
Okay, just a sec.
You were right. | The polls have turned against him.
It's flipped. | 59% positive down to 32% and sliding.
The kids' parents are all over | television. They're just killing him.
- I'll call you back. | - Baily's polls.
I want to make this as objective | and balanced as we can.
I want to see more stuff | on the guy in the hospital.
Somewhere, | somebody says he's dangerous.
I want to see that.
I want to see pieces | on the racists out there.
Why are they piling on this bandwagon, | cheering him on?
Pull that material and get back to me.
It's gonna be great | working in New York.
You're not being objective. | You want to sink him.
We have a deal.
He's sunk. It's another kind of story.
He's the same person. | You can't do this. He's an innocent.
- I'll put that angle in the story. | - It's not an angle.
It's the truth.
- He shot a guard. | - It was an accident.
He didn't know the guard | or the children were there.
He's an out-of-work husband...
We're all impressed by your humanity. | Really.
Where's yours? | You'll kill him.
Cut this out. Get out of here. | Get back to business.
- "Business"? | - Yeah.
Max, let me give you a little advice.
Don't screw this up again. | You got a network deal.
Don't blow it for some hick | with a gun.
You know what? | I'm not gonna let you destroy him.
Pal, if you don't deliver Baily to me...'ll be lucky to get a gig | giving the surfing report in Kansas.
Kansas is starting to sound | pretty good to me.
- Getting harder to move the line? | - It doesn't move. You cross it.
- That's not what you said before. | - I know it now, Lou.
It's time, Sam.
- What do you mean, it's time? | - It's time to give up.
What? You said you'd set up | an interview with that guy.
Hollander will hurt you. | He'll make you look bad.
- I ain't afraid of him. | - Be afraid. Be very afraid.
I ain't afraid of anybody right now.
- I can take care of myself. | - No, you can't.
- You told me that the people like me. | - I also said the public's very fickle.
If you don't set it up with Hollander, | I will.
Fine. Let's get someone else.
- Is he as big as him? | - Bigger.
And nicer.
Set it up, newsboy.
Sam, I'm on your side. | After the interview... and I will end it.
- You lost the exclusive. | - I did not lose it.
You made us look preposterous | after announcing your one-on-one.
Now you want to what? | You want the network to look witless?
- Listen to me. | - No, listen to me.
You're coming home.
- I am not. I am staying here. | - It's Brackett's now.
I'll take care of Brackett. I won't let | anyone say I let the network down.
- Got everything? | - Everything is here.
How are the kids, Sam?
- You've got a couple, don't you? | - I got two.
with any of these kids?
No. They're different ages.
California, you have a question?
Soviets who are suffering...
... hardships greater than your own?
I don't speak Russian.
Sam has a normal complement | of compassion.
Why are you here, Max?
I'm just here to help. | Sam wants me here.
you're on the air with Sam Baily.
why we need more gun control laws.
- I can't believe they make us watch. | - Everybody's got their own opinion.
To politicize this tragedy | is to go the wrong way.
Max, this is my show.
You don't have to answer.
I hope your show helps as well.
- How long are you gonna hold out?
- He needs space. | - She was talking to me.
It's stressful...
...for him.
Now look, I don't think you know | the seriousness of this.
Okay? | Something's gonna happen here.
You want to elaborate on that, Sam?
No, that's all. That's it.
the mother of one of the children.
Are you there?
And thank you...
...for giving me a world audience. | - Hey, it's my mom.
- Really? | - It's my mom.
at my child for three days.
What about them?
what you've done to those hostages?
I don't want no sympathy, all right? | I didn't mean for this to happen.
- What are you trying to do?
I think I know what I want to say!
- Go ahead. | - Now...
I was just taking care of my own.
Every man in my situation | would take care of his own.
- You don't feel any guilt for this?
I feel bad. You know, I feel bad.
But I didn't mean to hurt anybody.
- Whose is it? Who are you mad at?
I ain't mad at anybody.
I mean, maybe, | you know, Mrs. Banks...
- We don't care about his excuses.
are turning him into a hero.
to present all perspectives...
all perspectives of a crime?
Please, just let my child go.
Let them all go.
Sam, response?
Just tell the lady I'm sorry, okay?
We'll be right back.
We're clear. Max. | We'll be back in two minutes.
- You don't have to... | - Don't tell me what to do!
- Don't answer for me. | - No obligation...
The people want to hear from me!
- You need help. | - You don't need to sit here.
Fine. I'm outside.
- I'll do this. | - You're in the shithouse.
Don't leave the building!
Everybody will know if I get mad! | Sit!
You're erasing everything we built! | You've buried yourself!
Larry, can I talk | to that guy from Texas?
- You all set? | - Yes. It's all set.
I've got to talk to you.
She should have something | more upscale.
New York isn't happy you're | going on without checking.
Brackett is a freelancer. | He's not with the network. Don't worry.
