. >> the next day warden ivey discusses an incident that landed him in segregation. >> standing rightext to him. working out at the same time, tells the lockup, corporal keys don't belong on this floor. >> corporal keys is a supervisor, he can be on any floor in this jail. >> yes, sir. >> i'm in lockup and same man arguing with me still on the pod. >> how do you know that? >> word of mouth. >> you been down there? >> no. >> you talk to somebody down there? >> he's still there, sir. >> i'm not going to debate that with you. i'm not going to check it. decision was made by a sergeant about the incident. >> the staff -- every day i'm having problems -- you know what i'm going through. i've got three to four -- >> why are you still in the jail? >> come up with a fake and felonious assault against an officer. i'm in handcuffs you tell me -- >> how does that work? who makes that decision? >> i don't have no type of rights in here. >> i wrote you a letter telling you don't put me back in population and you put me back in population. >> i told you i feared for my life. >> you don't dictate bec

. >> the next day, warden ivey pays evans a visit to discuss the latest incident that landed him backn segregation. >> tell me what happened. >> i was standing right next to him, warden. working out at the same time, tells the lockup, corporal keys don't belong on this floor. >> hold on. wait a minute, wait a minute. corporal keys is a supervisor, so he can be on any floor in this jail. >> yes, sir. >> let's get that straight. >> i'm in lockup and same man arguing with me still on the pod. >> how do you know that? >> word of mouth. >> word of mouth from who? you been down there? >> no. >> you talk to somebody down there? >> he's still there, sir. >> i'm not going to debate that with you. i'm not going to check it. because the decision was made by a sergeant about the incident. >> the staff -- every day i'm having problems -- you know what i'm going through. i've got three to four -- >> let me ask you something. why are you still in the jail? >> you all come up with a fake and felonious assault against an officer. i'm in handcuffs, and you're telling me i broke somebody's arm. >> how d

ivey, lee, hired as public directors -- public-relations director had the idea to do this but it was actually a book rockefeller had read, the correspondents of amos lawrence, another character who figures in the book. that was the whole tradition of the shiny dime. if you go to that site of the obelisk to this day you will find that people bring shiny don imus and weigh them on the stairs which i think is a marvelous tribute to something or other. but what is going on when people do that? is fascinating to ruminate on that subject. in a sense the book that i have written is one that finds its heart in those kinds of issues, issues involving blood? issues involving very rich people, the legends that they construct about themselves, particularly their generosity and the american people and how we have collectively responded to those individuals and their lives and their money and their generosity and the stories they construct about themselves which is a lot to do in what is a fairly short book and i want to go further by explaining a little about how the book came to be written becau

. ♪ you're older and i'm wiser ♪ ivey look, i brought you liza ♪ ♪ with a love letter from the times clip, you can see the genuine excitement on the actor's faces just to be on the stage with you. these are people who came up in the theater. you are an icon to them >> thank you. >> what was the experience like for to you work with them on "smash"? >> it was wonderful because i was working with other performers and that's the reason i went into the theater was that you worked with other people. the first thing i saw that made me -- i wanted to be an ice skater and then i thought well, no, maybe not. when i saw "bye-bye birdie" i thought that's what i want to do. that looks like such wonderful fun, and it is. it's hard but it's fun. >> a lot of these actors have said when liza minnelli walks into a room, everything else stops. >> oh, come on. >> because of who you are in the theater world, to these people, do you sense that at all? >> no. i really don't. and i don't think about it, or else i wouldn't, you know -- i don't like being -- stuck up stuff is for the birds it really is. >> yo