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May 4, 1986 PRODUCERS:PETER
DOUGLAS
FLETCH Final Draft Screenplay by PHIL ALDEN ROBINSON From a Draft by ANDREW BERGMAN Based on the novel by GREGORY MC DONALD
FLETCH FADE IN
FAT SAM (shakes head and smiles) Fletch… FLETCH Sorry. I find a little humor really brightens things up around here, don’t you? A young junkie with a black eye – Gummy – passes. GUMMY Hi Sam. Hi Fletch. FLETCH Hi Gummy. How’s the eye? GUMMY It’s okay. The cops did it. FLETCH I know. GUMMY They busted me last week. FLETCH They bust you every week. GUMMY I know. I got bad luck or something. Gummy exits. Fletch and Fat Sam watch him go. FLETCH That kid spends any more time in jail He’ll have to start paying rent. WIDER ANGLE THROUGH BINOCULARS Fat Sam and Fletch conclude their conversation. Fletch walks back among the drifters, the nervous, expectant junkies. He stops to talk to a young man propped up on his elbows on a towel. Creasy. 4 CREASY AND FLETCH FLETCH CREASY FLETCH CREASY FLETCH CREASY FLETCH CREASY FLETCH CREASY FLETCH CREASY FLETCH CREASY FLETCH 5 WIDER - BINOCULARS AGAIN ---Fletch takes his Casio and starts
off the beach. The binocular angle follows 6 BEACH PARKING LOT - DAY ---Fletch emerges into view, walking
towards camera, when a Man steps into the MAN FLETCH 7 REVERSE ---A trim man of approximately
Fletch's age, wearing a perfectly tailored grey STANWYK 8 MASTER FLETCH STANWYK FLETCH STANWYK
STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH 9 EXT. BERMAN STREET - BEVERLY HILLS - DAY ---A Jaguar XJ sedan goes up Berman
Street, a dead end. Fletch's
hand reaches out 10 INT. JAGURE - DAY FLETCH 11 EXT. BERMAN STREET - DAY ---The Jaguar continues on up Berman Street,
stopping before massive iron gates 12 EXT. STANWYK HOUSE - DAY ---The jaguar goes up the center of the drive
toward a white-pillared mansion. The 13 INT. JAGUAR - DAY ---Fletch stares out the window. FLETCH ---The car stops before the house. STANWYK 14 EXT. HOUSE - DAY ---as they get out of the car. FLETCH ---Stanwyk ignores Fletch and starts toward the house. Fletch follows. FLETCH STANWYK FLETCH ---Stanwyk stops before the front door, stares at Fletch STANWYK ---Fletch abruptly changes gears, stares at Stanwyk FLETCH STANWYK 15 INT. HOUSE - DAY ---Stanwyk and Fletch enter. A Mexican Maid crosses. STANWYK MAID She disappeared. FLETCH ---Stanwyk doesn't reply, keeps on walking. He
opens a set of double doors to the 16 INT. LIBRARY - DAY ---Massive fireplace. Everything built in
teak. Fletch enters, and Stanwyk closes FLETCH ---Stanwyk wordlessly goes behind the desk FLETCH ---Stanwyk turns, looks out a pair of French
doors behind his desk, then turns STANWYK FLETCH STANWYK 17 20 FLETCH ---Even garrulous Fletch is stopped in his tracks by this remark, uttered in the ---most business-like manner. 21 STANWYK STANWYK 22 FLETCH ---He just stares, barely breathing. 23 STANWYK STANWYK 24 FLETCH ---He shakes his head. 25 STANWYK STANWYK FLETCH ---Finally regains the gift of speech. FLETCH 27 MASTER STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK 28 FLETCH ---He chews his lip. 29 STANWYK STANWYK ---Stanwyk searches Fletch's face carefully for a reaction. After several beats.... FLETCH STANWYK 30 FLETCH FLETCH 31 MASTER STANWYK FLETCH STANWYK FLETCH STANWYK ---He opens the top drawer of his desk 32 INSIDE THE DRAWER ---an enormous .357 Magnum. 33 MASTER ---Stanwyk holds up the gun. 34 FLETCH FLETCH 35 MASTER STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH ---A beat. Stanwyk stares at Fletch. STANWYK FLETCH STANWYK FLETCH ---Stanwyk starts to write down the information on a note pad. STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK FLETCH STANWYK 36 FLETCH ---thinking it over. 37 STANWYK STANWYK 38 FLETCH FLETCH 39 INT. NEWSPAPER BUILDING - DAY Fletch pushes through the double glass doors, still dresses in a beach mufti -- the jeans and Magic Johnson shirt, Puma sneakers. 40 INT. L.A. NEWS OFFICE - DAY Fletch is greeted ad-lib by several people as he walks through the cavernous newspaper City Room. REPORTER SECOND REPORTER FLETCH Larry, the young "morgue" researcher, hurries over and walks with Fletch. She is fun and flirty, and her feelings for Fletch fall just short of idolatry. LARRY FLETCH LARRY FLETCH LARRY FLETCH LARRY FLETCH They pass the office of the city editor Frank Walker, fiftyish. Hold on Walker's office. Upon noticing Fletch, he jumps from his seat, edges his way past the two reporters in his office and runs outside. WALKER 40-A FLETCH AND LARRY They continue their walk. FLETCH LARRY FLETCH WALKER Fletch hold up a hand. FLETCH LARRY Larry peels off and Fletch now talks to Walker without breaking stride for his office. WALKER FLETCH WALKER FLETCH WALKER FLETCH 41 INT. FLETCH'S CUBICLE - DAY A pile of mail is on his desk. On the walls are a team portrait of the Lakers, plus a couple of blow-ups of his column. Fletch writes under the name of Jane Doe. An unused word processor is on his desk, but the keyboard has been moved aside to make room for an old, much-used Royal typewriter. He bounces some waste paper off the monitor into a strategically placed waste can. (A lot of crumpled papers lie on the floor all around the can.) FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER Walker goes through a pile of unread newspapers on Fletch's desk, finds the Sunday paper. FLETCH WALKER FLETCH 42 INSERT - AD A full-page ad. NEXT WEEK 43 MASTER FLETCH WALKER FLETCH Walker just stares at him. FLETCH WALKER FLETCH 44 WALKER ready to kill. WALKER 45 MASTER FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH INSERT - NEWSPAPER CLIPPING ALAN STANWYK NEW
