The Fighter

A young boxer had called up a fellow telling him that he wanted to talk to him, that he was on the way over. We could see that the man that had been called was in a combination of a boardroom type office and an electronics switchboard. When he hung up the phone the fellow that was in the office punched up a number on his phone and said you need to get over here. The person on the other end assured him that he would be right over. We don’t get a good idea who the person is.

Cut to a scene where the young black boxer comes walking into the office/switchboard. He says, “We need to talk.”

Cut to a television picture of a boxing ring. It appears to be before a fight and one father and his younger daughter have been selected to receive a gratuity. The announcer holds the extended microphone and says a few words and then cut back to the father-daughter team. They were outside of the ring, near a corner and each had their hands behind their backs. At this point the girl arches her body sideways and makes an understandably weak throw tossing something white from her hands behind her back to the middle of the ring. There was some applause and we cut back to the office.

With an accusatory tone the fighter continues with his reasons for the meeting, “I know the deal you have made with those judges.”

At this time we cut to the car where the help is on its way that was called for earlier. But it’s a surprising odd bunch. It’s an older large car brownish in color. There is a large, middle-aged black women driving with the appearance of an Eddy Murphy or Martin Lawrence character and several out of order children throwing things at each other and yelling. We hear the voice of the office/switchboard fellow, “You better be comin'” And the answer we hear coming from the driver is, “yea, we comin’, yea you better believe it, we comin'.”