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Phone Booth (2002)

by Larry Cohen.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

NEW YORK CITY - AERIAL VIEW OF DOWNTOWN MANHATTAN - DAY

MULTIPLE STREET SCENES - DAY

The sidewalks crowded as usual.  A sea of humanity.  People
come and go -- always in a hurry.  Oblivious of one another.

A TRAFFIC JAM -- A STREET being torn up by construction
workers; A SANITATION TRUCK loading up refuse; VENDORS
PEDDLING nuts and salted pretzels; PANHANDLERS blocking a
passerby.  Intimidating.  Demanding.  Almost mocking.

We're surrounded by the teeming life of the city as we've
come to expect it -- complete with a cacophony of sound.

MULTIPLE CUTS -- Phone kiosks and phone booths on the East
Side and West Side -- uptown and down.

One frustrated caller has lost his money in the slot and he
takes it out on the equipment -- smashing the receiver
violently against the coin box until the instrument splinters
into a dozen pieces.

			NARRATOR
	There are 237,911 pay telephones in
	the five burroughs of the city of
	New York.  Many of them are still
	in working order.

DOZENS OF QUICK CUTS --

NEW YORKERS on the phone in extreme close up.  We don't hear
the words.  Only the facial expressions inform us that these
are human beings under tremendous pressure.  Life in the city
is wearing them down.

MULTIPLE SHOTS - JUST MOUTHS

Lips jabbering into receivers.  Cross-cut against one
another.

			NARRATOR
	Despite increased usage of cellular
	devices, an estimated four and a
	half million New Yorkers and two
	million visitors still utilize pay
	telephones on a regular basis.  At
	thirty-five cents a pop... for the
	first three minutes.

ANGLE ON CORNER IN MID-MANHATTAN - DAY

There's a phone booth situated on the southeast side of the
street.

			NARRATOR
	You're looking at the telephone
	booth at the corner of 45th Street
	and 8th Avenue in the heart of the
	Manhattan theatrical district.  It
	has been scheduled to be removed
	and replaced by a kiosk.  It's one
	of the few remaining phone booths
	left in the city.

CAMERA MOVES IN on the irate caller in the booth -- a very
well-dressed gray-haired lady -- totally conservative in
appearance.

			WOMAN IN BOOTH
		(into receiver)
	You have lied to me for the last
	time, you lowlife prick bastard!  I
	don't ever want to hear the sound
	of your fucking voice again.
		(listens)
	Yes, well fuck you, too!

She slams down the receiver and exits.  The booth remains
vacant for a brief interval.

			NARRATOR
	At least three hundred calls daily
	originate from this booth.  The
	coins are collected twice a day. 
	This booth has been burglarized
	forty-one times in the last six
	months.

Someone is approaching the booth, fishing in his pocket for
coins.  This is STUART SHEPARD, snappily dressed, his hair
styled and his nails manicured.  Here is a man who clearly
takes excellent care of himself.  He sports a Donna Karen
suit and silk Armani tie.

He's about to step into the booth when he's accosted by a
middle-aged man in a soiled apron who's run out of a nearby
restaurant and has finally caught up with him.

			MARIO
	Stu, we got to talk.

			STU
	Wish I could accommodate you,
	Mario, but this is my busy time of
	day.

			MARIO
	How come you cross the street every
	time you go past the restaurant?

			STU
	Why don't I stop in later for some
	lunch?

			MARIO
	There's no more drinks or free
	meals until the restaurant starts
	showing up in the columns like you
	said.

			STU
	I'm doing my level best for you
	people.

			MARIO
	One lousy mention in the Post and
	you expect to eat for six months!

			STU
	I got the food critic from the
	Village Voice all lined up to give
	you a review.

			MARIO
	That's what you tell me last July. 
	And he never shows.

			STU
	I was allowing you time to expand
	the menu.  Wallpaper the bathrooms,
	for God sakes.  You get only one
	shot with these fucking critics and
	I don't want you to blow a rare
	opportunity.

			MARIO
	You the one blowing it.  How long
	you think you can fuck everybody?

			STU
	Hold on right there.  I've got a
	very excellent reputation around
	this town.

			MARIO
	So how come you take two nice suits
	of clothes from Harry and never get
	his daughter on David Letterman?

			STU
	Hell, I'm not an agent.  I'm a
	publicist.

			MARIO
	Mister, you're nothing!

			STU
	Believe me, Valerie's on the
	waiting list to audition.  Harry's
	got no complaints.  He just let me
	pick out this tie the other day.

			MARIO
	That Harry's a damn fool!

			STU
	Mario, please let me make this up
	to you.  How about I arrange for
	the opening night party for this
	new off-Broadway show I'm handling 
	-- to be held at your place with
	local TV coverage on nine and
	eleven?  I mean I had it promised
	to another client -- who actually
	pays me money.  But it isn't firmed
	up yet.  And I could throw it your
	way.  Maybe.

			MARIO
	What is involved?

			STU
	You'd toss in the buffet for say
	seventy or eighty.  The producers
	would supply their own vino, of
	course.  I'd deliver you a
	truckload of celebrities.  And if
	they like the food, they'll all
	come back, naturally.

			MARIO
	What celebrities?

			STU
	You want Liza Minelli?  An Oscar
	winner.  Or Douglas Fairbanks, Jr.?

			MARIO
	Is he still alive?

			STU
	I saw him last night going into the
	Four Seasons.  I'll bring you over
	a whole VIP list when we come by
	for dinner.

			MARIO
	How come everybody wants to eat but
	nobody wants to pay?

			STU
	You can't think small like that. 
	Hey, you still feature musicians
	Fridays and Saturdays?

			MARIO
	At least they work for their meals.

			STU
	What about Harry's daughter as an
	extra added attraction?  She'll
	belt out five or six showtunes --
	two sets a night -- and it won't
	cost you a fucking nickel.

			MARIO
	How come?

			STU
	Star Showcase!  Let me handle
	setting that up.  And when she
	eventually goes on Letterman,
	she'll announce I'm currently
	appearing over at Mario's fine
	supper club.  Right over CBS she'll
	say that, Mario.

			MARIO
	You're full of shit.  You know
	that?  All bullshit!

			STU
	That's just a vulgar word for PR.
		(placing an arm around
		 him)
	Mario, you can't hurt my feelings. 
	Even when I was a kid and they
	hurled certain invectives my way,
	it never bothered me.  Other kids
	would fall apart if anybody called
	them a fucking name.  Me, I just
	loved the attention!  'Shit-for-
	brains' -- that's what the bigger
	kids named me.  And I answered to
	it.  Hey, 'shit-for brains'
	reporting for duty.  Everybody
	loved me for that.  I could take
	abuse.  After a while, I kind of
	wore them down.  There was nothing
	more they could say to me.  So they
	stopped.  I kind of missed it.

			MARIO
	I'm sorry I even talked to you.

			STU
	I'll bet your loving wife put you
	up to this.  She saw me pass by and
	she sent you out in the street. 
	But I don't hold it against you
	personally -- you still serve up
	superior veal chop.
		(entering phone booth)
	Now I got urgent business to
	conduct, Mario.

He slides the booth closed in Mario's face.

The frustrated restaurateur glares at him through the glass
before giving up and walking off -- talking to himself as he
goes up the block.

INSIDE THE BOOTH, Stu inserts his thirty-five cents and
dials.

			STU
	Hello, Mavis, sweet creature.

			MAVIS' VOICE
	Where have you been?  Do you think
	I have nothing to do but wait
	around for you to call?

			STU
	I'm only a few minutes late,
	loveliest individual on earth.

			MAVIS' VOICE
	Stu, I'm so lonely.  When can I see
	you?

			STU
	Good news in that arena.  Kelly
	goes into rehearsal as of Monday. 
	You know how dedicated she is.  By
	the time she gets back from dancing
	her ass off, she goes right to
	sleep.  We'll have both our days
	and certain nights.  Not to mention
	when they take the show on the
	road.

			MAVIS' VOICE
	How long is that for?

			STU
	Four to five weeks -- minimum.

			MAVIS' VOICE
	Maybe I should quit my job so we
	can be together full time.

			STU
	I wouldn't do that.

			MAVIS' VOICE
	Sometimes I think if I have to give
	one more fucking manicure...

			STU
	That's how you met me.

			MAVIS' VOICE
	I never saw a worse set of nails. 
	Bit right down to the quick.

			STU
	I'm much better groomed since
	you've been looking after me.

			MAVIS' VOICE
	I'm glad you admit it.

			STU
	Even Kelly remarked on it when I
	first met her.

			MAVIS' VOICE
	She could care less how you look. 
	She's only interested in pushing
	her own career.  Some wife you're
	stuck with!

			STU
	The marriage is not without its
	compensations.  Do you imagine I
	could afford that apartment on what
	I'm earning?  Not with everybody
	cutting back on the publicity.  Not
	to mention a million college
	graduates coming into the
	profession trying to cut me out. 
	And one thing you can't expect from
	your clients is loyalty.  They get
	a couple of bad notices, they dump
	you.  Goodbye.

			MAVIS' VOICE
	Don't go.

			STU
	I wasn't saying goodbye to you.  I
	was saying how the clients try to
	give you the wave off without even
	a month's notice.

A conservative businessman now stands outside the booth
waiting to use it.  He deliberately glances at his watch a
few times to demonstrate his impatience.  This bothers Stu
who slides the booth open a crack.

			STU
		(yelling)
	What?  Is your watch busted?  It's
	twenty after eleven and I'm gonna
	be occupied indefinitely with my
	transaction.  So get out of my
	face!

He closes the booth up again and turns his back to the
gentleman who gives up and departs.

			STU
	Sorry, honey.  There will be no
	further interruption.

			MAVIS' VOICE
	Why must you always be calling me
	from some booth?

			STU
	On account of that phone records
	are regularly subpoenaed in divorce
	proceedings.  And I don't want some
	entry showing up on my cellular
	bill either.  She gets the mail. 
	She looks these items over. 
	Sometimes she even dials up a
	strange number to see who it is.

			MAVIS' VOICE
	Then she suspects something.

			STU
	It's only because her last husband,
	the choreographer, ran around on
	her.  She can't get that out of her
	head.  That's how she caught onto
	him.  The phone bills.

			MAVIS' VOICE
	She hasn't developed much skill at
	holding a man.

			STU
	You know what a self-fulfilling
	prophecy is?  She was so sure I was
	going to find me a woman that she
	finally drove me back to you.  I
	thought I'd feel all guilty about
	it -- but I guess it hasn't kicked
	in yet.
		(beat)
	Still, I wouldn't do anything to
	hurt her.  Basically, Kelly's a
	decent individual.

			MAVIS' VOICE
	What about hurting me?  Like last
	time?

			STU
	Hurt?  You were glad to be rid of
	me.

			MAVIS' VOICE
	For a while I was, 'til I took
	stock of what was around.  You're
	the lesser of many evils.

			STU
	That's about the nicest thing you
	ever said.

			MAVIS' VOICE
	I'll have it engraved.

			STU
	We've been up front with each other
	from the beginning.  Let's keep it
	that way.  How about a drink?  Say
	seven o'clock?  The Monkey Bar?

			MAVIS' VOICE
	Meet me in front.  I don't like
	walking in there unescorted.

			STU
	Yeah, you're great enough looking
	to be mistaken for one of those
	thousand dollar a night girls.

			MAVIS' VOICE
	It happens all the time lately.

			STU
	And wear that short black number I
	bought you from Bendel's.

			MAVIS' VOICE
	Again?  I don't know if it's me or
	that dress you like.

			STU
	Have a good day.  Make plenty of
	tips.  And leave the whole evening
	open.  She thinks I've got Knicks
	tickets.

He hangs up.  Then whips a tiny cellular phone out of his
jacket pocket, flips it open and dials.  Someone answers on
the first ring.

			COLUMNIST (V.O.)
	Speak!

			STU
		(into cellular)
	It's your boy Stuart.  When was the
	last time I called you for a favor?

			COLUMNIST (V.O.)
	The column is already full.

			STU
	I just need one line.  Anybody you
	wanna say was seen dining out at
	Mario's Stromboli restaurant.

			COLUMNIST (V.O.)
	Maybe you don't hear so good?  I
	got no space for you.

			STU
	Who's asking any favors?  I'm
	offering reciprocal information.

			COLUMNIST (V.O.)
	Since when were you ever a reliable
	source?

			STU
	Check it out.  Tony award-winning
	producer Willie Beagle tossed his
	wife back into rehab again
	following her third attempt at
	diving off the terrace at their
	plush eighteen room residence at
	the San Remo.  I got it from the
	doorman.

			COLUMNIST (V.O.)
	I got it from their maid yesterday. 
	It's in the paper today.  Or don't
	you bother to read my shit?

			STU
	Louis, my intentions were entirely
	honorable.

