FADE IN:
INT. GEORGIAN MANSION - BEDROOM -- NIGHT
RIP. A pair of muscular hands tear a dress down the back
seem. Squealing with delight, MRS. KUHN, 40 with a hairspray-
hardened bob, runs her hands through the thick hair of her
rugged MARLBORO MAN, mid-30s, too-tanned.
Lost in the thrall of passion, they fall down on to a four-
post canopy bed, going at it like porn-stars.
Our view shifts, moving upward to view them better. Someone
is watching them.
Pull back through a window to REVEAL--
EXT. GEORGIAN MANSION - GARDEN -- CONTINUOUS
An old 35mm camera is raised higher and higher. In a dirty
black trench coat and worn tweed suit, DUNCAN LINDSAY would
be handsome man if he owned a comb... or a razor... or a
mirror. He twists and turns the camera, attempting to find
the perfect angle to capture the amorous couple. Snapping a
shot.
Lowering the camera down, advancing the film, Duncan turns
away from the window; waves his hand toward a large Oak tree
covered in Spanish moss about 20 yards away, just inside the
garden fence.
Pull back to REVEAL--
Seated high on a long BRANCH OF THE TREE, SCHULTZ, 50s &
frumpy, removes a tiny Kodak Instant Camera from his coat
pocket. Holding it up to his eye, framing Duncan.
AT THE WINDOW, Duncan poses, holding his camera high with
one hand, gesturing toward the bedroom with his free hand.
Struggles to pose in a professional manner.
Giving up, Duncan places the camera down, reaches into his
trench coat and pulls out a walkie-talkie.
DUNCAN
(whispering into walkie-
talkie)
Schultz. Make sure that you get me,
my camera, and the window in the
shot.
IN THE TREE, Schultz listens closely to Duncan's voice coming
through an earpiece. Looks down at his instant camera.
AT THE WINDOW, having settled on a pose, Duncan raises his
chin high. Proud. A slight smile creases his lips.
-----------------------------------------------------------------------------------------------------
2.
FLASH. The instant camera's flash illuminates the entire
garden in a blast of white light. Duncan raises his hands,
shielding his eyes, dropping his 35mm camera with a thud.
CUT TO:
INT. GEORGIAN MANSION - BEDROOM -- CONTINUOUS
The blast of light has stopped the passion express. Mrs.
Kuhn sits up, covering herself in the remains of her tattered
clothes.
MRS. KUHN
What was that?
Ignoring her, Marlboro Man nuzzles up to her neck, kissing.
MARLBORO MAN
Lightning or something, babe.
EXT. GEORGIAN MANSION - GARDEN -- CONTINUOUS
Cradling up his camera, Duncan crawls away from the window;
hides behind a large rose bush.
INT. GEORGIAN MANSION - BEDROOM -- CONTINUOUS
The rustling outside grabs Mrs. Kuhn's attention. Frightened,
she gets off the bed, grabs a nightgown off a nightstand,
moves to the window.
MRS. KUHN
There's something out there!
MARLBORO MAN
You're just nervous about your old
man.
This makes the jittery woman, even more nervous.
MRS. KUHN
Do you think its Ralph? Do you think
he knows???
Placating her, Marlboro Man walks over to the window, opening
it up, takes a look. The garden is completely still.
MARLBORO MAN
See, there's nothing. It must have
been lightening.
MRS. KUHN
Then how come there hasn't been any
more?
-----------------------------------------------------------------------------------------------------
3.
Marlboro Man turns to back to his mistress.
MARLBORO MAN
Because-
FLASH. Another blast of light shoots out from the tree.
Marlboro Man spins back around to the window. Ms. Kuhn comes
up behind him, trying to see outside.
EXT. GEORGIAN MANSION - GARDEN -- CONTINUOUS
Hidden behind a carnation bush, Duncan sees the couple staring
out the window. He turns toward the tree and give Schultz
the "wrap up" signal.
IN THE TREE, Schultz gives a big "thumbs up" to Duncan and
begins to crawl his down a branch toward the fence. As he
reaches the top of the fence, Schultz freezes seeing--
EXT. GEORGIAN MANSION - ROAD -- CONTINUOUS
ON THE OPPOSITE SIDE OF THE FENCE, a beat-up Trans Am pulls
over to the shoulder. A huge brut of a man, BUXMAN, gets
out of the car with his own camera.
EXT. GEORGIAN MANSION - GARDEN -- CONTINUOUS
IN THE TREE, Schultz crawls backward away from the fence,
but slips and falls down into a thicket of rose bushes.
AT THE WINDOW, the noise from Schultz's fall grabs the
attention of Marlboro Man and Mrs. Kuhn.
MRS. KUHN
What was that???
IN THE ROSE BUSHES, Duncan twists the head of a water
sprinkler around, then raises a hand to his mouth.
DUNCAN
(as perfect an
imitation as a human
could make)
Meow.
AT THE WINDOW
MARLBORO MAN
Its just a cat.
-----------------------------------------------------------------------------------------------------
4.
MRS. KUHN
(fearful)
None of my neighbors have a cat!
They stare out, searching the garden for the kitty.
FROM THE ROSE BUSHES
DUNCAN
(again a good human
imitation)
Baa.
Marlboro and Mrs. Kuhn are shocked. What in the hell?
DUNCAN (CONT'D)
Moo.
FLASH, another shot from the camera blinds the entire garden
in light.
INT. GEORGIAN MANSION - BEDROOM
Marlboro Man storms across the room to a long jacket laying
on the floor. From the coat, he pulls out a sawed-off
shotgun. Heads out the bedroom door.
EXT. GEORGIAN MANSION - GARDEN
In the rose bushes, Duncan huddles with Schultz.
DUNCAN
(whispering)
Are you sure it was Buxman?
A rattled Schultz nods, then points toward -- the lumbering
Buxman struggles as he attempts to climb over the top of the
fence.
DUNCAN (CONT'D)
I'll take care of him.
(gesturing in the
opposite direction
to a gate door in
the fence)
Into the neighbor's yard.
Schultz scuttles across the garden floor toward the gate
door. From the depths of his trench coat, Duncan pulls out
a handgun and a silencer.
BURSTING out of the back door, Marlboro Man pumps his shotgun
twice.
-----------------------------------------------------------------------------------------------------
5.
AT THE GATE, Schultz swings the door open, slowly, silently
when --
A large Doberman bursts through the gate, barring its fangs.
Schultz hides behind the gate door, as the dog runs right at
Duncan --
Duncan sees the dog, turns back toward Marlboro Man at the
door. Raises his gun up, silencer on, aims and fires --
The bullet smacks into the wheel on a faucet, sending the
wheel spinning wildly.
In the rose bush, the sprinkler head explodes to life,
blasting a tremendous spray of water directly into Marlboro
Man's face. Stumbling backward, Marlboro Man's gun goes
off, splattering a light fixture on the back wall.
Without missing a beat, Duncan spins to the charging dog--
The Doberman leaps --
Duncan drops to the ground, with his feet catching the beast
and pushing it high into the air toward --
Buxman on the fence. The flying dog smashes into Buxman,
knocking the burly man down into the garden.
Duncan sneaks thru the door into the neighbor's yard, stops
and places two fingers in his mouth, silently whistles.
Hearing the whistle, the dog spins toward the gate, charging
toward Duncan. As the beast crosses through the gate, it
lunges at the Duncan --
Who calmly thrusts out his right hand into the Doberman's
neck.
SMACK, the dog passes out harmlessly. Duncan cradles the
unconscious dog into his arms, as he and Schultz sneak across
the neighbor's yard.
AT THE BACK DOOR, Mrs. Kuhn steps outside, dressed and
frightened. Marlboro Man turns off the sprinkler, and she
cowers behind him.
MRS. KUHN
What are you shooting at?
Buxman moans, rolling on the ground. Marlboro and Mrs. Kuhn
step over to him.
MRS. KUHN (CONT'D)
Jesus, did you shoot him?
MARLBORO MAN
No. Look--
-----------------------------------------------------------------------------------------------------
6.
Buxman's camera lies next to him. Marlboro Man picks it up.
MARLBORO MAN (CONT'D)
He's a damn private eye.
MRS. KUHN
Ralph must have hired him.
Marlboro Man drops the camera to the ground, then crushes it
with his foot, breaking the camera into pieces.
EXT. NEIGHBOR'S YARD -- CONTINUOUS
Duncan and Schultz sneak across a large lawn; Duncan still
cradling the unconscious Doberman in his arms.
Peering over a fence, they see a police car, with a spotlight
shining outward.
INT. POLICE CRUISER
Working the spotlight, the stocky OFFICER CHUBBS slowly rolls
down the street.
EXT. NEIGHBOR'S YARD
DUNCAN
Shoot, its Chubbs. We're going to
have to lay low for a bit.
Duncan leads Schultz through the neighbor's back door into--
INT. NEIGHBOR'S KITCHEN -- CONTINUOUS
The WARREN FAMILY - FATHER, MOTHER, and 10-year-old DAUGHTER
jump from around a kitchen table; shocked at the appearance
of the intruders. The Father steps forward to confront Duncan
and Schultz.
