Phone Booth Page #12

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 f***ing 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 f***ing 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 f***ing

call by now.

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