V/P A photograph of Stanwyk; a head shot. Hands turn the clipping paper. Next clipping: a social page spread on the wedding of Alan Stanwyk. ("GAIL BOYD WED TO ALAN STANWYK.") LARRY (V.O.) 47 FLETCH AND LARRY Fletch and Larry examine the file. FLETCH LARRY 48 INSERT - CLIPPING - TIGHTER ANGLE FLETCH (V.O.) 49 FLETCH AND LARRY LARRY FLETCH She scratches. FLETCH LARRY FLETCH He pours over some more clippings, then stops at one. 50 INSERT CLIPPING headlined: "CANCER SOCIETY BENEFIT". A photograph of Alan and Gail Stanwyk, with a gray haired man and his wife. FLETCH (V.O.) 51 FLETCH AND LARRY FLETCH LARRY 52 INT. DOCTOR'S EXAMINING ROOM - DAY Fletch, stripped to the waist. is being examined by Dr. Joseph Dolen, a rather imperious physician. DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN Fletch's eyes drift to Dolen's side table with its unnerving assortment of medical paraphernalia. FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH Fletch looks alarmed as Dolan pushes him into position. Dolan puts on a plastic glove. 53 CLOSE - FLETCH FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH DR. DOLEN FLETCH 54 INT. HOSPITAL RECEPTION AREA - DAY Fletch is dressed in shorts, a clean shirt, and is carrying a doctor's bag. He is wearing a stethoscope around his neck , has a beeper on, a lot of pencils and other doctor gadgets. He's standing at the directory 55 DIRECTORY Combing it with his eyes, he sees the directory: PATHOLOGY - THIRD
FLOOR Fletch goes to a door marked "Stairs." 56 INT. STAIRWELL - DAY Fletch abruptly empties his doctor's bag and puts on a long green gown, a cap and a face mask. He plugs the stethoscope in his ears, removes miscellaneous file folders filled with papers, closes the bag, and heads for Pathology. 57 INT PATHOLOGY DEPARTMENT - DAY It's at the end of a long hall, and adjacent to the Autopsy Room and the Pathology Records Room. Over his shoulder we can see into the autopsy room where a gowned doctor is happily performing an autopsy. RECORDS NURSE Fletch hastily fumbles through his wallet, deftly dropping and picking up the papers he has brought with him. FLETCH RECORDS NURSE FLETCH Still dropping and picking up, shuffling and collating, Fletch starts toward the Files Room, when the doctor performing the autopsy yells at him. PATHOLOGIST Fletch stiffens and turns around. PATHOLOGIST Fletch hesitates. PATHOLOGIST Reluctantly, he goes to the autopsy table, and the cadaver thereon, which is covered by a sheet, except for the mid-section. 58 TWO SHOT - FLETCH AND PATHOLOGIST (Note: from here on we never see the body.) PATHOLOGIST FLETCH PATHOLOGIST FLETCH PATHOLOGIST We hear a squishing noise as he grabs something large and wet and plops it into Fletch's hand. Fletch stands there holding something icky out of frame, looking uncomfortably up at the ceiling, the floor, anywhere but at the cadaver or at the stuff in his hand. Meanwhile, we hear sounds of further incisions, and the deflating of an organ. PATHOLOGIST Fletch's eyes roll up, and he falls to the floor in a dead faint. 59 INT. RECORDS ROOM - DAY - MINUTES LATER Fletch is on a couch, beginning to regain consciousness. The Records Nurse hovers over him. RECORDS NURSE FLETCH RECORDS NURSE FLETCH RECORDS NURSE FLETCH RECORDS NURSE FLETCH RECORDS NURSE FLETCH He sits up and sees that just outside the glass is none other that Dr. Joseph Dolen, talking with the pathologist. FLETCH RECORDS NURSE She goes to get the paper bag, and Fletch turns his back on Dr. Dolen to go through the file cabinet. By the time the Nurse returns, he's got Stanwyk's file. RECORDS NURSE FLETCH He puts the bag over his mouth and breathes deeply as he continues the conversation with her. (From time to time, we see Dr. Dolen in the b.g. looking over, but does not come into the records room or question what's happening). RECORDS NURSE FLETCH RECORDS NURSE FLETCH RECORDS NURSE FLETCH RECORDS NURSE FLETCH 60 EXT. SANTA MONICA STREET - LATE AFTERNOON Fletch pulls up in front of his building, a 1970's cinderblock apartment complex. Fletch parks his car halfway up the curb, gets out and spots a Mercedes coupe. He starts running toward the rear of his building. 61 EXT. REAR OF THE BUILDING - DAY Fletch starts climbing up the fire escape of his building. 62 FIRE ESCAPE - DAY Fletch reaches the second floor. He's huffing and puffing. FLETCH 63 REVERSE Attorney Charles Gillett is waiting for him on the second floor fire escape. Gillett smiles. GILLETT 64 MASTER FLETCH GILLETT FLETCH Fletch takes out a credit card and jimmies open the lock on the window. 65 INT. FLETCH'S APARTMENT - DAY Fletch climbs in through the window, followed by Gillett. His small apartment is just barely furnished. A low basketball hoop is attached to the wall. Fletch takes a ball, offers it to Gillett. FLETCH Gillett shakes his head. Fletch does a reverse shot and misses, sending a plastic globe lamb crashing to the floor. FLETCH Fletch takes a second, successful shot. GILLETT FLETCH GILLETT FLETCH GILLETT FLETCH GILLETT FLETCH GILLETT FLETCH GILLETT Fletch puts down the basketball, picks up a stack of mail and rifles through it. FLETCH GILLETT FLETCH GILLETT FLETCH Fletch holds up an envelope with Ed McMahon's picture on it. FLETCH He opens it and looks inside, feigning disappointment. FLETCH GILLETT Fletch sighs, takes out the envelope given to him by Stanwyk. He hands a thousand dollars to Gillett. GILLETT FLETCH GILLETT Gillett smiles and exits. 66 KITCHEN - DAY Fletch opens the fridge. Inside are tow six-packs of Coors, a jar of Miracle Whip, a half a cucumber, and a brown head of lettuce. Fletch takes a beer and slams the door shut with such force that we hear breakage inside. 67 MASTER - APARTMENT - DAY In a foul mood, Fletch leaves the kitchen, and wanders into the living room. It has the personality of an Abbey Rents. He picks up the TV remote control. The television clicks on. Chick Hearn is with Jabbar, during a Laker pregame warmup. FLETCH Fletch settles back. 68 TELEVISION Hearn is gushing over Jabbar. 69 FLETCH He watches contemplatively. He is bone tired. 70 TELIVISION HEARN JABBAR 71 FLETCH He smiles and nods, deep in fantasy. 72 TELEVISION HEARN Hearn and Jabbar look down at a television monitor. 73 FLETCH He's half asleep. JABBAR (V.O.) Fletch raises an eyebrow. 74 TELEVISION There's Fletch, his hair in an Afro, dressed in Laker gold. He's on the receiving end of a Jabbar pass, making an easy layup. HEARN (V.O.) 75 FLETCH asleep, smiling. 