			COLUMNIST (V.O.)
	I'll drop your item in sometime
	next week.  If you promise not to
	call me for a month.

He hangs up.  Stu looks pleased as he folds the cell phone
and tucks it away.

Then he starts to vacate the booth.  The phone rings.  And
rings.  Curious, he picks up the receiver.  There's a voice
on the other end of the line.  A DISTINCTIVE MALE VOICE.

			VOICE
	Don't even think about leaving that
	booth.

			STU
	What?

			VOICE
	Stay exactly where you are and
	listen carefully.

			STU
	I've got a heavy day, mister.

			VOICE
	You know better than to disobey me.

			STU
	I don't know you at all.

			VOICE
	Are you absolutely sure?

			STU
	Who is this?

			VOICE
	Someone who's watching you.

			STU
	Get lost!

			VOICE
	Love the gray suit.  That red and
	black tie makes a nice combination.

Stu is taken back by the accurate description of his apparel. 
He looks around nervously.

			STU
	Where?  Where are you?

			VOICE
	Closer than you think.

			STU
	I don't see you.

			VOICE
	There are any number of windows. 
	Check them out.

Indeed that street corner is surrounded by high rise
buildings and hotels.

			STU
	Okay, you had your little joke.

			VOICE
	I'm not sufficiently amused.  Not
	yet.  We have more to talk about.

Stu knows he should simply hang up but something tells him
not to.  Perhaps it's the strange tone of the man's voice.

			STU
	Do me a favor.  Call up somebody
	else.

			VOICE
	But it's you I'm interested in. 
	You know how many people use that
	booth every day?

			STU
	Why don't you tell me?

			VOICE
	Better than two-hundred people on
	average.

			STU
	Is that what you do?  Count them?

			VOICE
	What else do I have to do?  It's
	interesting watching people. 
	Trying to guess who they are.  And
	what they're up to.

			STU
	What are you -- a shut-in of some
	kind?

			VOICE
	You might say that.  I can't go
	out.  I might be seen.

			STU
	Somebody's looking for you?

			VOICE
	Desperately.

			STU
	The cops?

			VOICE
	Not yet.

			STU
	The ex-wife.  What'd you do -- run
	out on child support?

			VOICE
	What kind of man do you think I am?

			STU
	Frankly, I could care less.  You
	had your fun.  Now goodbye.

			VOICE
	It's not in your best interests to
	hang up on me.  That would make me
	angry.

			STU
	Isn't that just too bad?

			VOICE
	For you.

			STU
	There's ten million names in the
	phonebook.  Pester somebody else.

			VOICE
	I never talk to people I can't see. 
	I need to study their reactions.

			STU
	Alright, bullshit artist, what am
	I doing right now?

			VOICE
	Scratching your forehead with your
	left hand.  Now you're brushing
	your hair back.

			STU
	Okay, okay, you got me in your
	scrutiny.  So what?

			VOICE
	So let's talk.

			STU
	Only I got nothing to say.

			VOICE
	Oh, you will.  You'll do a lot of
	talking before this conversation is
	over.  And it'll only end when I
	want it to.

			STU
	Is that a fact?  Well if you watch
	closely, you will see me hang up.

			VOICE
	I don't think you will.

			STU
	Why not?

			VOICE
	I interest you.

			STU
	Why should I be interested in some
	creep who gets his jollies spying
	on strangers in phone booths?

			VOICE
	But you're not a stranger, Stu.

The sound of his own name sends a chill through him.

			STU
	Who put you up to this?

			VOICE
	You were my very own selection.

			STU
	Why me in particular?

			VOICE
	Because you're so afraid.

			STU
	Ha!  What've I got to be afraid of?

			STU
	Just about everything.  You have so
	much to hide.

			STU
	How do you figure that?

			VOICE
	Why else would a man with a
	perfectly good cellular bother to
	make calls from a pay booth?

			STU
	That's my business.

			VOICE
	I've made it mine.

			STU
	All of a sudden I'm required to
	give explanations to you?

			VOICE
	In explicit detail.

			STU
	What is this?  Some kind of candid
	camera gag?  Or like that thing on
	HBO where the cab driver is taping
	what goes on in the back seat?

			VOICE
	This is not showbusiness, my
	friend.  This is reality.

			STU
	Your reality.  Not mine, you
	lowlife fuck.

			VOICE
	Stu, you'll be made to suffer for
	your attitude, so let's dispense
	with the vulgarities.

			STU
	Now you're threatening me!  Fuck
	you.  Could that be any clearer?

			VOICE
	You're only making it easier for me
	to do you harm.

			STU
	Oh yeah.  Right.  Can you see how
	I'm trembling?

			VOICE
	You will be.

			STU
	Shit, this is a new one.  Fucking
	threatening calls in a goddam phone
	booth.  When are you going to start
	with the heavy breathing.

			VOICE
	I'm not the degenerate.  You are,
	Stu.

			STU
	You don't know anything about me.

			VOICE
	Infinitely more than you know about
	me.

			STU
	Like what?

			VOICE
	Like the number you dialed when you
	first entered the booth.

			STU
	How would you know that?

			VOICE
	I'm watching through a scope and I
	could clearly read the buttons you
	pushed.  I have another extension
	here by the window.  Shall I dial
	that same number back for you? 
	Would that convince you?

Stu nervously cranes his neck, looking around at all the tall
buildings that surround the street corner.

STU'S POV

PANNING up at thousands of windows.  The Voice could be
coming from anywhere.

BACK TO STU IN THE BOOTH

			VOICE
	Let's see who's on the other end of
	the line.

			STU
	Don't.

			VOICE
	Too late.
		(beat)
	It's already ringing.  I'll hold
	the receiver up so you can listen
	in.

Stu can hear the beeping as the other line rings.

Then Mavis' voice can be heard answering.  Stu listens
helplessly.

			MAVIS' VOICE
	Hello?

			VOICE
	Well, hello.

			MAVIS' VOICE
	Who is this?

			VOICE
	Someone who's really tight with
	your boyfriend -- who just called
	you from his favorite phone booth.

			MAVIS' VOICE
	You know Stu?

			VOICE
	Stu?  Oh, I know him better than
	anyone.  What he does -- how he
	thinks.  How he lies.

			MAVIS' VOICE
	Who the hell is this?

			VOICE
	Stu is listening in.  He knows what
	we're both saying.

			MAVIS' VOICE
	Stu?  Is that true?  Are you there?

			VOICE
	He doesn't feel like talking.

			STU
		(shouts)
	Mavis!  Just hang up the goddam
	phone.

			VOICE
	She can't hear you, Stu.  Only me.
		(a pause)
	Mavis, I'm afraid Stu hasn't been
	totally honest with you.  But then
	he can't be honest with anyone, can
	he?

			MAVIS' VOICE
	What's your name?  To whom am I
	speaking?

			VOICE
	You've never heard of me, Mavis. 
	He doesn't want you to know I
	exist.  He wishes I didn't exist. 
	But there isn't anything he can do
	about that.
		(beat)
	Still there, Stu?  All you can do
	is listen.

			STU
	Mavis -- the guy is a fucking
	nutcase!  Hang the fuck up.

			VOICE
	She doesn't want to.  She wants to
	know all about us.  Don't you,
	Mavis?

			MAVIS' VOICE
	Did his wife put you up to this? 
	That bitch, Kelly?

			VOICE
	Oh yes, the bitch wife, Kelly.  My
	very next call.

			STU
		(yells)
	He doesn't know my wife!  Don't
	tell him anything else.

Outside the booth, a huge, heavy-set black woman in a too
tight dress, now appears with the clear desire to use the
phone.  Her name is FELICIA.  She taps on the glass.

			FELICIA
	Could you hurry it along?

Stu ignores her and Felicia glares at him through the glass
with hostility.

Stu has no inclination to deal with anybody else.  He's too
distracted by the madness happening over the telephone.

			STU
	Can you hear me, Mavis?  Keep your
	big mouth shut.

			VOICE
	Is that any way to talk to a woman
	you love?
		(beat)
	Mavis, is he always that abusive to
	you?

			MAVIS' VOICE
	You're getting me all upset.  I
	don't know who you are or how you
	know all this --

			VOICE
	I find out things -- from watching
	people and listening to them.

			MAVIS' VOICE
	Just what is your relationship to
	Stu?  That's all I want to know.

			VOICE
	Well, what do you think?

			MAVIS' VOICE
	Answer me, goddam it!

			VOICE
	Well alright.  Stu and I are --
	longtime companions.  A pair.  Two
	of a kind.  Closer than close. 
	Peas in a pod.  Spoons in a drawer.

			MAVIS' VOICE
	You pervert!

			VOICE
	That, too.

			STU
	Don't believe a word of it.  It's
	all lies.

			VOICE
	Too late, Stu.  She already
	believes it.

			MAVIS' VOICE
	You can tell that scumbag never to
	bother me again.

			VOICE
	He won't care.  He'll still have
	me.

			STU
	It's not true.  I do care.

From outside the booth, there's a louder rapping on the
glass.  Felicia really wants in.

			FELICIA
	Get done in there, mister.  I got
	me an important call.

			STU
	Go away.

			FELICIA
	Shit I will!  Finish up!

She continues to rap on the glass as Stu tries to focus on
the two-way phone call.

			VOICE
	Why don't you tell me what you
	think of us?

			MAVIS' VOICE
	You're both disgusting.

			VOICE
	That's what he said about you. 
	Well, if Stu didn't have the balls
	to come out and tell you the truth,
	I felt it was my responsibility to
	clear the air.  Goodbye now, Mavis. 
	Thanks for your time.
		(the phone clicks off; we
		 hear only a dial tone)
	Back to you again, Stu.

			STU
	You total asshole!  How could you
	do that?

			VOICE
	Speaking of females, that woman
	hovering outside the booth -- may
	as well tell her that you'll be on
	the line forever.

			STU
	Like hell I will.

			VOICE
	I'm ready for you to take out your
	cellular and phone home.  And this
	time, I'll listen in.

			STU
	There's no chance of that.

			VOICE
	Or should I call Kelly and make up
	something totally outrageous?  You
	must realize by now I have a vivid
	imagination.

			STU
	You don't know our phone number!

			VOICE
	Are you absolutely sure?  I may
	have been watching you on a regular
	basis.  Keeping track of all the
	numbers I see you dial.

			STU
	And I'm supposed to believe that?

			VOICE
	I've put a great deal of
	preparation into this -- prior to
	actually saying hello.  Now do you
	want to dial 832-7165 -- or should
	I?

The sound of the actual number being spoken shocks him even
more than the earlier mention of his name.

			STU
	What are you going to tell her?

			VOICE
	You'll do the talking.

			STU
	What am I supposed to say?

			VOICE
	Try telling her the truth.

			STU
	Look, I don't want to hurt Kelly. 
	She's always there for me.  It's
	just my nature to have a little
	'strange' on the side.  It doesn't
	mean shit.

			VOICE
	But you still find it necessary?

			STU
	Kind of like having a beautiful
	home.  With everything you ever
	dreamed of.  But you still need
	that vacation now and then.  Some
	nice hotel room with a great view. 
	Maybe a pool.  Only you wouldn't
	want to spend more than a few days
	in any hotel.  Eventually, you want
	to go back to your home and all
	your stuff.  You're real glad to
	check out.

			VOICE
	Kelly is home and Mavis is a hotel? 
	I'm sure they'll both appreciate
	that explanation.

			STU
	You're ruining my fucking life, you
	sonofabitch.

			VOICE
	Didn't I warn you about calling me
	names?  It makes me vindictive.

			STU
	What else can you do to me?

			VOICE
	We haven't even begun.

			STU
	She's not home.  She went out.

			VOICE
	I'll bet she's back.  Now hold the
	cellular up where I can see it --
	so I can be certain you don't
	misdial on me.
		(pause)
	A little higher and to your left. 
	Now I have it in perfect view. 
	Dial slowly.

More violent rapping on the glass from the persistent black
lady outside.

			FELICIA
	If you got you a cell phone, how
	come you taking up the whole
	fucking booth!  This here's an
	emergency!

			STU
	There's another booth on the next
	block.

			FELICIA
	It's busted.  Every damn phone on
	Eighth Avenue is busted but this
	one.

			STU
	Well, I'm not through!  Go in a
	restaurant or someplace, but get
	away from me!

			FELICIA
	I'm gonna pull you out of that
	booth and snatch you ballheaded!

She tries to pull open the sliding door to the booth but Stu
jams it shut, right on her hand.

			FELICIA
	You assaulted my person.

			STU
	Let me hear from your lawyer!

			FELICIA
	You're hear alright.  I'm coming
	back.  And your ass better not be
	around.

She stalks off obviously in search of assistance.

			VOICE
	Good work, Stu.  Now let me see you
	dial.  Tuck the receiver under your
	chin and dial your remote.

			STU
	I'm doing it.

He punches in the digits.  The phone rings -- and rings.