WARREN FATHER
Who are you?! What are you doing in
my house?!
Duncan steps forward, hands the Father a business card:
INSERT - BUSINESS CARD: DUNCAN LINDSAY & ASSOCIATE, PRIVATE
& DISCREET INVESTIGATIONS, VISA - MASTER CARD - SORRY, NO
DISCOVER
-----------------------------------------------------------------------------------------------------
7.
DUNCAN
Sir, I apologize for this intrusion.
WARREN FATHER
You're private investigators?
(placing the business
card in his pocket)
What seems-
DUNCAN
(interrupting)
I'm going to need that back.
The Father reaches back into his pocket, hands the card back
to Duncan.
DUNCAN (CONT'D)
Your neighbor's wife is engaged in
an illicit affair with a burly
redneck. My firm was hired by the
woman's husband to capture their
carnal intercourse on film.
The shell-shocked daughter notices the Doberman in Duncan's
arms.
WARREN DAUGHTER
He killed Daisy!!!
DUNCAN
No, No. She's just resting. See.
Duncan gentle rubs across the dog's neck. The Doberman slowly
recovers and comes back to life. The Daughter smiles upon
seeing her pet recover, hugs her mother.
Suddenly, the dog springs back to life, ferociously, barking
at Duncan --
Calmly, Duncan thrusts his hand back into the dog's throat,
and instantly, the dog passes out stone cold again.
The Daughter burst back into tears.
DUNCAN (CONT'D)
Sorry. Sorry.
(to the Father)
Look, there's a police cruiser out
there, and we're going to need some
assistance getting to our vehicle
undetected.
WARREN FATHER
Excuse me?
-----------------------------------------------------------------------------------------------------
8.
DUNCAN
In the course of our investigation
tonight, we've broken a minor law or
two: under Georgia state article 15,
we've trespassed on private property.
Under law statute, it is illegal to
take pictures of -
Something has caught Duncan's interest, he walks over to the
family's refrigerator.
DUNCAN (CONT'D)
How about that.
An apron with a University of Georgia logo hangs on a magnet
hook.
DUNCAN (CONT'D)
(to the father)
You're Bulldog fans? Go Dawgs!
WARREN FATHER
(suddenly animated)
Go Dawgs! We're going down to
Jacksonville this weekend.
DUNCAN
Me too.
WARREN FATHER
I'm worried about Florida's defensive
line, they're big.
DUNCAN
But we've got that big kid from Baxley
at tailback.
WARREN FATHER
But he's just a freshman-
WARREN MOTHER
(interrupting;
disapproving)
Wes!
WARREN FATHER
Look boys, we're having supper. How
can I help you leave?
CUT TO:
INT. WARREN FAMILY MINIVAN
Duncan and Schultz crouch low in the rear seats, while Wes
Warren pulls his Minivan out of his garage.
-----------------------------------------------------------------------------------------------------
9.
EXT. GEORGIAN MANSION - ROAD -- LATER
The minivan slowly rolls past Officer Chubb's police cruiser.
Chubbs places handcuffs on Buxman. Marlboro Man and Mrs.
Kuhn watch from the curb.
BUXMAN
It was that no good Duncan Lindsay,
I tell you. He set me up!
OFFICER CHUBBS
Buxman, you can't go 'round sneaking
and taking pictures on private
property, okay?
(to Marlboro Man and
Mrs. Kuhn)
Don't you folks worry, there won't
be no pictures of your personal
business getting out there.
The minivan rolls past them. From a window:
DUNCAN
Moo.
Marlboro Man and Mrs. Kuhn turn to the minivan in shock...
DISSOLVE TO :
INT. DUNCAN'S OFFICE -- DAY
Seated behind a dark oak desk, Duncan is clean shaven but
his hair is still a work of mess. Across the desk, the
sweating milquetoast RALPH KUHN shifts uncomfortably in his
seat. Schultz sits next to him.
DUNCAN
Ralph, even though my assistant
Schultz here knows what I am about
to tell you, I'm going to ask him to
leave us now.
Schultz gets up and walks into the anteroom, closing the
door behind him. Duncan continues with Ralph.
DUNCAN (CONT'D)
First and foremost, understand that
everything I show you is strictly
private and confidential. Only you
and my employees will know your
private family ... affairs
Duncan pushes a manilla envelope across the desk. Ralph
opens it, pulls out some photographs. He is shocked.
RALPH KUHN
Who are these people?!
-----------------------------------------------------------------------------------------------------
10.
The photographs in Ralph's hands show an older black man
strapped into S&M equipment on a bed. Behind him, an older
white man in drag holds a whip.
Embarrassed, Duncan grabs the photos back.
DUNCAN
I apologize. Wrong folder. These
photos are how I got my tickets to
this weekend's Georgia/Florida game.
(switching to loud
football fan mode)
Go Dawgs!
(switching back to
professional P.I.
mode)
I'll need you to keep what you just
saw strictly confidential.
RALPH KUHN
No problem Duncan, I don't know any
these guys.
DUNCAN
You don't?
Duncan pushes the photos back across the desk, pointing to
the white man in drag.
DUNCAN (CONT'D)
That's Bud Stonestreet from Channel
5!
RALPH KUHN
(shocked)
No.
DUNCAN
Yeah, look at the tattoo.
(changing the subject)
Sorry, we're getting off subject.
Promise me, you'll keep this
embarrassing information about Bud
Stonestreet and Councilman Earl
Chambers a secret between you and I --
(phone rings, Duncan
picks it up)
What? Yeah, that's Bud Stonestreet
in the photos! From Channel 5! Now
Schultz, you've got to quit listening
to my conversations.
(pause)
Go Dawgs! Sick 'em! Woof woof woof!
Duncan hangs up the phone, getting back to business. He
fishes another envelope out of the desk drawer, tosses it to
Ralph.
-----------------------------------------------------------------------------------------------------
11.
DUNCAN (CONT'D)
Now, Ralph. I am not pleased to
show you this, and you certainly
don't have to look. If there's one
thing I know, it's people. And, of
course, the history of synchronized
swimming. So that makes two things
I know. But people are full of good
and bad. As are most synchronized
swimmers, in fact--
Ralph has ripped open the envelope, holding the photographs
in his hands.
RALPH KUHN
That bitch! Who is this asshole
she's screwing?
DUNCAN
(reading from a note
pad)
Name's Hank Buchannon. Lives over
in Thunderbolt. Drives a Ford
conversion van with a bumper sticker
that reads
(deadly serious)
"I drink Bud & drive fast, Touch my
Ford and yo ass is grass"
Ralph holds up the photo of Duncan standing outside the window
with his camera.
RALPH KUHN
What's this?
DUNCAN
Well Ralph, that's the ugly part of
this. See, shortly after you hired
my firm, you contracted a second
private investigator. A man by the
name of Buxman to follow your wife
as well.
Ralph bows his head in shame.
RALPH KUHN
You... you --
DUNCAN
Ralph, you did this without informing
me or my staff. You put my
investigation at risk and my team in
a compromised position.
RALPH KUHN
I... I'm sorry.
-----------------------------------------------------------------------------------------------------
12.
DUNCAN
That photo's in there to show that
I'm the one who gets the job done.
INT. DUNCAN & ASSOCIATES OFFICES RECEPTION AREA -- DAY
A gentle chime rings out, as the front door swings open. In
his brightly colored Izod shirt and plaid leisure slacks,
TRAVIS TRUMAN looks like every young successful suburban
lawyer or banker. But he's not out in the suburbs: This is
downtown Savannah... And in the dank, dimly lit office,
Travis is clearly out of place.
The sound of Billie Holiday wails from an old phonograph
record player in the back corner. Directly in front of the
record player, a yellow duck wades in a small children's
pool, flapping its wings.
Looking up from a copy of the Savannah Morning News, EDITH
SNOOTS, a voluptuous bombshell of a woman, sits up in her
seat at the reception desk.
EDITH
Name.
TRAVIS
Excuse me?
EDITH
Name.
TRAVIS
Travis Truman.
EDITH
Your wife is cheating on you.
TRAVIS
No?
EDITH
Your business partners are embezzling
funds?
TRAVIS
No! I-
EDITH
Your parents have written you out of
the will.
TRAVIS
My parents are dead.
EDITH
You have an alibi?
-----------------------------------------------------------------------------------------------------
13.
The duck in the kiddie pool lets out a feeble quack. A door
opens behind Edith's desk, and out steps Schultz showing
Ralph Kuhn the door.
EDITH (CONT'D)
Bye, Mr. Kuhn.
He doesn't look back as he exits. Schultz adjusts his wire-
rim glasses, and nods to Edith. It's time.
EDITH (CONT'D)
Mr. Lindsay will see you now.
CUT TO:
INT. DUNCAN & ASSOCIATES DUNCAN'S OFFICE -- LATER
Still behind his cluttered desk, Duncan holds the room's
attention.
DUNCAN
When I went to sleep-over camp for
the first time, we watched this movie --
don't remember the title, but I
remember we watched it because our
counselor was in the Marines and he
would throw boots at us if we made
noise at night.
Across the desk, Travis shifts impatiently in his seat.