77 PRICATICE COURT - DAY Gail Stanwyk is on the other side of the net, loading tennis balls into the automatic serve machine. She is in her late twenties and quite attractive., but in a much more natural way than other women we see here. She is good natured and effervescent. Fletch steps up to the entrance of the court. FLETCH She looks up. He enters the court with great delight. FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK Her smile segues right into an "I'm sorry, bit I give up" expression. MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH As Mrs. Stanwyk crosses to the other side of the net, a waiter approaches Fletch. WAITER FLETCH WAITER FLETCH WAITER FLETCH WAITER The Waiter leaves, and Fletch watches as Mrs. Stanwyk tries to return the serving machine's serves. She swings so goofily that she can't even get the racket on the ball. She has clearly never taken a lesson in her life, and it is doubtful if she will ever make contact with a tennis ball in this century. MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK Indeed, she has. Strait up. She and Fletch crane their necks upward to follow it's flight. FLETCH She completely misses the next one. FLETCH MRS STANWYK The next one she hits with the handle. FLETCH He demonstrates a swing. She puts on a determined face, makes an awkward step and swings at the next ball, missing it completely, and letting the racket fly. FLETCH Mrs. Stanwyk laughs happily and dodges the machine-served balls to walk over to Fletch. When she's almost up to him, she turns back to the serving machine and points a finger at it, as if addressing a pet dog. MRS STANWYK FLETCH MRS STANWYK FLETCH MRS STANWYK FLETCH MRS STANWYK FLETCH MRS STANWYK FLETCH MRS STANWYK She trots back to her ball machine. Fletch calls after her. FLETCH MRS STANWYK Fletch chuckles -- he likes this woman -- and exits. 78 BOYD AVIATION - DAY - ESTABLISHING A sprawling, Hughes-like complex. FLETCH 79 INT. JOHN BOYD'S OFFICE - DAY A Secretary is serving coffee to Fletch (now dressed in a three piece suit) and John Boyd, Gail Stanwyk's father. At seventy, he is probably Chairman Emeritus now; no longer running the day-to-day operations of the company, and thus somewhat grateful from the company. FLETCH Boyd Laughs. FLETCH SECRETARY FLETCH Fletch notices a framed wedding photograph on the credenza behind Boyd. It is of Alan and Gail Stanwyk, Alan beaming a $hit-eating grin and holding a happy thumbs-up. Fletch waits as the Secretary leaves the room, then begins speaking confidentially. FLETCH He opens his attache case, allowing Boyd to see an airline ticket, a Washington Post, and a file stenciled "Confidential/S.E.C. Use only." FLETCH BOYD Fletch is nodding sympathetically and holds up a quieting hand. Boyd stops in mid-tirade, and watches as Fletch reaches into his briefcase and seemingly turns off a tape recorder. FLETCH BOYD FLETCH BOYD FLETCH BOYD FLETCH 80 ALAN STANWYK'S OFFICE - DAY Fletch breezes in, right up to the Secretary, whose nameplate reads MADELINE TURNER. FLETCH MARGIE FLETCH She writes it out for him. MARGIE FLETCH MARGIE FLETCH 81 EXT. BEACH - DAY Pan across the beach.... FLETCH (O.S.) Fletch is in a phone booth on the sidewalk next to the beach, keeping an eye on "Fat Sam's." FLETCH We hear police sirens. Fletch looks O.S. FLETCH He hangs up. 82 FLETCH'S POINT OF VIEW - FOUR SQUAD CARS have pulled up to the beach, lights flashing. The druggies are dispersing. Creasy is running towards Fletch. CREASY 83 FLETCH He steps out onto the beach, and starts towards the cops. 84 MASTER CREASY 85 MASTER Everyone is scattering. The cops run past everyone, and approach Gummey. 86 FLETCH AND CREASY FLETCH Fletch keeps moving toward the police. CREASY 87 GUMMY AND THE COPS Gummy trips and falls in the sand. A Cop kicks him in the head. COP #1 88 FLETCH AND CREASY still running toward the cops. FLETCH CREASY FLETCH 89 MASTER The cops drag Gummy toward a squad car. 90 ANGLE - "FAT SAM'S" Fat Sam peers out, watching the action. 91 MASTER Fletch approaches the cops. FLETCH No responce from the cops. FLETCH One of the cops turns and, in one smooth motion, kicks Fletch in the balls. Fletch sinks to the ground. 92 SQUAD CAR Gummy is packed into the squad car. 93 FLETCH He rises slowly from the sand. He is in great pain. He starts after the cops again. 94 CREASY CREASY 95 MASTER FLETCH The cop car starts off. Fletch picks up a rock, hurls it at the cop car. It smashes the rear window. 96 CREASY CREASY 97 MASTER The cop cars go off. Fletch bends over. He's hurting. Creasy comes over to him. CREASY FLETCH CREASY FLETCH CREASY FLETCH 98 POLICE CARS In a caravan, they head down the highway. 99 FLETCH He turns and looks towards "Fat Sam's." 100 "FAT SAM'S" Fat Sam watches the police cars go down the road, then turns and looks towards the ocean. He pulls his Angels cap down over his head. 101 CLOSE - FLETCH He is focusing on something, but has not figured it out yet. FLETCH 102 104 INT. FRANK WALKER'S OFFICE - DAY FLETCH WALKER FLETCH Larry, knocks on the door. WALKER Larry points to Fletch. WALKER LARRY FLETCH Fletch turns to Larry. Push to two shot. LARRY FLETCH Larry starts to exit. WALKER FLETCH LARRY FLETCH LARRY She hands Fletch a clipping. 105 INSERT - CLIPPING It is an article and photograph of the newly-appointed citizens on the Police Advisory Board. One of them is Alan Stanwyk. WALKER 106 MASTER Fletch pockets the photo. FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER LARRY FLETCH 107 EXT. PROVO, UTAH - AIRPORT -DAY A Western Airlines flight arrives. 107-A EXT. HIGHWAY - DUSK Fletch's rented Fairmont speeds down the highway. 107-B INT. FAIRMONT - FLETCH wearing a polyester brown suit -- fiddles with the radio. Snatches of programs are heard: "easy listening" music; country-and-western; a revival show; a call in show -- "Hi, you're on the air." "Hello, Bob, I'd like to discuss the death penalty. As you know, Jesus was in favor of it --" Fletch whistles and switches the radio off. He turns the car off the interstate. 108 EXT. TRAVELODGE - LATE AFTERNOON - ESTABLISHING SHOT as Fletch drives up. 109 INT. TRAVELODGE MOTEL ROOM Fletch dials the phone in the small, sparsely furnished room. FLETCH 110 INT. SWARTHOUT REALTY Jim Swarthout is a rugged-looking man in his forties. He sits in the den/office of his house talking on the phone, surrounded by pine-paneling, property tract maps and wall-mounted animal heads. SWARTHOUT 111 INT. FLETCH'S MOTEL ROOM FLETCH Fletch pauses again to listen, flummoxed over what he has just heard. FLETCH 112 INT. SWARTHOUT REALTY SWARTHOUT 113 INT. FLETCH'S MOTEL ROOM FLETCH Fletch hangs up, very interested. 