			STU
	I told you she was out.

			VOICE
	Let it ring.

Then a girl's voice is heard.

			KELLY'S VOICE
	Shepard residence.

			VOICE
	Hold it close to the receiver so I
	can hear.

			KELLY'S VOICE
	Hello?

			STU
	Honey, it's me.

			KELLY'S VOICE
	What's taking you so long?  I
	thought we were having some lunch
	at Mario's?

			STU
	Change of plan.  We're not eating
	in that dump any more.

			KELLY'S VOICE
	How come?

			STU
	The Health Department gave them a
	'C' rating -- that's how come. 
	Here I'm trying to put the place on
	the map and he fucks it all up with
	a major roach problem.

			KELLY'S VOICE
	That's disgusting.  Okay, I'll fix
	us a sandwich.  Where are you now?

			STU
	Just in a phone booth.

			KELLY'S VOICE
	How come?  The caller ID says
	you're on your cellular.

			STU
	Oh yeah, I am.

			KELLY'S VOICE
	But you're also in some phone
	booth?

			VOICE
	Explain that one, Stu.

			STU
	I only stepped in because the
	traffic was so loud outside.

			KELLY'S VOICE
	Well just hurry on back.

			VOICE
	Tell her you can't.

			STU
	Not for a few minutes.

			KELLY'S VOICE
	Are you sure you're alone?  I hear
	somebody in the background.

			STU
	The guy in the next booth.  He's
	got a bad connection and he's
	hollering his fool head off.

			VOICE
	You've got an answer for
	everything.

			STU
	I love you, baby.

			KELLY'S VOICE
	Do you?

			STU
	You know that.

			KELLY'S VOICE
	Stu -- who was that man?

			STU
	What man?

			KELLY'S VOICE
	Some person who phoned fifteen
	minutes ago -- just after you went
	out.

			STU
	I don't understand...

			KELLY'S VOICE
	This total stranger rang up and
	told me to wait by the phone --
	because you'd be calling me in a
	few minutes -- from a booth.  And I
	said what would he be doing in any
	phone booth?

			STU
	And what did this guy say?

			KELLY'S VOICE
	He said you'd be making phone
	calls.  What else?

			STU
	Making calls is part of my
	business.

			KELLY'S VOICE
	To whom?

			STU
	Clients.  People.  Planting items
	like I do.

			KELLY'S VOICE
	Women?

			STU
	Once in a while one of them could
	be a woman.  I just called
	"Elaine's" and talked to her to see
	who was in there last night.

			KELLY'S VOICE
	You know exactly what I mean.

			STU
	You're not going to start that shit
	again?

			KELLY'S VOICE
	I just feel something is wrong.

			STU
	What could be wrong?

			KELLY'S VOICE
	The way you sound.  You don't sound
	like yourself.

			STU
	Yeah?  Who do I sound like?

			KELLY'S VOICE
	Someone who's scared.  There's fear
	in your voice like I've never heard
	before.

			VOICE
	See, Stu?  Kelly agrees with me.

			KELLY'S VOICE
	I want you to come back home.  Now!

			STU
	I told you.  In a while.

			KELLY'S VOICE
	No.  I want you here now.  In case
	he calls back, I don't want to
	answer again.

			STU
	Why should he call back?

			KELLY'S VOICE
	I feel like he's going to.

			STU
	You're the one that sounds
	frightened.  And of nobody.

			KELLY'S VOICE
	He's not a nobody.  He knows about
	us.

			STU
	You're not telling me all he said. 
	What are you holding back?

			KELLY'S VOICE
	I can't discuss it on the phone. 
	Just get over here!

CLICK!  She hangs up.

			STU
		(into pay phone)
	Why did you do that to her?  She
	never did you any harm.

			VOICE
	How would you know?  Everybody does
	harm to somebody.  And then they
	try their best to forget it.

			STU
	Maybe me -- but not her.  Whatever
	I've done, there's no reason to
	take it out on her.

			VOICE
	Suppose that's the only way I can
	get to you?  You claim you love
	her.

			STU
	Yeah, I do.

			VOICE
	You don't even love yourself.

			STU
	But Kelly... I would never hurt.

			VOICE
	Still you have to uphold your
	status as an honorary asshole.

			STU
	Listen, I've treated all my women
	decent.  I never laid a hand on any
	of them, even when provoked.  And I
	always let them down easy.
		(beat)
	I'm not ready to let Kelly go. 
	Maybe I never will be.

			VOICE
	What if she dumps you first? 
	What's the odds she's already taken
	up with somebody?  One day soon
	you'll come home and find her gone
	along with the CD player and the
	VCR.

			STU
	I'm not gonna let you mind-fuck me
	all day!  That's it.  This call is
	ended.

			VOICE
	Not until I say it is.

			STU
	What happens if I hang up?

			VOICE
	You don't really want to find out.

			STU
	I'm dying to hear this!!!  What the
	fuck can you do about it -- up in
	your fucking high window with your
	goddam binoculars?

			VOICE
	I never indicated I had binoculars. 
	I said I had a highly magnified
	telescopic image of you that
	brought you up so close I could see
	where you nicked yourself under the
	chin shaving this morning.

			STU
	Oh -- while you're at it, have a
	look up my ass.

			VOICE
	I may very well do that, Stu.  In
	the meantime, think about what kind
	of device has a telescopic sight
	mounted on it.

			STU
	What?  You mean... like a rifle?

			VOICE
	A high-powered .30 calibre bolt
	action Remington 700 with a carbon
	one modification and a state of the
	art Henzholdt tactical sniperscope. 
	And you're in the cross hairs, Stu.

			STU
	I'm supposed to believe that?

			VOICE
	There's only one way I can prove it
	to you.  Hang up the receiver and
	find out.  At this range, the exit
	wound ought to be about the size of
	a small tangerine.

			STU
	And you're just going to kill me
	for no reason?

			VOICE
	For plenty of reasons!  Because you
	hung up.  For years I hated people
	hanging up on me.  Ex-girlfriends. 
	Women I didn't even know. 
	Prospective employers.

			STU
	I get hung up on all the time.  You
	get used to it.

			VOICE
	Or else you don't.  I worked for
	months getting people to switch to
	MCI -- being insulted at and being
	hung up on hundreds of times a day. 
	The ones that cursed me out for
	invading their privacy never
	bothered me as much as those that
	clicked off without even bothering
	to reply.

			STU
	Then why didn't you go after one of
	them?

			VOICE
	Maybe you are one of them.

			STU
	Hey, I have worked in a boiler room
	myself peddling "Term Life."  I
	Would never be rude to a fellow
	salesperson.

			VOICE
	Can you feel it on you now?  The
	heat of it.  I'm moving the strike
	zone down to your stomach area. 
	Now I'm raising it up again. 
	Directly above the chest cavity --
	sliding up to the forehead just
	above the left ear.

			STU
	Shit -- I do feel it.

			VOICE
	Tell me where I'm going with it
	now.

			STU
	Across my forehead -- now back
	where it was before.

			VOICE
	I'm amazed how you can do that. 
	You're amazingly accurate.
		(beat)
	Now I know what you're thinking. 
	If I drop down on the floor of the
	booth and flatten myself out...

			STU
	No, I'm not thinking that.

			VOICE
	Oh yes you are.  Can I crawl out
	using the booth as a shield?  Can I
	crawl to that Chrysler illegally
	parked only three or four feet
	away?  The shattering glass may cut
	me, but it'll only be superficial. 
	Otherwise, this lunatic will never
	let me out alive.

			STU
	No.  You will.  I know you will. 
	If I just cooperate.

			VOICE
	Where is it now?  Think and feel
	for the warm spot.

			STU
	Below the shoulder?

			VOICE
	Which one?

			STU
	The right shoulder.

			VOICE
	Remarkable how we're in tune. 
	You're doing far better than the
	others.

			STU
	What others?  What do you mean?
		(no reply)
	You said 'others!'

			VOICE
		(finally)
	I'm sure you read about the Italian
	tourist shot dead ten days ago at
	the corner of Forty-fifth and
	Eighth?

			STU
	I saw it on the news.

			VOICE
	And where are we now?

			STU
	Oh, God.  Forty-fifth and Eighth.

			VOICE
	What else do you remember about
	that killing?

			STU
	I don't know.

			VOICE
	Try.

			STU
	He was gunned down.  And nobody was
	caught.  And they didn't even
	bother to take his wallet or his
	watch... or anything.

			VOICE
	Now you know why.  It wasn't a
	robbery.

			STU
	What did he do?

			VOICE
	He hung up -- so I disconnected him
	permanently.

			STU
	Please -- don't do it to me.  You
	got no reason to do it to me.

			VOICE
	Don't give me reason.

			STU
	I'm not looking to.  Tell me what
	you want!

			VOICE
	Tell me about your job.

			STU
	What's to tell?  I'm in Public
	Relations.  They used to call us
	"flacks."  Now we're media
	consultants.

			VOICE
	What do you do, exactly?

			STU
	Plant items in the paper and on the
	tube.  More important sometimes,
	keep stuff out.

			VOICE
	What've you kept out?

			STU
	One of my people got nailed for
	indecent exposure.  I managed for
	the cops to use his real name
	instead of his stage name so nobody
	picked up on it.

			VOICE
	You saved the little deviate's ass,
	didn't you?

			STU
	He's in major therapy now.  I swear
	he is.

			VOICE
	You must hang with some major
	celebrities.  Journalists,
	newscasters -- those types.

			STU
	I'm real close with Larry King. 
	And the "Hard Copy" people.

			VOICE
	Could you get him down here?  Larry
	King?

			STU
	Why would he want to come here?

			VOICE
	Because you asked him to.

			STU
	He comes from Atlanta.

			VOICE
	Well, who could you get?

			STU
	I don't know.

			VOICE
	Wolf Blitzer?

			VOICE
	Probably not.

			VOICE
	Regis?

			STU
	Definitely no chance.

			VOICE
	You'd be offering them an exclusive
	newsbreak.  I'm talking about more
	than one homicide.

			STU
	How many?

			VOICE
	I don't answer questions.  I ask
	them.

			STU
	I gotta have the facts.  They might
	not believe me.  My record isn't
	too good when it comes to hard
	news.

			VOICE
	You're not considered a reliable
	source?

			STU
	On a divorce or separation, maybe. 
	Or who's gay, or who isn't gay any
	more.  I kind of specialize in that
	kind of material.  I mean I could
	probably get you Joe Franklin.

			VOICE
	How about Cindy Adams?

			STU
	I might have a shot.  Are you
	familiar with Liz Smith?

			VOICE
	Do you know her number?

			STU
	Want I should call her?  How much
	can I say?

			VOICE
	Tell her you're in direct touch
	with a killer who's willing to
	speak honestly if she shows up here
	alone and without notifying the
	authorities.

			STU
	She usually likes to have a
	celebrity involved.  If you had an
	actor or a sports figure held
	prisoner instead of me, there'd be
	better odds she's come.

			VOICE
	Then lie.  Pick a celebrity and put
	them in the booth.

			STU
	Let's see.  Who does she like?  Who
	couldn't be reached to deny it?

			VOICE
	I'm anxious to see you in action. 
	Don't keep me waiting.

Stu uses his cellular again.

			STU
		(dialing)
	Sometimes you only get her service.
		(into cellular)
	Hi -- Stu Shepard.  Put me through. 
	I've got hard news for her.  I can
	only talk to her directly.  But say
	it regards -- Liza.

			VOICE
	Liza?  That was imaginative.

			STU
		(into cellular)
	No, I can't call back.  I'll have
	to lay in on somebody else. 
	Alright, but I can't hang on long.
		(to pay phone)
	She's coming on.
		(to cellular)
	Liz, hello.  Sure I'll make it
	brief.  Killing two weeks ago in
	the theatre district?  Turn out a
	sniper did the job.  Yeah, a sniper
	with a rifle.  Now he's got another
	victim lined up.  Not just your
	anonymous New Yorker, but Liza. 
	Now you can't call anybody or Ms. 
	Minelli's dead meat and so am I. 
	She's hostage in a phone booth
	right in the sniper's sights.  But
	he says he'll talk to you and let
	her walk.  I know it'll take balls
	to do this, but you're a fine and
	courageous newspaper woman...

There's a click.  Silence.

			STU
	Hello?  Hello?
		(to pay phone)
	Either she's on her way over or she
	doesn't believe me.

			VOICE
	You weren't particularly
	convincing.

			STU
	I didn't really believe in what I
	was saying.

			VOICE
	Because you don't really believe my
	Remington is pointed at you?

			STU
	I do.

			VOICE
	You're ninety percent sure.

			STU
	At least ninety-five percent, easy.

			VOICE
	Let me erase all doubt.

			STU
	No.  Don't shoot.

			VOICE
	Control yourself, Stu.  Glance down
	at your chest.  What do you see.

			STU
	Oh, my God.  A dot.  A fucking red
	dot.