Sitting uncomfortably close, the silent Schultz stares at
Duncan, entranced. Edith stands back by the door; a note
pad and pencil in her hands.
DUNCAN (CONT'D)
Anyway, there was this 14-year-old
old girl, Allison Gooding. She was
one of the only girls who needed to
wear a bra, because she had developed
breasts. Now mind you, I was twelve,
so any breasts turned me on. She
was wearing this tank top with this
fluffy white bra underneath. If the
rumors are true, they were the first
real, fully formed breasts that Nick
Phillips got to touch.
TRAVIS
(interrupting)
Look, are you going to help me or
not?
DUNCAN
(peeved)
I'm almost finished with the story.
-----------------------------------------------------------------------------------------------------
14.
TRAVIS
Its just... Look, I don't want to
hear about a little girl's breasts.
DUNCAN
(to Schultz)
He's gay.
EDITH
Probably killed his parents.
Travis sits up, completely frustrated.
TRAVIS
I'm not gay!
Duncan looks at intently, staring him into submission.
After a beat, Travis catches on.
TRAVIS (CONT'D)
And I didn't kill my parents! It
just - we're both -- How old are
you?
DUNCAN
I'm told I could pass from 25-35. I
went undercover one time as a
salesperson at Belk's. The khaki...
the folding.
TRAVIS
What about my wife?
DUNCAN
You said, she think she's being
stalked. Yet you didn't contact the
local authorities?
TRAVIS
I don't think she's being stalked;
She said that she thinks someone has
been following her. Personally, I
think she's just under a lot of stress
at work. But just in case, I want
you to follow her; make sure there
isn't some kook out there...
DUNCAN
Does your wife eat chicken?
TRAVIS
What's that got to do with anything?
Duncan picks a personal check up from his desk, studying it.
-----------------------------------------------------------------------------------------------------
15.
DUNCAN
You think I'll tell you before your
check clears? Not likely. Ms.
Snoots, show Mr. Toejam-
TRAVIS
Truman.
DUNCAN
Ms. Snoots, show Mr.-
(reading from the
check)
Travis Truman to the door.
Edith opens the door, motions for Travis, who walks toward
her, stopping short of the door.
His attention drawn to a DIORAMA of Daley Plaza and the
Kennedy Assassination, complete with Kennedy convertible,
the Texas Book depository and grassy knoll.
TRAVIS
The Kennedy assassination.
DUNCAN
I've studied it my entire life.
Once I solve "Who killed Kennedy?"
I'll retire to the Jekyl Island and
raise alapacas.
TRAVIS
Studied it your whole life. What
conclusions have you come to?
DUNCAN
I've ruled out suicide.
Travis is perplexed by the statement, but turns and follow
Edith out of the office. Schultz closes the door behind
them, turns to his employer for instructions.
DUNCAN (CONT'D)
Get the bullet proof vests out of
storage, Schultz. This doesn't look
good.
CUT TO:
EXT. JOHNSON SQUARE -- DAY
Pedestrians shuffle in and out of a Sun Trust bank.
Across the street in Johnson Square, wrinkled woman RUBY and
crusty, glacoma-crusted eyed JACK, a pair of seniors, play
chess. Duncan and Edith stroll past them.
-----------------------------------------------------------------------------------------------------
16.
RUBY
Hey Duncan, you gonna drive down to
Jacksonville for Georgia/Florida
weekend?
DUNCAN
Leaving Friday.
RUBY
We're going down tommorrow.
DUNCAN
That right?
JACK
(to Ruby)
Who that?
RUBY
It's Duncan, you blind bat.
JACK
Hey Duncan, Ruby and I are going
down tomorrow. Listenin' to Munson
last night on the call-in show, he
was poor mouthing our chances.
RUBY
Those Gator fans getting cocky.
(she eyes Edith)
Who's that with you?
Duncan opens up so that Edith can join in the conversation.
DUNCAN
Sorry, Ruby, Jack, this is Ms. Snoots,
my secretary.
EDITH
Its Edith.
JACK
He got a girl with him?
RUBY
Yeah, a pretty young lady. Are you
going down to Jacksonville, miss?
Edith looks down uncomfortably.
EDITH
No, I wasn't invited.
Uncomfortable silence drops over the group. Broken by:
JACK
We're going down on Wednesday.
(MORE)
-----------------------------------------------------------------------------------------------------
17.
JACK (CONT'D)
(pause)
How 'bout them Dawgs!
Duncan leads Edith away, toward the bank.
Edith fiddles with her tight, itchy sweater: very
inappropriate for the sweltering heat. Duncan pulls a
handkerchief from his coat pocket, offers it to his secretary.
EDITH
Thanks.
DUNCAN
Didn't think you liked football or I
would have--
EDITH
I don't.
Their eyes meet. A mutual smile, but Edith turns away.
Duncan moves closer, more intimate.
DUNCAN
As soon as Mr. Turnbuckle's-
EDITH
(correcting)
'Truman'.
DUNCAN
Right. As soon as Mr. Truman's check
clears, I can pay you the back amount
I owe you. Business is picking up.
Thinking of taking the office out to
Johnny Harris' tonight. Get us some
Brunswick Stew.
EDITH
Sorry, I have plans.
Duncan's smile fades, Edith notices.
EDITH (CONT'D)
It's not a date.
DUNCAN
(defensive)
I didn't ask if it was a date.
And so the chess match begins:
EDITH
You assumed.
-----------------------------------------------------------------------------------------------------
18.
DUNCAN
Ms. Snoots, I have more important
things to do than worry about you
and the type of men you go out with.
EDITH
And what type of men do I go out
with?
DUNCAN
Tall men.
EDITH
I like men who are sincere.
(Duncan rolls his
eyes)
Polite. Successful.
DUNCAN
Yeah yeah, but you like tall men.
Men at least six feet tall, when
they're not slouching.
EDITH
I notice that you're about six feet.
Edith lets out a laugh. Duncan turns toward her, eyes locked.
DUNCAN
And you like guys who make you laugh.
EDITH
(not giving in)
I suppose.
Duncan holds his hands out, using them as an imaginary scale.
DUNCAN
So having a sense of humor and being
tall are more important, while this
sincerity is nice... but if there
was this funny tall guy,
(that hand/scale goes
down heavy)
It'd be fine if he was never sincere,
rather constantly insincere and
unsuccessful.
(that hand/scale goes
up)
But funny and tall.
EDITH
When he's not slouching.
ANGRY VOICE
Duncan!!!
-----------------------------------------------------------------------------------------------------
19.
Bounding across the lush square, a bruised and battered Buxman
shakes an extended finger at Duncan.
BUXMAN
I ought to bust your jaw shut. You
nearly got me killed the other night.
DUNCAN
Buxman. You're trying to steal my
clients, and you want me to apologize?
And to try and take advantage of
poor Mr. Kuhn?
Buxman cocks his fist back to swing.
OFFICER CHUBBS
Hey!
Buxman stops and the group turns to the overweight officer
bounding across the square toward them.
OFFICER CHUBBS (CONT'D)
Don't make me take you down again,
boy! Now Duncan, what was that
business down in Garden Grove last
night?
DUNCAN
Business?
OFFICER CHUBBS
Don't play dumb with me, joke boy.
Trust me, you two jerk-offs cross
that line one more time, and I'm
going to take you down for good.
Officer Chubbs waits for his point to sink in, then continues
across the square to his patrol car. With Chubbs' back
turned, Buxman gives Duncan a shove.
BUXMAN
You haven't heard the last of this.
Buxman leaves in the opposite direction.
Across the street, Schultz walks out of the bank, cash in
hand. A security guard locks the door behind him.
EDITH
Look's like Mr. Turner's check
cleared.
Duncan and Edith cross the square toward Schultz, who stands
in front of a beat-up Oldsmobile 98.
Unlocking the car, Duncan takes the cash from Schultz.
-----------------------------------------------------------------------------------------------------
20.
DUNCAN
Good work, Schultz. We'll be dining
alone tonight. Ms. Snoots has a
date.
Edith playfully smacks Duncan's arm. They pile into the
rambling wreck.
INT. OLDSMOBILE 98 -- CONTINUOUS
After a few cranks, the engine starts and Duncan proceeds to
drive them around the square.
DUNCAN
I suppose after dinner we should
start following Mrs. Toner.
EDITH
It's 'Truman'. Goodness Duncan,
you've got to remember.
DUNCAN
Right, "Truman". So where do they
live?
A moment of silence. Duncan stops the car, turns to Schultz,
who looks down in embarrassment.
DUNCAN (CONT'D)
Schultz! Where do they live?
Schultz shrugs pathetically. Duncan turns to Edith.
DUNCAN (CONT'D)
Did you take his information?
Edith shakes her head 'no.' Duncan slams a fist down on the
steering wheel.
EDITH
I didn't have time! You took him in
the second he walked in the door.
Then you got going on the "first-
time-you-appreciated-breasts" story.
DUNCAN
Shoot. Shoot.
(thinking)
His address is probably on the check.
CUT TO:
EXT. SUN TRUST BANK -- LATER
The three knock loudly on the bank's door, but inside the
lights are out, the bank is closed.