114 OMITTED 115 EXT. SWARTHOUT REALTY - NIGHT Fletch stops his car in front of the ranch-style house. A lighted sign in the yard indicate that this is indeed Swarthout Realty, but the house is dark; no one appears to be home. Somewhere in the yard a dog barks viciously, frantically. 116 DOG A killer Doberman is tied up behind a chain link fence. At the sight of the intruding Fletch, the dog's lip is practically over his nose, his fangs are poised and gleaming. 117 FLETCH FLETCH 118 DOG completely bananas. 119 FLETCH Fletch reaches the front door and looks around. He rings the bell. The dog yowls even louder. Fletch waits. And waits. He rings again. Satisfied that no one is home, he tries the front door. Of course, it is locked. He takes out a credit card, starts to jimmy the lock, and actually seems to be making progress when his credit card snaps in half. FLETCH He pockets the broken credit card, steps back and looks over the house for another possible point of entry. 120 FLETCH'S POINT OF VIEW - AN UPSTAIRS WINDOW Double-hung. Slightly warped, so that the upper half does not exactly true with the lower half. 121 FLETCH looks around to see how to climb up to it. 122 MASTER There's only one way. Climb up the side of the chain link fence which separates him from the murderous dog. Fletch approaches it warily. The dog is practically foaming. Fletch reaches out a hand to get a hold of the fence, and the dog just about rips the fence apart. FLETCH This has no effect, so Fletch backs up a few yards, take a deep breath for courage and makes a headlong running start for the fence, using his momentum to get to the top before the dog eats him. He grabs hold and scrambles wildly for the top. He makes it. FLETCH Fletch now grabs hold of the eave on the side of the house, and very carefully pulls himself onto it. It's only about ten feet from there to the vulnerable window, but the angle of the eave is rather steep, and the going is treacherous. As he makes his way, he keeps a wary eye on the dog who keeps leaping up, seemingly getting closer and closer to taking a giant bite out of Fletch's backside. FLETCH Now he's at the window. He tries to open it, but despite it's warped appearance from the ground, it is locked. Fletch looks at the lock and can't believe it. He sighs. He shakes his head. He smashes the window with his elbow. FLETCH He climbs into the darkened house, leaving the enraged dog to run furiously around the fenced in yard that surrounds the house. 123 INT SWARTHOUT'S HOUSE - UPSTAIRS - NIGHT Fletch tiptoes though the upstairs bedroom and down the stairs. From outside, he can still hear the dog snarling and barking. 124 INT. SWARTHOUT'S HOUSE - DOWNSTAIRS - NIGHT As Fletch passes through the living room he sees the dog snarling at him through the living room window. 125 INT. SWARTHOUT'S DEN - NIGHT Fletch enters and looks around. The dog is now outside the den window. FLETCH He goes to the file cabinet and opens it. He flips through the "S" section. "Stanwyk". He pulls it. He thumbs through various documents until he finds what he's looking for. A copy of a deed. He pulls it out. 125-A INSERT - DEED - CLOSE ON THE PURCHASE PRICE Three Thousand Dollars. FLETCH (O.S.) 126 FLETCH takes out a tiny document camera -- the kind spies use in the movies -- and loads it fumblingly. Then he props the deed up on top of the file cabinet, and moves a lamp into position to light it. Just as he snaps his first shot, we hear a terrible crashing sound. 127 WINDOW The murderous Doberman has made a crashing leap right through the den window, sending glass flying everywhere, and he streaks across the room to rip Fletch into bite-sized shreds. 128 MASTER Fletch bolts and the dog flies into the file cabinet, knocking it over, scattering all the files over the floor. Fletch dashes for the nearest door, and runs through it just as the dog slams into it. 129 INT. KITCHEN Fletch is now holed up in the kitchen, panting to catch his breath, feeling the full course of adrenaline pumping through his terrified veins. He sees that he can get to his car by climbing through the window. But in order to get to the window he has to let go of the door, and that would allow the dog to get in. Looking around frantically, holding the door shut against the furious slamming of the dog, he reaches for and finally grabs a mop which he props under the door knob, thus keeping the door shut. Letting go of the door gingerly, he satisfies himself that the dog cannot get in, and he makes his break for the window. He vaults up onto the counter top and is just about to break the window when he sees that the dog's continued efforts are about to result in opening the door. Fletch knows he has only seconds. Standing on top of the counter, he opens the door of the restaurant-sized refrigerator next to him, and just as the snarling dog bursts into the room Fletch starts hurling food at it. A pot roast, sliced turkey with stuffing, a couple of filet mignons. The dog is momentarily distracted. Fletch pours a large bucket of cranberry sauce on the dog. FLETCH Then he dumps an equally large bucket of mashed potatoes. With the dog temporarily vision-impaired, Fletch bolts. 130 EXT. SWARTHOUT HOUSE - NIGHT Fletch runs as fast as humanly possible towards his car, fishing for his keys as he goes. The dog -- having shaken off the people-food from his hateful face -- is seconds behind and closing. Fletch makes it to his car, hops inside, and slams the door just as the dog leaps furiously at the windshield. 131 INT. FLETCH'S CAR Fletch makes it to his car, huffing and puffing. The dog jumps across the closed window, snarling and bug-eyed with hatred. Fletch smiles, waves at the dog, and starts taking its picture with his little camera. FLETCH Fletch is ready to pull out, but the dog is still leaping madly at the window. Fletch points back to the house. FLETCH The dog turns to look and Fletch guns it. FLETCH 132 EXT. FLETCH'S APARTMENT HOUSE - DAY Fletch parks his car halfway up on the curb, steps out carrying a small overnight bag. He is unshaven and looks beat. 133 INT. APARTMENT HOUSE - CORRIDOR Fletch comes down the hall signing "Billie Jean" is an excruciating falsetto. FLETCH He opens the door to his apartment and is immediately thrown to the ground. 