...on "Spenser For Hire.."
Ahh!
(male # ) 'Everybody move over to back.'
Susan and Hawk are inside.
- What? - Don't touch him.
We're gonna do this thing by the book.
You're gonna give us the chopper
or wished I'd given you some bodies.
You walk in, you may not walk out.
Let me bring back some bandages and medicine.
(Sal) 'Who says you're even leaving, ace?'
Guy is an animal. Kills for fun.
[g*nshots]
I'm gonna show them we mean business. No.
You tell that to him, I'm k*lling this girl now.
[theme music]
[music continues]
[music continues]
[instrumental music]
(Spenser) I had had it under best authority since I was a kid
that God made Saturday for fun.
Sleeping in, playing ball, that sort of thing.
Unfortunately, Susan and the Boston patriot
historical society didn't see it that way.
At least not this Saturday.
It was time for their annual mailing
and when all the packages wouldn't fit into Susan's car
for the trip to the post office
guess who got volunteered.
- Load me up. - Alright.
I think there's gonna be few left.
- Two trips. - Okay.
[exhaling]
(Hawk) So, what we pack Newlin anyway?
Toys. We send them to needy kids every year.
Yeah, it's for charity. Quit complaining.
If they want charity, I'll write a check.
Yeah? Besides it won't take that long.
Best not, we're missing the Celtics, Bulls on it too.
We are?
[indistinct chattering]
(Spenser) Ah! sh**t.
(Susan) Well, who's gonna go back for the rest?
- Do you wanna flip for it? - Nay.
I'm not gonna sh**t fingers
nor am I gonna play "Eeny, meenie, miny, moe."
Why don't I just go get it, huh?
Fine idea.
I'll be back.
[indistinct chatter]
No! Hey! No, hey! Buddy, wait.
No, we were mailing packages, uh, to children for charity.
You can't write a guy a ticket.
[door latch clacking]
Any problems?
- Slam dunk so far. - Now where?
The way I came in up to back quarter.
- Let's go. - Let's go, I can smell it.
Money, money, money.
Wonder what happened to Spenser.
If he had any brains, he'd be down to corner bar
watching Michael Jordan rock.
[knocking on door]
- Open the safe, Jones. - Robert.
- Safe. - There's nothing in there.
[whispering] I asked you
to open the door now.
Hurry up.
'Hurry up.'
Please hurry.
Come on.
- What's this? - You know?
There's always money in there.
Last Friday, I removed $ , .
The transfers stopped two months ago since you were fired.
- 'You made mistakes?' - 'What the hell!'
- There's nothing in here. - This is my worse..
Put your nose on the floor now.
Start by saying bye-bye.
- Bye-bye, say it. - Bye-bye.
Put the g*n down.
Say bye-bye, Budapest.
[screaming]
Oh!
[women screaming]
[g*nshots]
[indistinct shouting]
[g*nshots]
Aah!
(male # ) 'Move! Move!'
Move, get out of there.
Get down, get down.
Close it.
Mail early.
[g*nshots]
[instrumental music]
(Mickey) 'Don't be too late.'
(male # ) 'Move, move, move, move.'
[woman screaming]
Hey, buddy, hold on. Wait a minute.
Hey, wait. Wait. Everybody, where are you going?
You're gonna miss the party.
[g*nshots]
Sal! Sal!
Sal, Sal.
[laughing] It's straight.
- Get up now. - I love it. I love it.
I love this.
Go, go, get ready.
- Go there. - Move it. Come on.
Move it. Move it.
- 'Move it.' - 'Move it.'
- 'Sal, close the door.' - 'Close it.'
[panting]
[police siren wailing]
This is your show, sergeant.
Whatever you need I'll get it for you.
Thank you, sir. We're getting ready to go upstairs now.
We've taken over some officers on the third floor
uh, crossing the post office, it's got a good field of vision.
The hostage box ought to be working any minute.
Good. Do your job, sarge.
And you try to get this over with as soon as you can.
(Spenser) 'Frank?'
Let him in.
What are you doing here?
- Susan and Hawk are inside. - What?
We were mailing some packages.
Now, you can stay with me. I'll clear it.
What do you got so far?
The usual hysterical stuff.
What seems clear is they've k*lled
at least one of the guards from the stories I've got.