-----------------------------------------------------------------------------------------------------
21.
EDITH
Drats!
DUNCAN
No problem. We can look them up in
the phone book. Probably not many
'Toomers' in Savannah.
EDITH
Not 'Toomers', his name's 'Truman.'
DUNCAN
Hmmm. That makes it more difficult.
CUT TO:
EXT. PHONE BOOTH -- LATER
Edith and Duncan stare down into the white pages of a phone
book. Schultz holds a flashlight over their heads.
EDITH
Eighty-One. Eighty-two. Eighty-
three. Eighty-three Turners in
Savannah. This is impossible.
DUNCAN
Tear the page out, we'll find them.
EDITH
Yeah right! You find him and I'll
cancel my plans tonight and go eat
Brunswick stew with you.
DUNCAN
Number One: I can't believe that
you'd doubt me? Number Two: You're
assuming that I want you to take you
on a date.
EDITH
I didn't call it a date.
DUNCAN
Because its not a date. Its a
business dinner during which we shall
discuss your future with the company.
Schultz will be there as well.
Schultz squeezes his head between the couple to nod in
agreement.
EDITH
I just don't think you can do it.
Prove me wrong, and you can pick the
prize.
(MORE)
-----------------------------------------------------------------------------------------------------
22.
EDITH (CONT'D)
Which one of these eighty-three
'Trumans' is he?
CUT TO:
EXT. OLDSMOBILE 98 -- EVENING
The beat-up Oldsmobile drives toward the rising moon.
As they speak, the car rolls past several of Savannah's
landmarks: City Hall, the Wilmington River draw bridge, the
flat marshes of Whitemarsh Island, the tall thin pine tree
forests.
DUNCAN (V.O.)
His first name was Travis.
EDITH (V.O.)
Oh, you can remember his first name...
DUNCAN (V.O.)
In the phone book, there are only
two 'Travis' Taylors.
EDITH (V.O.)
'Truman'!
DUNCAN (V.O.)
Right. Two 'Travis Trumans' and six
'T' Trumans, so were down to only
eight options.
(continuing on)
He was dressed for golf, wearing an
Izod shirt, they sell those out at
Macy's or Ogelthrope Mall.
EDITH (V.O.)
The mall's in the other direction.
DUNCAN (V.O.)
(ignoring her input)
But the plaid pants. When I went
undercover at Belk's, I learned that
most of those are sold at the outlet
stores on Wilmington Island.
EDITH (V.O.)
There's the Wilmington Island Golf
Course, do you think--
DUNCAN (V.O.)
No. He decides to hire a private
detective, why'd he chose us?
(MORE)
-----------------------------------------------------------------------------------------------------
23.
DUNCAN (V.O.) (CONT'D)
(answering his own
question)
Because we were close to where he
works downtown. I'm guessing the
Chatham County Courthouse. That
means he's a lawyer, that means he's
rich, which means he lives on
Whitemarsh Island. Of the eight
possible 'Trumans' in that phone
book, how many live on Whitemarsh?
EDITH (V.O.)
It just lists the street name, not
what island they live on--
DUNCAN (V.O.)
Two. So from those two, I'd guess
he lives on Castlegate Drive.
Pulling her head up from the phone book page:
EDITH
And why prey tell do you think that?
Lifting his finger, pointing over her shoulder, out of the
window.
DUNCAN
It's the closest street to his bank.
The Olds rolls past a small South Trust branch.
CUT TO:
EXT. TRUMAN HOUSE -- NIGHT
Sitting on a large flat acre of grass, the one-story house
glows brightly from the windows. Someone's home.
Duncan pulls his car over to the side of the road; a safe
distance from the house.
INT. OLDSMOBILE 98 -- NIGHT
In the back seat, Schultz is busy un-seeding sunflower seeds,
then placing them in Duncan's open hand. Duncan peers through
a pair of binoculars at the mysterious house.
DUNCAN
There's his place. So I suppose
you'll be joining us for dinner, Ms.
Snoots.
-----------------------------------------------------------------------------------------------------
24.
EDITH
How do you know this is the right
place?
DUNCAN
This is it. Right Schultz?
Schultz leans forward, nodding his approval.
EDITH
I still have reasonable doubt.
(opening her door)
I need some confirmation.
Duncan leans across her, closing her door.
DUNCAN
Ms. Snoots, you are a secretary.
Field work is handled exclusively by
myself and Schultz.
EDITH
If you want me to attend dinner with
you two, you'll have to show me the
goods. Plus, you could do some leg
work, see if someone IS stalking
her.
DUNCAN
No one's following Mrs. Toejam.
EDITH
'Truman'. How can you be so sure?
DUNCAN
Ms. Snoots, why doesn't somebody
like being followed?
EDITH
They don't like being watched.
DUNCAN
And when do people really hate being
watched?
EDITH
Uh --
DUNCAN
When they're doing something they
shouldn't. I'm making the call right
now, Mrs. Truman is
(choking)
Ahh, what the-
(coughing; spitting
something out of his
mouth into his palm)
What's this?!?
-----------------------------------------------------------------------------------------------------
25.
Schultz removes the un-seeded Sunflower seed from Duncan's
palm. Looks down to the floor in shame.
DUNCAN (CONT'D)
Do you want to go full-time? Never
again, Schultz! Never again.
(taking a perfect un-
seeded sunflower
seed)
What I was saying is that his wife
is afraid that someone is following
her because of what they'd see if
they were. We can't go near the
house.
Edith re-opens her door and gets out.
EDITH
If you want to take me on a date,
you'll have to prove it to me.
DUNCAN
(calling to her)
It's not a date! Is it Schultz?
Schultz leans forward again, nodding his head. Duncan looks
at him incredulously.
DUNCAN (CONT'D)
Do you want to go to the Georgia-
Florida game?
Schultz backs down. Having proven his point, Duncan grabs a
walkie-talkie.
DUNCAN (CONT'D)
Channel 11. Two short clicks if
anybody comes.
They exchange "thumbs up."
DUNCAN (CONT'D)
Go Dawgs!
EXT. TRUMAN HOUSE - BACK YARD -- EVENING
Sneaking through a gate in a tall wooden fence, Duncan leads
Edith into back yard. He points toward the ground, and Edith
gets the hint, crouch and stay low.
Duncan finds a spot between two large hedges. Pulling out a
pair of binoculars, Duncan hands them to Edith and directs
her attention toward a window into the back bedroom.
DUNCAN
Somebody's in that back shower.
-----------------------------------------------------------------------------------------------------
26.
Through the bedroom window, they can see a bed, and past the
bed... a door is cracked, with steam filtering out.
EDITH
Which proves absolutely zilch.
DUNCAN
Taking that shower is the wife we'll
be following, and her husband's in
the den.
(pointing toward
another room)
Looks like he's watching Channel 11.
Sure enough, seated in a large Laz-E-Boy recliner is Travis
Truman.
DUNCAN (CONT'D)
If you want to drop by your place,
change before we hit Johnny Harris',
that's fine. I might want to change
myself.
EDITH
If you wanted to go on a date with
me, you should have asked.
DUNCAN
I don't want to go on a date with
you. This whole silly thing was
your idea.
Edith leans into him, suggestively.
EDITH
I think there's nothing in the world
you'd like more than going on a date
with me.
DUNCAN
Don't flatter yourself. Why I'd
rather have Georgia beat Florida on
Saturday...
Edith leans in closer, her hands touching his.
DUNCAN (CONT'D)
I'd rather solve a big case, like
the Kennedy assassination...
Edith moves her face in slowly, lips almost touching his.
DUNCAN (CONT'D)
I'd rather... I'd...
His defense is breaking, melting away. Edith's body falls
gently on to his. Leaning forward, closing her eyes.
-----------------------------------------------------------------------------------------------------
27.
Their lips are centimeters apart, when--
Duncan pulls away, something has caught his eye. Across the
back yard, a light reflects off a small OBJECT hanging in a
flower bed. Duncan moves to it.
Disappointed, Edith opens her eyes.
Duncan sneaks across the yard, getting closer and closer to
the house. Deep in a flower bed, light reflects off a small
object.
Duncan reaches into the bush and pulls out the missing object.
AN EMPLOYEE IDENTIFICATION / KEY CARD. There's a picture of
an UNASSUMING MIDDLE AGED MAN, underneath the picture, his
name: MORRIS JOHNSON.
Turning the object over, examining it, Duncan holds the key
card up, showing Edith.
Through the bedroom window, Edith sees MRS. TRUMAN exiting
the bathroom, wrapped in a towel. Edith waves for Duncan to
hide.
Safely under the window, Duncan clings to the back wall.
Once comfortable, Duncan spins upward and peeks into the
bedroom.
Through the bedroom window, Duncan watches as MRS. VIRGINIA
TRUMAN throws down her towel. Walking around the room wrapped
in a small towel, Virginia Truman is stunning, a woman of
striking beauty.
Mesmerized, Duncan stands up, lost in this vision of beauty.
Noticing Duncan's gawking, Edith disappears in a huff.
Virginia Truman grabs a bottle of lotion, and begins lathering
her legs up in front of a mirror. Duncan looks up her body
from toe to her face.