A tiny red dot now moves across Stu's chest.

			VOICE
	Like you've seen in the movies?

			STU
	The laser dot.  Just before some
	poor bastard always gets blown
	away.

			VOICE
	Usually a supporting player.  That
	lovely but by now generic special
	effect of the bullet piercing the
	forehead.

The tiny red laser dot dances around Stu's chest and stomach 
-- the jumps up and remains between his eyes.

			VOICE
	This takes all the guesswork out of
	it.  You know exactly where to
	expect it before I even tighten my
	finger on the trigger.

			STU
	Don't tighten.  Don't even tickle
	that fucking finger.

			VOICE
	How about Geraldo?  He's run his
	ass off to get in on this.

			STU
	You're talking about the old
	Geraldo.  Look, I can try and reach
	cable NBC.  They're hungry.

			VOICE
	I'm disappointed.  I wanted to go
	first class.

			STU
	They do a great job.  They'll haul
	a whole crew over to cover your
	surrender "live."

			VOICE
	I never expressed interest in
	giving myself up.  There are so
	many other phone booths in the
	city.  I'm just getting warmed up.

			STU
	That's entirely up to you.  Your
	choice.  I'm just trying to set you
	up with the proper communicator.
		(beat)
	I suppose Liza wasn't strong
	enough.  I should've said Madonna.

			VOICE
	Now you're being creative.

Outside the booth, the angry black woman has returned,
bringing with her a gaudily dressed pimp named LEON who looks
like he means business.  He slams his fist against the glass,
nearly shattering it.

			LEON
	Drag your baggy butt out of that
	booth.  We got business to conduct
	out of there.

			FELICIA
	He been in there all day.

			STU
	I'm not through.

			LEON
	Hang up that receiver or I'll make
	you eat the fucking thing!

			STU
	Fuck off or I'll call a cop.

			LEON
	Do you see one around here?  What
	you think I'm gonna be doing while
	you're waiting for a prowl car to
	get assigned?  I'm about to cut you
	a second asshole if you don't
	vacate those premises.

			STU
	I can't.

			FELICIA
	He's got him a fucking cellular. 
	What's he need to be on our booth
	for?

			STU
	I can't explain it.

			LEON
	I'm not interested in your
	explanations even if you had any.

He withdraws a switchblade knife from his pocket but doesn't
open it -- yet.

			LEON
	If I flick this, I use it.

			STU
	I'll make it worth your while to go
	away.  How much do you want?

			LEON
	Make me an offer.

			STU
	Thirty dollars.  It's all I've got
	in cash.  Take it and go.

			LEON
	You're offering to rent my phone
	booth?  For how long?

			STU
	I don't know.  For as long as it
	takes.

			LEON
	What's so special in there?

			STU
	Do you want the money?

			LEON
	Is that a genuine Rolex you've got
	on?

			STU
	Come on, man.  That's my good
	watch.

			LEON
	That's what it's gonna take.

			STU
	Then here.  Take the damn thing.

			LEON
	And the thirty!

			STU
	Take it all.

The pimp pockets the watch and the money.  But doesn't go
away.

			LEON
	Now I'm satisfied.  But you still
	got to deal with Felicia here.  I
	believe you spoke harshly to her.

			STU
	I apologize.

			LEON
	And did her some injury.

			STU
	An accident.  I'm sorry about that,
	too.

			FELICIA
	The man don't sound like he means
	it.

			LEON
	I agree.
		(to Stu)
	Why don't you hang up a minute so
	we can discuss this matter at
	length.

			STU
	It's long distance.  I can't lose
	the call -- I might not get them
	back.

			LEON
	Do I have to rip that fucking phone
	out of there?

			STU
	That wouldn't be a good idea.
		(into pay phone)
	Would it?

			VOICE
	Not at all.

			STU
	I gave you everything I've got.

			LEON
	That pinky ring looks attractive. 
	Felicia might like that.

			FELICIA
	It might fit.

			STU
	You want the ring, you've got the
	ring.  If I can get it off.

			LEON
	I can get it off you.

Leon reaches in and grabs Stu's ring hand.

			STU
	Let go of me!  It's coming loose. 
	There.
		(he tosses it)
	Okay, Felicia, with my deepest
	apologies.  Goodbye now.

			LEON
	What's really going on in that
	booth -- that escapes the naked
	eye?

			STU
	Nothing.  Talk.  That's all.

			LEON
	That your connection on the end of
	the line?  Or are you dealing?

			STU
	This has nothing to do with drugs.

			LEON
	You gotta be high on something to
	willingly divest yourself of your
	valuables -- just to maintain
	occupancy of a fucking phone booth
	that the local bums piss in every
	night.

			STU
	I knew it smelled for some reason.

			LEON
	You look like you're ready to piss
	yourself.

			STU
	Because I am.

			LEON
	Maybe if the city provided decent
	public toilets, folks wouldn't
	relieve themselves in the subway
	stations and phone booths!

			STU
	I'll take it up with the mayor.

			LEON
	Next thing you know you're gonna
	claim we mugged you -- took your
	billfold and watch.

			STU
	No, you didn't.  It was a fair and
	equitable deal.  You had
	territorial rights to this booth
	and I paid a license fee.  Fair is
	fair.  Now leave me in peace.

			LEON
	You sure you're alright?
		(to Felicia)
	He don't look well.

			FELICIA
	Kind of pale.  Even for a white
	man.

			LEON
	Jaundice they calls it.  Probably
	advanced liver trouble.
		(to Stu)
	If it's cirrhosis, you better find
	yourself a twelve step program and
	quick.

			STU
	Thanks for your interest but I'm in
	perfect health.

			FELICIA
	So how come his hand is shaking?

			LEON
	The man is cracking up.

			FELICIA
	Lookit the sweat pouring off the
	sonofabitch.  That's one sick
	mother you started up with, Leon!

			LEON
	Me?  You're the one that brought me
	over and exposed me to all his
	germs.

			STU
	I'm terminal, okay?  Now can I
	close the booth and continue my
	conversation?

			LEON
	I'm worried now it might be
	catching.  All that money out of
	your sweaty pocket is probably
	crawling with some rare and
	incurable disease.

			STU
	Fine.  Give it back.

			LEON
	What good's that?  We done touched
	it.

			STU
	Well go wash your hands.

			LEON
	Come on now.  Own up to what you're
	carrying.  Is it some of that
	sexually transmitted shit?  Cause
	in that case, we can relax.

			STU
	I'm sick of you.  Now get out of my
	face.

			LEON
	Here we's being solicitous as to
	your health and you respond by
	heaping abuse!

			FELICIA
	Whip his arrogant ass.

Leon reaches into the booth and grabs Stu's jacket.

			STU
	Touch me and I'll throw up on you.

At the suggestion, Leon lets go quickly.

It looks like a stalemate.  Stu isn't vacating the booth and
Leon and his lady are reluctant to touch him further.  He
does indeed look sick.

			STU
		(into pay phone)
	You can see what I'm up against
	here.

			VOICE
	Want me to get rid of him for you?

			STU
	What do you have in mind?

			VOICE
	I'll think of something.

Suddenly the red dot reappears on the forehead of the pimp.

Leon doesn't realize it's there.  The hooker behind him has
no way of seeing it.  But to Stu, there's no way to miss it. 
He reacts.

			STU
	God -- no.
		(into pay phone)
	Don't.  It's not necessary.

			VOICE
	You asked for my help.

			STU
	I'll handle it myself.

			VOICE
	You're not doing too well.  I can
	settle it in a fraction of a
	second.  Shall I demonstrate?

			STU
	No.
		(to Leon)
	For your own safety, mister, just
	walk away.

			LEON
	Now the man is turning
	aggressive... issuing threats upon
	my person.

			STU
	You're making this happen.

			LEON
	If you don't hang up and step out,
	I'm about to topple this booth into
	the gutter with you inside it.

Reluctant to touch Stu again, Leon assaults the booth itself. 
He begins shaking it violently -- trying to rip it from its
foundation.  And the rickety booth is not too sturdy.  It
starts rocking back and forth.

Stu is thrown around inside it, barely keeping his footing.

			STU
		(into pay phone)
	This isn't my fault.
		(shouts)
	Stop that!

But Leon continues rocking the booth.  It won't come loose --
so in frustration, he punches in a side pane of glass.

The glass shatters all around Stu, who does his best to
shield himself from the slivers.

			STU
		(into pay phone)
	The guy's insane!

			VOICE
	Only one way to stop a mad dog. 
	Give me permission.

			STU
	I can't.

			VOICE
	If he forces you out of that booth,
	I've told you what to expect.  You
	or him, Stu.

Leon is smashing other panes of glass now -- one after
another -- as Stu cowers inside.

			FELICIA
	Don't cut yourself, honey.

A crowd of derelicts and street people are now gathering to
watch the out of control pimp take out his wrath on the booth
and its occupant.

			DERELICT
	Looks like the fucker is comin'
	loose.

			STREET PERSON
	Shove it out into the oncoming
	traffic.

			DERELICT
	What'll you bet the bus could knock
	that fifty feet?

The booth is being decimated but Stu hangs onto the phone.

			STU
		(into pay phone)
	Hello?  Hello?

			VOICE
		(with heavy static)
	You're breaking up.  We're about to
	be cut off.

			STU
	I can't help it!

			VOICE
	That counts as a hang-up.

			STU
	No.  It can't.  That's not fair.

			VOICE
	I can still make him stop.  Say the
	word.  Can you hear me?

			STU
	Yes.

Stu sees the red dot reappear on Leon's chest as he continues
to barrage the booth with punches and kicks.

Then Leon recoils, staggers a step backward.  He doesn't
realize he's been shot.

There's been no sound of gunfire.  Perhaps a silencer was
used -- or the downtown traffic drowned out the solitary
discharge.

Leon looks confused at first.  His ladyfriend has no idea
he's wounded -- neither do the derelicts and street people
who've assembled on the corner.

Even Stu isn't sure -- until the blood starts oozing from the
wound on the pimp's chest -- staining his yellow vest.

He isn't assaulting the booth anymore.  He's trying to keep
his balance.  He slumps forward, hanging onto the booth for
support -- only a few inches from Stu's face.  The blood runs
down the side of the booth.

			STU
		(into pay phone)
	You did it!

			VOICE
	You said 'yes.'

			STU
	I said 'Yes, I can hear you.'  Not
	'Yes -- kill the motherfucker!'

			VOICE
	Don't try to renege on it.  I was
	following orders.

			STU
	You're twisting it all around.  I
	didn't do this!

Meanwhile, Leon leans upright against the booth.  Then his
legs cave in and he begins to slide to his knees.

Felicia runs up beside him.  She sees the blood.

			FELICIA
	I warned you not to cut yourself.
		(to crowd)
	Look at all that blood.  He must've
	hit an artery.

She screams as Leon topples backwards onto the pavement.  Now
his chest wound is evident.

			FELICIA
	Oh, Jesus.  What is that?  Talk to
	me!  What happened?

The crowd tightens around the fallen body.  Street people who
are fascinated but not shocked.

			DERELICT
	Gunshot!

			STREET PERSON
	Yeah.  Sucking chest wound right
	over the heart.

			FELICIA
	Somebody call an ambulance.

			STREET PERSON
	Call the meatwagon.  He's fucked
	up.

			FELICIA
	You shut the fuck up!

Her focus turns to Stu in the battered phone booth.

			FELICIA
	Why did you do that to him?

			STU
	I didn't.

			FELICIA
		(to crowd)
	You all saw it!  He shot my man
	without no provocation!

			DERELICT
	Yeah.  Pumped one right into him at
	close range.

			STU
	How could I?  I don't even have a
	gun.  Look!

			STREET PERSON
	Everybody get the fuck back!  They
	shoot one -- then they shoot
	everybody in sight!  Kill all the
	fucking witnesses!

The crowd disperses to doorways and around the corner -- out
of immediate range.

			STU
	Come back.  You've got to see --
	I'm not armed.

Only Felicia remains, leaning over the pimp's body, staring
helplessly.

			FELICIA
	Hang up and dial 911.  Get a
	doctor!

			STU
	I can't hang up.  That's what this
	is all about.

			FELICIA
	You're gonna stand there and let
	him die?

			STU
		(takes out cellular)
	I can use this.
		(he dials)
	Emergency.  Yes.  There's been a
	shooting at Forty-fifth and Eighth 
	-- on the corner.  A man is down. 
	What's the difference who I am?  I
	don't want to be involved.

			FELICIA
		(shouts)
	That's bullshit.  He's the shooter. 
	You're talking to the shooter.

Stu quickly disconnects the cellular.

			STU
	That wasn't nice.

			FELICIA
	Go ahead -- make a fucking run for
	it.  I hope they gun you down --
	like you did him!

			STU
	I'm not going anyplace.  I'm
	staying right here in this booth.
		(into pay phone)
	Unless you give me permission.