'I don't know how many there is.'
You running this show?
Yeah, I took the course a couple of years ago.
Special operations with three psychology classes
that I'm the area hostage negotiator.
I just never thought it would come to this.
You, Belson? Fielding, thr*at management leader.
- You? - I'm Spenser.
I'm a private cop. I've got friends inside.
- You started yet? - About to.
(Fielding) 'You done much code work?'
- No. - I have.
Want some advice, sarge?
'Don't dance around too much.'
'People in there are desperate and nervous.'
'The longer you wait, more chance of folks dying.'
Send us. We're in seconds.
Whole thing is over in .
Yeah, well, we are gonna do this thing
by the book, Fielding. We're gonna talk.
We're gonna stall, we're gonna try to wait them out
see if we can get them walking out of there.
Suit yourself.
Got a feeling though this one's
mine sooner or later.
(male # ) 'Lieutenant Fielding.'
Oh, Mother Mary! That guy is on our side?
But he doesn't go until you say, right?
Yeah. At least until the negotiations have broken down.
I think it's time to start them up.
Look.
Look at this, look at this.
They're still coming in out there.
They must have an army.
This man's badly hurt. He needs medical attention.
Yeah? I got a remedy for him.
Don't touch him.
Don't!
- Leave them alone. - What difference does it make?
- We're dead. - No, we're not.
We can get out of this.
What we got here at worst is is a three to one sh*t.
At worst. You hear what I'm saying?
- I hear you. - At worst.
- We're dead. - No, we're not.
Sal, trust me.
Have I ever steered you wrong before, huh?
I've never steered you wrong before, right?
Never. Not once.
You and me, we've been up against it.
I always get us out, right?
- Yeah, I suppose so. - Always get us out.
You men, you all know you're in deeper trouble
than you imagined.
The only thing that makes any sense is to stop this now
before it gets worse.
You have to give it up.
Hey, shut up, old man.
Yeah, you listen to Robert, postman
and you shut up about that.
Nobody's giving up. You got that?
It's okay, Sal. Nobody's giving up.
Yeah, you got that right. I ain't going back to prison.
Next person I hear talking about giving up is a memory.
Put the g*n down.
[phone ringing]
You, get up now.
[phone ringing]
[woman crying]
(Mickey) 'Yeah.'
(Frank) 'This is Sergeant Frank Belson'
'of the Boston police.'
- Who am I talking to? - 'Yeah, yeah, yeah.'
'Right, pal, like, I'm gonna give you my name.'
What I'm gonna give you are a list of our demands.
Look, I don't think you ought to start talking about
your demands right now.
We gotta start talking about is, uh
is your situation.
Now, you have to see how hopeless it is.
Now we both know that there are only two ways out of this.
Now let's do the smart way and just put your weapons down
and walking out of there.
Are you done, cop?
You keep running on like that
and things are gonna start to go down here
that neither of us need in our lives. Okay?
'So listen up. It's very simple.'
'A heli.. Are you writing this down?'
Ten thousand cops and the guy's looking for a pencil.
Uh, a helicopter ride out of here.
And , dollars, used bills, nothing bigger than a .
You got it?
Yeah.
Yeah, I, uh, I've to get to my superiors about this.
I'll get back to you.
Yeah, but do it fast, cop.
Or people gonna start to die.
[woman crying]
How is it?
Losing blood.
Need to stop it before I pass out.
No, I don't want to die.
[Hawk sighing]
Better quiet that girl
before she sets off the maniac.
Yeah.
[woman crying]
[Susan shushing]
It's okay. It's gonna be alright.
Okay, just hang in there.
- Alright? - I just wanna go home.
You know, me too.
Shh..
(Fielding) 'High ground one, target potential.'
(male # on radio) 'One male partially visible southwest window.'
(Fielding) 'k*ll potential?'
(male # on radio) 'Under percent, sir.'
as*ault units, full alert.
It won't be long.
(Spenser) We had found there was an old rear entrance
but it was clear that a sneak att*ck
carried far too many risks
for Susan, for Hawk, for all of us.
The siege had begun.
(Frank) 'You're the postal inspector, what can you'
'tell me about this place?'
(Higgins) Well, that's the door to the boiler room
but it has been locked up for years.
No other way in or out.