Her tone legs.
Her breasts.
Virginia Truman beautiful green eyes. Her eyes. Staring
right at him in the mirror...
VIRGINIA TRUMAN
(screaming)
Ahhh!!!
Duncan turns and runs for the gate.
-----------------------------------------------------------------------------------------------------
28.
INT. TRUMAN'S BEDROOM - NIGHT -- CONTINUOUS
Travis runs into the bedroom, as Virginia covers herself in
a robe.
TRAVIS
Honey, what is it?
VIRGINIA TRUMAN
There's someone out there! Watching
me!!!
Travis runs to the window to look out into the yard.
EXT. TRUMAN HOUSE -- MOMENTS LATER
Duncan runs at full speed to the car. Jumping into the
driver's seat, Duncan throws the keys in, and the car jumps
in reverse at a fast rate.
DUNCAN
Shoot! Shoot! Shoot!
The Oldsmobile weaves wildly in reverse, as Duncan turns
sharply down a dirt road into some tall pine trees.
INT. OLDSMOBILE 98 -- CONTINUOUS
Duncan throws the gear shift into park. The car jerks to a
halt.
DUNCAN
She saw me. Shoot!
EDITH
Serves you right! Did you get a
long enough look?
DUNCAN
Edith, I--
EDITH
Its Ms. Snoots to you!
DUNCAN
Ms. Snoots, I ...
(pulling the key card
from his trench coat)
Schultz, what do you make of this?
INT. TRUMAN HOUSE -- LATER
Throwing various items in a duffel bag, Virginia pulls a
long coat over herself. Very concerned, Travis follows her
throughout the house.
TRAVIS
Where are you going?
-----------------------------------------------------------------------------------------------------
29.
VIRGINIA
I don't feel safe here. I'm going
to stay in a hotel.
TRAVIS
Let me go with you.
VIRGINIA
No!
Virginia storms out into the garage. Travis is left standing
alone in his kitchen.
INT. OLDSMOBILE 98 -- NIGHT
DUNCAN
Nobody loses a keycard in their
backyard in a hedge.
EDITH
What are you thinking? Do you think
the stalker left it?
DUNCAN
There is no stalker. We're --
A BMW speeds pass their car. Virginia Truman drives.
DUNCAN (CONT'D)
That's her!
EDITH
Where's she's going?
DUNCAN
Not to Johnny Harris'.
Duncan shifts the car into gear, pulling out into the road,
following Virginia Truman's car.
EXT. DOWNTOWN HOLIDAY INN -- NIGHT
The BMW parks in the hotel's parking lot. Virginia Truman
gets out and walks up a flight of stairs to a row of rooms.
Knocks on a door. The door opens, and Virginia walks in.
Duncan's beat up Oldsmobile pulls into the lot, lights off.
INT. OLDSMOBILE 98
Duncan shifts the gear down to park.
-----------------------------------------------------------------------------------------------------
30.
DUNCAN
Schultz. Let's get some ears up
there.
Schultz lumbers out of the back seat, Duncan and Edith watch
him sneak up the stairwell. An uncomfortable silence falls
over the car.
DUNCAN (CONT'D)
You're awfully quiet.
EDITH
I'm waiting for you to apologize.
DUNCAN
Apologize? For what?!
EDITH
One minute you're about to kiss me,
then the next minute you're leering
at our client's half-naked wife.
DUNCAN
I was not... going to kiss you. I
believe that you were going to kiss
me!
EDITH
Like that's the most dreadful thing
in the world!
DUNCAN
I have a right mind to throw you
over my knee and give you a good
spanking!
EDITH
You keep your perverted fantasies to
yourself.
EXT. DOWNTOWN HOLIDAY INN -- MOMENTS LATER
Schultz steps up to the room, takes out his walkie-talkie.
Placing a suction cup against the hotel room's outer window,
Bugging the room. Sneaking away.
INT. OLDSMOBILE 98 -- CONTINUOUS
Duncan adjusts his own walkie-talkie, placing it on the
dashboard, turning up the volume. Edith has moved to the
back seat.
FROM THE WALKIE-TALKIE, we hear Virginia Truman and an
unidentified man in the thralls of passion. Schultz returns
to the car, jumping into the passenger seat.
-----------------------------------------------------------------------------------------------------
31.
DUNCAN
It's unfaithful wives week, huh?
(beat)
I'm going to need to stay and ID the
prep. Schultz, drive Ms. Snoots
home.
EDITH
Perhaps Mr. Schultz and I will go to
Johnnie Harris' ourselves.
A huge grin spreads across Schultz's face. A quick scowl
from Duncan stops that dead in the tracks.
DUNCAN
Schultz, I'm going to need the 411
on that security key card ASAP.
Duncan grabs the walkie-talkie and exits the car, Schultz
slides into the driver's seat, starting the car up.
As the beat up Oldsmobile pulls away, Duncan watches it go.
Then turns his attention toward the hotel room.
DISSOLVE TO:
EXT. DOWNTOWN HOLIDAY INN -- MORNING
Carefully exiting the hotel room, Virginia Truman quickly
sneaks down to her car and pulls away.
Across the parking lot, hidden behind cars, Duncan works a
camera with a long telephoto lens. Snapping picture after
picture of Virginia Truman's car driving away. He turns his
attention back to the room.
An older HANDSOME MAN exits, walks down toward the lobby.
CUT TO:
EXT. DOWNTOWN HOLIDAY INN -- LATER
The HANDSOME MAN walks out of the hotel lobby and gets into
a silver Lexus sedan.
Duncan snaps a final shot of the Lexus' license plate.
Watching the man drive away.
INT. DUNCAN & ASSOCIATES - DUNCAN'S OFFICE -- MORNING
Travis Truman sits across from Duncan, banging his fist down
on the desk. Visibly upset.
-----------------------------------------------------------------------------------------------------
32.
TRAVIS
My wife SAW somebody in our backyard
last night! This is serious! I
need you to get to the bottom of
this!!!
Duncan stares coldly back into Travis' eyes. Then quickly
makes eye contact with Edith, who stands back at the office
door.
DUNCAN
Your wife isn't being followed.
TRAVIS
Someone was out there!!! I went out
in the back yard myself. Someone
had trampled all through the garden.
There are footprints!
DUNCAN
Listen, Mr. Tripper--
TRAVIS
Truman!
DUNCAN
I've done a preliminary investigation
and I can say quite confidently that
your wife is not being stalked.
TRAVIS
'Investigation'? I just hired you
yesterday?!? This is ridiculous.
I'm telling you myself, somebody was
in our backyard last night!
DUNCAN
Is there something you're waiting
for me to say?
Travis Truman is caught off guard by the question. Stunned.
DUNCAN (CONT'D)
Where does your wife work?
TRAVIS
What?
DUNCAN
I can research this some more, if
you'd like. But I need to know where
your wife works.
TRAVIS
She works for Union Camp, out at the
paper mill. What does that do with
anything? Is she being stalked by
someone she works with?
-----------------------------------------------------------------------------------------------------
33.
DUNCAN
Good day, Mr. Toejoe.
Edith opens the outer door, and Travis gets the hint. He
exits the office in a huff. Edith closes the door behind
him.
EDITH
Why didn't you tell him his wife was
fooling around on him?
DUNCAN
Ms. Snoots, I run the investigations
here. Thank you.
Schultz enters with a large manilla envelope, immediately
tosses it in front of Duncan.
Duncan opens it up, reads the top sheet.
EDITH
What's that?
DUNCAN
Photos of the gentleman adulterer.
Duncan holds out the photo so that Edith can see the image:
Handsome Man exiting the hotel. Duncan switches to a
different photo: a picture of the car license plate.
DUNCAN (CONT'D)
Ms. Snoots, I'll need you to run
over to the courthouse. I need to
know where the owner of this car
lives. How much he's worth. What
his hobbies are?
EDITH
(sarcasm)
How about the little details like
his name and where he works.
DUNCAN
He signed out of the hotel last night
under the name 'Clay Bertrand'.
That'll be an alias he may up to
hide the affair. I can find out his
real name when I check out his
workplace: the Union Camp Paper Mill.
INT. PARKING GARAGE -- AFTERNOON
Travis Truman walks to his car, and hears footsteps behind
him.
He turns and searches the garage: but it appears empty.
-----------------------------------------------------------------------------------------------------
34.
Travis continues on to his car, then the footsteps begin
again. He is seriously spooked.
Quickening his pace, he reaches his car and puts his keys in
the lock... when a hand grabs the keys from him.
Travis spins to the new figure: Buxman.
BUXMAN
I can see you're a man who's
disappointed.
TRAVIS
Excuse me?
BUXMAN
Saw you come out of Duncan Lindsay's
office. And knowing his work, you
must be disappointed.
TRAVIS
Who are you?
BUXMAN
I'm a real private investigator, Mr.
Truman. Not some quirky jerk playing
private eye for his own amusement.
And I'm the answer to all your
problems.
EXT. UNION CAMP EMPLOYEE PARKING LOT -- DAY
Gritty yellow clouds billows out of the tall smoke stacks of
the Union Camp Paper Mill. The Oldsmobile 98 rolls up to a
gate in the chain link fence. A sign reads: EMPLOYEE PARKING.