			VOICE
	You're attracting a lot of
	attention.  I suppose when the
	police get there, you'll accuse me.

			STU
	What do you expect me to say?

			VOICE
	That's up to you.  But any mention
	of me will not be appreciated.

			STU
	You mean...?

			VOICE
	You won't even get to finish your
	sentence.  Oh look, that little red
	dot is dancing around all over you
	again.  You saw how quickly it can
	happen.  And how accurate I can be.

			STU
	They can't blame me -- I'm not
	armed.

			VOICE
	Who's going to believe that?  With
	all those witnesses to the
	contrary.

			STU
	They can see with their own eyes.

Not far away, we hear the BLAST of POLICE SIRENS drawing
closer.

			VOICE
	Remember to leave me out of it.

			STU
	How can I?

			VOICE
	You'll put the proper spin on it. 
	Isn't that your specialty?  Feeding
	the public a story that may not
	have a shred of truth -- and making
	it totally believable?

			STU
	This isn't a story.  This is real. 
	This is murder.

			VOICE
	If you'd only dealt with the man
	reasonably, shown him some respect,
	this might not have been necessary.

			STU
	I gave him my money, my watch...

			VOICE
	But not your respect.  Which is
	what he required of you.

			STU
	He was a fucking thief.

			VOICE
	And now he's a fucking dead thief. 
	Do you feel better about that?

			STU
	I don't feel a bit guilty.  This is
	all your doing!

			VOICE
	Now you're being disrespectful of
	me.  You never learn.  Your job is
	to deal with people -- but you're
	not good at it.

			STU
	Hey, I'm not taking any more
	criticism from some lunatic sniper
	who gets his kicks killing
	strangers.

			VOICE
	You keep insisting I'm a stranger. 
	Probably because you don't
	recognize the voice.  But there are
	cheap electronic devices available
	that disguise the voice.  I might
	not even be a man.  I might be one
	of those many women you've almost
	totally forgotten.  One who doesn't
	forgive easily.  One who wants to
	watch you squirm.

			STU
	You're a man.  I know you're a man. 
	Women don't kill with telescopic
	rifles.  They stab you.

			VOICE
	You sound so sure of that.  But
	you've never provoked any man as
	much as have the women in your
	life.  And so many of them, Stu.
		(a beat)
	Do you even remember their names?

			STU
	I've got no time to rehash my whole
	life.  Oh my God!  The cops are
	here.

Police cars are pulling up on all sides of Eighth Avenue.

Traffic has suddenly been shut down.  Prowl cars have now
blocked the streets.

PRODUCTION NOTE: Everything is seen from Stu's perspective
without intercuts.

Half a dozen cops now emerge and approach with drawn guns.

			FELICIA
		(pointing)
	That's him -- in the booth.  He's
	got a gun!

As she hurls accusations, she's lugging Leon's lifeless body
out into the gutter into the center of Eighth Avenue.

It's a bright afternoon.  In the distance, we hear the
maddening HONKING of uptown traffic that is now being
rerouted, creating a huge bottleneck and raising the anger of
irate motorists and bus drivers whose horns provide their
simplest form of protest.  It's a discordant concert that
echoes the confusion and frustration which Stu now feels...

As the cops surround the booth -- at a distance.

			SERGEANT
		(into bullhorn)
	Throw down your weapon and come out
	with your hands raised.

			STU
		(into phone)
	They're ordering me to come out.

			VOICE
	I can see that.  Ignore them.

			STU
	What if they open fire?

			VOICE
	They probably won't.  Look across
	on the east side of the street.  Do
	you see the tourist with the home
	video camera?

STU'S POV

A distant crowd gathering on the opposite west side corner
behind the police cars.  Some tourist is capturing the event
on video.

BACK TO STU

			STU
	What about him?

			VOICE
	He's going to keep the police on
	their best behavior.  So long as
	you don't take what could be
	interpreted as hostile action,
	you'll be safe.

			STU
	You call this safe?  Six cops with
	guns pointed my way?

			VOICE
	You want me to reduce them to three
	-- or two?

			STU
	Absolutely no more shooting.  Now
	is that clear?

			VOICE
	You can always change your mind.

			SERGEANT
		(with bullhorn)
	You know the drill.  Hands clasped
	behind the back of your neck --
	moving slowly -- step out of the
	booth.  If we see any sign of a
	weapon, we will respond.

			STU
		(shouts)
	You won't, because there isn't any.

			SERGEANT
		(bullhorn)
	I repeat.  Raise your hands.

			STU
	I can't.  I'm on a phone call.

Now a black POLICE CAPTAIN arrives and takes full command of
the situation.

			CAPTAIN RAMEY
	You have thirty seconds to comply.

			STU
	I told you.  I'm busy.  Come back
	later.

			VOICE
	Very good, Stu.

The cops take cover behind parked cars, keeping Stu clearly
in their sights.  He has no place to hide.  He's in the
battered phone booth in plain view from all sides.

			RAMEY
	You've been given an order.

The Sergeant slides up beside the Captain to confer.

PRODUCTION NOTE: We remain in LONG SHOT of the cops -- always
from Stu's POV.  But we can hear their voices and all that is
said as if they were in close up.  It has an odd, unreal and
distancing effect.

			SERGEANT
	We're dealing with a mental case. 
	He's looking for us to kill him.

			RAMEY
	Well he's not getting his wish.

In the center of the street, an ambulance pulls up and a team
of medics jump out.  They rush to Leon's body.  (Again we
hear their voices close, even though visually they are far
off.)

			FELICIA
	Tell me he's gonna be alright.

			MEDIC
	Step aside.  Let us look at him.

The medics push her aside -- then examine the victim.  He's
DOA.

			MEDIC
	Nothing we can do.  Don't touch the
	body.  They'll need it to mark the
	crime scene.

Far across the street, the Captain confers with his
subordinates.  They are small figures on the screen but we
hear them sharply.

			SERGEANT
	Same corner as two weeks ago.

			RAMEY
	Maybe it's more than a coincidence. 
	Cover me.  I need to talk to him.

			SERGEANT
	You've got your vest on?

			RAMEY
	What do you think?

The Captain steps out of cover and boldly approaches the
phone booth.  He stops cautiously about fifteen feet away.

			RAMEY
	I'm not armed.

			STU
	Neither am I.

			RAMEY
	Yeah, sure.  I need to know what
	happened.

			STU
	Can't talk about it.

			RAMEY
	Sure you can.  My name's Ramey. 
	Captain Ed Ramey.  What's yours?

			STU
	Look, I don't want to be friends.

			RAMEY
	You look like you need a friend.

			VOICE
	Tell him you've already got a
	friend.

			STU
		(yells)
	I've got a friend, okay.

			RAMEY
	Is that who you're talking to on
	the phone?

			STU
	None of your business.

			RAMEY
	When somebody gets shot, it becomes
	my business.  Let's not have
	anybody else killed.  I want to
	hear your side of it.

			STU
	I've got no side of it.

			VOICE
	Don't worry, Stu.  I've got him
	fixed right in my sights.  I won't
	let him hurt you.

			RAMEY
	Has this happened to you before? 
	The need to hurt someone?  To put a
	bullet in them?

			STU
	You won't believe anything I say.

			RAMEY
	Try me.

			STU
	I couldn't shoot anybody.  I'm not
	armed.

			RAMEY
	You're right.  I don't believe you. 
	What's that bulge in your pants
	pocket?

			STU
	That?  That's my cellular.

			RAMEY
	A cellular?  Then what are you
	doing in a phone booth making
	calls?

			STU
	Do you want to see it?

			RAMEY
	Don't reach for it, mister.

			STU
	Then how can I show it to you?

			RAMEY
	I don't need to see it.  I know
	what's there.  All these witnesses
	saw you use it on him.

From behind a parked car, a HOMELESS PERSON calls out.

			STREET PERSON
		(hollers)
	Damn straight!

Another DERELICT, crouched in a doorway, joins in.

			DERELICT
		(shouts)
	Yeah!  Shot him down like a dog!

			STU
	They're all lying.  Nobody saw it
	because it didn't happen.

			RAMEY
	A man is dead but it didn't happen.

			STU
	Not on account of me!  This is like
	some bad dream.

			RAMEY
	You're walking through a bad dream
	and you can't wake up.  Do you want
	to wake up?

			STU
	I'm trying.

			RAMEY
	And in this dream, you killed that
	man.  He was bothering you so you
	iced him.

			STU
	No.

			RAMEY
	Then who did?

			VOICE
	Don't tell him, Stu.  Or it'll be
	the last thing he ever hears.  His
	blood will be on your hands.

			STU
		(to Ramey)
	I don't know.

			RAMEY
	But you saw it happen?

			STU
	Yes.

			RAMEY
	You were the closest one to him. 
	You must've seen who did it.

			STU
	No.

			RAMEY
	We're trying to be honest with each
	other, aren't we?

			STU
	Not necessarily.

			VOICE
	I'm losing patience with this cop.

			STU
		(into phone)
	I'm handling this.

			RAMEY
	Who do you keep talking to on the
	phone?

			STU
	Nobody.  My psychiatrist.

			VOICE
	Excellent, Stu.  You're getting
	good at this.

			RAMEY
	What's this doctor's name?  It's
	important we know.

			STU
	He says not to tell you.  It's
	privileged information.

			VOICE
	Damn good reply.  Now you're having
	fun.  Admit it.

			STU
	Whatever you say.

			VOICE
	Playing it so close to the edge. 
	I'll bet you've never felt so
	alive.  That's how I feel when I
	look through the sight and select
	somebody.

The Captain begins advancing a few steps closer.

			RAMEY
	I respect your right to privacy. 
	I've been to therapy myself.  The
	department provides it.  I know
	it's not good form for a cop to be
	admitting that, but...

			VOICE
	Tell him not to come any closer.

			STU
	Stop right there.  Back up a few
	steps.  Back where you were.

			RAMEY
	If it makes you more comfortable.

			VOICE
	Tell him to read you your rights.

			STU
	I want you to read me my rights and
	stop asking questions.

			RAMEY
	Al least tell me your first name.

			STU
	It's my right not to have any name.

			RAMEY
	No gun and no name.  You're a
	highly underprivileged person.

			VOICE
	Demand a lawyer.

			STU
	And get me a lawyer, too.  I want a
	lawyer brought down here to
	negotiate my surrender.

			VOICE
	Brilliant, Stu.  Keep winging it.

			RAMEY
	It'll be hard to find a lawyer
	willing to risk his life.  But if
	you hand over the gun...

			STU
	How can I when you won't let me
	take it out?

			RAMEY
	We'll take it out for you -- as
	soon as you exit the booth with
	your hands raised and...

			STU
		(interrupts)
	Now we're back to that again.  It's
	always "Get out of the booth.' 
	'You can't stay in the booth.' 
	Well, I like it in the fucking
	booth.  It's my whole world now. 
	It's my booth and I'm never coming
	out.

			RAMEY
	We're not about to force you
	because there could be a
	miscalculation and then we'd never
	find out why this happened.

			STU
	Why is it so important to know? 
	The guy is dead.  Isn't that
	enough?  Knowing isn't going to
	make him alive again.  So who gives
	a fuck!

			RAMEY
	It's what makes the job
	interesting.  Finding out why. 
	Something drove you to do this. 
	You didn't go out today expecting
	this to happen.  It was a nice day. 
	You were out for a walk.  And then
	suddenly it all changed.

			STU
	All I wanted was to make a phone
	call.  One lousy phone call for
	thirty-five fucking cents.

			VOICE
	Careful, Stu.  Don't volunteer too
	much.

			RAMEY
	You got some bad news on that call.

			STU
	The worst.

			RAMEY
	Something that pushed you over the
	edge?

			STU
	And I've been falling ever since.

			RAMEY
	Time to land.

			STU
	When you hit bottom, you die.

			RAMEY
	I'm your safety net.

			STU
	If I tell you what you want to know
	-- you'll die, too.

Something about the implied threat sends a chill through
Captain Ramey.

INSERT SHOT

The Captain's head as seen through a telescopic sight.

Ramey could be dead in an instant.

PRODUCTION NOTE: The only time we deviate from Stu's
perspective is when we see the sniper's POV through his
scope.

ANGLE BACK ON STU IN THE BOOTH,

the detective fifteen feet away.

Ramey decides to back off momentarily.

			RAMEY
	I'll go see about that lawyer.

			STU
	Now that's a good idea.

The Captain withdraws back across the street.

			VOICE
	He's lucky.  I had him centered in
	my cross hairs.  I really had to
	restrain myself.

We hear the approach of a helicopter.

Stu peers up ward as not one but two choppers appear above
the tall buildings.

			VOICE
	It's not the police.  It's the
	media.  You're news, Stuart.

The helicopters circle above.

			VOICE
	You've never gotten this much press
	for any of your clients.  I'm
	making you a famous person.