Up through the ceiling maybe?
No.
You gotta understand this post office
especially the old ones are built like fortresses.
Solid granite outside, marble in.
No other doors, no other windows, nothing.
That's just as well.
They'd hear us coming, they'd start k*lling
the hostages anyway.
Well, if it comes to a full as*ault
if those guys got any brain, they're gonna make you take
a long time to get in.
Inspector, if you're there where would you go.
Probably the lower lobby.
No windows, one door..
[sighs] Built like a rock.
(male # ) Alright, team leader in position.
Two guys behind the truck.
[instrumental music]
(Robert) Where do you think you're going, old man?
There's a box of blankets in the back.
They'll make people more comfortable.
Forget it.
You don't give a damn about anyone, do you, Robert?
Look at you, what you've become.
Don't want to handle this.
You had a chance. A job.
But this is easier, isn't it, Robert?
Got a g*n, just take what you think the world owes you.
What should I do, old man?
Work here like you?
Shuffle around for the man years.
Get a $ pension and a gold watch.
You can't steal what you need, Robert.
Get back on the floor.
[instrumental music]
[phone ringing]
Outgoing call, sergeant.
Get a tracer on it.
Hey, Marsha, it's Mickey.
Yeah, look, Mick, I said all I had to say last night. Okay?
Wait-wait-wait, wait, Marsha.
Uh, things have changed, Marsha.
I'm into something here. Lot of dough coming down.
I just-I just need a little help.
Yeah, right, Mickey, lot of dough.
Never heard that one before.
(Marsha on phone) 'Yeah, I'll bet you need my help.'
'Look, Mickey, I am fed up, I'm tired, I'm going..'
'I'm leaving, I'm going home.'
Listen, don't start on me, Marsh, please.
Just listen, for once in your life, okay?
(Mickey on phone) 'Now, I-I'm into something big.'
'I-I just want you to meet me somewhere.'
Mickey, Mickey, what are you into? Just tell me.
Are you in trouble? What's going on?
Just tell me what's going on.
Don't start asking me questions.
I-I got my hands full and you're grilling me.
[phone disconnects]
Oh, the hell with it.
You wanna take me out?
[g*nshots]
(Mickey) You want more? Come on.
I got one for you.
[instrumental music]
[indistinct radio chatter]
(Robert) It's getting cold in here.
They're messin' with us, turn the heat up.
This is no good.
Two windows.
Gotta move somewhere they-they can't see us.
Where?
Rotunda down the stairs.
Okay, we're moving.
- Up. - Come on, let's go.
- Up. - Up.
- Get up. - He shouldn't be moved.
He'll-he'll start bleeding again.
Then he dies.
- Aah. - No.
Go!
- Let's go. - I'll make it.
- Move, move it. - Faster.
Turn left.
Let's go. Move it
- Don't you stop. - Move, move, move.
- And out. - Move, move, move.
Go now. Move.
Move it. Go!
Move it, move it.
[coughing]
Halt. Sit. Sit.
Sit down.
Now, now, now.
(Captain Samuels) 'I just spoke to the boys upstairs.'
'We're running out of time.'
(Frank) But time is what I need.
I gotta find out how many people they got in there.
How many g*ns? Who's hurt?
Captain, I gotta have some breathing room here.
Okay, I'll try to get him off your back.
But sooner or later..
Yeah, I know.
Sarge.
What are you trying to do?
You start target practice, everybody's gotta get hurt.
No, you tell your sh**t to back off.
Where's the chopper?
Yeah, right. Where's the chopper?
I told you, I told you. I'm working on it.
I just gotta get clearance.
No, wait-wait-wait, wait a minute.
Let's get this straight.
I'm making the rules here and you are following them.
You got it?
Now, we want food for everyone.
We're gonna sit and we're gonna eat.
- You got that? - Yeah, I got it.
How many people you got in there?
Don't get clever with me, cop.
We've got all the g*ns we need.
I'd like a food for .
We're gonna eat.
I wanna see that helicopter land out front.
Do you hear?
I told you, I'm having some trouble on that.
We're trying to get one big enough to fit you all in.
(Mickey) You think I believe that.
That is ludicrous, that's what that is.
Now we are gonna eat
and you're gonna give us a chopper
or we start giving you some bodies.