Duncan rolls down his window, and holds the EMPLOYEE
IDENTIFICATION/KEY CARD up to a sensor. The gate open, and
Duncan drives into the parking lot.
INT. UNION CAMP OFFICES -- DAY
Duncan and Schultz appear uncomfortable, dressed down in
jeans and flannel shirts. They sit across a desk from ADAM
JENKINS, 40s, in a sweaty shirt and suspenders.
ANDY JENKINS
(looking at Duncan)
Well Fred,
(turning to Schultz)
Barney. We don't really have any
open jobs.
(MORE)
-----------------------------------------------------------------------------------------------------
35.
ANDY JENKINS (CONT'D)
I've looked over your resumes and,
gosh darn it, you don't have any
experience working at a paper mill.
Duncan shakes his head, and places a hand on Schultz's
shoulder.
DUNCAN
I told you Barney, our chances of
getting a job here 'bout as good as
the Dawgs chances of knocking off
the Gators this Saturday.
Adam sits up in his seat. Intrigued.
ANDY JENKINS
You boys like the Dogs?
CUT TO:
INT. UNION CAMP PLANT -- LATER
Andy leads Duncan and Schultz through the plant, pointing to
various large pieces of equipment. Into--
INT. UNION CAMP ID PHOTO ROOM -- CONTINUOUS
A small office, with a small ID photo set-up: A gray backdrop
hangs on a wall; An antiquated camera; ancient and crusty
GUS THE PHOTOGRAPHER smokes a Camel.
ANDY JENKINS
You boys get your id badges in here.
Then come back to my office and I'll
introduce you to Beau Belue over in
the plant.
(to the Photographer)
Gus, these boys are new hires.
GUS THE PHOTOGRAPHER
(sucking a long draw
from his Camel)
I'll take care of 'em. Boys, grab a
seat.
Andy leaves the room as Duncan and Schultz drop down into
some folding metal chairs, as the Photographer adjusts his
camera.
A man enters dressed in a security guard uniform. Duncan
nudges Schultz to take a look at the guard. It's MORRIS
JOHNSON (MOJO), the man who's picture is on the discovered
employee ID/key card.
Mojo speaks in a slow, confused voice.
-----------------------------------------------------------------------------------------------------
36.
MOJO
Hey Gus. You know how I always lose
my ID badge. You know the one with
my picture on it. The one which I
wear on my chest, right here.
Mojo rubs his left breast pocket.
GUS THE PHOTOGRAPHER
Did you lose another ID badge, Mojo?
MOJO
(defiant)
No. No.
(less confident)
No.
(beat)
Yeah. Yeah, guess I lost it. Again.
Duncan chimes in.
DUNCAN
Where'd you last see it?
MOJO
My locker.
DUNCAN
We're new here and we'll help you
look.
EXT. UNION CAMP PLANT -- LATER
Mojo leads Duncan and Schultz back through the plant.
MOJO
And that's where they take the rolls
and make them into bags. The smell
comes from the smelting. It's smells
like how a dead rat in your dishwasher
and you didn't get it out because
the you didn't want to go near the
stench. So it stayed their and kept
stinking.
DUNCAN
Huh, no wonder there's so many guys
working here. No dame would want to
put up with this.
Mojo stops dead in his tracks. Turns face to face with
Duncan.
-----------------------------------------------------------------------------------------------------
37.
MOJO
Mister, there's a lady working here.
CUT TO:
INT. UNION CAMP OFFICES - EXECUTIVE SUITES -- LATER
The hallway is lined with large pictures extorting corporate
values. Schultz looks up a PICTURE: A blown up photo of a
Rock Climber scaling a cliff. Underneath the photo in big
gold letters: TEAMWORK.
Through a glass wall, a MEETING of corporate management takes
place. Mojo directs Duncan's attention to a beautiful woman
seated at one head of a conference table: VIRGINIA TRUMAN.
MOJO
That's Mrs. Truman. She's my friend.
DUNCAN
Oh really?
MOJO
Sometimes, when she pulls in, in the
morning, she'll say "Morning, Mojo"
and I'll say "Good morning, Ms.
Truman." And then she'll either say
something else or she'll keep walking.
(Mojo lets out an
high pitched guffaw;
changes the subject
of his speech)
Sometimes, I can smell my feet through
my shoes.
DUNCAN
Aces. You said she's "Mrs." Truman.
She's married?
MOJO
(dejected)
Yeah.
(changing subject)
I better get you fellows down to Mr.
Belue in the plant.
Mojo starts to lead the Undercover P.I.s away, Duncan makes
eye-contact with Schultz. Then glances back in to the
corporate meeting. Schultz's eyes follow them back to see
the person speaking at the meeting: THE HANDSOME MAN WHOM
VIRGINIA TRUMAN HAD SPENT THE PREVIOUS NIGHT WITH.
CUT TO:
INT. CHATHAM COUNTY COURTHOUSE -- DAY
In a sterile office, in a small cubicle, Edith scans a
microfiche with the light scanner.
-----------------------------------------------------------------------------------------------------
38.
ON THE SCREEN: We see a DRIVER'S LICENSE of THE HANDSOME MAN
WHO SPENT THE NIGHT WITH VIRGINIA TRUMAN. Through various
fields we see his pertinent information:
JAMES GARRISON - 133 CRAVEY DRIVE - TYBEE ISLAND. 30212
Edith scribbles the information down into a note pad.
DISSOLVE TO :
INT. CHATHAM COUNTY COURTHOUSE - HALLWAY -- DAY
A bustle of people walk briskly through a crowded hallway.
Elevator doors open, and Edith steps out into the hall.
Noticing something, she turns sharply to her left. Hiding.
In a three-piece suit and carrying legal briefs, Travis Truman
walks past her. Blending into the throngs of people, Edith
follows him.
Travis's head is down studying his legal briefs. He enters
and office: Suite 272.
Edith walks up to the door, taking note of the stenciled
letters on the frosted glass: Zoning Commission.
CUT TO:
EXT. UNION CAMP EMPLOYEE PARKING LOT -- EVENING
Virginia Truman unlocks her car door, opens the door, but a
hand shuts the door closed. She turns to see JAMES GARRISON
(THE HANDSOME MAN) leaning in close, whispering something in
her ear.
INT. UNION CAMP OFFICES - EXECUTIVE SUITES
Watching through a high window, Duncan lowers a monoscope.
He hands the device to Schultz.
DUNCAN
Pretty amazing, huh? What is he
thinking?
Schultz raises the monoscope to his eye, getting a close-up
view of Garrison and Virginia. Duncan pulls the monoscope
in a new direction, showing Schultz--
P.O.V. MONOSCOPE
Out in the parking lot, crouched low behind a car, Mojo the
Security Guard is spying on Garrison and Virginia.
DUNCAN
Poor Mojo.
Pulling out the electronic keycard, he hands it to Schultz.
-----------------------------------------------------------------------------------------------------
39.
DUNCAN (CONT'D)
This should provide us access into
Mrs. Truman's office. Look for any
sign that our Mojo has been in there.
A cell phone rings from deep within Duncan's trench coat.
Schultz takes the keycard and exits, as Duncan raises the
cell phone to his ear.
DUNCAN (CONT'D)
Ms. Snoots.
INTERCUT WITH:
INT. DUNCAN & ASSOCIATES OFFICES RECEPTION AREA
EDITH
His name is James Garrison. Main
residence is a big spread on his own
private little private island out
near Skidaway Island.
Duncan scribbles down the information on a small note pad.
DUNCAN
What else you got on him?
EDITH
Divorced. Moved down from Atlanta a
few years back.
DUNCAN
Last name's Geary, huh?
EDITH
Garrison.
DUNCAN
Right. Owns a big spread down near
Skidaway Island.
EDITH
I saw Travis Truman working over at
the courthouse. He works in real
estate.
DUNCAN
Real Estate. We need to find out
what projects he's working on. Now
back to this Mr. Garrett.
EDITH
Mr. 'Garrison'.
DUNCAN
Right 'Garrison'. There's something
not right about him.
(MORE)
-----------------------------------------------------------------------------------------------------
40.
DUNCAN (CONT'D)
He's rich, good-looking, single...
what's he doing having an affair
with a married woman?
EDITH
(suggestively)
Well, he works in the same office
with a beautiful woman, sees her day
after day. He's attracted to her.
She's attracted to him. He'd have
to be a blind, ignorant fool not to
notice the perfectly lovely woman
standing right before his eyes.
DUNCAN
Look, Ms. Snoots, I believe I
understand what you're getting at.
EDITH
You do?
DUNCAN
Yes, I do. So here goes, I'm man
enough to say it. Ms. Snoots?
EDITH
Yes?
DUNCAN
I'm going to need you to work overtime
tonight.
EXT. UNION CAMP EMPLOYEE PARKING LOT -- DAY
James Garrison gets into his car and pulls out of the parking
lot. Virginia Truman watches him leave.
INSERT SOMETHING HERE.
Virginia Truman's car pulls out of the parking lot. Followed
by Mojo in his dirty Jeep.