			STU
	They're just hoping for coverage of
	me dying in the gutter.

			VOICE
	Their presence is putting the
	police on their continued best
	behavior.

			STU
	Those cops are just looking for any
	excuse.

			VOICE
	Then don't give them one.

Then, as if on cue, Stu's cellular phone in his pocket starts
ringing.

But he can't allows himself to reach for it.  To do so might
cause the police to believe he was trying to draw his gun.

It rings quietly -- virtually inaudible outside the booth. 
Drowned out by the traffic horns, the static from the police
radios and the newly introduced sound of television
helicopters circling over Eighth Avenue taking video coverage
of the event below.

			VOICE
	Who could it be?

			STU
	Kelly.  She was worried about me.

Stu is afraid to reach in his pocket lest the cops think he's
going for a gun.

			VOICE
	Maybe she's seen this on
	television.  It must be on every
	channel by now.  Breaking news.

			STU
	She doesn't watch daytime TV.

			VOICE
	One of the neighbors could've
	alerted her.

The cell phone keeps ringing, almost drowned out by the sound
of helicopters circling overhead.

			STU
	Why are you saying this?  You want
	me to reach in my pocket so you can
	see them open fire?

			VOICE
	That's an unwarranted accusation
	and very unbecoming in light of the
	good advice I've given in the past. 
	Have I ever steered you wrong?

			STU
	God -- how I'd love to hear her
	voice.

			VOICE
	It might even be worth it.  She's
	insistent, isn't she?

The cellular won't stop ringing.

			STU
	If she knows I'm in trouble, she
	won't give up.

			VOICE
	Probably glued to the TV by now. 
	I'm watching coverage on two
	stations now.  Channel surfing.
		(pause)
	Well, there you are on two and four
	and five.  Not any decent angles on
	you, though, stuck inside there.

The cell phone continues beeping until the sound of it is
maddening.  Stu is still afraid to reach for it and provide
the cops with an excuse to open fire.

			VOICE
	But if you'd take one or two steps
	outside and look up, I think they
	could get a clear picture of you.

			STU
	You said I'm not allowed to leave
	the booth.

Finally the cell phone stops ringing.

			VOICE
	I might be willing to bend the
	rules and let you enjoy your moment
	of fame.  Set the phone down
	without hanging up... and take a
	step or two outside.  Just for a
	minute.  Then come straight back in
	or I'll be forced to provide 'live'
	coverage that should rival the
	historic Zapruder footage.
		(beat)
	Nothing like an exploding head to
	excite viewer interest.

			STU
	No, thanks.  I'll stay where I am.

			VOICE
	It was only a suggestion.  Since
	you're convinced I'm going to plug
	you anyway, it can't matter much.

			STU
	If you shoot me, you give yourself
	away.

			VOICE
	Even without a muffler, they'd
	never hear the report with all this
	noise.  Afterwards, it'd take them
	a good ten minutes to realize you
	weren't plugged by some overzealous
	officer.  Then they'll blame the
	media for inciting a crackpot
	vigilante to come down here and do
	the SWAT team's job for them.

			STU
	You expected them to come.  You had
	this all worked out.

			VOICE
	I write the scenario and you all
	play your parts -- as directed.

The damned cell phone starts beeping again.  Stu fights the
temptation to grab for it and hear Kelly's voice for one last
time.

			STU
	Poor Kelly.  What she must be going
	through.

			VOICE
	Why don't you tell her how you feel
	about her?

			STU
	I'd never get the words out.  Not
	with fifteen or twenty rounds in
	me.

			VOICE
	You can't be certain they'd fire. 
	They'd see it was only a phone.

			STU
	They wouldn't wait to see.

The cellular ringing continues jangling Stu's nerves.

			STU
	Why doesn't she hang up?

Then Stu notices something in the crowd gathering far across
the street behind the police barricades.  Countless faces
rubbernecking, probably hoping to see some display of
violence that would end with him face down dead on the
pavement.

And in the midst of them -- one face familiar to him.  A
female, quite pretty... even in tears.  It's Kelly.  (We see
her only in LONG SHOT -- a distant figure in bright green
jacket that makes her stand out from the crowd.)

			STU
	It's her!  She's not calling me. 
	She's over there.

			VOICE
	Is she?

			STU
	The blonde girl in the green
	jacket.

			VOICE
	Can't miss her.  Very attractive,
	isn't she?

			STU
	She must've heard all the commotion
	and come downstairs.

The cellular is still ringing.

			STU
	It's somebody else who knows my
	cell number.
		(beat)
	It's you!

			VOICE
	You continue to impress.

			STU
	Why is it so important that they
	kill me?

			VOICE
	Because that's how I win.

			STU
	This time you won't.  If you want
	me dead, you'll have to do it
	yourself.

			VOICE
	Either way I can't lose.

			STU
	It's all a game to you -- because
	you're incapable of feelings. 
	You're not even human.

			VOICE
	I pride myself on that.  What's so
	great about being human?  It's the
	lowest form of life on this planet
	and I've taken it upon myself to
	thin the herd.

			STU
	I quit.  I'm not answering back any
	more.  I won't hang up but I'm not
	playing.

There's silence now between them.

			VOICE
	Stu?  Stu, don't be that way. 
	You're taking the pleasure out of
	it.

Stu doesn't take the bait.  He remains absolutely silent.

A stalemate has been reached.

WE RACK FOCUS ACROSS THE STREET TO THE POLICE

clustered behind an emergency vehicle.  The Sergeant brings a
civilian to meet Captain Ramey of the SWAT unit.  The
newcomer wears coveralls stenciled "AT&T."  (Although they
are very far away, we hear their voices close up as they come
into sharper focus.)

			SERGEANT
	This here's Helfand, of New York
	Telephone.

			HELFAND
	Glad to help out.

			RAMEY
	Have you got the number of that
	booth?

			HELFAND
	Sure do.

			RAMEY
	Can you tap into that call?

			HELFAND
	It can be done.

			SERGEANT
	But not without a warrant.  You
	could be violating this psycho's
	civil rights.  Especially if he's
	on the line with his fucking
	psychiatrist.

			RAMEY
	Shit.  I don't want to blow this on
	a technicality.  Tracing the call
	isn't any violation, is it?

			SERGEANT
	As long as we don't listen in.

We remain in LONG SHOT of the POLICE as they continue in
heated conversation.

			RAMEY
		(to Helfand)
	Okay, we've got to know who he's
	talking to and their current
	location.

			HELFAND
	That I can handle.  As long as they
	keep the circuit open.

			RAMEY
	I need the number and an address to
	go with it.

Helfand rushes off.  At the corner, we can glimpse him
entering a phone company utility truck parked on Forty-Fifth
Street.

RACK FOCUS BACK TO PHONE BOOTH

Stu remains tight lipped and silent, refusing to give his
tormentor the conversation he so craves.

			VOICE
	Stuart, my friend.  Do you want to
	see how close I can come without
	actually hitting you?

Stu resists pleading because he knows his silence is more
powerful.

There's no glass in the left side of the booth since the late
Leon smashed it all out.

Nothing to shatter when the sniper squeezes off his shot.

			VOICE
	May I call attention to the yellow
	pages?

The frayed yellow phonebook dangling from a chain under the
telephone shudders under the impact of a direct hit.

There's been no sound of a gunshot, but the damage is there
to behold.

Stu reaches for the phonebook.

There's a bullet hole straight through it.  Pieces of the .30
calibre slug have shattered into many tiny fragments and are
imbedded between the pages, half-way through the thick
volume.

Stu pries pieces out of the pages of the directory.  He looks
at them in the palm of his hand.

			VOICE
	Hollow points are designed to break
	up on impact.  It would've behaved
	differently if it had pierced your
	soft flesh.  The pieces would've
	bounced around looking for a way
	out.  That's where the real damage
	occurs -- finding an exit --
	deflecting off all that bone...

Stu wants to shout "STOP," but restrains himself.  Not
talking gives him some degree of power.

			VOICE
	Still the silent treatment?  My
	father used to dish that out when
	he chose to punish me.  Not a word
	spoken -- one time for over a
	month.  I'd try and goad him to
	acknowledge I existed, but he
	stared right through me.  You're
	bringing back unhappy childhood,
	Stu.  That's not wise.

Stu still declines to answer.  His silence seems his only
weapon.  He tosses the bullet fragments out of the booth onto
the pavement.

			VOICE
	Since you're ignoring me, I'll
	focus on someone else.
		(a beat)
	There she is -- nice and sharp.  I
	can see the two little punctures in
	each earlobe and my God, what kind
	of a girl would have her nostril
	pierced?

Stu realizes the sniper now has Kelly in his sights.

			STU
	No!

			VOICE
	What was that?  Louder, Stu.  We
	must have a bad connection.

			STU
	Leave her out of it.

			VOICE
	I didn't expect her to show up
	here.  But since she has -- I'll
	improvise.

			STU
	Don't.  Please don't.  I'm sorry. 
	I'm talking to you again.  I'll
	talk all you want!

			VOICE
	It's a bad dye job.  The black
	roots are growing in and it makes
	her look cheap.

			STU
	I've screwed up her life enough
	already.  Please don't hurt her.

			VOICE
	I don't necessarily have to kill
	her.  I could be persuaded to
	settle for a reasonable mutilation.
	Which part of her displeases you
	most?  If she turns a bit more in
	profile, I'm accurate enough to
	remove the tip of her unpleasantly
	protruding nose.  It's just
	cartilage.  Any decent cosmetic
	surgeon will have her looking
	better than ever.

STU'S POV - FOCUS SHIFTS TO KELLY

in the crowd.  Distant yet distinct amongst the curious
onlookers.

JUMP CUT

CLOSER ON KELLY -- OBLIVIOUS TO HER DANGER.

AS SEEN THROUGH CROSS HAIRS OF TELESCOPIC SIGHT

following her as she forces her way through the crowd toward
the police officers.

Her face virtually fills the screen.

PRODUCTION NOTE: The only time we deviate from Stu and his
POV is when we see the sniper's own POV through his
telescopic sight.

			VOICE
	You can see her talking to the
	police now.  She's identifying
	herself as your wife.  They're very
	interested in who you are.  They're
	taking her over to see the officer
	in charge.  What was his name?

SNIPER'S POV

Through the cross hairs of the sniperscope, we can see Kelly
conversing with Captain Ramey.  She's in a state of complete
agitation.

ANGLE ON STU

half leaning out of the booth, staring at his wife and the
cops in the distance.

RACK FOCUS TO THEM --

and suddenly we can hear them clearly in spite of the
distance.

			KELLY
	What do you mean psychiatrist?  He
	doesn't see any psychiatrist.

			RAMEY
	Then who'd your husband be talking
	to?

			KELLY
	There was some guy that called the
	house this morning and said weird
	stuff to me.

			RAMEY
	Stu seems to be checking things out
	with this person.

			KELLY
	He hasn't got many friends -- I can
	tell you that.

			RAMEY
	Remain here, please.  We may need
	you later.

			KELLY
	You won't hurt him?

			RAMEY
	We'll do our best not to.

Kelly is left alone as the Captain returns to their command
center.

Kelly is once again a solitary target.  She could be picked
off without attracting undue attention.

			VOICE
	She won't even feel it when it
	happens.

BACK TO PHONE BOOTH

			STU
	Take me instead.

			VOICE
	Don't distract me.  Now's the time
	to be absolutely still.  I have to
	hold my breath as I squeeze
	gently --

			STU
	No!  I'm hanging up.  That's it.

Stu hangs up the receiver.  He disconnects.

RACK FOCUS TO LONG SHOT --

The police as they react.  We see a flurry of activity across
the street.  Voices become clear as focus shifts.

			RAMEY
	Shit.  He hung up.

			SERGEANT
	Maybe they already traced it. 
	Anyhow, it doesn't matter.  Looks
	like he's coming out.

RACK FOCUS BACK TO STU --

slowly stepping out of the booth.  His hands are raised.

			STU
		(shouts)
	I've giving myself up.  Take me!

			SWAT OFFICER
		(distant)
	First the gun.  We want to see you
	toss away your weapon!

			STU
	Shit.  I can't.

			SWAT OFFICER
		(distant)
	Freeze where you are!  Turn around
	and keep those hands clasped.
		(signals the others)
	Take him.

The SWAT OFFICERS in protective gear now step out of cover
and fan out as they approach the booth.

TIGHTER ON STU

He's just outside the booth -- expecting to feel the sniper's
bullet go through him at any moment.

Then the pay phone starts ringing.

The sniper is calling back.

RACK FOCUS AGAIN

to the police.

All the cops react.  Particularly the Captain and the
Sergeant.  Their voices seem close up when they sharpen in
focus.

			SERGEANT
	What is going on with these fucking
	phone calls?

			RAMEY
		(shouts)
	Hold your fire.  Let him answer it.

The SWAT team backs up but maintain their aim.