They want food.
Book says no officers go in.
What about a non-officer?
This guy better be good.
You wanna play delivery boy, Spenser?
You walk in, you may not walk out.
[instrumental music]
(Sal) Whoa! Whoa!
Okay, okay. How do we know there's no poison in it?
dr*gs and stuff in this.
- You want me to test it? - No, no, forget it.
Pass it around.
Thanks.
You take this man anywhere.
I don't suppose you're carrying.
- I'll find a way. - I'll be ready.
Mouth is an ex-con, likes to k*ll.
The one with the tie, he's name is Mickey.
He's the brains of the deal, if that's what you wanna call it.
(Mickey) Hey, hey, hey, hey, hey.
What's going on here?
This man's hurt bad and he needs medical attention.
Let me bring back some bandages, some medicines.
(Sal) 'Who says you're even leaving, ace?'
Look, uh, you guys do what you want, it's fine.
You keep taking hostages
they're not gonna wanna deal with you.
(Robert) 'Man's right.'
Okay. Okay, bring some medical stuff.
I'll call you before I come.
[instrumental music]
(Spenser) 'Okay, we got one dead, Hawk's wounded.'
I count hostages in all.
Where are they? How many g*ns?
Rotunda. There are three men.
Two white, one black.
- How is Susan? - She's holding up.
But Hawk needs medical attention.
They agreed to let me come back.
Jackson, get a medic bag up here right now.
- Who is in charge? - 'Guy named Mickey.'
Wears a horse tie.
He's, uh, scared, but rational.
Mickey Patters, just got it from phone trace to his girlfriend.
'Lives in Cambridge.'
Second guy is an animal.
Kills for fun, got nothing to lose.
Oh, great.
The third guy, the black guy's name is Robert Thormol
one of the postal workers that got away fingered him.
'He used to work at the post office for couple of years.'
Patters is the guy to go after.
(Frank) I agree.
It's gonna take a while to get a judge
to sign a search warrant.
I'm goin' out for a bite to eat.
[instrumental music]
- Going to Cambridge? - Yep.
Mind if I tag along? My badge could help.
Get in.
[door thudding]
Talk about a fish in water.
"Louisville, ."
Figures, man's a horse lover.
You're looking for Mickey, 'cause I think
he's away on a trip.
Is that right?
Marsha, his girlfriend
she ran out here in a great rush.
You wouldn't happen to know where she went, would you?
Are you betting acquaintances of his?
No, we're not betting acquaintances.
We're here in official business.
We're looking for Mr. Patters.
Oh, he's never home. He's always at the track.
You said, his, uh, girlfriend rushed off.
(female # ) 'Well, she had her bags fully packed.'
Marsha did and she ran out of here in an awful huff
about minutes ago
'on the way to Kentucky.'
You have any idea how she went there.
Uh, airplane or train?
Oh, train. Definitely.
She even asked me what subway would take her
to the railroad station.
- Thank you. - It's good, darling.
[indistinct chattering]
(man on P.A.) 'Attention, all passengers.'
'New York train number now boarding at track six.'
'Now boarding at track six.'
- Marsha? - Yes.
Name is Spenser. I'm a private cop.
This is Agent Higgins. He's a postal investigator.
I'm afraid Mickey's got himself in some real trouble.
Oh, my God. I knew it.
Look, um, whatever it is, I've got nothing to do with it.
'I knew, he was crazy.'
'I told him he couldn't afford that horse.'
And he's, he's gone and done something bad, hasn't he?
Well, look, I, um..
I just can't bail him out this time.
Marsha, look, it's little more complicated than that.
Mickey has holed himself up in a post office.
'He's holding people hostage. We'd like you to talk to him.'
He's taken people hostage
'in a post office?'
This is urgent, miss.
(Marsha) 'Wait a minute. Look, wait a minute.'
Just what are you trying to tell me?
That Mickey Patters is acting like some
some kinda t*rror1st or something?
Cold, huh?
You talking to me, chump?
Yeah, cold in here like cold outside.
Keep flapping that jaw.
You're gonna be stone cold
as in dead.
And you right behind me, brother mean.
One hour, one day, whatever it takes.
You're gone.
They've been listening, huh?
We getting out of here.
You might walk away, alright.