The Jeep drives by a dusty Trans Am on the side of the road...
From inside the Trans Am, Buxman rolls down his window,
watching them go.
The Trans Am turns and follows them.
INT. VIRGINIA TRUMAN'S OFFICE -- EVENING
In the dark office, mini-flashlights search through the desk
and file cabinets. Duncan pulls up a file folder, flips
through some pages.
-----------------------------------------------------------------------------------------------------
41.
DUNCAN
Virginia Truman's a CPA. Looks like
most of her work has been doing due
diligence on a piece of property
further west.
Schultz begins to speak, when Duncan holds up his hand,
stopping him.
DUNCAN (CONT'D)
Union Camp must be thinking of moving
the plant. Which would explain why
she's had "so much stress" at work
recently. But she hasn't been
working, has she?
Schultz begins to speak again, but Duncan stops him.
DUNCAN (CONT'D)
She complained to her husband that
she was being followed. Mojo's id
card is in the Truman's back yard.
He's smitten with her and he follows
her tonight. So it stands to reason
that she was being followed. But
she's having an affair...
Schultz is still. Duncan nods toward him, and Schultz begins
opening his mouth--
DUNCAN (CONT'D)
(interrupting)
Why encourage your husband to do
something about this "stalker", when
doing so, would probably inform your
husband to the tawdry affair you've
been having with a co-worker?
Half-heartedly, Schultz opens his mouth.
DUNCAN (CONT'D)
And what am I going to say next?
Schultz shrugs, returns to searching the filing cabinet.
The phone in her office rings. With hesitation, Duncan picks
up the receiver, cradling it between his ear and shoulder.
DUNCAN (CONT'D)
(in a poor Latin accent)
Union Camp Paper Mill, se hable
espaniol?
TRAVIS
(over the phone)
I'm sorry, I'm trying to reach my
wife.
-----------------------------------------------------------------------------------------------------
42.
DUNCAN
Mr. Turnoff, it's Duncan Lindsay.
TRAVIS
What?!?
DUNCAN
Your wife has left for the day, sir.
TRAVIS
She told me she'd be working late
again today... What are you doing
there?
DUNCAN
I'm tracking this nonexistent stalker.
(pause)
It sounds like you're on a cell phone,
where are you?
The line goes dead.
DUNCAN (CONT'D)
Hello? Hello?
Duncan punches a different phone line, then dials--
INT. DUNCAN & ASSOCIATES OFFICES RECEPTION AREA
Edith picks up on the first ring.
EDITH
Duncan Lind-
DUNCAN
(cutting her off)
Edith. I need that address on
Skidaway Island?
EXT. SKIDAWAY ISLAND DRAW BRIDGE -- EVENING
The sun sets over the mainland. A tall bridge crosses a
river onto the marsh island that dot the inter-coastal water
way.
Virginia Truman's BMW rolls over the bridge first... followed
later by Mojo's dirty jeep... then finally Buxman's Trans
Am.
DISSOLVE TO :
-----------------------------------------------------------------------------------------------------
43.
EXT. TAYLOR GREER'S ISLAND HOME -- EVENING
Located in a remote stretch of marsh, Greer's expansive house
is alive with lights. Virginia Truman's car is parked in
front of the house.
EXT. DIRT ROAD -- EVENING
Buxman's Trans Am rolls down a dirt road. The road is dark
with large oak trees lining the way.
Buxman scans the road, slams the brake upon seeing--
Mojo's Jeep pulled over to the side of the road, in a thicket
of trees.
Buxman pulls his car over. Gets out, camera in hand. Looks
around Mojo's car. No sign of the driver.
INT. OLDSMOBILE 98 -- EVENING
Duncan and Schultz race to Skidaway Island, listening to
Larry Munson's Radio Call-In show.
LARRY MUNSON
(over the radio)
...Georgia beat Vandy by a prayer
and a thread, while Florida stomped
all over Vandy with a hob-nailed
boot. Vegas looks at that, and you
understand why Florida's a four and
a half point pick over the Dawgs.
The Gators are licking their chomps...
they want to break our hearts and
marry our wives.
Duncan turns the volume down a hair.
DUNCAN
Larry sounds extra worried. Maybe
we should leave for Jacksonville
early? Get down to the game and see
about switching up the karma.
Schultz points to the road ahead. A small dirt road forks
off the main highway. Duncan takes it.
EXT. TAYLOR GREER'S ISLAND HOME -- EVENING
Crouching down through the sawgrass, so not to be seen, Buxman
sneaks closer to the house.
-----------------------------------------------------------------------------------------------------
44.
Ahead, he can see Mojo is also approaching the house. Trying
not to be seen. Raising his camera, Buxman takes a quick
picture of Mojo.
EXT. DIRT ROAD -- EVENING
Duncan drives past Mojo and Buxman's cars. Parking a bit
further down and hiding his car behind some large Spanish
Oak trees.
They exit the car, and Schultz starts moving toward the two
autos. Duncan whistles to get his attention.
DUNCAN
This way. Toward the house.
EXT. TAYLOR GREER'S ISLAND HOME -- EVENING
Mojo sneaks around the house, out of sight from Buxman.
Buxman moves to the other side of the house. Peering in
windows and moving on.
Back at the road, Duncan and Schultz work their way toward
the house.
DUNCAN
Last night, they stayed in a hotel.
Tonight, they're a bit more brave.
Fooling around at his house.
Schultz points out Buxman ahead at the house.
DUNCAN (CONT'D)
Jesus, what's that buffoon doing?
Duncan picks up his pace, but Buxman has disappeared around
the side.
They reach Virginia Truman's car. Duncan opens a door and
pulls out a manilla folder from the passenger seat.
Across the tab, the folder reads: "Relocation Project" Duncan
flips it open, examining pages when--
A SHOT RINGS OUT. THEN A WOMAN'S SCREAM.
Duncan and Schultz have pulled out there handguns. Duncan
breaks out into a full sprint up the front steps--
Kicking open the front door--
-----------------------------------------------------------------------------------------------------
45.
INT. TAYLOR GREER'S ISLAND HOME -- CONTINUOUS
Racing through various rooms to the source of the screaming.
Bursting into --
INT. TAYLOR GREER'S HOME - DEN -- CONTINUOUS
Duncan and Schultz fan the room with their guns. Standing
in the middle of the room --- screaming her head off --
Virginia Truman is hysteric.
She stands over the bloody, disfigured body of the Taylor
Greer, the Handsome Man.
VIRGINIA
Don't kill me!
Bursting through the door, Buxman has his weapon drawn.
VIRGINIA (CONT'D)
Don't kill me!
Duncan and Schultz lower their guns, and Duncan pushes
Buxman's gun down to the floor.
Duncan approaches her slowly, non-threatening. Wiping the
sweat from his brow--
DUNCAN
Jesus, its hot as hell in -- What
happened?
Virginia collapses down on to a sofa.
VIRGINIA
Someone shot him! Someone outside!
The three men turn their attention out an open window. In
the distance, a figure runs away.
DUNCAN
Schultz, call the police.
In a flash, Duncan has jumped out the window in pursuit of
the escaping figure. Buxman lumbers out after him.
EXT. TAYLOR GREER'S HOME -- CONTINUOUS
Sprinting through the tall sawgrass, Duncan charges after
the fleeing figure. The figure makes it to the forest of
trees by the road.
Buxman fires his gun into the air, but the figure keeps
running.
-----------------------------------------------------------------------------------------------------
46.
EXT. DIRT ROAD -- CONTINUOUS
Running through the trees, Duncan sees the figure slashing
the tires on Buxman's Trans Am. He raises his gun.
DUNCAN
Mojo!
Mojo drops his knife. Holding his hands up. Backing away.
MOJO
I didn't do nothing. I didn't do
nothing.
DUNCAN
Mojo, calm down.
MOJO
He dead. I didn't do nothing.
Duncan moves closer; aiming his gun right between Mojo's
eyes. Mojo look terrified.
MOJO (CONT'D)
I didn't do nothing.
Duncan lowers his gun.
DUNCAN
What did you see?
A gun shot explodes into the windshield of Mojo's Jeep.
Shattering it. Sending millions of glass shards spraying
out.
Duncan dives down. Blood drips from his earlobe. He's been
nicked.
Mojo opens the door to his Jeep, diving in. Duncan rolls on
the ground, pointing his gun up in the direction of... Buxman,
who fires another shot into the windshield.
Somehow, Mojo has started the engine and pulls away. Buxman
comes charging, but Duncan grabs one of his ankles and brings
the lummox down. Swerving wildly, Mojo drives away.
Buxman is up and firing at the back of the fading car. He
turns to Duncan.
BUXMAN
You let him get away!
Duncan's fist slams into Buxman's jaw, and he collapses down
on to the dirt road.
DUNCAN
You hit me with your first shot,
Einstein. You could have killed me!
-----------------------------------------------------------------------------------------------------
47.
Buxman brushes dirt off his pants.
BUXMAN
That'd have been real shame, huh?
The heel of Duncan's shoe slams into Buxman's chin, knocking
him unconscious. Duncan catches his breath, then pulls out
his cell phone. Dialing.