134 INT. APARTMENT Fletch is spread-eagled on the floor. Two huge Cops are over him, one holding a gun to his head, the other going through his clothes. COP #1 FLETCH COP #1 He produces a heroin bag. COP#2 FLETCH Cop #1 kicks Fletch in the ribs. COP#2 FLETCH COP #1 FLETCH 135 EXT. PRECINT HOUSE Fletch is lead into the precinct house. 136 INT. PRECINT HOUSE The Sergeant at the desk checks Fletch out. SERGEANT COP #1 SERGEANT FLETCH SERGEANT 137 DOOR TO CHIEF'S OFFICE - CHIEF'S OFFICE The cops open the door, pull Fletch inside. Chief Cummings, looking like a modern executive, looks up from his paperwork. COP #1 They roughly throw Fletch into a chair. The Chief -- seemingly oblivious to this brutality -- smiles sincerely. CUMMINGS The two Cops leave. As Chief Cummings continues with his paperwork Fletch looks around the office, which is decorated tastefully -- no guns on the wall, no American flags. On one wall there is a Matisse, and on another, various photos of the Chief with local celebrities. FLETCH CUMMINGS FLETCH CUMMINGS FLETCH CUMMINGS FLETCH Cummings just stares at Fletch. CUMMINGS FLETCH CUMMINGS FLETCH CUMMINGS He suddenly kicks Fletch's chair out from under him. Fletch falls to the floor. CUMMINGS Fletch starts to get up, but Cummings plants his foot on Fletch's chest, forces him back down. CUMMINGS FLETCH CUMMINGS Cummings picks Fletch up, and holds him by the lapels. CUMMINGS He throws Fletch against the wall of celebrity photos, some of which fall to the floor. CUMMINGS FLETCH Fletch takes the picture and hurls it across the room. It smashes into the opposite wall and shatters. FLETCH 138 140 JAIL CORRIDOR Fletch is tossed into an empty cell by the two Cops who brought him in. Cummings watches. The two Cops leave, and we see that all the cells in this corridor are empty. FLETCH CUMMINGS FLETCH The Chief takes a knife out of his pocket, holding it with a handkerchief. CUMMINGS FLETCH CUMMINGS FLETCH Cummings looks down the corridor. Deserted. FLETCH CUMMINGS Fletch looks in Cummings' eyes. They are steely and cold. He is quite serious. FLETCH CUMMINGS Fletch walks out of the cell. Cummings walks with him through the empty corridor to the exit. CUMMINGS FLETCH CUMMINGS The emerge into the main hallway of the police station, which is filled with officers and civilians. Cummings makes a show of cordially shaking Fletch's hand as if they were old friends. CUMMINGS FLETCH Exit Fletch. 141 148 INT. NEWSPAPER OFFICE Fletch is railing at Frank Walker. FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER FLETCH Exit Fletch. 149 153 EXT. RAQUET CLUB Fletch again appears in his tennis whites and walks familiarly toward the patio. Rich people are having lunch. Fletch stops the waiter. FLETCH WAITER FLETCH WAITER FLETCH WAITER FLETCH WAITER FLETCH WAITER FLETCH WAITER FLETCH WAITER The waiter leaves. Fletch looks around, takes a deep breath. FLETCH 154 OMITTED 156 EXT. CABANA ONE A little Spanish bungalow-type affair. Old California money-style elegance. Fletch rings the bell. MRS. STANWYK (V.O.) FLETCH MRS. STANWYK She opens the door, clad only in a towel. A towel is wrapped around her head. She seems surprised, but not displeased, to see Fletch. She also seems a little at a loss for words. FLETCH MRS. STANWYK FLETCH They have just shaken hands, and Fletch notices his hand is now sopping wet. MRS. STANWYK FLETCH She laughs a nervous little laugh. There is a bit of sexual tension here. MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK With a nervous glance in both directions, she lets him in and closes the door behind them. 157 INT. CABANA They stand there for a few seconds looking at each other. MRS. STANWYK FLETCH MRS. STANWYK FLETCH He starts to take off his shirt. She is amused, and responds playfully, but firmly. MRS. STANWYK He does. MRS. STANWYK FLETCH She stands there, looking around, trying to act as if her heartbeat weren't speeding up. SFX: Knock at door. FLETCH MRS. STANWYK She goes sprinting into the bathroom. FLETCH The door opens. A second Waiter, Mexican, solemnly wheels in a cart bearing the goodies ordered by Fletch. The twin bottle of Dom Perignon juts from a silver ice bucket. WAITER FLETCH WAITER FLETCH The waiter bows, leaves, shuts the door. Mrs. Stanwyk scampers back in, gazes at the cart as Fletch takes a bottle of Dom Perignon and pops the cork. MRS. STANWYK FLETCH MRS. STANWYK FLETCH She laughs and sighs, knowing she's getting into something she probaly shouldn't. MRS. STANWYK She tucks a napkin in her towel like a bib and sits at the table. 158 EXT. RAQUET CLUB - DAY The Underhills have just been handed the bill run up by Fletch. MR. UNDERHILL WAITER MR. UNDERHILL WAITER MRS. UNDERHILL MR. UNDERHILL MRS. UNDERHILL MR. UNDERHILL WAITER Mr Underhill stalks off. 159 INT. CABANA - DAY Fletch and Mrs. Stanwyk are having lunch. Fletch sings while he opens the champagne. She is looking at his back which is turned to her. FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH SFX: Insistent knock at door. Fletch and Mrs. Stanwyk freeze. MRS. STANWYK MR. UNDERHILL
(V.O.) Fletch rises. FLETCH MRS. STANWYK FLETCH MR. UNDERHILL
(V.O.) MRS. STANWYK Fletch starts pushing the lunch table towards the bathroom. MRS. STANWYK MR. UNDERHILL
(V.O.) MRS. STANWYK MR. UNDERHILL
(V.O.) Mrs. Stanwyk follows Fletch into the bathroom. 160 INT BATHROOM Fletch jams the cart into the bathroom. FLETCH Mrs. Stanwyk lifts one side of the cart. They lift it and put it up into the bathtub. There's a window in the bathroom. Fletch opens it. FLETCH MRS. STANWYK FLETCH MRS. STANWYK Fletch shrugs, smiles. MRS. STANWYK FLETCH MRS. STANWYK FLETCH She stares at him. MRS. STANWYK FLETCH A long beat. MRS. STANWYK FLETCH MRS. STANWYK FLETCH 161 EXT. CABANA Mr. Underhill knocks again. MR. UNDERHILL 162 INT. BATHROOM MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH He takes out his photographs. FLETCH 162-A INSERT - PHOTO OF DEED It's is so fuzzy, shaky, and poorly framed that there's no way we can read the price on it. FLETCH (O.S.) 162-B MASTER Fletch shows her more of the photos. FLETCH MRS. STANWYK FLETCH Mrs. Stanwyk stares at Fletch. She gets a little teary. FLETCH MR. UNDERHILL
