Screenplay data
Publicist Stu Shepard enters a phone booth to make a series of illicit calls, but his plans are interrupted by a mysterious caller who reveals himself to be a sniper targeting Stu. Trapped in the booth, Stu is forced to confront his lies and infidelities as the sniper, watching from a nearby building, threatens to kill him if he hangs up or leaves. The situation escalates when police, led by Captain Ramey, surround the phone booth, believing Stu to be a dangerous individual after he is framed for a murder by the sniper. Stu is forced to confess his misdeeds to his wife, Kelly, who arrives at the scene, and ultimately, he is shot by a police sniper after firing a hidden gun into the air, while the real sniper is apprehended.
Save the Cat beat sheet
A highâtension scenario unfolds as publicist Stu Shepard is trapped in a phone booth by an unseen sniper.
Open full beat sheetStuart Shepard is listed as Publicist. Snappily dressed, well-groomed, wears a Donna Karen suit and Armani tie. In the parsed data, Stuart Shepard is connected to 7 scenes, 6 dialogue lines, 6 text mentions, first appearing around scene 3.
7 scenes / 6 dialogue linesThe Voice is listed as Antagonist. A mysterious, unseen man watching from a high-rise building. In the parsed data, The Voice is connected to 6 scenes, 7 dialogue lines, 7 text mentions, first appearing around scene 3.
6 scenes / 7 dialogue linesCaptain Ed Ramey is listed as Police Captain. SWAT unit commander. In the parsed data, Captain Ed Ramey is connected to 4 scenes, 1 dialogue line, 1 text mention, first appearing around scene 5.
4 scenes / 1 dialogue linesKelly Shepard is listed as Stu's wife. A dancer. In the parsed data, Kelly Shepard is connected to 4 scenes, first appearing around scene 3.
4 scenes / 0 dialogue linesFelicia is listed as Bystander. A heavy-set woman in a tight dress. In the parsed data, Felicia is connected to 2 scenes, first appearing around scene 3.
2 scenes / 0 dialogue linesLeon is listed as Pimp. Gaudily dressed. In the parsed data, Leon is connected to 1 scene, 1 dialogue line, 1 text mention, first appearing around scene 4.
1 scenes / 1 dialogue linesMavis is listed as Stu's mistress. A manicurist. In the parsed data, Mavis is connected to 1 scene, 1 text mention, first appearing around scene 3.
1 scenes / 0 dialogue linesMario is listed as Restaurateur. Middle-aged man in a soiled apron. In the parsed data, Mario is connected to 1 scene, first appearing around scene 2.
1 scenes / 0 dialogue linesEstablishing shots of NYC, phone booths, and the specific booth at 45th and 8th Avenue.
Stu Shepard is confronted by Mario the restaurateur before entering the phone booth.
Stuart Shepard, MarioStu makes calls to Mavis and a columnist, then receives a threatening call from the Sniper.
Stuart Shepard, Mavis, The Voice, Felicia, Kelly ShepardStu is trapped in a phone booth by a sniper, forced to negotiate while dealing with a pimp named Leon and his associate Felicia.
Stuart Shepard, The Voice, Felicia, LeonCaptain Ramey attempts to negotiate with Stu while the sniper watches from afar.
Stuart Shepard, Kelly Shepard, The Voice, Captain Ed RameyStu is held hostage in a phone booth by a sniper, forced to confront his life and his wife Kelly's presence while police surround the area.
Stuart Shepard, Kelly Shepard, The Voice, Captain Ed RameyStu is forced by the sniper to find a hidden gun in the booth while police listen in via a 911 call.
Stuart Shepard, The Voice, Captain Ed RameyStu is shot by a police sniper after firing into the air, and the police storm the sniper's location.
Stuart Shepard, Kelly Shepard, The Voice, Captain Ed RameyLiz, 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.
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.
Drag your baggy butt out of that booth. We got business to conduct out of there.
I'm not armed. I need to know what happened.
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