A r*fles pointed at that thick, brown skull.
You think they're only gonna sh**t the white boys?
Where you've been living, brother mean?
I don't need this, man.
What you need is me.
I'm all you got, brother mean.
You can save that jaw.
And I ain't your brother, brother.
This here is my deal.
And I take care of my own.
Man, I don't even know why I'm talking to some man
who'd be half dead already.
(Sal) Where's the helicopter, Mick?
He said it would be here by now. Now where is it?
- It's coming, Sal. - Yeah.
Well, they better hurry up.
Because, uh, we gotta do something.
Show them we mean business.
Oh!
He won't let you wait for ever.
He'll force your hand.
- Sal's okay. - You know, he's not okay.
Okay. So, he's not okay.
What's it to you?
You're not like him.
You could get out of here, stay alive.
See that girl you were talking to on the phone.
No.
She's, she's gone.
You know, I-I almost had it together.
Everything.
My own horse, stables, the whole Megillah.
All I needed was a lousy grand.
That's what this was all about?
Was? You mean is, I'm not dead yet.
Neither am I.
Look, Mickey, you've haven't k*lled anyone.
Why should you pay for what Sal did?
You get us out of here, you still have a chance
for you and your girl.
What the hell are they doing out there, man?
- They're setting us up. - Not they're not setting us up.
I'm telling you, man. They're setting us up.
- They're not setting us up. - I'm telling you.
I'll call them.
Well, I don't want to wait any longer, man.
I want to get out of here now.
[phone ringing]
Mickey.
(Mickey) 'So, you got my name, huh, cop?'
'You got my chopper?'
I'm working on that.
Yeah, I'm sick and tired of hearing
you're working on it.
Well, it's a big chopper, Mickey, you gotta understand.
They're worried about bringing it in here at night.
(Mickey) 'That is bull.'
One more stall, cop and somebody dies.
You just relax, keep it cool, everything gonna be alright.
Now hold on, maybe I got some news here.
Marsha Connors, Mickey's girlfriend.
Mickey did all this? I can't believe this.
You better believe it, lady.
Mickey, listen, I, I got one of your friends here
'who wants to talk to you.'
One of my friends?
No, no, look, this is just too much for me. Please.
You have to. There are innocent people over there.
No, I ain't having any part at this.
Uh, Mickey, look, I was mistaken. It was nobody.
You got half an hour.
You hear me?
Half an hour before this place starts to go to hell.
(Frank) 'Yeah, yeah, yeah, I hear you, Mickey.'
But listen, before I do anything
you gotta do something for me.
I'm gonna need an act of good faith on your part.
You gonna have to release at least one of the hostages.
Yeah, I'll, uh, I'll talk to the others about it.
Well..
Yeah, he says, he says we get the chopper
if we release one of the people now.
What are they talking about?
It's good faith.
We get to keep the rest.
Just to show them, we aint' gonna welch on our side
we, uh, release one now.
[Sal laughing]
They want a hostage? Give them a hostage. Hey!
- What are you doing? - Come on.
Mickey.
I've had it for these people, you know.
- Hey, Sal. - Just let me take care of this.
They want a hostage, man.
You know, Mickey, they're lying to us, man.
- Sal. - Can't you see that?
- I'm telling you, I'm gonna-- - Sal, I'm against this.
- They want a hostage. - Sal.
No. Let me go.
- 'I've done nothing to you.' - Sal, get back here!
Uh, sergeant the hostage is coming out now.
- Go on. - Sal.
- Go on. - Don't.
- Mickey. Mickey. - Don't.
Why do I wanna hurt this guy for?
Go on. Go on, run. Run, run.
[g*nshots]
- Get down. Hold your fire. - There's your hostage.
(Frank) 'He's still got a gunman inside.'
(Frank) Cover us.
[instrumental music]
[indistinct radio chatter]
- What do you think? - I don't know.
If he can make it to the hospital in time
maybe, I don't know.
Now you see what we are dealing with?
- Frank? - Don't worry, Spenser.
It's not that cowboy show yet.
I told the commander, I can stall them through the night
but if I don't get some people coming out of there some time
in the morning, I just..
I gotta go upstairs.
There might be a third option.
Such as.
Something has been rattling around
in the back of my head.
It's a long sh*t, but I'll need some help
going through some old files.