(O.S.) MRS. STANWYK Fletch stops her. FLETCH MRS. STANWYK FLETCH Gail is now teary, confused, and scared. MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH 163 EXT. CABANA Gail opens the door where Mr. Underhill has been waiting. MRS. STANWYK She closes the door in his face. 164 OMITTED 165 EXT. BOYD AVIATION - PARKING LOT Alan Stanwyk crosses the parking lot and gets into his Jaguar. He starts the engine, backs out of his reserved space, and pulls out of the lot. 166 ANOTHER ANGLE - PARKING LOT Fletch is reading a copy of Sports Illustrated. He puts it down, starts his car, and pulls out of the lot. 167 SANTA MONICA BOULEVARD Stanwyk's Jaguar tools down Santa Monica Boulevard. Fletch's car follows, several discreet car lengths behind. 168 INT. JAGUAR Stanwyk checks his watch, and makes a turn. 169 MASTER Stanwyk has pulled into a service station. He gets out of his car and opens the trunk. 170 FLETCH He pulls into a fast-food joint on the west side of the street. He opens the Sports Illustrated and peers over it. 171 STANWYK He takes a gas can from the trunk, goes to the pump, fills it, and pays the attendant in cash. 172 FLETCH Curious. 173 STANWYK He puts the gas can back in the trunk, gets into the car, and starts off. 174 FLETCH follows suit. 175 SANTA MONICA BOULEVARD We are getting into the increasingly rundown section of Santa Monica. The Jaguar turns off. Hold: Several beats later, Fletch turns off. 176 OVERPASS A freeway overpass. Stanwyk stops his car. 177 FLETCH'S CAR He pulls off behind a liquor store, in view of the overpass. Fletch waits. 178 OVERPASS A second car pulls up behind Stanwyk's. A cop steps out and says something to Stanwyk. Stanwyk gets out of his car and walks over to the unmarked police car, and gets in. 178-A FLETCH takes out his binoculars. 178-B FLETCH'S POINT OF VIEW Because he's looking through the reflection of sunlight on the back window of the unmarked police car, Fletch's point of view is fuzzy, but we can just make out the form of someone else in animated conversation with Stanwyk. 178-C FLETCH A moment of possible recognition. He focuses intently. 178-D FLETCH'S POINT OF VIEW - THE OTHER MAN IN THE CAR with Stanwyk...is Police Chief Cummings. 179 FLETCH FLETCH He starts up his car and backs out. DISSOLVE TO 180 EXT. FLETCH'S APARTMENT HOUSE Fletch pulls up to his house and stops the car. 181 INT. CAR Fletch looks around. 182 EXT. HOUSE Fletch doesn't leave the car. 183 INT. CAR Fletch sits put, drumming his fingers on the steering wheel. He just has a feeling. He starts the car up, and pulls out. 184 EXT. HOUSE Two cop cars, concealed in driveways, scream out, heading after Fletch's car. 185 INT. FLETCH'S CAR Fletch sees them in the rearview and stomps on the gas. FLETCH 186 EXT. STREETS Fletch floors it. FLETCH Fletch cuts through the parking lot of a drug store/dry cleaning complex. The cop cars follow suit. Shopping wagons are tossed about. He turns a corner and realizes he has a few seconds before they're on top of him again. He screeches up next to a teenager in a sports car. FLETCH Before the guy can say "who?", Fletch is in the guy's driver seat and tears out, hell bent for leather. 187 ENTRANCE TO FREEWAY Fletch peels off onto the Santa Monica Freeway. 188 FREEWAY Fletch hits about ninety. So do the cops. Now a motorcycle cop joins the chase. 189 OMITTED 189-A INT. SPORTS CAR TEENAGER FLETCH TEENAGER FLETCH 190 EXT. FREEWAY Indeed, behind them is a gaggle of speeding cop cars and motorcycles. TEENAGER (O.S.) Fletch cuts across two lanes of traffic and gets off the freeway. He loses the motorcycle cop who goes past the exit. The squad cars are thrown behind a bit, but still chase. 191 INT. SQUAD CAR COP #1 191-A INT. SPORTS CAR The teenager is sweating bullets. TEENAGER FLETCH 191-B EXT. CAR Fletch squeals around a corner, runs a light, and booms into the parking lot of a large Holiday Inn. He's a few seconds ahead of the cops. FLETCH Fletch pops his hat on the kid's head, and runs off. 192 EXT. HOLIDAY INN Fletch runs into the kitchen entrance of the Holiday Inn. 193 INT. HOLIDAY INN KITCHEN Fletch picks up a case of vegetables and walks through as if he belonged there. Moments later, two cops enter. 194 THE COPS can't see him because of the crate. 195 INT. HOLIDAY INN - BANQUET ROOM A testimonial dinner is in progress. A sign on the wall reads: TRB SYSTEMS SALUTES Thirty tables of conservatively dressed, older men and women are enjoying lunch. Fletch enters from the kitchen followed by several waiters and busboys. He looks over his shoulder. 196 FLETCH'S POINT OF VIEW - KITCHEN Two cops are in hot pursuit. 197 FLETCH moves into the middle of the tables as a florid fat Speaker at the dais drones on. SPEAKER A round of applause which Fletch joins heartily, as he quickly sits in the audience at an empty seat at a table in the center. FLETCH Fletch looks to the kitchen entrance and sees two cops scanning the crowd. One signals to the opposite door. 198 DOOR Four more cops converge, looking for Fletch. Distant sirens indicate even more. 199 MASTER SPEAKER The police spot Fletch and start moving forward. Fletch stands up. A spotlight swings onto him. FLETCH 200 DIAS Fred Dorfman turns to the people on either side of him and whispers, obviously wondering who the hell this guy is. 201 FLETCH The cops are hesitant to move in. They wait for Fletch to finish and get out of the light. FLETCH 202 POLICE look at each other, sensing a trick, and start to move in. 203 FLETCH going for broke. FLETCH 204 POLICE moving faster, but impeded by the crowd which rises and follows Fletch's suggestion. 205 FLETCH out of the crowd, still encouraging the crowd. FLETCH one cop raises his gun towards Fletch, but the crowd is too close, too busy. Fletch shakes his hand and slugs him so hard on the back that he falls over into the crowd. FLETCH The crowd sings along the rest of the verse. Fletch looks back to the kitchen entrance at the police who are swallowed in a sea of congratulations and singing. Fletch takes his time strolling out of the kitchen. 