			SERGEANT
	Are you nuts?

			RAMEY
	Let them talk.  He's not going
	anywhere.
		(shouts)
	He's going back inside the booth.

Indeed we see Stu re-enter the battered phone booth and pick
up the receiver.

FOCUS RETURNS TO STU

			STU
		(into pay phone)
	Yeah?

A strange voice begins chattering away in Spanish.  Totally
unintelligible to Stu.

			STU
		(into pay phone)
	You got the wrong number.  Hang up.

The voice, probably a Puerto Rican gentleman, rattles on in
Spanish.

			STU
	Wrong number.  Wrong number.

Then the voice on the phone suddenly alters the Hispanic
accent.  It is the now familiar tone of his tormentor.

			VOICE
	Aw, relax, Stu.  Only yanking your
	chain.  Now can we start over?

			STU
	Those cops won't wait much longer.

			VOICE
	What else can they do?  They can't
	afford to just shoot you like I
	can.  Not with so much media
	coverage.  Not unless you make some
	stupid aggressive move.
		(beat)
	The ABC Mobile Unit just rolled up.

Across the street, Stu can see various TV units from local
stations setting up cameras on roofs of trucks.

			STU
	Will you look at that?  I must be
	going out over the network.  Bet
	they're pre-empting usual
	programming.

			VOICE
	And just think -- if you survive
	this, your trial will be televised. 
	And you can try and make the world
	believe I ever existed.  I'd be
	your only defense.

			STU
	How are they gonna prove that I
	killed anybody when there's no gun?

			VOICE
	They'll plant one.  The police
	aren't above that -- when they're
	desperate to convict.

			STU
	No, sir.  No gun and I walk.

			VOICE
	Don't you think I took that into
	account?  Am I a fool?

			STU
	What do you mean?

			VOICE
	Haven't I considered every
	eventuality?  I knew they'd come
	and cordon off the block.
		(beat)
	And that there'd have to be a gun
	someplace.

			STU
	Where?

			VOICE
	It's a small booth, Stu.  Have you
	checked every inch of it?

			STU
		(looking up and down)
	It's not on the floor.

			VOICE
	Then what's left?

			STU
	Up above.

			VOICE
	Could be.  Why don't you reach up
	there and lift the plastic sheet --
	and feel around.

			STU
	If they see me reach for something,
	they could open fire.

			VOICE
	They could.  But you have to know
	if it's there.  Don't you?

			STU
	I totally don't give a shit.

			VOICE
	In a narrow space, tucked just to
	the left of the fluorescent bulb. 
	You can almost see it outlined if
	you look closely.

Stu peers upward at the clouded plastic, now stained and
dirty.  There are shadows of objects above in the shallows
area around the light fixture that automatically goes on when
the door to the phone booth is tightly closed.

Stu opens and closes the door a few times, watching the light
click on -- watching the shadows around the light.

Could that be an accumulation of dirt, dust, or dead insects? 
Or could something be stashed up there?

			STU
	It doesn't matter.  I know about
	ballistics.  The slug in that dead
	guy came from your rifle, not any
	handgun.

			VOICE
	You saw how hollow points splinter
	on impact.  There's nothing much
	for ballistics to match to.  The
	same make .30 calibre bullets are
	in that handgun.  The prosecution
	rests.

			STU
	There's no gun up there.  I don't
	see a damn thing.

			VOICE
	Slide your finger up under the
	plastic and you'll feel the cold
	metal surface.  There are four
	rounds left in it.  Should you
	decide to shoot your way out.

			STU
	I could never shoot anybody.

			VOICE
	You could shoot me, Stu.  You'd do
	that in a minute if you could.

			STU
	And I'd fucking love it!

			VOICE
	Now you're speaking from the heart. 
	Come on, just lift the partition a
	few inches and feel what's there
	for you.

			STU
	I'm not getting my fingerprints on
	your fucking weapon.  What about
	powder residue?  How are they going
	to explain that to a jury?

			VOICE
	Do you think that'll matter with so
	many eye witnesses?
		(beat)
	Do it... or should I re-focus my
	attention on Kelly?

			STU
	No.

			VOICE
	You carefully distracted me from
	her before and I let you get away
	with it.  But if you're not going
	to play fairly --
		(a pause)
	There she is again.  So close I
	feel like I could touch her.

			STU
	Get off her!

			VOICE
	Then mind me when I speak.

			STU
	Look!  I'm reaching up with my left
	hand.  I'm pushing against the
	partition.  It's giving.  I'm
	feeling around with my fingertips. 
	It's filthy up there.

TIGHT SHOT - STU'S FINGERS

feel about inside the shallow space.  The shriveled remains
of dead flies -- a layer of dust -- and then a .30 handgun.

			STU
	I'm -- touching something.

			VOICE
	One of the finest handguns
	Remington makes.  Lightweight,
	efficient and highly accurate.

			STU
	I'm not picking it up.

			VOICE
	Not right now.  But eventually...

Stu lowers his hand, still empty.

			STU
	I wouldn't have a chance.

			VOICE
	I never said you would.

			STU
	I'm not insane.

			VOICE
	But you're getting there.  It
	wouldn't take much.

			STU
	That won't happen.

			VOICE
	You could pull the gun down, shove
	it in your own mouth and jerk the
	trigger.  That's another option.

			STU
	Why would I do that?

			VOICE
	To please me.  And ensure that
	nothing happens to Kelly.  I don't
	necessarily have to deal with her
	today in the midst of a crowd of
	cops.  I can take her out any time
	I like.  When she goes to pull down
	her blinds at night or when she
	walks the dog first thing in the
	morning.  What is it -- a Jack
	Russell?

			STU
	Okay.  I know you can do it.  But
	don't talk about that.  Please.

			VOICE
	I'd rather see you remembered as
	the gallant gunman who tried to
	shoot his way past an army of
	police -- than as a coward who
	sucked the barrel.  I'm doing your
	PR for you.  Creating a final image
	that'll endure.  The outraged New
	Yorker who was pushed too far. 
	When some lowlife street person
	tries to invade his territory, he
	retaliated.  And when the forces of
	the law closed in, he was
	defiant... to the end.

			STU
	Like that nerdy sonofabitch who
	blew those three wiseass kids away
	on the subway?

			VOICE
	Exactly.  Nobody minded that he was
	a sicko.  He was living out a New
	Yorker's pet fantasy.  Can you
	remember that movie where Peter
	Finch started screaming 'I'm not
	taking it anymore!'  And everybody
	picked up on it.

			STU
	'I'm mad as hell and I'm not taking
	it anymore.'

			VOICE
	That was it.  Poor Finch got
	himself an Oscar for that.  But he
	was dead by then.  I mean he really
	died.  Maybe playing that part took
	too much out of him.

			STU
		(softly to himself)
	'I'm not taking it anymore.'  'I'm
	not taking it anymore.'

			VOICE
	That's the way!  Psyche yourself
	up.  Everybody respects a man who
	fights back, even if he goes a
	little berserk in the process.

			STU
	Fighting back.  That's what it's
	about.

			VOICE
	Exactly!  We all understand the
	poor schmuck that gets laid off and
	comes back and shoots all his
	bosses.  We all thought of doing
	that.  But only he had the balls. 
	The terminally ill husband who gets
	his policy canceled and machine
	guns the insurance company offices. 
	Maybe somebody will finally get the
	message.  You can fuck human beings
	over only for so long before they
	come back at you.  I'm still
	holding on Kelly and she looks very
	concerned.  I could relieve all
	that anguish in a fraction of a
	second.  Shall I?

Stu is hearing these words but thinking only of what the man
on the line has done to him.  His turn has come to fight
back.  He has an idea.

If the sniper is focused on Kelly, he can't be watching Stu.

Turning his back to the police, Stu slowly sinks to his
knees.

			STU
	I'm on my knees begging you.

			VOICE
	Stand up, Stu.  You're embarrassing
	yourself.

TIGHT ANGLE --

Stu now down on his knees in the booth.  He's curled up
almost into a fetal position.

By doing so, he hopes to hide the fact that he's reaching
into his pants pocket and pulling out his cellular phone.

He half expects to hear a shot ring out either from the
sniper or the cops.  But nothing happens.

			VOICE
	Stu -- I want you back on your feet
	facing me.  So you can see what I'm
	going to do to her.

Stu ignores the command.  He's quickly dialing.

911.

He's calling police emergency.

SNIPER'S POV

Stu seen through the cross hairs of the sniperscope,
crouched, doubled up at the foot of the booth.  But the cell
phone is hidden in front of him.

			VOICE
	Be a man, Stuart.  Don't let them
	see you like this.  You're an
	embarrassment to me.

WIDER SHOT - THE BOOTH

with Stu still kneeling.

RACK FOCUS

to police across the street as their voices become clear --

			SERGEANT
		(listening to
		 transmission)
	Officer on east side of the street
	reports subject removed a dark
	metallic object from his pocket. 
	We better move.

			RAMEY
	Hold all fire until you actually
	identify a weapon.  We're doing
	this on fucking TV!

RACK FOCUS BACK TO -- STU IN THE BOOTH

crouched forward.  The pay phone receiver dangles just above
his head.  The cellular remains cupped in his hand.

Stu never lifts the cell phone.  He keeps the palm of his
hand over the speaker of the phone to muffle any sound from
the other end.

It rings and finally someone answers.

			EMERGENCY OPERATOR
		(faint)
	Police.  Is this an emergency? 
	Hello?  Is someone on the line?

But Stu addresses himself loudly to the pay phone which he
now grips in his other hand.  Hoping that his words will be
picked up by the emergency operator listening via the
cellular.  To help in this regard, he reaches back and slides
the door to the booth tightly closed.

He pretends to be talking to the sniper but his words are
meant for the 911 operator to hear.

			STU
		(loud)
	You've made your point.  Who's
	going to believe I've got a sniper
	with a telescopic sight holding me
	in a fucking phone booth at 45th
	and 8th?

			VOICE
	It took you a while to believe it
	yourself.

			STU
	If you'd put a bullet in that
	Captain Ramey, it would've been a
	different story -- but you were too
	wise to do that.

			VOICE
	Why don't you do it for me?  Wave
	the old captain back over and get
	him nice and close and then use the
	handgun on him.

			STU
		(talking loud)
	Why me?  You could pick off any of
	those cops from your window up
	there.  Like you did that pimp. 
	And that tourist last week.  But
	this time you want me to do your
	killing for you.

			VOICE
	And you will!  To save Kelly.

EXTREME TIGHT SHOT - CELL PHONE

cupped in Stu's hand and held low.  Can they hear him on the
other end?

			EMERGENCY OPERATOR
		(muffled, almost
		 inaudible)
	Can you speak up, sir?  What is
	your name?

Stu is concerned that the sniper might hear the voice of the
emergency operator.  He sets the cell phone down flat on the
floor of the booth facing upward.  He puts his foot over the
receiving end to muffle the incoming voice.  Then he stands
up.

			VOICE
	That's better, Stu.  Now turn
	around so I can see you.

Stu talks close into the pay phone receiver now.  But keeps
his voice raised.

			STU
	This booth.  It's my whole world --
	shrunk down to four feet by three
	feet.  Not much bigger than the
	size of a coffin.

			VOICE
	They can put handles on the booth
	and bury you in it.

			STU
		(loudly into pay phone)
	When I saw you put that bullet into
	that black dude, I knew you'd never
	let me out of this phone booth
	alive.

			VOICE
	You're wasting my time.  Reach up
	and take the gun.

			STU
		(peering upward,
		 squinting)
	Let me see you first.  What harm
	can that do you?  You're in one of
	those windows.  I've got to know
	which one.

			VOICE
	No need for that.

			STU
	Being so far, I could never
	identify you.  I don't even want
	to.

			VOICE
	What is it then?

			STU
	Don't worry that I'd try to point
	you out.  You'd shut me up with one
	of your .30 calibre hollow points
	before I could even raise a finger.

			VOICE
	Why does it matter so much?

			STU
	I want to see that you exist.  Like
	God exists.  It's not enough to
	believe.  You want to see him --
	just once -- even at a distance.

			VOICE
	And then you'd take the gun down. 
	And use it.  We have a deal on
	that?

			STU
	Show yourself to me and I'll take
	the gun down.  I swear.

There's a pause as the sniper mulls it over.

			VOICE
	I don't have to make deals.  And
	you're irritating me by trying to
	negotiate.  God doesn't have to
	prove anything.  He just strikes
	you down when he gets in the mood.

			STU
	Stop!  I won't ask to see you
	anymore.

			VOICE
	I'm glad that's settled.  But look
	who else has showed up?

			STU
	Who?

			VOICE
	I guess she saw the coverage on TV
	and just couldn't keep away.

			STU
	What are you talking about?

			VOICE
	The 'hotel' just arrived.  And a
	very beautiful little hotel she is. 
	Actually, I'd classify her as more
	of a motel.

