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