- I'm with you. - Okay.
Welcome to Marmen's world
Or Marmen, the mad filer as we call him.
He has the unenviable job of transferring
all our old files to microfilm.
What are we looking for?
We're looking for public works blueprints.
Post offices, .
That's when the last major renovation
on the building was made.
What's this?
That's it.
(Higgins) 'The original blueprint.'
(Spenser) What are these?
(Higgins) Uh, they look to be
service tunnels, catacombs for the original building.
Can that be used to get inside?
Well, they look like they were covered over
in the rebuild.
Maybe here.
Looks like there could still be some access
to the boiler room door.
Are you sure?
Long time ago, nothing sure in this world.
What I'm looking for is something a little more simple
and direct.
There.
What are they?
Mail slots.
Old mail slots.
Frank, take a look.
I'm running out of time here, Spenser.
Plans for the old post office.
- See these cross hatchings? - Yeah.
They're mail slots, plastered over, forgotten
but the iron slots are still there.
One goes right into the rotunda.
- How big is it? - Too small for a person.
Look, big enough for a g*n.
Spenser mentioned he had a friend in there
who knows how to use one. That's what made me think of it.
With Hawk at their backs, armed..
Look they're waiting for me to go back in with the medicine.
I'll talk to the commander.
This is Belson, I need to speak to the commander.
[instrumental music]
- 'What's going on?' - 'What's happened here?'
This is taking too long, Mickey.
It's morning now and that chopper should have been here.
Now, they're setting us up, Mickey, I'm telling you.
[knocking on door]
- Delivery boy. - Let him in.
(Sal) Okay, come on in.
Put this box down.
Okay.
What is this?
Food. We don't need any more food, man.
What we need is a chopper.
(Mickey) Take it easy, Sal.
'I'll find out about the chopper.'
Bring anything else to play with?
There's gonna be a delivery
south wall, old mail slot.
It's a long way to go.
I'll get it. I can get it to Hawk.
Ten minutes.
(Sal) Okay, that's it. That's it.
Stop it! Leave it. Just drop it.
Get out! Get out!
Doesn't matter much anymore anyway.
[instrumental music]
What do you mean, you can't get the chopper in?
- What did he say? - Shh! Shh!
Look, the pilot made a fly-by.
There's not enough clearance for his rotor blades.
He can't land.
Why in the hell did it take you this damn long
to tell me this?
That does it, man. That does it.
We're gonna show them. Come here.
We're gonna show them we mean business.
(Sal) 'You tell that guy, you tell him'
I'm k*lling this girl now.
I'm gonna k*ll one of this every five minutes
until they get us out of here.
[phone disconnects]
- You let her go. - No.
What are you gonna do? What the hell are you gonna do?
- You're gonna k*ll everybody? - Yeah, yeah.
That's what we gotta do.
You're crazy.
Don't you ever say that to me, Mickey.
Don't you ever say that to me again.
[dramatic music]
(Mickey on phone) 'People are going nuts in here, cop.'
'Better give me something and fast.'
Look, I already told you, there's nothing I can do
about the chopper.
(Mickey) 'Okay, look, uh..'
'You-you land that thing where you can'
'and-and you give me a car.'
'No, wait, uh, a bus. Yeah.'
'And you park it at the bottom of the front of the steps.'
'And then, uh, we'll take that to the chopper.'
- 'You got it?' - Hold on.
He wants transportation out of here.
Yeah, alright, we'll...we'll get a bus to you as soon as we can.
(Mickey) 'I'm sick of soon, cop. When?'
Call you back in minutes.
Solid granite.
You couldn't have drilled through this rock.
This is all original.
No plugs. Where are the old slots?
The plans.
Something wasn't here when they constructed this.
It wouldn't be that easy.
Look, miss, I'm running out of time here.
You can buy me some.
Just talk to Mickey
Keep him talking as long as you can.
Oh, please. I-I don't know what to say. I mean..
Look, this isn't-this isn't the Mickey I know.
I mean, the guy I knew could've never done anything like this.
Well, tell him that.
Talk to him or people are gonna die
I can promise you that.
Oh, look..
...I know you're scared.
We're all scared.
[sniffles]
Thanks.
Maybe we can save some lives, Mickey's included.