DUNCAN
(into the cellphone)
Ms. Snoots.
INTERCUT WITH:
INT. DUNCAN & ASSOCIATES OFFICES RECEPTION AREA
Edith is seated at her desk.
EDITH
Duncan, where are you?
DUNCAN
I haven't got time. There's been a
murder. I think our client...
EDITH
Mr. Truman?
DUNCAN
Yeah, I --
EDITH
He's right here.
Standing next to Edith's desk, Travis Truman looks worried.
EDITH (CONT'D)
He just walked in the door about 20
seconds before you called. Do you
want to--
Duncan hangs up. Puzzled. Slowly, a terrible thought creeps
into his mind... he grabs his walkie-talkie.
DUNCAN
(into walkie-talkie)
Schultz? Schultz, get out of there!
No response. Duncan turns and makes a mad dash back toward
the house.
CUT TO:
INT. TAYLOR GREER'S HOME - DEN
Virginia Truman leans her head against the wall, mindlessly
playing with a thermostat.
-----------------------------------------------------------------------------------------------------
48.
With a phone cocked between his ear and his shoulder, Schultz
studies the dead body on the floor. He hangs up the receiver.
VIRGINIA
So the police are on their way?
Nodding, Schultz turns around to see-- a Magnum .357 pointed
right between his eyes.
VIRGINIA (CONT'D)
Drop it!
Schultz takes a half step back, not dropping his gun.
Virginia fires a shot into the ceiling, then aims her gun
quickly back at Schultz.
VIRGINIA (CONT'D)
I said 'drop it'!!!
Schultz lets go of his weapon and it falls safely down to
the floor. He raises his arms.
VIRGINIA (CONT'D)
Who do you think you are? For all I
know, you shot him right through
that window yourself and now you
want to kill me... But I'm not going
to let that happen.
Aiming the gun right at his heart, Virginia pulls back the
hammer-- and is slammed as Duncan drives his body into hers.
They fall down, wrestling for control of the weapon. Virginia
rolls on top of Duncan in almost a sexual position. Their
faces so close they could kiss when--
Duncan headbutts her, creating some space. Then with a quick
shot, SMACK, he punches her left eye. She falls back,
releasing the firearm.
Duncan grabs it and springs up from the floor. Pointing it
back down at her.
POLICEMAN
Freeze!
Duncan releases the weapon and places his hands quickly up.
Turning, he sees that the room is flooded with officers.
CUT TO:
INT. POLICE STATION - INTERROGATION ROOM -- NIGHT
At a long white table, Duncan holds an icebag to his head.
His injured ear is heavily bandaged. Stepping in the door,
and taking a seat at the far end of the table, two strict
looking officers, OFFICER OSWALD and OFFICER HARVEY roll up
their shirt sleeves in unison.
-----------------------------------------------------------------------------------------------------
49.
OSWALD
(reading from a folder)
Duncan Lindsay, private investigator.
DUNCAN
And you are?
OSWALD
You use to be a police officer on
Tybee Island. Got shitcanned bout
three years ago. Care to tell me
why?
DUNCAN
I'm guessing you already know. Your
name is--
HARVEY
We'll ask the questions, Mr. Lindsay.
What were you doing out there?
DUNCAN
Working. My client--
HARVEY
(interrupting)
Former client. Seems Travis Truman
hired Guy Buxman to find the man who
was following his wife and Buxman
found him. I liked to know why you
couldn't?
Duncan sits up in his seat. This is serious.
OSWALD
Mr. Truman was on his way to your
office to fire you when this incident
occurred. And suspciously, Buxman
claims that you let the suspect get
away.
DUNCAN
You've got the suspect. She pulled
a gun on my partner.
HARVEY
Mrs. Truman claims she pulled out
that gun because she was afraid that
you and your partner were the killer.
She claims the shot was fired from
outside, through a window.
DUNCAN
My gun hasn't been fired today.
Neither has my associate, Mr.
Schultz's. Your lab can tell you
that.
(MORE)
-----------------------------------------------------------------------------------------------------
50.
DUNCAN (CONT'D)
(Duncan stands)
I'm leaving.
OSWALD
Back in the chair, partner.
Duncan walks up to him, not backing down.
DUNCAN
You're not charging me with anything,
(looking down and
reading name off the
badge)
Officer Oswald. You can't keep me.
Police Chief goes over Duncan real good. Buxman comes in
and makes Duncan look even worse "There was someone following
Joan" yada yada yada.
Police Chief "Duncan, the neighbors just ID'd you for being
in their backyard last night."
Travis becomes the cops Number 1 suspect. Duncan can't leave
town... therefore can't go to Georgia-Florida. He swears to
crack the case so that he can go to the game.
INT. DUNCAN & ASSOCIATES DUNCAN'S OFFICE -- MORNING
Out of the hospital, Joan comes to Duncan "The police are
convinced that my husband killed Dick"
Duncan "You're so sure that it wasn't your husband that did
this to you?"
Joan is positive that Travis wasn't responsible... she hires
Duncan to prove his innocence. "I may have stopped loving
my husband... but I still love him."
Duncan asks "Why are you hiring me? Why not Buxman?"
Joan: "You knew that I was having an affair and yet, you
didn't report it to my husband. That was classly/shows class"
something.
Joan and Duncan have some closeness. Edith jealous.
INT. BIG WIG COMPANY -- AFTERNOON
Edith and Schultz investigate red herring #2.
-----------------------------------------------------------------------------------------------------
51.
INT. MOJO'S APARTMENT -- NIGHT
Duncan does some investigating at Mojo's apartment...
discovers his attraction to Joan. Buxman has been following
Duncan. More mysteriousness. Mojo doesn't have an alibi
for the time of the murder.
INT. BIG WIG COMPANY -- NIGHT
Edith and Schultz discover evidence that shows that Travis
left in the night... but so do the cops. Go to arrest Travis.
INT. TRUMAN HOUSE -- NIGHT
Joan is incredibly stressed because the police have arrested
Travis. Duncan reports that "If you look at the facts, all
signs point to the fact that Mojo was the stalker." Serious
flirtation and such between Duncan and Joan. Maybe a kiss.
INT. POLICE STATION - INTERROGATION ROOM -- NIGHT
Travis explains that he did go out from blank to blank...
but that he was back at the office by so-and-so and surely
someone had to have seen me.
Duncan puts Edith on case of tracking down Travis' alibi.
EXT. MOJO'S APARTMENT -- MORNING
Duncan and Schultz do more investigating... finds murder
weapon or some other CLUE. Buxman's there to pounce on it.
Mojo is missing.
INT. BIG WIG COMPANY -- MORNING
Edith tracks down alibi... there is NO WAY that Travis could
have been at the murder scene and gotten back to work in
that amount of time.
EXT. UNION CAMP OFFICES -- AFTERNOON
Action piece as Duncan tries to capture Mojo before Buxman
does. In the end, Duncan lets Mojo escape rather than let
Buxman catch him.
INT. POLICE STATION - INTERROGATION ROOM -- AFTERNOON
Travis is set free. Doesn't want anything to do with Joan,
who was cheating on him, yada yada yada. Duncan leaves
INT. DUNCAN & ASSOCIATES DUNCAN'S OFFICE -- AFTERNOON
Duncan is packing... he can just make it to the Georgia-
Florida game. Joan comes in, wants to thank Duncan:
personally. Hot and heavy scene.
Naturally, the passion is disrupted by Edith who is incredibly
hurt, runs away. Joan leaves.
-----------------------------------------------------------------------------------------------------
52.
Schultz is ready to go to the game, when Duncan changes his
mind... they have to stay and "solve" this case.
INT. MOJO'S APARTMENT -- NIGHT
Duncan does some kind of digging that links Mojo to red
herring #2.
INT. EDITH'S TOWNHOUSE -- NIGHT
Edith puts some things together and decides to go to the
Truman house.
INT. BIG WIG COMPANY -- NIGHT
Duncan finds clue which paints Mojo as innocent. Finds out
that Edith is going to the Truman house, he's incredibly
worried about her. Rushes to her.
INT. TRUMAN HOUSE -- NIGHT
Duncan gets there as all hell breaks lose. Gunman shots and
kills Joan, kidnaps Edith, shoots and injures Duncan. Let's
do rotary phone 911 bit here.
INT. AMBULANCE -- NIGHT
On the way to the hospital, everyone listens to the Georgia-
Florida game bit. Duncan hooks up with Schultz. They need
to get to Union Camp paper mill. *
INT. UNION CAMP OFFICES -- NIGHT
Duncan catches the killer as he tries to off Edith in an
evil way. Duncan knows that the killer is Travis... Dick
had been killed earlier, Joan was in on it, yada yada yada.
Some big call back. Duncan and Schultz save the day.
Duncan kisses Edith. The End.
Schultz hands him a business card with the same shit as on
the door.
RALPH KUHN
You're private investigators.
(placing the business
card in his pocket)
Good because I-
-----------------------------------------------------------------------------------------------------
53.
SCHULTZ
(interrupting)
I'm going to need that back.
Don't try to stop me. Okay I won't
That's all I've finished as of 12/11/04
Or email me your notes