206 INT. LAX - DAY Fletch is at the Pan Am counter, talking with a reservation Clerk. CLERK FLETCH CLERK FLETCH CLERK FLETCH The clerk checks the computer. CLERK Fletch shakes his head. He's never heard of him. FLETCH CLERK FLETCH CLERK FLETCH Fletch walks off and we follow him. CLERK 207 EXT. PROVO AIRPORT - DAY as Fletch emerges from the Rent-A-Car office and drives off. 208 EXT. PROVO STREET - DAY A lower-middle-class area, one that seems to be sliding fast -- the plans are scraggly, the houses need paint. Fletch's rental pulls up over the curb onto the sidewalk. Fletch gets out, checks a piece of paper, and goes up the steps to a dark-shingled two-story house. 209 TOP OF STEPS Fletch looks at the name over the doorbell. 210 CARD written in smeared ink: "CAVANAUGH". 211 FLETCH rings the doorbell. It sounds like a fire alarm in the quiet. Nobody answers. Fletch tries the door. It opens. Fletch hums the old "Dragnet" theme. 212 INT. HOUSE still humming the theme. FLETCH Fletch enters. 213 FLETCH's POINT OF VIEW - LIVING ROOM The shelves are bare. Furniture is in place. 214 MASTER Fletch enters the kitchen, and opens the refrigerator. Inside is a can of coffee, and some vegetables. Fletch leaves the kitchen and heads for the bedroom. We follow him as he enters the bedroom. 215 INT. BEDROOM Fletch opens the closet. It's bare. He pulls open the drawers. Nothing. Fletch gets down and looks under the bed. VOICE In his surprise, Fletch bangs his head as he starts up. 216 REVERSE At the door stands a gruff-looking Man in a red and black hunter's jacket, overalls, and a hat with earflaps. He holds a rifle. MAN 217 MASTER Fletch gets up. FLETCH MAN FLETCH MAN FLETCH MAN FLETCH The Man stares at him, holding the gun. He's not the brightest guy in the world, and Fletch has already caught on to that. FLETCH MAN FLETCH The Man just stares at Fletch. Fletch starts to move ever so slightly, testing his freedom of movement. FLETCH MAN FLETCH The Man nods and cocks the weapon. Fletch stops his tentative movements and just looks around the room FLETCH MAN FLETCH MAN FLETCH The Man continues to gaze unblinkingly at Fletch, holding the rifle. MAN FLETCH MAN FLETCH MAN FLETCH The man looks down at his shoelaces. Fletch kicks the gun out of his hand and runs through the house. 218 EXT. HOUSE Fletch runs out of the house and jumps into his car. 219 INT. CAR Fletch pulls out. The rear window is suddenly blown away. FLETCH 220 EXT. PROVO PIG FARM Fletch pulls up, gets out of the car and addresses the couple sitting on the porch of the house. FLETCH 221 PORCH Sitting on the porch is a couple in their late sixties, whom we are about to learn are Alan Stanwyk's parents -- Marvin and Velma. FLETCH Marvin nods FLETCH MARVIN FLETCH MARVIN FLETCH MARVIN FLETCH MARVIN FLETCH MARVIN FLETCH MARVIN 222 INT. MARVIN AND VELMA'S LIVING ROOM Fletch and the Stanwyks face each other on couches that flank the fireplace. Fletch has a clipboard on which he will take notes. FLETCH Marvin just stares at him. FLETCH MARVIN Velma smiles. FLETCH MARVIN FLETCH MARVIN Fletch is taken aback. FLETCH MARVIN This is all news to Fletch, but he covers his surprise. FLETCH MARVIN Fletch is very interested in all this. FLETCH MARVIN FLETCH MARVIN VELMA FLETCH VELMA FLETCH MARVIN Fletch is getting very puzzled and very concerned about all this. FLETCH Marvin and Velma exchange the oddest of glances between them. FLETCH MARVIN FLETCH MARVIN You could knock Fletch over with a straw. Again, he quickly recovers. FLETCH VELMA FLETCH VELMA Velma rummages through a family album on a side table as Fletch tried to sort all this out in his mind. She brings a photo over to him. He looks at it. 223 INSERT - PHOTO It's a wedding photo of Alan and a woman we have not seen. She is brunette and quite unlike Gail. Alan wears a similar sh*t-eating grin, and makes a similar thumbs-up gesture to the wedding photo with Gail that Fletch saw in Boyd's office. 224 FLETCH He sighs. FLETCH MARVIN VELMA FLETCH MARVIN FLETCH VELMA FLETCH VELMA Exit Fletch. 225 INT. PROVO MOTEL ROOM Fletch is on the phone. FLETCH 226 INT. NEWSROOM - MORGUE Larry is on the phone. LARRY 227 MOTEL ROOM FLETCH 228 MORGUE LARRY 229 MOTEL ROOM FLETCH 230 INT. MOTEL BATHROOM - LATER Fletch is in the shower, lipsynching to the radio. Elvis is singing, "All Shook Up." FLETCH The phone rings. Fletch gets out, throws on a towel and picks up a phone mounted over the crapper. FLETCH 231 INT. PLANE - NIGHT Fletch is sitting in a semi-deserted flight on his way back home. He is hunched over an airline meal, eating with his right hand and turning in his mini recorder with his left. FLETCH But as he pushed the button down, the tape pops out. He fumbles it back in, and then pushes another button. FLETCH TAPE RECORDER FLETCH He starts it right this time. FLETCH He takes a spoonful of airline food, chewing meditatively. FLETCH 232 EXT. MRS. STANWYK'S CABANA - NIGHT Fletch knocks on the door, and a tensely white-faced Mrs. Stanwyk quickly lets him in and shuts the door behind him. MRS. STANWYK He can sense she is unusually upset. FLETCH MRS. STANWYK FLETCH MRS. STANWYK Fletch waits anxiously to hear if she told Alan about him. MRS. STANWYK Fletch sighs with relief. MRS. STANWYK FLETCH MRS. STANWYK FLETCH She sits in a chair. he hands her the wedding photo. FLETCH First she looks at Fletch with puzzlement. Then, she looks at the photo and can't seem to decide what to think of it. But she knows it's bad. MRS. STANWYK FLETCH MRS. STANWYK FLETCH She is stunned. FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH MRS. STANWYK FLETCH She is taken aback by that, but there is a determination in her eyes. MRS. STANWYK She starts for the phone, but he stops her. FLETCH There is a long beat. MRS. STANWYK FLETCH He puts his arms around her and holds her tight against him. After a few seconds she raises her head and turns the hug into a kiss. Then the kiss turns passionate. DISSOLVE TO 233 FRISBEE sails across the surf. 234 EXT. BEACH - DAY - WIDER The usual scene-- a mix of teeny-boppers, junkies and surfers. Into the f.g. step a couple of "surfers." They're wearing wet suits and carrying surfboards, but they're obviously cops. They sit down. Across the beach, a Sufi, dressed in a turban and flowing garments, crosses the sand. SURFER COP The cops laugh derisively and turn their attention else-where. 235 CLOSER ON SUFI It's Fletch. he's got a beard pasted on, and nervously scans the beach. 236 FLETCH'S POINT OF VIEW - GUMMY is seated on a towel. 