Laker Jim's 1984 Fletch Script

FLETCH SCRIPT
(section 7)

For the first time on the net...

Laker Jim's Fletch Won Homepage presents Fletch Fans everywhere the 1984 Fletch Script.

A New Section will be added every FRIDAY

(This is not for reprint or sale. This script is solely for entertainment or educational purposes only...enjoy)

FLETCH SCRIPT PART 10 - Don't call me Irwin (260-A) to The END

Click here to Listen to the Fletch Midi while you read

FLETCH SCRIPT CONTINUED...

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
FRED DORFMAN
40 YEARS OF SERVICE

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
...and he can truly be called the Father
of Internal Bushings.

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
(to his table)
Hello. I'm with the hotel catering. Are you
enjoying your meal? Carrots overcooked?

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
And now a man who needs no further introduction....

The police spot Fletch and start moving forward. Fletch stands up. A spotlight swings onto him.

FLETCH
Thank you, Tony, thank you. As a lifelong
friend of....
(looks at banner)
...Fred Dorfman, I'm thrilled to be here.

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
Many of you are probably not aware of Freddie's
lifelong commitment to honoring a profession that
frequently goes unsung -- the police. Many times Fred
used to forsake a night with his wife and children to
go out an sell tickets for the Policemen's Benevolent Association.

202 POLICE

look at each other, sensing a trick, and start to move in.

203 FLETCH

going for broke.

FLETCH
Our men in blue are with us today, and I think we
should all extend a shake of the hand, a slap on
the back and a 'howdy' to them.

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
When was the last time you hugged a cop?
Do it for my good friend Tommy Lasorda.
Doesn't it feel good? Don't you wish you'd
done it long ago?

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
Let them know how we feel, with a song. For
every cop on every beat in every city of this
great nation.
(singing)
'For he's a jolly good fellow....'
(calls out)
Everybody!
(sings)
'For he's a jolly good fellow....'

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
Yes sir, you are confirmed on Flight 306 to Rio
tomorrow evening at 11 PM. First Class.

FLETCH
You're kidding.

CLERK
Would you like me to change anything?

FLETCH
(to himself)
So he's going. Uh...are there any other tickets
charged to the same account?

CLERK
We'd have no way of knowing that, sir.

FLETCH
Hmm. It's just that there are some other people
from my office going on this trip and...is there
anyone in the seat next to me?

The clerk checks the computer.

CLERK
Yes, there is. Cavanaugh.

Fletch shakes his head. He's never heard of him.

FLETCH
Never heard of him. Thanks anyway.

CLERK
You mean her.

FLETCH
What?

CLERK
Sally Ann Cavanaugh. Oh wait, she couldn't work
in your office, she's not from around here.

FLETCH
Oh, thanks.

Fletch walks off and we follow him.

CLERK
She's from Utah.

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
'Bom-ba-bom-bom...bommmm.'

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
Who the hell are you?

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
Get up.

217 MASTER

Fletch gets up.

FLETCH
The door was unlocked.

MAN
Lock's busted.

FLETCH
No wonder.

MAN
I work for the landlord. He told
me to watch out for the place.

FLETCH
I commend him on his choice.

MAN
What?

FLETCH
I commend him on his choice

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
I was supposed to meet Mrs. Cavanaugh.

MAN
Who are you?

FLETCH
Don Corleone. I'm a cousin of Mrs. Cavanaugh's.

The Man just stares at Fletch. Fletch starts to move ever so slightly, testing his freedom of movement.

FLETCH
Where is she?

MAN
Moved out.

FLETCH
She moved out?

The Man nods and cocks the weapon. Fletch stops his tentative movements and just looks around the room

FLETCH
I spoke to her last week. She didn't say anything.

MAN
She moved out.

FLETCH
So you're saying she moved out.

MAN
This morning.

FLETCH
This morning? Christ. We had so much to talk about.
Moe Green is out of the Tropicana, and my sons, Michael
and Fredo, are taking over.

The Man continues to gaze unblinkingly at Fletch, holding the rifle.

MAN
What did you want under the bed?

FLETCH
Mattress police. There are no tags on the mattress.
I'm going to have to take you downtown. Please give
me your weapon.

MAN
I'm calling the cops. This is for the cops.

FLETCH
I'm her cousin.

MAN
Tell the cops.

FLETCH
Go ahead. Call them. Better tie
your shoelaces first.

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
I'm getting real tired of all this hostility.

CONTINUED IN SECTION 8

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