			STU
	Mavis?  I don't see her.

			VOICE
	She's too far back behind the
	police line.  But I've got a fine
	shot at her from up here.

			STU
	You don't even know what she looks
	like.

			VOICE
	You're in an enviable position now,
	Stu.  You get to choose between
	them.  Tell me which one.

			STU
	I can't.

			VOICE
	Which will it be?  Kelly or Mavis? 
	Or should I simply select one?

INSERT SHOT - THE CELL PHONE

lying face up on the floor of the booth.  Is anybody
listening?

BACK TO STU

Stu looks down at the cellular.  He has no way of knowing if
the police operator can hear any of his words.

			STU
	I need time to think...

			VOICE
	You've got to be more in touch with
	your feelings.  You said you love
	Kelly.

			STU
	I do.

			VOICE
	Then I'm doing you a favor putting
	you out of the way of temptation.

			STU
	It wasn't Mavis' fault.  It was all
	my fault.

			VOICE
	Then take the third option.  Reach
	above you and pick up the gun.

			STU
	You'll leave them both alone?

			VOICE
	There won't be much point in
	harming them without you around to
	impress.

			STU
	I'll do it.

			VOICE
	Let me see you do it.

			STU
	I need one minute.  One last
	minute, please.  Can you give me
	that?

			VOICE
	Don't tell me you're going to say
	your prayers?

			STU
	Something like that.

WE RACK FOCUS AWAY TO LONG SHOT - THE POLICE

assembled on the opposite side of the street.

			RAMEY
	They should've traced the fucking
	call by now.

			SERGEANT
		(listening on transmitter)
	There's something else coming in. 
	A 911 operator says your name was
	mentioned by somebody that's still
	on the line.  Somebody talking
	about a phone booth.  And a sniper.

			RAMEY
	Patch me through.  Hello, this is
	Captain Edward Ramey.  What about
	that call?

			EMERGENCY OPERATOR
	The line is still open.  It's
	originating from a booth at 45th
	and 8th.

			RAMEY
	We're there!  Can you play me back
	your recording of the entire call?

			EMERGENCY OPERATOR
	I can't replay the tape while it's
	still running.

			RAMEY
	Then switch to another machine and
	play back what you've got.

			EMERGENCY OPERATOR
	It's awful faint.  He's not talking
	directly into the receiver.

Ramey begins to listen.  We hear snatches of Stu's call
picking up words which are at times incomprehensible.

			STU'S VOICE
		(faint)
	'Who's going to believe I've got a
	sniper with a telescopic sight
	holding me in some fucking phone
	booth...'

The uniformed TELEPHONE TECHNICIAN now joins Ramey and the
Sergeant.

			TELEPHONE TECHNICIAN
	Got what you wanted.  The call's
	coming from up the street.  The
	Hotel Broadway.

			RAMEY
	Have you got the room?

			TELEPHONE TECHNICIAN
	It's not that easy.  Electronic
	switchboard.

			RAMEY
		(to Sergeant)
	Move your SWAT units to the hotel. 
	No... wait.  Any movement will
	alert the sniper.  If he sees any
	of us withdraw, he may panic.

			SERGEANT
	There's another SWAT unit on the
	way.

			RAMEY
	Intercept them.  Divert them to the
	hotel.

			SERGEANT
	It's done.

			RAMEY
	Send them in from the Forty-third
	Street side.  I don't want any
	activity the sniper might catch
	sight of.  He's probably high up
	and facing that booth.  He's got to
	continue to believe our full
	attention is focused on the man
	inside -- whoever the hell that
	poor bastard is.
		(to emergency operator)
	Hello 911 operator, I missed some
	of that.  Run it halfway back and
	repeat it.

			STU'S VOICE (REPLAY)
		(faint)
	'... Like you did that pimp.  And
	that tourist last week.  But this
	time you want me to do the killing
	for you...'

			RAMEY
		(listening)
	Jesus... he's a dead man.

BACK INSIDE PHONE BOOTH

			VOICE
	The police seem all excited about
	something, Stu.

			STU
	Are they?  I wasn't looking.

			VOICE
	I can't wait any longer.  Say amen,
	then reach up for the gun.  When
	your hand comes down, I want to see
	it.

			STU
	I'm too afraid.

			VOICE
	For once, be brave.  Surprise
	yourself.

			STU
	I'm shaking all over.

			VOICE
	Guys in combat situations even shit
	their pants.  But they follow
	orders.

			STU
	As soon as the cops see a gun,
	they'll open fire.

			VOICE
	Then I'd advise you to fire first.

Stu's arm goes up in a supreme act of willpower.

His fingers run along the two clouded plastic sheets that
cover the roof of the booth.  It raises up easily at the
middle where two sheets join.

TIGHT INSERT SHOT

The space between the roof of the booth and the sheets of
clouded plastic.  We see the fluorescent lighting fixture
covered with dust.  The solitary object -- a cruel-looking
weapon.

Now Stu's fingertips protrude into the small space.  He
touches the gun, brushes back and forth, feeling the
roughness of the grip.

TIGHT SHOT - STU'S FACE

as below he continues to hesitate -- it's agony --

The sweat pours down his forehead and his eyes are squeezed
tightly shut.  He can already imagine the police bullets
tearing into him.

A POLICE SNIPER IS MOVING INTO POSITION.

			POLICE SNIPER
		(into transmitter)
	Give me the word.

RACK BACK TO STU - IN THE BOOTH

His arm still raised.  He hasn't brought it down with the gun
in it.  Not yet.  He holds the pay phone receiver jammed up
against his mouth.

			VOICE
	Hard part's over.  Drop your arm
	and point it like you'd point your
	finger and squeeze.

			STU
	No.  You do it.  If you want me
	dead, then fucking murder me!

			VOICE
	Why must I keep invoking some poor
	girl's name every time we come to
	an impasse?  I'm focused back on
	Kelly again.  You're obviously not
	willing to trade your life for
	hers.

			STU
	I am!  I'm doing it!

He pulls the handgun down into full view.  Curiously, the
police do not open fire.

			STU
	There!  You see it?  They all see
	it.

He waves the gun so nobody can miss it.

			STU
	Where are you?  Damn you!!

He drops the receiver and steps halfway out of the booth.

Still the cops do not open fire.

Then Stu starts shooting.

Not at the police, but at the high rise buildings across the
street.

At the thousands of windows that look down upon him.

He gets off two shots before a solitary rifle shot rings out
in response.

RACK FOCUS TO THE POLICE SNIPER

He has fired.

ANGLE ON STU

The remaining glass on the south side of the booth shatters. 
Stu tumbles forward, sprawling out of the booth onto the
pavement.

RACK FOCUS TO KELLY

She screams, tries to break through but cops restrain her.

INT.  PHONE BOOTH

ANGLE ON DANGLING RECEIVER

as it sways back and forth.  From it, we hear the voice.

			VOICE
	Thanks for such an interesting
	afternoon.

THEN THERE ARE OTHER SOUNDS EMANATING FROM THE DANGLING
SWAYING PHONE.

A wooden door being battered open.  A few incomprehensible
shouts as a SWAT TEAM dashes in.  Stu's stalling for time has
paid off.

THE SOUND OF A BARRAGE OF GUNFIRE.

THE SOUND OF A MUFFLED SCREAM.

The police have broken in on Stu's tormentor and there has
been a rapid exchange of shots.

A HAND reaches into the booth and grabs the receiver.

ANGLE WIDENS as Ramey places it to his ear.

			RAMEY
	Hello?  This is Captain Ramey. 
	Somebody talk to me.

			SWAT OFFICER'S VOICE
	Yeah.  We took him out, Captain. 
	Nobody else got hurt.

			RAMEY
	What's his condition?

			SWAT OFFICER'S VOICE
	Critical.  The sonofabitch took
	two.  Probably won't survive the
	ride.

			RAMEY
	Get a statement from him.  I'll be
	right over.

He drops the receiver so that it dangles again.

CAMERA FOLLOWS RAMEY to where Stu lies surrounded by cops and
medics.  He's stunned, but very much alive.

			MEDIC
	Don't try to sit up.

			STU
	What was that?

			RAMEY
		(kneeling)
	Rubber bullet.

			MEDIC
	You'll have one hell of a nasty
	welt.  Busted rib.  Maybe a
	permanent scar there.

			STU
	It couldn't hurt much more if you
	really shot me.

			RAMEY
	Somebody was going to and we
	thought it may as well be us.

			STU
	Did you get him?

			RAMEY
	Sure as hell did.  Thanks to you.

			STU
	Still alive?

			RAMEY
	Barely.

			MEDIC
	We'll be giving him a hypo for the
	pain.  It'll put him out for a
	while.

Kelly is now brought over by a female cop.  She drops to her
knees beside Stu and tries to embrace him.  The medics
restrain her.

			STU
	It's okay.  I'm not really shot.

			KELLY
	I was so afraid.  I thought...

			STU
	I thought so, too.  But we're going
	to be alright.  Both of us.

			KELLY
	Remember how you swore up and down
	you'd get me on TV?  Well, you did. 
	I already got interviewed on Fox
	and Channel Eleven and they even
	want me on A.M. America tomorrow
	morning.

			STU
	Bet you didn't think I could
	deliver on that.

			MEDIC
	Will you please let go of him,
	Miss?

A gurney is wheeled over from a police ambulance.  The medic
is about to administer the hypo but Stu pushes him away.

			STU
	No.  No hypo.  I want to see him
	first.

The medics are now ready to lift Stu onto the gurney and cart
him off.  But Stu struggles against them.

			RAMEY
	Relax.  The guy's dying.

			STU
	That's why I've gotta talk to him. 
	Please!

			RAMEY
	We'll see.

			MEDIC
		(to Kelly)
	You can ride with him in the
	ambulance.

The woman cop escorts Kelly to the waiting ambulance.

Ramey meanwhile tries to resume contact with the SWAT team
inside the hotel.

			RAMEY
	This is Ramey.  Over.  This is
	Ramey.  Ten-Four.

There's nothing but static, mixed up feedback and multiple
garbled voices on the other end of the line.

			RAMEY
	Shit.  Get everybody off this
	wavelength.

He crosses back to the phone booth -- picks up the dangling
receiver.

			RAMEY
	Hello.  Hello!  Pick up!  Yeah,
	it's Ramey again.  Can you hold the
	phone close enough so the perp can
	listen?

			COP'S VOICE
	He's not saying a word, Captain.

			RAMEY
	He's not about to talk to us. 
	Maybe to him.

Ramey looks back to where the medics are still trying to lift
Stu onto the gurney.

			RAMEY
	Forget that.  Stand him up.
		(to Stu)
	Can you stand?

			STU
	I can try.

			RAMEY
	Help him over here.

The medics support Stu and inch him back to the booth.  It's
painful, but Stu ignores it.

Ramey holds the phone up so Stu can both listen and speak.

			RAMEY
	Here.  Speak up.

			STU
		(into pay phone)
	It's me.  Do you hear me?  Answer
	me.

			VOICE
		(wheezing)
	Had to have the last word, Stu.

			STU
	I finally beat your ass.  Admit it,
	you fuck.

			VOICE
	But you'll never forget me.  I gave
	you the most thrilling day of your
	life.  Say thanks.

			STU
	Now you're gonna die, you bastard.

			VOICE
	I lost a lot of blood.  Don't you
	want to donate some for me?  Then
	we'd really be part of each other.

			STU
	Hang on.  I can't wait to see you
	at the hospital.  So I can yank
	your fucking air tube out.

			VOICE
	Wish I could give you that
	pleasure.  You deserve it.
		(coughing)
	... Only I'm out of time.

			STU
	What's your name?  At least tell me
	who you are.

There's more violent coughing, then silence.  Then a cop's
voice is heard.

			COP'S VOICE
	He's gone.

Stu stares at the receiver.

			RAMEY
	Don't worry.  We'll find out who he
	is.  And why he picked you.

			STU
	No.  You won't.
		(a beat)
	What do you want to bet you won't?

Stu reaches over and hangs up the receiver.  CLICK.

			STU
	I'll spend my whole life trying to
	figure that out.

Then he sinks into the arms of the medics who lower him onto
the waiting gurney.

The hypo is finally administered.  It kicks in immediately,
relieving the pain.

He's wheeled away from the booth to the waiting ambulance. 
Kelly is already inside waiting to accompany Stu to the
hospital.

STU'S POV - BEING WHEELED AWAY FROM THE EMPTY BOOTH

pulling away in LOW ANGLE.

CAMERA SLIDES BACK inside the ambulance with Stu.  The doors
shut, obliterating our view of the phone booth that was his
entire world until moments ago.

			STU
		(groggy)
	Gotta sleep now.  No phone calls...

Kelly smiles down at him as the image blurs.  Stu passes out 
-- into a deep sleep he much deserves.

A SIREN BLARES.

CUT TO BLACK.

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