They need to know | what you're planning on.
The networks are leading | with Larry King.
Tomorrow they'll be leading | with my stuff.
Good evening from Madeline, | where the eyes of the nation...
...remain fixed on the events taking | place inside this museum.
is even more troubling.
relationship between a reporter...
... and his subject, and worried.
personality, I worried even more.
The testimonies were not reassuring.
He's really a sweet boy.
but all he's trying to do is get by.
because he's...
You could say he's pretty weird.
- Does he have a temper? | - I don't know that guy.
- You say he's dangerous.
Dangerous, yeah. Dangerous.
This confused and dangerous man...
... is being advised by a reporter.
Things are breaking down in there.
Let's get ready to move.
a more compelling story...
in an already critical situation.
Sadly, they were right.
Mr. Baily is sincere in his offer.
if you don't grant him this.
supposedly at the behest of Baily.
But tapes of conversations tell different.
- I said one.
People will make an issue.
It's harder to play the race card.
in an unfavorable light... not one I want to tell. | - Kevin's the best.
We had to improvise | after Brackett sold us out.
Here he is.
Sir, first indications are | that the numbers are high.
held hostage at gunpoint.
And inside there is also the truth.
held hostage, unfortunately...
to say they are all at great risk.
of our special report after this.
- What did you do to me, newsboy? | - I took a bad story and made good TV.
You're in better shape. | I'm screwed!
What you want to do now | is give up and let those kids go.
There's still people on my side.
You've seen these things on TV before. | Remember how they end?
The guy dies or he winds up in jail.
You ain't my friend.
You'll spend your life in jail, | or they'll fry you.
Please don't shoot him, Sam. | Please.
It's not over for you, Sam.
Will you get your act together? | You want to go home and be a daddy.
Hey, kids.
Guess what?
- This is Lawrence Dobbins of the FBI.
lay down your weapons...
... and surrender, now!
- I wanted it to be my idea. | - Sam, come here.
to lay down your weapons...
- What exactly is going on?
cardiac problems.
Doctors are working feverishly | to revive him.
Wait, I see Mrs. Williams | coming out now.
Will you make a statement | on his condition?
- Would you like to make a statement? | - Please.
I want people to see | what this is all about.
about Sam Baily's side...
my children. Their father is dead!
My husband is dead.
announced the death of Cliff Williams.
The tragedy started...
to help the children.
of unusual...
this is Lawrence Dobbins of the FBI.
Lay down your weapon...
... and surrender, now!
Kids, come on.
Come on.
All right, go!
- See you, Sam. | - See you.
Good night, Sam.
- I'll pray for you, Sam. | - Good luck, Sam.
Thank you, Sam.
Look at all those lights.
You were great with the kids. | The court will remember that.
- But I killed a man. | - It was an accident. I'll testify.
Nobody will believe you anymore.
That's a good point.
Would you like to talk to your wife? | I'll get her on the phone.
I heard about Cliff.
I killed him.
I didn't mean to kill him.
You still have our kids to think about.
- They miss you.
I miss them so much.
They want you home.
Jen, I can't come home. | I ain't no good anymore.
Honey...'s time that we get this over with.
I know.
You mad at me?
No, I'm not.
I love you.
I love you too.
I'm asking you to come out now.
Oh, God!
Come on, Sam. Let's get out of here.
You go first.
- You go first. | - Okay. Sure.
I'll get them to put their guns away, | then come back and get you, okay?
Oh! What actor do you want | to play you in the TV movie?
- How about that guy Mel Gibson? | - Mel Gibson doesn't do television.
- Why not? | - You're right. Why not?
Bad joke. I'll explain later.
Why? Television's good.
He's coming out now! | Unarmed!
- Come away from the building! | - I won't send him out...
...until they put their guns away!
Step away from the door!
He's coming out!
What are you doing?
Sam, open up! | They're gonna let you come out!
We had a deal! Come on!
Give me a few more seconds!
He is coming out! | He's just nervous! He's coming out!
We're still rolling!
This is Oscar Harrington, | live on the scene at the museum.
- There's been an explosion. | - My God!
Debris is everywhere. | People are... People are...
Somebody get the camera.
It looks like Max Brackett's alive.
Come on, I can walk. I can walk.
Let me just go over there.
Stay with him.
I'm okay.
Get as close as you can, | find out what he knows.
What were his last words?
I'm Max Brackett's assistant!
You'll go exclusive on this for me?
Sure. Where's Sam?
Sam? Sam is confetti. | No, don't wipe that.
- How does that make you feel? | - Where is he?
What did you say?
Sam's dead. | It's a bigger story now.
Don't wipe it. It looks good.
- Zoom in. | - We killed him.
Could you have helped him?
- Did he say anything? | - Did he give you a message?
What are you feeling?
You don't understand! | We killed him!
We killed him!
We killed him.
You don't understand!
We killed him!