[phone ringing]
Yeah, cop.
Hi, Mickey.
Marsha.
Look, I'm really sorry
I didn't listen to you earlier.
I came, I came down as soon as I, I heard about all this stuff.
You okay, Mickey?
Yeah. Yeah, I'm okay.
And Marsha, we-we're gonna get out this.
Oh, God, I hope so, Mickey.
Marsh, listen
I, uh, just wanna tell you
about how sorry I am.
'With all the stuff I've put you through.'
'Um, I guess, this is the biggest screw-up of all.'
It's okay, Mickey, I.. I-I understand why you did it.
'That horse and all.'
And you, Marsh.
I-I just got so tired of being a loser for you, you know.
[machine whirring]
That's it.
What about the noise when you drop the g*n in?
(Marsha) 'Oh, God, Mickey, how did all this happen?
[thudding in distance]
(Mickey) 'Yeah, I'm okay.'
- Hey, Marsha.. - Hey!
You got a problem?
I'm just nervous like everyone else.
Do you mind if I walk around a bit?
Brother!
You're still alive, brother.
I'm gonna die any minute.
What are you talking about, man?
[instrumental music]
We're on our last leg on this gig, brother.
You ain't got but one chance and that's with me.
Now, you stand up and you tell
those people how I passed away.
Maybe I'll just help you out.
Either way
it's time to get it on.
[woman crying]
Hey!
This guy's dead.
Good. Saves me a b*llet.
Marsha, I-I gotta, I gotta go.
I-I love you.
- 'What are we gonna do now?' - 'I don't know.'
[Susan crying]
Hawk.
[crying]
[crying]
g*n's in place.
It's too late, Spenser. Negotiations are over.
What?
[phone ringing]
(Frank on phone) 'Mickey, bus is here.'
We're coming out, cop.
Remember, I want it parked out front.
[laughs]
We did it.
We're getting out.
Are you sure, Mick? They're gonna start sh**ting.
- Let them. - No, no, no, no.
It's all yours, Fielding.
Right. Nice try, sarge.
Yeah.
Sorry, Spenser.
All units, we are on full alert.
How do you access those catacombs?
Stairwell of the boiler room.
[instrumental music]
(male # ) 'You two up to the doors.'
(Sal) Okay, everybody, listen up.
Mickey's got an announcement just for you.
Did you ever take a helicopter ride?
We're gonna take a bus to a helicopter, okay.
If you value your life, you'll cooperate with us.
Now, everybody get up.
Let's go. We're gonna show a shield. Shoulder to shoulder.
Let's go.
[dramatic music]
[shattering]
(Fielding on radio) 'We are in as*ault when the door is open.
'When they get to third step'
'we take them. Acknowledge.'
- Get over there. - Get over by the door.
By the door.
By the door.
(Sal) 'Line up at the door.'
(Mickey) Come on, come on, come on.
(Sal) Line up at the door, tight.
- Get them up there now. - Tight.
(Robert) 'Slow.'
(Sal) 'We're gonna take five little baby steps'
'down there to a bus.'
'Anyone who does anything stupid'
anyone who does anything dumb is meat.
Do you understand?
Nod your heads if you understand.
If you understand..
[cocking g*n]
...nod your heads.
(Robert) 'Don't make any mistakes, please.'
Hey, Robert..
let's go slowly. Very slowly. Let's go.
Sal!
[g*nsh*t]
You got one second to put it down.
Put it down!
You too. In the ground.
Let's go. Face down.
Come on, let's go.
Hold your fire.
Hold fire! Hold fire!
Let's move in.
- Move, move, move. - Hurry up, hurry up.
Get in there, get in there.
Secure the area.
Somebody over here.
- You're ready? - Yep.
[Hawk groaning]
How you doing?
How do I look?
You look like you ruined a good jacket.
You chose it, baby.
(male # ) 'Watch it, folks.'
Let us through here.
Watch yourselves out. Get up.
On your feet.
Just move it.
Move it. That is good.
(Spenser) And so the hours of horror had finally ended.
Hawk would survive, so would Boston.
But it was a bitter reminder of how so few
can terrorize so many.
And that we must never give in to such acts of v*olence.
Frightening memories would remain
but for Susan and me siege was over.
[theme music]
[music continues]