wait until their return to the safe house to avoid attention). Mooney overhears the transmission, overpowers Dimitri and handcuffs him before returning to the pier. Ryan escapes to a boathouse, thanks to Chad's distraction, and Tanner and Ethan chase after him. He knocks Tanner out, but is overpowered by Ethan before Mooney shows up. After a brief altercation, Ryan sees Ethan approaching Mooney from behind and calls his cell. The ringtone exposes his position, and Mooney shoots him. Jessica strangles Deason with her handcuff chain in the van, then frees her husband and son; however, he recovers and is attempting to kill them when Ryan intervenes, slamming his head in the car door. While Ryan and Mooney are being treated by paramedics, Tanner is also exposed, as Ryan had copied the whole video on his cellphone. Jessica finally meets Ryan, the man who risked his life to save her family, and Ryan humorously asks her to never call him again. Cast Willem Dafoe as news anchor (cameo, uncredited) Production Larry Cohen, screenwriter of the 2002 thriller film Phone Booth, conceived of Cellular while working for Sony Pictures. Cohen's original screenplay mimicked Phone Booth in its theme of a "narcissistically obsessed society" enamored with cell phones. Its story followed a 30- or 40-year-old man named Theo Novak who obtains a call from a woman named Lenore, who tells him that she and her husband have been abducted in a safehouse by a group of bank robbers. It is then revealed that Novak is an art thief who becomes wracked with guilt after unsuccessfully rescuing a friend from committing suicide in the past; he agrees to make a detour from a criminal undertaking and rescue Lenore. During the rescue Novak is unsuccessful, but later discovers a conspiracy involving Lenore and her accomplices over another crime they are involved withultimately, Novak gains the upper hand, killing Lenore and her accomplices and obtains their loot in the process, which leaves him therefore a wealthy man. Sony Pictures' then Vice President Lauren Lloyd was drawn to Cohen's script and thought of pitching it to fellow executives, but was unsuccessful in doing so. She then left Sony to produce the project independently. Lloyd sent the script to her colleague producer Dean Devlin and pledged to develop it together. Aiming for a story straightforward and devoid of bitterness and cynicism present in Cohen's version, the pair hired