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A Machiavellian private detective is hired by an alluring femme fatale, who entangles him in three murder cases and a liaison with international crooks hunting for a priceless artifact known as the Maltese Falcon
Phillip E. Hardy is an American screenwriter known for developing high-concept, genre-driven feature films that balance strong commercial hooks with character-focused storytelling. Active in the independent film space since the early 2010s, Hardy has built a body of work spanning thrillers, horror, crime, westerns, action, and dark comedy, with a particular interest in public-domain adaptations and internationally producible projects. Hardy wrote the feature film, Purgatory Station, available on Amazon Prime, and has had multiple screenplays optioned, developed, or circulated among producers, agents, and production companies. His work often favors contained, cost-efficient production models, making his scripts attractive to indie producers and international partners.
SAM SPADE, a savvy private detective in late 1940s San Francisco, takes on Brigid, a charming, manipulative client who quickly involves him in the shooting deaths of his partner, Miles, and a gun-for-hire, Floyd Thursby. With two policemen breathing down his neck, Sam fearlessly and sometimes recklessly involves himself in Brigid’s scheme to outwit three criminals who will break any law and remove any obstacle to obtain a priceless, mythical statue called The Maltese Falcon. With the monetary incentive of $10,000, Sam’s moral compass and his growing attraction to the femme fatale Brigid could land him in San Quentin or the cemetery.
Planned release: To be determined
Filmmortal Script Scan read the script and found these scenes. Each shows the page, the kind of brand that fits, and brands that could suit it.
INT. APARTMENT - NIGHT (p. 139). Sam lathers his face with a shaving bar and brush while Tom watches from the doorway, and the bathroom routine runs long enough for the kit to be clearly seen.
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EXT. SAN FRANCISCO - NIGHT (p. 12). Tom pulls a muddy Webley-Fosbery revolver from his trench coat and holds it up; Sam examines it and names it.
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INT. FRONT ROOM - NIGHT (p. 44). Brigid sits across from Sam in a tight, sleeveless blue dress while the couple discusses the falcon.
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INT. OFFICE - DAY (p. 87). Sam unfolds the previous day's Chronicle at his desk, opens it to the shipping news page, and compares it to the page he found in Cairo's wastebasket.
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INT. LOBBY - NIGHT (p. 32). Cairo enters in a black coat cut tight to narrow shoulders, later removes white gloves and sets them on his hat on Sam's desk.
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INT. OFFICE - NIGHT (p. 32). Sam sits drinking from a glass and smoking while thinking; later he takes a swig from a chrome flask in the phone booth scene.
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INT. APARTMENT - NIGHT (p. 62). Sam and Brigid sit close on the couch, each holding a martini as they flirt and banter after the confrontation.
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INT. HOTEL BELVEDERE - MORNING (p. 85). Hotel detective Luke eats French toast in a booth and folds bacon onto toast, stuffing it into his mouth while he talks with Sam.
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EXT. STREET - NIGHT (p. 40). Sam exits his building in a brown fedora and Burberry trench coat, the outfit he is tailed in across the night.
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INT. OFFICE - NIGHT (p. 40). Cairo states he is at the Hotel Belvedere, room 635, when inviting Sam to contact him.
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INT. APARTMENT - NIGHT (p. 16). Sam fetches a bottle of Bacardi and a wine glass, pours a drink and swills it standing, then sits on the couch with it.
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INTERCUT SAM/TOM (p. 127). Sam tells Tom the gang can be pinched at the Alexandria Hotel, room Twelve-C, and the hotel name is said in dialogue.
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INT. APARTMENT - NIGHT (p. 78). Sam jokes that the Templar treasure would be pretty pricey at Macy's, and Gutman laughs at the line.
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INT. HOTEL BELVEDERE - NIGHT (p. 87). Luke says Cairo has more merchandise than the cosmetics counter at Bloomingdale's while he looks over Cairo's toiletries.
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INTERCUT SAM/EFFIE (p. 120). Sam sends Effie to the Pickwick Stage parcel room to retrieve the Holland box note, and the Pickwick Stage name is spoken on the call.
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INT. OFFICE - NIGHT (p. 17). Sam flicks his cigarette over an empty Chase and Sanborn can while Dundy and Tom press him.
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INT. LOBBY - NIGHT (p. 32). Cairo produces an engraved card and sets it before Effie, who hands it to Sam.
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EXT. SAN FRANCISCO - NIGHT (p. 10). Sam walks through an alley past an ambulance to see Miles's body, wearing his hat and coat as the first beat of the case.
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INT. HOTEL BELVEDERE - MORNING (p. 85). Luke sits in a blue suit and Panama hat while eating breakfast and grinning at Sam.
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INT. HOTEL BELVEDERE - DAY (p. 63). Sam rings the front-desk bell and asks for Cairo, and the clerk gives the news while Sam walks through the lobby.
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INTERCUT SAM/TOM (p. 126). While listening to Tom, Sam reaches for his flask and takes a swig of Bacardi.
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EXT. CORONET APARTMENTS - DAY (p. 22). Sam knocks on Brigid's room at the Coronet, and the scene establishes the suite where the couple meet.
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INT. APARTMENT - NIGHT (p. 67). A bottle of Johnnie Walker sits on the table as Gutman pours bourbon for Spade during their long first meeting. The bottle is in the frame for the whole negotiation scene.
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INT. HOTEL BELVEDERE - NIGHT (p. 86). Cairo's bathroom cabinet is stocked with powders, creams, perfumes, lotions, and tonics, which Luke inventories on screen. Luke also mentions Cairo's cologne in passing.
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INT. HOTEL BELVEDERE - NIGHT (p. 86). Sam and Luke look over Cairo's square trunk, valise, and Gladstone bag while searching the room.
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