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TRU, TWO.(The Talk of the Town)

The New Yorker

| September 25, 2006 | Seabrook, John | COPYRIGHT 2006 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

In the summer of 2003, after two years of research and writing, Douglas McGrath finished "Infamous," his screenplay based on the life of Truman Capote. As he had promised to do, he called his friend Bingham Ray, who was the executive on his last film, "Nicholas Nickleby."

"Good news," said McGrath, who also co-wrote "Bullets Over Broadway" with Woody Allen, and adapted and directed "Emma." "I finished my script!"

"I know," Ray said. "I've got it on my desk!"

"And I paused," McGrath recalled the other day, over lunch at La Grenouille, "and I said, 'Uh, no you don't, because I have it on my desk.'"

"No, it's right here," Ray insisted. "'Capote,' by Dan--" There followed, McGrath said, "what is known in the Wasp community as a polite pause."

Ray had another Capote script on his desk. To make matters worse, this script, by Dan Futterman, concerned the same period in Capote's life that "Infamous" did--the years during which he was working on "In Cold Blood."

"It's very strange," McGrath said, sitting up straight on the burgundy-colored banquette. McGrath, forty-eight, has thin blond hair, very good manners, a slight Texas accent, and he speaks in perfect sentences. "I mean, generally I have my finger on whatever the opposite of the Zeitgeist is. What are the chances of two scripts about Truman Capote going out at the same time?"

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