237 MASTER Fletch sits near, but not next to, Gummy. FLETCH Gummy looks around. FLETCH GUMMY FLETCH GUMMY FLETCH Gummy lies back down. GUMMY FLETCH Gummy sits up. FLETCH Gummy lies down again. FLETCH GUMMY FLETCH GUMMY FLETCH GUMMY FLETCH Fletch gets up and adjusts his flowing robes. FLETCH Gummy lies back down. FLETCH GUMMY FLETCH GUMMY FLETCH GUMMY FLETCH Gummy looks questioningly at him. FLETCH Fletch crosses the sand, heads for "Fat Sam's". 238 "FAT SAM'S" Sam is reading the National Review. He looks up, sees Fletch approaching, and grins. FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM FLETCH FAT SAM 239 241 INT. NEWSPAPER - CITY ROOM Fletch parades through the city room, still in his Sufi getup. He takes off the beard and heads for Frank Walker's office. Fat Sam and Gummy, looking like fish out of water, follow him. 242 WALKER'S OFFICE Fletch marches in with Sam and Gummy. Walker gawks at him. WALKER Fletch takes off the turban. FLETCH WALKER FLETCH WALKER FLETCH Walker just stares at the sheets. WALKER FAT SAM FLETCH WALKER FLETCH Fletch takes off his robe and drops it to the floor. Beneath the robes he's wearing cutoffs and a Bob McAdoo t-shirt. FLETCH Fletch leaves the office. FLETCH 243 CORRIDOR Fletch heads for his office. Walker follows. WALKER Fletch doesn't answer. 244 FLETCH'S OFFICE Fletch enters the office and kicks his door closed. Walker opens it. WALKER FLETCH WALKER FLETCH WALKER FLETCH WALKER Fletch sits down and turns on his word processor, ignoring Walker. 245 EXT. STANWYK HOUSE - NIGHT Fletch parks his Olds halfway up on the sidewalk, and gets out. He climbs over the gates of the Stanwyk home, and drops down inside. He lands on the grass, trots around the shrubbery, heads toward the garage, and checks his watch. 246 WATCH It's five minutes before eight. 247 INT. STANWYK'S GARAGE The jaguar is parked just where it is supposed to be, and the key is in the ignition. Fletch thinks for a moment and looks around. He sees a pile of torn rags on the ground. He removes the key from the ignition and opens the trunk. 248 INT. TRUNK. Six large gasoline cans and more rags. 249 FLETCH Another piece of the puzzle fits in place. 250 EXT. HOUSE Fletch reaches the rear of the house. He peers inside. 251 FLETCH'S POINT OF VIEW - STANWYK is in the library, sitting patiently at his desk. 252 FLETCH approaches the French doors and enters. 253 255 INT. LIBRARY Alan rises from his desk to greet him. His hair is combed like Fletch's. We can see that beneath his sports jacket he is wearing a Magic Johnson t-shirt and jeans. MR. STANWYK FLETCH MR. STANWYK Stanwyk nods toward a small briefcase in the corner. Fletch eyes it quickly, and just as quickly looks back at Stanwyk who just stands there by his desk. MR. STANWYK FLETCH MR. STANWYK Fletch holds out an envelope. FLETCH MR. STANWYK FLETCH Stanwyk unfolds the paper. FLETCH 256 INSERT LETTER We see that it is addressed to: JOHN BOYD 257 STANWYK MR. STANYK He stares at Fletch. 258 FLETCH He is lifting Stanwyk's two attaché cases. FLETCH 259 STANWYK MR. STANWYK Stanwyk stops. He's stunned, and not about to read anymore of this. GAIL'S VOICE (O.S.) Stanwyk spins to the doorway. 259-A GAIL STANWYK standing in the doorway. MRS. STANWYK 260 MASTER FLETCH MRS. STANWYK Fletch takes the letter from Alan. FLETCH MR. STANWYK FLETCH Mr. Stanwyk blanches. Fletch continues. FLETCH Alan mulls over all this for a few seconds, then smiles wistfully. MR. STANWYK FLETCH Stanwyk shoots a surprised look at Gail. She returns it with an innocent shrug. MR. STANWYK FLETCH MRS. STANWYK Now it is Alan's turn to shrug innocently. MR. STANWYK MRS. STANWYK MR. STANWYK Mr. Stanwyk reaches into his desk and pulls out his gun, and levels it at Fletch. MR. STANWYK FLETCH MRS. STANWYK MR. STANWYK FLETCH Just then, the French doors swing open, and Chief Cummings enters. CUMMINGS FLETCH MR. STANWYK CUMMINGS Stanwyk lowers the gun. MRS. STANWYK FLETCH MRS. STANWYK CUMMINGS During the following dialogues, Fletch starts nudging the fireplace's gas lighter jet key with his foot. CUMMINGS MR. STANWYK CUMMINGS FLETCH Fletch and Gail actually start to leave, but Cummings draws his gun and fires over their heads. They dive for the floor, landing on the side of the fireplace. Fletch palms a Zippo lighter from his pocket. MR. STANWYK CUMMINGS FLETCH Cummings turns his head momentarily to consider what Fletch has said, and Stanwyk takes advantage of the distraction to go for his gun. But he is too slow. Cummings shoots once, striking Stanwyk in the chest, killing him instantly. Gail screams in horror. Cummings turns to Fletch. CUMMINGS FLETCH Fletch hurls the lighter into the fireplace, causing a great whoosh of flames. Cummings throws his hands up in front of his face and Fletch leaps at him, wrestling him to the ground. Cummings is the stronger of the two, and just as he starts to gain dominance over Fletch, Gail Stanwyk staggers to her feet, picks up her husband's tennis racket in it's wooden brace, and slams it against Cummings' head with all her might. The Chief is knocked out. Fletch lies there, panting, trying to catch his breath. He looks up at Gail, still holding the racket, and staring at Alan's body. Fletch hustles her out of the room. 260-A HALLWAY FLETCH GAIL FLETCH He starts to leave. She calls after him. GAIL FLETCH Fletch exits. DISSOLVE TO 261 EXT. RIO DE JANEIRO - DAY With Sugarloaf Mountain in the b.g., Fletch lies in a lounge chair, sipping an exotic drink, watching the cavorting lovelies and playing his battered Casio. This is obviously at some very expensive beach club or hotel, as witnessed by the uniformed servant who brings a telephone. WAITER FLETCH He pauses again to listen to Larry, but sees something O.S. that takes over his attention. he doesn't wait for Larry to finish what she's saying. FLETCH He hangs up and stands. We see that Gail has just walked up to him. The way they look at each other indicates they have not seen each other for awhile, and her arrival is a surprise to Fletch. GAIL FLETCH GAIL FLETCH GAIL FLETCH They start walking down the beach. We stay right with them. GAIL FLETCH He puts his arm around her, as we watch them leave us behind and walk off down the beach. FLETCH Fletch ad-libs just like Chevy Chase would as they walk further away down the beach until we.... FADE OUT THE END |